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 :

3770 Post No. : 14745 Movie Count :

4031

With today’s song, I am introducing not only a Debuting film, but also a great stage actor singer of the Marathi Theatre of yore. The film is Charnon ki daasi-1941 and the singer is Master Avinash.

In the early era of the Hindi films, there were many local artistes, as Bombay was the centre of not only Films but also of Industries, which made it a land of opportunities. Initially the 1930’s film music was, as we all know, greatly influenced by Marathi Natya Sangeet, Hindi classical music and Parsee/Gujarati stage songs. There were musical stalwarts like Annasaheb Mainkar, Master Krishnarao Phulambrikar, Madholal Master, Pransukh Nayak, S.P.Rane, Hari Prasanna Das, Lallubhai Nayak, Brijlal Varma, Nagardas Nayak, Govindrao Tembe, Keshavrao Bhole, Prof. B.R.Deodhar, Dada Chandekar etc etc.

Most of them came to films after working for stage dramas and hence their music was sounding same, whoever was the Music Director. Similarly, singers, who sang on the stage too tried their hand at the film music. However, most such singers failed to impress and their careers did not last long.

Those who are conversant with Marathi Natya Sangeet must be aware of the contributions made by musicians like Deenanath Mangeshkar and Bal Gandharva. The Mangeshkar legacy goes on and on even today. Ganpatrao Laxmanrao Mohite aka Master Avinash was also a tall figure in Natya Sangeet. Master Avinash (1909-2009) was trained in music by Deenanath Mangeshkar and was trained in acting by Chintamanrao Kolhatkar- a great Marathi stage actor.

Avinash was one of those, who were with Balwant Sangeet Mandali, since its inception in 1918. This drama company was established by Master Deenanath Mangeshkar along with Chintamanrao Kolhatkar and Krishnarao Kolhapure. From the beginning, Avinash used to do female roles and his name was taken along with Bal Gandharva, in this respect. Due to his singing skill, he was quite a popular actor on the stage. Several of his Natya Geet records came into market and sold very well.

Master Avinash was simply ” Ganu Mama ” to Mangeshkar family. Though the patriarch of the M-family expired in 1942, Avinash survived almost 70 years (67 to be exact) after him. They were very close, hence a respected person for the M-family. He could, till his end, tell them his experiences with Deenanath and many others of that era. He taught some songs to baby Lata, when she was so small. Surprisingly, till he died in 2009, at the age of 101, his memory and health was very good.

He acted in most dramas written by Acharya Atre (P.K.Atre of Navyug Films and Atre Pictures) as well as all his Marathi films. However, Avinash worked only in one Hindi film-Charnon ki Daasi-41, which was a remake of Marathi film, Paayachi Daasi. By the time he appeared in this film in 1941, his singing and acting style was becoming outdated, for the Hindi audience. New styles of Music and young new actors had entered Hindi films. In any case, he was very successful on Marathi stage, so he did not bother to work in Hindi films.

As per an article on him, in The Times of India of 16-5-2002, he was a good cricketer, a wrestler, actor, singer and Music Director. Daily exercises must have kept him going healthy till the last. He remembered many anecdotes of old times, actors and especially of Deenanath Mangeshkar. He had a good collection of old photos and cuttings to show to the TOI reporter, who took his interview. In most Marathi films, he worked as a Hero opposite Vanmala. In film Charnon ki Daasi also they are the lead pair. Acharya Atre gave him the name Avinash for the stage. His popularity made his name a rage and many new born children were given his name in those years.

Film Charnon ki Daasi was written by P.K.Atre. It was directed by Gajanan Jahagirdar and was produced by Atre Pictures. The Music Director was Annasaheb Mainkar ( there were 3 Annasahebs in Hindi film Music. One was Mainkar, second was Datta Korgaonkar and third was C.Ramchandra. All were called Annasaheb) and the lyricist was Pt. Anand Kumar. The cast was Durga Khote, Vanmala, Gajanan Jahagirdar, Master Avinash, Kusum Deshpande, Nazeer Bedi, Ramesh, Sudhir and many others.

It was a typical Marathi reform social consisting of the age old friction of ” Saas-Bahu “. Durga Khote was the evil mother in law, who tortures the educated daughter in law-Vidya (Vanmala), with husband Murari (Avinash) protesting meekly. After the interval and towards the last part, the husband decides to be tough with his mother and the shocked saas surrenders and makes the Bahu head of the affairs. However, true to the middle class philosophy, the good Bahu returns the honour to the Saas and requests her to continue as family head ( minus the torture part, obviously), gives a very big speech and all is well in the end. The spice was added by the widowed Nanad- Champa (Kusum Deshpande). Gajanan Jahagirdar played Anokheram, the village scoundrel flirt, who is duly punished by the bahu, in the end.

In the advertisement of the film, the educational achievements of Vanmala-B.A., B.T. and Gajanan Jahagirdar- B.A. and Kusum Deshpande- B.A. was mentioned boldly and prominently.

Acharya Atre aka Pralhad Keshav Atre ( 13-8-1898 to 13-6-1969) was a Marathi-Hindi director and controversial literary figure in post-WW1 Maharashtra. Educated at the universities of Bombay and London; he studied experimental psychology under Cyril Burt and taught at Harrow before returning to India.

Owner-editor of populist down-market ” Maratha” newspaper; he was one-time Congress Party MLA. Later he became anti congress. He was Author of 22 plays, 13 short-story collections, four books of poetry and a 4-volume autobiography (Atre, 1965-7).

He was Teacher and producer of several school textbooks, often calling himself Principal Atre in his film credits. Aggressive polemicist remembered for famous literary battles with N.S. Phadke and Mama Warerkar.

He owned Chitramandir Studio/Atre Pictures (1940), the Atre Printing Press (1944) and Atre Arts (1968). He started his Film career by adapting his own short stories for Master Vinayak (Brahmachari, 1938; Brandichi Batli, 1939). He became a leading independent scenarist (e.g. Raja Rani, 1942) and pioneered the entry of new literary modes emerging from non-fictional prose into post-Independence Marathi film. His chosen genre was political satire, usually directed against the realist conventions of pre-WW1 social reform novels with their caste biases and Anglophilia.

However, his best-known film as director was the bitter-sweet melodrama Shyamchi Aai. Wrote plays in many genres: thrillers (To Mee Navhech), tragedies (rewriting the reformist Sangeet Natak playwright Ram Ganesh Gadkari and his own Udyacha Sansar) and satire. Noted scripts: Dharmaveer, Premveer, Begunah (all 1937), Ardhangi/ Ghar Ki Rani, Lapandav (both 1940). Preferred to hire directors rather than to direct. Produced and wrote his own movies, often starring actress Vanmala, through his Atre Pics, founded in 1940.

Gajanan Jahgirdar (2-4-1907 to 13-8-1988) the director of this film was the first Director of FTII in 1960. He is probably the only person in India at least, who has written 2 autobiographies-in 1971 and in 1986. He worked in 147 films and directed 17 films. He also wrote some songs in film Sant Tulsidas-1934.

Let us now listen to the first song of Master Avinash here. He makes his Debut and with this song, the film also makes its Debut.


Song-Teri gali mein aaya saudaagar (Charnon Ki Daasi)(1941) Singer-Master Avinash, Lyrics-Pt Anand Kumar, MD-Annasahab Mainkar

Lyrics

teri gali mein aaya saudaagar
kar le jawaani ka mol
kar le jawaani ka mol
meri sajni
kar le jawaani ka mol
meri sajni
kar le jawaani ka mol

teri zulfen rahin hain machal
tae ne keenhe hain naagan ke bal
tere abroo ne talwar taani hai amdaar
naina rahe munh se bol
tere naina rahe munh se bol
meri sajni
kar le jawaani ka mol
meri sajni
kar le jawaani ka mol
gori
teri gali mein aaya saudaagar
kar le jawaani ka mol
kar le jawaani ka mol
meri sajni
kar le jawaani ka mol
meri sajni
kar le jawaani ka mol

teri bindi pe daali nazar
goya sooraj raha ho nikhar
tere surme ki dhaar
phooti chhaathi ke paar
gayi chitwan kaleje ko chhod
gayi chitwan kaleje ko chhod
meri sajni
kar le jawaani ka mol
meri sajni
kar le jawaani ka mol
gori
teri gali mein aaya saudaagar
kar le jawaani ka mol
kar le jawaani ka mol
meri sajni
kar le jawaani ka mol
meri sajni
kar le jawaani ka mol

tere gaalon ke donon ghadhe
tere gaalon ke donon ghadhe
hain khumaari mein lab tak bhare
hain khumaari mein lab tak bhare
tere honthon ki thirkan
gaalon ki ubhran
thhodi ka til hai amol
teri thhodi ka til hai amol
meri sajni
kar le jawaani ka mol
meri sajni
kar le jawaani ka mol
gori
teri gali mein aaya saudaagar
kar le jawaani ka mol
kar le jawaani ka mol
meri sajni
kar le jawaani ka mol
meri sajni
kar le jawaani ka mol

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

तेरी गली में आया सौदागर
करले जवानी का मोल
करले जवानी का मोल
मेरी सजनी
करले जवानी का मोल
मेरी सजनी
करले जवानी का मोल

तेरी ज़ुल्फें रहीं हैं मचल
तैने कीन्हे हैं नागन के बल
तेरे अबरू ने तलवार तानी है अमदार
नैना रह मुंह से बोल
तेरे नैना रह मुंह से बोल
मेरी सजनी
करले जवानी का मोल
मेरी सजनी
करले जवानी का मोल
गोरी
तेरी गली में आया सौदागर
करले जवानी का मोल
करले जवानी का मोल
मेरी सजनी
करले जवानी का मोल
मेरी सजनी
करले जवानी का मोल

तेरी बिंदी पे डाली नज़र
गोया सूरज रहा हो निखर
तेरे सुरमे की धार
फूटी छाती के पार
गई चितवन कलेजे को छोल
गई चितवन कलेजे को छोल
मेरी सजनी
करले जवानी का मोल
मेरी सजनी
करले जवानी का मोल
गोरी
तेरी गली में आया सौदागर
करले जवानी का मोल
करले जवानी का मोल
मेरी सजनी
करले जवानी का मोल
मेरी सजनी
करले जवानी का मोल

तेरे गालों के दोनों घड़े
तेरे गालों के दोनों घड़े
हैं खुमारी में लब तक भरे
हैं खुमारी में लब तक भरे
तेरे होठों की थिरकन
गालों की उभरन
ठोड़ी का तिल है अमोल
तेरी ठोड़ी का तिल है अमोल
मेरी सजनी
करले जवानी का मोल
मेरी सजनी
करले जवानी का मोल
गोरी
तेरी गली में आया सौदागर
करले जवानी का मोल
करले जवानी का मोल
मेरी सजनी
करले जवानी का मोल
मेरी सजनी
करले जवानी का मोल

Advertisements

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 :

3770 Post No. : 14744 Movie Count :

4030

Kikubhai Desai who was the producer-director of many successful stunt films during 1930s and early 40s, may not be known to most of the present generation movie buff or even immediate preceding generation. However, if it is revealed that he was the father of Manmohan Desai, the producer-director of many block buster films during 1960s through 1980s, some of the movie enthusiastic especially the movie fans of Manmohan Desai, may develop interest in knowing Kikubhai Desai.

I first came to know about Kikubhai Desai in one of the old issues of ‘Filmindia’ magazine about 5 years back as a producer/director of a stunt film( I have forgotten the name of the movie). While covering rare songs from films of 1930s and 40s during 2015, I came across the information that Kikubhai Desai was the father of Subhash and Manmohan Desai ! This revelation generated interest in me to know about him in detail. In my article posted in the Blog about 2 years back, I had made a brief mention about the filmy career of Kikubhai Desai. Thereafter, I lost track and did not pursue the subject further.

Recently, while flipping through the pages of January 1942 issue if ‘Filmindia’ magazine, I came across a small news about the sudden death of Kikubhai Desai on November 26, 1941 when he was giving finishing touches to his comedy film ‘Sheikh Chilli’ (1942). This reminded me of my unfinished work to get Kikubhai Desai’s life profile and his filmy career more vigorously than before.

Kikubhai B. Desai (1902-26/11/1941) was born in Sandalpur (now in Navsari district of Gujarat) in an Anavil Brahmin family. Not much is known about his educational background. In 1925, Kikubhai Desai joined as Manager in Jupiter Film Company which was soon taken over by Nanubhai Desai, (father of actress Bindu), one of the two founders of Sharda Pictures, the other being Bhogilal Dave.

However, Nanubhai Desai retired from the partnership in Sharda Pictures and decided to join hands with Ardeshir Irani to set up Sagar Films (Later renamed as Sagar Movietone). Due to some last minute disagreement, Nanubhai Desai withdrew from Sagar Films before it was set up and started Saroj Pictures (later renamed as Saroj Movietone in 1931). He made Kikubhai to handle the film distribution in Punjab and Bangalore branches for Saroj Pictures.

In 1929, Kikubhai visited Bangalore (Bengaluru) and met Haribhai Desai, the proprietor of Surya Film Company who was also his relative. At that time, Surya Films was making its first silent film ‘Raj Hriday’. Haribhai told him that if he has come to enjoy only the colourful world of film industry, he would be sent back home. If he was prepared to work hard and learn the nuances of the film making, he will put him in production department. So Kikubhai started his work from the production department.

When ‘Raj Hriday’ was completed, Kikubhai Desai was made in charge of publicity department. Although compared to production department, publicity department was not a high profile work at that time. Kikubhai felt that he would miss working among the hero-heroines of the films with lot of activities and fun on the set. However, in the absence of any other work opportunity, he reluctantly accepted the change of work. Kikubhai tried new way of publicity for ‘Raj Hriday’ (1929). He got printed a large quantity of attractive pamphlets of the films and got them dropped from the plane in Mumbai. Such publicity was done for the first time. Kikubhai’s novelty in the publicity of the film impressed Haribhai so much that he made him Manager of his Bombay (Mumbai) distribution office.

In Mumbai, Kikubhai’s novel way of publicity of ‘Raj Hriday’ had a positive impact on the film which became a hit. Producers from other banners started giving him contract for the publicity of their films. He did this work for about 2 years during which time he had earned sufficient income to establish his own film production company, Paramount Films and the Paramount Studio at Andheri East in 1931. The banner produced its first silent film, ‘Fauladi Pahelwan’ (1931). Jayant Desai directed the film with Chandrarao Kadam and Miss Nirmala in the lead. In all, Kikubhai produced 8 silent films during 1931-33.

‘Husn Ka Ghulam’ (1933) was Paramount’s first talkie film made under the banner of Saroj Movietone. Thereafter, he produced on an average 3 films every year. None of the online sources give complete list of the filmography of Kikubhai Desai. Manmohan Desai had once mentioned, among other things, that his father had produced/directed 31 talkies during 1931-41. With this vital information, I set upon preparing the filmography of Kikubhai Desai. It was not an easy task to prepare an exhaustive list of films produced by Kikubhai Desai. Sometime his name was mentioned as K B Desai or K Desai. He had also produced films under the banners of India Liberty Films/ Great India Films in addition to his main banner, Paramount Films. I had to rely on the posters/advertisements of the films for confirmations.

Following is the list of films produced by him some of which he directed:

Sr. No. Name of the film Director Banner
01 Husn Ka Ghulam (1933) J P Advani Paramount/Saroj
02 Baghdad Ka Chor (1934) D N Madhok Paramount
03 Hoor-E-Baghdad (1934) R N Vaidya Paramount
04 Chalta Purza (1934) R N Vaidya Paramount
05 Khooni Khanjar (1935) R N Vaidya /Kikubhai Desai Paramount
06 Jaadui Danda (1935) Dwarka Khosla Paramount
07 Tufaani Tamancha (1935) R N Vaidya Paramount
08 Burkhawaali (1936) Kikubhai Desai India Liberty
09 Laal Panja (1936) Kikubhai Desai Paramount
10 Farz-E-Ada(1936) A M Khan India Liberty
11 Bansari Baala (1936) A M Khan India Liberty
12 Guru Ghantal (1937) Kikubhai Desai India Liberty
13 Kaala Bhoot (1937) A M Khan India Liberty
14 Taranhaar (1937) Kikubhai Desai India Liberty
15 Sinhaldweep Ki Sundari (1937) Kikubhai Desai Indis Liberty
16 Alladdin aur Jaadui Chiraag (1938) Nanubhai Vakil India Liberty
17 Baanke Saanwaria (1938) Nanubhai Vakil India Liberty
18 Madhraat Ka Mehmaan (1938) Kikubhai Desai India Liberty
19 Madhu Bansari (1939) Kikubhai Desai Paramount
20 Sunehri Toli/Golden Gang (1939) Kikubhai Desai Paramount
21 Sansar Naiyya (1939) Nanubhai Vakil Paramount
22 Reshmi Saari (1940) G P Pawar Paramount
23 Golibaar (1940) Nanubhai Vakil Paramount
24 Sneh Bandhan (1940) J P Advani Great India
25 Aflatoon Aurat/ Amazon (1940) Kikubhai Desai Paramount
26 Akela (1941) Pessi Karani Great India
27 Mere Raja (1941) T S Mani Paramount
28 Circus Ki Sundari/Circus Queen (1941) Balwant Bhatt Paramount
29 Sheikh Chilli (1942) Kikubhai Desai Paramount

This list has been vetted by Harish Raghuvanshi ji, the Film Historian who added 4 films to this list making it 29 out of 31 mentioned by Manmohan Desai. The remaining 2 films may be the ones which were under production at the time of Kikubhai Desai’s death in 26/11/1941. Incidentally, for ‘Dashavatar’ (1951) produced under the banner of J K Films and directed by Jayant Desai, the name of Kikubhai Desai has been mentioned as producer. This may be one of the two unfinished films of Kikubhai Desai which may have been taken over by J K Films with new cast and crew.

From the titles of the films listed above, it is clear that Kikubhai Desai specialised in producing mainly stunt films. He seems to have shifted to producing romantic/social films like ‘Sneh Bandhan’ (1940), ‘Akela’ (1941) and a comedy film ‘Sheikh Chilli’ (1942).

I have noted from the star cast of the films produced under the banners of Paramount Films, India Liberty Films and Great India Films that Gohar Karnataki, Miss Pokhraj, Miss Moti, Shiraz, Gulab, Shankar Vazare, Navinchandra, Dalpat, Sardar Mansoor etc were the main actors. Damodar Sharma was the music director for as many as 23 films out of 29 films listed above.

As mentioned earlier, during the final touches to the film ‘Sheikh Chilli’ (1942) which was produced and directed by Kikubhai Desai, he collapsed and died of rupture in appendix on November 26, 1941 at the age of 39.

The sudden death of Kikubhai Desai created a void in his film production companies, Paramount Films and India Liberty Films/Great India Films. At the time of his death, besides ‘Sheikh Chilli’ (1942) which was at the editing stage, two more films were under initial stages of productions. All the works came to a standstill. His two sons, Subhash Desai and Manmohan Desai and a daughter were minors. With heavy liabilities and debts, Kikubhai’s wife decided to sell their big bungalow in Varsova with a fleet of cars and other assets of the film production companies except the Paramount Studio at Andheri (now Filmalaya Studio). She leased the Paramount Studio to Shiraz Ali Hakim on a monthly rental of Rs.500/- for the sustenance of the family. After selling the bungalow, the entire family shifted to Khetwadi in South Mumbai.

‘Circus Ki Sundari’ aka ‘Circus Queen’ (1941) was released on November 28, 1941 (2 days after the sudden death of Kikubhai Desai, the producer of the film) in Mumbai at Super Talkies. The film was directed by Balwant Bhatt. The star cast included Miss Moti, Jal Merchant, Gulab, S L Puri, Bose, Dhulia, A. Karim, Agha, Rekha etc.

The film was shot inside a real circus with its complete paraphernalia of artists and the wild animals. Probably, it was for the first time in India that a film was shot in the actual lions and tigers cages of a circus. Miss Moti must be a courageous girl do the shooting in the midst of lions and tigers. The story of the film runs more or less on the same lines which has been used in many stunt films of that time.

There is a weak King (S L Puri) who has a popular younger brother-prince named Pratap (Jal Merchant). There is a good prime minister and a wicked woman called Shyama Devi (Gulab) who lives with the King. Lastly, there is a gang of ruffians to complete the ingredients for a stunt film.

A circus is camped in the King’s capital in which an artist named Sundari (Miss Moti) acts with wild animals including lions and tigers. King is impressed with Sundari and wants her to be his mistress. He assigns this task to his henchmen. It so happens that Prince Pratap, King’s brother accidentally meets Sundari and they fall in love.

Now comes a third angle in the guise of Shyamla Devi who though lives with the King but likes to flirt with Prince Pratap. She hatches a plot to overthrow the King but on each occasion, the wise prime minister frustrates her efforts. So it is a three-way war for the supremacy – the King and his henchmen for bringing Sundari for him, Prince Pratap and Sundari to turn their love into a marriage and Shymala Devi and her ruffians to overthrow the King. All the three groups work simultaneously to achieve their respective goals. The end result is that Shyamla Devi dies in a large pot of burning oil. prince Pratap gets Sundari with the blessings of the King. The prime minister becomes victorious. [Paraphrased from the review of the film published in January 1942 issue of ‘Film India’ magazine].

The film had 10 songs which were written by P L Santoshi and A Karim. But the division of the songs between the two lyricists is not known. All the songs were set to music by Khan Mastana.

I present the first among 10 songs ‘le chal ri saagar par naiyya’ from the film ‘Circus Ki Sundari’ (1941). The song is sung by actor-singer Miss Moti.

With this song, ‘Circus Ki Sundari/Circus Queen’ (1941) makes a debut in the Blog.

Acknowledgements:
———————–
1. I am grateful to Harish Raghuvanshi ji for providing me with the material on the early life and filmy career of Kikubhai Desai. He also sent me the scanned copies of the 3 pages from the Gujarati book ‘Sapna Na Saudagar’ written by Vitthal Pandya. He also helped me in updating the list of talky films produced/directed by Kikubhai Desai.

2. ‘Manmohan Desai’s Enchantment of the Mind’ by Connie Haham. Some pages were available online through Google Books in which Manmohan Desai talked about his father and their early days in Khetwadi (South Mumbai).

3. ‘The Advent of Sound in Indian Cinema’ by Virchand Dharamsey – published in the ‘Journal of the Moving Image’ as a research article (Pages 22 to 49).

Audio Clip:

Song-Le chal ri saagar paar (Circus Queen)(1941) Singer-Miss Moti, MD-Khan Mastana

Lyrics

le chal ri saagar paar
naiyya
le chal ri saagar paar
saagar paar sunhari duniya
saagar paar sunhari duniya
rehti sada bahaar
roop jawaani raaja raani
roop jawaani raaja raani
mil gaayen malhaar
mil gaayen malhaar
naiyya
le chal re saagar paar

chalna haule haule
naiyya
chalna haule haule
beech bhanwar na dole
chalna haule haule
naiyya
chalna haule haule
beech bhanwar na dole
sang na khewanhaar
sang na khewanhaar
le chal ri saagar paar
naiyya
le chal ri saagar paar
naiyaa
le chal ri saagar paar


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 :

3765 Post No. : 14738 Movie Count :

4028

Today’s song is from the first decade of the Talkie films, viz 1930s. This song is from “Hum,Tum aur Woh”(1938). This was a film made under the banner of Sagar Movietone, a highly prestigious and famous film company of the times. This company was riding on waves of popularity and fame during those days of 1938.

Shri Biren kothari ji has written a wonderful book on Sagar Movietone. It is based on interactions with the surviving members of the Desai clan as well as several contemporary documents and is regarded as an authentic volume on Sagar Movietone. However, oday’s article is based on another book, “Mehboob Khan” written by Shashikant Kinikar, published in 2015, 2 years after Kothari ji’s book. This 300+ page book, in Marathi, has plenty of original photos and articles on Mehboob Khan written by Anil Biswas, Sitara Devi, Shamshad Begum, P.K.Nair, Wazahat Mirza, Naushad and Shakeel Badayuni and therefore it is full of several anecdotes which are unknown to many. The book also contains 4 articles by Mehboob Khan himself. The book is an excellent treatise on Mehboob Khan-the Director and the Human Being, with 230 pages dedicated on him and his films.

However, Mehboob’s story is incomplete without Sagar’s story.

Hindi film industry has produced some great directors who, besides having a commercial outlook, also served the society by making films on burning social issues. On their parts, they contributed their “Two Cents” to serve the Nation. Such directors included Raj Kapoor, V.Shantaram, Guru Dutt, Satyajit Ray and Mehboob Khan-to name a few.

Born as Ramzan Khan in 1907 in Bilimora, Gujarat, Mehboob was from a Gujarati Muslim family. He never got a formal education in his young age, but he was keen on two things-5 times Namaz and seeing films. His father being in Police Department, films were free for him. One day he ran away to Bombay to become an actor. However his father found him out and brought him back. He was immediately married off, with a belief that he would improve.

Two years after marriage and one child, he ran to Bombay again and worked in Imperial film co. as an extra for Rs.30 pm. This too after he worked without any pay for 5 months due to the mistake of the clerk ! He worked in crowd scenes and sundry roles-without a dialogue, of course, starting as one of the 40 thieves of Alibaba. He worked in several films uncredited. His first, big and credited role came in the film “Shirin Khushru”-1929.

In 1927, after the Talkie film “The Jazz Singer” was shown in US, the world started making Talkie films. India too jumped into the bandwagon. In 1931, Imperial-competing with Madon Theatres of Calcutta- wanted to make a Talkie and started work fast. Mehboob Khan was almost finalised as the Hero. Even his costumes were made ready, but he was destined for something different, and Master Vithal was made the Hero of India’s first Talkie. Ardeshir Irani’s safety valve of minimizing the risk of the first venture by selecting the existing popular Hero, scuttled Mehboob’s dream.

Meanwhile, Imperial started a new company,’Sagar Movietone’, along with Dr. Patel and Chiman Desai. Some artistes and techies were shifted to Sagar-including Mehboob- from Imperial. Mehboob continued to work in 12 silent films. Here, he met Faredoon Irani, Cinematographer and they became thick friends. Irani was with Mehboob till the end.

During this period, Mehboob wrote a film story and convinced the owners to allow him to direct this film. Owners were hesitant, naturally, to allow this young extra actor to direct a film. Lastly a deal was struck, that Mehboob and Faredoon should be allowed to shoot one reel film. If they like it, continue or else, scrap it and recover money from these two chaps. After one reel shooting the owners realised that they had struck Gold in the process and Mehboob completed his first Directorial venture ” Al Hilaal “-35. The film was a great success and Mehboob ‘chal pada’. Mehboob went on to direct 7 more films for Sagar. All his films were successful.

From film Jageerdar-37 Mehboob and Anil Biswas pair teamed up for 8 films-till Roti-42.

When Mehboob was making arrangements for his next film, Alibaba, the sudden news that Sagar is closing down hit them. Mehboob Khan contacted Imperial to allow him to shoot for his film in their studio, which Ardeshir gladly permitted. The film shooting proceeded til Sagar became National studios. Mehboob made 3 important films of his career in National studio, namely Aurat-40, Behan-41 and Roti-42.

When National studio also closed down all workers came on road. However, Mehboob decided to start his own company. One Mr. Lalaji of Manoranjan Distributors of Delhi promised capital. National studio was renamed as Central studio by the owner, K.K.Modi-elder brother of Sohrab Modi. He allowed Mehboob to use the studio till his own studio came up. Mehboob took a place nearby to start his office. In this period there was a rift between Mehboob and Anil Biswas and they separated for ever-albeit bitterly.

Mehboob wanted a Logo for Mehboob Productions. He selected a sher written by Agha Jani kashmiri for film “Al Hilal”….” Muddai lakh bura chahe to kya hota hai, vahi hota hai jo manjur e Khuda hota hai”. It was recorded in the voice of Rafiq Ghaznavi with appropriate prelude music and sound of lightening and clouds. He also took Sickle and Hammer for the Logo, and clarified that because he respected workers and certainly he was not a communist.

His first film Najma-43 ( his daughter’s name was Najma), with Ashok Kumar and Veena was a Hit film. It was followed by Taqdeer-43, Humayun-45,Anmol Ghadi-46, Elaan-47, Anokhi Ada-48, Andaaz-49, Aan-52, Amar-54 and his Magnum Opus Mother India-57. After the high of Mother India, Mehboob aimed to fly even higher with Son of India (1962) but the film was a total misfire and, in fact, his weakest film. Mehboob had been neglecting health inspite of suffering Heart attacks. In May 1964, he suffered another attack but survived. His financiers were after him for repayment and he was worried. He called Rajendra Kumar and asked for a loan of 4 lakh rupees against his studio to be made in his name. Rajendrakumar refused to take the studio and promised to give him the amount next day at 11 am, without any mortgage. In the evening, news of Nehru’s heart attack came. Mehboob became restless. Soon the death news came and Mehboob became grief stricken. Akhtar gave him sleeping pills, but he had to be admitted to Nanavati Hospital. He too died at 2 am on 28th May 1964. At the time of his death, Mehboob Khan was harboring ambitions to make a film on the life of Habba Khatoon, the 16th century poetess-queen of Kashmir.

Mehboob Khan directed 8 films for Sagar, 3 films for National and 11 films for Mehboob productions.( based on information from Upperstall, Mehboob Khan by Shashikant Kinikar and my notes).

One advantage of reading a Biography is that you get to know the person’s version on controversies. As far as Mehboob and Anil Biswas’s split is concerned, Mehboob’s version is 180 degrees opposite to what Anil Biswas gave. Difficult to side anyone. But this split did help first Rafiq Ghaznavi and then Naushad.

In the cast of the film, one finds a name Sunalini Devi. Now let us know something about Sunalini Devi, the actress. She was born on 1-1-1896 in Hyderabad Deccan. Her father, Aghornath Chattopadhyay-a Bengali settled in Hyderabad – was a Sanskrit scholar, was proficient in 27 languages and was the first Indian to get the D.Sc. honour. Sunalini was the elder sister of Sarojini, who became Sarojini Naidu after her marriage, and Harindranath Chattopadhyaya-renowned poet.

Sunalini learnt Music and Dance from her third year of age itself. Due to her sweet voice, she was called ‘ Kokila ‘. It is to be noted that her younger sister Saojini naidu was called ‘ Nightingale of India’ ! It is unfortunate that the film industry did not use Sunalini’s music skill in her films and she sang just one song in her career in film ‘ Raja Rani-42’.

Sunalini started acting in stage dramas from 1918. her first movie was ” Light of Asia”-released initially in Germany and Poland in 1925 ( its restored version was released on 5th July 2001, in India. This film was made by Himanshu Rai. The film was shot in Lahore. It was a silent film on Gautama the Buddha. Her first Talkie film was ‘ veer Kunal-32’. She acted in 56 films. Mostly she was known for motherly roles only. She had, like her more eminent sister, married a south Indian- mr.A.S.Rajan, a writer from Madras.

Some of her more known films are, Aurat, Lalaji, Inkaar, Nai roshni, Talaash, Bairam khan, Tamasha, Dilruba, Malhar etc etc. She retired from films in 1956.

Let us now listen to the song of today. It is sung by Maya Banerjee and Harish. The music was by Anil Biswas. I find the tune of this song a little unusual. It looks like the lady is stressing her point with fists hammered on a desk.

With this song, this film “Hum Tum aur Woh” (1938) makes its Debut in the Blog.


Song-Hamen preet kisi se nahin karni (Ham Tum Aur Wo)(1938) Singers-Maya Banerjee, Harish, MD-Anil Biswas

Lyrics

hamen preet kisi se nahin karni
hamen preet kisi se nahin karni
hamen preet ki reet bataao nahin
hamen preet ki reet bataao nahin
hamen preet kisi se nahin karni
hamen preet kisi se nahin karni
hamen likh likh chithhiyaan mat bhejo
hamen likh likh chithhiyaan mat bhejo
hamen jamuna kinaare bulaao nahin
hamen jamuna kinaare bulaao nahin
hamen preet kisi se nahin karni
hamen preet kisi se nahin karni

ham likhh likhh chithhiyaan bhejenge
tumhen apne paas bulaayenge
ham likhh likhh chithhiyaan bhejenge
tumhen apne paas bulaayenge

ham roothhenge
ham jhagdenge
ham roothhenge
ham jhagdenge
ham dor se kheench ke laayenge
ham dor se kheench ke laayenge
in baaton se hamko daraao nahin
in baaton se hamko daraao nahin

hamen preet kisi se nahin karni
hamen preet kisi se nahin karni
hamen preet ki reet bataao nahin
hamen preet ki reet bataao nahin
hamen preet kisi se nahin karni
hamen preet kisi se nahin karni


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 :

3760 Post No. : 14731 Movie Count :

4026

Today’s song is from a film called “Sona”(1948). In 1946, there was a film titled “Sona Chandi”. In 1964 there was a film titled not just “Chandi”, but a whole “Chandi ki Diwar” and in 1977 there was a film called “Chandi Sona”. So much for the precious metals in Hindi film Titles !

We have often heard and read that in olden days, young film aspirants from far off cities and smaller towns, ran away from homes to the Maya Nagari-Bombay, to try their luck. Few of them succeeded. But mind you, not ALL stars came running away to Bombay. Many of them were actually invited by Bombay filmmakers, rolling out red carpets for them. This normally used to offer in case of promising stars from other film centres like Calcutta and Lahore. For example, Shamshad Begum was specially brought to Bombay from Lahore. Saigal was brought from Calcutta to Bombay, with an attractive offer.

That, precisely, was the reputation of Bombay, that careers are made in Bombay and opportunities are found in abundance for them who have Talent and Luck ! Munawar Sultana, Heroine of film Sona-48 was one such star, who was brought from Lahore with an offer of Rs. 4000 pm and rented furnished accomodation – by Mazhar Khan.

Munawar Sultana was born on 8 November 1924, in Lahore, into a strict Punjabi Muslim family. According to an interview with son Sarfaraz and daughter Shaheen, conducted by Shishir Krishna Sharma, Munawwar’s father was a radio announcer. Munawwar wanted to become a doctor, but was side-tracked by an offer in films. This was a small role in the film, Dalsukh Pancholi’s Khazanchi (1941), where she played a barmaid, and had a song, Peene ke din aaye piye jaa picturised on her. She went by the screen name Asha for this period.

In 1945, she was visited in Lahore by producer-actor-director Mazhar Khan, who contracted her on a monthly fee of Rs. 4000 plus an apartment, and brought her to Bombay. Munawwar’s first film with Mazhar was Pehli Nazar, where she was cast opposite actor Motilal. In the popular song Dil jalta hai to jalne de (Let the Aflame Heart Burn) playbacked by singer Mukesh for Motilal, Khan focused on Munawwar’s close-ups during the picturisation.

Following Pehli Nazar, she was kept busy through 1947 to 1949 working in several films. Baburao Patel wrote in the cine-mag Filmindia 1949, about her being one of the most over-worked actresses along with Suraiya and Nargis.

In 1947, Munawar acted in four films Dard, Elaan, Andhon Ki Duniya and Naiyya. Dard was directed by Kardar under Kardar Productions. In spite of no big stars being in the film, it turned out to be a surprise “musical hit” at the box office. The hero of the film was Kardar’s brother Nusrat (Kardar). The song Afsana likh rahi hoon became a big success. Elaan garnered positive reviews for Munawwar. A Muslim social, the film was praised for its “progressive attitude” towards the need of education.

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

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

Mehboob Khan had a sitting with her and explained to her the entire story and the likely repercussions to the film. He gave her an option to opt out of the film. Munawar played very brave and firmly told Mehboob Khan that she was 100% with him and was ready to work and face, whatever happens as an aftermath.

This act of courage was loved and appreciated by Mehboob Khan very much and he remained indebted to her ever after.

1948 saw Munawar in four more films. Parai Aag, Sona, Majboor and Meri Kahani.

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

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

The cast of film Sona-48 also consisted of the producer director Mazhar Khan as the Hero, Madhuri, Dikshit, Navin Yagnik, Madan Puri and others.

How many of us know anything about Navin Yagnik ? Navin was a well known stunt film actor who did social films also with the same ease. Navin was born in Calcutta in 1912. His father was from U.P. and mother from Bengal. During school days, he was more interested in sports, dramas and oratory. He did not complete his Matriculation, but ran away to Bombay, to become an actor-against the wishes of his family.

He joined Sagar Films in 1930, as an Extra, without salary. After few months he got Rs.35 pm, but no credited roles. After an year or so, he left Sagar and joined Mohan Bhavnani’s Ajanta Film company. He first worked in film ‘ The Mill ‘-34. Unfortunately, this film was banned for 2 years. The film was based on a story by Munshi Premchand and depicted the poor conditions of mill workers in Bombay. The Mill Owners’ Association brought pressure on Government and got the film banned. After 2 years, the film was released as ” Ghareeb Parivar”-36 aka ‘Daya ki Devi’. Two more films and Navin became Hero in film ” Pyar ki maar”-35.

He also worked in Minerva Movietone, Prakash pictures, Filmistan and other good banners. Some of his well known films were, Zambo-The ape Man-37, Meri Bhool-37, Divorce-38, Son of Zambo-39, Main Haari-40, Vasantsena-42, Raja Rani-42, School Master-43, prithvi Vallabh-43, Chal chal re Naujawan-44 etc. His last film was Bhagwat mahima-55. In all, he worked in 30 films.

The Music Director for film Sona-48 was Vasant Desai. Vasant Desai ( 9-6-1912 to 22-12-1975 ) was an incredibly talented man who never got his dues.

That greatness has no correlation with commercial success, is best personified in the life and works of Hindi film music director Vasant Desai. Well versed in every department of film making, Desai’s talent was a blessing to the music world. Though critics may credit Naushad as a composer steeped in classical traditions, Vasant Desai was equally, if not more, proficient in making tunes based on complex ragas. Sadly, despite his prowess, this simple man whose birth anniversary was in 2012, has not been given his due by the film industry befitting his stature and contribution to its music.

Veteran Marathi film music director and Desai’s creative mentor Keshavrao Bhosle in his memoirs “Mazhe Sangeet” applauds Desai for many such firsts as well as introduction of echo in sound recording in India with Zohra Bai’s song Jo dard banke zamaane pe chhaaye jaate hain from “Parbat Pe Apne Dera”. Hear Rafi’s immortal kah do koyi na kare yahaan pyaar(Goonj Uthi Shehnaai) and you realise how echo was not a tool for experimentation for Desai but a magnificent instrument of creative ability.

Though Lata Mangeshkar doesn’t acknowledge any of Desai’s creations in her top 20 personal favourites nor praises his vast repertoire, it is a fact that some of her finest renditions were under Desai. Allegedly, Lata had a grouse against him for promoting other singers, especially Vani Jairam, and hence ignored his contribution in her career even when most of her songs under Desai’s baton have been unsurpassed till this day. Go down the memory lane and you can’t ignore sublime creations like Jo tum todo piyaa (Jhanak Jhanak Paayal Baaje) , Tere sur aur mere geet(Goonj Uthi Shehnaai), Main gaaun tu chup ho jaa (Do Aankhen Baarah Haath) , Piyaa te kahaan gayo (Toofaan aur Diyaa) or Ek thhaa bachpan (Aasheerwaad) . Even though Desai made her Ae maalik tere bande ham (Do Aankhen Baarah Haath) into a memorable secular prayer, Lata hardly ever commends the composition. May be she is unhappy that Desai created an equally powerful bhajan Hamko man ki shakti dena(Guddi) into a nationwide school prayer through Vani’s vocals.

His proficiency was the reason why he was greatly admired by maestros like Bismillah Khan (who made the shehnai famous with his recitals in “Goonj Uthi Shehnai”, Amir Khan, Bhimsen Joshi, and M. S. Subbulakshmi. She even got a song composed from Desai for her recital at the UNO headquarters. It was Desai’s virtuosity that made Dada Muni (Ashok Kumar) render an all-time favourite children’s song rail gaadi rail gaadi (Aasheerwaad) (“Aashirwad”) with minimum instrumentals. Nowadays when Cannes Film Festival is a place of photo opportunity rather than exploration of artistry, it is overwhelming to know that decades ago Desai’s versatility made “Amar Bhoopali” the only Indian film to win a Grand Prix award for original musical score at Cannes ! Obviously, lyricist Gulzar isn’t wrong to hail Desai as a “music composer extraordinaire” especially when he catapulted his Bole re papeehara(Guddi) to Himalyan heights of popularity.

Born in a wealthy family in Sonwad village in Maharashtra, Desai joined the famous Prabhat Film Company at Kolhapur at its inception. Apart from performing several minor chores, he also acted, sang and sometimes composed songs in Prabhat’s films like “Dharmatma” and “Sant Dnyaneshwar” but once he had mastered the craft of music composition, he stuck to it. Devoted to V. Shantaram from his Prabhat days, Desai went along with the maestro when he broke away from Prabhat to form his own Rajkamal Studios. Scoring music for a majority of Shantaram’s films, Vasant’s career suffered a major blow when their relations soured in the late 1950s. Yet it is to his credit that even though they split after recording of “Aadha Hai Chandrama” (later re-done by C. Ramchandra), he never ever spoke ill about “Anna” till his dying day.

Film director Vikas Desai says, “even family members never came to know the reasons for leaving Shantaram though he went back to score the background music of ‘Geet Gaya Patharon Ne’ on Anna’s request”.

Going through his long and enviable list of songs would be difficult but suffice to say that his memorable songs are valuable gems of musical heritage. And though the patriotic Vasant Desai may have remained unsung for his cinematic as well as academic contribution to school music curriculum, his songs regale listeners with their inherent melodic fragrance.

In his initial stage of career, he had acted in films like, Dharmatma-35, Amar Jyoti-36, Wahan-37 and Sant Dnyaneshwar-40. He even sang songs in films like Amrit Manthan-34, Dharmatma-35, Amar Jyoti-36, Wahan-37, Sant Dnyaneshwar-40, Sant Sakhu-41, Shakuntala-43 and Parbat pe apna dera-44. In all, Vasant Desai gave music to 50 films. His first film was Shobha-42 and Last released film was Shaque-76.
(some information in the article adapted from Wiki and The Hindu).

Shantaram was planning a path breaking film Maanus(Marathi)-Aadmi in Hindi,in those days and was in the process of finalising the cast.Vasant Desai who was Shantaram’s chela in those days,was aspiring to become a Music Director. He started his career as an actor in small roles and he sang songs too.He had very high hopes that Shantaram will do something for him. One day Shantaram called him and said,” I am planning a new film. You will be the Hero and Shanta Apte will be the Heroine.” Vasant was very happy. His auditions were good.

Meanwhile Mera Ladka-38 became quite popular and its songs, particularly,Dekhoon kab tak baat( Paahu re kiti waat-Marathi)” by Shanta bai and composed by Keshavrao Bhole was a great Hit.Impressed with her effortless acting and natural singing style, Shantaram changed his mind and decided to cast Shanta Hublikar and Shahu Modak as the lead pair for Aadmi – 39.

Shantaram called Vasant Desai and told him,” Be ready for a shock. I have decided to make Shanta Hublikar and Shahu Modak as the Hero and Heroine of my new film. You will have to wait. But your time will come ” Vasant Desai was heart broken. With Shantaram’s permission he composed music for Shobha and Aaankh ki sharm in 1942 and Mauj in 1943. he had worked as assistant to Tembe, Krishnarao, Bhole and Mainkar. He had acted and sang in Amar Jyoti . His time came when Shantaram gave him SHAKUNTALA-1943 as a Music Director.

Today’s song from film Sona-1948 is sung by Zohrabai Ambalawali and Chorus, but there is also an unidentified male’s voice in the song. The song was procured and uploaded by our Sadanand ji Kamath on my request. Thanks. The song is very melodious and immediately reminds another popular song Mubaarak ho dulha dulhan ko ye shaadi from film Paak Daaman-1957-MD Ghulam Mohd. As per the prevailing custom of composers having a classical base and a stage music background, the prelude music of this song is also quite long, lasting for 54 seconds. Not all songs had such preludes, but majority had.


Song-Umangon ke din hain khushi ka zamaana (Sona) (1948) Singer-Zohrabai Ambalewaali, unknown male voice, Lyrics-Nakshab, MD-Vasant Desai
Both

Lyrics

aa aa aa
aa aa aa
aa aa aa
aa aa aa
aa aa aa
aa aa aa
aa aa aa
aa aa aa

aa haa ha
hahahaha

Umangon ke din hain khushi ka zamaana
Umangon ke din hain khushi ka zamaana
ye mausam suhaana
yahin aana jaana
ye mausam suhaana
yahin aana jaana

nigaahon ko milne lagin hain nigaahen
nigaahon ko milne lagin hain nigaahen
wafa ke kadam hain mohabbat ki raahen
wafa ke kadam hain mohabbat ki raahen
machalti chali jaa rahi hai jawaani
aa aa aa aa
aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa

machalti chali jaa rahi hai jawaani
thaharta chala ja raha hai zamaana
thaharta chala ja raha hai zamaana
ye mausam suhaana
yahin aana jaana
Umangon ke din hain khushi ka zamaana
ye mausam suhaana
yahin aana jaana

o ho ho ho
ho ho ho ho ho
chale daur par daur
saaghar uthhaao
chale daur par daur
saaghar uthhaao
zamaane ka har ek gham bhool jaao
zamaane ka har ek gham bhool jaao
hamesha jamegi ye ?? ki mehfil
zara tum bhi peena hamen bhi pilaana
zara tum bhi peena hamen bhi pilaana
ye mausam suhaana
yahin aana jaana
umangon ke din hain
khushi ka zamaana
ye mausam suhaana
yahin aana jaana


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 :

3748 Post No. : 14711 Movie Count :

4019

Today’s song is from film Sati Toral-47. This film was made by Laxmi Productions, Bombay and was directed by Nandlal Jaswantlal. The music was provided by a team of Hari Prasanna Das and Manna Dey. The song is sung by Amirbai Karnataki and Manna Dey. The lyrics were by Miss Kamal, B.A. This was a pseudonym of Kavi Pradeep. At that time, he was under contract with Bombay Talkies and could not use his real name . Under this Pen name, he wrote lyrics for four films, namely Kadambari-44, Amrapali-45, Sati Toral-47 and Veerangana-47. Incidentally, all these films were directed by Nandlal Jaswantlal.

Nandlal was born on 15-3-1907 at Bardoli in Surat. His father was Administrative Officer in Kohinoor films. He started his career by joining it in 1924. He assisted Chandulal Shah(1926-29) and also directed silent and Talkie films for Ranjit from 1929 to 1933. Nandlal left the job and went to Europe on tour. On his return he joined Imperial company(34-36) and directed some remakes of silent films of Sulochana into Talkie films. For one year-1937- he went to Madras and ran a Laboratory also.

His first Talkie film as a Director was Pardesi Preetam-33 and last was Akeli mat jaiyo-63. Both were Ranjit films. Due to his death in 1961, Akeli mat Jaiyo was delayed and completed by Chandulal Shah himself. Nandlal directed, in all, 24 films-5 Silent and 19 Talkie films. Some of his well known films were Indira M.A.-34, Bambai ki billi-36, Sati Toral-47, Sanam-51, Anarkali-53 and Nagin-56. (adapted from indiancine.ma)

Music Director Hari Prasanna Das or H.P.Das was born in Chitgaon, East Bengal, in 1905. He was a Bengali. He was assistant to Pankaj Malik in films Dushman and Kapal Kundala-1939. He gave music to Bangla film ‘ Nimai Sanyasi’-40, in which he gave singing opportunity to 20 year old young Hemant Kumar. His first Hindi film as a MD was New India Films’ Blood Feud (or Josh-E-Inteqam)- 1935. His other films were Mohabbat-43, Meena-44, Kadambari-44, Mazdoor-45, Begum-45, Insaaf-46, Veerangana-47, Sati Toral-47 and Hum bhi insaan hai-48. He died on 26-9-1989.

The cast of the film was Shobhana Samarth, Prem Adeeb, Sankata Prasad, Jeevan, Badri prashad, Rehana and others. Sankata Prasad was the elder brother of more famous character actor Kanhaiyalal, who entered film line first as a Lyricist only. Born in Banares in 1903, Sankata came to Bombay and joined Sagar Film company in 1929. From the beginning, he was a fixture in almost every silent and Talkie film of Sagar Film company, Sagar Movietone, National Studios and lastly Amar pictures. After the last connection, he became a free lancer. To be noted is a fact that Sankata Prasad is the only actor who worked in all 3 First Talkie films of Sagar Movietone, namely Veer Abhimanyu, Romantic Prince and Abul Hasan. His last film was Do Mastane-58. He acted in 65 films,in all.

Film Sati Toral -47 was based on a Folk Tale of Gujarat. Folk Tales are stories passed through generations by telling. They are built around Fairy Tales, Tall tales, Trick tales, Myths and Legends. The base of Folk tales is a true historical event , person or a story. Folk tales of loving couples have been very popular and have been subjects on which films in almost every language are made. Stories of Heer Ranjha, Mirza Sahiban,Sassi Punnu, Sohni Mahiwal, Momal Rano, Dhola Maru,Prithviraj Sanyogita, Bajirao mastani, Laila Majnu, Salim Anarkali, Shahjehan Mumtaz Mahal etc. are famous folk tales of lovers and films are made on them.

Similarly, Mythology and religious books provide plenty of scope for Folk tales. Several films are made in several languages on the folk tales of Satis in Hindu religion. Actually, 44 Talkie films are made, whose Titles contain the word ‘Sati’. The more popular Folk tales are on Sati Anusuya, Parvati, Ahilya, Anjani, Madalasa, Narmada, Mahananda, Pingala, Renuka, Savitri, Seeta, Sulochana, Toral, Vaishalini, Vijaya and Vimala to quote a few. Maximum 7 films are made on Sati Anusuya. As if only Sati is not enough, there are films like Mahasati Anusuya, Behula,Madalasa,Maina Sundari, Savitri, Tulsi and Tulsi Vrinda. You really must appreciate the creativity of Hindi film makers.

Like lovers and Religious persons, there are folk tales of Historical persons too, Like Rana Pratap ( and his Horse Chetak), Akbar, Shivaji, Amar singh Rathod, Razia Sultan, Chandbibi, Jhansi ki Rani, Birbal and Tenali Raman. Films have been made on most of these too.

Coming back to Film Sati Toral-47, I have not seen this film in Hindi or Gujarati, So, I was looking for the story of Toral. I found one on Wiki. There is a slightly different ( in details) story written by Amrit Ganger ji, the famous author in English and Gujarati on cinema and history. He has won the Gujarat Sahitya Academy Award too. This story is available on tellmeyourstory.in, for those who are interested.( I am happy to note here that I know Mr. Gangar and he has gifted me his latest book ” Walter Kaufmann in India 1934 – 1946″ ). So, here is the Sati Toral story from Wikipedia…

” Jesal, a young Kutchi Rajput, was a dreaded dacoit.
His brother’s wife once chided him that if he was truly brave, he should prove it by stealing Toral, an extraordinary mare belonging to a Saurashtra king. In the process of stealing Toral, Jesal’s hand got caught in a nail and his agonised cries brought the king running outside.

Asked what he wanted, Jesal said “Toral”, not knowing that the queen too had the same name. The king, a devout daani (donor) who had sworn never to disappoint anyone, gave him three Torals – his queen, the mare and a sword by that name. But on the boat journey back home, Jesal realised that Toral was not an ordinary woman.

He was tormented by guilt at having taken away someone who, out of loyalty, did not even question her husband’s decision. It is said that the enlightened company of Queen Toral, remembered in Gujarati literature as a devotional poet who composed and sang songs, transformed Jesal completely and the two began spreading the message of God.

Their inseparable companionship as teacher and disciple is talked about, but in cautious tones. No one, not even the local scholars, wants to discuss the Jesal-Toral alliance as a man-woman relationship. “Even the Gujarati film Jesal-Toral did not suggest any such angle,” recalls photographer Vinay Thacker, who started his career in 1976 by selling photos of the twin samadhis outside the shrine.

However, people do accept their unusual affinity, which even death couldn’t change. It is said that when Jesal undertook samadhi, he called out to Toral from his grave to join him. Toral, who was travelling, heard his voice, came back to Anjar and immediately took samadhi.
Toral, the mare, too was buried outside the temple. A green and magenta chaddar now covers the equestrian grave. The destroyed roof of the shrine has been temporarily replaced with an asbestos sheet. ”

Today’s song is sung by Amirbai Karnataki and Manna Dey, with Chorus. HFGK does not indicate names of singers for this song, but the voices are unmistakable. This song is in Amirbai’s song list. Prof. Yadav, in his book ” फिल्म संगीतकार – सुवर्णयुगवाले” also mentions these two names for this song. This is quite a good song. “Sati Toral”(1947) makes its debut in the blog with this song.


Song-Chaar dinon ka hai ye mela re bhai(Sati Toral)(1947) Singer-Amirbai Karnataki, Manna Dey, Lyrics-Kavi Pradeep, MD-H P Das
Chorus

Lyrics

Chaar dinon ka hai ye mela re bhai
?? raha hai ??
hari ka sumaran kar le re
tera hoga bhala
mera hoga bhala

apne ?? ko bacha le
hai shaam ki bela
aur din dhala
khud ko kar de prabhu ke hawaale
door karega wo teri bala
apne man ka dhundhla darpan
apne man ka dhundhla darpan
tu hari bhajan se kar ujla
hari ka sumaran
prabhu ka sumaran
kar le re
tera hoga bhala
mera hoga bhala

ab to hari ko sumar le re bhai ee
saari umar toone yoonhi ganwaai ee ee
yoonhi ganwaai
tera prabhu tere bheetar chhupa hai
tera prabhu tere bheetar chhupa hai
tu apne man ka deepak jala aa
hari ka sumaran
prabhu ka sumaran
kar le re
tera hoga bhala
mera hoga bhala

ye duniya hai ek musaafirkhaana
yahaan ki dosti ka kya thhikaana
ye duniya hai ek musaafirkhaana
yahaan ki dosti ka kya thhikaana

aaj yahaan par hai rain basera
aaj yahaan par hai rain basera
kaun jaane kal kahaan ho dera
is zindagi ka kya bharosa
ye jal ki dhaara hai silsilaa(?)
hari ka sumaran
prabhu ka sumaran
kar le re
tera hoga bhala
mera hoga bhala

dil ka rakshak wo parmeshwar hai ae ae ae ae
unko is jag mein kiska darr hai
unko is jag mein kiska darr hai ae ae
kaun hai aisa ishwar ka banda
kaun hai aisa ishwar ka banda
ki jis ka sankat nahin tala aa
hari ka sumaran
prabhu ka sumaran
kar le re
tera hoga bhala
mera hoga bhala


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 : 3742 Post No. : 14696

Today’s song is from a film called ‘Parakh’ (1944). This is a special song. It is a song sung by singer Ira Nigam. The song was written by Pt.Sudarshan and the music was by Khursheed Anwar. The cast of the film was Mehtab, Balwant Singh, Yakub, Shahnawaz, kaushalya, Sadiq Ali and others.

Ever since film making progressed and was seen as a job-provider, it attracted people from all over India. Unemployed but ambitious youngsters ran away from their hometowns to Bombay, with dreams in their eyes. As the industry got organised, those who were already working here either called or brought their other kins. Some impatient parents came themselves with their daughters. Due to poverty, examples of the entire family coming to Bombay and all joining the film industry were also seen-like Alla Bux, Iqbal Bano, Meena Kumari and her two sisters. Also seen earlier was Fatima and her three daughters and a step daughter-Mehtab. Some mothers or Grandmothers(Suraiya and Vyjayantimala) chaperoned their star children, while some fathers (like Madhubala’s) squeezed the best out of their child’s earnings (hell with her happiness !). In general,however it was the male part of the family which took charge of the actor or actress in film line.

If one sees the world history, one will find that most nations have changed culture wise and they have adapted themselves to the modern times and needs. Thus,things which were taboo a century ago are not taboo anymore. U.K. accepts jokes and cartoons on its royalty now,whereas hundred years ago, person would have been hanged in public for doing the same. USA can today tolerate parody of Christ and Christianity whereas hundred years ago the person would have been dead.

But our country has not changed its basic culture in spite of hundreds of years. Barring few exceptions, that too, in hi-fi society, Indian women are still ruled by the whims and dictates of males. When women from educated families entered the film industry, it looked like our women are liberated, but alas ! even in the film industry women are ruled by males.

A seemingly rebellious star of yesteryear – Shanta Apte – had to accept her own brother as husband in a film because she was not allowed to be touched by other males, by him. Unfortunately, her brother not only managed her film affairs, but also gave her a daughter. All this is recorded and declared by her daughter herself. She too became an actress in Marathi drama and films.

The most daring and courageous star of the 1940s – Meenakshi Shirodkar – who stunned everybody by donning a swimsuit and bathing in the waters of a river openly, in ‘Bramhachari’ (1938), had to give up her acting career midway because her husband refused to allow her to do any roles other than heroine.

Who knows how many women had to forego opportunities in film line only because their men-folk would not allow.

Today we will talk about a singer who had to forego wonderful opportunities in playback singing in Hindi films, first because of her father and then because of her husband. These days she only recalls and weeps.

Ira Nigam (NOT Ira Nagrath – wife of Roshan. She was different person) was born in October 1930 in Seoni (M.P.) in her mother’s maayeka. She had a God given gift of singing. She was educated in Delhi and Shanti Niketan. Her father Hriday Narayan Nigam was a singer himself. With his help she started singing on AIR Delhi. She completed her graduation in music form DU.

Her voice was sweet and melodious. Roshan, who was also working in AIR Delhi, one day brought the famous composer Khurshid Anwar to her house. They convinced her father to allow her to sing in films. She was so lucky to sing her first song in ‘Parakh’, under the baton of Khurshid Anwar. She was only 14 years old then. Here her father put a condition that only he will sing duets with her and no other male. Due to this strange condition, she got only one more film ‘Asmat’ (1944) and they had to go back to Delhi.

Ira got married meantime and came back to Bombay again in 1948. This time with her husband P.N. Nigam.

Harmandir Hamraaz, who interviewed her in Kanpur in Aug 1984 says that she wept when she told him that as her husband did not like her work in Hindi films, she had to give up singing after doing just 5 films. She did not have her own song records also. It was Hamraaz ji, who met her again and gave her those records. She was very happy.

She sang in ‘Rakhi’ (1949), ‘Chaar Din’ (1949), ‘Ek Teri Nishani’ (1949), ‘Veer Ghatotkach’ (1949) and last film ‘Guru Dakshina’ (1950). There were hundreds of singing offers to her when she left Bombay second time. First it was due to father and next it was due to husband, who cut short a melodious singing career. However, while in Kanpur and Delhi, she sang on A.I.R. and Television.

If you take 100 actors/actresses who worked in films, 20% will be the hero/heroines. The rest 80 % comprise of character actors, comedians, villains etc. Even out of the 20 % lead players, very few – like Dilip, Dev Anand or Amitabh – last as heroes till the end of careers but most others end up as character actors. Some examples are Pran, K N Singh, Om Prakash, Sunder Singh etc etc. Some actors do character roles from start to finish of their careers- like Nazir Hussain, Kanhaiyalal, C S Dubey, Tiwari etc. Some actors, though endowed with good face and personality, could not get a hero’s role and did character roles throughout.

One such actor was Shahnawaz Khan, known only as Shah Nawaz. He was born on 18-9-1906 in Hyderabad Deccan. His father was a Major in Hyderabad’s Nizam Army. During education, he used to act in dramas. After matriculation, he joined a Govt. service in Hyderabad state. He was however keen on joining films and dramas. After 5 years, he left the job and started a motor car business. In that connection, he would visit Bombay and try his luck at different studios. Finally, his efforts bore fruit and he got a villain’s role in film ‘Bharat Ka Laal’ (1936), in which he was listed as S. Nawaz. It was a stunt film made by the Kadam brothers (Harischandra Rao and Chandra Rao Kadam), with Master Bhagwan as the hero.

After this, he did not go back to Hyderabad. Then came ‘Daulat’ (1937), ‘Toofani Khazana’ (1937), ‘Rangila Mazdoor’ (1938), ‘Jungle King’ (1939), ‘Sardar’ (1940) etc. In 1940, he joined Bombay Talkies and worked in films. He was apparently in Devika Rani’s camp. He was in ‘Punarmilan’ (1940),’Bandhan’ (1940), ‘Jhoola’ (1941), ‘Naya Sansar’ (1941), ‘Kismet’ (1943) and ‘Hamari Baat’ (1943). He also worked in ‘Master ji’ (1943), ‘Police’, ‘Parakh’ and’ Anban’ (1944), ‘Zeenat’ and ‘Humayun’ (1945) and some more. In all, he did about 35 films in India. In or around 1948, Shahnawaz migrated to Pakistan. He was welcomed there. He did 41 films in Pakistan (32 Urdu and 9 Punjabi). Some films were quite famous like ‘Aansoo’ (1950), ‘Sassi’ (1954), ‘Ayyaz’ (1960) etc.

Shahnawaz died in Karachi on 18-6-1971. His last released film was ‘Nek Parveen’ (1975).

Another actor was Sadiq Ali. He was born on 6-10-1911 at Jullundhar, Punjab. His 2 cousins- Wazir Ali and Nazir Ali were famous Indian cricketers. Sadiq Ali completed his engineering degree and worked in M.E.S. at Kanpur (Military Engg. Services). Due to strong desire to work in films and dramas, he resigned from his job after 5 years and joined Agha Hashr’s drama company. When the company was closed, he joined The Burma Imperial Film Company at Rangoon. After few small roles, he came down to Bombay.

After working in some smaller companies, he joined Minerva Movietone. Starting with ‘Khan Bahadur’ (1937), he worked in Minerva’s ‘Pukar’ (1939), ‘Sikandar’ (1941), ‘Phir Milenge’ (1942), ‘Prithviraj Sanyogita’ (1943), ‘Parakh’ (1944) (only directed by Modi) and ‘Ek Din Ka Sultan’ (1945). In all he acted in 23 films. His last film was ‘Ever Ready’ (1946). After partition, he migrated to Pakistan. Unfortunately, he got killed in a riot in Karachi in 1947 itself.

Let us now enjoy the song from this film.

(Credits- Listener’s Bulletin no.s 58 and 59, Prof. Yadav’s book, Film Directory, HFGK, and my notes)


Song-Saajan wo din kaun thhe (Parakh)(1944) Singer-Ira Nigam, Lyrics-Pt Sudarshan, MD-Khursheed Anwar

Lyrics

saajan. . .
wo din kaun the
jab tum veena hum ta..aar
kismat phooti veena tooti
taar hui bekaar

bin saajan ke kaise nikle
mann ka meetha geet
bin saajan ke kaise nikle
mann ka meetha geet
samay tu jaldi jaldi beet
jaldi jaldi beet
samay tu jaldi jaldi beet
samay tu jaldi jaldi beet

sukh mein tu pal bhar na thehre
laakh bithaaye tujh par pehre
dukh mein tu kaise dat jaave
dukh mein tu kaise dat jaave
kaisi teri reet
samay tu jaldi jaldi beet
samay tu jaldi jaldi beet

[kuchh kehne](?) ko dar dar bhatkun
piya ki nagri le chal mujhko
[kuchh kehne](?) ko dar dar bhatkun
piya ki nagri le chal mujhko
jis nagri mein jaa ke basaa hai
jis nagri mein jaa ke basaa hai
sunta(?) ho mann meet
samay tu jaldi jaldi beet
samay tu jaldi jaldi beet
jaise bhi tu beet
samay tu jaldi jaldi beet

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

साजन॰ ॰ ॰
वो दिन कौन थे
जब तुम वीणा हम ता॰॰आर
किस्मत फूटी वीणा टूटी
तार हुई बेकार

बिन साजन के कैसे निकले
मन का मीठा गीत
बिन साजन के कैसे निकले
मन का मीठा गीत
समय तू जल्दी जल्दी बीत
जल्दी जल्दी बीत
समय तू जल्दी जल्दी बीत
समय तू जल्दी जल्दी बीत

सुख में तू इक पल ना ठहरे
लाख बैठाएं तुझ पर पहरे
दुख में तू कैसे डट जावे
दुख में तू कैसे डट जावे
कैसी तेरी रीत
समय तू जल्दी जल्दी बीत
समय तू जल्दी जल्दी बीत

[कुछ कहने](?) को दर दर भटकूँ
पिया की नगरी ले चल मुझको
[कुछ कहने](?) को दर दर भटकूँ
पिया की नगरी ले चल मुझको
जिस नगरी में जा के बसा है
जिस नगरी में जा के बसा है
सुनता(?) हो मन मीत
समय तू जल्दी जल्दी बीत
समय तू जल्दी जल्दी बीत
जैसे भी तू बीत
समय तू जल्दी जल्दी बीत


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 :

3724 Post No. : 14660 Movie Count :

4006

Today’s song is from a resoundingly flop film of its time, Rambaan-48. The film was made by Prakash Pictures of Bhatt Brothers, known for quality films of different Genres. During the early 40s, their Mythological films like Bharat Milap-42 and Ramrajya-43 were extraordinarily successful. Film Rambaan was also directed by Vijay Bhatt-as usual- and the Music Director was Shankar rao Vyas, their favourite. The film story and dialogues were by Mohanlal Dave and Pt. Girish. Lyricists were Pt. Indra, Neelkanth Tiwari and Moti,B.A.( who was actually M.A.). The cast of the film was Prem Adib, Shobhana Samarth, Umakant, Ramsingh, Chandramohan, Amirbai, Leela Mishra and many others.

The lead pair of Prem Adib and Shobhana Samarth had become extremely popular all over the country as Ram and Seeta, after their two films Bharat Milap and Ram Rajya. These two actors came together for the first time in film Industrial India-1938. After this they worked in 11 more films plus one more film Ramayan-54, which was concocted by joining parts of 3 films made by Prakash Pictures on Ram and Seeta. After this film-Rambaan- Prakash films focused on social and musical films and made memorable films like Baiju Bawra-52 and Gunj Uthi Shehnai-59.

The stories of Rama and offshoots of Ramayana have always inspired film makers. Mahabharat too did the same. In Hindi language alone, films on Rama stories are around 25 ( not counting obvious other films like Ram aur Shyam, Ram Lakhan or Ram Balram etc.). Practically, in every Indian language and dialects, Nepalese and Sinhalese, Ram films are made. However, the kind of fame, popularity and the Box office returns, that the Film Ram Rajya-43 earned is beyond imagination. Calendars from 1944 to 1950 featured Shobhana and Prem as Ram and Seeta. Wherever these stars went they were mobbed and people used to touch their feet, treating them as Ram and Seeta.

Enthused with this fabulous response, Prakash were planning a third film on Ram and Seeta as a last film in the Trilogy of Ramayan Stories. They waited for a good five years and made Rambaan-48.

Ramayan and Mahabharata are the two major Religious Epics for Indians. Ramayana has been popular and widesread all over the Eastern World. There are in all 301 versions of Ramayana. These include the original Valmiki Ramayan and few other major Indian language Versions like Kamban’s Ramavataram in Tamil and Rangnathan’s Ramayana in Telugu. Then there is Ramayan Manjiri in NE and Bengal version. There is a Jain version too.Besides Ramayana in every Indian language and many dialects with scripts, there are Ramayana Versions in Burma, Indonesia, Cambodia, Laos, Phillipines, Sri Lanka, Nepal, Thialand, Malaysia, Japan, Mongolia, Vietnam and China. All these versions total upto 300 in number. Then what is the 301st version ?

301st is the version of the fertile imagination of the authors of the ” Story Departments” of Indian film companies. Even Prakash Pictures had its own department. The first two films Bharat Milap and Ram Rajya were mostly based on the original Valmiki Ramayan. For film Rambaan-48, however, the Bhatt brothers gave free hand to the story and dialogue writers, in order to include something new, for which the same audience will come to the theatres. This is where things went wrong. The novel changes and additions that Mohanlal Dave and Pt. Girish brought into the Ramayana story were ridiculous, which were rejected out right and were resented by the Indian viewers. The Cinematic liberty taken for a film is one thing and twisting and distorting an accepted historical story by the millions over centuries of generations is another thing.

I am sure, if only Valmiki was to watch this film, he would have jumped from Everest or taken a Samadhi immediately ! Let us see what happened in the film, after all.

First and foremost, Shobhana Samarth was 8 month’s pregnant during the shooting of this film ( with her third daughter Chatura ) and it showed everytime she came on the screen. Could they not wait for another 6 months ? As such she was nearing her middle age-at 33 years- and it was obvious to everyone. Secondly, Prem Adib-two years younger than Shobhana, as it is- had put on lot of fat and seeing his open body with loose muscles, almost double chin and a face without freshness was a punishment for the senses.

The blue eyed handsome Chandramohan did the role of Ravan in this film. His characterisation of the role was made very ridiculous. Every now and then and in every scene, his ‘Taqia kalam” was rolling eyes like a drunken person and shouting ” Main Kaun “. Then giving the reply himself ” Main Ravan “. Actually, according to Valmiki and everyone else, Ravan was a very learned Brahmin, a peerless scientist, Veena player, a scholar on Vedas and a staunch devotee of lord Shiv. To make him look like a clown was very sad and disappointing indeed.

Shoorpnakha was actually married early, but her husband was killed by Ravan, in a battle. Ravan had made her a queen of Dandkaranya. In the film, her Swayamwar is shown. She rejects everyone and remains unmarried. This was undigestible to moviegoers who were familiar with the story of Ramayan.

Shabari katha is similarly distorted. In Valmiki Ramayana, after meeting Ram,Seeta and laxmana and giving them half eaten fruit, Shabri self immolates and goes to Heaven. In the film she first meets the three and after Seeta is abducted meets Ram again to inform him that she saw Ravan carrying Seeta in his plane. She also introduces Ram to all the Vanar leaders-Sugreev, Hanuman, Jambuwant etc.

There were many such New Discoveries, thanks to the writers, in this film. I remember in 1950, when this film came to Hyderabad, I had accompanied some old relatives and my Grandfather to this film. After coming back all were very angry. I don’t remember what exactly they had said, but I wrote in my diary ” the film was boring”.

Baburao Patel of Film India was not one to miss such an opportunity to pull up the director and producer. In the February 1949 issue, he had devoted three pages to the film, mostly tearing it apart, accusing the producers of tarnishing the Hindu religion. He only appreciated actor Umakant, who traditionally did the role of Laxman ( He did this role in 7 films in all) as a good and suitable actor. he even suggested him to be promoted as Ram, in their next film.

There is a name Ramsingh, in the film’s cast. The actor Ramsingh’s name is not very famous or well known, but in his times, he did Hero’s and Villain’s role in many films. Information about him was not available anywhere on the Internet till today. For the first time his information is appearing here today.His entry in films and life story is very interesting.

During the 1942 ‘Quit India’ movement, there was a riot in Allahabad. Police opened fire and along with several other people, Secretary of All University Students Union also was killed. Fearing a backlash from college students, the Government closed down all colleges and vacated Hostels. Two persons became homeless. One was Ramchandra Dwivedi- who later on became well known as Kavi Pradeep- and the other was Ramsingh- who became an actor.

After the riots, instead of informing his family about his welfare, Ramsingh left for Bombay and then to Poona, to become an actor. He was tall,fair and handsome. V.Shantaram hired him as an assistant in the studio. His family thought that he must have been killed in the riots and grieved, when he never returned.

One day one of the villagers came to their house and told excitedly, that he had seen a Hindi film and in that film, an actor looked exactly like Ramsingh. The family went to the town and saw the film. Lo and behold ! there he was. Looking just like Ramsingh. Anxiously a group of elders reached Prabhat Studio in Poona and inquired. The officials brought out their own son- Ramsingh before them !! Everyone was happy. It seems he did not contact his household just to avoid the Police investigations, as he too was an active participant in the agitation.

Ramsingh was born into a rich Zamindar family of village Ishanpur in Pratapgarh (U.P.), in 1920. After graduating, while doing his M.A. he joined films. His first film was Ramshastri-44, then came Chand-44, Lakhrani-45 and Hum ek hain-46….all Prabhat films. While in Prabhat, he became friendly with Dev Anand and Guru Dutt. In his later years, they gave him roles in their almost every film..

In his other films, Ramsingh worked with Heroine Ranjit Kumari ( real name Ranjit Kaur), to whom he got married later on. He was already married while in school and also had 3 children from his first wife. From the second marriage he got 4 children.

Ramsingh played Hero, Villain and character roles in 69 films. Some of his notable films were, besides 4 Prabhat films, Gaon-47, Shaheed-48, Khidki-49, Aparadhi-50 ( He was the Hero, opposite Madhubala), Sargam-50, Sangram-50, Shrimati ji-52, Jaal-52, Baaz-53 etc etc. In his later career, he only got insignificant roles in B and C grade films and Mythologicals. His last film was Sati Sulochana-69. ( 2 more films Veer Chhatrasaal-71 and Mere Bhaiya-72 were released after he left films).

Ramsingh returned to his native place with Ranjit Kumari and children in 1970 and started doing Agriculture. The U.P. Chief Minister H.N.Bahuguna was his classmate and a very good friend. Ramsingh approached him. Bahuguna, to help him, immediately established ” U.P. Film Corporation ” and made Ramsingh its Chairman. However, due to political turmoil in the country, Bahuguna left congress and joined Congress For Democracy, against Indira Gandhi. As a result the film corporation was wound up and Ramsingh returned to the fields again.

Ramsingh started drinking, against medical advise and died in 1984, in his village.

Shankar Rao Vyas gave a very sweet and melodious music. Today’s song, particularly, is the best of the 3 songs which I have heard. This song is sung by Shankar Dasgupta.

Born in 1927 in Bengal, Shankar Dasgupta started singing from childhood. He was a trained singer. In 1946,he got a break with Anil Biswas in his film Milan-46. His first song itself became very popular.

Then he sang in films like Anjana, Didi, Girl’s school, Jeet, Aahuti,Izzat, Do Raha etc. He sang about 63 songs in 39 films. he gave music to 4 films, Sadma, Sheeshe ki deewar, Hotel and Pehli mulaaqaat.

He assisted Anil Biswas and Jaidev for many years. He did work on TV and in News reviews too. He settled in England after retirement,but was active on TV there too.

On one of his routine visits to India in 1992, he met with a tragic accident on a Railway station in Bombay, on 23-1-1992 and died on the spot.

With this song, the film Rambaan (1948) makes its Debut on the Blog.

(Credits- thespeakingtree.com, bollymusings.com/cradle, kuch kalakar by Jawed Hamid, Filmindia-Feb-49, Prof. Yadav’s book, wiki and my notes)


Song-Uth Lakhan lal priya bhai (Raambaan)(1948) Singer-Shankar Dasgupta, Lyrics-Moti B A, MD-Shankar Rao Vyas

Lyrics

Uthh Lakhan lal priya bhai
Uthh Lakhan lal priya bhai
dasha tumhaari dekh Raam ki
ankhiyaan bhar bhar aayin
Uth Lakhan lal priya bhai

Maat Pita Patni ki maaya
bhai ke kaaran sab bisraaya
chhod Ayodhya ka sukh tumne
jogi roop banaaya
jis bhai ke liye yudhh mein
praan ki baazi lagaayi
Uth Lakhan lal priya bhai

pahle mujhe khila phir khaate
aur sulaa kar sote
?? tumhaare kaun kabhi to
baad raam ke hote
swarg puri ke ?? se
pahle pahunchu(?) jaai
Uth Lakhan lal priya bhai

Maat Kaushalya aur Sumitra
juwat(?) baantat waari
panthh herti haay Urmila
ki ankhiyaan bechaari
aankh moond ke huye tumhi kya
tanik daya na aayi
Uth Lakhan lal priya bhai

Seeta Raavan ke ghar bandi
Meghnath chadh aayo
jagat kahega naari ke kaaran
Raam ne bandhu ganwaayo
dheeraj chhooto jaat sabhi ka
kab se ter lagaayi
Uth Lakhan lal priya bhai
Uth Lakhan lal priya bhai


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

Blog Day : 3719 Post No. : 14653

When ‘Bawarchi ‘ was released in 1972, I had seen it on the big screen in the theatre with family. In this film, Hrishikesh Mukherji has woven a remarkable story of a joint family and their interesting interactions. The head of the family (a widower), his three sons, two daughters in law, third son still a bachelor, and three children. The roles of the two daughters in law were played by Durga Khote and Usha Kiran. Being quite un-exposed to cinema otherwise (it was school years for me) I was quite unfamiliar with these two ladies when I saw this film for the first time.

I was later to recall these two senior actresses, when I would get to see their earlier, older films. The first such re-introduction was when I saw ‘Mughal-e-Azam’ (1960) on TV for the first time. Then I came to recognize Durga Khote in her role as Jodha Bai, and connected her with her role in ‘Baawarchi’. The two films had a difference of 12 years, and decidedly, she is looking much younger and sweeter in her role as Badi Maa in ‘Baawarchi’, compared to her royal appearance as the empress of India and wife of Emperor Akbar. One scene (from ‘Baawarchi’) that really amazed me and mesmerized me, is the family song situation from an early morning impromptu get together of the family members – “Bhor Aayee Gaya Andhiyaara”. During the course of this song, the two supposedly middle aged daughters in law perform the rapid pace thaap steps dance to the rapid taal – “dhiga tum naa naa naa naa naa” being rendered by the family help Raghu (role played by Rajesh Khanna). It was a real wonder to see the two ladies perform that sequence. A quick check reminded me that Durga Khote was, goodness, 67 years of age, when she performed in ‘Bawarchi’.

Remembering Durga Khote on the anniversary of her passing away (22nd September).

The first and the top most lady luminary of the Hindi cinema, Durga Khote was born on 14th January, 1905, in a well­ known family of Bombay. The family hailed from Goa and spoke Konkani at home. Her mother’s name was Manjulabai. Her father, Pandurang Shamrao Laud, was a famous lawyer and her brother was also a well known barrister. The young Vita Laud (her maiden before marriage) was educated, like her siblings, at Cathedral High School and St. Xavier’s College from where she did her B.A. While still in college, she was married into the Khote family, graduated and settled down with her husband. By the age of 26, she was a widowed mother of two sons – Bakul and Harin.

Into this scenario, and a life of a very traditional family, plopped in something utterly new – the world of cinema. Durga Khote wanted to work to support her children. In doing so, she became a pioneer of sorts. It was a time when the film industry was regarded as the preserve of the base and the bawdy. Also, most of the female characters were played by men at the time.

It all came about through her sister Shalini, also married and having amongst her circle of friends, a gentleman by the name JBH Wadia. At the time JBH was working with Mohan Bhavnani as the latter’s assistant. The talkies had just made their appearance on the silver screen. Bhavnani who had just made a picture, wanted to give it the box office appeal of a “talkie” ending. The picture starred Mrs. Bhavnani and her husband was  looking out for a girl who would feature with his wife in the climax scenes of the film. Approached by JBH, Shalini refused. But knowing Durga as a person who would try anything once, she recommended her. Durga was ready to have a go at the part, accepted the role and went off to the studios the same day. Mr. Bhavnani’s heterogeneous production was soon completed, printed and made ready for release.

The film flopped. And for the beautiful young housewife and mother there followed a period of embarrassment at being connected with a filmy disaster. The film was ‘Farebi Jaal’ (also titled as ‘Trapped’ in English). “That is just how I felt when I saw it. It was a terrible film,” Durga Khote recalls in an earlier interview. She goes on to say that, “. . . my position was more than awkward. I had suddenly achieved a fair measure of notoriety. I just couldn’t walk around in Girgaum without people pointing at me.”

Looking back on it she laughed at the by-gone crisis. Through all this turmoil and unease there was one solid consolation: both the Laud and the Khote families were far too intelligent and sophisticated to be worried by the affair. On the contrary “My families stood up for me” declared Durga Khote with a proud smile of affection.

Amongst those who saw the film ‘Trapped’, was the then up and coming producer and director V Shantaram. After seeing her performance, he offered her the female lead role of Taramati in the bilingual film ‘Ayodhyache Raaja’ – ‘Ayodhya Ka Raja’ (1932). Durga Khote saw in it an opportunity to vindicate herself. Once again encouraged by the families, she accepted the role and played it beautifully. The film was not only good but a big hit, in both the Hindi and Marathi versions.

V Shantaram simultaneously cast her also in ‘Maya Machhindra’ (again 1932). This was a also a smash hit. These two top successful films established her straight off as a top star. Following came a number of films that won her acclaim from the public and from the film industry. After the two fabulous successes in 1932, what followed is no less dazzling a repertoire of well known films and famous roles.

In 1933, she appeared opposite to Prithviraj Kapoor in the New Theatres Production from Calcutta – ‘Raajrani Meera’. This year also saw her play the lead role opposite to a very young and handsome new entrant into the industry – P Jairaj, in the film ‘Patit Paavan’ (Pratima Phototone, Bombay).

1934, and she is paired opposite to Prithviraj once again in ‘Seeta’, from East India Film Company in Calcutta.

1935, another production from New Theatres – ‘After The Earthquake’, as the female lead opposite to Syed Mohammed Nawab. And once again, paired with Jairaj in ‘Jeevan Natak’ – a Debaki Bose Production in Bombay.

In 1936 came one of her many superlative roles on the screen – ‘Amar Jyoti’ from the production house of Prabhat, with co stars Chandramohan, Vasanti and B Nandrekar.

She played the lead role in ‘Pratibha’ in 1937, opposite to Master Shyam; film by Shalini Cinetone.

1938, and she appeared in two films – ‘Nand Kumar’ (Jaishree Films), working with Govindrao Tembe and ‘Saathi’ from Natraj Films, paired with Mubarak – another popular hero of that era.

1939 saw her appearing with Prithviraj once again in the Ranjeet Studios production – ‘Adhoori Kahaani’.

In 1940 it is Chandramohan and the film is ‘Geeta’ from Circo Productions. Also in 1940 came the famous and popular hit film, ‘Narsi Bhagat’ working with Vishnupant Pagnis.

1941 and it is ‘Charnon Ki Daasi’ from Atre Pictures, paired with Gajanan Jagirdar.

In 1942, she appeared in 2 films, ‘Bharat Milap’ of Prakash Pictures, with co stars Prem Adeeb, Shahu Modak and Shobhana Samarth; and in ‘Vijay’ from National Studios, opposite to Harish.

1943 turned out to be a blockbuster year for her, appearing in the lead role in six films. She was seen in ‘Qurbani’ opposite to Ishwar Lal, ‘Mahasati Anusuya’ with Shahu Modak, E Billimoria and Shobhana Samarth; ‘Mahatama Vidur’ with Vishnupant Pagnis; ‘Tasveer’ – paired with the young newcomer Motilal; and ‘Zameen’, paired with Biswas. The listing for 1943 is complete only when we talk about the mega film from Minerva Movietone – ‘Prithvi Vallabh’ in which she is paired with Sohrab Modi.

In 1944, it is ‘Maharathi Karn’ paired with Prithviraj Kapoor once again, and ‘Dil Ki Baat’ a romantic social, working opposite to Ishwar Lal.

In 1945, it is ‘Lakahrani’ from Prabhat, working opposite to Sapru; ‘Panna Dai’ working with Chandramohan and Mubarak; and ‘Veer Kunal’ with Mubarak, Kishore Sahu and Shobhana Samarth.

In 1945, we also see a major qualitative shift in her career. She stepped away from lead roles and very gracefully migrated towards support roles as a character artist. ‘Village Girl’ was probably the first such film, in which she does not play the lead role. But her films and her roles continue to be significant and powerful.  She had already stated to play non-romantic lead roles in films like ‘Charnon Ki Daasi’ (1941) and ‘Bharat Milap’ (1942). Her filmography beyond 1945 speaks volumes of her prowess as an actress, and her ability to command the scenes, and the films. Moving to character roles, her assignments continue to increase, and she continued to be a busy and an in demand artist for another almost four decades. During her career, she has appeared in more than 200 films.

A special mentions needs to be made of the 1953 film ‘Chacha Chaudhry’ – a comedienne performance which took the industry and the public by storm. The brilliant timing of her expression, gestures, movement and dialogue combined to make that role such a scintillating comedy portrayal that she all but stole the picture from the consummate actor Raja Paranjpe – who doubled as director and lead player – and Dhumal. The three of them made it a slick, hilarious romp.

Durga Khote’s portrayals have been sensitive and consummate. Notable mentions must be made of some of her performances;

as Queen Kaikeyi in the 1942 film ‘Bharat Milap, jealously coveting the throne for her own son – her personification of the grasping queen made one understand if not quite condone the old king’s doting weakness;

as Shachi Devi, mother of Chaitanuya Mahaprabu in the 1953 biopic ‘Shri Chaitanya Mahaprabhu’ – a heart-rending performance of a mother torn between her love for her son and the gratification she feels in his single-minded devotion to God, and her heartbreak for his bewildered, forsaken girl-bride, and her gradual resignation, made for a portrayal which was a gem of histrionic art;

as Jodha Bai, the empress of India, wife of Akbar – once again called upon to make a dreadful choice of loyalties, torn between the warring father and son – at first unable to invoke the blessings for her husband leaving for the battlefield, with the certainty of the fear that her son will be killed, and then when Akbar challenges her by attempting to erase the sindoor from her forehead, very sternly and studiously she performs the pooja giving the due honor to her suhaag even in the face of an eventuality of possibly losing her only child.

These and many other such power packed performances have made Durga Khote the dame thespian of the Indian cinema. She was honored with the Padam Shri award in 1968 and the coveted Dada Saheb Phalke Award in 1983.

In 1950, Durga Khote naturally gravitated towards the stage and she joined the Marathi Sahitya Sangh, starting her long association with the theatre also. She kept busy acting in, producing and directing plays. She also founded Durga Khote Productions which produced short films – advertising, documentary, educational and industrial.

She continued to be active both in films and in theatre till the mid 1980s. After that, she moved into semi-retirement. She passed away this day, in 1991, in Bombay.

The film ‘Amar Jyoti’ has been acclaimed as a film much, much ahead of its time, both in terms of handling of the subject matter as well as in terms of technical finesse and special effects. The film represented India in the Venice film festival in 1937 and won praises and accolades as one of the best three films at the festival.

The film deals with the theme of suppression and negation of the role of the woman in the society, and one lady’s rebellion against it. As a subject, this was a daring endeavor by V Shantaram, given the prevalent sentiments in the society of that era. Nevertheless, this film was much acclaimed and became very popular at the box office too. Since the story revolves around pirates, scenes related to sailing ships and ships in conflict, it was a major accomplishment for the director, to be able to create the necessary environment within the studio, and film all the naval scenes using advanced special effects techniques, within the confines of the studio itself.

The film pertains to an undefined historical period. A queen (role played by Karuna Devi) and her cruel minister Durjay (role played by Chandramohan) are challenged by a woman turning a pirate and terrorizing the coastal provinces of the kingdom. This woman, Saudamini (role played by Durga Khote), has been much wronged by her husband. But when she pleads for justice from the royal court, Durjay decrees that a husband was the complete master of his wife, whom he could ill-treat, use as a chattel or dispose of as a slave. She is denied custody of her son by the queen, after she refuses to return to her matrimonial home. This greatly enrages Saudamini and drives her to revolt and seek revenge. She takes on the mantle of a male role and gets into a commanding position, as the captain of a pirate ship. She is assisted by her associate, Rekha (role played by Vasanti).

Durjay is captured and is kept as a prisoner with one of his legs cut off, to make him realize the eternally enslaved condition of women. Her next big catch is the princess Nandini (role played by Shanta Apte), the queen’s daughter. In her relationship with the princess, Saudamini plays an even bigger game by converting the princess to her creed of female emancipation, which considers love and marriage as a bondage. The princess suppresses her feelings for a shepherd boy, Sudhir (role played by B Nandrekar), whom she had met during her days in the pirate’s den. Unknown to even Saudamini, this shepherd boy is actually her own son, who was separated from her years ago.

In the continued sequence of events, Durjaya escapes with the help of Sudhir and returns to arrest Saudamini. Saudamini is captured, but the others, along with Nandini and Rekha, escape. It is finally revealed that Sudhir is Saudamini’s long-lost son. Nandini and Sudhir are married and Rekha carries forward Saudamini’s legacy.

Shantaram has used the symbol of the lamp and the flame very effectively. He deployed many other techniques that were considered path-breaking at that time. The film’s real success is in bringing out the inner conflicts of women, who may become male-like rebels, at the cost of suppressing their natural urges as wife or mother. In one of the most moving scenes in the film, we see Saudamini secretly fondling the tiny garments of her son, who has been separated from her.

In this song, we see this brief interlude, as Saudamini is remembering her child. The brief song is written by Pt Narottam Vyas, and the music is composed by Master Krishna Rao Phumblikar. The playback singing voice is that of Vasanti.

Remembering and honoring the enduring legacy of this fine actress – Durga Khote.

[Author’s Note: Acknowledgements – This article has adapted material from online sources viz., Cineplot and Wikipedia. Filmography details have been prepared using the Geet Kosh voumes 1 and 2.]

Song – Ankhiyan Ke Tum Taare Pyaare (Amar Jyoti) (1936) Singer – Vasanti, Lyrics – Pt Narottam Vyas, MD – Master Krishna Rao
Durga Khote

Lyrics

akhiyan ke tum taare pyaare
chhod mohey mat jaa re
ab mat jaa re

akhiyan ke tum taare pyaare
chhod mohey mat jaa re
ab mat jaa re

[sudhir. . .]
[main teri maa. . .]

akhiyan ke tum taare pyaare
chhod mohey mat jaa re
ab mat jaa re

aansoo nainan mein se

aansoo nainan mein se
aansoo nainan mein se
kaahu tohey pukaarun
kaahu tohey pukaarun
waaroon sukh dukh saare
waaroon sukh dukh saare
waaroon sukh dukh saare

akhiyan ke tum taare pyaare
chhod mohey mat jaa re
ab mat jaa re

[ab mat jaa re]

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

अखियन के तुम तारे प्यारे
छोड़ मोहे मत जा रे
अब मत जा रे

अखियन के तुम तारे प्यारे
छोड़ मोहे मत जा रे
अब मत जा रे

[सुधीर॰ ॰ ॰]
[मैं तेरी माँ॰ ॰ ॰]

अखियन के तुम तारे प्यारे
छोड़ मोहे मत जा रे
अब मत जा रे

आँसू नैनन में से

आँसू नैनन में से
आँसू नैनन में से
काहू तोहे पुकारूँ
काहू तोहे पुकारूँ
वारूँ सुख दुख सारे
वारूँ सुख दुख सारे
वारूँ सुख दुख सारे

अखियन के तुम तारे प्यारे
छोड़ मोहे मत जा रे
अब मत जा रे

[अब मत जा रे]


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


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


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 14700 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

14752

Number of movies covered in the blog

Movies with all their songs covered =1150
Total Number of movies covered =4034

Total visits so far

  • 10,992,620 hits

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

Join 1,637 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 4000 days.

Advertisements