Archive for the ‘“baadal” song’ Category
This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5241 | Post No. : | 17237 |
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Blog 10-Year Challenge (2012-2022) – Song No. 129
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On this date ten years back viz on 23 November 2012, Six songs were covered in the blog. Here are the details:-
| Blog post number | Song | Movie (Year) | Remarks |
|---|---|---|---|
| 7045 | Chanda baadal mein baadal mein mukh le chhipa | Karwat (1949) | 7 songs covered out of 11 by now |
| 7046 | Kaali badariya chhaa gayee | Meera Burman NFS(1950) | |
| 7047 | Haay more sainyya gori bainyya chhodo jee | Baadal Aur Bijli(1956) | 2 songs covered out of 7 by now |
| 7048 | Honthon pe laali hai | Ten O clock(1958) | Movie YIPPEED by now |
| 7049 | Ye duniya dagaabaaz hai | Tikdambaaz (1959) | 2 songs covered out of 6 by now |
| 7050 | Mujhko unse pyaar huaa mujhko unse pyaar | Saudaamini(1950) | 6 songs out of 9 covered by now |
We can notice that one song was a non film song. Out of other five songs from five movies, one movie has since been YIPPEED. that leaves us with four movies that are still eligible for blog ten year challenge today (23 november 2022).
“Karwat”(1949) was one of the eligible movie. It was directed by Prakash for Srigopal Pictures, Bombay. The movie had Geeta Nizami, Satish, Jeevan, Paro Devi, Leela Mishra, Kesari, Kamalakanth, Sarita Devi, Indu, Gharpurey, Kantha Patel, Preetama Malhotra etc in it.
“Karwat”(1949) had eleven songs in it. Seven of them have been covered so far. Here is the eighth song from the movie. This song is sung by Asha Bhonsle and Geeta Roy (later Dutt). D N Madhok is the lyricist. Music is composed by Hansraj Bahl.
Only audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of the song.
Lyrics of the song and other details were sent to me by Prakashchandra.
Audio links:
Song-Ho Baadal ghir aaye rimjhim paani barse(Karwat)(1949) Singers-Asha Bhonsle, Geeta Dutt, Lyrics-D N Madhok, MD-Hansraj Bahl
Both
Lyrics(Provided by Prakashchandra)
oo ooo ooo ooo
baadal ghir aaye ae ae
oo ooo ooo ooo
baadal ghir aaye ae
rim jhim rimjhim paani barsey
jiyaa mora tarsey aey ae
jiyaa moraa tarsey
tum desh paraaye aey ae
tum desh paraaye
oo ooo ooo ooo
baadal ghir aaye aey ae
oo ooo ooo ooo
baadal ghir aaye ae
phir chhed gayi
lomast hawaayein ..aen
ye mast hawaayein
nanhi nanhi boondaniyaan
birhaa agni ko aur badhaaye
haayye aur badhaaye
is sooni sejariyaan aa aaa aaa
aaa aaaa aaa
aaan aaa aaaa aaa
aaa aaaaa aaaa
aa aa aaa
dekh jiyaa ghabraaye
tum desh paraaye ae
oo ooo ooo ooo
baadal ghir aayein
oo ooo ooo ooo ooo ooo
baadal ghir aaye ae
rim jhim rimjhim paani barsey
jiyaa mora tarsey aey ae
jiyaa moraa tarsey ae
tum desh paraaye ae
tum desh paraaye
oo ooo ooo ooo
baadal ghir aaye ae ae
oo ooo ooo
baadal ghir aaye ae
jeet lee baazi tosey khel ke aey ae
dil haar gayee ee
hhaan aan aan dil haar gayee
birhaa ki peedaasainyaa haayye ae ae
haayye mohey ae aey ae
haayye mohey maar gayee
ho o o
mohey maar gayee
kaun ghadi nain toh sang
milaaye aey ae ae ae aey ae
aey ae ae ae
ae aey aey ae ae ae aey ae ae
woh din haath na aaye
tum desh paraaye ae
ooo ooo ooo
baadal ghir aayein
oo ooo oo ooo ooo
baadal ghir aaye
rimjhim rimjhim paani barsey
jiyaa mora tarsey aey ae ae ae
jiyaa moraa tarsey
tum desh paraaye ae ae
tum desh paraaye
oo ooo ooo ooo
baadal ghir aaye ae ae
ho oo ooo ho o
baadal ghir aaye ae
Ghir ghir aaye kaale baadal
Posted on: July 12, 2022
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5107 | Post No. : | 17048 |
Today’s song is a Non Film Song (NFS), sung by Jagmohan Bakshi.
In the field of NFS (Non-Film Song), most people know about Jagmohan Sursagar but very few would know about Jagmohan Bakshi. At Least I have come across only this NFS song by Bakshi so far and that too thanks to record collector Zafar Bhai who has uploaded this song. Music lovers, by now, know Zafar Bhai as one who has been uploading some rare songs from obscure and famous films, as well as a few NFS too. We, in ASAD, know him as a friend of our friend Sudhir ji.
Jagmohan Bakshi was one of the partners of Sapan-Jagmohan pair of Music Directors. We all are used to knowing and seeing MD Pairs. Nothing new about it. In Fact, ask any music lover ” who was the first pair of Music Directors ? ” and pat will come the answer ” Husnlal- Bhagatram”. Some knowledgeable lovers may even add, their first film was Prabhat’s ‘Chaand’-1944. But then is it true ? Were they the first ever pair of Music Directors in Hindi films ?
Friends, let me say that generally half knowledge or even doctored knowledge forces certain matters like facts, but when reality is discovered, it is proved otherwise. For lack of proper documentation, Hindi film history has several Grey areas still. As and when credible evidence crops up, we have to revise the ‘ Historical’ facts carried on so far. The latest example of this is – for several years we knew that the Music Director for the film ” Pamposh”-1953 was Manoharlal Khanna. The recent research done by RMIM on this has dug up irrefutable proof the real Music Director of film Pamposh-1953 was Mohanlal Aima and NOT Manoharlal Khanna !
Similarly, the real singers of ‘ Bharat ki ek sannari ki’ (Ram Rajya-1943) and the singer of ‘ Dilli se aaya Bhai Tingu’ (Ek thi Ladki-1949) were also found by convincing proof. It happens. That is why I always say ‘ Film History is not permanent. It gets revised whenever new documents are unearthed ‘. There are umpteen examples to prove this statement right.
Coming back to First Music Director Pairs, I have discovered, rather dug up certain facts. Generally it is considered that Husnlal- Bhagatram was the first pair of composers or at least they started the trend. However, it is NOT true, really. In the early era, when the Talkie films started in 1931, as early as 1932 itself a pair of 2 composers worked for a film- Indrasabha-1932, which had a record 71 songs. Composer Vazir Khan made the tunes and composer Nagardas Nayak played them on Harmonium.Though only Nagardas Nayak’s name is mentioned as its Music Director, HFGK has put up a footnote giving this information, quoting the name of composer Fida Hussain. OK, forget them.
Rewashankar Marwadi and Gangaprasad Pathak gave music together for Gunsundari- 1934 as well as the film Raat ki Raani-35. Forget them also. Rewashankar Marwadi then made a pucca pair with composer Banne Khan and this pair gave music to 12 films, as a pair. ( Barrister’s wife-35, College girl-35, Qeemati aansoo-35, Noor-e-watan-35, Chalaak chor-36, Raj Ramani-36, Dil ka daaku-36, Sipahi ki sajani-36, Matlabi Duniya-36, Lehri lala-36, Ghazi Diler-36 and Mitti ka putla-37 ). In my opinion, they should be considered the first pair of Music Directors as well as Trend setters and NOT Husnlal-Bhagatram. Of course the number of films the Husnlal Bhagatram team did was more ( 52), but that is because after 1935, the speed of making films increased. More films were made in the 40s and the 50s than in the 30s. Moreover many composers left for Pakistan in the late 40s, so more films for less composers were available.
In the period 1931 to 1940, a total of 931 Hindi films were made, in 1941 to 1950…a total of 1236 films and in 1951 to 1960…a total of 1203 Hindi films were made. (stats by Girdharilal Vishwakarma ji).
So, that’s about the first Music Director pair. There are plenty of cases of Music Director Pairs. These pairs are made for various reasons like…
1. Permanent professional pairs like Shankar Jaikishan, Laxmikant Pyarelal, Kalyanji Anandji etc
2. Temporary like Lala-Sattar
3. Due to the exit of 1 Music Director- like some films of Sajjad Hussain
4.Accidental or only once like Frank-Rai or Lala-Asar-Sattar or C Ramchandra-Anil Biswas etc etc.
The pair of Sapan-Jagmohan was also a permanent professional pair. Actually, Jagmohan had come to Hindi films to become a singer, but like many such aspirants, instead, became a Music Director. Jagmohan Bakshi was born in Murrie in Punjab on 29-7 1929.Love of singing and music brought him to Bombay where he met a similar struggler Sapan Sengupta (born on 17-7-1932 at Sylhet in Bengal). One was from Pakistan -west and the other was from Pakistan -East. They became friends and shared a room in a Goregaon Chawl. They regularly sang in the chorus and had dreams of becoming MDs one day ! This pair was favoured by Naashaad, S D Burman and Salil Chaudhari.
Finally S D Burman gave Jagmohan Bakshi a chance to sing a duet with Asha Bhosle, in the film Taxi Driver-1954. The song became popular-‘ Dekho mane nahi roothi haseena,na jaane kya baat hai’. Still no offers came forth. He sang in Hamlet-54,a duet with Rafi. He sang his final and third trio with Lata and Usha in ‘Piya Milan’-1958. In his lifetime Jagmohan Bakshi sang only these three songs-no solo in them.
Later he formed a pair with Sapan as Sapan-Jagmohan and as MD gave music to their first film-Begaana-1963. This pair gave music to 43 films,mostly B and C grade obscure movies.
Jagmohan Bakshi died on 26-2-1999.
Today’s NFS is sung by Jagmohan Bakshi, but even here he is not singing solo, the chorus is with him. The music was provided by Ramesh Naidu. The only other ” Naidu ‘ ( a caste in Andhra pradesh) was Vasant Kumar Naidu in Hindi films. During the period of 1950’s and the 1960’s, one could see many South Indian Music Directors in Hindi films. They were seen mainly in dubbed or Remade films. You may find names like C R Subramanyam, Ghantasala, Balkrishna Kalla, S D Parthasarathy, R Sudarshanam, Adi Narayan Rao, Vishwanath-Rammurthy, T G Lingappa, C S Ragi, Gopal Rao, Umapati Seel, Ramnath, S Hari Darshan etc etc.
Pasupuleti Ramesh Naidu (Born 18-10-1933,Died 2-9-2005) was born in Kondapalli in Krishna District (Andhra Pradesh). He was so obsessed with music that he ran away and landed in Bombay when he was 14 year old. B R Chopra took him under his wings and Ramesh learnt Instrumentation and orchestration in HMV at Bombay. He started his music career at the age of 17 years with a Marathi film ” Bhandawal Paahije “-1950, produced, Directed and acted by Kishore Sahu. After a few years he went back to Andhra and got married. He got a son also and then he came to Bombay, on his way to Calcutta. he spent 10 years there giving music to Bangla, Oriya and Nepali films.
He was invited to Madras and he gave music to Amma mata-72. He settled there with his family. He gave music in Tamil, Telugu and Kannada films. He came to Bombay from time to time to give music to Dubbed and Remade films from the South. He also gave music in a few Bhojpuri films. His Hindi films were Hamlet-54, Jay Simha-54, Piya Milan-58, Nartaki Chitra-65, Ganga Bhavani-79, Azaadi ki Oar-86,and Hum bhi kuch kam nahin-1983. His first south film was Dampatyam-57 and last was Ish Gup chup-1993. He surpassed Salil Chaudhari by giving music in 10 Indian languages( Salil da gave music in 9 ). Ramesh Naidu got the National Award for the film ‘Megh Sandesham’.
Naidu left this world on 2-9-2005, at Hyderabad.
Now, let us enjoy today’s NFS sung by Jagmohan Bakshi.
Song- Ghir ghir aaye kaale baadal (Jagmohan Bakshi NFS)(1960) Singer-Jagmohan Bakshi, Lyricist- Akhtar Romani, Music- Ramesh Naidu
Jagmohan Sursagar + Chorus
chorus
Lyrics
Neel gagan per jhoomte ae ae
aaye dekho
kaale baadal l l
birhan ko
sandes milan ka aa aa aa
de matwaale baadal
dharti aur aakaash pukaare
saawan aaya hamre dwaare
jaage jaage bhaag hamaare
chaaron oar machi hai halchal l l
Ghir ghir aaye ae ae
kaale baadal
Ghir ghir aaye ae ae
kaale baadal
sookhi dharti pyaas ki maari
o o o o
sookhi dharti pyaas ki maari
tarsi hui man ki phulwaari
aa aa aa aa aa aa
tarsi hui man ki phulwaari
neer bahaati aankh hamaari
sab kahte thhe baadal baadal l l l
Ghir ghir aaye ae ae
kaale baadal
Ghir ghir aaye ae ae
kaale baadal
naach rahi thhi jahaan niraasha
o o o o
naach rahi thhi jahaan niraasha
aaj waahan per jhoome aasha
aa aa aa aa aa aa
aaj waahan per jhoome aasha
mausam bhi hai khoob tamaasha
khet bane dam bhar mein jal thhal
l l l
Ghir ghir aaye ae ae
kaale baadal
Ghir ghir aaye ae ae
kaale baadal
dharti aur aakaash pukaare
saawan aaya hamre dwaare
jaage jaage bhaag hamaare
chaaron oar machi hai halchal l l l
Ghir ghir aaye ae ae
kaale baadal
Ghir ghir aaye ae ae
kaale baadal
Ghir ghir aaye ae ae
kaale baadal
Ghir ghir aaye ae ae
kaale baadal
Ghir ghir aaye ae ae
kaale baadal
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5061 | Post No. : | 16975 |
Today’s song is from the film Mulaqat-1947.
The film was made by Taj mahal pictures.It’s all 11 songs were written by Munshi Dil Lucknowi and the film was directed by the Lyricist himself. Actually, ” Munshi ” means a Clerk, a writer, a literary assistant or a Language Teacher. How this Munshi directed the movie is a wonder. But then in the Hindi film industry, you find many such odd, unimaginable things. This was not his first directorial venture. He had already tried his hand at film-“Abla ki Shakti’-1940 and after this film, he again directed a film “Do Bhai”-1954. As a Lyricst, he write 126 songs in 16 film which included films like Iqrar-42,Naqgad narayan-43 ( a remake of Marathi film ” पैसा बोलतो आहे”), Sohni Mahiwal-46 and Laila-54. After this he migrated to Pakistan.
In Hindi, films are repeated in different ways like….
1. Same Titles – Commonest type, but not necessary that the film content will be the same. Hundreds of titles are repeated from Twice to more than 5 times. The maximum repetitions’ honour goes to the title ” INSAF “. Films with this title were made as many as 7 times. Funnily, there was at least one “Insaf” movie in each decade for 70 continuous
years ! They were made in 1937, 1946,1956, 1966,1973, 1987 and 1997. What Luck !
2. Same story – Different Titles…like Actor, Damaad and Albela – all made in 1951. Aurat teri yehi kahani-1954 and Aurat Teri kahani-1988. Many others.
3.Remakes….a) Hindi to Hindi – Aurat and Mother India, Abodh and Uphaar, Panghat-Chitchor and Main Prem ki diwani hoon, Hamare Tumhare and Khatta Meetha, Mala and Amar, Grihasthi and Ghar Basake dekho, Malkin and Biradari etc.
b) Other languages to Hindi like Marathi, Bangla, Tamil, Telugu etc. Chandralekha, Bahar, Ladki, Many films from New Theatres, Calcutta.
c) Dubbed films like Jaisimha to Jaisingh. Many films fall in this category nowadays, especially from the south.
There are many such remakes and the lists would be too long. This only proves that a popular theme/story is worth remaking a film. Why does this happen? Are there a shortage of stories ?
In 2004, a book called “Why we tell stories’, written by Christopher Booker was published. It is a book having more than 700 pages-728 pages to be exact. The book says “There are only 7 (Seven) basic plots in the whole world. They are recycled again and again in Novels, movies, Plays and Operas. These are
1.Overcoming the Monster
2.Rags to riches
3.The quest
4.Voyage and return
5.Rebirth or identical persons.
6.Comedy and
7.Tragedy .
After this book was published, there was chaos and criticism started. ‘New York Times’ also jumped in. The author coolly replied to all points and stuck to his statements. If we look at Hindi films, I personally feel that what the author has said is true in our case. Only thing is that our film stories are always a clever mixture of all or some of the above themes.
Today’s movie Mulaqat-47 was also a repeat title film. Films on this title were made in 1947, 1993 and 2002. This was a film with Muslim social background. The cast of the film was Naseem Banu, Prem Adib, Rama Shukla, Mumtaz Ali, Majid, Najma, Shah Nawaz and many others. The story of the film was –
Nasir (Prem Adib) is a school teacher. He and Saeeda fall in love and think of getting married. Saeeda loses her father and orphan Saeeda has to live with her Uncle and Aunt, who ill-treat her. fed up os this treatment she wants to commit suicide under a train, but is saved by a passing by Nawab Saheb (Shah Nawaz). He takes her home and decides to keep her there with them. He has a daughter who is Nasir’s student. Through her, the lovers come together again and decide to get married soon.
Meanwhile Mukarram (Rama Shukla), the vagabond son of the Nawab returns home. promising to mend his ways, he stays there. Now he too wants to marry Saeeda. The Nawab asks her. Under the burden of his help, she can not say ‘No’. The marriage is fixed.
Just one day prior to marriage, the town Police come and arrest Mukarram for a murder, which he had committed and take him away. The nawab is heartbroken. His daughter tells him about Nasi and Saeeda’s love affair. Nawab immediately calls Nasir and arranges his marriage with Saeeda. The End.
Shahnawaz Khan, known only as Shahnawaz, was born on 18-9-1906 in Hyderabad Deccan. His father was a Major in Hyderabad’s Nizam Army. During his school education, he used to act in dramas. After Matriculation, he joined the Govt. Service in Hyderabad state. He was, however, keen on joining films and dramas. After 5 years, he left the job and started a Motor car business. In that connection, he would visit Bombay often and try his luck at different studios. Finally, his efforts bore fruit and he got a Villain’s role in film Bharat ka laal-36, in which he was listed as S.Nawaz. It was a stunt film made by the Kadam brothers (Harischandra rao and Chandra rao Kadam), with Master Bhagwan as the Hero.
After this, he never went back to Hyderabad. Then came his films Daulat-37, Toofani khazana-37, Rangila Mazdoor-38, Jungle king-39, Sardar 40 etc etc. In 1940, he joined Bombay Talkies and worked in films. He was apparently in Devika Rani’s camp. He was seen in Punarmilan-40,Bandhan-40, Jhoola-41, Naya Sansar-41, Kismet – 43 and Hamari Baat-43.He also worked in Masterji-43, Police,Parakh and Anban-44, Zeenat, Bhaijan and Humayun-45 and few more films. In all, he did 35 films in India. In 1948, Shahnawaz migrated to Pakistan. He was welcomed there. He did 41 films in Pakistan (32 Urdu and 9 Punjabi). Some of his films were quite famous, like Aansoo-50, Sassi-54, Ayyaz-60 etc.
Shahnawaz died in Karachi on 18-6-1971. His last released film was Nek Parween-75.
There are two small actors. Here is some information about them, since they migrated to Pakistan after this film.
Majid’s name was Abdul Majid Syed. He was born at Farrukhabad in U.P. in 1915. His father was an Overseer. After matric in 1929, he started his business of Leather in Akola, Maharashtra. in 1935, actor, director and producer Nazeer of Hind pictures, introduced him to S.K.Daryani and he got a small role in Sher ka Panja-36 and Sangdil samaj-36. However, from film Bulldog-37, he got side roles and lead roles in films like Gentleman daku-37, insaaf-37, Rajkumari-38, Masterman-38, Zamana-38, Mud-40, Saubhagya-40, Swami-41, Swaminath-42, he also acted in more films like Najma-43, Babar-44 and Zeenat-45.
In all he did over 100 films till 1947. After Partition, he migrated to Pakistan with Nazeer and Swarnalata. In Pakistan he did just 7 films. He died on 24-9-1959.
Najma was born at Lahore on 1-12-1928. Her father was a businessman. Her real name was Naseem. Since there was already one famous actress Naseem, she changed her name. She first worked in ‘Kunwaara baap’ (1942) and ‘Uljhan’ (1942) Then came ‘Nai Zindagi’ (1943), ‘Dr Kumar’ (1944), ‘Piya Milan’ (1945)’ ‘Naseeb’ (1945) and Mulaqat-1947. Then she got married, left films and migrated to Pakistan.
Today’s song is a duet by Arunkumar Mukherjee and Binapani Mukherjee. The music was by Khemchand Prakash. Enjoy….
Song- Kaale kaale baadal mein gora gora chaand (Mulaaqaat)(1947) Singers- Binapani Mukherjee, Arunkumar Mukherjee, Lyricist- Munshi Dil Lucknowi, MD- Khemchand Prakash
Both
Lyrics
Kaale kaale baadal mein
Kaale kaale baadal mein
Kaale kaale baadal mein
gora gora chaand
jalwa dikhaa kar chala bhi gaya
haay
jalwa dikhaa kar chala bhi gaya
haay chala bhi gaya
ho chala bhi gaya
Kaale kaale baadal mein
gora gora chaand
jalwa dikhaa kar chala bhi gaya
haay
jalwa dikhaa kar chala bhi gaya
haay chala bhi gaya
ho chala bhi gaya
kuchh ro bhi gaya
kuchh gaa bhi gaya
kuchh ro bhi gaya
kuchh gaa bhi gaya
koi bijli giraa kar chala bhi gaya
haan koi bijli giraa kar chala bhi gaya
haay chala bhi gaya
ho chala bhi gaya
aaya thha koi ee ee ee ee
aaya thha koi
?????? liye huye
fariyaad lab par
aankhon mein
toofaan liye huye
mehfil ko phoonk dene ka
saamaan liye huye
apni mehfil ko
apni mehfil ko
apni mehfil to
gaati ki gaati rahi
apni mehfil to
gaati ki gaati rahi
koi aansoo bahaa kar chala bhi gaya
haan koi dukhda sunaa kar chala bhi gaya
haay chala bhi gaya
ho chala bhi gaya
Kaale kaale baadal mein
gora gora chaand
jalwa dikhaa kar chala bhi gaya
haay chala bhi gaya
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4784 | Post No. : | 16539 |
Today’s song is from the film Prarthana-1943. The film was made by Minerva Movietone. The music was composed by Saraswati Devi. After a vertical rift between a disgruntled group led by S. Mukherjee in Bombay Talkies, the group left Bombay talkies and established their own Filmistan studio. Many people went with them. Some remained with Devika Rani. Saraswati devi also left Bombay Talkies but became a Free-Lance, without joining any group. The cast of the film was Sabita Devi, Motilal, Jahanara Kajjan, Nimbalkar, Menaka, K.N.Singh and many others.
The film was directed by Sarvottam Badami. Badami’s case is an example how strong will and hard work can really help anyone to come up in life. The rise and life of Sarvottam Badami shows how a simple Motor mechanic can reach a high place in the career by mere will to succeed. His life story can become a lesson to all who want to achieve success.
Sarvottam Badami was born in 1910 at Channapatna in Karnataka,to a revenue officer working in Mysore. He passed his SSLC and worked as a garage mechanic and then a projectionist in Select Picture House, Bangalore, both of which were owned by Dr. Ambalal Patel. Patel moved to Bombay and financed Ardeshir Irani of Imperial Film Company, and Chimanlal Desai as a partner forming Sagar Movietone in 1930.
At the age of 19 years, Badami went to Bombay to study automobile engineering. He was asked by Ardeshir Irani who met him at a wedding to help out with the recording equipment he had purchased from abroad.
Badami helped in the sound recording department for the first Talkie in India, Ardeshir Irani’s Alam Ara (1931). Around that time a German director making the film Harishchandra left half-way and Badami offered to complete it, the co-director was Raja Chandrasekhar, although the co-director credit has also been cited as T. C. Vadivelu Naicker. The film turned out to be successful. He was contracted by Sagar Movietone (Sagar Film Company) to direct three films, two in Telugu and one in Tamil: Galava Rishi (Tamil), Rama Paduka Pattabhishekam and Shakuntala in Telugu. The success of these films established him as a director. His working team had people like the cinematographer Faredoon Irani, music director Anil Biswas and the Sagar Movietone favourites Sabita Devi and Motilal.
Initially, to avoid embarrassment to his family he requested not to be credited in the regional language films. He did not know Hindi but from 1932-1947, he worked for Sagar Movietone and also directed nearly 30 films in Hindi, for many others. His first Hindi film was Chandrahasa (1933) starring Noor Mohammed Charlie. He was paid Rs 2000 per film with the complete film being made within Rs 50,000. He worked with most of the top actors of the time like Motilal, Nargis, Ashok Kumar and Pahari Sanyal. He brought Mehboob Khan who was then doing roles as an extra out of obscurity and gave him the role of Sabita Devi’s father in the film Vengeance is mine(1935).
He made several films based on novels. Some of the writers whose work he used were K.M.Munshi, Sarat Chandra and Ramanlal Vasanthlal Desai. The film Aap ki Marzi (1939) was inspired by the Hollywood film Paradise for Three (1938). He became known for his satirical comedies and “socially relevant films”.His film Grihalaxmi (1934), which starred Jal Merchant and Sabita Devi had the woman getting into marriage only if her doctor husband agreed not to want children. The success of the film mitigated the enraged public reaction at the time.
He showed his understanding of media publicity required for films when in 1937, Badami resorted to woo audiences by announcing cash prizes of Rs.500, Rs.200 and Rs.100 for the best reviews of his newly released film Kulvadhu (1937). The promotional gambit worked sending audiences to the theatres. According to an interview, most of Badami’s films didn’t survive as the negatives were burnt to extract the silver from the silver nitrate.
After Aap ki Marzi-38, he followed his mentor, Dr. Patel and joined Sudama Pictures, when in 1939, Sagar Movietone merged into National Films. Badami
also worked in Famous Cine Laboratories, from 46 to 48.
Apparently, in 1948 Deputy Prime Minister Vallabh bhai Patel, who was then also in charge of the Information Ministry, on a visit to the Cine Laboratories Bombay, asked Badami to help set up a NewsReel and Documentary section. The Films Division was established in 1948. He became chief producer in the newsreel department and made several documentaries. He worked in the Films Division making documentaries from 1948-1952. After that he stopped making films and returned to Bangalore to retire as “I was a forgotten man in the feature film world”. He became an industrialist by starting a manufacturing business. Later he worked as a Consultant for Kamani Group of Industries also. He died in 2005 in Bangalore, Karnataka, India.
FILMOGRAPHY: 1932: Harishchandra; Galava Rishi; Paduka Pattabhishekham; Shakuntala; 1933: Chandrahasa; 1934: Grihalakshmi; 1935: Dr. Madhurika; Vengeance is Mine; 1936: Jeevan Lata; Grama Kanya; 1937: Kokila; Kulavadhu; 1938: Three Hundred Days and After; 1939: Aap Ki Marzi; Ladies Only; 1940: Chingari; Sajani; 1941: Holiday in Bombay; 1942: Khilona; 1943: Prarthana; 1944: Bhagya Lakshmi; 1945: Ramayani; 1946: Uttara Abhimanyu; 1947: Manmani; 1951: Vinoba Bhave (Doc);1952: Roof over the head
(Ack: Sapnon ke saudagar by Vithal Pandya, Sagar Movietone by Biren Kothari, HFGK, muVyz, Encyclopedia of Indian Cinema, and my notes)
The film cast includes the name of Jahanara Kajjan. She was one of the last operating successful actresses from the Silent era. From a Tawaif family, Kajjan was counted amongst the elite society of Calcutta. In Bombay, however, she was not having that aura around her name.
JAHAN ARA BEGUM KAJJAN was born in Patna, Bihar, on 15-2-1915. She was the daughter of the courtesan Suggan and the Nawab of Bhagalpur’. Her mother was a famous singer from Lucknow. She grew up in Patna. She got a lot of attention for her education. She was taught Urdu at home and her maternal grandfather Syed Hussain taught her English. She , being very clever ,soon became proficient in both languages. At the same time she learnt household chores also. She learnt music under the guidance of Ustad Husnu Khan of Patna. Singing was in her blood anyway. She was very beautiful.
Kajjan belonged to a family of professional artistes, who carried the tag of tawaifs or courtesans. They were also invited by the princely courts and aristocracy to perform at their private mehfils. With their refined manners they provided stimulating company to the male elite. An established code of conduct ruled out marriage in their profession but they were allowed to have a liaison with a chosen patron. Kajjan’s mother Suggan apparently had one such relationship with her father.
The anti-nautch campaign at the beginning of the 20th Century denigrated the singing and dancing profession. Some, among them, became gramophone singers or theatre stage actors. Kajjan had received education at home and even learnt English. Well versed in Urdu literature, she wrote poetry under the pen name “Ada” and some of her poems were published in Urdu magazines. She received intensive training in Hindustani classical music from Ustad Hussain Khan of Patna. Noting her mastery of ragas, her mellifluous voice and also her charming looks, she was hired by a theatre company at Patna. She is said to have performed on stage for three days at a fee of Rs.250 per show. She enchanted the audience with her golden voice. This paved the way to her joining Alfred Company owned by Madan Theatres of Calcutta. According to Fida Hussain, a Parsi theatre legend, “He worked with actress Jahanara Kajjan becoming her director and leading man”. Kajjan attained name and fame as a very popular singer and actor of the stage.
Because of her beauty and singing skills,she was invited to work on the Urdu stage. Master Fida Hussain, who was a well known actor, singer, composer and director on Urdu stage had joined ‘Alfred Theatre co.’. It was owned by the Madons of calcutta. Kajjan was taken in it and the troupe toured U.P. and M.P. During this period, Kajjan was romantically involved in Master Fida hussain.
She used to appear on stage at the rate of Rs.250 per show per day. Once when she was performing in Patna, one of the owners of Madon Theatres, Calcutta saw her and offered her roles in films. She immediately accepted it and went to Calcutta.
Silent film era was dominated by Parsee, Anglo-Indian and Jew girls, due to their white skin and open attitudes. Once the Talkie films started, they became useless as they did not know how to speak in Hindi or sing. In such circumstances actresses like Kajjan got the opportunities. Her first film was ‘ Shirin Farhad’-1931. paired with Master Nissar she sang 17 songs in this film. This pair became very popular. Her next film was ‘Indrasabha 1932’,having a world record 71 songs in the film. Kajjan sang 29 songs in it. The film was based on the drama by Agha Hasan Amaanat.
In Calcutta kajjan became very famous. She lived a rich and lavish life, mixing among the elite of Calcutta like Prices, Nawabs, High authorities, the mega rich etc. her dresses and jewellery were talk of the women of the rich and the famous. She had instructed her designer to make only such sarees, which no one in India will ever wear ! She was a regular invitee to even Viceroy’s parties.
She worked only with Madon Theatres. Brijlal Verma was the composer of Madon Theatres. It was a favourite quartet of Madon films, Brijlal’s misc kajjan and Master Nissar. Together they ruled the early phase of Talkie films. Films like Shirin farhad-31,Laila majnu-31,Shakuntala-31,Bilwamangal-32,Aankh ka nasha-33,Dhruva charitra-33,Turki sher-33,Zahreela saanp-33 had kajjan songs by brijlal Verma. During this period, she was the highest paid actress in India. Kajjan had a romantic affair with Brijlal Verma too. Kajjan also sang in Roopkumari-34,Sakhi lutera-34,Apradhi abla-35, and Mera Pyara-35 which had her songs.
Kajjan was a good dancer. She learnt dancing from Miss Ruqayya khatoon. She was among the regular dancers in Calcutta Clubs, along with actress Mahazabeen. Kajjan was friendly with westerners. She was fond of pets. For some time she had 2 tiger cubs as her pets and this became the talk of the town in Calcutta.
After Brijlal Verma,it was a rich financer, Seth Karnani, who, just to impress kajjan, bought the entire Madon theatres for a sum of Rs. 24 lakhs in those days ! A very handsome actor of that era Najmul hassa had a torrid affair with Kajjan. He is the same Najmul Hassan, who had eloped with Devika Rani-wife of Himanshu Rai, owner of Bombay Talkies, from Bombay to Calcutta. Devika rani returned to her husband shortly, but he had to remain in Calcutta-for safety.
Kajjan worked in Gulru zarina, Swami Bhakti Alibaba aur chaalis chor and Jahan Ara also. By end of the 30s Madon Theatres closed down and Kajjan also stopped work for few years.
In the early 40s,kajjan worked in Abla shakti and Ghar sansar-42,Prarthana and Prithvi Vallabh-43 and her last film Bharthari-1944. The songs of Bharthari, composed by Khemchand Praksah also became very popular. Due to her sweet voice she was called ” The Lark of Indian Cinema”.
Jahan Ara Kajjan died on 15-12-1945,at the age of only 30 years. 2 films, Jadui putli-46 and tiger man-47 were released after her death. Kajjan acted in 40 films. She sang78 songs in 14 films.
During her lifetime she lived like a queen. She became a Legend. She acted and sang in almost 40 films in her small career. During the period 1931 to 1937 there was a ” Kajjan Mania ” in India. Her styles and fashions were copied by the elite ladies.
Credits and references- with thanks-
1.Stages of life: Indian Theatre Biographies-By Kathryn Hansen
2. Kamalp.blogspot.in
3.Dhunon ki yatra-Pankaj Raag
4.the big Indian picture.com
5.My own notes from diaries.
Song- Aaya saawan aa jaa sajan sooni sejariya (Prarthana)(1943) Singer- Jahanara Kajjan, Lyricist-Dr. Safdar Aah Sitapuri, MD- Saraswati devi
Lyrics
Aaya sawan, aa jaa sajan, sooni sejariya
Aaya sawan, aa jaa sajan, sooni sejariya
aay rahi chhaay rahi kaari badariya
kaari badariya
aay rahi chhaay rahi kaari badariya
kaari badariya
Aaya sawan, aa jaa sajan, sooni sejariya
dheere dheere dol rahi mast hawaayen
dheere dheere dol rahi mast hawaayen
ped hilen galey milen
pushp lataayen
ped hilen galey milen
pushp lataayen
laagi najariya mohe laagi najariya
aa aa aa
laagi najariya mohe laagi najariya
aay rahi chhaay rahi kaari badariya
kaari badariya
Aaya sawan, aa jaa sajan, sooni sejariya
ban mein udhar pihu pihu mor chinghaade
ban mein udhar pihu pihu mor chinghaade
jiya mora naam tera le ke pukaare
jiya mora naam tera le ke pukaare
haay sanwariya
haay haay sanwariya
haay sanwariya
haay haay sanwariya
aay rahi chhaay rahi kaari badariya
kaari badariya
Aaya sawan, aa jaa sajan, sooni sejariya
Aaya sawan, aa jaa sajan, sooni sejariya
Aayi badariya barsan ko
Posted on: August 10, 2021
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws
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Blog Day : |
4771 | Post No. : | 16520 | Movie Count : |
4495 |
Today’s song is not only from an unknown and very obscure film, it is also a 84 year old film and the song too is that old. May be that is the reason why even its Lyricist, the Music Director, the Heroine and most of the cast members are all unknown. Maybe because it was made in Lahore, the local actors must have been taken in and so they are not much known or heard about. This is precisely the reason why I chose a song from this film. This gives me an opportunity to dig up information from various new sources, which may not be so common and available to most people. Even otherwise very few people take so much effort to get desired information. It took me several days to gather information about the MD, the Lyricist and the Heroine, but I am glad that at the end I have something to offer to our readers, which may be rare and difficult to find.
Film Prem Yatra-1937, the film in discussion, was made by New orient Films at Lahore. This social film was directed by Profulla Roy. Prafulla Roy ( Born on 1-1-1892 at Kushtia, Bengal) started his career in the silent era by directing 2 silent films. His first talkie film in Hindi was Ramayan-34, made by Bharat laxmi Pictures, Calcutta. Bharat Laxmi Pictures had Prafull Roy as its director for Bangla and Hindi films. Roy directed 12 films in Hindi. 9 out of them were made in Calcutta, 1 film in Lahore (Prem yatra-37) and 2 in Bombay (Mera Gaon-42 and Phulwari-51). Roy had also acted in 2 New Theatres films, namely Millionaire-36 and Mukti-37.
All the 10 songs of this film were written by Haqim Ahamed Shuja. Music Director was Q.S.Zahoor and the cast of the film was Umrazia Begum, Riyasat Wasti, Mirza Musharraf, Miya Lateef, Miss Billo, Mujammil Khurshid, Kamla, Miss MUbarak, Zia Miya, K.H.Rehman and Vidya Devi.
I had heard and read about Umrazia Begum that she was the wife of MD Ghulam Haider and that their one son had become Lt. General in the Pakistan Army. Beyond this, I had not thought much about her. When I decided to write on her song, I needed more information about her. There are 6 songs sung by Umrazia Begum on this Blog but I could not find her information in any post. The problem with the professional singers (read Tawaifs) is that their details are usually not available. Starting with their dates of Birth, education etc are not recorded anywhere. I found it extremely difficult to get some information about her. However, I searched and searched and finally in one of the discussions on RMIM, somewhere in 94-96, I got some information. So, here is what I have about her, for our readers first time…
Here is some information on Umrazia Begum.This may not be available elsewhere. A singing- star by the name of Umrao Zia Begum was the talk of the town of Lahore, in those exciting times. In fact, she was more renowned for her melodious voice than as a film actress. Further, she earned the title of ‘Bulbul Hazaar Dastaan’ from the music buffs.
Ghulam Haider composed music for Umrao Zia Begum and recorded songs and ghazals in her voice. Her name appeared on the gramophone records as well. Perhaps Umrao Zia Begum’s greatest achievement was the recitation of one of the most popular Naat ” Mera Salam Leja Woh Jan Lenge Sab Kuch “, composed by Ghulam Haider.
Ghulam Haider debuted as a music composer in a 1935 movie, ‘Swarg ki seedhi’, in which Umrao Zia Begum was also cast in a major role. ‘Swarg ki seedhi’ was released under the banner of National Modi Tone, Lahore and directed by AR Kardar. With the passage of time, Ghulam Haider and Umrao Zia Begum developed immense love and understanding for each other, which reached its peak during the movie shoot of ‘Swarg ki seedhi’. Ghulam Haider, who worked for Pancholi Art pictures at that time, soon married Umrao Zia Begum.
Umrazia Begum acted in 3 films namely, Swarg ki seedhi-1935, Din-O-Duniya-1936 and Prem Yatra-1937. She sang 11 songs in 5 Hindi films namely, Swarg ki Seedhi-35, Prem Yatra-37, Khazanchi-41, Himmat-41 and finally Khandan-42.
After marrying Ghulam Haider, Umrao Zia Begum said farewell to the show business. She was never seen again even in a public gathering. It seems to me that the aphorism below is meant for great people like Umrao Zia Begum. She was not only a great human but an affectionate mother who possessed enormous foresightedness as well. Nothing happens to anybody, which he is not fitted by nature to bear.
Ghulam Haider’s demise on 9th November 1953 happened to be a tremendous setback for his beloved wife, Umrao Zia Begum, who was much younger to her husband. However, she did not lose heart. Instead, she devoted herself wholeheartedly to the upbringing of her children.
She left no stone unturned to provide her children the best possible education available at the time. Consequently, all her children grew up and achieved name and fame in their respective fields.The younger son became Lt. General in the Pakistan Army before retirement. Most importantly, Umrao Zia Begum thanked God to see her relentless efforts come to fruition.
Years later, Umrao Zia Begum breathed her last in the ‘Stork House,’ Bahawalpur, which was the official residence of her younger son, who was the General Officer Commanding in Bahawalpur in those days. She was laid to rest in the Military Graveyard, Cavalry Ground, Lahore.
My second target was the MD Q.S.Zahoor. The name was quite elusive and no references were found anywhere. One day, I accidentally came across a comment on You Tube stating that he was the Ustad of few upcoming singers and I shifted my search towards classical singers. I also came to know that his real name was slightly different ( which actually misled me so far). In the end I found a Pakistani site thenews.com.pk, in which one music expert Shabaz Ali’s book “Sur Sansar’ was reviewed. In this book, I found some information about Zahoor. So, here we are –
Qazi Zahur Ul Haq was born in 1909 in Rewari, Ambala Division and got his initial education in music from Ragonath Rao Ji, who taught at the Shankar Gandharva Vidyalaya. Rao was the cousin of the famous Krishnarao Pandit. Qazi became associated with India Film Company in 1935, composed music for Prem Yatra, Josh-e-Inteqaam and Neem Shah Dakoo under the name of Q.S. Zahoor.( he may be claiming, but HFGK credits Hari Prasann Das as MD of Josh-e-inteqam-1935 and there is no trace of the third film Neem Shah Dakoo).
In 1942, he became the music director at the All India Radio, arranged an orchestra and made music for many programmes. When he migrated to Pakistan, he started a music academy, Radiant Classical Music Society, at his house in 1950. Among his shagirds have been sitarnawaz Naseeruddin, jaltarangnawaz Abdul Majeed. Qazi, neynawaz Taj Muhammed and Ustad Mehfooz Khokhar.
Later, he started a programme on radio for the purpose of educating listeners on music. This radio programme from Rawalpindi Station continued for about five years and was a source of knowledge to all those interested in music. He also did a programme on television with Abdul Qadir Piyarung, and in that, he sang 72 raags with their arohi, amrohi, vadi samvadi, kheyal bandishes — that is asthai and antara in accordance with the time of their performance.
Qazi Zahoor ul Haq also wrote two books on music, Rehnomai Mausiqi and Mualimul Naghmaat, both published by the Pakistan National Council of the Arts. The former was also translated by him into English with staff notation of hundred raags and a very informative and detailed note on the history and peculiarities of western and our music. But, it could not be published because there was no system to print the staff notation in the country. He could also not avail the offer from foreign embassies to have it printed abroad because he thought that the manuscript would get lost. He also taught music at the Pakistan National Council of the Arts for 10 years from 1979 to 1989.
He died on 4-2-1989.
I could not get any information on the film itself, except that the story and screenplay was also done by Hakeem Ahmed Shuja. With this song by Umrazia Begum, the film Prem Yatra makes its Debut on the Blog.
Song- Aayee badariya barsan ko (Prem Yatra)(1937) Singer- Umrazia Begum, Lyricist- Hakim Ahmed Shuja, MD- Q S Zahoor
Lyrics
Aayee badariya
Aayee badariya barsan ko
tarsat hai mann darshan ko
o o o o
ho o o o
saawan aaaaaya
baadar aaye
baadar aaye
mujh birhan ke pee na aaye
pee ki chinta man kalpaaye
pee ki chinta man kalpaaye
aag lage is barsan ko
aayi badariya
Aayee badariya barsan ko
tarsat hai mann darshan ko
??
??
?? mujh dukhiya ke phoote
jag mein bhaag sakhi ??
jag mein bhaag sakhi ??
?? man darshan se
Aayee badariya
Aayee badariya barsan ko
tarsat hai mann darshan ko o
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws
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Blog Day : |
4767 | Post No. : | 16516 | Movie Count : |
4492 |
Today’s song is from film Pehla Pyar-1947. Pehla pyar means First Love. Pehla is Pehla. I could never understand why it has to be called Pehla Pehla Pyar (1958 & 1994). Does it not make it Doosra Pyar ?
Everything First time in life is memorable. This is reflected in the film titles of Hindi cinema too. Pehla Pyar, Pehli Nazar, Pehli Jhalak, Pehli Pehchan, Pehli Shaadi, Pehli Mulaqat and even Pehli Raat. Pehli Tareekh, Pehla Aadmi, Pehla Aashiq, Pehla Qadam, Pehla Aadhyaya and Pehla Paisa is acceptable, but Pehla Nashaa and Pehla Qatil ? Then there was Pehli Bhool, Pehli Shaadi, Pehli Aurat and even Pehla Aadmi !
Funniest thing is there were also Doosra Aadmi, Doosri Aurat, Doosri Shaadi, Doosra Pati, Doosri Bibi etc.etc. I did not check if there was Teesra….something something ! Hamraz ji’s book of Film Index can be a good Time Pass, really ! But I know there was a film Teesra Kaun ?
Coming back to today’s film Pehla Pyar-47, HFGK mentions it as a film made under the banner of ” Sagar Movietone co. Bombay “. Actually, Sagar was closed in 1940, then came National Studio and finally it was Amar Pictures from 1942 onwards. This also closed in 1946 with their last film ” Gwalan”-46 (of Baburao Patel and Susheela Rani). Then, from where did this filmcame and how it claims to be from an extinct ‘ Sagar movietone Co.’ ?
I rummaged through the entire book “Sagar Movietone” written by Biren Kothari ji, but nowhere could I find any reference or information on this film. Finally, I spoke directly to Biren kothariji today to ask about this film. Here too the door was closed. According to Biren ji, it is difficult to say anything about this film. He was , however, sure to say that it had no connection whatsoever with the original ‘Sagar Movietone’.
At the moment it is an unsolved mystery. Maybe in future, some explanation or information on this film will appear to clarify this issue. This is not impossible. In last few years, several such ‘ riddles ‘ have been successfully solved with new evidence, when it cropped up. Some of the riddles which were solved with such new evidence were-
1. Who sang” Bharat ki ek sannari ki katha” from film ‘Ram Rajya’-1943
2. Who sang ‘ Dilli se aaya bhai Tingu’ from film ‘Ek thi Ladki’-1949
3. If Shashi Kapoor acted as a child artiste in 20 films and
4. Is Arjun-Hero fof film ‘Malhar ‘-50 the same as MD C.Arjun
The list is too big to be given here fully, but the point is proved with these examples.
Film Pehla Pyar-47 was directed by A.P. aka Anand prasad Kapoor. he was a well known director of early cinema. He had directed 14 silent before trying his hand at a Talkie film. He was born in 1892 at benares. After matriculation, he came to Bombay and joined film industry doing all odd jobs. His first silent film as a director was Fairy of the Flute-1927 made by Sharda Film Co. His first talkie film as a director was Radhesham-1932, jointly directed by R.L.Shorey. This was a film made in Lahore.
He directed 18 talkie films. He acted also in 2 films. He wrote 32 songs in 3 films as a Lyricist. He also sang 6 songs in 5 films. His last film as a director was Chor-1950. At this stage he realised that his old style was no more acceptable with the new set up. So he retired. A.P.Kapoor died on 16-9-1966 at Bombay.
The cast of the film was Vanmala, Aghajan, Sulochana Chaterjee, K.N.Singh, Sunalini Devi etc etc. Agha or Aghajaan (21-3-1914 to 30-4-1992) was a popular hero in his early career period In film Jwar Bhata-1944, he was the Hero and the Debutante Dilip Kumar was the side Hero ! His career spanned over 50 years-1935 to 1989. He worked in 328 films Pehla pyar was his last film as a hero.
The music was composed by Premnath. This is a case of Same name Confusion. many people think that the actor Premnath had also given music as a MD. Both were different.
PREMNATH the Music Director was born on 5-7-1918 in Gujranwala, Punjab. He learnt music from experts in Amritsar,Multan and Lahore.He acted in films like Shahr-e-khamoshi and also sang in Sohni Mahiwal-1938.
After marriage, he moved to Bombay. His first film as a Music Director was Rangbhoomi-1946. In this film, a novice Mohd. Rafi sang many songs for him. His other films were Dharti-47, Chandrahas-47, Sagar’s Pehla pyar-47. He then produced a film “Chand sitare”-48 under the banner of Ravindra Art productions. Mukesh, Lata and Geeta Roy sang in it. In film ‘Alakh Niranjan’-50,he used Mohd. Faruqi, Sulochana Kadam and Rajkumari.
Premnath gave music to many films of Super pictures of Aspy Irani like Bade Bhaiya-51 and Maya Machhindra-51, in which Surendra, Geeta,Rafi and Shamshad sang. His another film ‘Qatil kaun’ in late 50s was not released. For this film, Rafi, Asha, Manna Dey, Mubarak Begum and Shamshad had given songs.
His films diminished. Sati Vaishalini-59,Main hoon jaadugar-65 and Tarzan in Fairyland-68 were his last films.
After he stopped work as MD,he devoted his time for the welfare of Cine Artists as a trade union leader. As a Secretary,he served the music Directors Assn. for 30 years.
He died on 27-4-1993 at the age of 75 years.
I find that many people mistakenly credit actor Premnath as a MD for his films. Some sites include these films to the filmography of actor Premnath.
It is now clear that actor Premnath and MD Premnath were 2 different persons.
Today’s song is sung by Shamshad Begum. With this song, film Pehla Pyar-47 makes its Debut on this Blog.
Song- Haay re ghir ke baadal aaye jiya ghabraaye (Pehla Pyaar)(1947) Singer- Shamshad begum, Lyricist- I.C.Kapoor, MD- Premnath
Lyrics
haay re ghir ke baadal aaye ae
jiya ghabraaye
haay re ghir ke baadal aaye
jiya ghabraaye
naina maane na kehnaa aa
kaaboo mein nahin hai mera haay dil
naina maane na kehnaa aa
kaaboo mein nahin hai mera haay dil
jhoom ke lehraaye jiya
doley re boley re
aa mil
aa mil
jhoom ke lehraaye jiya
doley re boley re
aa mil
aa mil
birha mein yaad jalaaye
jiya ghabraaye
haay re ghir ke baadal aaye
jiya ghabraaye
ghanghor ghataayen chhaayin
laut aayin phir jawaaniyaan
ghanghor ghataayen chhaayin
laut aayin phir jawaaniyaan
aao jee sunaayen tumhen
meethi meethi dil ki kahaaniyaan
kahaaniyaan
aao jee sunaayen tumhen
meethi meethi dil ki kahaaniyaan
kahaaniyaan
haay teri yaad sataaye
jiya ghabraaye
haay re ghir ke baadal aaye
jiya ghabraaye
sapnon mein aane waale
dekh dekh haari teri raahen
sapnon mein aane waale
dekh dekh haari teri raahen
aao galey aan milo
poochh rahin dil mera aane
haay aane
aao galey aan milo
poochh rahin dil mera aane
haay aane
tere bin jiya nahin jaaye
jiya ghabraaye
haay re ghir ke baadal aaye
jiya ghabraaye
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4747 | Post No. : | 16474 |
Today’s song is from the film Mazdoor-1945, made by Filmistan. The film was directed by Nitin Bose (26-4-1897 to 14-4-1986).
After leaving New Theatres, Calcutta due to a dispute with B.N.Sircar, he decided to shift to Bombay. His dispute with Sircar was so bitter that Nitin Bose did not even see his last directed film ” Kashinath”-1943, till the end of his life. Before he came to Bombay, his name had already become famous here and many big studios were eager to employ him.
His first film in Bombay was Mujrim-44, made under the banner of Vishnu Cinetone, owned by V.M.Vyas. The film did average business. He was then invited to Filmistan, by S. Mukherjee, who was known to him, being a Bengali. The film was Mazdoor, based on the problems of labourers. This was his second film in Bombay. After this film Nitin Bose was called by Bombay Talkies, another studio which gave opportunities to capable Bengalees.
The cast of the film Mazdoor-45 was full of new actors. The Music Director was also a B grade one- Hari Prasanna Dass. The Lyricist was G.S.Nepali. The cast of the film consisted of Indumati, Veera, Nasir khan, K.N.Singh, Radhakishen and others.
Nasir Khan (1-10-1924 to 1-5-1974) was making his Debut in this film. He was known as the younger brother of Dilip Kumar- who himself Debuted with the film Jwar Bhata-1944, just an year back. Indumati became a Heroine for the first and last time. Later she did only character roles. Veera was a Parsi girl. She too was Debuting in this film as a second Heroine. That meant that all the leading actors were new and were making their Debut. In this case, Nasir Khan, unknowingly emulated his elder brother who too debuted with a Debutante heroine- Mrudula, in the film Jwaar Bhata-1944.
There were 6 songs in the film. I have heard all the songs and I find them good songs.
The Music Director HARI PRASANN DASS (1905-1989) was born in Chittagong in 1905. He became a well known Bengali Composer. His 26 Bengali films made his name known in the music circle in Calcutta in late 30s and 40s. He was assistant to Pankaj Malik in films Dushman and Kapal Kundala-1939.
Hemant Kumar Mukherjee was his assistant in Bengali film ‘Byabdhan’-1939. It was H P Dass who gave his FIRST Bengali film song to Hemant Kumar in the film ‘Nimai Sanyas’-1941. Till that time Hemant had only private songs to his credit.
In 1952, H P Dass gave music to NAGORIK , along with Ustad Bahadur Khan, a complete English film-an art film for international audiences-made by the legendary filmmaker Ritwik Ghatak. This was a film even before Satyajit Ray’s Pather Panchali, but due to some reason this film was released only on 20-9-1977, after the death of Ritwik Ghatak. It is said that despite ill health, H P Dass went to New Empire Theatre in Calcutta to see this film.
K.C.Dey was a good friend of HP Das and sang many Bengali songs and Bhajans for him. On his recommendation, H P Dass took Manna Dey as his assistant in Hindi films Veerangana-1947,Sati Toral-1947 and Hum bhi Insaan Hai-1948. It is believed that after hearing Manna Dey’s music and songs in this film, Raj Kapoor invited him to sing for his films later on.
His first Hindi film as a MD was New India Films’ Blood Feud (or Josh-E-Inteqam)- 1935. His other films were Mohabbat-43, Meena-44, Kadambari-44, Mazdoor-45, Begum-45, Insaaf-46, Veerangana-47, Sati Toral-47 and Hum bhi insaan hai-48.
He died on 26-9-1989.
Now let us know something about the leading ladies, since they are new names for most.
INDUMATI LELE (Born 18 December 1927 – Died 11 September 2013), forgotten Yesteryears Indian Theatre and Film Actress turned Folk Artiste.
Indumati and Kumudini Lele who were once famous as ‘Lele Sisters’ in Hindi and Marathi Theatre and Cinema fields, have been forgotten today. Indumati Lele, died at the age of 86, when she was still working as an examiner for the television program ‘Dum Damadam’.
Kumud and Indumati, were both known as ‘Lele Sisters” in the fifties. Both of them originally hailed from Ujjain in Madhya Pradesh. Their father Girdhar Lele was in Government job as Director of Agriculture, at Indore. From an early age, the two sisters loved acting and dancing. Both were involved in dance and dance related activities in their school. Prithviraj Kapoor saw the two at one of the school events and talked to their father and brought them straight to Mumbai. For the next two years, both sisters worked as artists in Prithviraj Kapoor’s ‘Prithvi Theatres” until the company closed. They played different roles in several of his Plays and had the fortune of touring India all along with Prithviraj Kapoor.
While Kumudini acted in Bimal Roy’s ‘Parivar’, ‘Bandini’ etc. and in few Marathi films like ‘Ram Ram Pauna’ etc., Indumati Lele acted in Prithviraj Kapoor’s’ Shakuntala’ and other plays. She also acted in some films while working in ‘Prithvi Theaters’, like Mazdoor-45, ‘Shehnai’ (1947), ‘Aag’ (1948), ‘Sunahare Din’ (1949), ‘Gauna’ (1950), ‘Chaudhwin ka Chand’ (1960), ‘Budtameez’ (1966), ‘Man Mandir’ (1971), to name a few. In Raj Kapoor’s ‘Aag’ (1948), she acted as his mother. She also appeared in two English films, ‘Householder’ with Leela Naidu and ‘Shakespearewallah” both with Shashi Kapoor.
Veera was from a Parsi family. Her full name was Veera Ankaleshwaria. Obviously, her family came from Ankaleshwar, a small industrial town(now), in Gujarat. She started her career in films as a Heroine opposite Nasir khan in the film Mazdoor-1945. Then came Shikari-46 and later Eight days-46, both had Ashok Kumar as the Hero. Both the films were from Filmistan. Her last film as Heroine was Tohfa, opposite Rehman and Leela opposite Agha , both films from 1947. Then she stopped getting Heroine roles and shifted to side roles. In all she did 22 films.
Her other films were, Veena, Ziddi, Chanda ki Chandani- all 48, Sanwaria-49, Hamara Ghar and hamari beti- 1950, Hamari shaan, Ramjanma and Sagar-1951, Aasmaan, izzat, Moti mahal, Sanskar and Shin shinaki boobla boo-all1952, Dana Pani-53, Boot polish and Sheeshe ki deewar both 1954.
She married Mohsin Abdulla, who had worked in Bombay Talkies as a writer. He was the younger brother of actress Renuka Devi ( Begum Mirza). After the marriage, both migrated to Pakistan in 1955. No news after that.
About Nasir Khan, I have written about him in my earlier posts, so I will not repeat it.
The Film India magazine issue of June 1946 gives a review of this film. Surprisingly, Baburao patel has some good words about this film, though mostly the review is critical of Direction and the story. The story of the film revolves around Hero and his 2 loves, with a background of Labourer’s problems. The film has taken inspiration from the Hollywood film ” How green is my valley”-1941. The story, in short, is….
Nasir khan is in love with a village girl-Indumati. He leaves for the city to get a job. He saves a mill owner’s(K.N.Singh) daughter-Veera from a car accident. He is taken to her house as he is wounded in this process. He recovers and is made Manager of the mill. Veera falls in his love. Meanwhile Indumati and her mother-Moti, suffer in the village. They too come to the city and Indumati gets a job in the same Mill. There are Labour problems in the Mill and 2 groups compete with each other. Finally there is confrontation between the Unions and the Mill owner. Nasir khan, at the end, exposes the Mill owner and joins the Union leader, thus uniting with Indumati.
The film was released on 18-5-1946 in the Roxy Theatre of Bombay. It seems the film did reasonable business. Today’s song is sung by Amirbai Karnataki. This is the second song from this movie to appear in the blog.
Song- Chhaaye hain kaale megh to bauchhaar bhi hogi (Mazdoor)(1945) Singer- Amirbai Karnataki, Lyricist-G S Nepali, MD- Hari Prasanna Das
Lyrics
Chhaaye hain kaale megh to bauchhaar bhi hogi
Chhaaye hain kaale megh to bauchhaar bhi hogi
kabhi to apne baagh mein bahaar bhi hogi
kabhi to apne baagh mein bahaar bhi hogi
Chhaaye hain kaale megh to bauchhaar bhi hogi
o rone waale ae ae
ae ae ae ae ae ae
o rone waale raat mein
tu bhool na jaana
tu bhool na jaana
aayega yahaan bhor mein
badlega zamaana
hansi khushi mein ye gali
gulzaar bhi hogi
kabhi to apne baagh mein bahaar bhi hogi
hamse bichhad ke saajna pardes gaye hain
hamse bichhad ke saajna pardes gaye hain
unse bichhad ke ae ae
aaj ham khaamosh huye hain
unse bichhad ke ae ae
aaj ham khaamosh huye hain
khaamoshi bhi aaj ye
gulzaar bhi hogi
kabhi to apne baagh mein bahaar bhi hogi
?? ae ae ae ae
?? dhaar mein
lahron se bahaaron
jo sabka maaji hai bada
tum usko pukaaro
jo sabka maaji hai bada
tum usko pukaaro
majhdhaar mein hai naao
majhdhaar mein hai naao
to paar bhi hogi
kabhi to apne baagh mein bahaar bhi hogi
Chhaaye hain kaale megh to bauchhaar bhi hogi
kabhi to
kabhi to
kabhi to apne baagh mein bahaar bhi hogi
Tum shyaam badariya main hoon mor
Posted on: May 8, 2021
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 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.
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4677 | Post No. : | 16354 | Movie Count : |
4441 |
During 1966-72, I used to watch one Hindi film almost every week-end. I had only two main criteria for selecting a film. First, I should be able to procure a ticket without a long queue either in advance or current booking. Second, the film should be from a good banner which meant that ‘B’ and ‘C’ grade films were out of my reckoning.
‘Aradhana’ (1969) was one such films which fitted my criteria. I watchedit in a theatre during the first week of its release. There was no problem in booking the ticket as Rajesh Khanna had not become a ‘phenomenon’ at that time, a term which one of the film magazines had used for him after the success of this film. While I was acquainted with the names of most of the main actors, the actor who had done the role of Sharmila Tagore’s father was a new face for me. His performance as a distressed father whose daughter has become a widow, carrying her fiancé’s child before formally getting married, had remained embedded in my mind with the song, safal hogi teri araadhana playing in the background. It was after a few months that I came to know that the actor in that role was Pahadi Sanyal, a name that I heard for the first time. Now this sounds surprising for me.
It was a sort of paradox that while I was not aware of Pahadi Sanyal as an actor in 1969, I was acquainted with his daughter, Luku Sanyal who was a lecturer in English literature in my college (K C College, Churchgate) during my college days in 1966-69. It was only when she started reading news in English on Doordarshan, Mumbai in 1972 that I came to know that she was the daughter of Pahadi Sanyal.
It took me another four decades to know that Pahadi Sanyal was also a good singer. That was after I joined the Blog sometime in 2011.
Pahadi Sanyal (22/02/1906 – 10/02/1974) and K L Saigal were contemporaries in New Theatres, both of them starting their filmy career almost the same year (1932). Apart from Bengali, Pahadi Sanyal was fluent in Hindi, Urdu and English. This qualified him to work as a singer-actor in most of the bilingual films (Bangla and Hindi) produced by New Theatres during 1933-40. The bilingual films included ‘Rajrani Meera’ (1933), ‘Chandidas’ (1934), Dhoop Chhaaon’ (1935), ‘Devdas’ (1935), ‘Karorepati’ (1936), ‘Vidyapati’ (1937), ‘Adhikar’ (1938), ‘Sapera’ (1939), ‘Haar-Jeet’ (1940). He also acted and rendered songs in ‘Yahudi Ki Ladki’ (1933) and ‘Kaarwaan-E-Hayat’ (1935). In some of these films, Pahari Sanyal worked with K L Saigal and also rendered songs with him.
Despite being a trained musician and singer in Hindustani classical music from the prestigious Marris College of Music, Lucknow, Pahadi Sanyal had to work under the shadow of K L Saigal whose songs were very popular and thus sure shots for the box office success of the films. I have seen many films of Pahadi Sanyal and K L Saigal working together and there is no doubt that K L Saigal was a better singer than Pahadi Sanyal. But when it comes to acting I felt that latter’s acting calibre was higher than that of K L Saigal.
After completing ‘Saugandh’ (1942), Pahadi Sanyal shifted his base to Mumbai in 1942. During his Mumbai stint, he acted in ‘Saheli’ (1942), ‘Sharaafat’ (1943), ‘Inkaar’ (1943), Mohabbat’ (1943), ‘Anban’ (1944), ‘Paristan’ (1944), ‘Kadambari’ (1944), ‘Preet’ (1945), ‘Malan’ (1946), ‘Milan’ (1946) among others. He was a lead actor in many of the films in the 1940s in Mumbai and he sang for himself in all these films.
Some time in the late 1940s, Pahadi Sanyal went back to Kolkata and worked in Bangla films but often visited Mumbai to work in Hindi films in the 1950s and 60s. By early 1950s, Pahadi Sanyal had started doing character roles.
While writing articles under the series ‘Hindi Songs in Bangla Films’ for the Blog, I had occasion to watch many Bangla films and Pahadi Sanyal had acted in some of these films. His role as a Psychiatrist in ‘Deep Jeley Jai’ (1959) was noteworthy for his long monologues with few dialogues delivered in chaste English. I have also seen its Hindi remake, ‘Khamoshi’ (1969) in which Nazir Hussain played the role of Psychiatrist but in my view, he was a shade lower in performance than the one by Pahari Sanyal.
In ‘Uttar Falguni’ (1963) and its Hindi remake, ‘Mamta’ (1966), Pahari Sanyal had a small role of a prosecution lawyer. Here he was pitted against the defence lawyer, Bikash Roy/Ashok Kumar. It was an interesting dual of natural actors in the court room to watch. In ‘Alor Pipasa’ (1959), Pahari Sanyal played the role of a senior doctor who tells the story of a mujra singer to his junior doctor (Asit Baran) who turns out be the mujra singer’s son. The narration of the story in a flash back mode by the senior doctor in tight to medium close-up shots shows the confidence the director of the film on the ability of Pahadi Sanyal to give effective facial expressions along with smooth dialogue delivery. In Bangla cinema, some of the character actors like Pahadi Sanyal and Chhabi Biswas, thanks to their acting prowess, commanded status almost equal to that of the lead actors. There are some more such Bangla films where Pahadi Sanyal has given memorable performance even in small roles.
During the 4 decades of his filmy career, Pahadi Sanyal worked in 56 Hindi films and almost an equal number of Bangla films. In addition, he also worked in an English film, ‘The Householder’ (1963).
As a singer in Hindi films, Pahadi Sanyal was active from 1933 to 1946 during which time, he rendered about 50 songs as an actor-singer. His last Hindi film song appears to be wo kahen aap ki do chaah ka inaam mujhe from ‘Milan’ (1946).
About a week back, I uploaded a rare song from the film ‘Mohabbat’ (1943) ‘tum shyaam badariya main hoon mor’ rendered by Pahadi Sanyal which I am presenting here. The film was directed by Phani Majumdar. Shanta Apte and Pahadi Sanyal were in the lead roles in the film with the supporting cast of Jagdish Sethi, Sunalini Devi, K C Dey, Yashodhara Katjoo, S Nazir etc.
There were 10 songs in the film which were set to music by Hari Prasanna Das. Except for Meera Bai bhajan, the lyricist/s for remaining 9 songs are unattributed.
With this song, ‘Mohabbat’ (1943) makes its debut on the Blog.
Audio Clip:
Song-Tum shyam badariya main hoon mor (Mohabbat)(1943) Singer-Pahadi Sanyal, Lyrics-Unknown, MD-Hari Prasanna Das
Lyrics
tum shyaam badariyaa
badariyaa
main hoon mo…r
tum shyaam badariyaa
badariyaa
main hoon mo…r
tum shyaam badariyaa
tum chaand kiran ho
tum chaand kiran ho
main hoon chakor
tum shyaam badariyaa
badariyaa
main hoon mor
tum shyaam badariyaa
ek praan hai do hain kaaya
ek praan hai do hain kaaya
bandhi preet ki dor
bandhi preet ki do…..r
tum shyaam badariyaa
badariyaa
main hoon mo….r
tum shyaam badariyaa
aa haa
tum jal ki chanchal dhaara
main uska ek kinaara
tum jal ki chanchal dhaara
main uska ek kinaara
jeewan pathh mein sang sang dolen
jeewan pathh mein sang sang dolen
chale ek hi ore
chale ek hi ore
tum shyaam badariyaa
badariyaa
main hoon mo….r
tum shyaam badariyaa
hum tum donon do panchhi hain aen
hum tum donon do panchhi hain
uden aen gagan ki ore
dekhen kitni door hai
apni iss duniya ka chhor
dekhen kitni door hai
apni iss duniya ka chho..r
tum shyaam badariyaa
badariyaa
main hoon mo…r
tum shyaam badariyaa
badariyaaaaa
Kaali jo ghataa chhaayi hai
Posted on: March 24, 2021
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 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.
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Blog Day : |
4632 | Post No. : | 16286 |
With the advent of sound films in India in 1931, many actors faced difficulties in on-screen performances with their voices. Only few actors of silent films who could, fluently or otherwise, speak Urdu and Hindi made a transition from silent to talkies. Master Vitthal, Master Nissar, Mazhar Khan, Prithviraj Kapoor, Baburao Pendharkar, Raja Sandow, Hiralal, Patience Cooper, Zubeida, Sulochana (Ruby Mayers), Gohar Mamajiwala, Madhuri (Beryl Claessen), Sabita Devi (Irin Gasper), Gulab, Jillo Bai, Lalita Pawar, Durga Khote etc were some of the actors who switched over from silent to talkies without much of difficulties. A few of them even learnt speaking Hindi and Urdu during the transition.
The makers of talkies faced another difficulty. They realised that most of the actors did not have a good voice for singing on-screen. While some actors could get away with their less than average singing ability due to their popularity with the film audience, the film-makers felt the need for new actors who could sing better and/or the trained singers who could also act. So, in early 1930s, a new category of actors who could also sing with good voices emerged in Hindi film industry. In this category, K L Saigal, Kanan Devi, Asit Baran, Ratan Bai, Uma Shashi, Pahadi Sanyal, Rajkumari Dubey, Shanta Apte, Surendra, Bibbo, Sitara Devi, Shahu Modak, Sardar Akhtar, Vatsala Kumthekar among many others emerged. Barring few exceptions, most of actor-singer (and singer-actor) lasted in the Hindi film industry as singers until system of playback singing was firmly established by early 1940s. Some of them continued to act in the films, their on-screen songs being lip synced by the playback singers.
In the early 1930s, there was one more category of singers in which film-makers were interested in taking them as singer-actor because of their popularity as Hindustani classical singers on All India Radio and in private concerts. Apart from filling up the void in singers for Hindi films, these trained singers were regarded ‘icing in the cake’ in the films for their box office success.
While most of the ‘hard-core’ Hindustani classical vocalists kept distance from the Hindi films, some of the popular singers of the semi-classical genres such as thumri, dadra and ghazal got attracted to work in Hindi films as singer-actor. Thus, the popular Hindustani semi-classical singers like Mukhtar Begum, Jahanara Kajjan, Akhtari Faizabadi (Begum Akhtar), Jaddan Bai, Indubala, Kamala Jharia among others entered the Hindi film industry during the early 1930s. Some of their large repertoire of semi-classical singing was replicated on the screen albeit in shorter forms. One can judge the importance of these songstresses for attracting the film audience when posters of a few Hindi films of early 1930s had their names in the bold letters of the same size as that of the films’ titles.
It is worthwhile to note that mostly female Hindustani semi-classical singers got associated with Hindi films as singer-actor in the early phase of sound films. Most of them were having their background as tawaifs or private concert singers. They mostly sang thumri, dadra, ghazals and other semi-classical genres. The male Hindustani classical singers felt it below their dignity to sing or record songs in these genres especially up to the beginning of early 20th century. It was only when Hindustani classical singing maestros like Ustad Abdul Karim Khan, Ustad Faiyyaz Khan, Ustad Bade Ghulam Ali Khan etc started singing thumri and dadra in their concerts in early 1930s with their respective gharana style, these sub-genres of Hindustani semi-classical music attained respectability.
In this context, I recall that even in post independent period, Ustad Amir Khan who was an exponent of Khayal singing, never sang thumri, dadra and ghazals in the concerts nor did he record songs in these genres. The only exceptions he made was that he sang a Ghalib ghazal, rahiye ab aisi jagah chalkar jahaan koi na ho, composed by Pandit Amarnath Chawla, his senior-most disciple, for a documentary film ‘Mirza Ghalib’ (1969). And he rendered this ghazal in Khayal style. (Ref: ‘Indore Ke Maseeha’, 2008 by Bindu Chawla). The second exception was for a Bengali film ‘Kshudito Pashan’ (1960) in which he sang a dadra under the music direction of Ustad Ali Akbar Khan.
Among the Hindustani semi-classical singers, Wahidan Bai of Agra was one of the late entrants in Hindi films. Although she was trained as Hindustani classical vocalist and was an occasional singr on All-India Radio, she did not like to pursue the career as a professional singer due to stigma attached to this profession. So, she got married to a businessman and settled as a housewife in Agra. However, the business went in doldrum and they shifted to Calcutta (Kolkata) in early 1930s to start a fresh business. Even the new business incurred losses and the couple were in dire financial condition. At this point of time, she approached A R Kardar who was her neighbour in Kolkata, for a role in the film. She got a song to sing in a small role and everyone was impressed with her voice.
Chandulal Shah, the owner of Ranjit Movietone offered Wahidan Bai to join his company as actor-singer. In Ranjit Movietone, she worked in ‘Toofaani Toli’ (1937), ‘Ban Ki Chidiya’ (1938), ‘Prithvi Putra’ (1938), ‘Professor Waman, M Sc’ (1938), ‘Rickshawala’ (1938), ‘The Secretary’ (1938) and ‘Thokar’ (1939). In all these films, she sang semi-classical genres of songs most of which became popular.
Wahidan Bai switched over to Sagar Movietone and played a lead role opposite Surendra in ‘Alibaba’ (1940), made in Hindi and Punjabi. In this film, she rendered for the first time a waltz music-based song, ham aur tum aur ye khushi with Surendra which became very popular. With the merger of Sagar Movietone with National Studios in 1940, Wahidan Bai worked in ‘Sanskaar’ (1940) as actor-singer which was her last film. Thereafter, she was mostly bed-ridden as she suffered from tuberculosis from which she did not recovered and died sometime in 1942. During her short filmy career, Wahidan Bai was associated with 11 films and rendered 26 songs.
[Note: Information on Wahidan Bai is mainly based on a chapter, ‘Jewels of Sagar’ in the Book ‘Sagar Movietone’ by Biren Kothari (2014), translated in English by Parth Pandya].
‘Thokar/The Kick’ (1939) was Wahidan Bai’s last film with Ranjit Movietone. The film was directed by A R Kardar. The star cast included M Kumar, Madhuri, Yakub, Noor Mohammed Charlie, Ishwarlal, Wahidan Bai, Wasti, Ram Marathe, Suresh, K N Singh, Dixit etc.
A short synopsis of the film’s story as given in http://www.indiancine.ma is reproduced below:
This is story about wealth not bringing happiness. The blind Mohan (Kumar) lives in a village with his ward Radha (Madhuri). He wins a fortune with a sweepstake ticket sold to him by the tramp Ramesh (Charlie), who claims his due and begins to take over Mohan’s life, making him move to the city and getting him married to Chinta (Wahidan Bai), a prostitute. When Mohan’s eyesight is restored, he finds that his wife is having an affair with Ramesh. Mohan takes revenge and eventually lands up in his old village, a poor man, but with Radha still unchanged, waiting for him.
There were 10 songs in the film – all written by P L Santoshi which were set to music by Gyan Dutt. One song from the film has been covered in the Blog. I present the second song from the film ‘kaali jo ghata chhaayi hai’ rendered by Wahidan Bai in the semi-classical singing style.
Audio Clip:
Song-Kaali jo ghata chhaayi hai (Thokar)(1939) Singer-Wahidan Bai, Lyrics-P L Santoshi, MD-Gyan Dutt
Lyrics
aa aa aaa
aankhon aankhon mein
pila di mere saaqi ne mujhe
ab na sheeshe ki zuroorat hai na paimaane ki
kaali..eee
kaali….eeee ee ee
kaali jo ghata chhaayi hai
haan haan jee ghata chhaayi
zulfen saaqi..ee.ee.ee ee
saaqi mujhe yaad aayi hai
haan haan mujhe yaad aayi
gudguda…aa deti hai
ae ae
deti hai dil ko zaalim
deti hai dil ko
shokh a a kitneeeee…ee ee ee
kitni teri angadaayi hai ae ae
haan teri angadaayi hai….ai
haan teri angadaayi
hum hain beemaa…..r e
beemaar-e-mohabbat
jab se…ae ae ae
na maseeha ho aa aaa aaa
maseeha na maseehaaayi hai…..ai
maseeha na maseeha aaye hain
haan na maseeha aaye
kaali ghata chhaaye hai…ai
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.
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4474 | Post No. : | 15976 |
“Aakhir Kyon”(1985) was produced and directed by J Omprakash. Now I realise why this movie title starts with the letter “A”. 🙂
The movie had Rajesh Khanna, Smita Patil, Rakesh Roshan, Tina Munim, Asrani, Sujit Kumar, Shubha Khote, Beena Bannerjee etc in it.
THe movie was a archtypical South Indian “social” movie. Peevesie’s mom, while discussing one earlier song from the movie had provided this summary of the story of the movie
That movie had a very topical theme of a wife (Smita Patil) being abandoned by her whimsical husband (Rakesh Roshan) for another girl (Tina Munim). The story goes on to show Smita becoming a TV anchor (she was one prior to coming into movies) and then graduating to a Novelist. Then it turns out that when her husband’s business falls in bad times he approaches her; requests her to write for him; so that he can get their daughter (whom had forcibly kept with himself at the time of separation) married decently. That is the gist of the movie. We also had a partly bald Rajesh Khanna playing a TV (DoorDarshan) cameraman who admires Smita for her rebounding power and is a support to her throughout.
This movie came at a time when DD was the only channel available and people used to have one TV in their drawing rooms. And whole families used to sit and watch whatever was dished out to them. Otherwise I cannot imagine an entire family sitting and watching this kind of a musical show on TV these days. Also those were the days when people used to quote Rani Jhansi in all their speeches. Also Indira Gandhi and Margaret Thatcher were sources of inspiration.
The movie had five songs in it. Four songs have been covered so far, with the movie making its debut in the blog in 2008, the first year for the blog !
Here are the details of the song covered in the blog :-
| Blog post number | Song | Date posted |
|---|---|---|
| 422 | Dushman na kare dost ne wo kaam kiya hai | 21 December 2008 |
| 5603 | Saat rang mein khel rahi hai | 8 March 2012 |
| 9544 | Komal hai kamzor nahin tu | 8 March 2014 |
| 15696 | Ek andhera laakh sitaare | 2 July 2020 |
We can see from the table that second and third song from the movie were discussed on 8th march (2012 and 2014) on the occasion of Women’s day. It shows that the movie had some sort of “Women’s empowerment” message in the movie.
Today (17 october 2020) happens to be the birthday anniversary of Smita Patil (17 October 1955- 13 December 1986). On this occasion, here is the fifth and final song from “Aakhir Kyon”(1985) to appear in the blog.
This song is sung by Lata. Indeewar is the lyricist. Music is composed by Rajesh Roshan.
The song is picturised as a get together song where Smita Patil lip syncs this semi classocal song while others, including Tina Munim, Rakesh Roshan and others look on. Tina Munim also uses this opportunity to fantasise about Rakesh Roshan.
Lyrics of this song were sent to me by Avinash Scrapwala.
With this song, all the five songs of “Aakhir Kyon”(1985) are covered in the blog and the movie joins the list of movies that have been YIPPEED in the blog. This movie took nearly 12 years (3753 days to be precise) to get YIPPEED.
This song is the 3600th song of Lata Mangeshkar as a playback singer in the blog.
Video
Audio
Song-Shaam huyi chadhh aayi re badariya (Aakhir Kyon)(1985) Singer-Lata, Lyrics-Indeewar, MD-Rajesh Roshan
Lyrics (Provided by Avinash Scrapwala)
Aa aa aa aa aa
aa aa aa
Hoon hoon hoon
Hoon hoon
Shaam Huyee
Chadh Aayee Re Badariyaa
Shaam Huyee
Chadh Aayee Re Badariyaa
Abahoon Naa Aaye
More Shyaama Sanwaariyaa
Shaam Huyee
Chadh Aayee Re Badariyaa
Abahoon Naa Aaye
More Shyaama Sanwaariyaa
Shaam Huyee
Chadh Aayee Re Badariyaa
Shaam Huyee
Chadh Aayee Re Badariyaa
O o o
Aa aa aa
Anchhuye Honth Mere
Khoye Khoye Nain Mere
Goonjatey Hai Praanon Mein
Madhur Madhur Bol Tere
Mere Saath Bain Kare ae Ho o
Mere Saath Bain Kare
Moree Atariyaa
Shaam Huyee
Chadh Aayee Re Badariyaa
Shaam Huyee
Chadh Aayee Re Badariyaa
Solah Baras Beete
Gin Gein Ratiyaan
Pee Se Milan Chalee
Sang Kee Sakhiyaan
Ab to Le Lo Piyaa aa Ho o
Ab to Le Lo Piyaa
Aake khabariyaa
Shaam Huyee
Chadh Aayee Re Badariyaa
Paa ni saa re
Ni saa re
Ni saa re
Ni dha paa
Aa aa aa
Aa aa aa
Shaam Huyee
Chadh Aayee Re Badariyaa
Abahoon Naa Aaye
More Shyaama Sanwaariyaa
Shaam Huyee
Chadh Aayee Re Badariyaa
Shaam Huyee
Chadh Aayee Re Badariyaa
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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