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

Archive for the ‘Biography of Actor-Singer’ Category


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

Blog Day :

3770 Post No. : 14745 Movie Count :

4031

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


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

Lyrics

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

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

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

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

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

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

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

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

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

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

Blog Day : 3707 Post No. : 14632

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


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

Lyrics

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

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

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

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

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


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

Blog Day : 3688 Post No. : 14595

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

janaab e naaseh samahjte hain hum
wo sangdil hain jafaa karenge

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

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

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

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

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

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

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

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

Lyrics

aaaa aa aa
aa aaaaa aaaaaaa
aaaa aaa aa aa

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

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

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

आsss आ आ
आ आssss आssssss
आsss आss आ आ

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

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

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

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


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What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over TEN years. This blog has over 14700 song posts by now.

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

Total number of songs posts discussed

14752

Number of movies covered in the blog

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

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