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

Archive for the ‘expression of love’ Category


This article is written by nahm, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4454 Post No. : 15924

Tribute to S. P. Balasubramaniam
—————————————————

The great playback singer of south india left for heavenly abode after his month long illness and Covid – 19 related complications, which had him hospitalised since August. He is said to have recorded his last song on 5th August at Hyderabad. Some sources are reporting he has total 40000 songs to his credit. This calculates to more than two songs per day, in a 50 year career. The career spanning 5 decades and active career he was much revered and loved in the south India’s movie and music fan. The four primary languages of the south, namely Kannada, Telegu, Tamil and Malayalam have the major share of his songs.

When thinking of his songs, the first film that comes to mind is “Ek Duje Ke liye” (1981). When I looked up the songs of this film and found this info about how S. P. Balasubramaniam finally got to sing the songs of this film:
This was singer S.P. Balasubramaniam’s debut Hindi film. Music directors Laxmikant – Pyarelal were not keen on using him for the film since they had not worked with him before. Director K. Balachander convinced them that S.P. Balasubramaniam was the right choice since his imperfect diction would suit the role of South Indian man played by Kamal Haasan in the film.

When S.P. Balasubramaniam first met Laxmikant – Pyarelal for this film, the music director duo had asked him to sing a song. The singer first sang the title song of “Mere Mehboob” (1963) composed by Naushad. The composers then asked him to sing a simple song and he sang “Jaanewalo Zara Mud KeDekhoMujhe” (“Dosti”, 1964) composed by Laxmikant – Pyarelal themselves. According to S.P. Balasubramaniam, it was this song that convinced the composers of his abilities.

Tere Mere Beech Mein (Duet) – This duet with Lata Mangeshkar was the first song S.P. Balasubramaniam had recorded for this film. He spoke a few Tamil lines in this song including “Nee romba nallapaadarae” meaning “You sing very well”. He later said that he found the words ironical since they came from a newcomer like him and were addressed to the legendary Lata Mangeshkar. He was apparently so nervous during the recording that he had accidentally spilt tea on her saree. Understanding his plight, Lata had praised S.P. Balasubramaniam during the rehearsals in order to put him at ease.

These details finally made me decide that I want to post a song from this film. I found that only two song from this film is posted in the blog till date:
Mere jeewan saathi pyaar kiye jaa
Solah baras ki baali umar ko salaam

And this beautiful song which was all the rage in the 80’s is not yet posted, which has two solo versions. One is by Lata Mangeshkar, a happy solo and other is by SPB a sad, very sad solo. Lata version is beautifully shot in picturesque locales of Goa with Rati Agnihotri singing and Kamaal Haasan, not comprehending the hindi song, trying to understand where she is pointing in the other direction. The last scene of this song, with both Rati Agnihotri and Kamaal Haasan, standing with their backs to the rock outcroppings, looking out to the see from the vantage point, with the beach below and the mountains just beyond, was the picture perfect poster on the movie hoardings, even in theatre’s.

The SPB version is shot in a hotel room, where both Kamal Haasan and RatiAgnihotri find themselves in adjoining room. They have promised Rati’s mother that they will not contact and meet each other for a year, so cannot meet. How inane is that, if they met by accident and not by design, than it is divine intervention. But this was an opportunity to create an intense song situation, with Rati doing more histrionics, with a sea-shell:). In an earlier scene, Rati’s mother burns the photo of Kamaal Haasan. Rati, in a fit of inspiration to prove her true love, mixes the burnt carbon remains of the photograph with tea and drinks it. I think the mother was played by Shubha Khote.

The song also won the following awards :
1981 – National Film Awards – Best Male Playback Singer – Tere Mere Beech Mein (Male) – S.P. Balasubramaniam
1981 – Filmfare Awards – Best Lyricist – Tere Mere Beech Mein (Duet) – Anand Bakshi

So I am presenting a song, which won SPB a National Film Award for best playback singer in 1981, as a tribute on his passing away. Of course his memory will be forever alive through his numerous songs. May his soul rest in eternal peace.

S. P. Balasubramaniamversion :

Lata Mangeshka rvesion :

Song-Tere mere beech mein kaisa hai ye bandhan anjaana (Ek Dooje Ke Liye)(1981) singer-S P Balasubrahmaniam/ Lata, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal

Lyrics

SP Balasubrahmaiam version:
———————–
tere mere beech mein
tere mere beech mein
kaisa hai ye bandhan anjaaaaaana
kaisa hai ye bandhan anjaaaaaana
main ne nahin jaana
tu ne nahin jaana
main ne nahin jaanaaa
tu ne nahin jaana
tere mere beech mein
kaisa hai ye bandhan anjaaaaaana

ik dor kheenche doojaa
dauda chala aaye ae
ik dor kheenche doojaaaa
dauda chala aaye ae
kachche dhaage mein
bandhaa chalaa aaye
aise jaise koyee
ho o o aise jaise koyee
deewaaaaaana
aise jaise koyee
deewaaaaaana
main ne nahin jaanaaa
tu ne nahin jaana
tere mere beech mein
kaisa hai ye bandhan anjaaaaaana

neend na aaye mujhe
chain na aaye ae
neend na aaye mujhe
chain na aayeea
laakh jatan karoon
rokaa na jaaye
sapnon mein teraa
ho oo
sapanon mein teraa
aana jaanaa
sapanon mein teraa
aana jaanaa
main ne nahin jaanaaa
tu ne nahin jaana
tere mere beech mein
kaisa hai ye bandhan anjaaaaaana
kaisa hai ye bandhan anjaaaaaana

—————————
Lata Mangeshkar version :
—————————
ooooo
oooooooo
tere mere beech mein aen
tere mere beech mein
kaisa hai ye bandhan anjaaaaaana
kaisa hai ye bandhan anjaaaaaana
kaisa hai ye bandhan anjaaaaaana
maine nahin jaanaaa
tu ne nahin jaana
maine nahinjaanaaa
tu ne nahinjaana
tere mere beech mein
kaisa hai ye bandhan anjaaaaaana

ik dor kheenche doojaa
dauda chala aaye ae
ik dor kheenche doojaaaa
dauda chala aaye ae
kachche dhaage mein
bandhaa chalaa aaye
aise jaise koyee
ho oo aise jaise koyee
deewaaaaaana
aise jaise koyee
deewaaaaaana
main ne nahin jaanaaa
tu ne nahin jaana
tere mere beech mein
kaisa hai ye bandhan anjaaaaaana

oh ho
aapadiyaa

aah ha ha
jaise sab samajhgayaa

pehnoongi main tere haathhon se kanganaaa
pehnoongi main tere haathhon se kanganaaa
jaayegi meri doli tere hi anganaa
chaahe kuchh kar le
ho o
chaahe kuchh kar le
zamaaaaaana
chaahe kuchh kar le
zamaaaaaana
maine nahin jaanaaa
tu ne nahin jaana
tere mere beech mein
kaisa hai ye bandhan anjaaaaaana

(Tamil words)
rumba
ye rumba ruka kya hai

kitni zubaanen bolen log hamjolee
kitni zubaanen bolen
log hamjolee
duniyaa mein pyaar ki
ek hai boli
bolen jo shama’a
ho oo
boli jo shama’a
parwaaaaaana
bolen jo shama’a
parwaaaaaana
main ne nahin jaanaaa
tu ne nahin jaana
(tamil words)
kya
tere mere beech mein
tere mere beech mein
kaisa hai ye bandhan anjaaaaaana
kaisa hai ye bandhan anjaaaaaana
kaisa hai ye bandhan anjaaaaaana


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 :

4453 Post No. : 15920 Movie Count :

4367

Hullo Atuldom

This is a post to wish Suyash Pandey on his 58th birthday (DoB 25 September 1962). His mother was a physician and a personal dietitian to Rekha in the ’80s. His father was in the team of surgeons who performed the first ever heart transplant in India at Mumbai’s KEM Hospital in the 70s. Suyash Pandey’s daughter is also in movies and she made her debut in 2019.

I am talking of the smart, tall and lively actor who is popular as Chunky Pandey (his daughter is Ananya Pandey). He made his debut in 1987 in the Shibu Mitra directed multi-starrer “Aag Hi Aag” playing Moushumi Chatterjee and Dharmendra’s son. That movie was produced by Pahlaj Nihalani. Neelam Kothari was his love-interest in that movie. Chunky’s “Paap Ki Duniya” (1988) was his second with producer Nihalani and director Shibu Mitra. This was also a multi-starrer. It also had Neelam as the female lead. Only difference was, here Neelam was in love with Sunny Deol’s character.

I remember seeing the movie at the time of its release, of course with my all-time moving-seeing companion ‘my dad’. After sitting through the movie, which he enjoyed thoroughly, he said that the story is same as Raj Kapoor’s “Awaara”. That is, the son of an honest cop (Pran) is kidnapped by a notorious criminal (Danny), and is brought up to be a professional thief and criminal (Sunny Deol). The movie has enough twists and turns because of which the criminal’s son (Chunky) is brought up by the cop and he becomes a cop, hot on the heels of the criminals Danny and Sunny. And then everyone finds out their blood-relatives and we have a happy ‘the end’ and Inspector Vijay (Chunky) is happy to see Ashok alias Suraj (Sunny) marrying Aarthi (Neelam).

Chunky is one actor who was mostly seen in multi-starrers and was nominated for the best supporting actor award for his role in “Tezaab”, where he played Anil Kapoor’s friend Baban, who helps Anil (Munna) find Mohini (Madhuri) when Lotiya Pathan (Kiran Kumar) kidnaps her.
But IMHO he was best, playing comic characters – his “Aankhen” with Govinda is the best case to prove my point. Of course, his career took a slight beating when the Khan’s appeared on the Bollywood firmament but he has managed to find a footing in movies of the new millennium and is seen doing varied characters which are not necessarily comedy or romantic and also not the typical character actor type roles.
He was a decent dancer and today’s song is proof of that. It is from “Paap Ki Duniya” which is written by Anjaan and Bappi Lahiri is the music director. S. Janaki and Kishore Kumar are the playback. The song was decently popular in those days when the movie released and is based on some Marathi folk song. I also feel that there may be a Marathi original to this song.

As I was seeing the video (after years) a few things struck me:-
(1) the Marathi saris that Neelam wears are the same colors as the dresses preceding them.
(2) Bappi Lahiri had a field day composing the interlude music which has both western and folk beats.
(3) The choreographer must have enjoyed composing the dance as both the artists were decent dancers. By the way, this song was Inspector Vijay’s fantasy.
A very Happy Birthday to Chunky who has a knack of cracking up at jokes of which he is often the target.


Song-Mera dil tota ban jaaye kaisa mithhu mithhu bole haaye(Paap Ki Duniya)(1988) Singers-Kishore Kumar, S Janaki, Lyrics-Anjaan, MD-Bappi Lahiri

Lyrics

(BIRD SOUNDS)
main tera tota
tu meri maina
main tera tota
tu meri maina
maane na kyun kehna
phoolon ke jaisi teri jawaani
phoolon ke jaisi teri jawaani
jaane kya jaadu chalaaye
mera dil tota ban jaaye
kaisa mithu mithu bole haaye
mera dil tota ban jaaye
kaisa mithu mithu bole haaye
na tu hai tota
na main hoon maina,
maanoongi na kehna
na tu hai tota
na main hoon maina
maanoongi na kehna
jaanoon main jaanoon baatein banaake
jaanoon main jaanoon baatein banaake,
tu kaisa chakkar chalaaye
kyun dil tota ban jaaye
kaahe mithu mithu bole haaye
kyun dil tota ban jaaye
kaahe mithu mithu bole haaye

raahon mein
kyun roke
mujhko subah’o shaam
khulke tu
bol kabhi
mujhse tujhe kya hai kaam

mujhko toh
hai tujhse
bas itna sa kaam
lih de haan
likhde tu
saari umar mere naam
mera dil tota ban jaaye
kaisa mithu mithu bole haaye
mera dil tota ban jaaye
kaisa mithu mithu bole haaye
main tera tota
tu meri maina
maane na kyun kehna
phoolon ke jaisi teri jawaani
phoolon ke jaisi teri jawaani,
jaane kya jaadu chalaaye
mera dil tota ban jaaye,
kaisa mithu mithu bole haaye
kyun dil tota ban jaaye,
kaahe mithu mithu bole haaye haaye

garmi ho
sardi ho
ya barse barsaat
barson se
main tera
peechha karoon din raat
tu aaye
jab aaye
keh jaaye woh baat
woh teri
baat mujhe
sone na de saari raat

mera dil tota ban jaaye,
kaisa mithu mithu bole haaye
o mera dil tota ban jaaye,
kaisa mithu mithu bole haaye
main tera tota
tu meri maina
maane na kyun kehna
phoolon ke jaisi teri jawaani
phoolon ke jaisi teri jawaani
jaane kya jaadu chalaaye
mera dil tota ban jaaye
kaisa mithu mithu bole haaye
kyun dil tota ban jaaye,
kaahe mithu mithu bole haaye

main teri
dil tera
dil leke raaja
chal mil ke
ud jaaye
ham aasmaano ke paar

meri jaan
badhke tu
thhaam le mera haath
pyaar ke woh
pankh mile
ud jaaoon main tere saath
mera dil tota ban jaaye
kaisa mithu mithu bole haaye
mera dil tota ban jaaye,
kaisa mithu mithu bole haaye
tu mera tota
main tere maina,
maanoongi main kehna
jab pyar aisa
haan tere jaisa
woh pyaar aisa
haan teri jaisa
dil ko kabhi chhoo jaaye
mera dil tota ban jaaye,
kaisa mithu mithu bole haaye

mera dil tota ban jaaye,
kaisa mithu mithu bole haaye
mera dil tota ban jaaye,
kaisa mithu mithu bole haye
mera dil tota ban jaaye,
kaisa mithu mithu bole haaye


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:

4452 Post No. : 15915

Today’s song is from the film Daaman-51. The film was produced by M.R. aka Madhukar Rajaram Navalkar, under the banner of his own Madhukar pictures. Surprisingly, the film was directed by Nanabhai aka Yashwant aka Batukbhai Bhatt, who mostly directed Stunt or Mythological films. He did few Social films also. He was the father of Mahesh and Mukesh Bhatt.

Daaman was a Social film like any other film, but it became famous for its Music. Lata Manageshkar, who was favoured by the Music Director K.Datta, in his Marathi films, sang some of her memorable songs like ‘ Tirulilla, Tirulilla ‘ and ‘ Chakori ka Chanda se pyar ‘. film Daaman also became a Historical milestone as it featured the First ever duet of the sisters Lata and Asha ” ye ruki ruki hawaen ‘. Out of the 10 songs of the film Lata featured in 5 songs, with 3 solos and 2 duets.

Song ‘ Tirulilla Tirulilla ‘ became the First ever song in which the singer-Lata- takes her own name like ” Gaaye Lata Gaaye Lata “. Later, Kishore Kumar repeated this feat in his famous song ” Khush hai zamana, aaj Pahli taarikh hai ” from film ‘ Pahli Taarikh ‘-54, in which he took his own name. Still later Lata repeated her feat again in the song ” Ye tanhai haay re” from film ‘ Tere ghar ke saamne’-1963, in which she takes her own name. Besides these, I am not aware of any other song- other than these 3 songs, in which the singer takes his/her own name. If any reader has information, please let us know.

K. Datta was one Music Director who was completely besotted with Noorjehan’s voice. He was so much involved in her songs that after Noorjehan migrated to Pakistan, for some time Datta felt as if his inspiration was lost. Though he supported Lata in his music, he could never come out of the Noorjehan’s aura.

K. Datta or Datta Korgaonkar aka D.P.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 formed a Music school, ” Gayan Kala Mandir”, along with another singer Sadashiv Nevrekar. When Nevrekar became a Music Director, he also decided to become one and closed the school.

He was called to Kolhapur in 1937 to give music to a Marathi film, made by General Films of Siraj Ali Hakeem- Chandrarao Morey’-38. His first break in Hindi came in 1939 with Mera Haq (Hindi and Marathi),followed by Alakh Niranjan-40 (Hindi and Marathi), 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 Astrology. He used to have a special Pooja 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. ( Only 3 people in the Hindi film Industry were called Anna Saheb. By coincidence, all 3 were MDs. They were Annasaheb Mainkar, K.Datta and C Ramchandra). He died of heart attack in G.T.Hospital, Bombay, 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!

The cast of the film included Nigar Sultana, Ajit, Pran, Heeralal, Agha, Yashodhara Katju, Achla Sachdev etc. The comic pair of Agha and Yashodhara was popular in those days. In their films, there certainly used to be a comedy song, filmed on them. In this film too, today’s song is that comedy song shot on these two artistes.

Yashodhara Katju (born 15 April 1928 – died – 1974), a forgotten actress of Indian Cinema, belonged to a reputed Kashmiri Pandit family from Lahore that had moved to Lucknow, where her father Jeevan Lal Katju, was a Zamindar and owned lands in Warburton in Khupra district, Punjab. He was appointed to a senior Administrative position by the British Government. J L Katju later resigned his Government job and joined the freedom struggle of the country. Her Mother’s name was Kailashwati (sister of well known Urdu poet & Judge of Allahabad High Court Late Anand Narain Mulla).

Yashodhra was fondly called as Chunnu by her parents. Other members of this Katju family were her brothers Moti Lal Katju , Pyare Lal Katju & her three sisters Chandra (Manno)-a Professor, Usha (Panno)-an M.A., and Manorama- a Doctor.

Yashodhara studied in English medium schools and was fluent in English, Hindi and Urdu. She did her Junior Cambridge. Apart from that, she was a highly talented girl who was equally well versed with singing and dancing. For some time she also joined Bhatkhande Music Institute, Lucknow to learn music but devoted more time to dancing and got herself trained as a professional dancer (Kathakali, Katahk and Manipuri) from some Masters of Lucknow. Later she took dancing lessons in Delhi as well.

All this apart , this talented girl nursed a desire from her childhood to join films. In 1941, Agha jani kashmiri , who was on a Talent Hunt, saw her in Lucknow and talked to her parents. Finally, much against the wishes of her family, she moved to Bombay in 1941. The family is reported to have sought intervention of Pandit Jawahar Lal Nehru also to dissuade her from joining films but she proved adamant. Katjus were closely related to Pandit Jawahar lal Nehru’s family. It is said that Chandra Mohan Wattal, another Kashmiri actor of that period too tried to dissuade her from acting in films but she remained adamant. Chandramohan tried all his pressure tactics and tried to force her out of the films, but this girl was different. She was tough and did not fear him or yield to his intimidations. She continued to work in films unabated. Chandramohan died in 1949, but this girl worked in films from 1941 to 1973. Her parents finally consented to her decision and ensured a boarding and lodging for her in Bombay .

Prior to Yashodhara, Shyama Zutshi was the kashmiri Girl who joined films. (She acted in Vishnu Bhakti produced in 1934 and Karvaan E Hayat-35). However, the first Kashmiri girl to work in films was Gulab (real name Saraswati Devi), who worked from 1924 to 1964, in 160 films.

In 1941, at a young age of 14 years, she was offered a role of ” Aarti” in a movie Titled “Lalaji” produced by National Studios. The movie was completed in 1942. Her co-actors in that movie were Yakub, A. R. Kabul, Wasker, Amar, Sunalini, Vatsala Kumtekar, Maya Devi and Krishnakant.

Yashodhara always wanted to be an actress and on 15th August 1941 she joined National Studios. She played heroine and side heroine parts in films like Mahatma Vidur (1943), Dulhan (1943), Vijay Laxmi (1943) etc. Later she was reduced to character roles and became a popular comedienne in the 1950s. Her short plump stature and mischievous eyes really aided her in transitioning from leading to comedy roles. In films like Naujawan (1951), Dholak (1951), Sindbad the Sailor (1952), Ek do Teen (1953), Baaz (1953) etc she was cast in happy-go-lucky roles and even paired with other popular comedians of her time e.g. Bhagwan in Sindbad the Sailor (1952) and Gope. Her last few films as character actress were released in early 1970s including Seema (1971), Hare Rama Hare Krishna (1972), Do Phool (1973) etc .

Between Lalaji (1942 Her first Movie) and Do Phool (1973 her last movie), she acted in about 85 films. Her co stars included most of the well known artistes and stars of her times. From the younger generation, her co-stars included Rakhee Gulzar, Rakesh Roshan, Hema Malini, Simi Garewal, Kabir Bedi, Zeenat Aman, Vinod Mehra, Mumtaz and Mehmood Junior. She worked with almost all prominent directors in the Film industry including S. S. Vasan, Devendra Goel, Guru Dutt, Mohan Segal, P. L. Santoshi, M.Sadiq, D. N. Madhok, H.S.Rawail, B. R. Chopra, Rafiq Rizvi, Kishore Sahu, Dev Anand and Mahesh Kaul.

She started as a co-star, moved to lead roles, shifted to comedy (Mostly with another comedian of her time known as Bhagwan and Gope) and finally did some memorable performances as a character actress (Seema, Hare Rama Hare Krishna and Do Phool etc.).

Her close friends included Nalini Jayawant, Laita Pawar and Nirupa Roy. Sometime in around 1958, she married a Naval officer (Commander Bhandari) and lived a happy married life. After 1973, she did not act in films and slipped into Oblivion. She died of a sudden heart attack, in 1974 (Autar Mota).
(Thanks to Suresh Sarvaiya, Blog Chinar, Film Directory-46 and my notes).

The story of the film Daaman was given by me earlier once, so I am not repeating it here. Today’s comedy song is sung by Shamshad Begum and Trilok Kapoor. This singer Trilok Kapoor is a case of ‘ Same name confusion’. There was another actor Trilok Kapoor ( famous for the role of Mahadev in Mythological films) operating at the same time in the industry. Since he was the more famous one, most sites, Blogs and enthusiastic new music lovers credit this singer’s songs to the actor.
Singer TRILOK KAPOOR too was from Multan, just like the actor Trilok kapoor, and was keen on singing in films. He and his wife have sung many Punjabi songs.

Singer Trilok Kapoor sang a song in film Birhan-48 (Tu chanda main teri chakori – a duet with Dilshad Begum- record No. GE 5232). The film was in production in 1946 at Lahore, but was released in 1948 due to Partition in 47.

The singer of this song can not be the actor Trilok kapoor, for the simple reason that he was busy in making 4 films in 1946 in Bombay and it is impossible that just to sing a song in a film, anybody would go to Lahore in those tumultuous days.

Anyway, after the Partition, the singer Trilok Kapoor became a displaced person. He came to Bombay and met MD Shyamsunder, who sympathised with him, being a Punjabi himself from the same region. Shyam Sunder gave him a song in Bhai Behan-1950, a duet with Shamshad Begum. He got a job in Radio and continued singing in films like Guru Dakshina-50, Kashmir-51, For Ladies only-51, Daaman-51, Saloni-52, Raag Rang-52, Goonj-52, Naya Raasta-53, Toote Khilone-54, Miss Mala-54, Laadla-54 and lastly Trolly Driver-58. Total 14 films and 17 songs.

So, the actor Trilok Kapoor and singer Trilok Kapoor are two different persons-

1) Actor Trilok Kapoor never sang after 1942.

2) Singer Trilok Kapoor never sang in any film featuring actor Trilok Kapoor.

3) If actor Trilok Kapoor was a singer himself, he would have sung his own songs in his films, instead of taking playback from other singers, e.g. G M Durrani in Mirza Sahibaan-47. Those who are singer actors rarely take playback from others.

4) The voice of Trilok Kapoor in songs and the dialogues in films is different.

5) It is likely that the song of Aaj ki Duniya-40 and the duets of Raja Rani also were sung by the singer Trilok kapoor, as he sang a song in Birhan in 1946, as mentioned above with a record number. the entry in HFGK may be just a case of ” Same name confusion” (like few other cases). Since the songs are not available, the benefit of doubt should go to singer Trilok Kapoor because he was a singer and NOT to actor Trilok Kapoor as he was NOT a singer.

6) The final verdict was – Shamshad Begum had confirmed that Trilok Kapoor with whom she sang was NOT the actor/brother of Prithviraj Kapoor, but was a different person.

So, please remember, actor Trilok Kapoor and singer Trilok Kapoor were two different persons.

Here is the song…..Enjoy.


Song-Dil pe kar control (Daaman)(1951) Singer-Trilok Kapoor, Shamshad Begam, Lyrics-Raja Mehdi Ali Khan, MD-K Datta
Both

Lyrics

hmm
martaa hoon tum pe jaise
kali pe bhanwra marta hai
kali pe bhanwra marta hai
jaise kali pe bhanwra marta hai

ghoonghat khol de ae
ae zaalim
dil dhhak dhhak dhhak karta hai
dil dhhak dhhak dhhak karta hai

dil dhhak dhhak dhhak karta hai
dil phhad phhad phhad karta hai
dil gud gud gud karta hai

dil pe kar control
?? mera dil hai
dil pe kar control
?? mera dil hai
ration hai
ration hai
ghoonghat pat pat khol
ghoonghat pat pat khol
ration hai
ration hai ration hai
dil pe kar control prem mera dil hai

ek jhalak dikhta do ration card bina ho gori
ek jhalak dikhta do ration card bina ho gori
husn ki sarkaar mein dekho
ho nahin sakti chori
ho nahin sakti chori
?? pe ration hai
dil pe kar contol ?? ke ration hai
ration hai
ration hai

?? hai
hum deputy collector hai
?? collector ??
tu deputy collector hai to ham ration inspector hain
inspector inspector
inspector inspector
ho yahaan se gol
abe ho yahaan se gol
prem pe ration hai
ration hai ration hai
ration hai

achcha to phir
prem lene jaate hain ham
?? baazaar mein
prem lene jaate hain ham
?? baazaar mein
muft mein maare jaaoge jaaoge
mat phansna aise pyaar mein
muft mein maare jaaoge jaaoge
mat phansna aise pyaar mein

kyaa karoon main bol ?
ama ghoonghat pat mat khol
abe dilpe kar control
apne dil jigar mein tu
??
karenge ham manzoor ise
hui hamaari marzi
abhi na hamse bol

dil hai daanwaadol
dil hai daanwaadol ke
ration hai
ration hai
ration hai

??
??
??
??

gore ??
????
bach ke bach ke
bach ke


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:

4452 Post No. : 15914

———————————————–————————————
Blog 10-Year Challenge (2010-2020) – Song No. 86
———————————————————————————–

This day ten years ago (viz on date 25 september 2020), six songs from six movies were covered in the blog. The first article was published at 6:50 AM whereas it was 8:59 when the sixth post of the day appeared in the blog.

Here are the details of these songs :-

Song Movie title-Year Remarks
Banaane waale kyaa toone yahi duniyaa banaayi hai Jalpari-1952 06 songs posted
Aa jaa ab to aa jaa Anarkali-1953 All Songs covered
Ye rang bhare baadal Tu Nahin Aur Sahi-1960 All Songs covered
Jaani tum dole dagaa dai ke Dr Vidya-1962 All Songs covered
Chal mere dil lehraa ke chal Ishaaraa-1964 All Songs covered
Angrezi mein kahte hain ki I love you Khuddar-1982 03 songs posted

Four movies whose songs were discussed on 2 September 2020 have been YIPPEED by now. That leaves us with only two movies whose songs are eligible for todays blog Ten yaer challaenge.

“Jalpari”(19552) is one of the eligible movie for BTYC today. Six songs from this movie have been covered in the blog so far. Here are the details of these songs :

Song Posted On
Suno suno gagan ke taaron 22.07.2009
Banaane waale kyaa toone yahi duniyaa banaayi hai 25.09.2010
Barbaad huyi dil ki duniyaa 29.10.2010
Himmat se koi kaam le 21.12.2015
Tum nahin aaye mora jiya ghabraaye 23.12.2015
Khushi ke phool liye aa gaye bahaar ke din 21.01.2018

Here is the seventh song from the movie. This so9ng is sung by Lata and it is picturised on Nalini Jaiwant. Lyricist is not known. Music is composed by Pt Govindram.

Lyrics of this song were sent to me by Avinash Scrapwala.

Video

Audio

Song-Kaari kaari andhiyaari raat mein (Jalpari)(1952) Singer-Lata, MD-Pt Govindram

Lyrics (Provided by avinash Scrapwala)

kaari kaari andhiyaari ee raat mein
kaare kaare baadarwaa chhaaye
aise mein kahin meraa chaand nikal aaye
to mazaa aaye ae
kaari kaari andhiyaari raat mein
kaare kaare baadarwaa chhaaye
aise mein kahin meraa chaand nikal aaye
to mazaa aaye ae

mere man mein chhaayi udaasi re
main piyaa milan ki pyaasi re ae
mere man mein chhaayi udaasi re
main piyaa milan ki pyaasi re
main kab se khadi hoon raah mein
nainon ke deep jalaaye
aise mein kahin meraa chaand nikal aaye
to mazaa aaye
kaari kaari andhiyaari raat mein
kaare kaare baadarwaa chhaaye
aise mein kahin meraa chaand nikal aaye
to mazaa aaye ae

bhar aayi ankhiyaan mori re
chandaa se door chakori re ae ae ae
bhar aayi ankhiyaan mori re
chandaa se door chakori re
main birhan baat takoon palchhin
hriday mein aas lagaaye
aise mein kahin meraa chaand nikal aaye
to mazaa aaye
kaari kaari andhiyaari raat mein
kaare kaare baadarwaa chhaaye
aise mein kahin meraa chaand nikal aaye
to mazaa aaye

———————————————–
Devnagri Script lyrics (Provided by Avinash Scrapwala)
———————————————–

कारी कारी अंधियारी ई रात में
कारे कारे बादरवा छाए
ऐसे में कहीं मेरा चाँद निकल आये तो
मज़ा आए ए
कारी कारी अंधियारी ई रात में
कारे कारे बादरवा छाए ए
ऐसे में कहीं मेरा चाँद निकल आये तो
मज़ा आए ए

मेरे मन में छायी उदासी रे
मैं पिया मिलन की प्यासी रे ए
मेरे मन में छायी उदासी रे
मैं पिया मिलन की प्यासी रे
मैं कब से कड़ी हूँ राह में
नैनों के दीप जलाए
ऐसे में कहीं मेरा चाँद निकल आये तो
मज़ा आए ए
कारी कारी अंधियारी ई रात में
कारे कारे बादरवा छाए ए
ऐसे में कहीं मेरा चाँद निकल आये तो
मज़ा आए ए

भर आई अँखियाँ मोरी रे
चन्दा से दूर चकोरी रे ए ए ए
भर आई अँखियाँ मोरी रे
चन्दा से दूर चकोरी रे
मैं बिरहन बाँट टाकून पलछिन
ह्रदय में आस लगाए
ऐसे में कहीं मेरा चाँद निकल आये तो
मज़ा आए ए
कारी कारी अंधियारी ई रात में
कारे कारे बादरवा छाए
ऐसे में कहीं मेरा चाँद निकल आये तो
मज़ा आए


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 :

4450 Post No. : 15911

———————————–
This Week, That Year – 4
———————————–
20Sep – 26Sep, 2010

Post by post analysis of the weekly output – is an exercise that is getting more involved and detailed. As we progress, we are finding newer varieties and newer variations that add on to a now growing list of things to look at and check for. OK, so let us see what insight this week brings in.

Let’s first do the numbers. The challenge analysis and other details are presented in the table below. With one dot day (on 23rd Sep), this week saw as many as 34 posts. Except for one repeat, all songs are from different movies. So, 33 movies got featured that week. As many as 12 films made their debut. And of the 33 films that were showcased that week, 22 films have been yippeee’d over the past 10 years. Of the remaining 11, I am shifting two film to the twilight zone of Conditional Yippeee status, which I had proposed last week. The films are ‘Panchaayat’ from 1958 and ‘Dr Vidya’ from 1962 – I will give more details little later in write up.

Blog Ten Year Challenge (2010-2020) Series
Sl.No. Movie Name Year HFGK NoS ASAD NoS Possible UnTrace Deb/
Yip
Milestone Film Status Pending
20-Sep-10
1 Khazaanchi 1941 9 9 D Yippeee’d
2 Sabak 1950 10 7 D Pending 3
3 Deewaana 1952 8 9 Yippeee’d
4 Panchaayat 1958 10 8.5 1 Yc 1, ? 1 UT
5 Chhabili 1960 7 6 Pending 1
6 Chhota Bhai 1966 6 2 D BC:3000
AC:1000 (Lata)
Pending 4
21-Sep-10
1 Khazaanchi 1941 9 9 Yippeee’d
2 Parwaana 1947 9 11 Yippeee’d
3 Aankhen 1950 8 8 Yippeee’d
4 Aar Paar 1954 8 8 Yippeee’d
5 Pyaase Panchhi 1961 10 6 Pending 4
6 Caravan 1971 8 8 Yippeee’d
22-Sep-10
1 Shokhiyaan 1951 8 8 D Yippeee’d
2 Miss Coca Cola 1955 8 8 Yippeee’d
3 Mr Lambu 1956 8 8 D Yippeee’d
4 Fashion 1957 8 6 Pending 2
5 Aaj Aur Kal 1963 8 9 Yippeee’d
6 Mahaan 1983 7 2 D Pending 5
23-Sep-10
[No Posts]
24-Sep-10
1 Magroor 1950 8 8 D Yippeee’d
2 Baap Re Baap 1955 11 11 Yippeee’d
3 Champaakali 1957 9 9 Yippeee’d
4 Ustaad 420 1969 4 4 D Yippeee’d
5 Bhool Na Jaana (UR) 1960s 7 6 D Pending 1
6 Aalaap 1977 9 9 D Yippeee’d
7 Saaheb 1985 5 1 D Pending 4
25-Sep-10
1 Jalpari 1952 9 6 Pending 3
2 Anaarkali 1953 11 11 Yippeee’d
3 Tu Nahin Aur Sahi 1960 7 8 Yippeee’d
4 Dr Vidya 1962 7 8 1 Yc 1, ? 1 UT
5 Ishaara 1964 6 6 Yippeee’d
6 Khuddar 1982 6 3 D Pending 3
26-Sep-10
1 Aaraam 1951 8 8 Yippeee’d
2 Nau Do Gyaarah 1957 8 8 Yippeee’d
3 Sone Ki Chidiya 1958 8 9 Yippeee’d

I will highlight one change in notation. Last week I had proposed that for the songs which are listed for the film, but which are possibly not available in any format, will be denoted by ‘LFe’ – short for ‘Lost Forever’. Now there is a rethink about this terminology. At least one response to me was that ‘Lost Forever’ is a despairing notation, putting a sort of finality to the issue. So I propose to change this terminology to ‘UT’ indicating that the song is ‘Untraceable’ at least for now.

Two major milestones were announced this week. With the sixth song posted on 20th Sep, 2010, the blog reached the 3000th post. Given where we were at that time, ten years back, this was an enviable milestone in itself. Looking back, it may seem not very significant, on account of where we have now reached. But at that time, breaching the 3000 barrier was a great event. With the same song, we also had the first 1000th milestone for an individual artist. This very same song also became the 1000th song by Lata ji, posted on our blog. This was the first such accomplishment on the blog, for an artist.

We had just one guest post this week. Raja ji has done the post for the 3000th song plus the 1000th song of Lata Mangeshkar.

This week, we see many interesting variations and differences in the information that is available about the songs contained in specific films. Here are the details,

  1. ‘Deewaana’ (1952) – Geet Kosh lists 8 songs for this film. Then the footnote to this film indicates that one more song was recorded for this film in the voice of Shamshad Begum. The inference to be drawn is that this 9th song is an unused song from this film. This song is also available, and has been posted on our blog.
  2. ‘Panchaayat’ (1958) – the gap in information is quite remarkable here. There is one song listed in Geet Kosh that is simply not traceable anywhere. The words of the song are “Main Ye Soch Kar Us Ke Dar Se Utha Tha”. Ah yes, rings a bell. This song appears in the 1964 film ‘Haqeeqat’. I replayed the movie to check, but did not find even a snippet of this song.
    However, viewing the film gave me some good information. The theme song of this film, “Mil Ke Baitho Jodo Bandhan” is a multi part song that appears in the film five times. We have this song on the blog, but we only have the portion that is heard in background as the film titles are being presented on screen. This song recurs on four more occasions later in the film.
    So two updates to this film that must be put on the blog. First, the theme song has to be updated for all the multi part segments. Second, then this film should be declared Conditional Yippeee, because the song “Main Ye Soch Kar. . .”, in all likelihood will remain untraceable, as far as this film is concerned.
  3. ‘Parwaana’ (1947) – Geet Kosh lists 9 songs, whereas we on the blog had added two more which we have extracted from the film soundtrack. One of them – “Balam To Pe Sabar Pade” is a very special song. This is the very last recording of KL Saigal Sb. It is an incomplete recording. However, the director has used this as a background song near the end of the film, by modifying the situations somewhat.
  4. ‘Aaj Aur Kal’ (1963) – Geet Kosh lists 8 songs, whereas in the film there is one more song, actually a qawwaali, in the voice of Shamshad Begum and Usha Mangeshkar. So on the blog, we have one more song than the list in Geet Kosh.
  5. ‘Tu Nahin Aur Sahi’ (1960) – On the blog we have one additional song, actually a snippet that is played at the end of the film. This snippet is not listed in the Geet Kosh.
  6. ‘Dr Vidya’ (1962) – This song list mismatch here is quite confusing. There are seven songs listed in the Geet Kosh, out of which the song a serial no. 2 “Yahi Din Hain Bhanware Mann Arey Tum Nahin Samajhte” is not traceable. It does not appear to match with any other song in the film. And then there are two songs in the film which are not listed in the Geet Kosh. There is a fun qawwaali – “Yoon Hans Hans Kar Dekho Na Idhar”, which is performed on screen by Helen and Prem Chopra. And then there is this romantic song of promises to meet again – “Main Kal Phir Miloongi Isi Gulsitaan Mein”. So we have 8 songs of this film already posted, and there is one still pending whose fate is not known. Possibly then ‘Dr Vidya’ also merits to declared Conditional Yippeee.
  7. ‘Sone Ki Chidiya’ (1958) – This film has 8 songs listed in the Geet Kosh. However, on our blog, we have one more additional song posted, which is essentially a poem rendition.
  8. ‘Doctor’ (1941) – I had mentioned about this film in the previous episode of this series. There is a small bit of confusion in the song list of this film in the Geet Kosh. GK lists 11 songs for this film. This film was declared as Yippeee’d on 29th August, 2014. In that post, Atul ji had written that ten songs of this film are already posted, and the eleventh song was being posted, declaring this film to be Yippeee’d. However, as we examine the lists, there is a bit of confusion that prevails overall.
    For starters, the song “Aai Nit Nai Rut Ki Bahaar” is listed twice in GK, once with Ila Ghosh as the singer, and once with Pankaj Mullick as the singer. This threw me off so completely, that I spent three four days two weeks ago, trying to trace the Pankaj Babu version of this song. Most responses I got from within the circle of collector friends was that this song does not exist. Secondly, the iconic Pankaj Babu song – “Aayi Bahaar Aaj Aayi Bahaar” is not listed in GK. I went over the GK entries in detail, including the addenda and the corrigenda. But could locate no other information.
    After some back and forth discussions, it is concluded that there is an error in the GK listings, in that the song listed in GK at serial no. 11 – “Aayi Nit Nari Rut Ki Bahaar” in the voice of Pankaj Babu, is incorrect, and that the words of this song should be “Aayi Bahaar Aaj Aayi Bahaar”. If this change is made, then the listings can be reconciled correctly.
    There is still one more variation in the GK listing and the blog list. The GK listing shows the two songs viz. “Kab Tak Niraasha Ki Andhiyaari” and “Bhai Jagat Ujiyaari Dekho” as two separate songs. On our blog, these two songs appear in the same post, so essentially the blog list does not show the latter song.

Now a word about the song covered in this post. The film is ‘Zindagi Ya Toofaan’ from 1958. As per the Geet Kosh, this film has 10 songs listed. All the songs come from the pen of J Nakshab, a name that we are also familiar as Nakshab Jarchavi. Music is composed by Nashaad.

The film is produced under the banner of Serafim Pictures, Bombay and is directed by Nakshab Jarchavi, the lyricist. The cast of actors is briefly given as Nutan, Pradeep Kumar, Om Prakash, Minoo Mumtaz, Johnny Walker, and Yakub. The film tells the story about the love of a young man, role played by Pradeep Kumar, for a dancing girl, role played by Nutan. Nine songs of this film are already posted here on our blog. This is the tenth and the final song of this film to come on board.

The song itself is a wonderful expression in words about the exchanges that happen between the lover and the beloved. Each couplet, each line is such a beautiful visualization of that relationship. The video clip for this song could not be located. So it is not feasible to comment on the picturization of this song. Given the music and rendition, one can surmise that this song is presented as a mujra on screen. Expectedly, the song is performed by Nutan and Minoo Mumtaz. Both are dancing girls entertaining the guests, which would include Praeep Kumar and Yakub.

This wonderful ghazal presented as a mujra, is the tenth and the final song of this film to come on board, and we can declare this film to be Yippeee’d now.

 

Song – Angdaai Bhi Wo Lene Na Paaye Utha Ke Haath  (Zindagi Ya Toofaan) (1958) Singer – Asha Bhosle, Shamshad Begum, Lyrics – J Nakshab, MD – Nashaad
Asha Bhosle + Shamshad Begum

Lyrics

kya kya nigaah e shauk luti hai haya ke haa..aath
aaaa aaaaa aaaaaaa
ye kya hua ke ruk gaye seene tak aa ke haath
angdaai bhi wo lene na paaye utha ke haath
angdaai bhi wo lene na paaye utha ke haath
angdaai bhi wo lene na paaye utha ke haath
dekha mujhe to chhod diye muskura ke haath
angdaai bhi wo lene na paaye utha ke haath

aaaaa aaaaa
baaton me aise ho gaye madhhosh be-piye
baaton me aise ho gaye madhhosh be-piye
baaton me aise ho gaye madhhosh be-piye
afsanaa ghair ka wo samajh kar suna kiye
afsanaa ghair ka wo samajh kar suna kiye
aaya jo mera naam
to bas uth ke chal diye
aaya jo mera naam to bas uth ke chal diye
jhunjhala ke taish khaa ke bigad ke chhuda ke haath
jhunjhala ke taish khaa ke bigad ke chhuda ke haath
angdaai bhi wo lene na paaye utha ke haath
dekha mujhe to chhod diye muskara ke haath
angdaai bhi wo lene na paaye utha ke haath

parda tha par naqaab se kuchh husn chhan pada
parda tha par naqaab se kuchh husn chhan pada
parda tha par naqaab se kuchh husn chhan pada
bekal huye to reh gaya sab baankpan pada
bekal huye to reh gaya sab baankpan pada
shikvon ka jab jawab na kuchh un se ban pada
shikvon ka jab jawab na kuchh un se ban pada
gardan me meri daal diye muskura ke haath
gardan me meri daal diye muskura ke haath
angdaai bhi wo lene na paaye utha ke haath
dekha mujhe to chhod diye muskara ke haath
angdaai bhi wo lene na paaye utha ke haath

aaaa aaaa aaaaa aaaaa
saaqi ko samjhe ye nahin har aadmi ka kaam
saaqi ko samjhe ye nahin har aadmi ka kaam
saaqi ko samjhe ye nahin har aadmi ka kaam
nakshab ko kis ada se inaayat kiya tha jaam
nakshab ko kis ada se inaayat kiya tha jaam
aaaa aaaaa
dena kisi ka saaghar e mai yaad hai nizaam
dena kisi ka saaghar e mai yaad hai nizaam
munh pher kar udhar ko idhar ko badha ke haath
munh pher kar udhar ko idhar ko badha ke haath
angdaai bhi wo lene na paaye uthaa ke haath
dekha mujhe to chhod diye muskara ke haath
angdaai bhi wo lene na paaye uthaa ke haa..aa..aath

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

क्या क्या निगाह ए शौक लुटी है हया के हा॰॰आथ
आsss आsss आssssss
ये क्या हुआ के रुक गए सीने तक आ के हाथ
अंगड़ाई भी वो लेने ना पाये उठा के हाथ
अंगड़ाई भी वो लेने ना पाये उठा के हाथ
देखा मुझे तो छोड़ दिये मुस्कुरा के हाथ
अंगड़ाई भी वो लेने ना पाये उठा के हाथ

आsss आsss
बातों में ऐसे हो गए मदहोश बे-पिये
बातों में ऐसे हो गए मदहोश बे-पिये
बातों में ऐसे हो गए मदहोश बे-पिये
अफ़साना ग़ैर का वो समझ कर सुना किये
अफ़साना ग़ैर का वो समझ कर सुना किये
आया जो मेरा नाम
तो बस उठ के चल दिये
झुँझला के तैश खा के बिगड़ के छुड़ा के हाथ
झुँझला के तैश खा के बिगड़ के छुड़ा के हाथ
अंगड़ाई भी वो लेने ना पाये उठा के हाथ
देखा मुझे तो छोड़ दिये मुस्कुरा के हाथ
अंगड़ाई भी वो लेने ना पाये उठा के हाथ

पर्दा था पर नक़ाब से कुछ हुस्न छन पड़ा
पर्दा था पर नक़ाब से कुछ हुस्न छन पड़ा
पर्दा था पर नक़ाब से कुछ हुस्न छन पड़ा
बेकल हुये तो रेह गया सब बांकपन पड़ा
बेकल हुये तो रेह गया सब बांकपन पड़ा
शिकवों का जब जवाब ना कुछ उनसे बन पड़ा
शिकवों का जब जवाब ना कुछ उनसे बन पड़ा
गर्दन में मेरी डाल दिये मुस्कुरा के हाथ
गर्दन में मेरी डाल दिये मुस्कुरा के हाथ
अंगड़ाई भी वो लेने ना पाये उठा के हाथ
देखा मुझे तो छोड़ दिये मुस्कुरा के हाथ
अंगड़ाई भी वो लेने ना पाये उठा के हाथ

आss आss आsss आssss
साक़ि को समझे ये नहीं हर आदमी का काम
साक़ि को समझे ये नहीं हर आदमी का काम
साक़ि को समझे ये नहीं हर आदमी का काम
नक़शब को किस अदा से इनायत किया था जाम
नक़शब को किस अदा से इनायत किया था जाम
आss आssss
देना किसी का साग़र ए मय याद है निज़ाम
देना किसी का साग़र ए मय याद है निज़ाम
मुंह फेर कर उधर को इधर को बढ़ा के हाथ
मुंह फेर कर उधर को इधर को बढ़ा के हाथ
अंगड़ाई भी वो लेने ना पाये उठा के हाथ
देखा मुझे तो छोड़ दिये मुस्कुरा के हाथ
अंगड़ाई भी वो लेने ना पाये उठा के हा॰॰आथ


This article is written by nahm, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4449 Post No. : 15907

64th Birthday of Ranjeeta Kaur – 22.09.2020
———————————————————
I wish life could be just a song for the road just like this song on a motorcycle. A song heard in childhood, mainly on radio. In 1980 we had a T.V. at home, but that was only aired in the evening. The radio could be heard during the day also, but they were on air for specific hours only, be it “vividh bharati” or “All india Radio”, of which urdu service was the one for film songs. All these years the lyrics of the song complete with the first stanza have stayed in the memory. After the advent of youtube, I may have looked up this song too alongwith many other old songs.

I have seen quite a few films of Ranjeeta while she was active in the 80’s, as I and my mother used to like her innocent, homely looks. Many of these films were B grade low-budget films like ‘Qismat”, “Tarana” and ‘Khwaab” to name a few. She was paired with Mithun Chakrovorty in these films. I was under the impression that “Ankhiyon ke jharoke se”(1978) was a debut film for her, whereas she had appeared in the hit film “Laila Majnu” in 1976, opposite Rishi Kapoor. Both these are notable films of her career. But there after she appeared in few A grade films in bit roles like ‘‘Rajput”, “Satte Pe Satta” and “Krodhi”. Films like “Ham se Badhkar kaun”, “Aap to aise na the”, “Ustadi Ustad se” and “Tarana” are all seen and forgotten films.

As Ranjeeta Kaur turns 64 today, I am presenting this happy romantic song where she is singing this duet on motorcycle and the beach. The name of the film is “Khwaab”(1980) and singers are Hemlata and Yasudas. The lyricist and music director is Ravindra Jain.

Two songs from the film are posted.
Tu hi wo haseen hai
Ek aas liye vishwaas liye

“Khwaab” is one of its kind title as I could find no other film with the title as ‘Khwab” or ‘Khwaab”. The word means dream, and this year 2020 is turning out like a bad dream. I am sure all of us have had this feeling that we are asleep and embroiled in a bad dream, and hope fervently that we will wake up soon and this whole tragic crisis will disappear. Hope that it will dissolve like a bad dream, is soon forgotten.

Let us go to the song, which I would have categorized as a “in the family way songs” seeing the words of first stanza, but this one is not such a song. I have a few songs for this category in mind. Let us see when I get around to those songs. They are mostly 80’s/90’s songs, so this can be a precursor to that series.

This song starts with the urdu alphabet ‘khai’ making it one of rare songs for ‘antakshari” 🙂 . Only other song I can remember is “khwaab ho tum ya koyi haqeeqat kaun ho tum batlaao……..”. Not that most people bother with the fine distinction between the ‘kh’ of “khilauna” and ‘kh’ of ‘Khwaab’. I can wish all I want for a way of distinguishing it in the English script, with a dot or some such thing. Rekhta.com has adopted an entirely different way of spelling the urdu /hindi words in English script, which is rather complicated even for someone like me. Urdu is a language with fewest dictionary words. Sometimes the same word is used for different meanings in different situation. One example is the word “taarikh” which means “date” and history, but not inclusive. Then there is the confusion with ‘q’ and ‘k’.

Common words where K is correct are :
Mushkil – difficulty
Ashk – tear (aansoo)
Rashk – envy
Shak – doubt
Kalaam – spoken word or talk
Shikwa – grievance
Shikayat – complaint
Shaukat – power or dignity

Q is appropriate here :
Qalam – pen
Ishq – love
Raqs – dance
Qalb – heart
Sadaqah – charity (sort of)
Beqaraar – restless, disturbed
Shauq – deep interest, zeal
Qataar – line, queue or array
Iqraar – acceptance or agree, promise

And there is added complication of words where ‘Q’ is compulsorily written as ‘que’ as it is done in ‘Ishque’ or ‘aashiqui’ or some names such as siddique and taarique. I have not gotten to two different alphabet with different sounds for whom the alphabet ‘t’ is used. The ‘t’ of ‘taara’ is different from the ‘t’ of ‘totaa’. There is confusion galore for the untutored. So we let it be, the ‘no pain no gain’ school of thought be brushed under the carpet 🙂 .

Now that I have heard the song two three times, I have realized that it remained in the memory because of its very sweet and melodious sound. It is memorable for the lyrics as well as tune and the singing of both Hemlata and Yasudas.


Song-Ham khwaab ko badal denge haqeeqat mein (Khwaab)(1980) Singers-Yesudas, Hemlata, Lyrics-Ravindra Jain, MD-Ravindra Jain
Both

Lyrics

khwaab ko
badal denge
haqeeqat mein
ham khwaab ko
badal denge
haqeeqat mein

mil ke rahenge donon
armaanon ki jannat mein
ham apne khwaab ko
badal denge ae
haqeeqat mein
ham khwaab ko
badal denge ae
haqeeqat mein

chhotaa sa ek ghar hogaa
haan chhotaa sa ek ghar hogaa
aur ghar mein honge
saanwle salone

hanste bolte khilaune
ham do hamaare do
nahin nahin
mere do tumhaare do
kat jaayegaa ye jeewan
unhi ki hifaajat mein
ham apne khwaab ko
badal denge
haqeeqat mein
ham khwaab ko
badal denge
haqeeqat mein

kabhi kabhi
beete dinon par
jaayegi jab nazar
oo ooo
sochenge kitne haseen thhe
woh shaam woh sehar

oo ooo
sochenge kitne haseen thhe
woh shaam woh sehar

nit aayengi bahaaren
nit khilenge phool suhaane
oo hoo ooo
nit aayengi bahaaren
nit khilenge phool suhaane

yoonhi rahenge zamaanon tak
khushiyon ke zamaane
aa haa haa
aa haa haa
ham tum judaa na honge
ab to kisi soorat mein
ham apne khwaab ko
badal denge
haqeeqat mein
ham khwaab ko
badal denge
haqeeqat mein


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 :

4448 Post No. : 15901

Today’s song is from film Daku ki Ladki-54. I remember, there was a film in 1933 with the same title, featuring Sulochana, Dinshaw Bilimorea, Ghulam Mohd. Hadi etc. In that film, Ghulam Mohd. had done the role of the Daku, Sulochana was Daku’s Ladki and Dinshaw was the Police Officer.Ghulam Mohd. was known as ” The Prince of Imperial Film Company”, in those days.

Today’s film was made by Harish Productions. Naturally, the director and the Producer was Tara Harish only. Music was by Hemant Kumar. The cast of the film was Geeta Bali, Sheikh Mukhtar, Arjun, Shivraj, Rajan Kapoor, Mukri, Sankatha Prasad, Cuckoo etc etc.

The word “Daku” regularly appeared in the film titles right from the time Talkie films started. There were a total 32 films starting with the word Daku. When the film Daku ki Ladki came in 1933, as if to counter it, a film called Daku ka Ladka came in 1935. Thank God Daku’s family did not expand further ! Interestingly, there were 16 films based on female Dakus and only 7 films on Male Dakus. I wonder, what is the Hindi word for female Daku. A Dakin ? or a Dakuin ? or is it enough just to say He Daku and She Daku ? While female Dakus were honoured by calling them Daku Rani in 5 films and Daku Maharani in 1 film, the poor He Dakus had prosaic titles like Daku Bhupat or Daku Mansoor etc.etc.

When I took up discussing the 50’s film songs, I found that a lot of melodious and good songs to be yet to be discussed. Today’s song is one such song. To listen to Lata and Hemant Kumar is nothing short of a Bliss. Out of 2 such duets from this film one had remained to be discussed. In one of her interviews, Lata had said that she had always enjoyed singing duets with Hemant Kumar. She also said ” I used to feel as if some Sadhu was singing when I heard him singing a song”.

In the Costume drama Daku ki Ladki-54, Ravi Shankar Sharma was Hemant’s assistant in composing music.In few Hemant Kumar films, Ravi has sung songs, including this film. Later on when Ravi himself became a famous and successful composer, he made Hemant Kumar sing in his films. HK was a very respected person in the industry. When he came to Bombay his Hindi was not so good. Like all Bangla people, he had inherent difficulty in pronunciation of certain Hindi words. This was because, in Bangla language, there are no such sounds as plain ” A ” (अ ). So, Arun becomes Orun and Lata becomes Lota. With great practice and hard work, he improved his Hindi. Initially, even Geeta Roy had this problem.

In the cast of the film, you will see a name Shivraj. Not much is known about this good actor. Sometimes I feel some actors have such features that they are fixed for certain roles only and they are misfits in another role. For example, can you ever imagine Rashid Khan or Kanhaiyalal in a role of a sophisticated Millionnnaire ? Or Aruna Irani or Padma Khanna in a Mythological Devi’s role ? They may be good actors, but their physical features and style of acting restricts them to certain roles only. This is true even in case of big stars. Thus, Ashok Kumar became a laughing stock as Abhimanyu or warrier Humayun in full war gear.

The name SHIVRAJ in the cast always created curiosity in my mind. I had seen this actor in several films. I was unable to get any information on him anywhere. His role as the meek husband of Kaushalya (Manorama) in the film Seeta aur Geeta-72 is unforgettable. When I started work on this post, I tried again. This time I found an article – actually an Obituary – on him in The Hindu, dated 4-6-2017. Of course it described in it only about his different roles. From some other source, I got his date of Birth and Death and a little other information.

Shivraj was born on 11-6-1920 in Madhya Pradesh. His full name was Shivraj Pandey. After doing his graduation, he came to Bombay in search of a good job, but joined the film industry. To start with he worked in Minerva as an assistant in administration, He did some film roles too without getting credited. He left Minerva and got a role in the film Sarai ke bahar-47. This was a film made by National studios. His next films were Ziddi, Majboor, Batohi, and Asha all in 1948. Then there was no looking back. Shivraj acted in 212 films. He directed 1 film, Jaani Dushman-57. He retired from work in 2000, but his last released film was Yaar meri zindgi-2008. Shivraj died on 4-6-2017.

There is also a name Arjun in the cast. Now this is a ‘ Same Name Confusion ‘ artiste. Arjun was the Hero in film Malhar-51, opposite actress Shammi (Nargis Rabadi). His name is confused with Music director C.Arjun and many people wrongly presume that C.Arjun acted in the film Malhar. This Arjun is different. His name was Arjun Bakshi Gill. His first film was Naujawan-51, then came Malhar-51.Later he acted in Daku ki Ladki-54 etc. He wrote screenplays and went on doing small roles in films. He migrated to Canada and opened a Music shop. A RMIM member met him there, and recognised Arjun as Malhar Hero. Arjun died in 2001. His daughter Jyoti Bakshi was also an actress, who died in pitiable condition in 2003.

Finally, let us take a look at dancer Cuckoo.

It was 1944. The talkies were already around for 15 years. Devika Rani and Shobana Samarth had already established their glowing presence but it was still a time when nice girls didn’t even become leading ladies, let alone do roles where they had to wriggle their hips — however tastefully — and bare flesh, which at the time meant shoulders and maybe a bit of leg. At such a time, a pretty, fresh-faced Anglo-Indian girl with eyes that danced as enchantingly as her feet appeared in two films — “Pehli Nazar”- 1945 (in which Mukesh made his debut with “Dil Jalta hai toh jalne de”) and “Mujrim -1944.” The girl’s name in the film’s credits was listed simply as “Cuckoo.” Cuckoo was perhaps the first of the most well known dancing queens of Indian Cinema. She was born on 4-2-1928. Her predecessors were many, including a dancer called Azurie, who it is said Cuckoo modeled herself on. But in terms of the sheer body of work and its impact, Cuckoo would have to be the first among Hindi cinema’s dancing queens. It was with her that “cabaret” became an almost indispensable part of films made between the 1950s and 1970s.

Her debut in 1944 was an instant hit and in the space of just the next five years, she had appeared in an incredible 49 films, including Mehboob Khan’s “Anokhi Ada” (1948), H. S. Rawail’s “Patanga” (1949) and Devendra Goel’s “Aankhen” (1950). The only major filmmaker of the time who did not feature Cuckoo in his films was V. Shantaram. In a lot of her films, her role was just a song but its impact was so electrifying that distributors considered it almost as indispensable as the heroine. Like the Helen-Asha combination later on, in many of these songs, Cuckoo’s screen `voice’ was Shamshad Begum. Together, they were responsible for some unforgettable hits.

Mehboob Khan’s films proved to be the turning points in Cuckoo’s career. Her dance numbers in hisAnokhi Ada established her as the leading dancer of the time; and Andaz, a romantic melodrama featuring Raj Kapoor, Dilip Kumar, and Nargis, gave the dancer an opportunity to showcase her acting skills.During her peak period,she was getting Rs.6000/- per dance appearance.

Cuckoo remained the top dancer of Hindi films till she was displaced by Helen and such dancer-actresses as Vyjayanthimala.Cuckoo gave dances in about 76 films. Ironically, it was Cuckoo who had initiated a 13-year-old Helen into films as a chorus dancer.Cuckoo continued to dance until the beginning of the 1960s, the last few years as part of the chorus dancing.It has been recently confirmed that Cuckoo’s real name was Cuckoo Moray.Cuckoo died a slow lingering death, due to Cancer on 30-9-1981 penniless and unattended. No one from the Film industry attended her cremation. (Thanks for some information from Cineplot and from the book”Tujhe mere geet bulate hain” by Sanjeev Tanwar).

Today’s song is a delightful duet of Lata and Hemant Kumar. Let us now enjoy it….


Song-Nazron se chhup gaya hai taqdeer ka saweraa (Daaku Ki Ladki)(1954) Singer-Lata, Hemant Kumar , Lyrics-Kaif Irfani, MD-Hemant Kumar

Lyrics

nazron se ae
chhup gaya hai ae ae
taqdeer kaa aa savera

nazron se chhup gaya hai
taqdeer kaa savera
girta hai jo bhi aansu
leta hai naam teraa
ham rah gaye tadap kar
munh zindagi ne phera
girta hai jo bhi aansu
leta hai naam teraa
nazron se chhup gaya hai
taqdeer kaa savera

duniya mein ham ye kaisi taqdeer le ke aaye
tukde dil-o-jigar ke
ashkon mein muskuraaye
hansti hai mujhpe kismat
rota hai pyaar meraa

girta hai jo bhi aansu
leta hai naam teraa
nazron se chhup gaya hai
taqdeer kaa savera

aaja ki dil liye hai maayoosiyaan nazar mein
ek shamma jal rahi hai
teri yaad ki jigar mein
baaki hai har taraf ab chhaaya hua andhera
girta hai jo bhi aansu
leta hai naam teraa
nazron se chhup gaya hai
taqdeer kaa savera
girta hai jo bhi aansu
leta hai naam teraa


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.

This article is the 15900th song post for the blog

Blog Day :

4447 Post No. : 15900

So we reach another blog century with this post. This century materializes in 39 days, which appears like a fast century vis a vis the previous eleven centuries that took an average of 61 days each. These eleven centuries were took nearly two years (from August 2018 till July 2020). If we look at the rate of centuries ten years ago, then we had achieved a blog century on 20 september 2010 as well. That was the 30th century for the blog and that had been achieved in 17 days flat !. Eleven centuries (viz 20th century to 30th century were achieved at an average rate of 33 days per century.

The quickest rate of centuries were achieved during 2011 and 2012. Calendar year of 2012 saw 21 blog centuries, a record not surpassed since ! These 21 centuries were achieved at an average rate of one century every 18th day !

When I try to think about the by now barely believable rate of posts and centuries in the past, I can pinpoint a few reasons. And I also learn a few lessons from them.

Ten years ago, I was ten years younger. at that stage in my life, I was perhaps at the most productive and creative stage of my life. My enery level and motivation level were on a different plane. I also realise that my eyesight was still good and I did not need glasses to read fine prints. It was sometime in 2011 that I began to realise that my eyesight was going downhill. That is when I needed glasses for the first time. With that being the case, it was no longer possible for me to pore over the computer screen with the same comfort as before. This may be one reason why I hav slowed down. I need to take breaks from computer for the sake of my eyes, which was not the case prior to 2011.

Secondly, at that stage, I found it easy to wake up early in the morning and staying up late as well. My wife complained that I was neglecting my health by not getting enough sleep. Her constant nagging has finally had its effect on me. For the last two years, I no longer wake up at 5 AM in the morning and finish off six or seven posts for the day in three hours.

25 september 2011 was a crazy day when as many as 13 writeups were posted. First post appeared at 8:10 PM and the last post at 23:59 PM ! It means that I devoted the entire day at the computer doing nothing but posting articles all th time ! The same feat was repeated on 6 september 2012. The first post of the day appeared at 7:32 AM. The thirteenth and final post of the day appeared at 23:47 PM and that marked the 66th blog century for the blog !

Those were crazy days for the blog! The concepts of movies making their debuts, moving getting YIPPEED in the blog etc were not known. I did not have access to HFGK, so I was blissfully unaware if all the songs of a movie were covered in the blog. Unburdened by all these considerations, and helped by the fact that most well known songs of well known movies were still up for grabs, we had no problem finding sngs to discuss. All those songs, not yet dscovered were like low hanging fruits that were easy to pluck. We have dealt with all those low handing fruits and now we are dealing with songs that were relatively less popular and lesser known. I was gifted HFGK on july 2014 by our two Maharathi contributors Mr Arunkumar Deshmukh and Sudhir Jee, on the occasion of the blog completing 10000th post. By that time, we were also on to concepts like individual artists centuries, blog contributors centuries etc. We had also evolved the concept of YIPPEE thanks to the ever enthusiastic Pradeep Raghunathan. All these factors meant that we had to do more research that before to locate specific songs that met specific requirements.

These days we are not able to score our centuries at Sehwag like rate (16-17 days) but even scoring centuries at test match rate is not bad. What matters is that the musical juggesrnaut keeps moving and does not remain stand still. We have managed to remain free of a DOT day in the blog for this entire calendar year 2020. There were three DOT days in 2019, 7 in 2018 and ZERO in 2017. So we have ben like a non stop musical bandwagon for the last four years with hardly any stoppages. And let us hope that it continues that way.

Another thing where we had managed to staay true to form is in the selection of our Century songs. We manage to come up with special songs for such special occasions. Seeing that we have had 158 Blog centuries so far, we have discussed 158 special songs on these occasions. 158 is not a small number by any stretch of imagination. One would need more than 8 hours to listen to these special songs !

The 15900th song of the blog is a special song as well. It is special because

(i) it is a rare and obscure song
(ii) the singer is also obscure, though she comes from a well known musical family
(iii) The song is one that has been reused in at least two movies, both obscure.

The song is from “Bhed”(1950). This movie was produced by Amba Cinetone(Jal K Baliwala Productions Bombay). That is all that HFGK contains for this movie. HFGK tells us that this movie had at least nine songs in it, may be more. Mukul Roy (brother of Geeta Roy, later Geeta Dutt) was the music director.

Three songs from this movie have been discussed so far. All these three songs were sung by Geeta Dutt.

Here is another song from “Bhed”(1950). Is it sung by Geeta Dutt ? No, it is sung by Lakshmi Roy, sister of Geeta Dutt. Geeta Dutt is a legendary singer in HFM, but her sister Lakshmi Roy has sung very few songs in HFM. Most of her songs are duets with other singers. This song is an axception. It is a solo song.

This song is penned by Madhukar Rajasthani.

I made another interesting discovery. Five songs from “Bhed” (1953) were later reused in “Do Bahaadur”(1953). Unlike “Bhed”(1950), details of starcast of “Do Bahaadur”(1953) is known. “Do Bahaadur”(1953) was produced by Nari Cawasji and drected by Baburao Pahalwan for Baghdad Pictures under supervision of Shantaram Athwale. The movie had John Cawas, Shanta Patel, Rohini, Dalpat, Goldstein, Rajni, Chitalkar, Dilawar, Baby Balo, Aziz Premi, Madhu Apte, Ali, Baburao Pahalwan etc in it.

This movie too had music by Mukul Roy. The movie had six songs in it. Five of these songs were same as those of “Bhed”(1950). the sixth song was taken from “Ustaad Pedro”(1951).

Such cut and paste job for music did not help the cause of “Do Bahaadur”(1953). For that matter even “Bhed”(1950) is a rare and forgotten movie.

Coming to Lakshmi Roy, she married producer director Pramod Chakraborty. Unlike her unfortunate sister Geeta, she enjoyed a long and happy married life.

As the 15900th song of the blog, here is this rare and special song from “Bhed”(1950).

A blog century on 20 september 2010 and a blog century on 20 september 2020 as well. So we have mnaged to achieve a different kind of “Blog Ten Year Challenge” today with this post. 🙂

As we can see, we are now just one more century away from the magic 16000 mark. Here is hoping that we will not just reach that landmark but also reach many distant landmarks in future. I take this opportunity to thank one and all for their continued support and encouragement.


Song-Ritu Pyar karan ki aayi (Bhed) (1950)/(Do Bahaadur)(1953) Singer-Laxmi Roy, Lyrics-Madhukar Rajasthani, MD-Mukul Roy

Lyrics

Ritu Pyaar karan ki aayi
jawaani
saawan ban ke chhaayee
saawan ban ke chhaayee
Ritu Pyaar karan ki aayi
jawaani
saawan ban ke chhaayee
saawan ban ke chhaayee
mastiyaan le le kar angdaayi
mastiyaan le le kar angdaayi
kahi haan aayi haan aayi
saawan ban ke chhaayee
Ritu Pyaar karan ki aayi
jawaani
saawan ban ke chhaayee
saawan ban ke chhaayee

chhaayee huyi khushrang(?) ghataayen
chhaayee huyi khushrang(?) ghataayen
naach rahi hain mast hawaayen
naach rahi hain mast hawaayen
koyal ne kook
koyal ne kook lagaayee
papeeha preetam ka saudaayee
kahen haan aayi haan aayi
Ritu Pyaar karan ki aayi
jawaani
saawan ban ke chhaayee
saawan ban ke chhaayee

shama se kehta hai parwaana
shama se kehta hai parwaana
bulb(?) se hai gul suhaana
bulb(?) se hai gul suhaana
bhanwron se hai kaliyaan kehtin
chanda se kahen chakori
kya
kahen haan aayi haan aayi
kahen haan aayi haan aayi
Rut pyaar karan ki aayi
jawaani
saawan ban ke chhaayee
saawan ban ke chhaayee
rut pyaar karan ki aayi
jawaani
saawan ban ke chhaayee
saawan ban ke chhaayee


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 :

4445 Post No. : 15893

Today’s song is from the film Chingari-1955. There were 4 films made with the same title – in 1940, 1955, 1988 and 2006. There was a dubbed film with a title ” Chingari Jawani” in 2003. I am still trying to understand its meaning !

During the second world war period many commodities like Petrol, Kerosene,foods as well as Raw film for making films went into shortage. Most essential items were controlled by the British government. The supply of raw film especially affected the film industry. Depending on the past history of making films by the film makers,” Quota “s were fixed at Government rates. Also, the govt. started a scheme of ” war effort promotion films”. Those films which promoted British efforts for the war in some way or the other, used to get extra Raw film supply at control rates. Many producers took advantage of this scheme and films like ” Panna”-44 and ” Badi Maa”-45 etc were made as ” War effort Promotion films” and got more Raw films.

When there is a shortage of anything, its Black Marketing is rampant. In India too, black market of Raw film, Petrol, sugar, even Rice and wheat prospered making the black marketeers prosperous. Some of the Black money flowed into film production as Finance. The result was, the films lost their purpose and quality as new financiers provided production money and interfered in selection of actors, MDs etc. During the period 1940 to almost early 50’s, these financers with black money made films at their will. Not all financers interfered. Actually most of them wanted to double their money investments. Some rich financers tried their hand at directing the films, without much experience. It was in this period that the Distributors started deciding film stories, singers, actors,directors etc, as they provided advance money for film production.

Why I am writing about all this is, during my years of writing on old films, I have come across strange names as film producers and directors. They appeared once and then disappeared for ever.Obviously they were the ‘ Curious Cats’ who wished to be a part of the films which they financed. Today’s film ‘ Chingari-55’ also is one of this category. This film was produced and directed by one S.Srivastava – a name I never came across earlier or after this film ! This film was planned somewhere in 1952-53, because all its songs were recorded in Jan-Feb 1953. That time this film was titled ” Paraya Ghar”. However, the film was delayed by a couple of years and with a new title ” Chingari” it was censored on 22-3-1955. It was released on 8-4-1955 at the Central Cinema and the film ran for just 3 weeks there.

The music of this film was by ” Manohar”. This name has caused ‘ Same name Confusion’. Manoharlal Khanna(father of Usha Khanna,MD) was also a Music director – though for only one film-Pamposh-54 and another was Manohar Sonik or Master Sonik (one of the Sonik-Omi composer duo). For many years these names got mixed up and no one knew who was who. The composer MANOHAR ARORA was a Punjabi music director who came from Sialkot to try his luck in Bombay. His first film was ‘Raees’-1948. Then came Josh-50, Rangeele Musafir-50,Bhoole Bhatke-52, Jingo-52, Usha kiran-52. His best remembered film was Chingari-55. Then came passing show-56, Mister Q-58, Dr. Z-59, Choron ki Baarat-60 and last film was Do dushman-67.

His name is mostly written as ” Manohar” only. This created a misunderstanding that he was Manoharlal Sonik,which is NOT correct.

The cast of the film was Nalini Jayawant, Shekhar, Pran, Leela Mishra, Sunalini Devi etc etc. Though I have seen many films of Nalini Jayawant, I remember her role only in “Hum sab chor hain”-56, which was loosely based on a similar story of film ‘ Ek thi Ladki’-49, with some changes like twin sisters lost in childhood (in Kumbh Mela ?). Nalini Jayawant’s life story is a lesson for those who make immature decisions-only to regret later. Fortunately, she came out of her blunder of marrying Virendra Desai ( a much married man of 32 years) at her age of just 17 years, albeit with some scratches and loss of 5 years of young life.

Nalini Jaywant (18 February 1926 – 20 December 2010) was an Indian film actress who appeared in Hindi films in the 1940s and 1950s.
Nalini Jaywant was born in Bombay (now Mumbai) in 1926. She was first cousin of actress Shobhna Samarth, the mother of actresses Nutan and Tanuja. Since 1983, she lived mostly a reclusive life.

She was married to director Virendra Desai in the year 1943. They divorced in 1948. Later, she married her second husband, actor Prabhu Dayal,in 1960 with whom she acted in several movies. Prabhudayal died in 2001.

The marriage with Virendra Desai ( who was 15 years elder to her) and the next 5 years were quite traumatic for Nalini. This marriage only gave suffocation and wastage of 5 years of her teen age and the opportunities of working in films. More than her, Virendra Desai suffered due to this marriage. His mother Nandgauri, a tough lady, announced a family boycott on him and never again she spoke to him. Even when she was on death bed and Virendra had gone to meet her, she refused to talk to him. His wife and 3 children also treated him in aloof manner, like a stranger. His career was destroyed and he never came out of this situation.

In her teens, she appeared in Mehboob Khan’s Bahen (1941), a film about a brother’s obsessive love for his sister. Nalini finally broke through with Anokha Pyar (1948). The film was a love triangle with Nalini, Dilip Kumar and Nargis, with Nalini sacrificing her love for the hero, Dilip Kumar. It is to her credit that it was she who got the best reviews in the film, many critics calling her the only saving grace in the otherwise disappointing film.

1950 was Nalini’s big, big year as she became a top star with two of her films opposite Ashok Kumar, Samadhi and Sangram. Samadhi was a patriotic drama addressing Subash Chandra Bose and the Indian National army. Nalini and Kuldip Kaur played sisters who were spies for the British. The film, though called politically obsolete by leading film magazine of the day, Filmindia, was a huge success at the box office, its song Gore Gore O Banke Chhore being perhaps Nalini’s most popular song ever. On the other side of the spectrum, Sangram was a gritty crime drama wherein she played the heroine doing her best to reform the anti-hero. Nalini more than left her mark on both the films and went on to form a hit pair with Ashok Kumar, the two of them doing several films together thereafter like Kafila (1952), Naubahar (1952), Saloni (1952), Mr X and Sheroo (1957). It is said the two of them were romantically involved for a period as well.

Nalini remained an important leading lady through to the mid 1950s. Filmmakers like KA Abbas (Rahi-53), Ramesh Saigal (Shikast-53 – arguably her career’s best performance opposite Dilip Kumar, Railway Platform and Zia Sarhady (Awaaz) extended Nalini Jaywant’s association with realistic and socialistic films while filmmakers like Mahesh Kaul (Naujavan (1951)) and AR Kardar (Jaadu) developed her alternate musical persona, later personified by the frothy Filmistan musicals like Nastik, her biggest hit opposite Ajit, and Munimji, a carefree romantic film with Dev Anand as her leading man.

Perhaps Nalini’s last big, successful film was the Raj Khosla directed Kala Pani (1958). She gave one of the best performances of her career as the nautch girl Kishori who is the key witness in framing the hero’s father for a murder he did not commit. Playing a shaded character, she easily stole a march over goody-two-shoes heroine Madhubala and deservedly went on to win the Filmfare Award for Best Supporting Actress for the film. She is absolutely unforgettable in the film be it in the come-hither mujra Nazar Laage Raja Tore Bangle pe or as she looks tearfully at Dev Anand from across the room in that all time great SD Burman composition, Hum Bekhudi Mein.

Nalini remained an important leading actress through the mid-1950s, appearing in such films as Rahi (1953), Shikast (1953), Railway Platform (1955)), Nastik (1954), Munimji (1955), and Hum Sab Chor Hain (1956). The 1958 film Kala Pani, directed by Raj Khosla, was Nalini’s last successful movie. Bombay Race Course (1965) was the last film she made before retirement. After 18 years, she returned as a character actress in Nastik-83 which marked her last film appearance.

Nalini acted in 64 films. She also sang 41 songs in 10 films. Her last song was in the film Chingari-55. She worked in 10 films with actor Ajit and in 11 films with Ashok kumar.

Nalini Jaywant died lonely on 20 December 2010, aged 84, at her bungalow of 60 years at Union Park, Chembur, Mumbai, India. The death was not noticed by anyone until an ambulance carried her body after 3 days of her passing away. The neighbours reported that she had secluded herself from society and had not been meeting people after her husband’s death. Her relatives were also not in touch with her for long.
(based on information from wikipedia, Upperstall, and book “Sagar Movietone” by Biren Kothari ji with thanks.)

While the film Chingari had the last song sung by Nalini Jayawant, this was also the last film of actress Sunalini Devi, who after doing 56 films, retired from films and got married. Incidentally, she was the sister of Sarojini Devi Naidu and actor Harindranath Chatopadhyaya.
The songs of Chingari-55 were very good. Today’s song is also a good one. It is also one of the few songs with ‘Anokhe Bol’, sung by Lata and an unknown male voice. Enjoy…..


Song-Dil ki duniya mein aake na jaana …ya Rabba Peri Peri (Chingaari)(1955) Singers- Lata Mangeshkar, Unknown male voice, Lyrics-Shailendra, MD-Manohar
chorus
Lata + Unknown male voice

Lyrics

dil ki duniya mein aake na jaana
tujhe meri kasam na rulaa aa aana
ya rabba peri peri
ya rabba peri peri
ya rabba peri peri aa
dil ki duniya mein aake na jaana
tujhe meri kasam na rulaa aana
ya rabba peri peri
ya rabba peri peri
ya rabba peri peri yaa

tujhse hai ye zindagi suhaani
o o
pyaar ke geeton mein hai rawaani
o o o
mera singaar tu hai
mauj o bahaar tu hai
jeene mein hai maza
ya rabba per peri
ya rabba peri peri
ya rabba teri teri yaad

aaja pyaar ke taraane gaayen
aa aa aa
aa aa aa
aa aa aa
aa aa aa
hmm hmm hm
hmm hmm hmm

aaja aisa ek jahaan basaayen
chaand ka diya ho jismein
taare loriyaan sunaayen
aa aa aa
aa aa
sapnon ke dole mein jhoola jhulaaye hamen baad e saba
sapnon ke dole mein jhoola jhulaaye hamen baade saba
ya rabba peri peri
ya rabba peri peri
ya rabba peri peri yaa

bheegi bheegi raat ye nazaare
o o o
dil ki baat kahte hain sitaare
o o o
aankhon mein noor bhar de
dil mein sarur bhar de
o mere dilruba
ya rabba peri peri
ya rabba peri peri
ya rabba peri peri yaa

aarzoo yahi hai
meri justzu yahi hai
na ja
dilbar
na ja
ankhiyon mein aake
o mere dilruba
mere dil se na ja
hai ye dil ki dua
hai ye dil ki dua
ya rabba peri peri
ya rabba peri peri
ya rabba peri peri yaa


This article is written by Sadanand Kamath, 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 :

4438 Post No. : 15879

Some years back, I recall having seen for the first time on the internet the photo features of Hindi film stars such as Madhubala, Nalini Jaywant and Begum Para in ‘Life’ magazine. These photographs were taken by the magazine’s well known photographer, James Burke in 1951 who was posted in India.  From the standard of 1951, these photographs would have ranked as bold. But one more actress also featured in that magazine – the featured photos were bolder than those of the stars I mentioned earlier. Subsequently, I had also seen her images appearing in ‘Filmindia’ magazines of 1948 and 1949. The actress in the photoshoot of 1951 was Mohana Cabral.

Today, September 11th is the 30th Remembrance Day of Mohana Cabral who died of heart attack this day of the year 1990 in France where she had been staying with her husband and daughter since 1986.

Mohana Cabral (03/02/1929 – 11/09/1990) whose real name was Mona Cabral, was born in Socorro in Bardez taluqa of North Goa in Konkani speaking Christian family. In early 1930s, the family shifted to Bombay (Mumbai) when her father changed his job to Bombay-based Hindustan Construction Company. Mohana did her initial schooling at Victoria High School in Mahim. Later. she was put in a boarding school in Pune where she completed her high school.  In Pune, she joined as a telephone operator in a telephone company. It is through connecting the long distance telephone calls that Mohana got acquainted with some of the film stars of that time including Nargis, Begum Para and Pratima Dasgupta.

Mohana got introduced to Kishore Sahu who offered her a role in his film ‘Saawan Aaya Re’ (1949) which was her debut film though ‘Aag’ (1948) was released first without her name being accredited in the film.  Kishore Sahu changed her name from Mona to screen name, Mohana which got attached with her during the rest of her life not only in films but also in the Konkani plays and singing career.

Sometime in 1948, Mohana got involved with Konkani ‘Tiatr’ in Mumbai. (‘Tiatr’ is a Portuguese word used in Goa for ‘theatre’ for the Konkani dramas encompassing music, dance, and singing. In a way, it is akin to Marathi ‘Sangeet Natak or musical dramas). Her debut Konkani drama was ‘Cortub Avoichem’ (1948) which was directed by the pioneer of Goan Konkani Tiatr, C Alvares, the producer, director, actor, song writer and the singer. In fact, Alvares was instrumental in encouraging girls to play the female roles in his dramas and introduced Mohana and her younger sister, Ophelia. In 1952, Mohana got actively involved with Konkani tiatr in Mumbai, mostly collaborating with C Alvares as an actor-singer and worked in about a dozen plays. Both the sisters were actor-singers in Konkani Tiatr in Mumbai and later in Goa. In fact, in Goa, Mohana is known more as a tiatrist than the Hindi film actress.

In 1951, Mohana met Edward Downing, a Royal Indian Air Force pilot in a hotel where the shooting of her film ‘Sansaar’ (1951) was in progress. They got married in 1951 and had a son, Mark. Unfortunately, her husband died in a plane accident in less than two years of their marriage. In 1955, Mohana got married for the second time with John D’frates who was working for the United Nations and got posted at Beirut.  With this posting, Mohana bid adieu to Hindi film industry. Her last shoot was for the film, ‘Insaaniyat’ (1955).

In Beirut, Mohana learnt Arabic and began producing dance programmes for Television. She also acted in a couple of dramas on Television. After spending many years in Beirut, her husband got posting in Vienna from where he retired in 1986. Post retirement, Mohana and her family settled in France. Mohana was very much interested in Goan Konkani Tiatr. She would regularly visit India on holidays and act in Konkani dramas in Goa. During the period of her visits, she had also cut a few discs of her non-filmy Konkani songs, some with her mentor, C Alvares.

Mohana died of a heart-attack in France on September 11, 1990 when she was 61. [Thanks for the inputs from Shishir Sharma’s Blog, ‘Beete Hue Din’ on Mohana posted on May 13, 2015 and an article in ‘The Navhind Times, Panaji, Goa dated April 6, 2020].

It is interesting to note from her filmography that how quickly Mohana established herself in Hindi film industry. In ‘Aag’ (1948), she had one song role though her first debut film was ‘Saawan Aaya Re’ (1949). In 1949, she had acted in as many as 6 films. 1950 was a blank year for her as probably she got associated with Konkani plays in Mumbai. In 1951 and 1952 she did 5 films each. 1953 and 1954 was again lean years for her. In 1955, she did 4 films before quitting the film industry. In all, she acted in 26 films in her short span of 6 years in the film industry. The full filmography of Mohana is given below:

1948: Aag.
1949: Chaar Din, Jagriti, Kamal, Patanga, Rimjhim, Saawan Aaya Re.
1951: Adaa, Naadaan, Nageena, Sagaai, Sansaar.
1952: Aashiana, Chham Chhama Chham, Najaria, Saloni, Saaqi.
1953: Shole.
1954: Danka, Dost, Shart.
1955: Insaaniyat, Marine Drive, Sau Ka Note, Teerandaz.
1956: Taksaal.

I had noticed in the advertisements of films for which she worked in 1949-50 that  her name was written either in bold or capital letters. That shows that Mohana was popular among the audience of that time and her name mattered for the success of the films. In most of her films, she got roles of a ‘side kick’ to the comedians like Gope, Agha and as a singer-dancer.  Her popularity can be gauged from the fact that in most of her films, Mohana will have at least one song picturised on her. Some of the songs picturised on her for which video clips are available for watching are listed below:

Raat ko ji haay raat ko ji chamke taare – ‘Aag’ (1948)

Pyaar ke jahaan ki niraali sarkaar hai – ‘Patanga’ (1949)

My my my my my dear – ‘Nageena’ (1951)

O baabu kaise dil karoon qaaboo – ‘Sagaai’ (1951)

Lucknow chalo ab raani – ‘Sansaar’ (1951)

Haseena sambhal sambhal ke chal – ‘Saaqi’ (1952)

O madam do se ho gaye ek ham – ‘Aashiana’ (1952)

Dil mera hai deewaana – ‘Shart’ (1954)

Mohana has also rendered two songs on herself in the film ‘Rimjhim’ (1949).

On the occasion of Mohana’s 30th Remembrance Day, I present a song “Aisi Nainwa Ki Laagi Kataar” from ‘Insaaniyat’ (1955) rendered by Mohammed Rafi and Asha Bhosle. The song is written by Rajinder Krishan which is set to music by C Ramchandra. The song is picturised on Mohana as a part of a ploy to wood wink a soldier to stripe out his uniform to be used for disguising Mangal (Dilip Kumar) as soldier to gain access to the prison to facilitate the release of Bhanupratap (Dev Anand).

In the video clip, there are only two stanzas where as the audio clip contains the full song of four stanzas. This is the 10th song to appear on the Blog out of 17 songs in ‘Insaaniyat’ (1955).

Video (Partial)

Audio (Complete)

Song – Aisi Nainwaa Ki Laagi Kataar (Insaaniyat) (1955) Singer – Mohammed Rafi, Asha Bhosle, Lyrics – Rajendra Krishan, MD – C Ramchandra
Mohammed Rafi + Asha Bhosle

Lyrics (Based on Audio Clip)

aisi nainwa ki laagi kataar
jiya kare khusar fusar
haan haan kare khusar fusar
aisi nainwa ki laagi kataar
jiya kare khusar fusar
haan haan kare khusar fusar
na marodo kalaiya hamaar
kangan mora churar murar
haan haan kare churar murar
na marodo kalaiya hamaar
kangan mora churar murar
haan haan kare churar murar
 
nainon mein lagaaun tohe kajara banaay ke
manwa ki dibiya mein rakh loon chhupaay ke
nainon mein lagaaun tohe
nainon mein lagaaun tohe kajara banaay ke
manwa ki dibiya mein rakh loon chaupaay ke
jataao na itna pyaar
ke mann mora surar surar
haan haan kare surar surar
aisi nainwa ki laagi kataar
jiya kare khusar fusar
haan haan kare khusar fusar
aisi nainwa ki laagi kataar
jiya kare khusar fusar
haan haan kare khusar fusar
 
dekho na dekho mohe tirchi nazar se
darr mohe laage tori patli kamar se
dekho na dekho mohe
dekho na dekho mohe tirchi nazar se
darr mohe laage tori patli kamar se
dekhi jab ke suratiya tohaar
kamar mori ghumar ghumar
haan haan kare ghumar ghumar
aisi nainwa ki laagi kataar
jiya kare khusar fusar
haan haan kare khusar fusar
aisi nainwa ki laagi kataar
jiya kare khusar fusar
haan haan kare khusar fusar
 
main tori bulbul tu mora kaaga
kaage se bulbul ka taanka hai laaga
main tori bulbul
main tori bulbul tu mora kaaga
kaage se bulbul ka taanka hai laaga
aa ja chalen ghataaon ke paar
udd jaayen furar furar
haan haan jaayen purur purur
aisi nainwa ki laagi kataar
jiya kare khusar fusar
haan haan kare khusar fusar
aisi nainwa ki laagi kataar
jiya kare khusar fusar
haan haan kare khusar fusar

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

ऐसी नैनवा की लागी कटार
जिया करे खुसर फुसर
हाँ हाँ करे खुसर फुसर
ऐसी नैनवा की लागी कटार
जिया करे खुसर फुसर
हाँ हाँ करे खुसर फुसर
ना मरोड़ो कलइयाँ हमार
कंगन मोरा चुरर मुरर
हाँ हाँ करे चुरर मुरर
ना मरोड़ो कलइयाँ हमार
कंगन मोरा चुरर मुरर
हाँ हाँ करे चुरर मुरर

नैनों में लगाऊँ तोहे कजरा बनाय के
मनवा की डिबिया में रख लूँ छुपाय के
नैनों में लगाऊँ तोहे
नैनों में लगाऊँ तोहे कजरा बनाय के
मनवा की डिबिया में रख लूँ छुपाय के
जताओ ना इतना प्यार
के मन मोरा सुरर सुरर
हाँ हाँ करे सुरर सुरर
ऐसी नैनवा की लागी कटार
जिया करे खुसर फुसर
हाँ हाँ करे खुसर फुसर
ऐसी नैनवा की लागी कटार
जिया करे खुसर फुसर
हाँ हाँ करे खुसर फुसर

देखो ना देखो मोहे तिरछी नज़र से
डर मोहे लागे तोरी पतली कमर से
देखो ना देखो मोहे
देखो ना देखो मोहे तिरछी नज़र से
डर मोहे लागे तोरी पतली कमर से
देखी जबसे सुरतिया तोहार
कमर मोरी घुमर घुमर
हाँ हाँ करे घुमर घुमर
ऐसी नैनवा की लागी कटार
जिया करे खुसर फुसर
हाँ हाँ करे खुसर फुसर
ऐसी नैनवा की लागी कटार
जिया करे खुसर फुसर
हाँ हाँ करे खुसर फुसर

मैं तोरी बुलबुल तू मोरा कागा
कागे से बुलबुल का टांका है लागा
मैं तोरी बुलबुल
मैं तोरी बुलबुल तू मोरा कागा
कागे से बुलबुल का टांका है लागा
आ जा चलें घटाओं के पार
उड़ जाएँ फुरर फुरर
हाँ हाँ जाएँ फुरर फुरर
ऐसी नैनवा की लागी कटार
जिया करे खुसर फुसर
हाँ हाँ करे खुसर फुसर
ऐसी नैनवा की लागी कटार
जिया करे खुसर फुसर
हाँ हाँ करे खुसर फुसर



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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 TWELVE years. This blog has over 15900 song posts by now.

This blog is active and online for over 4000 days since its beginning on 19 july 2008.

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