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

Archive for the ‘Classical composition’ Category


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:

4356 Post No. : 15678

“One good thing about music, when it hits you, you don’t feel pain”.

Thus spoke Bob Marley (1945-1981), the famous Jamaican singer and songwriter, about the power of music. From the most casual to the most formal, every activity, every endeavor of human existence is in one form or another, quite inextricably linked with music. Music pervades our lives and our beings. In many an instance, music appears quite unexpectedly in our lives.

Back in 1981, the Minister of Culture of France was a gentleman by the name Jack Lang. He appointed Maurice Fleuret as the Director of Music and Dance. One observation Maurice had about the cultural ethos of France – “the music everywhere, the concert nowhere”. He conducted a sample survey of the French population. The survey brought out some very interesting results; the most important one was which established that almost half the population was adept at playing one or another type of musical instrument.

Armed with this result, Maurice dreamt of bringing this talent for music, out in the open. Working with his minister, Maurice set out to design a method which would allow common people to be able to perform for others. From this pursuit was born the concept of ‘Fête de la Musique’ or the ‘Festival of Music’. After preparing and communicating for many weeks, finally the date for this public festival was decided as 21st June. In the year 1982, this event was rolled out across the length and breadth of France.

Ever since, the phenomena has spread to practically everywhere. This festival is now held in more than a thousand cities across 170 countries.

One basic feature of this celebration is that it is free. The artists and musicians perform for free. And also, all performances are free for the viewing public.

When writing about music, I have occasionally fallen back on the 1985 film ‘Sur Sangam’, for a suitable song for the post. Once again today, as I write to celebrate this worldwide event, I bring to the readers another wonderful song that tells about the nature and practice of music. The beginning words of this song lay out such an adept definition,

saadh re mann sur ko saadh re
ek mann ko doosre se baandh re

Yes, a force that brings together and binds the minds and hearts of people. Need I say more – the experience of the regulars of this musical bandwagon will speak for itself.

As I noted in my write up for the song “Aaye Sur Ke Panchhi Aaye”, as far as the memory serves, the film ‘Sur Sangam’ is probably the last film that I can remember, that has music as its central theme. After 1985, I cannot recall any other Hindi film built on the theme of music.

The film is a Hindi remake of the iconic Telegu film ‘Shankarabharnam’. It has been produced by V Ramesh for Vijay Madhavi Pictures, Madras and is directed by K Vishwanath. The eminent star cast of this film includes Girish Karnad, Jayaprada, Sachin, Sadhna Singh, Deven Verma, Bharti Achrekar, Paintal, Tabassum, Asrani, Bhushan Tiwari, Dina Pathak, Mohan Choti, OP Singh, Jeet Mohan, Sulabha Deshpande, SP Dubey, Urmila, Master Akash Singh and Baby Mamta.

The film has a set of very wonderful 11 songs, all written by Vasant Dev, and set to wonderful classical melodies by Lakshmikant Pyaarelal. Five songs of this film are already showcased on our blog. And the sixth makes its appearance today on the occasion of the World Day of Music. The singing voice is that of Rajan Sajan Misra.

May there be delightful music today, and every day in our lives.

Song – Saadh Re Mann Sur Ko Saadh Re (Sur Sangam) (1985) Singer – Rajan Sajan Misra, Lyrics – Vasant Dev, MD – Laxmikant Pyaarelal

Lyrics

saadh re
mann sur ko saadh re
saadh re
mann sur ko saadh re

ek mann ko
doosre se
baandh re
saadh re
mann sur ko saadh re
saadh re..ae..ae
mann sur ko saadh re

taa..aa..aan hai suraj kiran
taa..aa..aan hai suraj kiran
alaap neelam ka gagan
alaap neelam ka gagan
ab ugey ankur dhara par
baandh aisa raag re..ae..ae
saadh re..ae
mann sur ko saadh re
saadh re..ae
mann sur ko saadh re

ma pa nee nee nee dha
nee. . . sa
ga nee ma pa
pa ga
ma re
re pa

megh se malhaar le tu. . .
megh se malhaar le tu
gandh se gandhaar le tu
gandh se gandhaar le tu
dhol pancham kokila ka
tu bahaa re raag re. . .
saadh re..ae
mann sur ko saadh re
saadh re..ae
mann sur ko saadh re

mann yahi tu dhyaan rakh
mann yahi tu dhyaan rakh
sur ki sahi pehchaan rakh
sur ki sahi pehchaan rakh
tu rahe ya na rahe
par sur rahe abaad re..ae
ae..ae

saadh re..ae
mann sur ko saadh re
saadh re..ae..ae
mann sur ko saadh re
saadh re..ae
mann sur ko saadh re

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

साध रे
मन सुर को साध रे
साध रे
मन सुर को साध रे

एक मन को
दूसरे से
बांध रे
साध रे
मन सुर को साध रे
साध रे॰॰ए॰॰ए
मन सुर को साध रे

ता॰॰आ॰॰आन है सूरज किरण
ता॰॰आ॰॰आन है सूरज किरण
आलाप नीलम का गगन
आलाप नीलम का गगन
अब उगे अंकुर धरा पर
बांध ऐसा राग रे॰॰ए॰॰ए
साध रे॰॰ए
मन सुर को साध रे
साध रे॰॰ए
मन सुर को साध रे

म प नी नी नी ध
नी॰ ॰ ॰ स
ग नी म प
प ग
म रे
रे प

मेघ से मल्हार ले तू॰ ॰ ॰
मेघ से मल्हार ले तू
गंध से गंधार ले तू
गंध से गंधार ले तू
ढोल पंचम कोकिला का
तू बहा रे राग रे॰ ॰ ॰
साध रे॰॰ए
मन सुर को साध रे
साध रे॰॰ए
मन सुर को साध रे

मन यही तू ध्यान रख
मन यही तू ध्यान रख
सुर की सही पहचान रख
तू रहे या ना रहे पर
सुर रहे आबाद रे॰॰ए
॰॰ए॰॰ए

साध रे॰॰ए
मन सुर को साध रे
साध रे॰॰ए॰॰ए
मन सुर को साध रे
साध रे॰॰ए
मन सुर को साध रे


This article is written by Sadanand Kamath, a fellow enthusaist 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 :

4299 Post No. : 15559

———————————–
Hindi Songs in Bangla Films – 25
———————————–

The personality I am going to persent in this article is one of the greatest exponents of Hindustani classical music. He has been often referred to as the ‘Tansen of the 20th Century’. He is also credited with creating an unique style of rendition with shorter ‘aalaaps’ and ‘vilambit’ (slow), greater emphasis on ‘taans’ and ‘sargams’ much against the likings of purists among the Hindustani classical vocalists. He did these improvisations to make his presentation interesting to his audience. This style of renditions was later to become an integral part of Kasur-Patiala Gharana for the nextgen vocalists. He is none other than Padma Bhushan Ustad Bade Ghulam Ali Khan whose 52nd Remembrance Day falls today, the April 25th.

Ustad Bade Ghulam Ali Khan (02/04/1902 – 25/04/1968) was born in Kasur, Punjab (now in Pakistan) in the family of three generations of singers. I had discussed in detail the profile of Khan Saheb in my article “Prem Jogan Ban Ke”. So, I will skip that part. During the intervening period, I have come across some interesting information especially from the writings of Professor BR Deodhar and GN Joshi, both Hindustani classical singers and musicologists. GN Joshi was also associated with HMV for a long time in popularising the classical and semi-classical music. Both of them were the close friends of Khan Saheb.

Khan Saheb started his training as a vocalist in Khayal singing. But it was his unique way of singing Thumris that enthralled his audience. Thumri as one of the forms of semi-classical singing was on the declining trajectory after the Indian mutiny in 1857 and the consequential decline of aristocracy which used to patronise the Hindustani classical musicians and singers. It was Khan Saheb who revived the Thumri form of semi-classical singing and made popular among the masses by improvising his presentation which sometime defied the traditional form of rendition.

Professor BR Deodhar has described an incident in one of his articles which appeared in 1949. He pointed out to Khan Saheb as to why his recitals left in a state of unfulfillment for purist like him. Without giving him reply to his query, Khan Saheb invited him to attend one of his forthcoming concerts to get the answer. In that concert, Khan Saheb sang Raag Darbari Kanhra in a traditional format. After the end of the concert, Professor Deodhar was very pleased and asked him as to why he was not singing the way he sang in the concert. Khan Saheb’s reply was that not all the audience were musically intelligent like him. A majority of audience who have only the basic knowledge of Hindustani classical music would like some kind of sensation and ‘harkat’ in presentations. Otherwise they would think that I am a sickly person.

The above incidence shows how Khan Saheb was adaptable to the audience’s interest. His singing was always a two-way interaction between him and the audience. That was the reason that when he gave concerts in halls, he would not allow the switching off lights in the area where the audience sit. He felt that by seeing the faces of the audience, he would be inspired to give his best performance.

According to Professor BR Deodhar, Khan Saheb was always immersed in music. He will always have with him his Swarmandal (Indian Harp), be at home or outside because he would get inspirations to sing from anything around him. He quoted an incidence which happened sometime in late 1940s when both of them were coming out of All India Radio, Mumbai. It was a rainy season and they were walking on Marine Drive to reach their homes. The high waves from Arabian Sea were hitting the sea wall of Marine Drive. It soon started raining. Khan Saheb was so much enchanted by the whole atmosphere that he sat on the sea wall and started singing Raag Megh Malhar. Professor Deodhar noted that Khan Saheb’s taans would reach in high octave to synchronise with the noisy rising sea waves hitting the sea wall. he would sing taans in lower octave to synchronise with the less noisy receding waves in the sea. He sang for nearly 45 minutes drenched in heavy rains and in the splash of the waves until his son forcibly took him away to the home.

Khan Saheb was active as a Hindustani classical vocalist from 1936 when he gave his first public performance in Calcutta (now Kolkata) to almost until his death in 1968. However, in terms of discography, very small fractions of his renditions are available in recorded format. The reason was that at the initial stage of his singing career, by and large, he avoided recording of his performances both for All India Radio and for the gramophone record companies. Generally, Khan Saheb would not say ‘no’ for recording of his singing but he would give excuses at the last moment for his inability to record the singing. Sometime in the middle of 1940s, he revealed that he was afraid of recording his singing as he felt that the quality of his voice would be severally affected by the electric wires of the recording equipment.

It was with great patience that music lovers like GN Joshi of HMV could persuade Khan Saheb to record his songs. Hence, in the initial period, his singing was recorded for 78 RPM records of about 3 minutes of duration because Khan Saheb felt that the shorter duration would not affect the quality of his voice. By 1960s, Khan Saheb had completely come out of his misgiving about the recording and had started recording the longer duration of his singing for All India Radio and the gramophone recording companies.

According to Ustad Raza Ali Khan, the grandson of Khan Saheb, contrary to general belief, Khan Saheb was not averse to singing in films. In 1944, Khan Saheb’s younger brother, Ustad Barkat Ali Khan had sung in films ( I checked and found a song in the film ‘Shukriya’,1944). Probably, at that time, Khan Saheb may have also got interested in singing in films. He had shown his desire to sing in the film to RC Boral, the music director for New Theatres. At that time, RC Boral had told Khan Saheb that it was below his dignity to sing in films when he had such a high stature as a Hindustani classical vocalist. This statement made him not to sing for any films in future (Source: The Times of India, April 02, 2020). The only exception he made was when Khan Saheb had to sing two songs in K Asif’s ‘Mughal e Azam’ (1960) against his wish. Despite quoting an astronomical fee of Rs.25000/- per song as a way of discouraging him from singing in the film, K Asif accepted his demand.

Since 1948, Khan Saheb had spent most of his life in India by renewing his visa during which time, he was on concert tours mainly to Bombay (now Mumbai), Calcutta (Kolkata), Hyderabad, Lucknow Delhi etc. After getting Indian Citizenship in 1957, Khan Saheb was staying in a Bungalow in Malabar Hill in Mumbai. In 1961, he had a paralysis attack which prevented him from singing for some time. He made a good recovery from paralysis and had started singing in concerts with the vocal supports from his son, Ustad Munawwar Ali Khan. In 1963, he shifted his base to Hyderabad and stayed in Basheer Baug Palace. Khan Saheb left for the heavenly abode on April 25, 1968 after a prolong illness arising out of the paralysis attack in 1961.

As a tribute to Ustad Bade Ghulam Ali Khan on his 52nd Remembrance Day, I have chosen one of his most popular thumris which was first recorded in 1948 though he had started singing this thumri much earlier in his concerts and on All India Radio. I am referring to his thumri “Aaye Na Baalam Ka Karoon Sajni” which he has rendered in Raag Sindh Bhairavi. It is a surprise discovery for me that Khan Saheb had rendered this thumri as a playback singer for the actor Basanta Chowdhury in Bangla film ‘Basanta Bahar’ (1957).

I was under the impression that Khan Saheb has rendered only two film songs in his life time – “Prem Jogan Ban Ke” and “Shubh Din Aayo Raaj Dulaara” in ‘Mughal-E-Azam’ (1960). How come Khan Saheb sang, “Ka Karoon Sajni. . .” in Bangla film, ‘Basanta Bahar’ (1957), that too as a playback singer ? Unfortunately, I did not find the record version of this thumri from the film other than what Khan Saheb recorded it as a non-film thumri sometime in 1948 (Record No. VE.5052), the audio clip of which I have also attached for the sake of comparison.

It is said that the bandish of the thumri under discussion and also another popular thumri, “Yaad Piya Ki Aaye” were written and composed by Khan Saheb after the untimely demise of his wife Ali Jiwai in 1932. These thumris are called the classical thumris of longing. Many stalwart vocalists of Hindustani classical music have rendered beautifully these two thumris – both within the Patiala Gharana as also from other Gharanas. But for me, Khan Saheb still rules in these two thumris.

Video Clip: (Film sound track)

Audio Clip: (Non-film thumri)

Song – Kaa karoon sajni aaye na baalam (Basanta Bahaar) (Bangla )(1957) Singer – Ustaand Bade Ghulam Ali Khan, MD – Pt Jnan Prasad Ghosh

Lyrics: (Based on Video Clip)

aaaaaaaaaaaaaa
aaa aaa aaa aaa
aaaa aaaa aaaa aaaa
aaye na baalam
ka karoon sajni ee
aaye na baalam
aaye na baalam
baalam
aaye na baalam
tadpat beeti mori
aaa aaa aaaa aa
tadpat beeti mori
un bin ratiyaan aan aan aan
aaye na baalam
baalam

rowat rowat kal naahin aaye ae ae
nis din mohe birahaa sataaye
yaad aawat jab unki batiyaan aan aan aan
aaye na baalam
aaye…na aa aa …baalam
pa
ga ma ga pa
ma dha ma dha pa
pa ga ma pa
sa ni ni da pa ni
ni da pa ma ga pa
ga ma pa ma ga ma ni da sa
aaye na baalam
baa..lam
baa……la…….m
aaye ae ae……naa…baalam re
ae ae ae
baalam re
aaye na baalam
ka karoon sajni
sajni
aaye na baalam
aaaaaaaaaaaa
baalam
aaye na ba..
baa…….la….m…….aa aa aam
aaye na baalam
tadpat
dh re ma sa re ma
ma ga pa
ga ma pa
tadapt beeti mori
un bin ratiyaan aan aan
aaye na baalam
aaye na.. baalam ma aa
baa..la..m
aa aa aa aa
baa..lam
aaye na baa..la..m
ka karoon sajni ee
aaye na baalam re..

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

आssssssssss
आs आs आs आs
आsss आsss आsss आsss
आए ना बालम
का करूँ सजनी॰ ॰ ॰
आए ना बालम
आए ना बालम
बालम
आए ना बालम
तड़पत बीती मोरी
आsss आsss आsss आsss
तड़पत बीती मोरी
उन बिन रतियाँ॰ ॰ ॰
आए ना बालम
बालम

रोवत रोवत कल नहीं आये॰ ॰ ॰
निस दिन मोहे बिरहा सताये
याद आवत॰ ॰ ॰ जब उनकी बतियाँ॰ ॰ ॰
आए ना बालम
आए॰ ॰ ॰  ना॰ ॰ ॰  बालम


ग म ग प
म ध म ध प
प ग म प
स नी नी ध प नी
नी ध प म ग प
ग म प म ग म नी ध स
आए ना बालम
बा॰॰लम
बा॰॰ ॰॰ल॰॰ ॰॰म
आए॰ ॰ ॰ ना॰ ॰ ॰ बालम रे
ए ए ए
बालम रे
आए ना बालम
का करूँ सजनी
सजनी
आए ना
आssssssssss
बालम
आए ना बा॰ ॰ ॰
बा॰॰ ॰॰ल॰॰ ॰॰म॰ ॰ ॰ आ आ आ म
आए ना बालम
तड़पत
ध रे म स रे म
म ग प
ग म प
तड़पत बीती मोरी
उन बिन रतियाँ॰ ॰ ॰
आए ना बालम
आए ना॰ ॰ ॰ बालम॰॰म॰॰म
बा॰॰ल॰॰म
आ आ आ आ
बा॰॰लम
आए ना बा॰॰ल॰॰म
का करूँ सजनी॰ ॰ ॰
आए ना बालम रे

 


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 : 4244 Post No. : 15463

“Umrao Jaan” (1981) was produced and directed by Muzaffar Ali. The movie had Rekha, Farooq Sheikh, Naseruddin Shah, Raj Babbar, Shaukat Kaifi, Bharat Bhushan, Satish Shah, Prema Narayan, Dina Pathak, Leela Mishra, Akbar Rashid, Gajanan Jagirdar, Khan Ghizlai, Rita Rani Kaul etc in it.

The movie had ten songs in it. Six of these songs have been covered in the past.

Here is the seventh song from “Umrao Jaan” (1982) to appear in the blog. this song is a classical song which is sung on traditional lyrics. It is sung by Shahida Khan according to HFGK. But it turns out that the song, as seen in the picturization is sung by Ustaad Ghulam Mustafa Khan. Shahid Khan version was the record version of the song.Khayyam is the music director.


Song-Jhoola kinne daala re(Umraao Jaan)(1981) Singer-Ustaad Ghulam Mustafa Khan/Shahida Khan, MD-Khayyam

Lyrics
Ustaad Ghulam Mustafa Khan version

jhoola kinne daala re amraiyya
jhoole mora sainya loon main balainya
re amraiyya
jhoola kinne daala re amraiyya

ambuva ke pedva pe jhoola jhoolat hai
ambuva ke pedva pe jhoola jhoolat hai
garba lagaaye pakad leenhi bainya
re amraiyya
Jhoola kinne daala re amraiyya
jhoola kinne daala re amraiyya

dar mohe laage jiya mora larje ae
dar mohe laage jiya mora larje
haule haule jhoolna jhulaao more sainya
haule haule bhoolna khiladi more sainya
re amraiyya
jhoola kinne daala re amraiyya
re amraiyya
re amraiyya


This article is written by Sadanand Kamath, a fellow enthusaist 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 :

4237 Post No. : 15448 Movie Count :

4254

Hindi Songs from Bangla Films – 18
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‘Jhinder Bandi’ (Prisoner of Jhind, 1961, Bangla film)) was based on a Bangla novel of the same name by Saradindu Bandopadhyay and an English novel ‘The Prisoner of Zenda’ written by Anthony Hope on which a Hollywood movie of the same name was made in 1937. The Bangla film was directed by Tapan Sinha. The main star cast included Uttam Kumar (in double role), Arundhati Devi, Soumitra Chatterjee, Tarun Kumar, Radhamohan Bhattacharya, Sandhya Roy, Dilip Roy, Dhiren Mukherjee etc. The film is available with English sub-titles on video sharing platforms. The story of the film is as under:

In the State of Jhind (now in Madhya Pradesh), the King dies. He has two sons – Shankar Singh (Uttam Kumar) and Udit Singh (Tarun Kumar). The elder brother, Shankar Singh is a drunkard, lazy and irresponsible but the people of Jhind love him. Udit Singh on the other hand has an evil personality and people of Jhind hate him.

On the eve of the coronation of the King in waiting, Shankar Singh is found missing. And this has happened for the third time. This time, if he is not found on the day of the coronation, his younger brother, Udit Singh would be coronated as the King of Jhind. The Fauji Sardar (Radhamohan Bhattacharya), the loyalist to Shankar Singh, suspects the role of Udit Singh behind the disappearance of Shankar Singh and is determined to locate him before the day of the coronation.

As part of the search mission, Fauji Sardar reaches Calcutta (Kolkata). In a club, he watches a sword fight in progress. Suspecting one of the sword fighters to be Shankar Singh because of his resemblance to him, Fauji Sardar meets him in his elder brother’s house who introduces the sword fighter as Gauri Shankar Roy (Uttam Kumar). Finding Gauri Shankar Roy has a striking resemblance to Shankar Singh, Fauji Sardar gets an idea to make him to pretend as Shankar Singh on the coronation day. He is also surprised to see in the house a portrait of Kali Shankar Roy, the father of Gauri Shankar Roy.

Fauji Sardar explains to Gauri Shankar Roy the situation in the kingdom of Jhind. He tells him that he had arranged the coronation of the Shankar Singh twice but on both the occasions, Udit Singh has managed to make him disappear. This is the third occasion Shankar Singh has disappeared. If he is not found now, Udit Singh would automatically become the king. He requests Gauri Shankar Roy to impersonate Shankar Singh for coronation as the king of Jhind until the real Shankar Singh is found. While Gauri Shankar Roy is prepared to do this adventure, his elder brother refuses telling him that this is a dangerous pretension. But Gauri Shankar Roy goes ahead and accompanies Fauji Sardar to Jhind.

The first thing Gauri Shankar Roy is to do is to shave off his moustache. The second hurdle is to get examined by the royal physician who is surprised to find ‘Shankar Singh’ hail and hearty and there is no swelling of his liver despite his drinking habit. So, he has passed the test to pretend as Shankar Singh as the royal physician did not have doubt about him. He also regularly rehearses sword fighting.

In the meanwhile, Udit Singh and Mayurvahan (Soumitra Chatterjee), his right-hand man get the wind of the arrival of Fauji Sardar with an unidentified person through his informer, the station master of the railway station, where they alighted for their onward journey to the Jhind. Udit Singh comes to meet Gauri Shankar Roy now pretending to be Shankar Singh in the palace. By looking at him, Udit Singh is shocked to such an extent that he forgets to wish him. He asks him as to who he was. The Fauji Sardar with surprise on his face tells Udit Singh sarcastically that this was an odd question to ask to his brother. Of course, Udit Singh knew that he could not be Shankar Singh because he was in the custody of Mayurvahan. And questioning Fauji Sardar at this stage would expose his wrong doing.

In the meantime, Gauri Shankar Roy is crowned as the King of Jhind. Now onwards, from a pretending king, he has also to pretend as the fiancé of Queen Kasturi Bai (Arundhati Devi), the princes of Zorawar who has been betrothed to him which he was not made aware of when he agreed to be a pretending king. This was a most difficult job.

After the coronation, Queen Kasturi Bai meets Gauri Shankar Roy as the king when she performs a welcome aarti. Her dislike to the king is evident as the king’s conversations remains one sided. However, when she is about to serve him wine, he refuses to drink by saying that he has given up drinking. This changes her expression as until now she has known him to be drunkard and good for nothing prince without much interest in administration of the kingdom. She started liking him with his changed attitudes. Within few days, they start seeing each other.

Gauri Shankar Roy now finds himself in a piquant situation. His pretension as a fiancé of Queen Kasturi Bai cannot go on for long as they have to get married soon. So, he is in a hurry to quit his role as a fake king. However, he cannot go back until the real Shankar Singh is found who is held as a prisoner under the watchful eyes of Mayurvahan. In a way, Gauri Shankar Roy is also like a prisoner in the palace where he has to act as per the direction of Fauji Sardar. The only way for him to go back to Calcutta is to find the real Shankar Singh.

In the meanwhile, knowing that Gauri Shankar Roy has been uncomfortable in faking as a king as well as the fiancé of Kasturi Bai, Fauji Sardar reveals a secret to him that both Shankar Singh and Udit Singh are the sons of Kali Shankar Ray, the Diwan of Jhind to whom the King, who was issue less, had adopted them. So, Gauri Shankar Roy deserves to be the King of Jhind as much as his brothers – Shankar Singh and Udit Singh. This was an interesting revelation to Gauri Shankar Roy.

The pretending king comes to know through the informers that the real Shankar Singh is being held in a fort owned by Udit Singh who plans to murder Shankar Singh once he gets rid of Gauri Shankar Roy. He decides to visit the fort in the night along with a guard and the informer who knows the way to reach the inside of the fort through a secret entrance. On the way, Gouri Shankar Roy is intercepted by Mayurvahan and a fight breaks out in which Gauri Shankar Roy injures Mayurvahan. As he approaches the room, he kills Udit Singh and gains the entry into a room where Shankar Singh has been held prisoner. In the meanwhile, Fauji Sardar with his guards comes to the fort and kills Mayurvahan when he once again confronts Gauri Shankar Roy.

When Gouri Shankar Roy sees the real Shankar Singh for the first time, his thoughts are to get rid of Shankar Singh to become the real King of Jhind but as a good samaritan, he abandons his thoughts. All these actions have been shown without dialogues but with the expressions of both Shankar Singh and Gauri Prasad. He orders Fauji Sardar to take Shankar Singh to the palace as early as possible to ward off the risk to his life. He meets Kasturi Bai for the last time who thanks him for saving the kingdom. As Gouri Shankar Roy is about to leave the fort on his way to Calcutta, Kasturi Bai asks him as to what sins she has committed to shatter her beautiful dream. Gouri Shankar Roy responds by saying that it was just a dream and mounts on the horse to reach the railway station to take the train to Calcutta (Kolkata).

Earlier, I had watched Tapan Sinha’s Bangla films like ‘Kshuidita Pashan’ (1960), ‘Atithi’ (1965), ‘Hatey Bazarey’ (1967) and ‘Harmonium’ (1976) in one sitting each. But for ‘Jhinder Bandi’ (1961), it took me 3 sittings to complete the film viewing. Even though the film had an unusual story, somehow the film did not create in me the eagerness to watch in one go. Probably, the film was heavily edited in its DVD format. This doubt has come to my mind as I find that Soumitra Chatterjee in a villainous role and Sandhya Roy in the role of the love interest of one of the guards (Dilip Roy) have lesser duration than what their respective roles demand.

By the way, Uttam Kumar and Soumitra Chatterjee appear together for the first time in ‘Jhinder Bandi’ (1961). Later on, they have worked together in some more Bangla films until 1980. Another point worth mentioning is that Uttam Kumar and Tarun Kumar who are real brothers, acted in this film as reel brothers as well.

In the DVD of the film, I could get to hear only two songs one of which is the raagmala in three different Hindustani classical raags which I am presenting here. The raagmala is rendered by Pandit Prasun Banerjee, a Hindustani classical vocalist belonging to Patiala Gharana and the disciple of Ustad Bade Ghulam Ali Khan. The lyrics are traditional.

In between the rendering of raagmala, there are dialogues in Bengali. The first dialogue-break is between Shankar Singh (Uttam Kumar) and his guards for pouring more wine to which the Fauji Sardar tells him that he should not take any more drink as he has to be ready for his coronation (Obhishek). The second dialogue-break is when his younger brother Udit Singh (Tarun Kumar) comes to meet him.

Video Clip:

Song-Jiya Mora ghabraaye (Jhinder Bandi)(Bangla)(1960) Singer-Pt Prasun Bannerji, MD-Ali Akbar Khan

Lyrics

aa aa aa aa aaaa
aa aa aa aa aa aaa
jiya…..aaa moraa ghab….raaye ae ae
kaase kahoon mann kee…eeee batiyaa..an
kachhu na une bina morey
pala….chhina beetat naahi..ee
dukh kee..eeee ee ratiyaan
ratiyaan..aan

[Dialogues in Bangla]

din din de re ghanana
din din de re ghanana
?? ?? ?? ??
din din de re ghanana
?? ?? ?? ??
din din de re
shubh ghadi shubh din sukhad mahurat
shubh ghadi shubh din sukhad mahurat
kalash daroon tere
aan aan aan aan aan
aan aan aan aan aan
din din de re ghanana

[Dialogues in Bangla]

meethe laage tore nain
tore naina
tore naina
meethe laage tore nain
laaj bhare kajara aa aa
kajara aa aa aa
kajara aa aa aa
kajara aa aa re

[Dialogue in Bangla]

wo aa gaye hain hamen
jinka
jinka intzaa….aar thhaa aa
wo aa gaye hain hamen….


This article is written by Sadanand Kamath, a fellow enthusaist 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 :

4221 Post No. : 15424 Movie Count :

4251

Hindi songs from Bangla Films – 16
—————————————————-
‘Basanta Bahaar’ (1957) was a Bangla film directed by Bikas Roy who also acted in the film. The main cast consisted of Basanta Chowdhury, Sabtri Chatterjee, Pahadi Sanyal, Sunanda Devi, Bikash Roy, Aparna Devi, Asha Devi, Nitish Mukherjee etc. The music was composed by Pandit Jnan Prakash Ghosh who had in the 1940s also composed songs for two Hindi films, ‘Paraaya Dhan’ (1943) and ‘Muzrim’ (1944).

When I first came to know about this Bangla film, I assumed that this may be a remake of Hindi film ‘Basant Bahaar’ (1956). After watching the Bangla film, I realised that except the common theme of Hindustani classical music, the story of both Hindi and Bangla films are quite different.

In Hindi version of the film, the story is about a rivalry between two singers to become the royal court musician by way of competition. When it became apparent that Bharat Bhushan has the best chance of a winning singer, his rival singer’s father gives him a glass of holy water with some substance which ruins his voice. It is the dancer (Nimmi) who helps him to regain his voice and wins the competition to become the royal court musician.

In Bangla version of the film, after watching the film (unfortunately, the film is not available with English sub-titles), my understanding of the story is that there is a cold war going on between the teacher, Munni Bai (I am not able to recognise the actress) and her disciple Jayanto (Basanta Chowdhury). This cold war is accentuated by the disciple falling in love with Munnibai’s daughter, Lata (Sabitri Chatterjee) who is also her mother’s disciple. The relationship is resented by Munnibai as also from Jayanto’s family because of the different background. Both Jayanto and Lata secretly get married in a temple.

While Lata’s father (Pahadi Sanyal) who is also a sarangi player for Munnibai in her concerts, is sympathetic towards his daughter’s relationship with Jayanto, he is not vocal about his stand in front of Munnibai. As a result, Lata is forced to stay separetely with her parents, In desperation, Jayanto leaves the place and wanders all over India.

In the meanwhile, Munnibai repents and decided to leave for Kashi where she dies. Lata’s father takes care of her musical training as a vocalist. In her maiden public concert, she fumbles her lines to be timely prompted by a person from the audience who is none other than Jayanto. They are united. The film ends with their daughter rehearsing a bandish in Raag Basant Bahar with which both Lata and Jayanto were also trained. They are happy with their daughter’s performance.

Two important features of the film are the use of songs in Hindustani classical music and a part song in Tamil in Carnatic music along with an excellent 5-minute kathak dance performance by Roshan Kumari (daughter of playback singer, Zohrabai Ambalewaali).

‘Basanta Bahaar’ (1957, Bangla film) had 14 songs (including multiple versions) of which 7 were in Hindi (Hindustani classical vocals) in different raags. However, only 9 songs in record versions were issued (7 Bengali songs +2 Hindi songs). Rest of the songs were available on the film’s sound track only.

I am presenting from the film a traditional bandish, ‘naveli kali khilan ab aayi ban ban mein’ in Raag Basant Bahar rendered as a Chhota Khayal by Hirabai Barodekar. The song is picturised on an actress in the role of Munnibai in a Hindustani classical music conference. It has two more version rendered in the film – first by Manik Varma for Sabitri Chatterjee as a solo while she is rehearsing and second by Manik Varma and Pandit A T Kanan as duet providing vocals for Sabitri Chatterjee and Basanta Chowdhury on the screen. The record version of this duet is longer as alaaps, taan, bol-baant and sargam are incorporated. However, the bandish bol (lyrics) are the same for all the four versions. Hence, I have given below lyrics for Hirabai Barodekar version of the song only.

It is interesting to note that all the singers of this Bandish belong to Kirana Gharana or had an influence of this Gharana. Hirabai Barodekar, apart from the daughter of Ustad Abdul Karim Khan, the doyen of Kirana Gharana has been the disciple of Ustad Abdul Wahid Khan and Suresh Babu Mane, both of Kirana Gharana. Manik Varma (nee Dadarkar) was the disciple of Hirabai Barodekar. Pandit A T Kanan’s style of singing was influenced by Ustad Amir Khan who first adopted the Kirana Gharana style and later improvised it to be called the Indore Gharana.

By the way, I was always wondering for a long time as to how Hirabai started using the surname as ‘Barodekar’. She could have used her mother’s surname ‘Mane’ after separation of her mother from her father, Ustad Abdul Karim Khan in 1922 or her husband’s surname ‘Gandhi’. In this context, I recently came across a trivia mentioned in the book ‘The Lost World of Hindustani Music’ (2006) by Kumar Prasad Mukherjee.

After eloping with Tarabai Mane, the daughter of Sardar Marutirao Mane who was the brother-in-law of the then Maharaja of Baroda, Ustad Abdul Karim Khan never visited Baroda again. After some years, Sayajirao Gaekwad, the Maharaja of Baroda visited Mysore to witness Dussera festival. There, he met Ustad Abdul Karim Khan and enquired about his family. Ustad while asking for His Highness’s forgiveness said that it was his destiny which took him away from the magnanimous patronage of Maharaja of Baroda. He revealed to Maharaja that as part of his gratitude to Baroda, he attached ‘Barodekar’ to the names of all his children.

But only Champu (Hirabai) used the surname ‘Barodekar’ till her last.

Video Clip(Hirabai Barodekar version)

Video Clip(Manik Verma solo version)

Video Clip (Partial)(Manik Verma and Pandit A T Kanan)

Audio Clip (Full)(Manik Verma and Pandit A T Kanan)

Song-Naveli kali khilan ab laagi ban ban mein(Basanta Bahaar)(Bangla)(1957) Singer- Hirabai Barodkar/ Manik Verma/ Manik Verma, Pt A T Kanan, MD-Pandit Jnan Prakash Ghosh

Lyrics (Based on Hirabai Barodekar version)

aaaa aaa aa aaaa aaa
aa aa aa aaaaaa aaaa
aaa aaa aaa aaaaa aaa
aaa aaa aaa aaaaa aaa
aa aa aaaaa
naveli kali…ee ee ee
naveli kali
khilan ab laagi ban ban mein
madmaati daar daar
baar baar koyal boli
naveli kali
naveli kali……ee ee ee ee
aa aa aa aa aa
aaaaaaaaaaaa
aa aa aa aa aaa
aaaaaaaa aaaa
aa aa aa aa aa aaa
aaaaaa aa aaaaaa aa
naveli kali
khilan ab laagi ban ban mein
madmaati daar daar
baar baar koyal boli
naveli kali

aaaaaaaa
aayi bahaar sab ke mann bhaayi
aayi bahaar sab ke mann bhaayi…eeeeee
aa aa aaaaa na aa
aaa aaa aaa aaa aaa aa na
aa ah aa ah ha ha ha ah
aaaaaaaaaa aaaa aaaa aa aa haa
aayi bahaar sab ke mann bhaayi
lagan jagaayi prem badhaayi
lagan jagaayi prem badhaayi
sabhi rang mein kunj gali
aaaaaaaaaaaaa
aaaaaaaaaaaaa aa
naveli kali
aaaaaaaaaaaaaaaa
aaaaaaaaaaaaaaaa
aaaaaaaaaaaaaaaa
naveli kali
aaa aaa aa aaa aaa aa
aaaaaaaaaaaaaaaaa
aaaaaaaaaaaaaaaaa
aaaaaaaaaaaaaaaaa
naveli kali….ee…eeee
naveli kali
naveli kali
naveli kali


This article is written by Peevesie’s mom, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me.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 : 4199 Post No. : 15383

Hullo Atuldom

Happy festival at the outset.

A festival that goes by various names :- Makara Sankranti (AP, Karnataka, Kerala, Goa, Maharashtra), Pongal (TN & Pondicherry), Lohri (Punjab, Haryana, Delhi), Sakraat & Makraat (Bihar, UP, Uttarakhand), Uttarayan (Gujarat, Diu, Daman), Suggi (in parts of Karnataka), Magh Saaji (HP), Ghughuti – (Kumaon), Makara Chaula (Odhisha), Kicheri (Poorvanchal, East UP), Pousha Sankranti (Bengal and North East), Magh Bihu (Assam), Shishur Sankraat (Kashmir ), etc etc. Outside of the country, in some neighbouring Asian countries to be exact, it is celebrated as Maaghe Sankrast – Nepal, Tirmoori – Sindh Pakistan, Songkran -Thailand , Pi Ms. Lao – Laos, Thingyan – Myanmar, Mohan Songkran – Cambodia etc. Basically we are all celebrating the transition of the Sun across the Equator, on it’s journey from the southern hemisphere to the northern hemisphere.

Each region of India have their own ways of celebrating the event but as I have come to understand there are a few things common to all –Jaggery, til (also called gingelly, or sesame seeds), sugarcane, and freshly harvested ears of corn, wheat or even turmeric (in South India). Then of course the children enjoy themselves with kite flying which takes on the form of competition at times. So let us say Happy Festival. Tamil Nadu has its festivities spread over 3-4 days culminating in what is called Mattu Pongal – celebrated the next day of Sankrant with races with cattle involved. (PETA has tried to bring some order to the extent to which the animals can be made use of, and the conditions in which the races take place).

Last weekend, I was lucky to be asked to join my Chacha and Chachi, to an evening full of OPN songs by a newly formed music group. The members of the group were out to entertain themselves and showcase their talent among their close friends and relatives. The closest anyone of the group had come to anything Bollywood was when the hostess’s father had his ardent fan moment when he came face to face with OP Nayyar sometime in the 70s or 80s. That man was a self taught Harmonica player and encouraged his children and wife to sing along. And the wife and daughter of the (now) deceased man were at the forefront of the group which had female and male singers who sang in their own voices without aping any of the originals and that was a welcome change. The group presented medleys of songs with similar beats- the trade mark tonga-beat songs, and songs dipped in Punjabi folk tunes. The evening began with the song from ‘Sambandh’ – “Chal Akela Chal Akela” and then one song followed the next. The evening climaxed with songs that fell in tune with “Sar Pe Topi Laal Haath Mein Resham Ka Roomal”. In between there was an instrumental rendition of songs from ‘Kashmir ki Kali’, ‘Ek Musafir Ek Haseena’, ‘Kismat’ and ‘Phir Wohi Dil Laaya Hoon’ using the saxophone by Shri Shyam Raj ji who (if I heard right) had been a saxophone player for many of OPN’s songs.

Let me add that we were invited to the evening because my cousin’s husband has taken up singing and joined this group post his retirement. It was a revelation that he sang so well. The first song he sang that evening was “Piya Piya Piya Mora Jiya Pukaare” and “Surma Mera Niraala” was his next. And I must say he “yodels” almost like the Kishore Kumar whose fan he is.

As is my habit (ever since I associated with this blog) the first thing I did on returning home was to look up the anniversary page of our blog and see what was the date of OPN’s anniversaries. Next I checked what songs of OPN are yet to make their appearance on the blog. I found many movies of the 50s & 60s with two or three songs left to attain yyiippeeeehood. Then I began looking up for associated videos on YouTube, these songs are not yet available on YouTube too. In fact only the audio of some songs are available and not the whole movie. So that makes reaching videos difficult. But we cannot let the occasion of remembering OPN go by without a song.

So here it is. A song from the film ‘Raagini’ of 1958. The film is produced by Ashok Kumar, jointly with TS Ganesh, and is directed by Rakhan. This movie had a song which was enacted on screen by Kishore Kumar and playback was by Mohd Rafi. Now I discovered another song, as I was hunting songs for this post, which is again classical raaga based and Ustaad Amaanat Ali Khan and Fateh Ali Khan are the playback singers. On screen we have Padmini performing a classical dance and Kishore Kumar sitting on stage in a classical gaayaki mode and lip-syncing. A very uncharacteristic Kishore and a very uncharacteristic Omkar Prasad Nayyar who was popular as OP Nayyar. The song ends with Padmini matching steps to the brilliant tabla accompaniment.

As I was writing this post I recollected a post by Atul ji where he has mentioned about movies with names of popular actresses of the time but the actresses were not part of the cast of that particular movie, e.g. ‘Kalpana’ (1960) didn’t have Kalpana as heroine. An this film, ‘Raagini’ has Padmini as the heroine; Raagini the actress was her sister.

Let us enjoy this rare presentation, Kishore Kumar lip syncing a classical song in the voice of Bade Fateh Ali Khan.


Song – Chhed Diye Mere Dil Ke Taar Kyun (Raagini) (1958) Singers – Ustaad Amaanat Ali Khan, Bade Fateh Ali Khan, Lyricist – Jaanisar Akhtar, MD – O P Nayyar
Ustaad Amaanat Ali Khan + Fateh Ali Khan

aaaaaaa aaaaaaa
aaaa aaaaaaa aaaaaaaaa
aaaaaaa aaaaaaaa

chhed diye mere dil ke taar kyun
chhed diye mere dil ke taar kyun
baaj rahi paayal madmaati
baaj rahi paayal madmaati
chaal chale pag pag lehraati
chaal chale pag pag lehraati
jhoom raha jiya baar baar yoon
jhoom raha jiya baar baar yoon
chhed diye mere dil ke taar kyun
chhed diye mere dil ke taar kyun

(sargam)
chhed diye mere dil ke taar kyun
(sargam)
chhed diye mere dil ke taar kyun
aaaaaaaa aaaaaaa
chhed diye mere dil ke taar kyun
aaaaaaa aaaaaaaa
aaaaaa aaaaa aaaaaaa aaaaaaaa
aaaaaaa aaaaa aaaaaa
chhed diye mere dil ke tar kyun
aaaaaaa aaaaaa
aaaaa aaaaa aaaaaa aaaaaaaa
aaaaaaa aaaaaa aaaa
chhed diye mere dil ke tar kyun
chhed diye mere dil ke tar kyun

 


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 :

4168 Post No. : 15342 Movie Count :

4229

Hindi Songs in Bangla Films – 12
– – – – – – – – – – – – – – – – – –

‘Kshudhit Pashan’ (‘The Hungry Stones’ 1960, Bangla film) was based on a short story of the same name by Gurudev Rabindranath Tagore. It is said that Gurudev wrote this unusual ghost story towards of end of 19th century based on his visit to Ahmedabad where his elder brother, Satyendranath Tagore ICS, was posted as a District Magistrate. At that time, he had stayed in Shahi Mahal Palace built by Shah Jahan in 1620, situated at the banks of river Sabarmati, a part of which was converted in to residential quarters for civil servants by the British Government. Since during the day time, his brother would go for work as a District Magistrate leaving Gurudev alone in large rooms, the palace gave him a feeling of a haunted house. However, in the story, the names of the place and the river were changed.

The film belonged to the ghost/mystery genre which was directed by Tapan Sinha. The main cast included Soumitra Chatterjee, Arundhati Devi (wife of Tapan Sinha), Chhabi Biswas, Radhamohan Bhattacharya, Dilip Roy, Padma Devi etc. The film is available for viewing (albeit in 10 parts) on a video sharing platform with English sub-titles. However, I feel that it is an edited version of the original film to suit the maker of DVD as sometime the story link is broken. The gist of the story of the film is as under:

A tax collector (Soumitra Chatterjee) is posted in a small town where he decides to stay at an old palace constructed during Mughal period. He is warned by his servant, the local post master and others that the palace is haunted and he should avoid staying there. When his servant, Karim Khan was showing him the palace, he hears an unknown voice shouting in Hindi ‘bhaag jaao, bhaag jaao. Ye sab jhoot hai’. Karim Khan says that it was the voice of a mad man who had become the victim of the ghost.

Karim Khan explains as to why this palace has become haunted. About 250 years back, this palace was built by a Nawab for his merry making and leisure. Beautiful girls from Iran, Iraq, Arab and also from all over India were brought here who became the victims of his lust. There used to be musical and dance performances to entertain Nawab. Now the palace has become haunted because of thousands of tortured women’s spirits are moving there. So, whoever stays there in the night became their victim. Even thieves would not venture in the palace after dark. There are as many stories of crime and atrocities as the number of stones used in building the palace. Instead of getting terrified, the tax collector becomes more determine to stay in this haunted palace despite the fact that no servant would stay in the palace during the night.

In the very first night, the tax collector (no name has been given to Soumitra Chatterjee’s role) gets the first-hand experience of the weird sounds of anklets, the musical instruments and a Tarana (sung by Ustad Amir Khan), the kind of dance and music that would have been performed in a court of Nawab. He also gets to see a beautiful noble woman named Mumtaz from the Mughal era (enacted by Arundhati Devi), who turns out to be a ghost from that time. She was one of the victims of Nawab’s lust who had been kidnapped from one of the Arab countries and thus gets separated from her beloved. Eventually she dies without meeting her beloved. The tax collector is attracted by Mumtaz and has conversations with her even though she remains quiet. Now onward, he waits for her every night. She appears but remains quiet without answering his queries. (The reasons could be that either she does not understand the language spoken by the tax collector or she is a ghost). He feels that he was her beloved in his earlier birth. In one of the nights, he witnesses well-choreographed Kathak dance when she appears by his side. But the next moment, she is missing and found watching the dancers in the court and then she vanishes. (This is one of the best kathak dances I have seen in the films. The way the kathak dancer synchronises notes by notes of the Sarod player is mind boggling).

Whether the tax collector is imagining the scenes as per the story told by his servant or he is getting dreams or he is hallucinating is not clear. Probably, Tapan Sinha, the director has left to the imagination of the viewers. But in either case, the tax collector is caught in a time warp where his past and present is divided between nights and days respectively. There is a scene in the film where he tells his post master friend that he feels as if he is living in the Arabian nights.

The tax collector’s confused state of mind makes him ill and he is not able to concentrate on his office work for which he was posted. His servant advises him to shift to to a new place for stay and avoid visiting the palace which he agrees. But the attachment to Mumtaz is so strong that he visits the palace. He is so obsessed with Mumtaz that he takes on rent the Mughal attire to match with that of Mumtaz. His illness becomes severe and he is advised to go back to his home town. The film ends with his servant arranging a horse cart to take him to the railway station.

In the original story by Gurudev Rabindranath Tagore, the English translation of which is available here, there is no end as the narrator of the story to the protagonist, a railway co-passenger waiting for the train to arrive on the platform, suddenly picks up his luggage to join an Englishman in the first class compartment without completing the story.

The cinematic treatment given to the story in the film is interesting. Tapan Sinha has used dream and fantasy to make it interesting for the viewers. He has transformed the original ghost story to a romantic haunted story. There are not many dialogues in the film. Even among the limited dialogues, most of dialogues involving the servant, Karm Khan and with Mumtaz are in Hindi. The highlight of the film is the beautiful background music given by Ustad Ali Akbar Khan (who was also the music director for the film). I think, it is for the first time that for creating a haunting atmosphere, solo Sarod recitals by Ustad Ali Akbar Khan and the solo Sitar recitals by Pandit Nikhil Banerjee have been effectively used.

The film won a National Award for the second-best feature film in 1960 and an award in the Ireland Cork Festival in 1960. After about 30 years from the release of the film, Gulzar made the Hindi version film ‘Lekin’ (`1991) with his adaptation of Gurudev Rabindranath Tagore’s ‘Kshudhita Pashan’.

There are 5 songs in ‘Kshudhita Pashan’ (1960) which have been used as background songs. Three of them in Hindi are rendered by Ustad Amir Khan. All these three classical songs are of different genres and have also been used for the background score which are played on the Sarod/Sitar. ‘dhimta dhimta dhimta’ is rendered as Taraana, ‘piya ke aavan ki’ as Dadra and ‘kaise katey rajani ab sajani’ as Chhota Khayal. Incidentally, Ustad Amir Khan never sang semi-classical genre – Thumri, Dadra, Ghazal etc. in concerts. Nor did he record the song in these genres. The only exceptions were that he sang a ghazal for a Film Division’s documentary film ‘Mirza Ghalib’ and a Dadra in ‘Khudhito Pashan’ (1960).

I am presenting a traditional bandish ‘kaise katey rajani ab sajani’ rendered in Raag Bageshree as Chhota Khayal by Ustad Amir Khan and Pratima Banerjee. On screen, it is a background song when Soumitra Chatterjee (the tax collector) and Arundhati Devi (Mumtaz) meets for the first time in the palace in the night. The rendition gives an aura of the bygone Mughal era court where classical singings, dancing and poetry recitation were common. The bandish is also symbolic for Soumtra Chatterjee for his state of mind as also to Arundhati Devi as the ghost of Mumtaz who had been separated from her beloved. This bandish has been often played in the film as short renditions as well as the background score on musical instruments.

Video Clip (Partial):

Audio Clip:

Song-Kaise kate rajni ab sajni (Kshudhita Pashan)(1960) Singers-Ustad Amir Khan, Pratima Banerjee, MD-Ustaad Ali Akbar Khan
Both

Lyrics(Based on Audio Clip)

aaaaaaaaaaaaaaa
aaaaaaaaaaaa aaaa
aaaaaaaaaaaaaaa
aaaaaaaaaaaaa aa
kaise katey rajani
ab sajani
kaise katey rajani
ab sajani
piya bin mose raho na jaaye
kaise katey rajani
ab sajani

ghadi pal chin mohe jug si beetat hai
ghadi pal chin mohe jug si beetat hai
un bin jiya atu hi akulaaye
kaise katey rajani ab sajani
sajani ee ee ee
saja….ni ee ee ee
kaise katey rajani ab sajani
sajani eeeeeeeeeeeeeeeeeee
saja…aa..ni ee ee ee
kaise katey rajani ab sajani
aaaaaaaaaaaaaaaaaaa
aaaaaaaaaaaaaaaaaa
aaaaaaaaa sa…..ja…..ni ee ee ee
kaise katey rajani
kaise katey rajani ab sajani
naina more daras ke pyaase
naina more daras ke pyaase
asha jhute det dilaase
asha jhute det dilaase
mann ka panchhi rowat tarpat
mann ka panchhi rowat tarpat
maanat naahi manaa aa aa aa aa ye
kaise katey rajani ab sajani
kaise katey rajani ee ee ee ee


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 :

4161 Post No. : 15329 Movie Count :

4223

Today’s song is from film Mera Imaan-1934.

I have been writing on old films and songs since 2012. Most of my posts are for films of the 30s and the 40s. However, I have also done innumerable posts on songs and films of period 1951 upto as latest as 2018. That is because, I believe, good music and good films exist in all eras. Only their percentage differs. Additionally, one’s likings generally decide what is ‘Good music’, based on his taste. Taste develops depending on one’s exposure. If I don’t listen to a song of 2019, how am I to conclude if it is good or bad ? Without analysing these factors, people are in a hurry to brand films and songs as good or bad.

Older generations like old films and old songs, mainly due to Nostalgia. Their memories are attached to these films/songs. It is said that old songs have a longer shelf life. But are not older people keeping old music alive ? As the times elapse, decade by decade, the older songs will be forgotten decade wise.

As on today, how many people enjoy songs of the 30’s ? To like these songs, the person has to be of the age of 90 to 100 years. Naturally, 30’s songs are out of favour now. To like songs of the 40’s, the person has to be in the age group of 70 to 85 or so. Hence today some songs of 40s are still popular. In another 10-15 years, songs of 30s and 40s may not be in circulation to that extent, because people who remembered and enjoyed them will be one.

This is Life. As Lord Tennyson said, “The old order changeth yielding place to New….”. Does that mean old films and songs have to be dumped now ? Absolutely not. On the contrary, they must be discussed elaborately, using information to make it available to the coming Generations. Towards this end, this Blog is playing an Yeoman’s role in preserving old and very old songs at one place. I am sure that History will thank Atul ji, for his Blog and for making old songs and highly credible information available to the coming Generations.

I have observed one thing here. During the period 2012 to 2016, for every old song of 30s and 40s, there used to be many comments from the readers and healthy discussions took place, emanating newer information about older films and songs. However, for the last 3 or 4 years, the comments have dried up so much that sometimes I start feeling if these posts are read by anyone at all ? Should I stop writing ?

Then I realise that the posts are written not for getting Claps and Bouquets, but to record History to preserve information and above all, with a noble intention to share knowledge, before it goes to Dust with the writer ! With this philosophy, I continue writing more enthusiastically.

Today’s film Mera Imaan-34 was a Stunt film, directed by Nagendra Majumdar. The songs were written by Dr. Dhaniram Prem. The name of the Music Director is not mentioned in HFGK. The cast of the film was Madhav Kale, Gauhar Karnataki, N.Majumdar, Athavale, Baburao Apte (brother of Shanta Apte), Madhukar Gupte, Miss Amirjaan etc etc.

Film’s director, who had also acted in it, was Nagendra Majumdar. He was the father of Music Director Ninu (Niranjan) Majumdar. Nagendra was born in a happy family in the year 1894 in Bombay. After his father died, “Pearl Dairy” established by his father ran very well doing good business. Suddenly, Nagendra’s wife fell seriously ill and despite taking her full care, she expired. Due to neglect of the Dairy in this period, Dairy also closed down.

Her shifted to Baroda and worked as a State Police Inspector. Later he worked as Watch and Ward Inspector in Baroda Railways. He left the job and started working as a hero in dramas of famous dramatist R.V.Desai. Heeralal, the owner of Laxmi Film Company, Bombay was impressed with his personality and took him to Bombay in 1926 to act in his silent films. Thus started his film career. In those days Silent films used to be completed within a month. He worked as a Hero in films of Laxmi, Jagdish and Imperial film companies.

In the same year, he directed a film ‘Paani mein aag’-1926, made by Royal Arts. Then came two more films made by Kaiser E Hind films. He also directed films of other companies. In all he directed 15 Silent films by 1932. By then, the Talkie had arrived. In the next 14 years he directed 12 Talkie films like – Ras Vilas-32, Sassi Punnu-32, Patit Pawan-33, mirza Sahibaan-33, Mera Imaan-34, Kala Wagh-34, Rangila nawab-35, Kimiyagar-36, Aaj ka Alladin aka Alladin II-36, Lehri lutera-37, Talwarwala-46 and Swadesh Sewa-46. When K L Saigal came to Bombay, Nagendra wanted to work with him. In film Tansen-43, he did the role of Tansen’s (Saigal’s) father and he was very happy.

His last 2 films came in 1946, but his health was not cooperating for quite few years. He gave up work and took rest. However, he suffered from paralysis and died on 22-8-1951. His son Ninu Majumdar worked in Bombay A.I.R. as head of Gujarati programmes, since 1937. By the time Nagendra died, Ninu had already started working as a Music Director.

As a Director, Nagendra had worked with the best of his times like, Master Vithal, Zubeida, Jillo, Billimorea brothers, Madhuri, Navinchandra, Durga Khote Jairaj, Sultana, Noorjehan sr and such luminaries of those days. He had worked for Ranjit, Imperial, Sharda, Jayant Desai films, Yadnik films etc etc.

Now let us know something about Dr. Dhaniram Prem – a Medical Doctor, who came into films like a Meteor for few years in the 30’s period. Dr.DHANIRAM “Prem” (Born 26 September 1904 – Died 10 November 1979) Lyricist, Story and Dialogue Writer in Hindi Films, an extraordinary person, was born on 26-9-1904 at Dariyapur, Aligadh, UP. He completed his MBBS from Bombay and then he went to UK for further studies under assistance from a charitable institution.
He came back, started his practice and repaid all loans first. From childhood he was fond of writing. He wrote several books and articles in National papers. From 1932 to 1936 he wrote Stories, dialogues and Lyrics for 14 films. In the first 2 years he wrote for only Ranjit studio films. Later he was a freelancer and wrote for others too. Gol Nishan aka Mark of Zoro-36 was the last film for which he wrote the Story and some songs..

Then he went to UK and practiced there, engaging himself in social causes. He was highly respected by the British. In 1964 he declared that he would contest the U.K. Prime Minister elections. A special pediatric ward was named after him in his honour while he was alive. He got several awards in U.K. for his excellent work. Indian government gave him Padmashree.

On 29-10-1979 he came to India and stayed in Delhi, but in two day’s time he met with a scooter accident and he died on 10-11-1979. His specialty was that in every film lyric, he used the word ‘Prem’ as a signature word. This trait was picked up later by some more Lyricists in Hindi films.

The hero of this film was Madhav Kale. Madhav Kale was born in Nashik in 1903. After his school education at Nashik, he joined Deccan college at Poona and passed Intermediate course. He was interested in playing in dramas, which was opposed by his mother. But he used to take part in dramas while in college. He was a good singer too. Wanting to join films, he sent applications to many companies. Saroj and sharda companies responded. He acted in several silent films like Mukti sangram, kanak kesari etc. He entered the Talkie films with Vikram Charitra-32, Mera Imaan-34 and Vishnu Bhakti-34. During this period, he got married in 1934.

He acted in 21 films. His last film was Gokul ka chor-59. He even directed one film, Sacha Sapna-42. He sang 13 songs in 7 films till 1942.
There is no information about him after this.

After writing this bio of Madhav kale, I came to know that after the films, Madhav went back to Nashik, where he was active in local politics. He became a Municipal Councillor, but lost Assembly elections, which he was very hopeful of. He died somewhere in 1980.

Today’s film Mera imaan-34 was based on a Marathi drama – Amche imaan (आमचे ईमान ), staged by Lalit Natak Samaj.

(I have collated information for this post from various sources like Listener’s Bulletins No. 40 of Feb-80 and No.145 of July 2010, HFGK, Sapnon ke Saudagar by Vithal Pandya, Silent films by Dr.Verma, Lost Treasures by kamlakar P. and my notes.)


Song-Sab kaliyaan khile aaj (Mera Imaan)(1934) Singer-Gauhar Karnataki, Lyricist-Dr. Dhaniram Prem, MD- Not known

Lyrics

Sab kaliyaan khile aaj
Sab kaliyaan khile aaj
Sab kaliyaan khile aaj
Sab kaliyaan khile aaj
??
??
soonghat ras ki daali
soonghat ras ki daali
Sab kaliyaan khile aaj
Sab kaliyaan khile aaj
Sab kaliyaan khile aaj
man aur sugandh basey man mhaare
sugandh basey man mhaare

man aur sugandh base ae
aa aa aa
aa aa
aa aa aa
aa aa aa
aa aa
aa aa aa
aa aa aa
aa aa aa
aa aa aa aa
aa aa aa
aa aa aa
aa aa aa
aa aa aa
aa aa aa
man aur sugandh basey man mhaare
sugandh
aa aa aa
aa aa aa
aa aa aa
aa aa aa
aa aa aa
aa aa aa
aa aa aa
aa aa aa
aa aa aa
aa aa aa
man aur sugandh basey man mhaare
??
??
??
aa aa aa aa
aa aa aa aa
aa aa aa aa
man aur sugandh basey man mhaare
sugandh basey chaaron
chaaron ?? kunj ??
chaaron ?? kunj ??
chhaayi rahi hariyaali
chhaayi rahi hariyaali
??
??
sab kaliyaan khile aaj
sab kaliyaan khile aaj
sab kaliyaan
aa aa aa
sab kaliyaan khile aaj
sab kaliyaan
sab kaliyaan
sab kaliyaan khile aaj
sab kaliyaan


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

Blog Day :

4156 Post No. : 15325 Movie Count :

4222

Hindi Songs in Bangla Films – 10
– – – – – – – – – – – – – – – – – –

‘Saheb Bibi Golam’ (1956, Bangla film) was based on a story by the same title, written by Bangla novelist, Bimal Mitra. The film was directed by Kartik Chattopadhyay. The main star cast of the film was Uttam Kumar, Sumitra Devi, Anubha Gupta, Chhabi Biswas, Chhaya Devi, Nitin Mukherjee and Padma Devi. The story of the film relates to the time when the aristocracy of feudal lords was on the decline under the British rule by the end of 19th Century. The story revolves around the platonic relationship between the feudal lord’s neglected wife (Sumitra Devi) and a clerk (Uttam Kumar). The film was not only critically acclaimed, it was also a box office success.

The Hindi version of the film titled ‘Saheb Bibi Aur Ghulam’ (1962) was produced by Guru Dutt and directed by Guru Dutt’s right hand man, Abrar Alvi. Although the Hindi version of the film was released 6 years after the release of the Bangla version of the film, the idea to produce the Hindi version of the film was put forward to Guru Dutt by SD Burman as early as 1956 when he saw the shooting of the Bangla version  on his visit to Calcutta (now Kolkata) where Guru Dutt was already doing location hunting for his film ‘Pyaasa’ (1957). Guru Dutt had a meeting with novelist Bimal Mitra in SD Burman’s house in Calcutta, after which he decided to produce and direct the film with SD Burman as the Music Director.

When Guru Dutt  heard the story, he had decided that it had to be Meena Kumari who would be performing the role of Chhoti Bahu, the central character in the film. However, Kamal Amrohi, Meena Kumari’s husband declined the offer saying that she did not have dates. So, after failing to find any alternative actress for the role, the film was put in the back burner. It was only after the box office success of ‘Chaudhvin Ka Chaand’ (1960), Guru Dutt decided to revive ‘Saheb Bibi Aur Ghulam’ (1962). This time, after a lot of hard bargaining, Kamal Amrohi agreed with a raise in her fees and also giving bulk dates of 45 days at a stretch from January 1, 1962. He also put a condition that she would not travel to Calcutta to shoot in the haveli. So, the sets of Chhoti Bahu’s rooms in the haveli had to be created in a Mumbai studio.

Biswajit was identified for the role of Bhootnath, the clerk. But he did not agree for a condition of the exclusive contract with Guru Dutt Films. Shashi Kapoor was approached for the role which fell through as he came considerably late to discuss the role by which time Guru Dutt had decided to act in the film for the role of Bhootnath.

The film’s shooting started on January 1, 1961, exactly one year before Meena Kumari’s shooting schedule was to start. Probably, ‘Saheb Bibi Aur Ghulam’ (1962) was the first film from the stable of Guru Dutt Films which was ready in the cans in the record time except Meena Kumari’s part and the picturization of the songs which had to be postponed as the music director, SD Burman was ill during the first half of 1961. When he had recovered from his illness, he was selected by the Government of India to be part of the cultural delegation to the then USSR and other European countries. Guru Dutt lost his patience with SD Burman and entrusted the music direction to Hemant Kumar.

When SD Burman returned from his foreign trip, he was dismayed to find that he was no longer the music director of ‘Saheb Bibi Aur Ghulam’ (1962). Instead Hemant Kumar was roped in his place. SD Burman was very much upset as he felt that it was Hemant Kumar who had maneuvered to take over the music direction during his absence. He was so much involved with the film that he had already composed tunes for some songs with dummy lyrics without waiting for a formal contract. After this incidence, the relations between SD Burman and Hemant Kumar got affected. This explains as to why Na Tum Hamen Jaano Na Hum Tumhen Jaane from ‘Baat Ek Raat Ki’ (1962) was the last song Hemant Kumar sang for SD Burman.

[Note: Information in this article about what went behind the making of ‘Saheb Bibi Aur Ghulam’ (1962) is mainly based on (1) ‘Ten Years with Guru Dutt – Abrar Alvi’s Journey’ (2008) by Sathya Saran, (2) ‘Meena Kumari – The Classical Biography’ (2013) by Vinod Mehta and (3) ‘S D Burman – The Prince Musician’ (2018) by Anirudha Bhattacharjee & Balaji Vittal.]

The Hindi version of the film was not a frame by frame remake of its Bangla version film. Instead, the screen-play/dialogue writer and director Abrar Alvi and Bimal Mitra had a month-long sittings to finalise the screen-play and dialogues in tune with the taste of Hindi film audience without diluting the basic theme of the story. As a result, the visualization of scenes in Hindi version is quite different from the Bangla version. Let me give an example of the scene in which Bhootnath meets Chhoti Bahu for the first time.

In Bangla version, Bhootnath visits Chhoti Bahu’s (Sumitra Devi) room when she was about to complete her daily puja with her back to the camera. And then she looks back and tells  Bhootnath to sit down on the chair. Bhootnath introduces himself to Chhoti Bahu. There is not much movements in camera angles. In Hindi version, Chhoti Bahu calls him to sit as soon as he enters her room. The camera is focused on her feet the first time Bhootnath sees her. Even when she walks to her chair, the camera is still focused on her feet. But Bhootnath instead of sitting on the chair, he sits on the floor with his his dropping eyes. When he introduces himself as Bhootnath, the camera suddenly focuses on Chhoti Bahu’s  face and she tells him that it is a lovely name. It is at this point, Bhootnath who was speaking to her with eyes down looks up to see her face and is surprised that she was not amused by his name as it has been his experience with others. On the contrary, she says it is one of many names of the God. Also, there is a  empty bed shown while both of them are conversing symbolising the state of her marital life.

The Bangla version of the film kept the end as per the original story, that is Bhootnath (Uttam Kumar) does not get to marry Jaba (Anubha Gupta). But in Hindi version, there is an indirect hint by way of a dialogue and the last scene in which Bhootnath (Guru Dutt) travels with Jaba (Waheeda Rehman) in a horse cart. Since story has been told in the film in the flash back mode, it was possible in Hindi version of the film to change some sequences in the narration of the story.

The Bangla version of the film had 5 songs of which 2 songs were semi-classical songs in Hindi. Hindi version of the film had 7 songs. The background song in the Bangla version was in Hindi  using a part of a traditional dadra, ‘Ab Ke Saawan Ghar Aaja’ whereas in Hindi version, it was a haunting song, Koi Door Se Aawaaz De Chale Aao.

I am presenting another Hindi song from a Bangla film – ‘Saheb Bibi Golam’ (1956), ‘Kankar Mohe Laage Paniya Bharan Kaise Jaaun’ which has been rendered by Sandhya Mukherjee in dadra style. Lyrics are traditional which have been set to music by Robin Chatterjee. In the film, it has been picturised as mujra song. The equivalent song picturised in Hindi version of the film is Saaqiyaa Aaj Mujhe Neend Nahin Aayegi.

Song – Paniya Bharan Kaise Jaaun, Kankar Mohey Laage  (Saheb Bibi Golam) (1956) Singer – Sandhya Mukherjee, Lyrics – Traditional, MD – Robin Chatterjee

Lyrics

aa aaa aaaaaa aaa aaaa
paniya bharan kaise jaaun
aa aa aa aa
paniya bharan kaise jaaun
kankar mohe laage
kankar mohe laage
kankar mohe laage
kankar mohe laage  
paniya bharan kaise jaaun
paniya bharan kaise jaaun  
kankar mohe laage
kankar mohe laage
kankar mohe laage
 
natkhat roke
meri dagariya aa

natkhat roke
meri dagariya aa

laakh bachaa ke chalun najariya
laakh bachaa ke
laakh bachaa ke chalun nazariya
gher let hai bairi saanwariyaa aa
gher let hai bairi saanwariyaa
kaise paanv badhaaun
kankar mohe laage
kankar mohe laage
kankar mohe laage
kankar mohe laage
kankar mohe laage
 
paniya bharan kaise jaaun
haaye ram
paniya bharan kaise jaaun
haaye ram
paniya bharan kaise jaaun
haaye ram
paniya bharan kaise jaaun
paniya bharan kaise jaaun
haaye ram
kankar mohe laage
kankar mohe laage
kankar mohe laage
kankar mohe laage
kankar mohe laage

kankar mohe laage
kankar mohe laage
kankar mohe laaaaa…..ge ae
kankar mohe laaaa……ge ae
kankar mohe laaaa……ge ae
kankar mohe laaaa……ge ae 
kankar mohe laaaa……ge ae 
kankar mohe laaaa……ge ae 
kankar mohe laaaa……ge ae 

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

आ आss आsssss आss आsss
पनिया भरन कैसे जाऊँ
आ आ आ आ
पनिया भरन कैसे जाऊँ
कंकर मोहे लागे
कंकर मोहे लागे
कंकर मोहे लागे
कंकर मोहे लागे
पनिया भरन कैसे जाऊँ
पनिया भरन कैसे जाऊँ
कंकर मोहे लागे
कंकर मोहे लागे
कंकर मोहे लागे

नटखट रोके
मेरी डगरीया॰॰आ
नटखट रोके
मेरी डगरीया॰॰आ
लाख बचा के चलूँ नजरिया
लाख बचा के
लाख बचा के चलूँ नजरिया
घेर लेत है बैरी साँवरिया॰॰आ
घेर लेत है बैरी साँवरिया
कैसे पाँव बढ़ाऊँ
कंकर मोहे लागे
कंकर मोहे लागे
कंकर मोहे लागे
कंकर मोहे लागे
कंकर मोहे लागे

पनिया भरन कैसे जाऊँ
हाय राम
पनिया भरन कैसे जाऊँ
हाय राम
पनिया भरन कैसे जाऊँ
हाय राम
पनिया भरन कैसे जाऊँ
पनिया भरन कैसे जाऊँ
हाय राम
कंकर मोहे लागे
कंकर मोहे लागे
कंकर मोहे लागे
कंकर मोहे लागे
कंकर मोहे लागे

कंकर मोहे लागे
कंकर मोहे लागे
कंकर मोहे ला॰॰गे॰॰
कंकर मोहे ला॰॰गे॰॰
कंकर मोहे ला॰॰गे॰॰
कंकर मोहे ला॰॰गे॰॰
कंकर मोहे ला॰॰गे॰॰
कंकर मोहे ला॰॰गे॰॰
कंकर मोहे ला॰॰गे॰॰


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

Blog Day :

4150 Post No. : 15316 Movie Count :

4220

Hindi Songs in Bangla Films – 9
– – – – – – – – – – – – – – – – –

‘Shaap Mochan’ (1955, Bangla film) was based on a story of the same name written by the Bengali novelist Falguni Mukhopadhyay. The film was directed by Sudhir Mukherjee. The main actors in the film were Uttam Kumar, Suchitra Sen and Pahadi Sanyal. The film is available on-line for viewing without English sub-titles.

The film is about a musical family in which one of the forefathers had been cursed by a Guru that any one in his family who takes up singing would die prematurely or become invalid for insulting him for non-acceptance as Guru. Devendra (Pahadi Sanyal) became blind while taking up the singing as the career forcing him to give up the singing. Because of the curse, he gets the assurance from his younger brother, Mahendra (Uttam Kumar) that he would also not practice singing.

In order to sustain the family, Devendra sends his brother Mahendra to Kolkata to his friend for getting him a job. Mahendra stays with him who has a daughter, Madhuri (Suchitra Sen). During the course of their inter-action, Madhuri comes to know that Mahendra is a talented singer. She encourages him to become a singer. He reveals to her as to why he can not take up singing. However, Madhuri does not believe in the superstition.

It so happens that Mahendra remains unemployed which forces him to become a singer for earning. Over a period of time, he becomes a famous singer and earns good money in his profession. Madhuri and Mahendra fall in love. However, the curse falls on Mahendra and he becomes seriously ill. Madhuri tends him and gets him to fully recover from his serious illness. With this, the family’s superstitious belief in curse is broken. The film has a happy ending.

The film has 6 songs of which one song is in Hindi. That song is a bandish, ‘kaliyan sang karata rang raliyaan’ which is rendered by Pandit D V Paluskar in Raag Bahar as Chhota Khayal. The bandish was written by Kiniwaale Ram. Although Hemant Kumar has been accredited as the music director for all the six songs in the film, it is apparent that Pandit D V Paluskar had a say in the composition of the tune in Raag Bahar.

Earlier, I was under the impression that Pandit D V Paluskar sang as a playback singer in only one film – Baiju Baawra’ (1952). His jugalbandi song, aaj gaawat man mero jhoom ke, rendered with Ustad Amir Khan is par excellence among the Hindustani classical raag-based Hindi film songs. It was G N Joshi of HMV who had suggested to Naushad saab to take Ustad Amir Khan and Pandit D V Paluskar for this jugalbandi song. Naushad first approached Ustad Amir Khan who agreed to sing provided Pandit D V Paluskar was his ‘opponent’ and he would not mind losing in the jugalbandi to him. This showed the respect Pandit D V Paluskar commanded from his equally illustrious classical vocalist. Incidentally, both Ustad Amir Khan and Pandit D V Paluskar never sang this jugalbandi in their respective public concerts despite the demand from the audience.

Pandit D V Paluskar (28/05/1921 – 25/10/1955), the Hindustani classical vocalist rendered mostly khayal and tarana in his own style without attaching himself to the orthodox Gharanas. But experts in Hindustani classical music believe that his singing style was close to Gwalior Gharana. In the short span of 34 years of his life, he had become one of the foremost among the Hindistani classical vocalist. Those who had witnessed his concerts had observed that he was a classical vocalist with a difference – he sang for the common man blending the classical renditions with popular appeal. He also sang bhajans in Hindustani classical raags.

G N Joshi of HMV who was also an illustrious Hindustani classical vocalist and the music director had mentioned in one of his articles that Pandit D V Paluskar had a rare quality of recording any Hindustani classical raag within the disc space of about 3:25 minutes in 78 RPM gramophone records incorporating all the ‘alankars’ (ornamentations) that generally go with the Khayal type of renditions. Pandit D V Paluskar was also known for his exquisite aalaaps and taans which are evident in the bandish under discussion.

The bandish describes the spring season during which bees are flirting with new flower buds. Gardens are in full bloom. Peacocks are calling and koels are singing. Trees, laden with blossoms are waving in the breeze. Women are out in groups with buckets to bring water from the river. Overall, the scenarios gladden the heart of everyone.

I am not sure whether I have captured all the sargam in lyrics for the second half of the chhota khayal as Pandit ji’s rendition of sargam taan is very fast.

A more elaborate rendition ( nearly 15 minutes) of this bandish in Raag Bahar by Pandit D V Paluskar is now available on-line here which he had performed on All India Radio’s National Programme of Music sometime in early 1950s.

Video Clip:

Audio Clip:

Song-Kaliyan sang karta rang raliyaan(Shaap Mochan)(1955) Singer-Pt D V Paluskar, Lyrics-Kiniwaale Ram, MD-Hemant Kumar

Lyrics (Based on Video Clip)

aaa aaa aaa
aaa aaa aaa
aaa aaa aaa
aaa aaa aaa

kaliyan sang karta rang raliyaan
kaliyan sang karta rang raliyaan
bhanwar gunjaare phooli phulwaare
chahoon oar mor bole
koyal ki kook suni hook uthhi
kaliyan sang karta rang raliyaan
kaliyan sang karta
kaliyan sang karta
lehrat leharaata
sab birachhan mori
le naar gadhwaa bharan aayi
aaj baag mein pukaare
‘Kiniwaale Ram’ bole
har baar baar
kaliyan sang karata rang raliyaan

[dialogues in Bengali]

aaaaaaa aaa aaaaaaaaaa
aa aaaa aaaa aaaa aaaa
aaaaaaa aaa aaaaaaaaa
aaaaa aa aaaaaaa
kaliyan sang karata rang raliyaan
aa aaa aaaaaaaaaaaaaaaaaa
aaaaaaaaaaaaaaaaaaaaaa
aaaaaaaaaaaaaaaaaaaaaa aaa aa
aaaaaaaaaaaaaaaaaaaaa
aaaaaaaaaaaaaaaaaaaaa
aaaaa aa
kaliyan sang karata rang raliyaan
ae ae ae ae
kali……sang……
kaliyan sang karata rang raliyaan
kali eeeeeeeeeeeeeeeee ee ee ee…yan
kaliyan ee ee…yan….sang………..karata rang raliyaan
kaliyan sang karata rang raliyaan
aaaaaaaaaaaaaaa
aaaaaaaaaaaaaaaaa
aaaaaaaaaaaaaaaaa
kaliyan sang karata rang
aaaaaaaaaaaaaaaaa
aaaaaaaaaaaaaaaa
aaaaaaa aa
kaliyan
kaliyan sang karata rang raliyaan
aaaaaaaaaaaaaaaaaaaaa
aaaaaaaaaaaaaaaaaaaaa
aaaaaa aa
kaliyan sang karata rang raliyaan
kaliyan sang karata
aaaaaaaaaaaaaaaaaa
aaaaaaaaaaaaaaaaaaa
aaaaaaaaaaaaaaaaaaa
kaliyan sang karata rang raliyaan
aaaaaaaaaaaaaaaaaaa
aaaaaaaaaaaaaaaaaaaa
aaaaaaaaaaaaaaaaaaaa
kaliyan sang karata rang raliyaan
kaliyan
aaaaaaaaaaaaaaaaa
aaaaaaaaaaaaaaaaa
aaaaaaaaaaaaaaaaa
kaliyan sang karata rang raliyaan
kaliyan sang
ga ma pa ni sa
ni dha sa ni dha ni sa ni s ani sa
kaliyan sang karata
ga ma pa ni sa ni dha
sa ri ga ri ri s ani ga ri sa
sa ni sa ma pa ga ma sa ni pa
ga ma pa ni sa
kaliyan sang karata rang raliyaan
ga ma pa ni sa sa sa dha
sa ri sa pa ni sa ma pa ni pa ga
ma ni pa ga ma pa ni sa
kaliyan sang karata rang raliyaan
kaliyan aa
kaliyan aa
kaliyan sang karata rang raliyaaaaaa…..aan


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 ELEVEN years. This blog has exactly 15700 song posts by now.

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

Important Announcement

(© 2008 - 2020) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

Total number of songs posts discussed

15700

Number of movies covered in the blog

Movies with all their songs covered =1211
Total Number of movies covered =4323

Total visits so far

  • 13,589,782 hits

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Historical dates

Blog Start date: 19 july 2008

Active for more than 4000 days.

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