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Kaho Ji Kaho Ji Kaho Ji, Kahin Tumse Hui Hai Mulaqaat

Posted by: skapur01 on: June 18, 2022

In: C Ramchandra - Lata duet | C Ramchandra songs as a singer | Century songs for the blog | Devnagri script lyrics by Sudhir | Duet | Feelings of heart | fun timepass song | Guest poster century song | Guest posts | Lata song | Lover's tête-à-tête | Lyrics contributed by readers | MD-Singer Song | Post by Arunkumar Deshmukh | Songs of 1950s (1951 to 1960) | Songs of 1953 | Yearwise breakup of songs
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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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

This is the 1,100th post by Arunkumar Deshmukh.

Blog Day :

5083

Post No. :

17006

POST NO. 1100 !!!!

Today, I have mixed feelings in my mind. One way, I am happy that I am posting my 1,100th article here and on the other way, I am wondering how did I achieve this all? My first post came up here on 1-10-2012, though I had been posting my comments on the Blog’s other posts since the end of 2010. That time I had not even dreamt that I would ever write 1100 articles here or that I would remain connected with this Blog for almost 10 years continuously.

A habit of seeing old films and jotting down all the film details in my diary later that day turned into almost a career of writing articles on old films, its people, songs and anecdotes etc, in the last part of my life. Not many people start a second inning after retiring from a job of 35 years – that too absolutely unconnected to what one did in the last so many years !

That way my life has been taking unexpected turns at every stage, unconnected with what I did earlier. After coming in the merit list of 12th standard, I joined Medical College. Midway through the first year of M.B.B.S. I left it and joined Agriculture college. I won the All India Best Cadet N.C.C. Trophy at Delhi, as a Senior Under Officer. After graduating in Agriculture, I declined the Govt. Officer’s post in the department and became a Medical Representative in Glaxo, then All India No. 1 company. After 35 years in this field, I retired as General Manager-Marketing !

During this period I excelled in Astrology and won the ‘Jyotish Praveen’ title from Poona Mahasabha. I also earned a Brown Belt in Judo, besides acting in dramas etc. I traveled all over India, Pakistan. Nepal and Sri Lanka, U.K. and USA. After retirement I visited Europe, Switzerland and Australia with my wife.

With all this done, I turned to my original love – old films and music. I learnt how to use a Computer at the age of 71 years and using old surviving diaries started writing articles on this Blog. I interviewed close relatives of a few old-time artistes and published them on the internet. I have written on Marathi films, Telugu films and even Kannada films on different blogs. There was a time when I wrote on 5 to 6 different Blogs at a time on different topics like history of films and film songs etc. But my first love has always been AtulSongADay. I honestly believe that I could do all this in this field due to the encouragement of Atul Ji. My heartfelt thanks to him. I must also mention the name of Sudhir ji, who has always supported and helped me. We have been very good friends and are in constant touch. Thanks, Sudhir ji.

In this Blog, I got good company from friends, many I have been able to meet also BUT I HAVE YET TO MEET ATUL JI. I have never even talked to him on phone anytime ! I wish that before I end all this game, we meet at least ONCE !

At this juncture, I did some self assessment. I have kept all the logbooks wherein I first hand-write my articles, before typing them. I have 27 such log books chronicling all my 1100 posts as well as interviews, lined up serially with dates of writing, date of posting on the Blog, serial number, film,song and year details of each post. I found out some statistics.

In these 1,100 articles, I have written on songs from films of 1930-40 (152), 1941-50 (417), 1951-60 (412), 1961-70 (46), 1971-80 (27), 1981-90 (8), 1991-2000 (5), 2000-2010(1) 2011-20 (3) and NFS – 29 = Total 1,100 articles. This works out to 89% posts on films from 1932 to 1960 and only 11% after 1961. So the fact remains that less than 100 posts are done for films of the post 1961 period, contrary to my estimate of about 200 such posts. This makes me ‘The Grand Old Man’ (पुराण पुरुष) in true sense.

Coming to today’s film, ‘Jhamela’ (1953) was a film made by Master Bhagwan after his colossal hit film ‘Albela’ of 1951. Prior to ‘Albela’, Bhagwan was making and directing only stunt films. The making of ‘Jhamela’ has an interesting history. After ‘Albela’, Bhagwan wanted to make a film called ‘Beta Laadla’ with Raj Kapoor and Nargis. He had talked to Raj and he had accepted it for Rs. 55,000 only. Bhagwan had kept RK’s cheque also ready. Meanwhile there was a party to celebrate the ‘Albela’ success, at Sai Prasad, CR’s house.

During the party, there was a discussion about Bhagwan’s next social film and PL Santoshi announced ‘Jhamela’ as his next film. Bhagwan was surprised and said,”What jhamela ? There is no story, nothing.” Santoshi said “The story can come later. First you make an announcement. The name is catchy and CR will give music”. Due to pressure from guests like S Mukherjee, CR, Santoshi and other guests, Bhagwan made the official announcement.

However, in spite of the success of ‘Albela’, Bhagwan’s luck started going down and down. Though he made many films like ‘Jhamela’, ‘Rangeela’, ‘Bhagam Bhag’, ‘Bhala Admi’, ‘Pyara Dushman’, ‘Kar Bhala’, ‘Shola Jo Bhadke’, ‘Sachche Ka Bolbala’, ‘Hum Deewane’, ‘La Bela’ etc., he did not see same luck again. ‘Bhagam Bhag’, ‘Pyara Dushman’, and ‘Shola Jo Bhadke’ did somewhat better.

It was from the film ‘Albela’ that CR gave music to Bhagwan’s film in his real name. Prior to this, he gave music to his stunt films as ‘Annasaheb’.This type of use of pen names was followed by many MDs. GM Durrani gave music as Gunjan, SD Batish gave music as Nirmal Kumar. Snehal Bhatkar used several names like Vasudev, B Vasudev, VG Bhatkar and Snehal, before taking up another pen name Snehal Bhatkar for the rest of his career. Actually his name was Vasudeo and Snehal was his daughter’s name. These are well known, but today I will tell you 2 pen names FIRST time on the internet – on this Blog! Hardly anybody knows that Anil Biswas gave music to film ‘Begunah’ (1949) in the name of Haribhai. His co-MD in this film was Shyamu – none other than C Ramchandra. This information is given in the Encyclopedia of Indian Cinema by Rajadhyaksha on pages 67 and 190.

Although the team for ‘Jhamela’ was the same as Albela and they tried their best, still ‘Jhamela’ was not successful. Somebody had told Bhagwan that titles ending with ‘la‘ were lucky for him. Bhagwan tried this even, but he did not succeed in films like ‘Jhamela’, ‘Rangeela’, ‘Kar Bhala’, ‘Sachche Ka Bolbala’ and ‘La-Bela’. All this led to Bhagwan’s downfall to rock bottom. He had to sell his houses, cars etc and go back to the chawl where he had started from in his career. Bhagwan is a real case of ‘Rags to Riches to Rags‘.

Today’s song is a duet of Lata and Chitalkar. I like duets of 2 pairs – Hemant Kumar – Lata, and Chitalkar – Lata, in that order. Even for my 1000th post on 18-8-2021 I had selected a CR song, but it was a chorus of Amirbai, Rajkumari, Durrani, Khan Mastana and CR. Today is 18-6-2022 – a gap of 10 months and 100 songs…an average of 10 posts every month for the last 10 months !

I once again thank all those who helped me in this fruitful journey. Enjoy the CR-Lata duet.

[Author’s Note – Some information is used from book ‘EK ALBELA’ by Isak Mujawar-with thanks. and my notes.]

Song- Kaho Ji Kaho Ji Kaho Ji, Kahin Tumse Hui Hai Mulaqaat (Jhamela) (1953) Singers – Lata Mangeshkar, Chitalkar, Lyricist – Rajendra Krishan, MD- C Ramchandra
Lata Mangeshkar + Chitalkar

Lyrics

kaho ji kaho ji kaho ji
kahin tumse hui hai mulaqaat
suno ji suno ji suno ji
hamen yaad nahin hai ye baat
kaho ji
kaho ji
kaho ji

jhoothe bahaane banaana
ye hai mardon ki aadat puraani
h h
aurat pe bharosa na karna
sun rakhi hai hamne kahaani
hato ji hato ji hato ji
mardon ki jhoothi hai zaat
suno ji suno ji suno ji
hamen yaad nahin hai ye baat
kaho ji
kaho ji
kaho ji

seekha kahan se ye tumne
raah chalte galey pad jaana
tum aise kahaan ke haseen ho
zara dho ke suratiya aana
achchha ji achchha ji achhha ji
tum to din ko bhi kehte ho raat
ja ja
suno ji suno ji suno ji
hamen yaad nahin hai ye baat
kaho ji
kaho ji
kaho ji

jaao bade tum wo ho
pachhtaaye tumhen munh laga ke
parvaah bhi yahan hai kisi ko
jaate ho to meri balaa se
aji bolo ji bolo ji bolo ji
ab kiski hui hai maat
suno ji suno ji suno ji
hamen yaad nahin hai ye baat
kaho ji
kaho ji
kaho ji

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

कहो जी कहो जी कहो जी
कहीं तुमसे हुई है मुलाक़ात
सुनो जी सुनो जी सुनो जी
हमें याद नहीं है ये बात
कहो जी
कहो जी
कहो जी

झूठे बहाने बनाना
ये मर्दों की आदत पुरानी
ह ह
औरत पे भरोसा ना करना
सुन रखी है हमने कहानी
हटो जी हटो जी हटो जी
मर्दों की झूठी है ज़ात
सुनो जी सुनो जी सुनो जी
हमें याद नहीं है ये बात
कहो जी
कहो जी
कहो जी

सीखा कहाँ से ये तुमने
राह चलते गले पड़ जाना
तुम ऐसे कहाँ के हसीं हो
ज़रा धो के सुरतिया आना
अच्छा जी अच्छा जी अच्छा जी
तुम दिन को भी कहते हो रात
जा जा
सुनो जी सुनो जी सुनो जी
हमें याद नहीं है ये बात
कहो जी
कहो जी
कहो जी

जाओ बड़े तुम वो हो
पछताए तुम्हें मुंह लगा के
परवाह भी यहाँ है किसी को
जाते हो तो मेरी बला से
अजी बोलो जी बोलो जी बोलो जी
अब किसकी हुई है मात
सुनो जी सुनो जी सुनो जी
हमें याद नहीं है ये बात
कहो जी
कहो जी
कहो जी

Tags: 1953, C Ramchandra, Chitalkar, Jhamela, Lata Mangeshkar, Rajendra Krishan

Jai jai jai Tripuraari

Posted by: Atul on: August 16, 2021

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

Blog Day :

4777

Post No. :

16529

Today is the Second Shrawan Somvar of 2021, in this part of India. At the same time, for half of India, today is the Last Shrawan Somvar this year. For us here, still 3 more Mondays are in balance for this month of Shrawan. This is the beauty of India.

Our ancestors had achieved ” अनेकता में एकता “. The months, festivals,Tithis, Muhurtas and all other matters are the same all over India. Only counting the start of a month is different in different areas, depending on their geographical locations, rainfalls, crops, weather and daylight time variations. Not only this, but even adding an extra month every 33 to 35 months is also the same everywhere, unlike western method of adding extra days in some months every year and then adding an extra day every 4 years to match Solar year time frames. Ours is a Lunar based system of Calendar. So, based on the counting system there are 2 parts of India.

Hindu calendar, which ends the lunar month on no moon day, is known as Amanta or Amanta lunisolar calendar. This calendar is mainly followed in the states of Andhra Pradesh, Assam, Gujarat, Maharashtra, Karnataka, Kerala, Tamil Nadu, West Bengal and Tripura.

Hindu calendar, which ends the lunar month on full moon day, is known as Purnimanta or Purnimanta lunisolar calendar. This calendar is mainly followed in the states of Bihar, Chhattisgarh, Haryana, Himachal Pradesh, Jammu and Kashmir, Jharkhand, Madhya Pradesh, Orissa, Punjab, Rajasthan, Uttarakhand and Uttar Pradesh.

From: drikpanchang.com

It is very sad that because of intentional wrong education for the last 200 years, we were made to forget all the details of our cultural lifestyles. Thankfully, nowadays some awakening is observed. Hopefully, we should be once again getting all the lost benefits once again.

Sometime back I saw 3-4 videos on Whatsapp, wherein the surveyor asked some simple questions on our Mythology to some College students- girls and Boys. Their answers were pathetic. For example, his one question was ” whose brother was Kans ?” The young generation’s answers were Duryodhan, Ravan, Hanuman, Karna etc etc. They did not know the simple division of Ramayan and Mahabharat periods. There is no point in blaming them. Were they ever trained/ taught anything about it through their Textbooks ? No. Never ! Reading outside the Text books is non existent, especially after the arrival of Video games and Mobile phones.

Since childhood we have been hearing that there are 33 Koti (Karod) Gods in Heaven. Has anyone tried to know what is the truth ? KOTI in Sanskrit language means Level or Class. Like when you say, ” उच्च कोटी के विचार ” or ” उच्च कोटी का व्यवहार ” etc. Actually, Upnishads say that there are 33 levels of Gods or Gods are divided in 33 levels. Like this…

No.	Class/Level
8	VASU means 8 Gods are at Vasu Level
11	Rudra
1	Indra
1	Prajapati
12	Adityas
Total 33	Koti/Levels

How many people know this ? It is a sad state of affairs that due to inadequate knowledge of basic concepts and matters of culture and religion, we cut a sorry figure when we are criticised on the matters of our Pride. To subscribe to the fashionable slogan ” Religion should be behind your house doors. It is a highly personal matter.” Nowadays nothing is Personal. If you are not aware of things which can protect your religion and culture you have to suffer many times. I do hope things may change in the future.

It is our belief that the Divine Trinity of Shri Bramha, Vishnu and Mahesh run and control this Universe. Bramha- the Creator, Vishnu- the sustainer and Mahesh- the destroyer regulate our Birth, Life and Death. Since Bramha has a curse that He will not be worshipped in Kaliyug, the population is divided in 2 parts – those who worship any form of Vishnu (Vaishnav/Vaishnavite) and those who worship any form of Mahesh (Shaiv/Shaivite). You will find Mythological stories, films, dramas and books etc on either Vishnu or Mahesh in their different forms. For example – The Dashavtar or the 10 incarnations of Vishnu.

God Mahesh is usually depicted as constantly doing Tap (तप ), with Ash smeared all over his body. Even his Ganas (followers/assistants) have fearful appearances. The other side of Mahesh is one who promotes arts like Dancing. You must have seen his idol Natraj – he is Shiv ji !.

Since childhood, I have been fasting on Shrawan Somvar. I am quite a religious person mentally ( not by karmkand), but I do not show off. This religious trend has been passed on to me through generations, so its in the blood, I suppose. We are staunch Shiv-Bhakts and we like anything that is about Shiv ji…..including his films. I have rarely missed any films on Shiv ji.

Today’s bhajan is from the film Jai Mahadev-1955. It is sung by Bhajan Gayak of repute – shri Gopal Mishra ji. As far as I know, he has sung only this Bhajan in a Hindi film. His private records of Bhajans are available. The Lyricist is Bharat Vyas. The music Director was Manna Dey.

Manna Dey’s Biography is available at many places on the Internet and anyone can read it easily. So, I am not giving his Biodata, but here is a different look at him from another angle.

Manna Dey ( 1-5-1919 to 24-10-2013 ) was essentially a singer, but initially he wanted to become a Composer. So, by becoming assistant first to his uncle K.C.Dey and later to Khemchand Prakash, he managed to give music to 17 films, composing 129 songs in these films, in his career. None of his composed songs became a Hit or very popular.

In contrast, he sang in 839 Hindi films and sang 1370 songs ! This output clearly proves that he was a successful singer. The problem with many singers is that they want to become Music Directors or act in the films or do both or all three ( Like Mukesh), but they do not possess that mindset.

A Composer is a Planner and a singer is an implementer. You can either be this or that. In any case an implementer rarely has the Talent of a planner. Singers like Mukesh, Talat, S D Batish, Khan mastana and few others never became famous or popular or successful Composers or actors. Singers like Talat realised this too late and spoiled his singing career too.

When Manna Dey was interviewed by Chandan Mitra for The Pioneer, on 25-10-2013, he asked him this question….

“Many people say you are the film world’s most under-rated and under-recognised singers despite being so phenomenally talented. Does this bother you ?”

Manna Dey – “It used to. I would be very hurt at being overlooked when it came to singing for the hero. Some music directors, such as Naushad saab, never used me, always relying on Rafi for the male voice. As a result, I never sang for Dilip Kumar. In my days of struggle, some producers were positively indecent. I will tell you two incidents to explain what I have undergone and how God has been on my side.

Bharat Bhushan was a big hero in the 1950s, especially after his Baiju Bawra became a major hit. His brother Shashi Bhushan decided to produce Basant Bahar and hired Shankar-Jaikishan to score the music. Shankar was my mentor in the film world and always pushed my case especially if the tunes were classical-based or very fast. They had composed Sur Na Saje, a really beautiful number. Rehearsals were complete and we were about to record when Shashi Bhushan heard I was to sing it. He said, ‘Nothing doing, get Rafi.’ Shankar argued but the producer would not listen. I was feeling very humiliated when Bharat Bhushan walked in. He heard the debate and finally said, ‘let Manna sing now. We will see what to do later.’ As you know, the song became a very big hit. At stage shows, I am requested to sing it even now.

Another time, we were about to record Yeh Raat Bheegi Bheegi for the Raj Kapoor Nargis starrer, Chori Chori. It was a South Indian production by AVM, which was owned by Chettiar. He had just flown into Mumbai that day and drove straight to the studio to attend the recording. As he entered, he yelled, ‘I don’t see Mukesh. Where is Mukesh ji’ Shankar told him, ‘You don’t see Mukesh because Manna Dey is singing this number.’ Chettiar was very angry. ‘Cancel the recording,’ he ordered, turned to me and said, ‘You go home.’ At that point Raj saab really got annoyed. He told Chettiar, ‘Manna and Manna alone will sing this number whether you like it or not.’ Few people dared to talk to a big producer like that, but then, few producers had the guts to disobey Raj Kapoor. Reluctantly, Chettiar had to allow the recording to proceed. When I finished, the same Chettiar (he was quite fat) grabbed me and wouldn’t release me from his hug!

But you are right. I never got what I fully deserved. You see, I was born into a very proud family. We had no ego but we were proud of our talent. So, I couldn’t do the rounds of producers and music directors’ homes, get into Mumbai’s sharabi-kababi culture, or sit in the durbars of big heroes. Most struggling singers have to do that even now. I was a struggling singer in my early years in Mumbai and, thereafter, when I did gain acceptance, I got somewhat typecast. Only a few music directors would experiment with me as the hero’s voice. But I don’t hold a grudge on anybody or anything. I have sung my heart out, I have got people’s love in return, I love to sing even now; I have led a contented life. What more can a person ask for ? I am very happy the way I am.”

Let us now listen to this Bhajan by Gopal Mishra ji.

Song-Jai jai jai Tripurari (Jai Mahadev)(1955) Singer-Gopal Mishra, Lyricist- Bharat Vyas, MD- Manna Dey

Lyrics

jai jai jai Tripurari
jai jai jai Tripurari
jai jai jai Tripurari
jai jai jai Tripurari
jai trilochan (?)
jai dukhmochan
jai hey mangalkaari
jai jai jai Tripurari
jai jai jai Tripurari

mukhti saddaayak charan kamal mein
sheesh jata mein shobhit gange
mukhti daayak charan kamal mein
sheesh jata mein shobhit gange
ang bhabhoot ramaaye bhole
jai kailaash bihaari
jai jai jai Tripurari
jai jai jai Tripurari

gale rund ki maal
kati mein mrig khaal
bhasm taj saaje
?? chandr bhaal
dinak din
?? damroo baaje
?? hey
jai jagvandan hey
jai trishool kar dhaari
jai jai jai Tripurari
jai jai jai Tripurari
jai jai jai Tripurari
jai jai jai Tripurari

Tags: 1955, Bharat Vyas, Gopal Mishra, Jai Mahadev, Manna Dey

Gori ek baat sun badi mazedaar hai

Posted by: Atul on: July 9, 2021

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

Blog Day :

4739

Post No. :

16463

Blog 10-Year Challenge (2011-2021) – Song No.30
——————————————————————

In Hindi film industry, the experiences of lyricists turning producer/director have not been generally good barring very few exceptions like P L Santoshi and Gulzar. Dr. Safdar Aah Sitapuri, after successfully writing lyrics for 25 films during 1939-1945, turned director with ‘Bhook’ (1946). The film flopped at the box office. With this, he reverted to song writing until 1954 when he directed ‘Maan’ (1954). This film also flopped. After this, he went back to his teaching profession.

Nakshab Jarchvi, who started his filmy career as lyricist in 1945, turned producer-director with ‘Nagma’ (1953) which was a successful film at the box office, He produced and directed his next, ‘Raftaar’ (1955) which flopped. Next, he directed ‘Zindagi Ya Toofaan’ (1958) which did not do well on the box office front. After this film, he migrated to Pakistan.

Ishwar Chand Kapoor directed two films – ‘Chaand Sitaare’ (1948) and ‘Tarang’ (1952) after which he was absent from Hindi film industry between 1952-57 to resurface as lyricist in 1957. J S Kashyap, the writer and lyricist, directed the only film ‘Anyaya’ (1949). Bharat Vyas, after directing his first film, ‘Rangeela Rajasthan’ (1949), refrained from directing any film thereafter. Aziz Kashmiri directed his first film, ‘Sabz Baag’ (1951). After about a decade, he directed his second and the last film, ‘Pathan’/’Rang Raliyaan’ (1962). Both the films were failures at the box office.

The hardship experienced by Shailendra when he produced ‘Teesri Kasam’ (1966) is well known. Jaan Nisar Akhtar produced ‘Bahu Begum’ (1967). Despite having top actors and excellent music, the film failed at the box office. Probably, he may have realised that producing a film was not his cup of tea. He, therefore, concentrated only on song writing thereafter. There may be some more examples of lyricists turning producer/director and failed. Kavi Pradeep was one among them.

Kavi Pradeep started his career as lyricist with Bombay Talkies and wrote lyrics for six films between 1939-43. The tremendous success of ‘Kismet’ (1943) with its songs, all written by Kavi Pradeep becoming very popular, took his career as a lyricist took a great height. In 1943, because of the internal rift, Ashok Kumar, Shashdhar Mukherjee, Gyan Mukherjee, Rai Bahadur Chunnilal and a few more left Bombay Talkies to form Filmistan. Kavi Pradeep also joined them with a 5-year contract.

‘Chal Chal Re Naujawaan’ (1944) was the first film produced under Filmistan banner whose all songs were written by Kavi Pradeep. The film failed at the box office. It appears that after this, Kavi Pradeep was sidelined in Filmistan. Except for ‘Shikari’ (1946), Kavi Pradeep did not get to write songs for Filmistan’s other films like ‘Mazdoor’ (1945), ‘Eight Days’ (1946), ‘Do Bhai’ (1947), ‘Nadiya Ke Paar’ (1948) and ‘Shaheed’ (1948). Since he was under contract with Filmistan and was almost inactive, Kavi Pradeep wrote for films made outside Filmistan such as ‘Kadambari’ (1944), ‘Amrapali’ (1945), ‘Sati Toral’ (1947) and ‘Veerangana’ (1947) under an assumed name of ‘Miss Kamal B.A.’

After the end of his contract period with Filmistan in 1948, Kavi Pradeep became a freelancer. During this period, he decided to turn producer with a newly set up film production company, Lokmanya Productions along with Amiya Chakrabarty and produced the first (and the last) film, ‘Girls’ School’ (1949) which was directed by Amiya Chakrabarty. The film’s star cast included Geeta Bali and Sohan in lead role with Sajjan, Shashikala, Ram Singh, Mangala, Vimala Vashisht, Haroon, in subsidiary roles.

The film’s synopsis is as under:

Meena (Geeta Bali) leaves home when she is forced to accept an arranged marriage. She comes to a village and set up a girls’ school which is opposed by local landlord. Bipin (Sajjan), the landlord’s brother-in-law has an eye on Meena. The school is in need of a teacher. In response to an advertisement, Shanti Kumar Majumdar appears for an interview and gets selected as teacher in the girls’ school. The landlord’s widowed sister Sumitra Devi (Vimla Vashisht), a supporter of the school, objects because he is not married. Meena and Shanti Kumar fall in love but he realises the damage he may cause to her school and leaves. Bipin then spreads rumours about Shanti Kumar’s morals, which cause a further difficulty that has to be resolved before both the future of the school and of the loving couple may be assured. (Source: https://indiancine.ma/FLM).

The film failed miserably at the box office and Kavi Pradeep lost his good amount of money which probably made him realised to settle for only the song writing for the rest of his life. Amiya Chakravarty started his own banner ‘Mars & Movies’ and successfully produced and directed films like ‘Daag’ (1952), ‘Patita’ (1953) and ‘Seema’ (1955).

‘Girls’ School’ (1949) had 9 songs of which 7 songs have been covered in the Blog, details of which are given below:

Sr. No.	Details of Songs	Date of Posting
1.	Tumhi kaho mera man kyun rahe udaas nahin	25/04/2011
2.	Baar baar tum soch rahi ho…chaar din ki chaandni hai	09/07/2011
3.	O shahar ke baanke baaboo…zara dil pe rakhiyo qaaboo	19/05/2015
4.	Kuchh sharmaate huye aur kuchh saham saham	06/02/2016
5.	Raam bharose meri gaadi	25/10/2016
6.	Danke ki chot par kehta hoon main	11/12/2017
7.	Phoolon ka sapna dekhne waalon	01/05/2021

Generally, Kavi Pradeep was known for his patriotic, inspirational and religious songs. In ‘Girls’ School’ (1949), he had written some light-hearted songs such as songs at Sr. Nos. 4 and 6 in the above table. I am presenting one more light-hearted song, ‘gori ek baat sun badi mazedaar hai’ from the film sung by Chitalkar (C Ramchandra) and Shamshad Begum. The song is set to music by C Ramchandra. I had uploaded the video of the song more than 4 years back with a view to posting the song on the Blog. It is only today, the song got a muharat to be presented under ‘Blogs 10-Year Challenge (2011-2021)’.

Enjoy this ‘nok jhok’ song.

Lyrics of the song were provided by Prakashchnadra.

Audio Clip:

Song-Gori ek baat sun badi mazedaar hai (Girls’ School)(1949) Singers-C Ramchandra, Shamshad Begam, Lyrics-Kavi Pradeep, MD-C Ramchandra
Both

Lyrics(provided by Prakashchandra)

gori ek baat sun
badi mazedaar hai
kyaa
teri takraar mein bhi pyaar hai
teri takraar mein bhi pyaar hai

piya tum kitne samajhdaar ho
ha ha
kaun kehta hai ki tum ganwaar ho
kyon gori kaisi kahi
badi mauke ki rahi
magar ye baat tumhaari nahin
magar ye baat tumhaari nahin
udhaar hai
haain
teri takraar mein bhi
uun hoon

teri akal se das guni hai gori
mujh mein akal
zara sheeshe mein dekho apni shakal
jyaada bak bak mat kar
jyaada bak bak mat kar
bas ho jaa chupchaap
baap re baap
ghadi ghadi mujhko sata mat
lagega paap
baap re baap
mere bhagwaan bata…aa
mere bhagwaan bata
ye kya chamtkaar hai
mera baalam hai
ya police ka zamadaar hai
teri takraar mein bhi pyaar hai
teri takraar mein bhi pyaar hai

aaj se sun papeeha
aaj se sun papeeha
teri meri kutti
apne naihar ko chali ja
hai tujhe chhutti
aisa mat bolo piya
dhak dhak hoye jiya
aisa mat bolo piya
dhak dhak hoye jiya
phir kaahe ko akadti
meri sarkaar hai
teri takraar mein bhi pyaar hai
teri takraar mein bhi pyaar hai

teri meri preet gori
kabhi nahin chhoote
kabhi nahin chhoote
hato ji hato balam
hato ji hato balam
tum ho bade jhoothe
meri dugdugi baje dug dug
o mere saiyyaan jio jug jug
meri dugdugi baje dug dug
o mere saiyyaan jio jug jug
tera mera jhagda mita
ab to beda paar hai
tera mera jhagda mita
ab to beda paar hai
teri takraar mein bhi pyaar hai
teri takraar mein bhi pyaar hai
teri takraar mein bhi pyaar hai

Tags: 1949, C Ramchandra, Girls' School, Kavi Pradeep, Shamshad Begam, Singer-MD

Ae jee bade bade mehlon se wo ghar bhale

Posted by: Atul on: October 12, 2020

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

Blog Day :

4469

Post No. :

15964

Yearwise discussion of Lata Mangeshkar songs in HFM: Part III: 1950
——————————————————————————————

So, we come to the year 1950. Lata Mangeshkar had announced her arrival on HFM scene in 1949. That year also marked the beginning of the golden era of HFM, which lasted till 1980.

Here are the details of the songs that Lata Mangeshkar sang in HFM in movies that were released in 1950:-

S N	Movie	Music director	Lata song in the blog	Lata HFM songs recorded in the year	Lata solo songs	Male duet	Female duet	Other songs	Lyricists
1	Aadhi Raat	Husnlal Bhagatram	6	6	5	1	0	0	Asad Bhopali (3) Sarshar Sailaani (2) Khumar Barabankvi (1)
2	Anmol Ratan	Vinod	7	7	5	2	0	0	D N Madhok
3	Apni Chhaaya	C Ramchandra	1	2	1	1	0	0	P L Santoshi
4	Aarzoo	Anil Biswas	5	5	5	0	0	0	Majrooh Sultanpuri (3) Prem Dhawan (2)
5	Baawra	Krishn Dayal B Sc	2	2	2	0	0	0	Raghupat Rai (1) Gafil Harnalwi (1)
6	Baabul	Naushaad	3	3	2	0	1	0	Shakeel Badayuni
7	Beqasoor	Anil Biswas (4) Hansraj Bahl (2)	6	6	4	2	0	0	Ehsan Rizvi (4) Aarzoo Lucknowi (2)
8	Bhai Bahan	Shyam Sundar	1	1	1	0	0	0	Rajinder Krishan
9	Birha Ki Raat	Husnlal Bhagatram	2	2	1	1	0	0	Sarshar Sailaani
10	Chhoti Bhaabhi	Husnlal Bhagatram	4	5	3	2	0	0	Qamar Jalalabadi
11	Chore	Pt Govindram	3	4	3	0	1	0	Rammurty Chaturvedi (3) I C Kapoor (1)
12	Gauna	Husnlal Bhagatram	0	1	1	0	0	0	Qamar Jalalabadi
13	Hamaari Beti	Snehal Bhatkar	1	3	3	0	0	0	Pt Phani (1) Unknown (2)
14	Hanste Aansoo	Ghulam Mohammad	1	1	0	1	0	0	Shewan Rizvi
15	Hanste Rahna	Wadhwa	0	1	1	0	0	0	Unknown
16	Khel	Sajjad Hussain	2	2	2	0	0	0	Saaghar Nizami (1) Shams Azimabadi (1)
17	Khilaadi	Hansraj Bahl	1	1	1	0	0	0	Nakshab
18	Laajawaab	Anil Biswas	5	9	4	2	1	2	Prem Dhawan (4) Shekhar (2) Safdar Aah Sitapuri (2)
19	Maang	Ghulam Mohammad	4	5	3	1	1	0	Sagheer Usmani (2) Nizaam (1) Raja Mehdi Ali Khan (1) Prakash (1)
20	Mashaal	S D Burman	2	2	2	0	0	0	Kavi Pradeep
21	Meena Baaazaar	Husnlal Bhagatram	6	6	1	5	0	0	Qamar Jalalabadi
22	Meharbaani	Hafeez Khan	1	5	2	2	1	0	Anjum Jaipuri (2) Mashhar (1) Khawar Zamaan (2)
23	Niraala	C Ramchandra	5	5	5	0	0	0	P L Santoshi
24	Nirdosh	Shyam Sundar	1	1	1	0	0	0	Asad Bhopali
25	Pardes	Ghulam Mohammad	6	6	5	1	0	0	Shakeel Badayuni
26	Pyaar Ki Manzil	Husnlal Bhagatram	3	6	4	1	1	0	Shewan Rizvi (4) Rajinder Krishan (2)
27	Raaj Mukut	Pt Govind Ram	1	4	2	1	1	0	Bharat Vyas
28	Raaj Raani	Hansraj Bahl	1	2	2	0	0	0	D N Madhok
29	Samaadhi	C Ramchandra	3	3	2	0	1	0	Rajinder Krishan
30	Sangeeta	C Ramchandra	8	8	7	1	0	0	P L Santoshi
31	Sangraam	C Ramchandra	5	5	3	1	1	0	Brajendra Gaud (2) Raja Mehdi Ali Khan (2) P L Santoshi (1)
32	Sargam	C Ramchandra	9	9	2	4	1	2	P L Santoshi
33	Sartaj	Husnlal Bhagatram	2	6	3	1	2	0	Majrooh (4) Partab (1) Shewan (1)
34	Shaadi Ki Raat	Pt Govind Ram	0	2	2	0	0	0	Sarshar Sailaani (1) Feroz (1)
35	Surajmukhi	Husnlal Bhagatram	1	2	0	1	1	0	Aabid Gulrej
36	Wafa	Vinod	3	5	3	1	1	0	Hasrat Jaipuri(3) Aziz Kashmiri(2)
Total	36 movies	15 MDs	111	143	93	32	14	4	40 lyricists

Thus we can see that Lata Mangeshkar sang 143 songs under the music direction of 15 Music composers in 1950.

But during those days no one knew what future had in store. If one thinks about it, Geeta Roy was also doing very well. During 1949, she sang 103 songs while Lata Mangeshkar had sung 157 songs 143 songs. In 1950, Geeta Roy sang 166 songs ! More than what Lata Mangeshkar sang in the year ! So, it was Geeta Roy who was ahead of Lata Mangeshkar in 190s in the race for the leading female playback singer of HFM.

Out of 36 movies of 1950, all Lata songs of as many as 20 movies have already been covered. So, only 16 movies of 1950 can be taken up for discussing a Lata song in the blog.

“Apni Chhaayaa”(1950) is alphabetically the first such movie of 1950. This movie was directed by P L Santoshi for Chitralaya Limited, Bombay. This “social” movie had Sulochana Chatterjee, Balwant singh, Radhakishan, Mumtaz Ali, Sajjan, tiwari, Ram Singh, Dulaari, Mona, Neelam, Satyarani, Jawahar Kaul, Bab Raja, Narbada Shankar, Karadkar, Niranjan, Madan singh, Cuckoo etc in it.

The movie had ten songs in it, including two Lata songs. Four songs from the movie, including one Lata solo (incorrecly mentioned in HFGK as a Lata Chitalkar duet), namely Andhiyaare ghar mein jyot jali has been covered in the blog.

Here is the second and final Lata song from “Apni Chhaayaa”(1950) to appear in the blog. This song is sung by Lata and Chitalkar. P L Santoshi is the lyricist.

The movie had two music directors, via=z Husnlal Bhagatram Nd Hanuman Prasad. HFGK mentions two songs as Hanuman Prasad composion and is silent about the music directors of other movies. Here I have assumed Husnlal Bhagatram as the music director of the song.

Only the audio of this rare song is available. I request our knowledgeable readers to throw light on the picturisation of the song.

Song-Ae jee bade bade mahlon se wo ghar bhale (Apni Chhaaya)(1950) Singers-Lata, C Ramchandra, Lyrics-P L Santoshi, MD-Husnlal Bhagatram
Both

Lyrics

Ae jee bade bade
Ae jee bade bade mehlon se wo ghar bhale
jinmein nanha sa preet ka deepak jale
Ae jee bade bade
Ae jee bade bade mehlon se wo ghar bhale
jinmein nanha sa preet ka deepak jale
ae jee bade bade

un mehlon pe laanat
un mehlon pe thhoo
un mehlon pe thhoo
jin ki deewaaron mein daulat ki boo
aji daulat ki boo
jo dukhiyon ke aahon se ban ke khade
jo dukhiyon ke aahon se ban ke khade
Ae jee bade bade
Ae jee bade bade mehlon se wo ghar bhale
jinmein nanha sa preet ka deepak jale
Ae jee bade bade

daulat jahaan hai wahaan laakhon beemaari
laakhon beemaari
laakhon beemaari ki ek hai beemaari
ek hai beemaari
jis mein ghul ghul ke rahne waale maren
jis mein ghul ghul ke rahne waale maren
Ae jee bade bade
Ae jee bade bade mehlon se wo ghar bhale
jinmein nanha sa preet ka deepak jale
Ae jee bade bade

o jee duniya se door kahin ambuwa tale
duniya se door kahin ambuwa tale
chhoti hamaari madhhaiyya bane
tum Radha bano
tum Radha bano
ham Kanhaiyya banen
jahaan preet ki paavan jamuna bahe
aur prem ki mohan bansi baje
Ae jee bade bade
Ae jee bade bade mehlon se wo ghar bhale
jinmein nanha sa preet ka deepak jale
Ae jee bade bade

Tags: 1950, Apni Chhaaya, C Ramchandra, Husnlal Bhagatram, Lata, P L santoshi

Dhak dhak dhak dhak kare dil

Posted by: Atul on: September 9, 2020

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

Blog Day :

4436

Post No. :

15875

Today’s song is from the film Baraati-54. This is a comedy song sung by Chitalkar and the MD is Roshan. The director was J.K.Nanda and the cast was Chand Usmani, Peace Kanwal,Agha, Omprakash, Shyam Kumar, Leela Mishra, Johnny Walker, Rajan Haksar, Kathana and many others.

The director J.K. Nanda aka Jai Kishen Nanda was born in 1904, in Bham, Punjab. He was a director, story writer and screenwriter. In spite of all these qualities and having got good films to direct, Nanda could not have a crowded career and directed only 12 films in his career. He wrote screenplay and story of films like Jailor-1938, Singaar-49, Baraat-54 and Mirza Ghalib-54. Films of his direction were Pavitra Ganga-32, Inteqaam-33, Bahen ka Pyar-35, Kudmai-41, Ishara-43, Jhumke-46, Parwana-47, Singaar-49, Chamkee-52, Baraati-54, Dhake ki Malmal-56 and Chaalaak-66.

Out of the total 8 songs of this film, 6 songs are already posted here. Today’s song is the 7th song and the 8th song is also available freely on YT. If one of us discusses that, this film too can be Yippeed.

Though this films’ songs are not composed by C Ramchandra, he has sung this song for Roshan. This is because Chitalkar was very fond of singing. From his childhood his interest was in music and singing. He had actually been trained by qualified singers. He had done singing roles in stage dramas also in his younger age. Even in his first ever film ” Naganand-35″ he had sung 2 songs. Though the actual number of his songs-sung by him- is not available, according to one estimate ,he sang about 150 duets or trios with various singers and about 50 odd solo songs in his career, in 77 films. This number is as good as any second line singer in the industry. Of course Chitalkar sang essentially for his own films. However there were occasions when he was invited by other composers for singing songs.
In those days there was a friendly atmosphere and cordial relations existed among the musical fraternity. All composers, singers, their assistants, lyricists, musicians used to have a lot of fun, get-to-gethers and even outings. One can find many such photographs on the Internet. Though there was keen competition, it was very healthy and not a Cut-Throat type – yet. This clean atmosphere started getting spoiled when some conniving composers (read Shankar Jaikishan, Laxmikant Pyarelal and others of their ilk) started unethical means to grab undeserving awards and films. Honest and True to music composers like S D Burman, C Ramchandra, Madan Mohan, Khayyam etc were thrown aside as they proved to be misfits in this new ” Dog Eat Dog ” culture that crept stealthily, in the film industry !

Anyway, Chitalkar sang in films composed by other Music Directors very selectively and for the sake of specific reasons. He seems to have sung for Mir Sahib (his first Guru), Anil Biswas(his idol),S D Burman, Roshan(his close friend), P.Ramakant, Chic Chocolate(his assistant of many years), Hemant Kumar, Laxmikant Pyarelal,Usha Khanna and Kishore Kumar. He sang for the last three in his last few years.

His songs with other Music Directors may not exceed 15 at the most. Lata sang hardly 2-3 songs as duets with him, for other music directors. Remaining of his duets for other music directors were with other singers.

I feel that he sang only ONE duet with Asha Bhonsle for other Music Directors and that song is from today’s film Baraati-54.

Anyway, today’s song is from Baraati, a film from 1954 and the Music Director was Roshan. At this juncture, Roshan was fighting for survival. After Bawre Nain and Malhar he had not given any Hit film. Few songs from his films had become popular. In 1954, he was summarily removed from the film MEHBOOBA and O P Nayyar took over . There was a huge hue and cry and the matter was taken up by the Association too. One good thing that happened was that during this period Lata stood behind Roshan like a Rock. Their relations were extremely sweet, so much so that when Lata decided to produce a Film “Bhairavi”, she appointed Roshan as its Music Director, much to the amazement of the industry ! The film did not materialise, is another matter. Though Roshan was never a Front row composer in the industry, Lata had recognised his Talent in the musical arena. The sweet relations between Lata and Roshan remained so for a long time-only to become bitter when Roshan gave opportunities to Hemlata in his films.

Chitalkar and Roshan were very good friends. After Chitalkar had retired from films, Roshan used to frequently go to his house in the evenings for drinks. Though Roshan hardly drank anything, Chitalkar more than compensated the deficit!. They used to exchange their sorrows. Roshan’s family life was not a happy one, which added to his nervous nature and took its toll finally.

Initially BARAATI-1954 was given to Chitalkar, who was already doing Yasmeen for Kardar Studios. Since Chitalkar knew that Roshan was without work, he persuaded A R Kardar to give the film to Roshan, thus Roshan became the Music Director for this movie.

When this song of Baraati-54 was to be recorded, Roshan purposely opted for Asha, since he knew that in future Chitalkar would try to bank upon her as a replacement for Lata. However it was not to be, though Chitalkar tried his best in this direction. In the film Amardeep-58, out of 12 songs,Asha was given 7 songs while Lata sang only two. In this connection there is an interesting incident….

In January 1957,there was a singing competition called ” MURPHY-METRO SINGING CONTEST ” held on the open grounds of Mahalaxmi Racecourse, Bombay. The judges were Naushad, Anil Biswas, C Ramchandra, Vasat Desai and Madan Mohan (He was the youngest of them all, which was an honour for him). Aarti Mukherjee and Mahendra Kapoor were the winners in this contest.

At the end of the Contest,when the curtain opened after a break, C Ramchandra suddenly appeared at the Centre-stage, with his full orchestra. (This was NOT announced to the audience earlier, giving them a pleasant surprise.)

Within minutes Asha Bhonsle appeared on the stage and they started a live show under his baton, presenting the First ever ROCK N ROLL number in the annals of Hindi film Music. Asha brought down the whole Mahalaxmi house that evening with her ultra spirited singing of ‘ Mr. John, ya Baba khan ya Lala Roshan daan ” from film BAARISH-57 to be released only next month viz. February 1957.

Such was C Ramchandra’s clout in his heydays that he was considered the heralder of westernised music in Indian films. It is well known that once S D Burman told his son, Pancham “If you want to go western, do it by all means, but first study the songs of C Ramchandra,study the vistas explored by him as a composer !!”

In the film Baraati-54, there were two Heroines – Chand Usmani and Peace Kanwal. For both of them, this was their second movie in their career. Peace Kanwal had a very short career of only 10 films. Then she got married and quit films. Chand Usmani survived for a longer period. She did 109 films. Her last film was a record-delayed film. Started in 1987, the film Yaar meri zindagi finally released in 2008 !

Chand Usmani was one of those actresses, who were good in acting but poor in good luck ! Actresses like Farida Jalal, Tabassum, Shubha Khote, Nazima, Zahira,Zahida, Yashodhara katju and many more fell in this category. These actresses never made upto regular Heroine roles, more than a few films. They had some beginner’s luck but that was the end. They continued in side roles only.

Chand Bibi Khanam Usmani was born on 3-7-1933 in Agra, U.P.and came to limelight by participating in ‘Kardar-Kolynos-Teresa Contest’ in 1949.She felt surprised when she was selected for the contest and overjoyed when selected as the second in the finals.She acted as the female lead of ‘Jeevan Jyoti’ directed by Mahesh Kaul in 1953, opposite Shammi Kapoor.It was the debut film of Shammi Kapoor also.
Chand Usmani became an established actress later on, but she got only secondary roles which she performed always nicely.Gradually she accepted supporting roles,character roles,mother roles etc.She got Filmfare Best Supporting actress award for her portrayal of the character as ‘Champa’ in the 1970 film ‘Pehchan’.
Chand Usmani acted in films of all prominent actors of that period.
In 1957 in the film ‘Naya Daur’ directed by B.R.Chopra, and in which Dilip Kumar-Vyjayantimal were the main pair, Chand Usmani acted as sister of the hero Dilip Kumar’s character ‘Shankar’.
In the historical film ‘Samrat Pritviraj Chauhan’ she acted in the role of Rajkumari.
‘Prem Patra’ was a well noted film directed by Bimal Roy in 1962.A medical College student Arun Kumar Mathur(Shashi Kapoor) has a misunderstanding over a love letter and the consequences were the theme of the film.Sadhna was the heroine and Chand Usmani acted in the supporting role as ‘Sumitra’.

‘Biswajeet,Saira Banu,Jayant,Sajjan,Nazima,Chand Usmani’ etc were the cast of ‘April Fool’ directed by Subodh Mukherjee.This film pointed to the fact that sometimes even practical jokes done for just fun can also lead to unexpected serious problems.

In the super hit film ‘Khilona’ in which Sanjeev Kumar acted in leading role in 1970, Chand Usmani acted as the character Laxmi Singh.
In the film ‘Ujala Hi Ujala'(74), she portrayed mother’s role and acted as mother of Yogita Bali’s character Anuradha.
She presented excellent acting skills along with Shabana Azmi in the 1976 classic movie ‘Kadambari’.
In the 1977 super hit movie of Manmohan Desai ‘Parvarish’ in which Amitabh Bachchan,Shammi Kapoor,Neetu Singh,Shabana Azmi,Vinod Khanna,Amjad Khan,Kader Khan’ etc acted, Chand Usmani acted skilfully as the mother of Neetu and Shabu (Neetu Singh and Shabana Azmi).

She had a well noted character role in another super hit film of Amitabh Bachchan-Neetu Singh pair ‘Yaarana’ in 1981 and yet another film ‘Pukar'(83) in which Amitabh Bachchan and Zeenat Aman were the main pair.

She acted as mother of Suraj (Raj Babbar) in the film ‘Zakhmi Aurat'(88). In all, she acted in 109 films. Her first film was Jeewan Jyoti-53 and the last released film was a record delayed film, Yaar meri zindagi, which started in 1987 and was released in 2008 !

Chand Usmani died on 26-11- 1989 at Mumbai.

As far as Peace Kanwal is concerned, film Kismet-56 was her third and last film as a Heroine. When the film was released, she was pregnant and delivered in 1957. Later she did only side or character roles in films. As such, her tenure in films was not very long. she just did 10 films in all.

She was born on 16th December ( she never told the year of her birth). Her father was a doctor in a Mission Hospital in Agra. He had his private Hospital in Amritsar also.He was related to the Royal families of Jaipur and Jodhpur. He converted to Christianity and changed his old name Indriyas to Andrew Kanwal.

Peace studied in Amritsar, Lahore, Rawalpindi and Delhi. She got admission in Ludhiana Medical college.In the vacations after her first year MBBS, she visited Bombay. Due to persuasion from a newly acquired friend, Peace participated in the ” Kardar Kolynos Talent Contest”. She won the contest (Chand Usmani was second. Shubha khote and Anita Guha too competed in the contest).

A R Kardar signed a 2 year contract with Peace for Kardar Studios. Her debut film was ” Dil E Nadaan ”-53 in which Talat Mehmood also made a Debut as a singer Hero, opposite her. The film was a musical hit. her second film was ” Baraati”-54, opposite Agha. On the sets of this film, she got introduced to Susheel Ruia and soon they got married in 1955. Her name after marriage was Rajashri.

Her third film was Kismat-56, opposite Ranjan. In 1957, she gave birth to her first child and took a break from working. Later she started doing character roles. Her husband was against her working in films. They divorced in 1968. She engaged herself in a lot of social work and painting,her hobby. Her Paintings were in great demand and she held exhibitions of her paintings in India and the USA as well as in Australia.

In 1976, she was introduced to Mr. V.Ramesh, grandson of ex-president V.V.Giri. She married him in 1977. Presently, she stays in Juhu, Mumbai and is into social work and paintings upto her neck. She worked in Dil e Nadaan-53, Baraati-54, Kismat-56, Nai maa-60,Maa Baap-60, Barsaat ki raat-60, Aarti-62, Chambal ki kasam-80, Aasmaan-84, and Woh subah kabhi to aayegi-91 ( adapted from interview on Beetehuedin.blogspot.com, with thanks).

The story of the film Baraat was…..Lajo (Chand Usmani) is a homely girl. She has no father and stays with her widowed mother and brother Sunder (Agha). Her mama-Bishen Das(Omprakash) and Mami (Leela Mishra) also stay in the village. Lajo’s mother depends upon Sunder and Mama Bishen for finding a groom for Lajo. Sunder starts visiting prospective grooms, but at one place, falls in love with a girl and marries her. When he and the new Bride Pilu (Peace Kanwal) come home, they are not allowed to enter unless Sunder finds a suitable match for Lajo. Sunder and Bishen start the mission again and finalise a boy, Atmaram, son of a rich Zamindar, Girdharilal(Shyam Kumar),who is very stingy and money minded. He puts many conditions which are all accepted. The marriage takes place, but Girdharilal makes additional demands and refuses to take the bride into his house. Lajo is devastated and attempts suicide, but Bishen Das saves her. He suggests that Lajo win back her husband by her love. She succeeds in doing this and Atmaram rebels against his father,takes Lajo into his home and the father relents.

Song-Dhak Dhak kare dil…Jhatpat pat jhat aake mil (Baaraati)(1954) Singer-C Ramchandra, Lyrics-D N Madhok, MD-Roshan

Lyrics

dhak dhak dhak dhak
dhak dhak kare dil
jhat phat pat jhat jhat phat aake mil aa ke mil
aake mil
dhak dhak dhak dhak
dhak dhak kare dil
jhat phat pat jhat jhat phat aake mil aa ke mil
aake mil

chanda un se jaakar kahna
mushkil un bin jeete rahna
roti hai majboor jawaani
haaye re dhadke hai dhadke hai
bechaara dil
jhat phat pat jhat
jhat pat aake mil
aa ke mil
dhak dhak dhak dhak
dhak dhak kare dil
jhat phat pat jhat jhat phat aake mil aa ke mil
aake mil

mere dil ko dil mein rakh le
dard piya ke aap parakh le
thhes lagi khud kah dogi tum
haaye re
toot gaya
toot gaya mera nannha sa dil
jhat pat pat jhat pat
aake mil
aa ke mil
dhak dhak dhak dhak
dhak dhak kare dil
jhat pat pat jhat
jhat pat aake mil
aake mil

mere pyaar ki alakh jaga de
haaye alakh jaga de
sharam haya ko aag laga de
haan aag laga de
aisi raaten aur tanhaayi
haaye re patther ka
patthar ka hai tera dil
jhat pat pat jhat
jhat pat aake mil
aa ke mil
dhak dhak dhak dhak
dhak dhak kare dil
jhat pat pat jhat jhat pat
aake mil
aa ke mil

Tags: 1954, Baaraati, C Ramchandra, D N Madhok, Roshan

Dilon ka melon ka naam picnic

Posted by: Atul on: July 19, 2020

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

Blog Day :

4384

Post No. :

15738

A week before the 12^th birth anniversary of the Blog on July 19, 2020, an idea propped up in my mind. Some time back, I had read the interviews of a 78 RPM record collector of Indore and also of the vintage gramophone turn-table collectors of Pala near Kottayam which were published in some newspapers. Atul ji’s Blog has been in existence for 12 years with almost daily posting of songs. With nearly 15800 songs spread over 4300 films covered and a hit of a little over 1,36,22,000, the Blog must have attained the numero uno position among the musical blogs in India. This is a great achievement. So, I felt that the creator of this Blog – Atul Besra deserves to be interviewed which should get published in newspapers/magazines. This was just my momentary thought.

Soon, I found myself alighting from a train at Gorakhpur Junction railway station on Sunday morning, July 19th. I hired one of the yellow-coloured autorickshaws queued up outside the railway station for reaching Atul’s railway quarters. Luckily, I found Atul ji taking a stroll in his railway quarter complex with his dog, Bhole when my autorickshaw was on its way to enter the complex. I got down from the autoricksha and walked towards Atul ji.

‘Good morning’. I wished him to which he reciprocated looking at me somewhat perplexed and confused. Either he must have been surprised to find me suddenly in front of him or he failed to recognise me.

‘I am sorry I came here to meet you without giving you any intimation. My intention was to make a surprise visit to your house to wish you personally on the occasion of 12th birth anniversary of the Blog and to have a tete-a-tete with you’. I said apologetically to Atul ji.

‘Oh! Thank you. I am pleasantly surprised to find you here’. With this, the confusion in Atul ji’s mind vanished. He cut short his stroll and took me inside the complex of the Officers’ Quarters. As I was walking through the complex, I saw a couple of peacocks roaming on the lawns. The lawns were skirted by flower plants. There were good number of trees in the complex. As we were walking through the lawns, I found some squirrels running away from us and climbing on the trees. From the tree, a squirrel looked at us in contempt flipping its tail, probably signaling us that we had encroached upon his territory. Overall, the complex had a good ambience.

Inside the complex, there were rows of brick-coloured houses. Atul ji showed me his house which had a mini-gate. A name board at the gate displayed his name in Hindi and English. Below his name was a caution notice to the visitors: ‘Beware of friendly Dogs inside the house’. This, I thought, may be a caution of a different type – the dogs can ‘lure’ the visitors with their friendly dispositions.

After freshening up and finishing a breakfast of Aaloo Parathas with curd and pickles, we relaxed for sometime in main room which was much larger than what I had in my flat. There was an open wall unit on which I specifically noticed a replica of Vande Bharat Train-18 and a cricket bat personally signed by MS Dhoni. On a corner low-height table, an old gramophone record player with a big pavilion horn was kept. Suddenly, Bhole came from nowhere and sat in front of the turn-table, looking straight into the horn giving a logo-like image of HMV. The wall hanging comprised of a Railway Calendar, a portrait of Kapil Dev holding World Cup 1983, and a photo-collage comprising of popular singers, lyricists and music directors of golden period of Hindi film music. Lastly, I noticed a metal photo-frame in which a picture of Bhole, Chhote and a cat resting together was placed.

When I was surveying the main room, Atul ji was immersed in some thoughts – may be thinking about an outline of an article to be written and posted on the Blog for today’s special occasion or about some official work in the pipe line.

‘Let me formally congratulate you for completing 12 years of continuous blogging without a break’ and a Happy 12th anniversary of the Blog. I wished him once again to commence an informal interview with him so that his responses looked natural.

‘Thank you for a pleasant surprise visit. The Blog is the labour of love not only of me but all those who have been regularly contributing by way of guest posts, comments, suggestions etc’. Atul ji said with all humilities, keeping a watch over Bhola who had sat in front of the horn of an old turn-table.

I started with some questions to Atul ji which I had already framed in my mind. But in order not to appear as a formal interview, I asked these questions as of I was in conversation with him.

Me: Since when did you get interested in Hindi film songs?

Atul ji: During my growing up days in the late 1960s, one day I heard a song ‘mere saamne waali khidki mein’ on the radio. I loved the song. I was told by my maternal uncle that the singer was Kishore Kumar. Later, I heard several songs of Kishore Kumar. A few months later, the songs of ‘Aradhana’ (1969) became the rage of the nation. Some songs of this movie were sung by Kishore Kumar. I came to know that Rajesh Khanna was the hero of that movie. Rajesh Khanna as an actor and Kishore Kumar as the male playback singer became instant hits in Hindi films. Gradually, my liking in Hindi film music widened to songs of the golden period of Hindi film music, broadly comprising of the songs of the films released during 1950-65. Later on, when I got involved in my Blog, I also developed taste for the old film songs especially of K L Saigal, Pankaj Mullick, Kanan Devi, Ameerbai Karnataki and many more.

Me: How did you get the idea of starting a blog exclusive for discussing a Hindi film song a day?

Atul ji: I used to converse with Raja ji on a cricketing forum on the matter relating to cricket. Gradually, the conversations turned toward Hindi films songs also when I came to know that Raja ji was also interested in discussing Hindi film songs. We felt that it was not appropriate to discuss Hindi films songs on a cricketing forum. Since we had a mutual passion for Hindi film songs, I proposed creating a separate blog for discussing Hindi film songs which Raja ji whole-heartedly supported the idea. Thus, https://atulsongaday.me/ was born on July 19, 2008 with the intention of discussing one Hindi song a day on the Blog. I can say that it was Raja ji who inspired me to create the Blog. The first song posted on the Blog was mile na phool to kaanton se dosti kar lee.

Me: What was the response to the Blog?

Atul ji: It is quite natural that in the initial period, the responses by way of the visitors to the Blog and comments on the songs were slow as the Blog was newly started and its existence was not known to many potential readers. But during the first three months, the average visitors to the Blog per day picked up to around 300 which further rose to around 500 during the first 6 months. By the time the Blog had completed one year, it had covered around 1500 songs. Over the years, the Blog coverage of songs as well as visitors have shown significant upward trends. As against the target of one song a day, we had many time posted 5-6 songs per day. As of now, the Blog has clocked over 13 million visitors with nearly 15800 songs covered which are spread over 4300 films. Also, the Blog has over 1200 Hindi films for which all the songs in the films have been covered. These are remarkable achievements.

Me: Do you feel that the purpose for which the Blog was created has been achieved to your satisfaction?

Atul ji: I would say without any hesitation that the Blog has achieved much more than what I had intended at the time it was created. Apart from coverage in terms of the number of songs and the films, the Blog has become fairly an authentic reference point for those who intend to study the Hindi film music. We have endeavor to cover artists who are unknown to the present generations by bringing them to the notice of the readers, their contributions to Hindi films in general and the Hindi film music in particular. Over a period of time, we have also widened the scope of the Blog by cover non-film Hindi songs. As you may aware, we have covered all the available songs sung by K L Saigal and Suraiya and all the avalable songs composed by Sajjad Hussain.

But the greatest achievement of the Blog which I had not thought of when it was created is that it has become a platform for collaborative efforts of like-minded Hindi film music lovers. The regular visitors of this Blog share certain unwritten common values. They are all knowledgeable, intelligent, mature and well settled individuals, whose love for the Hindi film music is deep and long lasting. The Blog has helped create a close-knit community of like-minded individuals, who share common interests, and they share each other’s joys and sorrows too.

Me: Just a wild thought occurred to me – 25000 songs by 25th Birth Anniversary of the Blog. Is it achievable?

Atul ji: Oh! It is too long a period to think about this target. But going by the present rate of coverage of the song per month, the target seems to be achievable.

Me: A last question. I have planned to publish our conversations as a part of your interview in a reputed newspaper or magazine. I hope I have your permission to do so.

Atul ji: I personally feel that there is no need to publish my interview in any newspaper or magazine. I speak through my Blog. I would, therefore, request you to just use my laptop and type the article based on our discussion with a song of your choice. I will get it uploaded on our Blog. This is quicker and timelier than on the newspaper/magazine. Besides, the Blog has readers across all continents.

Before I could respond to Atul ji, my wife woke me after the alarm set at 05:30 AM started ringing for my morning walk. I sat on my bed for some time before realising that I was infected by ‘Mungerilal Ke Haseen Sapne’.

Happy 12^th birth anniversary of the Blog to Atul ji and his bandwagon.

On the occasion of the 12th birth anniversary of our musical Blog, I have chosen a picnic song, ‘dilon ke melon ka naam picnic’ from ‘Naadaan’ (1951). The song is sung by Geeta Dutt, Chitalkar and Chorus. The song is written by P L Santoshi which is set to music by Chic Chocolate who was the music arranger for C Ramchandra.

With this song, all the songs of ‘Naadaan’ (1951) have been covered in the Blog.

Enjoy this picnic song. Our Blog is like a ‘picnic point’ where musically like-minded persons meet for enjoyment.

Audio Clip:

Song-Dilon ke melon ka naam picnic (Naadaan)(1951) Singers-Geeta Dutt, Chitalkar, Lyrics-P L Santoshi, MD-Chic Chocolate
Chorus

Lyrics

dilon ke melon ka naam picnic
nazar ke khelon ka naam picnic
dilon ke melon ka khelon ka naam
pic pic pic pic pic picnic
dilon ke melon ka naam picnic
nazar ke khelon ka naam picnic
dilon ke melon ka khelon ka naam
pic pic pic pic pic picnic

aa aa aa aa aa aa aa
aa aa aa aa aa aa aa
pyaar ke ye din nahin
aayenge waapas na phir kabhi
ye maze ye kahkahe
ye zindagi aur ye khushi
isi liye tum hans ke guzaaro
jeewan ke din ye albele
ye albelon ka khelon ka naam
pic pic pic pic pic picnic
dilon ke melon ka naam picnic
nazar ke khelon ka naam picnic
dilon ke melon ka khelon ka naam
pic pic pic pic pic picnic

aa aa aa aa aa aa aa
aa aa aa aa aa aa aa
jisne apne dil ka sauda
zindagi mein kar liya
hum kahenge usne sab kuchh
zindagi mein kar liya
isi liye tum karo mohabbat
chaahe aaye laakh jhamele
inhin jhamelon ka melon ka naam
pic pic pic pic pic picnic
dilon ke melon ka naam picnic
nazar ke khelon ka naam picnic
dilon ke melon ka khelon ka naam
pic pic pic pic pic picnic
dilon ke melon ka naam picnic
nazar ke khelon ka naam picnic
dilon ke melon ka khelon ka naam
pic pic pic pic pic picnic

Tags: 1951, C Ramchandra, Chic Chocolate, Geeta Dutt, Naadaan, P L santoshi

Tum Ne Dekha Kya Bhala. . .

Posted by: skapur01 on: February 2, 2020

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.

Blog Day :

4216

Post No. :

15417

Fabulous Foot Tappers – 10
– – – – – – – – – – – – – – –

Ah, a post waiting for some time now to come on board. This post and this song is specially for dear Avinash ji. 🙂 🙂

As you listen to the song, and the words settle down in the mind, you can almost imagine – Avinash ji, on his flight back from Kenya to India, thinking about this song. And then the landing at Mumbai, then passing thru the immigration and baggage collect. He bumps into an old friend while waiting for the bags. The friend asks him where from he is returning. Avinash ji says, Kenya. The friend says – अरे यार, वो भी कोई जगह है देखने की, see, I am returning from Barcelona, now that is a place to visit. And instantly Avinash ji breaks into this song, telling his friend “Tum Ne Dekha Kya Bhala, Gar Na Dekha Aafrika”. And there is a loud applause from the crowd waiting for their baggage.

And then, Avinash ji decides that this song must also be screened for the musical bandwagon on our blog. The Atulites must be made aware – they have missed something significant in life – “तुमने क्या देखा भला, जो ना देखा आफ्रिका”. 🙂

The song is performed as a club dance cum stage dance setting. A fiesty rock and roll number, which should have been heard more. But maybe then, the 1960s was overflowing with such rollicking dance numbers. The film itself, of course did not seem to have made any impact, and so this superb song seems to have dived below the radar of listeners.

The first one to make an entrance is Bela Bose, all made up as a native African belle. Next on the scene is Bhagwan Dada, also in an African attire and face wash. The first stanza goes by. And then, in the second stanza, we have Chandrashekhar make his appearance – a white man, suited and booted, riding in an open car. He declares that he was on way to America (jeez) but then the beauty of Africa and the African ‘माहजबीं’ made him change his mind. Quite a stretch of imagination here by Bakshi Sb (I mean Anand Bakshi 🙂 ), calling a dark and dusky damsel as ‘माहजबीं’ (literal meaning – moon faced).

And then we are on to the third stanza, in which Bhagwan Dada, feeling threatened by the invasion of the white male competitor, advises his heart throb that the fair color is not so fair, if the heart is not in the game.

In the interludes, we see the audience as well as a quartet of sinister looking ‘thugs’ who are apparently up to no good, and most likely are looking for somebody. Could be the scenario is that Bhagwan and Chandrashekhar are on the run followed by this quartet, and they both mingle in with this performance, trying to hide behind the disguises. Now isn’t that so original 🙂

The film is ‘Hum Deewaane’ from 1965. Produced under the banner of Young India Entertainer, Bombay, the film is directed by Bhagwan himself. The star cast is listed as Mumtaz, Chandrashekhar, Bhagwan, Helen, Iftikhar, Anwar, Agha, Maruti, Rajan Haksar, Kundan, Prem Sagar, Rajan Kapoor, Kanchanmala and Bela Bose.

The songs are written by Anand Bakshi, and the music is by C Ramchandra under the name of Anna Saheb. This song is an all male duet in the voices of C Ramchandra himself, as Chitalkar, accompanied by Mahendra Kapoor.

Goodness, almost one and a half years since the last post in this series. I need to pull up my socks. 🙂

Audio

Video

Song – Tum Ne Dekha Kya Bhala, Gar Na Dekha Aafrika (Hum Deewaane) (1965) Singer – Chitalkar, Mahendra Kapoor, Lyrics – Anand Bakshi, MD – Anna Sahab (C Ramchandra)
Chitalkar + Mahendra Kapoor

Lyrics

tum ne dekha kya bhala
gar na dekha afrika
tum ne dekha kya bhala
gar na dekha afrika
tanga neeka
taaanga neeka

muskura o dilruba
ho ja fida honay de fida
muskura o dilruba
ho ja fida honay de fida
jeene ka yahi hai
jeene ka yahi hai
tareeka
tareeka
tareeka
hoye tum ne dekha kya bhala
gar na dekha afrika
tum ne dekha kya bhala
gar na dekha afrika
tanga neeka
taaanga neeka

thi whaan wo mahjabeen
reh gaya main bhi wahin
thi whaan wo mahjabeen
reh gaya main bhi wahin
jaan tha mujhe
arey jaana tha mujhe
amreeka
amreeka
amreeka
haa haa
tum ne dekha kya bhala
gar na dekha afrika
tum ne dekha kya bhala
gar na dekha afrika
tanga neeka
taaanga neeka

o sanam teri kasam
kaale hain par dilwaale hum
o sanam teri kasam
kaale hain par dilwaale hum
dil bina ye rang gora
dil bina ye rang gora
hai pheeka
hai pheeka
hai pheeka
tum ne dekha kya bhala
gar na dekha afrika
tum ne dekha kya bhala
gar na dekha afrika
tanga neeka
taaanga neeka

tum ne dekha kya bhala
gar na dekha afrika
tum ne dekha kya bhala
gar na dekha afrika
tanga neeka
taaanga neeka

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

तुमने देखा क्या भला
गर ना देखा आफ्रिका
तुमने देखा क्या भला
गर ना देखा आफ्रिका
टांगा नीका
टां॰॰गा नीका

मुस्कुरा ओ दिलरुबा
हो जा फिदा होने दे फिदा
मुस्कुरा ओ दिलरुबा
हो जा फिदा होने दे फिदा
जीने का यही है
जीने का यही है
तरीका
तरीका
तरीका
होय तुमने देखा क्या भला
गर ना देखा आफ्रिका
तुमने देखा क्या भला
गर ना देखा आफ्रिका
टांगा नीका
टां॰॰गा नीका

थी वहाँ वो माहजबीं
रह गया मैं भी वहीं
थी वहाँ वो माहजबीं
रह गया मैं भी वहीं
जाना था मुझे
अरे जाना था मुझे
अमरीका
अमरीका
अमरीका
हा हा
तुमने देखा क्या भला
गर ना देखा आफ्रिका
तुमने देखा क्या भला
गर ना देखा आफ्रिका
टांगा नीका
टां॰॰गा नीका

ओ सनम तेरी कसम
काले हैं पर दिलवाले हम
ओ सनम तेरी कसम
काले हैं पर दिलवाले हम
दिल बिना ये रंग गोरा
दिल बिना ये रंग गोरा
है फीका
है फीका
है फीका
तुमने देखा क्या भला
गर ना देखा आफ्रिका
तुमने देखा क्या भला
गर ना देखा आफ्रिका
टांगा नीका
टां॰॰गा नीका

Ye duniya hai ek jhamela

Posted by: Atul on: January 5, 2020

Blog Day :

4188

Post No. :

15369

“Jhamela”(1953) was produced and directed by Bhagwan dada for Bhagwan arts Productions, Bombay. This comedy movie had Bhagwan, Geet Bali, Badri Prasad, Baby Shakuntala, Bibi bai, Baburao, Leela Gupte, Usha Shukla etc in it.

The movie had eleven songs in it. Four songs have been covered in the past.

Today (5 january 2020) is the 38^th remembrance day of C Ramchandra (5 january 1982). On this occasion, here is a song from “Jhamela”(1982). The song is sung by C Ramchandra. Rajinder Krishan is the lyricist. Music is composed by C Ramchandra as well.

Only the audio of the song is available. It is clear that the song, which is the title song of the movie, was picturised on Bhagwan.

Lyrics of this song were sent to me by Peevesie’s mom.

Song-Ye duniya hai ek jhamela (Jhamela)(1953) Singer-C Ramchandra, Lyrics-Rajinder Krishan, MD-C Ramchandra

Lyrics(Provided by Peevesie’s mom)

yeh duniya hai ek jhamela
ek jhamela
ooooo
chaar dinon ka hai mela
hai mela
hai me ae ae la
ho char dinon ka hai mela
ho
chaar dinon ka hai mela
hai mela
duniya hai ek jhamela
ek jhamela
ooooo
chaar dinon ka hai mela
hai mela
hai me ae ae la

kanjoos jo makhee choos ho
jode baithke kaudi kaudi
arre jahaan bhi ruk gayi chalte chalte
beta saans ki ghodi
phir saath na jaaye dhela
phir saath na jaaye dhela
ho
chaar dinon ka hai mela
hai mela
hai me ae ae la
yeh duniya hai ek jhamela
ek jhamela
ooooo
chaar dinon ka hai mela
hai mela
hai me ae ae la

khel jawaani mastaani ka
yeh powder yeh laali
arre ho jaayengi badle jaisi
ek din zulfen kaali
yeh qamar banegi thela
yeh qamar banegi thela
hoye
chaar dinon ka hai mela
hai mela
hai me ae ae la
yeh duniya hai ek jhamela
ek jhamela
ooooo
chaar dinon ka hai mela
hai mela
hai me ae ae la

hooooo
motor tez chalaanewale
baat yeh meri maan
arre jinke paas nahi hai motor
woh bhi hai insaan
tu dhan daulat mein khela
tu dhan daulat mein khela
hoye
chaar dinon ka hai mela
hai mela
hai me ae ae la
yeh duniya hai ek jhamela
ek jhamela
ooooo
chaar dinon ka hai mela
hai mela
hai me ae ae la

Tags: 1953, Bhagwan, C Ramchandra, Jhamela, Rajinder Krishan, Singer-MD

Aate jaate nazar milaate ho jaata hai pyaar

Posted by: Atul on: November 21, 2019

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 :

4143

Post No. :

15308

Today’s song is from the film Leela-1947.

Film Leela-1947, a Filmistan offering, was directed by Dattaram N Pai. He was actually an Editor with Filmistan. His name appears as a Director first for film Eight Days-1946. That film was actually directed by Ashok kumar, but Dattaram’s name was given as a Director in the credits. His second and last film as a Director was Leela-1947. I suppose, he did try to do justice to the Director’s chair, but after this film, he did not direct any other film. May be, looking at his limitations, Filmistan did not opt for him anymore.

All the 9 songs of the film were written by G S Nepali and Qamar Jalalabadi. The singers were Binapani, Shamshad, Geeta Roy, Amirbai and Chitalkar. The MD was C Ramchandra. The cast of the film was Shobha, Kanu Roy, Veera, V H Desai, Agha, Leela Mishra, Sunalini Devi etc.etc.

The Heroine of this film, Shobha, unfortunately remains an actress about whom no information is available. On going through the HFGK, I find her name in at least 20++ films. Sometimes she is listed as Shobha Devi. Another bit of information about Shobha was that that the actress Lata Sinha, who started as a child star (as Baby Lata) in Riyasat-55 and Nau Do Gyarah-1957 etc. was her daughter. Lata did a good role in Bees saal baad-1962. She mainly acted in action/stunt, costume and other B and C grade films only. She was also in film Bhoot Bungla-1965.

Film Leela-1947 was made by Filmistan. When a dissatisfied, and disillusioned splinter group fell out of Bombay Talkies, Filmistan was a Dream project for them. The important members from this group were S.Mukherjee, Ashok Kumar, Gyan Mukherjee and Rai Bahadur Chunilal. For them founding Filmistan was a goal achievement. For C Ramchandra, finding Filmistan was a goal achievement, because those days he had left Jayant Desai’s company and was looking for another film company.His good old friend Kavi Pradeep, who was close to S.Mukherjee from their Bombay Talkies days, brought in a very lucrative offer from Filmistan and C Ramchandra joined it with pleasure.

Though C Ramchandra had begun his career in 1942 with Sukhi Jeevan, his first Hindi film as a MD, his music had not flourished till he joined Filmistan. The 5 films he had made with Jayant Desai were reasonably good but they were not Hits. It was only in Filmistan he achieved, what one would call-Success. Out of the 11 films that he made here. his success rate was more than 50%. Especially, the music of films like Shehnai-1947, Saajan-1947, Khidki-1948, Nadiya ke par-1948, Patanga-1949, Samadhi-1950 and Anarkali-1953 created songs which are remembered even today. To make songs whose popularity lasted for more than 70++ years, is surely an achievement.

It was also when he was with Filmistan that people were comparing him and Naushad and a discussion always circulated who was the Numero Uno as an MD. Though I am a C Ramchandra Bhakta, I am of the opinion, that in the race of creating everlasting Hit songs, C Ramchandra was no match to Naushad. The strike rate of Naushad’s Hit films was much much more than that of C Ramchandra.

In the year 1946, C Ramchandra gave music to 4 films(1 for Filmistan), in 1947 it was 7 films (4 for Filmistan) and in 48 films were 8 (2 for Filmistan). So, in these 3 years, he did 19 films (7 for Filmistan). The rest comprised of stunt films of Master Bhagwan and other social films. Hit films were -5, all for Filmistan.

During this period, starting with film Safar-1946, his female lead singer was Binapani Mukherjee. She remained so, till Lata Mangeshkar dominated the music of C Ramchandra from 1950 onwards. As such, Binapani was not a great singer and she had limitations. This, precisely, was the reason why her career was limited to only about just 20 odd films with 50 odd songs. Her all popular songs were with C Ramchandra only.

Binapani was born on 17-10-1925, in a music loving family of Calcutta. Initial music training was by her grandfather Sheetal chandra Mukherjee and and later from ustad Sageer Khan of Rampur.

C.Ramchandra gave her first break in playback in film “Muskurahat”-1943. Her first song was-‘Hans le gaa le…’. It was a duet with CR.
Then came Majdoor, Eight days, Darban, Rangbhumi, but she became famous after ‘Safar’-46.

Her most popular song-‘kabhi yaad kar ke,gali paar kar ke,chali aana hamare angana…’ was from this film, as a duet with C Ramchandra.

She also sang in Leela, Mulakat, Shahnai, Samrat Ashok, Satyanarayan, Raaz, Rumaal, Asra, Abla, Bhikari, Fariyad, Laajawab, Ghayal etc.

Her last film was Gyan Dutt’s ‘Ghayal’-1951.

She was the lead singer (female) for C.Ramchandra, till 1950 i.e. till Lata came on the scene.

Her voice was very sweet and was suitable for sad songs.

She sang under C Ramchandra, Khemchand Prakash, Gyan Dutt, Hansraj Behl, Sardar Malik, Anil Biswas, S D Burman, H P Das, Premnath, Gulshan Sufi, Khursheed khan etc. etc.

After playback singing, she retired from film singing and taught music to aspirants throughout her unmarried life. She was staying in Bombay, with her brother.

The Hero of film Leela was Kanu Roy. The name KANU ROY is another instance of ” Same name confusion “. There was a composer also by the name Kanu Roy who gave music in a few films. Most people and many Internet sites, including IMDB,consider these two different persons as one and claim films for acting and music together, as if he was an actor and a composer. In Hindi films this happened routinely, but in the early era of Talkie films. Master Krishnarao, Vinayakrao Patwardhan, Master Mohammed, Badriprashad, Vithaldas Panchotiya etc can be quoted as actor/composers. Lately only the name of Kishore Kumar comes to the mind in this category.

Kanu Roy (the Actor) was in reality a name for Nalini Ranjan Roy, born on 9-12-1912 at Jabalpore. He was very fond of acting and so landed at Bombay Talkies, a company started by 2 Benagalese- Himanshu Roy and Devika Rani. Those days many people from Bengal used to come to Bombay Talkies, but only the capable ones like Amiya Chakravarty, Shashadhar Mukherjee or Ashok Kumar etc could make their careers here.

Kanu Roy started his acting career from the film Basant-1942. His name Nalini was sounding like a Girl’s name in Bombay ( there were already half a dozen Nalinis working in films those days), so it was changed and he opted for Kanu, his pet name in the house. Thus Kanu Roy came into films. Due to his good looks, he even became a lead actor in a few films. Nazrana-1946 (UR) was one such film where he was working opposite Kamini Kaushal. Kanu Roy also left Bombay Talkies along with S.Mukherjee and others and joined Filmistan. He was in many Filmistan films like, Munim ji, Nastik, Naagin, Jagriti etc. He acted in a Bangla film ‘Samar’too in 1950. Kanu Roy worked in about 40 odd films from 42 to 83 ( kisi se naa kehna).

It is a coincidence that Leela Mishra was also working in film Leela-1947. This is one actress ,who came from a village and remained a villager though out her life. Though she earned a lot with 300++ films, till the end she lived in a 2 room tenement only. She disliked and never saw films, even her own films.

Leela Mishra (1 January 1908 – 17 January 1988) was a Hindi film actress. She worked as a character actor in over 300 Hindi films for five decades, and is best remembered for playing stock characters such as aunts (Chachi or Mausi). She is best known for her role of “mausi” in the blockbuster Sholay (1975), Dil Se Mile Dil (1978), Baton Baton Mein (1979), Rajesh Khanna films such as Palkon Ki Chhaon Mein, Aanchal, Mehbooba, Amar Prem and Rajshri Productions hits such as Geet Gaata Chal (1975), Nadiya Ke Paar (1982) and Abodh (1984). Her career’s best performance was in Naani Maa in 1981, for which she received Best Actress award at the age of 73.

Leela Mishra was married to Ram Prasad Mishra, who was a character artist, then working in silent films. She got married at the very young age of 12. By the time she was 17, she had two daughters. She hailed from Jais, Raebareli. She and her husband were from zamindar (landowners) families.

Leela Mishra was discovered by a man called Mama Shinde, who was working for Dadasaheb Phalke’s Nasik Cinetone. He persuaded her husband to make her work in films. During those days there was a severe scarcity of women actors in films; this was evident in the paychecks that the Mishras received when they went to Nasik for the shooting. While Ram Prasad Mishra was hired on a salary of Rs. 150 per month, Leela Mishra was offered Rs. 500 per month. However, as they fared poorly in front of the camera, their contracts were cancelled.

The next opportunity that came their way was an offer to work in the movie Bhikarin, which was being produced by Kolhapur Cinetone, a company owned by the Maharaja of Kolhapur. However, Leela Mishra lost out on this opportunity too, as the role required her to put her arms round the actor (who was not her husband) while delivering a dialogue, which she point-blank refused to do.

Their next film was Gangavataran-1937, directed by Dadasaheb Phalke. This was his only and the last Talkie film. In this film Leela did the role of Parvati. This became her first film.

She had faced a similar problem while working earlier in another film titled Honhaar-1936. She was cast opposite Shahu Modak as a heroine, and was supposed to hug and embrace him, which she again refused steadfastly. Since the company was legally in a weak position, they couldn’t turn her out of the film, which proved to be a blessing in disguise for her. She was offered Modak’s mother’s role in the film and it clicked instantly. This opened the doors for her to play mother roles at the young age of 18.

Early on in her career she acted in notable films such as the musical hit Anmol Ghadi (1946), Raj Kapoor’s Awaara (1951) and Nargis-Balraj Sahni starrer Lajwanti (1958), which was nominated for the Palme d’Or for Best Film at 1959 Cannes Film Festival.

She acted in the first Bhojpuri film, Ganga Maiyya Tohe Piyari Chadhaibo (1962), which also starred Kumkum, Helen and Nasir Hussain.

Her roles varied from mothers, benign or evil aunts, to comic roles.

She acted in 344 films. Her last released film was Aatank-1996. 8 films were released after her death.

Today’s song is the 7th song (out of nine) from the film. It is a duet of Chitalkar and Binapani ( this is a name of Goddess Saraswati). It is aquite hummable song. Enjoy.

Song-Aate jaate nazar milaate ho jaata hai pyaar (Leela)(1947) Singers-Binapani Mukherjee, C Ramchandra, Lyrics-Gopal Singh Nepali, MD-C Ramchandra
Both

Lyrics

Aate jaate nazar milaate
mil jaate dildaar
do dil bolen
sang sang dolen
ho jaata hai pyaar

ho o ho o
tum ?? milne the
main duniya mein anjaani
tum ?? milne the
main duniya mein anjaani
?? nadi ki donon ??
phir kya aana-kaani
?? nadi ki donon ??
phir kya aana-kaani
hilmil jaayen
ghulmil jaayen
chalo chalen us paar
do dil bolen
sang sang dolen
ho jaata hai pyaar

jab phoolon ka chaand uthhe
dharti se dheere dheere
jab phoolon ka chaand uthhe
dharti se dheere dheere
hum bhi ghar se nikal chalenge
pyaar ki jamuna teere
hum bhi ghar se nikal chalenge
pyaar ki jamuna teere
nayi jawaani raat chaandni
milne ka tyohaar
do dil bolen
sang sang dolen
ho jaata hai pyaar

lambi raah door hai jaana
thhak jaana ruk jaana
lambi raah door hai jaana
thhak jaana ruk jaana
tum peepal ki thhandi chhaaya
ban ke jhhuk jhhuk aana
tum peepal ki thhandi chhaaya
ban ke jhhuk jhhuk aana
preet laga ke
meet bana ke
kaun kare inkaar
do dil bolen
sang sang dolen
ho jaata hai pyaar

Aate jaate nazar milaate
mil jaate dildaar
do dil bolen
sang sang dolen
ho jaata hai pyaar

Tags: 1947, Binapani Mukherjee, C Ramchandra, Gopal Singh Nepali, Leela, Singer-MD

Na mila hai na milega mujhe aaraam kahin

Posted by: Atul on: August 19, 2019

Blog Day :

4049

Post No. :

15178

Movie Count :

4171

———————————-
Hindi Songs in Marathi Films : 2
———————————-

Today’s song is from a Marathi film- Dhananjay-66. This is a Hindi song, sung by Chitalkar, under his own baton ! Lyrics are by P L Santoshi. The film was based on a story by Marathi’s renowned Detective Novelist of yesteryear – Baburao Arnalkar.

In the early 50s,when I was about 10-11 years old, I first read a Marathi detective novel written by Baburao Arnalkar. In those days, reading such stuff was a no-no for children, and so I had to read it, sitting in some lonely corner, keeping one eye and one ear for checking if anybody is seeing me. I was simply thrilled by reading this book and then started the marathon reading of detective novels- of course chori chori ! Happily I found some of my friends also doing the same thing and even my elder brother was seen reading these books.

Shortly, this became an open programme and I joined a local book library, catering to such books. Every month such 10 books used to come there and all these books were written by one author- Baburao Arnalkar. We always wondered how can any one man write so many books, so varied and entertaining every month. As the time went by, the author wrote in a magazine, how he was impressed by novels of Edgar Wallace, Berkeley grey, Roderick Graeme, Peter Cheyney, Sax Rohmer and few others. He decided to adapt their stories to Indian environment, culture and customs, so that Marathi readers felt affinity for them. Certain books, however, were just not possible to adapt lest they lost their charm and such books were presented just in a translated form, with same name and places to maintain reality.

Baburao’s main character, on whom he wrote more books was Dhananjay ( he got this name from Bhagwadgeeta) – a private detective with a sharp intelligence, fearlessness, a high degree of common sense and an ability to use logic rightly. This character seemed to be a combination of Perry Mason (Earl Stanley Gardener), Hercule Poirot (Agatha Christie) and Sherlock Holmes (Arthur Connon Doyle).

Baburao also brought into Marathi the dashing ” Normon Conquest ” of author Berkeley Grey as Zunjar (झुंजार) along with his wife Joy (Vijaya) and the faithful assistant Biji (Netaji). Novels of Zunjar were particularly more popular because he was flamboyant, adventurous and of humorous nature with a speciality of getting his commission from every villain,before Police arrested him. He was one who would not hesitate to cross legal boundaries in order to book the villains in the final chapter. Zunjar’s Guru Bhimsen and successor Golandaz also had many books on them.

The other popular character Baburao Arnalkar brought was Roderick Graeme’s famous “Black Shirt”. In Marathi he became Kalapahad(काळापहाड)- a successful Novelist by day and a daring adventurer by night. Baburao brought stories of Peter Cheyney and Ellery Queen. Brett Haliday’s Mike Shane became Jayant in Marathi. Carter Brown’s private detective was Sanjay in Marathi. Additionally he created from Edgar Wallace, Kodand rao- Public Prosecutor (J.G.Reader), Major(Retd.) Sudarshan- a private investigator and C.I.D. Inspector Murar Rao.

Shifting from the usual, Baburao brought Jungle stories of British Settlements in Africa by Edgar Wallace, featuring Commissioner Sanders, Capt.Hamilton and funny but brave Lt.Bones. These were brought in original form having English names and places. Similarly, the “Justmen” series by Edgar Wallace featuring George Manfred, Leon Gonsalves and Raymond Poicort – each having different skill and together punishing secretly the difficult to catch criminal, helping the Police. Baburao was too versatile. he brought stories of Sailors, featuring Capt Daryasarang and his assistant Savlaram. The seafaring criminal stories were an entirely different world for Marathi readers.

Baburao also gets credit for introducing the deadly Dr. Fu Manchu, a character created by Sax Rohmer. Fu Manchu is a Chinese scientist who wants to rule the world. An entire generation born in the 40s was mesmerised by Baburao’s detective novels and feasted on the stories of heroes created by British, American and German authors, in the 1920s and 1930s. These novels re-created the pre-war times and entertained people.

Having read Baburao Arnalkar’s books based on foreign authors, I got and read almost every English book that Baburao had translated. Novels by Edgar Wallace and others are still in my library. I had about 200 selected books-Marathi- of Baburao Arnalkar, which I gifted to my niece recently.

Baburao Arnalkar (real name Chandrakant Sakharam Chavan) was born on 9-6-1906 at Arnala in Vasai. He studied only up to 10th, but earned a proficiency in English, as he was an avid reader of books. In the 1942 Freedom struggle, he was jailed for 18 months. In this jail, he got hands on the books of Edgar Wallace. He was so thrilled that he decided to bring these books in Marathi. He had already written his first detective novel ” Queen of Diamonds” (चौकटची राणी) in 1939.

He started an Optical lenses shop in Bombay for earning a living. His writing started from 1946, but in the period 1952 to 1966, he was very prolific, writing 6 to 10 books a month. On completing 500 books,the then Maharashtra Government felicitated him and awarded Rs. 10000 also. He wrote 1042 detective novels, before he put his pen down due to old age. His name was entered in Guinness Book of World Records in those days.

He received several awards and honours from prestigious institutions. However the so called Classic literature writers never conceded Detective Novels as a respected form of literature. This always remained an entertainment for the middle class society who dreamt of super powered heroes. More than this recognition, he valued the love and affection an entire generation poured on him. He not only gave entertaining books but also sustained and developed the reading habit among the youngsters of those times.

Baburao Arnalkar died peacefully on 5-7-1996 at the ripe age of 90 years. He must have been a contented man. My thanks to him, for being a true entertainer.

Film Dhananjay-66, based on Baburao Arnalkar’s story, was produced by C.Ramchandra. After parting ways with Lata, in the late 50s, C.Ramchandra did not do well in Hindi films. He disappeared slowly. He turned to Marathi films and stage shows around the world. He got married second time to Shantabai and had a son and a daughter from this marriage. Most of his time he stayed in his Poona Bungalow. His son and daughter are leading doctors in USA, and are well settled. I do not know if Shantabai is still alive. C.Ramchandra had produced 2 Marathi films. The other film was Gharkul.

C.Ramchandra played the Hero- Dhananajay’s role in this film. After his first flop film Naganand-1935 ( only 9 people in the first show. There was no second show), this was his second film in the Hero’s role. The film did average business. The cast was Chitalkar, Uma, Arun Sarnaik ( he had acted in 2 Hindi films…Subhadra haran-64 and Lady killer-68), Ashalata, Gulab Mokashi, Jaymala , Shakuntala etc etc.

The film was directed by Raja Thakur. Rajaram Dattatreya Thakur was born in 1923 at Ponda in Goa. He did work as an assistant to Master Vinayak and later Raja Paranjape. Raja Thakur had produced an English film ” Birbal – My brother “-1973. His another film “Mumbaicha Jawai” (मुंबईचा जावई)-1970, was remade in Hindi as ‘Piya ka Ghar’-1971 by Basu Chatterjee.

There were 6 songs in the films. 3 songs were in Hindi. 1 song was in Konkani. This song “Hatat bangdi sonyachi, hi pori konachi ( हातात बांगडी सोन्याची, ही पोरी कोनाची ) became an evergreen song, so popular that even now, it is played in Ganesh utsav, Holi etc. programmes. Only 2 songs were in Marathi, in this Marathi film.

Today’s song has a tune, which Chitalkar seems to have borrowed from his own film Aazad-1955 – “Marna bhi muhabbat mein kisi kaam na aaya”. Enjoy today’s song in Chitalkar’s voice.

Audio

Song- Na mila hai na milega mujhe aaraam kahin (Dhananjay)(Marathi)(1966) Singer – Chitalkar, Lyricist – P L Santoshi, Music – C Ramchandra
Chorus

Lyrics

Na mila hai na milega mujhe aaraam kahin
Na mila hai na milega mujhe aaraam kahin
Na mila hai na milega mujhe aaraam kahin een een een
suniye
main musaafir hoon
meri subah kahin shaam kahin
main musaafir hoon
meri subah kahin shaam kahin
main musaafir hoon
meri subah kahin shaam kahin

o o o
o o o
main chala to chal diya zindagi ka kaarwaan
arre main ruka to ruk gaya zindagi ka kaarwaan
hans ke jisne dekh liya
arre hans ke jisne dekh liya
main usi ka ho gaya
aa aa aa aa
do ghadi bhar ke liye kar liya mukaam wahin
do ghadi bhar ke liye kar liya mukaam wahin
do ghadi bhar ke liye kar liya mukaam wahin
do ghadi bhar ke liye kar liya mukaam wahin een een
Na mila hai na milega mujhe aaraam kahin
Na mila hai na milega mujhe aaraam kahin
main musaafir hoon
meri subah kahin shaam kahin

o o o
o o o o
raat ke hai baad din aur din ke baad raat hai
arre chal rahi isi tarah saari kaaynaat hai
main bhi chala jaa raha
main bhi
main bhi chala jaa raha
gham aur khushi saath liye
ae ae
meri is zindagi mein thaharne ka kaam nahin
meri is zindagi mein thaharne ka kaam nahin
meri is zindagi mein thaharne ka kaam nahin
o meri is zindagi mein thaharne ka kaam nahin
een een een
Na mila hai na milega mujhe aaram kahin
main musaafir hoon
meri subah kahin shaam kahin

Tags: 1966, Actor-Singer-MD, C Ramchandra, Dhananjay (Marathi), P L santoshi

Older Entries

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

Archive for the ‘C Ramchandra songs as a singer’ Category

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Dhak dhak dhak dhak kare dil

Dilon ka melon ka naam picnic

Tum Ne Dekha Kya Bhala. . .

Ye duniya hai ek jhamela

Aate jaate nazar milaate ho jaata hai pyaar

Na mila hai na milega mujhe aaraam kahin

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