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

Archive for the ‘Shiv bhajan’ Category


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 : 3982 Post No. : 15069

In some cases, it is the voice – some people will impress you, attract you with their voice. Girish Karnad’s voice has one of the most relaxing sound quality that I have heard. And his presence, his demeanor, his being in a scene, on screen or on stage, always had the same expression of comfort and relaxation as his voice. Seeing him, listening to him, one could never imagine if this person could be moved to a hasty or an impatient action.

He passed away, the day before. The news said that he was 82. I was surprised, it couldn’t be. Over the years since I had first seen him live in a drama in Delhi – almost a millennium ago, and then through films and media images, he always seemed to be the same, never changing, nor ageing. Be it the memories and images from the 60s, 70s, or even recent. He always appeared to be the same.

So when I read this one line in a media news item, I was very taken aback. Sure, I had not seen him active for the past few years, but the thought process probably had never projected far enough to make believe that he was past his 80th. In fact, as I reviewed his filmography in preparation for this article, I find that 5 of his upcoming films are slated for released through the rest of 2019.

Mid 1960s to 70s was an era for the theatre in India. One sees an upsurge in the quality of drama, the subject matter handling by the playwrights and the abilities of the dramatists. If it was Badal Sircar in Bangla (east), it was Vijay Tendulkar in Matathi (west); if it was Mohan Rakesh in Hindi (north), it was Girish Karnad in Kannada (south). These playwrights brought in some very incisive, some very timeless creations, that brought a completely fresh air, breaking new grounds in understanding the human psyche – how the humans interact, with each other and within themselves, how the social influences mould the individual behaviors, and in reverse, how the human expressions manipulate the social conduct. And together, how they shape the movement of history.

Girish K broke out a very crisp and a surprisingly innovative line of enquiry, with his very first play – ‘Yayati’. Most of the readers will be familiar with this episode from the epic, Mahabharat. Yayati is a king in the lineage of the Chandravansh, the lineage of Chandra, the Moon God. He is portrayed as an irresponsible king, consumed by his obsession with young age and the pleasures to be derived from it. He is afraid of getting old. His wife is Devyani, daughter of Rishi Shukracharya. Sharmishtha is the name of one of the ladies in waiting of Devyani. Actually a princess herself from another kingdom, Sharmishtha becomes a bounden server to Devyani due to certain events. As the events unfold furhter, Yayati has an extra marital affair with Sharmishtha, who bears three sons for him. Devyani too has three children, one daughter and two sons. Devyani complains to her father, who is the purohit (high priest) of the demon clan. Incensed by the behavior of his son-in-law, he curses him to a premature and a prolonged old age.

Yayati is shattered. He goes to Shukracharya, begs for forgiveness and removal of the curse. Shukracharaya tells him that his curse cannot be reversed, but it can be transferred to a person willing to take on such a curse. Yayati is overjoyed, but the joy is short-lived as he finds out that no one is ready to accept his curse. Finally, one of his sons, Puru, agrees to take on the curse of his father, wanting to bring peace to his father. Yayati enjoys another one thousand years of youth, donated by his son Puru.

This is a well known tale, and it has its own share of interpretations, analysis and philosophical discourse in literary critique over the ages. Girish K stepped in and asked a question that was never asked for many a millennia. What about Chitralekha?

It is not clear whether this character by this name exists in the annals of Mahabharat. Girish K is alluding to, and enquiring about Puru’s wife. A man goes ahead and takes on the curse of old age for a thousand years. There is name and fame, for this sacrifice. But no one ever asked, what about his wife? What happened to her life and her time, and whether and how did she endure this abnormally changed circumstance foisted upon her. With certain modifications to the original plot, Girish K is the first scholar to ask this question.

This play came about during Girish K’s journey to England by ship in 1960. The version of Mahabharat by C Rajagopalachari was published in 1951. This version of the epic influenced Girish K, and he went on to create two great plays based on themes from this epic. By his own account, ‘Yayati’ came so naturally to him, almost as if someone was dictating and he was just transcribing. The writing of this play was completed on this sea voyage of three weeks. He was traveling to London, having been awarded the Rhodes Scholarship at the Oxford University. During his stay and studies, he completed a triple MA, simultaneously in philosophy, politics and economics. The second play, that was born out of the influence of Mahabharat, sat in his mind for almost three decades, and then was born as ‘Fire and Rain’, which was staged first time in 1995.

His other most celebrated theatrical creation is another view into the history of India. Titled ‘Tuglaq’, this play took the theatre world, the audiences and the socio-political commentators by storm when it was first staged in 1966. In 1972, this play was enacted by the National School of Drama, directed by Ebrahim Elkazi, and presented on the ramparts of the Old Fort (Purana Qila) in Delhi. Using the ruins of the Old Fort as the backdrop, the play was enacted, to a very critical acclaim. Personally, that was my first introduction to Girish K. Quite enchanted by the theatre scene in Delhi, I have seen this enactment of the play while I still was in school.

The play covers the last 5 years of the reign of Mohammed Bin Tuglaq. The protagonist, is portrayed as having great ideas and a grand vision, but his reign was an abject failure. He started his rule with great ideals of a unified India, but his kingdom degenerated into anarchy. His proclamation to move his capital from Delhi to Daulatabad, resulted in a massive exodus that brought misery and sorrow to a huge population. This was seen by the commentators as an allegory to the Partition of the country in 1947, and mass movement of people from both sides of the border.

In his later discussions, Girish K has revealed that the play was not originally written with an intent to comment on the then current political scenario in the country. Writing about the commentary on his play, Girish K has stated – “I did not consciously write about the Nehru era, I am always flattered when people tell me that it was about the Nehru era and equally applies to development of politics since then. But, I think, that is a compliment that any playwright would be thrilled to get, but it was not intended to be a contemporary play about a contemporary situation.”

Girish K started his theatre career in Madras, with a drama group called the Madras Players. Starting with ‘Yayati’ we see the development of a multi-faceted career that has lasted for almost six decades – author, teacher, playwright, director, stage actor, film actor, director of FTII Pune, chairman of the Sangeet Natak Academy – there is so much in his career to write and tell about.

His association with the cinema begins with ‘Samskaara’ (1970) and ‘Vamsh Vriksh’ (1972), both in Kannada, and both well recognized and well awarded films. Girish K was also the co-director of ‘Vamsh Vriksh’. The storylines for both films are a very strong statement on the evolving nature of human relationships, as each individual passes through his or her own pleasures, travails, dreams and anguish. The stories tell of compelling human emotions that drive human beings, to behave in manners that are quite out of the ordinary expectations. In ‘Samskaara’, Praneshcharaya (role played by Girish K), a devout Brahmin, is so convinced of moksha being the ultimate goal of life, and being so focused to achieve it, marries an invalid, so he can remain a celibate all his life. His antithesis is life is Narayanappa, a Brahmin who has given up the traditions – he eats meat and lives with Chandri, a lady of lower standing in the society. As the events unfold, Narayanappa passes away. His final rites become a controversy – a non-Brahmin cannot perform his rites, and no Brahmin in the village is ready to perform the rites for one who has fallen from the tradition. In the midst of all this, Praneshcharya one night wakes up in the lap of Chandri. Unable to reconcile with his own actions, he leaves the village in despair. Chandri secretly performs the last rites of Narayanappa and leaves the village too. In the last scene, Praneshcharya is seen returning to the village. Did he confess and atone for his actions? – the question remains unanswered.

‘Vamsh Vriskh’ is a complex narrative of the progression in a family, the interrelationships, the hidden connects and the invisible knowns. The protagonist, Srinivasa Shrotri, goes through many a tribulation in life, and tries to keep his mental peace intact. Having lost or settled all his affairs, he finally renounces householder’s life to become a sanyaasi.

In 1974, Girish K appeared in a children’s film ‘Jaadu Ka Shankh’. Not much more information about this film is locatable.

In the next three years, we see Girish K in three films that are outstanding statements of the new-wave cinema. In 1975, we see him in ‘Nishaant’ as the timid but principled schoolmaster, whose wife is abducted by the brothers of the landlord. The film has a kind of idealist ending, with the schoolmaster fatally attacking the landlord during a religious celebration and the entire village rising up against the landlord and lynching him and his entire family. In 1976 came ‘Manthan’ – the story of the white revolution in India. Girish K has played the role of Dr Rao, a chemist assigned in the rural areas, to help villagers determine the quality of their milk and to help free them from the clutches of the milk contractors by establishing co-operative societies. In 1977, we see Girish K in ‘Swami’, assaying the role of Ghamshyam, an upright and principled eldest son in the family, after passing away of his father, handling the family matters and his own personal life very maturely and with wisdom, in the presence of a hostile step mother.

In the next four decades , Girish K has appeared in almost 100 films, in Hindi, Kannada, Telugu, Tamil, Malyalam and Assamese. I remember seeing him in ‘Man Pasand’ (1980), playing the role of Kashinath, a close friend of Pratap, the protagonist (role played by Dev Anand). Later, I have seen him in ‘Aasha’ (1980), ‘Ek Baar Chale Aao’ (1983), ‘Tarang’ (1984), till the waning interest in newer films kept me away. Ah yes, he was part of the dear ‘Malgudi Days’ series on the television, playing the role of Swami’s father. In his other directorial outings, he has directed ‘Godhuli’ (1977) and ‘Utsav’ (1984), films that have earned a lot of critical acclaim. He has also made a number of documentaries, like one on the Kannada poet DR Bendre (1972), ‘Kanaka-Purandara’ (English, 1988) on two medieval Bhakti poets of Karnataka, Kanaka Das and Purandara Das, and ‘The Lamp in the Niche’ (English, 1989) on Sufism and the Bhakti movement in India. Many of his films and documentaries have won several national and international awards.

Girish K’s accomplishment as an actor is simply his complete comfort with being the character he is playing. Watching him on the screen, one has this confidence that he knows all the ins and outs of the character he plays, and that in some incarnation he has lived that role himself. The authenticity of portrayal is simply magnificent.

In 1985, he appeared in the role of Pandit Shiv Shankar Shastri in the film ‘Sur Sangam’. The film, and his portrayal of the senior patriarchic exponent of classical music, are my all time favorite. I have written about this film in an earlier article with the song “Aaye Sur Ke Panchhi Aaye”. The film revolves around classical music and the story of Pt Shiv Shankar Shastri, one of the greatest living exponents of this art form. The story line brings in Tulsi (role played by Jayaprada), who is musically inclined and who reveres Shastri ji. The turn of events brings a certain unexplainable element – Tulsi is sexually assaulted, and the man responsible also throws down the portrait of Shastri ji. In a fit of violent anger, Tulsi slays the man with a shard of glass from broken portrait, runs off into the night, and boards a train departing from the local station. As destiny would have it, she barges into a first class coupe whose sole occupant is Shastri ji, who is traveling for participating in an out of town program. The two travel together, and return. Tulsi starts living in the same house as Shastri ji. He is a widower and has a girl child. Slowly, Tulsi becomes a part of the household. Being inclined for classical music, she also starts to practice while staying at Shastri ji’s home. One night, there is a special celebration at the temple of Lord Shiv. Shastri ji is to perform. Tulsi accompanies him, as usual. With the performance about to begin, Shastri ji motions Tulsi to pick up and play the taanpura in accompaniment. At this, all his participating disciples become incensed and leave the stage one by one. Tulsi rushes back home (and then leaves the household for good), the audience leaves and Shastri ji is the sole person left in the temple. In the absence of any accompaniment and musical support, he resolves to make his musical presentation regardless, to the Lord. And he presents this song, alone in a deserted temple, to Lord Shiv.

I picked this song specially, to highlight one aspect of Girish K’s artistic expressions, which was probably hidden until then. An accomplished performer, he has performed the dance steps as part of this song. Every review of the film at that time, commented on the dancer in Girish K. He revealed in an interview that he had taken on special dance training to prepare for this song. You can see the performance for yourself. It is no less than an accomplished and well trained dancer, presenting these steps in unison with the music.

This one song, in my humble opinion, is the best artistic performance that I have seen from Girish K. See the manner in which he starts his dialogue with the Lord. His singing, his facial expressions, his gestures and movements, all coalesce into a fluid expression of a conversation with Lord Shiv. No one else is present so this is a very private conversation, in which Shastri ji is telling the Lord to listen to His own sound coming from inside him. This entire clip is a one wonderful performance by Girish K that probably has not been surpassed.

It is a sad goodbye that we bid today. The person, the artist, and a scholar – it is truly a great loss to the cultural landscape of this sub continent that may never be made up.

One commentator has written about Girish K’s creations, that “. . . Girish Karnad allowed his characters to ask the questions, to struggle with the inconclusive, and hence his stories truly never ended.” Yes, that is the legacy of this multi-faceted artist – his creations, his stories, his characters – all still have a lot be explored for. That “struggle with the inconclusive” is so appropriate a passage dealing with the complex realities and relationships in the course of a human life. His stories have not really ended. And neither has his legacy.

Girish K – Rest in Peace. . . Enduring Peace

 

Song – Hey Shiv Shankar, Hey Karunakar  (Sur Sangam) (1985) Singer – Rajan-Sajan Misra, Lyrics – Vasant Dev, MD – Laxmikant Pyaarelal

Lyrics (Provided by Prakashchandra)

hey..ey..ey shiv shankar
hey..ey..ey karunakar
parmanand maheshwar

hey shiv shankar
hey karunakar
hey shiv shankar
hey karunakar
parmanand maheshwar
mere bheetar tum gaate ho
mere bheetar tum gaate ho
sun lo tum apna ye swar
hey shiv shankar
hey karunakar
parmanand maheshwar

maun gaan ka dhyaan jamaaya
maun gaan ka dhyaan jamaaya
yog raag ko hi maana
tum hi baney ho taan praan ki
tum hi baney ho taan praan ki
mere tan mann ko paawan kar
hey shiv shankar
hey karunakar
parmanand maheshwar

rudra been jhankar tumhaari
rudra been jhankar tumhaari
shudra janon se rahi ansuni
dhanya tumhi ho jaavo sureshwar
dhanya tumhi ho jaavo sureshwar
apne mukh se sun apna swar
hey shiv shankar
hey karunakar
parmanand maheshwar [

nabh chaaya ghan ghor bijuriya damke jhamke
adharon ki muskaan tumhaari cham cham chamke
aaaa aaaaa aaaaa aaaaaa aaaaaa
ghir ghir aaye megh bhayankar garaj garajte
goonja nupur naad tumhaara thirak thirkate
jhuk gaya matha ki tum ne haan kaha jis pal umapati
sheesh ki ganga dharaa par utar aayi chhal-chhalaati
ga ga re ni re ga ma
dha ni re ga re sa
geet ki har lehar par tum jhoom kar naacho nateshwar
aaj is anand varsha mein nahaao tum maheshwar
aaa aaaaaa aaaaaaj is anand varsha mein
nahaa..aavoo tum maheshwar
shiv shankar
maheshwar
shiv shankar
aaaa aaaaa aaaaaaa

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

हे॰॰ए॰॰ए शिव शंकर
हे॰॰ए॰॰ए करुणाकर
परमानन्द महेश्वर

हे शिव शंकर
हे करुणाकर
हे शिव शंकर
हे करुणाकर
परमानन्द महेश्वर
मेरे भीतर तुम गाते हो
मेरे भीतर तुम गाते हो
सुन लो तुम अपना ये स्वर
हे शिव शंकर
हे करुणाकर
परमानन्द महेश्वर

मौन गान का ध्यान जमाया
मौन गान का ध्यान जमाया
योग राग को ही माना
तुम ही बने हो तान प्राण की
तुम ही बने हो तान प्राण की
मेरे तन मन को पावन कर
हे शिव शंकर
हे करुणाकर
परमानन्द महेश्वर

रुद्र बीन झंकार तुम्हारी
रुद्र बीन झंकार तुम्हारी
शूद्र जनों से रही अनसुनी
धन्य तुम्हीं हो जावो सुरेश्वर
धन्य तुम्हीं हो जावो सुरेश्वर
अपने मुख से सुन अपना स्वर
हे शिव शंकर
हे करुणाकर
परमानन्द महेश्वर

घन छाया घनघोर बिजुरिया दमके झमके
अधरों की मुस्कान तुम्हारी चम चम चमके
आsss आssss आssss आsssss आsssss
घिर घिर आए मेघ भयंकर गरज गरजते
गूँजा नूपुर नाद तुम्हारा थिरक थिरकते
झुक गया माथा कि तुमने हाँ कहा जिस पल उमापति
शीश कि गंगा धरा पर उतार आई छल-छलाती
ग ग रे नि रे ग म
ध नि रे ग रे स
गीत की हर लहर पर तुम झूम कर नाचो नटेश्वर
आज इस आनंद वर्षा में नहाओ तुम महेश्वर
आ आ आ॰॰आज इस आनंद वर्षा में
नहा॰॰आवो तुम महेश्वर
शिव शंकर
महेश्वर
शिव शंकर
आsss आssss आssssss

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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 : 3881 Post No. : 14905

I wish all our readers a very Happy and cosmic MAHASHIVRATRI, to be celebrated today, i.e. 4th March 2019.

This is the one day in the entire year (barring Shravan Somvars) on which I become more religious and engage in pooja, listening to Shiv Bhajans and also do fasting. Our family was very religious. My father was a Sanskrit Scholar and had spent some time in Banares, giving religious sermons in the Kashi Vishveshar Temple during 1948-49. This was the time when he had gone underground to avoid arrest, as most Hindu Mahasabha leaders were arrested along with Savarkar, after Gandhi ji’s death. He was finally arrested and freed by the court “ba-izzat“. We came down to Hyderabad and he started practicing as a Lawyer as he was BA LLB.

Very soon we moved into our spacious bungalow, adjacent (within our compound) to which he constructed a Mahadev Mandir. It was open to public also. Every Shrawan Somvar and Mahashivaratri, there used to be big celebrations, a pooja by 101 bramhins and playing of Shiv Bhajans throughout the day. All this has been etched deep on my mind and I too became a Shiv Bhakta. Now also I do poojas on these days, but I miss all those days’ enjoyment as a growing teenager.

I have read the Shiv Puraan completely (and also other Puraans). The marriage of Shiv-Parvati has been described very minutely in this Puraan. They are believed to have married on the midnight of Mahashivratri. During the period upto early 70s, I never missed any Hindi/ Marathi/ Telugu/ Kannada Shiva film. I have also seen this film – ‘Shankar Parvati’ (1943).

‘SHANKAR PARVATI’ was quite a successful movie in those days, as it appealed to the religious minded Indians, who have grown up listening to mythological stories. I remember seeing this movie in its second run, as there was an attraction of trick scenes in this movie. The story is about how Sati (Sadhona Bose) the daughter of King Daksha, goes to attend Yagnya by Daksha, uninvited and gets insulted for her husband – Shankar (played by Arun Kumar Ahuja- father of actor Govinda). She jumps into the fire and dies and on hearing this, Shankar is very angry and does the Tandav Nritya. Sati is reborn as Parvati, who, to regain her love back, dances and wins Shankar. Their elder son Kartikeya ,destroys Tarakasur etc.

Sadhana Bose was an internationally acclaimed dancer and acted in some Hindi and several Bengali movies in the 1940s and 1950s.
Her most famous film was ‘RAJNARTAKI’ (1941), opposite Prithviraj Kapoor and it was made in Hindi, English and Bengali at the same time. Though a box office failure, it had fabulous dances by her.

There are few songs sung by Sadhana Bose in ‘Shankar Parvati’ and ‘Paigham’ (1942). According to Timir Baran, these are not sung by her, but by Suprabha Ghosh. However, famous music Historian Kamalakar Pasupuleti says that Sadhana Bose was an accomplished dancer and singer too. In her all time favourite ‘ALIBABA’ in Bengali she, as Marjina, and her director husband Madhu Bose, as Abdulla in the film, sang many duets which are popular even today in Bengal.

Arun Mukherji, Music Director of ‘Parineeta’ (1953), had literally translated one song from ‘Alibaba’ in Hindi “Aye Baandi, Tum Begum Bani….’ sung by Kishore and Asha in ‘Parineeta’ (1953).

The film was directed by Chaturbhuj Doshi. During the early era of talkie films, till the 1960s, there was a horde of Gujarati directors and producers. Bhatts, Trivedi, Thakur, Shahs, Desais, Pancholi, Doshi, Daves were some names frequently found directing various genres. Usually they specialised in certain class and type of films. The Bhatts (Shankar and Vijay) liked to do Mythological films, Ramnik Shah handled stunt, action, fantasy films, Jayant Desai was social film oriented etc.

Chaturbhuj Doshi (1894–1969) was a Hindi and Gujarati writer-director of Indian cinema. He was one of the top Gujarati screenplay writers, who helped script stories for the Punatar productions. He is stated to be one of the leading figures who launched the Gujarati film industry with work on notable films like ‘Gunsundari’ (1948) and ‘Nanand Bhojai’ (1948). He was ‘well known’ for his family socials and had become ‘a celebrity in his own right’. He made a name for himself as a journalist initially and was referred to as the ‘famous journalist’ & publicist by Baburao Patel, editor of Filmindia.

His debut film as a director was ‘Gorakh Aya’ (1938), produced by Ranjit Movietone, though he joined Ranjit in 1929, as a scriptwriter. In 1938, he directed another film for Ranjit, a social comedy, ‘The Secretary’, and both films were box-office successes for Doshi. His forte was socials, regularly adapting stories and novels for films. He worked initially on comedies like ‘Secretary’ and ‘Musafir’ (1940), but then ‘shifted to more significant films’.

Chaturbhuj Anandji Doshi was born in 1894 in Kathiawad, Gujarat, British India. He was educated at the University of Bombay, after graduation he started work as a journalist for a daily, Hindustan (1926), working for editor Indulal Yagnik. His entry into films was working as a scenarist in the silent era for directors like Jayant Desai, Nandlal Jaswantlal & Nanubhai Vakil. He joined Ranjit Movietone in 1929, and wrote stories and screenplay for several of Ranjit films.

Film ‘Gorakh Aya’ (Gorakh has come) in 1938, was the first film directed by Doshi. It was produced by Ranjit Movietone with screenplay by Gunvantrai Acharya & dialogues by PL Santoshi. The music, termed ‘good’ was composed by Gyan Dutt. ‘The Secretary’ (1938), was a “riotous comedy”, starring Madhuri, Trilok Kapoor. Charlie. The music was composed by Gyan Dutt, became a regular in most of the films directed by Doshi. Musafir in 1940 was a comedy costume drama, which had Charlie playing a prince.

‘Bhakta Surdas’, a devotional film directed by Doshi in 1942, is stated to be the “most famous” of the several versions made. It starred KL Saigal and Khursheed “the singing idol(s) of millions”, winning “unprecedented popularity” everywhere.

‘Mehemaan’ (1942) starred Madhuri, Ishwarlal, Shamim and Mubarak. Music director Bulo C. Rani had come to Bombay in 1942, and joined Ranjit Studios assisting Khemchand Prakash in music direction.

Doshi helped enormously in the development of the Gujarati cinema. During 1948-49 he directed three successful Gujarati films which “brought immense success to the industry”. The success of the Gujarati film ‘Kariyavar’ in 1948, directed by Chaturbhuj Doshi from a story by Shaida, called Vanzari Vaav, helped establish the Gujarati film industry along with other films like ‘Vadilo Ne Vanke’ (1948) by Ram Chandra Thakur and ‘Gadono Bel’ (1950) by Ratibhai Punatar. His next Gujarati film was ‘Jesal Toral’ (1948) based on folk-lore, which proved a big box-office success. In 1949, Doshi directed another Gujarati film, ‘Vevishal’, an adaptation of Meghani’s novel of the same name.

He also wrote stories, and one of his stories ‘Pati Bhakti’ was used in the Tamil film ‘En Kanawar’ (1948) produced by Ajit Pictures, which starred the Veena maestro, Sundaram Balachander, who was also the debut director and music composer for the film. In all he directed 24 Hindi films. His last Hindi film was ‘Sanskar’ (1958). He had also written few songs in film ‘Maya Bazaar’ (1932).

Chaturbhuj Doshi died on 21 January 1969 in Bombay, Maharashtra, India. Filmography

1932: Narasinh Mehta (Writer), 1934: Sitamgarh (Writer), 1938: Gorakh Aya, Secretary, 1939: Adhuri Kahani, 1940: Musafir, 1941:Pardesi, Sasural, 1942: Bhakta Surdas, Dhiraj, Mehmaan, 1943: Chhoti Maa, Shankar Parvati (Director, Writer), 1944: Bhartrahari, 1945:Murti, 1946: Phulwari, 1947: Bela, Kaun Hamara, 1948: Jesal Toral, Kariyavar (Director, Writer), Sati Sone, 1949: Bhakta Puran, Vevishal, 1950: Akhand Saubhagya, Kisi Ki Yaad, Ramtaram, 1954: Aurat Teri Yahi Kahani, 1956: Aabroo, Dashera, Dassehra, 1957: Khuda Ka Banda, Shesh Naag, 1958: Sanskar, 1960: Mehndi Rang Lagyo (Writer, Lyricist).

The cast of the film was Sadhona Bose, Arun Ahuja, Mahipal, Rewa Shankar, Narbada Shankar etc. The MD was Gyan Dutt. Today’s song is sung by Rewa Shankar Marwadi. This is only the second song of Rewa Shankar on this blog. About 3 years ago, our Sadanand Kamath ji had given a complete biography of the actress dancer Sadhona Bose, while discussing the song – “Ganga Kinaare Mohe Bagiyaa Lagaa Do Sainyya“, of this film, hence I will not repeat it.

Sadhana Bose was responsible for the names of at least 2 actresses in Bombay. Actress Sadhana Shivdasani’s mother was very much impressed with the dancing skills of Sadhana Bose. She was her fan and saw her films repeatedly. When she was carrying for Sadhana, she had decided that if she gets a girl, her name would be Sadhana only. Thus Bombay Sadhana got the Calcutta Sadhana’s name.
Secondly, actress/dancer Kumkum’s real name was Zebunnisa. When she was selected by director Shahid Lateef, for his film ‘Sheesha’ (1952), first time for debut, there was already an actress Zebunnisa existing. What’s more, this Zebunnisa was also in the same film, so Shahid was thinking for a new name for the newcomer. He remembered that his favourite Sadhana Bose had acted in a film by the name ‘Kumkum-the Dancer’ (1940), so he selected the name Kumkum for this new dancer and Kumkum got her name.
After Sadhna stopped her dance films as a heroine, she resumed her work as a choreographer. In the early 50s, she choreographed in films like ‘Bhola Shankar’ (1951), ‘Nandkishore’ (1951), ‘Shinshinaki Boobla Boo’ (1952). She used to do bit roles too in these films to earn money. It is very sad that she died in penury and neglect, but artistes in the 40s and 50s-many of them- had similar stories.

I tried very hard to get some information about today’s singer Rewa Shankar Marwadi, who was an actor, lyricist, singer and also music director  in the 1930s and 1940s. However I could not get anything concrete. Anyway I found a note on this multi talented artist of the early era, written by Shri Dhananjay Naniwadekar aka Nani, on the old RMIM forum, some 15 years ago and adapted by me for this article.

Some of Ranjit Movietone’s earliest talkie films had music by Ustad Jhande Khan. Next came the trio of Banne Khan, Ganga Prasad Pathak and Rewa Shankar Marwari. None of that music was ever released on 78 rpm records. From 1938-39, the great duo of Jnan Dutt and Khemchand Prakash took over the charge of Ranjit’s music, later to be joined by Bulo C Rani. It was only around 1938 that Ranjit started releasing its film music on 78-rpm records.

Rewa Shankar Marwari’s association with Ranjit Films and films produced or directed by ex-Ranjit hand Jayant Desai continued in the
1940s. While it is a pleasant surprise that imdb.com has a page for an obscure name like ‘Rewashankar Marwadi’ at all, it is not surprising
that his filmography has been put together for the site by people who are far from competent at that sort of thing. He acted in 27 films, till 1955, sang 12 songs in 9 films and gave music to 21 films from ‘Veer Babruwahan’ (1934) to ‘Matrubhoomi’ (1949).

Rewa Shankar sang a beautiful classical composition ‘Jai Jai Shankar’ in the film ‘Shankar Parvati’ for composer Jnan Dutt. It is available with only few collectors, and is a rare instance of film music using Raag Shree.

Song – Jai Jai Shankar Gangadhar Shiv Sukhkaari  (Shankar Parvati) (1943) Singer – Rewa Shankar, Lyrics – Pt Indra, Music – Gyan Dutt

Lyrics

jai jai shankar gangadhar shiv sukhkaari
jai jai shankar gangadhar shiv sukhkaari
jai ajar amar anandroop bhayahaari
jai ajar amar anandroop bhayahaari
jai jai shankar gangadhar shiv sukhkaari

jai indu bhaal ur vyaal maal hitkari
jai indu bhaal ur vyaal maal hitkari
jai ashutosh har dosh rog tripurari
jai ashutosh har dosh rog tripurari
jai jai shankar gangadhar shiv sukhkaari
jai ajar amar anandroop bhayahaari
jai ajar amar anandroop bhayahaari
jai jai shankar gangadhar shiv sukhkaari
jai jai shankar gangadhar
jai shankar gangadhar shiv sukhkaari
jai ajar amar anandroop bhayahaari
jai jai shankar gangadhar
jai shankar gangadhar
jai shankar gangadhar shiv sukhkaari
jai jai

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

जय जय शंकर गंगाधर शिव सुखकारी
जय जय शंकर गंगाधर शिव सुखकारी
जय अजर अमर आनन्दरूप भयहारी
जय अजर अमर आनन्दरूप भयहारी
जय जय शंकर गंगाधर शिव सुखकारी

जय इन्दु भाल उर व्याल माल हितकारी
जय इन्दु भाल उर व्याल माल हितकारी
जय आशुतोष हर दोष रोग त्रिपुरारी
जय आशुतोष हर दोष रोग त्रिपुरारी
जय जय शंकर गंगाधर शिव सुखकारी
जय अजर अमर आनन्दरूप भयहारी
जय अजर अमर आनन्दरूप भयहारी
जय जय शंकर गंगाधर शिव सुखकारी
जय जय शंकर गंगाधर
जय शंकर गंगाधर शिव सुखकारी
जय अजर अमर आनन्दरूप भयहारी
जय जय शंकर गंगाधर
जय शंकर गंगाधर
जय जय शंकर गंगाधर शिव सुखकारी
जय जय


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 : 3562 Post No. : 14283

“Baalak Aur Jaanwar”(1975) was Nanabhai Bhatt for Usha Productions Bombay. This obscure movie had Master Alankar, Baldev Khosa, Usha Solanki, Randhawa, Mahesh Desai, B M Vyas, Dulari, Mohan Choti, Hungama, Mona,Raja Duggal, Sheel Kumar, Lala Nazeer, Yunus Bihari, Kanan Kaushal etc in it.

The movie had six songs in it. Here is the first song from “Baalak Aur Jaanwar”(1975) to appear in the blog. This song is sung by Mahendra Kapoor and chorus. Bharat Vyas is the lyricist. Music is composed by Chitragupta.

The song is a shiv bhajan/ stuti. Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of this song.

With this song, “Baalak Aur Jaanwar”(1975) makes its debut in the blog.


Song-Aao mil ke poojen bhole shankar ko(Baalak aur Jaanwar)(1975) Singer-Mahendra Kapoor, Lyrics-Bharat Vyas, MD-Chitragupta
Chorus

Lyrics

om namah shivaay
om namah shivaay

aao mil ke poojen bhole shankar ko
bam bhole shankar ko
pal mein pahaad banaaye
pal mein pahaad banaaye
nanhe kankar ko
om jay shiv omkaara
hari shiv omkaara

aao mil ke poojen bhole shankar ko
bam bhole shankar ko
pal mein pahaad banaaye
pal mein pahaad banaaye
nanhe kankar ko
om jay shiv omkaara
hari shiv omkaara

bhakti bhaav dikha ke manvaanchhit paaye
phal manvaanchhit paaye
jal se snaan kara ke
jal se snaan kara ke
inke gun gaaye
om jay shiv omkara
hari shiv omkara

shiv ka roop suhaana sab ke man bhaaya
laal gulaal chadha ker sabne sukh paya
jay shiv omkara
devon mein mahadev ye hai bhola-bhaala
gajaanand pahnaaye pushpon ki maala
jay shiv omkaara
sacche man se pooj ke sachha sukh paaya
nav ne vaidhy chadhaya
nav ne vaidhy chadhaaya
shiv ke man bhaaya
om jay shiv omkaara
hari shiv omkaara

ghanti bajaaye
jhoome man mein harshaaye
vighn mitey sab unke
vighn mitey sab unke
aarti jo gaaye
om jay shiv omkaara
hari shiv omkaara
aao mil ke poojen shankar ko
bam bhole shankar ko
pal mein pahaad banaaye
pal mein pahaad banaaye nanhe kankar ko
om jay shiv omkaara
aao mil ke poojen bhole shankar ko
bam bhole shankar ko
pal mein pahaad banaaye
pal mein pahaad banaaye nanhe kankar ko
om jay shiv omkaara


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

Today(21st August 2017) is the last Monday of the holy month of Shrawan, in the Southern, Western and some Eastern states of India. For the rest of India the Saawan month had ended on the 7th August itself. Today’s Shiv bhajan is from the film Shri Ganesha janma-1951.
Read more on this topic…


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

Today’s Shiv Bhajan is for the 4th Shraavan Monday – as celebrated in south, west and some eastern states of India. This bhajan is from film ‘Shuk Rambha’ (1953), made by Chandrakala Pictures and is produced and directed by Dhirubhai Desai. The lead actors were Anjali Devi (from south) and Bharat Bhushan. In the cast of this film, you will find a name Rajkumar. Most ‘knowledgeable’ sites and writers treat this actor same as the famous dialogue master Raaj Kumar ‘Jaani’. However, this is not correct. This Rajkumar is different.
Read more on this topic…


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

Today, 13th August is the birthday of Sridevi, as she turns 54.

For this celebration, here is a wonderful dance song performed by her, from the film ‘Jaag Utha Insaan’ (1984). The setting for the song is a stage performance, likely at a religious function. On stage, Sridevi is accompanied by Mithun Chaktravarty playing the flute and Beena signing the vocals. We also see Sudhir Dalvi, sitting next to Beena. In the audience we can see Yunus Parvez, sitting in the chair right up front, Sujeet Kumar and Kaanan Kaushal sitting  in the audience, Rakesh Roshan and Deven Verma, standing at the back, with Somayaajulu making an entry, while the program is in progress.
Read more on this topic…


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

Today’s song is from a film called ‘Shiv Kanya’ (1954). The title may surprise some readers. Did Bhagwan Shiv ji have a daughter? Some people may brush it off thinking that it is yet another fruit of the fertile imagination of the “story department” of the production house. Can’t blame them either, because film makers are known experts in creating close relatives of popular film characters. Some examples are ‘Son of Aladdin’ (1939), ‘Daughter of Hatimtai’ (1940 and 1955) or even ‘Son of Zimbo’ (1966). Poor Alladin or Hatimtai would not be even knowing that they had a son or a daughter !

However, as far as mythological film subjects are concerned, there is absolutely no need to imagine or cook up stories, because the old scriptures like Puraanas provide varied situations for making films. That is how there is a film called ‘Krishna Arjun Yuddh’ in 1934, 1945 and 1971, based on a story from Bhagwat Mahapuraan. We also have ‘Ram Hanuman Yuddh’ in 1957 and 1975, based on Valmiki Ramayan. There was even a strange sounding film called ‘Shankar, Seeta, Anusuya” in 1965, made on a story from Garud Puraan and then there was a film called ‘Vish Waman ‘ (1936) based on Waman Puran.

When I first came across this film ‘Shiv Kanya’ in the mid 50s, I was perplexed, because I was not aware of Shiv Ji having a daughter too ! I knew about Kartikeya and Ganesh. Then I looked into a book ‘Stories from Puraanas’ and I learnt about it. Stories in Puraanas have sometimes slightly different versions in different Puraans. For example, Ram Hanuman Yuddh is mentioned in Valmiki Ramayan and you will find a modified version in Vishnu Puraan also. This is because Puraanas are based on Shrutis and there are additions by many scholars over the centuries.
Read more on this topic…


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

Today’s(31 july 2017) Monday song is ” Hey Shankar Pralayankar ” by Mohd. Rafi from the film HANUMAN PATAAL VIJAY-1951. The film was made by Basant Pictures of Homi Wadia. The producer and director was also Homi Wadia-the younger of the Wadia Brothers- and the music was by S N Tripathi.
Read more on this topic…


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

Today (24 july 2017) is the First Monday of the Holy month of Shravan, as observed in the Western, some Eastern and Southern states of India. On this occasion, here is a very melodious Shiv bhajan from the film Shivratri-54. Chitragupta, the King of melody, has composed this bhajan by G.S. Nepali, and is sung sweetly by Asha Bhosle.
Read more on this topic…


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 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.

India is a unique country. It has the second largest population among all the countries of the world. India has 9 officially recognized and over 100 unrecognized religions thriving in the country. It has, besides Hindi and English, 21 other officially recognized languages. Other than this India has 122 major and 1599 other languages.
Read more on this topic…


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What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over ELEVEN years. This blog has over 15200 song posts by now.

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

Total number of songs posts discussed

15212

Number of movies covered in the blog

Movies with all their songs covered =1178
Total Number of movies covered =4181

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