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

Archive for the ‘Ameerbai Karnataki solo’ Category


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


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 :

4218 Post No. : 15419 Movie Count :

4248

Today’s song is from a Mythological film of 1950, based on the early life of the popular God – Krishna. The film is Janmashtami-1950.

1950 was the last year of the decade of 1940s. This was a period when young Independent India was looking for its own identity. It was those times when the New World was beginning to influence the social structure of Indians. The joint family system was still in vogue. Almost every home had senior old people and they were the guiding lights for the younger generation. Men who were blooming into their youth, were a confused lot. They were caught between old customs and the call of the New World ways. Nehru’s socialism still attracted the majority and Democracy was sending its roots deeper into the grounds.

Ours was also a big joint family. With a sizeable number of senior old family members, religious atmosphere was maintained in the family. After the Prakash Pictures film “Ram Rajya”-43, the trend for the older people was to see every religious film that came calling. Having a guaranteed and assured audience, film makers became enthusiastic in producing Mythological films. The Holy Hindu books like Ramayan and Mahabharat and stories from 18 Puranas provided ample source material to make films. Religious films were also cheaper to make. The did not need any famous stars, famous directors or popular Music Directors of social films.

Like Stunt films, religious films too had fixed stars as actors, specialist Directors, Music Directors and Lyricists who were in demand for such films. Right from older actors like Prem Adeeb and Trilok Kapoor to newer actors like Bharat Bhushan and Manhar Desai, from Shobhana Samarth and Meena kumari to Nirupa Roy and Anita Guha and from Shankar Rao vyas and H C Bali to Avinash Vyas and S N Tripathi – a whole range of artistes were ready to carry the torch further. This automatically increased the number of Mythological and religious films made in the decade of 50’s (1951-1960) to an astounding figure of 124 films in the 10 year period. This worked out to at least 1 new film every month for 10 continuous years.

My liking and love for such films developed in this period. I was about 10 year old in 1950 and I had been chosen to act as a Male “Chaperone” to accompany the group of family oldies going to see such religious film. I liked the bright costumes and trick scenes in these films. This also imbibed in me to study our Vedas and other religious books to know more about the religion. This study and knowledge helped me a lot in in charting my career and family journey, in life.

According to scriptures, there were 10 Avatars or incarnations of God on this earth in various forms. Out of these, the characters of Ram and Krishna attained cult status. No wonder, most films were made in this Genre on stories about these two. Ram appeared on this earth first in Treta Yug, followed by Krishna in Dwapar Yug. In my opinion, Krishna is a more popular God than Ram. Ram depicted the model of a common Prince, without any super powers. He taught us righteousness, sticking to Justice and doing good all times. Ironically, in Ram’s total life, he suffered in more number of years than he ever enjoyed.

Krishna, Hero of many legends was with qualities like Love and Playfulness. He taught us how to be street smart. His philosophy was to use any means to achieve Goals. The common man has respect for Shri Ram, but he loves Krishna. On a cursory count, I found that more films are made on stories involving krishna than Ram. That is because, the common man feels that krishna teaches us how to live in today’s world and tackle bad people.

Film Janmashtami-50 depicts Krishna’s early life in Gokul and Mathura, till he goes to Dwaraka. The film is full of little Krishna’s antics. The role of young Krishna is done by Rajkumar khatri. He actually makes his Debut in films, with this movie. This actor Rajkumar is one of the ” Same Name Confusion” actors.

There were in all 5 Raj kumars in the industry at the same time. The first was Kannada Hero Dr. Rajkumar. However, he never worked in any Hindi film, so no confusion about him.The second was the famous Dialogue master Raaj kumar ‘Jaani’. Third was Rajkumar Gupta ( from Ranchi), who was the main character in popular film Jagriti-54. He never worked again in any film. Fourth was Raj(u) Kumar, a junior artist, who did minor roles- mostly uncredited-in films like Shri 420-55, Jagte Raho-56. Dilli ka Thug-58, Aaj aur kal-63, Ziddi-64 etc etc..The fifth was this Rajkumar, who mostly worked in Religious and Mythological films. His name was Rajkumar Khatri.

Rajkumar Khatri may have been born in or around 1940. He started as a child artiste in films like Janmashtami-50, Jai Mahakali-51 and Insaan-52. His first film as an adult was Shuk Rambha-53, in which he did the role of young Shukdev. He was a fine actor, not extraordinary, but there was something special about his screen presence. Apart from his boyish looks, he had an unspoken charm and emanated an inherent goodness. In his second film “Tulsidas”-54 he did the role of Shri Ram. He was hardly 15-16 year old then. This must be the youngest and most boyish looking Shri Ram ever seen on the screen !

Rajkumar khatri acted in 61 films, mostly Religious and Mythological films (47 to be precise). Not that he did not work in any social films, but such films were less. He was seen in films like Sautela Bhai-62, Aaj aur kal-63, Ustadon ke ustad-63, Ziddi-64, Nai umer ki nai fasal-65 etc etc. Due to his young looks, boyish face and innocent looks, he was generally given roles of younger brother. As Laxman, he acted in 7 films. His last film was probably Chintamanee Soordas-87.

In mid 80s, when films offers became scarce, he joined Prakash Mehra as an assistant. He used to live in Chembur. He was known as Chhota Rajkumar in the industry. He worked with Prakash mehra for a long time, as Assistant Director and as also his P.A. Reportedly, he died in September 2014. No further information on him was available.

Film Janmashtami-50 was made by Hindustan Chitra and it was directed by Nanabhai Bhatt. Lyricist was Bharat Vyas and all the 9 songs of the film were composed by the talented but less known Music Director Shyam Babu Pathak. Shyam Babu Pathak is not a very well known name among Music Directors. He is one of those artistes, who had the talent and a will to do hard work, but Luck did not support him. This resulted in his remaining with unknown banners and B and C grade films. His career spanned from 1938 to 1965 – a period of 27 years in which he composed music for just 29 films and his 1 film remained unreleased.

Shyam Babu Pathak was born in 1908 at Gwalior. His music tuition started when he was just 7 years old. He studied in Madhav Sangeet Vidyalaya, under Rajabhaiyya Poonchhwale, Narayan Gupte and Bhatkhande etc. He became an excellent singer and was invited by several Royal houses all over India, for singing. Even V D Paluskar had blessed him. Strangely, though a good singer, he never sang a song in any film.

While touring all over India for Music Mehfils, he learnt many folk songs and tunes. This actually prompted him to join films as a composer. His first film was Royal Commander-1938 – a B grade Costume drama film made by Vishnu Cinetone. In his first film, for just 9 songs, he used as many as 6 different singers. Minimum songs had been his specialty. This was a novelty in the 30s, when the norm was of an average of 12 to 15 songs each film.

V M Vyas of Vishnu Cinetone, was impressed with him and he gave him many films. He got Rani saheba-40, Torpedo-40, Samsheerbaz-40, Malan-42 and Ghar sansar-42. He gave good songs sung by Kalyani, Sardar Akhtar and Kajjan. In Lajwanti-42, his songs were light and comedy type. By now, he had become a confirmed Stunt/action and B/C grade composer. Pyara watan-42,Double face-46 were such films. Double face was Indivar’s first film.

Black Market-47, Namak-47, krishna Sudama-47 and Kismatwali-47 were not much helpful. Takdirwale-48 with Ramprasad, Imtihan-49 and Ret Mahal-49 led him to film Jeet-49 with Anil Biswas. Actually,it seems Anil Biswas took over when Pathak left the film halfway.

After Janmashtami-50 and Achha ji-50, came Preet ka geet-50.Famous poet Harikrishna Premi wrote the songs, which were sung by Mukesh, Geeta and Johra. Next film Hamari Duniya-52 had good Lata songs. Meanwhile his film Parda remained unreleased. In the last phase of his career, came Sapna-52, Vanraj-52, Bombay Central-60 and finally, film Mehbooba-65 closed his career.

Shyam Babu Pathak died of heart attack in Bombay on 23-11-1980.

Today’s song is a lovely song, sung by Amirbai Karnataki. With this song, film Janmashtami-1950 makes its Debut here.

Song-Murliwaale Ghanshyam mujhe apni bana lo na (Janmaashtmi)(1950) Singer-Amirbai Karnataki, Lyrics-Bharat Vyas, MD-Shyam Babu Pathak

Lyrics

Murliwaaale Ghanshyam
aaaaam

Murliwale Ghanashyam aam
mujhe apni bana lo na
Murliwale Ghanashyam aam
mujhe apni bana lo na
apni bana lo naa aa
mujhe apni bana lo na
ho o o
Murliwale Ghanashyam aam
mujhe apni bana lo na

nain jyot se karoon aarti
ujaalon ka deep jalaaye
nain jyot se karoon aarti
ujaalon ka deep jalaaye
aao na der lagaao Muraari
jiya mora akulaaye
aao na der lagaao Muraari
jiya mora akulaaye
Murliwale Ghanashyam aam
mujhe apni bana lo na

tan man arpan karoon charan mein
thhukraao na naaath
tan man arpan karoon charan mein
thhukraao na naaath
is dukhiyaa ki laaj Kanhaiyya
?? tumhaare haath
is dukhiyaa ki laaj Kanhaiyya
?? tumhaare haath
Murliwale Ghanashyam aam
mujhe apni bana lo na
Murliwale Ghanashyam aam
mujhe apni bana lo na
apni bana lo naa aa
mujhe apni bana lo na
ho o o
Murliwale Ghanashyam aam
mujhe apni bana lo na


This article is meant to be posted in atulsongaday.me.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 : 4203 Post No. : 15389

“Khidki”(1948) was produced by P L Santoshi under the banner of Arvind And Anand Films, Bombay. This movie had Rehana, Jawahar Kaul, Mumtaz Ali, Radha Kishan, Tiwari, Ram Singh, Srinath, Baba Raja, Abbas Rizvi, Harun, Deshraj, Shanta Kunwar, Indira, Neelam, Mona, Kamal Rani, Usha, Chanchal Kumari, Kalpana, V H Desai, Leela Mishra etc in it.

The movie had ten songs in it. Seven songs from this movie have been discussed in the past. Here is the eighth song from the movie to be covered in the blog. HFGK mentions this song as sung by Shamshad Begam and chorus. I notice that three lines (one line each in each stanza) are in another voice, namely that of Lalita Deulkar.

This song has another version which starts with the words “khoyi khoyi aankhen”. It is sung by Amirbai Karnataki and chorus.

P L Santoshi is the lyricist. Music is composed by C Ramchandra.

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

Shamshad Begam-Lalita Deulkar version

Amirbai Karnataki version


Song-Hamen bhi koi yaad karta (Khidki)(1948) Singers-Shamshad Begam, Lalita Deulkar, Lyrics-P L Santoshi, MD-C Ramchandra
Chorus

Lyrics
———————————-
Part I
———————————-
Hamen bhi koi yaad karta aa aa aa
Hamen bhi koi yaad karta
to kitna achcha hota
haan kitna achcha hota
to kitna achcha hota
haan haan kitna achcha hota
Hamen bhi koi yaad karta

unke liye hamne
kya na saha
taane sune aur
huye ruswa
mere liye bhi
sabhi naam le ke
hon kabhi naam le ke
aahen do bharta
ho aahen do bharta
to kitna achcha hota
haan kitna achcha hota
to kitna achcha hota
haan haan kitna achcha hota
hamen bhi koi yaad karta

kehte hain sachchi hai wohi muhabbat
ke jismein na poori ho paaye hasrat
keh to deta
ke marte hain tum pe
ho o ke marte hain tum pe
phir marta na marta
phir marta na marta
to kitna achcha hota
haan kitna achcha hota
to kitna achcha hota
haan haan kitna achcha hota
hamen bhi koi yaad karta

naazuk bade hain
ye resham ke taage
resham ke taage
muhabbat ke dhaage
darte hain ham
kahin toot na jaayen
haan toot na jaayen
kaash wo bhi darta
kaash wo bhi darta
to kitna achcha hota
haan kitna achcha hota
to kitna achcha hota
haan haan kitna achcha hota
hamen bhi koi yaad karta

————————————————–
Part II- Amirbai Karnataki version
————————————————–
Khoyi khoyi ankhen hain
dil phirta hai rota rota
dard ki duniya dekar r r
baalam hoga kaise sota

hamen bhi koi yaad karta
to kitna achcha hota
haan kitna achcha hota
to kitna achcha hota
haan kitna achcha hota
hamen bhi koi yaad karta

mohabbat ke jitne fasaane hain
hamne padhe
hamne sune
sabhi mein yahi hai
mile dil hain bichhde
bichhad ke miley
mera sanam bhi ee ee
kahin bhoole bhatke
mujhse aa milta
to kitna achcha hota
haan kitna achcha hota
to kitna achcha hota
haan kitna achcha hota
hamen bhi koi yaad karta
to kitna achcha hota
haan kitna achcha hota


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 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 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


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 TWELVE years. This blog has over 16400 song posts by now.

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

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(© 2008 - 2021) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

Total number of songs posts discussed

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Number of movies covered in the blog

Movies with all their songs covered =1270
Total Number of movies covered =4462

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