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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 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 : 3985 Post No. : 15074

Saw “Bees Saal Pehle” which released on 6th June 1972, viz a few days back aaj se “saintees saal pehle”.

It starts off as any horror movie of those times. We have Vinod Mehra driving a vehicle (highly polluting by the standards set in the modern days) through a ghat road in perfect weather, rather late in the evening. His vehicle stalls when he stops it to see what or who has jumped over the cliff, doesn’t find a thing but now he has to look for help to restart his journey.

He sees a bungalow close by-predictably- and it is almost dark by the time he gets there. He knocks and the door opens by itself (was reminded of Mehmood from “Pyar Kiye Jaa”). He walks in with a “Koi hai? Arre koi hai?” (anybody there?). And an old man (Iftikhar) materializes and offers him a room for the night in the cob-web infested house.

Surprisingly the room has a clean patch. And as is the norm since time immemorial (my first experience was in the Ashok Kumar- Madhubala starrer “Mahal”) Vinod Mehra hears a lady scream and then sob and then sing plaintively. Sure enough, Vinod runs out of the room seeking the old man and asks for an explanation.

Then the movie goes into “Bees Saal Pehle” there was a Choudhury (Abhi Bhattacharya) in a city nearby, whose only heir (Ritesh) was in love with a sweet girl (Farida Jalal) of the area but had to marry another damsel (Anupama) to relieve her of her distress. By the time the movie got to this point in the story it had given us a party song, a romantic song, a line of a bhootiya (haunting) song and a “questioning the god” song.

Essentially the movie had eight songs with one of them appearing twice in the movie. The singers used were Lata Mangeshkar, Ranu, Asha Bhonsle, Kishore Kumar and Hemant Kumar as playback singers. S.H.Bihari was the lyricist and Hemant Kumar was the producer (Geetanjali Pictures) and music composer. Movie was directed by Probir Roy. The title card said that Ritesh (Hemant Kumar’s son) was introduced in this movie and I was surprised to see Hrishikesh Mukherjee’s name in the star cast. I didn’t get to the part where Hrishida makes a screen appearance as by then I had found my song to go with this post.

Going by the time of release of this movie, today’s song could well be one of the last songs that Hemant Kumar sang for Hindi movies. His journey started in 1935 with recording a song for All India Radio, Bengali non-film songs happened in 1937 and first film song was for “Nimai Sanyas” in Bengali in 1941. His first Hindi film came in the form of “Anand Math” of Filmistan in 1952. He had a 50-year long career dedicated to music- he was a Rabindra Sangeet exponent. I am sure we have had Hemantda’s detailed biography in a few posts of this blog.

We remember Hemant Kumar Mukherjee, of the wonderful voice, with a song sung and composed by him in the later part of his career, today on his 99th birth anniversary.


Song-Poochhe to kaun poochhe ye baat aasmaan se(Bees Saal Pehle)(1972) Singer-Hemant Kumar, Lyrics-S H Bihari, MD-Hemant Kumar

Lyrics

poochhe toh kaun poochhe
yeh baat aasmaan se
yeh kaisi dushmani thhi
bijli ko aashiyaan se
poochhe to kaun poochhe

barbaadiyon ko apni
aabaadiyaan samajh le ae
barbaadiyon ko apni
aabaadiyaan samajh le ae
aisa junoon laaye
har aadmi kahaan se
poochhe toh kaun poochhe
yeh baat aasmaan se
yeh kaisi dushmani thhi ee
bijli ko aashiyaan se
poochhe toh kaun poochhe

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

Blog Day :

3983 Post No. : 15072

Today’s song is from film ‘Kaarwaan’ (1956), a costume drama, made by Shahkaar productions, Bombay. Produced by Dev Jolly, it was directed by Rafiq Rizvi – whose career as a director came to a close with this film. His 6 films began with ‘Waayda’ (1940). The music was by S Mohinder. The lyricists were Tanvir Naqvi, Pt. Bhushan and Saarshaar Sailani.

S Mohinder aka Bakshi Mohinder Singh Sarna, was one of the very few Sikh composers in Hindi films (only 3 till 1970. Sardul Kwatra, GS Kohli and S Mohinder). For this film, he had 2 assistants. One was Inderjeet Singh, who was the maternal Uncle (mamma) of today’s singer Daler Mehndi and the other was Pt Kishen who was Husnlal and Bhagatram’s nephew (sister’s son). These two assistants were working with S Mohinder till 1961, after which both died one after another.

S Mohinder was born on 24-2-1925 in a small town called Silanwali in Montgomery District of un-divided Punjab. His full name was Bakshi Mohinder Singh Sarna.  His father Sujan Singh Bakhshi was a sub-inspector in police. Soon the family moved to a comparatively larger city Lyallpur, where young Mohinder around 1935 came in contact with an accomplished Sikh religious vocalist Sant Sujan Singh. He honed his skills for several years in classical music in the tutelage of Sant Sujan Singh. Initially he wanted to be a singer. The family moved to Sheikhupura , close  to Nankana Sahib, the birth place of Guru Nanak and S Mohinder got his further training in classical music from legendry Sikh religious musician Bhai Samund Singh. Frequent transfers of his father kept the family on the move. Since S Mohinder’s education was suffering badly, durIng early forties, he was enrolled in Khalsa High School in village Kairon in Amritsar District.

In 1947, the rest of the family too moved to East Punjab in India. The love for classical music brought S Mohinder to Benares. After a couple of years of grooming in classical music in Benares, the Mecca of Indian classical music, S Mohinder, came to Bombay, the leading center of film industry. His first successful film was ‘Neeli’ (1950), which was musically a hit but not successful on the box office. S Mohinder took a regular job of music director with Filmistan Studios, which was churning out movies like factory. He composed music for Filmistan for half a decade. It was a great experience.

After a successful relationship as a music director with Filmistan Studios, S Mohinder composed music for Chandu Lal Shah’s (Ranjit Movietone) film ‘Zameen Ke Taare’ (1960). It became a hit. After that he composed the music for Wadia Brothers film ‘Reporter Raju’ (1962) and producer Roop K Shori’s film ‘Ek Ladki Saat Ladke’ (1961). He gave music for unreleased film ‘Do Dost’ also.

S Mohinder says that during the sixties, when only Hans Raj Behl and Sardul Singh Kwatra were in the field of composing music for Punjabi films, he also tried his hand at Punjab films. The response was good. His music for his first Punjabi film ‘Pardesi Dhola’ was a hit. After that he mainly devoted his attention on composing music for Punjabi films only. His music for ‘Chambe Di Kali’ also became a hit. Inderjit Hassanpuri, a friend of S Mohinder, made a Punjabi film ‘Daaj’ for which S Mohinder composed very emotional tunes. Later on during the late seventies S Mohinder composed music for some non-film Punjabi albums too and the singers included the best in the Punjabi music business, Surinder Kaur and Asa Singh Mastana. These private albums were also instant hits.

In 1960, S Mohinder composed music for the film ‘Mehlon Ke Khwaab’ produced by Madhubala. The film did quite well at the box office and its music became a hit. The untimely death of Madhubala in 1969, during the prime of her youth deeply saddened S Mohinder. He came to the conclusion that the field of composing music for Hindi films was getting a lot of new players and the melody was slowly yielding place to noisy heavy metal music. So he decided to go back to his roots and switch to composing music for Punjabi movies.

Ram Maheshwari and Panna Lal Maheshwari, originally from Amritsar, decided to make a movie in Punjabi based on Sikh religious sentiments. The film was titled ‘Nanak Naam Jahaaz Hai’. S Mohinder got the contract to compose the music. The story of the film required some scenes to be picturized in the Golden Temple. S Mohinder thought that the music for those scenes was a very sensitive subject and must be performed by the finest exponent of Sikh Religious classical music. So he requested Bhai Samund Singh to sing the Shabads. Bhai Samund Singh was also the mentor of S Mohinder during his early training in classical music. Initially Bhai Samund Singh hesitated, but eventually he agreed to sing for the movie. S Mohinder believes that what Bade Ghulam Ali Khan’s singing was to the great movie ‘Mughal e Azam’, the shabads sung by Bhai Samund Singh are to Punjabi film ‘Nanak Naam Jahaaz Hai’. As we all know film ‘Nanak Naam Jahaaz Hai’ has been an all time hit Punjabi movie. Its music was also as big a success.

The runaway success of ‘Nanak Naam Jahaaz Hai’ ushered in an era of for making well meaning movies based on Sikh religious stories. S Mohinder composed the music for most of these Sikh religious movies.’Dukh Bhanjan Tera Naam’ (1974) featuring Shaminder Singh as the hero was the next film, it was also quite successful. Then came two more namely ‘Man Jeete Jag Jeet’ (1973) and ‘Paapi Tare Anek’ (1976). Both were successful at the box office. All these movies were made during the decade of seventies. S Mohinder also composed some of his most memorable music for these movies.

During the decade of nineteen seventies, S Mohinder composed music for some private albums also including some featuring Sikh devotional music and some featuring the folk music of Punjab. Legendry Punjabi singer Surinder Kaur was prominently featured on some of these albums. He gave music to 36 Hindi films, composing 243 songs. He also sang 3 songs in 3 films.

S Mohinder left India for the USA in October 1982, when he was at the peak of his career as a music composer. The last film featuring his music was named ‘Maula Jatt’, with Dara Singh in the male lead role. Even in US, he did lot of work in Music – like recording songs, running a music school etc. (Adapted, with thanks, from an article in apnaorg.com)

Today’s song is written by Tanvir Naqvi. Tanvir Naqvi (real name – Syed Khursheed Ali) was born on 16th February 1919, at Lahore. His father was a jaagirdar and elder brother was ADC to a nawab. Tanvir went to Persia, along with father, where he was educated in Urdu and Persian. From the age of 14 years, he started writing poetry and participated in various mushairas. He published a book of poetry, titled ‘Suhaane Sapne. By chance, AR Kardar read it and called Tanvir to Bombay to write for his film ‘Swami’ (1941), made by CIRCO Productions.

In his next film, ‘Nai Duniya’ (1942), Suraiya sang his song as her first song. His films ‘Anmol Ghadi’ (1946) and ‘Jugnu’ (1947) became hits and all his songs were appreciated much. He had earned a good name. However, after film ‘Parda’ (1949), he migrated to Pakistan. In 1954, K Asif invited him to India to write songs for his film ‘Mughal e Azam’, but by that time, Naushad had built his own team and he declined to take Tanvir Naqvi. From 1954 to 1959, Tanvir did many films. He also joined S Mohinder and wrote songs for his 7 films.

In 1959, Tanvir Naqvi shifted again to Pakistan, but this time for good. There also he wrote for many films, like ‘Koel’, ‘Jhoomar’, ‘Salma’, ‘Gulfam’, ‘Elaan’etc. He wrote also for Punjabi films. He had married Idaan – elder sister of actress singer Nurjehan. However, since he had no children from her, so he married again and had 2 children.  He died in Lahore on 1-11-1972. In India, he wrote 224 songs for 48 films. Some of his songs are popular even today.

The cast of the film consisted of Shakila, Mahipal, Heeralal, Gope, Yashodhara Katju, Randhir, Satish, Sheila Vaz, Helen, Cuckoo and others. All the usual actors for a C grade costume drama. I find that most main actors are the subject matters of many articles, but actors like Heeralal are left out. I reproduce below a brief biosketch of Heeralal that I have earlier posted for the song “Main Hoon Bhaiya Dim Timkar“.

Heeralal is a familiar face to every fan of vintage Bollywood as he played countless character parts, often as the villain, in literally hundreds of films both big and small. He was born Heeralal Thakur, on March 14, 1912 in Lahore (now part of Pakistan) and began his career in silent films with AR Kardar’s ‘Safdar Jung’ which was released in 1930. Incidentally, his second film, ‘Daughters of Today’, actually made it to movie theaters first, in 1929. He was under contract to United Players Corporation and made several silent pictures for them before making the transition to talkies and moving on to other studios for films like ‘Pavitra Ganga’ (1932), ‘Seeta’ (1934), and ‘Blood Feud’ (1935).

Some of his notable fantasy, sci-fi and horror films include ‘Khooni Jaadugar’ (1939), ‘Arabian Nights’ (1946), ‘Mehbooba’ (1954), ‘Hatimtai Ki Beti’ (1955), ‘Roop Basant’ (1955), ‘Sakhi Hatim’ (1955), ‘Shah Behram’ (1955), ‘Indra Sabha’ (1956), ‘Shaan e Hatim’ (1958), ‘Dr. Z’  (1959), ‘Dr. Shaitan’ (1960),  ‘Jadoo Mahal’ (1962), ‘Flying Man’ (1965), ‘Gumnaam’ (1965), ‘Sindbad, Alibaba and Alladin’ (1965), ‘Love And Murder’ (1966), ‘Sheba And Hercules’ (1967), and ‘Alibaba’ (1976). Hiralal worked continuously until his death on June 27, 1982.

He had worked in 203 films. His first film was ‘Pavitra Ganga’ (1932) and last film was ‘Kaalia’ (1981).

Today’s song is actually a very sweet song and had been a popular song in its time. This is a duet of Lata and GM Durrani. The mukhda says – “Ae Saarbaan, Saarbaan. . .”. The word saarbaan means actually ‘camel handler’, but in Persian language it also means the caravaan leader. I liked this song very much. In fact, many of the songs composed by S Mohinder are very good, but somehow he never became an A grade composer.

 

Song – Ae Saarbaan Saarbaan, Kis Raah Ka Raahi Hai Tu (Kaarwaan) (1956) Singer – Lata Mangeshkar, GM Durrani, Lyrics – Tanveer Naqvi, MD – S Mohinder

Lyrics

ae saarbaan saarbaan
ae saarbaan saarbaan

kis raah ka raahi hai tu
hai tujhko kiski justju
hogi teri manzil kahaan
ae saarbaan saarbaan
ae saarbaan saarbaan

teri meri manzil nahin
manzil hai manzil ka nishaan
ae jaan e jaan jaan e jaan
ae jaan e jaan jaan e jaan

mujhko ko bhi apne saath le. . .
de haath mera haath le
de haath mera haath le
mushkil bahut hain raaste
aasaan hain mere waste
aasaan hain mere waste
raste ki sab dushwaariaan
ae saarbaan saarbaan
ae saarbaan saarbaan
ae jaan e jaan jaan e jaan
ae jaan e jaan jaan e jaan

gar tujhko khud pe hai yakeen. . .
mushkil koi mushkil nahin
mushkil koi mushkil nahin
ghat’ta rahega har khatar
kat’ta rahega ye safar
kat’ta rahega ye safar
badhta rahega kaarwaan
ae saarbaan saarbaan
ae jaan e jaan jaan e jaan

badh kar na thehren phir kadam. . .
ye shauk ka dastoor hai
ye shauk ka dastoor hai
teri mohabbat ke liye
sab kuchh mujhe manzoor hai
sab kuchh mujhe manzoor hai
le chal mujhe chaahe jahaan
ae saarbaan saarbaan
ae saarbaan saarbaan
ae jaan e jaan jaan e jaan
ae jaan e jaan jaan e jaan

ae saarbaan saarbaan
ae saarbaan saarbaan

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

ए सारबाँ सारबाँ
ए सारबाँ सारबाँ

किस राह का राही है तू
है तुझको किसकी जुस्तजू
होगी तेरी मंज़िल कहाँ
ए सारबाँ सारबाँ
ए सारबाँ सारबाँ

तेरी मेरी मंज़िल नहीं
मंज़िल है मंज़िल का निशां
ए जान ए जान जान ए जान
ए जान ए जान जान ए जान

मुझको भी अपने साथ ले॰ ॰ ॰
दे हाथ मेरा हाथ ले
दे हाथ मेरा हाथ ले
मुश्किल बहुत हैं रास्ते
आसाँ है मेरे वास्ते
आसाँ है मेरे वास्ते
रस्ते की सब दुश्वारीयाँ
ए सारबाँ सारबाँ
ए सारबाँ सारबाँ
ए जान ए जान जान ए जान
ए जान ए जान जान ए जान

गर तुझको खुद पे है यकीं॰ ॰ ॰
मुश्किल कोई मुश्किल नहीं
मुश्किल कोई मुश्किल नहीं
घटता रहेगा हर ख़तर
कटता रहेगा हर सफर
कटता रहेगा हर सफर
बढ़ता रहेगा कारवां
ए सारबाँ सारबाँ
ए जान ए जान जान ए जान

बढ़ कर ना ठहरें फिर कदम॰ ॰ ॰
ये शौक का दस्तूर है
ये शौक का दस्तूर है
तेरी मोहब्बत के लिए
सब कुछ मुझे मंजूर है
सब कुछ मुझे मंजूर है
ले चल मुझे चाहे जहां
ए सारबाँ सारबाँ
ए सारबाँ सारबाँ
ए जान ए जान जान ए जान
ए जान ए जान जान ए जान

ए सारबाँ सारबाँ
ए सारबाँ सारबाँ

 


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 : 3982 Post No. : 15069

In some cases, it is the voice – some people will impress you, attract you with their voice. Girish Karnad’s voice has one of the most relaxing sound quality that I have heard. And his presence, his demeanor, his being in a scene, on screen or on stage, always had the same expression of comfort and relaxation as his voice. Seeing him, listening to him, one could never imagine if this person could be moved to a hasty or an impatient action.

He passed away, the day before. The news said that he was 82. I was surprised, it couldn’t be. Over the years since I had first seen him live in a drama in Delhi – almost a millennium ago, and then through films and media images, he always seemed to be the same, never changing, nor ageing. Be it the memories and images from the 60s, 70s, or even recent. He always appeared to be the same.

So when I read this one line in a media news item, I was very taken aback. Sure, I had not seen him active for the past few years, but the thought process probably had never projected far enough to make believe that he was past his 80th. In fact, as I reviewed his filmography in preparation for this article, I find that 5 of his upcoming films are slated for released through the rest of 2019.

Mid 1960s to 70s was an era for the theatre in India. One sees an upsurge in the quality of drama, the subject matter handling by the playwrights and the abilities of the dramatists. If it was Badal Sircar in Bangla (east), it was Vijay Tendulkar in Matathi (west); if it was Mohan Rakesh in Hindi (north), it was Girish Karnad in Kannada (south). These playwrights brought in some very incisive, some very timeless creations, that brought a completely fresh air, breaking new grounds in understanding the human psyche – how the humans interact, with each other and within themselves, how the social influences mould the individual behaviors, and in reverse, how the human expressions manipulate the social conduct. And together, how they shape the movement of history.

Girish K broke out a very crisp and a surprisingly innovative line of enquiry, with his very first play – ‘Yayati’. Most of the readers will be familiar with this episode from the epic, Mahabharat. Yayati is a king in the lineage of the Chandravansh, the lineage of Chandra, the Moon God. He is portrayed as an irresponsible king, consumed by his obsession with young age and the pleasures to be derived from it. He is afraid of getting old. His wife is Devyani, daughter of Rishi Shukracharya. Sharmishtha is the name of one of the ladies in waiting of Devyani. Actually a princess herself from another kingdom, Sharmishtha becomes a bounden server to Devyani due to certain events. As the events unfold furhter, Yayati has an extra marital affair with Sharmishtha, who bears three sons for him. Devyani too has three children, one daughter and two sons. Devyani complains to her father, who is the purohit (high priest) of the demon clan. Incensed by the behavior of his son-in-law, he curses him to a premature and a prolonged old age.

Yayati is shattered. He goes to Shukracharya, begs for forgiveness and removal of the curse. Shukracharaya tells him that his curse cannot be reversed, but it can be transferred to a person willing to take on such a curse. Yayati is overjoyed, but the joy is short-lived as he finds out that no one is ready to accept his curse. Finally, one of his sons, Puru, agrees to take on the curse of his father, wanting to bring peace to his father. Yayati enjoys another one thousand years of youth, donated by his son Puru.

This is a well known tale, and it has its own share of interpretations, analysis and philosophical discourse in literary critique over the ages. Girish K stepped in and asked a question that was never asked for many a millennia. What about Chitralekha?

It is not clear whether this character by this name exists in the annals of Mahabharat. Girish K is alluding to, and enquiring about Puru’s wife. A man goes ahead and takes on the curse of old age for a thousand years. There is name and fame, for this sacrifice. But no one ever asked, what about his wife? What happened to her life and her time, and whether and how did she endure this abnormally changed circumstance foisted upon her. With certain modifications to the original plot, Girish K is the first scholar to ask this question.

This play came about during Girish K’s journey to England by ship in 1960. The version of Mahabharat by C Rajagopalachari was published in 1951. This version of the epic influenced Girish K, and he went on to create two great plays based on themes from this epic. By his own account, ‘Yayati’ came so naturally to him, almost as if someone was dictating and he was just transcribing. The writing of this play was completed on this sea voyage of three weeks. He was traveling to London, having been awarded the Rhodes Scholarship at the Oxford University. During his stay and studies, he completed a triple MA, simultaneously in philosophy, politics and economics. The second play, that was born out of the influence of Mahabharat, sat in his mind for almost three decades, and then was born as ‘Fire and Rain’, which was staged first time in 1995.

His other most celebrated theatrical creation is another view into the history of India. Titled ‘Tuglaq’, this play took the theatre world, the audiences and the socio-political commentators by storm when it was first staged in 1966. In 1972, this play was enacted by the National School of Drama, directed by Ebrahim Elkazi, and presented on the ramparts of the Old Fort (Purana Qila) in Delhi. Using the ruins of the Old Fort as the backdrop, the play was enacted, to a very critical acclaim. Personally, that was my first introduction to Girish K. Quite enchanted by the theatre scene in Delhi, I have seen this enactment of the play while I still was in school.

The play covers the last 5 years of the reign of Mohammed Bin Tuglaq. The protagonist, is portrayed as having great ideas and a grand vision, but his reign was an abject failure. He started his rule with great ideals of a unified India, but his kingdom degenerated into anarchy. His proclamation to move his capital from Delhi to Daulatabad, resulted in a massive exodus that brought misery and sorrow to a huge population. This was seen by the commentators as an allegory to the Partition of the country in 1947, and mass movement of people from both sides of the border.

In his later discussions, Girish K has revealed that the play was not originally written with an intent to comment on the then current political scenario in the country. Writing about the commentary on his play, Girish K has stated – “I did not consciously write about the Nehru era, I am always flattered when people tell me that it was about the Nehru era and equally applies to development of politics since then. But, I think, that is a compliment that any playwright would be thrilled to get, but it was not intended to be a contemporary play about a contemporary situation.”

Girish K started his theatre career in Madras, with a drama group called the Madras Players. Starting with ‘Yayati’ we see the development of a multi-faceted career that has lasted for almost six decades – author, teacher, playwright, director, stage actor, film actor, director of FTII Pune, chairman of the Sangeet Natak Academy – there is so much in his career to write and tell about.

His association with the cinema begins with ‘Samskaara’ (1970) and ‘Vamsh Vriksh’ (1972), both in Kannada, and both well recognized and well awarded films. Girish K was also the co-director of ‘Vamsh Vriksh’. The storylines for both films are a very strong statement on the evolving nature of human relationships, as each individual passes through his or her own pleasures, travails, dreams and anguish. The stories tell of compelling human emotions that drive human beings, to behave in manners that are quite out of the ordinary expectations. In ‘Samskaara’, Praneshcharaya (role played by Girish K), a devout Brahmin, is so convinced of moksha being the ultimate goal of life, and being so focused to achieve it, marries an invalid, so he can remain a celibate all his life. His antithesis is life is Narayanappa, a Brahmin who has given up the traditions – he eats meat and lives with Chandri, a lady of lower standing in the society. As the events unfold, Narayanappa passes away. His final rites become a controversy – a non-Brahmin cannot perform his rites, and no Brahmin in the village is ready to perform the rites for one who has fallen from the tradition. In the midst of all this, Praneshcharya one night wakes up in the lap of Chandri. Unable to reconcile with his own actions, he leaves the village in despair. Chandri secretly performs the last rites of Narayanappa and leaves the village too. In the last scene, Praneshcharya is seen returning to the village. Did he confess and atone for his actions? – the question remains unanswered.

‘Vamsh Vriskh’ is a complex narrative of the progression in a family, the interrelationships, the hidden connects and the invisible knowns. The protagonist, Srinivasa Shrotri, goes through many a tribulation in life, and tries to keep his mental peace intact. Having lost or settled all his affairs, he finally renounces householder’s life to become a sanyaasi.

In 1974, Girish K appeared in a children’s film ‘Jaadu Ka Shankh’. Not much more information about this film is locatable.

In the next three years, we see Girish K in three films that are outstanding statements of the new-wave cinema. In 1975, we see him in ‘Nishaant’ as the timid but principled schoolmaster, whose wife is abducted by the brothers of the landlord. The film has a kind of idealist ending, with the schoolmaster fatally attacking the landlord during a religious celebration and the entire village rising up against the landlord and lynching him and his entire family. In 1976 came ‘Manthan’ – the story of the white revolution in India. Girish K has played the role of Dr Rao, a chemist assigned in the rural areas, to help villagers determine the quality of their milk and to help free them from the clutches of the milk contractors by establishing co-operative societies. In 1977, we see Girish K in ‘Swami’, assaying the role of Ghamshyam, an upright and principled eldest son in the family, after passing away of his father, handling the family matters and his own personal life very maturely and with wisdom, in the presence of a hostile step mother.

In the next four decades , Girish K has appeared in almost 100 films, in Hindi, Kannada, Telugu, Tamil, Malyalam and Assamese. I remember seeing him in ‘Man Pasand’ (1980), playing the role of Kashinath, a close friend of Pratap, the protagonist (role played by Dev Anand). Later, I have seen him in ‘Aasha’ (1980), ‘Ek Baar Chale Aao’ (1983), ‘Tarang’ (1984), till the waning interest in newer films kept me away. Ah yes, he was part of the dear ‘Malgudi Days’ series on the television, playing the role of Swami’s father. In his other directorial outings, he has directed ‘Godhuli’ (1977) and ‘Utsav’ (1984), films that have earned a lot of critical acclaim. He has also made a number of documentaries, like one on the Kannada poet DR Bendre (1972), ‘Kanaka-Purandara’ (English, 1988) on two medieval Bhakti poets of Karnataka, Kanaka Das and Purandara Das, and ‘The Lamp in the Niche’ (English, 1989) on Sufism and the Bhakti movement in India. Many of his films and documentaries have won several national and international awards.

Girish K’s accomplishment as an actor is simply his complete comfort with being the character he is playing. Watching him on the screen, one has this confidence that he knows all the ins and outs of the character he plays, and that in some incarnation he has lived that role himself. The authenticity of portrayal is simply magnificent.

In 1985, he appeared in the role of Pandit Shiv Shankar Shastri in the film ‘Sur Sangam’. The film, and his portrayal of the senior patriarchic exponent of classical music, are my all time favorite. I have written about this film in an earlier article with the song “Aaye Sur Ke Panchhi Aaye”. The film revolves around classical music and the story of Pt Shiv Shankar Shastri, one of the greatest living exponents of this art form. The story line brings in Tulsi (role played by Jayaprada), who is musically inclined and who reveres Shastri ji. The turn of events brings a certain unexplainable element – Tulsi is sexually assaulted, and the man responsible also throws down the portrait of Shastri ji. In a fit of violent anger, Tulsi slays the man with a shard of glass from broken portrait, runs off into the night, and boards a train departing from the local station. As destiny would have it, she barges into a first class coupe whose sole occupant is Shastri ji, who is traveling for participating in an out of town program. The two travel together, and return. Tulsi starts living in the same house as Shastri ji. He is a widower and has a girl child. Slowly, Tulsi becomes a part of the household. Being inclined for classical music, she also starts to practice while staying at Shastri ji’s home. One night, there is a special celebration at the temple of Lord Shiv. Shastri ji is to perform. Tulsi accompanies him, as usual. With the performance about to begin, Shastri ji motions Tulsi to pick up and play the taanpura in accompaniment. At this, all his participating disciples become incensed and leave the stage one by one. Tulsi rushes back home (and then leaves the household for good), the audience leaves and Shastri ji is the sole person left in the temple. In the absence of any accompaniment and musical support, he resolves to make his musical presentation regardless, to the Lord. And he presents this song, alone in a deserted temple, to Lord Shiv.

I picked this song specially, to highlight one aspect of Girish K’s artistic expressions, which was probably hidden until then. An accomplished performer, he has performed the dance steps as part of this song. Every review of the film at that time, commented on the dancer in Girish K. He revealed in an interview that he had taken on special dance training to prepare for this song. You can see the performance for yourself. It is no less than an accomplished and well trained dancer, presenting these steps in unison with the music.

This one song, in my humble opinion, is the best artistic performance that I have seen from Girish K. See the manner in which he starts his dialogue with the Lord. His singing, his facial expressions, his gestures and movements, all coalesce into a fluid expression of a conversation with Lord Shiv. No one else is present so this is a very private conversation, in which Shastri ji is telling the Lord to listen to His own sound coming from inside him. This entire clip is a one wonderful performance by Girish K that probably has not been surpassed.

It is a sad goodbye that we bid today. The person, the artist, and a scholar – it is truly a great loss to the cultural landscape of this sub continent that may never be made up.

One commentator has written about Girish K’s creations, that “. . . Girish Karnad allowed his characters to ask the questions, to struggle with the inconclusive, and hence his stories truly never ended.” Yes, that is the legacy of this multi-faceted artist – his creations, his stories, his characters – all still have a lot be explored for. That “struggle with the inconclusive” is so appropriate a passage dealing with the complex realities and relationships in the course of a human life. His stories have not really ended. And neither has his legacy.

Girish K – Rest in Peace. . . Enduring Peace

 

Song – Hey Shiv Shankar, Hey Karunakar  (Sur Sangam) (1985) Singer – Rajan-Sajan Misra, Lyrics – Vasant Dev, MD – Laxmikant Pyaarelal

Lyrics (Provided by Prakashchandra)

hey..ey..ey shiv shankar
hey..ey..ey karunakar
parmanand maheshwar

hey shiv shankar
hey karunakar
hey shiv shankar
hey karunakar
parmanand maheshwar
mere bheetar tum gaate ho
mere bheetar tum gaate ho
sun lo tum apna ye swar
hey shiv shankar
hey karunakar
parmanand maheshwar

maun gaan ka dhyaan jamaaya
maun gaan ka dhyaan jamaaya
yog raag ko hi maana
tum hi baney ho taan praan ki
tum hi baney ho taan praan ki
mere tan mann ko paawan kar
hey shiv shankar
hey karunakar
parmanand maheshwar

rudra been jhankar tumhaari
rudra been jhankar tumhaari
shudra janon se rahi ansuni
dhanya tumhi ho jaavo sureshwar
dhanya tumhi ho jaavo sureshwar
apne mukh se sun apna swar
hey shiv shankar
hey karunakar
parmanand maheshwar [

nabh chaaya ghan ghor bijuriya damke jhamke
adharon ki muskaan tumhaari cham cham chamke
aaaa aaaaa aaaaa aaaaaa aaaaaa
ghir ghir aaye megh bhayankar garaj garajte
goonja nupur naad tumhaara thirak thirkate
jhuk gaya matha ki tum ne haan kaha jis pal umapati
sheesh ki ganga dharaa par utar aayi chhal-chhalaati
ga ga re ni re ga ma
dha ni re ga re sa
geet ki har lehar par tum jhoom kar naacho nateshwar
aaj is anand varsha mein nahaao tum maheshwar
aaa aaaaaa aaaaaaj is anand varsha mein
nahaa..aavoo tum maheshwar
shiv shankar
maheshwar
shiv shankar
aaaa aaaaa aaaaaaa

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

हे॰॰ए॰॰ए शिव शंकर
हे॰॰ए॰॰ए करुणाकर
परमानन्द महेश्वर

हे शिव शंकर
हे करुणाकर
हे शिव शंकर
हे करुणाकर
परमानन्द महेश्वर
मेरे भीतर तुम गाते हो
मेरे भीतर तुम गाते हो
सुन लो तुम अपना ये स्वर
हे शिव शंकर
हे करुणाकर
परमानन्द महेश्वर

मौन गान का ध्यान जमाया
मौन गान का ध्यान जमाया
योग राग को ही माना
तुम ही बने हो तान प्राण की
तुम ही बने हो तान प्राण की
मेरे तन मन को पावन कर
हे शिव शंकर
हे करुणाकर
परमानन्द महेश्वर

रुद्र बीन झंकार तुम्हारी
रुद्र बीन झंकार तुम्हारी
शूद्र जनों से रही अनसुनी
धन्य तुम्हीं हो जावो सुरेश्वर
धन्य तुम्हीं हो जावो सुरेश्वर
अपने मुख से सुन अपना स्वर
हे शिव शंकर
हे करुणाकर
परमानन्द महेश्वर

घन छाया घनघोर बिजुरिया दमके झमके
अधरों की मुस्कान तुम्हारी चम चम चमके
आsss आssss आssss आsssss आsssss
घिर घिर आए मेघ भयंकर गरज गरजते
गूँजा नूपुर नाद तुम्हारा थिरक थिरकते
झुक गया माथा कि तुमने हाँ कहा जिस पल उमापति
शीश कि गंगा धरा पर उतार आई छल-छलाती
ग ग रे नि रे ग म
ध नि रे ग रे स
गीत की हर लहर पर तुम झूम कर नाचो नटेश्वर
आज इस आनंद वर्षा में नहाओ तुम महेश्वर
आ आ आ॰॰आज इस आनंद वर्षा में
नहा॰॰आवो तुम महेश्वर
शिव शंकर
महेश्वर
शिव शंकर
आsss आssss आssssss


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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3979 Post No. : 15066

Songs Repeated in Hindi Films – 3
– – – – – – – – – – – – – – – – – –

Okay, okay, just before you sit up and ask again – “ये क्या हो रहा है”, a quick reminder that we are into this series of repeat songs. This is the third episode today.

There are well known, as well as obscure, instances existing in which the reused songs appear in the list of the songs of the latter film. The reuse listing of the song can appear as it is – a few examples being,

  • “Gori Zulm Karey Zulf Ka Bikhar Jaana” – this song appears in the listings for the film ‘Main Aur Mera Bhai’ (1961) and the film ‘Pyaar Banaa Afsaana’, an unreleased film from 1960s.
  • The four songs of the film ‘Ram Rajya’ of 1943 are reused in the film ‘Ramayan’ of 1954
    “Beena Madhur-Madhur Kachhu Bol…”
    “Ajab Vidhi Ka lekh Kisi Se Padha Nahi Jaaye…”
    “Jhoole Mein Jhool Laal, Jhool Tu Jhool…”
    “Tyagmayi Tu Gayi, Teri Amar Bhaawna…”
    Note: The music director for both films is same – Shankar Rao Vyas; and the lyricist of these four songs is also the same – Ramesh Gupta.
  • “Beeti Jaat Barkha Ritu Saajan Nahin Aaye” – this song appears in the listings for the film ‘Muraad’ (1939) and the film ‘Dharam Bandhan’ (1940).
  • Four songs of an unreleased film ‘Parda’ from late 1940s are reused in the film ‘Achhaa ji’ of 1950
    ‘Taqraar Ko Badal Do Pyaar Mein, Na Karo Chhed Bekaar Mein…’
    ‘Bhool Hai Kisi Ko Apnana, Vichaaron Mein Basana…’
    ‘Kisi Ke Bholepan Ne… Mere Mann Ko Kheencha…’
    ‘Bhar Jaaye Aasmaan To Aahon Ki Kya Khata…’
    Note: The lyricist (Indiwar) and music director (Shyam Babu Pathak) are the same. The film director (SH Thirani) is also the same.
  • Six songs of the 1957 film ‘Pawanputra Hanuman’ have been reused in the 1969 film ‘Hanuman Chalisa’.
  • Strange occurrence – two films of the same year, 1958 – ‘Rifle Girl’ and ‘Miss Toofaan Mail’ share the song – “Bheegi Hawa Mausam Jawaan, Masti Mein Dooba Saara Jahaan…”.
  • Rare occurrence, the same song is used in three films. The song is “Bhiksha De De Maiya Pingla, Jogi Khada Hai Dwaar…”. The films are ‘Bharthari’ (1944), ‘Raajyogi Bharthari’ (1954), and ‘Gopichand Bharthari’ (1965). Lyricist identified for these songs is Pandit Indra.
  • The song “Bolo Jaywantrao Ek Naam Prem Bhara. . .” appears in ‘Mera Imaan’ (1934) and ‘Swadesh Dewa’ (1946).
  • Interesting re-use – the song “Phool Chun Le Mere Baalam Ki Jaane Kab Daal Jhuke” appears in ‘Naubahaar’ of 1952 and then again in ‘Firdaus’ of 1953. Artist combination is the same – Sahir, Roshan, Lata.
  • Another one – “Baat Chalat Nai Chunari Rang Daali” – appears in film ‘Ladki’ of 1953 and then again in ‘Rani Roopmati’ of 1959.

Then there are films with the same list of songs.

  • ‘Satyanarayan’ of 1948 and ‘Bhikhaari’ of 1949
  • ‘Sushila’ of 1966 and ‘Subah Zaroor Aayegi’ of 1977
  • ‘Amar Kahaani’ of 1949 and ‘Kanchan’ of 1955
  • ‘Sipaahi’ of 1941 and ‘Jangi Jawaani’ of 1943
  • ‘Suhaana Geet’ of 1941 and ‘Toote Dil’ of 1947
  • ‘Ram Bhakti’ of 1958 and ‘Bhakt Raaj’ of 1950
  • ‘Paanch Dushman’ of 1973 and ‘Daulat Ke Dushman’ of 1987

Although not specifically confirmed, in most cases, the above list of film pairs with all songs the same, the situation is that the latter film is a somewhat modified, re-certified and re-released version of the earlier film.

The above sampling is in no way exhaustive. More such instances may be discovered by a more meticulous review of the song lists in Geet Kosh.

But then, this observation has also to be annotated by saying that there are exceptions. There are many known cases where the repeat songs do not appear in the official list of songs of the film. The song may have been used as is without any modifications. The song may be used as an abridged version i.e. the stanzas used in repeat form are less than the original version. Or even when the song may be used quite differently.

These repeat instances of songs do not appear in the list of songs of the latter film. This is confirmed by a quick review of the Geet Kosh listings, which are primarily based on the information from the film booklets, and/or information printed on the gramophone records – 78 rpm records or LPs/EPs. Casual reuse, we may call it. Of course, ownership / copyright / permissions etc. are things that have to be taken care of. But it is always fun to be watching a film (especially when watching for the first time), and one is suddenly confronted with an unexpected song. The song already has a life and existence of its own. And it has its own popularity and following. All of a sudden out of the blue, the song will make a surprise appearance in another film, in another time. And one is simply – wow, एसा भी होता है – such things happen too.

The first song in this series – “Aa Ja Re Pardesi. . .” belongs to this category. As does this fun song that I bring to your notice today. An iconic song – a very typical and very strongly a Mehmood song, from the earlier film ‘Gumnaam’ from 1965, makes an unexpected and surprise appearance in the 1968 film ‘Brahmchaari’. This time around, the song is performed by the Junior incarnation of Mehmood, and he has done a superlative job of presenting this song. This song does not appear in the list of songs of the film ‘Brahmchaari’, and hence, when it appears in the film, the mind takes a double take – okay wow, this song, here.

The situation can be labeled as a ‘male-child item song’ 🙂 . It is just there, does not really add to the storyline content of the film. The children of Shammi Kapoor’s private orphanage are together, along with Mohan Choti, the handy man around the house, and Rajshri, who has descended on to this ‘family’ as a distraught outsider with no place to go. The song is heard on a gramophone player, on which the 78 rpm record is playing.

As I said earlier, Junior Mehmood has done a remarkable job performing this song, at that age. Born in 1956, he was all of 12 years old when he performed this song. A little short in height for his age, this performance is really lovable.

This video clip contains two stanzas, one less from the original three. However, my hunch is that all three were initially included when ‘Brahmchaari’ was released. In this video clip also, as the action moves from the first to the second stanza, there is slight jump in the visual, indicating there might have been a cut made – and the middle stanza was deleted later, for whatever reason.

Avinash ji has been posting a mini series on Junior Mehmood performances in Hindi films, so I will skip getting into more details about this fun child artist. Somehow the natural transformation, as these child artists move from childhood to adolescence to adulthood, does not seem to happen. The success of what their performance is, and the kudos it has drawn, continues to overshadow this required transformation as one grows in years. Very few examples are where an artist of proven merit in child roles has also made a successful career once having grown up. But that discussion is maybe another article, or another series.

Meanwhile, enjoy this really likeable performance, which I am sure will prompt you to go and take a look at the original ‘Gumnaam’ song also. I myself sure did.

Song – Hum Kaale Hain To Kya Hua Dilwaale Hain  (Brahmchaari) (1968) Singers – Mohammed Rafi, Mehmood, Lyrics – Shailendra, MD – Shankar Jaikishan

Lyrics

khayaalon mein
khayaalon mein
khayaalon mein
khayaalon mein

jay hungaama
kahaan bhaag rahi tumen

kya hua. . .
kaale se darr gaye kya
hamay kaale hain to kya hua dilwaale hain
hamay kaale hain to kya hua dilwaale hain
hum tere tere tere chaahne waale hain
hamay kaale hain to kya hua dilwaale hain
hamay kaale hain to kya hua dilwaale hain
hum tere tere tere chaahne waale hain
hamay kaale hain to kya hua dilwaale hain

ye gore gaalaan tandaanaa
ye reshmi baalaan tandaanaa
ye solaa saalaan tandaanaa
haay tere khayaalaan tandaanaa
ye gore gaalaan tandaanaa
ye reshmi baalaan tandaanaa
ye solaa saalaan tandaanaa
haay tere khayaalaan tandaanaa
hum tere tere tere chaahne waale hain
hamay kaale hain to kya hua dilwaale hain
hamay kaale hain to kya hua dilwaale hain
hum tere tere tere chaahne waale hain
hamay kaale hain to kya hua dilwaale hain

hamay maanaa ghareeb hain tandaanaa
soorat se ajeeb hain tandaanaa
par phir bhi naseeb hai tandaanaa
ke tere khareeb hain tandaanaa
hamey maanaa ghareeb hain tandaanaa
soorat se ajeeb hain tandaanaa
par phir bhi naseeb hai tandaanaa
ke tere khareeb hain tandaanaa
hum tere tere tere chaahne waale hain
hamay kaale hain to kya hua dilwaale hain
hamay kaale hain to kya hua dilwaale hain
hum tere tere tere chaahne waale hain
hamay kaale hain to kya hua dilwaale hain
hamay kaale hain to kya hua dilwaale hain

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

ख़यालों में
ख़यालों में
ख़यालों में
ख़यालों में

जे हंगामा
कहाँ भाग रई तूमे

क्या हुआ॰ ॰ ॰
काले से डर गए क्या
हमे काले हइं तो क्या हुआ दिलवाले हइं
हमे काले हइं तो क्या हुआ दिलवाले हइं
हम तेरे तेरे तेरे चाहने वाले हइं
हमे काले हइं तो क्या हुआ दिलवाले हइं
हमे काले हइं तो क्या हुआ दिलवाले हइं
हम तेरे तेरे तेरे चाहने वाले हइं
हमे काले हइं तो क्या हुआ दिलवाले हइं

ये गोरे गालाँ तन्दाणा
ये रेशमी बालाँ तन्दाणा
ये सोला सालाँ तन्दाणा
हये तेरे ख्यालाँ तन्दाणा
ये गोरे गालाँ तन्दाणा
ये रेशमी बालाँ तन्दाणा
ये सोला सालाँ तन्दाणा
हये तेरे ख्यालाँ तन्दाणा
हम तेरे तेरे तेरे चाहने वाले हइं
हमे काले हइं तो क्या हुआ दिलवाले हइं
हमे काले हइं तो क्या हुआ दिलवाले हइं
हम तेरे तेरे तेरे चाहने वाले हइं
हमे काले हइं तो क्या हुआ दिलवाले हइं

हमे माना ग़रीब हैं तन्दाणा
सूरत से अजीब हैं तन्दाणा
पर फिर भी नसीब है तन्दाणा
के तेरे क़रीब हैं तन्दाणा
हमे माना ग़रीब हैं तन्दाणा
सूरत से अजीब हैं तन्दाणा
पर फिर भी नसीब है तन्दाणा
के तेरे क़रीब हैं तन्दाणा
हम तेरे तेरे तेरे चाहने वाले हइं
हमे काले हइं तो क्या हुआ दिलवाले हइं
हमे काले हइं तो क्या हुआ दिलवाले हइं
हम तेरे तेरे तेरे चाहने वाले हइं
हमे काले हइं तो क्या हुआ दिलवाले हइं
हमे काले हइं तो क्या हुआ दिलवाले हइं


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

Blog Day :

3979 Post No. : 15065

Today’s song is from film ‘Aaj Ki Baat’ (1955).

In one of his earliest posts, Atul ji had said that the Indian people like to talk about 3 things – politics, films and cricket. How true it was. . . till Whatsapp and Facebook became an obsession for most people in India. Now you see different, sometimes even strange topics being discussed with taste. Additionally, there are wise people to give you free doses of a variety of knowledge. In all this crowd, sometimes one finds even a few intelligent posts too !

Recently, I saw a video by National Geographic. It showed how a mother bear saves her wayward baby bear, from almost certain clutches of a hungry lion. Motherly love or love for children is a common factor among animals and humans. While animals try to protect their babies from enemies, starvation and life threatening situations, human parents try to provide the goodies of life and a paying career line to their children.

Film people are no different in this. Almost every successful star wishes that his children join this line and be famous and successful. However, they forget that in their own case they had struggled hard to earn their place in the life and more importantly they forget that talents are not necessarily hereditary !

When I chose today’s Talat song from film ‘Aaj Ki Baat’, I realised that this was the launching film for Ajit Chitnis – son of ace actress Leela Chitnis. Unfortunately, the film career of Ajit Chitnis never took off beyond his first and the only film. Actually, Ajit was a qualified commercial pilot, but he could not get a job in any air line. Consequently, he became a victim of alcoholism and was spoiled further. To help him settle in life, his mother-Leela Chitnis tried to bring him in film line. When she noticed her contemporary, Shobhana Samarth produced a film ‘Hamari Beti’ (1950), to launch her daughter Nutan, Leela too decided to produce a film to launch one of her two sons as an actor. She chose Ajit as he was elder and needed help. Manvendra (Leela used to call him as ‘Meena’) was not launched ceremoniously, but later he acted in 4 films in side roles. In his last film,’Ramu To Deewana Hai’ (1980) he even shared the credits with his mother. The history of most star sons in films is not very encouraging. In fact, success and failure ratio may be 10 to 90 percent in success and failures.

It is said that ‘No tree can grow under a Banyan tree’. This is absolutely true and applicable in film industry. Except in cases like the Kapoor family, i.e. Raj, Shammi and Shashi,who made their bright careers despite the shadow of their father and other brothers, we find that many of the sons, daughters, brothers or sisters of many popular and famous film stars were failures and never made it big in Hindi cinema.

We know cases like Suneil Anand, Nasir Khan, Tony Walker, Naina Sahu, Meera Joglekar, Ajit Chitnis, Rajendranath, Narendranath, Anoop Kumar, Mallika, Khursheed Jr., Simple Kapadiya, Shivangi Kolhapure,  Preeti Ganguly and many more. In spite of having all the backing of the famous family member, these and such many others just did not make it, because Talents are not always hereditary !

They all were given a fair opportunity to display their talent on the screen , but unfortunately despite their honest effort  their skill could not come out  & the viewers were left unimpressed . They were selected by big banners and well experienced directors were there to guide them. But  their talent remained hidden inside them and with their nonexistent artistry they disappointed their mentors. Non-actor Sohan Kapila was in the romantic lead of Filmistan’s ‘Babar’, which was released in 1960. This film was directed by Hemen Gupta, the distinguished director, who earlier had directed ‘Anand Matth’ (1952) for Filmistan. The film, also had the winning combination of Sahir and Roshan.  Dependable character actor Gajanan Jagirdar played the role of the great Mughal Emperor Babar . But the movie flopped, as the new hero failed pathetically to register  any emotion on his face. A big jolt for Seth Tola Ram Jalaan, who was already facing financial problems. Mr. Kapila appeared in 2-3 movies in inconsequential roles and disappeared from scene for ever. His daughter Padmini Kapila also pursued a career in films, but could not achieve much success .

There were many other actors like him, who got a chance to appear opposite illustrious heroines, unfortunately their effort did not make any impact on the cine loving public. Watching their miserable performance on the screen, no film maker came forward to sign them.  Out of sight is out of mind, it was matter of time when public as well as film industry forgot them.

‘Malhaar’, as the name suggests, is a musical film produced by the great singer Mukesh in 1951 . It had story by veteran actor SK Prem and its evergreen music was composed by Roshan. The movie had new comers Arjun and Shammi (Nargis Rabaadi). Arjun did get another chance in ‘Daku Ki Ladki’ (1954) to please the viewers with his emoting before the camera, but could not succeed and it was end of his career.

Rattan Chopra, the lucky boy was selected for films, among hundreds of aspirants. Mohan Kumar had suffered a huge set back when ‘Aman’ flopped. He  took the newcomer for ‘Mom Ki Gudia’ (1972) opposite Tanuja, with great hopes.  Unfortunately, the film failed to dispel the gloom and sank to the rock bottom. Acting was not his cup of tea, Rattan Chopra understood and wisely opted out of the race of stardom.

Director Amarnath introduced new comer Vijay Kumar in his 1954 offering ‘Alif Laila’ opposite Nimmi and Asha Mathur.  Sohan Kapila and Vijay Kumar had impressive physique, but had no clue about acting. The movie had lilting music by Shyam Sunder, which was his last contribution towards film industry. Helen for the first time got a chance to perform solo in the movie and for many decades she remained on top. But for Vijay Kumar it was his first & last chance.

Another non actor Premendra was introduced by old timer Vijay Bhatt in ‘Holi Aayee Re’ (1970), which was directed by his younger sibling Harsukh Bhatt.  It was pathetic to watch Premendra unsuccessfully trying to show case his imaginary ability in the field of acting .The movie flopped phenomenally and a huge investment made by Bhatt Brothers went up in a cloud of smoke.

There were some more like Pratibha Sinha, Archan Gupta, Jayant Gupta, Ashok Sharma,  Nusrat Kardar, Rajeev Kapoor, Manish Kumar, Navin Chandra, Aroop Kumar, Prashant, Shalini, Kaycee Mehra, Vikram, Shekhar Suman, Deepak Kumar, Ajay, Som Dutt and many more. Among them, some film names which I remember off hand are Deepak Kumar in ‘Aabroo’ (1968), ‘Ajay’ in ‘Wapas’ (1969), Som Dutt in ‘Mann Ka Meet’ (1968), Vikram in ‘Julie’ (1975), Rajeev Kapoor in ‘Raam Teri Ganga Maili (1985), Shekhar Suman in ‘Utsav’ (1984), Kaycee Mehra in ‘Chhabilee’ (1960) and Mem Didi (1961), Prashant in ‘Sehra’ (1963), Ashok Sharma in ‘Hamari Yaad Aayegi’ (1961), Ajit Chitnis in ‘Aaj Ki Baat’ (1955), Nusrat Kardar in ‘Dard’ (1947), Manish in ‘Saraswati Chandra’ (1968), Rajiv in ‘Nayi Umar Ki Nayi Fasal’ (1965), Aroop Kumar in ‘Bezubaan’ (1962) etc. There could be more such examples. Readers can give their comments.

According to what Leela Chitnis wrote in her autobiography, ‘Chanderi Duniyet’ (‘चंदेरी दुनियेत’), during the period 1952-53 she was in a very bad financial position. Her health had worsened due to a wrong operation and then a corrective surgery. Valuable time and all money was lost in this. To come out of this situation, she planned to produce a film launching Ajit. As the luck would have it, the film started in 1953, but took 2 years to complete. The rights were sold to a distribution company. They released the film first in Punjab, where it flopped miserably. Then it was not released anywhere at all and went into the cans forever. This was a great shock to Chitnis family.

The film had 8 songs. 2 songs are already discussed here. This is the 3rd song, sung by Talat Mehmood. Written by Raj Baldev Raj, it was composed by the ‘Gentleman Maestro’ – Snehal Bhatkar.

White full shirt, ironed white Pyjama, spectacles with big powerful lenses and the trademark white Gandhi Topi. He could easily be mistaken for a ‘Pandharpur Warkari‘ (a regular pilgrim to Pandharpur) or a member of a ‘Bhajani Mandali’ or simply a middle class ‘Marathi Manoos’. Such was the appearance of one of Hindi filmdom’s talented yet not so famous, music maestro VASUDEV GANGARAM BHATKAR or Snehal Bhatkar as we all love to know him.

In Hindi film music field, there were some talented composers like Ghulam Mohd, Mohd Shafi, Iqbal Qureshi, Daan Singh, C Arjun, Ramlal, Sardar Malik, Ajit Merchant, Jamaal Sen, Dattaram, Ganesh, Snehal Bhatkar etc., who could never reach the peaks of their careers. They really deserved this, but luck did not favour them. Big Banners never approached them and the losers were the lovers of music in India. They did not know, perhaps, how to sell their art. May be, they never wanted to enslave the music to gain name and fame, instead they preferred to settle for service to the music!

Bhatkar was one such composer. ‘Simple living and high thinking’ – never worked in this mayanagari, but he had no regrets. Till the end he was contented with whatever God gave him, whatever name and success he achieved. He was born into a family and grew in such atmosphere which was surrounded by traditional devotional music all around. In the lower middle class, the people had their entertainments in singing bhajans and doing keertans in temples en masse.

He was born on 17-7-1919. Vasudev G. Bhatkar knew at least 100 Bhajans by heart by the time he was in his 10th class. He was invited to sing in Ganesh Melas and other celebrations and soon became a well known name in the locality. Because of his singing and skills in playing harmonium and other instruments, he got a job in HMV in Bombay. Here he used to give accompaniment on harmonium to renowned classical singers. At the same time, taking cognizance of his singing skills, many Marathi bhavgeets and bhajans were recorded by HMV in those days. Some of them are popular in Maharashtra even today.

All the while, Bhatkar was looking for opportunity to compose in films. Sudhir Phadke, who too served in HMV and recorded some songs from 1943 to 1945, joined hands with Bhatkar and made a pair – Vasudev-Sudhir. They got a film of Baburao Painter ‘Rukmini Swayamvar’ in 1946 for music direction. The problem was due to his service in HMV, he could not openly work outside, hence he only gave his name as Vasudev. After this film the pair separated and Phadke went to give music to films like ‘Gokul’, ‘Aagey Badho’ etc. Due to financial constraints Bhatkar was unable to leave the job also.

In 1941, Bhatkar had come to know Kidar Sharma while recording songs for his film ‘Chitralekha’, which he was making for Ranjit Studios. Sharma had just come from Calcutta, to establish himself in Bombay. He had a knack of identifying talents. He gave chance to Bhatkar first to sing some songs with Leela Sawant in his film ‘Kaliyan’ (1944). After ‘Rukmini Swayamvar’, Kidar Sharma gave him his first break as independent composer in his ‘Neel Kamal’ in 1947. For this film, Bhatkar used the name  B Vasudev. Kidar Sharma had launched Raj Kapoor and Madhubala in adult roles as the lead pari in this film. It also launched Bhatkar, albeit in a pseudo-name. In the subsequent years Bhatkar used different names for different films-

  • ‘Suhaag Raat’ (1948) – as Snehal
  • ‘Sant Tukaram’ (1948) – as VG Bhatkar (he sang 6 songs also)
  • ‘Thes’ (1949) – as Snehal
  • ‘Sati Ahilya’ (1949) – as VG Bhatkar
  • ‘Pagle’ (1950) – as VG Bhatkar

After completing ‘Thes’ and ‘Sati Ahilya’, Bhatkar resigned from HMV.

He and Kidar Sharma were very good friends. Kidar gave him ‘Neki Aur Badi’ in 1949. He started the work. Meanwhile, Kidar Sharma met Roshan Nagrath in some musical event. Sharma was terribly impressed with Roshan and wanted to give him a break in his film. At that point of time, Kidar had just started work on ‘Neki Aur Badi’. He had a heart to heart talk with Bhatkar and Bhatkar gladly left the film for Roshan. Thus Roshan got his break with this film. Roshan never forgot Bhatkar’s magnanimity in his life and always respected Bhatkar.

In return Kidar Sharma gave ‘Hamari Beti’ (1950) to Bhatkar.  As he was a free bird now, Bhatkar started using the name Snehal Bhatkar from this film onward. Snehal was the short form of Snehalata, his daughter. Snehal Bhatkar did many Marathi films and recorded many bhajans in Marathi, which are ever popular. He did 27 films in Hindi and 12 films in Marathi. Out of 27 Hindi films, 9 were made by Kidar Sharma.

The song which made Mubarak Begum and Bhatkar famous in India was “Kabhi Tanhayion Mein, Hamari Yaad Aayegi” from the film ‘Hamari Yaad Aayegi’ (1961). (This film was was originally named ‘Jawaan Muhabbat’). Actually this song was to be done by Lata Mangeshkar. Lata had already recorded two songs for this film. Due to her extremely busy schedule she was unable to do this song, so she suggested the name of Asha Bhosle. However, already upset over Lata’s refusal, Kidar Sharma opted for Mubarak Begum and the rest is history-as they say. She made a gold of this song with her special voice.

After 1960, the musical scene in India was undergoing drastic changes and there was no space for composers like Bhatkar, who used minimum orchestra and dwelt upon melody. His films came after long intervals. Even Kidar Sharma left him after ‘Fariyad’ (1964) (only to return in ‘Pehla Kadam’ in 1980). Finally Bhatkar did his last film ‘Sehme Huye Sitaare’ in 1994, which featured his son Ramesh Bhatkar-who was already a popular hero in Marathi film, stage and TV. This obscure film did nothing good to Bhatkar.

After retirement Bhatkar devoted his time for children’s welfare and his original love – bhajan mandali singing.

Snehal or Vasudev Gangaram Bhatkar, together with cousin Devji Bhatkar and Panchambuwa Pandurang Shivalkar, was the founder member of ‘Vishwambhar Prasadik Bhajan Mandal’ in Dadar. It is still in operation after 50 years, with new set of singers. Bhatkar was very kind hearted. Every year, during Ganapati festival he used to visit his ancestral village ‘Bhate’ in Ratnagiri district and participate in singing bhajans.

Lata, Talat and Mukesh were his favourite singers. Talat, though has not sung many songs for him, his song “Zindagi Kis Mod Pe Laayee Hamein” from ‘Diwali Ki Raat’ (1956) was very popular. When rehearsals for this song were being done, Bhatkar had used only tabla and sitar for the practice session. The producer who chanced upon this rehearsal was so much impressed with this that he insisted recording the song only with minimum instruments. So, this song has only tabla, Sitar and another instrument for accompaniment.

Though there were many melodious songs composed by Bhatkar like, Khusro’s “Lakhi Baabul More Kaahe Ko Deeni Bides” sung soulfully by Mukesh in ‘Suhag Raat’ (1948); “Ro’oge Pachhtaoge” by Mukesh and Rajkumari in ‘Thes’ (1949); Lata’s “Chanda Tumko Laaj Na Ayee” from ‘Bhola Shankar’ (1951); Suman Kalyanpur’s “Haal e Dil Un Ko Sunaana Tha” from ‘Fariyaad’ (1964), except Kidar sharma no other big banner producer opted for Snehal Bhatkar. May be, his compositions were not so simple for common man to hum or sing, although they were quality songs.

Inspite of several melodious songs Bhatkar was never counted among the 1st line composers. Kidar Sharma also returned to him in 1980, but by that time Snehal Bhatkar was already on a descending track.

Snehal Bhatkar, a talented but not much applauded music director died peacefully on 29-5-2007 at his Dadar home.

Here is the song by Talat Mehmood from film Aaj ki baat-1955.

(My thanks to Shri MN Sardana ji for his post in ‘Voh Din Yaad Karo’ on Facebook, from which some information has been used herein.)

Song – Pyaar Ki Nazron Se Un Ko Dekhta Jaata Hai Dil (Aaj Ki Baat) (1955) Singer – Talat Mehmood, Lyrics – Raj Baldev Raj, MD – Snehal Bhatkar

Lyrics

aaaaaa aaaaaa
aaaa aaaaa aaaaaa
aaaaaa aaaaaa aaaaaaa
aaaa aaaa aaaa aaaaaa

pyaar ki nazron se un ko
dekhta jaata hai dil
pyaar ki nazron ki nazron se un ko
dekhta jaata hai dil
baat un ke saamne kehne se
ghabraata hai dil

kya hua mujhko
hai mere dil ki dhadkan tez tez
kya hua mujhko
hai mere dil ki dhadkan tez tez
thaamna mujhko ke seene se
uda jaata hai dil
baat un ke saamne kehne se
ghabraata hai dil

aaye hain wo zindagi
aaye hain wo zindagi
kadmon mein un ke daal de
kadmon mein un ke daal de
dil ko samjhaati hain nazren
mujhko samjhaata hai dil
baat un ke saamne kehne se
ghabraata hai dil

ho gai shaayad mohabbat
ho gayi un se mujhe
ho gai shaayad mohabbat
ho gayi un se mujhe
jab khayaal aata hai un ka
khud behal jaata hai dil
baat un ke saamne kehne se
ghabraata hai dil

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

आsssss आsssss
आsss आssss आsssss
आsssss आsssss आssssss
आsss आsss आsss आsssss

प्यार की नज़रों से उनको
देखता जाता है दिल
प्यार की नज़रों से उनको
देखता जाता है दिल
बात उनके सामने कहने से
घबराता है दिल

क्या हुआ मुझको
है मेरे दिल की धड़कन तेज़ तेज़
क्या हुआ मुझको
है मेरे दिल की धड़कन तेज़ तेज़
थामना मुझको के सीने से
उड़ा जाता है दिल
बात उनके सामने कहने से
घबराता है दिल

आए हैं वो ज़िंदगी
आए हैं वो ज़िंदगी
कदमों में उनके डाल दे
कदमों में उनके डाल दे
दिल को समझाती हैं नज़रें
मुझको समझाता है दिल
बात उनके सामने कहने से
घबराता है दिल

हो गई शायद मोहब्बत
हो गई उनसे मुझे
हो गई शायद मोहब्बत
हो गई उनसे मुझे
जब खयाल आता है उनका
खुद बहल जाता है दिल
बात उनके सामने कहने से
घबराता है दिल


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 :

3976 Post No. : 15063 Movie Count :

4133

Missing Films of 1960s – 111
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“हम तो डूबेंगे सनम, तुमको भी ले डूबेंगे।“
(“hum to doobenge sanam, tumko bhi le doobenge”)

(I will drown no doubt my dear, but will take you down with me.)

Some conversations, some words, touch a certain nerve inside that they simply cannot be forgotten.  And some of them go even a step further.  Some such words become so indelibly ingrained in the collective memory of a society that they end up becoming a part of the current lingua franca, an idiom that normal people begin to use in everyday conversations.

The above dialogue is one such example. This phrase has become part of the Hindustani exchange – I am sure this is a matter of current experience for all of us. Let me tell you where this dialogue comes from. The earliest occurrence that I am aware of is this being used in a film – well, 68 years ago. The year was 1951. The film maker was Raj Kapoor. The film was ‘Aawaara’. The scene in reference is / was considered a daring scene in those times. Nargis and Raj Kapoor are seen in swimming costumes, in a splashing pool close to a beach. This comes a little before the song “Dum Bhar Jo Udhar Munh Phere. . .”.

Nargis invites RK to dive into the pool. RK feigns fear, as if expressing he does not know how to swim. This exchange is all through facial expressions. Nargis dives into the pool. RK follows. Nargis quickly scrambles out of the pool, then tells RK that the water is deep, and he might drown. RK lunges at Nargis’ hand and tries to pull her back into the pool, and speaks this dialogue – “हम तो डूबेंगे सनम, तुमको भी ले डूबेंगे।“.

The dialogues of ‘Aawaara’ (as also the story) are written by Khwaja Ahmed Abbas or KA Abbas for short. As a writer, he was associated with Raj Kapoor and RK Films all the way from ‘Aawaara’ in 1951 to ‘Henna’ in 1991. He had passed away in 1987. Raj Kapoor had started making ‘Henna’, but then he himself passed away in 1988. The film was completed by Randhir Kapoor.

The association he shared with Raj Kapoor lasted almost 4 decades. The association stands the testimony of ideology – KA Abbas was a very active member of both IPTA (Indian People’s Theatre Association) and PWA (Progressive Writers Association). And Raj Kapoor and his socialistic ideology as expressed in films like ‘Aawaara’, ‘Shri 420’, ‘Boot Polish’, ‘Ab Dilli Door Nahin’, ‘Jaagte Raho’ etc. These films have a focus on the underprivileged in the society, and are a call to make a better society.

The word “progress and progressive” attached with it has a history of its own. In 19th century England, the word progressive was the battle cry of all those who wanted a better deal for the underprivileged and wanted science and technology to spearhead the movement for social development. It stood for liberation and democracy. Munshi Prem Chand, doyen of Urdu writers, had delivered the Presidential Address of the first meeting of the PWA. It was a movement for the freedom-loving writers who were opposed to the status quo in the feudal-dominated Indian society. They thought that unless the Indian society was not transformed and the common masses were not in the driving seat, nothing could change. Writers like Krishan Chander, Ismat Chugtai, Saadat Hasan Manto, Ahmad Nadeem Qasmi, Ali Sardar Jafri, Sibte Hassan, Ehtesham Hussain, Mumtaz Hussain, Sahir Ludhianvi, Kaifi Azmi, Ali Abbas Hussaini, Makhdoom Mohiuddin, Farigh Bukhari, Khatir Ghaznavi, Raza Hamdani, M Ibrahim Joyo, Sobho Gianchandani, Shaikh Ayaz, Rajinder Singh Bedi, Amrita Pritam, Ali Sikandar, Zoe Ansari, Majaz Lucknawi, and yes, Khwaja Ahmed Abbas, made it the strongest literary movement.

My earliest introduction to Abbas Sb was sometimes in mid 1960s. Although we watched the movies diligently, on TV and on the big screen, it was not yet time to grasp all the names that came while the credits were rolling. Becoming familiar with the story writer or the art director or the choreographer, was still a few years hence. What stuck to my mind was really a very out of the way encounter. It was a tele-film which probably no one remembers any more. But somehow, that film and the name has simply remained glued in memory. It wasn’t accompanied by any pompous announcements etc. It was just a film, that happened to get telecast when I happened to be sitting in front of the television at a neighbour’s house one evening. The title of the film is ‘India, My India’. It was a very interesting documentary. Starting with the very early morning hour – like 5 am, the telefilm captured vignettes of rural and urban lifein India, from different parts of the country. For every hour, the location would change. And for the next about 5 minutes, the viewer was treated to a sampling of the local life and local color at that hour of the day, accompanied by a narrative description. Over a period of two hours, 24 different locations of the country were mapped into this documentary, showing life as it happens, at different times in a cycle of 24 hours. To my tiny intelligence, this was a wonderful new experience, and I am sure a wonderful new experiment for its creator.

Another place where this name was highlighted every week, was on the last page of the weekly tabloid – Blitz, published from Bombay and Delhi. Being a journalist household, we always had a huge selection of newspapers and magazines delivered every morning. Blitz was one of the weekly papers that was the staple of many member of our household (a joint family setup at that time). For me, Blitz was an attraction because it always carried something ‘scandalous and titillating’ 😉 . Of course, the name of KA Abbas was always prominently posted on the last page of the weekly edition, quite appropriately titled the ‘Last Page’. I remember I used to read it with interest, because it was always a wry and a sideways look at the socio-political current affairs. A good read, because it introduced many a names to my still fledgling memory, names that would become important in later decades.

KA Abbas was born in Panipat (now in Haryana). He came into a family of erudite scholars with a history of good education and social involvement. His father was a celebrated Urdu poet, Khwaja Altaf Hussain Hali, a student and scholar of Mirza Ghalib. His grandfather Khwaja Gulam Abbas was one of the leaders of the first war of independence in 1857 – the first celebrated martyr of Panipat who was blown from the mouth of a cannon. Abbas’s father graduated from Aligarh Muslim University, was a tutor of a prince and a prosperous businessman. He spearheaded an effort to modernise the preparation and manufacture of Unani medicines. Abbas’s mother, Masroor Khatoon, was the daughter of Sajjad Husain, an enlightened educationist. Abbas took his early education in ‘Hali Muslim High School’, which was established by his great grand father Hali. He was instructed in reading the Arabic text of the Quran. Abbas completed his matriculation at the age of fifteen. He did his B.A. with English literature in 1933 and LLB in 1935 from Aligarh Muslim University.

Abbas began his career as a journalist with ‘National Call’, a New Delhi based newspaper after finishing his BA. Simultaneously, while doing his LLB in 1934, he started ‘Aligarh Opinion’, India’s first university students’ weekly during the pre-independence period. In 1935, Abbas came to Bombay and joined ‘The Bombay Chronicle’. He occasionally served as a film critic. An event transpired and the film editor of the paper passed away. Abbas got promoted to be the editor of the film section.

While at The Bombay Chronicle, (1935–1947), he started a weekly column called ‘Last Page’, which he continued when he joined the Blitz magazine. ‘Last Page’, (‘Azad Kalam’ in the Urdu edition). This column continued till Abbas Sb passed away in 1987, making this the longest-running political column in India’s history (1935–87). A collection of these columns was later published as two books.

In 1936, a few months after having come to Bombay and starting work at ‘The Bombay Chronicle’, a meeting with Himanshu Rai and Devika Rani happened. As a result, the young journalist took his first steps into the film industry. He started working as a copywriter and a publicist for Bombay Talkies. And shortly thereafter, he sold his first story and screenplay to Bombay Talkies – the film being ‘Naya Sansaar’ (1941).

The world of Hindi cinema quickly opened up to him. Here was an energetic young man with liberal outlook and a new expression, seeking to inject a new wave into the world of cinema. ‘Naya Sansar’ was the first such offering. He won the Bombay Film Journalists Association (BFJA) award for the best screenplay in 1942, for this film.

1943 – the great famine of Bengal happened. A story took a foothold in his mind. He wrote the story, the screenplay, became a producer and a director also in the same step – the result was the 1945 release of ‘Dharti Ke Lal’. KA Abbas had fired the first volley of the neo-realist socially aware cinema in India. The film was made under the banner of IPTA.

In parallel, he wrote the script for Chetan Anand’s ‘Neecha Nagar’ and V Shantatram’s ‘Dr Kotnis Ki Amar Kahaani’. Both films were released in 1946.  ‘Neecha Nagar’ went on to win the Palme d’Or (Golden Palm) award at the Cannes Film Festival, in one of the three categories – the only Indian film to have that honor in the history of our industry.

In 1951, he set up his own banner – ‘Naya Sansaar’, and went on to create some very iconic films in the history of Indian cinema. Commercial success not being the criteria, the value of social awareness and the commentary on the state of current affairs in the society simply cannot be measured. A short sampling of his critically acclaimed work is as follows,

1951: Screenplay for ‘Awaara’, nominated for the Palme d’Or at the Cannes Film Festival.

1956: Screenplay for ‘Jaagte Raho’, won the Crystal Globe Grand Prix at the Karlovy Vary International Film Festival in 1957 and the Certificate of Merit at the fourth National Film Awards.

1958 Screenplay and direction for ‘Pardesi’, nominated for the Palme d’Or at the Cannes Film Festival.

1960: Direction for ‘Eid Mubarak’ (children’s documentary) , got All India Certificate of Merit for the Second Best Children’s Film

1964: Screenplay, production and direction for ‘Shehar Aur Sapna, won the National Film Award for Best Feature Film

1965: Direction for ‘Hamaara Ghar’, won award at the International Film Festival, Santa Barbara, USA

1970: Screenplay, production and direction for ‘Saat Hindustani’, won the Nargis Dutt Award for Best Feature Film on National Integration at National Film Awards

1972: Screenplay, production and direction for ‘Do Boond Pani’, won the Nargis Dutt Award for Best Feature Film on National Integration at National Film Awards

Other major films he was associated with either as screenplay/story writer, producer, or director – or all of the roles, include ‘Aaj Aur Kal’ (1947), ‘Anhonee’ (1952), ‘Raahi’ (1953), ‘Munna’ (1954), ‘Shree 420’ (1955), ‘Chaar Dil Chaar Raahen’ (1959), ‘Gyaarah Hazaar Ladkiaan’ (1962), ‘Aasmaan Mahal’, (1965), ‘Bambai Raat Ki Baahon Mein’ (1967), ‘Mera Naam Joker’ (1970), ‘Bobby’ (1973), ‘Achaanak’ (1973), ‘Faaslah’ (1974), ‘The Naxalites’ (1980), ‘Love In Goa’ (1983), ‘Ek Aadmi’ (1988), and ‘Henna’ (1991).

As a journalist, he met with and interviewed several renowned world leaders and notable personalities – including the Russian Prime Minister Khrushchev, American President Franklin Roosevelt, Charlie Chaplin, Mao-Tse-Tung and Yuri Gagarin.

As a writer, he has authored more than 70 books in his lifetime in Hindi, Urdu and English.

In 1963, Abbas wrote, produced and directed ‘Shehar Aur Sapna’. This film is an experience totally different. The theme of the film is the dream city of Bombay, and the severe housing problem it faces. The myth of this city attracts thousands of young men who arrive here every day, with a dream of their own. But the harsh realities of making a living, and of having a roof on one’s head in this city, is an experience that can shatter many a tough determined minds.

The story is told through the experiences of Bhola, a young man – almost a village bumpkin, who comes to Bombay in search of livelihood, and Radha, a young woman also from a distant village, who is duped into a sham marriage, and is then plowed into flesh trade, from where she dares to escape, to start living on her own terms in this cruel and heartless city. For a time, their home is an abandoned drain pipe. Their support system is a trio of good samaritans, who themselves are inhabitants of the world of footpath dwellers – roles played by David, Anwar Hussain and Nana Palsikar. Manmohan Krishan plays the role of a wandering homeless poet (shades of ‘Matwaala Shaayar Ram Joshi’) who is a mute observer to all the events that transpire in the lives of this set of characters.

The progression of the storyline came as a shock to many who had never visited Bombay. No doubt the events depicted are dramatized to a certain extent, but surely they are also grounded in the realities of the living experience of this city. As the film comes to a close, the young couple are now parents to a newborn, their temporary shelter hosted by the three samaritans has been razed by bulldozers, to clear the way for an apartment complex being built by a rich builder, their drain-pipe home has finally found the purpose it was originally intended for – that is, the pipeline is laid and the drain pipe buried into the earth. The closing shot of the film shows the couple walking into a dying dusk, carrying the baby and their worldly belongings in a couple of makeshift shoulder bags, not knowing where to head – maybe towards a dream – a ‘sapna’, and nothing else.

A time of his own life that Abbas Sb has talked about in his writings and interviews – he too had slept of the footpaths of Bombay during his initial days in the city. As he prepared to shoot this film, he actually walked through the streets and bylanes of the city where the have-nots dwell in large numbers, at all times of the day and in all types of weather, to be able to recreate the landscape in the film to tell the story he wanted to. People making homes in drain pipes is a reality that he has seen and experienced. So it came quite naturally that he is able to present these sequences so convincingly.

The film is written, produced and directed by KA Abbas, under his own banner – Naya Sansaar, Bombay. The roles of the lead pair Bhola and Radha, are performed by Dilip Raj (son of the renowned P Jairaj) and Surekha Parkar. The rest of the cast is listed as Nana Palsikar, Manmohan Krishan, David, Anwar Hussain, Asit Sen, Jagdish Kanwal, Rasheed Khan, Ravikant, Ram Murty, Nazeer Kashmiri, Narbada Shankar, Moti Beena, Master Javed, and Pardesi amongst others.

Coming to the music of this film – the thing that makes the music of this film some sort of a rarity is the fact that it was never released on gramophone records. The songs of this film are essentially a recitation of poetry that occurs at four points in the story line. The poet protagonist is Manmohan Krishan. He is the one who sings all these four pieces, accompanying significant moments in this film. The lines of this poetry are penned by Ali Sardar Jafri and the music direction is by JP Kaushik (aka Jag Phool Kaushik).

The rare thing about these poetical pieces is of course their availability. These renditions were never released on gramophone records. Furhter, despite being an award winning film, the film itself has become a rarity, not available easily in public domain. Our dear friend from Jaipur, Pawan Jha, has uploaded one poetical segment elsewhere on YouTube. In absence of the availability of all the four pieces of poetry, I have extracted and edited the four pieces into a single video clip, from a copy of the film which itself is not the best. But no complaints – at least we have what we have. Small blessings that all the four poetical pieces are available. I debated and discussed with friends, whether this should be four different poetical renditions. As one listens to the four pieces, one can make out the one single thread that runs through these four pieces, giving credence to the Geet Kosh listings that lists these four pieces as parts 1 to 4. And so I felt it important to present them together as one poem with four parts. In the edited clip, I have included a very small segment of the film appearing just before each part presents itself in the storyline, to get a flavor of the backdrop against which each of these parts is presented.

The interesting thing about this post is that the film makes its debut today on our blog, and simultaneously, we can also declare it as yippeee’d – all the songs of this film are now posted. And it also brings us close, very close, to the culmination of this series of bringing on board the missing films of 1960s.

As one reviews the history of Indian cinema, one does not, should not categorize the luminaries like Satyajit Ray, Bimal Roy, Raj Kapoor, K Asif, Chetan Anand, Ritwick Ghatak, Mehboob Khan, Mrinal Sen, Rituparno Ghosh, Muzzafar Ali and the like. These legendary film makers each are a class unto themselves. And so is Khwaja Ahmed Abbas. His body of work put together may well form an institution that will be a matter of research and debate for decades to come. The medium of cinema is undoubtedly more rich, because KA Abbas worked on it. And because a compelling film like ‘Shehar Aur Sapna’ was created by him.

Born on 7th June, 1914, today is the 105th birth anniversary of this illustrious film maker. One of the very few whose dedication went exceptionally beyond the considerations of commercial success of his creations. His focus, his commentary, never wavered away from an acknowledged social responsibility of the medium of cinema. I fall back once again on the film ‘Aawaara’ and its dialogues – two samples.

Raj is running from the police and incidentally enters the home of Judge Raghunath and Rita. There is an exchange about the identity of the intruder. In a comic way, Raj is trying to convince Rita that he is a thief. And this is how he presents it –

“बस यही तो हमारे नए समाज का कमाल है।

जो चोर हैं, दूसरों की जेब काटते हैं, पब्लिक की आँख में धूल डालते हैं, मेरे जैसे फ़र्स्ट क्लास सूट पैंट पहनते हैं, उन्हें हम शरीफ समझते हैं। और जो ईमानदारी से मेहनत मजदूरी करके पेट पालते हैं, फटे पुराने कपड़े पहनते हैं, उन्हें चोर आवारा डाकू समझ कर धर लिया जाता है। ये पूंजीपति, ये काले बाज़ार वाले सेठ, ये मुनाफाखोर, ये ब्याज लेने वाले, ये सब कौन हैं। मेरी तरह चोर।“

“Bas yahi to hamaare naye samaaj ka kamaal hai.

Jo chor hain, jo doosron ki jeb kaat’te hain, public ki aankh mein dhool jhonkte hain, mere jaise first claas suit pant pehante hain, unhen hum shareef samajhte hain. Aur jo imaandari se mehnat mazdoori kar ke pet paalte hain, fatey puraane kapde pehante hain, unhem chor aawaara daaku samajh kar dhar liya jaata hai. Ye poonjipati, ye kaale bazaar waale seth, ye munaafakhor, ye byaaj lene waale, ye sab kaun hain. Meri tarah chor.”

And in the closing minutes of the film, as the court case against Raj is in progress, the judge invites Raj to say what he wants to, in his own defence. One part of that monologue goes like –

“आप जो चाहे मुझे सज़ा दे सकते हैं।

मगर क्या आप समझते हैं के मुझे फांसी देने से ये पाप क्रोध हिंसा और अपराध का जहर जो आपकी दुनिया में फैला हुआ है, ये दूर हो जाएगा।

मैं आपको अपनी जीवन कथा सुनाना नहीं चाहता। मगर इतना ज़रूर कहना चाहता हूँ, के अपराध के कीड़े मुझे खून में अपने माँ बाप से नहीं मिले थे। उस गंदे गट्टर से मिले थे जो हमारी गंदी चाल के पास से बहता है। वो गट्टर आज भी वहाँ बह रहा है। और अपराध के कीड़े अब भी उस में पल रहे हैं। और.. और सैंकड़ों हजारों बच्चे जो आस पास की चालों में रहते हैं रोज़ाना इन कीड़ों के शिकार हो रहे हैं। मेरी फिक्र ना कीजिये, उन बच्चों की फिक्र कीजिये, अपने बच्चों की फिक्र कीजिये। ऐसा ना हो

के एक दिन आप, और आप, और आप, और आपका बच्चा भी मेरी तरह इस कटहरे में बार बार कहे के मेरी रगों में भी शरीफ बाप का खून है।”

Aap jo chaahe mujhe sazaa de sakte hain.

Magar kya aap samajhte hain ke mujhe faansi dene se ye paap krodh hinsa aur apradh ka zehar jo aapki duniya mein faila hua hai, ye door ho jaayega.

Main aapko apni jeevan katha sunaana nahin chaahta. Magar itna zaroor kehna chaahta hoon, ke apradh ke keede mujhe khoon mein apne maa baap se nahin miley the. Us gande gattar se miley the jo hamaari gandi chaal ke paas se behta hain. Wo gattar aaj bhi wahaan beh raha hai. Aur apradh ke keede ab bhi us mein pal rahe hain. Aur. . aur sainkdon hazaaron bachche jo aas paas ki chaalon mein rehte hain rozaana in keedon ke shikaar ho rahe hain. Meri fiqr na kijiye, un bachchon ki fiqr kijiye, apne bachchon ki fiqr kijiye. Aisa na ho ke ek din aap, aur aap, aur aap, aur aapka bachcha bhi meri tarah is katehre mein baar baar kahe ke meri ragon mein bhi shareef baap ka khoon hai.

Touching upon the sordid realities of human existence, and the dichotomy of the crooked and dubious haves versus the helpless have nots just trying to survive. The dialogues bring home a message that is topical even today – a message that inevitably gets lost in the glitz of commercial compulsions.

His creations, his vision is exceptional. Even when he writes the story for ‘Bobby’ – yes it is a showman’s film, an RK creation. But beneath the formula drama, there is an effort to dissect and discuss the social divide of the rich-boy-poor-girl tale. It is was an RK film – one had a ice-cream flavored happy ending.

‘Shehar Aur Sapna’ is an out and out KA Abbas statement – the ending is poignant, rooted in the real world, but still colored with an idealist’s hope looking into the future – shades of “. . . Wo Subah Kabhi To Aayegi. . .”.

[Acknowkledgements – A part of this article is adapted from the material in multiple articles on Wikipedia.]

Song – Ye Shaam Bhi Kahaan Hui  (Shehar Aur Sapna) (1963) Singer – Manmohan Krishan, Lyrics – Ali Sardar Jafri, MD – Jag Phool Kaushik

Lyrics

(Part 1)

ye shaam bhi kahaan hui
ye shaam bhi kahaan hui
shaam bhi kahaan hui

patharon ki basti hai
patharon ka zinda hai
patharon ki deewaaren
jin mein qaid insaan hai
patharon ki sejen hain
patharon ka bistar hai
patharon ke takiye hain
patharon ki chaadar hai
neend aur sapne bhi
patharon mein dhalte hain
patharon ke seene mein
kitne paap palte hain
kitne paap palte hain

shaam bhi kahaan hui
ye shaam bhi kahaan hui
shaam bhi kahaan hui

(Part 2)

pathar ka bhagwaan yahaan hai
pathar ka shaitaan
pathar ke dil
pathar ke sar
pathar ke insaan
koi rasta kaise paaye
dil ka haal kisey samjhaaye
chaaron or khadi hai dekho
pathar ki santaan
pathar ki santaan

shaam bhi kahaan hui
ye shaam bhi kahaan hui
shaam bhi kahaan hui

(Part 3)

pyaar ko aaj nai
tarah nibhaana hoga
pyaar ko aaj nai
tarah nibhaana hoga
hans ke har dard ko
har gham ko bhulaana hoga
hans ke har dard ko

aansoo’on se jo bujhe jaate hain
aankhon ke chiraagh
aansoo’on se jo bujhe jaate hain
aankhon ke chiraagh
khoon e dil de ke unhen
phir se jalaana hoga
khoon e dil de ke unhen
phir se jalaana hoga
pyaar ko aaj nai

abhi khil jaayenge masle huye
kuchle huye phool
abhi khil jaayenge masle huye
kuchle huye phool
shart bas ye hai ke
seene se lagaana hoga
shart bas ye hai ke
seene se lagaana hoga
pyaar ko aaj nai

wo jo kho jaayen to
kho jaayegi duniya saari
wo jo kho jaayen to
kho jaayegi duniya saari
wo jo mil jaayen to
saath apne zamaana hoga
wo jo mil jaayen to. . .

(Part 4)

hazaar ghar hazaar dar
ye sab hain ajnabi magar
khabar nahin ke ab kidhar
mudegi apni rehguzar

yahaan se jaayenge kahaan
amaan paayeng kahaan
ye zindagi ki bebasi
ye bebasi ki zindagi..ee..ee

ye bebasi ki zindagi..ee..ee

shaam bhi kahaan hui
ye shaam bhi kahaan hui
shaam bhi kahaan hui

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

(भाग 1)

ये शाम भी कहाँ हुई
ये शाम भी कहाँ हुई
शाम भी कहाँ हुई

पत्थरों की बस्ती है
पत्थरों का ज़िंदा है
पत्थरों की दीवारें
पत्थरों के इंसान हैं
पत्थरों की सेजें हैं
पत्थरों का बिस्तर है
पत्थरों के तकिये हैं
पत्थरों की चादर है
नींद और सपने भी
पत्थरों में ढलते हैं
पत्थरों के सीने में
कितने पाप ढलते हैं
कितने पाप ढलते हैं

शाम भी कहाँ हुई
ये शाम भी कहाँ हुई
शाम भी कहाँ हुई

(भाग 2)

पत्थरों का भगवान यहाँ है
पत्थरों का शैतान
पत्थर के दिल
पत्थर के सर
पत्थर के इंसान
कोई रस्ता कैसे पाये
दिल का हाल किसे समझाये
चारों ओर खड़ी है देखो
पत्थर की संतान
पत्थर की संतान

शाम भी कहाँ हुई
ये शाम भी कहाँ हुई
शाम भी कहाँ हुई

(भाग 3)

प्यार को आज नई
तरह निभाना होगा
प्यार को आज नई
तरह निभाना होगा
हंस के हर दर्द को
हर ग़म को भुलाना होगा
हंस के हर दर्द को

आंसुओं से जो बुझे जाते हैं
आँखों के चिराग़
आंसुओं से जो बुझे जाते हैं
आँखों के चिराग़
खून ए दिल दे के उन्हें
फिर से जलाना होगा
खून ए दिल दे के उन्हें
फिर से जलाना होगा
प्यार को आज नई

अभी खिल जाएँगे मसले हुये
कुचले हुये फूल
अभी खिल जाएँगे मसले हुये
कुचले हुये फूल
शर्त बस ये है के
सीने से लगाना होगा
शर्त बस ये है के
सीने से लगाना होगा
प्यार को आज नई

वो जो खो जाएँ तो
खो जाएगी दुनिया सारी
वो जो खो जाएँ तो
खो जाएगी दुनिया सारी
वो जो मिल जाएँ तो
साथ अपने ज़माना होगा
वो जो मिल जाएँ तो

(भाग 4)
हज़ार घर हज़ार दर
ये सब हैं अजनबी मगर
खबर नहीं के अब किधर
मुड़ेगी अपनी रहगुज़र

यहाँ से जाएँगे कहाँ
अमान पाएंगे कहाँ
ये ज़िंदगी की बेबसी
ये बेबसी की ज़िंदगी॰॰ई॰॰ई

ये बेबसी की ज़िंदगी॰॰ई॰॰ई

शाम भी कहाँ हुई
ये शाम भी कहाँ हुई
शाम भी कहाँ हुई


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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3975 Post No. : 15061

Today, 6th June, is the birth anniversary of Rajinder Krishan, one of the most prolific songwriters in Hindi cinema. As I looked up the date of birth, I find that he was born in the year 1919. So that makes today, the 100th birth anniversary for him.

A career that spans four decades in the industry saw a prolific output from his pen – close to 1700 songs, and story/screenplays and dialogues for many films. He made his debut in 1947 – as a songwriter for ‘Zanjeer’ (1947) and as a screenplay writer for ‘Janta’ (1947). He passed away in 1987, completing 40 years of active writing work in films, although films carrying songs written by him continued to be released till the early 1990s.

The 1955 film ‘Teerandaaz’ was produced and directed by HS Rawail, under the banner of Roshni Pictures, Bombay. The cast of actors for this film is listed as Madhubala, Ajit, Kuldip Kaur, Jairaj, Gope, Sunder, Randhir, Yashodhara Katju, Ridku, Chandrashekhar, Bhagwan Sinha, Ravi, Pal Sharma, Krishna Varma, Kumud Tripathi, Ramlal, Madan Bhandari, Helen, Kammo, Mohna, and Chanchal.

The six songs in this film are all written by Rajinder Krishan. Music is composed by C Ramchandra. Today’s song is sung by Lata Mangeshkar. One song of this film is already showcased here. This song is the second song of this film to take its place on our blog.

The song is a lilting melodious song, quite reminiscent of the golden era of music in Hindi films. I am hearing this song for the first time, as I prepare this post. What a lovely song, and what an enchanting rendition it is. The words of this song present an aspect of the philosophy of life – the search for a certain happiness in life that would be the true happiness. Some try to seek this solace in wine, but the poet says that happiness is not genuine – maybe the sip of the tipple from the eyes of the beloved would bring solace to the restless heart.

The more I listen to these words, the more this song becomes dear to me. I request our more knowledgeable readers and friends who may have seen this film, to please add more information about this film and the picturization of this song.

With this post, we also welcome back to the blog, our dear Nitin ji, after a long gap. We met at the luncheon gangout of Atulites at Sadanand ji’s place (in Bombay) on 3rd May. At that meeting, he had promised to become active once again. During the past four weeks or so, he has been resending lyrics of pending songs from the films of 1950s. From that, I have picked today’s lovely song, to celebrate the centenary celebration for Rajinder Krishan.


Song – Badi Bewafaa Hai, Udti Hawaa Hai (Teerandaaz) (1955) Singers – Lata Mangeshkar, Lyrics – Rajinder Krishan, MD – C Ramchandra

Lyrics (Provided by Nitin Shah)

badi bewafa hai
udti hawa hai
badi bewafa hai
udti hawa hai
ye zindagi saaqia 
aa aa aa aa
aa aa aa
aa aa aa aa aa
aa aa aa aa aa aa
wo duniya kahaan hai
milti jahaan hai
dil ki khushi saaqia 
dil ki khushi saaqia 
aa aa aa aa
aa aa aa
aa aa aa aa aa
aa aa aa aa aa aa

dekha hai hum ne
din raat pii ke
nikle na phir bhi
armaan jee ke
jhoothi hai saaqi
mai ki ye masti
roshan ho kaise
phir dil ki basti
jhoothi hai saaqi
mai ki ye masti
roshan ho kaise
phir dil ki basti
yahaan na wahaan hai
jaane kahaan hai
wo roshni saaqia 
wo roshni saaqia 
aa aa aa aa
aa aa aa
aa aa aa aa aa
aa aa aa aa aa aa
badi bewafa hai
udti hawa hai
yeh zindagi saaqia 

sheeshe mein jo hai
wo to hai naqli
kahaan pe chhupa ke
rakhi hai asli
aankho se apni
ik jaam de de
betaab dil ko
aaraam de de
aankho se apni
ik jaam de de
betaab dil ko
aaraam de de
tadpa rahi hai
rah rah ke dil ki
ye bekali saaqia 
ye bekali saaqia 
aa aa aa aa
aa aa aa
aa aa aa aa aa
aa aa aa aa aa aa

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

बड़ी बेवफा है
उड़ती हवा है
बड़ी बेवफा है
उड़ती हवा है
ये ज़िंदगी साक़ीया
आ आ आ आ
आ आ आ
आ आ आ आ आ
आ आ आ आ आ आ
वो दुनिया कहाँ है
मिलती जहां है
दिल की खुशी साक़ीया
दिल की खुशी साक़ीया
आ आ आ आ
आ आ आ
आ आ आ आ आ
आ आ आ आ आ आ

देखा है हमने
दिन रात पी के
निकले ना फिर भी
अरमान जी के
झूठी है साक़ी
मय की ये मस्ती
रोशन हो कैसे
फिर दिल की बस्ती
झूठी है साक़ी
मय की ये मस्ती
रोशन हो कैसे
फिर दिल की बस्ती
यहाँ ना वहाँ है
जाने कहाँ है
वो रोशनी साक़ीया
वो रोशनी साक़ीया
आ आ आ आ
आ आ आ
आ आ आ आ आ
आ आ आ आ आ आ
बड़ी बेवफा है
उड़ती हवा है
ये ज़िंदगी साक़ीया

शीशे में जो है
वो तो है नक़ली
कहाँ पे छुपा के
रखी है असली
आँखों से अपनी
इक जाम दे दे
बेताब दिल को
आराम दे दे
आँखों से अपनी
इक जाम दे दे
बेताब दिल को
आराम दे दे
तड़पा रही है
रह रह के दिल की
ये बेकली साक़ीया
ये बेकली साक़ीया
आ आ आ आ
आ आ आ
आ आ आ आ आ
आ आ आ आ आ आ


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

Blog Day : 3974 Post No. : 15060

Welcome all to this post of today!!!

Today 5th June is the ‘World Environment Day’ which is celebrated all over the world on 5th June every year. Since 2017, we are trying to connect us with this celebration by posting a song on the blog which comes closer to the theme of the ‘World Environment Day’ of that year. Though, it is more or less difficult that we find any direct song relevant to the theme or subject, our endeavour here is to connect with those songs wherein we have ‘nature-connection’ in them or songs about nature symbols.

Nature, natural environment and nature symbols are very much an integral part of many of Hindi movie songs and where we attach ourselves with different types of feelings and emotions. Some of the greatest songs from Hindi movies comes from these types of songs too.

Also, I would like to mention here that off late we have some Hindi movies coming with the subjects related to pollution, climate change etc. and the general concern towards environment is being highlighted to make people more aware about the environmental related issues.

On the growing pollution and climate change I have written few lines ‘‘आबोहवा’ बदल गयी हैं! ( The ‘Climate’ is ‘changing’ ) six years back. I am reproducing below few lines from it;

फिजां कि बाहों में
अनगिनत जहरीलें ‘वायु’
आज घुल रहे
के हवा भी ‘रंग बदलने’ लगी हैं

This year’s environment day theme is Air Pollution#!!!

It will also be interesting to see how the yearly ‘themes’ of the ‘World Environment Day’ have been since its inception in 1974, and how due to the increasing pollution and effects of climate change we have reached a stage of ‘do or die’ and so the themes are also reflecting it like last year it was ‘Beat Plastic Pollution’ and this year it is ‘Air Pollution’ and the call is to ‘Beat Air Pollution’.

‘Air’ (Vayu, Pawan, Hawaa) as we know is the source of life, we cannot breathe and be alive if there is no ‘air’. ‘Air’ like the other natural resources is ‘God’s gift’ to human kind. If we go the dictionary meaning of air it reads ‘the invisible gaseous substance surrounding the earth, a mixture mainly of oxygen and nitrogen’.  So, may be what we are connecting with in our Hindi movie songs is its various forms i.e. wind, breeze etc.

And though ‘air, wind, breeze’ might be invisible we have a very strong bond with it and in our HFM songs our poets/lyricists have taken liberties to establish a strong relationship with it.

So, we have Gulzar Saab in his own philosophical style saying ‘Hawaaon Pe Likh Do Hawaaon Ke Naam, Hum Anjaan Pardesiyon Ka Salaam’.

When we are in upbeat mood and we have the ‘air in our favour’ we even start imagining that the ‘air’ is ‘singing’ and awakening our dreams … ‘Jhukti Ghataa Gaati Hawaa Sapne Jagaaye’.

And I think that songs like ‘Hawaa Mein Udtaa Jaaye Mora Laal Dupatta Malmal Ka Ho Ji’, ‘Thhandi Hawaa Kaali Ghataa Aa Hi Gayi Jhoomke’, ‘Pawan Deewani’, should fall in this category. . .

Even the wind when it is blowing in its full glory can remind us of someone, someone close or beloved to us …‘Jhoomti Chali Hawaa Yaad Aa Gaya Koyi’

In our movies we have plenty of songs for lovers and of their feelings and emotions, even sometimes they share their secret to the ‘cold breeze’ and invite it to listen to their lovely talks J ‘Sun Ja Aa Thhandi Hawaa’ and also reminding it that it should not be disclosed to anyone other than them. . .

Or somebody separated from his or her beloved can vent his/her feelings in ‘Ye Hawaa Ye Hawaa Ye Hawaa, ‘In Hawaaon Mein In Fizaaon Mein etc.

Actually, for those who are in love we have many many songs for the lovers on either side (male, female 🙂 ), for all types of their moods and emotions depending on the circumstances they are in; ‘Hawaa Ke Saath Saath Ghataa Ke Sang Sang, ‘Sabaa Se Ye Keh Do Ke Kaliyaan Bichhaaye, ‘Thhandi Hawaaein Lehraa Ke Aayen, ‘Ye Hawaa Ye Nadi Ka Kinaara’, ‘Ye Raatein Ye Mausam Nadi Ka Kinaara Ye Chanchal Hawaa, ‘Ye Hawaa Ye Raat Ye Chaandni, ‘Balmaa Khuli Hawaa Mein, ‘Seeli Hawaa Chhoo Gayi’, ‘Saawan Ka Maheena Pawan Kare Sor etc.

Someone alone can even see a true friend and companion in the ‘breeze’ and sing ‘Sun Ri Pawan Pawan Purvaiyya,

We have songs where an individual is thinking of himself as form of ‘blowing wind’ ‘Main Hoon Ek Hawaa Ka Jhonka, ‘Main Jhonka Mast Hawaa Ka’, ‘. . .Ban Ke Hawaa Ka Jhonka, Main Nikal Jaaunga. . .‘. 

We even proudly speak of the eastern winds blowing in our country when we sing ‘Mere Desh Mein Pawan Chaley Purwaayi’, or when we speak about our revered river Ganga – ‘Machalti Huyi Hawaa Mein Chham Chham Hamaare Sang Sang Chaley Ganga Ki Lehren’,

And then we have some semi-philosophical songs like ‘Ae Ri Pawan Dhoondhe Kise Tera Mann’, ‘Thhandi Hawaa Ye Chaandni Suhaani Aye Mere Dil Sunaa Koi Kahaani’, ‘Chaley Pawan Ki Chaal’, or when we have turbulence in society our poets penned their thoughts by writing like ‘Aaj Hawaaon Mein Bhi Zehar Hai’ and looking for the ‘winds of change’ in the society.

And some of longing for the ‘. . .Fursat Ke Raat Din’ cannot forget ‘Ya Garmiyon Ki Raat Jo Purwaayiyaan Chalen’. . .

I would also like to mention here these songs ‘O Basanti Pawan Paagal’, and ‘O Pawan Veg Se Udne Waale Ghode , where the ‘pawan’ is invoked with special purpose and to relate ‘speed’ respectively.

Finally, coming to one of the best ‘lullaby songs’ and my favourites in this genre, where a mother is requesting the ‘wind’ or ‘hawaa’ to flow slowly as her child is sleeping … ‘Nanhi Kali Sone Chali Hawaa Dheere Aana’, or even take this lullaby for their male counterparts 🙂  respectively – ‘O Ri Hawaa Dheere Se Chal Sotaa Hai Munna Hamaara’.

And after a sound night sleep the ‘air’ can elevate our mood when we wake up next morning by singing a beautiful ‘prabhaati’ – Hawaa Ye Prabhati Sunaaye

There may be many other songs which I may not have mentioned above and still could be very much relevant to the subject, but then we have to stop, think, ponder and enjoy the today’s song too …

But before that, when we thank God for his bountiful gift to us and this beautiful nature we have to keep asking and seeking answer for ‘Hawaa Chale Jaisebecause He is the creator who only has the answer 🙂 .

For today’s post I am sharing a Non-Filmy song from the album ‘Karadi Katha – Bandar Bindaas Bandar’.

This album was published by ‘Times Music’ in the year 2000 and which I added to my collection on 11.06.2000 (the day 11th June being a special one for us). We were staying at Bareilly then.

This album, though having all children songs, is one of my all-time favourite albums because all the lyrics for this album are penned by Gulzar Saab. Music is composed by ‘3 Brothers & A Violin’.

The list of singers includes some of our greatest singers, lending their voices to the songs in this album – we have Anuradha Sriram, Aditya Narayan, Bhupinder Singh, Hamsika Kishore, Manna Dey, Sanjeevani Bhelande, Shankar Mahadevan, SP Balsubramanyam, Udit Narayan, and child artists Madhumita Birukar, Sneha Tatapudy, Sruthi Sundaram, Sumitra Tatapudy, Vallari Shah and Vidya Sundaram as singers.

Gulzar Saab has given a brief narration before each song and that is just fascinating and it takes us to an altogether different land of animals and forests. And come to think of ‘pure air’, now the forests are the only place remaining where we can get ‘air’ in its pure, clean and natural form (if I am correct). . .

Today’s song is sung by Shankar Mahadevan and child artists have provided the chorus.

(When I was looking for a song for this post and asked suggestions from my family members, the suggestion for this song came from younger daughter and I immediately decided to pick this song for this today’s post)

Let us now enjoy this beautiful song and enjoy the ‘gifts of nature’ and let us take care & control of our ‘emissions’ and ‘pollutants’, and let us pray that we have a ‘natural, pure, hygienic and pollution free’ – ‘Air’ in the future for all of us and the generations coming…


Song – Shabnami Si Hawa Hai, Ud Ke Dekhen To Kya Hai (NFS – Shankar Mahadevn) (2000) Singer – Shankar Mahadevan, Lyrics – Gulzar, MD – 3 Brothers & A Violin
Chorus

Lyrics

(Narration by Gulzar Saab)

Jungle mein bhi aise hi mausam aate hai jaise sheharon mein. Sheharon mein monsoon aata hai, baarish hoti hai to aap log rain-coat pahan lete hai. Jaanwar nahin pahante. Jo darte hai chhup jaate hai gufaaon mein. Aur jinhe achchhi lagti hai baarish, wo baahar aakar khelne lagte hai.
Koyal chahakne lagti hai, papeeha pihu-pihu karne lagta hai.
Garmiyon mein nadi sukhne lagti hai. To unhe paani ki taqleef to hoti hai. Nal to hai nahin ki kholen. Bathroom bhi nahin hai. Nadi sukhi ho to kayi kayi din nahaate bhi nahin. Phir patjhad aa jaati hai, patte girne lagte hai, ped sukh jaate hai, aur baithhne ke liye chhaaon bhi nahin milti unhe.
Phir bahaar aati hai. Sarson phoolti hai. Titliyaan udne lagti hai. Bulbul bolne lagti hai. Mujhe to jungle ke saare mausam achchhe lagte hai.

Lekin sabse achchha lagta hai bahaar ka mausam. Seeli seeli ghaas par shabnami si hawaa, jab udti hai to waah kya baat hai

 

hurraah
hurraah

hurraah
hurraah

hurraah
hurraah

hurraah
hurraah

shabnami si hawaa hai
ud ke dekhen to kya hai
sabzaa behne lagaa hai
shayad aayi hai bahaar

huraah
huraah

shabnami si hawaa hai
ud ke dekhen to kya hai
sabzaa behne lagaa hai
shayad aayi hai bahaar

huraah
huraah

sa ga pa ma ga ma ga re
sa ga re ma ga
sa ga pa ma ga ma ga re
sa ga re ma ga
sa ga pa ma ga ma ga re
sa ga re ma ga
sa ga pa ma ga ma ga re
sa ga re ma ga
sa ga pa ma ga ma ga re
sa ga re ma ga
sa ga pa ma ga ma ga re
sa ga re ma ga
sa ga pa ma ga ma ga re
sa ga re ma ga aa

kal parson se
peeli peeli
sarson phool rahi hai
baat baat pe
pankh pasaare
bulbul jhool rahi hai
kal parson se
peeli peeli
sarson phool rahi hai
baat baat pe
pankh pasaare
bulbul jhool rahi hai
shabnami si hawaa hai
ud ke dekhen to kya hai
sabzaa behne lagaa hai
shayad aayi hai bahaar
huraah
huraah

de re na aa aa aa aa
re ae
sar pe chadh ke
palm ke patte
haath hilaate hain
koyi mehmaan
hoga shaayad
paas bulaate hai
sar pe chadhke
palm ke patte
haath hilaate hai
koyi mehmaan
hoga shayad
paas bulaate hai
ho shabnami si hawaa hai
ud ke dekhen to kya hai
sabzaa behne lagaa hai
shayad aayi hai bahaar
huraah
huraah

phir aamon par
baur aaya hai
naachne mor aaya hai
phool saje hai
ghar mein rehne koyi aur aaya hai
phir aamon par
baur aaya hai
naachne mor aaya hai
phool saje hai
ghar mein rehne
koyi aur aaya hai
shabnami si hawaa hai
ud ke dekhe to kya hai
sabzaa behne lagaa hai
shayad …

aayi hai bahaar
aayi aayi hai bahaar
aayi hai bahaar
aaayi aayi hai bahaar

(aa aa aa aa …. )

aayi hai bahaar
aaayi aayi hai bahaar
aayi hai bahaar
aaayi aayi hai bahaar
aayi hai bahaar
aaayi aayi hai bahaar
aayi hai bahaar
aayi aayi hai bahaar

———————————————————-
Hindi script lyrics (Provided by Avinash Scrapvaala)
———————————————————-

(गुलज़ार द्वारा कथन –

“जंगल में भी ऐसे ही मौसम आते है जैसे शहरों में. शहरों में मानसून आता है, बारिश होती है तो आप लोग रेन-कोट पहन लेते है. जानवर नहीं पहनते. जो डरते है छुप जाते है गुफाओं में. और जिन्हें अच्छी लगती है बारिश, वो बाहर आकर खेलने लगते है.
कोयल चहकने लगती है, पपीहा पिहू-पिहू करने लगता है.
गर्मियों में नदी सूखने लगती है. तो उन्हें पानी कि तकलीफ तो होती है. नल तो है नहीं के खोलें.
बाथरूम भी नहीं है. नदी सुखी हो तो कई कई दिन नहाते भी नहीं.
फिर पतझड़ आ जाती है, पत्ते गिरने लगते है, पेड़ सुख जाते है, और बैठने के लिए छाँव भी नहीं मिलती उन्हें.
फिर बहार आती है. सरसों फूलती है. तितलियाँ उड़ने लगती है. बुलबुल बोलने लगती है. मुझे तो जंगल के सारे मौसम अच्छे लगते है.

लेकिन सबसे अच्छा लगता है बहार का मौसम. सिली सिली घास पर शबनमी सी हवा, जब उडती है तो वाह, क्या बात है. . . )

हूर्रा:
हूर्रा:

हूर्रा:
हूर्रा:

हूर्रा:
हूर्रा:

हूर्रा:
हूर्रा:

शबनमी सी हवा है
उड़ के देखें तो क्या है
सब्ज़ा बहने लगा है
शायद आई है बहार
हूर्रा:
हूर्रा:

शबनमी सी हवा है
उड़ के देखें तो क्या है
सब्ज़ा बहने लगा है
शायद आई है बहार
हूर्रा:
हूर्रा:

सा गा प् म ग म ग रे
सा ग रे म गा
सा गा प् म ग म ग रे
सा ग रे म गा
सा गा प् म ग म ग रे
सा ग रे म गा
सा गा प् म ग म ग रे
सा ग रे म गा
सा गा प् म ग म ग रे
सा ग रे म गा
सा गा प् म ग म ग रे
सा ग रे म गा
सा गा प् म ग म ग रे
सा ग रे म गा

कल परसों से
पीली पीली
सरसों फूल रही है
बात बात पे
पंख पसारे
बुलबुल झूल रही है
कल परसों से
पीली पीली
सरसों फूल रही है
बात बात पे
पंख पसारे
बुलबुल झूल रही है
शबनमी सी हवा है
उड़ के देखें तो क्या है
सब्ज़ा बहने लगा है
शायद आई है बहार
हूर्रा:
हूर्रा:

दे रे ना आ आ आ आ आ °°°
रे ए °°° °°°

सर पे चढ़के
पाम के पत्ते
हाथ हिलाते है
कोई मेहमान
होगा शायद
पास बुलाते हैं
सर पे चढ़के
पाम के पत्ते
हाथ हिलाते है
कोई मेहमान
होगा शायद
पास बुलाते हैं
हो शबनमी सी हवा है
उड़ के देखें तो क्या है
सब्ज़ा बहने लगा है
शायद आई है बहार
हूर्रा:
हूर्रा:

फिर आमों पर
बौर आया है
नाचने मोर आया है
फूल सजे है
घर में रहने
कोई और आया है
फिर आमों पर बौर आया है
नाचने मोर आया है
फूल सजे है
घर में रहने कोई और आया है
शबनमी सी हवा है
उड़ के देखें तो क्या है
सब्ज़ा बहने लगा है
शायद …

आई है बहार
आई आई है बहार
आई है बहार
आई आई है बहार

(आ आ आ °°° °°°°°° °°°

आई है बहार
आई आई है बहार
आई है बहार
आई आई है बहार
आई है बहार
आई आई है बहार
आई है बहार
आई आई है बहार


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

Blog Day : 3973 Post No. : 15059

Today’s song is from the film Aabshaar aka Waterfall-1953.

To me, songs from the fifty’s decade work like a breeze of fresh air or a cup of hot filter coffee. Discussing songs from the 30s and the 40s continuously gives me a feeling of being a very old man which, actually, I am ! But then, being so and feeling so, are two different things. Toying with a song from the 50s takes me back to my college days. If the song is of Kishore, Sugar gets added to the Coffee further.

Listening to songs of Kishore Kumar from his early years is truly a feast. His song from film ‘Aandolan’-1951 is my eternal favourite. Many times, when I am in a depression, tension, sad mood or simply bored, I like to listen to Vintage songs of Kishore Kumar. For this purpose I have his songs on my Mobile phone itself. His early film songs like Funtoosh, Bahaar, Paying Guest, New Delhi, Begunah etc are unparallelled. In fact, I had run a series of 21 songs under the title ” Vintage Kishore ” from 17-12-2013 to 18-1-2014, on this Blog.

Film Aabshaar-53 was made by Globe Pictures and was produced and directed by Hasrat Lucknowi. When the film’s shooting started, Ghulam Hyder was the composer. He recorded 3 songs of Pakistani singer Munawar Sultana. After partition GH used to come to India to compose music to films, and at the same time, he would compose for Pakistani films too. However, his films like Shahida-49, Beqasoor-50,Akeli-51 and Bheegi Palken-52 were all flops.

While doing music of Aabshaar in India, he was also doing film Gulnar of Pakistan. Meanwhile his health worsened and he abandoned film Aabshaar and left for Pakistan to complete Gulnar. Film Gulnar was released on 2-11-1953 and Ghulam Hyder died on 9-11-1953 !

After he left, the film was given to Bhola Shreshtha and Mohd. Shafi. Bhola composed 3 songs and Shafi did 2 songs, which included today’s Kishore song. His other song was by Asha Bhosle. Besides all this jhamela in Music, film Aabshaarearned a place in Hindi Film History, for being the First ever film to start the system of ” Guest artistes”, mentioned in credits. Film Aabshaar had the cast of Nimmi, Raaj Kumar, Lalita Pawar, kuldip Kaur, Iftikhar, Tiwari and others. It had Guest artistes- AshokKumar, Shyama, Om Prakash and Nigar Sultana. The film was released in Minerva Theatre on 2-10-1953.

The Hero, Raaj kumar was still a novice, this film being onlynhis third film. he started with Rangeeli-52, then came Anmol Sahara-52 and now this film. He was kulbhushan Pandit in real life. Before coming to films, he was a Police Inspector in Bombay police force. It is believed that he was removed from Police force because a criminal died during his investigation by Raaj Kumar.

RAAJ KUMAR ( 8-10-1926 to 3-7-1996 ) – the dashing Hero known for his Dialoguebazi. In Hindi cinema after Sohrab Modi,it was Raaj kumar whose dialogues were popular. He was famous for his favourite word ” Jaani “. The other day,while going through the discussions on RMIM group of Google I found an interesting question,” Why Raaj kumar is called Jaani,when he never used this word in his film dialogues ? “. On checking thoroughly,one found that it was only in the film Saudagar and Tiranga,Raajkumar had used the word Jaani ,only once each. Thats all.
Then why this word became his identity ? The answer is this word was used by Raajkumar in private conversations and interviews very frequently,that is why !

Raaj Kumar was Extra ordinary, in the sense that most of the time he behaved unlike other stars.

He kept his personal life in close wraps. He believed in keeping personal and professional lives separate. He sent his children to Boarding schools to keep them away from films,to get the best education,and not to become like other star children.
He had built a bungalow on Worli sea face and no one except his family was ever allowed inside. Whenever he left for work,a bunch of high pedigreed Dogs used to see him off till the Gate and welcome him on his arrival. He loved his Dogs very much. He used to say ” Insan kutta ban sakta hai lekin kutta Insaan nahi ban sakta. Ye bahot achhi baat hai.”

In any Filmi party, he used to carry his own bottles. He never ever asked any special favours or concessions from any Producer. He was very punctual and one hour afternoon siesta was a must every day. This used to be one of the conditions in his work contracts with the producers. His name was never involved with any actress.

Raajkumar acted in 73 films from Rangilee-52 to God and Gun-1995.

The cast of film Aabshaar-53 was a mix of old fading artistes and new generation stars. one of them was the daredevil Kuldip Kaur. She was born sometime in 1927 and brought up like a princess. Her spoiled Sardar husband wanted his wife to be like a modern westernized lady. He wanted his wife to learn swimming and rub shoulders with the club-going English elite based in Lahore and Amritsar.Once exposed to the club culture, Kuldip Kaur also started getting a taste of its dark side.

Since Lahore was a film city, Kuldip Kaur started dreaming about becoming a film actress. According to one story, Kuldip Kaur started admiring the professional qualities of actor Pran Nath, who was in film acting in Lahore since 1940, when he successfully performed the role of a hero in Punjabi film “Yamla Jutt” (The Simple Peasant).

By July and August of 1947, communal violence erupted into a full-fledged exercise in ethnic cleansing, with Muslims on one side and Sikhs and Hindus on the other. Both Lahore and Amritsar were engulfed in the worst sectarian violence in recent history.
Both Pran and Kuldip Kaur were made to leave Lahore in a jiffy, leaving virtually every belonging behind. Her own village being right on the border was also not peaceful. So Kuldip Kaur left straight for Bombay. According to one story, in order to impress Pran, Kuldip Kaur
decided to bring Pran’s stranded car from Lahore to Bombay. In a gesture of unprecedented daredevilry, she travelled from the safety of Amritsar to Lahore and drove Pran’s car first to Amritsar and then all the way to Bombay, where she handed over
the keys to a surprised but grateful Pran.

After leaving for Bombay, Kuldip Kaur’s contact with her parents and in-laws got diminished. On arrival in Bombay, Kuldip Kaur made up her mind to plunge headlong into the film industry. She was prepared to act in Hindi/Urdu as well as Punjabi films. The experts of film industry were of the opinion that her large piercing eyes and her flat chin made her an ideal choice for the role of a vamp.

The first ranking heroines of the time included Naseem Bano, Madhubala, Nargis, Suraiya and Nutan. Other heroines included Binarai, Shyama, Nimmi, Nirupa Roy, Meena Shori, Nigar Sultana, Veena and Kamini Kaushal. There was a shortage of ladies willing to perform the role of vamps.
One of Kuldip Kaur’s first films was a Punjabi blockbuster “Chaman” (1948). Within the same year Kuldip Kaur acted in two Hindi/Urdu films “Ziddi” and “Grahasthi“. All her 1948 films did well. After that she never looked back and went from strength to strength. At one stage Kuldip
Kaur was so busy in her film roles that for a long duration she did not visit Punjab.

In 1949, Kuldip Kaur worked in at least two films “Ek Thi Ladki” and “Kaneez”. “Ek Thi Ladki” was a blockbuster. Music Director Vinod composed some great tunes for this movie. “Kaneez” did not do too well.In 1950, Kuldip Kaur acted in two great musical Hindi movies “Samadhi” and “Adhi Raat” and did two Punjabi movies “Madaari” and “Chhai”. 1951 was a great year for her: she played the roles of vamps in six movies – “Stage”, “Rajput”, “Nai Zindagi”, “Ek Nazar”, “Afsana” and “Mukhra”. Her role in film “Afsana” received critical acclaim.

1952 was another great year for Kuldip Kaur. She worked in four movies – “Shisham”, “Nau Bahar”, “Baiju Bawra” and “Anjaam”. Again her role was highly praised in what became an all-time classic, “Baiju Bawra”. In 1953 again, Kuldip Kaur had four films – “Mashooka”, “Baaz”, “Anarkali” and “Aabshar”. Of these, “Anarkali” was a super hit and her role stole the limelight. 1954 proved another great year. She was featured in three movies – “Lal Pari”, “Gul Bahar” and “Daak Babu”. 1955 was one of her busiest professional years. She played the bad girl’s role in “Teer Andaz”, “Miss Coca Cola”, “Mast Qalandar” and “Jashan”.

In 1956, things slowed down a bit. She worked in two films, but none was released. Two of Kuldip Kaur starrers spilled over into the new year and were released in 1957. These were “Sheroo” and “Ek Saal”. In 1958 Kuldip Kaur had her roles in two films “Sahara” and “Panchyat”. In 1959, she did three films – “Pyaar Ka Rishta”, “Mohar” and “Jagir”. Out of these, one film, “Mohar,” was a great musical. Its music composed by Madan Mohan was simply outstanding. When Kuldip had fewer Hindi films in hand, she worked in Punjabi films.
1960 started as a reasonably good year for Kuldip Kaur. She had a Hindi film, “Maa Baap,” and a Punjabi film, “Yamla Jutt”.But during this very year, her life was cut short when she got some thorns in her feet and legs and she pulled those out by herself. True to her character of a daredevil woman, she did not seek medical advice immediately. Her sores became not only septic, but she contracted tetanus too, which was then incurable.

Kuldip Kaur died on 3rd February 1960. She worked in 69 films. ( adapted, with thanks, from apna.org )

Everything about this film seems to be special, including 3 MDs. Today’s song is composed by Mohd. Shafi. His name may not be very well known because mostly he worked behind the scene in helping Naushad in composing music. However, he too gave music to some films. Composer Mohd. Shafi ( 25-12-1925 to 30-4-1980 ) was one of those talented artistes of Hindi Film Music who was only used by others and never got enough credit for his work.He is honoured as “The original Arranger” in the industry.He was an excellent Sitar player. He started with Imperial Film company-where he played Bulbul Tarang. In 1937 he went to Calcutta, joined New Theatres and played Sitar in films Kapal Kundala-39 and Aandhi-40, as an assistant to Pankaj Mullick and K.C.Dey. He played sitar in film “Ujala”-42. In this film, the Hero-Prithviraj kapoor was shown as a Sitar player, hence the expertise of Shafi was fully utilised in this film.

Starting with film ‘Haqdaar’-46, he gave music to 19 Hindi films and 2 Marathi films. He worked with Naushad, as his assistant and Arranger, for 14 years.He was considered a ‘Dada’ in Background music.He gave Back ground music to about 70 films( for Naushad and others). For Mughal E Azam, K. Asif used to send his personal car to fetch him to studio. It was Shafi who gave the first break to Suman Hemmadi(Kalyanpur) in Mangu-54 and Hemlata in unreleased film Iraada.

Shafi had bought his first car when he was just 15 year old. He had a posh flat in Shivaji Park area of Dadar in Bombay. In the end , everything was gone. He had helped the families of Shakeel Badayuni and Ghulam Mohammed after their deaths. However in his last difficult days , except Rafi, no one came for his help. In the final few months, his memory had gone. His Begum ruefully said,” Good that he does not remember anything. All took his advantage and gave him nothing. There were more things to forget than to remember ! ”

It is said that the entire music of Sohni Mahiwal-58 was done by him. Naushad was sick during this period and did not attend even one recording. “Do hanson ka joda”and “Dhoondho dhoondho re saajna” Gunga Jamuna-61 were his creations. He used to give tunes to many composers too-whoever asked for help.

Let us now enjoy the song sung by Kishore Kumar, a couple of unidentified male voices and chorus.


Song-Yeh duniya suit boot ki baabu (Aabshaar)(1953) Singers- Kishore Kumar, Male voice 1, male voice 2, Lyrics- Wahid Qureshi, MD- Mohd. Shafi
chorus
All

Lyrics

hooba hooba
looba looba
hingi cheeka
dooba dooba
pudra wata
pudrwati
cheeka bum
daa dru
jhingarwa jhingarwa
jhingar po o

ye duniyaa suit boot ki baabu
kara lo boot polish
kara lo boot polish
ho babu ji
suited booted
suited booted
suited booted

ho
ye duniyaa suit boot ki baabu
kara lo boot polish
kara lo boot polish
ho babu ji
suited booted
suited booted
suited booted

ho

kiya tha matric jab paas
bandhi thi kaisi kaisi aas
bandhi thi kaisi kaisi aas
banengen deputy collector
police inspector
writer actor music directar
bus conductor
tinak tin dhaagi
tinka tin dhaagi
tinak tin aa

chop
chop
chop

arre kaahe khaali peeli bom maarta hai re bhaai
kaahe ko khaali peeli bom maartaa hai ae ae
bom maarta hai
kaahe ko rota hai
arre bom maarta hai
kaahe ko rota hai

wahi hota hai
jo manzoor e khuda hota hai

wahi hota hai
jo manzoor e khuda hota hai

bom maarta hai
kaahe ko rota hai

o o o
bom maarta hai
kaahe ko rota hai

kahat kabir suno bhai saadhu
lo himmat se kaam

ho bhaiya lo himmat se kaam
usi haal mein khush raho bhaiyya
jaa mein raakhe raam

ho bhaiyyaa
jaa mein raakhe raam

raam naam hi sat hai pyaare
baaki dholam pol

sat vachan aahe
jis dharti par basti duniya
wo dharti hai gol
wo dharti hai gol

isi liye to kaha thha bhaiyya
kya kahaa thhaa

gol
gol
are duniyaa ka har anda gol
dhagita dhagita dhit
dhagita

roti gol
paratha gol
chaklaka chaklaka chaklaka
are paisa gol
rupaiya gol
dhritagida dhirtaagida
arre suraj gol aur chanda gol
jis polish se chamak damak hai
ae ae

jis polish se chamak damak hai
us polish ki dabbi gol
dabba gol
duniyaa gol
polam gol
kara lo boot polish
kara lo boot polish
ho babu ji
suited booted
suited booted
suited booted
ho
ho suited booted
suited booted
suited booted
ho

hoy
chakalaka lakalaka lakalaka lakalaka
pikchak pikchak pikchak
hey
lakalakalakalakalakalaka
ahaahaahaahaahaaha
ahaahaahaahaaha


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 : 3972 Post No. : 15058

———————————————–——————————————
Blog 10-Year Challenge (2009-19) – Song No. 34
——————————————————————————————

Ten years back, 3rd June, 2009, five songs and five films. The films are,

Shart 1954
Return of Mr Superman 1960
Ganga Jamuna 1961
Khoj 1971
Ek Baar Muskura Do 1972

The film ‘Shart’ from 1954 made its debut on the blog with the iconic “Naa Ye Chaand Hogaa Na Taare Rahenge”. In terms of completion, the films ‘Shart’ and ‘Ganga Jamuna’ have been yippeee’d already. The remaining songs of the rest of the three films are waiting in the wings.

Coming of 1960s also saw the waning of the career of music director Anil Biswas. Active in the industry since 1935, Anil Biswas has made a very significant and a lasting contribution to the music of Hindi cinema. A trendsetter in many ways, Anil Da has also been responsible to introduce and groom some of the finest singing voices in the industry.

After two and half decades, in the beginning of 1960s, his body of work was reduced to just a trickle. In 1961, he directs the music for ‘Lucky Number’; in 1962, it is ‘Sautela Bhai’; and after many delays, ‘Chhoti Chhoti Baaten’ finally got released in 1965.  And it turns out to be his last film in the industry. He had actually moved to Delhi already, during this time frame (March of 1963) and was working at the All India Radio as the director of the National Orchestra and Chief Producer of the program ‘Sugam Sangeet’.

Today, we revisit one of his lesser known films – ‘Return of Mr Superman’ from 1960. The song is a mujra performance, presented on screen by Heera Sawant. I hope I am correctly identifying the main dancer in this clip. I request other knowledgeable readers and friends to please confirm or correct me. There are other actors in the audience that can be identified. We can clearly make out David and Rajan Haksar. There is another gentleman with ruffled hair and a large round eyes. I request the readers and friends to please help put a name to this face. Also, there is a trio of supporting singers on screen, who lip sync the chorus lines. Again, the request is to help identify these ladies.
[Ed Note: Prakash ji has identified the “. . .gentleman with ruffled hair and a large round eyes.” as Jagdish Kanwal. Thanks Prakash ji.]

The film is produced and directed by Manmohan Sabir, for his home banner – Manmohan Pictures, Bombay. The film has seven songs listed in the Geet Kosh, written by four songwriters – Anand Bakshi, Kaif Irfani, Manmohan Sabir, and PL Santoshi. This song is written by Manmohan Sabir. The music, of course, is by Anil Biswas.

The cast of the film is listed as Jairaj, Sheela Ramani, Helen, David, Naazi, Majnu, Shammi, Ram Mohan, Rajan Haksar, Jagdish Kanwal, Heera Sawant, Nazeer Kashmiri, Mohinder, Saleem Raza, Robert, Gulab, Ramesh, Arvind, Harun, Master Naveen, Krishna, and Funny Walker.

There is one interesting discussion that we have had earlier on this blog, relating to one song purportedly from this film. The song is “Stella O Stella O Stella”. The curiosity about this song is that it has also appeared earlier in the film ‘Chaar Dil Chaar Raahen’ from 1959. This earlier film also has music directed by Anil Biswas. On our blog, it so happens that this song, as it appears in ‘Return of Mr Superman’ is already posted; and the same song as it appears in ‘Chaar Dil Chaar Raahen’ has not yet been posted.

I would like to bring to the notice of interested readers, the fact that this song does NOT appear in the list of songs given in Geet Kosh for the film ‘Return of Mr Superman’. The original song, as appearing in ‘Chaar Dil Chaar Raahen’, written by Sahir Sb, is the correct attribution of this song. The appearance in the later film ‘Return of Mr Superman’ is simply a repeat use, probably inserted at a short notice to fill a certain scenario. The song certainly does not belong to this later film.

Coming back to the song for today – as one listens carefully, one realizes that this is actually a ghazal that has been presented as a mujra. An interesting variation. I am sure we will find more such instances, if we start looking carefully. Earlier, we have identified a couple of ghazals that has been presented as qawwaalis (and I am sure there are more of such instances also). So now we have another variation – I am sure we will find more cases of a ghazal presented as a mujra. As one listens to the wordings, it is really a very endearing expression –

dil to tujh ko de diya, ab jaan bhi de denge hum
jaan lene se na ab, ae jaan e mann ghabraaiye

So, remembering Anil Biswas – his rememberance day was 31st May, just three days ago. Getting on to another 10 year connect. And getting to listen to this wonderful mujra. . .

Editor note-With this song, Meena Kapoor completes 100th song as a singer in the blog.

Song – Dil Milaate Jaaiye Nazren Milaate Jaaiye (Return of Mr Superman) (1960) Singer – Meena Kapoor, Lyrics – Manmohan Sabir, MD – Anil Biswas
Chorus

Lyrics

dil milaate jaaiye..ae..ae
nazren milaate jaaiye
dil milaate jaaiye
nazren milaate jaaiye
ik nazar ae meharbaan
ab aur na tarsaaiye
ik nazar ae meharbaan
ab aur na tarsaaiye

haaye na tarsaaiye
ab aur na tarsaaiye
dil milaate jaaiye
nazren milaate jaaiye
dil milaate jaaiye
nazren milaate jaaiye

aap ka parda rahe aur
hum ko ho deedaar e yaar
aaaa aaaa aaaa aaaa
bach ke duniya ki nazar se
ae ji khwaab mein aa jaaiye
bach ke duniya ki nazar se
khwaab mein aa jaaiye
khwaab mein aa jaaiye
khwaab mein aa jaaiye
dil milaate jaaiye
nazren milaate jaaiye
dil milaate jaaiye
nazren milaate jaaiye

gair ki mehfil mein hum se
parda-daari kis liye
haaan aaaa aaaa aaaa
hum tumhaare hain
tumhaare
tumhaa..are
ae ji hum se na sharmaaiye
hum tumhaare hain
tumhaare
hum se na sharmaaiye
hum se na sharmaaiye ji 
hum se na sharmaaiye
dil milaate jaaiye
nazren milaate jaaiye
dil milaate jaaiye
nazren milaate jaaiye

dil to tujh ko de diya
ho oo oo oo oo
dil to tujh ko de diya
ab jaan bhi de denge hum
haaan aaa aaa aaa aaaa
jaan lene se na ab
ae jaan e mann ghabraaiye
jaan lene se na ab
ae jaan e mann ghabraaiye
jaan e mann ghabraaiye
ji jaan e mann ghabraaiye
dil milaate jaaiye
nazren milaate jaaiye
ik nazar ae meharbaan
ab aur na tarsaaiye
dil milaate jaaiye
nazren milaate jaaiye

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

दिल मिलाते जाइए॰॰ए॰॰ए
नज़रें मिलाते जाइए
दिल मिलाते जाइए
नज़रें मिलाते जाइए
इक नज़र ए मेहरबान
अब और ना तरसाइए
इक नज़र ए मेहरबान
अब और ना तरसाइए

हाए ना तरसाइए
अब और ना तरसाइए
दिल मिलाते जाइए
नज़रें मिलाते जाइए
दिल मिलाते जाइए
नज़रें मिलाते जाइए

आप का पर्दा रहे और
हमको हो दीदार ए यार
आ आ आ आ
बच के दुनिया की नज़र से
ए जी ख्वाब में आ जाइए
बच के दुनिया की नज़र से
ख्वाब में आ जाइए
ख्वाब में आ जाइए
ख्वाब में आ जाइए
दिल मिलाते जाइए
नज़रें मिलाते जाइए
दिल मिलाते जाइए
नज़रें मिलाते जाइए

गैर की महफिल में हमसे
पर्दादारी किस लिए
हाँ आ आ आ आ
हम तुम्हारे हैं
तुम्हारे
तुम्हा॰॰आरे
ए जी हम से ना शर्माइए
हम तुम्हारे हैं
तुम्हारे
हम से ना शर्माइए
हम से ना शर्माइए
जी हम से ना शर्माइए
दिल मिलाते जाइए
नज़रें मिलाते जाइए
दिल मिलाते जाइए
नज़रें मिलाते जाइए

दिल तो तुझको दे दिया
हो ओ ओ ओ ओ
दिल तो तुझको दे दिया
अब जान भी दे देंगे हम
जान लेने से ना अब
ए जान ए मन घबराइए
जान लेने से ना अब
ए जान ए मन घबराइए
जान ए मन घबराइए
जी जान ए मन घबराइए
दिल मिलाते जाइए
नज़रें मिलाते जाइए
इक नज़र ए मेहरबान
अब और ना तरसाइए
दिल मिलाते जाइए
नज़रें मिलाते जाइए


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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 TEN years. This blog has over 15000 song posts by now.

This blog is active and online for over 3900 days since its beginning on 19 july 2008.

Total number of songs posts discussed

15070

Number of movies covered in the blog

Movies with all their songs covered =1171
Total Number of movies covered =4135

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