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

Archive for the ‘Chorus song’ Category


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 : 3909 Post No. : 14967

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Blog Ten Year Challenge (2009-2019)-Song number 25
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This is my First song post for ‘The 10 year Challenge’ series. Today, 10 years ago, on this day, 6 songs were posted. They were 1 song each for films ‘Bahut Din Huye’ (1954), ‘Marine Drive’ (1955), ‘Naag Devta’ (1962), ‘Bees Saal Baad’ (1962), ‘Prince’ (1969) and ‘Lootmaar’ (1980).

From the day it started, I was keen on participating, but everyday that I checked I found films either belonging to the 60s to 80s or films which were already Yippeee’d. I became helpless. Not that I can not or don’t want to write on songs of films of 70s and beyond, but they are not of my liking. Further I like to write only on songs or films, where I have something substantial to offer to our readers.

Finally, I found one film from 1st April 2009, which had some scope for me. The song is from film ‘Bahut Din Huye’. First, out of the 17 songs only 3 songs are posted on the blog and hence lot of choice to choose a song from remaining 14 songs, and secondly, the background of the film, the stars, the producer/director, the company etc were matters where I could elaborate to my will. So, I opted for this film’s song today.

The film is from the southern giant – Gemini Pictures. The film title sounds almost like a translation of ‘Once upon a time…’. It is a very apt title too, because the film is based on a folk tale of south. I like such films made in south and also their mythological films. When I see these films, the costumes of all the actors as well as their palaces etc remind me of similar pictures that used to appear in Chandamama magazines.

Chandamama (Chandoba in Marathi) magazines vied with my childhood craze of seeing films and reading books. Like many of my age group, our childhood had an important segment covered by Chandamama (in 13 Languages, including English and Sanskrit) readings. I strongly believe that  either the south film actors copied costumes from Chandamama pictures or the vice versa, but they resembled each others, for sure !

As expected, ‘Bahut Din Huye’ was a remake of Gemini’s own block buster ‘Bala Nagamma’ from 1942. Gemini Studios was the best known Madras studio in the 1940s for redefining the concept of mass entertainment with ‘Chandralekha’ (1948), the first Madras film to break successfully into the Hindi cinema circuit. SS Vasan started Gemini as a distribution agency, the Gemini Pictures Circuit, distributing and partly financing films by K Subramanyam’s Motion Picture Producers Combine. When the Combine went bankrupt, Vasan bought the studio in 1939 at public auction for a mere Rs 86,427-11 (annas)-9 (paise) (according to Randor Guy). The studio’s début feature was probably Balkrishna Narayan Rao’s ‘Madanakamarajan’ (1941), but it only took off when cameraman-scenarist K Ramnoth joined it along with his Vauhini partner, art-director AK Sekhar. This team made most of Gemini’s early features: ‘Mangamma Sapatham’ (1943), ‘Kannamma En Kadhali’ (1945) and ‘Miss Malini’ (1947) before the ‘Chandralekha’ blitz catapulted it on to the national stage.

In the early days, the most important event in the studio was Uday Shankar’s dance extravaganza ‘Kalpana’ (released 1948) which also provided training for most of Gemini’s technicians as well as providing the model for an Orientalist dance idiom later associated with influential Tamil choreographers like Hiralal and Chopra Master. A few minor hits followed ‘Chandralekha’ before the studio’s second major onslaught on the national box office with ‘Apoorva Sahodarargal’ (1949), a trilingual that established the studio’s dominance in the genre of the costumed adventure movie. Although its Hindi version ‘Nishan’ was not a major success, Vasan continued making Hindi films, often signing up major stars of Hindi films himself: e.g. the Dilip Kumar and Dev Anand film ‘Insaaniyat’ (1955), Vyjayanthimala’s ‘Raj Tilak’ (1958) and ‘Paigham (1959) starring Dilip Kumar, Raaj Kumar and Vyjayanthimala. They also made the mega-budget Tamil classic ‘Avvaiyyar’ (1953). An important later production was ‘Motor Sundaram Pillai’ (1966), Sivaji Ganesan’s only film at this studio. In 1958 the studio expanded into the Gemini Colour lab, licensed by Eastman color Kodak film. After Vasan’s death, his son SS Balasubramanyam produced the unsuccessful ‘Ellorum Nallavare’ (1975). Gemini’s productions declined in the 70s, although it remained successful as a studio and equipment rental business now taken over by the Anand Cine Services.

The unprecedented foray of Gemini’s Vasan’s hit film ‘Chandralekha’ into all India market, Subramaniam Srinivasan or simply SS Vasan, became aware of the unlimited scope of the Hindi belt market for south-made Hindi films. Vasan was a writer, editor, producer and director, but above all, he was a business tycoon. He  established the popular Tamil magazine ‘Anand Vikatan’, and owned Gemini studios, Gemini Laboratories and Gemini distribution circuits.

He soon decided to take advantage of the success of ‘Chandralekha’ and made another tri-lingual film. In Tamil it was called ‘Apoorva Sahodarargal’, in Telugu, it was ‘Apoorva Sahodaralu’, and in Hindi it was called ‘Nishan’ (1949). This film too was a  success. Encouraged by this, SS Vasan made his 1943 Tamil Hit film ‘Mangamma Sapatham’, into a remake in Hindi with the name ‘Mangala’ (1950). Not by coincidence, but by design, the hero for all these 3 remakes and the originals was Ranjan. ‘Mangala’ was remade in Sinhalese as ‘Mathalan’ in 1955 and in Telugu as ‘Mangamma Shapatham’ in 1965, featuring NT Ramarao (later the Chief Minister of erstwhile Andhra Pradesh), and Jamuna.

Enthused and inspired with Vasan’s success in the Hindi belt, another giant from the South came forward. AVM’s Tamil film ‘Vazhkai’ (1949) was a big hit in south. AVM made a Telugu Version of it with the name ‘Jeevitham’ in 1950 followed by a Hindi version ‘Bahaar’ in 1951. They introduced Vyjayantimala with this film, in Hindi. The story of the film and the music by SD Burman made film a big hit in Hindi too. AVM then made Hindi film ‘Ladki’ (1953), with a Tamil and Telugu version. This too became a hit film. However by that time the South market had grown manifolds and there was no need for the south film makers to venture into the Hindi belt to earn money. Thus, there was a slow down in this type of activity. The south now started making Hindi films directly in Madras by calling actors from Bombay. And some films were dubbed too.

The divide between the north and the south went on widening, which finally resulted in the anti-Hindi agitations of the 1960s and 70s in Madras and other southern places. Fortunately, in recent times and with the new generation, thanks to the coalition politics at the centre and states as well as IT centres at Hyderabad, Chennai and Bangalore, the North-South exchange is much better and each state is identified individually. Thanks also to novels of writers like Chetan Bhagat. And thanks to modernization.

‘Bahut Din Huye’ had a cast consisting of Madhubala, Ratan Kumar, Agha, Kailash, Savitri (debut film in Hindi), Lalita Pawar, Pushpvalli (mother of Rekha), Kanhaiya Lal etc. Ratan Kumar had a big role in this film. Another film of 1954, ‘Jagriti’ also had a pivotal role for Ratan Kumar.

Ratan Kumar’s real name was Syed Nazar Ali (born 21-8-42 at Ajmer, passed away 12-12-2016 at California, USA). He started working as a child star when he was just 4 year old. His first film was Baburao Patel’s ‘Gwaalan’ (1946). He did 25 film roles before he acted in film ‘Jagriti’. He worked in many famous films like ‘Sargam’ (1950), ‘Malhaar’ (1951), ‘Afsaana’ (1951), ‘Baiju Bawra’ (1952), ‘Do Bigha Zameen’ (1953), ‘Boot Polish’ (1953) etc. After doing film ‘Jalwa’ in 1955, he migrated to Pakistan in 1956, with his family, and remade ‘Jagriti’ in Pakistan, as ‘Bedaari(1957) – Urdu translation of the Hindi word Jagriti. This film used the same old tune for a film song in Pakistan, aimed at igniting a similar emotion and patriotic zeal, among the listeners. – “Aao Bachcho Tumhe Dikhayen Jhaanki Hindustan Ki… (come children let us show you glimpses of India), is a popular Hindi film song of the 1950s. “Aao Bachcho Sair Karaayen Tumko Pakistan Ki… (children, let us take you on a tour of Pakistan) is an equally hit song of the same period in Pakistan. The movie ‘Bedaari’ (1957) was produced by his elder brother Wazir Ali Rizvi.

He played a young boy’s role in many Pakistani films later. ‘Naagin (1959) was the first Pakistani film he played a lead actor opposite Neelo as the lead actress. Ratan Kumar’s success, as a lead actor, could not last long because his later films did not do well at the box-office and he eventually faded away.

In 1977, his 4 years old daughter died in an accident in Lahore, Pakistan. He was so emotionally upset after that accident that he decided to quit the Pakistani film industry. In 1979, Ratan Kumar left Pakistan never to return again. In the late 1960s, Ratan Kumar also got into the business of selling oriental carpets and had started travelling back and forth from Pakistan to Europe for this business. Eventually he ended up settling down permanently in the United States after 1979.

Ratan Kumar was living in California, in his old age, and was admitted to the hospital for pneumonia 10 days before his death on 12 Dec 2016. He had a long history of illness, though. In 1996, his lungs had collapsed twice in the same year. When they collapsed the third time in 2000, he was left paralyzed and went into a coma for eight days. Then he recovered in four to five months and became somewhat normal again. His survivors include 2 sons, a daughter and seven grandchildren .

Music for film ‘Bahut Din Huye’ is by a pair of BS Kalla and E Sankar Sastry. Many south Indian composers had tried their hand at giving music to Hindi films in the 50s decade. MDs like Ghantasala, BS Kalla, SD Parthasarathi, E Shankar, B Laxman, Vishwanathan, R Sudarshanam, SV Venkataramana, TR Ramanathan and TG Lingappa are few of the lesser known music directors from south, who composed music for Hindi films. They gave melodious music, but somehow they did not succeed here. One reason could be their use of southern singers, for whom acceptability was a problem here for Hindi songs. Names like Ramesh Naidu, Adi Narayana Rao and the pair of Vishwanathan-Ramamurthy were at least known names here. Their films like ‘Piya Milan’ (1955, MD – Ramesh Naidu), ‘Suvarna Sundari’ (1958, MD – Adi Narayana Rao) and ‘Naya Aadmi’ (1956, MD – Vishwanathan-Ramamurthy) had many popular songs.

The film had 17 songs, 7 of these were sung by Lata Mangeshkar and the remaining were either by chorus or unnamed male/female singers. The lyrics were by Pt. Indra. Let us now hear today’s chorus song and enjoy the song and dance video.

[Thanks to Encyclopedia of Indian Cinema by Rajadhyaksha, HFGK, MuVyz, The Hindu, Wiki and my notes.]

Song – Swaagat Raajkumar Tumhaara, Swaagat Raajkumar  (Bahut Din Huye) (1954) Singer – Chorus, Lyrics – Pt Indra, Music – BS Kalla

Lyrics

aaaa aaaa aaaaaaa
tananan tananan tananan tann
aaaa aaaa aaaaaaa
tananan tananan tananan tann
aa aa aa aaaaa
aa aa aa aa
aa aaa aaaaa aaaaa
aaaa aaaaa

swaagat raajkumar tumhaara
swaagat raajkumar
swaagat raajkumar tumhaara
swaagat raajkumar

aaaa aaaa aaaa
ye akhiyan matwaali kab se
rahi hain baat nihaar
aaaa aaaaa aaaaaa aaaa
aaaa aaaa aaaa
aaa
aaa aa
aaa
aaa aa
aaa
aaa aa
aaa
aaa aa

aao baitho ratan hindole
aaaa aaaa aaaa
ratan hindole
pawan veg se jhulo
tum pyaare mehmaan hamaare..ae..ae
aao sab kuchh bhulo
jhoola jhulo

aaaa aaaa aaaa aaaaa
mmmm mmmmm mmmm
mmmm mmmmm mmmm

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Hindi script lyrics (Provided by Sudhir)
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आsss आsss आssssss
तननन तननन तननन तन्न
आsss आsss आssssss
तननन तननन तननन तन्न
आ आ आ आssss
आ आ आ आ
आ आss आssss आssss
आsss आssss

स्वागत राजकुमार तुम्हारा
स्वागत राजकुमार
स्वागत राजकुमार तुम्हारा
स्वागत राजकुमार

आ आ आ
ये अखियाँ मतवाली कब से
रही हैं बाट निहार
आsss आsss आsssss आsss
आsss आsss आsss
आss
आss आ
आss
आss आ
आss
आss आ
आss
आss आ

आओ बैठो रतन हिंडोले
आsss आsss आsss
रतन हिंडोले
पावन वेग से झूलो
तुम प्यारे मेहमान हमारे॰॰ए॰॰ए
आओ सब कुछ भूलो
झूला झूलो

आsss आsss आsss आsss
म्ममम म्ममम म्ममम
म्ममम म्ममम म्ममम

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This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog.This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3792 Post No. : 14776

I was very fond of seeing movies and listening to the songs since childhood.Those days,children were not allowed to see films,unlike today. If at all a film is to be seen,the children had to go with their mother,aunt, grandmother or some such female relative and the film would invariably be something like Ram Ravan Yudh or Bakasur ki Maut.

Hyderabad state,where I spent my early years was ruled by a Muslim king-The Nizam(Ala Hazarat).There were some social customs,like Burkha,which reflected in the social lives of the citizen.

For example, in almost every theatre,there used to be a special class-“Zanana Class”.It was made out of the half of the Balcony class with a wall partition between them.The frontal portion facing the screen had a thick curtain,which was removed after the film started and covered again after the film ended,thus protecting the women spectators from the prying eyes of the public.

Same procedure was for Interval period also.Only women and small children were allowed in this subsidised class.A special ‘Curtain Mover’ used to be the in charge of this and the Zanana Class.

Usually a She -Male or a He -Female (don’t know which) was appointed for women’s safety.This type of arrangement was also available in other Muslim states like,Junagarh,Bhawalpur,Lucknow,Bhopal etc.Women used to make lot of noise and at times there were big quarrels,when the films were stopped,curtain moved, peace restored and the films were restarted.

I was lucky to start seeing films independently from the end of 40s. Usually,it was from the school directly. Every Friday to Sunday,there used to be a Morning show from 11 am. In this,the tickets were almost half rates, like 4 annas, 6 annas, 12 annas etc. Thus I was able to see many films of 30s and 40s, till about 1955-56 or so.

Once I went to college, then took up the job and other priorities of life,I saw less films,but never missing an opportunity to see older films and making notes. From 1980 onwards, I stopped seeing films, and when I retired in 1998, I dug out my old collections. I have not visited a theatre after 1980 and yet to see how a Multiplex looks like. I saw few films on TV and players.

In the initial era of Talkie films, Calcutta’s New Theatres and Poona’s Prabhat were the most well known film makers. They used to make films on social issues. Particularly, Prabhat was famous for keeping their films centred on the Reform themes like,Dowry, Child Marriage, Second Marriage, Cast difference etc.From the mid 30s one more company came into limelight and that was Bombay Talkies- founded by Himanshu Rai and Devika Rani. They also followed the trend and films on social issues like Untouchability, illiteracy etc were made. Today’s song is from a film made by Bombay Talkies- Jeewan Prabhat-37.

This was also a film dealing with Caste differences and second marriage. In this film,however, it was shown that the Caste difference stayed and the proposed second marriage got cancelled. I would say, it was quite a realistic depiction of the Indian mindset, because even after hundreds of years, the caste differences exist today, while the other social ills like child marriage, dowry, illiteracy etc are controlled to a greater extent. It would not be wrong to say that as long as the Reservation Policies exist, caste differences will continue to exist-with official support !

Film Jeewan Prabhat-37 was directed by the German Director Franz Osten. The Music Director was Saraswati Devi and lyrics and dialogues were by J.S.Casshyap. The screen play was by Niranjan Pal- Himanshu Rai’s friend since their London days. Kishor Sahu and Renuka Devi made their Debut in this film. Others in the cast were Mumtaz Ali,Prithwiraj kapoor, Maya Devi and M.Nazeer etc etc. The film was released on 2-11-1937 at Minerva Talkies in Bombay. Baburao Patel of Film India, in its December 1937 issue had not much good about this film. He, in fact, criticised both the Debutantes, for their acting calling them as ‘ disappointments ‘. However, the film did good business and ran for 17 weeks in Bombay.

Unlike Prabhat or New Theatres, Bombay Talkies produced their films in quick time. This film-Jeewan prabhat- was made in just 2 months. Their most popular film Achhut kanya-36 was made in 6 months. This was possible due to self sufficient facilities, good planning, modern equipment and total involvement of the staff. Franz Osten’s speed and his planning was such that in the span of just 4 years, Franz directed 16 films for Bombay Talkies !

The Debut making actress Renuka Devi was one of a kind. I am not only surprised,but awed and terribly impressed,when I went through her Autobiography ” A woman of substance-Begum Khursheed Mirza “.

Begum Khursheed Mirza is none other than the famous Heroine of the 30s and 40s-Renuka Devi ( 4-3-1918 to 8-2-1989 ). She was perhaps one of the most educated, upper class, sophisticated and highly cultured Muslim lady, who ever joined the film industry then. One more striking feature of Renuka Devi was that she was one of the very few actresses,who joined the films after their marriage. The other such examples I remember offhand is that of Meenakshi Shirodkar (Bramhachari-38 fame), Shobhana Samarth and actress Neena ( real name Shahida-wife of Mohsin Abdulla, brother of Renuka Devi and later wife of W.Z.Ahmed) in those times.

Renuka Devi had studied upto Masters degree in English Literature,from Aligarh Muslim University. The only other nearest example I remember offhand is that of actress Vanmala (real name Susheela Devi Pawar), who had done B.A and B.T. and was a Teacher in the college before joining films,at the behest of writer,journalist and Director P.K.Atre.

The story of Renuka Devi is quite interesting. Khursheed Jehan was born in Aligarh on 4-3-1918, to Shaikh Abdulla and his wife Waheed Jehan Beg. She was the 6th of the 7 siblings. Her father Shaikh Abdulla (1874-1965) was originally a Hindu. He was the son of a rich Jahagirdar and Landlord from Poonch,Kashmir. They were Kashmiri Brahmins. His name was Thakur Das. He embraced Islam in 1890, while studying in Aligarh. When his family learnt about it, he was disowned by them. He took the name Shaikh Abdulla.

He became a leading Advocate of Aligarh. After he married Waheed Jehan Beg,they both- being of progressive thinking- decided to work for the Muslim women’s education. They faced lot of resistance from the fundamentalists,but they established a Muslim women’s college in Aligarh. To provide students for this college,a school was also started for Muslim girls. soon the girls started joining the school and college. Shaikh Abdulla ensured that all his children were educated. One daughter became a Doctor,another Advocate and two daughters did master’s degrees and later on became Principals of the women’s college. Khursheed also studied upto masters but due to her marriage could not complete it. ( she completed her Masters in English Litterateur in 1963,at the age of 45 years,later).
Khursheed Jehan was married to Akbar Mirza,a Police Officer in Aligarh. Soon she gave birth to 2 sons also.

Her brother Mohsin Abdulla was working in Bombay Talkies,at Bombay. He used to describe how professional these studios were. Khursheed was 21 year old and beautiful. She desired to work in films. She wrote a letter to Devika Rani expressing her desire. This she did, without informing her husband. She received a letter from Devika Rani, inviting her to Bombay for an interview. Now she confided in her husband and he wholeheartedly supported her.

Thus started her acting career. She was 21 years,married and had 2 children too. Her first film was ‘ Jeewan Prabhat”-37. She was given the name RENUKA DEVI. This was a Debut film for Kishore Sahu. Bombay Talkies bosses were very happy with her performance and she was offered a Heroine’s role opposite Jairaj in film ” Bhabhi”-1939. Jairaj was also from a rich background,cultured and highly educated. Their tuning was excellent and the film was a grand success. Renuka also sang few songs in Bhabhi-39. ( when the news of her acting in films reached Aligarh,there was a hue and cry. Her mother wrote to Renuka,’not to visit Aligarh for now’. Renuka did not go to Aligarh for next 2 years).

She was invited to Calcutta By New Theatres to act in film, Badi Didi-39. Her other films were Naya Sansar-41 (Ashok kumar), Sahara-43 (S D Narang), Ghulami-45 ( Masood Parvez) and Samrat Chandragupta-45 ( Ishwarlal ). her film career was very short. She announced her retirement from films in February 1944,while shooting for her last films. She did only 7 films and sang only 3 songs in 3 films.

After partition,her family migrated to Pakistan. In Pakistan,though in demand,she refused to do any films. Instead,she decided to devote her time for women’s uplift,education,welfare and social work. She also did some work on Pakistan Radio.

When TV came to Pakistan,she became very active and for next 15-20 years she was a popular figure on Pak TV. In 1963,she completed her Master’s degree,at the age of 45 years. From August 1982 to April 1983,she published 9 instalments of her autobiography in the popular magazine ” Herald ” as ” The uprooted sapling”. This was,later on,edited and published as a Book, ” A woman of substance- the memoirs of Begum Khursheed Mirza “, by her daughter Lubna,in 2004. Renuka Devi died on 8-2-1989 at Lahore after a prolonged illness.

In her book she included a chapter of 24 pages ” Renuka Devi-my celluloid identity”,in which she has described many interesting anecdotes. her detailed description of the times of the 30s and 40s is a lovely chronicle of history of Bombay film industry. here are some excerpts from her book, for you…

1) Back in the Thirties, acting in films was not considered an honourable profession for anybody. And for a married woman from a well-educated and respectable upper-middle class Muslim family, it was forbidden to even think about it. But Khurshid Mirza, the daughter of the founders of the Aligarh Women’s College, the wife of a police officer and already a mother of two, was too free-spirited to be tied down by any social norm. I took the plunge and soon a star named Renuka Devi was born.

2) In 1939, Shanta Apte wrote that she received four or five letters each day from young girls wanting to join the movies “due perhaps to this monetary attraction”. Actresses themselves acknowledged in interviews that the money was substantial and more than one actress claimed that her salary rivalled that of the Governor of Bombay! But aside from several myth-building exercises, it is now apparent that film acting was a uniquely high-paying profession for women. According to Filmindia, Shobhana Samarth’s approximate total income in 1942 was Rs 36,000 while Sardar Akhtar, Naseem Banu, and Madhuri earned about Rs 30,000 each. These figures indicate that leading heroines of the day averaged an income of Rs 3,000-4,000 per month (some actresses were freelancers and did not work through the year), at a time when a French chiffon sari cost Rs 9, and a brand new imported Studebaker cost Rs 6,000. It is hardly surprising then, that I would want to make “a little dough”.

3) Akbar stood by me in the face of stiff opposition from both our families. Nevertheless, he maintained a strange attitude towards my work. He enjoyed the benefits the money brought us, such as a new car, expensive game-hunts, and pleasure trips to fashionable Mussoorie in summer and excellent schooling for our children. And, yet, he treated my work as a hobby, instead of giving it its due importance.

( My thanks to the book,”A woman of substance “, some information from ” Free Library”,Cineplot and my own notes).

One more name Maya Devi may be new to readers. Maya Devi was from Bombay and started her career from silent films in 1928 with Anarkali by imperial. Her first Talkie film was Kunwari ya widhva-35. Her real name was Leela. She became a favourite of Bombay Talkies and she did 6 films with them in 37 and 38. In all she did 5 silent films and 31 Talkie films till 1949. She got married with a Muslim and then migrated to Pakistan, where she did 19 films and then retired in 1964. She died in Lahore on 1-2-67. She did films in Gujarati and Punjabi also.( info from pakfilms.com).

The story of film Jeewan Prabhat-37 was……..

In this film Uma (Devika Rani) is born in a high caste Brahmin family,but falls in love with a boy of Kumhar caste(Potters).Her love with Ramu (Kishore Sahu) leads them nowhere as there is a great opposition to this from all sides. They realise that their love will lead them nowhere. Finally Uma is married off to Nandlal (Prithviraj kapoor), a Brahmin boy and Ramu accepts the reality.

The marriage makes the potters very happy too. Later it is rumoured that Nandlal is about to marry Padma (Chandraprabha),because Uma is a ‘ baanjh’ (infertile). Ramu meets Uma and their meeting is seen by Nandlal. He sends Uma back to her parents. Few days later, Uma discovers that she is pregnant,but Nandlal doubts her fidelity. At the end Padma, herself understands how much Uma loves Nandlal. She withdraws from the proposed marriage. Not only this,she also convinces Nandlal about Uma’s purity.

Finally, Nandlal and Uma begin a new life a new Jeevan Prabhat.


Song-Paalna mero munwa jhoole (Jeewan Prabhat)(1937) Singer-Saraswati Devi, Unidentified Male Voice, Lyrics-J S Kashyap, MD-Saraswati Devi
Chorus

Lyrics (Provided by Sudhir)

mero lalna jhoole paalna
mero lalna jhoole paalna
mero munna jhoole paalna
mero lalna jhoole paalna
mero munna jhoole paalna

hari gulabi resham ki dor lagi
soney chaandi ki bati ye khoob bani
hari gulabi resham ki dor lagi
soney chaandi ki bati ye khoob bani

faro faro maa ek lagaai
mann mohey bholi chhavi pyaari
faro faro maa ek lagaai
mann mohey bholi chhavi pyaari
maa ke mann mein uthat hilore
maa ke mann mein uthat hilore

jhoola jhoole laalna
jhoola jhoole laalna
mora bituwa jhoole paalna
jhoola jhoole laalna
mora bituwa jhoole paalna

badho bhalo to chhodo jhoola
doley it ut chalo khadula
badho bhalo to chhodo jhoola
doley it ut chalo khadula

baat banaawe bholi bholi
baat banaawe bholi bholi
bhookh lagey par daudo aawe
kahey totli boli
bhookh lagey par daudo aawe
kahey totli boli

maa maa
oti de
maa maa
dudhu de

maa daud uthaave
doodh pilaave
maa daud uthaave
doodh pilaave
laalna
mero munwa jhoole paalna
mero lalna jhoole paalna
mero munna jhoole paalna

?? to ghar mein aawe
maatha  peete daud lagaave
?? to ghar mein aawe
maata ji se to daud lagaave

arey kin ne maara
baa..boo
babua kaun laaya
baa..boo
dudhu kaun pilaaya
ammaa
kaala teeka deta
ammaa

mera pyaara raaj dulaara
amma amma karta pyaara
mera pyaara raaj dulaara
amma amma karta pyaara
laalna
mero munwa jhoole paalna
mero lalna jhoole paalna
mero munna jhoole paalna

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

मेरो ललना झूले पालना
मेरो ललना झूले पालना
मेरो मुन्ना झूले पालना
मेरो ललना झूले पालना
मेरो मुन्ना झूले पालना

हरी गुलाबी रेशम की दो लगी
सोने चांदी की बटी ये खूब बनी
हरी गुलाबी रेशम की दो लगी
सोने चांदी की बटी ये खूब बनी

फड़ो फड़ो माँ एक लगाई
मन मोहे भोली छवि प्यारी
फड़ो फड़ो माँ एक लगाई
मन मोहे भोली छवि प्यारी
माँ के मन में उठत हिलोरे
माँ के मन में उठत हिलोरे

झूला झूले लालना
झूला झूले लालना
मोरा बिटुवा झूले पालना
झूला झूले लालना
मोरा बिटुवा झूले पालना

बढ़ो भलो तो छोड़ो झूला
डोले इत उत चलो खडोला
बढ़ो भलो तो छोड़ो झूला
डोले इत उत चलो खडोला

बात बनावे भोली भोली
बात बनावे भोली भोली
भूख लगे पर दौड़ो आवे
कहे तोतली बोली
भूख लगे पर दौड़ो आवे
कहे तोतली बोली

माँ माँ
ओटी दे
माँ माँ
दुधु दे

माँ दौड़ उठावे
दूध पिलावे
माँ दौड़ उठावे
दूध पिलावे
लालना
मेरो मुनवा झूले पालना
मेरो ललना झूले पालना
मेरो मुन्ना झूले पालना

?? ?? तो घर में आवे
माथा पीटे दौड़ लगावे
?? ?? तो घर में आवे
माथा पीटे दौड़ लगावे

अरे किन ने मारा
बा॰॰बू
बबुआ कौन लाया
बा॰॰बू
दुधु कौन पिलाया
अम्मा
काला टीका देता
अम्मा

मेरा प्यारा राज दुलारा
अम्मा अम्मा करता प्यारा
मेरा प्यारा राज दुलारा
अम्मा अम्मा करता प्यारा
लालना
मेरो मुनवा झूले पालना
मेरो ललना झूले पालना
मेरो मुन्ना झूले पालना


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3493 Post No. : 14038

Mohammed Rafi – Duets – ‘अ’  से  ‘ह’ तक  (From ‘अ’ to ‘ह’) – 4
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –

/‘ई’/

‘उ’ – उठो बुलबुलों तोड़ दो तीलियाँ

दिल की आवाज़ भी सुन॰ ॰ ॰

वो अगर चे सुन सकते, हम तो सुनाते ही रहते॰ ॰ ॰

But now, the voice has gone to distant lands unknown, where our call will not reach, and his voice will not come back again. It seems like a thing of yesterday that I saw him perform live on Doordarshan; or that I read about another award in the Filmfare magazine, that he had stood up and walked up to receive. The mind simply does not believe that he has not been with us mortals for the past almost four decades. कहाँ से ले के आएँ, अपने बूते की बात नहीं॰ ॰ ॰ दिल को ही समझाना पड़ता है।

Moving forward with the series of duets – I have to skip ‘ई’ because no duet song starting with this vowel is available. So I come to ‘उ’, as the starting letter for today’s song.

As I was searching for such a song, I came across this song from ‘Khaamosh Sipaahi’ of 1950, and I listened to it in complete amazement. And I listened to it again and again, and again. The composition by Hansraj Behl – it is so unique and so different, that I wonder whether such an arrangement has been attempted in any other songs.

The leading voices in this ‘duet’ song are of Rafi Sb and Geeta Roy/Dutt. But the entire song is arranged as a chorus song. The individual voices of the lead singers are not heard separately even once. There are lines by the chorus of male voices, and there lines by the chorus of female voices, and then there are lines by chorus of male plus female voices. The beauty and the redeeming feature of this singing is how the various voices have been arranged. When the male chorus is heard, then Rafi Sb’s voice is very clearly discernible a little above the chorus of male voices. When the female chorus is heard, then Geeta Roy’s voice is clearly discernible a little above the chorus on female voices.

I am not able to immediately recall another song which has been arranged with such meticulous attention to the sound of the lead voices in a chorus of voices. Really beautifully done.

And the words by DN Madhok Sb, they simply take one along with the emotions of an army preparing for battle. Yes, that is right, this song has been designed as a slow paced marching song of the warriors.

I have no information about this film – ‘Khamosh Sipahi’, and I request our more knowledgeable friends and readers to please add more information about this film and the picturization of this song. But the words indicate that it is a song that is exhorting people for a struggle. Given the time period (1950), it would seem that the song is urging the warriors, either for the freedom struggle or maybe the first invasion of Kashmir by Pakistani marauders (in 1948). Maybe it is the freedom struggle – the refrain of the song is

utho bulbulo
tod do teeliaan

The words are urging the timid and frail nightingale birds, to rise and break the ‘teeliaan’. This word ‘teeliaan’ here refers to the wooden twigs or splinters that are used to make cages for small birds.

The song, slow paced as it is, it still has a very exhilarating effect on the mind and the heart. The slow pace is almost a haunting that takes over the mind. And the mind wants to listen to this sound again and again. Such a wonderful creation – and I would lay all the kudos on Hansraj Behl for the composition, the arrangement  of the minimal music, and such a beautiful play of chorus voices entwined around the lead voices – it is simply amazing. There is some leading violin music, but after that when the singing starts, there simply is no music except for a very low rhythm of drum beats. The entire creation is so enchanting.

Just listen to this, and be amazed.

PS: There is one word in the lyrics of the first antaraa, that I am not sure that I have got it correct. Maybe it is, maybe the meaning fits in, or maybe not. I request other readers to please help confirm or correct this word. 🙂

Song – Utho Bulbulo Tod Do Teeliyaan (Khamosh Sipaahi) (1950) Singer – Geeta Roy/Dutt, Mohammed Rafi, Lyrics – DN Madhok, MD – Hansraj Behl
Mohammed Rafi + Male Chorus
Geeta Roy/Dutt + Female Chorus
Rafi + Geeta + All Chorus

Lyrics

utho bulbulo
tod to teeliaan
kahaan qaid thandi hawaayen kahaan
utho bulbulo
tod to teeliaan
kahaan qaid thandi hawaayen kahaan
utho bulbulo

tumhaare liye abr ghir ghir ke aaye
abr ghir ghir ke aaye
khushi jholion mein wo bhar bhar ke laaye
wo bhar bhar ke laaye
wo bhoola hua phir banega samaan
utho bulbulo
tod to teeliaan
kahaan qaid thandi hawaayen kahaan
utho bulbulo

himaala ne tum ko pukaara hai aao
pukaara hai aao
meri chotiyon par wohi geet gaao
meri chotiyon par wohi geet gaao
ke sun kar dehal jaaye saara jahaan
utho bulbulo
tod to teeliaan
kahaan qaid thandi hawaayen kahaan
utho bulbulo

mujhe khabr hai par kate hain tumhaare
par kate hain tumhaare
utho waqt deta hai tum ko ishaare
ho tum ko ishaare
gaya waqt phir jaa ke aaye kahaan
utho bulbulo
utho bulbulo
utho bulbulo

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

उठो बुलबुलो
तोड़ दो तीलियाँ
कहाँ क़ैद ठंडी हवाएँ कहाँ
उठो बुलबुलो
तोड़ दो तीलियाँ
कहाँ क़ैद ठंडी हवाएँ कहाँ
उठो बुलबुलो

तुम्हारे लिए अब्र घिर घिर के आए
अब्र घिर घिर के आए
खुशी झोलियों में वो भर भर के लाये
वो भर भर के लाये
वो भूला हुआ फिर बनेगा समां
उठो बुलबुलो
तोड़ दो तीलियाँ
कहाँ क़ैद ठंडी हवाएँ कहाँ
उठो बुलबुलो

हिमाला ने तुमको पुकारा है आओ
पुकारा है आओ
मेरी चोटियों पर वही गीत गाओ
मेरी चोटियों पर वही गीत गाओ
के सुन कर दहल जाये सारा जहान्
उठो बुलबुलो
तोड़ दो तीलियाँ
कहाँ क़ैद ठंडी हवाएँ कहाँ
उठो बुलबुलो

मुझे खबर है पर कटे हैं तुम्हारे
पर कटे हैं तुम्हारे
उठो वक़्त देता है तुमको इशारे
हो तुमको इशारे
गया वक़्त फिर जा के आए कहाँ
उठो बुलबुलो
उठो बुलबुलो
उठो बुलबुलो


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

A century post – and a discovery of monumental proportions. Things cannot get more rare, and better, than this.

We are at a century marker with this post – 13,300 – thirteen thousand three hundred to be exact. Atul ji and I exchanged some thoughts on whether to hold back this important discovery for a bigger, more major milestone up ahead. But then we decided that the wait of some more months will be too much. Let us introduce this discovery at 13,300 itself, and then we will have a few more opportunities to bring on other parts, other songs of this discovery.
Read more on this topic…


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

“Prem Nagar”(1940) was was produced and directed by M Bhavnani. The movie had Bimla Kumari, Ramanand, Husn Bano, Rai Mohan, Fanty Prasad, Nagendra, Girish, Salu, Sheil Prabha, Gulzar etc in it.
Read more on this topic…


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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 ELEVEN years. This blog has over 15100 song posts by now.

This blog is active and online for over 4000 days since its beginning on 19 july 2008.

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