Archive for the ‘Bhajan’ Category
This article is written by Peevesie’s mom, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
|
Blog Day : |
4837 | Post No. : | 16622 |
Hullo Atuldom
Navratri. Nine nights of festivities. Celebrated through the country in honour of Devi Maa, Maa Durga, or the Holy Trinity of Durga Lakshmi Saraswati. Also Rama’s victory over Ravana and rescuing Devi Seeta from Lanka. No wonder the 10th day of the festival is called Vijaya Dashami.
I have got a Whatsapp forward which gives a perspective of the day as ” Dussehra is a Sanskrit word which means removal of Ten Bad Qualities within oneself, namely
Ahankara (Ego),
Amanavta (Cruelty),
Anyaaya (Injustice),
Kama vasana (Lust),
Krodha (Anger),
Lobha (Greed),
Mada (Pride),
Matsara (Jealousy can also mean competition which is a result of jealousy),
Moha (attachment),
Swartha (Selfishness)”;
which means that ‘Vijaya over these Ten Bad Qualities. (I thought that this was a great thought and hence shared it here)
Dussehra marks the culmination of the Ram Leela, at various venues across the country, with the burning of the effigies of Meghnad (son of Ravana), Kumbhakarna (brother of Ravana) and Ravana himself. Dussehra is also the last day of the Durga Puja for the people from Eastern India (wherever in the world they be). The Durga Puja begins on the sixth day of Navartri, when the idols of the goddess is installed along with those of her children Ganesh and Kartik and Devi Laxmi and Devi Saraswati. Dussehra is the day when the idols are immersed in the holy waters of the rivers after morning puja, kumkum khela etc. Festivities in western India too come to a close with all the rituals associated. So we are at the end of one festival waiting for the next -Deepavali.
Let us bring this festival to a close with this all important aarthi which is from “Purab Aur Paschim” (yes, there are some songs from this film yet to be posted). In the film this traditional aarthi plays at the start to set the story of the movie in motion. It shows Ashok Kumar (whose birth anniversary it was two days ago) leading a group of devotees which includes Kamini Kaushal and Nirupa Roy (13th October was her death anniversary). As the song plays, we see the Union Jack being lowered and replaced by the Indian Tricolour. The movie too becomes ‘color’ from ‘black-n-white’. The aarthi is also used to introduce almost all the characters of the movie, we see ‘Bharat’ growing up from Master Alankar to Manoj Kumar and Bharathi (south Indian actress) growing into ‘Gopi’. The movie closes with the aarthi as Saira Banu accepts that she has liked the Indian way of life and her mother Shammi and brother Rajendranath also join the aarthi.
The aarthi is in the voices of Mahendra Kapoor, Brij Bhushan and Shyama Chittar. The music director for the movie were Kalyanji Anandji, who have stuck to the traditional format in here.
Happy Bijoya/ Vijaya Dashami to one and all.
Video
Audio (Longer)
Song-Om jai jagdeesh hare (Purab Aur Paschim)(1970) Singers-Brij Bhushan, Mahendra Kapoor, Shyama Chittar, Lyrics-Traditional, MD-Kalyanji Anandji
Chorus
Lyrics
om jai jagdeesh hare
swaami jai jagdeesh hare
bhakt janon ke sankat
daas janon ke sankat
kshan mein door kare
om jai jagdeesh hare
jo dhyaave phal paave
dukh bin se man ka
swaami dukh bin se man ka
sukh sampatti ghar aave
sukh sampatti ghar aave
kasht mite tan ka
om jai jagdeesh hare
maat pitaah tum mere
sharan padoon main kiski
swaami sharan padoon main kiski
tum bin aur na dooja
prabhu bin aur na dooja
aas karoon main kiski
om jai jagdeesh hare
tum pooran parmaatama
tum antaryaami
swaami tum antaryaami
paar brahm parmeshvar
paar brahm parmeshvar
tum sabke swaami
om jai jagdeesh hare
tum karuna ke saagar
tum paalan karta
swaami tum paalan karta
main moorakh khalkaami
main sevak tum swaami
kripa karo bharta
om jai jagdeesh hare
om jai jagdeesh hare
swaami jai jagdeesh hare
bhakt janon ke sankat
daas janon ke sankat
kshan mein door kare
om jai jagdeesh hare
vishay vikaar mitaao
paap haro deva
swaami paap haro deva
shraddha bhakti badhaao
shraddha bhakti badhaao
santan ki seva
om jai jagdeesh hare
tan man dhan sab hai tera
swaami sab kuchh hai tera
swaami sab kuchh hai tera
tera tujhko arpan
tera tujhko arpan
kya laage mera
om jai jagdeesh hare
om jai jagdeesh hare
swaami jai jagdeesh hare
bhakt janon ke sankat
daas janon ke sankat
kshan mein door kare
om jai jagdeesh hare
om jai jagdeesh hare
swaami jai jagdeesh hare
bhakt janon ke sankat
daas janon ke sankat
kshan mein door kare
om jai jagdeesh hare
Mori hundi sweekaaro maharaj re
Posted on: October 12, 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.
|
Blog Day : |
4834 | Post No. : | 16617 |
When I joined this Blog’s activities in 2010, by way of comments, I used to first read the post fully. In one post our ATUL ji had said something which has been carved deep in my mind. He had said that “In India, people are interested in 3 things- Cricket, Films and Politics”. How true it is !
However, based on my experience of so many years in different fields all over India, I could add one more activity to the above three. And the activity is ” Branding”, Not the kind of Brands in the markets, what I mean is ” Labelling “, in other words. We Indians are quick in branding or labelling everything. In fact it is our very faourite pastime.
Some examples will explain what I mean. Take the case of Cinema – we branded Dilip Kumar as the Tragedy King, Meena Kumari as the Tragedy Queen, Jeetendra as the Jumping Jack, Mithun as Poor Man’s AB, AB as the Angry Young man etc etc. The branding did not change even after DK changed the track and acted in films like Azaad, Ram aur Shyam or Naya Daur etc. AB remained the same even after films like Chupke Chupke, Anand, Abhimaan or Amar Akbar Anthony. Same thing about other actors. Branding/Labelling or the Chhappa is for ever !
Take another example. We feel a Sikh must be either a Taxi Driver or in Army or Police, A Gujarati should only do business, A Bihari must only do Kheti, A Bengali must only read a book or write a book, A Marathi must only do a service in some company or Government etc etc. What if Sikhs are big businessmen, actors, singers ? What if a Gujju is a fine actor, Musician or a singer or a Politician ? What if the Biharis are the single largest group in the successful IAS Cadres (25 % in the last 10 years) ? So on so forth. But No – Branding is almost permanent !
Today we are going to talk about a Gujarati Saint. GUJARAT- the name itself evokes thoughts of Trade and Business. Due to their Business talents, Gujarat was known to Romans, Greeks and Persians, since the pre Christ era. Gujarat Maritime merchant history dates back to the First century after Christ.
Gujarat had produced many worthy souls who made the country proud of them. The top being Gandhi ji. Then there were Sardar Patel, Vikram Sarabhai(Space Ace), Morarji Desai, the Ambanis, Azim Prem ji, Parsis of Navsari, Narendra Modi, Amit Shah etc etc. In the religious field, Gujarat had its share with Jalaram Bappa, Narsi Bhagat, Dadu Dayal, Dayanand Saraswati, Rang Avdhoot ji, Rameshbhai oza, Hemchandra Surishwar, Pramukh Swami etc etc. (these are only indicative examples,not exhaustive).
India had been under the Mughal and the British rules for hundreds of years. A Nation of Hindu majority was ruled by the Minority Mughals, who perpetrated a lot of injustice and tried to destroy the Indian Culture with barbaric brutalities. This gave rise to the Bhakti movement to awaken the Indians and make them self conscious about their own strengths.
The Bhakti Movement was India’s own way to combat foreign attackers, cruel rulers and the sleeping people of India. The movement from 1300 to 1600 AD produced many religious Saints and social reformers from Kanyakumari to Kashmir and from Assam to Gujarat. Indian culture is such that the advice given by a religious saint is more acceptable than that given by a social reformer. Thus, in this hour of need, India’s Saints tried to teach message of reforms such as removal of Untouchability, freedom from Varnashram lifestyles, importance of education, Women’s emancipation and other such matters,through their poems, dohas, Abhangs and writings as well as kirtans. They tried to make the masses wake up against the ill effects of social practices that were being observed those days.
Saints appeared in ALL areas of India,during this period. However,due to language problems, knowledge and information about Saints in other regions trickled down very slowly. States which shared the use of Devanagari script were aware about them in a better way. Thus,Maharashtra,Gujarat,Rajasthan and the Northern Hindi belt states exchanged their knowledge about their saints more frequently than other regions such as Bengal, the Eastern states or the southern states where the scripts were different. Andhra and Karnataka were closer as their scripts are similar, except perhaps the alphabet ‘K’. Tamil and Malayalam scripts have Dravidian origins and were not easily accessible for the rest of India.
India is a Multi racial, multilingual and Multi religions country. It is not only one of the largest Democracies in the world, but also the largest Secular state in the world, where people from different faiths have been living together since centuries.
Many saints and religious leaders have played a significant role in keeping the mixed population of India as One Unit, when it was needed the most. A majority of Hindus, ruled by Muslim Mughals was a natural cause for social divisions, but Saints like Kabir, Surdas, Tulsidas, Ramdas, Tukaram, Ramanand, Narsi Mehta, Purandar das,Namdev, Guru Nanak Dev, Eknath, Bhakta Pundarikar, Rohidas, Mrutyunjaya and many such noble souls, did an excellent job of maintaining harmony amongst peoples of different faiths.
Today we will talk about the ADI KAVI of Gujarati-Narsimh Mehta aka Narsi Bhagat (1414 to 1486). He is one of the most popular saints of Gujarat. No wonder then,that the First Talkie in Gujarati was a film called NARSI MEHTA-1932. In Hindi too,”Narsi Bhagat ” was made as early as 1940. Vishnupant Pagnis (Sant Tukaram fame) had done the role of Narsi Bhagat in this film.(In the first Talkie film of Gujarat “Narsi Mehta”-1932 also this role was done by a Marathi actor Maruti Rao Pehelwan.)
The best Bhajan written by Narsi Bhagat is “Vaishnav jan to tene kahiye”. All Indians know that this was the most favourite Bhajan of Gandhi ji. Actually many people thought that he himself wrote this Bhajan !
Here is a short Biography of saint Narsi Bhagat –
Narsinh Mehta was born in Vaishnava Nagar community at Talaja and later shifted to Junagadh (then Jirndurg) in Saurashtra, Gujarat. He lost his parents when he was 5 years old. He could not speak until the age of 8. He was raised by his grandmother Jai Gauri.
He married Manekbai probably in the year 1429. Mehta and his wife stayed at his brother Bansidhar’s place in Junagadh. However, his cousin’s wife (Sister-in-law or bhabhi) did not welcome Narsinh very well. She was an ill-tempered woman, always taunting and insulting Narsinh Mehta for his worship (Bhakti). One day, when Narasinh Mehta had enough of these taunts and insults, he left the house and went to a nearby forest in search of some peace, where he fasted and meditated for seven days by a secluded Shiva lingam until Shiva appeared before him in person. On the poet’s request, the Lord took him to Vrindavan and showed him the eternal raas leela of Krishna and the gopis. A legend has it that the poet transfixed by the spectacle burnt his hand with the torch he was holding but he was so engrossed in the ecstatic vision that he was oblivious of the pain. Mehta, as the popular account goes, at Krishna’s command decided to sing His praises and the nectarous experience of the rasa in this mortal world. He resolved to compose around 22,000 kirtans or compositions.
After this dream-like experience, transformed Mehta returned to his village, touched his bhabhi’s feet, and thanked her for insulting him. In Junagadh, Mehta lived in poverty with his wife and two children, a son named Shamaldas, and a daughter for whom he had special affection, Kunwarbai. He revelled in devotion to his hearts’ content along with sadhus, saints, and all those people who were Hari’s subjects – Harijans – irrespective of their caste, class or sex. It also seems that he must have fallen into a somewhat ill repute for his close relations with Lord’s sakhis and gopis, Narsinh mehta’s women followers, with whom he danced and sang. The Nagars of Junagadh despised him and spared no opportunity to scorn and insult him. By this time, Mehta had already sung about the rasaleela of Radha and Krishna. The compositions are collected under the category of shringar compositions. They are full of intense lyricism, bold in their erotic conception and are not without allegorical dimensions, this saves the compositions from being something of erotic court poetry of medieval India.
Soon after his daughter Kunwarbai’s marriage (around 1447) to Shrirang Mehta of Una’s son, Kunwarbai became pregnant and it was a custom for the girl’s parents to give gifts and presents to all the in-laws during the seventh month of pregnancy. This custom, known as Mameru, was simply out of the reach of poor Narsinh who had hardly anything except intransigent faith in his Lord. How Krishna helped his beloved devotee is a legend depicted in ‘Mameru Na Pada’. This episode is preserved vividly in the memory of Gujarati people by compositions by later poets and films. Other famous legends include ‘Hundi (Bond)’ episode and ‘Har Mala (Garland)’ episode. The episode in which none other than Shamalsha Seth cleared a bond written by poverty stricken beloved, is famous not only in Gujarat but in other parts of India as well. The Har Mala episode deals with the challenge given to Mehta by Ra Mandlik (1451–1472) a Chudasama king, to prove his innocence in the charges of immoral behavior by making the Lord Himself garland Narsinh. Mehta depicts this episode. How Sri Krishna, in the guise of a wealthy merchant, helped Mehta in getting his son married is sung by the poet in ‘Putra Vivah Na Pada’. He went to Mangrol where, at the age of 79, he is believed to have died. The crematorium at Mangrol is called ‘Narsinh Nu Samshan’ where perhaps one of the greatest sons of Gujarat was cremated. He will be forever remembered for his poetic works and devotion to Lord Krishna. He is known as the first poet of Gujarati.
The role of Narsi Bhagat was done by Vishnupant Pagnis, a Marathi actor who became famous due to his role in film ” Sant Tukaram”-1936 by Prabhat Film co. Vishnupant Pagnis was born in a small place Chikodi, near Kolhapur, on 1-11-1892, in a lower middle class family. After formal education, he was assisted by Shahu Maharaj of Kolhapur state to join a Drama company at the age of 10 years. He sang naturally, without any training from an expert. He was a popular artiste doing female roles, till his entry in films. He shifted to work in various drama companies including “Lalit Kaladarsh” of Mama Varerkar- a name connected with many Marathi and Hindi films of that time. In 1913, he floated his own company ‘ Jagchitradarsh ‘, only to wind up after two years in 1915. He continued working in dramas and doing female roles, for which he was famous in those times.
After a few years, he left drama acting. In 1920, he worked in a silent film, Surekha Haran. In this film V Shantaram had also acted. After this he worked as a Music Teacher in Municipal school at Girgaum in Bombay. After his wife died, he lived with his friend Petkar. They started a Gold Jewellery shop “Pagnis Petkar and Mandali” in Girgaon.
When Prabhat Film company planned to make Sant Tukaram, a search was undertaken for the main role and the main female role. This was in early 1936 and he was selected for the role of Tukaram, while a worker in the Prabhat company-Gauri – was selected as his wife. The Director duo of the film- Damle and Fattelal- were not happy about his selection, because his name was associated with female roles. But this became his strong point for the film in which he portrayed a soft, kind and loving Tukaram. He did the role so well that the film Sant Tukaram became an International Hit, in addition to running to full houses in Non Marathi areas like Madras Presidency, covering Andhra, Tamilnadu, Kerala and Karnataka and also in Bengal and Punjab. He became an actor in great demand for Saint films. After the film Sant Tukaram, hundreds of people used to crowd in his shop at Girgaum to pay respects and touch his feet as Tukaram. He also always dressed like Tukaram thereafter !
Vishnupant Pagnis worked in 4 more such films, namely Sant Tulsidas-39, Narsi Bhagat-43, Bhakta Raj-43 and his last film Mahatma Vidur-43. He also gave music to 2 films, Sant Janabai- 38 and Sant Tulsidas-39 (Marathi). These two and Mahatma Vidur were also made in Marathi language. His most famous film Sant Tukaram was released in Hindi only in 1948, but without his songs, because he had died on 3-10-1943. The MD- Snehal Bhatkar sang his songs in the Hindi version.
Vishnupant Pagnis did the immortal role of Tukaram in his first film and then lived the role throughout his life, though he did 4 more films in the same Genre of Saint films.His name became famous not only in India but also in other countries, when this film was hailed as “one of the 3 Best films in the world”at the Venice Film Festival, where it won accolades.
Records of his Bhajans from this film created records ( we too had these records in our house in the 40s.) Even today this film is shown and discussed in the film Institutes of many countries.Many books, essays and articles are published on this film. His performance as Tukaram has become a major reference-point in debates about Indian performance idioms: e.g. Kumar Shahani’s essay The Saint Poets of Prabhat, 1981; Geeta Kapur’s Mythic Material in Indian Cinema, 1987 etc etc.
Today’s bhajan is a very good Bhajan. I like it very much. You may also like it.
Song- Mori Hundi sweekaaro maharaj re (Narsi Bhagat)(1940) Singer- Vishnupant Pagnis, Lyricist- Not known, MD- Shankar Rao Vyas
Lyrics
Mori Hundi sweekaaro maharaj re
saanvre giridhaari
Mori Hundi sweekaaro maharaj re
saanvre giridhaari
Mori Hundi sweekaaro maharaj re
saanvre giridhaari
mohe ek tihaaro aadhaar re
mohe ek tihaaro aadhaar re
saanwre giridhaari
Mori Hundi sweekaaro maharaj re
saanvre giridhaari
raakhi ?? Prahlad ki
liyo narsinh Avtaar
kamb phaari pargat bhaye
taaro bhoomi ko dhaar re
saanvre giridhaari
Mori Hundi sweekaaro maharaj re
saanvre giridhaari
pooji gopi chandan mori
tulasi kone ko haar
saancha gahna to mero saanwro
mori daulat hai jhaanjh khadtaal re
mori daulat hai jhaanjh khadtaal re
saanvre giridhaari
Mori Hundi sweekaaro maharaj re
saanvre giridhaari
bhajo Radhe Govind bhajo Radhe
bhajo Radhe Govind bhajo Radhe
bhajo Radhe Govind bhajo Radhe
bhajo Radhe Govind bhajo Radhe
bhajo Radhe Govind
bhajo Radhe Govind
bhajo Radhe Govind
bhajo Radhe Govind
This article is written by Peevesie’s mom, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
|
Blog Day : |
4829 | Post No. : | 16609 |
Hullo Atuldom
Day 1 of Sharad Navratr. Ashwin Navratr. Various names for the same festival, various ways to celebrate. I have received pictures of ‘Ghatta-sthapana’, ‘Devi Shailputri’, and of course the South Indian ‘Bomma Kolu’ (or Golu depending on your mother tongue). There is a lot of beauty in the manner in which we decorate our Gods and enjoy the festival. There are special offerings, poojas, archanas, bhajans and BHOJANS too (going by the name ‘Bhog’). Then there is the ever so colour raas garba in Western India, Gujarat and Maharashtra in particular. (May not be organised on a grand scale this year, as we are still worried about the consequences of the Pandemic. Grandeur can wait)
Here is a Devi Maa bhajan to kick-off the festivites. It is from the 1978 release ‘Khoon Ki Pukaar’, the synposis of which is there in this post. The movie was directed by Ramesh Ahuja for Tahir Hussain’s TV Films. It had songs penned by Hasrat Jaipuri and Gauhar Kanpuri and music director was Bappi Lahiri. Today’s song is sung by Mohd. Rafi and Lata Mangeshkar and on-screen, both, Pran and Vinod Khanna lip-sync to Rafisaab’s voice and Aruna Irani sings in Lata didi’s voice. We can also see Shabana Azmi and Reeta Bhaduri seated among the devotees of the temple.
As per what I have seen a few years back, this song is used by Amjad Khan (Daku Zaalim Singh) to send a message to Daku Sher Singh (VK); who is recovering under the care of pujari Baba (ex. Dr. Bhushan played by Pran); through Bijli (Aruna Irani). That should make viewers understand what Aruna Irani and VK are exchanging in sign language (‘ishaaron ishaaron mein’ sounds better, I suppose)
With this we also remember the ever oh-so-handsome and oh-so-good looking Vinod Khanna for his birth anniversary which was yesterday. He would have been only 75.
Audio (Longer)
Video
Song-Jai ambe maa bolo Jai Durge maa bolo (Khoon Ki Pukaar)(1978) Singers-Rafi, Lata, Lyrics-Hasrat Jaipuri, MD-Bappi Lahiri
Chorus
Lyrics
jai jai maa aa aa
jai jai maa aa
jai maa aa aa
rom rom tera naam pukaare
tu hi sabke kaam sanwaare
jai ambe maa bolo
jai durge maa bolo
jai ambe maa bolo
jai durge maa
jai ambe maa bolo
jai durge maa bolo
jai ambe maa bolo
jai durge maa
tere dwaare ae ae
tere dwaare jo bhi aaya
jeewan paaya maa
sabse nyaari
aprampaari
teri chhaaya maa
hum pe rahe teri nazar
teri dagar sachhi dagar
tu hai maa sabki maa
ho o
hum pe rahe teri nazar
teri dagar sachhi dagar
tu hai maa sabki maa
bolo
jai ambe maa bolo
jai durge maa bolo
jai ambe maa bolo
jai durge maa
jai ambe maa bolo
jai durge maa bolo
jai ambe maa bolo
jai durge maa
jai jai maa aa maa
jai jai maa jai maa
tere bina aa aa
kuchh bhi nahin ee ee
jo o bhi hai ae sab yahaan aan
jai jai maa aa maa
jai jai maa jai maa
oopar waala aa aa
oopar waala khol chuka hai
tera yeh thikaana
inn charnon mein ae ae
inn charnon mein pada hua hai
kab se prem khazaana
maaya teri jisko miley
usko sada chain miley
meri maa devi maa
ho oo
maaya teri jisko miley
usko sada chain miley
meri maa devi maa
jai ambe maa bolo
jai durge maa bolo
jai ambe maa bolo
jai durge maa
jai ambe maa bolo
jai durge maa bolo
jai ambe maa bolo
jai durge ma
jai jai maa aa maa
jai jai maa jai maa
teri leela aaa
tu hi jaane ae ae
tu u hai devi maa aaa aaa
jai jai maa aaa maa
jai jai maa jai maa
tere bande ae ae
tere bande kitne sundar
jinko toone banaaya
un bandon se pyaar kare jo
usne tujhko paaya
mera jeewan tere charan
de de mujhe pyaar ka dhan
sun le maa meri maa
ho o
mera jeewan tere charan
de de mujhe pyaar ka dhan
sun le maa meri ma
bolo
jai ambe maa bolo
jai durge maa bolo
jai ambe maa bolo
jai durge maa
jai ambe maa bolo (jai maa aa)
jai durge maa bolo (aaaa)
jai ambe maa bolo (aaaa)
jai durge ma (aaaa)
jai ambe maa bolo (jai maa aa)
jai durge maa bolo (aaaa)
jai ambe maa bolo (aaaa)
jai durge ma (aaaa)
jai ambe maa bolo (jai maa aa)
jai durge maa bolo (aaaa)
jai ambe maa bolo (aaaa)
jai durge ma (aaaa)
jai ambe maa bolo (jai maa aa)
jai durge maa bolo (aaaa)
jai ambe maa bolo (aaaa)
jai durge ma (aaaa)
jai ambe maa bolo
jai durge maa bolo
jai ambe maa bolo
jai durge maa
jai ambe maa bolo
jai durge maa bolo
jai ambe maa bolo
jai durge maa
jai ambe maa bolo
jai durge maa bolo
jai ambe maa bolo
jai durge maa
Bhagwaan bhajan pyaara
Posted on: September 23, 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.
|
Blog Day : |
4815 | Post No. : | 16585 | Movie Count : |
4519 |
Today’s song is from an obscure Costume film, Sardar-1940. The film was made by Prakash Pictures, Bombay. It was directed by Dwarka Khosla and the music was by the favourite MD of Prakash Pictures- Shankar Rao Vyas. All the 15 songs were written by Balam Pardesi. However HFGK lists only 12 songs under the film title and 3 more songs are further added through ‘Addenda’, at the end of the Kosh. Today’s song is the first song of this film to be posted here.
Director Dwarka Khosla was born in 1904 at Hoshiarpur, Punjab. He entered the films during the Silent era. His first Talkie films as a director was Josh-E-Jawani-1935. He directed 33 films. His last film was Reporter Raju-1962. The cast of the film was Jayant, Pramila,Shah Nawaz, Amirbai Karnataki, Munshi Khanjar and others. Actor Jayant was a find of Vijay Bhatt. He gave him first chance in Nai Zindagi-1934. He also changed his original name to Jayant.
Jayant was born as Zakaria Khan,on 15-10-1912 at Alwar, Rajasthan. His father Syed Ahmed Khan was originally from Peshawar, but was working as a Sports Coach in the court of the Maharaja of Alwar,Rajasthan. Along with his elder brother Jahangir Khan, Jayant used to sell ‘Makka-Bhutta’ (Maize) on a roadside thela and thus earned his pocket money, with which he used to see films. When he grew up, he was taken by his father to the Maharaja, who recruited him as Second Lieutenant in his Army. Jayant soon got bored with this life, left the job and came to Bombay in search of a job in films. When he met Vijay Bhatt of Prakash pictures, this 6’1″ tall,handsome and young man was liked by him. Jayant also knew Horse riding and swimming. He was named JAYANT by Vijay Bhatt and offered a role in their film Nayi Duniya-1934. Rajkumari Banaraswali also debuted in this film.
Excellent Urdu delivery and handsome personality earned Jayant Hero’s roles in Bambai ki Sethani,Bombay Mail, Lal chithi, Shamsheer-e-Arab, Azadveer, Passing show, Snehlata, Top ka gola, Challenge, His Highness, Khwab ki duniya, Mr.X, State Express, Hero no.1, Sardar and Mala. By now his salary was 3700 per month. He was more at ease in Costume and stunt films than social flicks.
Khwaab ki Duniya-37 was based on the story of Invisible Man and this was the first film as a Director for Vijay Bhatt. Babubhai Mistry from Surat used Trick photography in this film, by using Black Thread on black background.
Jayant was married to 13 year old Kamarbano Sultan. His first son,Imtiaz khan was born on 15-10-42 and second son was born on 21-10-43. He was Amjad Khan (Gabbar singh of Sholay). As a child, Amjad khan was very frail and weak till his second year. Later in his youth, of course he expanded out of proportion. Jayant’s elder brother Jahangir Khan died suddenly in an accident. Jayant was very much attached to him. To forget the sorrow, Jayant started smoking and drinking. After he was out of Prakash Pictures, he was taken by Minerva for Sikander’s role. When Sohrab Modi saw him smoking and drinking on sets, he was summarily thrown out and the role went to Prithwiraj Kapoor, for whom it was a Milestone in his career.
Jayant worked in Aladdin, Laila, Bulbul e Baghdad, Mere saajan, Zewar and Dawat. He even went to Lahore to act in “Poonji” and “Shirin Farhad”. When Shirin Farhad became a resounding flop, Jayant stopped getting roles, but he never went to anyone to ask for roles. P N Arora went to Jayant’s house to sign him for Doli. After Partition, his finances became critical and he had to sell even family jewellery for his drinks. He acted in character roles in Amar ,Insaniyat, Madhumati, Maya, Memdidi, Son of India, Kabli Khan, Hakikat, Leader, Himalay ki God mein, Sangharsh, Do Raaste, Heer Ranjha, Mera Gaon Mera Desh etc. He worked in 105 films. Can you imagine Jayant singing ? Yes, he had sung a song in film State Express-1938, along with Sardar Akhtar.
Jayant was a family man. Till the end he had only one wife and he followed the rule to partake the dinner at home with all family members daily. He contracted Cancer, lost his voice in 1970. His last film was ‘Love and God’,which was released 11 years after his death.
Jayant died on 2-6-1975. ( Thanks to shri Harish Raghuvanshi ji, for Jayant’s profile in his Gujarati book ,Inhe na Bhulana ).
In the last few posts we have seen the brief history of 2 famous studios of yore – Imperial and New Theatres, Calcutta. today we will read the brief history of Prakash Pictures, Bombay.
The success story of the famous Prakash Pictures (1934 to 1971) is also a success and hard work story of two brothers-Vijay and Shankar Bhatt.
The sons of a railway guard, Vijay Bhatt, along with his elder brother and his lifelong partner, Shankar bhai Bhatt, shared a fascination for theatre and films.
The mid twenties brought them to Bombay, where Vijay Bhatt enrolled in St.Xavier’s college and studied upto Inter-Science. While Shankarbhai took up a job in a store selling readymade garments. In order to secure a steady, lucrative job, he obtained a Diploma in Electrical Lighting and Traction from the International Correspondence School, London. Quitting college, he joined the BEST and worked for 3 years rising to be an officer with the designation of Drawing Office Superintendent.
He quit his job after two months and both the brothers decided to take on the world of showbiz.
A flair for writing led him to get involved in a humble way as a storywriter.
It was Ardeshir Irani, the ‘Father of Indian Talkies’ and the maker of ‘Alam Ara’, who would show them the way. At that time, he was the managing director of The Royal Studios. He glanced through the stories, selected one of them and asked the brothers to meet the proprietor of the studio, Seth Aboo Hussein. ‘Show him the story and then come back to me. If it is all right for him, it is all right for me’ they were told.
The story was approved and Ardeshir Irani took it upon himself to teach Vijay Bhatt how to write Screenplay. Every evening after the day’s work and dinner, the Bhatt brothers would make their way to Majestic Cinema, built by Ardeshir Irani in 1918 in partnership with the exhibitor, Abdulaly Yusoofaly. Irani would be here every evening with his friends. And it was here that Vijay Bhatt scripted his very first screenplay, ‘Vidhika Vidhan’, which was made into a film by director K.P.Bhave.
Ardeshir Irani made two more films based on the stories of Bhatt brothers. They were ‘ Paani mein Aag’ and ‘ Ghulam’-1929, both of which were directed by Nagendra Muzumdar. Their third film featured a newly recruited actor from Peshavar, Prithviraj kapoor.
By now, Ardeshir Irani had founded his own Imperial Studios and drawn to it a host of artists and technicians. The Bhatt brothers too had gathered enough experience and ventured to make films on their own.They soon founded the Royal Film Co., in partnership with a cousin and the first film to be produced under this banner was Black Ghost. It starred Master Vithal and Madhuri and was photographed by V. M.Vyas. With Vijay Bhatt at the helm of the creative affairs and Shankarbhai in charge of the business aspect, they made seven silent films under the banner of The Royal Film Company in an open air studio in Juhu. Among them was ‘Heer Ranjha’, where Vijay Bhatt gave A.R. Kardar, a poster maker for foreign film distributors, his first acting assignment.
Then came the year of Talkies and the Bhatts too switched over to this new medium with ‘Alif Laila’-1933, which was based on an Arabian Nights story and made under the banner ofRoyal Cinetone. This was followed by 3 other talkies made under the banner of Kardar Studios. He then founded a film distribution concern, Royal Pictures Corporation, which acquired the distribution rights of ‘Sohni Mahiwal’ for North India for Rs. 11,000 – a sensational amount at that time. For, as he often used to say, “In those days, it cost just about Rs. 8000 to make a film 8 -9 thousand feet in length!”
By now Vijay Bhatt had evolved into a director to be reckoned with. It was time to set up his own production company. And Prakash Pictures was born. Prakash Studios was built in 1934 at Andheri. That time Andheri was an undeveloped suburb of Bombay and not many facilities like roads, Lights etc were available easily there. The place where the studio was to come up was a very big open area. Except for huge open grounds, there was one double storey bungalow. All offices were kept in that. The first film to be made there was the film ‘Actress’-1934 ( Bambai ki Mohini), written and produced by Vijay Bhatt.
After a few more stunt films, a shooting floor was constructed and they made ” Khwaab ki duniya” in 1937. In 1938 they made State Express, Passing show, Challenge and Top ka Gola etc. By that time their reserves for stars included Sardar Akhtar, Pramila, Ratnamala, Ranjana, Jayant, Umakant, Prem Adeeb etc. Harsukh Bhatt and Raja Nawathe were assistant directors. By making stunt films they made good money and completed the second shooting floor also with that money. The famed torch of Prakash Pictures continued to shine over decades and in all, 64 films were made in various Genres, in black and white as well as colour. Vijay Bhatt directed 23 films. He also wrote lyrics for the film Snehlata-1936.
Because of hectic activities in the studio and the traffic to the studio,that part of Andheri became developed with street lights, cement roads, Bus stops etc. Their next film Purnima-38 made excellent business. Bhatt brothers were impressed with Gandhi’s favourite bhajan ” Vaishnav jan to “. They made a film ‘ Narsi Bhagat’ in 1942 with Vishnupant Pagnis and Durga Khote. It ran so well that Prakash made ‘ Bharat Milap’ in Hindi and ( भरत भेट ) in Marathi. The tremendous success made them make ‘Ram Rajya’ ( again in Hindi and marathi) and Prakash became famous all over India, making name, fame and a lot of money.
From 1945 to 1948, Prakash faced a spate of flop films. Bhatta brothers kept silent for 4 years, renting its studio to other producers. Prakash was planning a Love story. Their friend Naushad suggested them Baiju Bawra. They made the film with less famous Bharat Bhushan and Meena Kumari. The film created Box office records.
Goonj uthi Shehnai-59, Hariyali aur Rasta-62 and Himalay ki God mein-65 did well but again few flop films…. Bhatt brothers decided to stop making films from 1971 and sold the studio and all the land.
Vijay Bhatt died on 17-10-1993 at Bombay. Vijay Bhatt played an important role in the careers of some major stars. He was the person who gave Mehzabeen (Meena kumari),the name Baby Meena. He also gave her the first major heroine’s role in Baiju Bawra-52.Till then she did roles in B and C grade films.
O K Dhar Kashmiri was given the name ” JEEWAN “,when he did Narad’s role in Bharat Milap. Later he did Narad’s role in over 100 films.
Suraiyya got her big singing role in Station master-42.
Manoj Kumar was made hero in Himalaya ki God mein-65
Today on that land many factories are erected. Few Housing societies and a Marriage Hall ” Vishal” came up too. Thus ended a glorious chapter of a film making studio called “Prakash Pictures”- a guarantee for wholesome entertainment ! (information for this article is used from vijaybhatt.com, and a book ” तीन भिंतींची दुनिया ” by Bhai Bhagat, with thanks and my notes.)
Today’s song is sung by Amirbai Karnataki (alongwith an unknown male voice, since identified as Sheetal Ghosh). With this song, film Sardar-1940 makes its Debut on this Blog.
Song- Bhagwaan bhajan pyaara (Sardaar)(1940) Singer- Amirbai Karnataki, Lyricist- Balam, MD- Shankar Rao Vyas
Amirbai Karnataki + Sheetal Ghosh
Lyrics
Bhagwaan bhajan pyaara
Bhagwaan bhajan pyaara
Bhagwaan bhajan pyaara aa aa
Bhagwaan bhajan pyaara
Bhagwaan bhajan pyaara
bhakt ki naiyya ka sahaara
bhakt ki naiyya ka sahaara
andhon ka ujiyaara aa aa
Bhagwaan bhajan pyaara
Bhagwaan bhajan pyaara
Bhagwaan bhajan pyara aa aa
Bhagwaan bhajan pyaara
Bhagwaan bhajan pyaara
Bhagwaan bhajan pyaara aa aa
Bhagwaan bhajan pyaara aa aa
Bhagwaan bhajan pyaara
Bhagwaan bhajan pyaara
Pandav aur Prahlad ubaare
bhakt aajaa milte hain saare
Pandav aur Prahlad ubaare
bhakt aajaa milte hain saare
?? nahin hamaara aa
Bhagwaan bhajan pyaara
Bhagwaan bhajan pyaara
Bhagwaan bhajan pyaara aa aa
Bhagwaan bhajan pyaara
Bhagwaan bhajan pyaara
sakal vishw mein goonje hardam
Meera ka iktaara
sakal vishw mein goonje hardam
Meera ka iktaara
Bhaj Raam
Ghanshyam
gaaye baarambaar
Bhagwaan bhajan pyaara
Bhagwaan bhajan pyaara
Bhagwaan bhajan pyaara aa aa
Bhagwaan bhajan pyaara
Bhagwaan bhajan pyaara
Ho meri sun le deendayaal
Posted on: July 28, 2021
This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
|
Blog Day : |
4758 | Post No. : | 16501 |
# Superstar Child Artist – Junior Mehmood # 11
——————————————————–
Welcome all to this today’s post which is the final post in this series.
And, before moving to this post, first, I would like to thank Atul ji and Sudhir ji for giving me this opportunity to present this series.
So far, we had the following ten posts in this series earlier.
So far, we have enjoyed the above ten songs in this series.
Today’s song is from the ‘1974’ movie ‘Thokar’.
But before that let us have a recap on this series.
I had watched The movie ‘Rivaaz-1972’ during my childhood in my childhood days. One of its songs ‘jalaa do jalaa do duniya ko jalaa do’ had a lasting impression on my mind.
When I became a contributor to our blog, I shared this song and one other song a Rafi-Asha duet from this movie ‘Rivaaj-1972’. During preparation for these songs, I came across the song ‘lagey koi lottery’ lip synced by Junior Mehmood on screen and sung by Rafi Saab.
That made me curious to know if there were more such songs where Rafi Saab’s voice was used for Junior Mehmood. To know more about it I searched for the contact number of Junior Mehmood and on one fine day I had the chance to speak to him in person. And what a memorable day it was for me!!
I was excited and very happy on that day when I got this opportunity to speak to him. I have already shared about my discussion with him and the songs of Rafi Saab for him, which he himself noted to me, in this post here.
So, initially it started with ‘Rafi sings for Junior Mehmood’, and further got included songs by other singers for Junior Mehmood. I also had my memories of Junior Mehmood movies and his ‘stage programs’ in those years of my childhood.
After I spoke to him, it became a routine for me to send birthday wishes to him on his birthday every year and send him greetings on festivals.
I also spoke to him a few times in between these years. I will never forget the way he responds to my calls always and how humble and down to earth he is. He always generously shares information whenever I speak to him.
When I spoke to him about the song ‘aisa banoonga actor main yaaron’, I asked him how he felt when he was doing mimicry of all those great actors?
He said that though he did not exactly remember many thingsbut overall, it was an exciting experience to get positive response from people all over and that they showered appreciation and love on him.
In one of my earlier posts in this series I had given the list of his filmography from 1967 to 1970 in this post here. That time I had written that I plan to present the list of his movies from 1971 and onwards in future posts to come.
I am presenting this list for 1971 and onwards up to 1980 here today. I have noted and compiled the details with the help of HFGK Vol-V (1971-1980).
(Details of filmography of Junior Mehmood)
(1967 – 1970)
| Sno | Movie Name | Year |
|---|---|---|
| 1 | Naunihaal | 1967 |
| 2 | Gunehgaar | 1967 |
| 3 | Parivaar | 1967 |
| 4 | Brahmachari | 1968 |
| 5 | Farishta | 1968 |
| 6 | Sangharsh | 1968 |
| 7 | Suhaag Raat | 1968 |
| 8 | Vaasna | 1968 |
| 9 | Anjaana | 1969 |
| 10 | Baalak | 1969 |
| 11 | Chanda Aur Bijli | 1969 |
| 12 | Do Raaste | 1969 |
| 13 | Nateeja | 1969 |
| 14 | Pyaar Hi Pyaar | 1969 |
| 15 | Raja Saab | 1969 |
| 16 | Simla Road | 1969 |
| 17 | Vishwas | 1969 |
| 18 | Aan Milo Sajna | 1970 |
| 19 | Bachpan | 1970 |
| 20 | Ghar Ghar Ki Kahaani | 1970 |
| 21 | Harishchandra Taramati | 1970 |
| 22 | Kati Patang | 1970 |
| 23 | Yaadgaar | 1970 |
(1971 – 1980) –
| Sno | Movie Name | Year |
|---|---|---|
| 1 | Behroopia | 1971 |
| 2 | Caaravaan | 1971 |
| 3 | Chhoti Bahu | 1971 |
| 4 | Dost Aur Dushman | 1971 |
| 5 | Haathi Mere Saathi | 1971 |
| 6 | Hangaamaa | 1971 |
| 7 | Hare Raama Hare Krishna | 1971 |
| 8 | Johar Mehmood in Hongkong | 1971 |
| 9 | Khoj | 1971 |
| 10 | Ladki Pasand Hai | 1971 |
| 11 | Raamu Ustaad | 1971 |
| 12 | Ustaad Pedro | 1971 |
| 13 | Bansi Birju | 1972 |
| 14 | Bharat Ke Shaheed | 1972 |
| 15 | Bijli | 1972/td> |
| 16 | Bombay To Goa | 1972 |
| 17 | Do Bachche Dus Haath | 1972 |
| 18 | Ek Khilaadi Baawan Patte | 1972 |
| 19 | Hari Darshan | 1972 |
| 20 | Munimji | 1972 |
| 21 | Rivaaj | 1972 |
| 22 | Sazaa | 1972 |
| 23 | Sharaarat | 1972 |
| 24 | Taangewaalaa | 1972 |
| 25 | Tanhaai | 1972 |
| 26 | Archanaa* | 1973 |
| 27 | Dhamkee | 1973 |
| 28 | Ek Naari Do Roop | 1973 |
| 29 | Guru Aur Chela | 1973 |
| 30 | Jheel Ke Us Paar | 1973 |
| 31 | Koraa Aanchal | 1973 |
| 32 | Meraa Shikaar | 1973 |
| 33 | Nirdosh | 1973 |
| 34 | Aap Ki Qasam | 1974 |
| 35 | Ameer Ghareeb | 1974 |
| 36 | Geeta Meraa Naam | 1974 |
| 37 | Thokar | 1974 |
| 38 | Ujaalaa Hi Ujaalaa | 1974 |
| 39 | Aag Aur Toofaan | 1975 |
| 40 | Geet Gaataa Chal | 1975 |
| 41 | Romeo In Sikkim | 1975 |
| 42 | Aap Beetee | 1976 |
| 43 | Deewaangee | 1976 |
| 44 | Do Ladkiyaan | 1976 |
| 45 | Koi Jeeta Koi Haaraa | 1976 |
| 46 | Ladki Bholi Bhaali | 1976 |
| 47 | Qasam | 1976 |
| 48 | Sangraam | 1976 |
| 49 | Daakoo Aur Mahaatmaa | 1977 |
| 50 | Jaadoo Tonaa | 1977 |
| 51 | Jaagriti | 1977 |
| 52 | Khel Khilaadi Ka | 1977 |
| 53 | Taxi Taxi | 1977 |
| 54 | Ankhiyon Ke Jharokhon Se | 1978 |
| 55 | Atithi | 1978 |
| 56 | Ek Baap Chhe Bete | 1978 |
| 57 | Khoon Ka Badlaa Khoon | 1978 |
| 58 | Bagulaa Bhagat | 1979 |
| 59 | Bin Maa Ke Bachche | 1979 |
| 60 | Jaan-e-Bahaar | 1979 |
| 61 | Jaayen To Jaayen Kahaan | 1980 |
| 62 | Aahat (UR) | UR |
| 63 | Chingaari | 1989 |
| 64 | Ek Aurat Do Joote | UR |
| 65 | Insaaf Kahaan Hai | UR |
(I have compiled the above list by checking the movie details in HFGK Vol-V for the years 1971-1980. For the movie ‘Archana-1973’ the details in HFGK does not mention the name of Junior Mehmood in the star-cast, however since I have presented a song from this movie, I was aware of Junior Mehmood’s appearance in this movie.
The above lists are open for correction/addition, if any, and scrutiny by knowledgeable readers.
(List of movies for 1981 and onwards needs to be compiled I will try to bring that here in future as and when I get the opportunity to present an article here.)
Coming back to the ‘series’ ‘Superstar Child Artist – Junior Mehmood’, we started this series by discussing a song on ‘lottery’ and incidentally we are finishing up this series with a song related to ‘lottery’ 😊.
Today’s song is from the movie ‘Thokar-1974’.
“Thokar-1974” was directed by Dilip Bose for ‘Movie Temple’. It was produced by Swarn Singh. It had Baldev Khosa, Alka, Jr. Mehmood, Joginder, Surekha, Brahmchari and Shivkumar with Sunder, Tun Tun, Rajan Haksar, Ram, S.K. Prem, Mumtaz Begum, Ravikant, Lolita Chatterjee, Ketty, Panna Kapur, Shefali, Inder Khosla, Dharmesh, Jai Kishan, Mona, Pt. Amar, Kamal, Manjit, Malini. Ravi Kapur, Paul Sharma, Sabeena, Sharat Rao, J.N. Batra, Darshan, Minoo Mehtab, Maruti, and Sudhir.
Zeb Rahman made a special appearance in this movie, and this movie introduced Poonam Vaidya.
Story Idea of this movie was by Baldev (I do not know if it is Baldev Khosa). Screenplay and dialogues were written by Qamar Jalalabadi. Editing of this movie was done by P.S. Wagle.
This movie was passed by Censor Board on 11.01.1974.
This movie had five songs in it. Lyrics for four songs were written by Sajan Dehlvi and Kulwant Jani was the lyricist for one song.
Music was composed by Shamji Ghanshamji. Mohd Rafi, Suman Kalyanpur, Mukesh, Krishan Kalle had given their voices to the songs in this movie.
Today’s song is sung by Mohd Rafi. Sundar lip-syncs on screen. Junior Mehmood is not lip syncing the song (except couple of words) but he is present in this song performing with Sundar and another actor (I am unable to identify him). Many other artists are also seen in the picturisation..
Let us now enjoy today’s song …
Lyrics are by Sajan Dehlvi and music is composed by Shamji Ghanshamji.
With this post we also conclude this series ‘Superstar Child Artist – Junior Mehmood’.
Song-Ho meri sun le deendayaal (Thokar)(1974) Singer-Rafi, Lyrics-Sajan Dehalvi, MD-Shamji Ghanshamji
Lyrics
pathhar dil hai ae ae
ye duniya aa
yahaan khudgarzi
byopaar hai
mujh ghareeb ka
tu hi daataa
tu hi paalanhaar hai
ho meri sun le deendayaal
kar de mujhko maalaamaal
meri lottery nikaal
murliwaale nandlaal
meri sun le deendayaal
kar de mujhko maalaamaal
meri lottery nikaal
murliwaale nandlaal
meri sun le deendayaal
sotaa hoon footpath pe daataa
paas nahin hai bistar
he prabhuji
sotaa hoon footpath pe daataa
paas nahin hai bistar
bibi banglaa car dilaa de
jag de prime minister
main to
ho main to
karoon bhookh hadtaal
tere dar pe ho nandlaal
meri lottery nikaal
murliwaale nandlaal
meri sun le deendayaal
haryana mysore udisaa
ya nikle madras
he krishnammaa
haryana mysore udisaa
ya nikle madras
dilli UP ki rehti hai
mujhko hardam aas
ho phirtaa
ho phirtaa hoon dar dar behaal
ud gaye mere sar ke baal
meri lottery nikaal
murliwaale nandlaal
meri sun le deendayaal/em>
he prabhuji ee
paanch laakh ki aaye lottery
phir dhoondhoon gharwaali
ahaa ahaa aa
waah waah
paanch laakh ki aaye lottery
phir dhoondhoon gharwaali
nakti
chapti
moti
patli
ho gori ya kaali
ho aisaa
ho aisaa chakkar chalaa jagpaal
main bhi chaloon seth ki chaal
meri lottery nikaal
murliwaale nandlaal
meri sun le deendayaal
kar de mujhko maalaamaal
meri lottery nikaal
murliwaale nandlaal
meri sun le deendayaal
murliwaale ae ae
nandlaaaaal
murliwaale ae ae
nandlaaaaal
Hey mangalmay bhagwaan
Posted on: May 27, 2021
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 : |
4696 | Post No. : | 16385 |
———————————————–————————————
Blog 10-Year Challenge (2011-2021) – Song No. 24
———————————————————————————–
This day ten years ago(27 May 2011) saw five songs getting covered in the blog. Here are the details:-
| Blog Post number | Song | Movie (Year) | Remarks |
|---|---|---|---|
| 3931 | Chaandni raat aur taare khile hon | Bhakt Surdas(1942) | Movie YIPPEED by now |
| 3922 | Kyun shiqwaa karen kyun aah bharen | Pagle(1950) | 7 songs covered out of 9 by now |
| 3933 | Kahaan hai tu mere sapnon ke raajaa | Afsaanaa(1951) | Movie YIPPEED by now |
| 3934 | Hari ko bisaaro naa Hari na bisaarenge | Narsimha Avtaar(1949) | 4 songs covered out of 9 by now |
| 3955 | Kisi se mili hai nazar be iraadaa | Aakhri Sajdaa(1977) | Movie YIPPEED by now |
Three movies (out of five) whose songs were covered ten years ago have been YIPPEED by now. That leaves us with two movies whose songs are eligible for Blog Ten Year Challenge today (27 May 2021).
“Narsinh Avtaar”(1949) was produced and directed by Sohrab Modi for Minerva Pictures, Bombay. This movie had Lakshman, Niranjan Sharma,Shobhana Samarth, Mahipal, Madan Mohan, Raj Narayan Tiwari, Hari Shivdasani, Kamal, Anant Joshi, Leela Kumari, Kanta Kumari, Sheela Kumari, Pandit Amarnath, Sulochana, Saajan, Rajkumar etc in it.
The movie had 9 songs in it. Four songs have been covered so far.
As Blog Ten year challenge, here is the fifth song from “Narsinh Avtaar”(1949) to appear in the blog. This song is a bhajan which is sung by Lata Mangeshkar and chorus. Pt Narendra Sharma is the lyricist. Music is composed by Vasant Desai.
Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of the song.
Lyrics of this song and other details were sent to me by Prakashchandra.
Song-Hey mangalmay bhagwaan (Narsingh Avtaar)(1949) Singer-Lata, Lyrics-Pt Narendra Sharma, MD-Vasant Desai
Chorus
Lyrics(Provided by Prakashchandra)
hey mangalmayay bhagwaan
hey aey ae mangalmay bhagwaan
karo tum sab jag kaa kalyaan
hey aey ae mangalmay bhagwaan
hey aey ae mangalmay bhagwaan
tum jag ki pati tum karunaayan
tum jag ki pati tum karunaayan
naam anek ek naarayaan
naraayan naraayan naarayan
naam anek ek naraayan
bhakti atal ho shree charanon mein
bhakti atal ho shree charanon mein
do hamko vardaan
hey mangalmay bhagwaan
hey aey ae mangalmay bhagwaan
hey aey ae mangalmay bhagwaan
karo tum sab jag kaa kalyaan
hey aey ae mangalmay bhagwaan
hey aey ae mangalmay bhagwaan
naath neech ko uchch banaao
naath neech ko uchch banaao
bhatkey huoo`on ko path dikhlaao
paani aur phool par barsen
paani aur phool par barsen
amrit boond samaan
hey mangalmay bhagwaan
hey aey ae mangalmay bhagwaan
hey aey ae mangalmay bhagwaan
ghar ghar banen tumhaarey mandir
ghar ghar banen tumhaarey mandir
aayen bhakt bhajan ko ghir ghir
aayen bhakt bhajan ko ghir ghir
charan kamal ko o o o
charan kamal ko bhakti bhanwar bann
tooney nayan sujaan
hey mangalmay bhagwaan
hey aey ae mangalmay bhagwaan
hey aey ae mangalmay bhagwaan
karo tum sab jag kaa kalyaan
hey aey ae mangalmay bhagwaan
bhagwaan bhagwaan bhagwaan
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
|
Blog Day : |
4686 | Post No. : | 16369 |
I do not like getting bored. Do you ? I am sure, no one wants to get bored, forget liking it. Have you ever thought about what is ” Liking ” ? Psychology says, you like a thing when it is in line with your thinking, your values and your beliefs. For example – an old man does not ” Like ” the behaviour of ” Youngsters “, because they do not think on his lines, their values are adapted to current times and they believe only in practical ways and not emotional ways !
Most old systems, behavioural ways and values have changed drastically -due to the needs of the times, due to no visible benefits, and due to not believing conventions. For example, my Grandmother ( and ladies of her age) never took my grandfather’s name. She never came in front of outsiders without a Ghunghat on her head. My Mother had no objection to taking my Father’s name, if needed. She came to the Drawing room – not with a Ghunghat, but only if needed. Almost the same was the case with my wife but with an improved version. She moved about the home freely and also sat with guests in the drawing room. Now my daughter in law calls my son by his first name, wears whatever dress she wants and goes out alone with her friends. Now, will my Grandfather like the behaviour of my Daughter in Law ? NEVER !
The principle is the same in liking Films and Film Music. If I am used to from my childhood to listen to melodious music and enjoy it, at the age of 80+ years, will I like today’s music, films and songs ? It is not a question of adapting to new ways – that would be compromise for peaceful life. At the same time, I have no right to criticise today’s films or music- simply because it is not meant for me, it is meant for today’s youngsters. The best policy would be ” To each his own ” or ” पसंद अपनी अपनी , खयाल अपना अपना “.
Therefore when I find people criticising new films, songs and music, I tell them ‘ let them listen and enjoy. It is made for them, not for you. And don’t forget, like you, the new generation too can criticise and ridicule old films and songs/music.”
Ever noticed how the old film duets differ from new film duets ? In old films, even without Corona, the Hero- Heroines maintained social distance, in spite of being the only two of them in the scene. Today, duets are with about 60 extras doing Yogic exercises in uniformity or when they are only two in the scene, they look like one due to extreme closeness !
Old or new, films are not a part of the Curriculum Textbooks, their purpose is to entertain in the way the audience understands, accepts and enjoys. They are like reflections of the audience in the mirror. So, you love your time films and allow them to enjoy theirs. No question of ” Liking” any film !
Film Chhota Bhai-1949 was a film made by New Theatres, when it was counting its days. Most of its sheen was lost, popular artistes gone elsewhere and public taste had changed drastically. The company was under stress of huge debts and no respite was in sight. By the early 50s ,it closed down. The Elephant in their Logo fell silent after its last film ‘ Bakul’ in 1955….after making a solid beginning on 10-2-1931….just a life of 24 years. But what a Life !!! No film lover ever can forget what New Theatres gave to indian audiences while it was shining !
I am not sure if the film Chhota bhai was a remake of a Bangla film. Must be so, looking at its cast. All bengali actors and film made in Calcutta. The Bengali names are an enigma to me personally – Chhabi Biswas is a Male actor but Chhabi Roy is an actress ! Asit Sen is an actor but Asita Bose is an actress. Make a mistake in spelling and you change male to female effortlessly.
The film was directed by Kartik Chatterjee, who also directed the film ‘Yatrik’-52 (the songs of Yatrik are evergreen). However, in the film Garib ki ladki-41, he was a Music Director. I believe he was an actor also. The film had music by Pankaj Mullik, who was very loyal to New Theatres. Despite many important artistes like actors, Music Directors, Directors and Cinematographers leaving New Theatres, Pankaj mullick stuck to it till last (though he was not very happy). The cast included Molina Devi, Rajlaxmi, Maya Bose (Chouranghi-42, Saugandh-42, Samapti-49, Yatrik-52 etc.), Chhabi Roy, Shakoor, Asit sen, khursheed, Tulsi Chakravarti ( a Male actor !) and many others.
Molina being an uncommon name there was no other actress of this name. Molina Devi was born on 3-6- 1917. She received training in acting from Aparesh Mukherjee, and made her debut, at the age of 8, in a silent movie. She was acknowledged as one of the leading actresses of the Bengali stage, with her professional career spanning more than three decades.
In 1924, she debuted in a silent film while at the age of 8 and thereafter worked as dancer mainly in the mythological and historical plays. She performed some memorable roles in Bengali as well as Hindi films. She got a breakthrough in Puran Bhagat and Molina played the title role in the movie, Rani Rasmani. She took various roles, even vamps in her early career such as in Pramathesh Barua’s Rajat Jayanti in 1939. She also directed a Kolkata based theatre troupe, M. G. Enterprises.
Molina worked in Rangana theatre as chief artist. She performed as a singer on radio and contributed to the formation of Mahila Silpi Mahal, a welfare association for female artists of Bengal. Molina Devi’s high creative excellence had found expression in such diverse media as the stage, the film and the radio. As a founder of the M. G. Enterprise, now in its twenty-third year, she had been responsible for the success of such well-known plays as ‘Thakur Sri Sri’, ‘Rani Rasmoni’, ‘Jagatbandhu’ and ‘Bholagiri’.
She had been honoured and decorated by many eminent organisations and learned bodies. For her eminence in the field of Drama and her contribution to its enrichment, Molina Devi received the Sangeet Natak Akademi Award for Acting.
Her first husband was Jolu Boral and the second husband was actor Gurudas Banerjee.
Molina died on 13 August 1977 in Kolkata. She acted in 22 Hindi films. Her first Hindi film was Raaj Rani Meera-33 and last film was Babla-53. She also sang 11 songs in 4 Hindi films.
Today’s song is sung by Utpala Sen. This is the third song from Chhota Bhai-49 to appear on this Blog.
Song-Paar karo dukhiyan ka beda beda paar karo (Chhota Bhai)(1949) Singer-Utpala Sen, Lyricist- Ramesh Pandey, MD- Pankaj Mullick
Lyrics
paar karo
dukhiyan ka beda aa
beda paar karo
paar karo dukhiyan ka beda
beda paar karo
apne sharnaagat ke man ki
apne sharnaagat ke man ki
peeda aan haro o o
beda paar karo
ik din tumne hi duniya mein
ik din tumne hi duniya mein
prem preet ka khel rachaaa aaa
aa aa aa aa
ik din tumne hi duniya mein
prem preet ka khel rachaaa
aa aa aa
tumhi ne birha ki jwaaala mein
bhole man ko tadpaaya
aab aa kar
ab tum hi aa kar
birhan ke sheetal nayan karo o
beda paar karo
kyaa jaane
kyaa jaane
kab bikhar jaayegi
sapnon ki
sapnon ki maaya
kya jaane kab mil jaayegi
mitti mein mitti ki kaaya
kyaa jaane
ab ek jhalak dekar r
ab ek jhalak dekar
bhakton ka jeewan safal karo 0
hey ae bhagwan
hey ae bhagwan
paar karo dukhiyan ka beda
beda paar karo o
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 : |
4652 | Post No. : | 16318 | Movie Count : |
4431 |
The song under discussion is from “Sampoorna Devi Darshan”(1971). “Sampoorna Devi Darshan”(1971) was produced by S J Rajdev and directed by Shantilal Soni for ‘Sargam Chitra, Bombay’. The movie had Sushma, Ashish Kumar, B.M. Vyas, Padma Rani, Shabana, Uma Dutt, Azad, Shery Mohan, Arvind Pandya, Johny Whisky, Dilip Dutt, Shri Bhagwan, Bhagwan Sinha, Maya, Shobha, Suman, Prem Lata, Daya Devi, Rajeshwari Rao, Haroon, Prince Arjun, Kiran Kumar, Dalpat Bhai etc in it.
Screenplay and dialogues of this movie were written by R. Priyadarashi. Editing of this movie was done by I.M. Kunnu. Lyrics of this movie were written by B.D. Mishra and music was composed by S.N. Tripathi.
Lyrics of the song as well as details of the movie were sent to me by Avinash Scrapwala, with the request that- “Kindly introduce the movie with your writeup please, as I am not good when it comes to writing about mythology. Please.”
While making the above request, he assumed that I can write about mythology. In reality, I know even less about this topic. Whatever litle I knew about this topic was from my voracious reading of children’s magazines like Chandamama, and also reading of Geeta Press Gorakhpur religious publications during my younger days. I have already forgotten most of that.
I in fact, learnt something new from the email of Avinash Scrapwala. I realised that there is a Navratri during Durga puja of october November and also another navratri in the summer season. The summer season navratri is called Chaitra navratri and it marks the beginning of the Hindu calendar year.
Today marks the beginning of Hindu calendar year Samvat 2078. This is Vikram Samvat (Vikram calendar), which, we can see is 57 years ahead of Gregorian calendar (the one that is commonly followed by most people). However India adopted Shak Samwat (Shak Calendar) as Indian calendar which has the same months as Vikram calendar but it started in 78 AD, unlike Vikram Samwat which started in 57 BC. Official Shak calendar is tied to the Gregorian calendar. It begins on 22 march, and on Gregorian leap year it begins on 21 march.
Chaitra is the first month of Hindu Vikram Samvat calendar year. This year this day falls on 13 April. Chaitra navratri begins from this day. This time it is from 13 april to 22 april.
Like during the october-november Navratri, the chaitra navratri too is observed by praying to different avatars of Goddess Durga during the nine days of the festival. These avataras, that are worshipped on the nine days are:-from day one to day nine-Maa Shailputri, Maa Brahmcharini, Maa Chandraghanta,Maa Kushmaanda,Skandmata, Maa Katyayani, Maa Kaalraatri, Maa Mahagauri and Maa Sidhhidaatri.
The festival marks the beginning of the spring season and it ends with Ram Navami or the birthday of Lord Rama.
This new year day is celebrated in different parts of the country by different names viz. Gudi Padwa (Maharashra, MP,Chattisgarh), Ugadi (Andhra Pradesh, Karnataka), Puthandu (Tamilnadu), Vishu (Kerala), Bihu (Assam), Poila Baisaakh (Bangal), Baisaakhi (Punjab) etc.
Just imagine for a second. All these regions of India, located far far away from each other, have been celebrating their new year on this same day for many centuries! It means that all these diverse places, separated by vast distances have been culturally integrated for many many centuries ago ! How else do you explain the fact that all these regions celebrate their new years on the same day ! I notice that I have stayed in almost all the above mentioned regions of India and I have observed this new year celebrated in almost all its different forms. 🙂
Religious minded people use this occasion for pooja, archana, aradhana etc, whereas cultural minded people celebrate it through songs and dances. Vigorous Punjabi dance on this occasion is well known to most people. Personally I am a big fan of Bihu dance that I saw getting performed on this occasion, during my stay in Assam two decades ago. These festivals also have much to offer to those who look forward to sweets and pakwaans. 🙂
As per HFGK Vol-V (1971-1980) this movie had six songs (including one five-part song). All the songs of this movie were written by B.D. Mishra and music was composed by S.N. Tripathi.
The list of the songs given in HFGK is as follows;
| SNo | Song Title | Singer/s |
|---|---|---|
| 01 | Jai devi maata, jai nau durgaa maata | Manna Dey, Chandrani Mukherji, chorus |
| 02 | Sansaar ki kaisi reet hai …sachchaayi roye duniya mein | Asha Bhonsle |
| 03 | O raaja aa jaa na mere paas | Asha Bhonsle |
| 04 | Aao suhaag ki raat manaa le… tumhaare sang jeenaa thha | Asha Bhonsle |
| 05 | (a) Nij janm bhoomi dharti maa ko naman-part-1 (b) Hari bhari brajbhoomi seenchti sadaa (c) Kaam krodh mad lobh moh kitnaa hi zor lagaaye (d) Paap taap santaap jhoothh ki ek na chalegi (e) Teerath teerath mandir mandir jo ghoome din raat |
Manna Dey, Chandrani Mukherjee, chorus |
| 06 | Maa Paava gadh thhi ootaryaa mahaakaali re (garbaa) |
When I first looked at the name of the movie and the lyrics of the song, and looked at the request of Avinash scrapwala regarding this being a song for the occasion, my first impression was, how can it be. It is a song fit for Durga puja. Then, on doing some research, that I have presented above, I found out that there is something known as Chaitra Navratri and that it is a festival like the Navratri of Dashara, and that this song is actually tailormade for the occasion. Now I have realised that the world “Nav Durga” that we often come across is not “nav Durga” but “nau Durga” viz. “nine Durga”, and it refers to the nine forms of Durga.
The song plays in the background at the credits appear on the screen. The lyrics of this song mentions all the nine forms of Durga.
This shows that the makers of movies like this were very well versed with Indian mythology and they could make movies on such topics. The lyricists of the songs of such movies had indepth knowledge about the subject as we can see from the lyrics of this song, which comes from the pen of B D Mishra. Music is composed by S N Tripathi.
With this song, “Sampoorna Devi Darshan”(1971) makes its debut in the blog. 1971 saw 115 movies getting released. This movie is the 106th movie of 1971 to find representation in the blog.
We this opportunity to wish everyone a very happy, healthy and prosperous new year and chaitr navraatr.
Let us now listen to song devoted to Maa Durga, the Goddess who is worshipped during this Chaitr Navraatr.
Song-Jai devi maataa Jai Nau Durga Maataa (Sampoorna Devi Darshan)(1971) Singer- Manna Dey, Chandrani Mukherjee, Lyrics – B D Mishra, Music – S N Tripathi
Lyrics(Provided by Avinash Scrapwala)
jai devi maata aa
jai nau durga maata aa
janani jai ho teri
amar tera naata aa
jayo jayo maa jagdambe ae
pehla hai swaroop
shail putri maata
hai shail putri maata
jo inke gun gaataa
sukh sampatti paataa
jayo jayo maa jagdambe ae
dooja hai swaroop
bramhchaarini maa aa
hai bramhchaarini maa
bramhroopini tu hi
paap haarini maa aa
jayo jayo maa jagdambe
teeja hai swaroop
chandraghanta maata
hai chandraghanta maata
tujhko paa ke man ka
andhiyaara jaataa aa
jayo jayo maa jagdambe
chautha hai swaroop
kushmaandaa maayi
hai kushmaanda maayi
inse hi ban jaata
jeewan sukhdaayi
jayo jayo maa jagdambe
pancham roop anoop
devi skandmaata
hai devi skandmaata
trigun tritaap vinaashini
tribhuvan ki praata
jayo jayo maa jagdambe
chhanthvi katyaayani
maayi taaran haari
maayi taaran haari
poojen brahma vishnu
poojen tripuraari
jayo jayo maa jagdambe
saantvin ye mahagauri
aathvin kaalraatri
hai aathvin kaalraatri
nauvvaan roop hai tera
maayi siddhidhaatri
jayo jayo maa jagdambe
nau durga ki aarti
jo koyi gaave
ye jo koyi gaave
kahe shivanand swami
jag mein sukh paaye
jayo jayo maa jagdambe
Recent comments