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

Archive for the ‘Meera Bhajan’ Category


This article is written by Sadanand Kamath, a fellow enthusaist 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 :

4354 Post No. : 15670 Movie Count :

4316

Hindi Songs in Bangla Film – 30
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In my last article, I had covered a fictional character, ‘Byomkesh Bakshi’,  created by the writer Sharadindhu Bandopadhyay on which TV serials and films have been made. While writing the article, I recalled that Satyajit Roy has written stories on his fictional character, ‘Feluda’ who is also a detective and investigator. He had directed two Bangla feature films based on ‘Feluda’ stories – ‘Sonar Kella’ (1974) and ‘Joy Baba Felunath’ (1979). It will be interesting to note as to how these two detective characters differ in their style of investigations which I will come to it later.

Satyajit Ray had once said that he made a living by writing children’s stories and from their publications rather than earning from his films.  His stories of ‘Feluda’ were first published in children’s magazine ‘Sandesh’ and later published as books. He had said that since his childhood, he was hooked to stories of Sherlock Holmes and inspired him to write the Indianised version of Sherlock Holmes- both culturally and temperamentally. Satyajit Roy wrote 35 stories of Feluda which were published between 1965 and 1995.

In all the Feluda stories, there are some characters who are part of almost all the stories. Detective and investigator, Feluda (real name: Prodosh Chandra Mitter) is the Indian equivalent of Sherlock Holmes. Feluda’s cousin, Topshe (real name: Tapas Ranjan Mitra) is equivalent of Dr Watson. Feluda’s friend Jatayu (real name: Lalmohan Ganguly) is a writer of crime thrillers who has often been depicted as a comical character.  In addition, there are characters like  Maganlal Meghraj, a villain who is an important part in some of the Feluda stories.

I have watched most of Byomkesh Bakshi’s stories on T V serials. So, I have fairly good idea as to how the main characters of Byomkesh and his assistant, Ajit have been depicted on screen.  But in regards to Feluda stories, my only exposure is Satyajit Roy’s two films mentioned above. Based on these sources and also reading summaries of few other stories, the some comparison between two detective stories of  Byomkesh Bakshi and Feluda  is attempted.

  1. Feluda stories are targeted towards children and teenagers though even the adults may also like. The investigations mostly centre around thefts of manuscripts, antique, artifacts items, kidnapping etc. Byomkesh stories are at a higher level of intelligence in solving cases and therefore meant for adults. The investigations are mainly related to murders arising out of property disputes, greed, revenge, adultery etc. Hence, there will be at least one or more female characters in the story. In Feluda stories, female characters hardly find place.
  2. Feluda is a tall, handsome and athletic person. He is a bachelor. He carries weapons with him and will not be averse to using strong arm methods. Byomkesh Bakshi is a bespectacled dhoti-clad detective and investigator who likes to be called as ‘Satyanweshi’ (Truth-seekar). He is a married man.  He rarely uses weapons or resorts to violent methods during his investigation.
  3. Most of Feluda stories are set outside Kolkata as he is a travel buff. Byomkesh gets most of the cases of investigation in around Kolkata.
  4. Feluda is accompanied in his work by his cousin, Thopse, a teenager who helps in recording the events during the investigations. The other accomplish is a writer of detective stories with his penname, Jatayu. He is more into bringing comical reliefs with his jokes gone wrong and with some silly questions. Byomkesh is acccompanied by his wife, Satyabati and Ajit who is also a writer.

Of the two Feluda films which Satyajit Ray directed, I gave preference for ‘Joy Baba Felunath (1979) which was available with English sub-titles. The gist of the story is as under:

Feluda (Saumitra Chatterjee) along with his cousin, Thopse (Siddharth Chatterjee) and the writer-friend, Jatayu (Santosh Dutta) are on a visit to Varanasi for a holiday. While on a stroll to ghats of Varanasi along with the hotel manager, they meet  Ambika Ghoshal who is introduced by the hotel manager to Feluda. Ghoshal revealed that the antique idol of Ganesh has been stolen and his father does not want to report the theft to police as he has no faith in police investigation. Feluda agrees to investigate the matter to solve the case.

During the course of his investigations, he visits Ghoshal family house and meets the father of Ambika Ghoshal  He finds him and Ambika Ghoshal’s minor son interested in reading detective stories. He also meets Bikash (Biplab Chatterjee), a member of Ghoshal family but no relation to them. He also comes to know that Maganlal Meghraj (Utpal Dutt) who had visited Ghoshal on the previous day to buy the antique Ganesh idol but Ghoshal had refused to sell. Maganlal is actually a trader in antique items and artefacts and the Machhlibaba, the fake sadhu is a front for him in his illicit business. So, Maganlal is the first suspects.

But there are others in the Ghoshal family who could also be suspects. Ambika Ghoshal was in debt as his business was down. He has, therefore, some motivation to sell the Ganesh idol to raise the money. Bikash had planned to go back to his native place as he did not like to stay with Ghoshal family for long doing house-hold chores. However, he did not have money to quit Ghoshal family. Lastly, Feluda meets the aged Shashibabu, an Durga idol maker who is making the idol of Durga in Ghoshal house for the ensuing Durga Pooja.

Feluda suspects the role of Bikash in Ganesh idol theft especially when he is suddenly planned to visit his native place. Feluda confronts Bikash by taking him at gun-point to a secluded place where he spills the beans. Feluda had already kept the police informed who takes him to the custody.

The fact of the case was that while painting the Durga idol, Shahsibabu finds a Ganesh idol falling from the mouth of the tiger’s idol. He takes the idol to Bikash fearing that he would be branded a thief. Bikash comforts him and assure him that he would handle the issue. But instead of handing over the Ganesh idol to Ghoshal family, he sells it to Maganlal for partly sum. Since Shashibabu knows that Ganesh idol has been found, Maganlal gets him killed.

Now it is the turn of Maganlal who has to be caught red-handed. For this, Feluda disguises himself as Machhlibaba and sits on the ghat along with his devotees. As expected, Maganlal comes with the Ganesh idol in the guise of a gift to Machhlibaba and hands over to him. The police team was already watching from the nearby place. He is caught red-handed with the Ganesh idol. He gets arrested. The case is solved. At the outset, there is not much suspense in the story as Maganlal was a suspect from the very beginning.

There is, however, a twist in the story, not about the suspects, but about the end of the story. When Maganlal had visited Ambika Ghoshal for buying the Ganesh idol, he has given him a friendly banter with a tone of a threat that he would have the idol even if Ghoshal does not sell him. This was heard by Ambika Ghoshal’s minor son. So, he reports the matter to his grandfather who asks him as to what he would do under such a circumstance since he is an avid reader of detective stories. The grandson says that he would keep the Ganesh idol in the mouth of the idol of Tiger which Shashibabu is painting. So, in reality, in the beginning, there was no theft of Ganesh idol but it has been safely kept in the mouth of a tiger idol.

There is a further twist in the story. When Feluda is handing over the recovered Ganesh idol, he reveals to the grandfather that the Ganesh idol is a fake one and it will not fetch even 1000 rupees. So where is the real antique Ganesh idol? The grandfather keeps mum.  Feluda gives the answer  that he knows from his source that the real antique Ganesh idol has been kept in the safe deposit locker of a bank by the grandfather.

Even though this film is a suspense thriller, as is the case with all other films of Satyajit Ray, the film is an audio-visual treat. He has a penchant for details around the scenes of the shooting and creating the period atmosphere. For example, when Feluda visits to meet the father of Ambika Ghoshal, in the background, an old record player is playing a  thumri of Kesarbai Kerkar. “Kaahe Ko Daari” (1936). On the second time, a ghazal, “Pee Ke Hum Tum Chale” (1909) sung by Zohrabai Agrewali is played in the background.

The ghats and narrow lanes of Varanasi have been beautifully captured. Of all the main actors, I liked the performance Utpal Dutt the most. He has been projected as a ruthless trader who can go to any extent without having to use strong-arm tactics. His stern warning through his expressions and short dialogue delivery are enough to create fear of him.

‘Joy Baba Felunath’ (1979) has only two songs, one each of bhajans of Meera Bai and Soordas. I am presenting a Meera bhajan “Mohe Laagi Lagan Guru Charanan Ki”. The song is sung by Reba Muhuri which is set to music by Satyajit Ray.

Reba Muhuri (1930 – 15/05/2011) was Hindustani classical vocalist who was born in Krishnanagar in Nadia district of West Bengal. Her father, Amiyanath Sanyal was a musicologist from whom she learnt music during her childhood. At the age of 16, Reba got married to an army officer. But her musical journey continued. She was mainly trained by Badi Motibai in Banaras. She also got guidance from Siddheshwari Devi, Rasoolan Bai and Begum Akhtar. She specialised in Khayal, Thumri and Bhajan. She had given concerts in India and abroad.

The song picturization situation is that while strolling on the Varanasi ghats, Feluda and his two associates find a gathering of devotees where one of the devotees is singing while there are visitors taking blessing of Sadhu Machhlibaba who is in fact a conduit for Maganlal for smuggling antiques and artefacts out of India.

The audio clip contains the full bhajan while the bhajan on the video clip is interrupted by dialogues. Hence the continuity of the song on the video clip is lost.

It is better to listen to the audio clip to get a spiritual feelings.

 

Audio

Video

Song – Mohey Laagi Lagan Guru Charnan Ki (Joy Baba Felunath) (1979) Singer – Reba Muhuri, Lyrics – Meerabai, MD – Satyajit Ray

Lyrics

aa aa aa aaaaaa
aa aa aa aaaa
mohe laa..gi lagan guru charanan ki
mohe laa..gi lagan guru charanan ki
guru charanan ki
guru charanan ki
mohe laa..gi lagan guru charanan ki
guru charanan ki
guru charanan ki
 
charan bina ab kachhu nahi bhaawe
charan bina ab kachhu nahi bhaawe
jag maaya sab sapanan ki
laa..gi lagan guru charanan ki
mohe laa..gi lagan guru charanan ki
guru charanan ki
guru charanan ki
guru charanan ki
 
bhav saagar sab sukh gayo hai……..ai…..ai
bhav saagar sab sukh gayo hain
fikar nahi mohe
fikar nahi mohe taranan ki
guru fikar nahi mohe taranan ki
guru fikar nahi mohe taranan ki
guru charanan ki
laa..gi lagan guru charanan ki
mohe laa..gi lagan guru charanan ki
 
meera ke prabhoooo…oo  
meera ke prabhu giridhar naagar
meera ke prabhu giridhar naagar
giridhar naagar
meera ke prabhu giridhar naagar
aas wahi guru charanan ki
aas wahi guru charanan ki
laa..gi lagan guru charanan ki
mohe laa..gi lagan guru charanan ki
mohe laa..gi lagan guru charanan ki
 
meera ke guroooooooo
giridha…r naagar
giridhar naagar
meera ke guru giridhar naagar
aas wahi guru charanan ki
aas wahi guru charanan ki
laa..gi lagan guru charanan ki
mohe laa..gi lagan guru charanan ki
guru charanan ki
charanan ki

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Hindi script lyrics (Provided by Sudhir)
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आ आ आ आsssss
आ आ आ आss
मोहे ला॰॰गी लगन गुरु चरणन की
मोहे ला॰॰गी लगन गुरु चरणन की
गुरु चरणन की
गुरु चरणन की
मोहे ला॰॰गी लगन गुरु चरणन की
मोहे ला॰॰गी लगन गुरु चरणन की
गुरु चरणन की
गुरु चरणन की

चरण बिना अब कछु नहीं भावे
चरण बिना अब कछु नहीं भावे
जग माया सब सपनन की
ला॰॰गी लगन गुरु चरणन की
मोहे ला॰॰गी लगन गुरु चरणन की
गुरु चरणन की
गुरु चरणन की
गुरु चरणन की

भव सागर सब सूख गयो है॰॰ए॰॰ए
भव सागर सब सूख गयो है
फिकर नहीं मोहे
फिकर नहीं मोहे तरणन की
गुरु फिकर नहीं मोहे तरणन की
गुरु फिकर नहीं मोहे तरणन की
गुरु चरणन की
ला॰॰गी लगन गुरु चरणन की
मोहे ला॰॰गी लगन गुरु चरणन की

मीरा के प्रभु॰॰उ॰॰उ
मीरा के प्रभु गिरधर नागर
मीरा के प्रभु गिरधर नागर
गिरधर नागर
मीरा के प्रभु गिरधर नागर
आस वही गुरु चरणन की
आस वही गुरु चरणन की
ला॰॰गी लगन गुरु चरणन की
मोहे ला॰॰गी लगन गुरु चरणन की
मोहे ला॰॰गी लगन गुरु चरणन की

मीरा के गुरु॰॰
गिरधर॰॰र नागर
गिरधर नागर
मीरा के गुरु गिरधर नागर
आस वही गुरु चरणन की
आस वही गुरु चरणन की
ला॰॰गी लगन गुरु चरणन की
मोहे ला॰॰गी लगन गुरु चरणन की
गुरु चरणन की
चरणन की

 


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 :

4345 Post No. : 15652

“Shyam Ki Jogan”(1957) was produced by K Bakshi and directed by S P Kalla for K B Films, Bombay. This obscure devotional movie had Shahu Modak, Sulochana, B M Vyas, Kamal Mehra, Kammo, Ratnamala, ramesh Sinha, Jagdev, C S Dubey, Mehru, Baby Lata, Jeewan Kala, Funny Walker, Praveen, Maruti etc in it.

The movie had eight songs in it.

Two songs from the movie have been discussed in the past. Here is the third song from “Shyam Ki Jogan”(1957) to appear in the blog. This song is sung by Geeta Dutt. S P Kalla is the lyricist. Music is composed by Narayan Dutt.

Only the audio of this song is available which sounds like a Meera bhajan (though S P Kalla is credited for the lyrics). I request our knowledgeable readers to throw light on the picturisation of this song.


Song-Main to prem deewaani ho gayi re(Shyaam Ki Jogan)(1957) Singer-Geeta Dutt, Lyrics-S P Kalla, MD-Narayan Dutt

Lyrics

main to prem deewaani ho gayi re ae
mujhe duniya se kya kaam re ae
mera shyaam ki jogan naam
main to prem deewaani ho gayi re ae
mujhe duniya se kya kaam re ae
mera shyaam ki jogan naam

man panchhi ki ghaayal paankhen
man panchhi ki ghaayal paankhen
janam janam ki pyaasi aankhen
dhoondh rahi ghanshyaam se
mera shyaam ki jogan naam
main to prem deewaani ho gayi re ae
mujhe duniya se kya kaam re ae
mera shyaam ki jogan naam

saans ke taar mein bas gaya sai
saans ke taar mein bas gaya sai
amar milan ki jyot jagaayi
alakh japoon yahi kaam re
mera shyaam ki jogan naam
main to prem deewaani ho gayi re ae
mujhe duniya se kya kaam re ae
mera shyaam ki jogan naam re ae
mera shyaam ki jogan naam re ae
mera shyaam ki jogan naam


This article is written by Sadanand Kamath, a fellow enthusaist 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 :

4280 Post No. : 15522 Movie Count :

4278

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Hindi Songs in Bangla Films – 23
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Today morning, I saw a message in my mail box from Sudhir ji in which he gave me a link of a Hindi song from a Bangla film which I have not covered so far in the series ‘Hindi songs from Bangla Films’. I took the note of the song and told him that I will write an article covering the song in the coming days. In the afternoon, I got another message from Sudhir ji on whatsapp with an urgent note that today is the birth anniversary of Suchitra Sen and I should write an article on the occasion covering the song referred to by him which is picturised on Suchitra Sen.

Suchitra Sen has been one of my favourite actresses since I saw her performance in ‘Aandhi’ (1975). After watching her performances in many Bangla films in the recent period, my admiration for her as a performing artist has grown. So, it is an opportunity for me to write  a tribute to her on behalf of our blog on the  occasion of  her 89th birth anniversary today, April 6th.

Most of the Hindi film audience may not be much familiar with Suchitra Sen as she had acted in only 7 Hindi films.  Her Hindi films were ‘Devdas’ (1955) in the role of Paro with Dilip Kumar, ‘Musafir’ (1957) with Shekhar, ‘Champakali’ (1957) with Bharat Bhushan,  ‘Sarhad’ (1960) and ‘Bambai Ka Babu’ (1960) with Dev Anand, ‘Mamta’ (1966) with Ashok Kumar / Dharmendra and ‘Aandhi’ (1975) with Sanjeev Kumar. It was the latter two films which made her well-known amongst Hindi film audiences of that time. Unfortunately, there was no occasion for further opportunity to work in Hindi films as she took voluntary retirement 1978 from the film industry.

Suchitra Sen (06/04/1931 – 17/01/2014) whose real name was Roma Dasgupta. She was born in Sen Bangabaari village in Pabna district in East Bengal (now Bangla Desh). The family migrated to Calcutta (now Kolkata) during the partition in 1947. At the age of 16, she got married to Dibanath Sen, a marine engineer and a son of an industrialist. She joined Bangla film industry in 1952 with the support from her father-in-law and her husband who financed her initial films.

Suchitra Sen’s first film was ‘Shesh Kothay’ (1952) which was never released. Her first officially released film was ‘Saat Number Kayedi’ (1953) in which her lead actor was Uttam Kumar who had been then labelled as a ‘flop hero’ due to films in which he worked in 1948-52 flopped at the box office. It was a coincidence that his first film with Suchitra Sen became a box office hit. Since then, the Suchitra Sen-Uttam Kumar pair worked in about 30 films. Almost all of which became box office hits.

During her filmy career (1952-78), Suchitra Sen worked in about 60 films (including 7 Hindi films). I have seen some of her Bangla films which gives me an impression that she was selective, especially from 1960 onwards, in choosing the films with good story line in which she as a heroine got more or less equal footages with the hero of her films. A few of films of her during this period were with woman-oriented stories.

Among the Bangla films I watched, Suchitra Sen gave excellent performances in ‘Saat Pake Bandha’, ‘Uttar Phalguni’ and ‘Deep Jwele Jai’. I feel that she reserved her best for these three films. These films were critically acclaimed and were remade in Hindi like ‘Mamta’ (1966) from ’Uttar Phalguni’ (1963), ‘Kora Kaagaz’ (1974) from ‘Saat Paake Bandha’ (1963), ‘Khamoshi’ (1966) from ‘Deep Jwele Jaai’ (1959) etc

Apart from her good performances and box office success records as an actor, Suchitra Sen’s professional approach to her career must have made the film producers to give her preference while choosing  the heroine. For instance, she refused the role in one of Satyajit Ray’s film because he wanted her to give bulk dates for shooting which would have affected the producers of her other films.

Sometime in 1970, Suchitra Sen lost her husband while on a visit to the USA. One of her close confidants was of the view that though she did not cancel any schedule of shooting at that time, her husband’s death was the beginning of her moving towards a secluded life. The failure of her film ‘Pranay Pasha’ (1978), made her to retire from the film industry at the age of 47. However, over a period of time, it became evident that with retirement from the films, she had also shunned public life. She spent her last 35 years in her house as recluse, confining herself within a close circle of family and a few friends. During this period, she did not attend any public functions. She refused Dada Saheb Phalke Award in 2005 just to avoid going to Delhi and the public glare.

Suchitra Sen suffered from lung infections for which she was admitted in a Kolkata hospital sometime in December 2013. She had almost recovered from her ailment but on January 17, 2014, she got a cardiac arrest which took her life.

[Note: Some of the information on Suchitra Sen is based on a number of articles available on-line including some from Gopal Krishna Roy, a film journalist with United News of India who remained one of a very few  close confidants of  Suchitra Sen until her death].

On the occasion of Suchitra Sen’s  birth anniversary, here is a very popular Meera bhajan “Barse Badariya Saawan Ki’ which is sung by Geeta Dutt for the Bangla film ‘Grihaprabesh’ (1954). The song is picturised on Suchitra Sen and a girl whom I am not able to recognise.  The song is intercepted after the mukhda with Bangla dialogues between Suchitra Sen and  Uttam Kumar who joins them. After the end of the dialogue, the song is resumed with Uttam Kumar playing tabla.

As per www.geetadutt.com , the other voice in the bhajan in the mukhda part is that of Krishna Banerjee who lip sync for the girl. Mukul Roy is the music director.

In the audio version of the song uploaded by SAREGAMA, the song starts after the dialogues in the sound track version of the song. The lyrics are based on the video version of the song.

This popular Meera bhajan has been rendered by many singers including Lata Mangeshkar, Suman Kalyanpur, Sudha Malhotra and other Hindustani classical singers. Geeta Dutt adds one more variation to this bhajan and I like it. Suchitra Sen lends serenity to the bhajan.

Video

Audio

Song – Barse Badariya Saawan Ki (Grihaprabesh) (1954) Singer – Geeta Dutt, Krishna Bannerjee, Lyrics – Meerabai, MD – Mukul Roy

Lyrics

barse badariya saawan ki

barse badariya saawan ki
saawan ki man bhaavan ki
saawan ki man bhaavan ki
barse badariya saawan ki
barse badariya saawan ki
barse badariya saawan ki

saawan ki man bhaavan ki
saawan ki man bhaavan ki

[dialogues]

saawan mein umagyo mero manwa
saawan mein umagyo mere manwa
bhanak suni hari aawan ki
bhanak suni hari aawan ki

umad ghumad chahun disi se aayo
umad ghumad chahun disi se aayo
damini damake jhar laawan ki
damini damake jhar laawan ki
barse badariya saawan ki
barse badariya saawan ki

nanhi nanhi boondan meha barse
nanhi nanhi boondan meha barse
sheetal pawan suhaavan ki
sheetal pawan suhaavan ki

meera ke prabhu girdhar naagar
meera ke prabhu girdhar naagar
aanand mangal gaawan ki
aanand mangal gaawan ki

barse badariya saawan ki
barse badariya saawan ki
saawan ki man bhaavan ki
saawan ki man bhaavan ki
barse badariya saawan ki
barse badariya saawan ki

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

बरसे बदरिया सावन की

बरसे बदरिया सावन की
सावन की मन भावन की
सावन की मन भावन की
बरसे बदरिया सावन की
बरसे बदरिया सावन की
बरसे बदरिया सावन की

सावन की मन भावन की
सावन की मन भावन की

[संवाद]

सावन में उमगयो मेरो मनवा
सावन में उमगयो मेरो मनवा
भनक सुनी हरी आवन की
भनक सुनी हरी आवन की

उमड़ घुमड़ चहुं दिश से आयो
उमड़ घुमड़ चहुं दिश से आयो
दामिनी दमके झर लावन की
दामिनी दमके झर लावन की
बरसे बदरिया सावन की
बरसे बदरिया सावन की

नन्ही नन्ही बूंदन मेहा बरसे
नन्ही नन्ही बूंदन मेहा बरसे
शीतल पवन सुहावन की
शीतल पवन सुहावन की

मीरा के प्रभु गिरिधर नागर
मीरा के प्रभु गिरिधर नागर
आनंद मंगल गावन की
आनंद मंगल गावन की

बरसे बदरिया सावन की
बरसे बदरिया सावन की
सावन की मन भावन की
सावन की मन भावन की
बरसे बदरिया सावन की
बरसे बदरिया सावन की


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.

Blog Day :

4240 Post No. : 15455 Movie Count :

4257

Hindi Songs from Bangla Films : 19
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‘Jogajog’ (Relationship, 2015) was a Bangla film which was based on a novel of the same name written by Gurudev Rabindranath Tagore and published in 1929. The film was directed by Shekhar Das. The main cast included Bhartya Basu, Suvalagna Mukherjee, Ananya Chatterjee, Arjun Chakraborty, Shaheb Chatterjee, Locket Chatterjee etc. By the way, Bhartya Basu, the lead actor in the film was the MLA and the Minister of Tourism of the Government of West Bengal when the film’s shooting started. It was a debut film for the lead actress, Suvalogna Mukherjee.

Unfortunately, the film is not available on video sharing platforms. So, I had to depend upon the English edition of Tagore’s novel which is available online as well as review of the film on the Times of India. Having gone through both the sources, I get an impression that the film’s director, Shekhar Das has, by and large, adhered to the story of the novel including the names of the characters. The novel itself is a commentary on the declining influence of aristocracy of landlords in Bengal Presidency from early 20th Century and the emergence of neo-rich business class and their clash of culture and values. It is a feminist novel but at the end, it is the defeat for the female protagonist in the novel.

The gist of the story of the film is as under:

The story revolves around the hostility of two families – the Chatterjees and the Ghoshals. The Chatterjees are landlords whose fortunes have declined while that of Ghoshals have improved considerably thanks to their flourishing business. Bipradas Chatterjee (Arjun Chakraborty), current head of Chatterjee family is indebted to Madhusudan Ghoshal (Bratya Basu), the middle-aged head of Ghoshal family. To resolve the debt issue, Madhusudhan offers Bipradas to marry his younger sister, Kumudini (Suvalogna Mukherjee), a strong-willed, religious minded and cultured girl. She agrees to get married to Madhusudan who is twice her age to save her elder brother from the clutches of indebtedness to Ghoshals.

From the day Kumudini comes to Madhusudhan’s house after her marriage, she is assigned a subsidiary status in an already dysfunctional Ghoshal family in which there is a hen-pecked younger brother, a sister-in-law, Shyamasundari (Ananya Chatterjee) who has become widow at a young age. Kumuduni carries out her work in the household which is expected of a married woman. As she has been brought up in a cultured family where women have been treated equal with their men folks, Kumudini finds Ghoshal house exactly opposite of her cultural upbringing. Here she is treated as a sub-servient to Madhusudan as well as an object of his sexual desires. His vulgar display of wealth and the rustic way of conversations with her puts her off to such an extent that she develops aversion towards her husband. Added to her woos is Madhusudan’s illicit relationship with his sister-in-law, Shyamasundari. With these background , she takes recourse to spirituality. She identifies herself with Meerabai and find solace in singing Meera bhajans.

Over a period of time, Kumudini is subjected to emotional trauma and the marital rape. Not able to cope up with her emotional trauma any more, Kumudini comes back to her elder brother’s house. He gives her assurance that she is not a burden on him. On the contrary, it is her right to be in his house. However, when Kumudini’s pregnancy is revealed, her elder brother does not agree with Kumudini to get her liberation from the marriage as she is carrying Madhusudhan’s child. He justifies his stand by saying that it is not right to deprive the child from the father’s home. Kumudini is sent back to the Ghoshal household.

In a way, it is a defeatist end in the novel to Kumudini. Probably, Tagore went with the stark reality of that time. Since director, Shekhar Das had made this film in the 21st century, the film’s end comes with some minor changes so as not to make the film with a defeatist end for Kumudini. I have seen the end part of a pirated version of the film on a video sharing platform in which Madhusudhan visits Chatterjee’s house and meets Kumudini privately. He tenders his apology to Kumudini for his wrongdoings and request her to come back home.

‘Jogajog’ (2015) has two Meera bhajans of which I am presenting one of the most popular and famous bhajans ‘mere to Giridhar Gopal doosro na koi’. The bhajan is rendered by Shreya Ghosal whom I consider as ‘Lata Mangeshkar of 21st century insofar as per playback singing is concerned. I have watched her growing from the winner of ZEE TV’s ‘sa re ga ma’(children) programme sometime in the 90s and her first playback singing for Hindi film ‘Devdas’ (2002) and thereafter. I still remember the confidence and the pose with which she rendered a song in front of stalwarts like Ustad Ali Akbar Khan, Ustad Zakir Hussain, Girija Devi, Anil Biswas etc on the dais and many more stalwarts in the audience.

The song is picturised on Suvalogna Mukherjee and Bratya Basu is an impatient listener. The bhajan is set to music by Pandit Debojyoti Bose who is a Sarod player and a disciple of Sarod Maestro Ustad Amjad Ali Khan. He is more into concerts than the music director.

I checked and found out that this Meera bhajan has been a part of more than a dozen Hindi films from 1932 onward. The singers varied from Zubieda, Sitara Kanpuri, M S Subbulaxmi, Mangeshkar sisters (Lata, Asha, Usha) to Vaani Jayraman. This is not an exhaustive list. There may be more singers in non-film segment.

I find Shreya’s Ghoshal’s version of this popular Meera bhajan equally pleasing to listen.

Video Clip:

Audio Clip:

Song-Mere to Giridhar Gopal doosro na koye (Jogajog)(Bangla)(2015) Singer-Shreya Ghoshal, Lyrics-Meera Bai, MD-Pandit Debojyoti Bose

Lyrics

mere to Giridhar Gopal doosro na koi
mere to Giridhar Gopal doosro na koi
jaake sir mor mukut mero pati soi
mere to Giridhar Gopal

taat maat bharta bandhu apna nahi koi
chhaadi do kul ki kaani
chhaadi do kul ki kaani kaa kariye koi
mere to Giridhar Gopal

aayi main bhakti ka jo jagat dekhat mohi
daasi Meera Giridhar prabhu
daa..aasi Meera Giridhar prabhu taaro ab mohi
mere to Giridhar Gopal doosro na koi
mere to Giridhar Gopal doosro na koi
jaake sir mor mukut mero pati soi
mere to Giridhar Gopal


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

My affair with Sadhna started very tiny. The film was ‘Ek Phool Do Mali’ (1969) and the song was “Sainyaan Le Gayi Jeeya Teri Pehli Nazar”. That image of a beautiful Kashmiri village belle, with that charming and becoming smile captured my mind and my heart. She was being blackmailed by Sanjay to sing a song for him, using her recorded voice in a tape recorder, which he threatened to make public. So in a manner of speaking, the song was of the ‘Dance Under Duress’ category. 🙂 She is somewhat letting it on that her song and dance is a make believe effort. But then Hindi films are Hindi films. And a tiny pre-teen mind is quite inexperienced in these matters; and quite easily enamored by that charming smile, and the gestures of endearment, howsoever artificial they may have been.

In the same year (1969), I also got to see ‘Inteqaam’. The storyline therein is a make believe endeavor to deceive a rich man and his son, and so I was not impressed with her presence and her beauty as much. ‘Ek Phool Do Mali’ would be the compass bearing for me for some time, till I got into my next crush. 🙂

Remembering Sadhna on the anniversary of her birth today – 2nd September.

It would be much later that I would realize that I had actually seen her much earlier in ‘Parakh’ (1960), which I had watched on TV. Actually, it would be many years after that TV viewing that I correctly identified the leading lady as Sadhna. For many years at a stretch, I used to believe that Nutan was the heroine in ‘Parakh’. Many years later when this error was set right in my mind, I went back to see this film once again, to make sure that I had finally identified her correctly in that film.

Later on, the mind got to see her other earlier films on the rewind –  ‘Hum Dono’ (1961), ‘Aarzoo’ (1965), ‘Love In Simla’ (1960), ‘Ek Musafir Ek Haseena’ and ‘Asli Naqli’ (1962), ‘Rajkumar’ (1964), and the quintessential ‘Mere Mehboob’ of 1963. This is the listing of films that I got to see earlier; of course the other films like ‘Prem Patra’ (1962), ‘Man Mauji’ (1962), ‘Wo Kaun THi’ (1964), ‘Waqt’ (1965), ‘Mera Saaya’ (1966), ‘Dulha Dulhan’ (1964) also followed, albeit later. The ‘Ek Phool Do Mali’ effect was repeated when I got to see ‘Mere Mehboob’. That scene of the first encounter between Husna (Sadhna) and Anwar (Rajendra Kumar) is one of the most unforgettable cinema moments in my mind. All the un-uttered emotions that were spoken just through the eyes, the only part of the face that is partially visible from within the burqa (veil covering the face), emphatically conveyed much more than any words.

Born this day in 1941, Sadhna would have been 78 today. She was born in Karachi, into a Sindhi family. When the partition happened in 1947, the Shivdasani family moved to Bombay. As she has stated in her interviews, she was interested in dramatics right from childhood, and used to participate in school plays. Her uncle (father’s real brother) Hari Shivdasani, was already an established actor in Bombay. Hari had started his career appearing in films, from 1934 – his first film being ‘Dharam Ki Devi’ (1935). So when Sadhna and her family moved to Bombay, she already had a mentor and a significant link into the film industry.

She was just fourteen, when this filmland connection, got her a bit appearance as one of the chorus dancing girls in the 1955 film ‘Shri 420’. Hari Shivdasani himself had a significant role in the film, as one of the coterie of crooked businessmen. The song is the iconinc “Mud Mud Ke Na Dekh. . .”. Sadhna is one of the chorus dancers, quite easily identifiable, at least in the first half of the song. Hari Shivdasani is himself present in the group of guests at this party. [Note: Another very notable presence in this song is that of Jaikishan, the music director.] There is anecdotal material which says that Raj Kapoor was somewhat offended with Sadhna, on issues relating to hair style and make up etc., and that Sadhna did not complete the shooting of this song.

During her first year at college, producer director TN Bihari approached her for a secondary role in a Sindhi film ‘Abaana’, released in 1958. Sadhna played the role of the younger sister of the heroine, role played by Sheila Ramani. Star struck as she was, the teenaged Sadhna requested Sheila for her autograph when they first met for shooting. Giving her the autograph, Sheila commented that one day will come when she (Sheila) would be taking autograph from Sadhna – a prophecy that realized itself shortly thereafter.

Things moved fast after this. Sadhna photo appeared in ‘Screen’. The photo came to the notice of Shashadhar Mukhrjee, who invited Sadhna to join the School of Acting that he had established in Filmalya, his production studio. Sadhna joined. ‘Dil Deke Dekho’ (1959) was launched, with Nasir Husain as the director. S Mukherjee gave him the option to select a new heroine opposite Shammi Kapoor, and Nasir Husain picked Asha Parekh, also one of the students at the same school. Sadhna had to wait another year for her formal break into films. S Mukherjee announced ‘Love In Simla’ (1960) as the launch vehicle for his son Joy Mukherjee. The director, RK Nayyar, was also making his directorial debut with this film. Given the option by S Mukherjee, RK Nayyar picked Sadhna as the leading lady for the film. Her film career had now formally started.

For about a decade, her career was a rising graph, and her work was very much appreciated. She appeared along with practically all the big names of that era – Dev Aanand, Raj Kapoor, Sunil Dutt, Shashi Kapoor, Shammi Kapoor, Manoj Kumar, Joy Mukherjee, Dharmendra, Biswajit, Sanjay, Kishore Kumar, Feroze Khan, Parikshit Sahni, and yes, Rajesh Khanna – one film they shared credits for – ‘Dil Daulat Duniya’ (1972). About 30 films, in a career span of about 15 years, is the sum total of Sadhna’s body of work.

By the end of the decade of 1960s, Sadhna developed some recurring health problems and her films started getting delayed. 1974 saw the release of ‘Geeta Mera Naam’ and ‘Chhote Sarkar’. In 1975 came ‘Vandana’ and a much delayed ‘Amaanat’. After that, there is radio silence in her career, as she chose to stay away from films. Even earlier than that, HS Rawail opted for Vijayantimala for the leading lady in ‘Sunghursh’ (1968), after first considering Sadhna, and so did Pacchi, when he replaced Sadhna with Rajshri for ‘Around The World’ (1967).

Although Sadhna was the heroine of choice for ‘Love In Simla’, the director RK Nayyar (also her future husband), was quite openly unhappy with her looks. In his opinion, Sadhna’s forehead was wide enough to “. . . land a helicopter”. It was suggested that her hair style be changed. And after some research, the choice came to Audrey Hepburn’s hair style in films like ‘Sabrina’ (1954) and ‘Funny Face’ (1957). Audrey Hepburn sported a few locks of hair that were not brushed back, but were thrown forward so as to partially cover her forehead. The hairstyle was adopted, and yes, it became very popular in India, by the name ‘Sadhna Cut’.

Sadhna passed away in 2015, on 25th December.

Today’s song is solo performance on screen by Sadhna. The film is ‘Ishq Par Zor Nahin’ from 1970. The film is produced under the banner of Twinkle Star, Bombay, and is directed by Ramesh Sehgal. The cast of actors is listed as Sadhana, Dharmendra, Biswajeet, Kamini Kaushal, Abhi Bhattacharya, Jagdeep, Nadira, Leela Mishra, Randhir, Jagdish Raj, Meena, Madhumati, and Uday Chandrika.

There are 8 songs listed for this film, all from the pen of Anand Bakshi. The music is from the mind of SD Burman. Singing voice is that of Lata Mangeshkar.

The story is about two childhood friends, who fall in love with the same lady, who in turns, loves only one of them. The other person is not aware of this reality, and actually tries to get help from his friend to woo the lady. Hmm. . . reminds one of many films – especially ‘Sangam’ (1964). The story progresses on very predictable lines, with sacrifice at the end of the film, by the one who is earlier unaware of his friend’s love, and later regrets after coming to know the truth. However, it is the songs and the music of this film which are something great to write home about. Together, SD Burman and Anand Bakshi have collaborated in about a dozen films and majority of them have wonderful songs that have been hits.

This song is sort of an on stage performance by Sadhna. We can seen Dharmendra, Biswajeet, Abhi Bhattacharya and Nadira in the audience. Biswajeet, the unaware friend, thinks that this song is meant for him, and is quite happy. Dharmendra, who is aware of the triangle, and has been coaxed by Biswajeet to attend this performance, is quite visibly ill at ease during the performance.

I picked this song for the poignant and effective performance by Sadhna, for a song that is somewhat of a somber expression of serious love. The lyrics of this song are adapted from a traditional bhajan originally written by Sant Meerabai.

Lovely song, lovely rendition by a lovely Sadhna. Things can’t get much better than this for the tiny crush in my heart that still sustains.

Song – Main To Tere Rang Raati (Ishq Par Zor Nahin) (1970) Singer – Lata Mangeshkar, Lyrics – Anand Bakshi, MD – SD Burman

Lyrics (Provided by Prakashchandra)

mitwaa. . aaa. . aaaaaa. .
mitwaa. . aa. . aaa. . aaaa. .
mere saathi

main to
tere rang raati
main tere rang raati
mere mitwaa. . aaa. . aaa. .
mitwaa. . aaa. . aaaaaa. .
mere mitwaa
mere saathi
main tere rang raati
main tere rang raati
mere mitwaa
mere saathi
main tere rang raati
main tere rang raati

raana ki
naa banoon main raani
main to hoon kaanha
teri deewani
le ja chupke se meri doli
doli
aa ja chhupke o humjoli
mitwaa. .aaa. . re
le ja chupke se meri doli
aa ja chhupke o humjoli
sang aaye
na aaye
baraati
main tere rang raati
main tere rang raati
mere mitwaa
mere saathi
main tere rang raati
main tere rang raati

main meera
tu mera man meet
haan poorab janam
se hai hamri preet
main meera
tu mera man meet
haan poorab janam
se hai hamri preet
kaise bichhde hamre naina
naina
jab tak hai jeevan raina
mitwaa. .aaa. . re
kaise bichhde hamre naina
jab tak hai jeevan raina
sang jaley
sang bujhey
diya baati
main tere rang raati
main tere rang raati
mere mitwaa. . aa. . aa. .
mitwa. . aaa. .
mere mitwaa
mere saathi
main tere rang raati
main tere rang raati

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Hindi script lyrics (Provided by Sudhir)
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मितवा॰ ॰ आss आsssss
मितवा॰ ॰ आs आss आsss
मेरे साथी

मैं तो
तेरे रंग राति
मैं तेरे रंग राति
मेरे मितवा॰ ॰ आss आss
मितवा॰ ॰ आss आsssss
मेरे मितवा
मेरे साथी
मैं तेरे रंग राति
मैं तेरे रंग राति
मेरे मितवा
मेरे साथी
मैं तेरे रंग राति
मैं तेरे रंग राति

राणा की
ना बनूँ मैं रानी
मैं तो हूँ कान्हा
तेरी दीवानी
ले जा चुपके से मेरी डोली
डोली
आ जा छुपके ओ हमजोली
मितवा॰ ॰ आss रे
ले जा चुपके से मेरी डोली
आ जा छुपके ओ हमजोली
संग आए
ना आए
बाराती
मैं तेरे रंग राति
मैं तेरे रंग राति
मेरे मितवा
मेरे साथी
मैं तेरे रंग राति
मैं तेरे रंग राति

मैं मीरा
तू मेरा मनमीत
हाँ पूरब जनम
से है हमरी प्रीत
मैं मीरा
तू मेरा मनमीत
हाँ पूरब जनम
से है हमरी प्रीत
कैसे बिछड़े हमरे नैना
नैना
जब तक है जीवन रैना
मितवा॰ ॰ आss रे
कैसे बिछड़े हमरे नैना
जब तक है जीवन रैना
संग जले
संग बुझे
दिया बाती
मैं तेरे रंग राति
मैं तेरे रंग राति
मेरे मितवा
मेरे मितवा॰ ॰ आss॰ ॰ आss॰ ॰
मितवा॰ ॰ आsss
मेरे साथी
मैं तेरे रंग राति
मैं तेरे रंग राति


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 :

3810 Post No. : 14806 Movie Count :

4049

My first article was posted on this Blog on 1-10-2012. Before that, for almost an year and a half, I used to post my comments on the songs posted on the Blog. In those comments, I used to give information about not only the songs, but also about the film, the cast, story. MD, Lyricist and in general any matter connected with the film or the song. For example, while commenting on a song from film Chandralekha-48, I had mentioned how Vasan made more than 100 prints of the film for its All India release and how the famous ‘ Nagara’ dance was choreographed etc etc.

Other readers gave me lot of support by liking and appreciating my informative comments. This and Atul ji encouraged me and I started writing posts on the Blog with great enthusiasm. I have always believed that Knowledge increases by sharing and indeed it did. Within a week’s time I brought up my first series on ” Less Known Singers”. Looking at the welcome it received from people in the Blog and the visitors, I continuously ran as many as 26 series of songs on selected themes.

Some themes were my favourites, like ‘ Flavour of the 30’s ‘, ‘ The vibrant 40’s ‘, ‘ Vintage Naushad “, ‘ Bhajan Mala ‘, ‘Gems from the Migrators’, and ” songs from the Artiste name films”.

One of the series was ” The Great souls of India”, which ran from 1-11-2013 to 15-11-2013, covering 10 songs. In this series I had selected songs from films on Sant Kabir, Sant Tulsidas, Sant Surdas, Sant Tukaram, Sant Dnyaneshwar, Bhakt Dhruv, Bhakt Prahlad, Narsi Bhagat, Sri Chaitanya Mahaprabhu and Jagadguru Shankaracharya.

That time I regretted that I could only include 10 ‘ Great souls ‘ in the series, when another 8 to 10 were left out. I felt particularly sad that Sant Meerabai was left out. I am making amends to that lapse now. DER AAYE DURUST AAYE. It is never too late to repair the damage. So, today’s song is from a film ” Meerabai”-47. There was yet another film ” Meera’ in 1947. Two songs from that film were already discussed here, therefore I have selected this film, which makes a Debut here.

There was one thing common in these two films on Meerabai. Both films had songs predominantly sung by just One Singer. In the film ‘Meera’-47, 17 songs out of the 18 songs were sung by its Heroine M.S.Subbulakshmi. In the film ‘ Meerabai’-47, all the 13 songs were sung by Sitarabai Kanpuri. While Meera was originally a Tamil film of 1945, dubbed in Hindi in 1947, Meerabai was a fresh film made in Hindi only. In Meera, it was a feast and delight to listen to M.S. in Hindi. Her conspicuous Hindi pronunciations were never a barrier in savouring her divine rendering. Most bhajans in her film had the traditional tunes, but in film Meerabai, the MD S.K.Pal had tried newer tunes to these Bhajans. To his credit, I must say that his attempts were praiseworthy. Just listen to today’s song and you will agree with me.

Mirabai was a great saint and a devotee of Sri Krishna. Despite facing criticism and hostility from her own family, she lived an exemplary saintly life and composed many devotional bhajans. Historical information about the life of Mirabai is a matter of some scholarly debate. The oldest biographical account was Priyadas’s commentary in Nabhadas’ Sri Bhaktammal in 1712. Nevertheless, there are many oral histories, which give an insight into this unique poet and saint of India.

Mira was born around the start of the 16th Century in the Chaukari village in Merta, Rajasthan. Her father was Ratan Singh a descendant of Rao Rathor, the founder of Jodhpur. When Mirabai was only three years old, a wandering Sadhu came to her family’s home and gave a doll of Sri Krishna to her father. Her father saw this as a special blessing but was initially unwilling to give it to his daughter, because he felt she would not appreciate it. However, Mira had, at first sight, become deeply enamoured with this depiction of Lord Krishna. She refused to eat until the doll of Sri Krishna was given to her. To Mira, this figure of Sri Krishna embodied his living presence. She resolved to make Krishna her lifelong friend, lover, and husband. Throughout her turbulent life, she never wavered from her youthful commitment.
On one occasion, when Mira was still young, she saw a wedding procession going down the street. Turning to her mother, she asked in innocence, “Who will be my husband?” Her mother replied, half in jest, half in seriousness. “You already have your husband, Sri Krishna.” Mira’s mother was supportive of her daughter’s blossoming religious tendencies, but she passed away when Meera was only young.

At an early age, Mira’s father arranged for her to be married to Prince Bhoj Raj, who was the eldest son of Rana Sanga of Chittor. They were an influential Hindu family and the marriage significantly elevated Mira’s social position. However, Mira was not enamoured of the luxuries of the palace. She served her husband dutifully, but in the evening she would spend her time in devotion and singing to her beloved Sri Krishna. While singing devotional bhajans, she would frequently lose awareness of the world, entering into states of ecstasy and trance.

Her new family did not approve of her piety and devotion to Krishna. To make things worse, Mira refused to worship their family deity Durga. She said she had already committed herself to Sri Krishna. Her family became increasingly disproving of her actions, but the fame and saintly reputation of Mirabai spread throughout the region. Often she would spend time discussing spiritual issues with Sadhus, and people would join in the singing of her bhajans. However, this just made her family even more jealous. Mira’s sister-in-law Udabai started to spread false gossip and defamatory remarks about Mirabai. She said Mira was entertaining men in her room. Her husband, believing these stories to be true, tore into her room with sword in hand. However, he saw Mira only playing with a doll. No man was there at all. Throughout these hysterical slanders, Mirabai remained unmoved by both the criticism and praise of the world.

After this experience, her family continued to torture her. They restricted her movements and sought to make her life as uncomfortable as possible. In the face of all these trials and tribulations, she remained detached from her physical suffering. There was nothing that could disturb her inner connection to Giridhara (epithet of Sri Krishna as young cowherd boy). It is said that twice her family tried to kill her, once through a venomous snake and once through poisonous drink. On both occasions, it is said Mirabai, protected by the Grace of Sri Krishna, came to no ill harm.

However, the relentless torments and hostility interfered with her life of devotion and contemplation on Krishna. She sought the advice of learned men and saints. They advised her to leave the palace and return to Brindaban. Secretly, with some followers, she slipped out of the palace and escaped to the holy city of Brindaban. In Brindaban Mirabai was free to worship Giridhara to her heart’s content. She would spend her time in singing bhajans and in ecstatic communion with Krishna. Like a true Bhakti, she worshipped God wholeheartedly. The riches of the world offered no attraction to Mirabai; her only satisfaction came from her single-minded devotion to Sri Krishna. Her soul was ever yearning for Krishna. She considered herself to be a Gopi of Vrindaban, mad only with pure love for Sri Krishna.Her devotion and spiritual magnetism were infectious.

Even learned Sadhus would come to her for inspiration. There is a story of one respected Spiritual Master, who refused to speak to Mirabai because she was a woman. Mirabai replied there was only one real man in Brindaban, Sri Krishna; everyone else was a Gopi of Krishna. On hearing this, the spiritual Master accepted the wisdom of Mirabai and agreed to talk to her. Later, Mirabai would become his student.

Much of what we know about Mirabai comes from her poetry. Her poetry expresses the longing and seeking of her soul for union with Sri Krishna. At times, she expresses the pain of separation and at other times the ecstasy of divine union. Her devotional poems were designed to be sung as bhajans, and many are still sung today.

Mirabai was a devotee of the highest order. She was immune to the criticism and suffering of the world. She was born a princess but forsook the pleasures of a palace for begging on the streets of Brindaban. She lived during a time of war and spiritual decline, but her life offered a shining example of the purest devotion. Many were inspired by her infectious devotion and spontaneous love for Sri Krishna. Mirabai showed how a seeker could attain union with God, only through love. Her only message was that Krishna was her all.

It is said in her death she melted into the heart of Krishna. Tradition relates how one day she was singing in a temple when Sri Krishna appeared in his subtle form. Sri Krishna was so pleased with his dearest devotee that he opened up his heart centre, and Mirabai entered leaving her body while in the highest state of Krishna consciousness. (free adaptation from biographyonline.net, with thanks)

Film Meerabai-47 was made by Shalimar Pictures, Poona. Its direcor was W.Z.Ahmed. Lyrics were by Meerabai and MD was Suryakant aka S.K.Pal ( he was the nephew of another MD Ramchandra Pal of Bombay Talkies). The cast of the film consisted of Neena, Masood Pervez, Neelam, Tiwari, Shyama (Dulari), Ramavtar, Noorjehan sr. etc etc.

There is a general and wrong feeling among some movie buffs in India that, artistes who opted to migrate to Pakistan after partition had failed there and died in penury and misery. While some such cases indeed were there unfortunately, but not ALL had failed. On the contrary, I feel most of the Directors, Music composers and Heros succeeded in Pakistan. This was because they were all ready made available to Pakistan industry. Many of them like Khursheed Anwar, Inayat Hussain or G.A.Chisti were regarded as pioneers of Pak film industry. Same case with directors like Dawood Chand, M Sadiq, Shaukat Husaain Rizvi etc who became pillars of Pak film industry. unfortunately, once the crop of artistes who migrated from India ended their careers, their film industry had a premature death. This was because, there was no second line of artistes to take over.

The Hero of the film Meerabai-47, Masood Pervez was also one such migrant who succeeded in Pakistan. He was born in 1918 in Amritsar, Punjab, India. He passed his M.Sc. and joined films. His first film as a Hero was Punjabi film ” Mangati “-42, which became a Golden Jubilee film. He further worked in film Gulami-45 and Meerabai-47. After Partition, he went to Pakistan.

His first film as a Director in Pakistan was ‘ Beli’-50 It had a moderate success. His big breakthrough came with film ‘ Intezar ‘-56, which was a colossal hit. He directed 23 films between 1950 and 1982. he is considered to be one of the pioneers of Pak films. He directed 3 Folk stories Mirza Jat-67, Heer Ranjha-70 and again Mirza Jat-82, all very successful. he died on 11-3-2001 in Lahore. He was the nephew of Saadat Hassan Manto.

Film Meerabai-47 had 13 songs, most of them quite good. The original Meera Bhajans were translated in plain Hindi by Pt. Bharat Vyas. With this song the film makes its Debut on this Blog.


Song-Mhaane chaakar raakho jee (Meera Bai)(1947) Singer-Sitarabai Kanpuri, Lyrics-Meera bai, MD-S K Pal

Lyrics

mhaane chaakar raakho ji ee
chaakar raakho ji
sanwariyaa aa
mhaane chaakar raakho ji
mhaane chaakar raakho ji ee
chaakar raakho ji
saanwariyaa
mhaane chaakar raakho ji

chaakar rah toon baag lagaa doon
nis-din darshan paa toon
brindaawan ki kunj-galin mein
brindaawan ki kunj-galin mein
teri leelaa gaa toon
teri leelaa gaa toon

maane chaakar raakho ji
chaakar raakho ji
saanwariyaa
mhaane chaakar raakho ji

unche unche mahal banaaun
jis bich raakhoon baari
saanwariyaa ke darshan paaun
saanwariyaa ke darshan paaun
jaaun tan man vaari
jaaun tan man vaari

mhaane chaakar raakho ji
chaakar raakho ji
saanwariyaa
mhaane chaakar raakho ji

jogi aayaa jog karan koon
jogi aayaa jog karan koon
tap karne sanyaasi
hari-bhajan ko saadhu aayaa
bindraaban ke waasi
kaahe neer jhare nainan se
kaahe neer jhare nainan se
dheer dharo ji meeraa
aadhi raat prabhu darshan de hai
aadhi raat prabhu darshan de hai
prem nadi ke teeraa aa
prem nadi ke teeraa

mhaane chaakar raakho ji
chaakar raakho ji
saanwariyaa
mhaane chaakar raakho ji


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3747 Post No. : 14709

“Gopinath”(1948) was produced by Brij Kishore Agrawal and directed by Mahesh Kaul for Shanti Lok Chitra Production, Bombay. The movie had Raj Kapoor, Tripti Mitra, Nand Kishore, Latika, Sachin Ghosh, Anwari Bai, Feroz, Niranjan Tiwari, Mahesh Kaul, Randhir, Baby Zubeida etc in it.

This “social” movie had nine songs in it that were penned by three lyricists namely Soordas, Meerabai and Rammurty Chaturvedi. Two of the three “lyricists”, viz Soordas, Meerabai lived hundreds of years ago and their influence on Indian music scene can be seen from the fact that lots and lots of songs used in HFM and elsewhere were their creations.

Two songs from the movie have been covered in the past.

Here is the third song from “Gopinath”(1948) to appear in the blog. This song is sung by Meena Kapoor. Meera bai (1498-1546), who lived more than four hunndred years ago is credited as the lyricist. This is the 37th song in the blog that is “penned” by Meera Bai !

Music is composed by Ninu Majumdar.

Picturisation shows this song being lip synced by Tripti Mitra, who was the wife of Shombu Mitra- well known as director of “Jaagte Raho”(1956). The young girl visible in the picturisation should be baby Zubeida.


Song-Main birhan baithhi jaagoon jagat sab sowe ri aali (Gopinath)(1948) Singer-Meena Kapoor, Lyrics-Meera Bai, MD-Ninu Majumdar

Lyrics

main birhin baithhi jaagoon
jagat sab sowe ri aali
main birhin baithhi jaagoon
jagat sab sowe ri aali

dulhan baithhi rang mahal mein
motiyan ki lad pove
dulhan baithhi rang mahal mein
motiyan ki lad pove ae
ik dulhan hum aisi dekhe
ik dulhan hum aisi dekhe
ansuwan maala pove ri
main birhin baithhi jaagoon
jagat sab sowe ri aali
main birhin baithi jaagoon
jagat sab sowe ri aali

taare gin gin rain bihaani
sukh ki ghadi kab aave
taare gin gin rain bihaani
sukh ki ghadi kab aave ae ae
meera ke prabhu giridhar naagar
meera ke prabhu giridhar naagar
jab unhen darash dikhaave ri
main birhin baithhi jaagoon
jagat sab sowe ri aali
main birhin baithi jaagoon
jagat sab sowe ri aali


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3621 Post No. : 14430

“Raajraani Meera”(1956) was directed by G P Pawar for Chitra Bharati Production, Bombay. The movie had Roopmala, Mahipal, Lalita Pawar, Sulochana, Sapru, Prem Adeeb etc in it.

The movie had eight songs in it. One song has been covered in the past.

Here is the second song from this movie. This song is sung by Lata. B D Mishra is the lyricist. Music is composed by S N Tripathi.

Only the audio of this song is available. The song was clearly picturised on the character playing Meera. Going by the cast, it could be Roopmala. I request our knowledgeable readers to throw light on this matter.


Song-Karoongi karoongi main to hari se preet karoongi(Rajrani Meera)(1956) Singer-Lata, Lyrics-B D Mishra, MD-S N Tripathi

Lyrics

hmm hmm hmm
hmm hmm hmm hmm
hmm hmm hmm
hmm hmm

karoongi
karoongi main to hari se preet karoongi
karoongi
karoongi main to hari se preet karoongi
hari charnan ki naiyya se bhav saagar paar karoongi
karoongi
karoongi main to hari se preet karoongi

jamuna tat pe bansi bajaaye
jamuna tat pe bansi bajaaye
gopin ko nit naach nachaaye
jamuna tat pe bansi bajaaye
gopin ko nit naach nachaaye
wahi baansuri waala kaanha
wahi baansuri waala kaanha
mero naath kahaaye ae ae
karoongi
karoongi main to hari se preet karoongi

lok laaj ka tod ke bandhan
ho gayi re main to prem deewaani
lok laaj ka tod ke bandhan
ho gayi re main to prem deewaani
meera ke sab kunj bihaari
meera aa
meera ke sab kunj bihaari
girdhar ??
karoongi
karoongi main to hari se preet karoongi


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3597 Post No. : 14355

Today (24 may 2018) is the 25th rememberance day of Bulo C Rani (6 may 1920-24 may 1993). He is one of several artists, many of the music directors whose birth as well as remembrance days fall in the same month.

On this occasion, here is a song from “Dharti”(1946) as a tribute to Bulo C Rani.

“Dharti”(1946) was directed by Manibhai Vyas and it had Mumtaz Shanti, Trilok Kapoor, Padma Banerji, Vikram Kapoor, Baby Anwari, Sheikh Hussain, Pandit Iqbal, Jugal Kishore, Lakshman, Mustafa, Leela Shinde, and Tipnis.

The movie had eleven songs in it. One song has been covered in the past.

Here is the second song from “Dharti”(1946) to appear in the blog. This song is sung by Mohantara Talpade. Lyrics are by Pandit Indra Chandra. Music is composed by Bulo C Rani.

Only the audio of this song is available. I request our knowledgeable readers to throw light on the picturisation of this song which sounds like a meera bhajan.


Song-Roothh gaye mose manmohan ab saawan ko kya karoon (Dharti)(1946) Singer-Mohantara Talpade, Lyrics-Pt Indra Chandra, MD-Bulo C Rani

Lyrics

rooth gaye mose manmohan
ab saawan ko kya karoon
rooth gaye mose manmohan
ab saawan ko kya karoon
chhod chale mohe madhusudan
ab madhuwan ko kya karoon
chhod chale mohe madhusudan
ab madhuwan ko kya karoon
mor papeeha koyal bairan
mor papeeha koyal bairan jali ko aur jalaaye re
jali ko aur jalaaye re
birhan aansu ki jamuna mein
birahan aansu ki jamuna mein pal pal doobi jaaye re
pal pal doobi jaaye re
raakh hui jal jal kar un bin
ab chandan ko kya karoon
raakh hui jal jal kar un bin
ab chandan ko kya karoon

gagan pe chanda jug jug jhaanke
gagan pe chanda jug jug jhaanke
sheetal aangan gaaye re
sheetal aangan gaaye re
kunj gali mein vyaakkul birhan
kunj gali mein vyaakul birhan
ang ang murjhaaye re
ang ang murjhaaye re
main to hoon sajan ki jogan
ghar aangan ko kya karoon
main to hun sajan ki jogan
ghar aangan ko kya karoon
rooth gaye mose manmohan
ab saawan ko kya karoon


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

“Kuchh Naya”(1948) was directed by Ninu Majumdar for Shanti pictures, Bombay. This “social” movie had Ramesh Arora, Sudha Rao, Ramesh Sinh, Purnima Chaudhary, R S Dubey, Tribhuwan Sinha, Sharad Rao, Master Prakash etc in it.
Read more on this topic…


What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over TWELVE years. This blog has over 15900 song posts by now.

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

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(© 2008 - 2020) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

Total number of songs posts discussed

15916

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Movies with all their songs covered =1221
Total Number of movies covered =4362

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