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

Archive for the ‘Feelings of heart’ Category


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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3716 Post No. : 14647

Missing Films of 1960s – 78
– – – – – – – – – – – – – – –

And here is the 4001st film to find its place on our blog. Thanks Atul ji, for a very interesting sojourn through a tale of years and numbers. The tales, most surely, is not yet done with. So many more chapters are still to be written, and I am sure there is still a ton of surprises that are waiting in the shadows.

As the years progress, it is to be expected that the number of people interested in this music form will be lessening. Maybe so, but the experience so far has been that the interest in this music form continues to retain the attention of music lovers. Their numbers may be reducing through a natural process, but the music is continuously attracting new followers. Let me mention a few very interesting developments which are very recent.

When digital music arrived on the scene, it took the world by storm. Every creator of music, every producer of music items made a beeline for the CDs and the digitally converted and compressed formats. Everything that is anything in music, well almost, is now available in mp3 and other digital formats, with a greater ease of storage and sharing. However, the aficionado listeners, having spent a lot of time with digital music are probably beginning to miss the fidelity of the analog recordings – of the vinyl records and the coated plastic tapes. As we all know, digitization is basically a process to slice the stream of music into tiny packets and store them in digital formats. This slicing process (called sampling), however fine tuned and precise it may be, still leads to a loss of content. When the digital sampling happens, and packets are created, it does drop out minute fractions of audio stream in between the packets. The resulting output may get subjected to further such process, as folks try more digital processes to ‘clean’ the sound and to tweak the different frequency ranges to their personal preferences. Every time such a transformation process is applied to a stream of music, it loses some fraction of its original content. I have been part of listening sessions wherein the differences between the analog audio tracks and their digitally transformed versions, have been demonstrated. With some surprising differences.

In recent months and years, there has been a slowly progressing turnback towards the analog sound once again. In Europe, the music companies have started pressing vinyl records once again, and we are seeing more and more of them in the market. Even many latest Hindi films are releasing their music on LPs once again. Just go to music stores, and to the online stores, and today, you can buy a much larger selection of latest music on LPs than maybe 10 or 15 years ago.

In the US, there is a spurt in the demand of original music tracks on 78 rpm records, and their market is really going up. Although I have not yet heard about a return back to 78 rpm pressing factories. But who knows, the value economics may still turn the tide in that direction.

In India, besides the music of newer Hindi films coming on LPs, there is another move coming up, towards re-releasing the available earliest music of the 1900s to 1940s on LP records. One of the factors is that majority of the music of that period is now technically out of copyright ownership status and is in public domain. I am aware of at least on such enterprise who are working to bring back to life, the music of the likes of Gauhar Jaan and Janakibai, and release the available collections in LP format. I have a feeling this will trend is only going to grow over the years, and we should be seeing more players come into this market. There is a ton of non-film music that is still available in 78 rpm format that is waiting for a second life. Digital is all well, but listeners are now returning to the gramophone.

In an interesting conversation just last month, I got this surprise news that some music companies are working to bring back the cassette tape into the market once again. The purity and the fidelity of the sound is once again the driving force behind this renewal. Over the decades, the research on the different storage media and formats, has established that the original media formats continue to be the safest, the most reliable and the most enduring. The life span of celluloid and plastic tapes (audio and VHS) has proven to be longer lasting than CDs and hard disks. Of course the caveat is that they are stored in proper conditions. The well stored celluloid films from the late 1800s are still going strong, much better than the VHS tapes, and which in turn are proving to be much longer lasting than DVDs and hard disks.

I will turn this detour into the technical aspects of media storage, back to where I had started from. That there still are a ton of surprises that are probably waiting in the shadows. Let me bring up another very interesting aspect of this discussion – the collections that are sitting with private collectors. Yes, there are many a sizeable collections of records that are in the possession of private collectors. With the passing of years and the intervention of natural processes, a number of these collections are changing hands and getting redistributed. These collections, for decades, have been religiously guarded and kept ultra safe for private listening only. With passage of time and change of guard (ownership thru inheritance), and for lack of interest on the part of the inheritee, these collections are now seeing light of the day. Knowledgeable collectors are avidly pursuing such opportunities to take a pick of some very well preserved and very rare recordings. A very interesting aside here is that collectors in Pakistan are also in the fray, and they are making a good harvest. As per comments made in discussions in music collector circles, in good probability, there are more 78 rpm records now in Pakistan than here in India. And that is because the Pakistani collectors seem to be keeping much better tabs on such movements of private collections than their Indian counterparts.

My hope and my expectation is that in this process of collections changing hands and moving to different owners, we may see some more of unheard, unlisted and unexpected recordings come out into public domain.  Gosh, who knows what we may still encounter as the search brings up more and more hitherto unavailable items into the open.

Coming to the 4001st film – a very obscure and unfamiliar name – ‘Ek Surat Do Dil’ from 1968. Except for the listing in the Geet Kosh, I have no other information traceable, for this film. This is a film produced in Calcutta, under the banner of Kashi Alok Chitram. There is no information available about the actors or producer/director of this film. The Geet Kosh lists eight songs for this film. It appears as if only one record has surfaced in the public domain so far, and that seems to be the only source of information available. The names of the singers, songwriters and the music director seem to have been taken from the record label itself. The name of the music director is Bijan Pal. This name appears in the Geet Kosh only for this one film. And that’s it. Same is with the songwriter – Ramji Singh. A completely unfamiliar and obscure name, appearing in the Geet Kosh for this one solitary song.

Aha, the singer names are more familiar – Subir Sen and Aarti Mukherjee. The tune and the arrangement is very atypical. The sound makes one feel that this tune is heard somewhere before, but I cannot place anything specifically.

4001st film makes its debut here today. Let us take a quick look at the 1968 numbers. As per Geet Kosh, there are 72 films plus one Bhojpuri film. Of the 72 Hindi films, 66 films are already represented on our blog. This is the 67th film to come on board. That leaves 5 more to get – I think we will get to see at least a couple of more films from this year.

And yes, btw, 1968 is a very interesting and special year for our blog. Can you guess?  🙂

Song – Jaago Anjaani, Raajdulaari  (Ek Surat Do Dil) (1968) Singer – Subir Sen, Aarti Mukherjee, Lyrics – Ramji Singh, MD – Bijan Pal
Subir Sen – Aarti Mukherjee

Lyrics

jaago anjaani
raajdulaari
dhal gaya chanda
kati raat saari
jaago anjaani
raajdulaari
dhal gaya chanda
kati raat saari
jaago anjaani. . .

oi re..ae..ae..ae..ae

ye angdaai kehti kahaani
meri rag rag mein machle jawaani
har kali par bhanwar gungunaate
pyaar ki raagni hain sunaate
aa ja re meet mere
ban ke geet mere
kaisi hai ye beqaraari
aa ja re meet mere
ban ke geet mere
kaisi hai ye beqaraari
jaago anjaani
raajdulaari
dhal gaya chanda
kati raat saari
jaago anjaani
raajdulaari
dhal gaya chanda
kati raat saari
jaago anjaani. . .

ye hawa madbhari ye bahaaren
phool muska ke mujhko pukaaren
jhoomta hai nadi ka kinaara
haaye kaisa suhaana nazaara
na jaao door kahin
aa jaao paas yahin
royegi birhan tumhaari
na jaao door kahin
aa jaao paas yahin
royegi birhan tumhaari
jaago anjaani
raajdulaari
dhal gaya chanda
kati raat saari
jaago anjaani
raajdulaari
dhal gaya chanda
kati raat saari
jaago anjaani. . .

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

जागो अनजानी
राजदुलारी
ढाल गया चंदा
कटी रात सारी
जागो अनजानी
राजदुलारी
ढाल गया चंदा
कटी रात सारी
जागो अनजानी॰ ॰ ॰

ओई रे॰॰ए॰॰ए॰॰ए॰॰ए

ये अंगड़ाई कहती कहानी
मेरी रग रग में मचले जवानी
हर काली पर भँवर गुनगुनाते
प्यार की रागनी हैं सुनाते
आ जा रे मीत मेरे
बन के गीत मेरे
कैसी है ये बेक़रारी
आ जा रे मीत मेरे
बन के गीत मेरे
कैसी है ये बेक़रारी
जागो अनजानी
राजदुलारी
ढल गया चंदा
कटी रात सारी
जागो अनजानी
राजदुलारी
ढल गया चंदा
कटी रात सारी
जागो अनजानी॰ ॰ ॰

ये हवा मदभरी ये बहारें
फूल मुस्का के मुझको पुकारें
झूमता है नदी का किनारा
हाय कैसा सुहाना नज़ारा
ना जाओ दूर कहीं
आ जाओ पास यहीं
रोएगी बिरहन तुम्हारी
ना जाओ दूर कहीं
आ जाओ पास यहीं
रोएगी बिरहन तुम्हारी
जागो अनजानी
राजदुलारी
ढल गया चंदा
कटी रात सारी
जागो अनजानी
राजदुलारी
ढल गया चंदा
कटी रात सारी
जागो अनजानी॰ ॰ ॰

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This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
With this writeup, the blog now has 4000 movies represented in the blog.

Blog Day : 3716 Post No. : 14646

We in this blog often reach milestones that I describe as “artificial” milestones. These are “artificial” in the sense that we can only be aware of them if we keep track of them. Earlier we were not aware of them.

For instance, the blog has crossed 3700 days of existence. We first became aware of this kind of milestone only on the occasion of the blog reaching 3400 days.

Ever since, we have also had “milestones” like a pair of singers reaching centuries of their duets. For instance, we recently reached 500 duets of Rafi-Asha Bhonsle.

YIPPEE movies and Debutant movies also yield such milestones to us. We reached 1000 YIPPEE movies in the blog and subsequently 1100 YIPPEE movies.

The present milestone pertains to debutant movies. So far we have reached 3999 movies in the blog. This writeup introduces the 4000th movie to the blog. Yes, the blog, with this song, now has songs from exactly 4000 movies.

In the blog, we have songs from every year, beginning from the earliest year (1931) to the latest viz. the current year (2018).

With this song, the blog now has songs from 4000 movies. while most movies are Hindi movies, we also have some songs from other languages, viz regional languages/ dialects movies and even some international movies. Then there are some movies which were either unreleased or whose year of release are not known. The number of such movies being 78.

The decade of 1950s is the most well represented decade in the blog. 1111 movies were released in this decade (from 1951 to 1960) and there were 35 unreleased movies as well in this decade. As many as 1014 movies from this decade are represented in the blog. 1960s is the second most well represented blog. As many as 842 movies (out of 929 movies released this decade, plus 31 unreleased movies and 34 regional movies)are showcased in the blog.

Titles of these movies begin with all letters of Roman Alphabet except X. The letter S is the most common letter in this respect. As many as 489 movies had their titles beginning with S. A comes second with 390 movie titles.

In the earlier years of the blog, we were not keeping track of such matters. It was sometime in july 2016 that our beloved Khyati Bhatt, after receiving her set of HFGK carried out a thorough research on the movies of 1960s. She prepared an excel sheet and shared that with me and Sudhir Jee. That excel sheet had details about the number of movies of 1960s represented in the blog and the number of movies (with their details) that were missing. That was the homework given to Sudhir Jee. That excel sheet mentioned the fact that there were 942 movies in the decade and 695 of them were represented in the blog. So 238 movies of that decade were missing from the blog.

That excel sheet was made and shared with us on 19 july 2016 (8th birthday of the blog). And how well Sudhir Jee coped with this homework. He tracked songs of many of these elusive movies of 1960s and kept introducing these movies to the blog. Now, a little over two years later, we have 843 movies of 1960s represented in the blog. So as many as 139 elusive movies of 1960s have been introduced in the blog after july 2016. Credit goes to Khyati Jee for her research work and then to Sudhir Jee for following up on that research work with his own mission of locating the songs of these elusive movies.

This also gave me an idea that I on my own should carry out similar exercises for the other decades as well. That led to my own excel sheet where I began to keep track of movies of particular years that were covered in the blog and that had not been covered. This list turned out to of great help for me in looking for specific movies, and that made my searches more focused and purposeful.

It was as a result of this exercise that I was aware of the fact that the blog was reaching 3400th song from the decade of 1960s when the blog was on the verge of reaching 3400 days of its existence. That is how I was able to coincide these two rare and special occurences by posting the 3400th song post of 1960s on 3400th day of the blog.

Now, after this focussed exercise of introducing “debutant” movies in the blog on a regular manner, we have reached a stage when introducing more movies from 1950s and 1960s has become tough. 99 movies of 1960s and 134 movies of 1950s are now left to be covered and these movies are not easy to locate. As for earlier decades, availability of movies from these decades is even more limited. 1238 movies were made in 1940s and this blog now has 761 of them. My guess is that we may end up with a figure just above 800 for this decade before we find ourselves unable to locate any more “new” movies from the decade.

As for the decade of 1930s, 177 movies are represented in the blog. Some 931 movies were made in that decade but more than 700 of these movies along with their songs are lost forever, so in effect majority of songs available from the decade of 1930s are already showcased in the blog.

That leaves the decade of 1970s and also beyond as the decades from where most of our remaining unrepresented movies will have to come. !970s was the last decade of the golden era of HFM. It was the decade when I grew up. This decade saw 1327 movies being released. The blog so far has 769 movies of this decade in the blog.

I have decided to go for a “new” movie as the 4000th movie in the blog. This movie is from 1980s though the song itself was recorded in the decade of 1970s. In other words, it is a golden era song which was released after the golden era of HFM was over.

The movie is “Videsh”(1984). It was produced by Sheetal S Johal and Avatar Bhogal and directed by Avtar Bhogal ABC Films International. The movie had Mahendra Sandhu, Shoma Anand, Diljeet Kaur, Iftikhar, Urmila Bhatt, Sudhir, Surendra Nath, Tom Gormley, Sam, Harmeet Singh, Sukhwant Dhadha, Rajendr Kumar Sharma, Surendra Malhotra and above all Prem Kishan. 🙂 and Premnath, with friendly appearances by Satyen Kappu, Chaand Usmani, guest appearance by Paintal. Avatar Bhogal, Seetal S Johal.

The movie had five songs in it. This song is the first song from the movie to appear in the blog ofcourse. The song is a picturised as a get together song cum marriage reception song. The song is sung by Rafi and Pankaj Mitra. Sapan Jagmohan composed the music. This movie had two lyricists (Kulwant Jani and Prem Jallandhari)but the disribution of songs among them is not known.

The song is lip synced by Prem Kishan (in Rafi’s voice) and Mahendra Sandhu (in disguise- I hope I have identified him correctly) in Pankaj Mitra’s voice.

He looks like an ugly version of Rishi Kapoor- that is what a comment in YT says. The commentator may not be aware that this resemblance in not a coincidence. This actor and Rishi Kapoor are sons of siblings. Rishi Kapoor is the son of Krishna Kapoor where as Prem Kishan is the son of Premnath (brother of Krishna Kapoor). So Prem Kishan and Rishi Kapoor are cousins. And that is where this resemlance comes from. Prem Kishan may not have become as successful as his cousin, but let us not forget that he too had his moments in Hindi movies. He was the hero of the blockbuster Rajshree Productions movie “Dulhan Wahi Jo Piya Man Bhaaye”(1977) and the famous song, Khushiyaan hi khushiyaan hon daaman mein jiske was picturised on him.

So, here is this forgotten gem of a song from 1980s. With this song, “Videsh”(1984) makes its debut in the blog and becomes the 4000th movie to get introduced in the blog.

Today is 3716th day for the blog. 4000 movies in 3716 days means that we on an average introduce one “new” movie to the blog daily. Quite a decent rate, I would think.

PS-The Punjabi words sung by Pankaj Mitra and noted by me may not be accurate. So I request our Punjabi knowing regulars to suggest corrections in the lyrics as applicable.

Video

Song-Meri aankhon mein ik sapna hai (Videsh)(1984) Singer-Rafi, Pankaj Mitra, MD-Sapan Jagmohan

Lyrics

Meri aankhon mein ik sapna hai
meri aankhon mein ik sapna hai
meri aankhon mein ik sapna hai
khushnaseeb hain wo log
jinka koi apna hai
meri aankhon mein ik sapna hai
meri aankhon mein ik sapna hai

pyaar ki aisi mehfil mein
pyaar ki aisi mehfil mein
humko apnon ki yaadein aati hain
poochho pardes waalon se
des ki baatein kya sataati hain
nazron mein aapnon ka
har chehra rehta hai
meri aankhon mein ik sapna hai
meri aankhon mein ik sapna hai
khush naseeb hain wo log
jiska koi apna hai
meri aankhon mein ik sapna hai
meri aankhon mein ik sapna hai

o o o
o
o
doli chadh deyaan maariyaan
veer shikaa
haaye ae ae
mainu lai chale baabla
lai chale ae ae ae ae
des mainu rakh le baabla
heer aankhen
haaye ae ae ae
doli kathh kahaar ne
lai chalwe ae

dil ko mere yaqeen hai ye ae
dil ko mere yaqeen hai ye
hum bhi apnon se milne jaayenge ae
unki baatein sunenge hum
milke baithenge khushiyaan manaayenge
aayegi wo ghadi
dil mera kehta hai
meri aankhon mein ik sapna hai
meri aankhon mein ik sapna hai
khush naseeb hain wo log
jiska koi apna hai
meri aankhon mein ik sapna hai
meri aankhon mein ik sapna hai
lallalala
lallalalala
lallalala
lallalalala
lallalala
lallalalala


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3715 Post No. : 14645

“Sati Nagkanya”(1956) was directed by Babubhai Mistry for Mukti Films, Bombay. The movie had Mahipal, Manhar Desai, Nirupa Roy, Babu Raje, S N Tripathi, Samar Roy, Malay Sarkar, P Kailash etc in it.

This “mythological” movie had eight songs in it which were penned by three lyricists and sung by four singers.

Here is the first song from “Sati Nagkanya”(1956) to appear in the blog. This song is sung by Asha Bhonsle. B D Mishra is the lyricist. Music is composed by S N Tripathi.

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

With this song, “Sati Nagkanya”(1956) makes its debut in the blog.


Song-Ye jhilmil jhilmil taare (Sati Nagkanya)(1956) Singer-Asha Bhonsle, Lyrics-B D Mishra, MD-S N Tripathi

Lyrics

Ye jhilmil jhilmil taare
karte hain hamen ishaare
Ye jhilmil jhilmil taare
karte hain hamen ishaare
o sajna
aise mein aa jaa re ae
o sajna
aise mein aa jaa re
ye chanda aur sitaare
sab ke sab tujh pe waare
o sajna
aise mein aa jaa re ae
o sajna
aise mein aa jaa re

aa ha ha ha aa
aa ha ha ha aa
aayi hai raat nayi
laayi har baat nayi
jhoome hai mera ang ang re
o o o
chanda ki chaandni si
meethhi ik raagini si
doloongi tere sang sang re
o o
doloongi tere sang sang re
o mere piya pyaare
aayi hoon tere dwaare
o sajna
aise mein aa jaa re ae
o sajna
aise mein aa jaa re
Ye jhilmil jhilmil taare
karte hain hamen ishaare
o sajna
aise mein aa jaa re
o sajna
aise mein aa jaa re

aa ha ha ha
aa ha haa aa
tu hai suhaag mera
jeewan ka raag mera
tu hi hai mera sansaar re
o o o
tu hai vanhaar mera
tu hi patwaar mera
naiyya lagaana meri paar re ae ae
naiyya lagaana meri paar re
o jeewan ke sahaare
aankhon ke ujiyaare
o sajna
aise mein aa jaa re ae
o sajna
aise mein aa jaa re
Ye jhilmil jhilmil taare
karte hain hamen ishaare
o sajna
aise mein aa jaa re ae
o sajna
aise mein aa jaa re


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3715 Post No. : 14644

In 1989, a new actor made his debut as a hero and that movie had a song of fond hope- papa kehte hain bada naam karega. That movie became a hit and the debutant actor, Aamir Khan really made his father proud. With passage of time, Aamir Khan has grown from strength to strength and he has in fact made his papa proud beyond his wildesh imagination.

That proud father was Tahir Hussain (19 September 1938 – 2 February 2010) whose 80th birth anniversary falls today. Tahir Hussain was a leading movie maker of his time and he was the younger brother of legendary Nasir Hussain.

Both brothers made movies that provided wholesale entertainment to the moviegoers. Extremely popular music used to be the hallmark of these movies. Just recall some of the movies that Tahir Hussain produced- “Caravan”(1971), “Anamika”(1973), “Madhosh”(1974), “Zakhmee”(1975), “Hum Hain Raahi Pyaar Ke”(1993) etc.

He was also a director, writer, actor etc in some of his, or his brother’s movies.

On tis occasion, here is a song from “Madhosh”(1974), this movie, a relatively lesser known movie, had Mahendra Sandhu, Reena Roy, Jay Shree T, Rakesh Roshan, Johny Walker, Helen, Ravindra Kapoor, Aamir Khan (then a child actor), Dilip Dhawan, Faisal Khan, Kiran Kumar etc in it.

The movie had five songs in it. Two of these songs have been covered.

This song, the third from the movie to appear in the blog is a duet. It is sung by Asha Bhonsle and Kishore Kumar. Majrooh Sultanpuri is the lyricist. Music is composed by R D Burman.

The song is picturised on Reena Roy and Mahendra Sandhu. The audio quality in the picturised value is poor and fails to do justice to the song. So I have provided the audio link which preserves the outstanding quality of this song, which is an archtypical R D Burman composition of those days. It is songs like this that used to rule the airwaves in India those days !

Audio

Song-Kasam khaao tum ek baar(Madhosh)(1974) Singers-Asha Bhonsle, Kishore Kumar, Lyrics-Majrooh Sultanpuri, MD-R D Burman

Lyrics

kasam khaao tum ek baar
mere yaar
mere dildaar
chale to na jaaoge tum baabu
kahin le ke mera pyaar
he ae
he he he he he he
kasam khata hai mera pyar mere yaar mere dildaar
aayega deewaana le ke doli sanam kal hi tere dwaar

aa haa aa ha
aa ha aa ha aaha
kasam khao tum ek baar

paagal kaho mujhe ke deewaani kaho
lalala
ab to teri huyi balam jo ho so ho
lalala
meri bala se koi rahe ya na rahe

lalalala
aa aa
magar meri nazar mein tu basi rahe
lalalalaaa
he ae
he he he he he he

basa kar mera sansaar
mere yaar
mere dildaar
chale to na jaaoge tum baabu
kahin le ke mera pyaar
he ae
he he he he he he
kasam khaata hai mera pyaar

rang se tere chhunri meri rangi rahe
lalala
maathe meri bindiya teri lagi rahe
lalala
chanda sooraj ko to mudke na dekhoon main

lalala
agar meri baahon mein tu saji rahe
lalalaaa
he ae
he he he he he he

saja kar mera sansaar
mere yaar mere dildaar
chale to na jaoge tum baabu
kahin tum le ke mera pyaar
he ae
he he he he he he
kasam khaata hai mera pyaar

lala
mere yaar
lalala
mere dildaar
lalalala
aayega deewaana le ke doli sanam kal hi tere dwaar
aa haa
aa aa
aa haa
aa aa
he he


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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3714 Post No. : 14643

Today I present a really wonderful song of Jagmohan Sursagar, Anima Dasgupta and Munir Alam from film Subah Shaam-1944. The music of this film was by Subal Dasgupta, younger brother of the more famous composer kamal Dasgupta. The film was made and directed by P.C. Barua for Indrapuri Studios, Calcutta. The songs of this film were written by Faiyaz Hashmi and Munir Lucknowi ( different from the singer Munir Alam). The cast of the film was Pramathesh barua, jamuna, Purnima ( she was different from Purnima of
Bombay ), Indu Mukherji, Munir, Devbala, Tulsi Chakravarti etc etc.

Director P.C. aka Pramathesh Barua was born on 24-10-1903. A well educated and foreign trained prince from a Royal family came into the films only by chance. He established his own studio and made films. Impressed by his style and work, B.N.Sircar of New Theatres offered him a job in his company. Barua joined and made such films in New Theatres that the studio became famous all over India. His greatest contribution was his first film here, ” Devdas”-34 in Bangla. he did the main role and brought in a comparatively new actress jamuna for the role of Parvati aka Paro. With the fantastic success of Bangla version, Barua made its Hindi version in 1936, with K L Saigal as the Hero. This was mor successful than the Bangla version and became an iconic film for ever as a reference point. Then an Assamese version was also made in 1937.

With a very eventful, successful and satisfying stint in New Theatres, Barua developed serious differences with the owner-B.N.Sircar, who was known to be a disciplinarian who held the Institution ( of New Theatres) in place. New Theatres, in the 30s , was full of Titans having a larger than life images and it was inevitable that there would be clashes amongst the artistes and the owner. Like true Bengalis, they all had king size Egos and over estimated self respects.

The first crack came in 1933 when Nitin Bose and Debaki Bose clashed, resulting in Debaki Bose’s temporary exit. In the line was Barua, who had a grudge that he was not given as many films as his peers Nitin Bose and Hemchander Chunder got . The rift between Barua and Sircar was obviously born out of deep differences, because after Barua left, B N Sircar had said- “He was a remarkably innovative director who seemed to improve after every film. As an actor, he forged a style that was distinctively his own uniquely. But as a Man…..well,I would rather not discuss it”.

However, it was known to both of them and all others connected with NT, that both these Giants had tremendous love and respect for each others. In 1951, when Barua lay dying on his bed, he instructed that his body be taken past the house of B N Sircar, where he was lying sick on bed. When Barua’s funeral convoy reached Sircar’s house, the ailing Sircar hobbled painfully to the window of his elegant Elgin Road Residence, as the prince of Players paused beneath the window for a while and then proceeded. It was a poignant moment- an act symbolic of a reference point established a long time ago in a business which was notorious for callous and impermanent relationships !

After Barua Nitin Bose left, then kanan Bala and few more. Only pankaj Mullick, though hurt by New Theatre’s neglect, stuck till the end. P.C.Barua died on 29-11-1951. He acted in 8 Hindi films( Manzil-36, Mukti-37, Adhikar-38, Jawab-42, Ranee-43, Subah Shaam-44, Amiree-45 and Pehchan-46). He directed 14 frilms and sang 1 song in film Jawab-42.

Barua’s third wife Jamuna (10-10-1919 to 24-11-2005) was the fourth of the six daughters of Puran Gupta, a resident of a village near Agra, India. Each of the sisters was named after an Indian river like Ganga, Jamuna, Bhagirathi etc. As destiny would have it, Jamuna came to reside in Calcutta, a leading film producing city in India. Originally from Gauripur of Assam’s Goalp ara district (undivided), Jamuna was married to the legendary actor director Pramathesh Barua, or P.C. Barua, who died in 1950. She began her acting career in her husband’s famous production Devdas in 1936 and was the film’s lead character Parvati or Paro. She went on to make a number of memorable movies in Assamese, Bangla and Hindi, notably Amiri, Mukti, Adhikar and Sesh Uttar. She stopped acting after Barua died

In the thirties and played a small role in Mohabbat ki Kasauti(1934), Hindi version of Rooplekha (Bengali) directed by P.C. Barua. A romance started although Barua, hailing from the native Indian state of Gauripur, Assam, was already twice married. As the actress, who was to play Parbati in Barua’s next venture Devdas (1935) reported inability to attend the studio on the very first day of shooting, Jamuna was called from Barua’s residence (she was living with him by then) and was asked to get down to work straight away without any preparation whatsoever.

Thus she came to be the first Parbati of Indian talkies- Miss Light had played the role in the silent version of the enormously popular Sarat Chandra novel. Aishwarya Rai happens to the last so far and Devdas has been made and re-made a number of times. Jamuna played the same role in the Hindi version also and was accepted in this very first proper exposure as an actress in her own right. She continued to act in Barua’s films like Grihadaha (1936), Maya (1936), Adhikar (1939), Uttarayan (1941), Shesh Uttar (1942), Chander Kalanka (1944) and the respective Hindi versions of each film.

Barua had left the prestigious New Theatres in 1940 and was directing as well as producing his films. Thereafter she acted in a number of Barua directed Hindi movies like Amiree, Pehchan and Iran Ki Ek Raat. These films however did not add to the prestige of either to Barua or to Jamuna. Jamuna also acted outside Barua direction in three Bengali films Debar (1943) and Nilanguriya (1943) where she proved herself without Barua’s influence. Her last film Malancha (1953) was also outside Barua’s direction. She also starred in its Hindi version Phulwari (1953).

Barua’s death in 1951 when he was only 48 changed Jamuna’s life altogether. She had three sons by Barua, Deb Kumar, Rajat and Prasun. They were all minors at the time and the Gauripur estate refused to take any of their responsibilities. She had to wage a legal battle with the powerful and influential royal family to get her and her children’s dues and recognition. Time settled the matters and she was allowed ownership of the house with its vast adjoining land and also an allowance. Jamuna spent the rest of her life after Barua as a housewife, busy in bringing up her minor sons. She had to complete the unfinished film Malancha of course but said good bye to the world soon after. Later in her life she did attend a number of functions to celebrate the centennial year of husband P.C. Barua and received felicitations on behalf of the Government of India and the state Government of Assam as the first Parbati of Indian talkies.

Her last days were not very comfortable and she was bedridden for more than six months prior to her death. She is survived by her three sons and their families and a host of relatives.. According to her family members, she had been ill for some time, and the cause of death was illness related to old age. She died at her residence in south Kolkata.

In Hindi, we have seen few Brother composer pairs like Husnlal Bhagatram, kalyan ji -Anand ji, Anand- milind etc etc. I can not think of any such pair whose brothers individually very famous as composers, except perhaps Pt. Amarnath and Husnlal – Bhagatram, but here too no two brothers were famous individually. There were some other brothers like Timir Baran and Mihir kiran and Kamal Dasgupta and Subal Dasgupta. Neither Timir-Mihir nor Kamal-Subal worked as a pair and individually only one became famous in Hindi films. Mihir kiran gave music to only 1 film- Kaarvan e hayat-35 and Subal Dasgupta gave music to only 2 films Subah Shaam and Arzoo both in 1944.

Kamal Dasgupta ( 28-7-1912 to 20-7-1974) gave music to 17 Hindi films from Jawab-42 to Phulwari-51. Subal gave music to only 2 films as mentioned. He was, however, a prolific composer in Bangla films and NFS. The credit for composing music for Talat Mehmood’s First recorded NFS, ” sab din ek samaan nahi tha” goes to Subal Dasgupta. Some sites and You Tube erroneously mention kamal Dasgupta’s name as its composer , but it is wrong. I quote here an excerpt from the book ” Talat Mehmood-The Velvet touch” a biography by Manek Premchand,

“His first recording happened in September 1941, the song being Sab din ek samaan naheen tha, Ban jaoonga kya se kya main, iska to kuchh dhyaan naheen tha, written by Fayyaz Hashmi and composed by Subal Dasgupta. Present at this recording was the great singer-composer-actor Pankaj Mullick, who patted the young émigré for a job well done. In Calcutta, the young man started learning Bengali. After six recordings for HMV in Calcutta, Talat returned in 1942 to complete his studies at Marris and in the next couple of years, he heard a lot of Gangubai Hangal, Fayyaz Khan and Roshanara Begum. ” pp 13

Not much information is available on Subal in books or on the net. Even Dr. J.P.Guha has no information on him. Here is something from a Bangladeshi site.

Subal Dasgupta was born at Kalia (Narail) of the old Jessore district in Bangladesh. His parents shifted to Calcutta long before the partition of 1947. His eldest brother professor Bimal Dasgupta was a gifted musician, while his elder brother Kamal Dasgupta also emerged as one of the most successful music directors of his time. His sisters Sudhira, Indira, Basanti—–all were talented singers in their own rights. All of them had recorded songs under HMV banner. He belonged to an immensely accomplished musical family. At a very tender age Subal Dasgupta took lessons in classical music from Ustad Zamiruddin Khan, a renowned maestro of Kheyal and Thumri. It was here, that he met Kazi Nazrul Islam, the great poet , who also started taking classical vocal lessons from the same master. The meeting between the two, later turned out to be of historic significance.

When I first heard this song, I liked it very much. I am sure you too will love it. The singers are Jagmohan Sursagar, Anima Dasgupta and Munir Alam. These names are not mentioned in HFGK, but the stalwarts of RMIM, in their discussion have confirmed these names in the late 90s. Though the YT video mentions Hemant kumar, his voice is not there.

( Credits- RMIM forum, Talat Mehmood Biography, scroll.in, wiki, nazrul.com.bd, Sharmishtha Gooptu’s article ”The Glory that was” and my notes )


Song-Kuchh haseen hai subaho shaam (Subah Shaam)(1944) Singers-Anima Desgupta, Jagmohan Sursagar, Munir Alam, MD-Subal Dasgupta

Lyrics

Kuchh haseen hai subaho shaam
kuchh ghami hai subaho shaam
zindagi ke do hain naam
zindagi hai subaho shaam
Kuchh haseen hai subaho shaam
kuchh ghami hai subaho shaam
zindagi ke do hain naam
zindagi hai subaho shaam
Kuchh haseen hai subaho shaam

aish o raahaten bhi hain
dukh museebaten bhi hain
aish o raahaten bhi hain
dukh museebaten bhi hain
?? bhi hain
gham ki shaanaten bhi hain
gardish e jahaan mein
dillagi hai subaho shaam
Kuchh haseen hai subaho shaam
kuchh ghami hai subaho shaam
zindagi ke do hain naam
zindagi hai subaho shaam
Kuchh haseen hai subaho shaam

maut bhi hai yaas bhi
din ke baad raat bhi
maut bhi hai yaas bhi
din ke baad raat bhi
apni apni ?? hai
aadmi ke saath hai
apni apni ?? hai
aadmi ke saath hai
raushani ke saath saath
?? hai subaho shaam
Kuchh haseen hai subaho shaam
kuchh ghami hai subaho shaam
zindagi ke do hain naam
zindagi hai subaho shaam
Kuchh haseen hai subaho shaam

chaand mein chakor mein
jungalon ke mor mein
chaand mein chakor mein
jungalon ke mor mein
papeehe ke shor mein
papeehe ke shor mein
gulshanon ki ?? mein
bulbulon ki bekhudi(?)
keh rahi hai subaho shaam
Kuchh haseen hai subaho shaam
kuchh ghami hai subaho shaam
zindagi ke do hain naam
zindagi hai subaho shaam
Kuchh haseen hai subaho shaam


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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3713 Post No. : 14642

Ek kissa hai, Radha ka. There is a tale, of a girl named Radha. She was in her teens, ‘kamsin’ as they say in parlance – young and innocent in years; sporting dark tresses that reached her knees; her supremely fair and flawless skin as if made from milk; her eyes – bright, with a depth enough for a smitten heart to drown itself. She would come to the terrace to hang out the laundry for drying. Iqbal, smitten as he was with the beauty of this young lady, would wait everyday to fill his heart with her moving images. The fascination, the infatuation remained as it is, unexpressed – for he could never muster up enough courage to say or do anything to express his feelings. Fears and apprehensions of many kinds held him back. Radha, remained a puppy love dream – forever. But is sure did make a poet out of that obsessed heart that could not express itself to its beloved.

He penned the following lines, as his initiation into the world of verse writing,

खेंचते हैं अपनी जानिब यार ये गेसू मुझे
आ रही है हर तरफ से प्यार की खुशबू मुझे
एक राधा से हुई है जब से मेरी दोस्ती
सारी दुनिया कह रही है आजकल हिन्दू मुझे

These tresses of my beloved, beckon me
The fragrance of love is diffused all around me
Since my heart has made a friend named radha
All the world is calling me a hindu these days

By his own admission, he would never have taken to pen and paper, if by some God sent blessing, this infatuation would have ripened into a reciprocated affair, and if the two would have been betrothed. The world of letters, and the world of cinema would have been robbed of one of the best romantic poets of the Golden Era of the Hindi film music.

Iqbal Hussain, born on 15th April, 1927 in Jaipur, grew up to be known by his pen name more than anything else – Hasrat. And the city of his origin came in to complete his identity recognition – Jaipuri.

He passed away this day (17th September) in 1999 after a scintillating career of almost five decades as a songwriter. The unsuccessful saga of his first love was in any case immortalized. The famous aria venerating the identity of the romantic messaging device called the ‘प्रेम पत्र’ (love letter), was originally written for his Radha, of the terrace visits. The song it became is – “Ye Mera Prem Patra Padh Kar” (film ‘Sangam, 1964).

It is a temptation to revisit all the great poetry he has written, that has become popular and enduring. But then even this one night, sleepless per force, would be inadequate to do justice. But in any case, that sampling may just be a reprise for all the dear melodies that I am sure all readers and lovers of this music, have stored away in their memories.

And so I just introduce this one song today. This wonderful melody, for the longest of the time, I was under the impression that this one is already posted here. But today I discovered that it is still in waiting. The film is ‘Badnaam’ from 1952. The music director is Basant Prakash (brother of Khemchand Prakash). The baritone rich singing voice is that of Shankar Dasgupta. The verses, of course, are from the pen of Hasrat Jaipuri.

The first sub line of this poem imitates the well known starting words of the famous she’er – “Ye Ishq Nahin Asaan, Bas Itna Samajh Lijey. . .” from a ghazal by the maestro Jigar Moradabadi. But after that it goes on to take a powerful identity of its own with lines like “. . .zakhmon mein chhupa lena, tasveer e mohabbat ko. . .” and “. . .khud lut ke sikha dena, duniya ko wafa karna. . .”.

An immense ghazal – words, composition, rendition – all are superlative. With memories of Hasrat Sb, enjoy this wonderful creation.

[Author’s Note: The episode of the poet’s first love is adapted from the definitive article on Hasrat Jaipuri, from the book ‘Hindi Filmon Ke Geetkar’ by Anil Bhargav.]

Song – Ye Ishq Nahin Aasaan, Kaanton Pe Jiya Karna (Badnaam) (1952) Singer – Shankar Dasgupta, Lyrics – Hasrat Jaipuri, MD – Basant Prakash

Lyrics

ye ishq nahin aasaan
kaanton pe
kaanton pe jiya karna
kaanton pe jiya karna

ye ishq nahin aasaan
kaanton pe jiya karna
kaanton pe jiya karna
ashqon ka zehar hardam
khush ho ke piya karna
kaanton pe jiya karna

kehte hain jise ulfat
ye khel hai sholon ka
kehte hain jise ulfat
ye khel hai sholon ka
chupchaap hi jal jaana
hargiz na gila karna
kaanton pe jiya karna

zakhmon mein chhupa lena
tasveer e mohabbat ko
tasveer e mohabbat ko
zakhmon mein chhupa lena
tasveer e mohabbat ko
tasveer e mohabbat ko
khud lut ke sikha dena
duniya ko wafa karna
kaanton pe jiya karna

aise to kai toofaan
raahon mein sataayenge
aise to kai toofaan
raahon mein sataayenge
ghabra ken a darr jaana
manzil pe badha karna
kaanton pe jiya karna
ye ishq nahin aasaan
kaanton pe jiya karna
kaanton pe jiya karna

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

ये इश्क़ नहीं आसान
काँटों पे
काँटों पे जिया करना
काँटों पे जिया करना

ये इश्क़ नहीं आसान
काँटों पे जिया करना
काँटों पे जिया करना
अशकों का ज़हर हरदम
खुश हो के पिया करना
काँटों पे जिया करना

कहते हैं जिसे उलफत
ये खेल है शोलों का
कहते हैं जिसे उलफत
ये खेल है शोलों का
चुपचाप ही जल जाना
हरगिज़ ना गिला करना
काँटों पे जिया करना

ज़ख़्मों में छुपा लेना
तस्वीर ए मोहब्बत को
तस्वीर ए मोहब्बत को
ज़ख़्मों में छुपा लेना
तस्वीर ए मोहब्बत को
तस्वीर ए मोहब्बत को
खुद लुट के सीखा देना
दुनिया को वफा करना
काँटों पे जिया करना

ऐसे तो कई तूफान
राहों में सताएंगे
ऐसे तो कई तूफान
राहों में सताएंगे
घबरा के न डर जाना
मंज़िल पे बढ़ा करना
काँटों पे जिया करना
ये इश्क़ नहीं आसान
काँटों पे जिया करना
काँटों पे जिया करना


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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3711 Post No. : 14638

Today’s song is from a film Manorama-1944. HFGK does not mention singers’ names, but the voices are that of Chitalkar and Hamida Banu with chorus. The film Lyricist was Anjum Pilibhiti and the MD was C Ramchandra.

Last week we had discussed a New pair of names fitting under ” The Same Name Confusion” series, which came first time, only on this Blog. The names were similar sounding Ramola and Romilla. Our Sadanand ji had also added some new information about Romilla, in his comments. This is how informations get updated. Thank you, Sadanand ji.

Today we have yet another New pair-again first time on this Blog- which are not similar sounding names, but have exactly the same spellings. The name is Naseem, who was a part of the film’s cast along with Leela Chitnis, Ishwarlal, N M Charlie, Kantilal, Mubarak, Alaknanda and others.

NASEEM is the name which caused confusion in the 40s, because two actresses with the same name were working in the films at the same time. Generally, the younger one was mentioned as (Junior), but in some films she is just mentioned as Naseem. These are the films which are coolly added to the Senior Naseem’s Filmography, because she was more famous. This is exactly what happens in such cases of SNC. One has to take extra efforts to credit the right films to the right artiste. Most of the times, this is a very tedious job and may take months to get the right answer which can be defended with corroborative evidence. All these old artistes are no more and not every artiste’s information is available. particularly those artists who created confusion and either left the films or the country or the world, are the toughest cases as no information is available on them in India and Pak sites do not give full information on pre-independence films or artists.

Interestingly, the problem of Same Name Confusion is non existent in Hollywood. Not because there are no such names, but because they are very alert and take preventive measures. No one can act in films or on TV, unless he is registered with the ‘ Screen Actors Guild ‘ (estd 1933). They have a strict rule that no two actors will have same names. If a New actor comes with a same name that is already existing on the rolls, he is required to change his name before registration, or add a prefix or a suffix. That is why this problem is not there in Hollywood, in spite of more than 130,000 active members.

Though in India, no such system operates, this problem has almost become extinct in recent times, because of a variety of names ( unlike the western world) available now. Now, let us see more about these two Naseems. First, the senior one.

Born on 2-9-1920,at Delhi -ROSHAN ARA aka Naseem Bano was the daughter of a famous classical singer Shamshad Begum. She too was very good looking . She was called ” Chhamiya” due to her adakari while singing. Naseem was so beautiful that even is school days her beauty was discussed by people. When sh was in school,once she came to Bombay and happened to see the shooting of ” Silver King-35″. She was so impressed with it that she decided to become an actress.

When Sohrab modi proposed to cast her as a Heroin in his “Hamlet”,her family flatly refused but gave in after Naseem sat on a Hunger Strike !. For her second film,’ Khan Bahadur’ she was advertised as a ‘ Beauty Queen’. (Later her daughter Saira bano also got this title). After some films like Divorce,Meetha Zahar and Vasanti,the most important film of her life and also for Minerva Movietone, PUKAR-39 was launched. In this film she enacted the role of Empress Noorjahan,opposite equally handsome actor Chandramohan as Jehangir. She looked cute and beautiful as Queen in the get up. She became an All India star overnight and got the Title ” Pari-Chehra ” from the critics. Her song ‘ Zindagi ka saaz” became so famous that thousands of records were sold in no time.

She married producer Director Mohammed Ehsaan, in 1942. They started their own company- Tajmahal Films and produced Ujala, Begum, Mulaqat and Ajeeb Ladki. The couple had two children- Sultan Ahmed and Saira Banu. After 1947,she stopped singing and did only acting.

Naseem acted in limited films,like Hamlet, Divorce, khan bahadur, Vasanti, Meetha Zahar, Pukar, Ujala, Chal chal re Naujawan, Chandni Raat, Main Haari, begum, Mulakat, Sheesh mahal, Anokhi Ada, Baghi, Shabistan, Sindbad the Sailor, Betaab, Ajeeb Ladki, and Nausherwan E Adil. She did only 20 films. She sang 42 songs in 14 films.

When her mother Shamshad Begum “Chhamiya” died in 1983,many newspapers,magazines and Internet sites published erroneous news that the famous singer Shamshad Begum had died.

In 1953, her husband deserted her and went to Pakistan with the negatives of her films. He made money and Naseem became famous and Popular in Pakistan, without going there. She took her children and went to England for few years, but came back to India to make her daughter an actress.

Naseem Bano died on 20-6-2002.

Naseem bano was never a singer, but she sincerely tried to improve her singing. Her voice was thin and there was a tremor in it,so it sounded sweet( just like Talat).

Naseem Jr. or Miss Naseem Jr. was younger sister of actress Shameem. She was born in Lahore on 8-2-1930. Her father had a shop and he was a General merchant. She was educated in Islamia Girls school, Bombay where she was staying with her actress sister Shameem. After Matriculation, she too wanted to become an actress. While in school she did many dramas. At the age of 13, she did an uncredited small role in film Salma-43.

Her first major film was Jwar Bhata-44- also the first film of Dilip kumar and Mrudula. Her second film was Manorama-44. She acted in few more films Sanyasi-45, Zeenat-45, Door Chalen-46, Amar Raj-46, Jeewan Sapna-46 and Mera Geet-46.

She had a hot temperament and could not get along with co stars and the Directors. Soon the offers diminished. She got married and returned to her hometown-Lahore along with her husband. She did only few films, but it was enough to cause confusion. Her films Jeewan Swapna-46 and Door chalen-46 are generally credited to Naseem Sr.’s filmography.

You will find one more name in the cast-Alaknanda. In Hindi films, there were many sister-pairs who worked as actresses, but in the history of Hindinfilms-both Silent as well as Talkie- there have been only 3 sets of 3 sisters who worked as actresses in the same periods. The first set was of Zubeida, Sultana and Shehzadi in the early 30s. Then in the 40s came the second set of Alaknanda, Tara and Sitara Devi. In the 50s, the last Trio of Padmini, Ragini and Lalitha worked in same period. After this, to my knowledge, no such Trio of actresses came on the screen. If you count step-sister also, then Mehtab was the step sister of Zubeida, Sultana and Shehzadi trio. This made the only Quartet of Sister Actresses in Hindi Film History ever ! Even their mother Fatima acted, directed and Produced films, to boot !! Only their father did not join films !!!

Alaknanda was born in or around 1910 in a Banares situated Mishra family. her clan had a tradition of singing in temples for the last 5 centuries. The family had close relations with Nepal and its Royal family. Her Grandfather was a court singer. Her grandmother and mother were from Nepal, so Alaknanda called herself as ‘ half Nepalese ‘.

When her father wanted to train her and her younger sister Tara, in Dancing and music, there was opposition from their society. Therefore the family moved to another corner of Banares and he started a Music school and trained children of Royal families from Bengal. In one of their visits to Calcutta, Sitara Devi was born in Calcutta. Alaknanda’s first Talkie film was Suryakumari-33. She worked in 38 films till late 40s. She had sung 15 songs in 7 films. She got Cancer and died sometime in or around 1947. Not much information is available about her or her sister Tara/Tara Devi/Tarabai. Vithal Pandya, in his book mentions that in her last days, Tara stayed in Bombay slums and worked as extra in films in her old age.( Famous dancer Gopi krishna was her son) Sitara Devi, on the contrary,lived a famous,rich and majestic life, with several marriages. That’s life, anyway.

The Hero of the film was Ishwarlal, who was a fixture in Ranjit for 13 years. ISHWARLAL was born on 9-10-1911 at Ghanghaniya,Kathewar,Gujrat, as Ishwarlal Hariprasad Doshi.

He belonged to a Jain family. His father was in Police department at Kathiawar Agency. His father died when Ishwarlal was just 3 year old and mother raised him.

After Matriculation, he completed Teaching Diploma at the age of 16, but did not a job as he was underage.He came to Bombay, where his brother had some business, in 1927 to act in films. Ishwarlal was very handsome.

He got a job in Ranjit Studios. He started with silent films at a salary of Rs. 35 pm.His first Talkie film was Bhutiya Mahal-1932.Then came Char Chakram-32.He started acting and singing in films.Initially he sang only duets.Meanwhile,with Jwalamukhi-36,he became Hero.He sang many songs in Ranjit films,but the records are not available.Those days,not all songs of the film were recorded for commercial purpose.

In Billi-38,he sang a duet with Sunita devi and also in Aaj ka Hindustan.In Ummeed-41,he had a duet with Nurjahan.In Pyaas-41,he sang with S.Pradhan.

He got to sing a solo song for the first time in 1942 in Fariyaad. In Jabaan, under C.Ramchandra,he sang 7 songs.

Some of his films were-
Diwali, Dheeraj, Chandni, Bhola shikar, Nadira, Sitamgar, Veer babruwahan, Barrister’s wife, College kanya, Desh dasi, Keemti aansoo, Dil ka daku, Jwalamukhi, Sajni, Dil farosh, Adhuri kahani, Thokar, Holi, Pyar, Bansari Lalkar, Chirag, Us paar etc.

He worked in Ranjit for 13 years. Then he worked with Prafull pictures, Sun art, Wadia, Hind pictures and Atre Pictures also.

In 1945,he was the hero of Noorjehan in Badi Maa,but he had no songs, in fact his last songs were in Us Paar-1944. His singing stopped completely when Rafi gave him playback in film Sharbati Aankhen-45.

Then he did character roles in Subhadra,Mahasati tulsi vrinda,Sanskar,Naulakha haar,Khuda ka banda etc.

He acted in 86 films. He also directed 11 films. He sang36 songs in 14 films. His last film released was was kahani kismet ki-73
He was married in 1931 to a loyal wife kamalabai. They had no issues. Due to excessive smoking he contracted lung diseases and died on 22-1-1969 in Bombay.

With today’s song, film Manorama-44 makes its Debut on this Blog.

(Credits- Vithal Pandya’s books, Film Directory, Beetehuedin blog, Harish Raghuwanshi ji, HFGK and my notes )


Song-Taaron ki chhainyyaan mein jamuna kinaare(Manorama)(1944) Singers-C Ramchandra, Hamida Bano, Unknown male voice, Lyrics-Anjum Pilibhiti, MD-C Ramchandra
Chorus
C Ramchandra + Chorus

Lyrics

Taaron ki chhainyyaan mein jamuna kinaare
Taaron ki chhainyyaan mein jamuna kinaare
gaawe khushi ke geet gin gin
gaawe khushi ke geet
ho
jiyo raam jiyo
dhobi ke laal jiyo
ho jiyo raam jiyo
dhobi ke laal jiyo

ho ho ho ho

ho o o
dhobiyaa ko chahai
haan
dui dui mehariya
haan
dhobiyaa ko chaihai
dui dui mehariya
ek ghar aur ek ghaat
ek se mangaawen chiilam tambaaku
ek se mangaawen chilam tambaaku
ek se karihen preet
hilmil
gaawen khusi ke geet
ho
ho jiyo raam jiyo
dhobi ke laal jiyo
ho
jiyo raam jiyo
dhobi ke laal jiyo

ho ho ho ho

zulfon mein daal phoolinwa dhobiyaa
moonchhon pe daike taav
zulfon mein daal phoolinwa dhobiyaa
moonchhon pe daike taav
bainyya pakad mohe chhatiyaa lagaike
bainyya pakad mohe chhatiyaa lagaike
jobna liyo hai jeet
hamra jobna liyo hai jeet

ho jiyo jiyo raam jiyo
dhobi ke laal jiyo
ho jiyo raam jiyo
dhobi ke laal jiyo

ho ho ho ho

taas mein jeete nahile ko dahila
dahile ko jeete ghulaam
haan
taas mein jeete nahile ko dahila
dahile ko jeete ghulaam
hamri ?? bitiya re tori
hamri ?? bitiya re tori
?? ne li hai jeet
haay raam
?? ne li hai jeet
ho

jiyo
ho jiyo raam jiyo
dhobi ke laal jiyo
ho jiyo raam jiyo
dhobi ke laal jiyo

ho ho ho ho

na main maangoon kotha atariya
na kuchh maangoon aur
na main maangoon kotha atariya
na kuchh maangoon aur
godi mein dhobiya ke hamre gosainyya
godi mein dhobiya ke hamre gosainyya
jaaye umariya beet
hamri jaaye umariya beet

ho
jiyo jiyo raam jiyo
dhobi ke laal jiyo
ho jiyo raam jiyo
dhobi ke laal jiyo

ho ho ho ho


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3710 Post No. : 14637

“Wo Zamaana”(1947) was directed by Manibhai Vyas for Ranjeet Movietone, Bombay. This “historical” movie had Khursheed (Junior), Lalita Pawar, Altaf, Padma Bannerji, Subhadra Devi, Sheikh Hasan, S N Tripathi, Pt Iqbal, Joshi, Ramswaroop, Nafeez Khalili, Kaabuli, Iqbal Hussain, Ibrahim, Bhupatrai Ojha etc in it.

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

Here is the third song from “Wo Zamaana”(1947) to appear in the blog. This song is sung by Mohantara Talpade and Rati Kumar Vyas. Pt Indra Chandra is the lyricist. Music is composed by Bulo C Rani.

Only the audio of this rare “expression of love” song is available. I request our knowledgeable readers to throw light on the movie as well as on the picturisation of the song.

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

With this song, Rati Kumar Vyas makes his debut in the blog as a singer. I request our knowledgeable readers to throw light on this singer.


Song-Ho saloni naari tere roop ka jagat bhikaari(Wo Zamaana)(1947) Singers-Mohantara Talpade, Rati Kumar Vyas, Lyrics-Pt Indra Chandra, MD-Bulo C Rani

Lyrics

hey ae ae ae ae
ae ae ae ae ae ae
ae ae ae
ae ae ae
hey ae ae ae
saajan to teekha bhala
ae ae
jyon barse talwaar
ae ae ae ae
paani jiska dekh kar
haaye chhup jaaye sansaar
ae ae ae ae
ae ae ae

ae ae ae ae
ae ae ae ae
ae
naari to baanki bhali
jaise dhanush kamaan
ae ae ae ae
tirchhe chitwan
baan pe ae
ae
isi se karat nishaan

o o o
saloni naari
tere roop ka jagat bhikaari
tere roop ka jagat pujaari
o o o
saloni naari
tere roop ka jagat bhikaari
tere roop ka jagat pujaari
jab se geet sunaaya tumne
jab se geet sunaaya tumne
pad gayi koyal kaali
kaali
kook kook kar
kook kook kar
deti tujhko
?? adharon se gaali
gaali
manhaari
matwaari
tere roop ka jagat bhikaari
o o o
saloni naari
tere roop ka jagat bhikaari
tere roop ka jagat pujaari

kaliyon ka ras rang churaaya
kaliyon ka ras rang churaaya
bhav ?? uthhe man mein
man mein
nain raseele
nain raseele
dekh tihaare
hirni bhaagi van mein
van mein
balihaari
balihaari
tere roop ka jagat bhikaari
o o o
saloni naari
tere roop ka jagat bhikaari
tere roop ka jagat pujaari


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3708 Post No. : 14634

“Baabuji”(1950) was directed by Bhagwan for Udai Productions, Bombay. This stunt movie had Bhagwan, Leela Gupte, Baburao, Usha Shukla, Vasant Rao, Azeem, Jaani, Mirajkar, Zafar, Vitthalrao, Dhondu, Anmanta, Swami etc in it.

The movie had nine songs in it. Two song from the movie have been covered in the past.

Here is the third song from “Baabuji”(1950) to appear in the blog. This song is sung by Sulochana Kadam. Ehsan Rizvi is the lyricist. Music is composed by P Ramakant.


Song-Nazar se nazar lad gayi (Baabuji)(1950) Singer-Sulochana Kadam, Lyrics-Ehsan Rizvi, MD-P Ramakant

Lyrics

nazar se nazar lad gayi ee ee eeee
haaye raam
nazar se nazar lad gayi
jigar mein chhuri gad gayi haaye raam
nazar se nazar lad gayi
jigar mein chhuri gad gayi haaye raam

nasheeli teri aankhen hai be piye ae ae
nasheeli teri aankhen hai be piye ae ae
hamen zahar gairon ko amrit diye
hamen zahar gairo ko amrit diye
kisi ki nahin ban padi deed(?) kiye ae
pilaane par jab ad gayi
jigar mein chhuri gad gayi haaye raam
nazar se nazar lad gayi

hansi wo sharaarat ki hansne lage ae ae
hansi wo sharaarat ki hasne lage ae ae
gade(?) bachne waale bhi hansne lage
gade(?) bachne waale bhi hansne lage
bichhe jaal sau phande kasne lage ae
girah aur bhi pad gayi
jigar mein chhuri gad gayi haaye ram
nazar se nazar lad gayi


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3707 Post No. : 14633

——————————————————————–
Discussion on economics-2
——————————————————————–
Any Government, no matter what kind it is (Democratic, autocratic, Kingdom etc) needs money to function.

Government incurrs two kinds of expenditures:
1. Mandatory expenditures- on salaries of government staff, pensions of retired staff, debt servicing on loan taken etc.

2. Public administration, law and order, welfare activities, infrastructure development.

Money for all these comes from taxes, and if taxes are not enough, from borrowings (loans). It is desirable that most amount required for government is collected through taxes and not through borrowings.

Government collects money mainly though taxes. If country makes good progress (typically measured as GDP) then the government benefits through tax. But then how much tax gets collected depends on tax structure of a country as well as on the tax compliance of the country.

In general, higher the GDP, one would expect higher amount of tax collection for a country. But two countries with similar GDP can have collection of different amount of taxes. For instance, France and India have similar GDP. But their tax collections and accordingly their national budgets are different.

CIA factbook figures- from 2017 shows that

Comparison parameter India France
GDP (nominal) $ billions 2611 2584
Percentage of Tax collection to GDP 9.4% 56.2 %
Budget- Revenue $ billions 229.3 1446
Budget- Expenditures $ billions 330.3 1515
Budget deficit in % of GDP 4.1 2.7

Thus we see that India and France have similar GDP, but the revenue collected through taxation etc in France is more than 50 % of GDP whereas India was not able to collect even 10 % of GDP as revenue. So the advantage of such a large GDP could not be made use of by Indian Government. This is food for thought for those in India who do not pay taxes or underpay taxes and then blame government for not doing anything/ enough for them. Government can work to fulfill public aspirations only from the money that they receive as revenue. If Indian Government received as much in revenue as France receives then India would develop at an enormous rate and many public “grievances” would get addressed promptly and effectively.

Indians are used to receiving subsidies instead of paying for the goods/ services. While it may make them feel good on short term basis, these subsidies do not come for free. They are far more costly for the national economy that if we simply paid for the service without availing subsidy.

Let me illustrate my point by the example of petroleum prices which is a “burning” issue in India at present. Opposition parties are telling that the government is harrassing public by not reducing oil prices and so the government is anti people.

Let us examine the issue in some detail.

India imports crude oil and then refines it in refineries of oil companies of India. These refined products are then offered at retail outlets for sale. Though GST regime had come in existence in India but petroleum products are so far kept out of its ambit. So Petroleum products have the same old taxes as before namely excise duty which is levied by Central Government on oil companies and VAT which is levied by state governments at sales outlets.

So, the prices of petroleum products in India are determined mostly by taxes namely excise duty and VAT.

We have seen above that the tax collection in India is abysmal. Direct tax (viz Income tax and corporate tax) is paid by just one percent of population whereas indirect taxes (earlier there were so many of them, now just GST is there) traditionally yielded very little because most of indirect taxes were evaded and they never reached the coffers of the government.

Keeping all this in mind, Governments (Central as well as states) have deliberately kept Petroleum products out of GST and the same old taxes have been kept on them. This is one source of revenue, which unlike Income tax and other indirect taxes cannot be evaded and so it forms a very good chunk of revenues for Central as well as states.

If crude price goes up, then domestic prices are raised. If on the other hand, crude prices drop then domestic prices are not lowered. The additional revenue that accrues to governments when prices are low are plowed back into all these infrastructure and welfare works that are taking place all over the country. As long as this tax money is going for nation building and other essential activities then one should not mind it too much.

Let us examine what happens when Government decides to keep the prices of petroleum prices down artificially despite crude price skyrocketing. It basically means giving subsidy of that amount. Money for subsidy has to be raised from somewhere.

Let us examine the populist actions and their repercussions.

Government decides to lower the price by say Rs 10 and so gives a subsidy of Rs 10 per litre namely it reduced excise duty by Rs 10.

From where this Rs 10 will get compensated ? As discussed above, from tax collected, failing which borrowing. We have already seen what poor tax collection we get in India, so that leaves borrowing as the only option.

Steps Government Action Action for compensation Economic/ Market reaction
ONE Give subsidy Take loan to compensate for the loss Current Account Deficit goes up
TWO Borrow money from market Money borrowed from market by Government Fiscal deficit goes up
THREE Revenue earned in future to be used for repaying debt Money that should have been used for infrastructure/ public works going instead towards loan repayment Interest rate goes up
FOUR External trade gets affected adversely Import increases and export falls Trade deficit goes up
FIVE Rupee weakens Import becomes costly Rupee gets devalued
SIX Foreign currency gets stronger Foreign currency becomes costly and scarce Foreign currency reserve falls affecting imports
SEVEN High Fiscal deficit sends adverse signal to FII (Foreign institutional investors) FII withdraw their money Share market falls and market sentiment becomes negative
EIGHT Foreign capital exits the market Foreign capital becomes scarce Growth of economy slows down

I have stopped at step eight. There are other steps as well that becomes more and more catastrophic. Providing subsidy is akin to taking loan and that too a hefty loan and we keep repaying this loan back for many years and even decades. A good part of revenue earned by the government goes into loan repayment instead of going into useful infrastructure/ welfare work.

Giving subsidy instead of charging for it has cost the nation heavily and the public (who themselves demand these subsidies) themselves have to bear the burden in future.

One question that gets asked it, how did the previous government keep petroleum price in check despite high crude price. Answer- by taking the easy way out viz by providing subsidy. The nation and the public paid heavily for it for years.

Here is how it worked out.

One barrel of crude oil was $130. The government became hell bent on keeping the domestic price low. They gave heavy subsidy and compensated by borrowing money in the form of Oil bond. It caused Fiscal Deficit to rise.

That oil subsidy caused fiscal deficit and that led to interest rise, causing slump of business activities, this in turn led to inflation. The credit rating agency Moody threatened to downgrade India’s credit rating which shows that Foreign investors had lost faith in Indian market.

And all that just because of this populist decision of trying to keep the oil price down through subsidy.

One of the present day oil price rise protester, who was on the PM chair at that time, addressed the nation at that time on 4 june 2008 and he had this to say while providing oil subsidy-

“I would like the nation to remember that issuing bonds and loading deficits on oil companies is not a permanent solution to this problem. We are only passing on our burden to our children , who will have to repay this debt.”

So, those who had no guts to stand up in national interest ten years ago are today demanding that the present government show the same spinelessness that they showed during their time in power.

The Oil bond (viz the loan that they took to pay for oil subsidy) was not for a small amount. It was a hefty amount of Rs 2 lakh crore ($26 billions) and it had to be repaid in future. The present Government repaid it out of the foreign exchange reserve. Just imagine ! That previous government left the burden of this $26 billions loan on future governments and future generation of Indians. This amount, which could have financed lots and lots of infrastructure/ welfare works just went away as repayment of unnecessary loan. To put things in perspective, $26 billions is a bigger amount than what a neighboring country, which is in financial dire strait, is desperately looking for from IMF.

So in summary, I would say that the decision not to reduce oil price is in national interest. It is what is Fiscal discipline is all about. I would like all governments to show the same guts in standing firm in national interest. Fiscal discipline has had a salutary effect on Indian economy. Today inflation is down at around 5 % mark from the usual 10 % mark during oil subsidy days. Current Account deficit is 2.4% from a high of around 5 % in the past. Fiscal deficit, which is an indicator of financial health of the nation, is now 3.2 % of GDP (from past figures of 4.5 % of GDP) which is unprecedented for Indian economy. Foreign exchange, despite weakening rupee is at nearly at an all time high. There was a time when India had to approach IMF and had to pledge their gold to them to borrow a sum of $ 2 billions. Today, with a foreign reserve in excess of $400 billions, $2 billions is small change for India.

Squandering public money on populist activities is an act of gross fiscal indiscipline and its consequances can be devastating. There are examples of countries that were destroyed because of populist policies. Argentina, which used to be an advanced economy till 1950 came under the rule of a populist regime and then military dictatorship which destroyed its economy and that economy lies destroyed even today, with that country looking for an IMF bailout package repeatedly, including at present. Then there are other examples as well, viz Greece, Portugal, Ireland, Cyprus etc. Why look at foreign examples. Even Indian economy lay in ruins in 1990 as a result of fiscal indiscipline for three decades, that forced India to approach IMF for bailout in 1991. A nation that felt stung and humiliated before IMF took up the path of liberalization of economy. Some tough and brave decisions by that government and subsequent governments set India on the path of economical recovery and prosperity.

Instead of being misled on trivial issues by people with selfish motives, we should find out real facts about important issues on our own, instead of blindly believing whatsapp forwards that often originate from people with malicious motives. I have seen whatsapp forwards that “informed” us that oil price in India was the highest while is was very low in Pakistan, Nepal etc. The question to be asked is- do you know the condition of public services in Pakistan and Nepal? Pakistan does not have electricity half the time and their electricity tariff is the highest in the world. Their electricity changes are Rs 16 to 20 per unit. In India it is Rs 4 per unit. Are Indians prepared to pay electricity charges that Pakistanis pay ? In India 10000 pairs of trains run daily and a population equal to that of Australia is travelling on IR at any time. In comparison only about 300 trains run in Pakistan and only a population of 1.8 lakh (equal to population of a small town like Khandwa or Ganj Basoda) is travelling in Pakistan Railway in one day. In India, 3.3 lakh people fly by air daily ! In Pakistan only 6600 passengers fly by air in one day. India have the cheapest internet service in the world which is reasonably fast for the price. Many useful services like Railway and airlines reservations, banking services etc are already accessible on internet. Would Indians be ready to have the kind of internet that Pakistanis “enjoy” ? What about law and order ? Providing all these services takes money, and that money comes from taxes. If you provide petrol at subsidised prices that Pakistan and Nepal apparently do then you end up starving your public services with the result that your public services are of poor quality and/ or non existent.

India should compare themselves with China and there we find that the Chinese petroleum prices are similar to Indian prices.

I, as someone who has as much a stake as anyone else in the country, including politicians, would like all my governments to stand firm and gradually dismantle all subsidies. I would also want the tax collections in the country to come at par with advanced countries. All advanced countries collect atleast 25 to 30 % of their GDP as taxes and that is how they are able to finance their government spendings through taxes without needing to take loans. People not paying their taxes and expecting government to give them freebies/ subsidies, that can only be counterproductive. People who do not perform their duties should not expect any free favours. Nothing is free in this world. Someone has to pay for the services that some people may be availing for free or at subsidised rates. It is better if everyone pays for the services he /she is availing.

In brief, one has to make “sacrifices” if one wants to have a better and more prosperous future. If one looks around, one can see infrastructure works going on all around in areas like roadways, railways, ports, waterways, metros, Airports. Then there are welfare works like Pradhan Mantri Jeevan Jyoti Bima Yojana, Pradhan Mantri Suraksha Bima Yojana, Ujjawala, Ujaala, Jan Dhan Yojna, Pradhan Mantri M Jan Aushadhi Kendra etc. If taxes paid by us in various forms (including taxes on petroleum) are going for building infrastructure as well as for helping the poor sections of society, then where is the problem. I in fact would feel happy that my taxes are helping the nation grow visibly. What is there to feel aggrieved about ?

Instead of feeling aggrieved about petroleum prices that are not within our control because they are imported, we should on our own try to reduce our dependence on fossil fuel and look for alternative sources of energy that would be within our own control. Government is making long term plans to reduce our dependence on fossil fuel. We may not have notice it, but solar energy is being aggressively promoted. India is rich is sunlight and so we will be self sufficient in solar energy. Today it may only be supplying 2 % of our energy needs, but before we blink our eyes, we will find as much as 50 % of our energy needs being met by solar energy by 2030. That will reduce our dependence on fossil fuel a great deal and oil prices will become a non issue.

“Durga Pooja”(1954) produced by Dhirubhai Desai and his son Sharad Desai and directed by Dhirubhai Desai for Sharad productions, Bombay. The film had Trilok Kapoor, Shahu Modak, Nirupa Roy, S N Tripathi, Kamal, Indira Bansal, Prabha Shanker, Yashodhara Katju etc in it.

The movie had ten songs in it. Two songs have been covered in the past. Here is the third song from “Durga Pooja”(1954) to appear in the blog. The song is sung by Asha Bhonsle. Bharat Vyas is the lyricist. Music is composed by S N Tripathi.

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

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


Song-Mera ho balidaan (Durga Pooja)(1954) Singer-Asha Bhonsle, Lyrics-Bharat Vyas, MD-S N Tripathi

Lyrics

mera ho balidaan
mera ho balidaan
mera ho balidaan
mera ho balidaan
mere jeewan ke badle mein
miley kisi ko praan
mera ho balidaan
mera ho balidaan

uthho sakhi mere aansu
ro ro kar tumhen uthhaayen
aaj tumhaare charnon par
ye apne praan chadhaayen
sakhi ko miley suhaag amar
aur mera ho balidaan
mera ho balidaan
mera ho balidaan
mera ho balidaan

pati ke dukh mein dukhi rahe
wo bharat ki sannaari
swaami ko jeewan de wo
ji uthhe raajkumari
iski maut mujhe
mera jeewan ho is ko daan
mera ho balidaan
mera ho balidaan
mera ho balidaan

sachhi meri prem saadhna
sachhi pati Vrat??
sachha mera prem(??) agar hai
sachhi pati sang preet
sachhi hai yadi durga maiyya
to mujhko ye var de
pati sewa ke badle
meri ?? ko kar de
hey jagdambey hey ambey
do yahi mujhe vardaan
mera ho balidaaan
mera ho balidaaan
mera ho balidaaan


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What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over TEN years. This blog has over 14600 song posts by now.

This blog is active and online for over 3700 days since its beginning on 19 july 2008.

Total number of songs posts discussed

14646

Number of movies covered in the blog

Movies with all their songs covered =1147
Total Number of movies covered =4000

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