Archive for the ‘C Ramchandra songs as a singer’ Category
Dhak dhak dhak dhak kare dil
Posted 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.
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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
Dilon ka melon ka naam picnic
Posted 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.
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Blog Day : |
4384 | Post No. : | 15738 |
A week before the 12th 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 12th 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
Tum Ne Dekha Kya Bhala. . .
Posted on: February 2, 2020
- In: "disguise" song | Bela Bose dance song | C Ramchandra Mahendra Kapoor duet | C Ramchandra songs as a singer | Club song | Dance song | Devnagri script lyrics by Sudhir | Duet | Guest posts | Lyrics contributed by readers | Mahendra Kapoor songs | Post by Sudhir | Songs of 1960s (1961 to 1970) | Songs of 1965 | stage dance | Stage song | Yearwise breakup of songs
- 4 Comments
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.
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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. 🙂
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
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 on: January 5, 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 : | 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 38th 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
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
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.
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Blog Day : |
4049 | Post No. : | 15178 | Movie Count : |
4171 |
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.
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
Raat din kis tarah ab gujaara karen
Posted on: July 7, 2019
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 : | 4006 | Post No. : | 15110 |
“Labelaa”(1966) was directed by Bhagwan for Young India Entertainers, Bombay. The movie had Sujit Kumar and Kum Kum in lead roles. Others in the movie were Bhagwan, Om Prakash, Helen, Bela Bose, Ratanmala, Maruti, Anwar Husain etc in it.
The movie had six songs in it. Two songs from the movie have been covered in the blog.
Here is the third song from “Labelaa”(1966) to appear in the blog. This song is sung by C Ramchandra Asha Bhonsle and chorus. Anand Bakshi is the lyricist. Music is composed by C Ramchandra.
The song is picturised as a dance song on Bhagwan Dada and Bela Bose, with many others also present. I request our knowledgeable readers to help identfy the other actors visible in the picturisation. The video has several cuts so putting together entire lyrics is a tall order and there may be errors in the lyrics. I request our readers with keener ears to help correct the lyrics.
Song-Raat din kis tarah ab guzaara karen (Labelaa)(1966) Singers-C Ramchandra, Asha Bhonsle, Lyrics-Anand Bakshi, MD-C Ramchandra
Both
Chorus
Lyrics
yeah
waah
aah
arre waah
hahahaahaha
hahaha
raat din kis tarah ab guzaara karen
tu hamen ham tujhe na pukaara karen
lalalaaluralu
lalalaaluralu
hahaahauaha
lalaallalularalu
raat din kis tarah ab gujaara karen
tu hamen ham tujhe na pukaara karen
chup rahen
bas nazar se ishaara karen
ae dil mere dil
huaa ru
aa padi hai mushqil
huaa ru
dil ki baat
laahu
kaise kahen
laa hu
kaise kahen
kaise sun rahi hai mahfil
ae dil
har kisi baat ka ek fasaana bana
o deewaani sabhi ko diwaana bana
lalalalluralu
lalalaluraalu
hahahahuahua
lalalaluraaru
har kisi baat ka ek fasaana bana
o deewaani sabhi ko deewaana bana
aaj tu heer ko bhi nishaana bana
ae dil mere dil
huaaru
ha kar yaahu yaahu
- In: Aansoo song | C Ramchandra - Lata duet | C Ramchandra - Lata duet | C Ramchandra songs as a singer | Devnagri script lyrics by Sudhir | Duet | Feelings of heart | Guest posts | Lata song | Lyrics by Sudhir | Lyrics contributed by readers | MD-Singer Song | philosophical song | Post by Arunkumar Deshmukh | Songs of 1940s (1941 to 1950) | Songs of 1949 | Yearwise breakup of songs
- 2 Comments
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 : | 3843 | Post No. : | 14854 |
Today’s song is from film ‘Bhedi Bangla’ (1949). This film was produced by Anand Subramanyam, under the banner of Jagriti films, owned by Master Bhagwan. The story, dialogues and songs were by Ehsaan Rizvi and music was by P Ramakant. This was a name used by C Ramchandra, because he was under contract with Filmistan and could not give music in his own name. It started with Raja Nene’s film Shadi Se Pehle’ in 1947, in which he first used his assistant’s name Paingankar (the joint MD was Karnad). His name was Ramakant Paingankar and was assisting Chitalkar for a long time. Later, for Bhagwan’s films like ‘Bhedi Bangla’, ‘Bhole Bhale’ (1949), ‘Babuji’ (1950), and ‘Bakshish’ (1950) also, Chitalkar used the pseudo name P Ramakant as MD (information from Marathi Chitrapat Sangeetkar Kosh by Madhu Potdar).
Master Bhagwan was a very hard working person. In the real sense, he brought in the wave of stunt films in the late 40s. After the films of Master Vithal and Fearless Nadia waned in their popularity by 1944-45, it was Master Bhagwan, who established his own Production house – Jagriti Films, and produced several stunt films. He had a set of actors and actresses, which included Baburao Pehelwan, Vasantrao Pehelwan, Azeembhai, Shanta Patel, Chanchal, Leela Gupte, Usha Shukla and Vitha Lokare.
The storyline for most of his films was also fixed. Two young vagabonds – Baburao Pehelwan and Bhagwan, come to Bombay in search of employment. One Sethji (Azeembhai) appoints them to protect him from the local criminal (Vasantrao Pehelwan). Sethji has a good looking daughter (one of the stock Heroines), who has a maid (another girl from the stock). Baburao loves Seth ji’s daughter and Bhagwan loves the maid. After lot many stunts and fighting scenes, the end would be happy. The same story with changed names and other minor changes was used in almost all his films like ‘Badla’, ‘Bahadur’, ‘Jalan’, ‘Madadgaar’, ‘Dosti’, ‘Shake Hand’, ‘Matlabi’, ‘Bach Ke Rehna’, ‘Bhole Bhale’, ‘Jeete Raho’ or such other films. The audience did not mind . They were happy with the stunts. (Did Nasir Hussain get inspiration from Bhagwan in this matter ?)
Master Bhagwan entered the film world with silent film ‘Bewafa Ashiq’ (1930). His first talkie film was ‘Himmat-e-Marda’ (1934). Initially, like all other heroes, even Bhagwan used to sing his own songs. Once he had gone to Columbia company for rehearsal and recording a song. While entering, he saw a young man sitting under a tree and writing something. After rehearsal, he saw that fellow again and even after recording the man was still writing something. Bhagwan went to him and asked with curiosity what was he writing. The man answered, I am writing songs and stories. He came to know that his name was Ehsaan Rizvi and that he too lives in Dadar like Bhagwan. He took Rizvi’s address and left.
In 1938, Bhagwan got his first film as a director- ‘Bahadur Kisaan’ (1938). He called Ehsan Rizvi and gave him the job of writing the story, dialogues and songs. From that day Ehsaan Rizvi became a part of his team. He wrote for at least 25 films of Bhagwan’s. Born in 1914, Rizvi wrote lyrics for 60 films, but most of them were B or C grade films. He however wrote dialogues and screenplay for some well known films like ‘Do Ustad’ (1959), ‘Mughal e Azam’ (1960), ‘Woh Kaun Thi’ (1964), ‘Aan Milo Sajna’ (1971), ‘Gopichand Jasoos’ (1982) etc. He had shared the Filmfare award for dialogues of ‘Mughal e Azam’, with 3 other writers. He died on 16-1-1983.
Bhagwan and CR got introduced when Bhagwan was directing film ‘Bahadur Kisaan’ for producer Chandrarao Kadam. The MD was Meer Saheb and CR was his assistant. Of course, that time he was just Ram Chitalkar. Their friendship lasted for many more years. For film ‘Bahadur Kisaan’, the background music was composed by Naushad, CR and Sajjad Hussain. Naushad played piano, CR played organ and Sajjad played mandolin. Another person Prem, played clarinet. They were all struggling artistes then.
In 1942 Bhagwan directed ‘Sukhi Jeevan’, for which CR was the MD for the first time. Bhagwan and the producer Harishchandra Rao Kadam had some dispute on payments. Bhagwan decided to start his own production company and he started Jagriti Pictures. His first film was ‘Badla’ (1943). For this film he took 80,000 from a financier, with a condition of repaying one lakh rupees after the film is released. After this film Bhagwan churned out film after film in the stunt genre. In 1949, Bhagwan made film ‘Bhedi Bangla’, which was the first of its kind – a sort of horror cum mystery film. The film was a hit film. With this film Bhagwan had reached the zenith of his stunt films.
In this film, there were several scenes, where Bhagwan sees a ghost and his eyes widen and breath is held up. Due to the strain on the eyes, they became red and swollen and after some time, suddenly, he could not see anything. He thought that he has become blind. He shouted for his brother Shanker. Bhagwan was immediately taken to a hospital in Girgaon. The doctor examined him,gave him an injection and some tablets. That night he slept like a dead man, but after getting up on next day noon, he was happy that his eyesight was normal now.
Bhagwan had noticed that whenever his film’s trial show was arranged, a handsome young man would be present there. When he saw this man at the trial show of ‘Bhedi Bangla’ again, he inquired as to who he was. The young man told him that his name was Raj Kapoor and he was son of the great Prithviraj Kapoor. Bhagwan called him and asked him why he came. Raj kapoor said, “Sir, I like your stunt films. I am your fan. In my films, I copy your dance style. Why don’t you make a social film ?”. Few days later, even CR also pushed him hard to enter the social film genre now, so that CR can openly lend his name to Bhagwan’s films as MD and his film will get the benefit of his fame. Thereafter Bhagwan started thinking about it seriously and then ‘Albela’ happened. The rest is history, as they say! The story of Albela making, some other time. . .
The story of film Bhedi Bangla was,
Shyam (Baburao Pehelwan) and Manglu (Bhagwan) are friends and good for nothing. They come to Bombay to look for easy money. They pretend to be lame and blind and start begging. However, after few days, their secret is out and and the enraged public of Bombay gives them a sound thrashing. An onlooker calls them and asks if they would do a good job, instead of this nonsense. The agree and they are appointed as watchmen for a deserted haveli. It is owned by a Sethani (Tarabai – elder sister of Sitara Devi and mother of dancer Gopi Krishna). Her daughter is beautiful Prema (Leela Gupte). There is an estate manager also (Azeembhai – who later became a famous fight master in Hindi films), who does not like their coming there.
One day the friends find the dead body of the haveli’s maali (gardener) (Inamdar) in the premises of the haveli. The estate manager complains to the police. Police start investigations. Maali had a good looking daughter – Champa (Usha Shukla). While Manglu tries to take care of her, the estate manager tells police that he suspects this duo of murdering the maali. In absence of any proof, police do not arrest them but keep an eye on them.
Suddenly, the friends start seeing ghosts in the haveli. First few days, they are scared, but realise that this is all bogus and they try to reach the bottom of the matter. Finally, they unearth a plan of the estate manager to scare everybody, so that no one will remain there and he can conduct his gold smuggling business from there. He only has murdered the maali. After solid stunts and fighting scenes, the culprits are arrested and Shyam and Prema and Manglu and Champa are united. (658).
The film had 8 songs. Most songs are available on You Tube. 4 songs are already discussed here. Today’s song is the 5th song. It is a duet of Lata and Chitalkar. All in all, ‘Bhedi Bangla’ aka ‘The House of Mystery’ was a ‘paisa vasool‘ entertainment.
(Thanks to ‘Ek Albela’ by Isaq Mujawar and Mike Barnum’s Blog, for some information used here).
Song – Aansoo Na Bahaana, Ab Aansoo Na Bahaana (Bhedi Bangla (aka House of Mystery)) (1949) Singer – Chitalkar, Lata Mangeshkar, Lyrics – Ehsaan Rizvi, Music – P Ramakant (aka C Ramchandra)
Chitalkar + Lata Mangeshkar
Lyrics (Provided by Sudhir)
aansoo na bahaana
ab aansoo na bahaana
kaanton bhari ye raah se hai
muskuraate jaana
aansoo na bahaana
ab aansoo na bahaana
kaanton bhari ye raah se hai
muskuraate jaana
mast pawan is phulwari mein
kali kali khilaati hai
mast pawan is phulwari mein
kali kali khilaati hai
usi chaman mein raen andhere
shabnam neer bahaati hai
usi chaman mein raen andhere
shabnam neer bahaati hai
tum kehte ho is jag mein
bas hansna aur hasaana
kaanton bhari ye raah se hai
muskuraate jaana
aansoo na bahaana
ab aansoo na bahaana
kaanton bhari ye raah se hai
muskuraate jaana
sukh mein to hansti hai duniya
sabka yehi haal hai
sukh mein to hansti hai duniya
sabka yehi haal hai
lekin dukh utha kar koi
hanse to phir ye kamaal hai
lekin dukh utha kar koi
hanse to phir ye kamaal hai
jag ki reet badal kar dekho
dukh ko bhi sukh banaana
kaanton bhari ye raah se hai
muskuraate jaana
aansoo na bahaana
ab aansoo na bahaana
kaanton bhari ye raah se hai
muskuraate jaana
sach poocho do dil ka milna
kaanta bhi hai phool bhi
pyaar ko sach maano to sach hai
bhool kaho to bhool bhi
sach poocho do dil ka milna
kaanta bhi hai phool bhi
pyaar ko sach maano to sach hai
bhool kaho to bhool bhi
lekin dil mein himmat ho to
khud badlega zamaana
kaanton bhari ye raah se hai
muskuraate jaana
———————————————————-
Hindi script lyrics (Provided by Sudhir)
———————————————————-
आँसू न बहाना
अब आँसू न बहाना
काँटों भरी ये राह से है
मुसकुराते जाना
आँसू न बहाना
अब आँसू न बहाना
काँटों भरी ये राह से है
मुसकुराते जाना
मस्त पावन इस फुलवारी में
कली कली खिलाती है
मस्त पावन इस फुलवारी में
कली कली खिलाती है
उसी चमन में रैन अंधेरे
शबनम नीर बहाती है
उसी चमन में रैन अंधेरे
शबनम नीर बहाती है
तुम कहते हो इस जग में
बस हँसना और हँसाना
काँटों भरी ये राह से है
मुसकुराते जाना
आँसू न बहाना
अब आँसू न बहाना
काँटों भरी ये राह से है
मुसकुराते जाना
सुख में तो हँसती है दुनिया
सबका येही हाल है
सुख में तो हँसती है दुनिया
सबका येही हाल है
लेकिन दुख उठा कर कोई
हँसे तो फिर ये कमाल है
लेकिन दुख उठा कर कोई
हँसे तो फिर ये कमाल है
जग की रीत बदल कर देखो
दुख को भी सुख बनाना
काँटों भरी ये राह से है
मुसकुराते जाना
आँसू न बहाना
अब आँसू न बहाना
काँटों भरी ये राह से है
मुसकुराते जाना
सच पूछो दो दिल का मिलना
काँटा भी है फूल भी
प्यार को सच मानो तो सच है
भूल कहो तो भूल भी
सच पूछो दो दिल का मिलना
काँटा भी है फूल भी
प्यार को सच मानो तो सच है
भूल कहो तो भूल भी
लेकिन दिल में हिम्मत हो तो
खुद बदलेगा ज़माना
काँटों भरी ये राह से है
मुसकुराते जाना
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 : | 3830 | Post No. : | 14836 |
“Safar”(1946) was directed by B Mitra for Filmistan Limited, Bombay. This “social” movie had Shobha, Kanu Roy, V H Desai, S L Puri, Rajendra, Chandrika, Harun, Mumtaz Banu, Satyanarayan etc in it.
The movie had ten songs in it. Seven of these songs have been covered in the past.
Today is the 101st birth anniversary of C Ramchandra (12 january 1918- 5 January 1982)
Here is the eighth song from “Safar”(1946) to appear in the blog. This song is sung by Shamshad Begam and C Ramchandra. Gopal Singh Nepali is the lyricist. Music is composed by C Ramchandra.
Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of the song.
I have not been able to get a few words righ in the lyrics of the song. I request our readers with keener ears tohelp fill in the blanks/ suggest corrections as applicable.
Song-Kabhi chupke se ratiyaa mein aaiho raaja jee (Safar)(1946) Singers- Shamshad Begam, C Ramchandra, Lyrics-G S Nepali, MD- C Ramchandra
kabhi chupke se aaiho
kabhi chupke se aaiho
kabhi chupke se ratiyaa mein aaiho raaja jee
kabhi chupke se ratiyaa mein aaiho raaja jee
aaiho raaja jee
phir na jaiho raaja jee
aaiho raaja jee
phir na jaiho raaja jee
kabhi chupke se ratiyaa mein aaiho raaja jee
baadal aayen ghir ghir jaayen
wo din mein bijli kadkaayen
baadal aayen ghir ghir jaayen
wo din mein bijli kadkaayen
raaja mere mauj udaayen
ham to ro ro bain ganwaayen
din bhar na chain paayen
aise kab tak karejwa dukhaiho raaja jee
aise kab tak karejwa dukhaiho raaja jee
oonchi ataari meri
sooni phulwaari meri
duniya hai nyaari meri
aaja ?? teri
raaja kariyo na deri
oonchi ataari meri
sooni phulwaari meri
duniya hai nyaari meri
aaja ?? teri
raaja kariyo na deri
aaiho aaiho
?? raaja jee
aaiho aaiho
?? raaja jee
chaandni raat mein
sirhaane chaand ho
chaandni raat mein
sirhaane chaand ho
phoolon ki sej pe
tu mere saathh ho
galey mein haathh ho
aankhon aankhon mein baat ho
zara dheere se batti bujhaiho raaja jee
zara dheere se batti bujhaiho raaja jee
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 : | 3711 | Post No. : | 14638 |
Today’s song is from a film Manorama-1944. HFGK does not mention singers’ names, but the voices are that of Chitalkar and Hamida Banu with chorus. The film Lyricist was Anjum Pilibhiti and the MD was C Ramchandra.
Last week we had discussed a New pair of names fitting under ” The Same Name Confusion” series, which came first time, only on this Blog. The names were similar sounding Ramola and Romilla. Our Sadanand ji had also added some new information about Romilla, in his comments. This is how informations get updated. Thank you, Sadanand ji.
Today we have yet another New pair-again first time on this Blog- which are not similar sounding names, but have exactly the same spellings. The name is Naseem, who was a part of the film’s cast along with Leela Chitnis, Ishwarlal, N M Charlie, Kantilal, Mubarak, Alaknanda and others.
NASEEM is the name which caused confusion in the 40s, because two actresses with the same name were working in the films at the same time. Generally, the younger one was mentioned as (Junior), but in some films she is just mentioned as Naseem. These are the films which are coolly added to the Senior Naseem’s Filmography, because she was more famous. This is exactly what happens in such cases of SNC. One has to take extra efforts to credit the right films to the right artiste. Most of the times, this is a very tedious job and may take months to get the right answer which can be defended with corroborative evidence. All these old artistes are no more and not every artiste’s information is available. particularly those artists who created confusion and either left the films or the country or the world, are the toughest cases as no information is available on them in India and Pak sites do not give full information on pre-independence films or artists.
Interestingly, the problem of Same Name Confusion is non existent in Hollywood. Not because there are no such names, but because they are very alert and take preventive measures. No one can act in films or on TV, unless he is registered with the ‘ Screen Actors Guild ‘ (estd 1933). They have a strict rule that no two actors will have same names. If a New actor comes with a same name that is already existing on the rolls, he is required to change his name before registration, or add a prefix or a suffix. That is why this problem is not there in Hollywood, in spite of more than 130,000 active members.
Though in India, no such system operates, this problem has almost become extinct in recent times, because of a variety of names ( unlike the western world) available now. Now, let us see more about these two Naseems. First, the senior one.
Born on 2-9-1920,at Delhi -ROSHAN ARA aka Naseem Bano was the daughter of a famous classical singer Shamshad Begum. She too was very good looking . She was called ” Chhamiya” due to her adakari while singing. Naseem was so beautiful that even is school days her beauty was discussed by people. When sh was in school,once she came to Bombay and happened to see the shooting of ” Silver King-35″. She was so impressed with it that she decided to become an actress.
When Sohrab modi proposed to cast her as a Heroin in his “Hamlet”,her family flatly refused but gave in after Naseem sat on a Hunger Strike !. For her second film,’ Khan Bahadur’ she was advertised as a ‘ Beauty Queen’. (Later her daughter Saira bano also got this title). After some films like Divorce,Meetha Zahar and Vasanti,the most important film of her life and also for Minerva Movietone, PUKAR-39 was launched. In this film she enacted the role of Empress Noorjahan,opposite equally handsome actor Chandramohan as Jehangir. She looked cute and beautiful as Queen in the get up. She became an All India star overnight and got the Title ” Pari-Chehra ” from the critics. Her song ‘ Zindagi ka saaz” became so famous that thousands of records were sold in no time.
She married producer Director Mohammed Ehsaan, in 1942. They started their own company- Tajmahal Films and produced Ujala, Begum, Mulaqat and Ajeeb Ladki. The couple had two children- Sultan Ahmed and Saira Banu. After 1947,she stopped singing and did only acting.
Naseem acted in limited films,like Hamlet, Divorce, khan bahadur, Vasanti, Meetha Zahar, Pukar, Ujala, Chal chal re Naujawan, Chandni Raat, Main Haari, begum, Mulakat, Sheesh mahal, Anokhi Ada, Baghi, Shabistan, Sindbad the Sailor, Betaab, Ajeeb Ladki, and Nausherwan E Adil. She did only 20 films. She sang 42 songs in 14 films.
When her mother Shamshad Begum “Chhamiya” died in 1983,many newspapers,magazines and Internet sites published erroneous news that the famous singer Shamshad Begum had died.
In 1953, her husband deserted her and went to Pakistan with the negatives of her films. He made money and Naseem became famous and Popular in Pakistan, without going there. She took her children and went to England for few years, but came back to India to make her daughter an actress.
Naseem Bano died on 20-6-2002.
Naseem bano was never a singer, but she sincerely tried to improve her singing. Her voice was thin and there was a tremor in it,so it sounded sweet( just like Talat).
Naseem Jr. or Miss Naseem Jr. was younger sister of actress Shameem. She was born in Lahore on 8-2-1930. Her father had a shop and he was a General merchant. She was educated in Islamia Girls school, Bombay where she was staying with her actress sister Shameem. After Matriculation, she too wanted to become an actress. While in school she did many dramas. At the age of 13, she did an uncredited small role in film Salma-43.
Her first major film was Jwar Bhata-44- also the first film of Dilip kumar and Mrudula. Her second film was Manorama-44. She acted in few more films Sanyasi-45, Zeenat-45, Door Chalen-46, Amar Raj-46, Jeewan Sapna-46 and Mera Geet-46.
She had a hot temperament and could not get along with co stars and the Directors. Soon the offers diminished. She got married and returned to her hometown-Lahore along with her husband. She did only few films, but it was enough to cause confusion. Her films Jeewan Swapna-46 and Door chalen-46 are generally credited to Naseem Sr.’s filmography.
You will find one more name in the cast-Alaknanda. In Hindi films, there were many sister-pairs who worked as actresses, but in the history of Hindinfilms-both Silent as well as Talkie- there have been only 3 sets of 3 sisters who worked as actresses in the same periods. The first set was of Zubeida, Sultana and Shehzadi in the early 30s. Then in the 40s came the second set of Alaknanda, Tara and Sitara Devi. In the 50s, the last Trio of Padmini, Ragini and Lalitha worked in same period. After this, to my knowledge, no such Trio of actresses came on the screen. If you count step-sister also, then Mehtab was the step sister of Zubeida, Sultana and Shehzadi trio. This made the only Quartet of Sister Actresses in Hindi Film History ever ! Even their mother Fatima acted, directed and Produced films, to boot !! Only their father did not join films !!!
Alaknanda was born in or around 1910 in a Banares situated Mishra family. her clan had a tradition of singing in temples for the last 5 centuries. The family had close relations with Nepal and its Royal family. Her Grandfather was a court singer. Her grandmother and mother were from Nepal, so Alaknanda called herself as ‘ half Nepalese ‘.
When her father wanted to train her and her younger sister Tara, in Dancing and music, there was opposition from their society. Therefore the family moved to another corner of Banares and he started a Music school and trained children of Royal families from Bengal. In one of their visits to Calcutta, Sitara Devi was born in Calcutta. Alaknanda’s first Talkie film was Suryakumari-33. She worked in 38 films till late 40s. She had sung 15 songs in 7 films. She got Cancer and died sometime in or around 1947. Not much information is available about her or her sister Tara/Tara Devi/Tarabai. Vithal Pandya, in his book mentions that in her last days, Tara stayed in Bombay slums and worked as extra in films in her old age.( Famous dancer Gopi krishna was her son) Sitara Devi, on the contrary,lived a famous,rich and majestic life, with several marriages. That’s life, anyway.
The Hero of the film was Ishwarlal, who was a fixture in Ranjit for 13 years. ISHWARLAL was born on 9-10-1911 at Ghanghaniya,Kathewar,Gujrat, as Ishwarlal Hariprasad Doshi.
He belonged to a Jain family. His father was in Police department at Kathiawar Agency. His father died when Ishwarlal was just 3 year old and mother raised him.
After Matriculation, he completed Teaching Diploma at the age of 16, but did not a job as he was underage.He came to Bombay, where his brother had some business, in 1927 to act in films. Ishwarlal was very handsome.
He got a job in Ranjit Studios. He started with silent films at a salary of Rs. 35 pm.His first Talkie film was Bhutiya Mahal-1932.Then came Char Chakram-32.He started acting and singing in films.Initially he sang only duets.Meanwhile,with Jwalamukhi-36,he became Hero.He sang many songs in Ranjit films,but the records are not available.Those days,not all songs of the film were recorded for commercial purpose.
In Billi-38,he sang a duet with Sunita devi and also in Aaj ka Hindustan.In Ummeed-41,he had a duet with Nurjahan.In Pyaas-41,he sang with S.Pradhan.
He got to sing a solo song for the first time in 1942 in Fariyaad. In Jabaan, under C.Ramchandra,he sang 7 songs.
Some of his films were-
Diwali, Dheeraj, Chandni, Bhola shikar, Nadira, Sitamgar, Veer babruwahan, Barrister’s wife, College kanya, Desh dasi, Keemti aansoo, Dil ka daku, Jwalamukhi, Sajni, Dil farosh, Adhuri kahani, Thokar, Holi, Pyar, Bansari Lalkar, Chirag, Us paar etc.
He worked in Ranjit for 13 years. Then he worked with Prafull pictures, Sun art, Wadia, Hind pictures and Atre Pictures also.
In 1945,he was the hero of Noorjehan in Badi Maa,but he had no songs, in fact his last songs were in Us Paar-1944. His singing stopped completely when Rafi gave him playback in film Sharbati Aankhen-45.
Then he did character roles in Subhadra,Mahasati tulsi vrinda,Sanskar,Naulakha haar,Khuda ka banda etc.
He acted in 86 films. He also directed 11 films. He sang36 songs in 14 films. His last film released was was kahani kismet ki-73
He was married in 1931 to a loyal wife kamalabai. They had no issues. Due to excessive smoking he contracted lung diseases and died on 22-1-1969 in Bombay.
With today’s song, film Manorama-44 makes its Debut on this Blog.
(Credits- Vithal Pandya’s books, Film Directory, Beetehuedin blog, Harish Raghuwanshi ji, HFGK and my notes )
Song-Taaron ki chhainyyaan mein jamuna kinaare(Manorama)(1944) Singers-C Ramchandra, Hamida Bano, Unknown male voice, Lyrics-Anjum Pilibhiti, MD-C Ramchandra
Chorus
C Ramchandra + Chorus
Lyrics
Taaron ki chhainyyaan mein jamuna kinaare
Taaron ki chhainyyaan mein jamuna kinaare
gaawe khushi ke geet gin gin
gaawe khushi ke geet
ho
jiyo raam jiyo
dhobi ke laal jiyo
ho jiyo raam jiyo
dhobi ke laal jiyo
ho ho ho ho
ho o o
dhobiyaa ko chahai
haan
dui dui mehariya
haan
dhobiyaa ko chaihai
dui dui mehariya
ek ghar aur ek ghaat
ek se mangaawen chiilam tambaaku
ek se mangaawen chilam tambaaku
ek se karihen preet
hilmil
gaawen khusi ke geet
ho
ho jiyo raam jiyo
dhobi ke laal jiyo
ho
jiyo raam jiyo
dhobi ke laal jiyo
ho ho ho ho
zulfon mein daal phoolinwa dhobiyaa
moonchhon pe daike taav
zulfon mein daal phoolinwa dhobiyaa
moonchhon pe daike taav
bainyya pakad mohe chhatiyaa lagaike
bainyya pakad mohe chhatiyaa lagaike
jobna liyo hai jeet
hamra jobna liyo hai jeet
ho jiyo jiyo raam jiyo
dhobi ke laal jiyo
ho jiyo raam jiyo
dhobi ke laal jiyo
ho ho ho ho
taas mein jeete nahile ko dahila
dahile ko jeete ghulaam
haan
taas mein jeete nahile ko dahila
dahile ko jeete ghulaam
hamri ?? bitiya re tori
hamri ?? bitiya re tori
?? ne li hai jeet
haay raam
?? ne li hai jeet
ho
jiyo
ho jiyo raam jiyo
dhobi ke laal jiyo
ho jiyo raam jiyo
dhobi ke laal jiyo
ho ho ho ho
na main maangoon kotha atariya
na kuchh maangoon aur
na main maangoon kotha atariya
na kuchh maangoon aur
godi mein dhobiya ke hamre gosainyya
godi mein dhobiya ke hamre gosainyya
jaaye umariya beet
hamri jaaye umariya beet
ho
jiyo jiyo raam jiyo
dhobi ke laal jiyo
ho jiyo raam jiyo
dhobi ke laal jiyo
ho ho ho ho
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