Archive for the ‘Dance song’ Category
Sajan Salona Maang Lo Ji Koi
Posted on: September 21, 2017
- In: Artist century song in blog | Asha Bhonsle songs | Blog century song | Celebration Song | Century songs for the blog | Dance song | Devnagri script lyrics by Sudhir | Duet | Feelings of heart | Group Dance | Guest poster century song | Guest posts | Lata -Asha Bhonsle duet | Lata song | Lyrics contributed by readers | Post by Sudhir | Songs of 1960s (1961 to 1970) | Songs of 1964 | Yearwise breakup of songs
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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.
This post is the 13600th post, 600th song of Sahir Ludhianvi and 1100th post of Sudhir Jee in the blog.
One more song that I can’t believe has not yet been included in the annals of our blog. Such a melodious, lilting and fast paced lovable song. It used to be aired on the radio quite regularly, and was one of the listening favorites. The vintage is 1964, and so quite well still retained in the memory. As I started to search for a Sahir song for this post today, I was not quite satisfied with some of the ones that showed up as possible candidates. You see, as we progress and post more songs, and the artist counts starts to close in to their total no. of songs, then in all likelihood, the better ones, the favorite ones are mostly accounted for on the blog. So if one is looking for a favorite song as a representative work of an artist, it becomes quite an effort to locate one.
Ah yes, all this is being said because I have been trying to locate a good, attractive favorite song penned by Sahir Sb, for this celebration post today. So yes, this post is celebrating two major milestones. We arrive at the 13,600th station in this musical journey. In the same stroke, we are also celebrating a score of 600 songs posted, that have come from the pen of Sahir Ludhianvi. Congratulations to one and all members of this musical bandwagon, and all readers and friends on this blog. The going has been somewhat slow during the recent few weeks, but we continue to trek along these musical paths. The going is still strong – we still just at 35 to 40% of the known songs, considering the period from 1931 to 1980 (as covered in the first five volumes of the HFGK).
However, the same cannot be said of the artists. As we continue to progress and as we start getting near to the total number of songs of an artist, it then becomes somewhat of an effort, to search out a suitable, likeable song from the remaining lot. I have been working through the lists of remaining songs of Sahir Sb much of the early part of today. I picked out a few candidate songs, from across the years his career spans. With an excellent poet like him, I notice that majority, and I mean majority, of the songs written by him are accounted for. I run through the Geet Kosh, and the film name will tell me, not even try looking into the list, because this film is most certainly already ‘Yippeee’d’. Oh yes, I do pick up some, as I said earlier, but reaching 1964, checking out this film ‘Dooj Ka Chaand’, I was surprised that this film is not yet part of the Yippeee list on the blog. Scanning the list of songs, it is almost goose bumps running down my back, as I see this song listed. Quick check on the blog and I find this song is not yet present on the blog. I have made this faux pas a few times in the past, so I quickly send an email to Atul ji, to get a confirmation. I start to prepare the post in anticipation, as I wait for his response. The confirmation email from him a little while later is quite a relief, as you may understand. 🙂
The story of Sahir is a journey in bittersweet loneliness. His own life, his experiences and his personal emotions are quite reflected in the songs and his poetry. A romantic at heart, he was once expelled from his college (in Lahore) by the principal, who saw him sitting in the college lawns with a lady student. That same college today has an auditorium named after him. A childhood that begins with bitter family experiences – a strict and abusive father, and a mother who left the household on that account. He was close to his mother, who ensured that his education continued, even though she was not part of the family, strictly speaking. His poetry budded and took shape within him, and he published his first collection while still at college. The collection is titled ‘Talkhiyaan’ (तल्खियाँ). Literally, it means ‘bitternesses’. . .
The saga of the mutual love and attraction between Sahir and Amrita Pritam, the famous Punjabi poetess and author, is well known. It is not really clear what kept them apart. Was it that Amrita was already a married woman when they met? Was is familial or community apprehensions? We would not know. Theirs was an association of silence, and that is how it has remained – a mystery in silence. At one place, Amrita has written –
“our meetings and being together, were passages of silence. . . for me, it seemed as if the loneliness and silences of my soul took a human shape and came to sit besides me. . . he would be smoking all the time, and when he left, what remained behind was an ashtray full of half smoked cigarettes. . . I would keep them as treasures, and once in a while, would smoke them. . . holding that cigarette in my hand was like him holding my hand. . .”
There is one reference one finds to this personal affair. It is said that Sahir once said to his mother that the only one that could have been her ’bahu’ was Amrita.
Cigarettes and drink became his life, and he passed away quite early – just 57. Lines from two songs simply sum up his passage from the world of living. One – “Main Zindagi Ka Saath Nibhaata Chala Gaya”; I refer to the line “Har Fikr Ko Dhuen Mein Udaata Chala Gaya”. And the second – “Mehfil Se Utth Jaane Waalo”; I refer to the line “Mere Saathi. . . Mere Saathi. . . Mere Saathi Khaali Jaam”. A romantic – lived as one, passed away as one.
Today’s song is a wonderful duet between Lata ji and Asha ji. ‘Dooj’ is the second day in the waxing cycle of the moon. It is on this day that the first crescent of the moon really becomes visible. This view of the moon is considered to be the most auspicious. The Muslims celebrate their Id when this crescent moon is sighted. And in scriptures and books of Hinduism, this sighting finds many mentions, as an auspicious occasion. There is couplet (author unknown) which goes like,
avasar kaudi jo chuke, bahuri diye ka lakh
duij na chanda dekhiye, udai kaha bhari pakh
That a timely helping hand of just one ‘kaudi’ is worth much more than lakhs given when not needed; so is the sighting of the moon on ‘dooj’; seeing it that day is worth seeing it in all its phases for the rest of the fortnight.
The crescent moon and the star – which is an occasional sighting of the moon and the planet Venus in conjunction, has been considered as the most beautiful sights. It is the conjunction of the mind (मन) and beauty – moon represents the मन and the Venus represents beauty. Poets and authors have written that this sight is more beautiful than ‘Chaudhvin Ka Chaand’, which is the full moon.
Enjoy this lovely song. It depicts the age old tradition of unmarried girls praying to and paying their respects to this sighting of the moon, asking for the blessing of a beautiful loving husband. On screen, the song is performed as a group dance. B Saroja Devi is the lead dancer, accompanied by Madhumati and other ladies. They are teasing Saroja Devi to pray to the moon, and she is responding by saying that the one who may love her should come seeking her. And her friends respond by saying that her ‘bindiya’ and her ‘paayal’ are giving a different message. A lovely tete-a-tete.
Music is vintage Roshan, what a lovely and endearing melody this one is.
Song – Sajan Salona Maang Lo Ji Koi (Dooj Ka Chaand) (1964) Singer – Asha Bhosle, Lata Mangeshkar, Lyrics – Sahir Ludhianvi, MD – Roshan
Chorus
Lyrics
o ooo oo oo
ooo ooo ooooo
ooo ooo ooo ooo ooo ooo
sajan salona maang lo ji koi
sajan salona maang lo ji koi
nikla hai dooj ka chaand sakhi ri
aaj na kariyo laaj sakhi ri
aaj na kariyo laaj
suno to gori
ui maa
kaahe ki chori
ui maa
sajan salona maang lo ji koi
nikla hai dooj ka chaand sakhi ri
aaj na kariyo laaj sakhi ri
aaj na kariyo laaj
mohe meethi naahi laage aisi baat
sakhi chhedo na
mohe meethi naahi laage aisi baat
sakhi chhedo na
naina chaahe kisi chhaliye ka saath
sakhi chhedo na
aa ha
tu na chaahe kisi mitwa ka saath ri sakhi
ke tori chham chham karti paayal chaahe
koi matwaara rasiya
suno to gori
ui maa
kaahe ki chori
ui maa
sajan salona maang lo ji koi
nikla hai dooj ka chaand sakhi ri
aaj na kariyo laaj sakhi ri
aaj na kariyo laaj
jaa ko bhaaun wo hi maange mera haath
main to maangun na
jaa ko bhaaun wo hi maange mera haath
main to maangun na
badi aai hai ye dooj ki raat
main to maangun na
haaye
tu na maange kachhu aaj ki raat
ri sakhi
ke tori cham cham karti bindiya maange
koi matwaara rasiya
suno to gori
ui maa
kaahe ki chori
ui maa
sajan salona maang lo ji koi
nikla hai dooj ka chaand sakhi ri
aaj na kariyo laaj sakhi ri
aaj na kariyo laaj
la la la la laa
la la la la laa
laaa aaaa la la laa
oo ooo ooo
hmmm hmmm hmmm
hmmm hmmm hmmm
hooo ooo ooo ooo
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
ओ ओss ओs ओs
ओss ओss ओsssss
ओss ओss ओss ओss ओss ओss
सजन सलोना मांग लो जी कोई
सजन सलोना मांग लो जी कोई
निकला है दूज का चाँद सखी री
आज ना करियो लाज सखी री
आज ना करियो लाज
सुनो तो गोरी
ऊई माँ
काहे की चोरी
ऊई माँ
सजन सलोना मांग लो जी कोई
निकला है दूज का चाँद सखी री
आज ना करियो लाज सखी री
आज ना करियो लाज
मोहे मीठी नाही लागे ऐसी बात
सखी छेड़ो ना
मोहे मीठी नाही लागे ऐसी बात
सखी छेड़ो ना
नैना चाहें किसी छलिए का साथ
सखी छेड़ो ना
आ हा
तू ना चाहे किसी मितवा का साथ री सखी
के तोरी छम छम करती पायल चाहे कोई मतवारा रसिया
सुनो तो गोरी
ऊई माँ
काहे की चोरी
ऊई माँ
सजन सलोना मांग लो जी कोई
निकला है दूज का चाँद सखी री
आज ना करियो लाज सखी री
आज ना करियो लाज
जा को भाऊँ वो ही मांगे मेरा हाथ
मैं तो माँगूँ ना
जा को भाऊँ वो ही मांगे मेरा हाथ
मैं तो माँगूँ ना
बड़ी आई है ये दूज की रात
मैं तो माँगूँ ना
हाए
तू ना मांगे कछु आज की रात री सखी
के तोरी चम चम करती बिंदिया मांगे कोई मतवारा रसिया
सुनो तो गोरी
ऊई माँ
काहे की चोरी
ऊई माँ
सजन सलोना मांग लो जी कोई
निकला है दूज का चाँद सखी री
आज ना करियो लाज सखी री
आज ना करियो लाज
ल ल ल ल ला
ल ल ल ल ला
ला आ ल ल ला
ओ ओ ओ
हम्म हम्म हम्म
हम्म हम्म हम्म
हो ओ ओ ओ
O maniyaapur ke chhaila
Posted on: September 18, 2017
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 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.
Today’s song is from film Raag Rang-52. The film was produced by Bali sisters, Bombay banner. The producer was Hari Darshan bali, the Director was Digvijay Bali ( elder brother of Geeta Bali) and the heroine of the film was Geeta Bali, opposite Ashok kumar. At this time, the age of Geeta Bali was just 22 years and Ashok kumar was almost double of her age, at 41 years !
Ashok kumar was probably the earliest star actor who was called an Evergreen Actor, because he continued to do Hero’s roles till he was 49 years old ! However, after he retired, Dev Anand overtook him by doing Hero’s roles till he was 66 years old. So, truly speaking, Dev Anand was the real Evergreen Hero ! But, surprisingly, a Meteor, or call it a Hurricane-if you like it- Called Rajesh khanna, swept these two first generation stalwarts and created a Record of doing Maximum Films as a Hero. You will be ( or may be not ) surprised to read that Rajesh Khanna has an Unbroken Record of doing 106 films as a solo Hero, followed by Dev Anand with 92 films and Ashok kumar at the 3rd number with 86 films as a Solo Hero !
In last so many years- till 1980 – I must have seen hundreds of Films- Hindi, Marathi, English, Tamil, Telugu, kannada, Malyalam and Konkani. In the Hindi films, I can not forget 3 actresses, who were Bubbly, playful, with innocent looks and with Natural acting talent. They were Meena Shorey, Nalini Jaywant and Geeta Bali. I enjoyed every film of these actresses, which i saw. It is difficult to forget the role and acting of Meena Shorey in film ” Ek thi Ladki-49″, or Nalini Jaywant in film ” Hum sab chor hain-56″, or Geeta Bali in film ” Aji Bas Shukriya-58″. These were all my favourite actresses. it is very unfortunate that they all met their deaths in very tragic circumstances.
Geeta Bali’s dancing eyes and her animated, expressive face which mirrored her soul were her most outstanding features. Yet life was snatched away from this vibrant personality at an achingly young age of 35.It is some consolation that Geeta crammed a lot into her short life: 80 odd films in a ten-year career.
She married struggling actor-turned-megastar Shammi Kapoor and mothered two children: a son and a daughter. Today, she is remembered as a wonderfully natural actress and a fabulous human being.She was quite close to her sisters and brother. her childhood pet name was KEETA.
True, Geeta’s reputation as an actress rests more on her performances than her roles. Natural, spontaneous and gifted with a spot-on sense of comic timing, she never really found a vehicle worthy of her talent. Largely a shade better than the movies she starred in, she frittered away her talents in B-grade films.
Probably the fact that she was born into a family that had to struggle for sheer survival and the fact that she reached the top through sheer grit had Geeta stress on quantity rather than quality. Film lore has it that when mentor [filmmaker] Kidar Sharma first met Geeta, she was living with her family in somebody’s bathroom!
Geeta, who was born on 30-11-1930 at Amritsar, as Harikirtan Kaur, had done a few small-time dancing roles in pre-Partition Punjab in films like Badnami-46, Kahan gaye-46 and Pat jhad-48, before moving to Mumbai. Impressed by her off-screen vivacity, Sharma cast Geeta in his Suhaag Raat (1948). Audiences related to her instantly and watched wide-eyed as she nonchalantly tossed her unconscious hero, Bharat Bhushan over her shoulder in a scene.
Soon, Geeta was inundated with contracts (that’s what they called film offers then). She accepted most. She won raves even in supporting roles like in the 1949 Suraiya starrer Badi Behan and the Madhubala starrer Dulari.
In 1951, she became a major star with Guru Dutt’s first hit, Baazi (she went on to do three other films under his direction). Geeta played gangster’s moll with a golden heart to Kalpana Kartik’s conventional heroine. But Geeta played her role with such gay abandon that hero Dev Anand divulges, “People came repeatedly to theatres to see Geeta’s spirited dancing to Tadbeer se bigdi hui taqdeer bana de.
Geeta proved she could do tragedy (Sharma’s Raj Kapoor starrer Bawre Nain) or and play the lighthearted heroine to comedian Bhagwan in the super successful Albela. Albela’s swinging C Ramchandra composed songs like Shola jo bhadkeand Sham dhale mere khidki tale made front-benchers dance with the stars and even fling coins on screen.
Pug-nosed Geeta was no conventional beauty, but that transparent face and that smile constantly flirting on her lips made sure you couldn’t tear your eyes away from her.
Watch Geeta Bali in the Guru Dutt-directed Jaal (1952). Dev Anand, a cigarette-smoking smuggler on the run from the police, tries to entice morally upstanding heroine Geeta into his web. Geeta evocatively communicates her struggle against, and her eventual surrender to, handsome Dev’s seduction call Yeh raat, yeh chaandni phir kahan.
Famously down-to-earth despite her star status, Geeta was the antithesis of the coy 1950s’ heroine. She often drove herself to her premieres in an open jeep. Those who knew her claim she was a Samaritan who touched the lives of whoever she met. She is said to have personally groomed Mala Sinha, then a newcomer.
To date, so many years after her death, her secretary Surinder Kapoor’s (Boney Kapoor’s father) productions begin with a shraddhanjali to Geeta Bali.
Shammi Kapoor entered her life when they worked in the quaintly named Miss Coca Cola and Coffee House together. On an impulse, Geeta played a small role of a man in Sharma’s Shammi Kapoor starrer Rangeen Raatein. On the film’s Ranikhet outdoor, Shammi and Geeta fell in love.
Kapoor was a year younger to her and was not yet a star, but the twosome were hell bent on marrying each other. Geeta had worked with Shammi’s eldest brother, Raj Kapoor in Bawre Nain, and with his father, Prithviraj Kapoor in Anand Math, Shammi was unsure about their reaction to this match.
But on August 23, 1955, with producer-director Hari Walia as witness, the couple were married at the Banganga Temple at 4 am.
Geeta continued to work after marriage in a few films like Sohrab Modi’s Jailor (1958), where she won raves as a blind girl. With Shammi Kapoor turning into a huge star and the birth of her two children Aditya (nicknamed Mickey) and Kanchan, she eased her workload.
The desire to do that one fulfilling role she would be remembered for prompted Geeta to attempt the production of a classic for herself. She started Rano, based on Rajinder Singh Bedi’s famous novel, Ek Chaddar Maili Si, based on a widow’s remarriage to her brother-in-law.
Upcoming star Dharmendra played her hero.
Geeta, had not been vaccinated for small pox, despite the fact her father too had died of Small Pox. She had ignored repeated warnings in the child hood. She contracted the dreaded disease while shooting the film. The best care was rushed to her, but her fever apparently reached 107 degrees. Her doctor saw a picture by his patient’s bedside and asked who the pretty lady was. The disease had so wracked Geeta’s frail frame that he didn’t recognise her as the same person!
Geeta Bali passed away on January 21, 1965, leaving behind eight-year-old Aditya and three-year-old Kanchan in the care of a devastated Shammi Kapoor.
Ironically, she was cremated in Banganga, not far from where she was married. ( adapted from Rediffmail.com, with thanks.)
Film Raag Rang-52 had 11 songs. 8 songs are already discussed and posted in the Blog. Today’s song is the 9th song. This is a lively duet. Since I have not seen the movie, I can not say on whom it is filmed, but from the lyrics, it looks that it might have been filmed on Geeta Bali. This duet is sung by Lata Mangeshkar, Trilok Kapoor and chorus. Now, this singer Trilok Kapoor is a case of ‘ Same name confusion’. There was another actor Trilok Kapoor ( famous for the role of Mahadev in Mythological films) operating at the same time in the industry. Since he was the more famous one, most sites, Blogs and enthusiastic new music lovers credit this singer’s songs to the actor. I reproduce here what I wrote about this singer and the actor in my series ” Same name Confusions” posted on http://www.anmolfankaar.com, about 3 years ago.
About the Singer TRILOK KAPOOR….
He too was from Multan, just like the actor Trilok kapoor, and was keen on singing in films. He and his wife have sung many Punjabi songs.
Singer Trilok kapoor sang a song in film Birhan-48 (Tu chanda main teri chakori – a duet with Dilshad Begum- record No. GE 5232). The film was in the making in 1946 at Lahore, but was released in 1948 due to Partition in 47.
The singer of this song can not be the actor Trilok kapoor, for the simple reason that he was busy in making 4 films in 1946 in Bombay and it is impossible that just to sing a song in a film, anybody would go to Lahore in those tumultous days.
Anyway, after the Partition, the singer Trilok Kapoor became a displaced person. He came to Bombay and met MD Shyamsunder, who sympathised with him, being a Punjabi himself from the same region. Shyam Sunder gave him a song in Bhai Behan-1950, a duet with Shamshad Begum. He got a job in Radio and continued singing in films like Guru Dakshina, Raag rang, Titlee,Goonj, Naya Raasta, Miss Mala, Saloni, Tootey Khiloune, Laadla and finally his last song in Trolley Driver-1958.
So, the actor Trilok Kapoor and singer Trilok Kapoor are two different persons-
1) Actor Trilok Kapoor never sang after 1942.
2) Singer Trilok Kapoor never sang in any film featuring actor Trilok Kapoor.
3) If actor Trilok Kapoor was a singer himself, he would have sung his own songs in his films, instead of taking playback from other singers, e.g. G M Durrani in Mirza Sahibaan-47. Those who are singer actors rarely take playback from others.
4) The voice of Trilok Kapoor in songs and the dialogues in films is different.
5) It is likely that,actually the song of Aaj ki Duniya-40 and the duets of Raja Rani also were sung by the singer Trilok Kapoor, as he sang a song in Birhan in 1946, as mentioned above with record number. the entry in HFGK may be just a case of ” Same name confusion” (like few other cases). Since the songs are not available, the benefit of doubt should go to singer Trilok Kapoor because he was a singer and NOT to actor Trilok Kapoor as he was NOT a singer.
6) The final verdict was Shamshad begum had confirmed over Phone that Trilok Kapoor with whom she sang was NOT the actor/brother of Prithviraj Kapoor, but was a different person.
So,please remember,actor Trilok Kapoor and singer Trilok Kapoor were two different persons.
Let us now enjoy the catchy duet from the film Raag Rang-52. The Music Director is Roshan.
Song-O maniyaapur ke chhaila (Raag Rang)(1952) Singers-Lata, Trilok Kapoor, Lyrics-Prakash Bakshi, MD-Roshan
Chorus
Lyrics
gori gori
gori chori
gori gori
gori chori
gori gori
gori chori
(o o o maniyaapur ke chhailaa
ho o o)
gori gori
chori chori
gori gori
gori chori
o maniyaapur ke chhailaa
main roop gaanv ki chhori
main roop gaanv ki chhori
gori gori re
gori chhori re
daar nain mein kaajar raajaa
baat main dekhoon tori
baat main dekhoon tori
chori chori re
chori chori re
o maniyaapur ke chhaila
raat chaandni
rut phaagun ki
tum bin jiyaa lage naa
haaye lage naa
jab se gaye pardes piyaa more
ghar mein diyaa jage naa
haay jage naa
o o o
jag bairi na dekh sake ji
hamri tumhri jori
chaand chakori
main roop gaanv ki chhori
gori gori re
chori chori re
o maniyaapur ke chhailaa
faaslaa hum mein sau kos kaa
beech bahe dariyaa aa aa aa
na naiyyaa na tair sakoon main
kaise aaun bataa aa aa
na naiyyaa na tair sakoon main
kaise aaun bataa aa aa
milnaa ho to raajaaji
milne ke laakh bahaane
laakh bahaane
nadi cheer kar milte hain nit premi ?? deevaane
?? divaane
o o o
teri aas mein jeeti hoon nit ??
joraa jori
main roop gaanv ki chhori
gori chhori re
gori chhori re
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
Today’s song is from film Lajawab-50. It was a production of Variety pictures – a company owned by actress Ashalata Biswas- wife of Anil Biswas ( real name Mehrunnisa Bhagat). It is needless to state that the music for this and every film of this company, was composed by Anil Biswas. The film was directed by the veteran J.P.Advani, who was known to Anil Biswas from the mid 30s. However, they came together only in 3 successive films, namely Veena-48, Laadli-49 and Lajawab-50.
Jagatrai Pesumal Advani was born on 17-5-1903 in Hyderabad ( Sindh ). After graduating, he studied film making in Germany in the 1920s. After coming back to India, he joined Mohan Bhavnani – a big gun in those days- as his assistant. His first film as a Director was Heer Ranjha-1931. He shifted to Saroj Movietone in 1934 and then to Karachi to work for Golden Eagle Company. He was considered an expert who could handle the Heroines at his will.
He directed about 30 films, including a Hindi/Punjabi bilingual film Sassi-Punnu-46. His Filmography is- 1931: Heer Ranjha; 1933: Zehar-e-Ishq; 1934: Afghan Abla; Dilara; Gafil Musafir; Johar-e-Shamsheer; Tilasmi Talwar; Vasantsena; Flashing Sword; 1935: Bahar-e- Sulemani; Farebi Duniya; Shah Behram; 1936: Elaan-e-Jung; Shokh Dilruba; Sipahsalaar; 1937: Saqi; Insaaf; 1939: Dekha Jayega; 1940: Dharma Bandhan; Sneh Bandhan; 1941: Shehzadi; 1942: Suhagan; 1943: Sahara; 1946: Sassi Punnu; 1948: Veena; 1949: Laadli; 1950: Wafaa; Lajawaab; 1952: Saloni; 1954: Danka; 1955: Hasina.
The cast of the film consisted of Rehana, Sohan, Kuldeep Kaur, David, Pran, Iftekhar etc etc. Not much information is available about this Hero- Sohan. In Hindi films, many aspirants tried their luck. Not all of them got an opportunity to enter films. In the early era, it was easy, but as the years passed by, it became difficult for the hopefuls. Few lucky ones got a Mentor- it helped them to only to enter films but not stay in the industry.
“Aaye bhi vo, gaye bhi vo, khatam fasana ho gaya “. These newcomers were given a fair opportunity to showcase their abilities, but unfortunately, despite their honest efforts, their skill did not show up and the audience was unimpressed. They got big banners, good experienced directors, but they disappointed their Mentors with non existent abilities to act. They proved to be ‘Non- Actors ‘.
Among them, some male actor’s names which I remember off hand are Arjun in Malhar-51, Rattan Chopra in Aman-67,Mom ki Gudia-72, Vijay kumar in Alif laila-54,Premendra in Holi aayee re-70, Deepak kumar in Aabroo-68, Ajay in Wapas-69, Som Dutt in mann ka meet-68, Vikram in Julie-75,Rajeev Kapoor in Raam teri Ganga maili-85, Shekhar Suman in Utsav-84, Kaycee mehra in Chhabilee-60 and mem didi-61, prashant in Sehra-63, Ashok Sharma in Hamari yaad aayegi-61, Ajit Chitnis in Aaj ki baat-55, Nusrat Kardar in Dard-47, Manish in Saraswati Chandra-68, Rajiv in Nayi umar ki nayi fasal-65, Aroop kumar in Bezubaan-62 etc etc.
Sohan kapila was also one such actor, who was not successful as a Hero. Actually, big banners like Filmistan supported him. He got seasoned Heroines like Geeta Bali and Rehana as well as Debutants Jayashree Gadkar and Nalini Chonkar, but nothing worked. He proved that you can take the Horse to the water, but you can not make it drink !!! He acted in Girls school-49, lajawab-50, Sanskar-58, Ek armaan mera-59, Chaand ki duniya-59, Babar-60, Commercial pilot officer-63 and picnik-66 and may be some more as character roles. After he retired, his daughter actress Padmini Kapila also had the same fate !
Film Lajawab-50 had another interesting artiste- Kuldeep kaur. Her life story is very interesting. Born in 1927 at Lahore, Kuldeep Kaur was the daughter of a wealthy landlord family of Punjab and the daughter-in-law of the grandson of Ranjit Singh’s daredevil military commander, General Sham Singh Attariwala.
Her in-laws lived in the village of Attari. Located on Amritsar district’s border with Lahore district, just off the Grand Trunk Road, it was 18 miles away from both Amritsar and Lahore.
Kuldip Kaur was a very shy and simple, beautiful Sikh woman.
Her rich landlord husband, Mohinder Singh Sidhu (also called Mohinder Singh Pompa), was a spoiled chap. He hardly spent a day without visiting either Lahore or Amritsar. He was a good friend of Maharaja Jagatjit Singh of Kapurthala and visited his French style palace – modelled on the Versailles – as well as the magnificent Jagatjit Club several times during the winters. During the summers the Maharaja himself was often on a tour of France and other European countries and was seldom available in Kapurthala.
Kuldip Kaur was brought up like a princess. Her spoiled Sardar husband wanted his wife to be like a modern westernized lady. He wanted his wife to learn swimming and rub shoulders with the club-going English elite based in Lahore and Amritsar.
Once exposed to the club culture, Kuldip Kaur also started getting a taste of its dark side. Since Lahore was a film city, Kuldip Kaur started dreaming about becoming a film actress.
According to one story, Kuldip Kaur started admiring the professional qualities of actor Pran Nath, who was in film acting in Lahore since 1940, when he successfully performed the role of a hero in Punjabi film “Yamla Jutt” (The Simple Peasant).
By July and August of 1947, communal violence erupted into a full-fledged exercise in ethnic cleansing, with Muslims on one side and Sikhs and Hindus on the other. Both Lahore and Amritsar were engulfed in the worst sectarian violence in recent history.
Both Pran and Kuldip Kaur were made to leave Lahore in a jiffy, leaving virtually every belonging behind. Her own village being right on the border was also not peaceful. So Kuldip
Kaur left straight for Bombay. According to one story, in order to impress Pran, Kuldip Kaur decided to bring Pran’s stranded car from Lahore to Bombay.
In a gesture of unprecedented daredevilry, she travelled from the safety of Amritsar to Lahore and drove Pran’s car first to Amritsar and then all the way to Bombay, where she handed over the keys to a surprised but grateful Pran.
After leaving for Bombay, Kuldip Kaur’s contact with her parents and in-laws got diminished. On arrival in Bombay, Kuldip Kaur made up her mind to plunge headlong into the film industry. She was prepared to act in Hindi/Urdu as well as Punjabi films. The experts of film industry were of the opinion that her large piercing eyes and her flat
chin made her an ideal choice for the role of a vamp.
The first ranking heroines of the time included Naseem Bano, Madhubala, Nargis, Suraiya and Nutan. Other heroines included Binarai, Shyama, Nimmi, Nirupa Roy, Meena Shori, Nigar Sultana, Veena and Kamini Kaushal. There was a shortage of ladies willing to perform the role of vamps.
One of Kuldip Kaur’s first films was a Punjabi blockbuster “Chaman” (1948). Within the same year Kuldip Kaur acted in two Hindi/Urdu films “Ziddi” and “Grahasthi“. All her 1948 films did well. After that she never looked back and went from strength to strength. At one stage Kuldip Kaur was so busy in her film roles that for a long duration she did not visit Punjab.
In 1949, Kuldip Kaur worked in at least two films “Ek Thi Ladki” and “Kaneez”. “Ek Thi Ladki” was a blockbuster. Music Director Vinod composed some great tunes for this movie. “Kaneez” did not do too well.In 1950, Kuldip Kaur acted in two great musical Hindi movies “Samadhi” and “Adhi Raat” and did two Punjabi movies “Madaari” and “Chhai”.
1951 was a great year for her: she played the roles of vamps in six movies – “Stage”, “Rajput”, “Nai Zindagi”, “Ek Nazar”, “Afsana” and “Mukhra”. Her role in film “Afsana” received critical acclaim.
1952 was another great year for Kuldip Kaur. She worked in four movies – “Shisham”, “Nau Bahar”, “Baiju Bawra” and “Anjaam”. Again her role was highly praised in what became an all-time classic, “Baiju Bawra”. In 1953 again, Kuldip Kaur had four films – “Mashooka”, “Baaz”, “Anarkali” and “Aabshar”. Of these, “Anarkali” was a super hit and her role stole the limelight. 1954 proved another great year. She was featured in three movies – “Lal Pari”, “Gul Bahar” and “Daak Babu”.
1955 was one of her busiest professional years. She played the bad girl’s role in “Teer Andaz”, “Miss Coca Cola”, “Mast Qalandar” and “Jashan”. In 1956, things slowed down a bit. She worked in two films, but none was released. Two of Kuldip Kaur starrers spilled over into the new year and were released in 1957. These were “Sheroo” and “Ek Saal”. In 1958 Kuldip Kaur had her roles in two films “Sahara” and “Panchyat”. In 1959, she did three films – “Pyaar Ka Rishta”, “Mohar” and “Jagir”. Out of these, one film, “Mohar,” was a great musical. Its music composed by Madan Mohan was simply outstanding.
When Kuldip had fewer Hindi films in hand, she worked in Punjabi films. 1960 started as a reasonably good year for Kuldip Kaur. She had a Hindi film, “Maa Baap,” and a Punjabi film, “Yamla Jutt”.But during this very year, her life was cut short when she got some thorns in her feet and legs and she pulled those out by herself. True to her character of a daredevil woman, she did not seek medical advice immediately. Her sores became not only septic, but she contracted tetanus too, which was then incurable.
Kuldip Kaur died in 1960.
Today’s song is the 5th song to be posted from this film. There were total 11 songs. I feel this film had some of the best songs of Anil Biswas. All the 3 duets of Anil Biswas and Lata are very good. Today’s duet is the third of them, in which Anil Biswas has no words but makes only funny sounds. Enjoy this melodious duet….
Song-Do din bahaar hai do din ka pyaar hai (Laajawaab)(1950) Singers-Lata, Lyrics-Prem Dhawan, MD-Anil Biswas
Male chorus + Anil Biswas
Female chorus
Lyrics
hoyi hoyi hoyi
hoyiya re hoyiya
hoyi hoyi hoyi
hoyiya re hoyiya
ho ho ho ho ho ho
hoyi hoyi hoyi
hoyiya re hoyiya
ho ho ho ho ho
hoyi hoyi hoyi
hoyiya re hoyiya
hoyi hoyi hoyi
hoyiya re hoyiya
ho ho ho ho ho
hoyi hoyi hoyi
hoyiya re hoyiya
hoyi hoyi hoyi hoyiya
re hoyiya
hoyi hoyi hoyi
hoyiya re hoyiya
do din bahaar hai
do din ka pyaar hai
do din ki hai ye zindgaani
hoyi hoyi hoyi
hoyiya re hoyiya
do din bahaar hai
do din ka pyaar hai
do din ki hai ye zindgaani
hoyi hoyi hoyi
hoyiya re hoyiya
duniya jawaan hai
dil mein toofaan hai
duniya jawaan hai
dil me toofaan hai
kar le ji bhar ke tu manmaani ee
do din bahaar hai
do din ka pyaar hai
do din ki hai ye zindgani
hoyi hoyi hoyi
hoyiya re hoyiya
hoyi hoyi hoyi
hoyiya re hoyiya
hoyi hoyi hoyi
hoyiya re hoyiya
bhanwron se boli ye baad e saba
bhanwron se boli ye baad e saba
lo kaliyaan hansi
lo chaman khil gaya
lo kaliyaan hansi
lo kaliyaan hansi
lo kaliyaan hansi
lo chaman khil gaya
phoolon pe jhoom lo
kaliyon ko chum lo
phoolon pe jhoom lo
kaliyon ko choom lo
aayegi phir na rut suhaani ee
do din bahaar hai
do din ka pyaar hai
do din ki hai ye zindgaani
hoyi hoyi hoyi
hoyiya re hoyiya
hoyi hoyi hoyi
hoyiya re hoyiya
jo kahana hai tumse wo kah na sakoon
na kahne ke dukh ko main sah na sakoon
jo kahana hai tumse wo kah na sakoon
na kahne ke dukh ko main sah na sakoon
dil bekaraar hai
tumpe nisaar hai
dil bekaraar hai
tumpe nisaar hai
itni si hai meri kahaani ee
do din bahaar hai
do din ka pyaar hai
do din ki hai ye zindgani
hoyi hoyi hoyi hoyiya re hoyiya
do din bahaar hai
do din ka pyaar hai
do din ki hai ye zindgani
hoyi hoyi hoyi
hoyiya ri hoyiya
hoyi hoyi hoyi
hoyiya re hoyiya
ho ho ho ho ho
hoyi hoyi hoyi hoyiya re hoyiya
ho ho ho ho ho
hoyi hoyi hoyi hoyiya re hoyiya
ho ho ho ho ho
hoyi hoyi hoyi hoyiya re hoyiya
- In: "Dance under duress" song | "Helen" song | "Villain's" den song | "Zindagi" song | Club song | Dance song | Devnagri script lyrics by Sudhir | Guest posts | Lyrics contributed by readers | One singer singing for two actors | Post by Peevesie's mom | Songs of 1970s (1971 to 1980) | Songs of 1974 | Yearwise breakup of songs
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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. 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.
Hullo to all in Atuldom
September 2, 2017. The lady who made the fringe-cut hair style popular would have been 76. Yes, I am talking of Sadhana and that hair style called “sadhana cut”. I am sure every girl of the 1960s and 70s would have sported the style at least once in her lifetime. Apparently this look was inspired from the British actress Audrey Hepburn (some more on this later).
Sadhana was born in a Sindhi family in Karachi (now in Pakistan). Her father was the elder brother of Hari Shivadasani; that makes Babita her first cousin and Karisma and Kareena her nieces. Post partition they settled in Mumbai where she had her schooling. She was in Bombay’s Jai Hind college when she was approached by some producer who had seen her on a college stage-play. This led to her debut in movies through the Sindhi film ‘Abaana’.
Sashadhar Mukherjee took her on to co-star his debutant son Joy Mukherjee after seeing her in an ad of the Sindhi movie. RK Nayyar, till then an assistant director, was the director of the film. It was RK Nayyar (later her husband) who worked on her look and gave her the Audrey Hepburn fringe and thus ‘Love in Simla’ became the launch vehicle for Joy Mukherjee, Sadhana and Sadhana-cut. In this film she had a tomboyish character that blooms into a beautiful lady; something akin to the ugly-duckling changing into a swan. Post the debut there were a spate of movies showcasing her talent as the simple village girl “Parakh”; or simple middle-class girl “Asli Naqli”; or the simple rich girl “Hum Dono”. That doesn’t mean she always played the simple girl, alongside these movies she also starred in Raj Khosla’s trilogy of suspense films. I don’t tire of seeing “Mera Saaya” specially the courtroom scenes and her naughty expression as the street dancer in “Jhumka Gira Re”; but then she was unforgettable in all the songs of that movie and throughout the entire movie.
If I sit to draw up a list of my favourite Sadhana songs “Lag Ja Galey Ke Phir Ye Haseen Raat Ho Na Ho”and “Naina Barse” – both from ‘Woh Kaun Thi’ (1964), will top the list which will include “Jhumka Gira Re”, “Tu Jahaan Jahaan Chalega Mera Saaya Saath Hoga” – both from ‘Mera Saaya (1966), “Tera Mera Pyar Amar” (‘Asli Naqli’, 1962) “Main To Tum Sang Nain Mila Ke” (‘Manmauji’, 1962), “Chehere Pe Khushi Chha Jaati Hai” (‘Waqt’, 1965), “Geet Tere Saaz Ka Teri Hi Awaaz Hoon” (‘Inteqaam’, 1969), and more. And the song from ‘Hum Dono’ (1962) “Abhi Na Jaao Chhod Kar” will try to push “Lag Ja Galey Ke Phir Ye. . .” from the top of the list (depending on my mood 😊). Of course, she was a big actress much before I began to see movies with a conscious mind. Whatever I have seen is all thanks to the weekend movies shown on Doordarshan in the late 70s and 80s. But the songs, which have been playing over and over again on the radio waves made me her fan. I remember seeing her as an avenging angel in ‘Inteqaam’ (1969), scaring Manoj Kumar in ‘Woh Kaun Thi’ (1964), as also the typical eye candy act in movies like ‘Waqt’ (1965), ‘Aap Aaye Bahaar Aayi’ (1971), ‘Raajkumar’ (1964), ‘Aarzoo’ (1965) etc. (all thanks to DD).
She made a comeback to movies, briefly, after her illness starred in ‘Ek Phool Do Maali’ (1969), ‘Dil Daulat Duniya’ (1972), etc.and also produced a few movies like ‘Geeta Mera Naam’ (1974) and ‘Pati Parmeshwar’ (1989) starring Dimple Kapadia.
‘Geeta Mera Naam’ was a 1974 movie produced by RK Nayyar. Sadhana was the star and the director of the film. The film also starred Sunil Dutt, Feroz Khan, Helen and Rajendranath. The film’s music is by Laxmikant Pyarelal.
This is the synopsis that Wikipedia gives
The film tells the story of four children who are separated at a fair and unknowingly reunite years later when Geeta (Sadhana) meets Nita (also Sadhana) in prison. Nita has been wrongly accused of murder. Geeta is then caught up in a scheme to find the true killer which leads her to her brother Johnny’s (Sunil Dutt) gang.
Today’s song is sung by Asha Bhonsle with both Helen and Sadhana lip syncing to her. It looks like a pre-climax song where Feroz Khan is desperately trying to save Sadhana (I am guessing this).
[Ed Note: Prakash ji has identified the male dancer accompanying Helen in this video clip as Oscar Unger.]
Let us enjoy and think what it would have been like if Sadhana had not taken sanyaas from movies – would she have gone the way her contemporaries Asha Parekh, Mala Sinha etc. did- meaning doing mother and bhabhi roles or would she have turned full time producer etc. Oh we can let our imagination run wild and speculate.
Song – Mujhe Maar Daalo Main Mar Jaaungi (Geeta Mera Naam) (1974) Singer – Asha Bhosle, Lyrics – Rajendra Krishan, MD – Laxmikant Pyaarelal
Lyrics
haan mujhe mar daalo
main mar jaoongi
marte marte ye saabit kar jaoongi
ke zindagi bhi maut hai
maut bhi hai zindagi
zindagi bhi maut hai
maut bhi hai zindagi
mujhe mar daalo
main mar jaoongi
marte marte ye saabit kar jaoongi
ke zindagi bhi maut hai
maut bhi hai zindagi
zindagi bhi maut hai
maut bhi hai zindagi
haan
toofano se mujhe aata hai khelna
mere liye khel hai zulmon ka jhelna
haan haan haan haan haan
haan haan haan haan haan
toofano se mujhe aata hai khelna
mere liye khel hai zulmon ka jhelna
zulmo pe zulm karo
zulm sahoongi
phir bhi kahoongi
ke zindagi bhi maut hai
maut bhi hai zindagi
aaa aaa aa aaa aa
aaa aaa aa aaa aa
aaa aaa aa aaa aa
aaaa
nikhra hua hai kaisa
aaj rang sham ka
aise me kyon na aye
mazaa inteqaam ka
haan haan haan haan haan
haan haan haan haan haan
nikhra hua hai kaisa
aaj rang sham ka
aise me kyon na aye
mazaa inteqaam ka
gore badan se jo khoon bahega
beh ke kahega
ke zindagi bhi maut hai
maut bhi hai zindagi
zindagi bhi maut hai
maut bhi hai zindagi
jitna sitam karo
utna hi kam hai
jeene ki khushi hai
na marne ka gum hai
haan haan haan haan haan
haan haan haan haan haan
jitna sitam karo
utna hi kam hai
jeene ki khushi hai
na marne ka gum hai
qaatil zubaan se jo chup rahega
lahu to kahega
ke zindagi bhi maut hai
maut bhi hai zindagi
zindagi bhi maut hai
maut bhi hai zindagi
mujhe mar daalo
main mar jaoongi
marte marte ye saabit kar jaoongi
ke zindagi bhi maut hai
maut bhi hai zindagi
zindagi bhi maut hai
maut bhi hai zindagi
haan
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
हाँ मुझे मार डालो
मैं मर जाऊँगी
मरते मरते ये साबित कर जाऊँगी
के ज़िंदगी भी मौत है
मौत भी है ज़िंदगी
ज़िंदगी भी मौत है
मौत भी है ज़िंदगी
मुझे मार डालो
मैं मर जाऊँगी
मरते मरते ये साबित कर जाऊँगी
के ज़िंदगी भी मौत है
मौत भी है ज़िंदगी
ज़िंदगी भी मौत है
मौत भी है ज़िंदगी
हाँ
तूफानों से मुझे आता है खेलना
मेरे लियूए खेल है ज़ुल्मों को झेलना
हाँ हाँ हाँ हाँ हाँ
हाँ हाँ हाँ हाँ हाँ
तूफानों से मुझे आता है खेलना
मेरे लिए खेल है ज़ुल्मों को झेलना
ज़ुल्मो पे ज़ुल्म करो
ज़ुल्म सहूँगी
फिर भी कहूँगी
के ज़िंदगी भी मौत है
मौत भी है ज़िंदगी
आ आ आ आ आ
आ आ आ आ आ
आ आ आ आ आ
आss
निखरा हुआ है कैसा
आज रंग शाम का
ऐसे में क्यों ना आए
मज़ा इंतकाम का
हाँ हाँ हाँ हाँ हाँ
हाँ हाँ हाँ हाँ हाँ
निखरा हुआ है कैसा
आज रंग शाम का
ऐसे में क्यों ना आए
मज़ा इंतकाम का
गोरे बदन से जो खून बहेगा
बह के कहेगा
के ज़िंदगी भी मौत है
मौत भी है ज़िंदगी
ज़िंदगी भी मौत है
मौत भी है ज़िंदगी
जितना सितम करो
उतना ही कम है
जीने कि खुशी है
ना मरने के ग़म है
हाँ हाँ हाँ हाँ हाँ
हाँ हाँ हाँ हाँ हाँ
जितना सितम करो
उतना ही कम है
जीने कि खुशी है
ना मरने के ग़म है
क़ातिल जुबां से जो चुप रहेगा
लहू तो कहेगा
के ज़िंदगी भी मौत है
मौत भी है ज़िंदगी
ज़िंदगी भी मौत है
मौत भी है ज़िंदगी
मुझे मार डालो
मैं मर जाऊँगी
मरते मरते ये साबित कर जाऊँगी
के ज़िंदगी भी मौत है
मौत भी है ज़िंदगी
ज़िंदगी भी मौत है
मौत भी है ज़िंदगी
हाँ
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
Today’s song is from a lesser known film ‘Pehla Pehla Pyar’ (1958). Made by National Cine Corporation, it was produced by Daljit and directed by the veteran Nanubhai Vakil.
As we all know, in the early era of films – both silent and talkie, many actresses came from the traditional singing families (read tawaiafs). Average to good looks and ability to sing tolerably were their main qualifications. Many of these girls joined film line for two reasons. One – it gave them name, fame and money and the more importantly second – they tried to catch a big fish to marry. Many of them succeeded in this and we can see many examples of such marriages and live-in relationships of these girls in the film line. Gujarati producers and directors were in the forefront in this matter.
Thus we saw the first heroine of the talkie film, Zubeida marrying Raja Dhanrajgir of Hyderabad, who would camp in Bombay and attend all her shootings. Even her mother Fatima had married the Nawab of Sachin (Gujarat), who was very fond of films. Then, the other actress named Zubeida (of the late 40s – on whose life the film ‘Zubeida’ (2000) was made) married Raja Dhanvant Singh of Jodhpur – who used to follow her like a shadow. Then we have Sohrab Mody and Mehtab, Sardar Chandulal Shah and Gauhar Mamajiwala, Nanabhai Bhatt and Shireen (parents of Mahesh and Mukesh Bhatt), Ramnik Lal and Indurani (real name Ishrat Jehan), Anil Biswas and Mehrunnisa Bhagat aka Ashalata, Shamshad Begum and Ganpatrao Batto, Nanubhai Vakil and Sarojini aka Roshan aka Ranee, Gauhar Karnataki and Bal Gandharva, Amirbai Karnataki and Badrinath Kanchwala etc. This is only an indicative list to support the assertion.
Gujarat has enriched the Hindi film industry more than any other state, by providing producers and directors. Though the industry was based in Maharashtra, it generally provided actors, actresses and composers in the early era, but not the producers. Obviously money and tremendous hard work was the hallmark of Gujarati community. The Shahs, Desais and the Bhatts, along with other people have enriched various aspects of the industry like film direction, film production, cinematography and studio management. They provided employment to thousands and gave opportunities to the capable. One such person was Nanubhai Vakil.
There was a time when so many people from Valsad region of Gujarat came to films. Nanubhai was also born in Bulsar (Valsad) on 24-12-1904 (as per IMDB). Originally a Desai from Bulsar, Nanubhai’s father was a lawyer. Nanubhai studied in Wilson College, Bombay and earned the degrees of BA and LLB. He became a lawyer, but never practised. Instead he joined films in 1926. In his 45 years career he directed 20 silent films and 70 talkie films.
His speciality was mainly action stunt films, costume dramas and fantasy films. His star cast used to be Bilimoria, Ishwarlal, Shanta Kumari, Putli, Madhvi etc. for silent films and artistes like Sarojini, Indurani, Navinchandra, Rafiq, Prakash, Gulnar, Daljit, Chitra worked in his Talkie films. It is not that he did not use other artists. Zubeida, Yakub, Jal Merchant, Jaddanbai, Shanta Hublikar, Nimmi, Veena, Jairaj, Shakeela, Nirupa Roy, Nadira, Mehmood etc. also worked in his films.
He was a daring person and gave gave opportunities to many people. He made Sarojini a Heroine in many of his films. Zubeida too got many roles with him. He helped AR Qureshi (tabla expert Allah Rakha, the father of tabla maestro Zakir Hussain). Amirbai Karnataki was given many roles by Nanubhai. SD Burman sang his first Hindi film song in Nanubhai’s film ‘Taj Mahal’ (1941). Juthika Roy sang in his film ‘Lalkar’ (1956). Kaifi Azmi wrote stories for his films.
He was a director, writer and producer too. He produced 6 films. ‘Hatimtai Ki Beti’ (1940) and ‘Hatimtai Ki Beti’ (1955), both were directed by him (the ’55 film was also produced by him). He made ‘Alam Ara’ twice – in 1956 and 1973. He took Wazir Mohammed Khan in both versions and even made him sing the original Alam Ara’s song,”De De Khuda Ke Naam” again, in both the films.
He directed the first Gujarati talkie film ‘Narsi Mehta’ in 1932, made by Sagar Movietone. He remade most of his silent films as talkie films. He made 17 films with Mohan Studios. Nanubhai had married Sarojini (real name Roshan aka Ranee). Sarojini and Nanubhai’s daughter Azra also became an actress. Her role in debut film ‘Love in Shimla’ (1960) was much acclaimed.
Nanubhai Vakil had remained ‘vakil‘ (lawyer) only in name. He died on 29-12-1980.
The music for this film iwas given by composer BN Bali. He was one of those small time composers, who got only the B and C grade films. First of all, let us find out who this BN Bali is. In the early era of Hindi films, there was another composer Bali. HC Bali or Harish Chandra Bali (20-3-1906 to 24-6-1976), the expert classical singer who became a successful composer, is credited with discovering KL Saigal in the early 1930s. HC Bali gave music to his last film ‘Janata’ (1947) (in this film Vijaya Das had acted. Later, she married Satyajit Ray). He died on 24-6-1976, after a long retirement from films, for almost 30 years.
BN Bali or Baldev Nath Bali, too was a good singer. He was a composer restricted mostly to religious and low budget films. His career starts with the film ‘Bedard’ (1949) and he is active up to ‘Do Dilwale’ (1973), a total of 24 films, including one unreleased film ‘Bahut Door’ (1940s). He also gave music to a Haryanvi film in 1973. Though he composed music with a lot of variety, somehow he lacked what it takes to make it to the big league. And, he is known for copying the popular tunes of other composers blatantly. Some examples –
“Jab Un Ka Khayal Aata Hai”- sung by Rafi in ‘Pehla Pehla Pyaar’ was a copy of Rafi’s “Jin Raaton Mein Neend Ud Jaati Hai” (‘Raat Ki Rani’, 1949) by Hansraj Behl.
“‘Sapne Mein Saiyaan Tum Aaya Na Karo” – an Asha-Manna Dey song from ‘Flying Rani’ (1959) is a close copy of OP Nayyar’s “Ek Pardesi Mera Dil Le Gaya” from ‘Phagun’ (1958).
“Tu Uska Kar De Bhala” sung by Rafi in ‘Raja Vikram’, carries the same “Bhagwaan” tune as in “O Duniya Ke Rakhwaale” etc.
BN Bali’s following two songs are absolute Gems – “Mujhko Sanam Tere Pyaar Ne Jeena Sikha Diya“, an Asha – Manna Dey duet in ‘Flying Rani’ (1959); and the Mukesh song “Ae Duniya Ke Maalik Tu Bataa” from ‘Baghdad Ka Chor’ (1955).
Today’s song is sung by Geeta Dutt and chorus. It is a Rock N Roll dance song. 1955 to 1960 was a period when Rock N Roll music played havoc in Hindi films. Most MDs composed songs based on this this music. Some famous Rock N Roll songs like “Laal Laal Gaal” from ‘Mr X’ (1957), “Mister John Ya Baba Khan” from ‘Baarish’ (1957), “Mera Naam Chin Chin Chu” from “Howrah Bridge’ (1958) and many such songs brought the craze and then almost every alternate film had a song like this. Music is such a thing that it catches on very fast from continent to continent, country to country and people to people. Actually Rock N Roll music began long back, somewhere in 1951 or so. Elvis Presley in vocal and Bill Halley in instrumental made it into a people’s craze. But it took quite some time to to influence the traditional Indian people.
For such songs, the voice and style of Asha and Geeta were most suitable. In fact, most such songs are to their credit. Lata Mangeshkar – the self proclaimed purist, kept herself away from such songs. However, there is one incident worth telling here. most people will find it new.
Film ‘Chacha Zindabad’ (1959) was produced and directed by Om Prakash, the comedian. MD was Madan Mohan. On the insistence of both Lata sang a Rock N Roll song for this film and it was recorded also. But Lata was very much disturbed and uneasy after this. She felt it was a blot on her singing career image. She had very close and homely relations with both Om ji and Madan ji. She treated them as her brothers. Before the film was completed, the Rakhi Festival came. Like every year, Lata went to Om ji’s house to tie the Rakhi. After the ritual was over, she asked him, “As a sister, if I ask you some gift, will you give me ?” Om ji quietly said, “I will stake my life to give you what you ask for. Just tell me.”
Lata coolly asked Om Prakash to remove that song from his film. Without any hesitation, Om Prakash not only removed the Rock N Roll song from the film, but also the recording was destroyed, despite the expenses incurred !. That is why that song is not available unlike many other ‘ removed’ or ‘ excluded’ songs available from other films. (From the book ‘चित्रपट संगीताचा सुवर्ण काळ’, लेखक – इसाक़ मुजावर).
Ok, now enjoy this rocking tune song by Geeta Dutt. Don’t forget, it is composed by BN Bali- you may have heard this tune somewhere !
Song – Akka Bakka Tin Tila, Dekho Mausam Hai Khila (Pehla Pehla Pyaar) (1958) Singer – Geeta Dutt, Lyrics – Madan Mohan, MD – BN Bali
Chorus
Lyrics (Provided by Sudhir)
akka bakka tin tila
dekho mausam hai khila
jaley ko jalaa ke chal
nazren milaa ke chal
duniya se darta hai kya
akka bakka tin tila
dekho mausam hai khila
jaley ko jalaa ke chal
nazren milaa ke chal
ghaayal banaa ke chal
duniya se darta hai kya. . .
akka bakka tin tila
dekho mausam hai khila
shehri babu akela hai
pyaar ka khel bhi khela hai
dost na kahin piyela hai
arre ye dil tujh pe marela hai
ye dil tujh pe marela hai
hans ke hansaa ke chal
masti mein gaa ke chal
apna banaa ke chal
jeene ka le le mazaa. . .
akka bakka tin tila
dekho mausam hai khila
jaley ko jalaa ke chal
nazren milaa ke chal
ghaayal banaa ke chal
duniya se darta hai kya
akka bakka tin tila
dekho mausam hai khila
duniya ek jhamela hai
dil to nahin jalela hai
tujh ko pyaar milela hai
ya bekaar padela hai
ya bekaar padela hai
sun ke sunaa ke chal
gham ko bhulaa ke chal
ye to bataa ke chal
jeene ka kya hai silaa. . .
akka bakka tin tila
dekho mausam hai khila
jaley ko jalaa ke chal
nazren milaa ke chal
ghaayal banaa ke chal
duniya se darr kaahe ka
akka bakka tin tila
dekho mausam hai khila
ab tu nahin akela hai
ye dil tera bikela hai
kismet teri khulela hai
ab kya wahaan khadela hai
ab kya wahaan khadela hai
bigdi banaa ke chal
dil mein basaa ke chal
mann ko lubhaa ke chal
karo na jawaani se gilaa. . .
akka bakka tin tila
dekho mausam hai khila
jaley ko jalaa ke chal
nazren milaa ke chal
ghaayal banaa ke chal
duniya se darta hai kya
akka bakka tin tila
dekho mausam hai khila
akka bakka tin tila
dekho mausam hai khila
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
अक्का बक्का तिन तिला
देखो मौसम है खिला
जले को जला के चल
नज़रें मिला के चल
दुनिया से डरता है क्या
अक्का बक्का तिन तिला
देखो मौसम है खिला
जले को जला के चल
नज़रें मिला के चल
दुनिया से डरता है क्या॰ ॰ ॰
अक्का बक्का तिन तिला
देखो मौसम है खिला
शहरी बाबू अकेला है
प्यार का खेल भी खेला है
दोस्त ना कहीं पीएला है
अरे ये दिल तुझ पे मरेला है
ये दिल तुझ पे मरेला है
हँस के हँसात के चल
मस्ती में गा के चल
अपना बना के चल
जीना का ले ले मज़ा॰ ॰ ॰
अक्का बक्का तिन तिला
देखो मौसम है खिला
जले को जला के चल
नज़रें मिला के चल
दुनिया से डरता है क्या
अक्का बक्का तिन तिला
देखो मौसम है खिला
दुनिया एक झमेला है
दिल तो नहीं जलेला है
तुझको प्यार मिलेला है
या बेकार पड़ेला है
या बेकार पड़ेला है
सुन के सुना के चल
ग़म को भुला के चल
ये तो बता के चल
जीने का क्या है सिला॰ ॰ ॰
अक्का बक्का तिन तिला
देखो मौसम है खिला
जले को जला के चल
नज़रें मिला के चल
दुनिया से डरता है क्या
अक्का बक्का तिन तिला
देखो मौसम है खिला
अब तू नहीं अकेला है
ये दिल तेरा बिकेला है
किस्मत तेरी खुलेला है
अब क्या वहाँ खड़ेला है
अब क्या वहाँ खड़ेला है
बिगड़ी बना के चल
दिल में बसा के चल
मन को लुभा के चल
करो ना जवानी से गिला॰ ॰ ॰
अक्का बक्का तिन तिला
देखो मौसम है खिला
जले को जला के चल
नज़रें मिला के चल
दुनिया से डरता है क्या
अक्का बक्का तिन तिला
देखो मौसम है खिला
अक्का बक्का तिन तिला
देखो मौसम है खिला
Meri gal sun kajrewaaliye
Posted on: August 5, 2017
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.
“Batwaara”(1961) was directed by Karunesh Thakur for Deep and Sandeep Productions, Bombay. The movie had Pradeep Kumar, Nirupa Roy, Rehman, Shashikala, Jawahar Kaul, Jabeen Jaleel, Leela Chitnis, Wasti, Jagdeesh Sethi etc in it.
Read more on this topic…
This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
In Hindi films have a few commandments that are scrupulously followed by all movie makers.
The first commandment is:
1. There shall be song and dance.
As a blog dealing with songs, most of which are accompanied by dance, we can authentically claim to have vast experience and knowledge when it comes to talking about songs and dances in Hindi movies. 🙂
Read more on this topic…
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