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

Archive for the ‘Biography of lyricist’ Category


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.

During 1945-47, Hindi film industry went through a difficult phase. The speculative gains made by some businessmen during the period of WWII which were partly chanellised in the film industry, dried up which affected the film production. When the film industry was just recovering from the after effect of WWII, communal riots broke out on the eve of as well as following the partition, affecting film productions at Bombay (Mumbai)whereas Lahore film industry was badly affected as many film financiers and technicians migrated to India.

M R Bhakri whose filmy career as a story writer and lyricist was taking shape in Lahore film industry just after the end of WWII, became one of the many victims of partition in 1947 from the Lahore film industry. He alongwith his brothers (all associated in the film industry) arrived in Bombay (Mumbai) soon after the partition.

Mulkhraj Bhakri (18/12/1913 – ??) was born in Gujranwala in Punjab (now in Pakistan). His father, Moolchand Bhakri was a store-keeper in Indian Army Service Corps (IASC) at Pathankot. He went to school in Lyallpur (now Faisalabad) in Pakistan.

According to character actor Janaki Dass, M R Bhakri was an ardent fan of films. He watched almost all the films which were shown in the theatres of his place. His memory was so sharp that he used to recite important dialogues from the films and also remembered most of the songs. It was natural that after completion of his Matriculation examination in 1931, he was keen to join the film industry.

M R Bhakri started his career as a Cinema Manager. But it took a long time to get his first break in the film ‘Arsi’ (1947) as story and dialogue writer. After the success of the film, M R Bhakri got two films – ‘Barsaat Ki Ek Raat’ (1948) and ‘Papiha Re’ (1948) for which he wrote story, dialogues, screen play and lyrics. Both these films were being produced in Lahore studios. Unfortunately, these two films became victims of partition and were temporarily abandoned. These films were later released in some parts of India.

After arriving in Bombay (Mumbai), he devoted his time to bring together most of the displaced actors and technicians from Lahore some of whom were associated with his films and helped the creation of a film production banner ‘Nigaristan (India) Films’. Simultaneously, he wrote story, dialogues, screen-play and lyrics for films like ‘Chunariya’ (1948), Saawan Baadhon (1949), ‘Naach’ (1949), ‘Roomal’ (1949) ‘Chakori’ (1949) and ‘Lachhi’ (Punjabi,1949). ‘Bansariya’ (1949) was his first film as a producer under the banner of Nigaristan (India) Films, for which he also wrote story, dialogues, screen play and lyrics.

In 1950s, he produced films like ‘Moti Mahal’ (1952), ‘Shah Behram’ (1955), ‘Alladin Leila’ (1957), ‘Guest House’ (1959) and ‘Bhangra’ (Punjabi, 1959). Thereafter, he was associated with films mostly as screen-play and dialogue writer. His last film as a screen-play and dialogue writer was ‘Sansaar’ (1971).

M R Bhakri had three brothers – Lekhraj Bhakri, Deshraj Bhakri and Rajkumar Bhakri. All brothers were associated with Hindi film industry. Lekh Raj Bhakri who started with Kuldeep Pictures as Controller of Production for ‘Chunariya’ (1948) eventually became a producer-director.

Some of the films which Lekhraj Bhakri produced/directed were mostly under the banner of Kuldeep Pictures, Jubilee Pictures, Golden Films and Tasveeristan. His notable films as director were ‘Rajput’ (1951), ‘Resham’ (1952), ‘Daak Babu’ (1954), ‘Naqaab’ (1955), ‘Fashion’ (1957), ‘Sahaara’ (1958). ‘Panchaayat’ (1958), ‘Shama’ (1961) and ‘Banarasi Babu’ (1962). Desh Raj Bhakri looked after the film production side and Rajkumar Bhakri was a Cinematographer. M R Bhakri’s son, Mohan Bhakri was also a producer-director who was mostly connected with about a dozen ‘B’ Grade horror films made during 1980-2000.

Manoj Kumar is a second cousin of Bhakri brothers. In fact, the first shot he gave was in the film ‘Fashion’ (1957) directed by Lekhraj Bhakri. In this film, the song ‘maati ko lazaana nahin mera desh hai mahaan’ was picturised on him. Manoj Kumar also got a side role in ‘Sahara’ (1958) which was also directed by Lekhraj Bhakri.

As I mentioned earlier, ‘Papiha Re’ (1948) was one of the two films which were under production in Lahore when communal riots broke out. The film’s producer, Kuldeep Sehgal along with M R Bhakri, the story and dialogue writer and other actors and technicians associated with the film arrived in Bombay (Mumbai) almost penniless. According to Janki Dass, it was M R Bhakri who organised the finance, casting, technicians and distribution for the film and got it released in 1948. In fact, in some references, M R Bhakri has been mentioned as the producer of ‘Papiha Re’ (1948) though the banner is Kuldeep Pictures owned by Kuldeep Sehgal.

‘Papiha Re’ (1948) was directed by Lahore-based Dawood Chand. The star cast included Amarnath, Akhtari, Pran, Asha Posley, Mumtaz Begum, G N Butt etc. Not much information about the story and plot of the film is available online. As happened with some of the films caught in the sword of partition in 1947, this film also did not get an all India release. The film was released in limited places in India.

The film had 12 songs written by Mulkhraj Bhakri which were set to music by Dhaniram, a debut film for him. Here is the film’s first song ‘kat gayi waadon mein kuchch waadon mein kuchch kat jaayegi’ to appear in the Blog. The name of the singer is not known but it is apparent that the voice is that of Ameerbai Karnataki.

Incidentally, a song with similar first line was also listed under the film ‘Dhamki’ (1945). But the singer, lyricist, and the music director were listed as ‘Zeenat Begum, D N Madhok, and Pandit Amarnath respectively. Unfortunately, I could not trace the song online.

With this song, ‘Paphia Re’ (1948) makes its debut in the Blog.

Note: The main source of information on the early life of Mulkhraj Bhakri is from an article written by the character actor Janaki Dass which appeared in July 1949 issue of ‘Sound Magazine’.


Song-Kat gayi waadon mein kuchh waadon mein kuchh kat jaayegi (Papeeha Re)(1948) Singer-Amirbai Karnataki, Lyrics-Mulkraj Bhakri, MD-Dhaniram

Lyrics

aa aa aa
aa aa aa aa aaa
kat gayi waadon mein kuchch
waadon mein kuchch kat jaayegi
aankh bhar aayegi jab
meri wafa yaad aayegi

jitna jee chaahe
sataa lo
ek din wo aayega
aa aa aa
jitna jee chaahe
sataa lo
ek din wo aayega
dard ban kar yaad meri
dil mein sau bal khaayegi
dard ban kar yaad meri
dil mein sau bal khaayegi

dekh lo o o
mere tadapne
ae ae ae ae ae
ae ae ae ae
kaa tamaashaa
dekh lo aa aa aa aa
dekh lo o o
aa aa aa aa
mere tadapne kaa
tamaashaa aa
dekh lo
aa aa aa aa
meri khaamoshi bhi tumko
ek din tadpaayegi
meri khaamoshi bhi tumko
ek din tadpaayegi
kat gayi waadon mein kuchch
waadon mein kuchch kat jaayegi
kat gayi waadon mein kuchch

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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.

This post is 501st post by Sadanand Ji. Due to a tagging error, we all missed the event of 500th post by him (his previous post).

In the early part of the golden era of Hindi film music, there were many films which were box office disasters. These films got released but vanished from the theatres quickly. These films also got ‘erased’ from the memories of the film audience of that time except those who had interest in Hindi film history. Some of such obscure films had the treasures of melodious songs.

If I confine myself to the first half of 1950, I get quite a good numbers such obscure films having melodious songs. Some of such films were ‘Adaa’ (1951, Madan Mohan), ‘Malati Madhav’ (1951, Sudhir Phadke), ‘Ghunghroo’ (1952, C Ramchandra), ‘Nirmohi’ (1952, Madan Mohan), ‘Raag Rang’ (1952, Roshan), ‘Baaghi’ (1953, Madan Mohan), ‘Fareb’ (1953, Anil Biswas), ‘Jhaanjhar’ (1953, C Ramchandra), ‘Chor Baazar’ (1954, Sardar Malik), ‘Naaz’ (1954, Anil Biswas), ‘Rishta’ (1954, K Datta), ‘Garam Coat’ (1955, Amarnath Chawla), ‘Madhur Milan’ (1955, Bulo C Rani) etc. The list is not exhaustive.
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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.

रोक सकता हमें ज़िन्दान-ए-बला क्या मजरूह
हम तो आवाज़ हैं दीवार से छन जाते हैं

Rok sakta hamen zindaan-e-bala kya ‘Majrooh’
Ham to aawaaz hain deewaar se chhan jaate hain.

[Can prison of calamity stop us?
We are the voice which can infiltrate the wall].

This she’r was written by the young Majrooh Sultanpuri probably sometime in the 1940s. Perhaps he was goaded by the idealistic impulses when he was  associated with the Progressive Writers Association (PWA), a left-oriented ideological group.  Nonetheless, for Majrooh Sultanpuri, it has been a quick transformation – from an idealistic poet of PWA  to a lyricist in the film industry.
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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.

In the 1930s and 40s, Hindi film industry attracted many well known poets and writers of Hindi/Urdu. Munshi Premchand joined Ajanta Cinetone and wrote story and screen-play for the film ‘Mazdoor’ (1934) in which he also played a cameo role. Dr Safdar ‘Aah’ Sitapuri, the Urdu poet and writer joined National Studios in 1939 and later Bombay Talkies as screen-play/dialogue writer and lyricist. Later, he also directed two Hindi films. Upendranath ‘Ashq’ joined Filmistan in 1944 as screen-play and dialogue writer. Josh Malihabadi, the Urdu poet joined Shalimar Studio in 1942 as dialogue writer and lyricist. Amritlal Nagar joined the film industry in 1941 as a screen-play/dialogue writer and lyricist. The list is not exhaustive.
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This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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.

Songs to Tickle Your Memory – 23
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‘Aankhen’ was released in 1950.  Most people remember it for being the debut film of music director Madan Mohan.  Amongst all the wonderful songs that caught the attention of the listeners, there is this lovely melody in the voice of Meena Kapoor, that really steals away your heart – “Mori Atariya Pe Kaaga Bole, Mora Jiya Doley, Koi Aa Rahaa Hai”.  For me, it is this one song that makes this film and its music memorable.  This is one of the two songs that Bharat Vyas wrote for this film.

Remembering Bharat Vyas on the anniversary of his passing away (5th July).
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This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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.

Shyamlal Babu Rai, who wrote endearing gems in the golden era of melody, such as “Bade Armaanon Se Rakha Hai Balam Teri Kasam”, and also popular hits for the new generation in the 1970s, such as “Aap Jaisa Koi Meri Zindagi Mein Aaye, To Baat Ban Jaaye”, had started his career back in the 1946 with two completely obscure and now unknown films – ‘Double Face’ and ‘Jungle Ki Pukaar’.  Information about these films is not easily traceable, and neither have the songs of these films have surfaced so far.

Remembering Indeewar, song writer par excellence, on the anniversary of his passing away today (27th Feb).
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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. This is the 300th article in the blog for Mr Sadanand Kamath.

A man with a spiritual bend of mind would believe that his destiny was pre-planned even before he was born. There are others who believe that they can mold their own destiny. Shailendra was one of those who seemed to have believed that he could be master of his own destiny. That he was a member of Indian People’s Theatre Association (IPTA) indicates what destiny he had chosen for himself. He had taken up the task of awakening the Indian masses on their rights and duties in the background of post-independent India. It was therefore no surprise when he spurned Raj Kapoor of his offer of taking his inspirational song for the film Aag (1948) telling him that his poems were not for sale. However, Raj Kapoor left his address with him in case he had a change of mind.
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This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

“Wo Jab Yaad Aaye, Bahut Yaad Aaye”(‘Parasmani’, 1963).
Read more on this topic…


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

The best way to write about a poet is to write about his works, his poetry. But when we come to a poet of the stature of Rajinder Krishan, it becomes a very difficult task to write about his poetry. One simply does not know where to start. The body of work is enormous, and the number of pleasing heart stealers is so numerous, that just a sample list of favorites will go beyond a reasonable length for a write up. And no matter how representative one makes this sampler list, readers and friends will come up with wonderful gems of A grade quality that must be included.
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Today (3 august) is the birth anniversary of Shakeel Badayuni (3 august 1916- 20 april 1970). The combination of Shakeel Badayuni as a lyricist as Naushad as a music director was one of the most common and most successful lyricist-music director combinations of the golden era of Hindi movies. They worked together in as many as thirty movies.
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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 13500 song posts by now.

This blog is active and online for over 3300 days since its beginning on 19 july 2008.

Total number of songs posts discussed

13529

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Movies with all their songs covered =1015
Total Number of movies covered =3712

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Blog Start date: 19 july 2008

Active for more than 3250 days.

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