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Karo Nahin Sandeh Ram Par

Posted by: on: July 12, 2020


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 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 :

 4377 Post No. : 15722 Movie Count :

4334

Hullo Atuldom

‘Lav Kush’ (1997) is a story of the twin children of Devi Seeta and Lord Rama. They were born after Seeta is banished to the jungle in Uttar Ramayana i.e. the last chapter of the epic ‘Ramayana’. Lord Rama is unaware of the birth of his sons in Sage Valmiki’s ashram where Seeta is taken care of, and the children grow up as ‘muni kumars‘ who are trained to be proficient in military skills as well.

There have been many movies and serials in almost all the Indian languages, with ‘Luv Kush’ as the central theme. A search for ‘Lav Kush’ or ‘Luv Khush’ on google comes up with 10 results or 10 instances when the story has been used by the entertainment world in the form of movies animation series and TV series (there may have been more). The last of these was an animation series for children in 2012.

The first time the story was used was may be in 1951, a movie by Nanabhai Bhatt where Nirupa Roy was Seeta and Prem Adib was Ram. Then There was a movie in 1967 where Jayshree Gadkar played Seeta to Ashim Kumar’s Ram. There was a short film by K A Abbas in 1972 with Lav Kush as the story. ‘Lav Kush’ in 1974 spoke Telugu. There was a ‘Lav Kush’ in 1997 with Jaya Prada as Seeta and Jeetendra as Ram. Interesting trivia about this movie is that Jayshree Gadkar (Seeta of ‘lAV kUSH’ 1967) played Kaushalya. In fact Jayshree Gadkar has played Kaushalya in the TV series ‘Lav Kush’/ (1988) as also the ‘Ramayana’ Doordarshan serial.

Now the regular followers of this blog may be wondering why I have taken up this part of ‘Ramayana’. Well, last week I saw a movie on one of the satellite channels. When I discovered it, I saw the cute boys – Master Adil and Baby Shrestha playing Lav and Kush – regaling the courtiers of Ayodhya by their rendition of the Ramayana. But they get angry when they come to know that Seeta Mata has been banished by Ram and they question him about his being addressed as ‘maryada purushottam‘. They walk out of Ayodhya and go straight to their mother and report all that they saw in Ayodhya. They are pacified by sage Valmiki and I jolted into “Who is playing Valmiki?”

I mean, I was used to seeing that actor as a badman, good friend, benevolent grandfather, strict father, uncle, even a war-veteran but never had I thought that this versatile actor had done a mythological role. I have heard stories of how people of a certain generation never gave their children this popular actor’s name. I am sure the readers have guessed that I  am referring to Pran Saab.

So we have Pran Krishan Sikand (12 february 1920 – 12 July 2013) who played a wide variety of roles beginning with playing the hero to Noor Jehan in ‘Khandaan’ of 1942, going on to play a badman in umpteen movies and then changing track to become ‘Malang Chacha‘ in ‘Upkaar’ (1967).

Personally, I first saw him as a strict father to Rishi Kapoor in ‘Bobby’ (1973) and then as a grandfather trying to get familiar with his grand children in ‘Parichay’ (1972). Though ‘Parichay’ was an earlier film and I may have seen it in the theatre as a child in arms, but I sure I saw it with full awareness when Bombay Doordarshan telecast it on their Sunday evening show. In fact I may have seen many of his pre-70s movies on the television and got scared too of the characters he portrayed.

Some of his scenes are forever etched in the mind; like the one in ‘Guddi’ (1971) where he tells Utpal Dutt – “It is a pleasure getting beaten by a person like Dharmendra, imagine I have been beaten up by heroes half my size”. (I tried to locate this scene as a video clip on YouTube but failed, because the punch of the dialogue gets lost-in-translation). That scene in ‘Don’ (1978) where he is escaping from the goons with his children and is confronted by Amitabh – an outstanding  scene. But the most memorable scene (IMHO) is the one from ‘Zanjeer’ (1973)  where he faces the inspector played by Amitabh for the first time. There are many such memorable scenes that I am sure, are the personal favorites of the blog-followers.

Similarly every one will have a favourite song which has been filmed on Pran Saab. “Phir Na Kehna Micheal Daroo Pee Ke Danga Karta Hai“; “Bolega To Bologe Ke Bolta Hai“; “Yaari Hai Imaan Mera“; “Kasamein Vaade Pyaar Wafa Sab Baatein Baaton Ka Kya“; “Jeevan Ke Din Chhote Sahi Hum Bhi Bade Dilwale“; or the evergreen “Do Bechare Bina Sahaare Dekho Poochh Poochh Kar Haare“. There are also songs where the heroine, with the help of the hero, has made Pran Saab sing and dance and make a buffoon of himself- “Dil Ki Umangein Hain Jawaan“; and can one forget him in that song from “Half Ticket” where he says “Aake Seedhi Lagi Dil Pe Jaise Katariya“.

It is very easy to visualize him as a sage only thing is I was unaware of this movie or the fact that he played the Valmiki, that is why I was pleasantly surprised. And he had a song here too. Now that means it has to be on our blog too. Here it is sung by Suresh Wadkar, written by Dev Kohli and Raam Laxman is the music composer. It comes towards the end of the movie when Seeta has heard that Ram is undertaking the ‘Ashwamedha Yagya‘ and she is wondering how it can be undertaken in the absence of the better half. And Sage Valmiki sings this to make her see the reality of Ram.

A few thoughts crossed my mind as I was seeing this video to jot the lyrics: never seen Pran in this getup (this I have already said), there is an earnestness seen when he does the alaap part of the song, his expressions explain why he had had such a long run in the movies.

Remembering Pran Saab on his anniversary.

Video

Audio

Song – Karo Nahin Sandeh Ram Par  (Lav Kush) (1997) Singer – Suresh Wadkar, Lyrics – Dev Kohli, MD – Raam Laxman

Lyrics 

aaaa aaaaa

ram ram ram

karo nahin sandeh ram par
karo nahin sandeh
karo nahin sandeh ram par
karo nahin sandeh
sada raha hai sada rahega aaaaaa
aaaaa aaaaaaaa 
aaaaa aaaaaa aaaaaa
sada raha hai sada rahega
tum par unka nae..ae..ae..aeh
karo nahin sandeh ram par
karo nahin sandeh

ek vachan hai ek karm hai
ek ram ka baan
ek vachan hai ek karm hai
ek ram ka baan
ek patni ka vrat hai unka aaaaa
aaaaa aaaaaa aaaa
ek patni ka vrat hai unka
karein jagat kalya..aa..aan
karo nahin sandeh ram par
karo nahin sandeh

yadi ve dharm tyag dein apna
chhand badal de gaayan
aaaaa
yadi whe dharm tyag de apna
chhand badal de gaayan
janm vyarth ho jaaye mera
aaaaaa aaaaaa aaaa
aaaaaaa aaaaaa
janm vyarth ho jaaye mera
vyarth meri ramaya..aa..aa..n
karo nahin sandeh ram par
karo nahin sandeh
sada raha hai sada rahega
tum par unka nae..ae..h
karo nahin sandeh ram par
karo nahin sandeh

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

करो नहीं सन्देह राम पर
करो नहीं सन्देह
करो नहीं सन्देह राम पर
करो नहीं सन्देह
सदा रहा है सदा रहेगा
आsssss
आssss आssssssss
आssss आsssss आsssss
सदा रहा है सदा रहेगा
तुम पर उनका ने॰॰ए॰॰ए॰॰एह
करो नहीं सन्देह राम पर
करो नहीं सन्देह

एक वचन है एक कर्म है
एक राम का बाण
एक वचन है एक कर्म है
एक राम का बाण
एक पत्नी का व्रत है उनका
आsssss
आssss आsssss आ
एक पत्नी का व्रत है उनका
करे जगत कल्या॰॰आ॰॰ण

यदि वे धर्म त्यागी दें अपना
छंद बादल दे ज्ञान
आsssss
यदि वे धर्म त्यागी दें अपना
छंद बादल दे ज्ञान
जन्म व्यर्थ हो जाये मेरा
आssss आsssss आsssss
आssss आssssssss
जन्म व्यर्थ हो जाये मेरा
व्यर्थ मेरी रामायण

करो नहीं सन्देह राम पर
करो नहीं सन्देह
करो नहीं सन्देह राम पर
करो नहीं सन्देह

Tags: , , , ,

Mujhe Raam se koi milaa de

Posted by: on: June 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.

Blog Day:

 4354 Post No. : 15670

Today’s song is from the film Sant Tulsidas-1939. The first film on Tulsidas came in 1934, the second in 1939 and the third in 1972. In all, there were 13 films on various saints of India. Sant Dnyaneshwar (40, 64, 81), Sant Janabai-49, Sant Raghu-57, Sant Ravidas-2007, Sant Ravidas ki amar kahani–83, Sant Sakhu-41, Sant Tukaram-48 and Sant Tulsidas-34, 39, 72.

Basically, Indians are religious minded, – Indians means, of any religion, be it Hindu, Muslim or Christian or any other faith. Our common culture is like that. Most traditions are similar in all religions in India. For example, Hindus say ” Atithi Devo Bhava ” (अतिथी देवो भव ). Guest is God. All Indians, irrespective of their religions, give due respect to their guests. ” Respect the elders ” is another tradition. This too is followed by every Indian-of any religion- in India. Sometimes I feel, in India, our lives are more governed by the culture than religion. One can occasionally find an Atheist, but you can never find an Indian without following culture and traditions. This is a major difference between an Indian and the other Nationals.

If you take a look at our religion, it is not just ‘ one of the ‘ , but the only tolerant religion in the world, which is also adaptive to times. There is enough elasticity in Hinduism to make suitable changes in the implementation of Karmkand, as per the needs of the times. This has made it survive for thousands of years. For example, once Untouchability was a great ill, but due to the hard work of our saints over the years, this is eradicated. Women’s entry into temples, only Male Pujaris and several such matters are corrected and accepted. The main principle is ” different religions are different roads to reach God “. So, every road is respected. Due to this principle, with 80 % population of one religion, many other religions have happily thrived here. What’s more, in most eras, Minority rulers were accepted by the Majority.

Our culture allows opposition to its principles. It respects the ” other ” point of view too. In which other country would you find temples for its religious enemies ? Only in India, you have not just one, but several temples of villains like Ravan, Duryodhan, Shakuni etc. There is a Ravan temple one each in Bisrakh-U.P., Mandsaur-M.P., Kakinada in A.P. and in Jodhpur-Rajasthan- where Ravan is considered as their Son In Law, because Mandodari was born here.

There is a Duryodhan Temple in Kollam, Kerala and a temple for Shakuni also in the same town. There are also other temples like for Gandhari in Mysore, Karna in Uttarkashi, Hidimba in Manali-H.P., Draupadi in Bangalore and also for Jatayu in Nashik district !

The point I am trying to stress is that in India, several saints came, but none has preached hatred against other religions. They all taught us good ways of living with all and how the ultimate aim should be to be with God. Sant Tulsidas was also no different than others . His biggest work was to translate Valmiki Ramayan into an easy to understand common man’s language.

Film companies developed interest in making saint movies, when Prabhat’s Marathi film ‘ Sant Tukaram ‘-36 became successful. It won praise throughout the world, won several awards and the international Film Festival at Venis declared it as one of the 3 Greatest films of the world ! The film ran for 57 weeks at Central Talkies, Bombay and all over India, it grossed over 7 lakh rupees in those days. The acting of Vishnupant Pagnis in this film was appreciated much.

Considering all this, the commercial potential of such films was understood by Sardar Chandulal Shah of Ranjit Films. He decided to make a Bilingual film on Tulsidas, with Pagnis in the lead role. However Pagnis was on contract with Prabhat films. Chandulal met Shantaram and negotiated a deal to borrow Pagnis and story writer Shivram Vashikar for film Tulsidas.

The director of the film was Jayant Desai and MD for the Hindi version was Gyan Dutt and for Marathi it was Vishnupant himself. As against 14 songs in the Hindi version, there were 21 songs in Marathi version. Almost all songs of this film became popular. The Prabhat film Tukaram was devoid of any Miracles or trick scenes, but Chandulal decided to include as many trick scenes and Miracles, as possible in film Tulsidas.

The songs were written by P L Santoshi and Pt. Indra. For Marathi version, S A Shukla was the lyricist. Naren Mukherji was the assistant to Gyan Mukherjee for this film. The cast of the film was Vishnupant Pagnis, Leela Chitnis, Keshavrao Datey, Bandopant Sohoni, Ram Marathe, Vasanti, Kantilal and others.

Vishnupant Pagnis was born in a small place Chikodi, near Kolhapur, on 1-11-1892, in a lower middle class family. After formal education, he was assisted by Shahu Maharaj of Kolhapur state to join a Drama company at the age of 10 years. He sang naturally, without any training from an expert. He was a popular artiste doing female roles, till his entry in films. He shifted to work in various drama companies including “Lalit Kaladarsh” of Mama Varerkar- a name connected with many Marathi and Hindi films of that time. In 1913, he floated his own company ‘Jagchitradarsh’, only to wind up after two years in 1915. He continued working in dramas and doing female roles, for which he was famous in those times.

After a few years, he left drama acting. In 1920, he worked in a silent film, Surekha Haran. In this film V Shantaram had also acted. After this he worked as a Music Teacher in Municipal school at Girgaum in Bombay. After his wife died, he lived with his friend Petkar. They started a Gold Jewellery shop “Pagnis Petkar and Mandali” in Girgaon.

When Prabhat Film company planned to make Sant Tukaram, a search was undertaken for the main role and the main female role. This was in early 1936 and he was selected for the role of Tukaram, while a worker in the Prabhat company-Gauri – was selected as his wife. The Director duo of the film- Damle and Fattelal- were not happy about his selection, because his name was associated with female roles. But this became his strong point for the film in which he portrayed a soft, kind and loving Tukaram. He did the role so well that the film Sant Tukaram became an International Hit, in addition to running to full houses in Non Marathi areas like Madras Presidency, covering Andhra, Tamilnadu, Kerala and Karnataka and also in Bengal and Punjab. He became an actor in great demand for Saint films. After the film Sant Tukaram, hundreds of people used to crowd in his shop at Girgaum to pay respects and touch his feet as Tukaram. He also always dressed like Tukaram thereafter !

Vishnupant Pagnis worked in 4 more such films, namely Sant Tulsidas-39, Narsi Bhagat-43, Bhakta Raj-43 and his last film Mahatma Vidur-43. He also gave music to 2 films, Sant Janabai- 38 and Sant Tulsidas-39 (Marathi). These two and Mahatma Vidur were also made in Marathi language. His most famous film Sant Tukaram was released in Hindi only in 1948, but without his songs, because he had died on 3-10-1943. The MD- Snehal Bhatkar sang his songs in the Hindi version.

Vishnupant Pagnis did the immortal role of Tukaram in his first film and then lived the role throughout his life, though he did 4 more films in the same Genre of Saint films. His name became famous not only in India but also in other countries, when this film was hailed as “one of the 3 Best films in the world” at the Venice Film Festival, where it won accolades. Records of his Bhajans from this film created records ( we too had these records in our house in the 40s.) Even today this film is shown and discussed in the film Institutes of many countries. Many books, essays and articles are published on this film. His performance as Tukaram has become a major reference-point in debates about Indian performance idioms: e.g. Kumar Shahani’s essay The Saint Poets of Prabhat, 1981; Geeta Kapur’s Mythic Material in Indian Cinema, 1987 etc etc.

The story of Tulsidas is well known. Ranjit Studio’s big-budget miracle-laden saint film was on Tulsidas (16th C.), who rewrote Valmiki’s Ramayana in Hindi. To the despair of his teacher Narahari Guru (Sohoni), who hopes that Tulsidas (Pagnis) will make the classic text accessible to the people, the poet spends time with his beloved wife Ratnavali (Chitnis). The dramatic pivot of the story comes when Tulsidas discovers his life’s location amid howling wind and a river in spate. He becomes an ascetic and settles down in Benares where his translation threatens the Brahminical clergy, until then sole proprietors of the wisdom of the Sanskrit text. Their representative, Batteshwar Shastri (Datey), persecutes Tulsidas who is rescued through divine intervention.

Today’s song is a solo song by Vishnupant Pagnis. It is dripping with Bhakti Ras.

(Ack: information for this post is culled, with thanks, from books – ” A Primer of Hinduism” by D S Sarma, Santpatanchi Santwani (संतपटांची संतवाणी ) by Isak Mujawar, Encyclopedia of Indian Cinema and my notes)


Song-Mujhe Raam se koi mila de (Sant Tulsidas)(1939) Singer- Vishnupant Pagnis, Lyricist- P L Santoshi, MD- Gyan Dutt

Lyrics

Raam se koi mila de…
mujhe Raam se koi mila de
mujhe Raam se koi mila de
bin laathhi ka nikla andha
bin laathhi ka nikla andha
raah se koi lagaa de ae
mujhe Raam se koi mila de
mujhe Raam se koi mila de
mujhe Raam se koi mila de

koi kahe wo basey Avadh mein
koi kahey Vrindaawan mein

koi kahe wo basey Avadh mein
koi kahey Vrindaawan mein
koi kahey teerath mandir mein
koi kahey milte ban mein

koi kahey teerath mandir mein
koi kahey milte ban mein
dekh sakoon main un ko man mein
dekh sakoon main un ko man mein
aisi jyot jagaa de ae
mujhe Raam se koi mila de
mujhe Raam se koi mila de
mujhe Raam se koi mila de
bin laathhi ka nikla andha
bin laathhi ka nikla andha
raah se koi lagaa de ae
mujhe Raam se koi mila de
mujhe Raam se koi mila de
mujhe Raam se koi mila de

Tags: , , , , ,

Prabhu charnon mein deep jalaao

Posted by: on: June 9, 2020


This article is written by Arunkumar Deshmukh, 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 :

 4344 Post No. : 15650

Today’s song is from the film Jwar Bhata-44. It is an important film of the 40’s, because it was the Debut film of Dilip Kumar.

In Hindi film industry, the “Trimurti”of Raj, Dev and Dilip dominated the decades of late 40s, 50s and the 60s- a period of about 25 years in the Golden Age of Hindi films.These three were the most popular, most talked about and the most ‘ín demand’ actors when they were in full form. Each one had a dedicated fixed audience for their films.There were others equally,if not better, actors in this period like, Ashok Kumar, Motilal,Balraj Saqhni, Sanjeev Kumar etc, but these three were different.

What was so different in them ? One point strikes me most, that they never compromised,in selecting films or roles. In other words, once they got established as Heroes, they did not do any roles which did not suit their temperament, style or capacity. For example, when Ashok Kumar was famous as a Romantic Hero,he acted in a Mythological film, “Savitri’-1937, to do Satyavan’s role. Again in 1945, he did the title role in the film ‘Humayun”. Both these Genres were misfits to his image then. He looked pathetic in those misfitting roles. The big three kept off such venturisms, thoughtfully !

Secondly, they always chose only the big banners and ensured they got the maximum footage, the best songs and the best scenes. Thirdly, they never worked with heroines other than A class and of their choice.

Agewise, Dilip Kumar was the seniormost, having been born in 1922. Dev Anand was next, from 1923 and the youngest was Raj kapoor, born in 1924.However, he was the first to die, in 1988. Careerwise, Rajkapoor had only 41 years’ career, from Hamari Baaten-43 (first adult role) to Kim-84. Next was Dilip Kumar, having a career span of 54 years – from Jwar Bhata-44 to Qila-98. Dev Anand had the longest career span of 65 years, from Hum Ek Hain-46 to Chargesheet-2011. He was also the only one of the three, to continue in the next Century, i.e. 21st Century !

All the three gor Dadasaheb Phalke award. Raj Kapoor got it in 1987 at his 63rd year, Dilip Kumar in 1994,when he was72 years and Dev Anand received it in 2002, when he was 79 year old.

While Dilip Kumar and Dev Anand started as Heroes (rather one of the Heroes) in their careers, Raj Kapoor started as a Child artiste in film Inqilab-35 and did 3 films as adult roles, before he became the hero in film Neel Kamal-1947. The first one to become Hero was Dilip Kumar in Jwar Bhata-44 and next was Dev Anand in Hum Ek hain-46.

During my association with this Blog and in my 870 posts, which I wrote here, I have hardly written about songs of these 3 actors. I don’t remember exactly, but I think I have written about 2 films each of Raj, Dev and Dilip, so far. The first film of Dilip Kumar I wrote about was the film Milan-1946 and today’s film Jwar Bhata-44 is his second film today. This is his Debut film.

One more point about these three actors. It was only Raj kapoor’s First Heroine Madhubala, who also became a famous A grade actress. In case of Dilip Kumar, his first Heroine, Mridula Rani and Dev Anand’s first heroine Kamala Kotnis, never took off in Hindi films, nor did they reach A grade status. In a span of a few years, their careers as heroines ended. The Shortest career was of Kamala Kotnis ( who was actually a Telugu actress, married to a Marathi Cinematographer Pandurang Kotnis, who was the younger brother of Dr. Dwarkanath Kotnis, on whose life, V.Shantaram had made the film “Dr. Kotnis ki amar kahani”-1946). Mridula survived longer with about 60 films, upto 1980 to her credit. The last I had heard about her was, in 2016 when she was alive and stayed in Worli, Mumbai. As far as Madhubala’s career, we all know too well.

Incidentally, the case of actress Ameeta was also similar. She was the heroine of Shammi Kapoor in film “Tumsa Nahin Dekha-1957”. He became a big star, but Ameeta remained as a B and C grade film actress. The opposite is the career of Meena Kumari. In her initial career, she was the Heroine of Mahipal. Later Meena Kumari became a big A class actress, but Mahipal remained where he was- B class films.

The case of Dilip Kumar was opposite to Raj Kapoor and Dev Anand’s cases. Both these actors struggled hard in their initial stages, but Dilip was extraordinarily lucky. He was actually invited to be a Hero directly. Here is his story, how he came into the film line…

Born as Yusuf khan in Peshawar, on 11-12-1922, he was third amongst 12 siblings. His father moved to Bombay in 1930 to set up the family’s Dry Fruit business. Yusuf graduated (B.A.) from Khalsa College and took up his first job as Assistant manager in the Army Canteen at Deolali Camp, near Nashik in Maharashtra. Unlike the other two stars (Raj and Dev), he had absolutely no connection in his family with film line, dramas or any art for that matter. One brother did MBBS and settled in the UK, another did Management course and the youngest Nasir Khan alone joined films – much later than Dilip Kumar.

Devika Rani of Bombay Talkies had gone for shopping, one day. At one fruit shop, she saw Yusuf, who had, by chance, replaced his ill father, in the shop. She found his face sensitive and eyes expressive. She called him, talked to him and gave him her card, asking him to meet her next day at the studios. After the routine Screen tests,interview etc, Yusuf was taken in by Bombay Talkies as an apprentice. Devika Rani started grooming her personally. Bhagvati Charan Sharma, famous Hindi writer, employed by Bombay Talkies then, gave yususf the name Dilip. The suffix Kumar was borrowed from Ashok kumar. Bunny Rueben, Film Historian says, “Devika Rani came up with three names – Dilip Kumar, Vasudev and Jahangir. Yusuf selected Dilip kumar.”

Bombay Talkies was heaven for New talents. It had launched and relaunched to fame, Heros like Ashok Kumar,Jairaj, kavi Pradeep, directors K A Abbas, N R Acharya, Najam Naqvi, Amiya Chakrawarty, Gyan Mukherjee, Bimal Roy and actresses Renuka Devi, Mumtaj Shanti, Ranjana and many more. Dilip Kumar’s first film in Bombay Talkies was Jwar Bhata-44. He was not the main Hero. Agha was the main Hero. Dilip was the second hero. His Heroine-Mridula Rani was also a New Entrant.

In his first film, Dilip Kumar did not impress anybody. He was criticised heavily by Baburao patel, who called him Ánaemic and one who needs a lot of good food to look better. As such, even Bombay Talkies also did not have much expectation from him. They had pinned their hopes on the new Heroine Mridula Rani. With every film, Dilip Kumar improved, beyond belief and India got an A class actor.

The story of Mridula is sad. She fell into marital trouble and sank deep into it. She took a break of about 4 years and when she came back, she had to accept only character roles, which she did.

Mridula was a victim of her contract with Bombay Talkies. It destroyed her career as a Heroine forever. Devika Rani was her Mentor in Bombay Talkies. However, after Himanshu Rai’s death, no one was listening to her in the company due to groupism. Disgusted, Devika rani left Bombay Talkies,having sold all the shares. Mridula got stuck in the company without work, due to her 5 year contract. It was Vijay Bhatt of Prakash Pictures who somehow convinced Bombay Talkies to loan her to him and she got roles in 2 of their films. In the film ‘Bhakta Dhruva”-47, she played mother to 16 year old Shashi kapoor (sr) when she herself was about 23 year old only ! But she had no choice. The film and her role became famous, but she lost her chances of becoming Heroine in any film thereafter for ever.

Mridula ( real name Chandrakanta) was born on 2-11-1924 at Almora, but was educated in Delhi. When she was in college doing her graduation, Amiya Chakravarty of Bombay Talkies came to Delhi on a Talent Hunt. He contacted her and gave her an offer. She signed a 5 year contract with Bombay Talkies and Devika Rani became her Mentor, teaching her everything. She was paid 2500 rupees salary with a furnished house. Her first film was “Jwar Bhata”-44, opposite another Debutant Dilip Kumar (Yousuf Khan). After Himanshu Rai’s death, Bombay Talkies was already in disarray. Many people had left the company due to differences with Devika Rai. A group of them formed Filmistan.

After getting released from Bombay Talkies, she acted in few films – Samaj ko badal dalo-47Bhakt Dhruv-47, Toote taare-48, Nar Narayan-49, Veer Babruvahan-50 and Ram Darshan-50.

She got married to her lover Mr. G C Andley. However the marriage was unsuccessful and she went back to Delhi. She spent a miserable life selling whatever she had, to survive. She got divorce and came back to Bombay to work in films, in 1954. She worked in 53 films after this. Her last released film was Saboot-80, though she had married again and retired some time before that.

The last I heard about her was, she was living in worli, Mumbai all alone, in 2016. Her only daughter stayed nearby and looked after her.
( some information for this post has been taken from the book – “Hero vol.I,” by Ashok Raj, with thanks.)

Today’s song is sung by Parul Ghosh and Amirbai Karnataki. Pt Narendra Sharma is the lyricist. Music is composed by Anil Biswas.


Song-Prabhu charnon mein deep jalaao(Jwaar Bhaata)(1944) Singers-Parul Ghosh, Amirbai Karnataki, Lyrics-Pt Narendra Sharma, MD-Anil Biswas
Chorus

Lyrics

prabhu charanon mein deep jalaao
man mandir ujiyaalaa ho
prabhu charanon mein deep jalaao
man mandir ujiyaalaa ho
prabhu charanon mein deep jalaao
kare kripaa jo krishnachandra to
kare kripaa jo krishnachandra to
kyun dukh kaa andhiyaalaa ho
kyun dukh kaa andhiyaalaa ho
prabhu charanon mein deep jalaao
man mandir ujiyaalaa ho
prabhu charanon mein deep jalaao

hridayakamal kaa sinhaasan
bane kr^ishna kaa vrindaavan
hr^idayakamal kaa sinhaasan
bane kr^ishna kaa vrindaavan
jeevan apanaa use saunp do
jeevan apanaa use saunp do
jo jag kaa rakhvaalaa ho
jivan apnaa use saunp do
jo jag kaa rakhvaalaa ho
prabhu charanon mein deep jalaao
man mandir ujiyaalaa ho
prabhu charanon mein deep jalaao

nainaa prem-chakor sakhi
chandaa nandakishor sakhi
nainaa prem-chakor sakhi
un nainan se dekh jagat ko
un nainan se dekh dekh
un nainan se dekh jagat ko
base yhaan nandalaalaa ho
base yahaan nandalaalaa ho
prabhu charanon mein deep jalaao
man mandir ujiyaalaa ho
prabhu charanon mein deep jalaao

giridhar ke charanon mein aa
giridhar ke charanon mein aa
raadheshyaam naam gun gaa
koras:raadheshyaam raadheshyaam
jai raadheshyaam raadheshyaam
giridhar ke charanon mein aa
giridhar ke
maalik meraa bansiwaalaa
maalik meraa bansiwaalaa
man meraa brijabaalaa ho
maalik meraa bansiwaalaa
man meraa brijabaalaa ho
prabhu charanon mein deep jalaao
man mandir ujiyaalaa ho
prabhu charanon mein deep jalaao

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Ramzaan ka maheena bada barkaton ka hai

Posted by: on: May 25, 2020


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: 4329 Post No.: 15621

“Idgaah” is a timeless classic penned by Munshi Premchand (31 july 1880-8 october 1936). This is the story of Hamid, a seven year old boy whose parents are no longer alive and he is brought up by his grandmother. On the festival day of Eid, he goes to Eid mela with his friends. While other kids buy themselves candies and toysHamid, thinking of his grandmother, buys a pair of tongs to help her make rotis, since she burns her hands trying to cook them bare-handed.

This moving tale was written by Munshi Premchand during his stay at Gorakhpur between 1916 to 1921, though the story itself could be published in 1933. The story, like many stories of Premchand, became a classic. It is a story that people, including children, can easily identify with. This story was there in my Hindi text book (class 7, I think). This story continues to be there in Indian school text books. I gather that even other regional language text books in India include this story.

TV serials came to India in 1980s, Premchand’s stories were telecast on Doordarshan in 1990s in a series called “Tehreer- Munshi Premchand Ki”.
This story too was telecast as part of this series.

The place in Gorakhpur where Munshi Premchand used to stay is today known as Premchand Park. In its rear is a famous Mazaar called Mubarak Khan Shaheed ki mazaar. There is an idgaah in front of this mazaar. Munshi Premchand used to be a regular visitor to this mazaar and he used to spend hours there.

A mela is held near this Idgaah during Eid. Munshi Premchand got the idea for his story of “Idgaah” from this particular idgaah located near his residence.

This time, there is a lockout due to coronavirus, not just in Gorakhpur, but also in India and for that matter in the entire world. It is also quite a coincidence that a similar pandemic of Spanish flue had take place in India (including Gorakhpur) from 1918 to 1919 when Munshi Premchand was in Gorakhpur. Some parts of Gorakhpur (namely Railway area called kawwaabaagh) was quarantined during those days when one person was infected with Spanish flu.

This time there will be social distancing in this famous idgaah and very few people will attend the namaaz during Eid. And there will be no mela this time.

Here is a song from Shamshad Begam on the occasion. It is a non film devotional song. One could imagine Hamid’s daadi singing this naat to her grandson on this occasion.

I have not been able to get a few words right in the lyrics. I request our knowledgeable readers to help fill in the blanks / suggest corrections as applicable.

I am not aware about the details of this song vis a vis lyricist and music director etc. I request our knowledgeable readers to fill in the details of this song.

On this occasion, I extend greetings of Eid Mubaarak to one and all. On this occasion, Let us savour this divine devotional song is the voice of Shamshad Begam.


Song-Ramzaan ka maheena bada barkaton ka hai (Shamshad Begam NFS)(1960) Singer-Shamshad Begam

Lyrics

paighaam mominon ke liye ae ae
paighaam mominon ke liye rahmaton ka hai
Ramzaan ka maheena bada barkaton ka hai
Ramzaan ka maheena bada barkaton ka hai

Jisko namaaz e roze ka armaan ho gaya
us par khudaay e paak meharbaan ho gaya
Ramzaan aaya qaid mein shaitaan aa gaya
naazil isi maheene se Quraan ho gaya
zyaada azeez rakhte thhe Ramzaan ko rasool
hoti hai is maheene mein har ik dua qubool
Ramzaan ka maheena bada barkaton ka hai
paighaam mominon ke liye rahmaton ka hai

utre hain is maheene mein taurait aur zaboor
naazil hui hai Issa pe injeel bhi zaroor
khwaab e gumaan hain is mein shab e qadr ka zahoor
momin ne is maheene mein paaya khuda ka noor
waajib hai har ameer pe Sadqaa adaa kare
daaman gul e ummeed se mohtaaj ka bhare
Ramzaan ka maheena bada barkaton ka hai
paighaam mominon ke liye rahmaton ka hai

is maah mein hi paida huye ghause nek naam
Ramzaan ka kiya hai unhone ye ehteraam
hargiz piya na doodh kabhi din mein maa salaam
bachpan mein hi huzoor ne roze rakhe tamaam
roza nazar ka noor hai dil ki ummeed hai
Ramzaan mominon ke liye goyaa eid hai
Ramzaan ka maheena bada barkaton ka hai
paighaam mominon ke liye rahmaton ka hai
Ramzaan ka maheena bada barkaton ka hai

har rozaadaar hashr ke din muskuraayega
deedaar e haq jamaal nabi ka wo paayega
dozakh ki aag se usey roza bachaayegaa
rahmat usey nawaazegi jannat mein jaayega
jo rozaadaar hai yahaan wo kaamyaab hai
iftaar bhi karaane ka behad sawaab hai
Ramzaan ka maheena bada barkaton ka hai
paighaam mominon ke liye rahmaton ka hai

karta hai roza deen mein duniya mein sarfaraaz
hai humpe farz roza rakhen aur padhen namaaz
har waqt nek kaam karen ban ke paakbaaz
har ghamzada ko kar den museebat se beniyaaz
majboor aur ghareebon ki khidmat kiya karen
jitni bhi ho khuda ki ibaadat kiya karen
Ramzaan ka maheena bada barkaton ka hai
paighaam mominon ke liye rahmaton ka hai

insaan nekiyon mein hamesha laga rahe
daaman gunaah o jurm se hardam bacha rahe
jaari dilon mein har ghadi hamd-o-sanaa rahe
har waqt lab pe zikr e habeeb e khuda rahe
Ramzaan rahmaton ka maheena hai mominon
Allah tak pahunchne ka zeena hai mominon
Ramzaan ka maheena bada barkaton ka hai
paighaam mominon ke liye rahmaton ka hai
Ramzaan ka maheena bada barkaton ka hai

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Teen Lok par raaj tihaara

Posted by: on: May 4, 2020


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?:

 4308 Post No. : 15581

“Chhattees Ghante”(1974) was produced and directed by Raj Tilak for Tilak movies private Limited, Bombay. The movie had Sunil Dutt, Mala Sinha, Raj Kumar, Parveen Babi, Iftekhar, Ashoo, Ramesh Deo, Danny Denzongpa, Alankar Joshi, Sonia Sahni, Jagdish Raaj, Deven Verma, Urmila Bhatt, Madan Puri etc in it.

The movie had four songs in it. Two of these songs have been covered in the past.

Here is the third song from “Chhattees Ghante”(1974) to appear in the blog. This song is sung by Mahendra Kapoor and Asha Bhonsle. Sahir Ludhianvi is the lyricist. Music is composed by Sapan Chakravorty.

The song is picturised as a Lord Ram bhajan. The picturisation shows Raj Kumar and Mala Sinha singing this bhajan. Master Alankar joshi, late for the bhajan by a few seconds, is hesitant to join his parents. Mala Sinha does not frown and gives him a pat assuring him that he may take his seat. And who is the lady seated behind them, devotedly joining her hands together. She is Parveen Babi.

It is rather unusual to see Raj Kumar and Parveen Babi, and also Mala Sinha to some extent, singing a bhajan. So that way, this song is a special song. 🙂

The picturisation also shows Ranjeet, trying to enter the house stealthily. So, unlike the other characters, he sticks faithfully to his reputation Hindi movies.

It is quite a nice and soothing song to listen to, especially in the morning. I listened to this song for the first time this morning, some 46 years after this song was created. 🙂


Song – Teen lok par raaj tihaara (Chhattes Ghante) (1974) Singers – Mahendra Kapoor, Asha Bhonsle, Lyrics – Sahir Ludhianvi, MD – Sapan Chakravorthy
Mahendra Kapoor + Asha Bhosle

Lyrics (Provided by Avinash Scrapwala)

teen lok par raaj tihaara
chaar khoont tora dhaam re ae
tu jo kare so hoye
tujh sa na dooja koye
rakhiyo najar shri Raam re
rakhiyo najar shri Raam re
teen lok par raaj tihaara
char khoont tora dhaam re
tu jo kare so hoye
tujh sa na dooja koye
rakhiyo najar shri Raam re
rakhiyo najar shri Raam re

prabhu tumhre haath hazaar
sada rakhiyo laaj hamaar
prabhu tumhre haath hazaar
sada rakhiyo laaj hamaar
o o
tum ho jagat ke swaami
hum hain moorakh agyaani
girne lage to leejo thhaam re ae
rakhiyo najar shri Raam re

tori rachna sab sansaar
tori leela aprampaar
tori rachna sab sansaar
tori leela aprampaar
o o
sankat ko taale tu hi
doobe ubhhaare tu hi
dukh bhanjan tero naam re ae
rakhiyo najar shri Raam re
teen lok par raaj tihaara
chaar khoont tora dhaam re
tu jo kare so hoye
tujh sa na dooja koye
rakhiyo najar shri Raam re
rakhiyo najar shri Raam re

———————————————
Devnagri Script Lyrics (Provided by Avinash Scrapwala)
———————————————

तीन लोक पर राज तिहारा
चार खूंट तोरा धाम रे
तू जो करे सो होए
तुझसा न दूजा कोए
रखियो नज़र श्री राम रे ए
रखियो नज़र श्री राम रे

तीन लोक पर राज तिहारा
चार खूंट तोरा धाम रे
तू जो करे सो होए
तुझसा न दूजा कोए
रखियो नज़र श्री राम रे ए
रखियो नज़र श्री राम रे

प्रभु तुमरे हाथ हज़ार
सदा रखियों ओ लाज हमार
प्रभु तुमरे हाथ हज़ार
सदा रखियो ओ लाज हमार
ओ ओ
तुम हो जगत के स्वामी
हम है मुरख अज्ञानी
गिरने लगे तो लीजो थाम रे ए
रखियो नज़र श्री राम रे

तोरी रचना सब संसार
तोरी लीला अपरमपार
तोरी रचना सब संसार
तोरी लीला आ अपरमपार
ओ ओ
संकट कों टाले तू ही
डूबे उभारे तू ही
दुःख भंजन तेरो नाम रे ए
रखियो नज़र श्री राम रे

तीन लोक पर राज तिहारा
चार खूंट तोरा धाम रे
तू जो करे सो होए
तुझसा न दूजा कोए
रखियो नज़र श्री राम रे ए
रखियो नज़र श्री राम रे

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Shiv stuti

Posted by: on: February 21, 2020


This article is written by Arunkumar Deshmukh, 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 : 4235 Post No. : 15445

Hearty Greetings to all readers, on the auspicious occasion of Maha Shivratri-2020. On this day, I present a special song. Today’s song is actually not a song in the usual sense, but it is “Shiv Stuti”, rendered by Geeta Dutt, Badrinath Vyas and Chorus, in the film Har Har Mahadev-1950.

Har Har Mahadev-50 was a special movie. It achieved the status of a “Flag Bearer”, for Mythological films to be made in the coming decade of the 50s. It is not that Religious films were not made earlier. In fact, right from 1931 onwards such Dharmik films were being made. However, subsequently, when a variety of Genres came to the films, these movies lagged behind. The first attempt of reviving the religious films came when film Ram Rajya-43 became a Hit film, but in the 40s Stunt films dominated, so this chance subsided. Next when Har Har Mahadev became an extremely successful film, the religious films got a realm boost.

If you look at the type of films made in the 40s and 50s, you will notice a clear shift of the tastes of Indian film audience. The decade of the 30s was of the novelty of Talking films, so people saw whatever was offered to them. But by the 40s, the Industry had become a bubbly young one and films were made as per the budgets available, tastes of the audience and lastly on the choice of the producers.

The first half of the 40s was affected by second world war. This decade brought a new class of investors/financers, who had made easy money ( read Black money) in the war period. They were ready to invest/finance in film making, but their motto was “less investment and more profits”. To achieve this, the only way was to make a C grade stunt/action film. Thus, in this decade, there was a whole lot of C grade films, consisting of Stunt/Action films, Costume dramas, Magic based imaginary films and the likes of their ilk. These films could be made in less money ( according to Bhagwan Dada, a stunt film was made in about 30 to 50 thousand rupees only) and almost at a guaranteed profit of sizable percentage. Thus, so many such films were made that we can label the 40s as ‘the decade of stunt films’. During 1941 to 1950, approximately 210 stunt/action and similar films were made, giving a rough average of 21 films per year, for 10 continuous years !

Mythological/Religious films were being made from 1931 itself. They tried to give them a competition. Though only 80 such films were made in the 40s – 1941 to 1950 – two Block Busters from this religious film genre, gave lot of hopes to makers of such films. One was Ram Rajya-1943 and the other was Har Har Mahadev-1950. In fact, the extra ordinary success of Har Har Mahadev was so encouraging, that producers turned again to making Religious films in the next decade. The cost of making a religious film was much more than producing a C grade stunt film, but the turn over and profit was also many times more than the stunt films. The audience of religious films was mainly from Middle class society, who was now earning enough money to see films.

Due to higher cost of production religious films did not have the same number of films produced in the 50s decade. However 125 films were made from 1951 to 1960, giving an average of 12 films per year or 1 film per month for 10 continuous years. In this period the stunt/action film production diminished considerably – slowly walking towards a natural death of this Genre in due course ! The decade was crowded with Musical, Social and Comedy films. Even religious films provided good songs and music, as against stunt films-where it was non existent. The audience taste spurned the Stunt/action films and those producers too turned to producing religious social, musical and comedy films.

In this process, Har Har Mahadev-50 played a major role. Not only the story, acting, direction and production values were good but its music also played a stellar role ( after Ram Rajya-1943), in reviving the wave of religious films. The credit goes to its Music Director, Avinash Vyas (21-7-12 to 20-8-84). He was comparatively new. It was his just the 5th film. Starting with Mahasati Anusuya-43, he did Lehri Badmash-44, Krishna Bhakta Bodana-44 and Gunsundari-48 till then.

The success of Har Har Mahadev-50 was also due to excellent song lyrics by Ramesh Shastri ( 2-8-1935 to 30-4-2010). He was from village Diyor, Bhavnagar dist .in Gujarat. He went to Benares to study and completed Visharad (equivalent to B.A.). He came back to Ahmedabad and studied in St. Xavier’s college. He did his Ph.D in Sanskrit. He served in Ayurvedic colleges of Bhavnagar, Baroda and Ahmedabad.

When Raj Kapoor advertised for songs for his new film, Barsat, Ramesh Shastri responded with his songs and RK selected his song-“Hawa mein udta jaayen mera laal dupatta mal mal ka”, which became an instant hit and very popular too. Same year he also wrote songs for films Ram Vivah, Shaadi ke baad and Usha Haran. In 1950, he wrote 5 songs for film Har Har Mahadev. One song by Geeta Dutt, “Kankar kankar se main poochhoon, Shankar mera kahan hai” became famous and popular. After this he wrote for his last film Jai Mahakali-51 and stopped film activity.

He retired in 1990. Though Raj Kapoor called him several times, he was not interested in films or settling in Bombay and hence he declined every time. He wrote several Bhajans in Hindi and Gujarati, under the pen name of ” Ram Sharan”. These were broadcast over A.I.R. and Radio Ceylon regularly. He suffered from Cerebral palsy and was handicapped for last 10 years. He died on 30-4-2010).

The lead pair for the film Har Har Mahadev-50 was Trilok Kapoor and Nirupa Roy. After this film both became very famous as Shankar and Parvati. They did 18 films together- all religious films. Trilok Kapoor was born at Multan on 3-3-1882 and was educated at Peshawar. He went to Bombay to join his brother. He got his first film CHAR DARVESH-1933. He went to Calcutta and did some films there. He also worked as assistant to Director Hem Chandra. In the 40s and 50s, His patent role was that of Mahadev. He did 7 films in a row for this role and in all those films Nirupa Roy was Parvati. (However, no one could ever beat the divine pair of Ram and Seeta enacted by Shobhana Samarth and Prem Adib in Ram Rajya-1943).

Trilok Kapoor did about 120 films His last film was a TV film Akanksha, which was released after his death on 23-9-1989.

As per HFGK, Trilok Kapoor the actor sang 1 solo in Aaj ki Duniya and 5 duets in Raja Rani-42. After this there are no songs on his name.

NIRUPA ROY she was a versatile actress. To prove my point, I repeat here what I had said about her few years back. Nirupa Roy (4-1-1931 to 13-10-2004) was an enigma of Hindi Cinema. An ordinary lower middle class housewife turned into an actress due to a need to survive. Funny thing was that it was her husband who had visited the studio to get a job as an actor and the studio selected his wife instead ! Nirupa Roy who acted in over 250 movies has been variously branded as a Goddess of Mythological films, a suffering wife of a poor farmer, a troubled housewife of social films, an acclaimed quintessential mother of Bollywood and even a Stunt film actress !

She has been a Heroine in 110 films, a mother in over 50 films, has been a Goddess in 50 Mythological films, a suffering wife in over 30 films and a Stunt girl in about 8 films. She sang Bhajans, romantic songs, Comedy songs, qawalis, sad songs and peasant folk songs on the screen.

She changed her Heros like “Badalate huye saathi”. She did 18 films with Trilok Kapoor ( 50-65), 12 films with Balraj Sahni ( 53-72), 16 films with P.Jairaj ( 53-78), and 21 films with Ashok Kumar ( 56-89). She was Amitabh’s mother in 12 films and stunt Girl in 8 films. She even wrote a popular film song for film Samrat Chandragupta-58 ( Mujhe dekh chaand sharmaye – Lata).

I had seen this film,not once but many times.it was full of trick scenes and It had become a cult film. Trilok Kapoor,who acted the part of lord Shiva was rumoured to have a real snake around his neck during the film shooting. Nirupa Roy who played the role of Uma,was quite scared of snakes and it became a problem. Finally,an artificial snake was used,when their joint shots were shot.

HAR HAR MAHADEV-1950 was produced and directed by Jayant Desai under the banner of Jayant Desai Production. With this one film alone Jayant Desai became a millionnaire in those days.

It was also the FIRST film where the pair of Trilok Kapoor and Nirupa Roy became a hit as Shankar-Parvati and they played this role in 6 subsequent films.
This is a story, when Tarakasur, the king of demons invades the land of gods, to avenge the insult meted out to his mother by Indra. Tarakasur wins the war and all Gods are kept in captivity-including the offender Indra.

Lord Vishnu and Bramhadev know, only Lord Shiva can defeat Tarakasur but he is in Tapascharya(Meditation). Kamdev is sent to lure Shiva from his meditation, but Shiva is so angry that, opening his Third Eye, he burns Kamdev. Now only Uma, the daughter of king Himalaya can save the world. Uma(Nirupa Roy) starts penance to propitiate Shiva(Trilok Kapoor).

Due to her earnest Bhakti and devotion, Shiva relents and breaks his Meditation. Shiva and Uma get Married and later lord shiva destroys Tarakasur, releasing all the Gods.

On this auspicious day of Mahashivratri, the marriage of Shiv-Parvati is solemnised in the midnight.

Film Munimji-55 has a very nice song depicting the marriage details. It is also posted in this blog, already.

Today (21 February 2020), on this auspicious day of Maha Shivratri – when Lord Shiv ji weds Devi Parvati, here is Shiv Stuti from film Har Har Mahadev-50. Jai Mahadev !

Editor’s note– The lyrics are in Sanskrit. Our knowledgeable readers are requested to help fill in the blanks/ suggest corrections in the lyrics.


Song-Shiv stuti (Har Har Mahadev)(1950) Singers-Geeta Roy, Badrinath Vyas, MD-Avinash Vyas

Lyrics

jai gangadhar
har har jay Girijadheesha
har jay Girijadheesha
twamam paalay nityam
twamam paalay nityam
kripya jagdeesha
har har har mahadev

kailashe giri shikhare
kalpdramvipine
?? kalpdramvipine
gunjati madhukar punje
gunjati madhukar punje
kunjavane gahne

tasmilalitsudeshe sheela manirachita
?? sheela manirachita
?? deshi sheela
tanmadhye harnikate
tanmadhye harnikate
gauri ??
har har har mahadev

vibudhvadhu bahu nrityat ?? karitam
?? karitam
kinnar gaayan kurute
kinnar gaayan kurute
sapt swar rachitam

?? mridang vaadyate
har mridang vaadyate
kuru kuru lalitam venum
kuru kuru lalitam venum
madhuram naatayate
har har har mahadev
har har har mahadev

————————
Devnagri script lyrics
————————-
जय गंगाधर हर हर जय गिरिजाधीशा ।
हर जय गिरिजाधीशा ।
त्वं मां पालय नित्यं
त्वं मां पालय नित्यं कृपया जगदीशा॥
हर हर हर महादेव

कैलासे गिरिशिखरे
कल्पद्रमविपिने ।
हर कल्पद्रमविपिने ।
गुंजति मधुकर पुंजे
गुंजति मधुकर पुंजे
कुंजवने गहने ॥

? ललितसुदेशे शीला मणिरचिता ।
हर शीला मणिरचिता ।
तन्मध्ये हरनिकटे
तन्मध्ये हरनिकटे गौरी उपवीता ? ॥
हर हर हर महादेव

विबुद्धवधू बहु नृत्यत ?? करितम
हर ?? करितम ।
किन्नर गानम कुरुते
किन्नर गानम कुरुते सप्त स्वर रचितम ॥

?? मृदंग वाध्यते ।
हर मृदंग वाध्यते ।
कुरु कुरु ललिता वेणुम
कुरु कुरु ललिता वेणुम
मधुरम नाट्यते ॥
हर हर हर महादेव
हर हर हर महादेव

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Murliwaale Ghanshyaam mujhe apni bana lo naa

Posted by: on: February 4, 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.

Blog Day :

 4218 Post No. : 15419 Movie Count :

4248

Today’s song is from a Mythological film of 1950, based on the early life of the popular God – Krishna. The film is Janmashtami-1950.

1950 was the last year of the decade of 1940s. This was a period when young Independent India was looking for its own identity. It was those times when the New World was beginning to influence the social structure of Indians. The joint family system was still in vogue. Almost every home had senior old people and they were the guiding lights for the younger generation. Men who were blooming into their youth, were a confused lot. They were caught between old customs and the call of the New World ways. Nehru’s socialism still attracted the majority and Democracy was sending its roots deeper into the grounds.

Ours was also a big joint family. With a sizeable number of senior old family members, religious atmosphere was maintained in the family. After the Prakash Pictures film “Ram Rajya”-43, the trend for the older people was to see every religious film that came calling. Having a guaranteed and assured audience, film makers became enthusiastic in producing Mythological films. The Holy Hindu books like Ramayan and Mahabharat and stories from 18 Puranas provided ample source material to make films. Religious films were also cheaper to make. The did not need any famous stars, famous directors or popular Music Directors of social films.

Like Stunt films, religious films too had fixed stars as actors, specialist Directors, Music Directors and Lyricists who were in demand for such films. Right from older actors like Prem Adeeb and Trilok Kapoor to newer actors like Bharat Bhushan and Manhar Desai, from Shobhana Samarth and Meena kumari to Nirupa Roy and Anita Guha and from Shankar Rao vyas and H C Bali to Avinash Vyas and S N Tripathi – a whole range of artistes were ready to carry the torch further. This automatically increased the number of Mythological and religious films made in the decade of 50’s (1951-1960) to an astounding figure of 124 films in the 10 year period. This worked out to at least 1 new film every month for 10 continuous years.

My liking and love for such films developed in this period. I was about 10 year old in 1950 and I had been chosen to act as a Male “Chaperone” to accompany the group of family oldies going to see such religious film. I liked the bright costumes and trick scenes in these films. This also imbibed in me to study our Vedas and other religious books to know more about the religion. This study and knowledge helped me a lot in in charting my career and family journey, in life.

According to scriptures, there were 10 Avatars or incarnations of God on this earth in various forms. Out of these, the characters of Ram and Krishna attained cult status. No wonder, most films were made in this Genre on stories about these two. Ram appeared on this earth first in Treta Yug, followed by Krishna in Dwapar Yug. In my opinion, Krishna is a more popular God than Ram. Ram depicted the model of a common Prince, without any super powers. He taught us righteousness, sticking to Justice and doing good all times. Ironically, in Ram’s total life, he suffered in more number of years than he ever enjoyed.

Krishna, Hero of many legends was with qualities like Love and Playfulness. He taught us how to be street smart. His philosophy was to use any means to achieve Goals. The common man has respect for Shri Ram, but he loves Krishna. On a cursory count, I found that more films are made on stories involving krishna than Ram. That is because, the common man feels that krishna teaches us how to live in today’s world and tackle bad people.

Film Janmashtami-50 depicts Krishna’s early life in Gokul and Mathura, till he goes to Dwaraka. The film is full of little Krishna’s antics. The role of young Krishna is done by Rajkumar khatri. He actually makes his Debut in films, with this movie. This actor Rajkumar is one of the ” Same Name Confusion” actors.

There were in all 5 Raj kumars in the industry at the same time. The first was Kannada Hero Dr. Rajkumar. However, he never worked in any Hindi film, so no confusion about him.The second was the famous Dialogue master Raaj kumar ‘Jaani’. Third was Rajkumar Gupta ( from Ranchi), who was the main character in popular film Jagriti-54. He never worked again in any film. Fourth was Raj(u) Kumar, a junior artist, who did minor roles- mostly uncredited-in films like Shri 420-55, Jagte Raho-56. Dilli ka Thug-58, Aaj aur kal-63, Ziddi-64 etc etc..The fifth was this Rajkumar, who mostly worked in Religious and Mythological films. His name was Rajkumar Khatri.

Rajkumar Khatri may have been born in or around 1940. He started as a child artiste in films like Janmashtami-50, Jai Mahakali-51 and Insaan-52. His first film as an adult was Shuk Rambha-53, in which he did the role of young Shukdev. He was a fine actor, not extraordinary, but there was something special about his screen presence. Apart from his boyish looks, he had an unspoken charm and emanated an inherent goodness. In his second film “Tulsidas”-54 he did the role of Shri Ram. He was hardly 15-16 year old then. This must be the youngest and most boyish looking Shri Ram ever seen on the screen !

Rajkumar khatri acted in 61 films, mostly Religious and Mythological films (47 to be precise). Not that he did not work in any social films, but such films were less. He was seen in films like Sautela Bhai-62, Aaj aur kal-63, Ustadon ke ustad-63, Ziddi-64, Nai umer ki nai fasal-65 etc etc. Due to his young looks, boyish face and innocent looks, he was generally given roles of younger brother. As Laxman, he acted in 7 films. His last film was probably Chintamanee Soordas-87.

In mid 80s, when films offers became scarce, he joined Prakash Mehra as an assistant. He used to live in Chembur. He was known as Chhota Rajkumar in the industry. He worked with Prakash mehra for a long time, as Assistant Director and as also his P.A. Reportedly, he died in September 2014. No further information on him was available.

Film Janmashtami-50 was made by Hindustan Chitra and it was directed by Nanabhai Bhatt. Lyricist was Bharat Vyas and all the 9 songs of the film were composed by the talented but less known Music Director Shyam Babu Pathak. Shyam Babu Pathak is not a very well known name among Music Directors. He is one of those artistes, who had the talent and a will to do hard work, but Luck did not support him. This resulted in his remaining with unknown banners and B and C grade films. His career spanned from 1938 to 1965 – a period of 27 years in which he composed music for just 29 films and his 1 film remained unreleased.

Shyam Babu Pathak was born in 1908 at Gwalior. His music tuition started when he was just 7 years old. He studied in Madhav Sangeet Vidyalaya, under Rajabhaiyya Poonchhwale, Narayan Gupte and Bhatkhande etc. He became an excellent singer and was invited by several Royal houses all over India, for singing. Even V D Paluskar had blessed him. Strangely, though a good singer, he never sang a song in any film.

While touring all over India for Music Mehfils, he learnt many folk songs and tunes. This actually prompted him to join films as a composer. His first film was Royal Commander-1938 – a B grade Costume drama film made by Vishnu Cinetone. In his first film, for just 9 songs, he used as many as 6 different singers. Minimum songs had been his specialty. This was a novelty in the 30s, when the norm was of an average of 12 to 15 songs each film.

V M Vyas of Vishnu Cinetone, was impressed with him and he gave him many films. He got Rani saheba-40, Torpedo-40, Samsheerbaz-40, Malan-42 and Ghar sansar-42. He gave good songs sung by Kalyani, Sardar Akhtar and Kajjan. In Lajwanti-42, his songs were light and comedy type. By now, he had become a confirmed Stunt/action and B/C grade composer. Pyara watan-42,Double face-46 were such films. Double face was Indivar’s first film.

Black Market-47, Namak-47, krishna Sudama-47 and Kismatwali-47 were not much helpful. Takdirwale-48 with Ramprasad, Imtihan-49 and Ret Mahal-49 led him to film Jeet-49 with Anil Biswas. Actually,it seems Anil Biswas took over when Pathak left the film halfway.

After Janmashtami-50 and Achha ji-50, came Preet ka geet-50.Famous poet Harikrishna Premi wrote the songs, which were sung by Mukesh, Geeta and Johra. Next film Hamari Duniya-52 had good Lata songs. Meanwhile his film Parda remained unreleased. In the last phase of his career, came Sapna-52, Vanraj-52, Bombay Central-60 and finally, film Mehbooba-65 closed his career.

Shyam Babu Pathak died of heart attack in Bombay on 23-11-1980.

Today’s song is a lovely song, sung by Amirbai Karnataki. With this song, film Janmashtami-1950 makes its Debut here.

Song-Murliwaale Ghanshyam mujhe apni bana lo na (Janmaashtmi)(1950) Singer-Amirbai Karnataki, Lyrics-Bharat Vyas, MD-Shyam Babu Pathak

Lyrics

Murliwaaale Ghanshyam
aaaaam

Murliwale Ghanashyam aam
mujhe apni bana lo na
Murliwale Ghanashyam aam
mujhe apni bana lo na
apni bana lo naa aa
mujhe apni bana lo na
ho o o
Murliwale Ghanashyam aam
mujhe apni bana lo na

nain jyot se karoon aarti
ujaalon ka deep jalaaye
nain jyot se karoon aarti
ujaalon ka deep jalaaye
aao na der lagaao Muraari
jiya mora akulaaye
aao na der lagaao Muraari
jiya mora akulaaye
Murliwale Ghanashyam aam
mujhe apni bana lo na

tan man arpan karoon charan mein
thhukraao na naaath
tan man arpan karoon charan mein
thhukraao na naaath
is dukhiyaa ki laaj Kanhaiyya
?? tumhaare haath
is dukhiyaa ki laaj Kanhaiyya
?? tumhaare haath
Murliwale Ghanashyam aam
mujhe apni bana lo na
Murliwale Ghanashyam aam
mujhe apni bana lo na
apni bana lo naa aa
mujhe apni bana lo na
ho o o
Murliwale Ghanashyam aam
mujhe apni bana lo na

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Bhai bhaj le shri Bhagwaan

Posted by: on: December 24, 2019


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 : 4176 Post No. : 15350

Today’s song is from the film “Aankh ki sharm (1943). This bhajan is sung by one ‘Pande ji’. I am neither aware who this singer is, nor aware of any information on him. The Music Director of this film was Vasant Desai, who was known to be a Talent Hunter ( He had discovered MD S.Purushottam and singers Desai sisters – Pramodini and Vinodini ). May be Pande ji was also his discovery. However in later films of Vasant Desai I failed to find his name again. Possibly he was a ‘one film wonder’, like many others.

The film was made by Wadia Movietone. In 1942, the Wadia brothers – Homi and J B H Wadia separated, when the elder brother J B H Wadia proposed that the company should start making Social films, instead of only Stunt films. Homi Wadia established his own company Basant Pictures and continued making stunt films with Fearless Nadia – who sided with him, obviously, in the separation. Much later, Nadia married Homi Wadia and she thus became Nadia Wadia !

This was the second Social film ( after film Shobha-42) that Wadia Movietone made after the split. It was directed by Balwant Bhatt – elder brother of Nanabhai Bhatt who was a veteran in directing B and C grade films.

All the 11 songs of the film were written by Pt. Indra Chandra. The cast of the film was Prithwiraj Kapoor, Kaushalya, Trilok Kapoor, Nayampalli, Nalini Gupte, Moti, Gulab, Himalayawala, Agha, Dalpat, Indira etc etc. This must be one of the very few films (or was it the only movie ?) in which Prithwiraj and Trilok Kapoor were acting together in one film.

An interesting name in the cast was that of NALINI Gupte. I said interesting, because, in Hindi films, as many as 12 NALINIs acted/ sang in films at slightly different times. Add to this list the name of a Male actor ‘ Nalini Ranjan Roy ‘, who, thankfully, acceded to the suggestion to change his name to ‘Kanu’ Roy. ( It is another matter that even this name clashed with another Kanu Roy, who was MD, in the same period…causing serious ” Same Name Confusion”. ) The different NALINIs were…

Nalini Tarkhud…..many films

Nalini Jayawant…many films

Baby Nalini…Mera ladka-43

Nalini Nagpurkar…Krishnarjun yuddha-34, Chacha Chaudhari-53

Nalini Chonkar… many films

Nalini Borkar…singer

Nalini Dhere… Nagad Narayan-43

Nalini Gupte…Ankh ki sharm-43

Nalini Mulgaonkar…Didi-48, nakli Baap-49

Nalini Rao…Talash-43

Nalini Saraf (later Seema Deo)… Anand-70

Nalini korgaonkar… singer

Additionally, there were actresses called SuNALINI and MriNALINI too.

These Nalinis did not cause any Same name Confusion, because, being Marathi artistes, they wrote their names with Surnames, so their names remained different always. Easily, this name is the most ‘appeared’ name in the Hindi Film History !

Another interesting name ‘ Nayampalli’ always reminded me of the ” Nampalli” Railway station… which is another name for Hyderabad Railway station. This actor Nayampalli was leading a silent life of a middle class gentleman, doing a 10 to 5 job and raising a family, when he was invited to the glamorous world of Films.

S.B. Nayampally (or Nayampalli) was working at the firm of Killick, Nixon and Company in Bombay, when he was discovered by film director P.Y. Altekar at a gym where Nayampally regularly exercised. Altekar felt that Nayampally very much resembled the famous French boxer Georges Carpenter and would be perfect for the stunt films that had become popular at the time. At Director Altekar’s urging, Nayampally joined Imperial Studios and was quickly cast in his first film, Wedding Night(1929), opposite the popular actress Jilloo.

When he arrived at Imperial to begin his first day of filming he was amused to find that the building now used for the studio had formerly housed the school he attended as a child.“Wedding Night was a stunt film of the Robin Hood type,” Nayampally explained in a 1964 interview. “It had a little more of a plot to it than many films of the same class. My next film, Hell’s Paradise (1929), I remember for three reasons. One, it was based on a real-life episode involving an Indian prince and a foreign girl, described as an adventuress. Two, Mama Warerekar, the noted writer, did the story. Three, the film had a kissing scene, probably the first ever in an Indian film.”

Nayampalli was cast in Imperial’s Noorjehan (1931), which was initially to be a silent picture, but because of the success of their film Alam Ara (1931), which was India’s first talkie, the studio decided to make Noorjehan partly with sound. Nayampally was not originally cast in Noorjehan, but a chance meeting with the film’s director, Ezra Mir, got him the role of Prince Salim in the film.Nayampally then played Karna in Imperial’s next sound film, the mythological Draupadi (1931), but the actor considered his best mythological role to be that of the wily Shakuni in Mahatma Vidur (1943), a part that was appreciated by critics and the public, alike.

As sound films came in, silent actors were being discarded in favor of those with stage backgrounds, so Nayampalli joined the Grant Anderson Theatrical Company which specialized in Shakespearean plays. After gaining some experience he tried to rejoin films, but without much luck. His previous roles had been leads, so he decided if he wanted to work regularly, maybe he should take a different approach and he offered himself up for character parts.

His break came in the role of a hunchback in love with the heroine in Ezra Mir’s Zarina which starred Jal Merchant and Zubeida. The dentures he wore for the role were created specially by a dentist named Jimmy Gheista who had trained abroad with the dentist who had made similar dentures for Lon Chaney.

Nayampally had learned early on how to apply make-up for his roles and, in fact, he became so good at it he eventually came to specialize in horror make-up, which earned him the nickname “The Indian Lon Chaney.” Indeed, Chaney, Erich von Stroheim, Emil Jannings, and John Barrymore were the actors that Nayampally most tried to emulate. Boris Karloff was another of his role models. He was able to put his make-up expertise to good use for the film Sair-e-Paristan (1934), where he was a vampire-like devil, and in Zingaro(1935), in which he played a monster created by a mad scientist, and then as a the hairy “missing link” in Zambo (1937) and its sequel Zambo Ka Beta (1938). For Kalkoot (1935) he created a make-up to resemble the wrinkled effect that Karloff had used in The Mummy(1932).

Nayampally continued working in films throughout the 1940s and 50s, particularly in mythologicals and costume pictures including Raj Nartaki (1941), Nagad Narayan (1943), Vishwas 1943), Taramati(1945), Urvashi (1946), Jhansi-Ki-Rani (1953), Durgesh Nandini (1956), Basant Bahar (1956) and Shiv Parvati (1962) His last credited film appearance was in 1970’s Priya.

After his career in films ended, he started making Documentaries. He made about 35 documentaries. He won ‘ Silver Dolphin’ award for his documentary in the International Film Festival at Teheran in 1970.

He died on 7-5-1994, in Mumbai.

In the cast, there is another name which, apart from being very unusual, belongs to an actor, who earned considerably infamy in his private life. He is Himalayawala. His name was Mohd Afzaluddin. He was born in March 1916, at Dehradun. After school education he joined his brother, Mohd Misaluddin’s firm – The Himalaya Drug Company, a leading Pharma company of repute (even today). He worked there for 10 years and after a dispute with his brother, left the company. He came to Bombay to join films.

First he had thought of starting a company, but looking at the situation, he decided to do acting only. His first film was ‘Kiski Biwi’ (1942), directed by MA Mirza. His name was changed from Afzal to A Himalaywala (since he came from the Himalayan town of Dehradun, like Kashmiri from Kashmir), by Shaukat Hussain, husband of Noorjehan. However in many films he was credited as Afzal only. He worked in few films like, ‘Vishwaas’ (1943), ‘Ankh Ki Sharm’ (1943), ‘Dost’ (1944), ‘Kismatwaala’ (1944), ‘Zeenat’ (1945), ‘Humayun’ (1945), ‘Nal Damayanti’ (1945), ‘Jagbeeti’ (1946), ‘Samrat Ashok’ (1947) and ‘Elaan’ (1947).

He was an outspoken and straightforward person, fond of hunting, football and travelling by car. He toured all of India twice in his car. In 1943, he married actress singer Amirbai Karnataki. After marriage he banned her from acting in films. Within 2-3 years, on this and other issues, they could not get along. He used to hit her and take all her money. At last, it was rumoured that he gave her talaaq after taking 2 lakh rupees and her car. Even after this he was stalking her. She stayed with her elder sister Ahilya Bai. Then one day, she was kidnapped by Himalaywala, from the recording room. She was kept locked in a room and beaten daily. She somehow managed to inform this to her sister.

Ahilyabai then got in touch with her acquaintance Mr Rasiklal Vyas and his brother Chhailabhai Vyas – one of the best criminal lawyers of Bombay. With their political and social connections, they forced the police to register an FIR, which was refused due to Himalaywala’s bribe. Meanwhile Himalaywala was alerted by his cronies. Within few hours Amirbai was escorted back to her sister’s place, by Himalaywala. All this episode is described in full details in the book ‘Aap Ki Parchhaiyaan’, by Rajnikumar Pandya ji. Amirbai later married Gujarati Journalist Badri Kaanchwala.

After partition, Himalaywala migrated to Pakistan. There the lady luck smiled on him and he did very well. Urdu film Shahida (1949) was his first film in Pakistan, which celebrated silver jubilees in Delhi and Lucknow.

Hamaliawala was in leading role in Pakistan’s first silver jubilee Urdu film Do Aansoo in 1950. He was main villain actor in the most of 1950s movies. He played the Akbar The Great role in musical film Anar Kali in 1958. His other famous moves were Kundan (1950) Chan Way(1951), Ghulam (1953), Gumnam, Ruhi (1954), Shoni(1955),Qatil (1955), Sarfarosh (1956), Saat Lakh (1957), Gumrah, Naghma-e-Dil (1959), Farishta (1961), Watan(1960) and Azra (1962).

He was seen in 33 movies, only two of them were in Punjabi language. His last film was Yahudi Ki Larki in 1963.

Mohd Afzuluddin Himalaywala married Begum Perveen, in Pakistan. He died on 1st January 1984 in Lahore. (Thanks to Film directory-46, http://www.pak.mag.com, Shishir krishna Sharma ji, book Aap ki parchhaiyan by Rajnikumar Pandya ji and my notes, for information used herein.)

Now let us see the video of today’s song. The singer on screen is probably Pande ji himself. This is my guess. I find this song scene funny. Prithwiraj is seen, obviously in sick condition. The singer is singing before him and telling him that ” tu do din ka mehmaan” ! What must be the sick man’s condition, hearing this ! But, after all, there must be some background also for this situation in the film, I am sure. With this song, Pande ji makes his Debut on this Blog, as a singer.


Song- Bhai bhaj le shri Bhagwan (Aankh Ki Sharm)(1943) Singer- Vasant Desai, Lyricist- Pt. Indra, MD- Vasant Desai

Lyrics

Bhai bhaj le shri Bhagwan
Bhai bhaj le shri Bhagwan
tu do din ka mehmaan
tu do din ka mehmaan
Bhai bhaj le shri Bhagwan
Bhai bhaj le shri Bhagwan
kal aayaa thha
kal jaayegaa
kal aayaa thha
kal jaayegaa
aaj ko soch vichaar
aaj ko soch vichaar
chhod ke bande
tu tu main main
chhod ke bande
tu tu main main
apna kaaj sudhaar
dhar murlidhar ka dhyaan
Bhai bhaj le shri Bhagwan

kya lena hai
kya dena hai
kya lena hai
kya dena hai
kyon jhoothha janjaal
kyon jhoothha janjaal
bair birodh bisaar ke bande
bair birodh bisaar ke bande
bhaj Giridhar Gopal
bhaj Giridhar Gopal
bhaj Giridhar Gopal
nar kar jag ka kalyaan
Bhai bhaj le shri Bhagwan
Bhai bhaj le shri Bhagwan

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Shirdi waale Sai baba aaya hai tere dar pe sawaali

Posted by: on: September 4, 2019


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 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 : 4065 Post No. : 15199

Hullo to all in Atuldom

We are into September. The month has begun with on an auspicious note with the arrival of the elephant-headed god, Lord Ganesh or Gajanan or Vighneshwar or Ekdanta or Vinayak or Ganpati- different names for the same god. For which Atulji had posted a “Ganpati Bappa Morya” song. The birthday list for September began with the ‘pouring out of a true fan’s feelings for his idol post’ on Sadhana by Sudhirji.

Here is my post to wish my favourite actor on turning a year older. He has been out of the country for the last year undergoing treatment for the dreaded C. Though out of the country he has been in public eye with constant reports of how he is recovering and that he is expected back in the country in the not-so-distant future. I am wishing Rishi Raj Kapoor on his 67th birthday. May he return to the pink of health and continue what he does best – give us lots of entertaining movies like his last few – “Mulk” (2018) directed by Anubhav Sinha which was poles apart from his “102 Not Out” directed by Umesh Shukla. He played varied characters in “Kapoor and Sons” (2016), “Besharam” (2013), “Patiala House” (2011), “Agneepath” (2012), “Do Dooni Char” (2010), “Student of the year” (2012), – post his decision in 1999 to stop trying to play the romantic lead we have seen Chintu (as his is fondly called) in different avatars. He must be the only actor from the 70s and 80s (other than Amitabh of course) to be considered for playing near-central characters which are not necessarily young.

Now for a few words on today’s song

It is from a 42-year-old movie. It has been on the air-waves and all the music channels of television ever since. And it falls right in the category of “how come this song was not posted earlier?”. But then we will find many of Chintu’s songs eligible for this category and our blog will always have fodder for posting :). The last time I heard this on radio was, may be last week, when I was driving to the airport in Mumbai (my brother was dropping me) or driving home from the airport with my son after touch down at Bangalore (that means twice on the same day). That is how frequently the song gets played. Then on entering the house I found my husband surfing channels and again this song. And next day morning doordarshan played it on their weekly musical “Rangoli”. So that made it 4 times in 24 hours and am I complaining about the number of repeats? No, not at all!! Why? Because I like the elements that the maker of the movie has put into the song. In fact, the maker is known for putting that kind of elements in the whole movie and almost all his movies.

Here I am talking of Shri Manmohan Desai and his habit of showing us incredible, illogical and unbelievable things in his movies, and how the audiences have lapped those up with eyes closed. Remember the blood donation scene in “Amar Akbar Anthony”? The song sequence in “Mard” has a tiger escorting the mother towards a boat so that she can cross to the other bank where her son is singing in the temple. Unforgettable.

Today’s song has the eternal mother – Nirupa Roy – escaping from the clutches of Jeevan and Ranjeet (they were a team in the 70s). She is shown running towards an open-air temple where we have Chintu singing a qawwali in praise of Sai Baba. The mother comes in crawling (tired after all the running and falls that she has had enroute) moves slowly towards the Baba’s idol unseen by the devotees present in the temple. Just as Chintu sings the line – “tu bichhadon ko milaaye, bujhe deepak jalaaye” we see two tiny specks of jyot (light of the diyas) emerge from the Baba’s eyes and enter the lady’s eyes – here I must mention that the lady is blind too, a result of an accident at the start of the movie. And now she can see three kids beckoning her – on the Baba’s smiling face. Such chamatkaars (magical happening) used to be Manmohan Desai’s forte. The song or qawwali comes to a close and she declares to whoever is ready to hear that “ab mein dekh sakti hoon” (I have my vision back); I pity all the eye doctors of that time, I am sure they would have prayed to Baba that they don’t go out of business. 🙂

So today on the occasion of Chintu a.k.a Rishi Kapoor’s birthday let us wish him health and happiness through this chamatkaari song that was written by Anand Bakshi, sung by Mohd. Rafi and composed by Laxmikant Pyarelal. Incidentally 3rd September was the 80th birthday of Pyarelal Ramprasad Sharma – Pyarelal of the music director duo Laxmi-Pyare. Let us wish him too health and happiness.


Song-Shirdi Waale Sai Baba aaya hai tere dar pe sawaali (Amar Akbar Anthony)(1977) Singer-Rafi, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal
Chorus

Lyrics

Aaaaaaa
aaaaa
zamaane mein kahaan tooti hui
tasveer banti hai
tere darbaar mein bigdi hui
taqdeer banti hai

tareef teri
nikli hai dil se
aayi hai lab pe ban ke qawwaali
shirdi waale sai baba
aaya hai tere dar pe sawaali
shirdi waale sai baba
aaya hai tere dar pe sawaali
lab pe duaayen
ankhon mein aansoon
dil mein ummeedein par jholi khaali
shirdi waale sai baba
aaya hai tere dar pe sawaali
dar pe sawaali
aaya hai dar pe sawaali
savali (baba)
shirdi waale sai baba
aaya hai tere dar pe sawaali

oooo ooooo oooo oooo

o mere sai deva
tere sab naam leva
o mere sai deva
tere sab naam leva
juda insaan saare
sabhi tujhko hain pyaare
sune fariyaad sabki
tujhe hai yaad sabki
bada ya koi chhota
nahin mayoos lauta
ameeron ka sahaara
gareebon ka guzaara
teri rehmat ka qissa bayaan akbar kare kya
do din ki duniya
duniya hai gulshan
sab phool Kaante tu sabka maali
hae ae
shirdi waale
haaan
sai baba
hae ae
aaya hai tere dar pe sawaali

khuda ki shaan tujhmein
dikhe bhagwan tujhmein
khuda ki shaan tujhmein
dikhe bhagwan tujhme
tujhe sab maante hain
tera ghar jaante hain
chale aate hai daude
jo khush kismat hai thhode
yeh har raahi ki manzil
yeh har kashti ka saahil
jisse sabne nikaala
usse toone sambhaala
jisse sabane nikaala
usse toone sambhaala
tu bichhdon ko milaaye
bujhe deepak jalaaye
tu bichhado ko milaaye
bujhe deepak jalaaye
tu bichhdo ko milaaye
bujhe deepak jalaaye
ye gham ki raatein
raatein ye kaali
inko bana de id aur diwaali
shirdi waale sai baba
aaya hai tere dar pe sawaali
lab pe duaayen
ankhon mein aansoon
dil mein ummeedein par jholi khaali
shirdi vaale sai baba
aaya hai tere dar pe sawaali
shirdi vaale (shirdi waale)
sai baba (sai baba)
aaya hai tere dar pe sawaali
shirdi vaale (shirdi walein)
sai baba (sai baba)
aaya hai tere dar pe sawaali

Tags: , , , , , ,

Agar Mil Gayi Mujh Ko Raah e Madina

Posted by: on: July 31, 2019


This article is written by Nahm, 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 :

 4030 Post No. : 15150

Mohammed Rafi : The Incomparable (II) – Song No. 14
———————————————————-

Remembering Mohammed Rafi Sahab on his 39th death anniversary :

No need to keep a reminder in the mobile.  I come across Rafi Sahab’s  name or reference to or one of his songs every day.  The figure is at 2955/4845 on the blog’s stats page.  The excel sheet of Rafi Sahab’s songs that I have says total 5373 songs.  The difference between the two figures is more than 500 songs.

The excel sheet does not feature the song “Ye Sitaare Hain Motiye Ke Phool” from Shohrat (1949), which is my post for this anniversary in 2018. The excel sheet has these two songs additional in for the film “Ganga Jamuna”(1961).

 

Bailan Ki Jodiayan Sab Jaane Man Ki Batiyan Ganga Jamuna 1961 Mohd Rafi Naushad Ali Shakeel Badayuni
Chal Chal Ri Goriyaa Ganga Jamuna 1961 Mohd Rafi Naushad Ali Shakeel Badayuni

 

The above two are actually small snippets of songs which are used in the film, unlike some songs which are deleted from the films. “Chal Chal Ri Goriya…… Nadiya Kinaare Mora Gaon” is a chorus of Rafi Sahab and a female voice (sounds like Shamshad Begum to me). The video clips of both these songs are available on youtube.  It is debatable, if these can be treated as songs.

I remember that ‘Bluefire ji’ had commented in the blog some years ago that there are hundreds of small snippets of songs / couplets composed by Chitragupt and others which Rafi Sahab sang, mostly in mythological films which do not find a mention in Geet Kosh. It is possible that most or all of these snippets are included in the excel sheet that I refer to.

Rafi Sahab has a wide range of religious songs – naats, qawwaalis etc in his body of work, apart from the bhajans. These non-film religious songs and naats are a treat for Rafi Fans.  I have chosen a naat as the commemorative post for today’s occasion.  I am giving the lyrics as per the recorded version.  There is a live show recording also available, which is a more lengthy and full of energy, no doubt to enhance the enjoyment of the audience watching it live, but the lyrics are basically same.  The recorded version is also very endearing rendition of this traditional naat, the composer is not mentioned anywhere.  Only the lyricist name is available as Nirang Sambhali.  It is rendered in a traditional tune of naat, used by quite a few music directors for their songs including Madan Mohan.

It expresses the yearning to visit Makkah and Madina and perform Hajj.

INTRODUCTION OF HAJJ:
‘Hajj’ is one of the five pillars of Islam. It is a journey to the heart. The yearly flood of pilgrims from the remotest places of Islam has been a remarkable means of spiritual renewal for distant communities which are thus brought closer to manifest the centre of Islam. Historically, the pilgrimage has been a means of knitting together the many races and nations that make the muslim community, and there is no other event on earth that can compare with it.

Hajj is obligatory upon those who can ‘make their way’ to Makkah Sharif. That is to say that the requirement is not absolute, but incumbent upon those whose health and means permit it, and who in doing so, do not compromise their responsibilities towards their families.

Hajj relates to the life of test and trials lived by Prophet Hazrat Ibrahim (PBUH) and his son Prophet Hazrat Ismail (PBUH) in the vicinity of Makkah.

INTENTION OF HAJJ:
The most important factor of Hajj is the intention to perform the Hajj only to please Allah and fulfill his command. It should not be mixed up with even the slightest worldly interest.

BEFORE STARTING JOURNEY OF HAJJ :
Before starting the journey for Hajj, make you conscience feel you are going for Hajj because the Almighty Allah is pleased with you and has paved the way for you to perform Hajj. Give alms (sadqa) to the needy, and request your neighbors, friends and relatives to excuse you for your shortcomings and misbehavior towards them. This is in effect an attempt to compensate those you have ever cheated or treated badly, willfully or unintentionally. A smallest of aberration hurting fellow human beings is counted as bad deeds. So try and make amends before leaving for hajj.

It is a matter of beatitude and blessedness to us that we have been granted the opportunity to perform Hajj, falling in the month of August this year. So it’s the granting of a dear wish to find our way to ‘makkah and madina’  aka ‘raah e madina’ in the ‘Naat’.

On this momentous occasion I am remembering this great surah from the Quraan called Surat ul Rahman – a very famous and one of the most beautiful surah of the Quraan.  Salient feature is the repetition of the aayah which broadly translates to ‘which of the favours, gifts  and wonders of the Master, are you both (man and Jinn) going to be in denial of’.

I am giving a brief translation of this beautiful surah which is compiled from different sources. The ‘aayaah‘ of the Quraan are in Arabic and according to the scholars, cannot be perfectly translated so as to convey the grace and the messages perfectly – so some of the beauty is bound to be lost in translation.

Ar-rahmaan (The Beneficent):

I seek Allah’s protection from shaitaan, the accursed one.
In the name of Allah, the most gracious, the most merciful.

The most beneficent, taught the Quraan.
Created man, and taught him eloquence.
The sun and the moon (move) by precise calculation.
And the stars and trees prostrate, and the heaven He raised.
And imposed the balance, that you not transgress.
Within the balance, and establish weight in justice,
And do not make deficient the balance.
And the earth He laid out for the creatures.
Therein is fruit and palm trees, having sheaths of dates.
And grain having husks and scented plants.
So which of the favours of your Lord would you deny ?

He created man from clay like that of pottery,
And He created jinn from smokeless flame of fire.
So which of the favours of your Lord would you deny ?

The Lord of two East
And the Lord of two West,
He released the two seas, meeting (side by side).
Between them is a barrier,
(So) neither of them transgresses.
So which of the favours of your Lord would you deny ?

From both of them emerge pearl and coral,
So which of the favours of your Lord would you deny ?

And to Him belong the ships,
(With the sails) elevated in the sea like mountains.
So which of the favours of your Lord would you deny ?

Everyone upon the earth will perish,
And there will remain the countenance of your Lord,
Owner of majesty and honour.
So which of the favours of your Lord would you deny ?

All that is within the heavens and earth entreat Him
EverydayHe exercises (universal) power.
So which of the favours of your Lord would you deny ?

We will attend to you, O you two dependents (man and jinn).
So which of the favours of your Lord would you deny ?

O company of jinn and mankind,
If you are able to pass beyond the regions
Of the heavens and the earth, then pass.
You will not pass except, by authority (from Allah).
So which of the favours of your Lord would you deny ?

There will be sent upon you
A flame of fire and smoke,
And will not defend yourselves.
So which of the favours of your Lord would you deny ?

And when heaven is split asunder
And becomes rosy like red hide,
So which of the favours of your Lord would you deny ?

Then on that day none will be asked
About his sin among men or jinn,
So which of the favours of your Lord would you deny ?

The criminals will be known by their marks,
And they will be seized by the forelocks and the feet.
So which of the favours of your Lord would you deny ?

This is hell, which the criminals deny,
They will go around between it and scalding water,
Heated (to the utmost degree)
So which of the favours of your Lord would you deny ?

But for he who has feared, the standing before his Lord,
Are two gardens.
So which of the favours of your Lord would you deny ?

Having (spreading) branches.
So which of the favours of your Lord would you deny ?

In both of them are two springs, flowing.
So which of the favours of your Lord would you deny ?

In both of them are of every fruit, two kinds.
So which of the favours of your Lord would you deny ?

They are reclining on beds whose lining are of silk brocade,
And the fruit of the two gardens is hanging low.
So which of the favours of your Lord would you deny ?

In them are those of modest gaze,
Untouched before them by man or jinn-
So which of the favours of your Lord would you deny ?

As if they were rubies and coral.
So which of the favours of your Lord would you deny ?

Is the reward for good (anything) but good ?
So which of the favours of your Lord would you deny ?

And beside them both (in excellence)are two (other) gardens
So which of the favours of your Lord would you deny ?

Dark green (in color) with foliage.
So which of the favours of your Lord would you deny ?

In both of them are two springs, spouting.
So which of the favours of your Lord would you deny ?

In both of them are fruit and palm trees and pomegranates.
So which of the favours of your Lord would you deny ?

In them are found good and beautiful  –
So which of the favours of your Lord would you deny ?

Fair ones reserved in pavilions –
So which of the favours of your Lord would you deny ?

Untouched before them by men or jinni –
So which of the favours of your Lord would you deny ?

Reclining on green cushions and fine carpets.
So which of the favours of your Lord would you deny ?

Blessed is the name of your Lord,
Owner of majesty and glorious honor.
God Almighty speaks the truth.

The Quraan, by admission is a book of guidance and there are signs in it for all mankind. The uniqueness of the Surat-ul-Rahmaan, is that here the Almighty is talking to or about both men and jinn. There are two seas, there are two easts and two wests, also there are two gardens and beside them there are again two gardens in Jannah. This description of jannah or paradise comes after the description of destructions and annihilation of all that is on earth.  Because Jannah is for those who is conscious of the fact that one day he is to stand before the Lord, Almighty God and answer for the deeds committed during the lifetime.  Whoever is conscious of this will be afraid of the hellfire and take care during the life on earth not to have to see it first hand. The description should be enough to make mankind want to avoid the hellfire. This life on earth is really a test for us and how we fare in this test is depends on how much we imbibe and obey the guidance. The hereinafter is the eternal existence for which we carry our deeds from this earth, to the day of judgment. To be aware is to beware and be prepared as result. As a forewarning, Surah Rahaman is an excellent lesson. A ‘rehemat’ (divine mercy, divine blessing, kindness).

I have always held the belief that the purpose of all religion is to regulate human behavior. Seems to jell with what the the Almighty says in the above surah :

And imposed the balance, that you not transgress.
Within the balance, and establish weight in justice,
And do not make deficient the balance.
And the earth he laid out for the creatures.

Here is the ‘naat’ of ‘aqeedat’ (devotion) and ishq-e-nabi.

 

(Live)

(Recorded)

Song – Agar Mil Gayi Mujh Ko Raahe Madina (NFS – Mohammed Rafi) (19??) Singer – Mohammed Rafi, Lyrics – Nirang Sambhali, MD – [Unattributed]

Lyrics 

agar mil gayee mujh ko 
raah-e-madinaa
mohammed ka naqsh-e-qadam 
choom loongaa
agar mil gayee mujh ko 
raah-e-madinaa
mohammed ka naqsh-e-qadam 
choom loongaa
aqeedat se kaabe mein
sar ko jhukaa kar
nigaahon se baab-e-haram
choom loongaa

jo taiy kar ke aayenge
raah-e-madinaa
milaa loonga main unn ke
seene se seena
jin aankhon ne dekhaa hai
taibaa ka manzar
wo aankhen khudaa ki
qasam choom loongaa
jin aankhon ne dekhaa hai
taibaa ka manzar
wo aankhen khudaa ki
qasam choom loongaa

meri zindagi sirf
ishq-e-nabi hai
jo gham mujh ko iss mien 
milaa wo khushi hai
issi gham ki raahon mein
aankhen bichchaa kar
main palkon se khaak-e-haram
choom loongaa
issi gham ki raahon mein
aankhen bichchaa kar
main palkon se khaak-e-haram
choom loongaa

agar dil ko hai kuchh
nabi se aqeedat
kisi din to jaagegi 
meri bhi qismat
jo aayenge kar ke
tawaaf-e-madinaa
main khush ho ke unn ke 
qadam choom loongaa
jo aayenge kar ke
tawaaf-e-madinaa
main khush ho ke unn ke 
qadam choom loongaa

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

अगर मिल गई मुझको
राहे मदीना
मुहम्मद के नक़्श ए कदम चूम लूँगा
अगर मिल गई मुझको राहे मदीना
मुहम्मद के नक़्श ए कदम चूम लूँगा
अक़ीदत से काबे में
सर को झुका कर
निगाहों से बाब ए हराम चूम लूँगा

जो तय कर के आएंगे राहे मदीना
मिला लूँगा मैं उनके
सीने से सीना
जिन आँखों ने देखा है
तयबा का मंज़र
वो आँखें खुदा की क़सम चूम लूँगा
जिन आँखों ने देखा है
तयबा का मंज़र
वो आँखें खुदा की क़सम चूम लूँगा

मेरी ज़िंदगी सिर्फ इश्क़ ए नबी है
जो ग़म मुझको इस में
मिला वो खुशी है
इसी ग़म की राहों में
आँखें बिछा कर
मैं पलकों से खाक ए हराम चूम लूँगा
इसी ग़म की राहों में
आँखें बिछा कर
मैं पलकों से खाक ए हराम चूम लूँगा

अगर दिल को है कुछ
नबी से अक़ीदत
किसी दिन तो जागेगी
मेरी भी क़िस्मत
जो आएंगे कर के
तवाफ ए मदीना
मैं खुश हो के उनके कदम चूम लूँगा
जो आएंगे कर के
तवाफ ए मदीना
मैं खुश हो के उनके कदम चूम लूँगा

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This blog discusses Bollywood songs of yesteryears. Every song has a brief description, followed by a video link, and complete lyrics of the song.

This is a labour of love, where “new” songs are added every day, and that has been the case for over ELEVEN years. This blog has over 15700 song posts by now.

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