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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 :

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

 

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

Blog Day :

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


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 :

3903 Post No. : 14955 Movie Count :

4086

Today’s song is a rare song from film Salma-1943.

Like in my earlier post on film ‘ Arab ka Sitara’-46 dt 13-3-2019, in this Blog, about 3-4 years ago also I had discussed the issue of very few films made in India, on Muslim Social issues and also on other minority communities, for that matter. One of our readers from USA, Mr. Salim Shah-son of actress Indurani aka Ishrat jehan siddiqi- wrote an E mail to me on this issue. He had said that the film market is driven by the needs of the majority and hence not many producers dare to make films on minorities, which have a very small and limited market. I agreed, as this was a very logical explanation to my loud thinking.

When I planned to write on Muslim social films or films with Muslim backgrounds, I noticed that from 1933 to 1942 (10 years) only 15 such films were made. Then from 1943 to 1947, a whopping 23 films were made in just 5 years ! These are only rough and estimated figures, without going into much details and avoiding films like Pukar-39 and Humayun-45 or Shahajehan-46. In 1947 alone there were 9 such films.

What could be the reason for this sudden surge in Muslim social films ? I think, by 1943, it was almost certain that India would be divided on Religion basis and Pakistan would be a New separate country for Muslims. This possibly increased the awareness of a need for improvement in the Muslim population. May be, I am wrong. One can only hazard a guess on such matters.

Director Mehboob started his production company by making the film Najma-43 and later also he made films like Elaan-47. He is on record why he made such progressive films, despite the risk from fundamentalists involved. Anyway, we leave the matter here only. Now that the Muslim population has increased considerably from 1951 (3.5 crores or 9.8%) to 2011 (17.2 crores or 14.2%), let us hope to see more such films. Equally disturbing is to see rare films on Christian, parsee, Budhist, Jain, etc minorities.

Film Salma-43 was actually a story of two thick girl friends. The film story was written by Munshi Dil. Screenplay, dialogues and Lyrics were by Hasrat Lucknowi. Music was by Pt. Gobind Ram. The cast was Sitara devi, Ishwarlal, Yakub, Urmila, Majid, Azra, Anwari etc etc. The film was directed by Nazir Ahmed khan. It was made by his own Hind Pictures.

This was also the period when Nazir had married Sitara Devi. Saadat Hasan Manto, in his famous book ‘ Stars from another sky” has described very juicy stories about Sitara- her many lovers, Nazir and his Nephew K.Asif. Sitara eloped with Asif to Delhi to marry him, after conversion to Islam with a new name Allah Rakhi, the book says. Returning to Bombay, after some time, Asif himself made a Muslim Social film, ” Phool’-45, with Sitara as the Heroine. More about this film some other time.

Nazir Ahmad Khan (1910–28-8-1983) was a Indian / Pakistani film actor, director and producer. He was the first successful film hero in independent Pakistan. Nazir was associated with almost two hundred films during his career, which spanned over a period of 55 years.Nazir Ahmed was widely known as Bao Jee in the film industries in India and in Pakistan.
It was in the late 1920s when Nazir went to Calcutta along with A.R. Kardar, and appeared in a character role in Kardar’s Sarfarosh (aka ‘The Daring One’) in 1929. Kardar later made Heer in which Nazir played the role of the Qazi. Both these films are from the silent era. He also did a secondary role in Kardar’s Mysterious Bandit.

Nazir went to Bombay. During this period he was cast in leading roles in Rajputana Ka Sher, Chandaal Chaukri, Badmaash Ka Baita and Pahari Sawar.

In 1934 he went back to Calcutta on the request of his old friend Kardar to act in his productions of Chandra Gupta, Sultana, Milaap, Mandar, Night Bird and Aab-e-Hayat.

In Calcutta Nazir won laurels for his role of Chanakya in Chandra Gupta. To perform this role realistically, Nazir had his head shaved completely to authentically perform the role of the ancient Indian minister.

In 1939, both Nazir and Kardar moved to Bombay and under Kardar’s banner he performed his most well remembered and renowned character role in Baghbaan, which besides creating box office records also established him as a hero.

Shokh Dilruba, Sher ka Panja, Shamaa, Midnight Mail, Swami Pooja, Apni Nagaria, Laila Majnu, Wamaq Azra, Sandaisa, Kaljug, Society, Chher Chhar, Aabroo, Salma, Gaon Ki Gori, Maa Baap ki Laaj, Yaadgar, Malika and Abida and several other hit films of that era are credited to his name. He also produced and Directed many of them. Most of the films directed by him saw the milestones of being Silver Jubilees.He acted in 25 films and directed 8 films in India.He even sang 7 songs in 5 films.

Nazir’s studio and the offices of Hind Pictures were burnt down during the riots in 1946-47. Nazir stood quietly outside his burning studio,smoking a cigarette and watching the ashes.In 1947, Nazir migrated to Pakistan. He left everything he had behind in Bombay and shifted to Lahore. He started from scratch and in the process became one of the pioneers of the Pakistan film industry.

He produced and directed Saachai, as his first film in the newly born Pakistan. It was followed by the first Silver Jubilee film of Pakistani Cinema, Pheray. Nazir completed Pheray in just one month, followed by Larey. His other movies include Shehri Babu, Anokhi Daastan, Shamaa, Heer, Khatoon, Noor-e-Islam and Azmat-e-Islam.

During the 1960s, he disassociated himself from Pakistani cinema, with the decline in this industry. He could not reconcile himself with the qualitatively declining trends in this industry.

Nazir was first married to his cousin Sikandara Begum. He was the Maternal Uncle of K.Asif,Director of Mughal E Azam. Later he married Sitara Devi and before going to Pakistan,he married his Heroine Swarnalata.

He died in 1983.

The story of film Salma – 43 was….

Salma (Sitara) and Suraiya (Urmila) grew up in Kanpur as very close friends. When they became marriageable, Salma’s father Abdul Majid (Majid) fixed her marriage with Dr. Masood (Ishwarlal) of Allahabad. Suraiya’s brother Yakub (Yakub) was a crook. He used to destroy all letters Salma wrote to Suraiya, from Allahabad, after marriage. Now Suraiya got engaged to Dr. Manzur (Ishwarlal-double role), who resembled his brother Dr. Masood, husband of Suraiya.

Unfortunately, on the day of marriage, Dr. Manzur dies in an accident, but Yakub tells Suraiya that Manzur cheated her and has left the town.She is shocked and loses her memory. She is taken to Allahabad for treatment from Dr. Masood, the specialist.

Suraiya gains memory, recognises Masood as Manzur and insists for marriage. Masood learns Suraiya’s full story from her parents and tells Salma about it. Salma is very religious and follows five times Namaz. She knows that as per Islam religion, a male can have 4 wives. She forces her husband to marry Suraiya. After initial resistance Masood agrees.

After marriage Suraiya recovers completely and both friends live happily. Soon Salma goes to Haj and becomes a Darvish ( a Sufi religious Mendicant-as per wiki). All this so that her friend Suraiya is made happy in her life.

The film had 8 songs, composed by Pt. Gobindram. He is one MD, about whose life absolutely no information is available in any book or on Internet. Only his work details are available on the net, books and HFGK.

Pt. Gobind Ram – the Music Director was a highly respected composer in the industry for his originality. Stalwarts like C.Ramchandra considered Sajjad and Pt. Gobind Ram ji as the original composers.

Author Pankaj Raag mentions in his book,” Dhunon ki yatra”- ” When K.Asif planned his magnum Opus- Mughal E Azam in the late 40s, he had engaged Gobind ram ji as the Music Director.” This statement, however, could not be corroborated with any other reference.
Pt. Gobind Ram gave music to only 32 films from 1937 to 1955, composing 302 songs.

Today’s song is sung by G M Durrani, who was a leading Playback singer , before Rafi and others prevailed on the scene in the latter half of the 40s decade. 6 songs which I have heard are all good ones, but this song is the best and melodious. other singers are Rajkumari, Sitara Devi and Hameeda Bano.

With this song, film Salma-43 makes its Debut on the Blog.
(Thanks to book ” Forgotten movies on Muslim Culture 1933 to 1947″ by Kamalakar Pasupuleti ji for some information used here.)


Song-Ye kaun aaj reh reh ke yaad aa raha hai (Salma)(1943) Singer- G M Durrani, Lyrics-Hasrat Lucknowi, MD-Pt. Gobindram

Lyrics

Ye kaun aaj reh reh ke yaad aa raha hai
Ye kaun aaj reh reh ke yaad aa raha hai
Ye kaun aaj reh reh ke yaad aa raha hai ae ae ae
ajab haal dil ka hua jaa raha hai
ajab haal dil ka hua jaa raha hai

jise wo samajhte hain apna maseeha
jise wo samajhte hain apna maseeha
aa aa aa aa aa
wo beemaar khud hi hua jaa raha hai
wo beemaar khud hi hua jaa raha hai

mili hai nazar jabse unki nazar se ae
mili hai nazar jabse unki nazar se
mili hai nazar jabse unki nazar se ae ae ae
kaleje mein nashtar chubha ja raha hai
kaleje mein nashtar chubha ja raha hai

ye kaun aaj rah rah ke yaad aa raha hai
ye kaun aaj rah rah ke yaad aa raha hai ae ae


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog.This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3785 Post No. : 14768

Today’s song is from the film Madhubala-50.

What is the meaning of ‘Sone pe suhaga ‘ or ‘Doodh mein shakkar ‘ or even ‘Saatwe aasmaan par’ ? These and similar expressions are used when more than one pleasing matters are combined. Same is the case with film Madhubala. The most beautiful actress in Hindi film history and the most charming and handsome actor in Hindi cinema worked in this film as the lead pair in this film.Yes, Madhubala and Dev Anand.

It was a dream for many to see these two beautiful and handsome creations of the Almighty together. people would become ecstatic in the theatres, when they sang together or exchanged love dialogues on the screen. I know, because I too was one of them. Those days, Dev Anand was becoming the heart throb of many a college girls and young ladies. In the later years of the 50’s decade, Dev Anand was the most popular actor in the Hindi films.

In this film Madhubala-50, Dev and Madhubala acted together for the second time . Their first film was Nirala also made in 1950, but released first.In all they acted together in 8 films. This was a record till the Dream girl Hema Malini broke it with 11 films with Dev Anand.

Though Dev ( 26-9-1923) was 10 years older than Madhubala ( 14-2-1933), he was very junior to her in the Film industry. By the time Dev Anand did his first film Hum Ek Hain-1946, Madhubala had already done 13 films. She had started as a child artist in Swastik-1939. Madhubala-50 was her 35th film and Dev’s 13th film ! Fron Nirala-50 to Sharabi-64, they did 8 films together. Dev Anand did 116 films and sang 303 songs on screen. Madhubala did only 81 films and sang 189 songs on screen. Her speed came down drastically, after her Heart ailment was detected while shooting in Madras and the treatment had started.

Dev of course continued steadily for a much longer period, but out of his 116 films how many films were actually watchable is a moot question.

Film Madhubala-50 was made by Ranjit Movietone. There is an interesting story behind this film’s making. When Madhubala was about 13-14 years old, Chandulal knew her and also liked her. He had already predicted a bright future for her. Her father Ataulla Khan was a very careless and irresponsible person. One day, when Chandulal Shah was playing cards with his friends, he got a phone call from his nephew, Ratilal Punatar, saying that Madhubala had come and she is asking for a loan of Rs. 2000, on interest, immediately. Her mother was in serious condition to deliver for the 10th time and her father was not at home. Chandulal asked Ratilal to give the money to her without interest, but to tell her that in future if Ranjit needed her, she should work for them.

In the end of 40’s decade, due to a heavy loss in gambling, Ranjit had seen bad days. They decided to make a film with Dev and Madhubala. Ratilal went to Ataulla Khan, but he quoted an astronomical amount. Ratilal returned. Next day Madhubala herself came to Ranjit and told them that she will work in their film and that too without any money. Those were the days, when she had become famous after the success of film Mahal-49. But she worked in the film and Ranjit, as a mark of gratitude, named the film as Madhubala.

The film was directed by an outsider named Prahlad Dutt. He was actually a foreign trained photographer and Cameraman-expert in Trick scenes. He was working in Lahore in the early 40s. Pancholi’s film ” Shirin Farhad”-45 was getting ready and Prahlad Dutt was its Director and trick scene Master. His work was applauded by everyone. The scene where Farhad digs out a canal from a big mountain single handedly, was done by Prahlad with astounding results. After the Partition, he ran away from Lahore to Bombay. He soon got work here as his name was well known and famous.

Author Vithal Pandya, in his book ” Sapnon ke saudagar” has described an incident about Prahlad Dutt.
” Dutt was working in Ranjit, directing a film ” Mitti ke Khiloune”-48. It was in early 1948. Gandhiji was killed on 30th January. 4-5 days after that, Ranjit studio workers were shocked to find a Police Jeep entering the studio,in speed. Out jumped an Inspector and asked, ” Where is Prahlad Dutt?” Ranjit Manager asked” why?” the answer was ” We have his arrest warrant in connection with Gandhi killing”. While the Manager offered to call him here from another floor where he was shooting, the Police ran towards that place. As soon as Prahlad saw the Police, he started running, with Police chasing him and shouting stop stop. He tried to climb the wall and disappear, but the inspector warned him first and then shot him with his pistol in his thigh. He fell down. He was arrested and taken away.

He was charged with various crimes and a case was put on him. However, he was released unblemished after 4 months. Ranjit management helped him quite a lot in those days. ”

Prahlad Dutt acted in only one film-Ek hi Bhool-40 ( There was another actor S.Prahlad in films same time, but he was different). He directed 5 films in all- Shirin Farhad-45, Piya Ghar aajaa-47, Mitti ka khilouna-48, Nazare-49 and Madhubala-50.

The music of film Madhubala was by Lachhiram Tamar. LACHHIRAM is a name not known to many readers. Most people think that his family name is TOMAR. Many sites and books also say so. However, one of his family members has clarified on the Blog,’ Songs Of Yore’ that the correct surname is TAMAR. He was a very talented but unlucky composer, who, despite his good work was never counted among the A grade composers.

LACHHIRAM TAMAR was a Punjabi Chaudhary born in 1914 in the princely state of Kuthar in the present day Himachal Pradesh. His father died early and he was brought up and trained in music by the Rana Jagjit Chandra of Kuthar, under the tutelage of Ustad Noore Khan. He came to Delhi at the age of 20 years and served in H.M.V.Company as a singer. He cut many records there. Side by side he was singing on A.I.R. also.

Aziz Kashmiri, writer and Director of Shorey Films, Lahore came scouting for talents and engaged him as an assistant to music composer for a salary of Rs.750 per month. He assisted in films like Champa, Badnami and Shalimar. His first independent film as a composer was Kahaan Gaye-46. Then he did Aarsi-47, Mohini, Birhan and Director in 47-48 and did Guru Dakshina and Madhubala in 1950.

The songs of Madhubala became Hits, but his luck misfired. He suffered from T.B. and had to leave everything. He lost one Lung also in it. However this brave man came back and did Ameer, Shaheed Bhagat Singh-54 (Sarfaroshi ki tamanna-Rafi), Maharani Jhansi, Guru Ghantal and Hazaar pariyaan-59. In his last spell he did Do Shahzade, Razia Sultan and his Last film was Main Suhagan Hoon-64.

Lachhiram Tamar died on 5-2-1966 at Bombay.

Today’s song is sung by G M Durrani – a singer who had a natural charm in his voice. I like many of his songs. His career was a ” Riches to Rags” story, which I will discuss some other day. Let us now enjoy his song today.


Song-kisiko yaad karta hai mera dil (Madhubala)(1950) Singer-G M Durrani, Lyrics- I C Kapoor, MD-Lachhiram Tamar

Lyrics

kisi ko yaad karta hai
mera dil raat din
haaye mera dil raat din
akela aahen bharta hai
mera dil raat din
haaye mera dil raat din

chaman mein gar bahar aaye hamen kya
kali gar phul ban jaye hamen kya
chaman me agar bahar aaye hame kya
kali gar phul ban jaye hame kya
chahak kar aam ki daai pe bulbul
khushi ke geet gar gaye
hame kya
hame kya
judai me tadapta hai
mera dil raat din
kisi ko yaad karta hai
mera dil raat din
haaye mera dil raat din
akela aahen bharta hai
mera dil raat din
haaye mera dil raat din

ye aansu aankh mein jo aa rahe hain
fasaana ishq ka dohra rahe hain
ye aansu aankh mein jo aa rahe hain
fasana ishk ka dohra rahe hain
tujhe meri kasam ik baar aaja
aaja
tujhe meri kasam ik baar aaja
sandeshe maut ke bhi aa rahe hain
aa rahe hain
yahi fariyaad karta hai
mera dil raat din
kisi ko yaad karta hai
mera dil raat din
haay mera dil raat din
akela aahen bharta hai mera dil raat din
haay mera dil raat din
raat din


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

Blog Day : 3603 Post No. : 14378

“Mahasati Tulsi Vrinda” (1947), a mythological movie, was directed by Ishwarlal for Jayant Desai Productions, Bombay. The movie had Ishwarlal, Ranjana, Umakant, Reva Shankar, Bhagwandas, Sayyad Ahmad, Kantilal, Sukumar, Vidya Devi, Chandabai, Shabnam, Shanta Bai, Shalini, Lalita etc in it.

The movie had ten songs in it. Here is the first song from the movie to appear in the blog.

The details provided in HFGK suggest that this song is sung by Putul Chatterji which appears incorrect. It is clearly a duet song.

Shalin Bhatt, the uploader of this song and a regular visitor of this blog, quotes Mr Girdharilal Vishwakarma for providing the correct information about the artists of the song. According to him, Saraswati Rane and G M Durrani are the singers. Ishwar Chand Kapoor is the lyricist (HFGK mentions Qamar Jalalabadi as the lyricist).

Music is composed by Ram Ganguly.

With this rare song, ‘Mahasati Tulsi Vrinda’ (1947) makes its debut in the blog.


Song-Aao aao aao shyaam aao shyaam murali ki taan (Mahasati Tulsi Vrinda (1947) Singer-Saraswati Rane, GM Durrani, Lyrics-Ishwar Chand Kapoor, MD-Ram Ganguly

Lyrics

aao aao aao shyaam
aao shyaam
sao aao aao shyaam
aao shyaam
murali ki taan sunaao shyaam
aao shyaam
murali ki taan sunaao shyaam
aao shyaam

main deewaani deewaane panchhi
main deewaani deewaane panchhi
deewaani mathura deewaani bansi
murli ki ter sunaao shyaam
aao shyaam
murli ki ter sunaao shyaam
aao shyaam
sao aao aao shyaam
aao shyaam

naacho deewaani
naacho o panchhi
naacho deewaani
naacho o panchhi
naache mathura naache ye bansi
naache mathura naache ye bansi
aaj naache tere sang tere shyaam

krishna shyaam
aaj naahe tere sang tere shyaam
krishna shyaam

charnon mein tere hai vishw saara
charnon mein tere hai vishw saara
poora hai brahmaand trilok saara
poora hai brahmaand trilok saara
diyo moksh mere hridaya raam
krishna shyaam
diyo moksh mere hridaya raam
krishna shyaam

aasha mein naacho
niraasha mein naacho
aasha mein naacho
niraasha mein naacho
bhaav sang naacho sakhi
bhakti sang naacho
bhaav sang naacho sakhi
bhakti sang naacho
main naachoonga janm janm tere dhaam

raadhe rhyaam
main naachoonga janm janm tere dhaam
raadhe shyaam
raadhe shyaam
raadhe shyaam
raadhe shyaam


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

Blog Day : 3524 Post No. : 14154

“Ajeeb Ladki” (1952) was directed by Mohammad Ehsan for Tajmahal Pictures, Bombay. The movie had Rehman, Naseem Bano, Cuckoo, Shashikala, Agha, Jayant, Shyam Kumar, Shakuntala, Samson, Kathana, Bakshi, A K Sagar, Munshi Munaqqa etc in it.

“Ajeeb Ladki”(1952) had ten songs in it. As many as nine songs from the movie have been covered in the past.

Here are the songs from “Ajeeb Ladki”(1952) that are showcased in the blog till now:-

Song Title

Post No.

Post Date

Chhodo chhodo ji piyaa mera todo na jiyaa 4210 16-Jul-11
Main banoongi film star 4276 26-Jul-11
Ek bewafa ko dil ka sahaara samajh liyaa 6595 6-Sep-12
O cycle waale baabu 9109 7-Dec-13
Mera haal e dil kaun pehchaanta hai 12526 5-Nov-16
Do dil ki zindagi mein ik baar muskuraa lo 13862 3-Jan-18
Dikhla ke jhalak bas ek nazar 14138 8-Mar-18
Chupchaap chala jaa door na ho magroor o chanda pyaare 14143 9-Mar-18
Suno na logon raag puraana 14148 11-Mar-18

Here is the tenth and final song from “Ajeeb Ladki”(1952) to appear in the blog. This song is sung by G M Durrani, Shamshad Begma and chorus. Shakeel Badayuni is the lyricist. Music is composed by Ghulam Mohammad.

Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of the song. The song appears to be picturised on a character playing a kaabuliwaala and a lady from Mumbai, as the lyrics of the song suggests. It could be a stage performance song.

With this interesting song, “Ajeeb Ladki”(1952) joins the list of movies that have all their songs covered in the blog.


Song-Laala rukh laala rukh wai loye sha (Ajeeb Ladki)(1952) Singers-G M Durrani, Shamshad Begam, Lyrics-Shakeel Badayuni, MD-Ghulam Mohammad
all chorus
male chorus

Lyrics

Laala rukh laala rukh wai loye sha
dacha makh dachamakh wai loye sha
Laala rukh laala rukh wai loye sha
dacha makh dachamakh wai loye sha

jaaneman jaanaaneman
jaaneman jaanaaneman
jaaneman jaanaaneman
jaaneman jaanaaneman

dil amaara tumpe aa gaya
o tum hamko bha gaya
tumko akhrot khilaayega wai
tumko angoor khilaayega o

o o o o o
o o o o o
main bambai ki mausambi
tu kaabul ka anaar
meri paanch ghaz ki saadi
teri sau ghaz ki shalwaar
nibhega kaise phir ye pyaar

jaaneman jaanaaneman
jaaneman jaanaaneman
tum jo nibhaayega to nibh jaayegaa
khonche maza aayegaa aa
Laala rukh laala rukh wai loye sha
dacha makh dachamakh wai loye sha

jaane dil qurbaan aan
??
jaane dil qurbaan
amko tumse pyaar hai
dil beqaraar hai
tumko kishmish khilaayega wai
tumko sharbat pilaayega oy
o o o o o
o o o o o
sood pe rupaiyya dete
o laala pakhtooni
meri laaj tu rakh le
teri aamdani ho dooni
nigaahen pher na o baatooni

jaaneman jaanaaneman
jaaneman jaanaaneman
chhodo baaba am na tumse dil lagaayega
o apna paisa khaayegaa
Laala rukh laala rukh wai loye sha
dacha makh dachamakh wai loye sha

oy oy oy
oy oy oy
????
oy


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

Blog Day : 3456 Post No. : 13862

Today is 3 january 2018 and we are into the early days of 2018. This is that time of the year when most people feel extremely resolutionary (not to be confused with revolutionary). One regular of our blog commented in our whatsapp group that it is not safe to go on morning walk in these early days of the year as the streets would be full of this highly resolutionary early morning walkers. It is however expected that things would be back to normal after the first week. 🙂

Unlike many who keep away till midnight on new year eve, I went to bed early and when I woke up on first january 2018, it was 5:45. It was late by my standards, but I realised that there was no electricity. The state Electricity Board was letting people in my locality down for the second morning in a week. Previous morning was a sunday, but this first day of the year was a working day.

As is my wont, I took Chhote, an extremely enthusiastic early morning walker with me. When I came out, I noticed that it was extremely dark and foggy weather outside. It was nearly 6 AM, but I was unable to see much ahead in the pitch dark. Undeterred, we began our walk groping my way out in dark from memory. It was a cold ang gloomy new year morning and it was unlikely that the early morning sun would be visible. No soul, whether any humans or even street dogs or tree monkeys could be seen. Resolute new year morning walkers are conspicuous by their absence. In any case, I have realised by now that most people staying in this locality (supposedly the top people in the organisation) are not noted for any great determination as far as early morning walking is concerned. They all wait for fair weather before deciding to come out and such fair weather is rarely available in these days. In other words, I failed to come across any new year resolutionaries on my morning walk on the first day of the year.

By the time I brought Chhote back, the visibility had improved and then I took Bhole with me on his morning walk. For us, it was just another day of morning walk, where I felt a bit let down because I started my morning walk some half an hour later than planned.

After I came back with Bhole, the next phase of my morning activity takes place in the kitchen. As soon as I go towards the kitchen, I am greeted by the persistent meowing of Pixie, a black cat, who was a tiny kitten a few months ago but now she has grown into a huge fat cat, weighing some 5 KG. This is the time when I prepare the meal of the dogs. I have become a good dog chef by now. Even the cat expects me to feed her every time she sees me. I have kept two tiny pots in the courtyard where Pixie roams around after coming out from a small abandoned room opening to the courtyard that she has occupied. I pour milk on one of her pots but she is more interested in the other stuff in my other hand that is her version of kurkure. I would throw a piece away at a distance. She would grab that piece and would come near me. It has become a ritual with her that she would bring that piece back and then eat the first piece standing near me. When I throw the next piece, she goes near the peace and eats it there. That gives me the opportunity to go back to the kitchen. After every piece, she demands for the next piece. This continues as long as I am in the kitchen.

After putting Bhhole-Chhote’s cooker on the oven, I went towards my room and switch the computer on. It is then that I had my first look at the blog, some two hours after I am done with my pets. Unlike in the previous days, when I would start preparing for the first post, I had already ensured posting of two songs after midnight, even when I was asleep.

As mentioned earlier, there was no electricity. I was managing my light and computer requirements through inverter. But geiser cannot work on inverter. In other words, there was no hot water for taking bath. It is the first day of the year, and even if it was not, one had to take bath. I reminded myself that I used to take cold water bath in winters in my younger days including during my stay at Jabalpur. So I had done it in the past and I could do it again. So I willed myself and took cold water bath. 🙂 One always feels nice after taking bath. The fact that you did something that very few people would even dare to do also made me feel good about my mental strength. It is all in the mind, I keep reminding myself as well as others. 🙂

Then I went to office. Today was the first day of the week as well, so it was a day of meeting for us. It was a new year day and people were in a mood to greet each other rather than work. Still we managed to get our work done reasonably well. Most people did not seem too much into new years resolutions though. So I was alone in feeling quite enthusiastic about the new year.

In other news, I was following the Ranji Trophy final between Delhi and Vidarbha quite keenly. I was supporting Vidarbha, the underdogs, as I had lived in Nagpur for two years in the past. I was quite pleased when I found Vidarbha rout Delhi by nine wickets to become Ranji trophy champions on the first day of year 2018.

As for the blog, we covered four songs on the first day of the year and also on the second day. The regulars have got active and they are contributing a good number of writeups. This has ensured that we are meeting our resolutions of posting “debutant” movie songs and YIPPEE movie songs everyday. Let us see how long this resolution holds for us.

Starting from second day of the year, we have started to provide blog day number as well as post number with every writeup. This was a new year resolution by Sudhir Ji. 🙂

Incidentally, Sudhir Jee reminds me that today (3 january 2018) is the 3456th day for the blog and that is a “honky tonk” number for the blog. 🙂

What did we do on the other four digit honky tonk days for the blog ? 1234th day fell on 4 december 2011. Dev Anand had passed away the previous day so that day was the day of tribute to Dev Anand in the blog. Three out of six songs posted that day were about Dev Anand. 2345th day fell on 19 december 2014. Three songs were covered on that day including a new song of 1991 discussed by the seniormost contributor of the blog in his raagmala series. 🙂

So we see that these honky tonk numbers have fallen around december-january. And I notice that I was based in three different places in three different states when the blog achieved these “honky tonk” number days.

The song under discussion is neither a debutant movie song nor a YIPPEE song. It is an in between song, so to say. Unless we cover songs from movies that have several songs left, we cannot take them towards their YIPPEEhood. This song from “Ajeeb Ladki” (1952) is the sixth (out of ten songs) from the movie to appear in the blog. This song is sung by Rafi, Shamshad Begam and G M Durrani. Shakeel Badayuni is the lyricist. Music is composed by Ghulam Mohammad.

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

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


Song-Do din ki zindagi mein ik baar muskura lo(Ajeeb Ladki)(1952) Singers-Rafi, Shamshad Begam, GM Durrani, Lyrics-Shakeel Badayuni, MD-Ghulam Mohammad
Chorus

Lyrics

do din ki zindagi mein
do din ki zindagi mein
ik baar muskura lo
ik baar muskura lo
parde mein tum hansi ke ae ae ae
parde mein tum hansi ke
dil ki lagi chhupaa lo o
ik baar muskura lo
ik baar muskura lo

dil ki nazar se dekho
duniya mein kya nahin hai ae
ulfat ki zindagi bhi
sab kuchh yahin kahin hai
nikla khushi ka sooraj
andaaz aap daalo
ik baar muskura lo
ik baar muskura lo

o o o
o o o
o o o
aankhon se hum na dekhin ee ee ee
dushwaar dil ki raahen
manzil bhi dekh lete
hoti agar nigaahen
dil maanta nahin hai
dil ko zara sambhaalo o
ik baar muskura lo
ik baar muskura lo

haishe
do din ka zindagi mein
o do din ka zindagi mein
qurbaan
yak baar muskuraa lo
ko che yak baar muskuraa lo
wai am bhi aaj gaaoon
yak daa
wai am bhi aaj gaaoon
wai tum bhi aaj gaa lo
loshe
yak baar muskuraa lo
yak baar muskuraa lo
yak baar muskuraa lo
yak baar muskuraa lo
ek baar muskuraao amaare waaste baaba

fasl e bahaar aayi
wai
dil se dil miley hain
wai
(hoye)
wai
(hoye)
wai
wai..ee..ee
fasl e bahaar aayi
wai
dil se dil miley hain 
wai
wai
wai
wai
loche
jeene mein ab mazaa hai
kaane ka ab mazaa hai
ye shasta daam pista
akhruza aaj kha lo
wai chilgoza aaj kha lo
qurbaan
yak baar muskuraa lo
yak baar muskuraa lo
yak baar muskuraa lo
yak baar muskuraa lo


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

“Shaadi Ki Raat”(1950) was directed by Yashwant Pethkar for Prakash Pictures, Bombay. This “social”movie had Geeta Bali, Rehman, Vijaylami, Leela Mishra, Jankidas, Ansari, Shantta Kunwar, Baby Durga, anwari Bai, Arun etc in irt.

The movie had twelve songs in it. Pt Govindram had composed eight of them, while S Mohinder had composed three songs and Aziz Hindi had composed one song.

One song from the movie has been covered in the past.

Here is the second song from “Shaadi Ki Raat”(1950) to appear in the blog. This song is sung by Meena Kapoor and G M Durrani. Nazim Panipati is the lyricist. Music is composed by Aziz Hindi.

Only the audio of this delightful song is available. I request our knowledgeable readers to throw light on the picturisation of this song which sounds like a stage performance song, or may be a roadside tamasha song.


Song-Teri meri meri teri lad gayi najariya (Shaadi Ki Raat)(1950) Singers-Meena Kapoor, G M Durrani, Lyrics-Nazim Panipati, MD-Aziz Hindi
Both

Lyrics

teri meri meri teri lad gayi najariya
dekhan ko aaye gayi saari re bajariya
saari re bajariya
dheere dheere
ho dheere dheere jaan gayi saari nagariya
dekhan ko aaye gayi saari re bajariya

tere liye maine saari duniya bisaar di
tere liye maine
tere liye maine saari duniya bisaar di
dil jaisi cheez maine tere liye haar di
kahe to rakh doon gori
kahe to rakh doon tere paanv pe pagariya
dekhan ko aaye gayi saari re bajariya

hoy teri meri meri teri lad gayi najariya
dekhan ko aaye gayi saari re bajariya

dil ko na todna
ye dil hai gareeb ka
dekho na thhaam lena
daaman rakeeb ka
dil ko na todna
ye dil hai gareeb ka
dekho na thhaam lena
daaman rakeeb ka

aisa na hoga kabhi
aisa na hoga mere baanke saanwariya
dekhan ko aaye gayi saari re bajariya
hoy teri meri meri teri lad gayi najariya
dekhan ko aaye gayi saari re bajariya

inki bhi aapas mein aisi waisi baat hai
inki bhi aapas mein aisi waisi baat hai
baat wahi baat hai
jo teri meri baat hai

jo teri meri baat hai
aankhen bataaye rahi
aankhen bataaye rahi
dil ki khabariya
dekhan ko aaye gayi saari re bajariya
hoye teri meri meri teri lad gayi najariya
dekhan ko aaye gayi saari re bajariya


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

“Nazaare”(1949) was directed by Prahlad Dutt for Ranji Movietone, Bombay. This “social” movie had Shashikala, Agha, Satish, Shanti Madhok, Khan, Anwari, Ramesh Thakur, Rajendra etc in it.
Read more on this topic…


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Today’s song is from a very little known film ‘Nirmal’ from 1952. During the period of the 50s, the film industries in all centres, i.e. Calcutta, Madras and Bombay were in full steam. The Partition had made a quantitative and qualitative change in the Hindi film industry. Many seasoned and successful artists had left India, creating a void suddenly. However, this proved to be an opportunity in disguise for many artists ‘waiting in the wings’ in the fields of  acting, film direction and music direction. The void was filled up almost immediately.
Read more on this topic…


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What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over ELEVEN years. This blog has over 15200 song posts by now.

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

Total number of songs posts discussed

15221

Number of movies covered in the blog

Movies with all their songs covered =1178
Total Number of movies covered =4183

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Active for more than 4000 days.

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