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

Archive for the ‘Ameerbai Karnataki solo’ Category


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

5156 Post No. : 17119

“Ek Din Ka Sultaan”(1945) was produced and directed by Sohrab Modi for Minerva Movietone, Bombay. The “historical” movie had Mehtab, Wasti, Ghulam Mohammed (actor), Sadiq Ali, Shanta Rin, Ghory, Protima devi, Ghulam Hussein, Ghulam Mohiudeen, A Shah, Jilani, Amir Bano etc in it.

“Ek Din Ka Sultaan”(1945) had nine songs in it. Three songs have been covered so far.

Here is the fourth song from the movie to appear in the blog.

The “gareeb” related song is sung by Ameerbai Karnataki. 🙂 . Wali Sahab is the lyricist. Music is composed by Rafiq Ghaznavi.

The song is picturised on Mehtab.

Lyrics of the song were sent to me by Prakashchandra.

Audio

video

Song-Gareebon ki duniyaa jahaan se niraali (Ek Din Ka Sultaan)(1945) Singer-Amirbai Karnataki, Lyrics-Wali Sahab, Md-Rafiq Ghaznavi

Lyrics (Provided by Prakashchandra)

gareebon ki duniyaa aa
gareebon ki duniyaa aa
gareebon ki duniyaa aa aa
gareebon ki duniyaa aan
jahaan se niraalee
niraalee haaayye ae ae
gareebon ki duniyaa
jahaan se niraali ee
na koyi shehanshaah
na koyi sawaalee
na koyi sawaali
gareebon ki duniyaa
jahaan se niraalee ee
gareebon ki duniyaa aan

hain zardaar duniyaa mein aen
zar ke deewaaney ae
hain zardaar duniyaa mein aen
zar ke deewaaney aen
gareebon ke ghar pyaar
ke hain khazaaney aey
gareebon ke ghar pyaar
ke hain khazaaney aey
gareebon ki duniyaa kaa
allah ho waalee
allah ho waali
gareebon ke duniyaa
jahaan se niraalee
gareebon ki duniyaa

jo mehlon mein jaltey hain
ghee ke charaa aag
jo mehlon mein jaltey hain
ghee ke charaa..aag
to kutiyaa mein jaltey hain
seeney ke daa..aag
to kutiyaa mein jaltey hain
seeney ke daag
udhar zar kee surkhee
idhar khoon ki laalee
idhar khoon ki laali ee
gareebon ke duniyaa
jahaan se niraalee ee
gareebon ki duniyaa aa

ameeron ke seeney se ae
rehtaa hai door
ameeron ke seeney se ae
rehtaa hai door
gareebon ke seeney mein allah ka noor
gareebon ke seeney mein allah ka noor
gharoor aur tasavvur(?) se
seenaa hai khaali ee
seenaa hai khaali ee
gareebon ke duniyaa aan
jahaan se niraalee ee
gareebon ki duniyaa aaa


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 :

5096 Post No. : 17027

“Maha Pooja”(1954) was directed by Shaanti Kumar for Amar jyot Pictures, bombay. The movie had Naina,Ratnamala, Amirbai Karnataki, Shashi Kapoor senior(not the famous one), Anant Marathe, Prem Prakash, Bikram Kapoor, Kusum Thakur, Sabita Chatterjee etc. Prem Adib and Murad were guest artists in the movie.

“Maha Pooja”(1954) had nine songs in it. four songs have been covered in the past.

Here is the fifth song from “Maha Pooja”(1954) to appear in the blog. The song is sung by Amirbai Karnataki. Ramesh Gupta is the lyricist. Music is composed by Avinash Vyas.

Only the audio of this song, a Krishn bhajan is available. Seeing that Amirbai Karnataki acted in the film, it is clear that the song was picturised on herself.

Lyrics of the song were sent to me by Prakashchandra.


Song-Hey Ghanshyam suno meri arzi (Maha Pooja)(1954) Singer-Amirbai Karnataki, Lyrics-Ramesh Gupta, MD-Avinash Vyas

Lyrics(provided by Prakashchandra)

hey Ghanshyaam suno o o meri arji eee
mere Ghanshyaam suno..o meri arji
path raakho na raakho
tumhaari marji..ee ee
hey Ghanshyaam suno meri arji..eee
mere Ghanshyaam suno meri arji

tumne laakhon paapi taarey
tumne laakhon paapi taarey
tumne laakhon patit uddhaarey
tumne laakhon patit uddhaarey
lo ab hamri khabar bhi..ee ee
hey Ghanshyaam suno meri arji ee ee
mere Ghanshyaam suno meri arji

tum ho deen dayaalu swaami
tum ho Prabhu jee antaryaami eee
antaryaami
tum viraat ho o
vighna vidhaataa
hum path ke kankar jee..eee…eee
hey Ghanshyaam suno meri arji ee ee
mere Ghanshyaam suno meri arji

sathya ki mann mein
jyot jagaao…ooo
sathya ki man mein jyot jagaao
jyot jagaaoo..ooo
bhooley pathik ko..oo raah dikhaao oo
raah dikhaao
sharan chhod tumhri kit jaayein
bolo hey Natwar jee eee ee
hey Ghanshyaam suno meri arji…ee
mere Ghanshyaam suno meri arji
hey Ghanshyaam suno meri arji..ee
hey Ghanshyaam suno meri arji
haan meri arzi
ho meri arzi
suno meri arzi


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 : 5010 Post No. : 16912 Movie Count : 4592

Today’s song is from a totally unknown and obscure film Shah E Misr-1946. The only reason this film will ever be remembered by the Historians is because film actor Ajit made his debut as a hero in this film, albeit with his real name Hamid. So, except the Historians and Ajit, you and I are the only people in this world who know the significance of this film !

The word “Shah” generally means a King. Historically, the Persian Monarchs were known as Shah-in-Shah, the colloquial may be Shahenshah, perhaps. In India, however, a Shah means a rich Sethiya- the name being common amongst the higher, richer Gujarati businessmen. There are several stories in world literature how Lady Luck made a commoner a King and thus there are many folk tales in Arabic and Persian languages about how common people became kings due to their valour and good luck.

No story of this film is available and I have also not seen this film. Therefore we can, at best, presume that this film depicted some such story in it. The film was directed by G.R.Sethi. He is one of those artistes about whom no information is available in any book that I have or on the Internet or any Bloge which I visit. So, all that we know about G.R.Sethi is only through the details available in HFGK. But whatever is available, is more than enough to make him an Unique person in Indian Film History !

G R Sethi started his directorial debut with the film Roshan Ara-1932. Then in 1933, Bharat Movietone , a film company, did something which has never been attempted again by anybody, later in the history of Hindi film making ! They made a film in one year in 4 different parts, which was directed by G.R.Sethi. The film was “Hatim Tai”, part I, part II part III and part IV , all launched,completed and released in 1933. All 4 films were independently full length films, with the same titles. They had different Censor Certificates. Though Marutirao Pehelwan was the Hero in all 4 parts, he had different Heroines in every part. This Marutirao is the same actor who did the main role in the First Gujarati Talkie film “Narsi Mehta “-1932, made by Sagar Movietone. Marutirao was the father of International Dancer Gopi Krishna, whose mother was actress Tara-sister of dancer Sitara Devi.

The second achievement of G.R.Sethi was that he directed the film “Hatimtai-1933 Part I “, in which India’s First song with ANOKHE BOL featured. The song was ” Donga Donga Dum Dum Daaka, Adam Boka, Masnam Maaka “. It was a Chorus song. The music was by Madhulal Master.

G.R.Sethi directed 23 films in his career. His last film was, by a strange coincidence, “Hatimtai-1947 ! Sethi wrote 84 songs in 9 films also – Roshan ASra-32, Nav Chetan-32, Hatimtai-1933..all 4 parts, Veer poojan-34, Sharif Daaku-38 and Imandar-39. The cast of the film was Hamid, Geeta Bose, Meghmala, Janaki, Syed etc.etc. The 9 songs of the film were written by Roopbani. The Music Director was Shanti Kumar Desai.

The Music Director of this film was Shanti Kumar Desai, a very talented but unlucky composer who rarely got support from any famous banner. His music was enchanting and tunes were superb, but Lady Luck did not favour him.

He was born in Amreli, Saurashtra, Gujarat state on 3-3-1908. His family was in service as Royal Musicians, so he was exposed to music from childhood.He was an expert Harmonium player. To start his career, he came to Bombay and worked in H.M.V. as a Broadcaster. Here he came into contact with many composers and learnt how they operated and made tunes etc.

He was already giving music to Dramas, but wanted to join the Film line as M.D. He got his first film Navbharat ( Jawanmard)-1934. In those days Gujarati producers and directors used to prefer Gujarati MDs. Thus out of his 36 films, 18 were done with Gujarati Directors like Sohrab modi, Nanubhai Vakil, V.M.Vyas(4 films), Kanjibhai Rathod, Dhirubhai Desai etc. He also gave music to Gujarati films.

He gave music along with Madholal Master,Rafiq Ghaznavi, Pannalal Ghosh, Shyambabu Pathak etc. Famous singers like Rafi, Manna Dey, Zohrabai, Amirbai etc sang in his films during their early careers. Even Kishore Kumar’s early film Sati Vijay-48 had music by Shanti Kumar Desai. He gave music to films of early era actors like Prem Adib, Mehtab, Sitara Devi, Leela Chitnis, Jal Merchant, Ashraf Khan, Rajkumari, Mazhar khan, Shanta Hublikar, Jairaj, E Billimoria, Kumar, Sardar Akhtar, Chandramohan, Shobhana Samarth, Durga Khote, Shahu Modak and Sulochana.

From 1934 to 1948, he gave music to 38 films. In 1964 his one film (Tere dwar khada Bhagwan) was released. He composed 333 songs. He never got films from top banners like Bombay Talkies,Prabhat, Sagar or Minerva, otherwise his career would have been different.

He died on 6-1-1986. Some of his better known films were Bholi bhikaran-36, Punarjanma-38, Anjaam-40, Suhaagan-42, Naukar-43, Ek din ka sultan-45, Shah E Misr-46 and Lav Kush-51

Only the other day I was re reading the book, ” ये उन दिनोंकी बात है ” (in English), written by Yasir Abbasi- a journalist and a Film Historian, who has written some books on films.When I bought this book and read it, I was pleasantly surprised that he had mentioned my name along with Hamraz ji and Harish ji, in ” acknowledgements”, thanking us for the help rendered to him. I was overwhelmed to see this, because such honesty and humbleness is rare these days. Not that I had done something great, but his acknowledgement was very soothing indeed !

This book is a collection of translated (from Urdu to English) articles written by several film artistes like Dilip kumar, Ajit, Nadira, Shyama, Talat mahmood, Johnny Walker, Veena etc. There are 15 such articles, 5 perspectives written by film actors and pen Portraits of 10 film personalities like Kardar, Satyajit Ray, K.Asif etc etc. All in all, it is a very engrossing book. I read what actor Ajit had written, before I wrote this post. He has shared his experiences with other artistes like W.Z. Ahmed, actor Shyam. he has described what happened after Shyam’s accident during Shabistan, madhubala, K.Asif, balraj Sahni, some anecdotes while shooting for Mughal E Azam, Prithviraj kapoor, Motilal and some more. The book has become so interesting because they have shared their experiences in the industry.

There are so many stories and anecdotes that I can easily make 3-4 posts on it. Maybe sometime in the future, when I write on a film of one of these artistes. Today’s song is sung by Amirbai Karnataki. With this song film Shah E Misr-1946 makes its Debut here.


Song-Dil mein mere khushi nahin(Shah e Misr)(1946) Singer-Amirbai Karnataki, Lyrics-Roopbani, MD-Shanti Kumar Desai

Lyrics

Dil mein mere khushi nahin
Dil mein mere khushi nahin
lab pe mere hansi nahin
lab pe mere hansi nahin
kehte hain jisko zindagi
kehte hain jisko zindagi
haaye wo zindagi nahin
haaye wo zindagi nahin
Dil mein mere khushi nahin

jinka main haal kya kahoon
jinka main haal kya kahoon
wo to guzar hi jaata hai
wo to guzar hi jaata hai
roye bina ke raat kar (?)
roye bina ke raat kar (?)
apni kabhi kati nahin
apni kabhi kati nahin
Dil mein mere khushi nahin

kisko sunaaun jaa ke main
kisko sunaaun jaa ke main
dard o alam ki daastaan
dard o alam ki daastaan
mera to is jahaan mein
mera to is jahaan mein
gham ke siwa koi nahin
gham ke siwa koi nahin
Dil mein mere khushi nahin

ris ris ke zakhm e dil mere
ris ris ke zakhm e dil mere
aasmaan pe chhaa gaye
aasmaan pe chhaa gaye
ye to jigar ke paar hai
ye to jigar ke paar hai
taaron se roshni nahin
taaron se roshni nahin
Dil mein mere khushi nahin
lab pe mere ae ae
hansi nahin


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

Blog Day :

4747 Post No. : 16474

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

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

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

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

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

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

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

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

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

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

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

He died on 26-9-1989.

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

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

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

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

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

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

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

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

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

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

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

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


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

Lyrics

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

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

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

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


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

Blog Day :

4726 Post No. : 16441

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Lyrics of the song were sent to me by Prakashchandra.

Audio Clip:

Video


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

Lyrics (provided by Prakashchandra)

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

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


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

Blog Day :

4725 Post No. : 16438

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

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

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

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

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

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

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

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

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

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

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

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

Audio

Video


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

Lyrics

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

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


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

Blog Day :

4665 Post No. : 16338 Movie Count :

4437

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

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

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

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

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

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

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

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

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

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

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

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

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


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

Lyrics

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

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

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

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

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


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

Blog Day :

4586 Post No. : 16205 Movie Count :

4409

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


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

Lyrics

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

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

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

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


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

Blog Day :

4376 Post No. : 15718

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


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

Lyrics

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

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

jaag re
jaag re
jaag re

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

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

(jaag re
jaag re
jaag re)

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

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

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

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


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 : 4252 Post No. : 15472

“Bhanwra”(1944) was a comedy movie that was well received during its time.

Mr Arunkumar Deshmukh, our in-house encyclopaedia on HFM related information has this to say about this movie:-

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.

Here is a rare song from “Bhanwra”(1944). The song is sung by Amir bai Karnataki. Swami Ramanand is the lyricist. Music is composed by Khemchand Prakash.

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


Song-Duniya ki aankhon se sharmaane waale (Bhanwra)(1944) Singer-Amirbai Karnataki, Lyrics-Swami Ramanand, MD-Khemchand Prakash

Lyrics

Duniya ki aankhon se sharmaane waale
chhaaon ki badli mein chhup chhup ke aa
chhup chhup ke aa
chhaaon ki badli mein chhup chhup ke aa
chhup chhup ke aa
sooni hai tujh bin man ki nagariya
sooni hai tujh bin man ki nagariya
aa ke ise tu basa aa aa
aa ke ise tu basa
aa ke ise tu basa aa aa
aa ke ise tu basa
Duniya ki aankhon se sharmaane waale
chhaaon ki badli mein chhup chhup ke aa
chhup chhup ke aa

badli ke aanchal mein jaise hon taare
badli ke aanchal mein jaise hon taare
taare
palkon mein aise jo rehna ho pyaare
palkon mein aise jo rehna ho pyaare
aankhon mein loongi chhupaaye
aankhon mein loongi chhupaaye
aankhon mein loongi chhupaaye
aankhon mein loongi chhupaaye
Duniya ki aankhon se sharmaane waale
chhaaon ki badli mein chhup chhup ke aa
chhup chhup ke aa

do pal ke din hain
rut hai suhaani
do pal ke din hain
rut hai suhaani suhaani
yaad se aaye hain aankhon mein paani
yaad se aaye hain aankhon mein paani
itna na hamko rula aa
itna na hamko rula
itna na hamko rula aa
itna na hamko rula
itna na hamko rula
itna na hamko rula


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 FOURTEEN years. This blog has over 17200 song posts by now.

This blog is active and online for over 5000 days since its beginning on 19 july 2008.

Important Announcement

(© 2008 - 2022) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

Total number of songs posts discussed

17246

Number of movies covered in the blog

Movies with all their songs covered =1338
Total Number of movies covered=4642

Total visits so far

  • 15,555,285 hits

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

Join 1,969 other subscribers

Bookmark

Bookmark and Share

Category of songs

Current Visitors

Historical dates

Blog Start date: 19 july 2008

Active for more than 5000 days.

Archives

Stumble

visitors whereabouts

blogadda

blogcatalog

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