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

Archive for the ‘Animal Related Song’ Category


This article is written by Nahm, 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 :

3990 Post No. : 15083

I have so many things to write about that sometimes they (those things crowding my thoughts) don’t let me sleep at night. Wish I had the habit of writing the diary. . . those “dear diary“, outpourings would have helped as a sounding board, more effectively than this blog.

Once upon a time I did start a daily diary, but that did not develop to the level of habit. Then many years ago a colleague advised in all seriousness that I should write down the daily thoughts, clearly impressed with the way I was able to warm to any topic and give a one minute lecture to an assorted audience or whoever was around me. I wasn’t really enamoured by that particular lady and I have never used her as a sounding board or even a ‘complaint register’. I tried to avoid talking about much of anything with her or say only as much as necessary, but she has a knack of introducing topics into conversation and getting people to open up.

I am not too choosy about whom I befriend, but if I develop a dislike of someone, then it gets fixed in my attitude for all times. I have tried very hard to get rid of this fallacy, and try to give second, third chances to people for redeeming themselves. I do this sort of exercise of finding excuses for people, whom I consider my friends, whenever they don’t behave as expected, on regular basis. This positivity of trying to always look at the brighter side, is good within a limit.

Till recently, I used to get very irritated with my parents same habit. So much so that I wrote in one of the posts, that my Mom looks at all things with her colour tinted glasses or ‘rangeen chashma’. This way she can see others in whichever colour she wants. Unn ko duniya bahut rangeen dikhaayi deti hai. In the sense that they live by the maxim that “hum achche to duniya achchi”.

I know the colleague who advised me to write down the thoughts etc., meant well. But I am unable to warm towards her till date, despite her being very close to a very close friend. With her natural ability and curiosity I suspect that she is able to gather all the information. Good for her, if she is happy then I don’t mind. We do meet occasionally as colleagues and also in common friend circles, but maybe I will be able to think of her also as a friend in future.

This lady also had some more well meaning advice to offer, on the topic of improving my daughter s complexion. This was many years ago. I was able to take in that advice from one ear, and throw it out of the other. Really she was simpleton, like my own mother and others. I hope that by now she has learnt differently.

Last week , Sudhir sir posted the song “Hum Kaale Hain To Kya Hua Dilwaale Hain”, in the repeat songs series. Some of the comments in the ‘Gumnaam’ song posts asked to know the meaning of those words of the mukhda. “Hum Kaale Hain To Kya Hua Dilwaale Hain” expresses an appeal against a deep rooted malice/prejudice in the society, which is blatant in the belief that only white is beautiful and black is not. Obviously the same malice is still prevalent if one goes by the no. of products available in the market for skin fairness. Nothing wrong if people want to make their skin fairer by these products, but the fact remains, this improvement or whatever, will only be skin deep. Nothing to do with core of the soul inside the skin. Food for thought.

Here is a song from the film ‘Minoo’ (1977), dealing with the same contrast of gora and kaala. The ‘Gumnaam’ song, took a funny route and this song in the voice of Antara Chaudhary is riding on a child’s innocence and a black goat named Kaali. Salil Chaudhari is the music director, and the lyrics are written by Yogesh. There was also a popular song in this film “Teri Galiyon Mein Hum Aaye”, which is already posted.

Today’s song used to play a lot on the radio when the movie was new. My younger brother was born in 1976, and my elder sister used to sing this carrying our baby brother along.

Oh. . . there are many such stories and happenings, some related and others not related to film songs. I just hope I am able to pen them down and share with all my fellow bloggers and fans of Hindi Film music.

Song – Kaali Re Kaali Re Tu To Kaali Kaali Hai (Minoo) (1977) Singer – Antara Chaudhry, Lyrics – Yogesh, MD – Salil Chaudhry

Lyrics (Provided by Prakashchandra)

kaali. . .

kaali. . .

o oo
kaali re kaali re
tu to kaali kaali hai 
gora sa ek bhaiyya 
maa ab laanewali hai
laanewaali hai
oo kaali re kaali re
tu to kaali kaali hai 
gora sa ek bhaiyya 
maa ab laanewali hai
laanewaali hai

bhaiyya hoga pyaara pyaara
chaand sareekha 
par dekh usey chaand bhi
ho jaayega pheeka 
bhaiyya hoga pyaara pyaara
chaand sareekha 
par dekh usey chaand bhi
ho jaayega pheeka 
main gaal pe kaajal ka 
lagaa doongi re teeka 
main gaal pe kaajal ka 
lagaa doongi re teeka 
lagaa doongi re teeka 
oo
kaali re kaali re
tu to kaali kaali hai 
gora sa ek bhaiyya 
maa ab laanewali hai
laanewaali hai

din raat usey dekha karoongi 
main sajaa ke
main khelungi bhaiyya ko 
godi mein uttha ke 
din raat usey dekha karoongi 
main sajaa ke
main khelungi bhaiyya ko 
godi mein uttha ke 
main roz sulaaungi 
usey loriyaan gaa ke
main roz sulaaungi 
usey loriyaan gaa ke
usey loriyaan gaa ke

ooo
kaali re kaali re
tu to kaali kaali hai 
gora sa ek bhaiyya 
maa ab laanewali hai
laanewaali hai
ho oo
kaali re kaali re
tu to kaali kaali hai 
gora sa ek bhaiyya 
maa ab laanewali hai
laanewaali hai

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

काली॰ ॰ ॰

काली॰ ॰ ॰

ओ ओ
काली रे काली रे
तू तो काली काली है
गोरा सा एक भैया
माँ अब लानेवाली है
ओ काली रे काली रे
तू तो काली काली है
गोरा सा एक भैया
माँ अब लानेवाली है

भैया होगा प्यारा प्यारा
चाँद सरीखा
पर देख उसे चाँद भी
हो जाएगा फीका
भैया होगा प्यारा प्यारा
चाँद सरीखा
पर देख उसे चाँद भी
हो जाएगा फीका
मैं गाल पे काजल का
लगा दूँगी रे टीका
मैं गाल पे काजल का
लगा दूँगी रे टीका
लगा दूँगी रे टीका

काली रे काली रे
तू तो काली काली है
गोरा सा एक भैया
माँ अब लानेवाली है

दिन रात उसे देखा करूंगी
मैं सजा के
मैं खेलूँगी भैया को
गोदी में उठा के
दिन रात उसे देखा करूंगी
मैं सजा के
मैं खेलूँगी भैया को
गोदी में उठा के
मैं रोज़ सुलाऊँगी
उसे लोरीयाँ गा के
मैं रोज़ सुलाऊँगी
उसे लोरीयाँ गा के


काली रे काली रे
तू तो काली काली है
गोरा सा एक भैया
माँ अब लानेवाली है
हो ओ काली रे काली रे
तू तो काली काली है
गोरा सा एक भैया
माँ अब लानेवाली है

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

Blog Day :

3797 Post No. : 14787 Movie Count :

4043

#the Decade of Seventies – 1971 – 1980 #
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# Bhoole-Bisre Geet # 75# Dharmendra- Memories of the Seventies #
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 Welcome all to this article of mine which comes after a long gap of more than a month, and though I am late in sending this article, I hope our editors will consider this for post. And that will also help me in getting back into the ‘article writing’ again, because since last two months I am trying to complete and send some of my unfinished articles, but the schedule at work front and very less time after official work is not allowing me time and the concentration to focus on the articles I wish to share.

Well, with this article I hope I get back into writing and share my thoughts taking you down memory lane into the ‘seventies’ again 🙂

***

8th December 2018 is the 83rd birth anniversary (08.12.1935) of actor Dharam Singh Deol whom we fondly know as Dharmendra. And, ‘maa kasam …’ 🙂 , he will be there in our fond memories of the movies from almost every decade ever since he began his career in the Hindi movies with ‘Dil Bhi Tera Ham Bhi Tere’ (1960) till the very recently released movie ‘Yamla Pagla Deewaana-Phir Se’ (2018).

For me I have fond memories of watching many of his movies with my uncles, like ‘Shikaar’ (1966), ‘Yakeen’ (1969), ‘Kab? Kyun? Aur Kahaan?’ (1970), ‘Mera Gaon Mera Desh’ (1971), ‘Resham Ki Dori’ (1974), ‘Raja Jaani’ (1973), and more. Then I also remember some of his movies which I must have watched with my parents like ‘Yaadon Ki Baarat’ (1973), ‘Dost’ (1974), ‘Sholay’ (1975), ‘Maa’ (1976), ‘Charas’ (1976), ‘Dream Girl’ (1977), ‘The Burning Train’ (1980) etc. I still remember watching his ‘Devar’ (1966), during the Ganpati Festivals on the small 16mm screen in open grounds in the seventies.

Then there were movies which I watched with my brothers and cousins during the ‘summer vacations’ like ‘Dharam-Veer’ (1977), ‘Chacha Bhatija’ (1977), ‘Ram Balram’ (1980), ‘Teesri Aaankh’ (1982), ‘Samrat’ (1982), ‘Main Intaqaam Loonga’ (1982). And then movies like ‘Aap Ki Parchhaayiyaan’ (1964), ‘Main Bhi Ladki Hoon’ (1964), ‘Izzat’ (1968), ‘Mere Hamdam Mere Dost’ (1968), ‘Khamoshi’ (1969), ’Sharaafat’ (1970), ‘Samadhi’ (1972), ‘Jheel Ke Us Paar’ (1973), ‘Chaitaali’ (1975), ‘Chupke-Chupke’ (1975), ‘Ek Mahal Ho Sapnon Ka’ (1975), ‘Kinaara’ (1977), ‘Blackmail’ (1978), ‘Dillagi’ (1978) which I watched during the weekly screening of movies in the re-creation club building in our colony where we were staying then.

Then, when I was a grown-up boy 🙂 there was a phase in my life when I was learning in 11 -12th std but was less on studies and more on cricket and movies. I watched many of his movies like ‘Haqeeqat’ (1964), ‘Pyaar Hi Pyaar’ (1968), ‘Jugnu’ (1973), ‘Patthar Aur Paayal’ (1974), ‘Pratigya’ (1975), and the other movies released during those years (1983-1985) i.e. ‘Naukar Biwi Ka’ (1983), ‘Qayaamat’ (1983), ‘Jeene Nahin Doonga’ (1984), ‘Baazi’ (1984), ‘Dharam Aur Kanoon’ (1984), ‘Jaagir’ (1984), ‘Jhoothha Sach’ (1984), ‘Raj Tilak’ (1984) etc. And then I got to watch some movies like ‘Bandini’ (1963), ‘Neela Aakaash’ (1965), and ‘Satyakaam’ (1969), ‘Phagun’ (1973), on television (‘Doordarshan’) during this period.

The above was when we were still located in the Akola District of Maharashtra (CP & Berar circuit for the movies). And by that time I was already a Rajesh Khanna fan 🙂 . Reading the film magazines then I came to know that it was Dharmendra whose movies were still running good even during the Kaka’s Superstardom days. After that we shifted to Parli Vaijnath – Marathwada region of Maharashtra (and known as in the Nizam Circuit for the movies).

There I had already taken up working in a construction company and during this period till 1988 I watched many of the old and new movies. I remember I watched Dharmendra’s ‘Aaayi Milan Ki Bela’ (1964), ‘Kaajal’ (1965), ‘Aaye Din Bahaar Ke’ (1966), ‘Anupama’ (1966), ‘Dil Ne Phir Yaad Kiya’ (1966), ‘Phool Aur Patthar’ (1966), ’Aankhen’ (1968), ‘Aaya Saawan Jhoom Ke’ (1969), ‘Rakhwaala’ (1971), ‘Loafer’ (1973), ‘Keemat’ (1973), ‘Baghaawat’ (1982), ‘Hukumat’ (1987), ‘Aag Hi Aag’ (1987) etc.

Then I shifted to Kota (Rajasthan) in Nov 1988 for my professional career and there also watching the movies was the ‘main source of entertainment’. I got to watch many old Hindi movies as well as the new ones. I got to watch Dharmendra’s movies like ‘Batwaara’ (1989), ‘Naakabandi’ (1990), ‘Farishtey’ (1991) and after many years I got to watch ‘Mera Gaon Mera Desh’ (1971) again in a theater. I watched the film repeatedly on consecutive days and enjoyed it a lot. Later on, based at Kota and traveling around places like Nimach, I watched ‘Tehalka’ (1992). I also remember correctly that I watched his ‘Man Ki Aankhen’ (1970), on VHS cassettes on ‘VCR’ we use to hire to watch movies then during our weekly get-together or holiday. Later I bought VCDs of the films ‘Ganga Ki Lehren’ (1964), ‘Dulhan Ek Raat Ki’ (1967), which has one of my favorite songs “Ek Haseen Shaam Ko. . .“.

And there are other movies like ‘Aadmi Aur Insaan’ (1968), ‘Bahaarein Phir Bhi Aayengi’ (1966), ‘Chunaoti’ (1980), ‘Do Chor’ (1972), ‘Ishq Par Zor Nahin’ (1970), ’Jeevan Mrityu’ (1970), ‘Jwaar Bhaata’ (1973), ‘Kahaani Kismat Ki’ (1973), ‘Mohabbat Zindagi Hai’ (1966), ‘Naya Zamaana’ (1971), ‘Razia Sultan’ (1983), ‘Tum Haseen Main Jawaan’ (1970), which I don’t remember correctly but I think I watched them either in theatre or on TV. As I was going through his filmography for this article, I was thinking that there are still many movies of him (till seventies) which I have not watched and should watch them as and when possible.

The latest movies that I have seen of Dharmendra is ‘Apne’ (2007), which I could not watch in theatre when I was in Kachchh-Gujarat and had later bought its DVD and watched with my parents and family at home.

Watching his movies has always been a different experience and entertaining and enjoyable too. I think me, and many others like me, will always be thankful to him for the joy he has given to us through his movies. His fight scenes with Shetty are always a favorite of mine and those were the main attractions from his movies too, wherever Shetty was co-star in the movies he acted.

Then there are songs from his ‘black and white’ movies and many other ‘musicals’ of the ‘seventies’ which I cannot forget and many of them are ‘songs that brings back memories’ for me. I have watched many of his movies more than once and it is always pleasant to watch him on the screen. I cannot forget his ‘emotional speech’ in the ‘Filmfare awards function’ when he was felicitated with the ‘Filmfare Lifetime Achievement Award’.

His movies also have many emotional scenes between a ‘mother and son’ where I always find him very natural and touching. For today’s occasion I am presenting a song from the 1976 movie ‘Maa’. As I had mentioned earlier in one of my articles that there are few Hindi movies where an elephant has been a central character in the movies and few of these movies have been a part of my permanent memory since then. I remember to have watched this movie with my parents but have forgotten it now except Dharmendra, the elephants in the movie and this song that I am presenting today.

Though the song is a background song and not lip-synced by Dharmendra, I want to introduce it with this article. (I had earlier sent this song to Atul ji in Oct 2012). Also, this is the song which brings back memories of those years for me. It is part of that ‘nostalgia’ of Hindi movies and the songs for me over the years.

So, I when decided to share an article for Dharmendra’s birth anniversary (now belated), I searched for other songs from his movies where he also lip-synced the songs, or even from this movie ‘Maa’, but I strongly feel sharing of this song sung by Rafi Saab which is a trip down memory lane for me from the movies of Dharmendra of the seventies.

‘Maa-1976’ is edited and directed by M.A. Thirumugam for ‘Devar Films, Madras’. It is produced by Sandow M.M.A. Chinnappa Devar who had also written the story of this movie. It has Dharmendra, Hema Malini, Nirupa Roy, Ranjeet, Padma Khanna, Devar, Om Prakash, Paintal, Bramhachari, Shashi Kiran, Rajan Haksar, Urmila Bhatt, Umesh Sharma, Raj Baldev, Viju, Kalpana, Gemini Balu, Narayan Mustafa, Anand Kumar and others. Dialogues for this movie were written by Inder Raj Anand and editing was done by M.G. Balurao (assisted by K. Ramu). The movie was passed by Censor Board on 10.09.1976.

The movie has total seven songs in it as per HFGK and all the seven songs are written by Anand Bakshi and composed by Laxmikant-Pyarelal. HFGK also mentions about two tracks as club dance music and dance music in this movie. Kishore Kumar, Lata Mangeshkar, and Mohd Rafi had given their voices to the songs in this movie.

I am reproducing below the ‘plot summary’ of this movie as mentioned on IMDB

Vijay lives with his mother in a palatial house deep in the jungles in South India where he makes a living trapping animals for circuses, zoos – both nationally and internationally. He meets with beautiful US-returned Nimmi, both fall in love with each other and want to get married. Vijay’s mother cautions them both against separating new-born animals from their birth mothers, but both refuse to listen. Then the unexpected happens, a mother lioness, angered at Vijay for taking her cubs, attacks him, and leaves him badly wounded. With the help of his mother, and Nimmi, Vijay recovers and despite of what happened, and his mother’s warning, he again goes to trap animals – this time a baby elephant for a circus. He does manage to trap the elephant in a pit, but the angered mother elephant pursues them, even after they transport it in a truck. Her maternal and protective instincts come to fore, she overtakes the truck, dismantles it, but is chased away by Vijay and his employees. She turns to attack Vijay, but his mother intervenes – and is instantly attacked and crushed. Holding his mother in his arms, Vijay swears to hunt them the elephant as well as all other animals and kill them one by one, but his dying mother makes him promise that he will not do so, but instead return all cubs to their parents, as well as the baby elephant. Vijay promises to do so, and his mother passes away. Vijay is devastated, in heart-wrenching sorrow & pain, he calls out to his mother, and carries out her promise. He releases all trapped animals, and returns the cubs to the jungle. But returning the baby elephant, Ganesh, is another issue altogether as it has been transported to the city, and must be brought back. When Vijay goes to bring it back, he finds out that the truck had broken down, the elephant had escaped and is lose in the city. He desperately goes around looking for it. In the meantime, back home, the mother elephant is on a rampage, enraged at being separated from its child, it crushes vegetation, attacks villagers, and tears down their dwellings. And the next target that looms before it is none other than Vijay’s beloved – Nimmi…

 Today’s song is sung by Mohd Rafi and composed by Laxmikant-Pyarelal. Lyrics are by Anand Bakshi. The movie ‘Maa’ also makes a debut on the blog today …!!!

Belatedly wishing Dharam ji a very happy birthday and a healthy and peaceful life ahead …

[Author’s Note: This also serves one of my purpose of introducing movies having ‘same title’ too. We already have the movie ‘Maa-1952’ and ‘Maa-1960’(UR) on the blog. And fortunately, I had the opportunity to share couple of songs from the ‘1952-Maa’ and one song from the ‘1960-Maa’ on the blog].

Maa Tujhe Dhoondhoon Kahaan

 

Song – Maa. . . Tujhe Dhoondhoon Kahaan (Maa) (1976) Singer – Mohammed Rafi, Lyrics – Anand Bakshi, MD – Laxmikant Pyaarelal

Lyrics

Part 1

maa aa aa

maa tujhe dhoondhoon kahaan aa
maa tujhe dhoondhoon kahaan aa
maine mamta ko pehchaana
main bachchon ke dard ko jaana
tujhko kho kar maa aa aa aa
maa tujhe dhoondhoon kahaan
maa tujhe dhoondhoon kahaan
maa aa aa°°°°°°

maa ek jaisi hoti hai
bachche ik jaise hote hai
chot lage to insaanon ki tarah
pashu bhi rotey hai
bichchde huon ko maine milaaya
maine apna karz chukaaya
tujhko kho kar maa aa aa aa
maa tujhe dhoondhoon kahaan
maa tujhe dhoondhoon kahaan
maa aa aa

tu sach kehti thi ee
kisi ki bad duaa lag jaati hai
tu sach kahti thi ee
kisi ki bad duaa lag jaati hai
apni hi bandook se goli
khud pe bhi chal jaati hai
maine kaisa khel yeh khela
roun baitha aaj akela
tujhko kho kar man aa aa aa
maa tujhe dhoondhoon kahaan
maa tujhe dhoondhoon kahaan

maine mamta ko pehchaana
main bachchon ke dard ko jaana
tujhko kho kar maa aa aa
maa tujhe dhoondoon kahaan
maa tujhe dhoondoon kahaan
maa aa aa

Part 2 (at the end of the movie)

bichchde huon ko maine milaaya
maine apna karz chukaaya
tujhko kho kar maa
maa tujhe dhoondhoon kahaan
maa tujhe dhoondhoon kahaan
maa aa aa

———————————————————
Hindi script lyrics (Provided by Avinash Scrapwala)
———————————————————

भाग १

माँ आ आ

माँ तुझे ढूढूं कहाँ आ
माँ तुझे ढूढूं कहाँ आ
मैंने ममता को पहचाना
मैं बच्चों के दर्द को जाना
तुझको खोकर माँ आ आ आ
माँ तुझे ढूढूं कहाँ आ
माँ आ आ °°°°°°

माँ एक जैसी होती है
बच्चे इक जैसे होते है
चोट लगे तो इंसानों कि तरह
पशु भी रोते हैं
बिछड़े हुओं को मैंने मिलाया
मैंने अपना क़र्ज़ चुकाया
तुझको खोकर माँ आ आ आ
माँ तुझे ढूढूं कहाँ आ
माँ आ आ

तू सच कहती थी ई
किसीकी बद्दुआ लग जाती है
तू सच कहती थी ई
किसीकी बद्दुआ लग जाती है
अपनी ही बन्दूक से गोली
खुद पे भी चल जाती है
मैंने कैसा खेल ये खेला
रोऊँ बैठा आज अकेला
तुझको खोकर माँ आ आ आ
माँ तुझे ढूढूं कहाँ आ
माँ तुझे ढूढूं कहाँ आ
मैंने ममता को पहचाना
मैं बच्चों के दर्द को जाना
तुझको खोकर माँ आ आ आ
माँ तुझे ढूढूं कहाँ आ
माँ तुझे ढूढूं कहाँ आ
माँ आ आ°°°

भाग २

बिछड़े हुओं को मैंने मिलाया
मैंने अपना क़र्ज़ चुकाया
तुझको खोकर माँ आ आ आ
माँ तुझे ढूढूं कहाँ आ
माँ आ आ

माँ आ आ



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 : 3462 Post No. : 13893

Going back happily to my favourite decade of the 30’s, here is a song from film ‘Dr. Madhurika’ (1935).

This film was made by Sagar Movietone. 1935 was a period of the early talkie films and the film business was slowly developing into an industry. In the 2-3 years, prior to the advent of sound, the news was already in the air about the silent films soon to start talking and singing on the screen.

This prompted enterprising entrepreneurs to jump onto the film making wagon and establish their set ups as film producing units. The start of Prabhat Film company in Kolhapur in 1929, the beginning of Ranjit Movietone in 1929 and Sagar Movietone in 1931 was a result of this. That way Kohinoor, Imperial, New Theatres, Maharashtra Film Co. and many others were already in this business. Bombay Talkies started in 1934.

All these production companies needed people. Actors, directors, cameramen, musicians, writers and other technicians were needed. In the initial stage of the Indian films,whether silent or talkie,it was difficult to get girls from good families and background. Slowly this picture changed. When talkies started, many tawaifs – singing girls and girls from such families joined films as they fulfilled the requirement of singing and looking good, in addition to their ease on Hindi/Urdu language. At this time slowly many educated and girls from high society as well as middle class families started joining films. So,to distinguish these women from each others, a system of nomenclature was followed. All the girls coming from ‘singing’ families and tawaif background added the suffix ‘Bai’ to their names, like Jaddanbai, Waheedan bai, Zohrabai, Amirbai etc. The Anglo-Indian and middle class girls took the prefix of ‘ Miss’ like, Miss Moti, Miss Rose, Miss Tara, Miss Ajmat, Miss Pearl etc.Those girls who were from high society were called Devi, like Sabita Devi, Padma Devi, Renuka Devi etc. All Marathi actresses used their full names like Shanta Apte, Minaxi Shirodkar, Leela Chitnis, Snehprabha Praadhan, Durga Khote etc.

The studios, on their part, tried to develop their own staff by recruiting talented artistes. Each studio had their own set of artistes. Sagar Movietone developed and promoted their actors like Motilal, NM Charlie, Kumar, Yaqub, Bhudo Advani, Sheikh Mukhtar, Surendra, VH Desai, Kanhaiyalal etc., actresses like Bibbo, Waheedan Bai, Jyoti, Nalini Jaywant, Maya Banerjee, Sabita Devi etc., directors like Ezra Mir, Mehboob, Sarvottam Badami, Zia Sarhadi, Ramchandra Thakur etc., and cinematographer – Faredoon Irani, music director – Anil Biswas. They were all referred to as ‘Jewels of Sagar’.

The film ‘Dr. Madhurika’ had Motilal and Sabita Devi as its lead pair and it was directed by Sarvottam Badami. A director of Hindi, Telugu and Tamil films, Sarvottam Badami was born in Channapatna, Karnataka. He was the son of a revenue officer in Mysore. As a young man, he worked as motor mechanic and handyman in a garage owned by Ambalal Patel. (Even Gulzar was a motor mechanic before entering films). Later he worked as a projector operator at Patel’s Select Pictures cinema in Bangalore.

When Patel partnered with Ardeshir Irani and Chimanlal Desai in launching Sagar Movietone (1930), Badami, as the only available South Indian in the Bombay studio, was allowed to finish ‘Harishchandra’ and ‘Galava Rishi’ and went on to direct the Telugu ‘Paduka Pattabhishekham’. He made several social films at Sagar, usually starring Sabita Devi, including some of novelist KM Munshi’s best-known scripts, e.g. ‘Dr. Madhurika’, ‘Vengeance is Mine’ (1935). He also adapted Hollywood films, e.g. ‘Aap Ki Marzi’ (1939), based on E. Buzzell’s ‘Paradise For Three’ (1938). He followed his mentor, Patel, to Sudama Pics. in 1939 when Sagar merged to become National Films. He worked in Famous Cine Labs (1946-48). He then moved to Films Divisiion (1948-52) as the Chief Producer (Newsreel), and made documentaries. He left Films Division in 1954 and became an industrialist based in Bangalore; and an adviser to the Kamani industrial group.

Filmography:
1932 – ‘Harishchandra’; ‘Galava Rishi’; ‘Paduka Pattabhishekham’; ‘Shakuntala’
1933 – ‘Chandrahasa’
1934 – ‘Grihalakshmi’
1935 – ‘Dr. Madhurika’; ‘Vengeance is Mine’;
1936 – ‘Jeevan Lata’; ‘Gram Kanya’;
1937 – ‘Kokila’; ‘Kulvadhu’;
1938 – ‘Three Hundred Days and After’;
1939 – ‘Aap Ki Marzi’; ‘Ladies Only’;
1940: – ‘Chingari’; ‘Sajani’;
1941 – ‘Holiday in Bombay’;
1942 – ‘Khilona’;
1943 – ‘Prarthana’;
1944 – ‘Bhagya Lakshmi’;
1945 – ‘Ramayani’;
1946 – ‘Uttara Abhimanyu’;
1947 – ‘Manmaani’;
1951 – ‘Vinoba Bhave’ (Doc);
1952 – ‘Roof Over The Head’

[Ed Note: The above bio-sketch is adapted from Encyclopedia of Indian Cinema.]

Sagar Movietone produced many social films. These films had a soft message that morality is a commitment to society, but these films were disguised as ‘reformist’ films. ‘Dr. Madhurika’ was written as a script by Kanhaiyalal Maneklal Munshi (K.M.Munshi). It was one of his rare original scripts. Later it was adapted into a drama in 1936. Though the story was admired, it was criticised by some feminists of those days, who understood the disguise of reformation. The story of film Dr. Madurika is,

Dr. Madhurika (Sabita Devi) is a modern woman dedicated to her profession. She marries Narendra (Motilal) on conditions that 1. He forgets the idea of having children because she advocates birth control to limit population control of the country and 2. He does not interfere with her profession or her choice of friends and their meetings.

While following profession, she neglects her home and also provokes husband’s jealousy by being very friendly with a very smart colleague, Dr. Gaurish (Pesi Patel). Narendra is very jealous. By coincidence, he meets the wife of Dr. Gaurish and learns that she too is sad because of husband’s neglect and resents his friendship with Dr. Madhurika. Narendra starts meeting her often and they become friendly. Meanwhile Narendra also helps a poor and needy good looking girl Indu (Padma Shaligram), who reciprocates with gratitude and meets him often.

Dr. Madhurika is now jealous of Narendra’s attention to these two women. She realises that this is all due to her neglect towards Narendra. She decides to become a dutifully domesticated traditional housewife and all ends well. (647).

The film was yet another feather in the success of Sabita Devi. 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 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 wishes.

Her first 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 talkies came, she determinedly learnt Hindustani and Urdu and also music. She was a good piano and harmonium player. Her first talkie film was ‘Radha Krishna’ in 1933. In this film she sang 16 out of 23 songs in the film. In 1934, came ‘Shahar Ka Jaadu’, opposite to Motilal as a debut actor. The film was a hit. Later she and Motilal became a popular  pair.

Later she joined East India Co. and did many films with them. In later days i.e. 1943 onward, she stopped singing herself. Her last pictures were ‘Amrapali’ (1945) and ‘Manmaani’ (1947). In 1946, she got married and left for England. She returned to Calcutta in 1965, and passed away the same year.

A list of her films – ‘Radha Krishna’, ‘King For A Day’, ‘Shehar Ka Jaadu’, ‘Phantom Of The Hills’, ‘Grihlaxmi’, ‘Chandragupta’, ‘Vengence Is Mine’, ‘Silver King’, ‘Dr. Madhurika’, ‘Village Girl’, ‘Lagna Bandhan’, ‘Jeevan Lata’, ‘Kulvadhu’, ‘Kokila’, ‘300 Days And After’, ‘Ladies Only’, ‘Aap Ki Marzi’, ‘Sajni’, ‘Chingari’, ‘Holiday In Bombay’, ‘Prarthana’, ‘Fashion’, ‘Amrapali’ and ‘Manmaani’.

The film has 9 songs, all written by Prof. Waqif and tuned by music director Pransukh M Nayak. Nayak came to Sagar from Imperial. Starting with ‘Madhuri’ (1932), he composed music for almost 25 films. The songs of ‘Deccan Queen’ (1936) composed by him and sung by Surendra (debut film), were very popular and famous.

With this song, the film ‘Dr. Madhurika’ makes its debut on our blog. The film’s songs are not available on You Tube. I got this song from the collection of Shri Girdharilal Vishwakarma ji. It is hosted on Dr. Surjit Singh ji’s site. Thanks to them both.


Song – Mori Pyaari Pyaari Gaiya Aur Doodh Ki Tu Dilvaiya (Dr Madhurika) (1935) Singers – Sabita Devi, Lyrics – Prof Waqif, MD – Pransukh M Naayak

Lyrics (Provided by Sudhir)

mori pyaari pyaari gaiya
mori pyaari pyaari gaiya
aur doodh ki tu dilvaiya
dilvaiya
pyaari gaiya
aur doodh ki tu dilvaiya
pyaari gaiya
mori pyaari pyaari gaiya

aa chal tujhko chai pilaaun
bhookhi ho to cake khilaaun
laadli aai meri gaiya
meri gaiya
pyaari gaiya
laadli aai meri gaiya
meri gaiya
pyaari gaiya
aur doodh ki tu dilvaiya
aur doodh ki tu dilvaiya
dilvaiya
pyaari gaiya
mori pyaari pyaari gaiya

aa chal tujhko saadi (??) banwaaun
patli chonch ka boot dilaawun
tujh par bal bal jaiya
bal jaiya
pyaari gaiya
tujh par bal bal jaiya
bal jaiya
pyaari gaiya
aur doodh ki tu dilvaiya
aur doodh ki tu dilvaiya
dilvaiya
pyaari gaiya
mori pyaari pyaari gaiya

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

मोरी प्यारी प्यारी गईय्या
मोरी प्यारी प्यारी गईय्या
और दूध की तू दिलवइय्या
दिलवइय्या
प्यारी गईय्या
और दूध की तू दिलवइय्या
प्यारी गईय्या
मोरी प्यारी प्यारी गईय्या

आ चल तुझको चाय पिलाऊँ
भूखी हो तो केक खिलाऊँ
लाड़ली आई मेरी गईय्या
मेरी गईय्या
प्यारी गईय्या
लाड़ली आई मेरी गईय्या
मेरी गईय्या
प्यारी गईय्या
और दूध की तू दिलवइय्या
और दूध की तू दिलवइय्या
दिलवइय्या
प्यारी गईय्या
मोरी प्यारी प्यारी गईय्या

आ चल तुझको सादी (??) बनावूँ
पतली चोंच का बूट दिलावूँ
तुझ पर बल बल जईय्या
बल जईय्या
प्यारी गईय्या
तुझ पर बल बल जईय्या
बल जईय्या
प्यारी गईय्या
और दूध की तू दिलवइय्या
और दूध की तू दिलवइय्या
दिलवइय्या
प्यारी गईय्या
मोरी प्यारी प्यारी गईय्या


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What is this blog all about

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

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

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

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