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

Archive for the ‘G M Durrani song’ Category


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:

4352 Post No. : 15666

Today’s song is from the film Kaneez-49. The film had 12 songs. 11 songs are already posted. This is the last song of the film to be discussed here.

HFGK mentions mukhada of this song as ” Dil bechane nikla hai”, sung by Durrani and Rajkumari. There are at least two uploads of this song on YouTube. One is from our Sadanand Kamath ji and the other is from Saregama company. In both uploads, the first line is missing and the song starts as ” dil le lo, dil le lo”. However in the Saregama upload,, in the end , the words are ” dil bechane nikla hai, dil ka saudagar, dil le lo dil le lo”, confirming that this is the same song as mentioned in HFGK. As such, Girdharilal Vishwakarma ji has uploaded this song on Surjit ji’s site, from his record. So, there is no doubt.

Film Kaneez-49 has an interesting history of its making. As per an advertisement in a film magazine, this was first being made with a title of ” Tehzeeb”, by producers S A Shah and Krishan Kumar, for their Carvaan Pictures. It was to be directed by K D Mehra. Shatir Ghaznavi wrote the dialogues and lyrics. Due to the partition announcement. Krishan Kumar shifted to Bombay, with the incomplete film. After the partition, with a new set of actors, the film was redone and titled ‘ Kaneez ‘. Remaining dialogues were written by Hasrat Lucknowi. This time Krishan Kumar himself directed the film and released it in India and Pakistan. The film was a Hit.

Besides director Krishan Kumar, there were 2 MDs- Ghulam Haider and Hansraj Behl. Four lyricists wrote the songs. The cast of the film was Shyam, Munawwar Sultana, Urmila,Kuldip Kaur, Cuckoo, Ramayan Tiwari, Ramesh Sinha and others.

The shooting of Kaneez was in full swing in 1948 at Shrikant Studios. On another floor of that studio, a stunt film of Master Bhagwan was being shot. Isak Mujawar, Film Historian, has described an incident of that time, in his book on Master Bhagwan-” Ek Albela “. Actor Shyam was very friendly with Master Bhagwan. In those days, Shyam had grown very close to M.Sultana. One day, during a shooting break, shyam and Munawwar met Bhagwan and said,” I am very keen to work in your film”. Bhagwan smiled and said,” Before that, you must see the shooting of my films. After that, let us see what will be your decision.”

Accordingly, the next day Shyam and M.Sultana went to see the shooting of the film ” Laalach “,made by Bhagwan. The scene was Baburao pehelwan fighting with 5-6 goons, on the balcony of a house. The scene started and after some time Baburao got a hit from one villain and he slipped, falling on the ground floor where a glass table was kept. On impact, the glass table broke. There was a loud noise, commotion and shouting. Shyam and Munawwar shouted in fear and ran out of the studio. Such accidents were common to Baburao.After treating his bruises and cuts, Baburao started the fighting scene again. Shyam and M.Sultana came back to inquire about the actor’s fate. They were shocked to see him doing the fighting scene. On asking, Bhagwan told Shyam, ” In my films, such accidents are a common thing. And yes, you said you want to work in my films, isn’t it ?” Shyam said,” No , No, who wants to die doing stunts ?”. Bhagwan told him,” Be happy in doing Love scenes and singing songs in your films”. By a turn of fate, with 2 year’s time Shyam died doing a stunt for film ‘Shabistan’-51 !

In the cast, you will see Cuckoo. In those days, Cuckoo was an attraction in any film. Both Azurie and Cuckoo were in great demand. Cuckoo Moray, (4th February 1928 – 30th September 1981) was an Anglo-Indian dancer and actress. Cuckoo was the queen of film dancing in Hindi cinema of the 1940s and 1950s. Though unfamiliar in name, she was known as the “rubber girl” of Hindi cinema and her talent made cabaret dancing a must in the Bollywood films during the 1940s and 1950s. She could acrobatically bend her body at great length.

Cuckoo started appearing in films from the mid forties. She started as a child artiste. Her first film was Anjaan-41. She was seen as a background dancer in film Meghdoot-45. Cuckoo made her screen debut in the film Arab Ka Sitara in 1946. Soon after, in Sona Chandi-46, directors and greater audiences noticed her dancing abilities for the first time. One of her dances in film Parwana-47 with suggestive lyrics to the song was considered vulgar enough to get banned from the film. Then, the turning point in Cuckoo’s career was in Mehboob Khan’s films. Her dance number in his film Anokhi Ada (1948) established her as the lead dancer of the era and in Andaz(1949), a romantic drama starring Nargis, Dilip Kumar, and Raj Kapoor, gave the dancer an opportunity to display her acting skills. In Mehboob Khan’s 1952 technicolor film Aan, which was her first colour film, she had a brief cameo in a dance sequence. She only appeared in 2 colour films in her career- Aan & Mayurpankh. She would charge Rs 6,000 for a dance number, an enviable fee in the 50s.

Usually she is credited with bringing into films 2 Anglo Indian brothers Tony (Krishna kumar) and Robert (Surya kumar). However, Azuri later claimed that it was she who brought them into films from an orphanage and trained them. Dancers first, both became Choreographers of repute later.

Cuckoo remained the best dancer in Hindi films until dancers such as Helen and Vyjayanthimala came into the industry. Cuckoo was a family friend of the Anglo-Burmese dancer and actress Helen. She was also known for helping unknown actors get their break in Bollywood, such as Pran in Ziddi. Cuckoo had introduced a 13-year-old Helen into films as a chorus dancer in films such as Shabistan and Awaara (both 1951). Cuckoo and Helen most notably appeared in song and dance sequences together, such as in Chalti Ka Naam Gaadi(1958) and Yahudi (1958). Her last film appearance was in Mujhe Jeene Do in 1963 after which, she had disappeared from the film industry. She was a Heroine in the film Sona Chandi-46, under the name Kishori, but due to her faulty Hindi and pronunciation, she could not continue as a Heroine. She appeared in 155 films and 67 songs were shot on her.

Cuckoo, the legendary cabaret queen of Bollywood was one of those film stars who lived ostentatiously, spent extravagantly and died broke and penniless. Her three cars (one for her use, one for taking her dogs for a drive, and the other often used to summon protege Helen to play with her sister), her flats and whatever jewellery she had, were all taken away because the dancer had evaded income tax. She would charge Rs 6,000 for a dance number, an enviable fee in the ’50s. Cuckoo died of cancer at the age of 52; during her last days she could barely afford to buy painkillers. “She never thought of security, of tomorrow,” Helen recalls. “But what a tremendous lady she was! There wasn’t even a tear in her eye, even when the roles stopped, when the money disappeared. Instead she’d joke about her plight. Some actors did help but it was too late, much too late.”

Cuckoo died on 30 September 1981 due to cancer at the age of 53. She was forgotten and unattended by the film industry at the time of her death. (adapted from wiki, MuVyz, book ‘Edwina’ and cineplot).

Today’s song (despite the missing first line) is a good duet by G M Durrani and Rajkumari. Sadanand ji opines that the female singer is Shamshad Begum. With this song film Kaneez will be ‘ Yippeed ‘, with all its songs covered.

(I thank Sadanand Kamath ji for information about the film’s original avatar).


Song-Dil bechne nikla hai dil ka ik saudagar (Kaneez)(1949) Singers- G M Durrani, Unknown female voice, Lyricist- Shatir Ghaznavi, MD- Ghulam Haider
Both

Lyrics

dil le lo
dil le lo
dil le lo
dil le lo

o o o o
thahar saudaagar
aisa dil main khoj khoj ke haari ee
thahar saudaagar
aisa dil main khoj khoj ke haari
jo dil preet mein jalna jaane
uspe sadqe waari
jo dil preet mein jalna jaane
uspe sadqe waari

dil ka sauda karne waali
mushqil hai ye kaam kaam
mushqil hai ye kaa aam
dil ka sauda karne waali
mushqil hai ye kaam kaam
mushqil hai ye kaa aam
par aise de doon (??)bhi kya hai
dogi kitne daam
par aise de doon (??) bhi kya hai
dogi kitne daam
o o dil waale
iske badle pooraa kar doon
tere prem ka sapna aa aa
o o o dil waale
iske badle pooraa kar doon
tere prem ka sapna aa aa
tan bhi doongi
man bhi doongi
jeewan doongi apna
o o
tan bhi doongi
man bhi doongi
jeewan doongi apna

aa aa aa
?? jhoothhi aasha
sachchi teri preet
dil ki baazi naqda naqdi
jeet gayi tu jeet
main teri main teri baalam
tu mera tu mera aa

ham tum donon yoon mil jaayen
jaise saanjh sawera
ho o o
ham tum donon yoon mil jaayen
jaise saanjh sawera

ab meri jabaan pe na aayega
kabhi dilbar
ab meri jabaan pe na aayega
kabhi dilbar
dil bechne nikla hai
hai ik dil ka saudaagar
dil le lo o
dil le lo
dil le lo o
dil le lo


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

Blog Day :

4315 Post No. : 15597

Today’s song is from Dolti Naiya-1950. This film was made by Shaan E Hind Pictures, Bombay. It had music by Pt.Ram Prasad Sharma. The film’s 10 songs were written by a record number of 8 Lyricists and were sung also by 8 singers. In those days, it must have been a record, I guess. The cast of the film was Amarnath, Nigar Sultana, Shyama Dulari, Veena Kohli, Cuckoo, Bhudo Advani, Mukri, Mirza Musharraf, Munshi Munakka and others.

When I was in school, every year a “Self Governance Day” used to be celebrated in our school. I do not know whether this was a practice elsewhere. On this day selected senior students of class 12th standard used to run the school. Head Master, Supervisor, Sports teacher, Teachers and even Peons’ roles were done by the students themselves. When I reached 12th standard, I was very eager to become a Teacher on this day. I was made a teacher of English language of 7th standard and was given a lesson to be taken on that day. All students looked forward to run the school and become teachers on this day.

I think, this feeling of ruling or being in authority is in every field as a dormant wish. A Clerk looks forward becoming a Manager and a Manager wants to become General Manager. An MLA wants to become an MP and MP wants to become a Minister. Film industry is not too different. Every actress wants to become a Heroine, and actors dream of becoming Director some day. There are several examples when all this has actually happened.

Many successful and famous actors have tried their hand at being a Director of a film ( conversely, many directors also were eager to act in a film. Even such examples are there). Few examples of some actors directing films are Dev Anand-19 films ( he takes the cake), Shammi Kapoor-2 films, Balraj Sahni-1 film, Rajesh Khanna-1 film. Even Comedians like Asrani-5 films and Deven verma-4 films are into this. The case of comedian Radha kishen, who produced a film and when it flopped due to delay and loans mounted, committed suicide.

Some examples of old time actors are Prem Adib-1 film, M.Kumar-2 films, Shahu Modak-1 film. Among actresses, from Fatma Begum-8 films to Hema Malini-4 films, examples are less. Surprisingly, leading actors like Amitabh Bachhan, Dilip kumar, Sanjeev kumar etc never went this way. I wish Dilip kumar had become a Director openly rather than making his directors’ lives miserable by interfering in their work, as a nasty habit.

Mirza Musharraf was a comedian of old times. Though he was successful as an actor, he too wanted to become a Director. Today’s film Dolti naiya-50 is his attempt at directing a movie.

In my quest for information on old time actors and other artistes, I came across many good and some not so good experiences. When I first interviewed Ramesh ji, Bhudo Advani’s son, he told me that their family friend Mirza Musharraf’s daughter also stayed nearby. I took her address and reached her house. Her husband did not allow me to meet her, as they were Muslims, and perhaps because it was my first visit to them. When I explained what I wanted, he expected some money. I told him that this is my hobby and I do not do this for money, he was very skeptic. However, after my persistent visits to him,he relented. Her husband, Mr. Muneer Khan,( now deceased) ex production manager of Firoze Khan, gave me some information.

The name of MIRZA MUSHARRAF AGHA may not ring any bells in the newer generation, as he was a comedian in the 30s and 40s-till the late 60s.
During the 30s and 40s there were quite a few real comedians, who regaled the audiences with their humour. Comedians like V.H.Desai, Ghory and Dikshit (the jodi like Laurel and Hardy),Mirza Musharraf, Bhudo Advani, Noor Mohd.Charlie, Yakub (he had travelled to 15 countries including UK and USA,before joining films) and Gope, Fatty Prasad and Durga Mota were much in demand for comic roles in the films.With the times,one by one,all went behind the curtains, giving way to newer set of comedians like Bhagwan, Sunder, Radhkishen, Mukri, I.S.Johar, Majnu,etc. Nowadays, of course, Comedians have disappeared from films, because almost everyone in a film does Comedy, these days.

Artistes fading away is a natural phenomena, but out of the above comedians, the end of Durga Mota was very pathetic and touching.
Durga Mota or Durga Prasad was very fat and this fatness which fetched him name and fame in the industry also became the cause of his death. In 1947,there were riots everywhere. Durga was in Lahore. He wanted to come back to India like other thousands.He came to Lahore station and boarded the train. Just then a frenzied mob came to the station and started killing the passengers. People ran helter skelter and saved themselves, but due to his fatness Durga Mota could not run and he was slaughtered on the station of Lahore itself.

Mirza Musharraf was born in a sophisticated educated family, on 12-6-1912, at Shujanabad-Punjab. His father was an inspector of Police and claimed to be a scion of the Royal Mughal family. He matriculated from Lahore in 1930. He was keen on becoming a Journalist, so he worked in Daily Zamindar, Tariyaq and Shahid. He was a Nationalist, joined Congress and became Secretary of Lahore Congress committee. He was imprisoned but father got him released. He decided to change profession to films.

He got a small role of a party guest in film ” Qazak ki beti-37′, which was being made by one of his acquaintances in Lahore. His second film was Prem Yatra-37. These were uncredited and insignificant roles, but they gave his clever mind a good idea of film line and acting.

A R Kardar who was into films was known to him in Lahore. Kardar took Mirza to Calcutta. There he acted in film Milap-37. The Hero was Gul Hamid,who died in between and was replaced by Prithviraj Kapoor. Mirza also acted in film Mandir-37. When Kardar shifted to Bombay, he too shifted.

He was very fond of writing Lyrics.He came to Bombay to write film songs and was employed by General films.Those days educated persons were eagerly employed by film studios. He first wrote Lyrics for A.R.Kardar’s film “Baghbaan”-1938. This was the film in which K N Singh did his first role as a villain. In this period, Mirza got married also.

During shootings Kardar required an artist and Mirza was called to fill up the slot, as per the studio norms. Mirza had no dialogues, but he exhibited excellent use of facial expressions and comic timing.This actually killed his dream of becoming a lyrics writer, because after that he was made a comedian and got several films. As a comedian,Mirza worked from 1938 to 1972,working in over 400 films. His last film was Roop tera Mastana-1972, where he was credited. Later he made appearance in films like Pathar se takkar-80 and Anjaam khuda jaane-89 uncredited.

When he was on the peak of his career,a happy producer gave his Bungalow at Versova free to him for living.Though Versova was then quite far off and sparsely populated, Mirza lived there like a king.The marriages of both of his daughters took place there.

Mr.Sanjeet Narwekar-the famous Film historian/journalist writes in his book, The story of Hindi Film comedy,about Mirza”. His specialty was interspersing his Hindi dialogues with English words-quite a curiosity in the pre-independence days. He was almost a permanent with V.M.Vyas and played cameo roles in a fairly long career.” According to Saadat Hasan Manto in his book,stars of another sky, -whichever film he acted, he used to be the darling of the Heroes. He was particularly liked by Kardar, K.Asif and Rafiq Ghaznavi. In many films Mirza lip synched songs, but only in ONE film,he got to sing himself. That was the film Gharib ka laal-1939, in a duet. He also sung few lines in film Piya Milan-45 and CAPTAIN KISHORE-1957. He sang along with Mohd.Rafi and Tun Tun.

In one of the interviews Mirza gave to magazine Shama, in August 1981, he described some of his experiences in the film world. This interview is a part of the book ” Ye un dinon ki baat hai” written by my friend Yasir Abbasi. Here are few of his stories. In Bombay, he got to know Nazir-actor, director, producer and owner of Hind Pictures studios, and his nephew K.Asif (Mughal-E-Azam fame). Asif did no work, so Nazir opened a Tailor’s shop for him, but still he did nothing. His interests were different.

Mirza also came closer to director S M Yousuf. Mirza was present in his marriage to actress Nigar Sultana. Mirza describes how K.Asif eloped with Nazir’s wife (and his Mami- aunt) Sitara Devi. Asif later married Yousuf’s wife Nigar Sultana also. Still later Asif married Dilip kumar’s sister too. Asif was notorious in such matters.

Mirza knew Mohd. Rafi since Lahore days. When Rafi came to Bombay, Mirza introduced Rafi to many film people. Mirza claims that Rafi’s first Hindi recorded song was from film Kul Kalank-45, ” Topiwale Babu’ – a duet with Amirbai Karnataki. This song was shot on Mirza and Amirbai on screen. Rafi, it seems, got Rs. 75 for this song. Mirza acted in film Grihasthi-48, which became a Hit film, running for 105 weeks in Bombay. In a public poll, Mirza got a second prize for acting in this film (first was Yaqub) and he got a Gold medal of 3 Tolas. In his difficult days, Mirza sold it, says he.
There are many more anecdotes he describes, but may be some other time.

Mirza Musharraf died in 1991.

Film Industry is one industry which grew very fast. Firstly, there was no competition (except from AIR for entertainment) and secondly, joining this industry needed no special qualifications. Moreover, from the beginning, the ROI (Returns On the Investment) ratio was quite high,once you took care of few parameters like, good actors, good songs and a mix of Romance and Comedy !

Thousands of aspirants, the Good looking, the Bad looking and the Ugly looking rushed to Bombay, Lahore and Calcutta to try their luck. Tawaifs and stage artists had an easy entry, so was for the Handsome and Muscular bodied males.

The studio system took care of grooming its employees. Most people were hired without any specific job description. When needed, the script writer or the Lyricist had to act in the film, and Choreographer-Dance Master in those days-had to take up Direction- if needed. Artists graduated from menial jobs to important positions.That is how Choreographer Guru Dutt became a Director and a Hero, Lyricist and writer J.S.Casshyap became actor/singer, or Amiya Chakrawarty became famous Director from being the Canteen Manager in Bombay Talkies, Ashok kumar became Hero from being a Technician in Camera Department and an Extra working as one of the 40 thieves in ” Alibaba and 40 Thieves”-1929, became the Movie Mughal, Director Mehboob Khan.

Those times were different.Industry needed people in all departments. Heads of Studios were like expert jewellers. They knew how to nurture talents. Successful strugglers had empathy towards existing strugglers and gave them opportunity to showcase their skills. Studios got right persons for right jobs. Real Talents survived, rest disappeared.

There were many One timers, who acted in only 1-2 films, directed just 1 film, produced 1 movie, sung only few songs or gave music to only 1 or 2 films. Luck also played an important role. Artists seeking opportunities in Music Departments like singing and composing were many. Most got chances,few prospered.

But it is important to note that every One timer was contributing towards Industry’s growth. Like every drop makes an ocean, these one timers or short distance runners also gave their might to the industry. Those who disappeared after a short performance remained alive through their contribution on record. Hundreds of aspirants came to become Music Directors, only few made the grade, survived and the rest simply vanished.These short time passengers or composers had their time of glory too. Their songs were cherished but their names were forgotten.

Before I proceed further, can you tell me what is the common link in the following names ?

Pyarelal-Ganesh-Naresh-Mahesh-Anand-Gorakh

They are all brothers and sons of Pandit RAMPRASAD SHARMA. He is the Music Director of today’s film Dolti Naiya-1950.
.
Pt.Ramprasad Sharma, born in 1900, belonged to Gorakhpur in United provinces(today’s U.P.). Seeing his love for music, he was brought to Bharatpur State by the king’s bandmaster. He played Trumpet here, then played in Agra Military Band and ended up joining a Circus as a Band Master himself. He toured Delhi, Lahore and Calcutta ,where he settled for some time.He married a local Post Master’s daughter and also worked for Columbia and New Theatres. By now he was an expert in 10 instruments and knew all Ragas.

He came to Bombay in 1938 and played in many studios. His first film as MD was Nayi Baat-1947, then Taqdeerwale-48, Shakti-48, Bedard-49, Banu- 49, Anyay-49, Dolti Naiyya-50 and finally Magic Carpet-64.

His knowledge of Music was so deep that many Composers like,Kalyan ji, Roshan, Uttamsingh, Hridaynath Mangeshkar etc came to him to learn notations in which he was a master. Probably, having played as a Band Master helped him.Those days, very few musicians knew how to write music in Notations. This art was carried further by his another son Ganesh.

Despite his knowledge of music, he failed as a composer himself and worked/played for other Music Directors like Naushad, K.Dutta, C. Ramchandra etc. His trumpet playing in the famous song of Rafi ” Suhani raat dhal chuki” (film Dulari-1949) is unforgettable.

Pt.Ramprasad will be remembered by many composers as their teacher. His music was melodious, his Luck was not too kind on him, though.

His two sons Pyarelal and Ganesh became famous composers.

Pt.Ramprasad died on 22-8-1995 at Mumbai.

Today’s song is a very melodious one – as such, I like Durrani as a singer. He has sung one of the best songs of Hindi films, in my opinion (Neend hamari, khwaab tumhare-Nai kahani-1943). Pt. Ramprasad’s tune and music is just superb. To give such a music in 1950 was in itself an achievement. When I hear today’s song, I feel a similarity to Talat’s song ‘ Meri yaad mein na aansoo bahana” from film Madhosh-51. I may be wrong also. Alas, Film industry does not go by quality, it goes by measurable success in terms of popularity of songs. Whom to blame, music lovers or the industry ?
Enjoy the song.


Song- Meri zindgi bhi koi zindagi hai (Dolti Naiyya)(1950) Singer- G M Durrani, Lyricist- Zafar Malihabadi, MD- Pt. Ram Prasad

Lyrics

meri zindagi bhi koi zindagi hai
na dil mein umangen na lab par hansi hai
meri zindagi bhi

kiya hai muqaddar ne barbaad aisa
kiya hai muqaddar ne barbaad aisa
jidhar dekhta hoon nahin koi apna
jidhar dekhta hoon nahin koi apna
nahin koi apna
nazar ik zamaane se badle huye hain
meri zindagi bhi

mere dil ko hardam dukhaati hai duniya
mere dil ko hardam dukhaati hai duniya
tadapta hoon main muskuraati hai duniya
tadapta hoon mai muskuraati hai duniya
muskurati hai duniya
mujhe kis khata par saza mil rahi hai
meri zindagi bhi

sunaata raha laakh ghamon ka fasaana
sunaata raha laakh ghamon ka fasaana
kisi ne magar dard dil ka na jaana
kisi ne magar dard dil ka na jaana
dil ka na jaana
zamaane ne kab bekason ki suni hai
meri zindagi bhi koi zindagi hai
na dil mein umangen na lab par hansi hai
meri zindagi bhi


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

Blog Day :

4299 Post No. : 15558

Today’s song is from film Bharat Milap-1942. It is sung by G M Durani and the music is by Shankar Rao Vyas, for lyrics written by Pt.Indra.

Few years back, I remember, Dr. Surjit Singh ji had published a list of 7000 names of actors, who had acted in films from the beginning till up to the year 2000. He had found this list on a site which was no more existing. I had meticulously copied that list on my Laptop, in the year 2010. Since then, I have changed my Laptop 3 times and now I do not find this list with me anymore. God knows when it got deleted or was left out uncopied, sometime.

Of course, that is not the point at all. I wonder how so many people joined an industry which did not provide any security, nor did it assure continuous earnings. Leave aside the stigma of working in” films” in olden times, but this industry neither had permanent jobs nor a fixed income. Take a look at any film-Silent or Talkie-only a handful people were credited. Later in the Talkie films, this list became larger. One can see this in any volume of HFGK of 30s or 40s. But then, if you exclude the names which got repeated in films, the total list of actors may not cross 2-3 thousand,perhaps.

Barring the main and known actors, most other actors are not even identifiable for the general public. Names without faces! Such actors constitute the bulk of numbers in the industry. If you take a look at the cast of a film, more than half of names are unknown or known by only repeat value in many films. These names have no faces. Information about them is not available in any books. They remain only names, replaced by other names after few years. The extras or junior artistes who are seen on screens in many scenes, throughout the film are also members of the industry.

There are some groups on Fb, who have experts among them. These people keep on identifying obscure faces on screen scenes and name them. One glaring crusader in these specialists is M N SARDANA ji, who writes short notes about almost unknown actors seen on the screen as judges,lawyers, police inspectors, beggars, villain cronies and people in such insignificant roles. Hats off to him and people like SANDEEP PAHAWA ji, whose comments are lapped up by readers. I may be one of the dedicated readers of their notes and comments on Fb.

Like any other language, there are writers and authors in Marathi too, who write on old films and old actors etc from the vintage Hindi films. One such author calls himself ” Babu Moshoi “. His articles are published regularly in newspapers, magazines etc. He has written several books. His real name is Hemant Desai. Another such writer in Hindi and Gujarati is Vithal Pandya. I have many such books in my library. Through these books I get to know old actors and their information, sometimes. I get surprised at many names as I read about some names about whom I had never known. For example, do you know who did King Dashrath’s role in films Bharat Milap-42 and Ramrajya-43, or the role of Kanva Muni in film Shakuntala-43 ? Who was the actress in Kaushalya’s role in Ramrajya-43 or Ram Vivah-49 ?

This actor was I.T.Nimbalkar and this actress was Shanta Kothari (nee Shanta Kumari). These were artistes from Silent film era, spilled over the Talkie films. They started as Hero and Heroine, but shifted to character roles, as the time went by. In our film industry, such cases are not new. In fact such type of actors who remained practically unknown to later generations of audiences, were highly respected by film people during shootings. Their seniority and work was respected.

This is a very good practice in the industry, by directors and other actors to give respect to old timers. Raj Kapoor used to send his car to fetch Bhudo Advani for shootings of film Boot Polish scenes. Hrishikesh Mukherjee kept special chair for Master Shiraz, during the shooting of film Guddi. He also ensured to feature Shiraz in the film credits. These are only samples to stress what I have said. Not every such matter is published but it is a special feature of the industry.

I try to gather information on such unknown and forgotten artistes and write on them. Not everytime I am successful, but I have written about many such actors, directors, MDs etc. Some of them are Omkar Devaskar, Zunzar rao pawar, Ganapat rao Bakare, Shankar rao Vazare, Naseem Junior, Shamim Jr, Altaf, Urmila, Ranjana, kusum Deshpande, Vasant rao Thengadi, Jamshed ji etc etc. Today, we will know more about one such old time actor who was prolific and worked in films of Bombay and Calcutta.

I.T.Nimbalkar aka Indurao T. Nimbalkar ( he was always credited as only ‘ Nimbalkar ‘ in all films) was born on 6-12-1893, in Kolhapur state. This was the time Kolhapur was slowly developing as Kalapur (hub of arts) and the seeds of film making were being planted there. Baburao Painter, one of the original film makers had started his ” Maharashtra Film Company” on 1-12 1917.

Baburao, Damle, Fattelal etc were taught painting By Anandrao painter, who was an extraordinary painter of those times. All these people, along with V Shantaram, Keshavrao Dhaiber and few more also joined Baburao painter’s Maharashtra Film company. True that, film making had started even earlier in Maharashtra, but Baburao painter is credited with making films a form of art and spreading it on a larger canvas of India.

Indurao Nimbalkar grew up in this atmosphere in Kolhapur. He passed his Matriculation exam and also did a diploma in Printing. Nimbalkar was six feet tall and had a good physique. He was expert in riding, swimming and wrestling. He did 1000 sit-ups every day. Shahu maharaj, the king of Kolhapur encouraged all arts as well as development of lower castes. Arya Samaj had a ‘ Gurukul’ in Kolhapur. Impressed with Nimbalkar’s education and body, Shahu ji appointed him as Editor of the weekly ‘ Arya’ and secretary of Gurukul.

One day Baburao Painter, along with assistant V Shantaram visited his press and offered Nimbalkar a role in his proposed film Sairandhri. Shahu maharaj also permitted and encouraged him ,so Nimbalkar joined the film line. He was already famous due to his fiery editorials and now people came to see his shootings too. However, due to money shortage, the film did not complete. ( It was later made in 1919, but with different cast. V Shantaram made coloured Sairandhri in 1933 with Nimbalkar again).

Nimbalkar acted in many silent films like Baji Deshpande, Khazanchi (directed by Moti gidwani- England returned), Lanka, Kismet (directed by Baburao Patel) etc etc. After the closure of Maharashtra F. Co., Nimbalkar was invited by V Shantaram to do Vishvamitra’s role in its first Talkie film ” Ayodhya ka Raja” -1932, in Hindi and Marathi. After this, he did Jalti Nishani-32, Sairandhri-33, Maya Machhindra, Sinhagadh etc.

After this, Nimbalkar went to Calcutta on invitation and worked in films made by Radha Films, Laxmi Studios, Devdatta films and New Theatres. From 1934 to 1938, he acted in 12 Hindi films. He was provided a Bungalow, car with driver, servants etc. His son studied in local school there. Returning to Bombay he worked as an assistant director to Keshavrao Dhaiber for film ‘Nandkumar’, made by his Jayashree Films. Next 2 years he shuttled between Calcutta and Bombay. He did King Dashrath’s role in Prakash films’ Bharat Milap-42 and Ramrajya-43 in this period.

He was invited by V Shantaram for acting in his first film under banner of Rajkamal- Shakuntala-43. Nimbalkar did the role of Kanva Muni in it. He later also acted in Jeevan yatra, Subah ka tara, Parchhain, Teen batti char rasta, Toofan aur Diya, Z Z Payal baje. Earlier he did Aapki sewa mein, prarthana,Nal Damayanti, Seedha Rasta, Gokul, Apna Ghar, Maharathi karna, Seeta Swayamvar. He worked in pyasa, Mera Naam Joker, Amar prem etc etc. From 1928 to 1970 he acted in over 250 films.

His wife Sushila was also educated and looked after his home and children. She never visited any sets in her life time. Nimbalkar died on 17-1-1973 at Kolhapur. (Thanks to an article in book Chandraat-चांदरात by Babu moshoi)

Film Bharat Milap-42 was directed by Vijay Bhatt (12-5-1907 to 17-10-1993). The film was made under their own banner Prakash Films. Prakash Studios was built in 1934 at Andheri. The first film to be made there was ‘Actress’ (Bambai ki Mohini), written and produced by Vijay Bhatt. The famed torch of Prakash Pictures continued to shine over decades and in all, 64 films were produced in various genres, in black and white as well as colour.

Vijay Bhatt played an important role in the careers of some major stars. He was the person who gave Mehzabeen (Meena Kumari),the name Baby Meena.

He also gave her the first major heroine’s role in Baiju Bawra-52.Till then she did roles in B and C grade films. O K Dar Kashmiri was given the name ” JEEWAN “, when he did Narad’s role in Bharat Milap. Later he did Narad’s role in over 100 films. Suraiyya got her big singing role in Station Master-42. Manoj Kumar was made hero in Himalaya ki God mein-65.

Today’s song is from film Bharat Milap-42. This was a Bilingual film in Hindi and Marathi(as Bharat-Bhet). Main characters were Prem Adeeb as Ram, Shobhana Samarth as Seeta and Shahu Modak as Bharat. Durga khote was Kaikeyi, Vimla Vashishta was Manthara and Nimbalkar as King Dashrath.

The story of Bharat Milap is too well known and it is to the credit of Bhatt brothers that they kept the story line true to original,supported by several books and curators as well as scholars. This was the first major mythological film of Prakash and they did not spare efforts or money to raise spectacular sets, costumes and war scenes ( when Bharat is attacked by Nishad raja’s army).

It was a delight to see this film. There were no scenes of Miracles. I saw this film in its second run, sometime in the end of 40s, but the memories are still fresh. In fact this film became a benchmark for all subsequent mythological films, in my mind. Shahu Modak, who was Bharat in this film, was popular as Krishna in such films.

Editor’s note:-This song is the 200th song of Pt Indra chandra as a lyricist in the blog.


Song-Raam chale Raam chale ban chale Raam Raghuveer (Bharat Milaap)(1942) Singer-G M Durrani, Lyrics-Pt Indra Chandra, MD-Shankar Rao Vyas

Lyrics

Ram Chale
Ram Chale ae ae ae ae ae
ban chale Ram Raghuveer
ban chale Ram Raghuveer
ban chale Ram Raghuveer
kahaan Janaki Janak dulaari
kahaan Janaki Janak dulaari
kahaan laadla Lakshman re
kahaan laadla Lakshman re
jhoole thhe jo phool hindole
jhoole thhe jo phool hindole
aaj chale kantak ban re
aaj chale kantak ban re

ho gayi sooni
aaj Ayodhya aa aa
soona Saryu teer
soona aa aa Saryu teer
ban chale Ram Raghuveer
ban chale Ram Raghuveer
ban chale Ram Raghuveer

roko o o
koi roko o
rathh roko hey purwaasi
jaate hai punya pravaasi
hote hain kyun banwaasi
hote hain kyun banwaasi

gayi khushi ee ee
aur rahi udaasi

Ram ka rathh kya chalta hai
sab ko ye chakr kuchalta hai
Shree Ram ka rathh kya chalta hai
sab ko ye chakr kuchalta hai
Raghukul ka bhaagya badalta hai
Raghukul ka bhaagya badalta hai
ugta sa suraj dhhalta hai
ugta sa suraj dhhalta hai ae ae
praan chale hain sang Raam ke ae
soona pada shareer
soona pada aa aa shareer

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

राम चले
राम चले ए ए ए ए
बन चले राम रघुवीर
बन चले राम रघुवीर
बन चले राम रघुवीर
कहाँ जानकी जनक दुलारी
कहाँ जानकी जनक दुलारी
कहाँ लाडला लक्ष्मण रे
कहाँ लाडला लक्ष्मण रे
झूले थे जो फूल हिंडोले
झूले थे जो फूल हिंडोले
आज चले कंटक बन रे
आज चले कंटक बन रे

हो गई सूनी
आज अयोध्या॰॰आ॰॰आ
सूना सरयू तीर
सूना॰॰आ॰॰आ सरयू तीर
बन चले राम रघुवीर
बन चले राम रघुवीर
बन चले राम रघुवीर

रोको ओ ओ
कोई रोको ओ
रथ रोको हे पुरवासी
जाते हैं पुण्य प्रवासी
होते हैं क्यों बनवासी’
होते हैं क्यों बनवासी’

गई खुशी॰॰ई॰॰ई
और रही उदासी

राम का रथ क्या चलता है
सबको ये चक्र कुचलता है
श्री राम का रथ क्या चलता है
सबको ये चक्र कुचलता है
रघुकुल का भाग्य बदलता है
रघुकुल का भाग्य बदलता है
उगता सा सूरज ढलता है
प्राण चले हैं संग राम के
सूना पड़ा शरीर
सूना पड़ा॰॰आ॰॰आ शरीर


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 :

4279 Post No. : 15518

—————————————————————————
Blog 10-Year Challenge (2010-2020) – Song No. 17
—————————————————————————

When I look back on this day (5 april) ten years ago, this output of this blog had begun to go up. Four songs were covered on 5 april 2010 which was a 100 % improvement on two songs a day that the blog had got reduced to.

Following three sons were covered on that day :

Song Movie title-Year Remarks
Palat meri jaan tere qurbaan Aan Milo Sajna-1970 All songs covered
Duniya hamaare pyaar ki yoon hi jawaan Lahore-1949 08 of 10 songs covered
Bhool na jaana aaj ki baatein Waapas-1943 All songs covered
Door desh ka rahnewaala aayaa Jawab-1942 All songs covered

We can see that three of the movies whose songs were covered have already been YIPPEED during the past ten years. That leaves us with just one movie which qualifies to be discussed under “Blog Ten Year Challenge”.

This movie is “Lahore”(1949). “Lahore” (1949) was based on the aftermath of India’s partition following independence. This movie produced by Jaimini Dewan and directed by M L Anand for was Jaimini Dewan production. The movie had Karan Dewan, Nargis, Kuldeep, Pratima Devi, Gulab, Om Prakash, Randhir, Balakram, Urvashi, Ram Avtaar etc in it.

The movie had ten songs in it. Eight of these songs have been covered in the blog:-

Song Posted On
Bahaarein phir bhi aayengin 20.04.2009
Duniya hamaare pyaar ki yoon hi jawaan 05.04.2010
Toote huye armaanon ki ik duniya basaaye 12.08.2010
Sun lo sajan meri baat 10.11.2011
Wohi rota hua ek dil 06.05.2013
Ik aas badhaaye jaati hai 16.07.2013
Us dil ki kismat kya kahiye 04.06.2014
Bhagwaan kahaan hai 03.10.2016

That leaves us two more songs from the movie. Here is the ninth song from the movie. This song is sung by G M Durrani. Rajinder Krishan is the lyricist. Music is composed by Shyam Sundar.

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

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

Now just one song from “Lahore” (1949) is left to be covered. I have not been able to locate this song “Hum jahaan mein aaye hain aansoo bahaane ke liye” sung by Karan Dewanby > If our readers are able to locate this song then I request them to bring the song to our notice.

(audio)
Song-Hamne circus mein naukri kar li (Lahore)(1949) Singer-G M Durrani, Lyrics-Rajinder Krishan, MD-Shyam Sundar

Lyrics(Provided by Avinash Scrapwala)

Hamne ae
hamne circus mein ae
naukri ee ee
kar li ee ee
ho o o o o
hamne circus mein
naukri ee ee
hamne circus mein
naukri kar li ee ee
he he he
o
naa miley rozgaar
ho o
naa miley
naa miley
naa miley rozgaar joote se
ae ae ae
naa miley rozgaar joote se

ishq ke marz ki
dawaa ye hai
haan aan aan aan aa
ishq ke marz ki
dawaa ye hai
ae ae ae ae
ho pal mein utrey bukhaar
ho o pal mein utrey bukhaar
joote se ae ae ae
pal mein utrey bukhaar
joote se

nayi tehzeeb tera kya kehnaa
haan aan aan aan aa
haan aan aan aan aa
nayi tehzeeb
dha dha dha sa ga
ga dha
ga dha
ga dha
ha

(sargam ….)

ha ha
nayi tehzeeb
nayi tehzeeb tera kya kehnaa aa
aa aa

o jaan se jyaada pyaar
ho o
jaan se
jaan se
jaan se jyaada pyaar joote se
ae ae ae
jaan se jyaada pyaar joote se

gair se lift
lift
maang lenge ham
maa aa aa aa ang
maa aa aa aa
aa aa aang
maa aa aa aa aang
maa aa aa aa aang
maa aa aa aa aang
gair se lift maang lenge ham
hm hm hm hm

o naa sahi teri car
ho o
naa sahi
naa sahi
naa sahi
teri car
joote se
naa sahi
teri car
joote se

————————————-
Devnagri Script lyrics (Provided by Avinash Scrapwala)
————————————-
हमने ए
हमने सर्कस में ए
नौकरी ई ई
कर ली ई ई
हो ओ ओ ओ ओ
हमने सर्कस में
नौकरी ई ई
हमने सर्कस में
नौकरी कर ली ई ई
हे हे हे

ना मिले रोज़गार
हो
ना मिले
ना मिले
ना मिले रोज़गार जूते से
ए ए ए
ना मिले रोज़गार जूते से
इश्क के मर्ज़ कि
दवा ये है
हाँ आँ हाँ हाँ आ
इश्क के मर्ज़ कि
दवा ये है
ए ए ए ए
हो पल में उतरे बुखार
हो ओ पल में उतरे बुखार
जूते से ए ए ए
पल में उतरे बुखार
जूते से
नयी तहज़ीब तेरा क्या कहना
हाँ आँ आँ आँ आँ आ
हाँ आँ आँ आँ आँ आ
नयी तहज़ीब
ध ध ध सा
सा
ग सा ग सा
गधा आ
हे हे
(सरगम …)

नि नि सा
ग ग रे सा गा पा
गा अ…

नयी तहज़ीब
नयी तहज़ीब तेरा क्या कहना आ
आ आ
ओ जान से ज्यादा प्यार
हो ओ
जान से
जान से
जान से ज्यादा प्यार जूते से
ए ए ए
जान से
जान से ज्यादा प्यार जूते से
गैर से लिफ्ट
लिफ्ट
मांग लेंगे हम
माँ s s s s s s ग
माँ आ आ आ ग
माँ आ आ आ आ आ ग
माँ आ आ आ ग
माँ आ आ आ ग
माँ आ आ आ ग
गैर से लिफ्ट मांग लेंगे हम
ह्म ह्म ह्म ह्म
ओ ना सही तेरी कार
हो ओ
ना सही
ना सही
तेरी कार
जूते से
ना सही
तेरी कार
जूते से


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: 4276 Post No.: 15511

“Aawaara Shahzaadi”(1956) was produced and directed by Pyarelal for Hind Pictures, Bombay. This “social” movie had Meena Shorey, Daljeet, Johny Walker, Sheila Ramani, Malika, Sheikh, Habeeb, Radheshyam, Maqbool, Rajraani, Jillani, Azeem, Pal Sharma, Raju, Rajni, Heera Sawant etc in it.

The movie had seven songs in it. One song has been covered in the past.

Here is the second song from “Aawaara Shahzaadi”(1956) to appear in the blog. This song is a romantic song which is sung by G M Durrani and Geeta Dutt. Khawar Zamaan is the lyricist. Music is composed by Jimmy.

Only the audio of the song is available. My guess is that the song was picturised on the lead pair of Daljeet and Meena Shorey. I request our knowledgeable readers to throw light on the picturisation of this song.


Song-Ham tumse raazi tum hamse raazi (Aawaara Shahzaadi)(1956) Singers-G M Durrani, Geeta Dutt, Lyrics-Khawar Zamaan, MD-Jimmy
Both

Lyrics

hum tumse raazi
tum hamse raazi
bolo ji bolo ab kya karega kaazi
hey chhodo ji chhodo
ham nahin raazi
bolo ji bolo ab kya karega kaazi

pehle kyun tumne teer chalaaye
kyun leke dil ko mere saamne aaye
pehle kyun tumne teer chalaaye
kyun leke dil ko mere saamne aaye
aapki hai ye zarranawaazi
bolo ji bolo ab kya karega kaazi
hey chhodo ji chhodo
ham nahin raazi
bolo ji bolo ab kya karega kaazi

mushkil hai mushkil pyaar nibhaana
bachpan se seekha maine dil ka lagaana
mushkil hai mushkil pyaar nibhaana
ae jee
bachpan se seekha maine dil ka lagaana
nahin chalegi ye jaalsaazi
bolo ji bolo ab kya karega kaazi

hey
ham tumse raazi
tum hamse raazi
bolo ji bolo ab kya karega kaazi

tere liye main sab kuchh luta doon
kadmon pe tere apna sar bhi jhuka doon
tere liye main sab kuchh luta doon
kadmon pe tere apna sar bhi jhuka doon
dil bhi ha taza ulfat bhi taazi
bolo ji bolo ab kya karega kaazi
hey chhodo ji chhodo
ham nahin raazi
bolo ji bolo ab kya karega kaazi

jalti hai duniya jalti rahegi
ulfat ki gaadi apni chalti rahegi

achcha jee
jalti hai duniya jalti rahegi
ulfat ki gaadi apni chalti rahegi

hey hey
jeet gaye ham pyaar ki baazi
bolo ji bolo ab kya karega kaazi
hey hum tumse raazi
ham tumse raazi
bolo ji bolo ab kya karega kaazi
hey ham tumse raazi
tum hamse raazi
bolo ji bolo ab kya karega kaazi


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.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 :

4204 Post No. : 15393 Movie Count :

4243

Today’s song is from an obscure film ‘Angoori’ (1943).

The film was produced by The Indian Art Pictures, Bombay. This was a new company formed and this film was their first venture. They did not have their own studio, like many other producers. Due to the second world war, many new financiers turned to film making, using their black money earned during the rationing of many essential commodities. Even the raw film stock, used to make a movie, was controlled and naturally was available in black market freely at a premium price. Such producers got their films shot in some established studios by renting a shooting floor. The prolific film company, Ranjit, had reserved 2 floors out of their 8 shooting floors, only to be given on rent to such producers. Film ‘Angoori’ was shot in the studios of Circo Production company.

The film was based on a novel by writer LK Shukla. For the director, Mahesh Kaul, this was his debut film as a Director. So far he had been only a writer and a sundry actor in films.

Mahesh Kaul (10-4-1911 to 2-7-1972) was born in Lahore and educated in Moni College, Nagpur. After graduation, he worked as a journalist and a bank manager. He then entered films as a lyricist and dialogue writer. He debuted as an actor in KA Abbas scripted film ‘Naya Sansar’ (1941) and played Dronacharya’s role in film ‘Mahatma Vidur’ (1943). His other films as an actor were ‘Apna Ghar’ (1942), ‘Gopinath’ (1948), ‘Kaaghaz Ke Phool’ (1959) and ‘Tere Mere Sapne’ (1971). His first film as a director was ‘Angoori’, then came ‘Paristan’ in 1944. He produced and directed film ‘Gopinath’, with Raj Kapoor and IPTA actress Tripti Mitra. Some of his major films as a director are ‘Naujawaan’ (1951), ‘Aakhri Dao’ (1958), ‘Talaaq’ (1958), ‘Sautela Bhai’ (1962), ‘Palki’ (1967), ‘Sapnon Ka Saudagar’ (1968) etc. In all he directed 15 Hindi films. His last film ‘Agni Rekha’ came after his death, in 1973.

The music director for this film was GM Durrani and the lyricist was Rammurty Chaturvedi. Earlier, when the film was planned and an advertisement was published in ‘Film India’ magazine, the film had given the name of Pt. Indra as the lyricist, but later on probably he was replaced by Rammurty. The cast of the film was Ulhas, Kaushalya, Dar Kashmiri, Mukul, Chandrahas, Sunetra, PR Joshi, Angre, Ranjan, Peer Muhammad, Mukul etc. This was Durrani’s first film as an MD.

Ghulam Mustafa Durrani, often abbreviated as GM Durrani (1919 – 8 September 1988) was a popular and legendary Indian radio drama artist, playback singer, actor and music director. To his credit, he tried to make his own identity as a playback singer and not try to follow the KL Saigal type of singing. GM Durrani was notable for sad songs, romantic songs, patriotic songs, Quraan Khani, qawwalis, ghazals and bhajans. He was also one of the first Muslim singers to get to sing Hindu Devotionals. GM Durrani was also the most senior Punjabi singer-actor at that time. He was radio drama artist and full-time singer of Lahore, Delhi and Bombay stations of AIR (All India Radio, aka Akashvani (radio broadcaster)). His native language was Pashto but he had a strong command over Hindi, Urdu and Punjabi. He sang in many Indian languages including Hindi, Urdu, Punjabi and Pashto language in Indian movies in the 1930s, 1940s and 1950s. After the 50s Durrani sang very few songs. Durrani was the disciple of radio broadcaster Zulfiqar Ali Bukhari.

Ghulam Mustafa Durrani was born in Peshawar, British India in 1919. He was a Pathan (Pashtun) and belonged to the Mohammad Zai Durrani Kabila. He was from a conservative family where even tea was not taken. Milk and lassi were the drinks of choice. When he used to go to those shops and some songs used to be heard, he used to hum along with them. Everyone used to say this boy should go to Bombay, as his voice was very good. The thought of becoming an actor entered his mind as well. He soon ran out of money to make ends meet.

His mother had expired when he was very young. Father was educated and of artistic mind but very strict, and the only ally at the home was his loving grandmother. But she could also not protect him from his father’s anger.

The last job Durrani did in Peshawar was of at a painter’s shop where an artist always used to hum the tunes of the songs composed by highly respected composer and actor Rafiq Ghaznavi. He also started imitating those songs and got appreciation from the colleagues which inspired him. Durrani started practising Rafiq Ghaznavi’s songs and assumed him as his master. During this time, his father took him to another job at his uncle’s motor-part shop. But the artist within, didn’t stay long there and Durrani ran away from the home to Lahore with only 22 rupees in his pocket.

In Lahore, Durrani did odd jobs along with singing on radio. This brought him fame and passion for radio singing which took him to Delhi first, and then to Bombay. He came to Bombay on 14 April 1935. In Bombay, he got somehow a job at the Radio Station and from here he got recognition. Film wallahs started calling him to sing.

His singing career started from AIR. Durrani was discovered by film producer Sohrab Modi of Minerva Film Company (later known as Minerva Movietone). Modi gave him his first break around 1935-36 in the movie ‘Saed-e-Havas’ (1936), a historical under the music director, classical musician Bundu Khan popularly known as ‘Taan-Talwar‘ Bundu Khan.

When Durrani came to Bombay playback system was not there and one had to act on screen. He didn’t like running around trees and refused to work further. He faced a lot of difficulties and could not return as people would call him a ‘Kanjar‘. Minerva was reportedly to close down soon too. He soon joined the Delhi Radio Station of AIR (Akashvani). Durrani was working at the Delhi Radio Station where he got acquainted with poet Behzad Lakhnavi whose many ghazals had been sung by Mallika-e-Ghazal (Queen of Ghazals) Akhtari Bai Faizabadi, later to become famous as Begum Akhtar.

He later shifted to the Bombay Radio Station where he met a big personality at the time, whom he considered his ustad (master), Station Director of Bombay station of AIR (Akashvani), Baba-e-Nasharayat (Father of Broadcasting) Zulfiqar Ali Bukhari who helped the radio station come up a lot. Durrani always referred to Zulfiqar Ali Bukhari as ustad as a mark of honour. (ZA Bukhari, was the Station Director of Delhi station and then Bombay station of AIR (Akashvani). After the partition of India and creation of Pakistan, Bukhari migrated to Pakistan. He was made the first director-general of Radio Pakistan (Pakistan Broadcasting Corporation) and later, he served as general manager of PTV (Pakistan Television Corporation)).

Durrani’s salary was fixed at Rs 40 per month. Here he was working as a drama artist. He was soon counted as one of the best drama artist on the radio those days. Over a period of three years his salary had gone up to Rs 70 per month. But fate would soon call him back to films. In 1939-40, when the method of playback singing was already in use, he returned to films, to lend his voice for a film titled ‘Bahurani’ (1940) as his first playback singing assignment. The film was made by Sagar Movietone and its music director was Rafiq Ghaznavi. Durrani was then working as a full-time Singer in AIR (Akashvani). Those were British days and they were not allowed to do any private recordings. But Ghaznavi insisted. and Durrani laid down some conditions, like; the recording should be fixed on a Sunday night so that no outsiders would be allowed to enter the studio. Secondly, he said that his name shouldn’t appear in credit titles or on discs. The song was a duet with Miss Rose, an Anglo-Indian, who didn’t have much experience as a singer. He was paid Rs. 75 for the song as against his salary of Rs. 70 a month at AIR (Akashvani). He then left  his job at AIR on 31st December 1940 and decided to concentrate fully on his film career.

Thereafter he sang for, among others, noted music directors like Khawaja Khurshid Anwar, friend Naushad, Shankar Rao Vyas and AR Qureshi (also known as Alla Rakha, Pandit Ravi Shanker’s famous tabla accompanist) for films like ‘Namaste’ (1943), ‘Shama’ (1946), ‘Mirza Sahiban’ (1947), ‘Magroor’ (1950), ‘Sabak’ (1950), ‘Humlog’ (1951) and scores of others. He became very popular. Many singers started their careers with him and he inspired many others too.

He was the idol of Mohammed Rafi who imitated him in the initial days. Now what could be a better tribute to singer than that, that the symbol of divinity in the Indian Music Industry, Mohammad Rafi, followed him. In fact, in 1944 Rafi recorded what he considered his first Hindi language song for the film ‘Gaon ki Gori (1944) for Shyam Sunder, “Aji Dil Ho Kaaboo Mein To Dildaar Ki Aisi Taisi” with GM Durrani and chorus.

Geeta Dutt also started her career in her break through movie ‘Do Bhai’ (1947) with the song “Aaj Preet Ka Naata Toot Gaya“, a duet with GM Durrani for SD Burman.

Similarly, “Haaye Chhore Ki Jaat Badi Bewafa“, (in film ‘Chaandni Raat’, (1949), a duet with GM Durrani, was Lata’s first song for composer, Naushad.

Durrani has sung many songs during his career. His output later reduced. According to a story he was influenced not to sing for some time after his Hajj visit and Rafi then helped him get back to singing but by then his career was over. Music composer Khawaja Khurshid Anwar in his first film ‘Kurmai’ (Punjabi-1941) took Durrani as his assistant and later gave him the film ‘Angoori’ (1943) as music director.

In the period of KL Saigal – Surinder, Khan Mastaana and GM Durrani were also famous. GM Durrani was one of the 40s legendary playback singers. Durrani tried to make his own identity as a playback singer and not try to follow the KL Saigal type of singing. His singing style was to inspire Rafi and others in the years to come. Later GM Durrani became a model to many playback singers who followed then. The soulful renditions of Durrani were to be reminded of by Talat’s singing as well.

Mohammed Rafi was influenced most notably, by GM Durrani on whose style he based his singing. He sang with his idol in some of the songs such as “Humko Hanste Dekh Zamana Jalta Hai” (Hum Sab Chor Hain, 1956) and “Khabar Kisi Ko Nahin Wo Kidhar Ko Dekhte Hain” (Beqasoor, 1950).

Durrani considered his first famous song was “Duniya Mein Sab Jode Jode” of the film ‘Sharda’ (1942) composed by Naushad.

The song “Neend Hamaari Khwaab Tumhaare Kitne Meethe Kitne Pyaare“, that made him a real rage was however composed by Shyam Sundar for the movie ‘Nai Kahaani’ (1943). This song, sung most part by GM Durrani with some support by child-star Balakram, was playing everywhere. When he sang, this song, the listeners went crazy. This timeless melody can never be forgotten by fans of Indian Cinema. Nearly 40 years later, when Tata Oil Mills did a program Mortal Men Immortal Melodies to celebrate fifty years of talkies in India, they invited him to re-render the song. Although many had forgotten him, his voice was still great and he got a standing applause for it.

There was a time when GM Durani was the favourite and most preferred singer for most composers in the industry. From 1941 to 1951, he sang over 300 songs. He is a case of “Riches to Rags”. Once a rich and famous singer,he spent his last few years fighting with throat cancer, poverty and loneliness. His end was quite pathetic.

GM Durani was a leading singer, like Surendra. The difference was Surendra sang only in his own films and thus had limitations,but Durrani was a playback singer, without much competition. In the 40s, there were hardly any male Playback singers,because most singers were actors themselves and sang their own songs, like Asit Baran. Karan Dewan, Ashok Kumar, Prem Adeeb, Arun Ahuja, Balwant singh, CH Atma, Ishwarlal, kantilal, KL Saigal, Pahadi Sanyal etc. There were of course few playback singers like Khan Mastaana, SD Batish, AR Oza, Balbir etc., but they were no competition to Durrani at all.

Because of this ,some singers were jealous of him and there was an attempt to poison him with Mercury Chloride (sindoor) given in a paan  by another well known singer. All relevant stories point out fingers to Hafeez Khan Mastaana in this incident as the culprit. Before he could confess, which he wanted to it seems, Mastaana died in absolute poverty and in total neglect near Mahim Dargah.  Later on his only son used to be seen begging there for quite some time. One of the RMIM members had met him there.

After singing assignments dried up, he opened a provision stores in Mahim, Bombay and ran it for 3 years. Finally, when the losses mounted, he sold off the business in loss.

In his last days, Durrani had throat cancer. He was looked after well by his sons and daughters. In his last days, he was interviewed by the famous writer Shri Rajnikumar Pandya ji. After I came to know Shri Pandya ji, he kindly gifted me a CD containing this last interview of Durrani. The interview was conducted just one day prior to his death . So I have not only Durrani’s real voice, but also a song he sang from his deathbed for this interview ! Thanks to Shri Pandya ji. GM Durrani, in that last interview claimed that he had helped both financially and professionally two rising singers – Mohd. Rafi and Lata Mangeshkar, in their initial struggling period. He describes his first meetings with them in the interview.

GM Durani sang many memorable songs like, “Haath Seene Pe Jo Rakh Do To Qaraar Aa Jaaye“, with Noorjehan in ‘Mirza Sahiban’ (1947), “Laara Lappa Laara Lappa Laai Rakhda” with Lata in ‘Ek thi Ladki’ (1949), “Nazar Phero Na Ham Se” with Shamshad Begum in ‘Deedar’ (1951), “Gaaye Chala Jaa“, with Lata in ‘Hum Log’ (1951), “Humko Hanste Dekh Zamana Jalta Hai” with Rafi in ‘Hum Sab Chor Hain’ (1956. Durrani sang about 300 songs. His last song came in ‘Lal Pathar’ (1971). Co-incidentally, in this last film, he also appeared on screen, lip syncing a song by Mohd Rafi – “Unke Khayaal Aaye To Aate Chale Gaye“.

GM Durrani acted in 16 films, from 1949 to 1978. He sang 305 songs in 168 films. He gave music as MD in 8 films and also wrote lyrics in film ‘Nazaare’ (1949).

An odd name in the cast of ‘Angoori’ is Dar Kashmiri. A little information about this name. He was the eldest brother of Omkar Nath Dar aka OK Dar  aka Jeevan.

Om Prakash Dar was born into a  large family. He had 23 siblings. His grandfather was the Governor of Gilgit in Gilgit-Baltistan. He lost his father when the youngest- Jeevan – was 3 years old and his mother died at childbirth. Being the eldest, he came to Bombay in search of jobs and entered films. Instead of his original long name, he was called Dar Kashmiri.

Actually, when Jeevan came to Bombay in search of film roles, Om Prakash Dar aka Dar kashmiri, his elder brother, was already working in films. Jeevan appeared first time in ‘Fashionable India’ (1935). Since his name was Onkar Nath, he was billed as OK Dar (and not Dar Kashmiri – please note).

His elder brother Dar Kashmiri worked in many films- some of them are – ‘Noor Mahal’ (1934), ‘Watan Parast’ (1934), ‘Yaad Rahe’ (1940), ‘Abla’ (1941), ‘Saugandh’ (1942), ‘Angoori’ (1943), ‘Naya Taraana’ (1943), ‘Room No. 9’ (1946), ‘Hua Savera’ (1948′, ‘Kundan’ (1955) and ‘Ayodhyapati’ (1956). and many other films. In every film, he was billed as Dar Kashmiri only.

Jeevan was billed as  OK Dar (Jeevan) from film ‘Romantic India’ (1936) onwards and then on as Jeevan only – except still a few films where he was billed as OK Dar (Jeevan). In film ‘Patit Paavan’ (1955), both brothers acted and they were individually billed as Jeewan and Dar Kashmiri. This settles their name issue completely.

Let us now listen to this duet. With this song, film ‘Angoori’ of 1943, makes its debut on the blog.

(Information about GM Durrani here, is based partly on an article in www.peoplepill.com and from Rajani Kumar Pandya ji’s book ‘Aap ki Parchhainyan’. I acknowledge and my thanks to both. Information on Dar Kashmiri is from Filmdom-46).


Song – Nainon Mein Naina Deenho Daal. . . O. . . Baanke Naina Waale (Angoori) (1943) Singer – Kaushalya, GM Durrani, Lyricist – Ram Murty Chatruvedi, MD – GM Durrani
Kaushalya + GM Durrani

Lyrics (Provided by Sudhir)

nainon main naina deenho daal
nainon main naina deenho daa..aal
oo oo ooooo
baanke naina waale
nainon main naina deenhi daal
nainon main naina deenhi daa..aal
oo oo ooooo
baanke naina waali
nainon main naina deenho daal

jaat dagariya lad gaye sajni
jaat dagariya lad gaye sajni
chanchal nain hamaare
chanchal nain hamaare
chhail tere zulmi nainon se
chhail tere zulmi nainon se
nain hamaare haare
nain hamaare haare
oo oo ooooo
baanke naina waale
nainon main naina deenhi daal
nainon main naina deenhi daa..aal
oo oo ooooo
baanke naina waale
nainon main naina deenho daal

baney baawre pyaase naina
baney baawre pyaase naina
ab to naa tarsaao
ab to naa tarsaao
bas kar ke nainon mein pi
bas kar ke nainon mein pi
nainon ki pyaas bujhaao
nainon ki pyaas bujhaao
oo oo ooooo
baanke naina waale
nainon main naina deenho daal
nainon main naina deenho daa..aal
oo oo ooooo
baanke naina waale

nainon main naina deenho daa..aal
nainon main naina deenho daa..aal

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

नैनों में नैना दीन्हों डाल
नैनों में नैना दीन्हों डा॰॰ल
ओ ओ ओss
बाँके नैना वाले
नैनों में नैना दीन्हीं डाल
नैनों में नैना दीन्हीं डा॰॰ल
ओ ओ ओss
बाँके नैना वाली
नैनों में नैना दीन्हों डाल

जात डगरिया लड़ गए सजनी
जात डगरिया लड़ गए सजनी
चंचल नैना हमारे
चंचल नैना हमारे
छैल तेरे ज़ुल्मी ननों से
छैल तेरे ज़ुल्मी नैनों से
नैन हमारे हारे
नैन हमारे हारे
ओ ओ ओss
बाँके नैना वाले
नैनों में नैना दीन्हीं डाल
नैनों में नैना दीन्हीं डा॰॰ल
ओ ओ ओss
बाँके नैना वाली
नैनों में नैना दीन्हों डाल

बने बावरे प्यासे नैना
बने बावरे प्यासे नैना
अब तो ना तरसाओ
अब तो ना तरसाओ
बस करके नैनों में पी
बस करके नैनों में पी
नैनों की प्यास बुझाओ
नैनों की प्यास बुझाओ
ओ ओ ओss
बाँके नैना वाले
नैनों में नैना दीन्हों डाल
नैनों में नैना दीन्हों डा॰॰ल
ओ ओ ओss
बाँके नैना वाले

नैनों में नैना दीन्हों डाल
नैनों में नैना दीन्हों डा॰॰ल


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 : 4130 Post No. : 15289

Today’s song is from film Izzat-1952.

The title “Izzat” obviously carried lot of “Izzat” with producers, because I find this Title in 1937, 1952, 1968 and 1992. Further there was Izzat Aabroo-90 and Izzat Aabroo-2005 (I thought these words were synonyms), Izzat ka Rakhwala-2010, Izzat ke Lutere-90, Izzat ki Roti-93, and Izzatdaar-90. I am waiting for a title Izzat ka Falooda. In these days of strange Titles, this is not impossible.

The cast of the film Izzat-52 was Nirupa Roy, Amarnath, Manorama, Agha, Rajni, Jeevan, Veera, P.Kailash, Pesi Patel, Ramesh Thakur, Baby kalpana etc etc.The film was made by Taimur Art productions. Its owner Taimur Behram Shah was the Producer and also the director of this film. The music was by Bulo C Rani. There were two lyricists,namely Raja Mehedi Ali Khan (7 songs) and Butaram Sharma who wrote just 1 song. Taimur Behram Shah was earlier in Ranjit, working as an assistant director. He got opportunity to direct 2 films of Ranjit – Lakhon mein ek-47 and Bhool Bhulaiya-49. Then he started his own production house and made Izzat-52.

Film industry has a cycle, just like Nature. An actor comes, becomes a Hero, after few years works as a side Hero and then shifts to do character roles. There are some actors, who started as Heros, remained Heros and retired as Heros. Such cases are very few. Same applies to actresses too, There are more actresses who quit films, while they were still Heroines. The reasons are usually, marriage or getting children etc. I remember at least one actress, who was a popular Heroine in the late 30s and 40s-till 1947, but stopped acting in films, because her husband strictly forbade her from doing roles other than Heroine. Her name is Meenakshi Shirodkar.

From the cast, we can see that Nirupa Roy, Amarnath, Manorama, Jeevan, Veera, Agha and P.Kailash began as Lead actors and then became side Heroine/Hero and lastly settled for character roles. Some readers may be surprised about Agha being a Hero anytime. It is interesting to note that in film ” Jwar Bhata “-44, Agha was the Hero and Dilip Kumar had made his Debut in this film as a side Hero. While Agha’s Heroine was Shamim, Dilip’s Heroine was Mrudula – a Debutante herself.

Among the cast, the name of P.Kailash and his mention as a Hero in the past, may be a matter of surprise for some readers. For a long time, I was very curious about this actor. One day I was reading a book “Asli Nakli Chehre” ( असली नकली चेहरे ) by Vithal Pandya. In this book, he has given information about P.Kailash, who did the main role in film ” Jai Hanuman-48″, for which Pandya was an assistant Director. Vithal Pandya had spent over 30 years in film industry from the 30s and 40s. He worked with many directors and in many banners. He wrote 2 books in Gujarati/Hindi, which are highly informative with first hand knowledge. For example, he mentions that S N Tripathi, the Music Director was also an actor and was famous in the role of Hanuman in all Wadia movies. However in this film-Jai Hanuman-48, he had done the role of Ravan. Anyway, based on information in this book coupled with an article by M N Sardana ji, on Fb page ‘Voh din yaad karo’ about P.Kailash, here is some information on P.Kailash for our readers, first time. My thanks to both of them.

Mr P Kailash (Pandit Kailash Chandra Sharma),was born on 03 February 1924 at Multai , a small town in Distt Baitul ( Madhya Pradesh ) .After doing H.S.C., he did a stint of teaching in Akola. Bestowed with sharp features and deep voice, fair coloured P Kailash came to Bombay in 1946 to become an actor . He had not to wait for a long to have entry in the film line .

Seth Chandulal Shah gave him a chance in his mythological movie Jai Hanuman ,as hero opposite Nirupa Roy. The movie made under the banner of Ranjit Movietone was directed by Ram Chandra Thakur. Thereafter , Mr Kailash appeared in many mythological, fantasy and historical movies like Veer Durga Das, Sati Anusuiya, Maha Bharat, Prabhu Ki Mahima, Veer Arjun, Gopal Krishna, Nadir Shah, Thief Of Baghdad, Hercules ,Aab E Hayat, Gul E Bakawali etc. In 1953, he performed as a cop in Ranjit Mvietone’s Papi, along with Raj Kapoor. With Dilip Kumar, he did a role which had comic shades in Leader. Shirin Farhad ,made by veteran film maker Aspi Irani, was another movie in which his performance was much appreciated .

Mr P Kailash appeared in numerous movies made by Film makers like Shree Ram Bohra, B K Adarsh and Filmistan. Maine Jeena Seekh Liya, Hum Kahan Ja Rahe Hain, Picnic, Baba Sari Ladli (Rajasthani) ,Jekra Charnwa Mein Lagle Pranwa (Bhojpuri), Love and Murder, were the movies, Mr P Kailash did for the said film makers. Versatile director Krishan Chopra (May God Bless His Soul) ,who died before completing his second movie ,gave him a life time role of a tyrannical land lord in Heera Moti which was based upon the heart warming story Do Bailon Ki Katha, written by great writer Prem Chand . He brought alive the arrogant and heartless Zamindaar on the screen with his dynamic performance .

Krishan Chopra, impressed with the magnificent personality of Mr P Kailash, gave him an important role in his next movie Gaban ,which was completed by Hrishkesh Mukherjee ,after Mr Chopra passed away untimely. It was a sad coincidence ,that Mr P Kailash ,also did not live long. While on a visit to his birth place Multai, he suffered massive heart attack and left for his heavenly abode on 23 May 1967 . Payal Ki Jhankaar ,made by Filmistan and Thief of Baghdad by Mr Shree Ram Bohra were released later ,after he had gone forever in the young age of 43 years ,leaving his two daughters ,one son and wife .

P.Kailash acted in 43 films. His first film was Jai Hanuman-48 and the last released film was Irada-1971.

The Hero of film Izzat-52 was Amarnath. Amarnath (Bharadwaj) is one of the “same name confusions” victims. There were two Pt. Amarnath Music Directors, 1 actor Amar, 1 actor Amarnath and 1 actor/Director (K.) Amarnath. This Amarnath was born in Hafizabad, in Gujaranwala district of Punjab (Now in Pakistan) in 1922. He started acting in 1939 with Kidar Sharma’s “Dil hi to hai”. Graduating from doing small roles he was made the Leading Man in Dalsukh Pancholi’s film “Patjhad”, started in 1947 opposite Meena (Shorey). Pancholi had to flee Lahore due to Partition riots, but he carried the negatives of Patjhad. Though the film was censored in India in 1948, it seems it was never released.

Amarnath starred as Hero in many other films,like Naghma E Sehra-45, Papiha re-48, Barsat ki ek raat-48, Swayam sidha-49, Nai Bhabhi-50, Kamal ke phool-50, Sheesh Mahal-50, Jalte Deep-50, Johri-51, Nai zindagi-51 , Nirmohi-52, Nirmal-52, Izzat-52, Bahu Beti-53, Nav Durga-53, Toofan-54 etc. Then he switched over to side roles. In all, he worked in 81 films (CITWF data). His last film was Kaun ho tum-70.

The third uncommon name in the cast is that of Veera, about whom very few will be knowing. One time she was a very sensuous actress. Veera was from a Parsi family. Her full name was Veera Ankaleshwaria. Obviously, her family came from Ankaleshwar, a small industrial town(now), in Gujarat.

She started her career in films as a Heroine opposite Nasir khan in film Mazdoor-1945. Then came Shikari-46 and later Eight days-46, both had Ashok kumar as the Hero. Both the films were from Filmistan. Her last film as Heroine was Tohfa, opposite Rehman and Leela opposite Agha , both films from 1947. Then she stopped getting Heroine roles and shifted to side roles. In all she did 22 films.

Her other films were, Veena, Ziddi, Chanda ki Chandani- all 48, Sanwaria-49, Hamara Ghar and hamari beti- 1950, Hamari shaan, Ramjanma and Sagar-1951, Aasmaan, izzat, Moti mahal, Sanskar and Shin shinaki boobla boo-all 1952, Dana Pani-53, Boot polish and Sheeshe ki deewar both 1954.

She married Mohsin Abdulla, who had worked in Bombay Talkies as a writer. He was the younger brother of actress Renuka Devi ( Begum Mirza) and the First husband of actress Neena. After the marriage, both migrated to Pakistan in 1955. No news after that.

Today’s song is a duet sung by G M Durrani and Shamshad Begum. It is a typical song belonging to the 50’s music, influenced by C Ramchandra, O P Nayyar and Shankar Jaikishen. I liked this song. I am sure you too will like it.


Song- Iss duniya se hum nahin darega(Izzat)(1952) Singers- G M Durrani, Shamshad Begum, Lyrics- Raja Mehdi Ali Khan, MD- Bulo C Rani
Both

Lyrics

Iss duniya se hum nahin darega
Iss duniya se hum nahin darega
karega karega karega
kargega
karega karega
tumse muhabbat karega
Iss duniya se hum nahin darega
karega karega karega
karega karega
tumse muhabbat karega

zara sambhal sambhal ke aana
ho zara sambhal sambhal ke aana
meri gali mein kahin na pit jaana
ho meri gali mein kahin na pit jaana
haay marenga marenga marenga

marega
karega karega
tumse muhabbat karega

hamen chhedo na
haaye chhedo na
sab duniya dekhti
aaankhen sekti
uyi
dil phenkti
haaye
tamaasha dekhti

tere nain se nain mera ladega
tere nain se nain mera ladega
ladega ladega ladega
bhai ladega
karega karega tumse mohabbat karega

tere galey mein baahon ka
main haar daaloonga
toone roka
ya toka
to maar daaloonga
aisa karega to
aisa karega to dekh phaansi chadhenga
aisa karega to dekh phaansi chadhenga

haa
chadhega chadhega chadhega
lekin
karega karega
tumse mohabbat karega

hum soch samajh ke baat karega
milo akele mein
tum hampe gadbad karte ho
kis bhare jhamele mein
kabhi chhup chhup mere paas aana
ho kabhi chhup chhup mere paas aana

paas aane se kya hoga samjhaana
paas aane se kya hoga samjhaana
abe
karega karega karega
bhai karega
karega karega
tumse muhabbat karega

Is duniya se hum nahin darega
Is duniya se hum nahin darega
karega karega karega
bhai karega
karega karega
tumse muhabbat karega


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 :

4096 Post No. : 15242

“Bade Bhaiyya”(1951) was directed by Aspi Irani for Super Pictures, Bombay. This “social” movie had Nirupa Roy, Suresh, Agha, Husnbanu, Naaz, Minu, Guru, Nazir Kashmiri, Neeli, Habib, Ridku, Master Vinay, Yakoob etc in it.

The Movie had eight songs in it. Four of these songs have been covered in the past.

Here is the fifth song from “Bade Bhaiyya”(1951) to appear in the blog. This song is sung by G M Durrani and Shamshad Begam. Manoharlal Khanna is the lyricist. Music is composed by Premnath (music director).

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


Song-Maine jabse tumko dekha hai (Bade Bhaiyya)(1951) Singers-G M Durrani, Shamshad Begam, G M Durrani, Lyrics-Manoharlal Khanna, MD-Premnath
Both

Lyrics

o o o o
maine jabse tumko dekha hai
mere dil mein gudgudi
mere dil mein gudgudi hoti hai
mere dil mein gudgudi
haay gudgudi
hui gudgudi
main taare ginti rahti hoon
jab saari duniya soti hai
mere dil mein gudgudi
mere dil mein gudgugdi hoti hai
mere dil mein gudgudi
haay gudgudi
huyi gudgudi

yeh mere dil ki dhadkan hai
yeh mere dil ki dhadkan hai
ya ik dholak si bajti hai
ya koyi mendhki phudak phudak kar
phudak phudak kar
dil mein mere phudakti hai
ulfat ki bulbul
haay re
ulfat ki bulbul
chahak chahak kar
aur chulbuli chulal chulbuli hoti hai
mere dil mein
ho mere dil mein gudgudi hoti hai

jab saamne mere aate ho
nazron se nazar lad jaati hai
jab saamne mere aate ho
nazron se nazar lad jaati hai
yeh mere dil ki laalaen
kuchh maddham
kuchh maddham si pad jaati hai
yeh mere dil ki laalten
kuchh maddham si pad jaati hai
mere aramanon mein

haay re
mere armnaanon mein nayi kulbuli
kulal kulbuli hoti hai
mere dil mein
ho mere dil mein gudgudi hoti hai

meree dhundhli dhundhli raaton mein
tum aao chaand ban kar aao
meree dhundhli dhundhli raaton mein
tum aao chaand ban kar aao

tum mere dil ke bangle mein
furniture ban ke saj jaao
tum mere dil ke bangle mein
furniture ban ke saj jaao
phir ham tum samjhen haay re
kyun man mein phurphuri
phurar phurphuri hoti hai
mere dil mein jee
ho mere dil mein
gudgudi hoti hai

dheere dheere
haule haule
mere dil mein gudgudi hoti hai
mere dil mein gudgudi
haay gudgudi
huyi gudgudi


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 :

3983 Post No. : 15072

Today’s song is from film ‘Kaarwaan’ (1956), a costume drama, made by Shahkaar productions, Bombay. Produced by Dev Jolly, it was directed by Rafiq Rizvi – whose career as a director came to a close with this film. His 6 films began with ‘Waayda’ (1940). The music was by S Mohinder. The lyricists were Tanvir Naqvi, Pt. Bhushan and Saarshaar Sailani.

S Mohinder aka Bakshi Mohinder Singh Sarna, was one of the very few Sikh composers in Hindi films (only 3 till 1970. Sardul Kwatra, GS Kohli and S Mohinder). For this film, he had 2 assistants. One was Inderjeet Singh, who was the maternal Uncle (mamma) of today’s singer Daler Mehndi and the other was Pt Kishen who was Husnlal and Bhagatram’s nephew (sister’s son). These two assistants were working with S Mohinder till 1961, after which both died one after another.

S Mohinder was born on 24-2-1925 in a small town called Silanwali in Montgomery District of un-divided Punjab. His full name was Bakshi Mohinder Singh Sarna.  His father Sujan Singh Bakhshi was a sub-inspector in police. Soon the family moved to a comparatively larger city Lyallpur, where young Mohinder around 1935 came in contact with an accomplished Sikh religious vocalist Sant Sujan Singh. He honed his skills for several years in classical music in the tutelage of Sant Sujan Singh. Initially he wanted to be a singer. The family moved to Sheikhupura , close  to Nankana Sahib, the birth place of Guru Nanak and S Mohinder got his further training in classical music from legendry Sikh religious musician Bhai Samund Singh. Frequent transfers of his father kept the family on the move. Since S Mohinder’s education was suffering badly, durIng early forties, he was enrolled in Khalsa High School in village Kairon in Amritsar District.

In 1947, the rest of the family too moved to East Punjab in India. The love for classical music brought S Mohinder to Benares. After a couple of years of grooming in classical music in Benares, the Mecca of Indian classical music, S Mohinder, came to Bombay, the leading center of film industry. His first successful film was ‘Neeli’ (1950), which was musically a hit but not successful on the box office. S Mohinder took a regular job of music director with Filmistan Studios, which was churning out movies like factory. He composed music for Filmistan for half a decade. It was a great experience.

After a successful relationship as a music director with Filmistan Studios, S Mohinder composed music for Chandu Lal Shah’s (Ranjit Movietone) film ‘Zameen Ke Taare’ (1960). It became a hit. After that he composed the music for Wadia Brothers film ‘Reporter Raju’ (1962) and producer Roop K Shori’s film ‘Ek Ladki Saat Ladke’ (1961). He gave music for unreleased film ‘Do Dost’ also.

S Mohinder says that during the sixties, when only Hans Raj Behl and Sardul Singh Kwatra were in the field of composing music for Punjabi films, he also tried his hand at Punjab films. The response was good. His music for his first Punjabi film ‘Pardesi Dhola’ was a hit. After that he mainly devoted his attention on composing music for Punjabi films only. His music for ‘Chambe Di Kali’ also became a hit. Inderjit Hassanpuri, a friend of S Mohinder, made a Punjabi film ‘Daaj’ for which S Mohinder composed very emotional tunes. Later on during the late seventies S Mohinder composed music for some non-film Punjabi albums too and the singers included the best in the Punjabi music business, Surinder Kaur and Asa Singh Mastana. These private albums were also instant hits.

In 1960, S Mohinder composed music for the film ‘Mehlon Ke Khwaab’ produced by Madhubala. The film did quite well at the box office and its music became a hit. The untimely death of Madhubala in 1969, during the prime of her youth deeply saddened S Mohinder. He came to the conclusion that the field of composing music for Hindi films was getting a lot of new players and the melody was slowly yielding place to noisy heavy metal music. So he decided to go back to his roots and switch to composing music for Punjabi movies.

Ram Maheshwari and Panna Lal Maheshwari, originally from Amritsar, decided to make a movie in Punjabi based on Sikh religious sentiments. The film was titled ‘Nanak Naam Jahaaz Hai’. S Mohinder got the contract to compose the music. The story of the film required some scenes to be picturized in the Golden Temple. S Mohinder thought that the music for those scenes was a very sensitive subject and must be performed by the finest exponent of Sikh Religious classical music. So he requested Bhai Samund Singh to sing the Shabads. Bhai Samund Singh was also the mentor of S Mohinder during his early training in classical music. Initially Bhai Samund Singh hesitated, but eventually he agreed to sing for the movie. S Mohinder believes that what Bade Ghulam Ali Khan’s singing was to the great movie ‘Mughal e Azam’, the shabads sung by Bhai Samund Singh are to Punjabi film ‘Nanak Naam Jahaaz Hai’. As we all know film ‘Nanak Naam Jahaaz Hai’ has been an all time hit Punjabi movie. Its music was also as big a success.

The runaway success of ‘Nanak Naam Jahaaz Hai’ ushered in an era of for making well meaning movies based on Sikh religious stories. S Mohinder composed the music for most of these Sikh religious movies.’Dukh Bhanjan Tera Naam’ (1974) featuring Shaminder Singh as the hero was the next film, it was also quite successful. Then came two more namely ‘Man Jeete Jag Jeet’ (1973) and ‘Paapi Tare Anek’ (1976). Both were successful at the box office. All these movies were made during the decade of seventies. S Mohinder also composed some of his most memorable music for these movies.

During the decade of nineteen seventies, S Mohinder composed music for some private albums also including some featuring Sikh devotional music and some featuring the folk music of Punjab. Legendry Punjabi singer Surinder Kaur was prominently featured on some of these albums. He gave music to 36 Hindi films, composing 243 songs. He also sang 3 songs in 3 films.

S Mohinder left India for the USA in October 1982, when he was at the peak of his career as a music composer. The last film featuring his music was named ‘Maula Jatt’, with Dara Singh in the male lead role. Even in US, he did lot of work in Music – like recording songs, running a music school etc. (Adapted, with thanks, from an article in apnaorg.com)

Today’s song is written by Tanvir Naqvi. Tanvir Naqvi (real name – Syed Khursheed Ali) was born on 16th February 1919, at Lahore. His father was a jaagirdar and elder brother was ADC to a nawab. Tanvir went to Persia, along with father, where he was educated in Urdu and Persian. From the age of 14 years, he started writing poetry and participated in various mushairas. He published a book of poetry, titled ‘Suhaane Sapne. By chance, AR Kardar read it and called Tanvir to Bombay to write for his film ‘Swami’ (1941), made by CIRCO Productions.

In his next film, ‘Nai Duniya’ (1942), Suraiya sang his song as her first song. His films ‘Anmol Ghadi’ (1946) and ‘Jugnu’ (1947) became hits and all his songs were appreciated much. He had earned a good name. However, after film ‘Parda’ (1949), he migrated to Pakistan. In 1954, K Asif invited him to India to write songs for his film ‘Mughal e Azam’, but by that time, Naushad had built his own team and he declined to take Tanvir Naqvi. From 1954 to 1959, Tanvir did many films. He also joined S Mohinder and wrote songs for his 7 films.

In 1959, Tanvir Naqvi shifted again to Pakistan, but this time for good. There also he wrote for many films, like ‘Koel’, ‘Jhoomar’, ‘Salma’, ‘Gulfam’, ‘Elaan’etc. He wrote also for Punjabi films. He had married Idaan – elder sister of actress singer Nurjehan. However, since he had no children from her, so he married again and had 2 children.  He died in Lahore on 1-11-1972. In India, he wrote 224 songs for 48 films. Some of his songs are popular even today.

The cast of the film consisted of Shakila, Mahipal, Heeralal, Gope, Yashodhara Katju, Randhir, Satish, Sheila Vaz, Helen, Cuckoo and others. All the usual actors for a C grade costume drama. I find that most main actors are the subject matters of many articles, but actors like Heeralal are left out. I reproduce below a brief biosketch of Heeralal that I have earlier posted for the song “Main Hoon Bhaiya Dim Timkar“.

Heeralal is a familiar face to every fan of vintage Bollywood as he played countless character parts, often as the villain, in literally hundreds of films both big and small. He was born Heeralal Thakur, on March 14, 1912 in Lahore (now part of Pakistan) and began his career in silent films with AR Kardar’s ‘Safdar Jung’ which was released in 1930. Incidentally, his second film, ‘Daughters of Today’, actually made it to movie theaters first, in 1929. He was under contract to United Players Corporation and made several silent pictures for them before making the transition to talkies and moving on to other studios for films like ‘Pavitra Ganga’ (1932), ‘Seeta’ (1934), and ‘Blood Feud’ (1935).

Some of his notable fantasy, sci-fi and horror films include ‘Khooni Jaadugar’ (1939), ‘Arabian Nights’ (1946), ‘Mehbooba’ (1954), ‘Hatimtai Ki Beti’ (1955), ‘Roop Basant’ (1955), ‘Sakhi Hatim’ (1955), ‘Shah Behram’ (1955), ‘Indra Sabha’ (1956), ‘Shaan e Hatim’ (1958), ‘Dr. Z’  (1959), ‘Dr. Shaitan’ (1960),  ‘Jadoo Mahal’ (1962), ‘Flying Man’ (1965), ‘Gumnaam’ (1965), ‘Sindbad, Alibaba and Alladin’ (1965), ‘Love And Murder’ (1966), ‘Sheba And Hercules’ (1967), and ‘Alibaba’ (1976). Hiralal worked continuously until his death on June 27, 1982.

He had worked in 203 films. His first film was ‘Pavitra Ganga’ (1932) and last film was ‘Kaalia’ (1981).

Today’s song is actually a very sweet song and had been a popular song in its time. This is a duet of Lata and GM Durrani. The mukhda says – “Ae Saarbaan, Saarbaan. . .”. The word saarbaan means actually ‘camel handler’, but in Persian language it also means the caravaan leader. I liked this song very much. In fact, many of the songs composed by S Mohinder are very good, but somehow he never became an A grade composer.

 

Song – Ae Saarbaan Saarbaan, Kis Raah Ka Raahi Hai Tu (Kaarwaan) (1956) Singer – Lata Mangeshkar, GM Durrani, Lyrics – Tanveer Naqvi, MD – S Mohinder

Lyrics

ae saarbaan saarbaan
ae saarbaan saarbaan

kis raah ka raahi hai tu
hai tujhko kiski justju
hogi teri manzil kahaan
ae saarbaan saarbaan
ae saarbaan saarbaan

teri meri manzil nahin
manzil hai manzil ka nishaan
ae jaan e jaan jaan e jaan
ae jaan e jaan jaan e jaan

mujhko ko bhi apne saath le. . .
de haath mera haath le
de haath mera haath le
mushkil bahut hain raaste
aasaan hain mere waste
aasaan hain mere waste
raste ki sab dushwaariaan
ae saarbaan saarbaan
ae saarbaan saarbaan
ae jaan e jaan jaan e jaan
ae jaan e jaan jaan e jaan

gar tujhko khud pe hai yakeen. . .
mushkil koi mushkil nahin
mushkil koi mushkil nahin
ghat’ta rahega har khatar
kat’ta rahega ye safar
kat’ta rahega ye safar
badhta rahega kaarwaan
ae saarbaan saarbaan
ae jaan e jaan jaan e jaan

badh kar na thehren phir kadam. . .
ye shauk ka dastoor hai
ye shauk ka dastoor hai
teri mohabbat ke liye
sab kuchh mujhe manzoor hai
sab kuchh mujhe manzoor hai
le chal mujhe chaahe jahaan
ae saarbaan saarbaan
ae saarbaan saarbaan
ae jaan e jaan jaan e jaan
ae jaan e jaan jaan e jaan

ae saarbaan saarbaan
ae saarbaan saarbaan

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

ए सारबाँ सारबाँ
ए सारबाँ सारबाँ

किस राह का राही है तू
है तुझको किसकी जुस्तजू
होगी तेरी मंज़िल कहाँ
ए सारबाँ सारबाँ
ए सारबाँ सारबाँ

तेरी मेरी मंज़िल नहीं
मंज़िल है मंज़िल का निशां
ए जान ए जान जान ए जान
ए जान ए जान जान ए जान

मुझको भी अपने साथ ले॰ ॰ ॰
दे हाथ मेरा हाथ ले
दे हाथ मेरा हाथ ले
मुश्किल बहुत हैं रास्ते
आसाँ है मेरे वास्ते
आसाँ है मेरे वास्ते
रस्ते की सब दुश्वारीयाँ
ए सारबाँ सारबाँ
ए सारबाँ सारबाँ
ए जान ए जान जान ए जान
ए जान ए जान जान ए जान

गर तुझको खुद पे है यकीं॰ ॰ ॰
मुश्किल कोई मुश्किल नहीं
मुश्किल कोई मुश्किल नहीं
घटता रहेगा हर ख़तर
कटता रहेगा हर सफर
कटता रहेगा हर सफर
बढ़ता रहेगा कारवां
ए सारबाँ सारबाँ
ए जान ए जान जान ए जान

बढ़ कर ना ठहरें फिर कदम॰ ॰ ॰
ये शौक का दस्तूर है
ये शौक का दस्तूर है
तेरी मोहब्बत के लिए
सब कुछ मुझे मंजूर है
सब कुछ मुझे मंजूर है
ले चल मुझे चाहे जहां
ए सारबाँ सारबाँ
ए सारबाँ सारबाँ
ए जान ए जान जान ए जान
ए जान ए जान जान ए जान

ए सारबाँ सारबाँ
ए सारबाँ सारबाँ

 


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 :

3943 Post No. : 15019 Movie Count :

4116

Today’s song is from film “Saathi”(1946).

This title seems to be quite popular because, films with the same title were made in 1938, 1946, 1968, 1991 and 2005 as Saathi.Moreover one film called Saathiya was also made in 2002.

The first film Saathi-38 was a bilingual film, in Hindi and Marathi. This film was made by Mubarak Merchant. He was the Hero and the Heroine was Durga Khote. The Marathi version was titled “Savangadi” mening Partner or Saathi.

The 1946 film was made by Central Studios- partly owned by Mehtab, the film’s Heroine. While the film was in the making, Mehtab got married to Sohrab Modi on 28th April-1946, which happened to be her own Birthday also. She already had a son from her first marriage to actor Ashraf Khan ( who later on became a Soofi Saint). Her son Ismail, stayed with her and Modi, after her second marriage as per the understanding between the couple. Mehtab got one more son from Modi-Mehelli. He was raised as a Parsee. He settled in USA later on.

In this film, the Hero was Sadiq Ali, who was called ” Prince of Minerva ” and was Modi’s favourite. I have written about Sadiq Ali, recently, so I am not repeating it. The other cast of the film included M.Ismail, Jyoti, Badri Parshad, Gulab, Majid, Latika etc etc.

M.Ismail was born in 1902 in a Jeweller family of Lahore. He was a very good designer and Calligrapher.

M. Ismail was a resident of the Inner Bhati Gate in Lahore. Well built and fair complexioned, Ismail had blue eyes, and was quite. attractive. Mian Abdul Rasheed Kardar (the famous A. R. Kardar), also belonged to the same area in Lahore. M. Ismail used to work as a golden calligrapher, while Kardar was involved in sketching and illustration.

They went to Bombay in 1927, and according to Ismail, he and Kardar played Kaedo and side hero respectively, in Imperial Company’s Heer Ranjha. But conditions weren’t helpful, and the two young men had to return to Lahore. Fortunately, for them, during 1928, Premier Film Company started a film called Daughters of Today. Both Kardar and Ismail were inducted into the cast, but the film remained incomplete.

Later, Kardar learned production and became well known as a brilliant technician. Kardar established his own film making firm in 1930, called United Players Corporation, and cast Ismail in his early silent movies like Mysterious Eagle a. k. a Husn Ka Daku, which also had Kardar in a central role. Others in the cast were Gulzar Begum, Ghulam Qadir, Ahmed Deen and an American actress, Aeris Crawford. Ismail also acted in Kardar’s film, Safdar Jang, and both these early silent films were very successful. This led Kardar to cast him in Shepherd King (Gadarya) and Golden Dagger (Sunehri Khanjar). In those days, every film used to have an English title and an Urdu one.

After Alam Ara opened the way for talkies, Ismail became even more popular. In Kardar’s Hoor e Punjab, an adaptation of Heer Ranjha, Ismail again played Kaedo, the intriguing ice uncle of Heer, which he repeated yet again later, in film Heer Siyal, with his characteristic style. His other films in India include Alif Laila, Dekha Jaega, Mast Faqeer, Raja Gopi Chand, Prem Pujari, Watan Parast, Sohni Mahiwal, Laila Majnoon, Zamindar and others.

In 1948, M. Ismail came to Pakistan, and immediately got offers from seniors like Nazir, whose films, Pherey, Larey, Anokhi Dastan and Shehri Babu included him in their cast. His first film here was Hichkole-49. Observing his work, another promising and experienced director, Anwar Kamal Pasha offered him some good roles. His films, Ghulam, Gumnam, Qatil, Inteqam and others were the earliest hits of Pakistan. Luqman also cast him in Patan, and Mehbooba was another one that was appreciated.

Similarly Nazeer Ajmeri’s Qismat and Paigham, Munshi Dil’s Hasrat and Ishq e Laila and S. M. Dar’s Saltanat and Dulla Bhatti were also amongst his famous movies. His other films were Darwaza, Subah Kaheen Sham Kaheen, Patey Khan, Piya Milan Kee Aas, Jameela, Bara Aadmi, Zehr e Ishq and many others. The Late M. Ismail was a charming person, with a rural simplicity and a very forgiving disposition. Endearingly called Bhaiyyajee in the industry, M. Ismail’s roles of good hearted, forgetful, careless and sometimes cynical man were the best that he did. But, in many films, he performed a perfect villainish role, including the earlier mentioned, Hoor e Punjab, which had a historic role of Kaedoo. This one was only bettered later, by that most sterling artiste, Ajmal, who made Kaedo legendary with his gestures in Khwaja Khurshid Anwar’s Heer Ranjha.

In Yamla Jat and Khazanchi, in India, he did very fine title roles, while K. Asif’s Phool portrayed him as an old hakeem from Turkey, which he did to perfection. As a villain in Indian film, Wamiq Azra, he presented an individual style, with his full facial expressions. By full facial expressions means that most artistes use the eyes and the forehead, but M. Ismail, with a tremendous mobility of his motor mouth, his sagging cheeks and his prominent and protruding jowls, used a tremendous expanse of his face, which aided him in doing old men’s roles very early in his career.

In those days, there was much importance of finding a characteristic face for films and not handsome or beautiful faces, which is the trend today. That was the reason that more such fine artistes were available to the screen. In Nazeer Ajmeri’s Qismat, he played a unique role of a man, who is too forgetful to even remember his own name. It was a most hilarious performance from a truly talented actor of his times. M. Ismail got a Presidential Award for this role in Qismat.

His last film in Pakistan was Maan jawani da-76- released after his death. He died on 22-11-1975 at Lahore.

The film was directed by M.Sadiq, who was one of the most successful Directors of Bombay who migrated to Pakistan in 1970. He was born in Lahore on 10-3-1910 and died in Lahore on 3-10-1971.

Sadiq was a Cinematographer, writer,screenplay and dialogue writer,producer and director-all in one. He started his career with Thokar-39 as writer. Around 1940, he shifted to Bombay along with his mentor A.R.Kardar, actor Suresh ( Nazim Ahmed), actor Amar and few others. While working as kardar’s assistant, slowly he developed into a Director who directed about 27 films.He directed films like- Namaste, Rattan, Anmol Ratan, Saiyan, Shabab,Musafirkhana, Chhoo mantar, Chaudhavin ka chaand, Tajmahal and Bahu Begum for which he also wrote story and dialogues.

After Khota Paisa-58 Sadiq fell on bad times. He had no films on hand.That was the period when Guru Dutt was also in problems of debts. he wanted to make a film but did not want to direct it. That time Johny Walker suggested the name of M.Sadiq, whose first movie Namastey and another movie Sanjog, both produced by A R Kardar,were released in 1943 & were big hits.His Rattan,released in 1944 ,broke the records all over, in box office sweep. Poonam, Shabab, Anmol Rattan, Pardes, Jawani Ki Hawa, Anjan, were few of his famous movies.The prolific director,how ever ,was now passing through a lean phase & of late he had made light comedies, like Chhoo Mantar, Duniya Rang Rangeeli, Khota Paisa, Musafir Khana etc.

M.Sadiq was brought in & he made the movie at break neck speed & released in 1960. Film Chaudhvin ka Chand needed a director who fully equipped with muslim background and observation of even small presentation of voice, etiquette, religious etc. It is all that M Sadiq performed but we must keep in mind Guru Dutt was behind the screen, though uncredited but he had lion share to beautify the film. The movie proved to be the biggest hit earned lot more than other movies made by Gurudutt. M.Sadiq proved to be the saviour for Gurudutt.Gurudutt,not only came out of the cesspool of debt , but earned enough money to plan his next movie.

The movie proved to be lucky for the good Samaritan M.Sadiq also who was recognized as a specialist of the movies having Muslim background.He got big movies Taj Mahal,Noor Jahan & Bahu Begum (1967),to direct.

Riding on the peak of popularity ,after Bahu Begum,Sadiq Sahab left India & migrated to Pakistan.In 1971,there under his own banner he decided to produce Baharo Phool Barsao & for the music and songs he signed Nashad & Shewan Rizvi,respectively.Both had already migrated to Pakistan from India.He started shooting at Lahore Studio.but a calamity struck & Sadiq Sahab passed away after a brief illness on 03-10-1971. The movie was completed by Hasan Tariq & was released in 1972. The movie opened to full houses and celebrated Golden Jubilee at many places in Pakistan. Even in the re-run the movie was a jubilee hit. M.Sadiq was destined to die at his birth place Lahore.

There were two more uncommon names in the cast- Majid and Gulab. Majid’s name was Abdul Majid Syed. He was born at Farrukhabad in U.P. in 1915. His father was an Overseer. After Matric in 1929, he started his business of Leather in Akola, Maharashtra. in 1935, actor, director and producer Nazeer of Hind pictures, introduced him to S.K.Daryani and he got a small role in Sher ka Panja-36 and Sangdil samaj-36. However, from film Bulldog-37, he got side roles and lead roles in films like Gentleman daku-37, insaaf-37, Rajkumari-38, Masterman-38, Zamana-38, Mud-40, Saubhagya-40, Swami-41, Swaminath-42, he also acted in more films like Najma-43, Babar-44 and Zeenat-45.

In all he did over 100 films till 1947. After Partition, he migrated to Pakistan with Nazeer and Swarnalata. In Pakistan he did just 7 films. He died on 24-9-1959.

The First actress from Kashmir to work as a Heroine in Hindi films was GULAB. Her real name was Saraswati Devi. She was born on 10-6-1908 at Jammu. She joined Krishna Film Company in 1924. Her first silent film’Krishna kumar’ came in 1925. She worked in 60 silent films. Her last silent film was ‘Dagabaz Dushman’-32, made by east India Film co.Bombay.

Her first Talkie film was Suryakumari-33, made by Vishnu Cinetone. It was directed by Dhirubhai Desai. She sang one song ‘more preetam jab ghar aaye’ composed bu Kikubhai Yagnik. Then came Baburao Patel’s ‘Bala Joban’-34, Sewa Sadan-34 and Nai Duniya-34 ( Debut film of Rajkumari and Jayant). In this film Gulab sang 2 songs.

Gulab was very beautiful and quite popular in film industry. Some of her films were Bambai ki sethani-35, Challenge-37, Bharosa-40, Pyas-41, Ek Raat-42, Station master-42, Gaali-44, Rattan-44, Mann ki jeet-44, Mirza Sahibaan-47, Lahore-49, Badi Behan-49, stage-51, Post Box 999-58, Chhabili-60 etc etc. She acted in 160 films. Her last film seems to be Haqeeqat-64. She also sang 22 songs in 11 films.

The lyrics were by Wali Sahab and the music was by Gulshan Soofi, about whom I have written recently. The song is sung by one of my favourite singers- G M Durani ( Ghulam MUstafa Durani). He was one singer who would make gold of a good melodious song anytime. I like almost all of his songs. I was very sad that his end came in very pathetic condition. Once an artiste is out of circulation in the film industry, he is quickly forgotten. I have not seen a more selfish and ungrateful industry in my life where no one even attends the last journey of a forgotten artiste.

This is a very good song, sung in even a better way. With this song, film Saathi-46 makes its Debut on the Blog.

( Thanks to cineplot, pakmag.com, wiki, cinerang, Filmdom-46 and my notes for information used herein.)


Song-Wo nazron mein samaate ja rahe hain ja rahe hain (Saathi)(1946) Singer-G M Durraani, Lyricist- Wali Sahab, MD- Gulshan Soofi

Lyrics

Wo nazron mein samaate ja rahe hain
ja rahe hain
hamen apna banaate jaa rahe hain
ja rahe hain
Wo nazron mein samaate ja rahe hain
ja rahe hain

ye dil pehloo se nikla jaa raha hai ae
ye dil pehloo se nikla jaa raha hai ae
jaa raha hai
wo shaayad a a
paas aate ja rahe hain
hamen apna banaate jaa rahe hain
ja rahe hain

main jitna aa
bhool jaana chaahta hoon oon oon
oon oon
wo utna aa
aa aa aa
aa aa
yaad aate jaa rahe hain
jabaan par haan
ishaaron mein meri
hai ae ae ae
jabaan par haan ishaaron mein meri
hai ae ae
wo deewaana banaate
jaa rahe hain
jaa rahe hain
hamen apna banaate jaa rahe hain
jaa rahe hain
Wo nazron mein samaate ja rahe hain
jaa rahe hain


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 ELEVEN years. This blog has over 15700 song posts by now.

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

Important Announcement

(© 2008 - 2020) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

Total number of songs posts discussed

15723

Number of movies covered in the blog

Movies with all their songs covered =1212
Total Number of movies covered =4329

Total visits so far

  • 13,616,045 hits

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

Join 1,869 other followers

Bookmark

Bookmark and Share

Category of songs

Current Visitors

Historical dates

Blog Start date: 19 july 2008

Active for more than 4000 days.

Archives

Stumble

visitors whereabouts

blogadda

blogcatalog

Music Blogs - BlogCatalog Blog Directory
%d bloggers like this: