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

Archive for the ‘Geeta Dutt songs’ Category


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.

Blog Day :

4380 Post No. : 15725

‘Baadbaan’ (1954) was produced by Bombay Talkies Workers’ Industrial Society, the last-ditch efforts by the workers of The Bombay Talkies to keep the banner alive. The Bombay Talkies was on the verge of its closure when it faced the financial crunch following the failures of ‘Tamaasha’ (1952) and ‘Maa’ (1952) at the box office. ‘Baadbaan’ had star cast comprising of actors who were mostly the well-wisher of The Bombay Talkies. They included Ashok Kumar, Dev Anand, Meena Kumari, Usha Kiran, Jairaj, Leela Chitnis, Sheikh Mukhtar, Krishnakant, Bipin Gupta, Gope etc.

The film was majorly shot in Versova, (locals call it as ‘Vesave’), a fishing village at the outskirt of the then Bombay City. Among the names of the other crew members of the film mentioned here , is the name of Raja H Mura (Harishchandra Mura) as one of the Assistant Directors who assisted Phani Majumdar in the film. I came to know from a facebook upload of a print page concerning the film that Raja H Mura was a fisherman of Versova village near Andheri in Mumbai who also worked as a junior artist in films. It was Raja who made all the logistic arrangements for shootings in the Varsova village and also in the sea. Probably, with his experience of sailing in high sea, the shots involving the sailing of boats and their capsizing in the sea may have been supervised by Raja.

The name of Versova fishermen’s village took me back by over 6 decades. I recalled that I had accompanied my family members to Versova village sometime in mid-1950s to pay a social visit to one of our relatives who ran a grocery shop and a small restaurant in the village.  He was staying in one of the Portuguese types of house, almost similar to the ones I have seen later in Goa. The visit was a full of adventure. From Andheri railway station, we took a horse carriage which dropped us near Four Bungalows (or Seven Bungalows?). From this point, we had to walk through a narrow muddy path for about 15-20 minutes which passed through a swamp to reach the village. Now, Versova is an upscale locality in the suburb of Mumbai though a part of it still retains its old world village charm.

The print of ‘Baadbaan’ (1954) was lost in a studio fire along with some more films. So, the chances of watching this film in the future looks very bleak. Based on Encyclopaedia of Indian Cinema, the broad story of the film is as under:

Lalan (Jairaj), the village headman, leaves to warn fishermen about an impending storm but he goes missing during the storm followed by his wife Leela (Leela Chitnis). Their orphaned child who is left in the house is adopted by the District Magistrate, Choudhary (Bipin Gupta). The child grows up to become Naren (Dev Anand). Educated abroad, he is to wed Bina (Meena Kumari), the daughter of a family friend. Shankar (Ashok Kumar), Naren’s friend and Bina’s music teacher, is also in love with her but keeps his feeling to himself. The marriage of Naren with Bina is called off when Choudhary admits that Naren is the son of a fisherman, adopted by him.

With this background, Naren shifts to  his village where he decides to dedicate his life to the welfare of the fishermen. He starts an ice factory and the workers co-operative society. He falls in love with the village girl, Mohnia (Usha Kiran). In the meanwhile, seeing that Bina is very sad as she misses Naren, Choudhury agrees to her marriage with Naren. But she is unhappy about his rural activism. The death of his wife, Bina in a tragic circumstance leads Naren to be with his own people and also with Mohnia who shares his passion for improving the lots of fishermen in his village.

There are 7 songs in the film written by Indiwar (5) and Uddhav Kumar (2) of which two songs have already been covered in the blog. All songs were set to music by Timir Baran and SK Pal. I am presenting the third song of the film, “Har Roz Kaha, Har Roz Suna” sung by Geeta Dutt. The song is written by Indiwar under the music direction of Timir Baran and SK Pal. Going by the wordings of the song, I guess this song is picturised on Meena Kumari and the situation of the song could be after her marriage with Dev Anand is called off, she is in a sad state of mind.

It is a poignant song which surprisingly eluded the blog for so long.

Song – Har Roz Kaha Har Roz Suna (Baadbaan) (1954) Singer – Geeta Dutt, Lyrics – Indeewar, MD – Timir Baran – SK Pal

Lyrics

har roz kaha har roz suna
ek baat na poori ho paayi..ee
ho paayi
har roz kaha har roz suna
ek baat na poori ho paayi..ee
ho paayi
har roz kaha
 
dil de bhi chuke dil le bhi chuke
dil de bhi chuke dil le bhi chuke
saugaat na poori ho paayi..ee
ho paayi
har roz kaha
 
aakash mein jaise chaand badhaa
aakash mein jaise chaand badhaa
badhti hi gayi mann ki aasha
saagar chalka dhaara nikli
phir bhi ye jeevan hai pyaasa
chhaayi bhi ghata paani barsa
barsat na poori ho paayi..ee
ho paayi
har roz kaha
 
uthti hi rahi saagar mein lahar
uthti hi rahi saagar mein lahar
kuchh kam na huyi chaahat dil ki
paa kar bhi tumhen ye dil na bhara
kuchh aur badhi hasrat dil ki
shehnaai baji aur raat saji
baarat na poori ho paayi..ee
ho paayi
har roz kaha

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

हर रोज़ कहा
हर रोज़ सुना
एक बात ना पूरी हो पाई॰॰ई
हो पाई
हर रोज़ कहा
हर रोज़ सुना
एक बात ना पूरी हो पाई॰॰ई
हो पाई
हर रोज़ कहा

दिल दे भी चुके
दिल ले भी चुके
सौगात ना पूरी हो पाई॰॰ई
हो पाई
हर रोज़ कहा

आकाश में जैसे चाँद बढ़ा
आकाश में जैसे चाँद बढ़ा
बढ़ती ही गई मन की आशा
सागर छलका
धारा निकली
फिर भी ये जीवन है प्यासा
छाई भी घटा
पानी बरसा
बरसात ना पूरी हो पाई॰॰ई
हो पाई
हर रोज़ कहा

उठती ही रही सागर में लहर
उठती ही रही सागर में लहर
कुछ कम ना हुई चाहत दिल की
पा कर भी तुम्हें ये दिल ना भरा
कुछ और बढ़ी हसरत दिल की
शनहाई बजी
और रात सजी
बारात ना पूरी हो पाई॰॰ई
हो पाई
हर रोज़ कहा


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.

Blog Day :

4377 Post No. : 15720

“I worshipped Bimal Roy. For me, his worth as a man was more than his films… It is impossible for me to describe what a man he was.”

The above quote was by Ritwik Ghatak, one of Bimal Roy’s desciples who later became an internationally known director of parallel cinema in Bangla films.

In Hindi film industry, there are many film artists, directors and those connected with the film music who are admired for their excellent professional performances. But there would be very few among them who would also be admired as the good human beings. Among few such personalities, the name of Bimal Roy comes to my mind because for the last few months, I have extensively read on the life and works of Bimal Roy. I have found that those who have closely worked with him like Dilip Kumar, Balraj Sahani, Vyjaynatimala, Kamini Kaushal, Nutan, Dharmendra, Shashi Kapoor, Hrishikesh Mukherjee, Gulzar and many more have highly talked about Bimal Roy as a fine human being besides an being an outstanding director. What touched me most about Bimal Roy was what Manobina Roy, his wife had said in an interview. Just a few minutes before his death on January 8, 1966, Bimal Roy had called her and said that he was deeply worried about his workers in Mohan Studio as to what will happen to them after his death. Only when she assured him and repeated her assurance that she would take care of them, Bimal Roy closed his eyes never to open them again.

Today, July 12th 2020 is 111th birth anniversary of Bimal Roy (12/07/1909 – 08/01/1966), one of the greatest Hindi film directors who rose from a still photographer to a cinematographer and then as a producer-director of some of the classic and socially relevant films. Although, there were many film directors from Bengal – especially in the Bombay Talkies who had directed Hindi films in Mumbai in the 1940s, it is said that it was Bimal Roy who brought ‘Bengaliness’ in his Hindi films in Mumbai. He was a trend setter in introducing the ‘middle of the road’ films.

Arunkumar Deshmukh ji has already discussed Bimal Roy’s biographical and celluloid journey in his article covering the song, chale re chale raam vanwaas. I would, therefore, skip his profile and his sequential journey in the film industry. I propose to concentrate mainly on three important phases in his filmy career which led to his meteoric rise in the film industry – as a Cinematographer, as a Director for films produced by New Theatres and as a Producer-director of Hindi films in Mumbai. In my view, the three phases were also the important turning points in the career of Bimal Roy.

Bimal Roy joined New Theatres (NT) as an Assistant Cameraman to Nitin Bose in 1932 during which he assisted him for ‘Chandidas’ (1932, Bangla version and also Hindi version in 1934), ‘Meerabai’ (1933) etc. He was promoted as a cinematographer in NT and shot films like ‘Devdas’ (1935), ‘Manzil’ (1936), ‘Mukti’ (1937), ‘Abhagin’ (1938), ‘Abhinetri’ (1940) ‘Meenakshi’ (1942) etc.

The high point in his career as a cinematographer was ‘Mukti’ (1937) – the first film from NT which was extensively shot outdoors, mostly in the forest of Gauripur (Assam). It was a challenge for Bimal Roy as a Cinematographer to shoot outdoors, the scenes with proper lightings. Even his indoor shots were exceptional. His camera works in the opening scene of the film itself is marvelous. The camera focuses on P C Barua who walks through three rooms, one after another before knocking the door of the fourth room. Here, only the camera ‘speaks’ in the scene in complete silence without any background music to create suspense as to what is going to happen next. The light and shadow effects have been effectively used to convey the mood of the situations in the film.

Kanan Devi, in one of her interviews had said that in ‘Mukti’ (1937), Bimalda through his camera work, made her more beautiful than what she looked in reality. P C Barua, the director, was so happy with his camera work in the film that in the publicity poster of ‘Mukti’ (1937), he made the name of Bimal Roy to appear next to his name with names of the actors appearing in the side. Probably, this may be the first occasion in NT that the publicity poster had prominently carried the name of the cinematographer.

Bimal Roy entered his second phase of his career when he turned as a director for the first time for the Bangla film ‘Udayer Pathe’ [(1944), ‘Towards the Twilight’]. A year later, a Hindi version of the film was made as ‘Hamraahi’ (1945), also directed by Bimal Roy. Manobina Roy, the wife of Bimal Roy was surprised as to why he chose the subject of exploitation by upper class of the lower strata of the society when he himself had the background of a landlord’s son. Probably, he may have seen such scenarios in his teenage days in his family and he wished to bring them to the notice of masses.

The challenge for Bimal Roy in this fiim was that NT boss, B N Sarkar has personally told to direct the film with the left-over cut pieces of the raw stock of negative film as those days, raw stock of films was rationed. There was no scope for wastage of the raw stock of films by way of reshoots. On the top of it, he had taken newcomers, Binita Bose (Roy) and Radhamohan Bhattacharya as the lead actors. With these backgrounds, it was imperative that he should also take the responsibility as a cinematographer. When the shooting of the film was completed, B N Sarkar was surprised that the film was completed by Bimal Roy without taking any extra stock of raw films.

The film though made with a small budget was one of the top box office grossers for NT. The film ran for more than one year in Kolkata’s Chitra theatre. With its Hindi version of the film, the name of Bimal Roy became well-known all-over India. In the Bengali speaking regions, ‘Udayer Pathe’ (1944) became one of the highly discussed films. The film became a trend setter for some subsequent Hindi films having ‘rich girl poor boy’ love story with the background of a class conflict. Chetan Anand’s ‘Neecha Nagar’ (1946) followed, more or less, the similar pattern in the story.

The extra-ordinary success of ‘Udayer Pathe’ (1944) did not help much in Bimal Roy’s career as a director as fortune of NT had taken a down turn due to the adverse impact on the film industry of the World War II and thereafter partition of Bengal by creating the then East Pakistan. Bimal Roy did direct two films for NT – ‘Anjangarh’ (1948) and ‘Pehla Aadmi’ (1950). The highlight of ‘Pehla Aadmi’ (1950) was that it was made on Netaji Subhash Chandra Bose. It was a challenge for Bimal Roy to shoot the battle scenes of the film in the studio itself which should look real in the film. I have watched the clip of the battle scene and it looks real. Though these two films were critically acclaimed, they did not fare well at the box office.

The downfall of NT in post-partition period and the emergence of Bombay (Mumbai) as the main film production centre prompted many artists and technicians in Kolkata to migrate to Mumbai. On the other hand, the Bombay Talkies was also going through the bad times. An opportunity came to Bimal Roy when he was invited by Ashok Kumar to direct ‘Maa’ (1952) for Bombay Talkies which he had to reluctantly accept due to the adverse conditions of the film industry in Kolkata. Bimal Roy came to Mumbai with his team consisting of Hrishikesh Mukherjee (Editor), Asit Sen (Assistant Director), Nabendu Ghosh (Dialogue writer) and Paul Mahendra (Hindi dialogue writer and actor). Later, some more artists and technicians from Kolkata like Kamal Bose (Cinematographer), Arvind Sen, Asit Sen, Debu Sen, Basu Bhattacharya and Salil Chaudhury joined Bimal Roy.

In terms of box office, ‘Maa’ (1952) did not add to the coffers of Bombay Talkies. Bimal Roy was all set to return to Kolkata along with his team when Ashok Kumar gave him another film, ‘Parineeta’ (1953) which was produced under the banner of Ashok Kumar Productions. Simultaneously, something was cooking within Bimal Roy’s team. Hrishikesh Mukherjee had revealed in an article that after watching an English film in Eros Theatre at Churchgate, Bimal Roy and his team were returning home on a BEST double decker bus and were discussing as to why they cannot make film like the one they watched. Bimal Roy asked as to who will write the story for the film to which everyone in his team offered to share the responsibilities. That was how Bimal Roy Productions was born on a double decker bus of BEST. And this was the third turning point in Bimal Roy’s career.

Bimal Roy embarked upon his maiden film ‘Do Bigha Zameen’ (1953) as a producer-director. Bimal Roy had read the story ‘Rickshwala’ written by Salil Chaudhury, based on the Rabindranath Tagore’s poem, ‘Doi Bigha Zomi’. This was perhaps the first film in Bollywood depicting what is called ‘neo-realism’, a term normally used for post-war effects on the poor class of the population who tended to migrate to urban area for sustenance. Many in his team had reservations about the selection of Balraj Sahani in the role of Shambhu, the farmer because of his urban look. But Bimal Roy struck to his choice. He had seen him acting live on the sets of ‘Dharti Ke Laal’ (1946) when he had visited Mumbai at the time of the release of his film ‘Hamraahi’ (1945) and thereafter in ‘Hum Log’ (1951).

‘Do Bigha Zameen’ (1953) put Bimal Roy on an international pedestal. The film won for him the Prix International Prize at 7th Cannes Film Festival (1954). The film also won him National Award for the Best Film and also the inaugural Filmfare Award, 1954 for the ‘Best Film’ and ‘The Best Director’. With the success of this film, the seeds of the ‘middle of the road’ cinema was sown in Bollywood.

One of Bimal Roy’s film which did not fit into his psyche of film making was ‘Madhumati’ (1958). The reincarnation story of the film was written by Ritwik Ghatak who was an assistant to Bimal Roy during his Kolkata days. He was without work in Kolkata and had come to Mumbai for work. Bimal Roy assigned him to write a story and screen play for his forthcoming film and also direct the film. This was how the film ‘Madhumati’ (1958) was born. But, at the last minute, he had to go back to Kolkata as he could arrange finance for his Bangla film, ‘Ajantrik’ (1958). ‘Madhumati’ (1958) was thought of mainly for the financial survival of Bimal Roy Productions. Hence, the commercial elements in the film was evident with Dilip Kumar and Vyjayantimala in lead roles, Pran as villain and Johny Walker as comedian and 11 songs. With Bimal Roy handling the direction, the mix of classic touch and commercial elements led the film to attain the status of the most commercially successful film for Bimal Roy Productions and the highest grosser among Hindi films released in 1958. The film won 9 Filmfare Awards.

Bimal Roy has shown through his films like ‘Udayer Pathe’ (1944), ‘Do Bigha Zameen’ (1953), ‘Sujata’ (1959) and ‘Bandini’ (1963) that the victims of oppressions have superior morality than the oppressors. Bimal Roy had not been known to have leanings towards any political ideology. It is, therefore, a surprise to observe that in most of his films, the exploitation of downtrodden by the superior class of the society is evident though he belonged to a wealthy family of the landlords in a village near Dhaka in East Bengal (now Bangla Desh). The reasons for his ‘dislike’ for landlords or upper class probably stem from having been a victim himself when after the death of his father in 1930, his family was denied share in the estate and was expelled. He along with his mother and brothers had migrated to Kolkata where they may have initially faced the same problem as Balraj Sahani in ‘Do Bigha Zameen’ when he migrated to Kolkata.

Rinki Roy Bhattacharya believes that some characters in his films may have been modelled on the traits of a few of his family members. For instances, the arrogant and authoritarian fathers in ‘Udayer Pathe’ (1944), ‘Parineeta’ (1953) and ‘Devdas’ (1955) may have been based on Bimal Roy’s authoritarian father. The character of a whip cracking school master in ‘Devdas’ may be a whip cracking Head Master of Bimal Roy’s school in Dhaka. Pran’s character in ‘Madhumati’ (1958) may have been inspired from his uncle Jogeshchandra Roy who loved wines, women and dances.

During his filmy career, Bimal Roy directed 15 Hindi films which included his classics and popular films like ‘Parineeta’ (1953), ‘Do Bigha Zameen’ (1953), ‘Biraj Bahu’ (1954), ‘Devdas’ (1955) ‘Madhumati’ (1958), ‘Yahudi’ (1958) ‘Sujata’ (1959), ‘Parakh’ (1960), ‘Prem Patra’ (1962) and ‘Bandini’ (1963) which was his last film as a director.

Bimal Roy also produced 7 Hindi films which he did not direct but gave the opportunity to direct most of them to his assistants. These films were ‘Amaanat’ (1955) directed by Aravind Sen, ‘Parivar’ (1956) and ‘Apraadhi Kaun’ (1957) both directed by Asit Sen (comedian), ‘Usne Kaha Thha’ (1960) directed by Moni Bhattacharya and ‘Kabuliwaala’ (1961) directed by Hemen Gupta who was unemployed at that time. ‘Benazir’ (1964) and ‘Do Dooni Chaar’ (1968) were directed by S Khalil and Debu Sen respectively due to Bimal Roy’s illness.

Those who had worked closely with Bimal Roy had said that he was a man of few words. It was very difficult to initiate a conversation with him. Dilip Kumar had said in an interview that he found the most peaceful atmosphere among the studios when he worked with Bimal Roy because no one was allowed to talk loudly. Nabendu Ghosh, his screen-play and dialogue writer, has said that Bimal Roy spoke little but smoked cigarettes a lot. Probably, his cigarette smoking may have resulted in lung cancer at a later stage which took his life on January 8, 1966.

At the time of his death, Bimal Roy had started work on ‘Do Dooni Chaar’ (1968) and ‘Sahaara’. While the first film was completed by one of his assistants, Debu Sen and got released in 1968, ‘Sahaara’ which was based on Bengali novel ‘Chaitali’ by Ashapoorna Devi got sheleved. In fact, Bimal Roy had done some shooting of the film with Dharmendra and Sharmila Tagore when he got ill on the set after which he never recovered. When Dharmendra became a top star from early 1970s, he convinced Bimal Roy’s wife, Manobina Roy to revive the film for which he arranged the finances and pursuaded Saira Bano to act in the film. Hrishikesh Mukherjee directed the film under its new title ‘Chaitali’ (1975).

One of Bimal Roy’s dream project which was very close to his heart was a bilingual film ‘Amrit Kumbh Ki Khoj Mein’ (Hindi and Bangla). He had started the work as early as 1960 when he had shot about one hour of footage of Ardha Kumbha Mela held at Allahabad in 1960. Gulzar was entrusted with writing the script for the film. It was his intention to complete the shooting of the film during the next Poorna Kumbh Mela. During the last stages of Bimal Roy’s illness when he was bed-ridden, Gulzar used to visit him every day and read out what he had written for the script of his favorite film. With the death of Bimal Roy, the film remained a dream. However, scenes shot for the film were converted into a 12 minutes of documentary film ‘Images of Kumbh Mela (1960) by his son, Joy Bimal Roy.

On the occasion of Bimal Roy’s 111th birth anniversary, I have selected a song, ‘main na boloon na boloon na boloongi’ from ‘Maa’ (1952), his first film in Mumbai as a director. The song is sung by Geeta Dutt which is picturised on Shyama. The song is written by Bharat Vyas which is set to music by S K Pal.

With this song, all the songs of ‘Maa’ (1952) have been covered in the Blog.

Acknowledgements: In writing this article, I have been greatly benefitted by the following sources:

1. ‘Bimal Roy – The Man Who Spoke in Picture’ (2009), a book containing a collection of articles, edited by Rinki Roy Bhattacharya, the daughter of Bimal Roy.

2. ‘The Cinema of Bimal Roy – An ‘Outsider’ Within’ (2017) by Shoma A, Chatterji. (Book).

3. ‘Ravi Paar Aur Anya Kahaaniyaan’ (1999) by Gulzar – Chapter on ‘Bimal da’.

4. Remembering Bimal Roy (2007) – A documentary film by Joy Bimal Roy.

Editor’s note: This song is the 5000th song from the decade of 1950s(1951 to 1960) to appear in the blog.

Video Clip:

Audio Clip:

Song-Main na boloon na boloon na boloongi (Maa)(1952) Singer-Geeta Dutt, Bharat Bhushan, Lyrics-Bharat Vyas, MD-S K Pal

Lyrics

main na boloongi
o main na boloon na boloon na boloongi
aaj mere chhote se dil mein
chhupa hai kya raaz main na kholoongi
aaj main na boloon na boloongi aaj

kya raaz hai
hai to bataao

saawan ki ithlaate baadal se poochh lo ji
baadal se poochh lo
kajraare nainon ke kaajal se poochh lo ji
kaajal se poochh lo
bhole baalam
mohe laage sharam
haaye laage sharam
bhole baalam
mohe laage sharam
haaye laage sharam
ye bharam apne man ka na kholoongi
aaj main na boloongi
aaj main na boloon na boloongi aaj
main na boloongi
ho main na boloon na boloon na boloongi
aaj mere chhote se dil mein
chhupa hai kya raaz main na kholoongi
aaj main na boloon na boloongi aaj

achcha
hum bhi nahin sunte

o o o o o
suna maine jo
wo kaise sunaaun
wo baaten tumhe main kaise bataaun
kaho ji kaise bataaun
kuchh khud samjho
kuchh khud samjho
kuchh meri palkan se samajh lo ji
palkan se samajh lo
kuchh dil mein chhupi dil ki dhadkan se samajh lo ji
dhadkan se samajh lo
bhole baalam mohe laage sharam
haaye laage sharam
bhole baalam mohe laage sharam
haaye laage sharam
ye bharam apne man ka na kholoongi
aaj main na boloongi
aaj main na boloon na boloongi aaj


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4375 Post No. : 15717

“Raseeli”(1946) was directed by Hanuman Prasad Sharma for Jai Bharat Pictures, Bombay. The movie had Radharani, Sushil Kumar, Kanhaiyyalal, Ramesh Gupta, Anant Prabhu, Ranibala, Meghmala, Shanti Devi, Ramlal, Shamlal etc in it.

“Raseeli”(1946) had ten songs in it. Three rare (and special) songs from the movie have been covered in it.

Here is the fourth song from “Raseeli”(1946) to appear in the blog. The song is sung by Sharma and Geeta Dutt. One commentator in the YT lin identified the male singer as Prem Narayan Sharma.

Gaafil Harnalvi is the lyricist. Music is composed by Hanuman Prasad Sharma.

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

The song ends up abruptly with a few lines yet to be sung. I request our knowledgeable readers to alert us if a longer and more complee link to the song becomes available.


Song-Neh laga mukh mod gaya (Raseeli)(1946) Singers-Prem Narayan Sharma, Geeta Dutt, Lyrics-Gafil Harnalwi, MD-Hanuman Prasad Sharma
Both

Lyrics

neha laga mukh mod gaya aa aa aa aa
dukhiya ko tadapte chhod gaya
dukhiya ko tadapte chhod gaya aa aa

preet laga ker nanhe se ae ae
ek chanchal man ko tod gaya
ek chanchal man ko tod gaya aa aa
albeli ke to tiraani(?)
wo deewaani hai deewaani

har kadam pe thokar khaate hai ae ae
jab se preetam mukh mod gaya
jab se preetam mukh mod gaya aa aa

deepak ki jyoti door huyi
door huyi

ab kahe ae
ab kahe patanga ro ro kar
ro ro kar
ro ro kar r

is armaanon ki duniya mein ae ae ae
ghanghor andhera chhod gaya
ghanghor andhera chhod gaya aa aa
ab aan padi hai dukhiyaaran
is jeewan ke chauraahe par
is jeewan ke chauraahe par

wo baanh pakad kar beech dagar r r r…


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day:

4348 Post No. : 15659

Today (13 july 2020) is the birth anniversary of Prem Dhawan (13 june 1923-7 May 2001) Prem Dhawan is mainly known as a lyricist, but he was also a music director as well as an actor and choreographer.

Prem Dhawan made his debut as a lyricist in 1946 with the movie “Dharti Ke Lal”(1946). His last movie as a lyricist was was “Appu Raja”(1989).

He had the distinction of winning the National award for best lyricist in 1971 for his lyrics in Punjabi movie “Nanak Dukhiya Sab Sansaar” (1971). He also received Padma Shree award in 1970.

“Jahaan Daal par par sone ki chidiyaa karti hai basera”, the iconic song from “Sikandar e Azam”(1965) is an iconic song that gets played without fail on 26 januray and 15 august. “Ae watan ae watan” (Shaheed)(1965) and “Mera rang de basanti chola”(Shaheed)(1965) were pennned as well as composed by Prem Dhawan. “Ae mere pyaare watan” (Kaabuliwaala)(1961) was also penned by Prem Dhawan.

It is not that he only penned patriotic songs. He penned songs of all genre that one sees in HFM.”Chandamama door ke”(Vachan)(1955), an iconic mother-child lullaby, was penned by him. “Seene mein sulagte hain armaan (Aarzoo)(1951) was also his creation, as was the case with the folk song extraordinaire-:kaun rang mungwa kaun rang motiya”(Heera Moti)(1959). “Dil ko laakh sambhaala jee (Guest House)(1959), “Do roz mein wo pyaar ka aalam guzar gaya”(Pyaar Ki Raahen)(1959), “Haseen Ho Khuda to nahin ho (Mud Mud Ke an Dekh:(1960), “Dil Hai tera deewaana”(Zimbo Sahhar Mein)(1960), “Teri duniya se hoke majboor chala”(Pavitra Paapi”(1971)- all these were created by Prem Dhawan !

As a choreographer, he was the man behind the dances of “Naya Daur”(1957),”Dhool Ka Phool”(1959), “Waqt”(1965) etc.

The blog has as many as 438 of his songs as a lyricist and 22 of his songs as a composer.

On the occsaion of his berth anniversary, here is a song from “Gangu”(1962). This song is sung by Rafi and Geeta Dutt. Prem Dhawan is the lyricist. Music is composed by Kalyanji Anandji.

THe song is picturised on Chandrashekhar and Naaz who are seen driving in a car. Driving as well as a singing simultaneously, it is not advisable, but HFM safety standards have always been lax. 🙂

The lyrics of this song were sent to me by Avinash Scrapwala.

The audio and video versions contain different stanza towards the end.

Video

Audio

Song-Ye gora gora mukhda ye kaala kaala til (Gangu)(1962) Singers-Rafi, Geeta Dutt, Lyrics-Prem Dhawan, MD-Kalyanji Anandji
Chorus

Lyrics(Provided by Avinash Scrapwala)

Ye gora gora mukhdaa
Ye kaala kaala til
Ye gora gora mukhdaa
Ye kaala kaala til
Le gaye donon mil ke
Dekho ji mera dil
Hain khoti khoti baatein
Aur kaala tera dil
Hain khoti khoti baatein
Aur kaala tera dil
Deeewaane tu kahaan se
Gaya hai humen mil

Haaye
Ye gora gora mukhdaa
Ye kaala kaala til
Le gaye donon mil ke
Dekho ji mera dil
Hain khoti khoti baatein
Aur kaala tera dil
Deeewaane tu kahaan se
Gaya hain hume mil

Ho ho ho o
O o o ho ho o

Yoon itraa ke
humko lubhaa ke ae
Dil ko churaa ke jaati kahaan ho
Deke ye jhaanse
Jo humen phaanse
Jaayenge hum to
Marzi jahaan ho

Dekho akele na milegi Manzil
Haaye Ye gora gora mukhdaa
Ye kaala kaala til
Le gaye donon mil ke
Dekho ji mera dil
Hain khoti khoti baatein
Aur kaala tera dil
Deeewaane tu kahaan se
Gaya hai hamen mil

(Not in video)

Ho ho ho ho o
O o o ho ho o

Kaafir adaayein
Zaalim nigaahen
Jaan se mare
Jisko bhi chaahe
Kisne hain rokaa
Abhi hain maukaa
Khaana na dhokha
Bharna na aahen

Milte hi aankhen
Hum huye hain ghaayal
Haaye
Ye gora gora mukhdaa
Ye kaala kaala til
Le gaye donon mil ke
Dekho ji mera dil
Hain khoti khoti baatein
Aur kaala tera dil
Hain khoti khoti baatein
Aur kaala tera dil
Deeewaane tu kahaan se
Gaya hain hame mil

(Not in audio)

O o o o ho ho o
Aa aa aa ha ha aa
Hawaa jo aayi
Lat lehraayi
Yoon bal khaayi
Ulajh gayi re
Ja re deewaane
Kar na bahaane
Tere nishaane
Samajh gayi re

Phir bhi na jaane tu Hamaari mushqil
Haaye Ye gora gora mukhdaa
Ye kaala kaala til
Le gaye donon mil ke
Dekho ji mera dil
Hain khoti khoti baatein
Aur kaala tera dil
Deeewaane tu kahaan se
Gaya hain hamen mil


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4345 Post No. : 15652

“Shyam Ki Jogan”(1957) was produced by K Bakshi and directed by S P Kalla for K B Films, Bombay. This obscure devotional movie had Shahu Modak, Sulochana, B M Vyas, Kamal Mehra, Kammo, Ratnamala, ramesh Sinha, Jagdev, C S Dubey, Mehru, Baby Lata, Jeewan Kala, Funny Walker, Praveen, Maruti etc in it.

The movie had eight songs in it.

Two songs from the movie have been discussed in the past. Here is the third song from “Shyam Ki Jogan”(1957) to appear in the blog. This song is sung by Geeta Dutt. S P Kalla is the lyricist. Music is composed by Narayan Dutt.

Only the audio of this song is available which sounds like a Meera bhajan (though S P Kalla is credited for the lyrics). I request our knowledgeable readers to throw light on the picturisation of this song.


Song-Main to prem deewaani ho gayi re(Shyaam Ki Jogan)(1957) Singer-Geeta Dutt, Lyrics-S P Kalla, MD-Narayan Dutt

Lyrics

main to prem deewaani ho gayi re ae
mujhe duniya se kya kaam re ae
mera shyaam ki jogan naam
main to prem deewaani ho gayi re ae
mujhe duniya se kya kaam re ae
mera shyaam ki jogan naam

man panchhi ki ghaayal paankhen
man panchhi ki ghaayal paankhen
janam janam ki pyaasi aankhen
dhoondh rahi ghanshyaam se
mera shyaam ki jogan naam
main to prem deewaani ho gayi re ae
mujhe duniya se kya kaam re ae
mera shyaam ki jogan naam

saans ke taar mein bas gaya sai
saans ke taar mein bas gaya sai
amar milan ki jyot jagaayi
alakh japoon yahi kaam re
mera shyaam ki jogan naam
main to prem deewaani ho gayi re ae
mujhe duniya se kya kaam re ae
mera shyaam ki jogan naam re ae
mera shyaam ki jogan naam re ae
mera shyaam ki jogan naam


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4343 Post No. : 15647

“Vikram Shashikala”(1949) aka “Kalank Shobha” aka “Stree Charitra” was directed by D K Kane for Chitravani Productions, Bombay. This movie had Monika Desai, Master Vitthal, Indumati, Yashodhan, Shobha, Kumud, Master Chhotu, Waskar, Kelkar, Rathod, Narayanrao, Vasant Rao, Pt Upadhyay, Shankar Rao Bhonsle, Pt Dukhi etc in it.

This obscure movie had eight obscure songs in it. One song has been covered in the past.

Here is the second song from “Vikram Shashikala”(1949) to appear in the blog. This song is sung by Geeta Dutt (then Geeta Roy) and Master Pandya . Pt Dukhi Amritsari is the lyricist. Music is composed by Dattaram Gadekar.

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

Lyrics of this song were sent to me by Avinash Scrapwala long long back in 2013.


Song-Aaj ka din tohe yaad rahe (Vikram Shashikala)(1949) Singers-Geeta Dutt, Pandya, Lyrics-Dukhi Amritsari, MD-Dattaram Gadekar
Both

Lyrics(Provided by Avinash Scrapwala)

Aaj ka din tohe
Aaj ka din tohe yaad rahe
Haan haan yaad rahe
Achchha
Aaj ka din tohe yaad rahe
Haan yaad rahe

Bhool na jaana saajan
Aaj ki baatein
Bhool na jaana saajan
Aaj ki baatein
Aaj ki baatein
Tum na bhulaana sajni
Tum na bhulaana sajni
Ye mulaaqaatein
Ye mulaaqaatein

Hilmil panchhi kya gaate hain
Hilmil panchhi kya gaate hain
Bolo bolo ji
Haan haan bolo bolo ji
Aaj ka din tohe yaad rahe
Haan yaad rahe

Kal kal karti nadiya behti
Kal kal karti nadiya behti
Kiske geet wo gaaye
Bolo kiske geet wo gaaye
Sun ri sajni ee ee
Sun ri sajni tohe bataaun
Kaun tohe samjhaaye re Sajani
Kaun tohe samjhaaye

Kya
Aaj ka din tohe yaad rahe
Tohe yaad rahe
Aaj ka din tohe yaad rahe
Haan yaad rahe

Jabse roop tumhaara dekha
Jabse roop tumhaara dekha
Tabse hua deewaana
Deewaana
Deewaana

O o o o
O more baalam
O more baalam
Kuchh din ho tum
Dil se kabhi na bhulaana
Haan na bhulaana
Ho baalam
Kasam tohe hai bahaaron ki
Kasam tohe hain sitaaron ki
Tumhe meri kasam
Tumhen meri kasam
Ye na bhoolenge hum
Ye na bhoolenge hum
Aaj ka din hamen
Aaj ka din hamen yaad rahe
Haan haan yaad rahe
Aaj ka din hamen yaad rahe
Haan yaad rahe


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

Blog Day :

4339 Post No. : 15639

4th June today.

And the day today, amongst other celebrations, is the birth anniversary of Nutan, the eminent and the most charming leading lady of the Hindi cinema.

Just the name clicks off a series of memories – memories of remarkable and brilliant assays portrayed on screen. The quintessential woman in the Indian milieu – more traditional and motherly, and yes, frisky and romantic too. Forever, the image remains in the mind of the timid, near helpless Kalyani of ‘Bandini’ (1962) – resigned to her fate, but then also driven to an extreme emotion that ends up quenching a human life.

She is the Gauri of ‘Seema’ (1955) – once again a timid girl from a poor family, so conscious of her social standing that she bears all insults, till she will breakdown into a madcap fit of anger and destroy a room while humming “Manmohana Bade Jhhothe. . .”. In the same breath, she is the frisky Jameela of ‘Dil Hi To Hai’ (1963) and the animated presentation of “Parda Uthe Salaam Ho Jaaye”. She would be Radha in ‘Khandaan’ (1965) crooning “Tumhin Mere Mandir. . .” to a handicapped husband, or the Bhavna of ‘Yaadgaar’ (1970) telling her beloved “. . .Saathi Na Samajh, Koi Baat Nahin, Mujhe Saath To Aane De. . .”, or even as Kumud, doing a very traditional garba dance, singing “Main To Bhool Chali Babul Ka Des. . .” in ‘Saraswatichandra’ (1966), and even as the simpleton widowed Mahjabeen, singing “Tera Mera Saath Rahe. . .” to her new and younger husband, unaware of the game of deceit she is caught in (‘Saudaagar’, 1973).

And in the midst of all she is also playing Sulekha with the song “Ye Tanhaai Hai Re Hai, Jaane Phir Aaye Na Aaye. . .” (‘Tere Ghar Ke Saamne’, 1963), and also the innocent sounding Shanti telling her beloved “Chhod Do Aanchal Zamaana Kya Kahega. . .” (‘Paying Guest’, 1957), or the pure and simple Pushpa singing “Chupke Se Miley Pyaase Pyaase. . .” (‘Manzil’, 1960), and even the very naughty “C A T Cat, Cat Maane Billi. . .” as Asha in ‘Dilli Ka Thug’ (1958), or even asking her beau “Sach Bata Tu Mujh Pe Fida. . .” in ‘Sone Ki Chidiya’ (1958), and then telling her saheliHaaye Unki Wo Nigaahen. . .” in ‘Aakhri Daao’ (1958). She is the Laila in ‘Laila Majnu’(1954) and is the Heer in ‘Heer’ (1956), the unfortunate Princess of ‘Shabaab’ (1954) with no happiness writ in her life. She is the Radha of ‘Milan’ (1967) and the Aarti of ‘Anari’ (1959), the unfortunate and the dispossessed Shanti of ‘Chhalia’, the proud first wife Sanjukta in ‘Main Tulsi Tere Aangan Ki’ (1978), Nirmala of ‘Dulhan Ek Raat Ki’ (1967), as also the misled Ashoo in ‘Dil Ne Phir Yaad Kiya’ (1966). She is Anu, the broken sorrowful mother of a fatally ill child in ‘Anuraag’ (1971), the lovelorn and misunderstood Shanno in ‘Kanhaiya’ (1959), and the shunned and outcast untouchable in ‘Sujata’ (1959).

And in the midst of all this, she also is ‘Chhabili’ singing for herself – “Ae Mere Humsafar. . .”. Oh how I wish this film was available – would have loved to see the presentation of this song assayed by her. Nutan sang as many as six songs in this film – 2 solos and 4 duets. Presumably so, all the songs would be pictuized on herself. Surely a film truly worth pining for. 🙂

Four decades, over 70 films and a record 5+1 Filmfare awards for her portrayals – a record that stands in her name till now.

The song being presented today is a duet with Geeta Dutt. From the sounds of it, it is quite a playful and lively song. The words for this song are from the pen of S Ratan, and the music is by Snehal Bhatkar.

Enjoy this lovely rendition, Nutan – singing for herself.

 

Song – Yaaro. . . Kisi Se Na Kehna  (Chhabili) (1960) Singer – Nutan, Geeta Dutt, Lyrics – S Ratan, MD – Snehal Bhatkar
Nutan + Geeta Dutt

Lyrics

yaaro. . . oo..oo

kisi se na kehna
hai chhup chhup ke rehna
ho yaaro..oo
kisi se na kehna
hai chhup chhup ke rehna
main chori chori
chori chori aaya hoon
musibat na ban’na
yaaro. . . oo..oo

kisi se na kehna
hai chhup chhup ke rehna
main chori chori
chori chori aaya hoon
musibat na ban’na
yaaro. . . oo..oo

milun jo main kisi se
nazar ka hoon dhokha
raahen meri hain band
raahen meri hain band
par kisi ne nahin roka
main chori chori
milun jo main kisi se
nazar ka hoon dhokha
raahen meri hain band
par kisi ne nahin roka
main chori chori
chori chori aaya hoon
musibat na ban’na
yaaro. . . oo..oo

mujh ko hai zara shubha
mujh ko hai zara yakeen
jhoomta hai aasmaan
jhoomta hai aasmaan..aa..aan
ya jhoomti hai ye zameen
kaun hosh mein wahaan
hum bhi nashe mein yahaan
talaash kar rahi nazar
pila gaya wo hai kahaan
talaash kar rahi nazar
pila gaya wo hai kahaan

koi
na jaane
main kahaan
chhup chhup
jo main rahoon
yahaan
poochhe
jo koi main kahaan
naa naa
kisi se kehna

yaaro. . . oo..oo

kisi se na kehna
hai chhup chhup ke rehna
ho yaaro..oo
kisi se na kehna
hai chhup chhup ke rehna
main chori chori
chori chori aaya hoon
musibat na ban’na
yaaro. . . oo..oo

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

यारो॰ ॰ ॰ ओ॰॰ओ

किसी से ना कहना
है छुप छुप के रहना
हो यारो॰॰ओ
किसी से ना कहना
है छुप छुप के रहना
मैं चोरी चोरी
चोरी चोरी आया हूँ
मुसीबत ना बनना
यारो॰ ॰ ॰ ओ॰॰ओ

किसी से ना कहना
है छुप छुप के रहना
मैं चोरी चोरी
चोरी चोरी आया हूँ
मुसीबत ना बनना
यारो॰ ॰ ॰ ओ॰॰ओ

मिलूँ जो मैं किसी से
नज़र का हूँ धोखा
राहें मेरी हैं बन्द
राहें मेरी हैं बन्द
पर किसी ने नहीं रोका
मैं चोरी चोरी
मिलूँ जो मैं किसी से
नज़र का हूँ धोखा
राहें मेरी हैं बन्द
पर किसी ने नहीं रोका
चोरी चोरी आया हूँ
मुसीबत ना बनना
यारो॰ ॰ ॰ ओ॰॰ओ

मुझको है ज़रा शुभा
मुझको है ज़रा यकीन
झूमता है आसमान
झूमता है आसमान॰॰आं
या झूमती है ये ज़मीं

कौन होश में वहाँ
हम भी नशे में यहाँ
तलाश कर रही नज़र
पिला गया है वो कहाँ
पिला गया है वो कहाँ

कोई
ना जाने
मैं कहाँ
छुप छुप
जो मैं रहूँ
यहाँ
पूछे जो कोई मैं कहाँ
ना ना
किसी से ना कहना

यारो॰ ॰ ॰ ओ॰॰ओ

किसी से ना कहना
है छुप छुप के रहना
हो यारो॰॰ओ
किसी से ना कहना
है छुप छुप के रहना
मैं चोरी चोरी
चोरी चोरी आया हूँ
मुसीबत ना बनना
यारो॰ ॰ ॰ ओ॰॰ओ


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day: 4334 Post No.: 15630

“Mud Mud Ke Na Dekh”(1960) was directed by Ramesh Tiwari for N C Films, Bombay. This “Social” movie had Bharat Bhushan, Anita Guha, Jeewan, Tiwari, Prem Chopra (debut), Krishnakumari, Bela, Kammo, Helen, Naaz, Mishra, Anwari Bai, Narbada Shankar, Rajinder Kathana, Ratan Gaurang, Nemo, Prakash, Robert etc in it.

The movie had eight songs in it. Seven songs have been covered in the past.

Details of the seven songs covered in the blog are :-

S N Song Post number in blog Date of posting
1 Haseen ho Khudaa to nahin ho 1524 28-June-2009
2 Tere peechhe phirte phirte ho gayaa pooraa saal re 2441 30-Apr-2010
3 Auraton ke dabbe mein mard aa gayaa 2447 3-May-2010
4 Jahaan tu tu tu wahaan main main main 12362 10-Sep-2016
5 Baaghon mein kabootar kaale 13845 28-Dec-2017
6 Ye hai june ka maheena aaye bada hi paseena 15100 1-July-2019
7 Raat kaali jugnu chamken 15614 20-May-2020

Here is the eighth and final song from “Mud Mud Ke Na Dekh”(1960). This song is sung by Asha Bhonsle and Geeta Dutt. At least another unknown female voice is there in addition to chorus. Prem Dhawan is the lyricist. Music is composed by Hansraj Bahl

The song is picturised as a stage song and it is a song with a message as it is against the dowry system.

I am unable to identify the actors seen in the picturisation. I request our knowledgeable readers to help identify them.

With this song, all the eight songs of “Mud Mud Ke Na Dekh”(1960) get covered in the blog and the movie joins the list of movies that have been YIPPEED in the blog.


Song-Aao aao ladki waalon…dulha bikta beech baazaar (Mud Mud Ke Na Dekh)(1960) Singers-Asha Bhonsle, Geeta Dutt, Unknown female voice, Lyrics-Prem Dhawan, MD-Hansraj Bahl
Chorus

Lyrics

aao aao ladki waalon
ladka mila ?? raha hai
dulhan ke liye dulhe ka daam ho raha hai
ye hai ladka B A
iski bolo boli
ek hazaar
ek nahin bhai
do hazaar
arre do nahin bhai
chaar hazaar
arre chaar bhi kya hai
das hazaar
aji das to kya hai
bees hazaar
bees hazaar
bees hazaar ek
bees hazaar do
bees hazaar teen

dulha bikta beech baazaar
ye hai shaadi ya vyopaar
dulha bikta beech bazaar
ye hai shaadi ya vyopaar
beche pagdi to baabul laaye beti ka singaar
dulha bikta beech bazaar
ye hai shaadi ya vyopaar
beche pagdi to baabul laaye beti ka singaar
dulha bikta beech bazaar
ye hai shaadi ya vyopar

mera ladka M A
iski keemat jo bhi bole
baarah man wo chaandi laaye
sona teen sau tole
satrah jode do sau suit
bahan ki saadi bhai ka boot
ghadi sasur ki saas ka joda
do motor ek baggi ghoda
palang radio aur kaaleen
rang birange sofe teen
ye sab do
ye sab do to kar sakta hoon main kuchh soch vichaar
hai aisi shaadi pe dhikkaar
dhikkaar
dhikkaar

dulha bikta beech bazar
ye hai shadi ya vyopar
beche pagdi to baabul laaye beti ka singaar
dulha bikta beech bazaar
ye hai shaadi ya vyopar

mera ladka anpadh phir bhi keemat poora laakh
laakh to den par kahaan seth ji dulhe ki ??
arre ek haath ka hai ek laakh
do ka leta main do laakh
kyun ladke ki itni fees
hai ye khaandaani raees
chaar sau beeghe hai jaageer
khulegi ladki ki taqdeer
aisa var
aisa var
aisa var na milega chaahe dhoondho sab sansaar
hoye aisi shaadi pe dhikkaar dhikkaar dhikkaar
dulha bikta beech bazaar
ye hai shaadi ya vyopaar
beche pagdi to baabul laaye beti ka singaar
dulha bikta beech bazaar
ye hai shaadi ya vyopaar

kab tak dukhiya baabul apni kanya rakhe kanwaari
roz ye paudha chadhta jaaye
badhe ye jimmewaari
aaj khuda ban baithe hain ye beton ka vyopaari
kya ho sab ghar bar bike bik jaye kapde tan ke
laaunga jo bhi maagoge bete waalon bhihkaari banke
main bhikhaari banke
main bhikhaari banke
main bhikhaari banke ae

motor bangla chaandi sona
haan haan haanji aur kaho na
nakdi laakh nahin to n
sab manzoor hai kahdo haan
acchha to ha,
haan
haan
ja ri ja ri dulhaniya pyaari
tere baabul ne waari tujhpe duniya saari

ja ri ja ri dulhaniya pyaari
(aa aa aa aa aa)
tere baabul ne waari tujhpe duniya saari

hamen bulaa ke ghar pe tumne diya ye dhokha kaisa
laalach buri bala hai
milta hai jaise ko taisa
abhi saza ye kam hi mili hai
bhaago yahaan se laala
warna pakad se pitwaayenge
hum munh karke kaala
upar se daalenge gale mein hum jooton ka haar

rrr
yoon na karna
isse achcha hai marna
kya tumko daulat pyaari
na na ji izzat pyaari
to paaon pe rakh do pagdi
maangoon ne ek bhi damdi
to karlo aaj se tauba
mere to baap ki tauba
kya maan li tumne haar
haan chhoda ji chhoda ye beton ka vyopaar
aisi shaadi pe dhikkaar dhikkaar dhikkaar
dulha bikta beech bazaar
ye hai shadi ya vyopaar
beche pagdi to baabul laaye beti ka singaar
dulha bikta beech bazaar
ye hai shaadi ya vyopaar


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.

This is his 600th writeup in the blog.

Blog Day:

4327 Post No. : 15618

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Blog 10-Year Challenge (2010-2020) – Song No. 31
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Agha Jaani Kashmiri (16/10/1908 – 27/03/1998) was perhaps the first story/screen-play/dialogue writer who was the ‘king maker’ in the Hindi film industry. Some of the producers/directors like Mehboob Khan, Shashidhar Mukherjee, Sunil Dutt used to consult him while taking up their new film projects. It is said that though he would be officially engaged for writing screen-play and dialogues, in realities, he would be their adviser in almost all the aspects of the film-making. Some of the actors themselves used to get trained from him about the correct pronunciations of their dialogues in Hindustani. Ashok Kumar, Devika Rani, Nargis, Joy Mukherjee, Sadhna, Saira Bano were some of the actors who sought his advice on their Urdu diction.

During his nearly 4 decades of filmy career in Hindi film industry, Aghajaani Kashmiri directed only one film, ‘Tohfaa’ (1947). The star cast included Nawab Kashmiri, Veera, Rehman, Anuradha, Shah Nawaz Shakuntala, Agha Miraz, Kanta, T N Charlie etc. There were 6 lyricists for 10 songs which were set to music by M A Rauf Osmania, the ghazal singer at the court of Nizam of Hyderabad and on Nizam Radio. Rafique Ghaznavi provided the background music. The theme of the film was Hindu-Muslim unity.

Nawab Kashmiri. a favourite actor of New Theater’s Boss, B N Sarkar, was a cousin of Agha Jaani Kashmiri and was the same actor who removed all his teeth for the realism of his role in ‘Yahudi Ki Ladki’(1933).[Ref: ‘Stars From Another Sky’ (2010)]. In ‘Tohfaa’ (1947), he probably did the role of an Ustad whose daughter (Veera) is in one-sided love with Ustad’s disciple (Rehman). The disciple takes it to be a sisterly love of her devotion. The daughter is devasted when the disciple falls in love with a city-bread damsel (probably, Anuradha) whom he introduces to his ‘sister’ to fulfil his long overdue promise to present her with a gift (tohfaa). It is a tragic story of misinterpretation of love between the Ustad’s daughter and his disciple and also of the misinterpretation of the gift (tohfaa) the daughter was expecting. [I have interpreted the story of the film based on the review of the film in May 1948 issue of ‘Filmindia’].

The review in ‘Filmindia’ had blamed the inapt handling of the direction by Agha Jaani Kashmiri. The film flopped miserably at the box office. My guess for one of the reasons for the failure of the film is its timing of the release. This film was due for release at a time when the partition of the country was to take place. Hindu-Muslim riots on the eve of the partition forced the film to be released post-partition. The film was released in April 1948 by which time the prospective audience had already seen the impact of the partition. Probably, they were not in a mood to watch the serious film with the rhetoric of Hindu-Muslim unity theme. But most of the songs in the film became popular.

Exactly 10 years ago, i.e. on May 23, 2010, our Blog had covered 3 songs of which one song, kahaan tak jafaa husn waalon ke sahte, was from ‘Tohfaa’ (1947).

So far, 7 out of 10 songs from ‘Tohfaa’ (1947) have been covered in the Blog as under:

No. Songs Posted on
1. kahaan tak jaffa husn waalon ke sahte 23/05/2010
2. jeene ki soorat ho gayee 28/07/2012
3. kisne chheda man ka taar 14/10/2012
4. ik aisa geet sunaavo 23/06/2013
5. hamne tumne kiyaa thha jo aabaad 03/07/2013
6. mohabbat kar mohabbat kar 07/07/2013
7. bhole sajan tujhe kaise bataaun 01/02/2015
8. wo dil gaya wo dil ke sahaare chale gaye Being covered in this writeup
9. gunche sharminda na ho Yet to be covered
10. kabhi tarsi huyi aankhon ki hasrat Yet to be covered

It would be observed that out of 10 songs, 3 songs are yet to be covered. There has been no addition to the song already covered in the Blog for the last 5 years. I checked on the video sharing platforms on the internet and found that out of these 3 songs only one song, wo dil gaya wo dil ke sahaare chale gaye is available as of date which I am presenting here. The song is rendered by Geeta Dutt. The song is written by Rafique Ghaznavi which is set to music by M A Rauf Osmania.

Audio Clip:

Song-Wo dil gaya wo dil ke sahaare chale gaye (Tohfa)(1947) Singer-Geeta Dutt, Lyrics-Rafiq Ghaznavi, MD-M A Rauf Osmania

Lyrics

wo dil gaya wo dil ke
wo dil gaya wo dil ke
sahaare chale gaye
sahaare chale gaye
sahaare chale gaye
wo dil gaya wo dil ke
sahaare chale gaye
jinse thha hamko pyaar
jinse thha hamko pyaar
jinse thha hamko pyaar
wo pyaare chale gaye
jinse thha hamko pyaar

tum the har ek cheez thhi ee ee ee
mere naseeb mein aen aen
tum kya gaye naseeb
tum kya gaye naseeb
hamaare chale gaye
jinse thha hamko pyaar
wo pyaare chale gaye

raushan thha jinke dam se mera
aa aa aa aa
dil mera khayaal
wo chaand bhi gaya
wo sitaare chale gaye
sitaare chale gaye
sitaare chale gaye
jinse thha hamko pyaar
wo pyaare chale gaye

jab band aankh karte hain
aen aen aen aen
ye dekhte hain hum m m m m
jaise ki hum bhi saath
jaise ki hum bhi saath
tumhaare chale gaye
jaise ki hum bhi saath
tumhaare chale gaye
jaise ki hum bhi saath
tummhaare chale gaye
chale gaye


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4319 Post No. : 15604

“Surajmukhi”(1950) was directed by O P Dutta for Madhuban, Bombay. This “social” movie had Rehana, Shyam, Gope, Yashodhara Katju, Hafeez Khan, Randheer, Mukri, Cuckoo, Durga Khote etc in it.

The movie had ten songs in it. Three of these songs have been covered in the past.

Here is the fourth song from “Surajmukhi”(1950) to appear in the blog. This song is sung by Geeta Dutt. Music is composed by Husnlal Bhagatram.

The movie had three lyricists (Rajinder Krishan, Aabid Gulrez and Gulshan Jalalabadi) but no lyricists have been mentioned against eight of the songs in HFGK. However, the uploader of this song on YT has mentioned Rajinder Krishan as the lyricist. so I have gone with that.

Geeta Dutt had sung seven songs in the movie. This movie also had two songs by Lata and one by Shamshad Begam. So it would seem that Geeta Dutt had sung for the leading lady viz Rehana. However, only the audio of the song is available and so we can only guess about the picturisation. I request our knowledgeable readers to throw light on the picturisation of this rare song.


Song-Aabaad rahe tera ghar munshi…karen kya bata o bhula dene waale (Surajmukhi)(1950) Singer-Geeta Dutt, Lyrics-Rajinder Krishan, MD-Husnlal Bhagatram

Lyrics

aabaad rahe tera ghar munshi
khat likh saajan ke naam
pardes mein jaane waale piya
nahin tere bina aaraam
karen kya bata o bhula dene waale
karen kya bata o bhula dene waale
hamen apna keh kar mita dene waale
karen kya bata o bhula dene waale
karen kya bata

hai ro ro ke lut jaana aa aa aa
kismat hamaari
kismat hamaari
tujhe kya kahen o bhula dene waale
tujhe kya kahen o bhula dene waale
hamen apna keh kar mita dene waale
karen kya bata o bhula dene waale
karen kya bata

rula kar to aa jaa aa aa
mita kar to aa jaa
mita kar to aa jaa
tujhe dhoondte hain dua dene waale
tujhe dhoondte hain dua dene waale
hamen apna keh kar mita dene waale
karen kya bata o bhula dene waale
karen kya bata


What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over ELEVEN years. This blog has over 15700 song posts by now.

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

Important Announcement

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

Total number of songs posts discussed

15723

Number of movies covered in the blog

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

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