Archive for the ‘Geeta Dutt songs’ Category
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5755 | Post No. : | 18279 |
Today’s song is from the film Teesri Gali – 1958.
The film was produced by C.D.Sadarangani and was directed by Kundan Kumar. Music was by Chitraguptand the cast members were Shyama, Abhi Bhattacharya, Prem Adeeb,Gope, Neeru (aka Shantakumari Jr.). Leela Mishra, Vithal Panchotiya etc.
The film industry is presently ruled by big actors. In the early years of the film industry, the situation was very different. The film studios were very powerful. They used to employ actors on monthly basis. This situation changed after the second world war. Studios found it difficult to manage big establishments. In addition, outsiders who had a lot of Black money started luring away the actors and the directors and making films by hiring studio facilities. ” Free lancing” was the operative system now and thus slowly, once the powerful studios started eclipsing. Big studios and film companies like New Theatres, Shalimar, Bombay talkies, Imperial etc. closed down and few studios became insignificant. Film companies run by individuals like Rajkamal, Mehboob, Filmistan, Kardar studios etc. thrived because they kept pace with the changes in the industry. All this happened primarily due to 3 reasons….
1. Black money in industry
2. Partition and
3. Escalating costs due to war.
This also made the actors’ lobby very strong and they virtually ruled the industry. Nothing remains permanent and even this situation changed after the powerful generation of actors slowly bowed out. Nowadays, the career spans of actors have shrunk. Unlike Raj, Dev, Dilip etc. who had long careers of 30 to 50 years, now no one survives beyond perhaps 10+ years, with exceptions.
During the period when the big stars were powerful, most were possessive, proud, brash and self centred. Anyone who was simpler, straight, accommodative, smiling and cooperative was popular among younger, emerging actors and such artistes were very few. One such actress was SHYAMA, who respected everyone and cooperated with new actors, never refused any film based on who was the Hero and was ever smiling. I liked her very much. She worked with a pouring heart. See any of her song videos and you will realise how single mindedly she worked giving her all skill.
I not only liked but also respected Shyama, because in my opinion, she was one of the few actresses, who was not only versatile but also very humble, modest and cooperative. Though she started from scratch- as an Extra- she worked with Top actors like, Ashok Kumar, Raj Kapoor, Guru Dutt, Kishore Kumar, Balraj Sahni, Motilal, Rehman, Shammi Kapoor, Raaj Kumar, Karan Dewan, Bharat Bhushan etc. But she never hesitated to work with B or C grade Heroes like Sajjan, Mahipal, Kamal Kapoor, Suresh etc. With Johnny Walker, she did 7 films as a Lead actress and 3 more in other roles.
Another speciality of Shyama was that in the song sequences, she used to lip sync in a very natural way giving a feeling that in reality she was actually singing. Some of her senior actresses , especially Meena Kumari, might be a big star but while lip synching she was simply terrible. One felt that she was murmuring something . Never got a feeling that she was singing.
Shyama did many child roles as Baby Khurshid Akhtar. When her first film as a Heroine-Shrimatiji-52, opposite Nasir Khan- was released in Opera House, Bombay, the film Soorat was released in Roxy cinema at the same time. In the film Soorat, she did a child role while in Shrimatiji she was the Heroine. Film Soorat-47 got delayed and was released in 1952. She was named Shyama By director Vijay Bhatt at the time of the film Nai Maa-46.
Shyama ( real name Khursheed Akhtar) was born on 12-6-1935 at Lahore. Her family shifted to Bombay when she was 2 year old. Shyama’s father too was a fruit seller, like Dilip Kumar’s father, in the Byculla market, in those days. Khursheed studied in Urdu medium Municipal school. When she was 10 year old, a chance visit to see a film shooting ended in her participating in the shooting.
The film was “Zeenat”-1945. She was given her screen name-Shyama. Along with Shashikala and Shalini-the other child stars, she sat in the famous qawali, “Aahen na bhari” India’s first all female qawali. Though Noorjehan sang in the qawali, her lines were NOT lip synched by herself, but Rehana lip synched them. In the true sense, this was her first playback in films !
In the next 6 years Shyama did 80 films mostly uncredited,in small roles , like Shayar, Jal Tarang, Namoona, Sajaa, jalsa, Nishana etc. During film Jalsa’s shooting, its heroine Geeta Bali took a fancy to her and predicted that one day,she too will become a Heroine.Her small roles were almost like an extra or a chorus girl.
In her career of 41 years, Shyama acted in 169 films ( 70 as a Heroine) and sang about 140 songs on screen in her films. She married Cinematographer Fali Mistry in 1954. They had 2 sons and 1 daughter. Shyama retired from films in 1976. Fali Mistry died in 1979. She spent a happy retired life with old friends, at her luxurious flat in Napean Sea Road, Mumbai. Shyama died on 14-11-2017.
While Shyama was working, there were 2 more Shyamas – Shama Dulari and Shyama Zutshi. I have discussed this Trio of “Same Name Confusion” in my second book published last year.
Actor Abhi Bhattacharya was another actor I liked. I liked him in the films Jagriti-1954 and Apradhi kaun-1957. Some people are liked by us but we can not pin point the reasons. I always felt that this typically Bengali looking actor was a misfit in Hindi films. Abhi Bhattacharya ( 20/11/1922-11/9/1993) had a handsome and impressive personality. Belonging to the Bimal Roy camp,he debuted in 1947 with film Naukadubi from Bombay Talkies- a Bengali dominated production house.
Some of his other notable films were Yatrik-52, Jagriti-54, Biraj Bahu-54, Anuradha-60, Aradhana-69, Seeta aur Geeta-72 etc etc. He worked with stalwarts like Bimal Roy, Satyen Bose, Nitin Bose,Guru Dutt, Ritwik Ghatak etc. In the later part of career he worked as Lord Vishnu and Lord Shrikrishna in many Mythological films.
He wrote one book too,”Destiny with Dadaji”. He acted in 166 films. His last film was ‘Professor ki padosan’-93. He died on 11-9-1993.
Today’s film Teesri gali-1958, an ordinary film, became famous because actor Gope died on the sets, while shooting a scene in this film. The irony was, the scene he was shooting was, when he had to act like he got a heart Attack and died. Unfortunately, in reality, he genuinely got a heart attack and he actually dies. Those present during the shooting clapped heartily for natural acting, knowing little that he had really died on the sets. His last dialogue in that scene was ” main upar jaa raha hoon, wahan se jawab bhejunga” (मैं उपर जा रहा हूं, वहांसे जवाब भेजूंगा ).
Teesri Gali was an Action-Crime Thriller Romantic Family Drama Film crafted with excellence by Kundan Kumar.
The Story revolved around the life of Raja- A Kind and Brave man who comes to the city to find his friend Bankey and falls in love with Mala- A Beautiful girl and wants to marry her. However, he finds his friends as a Rich man and Niranjan- An evil man who framed him for murder and together they set on the path to defeat him, without knowing the outcome, leading to consequences.
Today’s song is the last and final song, making this film YIPPEED. Enjoy….
Song- Ek shola Bhadkega ek patanga tadpega (Teesri Gali)(1958) Singer- Geeta Dutt, Lyricist-Majrooh Sultanpuri, MD- Chitragupt
Female chorus
Lyrics(Provided by Prakashchandra)
Ek shola bhadkega
ek patanga tadpega
aaj ki raat ki baat na poochho
ek shola bhadkega
ek patanga tadpega
aaj ki raat ki baat na poochho
ek shola bhadkega
aa aa aa aa
aa aa aa
aa aa aa
o o o o
o o o
o o o
abhi to rang bandha hai fasaane ka
abhi to rang bandha hai fasaane ka
koi samaa hai ye chhod ke jaane ka
raat hai baaki
hmm hmm
baat hai baaki
hmm hmm
aate hi aayega ji pyaar ka maza
ek shola bhadkega
ek patanga tadpega
aaj ki raat ki baat na poochho
ek shola bhadkega
dekho to pyaare abhi se khafa kya ho
dekho to pyaare abhi se khafa kya ho
aage aage zara peechhe kya kya ho
aaj humaaree
hmm hmm
aayi hai baaree
hmm hmm
aayega ab takraar ka maza
ek shola bhadkega
ek patanga tadpega
aaj ki raat ki baat na poochho
ek shola bhadkega
aa aa aa aa
aa aa aa
aa aa aa
o o o o
o o o
o o o
tum pe bhi dard ki kaali ghata chhaaye
tum pe bhi dard ki kaali ghata chhaaye
hum pe chhuri koi tum pe bhi kam aaye
dil hi akele
hmm hmm
kyun dukh jhele
hmm hmm
tumko bhi aaye inkaar ka maza
ek shola bhadkega
ek patanga tadpega
aaj ki raat ki baat na poochho
ek shola bhadkega
Maane naa maane naa
Posted on: February 11, 2024
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 : |
5686 | Post No. : | 18203 |
“Meri Bhaabhi”(1948) was a movie produced under the banner of Jubilee Pictures, Bombay. Very little information is available about this obscure movie. Names of producer, director, actors are not known. The number of songs in this movie is not known though it is known that the movie had at least four songs in it.
One song from “Meri Bhaabhi”(1948) was covered in the blog in the past. Here is the second song from the movie to appear in the blog. This song is sung by Geeta Dutt and Sheela Shirur. Gulshan Jalalabadi is the lyricist. Music is composed by R A Paijankar who was same as Ramakant Paingankar aka P Ramakant.
Only audio of this obscure song is available. I request our knowledgeable readers to throw light on the movie as well as on the picturisation of the song.
Song-Maane naa maane naa (Meri Bhaabhi) (1948) Singer-Geeta Dutt, Lyrics- Gulshan Jalalabadi, MD-R A Paijankar
Geeta Dutt + Sheela Shirur
Lyrics
maane na maane na
maane na maana
maane na maane na
maane na maana
chanda ki chaandni kahaan laayi hazaar
chanda ki chaandni kahaan laayi hazaar
jaane na
o chaand(?) jaane na
jaane na jaane na
maane na maane na
maane na maana
o baawri bahna
o baawri bahna
kaun baanki hawaayen
tera man uda le jaayen
kaun baanki hawaayen
tera man uda le jaayen
ye to bata de zara
ye to bata
o baawri bahna
man haara hai ban ka panchhi
man haara hai ban ka panchhi
itna hamaara balam jaane na
o chaand(?) jaane na jaane na jaane na
maane na maane na
maane na maana
tere pyaar ki ganga mein kisne uthhaaya toofaan
naam kya hai
uska naam kya hai
uski bhala kya hai pahchaan
haay kya hai pahchaan
man ka wo bhed
man mein jo thha
man mein hi kyun rah gaya
man ka wo bhed
man mein jo thha
man mein hi kyun rah gaya
dil mein jo thi ?? madhu
kaun usey loot ke le gaya
jaanoon jaanoon main hai wo kaha
jaanoon jaanoon main hai wo kaha
aankhon ka pyaar ritu jane na
haaye aankhon ka pyaar ritu jaane na
o kya jaane na jaane na jaane na
maane na maane na
maane na maana
maane na maane na
maane na maana
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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5648 | Post No. : | 18142 |
Today’s song is from an imaginary costume film ‘Son of Sindbad’ (1958).
Alibaba, Alladin and Sindbad were the 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 !
Today’s film was produced by Ram Kamlani and Balwant Bhatt. It was directed by Nanabhai Bhatt , the veteran of such films and the music was composed by the Melody Maker Chitragupta. The cast of this film was Premnath, Jabeen Jaleel, Nishi, Poornima, Shammi, Sundar, Cuckoo and many more usual artistes of such films.
Jabeen Jaleel was a short petite but attractive actress. She was born on 1st April 1936 in Delhi, but was educated in Japan and Bombay, as her father was in foreign services of India. She used to take part in college dramas and in one such drama the judges were Nigar Sultana and her director husband SM Yusuf. They offered her a film as a heroine. Jabeen’s father had expired and only mother and younger brother were there. She accepted the offer. Her first film was ‘Guzaara’ in 1954. Her second film in 1955 was ‘Lutera’. Her first hero was Karan Dewan and second was Nasir khan. She became famous in ‘New Delhi’ (1956), in the role of Kishore’s sister Nikki’s. She acted in 29 films, out of which 5 were unreleased. She also acted in 4 Punjabi films. She got a National award in 1962 for a Punjabi film in which her hero was Prem Chopra.
She was a popular actress of Hindi cinema of the 1950s & 60s. Although She acted in merely 29 Hindi (5 films were unreleased) and 4 Punjabi films in her almost 20 years career, she made millions of fans of her beauty and wonderful acting. She has worked with top Bollywood stars like Shashi Kapoor, Shammi Kapoor, Kishore Kumar, Dev Anand & Pradeep Kumar during 1955 to 1965.
Jabeen made her film debut with ‘Guzaara’ (1954) where her hero was Karan Dewan. Her second film was ‘Lutera’ (1955) where her hero was Nasir Khan. She however got true recognition with her third film, ‘New Delhi’ (1956) where she played the role of Kishore Kumar’s sister Nikki. She benefited by the success of ‘New Delhi’. In the late 1950s, many films starring her released, including ‘Char Minar’, ‘Fashion’, ‘Jeevan Sathi’, ‘Hathkadi’, ‘Panchayat’, ‘Raagini’, ‘Bedard Zamana Kya Jaane’ and ‘Raat ke Raahi’. In the 60s, Jabeen acted in films like ‘Batwara’, ‘Khiladi’, ‘Sachche Moti’, ‘Taj Mahal’ and ‘Raju’. The ‘Batwara’ song “Ye Raat Ye Fizaayen Phir Aayen Ya Na Aayen” picturised on her and Jawahar Kaul is popular to this day. She also got the National Award for the 1962 Punjabi film ‘Chaudhary Karnail Singh’ in which her hero was Prem Chopra. Jabeen acted in three other Punjabi movies ‘Kadi Dhoop Kadi Chhaon’, ‘Geet Baharaan De’ and ‘Ae Dharti Punjab Di’.
Many songs picturised on her were extremely popular including “Tum Aur Hum, Bhool Ke Gham, Gaayen Pyaari Bhari Sargam” and “Madbhari Hain Pyaar Ki Palken” (‘Fashion’, 1957), “Ta Thaiyya Karte Aana” (‘Panchayat’, 1958), “Piya Main Hoon Patang Tu Dor” (‘Raagini’, 1958), “Qaid Mein Hai Bulbul Sayyaad Muskuraaye” and “Door Kahin Tu Chal Dil Raha Hai Machaal” (‘Bedard Zamana Kya Jaane’, 1959), “Aa Bhi Jaa Bewafa Dil Ki Raahon Mein Aa“, “Tu Kya Samjhe Tu Kya Jaane” and “Ek Nazar Ek Adaa Keemat-E-Dil Aur Hai Kyaa” (Raat Ke Rahi).
Jabeen Jalil quit films in 1974 after wrapping up her career with the film ‘Vachan’. In 2008 she had produced a movie ‘Pehli Nazar Ka Pyaar’.
Jabeen got married in the year 1968. Her Husband Ashok Kak (of Kashmiri origin) hailed from Jodhpur. He was President of the Kodak Company and was the youngest CEO of that time. After moving away from films Jabeen was active in social work also. Jabeen and her family stayed in America for 10 years. The family moved back to Mumbai in 1998. She lives with her husband, son and elderly mother-in-law in her flat in South Bombay and divides her time between playing the devoted wife and the ideal mother. Her son Divvij Kak is also an actor and Jabeen became a producer with Jabeen International.
She lives in Dadar, Mumbai nowadays.
Here is the story of the film, taken from film’s booklet, which does not describe the end part of the film story, but we all know what must be the end of the story.
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 next day morning or get a death sentence. Yusuf objects and he too is sentenced to leave with her next day.
Next day, before Yusuf leaves the country, Sindbad gives him 3 pieces of advice – never to be proud, never to forget the God and never trust women.
How he follows these lessons and becomes like his father is shown in the film.
Today’s song is the 5th song from this film. It is sung by Mohd. Rafi and Geeta Dutt along with Chorus. Enjoy…..
Song-Toofaanon se khele jaa Allah Beli (Son of Sindbad)(1958) Singers-Rafi, Geeta Dutt, Lyricist- Prem Dhawan, MD- Chitragupta
Both
Chorus
Lyrics
toofaanon se khele ja
allaah belee
aaye gham to jhele ja
allaah belee
himmat ke sahaare
chala chal pyaare
maujon mein chhupe hain kinaa..aa..re
toofaanon se khele ja
allaah belee
aaye gham to jhele ja
allaah belee
leke chalega ye dil jahaan
wahin chalenge deewaane
mud ke na dekhen jo kabhi
aise hain ham mastaane
rukna na jaanen
(oo oo oo)
jhukna na jaanen
(oo oo oo)
chalen jahaan manzil pukaa..aa..re
(oo oo oo)
toofaanon se khele ja
allaah belee
(aa aa aa)
aaye gham to jhele ja
(aa aa aa)
allaah belee
appacho sultan hoon
baba paate khan hoon
shekhi ki kya baat hai is mein
jo naana kaptaan hoon
hahahahaha
hehehehehaay
na banda sultan hai
o na to paate khan hai
qasim naam se jaane duniya
yahi to apni shaan hai
haan beta waah
o o o o o o o
gaayega zamaana
unheen ka taraana
chalenge jo apne sahaa..aa..re
toofaanon se khele ja
allaah belee
aaye gham to jhele ja
allaah belee
aane do aayen jo aandhiyaan
chalne do tez hawaayen
jab bhi chamakti hain bijliyaan
milti hain hamko raahen
jaane dil waale
jaane matwaale
kare jo ye toofaan ishaa..aa..re
toofaanon se khele ja
(aa aa aa aa)
allaah belee
(aa aa aa aa)
aaye gham to jhele ja
(aa aa aa aa)
allaah belee
(aa aa aa aa)
toofaanon se khele ja
(aa aa aa aa)
allaah belee
——————————————
Hindi script lyrics (Provided by Sudhir)
——————————————
तूफानों से खेले जा
अल्लाह बेली
आए ग़म तो झेले जा
अल्लाह बेली
हिम्मत के सहारे
चला चल प्यारे
मौजों में छुपे हैं किना॰॰आ॰॰रे
तूफानों से खेले जा
अल्लाह बेली
आए ग़म तो झेले जा
अल्लाह बेली
ले के चलेगा ये दिल जहां
वहीं चलेंगे दीवाने
मुड़ के ना देखें जो कभी
ऐसे हैं हम मस्ताने
रुकना ना जानें
(ओ ओ ओ)
झुकना ना जानें
(ओ ओ ओ)
चलें जहां मंज़िल पुका॰॰आ॰॰रे
तूफानों से खेले जा
अल्लाह बेली
(आ आ आ)
आए ग़म तो झेले जा
(आ आ आ)
अल्लाह बेली
अप्पाचो सुल्तान हूँ
बाबा पाटे खान हूँ
शेख़ी की क्या बात है इस में
जो नाना कप्तान हूँ
हा हा हा हा हा हा
हे हे हे हे हे हे हा हाय
ना बन्दा सुल्तान है
ओ ना तो पाटे खान है
क़ासिम नाम से जाने दुनिया
यही तो अपनी शान है
हाँ बेटा वाह
ओ ओ ओ ओ ओ ओ
गाएगा ज़माना
उन्हीं के तराने
चलेंगे जो अपने सहा॰॰आ॰॰रे
तूफानों से खेले जा
अल्लाह बेली
आए ग़म तो झेले जा
अल्लाह बेली
आने दो आयें जो आंधियाँ
चलने दो तेज़ हवाएँ
जब भी चमकती हैं बिजलीयाँ
मिलती हैं हमको राहें
जानें दिल वाले
जानें मतवाले
करे जो ये तूफाँ इशा॰॰आ॰॰रे
तूफानों से खेले जा
(आ आ आ)
अल्लाह बेली
(आ आ आ)
आए ग़म तो झेले जा
(आ आ आ)
अल्लाह बेली
(आ आ आ)
तूफानों से खेले जा
(आ आ आ)
अल्लाह बेली
(आ आ आ)
Sun le piya piya piya
Posted on: December 17, 2023
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 : |
5630 | Post No. : | 18119 |
‘Police’ (1958) was produced by Deep Khosla and Pradeep Kumar under the banner of Deep & Pradeep Productions and was directed by Kalidas (Pradeep Kumar’s brother). The cast included Madhubala, Pradeep Kumar, Anwar Hussain, Nadira, Dhumal, Raj Mehra, Tun Tun, Deep Khosla, Rajan Kapoor, Jagdish Kanwal, Om Prakash, Neelofer with guest appearances of Bhagwan and Mirza Musharaf.
Writer-actor, Deep Khosla and Pradeep Kumar joined together to set-up a film production company, Deep & Pradeep Productions and produced ‘Ek Jhalak’ (1957), ‘Ek Shola’ (1958), ‘Police’ (1958) and ‘Do Dlion Ki Daastan’ (1966 – delayed release). It appears that after the box office failure of ‘Police’ (1958), Deep Khosla and Pradeep Kumar parted ways. While Deep Khosla formed his new film production company, Deep & Sandeep Production which produced ‘Batwaara’ (1960), Pradeep Kumar produced ‘Mitti Mein Sona’ (1960) under his own production house, P.K. Films.
The story of ‘Police’ (1958) is as under:
A police inspector who is on duty of unearthing a gang of jewel thief is shot dead by by an unidentified criminal. The police have doubt that it could be handiwork of an ex-criminal known as Rangooni (Pradeep Kumar) who, after completing his jail term, has migrated to Singapore about 5 years back. As per Singapore police information, Rangooni got killed in a car accident some years back. But as per Mumbai Police information, a person who resemblance Rangooni is traveling to Mumbai from Singapore. So, Mumbai Police keep a tag on him to see whether he is the same ex-criminal.
As soon as the flight from Singapore lands in Mumbai, he is confronted by Inspector Mehra (Raj Mehra) at the immigration counter who suspects that Rangooni is back in Mumbai for some criminal activities. He leaves by warning Rangooni that if he is found doing criminal activities, this time he will be in more trouble. Rangooni is amused by Mehra’s statement.
A grand dance party is arranged in honour of a visiting royal couple who had also travelled from Singapore in the same flight Rangooni has travelled. In the party, Police Inspector Mehra and his men are present in disguise. So also, the boss of jewel thief gang, Ramesh (Anwar Hussain) with his disguised henchmen. Rangooni also attend the party. During the song and dance presentation, light goes off and the costly necklace worn by the royal queen is stolen. Inspector Mehra suspects Rangooni for the theft of necklace, However, nothing is found on him. As it is known later, it is the handywork of Ramesh who has removed the neckless from queen’s neck when lights went off.
Next day, Inspector Mehra visits Rangooni’s house to take him to the police station for questioning. Rangooni runs away in the pretext of changing his cloths. There is a long chase between police jeeps and Rangooni’s car during which the car driven by Manju (Madhubala) obstruct him. Finding an opportunity, Rangooni takes Manju car by force to escape and Manju takes Rangooni’s car to follow him. Police continues to chase Rangooni’s car but find Manju driving, She is taken to the police station where she comes to know that it was Rangooni who has taken her car. Manju is quite excited about Rangooni because if he arrested, the news would give her a lot of publicity in the newspapers. Rangooni is in the police station but meets a police officer who is his boss. From their talks, it becomes apparent that Rangooni is actually an under-cover agent who, taking advantage of his look-like criminal Rangooni, is trying to mingle with members of the jewel thief gang led by Ramesh to unearth their operations and bring them to justice.
A realisation dawns to Ramesh that since the association of Rangooni with his gang members, a series of his heist attempts had failed. Ramesh lays a trap in a dance show where Rangooni is expected to attend. A sharpshooter in the guise of a musician tries to shoot him but Rangooni escape the death. Instead, he is caught by Ramesh’s henchmen and brought out the gang’s hideout. He is kept in a room with time bomb to eliminate him. However, the timely help from Manju facilitates his escape from the hideout.
In the meanwhile, Manju is kidnapped to demand ransom from her father. With her, Ramesh tries to escape from Mumbai with his gang members in a boat. But Rangooni is already waiting for Ramesh in the boat to thwart his escape. After a long fight between Rangooni and Ramesh on the boat, Ramesh is overpowered. The police enforcements come and arrest Ramesh and his gang members.
In the end, Manju is handed over to her father, Rai Bahadur (Om Prakash) who gives his consent to Manju and Rangooni to be united.
The film is supposed to be a comical suspense thriller. But the film does not have much of these ingredients worth mentioning. The suspense of Rangooni to be a police under-cover agent gets known to the audience much earlier than warranted. Surprisingly, the film ends with a full-pledged romantic song picturised on Pradeep Kumar and Madhubala. While watching the film, some time I get a doubt whether the film’s scenes were correctly sequenced while converting from the film to VHS tapes and then to VCD.
‘Police’ (1958) had 7 songs written by Majrooh Sultanpuri and set to music by Hemant Kumar. Four songs have already been covered on the Blog. I am presenting the 5th song, ‘sunle piya piya piya dhadke jiya jiya jiya’ which is rendered by Geeta Dutt and Hemant Kumar. The song is picturised on the two main dancers. The female dancer, I guess, is Meena Fernandes. The male dancer is the Choreographer, Surya Kumar. In this song, all the main actors of the film – Pradeep Kumar, Madhubala, Anwar Hussain and Nadira are seen. The person whom Madhubala sees through curtains who later become a sharpshooter replaceing a violinist towards the end is Jagdish Kanwal. The song has a long prelude as well as postlude music of over one minute each.
The background to this song is that Ramesh (Anwar Hussain) has planned to trap Rangooni (Pradeep Kumar) through Manju (Madhubala) who is Rangooni’s sweetheart, to kill him through his sharpshooter when the dance reaches the crescendo. Of course, Rangooni survives as Manju creates chaos among the musicians which disturbs the aim of the shooter.
Video Clip:
Audio Clip:
Song-Sun le piya piya piya (Police)(1958) Singers-Geeta Dutt, Hemant Kumar, Lyrics-Majrooh Sultanpuri, MD-Hemant Kumar
Chorus
Lyrics :
sun le piya piya piya
dhadke jiya jiya jiya
sun le piya
dhadke jiya
ye milan bura hai
kyunki laage hai bhalaa bhalaa
sun le piya
dhadke jiya
ye milan bura hai
kyunki laage hai bhalaa bhalaa
sun le piya piya piya
dhadke jiya jiya jiya
bhanwraa pukaare kali aa
aa aa
baahon ke sahaare chali aa
aa aa
bhanwraa pukaare kali aa
aa aa
baahon ke sahaare chali aa
aa aa
pyaar se youn na dar
main jo hoon gham na kar r r r r
pyaar se youn na dar
main jo hoon gham na kar
ye milan bhalaa hai
kyunki laage hai buraa buraa
na na na ye milan buraa hai
kyunki laage hai bhalaa bhalaa
sun le piya piya piya
dhadke jiya jiya jiya
jaane de ye ghaaten sataa na
na na
meethi meethi baaten banaa na
na na
jaane de ye ghaaten sataa na
na na
meethi meethi baaten banaa na
na na
chhod bhi ye adaa
maan jaa dilrubaa aa aa aa aa
chhod bhi ye adaa
maan jaa dilruba
ye milan bhalaa hai
kyunki laage hai buraa buraa
na na na ye milan buraa hai
kyunki laage hai bhalaa bhalaa
sun le piya piya piya
dhadke jiya jiya jiya
ankhiyon se nashaa pilaa laa
laa laa
achha to nigaahen mila laa
laa laa
ankhiyon se nashaa pilaa laa
laa laa
achha to nigaahen mila laa
laa laa
maan le jo kahe
achha jee youn sahi..ee ee ee ee
maan le jo kahe
achha jee youn sahi
chaal wo dikhaati hoon
ke aaye pyaar kaa mazaa
chaal wo
dikhaati hoon
ke aaye pyaar kaa mazaa
Aji hum Bharat ki naari
Posted on: December 15, 2023
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 : |
5628 | Post No. : | 18116 |
Today’s song is from the film Mr. Sampath-1952.
The cast of the film was Motilal, Padmini, Vanaja, Kanhaiyalal, Agha, Badri Prasad, Sundari bai and many South Indian artistes. The music was by the pair- Balkrishna alias B.S.Kalla and E.Sankar Sastry. The film was produced by Gemini and directed by S.S.Vasan, owner of the banner. The film was based on the novel “Mr. Sampath- Printer of Malgudi” by the famous writer R.K.Narayan and a hit Tamil film ” Miss Malini”-1947. I have read the novel and also seen this film, after it was released on 25-12-1952 and again 2-3 times after few more years…the latest being in last month. There are many changes in the story. The novel’s Hero is very loveable, so is the film’s Hero but only as entertainment.
Motilal, while doing the role of Mr. Sampat has brought the character to life with his natural acting. Padmini danced well but could not impress the audience in the theatre. Perhaps that was the beginning of her career in Hindi films, though she was already a well known star in South. Kanhaiyalal and Agha did a good job. Motilal earned rave reviews for his acting, but the film flopped badly. This was a shock to its maker, S.S.Vasan.
In the late 40s and early and middle 50s, there was a spate of films from Madras, made in 2-3 languages including Hindi. Films like Chandralekha-48, Nishan-49, Mangala-50, Bahar-51 and Ladki-53 were some of the successful multilingual films made in Madras. Similarly, films like Aan and Udan Khatola had their Tamil/Telugu versions made. In 1957 also the film Asha was made into Tamil, Miss Mary was another bilingual.
S.S.Vasan or Subramaniyam Srinivasan ( 4-1-1904 to 26-8-1969 ) was an astute businessman. Vasan-owner of Gemini studios and Gemini empire, had tasted success with multilinguals like Chndralekha-48, Nishan-49 and Mangala-50. He wanted to make a Hindi film first and depending upon its success, he would make a Tamil version. He selected R.K.Narayan’s popular English novel-Mr. Sampath-The printer of Malgudi (published 1949) to make his Hindi film. He chose Motilal as its Hero and invited him to Madras to make the film. Motilal himself was a very punctual,professional and organised actor. He liked and was impressed with the southern way of professional and planned schedules of shootings. The film was completed ahead of its scheduled period.
Vasan had a lot of expectations from this Hindi film. There were rave reviews of critics about Motilal’s natural acting. However, the common public did not support their views and the film flopped miserably. Spectacular scenes-expected from Vasan’s film were absent. Moreover the poor music added to the woes. The film’s Heroine Padmini ( one of the Travancore sisters) was no doubt a famous star of the South but in the Hindi speaking belt she was hardly known. She was an excellent dancer, but acting wise she was no match to even ‘B’ grade Hindi Heroines that time. It was much later that she built her place in the Hindi films, with dubbed dialogues. Out of all the Southern heroines, I would give full marks to Vyjayanthimala for developing good Hindi quickly.
After this debacle, there was no question of making any Tamil remake of this film. That much business sense Vasan did have. Much later, in an interview, he accepted that the cinematic liberties he took with the original novel was one of the major causes-along with poor music-of failure of Mr. Sampat-52. After this film, it is said that R.K.Narayan refused to allow any film on his novels…till the Hindi film Guide. Here too, he is on record that he simply hated the film Guide-65, with so many changes in his novel. The film Guide-65 , however, was a landmark and a successful film anyway.
Born in Shimla on 4 December 1910, Motilal Rajwansh came from a distinguished family. His father was a renowned educationist, who died when Motilal was one year old. He was brought up by his uncle who was a well-known civil surgeon in Uttar Pradesh. At first, Moti was sent to an English school at Shimla and later, in Uttar Pradesh (UP). Thereafter, he shifted to Delhi where he continued with school and college.
After leaving college, Motilal came to Bombay to join the Navy, but he fell ill and could not appear for the test. Fate had other choices charted out for him. One day, he went to see a film shoot at Sagar Studios, where director K. P. Ghosh was shooting. Motilal, even then, was quite the man about the town and he caught Ghosh’s eye. Motilal described this event in his inimitable style,in one of his interviews….” The director Ghosh Babu looked towards me and said,” please come here”. I first thought he was calling someone standing behind me. I looked back and moved to one side. Nobody came forward, but Ghosh Babu came to me and pointed his finger at me and said, ” Yes, I am talking to you. Please come here” I went with him .” In 1934 (aged 24), he was offered the hero’s role in Shaher Ka Jadoo -1934 by the Sagar Film Company. Sabita Devi and Motilal’s first movie as a pair in the famous Sagar Movietone, the movie Lure of the City (aka Shaher ka Jadoo) released on 29 th September 1934 at the Imperial Cinema, Bombay.
Mehboob Khan was earlier selected for the lead role and was later replaced by Motilal. This was actor Motilal’s debut film and Motilal – Sabita made the best pair in the Sagar Film Company. They acted together in many other movies under the banner of the Sagar like, Silver King -1935, Dr Madhurika -1935, Lagna Bandhan -1936, Jeevan Lata -1939, Kulvadhu -1937, Kokila -1937, Three hundred days and after -1938 and later at Sudama Films in Ap Ki Marzi -1939 and Minerva’s Prarthana -1944. He worked with Mehboob Khan in Jagirdar -1937 and Hum Tum Aur Woh -1938 under the Sagar Movietone banner, in Taqdeer -1943 for Mehboob Productions, and Kidar Sharma’s Armaan -1942 and Kaliyan -1944. He also acted in S. S. Vasan’s film Paigham -1959 (Gemini Studios), and Raj Kapoor’s Jagte Raho -1956. In 1965, he also acted in the Bhojpuri film Solaho Singar Kare Dulhaniya.
Perhaps the role for which he received the most critical appreciation was that of the gentleman crook in S. S. Vasan’s adaptation of R K Narayan’s book Mr Sampat -1952. He is most remembered for his role as “Chunni Babu” in Bimal Roy’s Devdas -1955, for which he won his first Filmfare Best Supporting Actor Award. Actor Naseeruddin Shah once described him as one of three all-time best actors of Hindi cinema, others being Balraj Sahni and Yakub.
Motilal was very suave and polished, and moved in high society, though towards the end of his life he was in financial difficulty. Although a thorough gentleman, he enjoyed gambling and races, and died almost penniless on 17th June 1965.
Motilal was an excellent Pilot and owned a small aircraft. He rarely travelled by train and always liked to fly. His family life was happy. His wife was a doctor.
He was in a relationship for several years with the actress Nadira. He was later involved with actress Shobhna Samarth after she separated from her husband, and he played Samarth’s real-life daughter Nutan’s father in Hamari Beti, Shobhana’s launch movie for Nutan. He also played her guardian in Anari, though this time the role had a villainous touch to it.
Motilal and Ashok Kumar were popular stars at the same time. Ashok Kumar was employed by Bombay Talkies and Motilal was employed by Ranjit. It is said that Sardar Chandulal paid Rs. One lakh to Motilal in those days. Motilal was a gambler. Once Chandulal Shah paid his debt of 75000 rupees which Motilal had lost in gambling, just to keep Motilal with Ranjit ! It is surprising that Ashok Kumar never worked with Motilal’s Heroines-Shobhana Samarth or Khursheed and Motilal never worked with Ashok Kumar’s heroines- Devika Rani or Leela Chitnis !
Actor Chandra Mohan treated Motilal as his son. During the last days of Chandra mohan, once Motilal had gone to meet him. Chandra Mohan was drinking from a costly foreign Whisky bottle, but he did not offer it to Motilal. Motilal was feeling bad and then Chandra Mohan said, ” I know you must be feeling bad that I am not offering you this Whisky, but trust me it is not whisky- I am drinking Bewada (country liquor) from this bottle and I don’t want my son to drink this dirty stuff ! ”
Motilal was the winner of Filmfare Best Supporting Actor Award for Devdas -1955 and Parakh -1960. He is credited with being among Hindi cinema’s first natural actors.
He also directed the film Chhoti Chhoti Baatein -1965, but died before its release. At the 13th National Film Awards, it won the award for Certificate of Merit for the Third Best Feature Film and he posthumously won the Certificate of Merit for the Best Story Writer. ( adapted some information from Vithal Pandya’s book-Asli Nakli Chehere, wiki, Star portraits, nett4you, the book Sagar Movietone, and Shirish Kanekar’s book- Yaadon ki Baaraat, with thanks and my notes.)
I had seen the film Mr. Sampat-52 and liked it except for the many dances and songs of Padmini. Though the dances were very well choreographed ( as you can see in today’s Video song), none of the songs were memorable. Here is an adapted story of the film Mr. Sampat-52, from The Hindu….
The famous R.K. Narayan literary character of the gentleman crook became a classic Motilal role. The suave and fast-talking Mr Sampat hit Bombay as the manager of Seth Makhanlal Jhaveri Mill Gheewalla (Kanhaiyalal) municipal election campaign. He opens a bank with assistance from a former prince and the Kalamandir Theatre company to impress the woman he wants to win, Malini Devi (Padmini).
Mr.Sampat “Commission Agent and Business Consultant” is a versatile gentleman. As we see him first he is busily lecturing away on the National Transport Problem in a third class compartment in which he is a “Standing room” passenger. Malini is a modest young girl whose accomplishments as an actress have won the admiration and affection of her colleagues at Kalamandir Theatre where she is an artist. Kalamandir is dedicated to the cause of cultured entertainment and is directed by a young man who Symbolizes the dignity and idealism of the theatre. Malini has more than ordinary admiration for her director, but the director’s interest in her has only been that between a director and his protege.
Into the life of Mr.Sampat comes Seth Makkhanlal Jhaverimull Gheewallah a ghee merchant, who wants to get elected to the local municipality. Mr. Sampat appoints himself the ghee merchants manager, and to launch his election campaign he lures the innocent Malini to a Tea Party- all at the ghee merchants expense of course ! Makhanlal wins the elections, but finds himself short of two lakhs of rupees (which includes generous sundry expenses drawn by Mr. Sampat!) While the ghee merchant is contemplating this sad state of affairs Mr. Sampat breezes in like a breath of fresh air and a few minutes later Makhanlal’s troubles seem to be over. Mr. Sampat decides to start a new bank. “Friends Bank”, which boasts of a 20 p.c. interest per month! An ex-prince named Raj Mohan whom Mr. Sampat has cultivated as a juicy source of funds, is the chief patron.
Friends Bank makes a big start, but mere redistribution of customers’ money as interest is bound to stop sooner or later and before long the Bank faces bankruptcy ! But Mr. Sampat has another of his brain waves. There is Prince Raj Mohan and there is Malini!…. . Mr. Sampat visits Malini’s house again. The innocent Malini is swept away by his fast talking methods and before long. Mr. Sampat has planted the seed of vanity in Malini’s mind. He promises her that Mr. Sampat can make her great in her own right. Malini’s mind refuses to be poisoned, but her youthful innocence tempts her. Meanwhile the director of Kalamandir has begun to notice the distraction in Malini’s interest and one day he admonishes her for being irregular in her work.
This leads to a misunderstanding and Malini gives up Kalamandir and starts a new company called “Malini Devi Theatrical Company” of which Mr. Sampat becomes the Managing Director. With the money that comes in at the theatre, Bank Manager Makkhanlal tries to balance his accounts at Friends Bank. Even this, however is not sufficient and one day when Malini refuses the advances of his highness Raj Mohan at a party in her honour at his palace, the upset prince withdraws all his money from Friends Bank.
This starts a run on the Bank and it faces collapse –Makkhanlal is in trouble and runs frantically to his friend– but Mr. Sampat leaves him cold, saying after all as manager of the Bank it is really Makkhanlal’s problem not his ….. . Trouble brewed at the Malini Devi Theatrical Company also. One day at the height of a scene, there are some unexpected visitors on stage, – a bailiff, some creditors and a Court Summons -Server –They are there to inform Malini that her house and her properties are to be auctioned ! Malini is left dumbfounded. She realises now that the great Mr. Sampat has been nothing but a shark, after all ! . As for Mr. Sampat, Bombay got too hot for him! He leaves the city and his whereabouts are not known.
Today’s song is a dance and song video of Padmini. The dance is nicely choreographed but the song does not linger in listeners’ minds….Enjoy the Dance….
Song- Aji hum Bharat ki naari (Mr Sampat)(1952) Singers-Geeta Dutt, P B Shrinivas, Lyricists – Pt.Indra and J.S.Kashyap, MD – Balkrishna Kalla
Female chorus
Male chorus
Lyrics
aji hum bharat ki naari hain sabse nyaari
jaayen kismat pe apni hum balihaari
aji hum bharat ki naari hain sabse nyaari
jaayen kismat pe apni hum balihaari
hum BA paas hum BA pass
hum BA pass hum B A pass
badi mehnat se badi mushkil se
humne kiya hai BA pass
badi mehnat se badi mushkil se
humne kiya hai BA pass
hum BA pass hum BA pass
hum hokar BA pass
gayin sasuraal to boli saas
hum hokar BA pass
gayin sasuraal to boli saas
hain
ye kaun hai mem saab
kya chaal dhaal kya rang dhang
kya latke matke karti
ye padhi likhi titli kya chakki chulah kabhi karegi
kya maanjegin ye joothe bartan
paani kabhi bharegi
jo anpadh ho to aisa swaagat karte hain patidev
jo anpadh ho to aisa swaagat karte hain patidev
oh u fool
stupid idiot illiterate
what a shame
what a fem
o my god ye kaisi wife paale padi humaare
ab to romance aur ye life
khatm ho gaye saare
o my god ye kaisi wife paale padi humaare
ab to romance aur ye life
khatm ho gaye saare
aji hum bharat ki naari hain sabse nyaari
jaayen kismat pe apni hum balihaari
hum nurse bane dekho ji
hum nurse bane dekho ji
hum sewa karne ko aayin
aayin
hum nurse bani dekho ji
to dekh dekh humko
khud doctor mareez ho jaate
khud doctor mareez ho jaate
aur nurse nurse chillate
dekho ji
dekho ji
nurse
nurse
blood pressure mera
tumhen dekhte hi badh jaata hai
chloroform ki nahin zaroorat
hosh ud jaata hai
thermometer bhi bukhaar ek sau chaar bataata hai
nazron ka teer injection saa
dil mein chubh jaataa hai
hum bade jatan se naach seekh kar aatin
hum bade jatan se naach seekh kar aatin
tat thai tat thai
tadi dhitta tadi dhitta
tatatta thai
tadi dhitta tadi dhitta
tatatta thai
tridi dhai tridi dhai
tatathai thai
tridg thai trigd thai
tata thai thai
tridg dhai trigd dhai
tatathai thai
sangeet kala se jeevan madhur banaatin
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
chahoon oar shor ghanghor hamaare hota
chahoon oar shor ghanghor hamaare hota
mat gaao
mat naacho
mat gaao
mat naacho
aan gayi
shaan gayi
dharm gaya
karm gaya
mat gaao
mat naacho
mat gaao
aji hum bharat ki naari hain sabse nyaari
jaayen kismat pe apni hum balihaari
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.
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Blog Day : |
5605 | Post No. : | 18082 |
“Rasta”(1947) was directed by Har Prasad for Fazli Brothers, Bombay. This obscure “social” movie had a starcast of Mayadevi, Abdul Latif, Shahida, Ameena, Razi, Zaki, Wazir Mohammad Khan, Anwar, Anwari, Ismat sultana, Abbas, Sharbat Ali etc. Most of these names ring no bells.
According to HFGK, there are six songs in the movie. Singers of these songs are not mentioned. One song (which appears to be a two version song, going by the similarity of mukhda in two entries viz song number 1 and song number 6) has been covered in the past.
Here is another song from the movie. As mentioned above, singers are not mentioned for any of the songs. But we can clearly notice that the song under discussion, a melancholic song, is sung by Geeta Dutt. Zafar Khursheed was the music dirrector. Raziuddin and Arsh Haideri were the two lyricists in the movie but distribution of songs among them is not mentioned.
I request our knowledgeable readers to throw light on the picturisation of this movie as well as on the movie itself.
Song-Aayi nazar andhere mein ik raushni mujhe (Rasta)(1947) Singer-Geeta Dutt, Lyrics-Raziuddin/ Arsh Haideri, MD-Zafar Khursheed
Lyrics
Aayi nazar andhere mein
ik raushni mujhe ae ae
raushni mujhe
aayi nazar andhere mein
ik raushni mujhe ae ae
raushni mujhe
duniya mein gham ke saath milee
hai khushi mujhe ae ae
hai khushi mujhe
main so rahi thhi
aur meri duniya ujad gayi ee
duniya ujad gayi
main so rahi thhi
aur meri duniya ujad gayi ee
duniya ujad gayi
main bhi naseeb ko roti hoon
aur bekasi mujhe ae ae
bekasi mujhe
duniya hazaar rang badalti rahi yahaan aan aan
duniya hazaar rang badalti rahi yahaan aan aan
us raat se ye chhod gayi zindagi mujhe ae
zindagi mujhe
aayi nazar andhere mein
ek raushni mujhe ae ae
raushni mujhe
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 : |
5570 | Post No. : | 18042 |
Today’s song is a qawwali from the film Nazare-1949.
When Talkie films started in 1931, the filmmakers and the audience were so excited to have songs in the films that the number of songs per film in 1931 and 1932, on an average were 13.8 ( 6 films’ details not available) and 12.6 (10 films’ details not available). In 1932, films like Indrasabha had 69 songs, Chatra Bakavali had 49 songs and Gulru Zarina had 33 songs !
According to the Film Music Historian Girdharilal Vishwakarma ji, the average songs per film had dropped considerably in the last about 80 years, as following…..
| Decade | Films | Songs | Average |
|---|---|---|---|
| 1931-1940 | 931 | 8247 | 9.0 |
| 1941-1950 | 1236 | 11124 | 8.9 |
| 1951-1960 | 1203 | 9624 | 8.0 |
| 1961-1970 | 1007 | 6990 | 6.9 |
| 1971-1980 | 1327 | 8295 | 6.3 |
| 1981-1990 | 1843 | 9558 | 5.2 |
| 1991-2000 | 1902 | 9059 | 4.8 |
| 2001-2010 | 1967 | 9154 | 4.7 |
These figures match with the figures mentioned by Dr. Ashok Ranade, in his famous book ” Music beyond Boundaries”.
Today’s film Nazare-1949 had as many as 16 songs, almost double the decade average number of songs. Nowadays, I find that not only in today’s films, the number of songs are usually 3 to 4 and some are played in the background too. This is probably because today’s films have original and very strong story content. Many films are made on actual happenings and have a research base also. Opinion of other contributors of the Blog will be more factual, as I do not see films these days anymore.
Film Nazare had some very good songs by Geeta, Shamshad and G.M.Durrani…all my favourite singers. The film was directed by Prahlad Dutt. The other day, while reading a film related book on old films, I came across an interesting anecdote about this director.
Prahlad Dutt 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 Khilone”-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 at the same time, but he was different). He directed 5 films in all- Shirin Farhad-45, Piya Ghar aajaa-47, Mitti ka khilona-48, Nazare-49 and Madhubala-50.
The film’s Music director was Bulo C Rani. The film was made by Ranjit Movietone. From 1937 to 1940, Gyan Dutt was the studio Music Director. After 24 films, he left and from 1940 to 1945, Khemchand Prakash became the studio M.D. he gave music to 20 films. After him his ‘chela’ Bulo C Rani took over The cast of this film was Shashikala, Agha, Satish, Shanti Madhok, Anwari, Ram Avatar and others.
Actress Anwari, who acted in this film , was from a Tawayaf family of Lucknow. She started her acting career with the film Heer Ranjha-32 opposite Rafiq Ghaznavi and then she acted in the film Pooran Bhagat-1932, along with K L Saigal. She played the role of Rani Uchharan.
She joined East India Film Co. and worked in films like Aurat ka pyar-33, Night Bird-34, Nagin-34 and Mumtaz Begum-34. She had also acted in another NT film Chandidas-34. She shifted her base to Bombay and worked in several films for the next four decades. Her last film was Chaitali-1975. In all she did 140 films. She was known as ‘ Pride of Lucknow’ during her peak period. She was credited variously as Anwari Begum, Anwari, and Anwari bai.
Actress Anwari was the second wife of Rafiq Ghaznavi with whom he had a daughter, Zarina. Later, Zarina changed her name to Nasreen and worked in director A.R. Kardar’s movie, ‘Shah Jehan’ and Daud Chand’s movie, ‘Aik Roaz.’ Later Zarina married Liaqat Gul Agha, a rich Jeweller of Pakistan and they settled in London. She became Zarina Agha. Further, Zarina Agha’s daughter, Salma Agha, achieved great fame as a singing star. She expired somewhere in the early 80s.
Anwari and Rafiq Ghaznavi were divorced (or separated) after Zarina/Nasreen’s birth, and Anwari then married a rich Hindu businessman named Jugal Kishore Mehra ( Maternal uncle-Mama- of Raj Kapoor). In order to marry Anwari, Jugal Kishore Mehra abandoned not only his family but also his religion; he became a Muslim and took the name Ahmed Salman. Since Anwari had a child, Jugal Kishore Mehra effectively became the father of the infant Zarina/Nasreen. Her daughter was Salma Agha, who became a singer and actress famous in India and Pakistan in later years.
Today’s song is in 3 Parts and it contains song numbers 11, 12 and 16 (in the list of songs for this movie in HFGK part 2). The combined length of the songs is 9 minutes and 29 seconds. The story of the film is not known. let us now enjoy this qawwali….
Song- Puraane chaahne waalon se kyun aankhen churaate ho (Nazaare)(1949) Singers- Geeta Roy, G M Durrani, Shamshad Begum, Lyrics-Rajinder Krishan, MD-Bulo C Rani
Geeta Roy + Shamshad Begam
Chorus
Lyrics
————————————–
Part I
————————————-
puraane chaahne waalon se aankhen churaate ho
kiya thha hamse waadaa
aur unke saath jaate ho
na tumse jaan na pehchaan
na kuchh waastaa apnaa
galey padne se kya haasil hai
pakdo raastaa apnaa
??
kiraaye per liya hai suit
kyun dhokhe mein aate ho
kiraaye per liya hai suit
kyun dhokhe mein aate ho
wohi ho tum
zamaane bhar ne ik din jisko thhukraayaa
wohi ho tum
zamaane bhar ne ik din jisko thhukraayaa
zamaane bhar ke thhukraaye ko
mere dil ne apnaayaa
mere dil ne apnaayaa
ye sheva(??) hai tumhaara dil
laga kar bhool jaate ho
ye sheva(??) hai tumhaara dil
laga kar bhool jaate ho
muhabbat ka zamaanaa hai
muhabbat ke nazaare hain
muhabbat ka zamaanaa hai
muhabbat ke nazaare hain
dilon mein hasraten betaab
aankhon mein ishaare hain
dilon mein hasraten betaab
aankhon mein ishaare hain
ishaaron hi ishaaron mein
kisi ka dil jalaate ho
ishaaron hi ishaaron mein
kisi ka dil jalaate ho
bharee mehfil mein le de ke
hamaara dil akela hai
bharee mehfil mein le de ke
hamaara dil akela hai
hamaare ghar mein veeraanee
wahaan pariyon ka mela hai
hamaare ghar mein veeraanee
wahaan pariyon ka mela hai
tumhaare paas hum aate hain
aur tum door jaate ho
tumhaare paas hum aate hain
aur tum door jaate ho
na rowen ronewaale
pyaar lekar main chali aayee
na rowen ronewaale
pyaar lekar main chali aayee
magar dekho kisi din
tum bhi ban jaana na harjaai
magar dekho kisi din
tum bhi ban jaana na harjaai
tumhen meri qasam ab chup raho
kyun dil dukhaate ho
tumhen meri qasam ab chup raho
kyun dil dukhaate ho
———————————————-
Part II
———————————————-
?? milaate ho usi ko khaak mein aen aen
jo dil se milta hai ae ae ae
meree jaan chaahne waalaa
badee mushqil se milta hai
puraane chaahne waalon se
kyun aankhen churaate ho
puraane chaahne waalon se
kyun aankhen churaate ho
ye soorat aur hamse dostee achchee nahin saahab
nashe mein aapne sandle meree dekhee nahin saahab
akelee dekh kar tum raah mein aankhen dikhaate ho
akelee dekh kar tum raah mein aankhen dikhaate ho
jalaate ho hamen aen aen lekin
kabhee tum bhi to o jalte thhey ae
na aate thhe agar hum
raat din pehloo badalte thhey
ye shai wah(?) hai tumhaaraa dil lagaa kar bhool jaate ho
ye shai wah(?) hai tumhaaraa dil lagaa kar bhool jaate ho
puraane chaaahne waalon se kyun aankhen churaate ho
puraane chaaahne waalon se kyun aankhen churaate ho
december ki ye thhandee raat
aur uspe ye tanhaai
na jaane aaj kis bairan ke ghar baithhe ho harjaai
chale bhi aao parwaanon
hamen naahaq jalaate ho
chale bhi aao parwaanon
hamen naahaq jalaate ho
samajh ae raat ki raanee
ye parwaane chale aaye
teree fariyaad se khinch kar
ye deewaane chale aaye
galey se aa milo
kyun door se ulfat jataate ho
galey se aa milo
kyun door se ulfat jataate ho
bujhaai hai agarche pyaas
nazron se yahi humne
paraai aag mein jalnaa
magar seekhaa nahin hamne
chalo ae doston
kyon muft mein jaanen ganwaate ho
chalo ae doston
kyon muft mein jaanen ganwaate ho
galey tujhko lagaayegaa
ye deewaanaa muhabbat ka
kafan baandhe huye aayaa hai
mastaana muhabbat ka
ye meree khushnaseebee hai
ke tum mujhko jalaate ho
tumhen meree qasam
ab chup raho
kyun dil dukhaate ho
————————————————-
Part III
————————————————-
bahaar aayee
chaman ke patte patte par shabaab aayaa
bahaar aayee
chaman ke patte patte par shabaab aayaa
likha thha khat jo bhanwre ko
nahin uska jawaab aayaa
likha thha khat jo bhanwre ko
nahin uska jawaab aayaa
kaho sarkaar
kaho sarkaar
kaho sarkaar
kaho sarkaar
main haazir hoon
kyun mujhko bulaate ho
kaho sarkaar
main haazir hoon
kyun mujhko bulaate ho
puraane chahne waalon se
kyun aankhen churaate ho
puraane chahne waalon se
kyun aankhen churaate ho
main lobhee ras ka hoon
duniya mujhe kehtee hai harjaai
milaayi aankh jisne mujhse
wo aakhir mein pachhtaayee
muhabbat ke ye din
kyun jhoothhee baaton mein ganwaate ho
muhabbat ke ye din
kyun jhoothhee baaton mein ganwaate ho
tum harjaai sahi lekin
ghadhee bhar ko chale aao
tum harjaai sahi lekin
ghadhee bhar ko chale aao
hamaare dil ki sun jaao
kuchh apni dil ki keh jaao
hamaare dil ki sun jaao
kuchh apni dil ki keh jaao
mujhe manzoor hai jo apni marzi se bulaate ho
mujhe manzoor hai jo apni marzi se bulaate ho
hamaare haathh se tum
aaj bachkar jaa nahin sakte
hamaare haathh se tum
aaj bachkar jaa nahin sakte
tumhaare pyaar ke dhokhe mein
ab hum aa nahin sakte
tumhaare pyaar ke dhokhe mein
ab hum aa nahin sakte
idhar bhee dil lagaate ho
udhhar bhee dil lagaate ho
idhar bhee dil lagaate ho
udhhar bhee dil lagaate ho
idhar bijlee udhhar shola
main jaaun toh kahaan jaaun
idhar bijlee udhhar shola
main jaaun toh kahaan jaaun
museebat hee museebat hai
jahaan jaaun wahaan jaaun
museebat hee museebat hai
jahaan jaaun wahaan jaaun
mohabbat ke maze loote hainab aansoo bahaate ho
mohabbat ke maze loote hainab aansoo bahaate ho
puraane chaahne waalon se kyon aankhen churaate ho
puraane chaahne waalon se kyon aankhen churaate ho
Lehron se khele chandaa
Posted on: October 8, 2023
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 from the film Aahuti-1950.
I have not seen this film and I could not get any details of this film like its story etc from any source, so I do not know what kind of ‘ sacrifice ‘(aahuti) this film was about. From some of the songs, this film Aahuti aka Anokhi qurbani seems to be a film about Independence struggle or on conditions soon after India’s independence. This also looks like having a love story in the background.
The film was directed by Kulbhushan. He seems to have also produced and directed the film Saahi-1959 under the name Kulbhushan Agarwal. He acted in it as Kulbhushan and also wrote one duet song for Saahil-1959. It had the same music director, D.C.Dutta as for Aahuti-1950.
D.C.Dutt – Music Director. His name is not known to many. All of us know that Lata Mangeshkar had to struggle very hard in her initial attempts to get into Playback singing in Hindi films. In her early struggle, 3 Duttas helped her. The first was of course Datta Davjekar who gave her the first opportunity to sing a song for his film Aapki sewa mein-47. The second was K.Datta or Datta Korgaonkar, who, after his favourite singer Noorjehan left India, took Lata under his wings and gave her songs. The third Dutta was this-D.C.Dutt. No information is available about him whatsoever , except what is printed in HFGK and its duplication in Pankaj Raag’s book “Dhunon ki Yatra”. Thanks to this, we know that his debut was through film Sona Chandi-1946. Out of 12 songs of the film, only two were his and one of them was by Lata Mangeshkar.
This Lata song has a history. Film Sona Chandi was censored first on 19-7-46 and released. That time these 2 songs of D.C.Dutt were not there. In January 1948,when Gandhi ji’s death took place, many songs on Gandhi ji were recorded by many singers and composers. One of the most famous, popular and successful songs was “Suno suno aye duniya walo, Bapuji ki amar kahani” sung by Mohd. Rafi in 4 parts and recorded by its composer Husnalal-Bhagatram. In this spate, even D.C.Dutt also recorded a Gandhi ji song by Lata in 1948. producers of film Sona Chandi got this and one more song ( by Saroj Borkar) included in the film and the film was re-censored on 9-4-48. Thus an early song of Lata was in a film, because of D.C.Dutt.
D.C.Dutt later did some more films like, Sarai ke bahar-47, Dil ki Awaz-48, Anjana-48 ( he even acted in this film), Ram Darshan-50, Aahuti-50, Simba-51, Ranee-52 and lastly Sahil-59. Very surprisingly, after the film Sona Chandi-46, Lata did not sing a single song in any of his films. After 48-49, Lata had become a very busy and ‘in demand’ singer and she would sing only for established composers . We all know that she did not sing even in Madan Mohan’s debut film Aankhen-50, just because he was new. It is said that Lata had also not sung for Music Director Khurshid Anwar, when she learnt that he could not play any musical instrument.
Today’s song is a duet sung by Geeta Dutt and Shankar Dasgupta. I am a great fan of Geeta Dutt and her songs. Long back,in our Management class, our Professor conducted a survey in the class. He asked us to write the name of the Toothpaste we were using. Those days too, Colgate was the Brand leader. There were 30 students in the class. I was using Macleans’ (a brand that was available in India in those days), so I wrote Macleans’. Then he collected all 30 chits, added his own and started reading. The result was Macleans’-8,Kolynos-7,Colgate-7,Forhans-6 and 3 were using tooth powder. He explained to us that even the Brand leader, not necessarily always, will lead in all consumer groups. It is a collective total which gives the leader its position.
The same is the case in any other field. Take the case of female playback Singers. In the 50s to 70s, Lata was the Brand Leader, but personally I always liked Geeta Dutt. I simply loved Geeta’s voice which had so much flexibility and was also so soulful.
When you hear her sing Meera Bhajan, you get lost in Bhakti Ras, listen to her sad songs and gloom descends on you and hear her club/cabaret song, you feel like tapping or dancing. It seems as if Geeta never bothered to be the No.1,she only wanted to be honest to her singing. She was a pure soul bearing no envy towards anyone. There is always a discussion whether she gave her best to S.D.Burman or O.P.Nayyar songs. Not many know that Geeta worked with more than 150 composers. I personally don’t believe she ever compromised in her performance. Whether she sang for a well known composer, or an unknown one like M.A.Rouf, S.L.Pardeshi, Manohar, D.V.Gadekar, Kumar, M.Masurekar, T.K.Das, Ali Husain, Pt.Harbans Lal or Rajhans, she put all her soul and skill in rendering the song.
There is, however, always a personal liking. I always liked Geeta’s songs with O P Nayyar. Their association started with the film Aasman (1952). Though her songs like “dekho jadu bhare more nain’ were very melodious and became quite popular,the film flopped. The subsequent film Baaz (1953) was also the same story. Good songs-film flopped. But then Aarpar (1954), Mr. and Mrs.55, Musafirkhana (1955) and Miss Cocacola and C.I.D.-in 1956 brought commercial success. After C.I.D. in 1957, Geeta suffered on 2 counts. One, O.P.Nayyar started grooming Asha Bhosale and secondly Geeta was facing a lot of personal problems. The singing assignments coming her way were getting lesser and even she was cutting down on the same. In fact, she had expressed a desire to completely stop singing in the year 1957.
In the year 1958 she got only 10 songs from O.P.Nayyar. But then she sang the iconic song in Howrah Bridge which made her name Amar in the history of the Golden Age of HFM forever. This incident has been narrated by the famous film/music writer Issac Mujaawar in the Marathi magazine Rasrang. When Howrah Bridge was being made, it was evident that all the songs would go to Asha. By that time ASHA had mastered the art of singing club/cabaret songs. It is said that rehearsals were done for ”Mera naam chin chin chu”. Shakti Samanta was the Director of the film. O.P.Nayyar never tolerated any interference from the Producers or the Directors. Shakti da wanted that song to go to Geeta, as he genuinely felt that she is better suited to sing it. He called Nayyar one day and coolly explained to him the situation. Miraculously, Nayyar accepted the suggestion without a word of protest. Maybe his conscience was biting him, or maybe he too thought on those lines. Whatever be the reason, Geeta was summoned the next day and the song was given to her. The rest is History…….as they say.
Geeta’s younger brother Milan Roy Choudhari, who was in the USA for education and later to build a career, was 10 years younger to her. She was very much attached to him. It was Geeta who financed his US visit and his education. He recently died in America. He was well known to me. He used to read all my articles on HFM till his death. About 10 years ago, I had written an article on Geeta Dutt, on somebody’s request for her Death Anniversary. When Milan read my article, he wept like a child. Then he wrote a sentimental letter to one of our common friends.
Here is the relevant portion….
” I am a huge fan of Arunji and his writings. I really admire his vast knowledge and his expertise on details. There were tears in my eyes when I first read this article at Geeta Dutt blog on her death anniversary. Mr Deshmukh has depicted some aspects of my sister’s singing very accurately. She indeed always tried to understand the words of the song thoroughly before she sang in order to give the proper feeling to her singing. I am 11 yrs younger than her and I was very close to her.In 1961 she was the one who sent me to the USA for further studies. She used to always take me to recordings and Functions with her. To me she was not only a great singer but also a great human being. I am very grateful to Arunji for writing such a beautiful write up on her.”
Here is that article for our readers, which was written on Geeta Dutt, 10 years ago…..
“City- Bombay (Now Mumbai)
Date- 20th july 1972
Place- Harkisandas Hospital, BombayFew people were standing in the corridor . Anxiety, sorrow, helplessness and a little hope was clearly written on their faces. They were all quiet. No one was talking to anyone. Their body language gave away their agony and restlessness.
Suddenly, a Doctor came out of a patient’s room. All ran to him and then stopped. The Doctor’s face and the tears in his eyes told them what they were afraid of.
No one said anything. No one asked anything. The Doctor said, ” I am sorry. She is no more.” He left, dragging his heavy feet.The end of an Angel had come !
Geeta Dutt has left us forever !!
Only her memories and the inimitable voice were left behind !!!Born on 23-11-1930 at Idlapur in Faridkot District of East Bengal,to a big Zamindar, Devendranath Roy Chaudhury and Amiya Roy Chaudhury,Geeta inherited her mother’s love for music. She learnt Classical Music from Pt.Hirendranath Chaudhury, while studying in an Anglo-Bangla school.
When she was just 12 year old, the family had to run away from East Bengal, to save their lives-leaving all property behind- to Bombay. In Bombay, we all know how Pt. Hanuman Prasad, MD(ex husband of Lalita Pawar) discovered her for playback in Hindi films. Later when S D Burman heard her singing, he knew instinctively that this was the voice which would make him successful and establish in Bombay. Until then Burman had not succeeded much to his satisfaction. To give her songs in ‘ Do Bhai ‘, he had to convince Chunilal of Filmistan, with great difficulty.
Geeta did not disappoint.’ Mera sunder sapna beet gaya” and ” Yaad karoge” made history and put both Geeta and Burman in the Top league overnight.
Do Bhai made other famous composers to sit up and take notice of this new voice. They lined up to give Geeta ‘ Gaaon’-47(Khemchand Prakash), Leela,Shehnai and Saajan-47 ( C.Ramchandra),Geet Govind-47(Gyan Dutt),Actress-48(Shyamsunder),Chunariya-48(Hansraj Behl),Padmini-48(Ghulam Hyder) and Ek thi Larki-49(Vinod).
1950 was Geeta’s year.Many hits came Bawre nain,Har har mahadev and Jogan solidified her position on Top.Composers felt she was inevitable,for their success.
Before recording,Geeta used to sit with a Lyricist,understand the words and the implied meanings,then hear the tune from the composer and then sing in her own style. Basically,Geeta was very Gifted and hence with just one rehearsal,she could record the song to the entire satisfaction of all concerned.This made her the darling of the Composers.
Now, the newer MDs like Hemant Kumar,Vasat Desai, Madan Mohan and O P Nayyar also vied with each other to take Geeta. While doing Baazi, she met Guru Dutt and they got married on 26-5-1953. She was earning thousands of rupees in singing, but that time Guru Dutt was not that successful. Some magazines and Papers said that he married Geeta for her money. Guru Dutt was furious and asked Geeta NOT to sing for others, restricting her to only his films. This supposedly suffocated her and she rebelled against it, which affected their relationship further.
Geeta had a liking and flair for acting. In Calcutta, she acted as a Heroine in the Bangla film-‘ Badhu baran”. She did get some more offers but once she decided to settle in Bombay she refused all offers. Few people know that in Bombay a Hindi film- ‘ Tera saath hai Pyaara ‘, with Geeta as a Heroine had started, but unfortunately, after a few reels, the film got shelved. To give a chance to her and to mend their relationship, Guru Dutt started filming “Gauri” with Geeta as a heroine, a bi-lingual in Bengali and Hindi. However due to reasons not known to us, Guru Dutt shelved this Bangla film after shooting a few reels. This made the couple more distanced from each other. We all know the story’s end…..
Somewhere in 1971, there was a programme ” Yaaden Shakeel ki” in Bhaidas Hall, Parle. I had gone to that programme and I saw Geeta Dutt there. Many singers had come there-Rafi, Mukesh, Mahendra Kapoor, Chandru Atma and Lata. When Lata was to come for singing there was a flurry of activity on the stage with everybody trying to please Lata. Lata came, sang and left like a Queen. When Geeta came on the stage, hardly anyone did anything for her. This is how this world is ! Geeta came, drew Harmonium near her and sang a Ghazal of Shakeel Badayuni “Ujaale apni yaadon ke”. When she finished, there was a clapping louder that what Lata had received, from the Audience-people knew her value !!
Geeta was optimistic even in the year 1971. She used to say, ” If 2 hit songs in Aradhana can take Kishore Kumar to the Top, even 2 Hit songs for me will do the same.” But it was not to be. Even the regular composers like O P Nayyar already turned their backs on her. Destiny decided to call her back !!!
One of my regrets was that if only Naushad had supported Geeta, she would have gained eminence for his songs for ever, like Saigal, Surendra, Parul Ghosh, Zohrabai, Amirbai, Naseem Akhtar, Shamshad, Noorjehan, Suraiya, Uma Devi, Talat, Mukesh, Rafi and Lata….but Geeta’s name was not in this list. I am not a statistician, so I can not say how many songs she sang for Naushad, but I am sure it was almost nothing except a half song in Dillagi (1949) and a club song in Son of India (1962).
Geeta’s voice was typical Bengali. She sang all kinds of songs wonderfully but was truly a master at melancholies. Burman da who gave her emotional songs in Do Bhai, also gave her peppy club songs in Baazi, to make use of the sexy tinge in her voice. Further O P Nayyar fully exploited this special feature in Geeta’s voice. Her voice was sometimes sweet, sometimes namkeen. It had depth. In this case Geeta was one step ahead of Lata. Geeta’s voice was different for every situation. When she sang, ’Baat chalat nayi chunari’, you felt she would have been a better classical singer than Laxmishankar. When she sang,’ Main to Girdhar ke ghar jaoon ‘, you felt Oneness with God, hearing her Bhakti ras dripping voice.
Juthika Roy was famous for Meera Bhajans, but I always felt that her voice was the same in any Bhajan, while Geeta’s Bhajans exuded different emotions in every bhajan.
While singing Club songs, Geeta was a different person. Just recall that “Hey hey hey hey Tadbeer se bigdi hui taqdeer bana le” song or listen to “O Babu O Lala” or “mera naam chin chin chu”, then you will realise what I am saying !
One very important point in Geeta’s singing is not highlighted by many. In Hindi films there are many Male and Female versions of songs called Tandem songs and many singers have sung them. While singing such female version songs, Geeta never lost to the male singers ! All Geeta versions were more popular than the Male versions.
Both Asha and Lata have not a great record on this count.
You will remember Kishore’s ”Jeevan ke safar me raahi” but not Lata’s version. You will remember Talat’s ” Aye gham-e-dil kya karoon’ but not Asha’s version. Kishore was better than Asha in “Zindagi ek safar hai Suhana” versions and also Kishore was better than Lata’s version of “Khilte hain gul yahan”.
When it comes to Geeta, she never lost to male versions. C H Atma’s ”Preetam aan milo” is remembered by less people that Geeta’s ” Preetam aan milo” from mr. and Mrs.55 (same song.written by Saroj Mohini Nayyar,O.P.’s wife). Geeta’s “Kaise koi jiye” (Baadbaan) is much better than Hemant Kumar’s version. Similarly,” Hai ye duniya kaun si'(Sailaab) and “Na yeh chand hoga”(Shart). In both songs,Geeta is superior and more popular than Hemant Kumar. (There is a story behind the song-Na yeh chand Hoga. Once a jilted young lover committed suicide under train at Patna. In his pocket these lines were written on a paper-Tumhare liye hain,tumhare rahenge,Na yeh chand hoga,na taare rahenge,magar hum hamesha tumhare rahenge. Lyricist S.H.Bihari used these lines in his song).
On 22nd July 1972,just 2 days after Geeta’s death, there was a preplanned programme of Juthika Roy in Birla Matoshri Sabhagriha, Bombay. I had booked my tickets well in advance, so I went there. In the beginning everyone paid respects to Geeta Dutt, by standing for 2 Minutes. Talat, Jagmohan and Surendra were also there. Then Juthika Roy came on stage,drew Harmonium near her and started singing ” Pag ghungroo bandh…” .
I was lost in Geeta’s memory and saw Geeta with a Harmonium singing ” Main to Girdhar ke ghar jaoon………………….”
Let us now listen to today’s duet by Geeta and Shankar Dasgupta.
Song- Lehron se khele chanda (Aahuti)(1950) Singers- Geeta Roy, Shankar Dasgupta, Lyricist- Tandon, MD- D.C.Dutt
Both
Lyrics
lehron se khele chanda
chanda se khelen taare
lehron se khele chanda
chanda se khelen taare
o o
main tere dil se kheloon
tu mere dil se pyaare
lehron se khele chanda
chanda se khelen taare
o o
main tere dil se kheloon
tu mere dil se pyaare
haaye na jaanoon piya
nainon ki preet kya hai
jaanoon to ye na jaanoon
kehne ki reet kya hai
haaye na jaanoon piya
nainon ki preet kya hai
jaanoon to ye na jaanoon
kehne ki reet kya hai
nainon se nain mila ja nadiya kinaare
haan nadiya kinaare
main tere dil se kheloon
tu mere dil se pyaare
lehron se khele chanda
chanda se khelen taare
o o
main tere dil se kheloon
tu mere dil se pyaare
chhip sakte hain tori ankhiyon mein sapne gori
chhip sakte hain tori ankhiyon mein sapne gori
kaise chhipega lekin
milna ye chori chori
kaise chhipega lekin
milna ye chori chori
sapnon ki nagri aaja nadiya kinaare
haan nadiya kinaare
main tere dil se kheloon
tu mere dil se pyaare
lehron se khele chanda
chanda se khelen taare
o o
main tere dil se kheloon
tu mere dil se pyaare
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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