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

Archive for the ‘Post by Arunkumar Deshmukh’ Category


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

Today’s song is from the film Jagirdar-1937. The film was made by Sagar Movietone.

In the first decade after the Talkie Era started, Sagar Movietone was one of the major film making companies in Bombay. The Desai family, along with Dr. Ambalal Patel, were originally in Film Distribution business, but decided to enter the actual film production. Sagar Film Company, which had produced 12 silent films, was converted to Sagar Movietone in 1931, after Desai and Patel joined it.

The personal involvement, unstinted finance availability and the growing demand for quality Talkie films and Music helped Sagar to soon become a great place to work with. On their part the Desai family got almost every eligible member of their family to share the responsibility to run this successful company. With their clean reputation and a professional approach with a personal touch to treat its employees, Sagar Movietone attracted the best available talent in the industry.

Sagar had the Top class Heroes and actors with them, like Surendra ( who was initially projected as an answer to K L Saigal of Calcutta), Motilal, Kumar, Shaikh mukhtar, N M Charlie, Yaqub, Bhudo Advani, Kanhaiyalal, V H Desai etc, heroines like, Sabita Devi, Nalini Jaywant, Jyoti, Waheedan bai, Bibbo and Maya Banerjee, Directors like Mehboob, Ezra Mir, Sarvottam Badami ( he was an ordinary Motor mechanic in Bangalore. He also directed Tamil and Telugu films for Sagar later), Ramchandra Thakur and Zia Sarhadi, Cinematographer Faredoon Irani, Sound recordist Kaushik Dholakia and above all Music Director Anil Biswas. All these star artistes grew initially in Sagar. They were the “Jewels of Sagar “.

While doing shootings, the atmosphere on the sets used to be very informal. For film kulwadhu-37, the Heroine Sabita Devi had to wear a Gujarati style Saree, which she did not know how to. She directly went to the owner’s house and learnt it from his wife Nanda Gauri.

Sagar had invented a novel method of promoting films. After film Kulwadhu-37 was released, a contest for readers of the Film India magazine was arranged, asking few questions about the impact of the film on the society. There was a good response from viewers/readers, one of whom also won a cash prize of Rs. 250 ( a princely sum in those days).

Based on this experience, even for film Jagirdar-37, a feedback contest from the audience was thrown open via Film India magazine , announcing total prizes worth about a Thousand rupees or so. Additionally, a half page advertisement in Times Of India was given. Only one sentence was printed in the centre of the advertisement keeping the rest area vacant. The sentence written by Baburao Patel was ” The most kissable Mischief of the year- Maya Banerjee in film Jagirdar, Directed by Mehboob Khan “. This gimmick generated enormous curiosity among the public and increased the multiple visits of the audience to the film.

Film Jagirdar was a tremendous success commercially. The cast included Surendra and Motilal, along with Bibbo and Maya Banerjee. The credit of Multiple Hero Films goes to Sagar. Not only this film, but later on in 1939, they cast 3 Heroes and 3 Heroines in film ” Ek Hi Rasta ‘- 39. In film Jagirdar Surendra and Motilal- though contemporaries- played the roles of Father and Son !

There was an interesting anecdote about Jagirdar shooting. In one scene, Motilal is shown becoming sentimental while remembering his mother. By chance, same morning Motilal had received a telegram informing him that his mother was very ill. While doing this scene Motilal just broke down and wept. Mehboob Khan stopped the shooting. It resumed after Motilal was pacified by all others.

Sagar movietone produced a total of 66 Talkie films from 1931 to 1940. The break up is 52- Hindi, 5- Tamil, 4 – Gujarati, 3 – Telugu, 1-Bengali and 1- Punjabi. Surprisingly, Sagar did not make any Marathi film or a Bilingual film to compete with Prabhat films !

The film was directed by Mehboob Khan with music by Anil Biswas. During their tenure in Sagar both, Mehboob and Anil Biswas became thick friends, but this friendship broke in 1940 when Anil Biswas accepted an offer from Bombay Talkies and left alone. Mehboob Khan felt let down since Anil Biswas had not even informed him before leaving. Due to this they never worked together again in their life.

( article uses information from the book “Sagar movietone” by shri Biren Kothari ji and Ency. of Indian Cinema by Ashish and Paul, with thanks )

The story of film Jagirdar-37….

Surendra is a Jagirdar. he loves Neela (Bibbo). They secretly marry and get a child also. In one sea voyage ship wreck, Surendra is believed to have died. Now the child is called illegitimate. Neela is about to commit suicide, but a poor farmer Shripati (Pandey) saves her and also marries her. The child grows as Ramesh (Motilal). he is in love with Sheela(Maya Banerjee).

Surendra survives and comes back. He has a big fight with Shripati over Neela. Ramesh opposes Surendra. Few days later Shripati is murdered and Surendra is suspected for this. When the gangster Narayanlal(Yaqub) comes in the picture, the father and son fight him together and the killer of Shripati is arrested.

All is well that ends well.

Film Jagirdar has 10 songs. 2 songs, including the most popular song of the film-” Nadi kinare, baith ke aao” (Motilal and Maya Banerjee) are already discussed by Atul ji. Today’s song will be the third song. The Mukhda is “baanke Bihaari bhool na jaana “. Many people may not know the meaning of the word Banke Bihari. It has no connection with Bihar. It is one of the names of Lord Shri Krishna. Banke means bent. The statue of Krishna is usually bent at 3 places-Hands folded for Flute, waist folded and leg folded while standing. Bihari means Supreme Enjoyer. In this song, the girl is calling her lover- Krishna, in short. Enjoy the song now…..


Song-Baanke bihaari bhool na jaana (Jaageerdaar)(1937) Singers- Maya Bannerji, Motilal
Lyrics- Pt Indra Chandra, MD- Anil Biswas
Both

Lyrics

baanke bihaari
bhool na jaana
baanke bihaari
bhool na jaana
praan pyaari preet nibhaana
praan pyaari preet nibhaana

baanke bihaari
bhool na jaana
baanke bihaari
bhool na jaana

nasha mere nainon mein chhaaya
nasha mere nainon mein chhaaya

kahaan se nasha baby ye aaya
kahaan se nasha baby ye aaya
joban ki madira dhal dhal ke
joban ki madira

joban ki madira dhal dhal ke
joban ki madira
nain katore tore chhalke
nain katore

tore chhalke
nain katore tore chhalke
joban ki madira dhal dhal ke
joban ki madira

tu u u u
deeeewaaana
tu deewaaana

na ka ta na
na ka ta na
baanke bihaari
bhool na jaana
baanke bihaari
bhool na jaana
praan pyaari preet nibhaana
praan pyaari preet nibhaana

baanke bihaari
bhool na jaana
baanke bihaari
bhool na jaana

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

Toady’s song is from film ‘Achhoot’ (1940),sung by composer Gyan Dutt and singer actress Vasanti.

The second world war started from 1939, but its effects started being felt in India after 1940 only. The Government became alert and sensitive. Lots of restrictions were put on Imports and Exports. All exports to Germany and Japan were banned. Foreign travel came under Government microscope. Imports were restricted to only essential goods. Raw film stock came under Government control (and naturally became available freely in black market at exorbitant price). Taking advantage of the situation, Government declared that those film production houses who help Government in its war efforts, by making films with pro Govt. themes, would get raw film on priority.

Most production studios made films with Patriotic themes accordingly, spicing it with pro Govt dialogues to claim favours. Mahatma Gandhi ji too upped his efforts to Govt. in distress as much as possible by undertaking different Satyagrahas like the Salt Satyagraha, Burning of Foreign goods, Quit India Movement etc. At the same time Gandhiji took up movement against social evils to attract public support to his main cause.

One of the social evils, Gandhiji took up was entry of harijans in Hindu temples. He did satyagraha in Kerala, Nashik, Banares and some other places. Hindi film industry was alive to what was happening in the country and films on untouchability were made by big studios. Bombay Talkies produced ‘Achhoot Kanya’ in 1936 followed by Ranjit Movietone with their film ‘Achhoot ‘ in 1940. While ‘Achhoot Kanya’ had a sad ending, film ‘Achhoot’ had a happy ending.

Hindi film industry’s growth in the early years from 1920s to 1940s was contributed to by 2 major communities. One of them was the Gujarati businessmen who immediately identified this business as the future gold mine. The other major community was the local Marathi, who lent their brain and hard work to this industry. As the time went by, people from Punjab, UP, Bengal and other states of India joined hands to help this industry to prosper. However, till the mid 1950s it was the Gujarati Sethias who poured the finances. Financiers like Sampat Sheth, Gokuldas Pasta, Manik Sheth Patel, Chunilal Munim, Mangaldas Parekh, Abdulali Yusufali, Mohd Ali Rangwala, Chimanlal Desai, Bhogilal Dave, Mayashanker Bhatt etc. only supplied the money, but never dabbled in other departments nor did they learn anything about the film making, more than what was needed to get some profits.

One person, however, was different. CHANDULAL SHAH. He not only put crores of rupees in film making, but also learnt the technique and art of making films, direction, building organisations of producers, develop political connections and what not. He did everything that was needed to become a successful film maker and a leader in the industry. That is why Baburao Patel called him “Sardar”. Chandulal Shah made his company Ranjit Movietone, a force to recon with.

Chandulal Shah  belonged to Jamnagar-Gujrat. He was born on 13-4-1898. He was into the cotton trade and used to visit Bombay frequently. Later he started working in Bombay Stock Exchange. He used to visit the Laxmi Film Studios nearby to watch shootings.

On one occasion, the director of a silent film ‘Vimla’ (1925) fell very sick and on the recommendation of a solicitor friend, Chandulal Shah got an opportunity to to direct the remaining portion of the film. Impressed by his work style he was offered 2 more films. He left the Stock Exchange job and took up film line completely.

From Laxmi, he shifted to Kohinoor Film Company, where he met actress Gauhar Jaan Mamajiwala, who became his mate for the next 50 years till he died. Gauhar used to feature in his films. With Gauhar, he did ‘Gunsundari’ in 1927 and in 1934 (silent and talkie respectively).

This film was a tremendous hit and it helped them to establish their own film company, Ranjit Movies in 1929. In next 3 year’s time they made 39 silent films. After the advent of Talkie, they changed the name of Ranjit to Ranjit Movietone. Chandulal liked to do things only kingsize. Thus he established Ranjit studios with 4 large sound stages. He also hired around 300 people in the beginning. On average, they made 6 feature films every year. His studio was an assembly line production house. At any given time at least 5 to 6 films were being made in his studios. He had a big army of famous actors, writers, technicians, directors, music directors etc. on his payroll.

Actors like Gauhar Jaan, Bilimoria, Nirupa Roy, Motilal, Madhuri, Khursheed, and KL Saigal; music directors like Gyan Butt, Bulo C Rani, Khemchand Prakash etc.; lyricist and writers like Kidar Sharma, Pradeep, Saadat Hasan Manto and many others were on his payroll.

Chandulal was very proud of his empire and used to advertise “There are more stars in Ranjit than in the Heavens”. At the peak time,there were about 700 people employed in Ranjit and Government had opened a ration shop in the studio premises for the workers’ benefit ! Khemchand Prakash did 20 films in Ranjit, Gyan Dutt 15 films and Bulo C Rani did 10 films here.

From 1929 to 1963 Ranjit made 31 silent films, 120 Hindi talkie films, 1 Tamil and 1 Marathi film. Unfortunately, due to a major fire in the early 1950s, except 7 talkie Hindi films, all other films were destroyed without leaving any backup for them.

Chandulal Shah was an active person. Besides film making he took interest in many Cine Associations and also led delegations abroad. He was a keen gambler and a better, especially in horse racing and stock market. In 1944, in a single day he lost one crore twenty five lakh rupees in cotton betting and that was the beginning of his downfall. He had to mortgage all his and Gauhar Jaan’s properties, but it could not save Ranjit Studios from ruins. He returned to film direction to make money and his first film after a gap of 14 years was ‘Paapi’ (1953). It had the hit pair of those times – Raj kapoor and Nargis. For the first time Raj Kapoor did a double role. But the film flopped. Clearly the times were bad for Chandulal. All his kundali was topsy turvy ! He tried 3 more films, all failed. His last film was ‘Akeli Mat Jaiyo’ (1963). A man who once ruled an empire started travelling in local trains and bus.

Chandulal Shah died on 25-11-1975.

Gauhar Abdul Qayoum Mamajiwala was born on 19-11-1910 at Lahore in a family of Bohra Muslims of Saurashtra in Gujarat. Her family shifted to Bombay. She was beautiful, well educated, soft spoken and liked to read books. Soon she became proficient in Hindi, Urdu, English, Gujarati and Marathi. When her father’s business crashed and they had financial crisis, Homi Master, one of the family friends suggested that she work in films. Homi was a director in Kohinoor studios. She joined films at the age of 15 years and her first film (silent) ‘Fortune And Fools’ aka ‘Baap Ki Kamaai’ (1925) was a hit film. She had a two year contract with Kohinoor. Many of her films were hits.

Chandulal Shah, who was also directing films for Kohinoor, was attracted by her performance and gave her a role in ‘Typist Girl’ (1927), in which Sulochana (Ruby Myers) was the heroine. Thus started their partnership. Soon after the contract was over, a few people viz. Gauhar, Chandulal, Jagdish Pasta, hero Rajah Sandow and cameraman P Naik left Kohinoor and established Shree Sound studio producing films under the banner of Jagdish Films. Here they made 10 popular films and in 1929 separated to form their own Ranjit Studios.

Their first Silent film for Ranjit (shot in Krishna Studios) was ‘Pati Patni’. Very soon Ranjit had their own four shooting stages and well equipped studios. Ranjit’s first Talkie was ‘Devi Devyani’ (1931) in which Gauhar acted opposite Bhagwandas as the hero. Ranjit Studio became very big and films were made at the rate of one film every 16-20 days. They employed the best talent of the industry and Chandulal seemed to convert anything into gold, whatever he touched!

Gauhar was the partner, manager, producer and star actress of Ranjit. She maintained very good relations with her collegues and would use the common make up room with all other artists. She did 28 silent and 19 talkie films in her career. Her last film was ‘Achhut’ (1940), directed by Chandulal and the hero was Motilal. Chandulal Shah also stopped directing films for the next 14 years. Gauhar now only looked after the studios and Chandulal Shah. Though she was with Chandulal for 48 years, they never married. Actually, Chandulal was already married and had a son Naveen. His family stayed with him in Bombay, but Gauhar never objected to that. In 1944, Chandulal lost 1.25 crores in cotton trading in a single day and their fortunes changed. Everything, including their properties had to be mortgaged and sold later. Even in this crisis, Gauhar did not leave him and stayed attached till Chandulal Shah died in 1975.

Gauhar led the same cultured life away from the bustle of the film world from which she retired. She read a great deal, from philosophy to fiction, enjoyed historical novels and was an ardent moviegoer. She had a polished command of English, Urdu, Hindi, Gujarati and Marathi, and she enjoyed seeing foreign and Indian films. Her favorite foreign stars were Audrey Hepburn, Norma She­arer, Rita Hayworth, Frederick March and Clark Gable. Among Indian artistes she had a liking for Meena Kumari, Raakhee, Jaya Bhaduri, Sharmila Tagore, Sanjeev Kumar, Ami­tabh Bachchan and Rajesh Khanna. Her list of favorite directors in­cluded Cecil B de Mille, Samuel ‘Billy’ Wilder, William Wyler from Hollywood and amongst the Indian directors – Chandulal Shah, Hrishikesh Mukherjee, V Shanta­ram, Yash Chopra and Gulzar.

Gohar Mamajiwala died on 28-9-1985.

‘Achhoot’ aka ‘The Untouchable’  is directed by Chandulal Shah. He too had decided to quit direction and also active participation in film making. He was keen to concentrate on other activities like organisational responsibilities, cotton trade and his favourite addiction – betting. The film was promoted as a Nationalist film addressing Gandhi ji’s campaign against untouchability. The film was endorsed by Mahatma Gaqndhi and Sardar Patel, even before it was made. The cast of the film ‘Achhoot’ was Motilal, Gauhar, Sitara, Vasanti, Charlie, Dixit, Mazhar, Yaqub etc. Gauhar quit acting after this film, though she was still good looking. However, she wanted to concentrate on the management of Ranjit empire. The film’s story was….

In Shanti Nagar, Laxmi (Vasanti) lives with her parents. They are all untouchables. When there is a water shortage, the villagers prevent the family from taking water from  the only well, which is reserved for the upper castes. Disgusted and frustrated, Laxmi’s father embraces Christianity. Laxmi is adopted by a rich businessman, who takes her to city and gives her education. She (Gauhar) becomes modern and acceptable in high society. She is very friendly with the daughter of the businessman – Savita (Sitara). Problem arises when both girls fall in love with the same boy. To find a solution, the businessman sends Laxmi back to her village. She returns and meets her childhood saheli (Rajkumari) and boyfriend Ramu (Motilal). They are agitating for equal rights for harijans. Laxmi jumps into this and fights for harijans entry into village temple. There is a riot in which Ramu dies.

Villagers repent after Laxmi delivers a touching speech and as a redemption for their blunder, villagers open the doors of the Temple for Harijans. Laxmi wins the battle.(644)

This film has 9 songs. One song is already discussed and this is the second song. It is a good Bhajan. . .

 


Song – Deen Dukhi Ko Daan Diya To Kya Mila, Hari Ram Mila (Achhoot) (1940) Singer – Gyan Dutt, Vasanti, Lyrics – PL Santoshi, MD – Gyan Dutt
Gyan Dutt + Vasanti

Lyrics 

ram mila hari ram mila
ram mila hari ram mila
ram mila hari ram mila

deen dukhi ko daan diya to
kya mila
deen dukhi ko daan diya to
kya mila
hari ram mila hari ram mila
hari ram mila hari ram mila

bhookhe ko jo ann diya to
kya mila
bhookhe ko jo ann diya to
kya mila
hari ram mila hari ram mila
hari ram mila hari ram mila

bure ka badla bhala diya to
kya mila
bure ka badla bhala diya to
kya mila
hari ram mila hari ram mila
hari ram mila hari ram mila

hari ram mila hari ram mila
hari ram mila hari ram mila

hari ram mila to kya mila
is daas ko bhagwan mila
hari ram mila to kya mila
is daas ko bhagwan mila
is daas ko bhagwan mila
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
राम मिला हरी राम मिला
राम मिला हरी राम मिला
राम मिला हरी राम मिला

दीन दुखी को दान दिया तो
क्या मिला
दीन दुखी को दान दिया तो
क्या मिला
हरी राम मिला हरी राम मिला
हरी राम मिला हरी राम मिला

भूखे को जो अन्न दिया तो
क्या मिला
भूखे को जो अन्न दिया तो
क्या मिला
हरी राम मिला हरी राम मिला
हरी राम मिला हरी राम मिला

बुरे का बदला भला दिया तो
क्या मिला
बुरे का बदला भला दिया तो
क्या मिला
हरी राम मिला हरी राम मिला
हरी राम मिला हरी राम मिला

हरी राम मिला हरी राम मिला
हरी राम मिला हरी राम मिला

हरी राम मिला तो क्या मिला
इस दास को भगवान मिला
हरी राम मिला तो क्या मिला
इस दास को भगवान मिला
इस दास को भगवान मिला


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

Today’s song is from a very little known film ‘Nirmal’ from 1952. During the period of the 50s, the film industries in all centres, i.e. Calcutta, Madras and Bombay were in full steam. The Partition had made a quantitative and qualitative change in the Hindi film industry. Many seasoned and successful artists had left India, creating a void suddenly. However, this proved to be an opportunity in disguise for many artists ‘waiting in the wings’ in the fields of  acting, film direction and music direction. The void was filled up almost immediately.

Many actors and actresses who used to play supporting roles, became lead players, assistant directors got a chance to become directors and a few new comers and chorus singers also got opportunity to become full fledged singers. Those who migrated from Lahore to India, started a new life here. Many businessmen (many of them black marketeers) who had earned lakhs of rupees during the war and the years of independence struggle as well, poured  money into the film industry. Thus, on all fronts, the film industry had new players, new investors and new topics for making films.

However, one change happened. The taste of Indian audience started to change in terms of music and the subject matter of the film stories. The few old players in music, who could not or did not cope up with the changing tastes of the audience, slowly faded out. Composers like Bulo C Rani, Khemchand Prakash, Hansraj Behl, SK Pal, Lachhiram, Madholal Master, Shankar Rao Vyas, Gobind Ram, Gyan Dutt, SD Batish, Nissar Bazmi, Khursheed Anwar, Ninu Majumdar etc. faded away by the mid 1950s. Many Muslim composers migrated to Pakistan. Composers who adapted themselves, like C Ramchandra, SD Burman, Hemant Kumar, Naushad etc. prospered for a longer period. New blood composers like Shanker-Jaikishen, Madan Mohan, OP Nayyar etc. bloomed quickly.

Same was the case with actors and actresses. Amongst these was one actress – Purnima. Born at Bombay on 2-3-1932 as Meher Bano, she was the daughter of a Lucknow Muslim mother and a Tamil Brahmin father – Ram Seshadri Aiyangar. He was working in the distribution office of producer director Kikubhai Desai (father of Manmohan Desai). While still in school Purnima started working in Hindi and Gujarati films from 1947 itself when she was hardly 15-16 year old. She got married to Shaukat Hashmi. After giving her a son and a divorce, he migrated to Pakistan.

In 1954, Purnima married producer director Bhagwandas Varma and stopped working. Her elder sister also had married producer director Nanubhai Bhatt. Their sons are Mahesh and Mukesh Bhatt. Purnima resumed working in films in 1957, when Bhagwandas was in financial difficulties. He died in 1962.

Purnima appeared as heroine or second lead in about 20 films. Her well known films are – ‘Thes’ (1949), ‘Patanga’ (1949), ‘Jogan’ (1950), ‘Gauna’ (1950), ‘Sagai’ (1951), ‘Baadal’ (1951), ‘Shagoofa’ (1953), ‘Pooja’ (1954), ‘Post Box No 999’ (1958), ‘Son of Sindbad’ (1958), ‘Kangan’ (1959), ‘Naya Kanoon’ (1965), ‘Guide’ (1965), ‘Budtameez’ (1966), ‘Humjoli’ (1970) etc. In all she acted in 152 films, though she claimed more than 200 films, in one of her interview. Her last film was ‘Sada Suhagan’-86, after which she retired. Her friends were Saira Bano, Shakeela and Dulari. Purnima died on 14-8-2013 in Mumbai.

There were two more Purnimas working in the film industry during the same years. One was Purnima Chaudhari who worked in 3 films in 1948. Another Purnima was an actress from Bengal, who acted only in films produced at Calcutta. She worked in about 9-10 films. Due to this, Purnima’s filmography gets mixed up many times.

Purnima’s  hero in the film ‘Nirmal’ was Amarnath (Bharadwaj). He is one of the ‘same name confusions’ victims. There were two Pt. Amarnath music directors, 1 actor Amar, 1 actor Amarnath and 1 actor/director K Amarnath. This Amarnath started his acting career in 1939 with Kidar Sharma’s ‘Dil Hi To Hai’. Graduating from doing small roles he was made the leading man in Dalsukh Pancholi’s film ‘Patjhad’, opposite to Meena (Shorey). The film was launched in 1947. Pancholi had to flee Lahore due to Partition riots, but he carried the negatives of the partially filmed ‘Patjhad’ with him. Though the film was censored in India in 1948, it seems it was never released.

Amarnath starred as hero in many other films like ‘Papiha Re’ (1948), ‘Swayam Siddha’ (1949), ‘Nai Bhabhi’ (1950), ‘Kamal Ke Phool’ (1950), ‘Sheesh Mahal’ (1950), ‘Jalte Deep’ (1950), ‘Nai Zindagi’ (1951) etc. Then he switched over to supporting roles. In all, he worked in 79 films (CITWF data). His last film was ‘Khiladi’ (1968).

All the songs of ‘Nirmal’ were written by Moti, BA. This film was a special film for lyricist Moti BA, because this was his last film as a lyricist. Yogilal Upadhyaya aka Moti BA was born on 1-8-1919 at Devariya, UP. He did his BA in 1938 and MA in 1941, in addition to BT and ‘Sahitya Ratan’ from Benaras University. He was scouted by Ravindra Dave and Sardar Ranjit Singh, emissaries of Dalsukh Pancholi. At that time he was working as a journalist. He went to Lahore and stayed there for 2 years, enjoying company of writers, poets and major stars. He wrote songs for films like ‘Kaise Kahoon’ (1945).

He came to Bombay and started writing songs for films like ‘Subhadra’ (1946), ‘Bhakta Dhruv’ (1947), ‘Ek Kadam’ (1947), ‘Amar Asha’ (1947) etc. Some of his other films are ‘Saajan’ (1947), ‘Nadiya Ke Paar’ (1948), ‘Sindoor’ (1947), ‘Rimjhim’ (1949), ‘Raam Baan’ (1948), ‘Ram Vivah’ (1949), ‘Veer Ghatotkach’ (1949), ‘Rajput’ (1951) etc. He was much in demand, but after ‘Nirmal’ he decided to go back to his hometown and teach. He taught Logic, English Literature and History from 1952 to 1980. He wrote 4 books and won several awards. He died on 18-1-2009 at Devariya.

There is an enigma about lyricist Moti, that though he had done MA, why was he known as Moti, BA ?

Moti, BA is one of the very few artists who left the film world to pursue what he loved – teaching. I can remember another example – Sr. Shashi Kapoor who left a lucrative career as a child artist to pursue his studies in mathematics. He became a maths professor in an American university teaching his favourite subject of maths.

The cast of ‘Nirmal’ was Purnima, Amarnath, Shyam Kumar, Shanta Kunwar, Mirza musharraf, Habib, Cuckoo etc. The story of film Nirmal is-

Nirmal (Amarnath) is an honest young man who loves Purnima (Purnima) and gets married to her. He is sent to Calcutta by his office. He goes alone, leaving wife to look after his ailing father. After few months, when father is very ill, Nirmal leaves for home. Grabbing this opportunity, Champaklal (Shyam Kumar), a colleague in his office, does a fraud and the blame comes to Nirmal. Police arrest Nirmal the day his father dies. The story details how the courageous Purnima goes to Calcutta and proves Nirmal innocent, with the help of some friends. (643)

The film has 8 songs. 2 songs are already discussed. This is the third song. It is a song with a very good tune. . .

 


Song – Tu Jo Mere Pyaar Ki Khichdi Pakaayega (Nirmal) (1952) Singer – Geeta Dutt, GM Durrani, Lyrics – Moti BA, MD – Bulo C Rani

 

Lyrics 

tu jo mere pyaar ki khichdi pakaayega
taapta rahega tu
aur koi khaayega
arre tu jo mere pyaar ki khichdi pakaayega
taapta rahega tu
aur koi khaayega
humre tumhere beech kaise koi aayega
humre tumhere beech kaise koi aayega
tu jo na khilaayegi
to kaise koi khaayega
tu jo mere pyaar ki khichdi pakaayega
taapta rahega tu
aur koi khaayega

dekho bulaanvungi saat kos aayega
kaun teri aankhon ka paani gir jaayega
khaali peeli aayega
khaali peeli jaayega
khaali peeli aayega
aur khaali peeli jaayega
taapta rahega tu
aur koi khaayega
tu jo mere pyaar ki khichdi pakaayega
taapta rahega tu
aur koi khaayega

aaya hoon tumhaare paas
khaali nahin jaane ka
wade ke khilaaf kaani kaudi nahin paane ka
tu bhi pachhtaayegi
hum bhi pachhtaayega
tu bhi pachhtaayegi
aur hum bhi pachhtaayega
taapta rahega tu
aur koi khaayega
tu jo mere pyaar ki khichdi pakaayega
taapta rahega tu
aur koi khaayega

hum to tere pyaar ka
halwa banaayega
baith ke tumhaare saath
gappa gapp
gappa gapp
gappa gap khaayega
maska lagaayega to halwa khilaayega
maska lagaayega to halwa khilaayega
varna kya. . .
taapta rahega tu
aur koi khaayega
humre tumhere beech kaise koi aayega
humre tumhere beech kaise koi aayega
tu jo na khilaayegi
to kaise koi khaayega
arre tu jo mere pyaar ki khichdi pakaayega
taapta rahega tu
aur koi khaayega

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

तू जो मेरे प्यार की खिचड़ी पकाएगा
टापता रहेगा तू
और कोई खाएगा
अरे तू जो मेरे प्यार की खिचड़ी पकाएगा
टापता रहेगा तू
और कोई खाएगा
हमरे तुम्हेरे बीच कैसे कोई आएगा
हमरे तुम्हेरे बीच कैसे कोई आएगा
तू जो ना खिलाएगी
तो कैसे कोई खाएगा
तू जो मेरे प्यार की खिचड़ी पकाएगा
टापता रहेगा तू
और कोई खाएगा

देखो बुलावुंगी सात कोस आएगा
कौन तेरी आँखों का पानी गिर जाएगा
खाली पीली आएगा
खाली पीली जाएगा
खाली पीली आएगा
और खाली पीली जाएगा
टापता रहेगा तू
और कोई खाएगा
तू जो मेरे प्यार की खिचड़ी पकाएगा
टापता रहेगा तू
और कोई खाएगा

आया हूँ तुम्हारे पास
खाली नहीं जाने का
वादे के खिलाफ कानी कौड़ी नहीं पाने का
तू भी पछताएगी
हम भी पछताएगा
तू भी पछताएगी
और हम भी पछताएगा
टापता रहेगा तू
और कोई खाएगा
तू जो मेरे प्यार की खिचड़ी पकाएगा
टापता रहेगा तू
और कोई खाएगा

हम तो तेरे प्यार का हलवा बनाएगा
बैठ के तुम्हारे साथ
गप्पा गप्प
गप्पा गप्प
गप्पा गप्प खाएगा
मस्का लगाएगा तो हलवा खिलाएगा
मस्का लगाएगा तो हलवा खिलाएगा
वरना क्या॰॰॰
टापता रहेगा तू
और कोई खाएगा
हमरे तुम्हेरे बीच कैसे कोई आएगा
हमरे तुम्हेरे बीच कैसे कोई आएगा
तू जो ना खिलाएगी
तो कैसे कोई खाएगा
अरे तू जो मेरे प्यार की खिचड़ी पकाएगा
टापता रहेगा तू
और कोई खाएगा


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

Today we will discuss about a song and the film ” Meenakshi”-42, made by New Theatres, Calcutta in two languages-Hindi and Bangla.

In the early years of Talkie era, New Theatres (NT) was a force to reckon with in the Indian film industry. Top class Directors like P C Barua, Premankur Attorthy, Debki Bose, Hem Chunder, Nitin Bose etc, First grade actors like K L Saigal, Prithwiraj kapoor, K C Dey, Pahadi Sanyal, Asit Baran etc and actresses like Uma Shashi, kanan Bala etc and the Music Maestros like Punkaj mullick, R C Boral, K C Dey etc were from NT. In the studio system New Theatres was undoubtedly the Numro uno, in those years.

However, the second World War outside and the war of king size egos within the company destroyed the Institution in early 1940s. One by one , its artistes, on whom NT had so much pride, left the company and headed for the Alibaba’s cave,i.e. Bombay. By 1945, New Theatres was in deep trouble and on the downhill.

One more reason- and I feel it was equally important- of NT’s diminishing popularity in the Hindi belt was its inability to cope up with the changing scenario in the Hindi film industry. Lahore had brought in the Punjabi music to films, Bombay Talkies led the Cinema dialogue language to be what the common Indian man spoke like and the acting became natural, giving way to theatre style,slow dialogue delivery. None of these changes were adapted by NT. May be, the traditional excessive Regional pride , love for Robindra Sangeet and the typical stubbornness of the land, prevented them from accepting and adapting to newer changes. I have always carried an opinion that people from Bengal take pride in things 50 year old and are not ready to let go of them.

Prabhat films and later Rajkamal of Shantaram changed their Marathi influenced Hindi in their films, Lahore changed its chaste Urdu into Hindustani, but New Theatres Dialogues and songs hovered around ” Prem” and “Preet”, while the rest of the world enjoyed Pyar and Muhabbat.

K C Dey was one of the prominent composers and singers of NT. Meenakshi-42 was his last film with New Theatres. He too shifted to Bombay. However, first his singing style and then his Music style was rejected by the Hindi film audience of Bombay. In Bombay, he gave music to only 4 films ( after shifting there that is.) and sang in only 8 films,which included his own 4 films.

Pankaj Mullick was also losing his sheen. His older NFS and film songs were still very popular but his new songs were not becoming popular. Till end of his career, he was very loyal to New Theatres. Neither he ever deserted it- although he was not very happy there- nor did he shift to Bombay like R C Boral, K C Dey or his other NT mates. After Meenakshi, Pankaj Mullick sang in only 7 films.

Though they had fallen on hard times, New Theatres still had some stars with them like Sadhona Bose, Menaka Devi, Radha Rani, Bharti Devi, director Modhu Bose etc. They also had a newly found star- Jyoti prakash Bhattachaya. Jyoti Prakash Bhattacharya was born in Sridharpur village in Jessore district of undivided Bengal in 1916 in an orthodox Brahmin family. Jyoti Prakash’s father Jyotindra Nath Bhattacharya was an engineer by profession although he passed away early. The actor was raised by his uncle Debendra Nath.

His schooling was in Calcutta at Padmapukur School and he passed the Entrance Examination in the first division. Later he had a brief stint at Ashutosh College and Presidency College and also at Shantiniketan. Before joining films he took training as a commercial pilot and on successful completion of training, started to work as a pilot. He was most interested in films and did not continue in the job and decided to join films as an assistant to Debaki Bose. Soon he was offered a small role in Parajay (1940) ( Hindi version Jawani ki reet) and almost immediately played the hero in the Bangla version of films Doctor (1940), Meenakshi (1942), The Court Dancer- Raj Narkati (1941), Chowrangee, Paper Pathey and other films.

Despite being married he dared society in those days and got married to actress Sheela Haldar, his lady love.This generated a good deal of public interest. He had to convert to Islam to marry for the second time and his Islamic name was Yusuf. The romance had a most unfortunate end when Sheela Haldar died soon after childbirth. The shock caused a serious mental disbalance in the man and he committed suicide on the 16th of December 1942. He lived for twenty six years only but during his brief association with films could become one of the most sought after heroes of the Bengali screen.

Incidentally Jyoti Prakash was the selected hero for the 1943 superhit film Jogajog opposite Kanan Devi. His sudden untimely death left the entire unit of Jogajog shattered, more so because almost two thirds of the film was completed and great interest was generated in the new screen pair of Kanan and Jyoti Prakash. The film was shot again with jahar ganguly as the hero and became a run away hit. (adapted from the mini bio by Dr. J.P.Guha, with thanks).

Though Jyoti Prakash gave way to actors like Najmul Hussain in the Hindi versions of his popular bangla films, he did work small roles in the Hindi films like Jawani ki reet-39, Doctor-41, Meenakshi etc etc. When I take a broad look at the Indian Film History, I do not find any other example of a successful and much in demand Hero or Heroine, who died in the age group of late 20s, like Jyoti prakash Bhattacharya. Only one example I can remember is that of the actress Mushtari of the early 30s, who suddenly died while still in her teens, after doing lead roles in few films only.

Film Meenakshi-42 was a story of a beautiful girl having attractive eyes ( that is why the film’s name was Meenakshi- Eyes like a Fish ) and her love. The cast of the film was Sadhona Bose, Najmul Hussain, Ahindra Chaudhari, K C Dey, Panna Devi etc etc. It was directed by Modhu Bose- husband of Sadhona Bose, the film’s heroine. All the songs were written by Pt. Bhushan and the music was by Pankaj Mullick. The story of the film was….

Amitabh ( Najmul Husain) was a bachelor, living in his own flat all alone. One day,after coming home, he finds a girl Meenakshi( Sadhona Bose) in his house. She thought it was her relative’s house- not knowing that now it was purchased by Amitabh. She has run away from her tyranical uncle Radha Govind, who fixed her marriage to an old doctor for a consideration of Rs. 5000/- only. After some time her uncle comes there to find her. Amitabh hides her, but uncle sees her bag. he goes away to bring police. Amitabh and meenakshi got to the sea shore. He starts loving her.

Back again, uncle comes back and is ready to fix their marriage for Rs. 5000. Amitabh feels cheated and gives the money and throws them out. She returns his money and goes away, hurt.

Minakshi takes up a job in Kartikpur, which is Amitabh’s native place. She stays with his mother,unknowingly, as a paying guest. once Amitabh comes visiting his mother. The lovers meet again and decide to get married, but meenakshi’s eyes give problem and she feels she will become blind.

Amitabh brings her to a Eye doctor in Calcutta. He happens to be the same doctor with whom her marriage is fixed. Doctor repents and assures the couple that he will operate on her. The operation is successful and she is cured for ever.

All is well and the lovers unite happily.

Film Meenakshi had 6 songs. 4 songs are already discussed. This is the 5th song. Now only one song is remaining. Today’s rare song has been provided by our friend shri Deepak Choudhari ji, from his collection. The singer is Bela Mukherjee-wife of Hemant kumar. Enjoy the song…..


Song-Main pal pal tumhen rijhaaun (Meenakshi)(1942) Singer-Bela Mukherji, Lyrics-Pt Bhushan, MD-Pankaj Mullick

Lyrics

main pal pal tumhen rijhaaun
main pal pal tumhen rijhaaun
rijhaaun
par preetam kahaan bithhaaum
main pal pal tumhen rijhaaun
main

aankhon mein bithhaaun
aankhon mein bithhaaun to dar hai
aankhon mein bithhaaun to dar hai
aansoo na baha le jaayen
sapnon mein
sapnon mein basaaun
to sapne ??
kahin le jaayen

main man mein tumhen bulaaun
praanon ke andar paaun
main man mein tumhen bulaaun
praanon ke andar paaun
main pal pal tumhen rijhaaun
main pal pal tumhen rijhaaun

man mohan
man mohan madan muraari
main pooja karoon tumhaari
man mohan
man mohan madan muraari
main pooja karoon tumhaari
tum murli madhur bajaao
?? pyaari pyaari
raadha raadha
raadha raadha ka swar goonje
aur main usmein kho jaaun
main pal pal tumhen rijhaaun
oon
main pal pal tumhen rijhaaun


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

The song under discussion today is from film ‘Sharada’, one of the hit films of 1957. What a year 1957 was ! In the Golden Era of the Hindi Film Music, the year 1957 would go down as the best year, which provided everlasting songs from musical films. The deluge of excellent songs was such that music lovers not only enjoyed the heavy downpour, but loved every piece of Music.

Musical films like, ‘Begunah’, ‘Bhabhi’, ‘Dekh Kabira Roya’, ‘Do Aankhen Baara Haath’, ‘Ek Gaon Ki Kahani’, ‘Ek Jhalak’, ‘Kathputli’, ‘Miss Mary’, ‘Mother India’, ‘Mr. X’, ‘Nau Do Gyaarah’, ‘Naya Daur’, ‘Paying Guest’, ‘Pyaasa’, ‘Tumsa Nahin Dekha’ and many more. Add to this, the hit films of C Ramchandra in 1957 – ‘Baarish’, ‘Sharada’, ‘Nausherwan e Adil’, ‘Asha’ and ‘Talash’. What more one would want?

‘Sharada’ was made by Prasad Productions and directed by its owner himself LV Prasad or Akkineni Lakshmi Vara Prasad Rao, to be precise. Yes, he is the same person who has etched his name in the annals of film history of India, as the only man who had acted in the first talkie films of 3 different Languages ! LV Prasad acted in ‘Aalam Ara’ (1931) (Hindi), ‘Kalidasa’ (1931) (Tamil), and ‘Bhakta Prahlada’ (1932) (Telugu). All these films were made in Bombay.

From a very humble and struggling beginning, LV Prasad (17-1-1908 to 22-6-1994), went on to become one of the most successful film producers of India. He not only built an empire of film related industries, but he also headed many prestigious organisations like, International Film Festivals and International Jury Board, Film Chamber, Film Censor Board, Studio Owners’ Council etc. He was honoured with Phalke Award in 1982, Udyog Patra award in 1980, Kala Tapaswi award in 1983, Andhra Ratna Award etc. There was a Postage stamp issued in his honour in 2006.

‘Sharada’ was a remake of the original Tamil film ‘Edhir Paradhathu’ (1955). Its Telugu remake was ‘Ilavelpu’ (1956) and a Malayalam edition came a little later as ‘Nitya Kanyaka’ – in 1963. In the original Tamil film, the lead pair was Sivaji Ganeshan and Padmini, which was a very popular pair in many Tamil films during those days. The film became a runaway hit. There is an interesting anecdote about the shooting of this Tamil film. There is a scene in the film, in which Padmini has to slap Sivaji Ganesan. While enacting this scene Padmini got into the role so much that not only she was very angry but went on slapping Sivaji one after another, even after Director was shouting CUT CUT several times. Finally, Sivaji Ganesan made the hysterical Padmini lie down and brought her to normalcy !

The Telugu version also became very popular. An interesting point about the Telugu remake was that out of its 9 songs, 6 songs had popular Hindi film song tunes. For example, a Telugu song of the film, ‘Anna Anna Vinnava’ was a copy of the tune of the popular Ravi song “Chandamama Door Ke” from film Vachan (1955).

The Hindi remake ‘Sharada’, was very cleverly released in the month of December 1957 in Bombay and later in all other centres. By that time, all other musical films of 1957 were already seen and heard by the public. This naturally gave extra space to the music of Sharada to become popular. Such tactics could come only from Madras producers.

The story and screenplay was by the famous writer/director CV Sridhar, who later on gave many tear jerkers like ‘Dil Ek Mandir’ (1963). In the original Tamil film as well as the Telugu and Malayalam remakes, it was the hero’s father who dies in the film, to make way for the lovers, but in the Hindi remake, the heroine was made to die, only because the role was done by the Tragedy Queen Meena Kumari ! Poor Meena Kumari, she had only tragedies in her reel and real lives.

‘Sharada’ was a successful film not only on the Box office, but it also won 3 Film Fare Awards. Raj Mehra won his only award for the best supporting actor, Shyama won it for best supporting actress and Shivaji Awadhoot won it for Best Editing. The cast of the film was Meena Kumari, Raj kapoor, Raj Mehra, Shyama, Gope, Manorama, Om Prakash, Agha etc. The story of the film is,

Chiranjeev (Raj Kapoor) lives a wealthy lifestyle along with his father, Kashiram (Raj Mehra), and three siblings: two sisters, one of whom is dumb, and a younger brother. While on a trip, his friend, Mohan (Om Prakash), falls ill due to alcohol, and gets treated at an ashram. This is where Chiranjeev meets with an employee, Sharada (Meena Kumari), who lives a poor lifestyle with her father, Ram Sharan. Chiranjeev and Sharada fall in love with each other, and he promises to get his father’s permission and return to get married to her.

On his way home he has an accident, and though he does survive after being treated by tribal people, he returns to the Ashram several days later and is informed that Sharada is now married to a wealthy and much older man. Heart-broken and devastated, Chiranjeev returns home only to get another shock: the male Sharada has married is none other than his very own father. Chiranjeev tries to build same relations again with her, but she slaps him and warns that she is now his mother.

Depressed and deeply frustrated, he takes to alcohol in a big way. Sharada talks him out of this, he repents and on her insistence, marries Chanchal (Shyama), who comes from a reputed family background. Things then get complicated when Chanchal finds that her husband and his stepmother had been in love before and may not have got over their feelings for each other.

Fed up with everyday tiffs with Chanchal, he leaves the house and lives like a beggar. One day he is found by his step mother and father, who bring him home. Chanchal realises her mistake and repents. Meena Kumari believes that she must sacrifice for his welfare and family’s well being. She dies in the arms of her son, Chiranjeev. (641)

Today’s song is sung by Asha Bhosle, Joe Alvaris, Kamala Shrivastav and chorus. I have no definite information about Joe (he could be Johnny, C Ramchandra’s assistant in this film), or Kamla Shrivastav (she could be a singer from Lucknow who sang on AIR, and later retired as a teacher from Bhatkhande Music school, Lucknow). Here is the song video…


Song – Aaju Re Baaju Naaju Kaaju Re (Sharda) (1957) Singer – Asha Bhosle, Joe Alvaris, Kamala Shrivastav, Lyrics – Rajinder Krishan, MD – C Ramchandra
Chorus

Lyrics 

aaju re baaju naaju kaaju re lui
lui
aaju re baaju naaju kaaju re lui
lui
aaju re baaju naaju kaaju re lui
lui

aaa aaaa aaaa aaaaa aaaaa aaaa
aaaa aaaaa aaaaaa aaaaaa aaa
aaa aaaa aaaa aaaaa aaaaa aaaa

aaju re baaju naaju
lui
aaju re baaju naaju
lui

aaaaaaaaaa aaaa aaaa aaaa aaaa

aaju re baaju naaju
kaaju re lui lui
dil main hai laagi mere nainwa ki sui
oooeeeeeeeee
aaju re baaju naaju
kaaju re lui lui
dil main hai laagi mere nainwa ki sui
oooeeeeeeeee

baaton mein teri aa ke
main fisal gayi
muft mein haaye
tere jaise ko mil gayi
aaaa aaaa aaaa aaaa
baaton mein teri aa ke
main fisal gayi
muft mein haaye
tere jaise ko mil gayi
de ke dil dekha
pyaar hai dhokha
de ke dil dekha
pyaar hai dhokha
preet to hai badi mui
laagi nainwa ki sui
oooeeeeeeeee
aaju re baaju naaju
kaaju re lui lui
dil main hai laagi mere nainwa ki sui
oooeeeeeeeee

de ke daghaa bhaaga
kaise se pada paala
dil ka qusoor kya hai
aankhon ne maar daala
de ke daghaa bhaaga
kaise se pada paala
dil ka qusoor kya hai
aankhon ne maar daala
naina na milte
naina na milte
dil ke na taar hiltey
murjhaati kaahe chhui mui
laagi nainwa ki sui
oooeeeeeeeee
aaju re baaju naaju
kaaju re lui lui
dil main hai laagi mere nainwa ki sui
oooeeeeeeeee

paapi ye naina haaye
kaahe kisi se ladey
honthon ki hansi gayi
dil mein hain daagh padey
aaaa aaaa aaaa aaaa
paapi ye naina haaye
kaahe kisi se ladey
honthon ki hansi gayi
dil mein hain daagh padey
raaton ko khade khade
din ko padey padey
raaton ko khade khade
din ko padey padey
preet to hai badi mui
laagi nainwa ki sui
oooeeeeeeeee
aaju re baaju naaju
kaaju re lui lui
dil main hai laagi mere nainwa ki sui
oooeeeeeeeee
aaju re baaju naaju
kaaju re lui lui
dil main hai laagi mere nainwa ki sui
oooeeeeeeeee

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

आजू रे बाजू नाजु काजू रे लुई
लुई
आजू रे बाजू नाजु काजू रे लुई
लुई
आजू रे बाजू नाजु काजू रे लुई
लुई

आss आsss आsss आssss आssss आsss
आss आsss आssss आssss आss
आss आsss आsss आssss आssss आsss

आजू रे बाजू नाजु
लुई
आजू रे बाजू नाजु
लुई

आssssssss आsss आsss आsss आsss

आजू रे बाजू नाजु
काजू रे लुई लुई
दिल में है लागी मेरे नैनवा की सुई
उईssss
आजू रे बाजू नाजु
काजू रे लुई लुई
दिल में है लागी मेरे नैनवा की सुई
उईssss

बातों में तेरी आके
मैं तो फिसल गई
मुफ्त में हाए तेरे
जैसे को मिल गई
आsss आsss आsss आsss
बातों में तेरी आके
मैं तो फिसल गई
मुफ्त में हाए तेरे
जैसे को मिल गई
दे के दिल देखा
प्यार है धोखा
दे के दिल देखा
प्यार है धोखा
प्रीत तो है बड़ी मुई
लागी नैनवा की सुई
उईssss
आजू रे बाजू नाजु
काजू रे लुई लुई
दिल में है लागी मेरे नैनवा की सुई
उईssss

दे के दग़ा भागा
कैसे से पड़ा पाला
दिल का क़ुसूर क्या है
आँखों ने मार डाला
दे के दग़ा भागा
कैसे से पड़ा पाला
दिल का क़ुसूर क्या है
आँखों ने मार डाला
नैना ना मिलते
नैना ना मिलते
दिल के ना तार हिलते
मुरझाती काहे छुई मुई
लागी नैनवा की सुई
उईssss
आजू रे बाजू नाजु
काजू रे लुई लुई
दिल में है लागी मेरे नैनवा की सुई
उईssss

पापी ये नैना हाए
काहे किसी से लड़े
होठों से हंसी गई
दिल में हैं दाग़ पड़े
आsss आsss आsss आsss
पापी ये नैना हाए
काहे किसी से लड़े
होठों से हंसी गई
दिल में हैं दाग़ पड़े
रातों को खड़े खड़े
दिन को पड़े पड़े
रातों को खड़े खड़े
दिन को पड़े पड़े
प्रीत तो है बड़ी मुई
लागी नैनवा की सुई
उईssss
आजू रे बाजू नाजु
काजू रे लुई लुई
दिल में है लागी मेरे नैनवा की सुई
उईssss
आजू रे बाजू नाजु
काजू रे लुई लुई
दिल में है लागी मेरे नैनवा की सुई
उईssss
 


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

Today’s song is a Shamshad Begum solo song from film Poonji-43 ( also known as Wealth). The composer was Ghulam Haider, so no wonder, all 10 songs of the film had Shamshad’s voice.

The other day,I was talking to one of my friends, who is a connoisseur of old films and music. Having the same hobby,we happily discussed and exchanged lot of matters of common interest. During the talk, we wondered, we talk so much about films,do we really know the names of all the artistes in Hindi films. We decided to separately write down names of actors and actresses-big and small-as we remembered, starting from 1931 to year 2000.

After spending about 2 hours on writing names, we checked each other’s lists and to our amazement, we found that we could not even touch the number of 100 in our lists individually !

Why I am writing this is, that the Hindi film industry is an ocean and has been a ” Mai-Baap” to provide Roji-Roti to thousands of people. Of course, it is not possible to list all names who all worked in films from 1931 to 2000. Or is it ? What is your idea of the number of people who worked in films ? 500 ?, 1000 ?, 2000 ? ????? How many ???

Few years back, a kind soul gentleman posted a list of all big and small ( also smaller and the smallest) actors and actresses, who worked in Hindi films from 1931 to 2000. I am surprised that there could be someone with so much free time and patience to do this monumental work. The list was posted on a site on Internet and …hold your breath, it contained names of 7000 ( seven thousand ) people !. Dr. Surjit Singh ji , from US, copied this list from that site ( now defunct) and had posted it on RMIM forum on the 29th August 2006.

During the course of last 80 odd years, thousands of actors came to work in films. Most of them wanted to become Hero or Heroine, but could not make it. What does it take to become a Hero in a film ? ( Talking only for the period 31 to 70 please). Is it good looks ? Then how come Shaikh Mukhtar became a Hero ? or Ranjan ? High education ? Then how come Master Bhagwan became a Hero ? A God Father ? Then how come Motilal or Surendra became Heros ? For girls too same logic applies. In the early era, most Heroines were uneducated like Meena Shorey- who could not even sign her name. All were not Handsome or beautiful. I sincerely feel, it is neither Talent nor the good looks, it is nothing but the Luck Factor, which helps in making a career in films. This explains why good looking, educated 1 or 2 film’s Heros could not sustain themselves for long. Same way, good looking girls like Vijayalaxmi, Bimla kumari, krishnakumari,Tabassum, Yashodhara katju, Shubha Khote, Shashikala etc could not continue beyond 3-4 films as Heroines.

I the 40s era, Manorama was one such actress. She had good education, beautiful punjabi looks, fine acting, but she could not go beyond 3 films as Heroine and to contend with side and character roles in all her career. Manorama was born in Lahore on 16-8-1920,as Irene Issac Daniels, from Punjabi father and Irish mother. She took good looks from the father. While a student, she did some child roles in films from 1926 to 1936 and as an adult, she debuted in pancholi’s Khazanchi-41. She then acted in Himmat-41, Khandan-42, Zamindar-42, Poonji-43, Panchhi-44, Patwari-45 in Lahore. Here only she did Heroine’s roles in Khamosh Nigahen, Rehana and Shalimar- all i 1946. After partition, she migrated to India, but she got only side and character roles.

Meanwhile, in 1947, she got married to Rajan Haksar. After coming to India, shortly, their marriage broke. She had one daughter-Roopa from this marriage. Roopa tried her luck in films in 1970, without much success. Then she got married and settled.

Manorama grew i weight. Now she got comic or vamp roles. She did films like Ghar ki izzat, Johari, Hanste aansoo, Ek phool do mali, Shor, karvaan etc etc. In all she acted in 161 films. Her last film was Water-2005. She died on 15-2-2008. She perhaps, had the longest career among actresses-fro 1926 to 2005, that is a cool 80 years ! manorama was a highly respected person in the industry.Neetu singh,madhuri Dixit,Ram Mohan, Ekta kapoor and others were her fans. Her famous films were jhanak jhanak….,Half ticket,Budtameez,and Seeta aur Geeta.

Another little known actress in the film cast was Baby Akhtar. There is a small note on her i the Urdu book ” Filmi Titliyan’- by Bijli Jampuri,from Hyderabad Dn, published in 1945. This book gives short Bio nites on 85 Actresses of the 30s and early 40s. That way it is an important document in Hindi film Industry. Some of the names in this book are really very rare like, Pushpa Rani,urmila Devi,Anuradha,Brij Rani,Baniya Pali,Prabha,Roop lekha,Shalini,Kanta kumari,Najma etc.

About baby Akhtar, it says… ” She was born in GujraaNwala (now in Pakistani Punjab) on the 26thMarch 1932. She was hardly nine, when (Dalsukh) Pancholi chose her for his film “Khaandaan”, where she enacted the part of a very young innocent girl. The film was a big hit. Film-goers and critics predicted a bright future for her. Some of her more successful movies are “Inteqaam”, “Qismat Ki KasauTi”, “GHareeb”,”Karwaan-e-Husn”, “Rangeen Gunaah”, Bismil-e-Arzoo”, “Mohabba Ki Duniya”, “Zevar”, “Pratigya”, “Masterji”, “Aasra” etc.

Three of these movies were greatly appreciated by the public, viz.”Qismat Ki KasauTi”, “Masterji” and “Rangeen Gunaah”. She is an accomplished actress and much is expected of her in the coming days. She is now working for Amar Movietone and her next film is due to be released shortly.Apart from beauty of countenance, she is also blessed with a good character. But, these days, her love for films and acting has diminished somewhat.”

yet another name which the younger readers may not be knowing is Durga Mota. his real name was Durgaprasad.Due to his heavy build he was nicknamed Mota(fat). He was a permanent member of Pancholi films as a comedian. It is very sad that his career ended in a gruesome way. In 1947, after Partition, there was an exodus of millions from Lahore to India. Durgaprasad also wanted to shift to Delhi. He went to Lahore station to catch the train.Suddenly, a frenzied mob of rioters invaded Lahore station and they started killing all the passengers to India. People started running to save life. Due to his fatness, Durgaprasad could not move faster and was caught by the mob, who cut him in pieces on the Lahore Railway station platform itself.

The film Poonji-43 was made by Dalsukh pancholi. Today,the name of Dalsukh Motiram Pancholi,does not ring a bell,but there was a time ,when he along with Roop K.Shorey,J.K.Nanda & K.D.Mehra was ruling the Lahore Film Industry,before partition.Born in Karachi on 7-12- 1906, Dalsukh studied Scriptwriting and Cinematography in New York. He inherited Cinema network built by Rewa shankar Pancholi in the period of WW-I. He expanded Empire Film Distributors-1922 into Empire Talkie Distributors in 1931. He became the biggest importer of American Films in Northern and Western India ( about 24 films in one year). Exclusive contract with RKO gave him access to Photophone Sound Equipment. He made some Documentaries like Congress Session of 1931 at Karachi etc.

Dalsukh Sahab formed a film Company at Lahore ,in partnership with his brother Damodar M Pancholi in late thirties, built his studio Pancholi Art Pics in Lahore with 5 floors & made their first Punjabi movie Gul E Bakawali in 1938.The luck smiled over them & they made Yamla Jatt,-40,Khazanchi-41,Khandaan & Zamindaar in 42,Poonji-43 & Dasi in 44.While he introduced Noor Jahan,Pran ,Om Prakash, Manorama & Jankidas into film industry,he brought Shanta Apte from Bombay,for his highly successful Zamindar,to act opposite Dr.S D Narang.His association & admiration for music maestro Ghulam Hyder,is legendary. Shamshad Begum ,once recalled that,when she came to know that remuneration of Ghulam Hyder has been raised,she hesitantly asked Seth Pancholi,for a raise too.He asked her,how much,she wanted.She used to be paid Rs.100/-,per song,now she asked Rs 700/-.Immediately Seth Ji said Okay.She was thrilled,until,the generous Seth said that if you would have asked for Rs.2000/-,I would have paid it to you.

It was 1947 & impending the partition, communal riots were taking place.Seth Pancholi left for Bombay ,only with the negatives of his newest movie Patjhad, which he was making (Sadly the movie could not see the light of the day & remained in cans).His studio in Lahore, was engulfed in fire ignited by hoodlums,after his departure.

Pancholi knew no other business except show business & he made a beginning with Nagina in 1951,which was directed by Ravindra Dave,his closest associate.In his next Aasman -52,he introduced O.P.Nayyar,as we all know.Pancholi Sahab admired Saigal & was mad after his voice.He could not work with him earlier, as Saigal chose Calcutta & then Bombay as his Karm Bhoomi & now it was too late.He insisted his MDs to use the voice of C H Atma for his movies Nagina & Aasman.

He made Lutera in 1955 & Farishta-58 was his last movie which was released in 1958.Due to financial constrains,his movies were made with in limited budget & the grandeur associated with him was missing.Although,he was president of IMPPA during 54-55,due to internal politics,he largely was, treated as outsider by the then established film makers ,who had their roots in Bombay.A film tycoon who carved a film empire at Lahore & made Khazanchi ,which celebrated golden Jubilee,breathed his last,as he got into his car,while returning from the office of his distributor,who refused to pay him the installment. Actor Janki Das,was with his mentor,when Pancholi Sahab uttered his last words “Janki Das ! Never put your children in films’.It was 10th october 1958 & Dalsukh Pancholi was of 53 years. He was driving his own car himself that time. He got an attack and stopped the car and died on his seat itself.

Actor Aditya Pancholi is his younger brother Rajan’s son. Dalsukh Motiram pancholi made just 20 films ( including 2 Punjabi films) from 1938 to 1958. He directed only 1 film, Aasmaan-52. His protege Ravindra Dave directed 7 of his films. ( based on writings of Harish Raghuwanshi ji, M N Sardana ji, indian cine.ma and Encyclopaedia of indian cinema etc. with thanks).

There were 10 songs in the film. 3 songs are already discussed here. This is the 4th song. This is a ” Dupatta” song. So far 14 Dupatta songs are posted on this Blog,including,of course, the iconic,’ Hawa mein udta jaaye mera laal dupatta malmal ka” from film Barsaat-49. This was filmed on beautiful Bimla Kumari.

Poonji-43 had music by Ghulam Hyder. HFGK does not indicate individual lyricists of individual songs.


Song-Gaadiwaale dupatta uda jaaye re (Poonji)(1943) Singer-Shamshad Begam, Zeenat Begam, MD-Ghulam Haider
Female chorus
Male chorus

Lyrics

gaadiwaale
gaadiwaale dupatta uda jaaye re
haay gira jaaye re
zara tu haule haule chala
haule haule chala

sabko?? dekhe
dekh re gaadiwaale
dekh re gaadiwaale
mora dupattwa
mora dupattwa

haath jod kar sakhiyaan maange
mora re dupattwa
haath jod kar sakhiyaan maange
mora re dupattwa
saajanva gupchup kar taake
mora dupattwa
saajanva gupchup kar taake
mora re dupatta

dekho sabka jiya bharmaaye re
haay gira jaaye re

zara tu haule haule chala
haule haule chala

ho gaadiwaale ho
ho zara rok rok ke chal
zara dheere dheere chal
zara dheere dheere chal
teri gaadi re bedarda
gaadi waale ho
teri gaadi re bedarda
gaadi waale ho
teri re gaadi ho bedarda
khaay rahi hickole
teri re gaadi ho bedarda
khaay rahi hickole
dekh dupatta ud na jaaye
mora manva dole ae
dekh dupatta ud na jaaye
mora manva dole
mora baala joban
mora baala joban
khula jaaye re

haaye khula jaaye re
gaadi haule haule chala, haule haule chala

ud gaya re mora sar se dupatta
ho o

ho gaadiwaale ho
ho
zara rok rok ke chal
zara dheere dheere chal
zara dheere dheere chal
aise udte aaye dupatte
gaadiwaale ho
aise udte aaye dupatte
gaadiwaale ho
aise udte aaye dupatte
jaise aaye badariya
aise udte aaye dupatte
jaise aaye badariya
laal, gulaabi, neele, peele
jaise koi chunariya
laal, gulaabi, neele, peele
jaise koi chunariya
inko dekh ke nazar
inko dekh ke nazar
muskaaye re

haay muskaaye re
zara tu haule haule chala
haule haule chala
gaadiwaale


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

Today’s song is from a well known film ‘Baadbaan’ (1954). Well known for the simple reason that this was the last film coming from a one-time giant film studio Bombay Talkies. it was the last ditch effort of all the well wishers and workers of Bombay Talkies to save the company from closing down. Unfortunately the effort did not succeed and it was curtains for Bombay Talkies with this movie.
Read more on this topic…


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

Today’s song is from the film Ghar Ki Izzat (1948). It is a lively duet of Shamshad Begum and Ram Kamlani. The film is produced and directed by Ram Daryani, under the banner of Murli Cinetone, Bombay. Music was given by Pt Gobind Ram and songs and dialogues were by Ishwar Chandra Kapoor. The cast of the film was Mumtaz Shanti, Dilip Kumar, Gope, Gulab, Dixit, Manorama, Jeevan, Suleiman etc etc.
Read more on this topic…


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

Today’s song is from film Raag Rang-52. The film was produced by Bali sisters, Bombay banner. The producer was Hari Darshan bali, the Director was Digvijay Bali ( elder brother of Geeta Bali) and the heroine of the film was Geeta Bali, opposite Ashok kumar. At this time, the age of Geeta Bali was just 22 years and Ashok kumar was almost double of her age, at 41 years !
Read more on this topic…


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

Today’s song is from film, which not many people will rememeber – ‘Shri Chaitanya Mahaprabhu’ (1953).

During the Bhakti movement period, almost all regions had their own Saints and Great Bhakts. One such great soul enlightened the people of Eastern India. He was known as Shri Chaitanya Mahaprabhu.
Read more on this topic…


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What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for more than nine years. This blog has over 13700 song posts by now.

This blog is active and online for over 3400 days since its beginning on 19 july 2008.

Total number of songs posts discussed

13734

Number of movies covered in the blog

Movies with all their songs covered =1031
Total Number of movies covered =3756

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