Archive for the ‘Body part song’ Category
Mere gore gore gaal
Posted on: November 25, 2018
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 : | 3782 | Post No. : | 14763 |
“Dulhan”(1958) was produced by A A Nadiadwala and directed by V M Vyas for Pushpa Pictures, Bombay. This “social” movie had Nirupa Roy, Rajkumar, Bhagwan, Nanda, Jageerdaar, Sheila Kashmiri, Manorama, Agha, Jeewan, Indira Bansal, Munshi Munaqqa, Maqbool, Iqbal, Kanchan, Ansari, Moti (the dog) etc in it.
The movie had nine songs in it. Four songs from the movie have been covered in the blog.
Here is the fifth song from “Dulhan”(1958) to appear in the blog. This song is a duet sung by Shamshad Begam and Rafi. P L Santoshi is the lyricist. Music is composed by Ravi.
The song is sung in a rock and roll style (which was quite popular in India at that time. The song is picturised as a club dance song. One can see Bhagwan lip syncing in Rafi’s voice. I am unable to identify the lady who lip syncs in Shamshad Begam’s voice. I request our knowledgeable readers to help identify her.
With this song, the blog now has 4800 songs from the decade of 1950s (1951 to 1960), which is easily the most well represented decade in the blog.
Song-Mere gore gore gaal (Dulhan)(1958) Singers-Shamshad Begam, Rafi, Lyrics-P L Santoshi, MD-Ravi
Both
Bhagwaan
Lyrics
yaa hoo
mere gore gore gaal
mere kaale kaale baal
mera husn laajawaab
meri ada bemisaal
that’s all
o tere neele neele nain
tere meethhe meethhe bain
loote mere dil ka chain
kya kahoon main dil ka haal
that’s all
mere gore gore gaal
mere kaale kaale baal
mera husn laajawab
meri ada bemisaal
husn waale kahte nahin kitne hum hain haseen
apne husn per unhen hota nahin hai yakeen
o husn vaale kahte nahin kitne hum hai haseen
apne husan pe unhe hota nahin hai yakeen
poochhe kaun husn ko na ishq ki jo shah mile
poochhe kaun husn ko na ishq ki jo shah mile
chaahne valo ki nazar ka hai ye sab kamaal
that’s all
mere gore gore gaal
mere kaale kaale baal
mera husn laajawaab
meri ada bemisaal
that’s all
o tere neele neele nain
tere meethhe meethhe bain
loote mere dil ka chain
kya kahoon main dil ka haal
pahle kisi but pe kabhi marna nahin chaahiye
mar gaye to shor kabhi karna nahin chaahiye
pahle kisi but pe kabhi marna nahin chaahiye
mar gaye to shor kabhi karna nahin chaahiye
aaye thhe ye ban ke chacha majnu farhaad ke
laila
haaye laila
aaye thhe ye ban ke chacha majnu farhaad ke
kuchh na ban pada to kahen that’s all
that’s all
that’s all
o tere neele neele nain
tere meethhe meethhe bain
loote mere dil ka chain
kya kahoon main dil ka haal
that’s all
mere gore gore gaal
mere kaale kaale baal
mera husn laajawaab
meri ada bemisaal
that’s all
tere gore gore gaal
that’s all
tere kaale kaale baal
that’s all
tera husn laajawaab
that’s all
teri ada bemisaal
that’s all
Ab to hand mein hand nahin
Posted on: October 20, 2018
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 : | 3746 | Post No. : | 14705 |
Today’s song is the 5th song from the film Aahuti-50, to be discussed here. I have not seen this film, but from its second Title ” Anokhi Kurbani “, the movie seems to be about some kind of sacrifice. Whether it was for the country, family or just a Lover is not known. This was one of those films, made by a less known banner, directed by one whose name I read first time- Kulbhushan and the MD, who left no trace of him either of origin or the end- D.C.Dutt.
D C Dutt is its Music Director. His name is not known to many. All of us know that Lata Mangeshkar had to struggle very hard in her initial attempts of getting into Playback singing in Hindi films. In her early struggle, three Duttas helped her. The first was of course Datta Davjekar who gave her the first opportunity to sing a playback song for his film Aapki sewa mein-47. The second was K.Datta or Datta Korgaonkar, who, after his favourite singer Noorjehan left India, took Lata under his wings and gave her songs. The third Dutt was this-D C Dutt. No information is available about him whatsoever, except what is printed in HFGK and its duplication in Pankaj Raag’s book “Dhunon ki Yatra”. Thanks to this, we know that his debut was through film Sona Chandi-1946. Out of 12 songs of that film, only two were his and one of them was by Lata Mangeshkar. For rest, the composer was Tufail Faruqi.
This Lata song has a history. Film Sona Chandi was censored first on 19-7-46 and released. That time these 2 songs of D.C.Dutt were not there. In January 1948, when Gandhi ji’s death took place, many songs on Gandhi ji were recorded by many singers and composers. One of the most famous, popular and successful song was “Suno suno aye duniya walon, Bapuji ki amar kahani” sung by Mohd. Rafi in 4 parts and recorded by its composers Husnalal-Bhagatram. In this spate, D.C.Dutt also recorded a Gandhi ji song by Lata in 1948. Producers of film Sona Chandi got this and one more song ( by Saroj Borkar) included in the film and the film was re-censored on 9-4-48. Thus an early song of Lata was in a film, because of D.C.Dutt. Meanwhile the original Music Director of the film Sona Chandi-46 aka Bhai-Bhai, Tufail Faruqi ( brother in law of Ghulam Haider) had already migrated to Pakistan after the Partition.
D C Dutt later did some more films like, Sarai ke bahar-47, Dil ki Awaz-48, Anjana-48 ( he even acted in this film), Ram Darshan-50 ( he was one of the 6 Music Directors that the film had), Aahuti-50, Simba-51, Ranee-52 and lastly Sahil-59. Very surprisingly, after film Sona Chandi-46, Lata did not sing a single song in any of his films. After 48-49, Lata had become a very busy and ‘in demand’ singer and she would sing only for established composers ( we all know that she did not sing even in Madan Mohan’s debut film Aankhen-50, just because he was new).
The cast of the film, Aahuti-50 consists of Mumtaz Shanti, Ranjit Kumari ( who married actor Ramsingh and settled in UP), Sapru, Kesari, Bikram Kapoor, Struggling actress Shyama, Sudhir, Indubala and many others.
Mumtaz Shanti or Mumtaz Begum was born in 1922 at village Dinga in Punjab (now in Pakistan). She lost her parents early and she was brought up by her uncle who was a Police constable. After his transfer to Lahore, Mumtaz was able to continue her schooling. She learnt dancing and Music.She was also an expert in household chores. She was first rejected by Shorey Pictures,but then the famous writer/Lyricist Wali Saheb helped her and took her to Calcutta’s East India Film co. to work in a Punjabi film ‘Sohni Kumharan’-37. She also did another Punjabi film ‘Chambai ki Dali’-41 in Calcutta. Meanwhile,she was invited by Shorey pictures to Lahore to act in their Punjabi film ‘Mangti ‘-42. This film ran for 65 weeks giving her name and fame.
Barkat Nizami was the uncle of actress Mumtaz Shanti. It was through the efforts of Barkat Nizami that she was introduced to the Hindi film screen. This person had a knack for recruiting girls to cinema. First he brought in Mumtaz Shanti and then his own wife, Geeta Nizami. According to him this was a business, more than a marriage. He used to take 50% of earnings from Mumtaz Shanti, but after she married Wali Saheb, this stopped.
Rai Bahadur Chunilal Of Bombay Talkies offered her a role in their film Basant-42. She did Basant and Kismet-43. Both the films were hits and famous all over India. Mumtaz was good looking,tall and lithe,so looked attractive. After Kismet she became a freelancer and worked with many different studios, in Badalti Duniya and Sawal-43,Bharthari, Lady Doctor and Pagli Duniya-44,Chand chakori-45,Shravan Kumar, Dharati, Magadhraj and Pujari-46, Dekhojee and Doosri Shaadi-47,Padmini, Heer Ranjha and Ghar ki izzat-48,Putali, Biwi and Aahuti-50. Her last film in India was Zamane ki Hawa-52. In all she worked in 21 Hindi and 4 Punjabi films. She did 2 films in Calcutta, 4 in Lahore and the rest in Bombay.
She had married Lyricist/writer/Director Wali Saheb in 1947. He directed her in 3 films in India. He was very strict and forced her to come to studios only in Burqa. She was not allowed to talk to anyone. Manto has written some interesting incidents about her in his sketch of Ashok Kumar. According to him after marriage she used to come for shootings wearing ‘Burqa’. And Wali Saheb told the Producer/Director that no one should touch her. She was the second wife of Wali Saheb and she didn’t have any issue. Wali Saheb, however adopted a son for her ( who was a child of Wali Saheb’s brother, another famous lyricist, Nazim Panipati). This adopted son, Sikander Bin Wali lives in Washington D.C. Wali Saheb’s elder son from his first marriage, Zafar was Assistant Director of film Ghunghat-1962. They migrated to Pakistan after 1953. She retired from films and remained a housewife only. Walisaheb did 3-4 films,without much success. He died in 1977. Mumtaz Shanti also died in 93/94,unsung and unknown in Pakistan. ( information culled from articles provided by shri Harish Raghuwanshi ji, Filmdom-46, Khwaja Irfan Anwar and my notes).
Many actors, Directors and few actresses came from Kashmir, to join Hindi films. In olden times, some prominent names were Jeevan, Chandra Mohan and Sapru, besides many others. Actresses were Shyama Zutshi and Yashodhara Katju in early times. Here is some information about D.K.Sapru, based on an edited article from Chinar Shade.com, and from shri M.N.Sardana ji with thanks…
“ Where from have you come ? You look like an European . Please sit . I need to talk to you .”
This is what V Shantaram had told the young boy in 1944 who had come all the way from Jalandhar to Prabhat Studios Poona . Shantaram , Babu Rao Pai and S. Fatehlal were the partners of Prabhat Studios present at that point of time.
Looking at his face and after the usual introduction ,V Shantaram signed the blue eyed handsome Daya kishen Sapru for a role in his next movie RAM SHASTRI.. The character of a Peshwa played by him was well noticed and the movie turned out a big hit.. He was signed as lead hero by the Company on a monthly salary of Rs3000/= highest ever paid to any hero during those days . It was a hefty sum that enabled him to live a princely life during those days .It was somewhere around 1945-46.
Films started pouring in later .He acted in Romeo and Juliet ( opposite Nargis . Nargis’s Mother Jaddan Bai was all praise for Sapru. The film was produced by Nargis’s brother Akhtar Hussain . ) ,Jhansi Ki Rani ,Kalapaani , Hum Hindustaani , Sahib Bibi Aur Ghulam, Mujhe Jeene Do , Leader and Shaheed . Who does not remember his role as Majhale Sarkar ( Chaudhary ) in Sahib Bibi Aur Ghulam. Again as Zamindaar in Mujhe Jeene Do , he became quite popular. We saw him in some wonderful roles in Naya Daur , Prem Pujari ,Jewel Thief , Krodhi , Kudrat ,Dharm Veer, Dream Girl, Zanjeer , Pakeezah and many more such films .It was a period when story writers would create a character for him in the story or script. He was seen either as a Zamindaar or a Police commissioner or a Judge in most of his later films .
In Total, he must have acted in more than 350 films and out of which he played lead role in more than 50 films. He also played lead roles in some Gujarati and Punjabi films.
Saprus are Sarswat Brahmins from Kashmir known as kashmiri Pandits who belong to DIPAT SAMAN AUPAMANYAVA Gotra or the lineage of an Aryan Rishi .This clan of kashmiri Pandits actually belongs to village SAPREIN in present day Kulgam district of kashmir and could be safely called as aboriginal kashmiris . some other prominent Saprus are Sir Tej Bahadur Sapru , Jagdish Narayan Sapru ( Prominent Businessman of the country ) Sahaj Ram Sapru Revenue collector during the rule of Afghan Governor Azim Khan ( 1809-1819 ) and Dr Allama Iqbal Urdu poet and Islamic scholar ( He too belonged to a Sapru family from kulgam that had converted to Islam )
Daya kishen Sapru belonged to a well off family from Kashmir and his father was employed in Maharaja’s Treasury . That made the family to move to Jammu and Lahore during winters. Daya Krishen was born at Jammu and had his early education at Jammu and Lahore .Fluent in Punjabi , he was also proficient in Hindi , Urdu and English .From his childhood days , he would love music and singing . He could easily play on his Harmonium.
Before moving to PUNE , D K as he was known amongst his numerous friends lived at Jalandhar cantt for some time where he took up the job of a contractor .He had four brothers and two sisters and D K happened to be the fourth child in this joint family.
D K Sapru met Marathi actress and IPTA activist Hemvati and they fell in love. They married in 1948 .Hemvati was a noted Marathi actress who also worked at PRITHVI Theatres. She acted in SANGRAM with Ashok Kumar and Nalini Jaywant in lead roles. She had also worked with Dev Anand in MOHAN ,Mubarak and Renuka in Ghar Ghar Ki Kahaani and Raj Kapoor in Jail Yatra . A play of Prithvi Theatres, named Deewar had Hemvati and Raj kapoor in lead roles and the play became quite popular on stage during those days.
After marriage , Hemvati played the role of a caring wife and an affectionate mother in her family. After marriage,She possibly acted only in one movie PATIT PAAVAN a home production of sapru family. Hemavati died on 10-4-2005.
Sapru children are also in films. To quote their elder daughter REEMA is a well known script writer while second daughter PREETI is a successful Punjabi actress while their son Tej is a noted film and TV actor. The brother and sisters are closely attached to each other. They too live by the family values that they inherited from their father .
D K Sapru also acquired good and working knowledge of Homeopathy and was seen reading Homeopathic books quite often during his spare time. He then started practicing this school of medicine and would treat everybody without any charge often Buying medicines and distributing them free.
Sapru also committed a folly of producing films . One can say that he was misguided by some selfish friends .Though he had learnt some lessons from his first home production Patit paavan , a movie that earned him a few thousands only yet he took up another production project ” Bahadur Shah Zaffar”’ and brought in a large star cast that included Sudesh Kumar , Chand Usmani ,Shyama , Rehman ,Jeevan, Ulhaas ( M N kaul ) and Nirupa Roy .He pooled in all his resources and raised loans for the project mortgaging his spacious new Bunglow .The movie did not sell on Box office. That landed the family in great trouble. The house had to be sold to repay debts .
Sapru turned diabetic during his later life. Inspite of his failing health he decided to make a last attempt to produce another film JEEVAN CHALNE KAA NAAM. By Now Reema was a trained screen play / script writer . She wrote the script and the family signed in Sanjeev Kumar , Rekha , Shashi Kapoor . DK fell ill suddenly and had to be hospitalized for about an year. The project was abandoned. D K was also operated upon for a malignant growth in his shoulder and finaly died of a heart attack at a young age of 63 years in 1979. His favourite child Reema was already married at that time . And by then he had also turned a grandfather.
It was big blow to the judiciary when Mr Daya Kishen Sapru departed for heavenly abode. There were other esteemed judges, who graced the self-righteous chair of the temple of justice but could not create a niche for them like Mr Sapru and Mr Murad, in Hindi films . It is to their credit ,that they both not only enhanced the prestige of judiciary ,but they were also apt in enacting all types of characters.
Mr D K Sapru,scion of an influential Pandit family of J & K and one of the most handsome actor of his time ,like other young men joined the film line to become hero. Fair complexioned with expressive light eyes like his senior actor & fellow Kashmiri Pandit Chandra Mohan ,soon he became a known actor. His cousin Mr Jeevan was already an established actor in Hindi Films .
In 1948, Jaddan Bai produced a movie which was based upon the tragic tale of Romeo And Juliet, written by William Shakespeare,in which the female leading role was played by her daughter Nargis, opposite Sapru Saab. In the same year he married Hemavati ,a Marathi actress ,who mostly had worked on stage of IPTA and Prithvi Theatres and also in few movies. Interestingly ,she was leading lady in 1947 movie Mohan ,in which the struggling actor Dev Anand was her hero. Hemvati & Sapru ,looked as if they were made for each other ,as both were good looking ,fair coloured and had similar light eyes.
There was a big advertisement in Film India and other papers ,when K Asif announced Mughal E Azam ,for which he took Sapru and Nargis as jilted lovers with Chandra Mohan in the title role of the Great Mughal. The movie could not progress , as firstly the financier migrated to Pakistan and in 49 , Chandra Mohan passed away . Mr Sapru became a full time character actor and his versatility came to the forefront , when he portrayed dissimilar character in different movies . Sapru Saab was man for all seasons ,and could portray saintly person/villain/cop/ foreigner/ villager / sophisticated person /King/ Sultan .all type of characters with ease.
He looked so charming person as rich Jeweller ,father of Tanuja in Jewel Thief and in Tere Mere Sapne, he was a humble villager. In Zanzeer ,he was a mafia lord and in Majboor (1964) ,he was prosecuting lawyer. He appeared in numerous mythological movies and in fact made Patit Pawan in 1955 ,which did average business.
As an actor, he was doing well, therefore one fails to appreciate the reasons as to why he thought of producing movies. He made Bahadur Shah Zafar ,in which he himself essayed the role of unfortunate last Mughal. He took Chand Usmani, Shyama, Jeevan, Sudesh Kumar , Ullhas etc in the movie. Unaware of the lack of honesty of his production team , Mr Sapru kept faith on them and could not monitor the expenses and the movie was over budgeted .He spend all his money and even mortgaged his unmoveable assets to make the movie spectacular and completed the movie. But sadly the movie could not be released and remained in cans . It was a big blow for him.
Today’s song is sung by Uma Devi and Shanti Varma, as per HFGK. However, as per one comment on You Tube by a known collector, she was Shanti Sharma, and not Varma.’Swaron ki Yatra’, by Anil Bhargav also credits this song to Shanti Sharma. I have not found any singer Shanti Varma, but Shanti Sharma’s name as a singer is found in films Raees-48, Kinara, Shaukeen, Dhoom Dham, Rimzim and Veer Ghatotkach-all of 49, and Azmaish-52 in HFGK.
With this song, the blog now has 3000 songs from the decade of 1940s (viz from years between 1941 to 1950).
Song-Ab to hand mein hand nahin(Aahuti)(1950) Singers- Uma Devi, Shanti Sharma, Lyrics- Indeevar, MD- D C Dutt
Lyrics
Ab to hand mein hand nahin
ab dil me bajta
ab dil mein bajta band nahin
oh my dear
o dear
o dear
tum badal gaye
tum pahle se husband nahin
aa ha
ab to hand mein
ab to hand mein hand nahin
ye meri India hai
ye tera to England nahin
ye tera to England nahin
ho ho
ab to hand mein
ab to hand mein hand nahin
o o
yahaan na hogi whisky brandi
aur club ke dance
yahaan na hogi whisky brandi
aur club ke dance
yahaan na hogi whisky brandi
aur club ke dance
yahaan na hogi gitpit gitpit
aur nahin romance
yahaan na hogi gitpit gitpit
aur nahi romance
maal judaane ka na milega
yahaan koi ab chance
maal judaane ka na milega
yahaan koi ab chance
daal diya aafat mein toone
daal diya aafat mein toone
aafat ka koi end nahin
aa haa
ab to hand mein
ab to hand mein hand nahin
ab laut chalo laut chalo
ghar o meri sister
hawa vatan ki lagte hi
badal gaye mister
badal gaye mister
tumhen banaaye rakhne ko main
tumhen banaaye rakhne ko main
kar sakta recommand nahin
aa haa
ab to hand mein
ab to hand mein hand nahin
o ho
tum mere man ke paati
main hoon charnon ki daasi
nyochhaawar ka charanon pe
mathura ho ya kaashi
haath chhodkar saath mera
ab jaana tum england nahin
ab jaana tum england nahin
ho ho
ab to hand mein
ab to hand mein hand nahin
ab dil mein bajta
ab dil mein bajta band nahin
oh my dear
o dear
o dear
tum badal gaye
tum pahle se husband nahin
aa haa
- In: "Sar"/head song | Body part song | Devnagri script lyrics by Sudhir | Feelings of heart | Fun lyrics song | Guest posts | Lover's Complaint | Lyrics by Sudhir | Lyrics contributed by readers | Post by Arunkumar Deshmukh | Songs of 1940s (1941 to 1950) | Songs of 1946 | Vagaries Of Love | Yearwise breakup of songs
- 4 Comments
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 : | 3642 | Post No. : | 14470 |
Today’s song is from an almost unknown film ‘Haqdaar’ (1946).
There were two more films with the same title, made in 1964 and 1981. The love of Hindi films for identical titles is well known. In silent films, the situation was different. There used to be one name for Censor Certificate and then in every linguistic state the film would have one local name for the film, to attract local audience. In talkie films, this facility was absent, as everywhere, the film name is the same.
Thus, we find that there was/is ‘Same Name Confusion’ even in film titles. But of course, the system of mentioning the year, made them different, like ‘Haqdaar’ (1946), ‘Haqdaar’ (1964) or ‘Haqdaar’ (1981) etc. Here again confusion was whether the year of Censor Certificate should be mentioned or the year of film’s release. Standard documents, like HFGK, give only the year of Censor Certificate, irrespective of the film’s release year. Regular users of HFGK know this very well. Usually most films are released quickly and very few take time to get released.
Shri Harmandir Singh Hamraaz ji has published a Film Index for films made between 1931 to 2012. I went through this list to find out about the same name titles. Films made 2 times and 3 times are many and beyond count. However, on counting detailed way, I found 80 film titles repeated 4 times, 23 films repeated 5 times and 5 films repeated 6 times. Above all, there is ONE film whose title is repeated 7 times. The name is ‘Insaaf’. It was made at regular intervals – almost every decade. It was made in 1937, 1946, 1956, 1866, 1973, 1987 and 1997! The person who had registered the name first, must have earned a lot!
‘Haqdaar’ of 1946 was directed by Rafiq Rizvi, who had worked as assistant to AR Kardar. He was brother of lyricist Ehsan Rizvi. His first film as an independent director was ‘Waida’ (1940). Then came ‘Awaaz’ (1942), ‘Koshish’ (1943), ‘Haqdaar'(1946), ‘Alladin Ka Beta’ (1955) and lastly ‘Kaarvan’ (1956). Thereafter he migrated to Pakistan.
The Music Director was Mohd Shafi (25-12-1925 to 30-4-1980). He was one of those talented artists of Hindi Film Music who was only used by others and never got enough credit for his work. He is honoured as the ‘The Original Arranger’ in the industry. He was an excellent sitar player. He started with Imperial Film company, where he played Bulbul Tarang. In 1937 he went to Calcutta, joined New Theatres and played Sitar in films ‘Kapaal Kundala’ (1939) and ‘Aandhi’ (1940), as an assistant to Pankaj Mullick and KC Dey. He played sitar in the film ‘Ujaala’ (1942). In this film, the hero – Prithviraj Kapoor played the role of a sitar player, hence the expertise of Shafi was fully utilised in this film.
Starting with film ‘Haqdaar’, he gave music to 19 Hindi films and 2 Marathi films. He worked with Naushad, as his assistant and arranger, for 14 years. He was considered a ‘Daada’ in background music. He gave background music to about 70 films (for Naushad and others). For ‘Mughal e Azam’ (1960), K Asif used to send his personal car to fetch him to studio. It was Shafi who gave the first break to Suman Hemmadi (Kalyanpur) in ‘Mangu’ (1954).
Shafi had bought his first car when he was just 15 year old. He had a posh flat in Shivaji Park area of Dadar in Bombay. In the end , everything was gone.He had helped the families of Shakeel Badayuni and Ghulam Mohammed after their deaths. However in his last difficult days, except Rafi, no one came for his help. In the final few months, his memory had gone. His begum ruefully said,” Good that he does not remember anything. All took his advantage and gave him nothing. There were more things to forget than to remember!”
It is said that the entire music of ‘Sohni Mahiwal’ (1958) was done by him. Naushad was sick during this period and did not attend even one recording. “Do Hanson Ka Joda” and “Dhundho Dhundho Re Saajna” from ‘Gunga Jamuna’ (1961) were his creations. He used to give tunes to many composers too – whoever asked for help.
The cast of film ‘Haqdaar’ was Harish, Najma, H Prakash, Amirbai Karnataki, Kalyani, Azad etc.
Harish was also known as Tara Harish. Tara Harish – this name is quite misleading. At first glance, it looks lie a woman’s name. On second thoughts, one feels it must be a pair of persons like Krishnan Panju or Aruna Vikas. But this is name of a single person, who was an actor, producer, director and a singer too!
Born on 23-10-1916 at Delhi, his real name was Tarachand Harish Mathur. He was distantly related to Motilal and Mukesh. His father died when he was just 3 year old. He was brought up by his brothers and uncle. He graduated in 1937. After trying and failing in a second hand car business, he decided to enter film world and joined Sagar Movietone, where Motilal was getting established. His first foray into films was in film ‘300 Days And After’. In this film he was uncredited. However he got roles in other films like ‘Postman’, ‘Ladies Only’, ‘Service Limited’, ‘Hum,Tum Aur Woh’, ‘Ek Hi Raasta’, ‘Civil Marriage’, ‘Aurat’, ‘Nai Roshni’, ‘Vijay’, ‘Haqdaar etc. He used to sing also in the films. As a hero his last film was ‘Amaanat’ (1943).
Harish took up direction with film ‘Beda Paar’ (1944), a C grade stunt film, but soon he directed many social films also. In his career he directed 21 films. Some of his films are ‘Toote Taare’ (1948), ‘Ustad Pedro’ (1951), ‘Malhaar’ (1951) (originally Harish was to be the hero, but he gave chance to Arjun), ‘Daku Ki Ladki’ (1954), ‘Laalten’ (1956), Kaali Topi Laal Roomaal’ (1959), ‘Do Ustad’ (1959), ‘Burma Road’ (1962). His last film was ‘Awaara Abdulla’ (1963). Harish acted in 21 films. He sang 39 songs in 16 films (stats by MuVyz). He established his own production company – Omar Khayyam Films. When he was directing film ‘Ustad Pedro’ (1951), he changed the name of actress Nargis Rabadi to Shammi, since another more famous actress of same name was already working in films.
Tara Harish died sometime in 1970.
The heroine Najma was born at Lahore in 1928. Her father was a businessman. Her real name was Naseem. Since there was already one famous actress Naseem, she changed her name. She first worked in ‘Kunwaara baap’ (1942) and ‘Uljhan’ (1942) Then came ‘Nai Zindagi’ (1943), ‘Dr Kumar’ (1944), ‘Piya Milan’ (1945) and last film ‘Naseeb’ (1945). Then she got married and left films.
There was an actor Azaad in this film. His real name was Mohd Hanif. He was born in November 1916 at Delhi in a wealthy family. His father was an electrical engineer and a political leader. His elder brother was in the British Army. Hanif started motor vehicles business in Delhi. He got married also. Due to his desire to act in films, he came to Bombay. His acting career started with ‘Himalaya Ki Beti’ (1938). During this film he got to know Kalyani Bai, the singer actress. Soon they got married. While she did well in films, he was struggling in his career, without credit. In film ‘Haqdaar’ (1946), he was credited with his filmi name Azaad. Frustrated, he left films and went back to Delhi to restart his motor vehicles business. Kalyani brought him back and together they started their own production company – Azad Pictures. However, soon after partition, he and his family migrated to Pakistan. Kalyani stayed back.
There were two Kalyanis and there is always a confusion.
Kalyani Bai (1920-2009) (real name – Zarina) was an actor-singer who was trained in classical singing. She sang khayal, thumri and ghazals for All India Radio and recorded such genre of songs for HMV. This led her to a filmy career in Calcutta in 1934 as an actor-singer. After some struggle, she was employed with New Theatres and she acted in films like ‘Anaath Ashram’ (1937), ‘Mukti’ (1937), and ‘President’ (1937) in which she also sang some songs for herself.
In 1937, Kalyani Bai left New Theatres and joined Ranjit Movietone in Bombay (Mumbai). Her first film with Ranjit Movietone was ‘Toofaani Toli’ (1937). In the 40s, she appeared to have become a free-lancer, although I find that she worked in more films directed by VM Vyas of Sunrise Films than other banners. Her last film as an actor-singer was ‘Ghar’ (1945). However, she lent her voice for other actresses in films released during 1947-54. She also acted in small roles in a few films of 1970s and probably early 80s. She later married Seth Chirauddin Bakar. She had 2 sons and a daughter from him. She retired and settled in Bombay.
Kalyani Das was a playback singer who started her career in Hindi films from Calcutta with PC Barua’s ‘Jawaab’ (1942) and ended her playback singing career in Hindi films with ‘Iran Ki Ek Raat’ (1949). She also sang for a few films made in Bombay. To the best of my knowledge, she did not act in any films.
It is not so difficult to segregate ‘Kalyanis’ as both of them worked in Calcutta at different time. Kalyani Bai worked in films produced in Calcutta up to 1937 whereas Kalyani Das commenced her playback singing career from Calcutta from 1942 onward. She mostly worked for music director Kamal Dasgupta (8 out of 11 Hindi films in which she was playback singer).
‘Haqdaar’ had 9 songs. I have heard some more songs also, but as today’s song is somewhat comical, I have selected this. Name of the singer is not mentioned.
[Auth Notes: Credits – ‘Hindi Film Singers’ by Prof Yadav, Harish Raghuwanshi ji, Film Directory, MuVyz, HFGK, Film Index, Swaron Ki Yatra, Beete Kal Ke Sitaare, RMIM and my notes.]
Song – Haaye Khujlaane Laga Phir Mera Sar, Baap Re Baap (Haqdaar) (1946) Singer – [Unattributed], Lyrics – CM Hunar, Music – Mohammed Shafi
Lyrics (Provided by Sudhir)
haaye khujlaane laga phir mera sar baap re baap
haaye khujlaane laga phir mera sar baap re baap
haaye khujlaane laga
phir mera sar baap re baap
khair ab aati nahin
apni nazar baap re baap
hai chhuri haath mein
zaalim ke udhar baap re baap
dil dhadakta hai mera
darr se idhar baap re baap
jaan ab jaa ke bachaaun main kidhar baap re baap
haan
kya meri tarah se
hota hai yun sab ka haal
kya mohabbat mein utarti hai yun hi sab ki khaal
jootian dene ki hai jis tarah rasm e susraal
haa..aaan
kya nasibon mein hai..ai..ai..ai
us shauk ke ye hi janjaal
haan..aan
kya yun hi khijte hain sab shaam o sehar baap re baap
kya yun hi khijte hain sab shaam o sehar baap re baap
kya yun hi khijte hain sab shaam o sehar baap re baap
kya yun hi khijte hain sab shaam o sehar baap re baap
haan
ishq ka bhoot mere
sar pe subh o shaam rahe
mar ke bhi mujhko na ik roz se araam rahe
ae..ae
tarq e majnoon ka mere saamne nakaam rahe
ae..ae
pehla number hi..ee..ee
mahobbat mera naam rahe
paida naalon mein ho kuchh aisa asar baap re baap
paida naalon mein ho kuchh aisa asar baap re baap
paida naalon mein ho kuchh
paida naalon mein ho kuchh aisa asar baap re baap
aisa asar baap re baap
paida naalon mein ho kuchh aisa asar baap re baap
haaye khujlaane laga phir mera sar baap re baa..aap
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
हाय खुजलाने लगा फिर मेरा सर बाप रे बाप
हाय खुजलाने लगा फिर मेरा सर बाप रे बाप
हाय खुजलाने लगा
फिर मेरा सर बाप रे बाप
खैर अब आती नहीं
अपनी नज़र बाप रे बाप
है छुरी हाथ में
ज़ालिम के उधर बाप रे बाप
दिल धड़कता है मेरा
डर से इधर बाप रे बाप
जान अब जा के बचाऊँ मैं किधर बाप रे बाप
हाँ
क्या मेरी तरह से
होता है यूंहीं सब का हाल
क्या मोहब्बत में उतरती है यूंही सब की खाल
जूतियाँ देने की है जिस तरह रस्म ए सुसराल
हाँ॰॰आं
क्या नसीबों में है॰॰ऐ॰॰ऐ॰॰ऐ
उस शौक के ये ही जंजा;
हाँ॰॰आं
क्या यूंही खिजते हैं सब शाम ओ सहर बाप रे बाप
क्या यूंही खिजते हैं सब शाम ओ सहर बाप रे बाप
क्या यूंही खिजते हैं सब शाम ओ सहर बाप रे बाप
क्या यूंही खिजते हैं सब शाम ओ सहर बाप रे बाप
हाँ
इश्क़ का भूत मेरे
सर पे सुबहो शाम रहे
मर के भी मुझको ना इक रोज़ से आराम रहे
ए॰॰ए
तर्क ए मजनूँ का मेरे सामने नाकाम रहे
ए॰॰ए
पहला नम्बर ही॰॰ई॰॰ई
महोब्बत में मेरा नाम रहे
पैदा नालों में हो कुछ ऐसा असर बाप रे बाप
पैदा नालों में हो कुछ ऐसा असर बाप रे बाप
पैदा नालों में हो कुछ
पैदा नालों में हो कुछ ऐसा असर बाप रे बाप
ऐसा असर बाप रे बाप
पैदा नालों में हो कुछ ऐसा असर बाप रे बाप
हाय खुजलाने लगा फिर मेरा सर बाप रे बा॰॰आप
Ho chehra hai ya chaand khila hai
Posted on: June 17, 2018
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 : | 3621 | Post No. : | 14433 |
The Golden era of HFM was well and truly over after 1980s, with Disco “music” sounding the death knell of HFM as we knew till then. In these “music”, lyrics were all but dispensed with.
HFM continued to have a few nice songs even during the “disco” era. There were still some artists who refused to compromise with quality and refused to stoop to the new low that was set as the new standards of HFM post 1980.
“Saagar”(1985) was one such movie whose music felt like a breath of fresh air during that era. This movie had come from the stables of a well known and well respected production house, one that had given us “Sholay”(1975).
“Saagar”(1985) was Produced by G P Sippy and directed by Ramesh Sippy. The movie had Rishi Kapoor, Kamal Haasan, Dimple Kapadia, Saeed Jaffrey, Shafi Inamdaar, Nadira, A K Hangal, Madhur Jaffrey, Satish Kaushik, Goga Kapoor, Kiran Vairale, Lilliput, Shobha Khote, Sudhir Pandey, Sharat Saxena, Mushtaq Merchant, Jairaj etc in it.
The movie had seven songs in it. Three of these songs have been covered in the past.
Here is the fourth song from “Saagar”(1985) to appear in the blog. This song is sung by Kishore Kumar. Jawed Akhtar, who wrote the script of “Sholay”(1975) alongwith Salim Khan as Salim Jawed, had turned a lyricist by then. “Saagar”(1975) was one of the first (if not the first) movies where he penned lyrics.
R D Burman composed the music.
The song is picturised as a club song where Rishi Kapoor, holding a guitar, is seen lip syncing this song. The song is addressed to his long separated flame (played by Dimple Kapadia). Rishi Kapoor and Dimple Kapadia had last actded together in “Bobby”(1973) which was the launch vehcle for Rishi Kapoor as well as Dimple Kapadia. while Rishi Kapoor successfully got launched and established, Dimple Kapadia, in a surprise movie married Rajesh Khanna and vanished from films. It was more than one decade later that she was persuaded to make comeback to movies. She made quite a stunning comback in movie like “Aitbaar”(1985) and “Saagar”(1985).
Music of these movies were quie stunning and played stellar roles in the box office success of these movies.
The song under discussion is one such song. It remains a timeless classic to this day.
Song-Ho chehra hai ya chaand khila hai (Saagar)(1985) Singer-Kishore Kumar, Lyrics-Jawed Akhtar, MD-R D Burman
Chorus
Lyrics
ho chehra hai yaa chaand khila hai
zulf ghaneri shaam hai kya
saagar jaisi aankhon waali
ye to bata tera naam hai kya
chehra hai yaa chaand khila hai
zulf ghaneri shaam hai kya
saagar jaisi aankhon waali
ye to bata tera naam hai kya
arre tu kya jaane teri khaatir
kitna hai betaab ye dil
tu kya jaane dekh rahaa hai
kaise kaise khwaab ye dil
dil kehtaa hai tu hai yahaan
to jaataa lamhaa thham jaaye
waqt ka dariyaa behte behte
is manzar mein jam jaaye
toone deewaanaa dil ko banaayaa
is dil par ilzaam hai kya
saagar jaisi aankhon waali
ye to bata tera naam hai kya
ho aaj mai tujhase door sahi
aur tu mujhse anjaan sahi
tera saath nahin paaun to
khair tera aramaan sahi
lalalalala
lalalalala
lalalalala
lalalalala
lalalalalala
lalalalalaa
laalaalaa
ho ye armaan ho
shor nahin ho
khaamoshi ke mele hon
is duniya mein koi nahin ho
ham donon hi akele hon
tere sapne dekh rahaa hoon
aur meraa ab kaam hai kya
saagar jaisi aankhon waali
ye to bataa tera naam hai kya
chehra hai yaa chaand khila hai
zulf ghaneri shaam hai kya
saagar jaisi aankhon waali
ye to bata tera naam hai kya
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 : | 3556 | Post No. : | 14265 |
“Naatak” (1975) was produced by C D Shah and Harish Upadhyay and directed by Sohanlal Kanwar for Filmland Production, Bombay. The movie had Vijay Arora, Moushumi Chatterjee, Snehalata, Jayashree T, Sulochana Latkar, Madhup Sharma, Raj Mehra, Raj Rani, Bhagwan Dada, Naazima, Subhash Ghai, Sunder, Tiwari aka Ramayan Tiwari, Shabina, Hari Shivdasani, Alka etc in it.
The movie had five songs in it. Four songs have been covered in the past. Here are the details of these four songs:-
|
Song Title |
Post No. |
Post Date |
| Saagar nahin hai to kyaa hai | 7264 | 27-Dec-12 |
| Zindagi ek naatak hai | 14212 | 28-Mar-18 |
| Sab se buri sharaab hai main hoon buri sharaab se | 14245 | 7-Apr-18 |
| Mera rang mera roop…raaja sach bolo main kaisi lagti hoon | 14260 | 11-Apr-18 |
As can be seen, the movie made its debut as far back as in 2012. That song remained the only song from the movie in the blog till 2018 when the next three songs were covered in the blog.
Here is the fifth and final song from “Naatak”(1975) to appear in the blog. This song is sung by Lata. Anand Bakshi is the lyricist. Music is composed by Laxmikant Pyarelal.
The song is picturised as a “diversion” song on a very pretty looking Snehlata, who is seen trying to distract a very young looking Subhash Ghai.Yes, this is a song where Subhash Ghai figures as an actor.
I have not watched this movie so I am not fully sure what is the background behind this song. I request our knowledgeable readers to throw light on the picturisation of this song.
With this song, “Naatak”(1975) joins the list of movies that have all their songs covered in the blog.
Song-Jo main chehre se ghoonghat hata doon (Naatak)(1975) Singer-Lata, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal
Lyrics
jo main chehre se ghoonghat hata doon
to chhuriyaan chal jaaye
jo main chehre se ghoonghat hata doon oon
to chhuriyaan chal jaayen
aankhen upar se neeche jhuka doon oon
aankhen upar se neeche jhuka doon
to teer chal jaaye
jo main chehre se ghoonghat hata doon
to chhuriyaan chal jaayen
meri mohabbat meri jawaani
meri mohabbat meri jawaani
in donon ki hai lambi kahaani
meri mohabbat meri jawaani
ye kahaani jo tumko suna doon oon
ye kahaani jo tumko suna doon oon
to raat dhal jaaye
jo main chehre se ghoonghat hata doon oon
to chhuriyaan chal jaayen
nazron pe kitne parde hain naqli
nazron pe kitne parde hain naqli
chehre ke peechhe chehra hai asli
nazron pe kitne parde hain naqli
jo main wo roop tumko dikha doon
jo main wo roop tumko dikha doon
to rang badal jaaye
jo main chehre se ghoonghat hata doon
to chhuriyaan chal jaayen
meri adaayen andaaz mere
meri adaayen andaaz mere
parde mein hain ye sab raaz mere
meri adaayen andaaz mere
jo main ye raaz tumko bata doon oon
jo main ye raaz tumko bata doon oon
to jaan nikal jaaye
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 : | 3519 | Post No. : | 14134 |
“Tapasya”(1975) was directed by Anil Ganguly for Rajshree Productions, Bombay. The movie was based on a Novel by Ashapoorna Devi. The movie is about sacrificing one’s own life for the sake of bringing up one’s younger siblings and thinking of one’s own personal life only after one’s younger siblings have been settled in their lives.
The movie had Raakhi in the central role. Others in the movie were Parikshat Sahni, Asrani, Manju Bansal Asrani, A K Hangal, Nasir Hussain, Adil, Manju Bhatia, Urmila Bhatt, Birbal, Abha Dhulia, C S Dubey, Raja Duggal, Master Eknath, Gayatri etc in it.
The movie had four songs in it. Two of these songs, arguably the most popular songs of the movie have been covered in the past.
Here is the third song from “Tapasya”(1975) to appear in the blog. This song was also quite popular during its time. The song is sung by Chandrani Mukherji, Hemlata and chorus. M G Hashmat is the lyricist. Music is composed by Ravindra Jain.
The picturisation shows Raakhi’s younger brother (played by Asrani) and his newly wedded wife (played by Manju Bansal Asrani- who was recently married to Asrani in real life as well) being teased by his younger siblings and neighbours which is the usual reception (a sort of ragging)that a newly married couple are subjected to from relatives friends and neighbours in India. The teasing is more addressed to the wife rather than the husband and the song ends with the lady getting irritated by this teasing.
The lady getting disturbed at the end disturbed me as well and so I could not gather the courage to watch the song more than a few times. So I have not provided colour coding by the two main singers in the song. 🙂
Song-Bhaabhi ki ungli mein heere ka chhalla (Tapasya)(1975) Singers-Chandrani Mukherji, Hemlata, Lyrics-M G Hashmat, MD-Ravindra Jain
Chorus
Lyrics
bhaabhi ki ungli mein heere ka chhalla
heere ka chhalla
oye hoy heere ka chhalla
dekho dekho chhalle pe bhaiya ne baandha hai palla
baandha hai palla
arre arre baandha hai palla
kaisi pyaari ye jodi banaayi
kaisi sundar ye jodi banaayi
ki bhaiya makkhan hain bhaabhi malaai
bhaiya makkhan hain bhaabhi malaai
duhaayi
bhaabhi ki ungli mein heere ka chhalla
heere ka chhalla
oye hoy heere ka chhalla
baat suno
samjho gussa na karo
o bhaabhi baat suno
samjho gussa na karo
to hum chanda aa mukhda choom len
hum chanda aa mukhda choom len
pehli khushi hai apne ghar mein
milke gale hum jhoom len
o bhaabhi milke gale hum jhoom len
ab raho na paraayi paraayi
ab raho na paraayi paraayi
ki bhaiya makkhan hain bhaabhi malaai
bhaiya makkhan hai bhabhi malaai
duhaayi
bhabhi ki ungli mein heere ka chhalla
heere ka chhalla
oye hoy heere ka chhalla
o o o
o o
o o o o
o o o
o o o
tang na karo
kyun ji
paanv pado
achchha ji
tang na karo
chalo chalo paanv pado
ki bhaabhi mushkil se ghar mein aayi hai
bhaabhi mushkil se ghar mein aayi hai
pehna bahut din bel bottom
aaj saadi pehan sharmaayi hai
aaj sadi pehan sharmaayi hai
is muhurat pe baanto mithhaayi
is muhurat pe baanto mithhaayi
ki bhaiya makkhan hain bhaabhi malaai
bhaiya makkhan hain bhabhi malai
duhaayi
bhaabhi ki ungli mein heere ka chhalla
heere ka chhalla
oye hoy hire ka chhalla
laal mirach
nahin nahin kali mirach
na na
laal mirach
nahin nahin kaali mirach
ye to hari mirach hai badi tez hai
bhaabhi hari mirach hai badi tez hai
bhaiya bichaara hindi bole
bhabhi bani angrez hai
arre bhaabhi bani angrez hai
aa
bholey bhaaley ko patti padhaai
o seedhe saadhe ko patti padhaai
ki bhaiya makkhan hain bhabhi malaai
bhaiya makkhan hain bhaabhi malaai
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