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

Archive for the ‘Guest posts’ Category


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

Jay Bholenath. Happy Maha Shivartri to all.

I pray to Lord Mahadev to give strength to one and all.

On this occasion (24 februarry 2017), we have the last song from Mehmood’s “Kunwaara Baap”(1974). It is picturised on Mehmood, Bharati, Aachi (as Manorama was called in Tamil movies) and others. It shows Mehmood pleading with the lord to give strength to his child’s legs. Bharati is shown pinning for her lost child which she had left at the stairs of this very temple. Aachi is there to provide moral support to Mehmood.

It was a film with a serious message about polio vaccination as his own son- Maikky Ali- was affected by polio. However, Mehmood did some comedy scenes in the film to earn a Filmfare nomination as Best Comic, the only nomination for the film. Rajesh Roshan made his debut as a film composer. The hijra song “Saj Rahi Gali” sung by Mohd. Rafi topped the annual Binaca Geet Mala, which was the only countdown show at the time. Then there was also a lullaby song in two versions. This film was Tamil actress Manorama’s only film in Hindi and she had some lines in Tamil too. The sports day scene in the movie was shot at Bangalore’s Bishop Cotton Boy’s School. With this song by Kishore Kumar, Lata Mangeshkar and chorus, penned by Majrooh Sultanpuri and composed by Rajesh Roshan, “Kunwaara Baap” gets YYIIPPEEEE status in the blog.


Song-Jai Bholenath Jai ho prabhu (Kunwaara Baap)(1974) Singers-Lata, Kishore Kumar, Lyrics-Majrooh Sultanpuri, MD-Rajesh Roshan
All chorus
Female chorus
Male chorus

Lyrics

Aaaaa aaaaa aaa aaa aaa
aaaa aaa aaa aaa

Oo ooo ooo ooo oo

Ooo
om Namah Shivaay
oooo

jay bholenath
jay ho prabhu
sabse jagat mein ooncha hai tu
jay bholenaath
jay ho prabhu
sabse jagat mein ooncha hai tu

iss dar se chhota bada aa aa
koyi na khaali gaya aaa
par khaali hai aanchal mera aa

jay bholenaath
jay ho prabhu
sabse jagat mein ooncha hai tu

jay bholenaath
jay ho prabhu

lala la la la la
ahahahaahaha
har daag dhulta hai yahaan
dhulta yahaan
har bhaag khulta hai yahaan
khulta yahaan
are main bhi usi dar pe aaya aa
banti sabki bigdi jahaan aan
o main bhi usi dar pe aaya
banti sabki bigdi jahaan
dhoondha zameen aasmaan aanaan
meraa toh sab kuchh yahaan aan
abb main aur jaaun kahaaan aan

jay bholenaath
jay ho prabhu
sabse jagat mein ooncha hai tu

jay bholenaath
jay ho prabhu

ab aas do maalik tumhi
o maalik tumhi
kahin chain mujhe milta nahin
haan milta nahin
din ke ujaale mein khoya aa
mere dil ka tukda kahin
ho o din ke ujaale mein khoya aa
mere dil ka tukda kahin

mujhse bhi ho teri chhaanv
na mulk chaahoon na gaanv
de de mere bachche ko paanv
jay bholenaath
jay ho prabhu
sabse jagat mein ooncha hai tu
jay bholenaath
jay ho prabhu
sabse jagat mein ooncha hai tu
jay bholenaath
jay ho prabhu
sabse jagat mein ooncha hai tu
jay bholenaath
jay ho prabhu
sabse jagat mein ooncha hai tu

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

Today (24 february 2017) is the biggest Shiv festival of India-MAHASHIVRATRI. I, on this occasion, wish all our readers a very pious,happy and fulfilling day of Bhakti and celebration.

Shravan Somvar and Mahashivratri have been special days in my life. My father was a great Shiv-Bhakta and he had built a big Shiv Temple in the premises of our bungalow in Hyderabad. On every Shivratri day, there used to be a long queue of devotees for Darshan and Pooja. The temple was always open for the public. The temple was situated in the open area adjacent to our bungalow, so we had no problem with the crowd of devotees. Whole day bhajans were played on loudspeakers and a special pooja by 101 Bramhins was arranged. All this made a deep impact on my mind.

In addition, we had stayed in Banares for an year, in 1948. Our house was close to Vishweshwar mandir and the river Ganga. So, Shiv has been a part of my life since my childhood.Till my wife was alive, we used to celebrate Mahashivratri, with great enthusiasm and religious fervour, in our house.

Shiv literally means auspiciousness, welfare. He is the third god of the Hindu Trinity, representing darkness. Because he is often portrayed as the angry God and the God of destruction. Lord Shiv is one of the most feared and worshipped gods in Hinduism. He is said to play a complementary role to Brahma because he is protector of souls until they are ready for recreation by Lord Brahma. Shiv has eight forms: Rudra, Sharva, Bhava, Ugra, Bhima, Pashupati, Ishana and Mahadeva; which, according to the Shiv Purana, correspond to the earth, water, fire, wind, sky, a yogi called Kshetragya, the sun, and the moon respectively.

Shiv symbolically represents the tamasic quality. This happens to be one of the gunas in Hinduism, symbolizing inactivity. His body color, which is white, denotes his purity and association with the snowy mountains. His three eyes represent the sun, the moon and the earth, the three paths of liberation and the triple nature of creation. The third eye is actually the eye of wisdom or occult knowledge. Epithets note his distinctive hairstyle; he has matted hair which holds the flowing Ganges River and a crescent moon. Shiva is said to be the essence of the Vedas and the creator of the Word. He is also the creator of Dance. Shiva’s dance of anger is called the Roudra Tandava and his dance of joy, the Ananda Tandava. He dances both the dance of destruction and the dance of creation. The rhythms he dances to are that of a world continuously forming, dissolving and re-forming.

The legend of marriage of Shiv and Shakti is one the most important legends related to the festival of Mahashivaratri. The story tells us how Lord Shiva got married a second time to Shakti, his divine consort. According to legend of Shiv and Shakti, the day Lord Shiv got married to Parvati is celebrated as Shivaratri – the Night of Lord Shiva.

Legend goes that once Lord Shiv and his wife Sati or Shakti were returning from sage Agastya’s ashram after listening to Ram Katha or story of Ram. On their way through a forest, Shiva saw Lord Rama searching for his wife Sita who had been kidnapped by Ravana, the King of Lanka. Lord Shiv bowed his head in reverence to Lord Rama. Sati was surprised by Lord Shiv’s behavior and inquired why he was paying obeisance to a mere mortal. Shiv informed Sati that Rama was an incarnation of Lord Vishnu. Sati, however, was not satisfied with the reply and Lord asked her to go and verify the truth for herself.

Using her power to change forms, Sati took the form of Sita appeared before Rama. Lord Rama immediately recognized the true identity of the Goddess and asked, “Devi, why are you alone, where’s Shiv ji ? ” At this, Sati realized the truth about Lord Ram. But, Sita was like a mother to Lord Shiv and since Sati took the form of Sita her status had changed. From that time, Shiva detached himself from her as a wife. Sati was sad with the change of attitude of Lord Shiv but she stayed on at Mount Kailash, the abode of Lord Shiv.

Later, Sati’s father Daksha organised a yagna, but did not invite Sati or Shiv as he had an altercation with Shiva in the court of Brahma. But, Sati who wanted to attend the Yagna, went even though Lord Shiva did not appreciate the idea. To her great anguish, Daksha ignored her presence and did not even offer Prasad for Shiv. Sati felt humiliated and was struck with profound grief. She jumped into the yagna fire and immolated herself.

Lord Shiv became extremely furious when he heard the news of Sati’s immolation. Carrying the body of Sati, Shiv began to perform Raudra Tandava or the dance of destruction and wiped out the kingdom of Daksha. Everybody was terrified as Shiva’s Tandava had the power to destroy the entire universe. In order to calm Lord Shiv, Vishnu severed Sati’s body into 12 pieces and threw them on earth. It is said that wherever the pieces of Shakti’s body fell, there emerged a Shakti Peetha, including the Kamaroopa Kamakhya in Assam and the Vindhyavasini in UP.
Lord Shiv was now alone, undertook rigorous penance and retired to the Himalayas. Sati took a re-birth as Parvati in the family of God Himalaya. She performed penance to break Shiva? meditation and win his attention. It is said that Parvati, who found it hard to break Shiv’s meditation sought help of Kamadeva – the God of Love and Passion. Kaamadeva asked Parvati to dance in front of Shiv. When Parvati danced, Kaamadeva shot his arrow of passion at Shiv breaking his penance. Shiv became extremely infuriated and opening his third eye that reduced Kaamadeva to ashes. It was only after Kamadeva? wife Rati? pleading that Lord Shiv agreed to revive Kaamadeva.

Later, Parvati undertook severe penance to win over Shiv. Through her devotion and persuasion by sages and devas, Parvati, also known as Uma, was finally able to lure Shiv into marriage and away from asceticism. Their marriage was solemnized a day before Amavasya in the month of Phalgun. This day of union of God Shiv and Parvati is celebrated as Mahashivratri every year.

According to another version of the legend, Goddess Parvati performed tapas and prayers on the auspicious moonless night of Shivaratri to ward off any evil that may befall her husband. Since then, womenfolk began the custom of praying for the well being of their husbands and sons on Shivaratri day. Unmarried women pray for a husband like Shiv, who is considered to be the ideal husband.

Today’s bhajan is from film Mahashivratri-72. I have not seen this film, because by 1970, I was busy in Career building and family raising etc, and I had practically stopped seeing films. In any case, films made after 1970,according to my opinion, were not as good quality- wise as earlier movies,especially the music part, which further discouraged me. Also by the 80s, VCR and VCPs were in vogue, so homes had become theatres of convenience.

The song/bhajan is written by Bhagwat Mishra aka B.D.Mishra or Bhagwat Datt Mishra. He entered the film world in as far back as 1948 with Wadia’s film “Shri Rambhakta Hanuman”. He was brought in by Homi Wadia himself. After this film Mishra was closely associated with S.N.Tripathi and wrote songs for as many as 26 of his films, out of 45 films for which he wrote about 200 songs. unfortunately he wrote for only Action, stunt and Mythological films. Though his lyrics were of good quality, he never came to limelight as his field remained B and C grade films only.

The film was directed by Shantilal Soni, who started his directorial career with ‘Sinhaldweep ki Sundarei-60’and went on to direct 30 films. His last film was ‘Mahima kaali maa ki-2000’. Most of his films were Mythologicals( 20 out of 30). Some of his well known films were Mr.X in Bombay-64, Shreeman Funtoosh-65, and Professor ki Padosan-93.

Let us now listen and enjoy this Bhajan from Film “Mahashivratri”-72, on this holy occasion of Mahashivratri. Jai Mahadev !

With this song, Maha Shivratri(1972) makes its debut in the blog.


Song-Aayi mahaa shivraatri siddhi ki daatri (Maha Shivratri)(1972) Singers-Mahendra Kapoor, Lyrics-B D Mishra, MD-S N Tripathi
Mahenda Kapoor + Laxmi Nayampalli
Chorus

Lyrics

aayi maha shivraatri
aayi maha shivraatri
siddhi ki daatri
sakal bhav bhay haari
jai mahaadev mangalkaari
aayi maha shivraatri
siddhi ki daatri
sakal bhav bhay haari
jai mahadev mangalkaari

jai ho
shambhu jai ho
shambhu
jai hove tumhaari
har har mahadev

aa aa aa
aa aa aa
aa aa aa
sagaar manthan se jab nikli
kaal koot ki jwaala
nikli kaal koot ki jwaala
sabki raksha karne ko
tumne wo vish pee daala
tumne saara vish pi daala
neelkanth tum huye
sabhi ke liye
sarv sankat haari
jai mahadev mangalkaari

aayi maha shivraatri
siddhi ki daatri
sakal bhav bhay haari
jai mahadev mangalkari
jai ho
shambhu jai ho
shambhu
jai hove tumhaari
har har

aa aa aa
aa aa aa
aane lagi jab swarg se ganga aa aa
aa aa
aane lagi jab swarg se ganga
apna veg badhaaye
ganga apna veg badhaaye
baandh jataaon mein ganga ko
ganga dhar kahlaaye
prabhu tum ganga dhar kahlaaye
sheesh suhaaye
gang uma hai sang tumhaari chhabinaari
jai mahadev mangalkaari

aayi maha shivraatri
siddhi ki daatri
sakal bhav bhay haari
jai mahadev mangalkaari
jai ho
shambhu jai ho
shambhu
jai hove tumhaari
har har mahadev

aa aa aa
aa aa aa
aa aa aa
tumhe digaane ko jab manmathh ne
pushp baan jab maare
tum par pushp baan jab maare
khol teesra lochan
khol teesra lochan
tumne barsaaye angaare
tumne barsaaye angaare
jala kaam ka ang
hua wo anang
rahe tum adhikaari
jai mahadev mangalkari

aayi maha shivratri
siddhi ki daatri
sakal bhav bhay haari
jai mahadev mangalkaari
jai ho
shambhu
jai ho
shambhu
jai hove tumhaari
har har mahadev

aa aa aa
aa aa aa
aa aa aa
tumhe pooj kar hi raghav ne
om namah shivaay
tumhe pooj kar hi raghav ne
raavan par jai paayi
raam ne raavan par jai paayi
sakal bhav bhayhari
jai mahadev mangalkaari
jai ho
shambhu jai ho
shambhu
jai hove tumhaari
har har mahadev
har har mahadev
har har mahadev
har har mahadev


This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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.

Saavdhaan – 1954 (6)
—————————–

“Saavdhaan-1954” was an “Alhad Chitra, Poona” presentation which was produced and directed by Datta Dharmadhikari. Cast of this movie included Shyama, Motilal, Paro, Shyam Kumar, Mishra, Chittaranjan, Raja Gosawi, Ramkumar, V.D. Pandit, Shamim, Palande, Dada Mirasi and others.

The ‘storyline’ as mentioned at one of sites is reproduced below;

This is the story of a self effacing person who, for the good of the others, surrendered his own life to evil. In order to improve the others he himself went the way of ruin, in effect he sacrificed himself to save the lives of his fellow-beings. Professor Jag Mohan Maikash was everybody’s favorite in college, and a popular poet. He considered it his responsibility not only to lecture to his students but also to educate and enlighten them, in the real sense. When he discovered the fact that the students were falling prey to a moral evil, he took a complaint about one of his students, Amritlal, to the later’s father, Madhaobabu. But Madhaobabu disillusioned him by lifting the veil off that particular aspect of social life. Maikash realised that it was useless to blame the students when their elders themselves were prone to the same evil. He set out to improve them but his first steps proved a step towards his own ruin. The others started improving, but Maikash continued falling. Mridula paid absolute homage with her heart and mind to Maikash who was the ideal of her life. When Mridual got closer to Maikash, their contact was instinct, for her, not only with love but with sacrifice as well. Maikash was effacing himself for the others, Mridula was putting herself out for Maikash. But one evil led to many others, in the case of Maikash. An expose of this evil is available in “SAVDHAAN.”

This movie had a total of seven songs in it that were written by Sahir Ludhianvi. Five of these songs have been posted earlier and today’s song is the sixth song from this movie being presented on the blog.

The seventh and final song of this movie has proved to be elusive so far and seems to be ‘not available’. Till then this movie will remain ‘unyippeeee’ed’ on the blog.

All the songs, including today’s one, contain beautiful poetry by Sahir Ludhianvi and they have been composed on classical/semi-classical tunes as far as I can conclude by listening to them.

Today’s song is sung by Asha Bhonsle again which is her ‘fifth’ solo song in this movie.

The only remaining song is sung by Khan Mastana and S.Balbir (and I have requested our seniors Sh.Kamath Sir and Sh.Sudhir Sir to help us in locating the remaining song of this movie).

Let us now enjoy this beautiful song composed by Vasant-Ramchandra of which the lyrics are by Sahir Ludhianvi.

And last, but not the least, thanks to Atul ji for considering posts these three songs on 22nd, 23rd & 24th Feb 2017, which replicated the feat of 2014 when three songs from this movie were discussed in a row on the same days, viz 22nd, 23rd and 24th February 2014.

‘mohabbat ki nazar jab mehrbaan maaloom hoti hai 🙂 …’

Enjoy!!!


Song-Mohabbat ki nazar jab meharbaan maaloom hoti hai (Saavdhaan)(1954) Singer-Asha Bhonsle, Lyrics-Sahir Ludhianvi, MD-Vasant Ramchandra

Lyrics

Mohabbat ki nazar jab
Meharbaan maaloom hoti hai
Mohabbat ki nazar jab
Meharbaan maaloom hoti hai ae ae ae

Mohabbat ki nazar jab
Mehrbaan maaloom hoti hai
Ye duniya khoobsoorat
Aur jawaan maaloom hoti hai
Ye duniya khoobsoorat
Aur jawaan maaloom hoti hai
Mohabbat ki nazar jab
Meharbaan maaloom hoti hai ae ae ae

Aa aa aa aa
Ye kaisi aag bhadkaa di hai toone ae
Mere seene mein ae ae ae ae ae
Ye kaisi aag bhadkaa di hai toone
Mere seene mein ae ae ae ae
Ke ab jo saans aati hai
Dhuaan maaloom hoti hai
Ke ab jo saans aati hai
Dhuaan maaloom hoti hai
Dhuaan maaloom hoti hai
Dhuaan maaloom hoti hai
Mohabbat ki nazar jab
Meharbaan maaloom hoti hai ae ae ae

Aa aa aa aa aa
Ye mastaana ghazal
Chhedi hai jo saaqi ne mehfil mein
Haan aan aan aan aa aa aa
Ye mastaana ghazal
Chhedi hai jo saaqi ne mehfil mein
Kisi ee ee maiqash ke dil ki
Daastaan maaloom hoti hai
Kisi maiqash ke dil ki
Daastaan maaloom hoti hai
Mohabbat ki nazar jab
Meharbaan maaloom hoti hai
Mohabbat ki nazar jab
Mehrbaan maaloom hoti hai ae ae ae

————————————-
Devnagri Script Lyrics:
————————————-

मोहब्बत की नज़र जब
मेहरबान मालूम होती है
मोहब्बत की नज़र जब
मेहरबान मालूम होती है ए ए ए

मोहब्बत की नज़र जब
मेहरबान मालूम होती है
ये दुनिया खूबसूरत
और जवान मालूम होती है
ये दुनिया खूबसूरत
और जवान मालूम होती है
मोहब्बत की नज़र जब
मेहरबान मालूम होती है ए ए ए

आ आ आ आ
ये कैसी आग भड़का दी है तूने ए
मेरे सीने में ए ए ए
ए ए ए ए ए ए ए
ये कैसी आग भड़का दी है तूने
मेरे सीने में ए ए ए ए ए ए
के अब जो सांस आती है
धुआँ मालूम होती है
के अब जो सांस आती है
धुआँ मालूम होती है
धुआँ मालूम होती है
धुआँ मालूम होती है
मोहब्बत की नज़र जब
मेहरबान मालूम होती है ए ए ए

आ आ आ आ आ आ आ आ आ आ
ये मस्ताना ग़ज़ल
छेडी है जो साकी ने महफ़िल में
हाँ आँ हाँ हाँ आ आ आ आ आ
ये मस्ताना ग़ज़ल
छेडी है जो साकी ने महफ़िल में
किसी ई ई मयकश के दिल की
दास्ताँ मालूम होती है
किसी मयकश के दिल की
दास्ताँ मालूम होती है
मोहब्बत की नज़र जब
मेहरबान मालूम होती है
मोहब्बत की नज़र जब
मेहरबान मालूम होती है ए ए ए


This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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.

“Saavdhaan-1954” was produced by Datta Dharmadhikari for “Alhad Chitra, Poona”. Datta Dharmadhikari was also the director of this movie. It had Shyama, Motilal, Paro, Shyam Kumar, Mishra, Chittaranjan, Raja Gosawi, Ramkumar, V.D. Pandit, Shamim, Palande, Dada Mirasi and others.

This movie was passed by Censor Board on 11.08.1954.

This movie had seven songs which were written by Sahir Ludhianvi and composed by Vasant-Ramchandra. Asha Bhonsle, Geeta Dutt, Khan Mastana and S.Balbir give their voices to the songs of this movie.

There were five solo songs of Asha Bhonsle in this movie, there was one duet song sung by Asha Bhonsle and Geeta Dutt and there was one song sung by Khan Mastana and S.Balbir.

So far, four songs of this movie have been discussed on the blog.

Here is the fifth song from this movie sung by Asha Bhonsle and composed by Vasant-Ramchandra. Lyrics are by Sahir Ludhianvi.

I am not sure of correct words that I have marked with- ? , I would request readers with keener ears to please provide the correct words there.

Also I would request knowledgeable readers to throw more light on this movie and its songs, as it seems to be an obscure movie of its time, I think getting of video of the songs or the movie is very difficult now. (though the ‘plot’ of the movie is available at one of the sources which will be part of the next post of this movie’s songs).

Let us now enjoy this lovely song …

Audio

Song-Jhananana jhananana baaje mori jhaanjhan (Saavdhaan)(1954) Singer-Asha Bhonsle, Lyrics-Sahir Ludhianvi, MD-Vasant Ramchandra

Lyrics

Jhana na na jhana na na
Baaje mori jhaanjhan
Jhana na na jhana na na
Baaje mori jhaanjhan
Itni si baat haaye
Samjhe na saajan
Itni si baat haaye
Samjhe na saajan
Jhana na na jhana na na
Baaje mori jhaanjhan
Jhana na na jhana na na
Baaje mori jhaanjhan

Mast pawan mori chunri udaaye
Ho o o o o
Chunri udaaye mori
Chunari udaaye ae
Zulfon se khele kabhi
Munh choom jaaye
Mera moonh chum jaaye ae
Dhak dhak more ji ki ee
Dhak dhak more ji ki
Dhadkan more ji ki
Jaane na gaaye re (?)
Jhana na na jhana na na
Baaje mori jhaanjhan
Jhana na na jhana na na
Baaje mori jhaanjhan
Itni si baat haaye
Samjhe na saajan
Itni si baat haaye
Samjhe na saajan
Jhana na na jhana na na
Baaje mori jhaanjhan
Jhana na na jhana na na
Baaje mori jhaanjhan

Jaise koi badli taire hawaaon mein ae
Jaise koi badli taire hawaaon mein ae
Udti phiroon main aise
Sapnon ki chhaaon mein
Udti phiroon main aise
Sapnon ki chhaaon mein
De ke jawaani haaye Raam
Haaye Raam
Haaye
De ke jawaani kahin
Chhup gaya bachpan
Jhana na na jhana na na
Baaje mori jhaanjhan
Jhana na na jhana na na
Baaje mori jhaanjhan
Itni si baat haaye
Samjhe na saajan
Itni si baat haaye
Samjhe na saajan
Jhana na na jhana na na
Baaje mori jhaanjhan
Jhana na na jhana na na
Baaje mori jhaanjhan

———————————
Devnagri Script Lyrics:
——————————–
झन न न झन न न
बाजे मोरी झाँझन
झन न न झन न न
बाजे मोरी झाँझन

इतनी सी बात हाए
समझे न साजन

इतनी सी बात हाए
समझे न साजन
झन न न झन न न
बाजे मोरी झाँझन
झन न न झन न न
बाजे मोरी झाँझन

मस्त पवन मोरी चुनरी उड़ायें
हो ओ ओ ओ ओ
चुनरी उडाये मोरी
चुनरी उडाये ए
जुल्फों से खेले कभी
मुंह चूम जाए
मेरा मुंह चूम जाए ए
धक् धक् मोरे जी कि ई
धक् धक् मोरे जी कि
धड़कन मोरे जी कि
जाने न गाए रे (?)
झन न न झन न न
बाजे मोरी झाँझन
झन न न झन न न
बाजे मोरी झाँझन
इतनी सी बात हाए
समझे न साजन
इतनी सी बात हाए
समझे न साजन
झन न न झन न न
बाजे मोरी झाँझन
झन न न झन न न
बाजे मोरी झाँझन

जैसे कोई बदली तेरे हवाओं में ए
जैसे कोई बदली तेरे हवाओं में ए
उडती फिरू मैं ऐसे
सपनों कि छाँव में
उडती फिरू मैं ऐसे
सपनों कि छाँव में
दे के जवानी हाए राम
हाए राम
हाए
दे के जवानी कहीं
छुप गया बचपन

झन न न झन न न
बाजे मोरी झाँझन
झन न न झन न न
बाजे मोरी झाँझन

इतनी सी बात हाए
समझे न साजन

इतनी सी बात हाए
समझे न साजन
झन न न झन न न
बाजे मोरी झाँझन
झन न न झन न न
बाजे मोरी झाँझन


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

Hullo to all in Atuldom

We had the penultimate song from “Jaawaani Deewaani” as “Nahin Nahin Abhi Nahin Abhi Karo Intezaar” and our Shenoyji has asked “how this song escaped being posted?”. Even I was surprised to find that it was left out.

After I sent the song to Atulji I saw the movie in fast forward to find the situation at which the last song (to be posted) from the movie arrives. Firstly, that song “Haaye tauba mujhe tune badnaam kar diya” is not the last for the movie. It appears when Jaya is in a mood to tease her lover. She informs him that her father has arranged her marriage with her mother’s friend’s son. This gets Randhir upset and she sings the song to lighten his mood. So, that means it is a roothhna-manaana song.

Let me make one confession here (I seem to be doing a lot of confessions these days 🙂 ) inspite of having seen this movie ‘n’ number of times I had forgotten the existence of this song. After this chhed-chhaad song all hell breaks loose on Jaya and she is under house arrest by her dad. It is then that the lovers elope and “Nahin Nahin” happens.

So on to the last song of the movie which is sung by Asha Bhonsle.

With this song, “Jawaani Deewaani”(1972) joins the list of movies that have all their songs covered in the blog.


Song-Haaye tauba mujhe toone badnaam kar diya (Jawaani Deewaani)(1972) Singer-Asha Bhonsle, Lyrics-Lyrics-Anand Bakshi, MD-R D Burman

Lyrics

meri nazar ne yeh dil
tere naam kar diya
meri nazar ne yeh dil
tere naam kar diya
hoy tauba
mujhe toone
badnaam kar diya aa
hoye tauba mujhe toone
badnaam kar diya

tumse
piya hamko
kehni thhi kitni baaten
socha thha
keh lenge
jab hongi mulaakaaten
haan tumse piya hamko
kehni thhi kitni baaten
socha thha
keh lenge
jab hongi mulakaaten
haaye re
milne par hum tumse lekin
kuchh bhi keh na paaye
bina kahe haaan
bina kahe aankhon ne
yeh kaam kar diya
haan haan
hoy tauba mujhe toone
badnaam kar diya
hoye tauba mujhe toone
badnaam kar diya

dekho
mile kaise
hum do raahi anjaane
baaton hi baaton mein
ban baithhe meet puraane
haan dekho
mile kaise
hum do raahi anjaane
baaton hi baaton mein
ban baithhe meet puraane
haaye re
kaun hai tu aur kaun hoon mai
kismat ne lekin dekho
meri kahaani
haaan
meri kahaani ka ye
anjaam kar diya
haan haan
hoy tauba
mujhe toone
badnaam kar diya
hoye tauba
mujhe toone
badnaam kar diya


This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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.

On our blog while posting the songs, we did take care to combine special landmarks viz. century of the artists, contributors, etc etc
All of this is done with utmost care and tracking by our Team Leader (Captain:)) Atul ji and so we do sometimes have the flow of the songs or posts in order to achieve such special feats on the blog.

Sometimes inadvertently it so happens that songs of few movies came at regular intervals or in ‘periodic intervals’ like the ‘world cup’ or other tournaments etc etc.

For example three songs of the movie ‘The Burning Train-1980’ have so far been posted on the blog on 08.12.2008, 17.10.2012 and 08.12.2016 respectively, at four years interval during leap years.

So, if ‘weather conditions and wind conditions are favorable’ and if the Captain permits we can repeat a ‘hat-trick’ for this movie ‘Saavdhaan-1954’ after a interval of exactly three years on exactly the same days.

This movie was introduced on the blog on 22.02.14 and then there were three song posts of this movie’s songs on the blog on 22/02, 23/02 and 24/02 respectively of that year.

The song that is being introduced today (22 february 2017) was also ready three years ago, though after a gap of afew months, but somehow it remains to be posted thereafter.

At that time I could find only four songs out of the seven songs of this movie (which I get to know from the book ‘Sahir Ludhianvi-The People’s Poet’).

Now, during my regular browsing I have found two more songs of this movie (one is still elusive), so I think it is the ‘right time’ (Captain’s approval pending) for the remaining songs of this movie to get introduced on the blog.

Let us now enjoy today’s song. Itis penned by Sahir Ludhianvi and composed by Vasant-Ramchandra. It is sung by Asha Bhonsle.

The movie is ‘Alhad Chitra(आल्हाद चित्र), Poona’s Saavdhaan passed by censor board on 11.08.1954, which was produced and directed by Datta Dharmadhikari.


Song-Aaj kisi ke haathon ne dil ke taaron ko chhed diya (Saavdhaan)(1954) Singer-Asha Bhonsle, Lyrics-Sahir Ludhianvi, MD-Vasant Ramchandra

Lyrics

Aaaj kisi ke haathon ne
Dil ke taaron ko chhed diya
Aa aa aa aa
Dil ke taaron ko chhed diya
Aaaj kisi ke haathon ne
Dil ke taaron ko chhed diya
Aa aa aa aa
Dil ke taaron ko chhed diya

Gehri neend mein
Soye saaz ki
Gehri neend mein
Soye saaz ki
Jhankaaron ko chhed diya
Dil ke taaron ko chhed diya
Aa aa aa aa
Dil ke taaron ko chhed diya
Aaaj kisi ke haathon ne
Dil ke taaron ko chhed diya
Aa aa aa aa
Dil ke taaron ko chhed diya

Ha ha ha ha haa
Ho o o
ho o o o o
Aaj meri tanhaayee
apne Aap pe bhi sharmaane lagi ee ee
Aaj meri tanhaayee
apne Aap pe bhi sharmaane lagi ee ee ee ee
Dil ki dhadkan
Naghmaa ban kar
Honthon par lehraane lagi
Haaye
Mere hothon par lehraane lagi
Jo saahil ko saath bahaa le
Jo saahil ko saath bahaa le
Un dhaaron ko chhed diya
Dil ke taaron ko chhed diya
Aa aa aa aa
Dil ke taaron ko chhed diya

Aaaj kisi ke haathon ne
Dil ke taaron ko chhed diya
Aa aa aa aa
Dil ke taaron ko chhed diya

Har jhonke se
Mujhko unke saans ki
Khushboo aati hai
Tan man mein ik
Thhandi thhandi
Aag bikharti jaati hai
Jaane kiski shokh nazar ne
Jaane kiski shokh nazar ne
Angaaron ko chhed diya
Dil ke taaron ko chhed diya
Aa aa aa aa
Dil ke taaron ko chhed diya
Aaaj kisi ke haathon ne
Dil ke taaron ko chhed diya
Aa aa aa aa
Dil ke taaron ko chhed diya

————————————-
Lyrics in Devnagri Script
————————————
आज किसी के हाथों ने
दिल के तारों को छेड़ दिया
आ आ आ आ
दिल के तारों को छेड़ दिया
आज किसी के हाथों ने
दिल के तारों को छेड़ दिया
आ आ आ आ
दिल के तारों को छेड़ दिया

गहरी नींद में
सोये साज़ की
गहरी नींद में
सोये साज़ की
झंकारों को छेड़ दिया
दिल के तारों को छेड़ दिया
आ आ आ आ
दिल के तारों को छेड़ दिया

आज किसी के हाथों ने
दिल के तारों को छेड़ दिया
आ आ आ आ
दिल के तारों को छेड़ दिया

हा हा हा हा ह ह हां
हो ओ ओ
हो ओ ओ ओ ओ
आज मेरी तन्हाई अपने
आप पे भी शर्माने लगी ई ई ई ई
आज मेरी तन्हाई अपने
आप पे भी शर्माने लगी ई ई ई ई
दिल की धड़कन
नगमा बन कर
होठों पर लहराने लगी
हाए
मेरे होठों पर लहराने लगी
जो साहिल को साथ बहा ले
जो साहिल को साथ बहा ले
उन धारों को छेड़ दिया
दिल के तारों को छेड़ दिया
आ आ आ आ
दिल के तारों को छेड़ दिया
आज किसी के हाथों ने
दिल के तारों को छेड़ दिया
आ आ आ आ
दिल के तारों को छेड़ दिया

हर झोंके से
मुझको उनके सांस की
खुशबू आती है
तन मन में इक
ठंडी ठंडी
आग बिखरती जाती है
जाने किसकी शोख नज़र ने
जाने किसकी शोख नज़र ने
अंगारों को छेड़ दिया
दिल के तारों को छेड़ दिया
आ आ आ आ आ आ आ
दिल के तारों को छेड़ दिया
आज किसी के हाथों ने
दिल के तारों को छेड़ दिया
आ आ आ आ आ
दिल के तारों को छेड़ दिया


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

Today, February 21st 2017 is the 26th Remembrance Day ( I, feel it is better to call it Remembrance Day than calling it death anniversary) of Nutan, one of my favourite actresses. The first film of her which I saw in a theatre was ‘Milan’ in 1967. Thereafter, I had watched her black & white films when they were telecast on Doordarshan sometime in the early 80s. I am sure, many readers would agree with me that Nutan, through her intense acting, made us to ponder over the some of the social issues raised in films like ‘Seema’ (1955), ‘Sujaata’ (1959), Bandini’ (1963), ‘Saraswatichandra’ (1968) etc.

I had watched the film ‘Seema’ (1955) for the first time on Doordarshan probably in late 70s or early 80s. The story of the film and the roles played by Nutan and Balraj Sahani created so much impact on me that the story of the film lingered in my mind for few days. I had a similar experience when I saw ‘Kaagaz Ke Phool’ (1959) on its rerun some time in 1974. But this time the impact was such that I had no desire to watch this classic film once again. The story and scenarios were too gloomy for me. I had no such worries as far as ’Seema’ (1955) was concerned and I watched it multiple times.

I watched the film ‘Seema’ (1959) once more from my collections of DVDs of the classic Hindi films a few months back. After watching the film this time, I had a strong urge to write an article on Nutan’s journey in the film industry for the Blog in token of my gratitude for such a fine actress. I had done some research on her journey of almost 4 decades in Hindi film industry. I watched some of her classic black & white films once more to get a feel of her acting talent. I had also gone through some comments on the 4th updated edition of Nutan’s biography in Marathi ‘Asen Me Nasen Me’ (I may be I may not be) which was released about a year back. These coupled with interviews and few articles including one in ‘Filmfare’ magazine gave me an idea about Nutan’s filmy career which I find unique and interesting.

At the outset, it would appear that initially, Nutan (04/06/1936-21/02/1991) was reluctant to be an actress. Probably her mother, Shobhana Samarth, one of the top actresses of the 1940s may have decided that Nutan would become an actress. So she launched Nutan in her home production ‘Hamaari Beti’ (1950) which she produced and directed when Nutan was barely 14 years. Even though, the film did not fare well on the box office front, Nutan was noticed as a fine actress. This was followed by ‘Ham Log’ (1951) and ‘Nageena’ (1951) among other films in the early 50s which were successful.

However, most of her films released during 1952-54 did not fare well on the box office. Even though film offers were coming to her, Nutan decided to quit films for short period and pursue a course in Swiss Finishing School La Chatelaine. The school was meant for girls to acquire social grace and etiquette in the upper class society, especially as a precursor for the marriage. But Nutan was destined to become an actress.

A few profile pictures of her which Nutan sent from Switzerland of her trips in Europe to her mother was published in ‘Filmindia’ magazine, probably at the behest of her mother. The pictures attracted the attention of Shashdhar Mukherjee of Filmistan for the role of Heer for the film ‘Heer’ (1956). Nutan was called back from Switzerland to sign the film. During the same time, she also signed ‘Seema’ (1955). While ‘Heer’ (1956) did not fare well on the box office, ‘Seema’ (1955) became one ?of the top 10 hit films of 1955. This success was followed by the success of ‘Paying Guest’ (1957), ‘Dilli Ka Thag’ (1958), ‘Anaari’ (1959) and ‘Sujaata’ (1959) among some other films in which she acted.

Sometime in 1959, Nutan married Rajnish Bahl, a Lieutenant Commander in Indian Navy. At the time of her marriage, Nutan announced her retirement from films.

In 1960, Bimal Roy approached her with a script of ‘Bandini’ (1963) and said that this script was written keeping her in mind. If she declines the offer, he would not make the film. Since she had already decided not to work in the films, she was in a piquant situation. But her role in the film was challenging. Accepting the film would open the pandora’s box as few other banners had also been approaching her to accept the heroine’s role in the films.

It was very difficult to her say no to Bimal Roy especially when the role was a challenging one and Bimal Roy was prepared to wait. She agreed to work for the film. With this acceptance, she also signed ‘Tere Ghar Ke Saamne’ (1963) and ‘Dil Hi To Hai’ (1963). All these films became box office hits.

Generally, we talk about ‘first coming’ or ‘second coming’ in regard to any artist’s career. For Nutan, it was her ‘third coming’. Normally in the film industry, once an artist announces retirement or becomes out of sight, he or she becomes out of mind from those who matters in the film industry. Even if one calls her absence ?from? the film? industry in 1954 and again in 1960 as short sabbaticals, it is difficult for most of the artists in such situation to regain the pivotal position in the film industry. Nutan proved it wrong. Not only she proved her worth in terms of box office success of the films on her ‘second coming’ and ‘third coming’, she lapped up Filmfare awards for the Best Actress in ‘Seema’ (1955), ‘Sujaata’ (1959), ‘Bandini’ (1963), ‘Milan’ (1967) and ‘Main Tulsi Tere Aangan Ki’ (1978). It may be something of a record that she got 5 Filmfare Awards for the same category (Best Actress) over a period of 22 years from the age of 17 to 42 years.

And what a versatile actress Nutan was. If she did an intense acting of a rebellious and angry girl in ‘Seema’ (1955), she was also good in projecting herself in light romantic films like ‘Paying Guest’ (1957). If she wore swimming suit in the role of a swimming champion in ‘Dilli Ka Thag’ (1958), she was equally at ease in an intense role of a low caste adopted daughter in ‘Sujaata’ (1959). Again if she got an unconventional role of a jailed girl in ‘Bandini’ (1963), she also excelled in the light social comedy film ‘Tere Ghar Ke Saamne’ (1963).

From the 1980s onward, Nutan started getting supporting roles. Her role of a woman suffering from amnesia in the film ‘Meri Jung’ (1985) won her the Filmfare award for the Best Supporting Actress. During this phase of her career, Nutan worked with Dilip Kumar for the first time in the film ‘Karma’ (1986).

Nutan died of cancer on February 21, 1991 at the age of 55.

Two of her films – ‘Naseebwala’ (1992) and ‘Insaaniyat’ (1994) were released after her death.

Just as Shabhana Samarth produced and directed ‘Hamaari Beti’ (1950) for launching her elder daughter Nutan, She also produced and directed ‘Chhabili’ (1960) for launching her younger daughter Tanuja. With these two films, Shobhana Samarth probably created a history of launching her both the daughters by producing the films and directing her two daughters. It is also a co-incidence that Nutan sang her own songs in these two films produced and directed by her mother under the baton of Snehal Bhatkar.

There were 7 songs in the film CHHABILI (1960) of which as many as 6 songs were sung by Nutan either solo or as duet. 4 songs (including one multiple version song) from the film have been covered in the Blog.

On the occasion of Nutan’s 26th remembrance day, I am presenting the 5th song ‘O my darling, O my sweety’ from the film CHHABILI (1960) Sung by Nutan and Mahendra Kapoor. The song is written by S Ratan which is set to music by Snehal Bhatkar.

After listening to most of the songs rendered by Nutan including the playful song under discussion, I wonder as to why her potential as a singer was not exploited by producers/directors of her films.


Song-O my darling O my sweety (Chhabeeli)(1960) Singers-Nutan, Mahendra Kapoor, Lyrics-S Ratan, MD-Snehal Bhatkar
Both

Lyrics

o my darling
o my sweety
tujh pe fida
haay
mera dil hai
kya nigaahen
kya adaayen
tere bina jeena mushqil hai
o my darling
o my sweety
tujh pe fida haay mera dil hai
kya nigaahen
kya adaayen
tere bina jeena mushqil hai

phir wo kahegi
hehehe
how sweet
how sweet
how sweet

tu hai meri laila tu meri shirin
tu hai meri sohni sab se haseen
arre waah
tu hai meri laila
tu meri shirin
tu hai meri sohni
sab se haseen
tera mera pyaar ho jhoomti bahaar ho
par tujhe paana badi mushqil hai

o my darling
hmm hmm
o my sweety
hmm hmm
tujh pe fida haay mera dil hai
arre kya nigaahen
kya adaayen
tere bina jeena mushqil hai

how sweet
how sweet
how sweet

tere liye saara jag chhod diya
apnon se naata tod diya aa
haay haay

tere liye saara jag chhod diya
apnon se naata tod diya
baaten kar pyaar ki
dil beqaraar ki
ae dil waale
tu kyun be-dil hai
o my darling
o my sweety
tujh pe fida

haay
mera dil hai
kya nigaahen
arre kya adaayen
tere bina jeena mushqil hai

o my darling
hmm hmm
o my sweety
hmm hmm
tujh pe fida
haay mera dil hai
kya nigaahen
kya adaayen
tere bina jeena mushqil hai


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

Lata’s Songs NOT YET covered on our Blog – 17
————————————————
Meri Kahaani, was produced by Super Team Federal Productions, Bombay and directed by Keki Mistri. It had star-cast consisting of Surendra, Munavvar Sultana, Pratima Devi, Sanobar, Leela Kumari, Ramesh Sinha, Bhudo Advani, Santosh Kumar, Murad Khan, Vaskar etc.

There were four lyrics writers viz Nakhshab, Anjum Pilibhiti, Wahid Qureshi and Zia Sarhadi. Music was created by Datta Korgaonkar.

According to HFGK, there were 10 songs and two out of them were by our Lata Mangeshkar. Two songs from this film are already discussed and this one will be the third-one. One more Lata solo to follow, in my this series, Hari Ichchha permitting.


Song–Dil Waalon Dilon Ka Mel (Meri Kahaani) (1948) Singer –Lata, Lyrics– Wahid Qureshi, MD– K Datta

Lyrics

dilwaalon
dilwaalon
dilon ka mel
dilon ka khel hai kitna pyara aa aa
woh jeet gaya jo haara
dilwaalon dilon ka mel
dilon ka khel
hai kitna pyaara aa
woh jeet gaya jo haara

jab tum se judaa ham hote thhe
dukh hansta thha ham rote thhe
jab tum se judaa ham hote thhe
dukh hansta thha ham rote thhe
tab ulfat karti thhi yeh hamen ishaara aa
woh jeet gaya jo haara
tab ulfat karti thhi yeh hamen ishaara aa
woh jeet gaya jo haara
dilwaalon dilon ka mel
dilon ka khel
hai kitna pyara
woh jeet gaya jo haara
woh jeet gaya jo haara

sapne mein jab tum aate thhe
tum neend chura le jaate thhe
haan haan haan haan aan aan
sapne mein jab tum aate thhe
tum neend chura le jaate thhe
yeh keh kar hamne dil ko diya sahaara aa
who jeet gaya jo haara
yeh keh kar hamne dil ko diya sahaara aa
woh jeet gaya jo haara
dilwaalon dilon ka mel
dilon ka khel
hai kitna pyaara aa
woh jeet gaya jo haara
woh jeet gaya jo haara

toofaan mein naiya chhodi thhi
bichhde thhe aas na todi thhi
toofaan mein naiya chhodi thhi
bichhde the aas na todi thi
kismet ne lekin ? ? ?
who jeet gaya jo haara
kismet ne lekin ? ? ?
woh jeet gaya jo haara
dilwaalon
dilwaalon
dilon ka mel
dilon ka khel
hai kitna pyaara aa
woh jeet gaya jo haara
woh jeet gaya jo haara


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

Today’s song is from the film Panna-44. All the songs of this film were sung by Shamshad Begum for the film version, whereas records were issued in the voice of Rajkumari. The Blog already has 5 of the 8 songs posted. This is the 6th song from the film to appear in the blog.

Panna or Panna Daai is a famous name in Indian History. Panna Dai was a 16th-century nursemaid to Uday singh II, the fourth son of Maharana Sangram Singh. Her name, Panna means Emerald, and dai means a nurse in Hindi language. She had been given charge of young Udai Singh, breastfeeding him virtually from his birth in 1522, along with her own son Chandan (also known as Moti), who was of similar age and Udai’s playmate. When Udai Singh was attacked by his uncle Bbhanvir, Panna Dai sacrificed the life of her own son Chandan in order to save the life of Udai Singh.

However the title of this film Panna-44 is very misleading, because it is neither a Historical film nor a tear jerking social film. This was perhaps the First film of its kind- a spy thriller based on the story of Mata Hari ( appropriately Indianised ), the famous and mysterious Dutch female spy of the first World War. Mata Hari or Margaretta Zelle (7-8-1876 to 15-10-1917 ) was spying for Germany in France. She was caught and executed by firing squad in a Paris jail.

Those were the Second World War days and it was compulsory for the film makers to make at least one film on war propaganda, to qualify for the allotment of Raw Film at controlled rate. This film Panna-44 had the back ground of war propaganda. At the same time, it was a spy thriller, in which the Hero Jairaj-a CID Inspector puts up Geeta Nizami as a dancer on the road and stage ( paving way to songs and dances) and tries to get the details of enemy spies. Between them the Magic Password is Panna, hence the film name ! In the end when all the enemy spy network is busted the Hero and the Heroine get united.

Panna-44 was a film in which the Heroine Geeta Nizami made her Debut as a Heroine. Geeta’s original name was Rasheeda Begum. Initially, she took the name of Mohni, but after realising that there was another actress Mohna, already in films, she became Geeta and added Nizami to it. Another actress having such a Hybrid name was Mumtaz Shanti, in the same period.

In her first film Mann ki jeet-44, she acted and had a song and dance. The song was ” More jubna ka dekho ubhar ” sung by Zohrabai,written by Josh Malihabadi and composed by S.K.Pal. The dance Geeta did on this song was very sexy. She was shown emerging from a blooming Lotus and at that time she did such provocative actions that soon the song became the talk of the town. The then Bombay Government,led by Morarji Desai, promptly banned the song, but in the rest of India the song became very popular.

Geeta Nizami could not continue as a Heroine in films. She was lead actress in only one more film- Room No.9 (1946). The reason why she did not get more roles as a Heroine has been mentioned in a book by a well known author. According to this author, Geeta took a bath only once a week, smelt horribly and her head was full of Lice. No actor was ready to do a close up scene with her. ( I remember another actress of the early 60s- Kalpana, with same reputation. Shammi Kapoor was on record saying that Kalpana smelt very foul as she probably took bath only once a month. He had refused to work again with her in any film, after Professor-62.)

Geeta Nizami did just 13 films. Her last film was Ek tha Ladka-51. After this she migrated to Pakistan, got married and spent rest of her life as a housewife. She died on 28-4-2008.

The Music Director of this film was Mohd. Amir ali, who was the assistant to senior MD Rasheed Attre. In one interview, Rasheed Atre had said that he had composed almost all the songs, as a help to Amir Ali, who made his Debut as an independent music director with this film. Unfortunately, he died before the release of the film. The credits of the film mentioned his name as ” Late Amir Ali “.

Film Panna-44 was directed by Najam Naqvi. He was born on 11-4-1913, at Moradabad in U.P. His real name was Syed Najmul Hasan Naqvi. He was one of the ” Same Name Confusion ” artistes. He worked with Bombay Talkies as an assistant and as a Continuity Man. The star pair of Bombay Talkies film ” Jawani ki Hawa ” -35- Hero Najmul Hasan and Heroine Devika Rani ( wife of the owner-Himanshu Rai ) eloped to Calcutta and there was terrible commotion in the company.

The whole episode of elopement had become a matter of embarrassment for a ‘continuity man’ working in the same studio. His name too was Najmul Hasan. Because of the same name, this innocent chap -who had nothing to do with the elopement drama- had to suffer staring eyes and hush hush whisperings within the studio and the filmi circle.

He was working in Bombay Talkies doing odd jobs-continuity man and even as an actor in ‘Achhut kanya-36’. He was a very hardworking person. After this episode he changed his name to a shorter edition- Najam Naqvi. He worked in the Direction department and his first film as an independent Director was PUNARMILAN-1940.

He went on directing films like Raja Rani-42, Tasveer-43, Naya Tarana-43, Panna-44, Prithwiraj Sanyogita-46, Nateeja-47, Parayee Aag-48, Actress-48, Nirdosh-50, Rangili-52 and last film-Samrat-54.

In 1955, Najam Naqvi migrated to Pakistan and directed 7 films from Kunwari Bewa-56 to Payal Ki Jhankaar-66.
Najam Naqvi died on 26-1-82 at Lahore. Due to same name, many sites including IMDB mix up the filmography of these two artistes.
In today’s song and dance, you can see Geeta Nizami and others. Let us enjoy this Malaniya song, which is sung by Shamshad Begam. The record version of the song, sung by Rajkumari, is not available as of now.


Song- Le lo le lo Malaniya se haar (Panna)(1944) Singer-Shamshad Begam, Lyrics- Wali Saheb, MD- M Amir Ali

Lyrics

le lo le lo
malaniya se haar
haan
le lo le lo malaniya se
ghoonghat kaadhe thumak thumak maalan albeli aayi
ghoonghat kaadhe thumak thumak maalan albeli aayi
maalan albeli aayi
maalan albeli aayi
juhi chameli aur champa haaron mein goondh ke laayi
juhi chameli aur champa haaron mein goondh ke laayi
le lo le lo
malaniya se haar
haan
le lo le lo
malaniya se haar

mere phoolon mein raag
haan aan
meri kaliyon mein geet
haaan
mere gajron mein pyaar
mere gajron mein pyaar
mere haaron mein jeet
mere haaron mein jeet
inhen pahne to maan jaaye roothhi hui naar
inhe pahne to
haan inhen pahne to
inhen pahne to maan jaaye roothhi hui naar
le lo le lo
malaniya se haar
haan
le lo le lo
malaniya se haar

chanda ki kirnon mein taare piro ke ae ae
chanda ki
chanda ki kirnon mein taare piro ke
barkha ki rim jhim se
barkha ki rim jhim se
haan haan
kaliyon ko dho ke
main to haaron mein goonth laayi solah singaar
main to haaron mein
haan
main to haaron mein
main to haaron mein
haan main to haaron mein
main to haaron mein goonth laayi solah singaar
le lo le lo
haan haan lelo lelo
hmm hmm
le lo le lo malaniya se haar
haan
le lo le lo malaniya se haar
haan
le lo le lo malaniya se haar


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

It is a well-known fact that when sound films came into being in 1931, majority of the films which were produced, especially in the 1930s, belonged to the genres of action, adventure, costume drama, mythology, fantasy, folk legend etc. There were few takers for films containing social, family drama and romantic themes. In a way, this was the legacy from silent films. Those who produced and directed silent films may have thought it prudent to try more or less the same genres in sound films to begin with.

Hyderabad (Sindh) born Mohan Dayaram Bhavnani (1903-1962) was one of those directors who started his filmy carreer as director in silent films in 1925. He directed 19 silent films before venturing into sound films. From the listing of films directed by him, I find that most of his films belonged to the genres of action, adventure and costume dramas.

Before joining film industry, Mohan Bhavanani had studied film making in Germany after completion of his college in 1925. On the eve of the imminent arrival of sound films in India, Mohan Bhavnani once again went to Germany to study the techniques of sound films. His first sound film was ‘Trapped’ (1931) which probably may have been converted from his last silent film ‘Farebi Jaal’ (1931). This was the film in which Durga Khote made her maiden appearance as an actress. This was also the film in which Enakshi Rama Rao had a small role who later married Mohan Bhavnani.

In 1935, Mohan Bhavnani started his own film production company, Bhavnani Productions. Under his banner, he produced the first film ‘Jaan Bahadur’ (1935). This was followed by ‘Jaagran’ (1936) in which his wife, Enakshi Rama Rao was the lead actress. In all, he directed 23 sound films. 13 of these films were produced under his own banner.

In 1948, Mohan Bhavnani bid adieu to film industry and joined Film Division as the Chief Producer. He worked in this till 1955. In 1958, on an invitation from the Chinese Government for producing a documentary on China, he made extensive trips to China.

In 1937, Mohan Bhavnani had produced and directed a jungle adventure film ‘Zambo, the Ape Man’ a.k.a. ‘Sher-E-Jungle’ (1937). The film seems to be a success at the box office as he produced and directed its sequel, ‘Zambo Ka Beta’ a.k.a. Son of Zambo (1939). The star cast of the film included Navin Yagnik, Bimla Kumari, Nayampalli, Sunita Devi, Vatsala Kumthekar, David, Fatty Prasad, A S Gyani, Gulab, Gulzar etc.

There were 9 songs in the film written by Pandit Shivkumar who was associated with India’s independence movement and was a scholar in Hindi, Sanskrit and Urdu languages. Songs were set to music by Pandit Badri Prasad who, in his later filmy career, switched over in the role as a character actor and choreographer.

I am presenting the first song ‘hai ishq wohi aag jo paani mein lagaa de’ from the film ZAMBO KA BETA (1939) to appear in the Blog. The song is sung by Vatsala Kumthekar who also acts in the film. The song is rendered in the thumri style. After all, Vatsala Kumthekar was trained in Hindustani classical music under Ustad Khadim Hussain Khan of Agra Gharana.

With this song, ‘Zambo Ka Beta’ (1939) makes its debut in the Blog.

Audio

Song-Hai ishq wahi aag jo paani mein lagaa de (Zambo Ka Beta)(1939) Singer-Vatsala Kumthekar, Lyrics-Pt Shivkumar, MD-Pt Badri Prasad

Lyrics

hai ishq wahi aag jo o
paani mein lagaa de
haan haan
paani mein lagaa de
haan haan
paani mein lagaa de ae ae ae ae
hai khwaab wahi khwaab jo o
sotey se jagaa de
haan aan
sotey se jagaa de
haa aan
hai khwaab wahi khwaab jo o
sotey se jagaa de…ae ae ae ae

hai khushk ?? dekh chuke ae
ae ae ae ae ae
hosh ki duniya aa aa aa aa
ab aisi pilaa de ki jo o o
behosh banaa de
haan haan
behosh banaa de
haan aan
ab aisi pilaa de ki jo o
behosh banaa de ae ae ae

khaali hai suraahi to o o o o o
madhosh to tu hai ae ae ae ae ae ae
khaali hai suraahi to o o o o o
madhosh to tu hai ae ae ae ae ae ae
aa apne labon ko ye mere
aa apne labon ko ye mere
munh se lagaa de
haan haan haan
munh se lagaa de
haan aan
aa apne labon ko mere
munh se lagaa de
haa aan
hai ishq wahi aag jo
paani mein lagaa de…ae ae ae


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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 more than eight years. This blog has more than 12900 song posts by now.

This blog is active and online for over 3000 days since its beginning on 19 july 2008.

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