Archive for the ‘Geeta Dutt songs’ Category
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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.
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Blog Day : |
6430 | Post No. : | 19959 |
Today’s song is the last and final song of the film Son of Sindbad-1958.
So far, hundreds of songs have been discussed from films on Arabian Nights stories of Alladin, Alibaba and Sindbad. In these posts almost all the relevant points have been discussed. So, there is a very little new thing that can be brought out and now such posts look repetitive. But it does not mean that everything is over. There are still many things which can be discussed with new angles and especially new information found on the older artists can be brought out.
Film Son of Sindbad-1958 was a creation of Producer Ram kamlani and Balwant Bhatt, for their banner Neo Lite films, Bombay. Directed by the expert of such films, Nanabhai Bhatt aka Batuk Bhatt, it had music by the Melody maker Chitragupt. The cast of the film consisted of premnath, Jabeen, Purnima, Nishi, Shammi, Kuldip Kaur, Cuckoo, Rinku, Saroj, Heera, Bhagwan, Tiwari, Sunder and the usual C grade artists.
Alibaba, Alladin and Sindbad were popular characters during our school days. Not only books of their stories but also films made on them were the targets of all children in those days. It was a thrilling experience to get a book on one of these Heroes, as a gift on “Happy Birthday” ! I am not very sure if today’s young children read these stories. I doubt if they even know these names. These boys seem to favour Harry Potter stories, while the young girls are lost on reading Mills and Boon novels, I suppose ! The big fat book ‘Stories of Arabian Nights’ was the most sought after book (in spite of 5 copies) in our school library. Stories of Alibaba, Alladin, Sindbad the sailor, Hatimtai, Gul Bakavali etc enchanted us.
Arabian Night stories evolved through a story which took place in Persia. King Shahriyar became a woman hater after he found that his wife was unfaithful to him. He not only killed her, but he started marrying a new girl every time and on the second day of marriage the wife would be killed to avoid unfaithfulness.
The legend says that Scheherazade, the beautiful young daughter of the Vizier, decided to marry King Shahriyar, against wishes of her family. On the first night of marriage, she started telling him a story which she left unfinished. Curious to know the story’s end, the king postponed her killing. On every night Scheherazade employed the same technique-keeping the story unfinished. Thus she continued 1001 stories on 1001 nights. Finally the king changed his opinion and pardoned his wife.
As always, the creative heads in the story departments of filmmakers invented titles like ‘Alladin Ka Beta’, ‘Alladin Ki Beti’, ‘Alladin And Laila’ etc. Similarly son and daughter were gifted to Alibaba and Sinbad and films made on them. The funniest title was ‘Sindbad, Alibaba and Alladin’ (1965) ! On a quick check of HFGK entries for the 1940s decade we find that as many as 9 films were made in 1946 alone on these characters. Added were ‘Baghdad Ka Chor’, ‘Hoor e Baghdad’, ‘Sher e Baghdad’, ‘Arab Ka Chand’ and ‘Shah e Misr’ – in which actor Ajit debuted with his real name Hamid.
Most of these stories took place in the Middle East cities which were land locked. However, one character Sindbad was a sailor and his stories of adventures and voyages to magical, strange and unbelievable places were mind boggling. He was equally popular as Alibaba and Alladin.
The fertile imagination of the members of ‘Story Departments’ of studios must be appreciated. Films like ‘Son of Alibaba’ (1955), ‘Son of Hatimtai’ (1965), ‘Son of Sindbad’ (1958) and also ‘Daughter of Sindbad’ (1958) were made. The original book of Arabian Nights does not have any such stories of their progeny (what’s more, films like ‘Daughters of India’ (1938) and even ‘Son of India’ (1962) were made). The funniest title of a film was ‘Sindbad, Alibaba and Alladin’ which was made in 1965. I did not see that film, because I did not want to spoil my sweet memories of these 3 heroes !
The story of this film was….
Towards the end of his life, Sindbad decided to settle down to Public Service and Meditation. He was a man of Justice. His only son Yusuf was adventurous and daring. He wanted to become as famous as his father, if not more. Once during an altercation, his opponent gets killed. Yusuf is arrested for murder and brought before his father. Sindbad sentences his son to death. Meanwhile Yusuf’s beloved admits that not Yusuf but she murdered the man and Yusuf was trying to shield her. She is asked to leave this country by the next morning or get a death sentence. Yusuf objects and he too is sentenced to leave with her the next day.
Next day, before Yusuf leaves the country, Sindbad gives him 3 pieces of advice – never to be proud, never to forget God and never trust women. After they leave the next day, that night one of the cousins of Yusuf – Shahnaz – comes to Sindbad and tells him that Yusuf was being cheated by the killed person and his beloved, who were the actual lovers. They wanted to kill Sindbad and Yusuf to become the King of their country. Hearing this, Sindbad asks, then why she killed him. The cousin, Shahnaz, tells that it was Shahnaz who killed him and not his lover.
The king recalls Yusuf and his lover. After interrogation the lover accepts everything. The king awards the death sentence to the lover girl and Yususf is married to Shahnaz.
The hero of this film was Premnath. Premnath Malhotra (21 November 1926 – 03 November 1992), known as Prem nath, was an actor, director and also a singer.
He was born in the Karimpura locality near Ghanta Ghar in Peshawar, (undivided India) now in Pakistan. His family moved to Jabbalpore, now Jabalpur, in Madhya Pradesh after partition & he moved to Bombay, where he was discovered as an actor.
Premnath married actress Bina Rai. Their children are actor Prem Krishen and Kailash Nath (Monty). They are also grandparents of actress Akanksha Malhotra and director Siddharth Malhotra who are Prem Krishen’s children. Adiraj Malhotra & Arjun Malhotra are the sons of Kailash Nath. His sister Krishna married Raj Kapoor, while his other sister Uma was married to veteran Hindi Film actor Prem Chopra. His brothers Rajendranath and Narendranath were also actors who mostly appeared in comic and supporting roles. He was also a close friend of the actress Asha Parekh.
Premnath made his film debut in “Ajit” 1948 opposite Monica Desai, which was one of the first colour films. He got major roles in Raj Kapoor’s first directorial film “Aag” & “Barsaat” (1949) which was his first major success. Premnath went on to appear in many films for the next three decades, some of which were the biggest block-busters in Indian film history. The films in which he played the leading role failed to do well, but the films in which he played the central villain role or supporting role were some of the biggest blockbusters in Indian film history. Some his most notable films were Aan (1952), Teesri Manzil (1966), Johny Mera Naam (1970),Tere Mere Sapne (1971), Roti Kapada Aur Makaan (1974), Dharmatma (1975), Kalicharan (1976) and Desh Premee (1982). He also starred in the Punjabi film Sat Sri Akal (1977).
Premnath fell in love with actress Bina Rai during the filming of “Aurat”. They married and formed a production company together called P. N. films. They held high hopes for their films, which didn’t become hits, such as Shagufa, Prisoner of Golconda, Samunder and Watan. Thus, the Premnath & Bina Rai pair never clicked on the screen.
Premnath earned Filmfare nominations as Best Supporting Actor for Shor (1972), Bobby (1973), Amir Garib (1974) and Roti Kapda Aur Makaan (1974). But he never got any award.
Apart from Hindi films, he also appeared in an episode of the American television series “Maya” in 1967 & a 1969 American film titled “Kenner Sandy” opposite former American football player turned actor Jim Brown. He also directed the film Samundar (1957) for his home production house P. N. films, which was its production. His last film appearance was in “Hum Dono” (1985) after which he retired from acting.
He acted in 121 films. His last film was Farz ki Keemat-1985. He directed 2 films- Golkonda ka qaidi-1954 and Samunder-1957. He sang 5 songs in 5 films.( He was a trained singer).
Premnath died on 03 November 1992 of a heart attack at the age of sixty-five in Mumbai.
(adapted from an article by Suresh Sarvaiya ji and book ” The stars of Indian Screen” by Baburao Patel.)
One of the artists was Purnima. Purnima, born at Bombay on 2-3-1932 as Meher Bano, was the daughter of a Lucknow Muslim mother and a Tamil Brahmin father-Ram Seshadri Iyengar. He was working in the Distribution office of Kikubhai Desai (father of Man Mohan Desai) the producer and director. While still in school Purnima started working in Hindi and Gujarati films from 1947 itself when she was hardly 15-16 year old. She also got married to Shaukat Hashmi. After giving her a son and a divorce, he migrated to Pakistan.
In 1954, Purnima married Producer/director Bhagvandas Varma and she stopped working. Her elder sister Shirin Banu, also had married Producer director Nanubhai Bhatt.Their sons are Mahesh and Mukesh Bhatt. Purnima resumed working in films, when Bhagwandas was in financial difficulties in 1957. He died in 1962.
Purnima was Heroine or second lead in about 20 films. Her well known films are, Thes-49, patanga-49, Jogan-50, Gauna-50, Sagai-51, Badal-51, Shagufa-53, Pooja-54, Bhai Saheb-54, P.B.No. 999-58, Son of Sindbad-58,Kangan-59, Naya kanoon-65, Guide-65, Budtameez-66, Humjoli-70 etc etc. In all she acted in 152 films, though she claimed more than 200 films, in one of her interviews. Her last film was Sada Suhagan-86, after which she retired. Her friends were Saira Bano, Shakeela,and Dulari. Purnima died on 14-8-2013 in Mumbai.
Here is the last and final song of this film, sung by Lata and Geeta Dutt. Enjoy….
Song- Sabz gumbad ke makeen meree madad farmaaiye (Son of Sindbad)(1958) Singers-Lata Mangeshkar, Lyricist-Prem Dhawan, MD-Chitragupta
Lata Mangeshkar + Geeta Dutt
Lyrics(Provided by Prakashchandra)
sabz gumbad ke ae makeen
meree madad farmaayiye
meree ee madad farmaayiye
zeenat-e-aras-e-baree
meree madad farmaayiye
meree ee madad farmaayiye
sabz gumbad ke ae makeen
meree madad farmaayiye
meree ee madad farmaayiye
jiske dar se laut ke
koyee sawaalee jaaye naa
ho o o
jiske dar se laut ke
koyee sawaalee jaaye naa
jis takee(?) ke aastaa(?) se
koyee khaalee jaaye na
main bhee aayee hoon oon waheen
meree madad farmaayiye
meree ee madad farmaayiye
sabz gumbad ke ae makeen
meree madad farmaayiye
mere..eee madad farmaayiye
aaj waqt-e-imtihaan
hai ae aafaton mein jaan hai
ho o o o
aaj waqt-e-imtihaan
hai ae aafaton mein jaan hai
ik taraf qaafir zamaanaa
ik taraf imaan hai
haarey naa imaan kaheen
meree madad farmaayiye
meree ee madad farmaayiye
sabz gumbad ke ae makeen
meree madad farmaayiye
meree ee madad farmaayiye
zeenat-e-aras-e-baree
meree madad farmaayiye
meree ee madad farmaayiye
sabz gumbad ke ae makeen
meree madad farmaayiye
meree ee madad farmaayiye
This article is written by Avinash Scrapwala, 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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6427 | Post No. : | 19948 |
#the Decade of Fifties – 1951 – 1960 #
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The song in this post is from the 1959 movie ‘Grihalaxmi’. This social movie was directed by Raman B Desai for ‘Bombay Movietone, Bombay’.The cast of this movie has Pandhari Bai, Shahu Modak, Lalita Pawar, Kumari Nazar, Rooplaxmi, Miss Kala, Indira Bansal, Ram Avtaar, Raj, Umakant, Praveen Pal, Devendra, Suryakant Shukla, Polsan, Bhairav, Bipin Gupta and others. This movie was passed by Censor Board on 02.02.1959. So the movie is now almost sixty-seven years old.
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 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 : |
6426 | Post No. : | 19944 |
Today’s song is from a Remake film from the South- Sansar-1951.
The film was made by S.S.Vasan for his own banner Gemini Pictures, Madras. It was also directed by him. There were 3 MDs – M.D.Parthasarathy, E. Shankar Sastri and B.S.Kalla. All the songs were composed jointly by Shankar and Kalla. As per Vasan’s system, Parthasarathy was in the team as a Supervisor.
The cast was a mixed one. The leading pair Pushpavalli and M.K.Radha and majority of other artists were from the original south film. A few artists were from Hindi films like Gulab, Mohana Cabral, Meera, Agha , David, Casshyap and Anil Kumar were taken to give the film a Hindi touch.
Till 1947, Hindi films were made mostly in Bombay, Lahore, Calcutta, Kolhapur and Poona. Most studios were located in these cities.South Indian language films were made mainly in Madras and Bangla films were made in Calcutta and Dhaka. The Partition in 1947 changed the picture completely.Wholesale polarisation took place.Producers of Hindi films had to flee from Lahore,leaving everything behind them and some artistes from Bombay left for Pakistan.Thus,after Partition,the exclusive centre for production of Hindi films was only Bombay.By 1950 things settled in India and Pakistan Film Industry.
Telugu film producers shifted to Hyderabad,Kannada films to Bangalore and Malayalam to Kerala. Madras,however,still made films other than Tamil,like Telugu Hindi etc.But now it was only Remakes of successful Tamil films or dubbed films.The 50s saw many Hindi films dubbed from southern languages(Read Tamil/Telugu).Initially,they were Mythological,Fantasy or costume films.In the 60s,however, even social films were remade.
Film production in Madras is very methodical and professional.They make films as per plans and in planned time. For this reason,in the 60s to 80s many Hindi film actors volunteered to to make films in south.The producers in south too had their favourites.In the Music area,there were,Ravi,C.Ramchandra or Madan Mohan,for lyrics and story,Rajinder krishna and Pradeep,and preferred actors were Jeetendra,Rajendrakumar,Sunil Dutt and Mehmood.
Though Polarisation took place in film production,the attraction to come to Bombay and work here continued.Artistes from various centres still came to Bombay.
The biggest contribution came from Bengal,in music,direction and acting areas.Artistes from South tried their hand with Hindi films,either by Remade or dubbed films.Thus the greatest south actors like Sivaji Ganeshan, Gemini Ganeshan, M G Ramchandran,N T Rama Rao,A.Nageshwar Rao,Jailalita,Janaki,Susheela, Bhanumathi, Prem Nazir of the older gen and Rajanikanth,Kamal Hasan and Chiranjeevi from the next Gen were seen in Hindi films. Only Dr.Rajkumar,the Kannada Superstar never worked in Hindi films.In fact,except for just 1 Telugu film, Sri Kalahasti Mahatmyam-1954, Dr.Rajkumar never worked in any other language film.
In the music department also,many composers like K.Narayan rao, S.Rajeshwar rao,C R Subramanyam,E Shankar, R Sudershanam,Ramesh Naidu,Adi Narayanrao,Vishwanath-Rammurthy,Lingappa etc worked in Hindi films. There was one name from South,which was so famous,but it is surprising that he too gave music to Hindi Films.His name was Ghantasala.
The major difficulty for southern artists was speaking in Hindi. Due to this, they hesitated to work in Hindi films and instead, preferred dubbing their hit films in Hindi, released them on All India basis and hoped for becoming famous. Initially, in the period of the 50’s and 60’s decades, there was a spate of dubbed films, as well as some remade films in Hindi. Later on and now of course only hit films are remade in Hindi. The count of dubbed films has gone down considerably. These days, I find that even hit films of Hindi are also remade in southern languages.
Since the times when the adventurous S.S.Vasan-Producer, Director and Owner of Gemini Studios, made his film ” Chandralekha”- in Hindi in 1948 on a mammoth scale (with over 600 prints of the Hindi version for simultaneous release on All India basis on 24th December 1948), the Southern film industry woke up. After the film Chandralekha was successful, Vasan started making remakes of his Tamil hit films in Hindi one after another. When other filmmakers of the South saw Vasan busy doing this and visiting his bank very often with several bags full of money to deposit, they too joined the bandwagon !
Thus, the entire decades of the 50’s and the 60’s saw many films from South, in the form of Remakes of Southern Hit films, Dubbed or shot at Madras for the All India audience of Hindi films. After Vasan’s Gemini, A.V.Meiyyappan’s AVM, Nagi Reddy’s Vauhini Studios and L.V.Prasad’s Prasad productions gave many films, made with all Southern, all Bombay or a mixed cast of actors. Many major Heroes of South secretly nurtured a desire to shine in the Hindi belt. They joined this race. Actors like M.G.Ramchandran (MGR), N.T.Tama Rao (NTR), A.Nageshwar Rao (ANR), Sivaji Ganesan, Gemini Ganesan etc., actresses like Bhanumathy, Jayalalitha, Jamuna etc and character artistes like Relang, S.V.Ranga Rao etc appeared in Hindi films. ( A very loooong list of such remakes and dubbed films is available on IMDB ). Even today many Southern Hit films are remade or dubbed in Hindi and the addition is, many Hindi Hits are also remade in Southern languages. The West Bengal Film Industry which actually led this trend in the 30’s and the 40’s has fallen way behind now.
There is a very good and detailed article “The harsh reality of remake Culture….” written by Gaurang Chauhan. Interested readers can read it for information on http://www.mensxp.com
for an interesting history and its effects.
In 1950, L.V.Prasad produced and directed a film in Telugu- “Sansaram”-50. It became a popular and a hit film. S.S.Vasan, who was always on the lookout for good films, showed this film to his Studio staff in their Preview Theatre. The film made everyone weep in plenty. The story and songs were too good. Vasan immediately bought the remake rights of this film for Tamil and Hindi remakes.
As an experiment, Vasan kept the lead pair of Pushpvalli and M.K.Radha even for the Hindi version. He wanted to make these actors popular in Hindi also.( of course it never happened ). For all other roles there were hindi actors like Mohana, Meera, Agha, David, J.S.Kashyap etc etc. Among the actors we find even B.S.Kalla’s name. He was one of the Music Directors of this film. The main music director was E.Sankar Sastry. The music was supervised by D.Parthasarathi, who was a senior Music Director in the Gemini family. The tunes of all songs were kept the same in Tamil and Hindi versions.
As expected, the Tamil version became a hit film and the songs were also liked by the audience. The famous south Indian singer A.M.Raja made his debut with this film in Tamil. All his songs were sung by Talat Mehmood in the Hindi remake. One song ” Amma Roti de, baba roti de ” became very popular in all three versions. However, there was a lot of criticism in the Tamil media about this song. The critics claimed that no self respecting mother would ever send her children begging on the streets ( see the story ). This song in the Hindi version also became the most popular beggar song. Usually, Beggar songs are by male singers.
This Beggar song trend actually started from the film Pooran Bhakta-1933, in which the blind singer K.C.Dey had sung 2 Beggar songs- ‘ kya karan hai rone ka ‘ and ‘ Jao jao aye mere sadho raho guru ke sang ‘. The film Sansar Beggar song ‘ Amma Roti de ‘ was probably the first beggar song sung by a female ! This song did not create any ripples in the Hindi belt areas-unlike Tamil media. I guess the audience had accepted that anything can happen in melodramatic south films !
The female lead actress Pushpavalli was the second wife of actor Gemini Ganesan. Hindi famous actress Rekha is her daughter. Male lead actor M.K.Radha was a good actor. (there was another actor in Tamil M.R.Radha, who shot to fame when he fired at MGR and then tried to commit suicide ).
Though by 1951, Lata Mangeshkar had established herself as the Top leading female singer, she had never sung for a South film. ‘ Sansar’-51 was the first film in which Lata sang for a South film. She sang not 1 or 2 but 7 songs- 4 solos and 3 duets/with chorus.
The Music Director was E.Sankar Sastry along with B.S.Kalla. They composed jointly. This was his second Hindi film in Gemini. S.S.Vasan had a habit that in all Hindi remakes, he would appoint senior Music Director from Gemini, D.Parthasarathy, as a supervising Music Director on the team of other Music Directors. The composing and orchestration etc was done by the team. Parthsarathi would only help and supervise their work. here is some information on Emani Sankar Sastry, one of the MDs…
Emani Sankar Sastry was a very famous and renowned Veena player of International recognition. Born on 23-9-1922 in a small village of Andhra, he hailed from a family of celebrated classical musicians. He was trained in traditional Veena by several experts. He did independent concerts all over India.
He joined Gemini Studios in 1948 and stayed for 10 years as MD. During this period he was involved in the Music Direction of Hindi films like Mangala, Sansar, Bahut din huye, Mr. Sampat, Krishna Kanhaiya and Do Dulhe, as well as the English version of Chandralekha-48.
He joined A.I.R Madras in 1959 and rose to become Director and Chief Producer of Music. He won several awards including Academy award, Kala Parishad Award and Padma Shri. He played Veena in the Rome Festival and at UNESCO in New York. E.Sankar Sastry died in 1987.
Here is the story of ‘Sansar’-51, in short-
A struggling clerk lives with his wife and two children. Their blissful life is threatened with the arrival of his scheming mother and sister. A short time later, the clerk disappears, abandoning his family, and his brother comes to their rescue.
Exploiting the fragile situation, mischief makers suggest an immoral relationship between the clerk’s brother and wife. Frustrated, the clerk’s wife sends her two children to beg on the streets.
Several years later, the elder of the two children, now working in a mill, meets a bearded beggar who, unknown to him, is actually his father. He obtains his father a job in the mill, and the family later reunites.
Here is a song from this film,sung by V.Sarla, Geeta Roy and chorus. Enjoy….
Song- Hamee ne muhabbat kee duniya basaayee (Sansaar)(1951) Singers-Singers- V.Sarla, Geeta Roy, Lyricist- Pt. Indra, MDs- M.D.Partasarathi, B.S.Kalla and E.Sankar Sastry
Lyrics
Hamee ne muhabbat kee duniya basaayee
hamee ne nigaahon kee mehfil sajaayee
koi ban gaya saathhe(?)
koi ban gaya mastaana
koi ban gayee Shyama
koi ban gaya parwaana
judaa thhee jabaanen
sadaayen(??) aayeen
aa aa aaa
aa aa aa
hamee ne muhabbat kee duniya banaayee
kawan jaane hridayam
kawan jaane hridayam
mam punah kaamo
divapi raatravapi
?? tapati
bali yashwayi ee ee ee ee
pritam manoratha yaa
angaani
sabati(??) sangaatri
madan swaam?? maam
punardahatyev ??
?? shasaankam
??
kumudwati
diwasah
aa aa aa
aa aa aa
aa aa
aa aa aa
aa aa aa
aa aa aa
aa aa aa
aa aa aa
aa aa
aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa aa
mere Saleem se ae ae ae
mera salaam keh dena aa aa aa
gayee Anar tumhaaree
payaam keh dena aa
gayee Anar tumhaaree
payaam keh dena
????? koyee ee
?? naam ka dil ka
aa aa aa
nazar jhukaa ke hamaara hee naam keh dena aa
nazar jhukaa ke hamaara hee naam keh dena aa
gayee Anar tumhaaree
payaam keh dena
dupatta na suhaaye mora jiya ghabraaye
dupatta na suhaaye mora jiya ghabraaye
ajee phool see jawaanee meree
dhoop se kumhlaaye
mora rang murjhaaye
o raaja mora rang ud jaaye
dupatta na suhaaye mora jiya ghabraaye
aankhon ke kamre mein aa kar
chhup jaao
chhup jaao meree ranee
aankhon ke
aa aa aa
aankhon ke kamre mein aa kar
chhup jaao meree ranee
lage na nazar kisee paapee kee
aa aa aa
lage na nazar kisee paapee kee
taaza rahe jawaanee
haaye taaza rahe jawaanee
jawaanee hee(??) sataaye
bachpan yaad aaye
o raaja main to mar gayee haaye
dupatta na suhaaye mora jiya ghabraaye
dupatta na suhaaye mora jiya ghabraaye
o jiyaa ghabraaye
??
?? dee ?? daa
?? dee ?? daa
?? lohree da
?? lohree da
hoye
hoye
gal sun raaja ??
mukhda na mere ko mod paindya
mukhda na mere ko mod paapiyaan
mukhda na mere ko mo o od
boliyaan maaran apne paraaye ae ae ae
main nibhaavaan tod paapiyaan
gal sun oye
??? ??
oy ??
hoy
hoy
Lo aaya Johny laalten
Posted on: February 16, 2026
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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6422 | Post No. : | 19932 |
Today’s song is from a so-called ‘Social’ film, but actually a Murder and Mystery film – Laalten-1956.
The film was made by Harish Productions, Bombay and it was directed by Tara Harish, owner of the banner. Music Director was Hemant Kumar and his assistant was Ravi. There were 3 Lyricists, namely Indeevar, Shevan Rizvi and Qaif Irfani. The cast of the film included Geeta Bali, Motilal, Kanhaiya Lal, Mukri, Shammi, Harish, Mohan Choti, Uma Dutt and a host of B and C grade actors. The guest artiste was Bhudo Advani.
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 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 : |
6406 | Post No. : | 19871 |
Today’s song is from an obscure social film – Teen Bhai-1955.
The film was made by D.P.Productions, Bombay. It was directed by one of the veterans from New Theatres, Calcutta, Hemchander Chunder (1907 – 1960). He was a producer and director. He made his film debut in 1931 as an actor with BN Sircar’s short-lived film company International Filmcraft in Prafulla Roy’s Chasher Meye , and made his directorial debut in 1935, co-directing with Premankur Atorthy .
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O Mrignainee Madhubainee Menaka
Posted on: January 26, 2026
- In: Duet | Geeta Dutt solo | Geeta Dutt songs | Guest posts | Multi part song | Post by Sadanand Kamath | Seduction song | Shamshad Begam songs | Shamshad Begam-Talat Mehmood duet | Songs of 1950s (1951 to 1960) | Songs of 1952 | stage dance | Talat Mehmood songs | Yearwise breakup of songs
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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 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 : |
6401 | Post No. : | 19856 |
Mr. Sampat (1952) was produced and directed by S S Vasan under the banner of Gemini Pictures. The film starred Motilal, Padmini, Vanaja, Sundari Bai, Swaraj, Agha, Kanhaiyalal, Badriprasad, Kailash Nath, Ramamurthy, J S Casshyap, B S Kalla etc. The film was adapted from R K Narayan’s novel, ‘Mr. Sampat – Printer of Malgudi’ (1949). It is a satirical film. This was Padmini’s first Hindi film in a lead role while Motilal was in the title role of Mr. Sampat. The film was first made in Tamil in 1948 but R K Narayan made some revision in the story based on which the Hindi version was made.
I have already given the story of the film in some detail while covering one of the film’s songs, laila laila pukaaroon main ban mein. So, I will cover here only the gist of the story which is as under:
Mr. Sampat, (Motilal) sustains himself by coning the people through presenting himself in immaculate western attires with his smooth and humourous talks. He has the power to convince his potential targets with his believable schemes. One of his potential targets is Malini (Padmini), a stage artist who has a good fan base. Simultaneously, he has one more target, Seth Makhanlal Gheewala (Kanhaiyalal) who is standing for a municipal election. Sampat uses Malini in the guise of an interview for a newspaper and brings her at Gheewala’s tea party for her. Because of Malini’s fan base, Gheewala wins the municipal election thus creating a confidence in the ability of Sampat.
With this success, Sampat spells out a scheme, both for Malini and Gheewala to start a bank by offering the customers a high interest rates on deposits. The new bank thrives in its business and attract huge deposits. Raj Mohan (Kailash Nath) from a former royal family member has put a large chunk of deposits in the banks because he has developed infatuation with Malini. For Sampat, things are working nicely as per his plans and he has now improved his status. One day, Malini rejects Raj Mohan’s advances which angers him. He immediately withdraws his entire deposits from the bank. Soon the bank collapses and the entire investments made by Malini and Gheewala are lost. Creditors are queuing up and to meet their demand, Malini’s house is under auction. Knowing that he has nothing to gain now, Sampat leaves them after pocketing Malini’s theatre collections and moves on to select his next potential target for coning. And this time, he has been seen as a godman giving an impressive lecture to his followers.
The film was under production before India became a republic in 1952 and before the first general election took place. So, there was no major corruption and fraudsters cases at the time of making the film. The Haridas Mundra case and much later, Natwarlal’s coning instances came to light only sometime in mid-1950s though he was involved in theft and cheatings during the British Rule. Hence, it is to the credit of story writer, R K Narayan that he could foresee such scenarios which became realities in India in the later years. The film is still relevant and it is for the reason that film is enjoyable to watch even after seven decades from its release. Despite the role of Sampat having some negative shades, Motilal in the title role, has given an excellent performance and has been successful in creating an impression on the audience of his likeable character mainly because of his natural acting.
The film had 13 songs written by Pandit Indra (10) and others (3) which were set to music by Balkrishna Kalla and E Shankar Shastri. All are the stage songs. Surprisingly, not a single song was picturised on Motilal.
Five songs have been represented on the Blog. I present the 6th song, ‘o mrignaini madhubani……o bairaagi banwaasi’ which is tandem song rendered by Talat Mehmood, Shamshad Begum and Geeta Dutt. The soundtrack of the song in the film appears as a continuous song. Due to technical reasons, this song on gramophone records have been released in two parts. Geeta Dutt parts of the song is composed in Baul style, a type of kirtan song, which has been prevalent in Bengal.
This tandem song is a part of the mythological story of Menaka and sage Vishwamitra being staged in a theatre. In the first part of the song, Menaka (Padmini) is directed by Lord Indra () to entice sage Vishwamitra (Ramamurthy) who is on a deep meditation to attain the highest status of a Brahmarishi which can dethrone Lord Indra in heaven. In the second part of the song, Menaka goes from heaven to earth and starts singing and dancing. Towards the end of the song, Menaka is successful in breaking sage Vishwamitra’s meditation and he gets attracted to Menaka.
Incidentally, HFGK shows the song under discussion as two different songs because it has been issued on 78 RPM gramophone records with two different matrix numbers. In the film, it is a continuous but tandem song. Since the theme of both the songs is a part of the same story with continuity in stage performance, I felt that both the songs should form a part of the single post for the better understanding of the context of the song.
Video Clip (Part-1):
Video Clip (Part-2):
Audio Clip (Part-1):
Audio Clip (Part-2):
Song-O mrignainee madhubainee Menaka (Mr Sampat)(1952) Singers-Talat Mehmood, Shamshad Begum/ Geeta Dutt, Lyricist-Pt Indra Chandra, MD-B S Kalla
Chorus
Lyrics:
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Part-1 (Based on Video Clip)
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Devendra dev ki jai jai jai
?? kee jai jai jai
Gajpati Narendra kee jai jai jai
Gajpati Mahendra kee jai
Mahendra kee jai
Mahendra Kee jai
[Dialogues]
o o
mrignaini madhubaini Menaka
tum ho kahaan
tum ho kahaan
swaami ee
o o o o
haazir hoon main naath yahaan
haazir hoon main naath yahaan
haazir hoon main naath yahaan
o o o
mrignaini madhubaini Menaka
tum jaao
tum jaao
o o o
o o
meree laaj aabroo
ab to tumheen bachaao
salonee jaao
tum jaao
ab tajo shok tum swaami naath hamaare
ab tajo shok tum swaami naath hamaare
naath hamaare
sab bade bade brahmchaaree mujhse haare
mujhse haare
main jaaun
main jaaun aur suljhaaoon sabhee samasya
taphaaree kee kar aaoon
bhang tapasyaa
bhang tapasyaa…..aa
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Part-2 (Based on Audio Clip)
————————–
o o o
bairaagee banwaasee..ee
o o o
bairaagee banwaasee ee
charnon kee daasee
darash ko pyaasee
bairaagee banwaasee
o o o
bairaagee banwaasee ee
ab nain khol kar dekh re
ab nain khol kar
ab nain khol kar dekh
dwaar tere chhaayee pooranmaasee
o bairaagee banwaasee
main daaroongee galbaiyaan
tod de maala
main daaroongee galbaiyaan
tod de maala
main apnaa hriday bichhaaoon
phenk mrigchhaala
dho daal bhaal ke bhabhoot
bhagwa taj de
?? ang ang ras bhar le
dho daal bhaal ke bhabhoot
bhagwa taj de
?? ang ang ras bhar le
preet mohse kar le
preet mohse kar le
preet mohse kar le
chhod udaasee
preet mohse kar le
chhod udaasee
o banwaasee
o banwaasee
o banwaasee
Kar le dil ka sauda dil se
Posted on: January 15, 2026
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 : |
6390 | Post No. : | 19818 |
Today’s song is from a costume film Yahudi ki Ladki-1957. The film was produced and directed by S.D.Narang for New oriental Pictures, Bombay. Music was by Hemant Kumar, ably assisted by Ravi, who had already started giving music to films independently since film Vachan-1955. The Lyricist was S.H.Bihari. The film cast included Madhubala, Pradeep Kumar, Gajanan Jahagirdar, Heeralal, Sunder, S.D.Narang, Smriti Biswas, Krishnakant, Helen and many others.
When Talkie films started, films made in Bombay had two major influences. One influence was films made from Calcutta ( in my opinion,every Hindi film coming from Calcutta was like watching a Bangla film with Hindi dialogues,using Bookish Hindi language) and the second influence was that of the Parsee Theatre stories. Parsee Theatre was very active from 1850 to 1930s. With their costumes, sets,stories and dialogues they influenced theatres of all languages of India. Plays were in Gujarati,Hindi,Urdu and English, but its impact was widespread. The Parsee Theatre dramas spread from Bombay to Karachi, Lahore, Dacca, Lucknow, Aligadh, Meerut, Delhi, Calcutta, Jodhpur and Hyderabad. The active theatres lasted till the 40s, but then most big drama companies started film companies like Imperial, Minerva,Wadia and Madan from Calcutta. They borrowed stories from Parsee Shahnama, Arabian Nights, Mahabharat, Shakespeare etc. They employed paid drama writers.
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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 : |
6385 | Post No. : | 19802 |
“Circus Queen”(1959) was produced by Homi Wadia and directed by Noshir Engineer for Basant Pictures, Bombay. The movie had Nadia, John Cavas, Samar Roy, Sheela Kashmiri, Sheikh, Habeeb etc in it.
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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.
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Blog Day : |
6373 | Post No. : | 19764 |
Today’s song is from yet another Kalpanik (Imaginary) film -Son of Sindbad-1958.
Produced by Balwant Bhatt and Ram Kamlani, the film was directed by the younger brother of Balwant Bhatt – Nanabhai Bhatt. In Gujarat, ‘Nana’ means younger. His real name was Yashwant and his nickname was ‘Batuk’ (means smaller).
Director Nanabhai Bhatt ( 12-6-1915 to 24-4-1999). He was a director in many films.He directed mostly Mythological and stunt films only. Nanabhai was born as Yashwant ( pet name – Batuk) at Porbandar. Since he was the younger one he was called Nanabhai ( opposite to Motabhai-elder brother). This name continued till the end. His father was a doctor. After matriculation, he went to Mumbai in 1934, where his elder brother Balwant Bhatt was working. Balwant started with Imperial,shifted to Sagar and now was with Prakash pictures of Vijay and Shankar Bhatt. He got Nanabhai a job as Sound Recordist.Soon he graduated as Production Executive. He also wrote several screenplays.
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- In: Dance song | Dev Anand songs | Dev Anand songs by Rafi | Geeta Dutt songs | Guest posts | Post by Sadanand Kamath | Rafi songs | Song from unreleased movie | Song meant for one movie but used in another movie | Song sung by three or more singers | Songs of 1960s (1961 to 1970) | Songs of 1966 | Songs of 1980s (1981 to 1990) | Songs of 1983 | Suman Kalyanpur songs | Yearwise breakup of songs
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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 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 : |
6369 | Post No. : | 19752 |
Today, December 25, 2025, is the 10th Remembrance Day of Sadhana, the fashion icon of Hindi cinema in the 1960s. She was also called the ‘mystery girl’ because she acted in three mystery genre of films one after another. In her short filmy career of about 15 years, she had a high success ratio in terms of hit films. She worked with top directors like Bimal Roy, Raj Khosla, Yash Chopra, Hrishikesh Mukherjee and H S Rawail. Her co-stars included Dev Anand, Shammi Kapoor, Rajendra Kumar, Raj Kapoor, Raj Kumar, Sunil Dutt, Rajesh Khanna and Dharmendra. Sadhana came and conquered the Hindi film industry in the 1960s and by the end of 1970s, she virtually vanished from the film industry.
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Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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