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

Archive for the ‘Ameerbai Karnataki songs’ 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 :

4815 Post No. : 16585 Movie Count :

4519

Today’s song is from an obscure Costume film, Sardar-1940. The film was made by Prakash Pictures, Bombay. It was directed by Dwarka Khosla and the music was by the favourite MD of Prakash Pictures- Shankar Rao Vyas. All the 15 songs were written by Balam Pardesi. However HFGK lists only 12 songs under the film title and 3 more songs are further added through ‘Addenda’, at the end of the Kosh. Today’s song is the first song of this film to be posted here.

Director Dwarka Khosla was born in 1904 at Hoshiarpur, Punjab. He entered the films during the Silent era. His first Talkie films as a director was Josh-E-Jawani-1935. He directed 33 films. His last film was Reporter Raju-1962. The cast of the film was Jayant, Pramila,Shah Nawaz, Amirbai Karnataki, Munshi Khanjar and others. Actor Jayant was a find of Vijay Bhatt. He gave him first chance in Nai Zindagi-1934. He also changed his original name to Jayant.

Jayant was born as Zakaria Khan,on 15-10-1912 at Alwar, Rajasthan. His father Syed Ahmed Khan was originally from Peshawar, but was working as a Sports Coach in the court of the Maharaja of Alwar,Rajasthan. Along with his elder brother Jahangir Khan, Jayant used to sell ‘Makka-Bhutta’ (Maize) on a roadside thela and thus earned his pocket money, with which he used to see films. When he grew up, he was taken by his father to the Maharaja, who recruited him as Second Lieutenant in his Army. Jayant soon got bored with this life, left the job and came to Bombay in search of a job in films. When he met Vijay Bhatt of Prakash pictures, this 6’1″ tall,handsome and young man was liked by him. Jayant also knew Horse riding and swimming. He was named JAYANT by Vijay Bhatt and offered a role in their film Nayi Duniya-1934. Rajkumari Banaraswali also debuted in this film.

Excellent Urdu delivery and handsome personality earned Jayant Hero’s roles in Bambai ki Sethani,Bombay Mail, Lal chithi, Shamsheer-e-Arab, Azadveer, Passing show, Snehlata, Top ka gola, Challenge, His Highness, Khwab ki duniya, Mr.X, State Express, Hero no.1, Sardar and Mala. By now his salary was 3700 per month. He was more at ease in Costume and stunt films than social flicks.

Khwaab ki Duniya-37 was based on the story of Invisible Man and this was the first film as a Director for Vijay Bhatt. Babubhai Mistry from Surat used Trick photography in this film, by using Black Thread on black background.

Jayant was married to 13 year old Kamarbano Sultan. His first son,Imtiaz khan was born on 15-10-42 and second son was born on 21-10-43. He was Amjad Khan (Gabbar singh of Sholay). As a child, Amjad khan was very frail and weak till his second year. Later in his youth, of course he expanded out of proportion. Jayant’s elder brother Jahangir Khan died suddenly in an accident. Jayant was very much attached to him. To forget the sorrow, Jayant started smoking and drinking. After he was out of Prakash Pictures, he was taken by Minerva for Sikander’s role. When Sohrab Modi saw him smoking and drinking on sets, he was summarily thrown out and the role went to Prithwiraj Kapoor, for whom it was a Milestone in his career.

Jayant worked in Aladdin, Laila, Bulbul e Baghdad, Mere saajan, Zewar and Dawat. He even went to Lahore to act in “Poonji” and “Shirin Farhad”. When Shirin Farhad became a resounding flop, Jayant stopped getting roles, but he never went to anyone to ask for roles. P N Arora went to Jayant’s house to sign him for Doli. After Partition, his finances became critical and he had to sell even family jewellery for his drinks. He acted in character roles in Amar ,Insaniyat, Madhumati, Maya, Memdidi, Son of India, Kabli Khan, Hakikat, Leader, Himalay ki God mein, Sangharsh, Do Raaste, Heer Ranjha, Mera Gaon Mera Desh etc. He worked in 105 films. Can you imagine Jayant singing ? Yes, he had sung a song in film State Express-1938, along with Sardar Akhtar.

Jayant was a family man. Till the end he had only one wife and he followed the rule to partake the dinner at home with all family members daily. He contracted Cancer, lost his voice in 1970. His last film was ‘Love and God’,which was released 11 years after his death.

Jayant died on 2-6-1975. ( Thanks to shri Harish Raghuvanshi ji, for Jayant’s profile in his Gujarati book ,Inhe na Bhulana ).

In the last few posts we have seen the brief history of 2 famous studios of yore – Imperial and New Theatres, Calcutta. today we will read the brief history of Prakash Pictures, Bombay.

The success story of the famous Prakash Pictures (1934 to 1971) is also a success and hard work story of two brothers-Vijay and Shankar Bhatt.

The sons of a railway guard, Vijay Bhatt, along with his elder brother and his lifelong partner, Shankar bhai Bhatt, shared a fascination for theatre and films.

The mid twenties brought them to Bombay, where Vijay Bhatt enrolled in St.Xavier’s college and studied upto Inter-Science. While Shankarbhai took up a job in a store selling readymade garments. In order to secure a steady, lucrative job, he obtained a Diploma in Electrical Lighting and Traction from the International Correspondence School, London. Quitting college, he joined the BEST and worked for 3 years rising to be an officer with the designation of Drawing Office Superintendent.

He quit his job after two months and both the brothers decided to take on the world of showbiz.

A flair for writing led him to get involved in a humble way as a storywriter.

It was Ardeshir Irani, the ‘Father of Indian Talkies’ and the maker of ‘Alam Ara’, who would show them the way. At that time, he was the managing director of The Royal Studios. He glanced through the stories, selected one of them and asked the brothers to meet the proprietor of the studio, Seth Aboo Hussein. ‘Show him the story and then come back to me. If it is all right for him, it is all right for me’ they were told.

The story was approved and Ardeshir Irani took it upon himself to teach Vijay Bhatt how to write Screenplay. Every evening after the day’s work and dinner, the Bhatt brothers would make their way to Majestic Cinema, built by Ardeshir Irani in 1918 in partnership with the exhibitor, Abdulaly Yusoofaly. Irani would be here every evening with his friends. And it was here that Vijay Bhatt scripted his very first screenplay, ‘Vidhika Vidhan’, which was made into a film by director K.P.Bhave.

Ardeshir Irani made two more films based on the stories of Bhatt brothers. They were ‘ Paani mein Aag’ and ‘ Ghulam’-1929, both of which were directed by Nagendra Muzumdar. Their third film featured a newly recruited actor from Peshavar, Prithviraj kapoor.

By now, Ardeshir Irani had founded his own Imperial Studios and drawn to it a host of artists and technicians. The Bhatt brothers too had gathered enough experience and ventured to make films on their own.They soon founded the Royal Film Co., in partnership with a cousin and the first film to be produced under this banner was Black Ghost. It starred Master Vithal and Madhuri and was photographed by V. M.Vyas. With Vijay Bhatt at the helm of the creative affairs and Shankarbhai in charge of the business aspect, they made seven silent films under the banner of The Royal Film Company in an open air studio in Juhu. Among them was ‘Heer Ranjha’, where Vijay Bhatt gave A.R. Kardar, a poster maker for foreign film distributors, his first acting assignment.

Then came the year of Talkies and the Bhatts too switched over to this new medium with ‘Alif Laila’-1933, which was based on an Arabian Nights story and made under the banner ofRoyal Cinetone. This was followed by 3 other talkies made under the banner of Kardar Studios. He then founded a film distribution concern, Royal Pictures Corporation, which acquired the distribution rights of ‘Sohni Mahiwal’ for North India for Rs. 11,000 – a sensational amount at that time. For, as he often used to say, “In those days, it cost just about Rs. 8000 to make a film 8 -9 thousand feet in length!”

By now Vijay Bhatt had evolved into a director to be reckoned with. It was time to set up his own production company. And Prakash Pictures was born. Prakash Studios was built in 1934 at Andheri. That time Andheri was an undeveloped suburb of Bombay and not many facilities like roads, Lights etc were available easily there. The place where the studio was to come up was a very big open area. Except for huge open grounds, there was one double storey bungalow. All offices were kept in that. The first film to be made there was the film ‘Actress’-1934 ( Bambai ki Mohini), written and produced by Vijay Bhatt.

After a few more stunt films, a shooting floor was constructed and they made ” Khwaab ki duniya” in 1937. In 1938 they made State Express, Passing show, Challenge and Top ka Gola etc. By that time their reserves for stars included Sardar Akhtar, Pramila, Ratnamala, Ranjana, Jayant, Umakant, Prem Adeeb etc. Harsukh Bhatt and Raja Nawathe were assistant directors. By making stunt films they made good money and completed the second shooting floor also with that money. The famed torch of Prakash Pictures continued to shine over decades and in all, 64 films were made in various Genres, in black and white as well as colour. Vijay Bhatt directed 23 films. He also wrote lyrics for the film Snehlata-1936.

Because of hectic activities in the studio and the traffic to the studio,that part of Andheri became developed with street lights, cement roads, Bus stops etc. Their next film Purnima-38 made excellent business. Bhatt brothers were impressed with Gandhi’s favourite bhajan ” Vaishnav jan to “. They made a film ‘ Narsi Bhagat’ in 1942 with Vishnupant Pagnis and Durga Khote. It ran so well that Prakash made ‘ Bharat Milap’ in Hindi and ( भरत भेट ) in Marathi. The tremendous success made them make ‘Ram Rajya’ ( again in Hindi and marathi) and Prakash became famous all over India, making name, fame and a lot of money.

From 1945 to 1948, Prakash faced a spate of flop films. Bhatta brothers kept silent for 4 years, renting its studio to other producers. Prakash was planning a Love story. Their friend Naushad suggested them Baiju Bawra. They made the film with less famous Bharat Bhushan and Meena Kumari. The film created Box office records.

Goonj uthi Shehnai-59, Hariyali aur Rasta-62 and Himalay ki God mein-65 did well but again few flop films…. Bhatt brothers decided to stop making films from 1971 and sold the studio and all the land.

Vijay Bhatt died on 17-10-1993 at Bombay. Vijay Bhatt played an important role in the careers of some major stars. He was the person who gave Mehzabeen (Meena kumari),the name Baby Meena. He also gave her the first major heroine’s role in Baiju Bawra-52.Till then she did roles in B and C grade films.
O K Dhar Kashmiri was given the name ” JEEWAN “,when he did Narad’s role in Bharat Milap. Later he did Narad’s role in over 100 films.
Suraiyya got her big singing role in Station master-42.
Manoj Kumar was made hero in Himalaya ki God mein-65

Today on that land many factories are erected. Few Housing societies and a Marriage Hall ” Vishal” came up too. Thus ended a glorious chapter of a film making studio called “Prakash Pictures”- a guarantee for wholesome entertainment ! (information for this article is used from vijaybhatt.com, and a book ” तीन भिंतींची दुनिया ” by Bhai Bhagat, with thanks and my notes.)

Today’s song is sung by Amirbai Karnataki (alongwith an unknown male voice, since identified as Sheetal Ghosh). With this song, film Sardar-1940 makes its Debut on this Blog.


Song- Bhagwaan bhajan pyaara (Sardaar)(1940) Singer- Amirbai Karnataki, Lyricist- Balam, MD- Shankar Rao Vyas
Amirbai Karnataki + Sheetal Ghosh

Lyrics

Bhagwaan bhajan pyaara
Bhagwaan bhajan pyaara
Bhagwaan bhajan pyaara aa aa
Bhagwaan bhajan pyaara
Bhagwaan bhajan pyaara

bhakt ki naiyya ka sahaara
bhakt ki naiyya ka sahaara
andhon ka ujiyaara aa aa
Bhagwaan bhajan pyaara
Bhagwaan bhajan pyaara

Bhagwaan bhajan pyara aa aa
Bhagwaan bhajan pyaara
Bhagwaan bhajan pyaara

Bhagwaan bhajan pyaara aa aa
Bhagwaan bhajan pyaara aa aa
Bhagwaan bhajan pyaara
Bhagwaan bhajan pyaara

Pandav aur Prahlad ubaare
bhakt aajaa milte hain saare
Pandav aur Prahlad ubaare
bhakt aajaa milte hain saare
?? nahin hamaara aa
Bhagwaan bhajan pyaara
Bhagwaan bhajan pyaara

Bhagwaan bhajan pyaara aa aa
Bhagwaan bhajan pyaara
Bhagwaan bhajan pyaara

sakal vishw mein goonje hardam
Meera ka iktaara
sakal vishw mein goonje hardam
Meera ka iktaara
Bhaj Raam
Ghanshyam
gaaye baarambaar
Bhagwaan bhajan pyaara
Bhagwaan bhajan pyaara

Bhagwaan bhajan pyaara aa aa
Bhagwaan bhajan pyaara
Bhagwaan bhajan pyaara


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 :

4792 Post No. : 16551 Movie Count :

4506

The name of Chimanlal Trivedi, the producer-director may not ring bell in the minds of most of the admirers of old Hindi films. In Mumbai, he was the contemporary of well-known producer-directors like Chandulal Shah, A R Kardar, Mehboob Khan, V Shantaram etc in the 1940s.

After working as a writer in Sagar Movietone, in 1937, he set up a film production company, CIRCO (Cine Industries and Recording Company Ltd.) with the help of some Bombay-based shareholders as a public limited company in association with New Theatres. He became the Managing Director of CIRCO. The arrangement was that films would be produced by New Theatres’ in Kolkata with their artists and the financing/marketing of the films would be done by CIRCO in Mumbai. Both of them would share the profit. In 1939, CIRCO took upon itself the production of films in Mumbai with ‘Laxmi’ (1940).

Sometime in 1940, Chimanlal Trivedi was under cloud as there was a court case against him for mismanagement of funds of CIRCO. He had resiged as Managing Director of CIRCO in April 1941. I felt that perhaps this court case may have something to do with Chimanlal Trivedi leaving CIRCO to set up a new film production company, Laxmi Productions. After intense searches on the internet, I got a reference to CIRCO court case in indiankanoon. It was an 8-page judgement delivered on November 24, 1941 by Bombay High Court. The gist of the court case is as under:

A shareholder of CIRCO filed a petition in Bombay High Court against Chimanlal Trivedi, the managing director for the mismanagement of funds and to wind up CIRCO as insolvent based on its financial statements for the year ended March 1940. The court did not find any evidence against Chimanlal Trivedi of mismanagement of fund of CIRCO. As regards declaring the CIRCO insolvent, the Company put the arguments that there were 3 films under productions – ‘Apna Ghar’ (1942, directed by Debki Bose), ‘Nai Duniya’ (1942, directed by A R Kardar) and ’Mahatma Vidur’ (1943, directed by P Y Altekar). As per the estimates, CIRCO was expected to earn a profit of Rs. 11 lakhs after the release of these three films taking into account the star value of the main actors and the eminent directors. The petitioner argued that these three films can as well run into losses.

The court held the view that it cannot declare a company insolvent merely based on the speculation that there could be losses after the release of the films. None of the creditors of the CIRCO and a majority of the shareholders have supported the petition for winding up. The court dismissed the petition with cost.

One of the interesting example of the mismanagement of funds of CIRCO was that Shanta Apte was paid Rs,90000/- for working as heroine in a single film which, according to the petitioner, was unreasonably high. The film was not even completed when the matter was under discussion in the court. CIRCO responded by revealing that the amount was paid to Shanta Apte as ‘waiting salary’ for the unexpired period of her contract with Prabhat Film Company. If the CIRCO had not done so, several film producers would have grabbed the opportunity to secure her services for their future film productions.

Another bone of contention between the petitioner and the company was the way the profit was measured in the film industry. CIRCO had drawn the profit and loss account with realizable revenue from film distributors and expected revenue from the films under production for which distribution rights had been contracted. The petitioner found this practice not in keeping with the good accounting principles as this accounting system hides the true financial position of the company.

On the other hand, CIRCO maintained that it followed the convention among the film production companies in drawing its profit and loss account. More often, there were long gap between making of a film and releasing it. During the making of the films, a good amount of money was spent while the income from films would accrue only after their releases and that too, over a period of time. During the intervening period, the company will have to show losses in its profit and loss account. Hence an estimate of revenue of the company was made for the films under production based on the commitment by the film distributors and also the likely response from the film audience based on the star value.

If all the film production companies of that time drew their profit and loss account based on the estimated future profit, it amounts to masking their true financial position. Probably, this type of ‘accounting jugglery’ made some of the producers to float multiple film production companies after closing the earlier ones. Chimanlal Trivedi was no exception as after 1951, he had floated film production companies in different names.

Though the court verdict came in favour of Chimanlal Trivedi and the Company, this was short-lived as CIRCO went into liquidation in 1942. So, the apprehension of a shareholder who had filed the petition in the court about the mismanagement of funds turned out to be correct even though the Bombay High Court had dismissed his petition. It is interesting to note that Chimanlal Trivedil had hired A R Kardar to direct ‘Swami’ (1941) and ‘Nai Duniya’ (1942) under CIRCO banner. After the liquidation of CIRCO, it was A R Kardar who bought CIRCO’s studio at Parel for Kardar Productions.

Chimanlal Trivedi seems to have departed from the usual practice of hiring the actors and crew as per the studio system. It is said that he would first plan the film project and then hire the actors and crew as per the requirements of the new film. Often, he would select the most popular lead actors and directors as per their box office success and pay them in lumpsum for the film which would often work out much higher than what actors would have got under the studio system. It was reported in Filmindia magazine that Chimanlal Trivedi’s ‘highjacking’ of star actors and directors from some of the well known film production companies of that time affected their shooting schedules for the films under productions.

For ‘Tamanna’ (1942), the maiden film under Laxmi Productions, Chimanlal Trivedi hired Leela Desai, one of the successful actresses of New Theatres along with Jairaj with 7 crew members from Bengal which included Phani Majumdar as director, K C Dey as actor-music director, Bibhuti Laha as Cinematographer and Robin Chatterjee as Sound Recordist. It was Leela Desai’s maiden film in Mumbai. It is said that his financial offer to Leela Desai was so attractive vis-à-vis her salary in New Theatre that she accepted the offer.

Chimanlal Trivedi produced around 45 films during 1940-1960. Surprisingly, even with high-end star actors and eminent directors, especially in 1940s when he produced 28 films, there was not a single film which can be tagged as an outstadning film under his banners. In the 1950s, most of his films he produced were of ‘B’ Grade.

‘Sharaafat’ (1943) was third film with Leela Desai-Chimanlal Trivedi combination as actor and producer, respectively under the banner of Laxmi Productions. The star cast included Leela Desai, Pahadi Sanyal, Jagdish Sethi, Agha, Moti, Ghulam Rasool, S L Puri etc. The film had 9 songs which were set to music by Ashok Ghosh. Lyricist for all the songs is unknown.

I am presenting the first song, ‘aayi aayi re maalan singapur se’ from the film to appear on the Blog. HFGK is silent on the singers of the song. But it is apparent that the voices in the song are that of Amirbai Karnataki and Pahadi Sanyal with an unknown female voice in between. At the outset, the song appears to be ‘sales pitch’ but after the completion of the song, a long musical orchestration gives an impression of a stage song.

With this song, ‘Sharaafat’ (1943) makes its debut on the Blog.

Audio Clip:

Song-Aayi aayi re maalan Singapur se (Sharaafat)(1943) Singers-Amirbai Karnataki, Pahadi Sanyal, Unknown female voice, MD-Ashok Ghosh
Amirbai Karnataki + Pahadi Sanyal

Lyrics

aayi aayi re
haan aayi aayi re
aayi re maalan Singapur se
haan Singapur se
haan haan Singapur se
oh
aaya aaya re
haan haan aaya aaya re
aaya re maali
haan Rangoon se
haan haan Rangoon se
haan haan Rangoon se

rang birange phool hamaare
rang birange phool hamaare
rang birange gehane
bhaagonwaala le jaayega
bhaagonwaali pehne

gori pehanegi
haan gori pehanegi
dil ke hain naina jaa ke teer se
haan haan jaa ke teer se
haan haan jaa ke teer se

aayi re maalan Singapur se

phoolon se mehka do
more tan ko aaj saja do
phoolon se meha do
more tan ko aaj saja do
bas jaaun aa ke nainon mein
aisa jaal bichhaa do

aao aao ree
haan haan
aao aao ree
raah takoon mein teri der se
haan teri der se
haan haan teri der se

aayi re maalan Singapur se

raat ki raani kaa gajra
champe ki kaliyon kaa jhoomar
kyun deke phoolon ki maala
nargis ke gunchhon ki jhaanjhar
nikhra waah waah roop tihaara
joban dhoom machaaye
nikhra waah waah roop tihaara
joban dhoom macchaaye
nayi jawaani chhaayi raani
jo dekhe lalchaaye

aao aao ri
haan haan aao aao ri
raah takoon mein teri der se
haan teri der se
haan haan teri der se

aayi re maalan Singapur se


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 :

4788 Post No. : 16544 Movie Count :

4504

Today’s song is from the film Pratigya-1943.

In HFGK the name of the film in Hindi is correct-” प्रतिज्ञा ”, but in English it is written as ” Pratigya “. I do not understand why it could not be written correctly as ” प्रतिज्ञा “. Even film Sant Gyaneshwar-1940 had the same problem. In Hindi it is written correctly, but in English it is Gyaneshwar. Some English language scholars must solve this puzzle. My guess is, because in colloquial Hindi language ज्ञ is pronounced as ग्य . Like ग्यान for ज्ञान . HFGK must have opted for this spelling. It is funny – in Hindi it is written correctly, but in English, this way. If it was the other way round, I could have understood, since colloquial Hindi is Gya. I can’t somehow digest this awatar of English words !

Film Pratigya-43 was made by Chitra productions and was directed by Nandlal Jaswantlal. He was one of the few foreign trained directors of Hindi films. Unfortunately, he died quite young and suddenly. The music director for this film was Ninu Majumdar ( it is not mentioned in HFGK, but Harish Raghuwanshi ji has confirmed it). Incidentally, his father was also working in this film. The cast of the film was Motilal, Swarnalata, Baby Meena (Meena kumari), Veena Kumari, Nagendra (Ninu Majumdar’s father), Hari Shivdasani (father of Babita), Bhudo Advani, Majid etc.

Motilal was one of my favourite actors because his acting was so natural and casual. In the film industry, there were few other actors too like – Ashok kumar, Balraj Sahni, Sanjeev Kumar etc. of course the senior most and the first such actor was Motilal. While his first film Shehar ka Jaadu came in 1934, Ashok Kumar’s first film Jeevan Naiya came in 1936. Initially Ashok Kumar’s acting was not natural, it was very awkward. He did not know what to do with his hands. Because of this dilemma, his acting became theatrical. However in his 13 th film-Naya Sansar-41 in which his role was of a Journalist, he had to smoke in the role. This actually solved his hand’s problem completely and from this film onwards his acting became mature and very natural. But the ‘cigarette in hand’ became his trademark in almost every film.

Motilal started his career in Sagar Movietone.In his first film his Heroine was a senior actress Sabita Devi. Their pair became so popular that they acted in 10 films together. Sabita Devi and Motilal’s first movie as a pair in the famous Sagar Movietone, was Lure of the City (aka Shaher ka Jadoo) which released on 29 th September 1934 at the Imperial Cinema Bombay. This movie was directed by Kaliprasad Ghosh and music was composed by K.C.Dey (the blind singer). Cast : Sabita Devi, Motilal, M.Kumar, K.C.Dey and Kamalabai.

This was the sound debut of Kaliprasad Ghosh at Sagar after a few successful movies directed in the silent era. Mehboob Khan was earlier selected for the lead role and was later replaced by Motilal. This was actor Motilal’s debut film and Motilal – Sabita made the best couple of the Sagar Film Company since then in many other movies under the banner of the Sagar such as, Silver King (1935), Dr Madhurika (1935), Lagna Bandhan (1936), Jeevan Lata (1939), Kulvadhu (1937), Kokila (1937), three hundred days and after (1938) and later in Sudhama Films in Ap Ki Marzi (1939) and Minerva’s Prarthana (1944).

Motilal earned millions and spent millions. He loved a good life. He was fond of good food, good clothing, good wine and a Royal lifestyle. He played on Race course and had few Race Horses too. He was the first actor to have his own small aeroplane. He had a Pilot’s licence. However, in his last days, he lost everything and became a pauper.

” A broken and a defeated man, he did not live to see the release of the one film he produced. ‘Chhoti Chhoti Baaten’ (1965)– a very close autobiographical presentation of his own life, turned out to be a production disaster for him. The loss of finances and assets may not have meant much to him, but it was the turning away of the ones he considered to be lifelong friends that probably broke him completely.

Near the end of his days, he was suffering with health problems, and was in the hospital. His pet project ‘Chhoti Chhoti Baaten’, was nearing completion, but the remaining work was moving very slowly due to financial and other difficulties. Anil Biswas, whom he had given the music composition responsibility, was those days in Delhi, working for All India Radio. He came to visit Motilal. In the hospital, Motilal implored Anil Biswas to complete the music for the film, so that it could be made ready for release. Anil Biswas responded, almost heartlessly, asking to be paid for the work that was already done and for the remaining work for background music. Motilal was stunned. And then he passed away a few days later. The work on the film was eventually completed through the efforts of Mukesh, his cousin, who convinced Anil Biswas to complete the work on the film. The film got critical acclaim and also won a special certificate of merit from the President of India, as part of that year’s national awards. Alas, but he himself was not around to see it.” ( an extract from Sudhir ji’s post, with thanks.)

In the cast of this film there is a name Veena Kumari. Today’s song is also sung by Veena Kumari and Amirbai Karnataki. We all know that there was another famous actress Veena in the same period. Here is a fresh case of ” SAME NAME CONFUSIONS “. In my first book, released in 2018, I had clarified about 56 artistes coming under the SNC category. In the last one and half years I have discussed 14 such new artistes and including today’s case, there will be 16 artistes. The total comes to 72 and surprisingly there are 36 Males and 36 female artistes in this group, so far. However, I feel, as the time passes by, there are still few more cases yet to come to light and that, finally in this, the females will outnumber the males in numbers.

One of the reasons for this could be that in the early era, actresses came from Muslim Tawayef families or even poor families. In such families, the girls’ names were pretty common – like Nurjahan, Zubeida, Khurshid, Naseem or Shameem etc. Those who came first in films kept their original names, others had to change their names. But even then, the limited stock of names created problems. For example, Khursheed Akhtar changed her name to Shyama, but there were already 2 Shyamas working in films. One more example was today’s case. Originally Nurjahan, changed name to Veena Kumari, but there was another Veena working in films.

The trouble with same names is when you want to write about them, their Filmography is mixed up. Secondly, most sites, blogs and Fb pages invariably mix up even their Bio data, in addition to Filmography. My B.P. goes up when I see this . Whenever possible, I try to give explanations to make corrections, but every time it is not possible. Further they quote from sites like Wiki and IMDB, who are the major culprits in creating, sustaining and nurturing the same name confusions.

Anyway, let us now see who this Veena Kumari was. Her original name was Nurjahan. Her father was a landlord in Lucknow. She was born in 1916. As per customs of those times, she never went to school, but being well to do, got private tutors and she learnt Urdu and English sufficiently to read and speak. She was a typical good looking girl. She was very fond of seeing silent films with her father. When the Talkie films started, her interest grew much more and she decided to join films. She was a natural good singer too and this helped her get into films.

Her first film was Inteqam-33, where she worked without any fees. Here she was credited with her real name Nurjahan. In the 1939 film Swastik, made by Mohan Pictures, she became the Veena kumari-heroine of Jeevan. She continued working in films like Radhika,Asra and Kasauti- all 1941, Gharib and Zevar in 42, pratigya, masterjee and Chiragh in 43, Mujrim-44, Gunjan and Shauhar in 48. Shauhar was made by her own banner-Dil-Sitan arts. The film was directed by her. Her last film was Basera-50. She sang 22 songs in 7 films. She was quite good at singing. When you hear her today’s song, you will agree with me.

Now let us see what proves they were 2 different persons. Firstly, Veena Kumari started her career much earlier than Veena. Secondly, Veena started acting in Punjabi films in 1941 only and then came to Bombay for film Yaad-42, Najma-43,Rajputani-44, Humayun-45 etc. Thirdly, Veena kumari was a B grade actress and her films were made by smaller banners, whereas, from the beginning, Veena was in the Big league of Mazhar khan, Ranjit, Mehboob, Kardar, K.Asif, Minerva etc. Fourthly, Veena kumari stopped working in 1950, while Veena continued till 1983. The most important point was, Veena could not sing, whereas Veena kumari sang 22 songs in 7 films. All this clearly separates them as different actresses.

Veena acted in about 100 films in her 40 years’ career. Her Biodata is available freely on the Internet as well as on this Blog. So much for the Same Name Confusion in this case.

Now let us listen to today’s song. With this song, film Pratigya-1943 makes its Debut on this Blog.


Song- Hum kidhar chale ri sakhi hum kidhar chale (Pratigya)(1943) Singers-Veena Kumari, Amirbai Karnataki, Lyricist- Unknown, MD- Ninu Majumdar
Both

Lyrics

Hum kidhar chale ri sakhi
Hum kidhar chale
le chali taqdeer jidhar
hum udhar chale

Hum kidhar chale ri sakhi
Hum kidhar chale
le chali taqdeer jidhar
hum udhar chale

pal mein yahaan pal mein wahaan
hum chale na jaane kahaan
pal mein yahaan pal mein wahaan
hum chale na jaane kahaan
is dagar kabhi to kabhi us dagar chale
is dagar kabhi to kabhi us dagar chale
le chali taqdeer jidhar
hum udhar chale
le chali taqdeer jidhar
hum udhar chale

barsaat ka din hai
saawan ka maheena
barsaat ka din hai
saawan ka maheena
ban ban mein bajaati hai koyal ?? veena
barsaat ka din hai
saawan ka maheena

pyaar ke mausam mein sakhi hum kidhar chale
is pyaar ke mausam mein sakhi hum kidhar chale
le chali taqdeer jidhar
hum udhar chale
le chali taqdeer jidhar
hum udhar chale

aa main tujhe le chaloon saajan ki nagariya
aa main tujhe le chaloon saajan ki nagariya
beech ke panghat pe sakhi bhar le gagariya
teri bhar le gagariya
beech ke panghat pe sakhi bhar le gagariya
teri bhar le gagariya
tujh to milegaa tera saajan ?? tale
tujh to milegaa tera saajan ?? tale

hum jidhar chale
hum jidhar chale
le chali taqdeer jidhar
hum udhar chale
le chali taqdeer jidhar
hum udhar chale
hum kidhar chale ri sakhi
hum kidhar chale
le chali taqdeer jidhar
hum udhar chale


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 :

4749 Post No. : 16482 Movie Count :

4477

HAPPY BIRTHDAY TO ASAD BLOG !

HEARTIEST CONGRATULATIONS TO ATUL JI FOR COMPLETING 13 YEARS OF HIS BLOG !!

CONGRATULATIONS TO ALL TEAM MEMBERS ON THIS OCCASION !!!

Today the Blog completes 13 years. Now that it is in its Teens, a lot of activity is expected. We are all with Atul ji in maintaining the lead position of this Blog in the Cyber world of HFM lovers.

I first came to know about this Blog somewhere in 2011. I do not remember the date or month. I had newly learnt how to operate the computer and I had the enthusiasm of a Novice to surf and find various sites and Blogs. I had completely retired from my work and was thinking of reverting to and rediscovering my old hobby of old films and music thereof. I had unpacked my old diaries and notebooks, wherein I had made notes about every film that I had seen from my childhood. I was thrilled when I saw this Blog while surfing.

I kept on visiting it often to read all the posts and enjoy familiar old songs. I found that the Blog is dedicated to film songs from the beginning to modern times. I was also impressed with the comments by its readers from almost every corner of the world. In those days, a lot of readers used to express their views by commenting. This gave additional information, a focus on improvement and understanding the choices of the visitors.

I also started making comments, armed with the information from my diaries and notebooks. These information pieces were authentic and unique because these were not to be found anywhere on the internet. I specialised in providing stories of films made in the period from the 30’s to the 60’s. On a rough estimate I posted around 600 film stories and almost the same number of information comments on films, music, starts etc etc. The other members of the Blog now started recognising me. On the prodding and encouragement of Atul ji, my first post came up on the Blog on 1-10-2012 and after that there was no looking back.

What is the speciality of this Blog ? I would unhesitatingly say – CREDIBILITY. This Blog is famous all over the Cyber world of old HFM lovers, as a place where correct Lyrics and information that is trustworthy and reliable, is available. I am very active on Social media and I feel very happy when excerpts from this Blog are produced as a proof of something in a dispute. I see people quoting from the Blog. This proves that the Blog has earned the honour of being a Reference Point for many people. This is the result of Atul ji’s strong conviction that information here must be beyond doubts, reliable and trustworthy.

Today, the Blog can boast of (till 17th July 2021)

No. of Song Posts 16474
No. of films represented 4470
No. of films with all songs covered 1271
No. of visitors till date 1,45,91,249

If you break up the number of visitors so far, everyday about 3118 people visited the Blog, i.e. 130 persons every hour. With this kind of statistics, no doubt, this Blog must be the No. 1 Blog, catering to the HFM lovers all over the world. (WordPress claims that it is read in 198 countries worldwide).

I feel honoured and proud to be a member of this team. Once again, I congratulate Atul ji and wish the Blog many more Anniversaries in future.

Today’s song is from an obscure film “Manager”-1947. The film was made by Tiwari productions and was directed by I.P.Tiwari. Obviously he seems to be the owner of the banner. His name is found only for this one film. Possibly he was one of those “novo rich” financers who cropped up due to the war period activities, who tried their hand at making and directing films. This social film had 7 songs written by lyricist Kumar Sharma and music was by a Debutant Music Director Ramkrishna Shinde.

Have you ever heard the name of a composer called HEMANT KEDAR ? No, it is not a pair like S-J,K-A or L-P. It is a misleading one name( like another such single name Shyamji Ghanshyamji, for example). OK, did you ever know about R.K.Shinde or Ram Shinde ? I am sure most of the readers may not have heard these names. These are the names of Ramkrishna Shinde. This reminds me of composer Snehal Bhatkar who used 5 different names as composer.

Ramkrishna Shinde was a multi talented composer, who could not shine, though he had talents. Further he started his career at a time when India’s big composers like C.Ramchandra,Naushad, Husnlal-Bhagatram, Shankar-Jaikishan etc were in their best performing period and had hogged almost all the major production houses as their Patrons. In this flood of Musical Tsunami, smaller composers remained smaller due to non availability of exposure and good banners, waning into oblivion ! Those who had talents plus good luck survived, but composers with talents without Luck were soon forgotten.

Ramkrishna Shinde was born on 19-4-1918 in Malvan area of Maharashtra Coastal Belt. He was the eldest amongst 2 brothers and 2 sisters When he was 9 yr. old, his father died and the family was shifted to Bombay, by aunt and uncle. His interest in music was unusual. He took training in vocals from Pt.Sitaram and learnt Sitar from Pt. Madhav rao. For survival, he took up a job in Dawn Mills. In 1944, he got married. Same time, he met Dancer Parvati Kumar and Tabla player Ramakant. He soon left the job and started giving music to Marathi stage plays. He was a very popular composer.

His first Hindi film as a composer was Manager-47, followed by Kiski Jeet-48 and then Bihari-48, with Naresh Bhattacharya. Not getting films anymore,he turned to giving music to Dance Ballets. He became so famous that 27 of his ballets went abroad with his music. He was called by Amiya Chakrawarty for giving Dance Music in Usha kiran’s film Gauna-50.

He returned to Hindi films again. This time as Hemant Kedar. Reason for this name- his favourite Ragas were Hemant and Kedar. He gave music to
Khaufnak Jungle-55, Police Station-59 and Captain India-60.

Hemant Kedar ( Like Daan singh and Jaidev) must be one whose unreleased films numbered many or more than his released films. Some of his Unreleased films were
1. Hamari kahani
2. Avinash
3. Sati mahananda
4. Jannat ki Hoor
5. Peeli kothi
6. Paataal Devta ( This was the film in which actress Mumtaz had Debuted, but not released)

Hemant Kedar gave music to 2 Marathi films. Side by side, he did 5-6 programmes on All India Radio. After the advent of Television, he started giving music to TV Ballets and was in great demand for it. He did about 15 Ballets on TV. He became ill and expired on 14-9-1985, leaving behind his wife and two daughters. Luckily, his wife had a good job. (Thanks to http://www.beetehuedin.blogspot.com and book ” मराठी चित्रपट संगीतकार कोष ” by Madhu Potdar, HFGK, muVyz and my notes for this information.)

I am not aware of the story of this film. However, on scanning the Film India issue, I found a remark about this film. According to that, it was a film about mill workers and their relations with its Manager. The cast of the film consisted of Purnima, Jai prakash, Sarla, Aziz, Tiwari, Ameenabai etc.etc. The Heroine Purnima made her Debut with this film. I do not know anything about actor Jai Prakash.

Today’s song is a duet by Amirbai Karnataki and A R Oza. It is a good song. With this song, film Manager-1947 makes its Debut on the Blog.


Song-Rut rangeeli aayi sajaniya rut rangeeli aayi (Manager)(1947) Singers-Amirbai Karnataki, A R Oza, Lyrics-Kumar Sharma, MD-Ramkrishna Shinde
Both

Lyrics

Rut rangeeli aayee sajaniya
Rut rangeeli aayee ee ee
Rut rangeeli aayee sajaniya
Rut rangeeli aayee ee ee

masti chaaron oar hai chhaayee
masti chaaron oar hai chhaayee
Rut rangeeli aayee ee ee
Rut rangeeli aayee sajaniya
Rut rangeeli aayee ee ee

dil ki kaliyaan dol rahi hain
dil ki kaliyaan dol rahi hain
aasha man mein bol(?) rahi hai
aasha man mein bol(?) rahi hai
?? angdaai
?? angdaai
Rut rangeeli aayee ee ee
Rut rangeeli aayee sajaniya
Rut rangeeli aayee ee ee

mera bichhda meet mila hai ae ae
mera bichhda meet mila hai ae ae
jeevan ka sangeet mila hai
jeevan ka sangeet mila hai
teri hi thhi aag lagaai
teri hi thhi aag lagaai

Rut rangeeli aayee ee ee
Rut rangeeli aayee sajaniya
Rut rangeeli aayee ee ee
Rut rangeeli aayee sajaniya
Rut rangeeli aayee ee ee

yaad dilaa do ??
jawaani ki koi
kahaani suna do
itni hai
itni hai bedard jawaani
laut ke phir nahin aayi
laut ke phir nahin aayi

Rut rangeeli aayee ee ee
Rut rangeeli aayee sajaniya
Rut rangeeli aayee ee ee
Rut rangeeli aayee sajaniya
Rut rangeeli aayee ee ee

tum hi ho meri kaaya maaya
tum hi ho meri kaaya maaya

tumhi ne hai sansaar basaaya
tumhi ne hai sansaar basaaya
?? tumhri kamaai
?? tumhri kamaai
Rut rangeeli aayee ee ee
Rut rangeeli aayee sajaniya
Rut rangeeli aayee ee ee
Rut rangeeli aayee sajaniya
Rut rangeeli aayee ee ee

ghar mein joru ?? na jaata
?? fakat hai Ishwar se naata
ghar mein joru ?? na jaata
?? fakat hai Ishwar se naata
nahin mili hai koi lugaai
nahin mili hai koi lugaai

Rut rangeeli aayee ee ee
Rut rangeeli aayee sajaniya
Rut rangeeli aayee ee ee

masti chaaron oar hai chhaayee
masti chaaron oar hai chhaayee
Rut rangeeli aayee ee ee
Rut rangeeli aayee sajaniya
Rut rangeeli aayee ee ee


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 :

4747 Post No. : 16474

Today’s song is from the film Mazdoor-1945, made by Filmistan. The film was directed by Nitin Bose (26-4-1897 to 14-4-1986).

After leaving New Theatres, Calcutta due to a dispute with B.N.Sircar, he decided to shift to Bombay. His dispute with Sircar was so bitter that Nitin Bose did not even see his last directed film ” Kashinath”-1943, till the end of his life. Before he came to Bombay, his name had already become famous here and many big studios were eager to employ him.

His first film in Bombay was Mujrim-44, made under the banner of Vishnu Cinetone, owned by V.M.Vyas. The film did average business. He was then invited to Filmistan, by S. Mukherjee, who was known to him, being a Bengali. The film was Mazdoor, based on the problems of labourers. This was his second film in Bombay. After this film Nitin Bose was called by Bombay Talkies, another studio which gave opportunities to capable Bengalees.

The cast of the film Mazdoor-45 was full of new actors. The Music Director was also a B grade one- Hari Prasanna Dass. The Lyricist was G.S.Nepali. The cast of the film consisted of Indumati, Veera, Nasir khan, K.N.Singh, Radhakishen and others.

Nasir Khan (1-10-1924 to 1-5-1974) was making his Debut in this film. He was known as the younger brother of Dilip Kumar- who himself Debuted with the film Jwar Bhata-1944, just an year back. Indumati became a Heroine for the first and last time. Later she did only character roles. Veera was a Parsi girl. She too was Debuting in this film as a second Heroine. That meant that all the leading actors were new and were making their Debut. In this case, Nasir Khan, unknowingly emulated his elder brother who too debuted with a Debutante heroine- Mrudula, in the film Jwaar Bhata-1944.

There were 6 songs in the film. I have heard all the songs and I find them good songs.

The Music Director HARI PRASANN DASS (1905-1989) was born in Chittagong in 1905. He became a well known Bengali Composer. His 26 Bengali films made his name known in the music circle in Calcutta in late 30s and 40s. He was assistant to Pankaj Malik in films Dushman and Kapal Kundala-1939.

Hemant Kumar Mukherjee was his assistant in Bengali film ‘Byabdhan’-1939. It was H P Dass who gave his FIRST Bengali film song to Hemant Kumar in the film ‘Nimai Sanyas’-1941. Till that time Hemant had only private songs to his credit.

In 1952, H P Dass gave music to NAGORIK , along with Ustad Bahadur Khan, a complete English film-an art film for international audiences-made by the legendary filmmaker Ritwik Ghatak. This was a film even before Satyajit Ray’s Pather Panchali, but due to some reason this film was released only on 20-9-1977, after the death of Ritwik Ghatak. It is said that despite ill health, H P Dass went to New Empire Theatre in Calcutta to see this film.

K.C.Dey was a good friend of HP Das and sang many Bengali songs and Bhajans for him. On his recommendation, H P Dass took Manna Dey as his assistant in Hindi films Veerangana-1947,Sati Toral-1947 and Hum bhi Insaan Hai-1948. It is believed that after hearing Manna Dey’s music and songs in this film, Raj Kapoor invited him to sing for his films later on.

His first Hindi film as a MD was New India Films’ Blood Feud (or Josh-E-Inteqam)- 1935. His other films were Mohabbat-43, Meena-44, Kadambari-44, Mazdoor-45, Begum-45, Insaaf-46, Veerangana-47, Sati Toral-47 and Hum bhi insaan hai-48.

He died on 26-9-1989.

Now let us know something about the leading ladies, since they are new names for most.

INDUMATI LELE (Born 18 December 1927 – Died 11 September 2013), forgotten Yesteryears Indian Theatre and Film Actress turned Folk Artiste.

Indumati and Kumudini Lele who were once famous as ‘Lele Sisters’ in Hindi and Marathi Theatre and Cinema fields, have been forgotten today. Indumati Lele, died at the age of 86, when she was still working as an examiner for the television program ‘Dum Damadam’.

Kumud and Indumati, were both known as ‘Lele Sisters” in the fifties. Both of them originally hailed from Ujjain in Madhya Pradesh. Their father Girdhar Lele was in Government job as Director of Agriculture, at Indore. From an early age, the two sisters loved acting and dancing. Both were involved in dance and dance related activities in their school. Prithviraj Kapoor saw the two at one of the school events and talked to their father and brought them straight to Mumbai. For the next two years, both sisters worked as artists in Prithviraj Kapoor’s ‘Prithvi Theatres” until the company closed. They played different roles in several of his Plays and had the fortune of touring India all along with Prithviraj Kapoor.

While Kumudini acted in Bimal Roy’s ‘Parivar’, ‘Bandini’ etc. and in few Marathi films like ‘Ram Ram Pauna’ etc., Indumati Lele acted in Prithviraj Kapoor’s’ Shakuntala’ and other plays. She also acted in some films while working in ‘Prithvi Theaters’, like Mazdoor-45, ‘Shehnai’ (1947), ‘Aag’ (1948), ‘Sunahare Din’ (1949), ‘Gauna’ (1950), ‘Chaudhwin ka Chand’ (1960), ‘Budtameez’ (1966), ‘Man Mandir’ (1971), to name a few. In Raj Kapoor’s ‘Aag’ (1948), she acted as his mother. She also appeared in two English films, ‘Householder’ with Leela Naidu and ‘Shakespearewallah” both with Shashi Kapoor.

Veera was from a Parsi family. Her full name was Veera Ankaleshwaria. Obviously, her family came from Ankaleshwar, a small industrial town(now), in Gujarat. She started her career in films as a Heroine opposite Nasir khan in the film Mazdoor-1945. Then came Shikari-46 and later Eight days-46, both had Ashok Kumar as the Hero. Both the films were from Filmistan. Her last film as Heroine was Tohfa, opposite Rehman and Leela opposite Agha , both films from 1947. Then she stopped getting Heroine roles and shifted to side roles. In all she did 22 films.

Her other films were, Veena, Ziddi, Chanda ki Chandani- all 48, Sanwaria-49, Hamara Ghar and hamari beti- 1950, Hamari shaan, Ramjanma and Sagar-1951, Aasmaan, izzat, Moti mahal, Sanskar and Shin shinaki boobla boo-all1952, Dana Pani-53, Boot polish and Sheeshe ki deewar both 1954.

She married Mohsin Abdulla, who had worked in Bombay Talkies as a writer. He was the younger brother of actress Renuka Devi ( Begum Mirza). After the marriage, both migrated to Pakistan in 1955. No news after that.

About Nasir Khan, I have written about him in my earlier posts, so I will not repeat it.

The Film India magazine issue of June 1946 gives a review of this film. Surprisingly, Baburao patel has some good words about this film, though mostly the review is critical of Direction and the story. The story of the film revolves around Hero and his 2 loves, with a background of Labourer’s problems. The film has taken inspiration from the Hollywood film ” How green is my valley”-1941. The story, in short, is….

Nasir khan is in love with a village girl-Indumati. He leaves for the city to get a job. He saves a mill owner’s(K.N.Singh) daughter-Veera from a car accident. He is taken to her house as he is wounded in this process. He recovers and is made Manager of the mill. Veera falls in his love. Meanwhile Indumati and her mother-Moti, suffer in the village. They too come to the city and Indumati gets a job in the same Mill. There are Labour problems in the Mill and 2 groups compete with each other. Finally there is confrontation between the Unions and the Mill owner. Nasir khan, at the end, exposes the Mill owner and joins the Union leader, thus uniting with Indumati.

The film was released on 18-5-1946 in the Roxy Theatre of Bombay. It seems the film did reasonable business. Today’s song is sung by Amirbai Karnataki. This is the second song from this movie to appear in the blog.


Song- Chhaaye hain kaale megh to bauchhaar bhi hogi (Mazdoor)(1945) Singer- Amirbai Karnataki, Lyricist-G S Nepali, MD- Hari Prasanna Das

Lyrics

Chhaaye hain kaale megh to bauchhaar bhi hogi
Chhaaye hain kaale megh to bauchhaar bhi hogi
kabhi to apne baagh mein bahaar bhi hogi
kabhi to apne baagh mein bahaar bhi hogi
Chhaaye hain kaale megh to bauchhaar bhi hogi

o rone waale ae ae
ae ae ae ae ae ae
o rone waale raat mein
tu bhool na jaana
tu bhool na jaana
aayega yahaan bhor mein
badlega zamaana
hansi khushi mein ye gali
gulzaar bhi hogi
kabhi to apne baagh mein bahaar bhi hogi

hamse bichhad ke saajna pardes gaye hain
hamse bichhad ke saajna pardes gaye hain
unse bichhad ke ae ae
aaj ham khaamosh huye hain
unse bichhad ke ae ae
aaj ham khaamosh huye hain
khaamoshi bhi aaj ye
gulzaar bhi hogi
kabhi to apne baagh mein bahaar bhi hogi

?? ae ae ae ae
?? dhaar mein
lahron se bahaaron
jo sabka maaji hai bada
tum usko pukaaro
jo sabka maaji hai bada
tum usko pukaaro
majhdhaar mein hai naao
majhdhaar mein hai naao
to paar bhi hogi
kabhi to apne baagh mein bahaar bhi hogi
Chhaaye hain kaale megh to bauchhaar bhi hogi
kabhi to
kabhi to
kabhi to apne baagh mein bahaar bhi hogi


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 :

4726 Post No. : 16441

Blog 10-Year Challenge (2011-2021) – Song No.28
——————————————————————-

After the successful release of Prabhat Film’s ‘Padosi’ (1941) on January 25. 1941, V Shantaram, the director, remained inactive for more than one year in Prabhat Films which was unusual for him. His next directorial venture was ‘Shakuntala’ (1943) under his own banner which was released sometime in the second half of 1943. Apparently, there was something unusual happening in Prabhat Films.

To know what was going on in Prabhat Films in general and with V Shantaram in particular, I browsed through the available issues of ‘Filmindia’ magazine of the yeas 1941 and 1942 wherever there were references to Prabhat Films and V Shantaram. What I gathered from the various columns of the magazine is summarized below which explanins as to why V Shantaram got sidelined in Prabhat Films:

(1) The grapevine was that all was not well among the 5 partners of Prabhat Film Company after the release of ‘Padosi’ (1941). It was speculated that some of the partners were not on the speaking terms and they rarely met to discuss the future plans. This discontentment was evident from the fact that in January 1941, there was an announcement that V Shantaram will direct Prabhat’s next film, ‘Omar Khayyam’ with Jayshree in the lead role. The screen-play and dialogue writing were completed and film was to go on shooting floor in April 1941. But no progress was made beyond screen-play and dialogue writing. Eventually, the film was shleved.

(2) Sometime in the middle of the year 1941, Prabhat Film Company had spared the services of V Shantaram to Government of India as the Chief Producer for its Film Advisory Board (later called as Film Division) at a remuneration of Rs.2500/- per month. He was the first Indian to head the Film Advisory Board of the Government of India. Although he was allowed to work for Prabhat Films whenever his services were required, Prabhat Films did not give him any assignment.

(3) Around the same time, V Shantaram married Jayshree Kamulkar who was the lead actress in Prabhat Film’s Marathi version of ‘Padosi’ (1941), titled as ‘Shejari’. Earlier, one of the partners of Prabhat Films, Keshavrao Dhaiber had married actress Nalini Tarkhud who was the heroine in Prabhat’s ‘Rajput Ramani’ (1936). For this, he was made to exit from the partnership of Prabhat Films. Since then, there was a rule in Prabhat Films that any partner marrying the actress in the payroll of the Company would have to leave the partnership. This rule would also apply to V Shantaram.

Since V Shantaram did not immediately exit from the partnership of Prabhat Films after the marriage, it is quite possible that sparing his services to the Film Advisory Board was a way out to keep V Shantaram out of Prabhat Films. This arrangement may have also suited V Shantaram as he got the time to plan for his future film ventures before he finally exited from his partnership in Prabhat Films.

V Shantaram exited from the partnership of Prabhat Films in May 1942. He continued with his new assignments with Film Advisory Board until September 1942 when he resigned his post as the Chief Producer. By this time, he had set up Silver Screen Exchange, his film distribution company for Western India and was in advance stage of setting up of his film production company. He had already announced ‘Shakuntala’ (1943) as the first film under his newly set up banner, Rajkamal Kala Mandir. He had almost finalised buying National Studio for Rs.7 lakhs and he had already made the announcement to this effect.

But unlike doing business in Kolhapur and Pune, Mumbai was highly competitive. When the news of his buying National Studio became known in the film industry, Keki Mody, the Chief of Western India Theatres put his bid for National Studio at much higher price and snatched away the deal from V Shantaram. It was a setback for V Shantaram as he had planned to start the shooting of ‘Shakuntala’ (1943) soon after the acquisition of the National Studio.

The necessity of buying a studio become a prestige issue for V Shantaram more than for the immediate requirement for the commencement of shooting for his first film. So, he immediately bought Wadia Movietone’s studio for Rs.2 lakhs – much lower price than his bid for National Studio. But it had a hidden cost – the cost of renovation and the resultant delay of about 3 months to commence the shooting of ‘Shakuntala’ (1943).

The shooting of ‘Shakuntala’ (1943) started in January 1943 and got completed in July 1943. Therafter the film was released. It ran for 104 weeks in a single theatre in Mumbai. Thus the two years of inactivity of V Shantaram in commercial cinema was rewarded with a grand success of ‘Shakuntala’ (1943).

10 years ago on this date (26 June 2011), one song from the film ‘Shakuntala’ (1943) was posted on the Blog. So far, 10 songs (out of 13) from the film have been posted on the Blog, details of which are as under

Sr. No. Song Posting Date
01 Jeewan ki naao na doley 09/06/2011
02 Kamal hai mere saamne 25/06/2011
03 Pyaari pyaari ye sukhad maatribhoomi apni 26/06/2011
04 Jhooloongi jhooloongi 30/06/2011
05 Tumhe prasann yoon dekh ke 04/05/2014
06 Chaand sa nanha aaya 06/05/2014
07 Na jaane kahaan ka ye jaadoo kiya hai 24/07/2017
08 Chali apne ghar ko Shakuntala 18/08/2018
09 Mere baba ne baat meri maan li 04/08/2019
10 Ek prem ki pyaasi bani banwaasi 25/06/2021

I am presenting the 11th song, ‘meri biraha ki rain thhi ek to badi’ from the film ‘Shakuntala’ (1943). The song is rendered by Amirbai Karnataki. There were two lyricists – Diwan Sharar and Ratan Piya for the film. However, for the song under discussion, individual accreditation is not available.

The song is picturised on a dancer whom I am not able to identify. The situation of the song is that as soon as King Dushyant gets to see the ring which he had presented to Shakuntala after his marriage with her, his memories of the time he spent with Shakuntala is restored. He becomes restless and is eager to see Shakuntala. This song is the reflections of what is going in the mind of King Dushyant.

Lyrics of the song were sent to me by Prakashchandra.

Audio Clip:

Video


Song-Mere birha ki rain thhi ik to badi (Shakuntala)(1943) Singer-Amirbai Karnataki, MD-Vasant Desai

Lyrics (provided by Prakashchandra)

mere birha ki rain thhi ik to badi
dooje badhti ee gayi
aur badhti gayi
mere birha ki rain thhi ik to badi
uthhi rang(?) ki siyaahi se kaali ghataa
kaali raat ke chadhti ee
chadhti ee gayi
mere birhaa ki rain thhi ik to badi

hai biyog ki lambi kahaani meri
kabhi ant main uska likh naa saki ee
kabhi likhti rahi
kabhi padhti gayi ee
phir likh likh
likh kar
padhti gayi
mere birha ki rain thhi ik to badi


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 :

4725 Post No. : 16438

———————————————————–
Blog 10-Year Challenge (2011-2021) – Song No.27
———————————————————–

The story of Shakuntala which is based on a classic Sanskrit play ‘Abjijanashakuntalam’ written by Kalidas has been one of the favourites of film makers. Two silent films with the title ‘Shakuntala’ were made in 1920 – one directed by Suchet Singh and the other by Shrinath Patankar. In 1929, Fatma Begum also directed a silent film with the same title. With the advent of sound film in 1931, two films were released with the same title in 1931 – one directed by Mohan Bhavnani and the other by J J Madan. Sarvottam Badami of Sagar Movietone directed ‘Shakuntala’ (1932) in Telugu. Jyotish Banerjee directed ‘Shakuntala’ (1941) in Bengali.

When V Shantaram set up his own Rajkamal Kala Mandir in 1942, he produced and directed ‘Shakuntala’ (1943) as his first film under his banner. He remade the film in 1961 with the title ‘Stree’. Bhupen Hazarika made the film in Assamese in 1961 and Kunchako directed the film in 1965 in Malayalam. The list is not exhaustive but the number of films made so far shows the popularity of the story of Shakuntala.

Since Prabaht Films did not make film on ‘Shakuntala, probably, V Shantaram thought of making Shakuntala as his first film after leaving Prabhat Films in May 1942, V Shantaram set up his own film production company, Rajkamal Kala Mandir. In October 1942, he acquired Wadia Movietone’s studio and renovated the same which took about 3 months. Simultaneously, he was also busy with the preparatory work for his maiden film, ‘Shakuntala’ (1943). When the studio was ready after renovation, he signed Chandramohan for the role of Dushyant opposite Jayshree in the role of Shakuntala. The shooting of Shakuntala started in January 1943 and it took about six months to complete the shooting. The film was released tereafter.

‘Shakuntala’ (1943) was a big box office hit which laid a strong foundation for Rajkamal Kala Mandir. In Mumbai, the film ran for 104 weeks in Swastik theatre. In 1947, the film was released in the USA with English sub-titles. The New York Times carried the review of the film in its issue dated December 26, 1947. Among other things, the review has said:

Shakuntala has charm entirely of its own. The story – call it a fairy tale or just plain Hollywood – is strictly boy-meet-girl, forest version with inevitable reunion. The lovely background, the unabashed naivete of acting of the entire cast, the crudely rich musical score and above all the expertly flavoursome English subtitles all blend together to make Shakuntala a sturdy screen promises from our Indian friends.

Almost all the songs of the film became very popular. I recall that my mother used to often sing at least 3 songs from the film, one of which I am presenting with this article. She was singing despite the fact that she did not speak and understand Hindi at that time (in the late 1940s) in my native place. Of course, I heard her singing in my childhood only when we shifted to Mumbai in early 1950s and realised after about six decades that the songs she was singing were from ‘Shakuntala’ (1943).

‘Shakuntala’(1943) was the beginning of a long association of V Shantaram with Vasant Desai as a music director which continued till ‘Mausi’ (1958). It is said that during the making of ‘Navrang’ (1959), their relations sour leading to the separation. But his respect to his mentor, V Shantaram was so great that he did not reveal the reasons of his separation even to his family members. Later, he was recalled by V Shantaram to provide background music for ‘Geet Gaya Patharon Ne’ (1964) and as a music director for ‘Ladki Sahyadri Ki’ (1966).

10 years back, one song from the film ‘Shakuntala’ (1943) was posted on the Blog. So far, 9 songs (out of 13) from the film have been posted on the Blog, details of which are as under:

Sr. No. Song Posting Date
01 Jeewan ki naao na doley 09/06/2011
02 Kamal hai mere saamne 25/06/2011
03 Pyaari pyaari ye sukhad maatribhoomi apni 26/06/2011
04 Jhooloongi jhooloongi 30/06/2011
05 Tumhe prasann yoon dekh ke 04/05/2014
06 Chaand sa nanha aaya 06/05/2014
07 Na jaane kahaan ka ye jaadoo kiya hai 24/07/2017
08 Chali apne ghar ko Shakuntala 18/08/2018
09 Mere baba ne baat meri maan li 04/08/2019

I am presenting the 10th song, ‘ek prem ki pyaasi bani banwaasi’ from the film, sung by Amirbai Karnataki. The song is written by Ratan Piya which is set to music by Vasant Desai.

The song is picturised on Zohrabai (not to be confused with Zohrabai Ambalewaali), in the role of Menaka to seduce sage Vishwamitra to break his meditation. The song can be regarded as one of the earliest attempts of ‘honey trap’ which Lord Indra laid, fearing that with his deep ascetic practice and meditation, sage Vishwamitra would acquire enormous power to challenge the gods.

Audio

Video


Song-Ek prem ki pyaasi bani banwaasi (Shakuntala)(1943) Singer-Amirbai Karnataki, Lyrics-Ratan Piya, MD-Vasant Desai

Lyrics

aa aa aaa
aa aa aa aaa
aa aa aaa
aa aa aa aaa
ek prem ki pyaasi
ek prem ki pyaasi
bani banwaasi
ban mein tumhaare aayi
ban mein tumhaare aayi
nain khol dekh o bairaagi
nain khol dekh o bairaagi
bairaagan kya laayi
bairaagan kya laayi
aa aa aaa
aa aa aaa

main roopmayi
tum gyaanjayee
main vilaasi tum banwaasi ee
prem bina sab gyaan adhoora
prem bina sab gyaan adhoora aa
mat bhoolo sanyaasi
mat bhoolo sanyaasi
aa aa aaa
aa aa aa aa
aa aa aaa
aa aa aa aa
ek prem ki pyaasi bani banwaasi
ban mein tumhaare aayi
nain khol dekh o bairaagi
bairaagan kya laayi
bairaagan kya laayi
aa aa aaaaaa


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

Blog Day :

4665 Post No. : 16338 Movie Count :

4437

Today’s song is from a ‘C’ grade stunt film “Toofani Takkar”-1947. 1947 was an year which had produced a record breaking number of films – 181 films. This record stood for 57 years,i.e. from 1931 to 1988, when 185 films were made and the 1947 record was broken.

1947 was an year which saw India’s Partition. It devastated India and its many industries. Millions migrated from India and millions came from both East and the West. This had also shaken the film industry. While hundreds of artistes fled to Pakistan, their vacancies were almost immediately filled up by the waiting second line of artistes – some who came back from Pakistan and from those who had waited in the wings,so to say, for opportunities. So, Indian film industry was not a loser to a great extent, but it was Pakistan, who had to build their own film industry, with the help of those who were trained in India. I can not say that till today Pakistan could do it satisfactorily. The main reason was Pakistan never had prepared a second line of artistes to take over, once the India returned artistes retired or died.

In 1947, the number of films was large in quantity, but qualitatively, majority films were completed hurriedly as artistes had to leave India. India’s best singer actor K L Saigal had died in the beginning of the year. That was a great blow. Exit of Nurjehan and Khursheed was another blow. However, on this front, India had enough talents to replace them. So, despite the unprecedented disturbances, the film industry could balance itself quickly and even in 1947, many landmark movies were made.

It was in 1947 that Lata entered the field of Playback singing with ” Aap ki sewa mein”. Naushad introduced Uma Devi through his film ‘Dard’. C Ramchandra gave musical hits like Shehnai and Saajan. S D Burman, Shyamsunder, Khemchand prakash, Vasant Desai and Husnlal-Bhagatram gave musical films. In 1947, surprisingly, Stunt/Action films were made above their normal average number. Film Toofani Takkar was also one such Stunt film.

This film was made by A M Khan Productions. The film was directed by A M Khan himself. Now, this Khan was a person with many qualities. He was an actor, a lyricist and a director. In his 30 years’ career he had acted in 2 films – Dil-46 and Bigde dil-49. He wrote 24 songs in 3 films – Cyclewali-38, Ran Sangream-39 and Bahana-42. A M Khan directed 37 films. His first film was Woh kaun-1935 and his last film was Jadui Anguthi-1965. When I went through his Filmography as a Director, I found that he directed mostly Stunt, Action and Costume films only.

Some of his films had interesting Titles….Cycle Wali-38, Chabuk wali-39, Motor wali-42, Khanjar wali-43 and to top it all, he also directed Police wali-49 ! Titles of his films had words like Lutari, Lutaran, Bala, Sundari, Lady, Tilasmi, Jadui, and Toofani. These are typically indicative of their genre-Stunt. A M Khan was also a Stunt specialist. In those days, some directors specialised in such films. Like for example, Nari Ghadiyali, Aspy irani, Ramniklal Shah,Master Bhagwan, Harischandra rao and Chandra rao kadam etc.

Apart from Khan’s Filmography, no other information about him is available. Similarly, the film’s music Director was Sardar Vir Singh. This gentleman had just one more film to his name as a MD – Flying Express-1949. No further information about him also. This is all normal, because the stunt,action films’ budget is very important and to economise, Director and MD was chosen on their price, perhaps. The audience never came to such films to see histrionics or listen to lilting music. Their interest used to be in fights and daring action scenes in the films.

Similarly, the lyricists – Kaiser Sawai and Kaiser Jafri too were unknown. In the 30’s and the 40’s, the lyricists were paid very poorly. In the 30’s the rate was 10 to 30 rupees per song. In the 40’s it increased to50 to 100 in case of well known lyricists like Kavi pradeep or Majrooh etc. The cast fo the film consisted of the usual action film artistes, about whom hardly any information was available.

Surprisingly, some songs in this film were sung by Amirbai karnataki – who was an A grade singer that time. Today’s song is also sung by her. I like her songs. In fact one of her songs in the film “Parbat pe apna dera”-44…Pareshan hoon ki kyun meri pareshani….is my all time favourite song. There is an interesting anecdote of Amirbai’s life, which I remember. Here it is….

Actor of the 40’s decade A.Himalayawala (Afzuluddin Himalayawala) was an outspoken and straightforward person, fond of hunting, football and travelling by car. He toured all of India twice in his car. In 1943, he married actress singer Amirbai Karnataki. After marriage he banned her from acting in films. Within 2-3 years, on this and other issues, they could not get along. He used to hit her and take all her money. At last, it was rumoured that he gave her talaaq after taking 2 lakh rupees and her car. Even after this he was stalking her. She stayed with her elder sister Ahilya Bai. Then one day, she was kidnapped by Himalaywala, from the recording room. She was kept locked in a room and beaten daily. She somehow managed to inform this to her sister.

Ahilyabai then got in touch with her acquaintance Mr Rasiklal Vyas and his brother Chhailabhai Vyas – one of the best criminal lawyers of Bombay. With their political and social connections, they forced the police to register an FIR, which was refused due to Himalaywala’s bribe. Meanwhile Himalaywala was alerted by his cronies. Within a few hours Amirbai was escorted back to her sister’s place, by Himalaywala. All this episode is described in full details in the book ‘Aap Ki Parchhaiyaan’, by Rajnikumar Pandya ji. Amirbai later married Gujarati Journalist Badri Kaanchwala.

Himalaywala was not famous in India. After Partition, he went to Pakistan. There he became a very famous and successful actor and won awards too.

Today’s song is sung by Amirbai Karnataki. This rare song was given to me by my friend Abhay Jain of the USA. It was uploaded, as usual, by Sadanand Kamath ji, for me. With this song, film Toofani Takkar-47 makes its Debut on the Blog.


Song-Duniya ka dastoor niraala maara jaaye chaahnewaala (Toofaani Takkar)(1947) Singer-Amirbai Karnataki, Lyrics-Kaiser Jafri, MD-Sardar Vir Singh

Lyrics

Duniya ka dastoor niraala
Duniya ka dastoor niraala
maara jaaye chaahnewaala
Duniya ka dastoor niraala
Duniya ka dastoor niraala

bhoolnewaala bhoolaa na jaaye
bhoolnewaala bhoolaa na jaaye
tod ke dil ko dil mein samaaye
tod ke dil ko dil mein samaaye
haathh chhudaa kar haathh na aaye
dil thha(?) chhota bholaa bhaala
Duniya ka dastoor niraala

aapbeeti (?) hai qurbaani
aapbeeti (?) hai qurbaani
khoon kiya hai apna paani
khoon kiya hai apna paani
kahiye kyon thhi ye hairaani
kaanta dil ka kisne nikaalaa
Duniya ka dastoor niraala

himmat itni mujhko ataa ho
himmat itni mujhko ataa ho
udhar zafa ho idhar wafaa ho
udhar zafa ho idhar wafaa ho

khush rehne yaa roothhne waala
Duniya ka dastoor niraala
Duniya ka dastoor


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

Blog Day :

4586 Post No. : 16205 Movie Count :

4409

Today’s song is from an obscure and unknown film of the early 40s, which is making its debut on this Blog. The film is Rahgeer-43. Rahgeer means Pathik or a Traveller. No information is available about this film anywhere, except what is provided in HFGK.

1943 was an year in which the IInd world war was in full swing. Both sides were almost equal. The effects of the war on India were… it faced the infamous Bengal Famine, caused by the war profiteering. Controls on film production were tightened by the Government. I.P.T.A. became operative with its first staged p0lay ‘ Nibanna’. Film Kismet became one of the biggests Hits ever. V.Shantaram’s Rajkamal Kalamandir debuted with Shakuntala, so did Mehboob with his film Najma. Government made showing of Newsreel before any film mandatory. Film Raj Nartaki’s english version The Court Dancer was exhibited in the USA, first time for an Indian film.

1943 produced 105 Hindi films, the highest number during the war years, 1939 to 1945. Many landmark and musical films appeared in this year giving a respite to the war torn audience of Indian Cinema. Let us take a look at some of these films.

Film Bhaichara had music by the only other ” Sursagar” musician – Himangshu Dutt ( the more well known being the singer Jagmohan Sursagar). C. Ramchandra had his first musical hit with film Bhakta Raj, made by Jayant Desai productions. Film Gauri from Ranjit became Monica Desai’s first Hindi film in Bombay. It was a very successful film with songs by Khemchand Prakash, based on Bangla Folk tunes. Kanan Devi gave some sweet songs in the film Hospital, under Kamal Dasgupta’s baton.

Bombay Talkies film Hamari Baat was the last film in which Devika Rani acted. Anil Biswas was the composer. Music Director Khurshid Anwar brought Gauhar Sultana from Lucknow to sing some songs in the film Ishara. Naushad'[s musical film Kanoon had some good Suraiya and Shyam duets. Film Kashinath was Nitin Bose’s last film in New Theatres, after he developed differences with B.N.Sircar.

Anil Biswas gave his career best musical Hit film ” Kismet”- the longest running film from Bombay Talkies. Nurjehan’s musical film Nadaan was popular with songs from composer K.Datta. Director Mehboob made his first film Najma, under his own banner Mehboob productions. Yet one more musical from Naushad- film Namaste. At last a musical hit for composer S.N.Tripathi- Panghat from prakash Pictures. Rajkumari Shukla sang her only Hindi song in this film.. (the film was remade as Chitchor-1976).

Film Paraya Dhan had music by Bengal’s famous musician Gyan Prakash Ghosh. Deena Pathak sang her only 2 songs in this film as Deena Sanghavi. Ghulam Haider makes merry again with Shamshad hit songs in film Poonji from pancholi, Lahore. Minerva Movietone blockbuster prithvi Vallabh had 5 songs from menakabai Shirodkar.

One more superhit film – Ram Rajya from Prakash Pictures had very good songs from composer Shankar Rao Vyas. Saraswati Rane gave 2 melodious songs. Yashwant joshi and Yashwant Nikam sang the famous song ” Bharat ki ek Sannari ki katha”. Ram Rajya had also a distinction as the only Hindi film that was seen by Mahatma Gandhi, on 2-6-1944.
( before this Gandhi had seen ” Mission to Moscow-43′ an English film, in Wardha, according to The Hindu (Kathmandu Ed.) dt.8-2-2010). The film had early songs by Manna Dey also. Naushad in full swing with his 3rd Musical Sanjog, where Suraiya gave playback to Mehtab, the Heroine. Vasant Desai gave excellent songs in hit film Shakuntala by V.Shantaram.

In presence of so many hit and musical films an ordinary film Rahgeer was nowhere to be counted. The film was directed by A.Rashid, for whom this was his first film as a Director. Later on he directed 3 more films- Airmail-46, Daulat ke liye-47 and Bulbul-51, for which he wrote some lyrics also. Hafiz Khan Mastan gave music and also acted in it. His case is a ” Rags to Riches to Rags” story.

Hafiz Khan was born in 1917 in Agra. His father Ustad Wahid Khan, from Etawah Gharana, was a famous musician. He sent his two sons, Hafiz and Aziz, to his elder brother Ustad Inayat Khan at Calcutta to learn Sitar. However, both brothers were more interested in film music than learning Sitar.

Ustaad Waheed Khan was a well known and respected player of Sitar and Surbahar. His place in the Etawah Gharana was high up. He had 3 sons. Bande Hassan,Hafiz khan and Aziz Khan. Waheed khan was very keen that his sons should continue his profession,earn a name and shine in classical music of Etawah Gharana. He thought working for music in films was below their dignity and a shame. Bande Hassan specialised in vocal music and became a famous qawali exponent. Second son Hafiz khan,after initial training in classical music turned to film singing,without father’s knowledge. Not only that,he also accepted the pen name of Mastana-awarded by composer Meer Sahib- to hide his identity from father. The third son Aziz Khan also went the film way,using the name Aziz Hindi sometimes.

Though Aziz Khan did not continue his family profession,he ensured that his son Pervez took the training and became an International Sitarist,settling in USA. Even son of Pervez- Shakir became a famous Sitarist. he continues the Etawah gharana tradition now.

Hafiz came to Bombay in the mid 30s and sang a song in the film Bahadur Kisan-1938, music by Meer Saheb. Meer Saheb took him to Minerva and he was employed as a singer. He sang in films like Talaq-38, Jailor-38, Main haari-40 and Sikandar-41. Looking at his jolly nature, Meer Saheb gave him the name Mastana and he became Khan Mastana. Later in his professional life, he wrote Khan Mastana as a singer and Hafiz Khan as a MD.

As a Composer he started with Wasiyat-40, then came Virginia-40, Akela-41, Muqabla, 42, Raahgir-43, Neelam-45 etc. In all, he gave music to 29 films, composing 215 songs. As a singer, he sang 152 songs in 83 films. He also acted in 9 films and directed 1 film- Paramount-41. As a singer he last sang in the film Nek Khatoon-1959 and as a composer his last film was Gunehgaar-53. As an actor his last film was Shikarpuri-47.

Khan Mastana became quite rich. He had 5 flats in Bombay. He had a professional competition with singer G.M.Durrani. It is alleged that once Khan Mastana tried to make Durrani eat a ” Pan ” laced with Sindoor(mercury), so that he can never ever sing again. However, Durrani suspected and vomited immediately. Later, when its analysis was done, the fact came out. Anyway, thanks to Durrani, he did not make it a public issue. Only 17 years after Khan Mastana’s death, Durrani spilled the beans, but did not take Khan Mastana’s name, even then. Only his close friends knew this.

When Mastana was at the height of fame and work, he was invited by the Prince of Hyderabad State to teach music to his Begum. Due to some reason, the Prince became angry with Mastana and he was kept captive for a long time in Hyderabad.

By the time he returned to Bombay. The film industry had changed a lot. Many new singers had appeared. The music pattern had also changed. Khan found it difficult to get singing assignments. However, he continued to compose music. When the bad times continued, he had to sell all his flats, cars etc. He became so poor, that he had to beg near the Mahim Masjid. He also started drinking and taking drugs. Once Naushad saw him there. He tried to help him but drinking had spoiled him completely. Finally he died on 6-3-1972. One of his sons was still begging near the Masjid.

There was a time when in the film Laila Majnu-45, he was the main singer and Rafi was in Chorus. When the bad days came , in the film Laila Majnu (incomplete), Rafi was the main singer and Mastana was in the Chorus ! That is Destiny !!

Today’s song is by Amirbai Karnataki. The song and the tune is quite good. With this song, film Rahgeer-43 makes its Debut on this Blog.


Song-Apni to zamaane se har baat niraali hai (Raahgeer)(1943) Singer- Amirbai Karnataki, Lyricist- Shevan Rizvi, MD-Hafiz Khan Mastana

Lyrics

Apni to zamaane se har baat niraali hai
apni to zamaane se har baat niraali hai
aankhon mein diye gham ke
daaman pe deewaali hai
aankhon mein diye gham ke
daaman pe deewaali hai
apni to zamaane se har baat niraali hai
apni to zamaane se har baat niraali hai

aankhon mein abhi se kyun
aansoo ye chale aaye
aankhon mein abhi se kyun
aansoo ye chale aaye
hamne to abhi dil se
hamne to abhi dil se
ik faans nikaali hai
hamne to abhi dil se
ik faans nikaali hai
apni to zamaane se har baat niraali hai
apni to zamaane se har baat niraali hai

gurbat ke zamaane ki
purdard kahaani ye
gurbat ke zamaane ki
purdard kahaani ye
sah daali magar phir bhi
sah daali magar phir bhi
ik baat chhupaani hai
sah daali magar phir bhi
ik baat chhupaani hai
apni to zamaane se har baat niraali hai
apni to zamaane se har baat niraali hai

rote hain zamaane ke
hansne ke liye ??
rote hain zamaane ke
hansne ke liye ??
soorat bhi kabhi roki
ab hamne zamaane se
soorat bhi kabhi roki
ab hamne zamaane se
apni to zamaane se har baat niraali hai
aankhon mein diye gham ke
daaman pe deewaali hai
aankhon mein diye gham ke
daaman pe deewaali hai


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

Blog Day :

4376 Post No. : 15718

Today’s song is from the film Amrapali-1945. The film was made by Murlitone. This historical film was directed by Nandlal Jaswantlal. The music was composed by Saraswati devi, who had left Bombay Talkies, after the exit of Devika Rani. The 11 songs of the film were written by Miss Kamal, B.A.. Most readers who are knowledgeable about the vintage films of the 40’s know that Miss Kamal, B.A. was a pseudonym of Kavi Pradeep. At that time, he was under contract with Bombay Talkies and could not use his real name . Under this Pen name, he wrote lyrics for four films, namely Kadambari-44, Amrapali-45, Sati Toral-47 and Veerangana-47. Incidentally, all these films were directed by Nandlal Jaswantlal.

Nandlal was born on 15-3-1907 at Bardoli in Surat. His father was Admin. Officer in Kohinoor films. He started his career by joining it in 1924. He assisted Chandulal Shah(1926-29) and also directed silent and Talkie films for Ranjit from 1929 to 1933. Nandlal left the job and went to Europe on tour. On his return he joined the Imperial company(34-36) and directed some remakes of silent films of Sulochana into Talkie films. For one year-1937- he went to Madras and ran a Laboratory also.

His first Talkie film as a Director was Pardesi preetam-33 and last was Akeli mat jaiyo-63. Both were Ranjit films. Due to his death in 1961, Akeli mat Jaiyo was delayed and completed by Chandulal Shah himself. Best known for his later Filmistan musicals: Anarkali (with Bina Rai and music by C. Ramchandra) and Nagin (with Vyjayanthimala), one of the biggest post-Independence musical hits. Admired for his sophisticated lighting (with cameraman Pandurang Naik). Used extreme close-ups and unusual angles creating disjointed but dramatic and sensual spaces (e.g. the beginning of Anarkali). Last film Akeli Mat Jaiyo was completed by Chandulal Shah. Apparently filmed many of the famous song sequences of M. Sadiq’s musical Taj Mahal (1963).

FILMOGRAPHY: 1929: Jawani Diwani; Pardesi Saiyan; 1930: Pahadi Kanya; 1931: Premi Jogan; Ghunghatwali (all St); 1933: Pardesi Preetam; 1934: Indira MA; Kashmeera; 1935: Pujarini; 1936: Bambai Ki Billi; Jungle Queen; 1939: Jeevan Saathi; 1941: Kamadhenu; 1943: Pratigya; 1944: Kadambari; 1945: Amrapali; 1945: Sati Toral; Veerangana; 1951: Sanam; 1953: Anarkali; 1954: Nagin; 1956: Taj; 1957: Champakali; 1963: Akeli Mat Jaiyo (1963). (Thanks to Encyclopedia of Indian Cinema.)

In film Amrapali-45, the film story was by Ramchandra Thakur. Actually, this was based on Thakur’s own famous novel Amrapali. The dialogues were by Munshi Dil. The film, made under the banner of Murli Cinetone, was shot entirely in the Andheri studios of Lakshmi productions. The story of Amrapali is a real story, which took place in the times of Gautam Buddha. Although the original novel of Tamchandra Thakur depicted the reality in his book very nicely, the film story was twisted and under the guise of taking ‘ Cinematic liberty’, the main events of the story were drastically changed, twisting the history. Comparatively, the film ‘Amrapali’ made later in 1966 was much better. At least it did not change the original story. Amrapali or Ambapalika’s story is mentioned in old Pali language Texts and Buddhist literature.

The cast of the film was Prem Adib, Sabita Devi,Jeevan, Arun Ahuja, Jagdish Sethi, Badri Prasad, Sankatha Prasad, Gulab etc.etc. This film was special for its Heroine, because it was her last film as an actress. In the silent era, many Anglo Indian, Jew and European girls acted in films. They were preferred too, for their free uninhibited acting. Kissing and hugging was no problem for them. However, when the Talkie films arrived, most of these girls had to leave films, because they could not speak Hindi or sing a song. Only some few dedicated actresses from the lot like Sulochana (Ruby Meyers), Sabita Devi (Irina Gasper) etc, continued in films, because they learnt Hindi and singing, with great efforts.

The real name of Sabita Devi was IRINA GASPER. She was an Anglo-Indian,born in an affluent family of Calcutta, in 1914.

After completing education she wanted to join films, but her family objected. Without the family’s knowledge, she sent her resume and Photo to British Dominion Film Co., owned by Dhiren Ganguly in Calcutta. When they informed their consent the family resisted and kept her locked in the house. She fell ill and finally, the family conceded to her wish.

Her first Silent film was Flames of Flesh-1930. Then came Kanthahaar, A touch of Love, After the death, Aparadhi, Money makes what not and Bhagyalaxmi as silent films.

When the talkie came, she determinedly learnt Hindustani and Urdu and also Music.
Her first Talkie film was Radhakrishna-33, in which she sang 16 out of 23 songs in the film, but no records were made. Next was Ek din ka Badshah-33. She shifted to Bombay for better opportunities. In 1934,came Shahar ka Jaadu,with Motilal as a debut actor and this film was a Hit. Later she and Motilal became a popular pair.

She did many films. Her some films were-
300 days and after, Apki marzi, kokila, Kulvadhu, Amrapali, Ladies only, Chandragupta, Chingari, Dr.madhurika, grihalaxmi, holiday in bombay, Jeevan Lata, King for a day, Lagna bandhan, Manmaani, , Phantom Of the hills, Silver king, vengeance is mine, Village Girl etc etc. In all, she acted in 23 Talkie films and sang 15 recorded songs in 7 films.

She was a good Piano and Harmonium player. In later days in 1943 onwards, she stopped singing herself. Her last picture was Amrapali-45.

In 1946, she got married and left for England. She came back again only to die in Calcutta in 1965.

The story of Amrapali or Ambalika as per history and the Pali literature is.. Amrapali was a Nagarvadhu (Public Courtesan) in the kingdom of Vaishali (present day Bihar), and the king of the neighbouring Magadha kingdom fell in her love. To get her, he attacks Vaishali and wins. However, before he approaches Amrapali, she has transformed into an Arihant (a female Monk), after her encounter with Gautam Buddha.

This simple story was twisted and many side plots were added to it, thereby making the filma drab one, without evoking any excitement. Sabita devi in her 30’s and Prem Adib’s growing in size, after his own marriage and huge success of film Ram Rajya in 1943, were not suitable anymore for Romantic roles. All in all, the film was not a successful one. According to Baburao Patel’s review of the film,the technical aspects of the film were excellent. These are, in any way, not of any cognisance by the audience. The film was released on 2-11-1945 at Roxy theatre, Bombay.

Today’s song is a very good Marching song. This must be at the time of motivating Vaishali’s people when Magadh sena attacked them. It reminded me of the Marching song ‘ Zindagi hai pyar se’ from the film Sikandar-1941. This is the third song Aamrapali (1945) to appear on this Blog.


Song-Aaj apne ghar mein lagi aag re (Aamrpaali)(1945) Singer-Ameerbai Karnataki, Lyrics-Kavi Pradeep, MD-Saraswati Devi
Chorus

Lyrics

Aaj apne ghar mein lagi aag re
aag re
naujawaan jaag re
jaag re
jaag re
Aaj apne ghar mein lagi aag re

apne desh ka wo jal raha hai baag re
apne desh ka wo jal raha hai baag re
apni maata ka
apni dharti ka lut raha suhaag re
naujawaan jaag re
Aaj apne ghar mein lagi aag re
aag re
naujawan jaag re
jaag re

jaag re
jaag re
jaag re

?? jo aag chaaron oar
??
takraane do
takraane do
maidaan mein talwaar se talwaar

hey karmveer jaago
hey shoorveer jaago
ranbheri baj rahi hai
praanon ka moh tyaago
aazaadi ke matwaalon
shamsheer ab uthhaalo
aazaadi ke matwaalon
shamsheer ab uthhaalo
apni izzat pe lag na jaaye daag re
naujawaan jaag re
Aaj apne ghar mein lagi aag re
aag re
naujawan jaag re
naujawaanjaag re
naujawaan jaag re

(jaag re
jaag re
jaag re)

hey ae ae
kisi ke aage jhukna mat
jhukna mat
jhukna mat
kadam badhaa ke rukna mat
rukna mat
rukna mat

o naujawaan
naujawaan
desh maangta hai aaj tera balidaan
o naujawaan
desh maangta hai aaj tera balidaan
tera balidaan
tu khud ko mita de
sarwasw lutaa de
aaj dushman se khul ke khel phaag re
naujawaan jaag re

aaj apne ghar mein lagi aag re
aaj apne ghar mein lagi aag re
aag re
naujawaan jaag re
aag re
naujawaan jaag re

aaj apne ghar mein lagai aag re
aaj apne ghar mein lagai aag re
aag re
naujawaan jaag re
aag re
naujawaan jaag re


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 16500 song posts by now.

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

Important Announcement

(© 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

16587

Number of movies covered in the blog

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

Total visits so far

  • 14,758,802 hits

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

Join 1,949 other followers

Bookmark

Bookmark and Share

Category of songs

Current Visitors

Historical dates

Blog Start date: 19 july 2008

Active for more than 4000 days.

Archives

Stumble

visitors whereabouts

blogadda

blogcatalog

Music Blogs - BlogCatalog Blog Directory
%d bloggers like this: