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

Archive for the ‘Binapani Mukherji Songs’ Category


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 : 3931 Post No. : 15003

Mukesh song ” Dil jalta hai to jalne de” actually introduced me to the film Pehli Nazar-45. Being a Muslim social film, it was quite popular in Hyderabad, which was Nizam state, with a considerable Muslim population in it.

When the Fazli Brothers-the Director brothers- decided to make their first Muslim social film, ” Qaidi” in 1940, they were not sure how the purists in their religion would accept a film on Muslim life.But the director-Hussanain Fazli- was very firm that come what may, he would produce a Muslim social film. Just to be on a safe ground, he chose to make the film in Calcutta- far off from Bombay to avoid any resistance from the fundamentalists. The film was made by Film Corporation of India, Calcutta.

Contrary to Fazli’s fears, film Qaidi-40 was received by the Muslim community with open arms. It was a Box office success wherever it was released. For first time perhaps, the community was treated with a film about their culture and social life. Film Qaidi-40 set the ball rolling. It gave a feeling of ” yes, we can do it” not only to Fazli Brothers but many other producers, like Mehboob, K.Asif, Mazhar Khan etc etc.

From the 40s to the 47, there was a line of Muslim social films lined with pride and confidence. Notable amongst them was Paak Daaman-40 by Rustom Modi, Masoom-41 by Fazli brothers, Muslim ka lal-41 by Mohan Pictures, Fashion -43 by Fazli Brothers, Najma-43 by Mehboob, Salma-43 by Nazir Ahmed, Ismat-44 by Fazli Brothers, Bade Nawab saab-44 by actor Kumar and Pramila, Bhaijaan-45 by United Films and Phool-45 by K.Asif.

With this background, the Actor, Producer and the Director Mazhar Khan decided to make a Muslim social film and he started ” Pehli Nazar’ in 1945. When he was thinking about the cast, one of his friends from Lahore told him about a new beautiful girl from Lahore who acted in film Khazanchi-41 in a small role of a Bar Girl-on whom a full song was filmed. She, though a Muslim, called herself “Asha”. Mazhar khan saw the film and decided to feature this girl as heroine of his film. he went to Lahore, met the girl and gave her such a lucrative offer that she accepted it immediately. She was Munawar Sultana.

We have often heard and read that in olden days, young film aspirants from far off cities and smaller towns, ran away from homes to the Maya Nagari-Bombay, to try their luck. Few of them succeeded. But mind you, not ALL stars came running away to Bombay. Many of them were brought honourably too, particularly from other film centres like Calcutta and Lahore. For example, Shamshad Begum was brought to Bombay, honourably from Lahore. Saigal was brought from Calcutta to Bombay, with attractive offer.

That, precisely, was the fame of Bombay, that careers are made in Bombay and opportunities are found in abundance for them who have Talent and Luck ! Munawar Sultana, was one such star, who was brought from Lahore with an offer of Rs. 4000 pm and rented furnished accomodation – by Mazhar Khan

Munawar Sultana was born on 8 November 1924, in Lahore, into a strict Punjabi Muslim family. According to an interview with son Sarfaraz and daughter Shaheen, conducted by Shishir Krishna Sharma, Munawwar’s father was a radio announcer. Munawwar wanted to become a doctor, but was side-tracked by an offer in films. This was a small role in the film, Dalsukh Pancholi’s Khazanchi (1941), where she played a barmaid, and had a song, “Peene Ke Din Aaye” picturised on her. She went by the screen name Asha for this period.
In 1945, she was visited in Lahore by producer-actor-director Mazhar Khan, who contracted her on a monthly fee of Rs. 4000 plus an apartment, and brought her to Bombay. Munawwar’s first film with Mazhar was Pehli Nazar, where she was cast opposite actor Motilal. In the popular song “Dil Jalta Hai Toh Jalne Do” (Let the Aflame Heart Burn) playbacked by singer Mukesh for Motilal, Khan focused on Munawwar’s close-ups during the picturisation.

Following Pehli Nazar, she was kept busy through 1947 to 1949 working in several films. Baburao Patel wrote in the cine-mag Filmindia 1949, about her being one of the most over-worked actresses along with Suraiya and Nargis.
In 1947, Munawar acted in four films Dard, Elaan, Andhon Ki Duniya and Naiyya. Dard was directed by Kardar under Kardar Productions. In spite of no big stars being in the film, it turned out to be a surprise “musical hit” at the box office. The hero of the film was Kardar’s brother Nusrat (Kardar). The song “Afsana Likh Rahin Hoon” became a big success. Elaan garnered positive reviews for Munawwar. A Muslim social, the film was praised for its “progressive attitude” towards the need of education.

A lot has already been written about Elaan-47,elsewhere,as well as on this blog too,earlier.

When Mehboob Khan heard the story initially,he spent few days thinking about it.He anticipated the adverse reactions of the Fundamentalists on this film. His team for this film included many Muslims, almost in every department. Major contributors like Naushad, Zia Sarhadi, Amirbai Karnataki and most important , Munawar Sultana,the Heroine,were all Muslims.Others at least were connected indirectly,but Munawar was the Heroine.

Mehboob Khan had a sitting with her and explained to her the entire story and the likely repercussions to the film.He gave her an option to opt out of the film. Munawar played very brave and firmly told Mehboob Khan that she was 100% with him and was ready to work and face,whatever happens as an aftermath.
This act of courage was loved and appreciated by Mehboob Khan very much and he remained indebted to her ever after.
1948 saw Munawar in four more films. Parai Aag, Sona, Majboor and Meri Kahani

1949 was Munawar’s busiest year with seven releases. Out of her four films released in 1950, Munawar’s most notable film was Babul (Father’s House). She acted opposite Dilip and Nargis in this love triangle. Directed by S. U. Sunny, the music was composed by Naushad The film became a major success at the box office. She acted in a few more films till 1956, with Jallad being her last appearance.

From 1950, Munawar’s career slowed down, and she acted in fewer films. She met her husband Sharif Ali Bhagat, a businessman, on the sets of a movie for which he provided furniture. He produced two films with Munawar in the lead, Meri Kahani (1948) and Pyar Ki Manzil (1950). Following the sudden death of her husband in 1966, Munawar managed her family of four sons and three daughters . In the last eight years of her life, Munawar suffered from Alzheimer’s disease. She died on 15 September 2007, at her home in Ambedkar Road. Pali Hill, Mumbai, Maharashtra, India.

For the second Heroine’s role, Mazhar had already signed actress Veena. He was impressed with her looks and style. Getting Veena for this film posed no problem.The Hero was to be Motilal. Anil Biswas too had been signed for its music. The shooting started in early 1945. In between Mazhar khan himself as well actress Veena were acting in K Asif’s film Phool-a Muslim social film again. This film was full of Top stars of those times, so even after completion of the shooting of the film Pehli Nazar, the film was not released in Bombay. The film was censored in the end of 1945. Then the film was first released in Lahore and then in major cities of Northern India. Finally Pehli Nazar was released in Bombay on 18-4-1947 at Minerva Theatre. Originally it was to be in Royal opera House, but the inordinate delay in Bombay release forced it to be in Minerva, another posh theatre of repute.

The film and the acting, particularly of Motilal and Munawar Sultana was appreciated by newspapers and film magazines. There were different opinions about the end of the film. Overall Mazhar khan was successful in fulfilling his dream of making a good Muslim social film, after all. The cast of the film was Motilal, Veena, Munawar Sultana, Baburao Pendharkar, Balakram,Bhudo Advani, Cuckoo, Parveen ( made her debut in this film), Nemo, Nafeesa Begum, Bibbo, Leela Pawar etc etc.

Nemo’s real name was M M Beg. Born at Calcutta on 27th December 1903. Passed Senior Cambridge exam and entered Film line. In 1933. He edited the periodical ‘ AKKAS’ for New Theatres, in English and Urdu. Wrote story of film “President”. Debut in film Yahudi ki Ladki-33 Mostly worked in NT films. till Kashinath-43. In all, he worked in 25 films, 17 of them with new Theatres only. I remember him in film Shri 420 as the seth who brings Police to stop the song and dance of the Basti.

The story of film Pehli Nazar-45 was….. Nasir Mirza and Akhtar Mirza were Lucknow based brothers. Due to a rift between them they lived separately in the same Haveli as neighbours. There was no talk between the brothers.

However Shahida ( Veena), daughter of Nasir and Husna (Munawar Sultana) daughter of Akhtar were bosom friends since childhood and were almost inseparable.

Nasir’s friend in Bareilly sends his son Mushtaq (Motilal) for studies in Lucknow. Mushtaq and Shahida become friendly and Nasir gets them engaged. But, as the brothers are not on talking terms this is kept secret.

One day Mushtaq happens to see Husna, she also sees him and love blooms between them. Mushtaq is so enamoured with Husna, that he breaks his engagement with Shahida. Upset Shahida feels guilty that she did not inform Husna about their engagement.

When Husna learns about the engagement of Shahida and Mushtaq, she feels guilty and perturbed. There is now a chaos in both families. Husna fears that her father may commit suicide to avoid humiliation. After lot of thinking Husna decides to end her life and consumes poison and dies.

The brothers are in shock and grief. They realise their follies and unite. Mushtaq finally marries Shahida only.

There are 10 songs in this film. 7 songs are already discussed. There are several stories about the recording of song ” dil jalta hai to jalne de”. which have been discussed earlier, so we bypass them today. Songs of this film have been discussed by Sadanand ji, Sudhir ji and Atul ji. With me presenting a song today, the film becomes Unique whose songs have been discussed by all 4 of us !

Today’s song is a song and dance, shot on Cuckoo and others. HFGK is silent on the names of singers. This is an issue which is unnecessarily magnified. One must understand that Harmandir ji did this colossal work of HFGK, with great hard work and used whatever information was available to him that time. In few cases no information was available, in some cases wrong information was used and in some case doubtful information was there. He added ” Addenda” to all volumes, with additional information correcting the gaps etc. So, even if singers are not mentioned for some songs, later on experts have rightly identified the voices and due credit is given. We did it on our Blog this, several times. So ” HFGK does not mention singer” need not be made into a big issue at all. In today’s case Sadanand ji-the uploader- has identified the main voice as that of Binapani Mukherjee. Some other expert has identified Naseem Akhtar as the second voice. I am considering both these names as singers.
Editor note- There is a third female voice in the song as well.

( I am thankful for some information used from ‘Forgotten movies on Muslim culture 1933-1947’ by Kamlakar Pasupuleti ji, The Filmdom-1946, Harish Raghuwanshi ji, and my notes ).


Song- Khan Kaabul se aaya ji wai wai (Pehli Nazar)(1945) Singers – Naseem Akhtar, Binapani Mukherjee, Unknown female voice, Lyrics- Dr. Safadar Aah, MD- Anil Biswas

Lyrics

hoy
khan kaabul se aaya ji
wai wai wai
pista chilgoza laaya ji wai wai

shawl lena ji pashmeena lena
ho na naqdi to kishton pe lena
shawl lena ji pashmeena lena
sasta sauda lagaaya ji
sasta sauda lagaaya ji
wai wai wai wai
wai wai wai wai
kaabul se aaya
haan maano(?) hamaari gali aana
hamaari gali aana
zara nainon se naina milaana
ji naina milaana

khan aaya ji
aaya ji
wai wai wai wai
wai wai wai wai
kaabul se aaya
chalo kaabul hamaare saath janiya(?)
ho janiya janiya (??)
chalo kaabul hamaare saath janiya(?)
mujhe maaregi teri pathaniya
mujhe maaregi teri pathaniya

main pathaani ko ghar se nikaaloon
main pathaani ko ghar se nikaaloon
paani paani(?)
phir to bainyyaan main tere gale daaloon
phir to bainyyaan main tere gale daaloon

tujhko ?? banaaya ji
aurat banaaya ji
bibi banaaya ji
wai wai wai

aayi meri pathaani hathheeli
kahin mujhko chhupa le chhabeeli
kahin mujhko chhupa le chhabeeli
zara mujhko nigode bata de
kya huye tere shaadi ke waade
kya huye tere shaadi ke waade

sab bhulaaya
sab bhulaaya
bhulaaya ji
wai wai wai wai
wai wai wai wai
kaabul se aaya
kyun aaya

khan ki ham to aurat pathaani
ae kaun shaitan ki tu hai naani
ae kaun shaitan ki tu hai naani
mard hamaara churaaya ji wai wai wai
mard hamaara churaaya ji wai wai wai
mard hamaara churaaya ji wai wai

jaan jaane de
jaan jaane de
hatt jaa deewaane
kyun re aaya thha naina ladaane
kyun re aaya thha naina ladaane
too ne isko bhulaaya ji
too ne isko bhulaaya ji wai wai wai
too ne isko bhulaaya ji wai wai wai
too ne isko bhulaaya ji wai wai wai

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This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 : 3632 Post No. : 14460

Mohammed Rafi – Duets – ‘अ’  से  ‘ह’ तक  (From ‘अ’ to ‘ह’) – 18
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –

‘द’ – दिल्ली वाले साब गजब कर डाला रे ॰ ॰ ॰

– – – –

खुदा भी आसमान से जब ज़मीं पर देखता होगा॰ ॰ ॰

तेरी आवाज़ को किसने बनाया, सोचता होगा॰ ॰ ॰

The voice, that defined a new benchmark for divinity; no wonder if God Himself would be wondering, how such a human voice got created. . .

– – – –

Presenting the next song in this series.

This one turns out to be a fun exchange between a lady and a gentleman, who most likely are a husband-wife pair. From the lyrics, one can surmise that the gentleman works with the police force and has recently been promoted to be a ‘thaanedar’, or in other words – the inspector who heads a police station. In today’s parlance, this would be equivalent of an SHO – Station House Officer.

So the lady is expressing wonder at the action of some higher up officer – ‘Dilli Waale Saahb’ to make her husband an inspector. She seems not being able to believe it – ‘gajab kar daala re’. And then the rest of the song follows, with some fun lyrics as the two exchange some humorous comments. Listen to the lyrics, and the enjoy the fun.

The song is from the film ‘Bhikhaari’ from 1949. Now a very interesting thing noted in Geet Kosh. This film seems to be the same as the 1948 film ‘Satyanarayan’. As we review the information about these two films, all the demographics, as in production banner, director, music director, lyricists and actors, all are exactly the same. And further, the list of songs is almost identical. The nine songs are listed with exactly the same mukhda. The film ‘Satyanarayan’ has one extra item, as in instrumental music recording. Interesting thing is that the serial nos. of the gramophone records are different. This indicates that the songs were released twice on two different sets of gramophone records, under the respective names of two films.

The film is produced under the banner of Bhagwan Pictures, Bombay. Two names are listed as directors – Kumar Sahu and R Vishnuram. The nine songs are penned by four lyricists – Pt Indra, Madhukar (a name that is likely the same as Madhukar Rajasthani), Sewak and Surjeet (again, a name that is likely the same as Surjeet Sethi). Music is composed by Hansraj Behl. List of actors includes Ranjeet Kumari, Roop Kumari, Jawahar Kaul, Balakram, Sewak, B Gill, SP Mahindra, Chanchal Kumari, Leela Gupte, and Laxmi Chand.

The singing voices are of Mohammed Rafi Sb and Binapani Mukherji. Enjoy this fun song – another addition to the list of memorable duets of Rafi Sb.

 

Song – Dilli Waale Saahb Ghajab Kar Daala Re  (Bhikhaari) (1949) Singer – Binapani Mukherji, Mohammed Rafi, Lyrics – Pt Indra, MD – Hansraj Behl

Lyrics

dilli waale saa..aab
dilli waale saab
gajab kar daala re
dilli waale saab
dilli waale saab
meri chhoti si pistol
gajab kar daala kya
chhoti si pistol
chhoti si pistol
mere piya ko thaanedar bana diya matwaala
dilli waale
mere piya ko
thaanedar bana diya matwaala
dilli waale
oy dilli waale saab
gajab kar daala re
dilli waale saab

sun sun baat gawaar naar
tu thi gwaale ki chhori
sun sun baat gawaar naar
tu thi gwaale ki chhori
maine hi bana diya tujhko
thaanedar ki gori
maine hi bana diya tujhko
thaanedar ki gori
kaam karey na. . .
balam keesi ka howe thaanedar
ho oo thaanedar
ho oo thaanedar
kaam karey na. . .
balam keesi ka howe thaanedar
aath pehar jo sajag bharey
aur raakhe haath kataar
aath pehar jo sajag bharey
aur raakhe haath kataar
kab piye wo jal ka pyaala
julm kar daala
sitam kar daala hoye
dilli waale
oy dilli waale saab
gajab kar daala re
dilli waale saab
dilli waale saab

thaanedar ki biwi hona badey bhaag ki baat
thaanedar ki biwi hona badey bhaag ki baat
sau sau karey salaam padosan
tujhko din aur raat
sau sau karey salaam padosan
tujhko din aur raat
ye saawan ka. . .
ye saawan ka mast mahina
ye rim jhim barsaat
ho oo barsaat
ho oo barsaat
ye saawan ka mast mahina
ye rim jhim barsaat
kisey chaahiye paas padosan
jab ho baalam saath
kisey chaahiye paas padosan
jab ho baalam saath
jab pyaar ne hosh sambhaala
julm kar daala
sitam kar daala hoye
dilli waale
oy dilli waale saab
gajab kar daala re
dilli waale saab
dilli waale saab

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

दिल्ली वाले सा॰॰आब
दिल्ली वाले साब
गजब कर डाला रे
दिल्ली वाले साब
दिल्ली वाले साब
मेरी छोटी सी पिस्तौल
गजब कर डाला क्या
छोटी सी पिस्तौल
छोटी सी पिस्तौल
मेरे पिया को थानेदार बना दिया मतवाला
दिल्ली वाले
मेरे पिया को
थानेदार बना दिया मतवाला
दिल्ली वाले
ओय दिल्ली वाले साब
गजब कर डाला रे
दिल्ली वाले साब

सुन सुन बात गवार नार
तू थी ग्वाले की छोरी
सुन सुन बात गवार नार
तू थी ग्वाले की छोरी
मैंने ही बना दिया तुझको
थानेदार की गोरी
मैंने ही बना दिया तुझको
थानेदार की गोरी
काम करे ना॰॰॰
बलम कीसी का होवे थानेदार
हो ओ थानेदार
हो ओ थानेदार
काम करे ना॰॰॰
बलम कीसी का होवे थानेदार
आठ पहर जो सजग भरे
और राखे हाथ कटार
आठ पहर जो सजग भरे
और राखे हाथ कटार
कब पिये वो जल का प्याला
जुल्म कर डाला
सितम कर डाला होए
दिल्ली वाले
ओय दिल्ली वाले साब
गजब कर डाला रे
दिल्ली वाले साब
दिल्ली वाले साब

थानेदार की बीवी होना बड़े भाग की बात
थानेदार की बीवी होना बड़े भाग की बात
सौ सौ करे सलाम पड़ोसन
तुझको दिन और रात
सौ सौ करे सलाम पड़ोसन
तुझको दिन और रात
ये सावन का मस्त महिना
ये रिम झिम बरसात
हो ओ बरसात
हो ओ बरसात
ये सावन का मस्त महिना
ये रिम झिम बरसात
किसे चाहिये पास पड़ोसन
जब हो बालम साथ
किसे चाहिये पास पड़ोसन
जब हो बालम साथ
जब प्यार ने होश संभाला
जुल्म कर डाला
सितम कर डाला होए
दिल्ली वाले
ओय दिल्ली वाले साब
गजब कर डाला रे
दिल्ली वाले साब
दिल्ली वाले साब


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What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over TEN years. This blog has over 15000 song posts by now.

This blog is active and online for over 3900 days since its beginning on 19 july 2008.

Total number of songs posts discussed

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Movies with all their songs covered =1171
Total Number of movies covered =4120

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