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

Archive for the ‘Biography of actors’ 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 : 3636 Post No. : 14464

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Lyrics (Provided by Sudhir)

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

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

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

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

sidhraa..aa..aa..aaj

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

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

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

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

सिद्धरा॰॰आ॰॰आ॰॰आज

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

Blog Day : 3599 Post No. : 14366

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 


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

Lyrics (Provided by Sudhir)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


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

Blog Day : 3541 Post No. : 14215

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 


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

Lyrics (Provided by Sudhir)

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

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

ye kya kar raha hai

taan maar raha hoon

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

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

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

kaisi bhai ye harkat

kalaam le raha hoon

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

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

ये क्या कर रहा है

तान मार रहा हूँ

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

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

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

कैसी भई ये हरकत

कलाम ले रहा हूँ


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

Blog Day : 3491 Post No. : 14023

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

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

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

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

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

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

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

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

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

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

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

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

 

Film Title Year Production Company Director

Heroine / Co worker

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

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

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

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

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

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

Acknowledgements :

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


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

Lyrics (Provided by Sudhir)

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

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

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

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

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

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


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 : 3484 Post No. : 13994

Today’s song is from film Azaadi-35.

It is always a pleasure for me to write on films and songs of the 1930s and the 1940s. It is a different world altogether and traversing on the path of these decades is easy, for there is no crowd here. Not many writers are interested in discussing songs from the 1930s in details.

There are several reasons for this. First and foremost is lack of information. Considering what our love for recording history of old films and the artistes is, one has to be lucky to a great extent to have enough material to write about, in the first place. Secondly, most artistes of the 1930s and early 1940s were the lot carried forward or brought forward from the Silent Era. By the end of the first 10 years, most of these brought forward artistes went into oblivion and new force of artistes entered the film industry.

Most artistes of 1930s seem to be faceless, with only names to go by. No details, no biographies and no other informations are available for them. A select few, however, were well known with their details available, as they continued deep into the 1940s and some even into the 1950s. No information is available for most leading artistes and character artistes of 1930s. For example, artistes like, S.M.Hadi, Miss Khatoon, Miss Ameena, Kashinath, Tara, Armelin, Nayampally, Rampyari, Master Mohd., Shanta kumari, Shantarin, Vimla, Shareefa, Prabha shankar, Zebunnisa, Sultana, Shehzadi, Zillobai, Mushtari,Khalil, Jamshed ji, Chandrarao, Iqbal, Miss Kamla, Sorabji kerawala, Laxmi, Anwari, Shankarrao Bhosle, Shankarrao Vazare, Nimbalkar, Miss Leela, Madhav Kale, Jal Merchant, Sayani, Keki Adjania, Bhagwandas, Panna, Alaknanda, Hafiz, Sunalini,Sushila, Vasantrao Pehelwan, Marutirao Pehelwan, Zohra, M.Ismail…….the list is too long.

There are hundreds of such names about whom absolutely no information is available. This makes writing on old films/artistes a huge problem for students of film history ,like me. We have to be constantly on our toes to look for such information. Sometimes, Lady Luck blesses us and we come across heaps of information about an obscure name and our joy knows no bounds.

Something like this happened with me sometime back. I stumbled on an article in ” The Tribune” dated 26-5-2001, titled ” The Himachali who shone in Bollywood “, written by Ms. Anjali Mahajan. As soon as I started reading it, I realised that I was onto a discovery ! The article was based on an interview of Ms. Bimla, daughter of yesteryear actor-Hero Vijay kumar Pandit-whose song we are going to discuss today. I was not only overjoyed, but also I thanked my good luck. So, here is the information I gathered from this article as well as some other sources and HFGK of course.

As we all know, our Hindi film industry is full of Same Name Confusions. I know at least two more Vijay Kumars who acted in Hindi films. One of them was Johnny Walker’s brother, who was Hero in few films like Wanted-61 etc.

Vijay Kumar Pandit was born on 10-3-1905 in Shageen village in Shimla. His father, Kanshiram, was a rich and prominent person in the village. Brilliant Vijay Kumar matriculated from Shimla and did F.A. from Mahindra College, Patiala. While in school and college he was doing stage dramas. He did a role in Agha Hashra Kashmiri’s play “Asir-E-Hind”. He graduated from S.D.College, Lahore in 1930 and passed his M.A. M.O.L. from Lahore only in 1932.

Handsome Vijay Kumar joined as A.D.C. to Maharaja of Patiala. His love for acting continued and in one drama, even the Music Director/Singer S.D.Batish acted with him. Based on his recommendation, Vijay Kumar got Hero’s role in Premier Film Co.’s silent film,”Dukhtar-E-Zamana”. At Patiala, Vijay Kumar got married to Miss Tara, who was the sister-in-law (saali) of the maharaja of Patiala.

Then he moved to Bombay to enter films. His first film was Shakti Cinetone’s “Sajeev Moorti”-35, in which he was paired with Ashalata ( Mehrunnisa Bhagat-first wife of Anil Biswas). His wife Tara also acted in this film for the only time in her life. Then came film ‘Azaadi-35’ from same company. In this film he not only acted, he also wrote the script and gave Music. His next film was Mohan Bhavnani’s comedy film, “Shaadi ki Raat”-35, in which he was paired with actress Shareefa.

After this he moved to Calcutta, on the invitation of East India Film Co. for their film, “Sunehra Sansar”-36. Along with him Rampyari, Kamla Jharia and Menaka also acted i it. For this film, he wrote all its Lyrics also. Impressed with his performance, New Theatres called him for film, “Abhagin”-38, opposite Molina Devi and menaka.

Vijay Kumar returned to Bombay and acted in his last film,”Asha”-38, made by Film corporation of India. His Heroine was Kamlesh Kumari. After this film, he got intimation from Shimla about the illness of his father and he returned to Shimla to look after him. After doing 6 films as a Hero, due to the protracted illness of his father, Vijay Kumar could not return to Films ever. His father died in 1947 and all the responsibility of ancestral property fell on him.

All India Radio, Shimla invited him to work for them. He wrote and directed several dramas for Radio. Same time he acted in stage dramas in Gaiety Theatre of Shimla. According to his daughter, Raj Kapoor had invited him to work in the film Jaagte Raho, but he could not go. He stayed at Shimla till his death in 1977.

I was lucky to get information on this unknown hero, but there are hundreds of artistes without any face or information- only names.

Somehow,I seem to be lucky that some people from faraway countries contacted me and I got clues to get in touch with relatives of yesteryear actors, like Bhudo Advani, Indurani, Parshuram, Latika, Mirza Musharraf and few more. Recently, a gentleman from Dubai contacted me saying that he was the grandson of an obscure hero of over 20 films of 1930s and 1940s. I am in the process of meeting the son of that actor soon. So hopefully, we will know about yet one more old time actor and his career, sometime in coming months.

Today’s song is sung by Vijay Kumar. HFGK does not mention names of singers, Lyricist or the Composer of this film. However, this is one of the 6 songs Vijay Kumar sang for his films, since there was no Playback system in force that time. He sang a song even in New Theatre’s film Abhagin-38.

The uploader of this song on You Tube claims that the music is given by Mushtaq Hussain, HFGK thinks the composer may be Master Chhaila and the daughter of Vijay Kumar claims that HE was the Music Director for this film. Only Time will tell the truth.

Let us enjoy the song. With this song film Azaadi – 1935 makes its Debut on this Blog.


Song-Tan prem ki raakh laga kar ke (Aazaadi)(1935) Singer-Vijay Kumar Pandit

Lyrics

tan prem ki raakh lagaa kar ke
tan prem ki raakh lagaa kar ke
sukh prem ki dhooni ramaayenge
phir prem ki maala phira kar ke
phir prem ki maala phira kar ke
mukh prem ka ??? chadhaayenge
prem hi saadhan
prem hi poojan
prem hi saadhan
prem

prem hi saadhan
prem hi poojan
prem se hi hai safal ye jeewan
prem mein hai (?) jagat mein
prem ki bansi bajaayenge
prem ki bansi bajaayenge

prem pujaari prem mandir mein
prem pujaari prem mandir mein
prem pujaari prem mandir mein
prem ke pushp chadhaayenge
prem ke pushp chadhaayenge
prem hi prem hai saare jagat mein
prem hi prem hai saare jagat mein
prem hi prem hi prem
prem hi prem hi prem


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.

Today’s song is from a very little known film ‘Nirmal’ from 1952. During the period of the 50s, the film industries in all centres, i.e. Calcutta, Madras and Bombay were in full steam. The Partition had made a quantitative and qualitative change in the Hindi film industry. Many seasoned and successful artists had left India, creating a void suddenly. However, this proved to be an opportunity in disguise for many artists ‘waiting in the wings’ in the fields of  acting, film direction and music direction. The void was filled up almost immediately.
Read more on this topic…


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.

Today’s song is from film Lajawab-50. It was a production of Variety pictures – a company owned by actress Ashalata Biswas- wife of Anil Biswas ( real name Mehrunnisa Bhagat). It is needless to state that the music for this and every film of this company, was composed by Anil Biswas. The film was directed by the veteran J.P.Advani, who was known to Anil Biswas from the mid 30s. However, they came together only in 3 successive films, namely Veena-48, Laadli-49 and Lajawab-50.
Read more on this topic…


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.

Today’s song is from the landmark film ‘Amar Jyoti’ (1936), made by the Prabhat Film company, Poona. It was directed by V Shantaram. It was photographed by his elder brother V Avadhoot and the music was by Master Krishnarao Phulambrikar. All the songs were written by Pandit Narottam Vyas. Today’s song is sung by Vasanti and chorus. The song is also used as a background song few times in the movie since it conveys the essence of the film’s theme- fight against injustice.
Read more on this topic…


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.

This article is his 600th writeup in the blog.

Today’s song is from film Aandhi-40. The film was directed by Dinesh Ranjan Roy, music was by K.C.Dey and this song is sung by Pankaj Mallik and Radha Rani.

There is a reason why I selected this song. I wanted a song sung by Radha Rani, so that I get an opportunity to settle the issue of multiple Radha Ranis. ” Same name confusion ” is very common in the world of Hindi cinema. Luckily, the confusion existed only between 1931 and 1960. There are many many cases of same name Directors, Music Directors, Singers and Actors. Information on all names is extremely difficult to come by. Still I managed to write on 15 pairs of Same name Artistes in 3 articles and tried to clarify the confusions.
Read more on this topic…


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.

What is common among Sulochana (real name: Ruby Mayer), Rose (Rose Musleah), Pramila (Easther Victoria Abraham), Sabita Devi (Iris Gasper) and Ramola Devi (Rachel Cohen)?

They all were Jews (almost all of them being Baghdadi Jews) hailing from Calcutta (Kolkata) and were star actresses in Hindi films during 1930s and 40s. Barring Ramola Devi, all of them started their filmy career with silent films. It is surprising that those days when oriental women were mostly relegated to the four walls of their homes, how these Baghdadi Jew actresses found their way to the film industry which was not regarded as a respectable profession even in their Middle-East culture. To understand this, it is necessary to go into the genesis of Baghdadi Jews in India.
Read more on this topic…


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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 more than nine years. This blog has over 14500 song posts by now.

This blog is active and online for over 3600 days since its beginning on 19 july 2008.

Total number of songs posts discussed

14509

Number of movies covered in the blog

Movies with all their songs covered =1141
Total Number of movies covered =3960

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