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

Archive for the ‘Classical composition’ Category


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 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
—————————————–

‘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


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 :

4128 Post No. : 15285 Movie Count :

4208

Hindi Songs in Bangla Films – 5
– – – – – – – – – – – – – – – – –

What is the common between the Hindi film song, “Jaa Tose Naahin Boloon Kanhaiyya from ‘Parivaar’ (1956) and a devotional song in Sanskrit,  “Vatapi Ganapatim Bhaje”?  The answer is that they are based on Carnatic Raag Hamsadhwani (also written as Hansadhwani).

Raag Hamsadhwani is said to have been invented by Carnatic composer Ramaswami Dikshitar (1735-1817). His son, poet-composer, Muthuswami Dikshitar wrote and composed one of the most popular Sanskrit devotional song mentioned above in Raag Hamsadhwani. The credit for bringing this raag to Hindustani classical music goes to Ustad Aman Ali Khan (1888-1953) of Bhendi Bazar Gharana who had also learnt Carnatic music under a court musician of the Mysore State. He created and composed a bandish, “Laagi Lagan Pati Sakhi Sang” in Raag Hamsadhwani.

Ustad Amir Khan, on a visit to Mumbai, met Ustad Aman Ali Khan and heard this bandish. He was so mesmerised by the bandish in Hamsadhwani that he started singing in his concerts both in Khayal and Taraana style which made it popular among the Hindustani classical vocalists and instrumentalists. Subsequently, many stalwarts among Hindustani classical vocalists such as Ustad Rashid Khan of Rampur-Sahaswan Gharana, Vidushi Kishori Amonkar of Jaipur-Atruali Gharana, Pandit AT Kanan from Kirana Gharana, Pandit Ajoy Chakraborty, his daughter and son-in-law, Kaushiki Chakraborty-Desikan and Parthasarathi Desikan – all from Patiala Gharana, Begum Parveen Sultana of Patiala Gharana etc. have rendered Raag Hamsadhwani in their concerts.

Despite the popularity of Raag Hamsadhwani among the Hindustani classical vocalists and instrumentalists, Hindi film music directors have rarely used this raag in composing the songs. Probably, Salil Chowdhury may be the first Hindi film music director to compose a full-fledged song in this raag for the film ’Parivaar’ (1956) as mentioned above. C Ramchandra did use some shades of Raag Hamsadhwani in the song, “O Chaand Jahaan Wo Jaayen in ‘Sharada’ (1957). I feel that Shankar-Ehsan-Loy has also used some shades of this raag in his fusion song, “Tere Naina Hans Diye in ‘Chaandni Chowk to China’ (2009).

A few days back, Partha Chanda ji, in one of his comments in our Blog, has pointed out that there is a great classical piece in Ritwik Ghatak’s Bangla film ‘Meghe Dhaka Tara’ (Cloud Capped Star), 1960.  I found out that there is not one but two classical Hindi songs in this film sung by Pandit AT Kanan and both are set in Raag Hamsadhwani. I have picked up one of the songs which is the bandish originally created by Ustad Aman Ali Khan.

I was not familiar with the name of Pandit AT Kanan. Since he was one of the ’Gurus’ at ITC Sangeet Research Academy, Kolkata since its inception in 1977, a brief profile of him was available on ITCSRA website. The following information about Pandit AT Kanan is mainly based on this source.

Pandit AT Kanan (18/06/1922 – 02/09/2004) was born in Chennai as Arkut Kannabhiran. As a teenager, singing became his hobby whereas cricket was his passion. At the age of 18, he joined Railways and played cricket for them. In early 1940s, Kanan visited Mumbai for a scheduled cricket match. After the match, he visited All India Radio, Mumbai to check the suitability of his voice for singing over the radio. When the AIR official heard his voice, they immediately offered him a program to be broadcast. This was the beginning of his tryst with Hindustani classical music.

On his transfer to Hyderabad, AT Kanan took the guidance for vocal training from Pandit Lahanu Babu Rao. He was once again transferred to Kolkata where he resumed training under Pandit Girija Shankar Chakraborty. In 1943, he gave his debut performance at All Bengal Music Conference. After about two years of his stay in Kolkata, Pandit Kanan was under orders of transfer. By this time, he had already established himself in Kolkata as a Hindustani classical vocalist of repute. His admirers persuaded him to leave the railway job and stay in Kolkata. Thus, he became a full time Hindustani classical vocalist.

Sometime in the 1950s, Pandit Kanan along with other musicians, established Kolkata Music Circle. Those days, Kolkata was one of the main centres of Hindustani classical music. Some of the Hindustani classical vocalists and instrumentalists used to regularly give their performance in the city. Pandit Kanan got opportunity to inter-act with Ustad Amir Khan, Pandit Ravi Shankar, Ustad Akbar Ali Khan, Vidushi Hirabai Barodekar etc.

Pandit Kanan’s renditions of the Raag ‘Hamsadhwani’, ‘Rageshri’, and ‘Jog’, among others, made him an extremely popular Khayal singer not only in Kolkata but also throughout the country. A top grade AIR artist, Pandit Kanan performed in all the important music conferences in the country, including National Programmes and Radio Sangeet Sammelans. He was also a playback singer in the Bengali films such as ‘Jadu Bhatta’ (1954), ‘Basanta Bahar’ (1957), ‘Megh Malhar’ (1958), ‘Meghe Dhaka Tara’ (1960), etc. He was bestowed with Sangeet Natak Academy Award in 1995.

In 1958, he married Malbika Roy (later known as Malbika Kanan) who was also a Hindustani classical vocalist.

Although, Pandit Kanan developed his own style of Khayal singing, some Hindustani classical vocalists believe that later on, he was influenced by the Khayal singing style of Ustad Amir Khan with whom he used to regularly exchange notes. I guess, this may be the reason that on the ITCSRA website, Pandit Kanan has been shown under Kirana Gharana. Of course, Ustad Amir Khan had also improvised the style of Kirana Gharana which his disciples named as the Indore Gharana style.

‘Meghe Dhaka Tara’ (1960), is the first of the trilogy of Ritwik Ghatak’s films on the aftermath of the partition of Bengal. Anil Chatterjee is a part of a family who has migrated from East Pakistan after the partition and are staying in the outskirt of Kolkata. He is the eldest son who is dreaming of becoming a Hindustani classical vocalist. He does not earn money for the family. Instead he is a wanderer. His sister (Supriya Devi) takes care of the family by earning but her efforts are not appreciated by any one in the family. In this process, she sacrifices her personal life (her fiancé is more interested in her sister than her) and her health for the betterment of the family. At the end, her serious illness becomes the burden on the family. And she still wants to live.

As mentioned earlier, Pandit Kanan’s Khayal rendition in Raag Hamsadhwani was regarded as the one of his most popular renditions those days. So, it was natural that he lips syncs for Anil Chatterjee for the bandish “Laagi Lagan Pati Sakhi Sang” in Raag Hamsadhwani in the film ‘Meghe Dhaka Tara’ (1960).

The bandish has been rendered as a ‘chhota khayal’. Although the music director for the film was Anil Chandra Sengupta, credit should go to Ustad Aman Ali Khan who had originally composed the bandish.

I did not find the record version of the bandish used in the film on the websites. Probably, it may not have been issued in the record version. Hence, I have provided the link of an audio clip of the longer version of the same bandish rendered by Pandit AT Kanan.

Video

Audio (Longer Version)

Song – Laagi Lagan Pati Sakhi-san  (Meghe Dhaka Tara) (1960) Singer – Pt AT Kanan, Lyrics – Ustad Aman Ali Khan, MD – Ustad Aman Ali Khan

Lyrics (Based on Video Clip)

laaa..aagi lagan pati sakhi-san
laaa..aagi lagan pati sakhi-san
parama sukh aa
ati anandana aa
parama sukh aa
ati anandana aa
laa..aagi lagan pati sakhi-san
laagi lagan pati sakhi-san
laagi lagan pati sakhi-san
laa..aagi lagan pa

laa aa aaaaaaaaaaa aa
laaaaaa..gi
laaaaaaaaaa. . .
laaaaaaaaa..gi
laaaaaaaaaaaaa aa
laaaaaaaaaaaaa aa aa…gi
laagi lagan pati sakhi-san
laaa..aagi lagan pati sakhi-san
laaa..aagi lagan pati sakhi-san
 
[Dialogues]
 
ang sugandhan chandan maathe ti..lak dhare
ang sugandhan chandan maathe ti..lak dhare
drigan-nayanan anjana fabnatey
amar ho nit pati kaaje sadan
laaa..aagi lagan pati sakhi-san
laaa..aagi lagan
laaa..aagi lagan
laagi lagan pati sakhi-san
laagi lagan pati sakhi-san
la..gi lagan
la..gi lagan
laagi lagan aaa


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 :

4066 Post No. : 15201 Movie Count :

4178

Today, September 5th is 24th Remembrance Day of Salil Chowdhury (19/11/1925 – 05/09/1995), the legendary music director who was the pioneer in fusion music – blending Indian melodies with the orchestration of western classical music. As he himself admitted during an interview on All India Radio, Salil Da was greatly influenced by the music of Beethoven and Mozart because his father used to play gramophone records of their music which he had listened during his childhood.

Salil Da’s musical legacy has been carried forward by the likes of RD Burman, Ilaiyaraaja and AR Rahman. I will come back later the organic connection of Ilaiyaraaja and A R Rahman with the music of Salil Da.  It is the irony of fate that while the followers of his musical legacy have attained the top slots in the film industry, Salil Da could not get such recognition in Hindi film industry. Perhaps, he was quite ahead of time and those who mattered in the Hindi film industry (producers and distributors) failed to realise his potentials.

Salil Da has to be a genius person in the making if I go by his various activities during his childhood and younger days. At the age of 6, he learns piano. As a student, he writes and compose songs for the school’s plays. As a teenager, he gets actively associated in the Peasants Movements in his village. In the midst of such activities, he completes his high school and later graduation from Kolkata University. He becomes a member of Communist Party of India and gets actively involved with Indian People’s Theatre Association (IPTA) while he is simultaneously doing his post-graduation studies. He is a playwright, song writer, composer and sometime actor in IPTA plays. Salil Da participates in the peasants’ uprising and goes underground for a couple of years. During this period, he writes and composes ‘chetonaar gaan’ (songs of awakening). He learns almost all the important musical instruments like piano, flute, esraj, sarod, sitar, guitar, percussion which is in most cases self-thought. He is the first to set up Bombay Youth Choir and later Calcutta Choir Group which he personally conducts in the 1950s. He is a poet, story writer, lyricist and music director.

With so much of his multifarious activities in around Kolkata, how did Salil Da get involved with Hindi film music in Mumbai? I quote below, in his own words during an  interviews on All India Radio:

I came to Bombay by stroke of luck. I was writing script (of my story ‘Rickshawaala’) for a Bengali film.  When Hrishikesh Mukherjee heard the story, he liked it. He said that he would narrate the story to Bimalda (Bimal Roy) who was expected to come to Kolkata from Mumbai. So, I took the appointment of Bimlada and read out the entire script to him. Bimlda did not show any reaction to the story but advised me to meet him the next morning.

When I went to meet him the next morning, I was told that he had left for Mumbai by the morning flight on some urgent work. Within a week, I got the telegram from Bimalda that he had decided to make a Hindi film based on my story and I should come to Mumbai with the script. That’s how I landed in Mumbai for ‘Do Beegha Zameen’ (1953).

After the success of ‘Do Beegha Zameen’ (1953), Salil Da was employed in Bimal Roy Productions as a music director. He did many films for the banner like ‘Biraj Bahu’ (1954), ‘Naukari’ (1954), ‘Amaanat’ (1955), ‘Parivaar’ (1956), ‘Aparadhi Kaun’ (1957), ‘Madhumati’ (1958), ‘Usne Kaha Thaa’ (1960), ‘ Parakh’ (1960).‘Kabuliwaala’ (1961), and  ‘Prem Patra’ (1962). During this period, he also did many other films outside the banner of Bimal Roy Productions. Song compositions in almost all these films are outstanding. Some of the songs from Bimal Roy’s  films are evergreen and they are still remembered. For instance “Aaha Rimjhim Ke Ye Pyaare Pyaare Geet Liye” (from ‘Usne Kaha Tha’) and “O Sajnaa Barkha Bahaar Aayi” (from ‘Parakh’).

In ‘non-Bimal Roy’ films, Salil Da composed excellent songs in films like ‘Jaagte Raho’ (1956), ‘Aawaaz’ (1956), ‘Ek Gaon Ki Kahaani’ (1957), ‘Honeymoon’ (1960), ‘Chhaaya’ (1961),  ‘Maaya’ (1961) etc. The songs like “Zindagi Khwaab Hai” (‘Jagte Raho’, Mukesh’s first song under Salida), “Dhitang Dhitang Bole” (‘Awaaz’), “Raat Ne Kya Kya Khwaab Dikhaaye” (‘Ek Gaon Ki Kahaani’), “Mere Khwaabon Mein Khayaalon Mein” (‘Honeymoon’),  “Koi Sone Ke Dilwaala” (‘Maaya’), and “Itna Na Mujhse Tu Pyaar Badha” (‘Chhaaya’)  are some of my favourites of Salil Da.

Despite scoring beautiful songs in the films of early 50s, Salil Da was still regarded as a flop music director in the eyes of film distributors.  The box office success of‘ ‘Madhumati’ (1958) and the high popularity of its songs enabled Salil Da to shed the tag of ‘flop music director’. I remember that not a single day will pass without one or two songs from ‘Madhumati’ (1958) being played on the radio after the release of the film. Salil Da got his first Filmfare Award for the best music director for this film.

It is difficult to pin point the best song from ‘Madhumati’ as all the songs were outstanding. Because I am a trekker, I may be biased in my liking for “Suhaana Safar Aur Ye Mausam Haseen“. The sound of chirping of the birds in the prelude creates a natural atmosphere in the scene for the song. Incidentally, adding in the prelude the chirping sounds of the birds was suggested by SD Burman. Salil Da used folk-based melody from Bengal, Assam, Nepal and also from Poland for almost all the songs in the film. He requisitioned the services of Dattaram for playing dholak in all the songs (as revealed by Dattaram in his TV interview). One can hear Dattaram ‘thekas’ prominently in the song “Ghadi Ghadi Mora Dil Dhadke“.

With the tremendous success of ‘Madhumati’ (1958), Salil Da got more film assignments such as ‘Chhaaya’ (1961), ‘Poonam Ki Raat’ (1965), ‘Chaand Aur Sooraj’ (1965), ‘Pinjre Ke Panchhi’ (1966) (which he also directed), among many others.

During his second phase of the musical career, he did some notable films like ‘Mere Apne’ (1971), ‘Anand’ (1971), ‘Annadaata (1972), ‘Rajanigandha’ (1974), ‘Chhoti Si Baat’ (1976), ‘Anand Mahal’ (1977) etc. Some of the popular as well notable songs of Salil Da of this period are “Zindagi Kaisi Hai Paheli Haaye” (‘Anand’), (note the choir singing in the interludes), “Raaton Ke Saaye Ghane” (‘Annadaata’) (song may not have become popular but it is an intricate composition which only Lata could do justice), “Kai Baar Yoon Bhi Dekha Hai” (‘Rajnigandha’) (my favourite and whenever I wish to listen to this song, I prefer to watch on the video clip) and “Na Jaane Kyun Hota Hai Ye Zindagi Ke Saath” (‘Chhoti Si Baat’) (again, I prefer to listen to the song by watching the video clip of the song).

I know, I have missed some more of popular songs composed by Salil Da . I will end with  one more song from the stable of Salil Da which did not become as popular as it should have been. The song is  “Koi Hota Jisko Apna” from ‘Mere Apne’ (1971).  It is a complex composition which Kishore Kumar has ably rendered. The mukhda tune was inspired from the background score of ‘Anand’(1970).

After about 1975, his Hindi film assignments came down that too was limited to small banners. On the other hand, his assignments in Bengali and South Indian films were on the rise. Also, he had shifted his base to Kolkata in mid 1970s as he had planned for setting up of a modern recording studio in Kolkata. During about 25 years of his active association with Mumbai, he composed about 300 songs in about 65 Hindi films.

Discussion on Salil Chowdhury’s musical career in films will not be complete unless we take into account his sojourn to South Indian films especially the Malayalam films. He was introduced to Malayalam films  by Ramu Khairat, the Malayalam film director who was a part of IPTA delegation along with Salil Da to an East European country in 1960. Their IPTA background and the common interest in films made them friends. When Ramu Khairat finalised the making of Malayalam film, ‘Chemmeen’ (1965), he selected Salil Da as the music director. The film received tremendous response from the cinegoers. This film is regarded as the first successful ‘arty’ film in South India.

The highlight of the film was the popularity of its four songs. The extra-ordinary success of the songs changed the complexion of the South Indian film music. Salil Da set his firm footing in the South Indian film industries. He did 25 Malayalam films and 10 films in Tamil, Telugu and Kannada. In addition, he was also associated with about 40 Bengali films as a lyricist and music director.

One of the innovative ideas Salil Da experimented with his music was that he composed new songs based on his earlier songs as well as from the background score by giving a different structure to the new songs. For instance, in an interview, Salil Da gave an interesting example of his song “Aaja Re Pardesi Main To Kab Se Khadi Iss Paar”  from ‘Madhumati’ (1958). The mukhda tune was based on the melodic background music of ‘Jaagte Raho’(1956). This background music is played whenever Raj Kapoor is about to drink water to quench his thirst but the circumstances makes him to run away from the scene without drinking water. In the same song, Salil Da has used the mukhda tune of “Ghadi Ghadi Mora Dil Dhadke” as the interlude music.

Another example I had noted many years back and worth mentioning is the comparison of the song “Baag Mein Kali Khili Bagiya Mehki” from ‘Chaand Aur Sooraj’ (1965) with “Saathi Re Tujh Bin Jiya Udaas” from ‘Poonam Ki Raat’ (1965). Salil Da has used more or less the same tune for the antaras of both the songs. Salil Da’s different melodic and orchestration structures makes these two songs sounding different. Hence, first song sounds like that for a growing up girl waiting for her fiance and the other one as a haunting song. Also note in the latter song how the mukhda tune of the former song converted into the interlude music and gets merges with the antara tune.

I had mentioned earlier that there is some organic connection between Salil Da, Ilaiyaraaja and AR Rahman. During his assignments in the South Indian films, especially in Malayalam films as a music director, Salil Da had in his orchestra, Ilaiyaraaja as a lead guitarist and RK Sekhar (father of AR Rahman) as his Assistant and Arranger. AR Rahman joined Ilaiyaraaja’s troup as Keyboard player. Incidentally, Salil Da had predicted that one day Ilaiyaraaja would become the top most music director of India. His prophecy has come true.

A music analyst in his article in The Hindu has opined that in his early years of music direction, Ilaiyaraaja seemed to have been influenced by Salil Da in using fusion music which he improvised a lot in his later years. The same music analyst also felt that Salil Da was influenced by the music of Ilaiyaraaja in composing Bengali songs in his later years.

On the occasion of 24th Remembrance Day of the legendary music director, Salil Da, I have chosen a rarely heard Sanskrit song  ‘tava virahe vanamaali’ from the film ‘Swami Vivekanand’ (1994). The music for the song has been composed by Salil Da in a classical raaga, Yaman. The song is written by the famous Sanskrit poet of the 12th century AD – Jaidev. It is rendered by Kavita Krishnamurthy. It is a classical dance song which is picturised on Shobna (Pillai), a well-known Malayalam and Tamil film  actress and a Bharatnatyam dancer. She is the niece of Padmini and Ragini.

I took the song’s lyrics from Geet Govind. English translation of the lyrics is embedded on the audio clip of the song. This is the song I liked best out of 8 songs in the film.

There is long history about the film ‘Swami Vivekanand’ (1994). The film was directed by GV Iyer  a khadi-clad barefoot Gandhian who has been known for  making films based on spiritual themes. He was the first to make a feature film in Sanskrit, ‘Adi Shankaracharya’ (1983) which won 4 National Film Awards including the award for the Best Film. This was followed by ‘Madhvacharya’ (1986) in Kannada, ‘Ramanujacharya’ (1989) in Tamil, ‘Bhagvad Geeta – The Song of the Lord’ (1993) in Sanskrit.  In addition, he has acted in and directed many Kannada films since 1954.

‘Swami Vivekanand’ (1994) was GV Iyer’s first foray into Hindi film which also falls under the spiritual theme.  The film was produced by T Subbarami Reddy, a parliamentarian and a well-known Telugu and Bollywood film producer. The main characters in the film, Swami Vivekanand was played by Sarvadaman Banerjee and that of Ramkrishan Paramhans by Mithun Chakraborty. Tanuja, Pradeep Kumar, Debashree Roy were some of the other actors in the film. Shammi Kapoor, Shashi Kapoor, Hema Malini, Rakhee, Jaya Prada, Manmooty, Meenakshi Seshadari and Anupam Kher did some minor roles as guest actors.

The film took about 5 years to complete and further about 3 years to get released for public viewing. Naseeruddin Shah who was selected to play the role of Ramkrishna Paramhans had to be dropped due to pressure from right-wing activists. The role went to Mithun Chakraborty despite having an image of disco dancer at that time. There were many objections from various quarters including Ramkrishna Mission. When issues were being addressed by the director, someone filed a suit in the high court which after sometime, cleared the film with about 20 cuts. The film was premiered on National Channel of Doordarshan on August 15, 1998 and thereafter it was released in the theatres. The film was a disaster at the box office.

‘Swami Vivekanand’ (1994) was  Salil Da’s last Hindi film. Salil Da was regarded as an expert in background music but this was the only his Hindi film for which he could not give background music due to his sudden death on September 5, 1995.

Audio

Video

 

Song – Tava Virahe Vanamaali Sakhi Seedati  (Swami Vivekanand) (1994) Singer – Kavita Krishnamurthy, Lyrics – Jaidev (Traditional), MD – Salil Chaudhry

Lyrics

tava virahe vanamaali
sakhi seedati
tava virahe vanamaali
sakhi seedati
tava virahe vanamaali
 
dahati shishir-mayookhe
maranam-anukaroti
patati madan-vishikhe
vilapati vikalataroti
aa aa aa aaa
aa aa aa aaa
aa aa aaa
aa aa aaa
aa aa aa aa aaa
dahati shishir-mayookhe
maranam-anukaroti
patati madan-vishikhe
vilapati vikalataroti
vikalataroti
tava virahe vanamaali
sakhi seedati
tava virahe vanamaali
 
aa aa aaa aa
aa aa aaa aa
dhvanati madhupa-samoohe
shravanam-api dadhaati
manasi valit-virahe
nishi nishi rujam-upyaati
dhvanati madhupa-samoohe
shravanam-api dadhaati
manasi valit-virahe
nishi nishi rujam-upyaati

vasati vipin-vitaane

tyajati lalitdhaam
luth’ti dharani-shayane
bahu vilapati tava naam
vasati vipin-vitaane
tyajati lalitdhaam
luth’ti dharani-shayane
bahu vilapati tava naam aa
tava naam
tava virahe vanamaali
sakhi seedati
tava virahe vanamaali
sakhi seedati
tava virah..ae
vanamaali..ee

———————————-
Devnagari script lyrics (Provided by Sudhir)
———————————–

[Ed Note: The complete text of the original song (song no. 10 in the book) consists of 8 verses, which appear in the 5th chapter of this epic poem, placed between the 34th and the 35th shloks in the book. For the purpose of the film, only the first four have been adapted. There is a lead in verse which is a part of this song. It reads as,
वहति मलयसमीरे मदनमुपनिधाय ।
स्फुटति कुसुमनिकरे विरहिहृदयदलनाय ॥  ]

तव विरहे वनमाली सखि सीदति ॥ १॥
तव विरहे वनमाली सखि सीदति
तव विरहे वनमाली

दहति शिशिरमयूखे मरणमनुकरोति ।
पतति मदनविशिखे विलपति विकलतरोऽति ॥ २॥
आ आ आ आ
आ आ आ आ
आ आ आ
आ आ आ
आ आ आ आ आ
दहति शिशिरमयूखे मरणमनुकरोति
पतति मदनविशिखे विलपति विकलतरोऽति
तव विरहे वनमाली सखि सीदति
तव विरहे वनमाली

आ आ आ आ
आ आ आ आ
ध्वनति मधुपसमूहे श्रवणमपि दधाति ।
मनसि वलितविरहे निशि निशि रुजमुपयाति ॥ ३॥
ध्वनति मधुपसमूहे श्रवणमपि दधाति
मनसि वलितविरहे निशि निशि रुजमुपयाति

वसति विपिनविताने त्यजति ललितधाम ।
लुठति धरणिशयने बहु विलपति तव नाम ॥ ४॥
वसति विपिनविताने त्यजति ललितधाम
लुठति धरणिशयने बहु विलपति तव नाम
तव नाम
तव विरहे वनमाली सखि सीदति
तव विरहे वनमाली सखि सीदति
तव विरहे॰॰ए
वनमाली॰॰ई

 


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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.

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