Archive for the ‘C Ramchandra solo songs as a singer’ Category
Duniya musaafikhaana
Posted on: December 14, 2023
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 : |
5627 | Post No. : | 18114 |
Today’s song is from the Stunt film Bhedi Bangla-1949.
The tradition of making stunt/action films is as old as the birth of Silent films. During the silent era, due to the lack of sound -dialogues or music – the visuals had all the importance. The effect of forceful dialogues had to be put in visuals, which is extremely difficult. Imagine the famous scene of film Deewar-1975 (mere paas ‘Maa’ hai) without the superb voice modulation of the dialogue. Would it give the same effect on the audience ? Certainly not !. So, the best way was to give visuals which are self explanatory. A man hitting a blow to another man does not require dialogue or superb histrionics !
That is the reason stunt and action films were popular since the days of the silent era. This went on till the early 50’s, when films started using popular music and strong story contents in the films.This slowly pushed the stunt films, its actors, directors and producers as well as the audience in the far background.
From the advent of stunt films, the name of Master Vithal was famous. An entire generation spent their childhood seeing his stunt films. The next one to capture the stunt audience was Fearless Nadia from 1935 to almost 1946 or so. The staggering and waning stunt films were practically revived by Master Bhagwan and the Kadam brothers, Harishchandra and Chandrarao (Marathi actors,directors and producers born in Kutch, Gujarat) in the 1940s decade.
Master Bhagwan played a stellar role in producing and promoting films after films in the stunt Genre creating a special set of audience in All India, through his own set of actors. This went on till about the beginning of the 50’s decade, when Bhagwan entered the Social film genre with his blockbuster film ” Albela”-1951. Incidentally, this was also the beginning of the slow demise of the stunt films in the ensuing period.
Bhagwan Abaaji Palav,son of a lower middle class mill worker was born in Bombay on 1-8-1913. He was not much interested in studies but was keen to get a muscular body-just like Master Vithal, his Idol till the end. Bhagwan was successful in gaining a very muscular physique and on the strength of this alone got entry in films.He joined films in 1931 Though the First Talkie film came in 1931, still silent films were being made till 1934. Thus Bhagwan worked in many silent films till 1933. His films were mostly stunt and action films.
Those days most of the popular silent films were stunt or action films. Social films were very few. There were plenty of Mythological films too. There was a good demand for Bhagwan. Like Bhagwan, some other actors of the silent era were Bilimoria brothers-Dinshaw and Eddie, Jal Khambata, Ganpat Bakre, Kadam Brothers- Chandrarao and Harishchandra Kadam, Baburao Pahilwan, Nandram Pahilwan, Vasantram Pahilwan, Marutirao pahilwan, Yeshwant Dave, Boman Shroff, Sayani, Master siraj, Navinchandra, Madhav Kale, Manohar Ghatwai, Khalil, Raja Sandow etc. etc. There was a crop of stunt actors calling themselves ‘Pahilwan” because it was synonymous with strength and power.
When the Talkie films started, Bhagwan had no problems like some other actors, because he was fluent in Hindi/Urdu. He rarely spoke in Marathi. In his initial films, he would even sing his own songs. He dreamt of becoming a Director and finally he got an opportunity of directing a film-Bahadur Kisan-38, though as a co-director with Chandrarao kadam, who was owner of the production company. Bhagwan was also acting in the film and he had some songs to sing in the film. The film had music by Meer Sahib, and C. Ramchandra was his assistant. During rehearsals and recordings, CR and Bhagwan became friends.
When in 1941, Bhagwan was offered a Tamil film to direct, he offered the film’s music to CR. The film was being made in Bombay itself. After this film, Bhagwan was invited to direct yet another Tamil film, “Van Mohini”-41 in Madras. Here too Bhagwan called CR as a Music Director. Luckily, the music of this film became very popular in Madras region.
In 1942, Bhagwan was directing a film, ‘Sukhi Jeevan”. He decided to give a break to C. Ramchandra in a Hindi film and offered him this film. Thus CR made an entry in Hindi film composing. When C Ramchandra became very popular as a Music Director he repaid this gesture from Bhagwan by giving iconic music to Bhagwan’s first social film, “Albela”-51…FREE of charge.
Though the exact number of films Bhagwan acted is different everywhere, it is sure that he acted in more than 300 films. From 1942 to 1966 he directed 34 films, most of which were stunt and action films. One unusual thing about his stunt films. Contrary to what people thought, Bhagwan never acted as a Hero in his stunt/action films. In most films, the Hero would be Baburao Pahilwan. Another funny thing was, for all his films , the story would be the same, with little variation in each film, but the main plot would remain the same.
Two vagabond young friends from a village come to Bombay to do something spectacular, so that their villagers would know that they were not just”good for nothing” fellows but great achievers. Baburao pehelwan and Bhagwan used to be these two friends. In Bombay, they would meet a rich Seth ji ( role reserved for Azimbhai-who later on became a famous fight master in Hindi films). The Seth ji is harassed by a villain ( Vasantrao Pehelwan-always). Seth ji wants protection from him and appoints these two friends for this purpose. Seth ji has a young daughter who has a Maid ( these roles were done by Shanta Patel, Chanchal, Leela Gupte, Usha Shukla, Vitha lohkare etc by turns ). Hero Baburao loved Seth ji’s daughter and Bhagwan loved the Maid.
Now, the same story plot would be in all his stunt films like Badala, Jalan, Laalach, Bhedi Bungala. Madadgaar or some such title. Whatever the title, the story would be more or less the same. Bhagwan and his team had a captive audience who came to the theatres to see the fights and were least bothered about the story, histrionics etc. His films would be made on a budget of about 60 to 70 thousand rupees only.(Later on, directors like Manmohan Desai and Nasir Hussain did many films on just one story and succeeded.)
Actor Shyam was Bhagwan’s good friend. Once Shyam said, ” I want to work in your films.” Bhagwan said,”First you see the shooting of our films and then we will talk.”
It was decided that Shyam would visit Jagriti studios of Bhagwan to see the shooting of film Laalach-48. Next day Shyam and Munawar Sultana came to see the shooting. A fight scene was being shot. Baburao Pehelwan was single handedly fighting with 3-4 gundaas. During the shooting Baburao got a forceful hit from a fighter and he fell down from the First floor gallery on a glass table below. The table was in peces. Seeing this, Shyam and M.Sultana shouted in horror,thinking that Baburao would die from this fall. They hurriedly left.
Luckily, Baburao was safe with some scratches. He tied a hankie and started the fighting again. When Shyam returned,he was astonished to see Baburao doing the shoot. Bhagwan asked Shyam, ‘so Shyam, do you still want to work in my films ? “Shyam shuddered and said, “No Baba, who wants to die doing stunts ? ” Ironically, Shyam did die doing a Horse riding stunt in the film Shabistan-51 !
Master Bhagwan made “Albela-51” and became famous all over India, as the film and its music became very popular. However, after ‘Albela’, Bhagwan could never repeat this success in any of his subsequent films. Not only that, he lost heavily in his productions. He had to sell his 25 rooms, sea facing bungalow at Juhu, sell all his 7 cars ( which he would use one per day of the week), sold his studio and stayed in a 2 room tenement in a Chawl at Dadar. All his friends left him except, C Ramchandra, Omprakash and Rajinder krishna, who used to visit him in his chawl also till they died. When Bhagwan died, all his friends had died before him. He died on 4-2-2002. Bhagwan was a case of “Rags to Riches” as well as “Riches to Rags”.
The film Bhedi bangla-1949 was the first of its kind Mystery-cum-Horror film. At that time Bhagwan was at the zenith of his successful career. Everything he touched turned into Gold. The film was produced by his brother Shankar Palav, for his own banner Jagriti Films, Bombay. The 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 pseudonym P Ramakant as MD (information from Marathi Chitrapat Sangeetkar Kosh by Madhu Potdar). The cast of this film was Baburo, Bhagwan. Leela Gupte, Usha Shukla, Azeem,Tarabai (sister of Sitara devi) and other regulars.
The story of the film Bhedi Bangla-1949 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 a few days, their secret is out 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. They 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 Prema (Leela Gupte). There is an estate manager also (Azeem Bhai – 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.
Today’s song is the 6th song to feature here. It is sung by Chitalkar, i.e. C.Ramchandra. Enjoy….
Song- Duniya musaafirkhaana (Bhedi Bangla)(1949) Singer- Chitalkar (C.Ramchandra), Lyricist- Ehsan Rizvi, MD- P.Ramakant (C.Ramchandra)
Lyrics
duniya musaafirkhaana ho
duniya musaafirkhaana
duniya musaafirkhaana ho
duniya musaafirkhaana
aaj aaye kal huye rawaana
duniya musaafirkhaana ho
duniya musaafirkhaana
bachpan budhaapa jawaani
teen dinon ki hai ye zindgaani ho
bachpan budhaapa jawaani
teen dinon ki hai ye zindgaani
ek din aaye
ek din thehre
teesre din hai uthh jaana aa
duniya musaafirkhana ho
ho ho
duniya musaafirkhaana
hoy
duniya musaafirkhaana ho
duniya musaafirkhana
aaj aaye kal huye rawaana
duniya musaafirkhaana ho
duniya musaafirkhaana
bachpan ki rut neend suhaani
arre andhe ban kar kati jawaani
dekh budhaapa rone ko baithhe
pada hai ab pachhtaana aa
duniya musaafirkhaana ho
duniya musaafir khaana
duniya musaafirkhaana ho
duniya musaafirkhaana
aaj aaye kal huye rawaana
duniya musaafirkhaana ho
duniya musaafirkhaana
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 : |
5518 | Post No. : | 17964 |
Today’s song is from the film Subah Ka Tara (1954).
Today’s song is a special song. Firstly, it is the last song of this film to appear here, thus making this film an “YIPPEE” film and secondly it is my 1234th post on this Blog ( it is a serial number 1-2-3-4, for those readers who need an explanation.).
This film was made by Rajkamal Kala Mandir, Bombay. The producer and the Director was V.Shantaram, naturally. He was one Producer who would not allow any other director for his films. Not only this, but also as an owner he did not have a blemish free tenures, either in Prabhat or in Rajkamal. Due to his policy of blocking and spoiling careers of some artistes was a blot on his otherwise commendable career. Shanta Apte and Sapru are some examples who were neither used in his films nor were they allowed to work outside, due to their contracts. Shanta Apte had even resorted to ” Sit out strike ” in front of prabhat on this issue. Other cases were of Vasant Desai and S.Purushottam, the Music Directors.
When Saigal’s film Devdas became a Hit film due to mainly Saigal’s songs, V.Shantaram had criticised this film by the New Theatres, Calcutta, for the film’s sad end. At the time of making the film Aadmi-39, V.Shantaram was claiming that ‘Life is for Living” and he was against Saigal’s films like Devdas where the Hero dies when his love fails. He was of the opinion that this was a wrong lesson/ideal set before the youth of the times.
Strangely, if one sees his films like Padosi-41, Dr.Kotnis ki amar kahani-46, Apna Desh-49, Dahej-50, Surang-53, Subah ka Tara -54, Do ankhen barah haath-57, in all these films the lead character dies…someties there are multiple deaths too in these films. Perhaps, he felt that it was the demand of the story. Maybe.
The film’s cast was Jayashree, Pradeep Kumar, Baby Rajashree, Nimbalkar, Naaz, Amirbai karnataki, Ameena Bai (sister of actor B.Nandrekar), V.Shantaram and many others. The music was provided by C.Ramchandra. The story of this film was…..
The film is told in flash-back. It starts with a few people troubling a disheveled, insane man holding a bedding. The mad man is Mohan (Pradeep Kumar) who finally sits down with a sympathiser and starts narrating the story.
Mohan meets a young widow, Padmini (Jayshree) taking medicine for her dying mother. Padmini’s mother, from her death-bed, warns her about befriending young men as she’s a widow and society demands that she live alone with just a white sheet as a companion for that’s her life as a widow.
Following her mother’s death Padmini goes to her paternal uncle’s house to live. Her uncle has gone to Africa and her Aunt treats her badly. Mohan falls ill thinking about Padmini’s situation and her rebuff when he pursues her. He is looked after by his mother and young sister (Baby Rajshree).
Padmini is made to work as a maid in her Uncle’s house but has a kind cousin sister, Bharti (Chandrakanta). Mohan arrives there on some work and the Aunt has chosen him as a suitable boy for Bharti’s marriage. Mohan sees Padmini and tells her how he feels, which is overheard by the Aunt. The Aunt throws Padmini out of the house to fend for herself.
The story continues with the problems Padmini faces, Mohan’s search for Padmini and her death when she sets the house left by her mother on fire. Mohan finds the bedding in the aftermath of the fire and goes insane.
Baby Rajashree was the daughter of V.Shantaram and his 2nd wife Jayashree. He had married thrice. Shantaram’s first marriage was on 9-6-1922 with Ambu Mugalkhod. After marriage the bride was named Vimlabai. His second marriage took place on 22-10-1941, with Jayashree Kamulkar, but he did not divorce Vimlabai, from whom he had 3 issues- Prabhat Kumar, Saroj and Charusheela ( mother of actor Sidharth Ray). Jayashree too gave him 3 issues- Kiran Shantaram, Rajashree and Tejashree. His third marriage took place on 22-12-1956 with Sandhya (Vijaya Deshmukh). They have one daughter- Madhura Jasraj…wife of singer Pt. Jasraj. Before his third marriage Shantaram had divorced his second wife-Jayashree. However, his first wife Vimlabai was still intact as his first wife.
He never ever took Vimlabai with him for any function. He always went to these functions with Jayashree or Sandhya. Jayashree went to America with him. Sandhya went to Delhi and Berlin with Shantaram to receive awards. However, when the Dadasaheb Phalke award was announced to Shantaram, he took his first wife Vimlabai ( and not Sandhya, his then current wife) to Delhi to receive the Award !
There is not much information about Rajashree, who became a Heroine as an adult, but her exit from the films raised eyebrows when stories of her cheating producers with advance money ( for proposed or incomplete films), floated around when she migrated to the USA for good.
There is a song “Bhabhi aayee”, sung by Usha Mangeshkar, in this film and it was filmed on Pradeep Kumar and a child artiste- Rajashree…Yes, she is the same Rajashree, daughter of V.Shantaram and actress Jayashree, who later on became a Heroine in many films. Considering that it was her first film appearance, it is astonishing to see her skills of acting, ease of actions and her self confidence in doing the role ! By the way, perhaps this film Subah ka Tara-54 may be the only film in which V. Shantaram, his second wife Jayashree and his daughter Rajashri acted together in one film.
Rajashree was born on 8-10-1944 at Bombay. At the time of the film Subah ka Tara-54, she must have been just 10 year old. She acted in 5 more films as a child artist before she debuted as an adult Heroine in the film Geet gaaya Patharon ne-64, opposite Jeetendra who too debuted though this film. In all she acted in only 16 completed films. Some of her popular films were Stree-61, Janwar65, Sagai-66, Around the world-67 and Bramhachari-68.
While in America for the shooting of Around the world, she met an American student Greg Chapman and they fell in love. Their Love affair went on for 3 years. Raj Kapoor is on record saying that during this period her frequent trips to the USA delayed his film for almost 3 years. His budget overshot and the film also flopped miserably ! Rajashree got married in 1967 and left for the USA permanently, having half a dozen uncompleted movies for which she had reportedly taken money from the producers. One such uncompleted film was Naina, with Shammi Kapoor and Maushami Chatterjee. She had done 3 films with Shammi kapoor.
Rajashree stays in Los Angeles and she has a customized clothing business. They have one daughter.
At the time of Partition in 1947, hundreds of film artistes migrated to Pakistan, but most of them completed their assignments in India before leaving. There is hardly any case on record of artists who left their works incomplete. Those who could not complete work on hand, arranged for a replacement before going away. Post- Partition, Rajashree was perhaps the only case who tricked producers and migrated to the USA.
Today’s song is the last song of this film and is sung by Chitalkar. This makes the film an YIPPEE film.
video link (Longer)
Audio link:
Song-Zara o jaane waale rukh se aanchal ko hata dena (Subah Ka Taara)(1954) Singer-C Ramchandra, Lyrics-Noor Lucknowi, MD-C Ramchandra
Lyrics (of video link)Provided by Prakashchandra)
oo oo o oo
jaaney waaley…aey ae ae aey ae ae ae aey ae ae
arrey zaraa o o
jaaney waaley ae
rukh se aanchal ko hataa denaa..aa aa
zaraa o o jaaney waaley aey ae
rukh se aanchal ko hataa denaa
tujhe apni jawaani ee ki qasam
soorat dikhaa denaa
bhai waahh waah waahh waah waahh
aan..aa
agar poochhen woh qaasid
tujhse meri khaanaa-barbaadi ee ee ee
agar poochhein woh qaasid
hic
tujhse meri khaanaa-barbaadi ee ee ee ee
hatheli eee par zaraa si eee
khaak lenaa
aur
purrrr
udaa denaa..aa
hatheli ee par zaraa see ee
khaak lenaa
aur udaa denaa aaa aaa
hatheli eee par zaraa see…eee
khaak lenaa
aur udaa denaa aaa
zaraa o jaaney waaley aey
rukh se aanchal ko hataa denaa aa aa
bhai waahh waah waahh waah waahh waah
aaj to aaj to aaj to aaj to yaar ek dum waahh waah waahh waahh ho gayee
aan
aaa aaan aaa haan aan aaaa aaa
hoon…ooo….
kyon bhaiyyaa
kaisi taan lee achchi hai naa
sharaab-e-husn ke aagey
ye paani ee phir bhi paani hai ae ae ae
sharaab-e-husn ke aagey
ye paanee phir bhi paani…ee hai…ae
na bharnaa jaam saaqi eee
aankhon aankhon se pilaa denaa aaa aaa
na bharnaa jaam saaqi ee
aankhon aankhon se pilaa denaa aa aaa
zaraa o o jaaney waaley aey ae
rukh se aanchal ko hataa denaa..aa
o bhai waahh waah waahh yaar kamaal ho gayee aaj to
arrey tumhaaraa kyaa gayaa
hic
arrey bhai samajh mein nahin aayi ki mujhe chadh gayee hai
hmm mmm hmmmm
tumhaaraa kyaa gayaa
dil par hamaarey gir padi eee bijli ee
ee ee eee eeee
arrey usee
andaaz se zaalim zaraa phir
muskuraa denaa aa
usee andaaz se zaalim
zaraa phir
muskuraa denaa aaa
zaraa o o jaaney waaley ae
rukh se aanchal ko hataa denaa aa
bhai waahh waahh waah waah waahh waahh waah waah
- In: "Ghoonghat" song | C Ramchandra solo songs as a singer | C Ramchandra songs as a singer | Century songs for the blog | expression of love | Feelings of heart | Guest poster century song | Guest posts | Post by Arunkumar Deshmukh | Songs of 1940s (1941 to 1950) | Songs of 1950 | Yearwise breakup of songs
- 28 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.
This article is his 1200th post in the blog.
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Blog Day : |
5417 | Post No. : | 17762 |
Today’s song is from a stunt film Baboo ji-1950.
Oh my God ! Can’t believe it !! My 1200th Post !!!
Honestly, more than Joy, I am amazed how I have reached this stage. Entering this field was never planned by me. When I detached myself from working with my Pharma background finally in 2008 ( I had retired in 1998, but I ran my Consultancy Company till another 10 years ), I had no plans of what I was going to do in my free time.
After travelling with my wife all over India and most of the world, I decided that it was high time I learnt operating computers at least now. My grandsons were too happy to teach me how to use a Laptop, at my age of 71 years. The first Love, they say, never dies. My first love was old films and old songs. So I started surfing and downloading old known and unknown songs and made several cassettes. Then one day while surfing I stumbled upon” atulsongaday.wordpress.com”. I found a lot of old songs. I was impressed with the write ups and comments of readers.
I had many diaries, loaded with information noted down whenever I had seen a film – from about 1948-49 onwards. There were about 80-90 diaries, which I had carried wherever I was transferred during my career, at the cost of complaints from my family. I started using information from these diaries and making comments on this and other Blogs, Fb groups and sites. After some time I became a known person in the fraternity and my first post appeared on this Blog, after Atul ji encouraged me to write a post on a song from the film ” Savitri-1937″. It was posted on 1-10-2012. I realised that this was my second innings only when I was neck-deep in it ! Thanks to Atul ji and Sudhir ji – my first motivators.
| Century posts | Date posted on | Days taken for the century |
|---|---|---|
| 1st | 11-4-2013 | 192 days |
| 2nd | 14-11-2013 | 217 |
| 3rd | 10-6-2014 | 208 |
| 4th | 21-4-2015 | 315 |
| 5th | 6-4-2016 | 357 |
| 6th | 4-9-2017 | 516 |
| 7th | 2-12-2018 | 454 |
| 8th | 26-9-2019 | 296 |
| 9th | 15-9-2020 | 354 |
| 10th | 18-8-2021 | 335 |
| 11th | 18-6-2022 | 305 |
| 12th | 18-5-2023 | 333 |
So, it looks like that in 3882 days, I have written 1200 posts on this Blog alone.( my many articles are published on Sangeet ke sitare, Anmol Fankaar, Songs of yore, memsaabstory.com, Cineplot, Kalyan Music group, geetadutt.com and few other sites, blogs etc. and 2 books to boot !).
On this occasion I thank Atul ji, Sudhir ji, my friends on the Atulite group on this Blog and WA group as well as several visiting commenters who have encouraged and motivated me from time to time with their comments and appreciations. I would especially mention the name of Shri Harish Raghuwanshi ji for helping me whenever I needed information. He has been a pillar of my strength in this field.
Now, coming to today’s song and film Baboo ji-1950. Just because HFGK mentions it and the starcast clearly indicates so, the film is accepted as a stunt film. Its title otherwise sounds like a Social film ! The cast of the film was Bhagwan, Leela Gupte, Baburao Pehlwan, vasantrao pehlwan, Usha Shukla, Azeem, Mirajkar and many regulars. The lyricist was Ehsan Rizvi and the MD was P. Ramakant. The director was Master Bhagwan.
Master Bhagwan was a very hard working person. In the real sense, he brought in the wave of stunt films again 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, Azeem Bhai, 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 a lot of 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 and Manmohan Desai get inspiration from Bhagwan in this matter ?). In almost all his films the songs and dialogues were by Ehsan Rizvi.
Luck is a funny thing. In this world it is difficult to say who will be lucky and when and on whom Lady Luck will smile. Lyricist Ehsan Rizvi’s case falls under this uncertainty. Born on 26-1-1914 in U.P., Rizvi came to Bombay at the age of 24. He was a good poet and writer. He wanted to try his luck in the films. How he got a break in films is an interesting story.
Master Bhagwan entered the film world with the silent film ‘ Bewafa Aashiq’-30. His first talkie film was ‘Himmat-e-Marda’-34. 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 he was 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-38. He called Ehsan Rizvi and gave him a scene and asked him to write dialogues. He came back with the dialogues. After reading Bhagwan was astonished. The scene started with one villager saying ” Ram Ram Bhaiya ji. Kaise ho ?” He asked Ehsan, ‘ being a Muslim, how have you written this?” He replied,” we start any work with God’s name. As your story is Hindu based, I wrote Ram Ram. If it was Muslim film, I would have written “Allah”. Bhagwan was impressed and he gave him not only this film but Ehsan became a member of his group. He wrote songs, story and dialogues of at least 25 films of Bhagwan.
After the fall of Bhagwan’s fortunes. Bhagwan himself advised him to work in other banners as he was no longer in a position to make films now. 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-59, Mughal-e-Azam-60, Woh kaun thi-64, Aan milo sajna-71, Gopichand jasoos-82 etc etc. He had shared the Film Fare award for dialogues of Mughal e Azam-60, with 3 other writers. He died on 16-1-1983.
Now coming to the MD’s name-P.Ramakant. 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-49, Bhole bhale-49, Babuji-50, and Bakshish-50 also, Chitalkar used the pseudonym P. Ramakant as MD. (information from Marathi Chitrapat Sangeetkar kosh by Madhu Potdar). For film Dussehra-56, N.Datta’s assistant was Ramakant paingankar, who was assistant to C.Ramchandra for a long time. He is the same person who tried his hand at being a composer himself in the late 40s. With Shyamsunder and Ramchandra Pal, he gave music to Urvashi-46 and with Lal Mohammed in Mitti-47. . Ramakant gave music to film Rupiah-50 independently. Then he turned to Marathi films. In his last days, he came back to Hindi films again as assistant to many composers.
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’ and Ram Chitalkar.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. Similarly, MD Nashaad also used names like Shaukat Hussain Dehalvi, Shaukat Dehalvi, Shaukat Ali, and Shaukat Haider. These are well known, but today I will tell you 2 pen names for the FIRST time on the internet ! 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.
On this occasion, no wonder I have selected a song sung and composed by my favourite composer C.Ramchandra. The song is very good, a typical C Ramchandra style song. I am sure all of the readers will also like this song. Enjoy….
Song- Gorey gorey mukhde se ghoonghat hataao jo (Baaboojee)(1950) Singer- Anna Saheb (C.Ramchandra), Lyricist- Ehsan Rizvi, MD- P.Ramakant (C.Ramchandra)
Lyrics
gore gore mukhde se ghoonghat hataao jo
tadpadte man ko kaahe sataao jo o o o
kaahe sataao jo
o o o o
aanchal ki odh se bijli giraaye chhe
birha ki aag mein tan-man jalaaye chhe
hamko rula ke man mein muskaaye chhe
bai toone dukh diye ab kya upaaye chhe
ek baar gaaon se bambai bhi aavo jo
tadpadte man ko kaahe sataao jo o o o
kaahe sataao jo
ho o o o
ek baar poochha tumhaara naam shoo chhe
aankhen diikha ke boli tum ko kaam shoo chhe
maanashe ke aadmi raam raam shoo chhe
beech baazaar poochhe chhe ki naam waam shoo chhe
seth zara daya karo
police ko bulaao jo
tadpadte man ko kaahe sataao jo o o o
kaahe sataao jo
gore gore mukhde se ghoonghat hataao jo
tadpadte man ko kaahe sataao jo o o o
kaahe sataao jo
ho o o o
police ka jo naam suna
hamko bukhaar chhayo
pehle hi pyaar mein bhaari bhaari takraar bhayo
bhausaa ab roke roke deewaar chhayo
rehna dushwaar chhayo
jaana dushwaar chhayo
bhai koi meri madad ko bhi aao jo
tadpadte man ko kaahe sataao jo o o o
kaahe sataao jo
gore gore mukhde se ghoonghat hataao jo
tadpadte man ko kaahe sataao jo o o o
kaahe sataao jo
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
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 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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4049 | Post No. : | 15178 | Movie Count : |
4171 |
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Hindi Songs in Marathi Films : 2
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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
Le lo le lo gubbaare
Posted on: June 9, 2018
This article is written by Peevesie’s mom, 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 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 : | 3613 | Post No. : | 14406 |
“Amardeep” was a movie that was made by Shivaji Productions and directed by T. Prakash Rao in 1958. It was a remake of the Tamil “Amara Deepam” (1956) which also directed by T. Prakash Rao; which itself was a remake of the 1942 English film “Random Harvest” which was based on the novel of the same name by James Hilton. There was also a Bengali movie in 1957 “Harano Sur” on the same story. (all this information is thanks to Wikipedia) So that means there were audiences for this kind of sentimental stories.
The Tamil and Hindi versions had Padmini playing the character of Roopa who takes care of the hero- Dev Anand in Hindi and Shivaji Ganesan in Tamil- after he meets with an accident and forgets his past with Vyjayantimala (in Hindi) and Savitri (in Tamil). I had heard from my dad that he had seen the movie at the time of its release -first day first show and when the Tamil version released in a morning show (that was the name for the 9 or 10 A.M. show) he saw that too. I don’t remember what his review of the movie was but he had told me that the Hindi movie had 12 songs in it; the most popular one being “dekh humein awaaz na dena o bedard zamaane” having two versions.
Before I wrote this post, I sat through the movie. A decent movie, not exactly a tear-jerker but full of emotions on the part of the central characters. Plus, we have Pran putting in an act of possessive and hot- tempered “mangetar” (fiancé) of Vyjayantimala. So, there is scope for little fisticuffs at the climax. Then we also are surprised by the fact that the heroines are sisters who are separated in their childhood as the father gives away the younger daughter for cash to a wealthy man so that he can treat his sick elder daughter. And when the sisters, who are in love with the same man realise this, the elder one sacrifices her love and conveniently comes in the way when Pran fires at Dev Anand. There is a strained comedy track involving Johnny Walker and Mukri (which we could have done without). I hope this gives a brief idea about what the movie was all about. ??
There was one more reason for me to sit through this movie. I was trying to locate a song and its relevance in the movie. The song if it had ever been shot should have appeared here at 43:35 or thereabouts of the movie as we can see Dev and Vyjayantimala roaming around a mela and she has got some balloons in her hand. I was also trying to get the balloons (gubbaare) as it is the birthday of a keen follower of the blog. We also call him our in-house encyclopedia. Our dear Shri. Arunkumar Deshmukh turns a year younger today(9 june 2018).
Wishing him a musical journey with us forever with this song by a singer- music composer about whom he has provided us vast information. Rajinder Kishan is the lyricist. It has an “Eena meena deka” feel to it. Specially the opening and interlude music piece. I would love to know if it was ever picturised, if so on whom and if not why such a lively song was left out of the movie, it would have lightened the proceedings.
Song-Le lo le lo gubbaare (Amardeep)(1958) Singer-C Ramchandra, Lyrics-Rajinder Krishan, MD-C Ramchandra
Lyrics
le
lo
arre le lo le lo
lelo lelo gubbaare
le lo le lo
lelo gubbaare lelo
rang birange pyaare saare
rangbirange pyaare saare
le lo le lo lelo lelo gubbaare
sukde ko patle
arre phoole ko mote
darshan bhaari naam hai chhote
kaliyon se halke lelo
phoolon se pyaare lelo
rang birange pyaare pyaare
rangbirange pyaare pyaare
le
lo
le lo
le lo
lelo lelo gubbaare
neele
are peele
hai neele peele hare gulaabi
jhoome hawa mein jaise sharaabi
dole talab mein dole
saaqi ke dwaare dole
rangbirange pyaare pyaare
rangbirange pyaare pyaare
le
lo
le lo le lo
lelo lelo gubbaare
baba bhi khele
aur baby bhi khele
jodi salaamat o baabu lele
chamke tumhaari waah waah
ulfat ke taare wah wah
rangbirange pyaare pyaare
rangbirange pyaare pyaare
le
lo
le lo le lo
lelo lelo gubbaare aeeeee
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.
“Paighaam”(1959) was produced and directed by S S Vasan for GeminiPictures, Madras. The movie had Dilip Kumar, Vyjyanti Mala, Raj Kumar, Pandhari Bai, Motilal, B Saroja Devi, Johny Walker, Minu Mumtaz, Vasundhara Devi, Protim Devi, Bannerji, Mukherji, Shivraj, Sitalaxmi, Ishwarlal, Pushpmala, Master Gopi, Karupayya, Radjha, Madhavan, Amar, Kamal Krishn etc in it.
Read more on this topic…
Desh Ki Dharti Ne Lalkaara
Posted on: January 16, 2016
- In: C Ramchandra solo songs as a singer | C Ramchandra songs as a singer | Devnagri script lyrics by Sudhir | Freedom song | Guest posts | Lyrics contributed by readers | MD-Singer Song | Patriotic song | Post by Sudhir | Songs of 1950s (1951 to 1960) | Songs of 1952 | War song | Yearwise breakup of songs
- 3 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.
Today (15th January), the nation honors the Army man, the soldier and the fighter who gives up and sacrifices a lot in his life, even himself, for the sake of protecting other fellow human beings. We celebrate the 68th Army Day today.
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Raat hai kitni suhaani
Posted on: January 5, 2016
This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
Today (5 january 2016) is the death anniversary of C Ramchandra (12 january 1918- 5 january 1982). We are discussing some special C Ramchandra songs on this occasion. Here is another C Ramchandra song. This song, including its writeup is, is special.
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Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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