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 : 4103 Post No. : 15253

Today’s song is from film Ajamil-1948. This was the maiden venture of Sanskar Chitra, Bombay, of owner Moolraj Kapadiya, who was also the producer of this movie. The film was directed by his close relative-Jamnadas Kapadiya, for whom this was his only film as a director. The film was made in Gujarati and Hindi simultaneously. The story, screenplay and songs for the Gujarati version were by Kavi Prabhulal Dwivedi and for Hindi version it was S P Tripathi, who wrote all the 12 songs of the film. While HFGK mentions name of Dwivedi as the Lyricist, according to Girdharilal Vishwakarma ji, the famous Music Historian and Record collector, the records of the songs of Hindi version carry the name of Tripathi. The Music Director of this film was Master Mohan Junior.

In the history of Hindi Cinema, besides the biggest problem of Same name artistes causing confusion, there were many other smaller, but irritating unsolved mysteries like…
1. Who sang the song ” Dilli se aaya bhai Tingu” in film Ek thi ladki-49 ?
2. Who was the artiste who sang on screen,” Hawa mein udta jaaye” from film Barsat-49 ?
3. Who were the composers ” Vasant Ramchandra” ?
4. Are they one person or two – Shyam ji Ghanashyam ji and Hemant Kedar ?
5. Who said ” Yahoo” in film Junglee-64 song ?
6. Who sang ” Leke pehla pehla pyar’ on screen ?
7. Why composers Jaidev and C Ramchandra gave music in different names ?
8. Whose voice is in the ” Mehboob production” ‘s logo ?
9. Who was the artiste in Prabhat’s logo ?
10. What happened to actresses Latika and Mrudula ? etc.etc.

I have listed only a few here, but there are many more such riddles,puzzles and unsolved (as yet) mysteries in Hindi cinema world.
Since the time I started writing on old films, I tried relentlessly to get the right answers, with proofs,for some of these riddles. I was successful in solving some mysteries too. As far as the Same name artiste’s confusions are concerned, I had dug out information on 50 such artistes and published this in my book. From time to time even my articles here also contained them. Presently, I have information on another 20 such same name artistes with me, which will be published in my next book,after adding few more pairs.

One mystery connected with today’s film is about its Music Director – Master Mohan Junior. As per a note in HFGK,under the film “Daana paani”-53, it was composer Madan Mohan, who gave music in this name. There was no reason to doubt this claim as it came from HFGK, but one day…..
One day in 2012, I received a query from Shri Girdharilal Vishwakarma ji, asking about Mohan Junior, who, according to him was a different person. He wanted to know if I had some information.

I had no such information. I was actually floored with this query. After receiving this query, I immediately got in touch with Madan Mohan’s son Sanjeev Kohli ji and daughter Sangeeta Gupta ji and asked them this question. Sanjeev ji promptly responded saying that in all probabilities, Mohan Junior was a different person and that is why they have not included film Dana Pani-53 in Madan ji’s filmography.
Then I contacted Harish Raghuwanshi ji of Surat. We did a hard work and then found out that Mohan Junior indeed was different. He was a Gujarati Music Director. Further Harish ji found that one Dr. Vipin Kikani had done his Ph.D. on ” Gujarati stage and its artistes” and that he had written about Mohan Junior in his book. Harish ji got the book, translated the relevant portion in Hindi, made its PDF and sent it to me with his Gujarati Filmography.

By now, the mystery was almost solved, but still, to get a first person confirmation, I requested Girdharilal ji to talk to Madhubala Jhaveri,because she had sung some songs for Mohan Junior. He did it immediately and Madhubala ji confirmed that Mohan Junior was a Gujarati person and he was NOT Madan Mohan.

At last, it was conclusively proved that Master Mohan Junior was not a pseudo name for Madan Mohan but he was a different person. Here is his full information…….

Master Mohan Junior was born in 1908 in a Bhurji Rajpoot family at Masuda, near Ajmer. When he was 5 year old, the great Plague epidemic killed all members of his family and he became an orphan. His cousin sister took him to Idar and he grew up there. He had inherited the singing ability of his father.When he was 13 year old, Raghunath-his brother in law- sent him to ” Morvi Subodh Arya Natak Mandali “, in 1921. Later he also worked with Imperial,Laxmikant Natak Mandali and Arya Naitik drama company from 1926 to 1930. His brother in law was quite attached to him.

He started with Gujarat Kala Mandir as a Music Composer from 1930 onwards. His attempts to become an actor failed in 1932. He was now owner of the company Arya Natak Mandali, in which Ramlal was a Music composer. His music became famous with many famous dramas.Raskavi Raghunath Brahmabhat has praised his music capabilities.

He gave music to 6 Gujarati films, namely- Ajamil-48, Vadilon naa vaanke-48, Bhakta Pooran-49, Vevishat-49, Choodi Chaandlo-50 and Bhakta Narsaiyo-52. He also gave music to 2 Hindi films- Ajamil-48 and Daana Paani-53.

Even after all clarification about Mohan Junior, still 2 questions remained –

1.Why did Begum Akhtar say that Madan Mohan gave music. The answer to that is-she was right, that Gazal (in film Dana Pani-53) was composed by Madan mohan and it was used in the film. It was concluded therefore that the entire film music was given by Madan Mohan. I think HFGK went overboard in this.

2.Why that composer called himself Junior, because in 48, and 49 Madan Mohan was not a composer as yet. He debuted with Aankhe-50. I found out that during that period there was yet another Mohan-a Mohan Sharma, a Music director for Jai Hind-1949(unreleased) and Chocolate-1950.

May be to distinguish himself,he called himself as Mohan Junior.

Sanjeev Kohli ji has also now agreed that he must be a different person. However Sanjeev ji has requested me NOT to quote his name elsewhere in this connection.,as he does not want any controversy now. so let us keep him out of this.

Although all this search for truth took place back in 2012- 7 years ago, I have recounted all this now, only to stress the difficulties one faces in breaking an old myth or decoding a mystery. Further, all this was never brought before readers any time. Additionally Mohan Junior’s bio data is published first time here.

Film Ajamil was also made in silent era in 1922 by Kohinoor film company, Bombay. Kanjibhai Rathod had directed it. Next, it was made in 1934 as a Talkie, by Saroj Movietone. It’s director was Abdul Rehman Kabuli, about whom I just wrote in my previous post. The role of Ajamil was done by Ashraf khan – who himself became a Sufi Saint in his later life.

The story of Ajamil has been taken from the 6th chapter of Bhagwat Puran. It stresses the value of Naam smaran or Jaap and how it can make a Saint out of a bad man. The story of Ajamil is…

Ajamila was once a very noble Brahmin, performing his duties and prescribed rituals most sincerely and was also a good husband, good son and good father. Once when he was in the forest to gather the fuel-wood for his rituals, he fell for a woman, heart and soul. Actually the woman was one of very low morals. From that time onwards he lived with her, abandoned his family and his own parents. He got ten children by her, made a living and supported this large family by blackmailing rich people, by cheating, fraud and gambling. He was particularly fond of the youngest child, Narayana, by name. The attachment to the child was so pronounced that whether he was eating, drinking, relaxing or working, he would always want Narayana to be by his side and partake of his food or participate in his enjoyment. When finally the call from Yama, the God of Death, came, it came suddenly and in his agony he called his child to his side and cried: O Narayana. He called aloud with great fear.

The messengers of Yama who almost got him in their noose suddenly found from within his heart four well-clad beautiful angel-like figures, each with four hands, preventing the messengers of Yama from discharging their duty. An intense conversation ensued between the messengers of Yama on the one side and the messengers of Narayana – because that is what they were – on the other side. They asked: You are the emissaries of Dharma-raja; then you should know what dharma is and what rules apply for punishment. The messengers of Yama replied: (VI – 1 -40 to 68):

What is declared by the Vedas is dharma. What is prohibited by Vedas is adharma. The one God who has created this entire world and who has allotted the different duties to varnas and ashramas is Lord Narayana. He has ordained that our Lord Yama take the lives of people when their time is over and punish them according to sins committed by them. There are several witnesses to whatever a man does in his life.

They are the Sun, Agni the Fire-God, Space, the Wind-God, Animals, the Moon, the God of SandhyA the twilight, Day, Night, the eight quarters, Water, Earth, Time and the God of Dharma, who is Yama himself. Nothing can be hidden from any of these. . We are doing our duty ordained by our boss.

Back came a pretty long rejoinder from the messengers of Vishnu: Your Master who must show to the world what right action is, has sent messengers like you who do not seem to know the rules! This Ajamila, though he has forgotten his real divine nature, has pronounced the four-syllabled name of God Narayana at the time of death and by that very action has done the Prayaschitta – प्रायश्चित्त (repentance act) for all his sins.

A thief of gold, a drinker of wine, a betrayer of a friend, a killer of a brahmin, one who commits adultery with the wife of his Guru, a killer of a woman or of a king, or of a cow or of his father — all these worst sinners have been declared to be absolved by the recitation of God’s name because by that very act he becomes God’s protege and deserves to be under His care.

After all this explanation by the messengers of Vishnu the messengers of Yama felt overpowered and they went back to their overlord. In the meantime Ajamila came back to his senses and remembered all the conversation that went on in the presence of his subtle body between the messengers. He was about to say something, when the messengers of Vishnu also disappeared. It was quite a while before he could take stock of the situation.

Here he was. alive and kicking, by the mercy of God Narayana, whose name he had just taken on the point of death, not in remembrance of the Lord but in passionate affection of his child. If this single act of the utterance of a four-syllable word Narayana can make such a difference to life after death, what larger worlds of fullness and majesty he may not conquer by really leading a noble life of Dharma in the memory of the Lord? — so thought Ajamila. And that very moment he renounced everything to which he was attached, went to Benares and engaged himself in austerities and meditation and in due time reached the abode of the Lord. (adapted and abridged from krishnamurthy’s.com, with thanks)

Today’s song is by Amirbai Karnataki and chorus. it is a melodious song. This is the second song from this film to be discussed on this Blog.

(I thank, Harish Raghuwanshi ji, Girdharilal Vishwakarma ji, family of Madan Mohan ji and Dr. Vipin Kikani ji for information used in this post. I also thank Sadanand kamath ji for uploading the song video on my request, promptly – as always.).


Song-Aaya aaya mehmaan man bhaaya (Ajaamil)(1948) Singer-Amirbai Karnataki, Lyrics- S P Tripathi, MD- Master Mohan Junior
chorus

Lyrics

Aaya aaya
mehmaan man bhaaya
Aaya aaya
mehmaan man bhaaya
kaun nainon se dil mein samaaya
kaun nainon se dil mein samaaya aa aa
Aaya aaya
mehmaan man bhaaya
Aaya aaya
mehmaan man bhaaya

kalpana ne dil mein jinki
khenchi thhi rekha
nainon ne aaj wahi
nainon ne aaj wahi
?? roop dekha
sudh budh ko bhool gayi
harsh mein magan bhai

dekho dekho ye nachti hai chhaaya
dekho dekho ye nachti hai chhaaya
Aaya aaya
mehmaan man bhaaya
Aaya aaya mehmaan man bhaaya

yug yug ki aas meri
haan aan aan
man ki madhur saadh mori
ho o ho
naach uthhi haan
naach uthhi
naach uthhi haan
naach uthhi

dekh to main aaya
aur dil mein samaaya
dekh to main aaya
aur dil mein samaaya
Aaya aaya
mehmaan man bhaaya

na na na
aaya aaya
sajan man bhaaya
Aaya aaya
mehmaan man bhaaya

na na na
aaya aaya
sajan man bhaaya
kaase(??) sajoon
jhoom uthhi
jhoom uthhi
jug jug se jhoom uthhi
jhoom uthhi
jhoom uthhi
jug jug se jhoom uthhi
kya
kaaya meri
P? phir chhaaya
kaaya meri
P? phir chhaaya
Aaya aaya
sajan man bhaaya
Aaya aaya
sajan man bhaaya
Aaya aaya


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 : 4051 Post No. : 15180

Today’s song is from film Raj Mukut-50.

From the title itself one would know what type of film this could be. In our childhood we were fond of, first listening and then reading stories of Raja-Rani. As we grow older, this liking seems to have ended,but it is not so, in reality. Every adult has a child in him and the love for the Raja Rani stories is hiding behind the facade of other serious life matters of the adult age.

Precisely, this liking was identified by B and C grade action and costume filmmakers and films on Kings, Queens, the evil Vazier or the Army Chief, plus or minus the evil Magician were made. From the point of business, it was wise to make such films, because its Producers never suffered loss, where as failure of an A grade film invariably ruined the producer.

The simple reason was, the production cost, distribution cost, actors’ payments etc were very low and the income was very good. May be that was the reason, that even the big banners also sometimes or the other had made costume films about Kings and Queens etc.

Going by the film title list made by Hamraz ji, I found at least 43 films starting with Raaj – like Raaj Mukut, Raaj Tarang, Raaj Ratan, Raaj Nandini etc etc. There were 32 films having titles starting with Raja, like Raja Gopichand, Raja Harishchandra, Raja Vikram etc etc. Movie titles with Rani prefix were just 11 (Gender Bias ?).

Coming to the story of Raaj Mukut-50, it is no different than hundreds of its ilk. I wonder why are there story shortages in films ? Why do films have similar stories ? In the 40’s decade ,Master Bhagwan used just one story to make 11 action films. In later times, it was Nasir Hussain, who – starting with Tumsa Nahin Dekha-57 – used only one skeleton story for most of his films and what’s more surprising is that his most film were Hits.

While thinking about it, I found that, in 2004, a book called “Why we tell stories”, written by Christopher Booker was published. It is a book having 728 pages to be exact. The book says “There are only 7 (Seven) basic plots in the whole world. They are recycled again and again in Novels, movies, Plays and Operas. These are
1.Overcoming the Monster
2.Rags to riches
3.The quest
4.Voyage and return
5.Rebirth
6.Comedy and
7.Tragedy “.

After this book was published, there was a chaos and criticism started. ‘New York Times’ also jumped in. The author coolly replied to all points and stuck to his statements. If we look at Hindi films, I personally feel that what the author has said is true in our case. Only thing is that our film stories are always a clever mixture of all or some of the above points.

If we take a look at the cast of the film Raaj Mukut-50, we find some heavyweights like Veena, Jairaj, Nimmi, Sapru, Gulab, Janakidas, Baby Tabassum etc. The decade of the 50s started with the decline of old stalwarts of 30s and 40s, because of the rise of new generation of actors, actresses, directors, MDs and almost all departments of film making. Nimmi was a ‘ Black Sheep’ in this cast because she was from the newer generation rising star.May be she did this film to get well entrenched in the film industry. Moreover the banner was good and the other actors were well known too. Director Nanubhai Vakil was an expert veteran in costume and action film direction. The music was given by Gobindram, a respected name in the musical circles.

Baby Tabassum had debuted with film Nargis-46 ( released in 47). Tabassum – real name Kiran Bala Sachdev was born in 1944 in Mumbai to Ayodhyanath Sachdev, an Indian freedom fighter, and Asghari Begum, freedom fighter, journalist and an author. Her father named her Tabassum, keeping her mother’s religious sentiments in mind, while her mother kept her name Kiran Bala, keeping her father’s religious sentiments in mind. Her official name as per pre-marriage documents was Kiran Bala Sachdev.

Tabassum made her film debut as a child actor with Nargis (1947) followed by Mera Suhaag (1947), Manjhdhar (1947) and Bari Behen (1949). Later in Deedar (1951), directed by Nitin Bose, she played the childhood role of Nargis; the hit song Bachpan Ke Din Bhula Na Dena sung by Lata Mangeshkar and Shamshad Begum was picturised on her. Also, in the next year, she appeared in another important film Baiju Bawra (1952) directed by Vijay Bhatt, where she appeared in the childhood role of Meena Kumari. After a gap, she reentered films in adult roles, working as a character actress.

She hosted the first talk show of Indian television, Phool Khile Hain Gulshan Gulshan, which ran for 21 years from 1972 to 1993. Produced by Doordarshan Kendra Mumbai, it was based on interviews of film celebrities and became immensely popular. This also led to a career as stage compere. She was also the editor of Grihalaxmi, a Hindi women’s magazine for 15 years and wrote many joke books.

In 1985, she directed, produced and wrote her first film, Tum Par Hum Qurban. In 2006, she returned to television, as an actress in Pyaar Ke Do Naam: Ek Raadha, Ek Shyaam, produced by Rajshri Productions. She became a judge in a reality stand-up comedy show Ladies Special (2009) on Zee TV.

She continued to work as an interviewer for television and is currently doing a TV show on TV Asia USA and Canada titled Abhi Toh Main Jawaan Hoon based on the Golden Era of Hindi Cinema. Currently, she has launched her own channel on YouTube, titled “Tabassum Talkies” which consists of nostalgic talks, interviews of celebrities, shayaris, jokes and more.

She is married to Vijay Govil, elder brother of TV actor Arun Govil. Their son Hoshang Govil had brief career as a lead in three films Tum Par Hum Qurbaan (1985), which was produced and directed by Tabassum in which she introduced Johnny Lever for the first time on screen as a comedian. Kartoot (1987) and Ajeeb Dastaan Hai Yeah (1996) produced by Zee TV and directed by J Om Prakash (grandfather of Hritik Roshan). In 2009, her granddaughter Khushi (daughter of Hoshang) made her film debut with Hum Phir Mile Na Mile. ( courtesy- Wikipedia).

Tabassum is an actress of a kind who was an All rounder-not in body shape-(that she is in now!), who is the only one having succeeded in 5 different mediums of entertainment. Films,TV,Radio,Print Media and Stage. Here is a small note about her,as it appears on her Facebook page-

“Tabassum ,during her years as child star ,was dubbed by her fans ,the movie -industry and the media as “THE SHIRLY TEMPLE OF INDIA”.

FILMS

She made her debut at the age of two and half years, in 1946, in her first film –Famous Pictures “Nargis’.This film was produced by Baburao Pai ,directed by D.D.Kashyap ….“Nargis” starred the legendary Nargisji herself with Rehman ,Shahnawaz ,Alka ,Achrekar and BABY TABASSUM.

In a short span of about six years Tabassum chalked up a record of child artist roles in more than thirty films ,and she’s working in films even today with a total of more than 100 films to her credit.

TELEVISION

Tabassum was the first to start the movie- oriented T.V. series on Doordarshan (India’s Government owned Television channel) which started on October 2nd, 1972. On October 8th 1972 , she launched her famous series of film-personality interviews. The first person to be interviewed in these series , titled “PHOOL KHILE HAIN GULSHAN GULSHAN” was a veteran music director Naushad.

This programme ran continuously on Doordarshan for 21 years ..

Various cultural organizations ,audiences ,and the media in general even the then INFORMATION AND BROADCASTING MINISTER Mr. V.P.Sathe have dubbed Tabassum as THE T.V. QUEEN OF INDIA .

RADIO

Tabassum started on radio in 1946 with children programmes and did many other programmes regularly on All India Radio.
For 15 years from 1970 to 1985 Tabassum ran a regular radio programme of jokes on the commercial services of Radio Ceylon.The same programme was later switched also to Vividh Bharti where continued for many years. She is still doing programmes regularly on Vividh Bharti.

She was conferred the award of “JOKES QUEEN OF INDIA”.

AUTHORSHIP AND JOURNALISM

Tabassum has been writing Urdu poetry , jokes ,short stories since her childhood which were being regularly published in Urdu and Hindi magazines ,newspapers ,etc.

During her more than sixty four years long career in show business ,Tabassum has also written seven books of Jokes ,Poetry ,and Urdu shayris ,the first of which was published at the age of 17 years when she had just passed her matriculation examination. She did her B.A. in Urdu from Aligarh University.

For the past many years Tabassum has fitted also journalism into her over crowded schedule when she took over as editor of the large circulation of a Woman’s magazine GRIHA LAKSHMI which is published monthly from New Delhi since last 17 years.

STAGE

As Baby Tabassum , Filmland’s original child-star the Shirley Temple of India ,began to appear on stage shows since the tender age of three to four years.Over three decades ago she launched her own stage show unit named “TABASSUM HIT PARADE’.This stage entertainment unit has over the past three decades performed variety entertainment shows all over India and in almost every country of the world from U.S.A.and Canada to the United Kingdom and Europe ,the Middle east and Gulf countries to South-east Asia ,Singapore and the far east in Hong Kong ,China ,Taiwan and Japan.

Now she is busy in promoting a stage programme titled “Tabassum Bhajan Sandhya” in India and abroad as spiritual entertainment.

On May 8th 1995 various well known cultural organizations of India celebrated TABASSUM’S HALF CENTURY IN FILM INDUSTRY AND SHOW BUSINESS AND WAS LARGELY ATTENDED BY FILM AND OWN MEDIA PERSONALITIES INCLUDING THE PRESS. ”

Film Raaj Mukut-50 story was about a Prince who is more interested in doing social service for the poor and down trodden ( and a love affair with the Village Mukhiya’s daughter) than getting crowned legitimately. So he disappears and goes to a village, to do what he always wanted to do, but could not do so far.

He learns that his younger brother, crowned after the deliberate false rumour of the prince- was perpetrating tyranny on kingdom’s people and also arrested his own parents and jailed them. His blood boils and he enters the capital incognito, along with his girlfriend and others. There is a fighting and the younger brother is killed. The King and Queen are released. The prince becomes the King and his girlfriend becomes his Queen. Clap, Clap !

The film had 11 songs. 4 songs are already discussed. Today’s song is the 5th song. It is sung by Shamshad Begum, Amirbai, Rafi and another unknown male voice. Incidentally, Gobind Ram had a special affinity for Shamshad Begum. He gave music to 32 films and composed 302 songs. Out of these, he composed as many as 86 songs in 19 films for Shamshad Begum. I believe, he may be the music director who has most songs for Shamshad Begum- atleast percentage wise (28.4 %).


Song- Dil hai lagane ke liye (Raj Mukut)(1950) Singers- Amirbai Karnataki, Shamshad Begam, Rafi, Lyrics-Bharat Vyas, MD- Pt Gobind Ram
Amirbai Karnataki + Shamshad Begam
Rafi + Unknown male voice

Lyrics

dil hai lagaane ke liye
ise laga lo yahin kahin
aji ise laga lo yahin kahin

nahin nahin jee nahin nahin
nahin nahin jee nahin nahin

dil hai lagane ke liye
ise laga lo yahin kahin
aji ise laga lo yahin kahin

nahin nahin jee nahin nahin
nahin nahin jee nahin nahin

chaar dinon ki hai ye jawaani
chaar dinon ka khel
aji chaar dinon ka khel
chaar dinon ki hai ye jawaani
chaar dinon ka khel
khatkhat karti chali jaa rahi
jeewan ki ye rail
suno jee
jeewan ki ye rail
mauj manaa lo phir nahin kehna
haan
mauj manaa lo phir nahin kehna
dil ki baaten dil mein rahin
is dil ko laga lo yahin kahin

nahin nahin jee nahin nahin
nahin nahin jee nahin nahin

dil hai lagaane ke liye
ise laga lo yahin kahin
aji ise laga lo yahin kahin

jaante hain haal hum
majnu dil e barbaad ka
haan aan aan aan
haan aan
jaante hain haal hum
majnu dil e barbaad ka
aur ishq mein anjaam dekho
kya hua farhaad ka

aur ye barbaadi ka rasta hai
is par chalna nahin nahin
hoy ye barbaadi ka rasta hai
is par chalna nahin nahin

is dil ko lagaa lo yahin kahin
nahin nahin jee nahin nahin
nahin nahin jee nahin nahin

dil hai lagaane ke liye
ise laga lo yahin kahin
aji ise laga lo yahin kahin

honthon par hai naam tumhaara
soorat dil mein basi huyi
aeji soorat dil mein basi huyi
honthon par hai naam tumhaara
soorat dil mein basi huyi
tum chaaho na chaaho
ham hain prem jaal mein phansi huyi
ham prem jaal mein phansi huyi
duniya mein badnaam huyi hain
haay
duniya mein badnaam huyi hain
kya kya baaten hamne sahin
is dil ko laga lo yahin kahin

nahin nahin jee nahin nahin
nahin nahin jee nahin nahin

dil hai lagaane ke liye
ise laga lo yahin kahin
aji ise laga lo yahin kahin


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 : 4019 Post No. : 15130

Today’s song is from film Hawai Khatola-46.

Whenever I come across a film starting with the word ‘Hawai’, I always remember film Hawai Daaku aka Bandit of the Air-1936, in which K N Singh was the Hero. His heroine was Ram Pyari and villain in the film was Mazhar khan. See the fate – in later years, Mazhar Khan became a Hero and K N Singh made his indelible mark as a sophisticated villain ! Incidentally, there were 7 films, starting with the word ‘Hawai’, if you are wondering about it. There were 2 films with the same Title ” Hawai Insaan “(The flying man), made in 1947 and 1965.

I have been writing on old films, their songs and about the people in those films,like actors, directors,producers,composers,lyricists, film story, studios, as well as the times in which these films were made etc, since about last 7 years – from 1-10-2012 to be precise. Many of my relatives and friends ask me how do I spend my time these days as they know that I do not work anywhere now. I tell them that I study and write on old films. Their immediate response is, “yes, old music was great” and they would spell out few old songs.

The words, old films, old music and old songs are highly relative terms. An young teenager might feel that films before 2000 are old. A man in his 30’s may feel that songs before 90s are old. Similarly, a man in his 40s feels that songs before 70 are old songs. Likewise a man in his 70s and above may feel that songs from the 30s and 40s are old songs. For a teenager songs of 30s and 40s are ‘ Antiques’ and ‘ Heritage ‘ songs !

In general Old Films have become synonymous with old songs. But it is NOT so. There is a world beyond old songs. Like English Literature, you can divide old films in 2 parts – Prose and Poetry. While poetry part will include songs, music, musicians,Lyricists, choreographers and allied matters, the Prose section will include information about actors, actresses, directors, producers and the allied specialists etc.

Writing on songs is different and writing Prose side is altogether different. With the kind of poor documentation and preservation of information in our country ( not only films but any other field too), it is extremely difficult to gather genuine, credible information on old actors etc. Old Magazines, Old Newspapers, Diaries, Letters and such other matters are difficult to trace. Those who have this treasure, rarely share it with others. Luckily, not all are like that.Thanks to generous Historians, and book writers, nowadays information is getting available to a small extent, but it is still a long way to go. There is more information available on the Poetry side than the Prose side. Most Bloggers prefer writing on Poetry side of films. Very few Bloggers write on Prose side.

My comfort zone is writing on Prose side. Not that I can not or do not write on songs or music, because these two are interlinked. All these thoughts came to my mind, when I took a look at the cast of film Hawai Khatola-46. The cast shows Devraj,Gohar karnataki,Ameena Begum, Sarla Devi, M.Beg, Raja Chatterjee, Fazal Khan, G H Chishti, M.Basheer, Gopinath etc. HFGK does not mention the name of Shanta Kumari, but she was in this film. Film India magazine carried her photo from this film,in one of its issues in 1946. So her name is confirmed. Barring Gohar Karnataki, I was unable to get any information on any of the star cast members. This is the position, about information on old time actors.

Shanta Kumari was very beautiful. She started her career from a silent film-‘ Bhai ya Kasai’-1928. Her first Talkie film was Heer Ranjha-1931. Then came many films, including 4 parts of film Hatimtai-33, in which she was Heroine Husnbanu. In film Sant Tulsidas-34, she sang along with even G N Joshi, famous classical singer of those times and later on an officer in H.M.V. Recording section. Due to her good singing, till 1936 she sang on A.I.R. Bombay. In 1940, she got married to Sound Recordist Kothari. In the later period, she acted in som6e famous films like Bharat Milap-42, Ramrajya-43, Prithvi Vallabh-43, Gwalan-46, Ram Vivah-49 and Grih Laxmi-49. After a gap, she came in Toofan aur Diya-56. She acted in few C grade films and her last film was Toofani Tarzan-62. She acted in 27 films and sang 21 songs in 8 films. She died on 18-1-2006 ( information adapted from Beete kal ke sitare by Shriram Tamrakar, and MuvYz with thanks).

Film Hawai khatola-46 was made by A M Khan Productions. It was directed by A M Khan himself, along with Sultan Alam – for whom it was the only film he directed. A M Khan began as director with film Voh Kaun-35. He directed 37 films in his career, with last film, Jadui Angoothi-65. he also acted in 2 films (Dil-46 and Bigde dil-49) and wrote Lyrics in 3 films (Cyclewali-38, Ran sangram-39 and Bahana-42).

As far as the Hero Devraj is concerned, I do not have much information about him except what is in HFGK. His name first appears in film ‘Bahadur Kisan’-38. This was Master Bhagwan’s first film as a director. The MD for this film was Meer Saheb, with whom the young C.Ramchandra worked as his assistant. This is where Bhagwan and C Ramchandra met first time and became fast friends. Name of Devraj comes up in 9 films – last film being ‘Khaufnak aankhen-47. All his films were C grade action films.

Film Hawai Khatola-46 ( by the way Hawai khatola means Aeroplane aka Udan Khatola) had music by Basheer khan Dehlavi. His first film as MD was Kala Jigar-39. He gave music to 12 films – all C grade action/stunt films. His last film seems to be Hawai Khatola. After this his name does not appear anywhere. Possibly, after Partition he must have migrated to Pakistan. He also wrote Lyrics for 2 films – Saheli-42 and Khooni-46.

Today’s song tune is similar to the famous Noorjehan song ” Baithi hoon teri yaad mein lekar ke sahara” from film Gaon ki Gori aka Village Girl-45. The song is sung by Amirbai Karnataki and Premlata, according to the uploader,Girdharilal Vishwakarma ji.


Song-Toote huye is dil ko diya kisne sahaara (Hawaai Khatola)(1946) Singers- Ameerbai Karnataki, Premlata, Lyrics-Unknown, MD-Bashir Dehalvi
Both

Lyrics

Dheere se mere man mein bataa kaun pukaara
dheere se mere man mein bataa kaun pukaara
toote huye is dil ko diya kisne sahaara
tere prem ke aakaash pe chamka hai sitaara
toote huye is dil ko

tu roop ki devi hai to main tera
haan haan main tera pujaari ee
main tera pujaari
tu roop ki devi hai to main tera
haan haan main tera pujaari ee
main tera pujaari
hoga nahin ab door kabhi chaand sitaara
tere prem ke aakaash pe chamka hai sitaara
toote huye is dil ko

reh reh ke ye kehti hai mere hriday ki dhadkan
mere hriday ki dhadkan
reh reh ke ye kehti hai mere hriday ki dhadkan
mere hriday ki dhadkan
ye dor bhi jeewan ki bani prem ka bandhan
ab swarg se badh kar hai ye sansaar hamaara
toote huye is dil ko diya kisne sahaara aa
tere prem ke aakaash pe chamka hai sitaara
toote huye is dil ko
toote huye is dil ko diya kisne sahaara aa


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

Blog Day : 3890 Post No. : 14922

Today’s song is from film Arab ka Sitara-1946. Produced and directed by Nanubhai Vakil, under his own banner- Roshan Pictures, it was a costume drama film,eulogising the greatness of Islam and how sincere 5-time Namaz pleases Allah- the Supreme power.The 10 songs of the film were written by Shevan Rizvi and were composed by the One Film Music Director S Qureshi.

Sometimes I wonder, there was a time when this film industry was thickly populated with Muslim artistes in every field-acting, production,direction or composing music…still there were really not many films on Muslim backgrounds made. There is a sizable and rapidly growing portion of Muslim population in India, still,if you count films based on Muslim issues or Muslim backgrounds,they may not account for more than 1 to 2 % of the total film production.

It is not only the Muslim films, but films on other minorities like Christians,Parsis, Jains,Budhists, Sikhs too are not much represented in our films. It is very sad that such films are not made, though the figures and history tells us that such films were quite successful at the Box Office.

Muslim films are in Two categories. One, films made on Historical Muslim characters like Akbar, babar, Humayun, Shahjehan, Jehangir, Razia Sultan, etc etc and the Second group is that of Muslim society. Just for the sake of curiosity, I scanned the 5 volumes of HFGK and wrote down names of films made on Muslim subjects-both types. To my surprise,I could not go beyond even 50 films-from 1931 to 1980 !, Granting that I must have made a mistake in counting and identifying,since I do not know the story lines of every film, still the number will not go beyond 70-80 films, despite ruthless stretching !

The point I want to make here is that not many Muslim social movies are made in India ,over the years. One of the earliest such a film was Najma-43,I think. One very very explosive Muslim social film,made by Director Mehboob was “Elan” in 1947. Munawar Sultana was the lead actress in it. Before starting the shooting, Mehboob called her and said,” You have heard the story,it is a very very hot story.I guess there will be a lot of opposition from our fundamentalist people. You may have to face their ire. may be you will be attacked or thrown out of the society. But remember,I am doing this film,because I want our people to improve on par with others. If you want,you can reject the film even now. Think and tell me before we start shooting. “Munawar Sultana quickly said,”There is no need to think. I want to do this film. I am not afraid of anyone. I have full faith in you.” After release,the film did evoke violent reactions from a section of the Muslim society but it subsided slowly. Before Partition, Fazli brothers were known to make Muslim social films.

Some other Muslim socials I remember are Zeenat,Dil hi to hai,Bahu begum,Dastak,Garm hava,Bazar,Anjuman,Naseem, the Triology by Khalid Mohammed-Mammo-Sardari begum and Zubeida, Fiza,Junoon,Benazir,Gazal,Chhote nawab.Then there were Barsaat ki raat,Nikah,Shatranj,mehboob ki Mehendi,Umrao Jaan,Paakiza,Mere mehboob,Chaudhavi ka chaand,Anwar, My name is Khan,Bombay etc. Surely,there must be many more than what I have mentioned. I am not counting Historical films as they are not socials.

Being from Hyderabad, when it was a Nizam ruled state, I had a closer view of Muslim culture and even had some close Muslim friends in school and college. Though my early education in the 40s was in Urdu, over a period, I have lost the touch with Urdu- may be due to ‘ atrophy of disuse’ !
When I learnt that one of my friends, Shri P Kamalakar aka Kamlakar Pasupuleti, has written a book on Muslim films, I was very eager to have a copy. Last week I got my copy of his book ” Forgotten movies on Muslim Culture 1933-1947 “.

The book is an authentic chronicle of 30 films made on Muslim culture- social, historical and costume dramas based on imaginary events and stories. Kamlakar ji is an Urdu Scholar and had a superb enviable collection of film materials in Urdu, which he collected during his early life in Hyderabad. Now, he has been settled in US for a very long time. He has earlier published 2 books, based on this material, which are real Gems for students of old films, like me.

This new book too is exclusively based on documents like film booklets, reviews and News items in papers, books etc, all in Urdu. All this makes the book very well documented and authentic too. This is a treasure trove of early Indian movies, fit to be preserved for posterity. The original Urdu material is also given in the book.

Today I have selected a song from one of the films discussed in this book,namely, Arab ka sitara-46. Though the book’s title says 1933 to 1947, only one film of 1947 (Mulaqat-47) features in this book. As far as my information goes, films like Abida, Dard, Ek Roz, Elaan, Gul e Bakavli, Hatimtai, Kasam and Mirza Sahiban, all made in 1947, were also with Muslim culture background. These films do not feature in this book. One reason could be that due to Partition-pre and post activities, most films, passed by Censors in 1947 could not be released in 1947 itself for obvious reasons. Obviously, there were no reviews, articles or comments etc on these films in the newspapers. All these films got released in 1948 and thus are not included in this book. Of course, this is my surmise, based on facts.

I know for sure that the most famous and daring Muslim culture film ” Elaan” was censored in 1947 on 11-3-1947 ( certificate no. 35351) but was actually released only on 20-2-1948 in Super Cinema, Bombay. I thank Harish Raghuwanshi ji to confirm my surmise by facts, within lightning time, after my query today itself.

In any case, the book is not without errors. No book is without errors-in this subject- including my own book also. This is because, history and facts get updated every now and then, with newer evidence coming to light through many sources.

Film Arab ka sitara-46 was directed by Nanubhai Vakil. He was the fittest person for such type of B and C grade costume dramas- in which he specialised. It is no surprise that in his 20 Silent and 70 Talkie films just ONE film was a social film-Kya yeh Bambai hai-1959.

Nanubhai Vakil was born in Valsad in Gujarat in the year 1904. In his family there were many Advocates including his father,so their family name itself became Vakil, instead of their original surname Desai. Nanubhai came to Bombay to study Law. He completed his B.A. LL.B from Wilson College, Bombay but he did not join his family profession. Instead he was attracted towards the film world.

He joined Sharada films as a screenplay writer and later joined Ranjit films as a Director. He directed 18 silent films for Ranjit studios. However, it was Sagar Movietone which gave him the first opportunity to direct his first Talkie film. It was the First Gujarati Talkie film, “Narsimh Mehto” in 1932. After this there was no looking back. He opted for and became an expert in directing only Fantasy,Stunt and Costume films.

In his career from 1929 to 1973 period,he directed 20 silent and 70 Talkie films -all stunt and fantasy films, except one social film Kya yeh Bambai hai in 1959.

He was associated with Mohan pictures for a long time and directed 18 films for this company. During this period he also married his Heroine Sarojini ( real name Roshan Jehan alias Ranee). They had one daughter-AZRA, who too became an actress. Sarojini was actress Indurani’s elder sister.

Unlike most of his colleagues ,who had no formal school education ,Mr Vakil was highly educated ,being B.A.L.L.B. in those days.Since beginning,he was attracted to Fantasy & Arabian Night movies.He believed that,the audience visits the cinema hall, to experience some thing,which he has not seen in his real life. He wants to be entertained & to forget the harsh realities of the outer world. Fantasy/ Costume movies transports him to an imaginary world of King & Queens, where beside the crafty Vazir, he finds gorgeous girls dancing, the handsome,manly & brave hero,rescues the pretty damsel from the clutches of evil magician. The movie comes to an end and the viewers come out from the theater,happy & satisfied, since evil doers have been eliminated & brave man living happily with the petite gal, in their fairy land.

Bulbul E Bagh,Rashk E Laila, Fakhr E Islam, Gulshan E Alam, Kumud Kumari were his earlier movies. In 50s & 60s,few of his movies were,Shan E Hatim, Khul Ja Sim Sim, ShanE Khuda, Idd Ka Chand, Noor Mahal, Flying Rani, Alam Ara Ki Beti, Bansri Bala, Hatim Tai Ka Beta etc.He made remakes of many movies like Lal E Yaman, Alam Ara (Twice in 1956 & !973) & Hatim Tai Ki Beti in 1940 & 1955.During his five decades long career,he made movies with in a small budget ,with less paid actors. Nanu Bhai Vakil had two productions Companies viz Desai Films & Vakil Production. All his movies had no connect with the present. Elite & pseudo intellectuals avoided to even discuss his movies, but Vakil Sahab had a dedicated audience consisting of common public,less privileged & so called front benchers,who enjoyed his brand of cinema.

His films included less known stars like Sarojini, Navin chandra, Rafiq, Prakash, Gulnar, Daljit, Chitra etc. He also worked with Zubeida, Yakub, Jal Merchant,Jaddanbai,Shanta Hublikar, Nimmi, Veena, Jairaj, Shakila,Nirupa Roy, Nadira, Mehmood, Shobhana Samarth, Nirmala,her husband Arun Ahuja etc. His MDs were also little known. However, Music Director A.R.Qureshi ( the famous Tabla Nawaz Alla Rakha-father of Zakir Hussain) gave music to his 18 films.
He never mixed with film folks and spent his life aloof. He quietly died on 29-12-1980 at Bombay.

The story of film Arab ka Sitara-46 ( as given in the book) was…….

Anwar is a devout Muslim following 5 times Namaz, without fail. From a common soldier, he becomes Commander in Chief and then the king of his state. He is advised by his Vazier to go to neighbouring country to spread Islam. Accordingly, Anwar reaches that kingdom. Here he falls in love with the Princess Arifa. In his love she converts to Islam. When the king comes to know this, he arrests Arifa and Anwar. When Anwar is tortured for days, he exhibits his immense faith on Islam and The Allah. The king is impressed and he too coverts to Islam. Arifa and Anwar are married. Anwar forgets his 5 times Namaz in his joy and is punished immediately.

The Prime Minister rebels and with an army to support him, arrests Anwar, Arifa and the King. In the jail, Anwar starts his 5 times Namaz. A good hearted Namazi frees them. Anwar realises his mistakes and all of them strictly follow 5 times Namaz. All obstacles are removed, the rebels run away from the kingdom. The King is reinstated and all the kingdom is converted to Islam, thus Anwar proves the power of Namaz.

The cast of the film was Amirbai Karnataki, Prakash, Cuckoo, Rafiq, Ansari, Agha Shapoor etc etc. The song is sung by Rafi and Amirbai Karnataki with gusto and it had become quite popular among the Muslims in that period.


Song-Macha di dhoom duniya mein Islaam ke deewanon ne (Arab Ka Sitaara)(1946) Singer-Rafi, Lyrics-Shewan Rizvi, MD-S Qureshy
Rafi + Amirbai Karnataki

Lyrics

Macha di dhoom duniya mein
Macha di dhoom duniya mein
islaam ke deewaanon ne
Macha di dhoom duniya mein
islaam ke deewaanon ne
Macha di dhoom duniya mein

haan aan aan aan
mita ke kufr ki hasti
ee ee ee ee ee
basa ke ae
jalwon ki basti
ee ee ee
haan aan aan aan
mita ke kufr ki hasti
ee ee
basa ke ae
jalwon ki basti
ee ee ee ee ee ee
jala di noor ki shama
jala di noor ki shama
tauheed ke parwaanon ne
jala di noor ki shama
tauheed ke parwaanon ne
Macha di dhoom duniya mein
islaam ke deewaano ne
Macha di dhoom duniya mein

haan aan aan aan
jhanda ye sabz rang ka
aa aa aa aa
bajta hai jiska danka
aa aa aa
jhanda ye sabz rang ka
bajta hai jiska danka
aawaaz sun ke jiski
dhun sabko laagi rab ki
aawaaz sunke jiski
dhun sabko laagi rab ki
aawaaz sunke jiski
dhun sabko laagi rab ki
padha kalma Muhammad ka
padha kalma Muhammad ka
insaanon ne be-deenon ne
padha kalma Muhammad ka
insaanon ne be-deenon ne
macha di dhoom duniya mein
islaam ke deewaanon ne
macha di dhoom duniya mein

haan aan aan aan aan
zameen pe jab hua gul
la ilaaha il lallah
sitaaron se jawaab aaya
Muhammad ya rasool allah
kya
macha di dhoom duniya mein
macha di dhoom duniya mein
islaam ke deewaanon ne
islaam ke deewaanon ne
islaam ke deewaanon ne
macha di dhoom duniya mein
islaam ke deewaanon ne
macha di dhoom duniya mein


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 : 3885 Post No. : 14912

Today’s song is a rare song( difficult to get) from film Bhanwara-44, starring K L Saigal.

I have been writing on old films and its music since more than 6 years now, but I have never written on any song of a film featuring Saigal and his songs. I had never planned it that way. Actually, I am also a fan of Saigal. Probably it so happened that I found that there were “better’ people to write on Saigal and I coolly left it at that. Our Sudhir ji has done great justice to Saigal songs- film and Non film- with his detailed and emotional articles. These were lapped up by our readers and praise was heaped on every article of his on this topic. Comments on those songs are a testimony to this.

Now there are no Saigal songs left in any film uncovered nor are there any of his popular films without full coverage of all songs. However, few films have few other non K L Saigal songs still to be covered. Today’s song is one such song. This song is a rare song, opines Sadanand ji – the uploader of this song.

K L Saigal (11-4-1904 to 18-1-1947) started his film career with Muhabbat ke aansoo-32 and ended it with Parwana-1947. Most of his career was pursued in Calcutta, primarily with New Theatres and at the end of his life, he did 7 films in Bombay. 2 films each had music by Khemchand Prakash and Lal Mohammed, and 1 film each by Gyan Dutt, Naushad and Khursheed Anwar.

Film Bhanwara-44 was a quickie made by Ranjit within a span of just 9 days, using up the balance period days of Saigal’s contract with Ranjit. The film was directed by his old friend Kidar Sharma. The film had music by Khemchand Prakash. The songs were written by Kidar Sharma, Swami Ramanand and Pt. Indra. The cast of the film was Saigal, Arun Ahuja, Kamla Chatterjee, Monica Desai, lala Yaqub, Brijmala, Kesari etc etc.

Arun Ahuja was a favourite of Sagar, Mehboob and Ranjit. His real name was Gulshan Singh Ahuja-born on 26-1-1918. He was a science graduate from Lahore in 1937. Director Mehboob was interviewing candidates for his new film. From among the shortlisted 100 candidates, Mehboob was impressed with the personality of Arun Ahuja and he was selected to be one of the Heros in film Ek hi Rasta-1939, made by Mehboob for Sagar Movietone. In this film Arun even sang a duet with Maya Banerjee. The film was so successful that Arun became a Hit Hero overnight. Next came Civil marriage-40, Bhole Bhale-40 and his life’s best film Aurat-40

In 1942, while doing film Savera with a new comer Nirmala, he fell in her love and they got married. Arun went on doing roles in about 30 films in his career till his last film Aulad-54. He had produced a film, which was a total flop. He had heavy loss and had to sell off his Bungalow in Bombay and go to a chawl in far off suburb-Virar to live in a rented flat. Arun had 3 daughters and 2 sons- actor/producer Kirti kumar and superstar Govinda. To maintain family, his wife acted and sang in stage shows till her last. Arun Ahuja died on 4-7-1998.

Film Bhanwara had a one film old Heroine Monica Desai- who was called from Calcutta by Kidar Sharma. He knew her well earlier,from Calcutta.
Monica Desai was a famous Indian actress during 1930’s and 40’s. She was the daughter of Dr. Umedram Lalbhai Desai and Satyabhama Devi, a well-known musician of the early 20th Century. Her father was a Gujarati, and her mother hailed from Bihar. Her father who was a reputed Doctor of that period died in the year 1930.
Monica Desai first worked for Bangla movie ‘Nimai Sanyasi’ which released in the year 1940. She was an actress who represented the era of upcoming character actresses like Leela Mishra, Ram Dulari, who made debut along with her and later ruled the Indian screen.

Monica Desai acted under the direction of Phani Majumdar and Kidar Nath Sharma. She did not concentrate much on acting as she got married to Phani Majumdar, a pioneering Indian film director, who worked in Hindi cinema. Phani Majumdar is known for Meena Kumari’s classic film ‘Aarti’ (1962), and ‘Oonche Log’ (1965). Monica Desai had a sister named Leela Desai, who was a renowned actress in Hindi and Bengali cinema. Leela Desai has even acted in the film ‘Kapal Kundala’ (1939) directed by Phani Majumdar. After completion of the venture, Phani Majumdar married Monica Desai.

Monica acted with Prithviraj Kapoor in her career, in film Gauri. ‘Gauri’ was an Indian Bollywood film that was the seventh highest grossing Indian film of 1943 and this established Monica Desai as an actress. Later, she featured in a film ‘Devdasi’ as a heroine that was also top seven grossing film at the Indian box office in 1945. She appeared in the film ‘ Chitralekha’ which was the second-highest grossing Indian film of 1941, in this movie, she portrayed the character of Yasodhara.

This film also was a debut film for actor Bharat Bhushan, who later achieved fame with ‘Baiju Bawra’ (1952). Monica Desai had also acted with a legendary actor and singer K. L Saigal.

Monica worked in only 9 Hindi films- Qaidi-40, Chitralekha-41, Bhakta Surdas-42, Gauri-43, Bhanwara-44, Lakharani-45, Devdasi-45, Rangeen Zamana-48 and Vikram Shashikala-49.

The screenplay and direction of Bhanwara-44 was by Kidar Sharma. This was a social comedy film. Saigal was never known for comedy acts. In fact, it was a new experience for him, since this was only a comedy dominated love story without any sad songs-hallmark of Saigal’s popular songs,done by him so far.

Saigal shifted to Bombay in December-1941 for two reasons. One- Ranjit had offered him a very lucrative offer ( One lakh per movie, according to one source) and secondly most of his friends like Prithviraj kapoor, K N Singh, Kidar Sharma etc had shifted to Bombay. Further, the atmosphere in New Theatres was nowadays polluted and vitiated with Ego clashes, financial difficulties and new entrants to replace the vacancies. Saigal was uncomfortable with all this.

In Bombay, Saigal met all his old friends and he had a gala time with them. In 1944 itself he went back to Calcutta to complete film ‘My Sister’. Then again he went in 1945 to do film ‘Kurukshetra’. This was perhaps his last visit, as he became very busy in 45 and 46 in Bombay. In early 1947, in his visit to his hometown, Saigal breathed his last, luckily amidst his family members.

Bhanwara-44 was a story of two friends- Pancham (Saigal) and Rikhab (Arunkumar Ahuja), who come to Bombay in search of employment. The chawl where they stay,in single room tenements, has a pair of sisters, Indu(Monica) and Bindu(Kamla Chaterji). Indu happens to work as a teacher in the same place where Pancham is working as a Music and singing teacher. They fall in love. His friend Rikhab loves Bindu but is too shy to express his love. In this, he is assisted by his neighbour friend Pehelwan (Lala Yaqub). With his help, Rikhab develops a great body and finally wooes his ladylove. At the end, both the couples unite happily. The film was full of comic sequences, particularly with Arun Ahuja and Bindu. All in all, it was a hilarious movie.

The film had 11 songs. 7 songs are already discussed here. The remaining songs are difficult to get as they are not uploaded on the Net yet, Record collectors, of course, have them. Today’s song is also one such rare song. It is a duet of Amirbai and Arunkumar Mukherjee.

This song can be considered an example of an unusual coincidence. It is like Shyamkumar singing for Shyam in Dillagi. This song is an example of an even rare coincidence. This song finds one Arunkumar (Mukherjee) singing for another Arunkumar (Ahuja)…..and a third Arunkumar
(Deshmukh) writing about it !


Song- Mann ki baazi haar chuke to preet ki baazi jeet (Bhanwra)(1944) Singers- Amirbai Karnataki, Arun Kumar Mukherji, Lyrics- Kidar Sharma, MD- Khemchand Prakash
Both

Lyrics

Mann ki baazi haar chuke to
preet ki baazi jeet
Mann ki baazi haar chuke to
preet ki baazi jeet
jeet mein haar
haar mein jeet
jeet mein haar
haar mein jeet
ye preet ki ulti reet
preet ki ulti reet
saajan ki har baat niraali
ee ee
ee ee

saajan ki har baat niraali
ee ee
ee ee

chitwan ki
ee ee
chitwan ki har aas niraali
ee ee

ee ee
ee ee

chitwan ki
ee ee
chitwan ki har aas niraali
ee ee

ee ee
ee ee

khel raha hai aankh michauli
aankh michauli
michauli
michauli
aankh michauli
michauli
michauli
khel raha hai aankh michauli
man se man ka meet
jeet mein haar
haar mein jeet
jeet mein haar
haar mein jeet
ye preet ki ulti reet
preet ki ulti reet

phir aayin ghanghor ghataayen
aen aen
phir aayin ghanghor ghataayen
aen aen
mor papeehe shor machaayen
ae ae ae ae
mor papeehe
mor papeehe
mor papeehe
shor machaayen
phooli nahin samaati kaliyaan
sun bhanwron ke geet
phooli nahin samaati kaliyaan
sun bhanwron ke geet

jeet mein haar
haar mein jeet
jeet mein haar
haar mein jeet
ye preet ki ulti reet
preet ki ulti reet

man ki baaazi ee


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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3782 Post No. : 14762

Today’s song is from the film Gunsundari(1948). It was a bilingual movie in Gujarati and Hindi, made by Ajit Films-a cover company of Ranjit Movietone.

This film was the third Avatar of the same story with same title. First time, Chandulal Shah wrote the story of the film, based on a famous Gujarati drama,”Sangeet Leelavati”, which had appeared in the first decade of the twentieth century. It was written by Keshavlal Bhojak. Chandulal Shah directed the silent film Gunsundari-1927, made by Kohinoor Film company. The cast included Miss Gohar, Raja Sandow and Rampyari in the lead. This silent film was remade in 1934 as a Talkie film ” Gunsundari’-1934, with the same story and same cast. Like the first silent film, even this edition was a hit film.

In the initial stage of Ranjit Movietone, Gunsundari-34 was a Milestone and gave the company the much needed money and stability. Incidentally, after this film, Chandulal and Gohar Mamajiwala came closer and stayed together till Chandulal’s death.

In 1946-47, when Ranjit Movietone came into financial difficulties ( Chandulal Shah had lost 1.25 Crores in one day in Satta Bazar ), it was ‘Gunsundari’ again which was thought of as a saviour. This time, however, the film was made by a cover company of Ranjit- Ajit Chitra, and was directed by Ratilal Punatar, nephew of Chandulal Shah. The set of actors also changed as Gohar had not only stopped acting, but had passed the age and glamour of a Heroine, by now.

A new Heroine- Kokila Balsara was selected as Heroine. She was renamed as Nirupa Roy. This was her first film as a Heroine. The Hero was Manhar Desai. He was actually a Christian- Malcolm Alfredo D’souza. This was his first film with Nirupa Roy. Later, the pair featured in many films-mostly Mythologicals. In Hindi films, it is a miracle that two Christian actors- Manhar Desai and Shahu Modak, became famous by doing Hindu God’s roles in Hindi films. This also confirms that our Film industry was truly a Secular one.

Due to the Partition, Independence etc, film Gunsundari got delayed. Meanwhile Chandulal started another film Lakhon mein ek-47, with Nirupa Roy as the Heroine. This film was released first and for Nirupa Roy, it was on record as her Debut film as a Heroine. As expected, Gunsundari-48 which was made in Gujarati and Hindi, became a hit film in both languages. Nirupa Roy’s acting was appreciated by one and all…including the impossible Baburao Patel of Film India. Gujarati people spread all over India loved the film, as it was shown to be a story happening in a Gujarati family.

The story of Gunsundari was very simple. A simple village girl is married to a rich, educated and modern boy. He does not like this villege belle and keeps off her, spending his time with a professional singer. The film showed how the heroine gets herself educated and becomes modern. At the same time she serves her in laws in traditional ways, winning their hearts and support. In the end, the husband realises his folly and she wins him back completely.

Indian film audience of India is unusual. They are not tired of repetition of popular stories and themes rather they take pleasure in repeat viewing. Therefore a popular theme gets made as a film again and again. This is exactly what happened in case of Gunsundari.

There are several examples of popular films made with same story and same title.

Gunsundari- 1927, 1934 and 1948 ( Gohar in first 2 films)
Devdas- 1934 (Bangla), 1935 (Hindi) and 1955 ( I am not counting Shahrukh’s film)
Anarkali- 1928, 1935 and 1953 ( Sulochana-Ruby Myers- acted in all three. In the first two films, she was Anarkali. In the third, she did a character role.)
Khazanchi-1941 and 1958 ( Manorama acted in both films.)

Off hand, I remember only these films, where the story and Title was same. There may be more such cases.

There are umpteen number of film remakes on the same story, but with different Titles and casts. Some examples I remember at this moment are.

Aurat-40 and Mother India-57 ( Kanhaiyalal acted in both versions).
Mala-41 and Amar-54 (Jayant acted in both. Naushad gave music to both)
Grihasthi-48 and Ghar basake dekho-63
Malkin-53 and Biradari-66
Geeta-40 ( Chandramohan did double role of Father and son) and Ustad-57 (Ashok kumar did the double role) and Karmyogi-78(Rajkumar did double role)
Sangram-50 and Shakti-82
Kismet-43 and Bandhe Haath-73
School Master-59 and Zindagi-76 and Baadbaan-2003

There are many such remakes and the list would be too long. This only proves that a popular theme/story is worth in remaking a film.

Why does this happen. Are there shortage of stories ?

In 2004, a book called “Why we tell stories’, written by Christopher Booker was published. It is a book having more than 700 pages-728 pages to be exact. The book says “There are only 7 (Seven) basic plots in the whole world. They are recycled again and again in Novels, movies, Plays and Operas. These are

1.Overcoming the Monster
2.Rags to riches
3.The quest
4.Voyage and return
5.Rebirth
6.Comedy and
7.Tragedy .

After this book was published, there was a chaos and criticism started. ‘New York Times’ also jumped in. The author coolly replied all points and stuck to his statements. If we look at Hindi films, I personally feel that what the author has said is true in our case. Only thing is that our film stories are always a clever mixture of all or some of the above points.

Coming back to today’s song, it is a lovely song by Amirbai. There were 3 MDs-Bulo C Rani, Hansraj Bahl and Avinash Vyas. For 14 songs, 5 singers were used. Sadly, some of the songs ( including today’s song) are not credited to any of the 3 Music Directors. Also we do not know the lyricist’s full name .

After listening to the song, I find it has lot of similarity to Nurjehan’s song from film ‘Dost’-44- Badnam muhabbat kaun karen, aur ishq ko ruswa kaun kare. Just like Sajjad Hussain used a pause after the word ‘badnaam’, in Nurjehan’s song to get a special effect, in today’s song also there is a pause after the word Ármaan’. However, the same magical effect is not achieved. Afterall original is original !


Song-Tumse muhabbat kaun kare armaan pareshaan kaun kare(Gunsundari)(1948) Singer- Amirbai Karnataki, Lyricist- Sharma

Lyrics

Tumse muhabbat kaun kare
armaan pareshaan kaun kare ae
Tumse muhabbat kaun kare
armaan pareshaan kaun kare
ummeed se hansti duniya ko
ummeed se hansti duniya ko
pal bhar mein biyaanbaan kaun kare ae
tumse muhabbat kaun kare
armaan pareshaan kaun kare

jab jaan ki dushman ulfat hai
jab jaan ki dushman ulfat hai
aur pyaar hai dushman raahat ka
aur pyaar hai dushman raahat ka
aap hi apne haathon se
aap hi apne haathon se
phir maut ka saamaa kaun kare ae
tumse muhabbat kaun kare
armaan pareshaan kaun kare

kyun tumse aankhen chaar kare
kyun tumse aankhen chaar kare
kyun ulfat ka iqraar kare
kyun ulfat ka iqraar kare
chitchor ko dil ki nagri ka
chitchor ko dil ki nagri ka
betaur(??) nigehbaan kaun kare ae
tumse muhabbat kaun kare
armaan pareshan kaun kare

har waqt labon par aahen hon
har waqt labon par aahen hon
aur haath kaleje par hi rahe
aur haath kaleje par hi rahe
din raat lahu ke ashq baha kar
aankhon ko veeraan kaun kare
din raat lahu ke ashq baha kar
aankhon ko veeraan kaun kare ae
tumse muhabbat kaun kare
armaan pareshaan kaun kare ae
tumse muhabbat kaun kare
armaan pareshaan kaun kare


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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

3780 Post No. : 14760 Movie Count :

4036

Do you like Magic ?

I do.

Most people like magic. Right from our childhood, we have been reading stories of Magic. Good Magicians. Bad Magicians. Most fairy tales are full of magic. Magic is the escape route for the aggrieved and stressed mind. Even when we grew up,how we wished that we could do some magic and achieve what we wanted or solve the distressing problem !

Not only Children’s books, but even Mythological stories are full of Magic. No God is a God if he does not do Magic ! Every adult has a child hidden in him. Magic satiates the child’s desires. Days of real Magic were imaginary, but stage Magicians created sleight of hand shows, Hypnotism, Illusions and clever tricks on the stage to make a smart substitute for real magic.

At the same time, film makers took up interesting magical stories like Alladin to make films for their audience. Alladin, Gul e Bakavli and stories of their ilk entertained not only the children, but also adults, who lapped them up. From the Film Title Index of Hamraz ji, I counted about 36 films with the word Jadu in its titles, Magic in 10, Ram in 25, Krishna in 23, Shree in 36. Add to this, films made with other alphabets on the various saints, Gods, Satis, Matas and Bhagwan etc etc. During the 10 years period from 1950 to 1959 alone, 124 Mythological films were made !

This only shows that films having Magic were a popular brand and so ‘C’ grade films like Jadui Angoothi, Jadui Shehnai, Jadui Chitra, Jadui this and Jadui that etc were made.

One of these magic films was Jadui Bansari-48, made by Mohan Pictures-known for quickies and C grade stunt/action and fantasy films. It was directed by Nanubhai Vakil and the music was by Damodar Sharma. Lyricist was Roopbani and the cast was Amirbai Karnataki, Prakash, Ansari, Master Bachha, Anwari and others.

Talking of C grade Action,Historical, Fantasy and Costume films, in India ( and probably elsewhere in the world), there was a class of people, who not only liked these types of films but also were addicted to them. People went to theatre to forget the daily troubles of living a life and to enjoy few moments. For this purpose some people liked music, some liked emotions, some tragedy and yet some comedy. Films were made to cater to every type of audience. Due to this “speciality” actors were identified and thus we had Comedians, Tragedy Kings and queens,Great actors,Great singers and also Great Fighters.

Normally the shift of any actor from one Genre to the other was not acceptable to the audience. That is why, when the Romantic Hero of the late 30s and the 40s-Ashok Kumar acted as King Humayun and ran ( in a feminine style) with a spear in hand, in the film Humayun-1945, the audience ridiculed and laughed at him in the Theatres ! Even when Master Bhagwan acted in a serious role, the public used to laugh treating it as a comedy. Trilok Kapoor never succeeded in a social film. Of course there were some exceptional cases like actress Meena Kumari who changed over from Mythological films to social films and became No 1 star ultimately. But this was a rare and exceptional case.

Not only actors, even Directors and Producers were known for the specialities of films they made. Those who excelled in C grade films rarely tried their hand at other Genres and when they did try, they failed miserably. Here again is an exception in the form of Master Bhagwan-who transitioned from Action film to social films with his “Albela”-1951 and succeeded with this film but all his subsequent films flopped. This was because “Albela” succeeded due to extraordinary music, which could never be replicated in any of his subsequent films that followed.

There was, however one Director who was comfortable with C grade films of Magic, Action, Costume, Fantasy etc. NANUBHAI VAKIL.

Nanubhai Vakil was born in a Desai family of Valsad in Gujarat in the year 1904. In his family there were many Advocates including his father, so their family name itself became Vakil. Nanubhai came to Bombay to study Law. He completed his B.A. LL.B from Wilson College, Bombay but he did not join his family profession. Instead he was attracted towards the film world.

He joined Sharada films as a screenplay writer and later joined Ranjit films as a Director. He directed 18 silent films for Ranjit studios. However, it was Sagar Movietone which gave him the first opportunity to direct his first Talkie film. It was the First Gujarati Talkie film, “Narsimh Mehto” in 1932. After this there was no looking back. He selected and became expert in directing only Fantasy,Stunt and Costume films.
In his career from 1929 to 1973 period,he directed 20 silent and 70 Talkie films -all stunt and fantasy films, except one social film Kya yeh Bambai hai in 1959.

He was associated with Mohan pictures for a long time and directed 18 films for this company. During this period he also married his Heroine Sarojini ( real name Roshan Jehan alias Ranee). They had one daughter-AZRA, who too became an actress. Sarojini was the sister of Indurani, who was married to Ramnik Shah, owner of Mohan Pictures. Thus Ramnik and Nanubhai were ‘Sadu’s ( Co-Brothers).

Unlike most of his colleagues ,who had no formal school education ,Mr Vakil was highly educated, being B.A.L.L.B. in those days. Since beginning,he was attracted to Fantasy & Arabian Night movies.He believed that,the audience visits the cinema hall,to experience some thing,which he has not seen in his real life.He wants to be entertained & to forget the harsh realities of the outer world.Fantasy/ Costume movies transports him to an imaginary world of King & Queens,where beside the crafty Vazir,he finds gorgeous girls dancing,the handsome,manly & brave hero,rescues the pretty damsel from the clutches of evil magician.The movie come to an end and the viewers come out from the theater,happy & satisfied,since evil doers have been eliminated & brave man living happily with the petite gal,in their fairy land. Bulbul E Bagh,Rashk E Laila,Fakhr E Islam,Gulshan E Alam,Kumud Kumari were his earlier movies.

In 50s & 60s, few of his movies were, Shan E Hatim,Khul Ja Sim Sim,ShanE Khuda, Idd Ka Chand,Noor Mahal,Flying Rani,Alam Ara Ki Beti,Bansri Bala, Hatim Tai Ka Beta etc..He made remakes of many movie like Lal E Yaman, Alam Ara (Twice, in 1956 & !973) & Hatim Tai Ki Beti in 1940 & 1955. During his five decades long career, he made movies with in a small budget, with less paid actors. Nanu Bhai Vakil had two productions Companies viz Desai Films & Vakil Production. All his movies had no connect with the present. Elite & pseudo intellectuals avoided to even discuss his movies, but Vakil Sahab had a dedicated audience consisting of common public,less privileged & so called front benchers,who enjoyed his brand of cinema.

His films included less known stars like Sarojini, Navin chandra, Rafiq, Prakash,Gulnar,Daljit, Chitra etc. He also worked with Zubeida, Yakub, Jal Merchant,Jaddanbai,Shanta Hublikar, Nimmi, Veena, Jairaj, Shakila,Nirupa Roy, Nadira,Mehmood,Shobhana Samarth, Nirmala,her husband Arun Ahuja etc His MDs were also little known. However,Music Director A.R.Qureshi ( the famous Tabla Nawaz Alla Rakha-father of Zakir Hussain) gave music to his 18 films.

He never mixed with film folks and spent his life aloof. He quietly died on 29-12-1980 at Bombay.

Actress Anwari, who acted in film Jadui Bansari-48, was from a Tawayaf family of Lucknow. She started her acting career with film Heer Ranjha-32 and then she acted in film Pooran Bhagat-1932, along with K L Saigal. She joined East India Film co. and worked in films likeAurat ka pyar-33,Night Bird-34, Nagin-34 and Mumtaz Begum-34. She had also acted in another NT film Chandidas-34. She shifted her base to Bombay and worked in several films for next four decades. Her last film was Chaitali-1975. In all she did 140 films. She was known as ‘ Pride of Lucknow’ during her peak period. She was credited variously as Anwari Begum, Anwari, and Anwari bai. She expired somewhere in early 80s.

Among the old era MDs, Damodar Sharma was different, in the sense that his songs were always unlike those of his contemporaries. When you hear today’s song, you will notice that difference. From 1934 to 1948, he gave music to just 41 films. All his films were C grade films made by Paramount, Liberty, Ramnik Productions, Mohan Pictures and others. After 1948, he stopped getting films, so he worked as assistant to MD A.R.Qureshi till 1964. Today’s song is sung by Amirbai Karnataki and A.R.Oza.

Amritlal R. Oza was a Nagar Bramhin from Gujarat. He joined Ranjit when Khemchand Prakash, Gyan Dutt and Bulo C Rani were paid musicians there. His first song came in Pujari-46. He was very friendly with Bulo C Rai and Hansraj behl. He sang maximum songs for them only. At the same time he sang in Gujarati films and he became very famous and popular there.

Some Hindi films in which he sang are, Lakhon mein ek-47, Nanad Bhojai-48, Bichhade Balam-49( he sang with Meenakumari also), Bhool Bhulaiyan-49, Nili-50 etc. He sang 39 songs in 23 Hindi films,but sang much and many more in Gujarati. After retirement he settled in Ahmedabad, where he died on 13-5-1985.

Let us now enjoy this fast paced lovely duet from Film Jadui Bansari-48, which makes its Debut on the Blog.


Song-Ghar ghar yahi prachaar karo (Jaadui Bansari)(1948) Singers- Amirbai Karnataki, A R Oza, Lyrics- Roopvani, MD- Damodar Sharma
Male chorus
All together

Lyrics

Ghar ghar yahi prachaar karo
duniya waalon pyaar karo
Ghar ghar yahi prachaar karo
duniya waalon pyaar karo

pyaar se jab dil milte hain
pyaar se jab dil milte hain

man ke kamal tab khilte hain
man ke kamal tab khilte hain
jeet karo ya haar karo
jeet karo ya haar karo

duniya waalon pyaar karo
duniya waalon pyaar karo
Ghar ghar yahi prachaar karo
duniya waalon pyaar karo

apna kaho to apna jaano
preet ki reet ko tum pehchaano
apna kaho to apna jaano
preet ki reet ko tum pehchaano
sabse naina chaar karo
sabse naina chaar karo

duniya waalon pyaar karo
duniya waalon pyaar karo
Ghar ghar yahi prachaar karo
duniya waalon pyaar karo
Ghar ghar yahi prachaar karo
duniya waalon pyaar karo

hamne dekho
hamne dekho pyaar kiya hai
jooton(?) ka vyapaar kiya hai
hamne dekho pyaar kiya hai
jooton(?) ka vyopaar kiya hai

tum bhi ye vyapaar karo
tum bhi ye vyapaar karo

duniya waalon pyaar karo
duniya waalon pyaar karo
Ghar ghar yahi prachaar karo
duniya waalon pyaar karo
Ghar ghar yahi prachaar karo o


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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

3748 Post No. : 14711 Movie Count :

4019

Today’s song is from film Sati Toral-47. This film was made by Laxmi Productions, Bombay and was directed by Nandlal Jaswantlal. The music was provided by a team of Hari Prasanna Das and Manna Dey. The song is sung by Amirbai Karnataki and Manna Dey. The lyrics were by Miss Kamal, B.A. This 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 Administrative 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 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. Nandlal directed, in all, 24 films-5 Silent and 19 Talkie films. Some of his well known films were Indira M.A.-34, Bambai ki billi-36, Sati Toral-47, Sanam-51, Anarkali-53 and Nagin-56. (adapted from indiancine.ma)

Music Director Hari Prasanna Das or H.P.Das was born in Chitgaon, East Bengal, in 1905. He was a Bengali. He was assistant to Pankaj Malik in films Dushman and Kapal Kundala-1939. He gave music to Bangla film ‘ Nimai Sanyasi’-40, in which he gave singing opportunity to 20 year old young Hemant Kumar. 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.

The cast of the film was Shobhana Samarth, Prem Adeeb, Sankata Prasad, Jeevan, Badri prashad, Rehana and others. Sankata Prasad was the elder brother of more famous character actor Kanhaiyalal, who entered film line first as a Lyricist only. Born in Banares in 1903, Sankata came to Bombay and joined Sagar Film company in 1929. From the beginning, he was a fixture in almost every silent and Talkie film of Sagar Film company, Sagar Movietone, National Studios and lastly Amar pictures. After the last connection, he became a free lancer. To be noted is a fact that Sankata Prasad is the only actor who worked in all 3 First Talkie films of Sagar Movietone, namely Veer Abhimanyu, Romantic Prince and Abul Hasan. His last film was Do Mastane-58. He acted in 65 films,in all.

Film Sati Toral -47 was based on a Folk Tale of Gujarat. Folk Tales are stories passed through generations by telling. They are built around Fairy Tales, Tall tales, Trick tales, Myths and Legends. The base of Folk tales is a true historical event , person or a story. Folk tales of loving couples have been very popular and have been subjects on which films in almost every language are made. Stories of Heer Ranjha, Mirza Sahiban,Sassi Punnu, Sohni Mahiwal, Momal Rano, Dhola Maru,Prithviraj Sanyogita, Bajirao mastani, Laila Majnu, Salim Anarkali, Shahjehan Mumtaz Mahal etc. are famous folk tales of lovers and films are made on them.

Similarly, Mythology and religious books provide plenty of scope for Folk tales. Several films are made in several languages on the folk tales of Satis in Hindu religion. Actually, 44 Talkie films are made, whose Titles contain the word ‘Sati’. The more popular Folk tales are on Sati Anusuya, Parvati, Ahilya, Anjani, Madalasa, Narmada, Mahananda, Pingala, Renuka, Savitri, Seeta, Sulochana, Toral, Vaishalini, Vijaya and Vimala to quote a few. Maximum 7 films are made on Sati Anusuya. As if only Sati is not enough, there are films like Mahasati Anusuya, Behula,Madalasa,Maina Sundari, Savitri, Tulsi and Tulsi Vrinda. You really must appreciate the creativity of Hindi film makers.

Like lovers and Religious persons, there are folk tales of Historical persons too, Like Rana Pratap ( and his Horse Chetak), Akbar, Shivaji, Amar singh Rathod, Razia Sultan, Chandbibi, Jhansi ki Rani, Birbal and Tenali Raman. Films have been made on most of these too.

Coming back to Film Sati Toral-47, I have not seen this film in Hindi or Gujarati, So, I was looking for the story of Toral. I found one on Wiki. There is a slightly different ( in details) story written by Amrit Ganger ji, the famous author in English and Gujarati on cinema and history. He has won the Gujarat Sahitya Academy Award too. This story is available on tellmeyourstory.in, for those who are interested.( I am happy to note here that I know Mr. Gangar and he has gifted me his latest book ” Walter Kaufmann in India 1934 – 1946″ ). So, here is the Sati Toral story from Wikipedia…

” Jesal, a young Kutchi Rajput, was a dreaded dacoit.
His brother’s wife once chided him that if he was truly brave, he should prove it by stealing Toral, an extraordinary mare belonging to a Saurashtra king. In the process of stealing Toral, Jesal’s hand got caught in a nail and his agonised cries brought the king running outside.

Asked what he wanted, Jesal said “Toral”, not knowing that the queen too had the same name. The king, a devout daani (donor) who had sworn never to disappoint anyone, gave him three Torals – his queen, the mare and a sword by that name. But on the boat journey back home, Jesal realised that Toral was not an ordinary woman.

He was tormented by guilt at having taken away someone who, out of loyalty, did not even question her husband’s decision. It is said that the enlightened company of Queen Toral, remembered in Gujarati literature as a devotional poet who composed and sang songs, transformed Jesal completely and the two began spreading the message of God.

Their inseparable companionship as teacher and disciple is talked about, but in cautious tones. No one, not even the local scholars, wants to discuss the Jesal-Toral alliance as a man-woman relationship. “Even the Gujarati film Jesal-Toral did not suggest any such angle,” recalls photographer Vinay Thacker, who started his career in 1976 by selling photos of the twin samadhis outside the shrine.

However, people do accept their unusual affinity, which even death couldn’t change. It is said that when Jesal undertook samadhi, he called out to Toral from his grave to join him. Toral, who was travelling, heard his voice, came back to Anjar and immediately took samadhi.
Toral, the mare, too was buried outside the temple. A green and magenta chaddar now covers the equestrian grave. The destroyed roof of the shrine has been temporarily replaced with an asbestos sheet. ”

Today’s song is sung by Amirbai Karnataki and Manna Dey, with Chorus. HFGK does not indicate names of singers for this song, but the voices are unmistakable. This song is in Amirbai’s song list. Prof. Yadav, in his book ” फिल्म संगीतकार – सुवर्णयुगवाले” also mentions these two names for this song. This is quite a good song. “Sati Toral”(1947) makes its debut in the blog with this song.


Song-Chaar dinon ka hai ye mela re bhai(Sati Toral)(1947) Singer-Amirbai Karnataki, Manna Dey, Lyrics-Kavi Pradeep, MD-H P Das
Chorus

Lyrics

Chaar dinon ka hai ye mela re bhai
?? raha hai ??
hari ka sumaran kar le re
tera hoga bhala
mera hoga bhala

apne ?? ko bacha le
hai shaam ki bela
aur din dhala
khud ko kar de prabhu ke hawaale
door karega wo teri bala
apne man ka dhundhla darpan
apne man ka dhundhla darpan
tu hari bhajan se kar ujla
hari ka sumaran
prabhu ka sumaran
kar le re
tera hoga bhala
mera hoga bhala

ab to hari ko sumar le re bhai ee
saari umar toone yoonhi ganwaai ee ee
yoonhi ganwaai
tera prabhu tere bheetar chhupa hai
tera prabhu tere bheetar chhupa hai
tu apne man ka deepak jala aa

hari ka sumaran
prabhu ka sumaran
kar le re
tera hoga bhala
mera hoga bhala

ye duniya hai ek musaafirkhaana
yahaan ki dosti ka kya thhikaana
ye duniya hai ek musaafirkhaana
yahaan ki dosti ka kya thhikaana

aaj yahaan par hai rain basera
aaj yahaan par hai rain basera
kaun jaane kal kahaan ho dera
is zindagi ka kya bharosa
ye jal ki dhaara hai silsilaa(?)
hari ka sumaran
prabhu ka sumaran
kar le re
tera hoga bhala
mera hoga bhala

dil ka rakshak wo parmeshwar hai ae ae ae ae
unko is jag mein kiska darr hai
unko is jag mein kiska darr hai ae ae
kaun hai aisa ishwar ka banda
kaun hai aisa ishwar ka banda
ki jis ka sankat nahin tala aa

hari ka sumaran
prabhu ka sumaran
kar le re
tera hoga bhala
mera hoga bhala


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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3693 Post No. : 14608

Today’s song is from a film ‘Ek Hi Bhool’ from 1940. It was a film made by Prakash Pictures and was directed by Vijay Bhatt. The lyricist was ‘Anuj’ and the music director was the favourite of Prakash – Shankar Rao Vyas. The film’s cast was Jairaj, Mehtab, Umakant, Amirbai, Prahlad Dutt, Baby Meena (Meena kumari) and also a Dog called Tiger. (I always wonder when people can see that it is a dog, then why the owners name it as Tiger to mislead others ?).

Many people know that actress Mehtab was Sohrab Modi’s wife, having married him against opposition from all, on 28th April 1946. But most people do not know her background. Mehtab was born on 28th April, 1918 in Bombay. Her father Siddee Ebrahim Khan was the Nawab of Sachin (Surat, Gujarat). Her parents named her as Najma. She was the step sister of actresses Zubeida (‘Alam Ara’ fame), Sultana and Shehzadi. She studied up to intermediate. She was fluent in Urdu, Gujrati, English and Marathi. When her father – the Nawab – gave talaaq to her mother, her mother took her to Bombay where her sautan, Fatima, another wife of the Nawab was promoting her 3 daughters to become actresses. Fatima gave her refuge, solace and a promise to promote Najma also as an actress. Her career  started as child artist at the age of 12. She did 3 silent films, namely ‘Second Wife’ (1928), ‘Kamal e Shamsheer’ (1930) and ‘Sheroo Sainik’ (1931) – all  produced by her mother. Her first talkie film as heroine was Indian Arts Production’s ‘Veer Kunal’ (1932) through which she got her screen name Mehtab. Ashraf Khan was the hero of that film. Subsequently, Chandulal Shah signed her for two films viz. ‘Bhola Shikar’ (1933) opposite E Billimoria and ‘Ranchandi’ (1934) opposite Navin Chandra. None of these films did well, so her mother formed a film company of her own. Meanwhile, Mehtab had got married, at the age of 14 years only and had got a son from that marriage, Ismail. However, no film was completed under their company and they faced heavy losses. Moreover, Mehtab’s marriage also didn’t work out and she took divorce and won the custody of her son.

She started doing films in any role, not only heroine’s. After doing 19 films, she got a call from Calcutta. In 1940, she was offered a film named ‘Qaidi’ (1940) made by Film Corporation of India. Though she was not the leading heroine of the film but her acting was praised all over. She did 3 films in Calcutta. After ‘Qaidi’, she did ‘Masoom’ (1941). The banner signed her again as the heroine for their next film ‘Chitralekha’ (1941) in which she created a sensation overnight by doing a bathing scene aesthetically, something shown for the very first time in a Hindi film. Around 1941 to 1943, Mehtab was among the most famous actresses of Hindi films. Her next three films ‘Sharda’ (1942), ‘Chauringhee’ (1942), and ‘Bhakt Kabeer’ (1942) also proved to be hits.

In 1944, Central Studio signed Mehtab for their film ‘Parakh’ (1944). Sohrab Modi was directing the film. At the time of signing the contract, Mehtab told Modi that she had heard that he only took his own close-ups in his films and ignored the others. He told her that he wasn’t acting in that film. Thereafter, Sohrab Modi again took Mehtab as heroine in his film ‘Ek Din Ka Sultan’ (1945) opposite Wasti under his own banner Minerva Movietone. Slowly, Sohrab Modi fell in love with her and proposed to her. Mehtab agreed only on the condition that she would not leave her son Ismail. Sohrab didn’t find any problem in that and they got married on the birthday of Mehtab, 28 April 1946. Sohrab Modi’s family didn’t approve as they were Parsi and Mehtab was Muslim. Sohrab never interfered in Mehtab’s career or religion. Mehtab had a son from Modi named Mehli who was brought up as Parsi. Modi sent both the sons abroad to study.

Mehtab did few films after marriage like ‘Behram Khan’ (1946), ‘Saathi’ (1946), ‘Shama’ (1946). Her last major film was ‘Jhansi Ki Rani’ (1953). She did a small role in film ‘Samay Bada Balwan’ (1969). Sohrab Modi was the producer, director and the hero of the film. It was Sohrab’s first colour film. She acted in total 40 films.

Sohrab Modi died on 28 January 1984 due to cancer of the bone marrow. Mehtab’s both sons were settled abroad, though she spent her life in Cuff Parade, Mumbai till her death. She died on 8-4-1997. She was buried at the Bada Qabrastan, Marine Lines, Mumbai.

Another name one can see in the cast is that of Prahlad Dutt. He was actually a foreign trained photographer and cameraman, and an expert in trick photography. He was working in Lahore in the early 1940s. Pancholi’s film ‘Shirin Farhad’ (1945) was getting ready and Prahlad Dutt was its director and trick scenes master. His work was applauded by everyone. The scene where Farhad digs out a canal from a big mountain single-handed, was done by Prahlad with astounding results. After the partition, he ran away from Lahore to Bombay. He soon got work here as his name was well known and famous.

He was working in Ranjit directing a film ‘Mitti Ke Khilaune’ (1948). It was in early 1948. Gandhiji was assassinated on 30th January. 4-5 days after that, Ranjit studio workers were shocked to find a police jeep entering the studio, in speed. Out jumped an inspector and asked, “Where is Prahlad Dutt?”. Ranjit Manager asked “Why?” the answer was “We have his arrest warrant in connection with Gandhi killing”. While the manager offered to call him here from another floor where he was shooting, the police ran towards that place. As soon as Prahlad saw the police, he started running, with police chasing him and shouting at him to stop. He tried to climb the wall and disappear, but the inspector warned him first and then shot him with his pistol in his thigh. He fell down. He was arrested and taken away.

He was charged with various crimes and a case was put on him. However, he was released unblemished after 4 months. Ranjit management helped him quite a lot in those days. Prahlad Dutt acted in only one film – ‘Ek Hi Bhool’. He directed 5 films in all – ‘Shirin Farhad’ (1945), ‘Piya Ghar Aa Jaa’ (1947), ‘Mitti Ke Khilaune’ (1948), ‘Nazaare’ (1949) and ‘Madhubala’ (1950).

One more name in the cast is that of Umakant (full name Umakant Desai).  I am sure most people would not know anything about him.

People remember Dilip kumar for his double role in ‘Ram Aur Shyam’ (1967) and triple role in ‘Bairaag’ (1976). People also remember Sanjeev Kumar for his 9 roles in ‘Naya Din Nayi Raat’ (1974) or Kamal Hassan for his 10 roles in ‘Dashavtaar’ (2008), but hardly anyone knows that Umakant Desai was the FIRST actor to do 3 roles in film ‘Hukum Ka Ikka’ (1939) (as the rajkumar, as a madari and as a common man).

Umakant Desai was born in Sankheda, near Vadodara (Baroda), Gujarat on 13-6-1908. After matriculation, he came to Bombay and did a job in BB&CI Railways (Bombay,Baroda and Central India Railway), a private railway company of pre Independence period. He used to do roles in local dramas. One day director Chimanlal Desai saw him in a drama called ‘Jaya Aur Jayant’. He was so impressed with him, that he took him to act in Gujarat’s First Talkie ‘Narsi Mehta’ (1932). In this film Umakant did the role of Krishna.

So, the son of a landlord Himmatbhai Jagubhai Desai became a film actor. He joined Prakash Pictures on a salary of Rs 150/- pm, but when he left Prakash, he was drawing Rs 3,000/- pm. In 1934, he worked in Gujarati film ‘Sansaar Leela’. He sang 2 duets with Rajkumari in this film. The film was a hit and was remade in Hindi as ‘Nai Duniya’. He worked in ‘Bharat Milap’ (1942). His best remembered role was as Laxman in film ‘Ram Rajya’ (1943), which created several records, including that it was the first and the only film Mahatma Gandhi ever saw in his lifetime !

Umakant worked in 59 Hindi films and 15 Gujarati films. ‘Anmol Moti’ (1948) was his last film as a hero. Then he shifted to doing character roles. He had worked with Durga Khote, Shobhana Samarth, Pramila, Ratnamala, Ranjana, Sitara, Snehprabha Pradhan, Meena Kumari, Amita, Vijayanti Mala, Nalini Jaywant, Kamini Kaushal etc. For fluency in Hindi and Urdu, he had appointed a teacher also.

He worked in 26 films of Prakash, in which 8 films were directed by Vijay Bhatt. He mostly worked in mythological and social films. Some of his films were ‘Miss Mala’, ‘Chhote Babu’, ‘Station Master’, ‘Amar Asha’, ‘Poornima’, ‘Anmol Moti’, ‘Kavita’, ‘Hamara Ghar’ etc . He did Laxman’s role in 7 films.

Umakant’s son and daughter-in-law died a tragic death in a snow blizzard in USA in 1975. His wife Kaumudiben died in 2006 and Umakant died on 25-1-2007.

He was awarded Dadasaheb Phalke Academy Award in 2004.

While going through the title index by Harmandir ji for films from 1931 to 2012, I found that the word ‘EK’ is the most used word in Hindi film Titles. As many as 206 films are made, beginning with the word ‘EK’. Amongst these, there are 32 film titles starting with ‘Ek Aur ….’. Films with title ‘Ek Hi Bhool’ were made 3 times – 1940, 1981 and 2005.

Today’s song is sung by Amirbai Karnataki and NM Adhikari. I have not been able to get any information about this male singer. It seems this was the only film in which he sang. He sang 1 solo and 1 duet. With this song, the film ‘Ek Hi Bhool’ of 1940 and the singer NM Adhikari make their debut on our blog.

(Credits- Sapnon Ke Saudagar by Vithal Pandya, Harish Raghuwanshi, HFGK, MuVyz and my notes.)


Song – Main Phoolon Ki Sugandh Bankar Upvan Saara Mehkaaoon (Ek Hi Bhool) (1940) Singer – Amirbai Karnataki, NM Adhikari, Lyrics – Sampatlal Shrivastav ‘Anuj’, Music – Shankar Rao Vyas

Lyrics (Provided by Sudhir)

main phoolon ki
main phoolon ki
sugandh ban kar
upvan saara mehkaaun
main phoolon ki
sugandh ban kar
upvan saara mehkaaun
main phoolon ki
main bhaunra
main bhaunra ban kar
chupke se phoolon ka ras le jaaun
main bhaunra ban kar
chupke se phoolon ka ras le jaaun

main madmaati koel ban kar
birha ka geet sunaaun
main madmaati koel ban kar
birha ka geet sunaaun
main premi ke aansu ban kar
birha ki aag bhujaaun
main premi ke aansu ban kar
birha ki aag bhujaaun

aao hil mil
armaanon ki duniya nai basaayen
aao hil mil
armaanon ki duniya nai basaayen
is neeras jeevan
mein phir se
is neeras jeevan
mein phir se
hai nai umangen laayen
hai nai umangen laayen

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

मैं फूलों की
मैं फूलों की
सुगंध बन कर
उपवन सारा महकाऊँ
मैं फूलों की
सुगंध बन कर
उपवन सारा महकाऊँ
मैं फूलों की
मैं भौंरा
मैं भौंरा बन कर
चुपके से फूलों का रस ले जाऊँ
मैं भौंरा बन कर
चुपके से फूलों का रस ले जाऊँ

मैं मदमाती कोयल बनकर
बिरहा का गीत सुनाऊँ
मैं मदमाती कोयल बनकर
बिरहा का गीत सुनाऊँ
मैं प्रेमी के आँसू बन कर
बिरहा की आग बुझाऊँ
मैं प्रेमी के आँसू बन कर
बिरहा की आग बुझाऊँ

आओ हिलमिल
अरमानों की दुनिया नई बसाएँ
आओ हिलमिल
अरमानों की दुनिया नई बसाएँ
इस नीरस जीवन
में फिर से
इस नीरस जीवन
में फिर से
है नई उमंगें लाएँ
है नई उमंगें लाएँ


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3682 Post No. : 14579

“Caravan”(1944) was directed by Aspi for Ranjit Movietone, Bombay. This movie had it had Arun, Kamla Chatterji, Rani, Premlata, Keshari etc in it.

“Caravan”(1944) had fifteen songs in it. Six songs from the movie have been discussed in the past.

Here is the seventh song from “Caravan”(1944) to appear in the blog. This song is sung by Amirbai Karnataki. Swami Ramanand is the lyricist. Music is composed by Bulo C Rani.

Only the audio of this song is available. I request our knowledgeable readers to throw light on the picturisation of this song.

with this song, the blog now has 200 songs from movies released in 1944. The blog now has 200 or more songs for every year between 1943 till 1975.


Song-Bijli giraane waale bijli tu phir gira de (Caravan)(1944) Singer-Amirbai Karnataki, Lyrics-Swami Ramanand, MD-Bulo C Rani

Lyrics

Bijli giraane
waale
bijli tu phir gira de
dil jal gaya hai
mera
ab jaan bhi
jala de

Bijli giraane waale
bijli giraane waale
bijli tu phir gira de
bijli tu phir gira de
dil jal gaya hai mera
ab jaan bhi jala de
dil jal gaya hai mera
ab jaan bhi jala de

jalne ki aarzoo mein
armaan jal rahe hain aen
jalne ki aarzoo mein
armaan jal rahe hain
inko jala ke inke
inko jala ke inke
dil ki lagi bujha de
dil ki lagi bujha de
dil jal gaya hai mera
ab jaan bhi jala de
dil jal gaya hai mera
ab jaan bhi jala de

maani hai maine teri
meri bhi maan le tu u
maani hai maine teri
meri bhi maan le tu
uthhi main tere dar se
duniya se tu uthhaa le ae


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What is this blog all about

This blog discusses Bollywood songs of yesteryears. Every song has a brief description, followed by a video link, and complete lyrics of the song.

This is a labour of love, where “new” songs are added every day, and that has been the case for over ELEVEN years. This blog has more than 15300 song posts by now.

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

Total number of songs posts discussed

15339

Number of movies covered in the blog

Movies with all their songs covered =1180
Total Number of movies covered =4228

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