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

Archive for the ‘“chaand” song’ Category


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 :

5193 Post No. : 17172

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Blog 10-Year Challenge (2012-2022) – Song No. 107
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Ten years back on this date viz on 6th October 2012, six songs from six different movies were covered on the blog. Here are the details:-

Blog post number Song Movie (Year) Remarks
6795 Tara ra ra rum mere dil mein sanam Hoor e Arab(1955) 3 songs covered out of 8 by now
6796 Ab mushqil hai phir se milna Saaya(1961) 2 songs covered out of 6 by now
6797 Mil jaa re jaan e jaana Benazir (1964) Movie YIPPEED by now
6798 Kal ke sapne aaj bhi aana Aadmi (1968) Movie YIPPEED by now
6799 Suno suno ik baat kahoon Memsaab(1972) 2 songs covered out of 5 by now
6800 Main hoon pari ban ki pari Nirdosh(1941) 2 songs covered out of 11 by now

We can observe that two movvies (out of six) whose songs were covered on this date ten years ago (6 october 2012) have since been YIPPEED. That leaves us with four movies that are eligible for Blog ten year challenge today (6 october 2022).

“Hoor e Arab”(1955) is one such movie.

“Hoor e Arab”(1955) was produced and directed by P N Arora for all India Pictures, Bombay. The movie had Shashikala, Pradeep Kumar, Chitra, Sajjan, Gope, Helen, Om prakash, Shamim Chaudhari, Amar, Ram Avtaar, Munshi Mnaqqa, Gajinder, Raaju, Patanjali etc in it.

“Hoor e Arab”(1955) had 8 songs in it. Three songs have been covered so far.

Here is the fourth song from “Hoor e Arab”(1955) to appear in the blog. The song is sung by Lata Mangeshkar and female chorus. Shakeel Badayuni is the lyricist. Music is composed by Ghulam Mohammad.

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

Lyrics of the song and other details were sent to me by Prakashchandra.

Audio link:

Song-Chaand ne pehna taaj sitaaron jhoom jhoom kar naacho (Hoor e Arab)(1955) Singer-Lata, Lyrics-Shakeel Badayuni, MD-Ghulam Mohammad
Female chorus

Lyrics(Provided by Prakashchandra)

Chaand ne pehnaa taaj
sitaaron jhoom jhoom kar naacho
bahaaron jhoom jhoom kar gaao
bahaaron jhoom jhoom kar gaao o o
aa aa aaa aaa aaaaa
aa aa aaa aaa aaaaa

ooo ooo ooo
ooo ooo ooo oooo oo
aan mubaarak shaan mubaarak
khushiyon ke saamaan mubaarak
aan mubaarak shaan mubaarak
khushiyon ke saamaan mubaarak
khushiyon ke saamaan mubaarak
kaliyaan jhhoomen gunche mehken
kaliyaan jhhoomey gunche mehken
jaisey sharaabi pee kar behke
duniyaa sajee hai aaj
sitaaron jhoom jhoom kar naacho
bahaaron jhoom jhoom kar gaao
bahaaron jhoom jhoom kar gaao o
aa aa aaa aaa aaaaa
aa aa aaa aaa aaaaa

oo ooo ooo
oooo oooo ooooo
husn akelaa jalwey kitney
ek nazar mein laakhon fitney
husn akelaa jalwey kitney
ek nazar mein laakhon fitney
ek nazar mein laakhon fitney
dil mein waffaayein lab pe duaayein
dil mein waffaayein lab pe duaayein
dekhne waaley jhoomteyjaayein
dil ki khushee hai aaj
sitaaron jhoom jhoom kar naacho
bahaaron jhoom jhoom kar gaao
bahaaron jhoom jhoom kar gaao o
aaa aaa aaa
aaa aaaa aaaa
aa aa aaa aaa aaaaa

chaand ne pehnaa taaj
sitaaron jhoom jhoom kar naacho
bahaaron jhoom jhoom kar gaao
bahaaron jhoom jhoom kar gaao o o
aa aa aaa aaa aaaaa
aa aa aaa aaa

aa aa aaa aaa aaaaa
aa aa aaa aaa aaaaa

aa aa aaa aaa aaaaa
aa aa aaa aaa aaaaa


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 :

5061 Post No. : 16975

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

The film was made by Taj mahal pictures.It’s all 11 songs were written by Munshi Dil Lucknowi and the film was directed by the Lyricist himself. Actually, ” Munshi ” means a Clerk, a writer, a literary assistant or a Language Teacher. How this Munshi directed the movie is a wonder. But then in the Hindi film industry, you find many such odd, unimaginable things. This was not his first directorial venture. He had already tried his hand at film-“Abla ki Shakti’-1940 and after this film, he again directed a film “Do Bhai”-1954. As a Lyricst, he write 126 songs in 16 film which included films like Iqrar-42,Naqgad narayan-43 ( a remake of Marathi film ” पैसा बोलतो आहे”), Sohni Mahiwal-46 and Laila-54. After this he migrated to Pakistan.

In Hindi, films are repeated in different ways like….

1. Same Titles – Commonest type, but not necessary that the film content will be the same. Hundreds of titles are repeated from Twice to more than 5 times. The maximum repetitions’ honour goes to the title ” INSAF “. Films with this title were made as many as 7 times. Funnily, there was at least one “Insaf” movie in each decade for 70 continuous
years ! They were made in 1937, 1946,1956, 1966,1973, 1987 and 1997. What Luck !

2. Same story – Different Titles…like Actor, Damaad and Albela – all made in 1951. Aurat teri yehi kahani-1954 and Aurat Teri kahani-1988. Many others.

3.Remakes….a) Hindi to Hindi – Aurat and Mother India, Abodh and Uphaar, Panghat-Chitchor and Main Prem ki diwani hoon, Hamare Tumhare and Khatta Meetha, Mala and Amar, Grihasthi and Ghar Basake dekho, Malkin and Biradari etc.

b) Other languages to Hindi like Marathi, Bangla, Tamil, Telugu etc. Chandralekha, Bahar, Ladki, Many films from New Theatres, Calcutta.

c) Dubbed films like Jaisimha to Jaisingh. Many films fall in this category nowadays, especially from the south.

There are many such remakes and the lists would be too long. This only proves that a popular theme/story is worth remaking a film. Why does this happen? Are there a shortage of stories ?
In 2004, a book called “Why we tell stories’, written by Christopher Booker was published. It is a book having more than 700 pages-728 pages to be exact. The book says “There are only 7 (Seven) basic plots in the whole world. They are recycled again and again in Novels, movies, Plays and Operas. These are
1.Overcoming the Monster
2.Rags to riches
3.The quest
4.Voyage and return
5.Rebirth or identical persons.
6.Comedy and
7.Tragedy .

After this book was published, there was chaos and criticism started. ‘New York Times’ also jumped in. The author coolly replied to all points and stuck to his statements. If we look at Hindi films, I personally feel that what the author has said is true in our case. Only thing is that our film stories are always a clever mixture of all or some of the above themes.

Today’s movie Mulaqat-47 was also a repeat title film. Films on this title were made in 1947, 1993 and 2002. This was a film with Muslim social background. The cast of the film was Naseem Banu, Prem Adib, Rama Shukla, Mumtaz Ali, Majid, Najma, Shah Nawaz and many others. The story of the film was –

Nasir (Prem Adib) is a school teacher. He and Saeeda fall in love and think of getting married. Saeeda loses her father and orphan Saeeda has to live with her Uncle and Aunt, who ill-treat her. fed up os this treatment she wants to commit suicide under a train, but is saved by a passing by Nawab Saheb (Shah Nawaz). He takes her home and decides to keep her there with them. He has a daughter who is Nasir’s student. Through her, the lovers come together again and decide to get married soon.
Meanwhile Mukarram (Rama Shukla), the vagabond son of the Nawab returns home. promising to mend his ways, he stays there. Now he too wants to marry Saeeda. The Nawab asks her. Under the burden of his help, she can not say ‘No’. The marriage is fixed.
Just one day prior to marriage, the town Police come and arrest Mukarram for a murder, which he had committed and take him away. The nawab is heartbroken. His daughter tells him about Nasi and Saeeda’s love affair. Nawab immediately calls Nasir and arranges his marriage with Saeeda. The End.

Shahnawaz Khan, known only as Shahnawaz, was born on 18-9-1906 in Hyderabad Deccan. His father was a Major in Hyderabad’s Nizam Army. During his school education, he used to act in dramas. After Matriculation, he joined the Govt. Service in Hyderabad state. He was, however, keen on joining films and dramas. After 5 years, he left the job and started a Motor car business. In that connection, he would visit Bombay often and try his luck at different studios. Finally, his efforts bore fruit and he got a Villain’s role in film Bharat ka laal-36, in which he was listed as S.Nawaz. It was a stunt film made by the Kadam brothers (Harischandra rao and Chandra rao Kadam), with Master Bhagwan as the Hero.

After this, he never went back to Hyderabad. Then came his films Daulat-37, Toofani khazana-37, Rangila Mazdoor-38, Jungle king-39, Sardar 40 etc etc. In 1940, he joined Bombay Talkies and worked in films. He was apparently in Devika Rani’s camp. He was seen in Punarmilan-40,Bandhan-40, Jhoola-41, Naya Sansar-41, Kismet – 43 and Hamari Baat-43.He also worked in Masterji-43, Police,Parakh and Anban-44, Zeenat, Bhaijan and Humayun-45 and few more films. In all, he did 35 films in India. In 1948, Shahnawaz migrated to Pakistan. He was welcomed there. He did 41 films in Pakistan (32 Urdu and 9 Punjabi). Some of his films were quite famous, like Aansoo-50, Sassi-54, Ayyaz-60 etc.

Shahnawaz died in Karachi on 18-6-1971. His last released film was Nek Parween-75.

There are two small actors. Here is some information about them, since they migrated to Pakistan after this film.

Majid’s name was Abdul Majid Syed. He was born at Farrukhabad in U.P. in 1915. His father was an Overseer. After matric in 1929, he started his business of Leather in Akola, Maharashtra. in 1935, actor, director and producer Nazeer of Hind pictures, introduced him to S.K.Daryani and he got a small role in Sher ka Panja-36 and Sangdil samaj-36. However, from film Bulldog-37, he got side roles and lead roles in films like Gentleman daku-37, insaaf-37, Rajkumari-38, Masterman-38, Zamana-38, Mud-40, Saubhagya-40, Swami-41, Swaminath-42, he also acted in more films like Najma-43, Babar-44 and Zeenat-45.

In all he did over 100 films till 1947. After Partition, he migrated to Pakistan with Nazeer and Swarnalata. In Pakistan he did just 7 films. He died on 24-9-1959.

Najma was born at Lahore on 1-12-1928. Her father was a businessman. Her real name was Naseem. Since there was already one famous actress Naseem, she changed her name. She first worked in ‘Kunwaara baap’ (1942) and ‘Uljhan’ (1942) Then came ‘Nai Zindagi’ (1943), ‘Dr Kumar’ (1944), ‘Piya Milan’ (1945)’ ‘Naseeb’ (1945) and Mulaqat-1947. Then she got married, left films and migrated to Pakistan.

Today’s song is a duet by Arunkumar Mukherjee and Binapani Mukherjee. The music was by Khemchand Prakash. Enjoy….


Song- Kaale kaale baadal mein gora gora chaand (Mulaaqaat)(1947) Singers- Binapani Mukherjee, Arunkumar Mukherjee, Lyricist- Munshi Dil Lucknowi, MD- Khemchand Prakash
Both

Lyrics

Kaale kaale baadal mein
Kaale kaale baadal mein
Kaale kaale baadal mein
gora gora chaand
jalwa dikhaa kar chala bhi gaya
haay
jalwa dikhaa kar chala bhi gaya
haay chala bhi gaya
ho chala bhi gaya

Kaale kaale baadal mein
gora gora chaand
jalwa dikhaa kar chala bhi gaya
haay
jalwa dikhaa kar chala bhi gaya
haay chala bhi gaya
ho chala bhi gaya

kuchh ro bhi gaya
kuchh gaa bhi gaya

kuchh ro bhi gaya
kuchh gaa bhi gaya
koi bijli giraa kar chala bhi gaya
haan koi bijli giraa kar chala bhi gaya
haay chala bhi gaya
ho chala bhi gaya

aaya thha koi ee ee ee ee
aaya thha koi
?????? liye huye
fariyaad lab par
aankhon mein
toofaan liye huye
mehfil ko phoonk dene ka
saamaan liye huye
apni mehfil ko

apni mehfil ko
apni mehfil to
gaati ki gaati rahi

apni mehfil to
gaati ki gaati rahi

koi aansoo bahaa kar chala bhi gaya
haan koi dukhda sunaa kar chala bhi gaya
haay chala bhi gaya
ho chala bhi gaya
Kaale kaale baadal mein
gora gora chaand
jalwa dikhaa kar chala bhi gaya
haay chala bhi gaya


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 :

5028 Post No. : 16936

Today’s song is a Non Film Song (NFS) – for a change ! It is sung by Pankaj Mallick. Lyricist is Fayyaz Hashmi and the song is set to music by Pankaj Mallick himself. It must be a song originally recorded before the Partition, because the Lyricist migrated to Pakistan after that in 1947.

Music in India can be divided into 2 groups.
1) Film Songs and 2) Non Film Songs.

Non Film Songs (NFS) as an all inclusive term and it includes all songs other than film songs – Bhajans, Naats, Geets, Qawalis, Gazals,classical songs and anything and everything that is not a film song. It may include the various folk songs, traditional songs sung in all parts of India on various occasions like Bhai Dooj, Rakhi, Holi, Sankranti, Bidai, Farmers’ songs during harvesting, even songs composed by Saints and songs sung by housewives while operating Home Chakkies, Naag Panchami songs etc.etc.

Music has been an inseparable part of Man’s life in the World. In India music is used whenever things needed to be remembered. I remember, in the 40’s and the 50’s, in our school days, the teachers used to insist on singing Poems from the books, in tune, so that we remembered them. Even the mathematical Tables and Pahades were recited collectively in tune,in classes and we never forgot them. That is why old people, even today, remember the tables of 1/4, 1/2, 3/4, 1 1/2, 1 1/4, 1 3/4, 2 1/2, 3 1/2 etc. etc. For the new generations it is unbelievable because now calculators do all this without investing personal efforts. Great advantages and disadvantages too ! Simple calculations can not be done without calculators these days. Anyway, that is besides this topic.

Great singers and classical experts always had the Royal Patronage and for common people the traditional music and folk songs were there. After the advent of Radio in Bombay (23-7-1927) and Calcutta (26-8-1927), music came to the commoners. But even on Radio, for a long time, only classical music was aired on Bombay Station. However Calcutta station aired songs other than classical because they had plenty of songs which were sung during the Puja season. The origin of NFS was from the East. I used to always wonder as to why NFS singers were mainly from Bengal-Pankaj Mallick, Saigal, Jagmohan, Hemant Kumar, Juthika Roy, Kamla Jharia and even Talat Mehmood sang his NFS from Calcutta.

Famous singer of NFS, Jagmohan Sursagar has written in his Autobiography in 1985, about the Birth of NFS thus- ” In the initial stages Kamal Dasgupta was influenced by Rabindranath Tagore. Tagore’s songs and compositions(Rabindra sangeet) were extremely popular, but were limited to Bangla people only. Ghazal, qawwali, Dadra, Naat, Thumri, Hori, Kajari etc. used to come to market but had a very limited listenership. These never reached the top.

” The fusion of Gazal, Dadra and Qawali with Bangla Geet style gave birth to Hindi Non Film Songs or geets. As such Geet had a known and accepted place in Literature, but not in Music. To establish this new Genre, Kamal babu used lyrics by Pt. Madhur, Pt. Anjum and Faiyaz Hashmi, got them sung by Jagmohan, Hemant, Talat, Juthika etc. Their records were inscribed with ‘ Hindi Geet (Hindustani Song) ‘. What thus started as NFS Geet from 1936 continued up to next 20 years non stop. “

However, in the course of time, almost all Hindi Playback singers like Lata, Asha, Geeta, Shamshad, Talat, Mukesh, Rafi, Nurjahan, Amirbai, Zohrabai etc. sang NFS. Some of their NFS became very popular too. The NFS started to be discussed on this Blog somewhere from late 2011. I remember AK ji and myself were the major vocal supporters of NFS on this Blog. Today there are 245 NFS, sung by various singers on our Blog. There are 75 singers of NFS. Some rare songs by Abhram Bhagat, Ashraf Khan, Master Vasant, Tamancha Jaan, Indurani etc. are also there. I think on the Internet, ours must be the only Blog providing such a feast of popular NFS-so many at ONE place. Thanks ATUL ji.

The contribution of singers, Lyricists and composers from Bengal to the emergence, sustainance, prosperity and decline is notable. Kamal Dasgupta and Fayyaz Hashmi played a pivotal role in the flourishing of NFS in India and were the earliest promoters of NFS. let us know more about Fayyaz Hashmi….

Fayyaz was born on 18-6- 1920 at Calcutta. His father, Syed Muhammad Hussain Hashmi Dilgeer was a very famous poet and writer of stage drama. He was director at the top class theater of that time named “ MADAN THEATER LTD.” He knew 8 languages.

Senior lyricist, Faiyyaz Hashmi, passed away in Karachi on Nov 29 th 2011. He shot to fame after penning lyrics for such non-film songs as ;Ye Raatein Ye Mausam; (Pankaj Mullick), ;Tasveer Teri Dil Mera; (Talat Mehmood), ;Dil Ko Hai Tum Se Pyar Kyun; (Jagmohan), ;Bhala Tha Kitna Apna Bachpan; (Hemant Kumar), and so many more rendered by the likes of Juthika Roy and Feroza Begum.

Mr. Fayyaz Hashmi is a legendary song and dialogue writer and above all a true loving person. He is by himself an institution and a common asset of the Indo-Pakistan film-world. His admirers as ever are not confined in national frontiers. Those fond of Hindi / Urdu songs anywhere in the world have affection for him. The emergence of this bright star was evidenced much before independence of India, when Fayyaz Hashmi, still a teenager wrote the most famous song “Tasveer Teri Dil Mera Behla Na Sakhe Gi”. It was recorded in the voice of Talat Mehmood and music was composed by Kamal Das Gupta. This song brought “Talat” to limelight. Music for most of the Fayyaz Hashmi’s songs recorded at Calcutta was composed by Kamal Das Gupta.

The dynamic achievements of young Fayyaz Hashmi and his clarity of expression by using simple words were greatly appreciated by Qazi Nazrul Islam -“Tum mann main doob kar mann ka bhed nikaltey ho. Aasan shubdoon mein mushkil baat kehna buhut mushkil hay”. His unique combination of Urdu, Hindi and Sanskrit words to produce a harmonious song thus became a guideline for the future poets of geets. The transformation of some traditional Bangla songs was also facilitated. He has also written songs in Brij Bhasa and Purbi. His pre-independence songs total to about 1000.

Fayyaz Hashmi wrote his first verse “Chaman main Ghuncha-o-gul ka tabassum dekhne walo – Kabhi tum ne haseen kalyoon ka murjhana bhi dekha hai” when he was in 7th class. As a student of 9th class, he was participating in regular “mushairas”. He got an assignment in the British owned Gramophone Company at DumDum (now called Jessore Road, Kolkotta) India. He served there during 1943 to 1948 period. At that time the average monthly production of record was only 16. Once all the records (16) issued in a month were written by Mr. Fayyaz Hashmi- a record by itself. Some of the evergreen hit songs of Mr. Fayyaz Hashmi are quoted here:

1- Honton se gulfishan hain who – Aankhoon se ashkbar hum Talat Mahmood
2- Do Kafir Aankhoon ne mara Talat Mahmood
3- Dil ko hai tum se pyar kyoon Jag Mohan
4- Aaj use phir dekha hai Jag Mohan
5- Bhala tha kitna apna bachpan Hemant Kumar
6- Yeh Raaten yeh mausam yeh hansa hansana Pankhaj Mallick
(Also re-sung by Lata Mangeshkar as a tribute to the legendary Pankhaj Mallick)
7- Tasveer teri dil mera behla na sake gi Talat Mehmood
8- Ab yad hamein kyoon aati ho Hemant Kumar
9- Kitna dukh bhulaya tum ne Hemant Kumar
10-Maloom hay mujhko – ban Jao gi tum ek din taqdeer hamari Jag Mohan.

While in India, he wrote 48 songs in 9 Hindi films, namely-Subah Shyam-44, Meghdoot-45, Zameen Aasmaan-46, Pehchan-46, Krishna Leela-46, Arabian Nights-46, Giribala-47, Faisla-47 and Iran ki ek raat-49

He chose to migrate to Pakistan after the Partition.
In 1948, he was posted as recording Manager at Dhaka Center of the Gramophone Company and thereafter in 1951 at Lahore. He promoted many talents like Farida Khanum, Saeen Marna, Saeen Akhtar and Saeen Budha. He diverted towards the writing of film songs in 1956. “Kunwari Bewa” was the first film in Pakistan with his songs. He wrote more than 2000 songs for films and Gramophone Recording Company. He had also written stories, dialogues and scripts of many hit films like AULAD, ZAMAN KIYA KAHE GA, NEHLEY PE DEHLA, INTEKHAB, PEHCHAN, KHUDA AUR MUHABBAT, GHAREEBON KA BADSHAH etc. including “ HUM AIK HAIN” which was also directed by him. It was the first Pakistani film with 5 songs filmed in colour and as such a record in Pakistan film industry.

Every film, songs of which were written by Mr. Fayyaz Hashmi became super hit like SAHELI, AULAD, ASHIANA, SUHAGAN, HONAHAR, PEGHAM, SARTAJ, SHAREEK-E-HAYAT, EID MUBARAK, SHABNAM, LOVE IN JUNGLE, TOBA, SAWAL, LAKHOON MAIN AIK, DEWAR BHABI etc.

He received Graduate Award 3 times and also Nigar award for the best song in 1978 on “Chalo Achha Hua Tum Bhool Gaye” film “Lakhoon Main Aik”. He received International award in 1986 and another Nigar award in 1988 for the best dialogue of film “ Ghareebon Ka Badshah”. In addition to these he recounts about 11 Silver Jubilee Awards and 17 Golden Jubilee**. “Deewane Tere Pyar ke” is the latest film all songs of which have been written Fayyaz Hashmi.

The first compilation of his poetry was published as “ RAG RANG” in 1944 in India. His poems were published in various journals and magazines like Adbi Duniya, Adbe Lateef, Alamgeer, Beesveen Sadi, Shama (Delhi), Chitrali (Dhaka), Nigar (Karachi), Amar Jadeed and Amrit Bazar Patrika (Calcutta, India). He wrote many Naats and Qawwalis. He also wrote many National songs like (Ae Quiad-e-Azam tera ehsan hai ehsan” & “ Suraj Kare Salam – Chanda kare Salam”.

On the publication of his mystic verses, Mr. Raees Amrohi commented that “History of Sufi poets is indicative of a glorious future for them and Mr. Fayyaz.

(Based primarily on the article by Nadeemur Rehman, courtesy shri Rajnikumar Pandya ji and my own notes. )

Today’s NFS is composed and sung by Pankaj Mallick. According to a commenter on you tube, Pankaj Mallick has used the orchestra of Fransisco Casanovas in this song. You can hear many western instruments playing in the background. Similarly, Jagmohan Sursagar had also composed one song ” Kya maze ki baat hai” in his only Hindi films as a composer in 1955, wherein he used Waltz music.


Song- Jab chaand mera nikla (Pankaj Mullick NFS)(1946) Singer- Pankaj Mullick, Lyricist- Faiyyaz Hashmi, MD- Pankaj Mullick
Non Film Song.

Lyrics

Jab chaand mera nikla
??
Jab chaand mera nikla
us raat ki
us raat ke ?? chup thhe
?? bhi sharmaaye
chhaayin thhin ?? ghataayen
Jab chaand mera nikla

un aankhon se kehte thhe
un aankhon se kehte thhe
aankhen meri khushi mein
amar ujaala ho
do din ki zindagi mein
phir kyon na tumhen paa ke
hum bhaag pe itraayen
chaayin ?? ghataayen
Jab chaand mera nikla

aakaash pe jab chhaaye
ghanghor diyaare(??) se
tab man ke gagan mein mere
chhitke huye taare thhey

jaadoo sa mujhpe kiya thha
jaado bhari hawa ne
gham mera mita gaye thhey
un honthhon ke paimaane
ab tak hai wo ?? baaten
hum hosh mein kya aayen
chaayin ?? ghataayen
Jab chaand mera nikla aa aa aa
chaayin ?? ghataayen


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 the 16900th post in the blog on its 5000th day.

Blog Day :

5000 Post No. : 16900

Today (27 March 2022) is one of those days that arrives regularly in the blog. It is the century post day. Moreover, it is an even more special day for the blog. Today is the 5000th day of the blog !

The fact that today is the 5000th day of the blog was known for quite some time. The idea that this day should coincide with the century post germinated a few days ago, even though it meant that we needed to go at a slower rate than even the already slow rate for the blog.

Sudhir Jee, who floated this idea was under the impression till the last moment that today we were on to 17000th post. It was only at the last moment that he realised that we were onto just the 16900th post. 🙂

Sudhir Jee had identified a special post for the occasion of 17000th post and so that song had to be held back.

We did not have any backup song for the occasion.

Most of our century posts get posted on week days when the blog gets more visits. Today is perhaps the first time in many years when the century post was getting covered on a Sunday. The previous such occasion that I can think of was 20 July 2014, which was a Sunday too and that was the day when the 10000th post was covered on the blog. That day which saw 8 articles being posted was a memorable day for the blog, as the regulars of the blog remember even to this day.

Today is Sunday. A few years ago, I had discovered a rare and remarkable old song of 1940s that celebrated Sunday. I vaguely remembered that I had noted it down and I had even downloaded that song. That song would have been a perfect century song for today. But I could not locate that song, despite searching hard in my portable hard disks and elsewhere. It could well have been hiding in some laptop that I am no longer using.

I informed Sudhir Jee about this song and he too searched for it. But that song could not be located.

During my searches, I came across some other rare songs and I considered using one of them, in case our “Sunday” song could not be located. So here is that song.

This song, quite an interesting and rare song, is from ‘Phulwaari’ (1946).

‘Phulwaari’ (1946) was directed by Chaturbhuj Doshi. The movie had Motilal, Khursheed, Madhubala, Ramayan Tiwari etc in it. This obscure movie had 9 obscure songs in it. Two songs from the movie have been covered in the blog.

This song, third from the movie and 16900th song in the blog is a children’s song. It is sung by Baby Anu and chorus. Pt Indra is the lyricist. Music is composed by Hansraj Bahl.

The song is a take on Chanda Mama from her point of view. It is quite a fun song, quite an interesting song indeed. The song , like its movie ended up becoming obscure.

I request our knowledgeable readers to help throw light on the movie as well as on the picturisation of the song.

I have no idea who this singer Baby Anu was. She may have been a small child while recording this song, but today she would be in her 70s. I request our knowledgeable readers to throw light on her. She makes her debut as a playback singer in the blog.

16900 songs on the 5000th day for the blog ! It has been quite a marathon run for this musical blog where songs have been covered at a rate of 3.4 songs everyday. These figures demonstrate the fact that if one can be consistent and disciplined that it is possible to achieve such high figures, even if our daily rate of posts may be seemingly low.

The blog now has 16900 songs from nearly 4600 movies, and around 1300 of these movies have already been Yippeee’d. These figures may not appear too daunting to the uninitiated, but these figures are big figures. We realize their size only when we try to list them or try to go through the list, or try to take a print out.

The next century mark is the big mark of 17000th song. Who thought, 14 years ago during 2008, that this blog would still be around in 2022 and people here would talk of 17000 songs in it. We are here and that target is just 100 songs away from us.

I take this opportunity to thank one and all. And as always, let us hope that this musical bandwagon keeps rolling on and on and we keep discovering many musical gems in our journey.


Song-Chaand mama ne amrood churaaya re (Phulwaari)(1946) Singer-Baby Anu, Lyrics-Pt Indra, MD-Hansraj Bahl
Chorus

Lyrics

chaand mama ne
chaand mama ne ho
chaand mama ne amrood churaaya re
chaand mama ne amrood churaaya re
chori chori
ho chori chori
chori chori akele hi khaaya re
chori chori akele hi khaaya re

chaand mama chaand mama
chaand mama rakhiya bandhaane ko aaya
ho o o o
ho o o o
chaand mama rakhiya bandhaane ko aaya
jholi mein kitne khilaune wo laaya
jholi mein
jholi mein kitne khilaune wo laaya
munni munne ke man bhaaya re
munni munne ke man bhaaya re
chaand mama ne amrood churaaya re
chaand mama ne amrood churaaya re

chaand mama chaand mama
chaand mama chaand mama
baaghon mein aana
chaand mama chaand mama
baaghon mein aana
munni ko kirnon ka jhoola jhulaana
munni ko
munni ko kirnon ka jhoola jhulaana
jhoolan ka mausam aaya re
jhoolan ka mausam aaya re
chaand mama ne amrood churaaya re
chaand mama ne amrood churaaya re

chaand mama chaand mama
chaand mama chaand mama
school jaana
chaand mama chaand mama
school jaana
master jee se chhutti dilaana
chhutti dilaana
master jee se chhutti dilaana
mera janm din aaya re
mera janm din aaya re
chaand mama ne amrood churaaya re
chaand mama ne amrood churaaya re

chori chori
ho chori chori
chori chori akele hi khaaya re
chori chori akele hi khaaya re
chaand mama ne


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 :

4985 Post No. : 16871

———————————————–—————————————
Blog 10-Year Challenge (2012-2022) – Song No. 29
————————————————————————————–

This date ten years ago (viz 12 March 2012) was a “lean” day by the standards of the blog those days. “Only” four songs were covered on that day. Here are the details of the songs :-

Blog post number song Movie (Year) Remarks
5627 Achcha jee maaf kar do Musaafirkhaana(1955) Movie YIPPEED by now
5628 Hai zindagi itni haseen Apsara(1961) 5 songs covered out of 18 by now
5629 Milti hai agar nazron se nazar Do Dilon Ki Daastaan(1966) 77 songs covered out of 8
5630 Ye parda hata do Ek Phool Do Maali(1969) Movie YIPPEED by now

One can notice that two movies (out of four) whose songs were covered ten years ago on this date have since been YIPPEED. Taht leaves us with two movies whose spngs can be covered as blog ten year challenge today (12 march 2022).

“Apsara”(1961) is one of the movies. This movie was directed by V M Vyas for Chitralaya Bombay. the movie had Padmini, Pradeep Kumar, Nirupa Roy, Daljeet, Nayana, Anwar, B.M.Vyas, Maruti etc in it.

The movie had a whopping 18 songs in it. five songs have been covered so far.

Here is the sixth song from “Apsara”(1961) to appear in the blog. The song is sung by Suman Kalyanpur. Gopal Singh Nepali is the lyricist. Music is composed by Husnlal Bhagatram.

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

Lyrics of the song were sent to me by Prakashchandra.


Song-Chhup chhup ke chale aao kabhi chaand ho na ho (Apsara)(1961) singer-Suman Kalyanpur, Lyrics-Gopal Singh Nepali, MD-Husnlal Bhagatram

Lyrics(Provided by Prakashchandra)

chhup chhupke chaley aao
kabhi chaand ho na ho
chhup chhupke chaley aao
kabhi chaand ho na ho
dil hamne de diyaa hai
tumhein yaad ho na ho o
yaad ho na ho o
chhup chhupke chaley aao

poonam ki dhuli raat hai
dil beqaraar hai ae
ho o o ho o ho o o
poonam ki dhuli raat hai
dil beqaraar hai
bechain sitaaron ko teraa intezaar hai
bechain sitaaron ko teraa intezaar hai
teraa intezaar hai
phir pyaar se ye chaandni aabaad ho na ho
dil hamne de diyaa hai
tumhein yaad ho na ho o
yaad ho na ho o
chhup chhupke chaley aao

aazaad hawaaon mein pali phool ki kali..eee
ho o o ho o ho o o ho o
aazaad hawaaon mein pali phool ki kali
aakar basi hai aaj tere pyaar ki gali
aakar basi hai aaj tere pyaar ki gali
tere pyaar ki gali
mil jaao ke phir zindagi aazaad ho na ho
dil hamne de diyaa hai
tumhein yaad ho na ho o
yaad ho na ho o
chhup chhupke chaley aao

lagtaa hai ke bas aa rahey ho
aa rahey ho tum
ho o o ho o ho o o
lagtaa hai ke bas aa rahey ho
aa rahey ho tum
raahon ke har chiraag ko
chamkaa rahey ho tum
raahon ke har chiraag ko
chamkaa rahey ho tum
chamkaa rahey ho tum
ye khwaab mazedaar hai
tumhein yaad ho na ho
dil hamne de diyaa hai
tumhein yaad ho na ho o
yaad ho na ho o
chhupp chhupke chaley aao o


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

Blog Day :

4912 Post No. : 16730

Today, December 29, 2021 is the 6th Remembrance Day of Subir Sen, singer, actor and the music director in Hindi and Bangla films. The resemblance of his voice with that of Hemant Kumar seems to have influenced the music director, Shankar-Jaikishan to try him as a playback singer in Hindi films. Subir Sen sang just 28 songs in Hindi films in the span of around 12 years. Most of the songs he rendered became popular.

Subir Sen (24/07/1934 – 29/12/2015) was born in Assam and grew up in Guwahati where his father had a pharmacy business. He completed his matriculation from Guwahati. From the childhood, he was drawn towards music and this was the reason that made his father to shift to Kolkata after selling his pharmacy business. During his growing up days, he was highly influenced by the singing of Dhananjay Bhattacharya, Hemant Kumar and Talat Mehmood. When he started singing their songs in some programmes, the audience started appreciating his renditions. He felt that he can also sing like his favourite singers which made him to pursue the singing as a career.

Subir Sen enrolled himself in Marris College of Music (later renamed as Bhatkhande Music Institute), Lucknow. During the third year of his college, he received the first prize for singing a vilambit Khayal in raag Purvi. Later, he learnt Hindustani classical music from Acharya Chinmoy Lahiri, a vocalist in Hindustani classical music. On the advice of Acharya Chinmoy, Subir Sen learnt the Thumri singing from Usha Ranjan Mukherjee for over 2 years.

On an invitation from Guru Dutt, Subir Sen along with the music director, Sudhin Dasgupta shifted to Mumbai and became the part of the Guru Dutt’s Films for his film under production (probably for ‘Pyaasa’1957). However, though they were on the payroll of Guru Dutt Films, they never got opportunity to sing in his film. It is said that Guru Dutt sent Subir Sen to S D Burman for audition. He introduced himself as a singer who sang in the style of Hemant Kumar. S D Burman rejected him without taking his audition by asking him as to why he should use him when he can have the original voice of Hemant Kumar. (Source: Interview of Pandit Shiv Kumar Sharma on S D Burman).

While Sudhin Dasgupta returned to Kolkata, Subir Sen got an opportunity to sing for the first time in Hindi films under the baton of Shankar-Jaikishan who were impressed with the resemblance of his voice with that of Hemant Kumar. The first song he sang in Hindi film was manzil wohi hai pyaar ki raahi badal gaye in ‘Kathputli’ (1957) picturised on Balraj Sahni. The song became very popular and was one of the three songs from ‘Kathputli’ (1957) to figure in the top 32 songs of Binaca Geetmala for the year 1958. In 1959-60, Subir Sen sang six songs in six films with six music directors (including one under the baton of Hemant Kumar), all of which became popular.

Subir Sen again came into the attention when his song, dil mera ek aas ka panchhi picturised on Rajendra Kumar (who was nick named as ‘Jubilee Kumar’), became even more popular than his first song, ranking 5th among the top 32 Hindi film songs of Binaca Geetmala for the year 1961.

With the kind of the early successes, Subir Sen must have dreamt of a bright future for him as a playback singer in Hindi films. But his discography in the table given below reveals that his playback singing career in Hindi films did not reach to a level to make a living out of it. In most of the films, he got the opportunity to sing only one song.

No. Songs Name of the Film Co-singer Music Director
1 manzil wohi hai pyaar ki Kathputli (1957) Solo Shankar-Jaikishan
2 pyaar mein milna sanam Ardhaangini (1959) Lata Vasant Desai
3 main rangeela pyaar ka raahi Chhoti Bahen (1959) Lata Shankar-Jaikishan
4 gori tere natkhat nainaa Ham Bhi Insaan Hain (1959) Geeta Dutt Hemant Kumar
5 dil leke jaate ho kahaan O Tera Kya Kehna (1959) Kamal Barot Kalyanji Virji Shah
6 hamen in raahon pe chalna hai Maasoom (1960) Aarti Mukherjee Robin Banerjee
7 gar tum bura na maano Mehlon Ke Khwaab (1960) Asha Bhosle S Mohinder
8 dheere chalaao zaraa Aas Ka Panchhi (1961) Asha Bhosle Shankar-Jaikishan
9 dil mera ek aas ka panchhi Aas Ka Panchhi (1961) Solo Shankar-Jaikishan
10 bahaare luta ke nazaare dikha ke Anarbala (1961) Suman Kalyanpur Bulo C Rani
11 dekho na jaao ae jaaneman Boy Friend (1961) Solo Shankar-Jaikishan
12 sun le daastaan yoon na sata Passport (1961) Solo Kalyanji-Anandji
13 aa jaa re nain dwaare Roop Ki Rani Choron ka Raja (1961) Chorus Shankar-Jaikishan
14 chanda salone itna bata de Sati Renuka (1961) Suman Kalyanpur S L Merchant
15 kya kaha zara phir kaho Gangu (1962) Geeta Dutt Kalyanji-Anandji
16 kasam na lijiye kasam na dijiye Jaadoo Mahal (1962) Purnima Seth Bulo C Rani
17 Jeewan ki lambi raahon par Pick Pocket (1962) Mahendra Kapoor Sardar Malik
18 thaam mujhe gir na jaaun Raaz Ki Baat (1962 UR) Solo Robin Banerjee
19 chaand tale jhoom jhoom Jab Se Tumhen Dekha Hai (1963) Suman Kalyanpur Dattaram
20 gagan ke chanda na poochh hamse Apne Huye Paraaye (1964) Lata Shankar-Jaikishan
21 haath chod de mera bedardi Hukum Ka Ekka (1964) Aarti Mukherjee Robin Banerjee
22 bujh gaya dil ka diya Jaadui Anghooti (1964) Solo Suresh Kumar
23 ab to aisa lagta hai Roop Sundari (1964) Solo Sardar Malik
24 jaago anjaani raajdulaari Ek Soorat Do Dil (1968) Aarti Mukherjee Bijan Pal
25 aah dil mein hai Rani Chandravati (1968, UR) Solo S N Tripathi
26 Ye pukaar kiske liye Rani Chandravati (1968, UR) Suman Kalyanpur S N Tripathi
27 sedin dujone dulechhinu bone (Bangla) Anubhav (1971) Solo Rabindranath Tagore
28 koi mera ho gaya Midnight (1972) Solo Subir Sen

The initial euphoria Subir Sen created in Hindi film music due to the resemblance of his voice with that of Hemant Kumar may have becoming a stumbling block in his playback singing career. It would be a natural response from the music directors that they would rather work with Hemant Kumar who had already established himself as a playback singer than Subir Sen. Also, producers, directors, actors and the film financiers/distributors have their own preferences for playback singers among the established ones.

Ashutosh Banerjee, music director who had composed many Bangla films and non-film songs for Subir Sen was of the view that while in Mumbai, Subir Sen started listening to a lot of western music during which Jim Reeves and Nat King Cole became his favourite singers. From Jim Reeves, he picked up the tonal quality and from Nat King Cole the drama in singing. In his subsequent renditions, Subir Sen was influenced by the styles of these two American singers.

Some changes in Subir Sen’s rendition style are evident in his later songs. For instance, in ‘dheere chalo zara’ from ‘Aas Ka Panchhi’ (1961), one can feel some shades of Mukesh in the song. In ‘dekho na jaaneman’ which he sang for Shammi Kapoor in ‘Boy Friend’ (1961), his voice sounds somewhat different giving a feel of Manna Dey. I have listened to some of his Bangla non-film songs and I feel that he had adapted to a style of rendition to sound somewhat different from Hemant Kumar’s voice. For examples, ‘oy ujjwal din’ and ‘pagol hawa’ (a rehash of non-film Bangla song originally sung by Jatileshwar Mukherjee and ‘na jaane tum’ from ‘Chhoti Si Baat’, 1976).

With his playback singing career in Hindi films getting stangnated, Subir Sen returned to Kolkata sometime in early 1970s. He recorded hundreds of Bengali modern and Rabindra Sangeet numbers over three decades. He also acted along with Uttam Kumar in Bangla film, ‘Momer Alo’ (1964) and in Hindi film “Anubhav’ (1971).

Subir Sen and also Dwijen Mukherjee could not create a place for themselves in Hindi films mainly because they were born with their voice boxes almost similar to Hemant Kumar. And both of them were the contemporary of Hemant Kumar and in competition with him. Also, they came at a time when the troika of the main male playback singers – Mohammed Rafi, Mukesh, Talat Mehmood and later Kishore Kumar had already well-established in Hindi film industry.

On the occasion of the 6th Remembrance Day of Subir Sen, I am presenting ‘chaand tale jhoom jhoom tirak rahi hai’ rendered by him with Suman Kalyanpur for the film ‘Jab Se Tumhen Dekha Hai’ (1963). The song is written by Shailendra which is set to music by Dattaram.

With this song, all the six songs of ‘Jab Se Tumhen Dekha Hai’ have been covered in the Blog.

Acknowledgements:

1. Videos of interview of Subir Sen by Kolkata Gaan available on YouTube. Since the interview was conducted in Bengali, I requested Partha Chanda ji for the English translation which he promptly sent me with the links of a couple of Subir Sen’s Bangla songs. Thanks Partha Chanda ji.

2. Interview of Ashutosh Banerjee which appeared on The Times of India E-Paper, updated on 29/12/2015.

Audio Clip:

Song-Chaand taley jhoom jhoom (Jab Se Tumhen Dekha Hai)(1963) Singers-Suman Kalyanpur, Subir Sen, Lyrics-Shailendra, MD-Dattaram
Suman Kalyanpur + Subir Sen
Male chorus
Female chorus
All chorus

Lyrics

ha aa aa aa
ha aa aa aa
ha aa aa aa
ha

ho o o o
ho o o
o o o o

ha aa aa aa
ha aa aa aa
ha aa aa aa
ha

ho o o o
ho o o
o o o o

chaand tale jhoom jhoom
thirak rahi hai ghoongharwaaliyaan
mastiyon ki aaj dhoom
khushi baja rahi hai taaliyaan
haand tale jhoom jhoom
thirak rahi hai ghungharwaaliyaan
mastiyon ki aaj dhoom
khushi baja rahi hai taaliyaan

ho o o o
aa aa aa
o o o o
ho o o o
aa aa aa

ho o o o
aa aa aa aa
ho o o o
ho o o o
aa aa aa
o o o o

chori chori dil ko mere kaun gaya chhoo
aaj meri har nazar pe kis ki justujoo
aa aa aa
o o o o
aa aa aa
o o o o
bekaraar mera pyaar meri aarzoo
mere dil ko bhaa gayi hai aaj tu hi tu

haay main bhi aaj main nahi tu bhi nahin tu
hoy
chaand tale jhoom jhoom
thirak rahi hai ghungharwaaliyaan

mastiyon ki aaj dhoom
khushi baja rahi hai taaliyaan

ha aa aa aa
ha aa aa aa
ha aa aa aa
ha

ho o o o
o o o
o o o o

ha aa aa aa
ha aa aa aa
ha aa aa aa
ha

ho o o o
o o o
o o o

aaj itne paas hain jo kal thhe paraaye
saamne hai jo kabhi thhe khwaab mein aaye

la ra ra ra
la ra la ra li ra
la la la la
la ra la ra li ra
dekhti hai par nigaah sochti nahin
kya bharam kya hai sach ye jaanati nahi
o mere dil ki manzile hain bas yahin kahin
hoy
chaand tale jhoom jhoom
thirak rahi hai ghungharwaaliyaan

mastiyon ki aaj dhoom
khushi baja rahi hai taaliyaan
ho o o o
ha aa aa
o o o
ho o o o
ha aa aa
o o o

be-dhadak ye dil mein mere aa raha hai kaun
apni raah mujhko bhi bhula raha hai kaun
ha aa aa aa
ho o o o
ha aa aa aa
ho o o o
dheere dheere dil se dil mein la raha hai kaun
dekhiye to pyaar se bula raha hai kaun

o kya khabar ye mujhko aajma raha hai kaun
chaand tale jhoom jhoom
thirak rahi hain ghungharwaaliyaan
mastiyon ki aaj dhoom
khushi baja rahi hain taaliyaan

chaand tale jhoom jhoom
thirak rahi hai ghungharwaaliyaan
mastiyon ki aaj dhoom
khushi baja rahi hai taaliyaan


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

Blog Day :

4872 Post No. : 16667

Today’s song is from the film Hanste Rehna-1950. The film was made by Rajan Pictures, Bombay. It was directed by Mohammed Hussain, about whom no information is available from any source, except for his Filmography. As per HFGK, it seems, he directed 39 films, most of which were B and C grade action films. In the 60’s decade he directed some films featuring Dara Singh. His first film was Sher E Bangal-1947 and his last film was Mandir Masjid-1977. Some well known films he directed were Sipah Salar-56, Aji bas shukriya-58, Rooplekha-49 and 62, Shikar-63, CID 909-67 Faulad-63 and Aaya Toofan-64 etc etc. He was born on 25-2-1918 in Lucknow.

The film had music by Wadhva. His only other film was Dushmani-50, as Ramnath Wadhva. The film lyrics were by Faruk Kaiser and Indivar. Faruk Kaiser (6 June 1918 – 10 November 1987) was an Urdu poet and a renowned lyricist , making a significant contribution to the success of many Bollywood films. He was one of the dominating forces of music in Indian Cinema during the 1950s through the 1980s. He contributed to more than 115 movies and 390 songs.

Faruk Kaiser was born in 1918 into a jeweller’s family. He was to be the second eldest of 12 children and was educated in Bombay (present day Mumbai). Faruk had an enquiring mind and, even as a child, exhibited a keen interest in reading- books and newspapers – and later in the wireless. Faruk’s mother died when he was 18; shortly after that he left his family home and found lodgings in a friend’s tailoring premises. Here, he devoted his time to further learning: immersing himself in poetry, literature, educational books, newspapers, magazines, and almost anything available in print – whilst also learning languages besides his native Urdu.

Faruk’s love for poetry and his friendship with neighbour Kamran Khan (father of Farah Khan and Sajid Khan) were instrumental in his developing an enthusiasm for the creative works of Hindi Cinema. While Kamran Khan produced and acted in films, Faruk was introduced into the Bollywood scene as an assistant director, whose expertise was frequently sought to modify dialogues and revamp scenes. He went on to direct several movies until he found his niche as a lyricist.

Among his many colleagues in the film industry, Faruk was a great friend of actor Kamal Mohan, who was the father of six sons and one daughter. Kamal Mohan proposed his daughter Aisha’s hand in marriage to his dear friend and confidant Faruk- who took an immediate liking for her. During their courtship, he penned the lyrics of Sari Sari Raat Teri Yaad Sataye for the movie Aji Bas Shukriya (1958) while she was stricken with tuberculosis and hospitalised in Bombay for a year. Soon after Aisha’s discharge from hospital in 1959, they married and moved to Bandra. Faruk’s career had developed and his work took him all over India; during his many travels he wrote diligently to his wife and soulmate. It was during his travels, on a shoot in 1963, that he wrote the song Oee Ma Oee Ma Yeh Kya Ho Gaya for the movie Parasmani (1963)

Faruk and Aisha had three children- one son, Shakil (1960) and two daughters – Bilkis Whelan (1962 -2003) and Tabassum (1963-1983).(Thanks to wiki)

The film was made on the famous novel ” Comedy of Errors” by William Shakespear. This story is so interesting that the story and its variations involving Mistaken Identity is used in Hindi as well as regional films, since the beginning of Talkie films. The first such film was Awara Shehzada-33. Later on, some of the well known films made on this story in Hindi are-

Chacha Chaudhari-53

Do dooni chaar-68

Angoor-82

Cirkus-forthcoming in 2022

Some films in other languages-

Bhranti Bilas-Bangla-63

Ulta palta-kannada-97

Ulta Palta-Telugu-98

Double di trouble-2014.

These films used the same theme, but there are many more films in Hindi and other languages, in which the theme has some changes, but centrally it is “Mistaken Identity” only. Films like Ram aur Shyam, Seeta aur Geeta and Chaalbaaz were some films in this category.

Today’s song is sung by Leela Mehta. Leela is a name in Hindi films, which has several Same Name artistes-just like the name Nalini. In case of Nalini these were the artistes-

In Hindi films, as many as 12 NALINIs acted/ sang in films at slightly different times. Add to this list, the name of a Male actor ‘ Nalini Ranjan Roy ‘, who, thankfully, acceded to the suggestion to change his name to ‘Kanu’ Roy. ( It is another matter that even this name clashed with another artiste, Kanu Roy, who was MD, in the same period…causing serious ” Same Name Confusion”. ) The different NALINIs were…

Nalini Tarkhud…..many films

Nalini Jayawant…many films

Baby Nalini…Mera ladka-43

Nalini Nagpurkar…Krishnarjun yuddha-34, Chacha Chaudhari-53

Nalini Chonkar… many films

Nalini Borkar…singer

Nalini Dhere… Nagad Narayan-43

Nalini Gupte…Ankh ki sharm-43

Nalini Mulgaonkar…Didi-48, nakli Baap-49

Nalini Rao…Talash-43

Nalini Saraf (later Seema Deo)… Anand-70

Nalini korgaonkar… singer

Additionally, there were actresses called SuNALINI and MriNALINI too.

These Nalinis did not cause any Same name Confusion, because, being Marathi artistes, they wrote their names with Surnames, so their names remained different always.

Similarly, there were many Leelas, commonly found in HFGK-

Leela Sawant-A/s

Leela Gupte-A

Leela Desai-A/S

Leela Mishra-A

Leela Chitnis-A/S

Leela Mehta-A

Leela Naidu-A and

Leela Chandragiri A/S. There may be some more Leelas, found occasionally.

Like Nalinis, these Leelas (except two-Leela Desai and Leela Chandragiri) did not cause Same Name Confusion as their names were used with surnames.

Today’s singer Leela Mehta was an actress in Gujarati and Marathi films and stage dramas, but she acted in only one Hindi film. She sang 17 songs in 9 films. Her today’s song is her last song in Hindi films.

Daughter of Kanhaiyalal Mehta and Indumati, Leela was born on 10-12-1935 at Borivali in Bombay. She was the elder of the two sisters. Due to loss in business, her family shifted first to Ahmedabad and later to Baroda, where they settled. Leela studied in Marathi medium school- New Era Vidyalaya in Baroda. Leela participated in all functions of the school and acted in dramas, much to the annoyance of their social circle. She developed interest in singing after listening to songs by Khursheed and Kananbala. She started learning music despite the resistance from home and others in their society.

V.M.Vyas, the famous Director and a family friend knew about her interest and offered her the main role in the film Ranak Devi-46. She was just 11 year old and did not suit the role, but she was given another role in it. Kokila Balsara aka Nirupa Roy too acted in it as a Debut film.

Due to her father’s death, the family shifted to Bombay and Leela took the responsibility of being the bread earner by acting and singing in dramas and Radio plays. Meanwhile she learnt further music from Prof. Surendra Rao. She started acting and singing in Gujarati films. Ranjit Movietone offered her a big role in the film Gunsundari-48, but since the role needed her to put on a Sleeveless Blouse, she refused that role. Finally, it went to Dulari. She, however, sang songs in that film and they became quite popular in Gujarat.

Leela Mehta had grown up in a Marathi atmosphere and also was educated in Marathi Medium, so her Marathi was very good. She was invited to work in Marathi dramas. She did roles in famous and popular Marathi dramas and also sang songs. From 1950 onwards, she started acting in Gujarati dramas. Meanwhile she used to sing in Hindi films occasionally. In the early 50s, she made very successful foreign trips with her troupe, to do Gujarati dramas and singing concerts.

In Spite of being successful and acting and singing in Marathi, Hindi and Gujarati films and dramas, her father did not see even one show of hers. This pained her till end. Leela stayed in a Bungalow in Versova in Bombay. Once it was rumoured that there was a Ghost in it, she immediately left that house and shifted to Dadar. Inadvertently, she forgot to inform the industry about her change of address, and this diminished her demand drastically.

Her mother died in 1972. In 1982, she toured the USA. In 1985, the Marathi Natya Parishad honoured her with a cash award. Till 1992, she acted in Marathi and Gujarati TV serials. In all, Leela acted in 300 Gujarati/Marathi dramas, films and serials. Leela was bedridden and unable to speak also.Her house was demolished. She was under the care of a close relative, Nitin Dahisariya. Finally, the news came that Leela Mehta expired in September 2019.

Leela Mehta acted in only one Hindi film- Shri Ram Avatar-50. She sang 17 songs in 9 Hindi films, including 2 Unreleased films.
Her Films are Nai Kahani-43 ( 2 songs), Gaurav-47 (1), Namak-47 (1), Pehli Pehchan-47 (2), Gunsundari-48(2), Satyawan Savitri-48..No information, Chocolate-50..No information, Shri Ram Avatar-50 (4) and Hanste Rehna-50 (1). Her unreleased films were, Apradh-48 (3) and Bidhata-48 (1).
( My thanks to Harish Raghuvanshi ji for some information from his book, ‘ Inhe Na Bhulaana’.)

Let us now listen to her song in this film.


Song- Main to chanda ke sang kheloon aankh michauli(Hanste Rehna)(1950) Singer- Leela Mehta, Lyricist- Farooque Qaiser, MD- Wadhwa

Lyrics

Main to chanda ke
Main to chanda ke sang kheloon aankh michauli
kheloon aankh michauli
Main to chanda ke

chanda ki nazron se khud ko bachaa ke
baadal ke tukde mein chhip jaaun jaa ke
chanda ki nazron se khud ko bachaa ke
baadal ke tukde mein chhip jaaun jaa ke
dhoondhe sitaaron ki toli
main to chanda ke sang
dhoondhe sitaaron ki toli
main to chanda ke sang
kheloon aankh michauli
main to chanda ke
Main to chanda ke sang kheloon aankh michauli
kheloon aankh michauli
Main to chanda ke

duniya hai meri sabse niraali
duniya hai meri sabse niraali
chaand aur sitaaron ki main rehne waali
chaand aur sitaaron ki main rehne waali
ye hai mere humjoli
ho main to chanda ke sang
kheloon aankh michauli
Main to chanda ke
Main to chanda ke sang kheloon aankh michauli
kheloon aankh michauli
Main to chanda ke

khel chukoon main khel apne nyaare
chanda hanse aur muskaayen taare
khel chukoon main khel apne nyaare
chanda hanse aur muskaayen taare
baaten karoon aisi bholi
main to chanda ke sang
baaten karoon aisi bholi
main to chanda ke sang
kheloon aankh michauli
Main to chanda ke
Main to chanda ke sang kheloon aankh michauli
kheloon aankh michauli
Main to chanda ke


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 :

4840 Post No. : 16626 Movie Count :

4529

Yearwise discussion of Lata Mangeshkar songs in HFM: Part LVI: Year 2002
———————————————————————————————————

In this episode, the 56th episode, we discuss Lata Mangeshkar songs that she sang in Hindi movies released in 2002.

In 2002, 75 Hindi movies containing 539 songs were released. Lata Mangeshkar got to sing in 2 of these movies and she sang 8 songs in these movies. So Lata Mangeshkar’s voice was heard in 2.6 % of the movies released in 2002. Her voice was heard in 1.5 % of the songs appearing in the movies of 2002.

Here are the details of songs sung by Lata Mangeshkar in Hindi movies released in 2002 :-

S N Movie Music director Lata song in the blog Lata HFM songs recorded in the year Lata solo songs Male duet Female duet Other songs Lyricists
1 Laal Salaam Hridaynath Mangeshkar 0 5 3/td> 2 0 0 Gulzar
2 Mujhse Dosti Karoge Rahul Sharma 0 3 0 3 0 0 Anand Bakshi
Total 2 movies 2 MDs 0 8 3 5 0 0 2 lyricists

Lata Mangeshkar worked with 2 music directors and 2 lyricists in these 2 movies released in 2002. Laxmikant Pyarelal were the most prolific music directors with Lata, with 664 songs in HFM with Lata Mangeshkar by the end of 2002. Shankar Jaikishan with 457 songs in the voice of Lata Mangeshkar were in the second position. R D Burman with 332 Lata Mangeshkar and Kalyanji Anandji with 307 songs were next ahead of C Ramchandra with 275 songs. Other top music directors for Lata Mangeshkar were Chitragupta (239), Madan Mohan (195), S D Burman (179),Naushad (146), Roshan (144), Hemant Kumar (127), Anil Biswas (120), Bappi Lahiri (112), Rajesh Roshan (111), Salil Chaudhary (109), Husnlal Bhagatram (108), and Vasant Desai (104). Together these seventeen music directors composed 3733 songs out of 5225 songs that Lata Mangeshkar had sung in Hindi movies till end of 2002. Anand Bakshi with 731 songs was the top lyricist with Lata Mangeshkar. Other leading lyricists with Lata Mangeshkar were Rajinder Krishan (555), Majrooh Sultanpuri (407), Shailendra (361), Hasrat Jaipuri (301), Prem Dhawan (201), Bharat Vyas (193), Shakeel Badayuni (189), Sahir Ludhianvi (161) and Indeewar (156). These ten lyricists had penned 3252 songs sung by Lata Mangeshkar till that time.

Here is the summary of Lata Mangeshkar’s playback career in Hindi movies till end of 2002 :

Year Movie count Lata song in the blog Lata HFM songs recorded in the year Lata solo songs Male duet Female duet Other songs Remarks
1946 3 movies 4 4 4 0 0 0
1947 3 movies 5 5 3 1 0 1
1948 17 movies 51 57 42 8 4 3
1949 40 movies 141 160 105 35 13 7
1950 36 movies 116 143 93 32 14 4
1951 49 movies 190 223 158 52 10 3
1952 43 movies 150 177 138 31 4 4
1953 45 movies 170 195 149 35 5 6
1954 43 movies 142 172 144 23 4 1
1955 50 movies 172 218 177 30 10 1
1956 49 movies 174 204 153 35 13 3
1957 47 movies 132 160 110 38 7 5
1958 35 movies 104 132 95 25 10 1
1959 58 movies 190 211 131 68 12 1
1960 48 movies 142 166 102 50 9 5
1961 44 movies 128 152 88 55 5 4
1962 40 movies 119 129 84 40 5 0
1963 37 movies 105 111 62 38 8 3
1964 46 movies 123 133 91 31 8 3
1965 42 movies 84 91 71 17 1 2
1966 49 movies 105 133 110 14 8 1
1967 44 movies 94 106 67 38 8 3
1968 33 movies 84 84 59 19 5 1
1969 43 movies 78 97 67 27 2 1
1970 54 movies 91 130 84 39 3 4
1971 52 movies 107 126 71 52 3 0
1972 62 movies 99 151 86 60 3 2
1973 60 movies 93 138 94 37 3 4
1974 55 movies 71 104 66 33 0 5
1975 45 movies 62 90 50 35 3 2
1976 41 movies 58 97 53 39 1 4
1977 50 movies 50 96 59 27 8 2
1978 46 movies 60 90 48 34 3 5
1979 42 movies 38 66 37 25 2 3
1980 43 movies 28 71 43 21 3 4
1981 46 movies 40 88 48 34 2 4
1982 45 movies 28 82 41 37 1 3
1983 33 movies 29 73 36 37 0 0
1984 39 movies 11 70 32 33 4 1
1985 40 movies 21 72 39 31 0 2
1986 27 movies 4 41 22 17 0 2
1987 12 movies 4 21 13 8 0 0
1988 21 movies 9 43 24 17 1 1
1989 19 movies 10 38 20 16 1 1
1990 9 movies 4 12 3 9 0 0
1991 16 movies 6 57 35 20 1 1
1992 12 movies 3 25 12 13 0 0
1993 14 movies 3 49 22 23 2 2
1994 12 movies 5 39 9 28 0 2
1995 4 movies 2 8 3 4 0 1
1996 5 movies 2 14 7 7 0 0
1997 5 movies 1 21 2 14 4 1
1998 3 movies 4 11 3 7 0 1
1999 7 movies 3 14 6 7 0 1
2000 2 movies 3 5 1 2 0 2
2001 6 movies 2 12 6 5 0 1
2002 2 movies 0 8 3 5 0 0
Total upto 2002 1874 movies 3752 5225 3381 1508 213 123

It can be seen from the table of 2002 that Lata Mangeshkar sang 8 songs in 2 movies released in 2002.

No Lata song from 2002 are covered in the blog. That leaves us with all eight songs from two movies of 2002 for discusussion in the blog.

alphabetically, the first movie of 2002 that offers us a Lata Mangeshkar song to discuss is “Laal Salaam”(2002).

This movie was produced by Sanjiv Karambelkar and directed by Gaganvihari Borate for Manas Communications. The movie had Nandita Das, Sharad Kapoor, Makarand Deshpande, Vijay Raj, Rajpal Yadav, Anant Jog, Akhilendra Mishra, and Sayaji Shinde, Introducing Hemangini (Indroduction role), Vishwajeet Pradhan,Sushil Johri,Dwarika, Mahindra, Jyoti,Prithvi Singh,Sanjay Sonu, Ashraf, Ramayan, Nagesh Bhosle, Lallan Singh,Sanjay Shrivastav,Sivam,Anup, Subrow, Parveen Banu, Sumanth Chandramani, Uday Tikekar, Pramodini etc in it.

The movie had six songs in it. Five songs had the voice of Lata Mangeshkar in them.

Here is that song from “Laal Salaam”(2002). This song is sung by Lata Mangeshkar. Gulzar is the lyricist. Music is composed by Hridaynath Mangeshkar.

Only the audio of the song is available. It is almost certain that the song was picturised on Nandita Das.

Lyrics of this song and other details were sent to me by Prakashchandra.

With this song, “Laal Salaam”(2002) makes its debut in the blog.


Song-Ag chaand gufaa mein (Laal Salaam)(2002) Singer-Lata, Lyrics-Gulzar, MD-Hridaynath Mangeshkar

Lyrics

ag chaand gufaa mein
raain hamaari beeti gaaa aa aa aa
aga chaand gufaa mein
raain hamaari beeti gaaa aa aa aa
arrey hamko bhee ee ee ee ee ee ee
arrey hamko bhee daag lagaa gayi preeti gaa aa
baayi gaa aa aaa aa ahaa haa aa
baayi gaaa aa
baayi gaa aa aaa
hha aa baai gaa
aga chaand gufaa mein
raain hamaari beeti gaaa aa aa aa
baayi gaaa aa aa aa aa
hha aa baai gaa aa

arrey preet ka paudhaa dard bharaa kehlaaye aey ae aey ae
kaanch ke phool aankh se tapkaaye aey ae aey ae
arrey preet ka paudhaa dard bharaa kehlaaye aey ae aey ae
kaanch ke phool aankh se tapkaaye aey ae aey ae
jab neend udey sapney ae dikhaaye preeti gaa aa
baayi gaa aa aaa aa
baayi gaa aa aaa
baayi gaa aa aaa aa
baayi gaa aa aaa
ag chaand gufaa mein
raain hamaari beeti gaaa aa aa aa
baayi gaaa aa aa aa
baai gaa aa

arrey log kahen jab meh barsey bujh jaaye ae rey
preet ki aag saawan mein badh jaaye ae ae
arrey log kahen jab meh barsey bujh jaaye ae rey ae aey
preet ki aag saawan mein badh jaaye ae ae ae
ek aag bujhey ek aag lagaaye preeti gaa
baayi gaa aa aaa aa ahha aaaa
baayi gaa aa aaa
baayi gaa aa aaa aaa
baayi gaa aaa aaa
agga chaand gufaa mein rain hamaari beeti gaaa aa aa
arrey hamko bhee ee ee ee ee ee
arrey hamko bhee daag lagaa gayi preeti gaa aa
hahh baai gaa aa aaa aahhaa aa
baayi gaa aaa aa
baayi gaaa aa aaaa aaa
baayi gaaa aa aaaa aaa
baayi gaaa aa aaaa aaa ahaaha
baayigaa
baayi gaaa aa aaaa aaa ahaaha
baayigaa


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

Blog Day :

4836 Post No. : 16620

When I saw this song on You Tube, a few days ago, I was very happy. This was one of the most popular Lories in those days – and naturally so, because it was composed by the melody King Chitragupt and was sung by the melody Queen Lata Mangeshkar. In one of her interviews to Film fare, she had said ” I like to sing songs of Chitragupt ji and I particularly liked the lori ‘ Chanda loriyan sunaaye’ from film Naya Sansar-1959.”

I was pleasantly surprised to know that this famous Lori was yet to be posted on our Blog. Surely, it fits into the song category of “How I forgot to post this song earlier”. I believe, this song was waiting for me only !

Lories have been a part of many films, where a family life is the main plank of the film story. The earliest famous Lori was the one sung by K L Saigal – “So ja Raajkumari so jaa”, from film Zindagi-1940. Earlier to that also there were many- as many as 15- Lories in the films right from film Radhe Shyam aka Zulm E Kans-1932, in which Devki (Phool kumari) sings a Lori for her child (Shri krishna), asking him not to cry loudly, lest Kans will come and kill him. -” so ja tu mere lal chu ke se, voh Paapi aa jaye”. Then there was ” Dheere dheere aa re Badal” sung by Amirbai and Arunkumar in film Kismet-1943. Many more Lories subsequently became popular, but today’s Lori was more popular and famous.

Film Naya Sansar was produced by Darshan Malhotra for his own banner Shri krishna Films. It was directed by Nanabhai Bhatt. This was a rare occasion when Nanabhai Bhatt directed a Social film. Normally he was equated with B and C grade action and Mythological films only.

Director Nanabhai Bhatt ( 12-6-1915 to 24-4-1999). He was a director in many films.He directed mostly Mythological and stunt films only. Nanabhai was born as Yashwant ( pet name – Batuk) at Porbandar. Since he was the younger one he was called Nanabhai ( opposite to Motabhai-elder brother). This name continued till the end. His father was a doctor. After matriculation, he went to Mumbai in 1934, where his elder brother Balwant Bhatt was working. Balwant started with Imperial,shifted to Sagar and now was with Prakash pictures of Vijay and Shankar Bhatt. He got Nanabhai a job as Sound Recordist.Soon he graduated as Production Executive.He also wrote several screenplays.

In 1942 he directed “Muqabala”, for Homi Wadia, as Batuk Bhatt. Homi Wadia became his good friend. When Homi established his own Basant Pictures, Nanabhai joined him and directed his “Hunterwali ki Beti”-43, with Nadia again. He also did mauj, Jee Haan, Chaalis Karod etc. He directed about 50 films of various genres like Stunts, Mythologicals,crime, social, costume etc.

Nanabhai’s first wife was Hemlata. He also married Shirin banu, his Heroine of few films. To circumvent the Bigamy law, he married her in a Temple and that too in the presence of Hemlata ! He had 3 children from Hemlata and 6 from Shirin. Mukesh and Mahesh Bhatt are from Shirin. His children and grandchildren married in different religions.Thus his big family was an example of Secularism ! In addition to 9 children Nanabhai also produced 20 films under his own Deepak Pics and Gautam Chitra !

FILMOGRAPHY OF NANABHAI BHATT: 1942: Muqabala; 1943:Hunterwali Ki Beti; Mauj; 1945: Chalis Karod; 1946: Maa Baap Ki Laaj; 1947: Meerabai; 1949: Shaukeen; Veer Ghatotkach; Sudhaar; 1950: Hamara Ghar; Janmashthami; Veer Babruwahan; 1951: Lakshmi Narayan; Daman; Lav Kush; Ram Janma; 1952: Apni Izzat; Baghdad; Sinbad the Sailor; 1954: Toote Khilone; Watan; 1956: Kismet; 1957: Mr X; Ustad; 1958: Chaalbaaz; Son of Sinbad; 1959: Bazigar; Daaka; Kangan; Madam XYZ; Naya Sansar; 1960: Lal Qila; Police Detective; Zimbo Comes to Town; 1961: Teen Ustad; 1962: Baghdad Ki Raatein; Rocket Girl; 1963: Alapiranthavan; Bhootnath; Cobra Girl; 1964: Samson; 1965: Adhi Raat Ke Baad; Bekhabar; 1966: Shankar Khan; 1967: Arabian Nights; 1968: Jung Aur Aman; 1974: Jeevan Rekha; 1975: Balak Aur Jaanwar; 1976: Dharti Mata; 1981: Gajara Maru; 1982: Jaya Parvati Vrat.( Thanks to Harish Raghuwanshi ji and Encyclopedia of Indian Cinema for some information.).

The music was by Chitragupt and the film cast was Jayashree Gadkar, pradeep kumar, nanda dhumal, Tuntun, Sundar, Shammi, majnu and dancers Sheila Vaz, Sai Subbulakshmi and Kamla Laxman. The heroine Jayashree Gadkar was a very popular and busy actress in marathi cinema. I was surprised to learn that she had acted in 73 hindi films. Despite this number, she was not famous in Hindi films because she got only B and C grade action and Mythological films in Hindi.

Jayshree Gadkar (21 February 1942 – 29 August 2008) was a noted Marathi and Hindi movie actress and a star of Marathi cinema from the 1950s up to the 1980s.

Jayshree was born into a Konkani-speaking family at Kanasgiri (Sadashivgad) near Karwar in the Uttara Kannada district of Karnataka, India. She married Bal Dhuri, a theatre actor best known for his portrayal of Dashratha in Ramanand Sagar’s TV serial, Ramayana (where Jayashree herself played his wife, Kaushalya). She also published an autobiography, Ashi Mi Jayshri.

She began her career as a child dance artist. She entered films as a tamasha dancer in movies. Her first role was that of a group dancer in V. Shantaram’s Jhanak Jhanak Payal Baaje in 1955, which featured Sandhya as the leading lady. Later, well known Marathi film Director Dinkar D Patil cast her in a small role with dance in his Marathi film Disat Tasa Nasat, opposite Raja Gosavi. This was followed by Sangtye Aika, a tamasha-based movie which was the first in which she played a leading role. This helped her gain fame and recognition and she started doing heroine roles. She eventually became one of the most successful and prolific heriones in the history of the Marathi film industry.

Many remember her for the famous song Bugdi mazi saandli ga jata sataryala. But Jayshree Gadkar was much more than that. She was not only a versatile and accomplished actress but the face of Marathi cinema in its golden era. This paved her way into mainstream Marathi cinema.

Later, both Raja Gosavi and Jayshree gave many hits as a pair, like Aaliya Bhogasi [her first film], Utavla Navara, Yala Jeevan Aise Nav, Awaghachi Sansar and Paishacha Paus. Gath Padli Thakathaka was her first major role. Jayashree got a lot of success as a heroine in movies based on tamasha and lavni, the trend at the time.

Her film Saangtye (1959) ran for 132 weeks in a theater. Her terrific dance performance in Bugdi mazi saandli ga became a craze among Marathi viewers. She was paired with the most popular heroes of the time like Suryakant (Pancharati, Rangpanchmi, Vaijayanta) and Arun Sarnike (Sawal Maza Aika, Ek Gav baara Bhangadi, Gangaulan).

Manini was a turning point in her career. She was paired with Chandrakant Gokhle. She went on to act with his son Vikram Gokhle too, in films like Utavla Navra and Subhdra Haran.

Gadkar also acted in historical movies like Mohityaanchi Manjula and Shahir Parshuram. She won many accolades and awards at the national and state level. She was also felicitated with the state government’s V Shantaram Purskar, Gadima Purskar, P Savlaram Purskar and many more. She married co-star Bal Dhuri in 1975, and directed two films, Sasar Maher and Ashi Asavi Saasu.

Jayshree acted in about 250 films over a period of four decades. Her filmography was varied and included a rich repertoire of tamasha stories as also mythologicals in addition to socials and love stories.

In later years, Jayshree turned film director. Her directorial efforts include Saasar Maher and Ashi Asavi Saasu. She also acted in Ramanand Sagar’s TV Series Ramayana, as Kaushalya (mother of Rama) along with her husband Bal Dhuri, who was Dasharath (father of Rama). Her home is adorned with the photo of both in Ramayana costume. Her Autobiography Ashi Me Jayshree was published in 1986. Gadkar had received awards for her part in the films Manini, Vaijantha, Sawaal Majha Aika! and Saadhi Mansa.

Surprisingly, Jayashree Gadkar had acted in as many as 73 Hindi films. Her first film was Jhanak Jhanak Payal Baje-55 and the last film was Lav kush-97. However another film which was delayed came in 2009 was Jai jai Santoshi Maa. (Thanks to wiki, rediff.com, muVyz, HFGK and my notes).

Let us now enjoy the sweet lori from this film.


Song- Chanda Loriyan sunaaye hawa jhoolna jhulaaye(Naya Sansaar)(1959) Singer- Lata Mangeshkar, Lyricist- Rajindra Krishan, MD- Chitragupta

Lyrics

chanda loriyaan sunaaye hawa jhoolna jhulaye
raani nindiya sulaaye mere laal ko
raani nindiya sulaaye mere laal ko
chanda loriyaan sunaaye hawa jhoolna jhulaaye
raani nindiya sulaye mere laal ko
raani nindiya sulaye mere laal ko

barson shaam savere maa ne roya dil ka dukhda
barson shaam savere maa ne roya dil ka dukhda
tab ja ke bhagwaan ne baksha ik chaand ka tukda
chanda loriyaan sunaaye hawa jhoolna jhulaaye
raani nindiya sulaaye mere laal ko
raani nindiya sulaaye mere laal ko

khelega jab mere angna khel ye pyaare pyaare
khelega jab mere angna khel ye pyaare pyaare
khelan ko tab laayegi maa neel gagan ke taare
chanda loriyaan sunaaye hawa jhoolna jhulaaye
raani nindiya sulaaye mere laal ko
raani nindiya sulaaye mere laal ko

baandh ka sehra banega jis din dulha mera raaja
baandh ka sehra banega jis din dulha mera raaja
khushiyon ki baaraat sajegi armaanon ka baaja
chanda loriyaan sunaaye hawa jhoolna jhulaaye
raani nindiya sulaaye mere laal ko
raani nindiya sulaaye mere laal ko


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

Blog Day :

4820 Post No. : 16593

In the early 1940s, New Theatres (NT) was going through some lean period as some of its films like ‘Meenakshi’ (1942), ‘Saugand’ (1942), ‘Kashinath’ (1943), ‘Waapas’ (1943) etc could not garner box office success. During this period, there were exodus of some of the artists and technicians from NT to Bombay. In this background, NT produced ‘Udayer Pathe’ (1944) in Bengali with some new artists, new technicians and also with a new director, Bimal Roy who was the Cinematographer and the Editor with NT. The film became a big box office success, recouping to some extent the lost glory of NT.

Buoyed by the fresh success, NT decided to remake Hindi version, ‘Hamraahi’ (1945) with more or less the same star cast that were in the Bangla version. The star cast included Binota Bose (her first and the last Hindi film as an actress) and Radhamohan Bhattacharya in the lead roles, supported by Tulsi Chakraborty, Rekha Mullick, Debi Mukherjee, Hiralal, Ramesh Sinha, Manorama, Maya Bose, Devbala etc.

Incidentally,as reported in The Daily Telegraph’s E-paper, the lead actor, Radhamohan Bhattachraya’s 100th birth anniversary was on September 27, 2021. Bangla film fraternity gathered in Kolkata to pay tribute to him especially by actors who had worked with him. At the end of the gathering, one of his film, ‘Udayer Pathe’ (1944) was screened for the audience.

‘Hamraahi’ (1945) did not get the same success at the box office as was with its Bangla version. DVD of ‘Hamraahi’ (1945) is not available for viewing on any of the video sharing platforms. So, I watched the Bangla version, ‘Udayer Pathe’ (1944) with English sub-titles. The story of the film is the theme of rich-poor conflicts. The idea of making the film on rich-poor conflicts may have come when NT produced a documentary film on the Bengal famine of 1943 which was directed by Bimal Roy. The story of the film is as under:

Anup (Radhamohan Bhattacharya) is a middle-class journalist staying with his mother and a sister, Sumitra (Rekha Mullick). Anup gets a job at industrialist, Rajendranath’ office as a as a Publicity Officer. He also writes speeches for Rajendranath (Ramesh Sinha in Hindi version) which are well appreciated and Rajendranath attains a status of an intellectual.

Anup meets Gopa (Binota Bose) in a library where he comes to know that Gopa is the daughter of Rajendranath whose wife had falsely accused his sister, Sumitra of stealing from his house when she attended a party on the invitation of her school friend, Gopa, Anup decides to leave the job. After some persuasion by Rajendranath’s son, Souren (Debi Mukherjee), Anup agrees to complete the speech he was writing for Rajendranath. Souren in return agrees to get Anup’s novel printed.

Gopa gets hold of the manuscript of Anup’s novel. After reading it, she is impressed with the viewpoints he has about the rich-poor class struggles. She starts meeting Anup quite often. In the meanwhile, the novel is printed and released but instead of Anup’s name, the novel carries the name of Sauren as the author. Anup is not in a position to prove the wrong-doing of Souren, Instead, he decides to take up the issues of the workers in factories of Rajendranath. Gopa also gets involved with workers’ union to understand their problems. Anup becomes popular among the workers and becomes the leader of the workers’ union.

Souren is not happy with this development. He hires goons to to disturb the workers’ meeting during which Anup gets hurt. Gopa arrives to take care of him. The next day, the photograph of Gopa with Anup becomes a scandalous news. Rajendranath bars Gopa from meeting Anup. He also visits Anup’s house requesting him not to meet Gopa in future which Anup agrees under the impression that Gopa regretted her decision to join him as told to him by Gopa’s father. But it was not true as Gopa decides to leave her father’s house to join Anup for the betterment of underprivileged.

It is interesting to note that the film ends with Gopa driving a car to catch-up with Anup who has decided to leave the place. As soon as she locates him walking on the road, she abandons the car and walks with Anup for ‘udayer pathe’ (new path of dawn). In a way, the film became ‘udayer pathe’ for Bimal Roy as well as a renowned director. Later, he directed ‘Do Beegha Zameen’ (1953) with more or less the similar theme of rich-poor conflicts.

Generally, in the films with the story of rich-poor conflicts, capitalists have been mostly shown as a ruthless exploiters of the working class. The leaders representing the working class have often been shown with militant attitude. In ‘Udayer Pathe’/Hamraahi’, Bimal Roy has shown the characters representing the capitalist and the labourer in a restraint manner. There are no rhetoric dialogues for one-upmanship. Even the romantic relationship between Anup and Gopa have been kept in a very restrain fashion. In the film, they meet mostly in the context of understanding and solving the problems of workers with an undertone of liking for each other.

The story of ‘Udayer Pathe’/Hamraahi’ was written by IPTA writer, Jyotirmoy Roy. After the tremendous success of ‘Udayer Pathe’, Jyotirmoy Roy wrote a full-fledged novel in Bengali on the subject which became among the best seller novel.

‘Hamraahi’ (1945) had 7 songs (including one song in Bangla) of which 5 songs have been covered in the Blog. I am presenting the 6th song, ‘hansi chaand ki aaj niraali’ sung by and picturised on Binota Bose. The song has been written by Munshi Zakir Hussain which is set to music by R C Boral. Actually, the tune of this song is almost the same as that of the Bangla version of the song, chander hasir bandh bhengechhe which was written and composed by Gurudev Rabindranath Tagore and used in ‘Udayer Pathe’ (1944).

I have watched the Bangla version of the song which is available in the film ‘Udayer Pathe’ (1944). The song has been beautifully picturised in a full moon light setting. I have given below the link to the Bangla version of the song just to get an idea as to how the song was picturised in Hindi version of the film. The background behind the song picturization is as under:

After attending the workers’ meeting, Gopa and Anup are on their way to return to their respective homes. On the way, they find moonlit path. Gopa desires to spend some time to enjoy the nature in the midst of moon light. It is at this point, Anup reminds her of the commitment she had made to sing a song for him. He says that it is a perfect setting for singing a song. She sings the song full of description of the nature (prakriti varnan) which is Gurudev Rabindranath Tagore’s one of the favourite themes. Munshi Zakir Hussain’s lyrics for Hindi version retains some parts of the ‘prakiriti varnan’ with some different imageries, probably to fit words in the pre-composed tune of Gurudev Rabindranath Tagore.

I heard both the versions of the songs only a few days back. But the songs often linger in my mind for the beautiful nature poetry woven with melodious tune.

Audio Clip:

Video Clip (Bangla version)


Song-Hansi chaand ki aaj niraali (Hamraahi)(1945) Singer-Binota Bose, Lyrics-Munshi Zakir Hussain, MD-MD-R C Boral

Lyrics

hmm hmm hmm hmm
hmm hmm hmm hmm
man ko lubhaanewaali ee ee
hansi chaand ki aaj niraali
man ko lubhaanewaali
andhere ko door hataa ke
phailaaye ujiyaali ee ee
hansi chaand ki aaj niraali

daudi hawaa chaman mein aaye ae
ye nahin jaane kaun bulaaye
ae ae ae ae ae ae
phool phool par man bharmaaye
phool phool par man bharmaaye
phirti daali daali ee ee
hansi chaand ki aaj niraali

aasmaan bhi jhoom rahaa hai
chandan tilak lagaaye ae ae
aasmaan bhi jhoom rahaa hai
chandan tilak lagaaye ae ae
phire magan hanson kaa jodaa
apne pankh milaaye
swarg desh ki kaun ye baalaa aa aa
dhoondh rahi phoolon ki maalaa aa aa aa aa
aaj ye kaise deep jalaati
kaisi ye deewaali ee ee
hansi chaand ki aaj niraali
man ko lubhaanewaali ee ee
hansi chaand ki aaj niraali


What is this blog all about

This blog discusses Bollywood songs of yesteryears. Every song has a brief description, followed by a video link, and complete lyrics of the song.

This is a labour of love, where “new” songs are added every day, and that has been the case for over FOURTEEN years. This blog has over 17100 song posts by now.

This blog is active and online for over 5000 days since its beginning on 19 july 2008.

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