Archive for the ‘G M Durrani solo’ Category
Meri zindagi bhi koi zindagi hai
Posted on: May 11, 2020
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.
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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
Hamne circus mein naukri kar li
Posted on: April 5, 2020
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.
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Blog Day : |
4279 | Post No. : | 15518 |
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Blog 10-Year Challenge (2010-2020) – Song No. 17
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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
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Devnagri Script lyrics (Provided by Avinash Scrapwala)
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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
ओ
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
Wo nazron mein samaate jaa rahe hain
Posted on: May 5, 2019
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.
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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.
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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
Kisi ko yaad karta hai mera dil
Posted on: November 28, 2018
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.
“Nakhre”(1951) was produced by Mohanlal Wahai and directed by Surya Kumar for Paro Pictures, Bombay. This by now forgotten movie had Geeta Bali, Nasir Khan, Jeewan, David, Heera Sawant, Vijaya, Badri Prasad, Ramesh, Laxmanrao, M S Pathak, Paro etc in it.
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This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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.
In the 1930s and 40s, Hindi film industry attracted many well known poets and writers of Hindi/Urdu. Munshi Premchand joined Ajanta Cinetone and wrote story and screen-play for the film ‘Mazdoor’ (1934) in which he also played a cameo role. Dr Safdar ‘Aah’ Sitapuri, the Urdu poet and writer joined National Studios in 1939 and later Bombay Talkies as screen-play/dialogue writer and lyricist. Later, he also directed two Hindi films. Upendranath ‘Ashq’ joined Filmistan in 1944 as screen-play and dialogue writer. Josh Malihabadi, the Urdu poet joined Shalimar Studio in 1942 as dialogue writer and lyricist. Amritlal Nagar joined the film industry in 1941 as a screen-play/dialogue writer and lyricist. The list is not exhaustive.
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Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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