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

Archive for the ‘Aspirations of Love’ Category


This article is written by Sudhir, 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 : 3838 Post No. : 14848

Mohammed Rafi – Duets – ‘अ’  से  ‘ह’ तक  (From ‘अ’ to ‘ह’) – 32
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –

‘श’ – शम्मा पे परवाना जलने से डरता नहीं ॰ ॰ ॰

– – – –

फिर तेरी याद नए गीत सुनाने आई. . .

Yes, everyday. It seems there is a new song that you have sung for us, once again. Remembering you, everyday.

– – – –

Well, if the film name is ‘Shola Jo Bhadke’, it would not be a coincidence that this film is by Bhagwan Dada. Today’s song in this series is from this 1961 film.

The phenomenal success of the film ‘Albela’ (1951) and its songs, prompted Bhagwan Dada to try and replicate that success many times over the next few years. But sadly none of the spin offs really came any close to repeating the success of the original. As I try to trace the career path of Bhagwan Dada as a producer, after the film ‘Albela’ in 1951, he went on to produce and direct the following,

  • ‘Jhamela’ in 1953, with Geeta Bali in female lead and music by C Ramchandra
  • ‘Rengeela’, also in 1953, with Poornima in female lead and music by Jamaal Sen
  • ‘Halla Gulla’ in 1954; Shakila and Sajjan are the lead pair and Bhagwan is playing second lead; music by Nisar
  • ‘Pyaara Dushman’ in 1955; Jairaj and Nadira are the lead pair and Bhagwan is playing second lead; music by Nisar
  • ‘Bhaagam Bhaag’ in 1956; Kishore Kumar and Shashikala are the lead pair and Bhagwan is playing second lead; music by OP Nayyar
  • ‘Kar Bhala’, also in 1956; interestingly this film is also listed as a stunt film; Shashikala and Nasir Khan are the lead pair; music is by Chic Choclate
  • And then, ‘Shola Jo Bhadke’ in 1961; Suresh and Radhika are the lead pair and music is by Nisar.

Starting with ‘Albela’ and up to ‘Shola Jo Bhadke’, all films listed above are produced and directed by Bhagwan Dada. After ‘Shola Jo Bhadke’, we do not find any more films being produced and directed by him. The magic of ‘Albela’, sadly could never be recreated.

I must make a note that Bhagwan Dada had directed his first film way back in 1938 (as a co-director for ‘Bahadur Kisan’), and turned a producer in 1942. He set up Jagruti Pictures as his production company, and produced and directed many stunt films. In 1947, he also set up his own Jagruti Studio. ‘Albela’ was the mega moment of his career. But after that, it was downhill all the way. ‘Shola Jo Bhadke’ was, in a manner of speaking, a last attempt.

The star cast of ‘Shola Jo Bhadke’ is listed as Suresh, Radhika, Anwar, Bhagwan, Poornima, Suryakant, Pratima Devi, Kesri, Prem Sagar, Shyam Lal, Vishwas, Baburao, Ram Bharose, Cukkoo and Helen. Geet Kosh lists seven songs for this film. Names of three songwriters are listed – Shyam Hindi, Saba Afghani and Tavish Mehmood. However, songwriter names are not assigned to individual songs, except one. Songwriter name for this song is not attributed. The person who has uploaded this song on YT has indicated the name as Tavish Mehmood.

Music for all the songs is by Nisar, a name that is same as Nisar Bazmi. The singing voices in this song are of Rafi Sb and Suman Kalyanpur.

Song – Shamma Pe Parwaana Jalne Se Darta Nahin  (Shola Jo Bhadke) (1961) Singer – Mohammed Rafi, Suman Kalyanpur, Lyrics – [Unattributed], MD – Nisar Bazmi
Mohammed Rafi + Suman Kalyanpur

Lyrics 

shamma pe parwaana jalne se darta nahin
shamma pe parwaana jalne se darta nahin
jaan chali jaaye magar bachke guzarta nahin
shamma pe parwaana jalne se darta nahin

yun to garajte hain sabhi kaun barasta hai
kaun barasta hai
baaten banaane ka yahaan bas yahi rasta hai
bas yahi rasta hai
ho oo oo oo oo
marne ka kehte hain magar. . .
marne ka kehte hain magar
koi bhi marta nahin
shamma pe parwaana jalne se darta nahin

jaan mein toofaan ko kahaan laate hain dilwaale
laate hain dilwaale
khelte maujon se guzar jaate hain dilwaale
jaate hain dilwaale
ho oo oo oo oo
darr ke jo ruk jaaye kabhi. . .
darr ke jo ruk jaaye kabhi
paar utarta nahin
shamma pe parwaana jalne se darta nahin

aaj se hum tere huye chaahe koi roke
chaahe koi roke
hum ne jo chaaha tha wohi baat rahi ho ke
baat rahi ho ke
ho oo oo oo oo
dil se agar dil na miley. . .
dil se agar dil na miley
pyaar sanwarta nahin
shamma pe parwaana jalne se darta nahin
shamma pe parwaana jalne se darta nahin

———————————————————
Hindi Script Lyrics (Provided by Sudhir)
———————————————————

शम्मा पे परवाना जलने से डरता नहीं
शम्मा पे परवाना जलने से डरता नहीं
जान चली जाये मगर बचके गुजरता नहीं
शम्मा पे परवाना जलने से डरता नहीं

यूं तो गरजते हैं सभी कौन बरसता है
कौन बरसता है
बातें बनाने का यहाँ बस यही रस्ता है
बस यही रस्ता है
हो ओ ओ ओ ओ
मरने का कहते हैं मगर॰ ॰ ॰
मरने का कहते हैं मगर
कोई भी मरता नहीं
शम्मा पे परवाना जलने से डरता नहीं

जान में तूफाँ को कहाँ लाते हैं दिलवाले
लाते हैं दिलवाले
खेलते मौजों से गुज़र जाते हैं दिलवाले
जाते हैं दिलवाले
हो ओ ओ ओ ओ
डर के जो रुक जाये कभी॰ ॰ ॰
डर के जो रुक जाये कभी
पार उतरता नहीं
शम्मा पे परवाना जलने से डरता नहीं

आज से हम तेरे हुये चाहे कोई रोके
चाहे कोई रोके
हमने जो चाहा था वही बात रही हो के
बात रही हो के
हो ओ ओ ओ ओ
दिल से अगर दिल ना मिले॰ ॰ ॰
दिल से अगर दिल ना मिले
प्यार सँवरता नहीं
शम्मा पे परवाना जलने से डरता नहीं
शम्मा पे परवाना जलने से डरता नहीं

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This article is written by Sudhir, 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 :

3827 Post No. : 14831 Movie Count :

4055

Missing Films of 1960s – 90
– – – – – – – – – – – – – – –

What a wonderful gem of a song this one is. The memory banks hold this from the radio listening days. Such a beautiful semi-classical creation, and also very popular in its time – I am amazed it has waited so long in the wings to make its place here on our blog.

The film is ‘Harishchandra Taramati’ from 1970. It is produced under the banner of Kala Mandal, Bombay and is directed by BK Adarsh. Star cast of this film is listed as Pradeep Kumar, Jaimala, Boby, BM Vyas, Jeevan, Shyama, Madan Puri, Tiwari, Bela Bose, Bipin Gupta, Helen, Madhumati, Jaishri Talpade, Tuntun, Sapru, Manorama, and Mehmood (Junior) etc.

The seven songs of this film are all written by Virendra Mishra and the music is created by Hridaynath Mangeshkar. The singing voice in this song is Lata ji, supported by chorus.

As I am checking the films from 1970, I came across this film, but it did not ring any bells at first. The mind is more familiar with the other film of same name from 1963, whose songs are penned by Kavi Pradeep. But then, as I checked the list of songs in this film, the mind sat up with a jerk when I read the title line of this song. All I could think of then was – WOW.

This song is such an exquisite creation, and such a pleasurable experience to listen. The opening verses simply capture the heart,

rimim jhimimwa
suno balamwa
naram garam hui saram
jhuke nainwa

For reference purposes, I checked the Raag-o-Pedia compiled by Shri KL Pandey. The listing informs us that this song is composed using three Raags – Bhairavi, Khamaaj and Malkauns.

As I started this post day before yesterday, I did not have access to the video of this song. Keen to know on whom this song is picturized, I started searching for this film. It turned out that although this film is more recent vintage than similar named films from 1952 and 1963, yet this one is more rare in terms of availability. After some messages exchanged with my other collector friends, I was able to secure the video clip of this song from one of them. The clip is not of good quality; it appears that it has been extracted from a VHS tape that has been over used. I have now uploaded this clip. Despite the poor quality, one can make out that this dance song is filmed on Helen, and a group of supporting dancers, and that Pradeep Kumar is the sole audience of this performance.

In the film, Pradeep Kumar plays the lead role of Raja Harishchandra. Sage Vishwamitra, who is jealous of his fame of truthfulness and righteousness, resolves to test the limits of Harishchandra’s good attributes. As the first step, he sends Menaka, the apsara from swarg lok to woo and enchant Harishchandra. Regulars will recall that Menaka is the same apsara whom Indra, the king of swarg lok, had sent to disturb the penance and meditation of Vishwamitra. In that episode, Vishwamitra had lost the battle, and was swayed by Menaka’s enchanting beauty. Now, he sends the very same apsara to sway the sensibility of Harishchandra. In the film, this episode is presented as a dream sequence.

Just listen to this song, as it makes its way through multiple ragas, all coming together for such a perfect listening experience. A wonderful re-discovery.

(Audio)

(Video)

Song – Rimim Jhimimwa, Suno Balamwa  (Harishchandra Taramati) (1970) Singer – Lata Mangeshkar, Lyrics – Virendra Misra, MD – Hridaynath Mangeshkar
Chorus

Lyrics

ho oo oo oo
rimim jhimimwa
suno balamwa

rimim jhimimwa
suno balamwa
naram garam hui saram
jhuke nainwa
naram garam hui saram
naram garam hui saram
jhuke nainwa
tum jo miley
mujhse tum jo miley
arre haan tum jo miley
to main kisi
pyaar bhare gaaon mein pahunch gayi
jhuke nainwa..aa..aa
rimim jhimimwa
suno balamwa

dhadhkan ka phool khila
ho khila
ho khila
manwa
manwa
manwa ke taal mein
hansti hai jal ki pari
ho pari
ho pari

machhuye ho machhuye ke jaal mein
he he ri haiyya ho ho ri
he he ri haiyya ri
ho ho ri haiyya haiyya ri
aaa aaa aaaaaaaa
ek lehar
uthi jo ek lehar
arre haan ek lehar
tair tair main tumhaari naao mein pahunch gayi
jhuke nainwa..aa..aa
rimim jhimimwa
suno balamwa

ma dha ni dha
sa ga ma ga ma ga sa ga ni dha

mann mo..ora doley hai
mann mo..ora doley hai
un bole naam se
mann mora mora doley hai
un bole naam se..ey..ey
pehli pehchaan hai
satrangi shaam se..ey..ey..ey..ey
daiyya ri daiyyaa
ma ga ma dha ni sa
dha ni sa
ni sa ni ni dha dha ma ma ga
ga sa
dha ma ga sa
ni dha ma ga sa
ta ni dha ma ga sa
dha ma ni dha ma ga
ga ga ma ga ma dha
ma dha ni sa
dha ni sa
dha ni sa
main kya karoon
kaho ji main kya karoon
arey haan main kya karoon
aayi preet paayaliya paaon mein pahunch gayi
jhuke nainwa..aa..aa
rimim jhimimwa
suno balamwa

parbat pe gaaon mera
ho mera
ho mera
ghaati
ghaati
ghaati mein chhanv hai
chhaaya mein hai nadi
ho nadi
ho nadi
nadiya mein
nadiya mein naav hai
chhammak chhaiyya chhamam ri
chhammak chhaiyya ri
chhammak chhaiyya chhamam ri
aaaa aaaa aaaaaa
bin chaley hi
dagari bin chaley hi
arre haan bin chaley hi
bin chaley hi
main madhur padaav mein pahunch gayi
jhuke nainwa..aa..aa
rimim jhimimwa
suno balamwa

rimim jhimimwa
suno balamwa

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

हो ओ ओ
रीमिम झिमिमवा
सुनो बलमवा

रीमिम झिमिमवा
सुनो बलमवा
नरम गरम हुई सरम
झुके नयनवा
नरम गरम हुई सरम
नरम गरम हुई सरम
झुके नयनवा
तुम जो मिले
मुझसे तुम जो मिले
अरे हाँ तुम जो मिले
तो मैं किसी
प्यार भरे गाँव में पहुँच गई
झुके नयनवा॰॰आ॰॰आ
रीमिम झिमिमवा
सुनो बलमवा

धड़कन का फूल खिला
हो खिला
हो खिला
मनवा
मनवा
मनवा के ताल में
हँसती है जल की परी
ओ परी
मछुए हो मछुए के जाल में
हे हे री हइय्या हो हो री
हे हे री हइय्या री
हो हो री हइय्या हइय्या री
आs आs आssss
एक लहर
उठी जो एक लहर
अरे हाँ एक लहर
तैर तैर मैं तुम्हारी नाव में पहुँच गई
झुके नयनवा॰॰आ॰॰आ
रीमिम झिमिमवा
सुनो बलमवा

म ध नी ध
स ग म ग म ग स ग नी ध

मन मो॰॰रा डोले है
मन मो॰॰रा डोले है
अनबोले नाम से
मन मोरा मोरा डोले है
अनबोले नाम से॰॰ए॰॰ए
पहली पहचान है
सतरंगी शाम से॰॰ए॰॰ए॰॰ए॰॰ए
दइय्या री दइय्या
म ग म ध नी स
ध नी स
नी सा नी नी ध ध म म ग
ग स
ध म ग स
नी ध म ग स
त नी ध म ग स
ध म ग नी ध म ग
ग ग म ग म ध
म ध नी स
ध नी स
ध नी स
मैं क्या करूँ
कहो जी मैं क्या करूँ
अरे हाँ मैं क्या करूँ
आई प्रीत पायलिया पाँव में पहुँच गई
झुके नयनवा॰॰आ॰॰आ
रीमिम झिमिमवा
सुनो बलमवा

परबत पे गाँव मेरा
हो मेरा
हो मेरा
घाटी
घाटी
घाटी में छाँव है
छाया में है नदी
हो नदी
हो नदी
नदिया में
नदिया में नाव है
छम्मक छईय्या छम्मम री
छम्मक छईय्या री
छम्मक छईय्या छम्मम री
आss आss आsssss
बिन चले ही
डगरी बिन चले ही
अरे हाँ बिन चले ही
बिन चले ही
मैं मधुर पड़ाव में पहुँच गई
झुके नयनवा॰॰आ॰॰आ
रीमिम झिमिमवा
सुनो बलमवा

रीमिम झिमिमवा
सुनो बलमवा


This article is written by Sudhir, 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 :

3796 Post No. : 14786 Movie Count :

4042

Missing Films of 1960s – 87
– – – – – – – – – – – – – – –

Goodness, I am surprised this film is still to appear here. It is titled ‘Patni’ from 1970. The name may be unfamiliar, but when I checked out the list of songs – you know, I had that déjà vu feeling – accha, so these songs are from this film. Geet Kosh lists 5 songs for this film, and I dare say, at least four songs are very, very familiar – resounding memories from the radio listening days. Listening to them again was not the surprise; the name of the film really was.

The film comes from the banner of Film Folk of Bombay, and is directed by VR Naidu. The star cast as listed in the Geet Kosh is Indrani Mukherjee, Dev Kumar, Jagdev, Kumari Padma, Kundan, Harindranath Chattopadhyay, Rafia Sultana, AA Khan, Bazid Khan, Dhanlakshmi, Shefali, Onkar, KK Reddy (Satyajeet), Ramesh Dev, Shashi, Gaffur, Imtiaz, Ashok, and M Shetty. The five songs are all written by Indeewar, and the music is by Vishnu Khanna.

Now this name, i.e. the music director – I am hearing for the first time. As I check the Geet Kosh, his name appears only for two films – this one and ‘Pasand Apni Apni’ from 1972. The melodies of this film are really attractive, and that is why these songs have remained active in the memory for all this time. And yet, this name – the music director, is completely unfamiliar. A quick search on the net has not yielded any information. I request other knowledgeable readers to please add more information about Vishnu Khanna, and also about this film.

The song is a lovely rendition – a wonderful flowing expression of love, of the promises of being together forever and ever. Lovely words, lovely melody and superb rendition. A truly memorable love song.

 

Song – Poorab Chaloge Chaloongi, Paschim Chaloge Chaloongi  (Patni) (1970) Singer – Suman Kalyanpur, Lyrics – Indeewar, MD – Vishnu Khanna

Lyrics

purab chaloge chaloongi
paschim chaloge chaloongi
sang main tumhaare rahoongi
jahaan jaaoge
purab chaloge chaloongi
paschim chaloge chaloongi

tu jo hai gagan to main ghata hoon
tu jo hai chaman to main hawa hoon
tu jo hai gagan to main ghata hoon
tu jo hai chaman to main hawa hoon
tu hi to mera armaan hai
pyaar ka tu hi vardaan hai
sang main tumhaare rahoongi
sang main tumhaare rahoongi
jahaan jaaoge
purab chaloge chaloongi
paschim chaloge chaloongi

tera dil to meri jaan hai
tu mere liye bhagwaan hai
tera dil to meri jaan hai
tu mere liye bhagwaan hai
tu kahe saara jag chhod doon
duniya ke bandhan ko to doon
tu kahe saara jag chhod doon
duniya ke bandhan ko to doon
sang main tumhaare rahoongi
sang main tumhaare rahoongi
jahaan jaaoge
purab chaloge chaloongi
paschim chaloge chaloongi
purab chaloge chaloongi
paschim chaloge chaloongi
purab chaloge chaloongi. . .

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

पूरब चलोगे चलूँगी
पश्चिम चलोगे चलूँगी
संग मैं तुम्हारे रहूँगी
जहां जाओगे
पूरब चलोगे चलूँगी
पश्चिम चलोगे चलूँगी

तू जो है गगन तो मैं घटा हूँ
तू जो है चमन तो मैं हवा हूँ
तू जो है गगन तो मैं घटा हूँ
तू जो है चमन तो मैं हवा हूँ
तू ही तो मेरा अरमान है
प्यार का तू ही वरदान है
संग मैं तुम्हारे रहूँगी
संग मैं तुम्हारे रहूँगी
जहां जाओगे
पूरब चलोगे चलूँगी
पश्चिम चलोगे चलूँगी

तेरा दिल तो मेरी जान है
तू मेरे लिए भगवान है
तेरा दिल तो मेरी जान है
तू मेरे लिए भगवान है
तू कहे सारा जग छोड़ दूँ
दुनिया के बंधन को तोड़ दूँ
तू कहे सारा जग छोड़ दूँ
दुनिया के बंधन को तोड़ दूँ
संग मैं तुम्हारे रहूँगी
संग मैं तुम्हारे रहूँगी
जहां जाओगे
पूरब चलोगे चलूँगी
पश्चिम चलोगे चलूँगी
पूरब चलोगे चलूँगी
पश्चिम चलोगे चलूँगी
पूरब चलोगे चलूँगी॰ ॰ ॰


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 :

3772 Post No. : 14749 Movie Count :

4033

Since the day making of talkie films started in India, till today, no one knows how many actors have worked in films. Few years back, one gentleman had made a list of 7000 actors up to year 2000 and it was posted on a site, which is now defunct. Ordinary film buffs do not know all the names. The experts, perhaps, may know more. Fact remains that there are only few actors known to all and few known to some.

Some time ago, one of my friends and I took a bet on who knows more names of actors. The time limit fixed was 24 hours and no books etc. were to be referred. Next day, we exchanged our lists. Can you believe, I could not cross even 50 ! My friend was better, he wrote 54 names !! When you have some time, try doing this yourself, at least once.

Same case is with music directors and singers. Though no definite number is available, it is generally presumed that there were 1200 to 1500 music directors. How many can you list ?

As far as singers are concerned, it is a different story. I classify film singers into 4 categories.

  1. Regular playback singers like Rafi, Geeta Dutt, Asha, Mukesh, Lata etc
  2. Those who acted and sang – early era actors till 1950
  3. Accidental singers – These are non singers, who sang few lines or a song in a film, sometimes – like Dilip Kumar, Amitabh, many comedians etc., and
  4. Occasional singers – This is the biggest list. Some of the names in this category are, Ira Nigam, Anima Dasgupta, Balwant Singh, Bharat Vyas, Gopal Patel, Hridaynath Mangeshkar, Malti Pande, Jikki, Narendra Chanchal, Pinakin Shah, Ram Marathe, Shobha Gurtu, Seeta Agarwal, Mrs. Vishnilal, Laxmi Kumthekar etc.

It includes those singers, who sang 6-8 songs and disappeared. It also includes those singers who are from other languages like Marathi, Gujarati, Punjabi, Telugu, Tamil etc, but have sung few songs in Hindi too.

Today’s song is also sung by a singer who was a regular singer in Gujarati and Marathi films and occasional singer in Hindi films. The song is from film ‘Shri Ram Avatar’ (1950) and the singer is Leela Mehta. Leela is not new to our blog. Four of her songs are already discussed here.

Daughter of Kanhaiyalal Mehta and Indumati, Leela was born on 10-12-1935 at Borivali in Bombay. She was elder of the two sisters. Due to loss in business, her family shifted first to Ahmedabad and later to Baroda, where they settled. Leela studied in Marathi medium school – New Era Vidyalay in Baroda. Leela participated in all functions of the school and acted in dramas, much to the annoyance of their social circle. She developed interest in singing after listening to songs by Khursheed and Kananbala. She started learning music despite the resistance from home and others in their society.

VM Vyas, the famous director and a family friend knew about her interest and offered her the main role in film ‘Ranak Devi’ (1946). She was just 11 year old and did not suit the role, but she was given another role in it. Kokila Balsara aka Nirupa Roy too acted in it as a Debut film.

Due to her father’s death, the family shifted to Bombay and Leela took the responsibility of being the bread earner by acting and singing in dramas and radio plays. Meanwhile she learnt further music from Prof. Surendra Rao. She started acting and singing in Gujarati films. Ranjit Movietone offered her a big role in film ‘Gunsundari’ (1948), but since the role needed her to put on a sleeveless blouse, she refused that role. Finally, it went to Dulari. She, however sang songs in that film and they became quite popular in Gujarat.

Leela Mehta had grown up in Marathi atmosphere and also was educated in Marathi Medium, so her Marathi was very good. She was invited to work in Marathi dramas. She did roles in famous and popular Marathi dramas and also sang songs. From 1950 onwards, she started acting in Gujarati dramas. Meanwhile she used to sing in Hindi films occasionally. In early 50s, she made very successful foreign trips with her troupe, to perform Gujarati dramas and singing concerts.

Inspite of being successful and acting and singing in Marathi, Hindi and Gujarati films and dramas, her father did not see even one show of hers. This pained her till end. Leela stayed in a bungalow in Versova in Bombay. Once it was rumoured that there was a ghost in it. She immediately left that house and shifted to Dadar. Inadvertently, she forgot to inform the industry about her change of address, and this diminished her demand drastically.

Her mother died in 1972. In 1982, she toured USA. In 1985, the Marathi Natya Parishad honoured her with a cash award. Till 1992, she acted in Marathi and Gujarati TV serials. In all, Leela acted in 300 Gujarati/Marathi dramas, films and serials. Presently Leela is bedridden and unable to speak also.

Leela Mehta acted in only one Hindi film – ‘Shri Ram Avatar’ (1950). She sang 17 songs in 9 Hindi films, including 2 unreleased films. Her films are  ‘Nai Kahaani’ (1943) (2 songs), ‘Gaurav’ (1947) (1), ‘Namak’ (1947) (1), ‘Pehli Pehchan’ (1947) (2), ‘Gunsundari’ (1948) (2), ‘Satyawan Savitri’ (1948) (no information), ‘Chocolate’ (1950) (no information), ‘Shri Ram Avatar’ (1950) (4) and ‘Hanste Rehna’ (1950) (1). Her unreleased films were, Apradh (1948) (3) and ‘Bidhaata’ (1948) (1).

Film ‘Shri Ram Avtar’ was made under the banner of Praveen Leela Productions. It was directed by W Garcher – a name I have come across first time. He seems to have acted also in this film. The other cast was Shahu Modak, Ratnamala, Leela Mishra, Amarnath, Leela Mehta and others. Lyricist was Pt. Shivraj and the music was by Indravadan Bhatt.

Most names in the cast seem familiar except that of Ratnamala. How many of us really know anything about this actress. It is surprising that a very lovely and beautiful actress, who was heroine of about 20 films in the 40s and has about 300 films (131 Hindi films) to her credit, remains practically unknown. She was the heroine with Saraswati Cinetone, Prabhat Film Company, Sagar, Ranjit, Prakash Pictures etc. – all well known banners. She was in films for 50+ years and was a famous name in Marathi films of Dada Kondke.

Its a great pity that hardly any or no information about her is available in books, encyclopedias, wiki or on internet. When all sources of information come to a dead end, I turn to Harish Raghuwanshi ji of Surat and I am never disappointed. Here, I provide a short bio sketch of Ratnamala, based principally on the articles given by Harish ji. Thanks, Harish ji.

She was born as Kamal Bhivandkar on 22-6-1923 in Bombay. She was good looking and could sing well. From the age of 14 years, she went on the stage of several Ganesh Melas prevalent in those times. She earned 5-10 rupees per performance. In 1938, she was picked up by Dada Torne of Sarswati Cinetone, who cast her as a heroine in Marathi film ‘Bhagwa Zenda’. Seeing her performance, she was taken by Prabhat Film Company for the Marathi version of their film ‘Das Baje’ (1942). Torne had renamed her as Ratnamala.

Vijay Bhatt of Prakash Pictures offered her a role in film ‘Bharat Milap’ (1942), when Kusum Deshpande, selected for the role of Bharat’s wife, fell ill. Seeing her performance, she was selected as a heroine for film ‘Station Master’ (1942). Here too, the original heroine Jyoti fell ill. Then came ‘Panghat’ (1943), ‘Police’ (1944), ‘Kavita’ (1944) etc. She acted in many mythological films also. Some of her well known films were, ‘Dholak’, ‘Maya Bazaar’, ‘Sasural’, ‘Bhabhi Ki Chudiyan’, ‘Faulad’, ‘Woh Kaun Thi’, ‘Nishan’, ‘Bahu Beti’, ‘Mera Sayaa’, ‘Raaz’, ‘Saraswati Chandra’, ‘Brahmachari’, ‘Upahaar’, ‘Seeta Aur Geeta’, ‘Nastik’ etc.

She acted in 130 Hindi films and many more in Marathi films. Later she did side roles. She became famous as mother of Dada Kondke in 11 of his films. She was called ‘Aaye‘ (आये) in the Marathi films of Kondke.

Ratnamala was married to Raja Pandit, a Producer Director in Marathi films, when she was very young. As Ratnamala became successful and Raja became a failure, their marriage came on rocks. She had one son – Jaikumar, who had also acted in one film. Unfortunately, he died suddenly in an accident. Ratnamala lived in her own bungalow in Andheri, Bombay, along with her foster son – Ramesh. Ratnamala died of heart attack on 23rd January 1989.

The hero in this film was Shahu Modak. Shahu Modak was a regular actor in many religious films. He did Krishna’s role in over 30 films. He was born in a Christian family of Ahmednagar (Maharashtra), on 25-4-1918. He was trained in music by his Uncle Nivritinath Modak . He also got trained by Ustad Abdul Kareem Khan. There was a gym in his house and he became an expert in wrestling too. He was discovered by Bhal ji Pendharkar. Producer Nanasaheb Sarpotdar gave him his first break in films. He made his debut with a bilingual film from Prabhat – ‘Shyamsundar’ (1932), as a child artist. Shanta Apte also was a child artist debuting in this film. He also sang a song in this film.

In the next year itself he did a hero’s role in another bilingual – ‘Awara Shehzada’ (1933) (‘Ghatkecha Raja’ in Marathi). With this film, he entered the film History books for doing the first double role in a talkie film ever. He was a prince – Rajkumar and a pauper – Bholaram, in this film. The director of this film was Master Vithal, who himself was the first hero to do a double role in a silent film ‘Prisoner of Love’, in 1927.

Shahu became famous when he did the Havaldar Ganapat’s role in the landmark movie of Prabhat – ‘Aadmi’ (1939) (‘Maanus’ in Marathi). From 1932 to 1986 he acted in about 96 films. His last film too was a mythological – ‘Krishna Leela’ (1986), in which he did Krishna’s role for the last time, at the age of 68 years. He featured in many films of Prakash Pictures, which was a mythological film specialist studio. Shahu Modak initially sang his own songs. He must have sung about 54 songs in 18 films. From the film ‘Bhakta Pooran’ (1952), he started taking playback. But in 1971 he sang a song in film ‘Main Sunder Hoon’.

Shahu Modak passed away on 11-5-1993. There are two interesting things about Shahu Modak. One, he was a very accurate Astrologer. It is said that he had predicted his own date of death. Secondly, like Manhar Desai (Malcolm Alfredo Desai), he too was a Christian and both did roles of Hindu Gods in mythological films.

Let us now enjoy the Leela Mehta song from film ‘Shri Ram Avtar’. The movie makes its debut in the blog with this song.

[Acknowledgements: My thanks to Harish Raghuvanshi ji for some information from his book, ‘ Inhe Na Bhulaana’.]


Song – Aayi Aayi Basant Ritu Aayi  (Shri Ram Avtar) (1950) Singer – Leela Mehta, Lyrics – Pt Shivraj, Music – Indravadan Bhatt
Chorus

Lyrics (Provided by Sudhir)

aayi aayi
basant ritu aayi
sunder ritu aayi
daali daali ne li agndaayi
aayi aayi
basant ritu aayi
sunder ritu aayi
daali daali ne li agndaayi

mere mann ki kali
yug yug ki pali
aaj. . kisi ko dekh muskaai
sunder ritu aayi
daali daali ne li agndaayi
aayi aayi
basant ritu aayi
sunder ritu aayi
daali daali ne li agndaayi

chaand hain naina bolo
kis ke liye aaj
solah singaar kiya
kis ke liye
chaand hain naina bolo
kis ke liye aaj
solah singaar kiya
kis ke liye
kaun si surat
kaun wo moorat
kaun si surat
kaun wo moorat
bhole mann mein aaj samaai
sunder ritu aayi
daali daali ne li agndaayi
aayi aayi
basant ritu aayi
sunder ritu aayi
daali daali ne li agndaayi

mann vyakul hai
baat mukh pen a aaye
mukh pe jo aaye
laaj kehne na paaye
hoga suraj ya to
chanda sa koi
hoga suraj ya to
hoga suraj ya to
chanda sa koi
raja ?? ?? ?? hoga wo koi
raja ?? ?? ?? hoga wo koi

hoon hoon hoon

aayi aayi
basant ritu aayi
sunder ritu aayi
daali daali ne li agndaayi
aayi aayi
basant ritu aayi
sunder ritu aayi
daali daali ne li agndaayi

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

आई आई
बसंत ऋतु आई
सुंदर ऋतु आई
डाली डाली ने ली अंगड़ाई
आई आई
बसंत ऋतु आई
सुंदर ऋतु आई
डाली डाली ने ली अंगड़ाई

मेरे मन की काली
युग युग की पाली’
आज॰॰ किसी को देख मुसकाई
सुंदर ऋतु आई
डाली डाली ने ली अंगड़ाई
आई आई
बसंत ऋतु आई
सुंदर ऋतु आई
डाली डाली ने ली अंगड़ाई

चाँद हैं नैना बोलो
किसके लिए आज
सोलह सिंगार किया
किसके लिए
चाँद हैं नैना बोलो
किसके लिए आज
सोलह सिंगार किया
किसके लिए
कौन सी सूरत
कौन वो मूरत
कौन सी सूरत
कौन वो मूरत
भोले मन में आज समाई
सुंदर ऋतु आई
डाली डाली ने ली अंगड़ाई
आई आई
बसंत ऋतु आई
सुंदर ऋतु आई
डाली डाली ने ली अंगड़ाई

मन व्याकुल है
बात मुख पे ना आये
मुख पे जो आए
लाज कहने ना पाये
होगा सूरज या तो
चंदा सा कोई
होगा सूरज या तो
चंदा सा कोई
राजा ?? ?? ?? होगा वो कोई
राजा ?? ?? ?? होगा वो कोई

हूँ हूँ हूँ

आई आई
बसंत ऋतु आई
सुंदर ऋतु आई
डाली डाली ने ली अंगड़ाई
आई आई
बसंत ऋतु आई
सुंदर ऋतु आई
डाली डाली ने ली अंगड़ाई


This article is written by Sudhir, 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 :

3742 Post No. : 14698 Movie Count :

4018

Missing Films of 1960s – 82
– – – – – – – – – – – – – – –

Our journey of missing 1960s films continues. Coming to the next film – this one is ‘Veer Amar Singh Rathaur’ from 1970.

This film is from the banner of Sudarshan Chitra, Bombay, and is directed by Radhakant. The cast of actors listed for this film are Dev Kumar, Kumkum, Zeb Rehman, Tiwari, Jeevan, Kamal Kapoor, Johnny Whisky, and Jeevankala amongst others.

A film by this title was also made in 1957 – a slight variation in name – it was titled ‘Amar Singh Rathaur’. The earlier film had Jairaj and Nirupa Roy in lead roles. And it had 12 songs written by Bharat Vyas and composed by Sanmukh Babu Upadhyay. The 1970 reprisal has Dev Kumar and Kum Kum in lead roles. And this version has 14 songs all written and composed by Prem Dhawan.

There is possibly another film by this name, released later than 1980, but I am not very certain.

Prem Dhawan, who is known much better as a songwriter, has also worked as a music director for about 15 to 18 films during is career, about 5 of which are Punjabi films. He has mostly worked as a composer for films for which he also has written the songs. In one film, he has composed songs written by Kavi Pradeep (for ‘Kisaan Aur Bhagwa’, 1974) and for one more film, he has composed songs written by Ali Sardar Jafri (for ‘Naxalites’, 1980).

Only the audio of this song is available, but from listening to it, one can surmise that this song is a twin dance song. The singing voices in this all female duet are of Asha Bhosle and Usha Mangeshkar. I request other readers and friends who may have seen this film, to please add more information about this song, and the film.

A very peppy dance song, that talks about the ill effects of falling in love, and also of the sweet emotions. Listen and enjoy.

Song – Akhiyan Mila Ke Akhiyan  (Veer Amar Singh Rathaur) (1970) Singer – Asha Bhosle, Usha Mangeshkar, Lyrics – Prem Dhawan, MD – Prem Dhawan
Asha Bhosle + Usha Mangeshkar

Lyrics

ho akhiyaan mila ke akhiyan
haaye re akhiyaan mila ke akhiyan
ho main to baaz aai
ho main to pachhtaai
ke jaagun ab saari saari ratiyaan
haaye re akhiyaan mila ke akhiyan
haaye re akhiyaan mila ke akhiyan

jab se dekha hai dharti ka chaand
tab se dekha na chanda gagan ka
udd gai ab to aankhon ki neend
hosh kis ko hai ab tan badan ka
ke dagar bhool chali
haaye
ke nagar bhool chali

haaye
bhooli jaati hain bachpan ki sakhiyaan

haaye re akhiyaan mila ke akhiyan
haaye re akhiyaan mila ke akhiyan

haaye ye meethi meethi jalan
pyaar kehta hai jis ko zamaana
ab to jitna tadapta hai dil
dard lagta hai utna suhaana
unhin ki baat sochun
haaye
yahi din raat sochun

haaye
kaise un se kahun dil ki batiyaan

haaye re akhiyaan mila ke akhiyan
haaye re akhiyaan mila ke akhiyan

koi leta hai jab unka naam
mann hi mann jhoom leti hoon main to
jaane kyon dekh ke aainaa
apna munh choom leti hoon main to
ke khud hi likhti rahoon
haaye
ke khud hi padhti rahoon
oy
jaane kitni hi pyaar bhari patiyaan
haaye re akhiyaan mila ke akhiyan
haaye re akhiyaan mila ke akhiyan

o main to baaz aai
o main to pachhtaai
ke jaagun ab saari saari ratiyaan
haaye re akhiyaan mila ke akhiyan
haaye re akhiyaan mila ke akhiyan

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

हो अखियाँ मिला के अखियाँ
हाए रे अखियाँ मिला के अखियाँ
हो मैं तो बाज़ आई
हो मैं तो पछताई
के जागूँ अब सारी सारी रतियाँ
हाए रे अखियाँ मिला के अखियाँ
हाए रे अखियाँ मिला के अखियाँ

जब से देखा है धरती का चाँद
तब से देखा ना चंदा गगन का
उड़ गई अब तो आँखों की नींद
होश किसको है तन बदन का
के डगर भूल चली
हाए
के नगर भूल चली
हाए
भूली जाती हूँ बचपन की सखियाँ
हाए रे अखियाँ मिला के अखियाँ
हाए रे अखियाँ मिला के अखियाँ

हाए ये मीठी मीठी जलन
प्यार कहता है जिसको ज़माना
अब तो जितना तड़पता है दिल
दर्द लगता है उतना सुहाना
उन्हीं की बात सोचूँ
हाए
यही दिन रात सोचूँ
हाए
कैसे उनसे कहूँ दिल की बतियाँ
हाए रे अखियाँ मिला के अखियाँ
हाए रे अखियाँ मिला के अखियाँ

कोई लेता है जब उनका नाम
मन ही मन झूम लेती हूँ मैं तो
जाने क्यों देख के आईना
अपना मुंह चूम लेती हूँ मैं तो
के खुद ही लिखती रहूँ
हाए
के खुद ही पढ़ती रहूँ
ओय
जाने कितनी ही प्यार भरी पतियाँ
हाए रे अखियाँ मिला के अखियाँ
हाए रे अखियाँ मिला के अखियाँ

ओ मैं तो बाज़ आई
ओ मैं तो पछताई
के जागूँ अब सारी सारी रतियाँ
हाए रे अखियाँ मिला के अखियाँ
हाए रे अखियाँ मिला के अखियाँ


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 : 3726 Post No. : 14663

Today’s song is from film ‘Shahkaar’ (1947). Very few people must have heard about this film. That is probably because, it was made in 1947- the year of India’s partition. As the year 1947 began, news was circulating about the partition. Like many other industries, film industry was also worried. There was an air of uncertainty. Who will stay and who will migrate was hotly debated in the privacy of homes, studios and clubs. People looked at each others with suspicion. Muslims were worried about their safety in India, in spite of the assurances by Gandhi and Nehru.

Crores of rupees were invested in films. After the second world war started in 1939, lot of Black money was generated and much of it came to film industry. Investors, financiers and producers were worried about half made films. Everybody seemed to be in a hurry to finish his assignment on hand. Due to this the quantity of films increased, sadly at the cost of quality. 1947 saw a record number of films made in 1947- 181 Hindi films, the highest ever since films were made. It took another 40 years to break this record in 1988, when 185 films were made.

Almost 75 to 80 % films of 1947 were obscure and forgotten within a short time.Films like ‘Aisa Kyun’, ‘Atom Bomb’, ‘Barrister’, ‘Beete Din’, ‘Chalte Chalte’, ‘Chandrahaas’, ‘Dehati’, ‘Daulat Ke Liye’, ‘Extra Girl’, ‘Farz’, ‘Gaurav’, ‘Gudiya’, ‘Heera’, ‘Janata’, ‘Jhalak’, ‘Khandaani’, ‘Lalat’, ‘Manmaani’, ‘Mere Bhagwan’, ‘Mohan’, ‘Nai Baat’, ‘Pehla Pyar’, ‘Paro’, ‘Riwaaz’, ‘Shabari’, ‘Shahkaar’, ‘Tohfa’, ‘Toote Di’l, ‘Veerangana’ are some of the films made in 1947. How many of us even know about them? Actually, some of these were films in which well known and major stars of the times had acted. For example, ‘Mohan’ had Dev Anand as hero, ‘Lalat’ was the debut film of Usha Kiran (as Usha Marathe), Prem Adib and Vanmala had acted in ‘Chandrahaas’ etc.

Not that ALL films were bad. Certainly some famous and excellent films providing some milestones of Hindi cinema  were also made in 1947, like ‘Aapki Sewa Mein’ (first playback song of Lata Mangeshkar), ‘Bela’ (all 10 songs by Zohrabai Ambalawali), ‘Dard’ (debut song of Umadevi), ‘Elaan’ (a bold Muslim social film by Mehboob Khan), ‘Jugnu’ (the only film of Dilip Kumar and Noorjehan), ‘Meera’ (all 18 songs by MS Subbulaxmi), ‘Mirza Sahibaan’ (last film of Noorjehan in India), ‘Neel Kamal’ (debut of Raj Kapoor and Madhubala as lead pair), ‘Parwaana’ (last film of KL Saigal), ‘Shadi Se Pehle’ (first duet of Rafi and Lata) and ‘Shehnai’ (epoch making music by C Ramchandra).

Nevertheless partition did have an impact on the film industry, due to the migration of artistes from both countries. Lahore, an important city in the undivided Punjab in the pre-independence days was one of the major film making centres in India. Talented actors and musicians from all Punjab and Sindh area tried their luck in the Cine Industry at Lahore. Nevertheless, the biggest centre of film production was Bombay and it was every aspiring artist’s dream to go to Bombay and shine there.

The film activity at Lahore increased considerably in the early 1940s in terms of film production and music. Those days Lahore was called a supply source for Bombay, as many actors and musicians shifted their base to Bombay from there. In reality, a large number of star performers and music directors of Bombay film industry had their roots in the undivided Punjab. Many started careers in Lahore, some started from Calcutta and some even from Bombay itself. Most who were in Calcutta shifted to Bombay in early 40s ( but it had nothing to do with Partition). The list of such people is very long, but suffice to mention some well known names.

Noorjehan, Pran, KL Saigal, Prithviraj Kapoor and his sons, Shyam, Dilip Kumar, Surinder, Karan Dewan, Dev Anand, Balraj Sahni, Singer Khursheed, Mumtaz Shanti, Veena, Begum Para, Meena Shorey, Suraiya, Manorama, Kamini Kaushal, Shyama (Khursheed Akhtar), AR Kardar, M Sadiq, Suresh (Nazim Ahmed), Amar, Chetan Anand, Jhande Khan, Ghulam Haider, Pt Amarnath and his brothers Husnlal-Bhagatram, Hansraj Behl, S Mohinder, Feroz Nizami, Khursheed Anwar, Khayyam, Vinod, Shyamsunder, Kidar Sharma, Krishna Chander, OP Dutta, Saadat Hasan Manto, Qamar Jalalabadi, DN Madhok, Tanvir Naqvi, Prem Dhawan etc.

Many of the actors and producers used to shuttle between Lahore and Bombay for their work.

And then the PARTITION took place in 1947.

In the communal frenzy, polarisation of artistes took place. Hindus shifted to Bombay and Muslims left for Lahore. But there were some reverse migrations also in this period. One example each is of Sahir Ludhiyanvi who migrated to India, and Deebo Bhattacharya from Calcutta migrated to Karachi and prospered in Pakistan as a successful music Director.

Some of the families got divided, like Mehboob Khan opted to remain in India, but his brother MR Khan remained in Pakistan and worked as a well known producer. Juhi Chawla’s grandfather JC Anand and uncle Satish Anand stayed in Lahore. Consequently they became the pioneers of Pakistan Film Industry. After the divorce, Rafi’s wife also migrated to Pakistan with her children.

At the actual time of Partition some artists were in Lahore for film work. They were BR Chopra, Ramanand Sagar, IS Johar, Gulshan Rai, Omprakash, Jeevan, OP Nayyar, Rajinder Singh Bedi, Naqsh Lyallpuri, Surinder Kaur, Prakash Kaur and Pushpa Hans. They all left Lahore hurriedly and reached Bombay safely.

However this journey was not so safe for one actor – comedian Durga Prasad, known as Durga Mota. He was very fat. In the melee, he reached the Lahore station and somehow entered the train to Bombay. Suddenly a group of mad rioters entered the Lahore station and started killing the travellers. Most people ran helter skelter, but due to his heavy body, Durga Mota could not run and was cut into pieces on the Lahore station platform itself !

Same way many artists from Bombay left for Lahore and ALL of them reached safely.

I have full lists of who migrated, but to put it in short, some of the directors who migrated were,

Syed Shaukat Hussain Rizvi, SM Yousuf, Najam Naqvi, Munshi Dil, Nakshab Jarchavi, M Sadiq, Zia Sarhadi, Sibtain Fazli (of Fazli Brothers), ST Zaidi , Zahoor Raja, Wali Saheb and Manto.

Some of the heroes were- Nazeer, Sadiq Ali, Masood, Sudhir, Santosh, Ratan Kumar, Najmul Hussain, Suresh and Nasir Khan (both came back to India later), Sheikh Mukhtar.

Some of the actors were- M Ismail, Ajmal, Gulam Mohd, Kumar, Ghori, Majeed, Shahnawaz, Himalayawala, Shyam Kumar, Allauddin, Shah Shikarpuri, Charlie, Nazar Faizi etc.

Some of the Heroines were- Noorjehan, Meena Shorey, Khursheed, Zeenat Begum, Asha Posley, Najma, Kalawati, Rehana, Swarnalata, Ragini, Bibbo, Renuka Devi, Geeta Nizami, Maya Devi etc.

Some from the music field were- Khursheed Anwar, Inayat Hussain, Rafiq Gaznavi, GA Chisti, Ghulam Haider, Feroz Nizami, Nissar Bazmi, Nashaad, Tufail Faruqi, Tanvir Naqvi, Faiyaz Hasmi, Iqbal Bano, Premlata etc.

With so many people migrating to Pakistan at a time and the condition of Pakistan Film Industry then, it is a moot question, whether all these migrants could get work there and shine ?

There were 2 types of people who migrated-

  1. Those who had achieved their peaks already in India and
  2. Those who had just started their careers.

Obviously the second group, at least some of them, could do well there eventually.

Some of the successful migrants there were- Noorjehan, Khursheed Anwar, GA Chisti, Nissar Bazmi, Feroz Nizami, Najam Naqvi, Nakshab Jarchavi, Sibtain Fazli, Wali Saheb, Manto, Rashid Atre, Sudhir, Santosh, Asha Posley, Shameem, Najma, Yasmeen, Ragini, Zahoor Shah, Shaikh Iqbal, Himalayawala, Nazar, Rafiq Gaznavi, Tanvir Naqvi, Iqbal Bano etc.

The unfortunate ones were (some of them) – Meena Shorey, Ratan Kumar, M Sadiq, Charlie, Ghori, Kumar, Sheikh Mukhtar, Najmul Hussain, Neena, Kalavati, Maya Devi, Gulam Haider, Nashaad, Premlata etc.

Almost all the artists who shifted to Bombay prior to Partition did very well here.

There was a second wave of Migration in 1955-56, during which many artistes like Veera, Rattan Kumar, Rehana, Mumtaz Shanti, Meena Shorey, Wali Sahib, K Anwar etc migrated to Pakistan.

Partition did some damage to India, but as there was a second line waiting to take over, the impact was negligible. However, Pakistan had to build a new film industry with the help of the migrant artistes in almost all departments of film making. Once this generation ended their career, unfortunately there was not much of a second line to take over in Pakistan.

Here is an excerpt from a book “The Travels of Bollywood Cinema ” by Anjali Geeta Roy, in this connection…….

The rioting of 1947 set in motion irreversible, irrevocable migration. B R. Chopra and I S Johar were planning films in a big way for Lahore but had to run for their lives. Ramanand Sagar left in July, so did Gulshan Rai. Character actor Om Prakash (of Fateh Din fame, an all-time favourite skit relayed for years by Radio Lahore), comedian-bad man Jeevan and many others also left Lahore for Bombay. O P Nayyar recorded his immortal song Preetam Aan Milo/ Dukhia Jiya Bullai, Aan Milo at the His Master’s Voice studio in Lahore. He left Lahore only in 1948 when it became clear that people with the wrong religion were not going to return to their homes on either side of the Punjab. Writer Rajinder Singh Bedi escaped, sitting on top of a railway carriage carrying loads of Hindus and Sikhs out of Lahore. Song-writer Naqsh Lyallpuri began his literary career in Lahore as a journalist but had to leave in 1947. Punjabi singers, the sisters Surinder Kaur and Prakash Kaur, and Pushpa Hans also left Lahore.

Migration in the other direction also took place. Nazir and his wife Swarnlata, Noorjahan and her husband Shaukat Husain Rizvi, character actor Alauddin and many others headed for Lahore. Manto came in January 1948, music directors Ghulam Haider and Khurshid Anwar followed some years later and director M. Sadiq probably in 1969 or 1970. Meena Shori, Khurshid and Mumtaz Shanti also immigrated to Lahore. Some Pakistani actors in Lahore continued to use Hindu filmic names. Santosh Kumar (Musa Raza) and Sudhir (Shah Zaman), the two most famous heroes of the 1950s and 60s represented such practice. On both sides, initially considerable goodwill existed between the two film communities.

Some families were divided. Thus for example, while Nazir shifted to Lahore, his nephew K. Asif stayed on in Bombay. Kardar stayed on but his brother Nusrat Kardar and son Rauf Kardar returned to Lahore. While Suraiya, her mother and grandmother settled in Bombay, many of her other relatives shifted to Lahore. Rafi stayed on to reign supreme in Bombay while his parents and siblings were in Lahore.

There were some cross-religion marriages that created peculiar challenges. Raj Kapoor’s maama (maternal uncle) Mr Mehra married a Muslim, converted to Islam and stayed in Lahore. A unique case of reverse migration took place as well: poet Sahir Ludhianvi (Abdul Hai) left Lahore for India.

In the context of partition and its effect, if one sees, the film ‘Shahkaar’ was an ordinary film. The director of the film, the hero Shah Nawaz and few actors like Nazma, Majid, Mehdi Raza, Maqbool etc. migrated to Pakistan after partition. Obviously these artistes were in a hurry to complete the film, which affected the quality of the film.

The music director was K Datta aka Datta Korgaonkar. There were only 7 songs – all written by Arzoo Lucknowi. The film was directed by S Khalil, who directed 7 films in all in India. Shah Nawaz continued his career in Pakistan by acting in 41 films there (32 Urdu and 9 Punjabi). He died on 18-6-1971 in Karachi. Today’s song is sung by a young Mohd Rafi and Shamshad Begam. Rafi sounds very fresh here.

[Author’s Notes – the lists of names given here are indicative and not exhaustive. Migration period is considered as 1947 to 1970.]
[Acknowledgements – My thanks to Harish Lalwani of Hyderabad-Sindh and Rafiq Ansari of Lahore. Credits – HFGK, ‘Mourning the Nation’ by Bhaskar Sarkar, ‘Partition’ by Kavita Daiyya, “The Travels of Bollywood Cinema ” by Anjali Geeta Roy, Encyclopedia of Indian Cinema and my notes.]


Song-Ye duniya hai sab prem ki (Shahkar)(1947) Singers-Rafi, Shamshad Begam, Lyrics-Aarzoo Lucknowi, MD-K Datta

Lyrics

o o o
o o o
o o o
o o o
o o o
o o o o
o o o o

ye duniya hai sab prem ki
tu prem kiye ja
ye duniya hai sab prem ki
tu prem kiye ja
haan prem kiye ja
duniya mein jiye ja
haan prem kiye ja
duniya mein jiye ja

aa aa aa aa aa
aa aa aa
aa aa aa aa aa
o dharti ke raaja
aa aa aa aa
tere haath mein baaja
tere hath me baaja

o chaand ki raani
aa aa aa
teri mast jawaani,
teri mast jawaani
tu chaand mere dil ka hai
aankhon ka hai taara
mamta ne kiya phoolon mein chhip chhip ke ishaara
sandesh mujhe chupke se pardon mein diye ja
o chaand ki raani
o dharti ke raaja
o chaand ki raani
aaja
aaja
aaja

main aati to hoon
par tu mujhe chhed na dena
main aati to hoon
par tu mujhe chhed na dena
o baanke lutere
o baanke lutere
tu kahin loot na lena
tu kahin loot na lena
haan chhed na dena
mujhe tu loot na lena
haan chhed na dena
mujhe tu loot na lena

aa aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa aa
mohabbat sharaab aur mohabbat jawaani
mohabaat jawaani
jawaani deewaani

behoshi ke mausam mein
behoshi ke mausam mein
lagaataar piye ja,
lagaataar piye ja
aur yoon hi jiye ja
aur yoon hi jiye ja
aur yoon hi jiye ja
aur yoon hi jiye ja


This article is written by Sudhir, 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 : 3720 Post No. : 14655

My affair with Tanuja (one of the many that I had during my school years) started when I first saw her in a film on Doordarshan. If I remember correctly, it was ‘Bahaaren Phir Bhi Aayengi’ from 1966. The song was “Aapke Haseen Rukh . . .”. The way this song is filmed, Tanuja looks such a pretty enchanting young lady, as the camera pans in on her with sunlight behind, the rays of the sun diffracting from her open tresses. At that time, I did not even know her name. Just that face, and the vision of sunlight reflecting from her hair, and I lost my heart to her.

Next meeting with her was probably ‘Jewel Thief’ (1967). Being a supporting role, she was on the screen much lesser than the leading lady. And I still did not know her name – I had not yet learnt to remember the names in the credits at the beginning of the film and then mapping them to the actual people who appeared on the screen.

The encounters were infrequent; but the enchantment would continue for some more time, occasionally reinforced by chance photos in Filmfare or Madhuri magazines, and songs in Chitrahaar. It would be much, much later that I would pick up the earlier threads with films like ‘Hamaari Yaad Aayegi’ (1961), ‘Mem Didi’ (1961), ‘Benazir’ (1964) and ‘Nai Umar Ki Nai Fasal’ (1965), ‘Anubhav’ (1971), ‘Haathi Mere Saathi’ (1971), ‘Door Ka Raahi’ (1971) and ‘Do Chor’ (1972). In the contemporary mode, I met her again in ‘Imtihaan’ (1972) and ‘Hamraahi’ (1974). And fell in love all over again with “O Mere Dil Ke Chain. . .” – ‘Mere Jeevan Saathi’ (1972); while still struggling to get into my teens. 🙂

Tanuja – the naughty, sometimes ferocious, playful, mischievous – an incisive smile and a twinkling gleam in the eyes. The best image in the mind is when she makes changes to her household in ‘Anubhav’, and Sanjeev Kumar comes home from work, and she opens the door, grabs him by his necktie and pulls him behind her into the house. Or her first encounter with Vinod Khanna in ‘Imtihan’ and she drenches him by mistake, with the garden hose. Many such images overflow in the mind – including the startling somewhat senior role of Padmini Kolhapure’s elder sister in law in ‘Prem Rog’ (1982). That was sure a let down to the discerning teen-end mind, who believed that Tanuja could never, would never grow up from her impish presence. A teen-age heart shattered, and a puppy love story spun off into oblivion. 😦  🙂

Tanuja – the second daughter of Shobhna Samarth, and younger sister of Nutan, was born in Bombay on 23rd Sep, 1943. Into the films as a child artist by 1950, she made her maiden appearance as Nutan’s younger sister on screen in ‘Hamari Beti’ (1950). She continued to appear in films as a child artist. Her first senior romantic role was in 1961 – Kedar Sharma’s film ‘Hamari Yaad Aayegi’. And then a progressive career that continues to be active till the present time. She is 75 years (as of yesterday).

A grand happy birthday to Tanuja, as I remember my puppy crush on her with the lines I used to hum for her – “Yaari Ho Gai Yaar Se Lak Tunu Tunu”. 😀

You wouldn’t believe it, but I was totally unaware till the time yesterday as I started checking out the available material on her life and career, that she is Kajol’s mother. You can call me anything, but that is the fact that is. 😀

In my opinion, the film ‘Gustaakhi Maaf’ (1969) is one of the best comedies of Hindi screen. I saw this film for the first time on Doordarshan (what else), sometimes in second half of 1970s. Tanuja in a double role, paired opposite to Sanjeev Kumar and Sujit Kumar, playing two artist brothers in the film, who own a photo studio shop.

The film’s twin role is Tanuja’s handiwork. Twin sisters separated at childbirth. One remains in the town, and the second one is taken away to another destination. Fate would have it, that after twenty years, the sister living away, returns to visit this town. In the town, the other sister is already quite fitfully romantically involved with Sujit Kumar, the elder of the two brothers. The appearance of the twin sister of course creates numerous hilarious problems, but the high point comes when the out of town sister falls for Sanjeev Kumar, the younger brother. These scenes are some of the best in the film – Tanuja is trying to woo Sanjeev Kumar out of genuine interest, and Sanjeev is horrified and appalled that his future sister-in-law, and the bride to be of his elder brother, is playing romantic hooky with him. With nobody the wiser, the situation creates confusions galore, as all well wishers get together and carry off the in-town sister to a mental asylum in a straight jacket, believing whole heartedly that the young lady is struck with the split personality syndrome. And when the senior doctor at the asylum turns out to be V Gopal, one can imagine what twists and turns the situations will take. By a directorial intervention, the out of town sister also appears at the asylum – she is in search of someone else. With both the twins now present in the hospital, and everyone still unaware of what the crux of the problem is, it does carry all the ingredients to carry the situation towards a hilarious climax extremum. Happy ending of course, all sorted out and the two brothers get twin sister wives.

The song presented with this post is from the passage that the out of town sister is trying to woo Sanjeev Kumar, who is completely convinced that his future sister in law is making an ‘illegal‘ pass at him. The lady wants a portrait to be done in a scenic setting. Convinced that his future sis in law has lost it, Sanjeev tries to humour her by going along with the charade. But once reaching the scenic spot, when the lady breaks into a song of longing, that is too much for Sanjeev, and he tries to wriggle his way out of the situation.

Seriously, if you have not yet watched this film, then add it your list of things to do before departing from the planet. Till about a couple of years ago, this film was extremely unavailable, and a rare possession. But today, it is available on YT, so the rarity angle is gone. However, the humorous confusions angle is still the prime draw for this film.

Song is written by Naqsh Lyallpuri, with music by Sapan Jagmohan. Singing voice is that of Asha Bhosle. And the fun part is watching Tanuja’s antics and expressions as she, armed with this song, tries to take on the fortifications of a bewildered young man. A real treat to watch.

Many happy returns of the day, Tanuja ji – may the laughter never cease.

Song – Sajna Mera Jiyara Jaley (Gustakhi Maaf) (1969) Singer – Asha Bhosle, Lyrics – Naqsh Lyallpuri, MD – Sapan Jagmohan

Lyrics

hmmmm mmmmm
mmmmmmm mmmmmmmm
la ra la ra laa
la ra laa..aa..aa

sajna mera
haaye
jiyara jaley
aa jhoom ke
badra taley
ik baar tu
lag ja galey
sajna mera
jiyara jaley
aa jhoom ke
badra taley
ik baar tu
lag ja galey
sajna mera
jiyara jaley. . .

chanchal pawan zulfen
bikhra gayi
daali mere tan ki
mehka gayi
mann mein agan
bhadka gayi
sajna mera
jiyara jaley
aa jhoom ke
badra taley
ik baar tu
lag ja galey
sajna mera
jiyara jaley. . .

aankhen kahen pyaara. . .
sapna hai tu
dil ye kahe mera. . .
apna hai tu
apna hai ya sapna hai tu
sajna mera
haan haan sach
jiyara jaley
aa jhoom ke
badra taley
ik baar tu
lag ja galey
sajna mera
jiyara jaley
aa jhoom ke
badra taley
ik baar tu
lag ja galey
sajna mera
jiyara jaley. . .

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

हम्मममम म्ममममम
म्ममममममम म्ममममममम
ला रा ला रा ला॰॰॰
ला रा ला॰॰आ॰॰आ

सजना मेरा
हाय
जियरा जले
आ झूम के
बदरा तले
इक बार तू
लग जा गले
सजना मेरा
जियरा जले
आ झूम के
बदरा तले
इक बार तू
लग जा गले
सजना मेरा
जियरा जले॰ ॰ ॰

चंचल पावन ज़ुल्फें
बिखरा गई
डाली मेरे तन की
महका गई
मन में अगन
भड़का गई
सजना मेरा
जियरा जले
आ झूम के
बदरा तले
इक बार तू
लग जा गले
सजना मेरा
जियरा जले॰ ॰ ॰

आँखें कहें प्यारा॰ ॰ ॰
सपना है तू
दिल ये कहे मेरा॰ ॰ ॰
अपना है तू
अपना है या सपना है तू
सजना मेरा
जियरा जले
आ झूम के
बदरा तले
इक बार तू
लग जा गले
सजना मेरा
जियरा जले
आ झूम के
बदरा तले
इक बार तू
लग जा गले
सजना मेरा
जियरा जले॰ ॰ ॰


This article is written by Peevesie’s Mom, 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 :

3719 Post No. : 14652 Movie Count :

4004

Hullo to all in Atuldom

I don’t know if anyone has noticed the current obsession that I am displaying. Many of my contributions to the blog in this calendar year have been to celebrate the birthdays of artists who are otherwise called “character artist” or “supporting cast”.

Has anyone tried to visualise what story “The Ramayana” would have been if there was no Dasharatha, Kaikeyi, Sugriva, Hanuman, Vibhishana or even Ravan. Can one think of “The Mahabharat” minus Duryodhana, Shakuni, Kunti, or any of the “supporting characters”? Where would “Sholay” be without Gabbar, or the fate of “Mr. India” without Mogambo. Can one think of “Parichay” minus the cute kids of the family, “Chupke Chupke” without Jijaji, “Golmaal” without Bhavani Shankar; “Deewar” minus THE MAA. That means all stories, be they the epics or modern tales, need characters which are good, bad, ugly or in-between, around the main characters for the story to be interesting.

Thank God Indian movies follow the story-pattern set by the epics and have given us quality actors who don’t mind playing second fiddle to the main characters so-much-so that sometimes their acting out the character overshadows the character of the main lead itself.

Today’s post also celebrates the birthday of one such actor without whose presence Manoj Kumar’s “Shaheed”, “Purab Aur Paschim”, “Upkaar” or “Kranti” cannot be imagined. Rajesh Khanna’s 15 (out of the 19 that they were co-actors in) jubilee hits would be unthinkable and it seems that distributors, back then, backed any movie with this hero-villain Jodi. Similarly, his pairing with Bindu was also much sought after in movies till even in the 90s. This actor was successful for his villainy without gizmos or funny names. And he is one of the many actors whose work has always been appreciated by the audiences; who will be able to survive in the cut-throat competition that Bollywood has. He has played second fiddle to so many of his contemporary villains even after attaining success with ‘Kati Patang’, ‘Upkaar’, ‘Teesri Manzil’ etc.

He was known for his one-liners. For example “main woh bala hoon jo sheeshay se patthar ko todta hai” in Kati Patang; “jinke ghar sheeshe kain ho woh batti bhujakar kapde badalte hain” in Souten; then in the next decade of his career these one-liners went a step further towards enhancing his comic characters with gems like “bhains poonch uthayegi to gaana to nahi gayegi, gobar hi degi” in Aaj Ka Arjun; “kar bhala toh hoga bhala” in Raja Babu and the most charming one-liner of all “nanga nahayega kya aur nichodega kya” in Dulhe Raja. Aah! Now I can see that gleam of excitement in those reading this, and so I will not write his most famous one-liner “Prem naam hai mera, Prem Chopra” in Bobby

Before I began to write this post, I was hunting for songs with Prem Chopra in them. My logic was mostly all actors start out with the wish to play the main lead. There would be at least a movie or two where Prem Chopra was the HERO and sung some songs to the heroine. And sure enough I found a few but then they are already posted on our blog – “Tum Apni Saheli Ko. . .” (‘Samaaj Ko Badal Daalo’, 1970), “Paanv Mein Painjaniya, Naache Sajaniya. . .” (‘Kunwaari’, 1966), “London Se Aaya Hoon Albela” (‘Vachan’, 1973) & “Aaj Pila De Saaqi Apni Aankhon Ke Paimaane Se” (‘Doli’, 1969). But as a villain also he has sung a song in a train as part of a mission to loot an inspector played by Krishan Dhawan – “Raah Mein Kaliyan Khila ke Yaar” (‘Nafrat’, 1973). Then there are numerous songs where the heroine sings a romantic song to the handsome (many times more good-looking than the hero himself) Prem Chopra in a bid to evoke a response from the hero as in “Kitna Mazaa Aa Raha Hai. . .” (‘Raja Jaani’, 1972). Then there is the song from Sikandar-e-Azam without which no TV or Radio program is complete on the national holidays of Independence Day and Republic Day – “Jahaan Daal Daal Par Soney Ki. . .“. Just that the number of songs lip-synced by Prem Chopra is few. But there are such songs available and he is one of the lucky oldies (today being his 83rd birthday) to be still active in movies and getting to play meaningful characters and also sing once in a while.

He is related to the Kapoor Khandaan as his wife is sister to Krishna Kapoor, wife of Raj Kapoor. By that, he also is brother-in-law of Premnath, Rajendranath etc. His three daughters are married to actors Sharman Joshi, Vikas Bhalla and publicity designer Rahul Nanda- all connected with Bollywood.

About today’s song. I have seen this movie a few years ago on TV (of course) and was happy to see three characters as the protagonists of the movie. ‘Umar’ (2006) was written and directed by Karan Razdan (remember him from the Doordarshan serial ‘Rajani’). It had music by Shamir Tandon and Shaily Shailendra was the lyricist. It starred Kadar Khan, Satish Kaushik, Prem Chopra and Jimmy Shergill in the lead with Shakti Kapoor, Shenaz Treasurywala, Dalip Tahil etc. in supporting cast. It is a story of three old men living the last years of their life in the UK. The three have problems of their own viz. their children ill-treating them, racial discrimination etc. They find solace from an affectionate young man (Jimmy) who is a student and a singer / waiter at a bar. This young man gets embroiled in the murder of his owner and the three elderly men help him run from the law making them fugitives too. But then there were a few songs in that movie which centred around Kadar Khan, Prem Chopra and Satish Kaushik. This was a movie which in Atulji’s words “didn’t try to please all” and so was not very successful at that time possibly what used to be called an “art movie” in the 70s and 80s are now called movies for the “multiplex audience”.

Todays’ song is sung by Kavita Krishnamurty, Sonu Nigam, Manna Dey and Shabab Sabri.

Wishing Prem, Prem Chopra a very Happy Birthday. Thank you for entertaining us all your life.

(Video)

(Audio)

Song – Duniya Waalon Ko Nahin Kuchh Bhi Khabar (Umar) (2006) Singer – Manna Dey, Shabab Sabri, Sonu Nigam, Kavitha Krishnamurty, Lyrics – Shaily Shailendra, MD – Shamir Tandon
Chorus

Lyrics

ooooo hoooo oooooo
aaaaa aaaa haaa

duniyawaalon ko nahin kuchh bhi khabar
hai hai
duniyawaalon ko nahin kuchh bhi khabar
kahein pyar karne ki hai ye koi umar
ham kahein dil se dil mile jo agar
ham kahein dil se dil mile jo agar
tab hai pyar karne ki har ek umar
tab hai pyar karne ki har ek umar
duniyawaalon ko nahin kuchh bhi khabar
kahein pyar karne ki hai ye koi umar
ham kahein dil se dil mile jo agar
haan ham kahen dil se dil mile jo agar
tab hai pyar karne ki har ek umar
tab hai pyar karne ki har ek umar  
duniyawaalon ko nahin kuchh bhi khabar
nahin kuchh bhi khabar

raat din seena kyun phadakata hai
seene me dil kyun dhadakata hai
lalla la
la la la la la
lalla la
la la la la la

raat din seena kyun phadakata hai
seene me dil kyun dhadakata hai
kahin to hai wo haseena koi
jiske liye dil ye tadapta hai
koi kahe gulbadan jaane chaman hai kahaan
koi kahe gulbadan jaane chaman hai kahaan 
duniyawaalon ko nahin kuchh bhi khabar
kahein pyar karne ki hai ye koi umar
ham kahein dil se dil mile jo agar
haan ham kahein dil se dil mile jo agar
tab hai pyar karne ki har ek umar
tab hai pyar karne ki har ek umar
duniyawaalon ko nahin kuchh bhi khabar

ye jahaan ik saraaye phaani hai
yahaan har cheez aani jaani hai
aaaaaaa aaa aaa
oooo hoo ooo
ye jahaan ek saraye phaani hai
yahaan har cheez aani jaani hai
aa ke na jaaye wo budhapaa hai
jaa ke na aaye wo jawaani hai
gayi akad dheeli pakad josh magar hai jawaan
gayi akad dheeli pakad josh magar hai jawaan
duniyawaalon ko nahin kuchh bhi khabar
kahein pyar karne ki hai yeh koyi umar
ham kahein dil se dil mile jo agar
ham kahein dil se dil mile jo agar 
tab hai pyar karne ki har ek umar
tab hai pyar karne ki har ek umar
duniyawaalon ko nahin kuchh bhi khabar

duniyawaalon ko nahin kuchh bhi khabar
kahein pyar karne ki hai yeh koi umar
ham kahein dil se dil mile jo agar
tab hai pyar karne ki har ek umar
tab hai pyar karne ki har ek umar
(tab hai pyar karne ki umar)
har ek umar
tab hai pyar karne ki umar
umar
umar


This article is written by Sadanand Kamath, 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 : 3695 Post No. : 14611

In the 1930s and in early 1940s, most of the music directors compose mainly raag-based and folk-based tunes to the lyrics.  The musicians would play the entire melody on their respective instruments in line with the tune. Since, in the absence of playback singing, songs would be recorded live, music directors were constrained to use minimum musical instruments, that too mostly within the options of Indian instruments consisting of harmonium, percussion, tabla/dholak, sitar, saarangi, flute etc.

Once the playback singing system stabilised in around late 1930s, music directors got flexibility in using more musicians and also started using western musical instruments such as piano, guitar, violin, mandolin, trumpet, clarinet etc. This gave them flexibility in composing preludes, interludes and orchestration. Anil Biswas who came to Bombay (Mumbai) sometime in 1935 with 12 of his Anglo-Indian musicians, changed the concept of orchestration of the songs. He was the first to use counter melody in orchestration. Probably, he was also the first music director of Hindi films who composed a song, Hum Aur Tum Aur Ye Khushi  based on waltz music (generally used for ball-room dance), for the film ‘Alibaba’ (1940). Anil Biswas could do it because he had in his orchestra, musicians well-versed in playing western music instruments.

There were perceptible changes in the style of song compositions in Hindi films of 1950s and 60s (also thereafter) as compared with those of 1940s. Songs of 1950s and 60s were not only melodic but their musical preludes, interludes and overall orchestrations appealed to the listeners. How did the Hindi film music witness musical metamorphosis in 1950s and 60s? The answer is that during this period, some of the Christian musicians and music arrangers from Goa played a pivotal role in taking the Hindi film music from the vintage era ( 1931-1947) to the golden era (1948-1980).

To understand as to how the Christian musicians from Goa got connected with Hindi film industry, one needs to go back to the history of Goa. After the annexation of Goa by Portuguese in the 16th century, they established churches, chapels and convents in their captured territories. As part of church services, there was a need to establish choirs – a group of singers accompanied by musicians. The locals who were converted in to Christianity were trained to sing and play western instruments such as organ and violin. The services of these trained singers and musicians were also utilised for the occasions such as weddings, community feasts and funerals. Over a period of time, with the regular exchange of people from other Portuguese territories such as Angola and Mozambique, these musicians learnt some more western instruments such as piano, trumpet, saxophone, guitar, clarinet etc.

The Portuguese did not do much to the education system. Nor did they provide employment opportunity to the locals. As against this, Goans found employment opportunity in British India especially at Mumbai, the nearest city for Goans. For those who had learnt music, Mumbai provided them opportunity to become musicians in the night clubs which were patronised by the higher strata of the societies.

During the World War II (1939-45), there were shortages of musicians in the night clubs as many foreign musicians especially from Germany and its allied countries either left India or they were arrested. The Goan musicians with their affinity to jazz music filled the vacancies. Also, the British and its allied troops which were stationed in major cities like Bombay, required night clubs as a source of entertainment.

During the late 30s and early 40s, many Goan musicians migrated mainly to Mumbai. Some of the well-known Goan musicians like Antony Gonsalves, Chic Chocolate, Sebastian D’Souza (came to Mumbai via Lahore), Frank Fernand, Chris Perry, Sonny Castelino, Lucilla Pacheco migrated to Mumbai. I guess that none of these musicians would have remotely thought of joining the Hindi film industry at the time of their migration. Generally, for musicians trained in western classical music, their intention will be to join a music band, earn a name and have their own music band.

Except Antony Gonsalves, all others mentioned above, had joined the dance bands as musicians. Those days, there was a craze for jazz music  and all these dance bands would mostly play jazz music in Taj Mahal Hotel, Green Hotel (run by Taj Mahal), Astoria Hotel, Ambassador Hotel, Ritz Hotel, Bristol Grill, Mocambo etc. During my way to college in Churchgate in early 1960s, I used to see displays outside some of these hotels and restaurants showing the names of the dance bands with prominent musicians schedule for the performance in the night. Perhaps, I may have read the names like Chic Chocolate, Frank Fernand and Chris Perry but without knowing at that time that they were associated with Hindi film music.

How some of these Goan musicians did get connected with Hindi film industry in the latter half of the 1940s is not clear. Probably, some of the music directors like Anil Biswas, C Ramchandra, Khemchand Prakash, Naushad either individually or collectively may have visited the night clubs to witness the performance of the dance bands. They would have been impressed by the harmonic presentation by musicians with foot tapping music. They saw the opportunity to use in Hindi film songs  by way of prelude and interlude orchestra which would appeal to the listeners.

But how to achieve the synergy of harmonic orchestra to the tune in melodic form in Hindi film songs? The uses of a large number of western musical instruments for orchestra which need to be played in harmony require a music composer (in Hindi film parlance, a music arranger) who can write music for each musician and for each instrument in the orchestra who may play the instruments in different notes. Goans with their training in Western classical music from their days in church choirs to dance bands were well versed to do the job of writing the music.

During the late 1940s, Goan musicians and music arrangers worked in Bombay film industry during the day time to supplement their income while the main source of their income continued to be from the dance bands. Sometime in early 1950s, the then Bombay State introduced prohibition and raised entertainment tax which affected the business of night clubs. Some of the Goan musicians had to become full time musicians and music arrangers in Bombay film industry while working with dance bands became a part time job.

Among the many Goan musicians, Antony Gonsalves, Frank Fernand, Sebastian D’Souza and Chic Chocolate have been the major music arrangers for the Hindi film music during 1950 to 1975. I guess, these four music arrangers may have been associated with about 90 per cent of the Hindi film songs during 1950-75.

All these four music arrangers have contributed so much to the Hindi film music that each one merits a full article. This will have to wait for some other time. In the meanwhile, I present below a brief sketch of the musical career of each one of them.

Antony Gonsalves (12/06/1927 – 18/01/2012) mostly worked as a free-lance music arranger due to the fact that he also played violin for almost all the top music directors. He started as a musician playing mainly violin with Naushad in 1943. He got his first assignment as music arranger with Shyam Sundar in Dholak (1951). His orchestration in Mausam Aaya Hai Rangeen is worth listening. He had also done orchestration for Hum Aapki Aankhon Mein  in ‘Pyaasa’ (1957) during which he also played violin. During his active filmy career between 1950-1965, he is said to have been associated in more than 1000 songs.

Antony Gonsalves taught violin to Pyarelal (of Laxmikant-Pyarelal) and RD Burman for 4 years. He had also become a keen follower of Hindustani classical music. In fact, in 1958, he had 110 musicians in his raag-based symphony orchestra playing his composition in various Indian raags blended with western music, a thing which is very common in the present generation. Unfortunately, his experiment did not click with the audience.  But his work was noticed at the international level.

Antony Gonsalves cut short his filmy career in 1965 and went to USA on an invitation from Syracuse University, New York. He remained in the USA for 10 years after which he returned to India and settled in his village Mojorda in Goa in seclusion during the rest of his life keeping away from the Hindi film industry.

An interesting trivia here – in the iconic song tuned by Laxmikant Pyaarelal – “My Name Is Anthony Gonsalves“, L-P have said that they used this name of their ‘teacher’, as a mark of honour for him.

Frank Fernand (03/05/1919 – 01/04/2007) worked as a music arranger mainly with Hemant Kumar, Ravi, Kalyanji Anandji though he also worked with other music directors. He migrated to Mumbai  in 1936 to join one of the dance bands. He got his first break as a music arranger in ‘Barsaat’ (1949) and also played trumpet and violin in some songs. During his career as musician/music arrangers, he is said to be associated with about 70 Hindi films. Frank Fernand’s work can be judged from Dil Deke Dekho Dil Deke Dekho, Baar Baar Dekho Hazaar Baar Dekho and Aage Bhi Jaane Na Tu  among his other works.

Sometime in the 60s, Frank Fernando ventured in to producing Konkani films and thereafter a couple of Hindi films in the 1970s. While his Konkani films earned him money, his first Hindi film ‘Priya’ (1970) was a box office failure while the second film ‘Aahat’ (1974) could be released only in 2010 after his death. In 1985, Frank Fernand was afflicted with Parkinson’s disease which kept him in the confine of his house in Bandra.

Sebastian D’Souza (29/01/1906 – 09/03/1996) was a dance band leader in early 1940s in a hotel in Lahore. During his Lahore days, he is said to have worked for Shyam Sundar and Ghulam Haider. After partition, he came to Mumbai. His first film as music arranger was with OP Nayyar in ‘Aasman’ (1952). His association with Shanker-Jaikishan started with ‘Daagh’ (1952) which continued uninterrupted till 1975.  With his attachment with OP Nayyar, Shankar-Jaikishan and occasionally with Salil Chaudhary, his outside assignments as music arrangers were few.

One can notice the ingenuity of Sebastian D’Souza’s in music arrangements in that despite working with OP Nayyar and Shankar-Jaikishan for a long time, his orchestrations retained the individual  stamps of these music directors in their respective songs. That Sebastian D’Souza could work with a temperamental music director like OP Nayyar for a long time speaks volume about his talent and of his mild nature.

It is said that Sebastian D’Souza’s counter-melody in orchestration was so good that  Jaikishan used some of his counter-melodies as  tunes for the songs. I am sure that in ‘Madhumati’ (1958), Salil Choudhary must have been impressed by Sebastian’s counter-melody in Aaja Re Pardesi and used it as a mukhda tune for Ghadi Ghadi Mora Dil Dhadke. Sebastian’s great work can be felt in almost all songs of S-J and OPN. However, the one song which I am very fond of because of orchestration is Poochho Na Hamen Hum Un Ke Liye from ‘Mitti Mein Sona’ (1960). The piano in this song was played by a Goan musician, Sunny Castellino who was a music arranger for ‘Aawaara’ (1951).

During his filmy career, Sebsatian D’Souza arranged music for about 125 films with around 1000 songs. He retired from film industry in 1975.

Merlyn D’Souza, daughter-in-law of Sebastian D’Souza has been continuing his musical tradition. She works as a music producer, music arranger and sometime as music director – both in films and theatres. In the music industry, she is often referred to as ‘Female AR Rahman’ due to her work in fusion music.

Chic Chocolate (real name : Antonio Xavier Vaz, 1916-1967) came to Mumbai in in the late 30s to become a lead jazz trumpeter in a dance band. His idol was Louis Armstrong, the American jazz trumpeter. Interestingly, he even looked like Louis Armstrong. Soon he became one of the best trumpeters in Mumbai’s jazz music scene. By the end of the World War-II, Chic Chocolate had already formed his dance band named ‘Chic & His Music Makers and had become one of the leading dance bands in Mumbai.

It is not clear as to when he started working for Hindi films. His earliest connection to Hindi film industry as a music arranger points to the film ‘Samaadhi’ (1950) in which he collaborated with C Ramchandra, The song  Gore Gore O Baanke Chhore which has jazzy music, brought him to the attention of Hindi film industry. His music arrangements in all the songs of  ‘Albela’ (1951) was a high point of his career as music arranger. I think, in this film, Chic Chocolate poured all his experience in Jazz music in such an extent that the songs which became a new category of songs with Indo-Jazz music.

In  Deewaana, Ye Parwaana, one can see Chic Chocolate playing trumpet with the musicians from his dance band ‘Chic & His Music Makers’. Because of runaway success of ‘Albela’ (1951), his dance band became more famous. He also adopted for his dance band the uniform that was used for his band in this song.

He mostly worked with C Ramchandra in the 1950s though he had also worked with other music directors. Take for instance, his music arrangements in the song, Ae Dil Mujhe Bata De in ‘Bhai-Bhai’ (1956) and Rut Jawaan Jawaan  in ‘Aakhri Khat’ (1966) in which he is seen playing trumpet.

With ‘Naadaan’ (1951), Chic Chocolate donned the hat of music director for the first time. This was followed by ‘Rangeeli’ (1952) and ‘Kar Bhala’ (1956).

Chic Chocolate passed away in May 1967 shortly after the release of ‘Aakhri Khat’ (1966). His son Erwell Vaz is a drummer.

Hindi film music is the work of so many creative artists, musicians and music arrangers. I guess, in the 50s and 60s, music arrangers must have spent more man-hours for arranging music than the music directors for whom they worked. Unfortunately, in film and music industry, it is mainly the singers and music directors who get the credit. However, in the recent period, names of at least lead musicians and music arrangers are mentioned in the credit titles of many of the films as well as the covers of CDs.

Today, I present the 7th song (out of 8 songs, including two multiple version songs)  from the film ‘Naadaan’ (1951) for which Chic Chocolate got his first opportunity to set the tune to the songs in addition to the music arrangements. The song is ‘Saari Duniya Ko Peechhe Chhod Kar’ sung by Lata Mangeshkar. The song was written by PL Santoshi.

The tune of the song has a distinct style of C Ramchandra who was credited as Music Supervisor. Surprisingly, none of the 8 songs in the film has jazz flavours. This is not to undermine the overall contributions of Chic Chocolate in the songs of the film. It is worth mentioning in this context that Chic Chocolate had composed many jazz songs for his dance band in the 40s. There are at least six 78 rpm gramophone records which bear the name of Chic Chocolate as the music composer.

The song under discussion appears to be a dream sequence going by the sets used in the picturisation of the song.

Acknowledgements:

  1. Naresh Fernandes – Taj Mahal Foxtrot – The Story of Bombay’s Jazz Age (2012)
  2. Gumnaam Hai Koi – The Untold Story of Music Arrangers and Musicians : Part-I & II – Rajya Sabha TV (2015)

 

(Video)

(Audio)

Song – Saari Duniya Ko Peechhe Chhod Kar (Nadaan) (1951) Singer – Lata Mangeshkar, Lyrics – PL Santoshi, MD – Chic Choclate

Lyrics

saari duniya ko peechhe chhod  kar
saari duniya ko peechhe chhod  kar
hum sitaaron ki duniya mein aa gaye..ae
chaand taaron ki duniya mein aa gaye
saari duniya ko peechhe chhod  kar
hum sitaaron ki duniya mein aa gaye
chaand taaron ki duniya mein aa gaye
saari duniya ko peechhe chhod  kar
 
chalo khelenge saajna aankh micholi
o o o
o o
o o
chalo khelenge saajna aankh micholi
bhar len sitaaron se hum apni jholi
bhar len sitaaron se hum apni jholi
chaand chhup chhup ke karta ishaare
kitne dilkash hain ye sab nazaare
hain ye sab nazaare
hum ek nai duniya mein aa gaye
chaand taaron ki duniya mein aa gaye
saari duniya ko peechhe chhod kar
hum sitaaron ki duniya mein aa gaye..ae
chaand taaron ki duniya mein aa gaye
saari duniya ko peechhe chhod kar
 
saare aalam pe chhaayi hai chaandni
kyon na gaayen hum ulfat ki raagini
aaa  aaa 
aa aa
aa aa aa aa
aa aa
aa aa aa
la la la la la
la la la la la
la la
saare aalam pe chhaayi hai chaandni
kyon na gaayen hum ulfat ki raagini
aaj harsoo hai
aaj harsoo hai mousam khushi kaa
luft aayega ab zindagi kaa
ab zindagi kaa
hum nazaaron ki duniya mein aa gaye
chaand taaron ki duniya mein aa gaye
saari duniya ko peechhe chhod kar
hum sitaaron ki duniya mein aa gaye..ae
chaand taaron ki duniya mein aa gaye
saari duniya ko peechhe chhod kar
hum sitaaron ki duniya mein aa gaye..ae
chaand taaron ki duniya mein aa gaye
saari duniya ko peechhe chhod kar 

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

सारी दुनिया को पीछे छोड़ कर
सारी दुनिया को पीछे छोड़ कर
हम सितारों की दुनिया में आ गये॰॰ए
चाँद तारों की दुनीया में आ गये
सारी दुनिया को पीछे छोड़ कर
हम सितारों की दुनिया में आ गये
चाँद तारों की दुनीया में आ गये
सारी दुनिया को पीछे छोड़ कर

चलो खेलेंगे साजना आँख मिचौली
ओ ओ ओ
ओ ओ
ओ ओ
चलो खेलेंगे साजना आँख मिचौली
भर लें सितारों से हम अपनी झोली
भर लें सितारों से हम अपनी झोली
चाँद छुप छुप के करता इशारे
कितने दिलकश हैं ये सब नज़ारे
हैं ये सब नज़ारे
हम एक नई दुनिया में आ गये
चाँद तारों की दुनीया में आ गये
सारी दुनिया को पीछे छोड़ कर
हम सितारों की दुनिया में आ गये॰॰ए
चाँद तारों की दुनीया में आ गये
सारी दुनिया को पीछे छोड़ कर

सारे आलम पे छाई है चाँदनी
क्यों न गायें हम उलफत की रागिनी
आss आss
आ आ
आ आ आ आ
आ आ
आ आ आ
ल ल ल ल ला
ल ल ल ल ला
ला ला
सारे आलम पे छाई है चाँदनी
क्यों न गायें हम उलफत की रागिनी
आज हरसू है
आज हरसू है मौसम खुशी का
लुत्फ आएगा अब ज़िंदगी का
अब ज़िंदगी का
हम नज़ारों की दुनिया में आ गये
चाँद तारों की दुनीया में आ गये
सारी दुनिया को पीछे छोड़ कर
हम सितारों की दुनिया में आ गये॰॰ए
चाँद तारों की दुनीया में आ गये
सारी दुनिया को पीछे छोड़ कर
हम सितारों की दुनिया में आ गये॰॰ए
चाँद तारों की दुनीया में आ गये
सारी दुनिया को पीछे छोड़ कर


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3693 Post No. : 14608

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

He was awarded Dadasaheb Phalke Academy Award in 2004.

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

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

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


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

Lyrics (Provided by Sudhir)

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

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

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

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

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

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

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


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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 TEN years. This blog has over 14800 song posts by now.

This blog is active and online for over 3800 days since its beginning on 19 july 2008.

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Movies with all their songs covered =1158
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