Advertisements

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

Archive for the ‘expression of love’ Category


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

Blog Day : 3860 Post No. : 14875

“Gomti Ke Kinaare”(1972) was directed by Sawan Kumar for Mercury Productions, Bombay. This “social” movie had Meena Kumari, Mumtaz, Sameer, Rehman, Agha, Helen, Paintal, Asit Sen, Shyama, Chandrima Bhaduri, Tuntun, Daisy Irani, Master Alankar, Randheer, Sultan Mazhar, Manorama, Rajan Haksar, Nasreen, Lalita Kumari, Madhu, Aarti, Kamal, I S Johar etc in it, with special appearances by Jalal Agha and Mukri.

The movie had five songs in it. Four of these songs have been covered in the past. First and fourth song from the movie were covered on 8 february 2009 and 8 february 2019 respectively, viz at an interval of exactly ten years, which thus became a part of the ongoing blog ten year challenge series.

Here are the details of the songs from the movie that have been covered so far:-

Song Title

Post No.

Post Date

Aao aao jaane jahaan 701 8-Feb-2009
Aaj to meri hansi udaayi 13377 20-November-2011
Jeene ka din mar jaane ka mausam 6764 27-June-2017
Arre lag gaya re lag gaya…pyaar ki race mein jackpot lag gaya 14870 8-Feb-2019

Here is the fifth and final song from “Gomti Ke Kinaare”(1972). This song is sung by Manhar Udhas. Majroo Sultanpuri is the lyricist. Music is composed by R D Burman.

Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of the song.

With this song, the movie gets YIPPEED and so “Gomti Ke Kinaare”(1972) joined the list of movies that have all their songs covered in the blog.


Song-Khwaab ki tasweer aankhen lab khanakte jaam se(Gomti Ke Kinaare)(1972) Singer-Manhar, Lyrics-Majrooh Sultanpuri, MD-R D Burman

Lyrics

khwaab ki tasweer aankhen
lab khanakte jaam se
aap hi kahiye
pukaaroon aapko kis naam se
o o
khwaab ki tasweeir aankhen
lab khanakte jaam se
aap hi kahiye
pukaaroon aapko kis naam se

lab kahoon chehra kahoon sab pyaar ke kaabil
sar se tum ho paanv tak jaise ke mera dil
o ho
lab kahoon chehra kahoon sab pyaar ke kaabil
sar se tum ho paanv tak jaise ke mera dil
ye kiska tum naseeb ho
baithhi aanchal thhaam ke
khwaab ki tasweer aankhen
lab khanakte jaam se
aap hi kahiye
pukaaroon aapko kis naam se

aapke ik pyaar ki daulat jise mil jaaye
reshmi rangeen badan
jis baanh mein dhal jaaye
o oh o
aapke pyaar ke ek daulat jise mil jaaye
reshmi rangeen badan
jis baanh mein dhal jaaye
sanam
usi ki zindagi
ho basar aaraam se
khwaab ki tasweer aankhen
lab khanakte jaam se
aap hi kahiye
paukaaroon aapko kis naam se
ho o
khwaab ki tasweer aankhen
lab khanakte jaam se
aap hi kahiye
pukaaroon aapko kis naam se

Advertisements

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 : 3859 Post No. : 14874

“Bachpan”(1963) was produced by Mrs P N Irani and directed by Nazar for New Panchratan Pictures. The movie had Menka Irani, Salim, Daisy Irani, Jeevan, Anwar Hussain, David, Manorama, Helen, Mauji Singh, Bhudo Advani, Chanda Bai, Seema,Masood, Kabuli, Babu, Mohd.Shafi, Lala Nazir, Rafi Ajmeri, Raj Mala, Kamran etc in it.

This movie had seven songs in it. Two songs from the movie have been covered in the past.

The movie had four Rafi solos and two Suman Kalyanpur solos.

There was one duet song in the movie which was sung by Suman Kalyanpur and Rafi.

Here is the this duet song from “Bachpan”(1963). Hasrat Jaipuri is the lyricist. Music is composed by Sardar Malik.

Only the audio of this song is available. I request our knowledgeable readers to throw light on the picturisation of this song.

Lyrics of this song were sent to me by Prakashchandra.


Song-Tere hum o sanam (Bachpan)(1963) Singers-Suman Kalyanpur, Rafi, Lyrics-Hasrat Jaipuri, MD-Sardar Malik

Lyrics(Provided by Prakashchandra)

tere hum o sanam
tu jahaan main wahaan
suraj tu jarra main
tu kahaan main kahaan

tere hum o sanam

kya khabar hai tujhe
dil tera ho gaya
pyaar ki raah mein
dil mera kho gaya
kya khabar thhi mujhe
aisa din aayega
mahal ka chaand bhi
mera ban jaayega

pyaar mein fark kya
tu jahaan dil wahaan
suraj tu jarra main
tu kahaan main kahaan

tere hum o sanam

aapki baat ka
kaise aaye yaqeen
kaise nazren uthhen
itni himmat nahin

pyaar mein ek hai
kya zameen kya gagan
kaun kya hai yahaan
main na jaanoon sajan
kya kahega jahaan
soch le meharbaan

tere hum o sanam
tu jahaan main wahaan


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 : 3859 Post No. : 14873

Greetings all – Basant is here. Today is the celebration of Basant Panchmi.

Of all the wonderful songs that have been created in Hindi films, for celebrating this King of Seasons, I would prefer to place this song today to be amongst the top five. Such a beautiful creation this is.

I myself had not heard of this song, till about five days ago. A friend in our circle enquired whether I had this song. He has been searching for it for some time now. Not being aware of it first hand, I said I will check. And when I located it in my collection, and then heard it for the first time, I am simply bowled over by the soft beauty and the delicious attractiveness of this song. The words, the music and the rendition have all come together in a conspiracy to steal your heart away.

The words are written by Saraswati Kumar Deepak. Ah, the enchantment of the lyrics that say – “चलो तारों के गजरे बना लो सखी” – come, lets make a garland from the stars. The wonderful music is from the mind of Ajit Merchant. The soft and beautiful melody – it makes such a delightful use of chorus lines interspersed with the primary singing voice. And this exquisite rendition is in the voice of Sudha Malhotra. She has rendered some of the loveliest songs in Hindi films. And this one stands right up there with her best – sung ever so sweetly.

The film is ‘Ram Bhakt Vibhishan’ from 1958 – one of the more obscure and unfamiliar productions, whose claim to fame might well just be the lovely music – like this song. The production banner is Rajni Chitr, Bombay. The film is produced by SJ Rajdev and directed by Samar Chatterji. The star cast of this film is listed as Nirupa Roy, Shahu Modak, Prem Adeeb, Krishna Kumari, Shanta Apte, Babu, Kamal, Surendra Kumar, Neema, Sarita, and Bipin Gupta. A total of nine songs are listed for this film. This is the third song for this film to appear here on our blog.

Listen to this lovely creation, and marvel – at the gems that still need to be discovered.

Song – Ritu Raja Ne Teer Chalaaya  (Ram Bhakt Vibhishan) (1958) Singer – Sudha Malhotra, Lyrics – Saraswati Kumar Deepak, MD – Ajit Merchant
Chorus

Lyrics

ritu raja ne. . .

ritu raja ne teer chalaaya
jiya lalchaaya
sajaniyaa..aa..aa
aaya basant
hua birha ka ant
sakhi aaya basant

o o oooo
ooooo oo ooooo
bhanwre chaley. . .
bhanwre chaley
bhanwre chaley gungunaate huye
suno praanon ki bansi bajaate huye
gungunaate huye
gungunaate huye
zara nainon se
zara nainon se naina milaate huye
chalo masti ki basti basaate huye
ritu raja ne
ritu raja ne teer chalaaya
jiya lalchaaya
sajaniyaa..aa..aa
aaya basant
hua birha ka ant
sakhi aaya basant

o o oooo
ooooo oo ooooo
angdaaiyaan. . .
angdaaiyaan
angdaaiyaan le ke pariaan chalin
neele neele gagan ki sundariaan chalin
dekho pariaan chalin
dekho pariaan chalin
badi natkhat hai
badi natkhat rengeeli badi manchali
saari duniya mein machne lagi khalbali
ritu raja ne
ritu raja ne teer chalaaya
jiya lalchaaya
sajaniyaa..aa..aa
aaya basant
hua birha ka ant
sakhi aaya basant

o o oooo
ooooo oo ooooo
chanda taley. . .
chanda taley
chanda taley jhoola daalo sakhi
chalo taaron ki gajre bana lo sakhi
jhoola daalo sakhi
jhoola daalo sakhi
hath chhodo ji
hath chhodo najariya utha lo sakhi
baanke balma ko apna bana lo sakhi
ritu raja ne
ritu raja ne teer chalaaya
jiya lalchaaya
sajaniyaa..aa..aa
aaya basant
hua birha ka ant
sakhi aaya basant

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

ऋतु राजा ने॰ ॰ ॰

ऋतु राजा ने तीर चलाया
जिया ललचाया
सजनीया॰॰आ॰॰आ॰॰आ
आया बसंत
हुआ बिरहा का अंत
सखी आया बसंत

ओ ओ ओssss
ओssss ओs ओssss
भँवरे चले॰ ॰ ॰
भँवरे चले
भँवरे चले गुनगुनाते हुये
सुनो प्राणों की बंसी बजाते हुये
गुनगुनाते हुये
गुनगुनाते हुये
ज़रा नैनों से
ज़रा नैनों से नैना मिलाते हुये
चलो मस्ती की बस्ती बसाते हुये
ऋतु राजा ने॰ ॰ ॰
ऋतु राजा ने तीर चलाया
जिया ललचाया
सजनीया॰॰आ॰॰आ॰॰आ
आया बसंत
हुआ बिरहा का अंत
सखी आया बसंत

ओ ओ ओssss
ओssss ओs ओssss
अंगड़ाइयाँ॰ ॰ ॰
अंगड़ाइयाँ
अंगड़ाइयाँ ले के पारियाँ चलीं
नीले नीले गगन की सुंदरियाँ चलीं
देखो पारियाँ चलीं
देखो पारियाँ चलीं
बड़ी नटखट है
बड़ी नटखट रंगीली बड़ी मनचली
सारी दुनिया में मचने लगी खलबली
ऋतु राजा ने॰ ॰ ॰
ऋतु राजा ने तीर चलाया
जिया ललचाया
सजनीया॰॰आ॰॰आ॰॰आ
आया बसंत
हुआ बिरहा का अंत
सखी आया बसंत

ओ ओ ओssss
ओssss ओs ओssss
चंदा तले॰ ॰ ॰
चंदा तले
चंदा तले झूला डालो सखी
चलो तारों के गजरे बना लो सखी
झूला डालो सखी
झूला डालो सखी
हठ छोड़ो जी
हठ छोड़ो नजरिया उठा लो सखी
बाँके बलमा को अपना बना लो सखी
ऋतु राजा ने॰ ॰ ॰
ऋतु राजा ने तीर चलाया
जिया ललचाया
सजनीया॰॰आ॰॰आ॰॰आ
आया बसंत
हुआ बिरहा का अंत
सखी आया बसंत


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 :

3853 Post No. : 14865 Movie Count :

4065

Today’s song is from the film Maharathi Karna-44, a film produced by Prabhakar Films and directed by its owner Bhal G. Pendharkar. Lyricist was Pt. Shiv Kumar and the music was provided by K.Datta aka Datta Korgaonkar. This Mythological film had top class actors in its cast- Prithviraj Kapoor, Durga Khote, Leela Chandragiri, Shahu Modak, Swarnalata, K N Singh and many more in other roles.

During my journey of life, I have found that the common man ( of any religion) has very little knowledge of his own religion. Even most of the educated people have scant information about the basics in their religion. Probably Religion is considered as something one gets to know only in the old age, when nothing else is to do. Just to check this, ask anybody who was Vidur ( Uncle of Kauravas and Pandavas), who was Jayadrath ( Brother in law of Kauravas..Husband of Dushala) or even who was Mandavi ( wife of Bharata)and Shrutikirti ( wife of Shrutikirti). You can hardly find a person who can tell names of 4 Vedas ( Rigved, Saamved, Yajurved and Atharvaved).

This is not exclusive to Hindus alone. I asked some of my Muslim friends and they confided in me that they have never read the Quran. They only know Namaz. Christians too are in the same category. I do not say that everyone should be an expert in Religion. That would be too much to ask for, but I feel atleast a basic knowledge is a must. This is our Heritage and it is applicable to all religions equally.

While watching or reading about a Mythological film. the references and the contexts become easier to understand the story, if one has the basic knowledge. Today’s film Maharathi Karna is obviously about the character Karna. Instead of checking if one knows about him, let us have some information about him- a character from one of our Epics-Mahabharat. Karna represents a right person who was at the wrong place or the Good amonst the Bad. I sympathise with Karna, because I feel that he was forced by the circumstances to join the Evil Kaurav camp.

Karna also known as Vasusena, Anga-Raja, Sutaputra and Radheya, is one of the major characters in the Hindu epic Mahabharata. He is the son of Surya (the Sun deity) and princess Kunti (later the Pandava queen). He was conceived and born to unmarried teenage Kunti, who hides the pregnancy, then out of shame abandons the new born Karna in a basket on a river. The basket is discovered floating on the Ganges River. He is adopted and raised by foster Suta parents named Radha and Adhiratha Nandana of the charioteer and poet profession working for king Dhritarashtra. Karna grows up to be an accomplished warrior of extraordinary abilities, a gifted speaker and becomes a loyal friend of Duryodhana. He is appointed the king of Anga (Bengal) by Duryodhana. Karna joins the losing Duryodhana side of the Mahabharata war. He is a key antagonist who aims to kill Arjuna but dies in a battle with him during the Kurushetra war.

He is a tragic hero in the Mahabharata, in a manner similar to Aristotle’s literary category of “flawed good man”. He meets his biological mother late in the epic then discovers that he is the older half-brother of those he is fighting against. Karna is a symbol of someone who is rejected by those who should love him but do not given the circumstances, yet becomes a man of exceptional abilities willing to give his love and life as a loyal friend. His character is developed in the epic to raise and discuss major emotional and dharma(duty, ethics, moral) dilemmas. His story has inspired many secondary works, poetry and dramatic plays in the Hindu arts tradition, both in India and in southeast Asia.

A regional tradition believes that Karna founded the city of Karnal, in contemporary Haryana.

One of the cast was actress Swarnalata, who married director Nazir, converted to Islam and migrated to Pakistan after Partition. She was heroine of Pakistans first ever Silver jubilee film Pherey (1949. As heroine she was seen in movies like Laarey (1950), Sherhri Babu (1953), Heer (1955), Golden jubilee film Noukar (1955), Noor-e-Islam (1957), Azmat-e-Islam (1965).

She was character actress in movies like Sawaal (1966) and Dunya Na Manay (1971).

Sawarn Lata was born on 20-12-1924 as a Sikh and converted to Islam after she married prominent actor, producer and director Nazir. The first film they produced in Pakistan was Heer Ranjha, but film print was destroyed due to poor negative of the film.

Her converted name was Saeeda Bano, she was born in 1924 in Rawalpindi and died on February 8, 2008 at Lahore.

Before partition she worked in Awaz (1942), Ishara and Tasveer (1943), Bari Baat, Rattan, Swarn bhomi and Us paar (1945), Chand Tara, Laila Majnu, Preetima, Preet (1945), Insaaf, Maa Baap ki laaj and Sham Savera (1946) and Abida (1947).

Contrary to the prevailing custom of having around 10+ songs in a film, the composer K.Datta had only 6 songs in this film and rightly so as Maharathi Karna was a Mythological film. When the story is strong, there is no need of musical support to the film.

K.Datta or Datta Korgaonkar alias Anna saheb, was born in Sawantwadi in konkan area on 4-6-1908. He grew up learning to sing. His mother was a Bhajan singer. He started singing on stage during Ganesh utsav melas. He was called to Kolhapur in 1937 to give music to a Marathi film, Chandrarao Morey’-38. His first break in Hindi came in 1939 with Mera Haq,followed by Alakh Niranjan-40, Geeta-40 ( in Hindi and Marathi) and Yaad-42.

He first came face to face with Noorjehan in Naadaan-43. He was simply mesmerised with her voice and singing style. he composed 7 songs for Noorjehan. After doing Zameen-43 and Maharathi Karna-44, he again composed 4 songs for Noorjehan in film Badi Maa-45. He also gave a break to Lata and Asha to sing in a chorus with Noorjehan. It is very sad that initially, K.Datta’s name was not mentioned on the 78 RPM records of Badi Maa. Only on the ‘re-issue’ records his name came up.

His other films were Yateem-45,Shaahkaar-47,Rangmahal-48,meri kahani-48,Daaman-51,Gumaasta-51,Rishta-54,Harihar Bhakti-56 and Ajanabi-66. In all K.Datta gave independently music to just 17 films,plus one film Badmash-44,with Khan Mastana. His Marathi films were 12 from 1938 to 1965. After retirement in 1965,he spent his time in Bhakti, Pooja and Asrology. He used to have special Pooja on every Thursday,when Bhajans were sung. Many composers and other film industry people used to be his visitors. Naushad, C.Ramchandra, Madan Mohan, Sajjad Hussain etc were the regular visitors to Annasaheb. He died on 23-12-1978.

He was a Noorjehan believer to the core. To date K Datta remains the only top composer from Maharashtra to whom Noorjehan came first, Lata later. No one regretted Partition more than K Datta. Indeed, his creativity seemed to come to an end once Noorjehan left him high and dry by moving, with a song on her lips, to Pakistan. He once said, “Noor Jehan left for Pakistan and took my creativity with her”. The four Noorjehan numbers, as fashioned by K. Datta, are historically most important. Because it was hearing and absorbing these four nuggets of Noorjehan, while acting with her in `Badi Maa’, that Lata Mangeshkar learnt to shape her vocal technique. If Lata came to sound a Noorjehan replica for so long, the tonal base for this was laid, just imagine, by a robustly tall Maharashtrian from the ghats called K Datta in `Badi Maa’.The last number of Noorjehan fetched him the ultimate tribute from no less a movie stalwart than Mehboob Khan, who said: “Bhai Datta, yeh gaana to aap ne Khuda ke darbar mein baithe hue banaya lag raha hai” (“It sounds as if you created this song sitting in Allah’s abode”). K Datta used to play Ek anokha gham ek anokhi musibat ho gayi on a harmonium presented to him by O.P. Nayyar. How grimly significant that the one music director, O.P. Nayyar, who never in his life commissioned Lata, should have gifted that harmonium to the one Maharashtrian composer who believed only in Noorjehan!

Today’s song is a lovely song, with an excellent tune, sung by Rajkumari. With this song film Maharathi Karna-44 makes its Debut on the Blog.


Song-Suno suno hum tumhen sunaayen(Maharathi Karna)(1944) Singer- Rajkumari, Lyrics-Pt. Shivkumar, MD-K Datta

Lyrics

Suno suno
Suno suno
hum tumhen sunaayen
ae preetam chitchor
kahaani
suno hriday ke chor
Suno suno
hum tumhen sunaayen
ae preetam chitchor
kahaani
suno hriday ke chor

ik naari thhi bholi bhaali
pagli preetam ki matwaali
ik naari thhi bholi bhaali
pagli preetam ki matwaali
sunte ho
sunte ho kuchh saaj(?) piya ke
naari bani chakor
ae preetam chitchor
kahaani
suno hriday ke chor
Suno suno
hum tumhen sunaayen
ae preetam chitchor
kahaani
suno hriday ke chor

?? kali kali ka lobhi
sunte ho
aji sunte bhi ho
?? bhanwra nirmohi
nikla
hmm
ae preetam chitchor
kahaani
suno hriday ke chor
Suno suno
hum tumhen sunayen
ae preetam chitchor
kahaani
suno hriday ke chor

preet ki aag se bhi na pighla
preetam ka man patthar nikla
preet ki aag se bhi na pighla
preetam ka man patthar nikla
naari laakh jatan kar haari
chala na kuchh bhi zor
ae preetam chitchor
kahaani
suno hriday ke chor
Suno suno
hum tumhen sunayen
ae preetam chitchor
kahaani
suno hriday ke chor


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 : 3852 Post No. : 14864

———————————————
Blog ten year challenge (2009-2019)- Song number 2
———————————————

We have started Blog ten year challenge one day ago. In this, we will post another song from a movie whose song was covered in the blog on the same day ten years ago.

When I look at the songs that were posted this day ten years ago (viz on 3 february 2009), I find that six songs were covered on that day, and they were from “Barsaat”(1949), “Nadiya Ke Paar”(1948), “Phaagun”(1958), “Umang”(1969), “Do Dishaayen”(1982) and “Laat Sahab”(1967).

Yesterday, I had three movies to chose from for the ten year challenge and chose “Sharaabi”(1984). Today, I find my choices severely limited. As many as five of these movies have already been YIPPEED by now. So that leaves only one movie that is eligible today.

This movie is “Do Dishaayen”(1982). “Do Dishaayen”(1982) was produced by Mrs R Renuka and directed by Dulal Guha for Sudarshan enterprises, Bombay. This “social” movie had Dharmendra, Hema Malini, Prem Chopra, Aruna Irani, Dr Shriram Laagoo, Nirupa Roy, Asit Sen, satyen Kappoo, Sudhir Pandey, Abhi Bhattacharya, Shammi, Dulaari, Manik Dutt, Madhu Malini, Baby Pinky, Asha Sharma, Nandita Thakur, Reeta Kamal etc in it.

The movie had three songs in it. Two songs from the movie have been covered. They were covered on consecutive days, viz 2 february 2009 and 3 february 2009. Here are the details of these songs:-

Song Title

Post No.

Post Date

Koyi kya kare chalte chalte 666 2-Feb-2009
Kisi ko phool mile kisi ko dhool 675 3-Feb-2009

Incidentally, this date that year (viz 3 february 2009) was the 200th day for the blog. Today, ten years down the line is (10 x 365)+200 + 2= 3852. So today the blog is into its 3852th day of existence. Simple arithmetic ! (The figure of 2 is for two additional days for leap year).

So, after a lull of ten years, here is the next song from “Do Dishaayen”(1982) which happens to be the third and final song from the movie.
This song is sung by Anwar and Asha Bhonsle. Lyrics are penned by Anand Bakshi. Music is composed by Laxmikant Pyarelal.

The link provided is an audio link. Video link is not available on YT as of now. Providing missing video links on YT is a thankless proposition, so I can just tell the readers that this song is picturised on Dharmendra and Hema Malini.

With this song, all the songs of “Do Dishaayen”(1982) joins the list of movies that have all their songs covered in the blog.


Song-Main tere paas hoon tu mere paas hai(Do Dishaayen)(1982) Singers-Anwar, Asha Bhonsle, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal
Both

Lyrics

ho o o
hmm hmm
hmm hmm
hmm hmm

main tere paas hoon
tu mere paas hai
main tere paas hoon
tu mere paas hai
aa bujha len usey
dil mein jo pyaas hai
main tere paas hoon
tu mere paas hai
main tere paas hoon
tu mere paas hai

uff ye mukammal tanhaayiyaan
mausam ki dilkash angdaayiyaan
uff ye mukammal tanhaayiyaan
mausam ki dilkash angdaayiyaan
ye dooriyon ki parchhaaiyaan
mil ke bhi dil mein jaise milne ki aas hai
main tere paas hoon
tu mere paas hai
main tere paas hoon
tu mere paas hai

kya tere seene mein dil nahin
kya tere seene mein dil nahin
kya tu hi meri manzil nahin
ya kya main tere kaabil nahin
kya sabab hai
kya hai kaaran
tu kyun udaas hai
main tere paas hoon
tu mere paas hai
main tere paas hoon
tu mere paas hai

aa aa aa aa aa
jaane kahaan main kho gayi thhi
jaane kahaan main kho gayi thhi
main door tumse ho gayi thhi
tumne jagaaya so gayi thhi
ye kya pata thha mujhko
ye raat khaas hai
main tere paas hoon
tu mere paas hai
main tere paas hoon
tu mere paas hai

aa bujha len usey
dil mein jo pyaas hai
main tere paas hoon
tu mere paas hai
main tere paas hoon
tu mere paas hai


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 :

3847 Post No. : 14859 Movie Count :

4063

“Jai Vijay”(1977) was directed by L V Prasad for Prasad Productions, Bombay. This costume drama movie had Jeetendra, Reena Roy, Prem Kishan, Bindiya Goswami, Om Shivpuri, Satyen Kappoo, Urmila Bhatt, Kamal Kapoor, Lalita Pawar, Paintal, Brahamchaari, Sarla Yevlekar, Appi Umrani, Harish, Viju Khote, Lalita Kumari, Vikas Anand, Ranjan, Brahm Bhardwaj, Bhagwan, Roopesh kumar etc, with special appearances by Jayshre T and Veena.

This by now forgotten movie had eight songs in it. Here is the first song from the movie to appear in the blog. This song is sung by Rafi and Suman Kalyanpur. Majrooh Sultanpuri is the lyricist. Music is composed by Rajesh Roshan .

The song is picturised on Prem Kishan and Bindiya Goswami. Prem Kishan, who looks like Rishi Kapoor was Rishi Kapoor’s cousin and more specifically the son of Premnath and Bina Rai. Bindiya Goswami is now happily settled as director J P Dutta’s wife.

With this song, “Jai Vijay”(1977) makes its debut in the blog.


Song-Teri palkon mein kaajal ae haseena(Jai Vijay)(1977) Singers-Rafi, Suman Kalyanpur, Lyrics-Majrooh Sultanpuri, MD-Rajesh Roshan

Lyrics

teri palkon mein kaajal
ae haseena hamse behtar hai
teri palkon mein kaajal
ae haseena hamse behtar hai
kahaan kismat hamaari
jo teri in kaali aankhon mein
base rahte hamesha
in haseen matwaali aankhon mein
ye kaajal
uff ye kaajal ae haseena
tumse behtar hai
suno ji
tumse behtar hai
ye pehle to charaagon mein jala meri muhabbat mein
ye kaajal phir dhuaan bankar
uda meri muhabbat mein
na kyun palkon mein rakh lo
ye deewaana tumse behtar hai
na kyun palkon mein rakh lo
ye deewaana tumse behtar hai

tera udta sa aanchal ae haseena
ham se behtar hai
tera udta sa aanchal
ae haseena ham se behtar hai
sataane ko hamen ye teri baanhen thaamkar jhoolen
jahaan se chaahe phir ye jhool kar teraa badan chhoo le
ye aanchal
uff ye aanchal
ae haseena
tumse behtar hai
suno jee tumse behtar hai
har ek naazuk se is ke taar ne khaaye hazaaron bal
hazaaron sooraten badlin to resham se bana aanchal
iss ek bejaan kee chaahat kaa kareena tumse behtar hai
iss ek bejaan kee chaahat kaa kareena tumse behtar hai

hamen kaajal banaa le
ham hain jalne ke liye raazi
tujhe paane ko har soorat badalne ke liye raazi
jo yoon hai to teri baanhon mein jeena sabse behtar hai
jo yoon hai to teri baanhon mein jeena sabse behtar hai

ye sach hai sabse behtar hai
suno ji sabse behtar hai
ye sach hai sabse behtar hai
suno ji sabse behtar hai


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 :

3839 Post No. : 14850 Movie Count :

4061

Missing Films of 1960s – 92
– – – – – – – – – – – – – – –

For today’s episode of this series, I present this sensuous song from the 1970 film ‘Veer Abhimanyu’.  As the name suggests, this is a mythological film, which based on the historical narrative from the epic Mahabharat. It covers the part of history of Abhimanyu, the son of Arjun. I give a brief summary below.

Abhimanyu is the son of Arjun and Subhadra. As Subhadra is the younger sister of Krishna and Balram, that makes Krishna and Balram uncles (mamma) of Abhimanyu. Being the son and nephew of the three best stalwarts of this epic, Abhimanyu is groomed to become one of the bravest and best warriors amongst the entire Kuru clan (i.e. both the Kaurav and Pandav lineages).

There is a short episode in Mahabharat, where it is narrated how Abhimanyu learnt the art of piercing and entering the Chakravyuh formation on a battlefield. A Chakravyuh is a formidable and impenetrable discus shaped formation of soldiers. The main purpose of this formation is to keep safe the generals and the battle leaders from the enemy warriors. It is a complex structure of intertwined ring formations of soldiers, and is almost impossible to penetrate. When Subhadra was pregnant, carrying Abhimanyu in her womb, one night Arjun was describing the complex structure of this formation, the trick to penetrate and enter it, then how to destroy it from the inside and then exit from the ruins of this formation. It is stated that Abhimanyu learnt this warfare strategy, in his mother’s womb, while Arjun was describing it. As the narrative tells us, after listening to about half of this description, Subhadra drifted into sleep. And so, Abhimanyu could imbibe only the first half of this strategy, i.e. penetrating and entering this formation, but could not get the remaining description on how to exit from it. This partial learning had a very telling consequence on battlefield of Kurukshetra.

As the Mahabharat war started, Abhimanyu was one of the primary architects of the roster of daily victories for the Pandavs. He was just sixteen years old at that time. On the first day of warfare, Abhimanyu engaged Bhisma, his great grandfather, in one-on-one battle. By the end of the day, Bhishma is not able to overcome Abhmanyu, rather by end of the day, Abhimanyu breaks the bow in the hands of Bhishma. And the day ends. On the second day, Abhimanyu attacks Ashwathama, son of Dronacharya, the seer who has taught the Kauravs and Pandavs in the skills and art of waepons and warfare. On hearing that Abhimanyu has attacked Ashwathama, Drona immediately comes to his son’s assistance. Another day long duel happens, and Drona is finally at the mercy of Abhimanyu. And the day ends.

For the third day, Drona devises a deceptive strategy. A part of Kaurav army would engage and draw away Arjun, and Krishna along with him, to a far point from the main battlefield. Then another part of the Kaurav army would form the Chakravyuh, and engage the remaining warriors of the Pandav army, which would expectedly be led by Abhimanyu. To everyone’s knowledge, only two people know the stratagem of how to break the Chakravyuh formation – Arjun and Krishna. And both of them are lured away on a deceptive trail elsewhere. The purpose is to engage and defeat Abhimanyu, without exposing the main warriors of the Kaurav side. To everyone’s surprise, Abhmanyu, instead of being daunted in the face of the Chakravyuh takes on the challenge, breaks it and enters. The Kaurav battle leaders are frightened – that this boy knows the secrets of this strategy. But in fact, Abhimanyu knows only half the strategy, as described above. He nonetheless enters the Chakravyuh. There is a long list of names of warriors on Kaurav side given in the narrative – the ones who are defeated and killed by Abhimanyu on that day. But in the end, being unable to make progress outwards from the Chakravyuh, Abhimanyu is surrounded by the Kaurav warriors, who engage him one-to-many.

Abhimanyu fights till the end. The horses of his chariot are killed, Kripacharya kills his chariot drivers, his chariot is destroyed, his bow is broken by an arrow from behind him, fired by Karna. He takes to fight with sword and shield, then takes on a chariot wheel to stave off his opponents. When the chariot wheel also is broken, he is engaged in gada-yudh (fighting using the mace) by son of Dushaasan. In the end, he is killed by a blow of mace from the behind.

In this episode, the stalwarts of the Kaurav army broke so many rules of warfare engagements, that were conventionally agreed upon by the two armies. There would only be one-on-one battle between warriors; an injured warrior would not be attacked; a warrior not having any weapons or arms would not be attacked; the chariot horses and chariot drivers would not be attacked; no warrior would be attacked from behind. Such was the prowess and the fighting ability of this young warrior, and such was the fear he generated when he penetrated the Chakravyuh that the entire Kaurav army on that day, including Bhishma, Drona, Kripacharya, Karna, Duryodhan, Dushaasan, and many others, put together their strength, and broke umpteen rules of engagement, in their endeavor to take out Abhimanyu from the battle equation.

The amorous side of this narrative is the marriage of Abhimanyu with Uttara.

Abhimanyu’s wife is Uttara, the daughter of King Viraat. Their coming together is also an interesting narrative. When the Pandavs have been exiled, they are supposed to spend twelve years away from from Hastinapur, and after that they have to spend one year in agyaat-vaas – incognito anonymous exile. If by any chance, their whereabouts become known during this last one year, the term of their exile would be extended by another twelve years. During this period of agyaat-vaas, Pandavs take refuge in the kingdom of King Viraat, all being disguised into different roles concealing their real identities.

As part of this masquerade, Arjun takes on the role of Brihannala, an eunuch who teaches music and dance to the children of King Viraat. Later, when their identities are revealed at the end of this period, King Viraat is gratuitous and happy, and proposes to offer his daughter Uttara in marriage to Arjun. Arjun declines the proposal saying that since Uttara is his student, he cannot think of a matrimonial relationship with her. He, in turn proposes to accept her as his daughter-in-law, much to the delight of King Viraat and the entire Pandav family. The Pandav family is rejoicing because, unknown to Arjun, but known to Yudhishtar and Draupadi, Abhimanyu and Uttara have already met and are in love.

When the sad end comes for Abhimanyu in the battlefield, Uttara is carrying his child – Parikshit. Parikshit goes on to inherit the throne of Hasitnapur, as the sole surviving heir of the entire Kuru clan. After the demise of all other male members of the two families in the great war, and after the departure of Pandavas alongwith Draupdi to the Himalayas, Pariskshit becomes the King of this land. His reign also signals the advent of the Kali-yug on this earth.

The song that is presented today, depicts the yearning of Uttara for Abhimanyu. The two have already met, are in love, and the lady is pining for his company. On screen, the role of Uttara is played by Kanchana. The lady who accompanies her is Krishna Kumari, an actress from Tamil / Telugu films. [Thanks to Prakash ji for the identification.]
She is accompanied by another lady friend, who I am not able to identify. I request other knowledgeable readers to please help identify this actress.

The film is produced under the banner of Shri Rajlakshmi Pictures, Madras, and is directed by V Madhusudan Rao. Quite possibly, this is a Hindi remake of the original Tamil or Telugu version. The star cast is listed as NT Ramarao, Shobhan Babu, Pehalwan Kantarao, Padmanabhan, Kanchana, and G Varalakshmi. Six songs are listed for this film, all are written by Prem Dhawan, and the music is also composed by him.

We have had some recent discussion on sensuous and suggestive songs in the early decades, some of which were ordered to be cut from the film by the Censor Board. This song is quite high in that category of being sensuous and suggestive. And yet, in 1970, this song was allowed by the Censor Board. The social and moral norms change so much over the decades.

However, apart from the visuals, I liked this song for the quality of its verses, the music, and its rendition. A very well created song in my opinion.

Song – Kisne Chhoo Liya Naazuk Tan Haaye Ram  (Veer Abhimanyu) (1970) Singer – Asha Bhosle, Lyrics – Prem Dhawan, MD – Prem Dhawan

Lyrics

kis ne chhoo liya
mmmm mmm mmm mmm
ang ang doley
mmmm mmm mmm mmm

kis ne chhoo liya naazuk tan haaye ram
ang ang doley ka karoon laagey hai sharam
kis ne chhoo liya naazuk tan haaye ram
ang ang doley ka karoon laagey hai sharam

piya jo aaye waari jaaun waari jaaun
laaj sharam se bal-khaaun bal-khaaun
piya jo aaye waari jaaun waari jaaun
laaj sharam se bal-khaaun bal-khaaun
un se chori muskaaun muskaaun
un se chori muskaaun muskaaun
ghunghroo chhanke chhanke
paayal chhann chhann
kis ne chhoo liya naazuk tan haaye ram
ang ang doley ka karoon laagey hai sharam

sapne ko apna kehte nahin
apne ho sainyyan ya ho sapna koi
sapne ko apna kehte nahin
apne ho sainyyan ya ho sapna koi
ek tak dekha hum kho gaye
jaane kyon hum to tumhaare ho gaye
jaane kyon hum to tumhaare ho gaye
kis ne chhoo liya naazuk tan haaye ram
ang ang doley ka karoon laagey hai sharam

jiya kaahe machle kaahe tadpun
jaane kyon tan yun haale doley
jiya kaahe machle kaahe tadpun
jaane kyon tan yun haale doley
hai koi jaadu tu ne kiya
khaaye jo ye manwa hichkole
khaaye jo ye manwa hichkole
kis ne chhoo liya naazuk tan haaye ram
ang ang doley ka karoon laagey hai sharam

kis ne chhoo liya naazuk tan haaye ram. . .

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

किसने छू लिया
म्ममम म्मम म्मम म्मम
अंग अंग डोले
म्ममम म्मम म्मम म्मम

किसने छू लिया नाज़ुक तन हाए राम
अंग अंग डोले का करूँ लागे है शरम
किसने छू लिया नाज़ुक तन हाए राम
अंग अंग डोले का करूँ लागे है शरम

पिया जो आए वारी जाऊँ वारी जाऊँ
लाज शरम से बलखाऊँ बलखाऊँ
पिया जो आए वारी जाऊँ वारी जाऊँ
लाज शरम से बलखाऊँ बलखाऊँ
उन से चोरी चोरी मुसकाऊँ मुसकाऊँ
उन से चोरी चोरी मुसकाऊँ मुसकाऊँ
घुँघरू छनके छनके
पायल छन्न छन्न
किसने छू लिया नाज़ुक तन हाए राम
अंग अंग डोले का करूँ लागे है शरम

सपने को अपना कहते नहीं
अपने हो सैंय्याँ या हो सपना कोई
सपने को अपना कहते नहीं
अपने हो सैंय्याँ या हो सपना कोई
एकटक देखा हम खो गए
जाने क्यों हम तो तुम्हारे हो गए
जाने क्यों हम तो तुम्हारे हो गए
किसने छू लिया नाज़ुक तन हाए राम
अंग अंग डोले का करूँ लागे है शरम

जिया काहे मचले काहे तड़पूँ
जाने क्यों तन यूं हाले डोले
जिया काहे मचले काहे तड़पूँ
जाने क्यों तन यूं हाले डोले
हाए कोई जादू तूने किया
खाये जो ये मनवा हिचकोले
खाये जो ये मनवा हिचकोले
किसने छू लिया नाज़ुक तन हाए राम
अंग अंग डोले का करूँ लागे है शरम

किसने छू लिया नाज़ुक तन हाए राम॰ ॰ ॰


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 : 3838 Post No. : 14847

Today’s song is from a Mythological film Dev Kanya-46. The film was made by Vishnu Cinetone and was directed by its owner Dhirubhai Desai. Though there were 3 Lyricists, HFGK does not credit any song to any Lyricist. The melodious songs were composed by my favourite-or one of the favourites- MD Shyam Sundar (Gabba).

When I was a child, I was very fond of seeing Religious and Mythological movies. This was not because I was very religious minded, but because I liked the Trick scenes in these films. When I grew a little older, I was appointed the House Escort to a group of old relatives and women of the family whenever they wanted to see a movie- which was reasonably frequent. I would happily lead them as I too could see the film.

At that time I liked lilting, melodious songs, but not songs based on classical ragas. The reasons were, one- I never understood why the classical singers repeated one line several times and two- such singers’ names were obscure to me. It was only when I grew up as a young man ( sigh! That was a real long time ago ! ) I realised how classical music was India’s Heritage and in film songs they were made short and sweet too.

India has produced many Classical singers of repute. There are various Gharanas( styles) of Music and each had famous singers who created equally capable Shishyas (disciples) to maintain Gharana’s individuality. Before the advent of Talkie films and the spread of Film music, the classical music ruled the entertainment field. Many kings,Maharajas and Nawabs were the connoisseurs and patrons of classical music and supported this by appointing Raj Gayaks or Darbar Gayaks..

Over a period, Kings and Nawabs disappeared and Film music became popular with the common people. There was an unwritten dividing line between classical and Filmy music.Normally,no cross-overs were taking place, unless situations compelled. However, post Independence and the end of Royal patronage, classical music was relegated to background and only genuine lovers followed it. No wonder, the lure of lucrative film music attracted even the staunch classical maestros and we had many classical music experts-both Vocal and Instrumental, do a stint with the Film world.

Great Vocalists like M S Subbulaxmi, D V Paluskar, Bade Ghulam Ali Khan, Amir Khan, Bhimsen Joshi, Hirabai Badodekar, Manik Verma, Saraswati Rane, Shobha Gurtu etc, as well as Internationally famous classical Instrumentalists like Pt. Ravi Shankar, Bismilla Khan, Ali Akbar Khan, A R Qureshi etc made their Debuts in Hindi Film Music.Their participation enriched the HFM considerably. However, there were some staunch classical vocalists like Gangubai Hangal, Mogubai Krdikar, Kesarbai Kerkar etc, who, I believe, kept themselves away from films, though later on, their disciples did few film assignments.
I am not a classical music expert but from what I have read and understood, this was the situation. More knowledgeable readers can add their views as comments.

Today’s song is also sung by a classical singer who happens to be my favourite one- the great Saraswati Mane / Rane, under the baton of another great musician, Shyam Sundar. In the 40s and the 50s, the scions of Mane family, namely Sureshbabu Mane, Hirabai Badodekar and Sarswati Rane gave their contribution to the Hindi film music as well as Marathi Natyageet, Bhavgeet and cinema music.

Smt. Saraswati Mane/Rane alias Sakina [Chhotutai] was born in Miraj (4th October 1916). Sakina was the youngest daughter of the legendary maestro of the Kirana gharana, Ustad Abdul Karim Khan Sahib and Smt. Tarabai Mane. After separating from Karim Khan, Tarabai renamed all her children and Sakina became Kumari Saraswati Mane. The surname “Mane” was derived from her mother’s surname.Thus, Abdul Rehman became Sureshbabu mane, Krishna became Krishnarao Mane, Champakali became Hirabai Badodekar,Gulab became Kamalabai Badodekar. Krishnarao and Kamalabai were not singers. They only acted in films.

Saraswati was initiated into music by her illustrious brother Sureshbabu Mane. After about 1930, she also learnt from from her sister Smt. Hirabai Barodekar, Ustad Nathan Khan(1889-1946) of the Jaipur gharana and Prof. B. R. Deodhar of the Gwalior gharana.Working on stage in her mother’s ‘Nutan Sangeet Natak Mandali’, with luminaries like Bal Gandharva, Master Krishnarao, Vinayakbuwa Patwardhan, Sawai Gandharva and also stage drama singingThusThus like ‘Soubhadra’, ‘Sanchaya Kollol’ and ‘Ekacha Pyala’ brought her fame. Between 1929 and 1933 she cut several discs with the ‘Odeon’ label under the name of Kumari Saraswati Mane, rendering Hindi Bhajans and Marathi Bhavgeet.

In the meantime, she married Mr. Sunderrao Rane. In the early 1940’s, she made recordings as a playback singer for movies such as ‘Paisa Bolto Aahe’ (Marathi, 1943). She also acted in a Marathi film ‘Savitri’, and later took to playback singing for Marathi and Hindi films. She provided playback to over 50 films. She sang in almost all the films produced by Acharya P. K. Atre. Her song ‘Beena madhur madhur vacha bol’ in raga Bhimpalas from the Hindi/Marathi film ‘Ram Rajya’ (Prakash Films) was most popular. Her songs were heard all over North India. Younger listeners will probably remember her rendering Raga Shudh Kalyan with her grand daughter Shrimati Meena Faterpekar in the film ‘Bhumika’, directed by the renowned director Shyam Benegal.

Saraswati Rane cut over 200 songs on 78 rpm discs consisting of classical, light classical and film songs. She was probably one of the pioneering female playback singers of the Hindi film industry.

However, in order to concentrate on the performance of Hindustani classical music, at one point in time she virtually stopped accepting offers for playback singing. By then, she was a regular performer for All India Radio, and had also made several gramophone records with ‘Odeon’, ‘His Master’s Voice’, ‘Columbia’, and ‘Young India’ records, apart from her countrywide concert tours. Her renderings of Ragas Chandrakauns, Basant Bahar, Yaman and the immortal Marathi numbers ‘Ghanashyam Nayani Aalaa’, ‘Jaa Ghevuni Sandesh Pakhara’, the duets with her sister Hirabai Barodekar remain ever-popular. She also had the honour of singing the Maharashtra Geet on the very first Maharashtra Day, the 1st of May, along with her sister. She has also recorded a LP record of duet with her sister Heerabai Barodekar in 1960. She received several awards including the prestigious ITC Award 2006, presented at the ITC Sangeet Sammelan in Delhi.

She was very active in music circles and used to attend music programs and functions. She attended the Hirabai Barodekar birth centenary program at Sharada Sangeet Vidyalaya, Bandra in May 2006. She participated in this function and sang raga Todi. Smt. Saraswatibai Rane, the last living member of Ustad Abdul Karim Khan’s family passed away at Pune on Tuesday October 10, 2006.

If you see the cast of this film, you will see name of Leela Desai, Leela Chitnis, Ulhas, Wasti, Indira, Jillobai, Samson etc. Having two Leelas in one film was a coincidence, but having artistes of same name is a big problem for students of Hindi Film History. There were several Leelas operating at the same time in Hindi films, like Leela Desai, Miss Leela (Chandragiri/Pendharkar), Leela Gupte ( stunt film specialist), and Leela Mishra ( the eternal Leela mausi).

Leela Desai was the daughter of Dr. Umedbhai Desai-a Gujarati and his second wife Satyabala Devi- a Bengali from Bihar, who was a prominent singer of the 1930s. She was born in America, where her parents had gone for a 3 year trip. She grew up in India. She learnt dancing from Amla Devi-who married Uday shanker, Lachhu Maharaj and Sohan lal. She also learnt music in Morris College , Lucknow. Actress kamala Kumari of New Theatres had also learnt from here. In one of her stage performances in Lucknow, NT’s Director Hem Chander saw her and invited her to Calcutta for working in films.

She worked in the film President-37 as sister of Kamlesh Kumari,opposite Saigal. It was followed by Vidyapati-37, Dushman-38, Kapal Kundala-39 and Nartaki-40. She also did Adarsh Mahila-37 with Ideal Film company. Chimanlal Trivedi brought her to Bombay to act opposite Jairaj in film Tamanna-42. She acted in 5 films of Chimanlal Trivedi. After Tamanna, LeelaDesai acted in films like Sharafat-43, Paraya Dhan-43, Nagad Narayan-43, Inkaar-43, Mujrim-44, Miss Devi-44, Kaliyan-44, Meghdoot-45,Maharani Minal Devi-46, Magadhraj-46,Kamla-46, Dev kanya-46, Soorat-47 and last film Geet Govind-47.

She acted opposite leading actors like K L Saigal, Najmul Hasan, Jairaj, Pahadi Sanyal, Surendra, Chandra Mohan, Khalil, Baburao pendharkar etc etc. She worked under top directors like Debki Bose, Nitin Bose, kidar Sharma, Phani mujumdar and others. her sisters Monica Desai ( who married Phani Mujumdar) and Ramola were also in films. In a span of just 10 years, Leela Desai acted in 21 films and then left films. She settled in Darjeeling with her mother. Baburao Patel said this about Leela Desai….

“What shall be said of Leela Desai, who acted the part of the President’s sister, the mischievous school-girl, and who always took the active part in the love-making between her and Prakash Babu (Saigal)? I cannot find a single fault with her acting. She played up to Saigal splendidly. Even her eyes were most expressive. What naughtiness was in them? As a shameless hussy she could give points to any of your Hollywood actresses–and win. In the love-duet between her and Saigal it was she who always led. She was the personification of Mr. Bernerd Shaw’s pet notion that, in this eternal amorous game, it is the woman who leads the man on and not, as is commonly supposed, the other way about. From the moment she jumped down her school garden-wall and almost fell plump into the arms of Prakash Babu, who was sitting below chewing the end of his reflections anent his dismissal from his job, she never, in a manner of speaking, left him to himself. She would bring down the house with her: “Uske bad kya hua, Prakash Babu?” The poor man had to dance to her measure ever afterwards. When she found herself with him alone she gave us the impression of having fed on honey-dew and on the milk of paradise. Then, in addition to her sparkling dialogue and supremely ‘alive’ acting, she was gorgeous in her dancing performance. Her whole face was a mirror in which her thoughts were reflected. She was an imp of mischief from commencement to conclusion.”

As the time passes by, New becomes old and the old becomes older. New Generations do not know much about old films, actors etc. Actually Old Film is a relative term. A Teenager thinks, films of 70s and 80s are old stuff, Middle agers feel that films of 50 and 60s are old films and the old people feel old films means films of the 30s and 40s. For older generations, the old times are still fresh in their minds. Articles on old films and old actors revive their memories and they feel Nostalgic. Not everything that they enjoyed can be revived, but my attempts are to bring to light information about forgotten artistes of the bygone era, old time films and the people connected with them.

As time flows, Heroes become character artistes and then they fade out. There are hundreds of old time actors about whom absolutely no information is available. Intense search sometimes yields some results and one feels at peace with whatever is available. One such actor is Ulhas. For many years nothing was known about him except names of his films from HFGK. Over a period a little more about him came to light. Now we know that his real name was M.N.Kaul and that he was a Kashmiri Pandit. He worked in 155 films. Recently I found the following note on Ulhas in ‘ Chinar Shade’ Blog..

He was known as ULHAAS and his real name was M N Kaul.He belonged to a kashmiri Pandit family from Ajmer. As a young boy, he moved to Poona in 1937 and joined Prabhat Pictures as an actor. His first movie as an actor was ” Wahan “.He worked with stalwarts like A R Kardar and Sohrab Modi.

Chander Mohan Wattal , another actor of 1930s and 1940s helped him a lot to settle in films .In fact he intervened and requested V Shantaram for his role in “WAHAN”. Ulhaas remained loyal to Chander Mohan wattal for this favour till later’s death in 1949.

When Bombay Talkies decided to start their New film BASANT, Ulhaas and Mumtaz Shanti were signed as lead pair.Again in the movie PARBAT pE APNAA DERA , he was signed as hero.

Thereafter , he started doing charactet roles. He played memorable character roles in GUIDE , AMAR, AADMI, ,SHAMA PARVANA, SEHRA, ZIDDI, GOONJ UTHI SHEHNAAYI, RANI ROOPMATI, DAKKA KI MALMAL, SAMRAAT PRITHVI RAJ CHAUHAN, KUNDAN, HEER.MIRZA GHALIB ,JHANSI KI RAANI , NAI UMAR KI NAI FASAL,SANGARSH , PREM PUJAARI, BADI DEEDI, DO AANKHEIN BAARAH HAATH, AMAR AND JOHAR MEHMOOD IN GOA .

In his 38 years of career, he acted in many hit movies. His last movie was Sawaal (1982).

The story of film Dev kanya-46 is…….

Beautiful Madalasa is the daughter of gandharvaraj of Gandharva Lok. Once she comes to Earth to enjoy its beauty. She meets Kumar Ritudhwaja, son of Samrat Shatrujit. They fall in love. Meanwhile the king of Pataal lok, Pataal Ketu sees her and abducts her to his Lok. Ritudhwaj comes to know this and goes to rescue her. In a battle ,he kills Pataal Ketu and marries Madalsa, with Narad Muni’s help. But the slain head of Pataal Ketu goes to his brother Taal Ketu and asks him to take revenge. Now Taal ketu abducts Madalasa. Kumar Ritudhwaja fights with him and kills him too. All is well now.

Let us now listen to the song by Saraswati Rane. Her song in film Ramrajya-43, Shobha-42 and Sargam-50 are my favourites. She sang only 26 film songs in 11 films.


Song-Main preetam ke gun gaaun (Dev Kanya)(1946) Singer-Saraswati Rane, MD-Shyam Sundar

Lyrics

Main preetam ke
main preetam ke
main preetam ke gun gaaun re
main preetam ke gun gaaun
pyaase ?? ki in ankhiyan ke
pyaase ?? ki in ankhiyan ke
nahin kabhi bhi jaati
nahin kabhi bhi jaati
khil khil badhti hi jaati hai
khil khil badhti hi jaati hai
jyon jyon darshan paati
jyon jyon darshan paati
maala japoon main naam ki unke ae ae
maala japoon main naam ki unke
charanan pe bali jaaun re
main charanan pe bali jaaun re
main preetam ke gun gaaun re
main preetam ke gun gaaun

unke hansne se khil jaati
jeewan ki phulwaadi
unke hansne se khil jaati
jeewan ki phulwaadi
unke charan kamal ki pooja se
unke charan kamal ki pooja se
pooja se hai mukti hamaari
man mandir ke devta
?? devta
aa aaa
sada unhin ko rijhaaun re
main sada unhin ko rijhaaun re
main preetam ke gun gaaun re
main preetam ke gun gaaun re
main


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 :

3835 Post No. : 14844 Movie Count :

4060

Missing Films of 1960s – 91
– – – – – – – – – – – – – – –

Yet another obscure and unfamiliar film from 1970.  The film is ‘Khooni Saaya’. Just as the name suggests, this is a stunt film – I am sure an effort to make a chilling crime thriller. What became of it, we have no idea.

The film is produced under the banner of Jayant Films, Bombay and is directed by A Zahoor. The star cast is quiet a mix of unknown, unfamiliar names, with just a few familiar names. The list reads as Hercules, Rozeena, Ratan, Azad, BM Vyas, Habeeb, Dhanraj, Tara, Yusuf, Sabir, Babejani, Qamarjani, Master Zuber, Master Latif, Fazal Khan, Khurshid Khan, Julian, Musachina, Master Roshan, Fazlu, Ramzan, Manju, Aruna, Indira Bansal, and Sheikh.

The Geet Kosh lists 4 songs for this film. The music director is identified as Kamal Kant – an unfamiliar name. However, when I check out blog lists, one song of this music director is already present here. That song is from a film from 1983. As I check the Geet Kosh, I can locate 4 films with music by Kamal Kant, between the years 1970 and 1980. Besides this film, the other films are all mythological. Then the 1983 film ‘Kaun Hai Wo’ seems to be another cops and robber story.

The lyricist’s name is equally unfamiliar – Azeez Jamaali. Geet Kosh shows his name in one film from 1955, and then just this film in 1970. His name appears in our blog for the first time today.

The four songs listed have been released on 2 gramophone records. As I check for the availability, I find that just one record, i.e. two songs, have so far surfaced in the public domain. Checking with other collectors, I am drawing a blanks as far as the remaining two songs are concerned.

The singing voice is that of Krishna Kalle. Krishna Kalle has recorded close to 200 songs in Hindi films (which include songs for unreleased films also, as per Geet Kosh). Her singing career in films starts in the mid sixties, and carries on till the early eighties. In 1970, she was quite at the peak of her singing career.

The song presented is a love song, with the lady expressing her feelings for her beau – that her eyes are where he lives.

Rehte Ho Meri Aankhon Mein. . .

Song – Rehte Ho Meri Aankhon Mein  (Khooni Saaya) (1970) Singer – Krishna Kalle, Lyrics – Azeez Jamaali, MD – Kamal Kant

Lyrics

rehte ho meri aankhon mein
palkon ki thandi chhaon mein
jeevan ka mere sahara
saajan hai pyar tumhaara
rehte ho meri aankhon mein

tum mere main hoon tumhaari
jaane ye duniya saari
tum mere main hoon tumhaari
jaane ye duniya saari
mehki hawaayen
behki fizaayen
geet milan ke gaayen
rehte ho meri aankhon mein
palkon ki thandi chhaon mein
jeevan ka mere sahara
saajan hai pyar tumhaara
rehte ho meri aankhon mein

dekho ji aise na dekho
nazron ko tum apni roko
dekho ji aise na dekho
nazron ko tum apni roko
uff ye nigaahen
dil mein samaayen
preet ki jyot jalaayen
rehte ho meri aankhon mein
palkon ki thandi chhaon mein
jeevan ka mere sahara
saajan hai pyar tumhaara
rehte ho meri aankhon mein

aaa aaaa
aaaa aaaaaa
aaaaa aaaaaaa

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

रहते हो मेरी आँखों में
पलकों की ठंडी छाँव में
जीवन का मेरे सहारा
साजन है प्यार तुम्हारा
रहते हो मेरी आँखों में

तुम मेरे मैं हूँ तुम्हारी
जाने ये दुनिया सारी
तुम मेरे मैं हूँ तुम्हारी
जाने ये दुनिया सारी
महकी हवाएँ
बहकी फिज़ाएँ
गीत मिलन के गायें
रहते हो मेरी आँखों में
पलकों की ठंडी छाँव में
जीवन का मेरे सहारा
साजन है प्यार तुम्हारा
रहते हो मेरी आँखों में

देखो जी ऐसे ना देखो
नज़रों को तुम अपनी रोको
देखो जी ऐसे ना देखो
नज़रों को तुम अपनी रोको
उफ़्फ़ ये निगाहें
दिल में समाएँ
प्रीत की ज्योत जगाएँ
रहते हो मेरी आँखों में
पलकों की ठंडी छाँव में
जीवन का मेरे सहारा
साजन है प्यार तुम्हारा
रहते हो मेरी आँखों में

आss आsss
आsss आsssss
आssss आssssss


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 : 3831 Post No. : 14839

Today’s song is from a film Jagriti-1949. This film was made by Veerendra Chitra. The director was Manohar Ghatwai. Music was by K. Narayan Rao and the Lyricist was Indeevar. The cast of the film was Ravikant, Mohana Cabral, Omkar Devaskar, Lalita Rao, Leela, Jal khambata, chemist etc etc.

From the list of 7000 odd actors who worked in Hindi films, during the period 1931 to 2000, if you divide them into grade A, B and C class artistes, you will find that about 350 (5%) actors may come in A grade-i.e. Hero/Heroines- about 1000 (15%) may come in B grade- support actors/ character artistes- and the balalnce 5600 (80%) may fall in C grade- smaller roles. It is true that not all those who join films will shine but the small time actors, who thronged the film cities like Bombay had their own dreams.Most had their dreams shattered and they had to settle for whatever was served to them.

The Mayanagari, sometimes showed its Maya. It picked up unsuspecting souls and bestowed upon them the fame and a name as Leading actors, singers, Directors ,Lyricists or whatever in films. Thus, a scholarly young man, standing in a bus queue in Madras is picked up and made a Hero of more than 40 films as ” Ranjan”. It also made an onlooker of shooting from the crowds of a studio, the famous and rich Hero of more than 50 films as ” Motilal”. An ordinary Motor Mechanic becomes a well known film Director in various languages and is called ” Sarvottam Badami’. A poor motor mechanic working is a garage becomes All India famous poet-Lyricist and Producer Director called ” Gulzar.” The same Maya made a casual singer in Hindu Colony,Dadar in Bombay a famous playback singer of repute, when her singing is heard by a passing Music Director Hanuman prasad, just by chance. She was known as ” Geeta Dutt”. There are many such examples.

There are many such number of ” Accidental Stars’, but the same Maya also scuttled the Golden chances of capable aspiring small timers to become big stars. Atleast two glaring examples are known. one is very well known to many, but the other is hardly known to anyone. Mehboob Khan was almost selected as Hero of India’s First Talkie film ” Aalam Ara”-31. Even suitable costumes for him were also made ready, but then Maya played the trick and his name was pushed back, in favour of the more famous Master Vithal, to cover up the possible risk of the failure of the First talkie, which was an experiment. Nevertheless Mehboob Khan became a significantly notable producer, director and studio owner of India.

The other case how Maya scuttled the chances of fame, name and career of a small time actor who was on the verge of becoming a big star, is not known to most people. Now, take a look at the cast of today’s film ‘ Jagriti’-49, as mentioned above, in the first paragraph of this post. Do you find a name Omkar Devaskar ? Well, this is his story….

Omkar Devaskar was born in 1911 in MP (Central provinces then). After his schooling, he ran away to Bombay to seek employment and got a job as an ‘ Assistant’ in Imperial Film company. His job was to do any work given to him. The salary was Rs.20 pm. When he saw the film shootings, he had an urge to act in films. One day, he asked Ardeshir sheth about it and he started getting uncredited small roles in silent films.

Imperial company decided to make a Talkie First time in India,mainly because of Dadasaheb Torne (Ramchandra Gopal Torne). It was he who prompted Irani to be the first in India to make a Talkie. Torne was his Manager for both Jyoti studio and Imperial Film Company. Torne was also an agent for Cinema Equipment imported from England and Germany. Torne imported Sound recording equipment and the company sent a German Engineer to explain and teach the technique to Indian technicians.

They first wanted to test the sound recording machine by recording and filming a song. Who would sing ? No one was ready to become the sacrificial goat. Irani saw Omkar and asked him to sing before the machine. A terrified Omkar lamely protested, but he had no choice. Ultimately he was ‘ made up’ and the recording and filming started. Omkar sang a Thumri, ‘ Pyare Rasia Bihari’. Everybody present, including Irani, were stunned with the sweet voice and the ease of his singing style. It came off extremely well. About 500 feet film was shot flawlessly. Irani was so much impressed, that he toyed with the idea of giving Omkar the first song in film Aalam Ara. Maya swiftly went to into action. Unfortunately the recording was not saved, otherwise it would have been the first film song to be filmed and Omkar the First ever singer actor to do so. But Alas ! This is called the stroke of misfortune ! Destiny had slated this honour for W.M.Khan.

Missing this chance, anyway, Omkar became an actor and singer. His first talkie film was Imperial’s ” Sati Anusuya “-33. He a sang 3 songs in film ” Noor E Imaan “-33, besides acting in it. Omkar acted in about 30 films in all. His last film was perhaps, Rangeeli-52. He sang 14 songs in 6 films. His last song came in today’s film Jagriti-49. Omkar was a regular actor in many Marathi films too.

Today’s song is sung by Freni Shroff and Yeshwant Bhatt. No information whatsoever is found about this singer Freni. A cursory look at HFGK indicates that possibly she sang only in this film.

YASHWANT BHATT was son of shri Nageshwar Bhatt. He was born at Madhavpur in Gujarat. Since his father was a singer of Haveli Sangeet, Yashwant started singing quite early. His first guru was Kashigar and later on it was Padubhai who actually developed Yashwant as a singer. He always gave credit to his guru Padubhai. Yashwant’s voice was very soft and sweet. It was ideal for singing emotional songs and Bhajans. He was an extremely good natured and helpful person. Soon his name became known for his sweet Bhajans.

He was ambitious to become a Play back singer in Hindi films. He came to Bombay at the age of 20 years. First he got opportunity to sing in chorus in the Circo production film songs. In 1941,he sang Bhajans on Mumbai Radio. Side by side he sang in Hindi films. In all he sang about 25 songs in 13 Hindi films. The films were Khooni Laash-43, Katil-44, Black and white-44, Royal Mail-46, Dhokhebaaz-46, Namak-47, Kismetwali-47, White face-48, Billi-49, Jiyo Raja-49, Jagriti-49, Veer Ghatotkach-49 and Actor -51.

Out of these 13 films, 9 films had music by K. Narayan Rao. Yashwant was his pet singer. Narayan Rao was mainly a composer for C grade and stunt films. His films never became famous, consequently Yashwant too was neglected and never came into limelight. Actually, with other composers, Yashwant had done duets with Naseem, Uma Devi, Sulochana Kadam, Kusum Mantri, Husn Bano, Leela Mehta, Sheela, Rohini Rai, Putlibai, Freni Shroff etc, but in spite of his sweet voice and good singing, he remained neglected by major composers. As a result he could not achieve much success in Hindi films.

This was compensated to a great extent by his Bhajan singing. He lost his father and had to return to Madhavpur. One Mr. Gijubhai was Assistant station Director of Rajkot Radio station. He invited Yashwant to sing bhajans on Rajkot radio. Soon his Bhajans became a rage and he became a very popular Prabhatiya singer. He mainly sang poems of Ganga Sati,Paan bhai and Narsi Mehta etc. He spent a long time singing bhajans. He was made an A class singer on Radio. His name was taken along with famous singers of Gujarat ,like Mohanlal Rayani, Kannubhai Barot, Dula Bhagat etc etc. Due to his good nature he got many friends here. One of them was Ratubhai Adani.

He also sang some songs in Gujarati films. Due to his hectic schedules, he neglected his health and contracted T.B. But he continued his work. when his condition became bad his friend Shri Ratubhai Adani admitted him to Keshod T.B.Hospital.

Yashwant Bhatt died of severe T.B. The news of his death on 27-10-1977 was a shock to his friends, relatives and Bhajan lovers of Gujarat.

His younger brother Harish Bhatt, who was an ardent fan of Saigal also tried to sing in Hindi films. I could trace only one of his songs in the film Kinara-1949. Yashwant Bhatt’s children also carried forward his singing legacy.

There were 9 songs in film Jagriti-49. One song is already discussed. There were all unknown singers like Omkar Devaskar, Lalita Rao, Sanjeevani Pai and Freni Shroff. only Yeshwant Bhatt was a known name. The song is better than average.

( I have used information from Music beyond boundaries by Ashok Ranade and Marathi Cinema in Retrospect by Sanjit Narwekar, MuVyz,HFGK and my own notes, for this write up.)


Song- Nayi nayi pehchaan re (Jaagriti)(1949) Singers- Freni Shroff, Yeshwant Bhatt, Lyrics-Indeewar, MD-K Narayan Rao
Both

Lyrics

ee ee ee
nayi nayi pehchaan re
nayi nayi pehchaan
ee ee ee
nayi nayi pehchaan re
nayi nayi pehchaan

jaan liya aankhon ne tumko
o o
o o o o
jaan liya aankhon ne tumko
dil hai abhi anjaaan
dil hai abhi anjaan
ee ee ee
nayi nayi pehchaan re
nayi nayi pehchaan
ee ee ee
nayi nayi pehchaan re
nayi nayi pehchaan

sama gaye nainon mein naina aa
nigaahon se mil gayin nigaahen aen
sama gaye nainon mein naina aa
nigaahon se mil gayin nigaahen
jaise milti hain do nadiya
jaise milti hain do nadiya
jaise milti hain do raahen
jaise milti hain do raahen

aen aen
aane lage armaan dilon mein
ban kar ke mehmaan
ee ee ee
nayi nayi pehchaan re ae
nayi nayi pehchaan

prem ke path mein bichhe huye hain aen
phool kahin pe
kahin pe kaanten ae

prem ke path pe bichhe huye hain
phool kahi pe
kahin pe kaante

dhoondh lo aisa jiwan sathi
dhoondh lo aisa

jiwan sathi
jo dukh kaate sukh ko baante
jo dukh kaate sukh ko baante

haan aan aan
preet nibhaana bada kathhin hai
hota na aasaan
ee ee ee
nayi nayi pehchaan re
nayi nayi pehchaan


Advertisements

Important Announcement

(© 2008 - 2019) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

What is this blog all about

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 TEN years. This blog has over 14800 song posts by now.

This blog is active and online for over 3800 days since its beginning on 19 july 2008.

Total number of songs posts discussed

14884

Number of movies covered in the blog

Movies with all their songs covered =1162
Total Number of movies covered =4071

Total visits so far

  • 11,341,947 hits

Enter your email address to subscribe to this blog and receive notifications of new posts by email.

Join 1,682 other followers

Bookmark

Bookmark and Share

Category of songs

Current Visitors

Archives

Stumble

visitors whereabouts

blogcatalog

Music Blogs - BlogCatalog Blog Directory

blogadda

Historical dates

Blog Start date: 19 july 2008

Active for more than 4000 days.

Advertisements
%d bloggers like this: