Archive for the ‘“chaand” song’ Category
Chandaa re chandaa re
Posted on: March 18, 2024
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
|
Blog Day : |
5722 | Post No. : | 18241 | Movie Count : |
4894 |
‘Eklavya’ (2007) was produced by Vidhu Vinod Chopra under his banner, Vinod Chopra Productions and was directed by him. The cast included Amitabh Bachchan, Saif Ali Khan, Sanjay Dutt, Vidya Balan, Jackie Shroff, Boman Irani, Jimmy Shergill, Sharmila Tagore, Raima Sen, Parikshit Sahni, Mitha Vashisht etc. The film is an action costume drama with a background of a Royal family in a contemporary setting. The film was majorly shot in Rajasthan.
The title of the film, ‘Eklavya’ has nothing to do with Eklavya of Mahabharat. In the film, the mother of the royal guard tells her son that he should be like Eklavya in following the dharma which is his duties towards the Royal family. Just to avoid some confusion, the official name of the film is ‘Eklavya – The Royal Guard’.
The story of the film is as under:
Eklavya (Amitabh Bachchan) is a loyal bodyguard of an aging Rana Jaywardhan (Boman Irani), the present king of Devigarh. Now aged, Eklavya is nearly blind. Rana Jaywardhan is sitting besides his dying wife, Queen Suhasini Devi (Sharmila Tagore) when she faintly utters ‘Eklavya’ a number of times. Rana gets mad and the queen gets killed by the hands of Rana. Her mentally challenged daughter, Nandini (Raima Sen) is present during the death of the queen. Somehow, Rana starts believing that Eklavya knows a secret about the Royal couple. He orders his younger brother, Jyotiwardhan (Jackie Shroff) to execute Eklavya. Actually, Jyotiwardhan and his son, Udaywardhan (Jimmy Shergill) are conspiring to get rid of Rana.
Meanwhile, Prince Harshwardhan (Saif Ali Khan) returns from London to perform the last rites of His mother queen. Of many persons come to receive him, he is happy to see his driver (Parikshit Sahni) and his daughter, Rajjo (Vidya Balan) besides Eklavya. Rajjo meets Prince Harshwardhan and hands over a closed letter written by the queen and addressed to Harshwardhan. He reads the letter with a shocking expression because she has revealed in the letter that Eklavya is the real father of Harshwardhan and his sister, Nandini.
The other development is that there is a death threat to Rana due to rising unrest among the farmers as their lands have been seized by the royals. Inwardly, there is a prevalence of uneasy relationship between Rana’s family and his younger brother, Jyotiwardhan’s family. So, DSP, Pannalal (Sanjay Dutt) meets Rana to assure him of police protection. But before it is being implemented, there is an assassination attempt on Rana who is now angry. He instructs his brother, Jyotiwardhan to kill Eklavya. Instead, Jyotiwardhan kills Rana during which his driver also gets killed.
Now it becomes free for alls in Royal family. Eklavya gets some clue to conclude that it was Jyotiwardhan and his son, Udaywardhan to be responsible in killing Rana. Eklavya kills Udaywardhan and takes his father Jyotiwardhan to his dead body with the intention of killing him also. Before that, Jyotiwardhan reveals to Eklavya that it was the Prince Harshwardhan who ordered killing of Rana. In a fit of anger, Eklavya kills Jyotiwardhan.
Prince Harshwardhan reveals to Rajjo that it was he who managed to get Rana killed. Rajjo leaves the Prince since he was indirectly responsible for her father, Omkar Singh getting killed. Now it is the turn of Eklavya to kill the Prince, his biological son as per his dharma. However, before that, Eklavya wants to know from him as to why he ordered killing Rana. Prince Harshwardhan explains the reason for killing Rana because his sister, Nandini who was the witness at the time of the death of her mother, saw Rana smothering the semi-conscious mother to death because she uttered Eklavya’s name. Prince Harshwardhan tells Eklavya to kill him to adhere to his dharma. But Eklavya’s hand trembles. Prince Harshwardhan decides to commit suicide by his revolver. But before that, Eklavya throws his dagger to dislodge the revolver from his hand thus saves Prince Harshwardhan and hugs him.
After Harshwardhan take charge of the royal duties, he calls all the villagers who have lost their lands and distributes the legal documents making them owners of the land. He also announces publicly that from now onwards, he regards Eklavya as his father. DSP, Pannalal visits the palace showing a suicide note which says that Jyotiwardhan and his son Udaywardhan, afraid of being caught by the police for killing Rana, committed suicide in front of a speeding train. Rajjo reconciles with Prince Harshwardhan when she comes to know the real reason for Rana getting killed.
I am happy that I watched this beautifully crafted film with technical excellence, a few days before writing this article. It has a shade of Shakespearean tragedy. All the main actors have given excellent performances. The dramatic verbal duel between Amitabh Bachchan and Saif Ali Khan, especially of about 10 minutes duration towards the end of the film are of high calibre. Some of the close-up photography of the main actors speaks much more than the dialogues. There are some excellent shots of night photography. The visuals are appealing. The costumes look authentic and why not. They have been designed by Raghavendra Rathod who is from the royal family of Jaipur. This film is mainly meant for the niche audience. For the general audience, the film may be too slow to enjoy.
The film had three songs written by Swanand Kirkire and set to music by Shantanu Moitra. I am presenting the first song from the film, ‘chandaa re chandaa re dheere se muskaa’ to appear on the Blog. The song is rendered by Hansika Iyer who sings for Vidya Balan. Saif Ali Khan and Raima Sen are also in the picturisation frames of the song.
The song is composed like a lullaby, but the lyrics of the song give the impression that Vidya Balan who is in love with Saif is coaxing him to shade his pride and smile. The reason is that a small part of the song is also used in a different scene as a lullaby in the background when Saif is putting his mentally challenged sister (Raima Sen) to sleep.
It is a lovely song with the soft orchestration.
Video Clip:
Audio Clip:
Song-Chanda re chanda re (Eklavya)(2007) Singer-Hansika Iyer, Lyrics-Swanand Kirkire, MD-Shantanu Moitra
Chorus
Lyrics (Based on Audio Clip):
hmm hmm hmm
hmm hmm hmm
hmm hmm hmm
hmm hmm hmm
chandaa re chandaa re
dheere se muskaa
haule se haule se
palkon mein chhup jaa
chandaa re chandaa re
dheere se muskaa
haule se haule se ae
palkon mein chhup jaa
haule se haule se
chhan chhan chhan chhan chhan chhan chhana
baadal ke jhoole pe
khhan khhan khhan khhan khhan khhan khhana
haule se haule se
baadal ke jhoole pe
muskaa
chandaa re chandaa re
dheere se muskaa
haule se haule se
palkon mein chhup jaa
hmm hmm hmm la la laa
dheere se muskaa
hmm hmm hmm la la laa
palkon mein chhup jaa
arre lukka chhipi khele
chandaa taaron ke sang
kaun thhaame dori
tu hai kis kee patang
chandaa o re chandaa
tera kaisa guroor
hans de zaraa saa
barsaa de tu noor
chhan chhan chhan chhan chhan chhan chhana
khhan khhan khhan khhana khhan khhan khhana
(ho ooooooooooo)
chandaa re chandaa re
dheere se muskaa
haule se haule se
palkon mein chhup jaa
hmm hmm hmm la la laa
dheere se muskaa
hmm hmm hmm la la laa
palkon mein chhup jaa
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 : |
5697 | Post No. : | 18215 |
“Hamaara Watan”(1956) was produced by Ramesh Vyas and directed by Jayant Desai for Navkala Niketan, Bombay. The movie had Bina Rai, Premnath, Agha, Ram Singh, S N Tripathi, Kumkum, Jagdish Kamal, Ramesh Sinha, S Azeem, Habeeb, Nazeer Kashmiri, Md Rafi, Md Ali, M. Sandow, Hanuman, Md Hussain, Bela Sarkar, Jaya Rao, Maya Das etc in it.
This costume movie had ten songs in it that were penned by three lyricists. Asha Bhonsle’s voice was there in as many as eight of these songs.
Two songs from the movie (both sung by Asha Bhonsle) have been covered in the past.
Here is the third song from “Hamaara Watan”(1956) to appear in the blog. The song is sung by Lata Mangeshkar. It is the only song sung by her in the movie. S H Bihari is the lyricist. Music is composed by Hemant Kumar.
Only the audio of this song is available. I request our knowledgeable readers to throw light on the movie as well as on the picturisation of this melancholic song.
Song-Chaand ko daagh lagaa chaand hamaare aajaa (Hamaara Watan)(1956) Singer-Lata, Lyrics-Raja Mehdi Ali Khan, MD-Hemant Kumar
Lyrics
lagaata hai zamaana boliyaan
yoon hamko tadpa ke
sare baazaar lut’tee hai
mohabbat dekh le aake
aaja
aaja
aaaaaja
chaand ko daagh laga
chaand hamaare aaja
aaj aankhon ka har ik ashq pukaare aaja
chaand ko daagh laga
chaand hamaare aaja
pyaar kee laaj na lut jaaye bachaa le aa ke
hamko saiyyaad ke panje se chhuda le aa ke
bahte hain aankhon se ab ashqon ke dhaare aaja
aaj aankhon ka har ek ashq pukaare aaja
chaand ko daagh laga
chaand hamaare aaja
aandhiyaan loot na len haay mere husn ka ??
bujh na jaaye kaheen ashko se mohabbat ka charaag
gham se dil choor hai
ashqon ke sahaare aaja
chaand ko daagh laga
chaand hamaare aaja
aaj aankhon ka har ik ashq pukaare aaja
chaand ko daagh laga
chaand hamaare aaja
Lehron se khele chandaa
Posted on: October 8, 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.
|
Blog Day : |
5560 | Post No. : | 18027 |
Today’s song is from the film Aahuti-1950.
I have not seen this film and I could not get any details of this film like its story etc from any source, so I do not know what kind of ‘ sacrifice ‘(aahuti) this film was about. From some of the songs, this film Aahuti aka Anokhi qurbani seems to be a film about Independence struggle or on conditions soon after India’s independence. This also looks like having a love story in the background.
The film was directed by Kulbhushan. He seems to have also produced and directed the film Saahi-1959 under the name Kulbhushan Agarwal. He acted in it as Kulbhushan and also wrote one duet song for Saahil-1959. It had the same music director, D.C.Dutta as for Aahuti-1950.
D.C.Dutt – Music Director. His name is not known to many. All of us know that Lata Mangeshkar had to struggle very hard in her initial attempts to get into Playback singing in Hindi films. In her early struggle, 3 Duttas helped her. The first was of course Datta Davjekar who gave her the first opportunity to sing a song for his film Aapki sewa mein-47. The second was K.Datta or Datta Korgaonkar, who, after his favourite singer Noorjehan left India, took Lata under his wings and gave her songs. The third Dutta was this-D.C.Dutt. No information is available about him whatsoever , except what is printed in HFGK and its duplication in Pankaj Raag’s book “Dhunon ki Yatra”. Thanks to this, we know that his debut was through film Sona Chandi-1946. Out of 12 songs of the film, only two were his and one of them was by Lata Mangeshkar.
This Lata song has a history. Film Sona Chandi was censored first on 19-7-46 and released. That time these 2 songs of D.C.Dutt were not there. In January 1948,when Gandhi ji’s death took place, many songs on Gandhi ji were recorded by many singers and composers. One of the most famous, popular and successful songs was “Suno suno aye duniya walo, Bapuji ki amar kahani” sung by Mohd. Rafi in 4 parts and recorded by its composer Husnalal-Bhagatram. In this spate, even D.C.Dutt also recorded a Gandhi ji song by Lata in 1948. producers of film Sona Chandi got this and one more song ( by Saroj Borkar) included in the film and the film was re-censored on 9-4-48. Thus an early song of Lata was in a film, because of D.C.Dutt.
D.C.Dutt later did some more films like, Sarai ke bahar-47, Dil ki Awaz-48, Anjana-48 ( he even acted in this film), Ram Darshan-50, Aahuti-50, Simba-51, Ranee-52 and lastly Sahil-59. Very surprisingly, after the film Sona Chandi-46, Lata did not sing a single song in any of his films. After 48-49, Lata had become a very busy and ‘in demand’ singer and she would sing only for established composers . We all know that she did not sing even in Madan Mohan’s debut film Aankhen-50, just because he was new. It is said that Lata had also not sung for Music Director Khurshid Anwar, when she learnt that he could not play any musical instrument.
Today’s song is a duet sung by Geeta Dutt and Shankar Dasgupta. I am a great fan of Geeta Dutt and her songs. Long back,in our Management class, our Professor conducted a survey in the class. He asked us to write the name of the Toothpaste we were using. Those days too, Colgate was the Brand leader. There were 30 students in the class. I was using Macleans’ (a brand that was available in India in those days), so I wrote Macleans’. Then he collected all 30 chits, added his own and started reading. The result was Macleans’-8,Kolynos-7,Colgate-7,Forhans-6 and 3 were using tooth powder. He explained to us that even the Brand leader, not necessarily always, will lead in all consumer groups. It is a collective total which gives the leader its position.
The same is the case in any other field. Take the case of female playback Singers. In the 50s to 70s, Lata was the Brand Leader, but personally I always liked Geeta Dutt. I simply loved Geeta’s voice which had so much flexibility and was also so soulful.
When you hear her sing Meera Bhajan, you get lost in Bhakti Ras, listen to her sad songs and gloom descends on you and hear her club/cabaret song, you feel like tapping or dancing. It seems as if Geeta never bothered to be the No.1,she only wanted to be honest to her singing. She was a pure soul bearing no envy towards anyone. There is always a discussion whether she gave her best to S.D.Burman or O.P.Nayyar songs. Not many know that Geeta worked with more than 150 composers. I personally don’t believe she ever compromised in her performance. Whether she sang for a well known composer, or an unknown one like M.A.Rouf, S.L.Pardeshi, Manohar, D.V.Gadekar, Kumar, M.Masurekar, T.K.Das, Ali Husain, Pt.Harbans Lal or Rajhans, she put all her soul and skill in rendering the song.
There is, however, always a personal liking. I always liked Geeta’s songs with O P Nayyar. Their association started with the film Aasman (1952). Though her songs like “dekho jadu bhare more nain’ were very melodious and became quite popular,the film flopped. The subsequent film Baaz (1953) was also the same story. Good songs-film flopped. But then Aarpar (1954), Mr. and Mrs.55, Musafirkhana (1955) and Miss Cocacola and C.I.D.-in 1956 brought commercial success. After C.I.D. in 1957, Geeta suffered on 2 counts. One, O.P.Nayyar started grooming Asha Bhosale and secondly Geeta was facing a lot of personal problems. The singing assignments coming her way were getting lesser and even she was cutting down on the same. In fact, she had expressed a desire to completely stop singing in the year 1957.
In the year 1958 she got only 10 songs from O.P.Nayyar. But then she sang the iconic song in Howrah Bridge which made her name Amar in the history of the Golden Age of HFM forever. This incident has been narrated by the famous film/music writer Issac Mujaawar in the Marathi magazine Rasrang. When Howrah Bridge was being made, it was evident that all the songs would go to Asha. By that time ASHA had mastered the art of singing club/cabaret songs. It is said that rehearsals were done for ”Mera naam chin chin chu”. Shakti Samanta was the Director of the film. O.P.Nayyar never tolerated any interference from the Producers or the Directors. Shakti da wanted that song to go to Geeta, as he genuinely felt that she is better suited to sing it. He called Nayyar one day and coolly explained to him the situation. Miraculously, Nayyar accepted the suggestion without a word of protest. Maybe his conscience was biting him, or maybe he too thought on those lines. Whatever be the reason, Geeta was summoned the next day and the song was given to her. The rest is History…….as they say.
Geeta’s younger brother Milan Roy Choudhari, who was in the USA for education and later to build a career, was 10 years younger to her. She was very much attached to him. It was Geeta who financed his US visit and his education. He recently died in America. He was well known to me. He used to read all my articles on HFM till his death. About 10 years ago, I had written an article on Geeta Dutt, on somebody’s request for her Death Anniversary. When Milan read my article, he wept like a child. Then he wrote a sentimental letter to one of our common friends.
Here is the relevant portion….
” I am a huge fan of Arunji and his writings. I really admire his vast knowledge and his expertise on details. There were tears in my eyes when I first read this article at Geeta Dutt blog on her death anniversary. Mr Deshmukh has depicted some aspects of my sister’s singing very accurately. She indeed always tried to understand the words of the song thoroughly before she sang in order to give the proper feeling to her singing. I am 11 yrs younger than her and I was very close to her.In 1961 she was the one who sent me to the USA for further studies. She used to always take me to recordings and Functions with her. To me she was not only a great singer but also a great human being. I am very grateful to Arunji for writing such a beautiful write up on her.”
Here is that article for our readers, which was written on Geeta Dutt, 10 years ago…..
“City- Bombay (Now Mumbai)
Date- 20th july 1972
Place- Harkisandas Hospital, BombayFew people were standing in the corridor . Anxiety, sorrow, helplessness and a little hope was clearly written on their faces. They were all quiet. No one was talking to anyone. Their body language gave away their agony and restlessness.
Suddenly, a Doctor came out of a patient’s room. All ran to him and then stopped. The Doctor’s face and the tears in his eyes told them what they were afraid of.
No one said anything. No one asked anything. The Doctor said, ” I am sorry. She is no more.” He left, dragging his heavy feet.The end of an Angel had come !
Geeta Dutt has left us forever !!
Only her memories and the inimitable voice were left behind !!!Born on 23-11-1930 at Idlapur in Faridkot District of East Bengal,to a big Zamindar, Devendranath Roy Chaudhury and Amiya Roy Chaudhury,Geeta inherited her mother’s love for music. She learnt Classical Music from Pt.Hirendranath Chaudhury, while studying in an Anglo-Bangla school.
When she was just 12 year old, the family had to run away from East Bengal, to save their lives-leaving all property behind- to Bombay. In Bombay, we all know how Pt. Hanuman Prasad, MD(ex husband of Lalita Pawar) discovered her for playback in Hindi films. Later when S D Burman heard her singing, he knew instinctively that this was the voice which would make him successful and establish in Bombay. Until then Burman had not succeeded much to his satisfaction. To give her songs in ‘ Do Bhai ‘, he had to convince Chunilal of Filmistan, with great difficulty.
Geeta did not disappoint.’ Mera sunder sapna beet gaya” and ” Yaad karoge” made history and put both Geeta and Burman in the Top league overnight.
Do Bhai made other famous composers to sit up and take notice of this new voice. They lined up to give Geeta ‘ Gaaon’-47(Khemchand Prakash), Leela,Shehnai and Saajan-47 ( C.Ramchandra),Geet Govind-47(Gyan Dutt),Actress-48(Shyamsunder),Chunariya-48(Hansraj Behl),Padmini-48(Ghulam Hyder) and Ek thi Larki-49(Vinod).
1950 was Geeta’s year.Many hits came Bawre nain,Har har mahadev and Jogan solidified her position on Top.Composers felt she was inevitable,for their success.
Before recording,Geeta used to sit with a Lyricist,understand the words and the implied meanings,then hear the tune from the composer and then sing in her own style. Basically,Geeta was very Gifted and hence with just one rehearsal,she could record the song to the entire satisfaction of all concerned.This made her the darling of the Composers.
Now, the newer MDs like Hemant Kumar,Vasat Desai, Madan Mohan and O P Nayyar also vied with each other to take Geeta. While doing Baazi, she met Guru Dutt and they got married on 26-5-1953. She was earning thousands of rupees in singing, but that time Guru Dutt was not that successful. Some magazines and Papers said that he married Geeta for her money. Guru Dutt was furious and asked Geeta NOT to sing for others, restricting her to only his films. This supposedly suffocated her and she rebelled against it, which affected their relationship further.
Geeta had a liking and flair for acting. In Calcutta, she acted as a Heroine in the Bangla film-‘ Badhu baran”. She did get some more offers but once she decided to settle in Bombay she refused all offers. Few people know that in Bombay a Hindi film- ‘ Tera saath hai Pyaara ‘, with Geeta as a Heroine had started, but unfortunately, after a few reels, the film got shelved. To give a chance to her and to mend their relationship, Guru Dutt started filming “Gauri” with Geeta as a heroine, a bi-lingual in Bengali and Hindi. However due to reasons not known to us, Guru Dutt shelved this Bangla film after shooting a few reels. This made the couple more distanced from each other. We all know the story’s end…..
Somewhere in 1971, there was a programme ” Yaaden Shakeel ki” in Bhaidas Hall, Parle. I had gone to that programme and I saw Geeta Dutt there. Many singers had come there-Rafi, Mukesh, Mahendra Kapoor, Chandru Atma and Lata. When Lata was to come for singing there was a flurry of activity on the stage with everybody trying to please Lata. Lata came, sang and left like a Queen. When Geeta came on the stage, hardly anyone did anything for her. This is how this world is ! Geeta came, drew Harmonium near her and sang a Ghazal of Shakeel Badayuni “Ujaale apni yaadon ke”. When she finished, there was a clapping louder that what Lata had received, from the Audience-people knew her value !!
Geeta was optimistic even in the year 1971. She used to say, ” If 2 hit songs in Aradhana can take Kishore Kumar to the Top, even 2 Hit songs for me will do the same.” But it was not to be. Even the regular composers like O P Nayyar already turned their backs on her. Destiny decided to call her back !!!
One of my regrets was that if only Naushad had supported Geeta, she would have gained eminence for his songs for ever, like Saigal, Surendra, Parul Ghosh, Zohrabai, Amirbai, Naseem Akhtar, Shamshad, Noorjehan, Suraiya, Uma Devi, Talat, Mukesh, Rafi and Lata….but Geeta’s name was not in this list. I am not a statistician, so I can not say how many songs she sang for Naushad, but I am sure it was almost nothing except a half song in Dillagi (1949) and a club song in Son of India (1962).
Geeta’s voice was typical Bengali. She sang all kinds of songs wonderfully but was truly a master at melancholies. Burman da who gave her emotional songs in Do Bhai, also gave her peppy club songs in Baazi, to make use of the sexy tinge in her voice. Further O P Nayyar fully exploited this special feature in Geeta’s voice. Her voice was sometimes sweet, sometimes namkeen. It had depth. In this case Geeta was one step ahead of Lata. Geeta’s voice was different for every situation. When she sang, ’Baat chalat nayi chunari’, you felt she would have been a better classical singer than Laxmishankar. When she sang,’ Main to Girdhar ke ghar jaoon ‘, you felt Oneness with God, hearing her Bhakti ras dripping voice.
Juthika Roy was famous for Meera Bhajans, but I always felt that her voice was the same in any Bhajan, while Geeta’s Bhajans exuded different emotions in every bhajan.
While singing Club songs, Geeta was a different person. Just recall that “Hey hey hey hey Tadbeer se bigdi hui taqdeer bana le” song or listen to “O Babu O Lala” or “mera naam chin chin chu”, then you will realise what I am saying !
One very important point in Geeta’s singing is not highlighted by many. In Hindi films there are many Male and Female versions of songs called Tandem songs and many singers have sung them. While singing such female version songs, Geeta never lost to the male singers ! All Geeta versions were more popular than the Male versions.
Both Asha and Lata have not a great record on this count.
You will remember Kishore’s ”Jeevan ke safar me raahi” but not Lata’s version. You will remember Talat’s ” Aye gham-e-dil kya karoon’ but not Asha’s version. Kishore was better than Asha in “Zindagi ek safar hai Suhana” versions and also Kishore was better than Lata’s version of “Khilte hain gul yahan”.
When it comes to Geeta, she never lost to male versions. C H Atma’s ”Preetam aan milo” is remembered by less people that Geeta’s ” Preetam aan milo” from mr. and Mrs.55 (same song.written by Saroj Mohini Nayyar,O.P.’s wife). Geeta’s “Kaise koi jiye” (Baadbaan) is much better than Hemant Kumar’s version. Similarly,” Hai ye duniya kaun si'(Sailaab) and “Na yeh chand hoga”(Shart). In both songs,Geeta is superior and more popular than Hemant Kumar. (There is a story behind the song-Na yeh chand Hoga. Once a jilted young lover committed suicide under train at Patna. In his pocket these lines were written on a paper-Tumhare liye hain,tumhare rahenge,Na yeh chand hoga,na taare rahenge,magar hum hamesha tumhare rahenge. Lyricist S.H.Bihari used these lines in his song).
On 22nd July 1972,just 2 days after Geeta’s death, there was a preplanned programme of Juthika Roy in Birla Matoshri Sabhagriha, Bombay. I had booked my tickets well in advance, so I went there. In the beginning everyone paid respects to Geeta Dutt, by standing for 2 Minutes. Talat, Jagmohan and Surendra were also there. Then Juthika Roy came on stage,drew Harmonium near her and started singing ” Pag ghungroo bandh…” .
I was lost in Geeta’s memory and saw Geeta with a Harmonium singing ” Main to Girdhar ke ghar jaoon………………….”
Let us now listen to today’s duet by Geeta and Shankar Dasgupta.
Song- Lehron se khele chanda (Aahuti)(1950) Singers- Geeta Roy, Shankar Dasgupta, Lyricist- Tandon, MD- D.C.Dutt
Both
Lyrics
lehron se khele chanda
chanda se khelen taare
lehron se khele chanda
chanda se khelen taare
o o
main tere dil se kheloon
tu mere dil se pyaare
lehron se khele chanda
chanda se khelen taare
o o
main tere dil se kheloon
tu mere dil se pyaare
haaye na jaanoon piya
nainon ki preet kya hai
jaanoon to ye na jaanoon
kehne ki reet kya hai
haaye na jaanoon piya
nainon ki preet kya hai
jaanoon to ye na jaanoon
kehne ki reet kya hai
nainon se nain mila ja nadiya kinaare
haan nadiya kinaare
main tere dil se kheloon
tu mere dil se pyaare
lehron se khele chanda
chanda se khelen taare
o o
main tere dil se kheloon
tu mere dil se pyaare
chhip sakte hain tori ankhiyon mein sapne gori
chhip sakte hain tori ankhiyon mein sapne gori
kaise chhipega lekin
milna ye chori chori
kaise chhipega lekin
milna ye chori chori
sapnon ki nagri aaja nadiya kinaare
haan nadiya kinaare
main tere dil se kheloon
tu mere dil se pyaare
lehron se khele chanda
chanda se khelen taare
o o
main tere dil se kheloon
tu mere dil se pyaare
Nanhi munni chaand ka tukdaa
Posted on: August 6, 2023
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 : |
5497 | Post No. : | 17938 |
“Hamaari Beti”(1950) was produced and directed by Shobhana Samarth for Shobhana Pictures, Bombay. This movie was produced by Shobana Samarth to launch her daughter Nutan in the movie world. The movie had Nutan, Shekhar, Baby Tanuja, Motilal, Shobhana Samarth, Veera, David, K.N.Singh, Randhir, Agha, Pramila, Cuckkoo, Amir bai, Nandani, Master Ratan etc in it.
“Hamaari Beti”(1950) had ten songs in it. Seven songs have been covered in the past.
Here is the eighth song from the movie to appear in the blog. This song is sung by Rajkumari. Lyricist of the song is not known. Music is composed by Snehal Bhatkar.
Lyrics of the song indicate that a mother is singing this song adoringly for her young daughter. Only audio of the song is available. My guess is that this song is lip synced by Shobhana Samarth for Baby Tanuja (younger daughter of Shobhana Samarth, then 7 years old) playing the role of child version of Nutan in the movie. I request our knowledgeable readers to throw light on the picturisation of the song.
Lyrics of the song were sent to me by Prakashchandra.
Audio link:
Song-Nanhi munni chaand ka tukda (Hamaari Beti)(1950) Singer-Rajkumari, MD-Snehal Bhatkar
Lyrics(Provided by Prakashchandra)
nanhi munhi
nanhi munhi chaand ka tukdaa
beti ek hamaaree
beti ek hamaaree
ek din bolee
ghodaa laa do
us par karoon sawaaree
maa ne mukhdaa chhoom liyaa aa
ho o ho o o
maa ne mukhdaa chhoom liyaa
aur pyaar se poochhaa betee
kaun des hai jaanaa tujhko
hamein chhod ke pyaaree
beti ek hamaaree
ab beti ka nakhraa dekho
haath jhatak kar bolee
is motor kee sair to kar lee
ab ghode ki baaree
betee ek hamaaree
beti kaa dil khush karne ko
maa ne bhi khush ho kar
arabee ghodaa
arabee ghodaa ek khareedaa
dekar keemat bhaaree
haath mein chaabuk lekar beti
ghode par jaa baithee
chaal pawan kee chalaa jo ghodaa
naachee dharti saaree
ho o ho
naachee dhartee saaree
chaand ne dekhaa chaand ka tukdaa
chaand se milne ae aayaa aaa aaa
taaron ke sang kiyaa aaa swaagat
bolaa pyaaree aa jaa aa
haath badhaa kar bolee betee
thhak gayee rey main..aen chandaa
god mein lekar bolaa chandaa
so jaa aaaa
so jaa raajkumaaree..ee ee so jaa
so jaa aa raajkumaaree..ee..eee
so jaa
hmm…hmmm..hmmm…hmmm…hmm
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 : |
5452 | Post No. : | 17864 |
Today’s song is from a religious film Ishwar Bhakti-1951. The other name for this film was ” Shani Mahatmya”.
There are certain words/phrases in our religion which terrorise the common innocent people, who have total faith but not much knowledge about their religion. But then, there are such people in almost every religion. On an average only about 10-15 % people in any religion will be found who have read their religious books completely. Most people tend to depend on the Pujaris, Mullas, Priests and other religious heads to spoon-feed them about their religion. Now don’t ask me how many of these religious heads have read their religious books !
This tendency creates fear about words like Narak (Hell), Daivee Prakop (Divine displeasure), Ashubh Grah (inauspicious Planets) etc. Particularly the ill effects of planets like Mangal (Mars), Rahu (Dragon’s head), Ketu (Dragon’s body) and Shani (Saturn) are most dreaded. Almost in every traditionally fixed marriage (or even self arranged or Love marriage) the Horoscopes are matched to check Mangal (Mars) position and to see how many GUN s (गुण ) match, even in these days.
I should know, because I have studied and practised Astrology for the last 60 years. (I have been awarded the title of ” Jyotish Praveen” (ज्योतिष प्रवीण ) by the most prestigious Astrological institute of Poona, in 1975.) This astrological germ runs into our family. I am flooded with Kundalis (Horoscopes) during the marriage seasons every year, for match making. Two of my own grandsons’ marriages are Love marriages into Gujarati families. Even then, both sides wanted me to match their Horoscopes, which I flatly refused and advised them to abstain from this, as either one bows to Love or one bows to tradition. Mixing these two can prove disastrous or totally absurd !
Out of all these Navagrahas (9 Planets), Shani is one planet which is dreaded the most. Have you ever seen the image or the photo of Shani Dev ? It is black in colour and quite fearsome looking. The “Sade Saati” (the period of seven and half years) in the Horoscope is attributed to cause a lot of misery, discomfort, mishaps and obstacles in one’s life. It is actually not so in all cases. It all depends on the individual Horoscope set up. But let’s not go into it or I may degress into a show of my astrological (so called) knowledge !
I have written all this not to scare anyone but to inform you that today’s film Ishwar Bhakti aka Shani Mahatmya-1951 is all about the displeasure of Shani Dev and how the victim suffers due to this. At the end of it, Shani Dev also sets all the matters right and blesses the victim, more than he asks for.
Shani mahatmya or the importance of Shani Dev, is a religious narration about King Vikram of Ujjayani, who suffers from the displeasures of Shani Dev and how it ends happily. This “Pothi” (Holy story) is read by many people on every Saturday, together with one time fasting to appease the deity. I am not giving the whole story of the film, lest it will be a repeat of “Shani Mahatmya” narration. I have given the gist of the story above.
Produced by R.B.Haldia under the banner of Shri Shyam Chitra, the film was directed by Gunjal aka Dada Gunjal aka V.M.Gunjal – a real dada for religious films indeed. Out of the 37 films that he directed, almost 20 were religious films. Director Vishnupant Mathaji Gunjal or simply Dada Gunjal, was born in Kolhapur in 1904. He was not interested in education, so after passing his Matriculation, he joined the film industry. Initially he worked in various capacities, but concentrated on Directing the films. He established his own Gunjal Production company at Bombay and directed his first silent film Collegian in 1929. Soon, realising that producing films was not his cake, he shifted to Directing films for Vishwesh film company, Bombay. Making silent films like Bharati, The Bandit, Vijeta, Bewafa qatil, khabardar, Bhedi khanjar etc.
When Talkie films started, he directed Bhakta ke Bhagwan and Ambarish in 1934. Dada Gunjal directed in all 37 films. Some of his films were, Bhakta dhruv, Panihari,Aparadhi, Ekadashi, Mata, Mamta, Tulsi, Bhakta ke Bhagwan, Noorjehan, Baraat, Kirti, Pati patni, Alakh Niranjan, Mother India -1938 etc.
Dada Gunjal died in 1968.
The cast of the film included Nirupa Roy, Trilok Kapoor, Rajani, Chaman Puri and many others. The 11 songs of the film were written by Pt. Narendra Sharma and the music was by a pair of MDs – Sonik – Giridhar. I do not know who Girdhar was, but about Sonik some information is available. Yes, he was the same person in the well known pair of Sonik-Omi, who operated during the period of 1966 to 1999.
Master Sonik aka Manohar lal Sonik was born on 26-11-1926 in Sialkot, Punjab. By his third year, he lost his vision completely. Undaunted, he learnt music-first from the Music school of Lahore and then from Lucknow. For sometime, he was assistant to pt. Amarnath Batish.
After Partition he joined Delhi A.I.R. Later, he sang 8 songs in 7 Hindi films,namely Chaar Din-49, Stage-51,Kashmir-51, Khaibar-54, Mast Qalandar-55, Inquilab-56 and then after 20 years he sang in film Umar qaid-75 also. He gave music to film Ishwar Bhakti-51 along with Giridhar and then film Mamta-52, with Hansraj Behl.
Meanwhile, his nephew Omprakash Sonik, who was a singer in Delhi A.I.R., came to Bombay and they both worked as assistants to Madan Mohan for a few years. Then Omi proposed working as a team of composers, calling themselves ” SONIK-OMI “. They got their first film ” Dil ne phir yaad kiya”-66. The songs became popular. They continued to give music till Anadi Dada-93, when Master Sonik died on 9-7-1993. As a team, music was given to another 5 films by Omi alone till the film- Yeh hai basti Badmashon ki-1999. As a team, they gave music to 104 films composing 536 songs. During their tenure as Composers, Omi gave a comment that most of Madan Mohan’s popular songs were composed by him, to which they were challenged by the son of Madan Mohan asking for proof and then Omi withdrew his statement.
Today’s song is the 4th song from the movie to feature here. It is sung by Shamshad Begum. Though the film was religious, the song is not religious.
Shamshad Begum’s voice was not a preferred voice for Bhajans. In her early phase of singing career in Lahore, she had recorded 100 songs in 1932 for Genophone. It had included a Bhajan “Jai Jagdish hare” also, but the singer’s name was given as Uma Devi instead of her Muslim name Shamshad Begum – for obvious reasons. She had also sung some Sikh songs in the name of “Kaur” (ref; ‘Door koi gaaye’ by S.S.Pore).
Song- Mohe chaand nazar na aaye badariya kaalee re (Ishwar Bhakti)(1951) Singer- Shamshad begum, Lyricist- Pt Narendra Sharma, MD- Sonik – Giridhar
Lyrics
mohe chaand nazar na aaye
ho mohe chaand nazar na aaye
badariya kaali re
haaye badariya kaali re
saawan ki rain sataaye
umariya baali re
haaye umariya baali re
mohe chaand nazar naa aaye
ho mohe chaand nazar na aaye
badariya kaali re
haaye badariya kaali re
saawan ki rain sataaye
umariya baali re
haaye umariya baali re
ho o o
dil dhadak dhadak ke
haaye rukta jaaye
ho o o
kya karta hai ye
kuchh samajh na aaye
dar lage na koi rog
ise lag jaaye
dar lage na koi rog
ise lag jaaye
saawan ki rain sataaye
umariya baali re
haaye umariya baali re
mohe chaand nazar naa aaye
ho mohe chaand nazar na aaye
badariya kaali re
haaye badariya kaali re
saawan ki rain sataaye
umariya baali re
haaye umariya baali re
ho o o
hai in nainan mein
jo sapne adhoore
ho o o
aa kar le saajan
wo aaj hi poore
mere baanke balam albele
yahi man chaahe
mere baanke balam albele
yahi man chaahe
saawan ki rain sataaye
umariya baali re
haaye umariya baali re
mohe chaand nazar naa aaye
ho mohe chaand nazar na aaye
badariya kaali re
haaye badariya kaali re
saawan ki rain sataaye
umariya baali re
haaye umariya baali re
Tum poonam ke chaand ho
Posted on: June 13, 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.
|
Blog Day : |
5443 | Post No. : | 17838 |
Today’s song is from an extremely obscure film Bombay-1949.
This film is so obscure that the names associated with this film, from the production House – National Artists, Bombay – to names from other heads like the Director. Music Directors (4 MDs), the Lyricists to its cast members (except Shashikala, Mirza Musharraf and Bhudo Advani) all are almost never heard of and are least known !
The film was directed by C.R.Bajaj, who directed only this one film. The 4 Music Directors were Mushtaq Hussain, Chetumal, N.Bhattacharya and Raja Miyan. Heard any name so far ? The Lyricists were Kamalnayan and C.R.Bajaj. Both wrote lyrics only for this film. Coming to the cast of the film, it shows names of Shashikala, Ram Singh, Uday kumar, Suraiya Chaudhary, Mirza musharraf, Gaurang,Uday kumar, Rekha, Pittoo, Bhudo Advani etc.etc.
The only familiar name was its Title – Bombay. A cursory look at the book of Film Title Index shows that there were 28 films which had ‘Bombay’ in their titles (and to be fair, 24 films had ‘Mumbai’ in their titles). As a curiosity, I checked the other 3 metro names, but they fared very badly in this race. There were only two films having ‘Calcutta’ in their titles and only one had Kolkata in its title. Only one film had ‘Madras’ in its title but Chennai has 2 films. India’s capital Delhi fared better with 15 titles and New Delhi in 3 film titles. It would be a Free time exercise to find out about other Towns and Cities. I have done the spade work, so somebody else has to volunteer ! Among the Playback singers, except one name – Sulochana Kadam, other names are unknown to me. They are Nakul malik, Ram Sehgal and hariram. Sulochana kada has 7 solos and 1 duet in this film.
The lead pair in this film was Shashikala and Ramsingh. At the time of this film, Shashikala was all of 16 years, while Ramsingh was almost double her age with 29 years ! This, ofcourse, is no wonder. Ashok kumar, Dharmendra, Shammi kapoor and others have done this several times. The actor Ram Singh’s name is not very famous or well known, but in his times, he did Hero’s and Villain’s roles in many films. His entry into films and life story is very interesting.
During the 1942 ‘Quit India’ movement, there was a riot in Allahabad. Police opened fire and along with several other people, the Secretary of All University Students Union also was killed. Fearing a backlash from college students, the Government closed down all colleges and vacated Hostels. Two persons became homeless. One was Ramchandra Dwivedi – who later on became well known as Kavi Pradeep- and the other was Ramsingh- who became an actor.
After the riots, instead of informing his family about his welfare, Ramsing left for Bombay and then to Poona, to become an actor. He was tall,fair and handsome. V.Shantaram hired him as an assistant in the studio. His family thought that he must have been killed in the riots and grieved, when he never returned.
One day one of the villagers came to their house and told excitedly that he had seen a Hindi film and in that film, an actor looked exactly like Ramsingh. The family went to the town and saw the film.Lo and behold ! There he was. Looking just like Ramsingh. Anxiously a group of elders reached Prabhat Studio in Poona and enquired. The officials brought out their own son- Ramsingh before them !! Everyone was happy. It seems he did not contact his household just to avoid the Police investigations, as he too was an active participant in the agitation.
Ramsingh was born into a rich Zamindar family of village Ishanpur in Pratapgarh (U.P.), in 1920. After graduating, while doing his M.A. he joined films. His first film was Ramshastri-44, then came Chand-44, Lakhrani-45 and Hum ek hain-46….all Prabhat films. While in Prabhat, he became friendly with Dev Anand and Guru Dutt. In his later years, they gave him roles in almost every film..
In his other films, Ramsingh worked with Heroine Ranjit Kumari ( real name Ranjit Kaur), to whom he got married later on. He was already married while in school and also had 3 children from his first wife. From the second marriage he had 4 children.
Ramsingh played Hero, Villain and character roles in 69 films. Some of his notable films were, besides 4 Prabhat films, Gaon-47, Shaheed-48, Khidki-49, Aparadhi-50 ( He was the Hero, opposite Madhubala), Sargam-50, Sangram-50, Shrimati ji-52, Jaal-52, Baaz-53 etc etc. In his later career, he only got insignificant roles in B and C grade films and Mythologicals. His last film was Sati Sulochana-69. ( 2 more films Veer Chhatrasal-71 and Mere Bhaiya-72 were released after he left films).
Ramsingh returned to his native place with Ranjit kumari and children in 1970 and started doing Agriculture. The U.P. Chief Minister H.N.Bahuguna was his classmate and a very good friend. Ramsingh approached him. Bahuguna, to help him, immediately established ” U.P. Film Corporation ” and made Ramsingh its Chairman. However, due to political turmoil in the country, Bahuguna left congress and joined Congress For Democracy, against Indira Gandhi. As a result the film corporation was wound up and Ramsingh returned to the fields again.Ramsing started drinking, against medical advice. He died in 1984, in his village.(adapted with Thanks, from Javed Hameed’s book ” Kuchh kalakar, kuchh yaden “).
In this film Ramsing-Shashikala was one pair and another pair was Uday Kumar-Suraiya Chowdhary. I don’t know who this Uday Kumar was. Never heard about him. Suraiya Chaudhari was one of the 4 Suraiyas who operated same time and caused Same Name Confusion.The four were – Suraiya jamal Shaikh, the famous actress and singer who was involved with Dev Anand, Suraiya Zulfi (real name Jamila Begum) and Suraiya Chaudhari, both actresses and lastly Suraiya multanikar- a classical singer.
Suraiya Choudhary was a supporting actress active in Hindi films from late 40s to early 50s and was active at the same time when singing-star Suraiya was playing the lead in films. Both Suraiyas were cast together in Jeet (1949). Other films to her credit include Sangeeta (1950), Sabz Baaz (1951), Azad Hindustani (1948) etc.
Suraiya choudhary also appeared with Suraiya-(Jamal Sheikh) in Wadia films Balam 1949,directed by Homi Wadia.Suraiya Choudhary worked with Geeta Bali in Dil Ki Duniya in 1949,directed by Mazhar khan.Suraiya Choudhary played as heroine in film Bombay-1949,opposite Udday kumar. Shakila also worked in this film.Suraiya Choudhary worked with Nargis in Chhoti Bhabhi,1950,directed by Shanti kumar.
As far as the 4 MDs are concerned, I could get some information on Mushtaq Hussain only. Mushtaq Hussain was from Bareilly, U.P. and was an acclaimed Ustad in classical music before entering films.Many times his name gets mixed up with another same name singer – Mushtaq Hussain khan of Rampur- Sahaswan Gharana, who was an exclusive Vocalist.
His first film was Aurat ka Pyar-1933 and till Bombay-1949,he gave music to only 18 films.This was because he was very keen on rehearsals of songs before filming them.NAUSHAD who joined him first as a Pianist and became his desciple and then his assistant. Naushad was his assistant in Baghban and Industrial India-both 1938,picked up this habit of rehearsals of songs from M.Hussain.When Naushad became independent, ALL singers had to do the rehearsals at Naushad’s ground floor music room in his Bandra Bungalow.This habit had cost him some films like Azaad also,but he was not bothered.
M.Hussain was specialised in Gazals and thumaries.He used singers like Mukhtar Begum,Ashraf Khan(who later became a Sufi saint and in whose ‘URS’,prominent film personalities like Dilip kumar and Mahesh Bhatt also participate every year even today),fakr e alam Kawwal, Afzal Lahori, Ameerbai,Zahoor Raja,Shahu Modak (Film Aadmi fame),Shantareen and Ram Sahgal.Most these names are unknown today. He died in 1982 in Bombay.
I do not know about this film’s story, so all that I could do was to give information about the unknown artistes of this film. Today’s song is sung by Sulochana Kadam and chorus.
Song- Tum poonam ke chaand ho (Bombay)(1949) Singer- Sulochana Kadam, Lyrics-C R Bajaj, MD- Mushtaq Hussain and Chetumal
chorus
Lyrics
Tum poonam ke chaand ho
hai cham chamaacham chaandni
ham pe bhi barsaa de raaja
ham pe bhi barsaa de raaja
cham chamaachham chaandni
ham pe bhi barsaa de raaja
cham chamaachham chaandni
ho chaandni
ho chaandni
Tum poonam ke chaand ho
hai cham chamaacham chaandni
ham pe bhi barsaa de raaja
cham chamaachham chaandni
ho chaandni
ho chaandni
?? daulat mein(???) aaj bhar ke
hain din khushi ke aaye
daulat mein(???) aaj bhar ke
hain din khushi ke aaye
raunak bahaar byaah ki
na baar baar aaye
kismat se tujh ko mili hai
chaand jaisi chaandni
kismat se tujh ko mili hai
chaand jaisi chaandni
ho chaandni
ho chaandni
Tum poonam ke chaand ho
hai cham chamaacham chaandni
ham pe bhi barsaa de raaja
cham chamaacham chaandni
ho chaandni
ho chaandni
naachtee gaate jawaani
muskuraatee budhiya(?)
o o
o o
o o
o o o
o o o
naachtee gaate jawaani
muskuraatee budhiya(?)
chaandni chamke pahan kar
aasmaani choodiyaan
taaron mein ek chaand
?? khili hai chaandni
taaron mein ek chaand
?? khili hai chaandni
ho chaandni
ho chaandni
jhoomti nargis chameli
matwaali si daaliyaan
o o
o o o
o o o
o o o
o o o
jhoomti nargis chameli
matwaali si daaliyaan
phool sa tu mast hai
patte bajaayen taaliyaan
hans kar sab lahra rahin hain
chaandni hi chaandni
hans kar sab lahra rahin hain
chaandni hi chaandni
ho chaandni
ho chaandni
Tum poonam ke chaand ho
hai cham chamaacham chaandni
ham pe bhi barsaa de raaja
chham chamaachham chaandni
ho chaandni
ho chaandni
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 : |
5382 | Post No. : | 17656 |
Today’s song is from an early film of Geeta Roy, from a stunt film- Jeene Do-1948.
If the 50’s decade was that of Religious films, the 40’s decade was dominated by Action, Stunt and Costume films. As many as 28 such films were made in 1948 alone, which gives an average of more than 2 films every month, which is quite high. The reasons were many for such films being made in abundance. The audience for stunt/action films generally belonged to the lower middle class, poor, daily wage earners and labourers. They looked for fights,stunts, dances and cheap humour in these films.
The ‘C’ grade films (as they were called) were usually screened in the older parts of the town. The theatres would be old and without any amenities. The audience did not mind it because the ticket rates were also lower. Entire film would be completed within a budget of about 15 to 20 thousand rupees in the silent era, 25 to 50000 rupees in the 30’s decade and 50 to 75000 rupees in the 40’s decade. It was only after 1945, when the II world war ended and many people having Black money to invest, that the ‘C’grade films too became costlier to make-i.e. 1 to 1.25 lakh rupees in the early 50’s decade !
Did you ever see films like, Khooni Khanzar, Dagabaj Doctor, Shaitaan ka paash, Char chakram, Daku Rani Talwarwali, Jaadu ka dandaa, Zinda Laash, Revolver Rani, Sindbad-Alladin-Alibaba, Flying man, Fighter Sheela, Khooni Darinda, Tarzan aur Jadugar, Tarzan aur Jadui Chiraag, Golden Gang, Murde ki jaan khatre mein, or Jadui putli ?
Obviously, these are the titles of all Stunt/Action films in Grade C. Considering the captive audience of such films, more spicy, odd and sensational titles were coined for these films to arouse curiosity. In the era of silent films, C grade stunt films were extremely popular. In fact a major part of the silent films was such films. Maybe that is the reason, why going to see a cinema was not considered good for impressionable girls and children of middle class and upper class, in those days.
In addition to all this, actors with odd and weird names were to be always found in stunt film casts. Have you ever heard actors with names like Bajar Battu, Phool kumari, Maruti pehelwan, Batata, Mitthoo Miyaan, Fatty Prasad, Boken Chattu, Minu the Mystic, Manchi Tuthi, Gareeb Raja, Kurbaan Jaoon, Pandit Dukhi, Vilayatu, Loveji Lavangiya, Adam Sandow, Sandow Safar, Dunlop, Chic Chak and a very strange name CHEMIST ! This name is found in 5-6 films.
Besides the human actors , some trained animals as well as a car and a motorcycle were also fixtures in stunt films. What’s more, these non-living and non -human participants too were named. So, you had Punjab ka Beta (Horse), Gunboat (Dog), and Austin ki Beti (car) in films made by Wadia Movietone. For Basant Pictures, it was Rajpoot (Horse), Moti (Dog) and Austin ki Bachhi (Car), even the Motorcycle had a name-Runniyo !
Besides specific audiences of workers,daily wagers and such other lower social strata, the stunt films had their own fixed Producers, Directors and even the actors. Most times, a set of action film actors was regular and specific to the production houses. For example, Fearless Nadia, John Cavas, Sayani Atish, Boman Shroff, the Billimorea brothers, Basheer etc were fixtures in stunt films of Wadia Movietone. Master Bhagwan, Chandrarao, Harischandra rao, Azeembhai, Vasantrao and Baburao pehelwan, Leela Gupte, Prakash, Habeeb etc were with stunt films made by Bhagwan and Harischandra rao.
Film Jeene Do-1948 was made by jai Hind Chitra, Bombay. The film was produced by actress Menaka Devi from Calcutta. It was directed by 2 people. K.A.Majeed started with the film first but suddenly left it to migrate to Pakistan. Then it was taken over by Adi F. Keeka (assistant with Wadia Movietone), who had earlier directed the film Shama in 1946.
We do not know about the storyline of this film, like other stunt films. These ‘C’ grade stunt/action films were neglected. They did not get even an ordinary review in any newspaper or a film magazine. We only know about its starcast, thanks to HFGK. The cast of this film was Menaka Devi, Harish, Leela Gupte, Pannalal etc.etc. The 9 songs of the film were written by Shevan Rizvi and Music Director was Shaukat Hussain Dehalvi, who later became famous as Nashaad, in the 1950s.
After Partition, there was a rush to migrate to Pakistan and artists continued to shift there from 47 to almost 1950. Some artistes like Noorjehan left immediately. There were few cases where some people borrowed money from friends and then left the country quietly, leaving the money lender high and dry. By about 49-50, almost everything was settled on both sides. The conditions in Lahore and Karachi had stabilised considerably for film making and lots of opportunities existed for film artistes there by mid 50s. That led to a second wave of migration to Pakistan at that time. Those who had continued in India completed their assignments here and went to Pakistan.
This type of Migration continued till almost mid 60s, when actor Kumar, MD Naashaad, producer actor Shaikh Mukhtar etc migrated to Pakistan. For the lucky ones, the talented ones and those who had preexisting ties in Pakistan sustained, prospered and were happy, but a few artistes suffered heavily. Once a popular Heroine, Meena Shorey, one of the most handsome actors of his times-Najmul Hasan and the hopeful Shaikh Mukhtar spent their last days in utter neglect, penury, disillusionment and sorrow. Actors like Noor Mohammed Charlie regretted their decision to migrate, but it was too late. One of the later migrants was NASHAD, music director,who shifted in 1963 or so.
NASHAD was born as Shaukat Haidari,in Delhi,on 11-7-1923.
He was one composer who used several names to give music. His first film was Dildar in 1947. He used the name Shaukat Dehlavi for Dildar-47, Paayal-48, Suhagi-48, Dada-49, Ghazab-51 and Ram Bharose-51. He was Shaukat Hussain Dehlavi for Jeene do-48, Shaukat Ali for Toote Tarey-48 and Shaukat Haidari for Aiye-49.
He was considered a mediocre composer in India. Then one day he was called by producer Nakshab Jarchvi,who offered him a film,with a condition that he changed his name to Nashad. He accepted the offer and used the name Nashad throughout his life. After him his 15 children too used Nashad as their surname.
Nakshab Jarachavi wanted to make a film. Those days Naushad was the Top composer. Films were sold in his name. Naushad worked only for Top banners. Nakshab approached him and offered his film. Naushad scornfully said,” Hum kisi aire gaire ki film ko music nahi detey”. This infuriated Nakshab no end and he challenged Naushad that he will make another Naushad in the industry. He called the comparatively less known but talented Shaukat Haidari,changed his name to NASHAD (to resemble Naushad’s name) and gave him the film.
Nashad, on his part, tried very hard and gave the music to film Naghma. It was,though not like Nashad’s standard, but excellent songs were there and the film became a hit due to its music. Unfortunately, Nashad could not repeat his success again ever in India. As Nashad he gave music to 21 films (total 30 films),like Bara Dari, Bada Bhai, Naghma, Char chaand, Kaatil Jawab, Sabse bada Rupiah, Rooplekha, Darwaza etc
Nashad gave their first hindi movie singing breaks to Mubarak begum, Suman Kalyanpur and Sabita Banerjee.
His friend Nakshab Jarachavi had migrated to Pakistan after 1947 and was making films there. He called Nashad to Pakistan as a composer for his film Maikhana-64 (after his film Fanoos also crashed at the Box office in Pakistan). Nashad accepted his offer. Before leaving , Nashad married singer Premlata and both went to Pakistan. His first film became a major hit and Nashad was on top. He gave music to 64 films in Pakistan.
Nashad died in Lahore on 3-1-1981.
While in India, Nashad was always accused of plagiarism, to which he answered through an interview to Filmfare, dated 5th August 1955, ( Thanks to Cineplot) thus….
” Although no one says it to my face, I know that there is a section in the film industry who decry my music as “a rehash of familiar tunes.”
This amounts to a charge of plagiarism. I have no defense, no apology, to offer, except to say that, if I am a plagiarist, I am one unconsciously. With only seven main notes, six ragas, thirty-six raginis and seventy-two sub-raginis, every “new” musical composition is bound to sound familiar in places. Try to hum any popular film composition of today and then cast back your mind. Make a careful search for a parallel and you will easily find one in some celebrated songs of yesterday.I believe in popular music, music which people will like, humming and singing it in their homes—in moments of joy or sorrow. I try my-best to keep my compositions free from complicated “alaps,” “tans” and those notational cascades which the man-in-the-street (who has no musical training) cannot easily remember and hum. Film music, to be good and popular, must always be the result of team-work. The ego of the music-director as well as that of the lyric-writer needs to be suppressed completely, even to the extent of accepting suggestions from everyone in the unit.
In the music of one of my forthcoming films, the appeal of the songs owes much to suggestions made by the producer and members of his staff. One of the tunes owes its origin to an air I heard the office-boy humming! The producer was no professional musician, but I discarded two of my best tunes to fit in a completely different third one based on his suggestions.
I am glad that I do not live in an ivory tower and am not deaf to the music of ordinary people, I say to myself : “If this is the kind of music they love, it is absurd to give them a high-brow composition. Both in rhythm and structure, I stick rigorously to what is popular, even at the sacrifice of my own preferences. Such film music can be planned scientifically and with precision. My first job usually is to sit with the director and determine the musical “situations”. Once these are agreed upon, I start composing the melodies, in harmony with the “mood” of those situations. Then the lyricist writes the words of the approved tune. After the song has been recorded, our work is finished and it now depends on the director to make or mar it in its picturisation . This, indeed, is a hurdle all film music must take.
Everyone has listened to film songs which sound good on the radio, yet have been “murdered” by poor picturisation. Everyone, too, has heard songs which on the air have sounded mediocre and of no particular merit, yet have been things of beauty in the film—thanks to clever directorial work. A really good song, given to a good director to picturise, seldom fails to go over in a big way with the public.
It is thus necessary for a music director to be careful in signing his contracts. It is important to him to make sure that the film for which he is employed to provide music will be directed by a competent man, so that not only are his songs not “murdered” in transcription to the screen but any possible shortcomings in them are glossed over by good picturisation. Consequently I have always studied the directors of the films for which I am to provide music. One knows that one’s songs are safe with them and gain in appeal from attractive picturisation. To these men, too, my tunes often sound “vaguely familiar”! But, then, what tune doesn’t ?
With only seven notes, six ragas, thirty-six raginis—but we’ve just gone over that! ”
Today’s song is sung by Geeta Roy. Her voice sounds fresh because she was still a newcomer in the industry, having started only in 1946. Surprisingly, in her first year itself she sang in 11 films, in the second year-1947- she sang in 17 films and in the third year-1948- she sang in as many as 37 films. The magic of her voice was recognised by the Industry !
Song- Hum unko dekhanewaale ae chaand tujhe kya dekhen (Jeene Do)(1948) Singer- Geeta Roy, Lyricist- Shevan Rizvi, MD- Shaukat Hussai (Naashaad)
Lyrics
Hum unko
Hum unko dekhanewaale ae
ae chaand
ae chaand tujhe kya dekhen
Hum unko dekhanewaale ae
ae chaand tujhe kya dekhen
tera jalwa phaile ghar ghar
tera jalwa phaile ghar ghar
ghar unka dil ke andar
andaaz hain unke niraale
ae chaand
ae chaand tujhe kya dekhen
Hum unko dekhanewaale ae
ae chaand tujhe kya dekhen
wo nain
wo nain bade matwaale
nazron se pilaane waale
nazron se pilaane waale
ham pee ke bahakne waale ae
ae chaand
ae chaand tujhe kya dekhen
Hum unko dekhanewaale ae
ae chaand tujhe kya dekhen
o o o o o
ghatatee badhtee teri hai mastee
ghatatee badhtee teri hai mastee
aakaash pe hai teree bastee
aakaash pe hai teree bastee
wo aankhon mein basne waale ae
ae chaand
ae chaand tujhe kya dekhen
Hum unko dekhanewaale ae
ae chaand tujhe kya dekhen
do nain milaa ke nainon se ae ae
do nain milaa ke nainon se ae ae
kya chhootegaa daaman haathhon se ae ae
kya chhootegaa daaman haathhon se
jab dil hai unke hawaale ae
ae chaand
ae chaand tujhe kya dekhen
Hum unko dekhanewaale ae
ae chaand tujhe kya dekhen
Soyaa gagan mein chaand so jaa
Posted on: March 11, 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.
|
Blog Day : |
5349 | Post No. : | 17540 |
Today’s song is from a film of the Golden Era-Sandesh-1952.
This film was made by Sandesh pictures and its producer’s name was also Sandesh Adhikari. Luckily, the director was not any Sandesh. It was Bal Gajbar, a director not known in Hindi cinema, but he was a celebrated director in Marathi films. he did only 3 films in Hindi as a director namely, Mere Laal-1948, Sandesh-1952 and Gokul ka Raja-1954….his last film in Hindi.It’s Marathi original was Gokulcha Raja ( गोकुळचा राजा ) made in 1950, which was also directed by Bal Gajbar only.
There were 8 songs in the film, written by Manohar khanna (father of Music Director Usha khanna), Nihal Chand Jain-strangely called Nihal Uzanavi. The third lyricist was Kumud Tripathi, the well known comedian. He was one of those who came to the film industry to become a Lyricist but ended up being a reasonably successful comedian and a character artiste. He started as a Lyricist for the film Rimjhim-1949 and then wrote songs for Bijli-1950. He wrote 2 songs for the film Nai Zindagi-1951. During this film he attended one song filming. The director Mohan Sinha offered him a small comedy role in that film. This became his Debut if films as an actor. Though he wrote songs for film Sandesh-52, his career as a comedian had kickstarted. He last wrote songs for the film Jeevan Sathi-1957. Offhand I remember another 2 comedians who started as Lyricists but ended as Comedians namely, Mirza Musharraf and Kanhaiyalal Chaturvedi. Actors like Sajjan and Mahipal also started as Lyricists before becoming heros.
During his struggling days in the early 50s, Kumud Tripathi was staying in Bandra’s slums along with Sunil Dutt and Rajendra kumar. He acted in 73 films. His first film as an actor was Nai Zindagi-1951 and his last film was Hum se badhkar kaun-98. His one role I remember is from the film Apradhi Kaun-57, in which he had sung two songs also on the screen. After retirement from the films, he joined TV and did a memorable role as Guptaji ( owner of a Gen. Store) in a famous serial of the 1986 period- Nukkad.
The cast of the film was Durga Khote, Umesh Sharma, Kumud lele, Nana palashikar, Lalita Pawar etc.etc. The story of the film Sandesh-1952 was….SANDESH-1952 was a story of a doctor with distorted principles. Dinanath’s father Vidyadhar,an honest and straightforward School teacher is falsely implicated in cases of treason and mutiny against the British and is convicted in 1922. This shock takes Vidyadhar’s life.
Dinanath and his mother go to Kashinath, who was a favourite student of Vidyadhar,for help. Kashinath promises Dinanath that he will make him a doctor. During his education,Dinanath falls in love with a rich Barrister’s daughter Sudha,but their marriage can not take place as Dinanath is very poor. She gets married to his classmate.
Dinanath goes to England and when he comes back as a Doctor,he becomes only money minded,as he realises the value of money in this world. Due to his nature,his mother Saraswati bai leaves him.
One day,his mother meets with an accident and is brought to his Hospital,but she refuses to be treated by him. He realises that relations are more important than money and a Doctor’s profession is a noble one.
He repents and changes himself. Meanwhile,Sudha gets a divorce and they meet again and unite,finally.
The Hero of the film was Umesh Sharma,who acted in Deepak-51 and Apna desh-49 also as a Hero. Later he worked in many other roles,as well as as a writer,director and producer also. He acted in 33 films.He was the writer of the famous film BOMBAY-1995.
The Music Director was S.Purushottam, about whom not much is known. Similarly his assistant for this film was Shyamrao Kamble, who later became a very well known Arranger in Hindi films. He too has not received any publicity like other Arrangers- Anthony Gonsalvez, Sebastian D’souza, Chick Chocolate, Chriss Perry, Frank Fernando etc.
LUCK plays an important role in our film industry. It is this Luck which has built bright careers and it is this Luck that has brought down people’s careers.
It was a matter of Luck that Devika Rani chose the hesitant, shy and simple Ashok Kumar as her hero in films, otherwise he would have, at the most, become a Cinematographer or a senior Lab Technician in the Photography department of Bombay Talkies ! It was a matter of sheer luck that Khan Mastana was the Main singer in Rafiq Ghazanavi’s Laila Majnu, and a shy aspirant Mohd Rafi was a part of Chorus and later in K Asif’s Laila Majnu, Mohd.Rafi was the Main singer and the poor Khan Mastana was in the chorus !
It was luck that the immensely popular master Nissar made the Governor of Bombay to stop and give way to the sea of Nissar’s admirers and fans and it was the same luck that a tattered, poor master Nissar died in Penury and anonymity in the bylanes of Kamathipura when his last rites were done through charities. The unprecedented record breaking popularity of ‘Jai Santoshi Maa’ was nothing short of a miracle and good luck to the hapless producer who was totally broke. Was it not Luck that made Pt. Hanuman Prasad listen to Geeta Dutt, without her knowledge and then brings her to the Films ?
The Hindi film industry is full of stories of luck. Thousands of people work in the industry, in different departments, but only a few get mentioned like say Cinematographer. What about his assistants who contribute equally, if not more to film shooting ?
Music Directors’ names are famous. At times their assistants too get a mention in the credits, but what about the soul of every song-the Arranger ? Many people do not even know that there is someone called an Arranger. An Arranger not only exists, but without him the song orchestration is not possible.
How many Arrangers are known to the public in India ? A composer is Zero without an Arranger. So they try to employ the best of them in their service. Some of the Arrangers become successful Composers themselves, like Sonik-Omi or Laxmikant Pyarelal. Most arrangers fail as composers because they don’t know the commercial aspect of composition, like getting films, knowing and mixing with film personalities in Parties, having friends and God fathers in the right place etc etc.
The other day I was reading a book “Voh Bhooli Dastaan” by Subhash Chandra Jadhav,on Indian Film Music. In this book he has described information about one such successful but totally unknown Arranger SHYAMRAO KAMBLE.
Kamble was born in Karad, near Kolhapur in Maharashtra, on 23-10-1925. His elder brother taught him Tabla and Pakhawaj. Kamble joined a musical drama company where he learnt writing notations. When he came to Bombay he accompanied great singers like Saraswati Rane, Suresh Haldankar, Manik Verma etc. He used to make rounds of film studios and learnt to play Piano, Saxophone, trumpet, mandolin etc.
His career started as an assistant to music director H N Sharma.
Then he worked for Roshan in Bawre nain, wherein he played harmonium in all songs and Roshan was pleased. In Bheegi Raat-65 he played Guitar in the song ‘Dil jo na kah saka’
While doing Anokhi Raat he made use of Flute artistically in ‘oh re taal mile’. During this film Roshan died and he helped his wife to complete the recording of ‘Sapnon ka raja’ by Lata.
Chitralekha’s background music was liked by Hemant kumar very much.
After Roshan, Kamble worked for his son Rajesh Roshan also.
Kamble says,“Though my work was appreciated, my name never appeared in film credits till Jaidev and Sudhir Phadke insisted for it.”
From ‘Mujhe jeene do’-63 Kamble became Jaidev’s assistant. He says,’ Jaidev ji was a composer totally sold to indian classical music.’ For Reshma and Shera Kamble used Sarod effectively.
The producer director of Gharonda,Bheem Sen insisted its music to be like R D Burman. Kamble used the interludes in every song just like RDB and songs of Gharonda became very famous. Jaidev was so happy that he gave a 5 speaker gramophone to him as a Gift.
In the film ‘Tumhaare Liye’ Kamble wanted Hariprasad Chaurasiya to play Flute. He discussed it with Hari ji, but Hari ji did not come for any rehearsals, so Kamble called Sumant Raj and did the rehearsals. As luck would have it,on the day of recording Hariprasad came to play Flute. Kamble did not hesitate in making his decision. He used both the flutists for different pieces in the song.
Kamble also worked with Sudhir Phadke. when a producer wanted to make a remake of marathi film ‘Vahininchya Bangdya”, he took Sudhir Phadke for Bhabhi ki choodiyan as a composer, but put a condition that his Arranger will work with him. That person was a Goanese and Phadke did not like his arrangement with western instruments for this emotional film. He called Kamble and asked him to write notations for all the songs on the tunes decided already. Kamble did all this and left. Phadke gave the notations to the Goanese arranger and asked him to arrange orchestration accordingly. That is why all the songs of this film including ‘Jyoti kalash chamke” became popular.
Shyamrao Kamble did not attempt to become a film composer himself, as he knew his limitations. However,for “Bibal-My Brother”-1975, he shared the music with Prabhakar Jog.
Shamrao himself was a brilliant composer as well. He used to compose Bhajans and once on listening to the Bhajans he composed, music director Pyarelal asked him “Shamraoji if you can compose the tunes so nicely, why don’t you think to be a full-fledged music director for films ?” He just said “I am more interested in the Music Arrangements..” Pyarelal asked him jokingly, “so shall I use your compositions ?” smiling, within a second he said, “Pyareji, my all work is for you… you may use it whenever you wish..!” I am very much sure that if Shamraoji had taken music-direction as a career, he would have definitely achieved the position in the list of most talented and successful composers in the Indian music field,” said Pyarelal Ramprasad Sharma, the ace music director.
“His knowledge and devotion towards music was so deep, that he even used to guide or suggest the top artists like Rais Khan (sitar), Hariprasad Chaurasia (flute), Shivkumar Sharma (santoor) about the playing during the recordings. He also used to express that a particular music piece would be more effective if improvised in a different manner etc. And the greatness of those artists also, who used to sportingly accept Shamraoji’s suggestions and appreciate the same.. This was only because they were fully aware of Shamraoji’s knowledge and capacity. And also this was the reason that we had given total freedom to him in our work also,” said Pyarelal.
In his early career, Shamrao had worked as a notation-writer. He was the one who wrote down the notation for Dinanath Mangeshkar’s natya sangeet (Chandrika hi janu, Vilopale madhu meelanat ya, Yuwati mana etc).
Though he retired and settled in Poona, Laxmikant Pyarelal always called him for work. He has toured several countries with Laxmikant Pyarelal’s orchestra as an Arranger. Shamrao kamble died on 17-10-2008, at Dombivali, due to Brain Haemorrhage, at the age of 83 years.
The tribe of Arrangers always worked behind the curtain, without any limelight on them and without appearing in film credits.
Truly, they are the brains behind good music in films ! (Thanks to Subhashandra Jadhav of ‘Voh bhooli Dastaan’ and Imprints and images, with thanks.)
Let us now enjoy the song by the classical singer Manik Verma. She sang only 17 songs in 13 Hindi films. Today’s song was her last song in Hindi films.
Song- Soya gagan mein chaand sojaa (Sandesh)(1952) Singer- Manik Verma, Lyricist- Kumud Tripathi, MD- S.Purushottam
Lyrics
hm mm mm mm
mmm mm mm
mm mm mm
soya gagan mein chaand
soja
soya gagan mein chaand
soja
pyaar ki loree
gaaye chakori
gaaye chakori
baadal jhulna jhulaaye
so jaa
soya gagan mein chaand
soja
soja aaye sapne suhaane
mit jaaye dukh dard puraane
dard puraane
sapnon mein meet bulaaye
soja
soya gagan mein chaand
soja
hat jaayega dukh ka andhera
aayega jab sukh ka sawera
sukh ka sawera
pichhli kahaani bhulaaye
soja
pichhli kahaani bhulaaye
soja
soya gagan mein chaand
soja
soya gagan mein chaand
soja
hmm mm mm
mm mm
hmm mm mm
hmm mm mm
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
Recent comments