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 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 :

5186 Post No. : 17165 Movie Count :

4623

Today’s song is from the film Nadi Kinare-1939. The film was released in Pathe Theatre of Bombay on 10-11-1939.

The year 1939 was a landmark year in the history of the world.

The year was 1939 and the British Government had declared war against Germany and Japan, as soon as the WW II began. All countries ruled by Britain were – willingly or unwillingly, drawn into the war efforts and its effects. The war began in the month of September and soon various restrictions came into operation – like rationing, blackouts, shortages etc. The film industry which was still under its development stage suffered. It also realised the importance of remaining united as one industry. However, all that came after 1 or 2 years. In 1939 there was not much effect seen on the film industry.

The industry had its own problems. In spite of the playback system in operation, their problem was that because there was no technique of recording from the film negative yet, the singers had to sing twice. Once for the actual film shooting of the song, and later, with the same set of orchestra, for commercial records. Sometimes, the original singer was not available due to any reason, some other singer had to sing for commercial records. Thus we have many such examples, where the singer in the film song and the record is different. However, this problem continued only till mid 50’s when the Tape and the required technique became available. With just one time recording, the film and commercial recording were taken care of.

Khemchand Prakash. K.Datta (Datta Koregaonkar), Rafiq Ghaznavi and Anupam Ghatak made their Debut as Music Directors. Kavi Pradeep wrote his first film song for film Kangan. In 1939, 2 most Unusual songs were presented, for the first time ( and this record is not yet broken even after more than 80 years.). One was a Multi-Lingual song from film Aadmi-39, a film by Prabhat….Kis liye kal ki baat. This song was in Hindi, Urdu, Punjabi, Gujarati, Bangla, Tamil and Telugu. ( In its Marathi film version-” माणूस “, this song was only in one language-Marathi.) Different Lyricists and MDs were used for each language. The song became very popular.

Second unusual song was from film ‘ Ghareeb ka Laal’-1939. The song lyrics had the names of 32 artistes, operating in Hindi films that time. Top Heroes and Heroines were mentioned in this song. The beginning of the song was ” Tuze Bibbo kahoon ya Sulochana, Uma shashi kahoon ki Jamuna “. This song was sung by the comedian Mirza Musharraf. In later years many songs with film artistes’ names came but none had so many names. Thus this record is still unbroken, in case of both songs.

Besides these songs, let us quickly take a look at some films of 1939….

Aadmi – Prabhat’s hit film, a remake of the Marathi film ” माणूस “. It had some good songs by Shanta Hublikar, Sundarabai Jadhav and Ram Marathe.

Adhuri Kahani – a trend of Tragedy films set by the effect of film ‘Devdas’. All the 3 main characters of this film commit suicide in the end.

Badi Didi – A New Theatres film.

Brandy ki Botal – Master Vinayak’s comedy remake of Marathi film ‘ ब्रॅंडीची बाटली ‘.

Dil hi to hai – Debut of Kidar Sharma as a Director and Ramola as a Heroine in a Hindi film.

Dushman – New Theatres’ film of Saigal, with only his 4 songs.

Ek hi Raasta – Sagar presents first film with 3 Heroes in one film.

Ghazi Salauddin – Debut of Khemchand Prakash as M.D.

Hukum ka Ikka – First film with a Triple role by Umakant Desai ( who later specialised as Lakshman in 7 films, including Ramrajya-43).

Imaandaar – Debut of actress Shamim Akhtar.

India in Africa – This was the First Hindi film to be shot abroad (in Africa). The Hero B. Nandrekar had also gone to Africa for its shooting. Naaz-54 was not the first such film, though HFGK mentions it so.( Ref – pp 69, Maharashtra-The Birthplace of Indian cinema by Isak Mujawar)

Kangan – First of the 4 Hit films of Ashok Kumar and Leela Chitnis, made by Bombay Talkies. Kavi Pradeep’s Debut as a Lyricist in this film.

Kapal kundala – New Theatres. Pankaj Mullick’s hit song ‘ Piya milan ko jaana ‘.

Leather Face – Debut of Meena Kumari as a child artiste.

Navjeevan – Debut of Hansa Wadkar as a Heroine- Bombay Talkies film.

Pukar – Hit film from Minerva Movietone. Naseem Bano sings ” Zindagi ka saaz bhi kya saaz hai….”

Indian filmmakers had practiced 4 ways of getting stories for their films, since the beginning of Talkie films.

1. Copy from older films
2. copy from other languages or remake them
3. use stories from Foreign films – especially Hollywood and
4. make a mixture of all this and make a film.

Hundreds of films were made on the stories of Alibaba. Alauddin, Sindbad, Thief of Baghdad, Hatimtai, Gul E Bakavali and other stories from the Arabian Nights. Hollywood films made on famous novels or dramas were another source of inspiration. When the Talkie films started, the first such film was made in 1933 itself titled- “Awara Shehzada “, with Shahu Modak as its Hero.This was the first Hindi film based on the famous novel of Mark Twain- The Prince and the Pauper, published in 1881. Films on this ” Look alike” theme were made in Hollywood as early as 1915 and 1920 This theme was used abundently in Hindi films like Ram aur Shyam, Don, Seeta aur Geeta, Kanoon and many more films. The list will be too long.

In 1937 a film ” Duniya kya Hai” was made by Lalita Pawar, based on Count Leo Tolstoy’s famous novel ” Resurrection”, published in 1899. The Hindi film was inspired by the Hollywood film ” We live again” made on this novel. In 1938, prakash pictures made ” Khwaab ki Duniya “. It was inspired by the popular Hollywood film ” The Invisible man”-1933, which was based on the famous novel of same name, by H.G.Wells in 1897. Subsequently many films like Mr. X, Mr. India etc were made in Hindi on this theme.

These are few examples to prove the point. There are umpteen number of such films. Sometimes the story departments of the film strudios play a clever game. They mix up the stories of 2-3 Hollywood films and make a Hindi film. Today’s film ” Nadi Kinare”-1939 was also made based on few scenes and themes from 3 Hollywood films, namely ” The king and the chorus girl”-1937, ” Bluebeard’s eighth wife “-1937 and ” The rage of Paris “-1938.

The film was directed by Manibhai Vyas (27-4-1920 to 14-11-1993). he directed 20 films from Dukhiyari-1937 to Shrikrishna Bhakti-1973. The MD was Gyan Dutt and the cast was Kumar, Sitara Devi,Indubala, Ram Marathe, Kantilal and others.There were 13 songs in the film sung by Indubala, Sitara Devi,Kantilal,Kalyani and Gyan Dutt himself. Lyrics were by P.L.Santoshi and D.N.Madhok.

Actor/singer Ram Marathe had done a child role in this film He is one of those child actors who left film world at the right time and pursued his hobby of classical singing. Consequently he bacame a big name in Classical Music all over India. His case reminds me of anothe child actor-n Shashi kapur Sr, who was much in demand as a child actor during the period 1944 to 1955. he did 21 films as a child actor. Then he left films, completed his M.Sc. and Ph.D. He went to USA and became a Professor of Maths in Michigan University in USA.

Actually many child actors like Baby naaz, M.Kabir, Sarosh Irani, Master Romi etc reached an age when they were neither child nor an adult. They stopped getting any roles and had to leave films. Child actor Ramchandra ( Ram) Marathe was born on 23-10-1924 in Poona and studied in Bhave school up to 10th.He and his brother ( Anant Marathe aka Anant kumar) worked in films as child actors, due to family conditions. They started work from 1936 onwards. Ram Marathe had an edge over his brother,in that he could sing too. Starting with Shahu Chor in 1936, he worked in Sagar movietone (6 films), Ranjit (3 films) and Prabhat (2 films), in addition to other companies like prakash, Mohan Pictures, Imperial etc. he acted as a child star in 16 films. he sang 11 songs in 6 films. After this Ram left films and started training in classical music-his liking. Here is a short bio of Ram Marathe, adapted from meetkalakar.com….

Ramchandra Purshottam Marathe (1924-1989) began his early career as an actor and singer in films produced by the Prabhat company. His formal training in music assumed a definite direction when he came under the tutelage of Master Krishnarao (Phulambrikar). Later, he trained under accomplished musicians such as Mirashibuwa of Gwalior and Vamanrao Sadolikar of Atrauli-Jaipur. His quest for widening his musical horizons culminated in a long-lasting discipleship (15 years) under Jagannathbuwa Purohit (“Gunidas”). As a consequence of his broad training and background, Rambhau’s music integrated the best of Gwalior, Agra and Jaipur styles. Rambhau was a stalwart in the field of Marathi Natya Sangeet. He was also known as a composer. Among his pupils is Ulhas Kashalkar.

Pt.Ram Marathe had performed in all the prestigious musical festivals at various places like Jalandhar, Patna, Lahore, Delhi, Gwalior, Calcutta, Banaras,Amritsar and almost all over Maharashtra. His contribution to Indian classical music was recognized with several Awards for his unique and successful performances. He was “A-top grade” Hindustani Classical Artist of All India Radio.

Since he had undergone proper Tabla training, he had a great command on Taal and Layakari. He had special command on Rare–Anvat Ragas & Jod Ragas and he was highly recognized for his clear and fast tankriyas and also for Purity of Ragas. He always used to enrich his audience with various semi-classical forms like Khayal, Tarana, Tappa, Natyasangeet, Thumri, Dadra & Bhajans in his concerts. Unlike the present classical singers, his concerts used to last more than 5 hours with the powerful intensity and stamina.

He started his stage career under the perusal of Natvarya Shri Ganpatrao Bodas in 1950 as a leading character in old classical musical dramas like Saubhadra, Sanshaykallol, Swayamvar, Ekach Pyala, Manapman etc. with veteran actor and actress such as Balgandharva, Hirabai Badodekar, Vinayakbuwa Patwardhan, Nanasaheb Phatak etc. Despite his busy schedule in concerts, he performed in 22 old & new Sangeet Natak with more than 5000 stage shows. This is purely out of his dedication and commitment towards Sangeet Rangbhoomi.

Composed music for more than 10 dramas such as – Mandarmala, Suvarna Tula, Meghmalhar, Tansen, Baiju etc. and acted in the play as a leading character role.

His disciples include many eminent classical singers like Pt. Ulhas Kashalkar, Sudhir Datar, Ram Pratham, Vishwanath Kanhere, Vishwanath Bagul, Yogini Joglekar, Shashikant Oak, Madhuwanti Dandekar, Sanjay Marathe & Mukund Marathe etc. (more than 50) and have got the training from him under the traditional Gurukul way of learning.

Maharashtra Government honoured the “Sangeet Bhushan” degree in 1961.
• Recognition by Government of Maharashtra in 1981 for successful completion and continuous 30 years of career in Marathi Sangeet Rangbhumi.

• Honoured “Sangeet Chudamani Degree” by Jagadguru Shankaracharya of Puri.

Appointed by AIR, New Delhi on the Northern (Hindustani) Music Audition Board Committee. Also Advisory Nagpur and other Universities in India.
More than 100 Records and number of CDs and LPs to his credit and composed more than 50 Bandish in various Ragas.
Ram Marathe died on 4-10-1989.

Today’s duet song is sung by Sitara Devi and Kantilal (18-4-1907 to 17-6-1971). Kantilal acted in 31 films and sang 59 songs in 24 films.


Song- Duniya Deewaani duniya deewaani (Nadi Kinaare)(1939) Singers- Sitara Devi, Kantilal, Lyricist- Not known, MD- Gyan Dutt
chorus

Lyrics

Duniya deewaani
duniya deewaani
duniya deewani
duniya deewaani
duniya deewani

koi kahe haaye jigar
koi kahe dil
koi kahe haaye jigar
koi kahe dil
koi kahe chori chori
aake sajan mil
koi kahe chori chori
aake sajan mil
duniya deewaani
duniya deewaani
duniya deewaani
duniya deewaani
duniya deewaani

koi kahe dil na mila
aankh mila le
koi kahe dil na mila
aankh mila le
aankh mila le
koi kahe aankhon ke parde mein chhipa le
koi kahe aankhon ke parde mein chhipa le
duniya deewaani
duniya deewaani
duniya deewaani
duniya deewaani
duniya deewaani

le ke dil aaya hoon main yahaan
koi khareede
le ke dil aaya hoon main yahaan
koi khareede
koi khereede
hai koi dil waala jo
dil deke ye dil le
hai koi dil waala jo
dil deke ye dil le
duniya deewaani

duniya deewaani
duniya deewaani
duniya deewaani
duniya deewaani

loot le joban ke maze
duniya hai phaani
loot le joban ke maze
duniya hai phaani
duniya hai phaani
dam bhar mein guzar jaayenga
ye khwaab e jawaani
dam bhar mein guzar jaayenga
ye khwaab e jawaani
duniya deewani
duniya deewaani
duniya deewaani
duniya deewaani
duniya deewaani

le ke dil aaya hoon main yahaan
koi khareede
le ke dil aaya hoon main yahaan koi khareede
koi khereede

haaye
hai koi dil waala jo
dil deke ye dil le
hai koi dil waala jo
dil deke ye dil le
duniya deewaani
duniya deewaani
duniya deewaani
duniya deewaani
duniya deewaani


This article is written by Mahesh Mamadapur, 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 :

5185 Post No. : 17164

28th Sept 2022 marks the first birthday of Lata Mangeshkar without her physical presence in this world. Due to old age and couple of hospitalizations at the fag end of her life, her passing away on that fateful day of 06th Feb 2022 was not really shocking so to say.

But then, an emptiness befell upon music lovers all over the world. It was as if a part of our lives was lost forever. It was a different kind of mourning; one of helplessness and the bare truth that such a soul would never be born again. And such is a gargantuan legacy of work left behind that one can only sit back and wonder how an individual could achieve so much in a single life. It is not about the span-life of her singing or the number of songs that she has sung, but of the utmost dedication, sincerity to her career and the love of the masses that she received.

Calling her the greatest singer ever would arguably be an understatement. Love for her voice knows no religion, caste, creed or man made international boundaries. For her voice touched the innermost recesses of human souls. The voice that she has left behind has amalgamated with the atmosphere and will continue to regale music lovers for generations to come.

Adjectives, honorific titles, awards are altogether too, a pale shadow compared to what she has achieved and left behind. Her work and career encompassed the entire gamut of technology from shellac records to the present cloud technology.

Blessed are we for breathing the same air, sharing an epoch and a planet with Lata Mangeshkar.

There have been many biographical posts, anecdotes, series etc. on Lata Mangeshkar on this blog. In fact, in the recently concluded long series concluded by Atul ji covers her entire singing career from first to her last song sung in HFM. Also, her wiki page is quite elaborate if one has to understand the entire spectrum of her life and career in acting, singing, composing, production etc.

There were two aspects that I wanted to include in this post, and I have to profusely apologize to readers that I could manage neither due to other priorities and paucity of time.

One was to put forth a table listing her very first one or two dozen songs irrespective of whether she sang for Hindi / Marathi or for herself / playback. There are many blogs, articles, interviews and information out there on the net containing these facts, but to have it on a well-prepared table with her songs in chronological order and then get it vetted by veterans in the field was what I was looking for.

The second was to present my interest and limited knowledge and on her association with various composers and singers. There is so much that I wish to keep on writing about her Hindi film songs. Her pronunciation of the word “hum” in the title song of ‘Barsaat’ (1949) and again the finest way she sings the word “chaar” in the duet with Shankar Dasgupta in ‘Girls’s School’ (1949) amazes me to no end. That she could so effortlessly empathize with the situation of the song on screen in her voice modulation in 1940’s itself speaks volumes as to where she was headed in her career.

Why she has a solitary song for Gyan Dutt? Why Kishore Kumar used her sparingly in his compositions? Will the solo song from the film ’26 January’ (1956) ever be heard by music lovers are some of the points that I wanted to touch upon. Let me see, how soon, I can put these thoughts on the blog.

Her association with the many composers, singers, lyricists, actors etc. can be discussed with no end. Naming a few will be a gross injustice to the many others that she sang for. I shall hence stop myself from even attempting to do so.

Coming to the song to be posted for today’s occasion and considering that most of her songs in the golden period have already been covered on the blog, I made a rather strange request to the editors to kindly offer me a good song for the occasion. I know there are many more songs yet to be covered, but then again due to time constraints, I thought, I will make this new request. 🙂

A sad, solo from late 40’s or early 50’s was what I requested for.

And guess what?

Sudhir ji promptly sent me a gem of a sad solo from 1949. My goodness! Of all the years, 1949, the year Lata Mangeshkar stamped herself as the undisputed queen of playback. Music lovers know the importance of the year 1949 and the abundant flow of melody in that particular year.

Thank you, Sudhir ji and Atul ji. I could not have asked for anything better.

So here is the gem from 1949 film ‘Rakhi’ in the mellifluous voice of one and only Lata Mangeshkar.

Wishing her a very happy birthday, I am sure the heavens and the Gods are more blessed to have Hema Hardikar aka Lata Mangeshkar amongst their midst.

Song – O Rooth Jaane Waale, Mera Qasoor Kya Hai  (Rakhi) (1949) Singer – Lata Mangeshkar, Lyrics – Saarshaar Sailaani, MD – Husnlal Bhagatram

Lyrics (Provided by Sudhir)

o rooth jaane waale
o rooth jaane waale
mera qasoor kya hai
kyon pher leen nigaahen
kyon pher leen nigaahen
kyon mujhko gham diya hai
o rooth jaane waale
mera qasoor kya hai

fariyaad kar rahi hai
sehmi hui jawaani
kisko sunaaun ae dil
dukh dard ki kahaani
apne nahin jab apne
gairon se kya gila hai
o rooth jaane waale
o rooth jaane waale
mera qasoor kya hai

beete huye dinon ki
baaton ko yaad kar ke
guzri hui suhaani
raaton ko yaad kar ke
main dil ko ro rahi hoon
dil mujhko ro raha hai
o rooth jaane waale
o rooth jaane waale
mera qasoor kya hai

din raat kha raha hai
gham teri berukhi ka
nazdeek aa raha hai
anjaam zindagi ka
tu hi bata ke aise
jeene mein kya maza hai. . .

————————————————
Hindi script lyrics (Provided by Sudhir Kapur)
————————————————
ओ रूठ जाने वाले
ओ रूठ जाने वाले
मेरा कसूर क्या है
क्यों फेर लीं निगाहें
क्यों फेर लीं निगाहें
क्यों मुझको ग़म दिया है
ओ रूठ जाने वाले
मेरा कसूर क्या है

फरियाद कर रही है
सहमी हुई जवानी
किसको सुनाऊँ ए दिल
दुख दर्द की कहानी
अपने नहीं जब अपने
ग़ैरों से क्या गिला है
ओ रूठ जाने वाले
ओ रूठ जाने वाले
मेरा कसूर क्या है

बीते हुये दिनों की
बातों को याद कर के
गुज़री हुई सुहानी
रातों को याद कर के
मैं दिल को रो रही हूँ
दिल मुझको रो रहा है
ओ रूठ जाने वाले
ओ रूठ जाने वाले
मेरा कसूर क्या है

दिन रात खा रहा है
ग़म तेरी बेरुखी का
नज़दीक आ रहा है
अञ्जाम ज़िंदगी का
तू ही बता के ऐसे
जीने में क्या मज़ा है॰ ॰ ॰


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 :

5185 Post No. : 17163 Movie Count :

4623

Hullo Atuldom

28th September is the date which is deeply etched in the minds of followers of Hindi Film music. It is the birthdate of the LATA MANGESHKAR. She had a great fan following even among celebrities and in all corners of the earth.

There are pages & pages written about this legend. Every song that she has ever sung has some significance to the listener. Talk to any layman and they will have their own personal playlist featuring songs of this “nightingale”. Invariably the list will have a bhajan, aarathi at the top of the list that will be followed by songs in all moods possible.

Whatever one writes may be a repeat of what has already been written and/or said. Hence I am getting straight to a song. My quest for a song featuring S P Balasubramaniyam and Lata Mangeshkar gave me all the expected results- meaning songs featuring Salman Khan, Jeetendra etc. as also songs from some popular Rajshree Production films. Among all those results I spied a long-forgotten song which featured Rakesh Roshan and Rati Agnihotri. We shall listen to that song today .

The song is from the 1981 released, Rajashekhar directed “Jeene Ki Aarzoo”. It was produced by M. Kumaran, Balasubramanian M. and M. Saravan. That means the production house was AVM Studios of Madras. It was the last Hindi film of the production house, the first one being “Bahar” in 1951 that introduced the Hindi film audiences to a dancing actress Vyjayanthimala.

The music director for “Jeene Ki Aarzoo” was Bappi Lahiri and Anjaan the lyricist. The four songs of the film were sung by Lata Mangeshkar, Kishore Kumar, Asha Bhonsle and S P Balasubramaniyam. Mithun Chakravarthy, Bindiya Goswami, Rakesh Roshan, Rati Agnihotri, Keshto Mukherjee, Rajendranath, Jagdeep, Sujit Kumar, Manmohan Krishna, formed the main cast.

The film was a remake of the director’s own Kannada original “Hunnimeya Rathriyalli” (1980) I have no clue about the plot of the movie but only recall that there was a song featuring Rati in a village belle outfit where she sang about ‘raw mangoes’. Reviews about the movie on online websites say that Mithun Chakravarthy had given a sensational performance and that Rakesh Roshan was good. The reviewer also says that even if the movie itself was not mind-blowing; it was a different kind of film in times when movies were mostly full of ‘Maar-Dhaad’.

Getting on to the song, thinking of Balu sir (whose anniversary was on 25th -two years already!!) and Lata Didi.


Song-Gup chup chori chori gori kare dil chori (Jeene Ki Aarzoo)(1981) Singers-Lata Mangeshkar, S P Balasubrahmaniam, Lyrics-Anjaan, MD-Bappi Lahiri
Both

Lyrics

oo ho o o
laa laalaa laa
laa laalaa
lala lalaa la laa
laa laalaa laa
laa laalaa
lala lalaa la laa

gup chup chori chori
gori kare dil chori
dil ko churaake chhup jaaye re
arre haye re
haan
gup chup chori chori
gori kare dil chori
dil ko churaake chhup jaaye re
arre haaye re
din ko sataaye mujhe
raaton ko jagaaye mujhe
aise roothhe maane na manaaye re
arre haye re

roz banaaye jhootha bahaana
tu kahaan jaane re
dil ka lagaana
gup chup chori chori
gori kare dil chori
dil ko churaake chhup jaaye re
arre haaye re

baadal mein
bijli hai
phoolon mein
khushboo hai
khushboo hai
baadal mein

bijli hai
phoolon mein
khushboo hai
waise hi mere dil mein tu u u
phoolon pe
titli hai
kaliyon pe
bhanwra hai
aisa hi hai harjaayi tu u u
main hoon deewaana
arre ja ja ja
tera parwaana
arre na na
arre na na
na na na na
badi badi baatein karen
meethi meethi ghaatein karen
batiyon se dil bharmaaye re
arre haye re
din ko sataaye mujhe
raaton ko jagaaye mujhe
aise roothhe maane na manaaye re
arre haye re

laa laa aa aa aa
laa laa aa aa aa

woh sapne
kyun toote
woh saathhi
kyun roothhe
kyun roothhe
woh sapne
kyun toote
woh saathi
kyun roothe
jaane bewafa jaane tu u
woh kasmein
jhoothi thhin
wo waade
jhoothe thhe
jhootha mujhe kyun maane tu u
main tera hoon

arre ja ja ja
tu meri hai
arre na na
arre na na
na na na na
sajke rijhaaye mujhe
hanske jalaaye mujhe
tadpaaye haath na aaye re
arre haaye re

gup chup chori chori
koyi kare dil chori
kaise kaise rang dikhaaye re
arre haaye re
roz banaaye jhoothha bahaana
tu kahaan jaane re
dil ka lagaana
gup chup

chori chori
koyi kare
dil chori
kaise kaise rang dikhaaye re
arre haye re

la laalaa laa
laa laalaa
lala lalaa la laa
la laalaa laa
laa laalaa

lala lalaa la laa
la laalaa laa
laa laalaalaa
lala lalaa la laa
laa laalaalaa
lala lalaa la laa


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 :

5184 Post No. : 17162

Today’s song is from the film Bahurani-1950. Films with the same title were made in 1940, 1950, 1963 and 1989. All films had different storylines. Bahurani 1950 was about a bahu who comes to a house after marriage, which is on the brink of breaking relationships due to crumbling family business and subsequent dwindling finances. The story is about how the clever Bahu mends matters to improvement and earlier glory and happiness.

Films made after India’s Independence, especially in the period of 1950 to 1960 dealt with the benefits of joint family, benefits of traditions and culture and ideal bringing up of the children. There was an attempt to glorify, reinvent and reestablish the ideals of togetherness and family value importance. This had become socially necessary because of the disturbed family structures during the Independence struggle of the 40’s. That was also the reason how during this decade i.e. 1950 to 1960, the highest number of religious films (124) were made.

In the subsequent decades i.e. from the 60’s to the 80’s, the family values changed, society structure took another shape and the focus turned from people to money. Because of the expanding money market, job opportunities all over the country, escalating living index, industrialisation and increasing cost of living, the joint family turned into nuclear families with limited progeny. Accordingly,  the type of films also changed and they became music and entertainment oriented. The family centred stories diminished (however, they remained only in films made in the South).

This also explains why old people love old films because they want to relive the atmosphere of their younger days. Music in the later period became loud with more instruments and less poetry. But this was accepted and liked by the young generation and it grew by leaps and bounds.

Coming back to today’s film bahurani-1950, it was made by Harishchandra Pictures, Bombay. This was a company floated by harishchandra rao Kadam, who was a stunt film actor, director and producer in the 30’s and the 40’s. He was the one who actually launched C. Ramchandra as a Hindi film Music Director for his film “Sukhi Jivan’-1942. Earlier C.Ramchandra had begun his career with acting as a Hero in film Naganand-1935 and then as assistant to several MDs in Minerva movietone. As a Music director he had given music to 2 Tamil films by then. Harishchandra rao kadam was the hero of film Sukhi Jivan opposite actress Ashalata (Mehrunnisa Bhagat -the first wife of Anil Biswas, MD). His brother Chandra rao kadam also was a stunt actor and a studio owner himself in his later life. His studio is still run by his sons.

Hansraj Behl was the Music director of this film and there were 4 Lyricists – B.R.Sharma, Aziz Siddiqi, Shevan Rizvi and Bharat Vyas. The cast of the film was Sulochana Chatterjee, Shekhar, kaushalya, Amar, Yashodhara Katju, David, Sofia, Ansari, E.Bilimoria and many others.

Heroine of the film was Sulochana Chatterjee-younger sister of Kamla Chatterjee, an actress and wife of Kidar Sharma, the famous writer and Director of Hindi films. Actually, at one time, there were at least 5 Sulochanas operating at the same time in the Hindi film industry. They did not create Same Name Confusion because every Sulochana used her Surname, setting her apart from other Sulochanas. There were 3 actresses- Sulochana Sr aka Ruby Myers, Sulochana Latkar and Sulochan Chatterjee. There were 2 Singers- Sulochana Chavan and Sulochana Vyas.

Born in Chandranagar, Sulochana Chatterjee was the daughter of a military man and the family, five girls, including the late Kamla Chatterjee ( she looked like Geeta Bali, and was Kidar Sharma’s wife), and one boy, used to travel along with their parents to wherever their father was transferred. From Calcutta they moved to Jabalpore and it was here that Sulochana did her school­ing. She also took an active part in school dramatics. After some time the family was transferred to Bombay and here her younger sister, Kamla, was spotted by Sohrab Modi, a friend of their father’s, and given a role as a child star in Modi’s picture Jailor (1938).

Once Sulochana happened to visit the sets one day and after watching her sister at work, She was offered a part in Harishchandra Pictures’ “Aina”-44, which she accepted. She co-starred with Trilok Kapoor. She starred in scores of films after that, among them the comedy “Ladli”-50, in which she appeared with Jairaj, and “Grahasti”-48 which was a memor­able hit and in which she play­ed with Yakub and Masood.

Sulochana acted in two Bengali pictures “Apanaela”, produced by Saroj Mukerjee and directed by Benoy Banerjee with Pradeep Kumar as her leading man, and Benoy Banerjee’s “Minoti” in which she shared stellar honors with Smriti Biswas and Paresh Banerjee. Her well known films are Chaitanya Mahaprabhu-53, Rami Dhoban-53, Shahjehan-46, Veena-48, Nav Durga-53, Jagte Raho-56, Jis desh mein Gaqnga behti hai-60, Saraswatichandra-68 etc. In all she acted in 119 films. Her first film was Shobha-42 and last film was Shabas Daddy-79. After retirement, she settled in Bombay. Sulochana Chatterjee died on 30-8-1999.

Her favorite pastime was playing with her sister’s children. She cooked, too, and knitted off and on. She was fond of English pictures , liked Ingrid Bergman and Gregory Peck and comedies. Sulochana could play Bad­minton and drove a car. A gifted linguist, she knew Bengali, her mother tongue, Hindi, English, Marathi, Punjabi, Kutchi and Guajarati. She spoke them all fluently.

Sometime back in one of my posts, I had assured that I will give the biodata of Ansari. So it is here…..Nisar Ahmed Ansari was the son of the late Dr. Ameer Ahmed Ansari. He was born on 29-8-1917 at Jhansi. His father had been serving in Military for 11 years and he expired in 1938. He was well known in Jhansi as he practiced there for 40 years.Ansari matriculated from Allahabad University in 1933. In 1935, he passed his Inter from Aligadh. By 1939 he was a graduate of Bombay University. He was keen to join films and in this, Mehboob khan helped him by recommending him for film Aasra-40, made by National Studios. It was directed by Mehboob’s assistant Chimanlal Gandhi.

By watching him, no one can ever visualise that a suave and respectable man like him can be a scheming villain . Competition for him was tough,initially when he joined the film industry ,as there were many character actors already there ,who were specialists in negative roles . But young and energetic Nisar Ahmad Ansari had faith in his potential .

He believed that it is not necessary that a villain should have thick eyebrows with roving eyes and have a permanent frown on his face. A person having negative traits may have a smiling face also ,to conceal his evil designs . Therefore in most of his movies , he was a well dressed person ,always beaming and had a friendly smile on his face . In his films , he used to be the boss of a criminal syndicate and had an army of foot soldiers who carried out dirty work on his behalf . To keep a distance between master and servant , instead of calling them by their name he used to call his cronies by their allotted numbers like Number Ten Or Number Five .

With a hit movie ‘Mangu’ , he became a director and later directed many successful movies like Black Cat ,Tower House ,Mr Lamboo ,Zara Bach Ke, Wanted etc for various producers and after he established his own banner Bundel Khand Films ,he made many memorable movies . Although he had to look after his own company and permanent staff ,he did not disappoint other filmmakers ,who wanted to have him in their movies in the role of villain. It is a fact that it was his Black Cat which helped G P Sippy to be a part of the league of big producers ,but it is also true ,Mr Sippy forgot him later and never acknowledged Mr Ansari’s contribution .

Mr N A Ansari ,was essentially a dedicated film maker and had no false illusions about his own capabilities . His movies were never lavishly made and had average production value ,but it did not deter his fans and sizable majority of film viewers ,who adored him and his pictures to patronise his movies . Those who love the movies of the golden age ,fondly remember his movies which used to have him in the role of villain ,beside good music, suspense, comedy, ,dance with a plausible story and a strong message for society ,that “Crime Never Pays”.

With producer/actor Sheikh Mukhtar, Nisar Ahmad Ansari had earlier worked as an actor in Dada, Dara & Ustad Pedro. Sheikh Mukhtar, aware of Ansari’s capability ,in 1954,offered him Mangu to direct. The big success of Mangu was a game changer for Ansari & O P Nayyar. They both were immensely benefited with the favourable outcome of the movie & its music. Mangu had predictable Jodi of Sheikh Mukhtar & Mukri ,with Nigar Sultana ,Sheila Ramani & Ansari himself, as a suave villain. Mangu had a breathtaking, thrilling climax, involving the speeding train. Some real shots, a few stock shots & rest studio shots with back projections (Aadhi Haqeeqat ,Aadha Fasana ),made the climax awe-inspiring. Unfortunately, the movie could not be preserved & the present generation has been deprived of witnessing Ansari’s first effort as director. Mangu is one of the most searched movies on youtube.

He again directed Mr Lambu, a big success, for Sheikh Mukhtar. This time with the classic beauty Suraiyya with music by O P Nayyar, but a similar tragedy happened, again. No print of the movie is available. In almost all his films N.A.Ansari played the role of an urbane & sophisticated Don. He always appeared, well dressed in impeccably tailored suits, fedora, trade mark pipe between his teeth & walking stick, in his hand.

Beside Sheikh Mukhtar,he directed movies, like Black Cat,Tower House,Jara Bach Ke,Wanted for other producers and playing the main villain .He had no qualm for working in the movies directed by other film makers & in this category, movies like Private Secretary,Fareb ,Do Thug ,Khota Paisa, Gunda,Ustad 420,Gunahon Ke Raaste can be named. Under his own banner Bundel khand Films he made Wahan Ke Log,Mulzim,Zindagi Aur Maut,Mr Murder, Jurm Aur Sazaa and Noor E Ilahi. The last one being his last production in 1976 & then he decided to hang his boots.It was a big journey for Ansari,who was discovered by Mehboob & given a role in Aasra ,released in 1941.

He could not say “No” to film maker Sultan Ahmad ,when he insisted him to appear in Dharam Kanta -1982 & later in Jai Vikranta. N.A.Ansari closed his eyes forever on 11 Jan 1993, in Canada, thousands of kilometres away from his beloved city Jhansi ,much before the release of his last movie Jai Vikranta in 1995. As an actor he did roles in 77 films, starting with Aasra-41. He directed 11 films, from Mangu-54 to Jurm aur Saza-74.

(Based on information from Filmdom-46 and an article by M.N.Sardana ji, with thanks.)

Today’s song is a female duet sung by Asha Bhosle and Shamshad begum. It is a good song. Enjoy….


Song- Bas itna bata do jiyen ya maren (Bahurani)(1950) Singers-Shamshad Begam, Asha Bhonsle, Lyrics-Aziz Siddiqui, MD-Hansraj Bahl

Lyrics

Bas itna bata do
jiyen ya maren
muhobbat jo ho jaaye
phir kya karen
muhobbat jo ho jaaye
phir kya karen
Bas itna bata do
jiyen ya maren
muhobbat jo ho jaaye
phir kya karen
muhobbat jo ho jaaye
phir kya karen

ye chitchor hote hain kitne nidar
ye chitchor hote hain kitne nidar
churaate hain dil
saamne baithhkar
churaate hain dil
saamne baithhkar

taraste hain soorat ko
hum raat bhar
hai kismat ki marzi ke aathhon pahar
hai kismat ki marzi ke aathhon pahar
ya aansoo bahaayen
ya aahen bharen
bas itna bata do
jiyen ya maren
bas itna bata do
jiyen ya maren

bas itna bata do
jiyen ya maren
muhobbat jo ho jaaye
phir kya karen
muhobbat jo ho jaaye
phir kya karen

Muhobbat ka chhaayaa hua hai khumaar
Muhobbat ka chhaayaa hua hai khumaar
tumhaari qasam
humko tumse hai pyaar
tumhaari qasam
humko tumse hai pyaar

judaai ne loota hai chain aur qaraar
hai jeene ki mushqil
wahi intezaar
hai jeene ki mushqil
wahi intezaar
kahaan tak kaleje pe patthar dharen
bas itna bata do
jiyen ya maren
bas itna bata do
jiyen ya maren

bas itna bata do
jiyen ya maren
muhobbat jo ho jaaye
phir kya karen
muhobbat jo ho jaaye
phir kya karen
muhobbat jo ho jaaye
phir kya karen
bas itna bata do
jiyen ya maren
muhobbat jo ho jaaye
phir kya karen
muhobbat jo ho jaaye
phir kya karen


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 :

5183 Post No. : 17161

Hullo Atuldom

A very Happy Navaratri to all. The date corresponds to the first day after Amavasya in the month of Ashwin of the sixth month (as per the Solar Bengali calendar) and seventh month (as per the Indian National lunar calendar of the Deccan Plateau) overlapping the months of September and October of the Gregorian calendar. It is the Sharath Navaratri. The period when we worship the Mother Goddess in the form of Durga Lakshmi and Saraswati. Additionally, this is also the time when we have Ram Leela celebrations across the country.

That is why I have chosen a song featuring Ram Leela. We can see Dev Anand, Janakidas, Premnath, Paintal, on stage enacting the Lanka dahan part of the Ramayan. It begins with Seeta maiyya crying under a tree in Ashok Vatika and  Hanuman seeing her from atop a tree. Sita maiyya (who is the actress?) sees Hanuman when he falls from the tree (I don’t know if all Ram Leelas have such comic elements. Remember there was a similar comic Ram Leela in Hrishikesh Mukherjee’s ‘Naram Garam’). Ravan’s son Meghnad is played by Sharat Saxena. Did anyone recognize the Kumbhkaran? It is the actor who has a Guinness book entry for playing a police inspector maximum number of times. Yes, Jagdish Raj. Then we have two Hema Malini in the audience.

I could only recognize Manna Dey’s voice as the male playback, there is one more male singer. The female voice belongs to Anuradha Paudwal. The song is written by Anand Bakshi and Laxmikant Pyaarelal are the music directors. Also we can hear Dev Anand’s voice in all the dialogues in between.  All-in-all an entertaining song from the 1976 released Chetan Anand directed ‘Jaaneman’.

The storyline of the film had Dev Anand playing a taxi driver and Hema Malini in the double role of sisters -Santo & Banto. Plus there were Premnath, Ajit, Paintal, Janakidas Sharat Saxena Jagdish Raaj etc. in the cast.

I have read somewhere that it was a movie in the 25th year of Navketan Films. The movie has 6 songs and the blog has 4 of them (one is a three part song).  The last song from this movie was posted in 2016. Today’s song is sort of in the same category as the iconic song from ‘Munim ji’ (1955) – “O Shivji Bihaane Chale Paalki Sajaaye Ke

Born on 26 September, 1923, today is also the 99th birth anniversary of Dev Anand. With this song, we remember him and celebrate his birth anniversary.blog

Editor’s note:-This song is the 200th song picturised on Dev Anand in the blog.

 

Song – Siyavar Ramchandra Ki Jai (Jaaneman) (1976) Singer – C Anand Kumar, Manna Dey, Anuradha Paudwal, Vinod Sharma, Lyrics – Anand Bskshi, MD – Laxmikant Pyaarelal
Dev Anand
Chorus

Lyrics (Provided by Sudhir)

siyavar ramchandra ki
jai
janak nandini siya maiyya ki
jai
laadle lakhan lal ki
jai
pavan sut hanuman ki
jai

seeta ji ka haran kiya
ravan ne badal ke bhes
ram bhaye vyaakul lachhman ke
mann ko laagi tthes
pavan putr hanuman chala
udd kar laane sandes
baavan kot chhappan darwaazon waale lanka dhaam
aur phir

[parda kholo]
[laughter]
[ae bhai]
[? Kholo]

lanka pahunch kar hanuman ne dekha

kya dekha

ke ashok vatika mein
seeta maiyya
ik vriksh ke neeche
apni akhiyaan meeche
ram ke. . .
dhyaan mein
khoi huyi hai

tum bin naahi chain
din raean. . .
tum bin naahi chain
rim jhim barsat nain
din raean. . .

[laughter]
[kamjor ped kaahe laaye]
[tum kaun ho]
[bolo, bolo kyon maun ho]

pavan putr main ram bharose

[ram bharose aap apne ghar honge]
[yahaan hanuman ho, hanuman]

pavan putr shri ram ka pyaara
mere mann mein ram rehte hain
mujhe hanuman kehte hain
mujhe hanuman kehte hain
pavan putr shri ram ka pyaara
mere mann mein ram rehte hain
mujhe hanuman kehte hain
mujhe hanuman kehte hain

seeta ji ko hamri batiyaan
kahin laage na jhoothi
is kaaran raghunath ne bheji
hamre haath angoothi

[hanuman, ram kaise hain]
[kuchh wahan ka haal sunaao]

ram sukhi hain

[arey seeta ke bina ram sukhi kaise ho sakte hain]
[kaho ram dukhi hain]

ram dukhi hain
aapki aankhon se aansoo behte hain
mujhe hanuman kehte hain
mujhe hanuman kehte hain

[seeta maiyya, yadi aapki aagya ho to]
[main kuchh kha loon]
[apni bhookh mita loon]

[khaa lo]
[mita lo]

bees bhuja das sees ka ravan
gyaani aur balwaan
kaisi nadaani kar baitha
dekho wo nadaan
us ko sabak sikhaane aaya
ram bhakt hanuman

[hmmm. . .]
[meghnaad, ye tum kya laaye]

pujya pita ye hai ik bandar
is be baag ke sab phal khaaye
isi liye isey baandh ke laaye

[bol tu hai kiska doot]

main
main hoon teri maut ka bhoot

[ha ha ha]
[tu aur mujhko maarega]

arey marte samay
hee hee hee hee
marte samay tu ram ka naam pukaarega

bolo jai siya ram
bolo jai siya ram
bolo jai siya ram
bolo jai siya ram
bolo jai siya ram
bolo jai siya ram
bolo jai siya ram
bolo jai siya ram
bolo jai siya ram
bolo jai siya ram

[raavan tum kyon gaate ho jai siya ram]

[band karo ye ram ram ram ram ram]

ram
ram

[khubhkaran]
[bolo isey dand kya doon]

[snoring]

[ye sota hai]
[isey sone do]
[meghnaad tum to jaagte ho]
[tum hi kaho isey kya dand den]

[iski poonchh mein aag laga do]

[satya vachan]
[main teri poonchh mein aag laga doonga]

[laga do, laga do]
[main apni poonchh se teri lanka jala doonga]

[jala do jala do]
[aieeen, ye kya kaha vaanar]

[laughter]

 


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 :

5182 Post No. : 17159

———————————————–—————————————
Blog 10-Year Challenge (2012-2022) – Song No. 99
————————————————————————————–

Ten years back on this day i.e., on 25th September ’2012 the following songs were posted on the blog.

Blog post number Song Movie (Year) Remarks
6712 Aayi gori Raadhika Brij mein bal khaati Gopinath(1948) 4 songs out of 9 posted
6713 Lagan morey man ki balam nahin jaane Baabul (1950) Movie YIPPEED by now
6714 Har phool mein masti hai rangeen hai mausam Maaya Baazaar(1958) Movie YIPPEED by now
6715 Gusse mein tum aur bhi achchi lagti ho Chaar Darvesh(1964) 4 songs out of 7 posted
6716 Dulhan se tumhaara milan hoga Anokhi Raat (1968) Movie YIPPEED by now
6717 Jeevan mein tu darna nahin Khote Sikkey (1974) One song out of 3 posted
6718 Tere chehre mein wo jaadoo hai Dharmatma(1975) Movie YIPPEED by now
6719 Mere yaar ko mere Allah de ek chaand sa pyaara lalla Dacait(1987) One song out of 5 posted

We can from the above table that eight songs eight movies were represented on the blog on that day on 25.09.2012.

Out of these eight movies, so far, only four movies have been Yippeeee’ed on the blog. So, we have four movies available for today where we can present a song on the blog.

I am presenting a song from the movie ‘Khote Sikkey-1974’. One song from this movie was posted on the blog on this day ten years back. I think this song was my third lyrics contribution appearing on the blog. My first lyrics contribution was posted on the blog on 13.09.2012.

I was aware of this movie and its song jeewan mein tu darna nahin since my childhood days and when I become associated with this blog I shared this song then.

Few months back, I listened to the other songs from this movie. This movie ‘Khote Sikkey’ has only three songs. When I listened to the remaining two songs, I liked one of them very much and noted it down for my write-up. I was supposed to present it on a special occasion, but I got stuck up with my write-up, and so much so that it took me more than a month to come back to writing and send a post to Atul ji.
Well, I am not presenting that song today, and will present it later the blog with the same ‘thoughts’ I wish to present earlier. 😊

“Khote Sikkey-1974” was directed by Narendra Bedi for ‘Mewar Films, Bombay’.

It had Feroz Khan, Narendra Nath, Danny Dengzongpa, Ranjeet, Sudhir, Paintal, Kunwar Ajit, Ajit, Rehana Sultan, Madhuchhanda, Alka, Rajpal, V. Gopal, Johny Whisky, Bhushan Tiwari, Leela Mishra, Mamaji, Jimmy Sikandar, Rekha Chauhan, Raj Katyal, I. A. Pasha, Mansharam, S. Baghel, Trilok Sharma, Hamid, Harish, Kripa Shankar, Satyanarayan, Tilakraj, Khairati, Chandu, Uma Khosla, Manohar, Bhanumati, Kishan Mehta, Master Shaka, and others.

Satyen Kappu, Kamal Kapoor and Master Alankar made friendly appearances in this movie.

This movie had three songs penned by Majrooh Sultanpuri. Music for this movie was composed by R.D. Burman.

As mentioned above only one song from this movie have been posted on the blog earlier.

SNo Song-Title Singer/s Posted On
01 Jeevan mein tu darna nahin Kishore Kumar, chorus 25.09.2012

Today’s song – the second song from this movie – is sung by Asha Bhonsle and Usha Mangeshkar. Lyrics are by Majrooh Sultanpuri, and music is composed by R.D. Burman.

On screen the today’s song is lip-synced by Rehana and one other actress (whom I am unable to identify) and we can see Sudhir, Ranjeet, Danny, Paintal, Narendra Nath, and others enjoying this ‘mujra’ song, and we can see Feroz Khan (the Client Eastwood in this movie 😊 ) watching them or rather ‘keeping an eye on them all’ from behind the ‘curtains’…

Today 25th September 2022 is also the eighty-third birth anniversary of Feroz Khan (25 September 1939 – 27 April 2009) an actor, producer, and director and one among our many favourites of the seventies …

We pay our tributes to Feroz Khan and thank him for all the lovely memories of his movies he has left for us. Though he has no words or lyrics to perform in the today’s song he is still present there in this song and readers can still watch him in this song and remember this ‘one of his kind of actor’ of Hindi Cinema today.

Let us now enjoy today’s song ..


Song-Pyaari pyaari soorat waale (Khote Sikkey)(1974) Singers-Asha Bhonsle, Usha Mangeshkar, Lyrics – Majrooh Sultanpuri, MD – R D Burman
Both

Lyrics

ho o o o o
pyaari pyaari ee
oye soorat waale
ho pyaari pyaari
ho ho soorat waale
arey haay mere allah
ho o itne saare
haay koyi to hans ke bulaaye
koyi palak maare re ae
haa aa aa aa pyaari pyaari
ho ho sooratwaale

main ye dil kisko doon
kuchh kahaa naa jaaye
haan aa ek anaar sau beemaar
haay re haay re haay

ho o o pyaari pyaari
o o soorat waale
arey haay mere allah
haan aa itne saare

idhar nain jodoon
yaa aa udhar jod doon oon
kise dekhoon jee bhar ke ae
kisey chhod doon

ho o o o
idhar nain jodoon
yaa aa udhar jod doon oon
haan aa aa kise dekhoon jee bhar ke ae
kisey chhod doon

o o jisko dekhoon
usi pe jiyaa lalchaaye
haan aa ek anaar sau beemaar
haay re haay re haay

ho o o
pyaari pyaari
ho ho soorat waale
arey haay mere allah
ho o itne saare
haay koyi to hanske bulaaye
koyi palak maare re ae

ho o o
pyaari pyaari
ho ho soorat waale ae

sabhi pyaar se maangen
nishaani meri ee ee ee

deewaani si thhokar khaaye
jawaani meri
ho o obscurity
sabhi pyaar se maange ae
nishaani meri ee

ho o o deewaani si thhokar khaaye
jawaani meri
ho o
kya karoon kya karoon
ab kahaa na jaaye

ho o o
ek anaar sau beemaar
haay re haay re haay
ho o o pyaari pyaari
ho ho o soorat waale
arey haay mere allah
ho o o itne saare

haay koyi to hanske bulaaye
haa haa haa
a haa haa haa
koyi to hanske bulaaye
koyi palak maare re ae

hoye ae ae
pyaari pyaari
ho ho soorat waale ae
arey haay mere allah
haan aa itne saare ae


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 :

5182 Post No. : 17158

Today’s song is from the film Aap ki Marzi-1939. This film was made by Sudama productions, Bombay, founded by Dr. Ambadas patel, after Sagar Movietone merged with National Studios. This comedy social film was directed by Sarvottam Badami and the music was given by Gyan Dutt. The cast of the film was Sabita Devi, Motilala, Vasanti , mazhar, Khursheed, Sunalini devi, K.N.Singh, jagdish Sethi and others. Lyricists were P.L.Santoshi and S.P.Kalla Film Aap ki Marzi aka As you please-1939 was based on the hit Hollywood film” Paradise for 3 “-1938.

” FATE ” is a phenomenon which no one has understood so far and no one will ever know how it works.It makes the Rich a poor one and a Pauper may become a millionaire. Fate takes you through unknown destinations and you can niot guess where it will take you. There is no better example of this FATE, other than the life story of this film’s director.

The changes in the career of Sarvottam Badami took place are simply unimaginable. His life started as an ordinary Motor Garage mechanic.Fate made him a Film projectionist, an Automobile Engineer, a Sound Recording Engineer, a Film director of Tamil, Telugu and Hindi films, Film Division producer, An industrialist and finally a management Consultant ! Can you beat it ?

Sarvottam Badami was born in 1910 at Channapatna in Karnataka,to a revenue officer working in Mysore. He passed his SSLC and worked as a garage mechanic and then a projectionist in Select Picture House, Bangalore, both of which were owned by Dr. Ambalal Patel. Patel moved to Bombay and financed Ardeshir Irani of Imperial Film Company, and Chimanlal Desai as a partner, forming Sagar Movietone in 1930.
At the age of 19 years, Badami went to Bombay to study automobile engineering. He was asked by Ardeshir Irani who met him at a wedding to help out with the recording equipment he had purchased from abroad.

Badami helped in the sound recording department for the first Talkie in India, Ardeshir Irani’s Alam Ara (1931). Around that time a German director making the film Harishchandra left half-way and Badami offered to complete it, the co-director was Raja Chandrasekhar, although the co-director credit has also been cited as T. C. Vadivelu Naicker. The film turned out to be successful. He was contracted by Sagar Movietone (Sagar Film Company) to direct three films, two in Telugu and one in Tamil: Galava Rishi (Tamil), Rama Paduka Pattabhishekam and Shakuntala in Telugu. The success of these films established him as a director. His working team had people like the cinematographer Faredoon Irani, music director Anil Biswas and the Sagar Movietone favourites Sabita Devi and Motilal.

Initially, to avoid embarrassment to his family he requested not to be credited in the regional language films. He did not know Hindi but from 1932-1947, he worked for Sagar Movietone and also directed nearly 30 films in Hindi, for many others. His first Hindi film was Chandrahasa (1933) starring Noor Mohammed Charlie. He was paid Rs 2000 per film with the complete film being made within Rs 50,000. He worked with most of the top actors of the time like Motilal, Nargis, Ashok Kumar and Pahari Sanyal. He brought Mehboob Khan who was then doing roles as an extra out of obscurity and gave him the role of Sabita Devi’s father in the film Vengeance is mine(1935).

He made several films based on novels. Some of the writers whose work he used were K.M.Munshi, Sarat Chandra and Ramanlal Vasanthlal Desai. The film Aap ki Marzi (1939) was inspired by the Hollywood film Paradise for Three (1938). He became known for his satirical comedies and “socially relevant films”.His film Grihalaxmi (1934), which starred Jal Merchant and Sabita Devi, had the woman getting into marriage only if her doctor husband agreed not to want children. The success of the film mitigated the enraged public reaction at the time.

He showed his understanding of media publicity required for films when in 1937, Badami resorted to woo audiences by announcing cash prizes of Rs.500, Rs.200 and Rs.100 for the best reviews of his newly released film Kulvadhu (1937). The promotional gambit worked sending audiences to the theatres. According to an interview, most of Badami’s films didn’t survive as the negatives were burnt to extract the silver from the silver nitrate.

After Aap ki Marzi-38, he followed his mentor, Dr. Patel and joined Sudama Pictures, when in 1939, Sagar Movietone merged into National Films. Badami also worked in Famous Cine Laboratories, from 46 to 48.

Apparently, in 1948 Deputy Prime Minister Vallabh Bhai Patel, who was then also in charge of the Information Ministry, on a visit to the Cine Laboratories Bombay, asked Badami to help set up a NewsReel and Documentary section. The Films Division was established in 1948. He became chief producer in the newsreel department and made several documentaries. He worked in the Films Division making documentaries from 1948-1952. After that he stopped making films and returned to Bangalore to retire as “I was a forgotten man in the feature film world”. He became an industrialist by starting a manufacturing business. Later he worked as a Consultant for Kamani Group of Industries also. He died in 2005 in Bangalore, Karnataka, India.

FILMOGRAPHY: 1932: Harishchandra; Galava Rishi; Paduka Pattabhishekham; Shakuntala; 1933: Chandrahasa; 1934: Grihalakshmi; 1935: Dr. Madhurika; Vengeance is Mine; 1936: Jeevan Lata; Grama Kanya; 1937: Kokila; Kulavadhu; 1938: Three Hundred Days and After; 1939: Aap Ki Marzi; Ladies Only; 1940: Chingari; Sajani; 1941: Holiday in Bombay; 1942: Khilona; 1943: Prarthana; 1944: Bhagya Lakshmi; 1945: Ramayani; 1946: Uttara Abhimanyu; 1947: Manmani; 1951: Vinoba Bhave (Doc);1952: Roof over the head

(Ack: Sapnon ke saudagar by Vithal Pandya, Sagar Movietone by Biren Kothari, HFGK, muVyz, Encyclopedia of Indian Cinema, and my notes)

Film industry is one place where the most unimaginable things happen. Here are some examples – A young man working as a laboratory Technician overnight becomes, albeit reluctantly, an actor and later on a famous Hero in Hindi films (Ashok Kumar), A Choreographer becomes a very famous and successful Director and actor (Guru Dutt), A Clerk in Government Rationing office touches the sky and becomes a heart throb Cinema Hero (Dev Anand), A Bus Conductor is turned into a famous cult Hero of South (Rajnikant), A simple young man goes to meet his actor brother in a studio and is mistaken for his brother and made a hero in 40 Hindi films(D.Billimoria), a clueless scholarly young man standing in a bus queue in Madras is picked up as a hero and works in about 55 hindi films (Ranjan). These are some examples of how, when Lady Luck smiles on a person, his life changes !

Here is one case. The case of the suave, handsome actor MOTILAL who had absolutely no dream of becoming a film hero ! Born in Shimla on 4 December 1910, Motilal Rajwansh came from a distinguished family. His father was a renowned educationist, who died when Motilal was one year old. He was brought up by his uncle who was a well-known civil surgeon in Uttar Pradesh. At first, Moti was sent to an English school at Shimla and later, in Uttar Pradesh (UP). Thereafter, he shifted to Delhi where he continued with school and college.

After leaving college, Motilal came to Bombay to join the Navy, but he fell ill and could not appear for the test. Fate had other choices charted out for him. One day, he went to see a film shoot at Sagar Studios, where director K. P. Ghosh was shooting. Motilal, even then, was quite the man about the town and he caught Ghosh’s eye. Motilal described this event in his inimitable style,in one of his interviews….” The director Ghosh Babu looked towards me and said,” please come here”. I first thought he was calling someone standing behind me. I looked back and moved to one side. Nobody came forward, but Ghosh Babu came to me and pointed his finger at me and said, ” Yes, I am talking to you. Please come here” I went with him .” In 1934 (aged 24), he was offered the hero’s role in Shaher Ka Jadoo -1934 by the Sagar Film Company. Sabita Devi and Motilal’s first movie as a pair in the famous Sagar Movietone, the movie Lure of the City (aka Shaher ka Jadoo) released on 29 th September 1934 at the Imperial Cinema Bombay.

Mehboob Khan was earlier selected for the lead role and was later replaced by Motilal. This was actor Motilal’s debut film and Motilal – Sabita made the best pair in the Sagar Film Company. They acted together in many other movies under the banner of the Sagar like, Silver King -1935, Dr Madhurika -1935, Lagna Bandhan -1936, Jeevan Lata -1939, Kulvadhu -1937, Kokila -1937, Three hundred days and after -1938 and later in Sudhama Films in Ap Ki Marzi -1939 and Minerva’s Prarthana -1944. He worked with Mehboob Khan in Jagirdar -1937 and Hum Tum Aur Woh -1938 under the Sagar Movietone banner, in Taqdeer -1943 for Mehboob Productions, and Kidar Sharma’s Armaan -1942 and Kaliyan -1944. He also acted in S. S. Vasan’s film Paigham -1959 (Gemini Studios), and Raj Kapoor’s Jagte Raho -1956. In 1965, he also acted in the Bhojpuri film Solaho Singar Kare Dulhaniya.

Perhaps the role for which he received the most critical appreciation was that of the gentleman crook in S. S. Vasan’s adaptation of R K Narayan’s book Mr Sampat -1952. He is most remembered for his role as “Chunni Babu” in Bimal Roy’s Devdas -1955, for which he won his first Filmfare Best Supporting Actor Award. Actor Naseeruddin Shah once described him as one of three all-time best actors of Hindi cinema, others being Balraj Sahni and Yakub.

Motilal was very suave and polished, and moved in high society, though towards the end of his life he was in financial difficulty. Although a thorough gentleman, he enjoyed gambling and races, and died almost penniless on 17th June 1965.

Motilal was an excellent Pilot and owned a small aircraft. He rarely travelled by train and always liked to fly. His family life was happy. His wife was a doctor.

He was in a relationship for several years with the actress Nadira. He was later involved with actress Shobhna Samarth after she separated from her husband, and he played Samarth’s real-life daughter Nutan’s father in Hamari Beti, Shobhana’s launch movie for Nutan. He also played her guardian in Anari, though this time the role had a villainous touch to it.

Motilal and Ashok Kumar were popular stars at the same time. Ashok Kumar was employed by Bombay Talkies and Motilal was employed by Ranjit. It is said that Sardar Chandulal paid Rs. One lakh to Motilal in those days. Motilal was a gambler. Once Chandulal Shah paid his debt of 75000 rupees which Motilal had lost in gambling, just to keep Motilal with Ranjit ! It is surprising that Ashok Kumar never worked with Motilal’s Heroines-Shobhana Samarth or Khursheed and Motilal never worked with Ashok Kumar’s heroines- Devika Rani or Leela Chitnis !

Actor Chandra Mohan treated Motilal as his son. During the last days of Chandra mohan, once Motilal had gone to meet him. Chandra Mohan was drinking from a costly forein Whisky bottle, but he did not offer it to Motilal. Motilal was feeling bad and then Chandra Mohan said, ” I know you must be feeling bad that I am not offering you this Whisky, but trust me it is not whisky- I am drinking Bewada (country liquor) from this bottle and I don’t want my son to drink this dirty stuff ! ”

Motilal was the winner of Filmfare Best Supporting Actor Award for Devdas -1955 and Parakh -1960. He is credited with being among Hindi cinema’s first natural actors.

He also directed the film Chhoti Chhoti Baatein -1965, but died before its release. At the 13th National Film Awards, it won the award for Certificate of Merit for the Third Best Feature Film and he posthumously won the Certificate of Merit for the Best Story Writer. ( adapted some information from Vithal Pandya’s book-Asli Nakli Chehere, wiki, Star portraits, nett4you, the book Sagar Movietone, and Shirish Kanekar’s book- Yaadon ki Baaraat, with thanks and my notes.)


Song- Gauven charaa ke Baanke Bihaari apne ghar nahin aate thhe (Aap Ki Marzi)(1939) Singers- Khursheed Bano, Gyan Dutt, Lyricist- P L Santoshi, MD- Gyan Dutt
Both

Lyrics

gauven charaa ke
baanke bihaari
apne ghar nahin aate thhe ae
gauven charaa ke baanke bihari
apne ghar nahin aate thhe
phir jaa ke kahaan kho jaate thhe
phir jaa ke kahaan ko jaate thhe ae

gauven charaa ke baanke bihaari
apne ghar nahin aate thhe ae
gauven charaa ke baanke bihari
apne ghar nahin aate thhe

saath chhodkar gwaal baal sang
kunjon mein chhup jaate thhe
saath chhodkar gwaal baal sang
kunjon mein chhup jaate thhe
phir jaise hi ghar aate thhe
wo thappad maa ka khaate thhe
phir jaise hi ghar aate thhe
wo thappad maa ka khaate thhe

bansi baja ke Raadha ko wo
chupke chupke bulaate thhe
haan
bansi baja ke Raadha ko wo
chupke chupke bulaate thhe

sun bansi ki taan niraali
aji Raadha
aji Raadha
ho matwaali
sun bansi ki taan niraali
aji Raadha
aji Raadha
ho matwaali
donon raas rachaate thhe
kuchh hanste thhe kuchh gaate thhe
donon raas rachaate thhe
kuch hanste thhe kuchh gaate thhe
wo apna jee bahlaate thhe
wo apna jee bahlaate thhe
gauven charaa ke baanke bihaari
apne ghar nahin aate thhe
gauven charaa ke baanke bihaari
apne ghar nahin aate thhe


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 :

5180 Post No. : 17156

Today’s song is from the film Lehren-1953. It was made by ” New Sai Productions” Bombay. It was a film production company floated by C.Ramchandra, his close friend actor Omprakash and Lata Mangeshkar. They produced Jhanjhar-1953, Leharen-1953 and Duniya gol hai-1955 ( directed by Omprakash himself.) These films were neither successful nor their music became popular.

When the film Jhanjhar-1953 was about to be released, C. Ramchandra and Lata Mangeshkar went to Punjab to attend the release function of the film. In this visit, Lata Mangeshkar spoke to singer Nurjehan in Pakistan, from her hotel room telephone and they decided to meet each other. Accordingly Lata and Nurjehan met on the “No Man’s Land” between the Indo-Pak border. They embraced each other and spent a lot of time together.

Another noteworthy event happened when the film Jhanjhar was in the making. At that time C.Ramchandra, under a loose contract with Filmistan, was also giving music to Filmistan’s ” Anarkali’. Directors in Filmistan knew that he was also making his own film Jhanjhar and they suspected that he may be neglecting music of Anarkali at the cost of Jhanjhar. He was sent a legal notice accusing him of this. However, Jhanjhar released first, flopped and then Anarkali was released. Anarkali music became a superhit and Jhanjhar was nowhere. The legal case was happily dropped and C Ramchandra was also awarded a gift from Filmistan for its music !

Film Lehren-1953 was directed by H. S.Rawail and the 10 songs of the film were written by Rajendra krishna. Rajendra Krishna (6-6-1919 to 23-9-1987. Songs 1671 for 269 films) and C.Ramchandra were very good friends. They came together from C. Ramchandra[‘s film Patanga-1949. Together they worked in 52 films. However, in 1958 this friendship broke up. The story is….in 1958 C.Ramchandra was called to Madras by producer S.S.Vasan of Gemini Films. He was offered the film Raaj Tilak for music. This was a remake of Vasan’s hit Tamil film ” Vanjikottai Valiban”. A Telugu remake was also on cards and C.Ramchandra was to give music to Hindi and Telugu versions. He had already given music to the Tamil original. He gladly accepted and wanted to call Rajendra krishna to write the songs. To his shock, Vasan objected to calling Rajendra krishna. Vasan was angry at him because he had written songs for his competitor AVM’s 2 films Bhai Bhai-1956 and Bhabhi-1957. Both films’ songs were popular and hits also. Vasan asked Ramchandra to suggest some other name. He suggested P.L.Santoshi and it was accepted. The music was completed for Raaj Tilak-1958.

C.Ramchandra went back to Bombay and started making songs for the film Amardeep along with Rajendra krishna. After the music was set, Rajendra Krishna came to know that C.Ramchandra had replaced him with Santoshi for a South film. He was enraged and broke their partnership. Rajendra krishna was also popular in South and he started suggesting the Southern producers names of Chitragupta and Ravi as Music Directors. C. Ramchandra stopped getting any films from Madras. At that time even Lata left him after recording 2 songs of the film Amardeep-1958. C.Ramchandra’s bad period had begun…..

The cast of the film Lehren-1953 was Shyama, Kishore Kumar, Shakuntala, Bipin Gupta, Iftikhar, Sunder, Johnny Walker, Leela Mishra and others. In this film, Raj kapoor was a Guest Artiste. Also Omprakash’s brother Pachhi did a small role in this film. Later Pachhi became a big Producer of Hindi films himself. In this film 6 singers were used for 10 songs. The singers were Mohd. Rafi, Kishore kumar, Hiemant kumar, Lata Mangeshkar, Shamshad Begum and Sunder. Today’s fun song is sung by Mohd. Rafi and Sunder. To most readers Sunder was a comedian, but Sunder Singh was a Hero in his early films and sang many songs in his own films.

For a long time,I was searching for information on comedian Sunder. I got hold of a 2 page detailed article on Sunder, but it was in Punjabi- which I could not read or use. I found a small paragraph on Sunder in Sanjit Narvekar ji’s book ” Eena Meena Deeka”. Lastly, I requested Harish Raghuwanshi ji for help. Despite his failing health, he promptly sent me articles in Hindi, English and Gujarati, on Sunder. He is such a helpful person. May God give him a healthy life.

Sunder Singh aka Sunder was born in Sialkot, Punjab on 10th August 1916. His father was working in Madon Theatres, Calcutta. Sunder also started working there. Initially, for a long period,he did Girl’s roles. Once his work was seen by H.S.Rawail (Director in later life). He was quite impressed. Later Rawail started working with R.N.Vaidya as his assistant in direction.Meanwhile Sunder started working in Talkie films. His first film,where he was credited, was ” Na hone wali baat”-38. Before that, Rawail and Vaidya were preparing to make the film Banke Sipahi-37.Rawail recommended Sunder and Vaidya gave him an uncredited small role in that film.

Sunder and Rawail became good friends and started staying in one flat in Calcutta. After a few films here, they both went to Lahore and Sunder got the Hero’s role in the film ” Shukriya”-44. There were 4 Heroines in the film- Ramola, Rooplekha, Manorama and Raksha. Sunder’s role in this film was that of a young man from a village and Ramola was from a City. Sunder’s one song from this film-‘ Nayanon ke teer chala gayee ek shehar ki laundiya’ became very popular all over India, However the song was banned in Punjab due to its lyrics. After this they both came back to Calcutta.

His next film was Albeli-45, in which too there were 4 Heroines- Ramola, Rooplekha, Manorama and Usha. In the 40’s , Sunder acted in many films like Arabian Nights, Baap, Shabri, Chandrashekhar, Ek aurat, Grihalaxmi, Lottery, Samapti, Jhoothi kasme, Savyasachi, Do baaten, Shadi ke baad, Bawra, Khiladi, Nai Bhabhi etc. In Calcutta, Sunder got married to a girl from his community. Rawail left for Bombay. After a few months, Sunder also returned to Bombay.

Rawail was very happy to get him back and gave him roles in almost all of his films. Not only Rawail, but also J.Om Prakash, Mohan Kumar, Lekhraj Bhakri, Manoj kumar etc gave him roles in all their films and he became a busy actor. He was at one time, in great demand. He was quite popular due to his nature.In the decade of 50’s he did 88 films, which increased in the 60s and 70s. In the 80s however films came haltingly.

From singing Hero, he became a Junior artiste( extra), in presence of the new crop of actors. The role of comedians was on decline, as Heroes like Amitabh and others did comedy scenes themselves. His health started troubling him. His last film was probably Bahurani-89. He became ill for a long time and finally died on 5-3-1992. Sunder acted in 436 films. He was a good singer and sang his own songs in early cinemas. In all, Sunder sang 40 songs in 25 films. ( Thanks to Harish Raghuwanshi ji for material for adaptation.)

The story of the film Lehren-1953 was….The story of Lehren-53 revolves around 3 characters. One Hero and 2 Heroines. Kishore loves Shakuntala and treats Shyama sympathetically because she had lost her parents. She stays with her uncle omprakash. Shyama however takes Kishore’s sympathy as his love for her. Even his uncle and Kishore’s best friend Sunder think that way. This happens because Kishore feels too shy to express his love for Shakuntala. This situation becomes very embarrassing for Kishore, especially as he is pushed to marry Shyama. This part of the story is upto Interval.

After Interval, Kishore tries very hard to get out of this tricky situation and succeeds by first telling the truth to Sunder and then to uncle Omprakash. They make a plan so that Shyama overhears Kishore’s love dialogues to Shakuntala. But this has an opposite effect. Shyama thinks that Kishore has played a double game with both the girls.

At the end, all misunderstandings are cleared( for which Shakuntala had to pretend her suicide and sacrifice to allow Shyama and Kishore to get married). Shyama steps back and Kishore and Shakuntala are married.

Let us now enjoy the comedy song, by Rafi and Sunder Singh.


Song-Kehta hoon sach ke jhoothh ki aadat nahin mujhe (Lehren)(1953) singers-Sunder, Rafi, Lyrics-Rajinder Krishan, MD-C Ramchandra
Both

Lyrics

Duniya jhol hai
ae jee hum na kehte thhe
ke duniya jhol hai
aur tum samahte thhe ke beta gol hai
waah
aah
samhe mama
kehta hoon ke
kehta hoon sach
ke jhoothh ki aadat nahin mujhe
kehta hoon sach
ke jhoothh ke jhoothh ki aadat nahin mujhe
ae jaaneman
kisi se adaawat nahin mujhe
ae jaaneman
kisi se adaawat nahin mujhe
kehta hoon sach
ke jhoothh ki aadat nahin mujhe
kehta hoon sach
ke jhoothh ki aadat nahin mujhe
ae jaaneman kisi se adaawat nahin mujhe
ae jaaneman kisi se adaawat nahin mujhe

ae jee achche bure ko dekh ke
achche bure ko dekh ke
kehta hoon saaf baat
kya
arre suno to mama
arre achche bure ko dekh ke
arre kehta hoon saaf baat
arre din ho to din kahoonga
agar raat ho o o to raat
ahahaha

arre jhoothe kaa
kya
munh kaala

arre nahin
suno to mama
arre jhhoote ka saathh
dene ki aadat nahin mujhe
jhhoothe ka saath dene ki aadat nahin mujhe
ae jaaneman kisi se adaawat nahin mujhe
ae jaaneman kisi se adaawat nahin mujhe

aa aa aa aa aa
aji jaaiye bhi aap to
jhoothon ke baap hain

aji mama ee
dekho main to nahin hoon
per aap hain
aa aa aa aa
ab chhodiye jee peechha
ke fursat nahin mujhe
ab chhodiye jee peechha
ke fursat nahin mujhe

ae jaaneman kisi se adaawat nahin mujhe
ae jaaneman kisi se adaawat nahin mujhe

kehta hoon sach ke jhoothh ki ee ee ee ee ee ee ee
kehta hoon sach ke jhoothh kee ee ee ee ee ee ee
kehta hoon
o kehta hoon
o kehta hoon
o kehta hoon
sach ke jhoothh ki aadat nahin mujhe

kehta hoon sach
ke jhoothh ki aadat nahin mujhe
ae jaaneman kisi se adaawat nahin mujhe
ae jaaneman kisi se adaawat nahin mujhe ae ae


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 :

5178 Post No. : 17154

Today’s song is from the costume/stunt film ‘Jungle King’ (1959). The film was made by Artists United, Bombay (the name reminds me of the famous Hollywood company ‘United Artists’). It was produced by a group calling itself ‘Four X’ (for reasons best known to them) composed of Morris, Akbar, Asghar and Haider. The director was Masood and the music was by the pair of Bipin-Babul. The cast was very interesting. It consisted of Shaaga, Haaydu (what strange names! Never heard them !!), Sheila Ramani, Anwar, Majnu, Kamal Mehra, Heera Sawant, Tun Tun, Kabban Mirza, Dambe, Doud, Badshah, Rampuri Mehmood, Elephant Laxmi and many others.

I have never heard such strange names of actors in any film. Shaaga, Haaydu, Dambe, Rampuri Mehmood ? Where did they get these people with such names ? That way, earlier also I have come across some queer names in stunt films, like Bajarbattoo, Chemist, Dhondu, Babu Fatty, Gareeb Nawab etc. Few years back, Dr. Surjit Singh ji had downloaded 7,000 names of actors who acted in Hindi films from 1931 to 2000, from an internet site, which is extinct now. He had put it on the RMIM forum from where I downloaded the list. But in the intervening times, with me changing my Laptop several times till today, the list was lost in transit from one Laptop to the next one. The point is there were many funnier names of actors in that list.

Old time artistes had no means of publicity like today. With TV, Social Media, WA, Fb, newspapers, glossy magazines etc, publicity is easier for modern actors. Old time actors were forgotten as soon as they stopped appearing in films. Today’s film ‘Jungle King’ (1959) is a special film because in its cast are 2 old time actors who were forgotten totally with the times. One was a heroine of the then leading heroes, who fell on bad times and accepted whatever films came her way. But wisely she got married and spent a rich and comfortable retired life. The other one was an occasional singer, who held an honorable post in All India Radio and his songs became a choice of critics in those days. Let us know more about them.

One was actress Sheila Ramani,  a forgotten name today, but most of us will remember her in Navketan’s ‘Taxi Driver’ (1954) where she was cast as Anglo-Indian club dancer – Sylvie. I also remember her as the leading lady in ‘Funtoosh’ (1956), also from the banner of Navketan. Sheila was born on 2-4-1931, in Karachi. She was selected as Miss Mussoorie in 1948 and judged ‘Miss Simla’ in 1950. She made her debut as Champa, the femme fatale of ‘Badnam’ (1952), and revealed herself as a danseuse of charm in ‘Anand Math’ (1952). She was one of the few Sindhi actresses besides Sadhana, who made it big in Bollywood. She was mostly seen as an upper class mod girl in the 50s, a role she enacted to perfection all through that swinging era in films like V Shantaram’s ‘Teen Batti Char Raasta’ (1953), Sheikh Mukhtar’s ‘Mangu’ (1954), ‘Meenar’ (1954), ‘Railway Platform’ (1955), and ‘Funtoosh’ (1956).

Her uncle Sheikh Latif alias Lachchu was a famous Pakistani producer who produced films like ‘Pathan’ (1955), ‘Khizan Kai Baad’ (1955), ‘Darbar-e-Habib’ (1956) etc. Sheila visited Karachi – Pakistan on the request of her uncle, to play the lead role in Pakistani film ‘Anokhi’ (1956). The film was based on Hollywood’s ‘Fabulous Senorita’ (1952). “Gari Ko Chalana Babu, Zara Halkey Halkey Halkey, Zara Dil Ka Jaam Na Chhalkey” sung by Zubeda Khanum was the popular song from the film which did modestly good business in Pakistan. The movie’s great music was composed jointly by Timir Baran (a Bengali who came from India for this purpose) and Hassan Latif. Sheila went back to India and remained as a middle-of-the-range performer in Bombay films. In the later part of her career, she was reduced to obscure films with titles that sounded like ‘Jungle King’ (1959), and ‘The Return of Superman’ (1960) – one of the last films composed by Anil Biswas. In all, she acted in 24 films. Her last film was ‘Awaara Ladki’ (1967).

Sheila was very fond of sports, especially football and swimming. Ballroom dancing was a virtual addiction for her and she used to go out dancing as often as she could. Sheila was 5 feet four inches tall, and was so fastidious that any dress she would wear won’t be repeated for six months to come at least.

According to her son Rahul Cowasji, she retired from acting in 1962 and married  Jal Edi Cowasji on 31st March 1963. Part of her family that remained in Pakistan converted to Islam. She was a Hindu. She used to live in Mumbai with her husband Jal Cowasji (President of Bombay Dyeing) till 1981. They moved to Khartoum for 3 years and then to Sri Lanka for 3 years. After her husband’s death in 1984 she migrated to Australia on her own in the late 80’s and lived in Sydney and Surfers Paradise until health problems required her to return to India in the new millennium.  She used to live in her husband’s ancestral home in Mhow, near Indore (MP). She was frail and bed ridden for a few years before her death on 15-7- 2015.

Her favorite Hindi film of her career was ‘Taxi Driver’ (1954). Sheila was also the leading lady of India’s first Sindhi film after partition – ‘Abana’ (1958), in which young Baby Sadhna played her younger sister’s role.  [Thanks to Cineplot for some of the information in this Biosketch].

The other one was an  AIR announcer and an anchor. He was also a singer and an actor for a few films. His name was Kabban Mirza. Kabban Mirza’s name is known to very few people. He is one of those people who appeared like a comet and disappeared like a lightning. In his short stint with Hindi films, he acted in 2 films – ‘Jungle King’ (1959) (he was also the Assistant Director for this film) and ‘Murad’ (1961). He sang 1 song in the film ‘Captain Azad’ (1964) and 2 songs in the film ‘Razia Sultan’ (1983). He claimed to have sung a song “Is Pyar Ki Basti Mein” in a film called ‘Sheeba’,  without getting credited. No film with the name ‘Sheeba’ is traceable, but a song with the same mukhda is found in the film ‘Jungle King’ (1959), credited to Suman Kalyanpur and Babul with chorus. We don’t find a third voice in this song. It is possible that the film ‘Sheeba’ was left incomplete and the same song was used in the film ‘Jungle King’ (1959) with Babul as the male singer.

The question is why Kabban Mirza is remembered with such a meager contribution to film acting and singing ? The answer is because of his deep voice. Mirza who briefly flirted with the film world, left a lasting impression with his songs for producer-director Kamal Amrohi’s epic, ‘Razia Sultan’.

The songs — “Aayee Zanzeer Ki Jhankar Khuda Khair Kare” and “Tera Hijr Mera Naseeb Hai” — rendered in Mirza’s deep voice, were filmed on the slave-warrior character of Yaqut played by Dharmendra in the film.

Mirza was picked out after Amrohi auditioned dozens of singers in his search for a unique voice to suit the character of the slave-warrior. The film’s music director, Khayyam, reminisces: ‘‘Kamal Saab was a perfectionist. He called over 50 singers for a voice test, but remained unconvinced. Then someone suggested Kabban Mirza who was also a popular nauhaa khan (one who sings elegy for Imam Hussain’s martyrdom during Muharram). Kamal Saab’s search ended with Mirza.’’

Overnight his popularity soared. Mirza got a few more singing offers, including for BR Chopra’s ‘Nikaah’ (1982), but his preoccupation with radio came in the way. ‘‘His voice had a unique bass, unheard of in the industry,’’ says poet-lyricist Nida Fazli who penned a song for Razia Sultan.

Kabban Mirza was born in 1937 in Hapur, Uttar Pradesh. He belonged to the  Siddi community. This is a community that migrated from Central Asia/North Africa, during the time when India was ruled by Muslim dynasties. These people were brought in as slaves in the courts of the rulers of Delhi, Lucknow and other kingdoms in North India. They are also known as ‘Habshi’. It is curiously incidental that Yaqut, the slave in the court of Razia Sultan, also belonged to this ‘Habsh’ community. It sounds almost providentially ordained that the two people, separated by more than seven centuries – the original persona, and the singer who would sing for that historical character in a film, belong to the same original ethnic community. (Another very well known personality of Indian cinema belongs to this community – His real name was SYED HASSAN ALI ZAIDI. His family used to call him MIJJAN Miyan and screen name was Kumar, the actor who played the role of the sculptor in the film ‘Mughal e Azam’ (1960)).

The child in Kabban took to music and singing very early. He was drawn to the ‘nauhaa’ style of singing – the traditional ‘marsiaa’ and ‘taaziadaari’ singing on the solemn occasion of Muharram. It is noted that the child Kabban used to practice his singing with his head inserted inside a ‘matka’ (earthen pot).

As he grew up, he was recognized as a very impressive and inspiring ‘nauha-rubaan’ – a singer of traditional Muharram renderings. His voice caught the attention, and he got his break with All India Radio, in the music department. This phase of his life is not well documented, no details are available about his training in classical music and who his teachers were. But his depth of knowledge about the detailed nuances of classical ragas is well acknowledged in his presentations of the radio program ‘Sangeet Sarita’. He anchored this program for many years. He would play select film songs based on Hindustani classical music, and then described in great detail the classical basis, the raag and its variations, the sur, the taal, and their interplay. He garnered a good measure of fan following for this program.

He had joined AIR in Lucknow, but he was soon transferred to Bombay station, where he would take on the anchor role for such noteworthy programs as ‘Hawa Mahal’, ‘Sangeet Sarita’ and ‘Chhaaya Geet’, for many years. There is some mention that he was approached to sing for music director Ravi in BR Chopra’s ‘Nikaah’ (1982), but apparently his association with AIR and his popularity as the anchor of mainline radio programs, came in the way of his further association with the world of films.

The two songs of ‘Razia Sultan’ became very popular in their time – the record sales were impressive. But as destiny would have it, this rise in popularity was accompanied by the most unfortunate health news for Kabban Mirza. He was detected with cancer of the larynx. This was a stroke of extreme bad luck from which he could never recover. His voice and his throat were his vital and essential assets. And that is where fate struck its most unkind blow. He went into prolonged treatment, but eventually he had to be operated upon. The year was 1993. He recovered from surgery and returned home. Thankfully, the malady seemed to be in remission, but then never got to use his voice for any serious and significant assignments.

Mirza, who was admitted to Jaslok Hospital on May 9 after he complained of cough and neck pain, came back home minus his once-famous voice. The tracheotomy tube inserted in his windpipe allows him to breathe, not speak. ‘‘He was diagnosed with throat cancer and treated 10 years ago also. But its relapse has shattered us. He won his bread and our happiness through his voice. Now he has lost that very voice,’’ bemoans Rifat, Mirza’s daughter.

The respite from the physical predicament lasted for a decade. The problem reared its painful head once again, and in May/June 2003, he had to undergo another surgery that resulted in the removal of a significant part of his larynx, leaving him practically with no sound in his throat. His vocal communications were reduced to very limited rasping utterances at the best. This regrettable fate for someone who had once been honored with the Golden Voice Award by the AIR. He reportedly died in June 2006.

[Based on information collated from the articles by Mohd. Wajihuddin in Indian Express dt. 24-6-2003, Ganesh Vancheeswaran in scroll.in, and Sudhir ji in Blog ASAD,  muVyz, HFGK and my notes, with thanks to all.]

Song- Dil Thaame Huye Baithe Hain Bechain Nazar Hai (Jungle King) (1959) Singers – Babul, Uma Devi, Meera Shiraz, Lyricist – Anjum Jaipuri, MD- Bipin Babul
Babul + Khurshid Bawra
All Chorus

Lyrics (Provided by Sudhir)

dil tha..aame huye. . .
baithe hain. . .
haaye
bechain nazar hai

dil thaame huye
dil thaame huye baithe hain
bechain nazar hai
kehte hain muhabbat jise
kuchh tumko khabar hai
dil thaame huye baithe hain
bechain nazar hai

dil thaamne ke laakh sabab hote hain nadaan
ey ey ey hey
beemar hai
eeekhiy
beemar hai khud
haan
beemar hai khud
ya hai koi dost pareshan
ya phir kisi mehmaan ke aane ki khabar hai
ya phir kisi mehmaan ke aane ki khabar hai
ey ey ey
dil thaame huye baithe hain
bechain nazar hai
kehte hain muhabbat jise
kuchh tumko khabar hai

aati hain muhabbat mein kabhi aisi bhi raaten
neend aati nahin hoti hain taaron hi se baaten
ae ji taaron hi se baaten
ho ji taaron hi se baaten
jis dil mein mohabbat ho ye usko hi khabar hai
jis dil mein mohabbat ho ye usko hi khabar hai
dil thaame huye baithe hain
bechain nazar hai
kehte hain muhabbat jise
kuchh tumko khabar hai

ho (??) pe insaan to kabhi neend naa aaye
kaanton pe bhi so jaaye jo maa lori sunaaye
hmmm hmmm hmmm
maa baap ke kadmon mein muhabbat ka nagar hai
maa baap ke kadmon mein muhabbat ka nagar hai
dil thaame huye baithe hain
bechain nazar hai
kehte hain muhabbat jise
kuchh tumko khabar hai

raste hain alag pyaar ki manzil hai magar ek
laakhon hain tamannaayen to kya khush hai magar ek
laakhon hain tamannaayen to kya khush hai magar ek
hanste huye chalna ye muhabbat ka safar hai
hanste huye chalna ye muhabbat ka safar hai

dil thaame huye baithe hain
bechain nazar hai
kehte hain muhabbat jise
hum sab ko khabar hai
dil thaame huye baithe hain
bechain nazar hai

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

दिल थामे हुये
बैठे हैं
हाए
बेचैन नज़र है

दिल थामे हुये
दिल थामे हुये बैठे हैं
बेचैन नज़र है
कहते हैं मोहब्बत जिसे
कुछ तुमको खबर है
दिल थामे हुये बैठे हैं
बेचैन नज़र है

दिल थामने के लाख सबब होते हैं नादां
ए ए हे
बीमार है
ईखी॰ ॰ ॰
बीमार है खुद
हाँ
बीमार है खुद
या है कोई दोस्त परेशां
या फिर किसी मेहमान के आने की खबर है
या फिर किसी मेहमान के आने की खबर है
ए ए ए
दिल थामे हुये बैठे हैं
बेचैन नज़र है
कहते हैं मोहब्बत जिसे
कुछ तुमको खबर है

आती हैं मोहब्बत में कभी ऐसी भी रातें
नींद आती नहीं होती हैं तारों ही से बातें
ए जी तारों ही से बातें
हो जी तारों ही से बातें
जिस दिल में मोहब्बत हो
ये उसको ही खबर है
जिस दिल में मोहब्बत हो
ये उसको ही खबर है
दिल थामे हुये बैठे हैं
बेचैन नज़र है
कहते हैं मोहब्बत जिसे
कुछ तुमको खबर है

हो (??) पे इनसां तो कभी नींद ना आए
काँटों पे भी सो जाये जो माँ लोरी सुनाये
हम्मम हम्मम हम्मम
माँ बाप के कदमों में मोहब्बत का नगर है
माँ बाप के कदमों में मोहब्बत का नगर है
दिल थामे हुये बैठे हैं
बेचैन नज़र है
कहते हैं मोहब्बत जिसे
कुछ तुमको खबर है

रस्ते हैं अलग प्यार की मंज़िल है मगर एक
लाखों हैं तमन्नायेँ तो क्या खुश है मगर एक
लाखों हैं तमन्नायेँ तो क्या खुश है मगर एक
हँसते हुये चलना ये मोहब्बत का सफर है
हँसते हुये चलना ये मोहब्बत का सफर है

दिल थामे हुये बैठे हैं
बेचैन नज़र है
कहते हैं मोहब्बत जिसे
हम सब को खबर है
दिल थामे हुये बैठे हैं
बेचैन नज़र है


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 :

5177 Post No. : 17152

———————————————–—————————————
Blog 10-Year Challenge (2012-2022) – Song No. 96
————————————————————————————–

Ten years back on this day i.e., on 20th September ’2012 the following songs were posted on the blog.

Song

 Movie title-Year

 Remarks

 Jai Krishn Hare Shri Krishn Hare  Shehnaai – 1947  All songs covered
 Dekh Khudaa Ki Shaan Saheli  Elaan – 1947  All songs covered
 Kaanton Mein Rehnewaale Kaanton Se  Kyaa Darenge  Matlabi Duniya – 1961  4 songs posted
 Aaj Achaanak Toot Gaye Kyun Man Veena Ke Taar  Kinaare Kinaare – 1963  All songs covered
 Allah Khair Baba Khair  Ham Do Daaku – 1967  2 songs posted
 Aadhi Sachchi Aadhi Jhoothhi Teri Prem Kahaani  Fakeera – 1976  All songs covered
 Chalo Kahin Aur Chalte Hain  Naya Daur – 1978  2 of 4 songs posted
 Haan Aawaara Hoon  Main Aur Mera Saaya(NFS)              –

If we see the total songs posted in the month of September 2012 the figure was 207, which gives us an average of 6.9 songs per day or almost 7 songs per day were posted during the month. On 20th September 2012 the blog clocked eight songs. Out of these eight seven are from films and one is from NFS album. Four of the movies have already been Yippeee’d on the blog. That gives us three movies viz. ‘Matlabi Duniya’ (1961), ‘Ham Do Daaku’ (1967) and ‘Naya Daur’ (1978) from which we can discuss a song today.

I am presenting a song from the movie ‘Naya Daur’ (1978). When I saw Prakash ji’s email sending the lyrics of the today’s song, I immediately decided to take up this song as it is sung by Kishore Kumar, and I had not heard it earlier or even if I had listened it I had forgotten it.

The movie ‘Naya Daur’ (1978) had made its debut on the blog with its first song on 20.09.2012 on the blog. That means this movie has today completed its ten-year run on the blog. So far, two songs from this movie have been posted on the blog as mentioned in the above table. Today’s song is the third song of this movie on the blog.

‘Naya Daur’ (1978) was directed by Mahesh Bhatt for United Movie Arts, Bombay. It had Rishi Kapoor, Bhavna Bhatt, Danny Dengzongpa, Farida Jalal, Manda Puri, Paintal, Poornima Ranjeet, Om Prakash, Ghanshyam Roheda, Major Anand, Sharat Saxena, Haider Chaudhary, Vishwa Mehra, Kamal Rai, Leena Das, and Oscar. Dr Shreeram Lagoo, Sapru and Shivraj make a special appearance in this movie. Shashi Kiran and Pinchoo Kapoor make a guest appearance in this movie.

This movie was passed by Censor Board on 06.01.1978.

This movie had four songs penned by Anand Bakshi. Music for this movie was composed by RD Burman. Here is the list of the songs appearing in this movie-

Sl. No. Song-Title Singer/s Posted On
01 Chalo Kahin Aur Chalte Hain Kishore Kumar, Asha Bhonsle 20.09.2012
02 Mujhe Doston Tum Galey Se Lagaa Lo Mohd Rafi, Asha Bhonsle, Danny Dengzongpa* 25.02.2022
03 Paani Ke Badley Pee Kar Sharaab Kishore Kumar, Danny Dengzongpa
04 O Paise Waalon Bade Insaanon Kishore Kumar Being discussed today

I have not watched this movie (and it seems to be unavailable on internet as of now) so can’t say much about it. I would request knowledgeable readers who have watched this movie to throw more light on this movie and its songs.

Let us listen to today’s song now which is sung by Kishore Kumar and on screen it is lip synced by Rishi Kapoor. Also seen in the picturisation of this song are Bhavna Bhatt, Madan Puri and many others.

Lyrics are by Anand Bakshi, and the catchy and entertaining music is composed by RD Burman. Kishore Kumar has sung this song in his characteristic style and gusto which makes this song enjoyable and hummable. . .

As mentioned above lyrics for the today’s song have been sent by our dear Prakash ji.

Over to the song now. . .

Audio

Video (Longer)

Song – O Paise Waalo, Bade Insaano (Naya Daur) (1978) Singers – Kishore Kumar, Lyrics – Anand Bakshi, MD – RD Burman

Lyrics (Provided by Prakashchandra)

o paise waalo o o
paise waalo bade insaano o o
kaun hoon main
mujhe pehchaano o
o paise waalo bade insaano o o
kaun hoon main
mujhe pehchaano o
jisey tumne kabhi thhukraayaa aa
main wohi hoon
main wohi hoon sach maano

o paise waalo bade insaano o o
kaun hoon main
mujhe pehchaano o

main pehle jab aaya thha
uff kitnaa ghabraaya thha
phir aur kisi din aana
sahib ne pharmaaya thha
main pehle jab aaya thha
uff kitnaa ghabraaya thha
phir aur kisi din aana
sahib ne pharmaaya thha
yaad aaya
nahin yaad aaya aa
main wohi hoon
main wohi hoon sach maano
o paise waalo bade insaano o o
kaun hoon main
mujhe pehchaano o

ab himmat ho to aao
ek thhokar to lagaao o
sharam aati ho to jaao
kahin doob ke mar jaao
ab himmat ho to aao
ek thhokar to lagaao o
sharam aati ho to jaao
kahin doob ke mar jaao
jisey tumne galey se lagaaya
main wohi hoon
main wohi hoon sach maano
o paise waalo bade insaano o o
kaun hoon main
mujhe pehchaano o

mera kehna hai aisa
ab mujhse gussa kaisa
ab main bhi hoon tum jaisa
mere paas bhi hai paisa
mera kehna hai aisa
ab mujhse gussa kaisa
ab main bhi hoon tum jaisa
mere paas bhi hai paisa
aap sab ne badaa dhokha khaaya
main wohi hoon
wohi hoon sach maano
o paise waalo bade insaano o o
kaun hoon main
mujhe pehchaano o
jisey tumne kabhi thhukraayaa aa
main wohi hoon
main wohi hoon sach maano
o paise waaln bade insaano o o
kaun hoon main
mujhe pehchaano o

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

ओ पैसे वालो
पैसे वालो बड़े इन्सानो
कौन हूँ मैं
मुझे पहचानो
ओ पैसे वालो बड़े इन्सानो
कौन हूँ मैं
मुझे पहचानो
जिसे तुमने कभी ठुकराया
मैं वही हूँ
वही हूँ सच मानो
ओ पैसे वालो बड़े इन्सानो
कौन हूँ मैं
मुझे पहचानो

मैं पहले जब आया था
उफ़्फ़ कितना घबराया था
फिर और किसी दिन आना
साहब ने फरमाया था
मैं पहले जब आया था
उफ़्फ़ कितना घबराया था
फिर और किसी दिन आना
साहब ने फरमाया था
याद आया
नहीं याद आया
मैं वही हूँ
वही हूँ सच मानो
ओ पैसे वालो बड़े इन्सानो
कौन हूँ मैं
मुझे पहचानो

अब हिम्मत है तो आओ
इक ठोकर तो लगाओ
शरम आती हो तो जाओ
कहीं डूब के मर जाओ
अब हिम्मत है तो आओ
इक ठोकर तो लगाओ
शरम आती हो तो जाओ
कहीं डूब के मर जाओ
जिसे तुमने गले से लगाया
मैं वही हूँ
वही हूँ सच मानो
ओ पैसे वालो बड़े इन्सानो
कौन हूँ मैं
मुझे पहचानो

मेरा कहना है ऐसा
अब मुझसे गुस्सा कैसा
अब मैं भी हूँ तुम जैसा
मेरे पास भी है पैसा
मेरा कहना है ऐसा
अब मुझसे गुस्सा कैसा
अब मैं भी हूँ तुम जैसा
मेरे पास भी है पैसा
आप सबने बड़ा धोखा खाया
मैं वही हूँ
वही हूँ सच मानो
ओ पैसे वालो बड़े इन्सानो
कौन हूँ मैं
मुझे पहचानो
ओ पैसे वालो बड़े इन्सानो
कौन हूँ मैं
मुझे पहचानो
जिसे तुमने कभी ठुकराया
मैं वही हूँ
वही हूँ सच मानो
ओ पैसे वालो बड़े इन्सानो
कौन हूँ मैं
मुझे पहचानो


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 FOURTEEN years. This blog has over 17100 song posts by now.

This blog is active and online for over 5000 days since its beginning on 19 july 2008.

Important Announcement

(© 2008 - 2022) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

Total number of songs posts discussed

17162

Number of movies covered in the blog

Movies with all their songs covered =1329
Total Number of movies covered=4609

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