Advertisements

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

Archive for the ‘Biography of artists’ 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 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 : 3714 Post No. : 14643

Today I present a really wonderful song of Jagmohan Sursagar, Anima Dasgupta and Munir Alam from film Subah Shaam-1944. The music of this film was by Subal Dasgupta, younger brother of the more famous composer kamal Dasgupta. The film was made and directed by P.C. Barua for Indrapuri Studios, Calcutta. The songs of this film were written by Faiyaz Hashmi and Munir Lucknowi ( different from the singer Munir Alam). The cast of the film was Pramathesh barua, jamuna, Purnima ( she was different from Purnima of
Bombay ), Indu Mukherji, Munir, Devbala, Tulsi Chakravarti etc etc.

Director P.C. aka Pramathesh Barua was born on 24-10-1903. A well educated and foreign trained prince from a Royal family came into the films only by chance. He established his own studio and made films. Impressed by his style and work, B.N.Sircar of New Theatres offered him a job in his company. Barua joined and made such films in New Theatres that the studio became famous all over India. His greatest contribution was his first film here, ” Devdas”-34 in Bangla. he did the main role and brought in a comparatively new actress jamuna for the role of Parvati aka Paro. With the fantastic success of Bangla version, Barua made its Hindi version in 1936, with K L Saigal as the Hero. This was mor successful than the Bangla version and became an iconic film for ever as a reference point. Then an Assamese version was also made in 1937.

With a very eventful, successful and satisfying stint in New Theatres, Barua developed serious differences with the owner-B.N.Sircar, who was known to be a disciplinarian who held the Institution ( of New Theatres) in place. New Theatres, in the 30s , was full of Titans having a larger than life images and it was inevitable that there would be clashes amongst the artistes and the owner. Like true Bengalis, they all had king size Egos and over estimated self respects.

The first crack came in 1933 when Nitin Bose and Debaki Bose clashed, resulting in Debaki Bose’s temporary exit. In the line was Barua, who had a grudge that he was not given as many films as his peers Nitin Bose and Hemchander Chunder got . The rift between Barua and Sircar was obviously born out of deep differences, because after Barua left, B N Sircar had said- “He was a remarkably innovative director who seemed to improve after every film. As an actor, he forged a style that was distinctively his own uniquely. But as a Man…..well,I would rather not discuss it”.

However, it was known to both of them and all others connected with NT, that both these Giants had tremendous love and respect for each others. In 1951, when Barua lay dying on his bed, he instructed that his body be taken past the house of B N Sircar, where he was lying sick on bed. When Barua’s funeral convoy reached Sircar’s house, the ailing Sircar hobbled painfully to the window of his elegant Elgin Road Residence, as the prince of Players paused beneath the window for a while and then proceeded. It was a poignant moment- an act symbolic of a reference point established a long time ago in a business which was notorious for callous and impermanent relationships !

After Barua Nitin Bose left, then kanan Bala and few more. Only pankaj Mullick, though hurt by New Theatre’s neglect, stuck till the end. P.C.Barua died on 29-11-1951. He acted in 8 Hindi films( Manzil-36, Mukti-37, Adhikar-38, Jawab-42, Ranee-43, Subah Shaam-44, Amiree-45 and Pehchan-46). He directed 14 frilms and sang 1 song in film Jawab-42.

Barua’s third wife Jamuna (10-10-1919 to 24-11-2005) was the fourth of the six daughters of Puran Gupta, a resident of a village near Agra, India. Each of the sisters was named after an Indian river like Ganga, Jamuna, Bhagirathi etc. As destiny would have it, Jamuna came to reside in Calcutta, a leading film producing city in India. Originally from Gauripur of Assam’s Goalp ara district (undivided), Jamuna was married to the legendary actor director Pramathesh Barua, or P.C. Barua, who died in 1950. She began her acting career in her husband’s famous production Devdas in 1936 and was the film’s lead character Parvati or Paro. She went on to make a number of memorable movies in Assamese, Bangla and Hindi, notably Amiri, Mukti, Adhikar and Sesh Uttar. She stopped acting after Barua died

In the thirties and played a small role in Mohabbat ki Kasauti(1934), Hindi version of Rooplekha (Bengali) directed by P.C. Barua. A romance started although Barua, hailing from the native Indian state of Gauripur, Assam, was already twice married. As the actress, who was to play Parbati in Barua’s next venture Devdas (1935) reported inability to attend the studio on the very first day of shooting, Jamuna was called from Barua’s residence (she was living with him by then) and was asked to get down to work straight away without any preparation whatsoever.

Thus she came to be the first Parbati of Indian talkies- Miss Light had played the role in the silent version of the enormously popular Sarat Chandra novel. Aishwarya Rai happens to the last so far and Devdas has been made and re-made a number of times. Jamuna played the same role in the Hindi version also and was accepted in this very first proper exposure as an actress in her own right. She continued to act in Barua’s films like Grihadaha (1936), Maya (1936), Adhikar (1939), Uttarayan (1941), Shesh Uttar (1942), Chander Kalanka (1944) and the respective Hindi versions of each film.

Barua had left the prestigious New Theatres in 1940 and was directing as well as producing his films. Thereafter she acted in a number of Barua directed Hindi movies like Amiree, Pehchan and Iran Ki Ek Raat. These films however did not add to the prestige of either to Barua or to Jamuna. Jamuna also acted outside Barua direction in three Bengali films Debar (1943) and Nilanguriya (1943) where she proved herself without Barua’s influence. Her last film Malancha (1953) was also outside Barua’s direction. She also starred in its Hindi version Phulwari (1953).

Barua’s death in 1951 when he was only 48 changed Jamuna’s life altogether. She had three sons by Barua, Deb Kumar, Rajat and Prasun. They were all minors at the time and the Gauripur estate refused to take any of their responsibilities. She had to wage a legal battle with the powerful and influential royal family to get her and her children’s dues and recognition. Time settled the matters and she was allowed ownership of the house with its vast adjoining land and also an allowance. Jamuna spent the rest of her life after Barua as a housewife, busy in bringing up her minor sons. She had to complete the unfinished film Malancha of course but said good bye to the world soon after. Later in her life she did attend a number of functions to celebrate the centennial year of husband P.C. Barua and received felicitations on behalf of the Government of India and the state Government of Assam as the first Parbati of Indian talkies.

Her last days were not very comfortable and she was bedridden for more than six months prior to her death. She is survived by her three sons and their families and a host of relatives.. According to her family members, she had been ill for some time, and the cause of death was illness related to old age. She died at her residence in south Kolkata.

In Hindi, we have seen few Brother composer pairs like Husnlal Bhagatram, kalyan ji -Anand ji, Anand- milind etc etc. I can not think of any such pair whose brothers individually very famous as composers, except perhaps Pt. Amarnath and Husnlal – Bhagatram, but here too no two brothers were famous individually. There were some other brothers like Timir Baran and Mihir kiran and Kamal Dasgupta and Subal Dasgupta. Neither Timir-Mihir nor Kamal-Subal worked as a pair and individually only one became famous in Hindi films. Mihir kiran gave music to only 1 film- Kaarvan e hayat-35 and Subal Dasgupta gave music to only 2 films Subah Shaam and Arzoo both in 1944.

Kamal Dasgupta ( 28-7-1912 to 20-7-1974) gave music to 17 Hindi films from Jawab-42 to Phulwari-51. Subal gave music to only 2 films as mentioned. He was, however, a prolific composer in Bangla films and NFS. The credit for composing music for Talat Mehmood’s First recorded NFS, ” sab din ek samaan nahi tha” goes to Subal Dasgupta. Some sites and You Tube erroneously mention kamal Dasgupta’s name as its composer , but it is wrong. I quote here an excerpt from the book ” Talat Mehmood-The Velvet touch” a biography by Manek Premchand,

“His first recording happened in September 1941, the song being Sab din ek samaan naheen tha, Ban jaoonga kya se kya main, iska to kuchh dhyaan naheen tha, written by Fayyaz Hashmi and composed by Subal Dasgupta. Present at this recording was the great singer-composer-actor Pankaj Mullick, who patted the young émigré for a job well done. In Calcutta, the young man started learning Bengali. After six recordings for HMV in Calcutta, Talat returned in 1942 to complete his studies at Marris and in the next couple of years, he heard a lot of Gangubai Hangal, Fayyaz Khan and Roshanara Begum. ” pp 13

Not much information is available on Subal in books or on the net. Even Dr. J.P.Guha has no information on him. Here is something from a Bangladeshi site.

Subal Dasgupta was born at Kalia (Narail) of the old Jessore district in Bangladesh. His parents shifted to Calcutta long before the partition of 1947. His eldest brother professor Bimal Dasgupta was a gifted musician, while his elder brother Kamal Dasgupta also emerged as one of the most successful music directors of his time. His sisters Sudhira, Indira, Basanti—–all were talented singers in their own rights. All of them had recorded songs under HMV banner. He belonged to an immensely accomplished musical family. At a very tender age Subal Dasgupta took lessons in classical music from Ustad Zamiruddin Khan, a renowned maestro of Kheyal and Thumri. It was here, that he met Kazi Nazrul Islam, the great poet , who also started taking classical vocal lessons from the same master. The meeting between the two, later turned out to be of historic significance.

When I first heard this song, I liked it very much. I am sure you too will love it. The singers are Jagmohan Sursagar, Anima Dasgupta and Munir Alam. These names are not mentioned in HFGK, but the stalwarts of RMIM, in their discussion have confirmed these names in the late 90s. Though the YT video mentions Hemant kumar, his voice is not there.

( Credits- RMIM forum, Talat Mehmood Biography, scroll.in, wiki, nazrul.com.bd, Sharmishtha Gooptu’s article ”The Glory that was” and my notes )


Song-Kuchh haseen hai subaho shaam (Subah Shaam)(1944) Singers-Anima Desgupta, Jagmohan Sursagar, Munir Alam, MD-Subal Dasgupta

Lyrics

Kuchh haseen hai subaho shaam
kuchh ghami hai subaho shaam
zindagi ke do hain naam
zindagi hai subaho shaam
Kuchh haseen hai subaho shaam
kuchh ghami hai subaho shaam
zindagi ke do hain naam
zindagi hai subaho shaam
Kuchh haseen hai subaho shaam

aish o raahaten bhi hain
dukh museebaten bhi hain
aish o raahaten bhi hain
dukh museebaten bhi hain
?? bhi hain
gham ki shaanaten bhi hain
gardish e jahaan mein
dillagi hai subaho shaam
Kuchh haseen hai subaho shaam
kuchh ghami hai subaho shaam
zindagi ke do hain naam
zindagi hai subaho shaam
Kuchh haseen hai subaho shaam

maut bhi hai yaas bhi
din ke baad raat bhi
maut bhi hai yaas bhi
din ke baad raat bhi
apni apni ?? hai
aadmi ke saath hai
apni apni ?? hai
aadmi ke saath hai
raushani ke saath saath
?? hai subaho shaam
Kuchh haseen hai subaho shaam
kuchh ghami hai subaho shaam
zindagi ke do hain naam
zindagi hai subaho shaam
Kuchh haseen hai subaho shaam

chaand mein chakor mein
jungalon ke mor mein
chaand mein chakor mein
jungalon ke mor mein
papeehe ke shor mein
papeehe ke shor mein
gulshanon ki ?? mein
bulbulon ki bekhudi(?)
keh rahi hai subaho shaam
Kuchh haseen hai subaho shaam
kuchh ghami hai subaho shaam
zindagi ke do hain naam
zindagi hai subaho shaam
Kuchh haseen hai subaho shaam

Advertisements

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.

Blog Day : 3707 Post No. : 14632

Today’s song is from film the film Mahatma Vidur-1943. It is sung by Vishnupant Pagnis. This will be his second song on the Blog.

The song is written by Pt. Narottam Vyas and MD is H.C. aka Harishchandra Bali. The film was produced by Circo productions and directed by Parshwanath Alatekar. The cast of the film was Vishnupant Pagnis, Durga Khote, nayampalii. Baby Madhuri,Kalyani, David etc.etc.

Thousands of actors worked in Hindi films. All were not heroes, because to become Hero in a film, you require Luck or a God father. There were many One Film Wonders in Hindi films. Some worked in only one film and some worked only in one film worth remembering. So much has been written about this tribe, that I will not repeat it here. However, working in just one film or a film which records your name in the Hindi Film History for ever is something extraordinary. I remember just two such names, offhand, in this category, though, I feel, there could be few more such names. Knowledgeable readers can point them out in the comment section.

The names which I remember are Rajkumar Gupta, who did the role of Ajay in film Jagriti-1954 and Vishnupant Pagnis who did the main role in the film Sant Tukaram-1936 (Marathi version. Its Hindi version came up only in 1948). Rajkumar Gupta-who hailed from Ranchi-acted in only One film, Jagriti, arguably the most meaningful Children’s film ever, and his role of Ajay alongwith the movie has passed into folklore.

Vishnupant Pagnis did the immortal role of Tukaram in his first film and then lived the role throughout his life, though he did four more films in the same Genre of Saint films. His name became famous not only in India but also in other countries. This film was hailed as “one of the 3 Best films in the world” at the Venice Film Festival, where it won accolades. Records of his Bhajans from this film created records ( we too had these records in our house in the 1940s.)

Vishnupant Pagnis was born in a small place called Chicodi, near Kolhapur, on 1-11-1892, in a lower middle class family. After formal education, he was assisted by Shahu Maharaj of Kolhapur state to join a Drama company at the age of 10 years. He sang naturally, without any training from an expert. he was a popular artist doing female roles, till his entry in films. He shifted to work in various drama companies including “Lalit Kaladarsh” of Mama Varerkar- a name connected with many Marathi and Hindi films of that time. In 1913, he floated his own company ‘ Jagchitradarsh ‘, only to wind after two years in 1915. he continued working in dramas and doing female roles, for which he was famous in those times.

After a few years, he left drama acting and worked as a Music Teacher in Municipal school at Girgaum in Bombay. After his wife died, he lived with his friend Petkar. They started a Gold Jewellary shop “Pagnis Petkar and Mandali” in Girgaon.

When Prabhat Film company planned to make Sant Tukaram, a search was undertaken for the main role and the main female role. This was in early 1936 and he was selected for the role of Tukaram, while a worker in the Prabhat company-Gauri – was selected as his wife. The Director duo of the film- Damle and Fattelal- were not happy about his selection, because his name was associated with female roles. But this became his strong point for the film in which he portryed a soft, kind and loving Tukaram. He did the role so well that the film Sant Tukaram became an International Hit, in addition to running to full house in Non Marathi areas like Madras Presidency, covering Andhra, Tamilnadu, Kerala and Karnataka and also in Bengal and Punjab. he became an actor in great demand for Saint films. After the film Sant Tukaral, hundreds of people used to crowd in his shop at Girgaum to pay respects and touch his feet as Tukaram. He also always dressed like Tukaram thereafter !

Vishnupant Pagnis worked in for more films of the same genre, namely Sant Tulsidas-39, Narsi Bhagat-43, Bhakta Raj-43 and his last film Mahatma Vidur-43. He also gave music in two films, Sant Janabai- 38 and Sant Tulsidas-39. These two and Mahatma Vidur were also made in Marathi language. His most famous film Sant Tukaram was released in Hindi only in 1948, but without his songs, because he had died on 3-10-1943. The MD- Snehal Bhatkar sang his songs in the Hindi version.

Vishnupant Pagnis became immortal with just one film Sant Tukaram. Even today this film is shown and discussed in the film Institutes of many countries.Many books and essays and articles are published on this film. His performance as Tukaram has become a major reference-point in debates about Indian performance idioms: e.g. Kumar Shahani’s essay The Saint Poets of Prabhat, 1981; Geeta Kapur’s Mythic Material in Indian Cinema, 1987 etc etc.

Today’s film Mahatma Vidur-43 was made on the life of Vidur after he renounced his Royal heritage and displeased the Kauravas by joining the Pandav camp.The film was full of miracle scenes. The art direction was by the legendary Baburao Painter. Story was by mohanlal Dave and dialogeus and lyrics by Narottam Vyas and Mahesh Kaul.

How many of us really know anything about Vidur ? Not many, I am sure. Vidur was an important character in Mahabharat. He was the brother of Dhritrashtra and Pandu, thus an uncle of Kauravas and Pandavas. The story of his birth is interesting.

In the clan of Kuru, Vichitraveerya became the king. Bhishma did his marriage with Ambika and Ambalika, However, the king died without any issues. The Queen mother Satyavati requested the Rajpurohit and family mentor Bhishma to produce children for the clan. But due to his vow of Celibacy, he refused. Then Maharshi Vyas was called in to help, which he agreed. When he went to queen Ambika, she could not tolerate his Teja and closed her eyes. Hence Dhritarashtra was born without vision. Ambalika fell pale and she gave birth to Pandu, who was ill always. Finally a Daasi was asked to go with Vyasa. the Daasi enjoyed the intimacy and a very intelligent and learned Vidur was born. the meaning of word Vidur itself is skillful, intelligent and Philosophical.

In the great war, Vidur sided the Pandavas because they were on the side of Truth. He saved them many times from the plans of Kauravas, especially from the Lakshagriha fire. His advices and principles are known as Vidur Neeti. ( This is supposed to be the precursor to Chanakya Neeti in King Nand’s period.). After the war Vidur was made the PM, but he declined and went to the forest for doing Penance. Dhritarashtra, Gandhari, Kunti and Madri too went with him. Once when Dharmaraj-Yudhishthir- went to call on him, Vidur died in his arm, bestowing all his powers to him. The others with him also died later in a forest fire.

The film was directed by Parshwanath Alatekar. Tbhis name too must be unknown to most people. Altekar (1897-1957) was from Kharepatan i n Ratnagiri, the coastal Konkan area of Maharashtra. he was educated in Kolhapur and graduated from Sangli. he abandoned Law studies to direct a drama in 1922. Basically a drama enthusiast, Altekar entered film world in Marathi and directed many films in silent era. He joined hands with Sarpotdar, Master Vithal and pendharkar brothers. In 1928, he made 4 films for Imperial film company, then for Saraswati Cinetone, Master Vinayak and Circo films. He made a few Tamil and Kannada films as well.

He floated his own company Natraj Cinetone and made Hindi/Marathi film Saathi/Savangadi in 1938 with Durga Khote and Mubarak. Meanwhile he worked for his pet drama group Natya Manwantar. Alatekar died on 22-11-1957 at Bombay. he directed 13 films including silent and Tamil/Kannada films. His Hindi films were Vasavdatta-34, Saathi-38, Mera Haque-39, Geeta 40 and Mahatma Vidur-43.

Let us now listen to Vishnupant Pagnis singing a song from film Mahatma Vidur-43. The film makes its in debut in the Blog with this song.

(Credits- Hindu Dharma Granth by Pt. Shrinivas, Encyclopedia of Indian Cinema, Film Directory, Prabhat Cinema by Bapu Watwe, Marathi Chitrapat sangeetkar kosh, HFGK, MuVyz and my notes)


Song-Har kaam mein rahte Prabhu hamaare (Mahatma Vidur)(1943) Singer-Vishnupant Pagnis, Lyrics-Pt Narottam Vyas, MD-Harishchandra Bali
Chorus

Lyrics

Har kaam mein rahte
Prabhu hamaare
Har kaam mein rahte Prabhu hamaare
hare muraare
hare muraare
hare muraare
hare muraare

mata kheti sab kuchh deti
mata kheti sab kuchh deti
bhare ann bhandaare ae
bhare ann bhandaare ae
hare muraare
hare muraare
hare muraare
hare muraare

chalta pyaara kargha pyaara charkha
chalta pyaara kargha pyaara charkha
karta rahta dhan ki varsha
karta rahta dhan ki varsha
dhakta badan hamaare
dhakta badan hamaare
hare muraare
hare muraare
hare muraare
hare muraare

ye jeewan sarvas(?)??
ye jeewan sarvas(?) ??
balram krishn ki maiyya
balram krishn ki maiyya
ham jeete un ke sahaare
ham jeete un ke sahaare
hare muraare
hare muraare
hare muraare
hare muraare

mukti ka panthh na dooja
mukti ka panthh na dooja
sab kaam prabhu ki pooja
sab kaam prabhu ki pooja
nij kaam hi jan ko taare
nij kaam hi jan ko taare
hare muraare
hare muraare
hare muraare
hare muraare
hare muraare
hare muraare
hare muraare
hare muraare
hare muraare
hare muraare


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.

Blog Day : 3705 Post No. : 14630

Today’s song is from film Manchali-43. It is sung by Ramola and Sunder Singh. The lyricist is not mentioned in HFGK, but it is either of the two named therein- G.A.Chishti and Kashyap. The MD was G A Chishti. The film was directed by R C Talwar ( who was earlier an assistant to Kidar Sharma,in Calcutta). The film cast was Ramola, Manorama, Ramdulari, Sunder, A S Gyani, B N Sharma, Suraiya Begum etc etc.

The ‘ Same Name Confusion ‘ has haunted Hindi film industry, since its infant stage, i.e. Silent films. Even here you find a name Suraiya (albeit as Begum). Obviously, she was not the Suraiya- the singing sensation in the late 40s and the 50s. At the time of this film in 1943, she was still ‘ Baby Suraiya ‘, just starting her career. However, there were two more Suraiyas operating at this time. One was Suraiya Chaudhari and the other was Suraiya Zulfi. More in details about these Suraiyas, some other time. Today we will tackle another pair of ‘ Same name confusion ‘, which is different than such pairs discussed so far ( including in the recent book).

In the early stages of Cinema, it was difficult to get girls to work in films. However, as the film industry grew in the mid 1920s, many Anglo-Indian, European and Jew girls started working as Heroines. Since the films were silent, there was no need of knowing Hindustani language or a knowledge of singing. Additionally, due to their open culture, these girls were willing to give romantic, intimate scenes or even kissing on the screen. As such, the Censor had no objection for such scenes. In those days, there were separate Censor Boards for each state or presidency, after the Indian Cinematography Act was passed in 1920. It was implemented in 1927. All the Boards were unified and reconstituted as The Central Board of Film Censors, only in 1952. Till then films or songs used to be banned, if needed, in specific states only. For example, due to objectionable content, Zohrabai Ambalawali’s song from Mann ki jeet-44 was banned in Bombay Presidency, but it was shown all over India.

The biggest number of artists given by a single Non Indian origin community, in those days was the Jews. The Jews came to India in 562 BCE and in 70 CE in two lots. They settled in various parts of India. It was the first foreign religion to come to India, even before Islam or the Zorostrian. There were 8 types of Jews, based on their locations in India.

1. Cochin Jews
2. Madras Jews
3. Bene Israeli Jews in Bombay and Konkan areas
4. Baghdadi Jews-Gujarat, Bengal and Eastern India
5. South Asian Jews
6. Bnei Menashe- NE states
7. Bene Iphraim- Telugu and
8. Delhi Jews- Punjabi

Though the Jews mingled freely and adapted themselves to local atmosphere- maintaining and following Judaism-, the Jews who took up to Film Industry were only the Bene Israeli and Baghdadi Jews. A point to note was that no Jews from Kerala or Madras even entered film line. It was only the Hindi films. There too mainly Jew women joined films. The earliest recorded Jew girl to work as a Heroine in a film was Ruby Meyers ( Sulochana ). She acted in silent film Veer Bala-1925, made by Mohan Bhavnani for Kohinoor Film company, Bombay. She went on working in films and became very popular. When the Talkie film age came, she contacted Imperial film co. to stake her claim, but was rejected as she was not fluent in speaking Hindustani. learning from this, she took one year off and became expert in Hindi and learnt singing too. She made a thumping entry with the Talkie film Madhuri-1932, in which she sang 4 songs also ! Hats off to the dedication !

There were other Jew actresses like Rose Musleah (Miss Rose), Lilian Ezra (Lilian), Marcia Soloman(Vimla), Rachel Sofaer(Arti Devi), Esther Abraham (Pramila), Susan Soloman(Feroza Begum), Florence Ezekiel(Nadira) and many more. Among the males- David Jseph Penkar wrote the story and dialogues of Alam Ara-1931, Actor David Cheulkar (David ), Ezekiel Penkar (Viju Penkar- Tarzan film Tarzan and the Cobra-88 and few more films) and Lily Ezekiel (Asha Bhende), Edvyn Meyers (Ezra Mir) and Pearl Padamsi are well known Jews. There were some male Jews in the Technical side also.

In film Manchali-1943, the Heroine was Ramola (Rachel Cohen).

Actress Ramola (real name- Rachel Cohen) was born in a Jew family on 5-7-1917, at Bombay. Her father Hayam Cohem was a school Teacher. Her initial education was done in Bombay. Later they shifted to Calcutta where she completed her matriculation and joined films. Her first film was ‘ Graher fer’-38,a Bangla film. She did few small roles and then came ‘Khazanchi’-41 from Pancholi of Lahore. This changed her career and she became a popular actress. She did films like Masoom,Khamoshi manchali.etc etc.

Initially,Ramola was a small actress. First she acted on stage along with her two sisters. Then she got a Bangla film. It was Jagdish Sethi who introduced her to director/lyricist/dialogue writer Kidar Sharma.
According to Kidar Sharma,

“She was smart and a charming young lady. Her only drawback was her height. She was not tall, just about 5 feet, but she had lofty ambitions. One day she came to see me and I promised I would personally take her to the director of her choice. She said, “I would like to be introduced to Mr. Nitin Bose, and no one else.” I took her to Mr. Bose, and was sure that her charm and talent would impress him.

Mr. Bose scanned her, from top to toe, while I praised her talent and her choice of a director, like Nitin Bose. After a long silence, Mr. Bose addressed me and said, “When you brought her to me, why did you forget to bring some bricks for her to stand on?” Poor Ramola was hurt and heart-broken by this great director’s caustic remark. She quietly said, “Goodbye” and walked away from his office.

I followed her and found that she was in tears. ‘I was moved by the plight of a struggling youngster having high hopes, being ridiculed for something which nature was responsible for. I knew what it felt like to be ridiculed. I had experienced it often enough. I escorted her to the tram junction and there she bid me goodbye. To encourage her, I said, “Please, Ramola, don’t be heart-broken. One day, when I become a director, you will be my first heroine, and we will prove to Mr. Bose and the world, what a great star you are.” Ramola laughed and said,- “Poor Mr. Kidarnath, the dialogue-writer will never be a director and I will never be a heroine.” So saying, she jumped into the tram.”

However, Kidar Sharma kept his promise and cast her in his first film as director Aulad / Dil Hi Tou Hai (1939). Aulad/Dil Hi To hai was a down-to-earth story of a middle-class father, who had sacrificed all his life to educate his son and is darling daughter, hoping that they would be worthy children to the society and to the family. Little did the old man know that the generation gap would present a different, horrifying reality, which would destroy him completely. The modern college Miss, who destroys the dreams of her old father, the aged struggling middleclass man, was played by Ramola.

After the success of the film, Ramola got romantically involved with R.C. Talwar, Kidar Sharma’s assistant who later became a director in his own right. According to Kidar Sharma, “R.C. Talwar was a classmate and friend so I ignored his relationship with Ramola.”

Later Ramola appeared in many films including Qaidi, Khazanchi, Khamoshi, Swan Aya Re, Rim Jhim etc. When she acted in Pancholi’s famous film Khazanchi-41, she became famous all over India and film offers started pouring on her. She looked so cute in her Punjabi dress- Salwar and Kurta- in that film, that this dress became famous and popular as Khazanchi dress amongst the women in India.

She acted in 23 films in Hindi and 5 films in Bangla. She even sang 14 songs in 4 Hindi films. After the arrival of new heroines including Madhubala, Nargis, Meena Kumarietc, Ramola’s career got eclipsed and she bid farewell to her film career. Her last 3 films Actor, Jawani Ki Aag and Stage were released in 1951. However her actual last film was the Bangla film, Anurag-51

Ramola was married twice. Her second husband, Leslie Rondeau, was a Captain in the British Air Force, who helped to train Indian pilots in the IAF post Indian Independence. Her son, Sam, from her first husband, migrated to Israel in the 1950s. She had two daughters, Dena and Linda, from her second marriage. Dena, based in London today, even acted in a film, GP Sippy’s Ahsaas (1979), and works in the fashion industry while Linda, a resident of Bombay, was an air-hostess with Air India. With her generous and large hearted spirit, Ramola also ‘adopted’ and looked after another 14 families, helping them move ahead in life.

Ramola passed away in Bombay on 10-12-1988.

While Ramola was doing films, another actress having a similar name Romilla appeared on the scene. Romilla was actually Sofia Abraham, the younger sister of actress Pramila (Esther Abraham). Daughter of a retired Government Contractor, Romilla was born at Calcutta, After passing the Junior Cambridge examination she came to Bombay. She joined Imperial Film co. After doing some nondescript and uncredited roles, she became the heroine in Prince Movietone’s film Calcutta after Midnight-37. She started working in C grade stunt films of Mohan pictures and others. Some of her films were Bismil ki Arzoo-37,Cyclewali-38, Chabukwali-38, Thunder-39, Ratna lutari-39, Suhana Geet-41 ( later re issued as Toote Dil-47), Sarovar ki Sundari-42, Pistolwali-43 etc etc.

After this she got married and bid goodbye to films.

Today’s song is sung by Ramola and Sunder singh, who became a comedian after his film Shukriya-44. With this song, the film “Manchali”(1943) makes its Debut on the Blog.

(Credits- Times of Israel, The wire, ‘Mother, maiden, Mistress’ by Somaiya and Kothari, Cineplot, Film Directory-48, HFGK, MuVyz, Upperstall, wikipedia and my notes)


Song-Ho koi rang rangeeli aaye (Manchali)(1943) Singers-Sundar, Ramola, MD-G A Chishti

Lyrics

Ho koi rang rangeelee
Ho koi chhail chhabeeli aaye
Ho koi rang rangeelee
Ho koi chh chh chh chh chhail chhabeeli aaye
ho koi chatak matak kar
matak latak kar
jhoola mujhe jhulaaye
ho koi chatak matak kar
matak latak kar
jhoola mujhe jhulaaye
Ho koi rang rangeelee aaye

tum kya ho
main raani tujhe banaaun
aur geet khushi ke gaaun
main raani tujhe banaaun
aur geet khushi ke gaaun
jo mera jee bahlaaye
jo mera jee bahlaaye
ho koi chatak matak kar
matak latak kar
jhoola mujhe jhulaaye
ho koi chatak matak kar
matak latak kar
jhoola mujhe jhulaaye
Ho koi rang rangeelee aaye

main jhoola tujhe jhulaaun
aur jee tera bahlaaun
main jhoola tujhe jhulaaun
aur jee tera bahlaaun
to kya ho

tab jeewan sukh paaye ae ae ae
tab jeewan sukh paaye
ho koi chatak matak kar
matak latak kar
jhoola mujhe jhulaaye
ho koi chatak matak kar
matak latak kar
jhoola mujhe jhulaaye
Ho koi rang rangeelee aaye
ho ho
ho o o o
o o o


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.

Blog Day : 3696 Post No. : 14613

Today’s song is from film Shakuntala-43. It was the first film made by V.Shantaram, in his newly established own studio Rajkamal Kalamandir Ltd. This name was made by combining the first few letters of his parents- RAJaram and KAMALabai Vankudre. The studio was set up in 1942 and the first film was made almost immediately with Shantaram’s second wife, Jayashree as the Heroine opposite Chandramohan- the (actually) Blue Eyed boy of Shantaram.

The year 1942 was an eventful and Milestone year for Hindi film industry.

It was in 1942 that a splinter group from Bombay Talkies, led by S Mukherjee, separated and established their own Filmistan Studio.
Abdul Rasheed Kardar started his own Kardar Studios, after working for many famous film makers of Bombay and Calcutta.
Leaving Prabhat Films, with select associates like brother V.Awadhoot (cinematographer), Vasant Desai and few others, Shantaram started his own studio-Rajkamal Kalamandir.

Mehboob Khan left National studios( earlier Sagar movietone) and established his own Mehboob Studios, with the famous Sicle and Hammer on its Logo.

Homi Wadia left Wadia Movietone ,along with fearless Nadia, and started his own Basant pictures.

Begum Akhtar made her rare appearance in film Roti-42.

Muqabala-42 was the ffirst film with many Trick scenes and double role of Fearless Nadia,speaking shudh Hindi in one character and donning Saree with bangles, kumkum etc.

Bharat Milap was the first film in which Prem Adib and Shobhana Samarth played the roles of Ram and Seeta. Later they created history with film Ramrajya-43 in the same roles.

Madhubala debuted as Baby Mumtaz in Basant-42.

This splurge of activities in 1942 and its roll over effect flooded the next year 1943 with ” ek se badhkar ek ” films from the new establishments, competing with the established ones. Films like Aabroo from Hind Pictures of Nazeer Ahmed, Adab Arz by Amar pictures of Virendra Desai (ex Sagar), Kanan Devi’s Hospital, Hamari Baat and Kismat from Bombay Talkies, Kanoon and Namaste by Kardar, Hunterwali ki beti and Mouj from Basant pictures, Andhera, Bansari, Gauri and Nurse from Ranjit, First film Najma by Mehboob studios, Panghat and Ramrajya by Prakash, Poonji from Pancholi of Lahore,Prithvi wallabh by Minerva and the biggest grosser Shakuntala from Rajkamal made the year 1943 a memorable year indeed. In addition other films from Circo, Mohan, Murali and many other production houses too joined in.
Out of all this, Shakuntala ran for 104 weeks and it was the First film shown in USA also. The success reassured Shantaram about his decision to go alone. He started with new vigour.

film Shakuntala had a cast of Jayashree ( Shantaram’s second wife), Chandramohan,Kumar Ganesh, Ratan Piya, Nana Palshikar, Shantarin etc etc. The songs were written by Dewan Sharar and Ratan Piya. The music was given by Vasant Desai. This was his first film with Shantaram. He went on to give music to several films from Rajkamal, like Parbat pe apna dera-44, Dr. Kotnis ki amar kahani-46, Matwala Shayar Ram Joshi-47 ( Amar Bhoopali-50, Marathi), Dahej-50, Surang-53, J.J.Payal Baje-55, Do ankhe bara haath-57 and Ladki Sahyadri ki-66.

Sharar had adapted the story from the original ” अभिज्ञान शाकुंतल by Mahakavi Kalidas ” written in the 3rd century. He wrote the story, dialogues and Lyrics also. This was Sharar’s first film with Shantaram . Their association continued for some more films like, Parbat pe apna dera-44, Dr. Kotnis ki amar kahani-46, Apna Desh-49, Teen batti char Raasta-53 and J.J. Payal baje-55.

Dewan Sharar also acted in 8 films and wrote 62 songs in 12 films.

Hindi film industry has seen uneducated, educated and talented artistes in various fields like acting, direction,production, cinematography, story and dialogue writing, Lyricists,composers etc etc. It has also seen successful artistes leaving films and shining somewhere else on their merits like, Shashi kapoor-sr, S D Batish, Lyricist Moti,B.A. etc etc. However , there is only one example where the artiste had an extraordinary success in totally unrelated fields, was a distinguished author and an acknowledged scholar BEFORE joining the film industry . He is Dewan Sharar. Not much has been written about him so far. Here is something about him.

Dewan was not his first name. It was a Title used as a prefix. He came from a family which had served as Dewans in many states traditionally in few generations. His name was Atmanand Sharar. He was born (1899-1969) in Multan in erstwhile Punjab. From 1929 to 1942, he travelled in many countries. He is credited with editing the Magazine, ” Shabistan “, the first Urdu cinema paper in India. He worked as a Publicist for the League of Nations in Geneva, Switzerland. He edited a leading weekly ” Great Britain and the East ” for 3 years He regularly contributed to British and American press. He was the first Indian whose 4 plays were broadcast over BBC. From 1937 to 1940, he was in charge of the cataloguing of Urdu books and Manuscripts in India House at London. He published many books like’ Indian Folklore’, ‘ In the garden of Peacocks’, ‘ East meets West’ and ‘ Gong of Shiva’. The last one was translated in many languages of Europe. Hindi film ‘ Ishara’-43 was based on this novel. He also wrote the story of Himanshu Roy’s film ” Karma”-33- first English film by an Indian. The film credits start with his name First.

This is what South Asian Cinema Faculty of U.K.said about him, “Film and stage actor, writer of English novels, short stories, stage and radio plays, “Eastern Adviser” to British-Gaumont films in London and Urdu poet. He also contributed prominently to Indian cinema as a producer, character actor and a story and dialogue writer. Born in Multan, Dewan Atmanand Sharar (1899-1969) came from a family that had served as Dewans or Ministers in Indian princely states. After graduating from Punjab’s prestigious Government College, Lahore, he established an impressive repertory company in 1919 and presented several Hindustani plays and mushairas in various urban centres. In 1929, he set up a film-producing and distribution company and began to edit Shabistan,reputedly the first Urdu cinema paper in India.
In 1933, Dewan Sharar moved to London for the completion and launch of Himansu Rai’s Indo-British film, Karma (1933) ofwhich he was the storywriter. It was completed in England by Indian & British Film Productions with J.L. Freer Hunt as the director and Thorold Dickinson as editor. Sharar also produced and acted in Nagin ki Rani, the Hindustani version of Karma. While in London, many of his English short stories on Indian life appeared in mainstream newspapers in the UK and overseas. A major London publishing firm, George G. Harrap & Co., published two of his English works: The Gong of Shiva(1935) and Hindu Fairy Tales(1936). His short stories were also published as part of an anthology which included contributions from other famous contemporary writers. He also contributed a number of English radio plays for the BBC.

After returning to India in 1939 just before World War II, he worked for All India Radio Bombay and Delhi. He then joined filmmaker, V. Shantaram and adapted Kalidasa’s Sanskrit classic, Shakuntala for the silver screen in Hindustani. The film was a runaway success and the Sharar-Shantaram combine lasted over a decade winning laurels for both Sharar and Shantaram’s banner, Rajkamal.

In 1943, Ishaara (1943), a film based on Sharar’s English novel The Gong of Shiva catapulted actor Prithviraj Kapoor to stardom. Besides becoming an important pillar of popular Indian cinema, he also started Dewan Sharar Publications in 1963. His descendants include famous Bombay-based Indian film actor Akash Khurana and Nagpur-based businessman turned playwright and theatre actor Vikash Khurana. ”

The other Lyricist of film Shankuntala-43 was a poet with a very romantic name-Ratan Piya. He was born on 5-3-1904 at Lucknow. His father Pt. Madan Mohan was secretary to Motilal Nehru. His father was a theatre lover and so started his own Theatre company at Allahabad. Ratan, after his matriculation started working in it. He was trained to write songs for its dramas. Their company was patronised by the Viceroy, who paid Rs. 20 p.m. as his Patronage !

Ratan debuted as a Lyricist in film Pakke Badmash-1939. For this film, he even wrote an English song. His films were Zaban-43, Mali-44, Umang-44 Nai Baat-47 and Batohi-48. For sustenance, he even acted in few films like, Shakuntala-43, Umang-44, Meena-44, Mahakavi Kalidas-44, Panna Dai-45, Khush Raho-49, Janam Patrika-49 and Begunah-49. After this ratan Piya returned to Allahabad to look after their Theatre when his father died.

Today’s song is sung by Vasant Desai himself. He gave music to 46 films. He acted in 4 films. He sang 13 songs in 9 films. He was often called for giving Background music to films. He gave Background music to 99 films.

( credits- http://www.sacf.co.uk, stagecrafttheatre.com, film directory-48, HFGK, MuVyz, and my notes )


Song-Chali apne ghar ko Shakuntala (Shakuntala)(1943) Singer-Vasant Desai, Lyrics-Dewan Sharar, MD-Vasant Desai

Lyrics

is bargad ko abmain tumhaare palle daal chali
par bahan
hamen kiske palle daal chali ho

hamen kiske palle mein daalegi
sakhi laadli
tu chali
chali
hamen kyon thhi ye ghadi dekhni
chhuta chhutpane ka jo naata thha
chali
chali aashram se shakuntala
chali aashram se shakuntala

??priya
priyamvada
?? mat
chhodo
shakuntala ko dheeraj do

madan
mere nanhe
ab main tujhse juda ho rahi hoon
ghabra nahin
baba teri paalna karenge

gurubaba
apne pyaaron ko vida karne jal tak hi aana thheek hota hai
ab ye jheel ka kinaara aa gaya
hamen aagya de kar
aap aashram ko laut jaayiye

kya
aap sab yahin se laut jaayenge

main tum sabko phir kab dekhoongi

baba se kab miloongi
baba
tapasya seap waise hi duble ho rahe hain
mere jaane se aur dukhi na hona
baba
mere baba

jo hansaati thhi
usey do diye
jise paaya thha
usey kho diye
gale mil ke rona judaai ka
pita putri ki hai yahi vidha
chali

beti
samay ho gaya

chali apne ghar ko shakuntala
ye safar tera path yatra
tujhe chhaaon achchi ghani miley
miley tujh ko chaman khile khile
tujhe peene ko miley ganga jal
path yatra teri ho sufal
chali


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 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 : 3688 Post No. : 14595

In the sphere of Parsi Theatres, there were many artists who had contributed in the growth of Indian theatres. But there were few personalities and artists associated with Parsi Theatres whose contributions led to its strong foundation. Some theatre scholars whose specialisation is in South Asian theatres, regard Agha Hashr Kashmiri (Writer-Director), Pandit Narayan Prasad ‘Betab’ (Writer-Director), Radheshyam Katha Vachak (Writer-Director), Master Fida Hussain (Actor-Singer) and Jaishankar Bhojak, popularly known as Jaishankar Sundari (Actor-Singer) as the pioneers in developing the Parsi Theatres.

I have already covered in our blog, the life sketches of Pandit Narayan Prasad ‘Betaab’ in the post, “Abroo Ki Kamaanon Mein”, of Agha Hashr Kashmiri in “Yaad Mein Teri Jahaan Ko Bhoolta Jaata Hoon Main”  and Pandit Radhe Shyam Katha Vachak in “Ye Suna Hai Maine Jaadu Hai”.  In this article, I am presenting a brief biography of the fourth artist, Master Fida Hussain, the actor-singer.

Before I embark upon covering Fida Hussain’s biography, I wish to share with the readers that his biography was an oral history of his association of 50 years with Parsi Theatres as told to Pratibha Agrawal, a theatre scholar and connected with the Natya Shodh Sansthan, Calcutta (Kolkata). The oral history she collected from Fida Hussain during their sitting of 15 days was published verbatim in Hindi in 1986 with comments from her. There is no sequencing of the events spread over 50 years of his theatre days.

The English translation of his biography ‘Parsi Theatre Main 50 Varsh’ (1986) was published as one of the chapters in a book ‘Stages of Life’ (2011) by Kathryn Hansen, a leading scholar of South Asian theatre history. What I have done is more like an abstract writing of the biography sourced from this book with my comments wherever necessary. There are many interesting trivia and anecdotes revealed by Fida Hussain during his oral submission which I have avoided in my write-up to make the presentation of the biography as short as possible.

Fida Hussain (11/03/1899 -1999) was born in Muradabad (UP) in an conservative family.  Right from childhood, Fida Hussain was fond of singing. It is quite likely that he got interested in singing because of the travelling theatres and nautanki groups that visited his town. Fida Hussain’s father and uncle did not like his interest in singing.  Almost every day, the young Fida Hussain used to get beatings from his uncle for singing, though his father despite the dislike for the singing and music, spared him from beating.

But the more beatings he got, his fondness for singing increased. He also started watching the free shows of nautanki (folk theatre) which culminated into his love for the acting as well. This enraged his married elder brother who instigated his wife to do something to affect his voice. One day, she served him paan with vermilion powder which resulted in loss of his voice for nearly six months. After getting his voice back thanks to a visiting Sadhu who gave him some prescriptions, Fida Hussain started attending nautanki shows with a greater vigour than before.

In 1917, Fida Hussain joined a local drama club and got training for six months before being given a female role in the drama ‘Shahi Faqeer’. In this way, the path toward theatre opened for him. Soon, with the recommendation of his local drama club’s President, he went on to join the New Alfred Theatrical Company which was touring around Delhi for staging ‘Veer Abhimanyu’. In January 1918, Fida Hussain ran away from his home in Muradabad for Delhi leaving his newly married wife at home.

The New Alfred company never employed female actors. Hence the female roles were performed by the male actors like Master Nissar. Fida Hussain also got mostly the female roles in New Alfred.

Once when New Alfred was staging a show in Meerut, one of the boys from his neighbourhood recognised Fida Hussain and promptly reported the matter to his father. His father-in-law promptly lodged a complaint with police and an arrest warrant was issued. This entire episode is too big to cover here. The conclusion of this episode was Fida Hussain got a reprieve from his father, who allowed him reluctantly to continue with his passion after getting assurances from him that he would never indulge in intoxication (of any form), gambling, always keep high morality and keep in touch with his family by visiting his home town.

With his domestic issues getting resolved amicably, Fida Hussain could now concentrate fully on theatres. His association with New Alfred continued until it closed down in 1930. His most popular dramas under New Alfred were ‘Parivartan’ (1922), ‘Veer Abhimanyu (c 1923), ‘Parambhakt Prahlad’ (c 1923), ‘Shri Krishna Avatar’ (1924-25), ‘Ishwar Bhakti’ (1928), ‘Laila Majnu’ (1930). Except for ‘Laila Majnu’, Fida Hussain played the female roles in all these plays.

In the 1930s and 1940s, Fida Hussain got associated with many theatre companies all over north, east and west India, the prominent being Alfred, Madan (pronounced as Maadon), Sahajahan, Narsi, Mohan  and finally taking up the reins of Moonlight Theatre owned by Marwadi brothers in Calcutta (now Kolkata). During this period, Fida Hussain worked in ‘Nal Damyanti’, ‘Yahudi Ki Ladki’, Khoobsoorat Balaa’, ‘Seeta Banvas’, ‘Chalta Purza’, ‘Bhakta Narsi Mehta’, ‘Bharat Milap’, ‘ Krishna Leela’ and many more.

In 1939, he donned the title role of Narsi Mehta in the play ‘Bhakt Narsi Mehta’. The play became a hugely popular hit and it played for over 1000 nights. Because of this, Fida Hussain was honoured with the title ‘Narsi’ which he proudly used as suffix to his name as  Fida Hussain ‘Narsi’.

With the advent of talkies, Fida Hussain, like many other artists from theatres, was associated with a few Hindi films during 1934-46 as an actor-singer. The first film he worked was ‘Ramayan’ (1934) followed by ‘Insaf Ki Tope’ (1934), ‘Kunwaari Ya Vidhwa’ (1935), ‘Diljaani’ (1935), ‘Dil Ki Pyaas’ (1935), ‘Daku Ka Ladka’ (1935), ‘Balidaan’ (1935), ‘Khudaai Kitmadgaar’ (1937), ‘Matwali Meera’ (1940), ‘Bambaiwaali’ (1941), ‘Arabian Nights’ (1946) and ‘Toote Sapne’ (1946, Unreleased).

Except for ‘Bambaiwaali’ (1941) which was produced in Bombay (Mumbai), rest of films in which Fida Hussain worked were produced in Calcutta (Kolkata) where he was associated with Moonlight Theatres. I find that barring one or two films, he had small roles in rest of his films. It is quite possible that due to his immense popularity on stage as an actor-singer, the producers of the films may have taken him in their films to attract his large fans to watch the films. My guess is that Fida Hussain did not have much interest for working in films as his heart was with the theatre.

Fida Hussain continued his association with Moonlight Theatres, Calcutta (Kolkata) where he was the boss. The owners (4 Marwadi brothers) did not interfere in any aspects of the Moonlight Theatre so long as they earned profit from this venture. I am surprised as to how Fida Hussain could successfully compete with Hindi films and ran the Moonlight Theatres profitably in the 1950s and 60s. In 1968 when Fida Hussain completed 50 years in Parsi Theatre, he decided to retire from the theatre activities and spend rest of his life with his extended family in Muradabad. With his retirement, the Moonlight Theatre was closed and with this the glorious years of Parsi Theatre came to an end.

However, Fida Hussain remained busy during most of his post-retirement years. Being the only living legend of Parsi theatres, his knowledge about the old theatrical styles were utilised for those interested in theatre. He became a regular visiting faculty for the National School of Drama, New Delhi until 90s. He also conducted workshops for students who were pursuing their interest in the theatre. He was often one of the invitees on symposium and seminars on Indian theatres. In 1985, Fida Hussain received the Central Sangeet Natak Akademi Award in recognition of his contributions to Indian theatres. In 1978,  he had received the Uttar Pradesh Sangeet Natak Akademi Award for acting.  Fida Hussain passed away in the year 1999.

Fida Hussain may be one of the few theatre personalities who commanded not only the respect but also kept his reputation high even during his poet-retirement years. He was also one of a few artists who judiciously used his earnings to create a bright future for his two sons and two daughters. At the time of his death, Fida Hussain was the owner of two brassware business firms in Muradabad which were run by his two sons.

During his theatre days, Fida Hussain recorded more than 200 songs with HMV. However, his filmy songs are few (may be less than 20) and it seems some of them were not issued on gramophone records. Very recently, I could get hold of his two songs from the film ‘Bambaiwaali’ (1941) which I have uploaded on the video sharing platform.

I am presenting here one of the songs. “Janaab e Naaseh Samajhte Hain Hum’ from ‘Bambaiwaali’ (1941) sung by Master Fida Hussain. There were 7 songs in the film, all written by Wahid Qureshi which were set to music by Madhulal Damodar Master.

‘Bambaiwaali’ (1941) was produced under the banner of Wadia Moveitone and was directed by Homi Wadia. The star cast included Nadia, John Cawas, Radha Rani, Sardar Mansoor, Boman Shroff, Dalpat, Fatima, Minoo Cooper, Nazira, Mithu Miyan, Gunboat (Dog) etc. The story of the film in short is as under:

A village is being exploited by a capitalist racketeer. The villagers are being convinced to sell their land to the capitalist. Everything seems to be going smooth for the capitalist until Nadia (Bambaiwaali) who returns to her village after completing her education in Bombay (Mumbai). She opposes selling land to the capitalist for which the women folks of the village support Nadia. Now the conflict turns between the greedy men of the village and their women folks who love their land more than the money.

Nadia with her two henchmen, a dog and even a rickety motor car became the part of thrilling and sometime hilarious situations to catch the racketeers. Women are trained to use laathis for self-defence. With this, Nadia establishes that village women have equal say in decision making. Capitalist’s game plan is defeated. (Source: Filmindia, September 1941).

Anyway, there is a subtle message in the film story about women’s emancipation in the guise of a wholesale entertainment.

Master Fida Hussain had a very deep voice probably due to his loud singing on the stage in the absence of microphone those days.  This is reflected in his singing the filmy songs including the one under discussion. In this song, his singing style is a fusion of ghazal, qawwali and classic style of singing of 1930s.

With this song, ‘Bambaiwaali’ (1941) makes a debut in the Blog.

=================
Translation by Sudhir

janaab e naaseh samahjte hain hum
wo sangdil hain jafaa karenge

o learned advisors (please know)
that am aware they have hearts of stone
and will betray the trust in love
[naaseh = learned person, advisor;
sangdil = one with a heart of stone;
jafaa = betrayal of trust]

mithaa hi denge jahaan se hamko
aur iss se badkar wo kya karenge

they may destroy us
and banish us from this world of living
but alas, that is the utmost
that they can achieve

apni ye zulfen balaa karenge
apni ye zeben ada karenge
magar haseenon se ye to poochho
jo hum na honge to kya karenge

they may arrange their tresses
to afflict disaster on our hearts
they may present their graces and beauty
but hey, ask of these enchanting ladies
what use is this beauty and charm
if we are not there (to appreciate)
[balaa (बला) = calamity, adversity;
zeb (ज़ेब) = grace, beauty]

nazar alahda hai har bashar ki
khuda kasam hai apni
jo humko dete hain bad’duaaen
hum unke haq mein duaa karenge

every person has a different perspective
in the name of Allah, the Almighty
those who may curse us
we still will seek blessings for them
[alahda = different, separate;
bashar = person, individual;
duaa = blessing;
bad’duaa = curse]

Song – Janaabe Naaseh Samajhte Hain Hum (Bambaiwaali) (1941) Singer – Master Fida Hussain, Lyrics – Wahid Qureshi, MD – Madhulal Damodar Master

Lyrics

aaaa aa aa
aa aaaaa aaaaaaa
aaaa aaa aa aa

janaab e naaseh..ae
samahjte hain hum
janaa..aab e naaseh..ae
samahjte hain hum
wo sangdil hain jafaa karenge
wo sangdil hain jafaa karenge
mitaa hi denge..ae
jahaan se hamko
mitaa hi denge..ae
jahaan se hamko
aur iss se badkar wo kya karenge
aur iss se badkar wo kya karenge..ae
wo kya karenge
wo kya karenge
aur iss se badkar wo kya karenge..ae

apni ye zulfen balaa..aa..aa karenge
apni ye zeben ada karenge
magar haseenon se ye to poochho
aaaa aa
magar haseenon se ye to poochho
jo hum na honge to kya karenge
jo hum na honge to kya karenge
 
aa aa aa aaa
nazar alahda
hai har bashar ki..ee..ee
nazar alahda
haan nazar alahda..aa
haan nazar alahda
haan nazar alahda
aa aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa
nazar alahda hai har bashar ki..ee
khuda
khuda aa aa aa
kasam hai apni
jo humko dete hain 
bad’duaaen
jo humko dete hain bad’duaaen
hum unke haq mein duaa karenge
hum unke haq mein duaa karenge..ae
janaab e naaseh samahjte hain hum
wo sangdil hain jafaa karenge
wo sangdil hain jafaa karenge

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

आsss आ आ
आ आssss आssssss
आsss आss आ आ

जनाब ए नासेह॰॰
समझते हैं हम
जना॰॰आब ए नासेह॰॰ए
समझते हैं हम
वो संगदिल हैं जफा करेंगे
वो संगदिल हैं जफा करेंगे
मिटा ही देंगे॰॰ए
जहां से हमको
मिटा ही देंगे॰॰ए
जहां से हमको
और इस से बढ़ कर वो क्या करेंगे
और इस से बढ़ कर वो क्या करेंगे॰॰ए
वो क्या करेंगे
वो क्या करेंगे
और इस से बढ़ कर वो क्या करेंगे॰॰ए

अपनी ये ज़ुल्फें बला॰॰आ॰॰आ करेंगे
अपनी ये ज़ेबें अदा करेंगे
मगर हसीनों से ये तो पूछो
आss आ
मगर हसीनों से ये तो पूछो
जो हम ना होंगें तो क्या करेंगे
जो हम ना होंगें तो क्या करेंगे

आ आ आ आss
नज़र अल्हैदा
है हर बशर की॰॰ई॰॰ई
नज़र अल्हैदा
हाँ नज़र अल्हैदा॰॰आ
हाँ नज़र अल्हैदा
हाँ नज़र अल्हैदा
आ आ आ आ
आ आ आ आ
आ आ आ आ
आ आ आ
नज़र अल्हैदा है हर बशर की॰॰ई
खुदा
खुदा॰॰आ॰॰आ
कसम है अपनी
जो हमको देते हैं
बद्दुआयें
जो हमको देते हैं बद्दुआयें
हम उनके हक़ में दुआ करेंगे
हम उनके हक़ में दुआ करेंगे॰॰ए

जनाब ए नासेह समझते हैं हम
वो संगदिल हैं जफा करेंगे
वो संगदिल हैं जफा करेंगे


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.

Blog Day : 3671 Post No. : 14550

Today’s song is from Anuradha (1940). There were two more films made with the same title- one in 1960 and the other in 2014. Film Anuradha-1960 was the most well known film of these 3 films. The song of today is ” Chahun oar chaandni chitki hai.” It is written by Lajpat Rai and tuned by the veteran composer Badri Prasad. The song is sung by Vatsala Kumthekar.

Vatsala Kumthekar was one of those many aspirants, who dreamt of a bright career, plenty of money,name and fame and a happy retired life. To fulfil this dream, it was customary to go to Bombay and join films.

This is a Maya Nagari. Those who thought that all that glittered was Gold, suffered the bitter fruits of reality. In reality, Hindi film industry is a great leveller. This industry has taken some people from Rags to Riches and some others from Riches to Rags !

There are many cases where an artist reached a particular height of his career in professional life but when the end came, he died unsung, unknown and unatteneded. There are instances like Parveen Babi and Nalini Jayawant, whose death went unnoticed for days together and when news spread their bodies were beyond recognition. For many, the end was violent, like Sayeeda Khan, Director Brij and Shankar Dasgupta.

But the worst is when Death does not come fast and the last days are spent in penury, begging and in bedridden condition unattended.
Master Nissar, who once boasted of owning the only car in Bombay, other than the Bombay Governor, died in Kamathipura slums in Bombay penniless. His last rites were done by the Cine Artists Association.

The beautiful bubbly Meena Shorey died in Lahore in utter poverty and her last rites were done by charity. One time popular hero WASTI was found begging near Liberty Cinema in Bombay. Rattanbai, the famous singer was seen begging at Haji Ali Darga in Bombay. The wife of Khemchand Prakash also was found begging there by Naushad. Mohd.Rafi found Khan Mastana begging near a Dargah. Rajkumari, Vimmi, Bharat Bhushan, Master Bhagwan, Khan Mastana spent their last days very humiliated, in poverty and obscurity. We all know, by now, the sad story of Mubarak Begum living off the meagre earnings of her Auto-driver son, in a Bombay Zopadpatti, till her recent death.

The story of PARSHURAM, once a popular actor/singer of 1930s and 40s is very pathetic. Tabassum,who ran the record breaking TV program ‘Phool khile hain gaulshan Gulshan’, once stopped at a traffic signal. From her car,she saw a familiar face begging at every car. She immediately recognised Parshuram. She got down quickly,took him in her car to the TV studio. He was the same Parshuram who sang the famous song of Duniya na maane-1937 ‘Man saaf tera….’. He was cleaned, fed and robed in fresh clothes. Then she did his live interview on the TV and paid him Rs.1000/- on the spot. Later he got 1 or 2 film offers, but then he disappeared forever. He was a habitual drunkard. He was seen begging again. One day he died on footpath and was cremated by Municipality as an unclaimed body, before his relatives reached to claim the body.

Chandra Mohan, Shaikh Mukhtar, Cuckoo…………so many stories of sorrow and sad ends…….This is Bombay Film Industry-the Maya nagari.

Inspite of all this,still millions of people come to Mumbai with dreams in their eyes…..

Today we see the case of one such singer who scaled heights of popularity and then went to the Nadir from the Zenith….

VATSALA KUMTHEKAR was born in Bombay in 1909.Her family was a noted singers family from Goa. After schooling she got regular music training fro Ustad Barkat Ali,the elder brother of Bade Ghulam Ali Khan.She specialised in Thumaris.

Her beauty and sweet voice attracted many and she started holding Mehfils and Jalsas from 16-17 years onwards.her fame spread far and wide and she did programmes all over India. No wonder film companies ran after her.She started the career with Prabhat’s “WAHAN”-1937.
Then came Baanke Saanwariya, Madhu Bansari, Hurricane special, Jumbo ka beta, Aaj ki Duniya, Anuradha, Jai Swadesh, Aurat, Holiday in Bombay, Prabhat,Sangam,Lalaji,Aabroo, Jabaan, Aashirwad, Ishara and Rahat.

She was quite popular and many film personalities were keen to marry her. She got married in 1940, but her married life was bad. Her husband, Ibrahim Sheth, left her for another woman. After 3 years he returned to her. She readily accepted him and looked after him till he died. By now she had stopped getting films. After husband’s death, she almost became penniless and lost her mind. She shaved her head. She was seen roaming in Bombay like a mad woman and begging.

One day her dead body was found on Tardeo Bridge, Bombay. She was identified by some onlooker, but before the news reached the film industry, she was cremated by the Municipality as an unclaimed body.

Film Anuradha (1940) had a cast consisting of Maya Banerji, Trilok Kapoor, Jeevan, K N Singh, Vatsala, Shyamsundar, Anant Marathe , Agha etc.etc. Anant Marathe aka Anant kumar was the brother of actor and famous singer Ram Marathe. I was searching for his information for quite some time. My search ended when I found an article written by his son about his father.

Anant Marathe was born in 1936. In a career that spanned over 50 years, he was a witness to many changes and upheavals in the Hindi film industry. Born in Pune, in a family that was doing well for itself, he had three brothers and two sisters. Losing his father at the tender age of four, he was forced to give up education and begin work, to fend his family. In the process the family left Pune and came to Mumbai, the city that fed every soul.

The world of films, those days, was not an industry. It was just like a 9 to 5 job in an office. Anant Marathe, with his innocent looks, expressive eyes and inborn confidence, was chosen by Master Vinayak, to play a role as a child artiste in a hindi film, Chhayaa. In this film he played the role of a son, who for his own selfish means is used by his father, ( played by Late Shri Chandra Mohan).

The real breakthrough came when he was called for an audition at Prabhat Studios, the most distinguished film company of those days. This 1943-44 film was ‘ Ramshastri’, in which he was to play the part of Chhota (small) Ramshastri. Ramshastri Prabhune was the Supreme Judge of the Peshwa dynasty and known for his supreme judgement. Once he was selected for the role, his grooming as an actor really began. In the storyline, Chhota ramshastri was depicted as a boy who hates to study and loves to play whole day long. He would swim, roam about with his pet dog and enjoy life. For this role Anant marathe was made to learn swimming even though he was scared of water! He could not get along with the puppy dog, even though it was supposed be his pet. And to top it all, after shooting, the swimming and the sequences with the dog were edited from the film! The song, ‘Don ghadicha daav, yala jeevan aise naav” sung by him was very popular at that time. He received an award for his performance as Ramshastri from Bengal Film Journalists Association as the best supporting actor of the year. This film was screened in a number of National and International film festivals.

Film industry in South India was very active in early 50’s. Anant Marathe acted in a number of films produced by the South Indian film studios, namely AVM, Gemini studios etc. Shri Chettiar of AVM was planning a socio-mythological film on the life of a famous saint. The lead role was played Shahu Modak. The film in general was devotional and to bring in an interesting element, a comic character was created, in the form of the saint’s shishya ( pupil ). This role was offered to Anant Marathe and he displayed histrionics that astonished everybody on the sets.

The Director who groomed the great showman Raj Kapoor was Kidar Sharma and Anant Marathe had the privilege to work in one of his films, this time as a villain! The film was Hamaari Yaad Aayegi. This film also launched Tanuja, who would be known as a talented actress in the coming years. Anant Marathe played the role of a character called Pyarelaal, a very deceiving name for a villain! He is a suave character, moving about in the company of elite people but behind the cute face there is a monster of sorts, a wolf in sheep’s clothes. Anant Marathe, with his charming smile was very stunning, not only in his looks but in every move. Kidar Sharma was known to reward any actor who performed a great scene with a 4 anna coin, known as chavanni in those days. A chavvanni earned for a great shot was like an achievement. And Anant Marathe earned many, which he cherished till end.

His journey as an actor continued with great flourish. Since he could speak Marathi and Hindi fluently, he received offers from both Marathi and Hindi films. He was truly a bi-lingual actor.

Manoj Kumar was inspired by the life of Bhagat Singh, the great sikh patriot from Punjab and was planning a film on his life. Manoj Kumar and Prem Chopra were to play the roles of Bhagat Singh and Sukhdev respectively but casting for Raajguru, the third freedom fighter was still to be done, as Manoj Kumar wasn’t happy with the short-listed few, to play the role. Manoj Kumar heard about Anant Marathe, who had acted in many hindi and marathi films. Anant Marathe was asked to come over and meet Mnoj Kumar. One look at him and he had found his Raajguru! The experience of working in a truly patriotic film, that too with a thespian like Pran who played a cameo in Shaheed, was a very inspiring experience for him. Incidently Pran did not charge a single rupee for this role! Shaheed brought a wave of patriotism in the audience, they cheered and loved their heroes. The real mother of Bhagat Singh was felicitated at the premiere of this film at Delhi. She was moved by the performances of every actor in the film. What’s more, a special screening was arranged for the then Prime Minister of India, Late Shri Lal Bahadur Shastri, who praised the film and awarded certificates of honour to all the actors.

Anant Marathe acted in over 250 Hindi and Marathi films, out of which 71 films are Hindi. he also sang 5 songs in 5 Hindi films.When he made his foray in Hindi films, he was not very fluent in Hindi so he took lessons from a tutor who taught him the nuances of Hindi, thus improving the pronunciations so he could speak the language flawlessly. He also learnt English to give his persona the required sparkle, so important for a lead hero. He had to give up formal schooling due to circumstances that prevailed and may be he made up for it in this manner.

Some of the films he acted in are, Bhakta Bilwamangal (Durga Khote), Bhakta Gopalbhaiya (Amir Kanataki), Geeta (Chandra Mohan, Durga Khote), Gokul ( Kamla Kotnis, Sapru), Jivacha Sakha (Durga Khote, Sulochana), Malti Madhav (Durga khote, Baby Shakuntala), Nanda Kumar ((Durga Khote), Sant Janabai (Hirabai Badodekar), Seeta Swayamvar (Durga khote, Baby Shakuntala), Jawaee Majha Bhala, Choravar Mor, Bhintila Kaan Astaat, Shri Krishna Darshan ( (Durga khote, Usha Kiran), Sampoona Ramayan, Bharat Milaap and many more.

In “ Barkhaa”, he played the role of a doctor opposite Nanda. The song, “ Ek raat mein do-do chaand khile…” became an instant hit. “Bada bhai”, a film starring late Ajit, had him playing Ajit’s younger brother with Amita as the female lead. In “Sanskaar” also he played the lead role opposite Amita. He acted in some Gujrati films also.

In the early stages acting was like a job for him but soon it became a passion. All these years, while he worked in front of the camera as an actor, he learnt the finer details of film making, by observing, making mental notes. He had a flair for writing. In fact, he was a habitual diary writer. He wrote poems for small children and later they were published in the form of a book.
He had a good voice and was planning to be a singer but destiny had something else in store for him, a career in acting.

He wielded the megaphone in year 1974, for a marathi film named “Sonarana Tochala Kaan”, starring comedian and an intense actor Nilu Phule in lead role with Usha Chavan as the female lead. It was inspired by a Hollywood caper with famous comedian, Bob Hope in lead. The film was a huge success all over Maharashtra.

Soon he was set to direct a film in Hindi. After a detailed script was worked out by him, the producer backed out. Losing hope but not the spirit, he turned a new leaf and began work on his next project, once again in Marathi. The name of the film was “ Bijlee”, meaning lightning.

Rangat-Sangat Pratishthan, founded by the wife of late Shri Shahu Modak conferred the Manus puraskaar, an award on him for life-time achievement. The name for this award, for obvious reason is Manus (meaning human), a film by this name had Shahu Modak in a memorable role as a Havildaar.

Anant Marathe lived a content life. Having worked in films from the age of 8 took its toll on him and he passed away in 2002.

Film Anuradha-40 had 12 songs in it- all written by Lyricist Lajpat Rai. He seems to have written songs for only one more film, Deepak-40. The music was composed by Badri Prasad.This is the first song from this film here.I was pleasantly surprised when I listened to few songs from this film, because, contrary to Badri prasad’s earlier music and songs, these songs were sounding fresh. Looks like he was trying to be with the changing tastes of the audience. Sadly, he stopped giving music to films after just 3 more films-Vanmala-41, Madhusudan-41 and Zevar-42. He was, however, active as an actor and later as a choreographer for many years, till late 70s.

( Credits- HFGK, MuVyz, http://www.writewrong.wordpress.com, Isaq Mujavar’s books, Sun jaa dil ki dastaan by J V Kulkarni and my notes)


Song-Chahun oar chaandni chitki hai(Anuradha)(1940) Singer-Vatsala Kumthekar, Lyricist- Lajpat Rai, MD- Badri Prasad

Lyrics

chahun oar
chahun oar chaandni chitki hai
taaron ki basti basti hai
chahun oar chaandni chitki hai
taaron ki basti basti hai
main haay akeli
aa jaao
birha ki aag sulagti hai
chahun oar
chahun oar

ye mand mand vaayu ki lahren
sukh ke geet sunaati hain
ye mand mand vaayu ki lahren
sukh ke geet sunaati hain
chhed chhed man ke taaron ko
aise saaz bajaati hain
rom rom thhar thhar kaanpe ae ae ae
rom rom thhar thhar kaanpe
nanhi si jaan machalti hai
nanhi si jaan machalti hai
main haay akeli
aa jaao
birha ki aag nikalti hai
chahun oar
chahun oar

door door saagar ka paani
prem ka naad sunaata hai
door door saagar ka paani
prem ka naad sunaata hai
mast bana paagal sa doley
mast bana paagal sa doley
parvat se takraata hai
dol rahi hirday ki naiyya aa aa naiyya
dol rahi hirday ki naiyya
kaise paar utarte hain
kaise paar utarte hain
main haay akeli
aa jaao
birha ki aag sulagti hai
chahun oar


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.

Blog Day : 3636 Post No. : 14464

Today’s song is from a very old film, ‘Himalay Ki Beti’ from 1938.

It is generally said that in this era, most actors and actresses came from poor families and most artists had no or had negligible education. While it is true to a great extent, it is not 100% true. It is not that even in this period, there were no educated persons in the film industry. Right from the beginning of the silent era to talkie film era up to the end of the 1940s decade, there were actors, actresses, directors, producers and musicians who were quite educated. Some of them had even been trained in western countries.

Take the case of Himanshu Rai and Devika Rani and their team of writers like Niranjan Pal, from the silent era. They were all highly educated and from rich, cultured families. Niranjan Pal was the son of the freedom fighter Bipin Chandra Pal. BN Sircar is another example. Director Nanubhai Vakil was actually an advocate with BA LLB degree. Surendra was BA, LLB. Motilal was a graduate, so were Ramchandra Thakur, Nandlal Jaswantlal, Jayant Desai, Jairaj, Umakant Desai. Ashok kumar, Dev Anand and his 2 brothers etc.

Among actresses, Leela Chitnis, Shanta Apte, Durga Khote, Renuka Devi were graduates. Vanmala was BA, BT. Kamini Kaushal was BA. The point here is, that educated and people with respectable family background were also a part of the film industry. But of course, initially their number was smaller compared to others who were either illiterate or less educated. For example, the beautiful Meena Shorey and Sitara Kanpuri could not even sign – leave alone reading and writing! That is why, they were cheated in their contracts by Sohrab Modi and WZ Ahmed (of Shalimar Pictures and husband of actress Neena).

In the film under discussion today – ‘Himalay Ki Beti, the hero, heroine and the director were all highly educated. The heroine, Enakshi Ram Rao was the daughter of an ICS officer of Madras Presidency. She came to England for her graduation. After graduation, she took part in some stage dramas, where she got introduced to Niranjan Pal and Himanshu Rai. When Himanshu Rai decided to make a silent film on the story of Taj Mahal, he asked Niranjan Pal to write the film story. Sita Devi aka Renee Smith was selected for the vamp’s role and Enakshi was selected for the main role of Selima (who was later named Mumtaj Mahal by Prince Khurram – who was later known as Shahjehan.). The film was named ‘Shiraz’ (1928).

Enakshi is a very unusual name. Comparatively, Meenakshi is a well known name. Meenakshi means ‘one with eyes like a fish’.  Enakshi means ‘one with the eyes of doe or deer’. In other words, Enakshi means Mrignayani. Except name of this actress, I have never ever come across this name (Enakshi) in my life elsewhere!

Her work in film ‘Shiraz’ was applauded in England, Germany and India. When she returned to India, She met Bhavnani, who made a silent film ‘Vasantsena’ (1931), with her in the lead role. More than as an actress of silent and talkie films, Enakshi’s name was known in elite circles for different achievements, after she stopped working in films.

Not many of us know that Enakashi Bhavnani  (Enakshi Rama Rao before her marriage) has done an enormous service to bring Indian dances and designs to the western world. She made immense contribution to bring the Kashmir handicrafts and designs (fabric, wood and papier-mâché) to the west.  An American tourist told in Kerala recently about her detailed work on Kashmir designs (shawls, jackets etc.). This side of Enakshi’s personality and work is in addition to her contribution as a dancer, photographer and actress. Two scholarly books written by Enakshi Bhavnani were also published. Both the books are preserved in the American Museum of Natural History. These are,
(1) Folk And Tribal Designs of India, and
(2) The Dance of India: The Origin and History, Foundation, Art and Science of the Dance in India .

This exceptionally talented woman stayed in Kashmir for sometime in 1950 and met a cross section of people connected with arts and crafts. She had been a visitor thereafter as well. She also visited Leh and Kargil for her book. During this period she also clicked some photographs in Kashmir portraying its rich culture and scenic beauty. She also shot a documentary ‘Valley Of Kashmir’ during this period.

Enakshi was an active membmer of the Crafts Council of India, which was founded in 1964 to support artisans and keep their crafts relevant and marketable amid rapidly changing economies at home and abroad. The photographs clicked by her have also appeared in National Geographic magazine, especially her series. And in her book on folk dances of India, Enakshi covers all forms folk dances of Kashmir.

Enakshi married film maker Mohan Bhavnanai (1903-1962) who was trained in Germany and Hollywood. She was a dancer, actor, photographer and writer on arts, crafts and culture.  From 1929 to 1938, she acted in six films as a leading lady. Out of these six films, five, namely ‘Vasantsena’ (1931), ‘Trapped’ (1931), ‘Jaagaran’ (1936) , ‘Himalaya Ki Beti’ (1938) and ‘Yangrilla’ (1938) were directed by her husband Mohan Bhavnani. Only ‘Shiraz’ (1928) produced by Himanshu Roy was directed by Franz Osten.

Producer director Mohan Bhavnani was a learned and illustrious person. This is what the Encyclopedia of Indian Cinema says about him-

Mohan Dayaram Bhavnani (1903-62)
Hindi director born in Hyderabad, Sind. Studied at College of Technology, Manchester (1921-4), then studied film-making in Germany at UFA (1924). Contracted to Kohinoor (1925-6) where his Sulochana? films were the earliest efforts in the Indian cinema to create a Hollywood-type movie star, e.g. Cinema Ni Rani where she plays a famous actress with whom the painter hero falls in love, or Wildcat of Bombay where she played multiple roles. Joined Imperial (1927-9), where he made Khwab-e-Hasti, adapted from the novel Dreamland (later also adapted by N. Taurog’s Strike me Pink, 1936). Scripted by A.S. Desai, this film is not to be confused with Kashmiri?’s play of the same title. Vasantsena was the first Kannada intertitled film. Became independent producer with Indian Art Prod. (1931-2). Returned to Germany to study sound film technique. Started Ajanta Cinetone (1933-4) and his own Bhavnani Prod. (1935-48). Sound début was a flop, but it introduced ​Dur ga Khote. Hired Premchand to script Mazdoor, representing the author’s only direct encounter with film, following it with the unemployment melodrama ​Jagran. Produced and directed the first full-length colour film shot on 16mm Kodachrome and blown up to 35mm, Ajit. Joined Films Division and became its first Chief Producer (1948-55). In 1958 Bhavnani followed up an invitation from Zhou En-Lai to make a documentary on China and travelled extensively throughout the country shooting with cameramen Kishore Rege and S.K. Kulkarni. His wife Enakshi Rama Rao, who acted in Vasantsena, had earlier played the lead in Shiraz (1928) and became a noted dancer and author of the book The Dance of India (1965).

FILMOGRAPHY: 1925: Cinema Ni Rani; Matri Prem; Veer Bala; Seth Sagalsha; 1 9 2 6 : Pagal Premi; Diwan Bhamasha; Mena Kumari; Ra Kawat; Samrat Shiladitya; Bhamto Bhoot; 1 9 2 7 : Naseeb Ni Lili; Daya Ni Devi; Trust Your Wife; Wildcat of Bombay; Gamdeni Gori; 1929: Hawai Swar; Khwab-e- Hasti; Mysore, Gem City of India (Doc); Khedda (Doc); 1 9 3 0 : Vasantsena (all St); 1 9 3 1 : Shakuntala; Farebi Jaal; Lafanga Langoor (Sh); 1 932: Veer Kunal; 1 933: Afzal; Rangila Rajput; 1 9 3 4 : Dard-e-Dil; Mazdoor; Sair-e-Paristan; 1935: Jung Bahadur; Navjeevan; Shadi Ki Raat; 1936: Dilawar; Garib Parwar; Jagran; Wrestling (Doc); 1 9 3 7 : Zambo the Ape Man; 1 9 3 8 : Double Cross; Himalay Ki Beti; Yangrilla; 1 9 3 9 : Zambo Ka Beta; 1940: Jhoothi Sharm; PremNagar?; 1945: Biswi Sadi; 1 946: Rang Bhoomi; 1 948: Ajit; 1 9 4 9 : Vale of Kashmir (Doc); 1 9 5 0 : The Private Life of a Silkworm (Doc); 1 9 5 1 : Lest We Forget (Doc); 1 9 5 2 : Kumaon Hills (Doc); 1 9 5 3 : Folk Dances of India (Doc); Republic Day Record (Doc); 1 9 5 5 : Republic Day 1955 (Doc); 1 956: Operation Khedda (Doc); 1 957: The Himalayan Tapestry (Doc)

The film ‘Himalay Ki Beti’ had 11 songs. Today’s song is sung by Prof Ramanand. He had 4 solos and 1 duet with Enakshi. She had 2 solos. One song was by Maya Chatterjee. There is no information in HFGK about the balance 3 songs. Pt Badri Prasad had given the music. I heard 4 more songs from this film, but all are copies of stage style songs. Prof Ramanand, the actor and the singer was different than Swamy Ramanand, the lyricist in few films.

The hero of the film was Prof Pt Ramanand Sharma. If you are a regular listener of radio early in the mornings,you would have heard many Bhajans sung by Sharma Brothers of Shriram Darbar. These four brothers – Gopal, Shukdev, Kaushalendra and Raghavendra are the sons of this Ramanand Sharma. These Sharma brothers have sung the famous Bhajan “Sooraj Ki Garmi Se” from the film ‘Parinay’ (1972). Ramanand was the singing hero of many early talkie films like ‘Noor-e-Islam’ or ‘Aurat Ka Dil’ (1934) and ‘Himalay Ki Beti’ (1938). He also sang many songs in other films. After his work in ‘Premnagar’ (1940), RC Boral of the New Theatres, Calcutta came down to Bombay and took Ramanand to Calcutta to act in films. But Ramanand was fed up with the film world and decided to only sing Ram Bhajans for his Shri Ram Darbar which he had established. He went back to Muzaffarpur and used to sing Ram Bhajans all over India. His 7 albums were released by HMV.

Here is a rare song from a rare film, ‘Himalay Ki Beti’ (1938). The film makes its debut on the blog.

[Author’s Note: Credits – Chinar Shade, autarmota.blogspot.com, HFGK, MuVyz, Wikipedia, indiancine.ma, and my notes.]

Song – Siddhraaj Jaago Aaj (Himalay Ki Beti) (1938) Singer – Prof Ramanand, Lyrics – Pt Narottam Vyas, Music – Pt Badri Prasad

Lyrics (Provided by Sudhir)

jaaa..aa..aa..go..oo..o

sidhraaj jaago aaj
sidhraaj jaago aaj
padi hai vipat gaaj
padi hai vipat gaaj
bigade banaawo kaaj
sidhraaj jaago aaj

tum ho paropkaari
tum ho paropkaari
duniya jaanat saari
duniya jaanat saari
meri raakho laaj
sidhraaj jaago aaj

charan pada hoon aaye
charan pada hoon aaye
sharnaagat sahaaye
sharnaagat sahaaye
tum naam di awaaj (??)
sidhraaj jaago aaj
sidhraaj jaago aaj

sidhraa..aa..aa..aaj

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
जा॰॰आ॰॰आ॰॰गो॰॰ओ॰॰ओ

सिद्धराज जागो आज
सिद्धराज जागो आज
पड़ी है विपत गाज
पड़ी है विपत गाज
बिगड़े बनावो काज
सिद्धराज जागो आज

तुम हो परोपकारी
तुम हो परोपकारी
दुनिया जानत सारी
दुनिया जानत सारी
मेरी राखो लाज
सिद्धराज जागो आज

चरण पड़ा हूँ आए
चरण पड़ा हूँ आए
शरणागत सहाय
शरणागत सहाय
तुम नाम दी आवाज (??)
सिद्धराज जागो आज
सिद्धराज जागो आज

सिद्धरा॰॰आ॰॰आ॰॰आज


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.

Blog Day : 3599 Post No. : 14366

Today’s song is from the 1953 film ‘Raaj Ratan’.

Since childhood, we have been hearing stories of kings and queens. Most stories have a set pattern- good king, crooked vazier (minister), dutiful son, happy ending ! To go from start to finish, lot of masala used to be present, which actually made these stories interesting. We all knew the end, but it was the curiosity to know how it was achieved in the film. These stories had variations-

– Sometimes the Prince would fall prey to bad company and his beloved would set things right for him

– The Sage declares that a certain fruit of a certain tree from a certain jungle would restore the king’s eyesight  or

– The young prince is lost when still an infant, is brought up by a loyal servant, who has a lovely daughter, just made for the prince !  etc.

The attraction of these stories of kings and queens remained with us till around the time we got married and faced the realities of life.

Costume films were made for younger people – children and elders who still felt like children. ALAS ! these types of movies stopped being made by the end of the 50’s decade. Nowadays films are made in this genre, in a disguised way, using computerised special effects and having a science based background. The basic plot of good vs bad still remains the same, but presented in a way suitable for current times. That is why films like Harry Potter etc. are making millions.

Film ‘Raaj Ratan’ was also a costume drama, having the beaten track formula of the lost prince etc. The cast of the film was Nirupa Roy, Ranjana, Ulhas, Jairaj, Sapru, Hiralal, Baby Tabassum etc. Actor Trilok Kapoor had made a Guest appearance in this film. It was produced by the Mohan Pictures workers’ society. The music was by Ninu Majumdar and songs were from Bharat Vyas.

I have seen this film in when it was released, however, I do not have its storyline with me now. I selected a song from this film with a purpose. The heroine of this film was Ranjana. Now, hardly anyone knows about this actress who had worked as a heroine with Dilip Kumar in his early career.No information is available about her in any book or on the internet. Here is some information about her, for our readers.

Ranjana’s real name was Ratan Shantaram Deshpande. She was born in Nagpur on 20-10-1927. While studying in St. Ursula High School, she learnt dancing and music from well known ustads. After passing her 6th standard examination, she came to Bombay to her elder sister, Kusum Deshpande, who was already working as actress with Minerva Movietone films. Kusum married Vasant Thengadi, a handsome actor in Hindi films of those times.

Kusum arranged for specialised dance training for Ratan in the holidays. Later Ratan was taken to Vijay Bhatt of Prakash Pictures for an interview. She was immediately selected and got a role in the famous film ‘Ram Rajya’ (1943). In this film she was Chitralekha, Sita’s sakhi. Vijay Bhatt also changed her name to Ranjana. She was on pay roles of Prakash Pictures for Rs. 2000 pm. She acted in  films like ‘Police’ (1944), ‘Vikramaditya’ (1945) and ‘Hamaara Sansar’ (1945). Next films were ‘Nai Maa’ (1946) and ‘Zamin Aasman’ (1946).

Ranjana was called by Bombay Talkies for heroine’s role opposite Dilip kumar in the film ‘Milan’ (1946). This film was based on the Bangla film ‘Nauka Doobi’ written by Gurudev Rabindranath Tagore. She did the role of Hem Nalini in this film’s Hindi version. The same role was done by Meera Sircar in the Bangla film ‘Nauka Doobi’.

After this film, Ranjana was in great demand, but she wanted to quit films and get married to live a simple life. But as luck would have it, she had to continue working in films till 1975. She also worked in many Marathi films. In all, she worked in about 35 films. Ranjana worked with many big stars of her times like Prem Adeeb, Prithviraj Kapoor, Jairaj, Dilip Kumar, Jeevan, Umakant etc. It is interesting to note that her sister and her brother-in-law acted with her in few films. Some such films were ‘Zamin Aqsman’ (1946) and ‘Shadi Se Pehle’ (1947). In the film ‘Saajan Ka Ghar’ (1948) all three had worked together.

Her sister Kusum Deshpande was born on 20-11-1914 at Nagpur. She came to Bombay in 1930 and worked in Minerva as an apprentice, without pay. She also worked with All India Radio, and in some Marathi dramas and films. Her first Hindi film was ‘Ghar Ki Rani’ (1940). She also did ‘Charnon Ki Daasi’ (1941), ‘Village Girl’ (1945), ‘Wamaq Azra’ (1946) and ‘Zamin Aasmaan’ (1946). In all she did 20 Hindi films. She married actor Vasant Thengadi on 30-11-1944.

Vasant Thengadi was born on 11-1-1910 at Nagpur. He was the son of a Congress leader Dhaniram Thengadi. Vasant had his education in Poona. He could not join army (then the British Army), because of his father’s political connections. He had to leave his Engineering college after father’s death. Being very handsome, tall and with good physique, he started working in Marathi dramas and films. He started his Hindi work with film ‘Dhuwaandhaar’ (1935). [Author Note: This was also the Debut film for Leela Chitnis and Meera Alexander]. He started doing villain roles and became popular and famous. Besides Marathi films, his Hindi films were ‘Taramati’ (1945), ‘Phir Bhi Apna Hai’ (1946), ‘Mera Ladka’ (1938), ‘Din Raat’ (1945), ‘Ten O’clock’ (1942) etc. Later he also worked as assistant director to Raja Nene.

We have many families like this in Hindi films. I remember Zubeida and her mother and sisters, Sitara Devi and her 2 sisters, Nargis, her mother and brothers, Kapoor family, Dilip kumar, his brother and sister in law, many film couples and families of several film people are examples. Ranjana was perhaps one early example. Thank God this Ranjana was not around when yet another Ranjana came to Hindi films. She was Ranjana Deshmukh, niece of actress Sandhya (nee Vijaya Deshmukh). This Ranjana, however , worked mainly in Marathi films and did only 4 Hindi films starting with the famous film ‘Chaani’ (1977). Unfortunately, she first met with an accident and then died of Heart attack at the age of just 40 years or so.

‘Raaj Ratan’ has 7 songs – 3 Geeta solos,  2 Asha solos 1 solo each of Meena Kapoor and Rafi. Today’s song is a 2 in 1 song. Part 1 and 2 combined in one song having a 78 RPM record of two sides. The Music was by Ninu Mujumdar (9-9-1915 to 3-3-2000), who sang 28 songs in 13 films and composed 169 songs in 18 films.

[Author’s Note: Acknowledgements and thanks – The above write up refers to and has adapted material from ‘Who’s Who in Films’ (1946), muVyz, and my own notes.]

[Ed Note: This is a multilingual song that has the following languages present in the lyrics flow – Hindi, Maarwari, Gujarati, Marathi and Bangla. The lyrics for this multi-lingual song have been deciphered and contributed by,
a. Marathi lyrics by Dr. Anil Satwick
b. Bengali lyrics and Bangla script by Antaraa Nanda Mondal
c. Gujarati lyrics and Gujarati script by yours truly
Both Dr Anil Satwick and Antaraa are very dear friends and are part of our extended music lovers group in Delhi. Acknowledgements and thanks are due to both for their tremendous help in getting the lyrics right.
Regarding the Marathi lyrics, Dr Satwick is not sure of all the words, due to lack of clarity in the recording. I request other friends who are familiar with the Marathi vocabulary and script to please help with corrections to the lyrics, if any.]

 


Song – Rang Rangeeli Naariyon Ke Rang Rangeele Vesh Hain (Raaj Ratan) (1953) Singer – Geeta Dutt, Lyrics – Bharat Vyas, Music – Ninu Majumdar

Lyrics (Provided by Sudhir)

rang rangeeli naariyon ke
rang rengeele vesh hain
rang rangeeli naariyon ke
rang rengeele vesh hain
roop hain anek aur
ek in ka desh hai
ek in ka desh hai

rang rangeeli naariyaan
jaise phulwaariaan
bagiya mein mehak rahi
kesar ki kyaariaan
dekh lo. . .
dekh lo

dekh lo banaras ki sundari
jiski lehraati lehron si chundari
jo gaati hai daadra aur thumri
thumak thumak gaati hai daadra aur thumri

oo oo oo
laagi naahin chhoote ho raama
chaahe jiya jaaye raama ho
chaahe jiya jaaye
chaahe jiya jaaye raama o ho
chaahe jiya jaaye
chaahe jiya jaaye
chaahe jiya jaaye

peepal ke jhaad hain
ret ke pahaad hain
ghunghat mein naach raha mast maarwaad hai
dekh lo. . .
dekh lo
dekh lo

sarvar paani lene jaaun to
najar lag jaaye
sarvar paani lene jaaun to
najar lag jaaye
mhaari toshni pade ko dhaula rang ud jaaye
ho dhaula rang ud jaaye
mhaare heengdu ki tikiya(?) darad bhar jaaye
sarvar paani lene jaaun to
najar lag jaaye
najar lag jaaye
haaye dulhan hoye jaaye
najar lag jaaye
haaye dulhan hoye jaaye
sarvar paani lene jaaun to
najar lag jaaye

rang rangeeli naariyon ke
rang rengeele vesh hain
rang rangeeli naariyon ke
rang rengeele vesh hain
roop hain anek aur
ek in ka desh hai
ek in ka desh hai
rang rangeeli naariyaan
jaise phulwaariaan
bagiya mein mehak rahi
kesar ki kyaariaan

naajukadi naar chale paayal jhankaar
range mehndi se gore gore haath hain
poonam ki raat
goonje garbe ka geet
aisa preet bhara
sangeet bhara pyaar gujraat hai
dekh lo. . .
dekh lo

mehndi ki maandi naar ve
aeno rang gayo goojrat re
mehndi rang laagyo ri
naano jiyaario laadpo kai
laagyo mehndi na chhodbe
mehndi rang laagyo ri

lambe hain kesh
aadha mardaana vesh
aur haathon mein teekhi talwar hai
rann mein lade veer naari maraathan
ran chandi ka avatar hai
dekh lo..oo..oo..oo..oo

hey dhanya maharani jhansi
ghodyavar khaashi
kuthoon kahi ghushi ganeema kare lail ke dwaar
chap-chapa chaal ek talwar
sukhandi pasri kirti paar ji
ji ji ji ji ji
nawaaja (??) hauj(?) to paar ji
ji ji ji ji ji

ey ji saanwra baran
komal komal charan
ey ji saanwra baran
komal komal charan
kaare kaare do naina vishaal hain
taaron ki chhahan taley
bikhra ke kesh chaley
jaadu bhara bangaal hai
ho dekho jaadu bhara bangaal hai
dekh lo. . .
dekh lo

tumi kaader kuler bou
go tumi kaader kuler bou
jamuna jol aante jaachchho
shonge neyi to keu
tumi kaader kuler bou
jamuna jol aante jaachchho
shonge neyi to keu
tumi kaader kuler bou
tumi kaader kuler bou

rang rangeeli naariyon ke
rang rengeele vesh hain
rang rangeeli naariyon ke
rang rengeele vesh hain
roop hain anek aur
ek in ka desh hai
ek in ka desh hai

———————————————————
Hindi and Gujarati script lyrics (Provided by Sudhir)
Bangla script lyrics (Provided by Antaraa Nanda Mondal)
Marathi lyrics (Provided by Dr Anil Satwick)
———————————————————
रंग रंगीली नारियों के
रंग रंगीले वेश हैं
रंग रंगीली नारियों के
रंग रंगीले वेश हैं
रूप हैं अनेक और
एक इन का देश है
एक इन का देश है

रंग रंगीली नारियां
जैसे फुलवारियाँ
बगिया में महक रही
केसर की क्यारियाँ
देख लो॰ ॰ ॰
देख लो

देख लो बनारस की सुंदरी
जिसकी लहराती लहरों सी चुंदरी
जो गाती है दादरा और ठुमरी
ठुमक ठुमक गाती है दादरा और ठुमरी

ओ ओ ओ
लागि नाहीं छूटे हो रामा
चाहे जिया जाये रामा हो
चाहे जिया जाये
चाहे जिया जाये रामा ओ हो
चाहे जिया जाये
चाहे जिया जाये
चाहे जिया जाये

पीपल के झाड़ हैं
रेत के पहाड़ हैं
घूँघट में नाच रहा मस्त मारवाड़ है
देख लो॰ ॰ ॰
देख लो
देख लो

सरवर पानी लेने जाऊन तो
नजर लग जाये
सरवर पानी लेने जाऊन तो
नजर लग जाये
म्हारी तोशनी पड़े को धौला रंग उड़ जाये
हो धौला रंग उड़ जाये
म्हारे हींगड़ू की तिकिया(?) दरद भर जाये
सरवर पानी लेने जाऊन तो
नजर लग जाये
नजर लग जाये
हाए दुल्हन होए जाए
नजर लग जाये
हाए दुल्हन होए जाए
सरवर पानी लेने जाऊन तो
नजर लग जाये

रंग रंगीली नारियों के
रंग रंगीले वेश हैं
रंग रंगीली नारियों के
रंग रंगीले वेश हैं
रूप हैं अनेक और
एक इन का देश है
एक इन का देश है
रंग रंगीली नारियां
जैसे फुलवारियाँ
बगिया में महक रही
केसर की क्यारियाँ

नाजुकड़ी नार चले पायल झंकार
रंगे मेहंदी से गोरे गोरे हाथ हैं
पूनम की रात
गूँजे गरबे का गीत
ऐसा प्रीत भरा प्यार गुजरात है
देख लो॰ ॰ ॰
देख लो

मेहंदी की मांडी नार वे
ऐनो रंग गयो गूजरात रे
मेहंदी रंग लाग्यो री
नानो जियारिओ लाडपो कई
लाग्यो मेहंदी ना छोडबे
मेहंदी रंग लाग्यो री
મહેંદી કી માંડી નાર વે
એનો રંગ ગેઓ ગુજારાત રે
મહેંદી રંગ લાગઓ રી
નાનો જિયારિયો લાડપો કાઈ
લાગઓ મહેંદી ના છોડબે
મહેંદી રંગ લાગઓ રી

लंबे हैं केश
आधा मर्दाना वेश
और हाथों में तीखी तलवार है
रण में लड़े वीर नारी मराठन
रण चण्डी का अवतार है
देख लो॰॰ओ॰॰ओ॰॰ओ॰॰ओ

हे धन्य महाराणी झांशी
घोड्यावर खाशी
कुठून कोहे घुशी
गनीमा करे लैल के द्वार
चप-चपा चाल एक तलवार
सुखण्डी पसरी किरती पार जी
जी जी जी जी जी
नवाजा (??) हौज(?) तो पार जी
जी जी जी जी जी

ए जी सांवरा बरण
कोमल कोमल चरण
ए जी सांवरा बरण
कोमल कोमल चरण
कारे कारे दो नैना विशाल है
तारों की छाहाँ तले
बिखरा के केश चले
जादू भरा बंगाल है
हो देखो जादू भरा बंगाल है
देख लो॰ ॰ ॰
देख लो

तुमि कादेर कुलेर बोउ
गो तुमि कादेर कुलेर बोउ
जमुना जोल आन्ते जाच्छो
शोंगे नेई तो केयो
तुमि कादेर कुलेर बोउ
जमुना जोल आन्ते जाच्छो
शोंगे नेई तो केयो
तुमि कादेर कुलेर बोउ
तुमि कादेर कुलेर बोउ
তুমি কাদের কুলের বৌ
গো তুমি কাদের কুলের বৌ
যমুনা জল আনতে যাচ্ছ,
সঙ্গে নেই তো কেউ
তুমি কাদের কুলের বৌ
যমুনা জল আনতে যাচ্ছ,
সঙ্গে নেই তো কেউ
তুমি কাদের কুলের বৌ
তুমি কাদের কুলের বৌ

रंग रंगीली नारियों के
रंग रंगीले वेश हैं
रंग रंगीली नारियों के
रंग रंगीले वेश हैं
रूप हैं अनेक और
एक इन का देश है
एक इन का देश है


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.

Blog Day : 3541 Post No. : 14215

Today’s song is from the film ‘Asiai Sitara’ (1937) aka ‘Star Of Asia’.

The film was made by Harshad and Jagtap. It was distributed by Wadia Movietone. The director was Haribhai Desai, the music was by Master Mohammed and the lyricist was Pt. Anuj. The film cast was master Vithal, Jenabai Pawar, Minoo the Mystique, Vasant pehelwan, Master Dhulia etc.

After the initial surge of the films made on mythology, parsi fantasies and folk tales, the adventurous film makers moved on to make films on social issues, comedy, stunts, social reforms, history, love stories and religious personalities. From 1935, the rise of stunt films in talkie version (thanks to Fearless Nadia) gave rise to a genre, which lasted till the 1950’s. After that, it faded to a natural death. Nowadays, all the heroes do the stunts themselves, but their films are not called stunt films.

However, the audience, which was accustomed to films of fantasy, costume and folk tales, still existed, so on and off such films too were made by older film makers. The film ‘Asiai Sitara’ was also one such costume film. This was a film originally made by Haribhai Desai of Surya Film Company, Bangalore, as a silent film in 1932. In those days, Bangalore was the main city in South Circuit, so many big film distributors (mostly Gujaratis) had their offices in Bangalore. After the demise of silent films, most of them closed their distribution offices and jumped into talkie film making in Bombay. Some prominent distributors were, Dr. Ambalal Patel and Chimanlal Desai (started Sagar Movietone), Ramniklal Shah (started Mohan Pictures, Ramnik Films etc.) and Haribhai Raghunath ji Desai (started Surya Film Company in Bangalore itself).

The story of Haribhai Desai is very interesting. He was born in a very wealthy family of a village near Kutch area of Gujarat. He was very intelligent and completed his graduation in Bombay. The silent film industry was developing very fast. Haribhai decided to jump into it. To get his fundamentals strong, he went to America and did his graduation from New York Institute of Cinematography. Coming back to India, he took up a job as a manager in Laxmi Pictures and later in Suvarna Pictures of Poona. With this experience and few distribution contracts, Haribhai landed in Bangalore and set up his shop as a distributor.

Very shortly, in 1929, he established his own film production company – Surya Film Company at Bangalore, which was his main aim in life. He went to Kolhapur, hunting for talent. Kolhapur was an important film making centre in those times. There, he found Ganapatrao Baakre (गणपतराव बाकरे) –  a very handsome, well built wrestler and a daredevil stunt actor working in Baburao Painter’s  Maharashtra Film Co. He also noticed another very good looking young man, with good physique, working in stunt films for free (he was from a rich family). He was Zunzar Rao Pawar  झुंझार राव पवार). His real name was DK Pawar, but was called by this name after his role in a successful company. Haribhai needed  good and well known actors. He lured them with higher salaries and brought them to Bangalore. Ganpat Rao was paid Rs.1000 pm in those days.

Production of silent films started rapidly. Their first film was ‘Raj Hriday’ (1929). It was released in four theatres in Bombay in October 1929. The publicity of this film was handled by Kikubhai Desai (father of Manmohan Desai). Film pamphlets were showered on Bombay city from an aeroplane, as an advertisement gimmick! No doubt the film ran to houseful audiences in all theatres. In a very short time both actors from Kolhapur became very popular and famous. Surya Films made about 40 silent films.

Meanwhile Zunzar Rao Pawar fell in love with an Anglo-Indian girl – Jena Lawson, who was looking for an entry in films. They got married and she became Jenabai Pawar. Haribhai was not the one to lose such opportunities. He made two films with Jenabai Pawar as a heroine. The first was ‘The Hawk’ (aka ‘Baaz Bahadur’, 1931) and the other was ‘Asiai Sitara’ (1932). She did not work in more films. Soon Baakre and Pawar family returned to Kolhapur, after four years in Bangalore.

When the silent era ended and talkie films flourished, Haribhai closed Surya Films and went to Bombay. There, he remade his two successful silent films, made with Jenabai Pawar, as talkie films, with the same heroine. ‘Baaz Bahadur’ was made in 1936 and ‘Asiai Sitara’ was made in 1937. Now that these were talkie films, Jenabai also sang in the film. She sang four songs in each film. Considering she was not Indian, the songs were reasonably good. Earlier the silent films had Ganapat Rao Baakre as the hero, now in talkie films, Master Vithal was the hero.

Master Vithal (1906-1969) was the first superstar of silent films. He also has the credit of being the hero of the first talkie film of India ‘Aalam Ara’ (1931). He got this role only because of his un-paralleled popularity in silent films. He was the first ‘Angry Young Man’ of Indian cinema in the 1920s and the 1930s. His films were full of stunts, fighting and daredevil acts. Master Vithal was very handsome with a very muscular physique. He was the ideal of many aspiring young actors like Bhagwan.

So, when Bhagwan became stunt film hero and a director, his ardent wish was to act with Master Vithal or direct him. By 1940, Master Vithal was almost a gone actor, with very few Hindi films. So when Bhagwan got him to act in his film ‘Naghma e Sehra’ (1945), both Bhagwan and his close friend C Ramchandra were extremely excited. CR not only gave music to this film, but also did playback singing for Master Vithal and fulfilled his wish.

Today’s generation has no idea what position Master Vithal held in the minds of Indian audience in those days. Stunt films were very popular and Master Vithal, with his handsome looks, muscular physique and daredevil stunts was extremely popular. I am perhaps one of the very few remaining now, who has seen his film. I only remember one scene from that film, in which Master Vithal jumps from a tree onto an open car, fights with the goons and takes away the heroine, who promptly embraces him. I neither remember the name of the film nor of the heroine. She might be Zebunnisa.

Master Vithal (Vithal Raghunath Desai) made his début on the stage as a child artist with Raja Pur Natak Mandali. He then started his career as a film editor with Maharashtra Films, Kolhapur which was owned by Baburao Painter. His first film role was as a female dancer in ‘Kalyancha Khajina’, a silent era film directed by Painter. He continued to work as film editor and a dancer and played minor roles in films. His first break as a male lead was in the film ‘Ratna Manjari’ (1926) produced by Sharda Studios, which he had joined earlier in 1925. After ‘Ratna Manjari’, he was a permanent fixture in the role of a hero and he was the star attraction of the films from Sharda Studios.

Sharda Studios was owned by Nanubhai Desai, Anand Prasad Kapoor and Harshadrai Mehta.  Nanubhai Desai was the studio founder and director of many stunt films produced by the company in which Vithal appeared in swashbuckling roles with Zebunnisa as his heroine. A professional wrestler, he became a very popular fearless hero acting in films on historical themes related to Rajasthan and Maharashtra; thus giving him the title ‘the Indian Douglas Fairbanks, a title Vithal hated. Audience adored him in his stunt hero role, which became his ‘forte’. By 1930, he was the highest paid male star in Indian cinema industry.

In 1930, Vithal’s popularity in stunt films attracted Ardeshir Irani of Imperial Film Company to invite him to join his company to make India’s first talkie, though Mehboob Khan was also vying for the role. Vithal, who was quite excited by Irani’s offer, accepted and moved to Irani’s newly formed film company Sagar Studios in Bombay, breaking his contract with Sharda Studios, only by few days. Nanubhai Desai was furious and he kidnapped Master Vithal. He was kept a captive, forcing him to extend the contract with Sharda Films. When Irani came to know this, he went to the court against Sharda films. Eminent lawyers like Setalwad and Mohmmed Ali Jinnah were employed by the litigating parties.

When the case started in the court, the judge asked Master Vithal, where he would like to join. That time Sharada was paying him Rs. 300 pm. Master Vithal replied that whichever company gave him more salary, he would join them. After this, there was an auction in the court and sums were spelt for master Vithal. Imperial Film company won when they offered Rs. 1200 pm as salary. The judge gave his judgement and Master Vithal joined Imperial. Thus he became the first actor to get a four figure salary in Indian Films. He was also the first actor in the industry, to own a car. After losing Master Vithal, Sharada Film company wanted a replacement for him.  They appointed P. Jairaj, an upcoming handsome and muscular actor, on a salary of Rs. 100 pm!

The following year, Master Vithal played the hero in the first Indian talkie ‘Aalam Ara’ with Zubeida as the female lead. ‘Alam Ara’ was also the first film in which music was introduced, as many as seven music scores were part of the film. As his Hindi diction was poor, he could not deliver the dialogues properly; his acting quality in histrionic roles was also questioned. He was  shown mostly in a state of trance or semi consciousness in the film and hardly had any dialogue. It is said that Vithal could not adopt himself to the new genre of talking-singing films in Hindi as he was “reduced to a hero who is (was) magically struck dumb in Alam Ara”. In 1932, he did some more silent films, which were no longer preferred by the audience. The talkies led to the decline of his career in Hindi films. Vithal would never get a major role in Hindi films again. From 1934 onward, he started doing some Marathi films realizing his limitations. From the 1940s onward, he regularly appeared in films by Bhalji Pendharkar and those featuring Lalita Pawar and Durga Khote. He also played in a side role in the 1944 blockbuster film ‘Ramshashtri’Towards the end, he played only minor roles in Marathi films; his last film appearance was in 1966.

A lot has been said about his inability to speak Urdu dialogues and there is a popular myth, that after ‘Aalam Ara’, he did not get any talkie film and he left the Bombay film industry for Kolhapur to continue his career in Marathi films. Nothing can be farther from truth, because not only Master Vithal was cast as a hero in another talkie film, by Imperial Film Company itself – ‘Anangsena’ (1931), but many other well known production houses like Wadia, Mohan, Pradeep, BK Dave, Ranjit etc. engaged him for talkie films.

However, Master Vithal who was not very comfortable with Urdu dialogues, was no more interested in doing Hindi films anymore, so he did films very selectively. He acted in 8 silent films till 1934 and 16 talkie Hindi films till 1946. He even gave music to a film ‘Kashmir Ki Kali’ (1946), and also acted in it. All this after ‘Aalam Ara’.

Master Vithal is in history books as the first hero of the first Hindi talkie film and also has to his credit the introduction of a double role (by Shahu Modak) in a Bilingual film ‘Aawaara Shehzada’ (1933), which he directed (‘Autghatkecha Raja’ in Marathi). Master Vithal himself was the first to do a double role in silent film,’Prisoner of Love’ (aka ‘Raj Tarang’, 1927), made by Sharada Films.

Master Vithal acted in a total of 92 films – Hindi, Marathi, talkie and silent. He also directed two talkie films – one each in Hindi and Marathi. In one of his interviews, he regretted his decision to shift to Kolhapur in 1946 permanently as, he felt, this reduced his Hindi film participation. He had constructed a big chawl in Kolhapur and in his retirement years, he lived on its rental income. He died in 1969.

Haribhai Desai did not do anymore Hindi films. He was active in Gujarati films as a writer and director. He even made a Telugu film as a director. The film was ‘Bhaktimala’ (1941). It was made on the theme of Devdasi tradition of Maharashtra, where maidens are married to God. Actress P Bhanumathi did the main role. The film proved to be a great hit in south and remakes in southern languages were also made. This is considered a milestone movie in Telugu films.

‘Asiai Sitara’ has 8 songs. This song is sung by Master Dhulia, a famous Gujarati folk singer of repute. This song was composed as a parody of Saigal’s famous song “Balam Aaye Baso More Mann Mein” from film ‘Devdas’ (1935). The composer Master Mohammed, was famous for his patriotic songs. He had earlier composed another parody song, “Gaawo Gaawo Ae Mere Saadhu“, in the film ‘Miss Frontier Mail’ (1936), which was a parody of the KC Dey song ‘Jaao Jaao Ae Mere Sadho, Raho Guru Ke Sang‘ from film ‘Pooran Bhagat’ (1933).

The film ‘Asiai Sitara’ and singer ‘Master Dhulia’, both make a debut on the blog today.

[Author’s Note: Acknowledgements and thanks – The above write up refers to and has adapted material from books by Shri Vithal Pandya, Isak Mujawar, Dr RK Verma, and from Harish Raghuwanshi ji, CITWF, MuVyz.com, HFGK, Encyclopedia of Indian Films and my own notes.]

 


Song – Aan Phanse Ab Ban Mein Bhaiya (Asiai Sitara) (1937) Singer – Master Dhulia, Lyrics – Pandit Sampat Lal Shrivastav ‘Anuj’, Music – Master Mohammed
Unidentified Male Voice

Lyrics (Provided by Sudhir)

aan phanse ab ban mein bhaeee..yyaa
aan phanse ab ban mein bhaieee..yyaa
aan phanse
aan phanse
bhai..ee..ee..ee..yaaaaaaa

aan phanse ab ban mein bhaiya
aan phanse ab ban mein
bhai..ee..ee..ee..yaaaaaaa

ye kya kar raha hai

taan maar raha hoon

jhoothe ke laaye
saanche gawaaye
jhoothe ke laaye
saanche gawaaye
sach bin lutiaa kaun piraaye
sach bin lutiaa kaun piraaye
kaari badariya barsan laagi
kaari badariya barsan laagi
baitha gar saawan mein bhaiya
baitha gar saawan mein
bhai..ee..ee..ee..yaaaaaaa

suratiya kaisi bhai kaari
kaari
kaari
suratiya kaisi bhai kaari
ab to kamariya tootan lagi
tootan laagi
tootan laagi
reh gayi mann ki mann mein bhaiyyaaa
reh gayi mann ki mann mein
bhai..ee..ee..ee..yaaaaaaa

nainanwa paayo nirbhaagi
nainanwa paayo nirbhaagi
tab hi pawanva phootan laagi
phootan laagi
phootan laagi
dhool pari nainan mein bhaiyyaaa
dhool pari nainan mein
bhai..ee..ee..ee..yaaaaaaa

kaisi bhai ye harkat

kalaam le raha hoon

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
आन फंसे अब बन में भईsय्याआ
आन फंसे अब बन में भईsय्याआ
आन फंसे
आन फंसे
भई॰॰ई॰॰ई॰॰ई॰॰य्याआआआआ

आन फंसे अब बन में भइय्या
आन फंसे अब बन में
भई॰॰ई॰॰ई॰॰ई॰॰य्याआआआआ

ये क्या कर रहा है

तान मार रहा हूँ

झूठे के लाये
साँचे गवाए
झूठे के लाये
साँचे गवाए
सच बिन लुटिया काऊ पिराये
सच बिन लुटिया काऊ पिराये
कारी बदरिया बरसन लागी
कारी बदरिया बरसन लागी
बैठा गर सावन में भइय्या
बैठा गर सावन में
भई॰॰ई॰॰ई॰॰ई॰॰य्याआआआआ

सूरतीया कैसी भई कारी
कारी
कारी
सूरतीया कैसी भई कारी
अब तो कमरीया टूटन लागि
टूटन लागि
टूटन लागि
रह गई मन की मन में भइय्या
रह गई मन की मन में
भई॰॰ई॰॰ई॰॰ई॰॰य्याआआआआ

नैननवा पायो निरभागी
नैननवा पायो निरभागी
तब ही पवनवा फूटन लागि
फूटन लागि
फूटन लागि
धूल परी नैनन में भइय्या
धूल परी नैनन में
भई॰॰ई॰॰ई॰॰ई॰॰य्याआआआआ

कैसी भई ये हरकत

कलाम ले रहा हूँ


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.

Blog Day : 3491 Post No. : 14023

There was a time when the films made in Hindi could be classified easily as A grade, B grade and C grade films. A grade films were those made by big and famous banners with top class actors and leading music directors. B grade films were those made with second rung of actors, director and music directors. C grade films were those films which were made by not so famous banners, almost unknown actors directors and composers. Usually C grade films used to be action/stunt films, made on shoestring budgets, having a fixed story line resembling Tarzan, Hercules or Hollywood action films of Robin Hood, with the background of a jungle, tribe people, king-queen-wicked wazir and similar stories.

C grade films were always quickies, made on  shoe-string budgets. During the late 1930s and 40s, Master Bhagwan action films used to be completed in about Rs. 50,000 only – including studio rent, sets, artist fees and other expenses. C grade films had a captive audience comprising of factory workers, daily wagers, low income earners and students. However, such films used to rake in big profits to the film makers. Therefore, even top class banners sometimes made C grade films, to make up their losses in big film flops.

There were certain production houses which specialized and thrived on such films – like Paramount Films, Jagriti Films, Mohan Pictures, Wadia Movietone etc. Since studio system was in vogue, the film studios usually had fixed actors and directors in their employment. Music directors were of no consequence, so anybody would do. Well known composers like C Ramchandra used to take another name while composing music for C grade action films. Music assistants of famous composers used to give music to such films. Well known composers fallen on bad days also gave music to such films. C grade films rarely released commercial gramophone records for their film songs, so such songs are a real rarity even with big collectors.

Some common and regular names one finds in such grade C action/stunt films are Nadia, Boman Irani, Sayani, Bilimoria brothers, Cooper sisters, Zohra Khatoon, Ameena Khatoon, Khatoon Bai, Prakash, Adjania, Noorjehan (sr.), Moosa Pehelwan, Vasantrao Pehelwan, Baburao Pehelwan, Marutirao Pehelwan, Azim Bhai, Basheer, Ali, Bachha, Chandra Rao, Harishchandra Rao, Shankar Rao, Master Bhagwan, Mirajkar, Jamshed, John Cawas, Lalita Pawar, Navin Chandra. . . and many more such names.

Barring a few names like Lalita Pawar, Bhagwan, Nadia etc, all the other action film actors remained relatively less known. No one knows anything about them. Actors like Baburao Pehelwan, Marutirao Pehelwan (he was the hero in the first Gujarati talkie film ‘Narsi Mehta’), Chandra Rao, Sayani etc. were quite famous in their times, but except their Filmography (thanks to HFGK), nothing more is known about them. All of them ended only with mere names !

Today, I am writing about one such action film hero of 7 silent and 12 talkie films of the 1930s and 40s, whom I stumbled upon recently. His name is so obscure and unknown that even I was stunned, but he has acted with heroines like Rajkumari (Dubey), Sarojini, Vatsala Kumthekar, Gauhar Karnataki and had acted in films made by well known production houses like Paramount and Mohan Pictures.

On 2nd January 2015, I got a message on my Facebook page from an unknown person called ‘Tejas Vazare’. Since I try to avoid unknown people as my Fb friends, I ignored that message. Three years later, this January, I saw the message again. This time it attracted my attention by what he wrote. He mentioned that his grandfather was a Hindi film hero of the 1930s and 40s. Out of curiosity, I wrote to him asking him to sent information about himself and his grandfather. He informed me that Master Shankar Rao Vazare was a hero in few films in 1930s and 40s. This was a name new to me. He also sent me film posters, photos, newspaper articles etc. about him. On reading all this, I strongly felt that here was a man who needs to be brought before today’s world. We exchanged lot many mails. I checked all film names with my books and prepared a list of films having evidence.

Tejas and me have planned to meet in March, in Bombay. May be his father (son of Shankar Rao) and aunt (daughter of Shankar Rao) will accompany him. That time I will complete my interview with them and prepare a detailed article with photos, posters etc for publishing on line. But till then, I wish to present his short biography on this blog first. This blog has the right to have such things first here before anywhere else. I owe it this much. So, here we go.

Master Shankar Rao Vazare was born on 1-1-1916 in the Bhabhanagar area of Nashik (Maharashtra), in a peasant family. His father Trimbak Rao Vazare was the Patil of Nashik. (Patil used to be the overall head of the village / town) and his uncle was the chairman of the Municipality. Shankar Rao was very keen on films. Dadasaheb Phalke was also from Nashik. Taking inspiration from him, Shankar Rao developed attraction for films. He used to see English films in the tent theatre of Nashik.

He reached Bombay. He was very handsome, tall and had a good physique. He got roles in the silent films made by Mahavir Photoplays. From 1929 to 1931, he worked in 7 silent films. There could be more also, but initially he was uncredited. Problem with the silent films was that they generally had 2 or 3 titles and alias names. Additionally as per the local language the title used to change also. So, it is very difficult to trace silent films by titles in the various lists published.

The list of his silent films that has been identified so far is –  ‘Father’s Love’ (1929), ‘Ideal Woman’ (1930), ‘Prince Of The People’ (1930), ‘Avarice’ (1930), ‘Niradhar Niru’ (1931), ‘Jungle Ka Jawan’ (1931) and ‘Saroj Kumari’ (1931).

His first talkie film was ‘Toofani Tamancha’ aka ‘Hands Up’ (1935), made by Paramount Film company. In this film, his heroine was Gul Bano. He acted in 7 films made by Paramount Film Co., 3 by India Liberty Co., and 1 each made by Mohan Pictures and Allied Films. Here is the list of his talkie films,

 

Film Title Year Production Company Director

Heroine / Co worker

1. Toofani Tamancha
aka Hands Up
1935 Paramount RN Vaidya Gul Bano / Miss Pukhraj
2. Farz e Adaa
aka Loyalty
1936 Indian Liberty AM Khan Shehzadi (sister of Zubeida (of Alam Aara)) / Vidya
3. Bansari Balaa
aka Fairy Of The Flute
1936 Paramount AM Khan Gauhar Karnataki / Kamla
4. Burkhawali
aka Bombay Mail
1936 Indian Liberty (Unknown) Gauhar Karnataki / Miss Pearl
5. Madhraat Ka Mehmaan
aka Midnight Man
1938 Indian Liberty Kikubhai Desai Miss Moti / Miss Pokhraj
6. Jungle Ka Jawan 1938 Mohan Pictures Chunilal Parekh Rajkumari / Kamla
7. Madhu Bansari 1939 Paramount Nanubhai Vakil Sarojini (sister of Indurani, mother of Azra, wife of Nanubhai Vakil) / Vatsala Kumthekar
8 Son of Alladin
aka Alladin ka Beta
1939 Paramount Nanubhai Vakil Sarojini / Ranibala
9. Reshami Saari 1939 Paramount GP Pawar (husband of Lalita Pawar) Kanta Kumari / Miss Moti
10. Aflatoon Aurat
aka Veerangana
aka Amazon
1940 Paramount Kikubhai Desai Miss Moti / Kanta Kumari
11. Mere Raja 1941 Paramount TS Mani Miss Moti / Kanta Kumari
12. Jungle Ki Pukar
aka Call Of The Jungle
1946 Allied Films Ramji Arya Ameena Khatoon / Usha

After 1941, he found it difficult to get films. He returned to his hometown Nashik to look after his family, farming and also started a business dealing in cucles. In 1946, he got his last film and after that, he again returned to Nashik. Master Shankar Rao Vazare died on 21-1-1949, at a very young age of only 33 years.

Shankar Rao Vazare was the favourite hero of director Kikubhai Desai (father of Manmohan Desai) for silent and talkie films. Fearless Nadia, Ashok Kumar and Kishore Kumar were his fans. Ashok Kumar used to like seeing his films. In one interview, Kishore Kumar has said – “Despite being a hero, my brother Ashok Kumar never did a fight scene on the screen. I considered Master Shankar Vazare a better hero than him ! ”

His hometown Nashik was very proud of him. During the centenary celebrations of Nashik Municipality, they published his photo and a short Biography in their souvenir. There were articles and photos published in local newspapers. His wife expired about 4 years ago and his sons continue to live in Nashik. They are proud of him.

To get a song from his films was a great problem since nothing is available on YouTube. I sent out request letters to some famous record collectors and our own Sudhir ji. All collectors replied negatively, but only Sudhir ji had just one song from the film ‘Madhu Bansari’ (1939). He sent me the song promptly. Thank you Sudhir ji for your kind help. On finding this song, Tejas Vazare and his family were overjoyed and have thanked our Sudhir ji wholeheartedly.

This song is sung by Vatsala Kumthekar, under the baton of Damodar Sharma. The film was directed by Nanubhai Vakil. The cast of the film was Master Vazare, Sarojini (sister of actress Indurani, mother of actress Azra and wife of Nanubhai Vakil ), Vatsala Kumthekar, Ganpat, Basheer, Ali etc. There were 14 songs in the film.

Acknowledgements :

–  Inputs from Tejas Vazare (grandson of Master Shankar Rao Vazare)
–  Article in newspaper ‘Lokmat’
–  Centenary book of Nashik Municipality
–  Advertisements in Times of India and Film India magazine
–  HFGK compiled by Shri Harmandir Singh ‘Hamraaz’
–  ‘Silent Filmography’ by Dr RK Verma
–  Sudhir ji
–  And my notes 🙂


Song – Rang Rasiya Aao Re (Madhu Bansari) (1939) Singer – Vatsala Kumethkar, Lyrics – [Unattributed], Music – Damodar Sharma

Lyrics (Provided by Sudhir)

rang rasiya..aa..aa
aawo re
rang rasiya..aa..aa
aawo re
jeevan ki
prem jyot ko jagaawo
rang rasiya..aa..aa
aawo re
rang rasiya..aa..aa
aawo re
jeevan ki
prem jyot ko jagaawo
rang rasiya..aa..aa
aawo re
rang rasiya..aa..aa
aawo re

lagan lagi tumhre sang pyaa..aa..aa..re
aaa aaa aaaaa aaaaa
aaa aaaa aaaa aaaaa
aaaaaa aaaaaa aaaa aaaa
aaaa aaaa
aaaaaa aaaaaaaa
lagan lagi tumhre sang pyaa..aa..aa..re..e..e
oo oo aa..aa..aa
lagan lagi tumhre sang pyaare
lagan lagi tumhre sang pyaa..aare..e..e
oo oo oo
aa aa aaaaaaa aaaaa
aaa aaa aaaa aaa aa
lagan lagi tumhre sang pyaare
mann mein bas ke tum kahaan sidhaare
mann mein bas ke tum kahaan sidhaare
aawo
aawo preetam pyaare
aawo
aawo preetam pyaare

rang rasiya
rang rasiya aawo re
rang rasiya aawo re
jeevan ki prem jyot kojagaawo
rang rasiya. . .

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
रंग रसिया॰॰आ॰॰आ
आवो रे
रंग रसिया॰॰आ॰॰आ
आवो रे
जीवन की
प्रेम ज्योत को जगावों
रंग रसिया॰॰आ॰॰आ
आवो रे
रंग रसिया॰॰आ॰॰आ
आवो रे
जीवन की
प्रेम ज्योत को जगावों
रंग रसिया॰॰आ॰॰आ
आवो रे
रंग रसिया॰॰आ॰॰आ
आवो रे

लगन लगी तुम्हरे संग प्या॰॰आ॰॰आ॰॰रे
आss आss आssss आssss
आs आss आss आssss
आssssss आsssss आsss आsss
आsss आsss
आsssss आsssssssss
लगन लगी तुम्हरे संग प्या॰॰आ॰॰आ॰॰रे॰॰ए॰॰ए
ओ ओ आ॰॰आ॰॰आ
लगन लगी तुम्हरे संग प्यारे
लगन लगी तुम्हरे संग प्या॰॰आरे॰॰ए॰॰ए
ओ ओ ओ
आ आ आssssss आssss
आs आs आsss आss आs
लगन लगी तुम्हरे संग प्यारे
मन में बस के तुम कहाँ सिधारे
मन में बस के तुम कहाँ सिधारे
आवो
आवो प्रीतम प्यारे
आवो
आवो प्रीतम प्यारे

रंग रसिया
रंग रसिया आवो रे
रंग रसिया आवो रे
जीवन की प्रेम ज्योत को जगावों
रंग रसिया॰ ॰ ॰


Advertisements

Important Announcement

(© 2008 - 2018) 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.

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 14600 song posts by now.

This blog is active and online for over 3700 days since its beginning on 19 july 2008.

Total number of songs posts discussed

14646

Number of movies covered in the blog

Movies with all their songs covered =1147
Total Number of movies covered =4000

Total visits so far

  • 10,788,752 hits

Enter your email address to subscribe to this blog and receive notifications of new posts by email.

Join 1,626 other followers

Bookmark

Bookmark and Share

Category of songs

Current Visitors

Archives

Stumble

visitors whereabouts

blogcatalog

Music Blogs - BlogCatalog Blog Directory

blogadda

Historical dates

Blog Start date: 19 july 2008

Active for more than 3500 days.

Advertisements
%d bloggers like this: