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

Blog Day : 4017 Post No. : 15125

Two signature melodies, one sweet voice,

Do Naina, Aur Ek Kahaani

Do Panchhi, Do Tinke, Kaho Le Ke Chale Hain Kahaan

And the voice – Aarti Mukherjee.

Celebrating Aarti ji’s birthday today – she turns 76 today. Greetings and best wishes to her for good health, and many more such celebrations to follow.

Aarti ji was born in Calcutta, in 1943. Along with her formal school education, her grooming in classical music also continued side by side, at the feet of teachers like Shri Chinmoy Lahiri, Shri Susheel Bannerjee and Ustad Mohammed Sageeruddin. It was a childhood dream for her to be a famous singer, and be counted in the same list as Lata Mangeshkar.

In her teen years – she was just 12 or 13, in 1955 she appeared in the ‘All India Music Talent Contest’ in Calcutta. Then couple of years down the road, in 1957, she participated in the Metro-Murphy Talent Search Contest held in Bombay. The panel of judges were the esteemed cream of music directors from Hindi cinema – Anil Biswas, Naushad, Vasant Desai and C Ramchandra. She was judged to be the winner in the female singer category. This recognition opened doors for her as a playback singer in the world of cinema. She was just fourteen years old.

Vasant Desai gave her the debut break when he invited her to sing for the 1958 film ‘Do Phool’. It is a chirpy lilting children’s song that she rendered so effectively – “Matak Matak Naachoon Re”. Oportunities started to come her way. She sang a duet with Lata ji, for the film ‘Sahaara’, also 1950 – “Atkan Matkan Dahi Chatokan”. Then on to ‘Schoolmaster’ in 1959, and ‘Angulimaal’, ‘Apna Ghar’ in 1960. The song “Dheere Dheera Dhal Re Chanda” is one of her earliest popular melodies.

In 1962, she got her first break in Bangla films, with the film ‘Kanya’. Her versatility and her sweet voice helped her to make a place for herself in the Bangla cinema, coming quickly to the level of popularity of Sandhya Mukherjee, who was the lead playback singer in that era. She has given playback to almost all the stalwart leading ladies of Bangla cinema of that time – Aparna Sen, Sharmila Tagore, Madhabi Mukherji, Debashri Roy, and Tanuja etc.  Her popularity was at its peak in 1970s.

Meanwhile, she continued to sing in Hindi films, such sweet renditions like – “Mat Jaiyo Piya Pardes Sajaniya Paiyaan Pade Re” (‘Vidyapati’, 1964), “Saara Mora Kajra Chhudaaya Tu Ne” (‘Do Dil’, 1965), “Kirnon Ki Dori Chaand Ka Palna” (‘Maya Sundari’, 1967), “Jaago Anjaani Rajdulaari” (‘Ek Surat Do Dil’. 1968), and more.

In 1975 came the popular and successful ‘Geet Gaata Chal’ – in which Ravindra Jain gave us such beautiful melodies – “Shyam Teri Bansi. . .”, “Kar Gaya Kaanha Milan Ka Waada” and “Main Wahi, Darpan Wahi”.

Aarti ji has won the Filmfare award for the best female playback singer in 1983 for the song of ‘Maasoom’ – “Do Naina. . .”. She has also won the Bengal Film Journalists Award for best playback singer in 1967, for film ‘Golpo Hoelo Satyi’ and 1976, for ‘Chhutir Phande’. For her vocal performance in ‘Geet Gaata Chal’ (1975), she was honored with the Mian Tansen Award.

Today, I present a very interesting and a very pleasing melody from the 1959 film ‘Schoolmaster’. The film is a Hindi remake of the 1958 hit Kannada film, of the same name. The film is produced and directed by BR Panthulu, under the banner of Padmini Pictures. The star cast for this film is listed as BR Panthalu, Radha Kishan, Ulhas, MV Rajamma, Shakeela, B Saroja Devi, Kamini Kadam, Lalita Pawar, Achla Sachdev, Karan Diwan, David, Jawahar Kaul, Raja Gosavi, Puranik, Vishwa Mehra, Shivaji Ganeshan, Baby Laxmi, Kusumlata, Kumuda, Shashikala, Venkatesh, Gopi Nath, Ganesh, Vijay, Pramod, and Ramesh. The story of the film is a typical family drama of a joint family – a retired schoolmaster with three sons, and he ends up losing his house and even a respectful accommodation with his children. This theme has been replayed in many films, earlier and later.

Geet Kosh lists 9 songs for this film. All the song have been written by Kavi Pradeep. The music is by Vasant Desai. Vasant Desai has used as many 10 playback singers in this film – Lata Mangeshkar, Manna Dey, Geeta Dutt, Talat Mehmood, Mahendra Kapoor, Pradeep, Lalita, Indu and Sarla. And then there is this one solo song in the voice of Aarti Mukherjee.

A lovely melody, and a very lovely rendition. Listen and enjoy.

Song – Ek Do Teen, Gin Bhai Gin  (School Master) (1959) Singer – Aarti Mukherji, Lyrics – Kavi Pradeep, MD – Vasant Desai

Lyrics

ek do teen
gin bhai gin
ye duniya badi kathin
is duniya mein hotey hai
hansne ke bhi din
roney ke bhi din
ek do teen
gin bhai gin
ye duniya badi kathin
is duniya mein hotey hai
hansne ke bhi din
roney ke bhi din

sab ko yahaan milti hai khushi
sab ko yahaan milta hai gham
sab ko yahaan milti hai khushi
sab ko yahaan milta hai gham
faraq magar hai itna sa
kisi ko zyaada kisi ko kam
faraq magar hai itna sa
kisi ko zyaada kisi ko kam
isi tarah ye jeevan chalta
shaam subah pal chhin
shaam subah pal chhin
ek do teen
gin bhai gin
ye duniya badi kathin
is duniya mein hotey hai
hansne ke bhi din
roney ke bhi din
ek do teen
gin bhai gin
ye duniya badi kathin
is duniya mein hotey hai
hansne ke bhi din
roney ke bhi din

kismet sabko jag mein naach nachaaye
kadve meethe sabko ghoont pilaaye
ulta waqt yahaan jab aaye haaye
apne bhi hotey hain paraaye haaye
dekhne waale dekh laga ke
aankhon mein durbin
aankhon mein durbin
ek do teen
gin bhai gin
ye duniya badi kathin
is duniya mein hotey hai
hansne ke bhi din
roney ke bhi din

ek do teen
gin bhai gin
ye duniya badi kathin
is duniya mein hotey hai
hansne ke bhi din
roney ke bhi din

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

एक दो तीन
गिन भई गिन
ये दुनिया बड़ी कठिन
इस दुनिया में होते हैं
हंसने के भी दिन
रोने के भी दिन
एक दो तीन
गिन भई गिन
ये दुनिया बड़ी कठिन
इस दुनिया में होते हैं
हंसने के भी दिन
रोने के भी दिन

सबको यहाँ मिलती है खुशी
सबको यहाँ मिलता है ग़म
सबको यहाँ मिलती है खुशी
सबको यहाँ मिलता है ग़म
फरक मगर है इतना सा
किसी को ज़्यादा किसी को कम
फरक मगर है इतना सा
किसी को ज़्यादा किसी को कम
इसी तरह ये जीवन चलता
शाम सुबह पल छिन्न
शाम सुबह पल छिन्न
एक दो तीन
गिन भई गिन
ये दुनिया बड़ी कठिन
इस दुनिया में होते हैं
हंसने के भी दिन
रोने के भी दिन
एक दो तीन
गिन भई गिन
ये दुनिया बड़ी कठिन
इस दुनिया में होते हैं
हंसने के भी दिन
रोने के भी दिन

किस्मत सबको जग में नाच नचाए
कडवे मीठे सबको घूंट पिलाये
उल्टा वक़्त यहाँ जब आए हाए
अपने भी होते हैं पराये हाए
देखने वाले देख लगा कर
आँखों में दुरबिन
आँखों में दुरबिन
एक दो तीन
गिन भई गिन
ये दुनिया बड़ी कठिन
इस दुनिया में होते हैं
हंसने के भी दिन
रोने के भी दिन

एक दो तीन
गिन भई गिन
ये दुनिया बड़ी कठिन
इस दुनिया में होते हैं
हंसने के भी दिन
रोने के भी दिन

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

Blog Day : 3982 Post No. : 15069

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Girish K – Rest in Peace. . . Enduring Peace

 

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

Lyrics (Provided by Prakashchandra)

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

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

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

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

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

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

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

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

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

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

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


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

Blog Day : 3973 Post No. : 15059

Today’s song is from the film Aabshaar aka Waterfall-1953.

To me, songs from the fifty’s decade work like a breeze of fresh air or a cup of hot filter coffee. Discussing songs from the 30s and the 40s continuously gives me a feeling of being a very old man which, actually, I am ! But then, being so and feeling so, are two different things. Toying with a song from the 50s takes me back to my college days. If the song is of Kishore, Sugar gets added to the Coffee further.

Listening to songs of Kishore Kumar from his early years is truly a feast. His song from film ‘Aandolan’-1951 is my eternal favourite. Many times, when I am in a depression, tension, sad mood or simply bored, I like to listen to Vintage songs of Kishore Kumar. For this purpose I have his songs on my Mobile phone itself. His early film songs like Funtoosh, Bahaar, Paying Guest, New Delhi, Begunah etc are unparallelled. In fact, I had run a series of 21 songs under the title ” Vintage Kishore ” from 17-12-2013 to 18-1-2014, on this Blog.

Film Aabshaar-53 was made by Globe Pictures and was produced and directed by Hasrat Lucknowi. When the film’s shooting started, Ghulam Hyder was the composer. He recorded 3 songs of Pakistani singer Munawar Sultana. After partition GH used to come to India to compose music to films, and at the same time, he would compose for Pakistani films too. However, his films like Shahida-49, Beqasoor-50,Akeli-51 and Bheegi Palken-52 were all flops.

While doing music of Aabshaar in India, he was also doing film Gulnar of Pakistan. Meanwhile his health worsened and he abandoned film Aabshaar and left for Pakistan to complete Gulnar. Film Gulnar was released on 2-11-1953 and Ghulam Hyder died on 9-11-1953 !

After he left, the film was given to Bhola Shreshtha and Mohd. Shafi. Bhola composed 3 songs and Shafi did 2 songs, which included today’s Kishore song. His other song was by Asha Bhosle. Besides all this jhamela in Music, film Aabshaarearned a place in Hindi Film History, for being the First ever film to start the system of ” Guest artistes”, mentioned in credits. Film Aabshaar had the cast of Nimmi, Raaj Kumar, Lalita Pawar, kuldip Kaur, Iftikhar, Tiwari and others. It had Guest artistes- AshokKumar, Shyama, Om Prakash and Nigar Sultana. The film was released in Minerva Theatre on 2-10-1953.

The Hero, Raaj kumar was still a novice, this film being onlynhis third film. he started with Rangeeli-52, then came Anmol Sahara-52 and now this film. He was kulbhushan Pandit in real life. Before coming to films, he was a Police Inspector in Bombay police force. It is believed that he was removed from Police force because a criminal died during his investigation by Raaj Kumar.

RAAJ KUMAR ( 8-10-1926 to 3-7-1996 ) – the dashing Hero known for his Dialoguebazi. In Hindi cinema after Sohrab Modi,it was Raaj kumar whose dialogues were popular. He was famous for his favourite word ” Jaani “. The other day,while going through the discussions on RMIM group of Google I found an interesting question,” Why Raaj kumar is called Jaani,when he never used this word in his film dialogues ? “. On checking thoroughly,one found that it was only in the film Saudagar and Tiranga,Raajkumar had used the word Jaani ,only once each. Thats all.
Then why this word became his identity ? The answer is this word was used by Raajkumar in private conversations and interviews very frequently,that is why !

Raaj Kumar was Extra ordinary, in the sense that most of the time he behaved unlike other stars.

He kept his personal life in close wraps. He believed in keeping personal and professional lives separate. He sent his children to Boarding schools to keep them away from films,to get the best education,and not to become like other star children.
He had built a bungalow on Worli sea face and no one except his family was ever allowed inside. Whenever he left for work,a bunch of high pedigreed Dogs used to see him off till the Gate and welcome him on his arrival. He loved his Dogs very much. He used to say ” Insan kutta ban sakta hai lekin kutta Insaan nahi ban sakta. Ye bahot achhi baat hai.”

In any Filmi party, he used to carry his own bottles. He never ever asked any special favours or concessions from any Producer. He was very punctual and one hour afternoon siesta was a must every day. This used to be one of the conditions in his work contracts with the producers. His name was never involved with any actress.

Raajkumar acted in 73 films from Rangilee-52 to God and Gun-1995.

The cast of film Aabshaar-53 was a mix of old fading artistes and new generation stars. one of them was the daredevil Kuldip Kaur. She was born sometime in 1927 and brought up like a princess. Her spoiled Sardar husband wanted his wife to be like a modern westernized lady. He wanted his wife to learn swimming and rub shoulders with the club-going English elite based in Lahore and Amritsar.Once exposed to the club culture, Kuldip Kaur also started getting a taste of its dark side.

Since Lahore was a film city, Kuldip Kaur started dreaming about becoming a film actress. According to one story, Kuldip Kaur started admiring the professional qualities of actor Pran Nath, who was in film acting in Lahore since 1940, when he successfully performed the role of a hero in Punjabi film “Yamla Jutt” (The Simple Peasant).

By July and August of 1947, communal violence erupted into a full-fledged exercise in ethnic cleansing, with Muslims on one side and Sikhs and Hindus on the other. Both Lahore and Amritsar were engulfed in the worst sectarian violence in recent history.
Both Pran and Kuldip Kaur were made to leave Lahore in a jiffy, leaving virtually every belonging behind. Her own village being right on the border was also not peaceful. So Kuldip Kaur left straight for Bombay. According to one story, in order to impress Pran, Kuldip Kaur
decided to bring Pran’s stranded car from Lahore to Bombay. In a gesture of unprecedented daredevilry, she travelled from the safety of Amritsar to Lahore and drove Pran’s car first to Amritsar and then all the way to Bombay, where she handed over
the keys to a surprised but grateful Pran.

After leaving for Bombay, Kuldip Kaur’s contact with her parents and in-laws got diminished. On arrival in Bombay, Kuldip Kaur made up her mind to plunge headlong into the film industry. She was prepared to act in Hindi/Urdu as well as Punjabi films. The experts of film industry were of the opinion that her large piercing eyes and her flat chin made her an ideal choice for the role of a vamp.

The first ranking heroines of the time included Naseem Bano, Madhubala, Nargis, Suraiya and Nutan. Other heroines included Binarai, Shyama, Nimmi, Nirupa Roy, Meena Shori, Nigar Sultana, Veena and Kamini Kaushal. There was a shortage of ladies willing to perform the role of vamps.
One of Kuldip Kaur’s first films was a Punjabi blockbuster “Chaman” (1948). Within the same year Kuldip Kaur acted in two Hindi/Urdu films “Ziddi” and “Grahasthi“. All her 1948 films did well. After that she never looked back and went from strength to strength. At one stage Kuldip
Kaur was so busy in her film roles that for a long duration she did not visit Punjab.

In 1949, Kuldip Kaur worked in at least two films “Ek Thi Ladki” and “Kaneez”. “Ek Thi Ladki” was a blockbuster. Music Director Vinod composed some great tunes for this movie. “Kaneez” did not do too well.In 1950, Kuldip Kaur acted in two great musical Hindi movies “Samadhi” and “Adhi Raat” and did two Punjabi movies “Madaari” and “Chhai”. 1951 was a great year for her: she played the roles of vamps in six movies – “Stage”, “Rajput”, “Nai Zindagi”, “Ek Nazar”, “Afsana” and “Mukhra”. Her role in film “Afsana” received critical acclaim.

1952 was another great year for Kuldip Kaur. She worked in four movies – “Shisham”, “Nau Bahar”, “Baiju Bawra” and “Anjaam”. Again her role was highly praised in what became an all-time classic, “Baiju Bawra”. In 1953 again, Kuldip Kaur had four films – “Mashooka”, “Baaz”, “Anarkali” and “Aabshar”. Of these, “Anarkali” was a super hit and her role stole the limelight. 1954 proved another great year. She was featured in three movies – “Lal Pari”, “Gul Bahar” and “Daak Babu”. 1955 was one of her busiest professional years. She played the bad girl’s role in “Teer Andaz”, “Miss Coca Cola”, “Mast Qalandar” and “Jashan”.

In 1956, things slowed down a bit. She worked in two films, but none was released. Two of Kuldip Kaur starrers spilled over into the new year and were released in 1957. These were “Sheroo” and “Ek Saal”. In 1958 Kuldip Kaur had her roles in two films “Sahara” and “Panchyat”. In 1959, she did three films – “Pyaar Ka Rishta”, “Mohar” and “Jagir”. Out of these, one film, “Mohar,” was a great musical. Its music composed by Madan Mohan was simply outstanding. When Kuldip had fewer Hindi films in hand, she worked in Punjabi films.
1960 started as a reasonably good year for Kuldip Kaur. She had a Hindi film, “Maa Baap,” and a Punjabi film, “Yamla Jutt”.But during this very year, her life was cut short when she got some thorns in her feet and legs and she pulled those out by herself. True to her character of a daredevil woman, she did not seek medical advice immediately. Her sores became not only septic, but she contracted tetanus too, which was then incurable.

Kuldip Kaur died on 3rd February 1960. She worked in 69 films. ( adapted, with thanks, from apna.org )

Everything about this film seems to be special, including 3 MDs. Today’s song is composed by Mohd. Shafi. His name may not be very well known because mostly he worked behind the scene in helping Naushad in composing music. However, he too gave music to some films. Composer Mohd. Shafi ( 25-12-1925 to 30-4-1980 ) was one of those talented artistes of Hindi Film Music who was only used by others and never got enough credit for his work.He is honoured as “The original Arranger” in the industry.He was an excellent Sitar player. He started with Imperial Film company-where he played Bulbul Tarang. In 1937 he went to Calcutta, joined New Theatres and played Sitar in films Kapal Kundala-39 and Aandhi-40, as an assistant to Pankaj Mullick and K.C.Dey. He played sitar in film “Ujala”-42. In this film, the Hero-Prithviraj kapoor was shown as a Sitar player, hence the expertise of Shafi was fully utilised in this film.

Starting with film ‘Haqdaar’-46, he gave music to 19 Hindi films and 2 Marathi films. He worked with Naushad, as his assistant and Arranger, for 14 years.He was considered a ‘Dada’ in Background music.He gave Back ground music to about 70 films( for Naushad and others). For Mughal E Azam, K. Asif used to send his personal car to fetch him to studio. It was Shafi who gave the first break to Suman Hemmadi(Kalyanpur) in Mangu-54 and Hemlata in unreleased film Iraada.

Shafi had bought his first car when he was just 15 year old. He had a posh flat in Shivaji Park area of Dadar in Bombay. In the end , everything was gone. He had helped the families of Shakeel Badayuni and Ghulam Mohammed after their deaths. However in his last difficult days , except Rafi, no one came for his help. In the final few months, his memory had gone. His Begum ruefully said,” Good that he does not remember anything. All took his advantage and gave him nothing. There were more things to forget than to remember ! ”

It is said that the entire music of Sohni Mahiwal-58 was done by him. Naushad was sick during this period and did not attend even one recording. “Do hanson ka joda”and “Dhoondho dhoondho re saajna” Gunga Jamuna-61 were his creations. He used to give tunes to many composers too-whoever asked for help.

Let us now enjoy the song sung by Kishore Kumar, a couple of unidentified male voices and chorus.


Song-Yeh duniya suit boot ki baabu (Aabshaar)(1953) Singers- Kishore Kumar, Male voice 1, male voice 2, Lyrics- Wahid Qureshi, MD- Mohd. Shafi
chorus
All

Lyrics

hooba hooba
looba looba
hingi cheeka
dooba dooba
pudra wata
pudrwati
cheeka bum
daa dru
jhingarwa jhingarwa
jhingar po o

ye duniyaa suit boot ki baabu
kara lo boot polish
kara lo boot polish
ho babu ji
suited booted
suited booted
suited booted

ho
ye duniyaa suit boot ki baabu
kara lo boot polish
kara lo boot polish
ho babu ji
suited booted
suited booted
suited booted

ho

kiya tha matric jab paas
bandhi thi kaisi kaisi aas
bandhi thi kaisi kaisi aas
banengen deputy collector
police inspector
writer actor music directar
bus conductor
tinak tin dhaagi
tinka tin dhaagi
tinak tin aa

chop
chop
chop

arre kaahe khaali peeli bom maarta hai re bhaai
kaahe ko khaali peeli bom maartaa hai ae ae
bom maarta hai
kaahe ko rota hai
arre bom maarta hai
kaahe ko rota hai

wahi hota hai
jo manzoor e khuda hota hai

wahi hota hai
jo manzoor e khuda hota hai

bom maarta hai
kaahe ko rota hai

o o o
bom maarta hai
kaahe ko rota hai

kahat kabir suno bhai saadhu
lo himmat se kaam

ho bhaiya lo himmat se kaam
usi haal mein khush raho bhaiyya
jaa mein raakhe raam

ho bhaiyyaa
jaa mein raakhe raam

raam naam hi sat hai pyaare
baaki dholam pol

sat vachan aahe
jis dharti par basti duniya
wo dharti hai gol
wo dharti hai gol

isi liye to kaha thha bhaiyya
kya kahaa thhaa

gol
gol
are duniyaa ka har anda gol
dhagita dhagita dhit
dhagita

roti gol
paratha gol
chaklaka chaklaka chaklaka
are paisa gol
rupaiya gol
dhritagida dhirtaagida
arre suraj gol aur chanda gol
jis polish se chamak damak hai
ae ae

jis polish se chamak damak hai
us polish ki dabbi gol
dabba gol
duniyaa gol
polam gol
kara lo boot polish
kara lo boot polish
ho babu ji
suited booted
suited booted
suited booted
ho
ho suited booted
suited booted
suited booted
ho

hoy
chakalaka lakalaka lakalaka lakalaka
pikchak pikchak pikchak
hey
lakalakalakalakalakalaka
ahaahaahaahaahaaha
ahaahaahaahaaha


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 :

3969 Post No. : 15053 Movie Count :

4130

Today’s song is from a film of the first decade of the Talkie, ” Yangrilla “-1938. The song is sung by Sarla. No information is available about this singer. The cast of the film was Enakshi Rama Rau, Nayampalli, David, Gyani, Saalu, Shareefa, S L Puri, Fatty Prasad and few others.

It is generally said that in the early era, most actors and actresses came from poor families and most artistes had no or had negligible education. While it is true to a great extent, it is not 100% true. It is not that even in this period, there were no educated persons in the film industry. Right from the beginning of the Silent era to Talkie film era up to the end of the 40s decade, there were actors, actresses, directors,producers and musicians who were quite educated. Some of them had even been trained in western countries.

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

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

In today’s film, Yangrilla-38, the Hero, Heroine and the Director were all highly educated. The Heroine, Enakshi Rama Rao was the daughter of an ICS officer of Madras Presidency. She came to England for her graduation. After graduation, she took part in some stage dramas, where she got introduced to Niranjan Pal and Himanshu Rai. When Himanshu Rai decided to make a silent film on Tajmahal story, he asked Niranjan Pal to write the film story. Sita Devi aka Renee Smith was selected for the Vamp’s role and Enakshi was selected for the main role of Selima ( who was later named Mumtaj Mahal by Prince Khurram- who was later known as Shahjehan.). The film was named Shiraz.

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

Her work in film Shiraz was applauded in England, Germany and India. When she returned to India, She met Bhavnani, who made a silent film Vasantsena-31, with her in the lead role. More than as an actress of Silent and Talkie films, Enakshi’s name was known in Elite circles for different achievements, after she stopped working in films.

Not many of us know that Meenakshi Bhavnani ( Enakshi Rama Rao before her marriage ) has done an enormous service to expose Indian dances and Designs to West. No lesser is her contribution to expose Kashmir Crafts and Designs ( Fabric , Wood and Papier Mache ) to west. An American Tourist told in Kerala recently about her detailed work on Kashmir Designs ( shawls , Jackets ).This side of Meenakshi’s personality and work is in addition to her contribution as a Dancer, photographer and actress .Two scholarly Books written by Meenakshi Bhavnani were also published. Both the books are preserved in American Museum of Natural History.These are ..

(1) Folk And Tribal Designs of India
(2) The Dance of India: The Origin and History Foundation, Art and Science of the Dance in India .

This exceptionally talented woman stayed in Kashmir for sometime in 1950 and met cross section of people connected with Arts and Crafts . She had been a visitor thereafter as well . She also visited Leh and kargil for her Book. During this period she also clicked some photographs in Kashmir portraying its rich culture and scenic beauty.She also shot a Documentary “ VALEY OF KASHMIR “ during this period..
Meenakshi was an active member of the Crafts Council of India, which was founded in 1964 to support artisans and keep their crafts relevant and marketable amid rapidly changing economies at home and abroad.
The Photographs clicked by her have also appeared in National Geographic Magazine especially her series.
And in her book on folk dances of India , Meenakshi covers all forms of Kashmirian folk dances .

Enakshi married film maker Mohan Bhavnani ( 1903-1962 ) who was trained in Germany and Hollywood. She was a dancer , Actor , Photographer and writer on Arts , Crafts and culture. From 1929 to 1938, She acted in six films as a leading lady . Out of these six films five ( Vasantsena-31 , Trapped-31 ,Jagaran-36 , Himalaya ki Beti-38 and Yangrilla-38 ) were directed by her husband Mohan Bhavnani . Only Shiraz ( 1929 Produced by Himanshu Roy ) was directed by Franz Osten .

Producer Director Mohan Bhavnani was a learned and illustrious person. This is what the Encyclopedia of Indian Cinema says about him-
Mohan Dayaram Bhavnani (1903-62)

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

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

Like the Heroine, the name of the film was also strange. I tried very hard to find out what the word Yangrilla meant, but I could not get it. Finally, undaunted, I started going through the list of books on line. Lo and behold ! I bumped into a book with a title ” Rilla of the Inglewood ” written by Lucy Maud Montgomary, published in 1921. Some part of the book was available for reading online and while reading it, I found that ” Yangrilla ” in Swahili language meant a Hunter. Not going into the book and its boring story, I was glad that at last I decoded the word Yangrilla…a Hunter. Considering that the film ‘ Yangrilla’-38 was a Costume drama, I can guess that this film’s story must have been connected with hunting, Jungle and such other interesting and thrilling matters. Film Yangrilla-38 was financed by Ramnarayan Dubey, who in later years swallowed Bombay Talkies with its Land and started an Industrial complex on its land with about 250 to 300 manufacturing units. Recently his grandson was in news for announcing revival of Bombay Talkies !

The Hero of this film was Nayampalli. S.B. Nayampally (or Nayampalli) was working at the firm of Killick, Nixon and Company, in Bombay when he was discovered by film director P.Y. Altekar at a gym where Nayampally regularly exercised. Altekar felt that Nayampally very much resembled the famous French boxer Georges Carpenter and would be perfect for the stunt films that had become popular at the time. At Altekar’s urging, Nayampally joined Imperial Studios and was quickly cast in his first film, Wedding Night(1929), opposite the popular actress Jilloo. When he arrived at Imperial to begin his first day of filming he was amused to find that the building now used for the studio had formerly housed the school he’d attended as a child.“Wedding Night was a stunt film of the Robin Hood type,” Nayampally explained in a 1964 interview. “It had a little more of a plot to it than many films of the same class. My next film, Hell’s Paradise (1929), I remember for three reasons. One, it was based on a real-life episode involving an Indian prince and a foreign girl, described as an adventuress. Two, Mama Warerekar, the noted writer, did the story. Three, the film had a kissing scene, probably the first ever in an Indian film.”

Nayampalli was cast in Imperial’s Noorjehan (1931), which was initially to be a silent picture, but because of the success of their film Alam Ara (1931), which was India’s first talkie, the studio decided to make Noorjehan partly with sound. Nayampally was not originally cast in Noorjehan, but a chance meeting with the film’s director, Ezra Mir, got him the role of Prince Salim in the film.Nayampally then played Karna in Imperial’s next sound film, the mythological Draupadi (1931), but the actor considered his best mythological role to be that of the wily Shakuni in Mahatma Vidur (1943), a part that was appreciated by critics and the public, alike.

As sound films came in, silent actors were being discarded in favor of those with stage backgrounds and could not sing, so Nayampalli joined the Grant Anderson Theatrical Company which specialized in Shakespearean plays. After gaining some experience he tried to rejoin films, but without much luck. His previous roles had been leads, so he decided if he wanted to work regularly, maybe he should take a different approach and he offered himself up for character parts.His break came in the role of a hunchback in love with the heroine in Ezra Mir’s Zarina which starred Jal Merchant and Zubeida. The dentures he wore for the role were created specially by a dentist named Jimmy Gheista who had trained abroad with the dentist who had made similar dentures for Lon Chaney.

Nayampally had learned early on how to apply make-up for his roles and, in fact, he became so good at it he eventually came to specialize in horror make-up, which earned him the nickname “The Indian Lon Chaney.” Indeed, Chaney, Erich von Stroheim, Emil Jannings, and John Barrymore were the actors that Nayampally most tried to emulate. Boris Karloff was another of his role models. He was able to put his make-up expertise to good use for the film Sair-e-Paristan (1934), where he was a vampire-like devil, and in Zingaro(1935), in which he played a monster created by a mad scientist, and then as a the hairy “missing link” in Zambo (1937) and its sequel Zambo Ka Beta (1938). For Kalkoot (1935) he created a make-up to resemble the wrinkled effect that Karloff had used in The Mummy(1932).

Nayampally continued working in films throughout the 1940s and 50s, particularly in mythologicals and costume pictures including Raj Nartaki (1941), Nagad Narayan (1943), Vishwas 1943), Taramati(1945), Urvashi (1946), Jhansi-Ki-Rani (1953), Durgesh Nandini (1956), Basant Bahar (1956) and Shiv Parvati (1962) His last credited film appearance was in 1970’s Priya.

After the career in films ended, he started making Documentaries. He made about 35 documentaries. He won ‘Silver Dolphin’ award for his documentary in the International Film Festival at Teheran in 1970. He died on 7-5-1994, in Mumbai.

Pt. Badri Prasad was the Music Director of film Yangrilla-38. He used 6 different singers for 11 songs in the film. Besides issuing records for its songs, the producer also floated 2 records of ‘ Bhavnani Productions orchestra ‘.

The uploader of today’s song, our own Sadanand ji Kamath has certified this song to be ” rarest amongst the rare ” songs. With this song, film Yangrilla-38 makes its Debut on the Blog.


Song- Kaase main kahoon piya hiya ki baat(Yaangrilla)(1938) Singer- Sarla Devi, Lyrics- Unknown, MD- Pt. Badri Prasad

Lyrics

Kaase main kahoon
piya hiya ki baat
Kaase main kahoon
Kaase main kahoon
piya hiya ki baat
Kaase main kahoon
Kaase main kahoon
piya hiya ki baat
Kaase main kahoon
piya hiya ki
kaun sunega prem kahaani
kaun sunega prem kahaani
aur usey phir meri zabaani
aur usey phir meri zabaani
yah duniya to preet ki bairan hai
Kaase main kahoon
piya hiya ki baat
kaase main kahoon

is duniya ke rahne waale
is duniya ke rahne waale
kapti paapi man ke kaale
kapti paapi man ke kaale
paap(?) hi inka ghar(?) aur joban hai
Kaase main kahoon
piya hiya ki baat
kaase main kahoon
kaase main kahoon
kaase main kahoon


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 :

3968 Post No. : 15050 Movie Count :

4128

Today’s song is from film Ghar ki shobha-1944.

The history of Hindi Film Music (HFM) begins with the very first Talkie ” Alam Ara”-1931, in which there were 7 songs. Madan Theatres, Calcutta, Krishna Cinetone, Bombay and few other production houses were busy hectically in 1931, to release their First Talkie film, ahead of all others. Lucky Ardeshir Irani got the cake and released his film Alam Ara before all others and engraved his name in the history of Hindi and Indian talkies. Music and singing being an integral part of the Talkie films, many musicians were attracted to films. Stage and Drama musicians and some classical singers joined films and gave music in them. In those days, Film music was totally influenced by Gujarati, Parsee and Marathi stage and Drama music (Natya Sangeet). Probably no one ever imagined that there was a need for a different approach to Cine Music.

For the first 9-10 years of Hindi films, i.e. 1931 to almost 1940,there was virtually no change in the music pattern or the singing styles of songs in films. By the end of the 30s, playback technique was gaining a foothold. This system actually freed the Cinema from songs sung by film stars who were no singers at all ! Genuine, independent, non-star singers were now available to give playback. This was the case in the western India or Bombay made films. The Eastern centre of Hindi film making-Calcutta was strictly following Robindra Sangeet and Nazrul Geeti, adapted into Hindi film songs. They also used more pure Hindi words like Preet, Prem, Bandhan, Milan, Sangam, Vyatha etc to appeal to Hindi belt audience.

Beginning of the change came from the far off Lahore. Dalsukh Pancholi’s “Khazanchi”-41 introduced for the first time the Punjabi folk tunes music in the voice of a New singer SHAMSHAD BEGUM. The use of Dholak and Punjabi robust rhythm in songs was tried by the composer Master Ghulam Hyder. This path breaking,new type of Music was received by the audience with great joy and love, all over India. With this was ushered in the VIBRANT changes HFM was to undergo in the 5th decade,i.e. from 1941 to 1949.

This was also the time when the old batch of actors, singers and composers were slowly getting replaced by a newer crop of artistes. Phirozshah Mistry, Master Ali Baksh, Jaddanbai,Lallubhai Nayak, Pransukh Nayak, Brijlal Verma, Nagardas Nayak, Sunderdas Bhatiya, Govindrao Tembe, Keshvrao Bhole, Master Krishnarao Phulambrikar, master Mohammed, Jhande Khan, Rewashankar Marwadi, B S Hoogan, Meer Sahab, Damodar Sharma, Jhande Khan, Rewashankar Marwadi, S P Rane, Vithaldas Panchotiya, Annasaheb Mainkar, Dada Chandekar, Mushtaq Hussain, Master Chhaila etc were disappearing one by one.

A new set of composers and singers like Anil Biswas, Ashok Ghosh, C.Ramchandra, Ghulam Hyder, Sajjad Hussain, Naushad, K.Datta, Govind Ram, Pt. Amarnath, Husnalal Bhagatram, Khemchand Praksah,Khursheed Anwar, Nissar Bazmi, Vinod, A R Qureshi, Saraswati devi, Bulo c Rani, Gyan Dutt etc were taking over from the old guards.

These new entrants brought with them melodious tunes and music from Goa, UP, Rajasthan, Bengal, Maharashtra, Punjab, Kashmir etc and their experimentation truly enriched the HFM making it a genuinely All India music.

In the 40s, the HFM became absolutely VIBRANT. The new composers with new ideas and hard work tried to understand what the audience wanted. In other words,we can say that hitherto the film music was ” Sales Oriented ” (selling what you produce) till the 30s decade, but the 40’s music was ” Market oriented” (producing what the audience wants). Now, there was a fair and healthy competition and a wide variety in music. The composers too had new singers who were trained and had a singing voice and talent, unlike the earlier ‘Untrained forced singers’. Naushad Ali had once said,’’ The coming of Rafi and Lata liberated we composers from the painful task of making the ‘musically illiterate’ actors and actresses.” Thus Ashok kumar,Leela Chitnis and the likes of them were left alone to concentrate on their acting,while the trained singers sang for them.

New and exclusive playback singers like Amirbai, Zohrabai, Kalyanibai, Rajkumari Mohantara, Shamshad, lalita Deulkar, G M Durani, Rafi etc became popular. Actually, the lead actors now started deciding who should sing their songs. This paved the way for stars to become powerful in coming period.

Like Music, the type of cinema stories too started changing. The Fantasy, Stunt, Mythological, Historical, Religious and Costume dramas gave way to Love stories, Musicals. Family dramas, Comedy, Crime stories…so on and so forth. Overall, the cinema industry was going through a overhauling. However, the winds of Independence, after the world war put a brake to these changes. 1945 to 1950 was a period of turmoil and matters settled fully with the advent of the new decade of the 50’s.

In this change over, here was a film discussing the problems of a Happy Home. Ghar ki Shobha-1944 was a film which stressed the importance and need of the capable housewife who was an ” Adarsh” Bahu, Bibi, Mother and everything else the society needed !

The main players in this family drama were, Karan Dewan, Swarnalata, Jagdish Sethi, Dixit, Fazlu, Ramesh Saigal etc etc. The film was directed by Harshadrai Mehta- who became a well known director in Tamil films of Madras, later. Ramesh Saigal assisted him in direction. Harshadrai Sakerlal Mehta

was a Pioneer Hindi and Tamil director born in Mota, Bardoli Dist., Gujarat. Started as a painter, editor and cameraman at Kohinoor (1919), but made his début for Krishna Film (Ver Ni Vasulat). At Krishna he began his association with long-time partner and cameraman Luhar (e.g. Be Din Ni Badshahi, Amar Asha) making melodramas often starring the Anglo-Indian star Ermeline. Best-known film of this period is Janjirne Jankare, the much-acclaimed Rajput romance scripted and shot by Luhar. Made his most influential films with the famous Mehta- Luhar Prod. set up in 1931 with Bapubhai Desai and the informal support of the Sharda Studio. Made several Sharda-type stunt movies featuring e.g. Navinchandra. Moved to Coimbatore’s Premier Cinetone (1937) and made a number of Tamil films.

In Hindi films, there have been three actors who were very handsome and very lucky but zero in acting – Karan Dewan, Pradeep Kumar and Bharat Bhushan. They all appeared in leading roles opposite all leading actresses of their times. They had the best films, best songs and best roles. Karan Dewan had about 25 Silver Jubilees to his credit and was considered a lucky star. Bharat Bhushan had the most musical films to his credit like ‘Baiju Bawra’ (1952), ‘Shabaab’ (1954) and ‘Mirza Ghalib’ (1954) etc. Pradeep Kumar had ‘Anarkali’ (1953) and ‘Taj Mahal’ (1963).

All three had their brothers producing films for them. Gemini Dewan made films for Karan Dewan, R Chandra made films for Bharat Bhushan and Kalidas for Pradeep Kumar. Unfortunately, in later years, all three lost everything and died in poverty and neglectful anonymity. Karan Dewan was a manager with BR Chopra’s production company. When he died no one came for his funeral except for Chandrashekhar and Manmohan Krishan from the Cine Artist’s Association. Bharat Bhushan worked as a watchman in a film studio, in his last days. Even he died unsung and only the men from the Association were present at the cremation.

Pradeep Kumar’s case is the saddest. He lay seriously ill in the ICU of a Calcutta nursing home, abandoned by his relatives. The hospital was not discharging unless the bills were paid. Luckily one Mr. Pradeep Kondaliya, an estate agent, recognised him, despite his grown beard. He paid the huge outstanding bill of the hospital and took Pradeep Kumar to his home, where he passed away after a few days. He was cremated by his fan. Such is the film industry – cruel and ruthless, where the recognition lasts only till one is successful.

Dewan Karan Chopra aka Karan Dewan ( 6-11-1917 to 2-8-1979 ) youngest of three brothers was born at Gujranwala, Punjab (now in Pakistan), British India. He studied in Lahore, where he became interested in Journalism and started editing a film magazine in Urdu, Jagat Lakshmi. One of the local distributors he met was Tarachand Barjatya, who was then the Manager of Chandanmal Inder Kumar’s distribution office at Lahore. Through his connection with Barjatya he landed in Calcutta, and in 1939, made his acting debut as Puran in the Punjabi feature film Puran Bhagat

Dewan started his film career with the role of Puran in Puran Bhagat in Punjabi in 1939 in Calcutta. It was produced by Raisaheb Sukhlal Karnani and directed by Roop K. Shorey’s father R. L. Shorey. His second film Mera Maahi (1941) was also a Punjabi film, directed by Shankar Mehta at Lahore and starring Ragini and Manorama. This was the movie in which he sang songs for the first time in the movies under the baton of legendary music director Shyam Sunder. Later, in Rattan, he sang for the first time in Hindi movies for Naushad. B R Chopra, then working as a film journalist in Lahore, helped Karan Dewan to get in touch with Devika Rani, who invited Dewan to come to Bombay. When this did not helpDewan get films, he taught “Urdu pronunciation to actors and actresses”.

In 1944, Karan Dewan acted in Rattan, a musical romantic drama, directed by M. Sadiq, which became one of the most popular films of that year. “A tremendous hit”, it paired Dewan with Swarnalata. His decisive film was Rattan (1944), which was produced by his brother Jaimini Diwan, and this movie had turned out to be the biggest hit of 1944. He also sang songs in this movie under music director Naushad, and his song “Jab Tum Hi Chale Pardes” became popular. He sang in films such as Piya Ghar Aaja (1947), Mitti Ke Khiloune (1948) and Lahore (1949). His other important films were Zeenat (1945), Lahore (1949), Dahej (1950), Bahar (1951) and Teen Batti Char Rasta (1953). Known as a “jubilee star”, about twenty of his films are stated to have been jubilee (twenty-five weeks or more) hits.

Dewan married co-actress Manju in 1944 following the release of Rattan, in which she had a character role. By 1966, he was working as a casting agent for the film unit of Maya (1966). He continued to work in the 1960s and 1970s playing supporting parts in films such as Apna Ghar (1960), Shaheed(1965), Jeene Ki Raah (1969) and Nadaan (1971), with the last film in which he was credited being Sohanlal Kanwar’s Atmaram (1979).

He worked in 73 films and sang 18 songs in 9 films. He worked with all leading actresses of his times,including Noorjehan and Nargis. At the end of his career, however, he was down financially and had to work as a Manager with B R Chopra’s company. When he died, except two workers of Cine artistes association, no one else from Film industry was present.

Ustad Alla Rakha aka A R Qureshi ( 29-4-1919 to 3-2-2000) gave music to this film. Having started only in 1943 with Mahasati Anusuya, film Ghar ki shobha-44 was his only the second film as an MD. So his music sounds fresh. After you hear today’s song, you will agree with me. He gave music to 40 films, composing 356 songs. He also sang 14 songs in 7 films.

In the cast of this film, there was one fading actor – Dixit, from the Dixit and Ghori pair of that era. The projected themselves on the lines of Laurel and Hardy…Hardy being our Dixit. Later, Yaqub and Gope triede to project their image as Laurel and Hardy and still later Johar and Majnu tried to copy Bob Hope and Bing Crosby of Hindi cinema ! Let’s take a look at Dixit and Ghory- a very popular comedy pair of early cinema.

Manohar Janardhan Dixit was born on 12-11-1906 at Sinner in Nashik district,Maharashtra (Bombay state at that time.) His comedy career started with silent film ‘Sparkling youth’-1930. His first day of work in a film was 14-11-1929. He did 3 more silent films with Navjivan Films and then joined Ranjit studio. Here he met his mate Nazir Ahmed Ghori,born on 11-8-1901 at Bombay.He was the senior of the two,having started in 1927. He worked till 1931 in silent films of various companies and then joined Ranjit studio in 1931 Here too he did 4 silent films.

He paired with Dixit first time in Char Chakram-1932,directed by Jayant Desai.The film was a terrific hit and the pair did many films together like, Bhutio mahal,Do badmash,Bhola shikar,Bhool bhulaiya,Vishwamohini,nadira etc. They worked together till 1947,doing solo films also in between. Unfortunately none of their films have survived and we know about their acting only through Photographs,interviews and articles. However Dixit’s solo films like Pehle aap-44,Jeevan yatra-46,Aap ki sewa mein-47 and Pugree-47 are still available.In film Pugree,his name was Ramu kaka and the very fat Dixit (222 pounds) carried the world’s smallest dog-Chikoo in the film.Later comedian Omprakash did this role in the remake of the film in Dil Daulat Duniya-1972.

Dixit acted in 66 Talkie films and 8 silent films in 17 years. He died on 29-6-1949 due to a massive heart attack. His partner Ghori migrated to Pakistan and did 8 films there till 1960, without much success. He died on 9-12-1977 at Karachi.

Today’s song is sung by Rajkumari. Note the type of music and tune. With this song, film Ghar ki Shobha-44 makes its Debut on the Blog.


Song-Main duniya ki raani (Ghar Ki Shobha)(1944) Singer- Rajkumari, Lyrics- Roopbani, MD- Alla Rakha Qureshi
unknown male voice

Lyrics

Main duniya ki raani
laalalalaalaalala
duniya ki raani
Main duniya ki raani
laalalalaalaalala
duniya ki raani
firti hoon mauj manaati
firti hoon mauj manaati
chhed chhaad se dil behlaati
chhed chhaad se dil behlaati
karti hoon main manmaani
karti hoon main manmaani
Main duniya ki raani
laalalalaalaalala
duniya ki raani
Main duniya ki raani
laalalalaalaalala
duniya ki raani

main ?? kheloon
saagar se geet bakheroon(?)
main ?? kheloon
saagar se geet bakheroon(?)
aazaadi ki deewaani
aazaadi ki deewaani
Main duniya ki raani
laalalalaalaalala
duniya ki raani
Main duniya ki raani
laalalalaalaalala
duniya ki raani

meri laila jaisi aankhen
meri laila jaisi aankhen
sab majnu ban kar jhaanken
sab majnu ban kar jhaanken
zulfen to mast jawaani
zulfen to mast jawaani
Main duniya ki raani
laalalalaalaalala
duniya ki raani
Main duniya ki raani
laalalalaalaalala
duniya ki raani

?? kar pankh hilaati
bhanwron ko paas bulaati
?? kar pankh hilaati
bhanwron ko paas bulaati
patthar dil kar doon paani
patthar dil kar doon paani
haay haay laila
Main duniya ki raani
laalalalaalaalala
duniya ki raani
Main duniya ki raani
laalalalaalaalala
duniya ki raani


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 :

3966 Post No. : 15047 Movie Count :

4127

Today’s song is from film Bachpan-1945.

In the history of Hindi movies, there have been three films that had the title viz “Bachpan”. The first was of course Bachpan-1945, today’s film under discussion. The next one was made in 1963, in which Salim Khan- father of Salman khan and a member of the famous writer jodi of Salim-Jawed, was the Hero – opposite Menaka Irani. She was the eldest sister of the famous child stars Honey and Daisy Irani. She was also the wife of stunt film actor and director Kamran Khan. Their children are Choreographer and director Farah Khan and Compere cum director Sajid Khan. Incidentally Mrs. P.N.Irani was the mother of these Irani sisters and also the one who took away all their earnings.

The third film was made in 1970, with Sanjeev kumar and Tanuja.

Film Bachpan-45 had a cast consisting of Baby Madhuri, Mazhar Khan, Baby Shakuntala, B.Nandrekar, Chandraprabha, comedian Dikshit, Gulab, Dalpat, Shashi kapoor(sr.) and others. There were two actresses with prefix Baby, but only one Baby Madhuri had the main child role throughout the film. The other Baby-Shakuntala had a role of an invalid child, stuck to the wheelchair only.

Baby Maduri,whose real name was Mah Laqa, was the daughter of M. Ali Baksh,M.D. and Iqbal begum,a cine artiste. In other words Baby Madhuri was the youngest sister of actress Meena Kumari and her sister actress Khurshid Jr. Born in a family of film people,Baby Madhuri was good at acting and singing. She was picked up by Director Nazir of Hind Pictures and took her for his film ‘ Sandesa ‘. ( He is the same Nazir,whose first wife was Sitara Devi. He was the maternal Uncle of K. Asif ( Mughal-e-Azam fame ) i.e. Mama. He later divorced Sitara devi ( actually,she had eloped with k.Asif ) and married Swarnalata and both migrated to Pakistan. Nazir’s studio was burnt during the communal riots in Bombay. Author Manto has detailed all this in his book. )

In Wadia’s film Vishwas-43, the talents of Baby Madhuri in acting and singing flowered and she was appreciated much. Then she acted and sang some songs in films like Anjaan,Jungle princess,Muqabala,Ekta(sindhi),Andhera,Mahatma Vidur,paraya Dhan,Bachpan,Nai maa etc etc.

She was also called as Madhu. She was married to actor Mehmood. She was very fond of new fashions and western clothes. Due to this, she became a cleptomaniac and was caught many times stealing things and shop lifting. She knew Riding,cycling and swimming too. She spoke good English,though not much educated.( Thanks to shri Harish Raghuwanshi ji for info on Baby Madhuri).

Now let us see about the other ‘Baby’ of this film. Right from beginning of the films,child artistes were required to do roles in the films. In the initial stages and also in later periods too, girls used to do Boys’roles ( but never heard of vice versa ! ). We have the famous examples of Honey and Daisy Irani sisters. Many child stars acted in films till they became older or were not suitable for child roles. One such example was Junior Mehmood. It was quite natural that most of them wanted to continue acting in films as an adult too and many tried to become hero/ heroines. Unfortunately, only some of them could shine as heroes or heroines, while most child stars failed as adult Hero/Heroines.

Successful child artistes are few like Meena Kumari, Madhubala,Nargis, Shashi kapoor, Sachin etc, but you can count them on fingers, whereas the list of unsuccessful child artistes who tried to become adult Hero/Heroines is quite long.

Unlike Baby Tabassum, who could not become a successful adult Heroine in good films, there was another ‘Baby’who became quite successful as an adult Heroine opposite well known actors under famous banners and left halfway due to her marriage. Her name is BABY SHAKUNTALA.

Baby Shakuntala was born in a middle class Maharshtrian family of Poona, on 17-11-1932. Those days Prabhat film company had moved to Poona. One of the Prabhat founder partners, Mr. V.G.Damle was their close relative. Along with other children, she too used to go to Prabhat premises for playing there She was 8 to 10 year old when V.Shantaram spotted her and offered a role in film, ‘Das Baje’-42 ( Daha Wajta, in Marathi). The hero’s younger brother’s role was changed to Hero’s sister’s role for accommodating her in the film.

It was a routine matter at Prabhat that for child roles in all films, the children of the partners of Prabhat( Shantaram,Damle,Kulkarni,Fatehlal and Dhaiber) or near relatives were taken. In film Sant Tukaram or other films of Prabhat, all child artistes were from within the Prabhat family only. Shakuntala was very good in studies.She used to get up at 4 am. do school studies, then do household chores, attend school and lastly attend shootings.

Das baje was a hit film. Then came ‘Ramshastri’-44 ( Bilingual-H/M ) meanwhile Shantaram and others left Prabhat and moved to Bombay. After that her work too shifted to Bombay. Due to these changes, she could study only upto Matriculation. But she was proficient in English, Marathi, Hindi/Urdu, Gujarati and Kannada. At the time of shooting for film ‘Shikayat’-48, actor Shyam made her his “Mooh Boli”sister and till he died in an accident he was very close to her.

In 1949, she was 17 year old and she became a heroine in film “Maya bazaar”-49 opposite Balakram. Then came a string of films. She worked with well known actors like Kishore kumar, Bharat Bhooshan,Karan Dewan,Amarnath,Anant Marathe,Master Bhagwan, Abhi bhattachrya etc. She was also luck to have worked under ace directors like V.Shantaram, Bimal Roy,Homi Wadia, kishore Sahu, Raja nene, Gajanan Jahagirdar,Shahid lateef etc. This enriched the depth of her acting.

Kishore Kumar was her Hero in films like, Chham Chhama Chham- 52, fareb-53 and Lehren-53. They had a good tuning like a naughty brother and sister. once kishore kumar surprised her by visiting her in her Kolhapur house ( after her marriage) and spent one day with her family. The famous kishore Kumar- Lata mangeshkar song “aa muhabbat ki basti basayenge hum” from film Fareb-53 was filmed on kishore and Shakuntala only.

Lot of marriage proposals started coming for her and she finally was married in 1954 to Sardar Nadgonde of Kolhapur, a Royal family. After marriage she left films, though she had good demand and became Mrs. Umadevi Nadgonde. She had a son and a daughter. She lived a contented life of 82 years and died recently on 18-1-2015, at Kolhapur.

She had acted in almost 40 Hindi films ( including bi-lingual) and 20 Marathi films from 1942 to 1954. She also acted in famous Marathi dramas on commercial stage. 14 of her films celebrated silver Jubilees. Some of her films were- Das baje-42, Ramshastri-44,Piya Milan-45, Taramati-45, Bachpan-45, Bachhon ka khel-46 ( with Meena kumari), Phir bhi apna hai-46Moti-47, Tohfa-47, Shikayat-48, Seeta Swayamvar-4, maya bazaar-49,, kamal ke Phool-50, Pardes-50,Malti madhav-51 Nanhe Munne-52, Chham chhama chham-52, fareb-53, Lehren-53, Jhamela-53, bhagyawaan-53, Biraj bahu-54, pooja-54, Bindiya-55 etc. ( Bio based on her interview in ” chanderi Aathavani ” by Sulabha Ternikar and material provided by shri Harish Raghuvanshi ji, with Thanks.)

Film India magazine was quite popular in the 40s and the 50s. In its June-1946 issue, the editor Baburao Patel has reviewed this film. As per his judgement, the film was no good. Its story (story, dialogues and songs by I.C.Kapoor) had no life and the director Homi Wadia had spoiled the film by his inept handling and direction. No wonder. Baburao patel rarely praised any film,director or an actor, so this review was on expected lines only.
The film was based onthe ” theme of innocence teaching bitter experience to look at life with a smiling understanding” according to Patel. The story of the film was…

Bhairav (Mazhar Khan) is fed up of life, because his son married outside their cast and all his society criticized him no end. He became very bitter in life and lived in a house on top of a mountain- away from society. He is feared by the villagers around. One of his relatives (Kanta Kumari) sends her niece Madhu (Baby Madhuri) to live with him. Over a period, due to the good and helping nature of optimistic smiling Madhu, Bhairav starts changing and becoming a normal person.

Suddenly, the aunt kidnaps Madhu and sells her as a companion to a rich invalid kamla(Baby Shakuntala). Here too, Madhu wins everyone’s hearts. Envied by this, the Governess (Gulab) of kamla kidnaps Madhu. Meanwhile, Bhairav is also searching Madhu. He rescues her, but the Police detain him and Madhu in the Police station. The village school Teacher Ramesh(B.Nandrekar) and his beloved(Chandraprabha) give positive evidence and Bhairav and Madhu are released. All ends well in the end.

The role of teacher Ramesh was done by B.Nandrekar. This name must be totally unknown to the new generation readers. B.Nandrekar or babasaheb Nandrekar was one of the very few really handsome actors Hindi films ever had. He was born in 1910, in Sangli district of Maharashtra, near Kolhapur. Being a Muslim, he could speak Urdu/Hindi fluently. He completed his schooling from Kolhapur and joined films. Vishnupant Damle (one of the founder partners of Prabhat Films) was making silent film ‘Maharathi Karna’ (1928) for Maharashtra Film Co. He offered Nandrekar a role. Then he worked in other films like ‘Baji Prabhu Deshpande’ (1929), ‘Lanka’ (1930), ‘Kismet’ (1931) and ‘Dushman Ki Raat’ (1931).
His first talkie film was ‘Kurukshetra’ (1933). Prabhat gave him a role in ‘Sant Tukaram’ (1936) (its Hindi version came in 1948). He worked in ‘Amar Jyoti’ (1936) and became quite popular as a hero, opposite Shanta Apte. He was hero in ‘Baghbaan’ (1938) opposite Sitara Devi.

In 1939, he became the first actor to go abroad to shoot scenes in film ‘Africa In Hind’ – ‘हिन्द में अफ्रीका’ (1939). The shooting was done in Africa. Thus this became the first ever Hindi film to shoot in foreign country, and NOT film ‘Naaz’ (1954), as is popularly believed and also as mentioned in HFGK. Nandrekar had become very popular. The chappals he used in film ‘Baghbaan’ became fashionable by the name ‘Nandrekar Chappals‘. This alone is enough to prove his popularity.

His law suit against Prabhat Film Company was a topic of discussion in the industry. There were differences between him and Prabhat over his contract with them. His lawyers were Mr. Jinnah and Mr. Setalwad, who won the case for him. He was also the first actor to work as a freelancer.

Nandrekar appeared in 23 Hindi films. His films were ‘Kurukshetra’ (1933), ‘Amar Jyoti’ (1936), ‘Jaadugarin’ (1937) (UR), ‘Baghbaan’ (1938), ‘Africa In Hind’ (1939), ‘Qaidi’ (1940), ‘Hindustan Hamara’ (1940), ‘Alakh Niranjan’ (1940), ‘Chitralekha’ (1941), ‘Mamaji’ (1942), ‘Duniya Tumhari Hai’ (1942), ‘Nai Kahaani’ (1943), ‘Andhi Duniya’ (1943), ‘Swarn Bhoomi’ (1944), ‘Lady Doctor’ (1944), ‘Ismat’ (1944), ‘Bachpan’ (1945), ‘Kamla’ (1946), ‘Jeevan Sikho’ (1946), ‘Parshuram’ (1947), ‘Meri Amaanat’ (1947), ‘Khandani’ (1947), ‘Sant Tukaram’ (1948) and last film ‘Bihari’ (1948).

He passed away in 1949. No definite information is available about his demise.

With today’s song, film Bachpan-1945 makes its debut on the Blog.


Song-Bole re panchhi bole (Bachpan)(1945) Singers-Unknown female voice, unknown male voice, Lyrics- I C Kapoor, MD- S N Tripathi
Both

Lyrics

Bole re panchhi bole
Bole re panchhi bole
kya bole
Bole re panchhi bole

ambuwa pe baithha shor machaaye
ambuwa pe baithha shor machaaye
suno jee
haan
chhota sa dil mera
chhota sa dil
chhota sa dil mera ghabra jaaye
dole re dil mera dole
dole re dil mera dole
bole re panchhi bole
kya bole
Bole re panchhi bole

teri jawaani meri jawaani
teri jawaani meri jawaani
kehta hai wo to yehi kahaani
kehta hai wo to yehi kahaani
????

hmm
dinon ke ?? soye
?? soye

bole re panchhi bole
kya bole
panchhi to hai naadaan saanwariya
panchhi to hai naadaan saanwariya
patton ke bhi hai jaan saanwariya
baat wo ho bole haule
baat wo ho bole haule
sono je
hmm
?? uski bala se
?? uski bala se
karta hai wo to baat hawa se
jee mein jo aaye wo bole
jee mein jo aaye wo bole

bole re panchhi bole
bole re panchhi bole


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

Blog Day :

3957 Post No. : 15033 Movie Count :

4121

Today’s song is from the film Jadu Nagari-1940.

In last 2-3 years, I find that a lot many collectors are uploading songs from films of the 30s and also rare songs. The HFM History students- like me- are highly indebted to them for their generosity.

Like in any other fields, here too some disturbing events take place. Some collectors upload incomplete songs, thinking that this will protect their monopoly. I feel this is very unfair. No one forces them to upload songs. If they do so on their own, why not complete songs ? Anyway, it is their thinking and choice. Fortunately, true connoisseurs, like Shalin Bhatt ji are highly dependable and his songs are not only complete and rare but he also adds some information to it. Many times the viewers’ comments on the song also gives important information pieces. May God increase his tribe !

Film Jadu nagari-40 was based on an imaginary story, like many such films. These films had writers, who flew the kites of their imagination, sometimes in a very comic way. For example, turning Humans into Animals or showing talking animals, birds and even Snakes. Of course since the film had Jadu in its title iteslf, all these things were within expectations only. Actually these things made the films very interesting and watchable. ALAS ! The era of such C grade films is gone for ever !

I selected a song from this film, because I found some unusual and rare points here, worth talking about.

Firstly, the film is directed by Baburao Apte ( variously spelt as Baburao, Bapurao or S R Apte), who was the elder brother of actress Shanta Apte. He had started his acting career from the silent era. He acted in 8 silent films. Starting with film Shyamsunder-32, he acted in his first Talkie film, as Radha’s husband- where Radha was his own younger sister, Shanta Apte. In all, he acted in 16 Talkie films, his last film being “Main abla nahin hoon”-49 directed by Shanta Apte herself. He had a very minor role in it-courtesy his sister. He also directed 8 Talkie films from Kala Pahad-33 to Jadu Nagari-40. yes, today’s film was his last film as a director.

And yes, he was the same person, who brought his own younger sister of 9 years to act in films. He would put a condition in the contract that no other actor will touch her while shooting. If she had a wife’s role, he would do the husband’s role. Fortunately for cine goers, as Shanta Apte grew up as a rebel, she defied this rule and Baburao started his acting and direction separately. He got married and lived separately.

Shanta Apte- though unmarried till end- had a daughter-Nayana Apte. However this news of her daughter was kept a secret. When Shanta Apte died on 28-2-1964, ten years later Nayana declared that she was Shanta Apte’s daughter. Film Historian Isak Mujawar, in one of his books, has said that Nayana was Shanta’s daughter from brother Baburao Apte only. Such matters have no credible proofs anytime. By the way, Nayana Apte became a popular actress on Marathi Stage and in Marathi Cinema. Obviously Baburao Apte was very creative indeed !

Secondly, in this film Rajkumari Calcuttewali (real name Pullo Bai) had acted and also sang 5 songs. Though HFGK is silent about which Rajkumari it was in this film, the noted Music Historian and collector Girdharilal Vishwakarma ji has confirmed this. Also the song’s uploader Shalin Bhatt ji also mentions Rajkumari Calcuttewali. Though she acted and sang only in films made at Calcutta, two films ‘Gorakh aaya’-38 and ‘Jadu Nagari’-40 indicate her participation.Later she married one Seth Motilal from Calcutta and left films.

Thirdly, Music Director in later times-Jimmy aka James Singh- sang a duet in this film with Rajkumari Calcuttewali. Composer Jimmy aka James Singh- is one of those little known composers who never got fame or name in spite of their Talents. His real name was JAMES SINGH. He was a Christian Punjabi from Ludhiana. He was educated in Delhi.He started his career in Hindi films as a singer in Chorus. He sang 7 songs in 6 films (Imandar-39, Baghi-39, Pyar-40, Anjaam-40, Jadoo Nagri-40, and Maaya Nagri-44).

He could play many western instruments, especially all types of Guitars.When he failed as a singer, he became assistant to many composers. Finally.he got his chance to compose few songs for film ‘Muqaddar-50’, though with Khemchand Prakash and Bhola Shreshtha. He composed 2 duets of Asha and Kishore. The credit of composing the First ” Yodelling ” song of Kishore kumar goes to Jimmy. Kishore ‘yodelled ‘ first time in this film.

Jimmy then gave music to 14 more films like, Shrimatiji-52, Smuggler-59, Awara Shehzadi-56, Sher e Baghdad-57, Nek khatoon-59, Pathan-62, Miss chaalbaz-61, Tarzan and Gorilla-63, Duniya hai dilwalon ki-66, Pyar ki Baazi-67, Tarzan in fairy land-68, Aakhir-84, Khoon aur sazaa-86 and his last film, Sachhi Ibadat-1987. Inspite of giving sweet and melodious songs of a variety,Jimmy never came up to A class. He always remained a composer for C grade films. Anyway, as long as Kishore’s yodelling is heard,Jimmy’s name will be remembered.

However, in this film Jimmy was not the MD. It was yet another little known MD- Shanti kumar Desai, a very talented but unlucky composer who rarely got support from any famous banner. His music was enchanting and tunes were superb, but Lady Luck did not favour him.

He was born in Amreli,Saurashtra, Gujarat state on 3-3-1908. His family was in service as Royal Musicians, so he was exposed to music from childhood.He was an expert Harmonium player. To start his career, he came to Bombay and worked in H.M.V. as a Broadcaster. Here he came into contact with many composers and learnt how they operated and made tunes etc. He was already giving music to Dramas, but wanted to join Film line as M.D. He got his first film Navbharat ( Jawanmard)-1934. In those days Gujarati producers and directors used to prefer Gujarati MDs. Thus out of his 36 films, 18 were done with Gujarati Directors like Sohrab modi, Nanubhai Vakil, V.M.Vyas(4 films), Kanjibhai Rathod, Dhirubhai Desai etc. He also gave music to Gujarati films.

He gave music along with Madholal Master,Rafiq Ghaznavi, Pannalal Ghosh, Shyambabu Pthak etc. Famous singers like Rafi, Manna Dey, Zohrabai, Amirbai etc sang in his films during their early careers. Even kishore kumar’s early film Sati Vijay-48 had music by Shanti kumar Desai. He gave music to films of early era actors like Prem Adib, Mehtab, Sitara Devi, Leela Chitnis, Jal Merchant, Ashraf Khan, Rajkumari, Mazhar khan, Shanta Hublikar, Jairaj, E Billimoria, Kumar, Sardar Akhtar, Chandramohan, Shobhana Samarth, Durga Khote, Shahu Modak and Sulochana.

From 1934 to 1948, he gave music to 35 films and in 1964 his one film was released. He composed about 300 songs. He never got films from top banners like Bombay Talkies,Prabhat, Sagar or Minerva, otherwise his career would have been different.

He died on 6-1-1986. Some of his better known films were Bholi bhikaran-36, Punarjanma-38, Anjaam-40, Suhaagan-42, Naukar-43, Ek din ka sultan-45 and Lav Kush-51.

The Hero of this stunt film was the Stunt King Yeshwant Dave…..ever heard his name ? Not a great chance, I know.

It was not uncommon during the days of early cinema for people to hang around studios and filming locations in the hopes of being discovered. One such intrepid soul was Yeshwant Dave (or Yashwant Dave), who was at Kohinoor Studios observing a picture being made by producer J.B.H. Wadia. The handsome and athletic Yeshwant cornered Wadia, insisting that he would make a fine hero for an action film.

Wadia agreed to test Yeshwant by having him jump from the roof of one set piece to another. He did so successfully, and J.B.H. decided to cast him in a film that he was to direct for Young United Players, the 1931 silent Thunderbolt (aka Diler Daaku) featuring Mumtaz as the heroine.

Yashwant was again directed by Wadia in Toofaan Mail (1932) and thereafter became a sought after action star appearing in the stunt films of other directors like Aspi, Dhirubhai Desai, Nari Ghadiali, Chunilal Parekh, and Harshadrai Mehta. Some of his films include Bharat Veer (1932), Jaadui Jung (1934), Bombshell (1935), Vasant Bengali (1937), Flying Ranee (1939), Magic City (Jaadoo Nagri) (1940), Torpedo (1941), Royal Mail (1946), and Kaun Pardesi (1947).

Growing out of the stunt hero persona, he turned to character parts and made infrequent onscreen appearances throughout the 1950s, including in Seikh Chilli and Makkhee Choos both released in 1956 and starring comedian Bhagwan. What became of Yeshwant Dave afterwards is anybody’s guess, as the once popular action star faded into obscurity and, sadly, is barely remembered today.

Today’s song is a duet sung by Rajkumari Calcuttewali and James Singh. There were 9 songs in the film. With this song, film Jadu Nagari-40 makes its Debut on this Blog.

(Thanks to cinemajadu.com, activeindiatv.com, Cinerang by Isak Mujawar, Harish Raghuwanshi ji of Surat and my notes for information used herein.)


Song-Prem nagariya jaayenge hum(Jaadoonagri)(1940) Singers- Rajkumari Calcuttewali, James Singh (aka Jimmy), Lyricist- Munshi Kabil Amritsari, MD- Shanti Kumar Desai
Both

Lyrics

Prem nagariya jaayenge hum
Prem nagariya jaayenge hum
Prem nagariya jaayenge
dharti pe swarg basaayenge
dharti pe swarg basaayenge

Prem nagariya jaayenge

Prem nagar ki har galiyan mein
Prem nagar ki har galiyan mein
prem bageech banaayenge
prem bageech banaayenge

prem panchhi ban kunj kunj mein
prem geet nit gaayenge
prem panchhi ban kunj kunj mein
prem geet nit gaayenge hum
prem nagariya jaayenge

kal kal karti prem sarit mein
prem mast ho ??aayenge
kal kal karti prem sarit mein
prem mast ho ??aayenge
prem sudha ras pi pi kar
tan man ka taap mitaayenge
prem sudha ras pi pi kar
tan man ka taap mitaayenge

prem nagariya jaayenge

ek pran ham do tan ho kar
phir bhi to bisraayenge
haan
ek pran ham do tan ho kar
phir bhi to bisraayenge
haan

prem devta ke kunjan mein
prem devta ke kunjan mein
jeewan sakal bitaayenge hum
jeewan sakal bitaayenge hum
prem nagariya jaayenge


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

Blog Day :

3861 Post No. : 14876 Movie Count :

4067

Today’s song is from film Toofan Queen-46. From the title itself, it is clear that this was a C grade Action/Stunt film. This is confirmed once you see its cast comprising of Fearless Nadia, Prakash, Shanta Patel, Anant Prabhu, Shyamsunder, Agha Shapur, Vijay Kumar and Motor cycle ” Champion”.

In Nadia’s films, not only the human characters had names but even her animal helpers and Auto machines had special names. As long as she was in Wadia Movietone, till 1942, she had Punjab ka beta (Horse), Gunboat (Dog), and Austin ki beti ( a jalopy). After she joined Homi Wadia’s Basant Pictures, she had Rajpoot (Horse), Moti (Dog) and Austin ki bachhi (a jalopy). In addition, whenever required, she used a Motor cycle called ” Champion” !

Stunt films was one of my favourite Genres in my younger days. Now of course, this genre does not exist anymore. The action and stunt part of the film is entrusted to the Special effects Team- deleting the need of stunt actors. The Hero of the film himself does most of the stunts and fighting, even in a social film, so the stuntmen and fighters have hardly any job now to justify a complete Stunt film. Actually the line between social and action, social and musical and social, comedy, horror, historical and stunt film is no more visible !

From the days of silent films till about the middle of the 50s, stunt type of films were being made. In early cinema, Shankar rao Vazre, Ganpat Bakre, Yeshwant Dave and Master Vithal were the popular ” Maar peet” film Heroes. Later on, Fearless Nadia took over the reigns and the Genre concluded with films made by Bhagwan dada.

Music in stunt films had insignificant value or importance, so there were no specialised composers in this field. Since stunt films were made generally on shoe-string budgets, any composer, who settles for minimum fees would be selected. Therefore one would see strange unknown composers like Dilip Chand Vedi, Master Dinkar, Brijlal, Mushtaq Ahmed, Sunder das, Master Mohammed, Mohd. Hussain, M.Chhaila, Ram Hira,H.R.Bhalla, Master manzoor, Motilal, G.A.Khan, Amir hussain Khan, Kanhaiya Pawar, Vinod Ganguli, S.N.Manjrekar, Kikubhai Yagnik, Abdul karim khan etc etc.

Some of the composers, who made a name later on in film industry, actually started their careers from stunt, action and Mythological films . One such prominent name was that of CHITRAGUPTA ( SHRIVASTAV ), who gave music to film Toofan Queen-46, our today’s film.

Chitragupta Shrivastav (16-11-1917 to 14-1-1991) was born, brought up and educated in Bihar. He was perhaps the most educated composer of his times. He had done M.A. in Economics from Patna University and also taught for few years. He came to Bombay in 1945 and having learnt classical music wanted to become a composer. He started as an assistant to S N Tripathi. His first break came in 1946 with ” Lady Robin hood”. Initially he got only stunt and devotional films to do. In 1955, Dada Burman recommended him to AVM for “Shiv Bhakta “. This was a landmark film for Chitragupta, because he used Lata for the First time. Later Lata and Chitragupta had very good relations,till the end.

Actually Chitragupta should be counted as No 1 composer who gave very melodious songs to Lata, but this is forgotten, because like Madan Mohan, Roshan,S-J, C.Ramchandra or S D Burman, he never got big banner films ( at least not very often), which became a reason to discuss only their Lata songs frequently. Chitragupta always got mostly B and C grade films,which were not famous,but he was in no way less capable of composing good tunes for Lata.

Chitragupta was a very homely family man with a middle class mentality. He had a fun group comprising of Lata, Usha, Meena, Dilip Dholakiya, Prem Dhawan and Chitragupta. They used to have lot of fun at the home of Chitragupta. Lata liked their food very much. Chitragupta Shrivastav was a Kayastha ( ” Lalaji ” as they are called in Bihar ) and their Non veg food was excellent.

In the late 80s, I came in personal contact with Chitragupta,when my close friend’s daughter married his elder son. When Chitragupta learned that I liked ” Sattu ki poori ” very much, he called me to his house and we ate Sattu Puris and Alloo Sabji, to our heart’s content !

His house in Prabhat building on Khar Road,Bombay had a Music room on the ground floor,where he composed his most tunes during 1959 to 1990. During the early 60s upto 65,he was so busy with work that-according to his son Anand- at one time 4 Lyricists were writing Lyrics in his home,Anand Bakshi in Garden,Majrooh in a room,Rajendra krishna in the Music room and Prem Dhawan under a palm tree and Chitragupta used to visit one by one to see their progress !!

Chitragupta was such a simple person that when S-J demanded 5 Lakhs per film,he hesitated to ask for 50000 !

He remained a typical Gentleman till the end. He was expert in using Bihari folk tunes in his songs. He became the First MD of the First Bhojpuri film ” Ganga maiyya tori piyri chadhaibo’-1962. His main singers remained Lata, Rafi and Mukesh.

As far as singing songs is concerned, it was his hobby. He must have sung about 30 odd songs in 16 films in his career. Most songs were for S N Tripathi,who was his Guru in film Music. He gave music to 149 films, composing 1036 songs. His last film was Shivganga-1989.

Film Toofan Queen-46 was a stunt film, featuring Fearless Nadia, prakash etc etc. A lot has been written on Nadia here and on the Internet. I too have written about Nadia, especially, how I was able to meet her in Bombay during early 80s, in one of my earlier articles. So, today we will know more about the Hero Prakash.

The real name of actor Prakash was Hashmat Ullah Khan. He was born in 1914 at Gwalior, where his father was a businessman.The family was originally a Punjabi Muslim. Hashmat studied somehow upto Inter arts and left the college. He was an overactive child , interested in acting in films. Hashmat ran away to Bombay and worked in Sagar Movietone. He got a small uncredited role in film Village Girl-1936. Not satisfied with this, he travelled to Calcutta.

In Calcutta, Hashmat worked in 3 films-Taqdeer ka teer aka Premlakshya-36,Hawai Daku aka Bandit of the Air-36 ( this was the first film of K N Singh as a Hero. Mazhar Khan was the villain here) and Dangerous woman aka Khatarnak Aurat-38. He also got a miniscule role in New Theatre’s film Abhagin-38. Not getting what he aspired, Hashmat shifted to Delhi and worked in A.I.R. as a singer. True to his nature within two years he left this job and landed in Bombay again.

It is reported that he was very arrogant, untrustworthy and a cheat of first rate. It seems he was quarrelsome, a liar and short tempered. His experiences,perhaps, taught him a lesson and he decided to change himself and concentrate on work seriously. This did good to him in his life. In Bombay first he worked in Garib ki ladki-40, but the film got delayed and was released in 41 only. Meanwhile he did Rani saheba-40 and Pyar-40 also. This time his career took a good turn. Till film Garib ki ladki-40, he used his name Hashmat for credits, but then he took a new name Prakash thereafter till the end.

A changed actor Prakash became acceptable to the industry and films were on his way. In all Prakash did 5 films as Hashmat and 38 films as Prakash. However, he got only action, stunt and C grade films. Once director W Z Ahmed met him and Prakash went to Shalimar Pictures Poona to do 3 films for them, namely Ek Raat-42, Prem Sangeet-43 and Mann ki Jeet-44. He was also a favourite of Master Bhagwan and appeared in many of his stunt films. The year 1946 proved to be the best year for Prakash, because he did 14 films in 1946.

After Partition he migrated to Pakistan and did few films there. He came back to India and did 3 films in the 60s. His last film was Suhag Raat -68. There is no information about him after that. May be he went back to Pakistan or died, we do not know.

Now enjoy today’s song. It is very melodious. I consider Chitragupta as the King of melodious songs. His song is always a guarantee of melody, a good tune and suitable musical accompaniment. Too sad, he was not recognised for his abilities by the industry and he always remained in the ‘B’ team of composers. Nevertheless, one should learn from him, how to be happy and contented with whatever one gets from Destiny !


Song-Tan pinjre mein mann ka panchhi chahak chak kar boley (Toofaan Queen)(1946) Singer- Raajkumari Dubey, Lyrics- Shyam Hindi, MD- Chitragupta

Lyrics

Tan pinjre mein mann ka panchhi
chahak chahak kar boley
jiyara doley
doley
tan pinjre mein mann ka panchhi
chahak chahak kar bole
jiyara doley
doley

chhup ke dwaar
umangon ke koi
dheere dheere kholey
jiyara doley
doley
chhup ke dwaar
umangon ke koi
dheere dheere kholey
jiyara doley
doley

jinse naina lage hamaare
bade raseele bhole bhaale
jinse naina lage hamaare
bade raseele bhole bhaale
jinki soorat basi jiya mein
wo sapnon mein aane waale
jinki soorat basi jiya mein
wo sapnon mein aane waale
jinki ?? jhoom jhoom main
paaon ke ?? khole
jiyara doley
doley
tan pinjre mein mann ka panchhi
chahak chahak kar bole
jiyara doley
doley

jo mere man ke aangan mein
kehte hain nit prem kahaani
jo mere man ke aangan mein
kehte hain nit prem kahaani
wo hain mere man ke raaja
main bani unki deewaani
wo hain mere man ke raaja
main bani unki deewaani
madhur madhur jinki baani
kaanon mein amrit ghole
jiyara doley
doley
tan pinjre mein mann ka panchhi
chahak chahak kar bole
jiyara doley
doley


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

Blog Day : 3831 Post No. : 14838

Today, January 13th 2019 is the 92nd birth anniversary of one of the prominent Hindi film producers-directors who debuted in early 1950s as a director. In the 1960s, he mostly produced and directed romantic and musical films. In the 1970s and thereafter, he produced and directed films with emotional contents. He is Shakti Samanta, a self-made man after struggling for almost a decade to get a firm foothold in Hindi film industry. He had made immense contributions to Hindi film industry.

Shakti Samanta (13/01/1926 – 09/04/2009) was born in Burdwan (now Bardhaman in West Bengal). His father was an engineer who died in an accident while Shakti Samanta was a child. So, he was sent to his uncle’s place in Dehradun where he did the schooling. After completion of his intermediate, he came back to Calcutta (Kolkata) and completed his graduation in 1944.

Shakti Samanta went back to his uncle’s place to help him in his business. During his school days, he had become a fan of films produced by New Theatres and Bombay Talkies for their emotional and romantic contents respectively. So he had a fascination for becoming an singer-actor in Hindi films. Obviously, he spent more time in acting in local drama theatres than in the business work for which he was reprimanded by his uncle. Sometime in early 1947, he decided to leave his uncle’s house for Bombay (Mumbai) to pursue his wish to become a singer-actor. He took a job of a teacher in a Urdu school in Dapoli, about 200 kms from Mumbai to sustain himself while he scouted for acting roles in Mumbai.

Since it was a Muslim-run school, every Friday, Shakti Samanta would visit Mumbai to take a round of studios and return to Dapoli by late evening. There were many Bengalis in the Bombay Talkies which enabled him at least to gain entry into Bombay Talkies studio. Eventually, he got a free-lance job without pay but with free food at the canteen of the Bombay Talkies. Since he was proficient in Hindi and Urdu in addition to Bengali, he got work of translating the scripts written in Bengali into Hindi for director, Phani Majumdar for which he was paid.

One day, he met S D Burman who was composing music for ‘Do Bhai’ (1947), to get a playback singing work. S D Burman told him that though his voice was good, it was not good enough for the playback singing. So he advised Shakti Samanta to look for work in some other departments though he offered to take him for chorus singing. With this, it was the end of his dream of becoming a singer but the acting bug in him remained.

It was Ashok Kumar who told him to forget about becoming an actor and instead concentrate on film direction. In Bombay Talkies, he became the First Assistant to Director, Phani Majumdar. At that time, Guru Dutt was the First Assistant to Director, Gyan Mukherjee. When Phani Majumdar had no assignment, Shakti Samanta used to work as Second Assistant to Gyan Mukherjee. On the other hand, when Gyan Mukherjee had no assignments, Guru Dutt used to work as Second Assistant to Phani Majumdar. So in 1947, Guru Dutt and Shakti Samanta were familiar with each other. While Guru Dutt could get his first directorial assignment for ‘Baazi’ (1951), it was a long wait for Shakti Samanta to make a debut as a director in 1955.

Post-partition, after the initial hiccups due to migration of film artists and technicians, Shakti Samanta got some assignments like assistant to the director Satish Nigam in ‘Sunhere Din’ (1948) and to Phani Majumdar in ‘Tamasha’ (1952) and ‘Dhobi Doctor’ (1954). He wrote script and dialogues for Bombay Talkies ‘Baadbaan’ (1954).

Shakti Samanta’s debut film as a director was ‘Bahu’ (1955) which he got by a sheer luck. The film was produced by Bikram Pahwa which was to be directed by the writer, Vijendra Gaud. However, he had already signed his first directorial venture, ‘Kasturi’ (1954) and Shakti Samanta was his Assistant Director for this film. Vijendra Gurd was under contract not to take up direction in any other film until ‘Kasturi’ 1954) was released. Shakti Samanta got the opportunity to direct his debut film ‘Bahu’ (1955) as director. The film did not do well on the box office.

During the making of the ‘Bahu’ (1955), Shakti Samanta was signed to direct A. A. Nadiadwala’s film ‘Inspector’ (1956) in which his mentor, Ashok Kumar was paired with Geeta Bali. The film became a hit and with this film, Shakti Samanta was tagged as a successful director for the crime thrillers. After directing ‘Hill Station’ 1957 and ‘Sheroo’ (1957), Shakri Samanta floated his own banner, Shakti Films in 1957.

The first film under his banner, Shakti Films was ‘Howrah Bridge’ (1958) in which his mentor, Ashok Kumar was paired with Madhubala. The film was also a crime thriller and became hugely successful in terms of box office. This gave him enough money to produce and direct a film in the genre of social drama, ‘Insaan Jaag Utha’ (1959). The film did the average business despite some excellent song compositions by S D Burman.

Shakti Samanta directed next two successful thrillers, ‘Jalli Notes’ (1960) and ‘Singapore’ 1960) for other producers. His association with Shammi Kapoor and Jaikishan of Shankar-Jaikishan started with the film ‘Singapore’ (1960) and thereafter they became close friends. The trios were known as Shammi, Shakki and Jackie.

With ‘Naughty Boy’ (1962), Shakti Samanta entered into his first romantic comedy genre with Kishore Kumar and Madhubala in the lead roles. When about 10 reels of film were shot, Madhubala fell ill. She was taken to London for treatment. Since there was some uncertainty in her resuming shooting, Shakti Samanta replaced her with Kalpana. All shots of Madhubala were reshot with Kalpana. The film took a long time to complete as Kishore Kumar also got busy with taking care of Madhubala. To make the matter worst, S D Burman, the film’s music director, also fell ill. As a result, except for one song, rest of the songs of the film were recorded by R D Burman and Jaidev.

The delay in the completion of the film put Shakti Samanta in financial difficulties. He approached his good friend, Shammi Kapoor for finance who advised him to produce a new film in which he would act and partly finance the film. So ‘China Town’ (1962) was conceived. The film was released in August 1962 and became a box office hit. With money flowing in from the success of ‘China Town’ (1962), Shakti Samanta completed ‘Naughty Boy’ (1962) and got released in November 1962. The film failed at the box office.

After the debacle of ‘Naughty Boy’ (1962), Shakti Samanta seems to have shifted the focus on producing and directing the genre of romantic and musical films. He had with him now Shammi Kapoor and Jaikishan to support such a genre of films. The film ‘Kashmir Ki Kali’ (1964) was conceptualized with his two friends in mind. He had roped in a new comer, Sharmila Tagore whose parents were the family friend of Shakti Samanta, to act opposite Shammi Kapoor. It was a foregone conclusion that Shankar-Jaikishan would be the music director.

When O P Nayyar came to know about the new film, he requested Shakti Samanta to at least listen to his tunes before deciding on the music director. He also invited Shammi Kapoor for a musical sitting. Both were so much impressed with some 40 odds tunes O P Nayyar churned out, that both Shakti Samanta and Shammi Kapoor decided to take O P Nayyar as music director for ‘Kashmir Ki Kali’ (1964) and selected 12 tunes out of which 9 tunes were used in the film and remaining 3 tunes were used in ‘Saawan KI Ghata’ (1966). The film was a blockbuster on the box office chart.

Shakti Samanta had lined up 3 films with Shammi Kapoor and Jaikishan combination. The first film, ‘Evening In Paris’ (1967) was a high budget film which were partly shot abroad. The film became successful at the box office. The second film ‘Pagla Kahin Ka’ (1970) was directed by Shakti Samanta for Ajit Chakravarty. The film was an average success. The third film, ‘Jaane Anjaane’ (1971) was in the planning stage when Shakti Samanta felt that Shammi Kapoor needed to reduce his weight before he started shooting for the film. He gave Shammi Kapoor six months’ time to reduce his weight. In the interregnum, Shakti Samanta decided to produce and direct a low budget social film ‘Aradhana’ (1969) which was his favourite genre inspired from the films of New Theatre. The saga of making of ‘Aradhana’ (1969) is interesting one.

Sometime in early 1960s, Sachin Bhowmik, the story, screen-play and dialogue writer had read out the story of Aradhana to Shakti Samanta. While he liked the story very much, he did not venture to make a film on the story as he felt that it would be difficult to get the lead actors to the roles envisaged in the story. This was also the views of Hrishikesh Mukherjee when Sachin Bhowmik had read out the story to him also. Since Shakti Samanta had now time to make a low budget film, he recalled the story of Aradhana and decided to make a low budget film.

Sharmila Tagore who was introduced in Hindi films by Shakti Samanta and Rajesh Khanna who was the discovery of United Producers-Filmfare Talent Contest (1965) in which Shakti Samanta was one of the judges, were taken for the lead roles. Sharmila Tagore was apprehensive of doing the mother’s role in her early filmy career. Rajesh Khanna had felt that his role had considerably lesser length than that of Sharmila Tagore whose presence in the film was from first to last frames. Shakti Samanta had to do a hard work to convince both the actors to remove their apprehensions as the roles were challenging from the acting point of view.

Since the story of the film was akin to the Bengali type of stories with emotional contents, Shakti Samanta was keen on S D Burman to take up the music direction of the film. However, here also he had to convince S D Burman to take up the music direction for the film. S D Burman rued that Shakti Samanta had so far engaged him as a music director only for his low budget films.

Just a day before ‘Aradhana’ (1969) was to start shooting, Surinder Kapoor, the producer of ‘Ek Shriman Ek Shrimati’ (1969) starring Shashi Kapoor and Babita invited Shakti Samanta to see rushes of the final climax of his film. He was shocked to see that the climax was the same as that was written for Aradhana. This was possible because both films were written by Sachin Bhowmick. The next day, Shakti Samanta had made up his mind to scrap Aradhana and asked Gulshan Nanda to work on his story, ‘Kati Patang’. But Gulshan Nanda along with another writer, Madhusudan Kalelkar convinced him that instead of scrapping the film, let there be some changes the second half of the story. Both of them reworked the second half of Aradhana in the next few hours and saved the film being scrapped.

When everything was set to start the shooting ‘Aradhana’, film distributors were not happy with casting the lead roles. They were of the view that the audience would not accept Sharmila Tagare in the role of mother who had so far done the glamorous roles. They also felt risky to give a new comer Rajesh Khanna the double role in the film. Again, Shakti Samanta was required to convince them that the lead actors would justify their roles.

‘Aradhana’ (1969) was completed in less than 6 months and was released sometime in October 1969. I had watched this film during the first week of its release as tickets were easily available. However, the box office collections of the film picked up from the second week onward mainly through words of mouth publicity. The film became the top grosser among the Hindi films released in 1969. The box office success of this film and later of ‘Bandhan’ (1969) and ‘Do Raaste’ (1970) made Rajesh Khanna a super star. In a print media interview, Shakti Samanta had acknowledged that from the gramophone record sales of ‘Aradhana’ only, he produced next five films. The records were dubbed and released in 5 languages, and were hits in every language.

With the success of ‘Aradhana’, Shakti Samanta ventured into producing more of social genre of films like ‘Kati Patang’ (1971), ‘Amar Prem’ (1972), ‘Anuraag’ (1972) which were also successful at the box office. However, after mid-1970, except for ‘Great Gambler’ (1979), Shakti Samanta could not get as much success at the box office as he got for his films in early 1970s. Just to balance the box office earnings, Shakti Samanta started producing bilingual films which were made in Hindi as well as in Bengali. He produced and directed the first bilingual film, ‘Amanush’ (1975) followed by ‘Anand Asharam’ (1979), ‘Barsaat Ki Ek Raat’ (1981), ‘Aar Paar’ (1985) etc.

In the 1990s, Shakti Samanta’s films could not match with the changing taste of the film audience. ‘Geetanjali’ (1993) was his last film as a director which failed at he box office. During this period, he had also become busy with his role as Chairman of the Film Censor Board for 7 years (1991-98) and as a Chairman of Satyajit Ray Film and Television Institute, Kolkata for 2 years. Hence, some of the films produced under the banner of Shakti Films were directed by his son, Ashim Samanta.

During his 5 decades of long filmy career, Shakti Samanta directed 37 films and produced 43 films under his banner, Shakti Films. He also co-produced and directed an Indo-Bangla Desh Bengali film in 1984 which became a super hit. He set up Aradhana Sound Service, the digital audio post-production facilities films. He received Filmfare Award for ‘Aradhana’ (1969), ‘Anuraag’ (1972) and ‘Amaanush’ (1975) under ‘Best Films’ category.

Shakti Samanta breathed his last on April 9, 2009 after a brief illness due to stroke.

For the occasion, I have selected a song from one of the films from Shakti Samanta’s struggling years to establish himself in the Hindi film industry. The song is ‘ye maara wo maara koi jeeta koi haara’ from ‘Hill Station’ (1957). The song is sung by Geeta Dutt on the lyrics of S H Bihari which is set to music by Hemant Kumar. From the lyrics and the tone of the song, it appears to be a club song probably picturised on Sheila Vaz.

——————————————————————————————————————-
Note: The information on Shakti Samanta with some associated anecdotes have been sourced from many interviews he gave both to the print media as well as to the electronic media, mostly during the 1990s. Some information has also been sourced from the interview Ashim Samanta gave for a FM Radio Channel in 2016.


Song-Ye maara wo maara (Hill Station)(1957) Singer-Geeta Dutt, Lyrics-S H Bihari, MD-Hemant Kumar

Lyrics

ye maara
wo maara

ye maara
wo maara
koi jeeta aur koi haara
haar jeet kaa khel ye dekho
kitna hai pyaara
ye maara

teri zindagi mein
aise mauke suhaane naa aayenge
teri zindagi mein
aise mauke suhaane naa aayenge
tere yahi patte
tera bigda muqaddar banaayenge
yahi chamkega teri naseeb ka taara
haar jeet ka khel ye dekho
kitna hai pyaara
o maara
ye maara wo maara
koi jeeta aur koi haara
haar jeet ka khel ye dekho
kitna hai pyaara
ye maara

dekh o matwaale
aaj se apna daaman bachaaye jaa
dekh o matwaale
aaj se apna daaman bachaaye jaa
sun ae bhole bhaale
kabhi kismat se dhokha bhi khaaye jaa
rona hansna to jeevan ka khel hai saara
haar jeet ka khel ye dekho
kitna hai pyaara
ho maara
ye maara wo maara
koi jeeta aur koi haara
haar jeet ka khel ye dekho
kitna hai pyaara
ho maara
ye maara
wo maara
koi jeeta aur koi haara
haar jeet ka khel ye dekho
kitna hai pyaara
ye maara


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 :

3780 Post No. : 14760 Movie Count :

4036

Do you like Magic ?

I do.

Most people like magic. Right from our childhood, we have been reading stories of Magic. Good Magicians. Bad Magicians. Most fairy tales are full of magic. Magic is the escape route for the aggrieved and stressed mind. Even when we grew up,how we wished that we could do some magic and achieve what we wanted or solve the distressing problem !

Not only Children’s books, but even Mythological stories are full of Magic. No God is a God if he does not do Magic ! Every adult has a child hidden in him. Magic satiates the child’s desires. Days of real Magic were imaginary, but stage Magicians created sleight of hand shows, Hypnotism, Illusions and clever tricks on the stage to make a smart substitute for real magic.

At the same time, film makers took up interesting magical stories like Alladin to make films for their audience. Alladin, Gul e Bakavli and stories of their ilk entertained not only the children, but also adults, who lapped them up. From the Film Title Index of Hamraz ji, I counted about 36 films with the word Jadu in its titles, Magic in 10, Ram in 25, Krishna in 23, Shree in 36. Add to this, films made with other alphabets on the various saints, Gods, Satis, Matas and Bhagwan etc etc. During the 10 years period from 1950 to 1959 alone, 124 Mythological films were made !

This only shows that films having Magic were a popular brand and so ‘C’ grade films like Jadui Angoothi, Jadui Shehnai, Jadui Chitra, Jadui this and Jadui that etc were made.

One of these magic films was Jadui Bansari-48, made by Mohan Pictures-known for quickies and C grade stunt/action and fantasy films. It was directed by Nanubhai Vakil and the music was by Damodar Sharma. Lyricist was Roopbani and the cast was Amirbai Karnataki, Prakash, Ansari, Master Bachha, Anwari and others.

Talking of C grade Action,Historical, Fantasy and Costume films, in India ( and probably elsewhere in the world), there was a class of people, who not only liked these types of films but also were addicted to them. People went to theatre to forget the daily troubles of living a life and to enjoy few moments. For this purpose some people liked music, some liked emotions, some tragedy and yet some comedy. Films were made to cater to every type of audience. Due to this “speciality” actors were identified and thus we had Comedians, Tragedy Kings and queens,Great actors,Great singers and also Great Fighters.

Normally the shift of any actor from one Genre to the other was not acceptable to the audience. That is why, when the Romantic Hero of the late 30s and the 40s-Ashok Kumar acted as King Humayun and ran ( in a feminine style) with a spear in hand, in the film Humayun-1945, the audience ridiculed and laughed at him in the Theatres ! Even when Master Bhagwan acted in a serious role, the public used to laugh treating it as a comedy. Trilok Kapoor never succeeded in a social film. Of course there were some exceptional cases like actress Meena Kumari who changed over from Mythological films to social films and became No 1 star ultimately. But this was a rare and exceptional case.

Not only actors, even Directors and Producers were known for the specialities of films they made. Those who excelled in C grade films rarely tried their hand at other Genres and when they did try, they failed miserably. Here again is an exception in the form of Master Bhagwan-who transitioned from Action film to social films with his “Albela”-1951 and succeeded with this film but all his subsequent films flopped. This was because “Albela” succeeded due to extraordinary music, which could never be replicated in any of his subsequent films that followed.

There was, however one Director who was comfortable with C grade films of Magic, Action, Costume, Fantasy etc. NANUBHAI VAKIL.

Nanubhai Vakil was born in a Desai family of Valsad in Gujarat in the year 1904. In his family there were many Advocates including his father, so their family name itself became Vakil. Nanubhai came to Bombay to study Law. He completed his B.A. LL.B from Wilson College, Bombay but he did not join his family profession. Instead he was attracted towards the film world.

He joined Sharada films as a screenplay writer and later joined Ranjit films as a Director. He directed 18 silent films for Ranjit studios. However, it was Sagar Movietone which gave him the first opportunity to direct his first Talkie film. It was the First Gujarati Talkie film, “Narsimh Mehto” in 1932. After this there was no looking back. He selected and became expert in directing only Fantasy,Stunt and Costume films.
In his career from 1929 to 1973 period,he directed 20 silent and 70 Talkie films -all stunt and fantasy films, except one social film Kya yeh Bambai hai in 1959.

He was associated with Mohan pictures for a long time and directed 18 films for this company. During this period he also married his Heroine Sarojini ( real name Roshan Jehan alias Ranee). They had one daughter-AZRA, who too became an actress. Sarojini was the sister of Indurani, who was married to Ramnik Shah, owner of Mohan Pictures. Thus Ramnik and Nanubhai were ‘Sadu’s ( Co-Brothers).

Unlike most of his colleagues ,who had no formal school education ,Mr Vakil was highly educated, being B.A.L.L.B. in those days. Since beginning,he was attracted to Fantasy & Arabian Night movies.He believed that,the audience visits the cinema hall,to experience some thing,which he has not seen in his real life.He wants to be entertained & to forget the harsh realities of the outer world.Fantasy/ Costume movies transports him to an imaginary world of King & Queens,where beside the crafty Vazir,he finds gorgeous girls dancing,the handsome,manly & brave hero,rescues the pretty damsel from the clutches of evil magician.The movie come to an end and the viewers come out from the theater,happy & satisfied,since evil doers have been eliminated & brave man living happily with the petite gal,in their fairy land. Bulbul E Bagh,Rashk E Laila,Fakhr E Islam,Gulshan E Alam,Kumud Kumari were his earlier movies.

In 50s & 60s, few of his movies were, Shan E Hatim,Khul Ja Sim Sim,ShanE Khuda, Idd Ka Chand,Noor Mahal,Flying Rani,Alam Ara Ki Beti,Bansri Bala, Hatim Tai Ka Beta etc..He made remakes of many movie like Lal E Yaman, Alam Ara (Twice, in 1956 & !973) & Hatim Tai Ki Beti in 1940 & 1955. During his five decades long career, he made movies with in a small budget, with less paid actors. Nanu Bhai Vakil had two productions Companies viz Desai Films & Vakil Production. All his movies had no connect with the present. Elite & pseudo intellectuals avoided to even discuss his movies, but Vakil Sahab had a dedicated audience consisting of common public,less privileged & so called front benchers,who enjoyed his brand of cinema.

His films included less known stars like Sarojini, Navin chandra, Rafiq, Prakash,Gulnar,Daljit, Chitra etc. He also worked with Zubeida, Yakub, Jal Merchant,Jaddanbai,Shanta Hublikar, Nimmi, Veena, Jairaj, Shakila,Nirupa Roy, Nadira,Mehmood,Shobhana Samarth, Nirmala,her husband Arun Ahuja etc His MDs were also little known. However,Music Director A.R.Qureshi ( the famous Tabla Nawaz Alla Rakha-father of Zakir Hussain) gave music to his 18 films.

He never mixed with film folks and spent his life aloof. He quietly died on 29-12-1980 at Bombay.

Actress Anwari, who acted in film Jadui Bansari-48, was from a Tawayaf family of Lucknow. She started her acting career with film Heer Ranjha-32 and then she acted in film Pooran Bhagat-1932, along with K L Saigal. She joined East India Film co. and worked in films likeAurat ka pyar-33,Night Bird-34, Nagin-34 and Mumtaz Begum-34. She had also acted in another NT film Chandidas-34. She shifted her base to Bombay and worked in several films for next four decades. Her last film was Chaitali-1975. In all she did 140 films. She was known as ‘ Pride of Lucknow’ during her peak period. She was credited variously as Anwari Begum, Anwari, and Anwari bai. She expired somewhere in early 80s.

Among the old era MDs, Damodar Sharma was different, in the sense that his songs were always unlike those of his contemporaries. When you hear today’s song, you will notice that difference. From 1934 to 1948, he gave music to just 41 films. All his films were C grade films made by Paramount, Liberty, Ramnik Productions, Mohan Pictures and others. After 1948, he stopped getting films, so he worked as assistant to MD A.R.Qureshi till 1964. Today’s song is sung by Amirbai Karnataki and A.R.Oza.

Amritlal R. Oza was a Nagar Bramhin from Gujarat. He joined Ranjit when Khemchand Prakash, Gyan Dutt and Bulo C Rani were paid musicians there. His first song came in Pujari-46. He was very friendly with Bulo C Rai and Hansraj behl. He sang maximum songs for them only. At the same time he sang in Gujarati films and he became very famous and popular there.

Some Hindi films in which he sang are, Lakhon mein ek-47, Nanad Bhojai-48, Bichhade Balam-49( he sang with Meenakumari also), Bhool Bhulaiyan-49, Nili-50 etc. He sang 39 songs in 23 Hindi films,but sang much and many more in Gujarati. After retirement he settled in Ahmedabad, where he died on 13-5-1985.

Let us now enjoy this fast paced lovely duet from Film Jadui Bansari-48, which makes its Debut on the Blog.


Song-Ghar ghar yahi prachaar karo (Jaadui Bansari)(1948) Singers- Amirbai Karnataki, A R Oza, Lyrics- Roopvani, MD- Damodar Sharma
Male chorus
All together

Lyrics

Ghar ghar yahi prachaar karo
duniya waalon pyaar karo
Ghar ghar yahi prachaar karo
duniya waalon pyaar karo

pyaar se jab dil milte hain
pyaar se jab dil milte hain

man ke kamal tab khilte hain
man ke kamal tab khilte hain
jeet karo ya haar karo
jeet karo ya haar karo

duniya waalon pyaar karo
duniya waalon pyaar karo
Ghar ghar yahi prachaar karo
duniya waalon pyaar karo

apna kaho to apna jaano
preet ki reet ko tum pehchaano
apna kaho to apna jaano
preet ki reet ko tum pehchaano
sabse naina chaar karo
sabse naina chaar karo

duniya waalon pyaar karo
duniya waalon pyaar karo
Ghar ghar yahi prachaar karo
duniya waalon pyaar karo
Ghar ghar yahi prachaar karo
duniya waalon pyaar karo

hamne dekho
hamne dekho pyaar kiya hai
jooton(?) ka vyapaar kiya hai
hamne dekho pyaar kiya hai
jooton(?) ka vyopaar kiya hai

tum bhi ye vyapaar karo
tum bhi ye vyapaar karo

duniya waalon pyaar karo
duniya waalon pyaar karo
Ghar ghar yahi prachaar karo
duniya waalon pyaar karo
Ghar ghar yahi prachaar karo o


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

This is a labour of love, where “new” songs are added every day, and that has been the case for over ELEVEN years. This blog has over 15100 song posts by now.

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