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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 :

5174 Post No. : 17145

Today’s song is from the film Nagad Narayan-1943. This was a film made by New Hans Pictures, Bombay. The director was Hindi/Marathi veteran- Vishram Bedekar. Songs were written by Kavi Bekal, Kavi Shamim and Munshi Dil. The MD was Shridhar Parsekar.

Film Nagad narayan was a bilingual film made in Hindi and Marathi (with a title of ‘ पैसा बोलतो आहे ‘ means The money is talking ). Marathi was the first language to make bilingual Talkie films regularly since 1932. The very first Marathi Talkie film- अयोध्येचा राजा , was also made in Hindi as Ayodhya ka Raja, simultaneously. This was purely a business move on the part of Marathi film makers. Though the Marathi film industry was growing by the day, it also wanted to capture the biggest All India Hindi market.

This was followed by the Bengal film industry and every successful Bengali film was remade in Hindi or was simultaneously made bilingual in Bangla and Hindi. By this, not only the filmmakers were benefited, but the audience of All India was also enjoying the feast of the best of Bangla and Marathi films. One offshoot of this bilingual game was that many Marathi artistes – actors, directors and MDs and singers also entered the Hindi films. Thus along with the audiences, the industries also benefited by this activity.

In due course of time i.e. by 1948, the Southern film industry too entered this fray of Multilingual films. In the South, the trend was to make films in 3 or more languages at the same time or make their remakes later in Tamil, Telugu, Kannada and Hindi. Comparatively Malayalam and Kannada film industries were late to play this multilingual game. By the decade of 1950, the Marathi and Bangla film industries had their own playing fields in sufficiently big size and they reduced making bilingual films. The South took the advantage and continued making films in Hindi even in the from the 50’s to the end of the 70’s decades. Later on Dubbing the Southern films became cheaper and more frequent than making bilingual or remaking the films in Hindi.

Because of the Bilingual system of Marathi and Hindi films, many Music Directors from Marathi entered Hindi films. MDs like Dada Chandekar,Govindrao Tembe, Keshavrao Bhole, S.P.Rane, Prof. B.R.Deodhar, Baurao ketkar, Annasaheb Mainkar, K.R.Gore, Master krishnarao, Datta Korgaonkar (K.Datta) etc gave music to early Hindi films. It was followed by Vasant Desai, Datta Davjekar, Snehal Bhatkar, Sudhir Phadke etc etc.

There were many small-time MDs from Marathi films like C.Balaji aka Balaji Chaugule-for example, who remained unknown. In this rush and jumble of competetion for survival few really meritorious but commercially unsuccessful Music Directors appeared like Comets and disappeared.

Shridhar Parsekar, composer of today’s film, was one such Gem, who had immense talent but insufficient Luck. And when he became famous and in demand for his music, he fell victim of Alcohol and embraced death in very pitiable conditions. Here is his story….

From the crop of Musicians from GOA,there was one outstanding Musician- SHRIDHAR PARSEKAR, who was a singer,an All India Famous Violin Player,composer of many Marathi songs/films/dramas and few Hindi films.He was an expert in playing almost 10 different instruments.

SHRIDHAR PARSEKAR was born in 1920 in Goa. From the childhood he was a lover of Music and learnt classical Music first from his uncle Parshuram buwa Parsekar and he was trained by him in playing various instruments like Harmonium, Jaltarang, Tabla and Violin.He was a disciple of Gajanan Buwa Joshi a noted musician.He operated a Band in Bardez-Goa and played Violin,Clarionet,harmonium and many other instruments.He was a Genius and soon became a name for playing Violin.

He came to Mumbai and continued learning Music here under many well known gurus, like Khadeem Hussain Khan, Natthan Khan and Awar Hussain. Soon he was performing in stage shows doing Jugalbandis with stars of the day like Ravishanker, Vilayat Khan and Akbar Ali Khan. Kishen Maharaj was very pleased with him. For some time he joined AIR-Bombay as a Musician and got friendly with Ustad Alla Rakha who also worked in AIR. R G Ramnathkar, who got him the Radio job, also taught him many Raaga/Raaginis. Parsekar did Radio work for 6 years.

Later he worked as assitant to Music Director Annasaheb Mainkar and then started as MD for Marathi Films and stage dramas.His music in dramas like Bhakta Damaji, Paisa bolto ahe, Kuber and Kanyadaan was very popular.He also recorded many Bhavgeets and Natyageets from reputed singers in Marathi. HMV and Odeon took out his records. Singers like Jyotsna Bhole, Saraswati Rane, Hirabai Badodekar,Vatsala Kumthekar and Master Krishnarao Chonkar also sang for him. One of his songs- ” Vithal Vithal Gajari,awaghi dum dumali Pandhari ” ( विठ्ठल विठ्ठल गजरी, अवघी दुमदुमली पंढरी ) from Bhakta Damaji is so popular that it is sold even today.

With Marathi films, recording of private songs, stage shows with prominent musicians,Shridhar had every happiness with him.He had a Bungalow,cars,bank balance, name, fame and plenty of demand. He wrote a book on Music-‘Swar Ninad’.

And then it happened !

He became an Alcoholic. Normally, a person becomes Alcoholic when he is unsuccessful, but this was an opposite case. While on the top of success he became an Alcoholic. He used to drink day and night.

Once there was a jugalbandi programme of him with Ustad Vilayat khan. Shridhar came fully drunk to the Theatre. Vilayat Khan scolded him and left the show. Such things kept on happening leading to his downfall.

He stopped getting work and all his wealth, house, cars etc was sold for liquor. His condition was such that he would play Violin on streets and earn money. Lata Mangeshkar has narrated an incident, which I read in a book ” From Noorjehan to Lata ” by Isak Mujawar. Book says…

” one day Lata’s car stopped in the traffic. Out of curiosity she peeped out to see what happened. There was a person in tattered clothes playing a violin beautifully and people had gathered to listen to him. Some people gave him alms. She asked the driver if he knew that person. The driver replied that it was Parsekar buwa. She got down, went to Parsekar and told him to come with her. She will look after him now. On this, Parsekar replied that her father had asked him to look after their family, which he could not do, so why should she look after him. If she wants to help, just give some money. She gave him 50 rupees and he almost ran away from there….probably to the wine shop ! “-

Finally Shridhar Parsekar died of liver Cirrhosis on 10-9- 1964 ! He was only 44 years old !! Such a brilliant artist wasted by Alcohol.So Sad ! Pt.Ravi Shankar and Vilayat Khan had personally met his family after his death,so much was the respect for his talent !!

In addition to 7 Marathi films, Shridhar Parsekar gave music to five Hindi films like, Nagad Narayan-43,Mahakavi Kalidas-44, Meri Amanat-47, Andhon ka Sahara-48 and Gokul ka Raja-54. He composed 45 songs in these films. He sang 5 songs in 2 films, Andhon ka sahara-48 and Gokul ka Raja-54. Many famous singers sang for him, like, Minakshi, Khan Mastana, Rajkumari, Master Krishnarao, Mohantara, Vinodini Dikshit etc.

Pt. Ravi Shankar shared his memories of Sridhar-: “I knew Sridhar. He was a wonderful violinist, a disciple of Gajananrao Joshi. Sridhar Parsekar was a staff artist at AIR Bombay when Alla Rakha was also a staff member there. This is the period I knew him in the early forties. He was a smart young fellow, dark and very good looking. He came to hear me a lot and I also heard him a lot. I played one duet with him as I did with his Guru in the late 40’s in Bombay. It was a wonderful duet I played with him and Alla Rakha accompanied us. Along with many other musicians Kishen Maharaj was sitting in the front. I admired him as a musician and I have always felt very sad how he ruined his life and killed himself with his addiction to alcohol.”

In 1993, the violinist V.G. Jog said about Parsekar…. “Sridhar Parsekar was a tayyar and sweet violinist. Excellent presentation. SP used to call me Bandu Jog! The tragedy was that such a big artiste did not maintain his kala. Before preparing any students, he passed away and that caused me great sadness. Else there might have been excellent violinists in India today. When he was at his peak, I was just a student, but AIR programs were greatly appreciated and he was also a great composer especially for Marathi films. Ramakrishnabua Vaze blessed him. He learnt from Gajananrao Joshi and once he played a Jugalbandhi with Ravi Shankar.”
(Information from these sources also used herein- Marathi Chitrapat sangeetkar kosh, Marathi cinema in retrospect by Sanjit Narwekar, Purvasurinche soor by Dr. Suresh Chandvankar and the book ‘kalatmak Gomantak’-kala Academy,Panji-1972, blog parrikar.org. Thanks to all of them) .

Film Nagad Narayan was directed by Vishram Bedekar. Born as Vishwanath Chintamani Bedekar,on 13-8-1906 at Amravati,Maharashtra,he took the name Vishram,once he started writing. After graduation,he did his Post-graduation in English Literature from Nagpur university. He went to Poona in 1930 to do a Teaching job. Here he met his student cum future wife Balutai Khare…who was one of the First girls riding on Bicycles to college,in those days. They got married in 1938.She became Malati Bedekar,a famous Marathi writer later on. His first novel ” Ranangan” came out in 1939,while he was in the film business.

He started with Sangeet Natak company Balwant Sangeet Mandali as playwright-lyricist. Moved to film-making when the theatre group expanded its box-office draw by producing Krishnarjun Yuddha, starring the group’s writer-actor Chintamanrao Kolhatkar. Unlike other films produced by Sangeet Natak companies (e.g. Lalit Kaladarsh), the film succeeded commercially and he co-directed three more with the group’s owner-producer Vamanrao N. Bhatt. Scripted the mythological Pundalik (1936) and, according to his autobiography, co-d the film with V.N. Bhatt. Briefly studied film-making in the UK (1938); published his first novel, Ranangan (1938), on his return. Joined Prabhat briefly to write Shantaram’s Shejari/Padosi (1941), returning to the studio to script Ramshastri (1944, a re-edited version of which, credited to him, was later released as a children’s film entitled Ramshastri Ka Nyay) and to direct Guru Dutt’s début, Lakhrani. This was the first film in which Guru Dutt played a role and also did its Choreography. It was here that Guru Dutt met Dev Anand,who had joined Prabhat as an apprentice.

He made classic melodramas for Baburao Pendharkar’s New Huns, Baburao Pai’s Famous Pics and Minerva Movietone. Wrote Shantaram’s Amar Bhoopali (1951). Directed some of the Ramsay Brothers’ early productions (Rustom Sohrab, Ek Nannhi Munni Ladki Thi). Works in the modernist frame defined by K. Narayan Kale’s generation and G.B. Shaw; most of his literary and filmic work recasts stereotypes of pre-WW1 Marathi social reform novels into the declamatory style of prose melodrama with increasingly complex storylines. As playwright, works include Brahmakumari, Vaje Paool Apule and Tilak Ani Agarkar (1980). Also scripted his films. Published autobiography, Ek Jhaad Ani Don Pakshi (1985).

Vishram Bedekar divided his life and time between writing and films. He was a trained Cinematographer and Director from London in those days. He wrote several Dramas in marathi. After directing 28 films in Marathi and Hindi,he left films after doing Bharat ke shaeed-1972. In 1985 he wrote his autobiography in Marathi- एक झाड आणि दोन पक्षी-. He got the Sahitya Academy Award for this book. He is the only Film director with such laurels. Vishram Bedekar died in Pune on 30-10-1998,at the age of 92 years. (based on Encyclopedia of Indian Cinema and marathifilmdata.com information. with thanks.)

Here is an excellent song from the film Nagad Narayan-1943, sung by Rajkumari, Khan mastana and chorus. The song was provided to me by our friend Deepak Choudhari ji and was uploaded for me by another stalwart Sadanand Kamath ji. Thanks to both.


Song – Dekho raar karo na mil ke raho jee (Nagad Narayan)(1943) Singers – Rajkumari, Khan Mastana, Lyrics-Kavi Bekal, MD – Shridhar Parsekar
Chorus

Lyrics

Dekho raar karo na
milke raho jee
dekho raar karo na
milke raho ee
milke aage badho
hanske aage badho
milke aage badho
hanske aage badho
ladkar jeet dikha do
ladkar jeet dikha do
dekho raar karo na
milke raho jee
dekho raar karo na
milke raho jee

loota hamin ko
loota hamin ko
hamin hain bhikaari
loota hamin ko
hamin hain bhikaari
mushqil mein aayi hai jaan hamaari ee
mushqil mein aayi hai jaan hamaari

aaho(?) ab door hato jee
aaho(?) ab door hato jee

dekho raar karo na
milke raho jee
dekho raar karo na
milke raho jee

duniya ko sab cheez tum apni bataa do
duniya ko sab cheez tum apni bataa do
uthho aur julmo sitam ko mita do
uthho aur julmo sitam ko mita do

jaan ganwaa do
jaan ganwaa do
par tum desh bachaa lo
desh bachaa lo
desh bachaa lo

duniya ?? tum apni bata do
photo aur cinema se sabko dikha do
jaan ganwaa do
jaan ganwaa do
par tum desh bachaa lo
desh bachaa lo
desh bachaa lo

dekho raar karo na
milke raho jee
milke aage badho
hanske aage badho
ladkar jeet dikha do
dekho raar karo na
milke raho jee


The movie 1857 (1946) was obviously based on the year 1857 which saw an uprising in India that was described by Indians as a war of independence against their British rulers whereas the British rulers described it as a sepoy mutiny.
Read more on this topic…


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