Archive for the ‘Devotional song’ Category
Hari Om Hari Om Hari Om
Posted on: January 15, 2021
This article is written by Avinash Scrapwala, 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.
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4564 | Post No. : | 16162 |
I remember, when I was a growing child, I used to hear the name of film personality called ‘Sajjan’ by elders at home, or likeminded cine-goers who were family friends of my parents.
I used to wonder who exactly this person was in the movies I was watching. It continued for many years and all this while I had no clue about this person.
When I was a grown-up boy (😉) and was studying in 11-12th standard I watched ‘Johny Mera Naam-1970’ in 1983-85. And here for the first time I get to know who exactly the actor named ‘Sajjan’ was. After that whichever movies new and older I watched I enjoyed his performance on screen. In the background his image of a good character actor (that build up in my mind from the discussions at home) was always there in my mind. So, I was also enjoying his negative roles in many black & white movies of fifties and sixties.
Aftergoing through his filmography, I can recall watching many of these movies where he played various roles particularly with negative shades or sometime being the associate of the of the main villain of the movie, or the different character roles.
But before that he had acted as a hero or second to the hero in the movies of fifties and sixties. There is a long list of the movies he was a part of; however, I am not listing them all here today.
Regulars on this blog would wonder why I am discussing Sajjan today. The reason is- today (15 January 2020) is his birth anniversary.
Sajjan Lal Purohit was born on 15th January 1921 in Jaipur, Rajasthan (then Jaipur State of British India). That way today marks his 100th birth anniversary.
I had not read about him in the details and maybe he must have been discussed on the blog which I might not be aware of, so I have taken some information from Wikipedia and reproducing the same here.
Wikipedia mentions that he graduated from the Jaswant College, Jodhpur and he desired to become a lawyer and not an actor.
Wikipedia also mentions the following regarding his career in the movies;
In 1941, he arrived in Calcutta and worked as an apprentice in a laboratory of East India Company. His initial breakthrough in films was as an extra in films such as Masoom (1941) and Chowringhee (1942). Sajjan left Calcutta during World War II and reached Mumbai. In Mumbai he worked as an assistant to famous director Kidar Sharma. At that time, the great showman Raj Kapoor was also worked as an assistant to Kidar Sharma. He also worked as assistant to Gajanan Jagirdar and Vakil Sahib and got Rs.35 as salary.
A poet by heart, Sajjan showed his talent when he wrote dialogues for Meena (1944) and lyrics for Door Chalen (1946) and Dhanyavad (1948). Sajjan also acted in small roles in Prithvi Theatre. His acting debut film was Dhanyavad. After that, Bombay Theatre’s Muqaddar was released in 1950. The heroine was Nalini Jaywant.
By then Sajjan was well established in the films. In the 1950s and 1960s, Sajjan acted as hero or side-hero in films such as; Sainya, Rail Ka Dibba, Bahana, Sheesha, Malkin, Nirmohi, Kasturi, Mehmaan, Lagan, Girl School, Paridhaan, Ghar-Ghar Mein Diiwali, Haa-Haa-Hee-Hee-Hoo-Hoo, Poonam Jhanjhar and Halla-Gulla. As hero, his last film was Kabuliwala, Do Chor, and as an artist he last appeared in the 1986 release Shatru with Rajesh Khanna. An artist of more than 150 films, Sajjan also worked in TV serials. In Vikram Aur Betaal he played Betaal. His other serial was Lena-Dena.
I had watched many episodes of ‘Vikram Aur Betaal’ on TV and I liked Sajjan playing Betaal very much.
Sajjan passed away at the age of seventy-nine on 17th May’2000 in Mumbai (then Bombay).
As a tribute to him today I am presenting a song from ‘Yaar Mera-1971’ which was picturized on him (part-1 of the song). I had noted this song long time back but recently when I was going through the list of pending songs and came across this song, I watched it again and noted that it was Sajjan who was lip-syncing this song so I thought to present it on his anniversary.
This song is shown happening in a ‘village temple’ as a part of ‘sandhya-aarti-bhajan’ where Sajjan and many others are present (villagers and temple associates). A grief-stricken Jeetendra is also seen taking resort in the temple and sitting in ‘dhyaan’ while listening the ‘bhajan’ and I think he remains in this situation for a long time (😊) because by the time the song ends Jeetendra had a ‘beard’ of many days.
Part-2 of the song is played in the back-ground while Jeetendra is shown lying on a hospital bed, but as the song gets played, he regains some strength to leave the hospital without caring the ‘staff’ present there and reach the temple after crossing ‘fields’ etc.
HFGK mentions this song as a one song and not in parts.
I have not watched this movie so I request knowledgeable readers to throw more light on this movie and its songs.
So far, two songs from this movie ‘Yaar Mera-1971’ have been posted on the blog. Today’s song is the third song from this movie to appear on the blog.
Let us now listen to today’s song which is from the movie ‘Yaar Mera-1971’ as mentioned above. Lyrics are by Neeraj and music is composed by Shankar-Jaikishan.
Manna Dey is the singer of this song.
Part I
Part II
Song-Hari Om Hari om Hari Om (Yaar Mera)(1971) Singer-Manna Dey, Lyrics-Neeraj, MD-Shankar Jaikishan
Chorus
Lyrics
——————-
PART-I
——————-
Hari Om
Hari Om
Hari Om
Hari Om
Hari Om
Hari Om
Hari Om
Bhagwan ke ghar mein sab kuchh hain
Jo yahaan mile wo kahin nahin
Tere maangne mein ho kami bhale
Uske ke dene mein kami nahin
Bhagwan ke ghar mein sab kuchh hain
Jo yahaan mile wo kahin nahin
Tere maangne mein ho kami bhale
Aa aa aa aa
Uske ke dene mein kami nahin
Aa aa aa aa
Tere maangne mein ho kami bhale
Aa aa aa aa
Uske ke dene mein kami nahin
Aa aa aa aa
Hari Om
Hari Om
Hari Om
Uski ho marzi to pal mein
Andha bhi aankhen paa jaaye
Uski ho marzi to pal mein
Andha bhi aankhen paa jaaye
Mil jaaye raaj bhikhari ko
Mil jaaye raaj bhikhari ko
Gaagar mein saagar aa jaaye
Bhagwan ke ghar mein sab kuchh hain
Jo yahaan mile wo kahin nahin
Tere maangne mein ho kami bhale
Aa aa aa aa
Uske ke dene mein kami nahin
Aa aa aa aa
Hari Om
Hari Om
Hari Om
Wo jag ka paalanhaara hain
Sabke kashton ko hartaa hain
Wo jag ka paalanhaara hain
Sabke kashton ko hartaa hain
Lekin jo jaisa karta hain
Lekin jo jaisa karta hain
Wo waisa jag mein bharta hain
Bhagwan ke ghar mein sab kuchh hain
Jo yahaan mile wo kahin nahin
Tere maangne mein ho kami bhale
Aa aa aa aa
Uske ke dene mein kami nahin
Aa aa aa aa
Hari Om
Hari Om
Hari Om
————————
PART – II
————————-
Re chhod buraai ka rasta
Tere haath naa kuchh bhi aayega
Re chhod buraai ka rasta
Tere haath naa kuchh bhi aayega
Tu chain kahin naa paayega
Tu chain kahin naa paayega
Vardaan shaap ban jaayega
Bhagwan ke ghar mein sab kuchh hain
Jo yahaan mile wo kahin nahin
Tere maangne mein ho kami bhale
Aa aa aa aa
Uske ke dene mein kami nahin
Aa aa aa aa
Hari Om
Hari Om
Hari Om
Tera dhan tera karm hain re
Jhootha sab chaandi sona hain
Tera dhan tera karm hain re
Jhootha sab chaandi sona hain
Kyun sar ka bojh badhaata hain
Kyun sar ka bojh badhaata hain
Jo paaya hain
Wo khona hain
Bhagwan ke ghar mein sab kuchh hain
Jo yahaan mile wo kahin nahin
Tere maangne mein ho kami bhale
Aa aa aa aa
Uske ke dene mein kami nahin
Aa aa aa aa
Hari Om
Hari Om
Hari Om
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.
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Blog Day : |
4528 | Post No. : | 16089 |
15 August 1975 saw the release of a movie that went on to become an all time surprise hit. No, I am not talking about “Sholay”(1975) which was released on that date. “Sholay”(1975) was a big budget multistarrer movie and it was expected to do well at the box office, at least by the makers of the movie, if not the trade pundits.
Another movie was released on 15 august 1975. It was a low key release in a few movie halls. This movie was expected to do a modest business and was expected to last just one or two weeks in movie halls before being replaced by other movies.
But surprisingly, this movie, which had no big stars, and which was a religious movie (that was considered infra dig by city bred movie goers) began to draw crowds that was comparable to the crowd thronging to watch “Sholay”(1975).
Seeing that this movie was made on a shoe strong budget, this movie turned out to be one of the most profitable movie ever for its makers. People would offer prayer in the movie hall and perform aarti. This goddess, which few people were aware of, suddenly found a pride of place among the pantheon of Gods.
This movie, a surprise all time super duper hit, was produced by Satram Rohara and directed by Vijay Sharma for Bhagyalaxmi Chitra Mandir, Bombay had Kanan Kaushal, Ashish Kumar, Anita Guha (playing the title role), Bharat Bhushan, Rajani Bala, Bela Bose, B. M. Vyas, Rajan Haksar, Manohar Desai, Dilip Dutta, Mahipal, Padmarani, Leela Mishra, Sushila Devi etc in it.
The movie had seven songs in it. The movie makers had roped in C Arjun ( largely a music director of B grade movies) as the music director. Kavi Pradeep, a top lyricist of 1940s and 1950s, but more or less out of work by that time, was signed up as the lyricist. He was an inspired choice as the lyricist, seeing that penning religious songs and patriotic songs was his strong suit.
All the songs of “Jai Santoshi Maa”(1975) became hugely popular and they remain so. Kavi Pradeep, in addition to penning the lyrics, also sung two songs in the movie in his characteristic style and these songs became all time classics.
Today (11 December 2020) is the 22nd remembrance day of Kavi Pradeep(6 February 1915 – 11 December 1998). On this occasion, here is a song from “Jai Santoshi Maa”(1975). This song is sung by Usha Mangeshkar who found herself in the role of leading female playback singer in the movie, which was rare for her, as she normally got one song in most movies, for some side actors.
This song happens to be the 200th song of Usha Mangeshkar as a playback singer in the blog. It is quite a befitting song to mark her double century in the blog.
This song, a prayer to Santoshi Maa, is lip synced by Kanan Kaushal. I request our knowledgeable readers to help identify the other actors seen in the picturisation of this song.
Lyrics of this song were sent to me by Avinash Scrapwala (long long ago).
Video
Audio
Song-Karti hoon tumhaara vrat main sweekaar karo maa (Jai Santoshi Maa)(1975) Singer-Usha Mangeshkar, Lyrics-Kavi Pradeep, MD-C Arjun
Lyrics(Provided by Avinash Scrapwala)
Karti hoon tumhaara vrat main
Sweekaar karo maa
Manjhdhaar mein main atkee
Bedaa paar karo maa
Bedaa paar karo maa
Hey maa Santoshi
Maa Santoshi
Karti hoon tumhara vrat main
Sweekaar karo maa
Manjhdhar mein main atkee
Bedaa paar karo maa
Bedaa paar karo maa
Hey maa Santoshi
Maa Santoshi
Baithhi hoon badi aasha se
Tumhaare darbaar mein
Baithhi hoon badi aasha se
Tumhaare darbaar mein
Kyun roye tumhaari beti
Is nirday sansaar mein
Paltaa do meri bhi kismat
Paltaa do meri bhi kismet
Chamatkaar karo maa
Manjhdhaar mein main atkee
Bedaa paar karo maa
Bedaa paar karo maa
Hey maa Santoshi
Maa Santoshi
Mere liye to band hain
Duniyaa ki sab raahein
Mere liye to band hain
Duniyaa ki sab raahein
Kalyan mera ho saktaa hai
Maa aap jo chaahen
Chintaa ki aag se mera
Chintaa ki aag se mera
Uddhaar karo maa
Manjhdhaar mein main atkee
Bedaa paar karo maa
Bedaa paar karo maa
Hey maa Santoshi
Maa Santoshi
Durbhaagya ki deewaar ko
Tum aaj hataa do o
Durbhaagya ki deewaar ko
Tum aaj hataa do
Maateshwari waapas mere
Saubhaagya ko laa do
Ik abhaageeni naari se
Ik abhaageeni naari se
Kuchh pyaar karo maa
Manjhdhaar mein main atkee
Bedaa paar karo maa
Bedaa paar karo maa
Hey maa Santoshi
Maa Santoshi
Karti hoon tumhaara vrat main
Sweekaar karo maa
Manjhdhaar mein main atkee
Bedaa paar karo maa
Bedaa paar karo maa
Hey maa Santoshi
Maa Santoshi
This article is written by nahm, 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.
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Blog Day: |
4487 | Post No. : | 16009 |
Here is the 13th and final song from LailaMajnu (1953). Out of the 14 songs listed at myswar.com and also with the posted songs list in the blog, 12 are posted. As mentioned in the penultimate post here , the extra song added in the list was ultimately used in the another Shammi Kapoor film ‘Chor Bazar (1954)’, with Sardar Malik’s music is posted here .
This is a prayer in a madrasa picturised on Master Jagdeep.
Madrasa or “Madrasah” is the oldest form of organized education institutions. One gathers all sort of general knowledge or information as one flits from interesting topics and not very interesting or boring issues. We keep growing, with the informal knowledge and gaining of wisdom, throughout our lives. And this is the way it should be, or the human intelligence would stagnate and die out. Nowadays, we are in danger of information overload, as there are too many sources, from which we can gather information on any topic or issue. I had a vague notion that “Madrasa” is one of the oldest form of organized system of imparting education, I read or heard somewhere. Then I looked up in Google to find out if my notion is correct. And I searched for “Maktab”, and as it happened, Google did confirm it to me in a very roundabout way, from maktab to kuttab to finally madrasah. I am beginning to dread finding answers on google, as the obvious answer it gives is misleading. One has to dig deeper in the results to come at a truthful conclusion.
I also found a pdf file of a research paper titled “Maktabs and Madrasas in India: A Look at Statistics based on 8th All India School Education Survey” at researchgate.net. The following para giving brief history is reproduced below:
“The first educational institution in the Muslim world was the mosque built at Medina early in the seventh century by the Prophet Muhammad and his Companions. From then on, mosques were used for teaching purposes, especially for the teaching of law and theology, but as society developed, study circles were held not only in the mosques but also in the palaces, in the streets and even in the market-places. The study circles also grew in number and quality during this period, forming the nuclei of what were to become the madrasas, colleges intended for adults who had already received their primary education in private schools or mosques. In the tenth century the madrasas emerged as an independent institution distinct from the mosque, although madrasas – at least in the early days – were set up either for a single jurist or to teach the tenets of a particular legal school. Thus was born a new kind of educational institution, destined in future to become a center of religious and secular learning in the Islamic world and a place where the representatives of the official class were educated in the spirit of Muslim orthodoxy.
The history of Madrasa education in India starts since the arrival of Muslims in India and it began in the 10th century with the establishment of Maktabs and Madrasas in the towns of Sind, Dabel, Mansura, Multan by the Arab traders and settlers (Haque, 2013).”
Considering, that education and knowledge is power, the imparting of power to the people, and starting young in observing, absorbing and gaining this power is a tradition in Islam, is a sobering thought. The very first “Wahee”(Divine revelation) that was revealed to the Prophet Mohammed (PBUH) began with the word “Iqraa”, meaning “read”, as in read, repeat, study and gain knowledge.
And to think that we all have arrived in this era of faster traffic of information, programming and coding and moving to artificial intelligence, through the foundation laid by the Prophet and his companions, of an education system, 1400 years ago. A lot has gone by and happened, and lessons have been learnt in these 1400 years.
May Allah Almighty give us and our future generations, the taufeeq, the discipline, talent and the spirit to gain, impart and constantly improve the education and knowledge, as these words in the prayer:
yaa rabb hamen ta’aleem ki
taufeeq ‘ataa kar
rakkhen tere farmaan ko
seene se lagaa kar
Wikipedia say this in one of the pages:
Literacy
In medieval times, the Caliphate experienced a growth in literacy, having the highest literacy rate of the Middle Ages, comparable to classical Athens’ literacy in antiquity.[7] The emergence of the Maktab and Madrasah institutions played a fundamental role in the relatively high literacy rates of the medieval Islamic world.[8]
I am yet to look up the antiquity age in classical Athens, to see if it is a concurrent period, later or earlier period, of what is given above as medieval times. 🙂
This is what it means dissemination of information available on the internet.
Let us move on to the song being posted and Jagdeep, who is in the middle of it all. We see a very young Jagdeep, singing this prayer with other students, as the ustad is looking on. Shamshad Begum is the singer of this prayer written by Shakeel Badayuni and composed by Ghulam Mohammed. Jagdeep was born 29th March, 1939, so he was 14 years old in 1953. He expired a few months ago on 20th July, 2020, another casualty possibly of these pandemic times. As per the filmography, he has worked in 391 films as an actor, starting as a child artist in 1950, up to 2017. This could be a record as a 67 year long career. Those who started before him in the industry have long since hung up their boots. Innumerable memorable characters played by him are part of the histology of hindi films and also the some sweet and some funny and some romantic songs filmed on Jagdeep are already posted in the blog. Some songs may be remaining to be posted, the current one being one of them.
Here is a memorable stanza of this famous background song pictured on Jagdeep in the film Bhaabhi(1957) :
khatam hue din us daali ke
jis par teraa baseraa thaa
aaj yahaan aur kal ho wahaan
ye jogi waalaa phera thaa
ye teri jaageer nahin thi
chaar ghadi ka dera tha
sadaa raha hai is duniyaa mein
kiskaa aab-o-daanaa
chal ud jaa re panchhi
ke ab ye des hua begaanaa
Song-Ye jaan ye imaan bas Allah ke liye hai (Laila Majnu)(1953) Singer-Shamshad Begam, Lyrics-Shakeel Badayuni, MD-Ghulam Mohammad
Chorus
Lyrics
Yeh jaan ye imaan
bas Allah keliyehai
yeh jaan ye imaan
bas Allah keliye hai
Allah ke liye hai
mere maula ke liye hai
Allah ke liye hai
mere maula ke liye hai
yeh jaan ye imaan
bas Allah ke liye hai
maalik tu hi
khaaliq tu hi
ma’abood khudaaya
maalik tu hi
khaaliq tu hi
ma’abood khudaaya
mitti ko sharaf de ke hamen
tu ne banaaya
hamen tu ne banaaya
oonchaa hai farishton se bhi
insaan ka paayaa
oonchaa hai farishton se bhi
insaan ka paayaa
insaan ki hasti
teri duniyaa ke liye hai
Allah ke liye hai
mere maula ke liye hai
yeh jaan ye imaan
bas Allah keliyehai
yeh jaan ye imaan
bas Allah ke liye hai
yaa rabb hamen ta’aleem ki
taufeeq ‘ataa kar
yaa rabb hamen ta’aleem ki
taufeeq ‘ataa kar
rakkhen tere farmaan ko
seene se lagaa kar
seene se lagaa kar
bandon ko na tu
daaman-e-rehmat se judaakar
bandon ko na tu
daaman-e-rehmat se judaa kar
jo saans hai bas teri
tamanna ke liye hai
Allah ke liye hai
mere maula ke liye hai
yeh jaan ye imaan
bas Allah ke liye hai
yeh jaan ye imaan
bas Allah ke liye hai
Tum tulsi maata pyaari
Posted on: October 19, 2020
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4476 | Post No. : | 15978 |
Today’s song is from the film Village Girl aka Gram Kanya-1936.
Nine years later, Ramnik Productions made another film with the same title in 1945 with the famous singer Noorjehan singing under the baton of Melody maker music director Shyamsundar. So, when the name Village Girl is mentioned, one’s mind thinks only of the 1945 film of Noorjehan- Village Girl aka Gaon ki Gori-45.
The 1936 film was made by Sagar Movietone. Though Sagar made Talkie films right from the first year of the Talkie era-1931, their films did not make much mark in the film world, till Motilal and Sabita Devi pair came on the scene in 1934 end with ” Shehar ka jaadu”. The new pair clicked famously and Sagar became a name to reckon with. This successful pair did 8 films together for Sagar.
During this period actor singer Surendra came on the scene with his film ” Deccan Queen”-1936, with Aruna Devi. The two Heros then worked with different Heroines of Sagar company. While Motilal worked with Shobhana Samarth, Bibbo, Maya Banerjee and Rose, Sabita Devi worked with Kumar and Surendra. Both Motilal and Surendra came together in the film Jagirdar-36. For the young pair of Surendra and Sabita Devi, film Village Girl was the first film together. They did only one more film together- For Ladies Only-39. Both the films were directed by Sarvottam Badami.
S.Badami is an example of what the Cinema industry is. For some, it is a ditch which destroys the entrant and for a few lucky ones it plays ” Philosopher’s Stone (Paras)”, which turns their lives into Gold. He is one of the two examples, where an ordinary Motor Mechanic makes it as a famous member of the cinema industry. Besides Badami, the other such example is Poet-Director Gulzar (Sampooran Singh Kalra), who was also a Motor Mechanic.
Sarvottam Badami was born in 1910 at Channapatna in Karnataka,to a revenue officer working in Mysore. He passed his SSLC and worked as a garage mechanic and then a projectionist in Select Picture House, Bangalore, both of which were owned by Dr. Ambalal Patel. Patel moved to Bombay and financed Ardeshir Irani of Imperial Film Company, and Chimanlal Desai as a partner forming Sagar Movietone in 1930.
At the age of 19 years, Badami went to Bombay to study automobile engineering. He was asked by Ardeshir Irani who met him at a wedding to help out with the recording equipment he had purchased from abroad.
Badami helped in the sound recording department for the first Talkie in India, Ardeshir Irani’s Alam Ara (1931). Around that time a German director making the film Harishchandra left half-way and Badami offered to complete it, the co-director was Raja Chandrasekhar, although the co-director credit has also been cited as T. C. Vadivelu Naicker. The film turned out to be successful. He was contracted by Sagar Movietone (Sagar Film Company) to direct three films, two in Telugu and one in Tamil: Galava Rishi (Tamil), Rama Paduka Pattabhishekam and Shakuntala in Telugu. The success of these films established him as a director. His working team had people like the cinematographer Faredoon Irani, music director Anil Biswas and the Sagar Movietone favourites Sabita Devi and Motilal.
Initially, to avoid embarrassment to his family he requested not to be credited in the regional language films. He did not know Hindi but from 1932-1947, he worked for Sagar Movietone and also directed nearly 30 films in Hindi, for many others. His first Hindi film was Chandrahasa (1933) starring Noor Mohammed Charlie. He was paid Rs 2000 per film with the complete film being made within Rs 50,000. He worked with most of the top actors of the time like Motilal, Nargis, Ashok Kumar and Pahari Sanyal. He brought Mehboob Khan who was then doing roles as an extra out of obscurity and gave him the role of Sabita Devi’s father in the film Vengeance is mine(1935).
He made several films based on novels. Some of the writers whose work he used were K.M.Munshi, Sarat Chandra and Ramanlal Vasanthlal Desai. The film Aap ki Marzi (1939) was inspired by the Hollywood film Paradise for Three (1938). He became known for his satirical comedies and “socially relevant films”.His film Grihalaxmi (1934), which starred Jal Merchant and Sabita Devi had the woman getting into marriage only if her doctor husband agreed not to want children. The success of the film mitigated the enraged public reaction at the time.
He showed his understanding of media publicity required for films when in 1937, Badami resorted to woo audiences by announcing cash prizes of Rs.500, Rs.200 and Rs.100 for the best reviews of his newly released film Kulvadhu (1937). The promotional gambit worked sending audiences to the theatres. According to an interview, most of Badami’s films didn’t survive as the negatives were burnt to extract the silver from the silver nitrate.
After Aap ki Marzi-38, he followed his mentor, Dr. Patel and joined Sudama Pictures, when in 1939, Sagar Movietone merged into National Films. Badami
also worked in Famous Cine Laboratories, from 46 to 48.
Apparently, in 1948 Deputy Prime Minister Vallabh bhai Patel, who was then also in charge of the Information Ministry, on a visit to the Cine Laboratories Bombay, asked Badami to help set up a Newsreel and Documentary section. The Films Division was established in 1948. He became chief producer in the newsreel department and made several documentaries. He worked in the Films Division making documentaries from 1948-1952. After that he stopped making films and returned to Bangalore to retire as “I was a forgotten man in the feature film world”. He became an industrialist by starting a manufacturing business. Later he worked as a Consultant for Kamani Group of Industries also. He died in 2005 in Bangalore, Karnataka, India.
FILMOGRAPHY: 1932: Harishchandra; Galava Rishi; Paduka Pattabhishekham; Shakuntala; 1933: Chandrahasa; 1934: Grihalakshmi; 1935: Dr. Madhurika; Vengeance is Mine; 1936: Jeevan Lata; Grama Kanya; 1937: Kokila; Kulavadhu; 1938: Three Hundred Days and After; 1939: Aap Ki Marzi; Ladies Only; 1940: Chingari; Sajani; 1941: Holiday in Bombay; 1942: Khilona; 1943: Prarthana; 1944: Bhagya Lakshmi; 1945: Ramayani; 1946: Uttara Abhimanyu; 1947: Manmani; 1951: Vinoba Bhave (Doc);1952: Roof over the head
(Ack: Sapnon ke saudagar by Vithal Pandya, Sagar Movietone by Biren Kothari, HFGK, muVyz, Encyclopedia of Indian Cinema, and my notes)
The cast of the film was Sabita Devi, Surendra, Yakub, Aruna, Kayam Ali, Sankatha Prasad and many others. The film’s story was written by Dr. Jayant Shyama. The story is about a young man Kumar (Surendra) who loves Vilasini (Aruna), but has to marry Bansari (Sabita Devi) due to family obligations. The film shows the complications in their lives.
Kumar’s father (Sankatha Prasad) has taken a loan from sheth Dinanath (Kayam Ali) for Kumar’s education, on condition of Kumar’s marriage to his daughter Bansuri. Unknown to this precondition, Kumar falls in love and impregnates Vilasini. Due to parental obligations, Kumar is forced to marry Bansuri and abandon Vilasini. As the days pass by, Kumar’s father gets killed accidentally by Kumar himself. Vilasini tries to take the blame on herself. In the court the truth comes out and Bansuri comes to know about her love and pregnancy from Kumar. Bansuri frees Kumar from her bond and the lovers unite.
Now we come to the Music riddles of this film. The film, as mentioned in the book “Sagar Movietone” by Shri Biren Kothari ji gives the name of Bhaskar Rao as its Music Director and also for film ‘ Captain Kirti Kumar-37’. Who is this Bhaskar Rao ? A. Bhaskar Rao was a writer ( Aadmi-39) and asstt. Director(Padosi-41) in Prabhat. Hailing from south Karnataka, Amembal Bhasker Rao’s elder brother A.Sunder Rao was an expert Harmonium player. His younger brother A. Dinkar Rao aka D. Amel, was with A.I.R. as a Musician for 40 years. A.Bhasker Rao was a Tabla player and a disciple of Master krisna Rao Phulambrikar.
However, HFGK gives the name of MD as only ” Rao”. The uploader of the song claims that the MD is Shankar Rao Khatu. Dr. Ashok Ranade, in his book “Music beyond Boundaries”, on page 342, mentions the name as Shankar Rao Khatu. I wrote to Shri Girdharilal Vishwakarma ji, who says it is Shankar rao khatu. Now, this Khatu was a famous Bhajan singer. He had dabbled in films too by acting in film Vasant Sena-34, sang a song in film ” Khwabon ki duniya-37″ and gave music to film Sagar kanya-36. In all these films his name appears as Shankar Rao Khatu and nowhere as only “Rao”. I feel this confirms that Rao does not mean Shankar Rao Khatu. In western India like Maharashtra and Gujarat, people from Karnatak or southern states are referred to only as Rao. All these pointers take me to feel that the MD is A.Bhaskar Rao. Moreover, for two successive Sagar films he was the MD.
PS-Shri Biren Kothari has subsequently clarified that the music director was Shankar Rao Khatu.
There is confusion about the singer also. HFGK lists the singer as Rajkumari. When I listened to the other songs of Rajkumari from the same film, I felt that this voice was different. Isuru kariyawasam, the Sinhalese expert on old Hindi films commented on YT that the singer is Sabita Devi. The uploader, Shalin Bhatt agrees to some extent about voice but insists on the name of Rajkumari. Girdharilalji claims it to be Rajkumari Calcuttewali ! I feel it is unlikely because Pullobai did not sing in any film outside Calcutta or films made by other than Calcutta producers. So I have gone the safe way by saying that Rajkumari is the singer of this song.
I request experts to opine. I am not a voice expert.
Song-Tum Tulsi maata pyaari (Village Girl)(1936) Singer-Rajkumari, Lyricist- Unknown, MD- Shankar Rao Khatu
Lyrics
Tulsi maata pyaari
tum Tulsi Maata pyaari
tum Tulsi Maata pyaari
sati ho dukh nivaari
tum devi sankathaari
sati ho dukh nivaari
tum devi sankathaari
sabke rog taaro tum
sabke rog taaro tum
jeewan nav ka taaro
sabke rog taaro tum
sabke rog taaro tum
jeewan nav ka taaro
Tulsi mata pyaari
tum Tulsi Mata pyaari
mahima sabne maani
mahima sabne maani
murli waala gun gaaya
mahima sabne maani
haan aan aan aan aan aan aan
mahima sabne maani
murli waala gun gaaya
murli waala gun gaaya
murli waala gun gaaya
poojan ko aayi daasi
poojan ko aayi daasi
vinti karat tori main
vinti karat tori main
vinti karat tori main
Tulsi maata pyaari
tum Tulsi Maata pyaari
sati ho dukh nivaari
tum devi sankathaari
sab ke rog taaro tum
sab ke rog taaro tum
sab ke rog taaro tum
jeewan nav ka taaro
jeewan nav ka taaro
Tulsi maata pyaari
tum Tulsi Mata pyaari
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