Advertisements

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 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 : 3901 Post No. : 14952

This song is from Master Bhagwan’s film ‘Damaad’ (1951).

This is the film which inspired Bhagwan to write a comedy social musical film story for his evergreen film Albela. In the decade of 1940’s, Bhagwan had specialised in low budget C grade action and stunt films. Usually his films would be completed in Rs. 60 to 70 thousand rupees only. He used to churn out films after films with the same set of actors with almost the same story in all his films. The audience of Master Bhagwan’s films came to the theatre to see his antics and comedy, coupled with action scenes of fighting and incredible stunts.

Usually Bhagwan never played the hero’s role in his own films. The hero in his films would necessarily be Baburao Pehelwan and Bhagwan used to be his side kick. Both had their love interests – usually the heroine for Baburao and her friend or maid for Bhagwan. Like Baburao and Bhagwan, even the lady actors were fixed. He had a set of such actresses like Shanta Patel, Chanchal, Leela Gupte, Vitha Lokare, Usha Shukla etc. They used to be in his films by turns. Actor Azim Bhai (who later became the famous Fight Master in Hindi films) was usually the good natured but timid employer of these two. Their job was to protect the Seth ji from goons, fight with them and finally win the girls in the end. Film after film the same story was used with slight changes here and there. The audience was least bothered about the story or the histrionics etc. They came for the dialogues, the fights and stunts.

Very few people know that both Raj Kapoor and Dilip Kumar were his great fans. When Bhagwan fell on bad times and shifted to a 2-room tenement in a chawl in Dadar, Dilip Kumar, while going for his daily shootings, used to stop at the chawl, honk till Bhagwan appeared in the gallery and waved to him, and then he proceeded to his work.

It was Raj Kapoor, who used to see his shootings in Jagriti studio, very near to RK studio. He once suggested to him to try making a social film. Incidentally, his good friend C Ramchandra (Anna for Bhagwan) also pressed him to dare making a social film. CR even promised him to give music to his social film in his popular name C Ramchandra (he gave music to Bhagwan’s films in the name of ‘Annasaheb ‘ till then). Bhagwan started thinking seriously on this issue. At that very time he got an offer to work in a social comedy film, to be produced by Beema Films of MT Mudnani and directed by Brij Rani. Since this was a social film Bhagwan wanted to give it a try. He wanted to assess the feasibility of making his own social film.

The film was ‘Damaad’ (1951). The story was simple. A simpleton is made a ‘ghar jamai’ (resident son-in-law) and has a miserable life. Incidentally, he becomes a successful singer. The film was absolutely an ordinary one. Being a director himself, Bhagwan understood the potential of the story to become a hit film. In addition the offer of C Ramchandra’s music was also inviting him. The film ‘Damaad’ came and went without making any ripples. Neither the producer made any more films, nor the director got any other film. The cast and the 3 MDs employed were also C grade anyway.

Taking inspiration from film ‘Damaad’, Bhagwan started writing the story of ‘Albela’ . For this film, he needed a cast other than his usual C grade film cast. Other actors were booked but no reputed heroine was ready to work in his film. Those days, Bhagwan’s name was only associated with C grade action stunt films. Then one day he approached Geeta Bali. She agreed – a bit reluctantly – to listen to his story. After listening to the story, Geeta Bali realized the potential of a hit film and said yes.

The shooting of ‘Albela’ started but Bhagwan kept it a secret. After few weeks of shooting, he invited Anna (CR) to come to see the shooting, without telling him anything. Anna went to Jagriti studios to see the shooting. After some shots were taken, he asked, ‘Bhagwan, this is your film, but where are the fights?”. Bhagwan smiled and said,”Anna, there are no fights. This is a social film I am making which you wanted me to do. Now it is your turn to stand by what you had promised to give your best music”. Sure enough C Ramachandra gave immortal music to film ‘Albela’ and the rest is history as they say.

Bhagwan’s planning for ‘Albela’ was so perfect that he got the Censor Certificate on 13-12-1951 and the film was released on next day i.e. on 14-12-1951 at Imperial Talkies in Bombay. Within 3-4 days, the film became houseful in every show. It was so successful that it overshot the combined collection of first week opening of BR Chopra’s ‘Afsaana’, Raj Kapoor’s ‘Awaara’, Dev Anand’s ‘Baazi’, AVM’s ‘Bahaar’ and Nitin Bose’s ‘Deedaar’, all released in 1951 only!

The tremendous success of ‘Albela’ made the financiers, producers and directors to line up Bhagwan’s doorstep with project proposals. The success of ‘Albela’ had also gone to the head of Bhagwan dada. He did not realize or acknowledge the contribution of Geeta Bali and C Ramchandra’s music to its success. He thought that it was due to him and he went on signing film after films in that period. As his new films started failing, the incomplete films were abandoned and ‘Albela’ became his swan song. The downward slide of his career and popularity started right after this film, although some more films like ‘Bhagam Bhag’ (1956) etc were hits-again due to music and Kishore Kumar.

Anyway the producer NT Madnaney never ever tried to produce any more films after ‘Daamad’, which was not at all successful at the box office.
The screenplay and direction was by Brij Rani. There were 3 composers, Shamoo who had given music to ‘ Yeh hai zindagi-48’ and ‘Begunah’ (1949) with Haribhai. Indravadan Bhatt had given music to 10 films in the late 40s. Ram Panjwani had been an actor in Berozgaar-36 and Chhotisi duniya-39, a singer in Damad-51 and Maa ka pyar-49, an MD for Magroor-50 and Damad-51 and also a Lyricist for one song in film Teen Batti chaar Rasta-53

The story was more or less same as ‘Albela’ – a good for nothing fellow sings well and makes a fortune – that is the one line story of this film.

Chamak (Bhagwan) is too simple a person, who is a teacher in a school, where even his students make fun of him. He gets married to a rich man’s daughter-Geeta (Krishna Kumari). Chamak loses his job and his father-in-law takes him to his house in a bigger town. Chamak is impressed with all the wealthy living and eats like a hog and sleeps like a dog every day. Honored initially as the son-in-law of the house, slowly he is despised, insulted and treated shabbily by in laws for doing nothing.

One day when Chamak is singing alone, the manager of the local theatre hears him, gets impressed and offers him job of a singer. Chamak accepts it and in no time becomes a famous singer and tours all over India. Seeing that he is famous, his in laws start pampering him. Now Chamak has become clever. He teaches a lesson to his in laws and finally they realize their folly and all is well that ends well.

The cast of the film was Bhagwan, Krishna Kumari, Yashodhara Katju, Protima Devi, Cuckoo, Habib, Kathana, Ishu Jahagirdar etc. etc. The story and screenplay was by director Brijrani.

Brij Rani was born in 1921 at Shikarpur, Sindh province, in a well to do business family. She studied up to Matriculation and also qualified as a Middle School Teacher. However, she opted to join films as an actress. Her first film was Jeewan Jyoti-37, doing an un credited small role to get the feel, followed by Calcutta after Midnight-37, Aurat-40, Wayda-40, Ulti Ganga-42, Daughters of the Jungle-43, Bhagta Bhoot-43, Circus Girl-43 and Lal Haveli-44.

She was getting roles only in stunt films and C grade films. Being from a business community, she started her own company- Bharat productions and herself made stunt films.

Meanwhile she continued acting in films like Lal Haveli-44 and acted and directed film Circus King-46 and film Sajni-47. Then there was a gap. probably she looked after her family. In 1951, she directed film Daamaad-51.

As far as Yashodhara Katju is concerned, there is a bizarre story behind her entry into films. Earlier there was a Kashmiri girl working in Hindi films,in the late 30s. Her name was Shyama Zutshi. Actor Chandramohan too was a Kashmiri Bramhin and held the view that Kashmiri Bramhin girls should not work in films as it is below their dignity. He strongly opposed Shyama’s work in the films and put lot of pressure on her to quit films. Fed up of his pestering and also afraid of his anger, Shyama left films. Her last film was Khooni Jadugar-1939.

However, soon after this, yet another girl who too was a Kashmiri Bramhin came into films from 1941. Chandramohan tried all his pressure tactics and tried to force her out of the films, but this girl was different. She was tough and did not fear him or yield to his intimidations. She continued to work in films unabated. Chandramohan died in 1949, but this girl worked in films from 1941 to 1974. She worked in 86 films and earned quite a name.

Her name was Yashodhara Katju ( 15-4-1928 to 1974 ). She was the niece of Pt. Nehru, but never ever used her highly placed relations to get work. Her father K L Katju was U.P.’s well known politician and also a senior bureaucrat. They were from Lahore, where Yashodhara had studied upto Senior Cambridge and also dancing. She was a leading comedienne in the early 50s and had formed a pair with Gope for some films. She married a Navy officer and spent her retired life as a housewife, away from filmdom.

Today’s song is actually in 2 parts, but it is combined in one video. The singers are Sulochana kadam(for Yashodhara katju), Ram Panjwani (for Bhagwan), Ishu Jahagirdar (for Dhobi), and Shrimati Vishnilal ( for elderly lady). VISHNI LAL was born in Hyderabad( Sindh) in 1926. She came to Bombay in 1943 to sing in films. Ram Daryani recommended her to Khemchand Prakash and he gave a break to her in film Chiragh-43. She sang in very few films like Qurbani-43,Anjuman-48 Mitti ke khilaune-48,Maghroor-50,Daamaad-51,Chhoti Duniya-53 etc.

Her family shifted to Bombay in 1947, after Partition. She was married to a businessman Mansukhani. She then settled in Dubai, with her family.

Let us now enjoy the song video.


Song – Dhobiya Re Dhobiya Re Tera Chhora (Daamaad) (1951) Singers – Sulochana Kadam, Ram Panjwani, Shrimati Vishnilal, Ishu Jahagirdar, Lyrics – Bahaar Ajmeri, MD – Indravadan Bhatt
Sulochana Kadam + Ram Panjwani
Chorus

Lyrics

oo oo oo
dhobia

dhohia re dhobia re tera chhora
ho tera chhora
beech bajaria chhed kare mosey
beech bajaria chhede
dhohia re dhobia re tera chhora
ho tera chhora

main na chhedoon
main na chhedoon is ko dada
jhooth kahe ye tosey
ram kasam. . .
ram kasam iljaam dhare hai
bair karey ye mosey
ram kasam iljaam dhare hai
bair karey ye mosey

hmmm mmmmm

tu chhori re chhori re chhori chhori re
bada sareef hai mera chhora
bada sareef hai mera chhora
oo oo chhori
chhori jhooth kyon boley
o chhori jhooth kyon boley
sundar dekh ke morey lallan ko
kyon tera manwa doley
ho chhori
kyon tera manwa doley

oo oo
oo oo oo oo oo
o dhobia
sunder hai tera chhora to
main bhi naar albeli
sunder hai tera chhora to
main bhi naar albeli
roop dekh sharmaaye jaaye re
dhobia
roop dekh sharmaaye jaaye re
bagia mein haaye chameli
bagia mein haaye chameli
bada theed hai
bada theed hai. . .
o tera chhora
bada theed hai
bada theed hai. . .
o tera chhora
beech bajariya ghere
beech bajariya ghere
dhobia re dhobia re tera chhora
ho tera chhora

kyon ri dhobaniya
lagaai bujhaai to kar ke chali
par main to ko samjhunga
lagaai bujhaai to kar ke chali
par main to ko samjhunga
bhari bajariya mein o chhori
bhari bajariya mein o chhori
teri khabar main loonga
ab teri khabar main loonga
oo oo oo dhobia
chal hatt
parey hatt

oo oo dhobia
samjhaaye lei e ka
nahin to main rapat likhaaye deungi
samjhaaye lei e ka
nahin to main rapat likhaaye deungi
oo oo thaanedar se
thaanedar se keh kar main to
lambardaar se keh kar main to
band karaye deungi
milat mein
milat mein
qaid karaaye deungi
main ghabraaye gai
tere chhore se
phirey hai peeche morey
phirey hai peeche morey
dhobia re dhobia re tera chhora
oo tera chhora

shiv ram
shiv ram
shiv ram
shiv ram
shiv ram

mukhiya ke chhore se chhori
mukhiya ke chhore se chhori
kaahe karey tu ladaai
maafi maang le 
o chhori
maafi maang le 
maine lallan se kar di teri sagaai

oo oo oo oo
teri meri bhool hui o baalam
kar le mosey mel
haan haan
kar le mosey mel
tu mera chaand hai
main teri chandni

oo oo oo oo
chhaila re chhaila re chhaila chhaila re
khelen chaand ka khel
aao khelen chaand ka khel
khel
aa ri dhobaniya
ho gaya tera mera mel
ho gaya tera mera mel
ho gaya tera mera mel
ho gaya tera mera mel. . .

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

ओ ओ ओ
धोबिया

बीच बज़रिआ छेड़ करे मोसे
बीच बज़रिआ छेड़े
धोबिया रे धोबिया रे तेरा छोरा
हो तेरा छोरा

मैं ना छेड़ूँ
मैं ना छेड़ूँ इसको दादा
झूठ कहे ये तोसे
राम कसम॰ ॰ ॰
राम कसम इल्जाम धरे है
बैर करे ये मोसे
राम कसम इल्जाम धरे है
बैर करे ये मोसे

हम्मम म्ममम

तू छोरी रे छोरी रे छोरी छोरी रे
बड़ा सरीफ है मेरा छोरा
बड़ा सरीफ है मेरा छोरा
ओ ओ छोरी
छोरी झूठ क्यों बोले
सुंदर देख के मोरे ललन को
क्यों तेरा मनवा डोले
हो छोरी
क्यों तेरा मनवा डोले

ओ ओ
ओ ओ ओ ओ ओ
ओ धोबिया
सुंदर है तेरा छोरा तो
मैं भी नार अलबेली
सुंदर है तेरा छोरा तो
मैं भी नार अलबेली
रूप देख शरमाये जाये रे
धोबिया
रूप देख शरमाये जाये रे
बगिया में हाए चमेली
बगिया में हाए चमेली
बड़ा ठीठ है
बड़ा ठीठ है॰ ॰ ॰
ओ तेरा छोरा
बड़ा ठीठ है
बड़ा ठीठ है॰ ॰ ॰
ओ तेरा छोरा
बीच बज़रिआ घेरे
बीच बज़रिआ घेरे
धोबिया रे धोबिया रे तेरा छोरा
हो तेरा छोरा

क्यों री धोबनिया
लगाई बुझाई तो कर के चली
पर मैं तो को समझूँगा
लगाई बुझाई तो कर के चली
पर मैं तो को समझूँगा
भरी बज़रिआ में ओ छोरी
भरी बज़रिआ में ओ छोरी
तेरी खबर मैं लूँगा
अब तेरी खबर मैं लूँगा
ओ ओ ओ धोबिया
चल हट
परे हट

ओ ओ धोबिया
समझाये लेई ए का
नहीं तो मैं रपट लिखाये देऊंगी
समझाये लेई ए का
नहीं तो मैं रपट लिखाये देऊंगी
ओ ओ थानेदार से
थानेदार से कह कर मैं तो
लंबरदार से कह कर मैं तो
बंद कराये देऊंगी
मिलत में
मिलत में
क़ैद कराये देऊंगी
मैं घबराए गई तेरे छोरे से
फिरे है पीछे मोरे
फिरे है पीछे मोरे
धोबिया रे धोबिया रे तेरा छोरा
हो तेरा छोरा

शिव राम
शिव राम
शिव राम
शिव राम
शिव राम

मुखिया के छोरे से छोरी
मुखिया के छोरे से छोरी
काहे करे तू लड़ाई
माफी मांग ले ओर छोरी
माफी मांग ले
मैंने ललन से कर दी तेरी सगाई

ओ ओ ओ ओ
तेरी मेरी भूल हुई ओ बालम
कर ले मोसे मेल
हाँ हाँ
कर ले मोसे मेल
तू मेरा चाँद है
मैं तेरी चाँदनी

ओ ओ ओ ओ
छैला रे छैला रे छैला छैला रे
खेलें चाँद का खेल
आओ खेलें चाँद का खेल
खेल
आ री धोबनिया
हो गया तेरा मेरा मेल
हो गया तेरा मेरा मेल
हो गया तेरा मेरा मेल
हो गया तेरा मेरा मेल॰ ॰ ॰

Advertisements

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 :

3899 Post No. : 14949 Movie Count :

4085

Today’s song is from an old, obscure film, Paak Daman-40.

The meaning of the word Paak Daman is Spotless Character. It has several other meanings depending on its usage. Generally this word is used to describe a woman of Chastest character and without any blemish.

Paak Daman was first made in 1931, the very first year of the Talkie films. Then it was made in 1940 and finally it was made in 1957. Paak Daman was a popular stage drama of early 1900’s. There were many versions of this story with minor variations,like names and place etc. The Parsi Urdu Theatre version was written by Agha Hashra Kashmiri, then famously known as ” Shakespeare of India”. The Parsi Gujarati plays were written by various authors. Syed Yawar Ali penned the script for the ” Moon Parsi Theatre”. The Alfred Drama Company had their own version of the story. In 1932, a film called ” Paak Daman Raqaasa aka Innocent Rakkasa or innocent Dancer or निर्दोष नर्तिका ” was made by Elephanta Movietone, Punjab. But I guess it was not one of these versions, just like the 1957 movie.

Paak Daman-1931 with Rampyari and Hyder Shah was based on a Gujarati play and Paak Daman-40 was written by Agha Hashra Kashmiri for the Urdu Parsi Theatre. This was a small budget movie, with not so popular star cast. It’s shoe-string budget did not allow any advertisements in Film India or other film magazines or papers or any other media like Hoardings in major towns. For all such low budget films the usual method of making advertisement was by distributing handbills from bullock carts ( छकडा ) with a one piece band consisting of ताशा or ढोल. The handbills would be printed in Urdu or local languages and distributed in predominantly Muslim majority area of the towns.

The film was produced by Stage Film Company and was directed by Rustom Modi. The film was censored on 20th October 1940 and released first in Lahore. Most of the film cast was drawn from Urdu Parsi Theatre to save money. Actors like Mohd. Ishaq (as Jaandaar, the King), Abu Baker(as drunkard), K.Pawar(as Bhangedi), Sonaba(as Afimi), Mehboob(as Baldy), Faqir Mohd(as Guardian) and Krishnabai as Dancer, were taken along with regular actors like Ghulam Mohammed(as Safadar Jung), Firoz Dastur(as Jameel). The female cast was Meera Devi(as Razia), Menaka Hyderabadi(as Sayeeda, the Heroine) and Leela Hyderabadi( as Nadira). These female actors were stage actresses from Urdu parsee Theatre in the 1930’s. They had played these roles so often on stage that all the dialogues were byheart to them. They had done small roles in films but went unnoticed,perhaps due to being uncredited.

The film was directed by Rustom Modi, who was the elder brother of Sohrab Modi. To understand the background of making of this film, we have to first take a look, in short, at the early build up of the careers of the Modi brothers.

Born on 2-11-1897, Sohrab Modi and his elder brother Rustom Modi spent their initial years in the Parsi community in Bombay, where their father was a Civil servant. The brothers were no good students in studies but were more interested in acting on stage. After their family shifted to Rampur in United Province (today’s Uttar Pradesh), when Sohrab was about 15 year or so, he used to read Urdu Books from library of Nawab of Rampur, with whom his father worked as a Superintendent. This made Sohrab an expert in Urdu Language and diction. Coupled with his love for sports and body building, he soon became an impressive young man.

As he was growing, his brother Rustom helped him and he started doing small roles in stage dramas. At one stage his roles in “Khoon ka khoon”and “Saeed E Hawas” won laurels from the audience. By then Rustom had started his own drama company “The Arya Subodh Natak Mandali”. In 1931, Talkie films started and people were attracted to them. Sensing a danger to drama companies, Rustom Modi established “Stage Film Company” and filmed their “Khoon ka khoon aka Hamlet” and ‘Saeed E Hawas” in 1935 and 1936 respectively. However since people had already seen these dramas, these 2 movies did not click to expectations.

Sohrab Modi realised that film making was a different game entirely. So, in 1936, the brothers started Minerva Movietone and a new film “Atma Tarang” was made. It was also received with a tepid response, with just 20 persons for the first show. Sohrab was disappointed, however, some critics appreciated his effort and encouraged him to go ahead. Soon he made successful films like Meetha Zahar-38, Divorce-38, Pukar-39 and Bharosa-40 and so on.

Rustom Modi, however, continued with his dramas and making films on dramas. On this background Rustom Modi made Paak Daman in 1940- again with his stage artistes. This time, there was a good response and the old timers enjoyed the film reminiscing what they had earlier seen as a Urdu Parsee Theatre drama.

The film had a second title of “Shaheed Naaz”. The story, dialogues, screenplay and Lyrics were by Agha Hasra Kashmiri. The music director K.M.Pawar, besides doing a small role in the film, also doubled as a Choreographer along with Master Chhota.

The story of the film was…..

The king Jahandaar was a Noble and honest ruler. He used to roam about in his kingdom in a Faqir’s disguise. In his absence, his close courtier Safdar jung used to look after the kingdom. Safdar was a cruel and immoral person. He had deserted his own wife Nadira, after fully enjoying her chastity.

A young man Jameel had used a girl Razia and abandoned her. She complained to Safdar Jung. Jameel was caught and sentenced to death. Jameel’s sister was Saeeda. Beautiful Saeeda goes to Safdar and begs for cancellation of death sentence. Safdar asks her to spend one night with him as a gift in return to this favour. He gives her time to think and come back.

While returning, Saeeda meets the Faqir( king in disguise), who enquires what is wrong. Saeeda tells him all. King is very angry. He discloses his identity to Saeeda and asks her to find and bring Nadira. The three of them hatch a plot.

Next day, Saeeda informs Safdar that she is ready to do as he wants, provided there is total darkness and no talk in that period. He gladly agrees. In the darkness of night Nadira replaces Saeeda and Safdar spends time with her, thinking that she is Saeeda.
Next day Nadira appears in Darbar and asks Safdar to take her back. The Faqir also reveals himself and Saeeda tells the truth of the night. Safdar is stunned. The king orders Safdar to take back Nadira and leave the court-if not he will be executed. Jameel is released but has to marry Razia.

Jameel’s role was done by Firoz Dastur, who started with films, but became a well known classical singer of India. Firoz Dastur or Feroze Dastur (30 September 1919 – 9 May 2008) was an eminent vocalist of Kirana Gharana and a film actor.
Dastur was part of Indian Film Industry in 1930s, acting in a few films by Wadia Movietone and other film banners. In 1933, when Wadia Movietone under JBH Wadia, released its first talkie film, he performed classical songs as child actor in film Lal-e-Yaman. But his first love was Indian Classical Music.
He was the disciple of Sawai Gandharva, whose other disciples were Bhimsen Joshi and Gangubai Hangal and a regular performer at Sawai Gandharva Music Festival for several years, well into his late 80s.
Dastur died on 9th May 2008 in Mumbai after a brief illness. He was 89.

He acted in 16 films- from Laal e yaman-33 to Gul e Bakavali-47. He sang 60 songs in 19 films. Last he sang in film Bhumika-77.

He also gave music to 2 films,composing 17 songs ( Sunehra Baal-38 and Gul e Bakavali-47)

Safdar’s role was done by Ghulam Mohammed. Ghulam Mohammad was a super star villain actor in the pre-partition films. He was a popular stage actor in the 1920s and appeared in movies mostly as villain actor in the 1930s/40s. His first big film was Madhuri in 1932 which was directed by R.S. Chodhary. He was in main role with actress Sulochana who was a Jewish artist and the first ever super star film heroine in the sub-continent. It was one of many famous productions by the leading Bombay based film company Imperial Film Co. and Ghulam Mohammad was an automatic choice for them. He was called Prince of Imperial Film Company and he was the first ever Muslim actor to buy a luxury car in the 1930s.

Ghulam Mohammad was an all round actor and appeared as hero, villain and supporting actor in more than 60 movies in the 1930s-40s. He played the main villain role in the first ever colored film Kissan Kanya from Bombay in 1937. He was in title role with Noorjahan in Lahore based Punjabi film Chodhary in 1941 and also in her first Hindi/Urdu film as heroine, Khandan in 1942, which was made in Lahore as well. He was also in the last big film before partition Jugnu (with Noorjahan and Dilip Kumar and Sulochana).

Ghulam Mohammad was almost in every second Pakistani film in the 1950s. He was born in 1900 in Lahore and died on March 10, 1961. He appeared in more than 500 stage dramas and fought as soldier in the WW1 in Baghdad, Iraq. He was best known as Chacha (Uncle) in film circles.

Today’s song is extremely rare song, says uploader- our own Sadanand ji Kamath. The song is based on Raagdari, which one, I could not identify as I am not an expert. Considering this is a recording done almost 80 years ago, it is still in good condition, except at few places. It is confirmed that the Lyrics were by Agha Hashra Kashmiri. The Music Director K.M.Pawar was employed in Rustom Modi’s stage film company.

( My thanks to ” Forgotten movies on Muslim Culture,1933-1947″ ,by Kamalakar ji Pasupuleti, “Stages of Life; Indian Theatre autographies ” by Kathryn Hansen, HFGK, MuVyz,www.pak.mag,Listener’s Bulletin and my notes).

The movie as well as the singer Kaka Ji make their debuts in the blog with this song.


Song-Ae ae ae ae jagmaali (Paak Daaman)(1940) Singers- Phiroz Dastur, Kaka ji, Lyrics- Agha Hashra Kashmiri, MD- K M Pawar

Lyrics

ae ae ae ae
ae ae ae ae jagmaali
ae ae ae ae
ae ae ae ae jagmaali
Phooli dali dali
Chhaayee nirali,
Rangwali laali
hariyaali
ae ae ae ae
ae ae jagmaali
ae ae ae ae jag
gun gaati bhaanti koyaliya kaali
gungaati bhaanti koyaliya kaali
Chhaayee niraali
Rangwaali laali
hariyaali
ae ae ae ae ae ae
jagmaali
ae ae ae ae
ae ae jagmaali

bhanwar papeeha mor uthh bhor
bhanwar papeeha mor uthh bhor
chaaron oar jape tero naam
chaaron oar jape tero naam
waari
kunjan kunjan mein
phoolan ke ban mein
kunjan kunjan mein
phoolan ke ban mein
acharaj man mein
hansat basat hai
acharaj man mein
hansat basat hai
chhav tori niraali
rangwaali laali
hariyaali
ae ae ae ae jagmaali
ae ae ae ae jagmaali


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 :

3896 Post No. : 14937 Movie Count :

4079

Today’s song is from the film Jungle mein Mangal-47. This was a stunt C grade movie made by Harishchandra Pictures. The film was directed by Baburao Badodekar- a name I heard for the first time. No wonder, because in those days, when stunt films were made by the dozen an year and at a cost of Rs. 30 to 40 thousand, getting quality directors for them was not possible. A seasoned Cameraman or an actor from even stage drama used to double as director of such movies for about 1 or 2 thousand rupees per film. The song writers used to get 10 to 15 rupees per song and unknown composers used to get lured by the prospect of seeing his name in the booklet, name in the film credits and about 2 or 3 thousand rupees per film.

Munshi Shyam was the Lyricist for this movie. Initially, I used to laugh at such hybrid names, but as the time went by I realised that the poets thought differently about their Takallus (pen name), probably considering it as an exclusive identity. Many Lyricists flaunted their hometown name with their Pen names- like Sahir Ludhiyanvi (Abdul Hai), Majrooh Sultanpuri (Asrar Hasan Khan), Arzoo Lucknowi (Syed Anwar Hussain), Anjum Jaipuri (Osman Khan Rehmani) etc etc.

This film’s music was by Nandram Omkar ji. he was the exclusive composer of Harishchandra Pictures and gave music to only 5 of their films, namely, Jungle mein Mangal, Barrister and Azad Jeevan-all of 1947, Sone ki Chidiya and Bahadur Jeevan of 1948. No other information about him as to where from he came or where to he went , is available. From the name, he seems to be a Rajasthani person. The cast of the film was Harishchandra Rao, Latika, Dalpat, Munshi Shyam, Balram etc etc.

After I started writing posts on old film songs, my outlook to the life changed completely. This world was something new for me. I was able to use whatever knowledge I had gathered over my past life span. Of course my diaries, which I was habituated to maintain after seeing every film seen, came very handy. Everything was going smoothly and one day something happened.

I was the Chairman of our Housing Society for over 10 years. Our recent Treasurer in our society was one Mr. Ramesh Advani. After we worked together for few years, one day he casually said that he was the son of Bhudo Advani-the yesteryear comedian. i was stunned. Even in my dreams I had not imagined that I would some day be in close contact with some actor’s close relative. I was excited and told him that I want to interview him, so that first hand information about his father can be put on Internet. He agreed and called his elder sister also and one full day I talked to them, making notes and selecting old photographs from their albums.

Soon the interview was posted on http://www.memsaabstory.com, a Blog site belonging to an American enthusiast and a lover of Hindi old films. The response was beyond my expectation. After this I became alert and grabbed all opportunities to interview close relatives of old actors. Without going into details of every instance, I can only say that I could interview daughter of Parshuram, son in law of Mirza Musharraf, grandson of early era stunt star Shankarrao Vazare, Son of Heroine Indurani, daughter of yesteryear Heroine Latika- among the few I have contacted and collected first hand information about the artistes concerned.

Ms. Cindy Bell, daughter of actress Latika (Heroine of today’s film also) reacted to one of my posts on this Blog, in which I had said that Latika was a Jew. Cindy wrote in her comment that Latika was not Jew etc. I got in touch with her- first by E mail and then by Phone ( she is in London). She sent Latika’s detailed information to me from London, where Latika was living in 2014, with her sons and daughter.

In the year 2014, I got in touch with Ms. Sindy Bell, daughter of Latika and a resident of London, U.K. Sindy was kind enough to provide me a brief note on her Biography. Latika had acted only in 13 films from 1944 to 1948.

” Latika was born 13th October, 1924 in Darjeeling. Her Tibetan name was Hungu-Lamou. Her mother was Tibetan. Her father was an Australian who adopted Buddhism, living in India as a race horse trainer for the Maharajas. He died when Latika was still very young leaving her with a newly born brother. As a child, Latika was sent to the Kalimpong girl’s orphanage also called ‘The Homes’ for her education by her mother and new step-father until she was 16. Her mother had four more children, her half-brothers and sisters.

The Homes (one for girls, one for boys) were founded by a Scottish missionary, so as a child, Latika was christened Agnes and this is the name she uses in England. Her mother was Buddhist, her step-father, an Anglo-Indian by the name of Webber, was a Protestant but Buddhism was the prevalent faith among her surrounding family of aunties and uncles in Darjeeling.

Latika’s step-father was an engineer who built bridges and due to his work, when she was a teenager, they moved to Mumbai. It was there that Latika made friends with a neighbour who was a kathak dancer and actress. She was invited to visit the Minerva film studios and was there spotted by the director Sohrab Modi and offered the opportunity to act. This was where she was given the stage name Latika, which she is still called by friends and family in India to this day.

In those days, all the scripts were in Urdu which she read beautifully and also learnt kathak dancing. I’m sure you already know the 12 films Latika acted in from the mid 1940’s to early 1950’s, in particular the film Gopinath with Raj Kapoor (1948), where she played the ‘femme fatale’ and her lovely dance sequence in Jugnu (1947).

Latika had always had a respect and interest in holy writings. It was during this period that she met a Jehovah’s Witness who was able to explain the bible, not as a church book, but as holy writings, it’s answers to the ‘big’ questions we all ask and it’s promised blessings. It satisfied all of Latika’s questions about life, so she became a Jehovah’s Witness.

It was while as an actress she met and eventually became friends with Gope at the studios. To this day, Latika says he was the kindest, most compassionate man she ever met. They married and, at Gope’s request, Latika retired from the film industry.

Latika did introduce Gope to the bible. He would read by himself (or as my mother would say, ‘exclaim in delight!’), passages from it, early mornings on the verandah before work. She said he was particularly taken with the accounts of Jesus and how tenderly he treated people. To her surprise, of his own volition, he too become a Jehovah’s Witness.

Gope had a large house in Juhu which also came to house all Latika’s family. When we saw it, it had became a hotel but I’m not sure what has happened to it now.

Before Gope’s death, they had two sons, Gope Jr, and Lalith. When Gope suddenly and unexpectedly died, when the boys were three and five, mum decided to join her siblings who had earlier migrated to the UK. I came from her second marriage.

Latika is still alive and very well and living in the UK. She is in her 90th year, still beautiful. My niece’s second name is Latika and Gope Jr’s two sons bear the (second) name of Gope also. Latika has a big family with grand-children and great grand-children, all from Gope’s lineage. ”

Harishchandrarao and Chandrarao Kadam- this brother pair of actor-producer-director was famous in the circle of stunt film crowds, both onscreen and off screen.

Hero of this stunt film was Harishchandra Rao (Kadam). He was born in Bhuj, Gujarat on 11-8-1910. He did early schooling in Bhuj, but his family shifted to Karachi, due to financial debacle. He did Cycle repairing work and completed his matriculation by age of 18 years. He joined a Touring film company. Once, while in Bombay he was watching the film shooting in Paramount company. Suddenly, the director offered him a role in the film. Thus he entered the films. from 1932 he did few silent films.

He joined Shankar Bhatt’s Prakash Pictures and worked in their first Talkie, ” Bambai ki Mohini “- 1934. He was with Prakash, upto 1939, doing stunt films inside and outside also. He did some films for Wadia too, in between. Finally he started his own company, ” Harishchandra Productions “. He continued to work as actor, director and producer. he sang few songs also.

Some of his films were Daulat, Naujawan, Rangila mazdoor, Rangila jeevan, Sukhi jeevan, Lehri jawan, Inaam, Sone ki chidiya, Durban, Laat sahib, Tamasha etc etc He worked in about 42 films.

His brother Chandrarao Kadam was also a stunt actor. He was known as Stunt King. He had his Chandrarao Films. He acted, directed and produced films. The brothers were friendly with Master Bhagwan and gave him preference in their films, till Bhagwan started his own company- Jagriti films. later on Chandrarao floated his own Chandivali Studio in Bombay suburb, which is still actively run by his progeny.

In the cast one finds the name Dalpat. Not much information was available about him. Here is what I found on Fb group ‘Vo din yaad karo’. This is written by shri M N Sardana ji. Thank you, sir for this bit of information.

Dalpat (Joshi) was also stunt artist . A tall, sophisticated and suave person mostly appeared in negative roles . Dalpat was a part of Wadia’s unit since its inception and played the role of villain in the stunt movies ,which used to have Fearless Nadia and John Cawas or occasionally some other hero, apt in performing stunts .

Owing to the unprecedented popularity of Miss Nadia , other film makers also cast her along with Mr John Cawas and Mr Dalpat in their similar type of stunt movies for which she was known . After her era was over ,Basant Pictures concentrated their energy in making Mythological and Arabian Night movies ,in which Dalpat Saab always had a role . Later in 50s, studio system came to an end and actors and technicians who learned their art from their benevolent master Homi Wadia , looked for assignment from other producers.

One may call it as destiny or lack of initiative on the part of Mr Dalpat Ram , he was offered only costume /stunt/religious movies by outside producers . Mr Dalpat ,who did a stint of production controller for few movies, was reverentially called Dalpat Kaka owing to his age ,seniority and status by film folks. Dalpat acted in 121 films, from Hoor e Baghdad-34 to Toofani Takkar-78.

Today’s song is one of the more rare songs, according to its up loader- our own Sadanand Kamath ji. He says, none of the songs from any of the films of Nandram Omkar ji are available on You Tube. So, this happens to be the first and the only song available on You Tube today. Thanks, Sadanand ji. This song is sung by an unknown Male singer with chorus. With this song, the film and the MD make their debut on the Blog.


Song-Roz kunwaa khoden bhai roz piyen paani(Jungle Mein Mangal)(1947) Singer-Unknown male singer, Lyrics-Munshi Shyam, MD- Nandram Omkar ji
Chorus

Lyrics

ho ho
he he he
he he he

Roz kunwaa khoden bhai
Roz kunwaa khoden
roz piyen paani
ye hai ghareebon ki zindgaani
ye hai ghareebon ki zindgaani
Roz kunwaa khoden bhai
Roz kunwaa khoden
roz piyen paani
ye hai ghareebon ki zindgaani
ye hai ghareebon ki zindgaani

he he
he he he
he he
he he he
he
he
he he
he he

sukh mein khushi hai
na dukh mein hai ranzo gham
sukh mein khushi hai
na dukh mein hai ranzo gham

sukh mein khushi hai
na dukh mein hai ranzo gham
sukh mein khushi hai
na dukh mein hai ranzo gham

is jag mein yoon hi bita dete hain ham
is jag mein yoon hi bita dete hain ham
is jag mein yoon hi bita dete hain ham
apna ladakpan budhaapa jawaani
ye hai ghareebon ki zindgaani
apna ladakpan budhaapa jawaani
ye hai ghareebon ki zindgaani
ye hai ghareebon ki zindgaani

Roz kunwaa khoden bhai
Roz kunwaa khoden
roz piyen paani
ye hai ghareebon ki zindgaani
ye hai ghareebon ki zindgaani

he he he he
he he he he
he he he he
he he he he
hey
he he
he he
he he
he he

dharti se ham nikaalen paani aur daana
dharti se ham nikaalen paani aur daana
dharti se ham nikaalen paani aur daana
dharti se ham nikaalen paani aur daana
haan is par bhi roothha hai hamse zamaana
is par bhi roothha hai hamse zamaana
haan is par bhi roothha hai hamse zamaana
isne hamaari kadar hi na jaani
ye hai ghareebon ki zindgaani
isne hamaari kadar hi na jaani
ye hai ghareebon ki zindgaani
ye hai ghareebon ki zindgaani

Roz kunwaa khoden bhai
Roz kunwaa khoden
roz piyen paani
ye hai ghareebon ki zindgaani
ye hai ghareebon ki zindgaani

hup ho ho
hup ho ho
hoy hoy
ho
ho ho ho
ho ho ho
ho ho
ho ho
ho ho ho
ho ho ho
ho ho


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 : 3894 Post No. : 14931

Today’s song is from the film Jungle ki Duniya-59. From the title itself, it is clear that it was one of those C grade films, in which stories take place on the background of Jungle and generally centre around a lost child who is inheritor of a big estate.

Most of us like to see films, be it on a TV, in a cinema hall,or through DVD. Some like old films some like new films.

Did you ever see films like, Khooni Khanzar,Dagabaj Doctor,Shaitaan ka paash,Char chakram,Daku Rani Talwarwali,Jaadu ka dandaa,Zinda Laash,Revolver Rani,Sindbad-Alladin-Alibaba,Flying man,Fighter Sheela,Khooni Darinda,Tarzan aur Jadugar,Tarzan aur Jadui Chiraag,Golden Gang,Murde ki jaan khatare mein,or Jadui putli ?

I bet none of these movie names have been even heard by you.These are all STUNT FILMS or in other words ‘C’ grade films.

In India I really wonder how the classification or Grading of films is done,or who is the person or the body authorised to do it. Because Censor Certificates do not label A B or C grades at all. Then how does this happen ?

My guess is that films are graded on 2 counts- One, The cost of production or Budget and the class of stars in it and Two, The class of people for whom the film is made or directed, like the Rich, middle and the Poor class. Whatever the basis,there is a very thin line between A and B grade films,while between these two and the C grade films,the line is very Bold and thick indeed !

Stunt films, Costume films,fantasy films and purely Religious films are normally treated as C grade films. These film do not carry any prestige, the actors working in them are exclusive to C grade films,the production values and the budget is quite low and most important, they are ALWAYS shown in theatres situated in older parts of the town, single screens, or only for Morning shows or in Theatres generally frequented by lower strata of society.

A person seeing/loving or craving for such films is generally considered a ‘Low’ creature and a person with ‘child brain’.

In India ,this is the fate of C grade films.Actually these films have everything that A and B grade films have,like,story,songs,dances,fights etc,but still,the treatment given to handling of the story etc in the films is very poor or lacking in expertise.

Stunts have improved,Technology has evolved but the participation of Zippy the Monkey,Tiger the Horse,Moti the Dog,parrots,snakes and khatara cars named Rolls Royce ki beti and Austin ki Bachhi is missing ! The contribution of Fearless Nadia in making Stunt films popular can not be denied,but then she had the backing of companies like Wadia Movietone.Basant pictures,Ranjit,Sagar,national etc. When you read the stories of these films please don’t employ Logic or common sense to it. This is a different world altogether.The set of actors is fixed,many times the composers are unheard of or they are known composers now in bad shape,the Directors are typical and the production houses are exclusive to churn out such films.

It is,nevertheless,a fact that many well known and famous actors and actresses of the 40s and 50s evolved from the stunt films of yore. Examples are Jairaj or Master Bhagwan. Can you believe that this roly-poli Bhagwan dada was a great body-builder when he started in stunt films in the late 20s and 30s ? Lalita Pawar(Amboo),Madhuri,Rampyari,Miss Moti,Sabita Devi,and Sulochans(Ruby Myers) are some female examples who graduated to Social films via Stunt films.

Sometimes Gems are found in these C grade films. Remember the famous qawwaali- Hamen to loot liya mil ke husnwalon ne- which had the honour of becoming the prestigious 5000 th song in this Blog ? This was from a C grade film- AL HILAL.

In my younger age I was fond of stunt films and used to travel to theatres in Old city of Hyderabad,to watch films featuring Kamran (father of famous choreographer and Director Farah khan and Director,comedian,Anchor Sajid Khan),Naazi,Bhagwan and many such actors.” Adventures of captain marvel and Trip to the Moon” were my favourites from Hollywood’s republic Serial productions.

In the 50s and 60s,some respectability to these stunt films was brought by actors like Mahipal,Ranjan,Dara Singh,Azad,Hemant Birje etc.The set of Heroines was also set to Mumtaz,tabassum,Vijaya chaudhary,Indira,nishi etc.Mumtaz started with Stunts and graduated to greater heights and was counted in Top actresses of her days. Costume and Stunt films like Baaz,Insaniyat and Azaad etc were made respectable by the stars acting in them.

Over a period the picture changed and nowadays every alternate film has breath-taking stunts done by almost all top Heroes.

Action/Stunt films have a major segment and that is films made with Jungle as a background. Such films had their inspiration from Hollywood Tarzan films. The original Tarzan story was written by Sir Edgar Rice Burrows and it was first published in 1912,followed by its 23 sequels.The story proved to be immensely popular.No wonder,then,that it attracted the Hollywood producers.

The First Silent film ” Tarzan of the Apes” was released in 1918 in which Tarzan’s role was done by Elmo Lincoln and Jane Porter was Enid Markey.From 1918 to 2008,Hollywood has made 89 Tarzan Films. The First Talkie film on Tarzan was ” Tarzan-The Ape Man” in 1932.Johnny Weissmuller was doing Tarzan’s role and Maureen O’Sulivan was Jane in it. Johnny was a German bred Romanian settled in America.He was an Olympic Swimming Champion with 5 Gold medals.The pair of Johnny and Maurine was very popular. Johnny Weissmuller did 12 films of Tarzan from 1932 to 1948. 6 films with Maureen,2 without any Jane and 4 with Brenda Joyce.After Johnny 5 Tarzan films were done by Lex Barker and 6 were done by Gordon Scot.After 1960,there were different Tarzan actors in every film. The Chimpanzee “Cheetah” was there in films from 1932 to 1960,when he died.

In most films,the scripts were loyal to the novels.However,in the novel,Tarzan and Jane get married and they have a son too.But in films,they never got married and their son ” BOY ” was found and adopted by Jane. There was one film ” Tarzan goes to India”-1962, in which Firoz khan,Simi garewal,jagdish Raj (as Police Inspector),Murad and G.raghavan had also acted.

In western films,the popular roles are done by the same actors in many films and they are known by that character.For example Sean Connery is famous for James Bond roles,similarly,Johnny Weissmuller is known for his Tarzan roles.These actors later did many other films but their names were connected to the famous roles for ever. In India,we do not find such consistency.Here the actor is known by the Genre of his specialty films-like tragedy films-Dilip kumar,Comedy Films-kishore kumar,Romantic films-Dev Anand, Action Films-Akshay kumar etc.

In India, the core concepts of famous stories on Tarzan, Mythology or folk/costume are adapted by our film makers with great talent and creativity. While doing so,they have twisted the Time frame, boundaries of famous stories have been scaled with exceptional ease and an unusual mixture of story characters woven into films. For example, films like Sindbad, Alibaba and Alladin-65 or Shankar, Seeta and Anusuya-65 can only be thought of by the most creative and innovative story writers !

Famous character Tarzan has been combined in Hindi films with Delialah, King Kong, Circus, Cobra, Gorilla, Hercules, Jadugar, Magic lamp, Jalpari, Paristan, Fairyland and even Delhi ! For our film makers Time and History are no barriers. Tarzan has been adapted to its Indian Avatar in the form of Zambo, Zimbo, Zango and Zingaro.

Films with Jungle Titles are almost 60. Here too, the kind of variety in Titles will surprise you. Jungle is coupled with Boy, Beta, Man, King, Jawan, Jawahar, Hero, Girl, Goddess, Princess, Chandni, Sherni, Nagin, Queen, Love, Love story, Haseena, Hoor, Ladki, Sundari, Jawani, Pyar, Muhabbat etc etc. There is one Junglee Tarzan also to sum up the titles.

Today’s film Jungle ki Duniya-59 was made by Swastik Chitramala, produced by C J Kansara, directed by B N Choudhari (Ret Mahal-49 and Bedard-49). Music was by one film wonder Jugal Banerjee. There were 7 songs, recorded in 1956, but the film was censored only in 1959. The film cast was Indira, Baburao pehelwan, Umesh Sharma, Habib, Kesari, Heera Sawant, Kailash Kumari etc etc.

The Heroine was Indira. This is a ‘Same Name Confusion’ artiste. During the silent Era and early Talkie period, there was one Indira Devi. her real name was Effie Hippolet- an Anglo-Indian She acted in silent films since 1927, but did only one Talike-Wamaq Azra-1935. Then there is the comedian fatty Indira Bansal This Indira was different.

Indira, one of Punjabi cinema’s most popular leading ladies of the 1960s, was born on August 6, 1938 in northern India. Growing up in an aristocratic family in the Punjab village of Kharian, her family lost everything when they had to flee their home during partition to settle in Kanpur. In 1952 her family shifted to Bombay where an Elder brother ran a successful business.

Indira was noticed by the popular comedienne Bhagwan while he was shooting a movie at Jagriti Studios, and she was put in the cast of his film Rangeela (1953). Raj Kapoor, who happened to be visiting the set of Rangeela, noticed Indira and later cast her as the daughter of a rich industrialist in his film Shree 420 (1955).

Indira continued to appear in supporting roles in major Hindi productions like Funtoosh (1956), Yahudi (1958), and Dil Deke Dekho(1959). She had just appeared as the lead in the low budget yarn Jungle Ki Duniya (1959) when she was cast as the heroine in a Punjabi film titled Yamla Jatt in 1960. This was followed that same year by two more Punjabi pictures, Do Lacchian and Kiklee. All three films were very successful.

Returning to Hindi language movies, she found herself much in demand for B-films with colorful titles like Maya Mahal (1963), Jungle Boy (1963), Tarzan Aur Jadugar (1963), Pahadi Nagin (1964), Arab Ka Lal (1964), Son of Zimbo (1966), Sheba and Hercules (1967), Tarzan in Fairyland (1968) and CID Agent 302 (1968), sometimes playing the heroine, but more often than not as a vamp or villain. Occasionally she would snag a nice supporting role in a major production like Do Dil (1965) or Mere Huzoor (1968), and she still continued to star in Punjabi fare.

Sometimes billed as Indira Billi (her real name was Indira Kaur) she was interviewed in 1963 for Picturpost magazine where she talked about her beginnings: “I had not the good fortune of stepping into films and finding myself a heroine right from the start as had been the case with many glamour girls these days. It was a life of toil and tears, fighting every inch, every day, and month after month. Sometimes I was fed up, felt tired of the ceaseless struggle to make my presence felt. With the struggle for existence keen and with not enough money, those early days were none too happy for a girl aspiring for a respectable place in the film world, let alone stardom. Sometimes I had my misgivings whether I was right in coming into films. Some kind of inferiority complex took hold of me and I thought several times that I would never become a star.”

Indira married cinema owner Shiv Kumar in the early to mid-1960s and left the film scene in the early 1970s.(Thanks to shri Mike Barnum ji).

Kesari was a comedian and villain. He acted from 1933 to 1974, in 123 films. He also sang 10 songs in 7 films. Another small time actor was Habib who acted in 209 films from 1942 to 1980. In this film the famous monkey Zippy ( famous for his role in film Insaniyat-55) also had a role to do.

Today’s song is a dance song video, shot on Heroine Indira and Hero Umesh Sharma.


Song- Ulfat ki rakhna sharam balam tumhen meri kasam (Jungle Ki Duniya)(1959) Singer-Snehlata Nare, Lyrics- Shriram Farrukhabadi, MD- Jugal Bannerji

Lyrics

ulfat ki rakhna sharam
balam tumhen meri kasam
o dekho meri kasam
ulfat ki rakhna sharam
balam tumhen meri kasam
o dekho meri kasam

toote na sapne apne lagan ke
toote na sapne apne lagan ke
o mere sainyyaa bhole se man ke
bhole se man ke
dhhaana kahin na julum
ho o dhhaana kahi na julum
balam tumhen meri kasam
o dekho meri kasam

aandhi chale chaahe toofaan aaye
aandhi chale chaahe toofaan aaye
par shamme ulfat bujhne na paaye
bujhne na paaye
jab tak rahe dam mein dam
ho o jab tak rahe dam mein dam
balam tumhen meri kasam,
o dekho meri kasam

main hoon balam aaj tere sahaare
main hoon balam aaj tere sahaare
badle chanda aur badle sitaare
badle sitaare
lekin badalna na tum
ho o lekin badalna na tum
balam tumhen meri kasam
o dekho meri kasam
o o o
o o
o o o
o o o
o o o
o o o
o o o
o o o
o o o
o o o


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 : 3892 Post No. : 14927

Today’s song is from the film ‘Hatimtai ki Beti’ (1955).

When I was very young and had just started taking interest in reading books and seeing films, I always felt that HATIMTAI is a girl’s name. This was because “Tai” in Marathi, means Didi in Hindi. It was only after I read the book “Arabian Night stories”, that I was surprised that Hatimtai was a Male name !

According to Wiki, Hatim-Al-Tai or Hatim-Al-Taeei was a 6th century Arabian Christian poet. He was adventurous and very generous. His name is mentioned in Arabian Night stories too. It seems a beautiful princess Husn Bano asked 7 questions and declared that she will marry only to whosoever answers these questions. A neighbouring king fell into her love and Hatimtai helped him find all the 7 answers. Hatim of Arabia was a Christian and a contemporary of prophet Mohammed, but they never met. He was famous for his generosity, wisdom, courage and hospitality. Later his son was converted to Islam.

Hatimtai’s story has always attracted the film makers from the silent movie times. There were 4 silent films titled “Hatimtai”. Then in 1933,first Talkie film ‘Hatimtai’ was made in 4 parts,each a separate full movie. ‘Son of Hatimtai’ was made twice and ‘Hatimtai ki beti’was also made twice. Hatimtai films had plenty of magic,adventure,dance and drama with humour. Among ” C” grade films, Hatimtai films were very popular. ‘Hatimtai ki Beti’was made in 1940 and 1955,both the films were directed by Nanubhai Vakil. In the 1940 film Sarojini,Indurani,Anil kumar etc were in the cast. That film was produced very lavishly by Sagar Movietone. In those days it cost them Rs. 1 Lakh 25 thousand rupees. The outdoor shooting was done in Agra and Fatehpur Shikri.

Hatimtai-55 was a partly coloured film. This was a period when the coloured films were still a novelty and not many films were made in colour. In fact most films were still in Black and White only. Today, after almost 65 years, when we see the old Black and White films, we get excited and feel that how soothing these films were to the eyes. The beauty of the Heroines seems more impressive. When one sees films of Madhubala in B/W and in Colour, one gets a feeling that B/W was much better. Of course, Nostalgia has a greater role in such feelings, I agree.

The film was made by Vakil Productions. Naturally the producer and Director was Nanubhai Vakil-the owner. Songs were written by Shevan Rizvi, except for just one song by Kaifi Azmi. The music was given by Nanubhai’s favourite MD- A R Qureshi who had given music to 18 films of Nanubhai vakil. Music director A.R. Qureshi (full name: Allah Rakha Qureshi , born April 29, 1919 in Phagal, in the Jammu district in Jammu and Kashmir state) was also a well-known tabla player and gave many performances on All-India Radio. He had left home as a teenager to study tabla with Mian Qadir Bakshi and entered films in 1943, sometimes billed as Allah Rakha. Among the the fantasy films he worked on are Flying Man (1947), Jadui Angoothi (1948), Sakhi Hatim(1955), Noor Mahal (1954), Hatimtai Ki Beti (1955), and Alladin Leila(1957). He gave music to 18 films, directed by Nanubhai Vakil.

In all he gave music to 40 films from 1943 to 1964. He even sang 14 songs in 7 films.

Shortly after Sim Sim Marjina in 1958, he left films ( except one film Idd ka chaand-64) and turned to classical music, touring with the famous Sitar Maestro Ravi Shankar throughout the 1960s and 70s as well as other musicians. In 1968 he collaborated with American jazz musician Buddy Rich, creating the album Rich a la Rakha.

He started the Alla Rakha Institute of Music in Bombay in 1985. His three sons, Zakir Hussain, Fazal Qureshi, and Taufiq Qureshi, are all tabla players.

A.R. Qureshi died on February 3, 2000.

For this film he had Damodar Sharma as his assistant. Sharma was one of the well known Music Directors of the early era films. Among the old era MDs, Damodar Sharma was different, in the sense that his songs were always unlike those of his contemporaries. When you hear his songs, you will notice that difference. From 1934 to 1948, he gave music to just 41 films. All his films were C grade films made by Paramount, Liberty, Ramnik Productions, Mohan Pictures and others. After 1948, he stopped getting films, so he worked as assistant to MD A.R.Qureshi till 1964.

Film Hatimtai ki Beti-55 had a cast of Chitra, Mahipal, Daljit, Krishnakumari, Kamal, Kammo, Kumkum, Helan, Heera Sawant Tun Tun, Maruti, Sundar, kesari, Niranjan Sharma, W M Khan etc. There were 4 Guest artistes also,including Al Nasir and Heeralal. With 5 specialist Dancers and 2 Heroines also dancing, the film had eye pleasing dances and good music too.

Actress Krishnakumari’s name appears here. She acted more in Stunt and costume films than social films. Krishna Kumari (not to be confused with the 1930s actress of the same name nor the south Indian actress T. Krishna Kumari) was born Rajinder Kaur in Rawalpindi, Punjab state (now part of Pakistan) on October 3, 1934. Occasionally playing the heroine in B-grade films including Vanraj (1952), Gorilla (1953) Black Rider (1960) State Express(1961) and Khush Naseeb (1964) she is probably much better known as a temptress or villain in the likes of Baghdad Ka Jadu (1956), Zimbo(1958), Police Station (1959), Lady of the Lake (1960), Jadoo Mahal(1962) or dozens of similar action, horror and fantasy films.

Her debut came in the film Bela-1947. Then she got film Girls School (1949), which also featured newcomers Geeta Bali and Shashikala, after which she appeared in Naao, which actually ended up in theatres first, releasing in 1948. Krishna Kumari’s career lasted 20 years, and during that time she managed to chalk up an impressive amount of credits, even if most of the pictures she made were not considered important by critics. She acted in 118 films.

The story of this film was………

HATIM TAI KI BETI-1955 was a costume drama set in the Arabian style mode. Produced by Nanubhai Vakil through his Vakil productions,it was directed by Nanubhai himself.The MD was A R Qureshi (Alla Rakha Qureshi,the famous Tabla player and father of Zakir Hussain,tabla maestro). His asst. was Damodar Sharma- in the 30s and 40s,he himself was a well known composer. The lyrics were by Shevan Rizvi( 8 songs) and Kaifi Azmi (2 songs).

It is imagined ( it is declared just before the credits) that Hatimtai had 2 daughters. The elder is Jahanara,the queen of Shahbad and the younger is Roshanara,who is known for feeding the poor and the needy always. The Shaitan(Devil ) and his assistant Badi (बदी) can not tolerate Roshan’s goodness. They come and poison the food she distributes. All,including the queen,become sick. However due to her goodness Imaan and Neki come and all recover. Then the Devil’s team poisons Jahanara’s mind and she imprisons Roshanara.

Meanwhile the neighbouring king of Turin proposes marriage of his elder son Salim with Roshan, but Jahanara wants to marry him. At the same time Salim’s younger brother Aslam also wants to marry Roshan, so Salim withdraws and Aslam is married to Jahanara( as Roshan). On the wedding night truth is revealed. Aslam is imprisoned but rescued by his friends.

Now Salim comes and is imprisoned by Jahanara. Aslam comes with army and rescues Salim and imprisons Jahanara. Roshanara comes and begs for pardon to repentant Jahanara.

King and queen of Turin arrive for the marriage,but Shaitan and Badi become snakes and bite Salim and others. Roshan Ara prays to God and due to her good work, Imaan and Neki arrive and revive everyone.

Finally Aslam and Jahanara and Salim and Roshanara get married.

Fortunately this is a video of the song and dance. The song has a good tune and is very melodious too. Enjoy….


Song-Humba humba humka duniya ghar hai gham ka (Hatimtai Ki Beti)(1955) Singer-Asha Bhonsle, Lyrics-Shewan Rizvi, MD-A R Qureshy
Chorus

Lyrics

Humba humba humka
duniya ghar hai gham ka
Humba humba humka
duniya ghar hai gham ka

o o o
aahen aur ye naale
roye dil ke chhaale
aahen aur ye naale
roye dil ke chhaale
dekh tamaasha ??
duniya banaane waale
tarararara
Humba humba humka
duniya ghar hai gham ka
Humba humba humka
duniya ghar hai gham ka
Humba humba humka
duniya ghar hai gham ka

Humba humba humka
duniya ghar hai gham ka
Humba humba humka
duniya ghar hai gham ka

aa a aa
lalalaralala la
lalalaralala
o laralalalaraa
laralaralara

Humba humba humka
duniya ghar hai gham ka
Humba humba humka
duniya ghar hai gham ka

dekhi duniya teri
kaisi hai duniya teri
dekhi duniya teri
kaisi hai duniya teri
jismein kahin insaaf na paaya
duniya banaane waale
tarararara
Humba humba humka
duniya ghar hai gham ka
Humba humba humka
duniya ghar hai gham ka

Humba humba humka
duniya ghar hai gham ka
Humba humba humka
duniya ghar hai gham ka

aaaa
tatatarararraa
tatatarararraa
aa aa
laralalalalara
laralalalalara

Humba humba humka
duniya ghar hai gham ka

kya yoonhi mar jaayen
?? kar jaayen
kya yoonhi mar jaayen
?? kar jaayen
??
tu itna bata de
ham kahaan par jaayen
aa aa aa
Humba humba humka
duniya ghar hai gham ka
Humba humba humka
duniya ghar hai gham ka

Humba humba humka
duniya ghar hai gham ka
Humba humba humka
duniya ghar hai gham ka

o o o
tu hai ya begaana
kaun sune afsaana
tu hai ya begaana
kaun sune afsaana
teri ye duniya
?? bataaye
tujhko raham na aayi
hahahaha
Humba humba humka
duniya ghar hai gham ka
Humba humba humka
humba
Humba humba humka
humba
Humba humba humka
humba
Humba humba humka
humba
Humba humba humka
humba
Humba humba humka
humba
Humba humba humka
humba
Humba humba humka
humba
Humba humba humka
humba
Humba humba humka
humba


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 : 3890 Post No. : 14922

Today’s song is from film Arab ka Sitara-1946. Produced and directed by Nanubhai Vakil, under his own banner- Roshan Pictures, it was a costume drama film,eulogising the greatness of Islam and how sincere 5-time Namaz pleases Allah- the Supreme power.The 10 songs of the film were written by Shevan Rizvi and were composed by the One Film Music Director S Qureshi.

Sometimes I wonder, there was a time when this film industry was thickly populated with Muslim artistes in every field-acting, production,direction or composing music…still there were really not many films on Muslim backgrounds made. There is a sizable and rapidly growing portion of Muslim population in India, still,if you count films based on Muslim issues or Muslim backgrounds,they may not account for more than 1 to 2 % of the total film production.

It is not only the Muslim films, but films on other minorities like Christians,Parsis, Jains,Budhists, Sikhs too are not much represented in our films. It is very sad that such films are not made, though the figures and history tells us that such films were quite successful at the Box Office.

Muslim films are in Two categories. One, films made on Historical Muslim characters like Akbar, babar, Humayun, Shahjehan, Jehangir, Razia Sultan, etc etc and the Second group is that of Muslim society. Just for the sake of curiosity, I scanned the 5 volumes of HFGK and wrote down names of films made on Muslim subjects-both types. To my surprise,I could not go beyond even 50 films-from 1931 to 1980 !, Granting that I must have made a mistake in counting and identifying,since I do not know the story lines of every film, still the number will not go beyond 70-80 films, despite ruthless stretching !

The point I want to make here is that not many Muslim social movies are made in India ,over the years. One of the earliest such a film was Najma-43,I think. One very very explosive Muslim social film,made by Director Mehboob was “Elan” in 1947. Munawar Sultana was the lead actress in it. Before starting the shooting, Mehboob called her and said,” You have heard the story,it is a very very hot story.I guess there will be a lot of opposition from our fundamentalist people. You may have to face their ire. may be you will be attacked or thrown out of the society. But remember,I am doing this film,because I want our people to improve on par with others. If you want,you can reject the film even now. Think and tell me before we start shooting. “Munawar Sultana quickly said,”There is no need to think. I want to do this film. I am not afraid of anyone. I have full faith in you.” After release,the film did evoke violent reactions from a section of the Muslim society but it subsided slowly. Before Partition, Fazli brothers were known to make Muslim social films.

Some other Muslim socials I remember are Zeenat,Dil hi to hai,Bahu begum,Dastak,Garm hava,Bazar,Anjuman,Naseem, the Triology by Khalid Mohammed-Mammo-Sardari begum and Zubeida, Fiza,Junoon,Benazir,Gazal,Chhote nawab.Then there were Barsaat ki raat,Nikah,Shatranj,mehboob ki Mehendi,Umrao Jaan,Paakiza,Mere mehboob,Chaudhavi ka chaand,Anwar, My name is Khan,Bombay etc. Surely,there must be many more than what I have mentioned. I am not counting Historical films as they are not socials.

Being from Hyderabad, when it was a Nizam ruled state, I had a closer view of Muslim culture and even had some close Muslim friends in school and college. Though my early education in the 40s was in Urdu, over a period, I have lost the touch with Urdu- may be due to ‘ atrophy of disuse’ !
When I learnt that one of my friends, Shri P Kamalakar aka Kamlakar Pasupuleti, has written a book on Muslim films, I was very eager to have a copy. Last week I got my copy of his book ” Forgotten movies on Muslim Culture 1933-1947 “.

The book is an authentic chronicle of 30 films made on Muslim culture- social, historical and costume dramas based on imaginary events and stories. Kamlakar ji is an Urdu Scholar and had a superb enviable collection of film materials in Urdu, which he collected during his early life in Hyderabad. Now, he has been settled in US for a very long time. He has earlier published 2 books, based on this material, which are real Gems for students of old films, like me.

This new book too is exclusively based on documents like film booklets, reviews and News items in papers, books etc, all in Urdu. All this makes the book very well documented and authentic too. This is a treasure trove of early Indian movies, fit to be preserved for posterity. The original Urdu material is also given in the book.

Today I have selected a song from one of the films discussed in this book,namely, Arab ka sitara-46. Though the book’s title says 1933 to 1947, only one film of 1947 (Mulaqat-47) features in this book. As far as my information goes, films like Abida, Dard, Ek Roz, Elaan, Gul e Bakavli, Hatimtai, Kasam and Mirza Sahiban, all made in 1947, were also with Muslim culture background. These films do not feature in this book. One reason could be that due to Partition-pre and post activities, most films, passed by Censors in 1947 could not be released in 1947 itself for obvious reasons. Obviously, there were no reviews, articles or comments etc on these films in the newspapers. All these films got released in 1948 and thus are not included in this book. Of course, this is my surmise, based on facts.

I know for sure that the most famous and daring Muslim culture film ” Elaan” was censored in 1947 on 11-3-1947 ( certificate no. 35351) but was actually released only on 20-2-1948 in Super Cinema, Bombay. I thank Harish Raghuwanshi ji to confirm my surmise by facts, within lightning time, after my query today itself.

In any case, the book is not without errors. No book is without errors-in this subject- including my own book also. This is because, history and facts get updated every now and then, with newer evidence coming to light through many sources.

Film Arab ka sitara-46 was directed by Nanubhai Vakil. He was the fittest person for such type of B and C grade costume dramas- in which he specialised. It is no surprise that in his 20 Silent and 70 Talkie films just ONE film was a social film-Kya yeh Bambai hai-1959.

Nanubhai Vakil was born in Valsad in Gujarat in the year 1904. In his family there were many Advocates including his father,so their family name itself became Vakil, instead of their original surname Desai. Nanubhai came to Bombay to study Law. He completed his B.A. LL.B from Wilson College, Bombay but he did not join his family profession. Instead he was attracted towards the film world.

He joined Sharada films as a screenplay writer and later joined Ranjit films as a Director. He directed 18 silent films for Ranjit studios. However, it was Sagar Movietone which gave him the first opportunity to direct his first Talkie film. It was the First Gujarati Talkie film, “Narsimh Mehto” in 1932. After this there was no looking back. He opted for and became an expert in directing only Fantasy,Stunt and Costume films.

In his career from 1929 to 1973 period,he directed 20 silent and 70 Talkie films -all stunt and fantasy films, except one social film Kya yeh Bambai hai in 1959.

He was associated with Mohan pictures for a long time and directed 18 films for this company. During this period he also married his Heroine Sarojini ( real name Roshan Jehan alias Ranee). They had one daughter-AZRA, who too became an actress. Sarojini was actress Indurani’s elder sister.

Unlike most of his colleagues ,who had no formal school education ,Mr Vakil was highly educated ,being B.A.L.L.B. in those days.Since beginning,he was attracted to Fantasy & Arabian Night movies.He believed that,the audience visits the cinema hall, to experience some thing,which he has not seen in his real life. He wants to be entertained & to forget the harsh realities of the outer world. Fantasy/ Costume movies transports him to an imaginary world of King & Queens, where beside the crafty Vazir, he finds gorgeous girls dancing, the handsome,manly & brave hero,rescues the pretty damsel from the clutches of evil magician. The movie comes to an end and the viewers come out from the theater,happy & satisfied, since evil doers have been eliminated & brave man living happily with the petite gal, in their fairy land.

Bulbul E Bagh,Rashk E Laila, Fakhr E Islam, Gulshan E Alam, Kumud Kumari were his earlier movies. In 50s & 60s,few of his movies were,Shan E Hatim, Khul Ja Sim Sim, ShanE Khuda, Idd Ka Chand, Noor Mahal, Flying Rani, Alam Ara Ki Beti, Bansri Bala, Hatim Tai Ka Beta etc.He made remakes of many movies like Lal E Yaman, Alam Ara (Twice in 1956 & !973) & Hatim Tai Ki Beti in 1940 & 1955.During his five decades long career,he made movies with in a small budget ,with less paid actors. Nanu Bhai Vakil had two productions Companies viz Desai Films & Vakil Production. All his movies had no connect with the present. Elite & pseudo intellectuals avoided to even discuss his movies, but Vakil Sahab had a dedicated audience consisting of common public,less privileged & so called front benchers,who enjoyed his brand of cinema.

His films included less known stars like Sarojini, Navin chandra, Rafiq, Prakash, Gulnar, Daljit, Chitra etc. He also worked with Zubeida, Yakub, Jal Merchant,Jaddanbai,Shanta Hublikar, Nimmi, Veena, Jairaj, Shakila,Nirupa Roy, Nadira, Mehmood, Shobhana Samarth, Nirmala,her husband Arun Ahuja etc. His MDs were also little known. However, Music Director A.R.Qureshi ( the famous Tabla Nawaz Alla Rakha-father of Zakir Hussain) gave music to his 18 films.
He never mixed with film folks and spent his life aloof. He quietly died on 29-12-1980 at Bombay.

The story of film Arab ka Sitara-46 ( as given in the book) was…….

Anwar is a devout Muslim following 5 times Namaz, without fail. From a common soldier, he becomes Commander in Chief and then the king of his state. He is advised by his Vazier to go to neighbouring country to spread Islam. Accordingly, Anwar reaches that kingdom. Here he falls in love with the Princess Arifa. In his love she converts to Islam. When the king comes to know this, he arrests Arifa and Anwar. When Anwar is tortured for days, he exhibits his immense faith on Islam and The Allah. The king is impressed and he too coverts to Islam. Arifa and Anwar are married. Anwar forgets his 5 times Namaz in his joy and is punished immediately.

The Prime Minister rebels and with an army to support him, arrests Anwar, Arifa and the King. In the jail, Anwar starts his 5 times Namaz. A good hearted Namazi frees them. Anwar realises his mistakes and all of them strictly follow 5 times Namaz. All obstacles are removed, the rebels run away from the kingdom. The King is reinstated and all the kingdom is converted to Islam, thus Anwar proves the power of Namaz.

The cast of the film was Amirbai Karnataki, Prakash, Cuckoo, Rafiq, Ansari, Agha Shapoor etc etc. The song is sung by Rafi and Amirbai Karnataki with gusto and it had become quite popular among the Muslims in that period.


Song-Macha di dhoom duniya mein Islaam ke deewanon ne (Arab Ka Sitaara)(1946) Singer-Rafi, Lyrics-Shewan Rizvi, MD-S Qureshy
Rafi + Amirbai Karnataki

Lyrics

Macha di dhoom duniya mein
Macha di dhoom duniya mein
islaam ke deewaanon ne
Macha di dhoom duniya mein
islaam ke deewaanon ne
Macha di dhoom duniya mein

haan aan aan aan
mita ke kufr ki hasti
ee ee ee ee ee
basa ke ae
jalwon ki basti
ee ee ee
haan aan aan aan
mita ke kufr ki hasti
ee ee
basa ke ae
jalwon ki basti
ee ee ee ee ee ee
jala di noor ki shama
jala di noor ki shama
tauheed ke parwaanon ne
jala di noor ki shama
tauheed ke parwaanon ne
Macha di dhoom duniya mein
islaam ke deewaano ne
Macha di dhoom duniya mein

haan aan aan aan
jhanda ye sabz rang ka
aa aa aa aa
bajta hai jiska danka
aa aa aa
jhanda ye sabz rang ka
bajta hai jiska danka
aawaaz sun ke jiski
dhun sabko laagi rab ki
aawaaz sunke jiski
dhun sabko laagi rab ki
aawaaz sunke jiski
dhun sabko laagi rab ki
padha kalma Muhammad ka
padha kalma Muhammad ka
insaanon ne be-deenon ne
padha kalma Muhammad ka
insaanon ne be-deenon ne
macha di dhoom duniya mein
islaam ke deewaanon ne
macha di dhoom duniya mein

haan aan aan aan aan
zameen pe jab hua gul
la ilaaha il lallah
sitaaron se jawaab aaya
Muhammad ya rasool allah
kya
macha di dhoom duniya mein
macha di dhoom duniya mein
islaam ke deewaanon ne
islaam ke deewaanon ne
islaam ke deewaanon ne
macha di dhoom duniya mein
islaam ke deewaanon ne
macha di dhoom duniya mein


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 : 3887 Post No. : 14917

Today’s song is from film Gauri-1943. It was a film made by Ranjit Movietone. The Lyrics, Story and Screenplay as well as the Direction was by Kidar Sharma. The cast of the film was Prithviraj Kapoor, Shamim, Monica Desai, Rajkumari Shukla, Brijmala, Amarnath etc etc.

The making of film Gauri-1943 had a big story behind it. This is described in great details by Kidar Sharma himself, in his autobiography ” The one and Lonely Kidar Sharma”. We will,however, discuss this in an abridged version here.

Kidar Sharma left New Theatres, Calcutta and shifted to Bombay, for a new chapter in his life and career. His close friend from Calcutta, Prithviraj Kapoor, who was in Bombay earlier, had arranged for his meeting with Ranjit’s chief Chandulal Shah. Even before Sharma reached Bombay, Shah had known about him and had become his fan.He saw film ” Chitralekha “-41, made and directed by Kidar Sharma, several times,in his own Theatre-Opera House in Bombay, mostly with his consort Goharbai Mamajiwala. He was very much impressed with Sharma ji’s work. Shah and Goharbai both, were actually eager to employ Kidar Sharma. Therefore, without any hitch, he was hired at a very lucrative salary of Rs. 3000/- pm and an advance of Rs. 5000/- to bring his family from Calcutta.

Kidar joined Ranjit on 3rd October 1941. His first film here was ‘ Armaan’-42. During this film, he became very friendly with actor Motilal, whom Sharma regarded as a very good artiste. During his next film, ‘Vish kanya’, Kidar took Raj Kapoor as his third assistant. His close friend Prithviraj was worried about the future of Raj, hence Sharma took him under his wings so that he will learn the making of films in all aspects. In effect Raj was only a Clapper Boy here, but he was a keen observer of everything. He was a little childish still. In one of the outdoor shootings of the film, Kidar Sharma got so much irritated with Raj Kapoor’s irresponsible behaviour that in anger, he slapped Raj kapoor on the sets, in front of all the staff. Later Sharma felt bad about the incident and decided that one day, when he would become a Producer, he would make Raj Kapoor his Hero in that film (Neelkamal-47…earlier started as ‘ Bechara Bhagwan ‘ as its Title). More about this film some other time.

In 1943, Sharma wrote a story “Gauri”- set in Calcutta and woven around the Durga Pooja in Bengal. It was a very touching human story and very emotional too. During the story session, both Chandulal Shah and Goharbai could not control their emotions and wept openly. Shah liked the story so much that he volunteered to sent a team to Calcutta for shooting during the Pooja Festival days.

Sharma insisted that the Hero’s role of Khumar- the Idol Maker be done only by his friend Prithviraj kapoor. His name was of course agreed upon. However, Goharbai queried as to who Sharma had in his mind to do the sensitive Heroine’s role. Sharma ji replied that he needed someone who looked fresh and innocent. He asked for some time. Actually he had thought of Monica Desai- the younger sister of famous actress Leela Desai. Monica worked as a school teacher in Calcutta. She had done a small role in his film ‘ Chitralekha’-41. In those days Sharma was impressed with her and had assured her that when he gets stabilised as a Director and has a suitable script, he will give Heroine’s role to Monica.

Next day, Sharma ji told Chandulal Shah about her selection. Chandulal had confidence in his judgement. The big hearted Shah gave Rs. 5000/- to Sharma to send to Monica for coming to Bombay comfortably in First Class. Kidar Sharma sent the money to her and asked her to travel only by First class to Bombay, to get down at Dadar, keep the luggage in Cloak room and freshen up in the waiting room. She was asked to wear a silk saree also. Sharma asked her if she understood all instructions and she confirmed. She was to visit Ranjit Studios at 2.30pm, when Sharma would introduce her to Sethji.

On the afternoon of her arrival day, the Shah couple and others waited anxiously for Monica’s arrival. In the afternoon, Monica arrived at the gates of the studio looking tired and untidy, along with all her luggage. Seeing her Chandulal became nervous, but asked Sharma ji to arrange for her stay and food etc. Chandulal Shah was not only upset with Monica’s looks but also annoyed. Still without commenting, he left the studio immediately with Goharbai. Sharma as well as Prithviraj felt humiliated with the foolish Monica who came to the studio, not following Sharma’s instructions. This she did to save some money, but put everyone in an awkward situation. Anyway, Sharma made her staying etc arrangements.

Next day, Chandulal called him to his office and said that he will continue making film Gauri, as promised, but he will not participate in any shootings, recordings or other matters till the film is completed. He will however, see the finished movie before it goes to Censors. It was too obvious that both the Shahs were upset about the ordinary looking and childish, immature Monica as Heroine.

Kidar Sharma gulped all this quietly and started work on the film quickly. The team went to Calcutta also and came back. When the film was completed, Sharma invited Chandulal and Goharbai to see it. Actually whenever such a preview was done all other Directors of Ranjit also attended it, but this time there were only the two of them-Chandulal and Goharbai. The entire team of the film was also present. Sharma had known that when Chandulal did not like the film, he usually abused loudly and sometimes even threw his chappals at the screen. With bated breath, Sharma showed him the film Gauri and waited for his reactions, expecting fireworks. Instead, Chandulal and Goharbai left the room and went to their office. Everyone,including Sharma was sure that Sharma has to leave the company now.

With great courage, Sharma went to their office to know their opinions. To his great surprise, Chandulal dug into his pocket and removed whatever money was there and gifted it to Sharma. He said,” this is my gift to you for making a sublime movie.” Gohar too appreciated heartily. Both of them were spellbound with Monica’s performance. Shah offered Monica a 3 year contract, furnished house and a new car with a driver etc. Shah also increased Sharma’s salary to Rs.5500/pm.
Thus Monica Desai’s first film was a great success. ” Durga” was a winner. Kidar Sharma was a winner.

One of the cast in the film was Rajkumari Shukla. At that period of time, there were 3 Rajkumaris working in Hindi films. One and the most famous was Rajkumari Dubey-Banareswali. The second was Rajkumari-Calcuttewali. Her real name was Pullobai. And the third was this Rajkumari Shukla. She was known as the ‘ mother of the Indian screen’.

Rajkumari Shukla was born in Benares in 1903. She joined films to earn her livelihood. She was married but got bad treatment from her in laws. After the death of her husband, her torture incresed. One Nana Baba, her neighbour was kind enough to help her and get her a job in Madon Theatres, where he was working. Rajkumari had no issues or parents. She treated Nana Baba as her father. She entered films with Uljhan-42. She started getting mother roles and she excelled in that. She worked only upto Nai Maa-46. But she acted in Bangla and Gujarati films too.

In all she did more than 60 films. Hindi films were 31 only. Some of the more known films that she did were Ek raat-42, Vakil sahib-43, School master-43, Sanjog-43, Paraya Dhan-43, Panghat-43, Namaste-43, Najma-43, Gauri-43, Aage kadam-43, Rattan-44, Mann ki jeet-44, Dr,Kumar-44, Sharbati aankhen-54, Hamara sansar-45, Gaon ki gori-45 and nai maa-46. She sang only 1 song in film Panghat-43.

Today’s song is sung by singer actress Shamim. She was variously credited as Shamim, Shameem, Miss Shamim, Shamim Akhtar. She was born in Lahore and died in Lahore, where she migrated after Partition. Her biodata was given on 17-1-2019 in a post on film ‘Return of Toofan Mail’-42.


Song-Majboor hai is dil se (Gauri)(1943) Singer- Shamim (Akhtar), Lyrics- Kidar Sharma, MD- Khemchand Prakash

Lyrics

Majboor hain is dil se ae
ye kaisi pilaayi hai
Majboor hai is dil se
is dil se
ye kaisi pilaayi hai
jaaye hai jidhar dilbar
haay dilbar
uss simt ye jaaye hai
jaaye hai jidhar dilbar
haay dilbar
uss simt ye jaaye hai

duniya se niraala hai
jaanaan tera deewaana
jaanaan tera deewaana
haay kaise bache hasrat
haay hasrat
har aankh mein haaye hai
haay kaise bache hasrat
haay hasrat
har aankh mein haaye hai

hans den jo zara
dekh ke
khil jaaye kali dil ki
khil jaaye kali dil ki
halka sa tabassum tera
gulzaar khilaaye hai
halka sa tabassum tera
gulzaar khilaaye hai
tum saamne baithho ke main
jee bhar ke tumhen dekhoon
jee bhar ke tumhen dekhoon
tum jyon hi huye ojhal
haay ojhal
jhat aankh bhar aaye hai
tum jyon hi huye ojhal
haay ojhal
jhat aankh bhar aaye hai
majboor hai is dil se
is dil se
ye kaisi pilaai hai


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 : 3885 Post No. : 14912

Today’s song is a rare song( difficult to get) from film Bhanwara-44, starring K L Saigal.

I have been writing on old films and its music since more than 6 years now, but I have never written on any song of a film featuring Saigal and his songs. I had never planned it that way. Actually, I am also a fan of Saigal. Probably it so happened that I found that there were “better’ people to write on Saigal and I coolly left it at that. Our Sudhir ji has done great justice to Saigal songs- film and Non film- with his detailed and emotional articles. These were lapped up by our readers and praise was heaped on every article of his on this topic. Comments on those songs are a testimony to this.

Now there are no Saigal songs left in any film uncovered nor are there any of his popular films without full coverage of all songs. However, few films have few other non K L Saigal songs still to be covered. Today’s song is one such song. This song is a rare song, opines Sadanand ji – the uploader of this song.

K L Saigal (11-4-1904 to 18-1-1947) started his film career with Muhabbat ke aansoo-32 and ended it with Parwana-1947. Most of his career was pursued in Calcutta, primarily with New Theatres and at the end of his life, he did 7 films in Bombay. 2 films each had music by Khemchand Prakash and Lal Mohammed, and 1 film each by Gyan Dutt, Naushad and Khursheed Anwar.

Film Bhanwara-44 was a quickie made by Ranjit within a span of just 9 days, using up the balance period days of Saigal’s contract with Ranjit. The film was directed by his old friend Kidar Sharma. The film had music by Khemchand Prakash. The songs were written by Kidar Sharma, Swami Ramanand and Pt. Indra. The cast of the film was Saigal, Arun Ahuja, Kamla Chatterjee, Monica Desai, lala Yaqub, Brijmala, Kesari etc etc.

Arun Ahuja was a favourite of Sagar, Mehboob and Ranjit. His real name was Gulshan Singh Ahuja-born on 26-1-1918. He was a science graduate from Lahore in 1937. Director Mehboob was interviewing candidates for his new film. From among the shortlisted 100 candidates, Mehboob was impressed with the personality of Arun Ahuja and he was selected to be one of the Heros in film Ek hi Rasta-1939, made by Mehboob for Sagar Movietone. In this film Arun even sang a duet with Maya Banerjee. The film was so successful that Arun became a Hit Hero overnight. Next came Civil marriage-40, Bhole Bhale-40 and his life’s best film Aurat-40

In 1942, while doing film Savera with a new comer Nirmala, he fell in her love and they got married. Arun went on doing roles in about 30 films in his career till his last film Aulad-54. He had produced a film, which was a total flop. He had heavy loss and had to sell off his Bungalow in Bombay and go to a chawl in far off suburb-Virar to live in a rented flat. Arun had 3 daughters and 2 sons- actor/producer Kirti kumar and superstar Govinda. To maintain family, his wife acted and sang in stage shows till her last. Arun Ahuja died on 4-7-1998.

Film Bhanwara had a one film old Heroine Monica Desai- who was called from Calcutta by Kidar Sharma. He knew her well earlier,from Calcutta.
Monica Desai was a famous Indian actress during 1930’s and 40’s. She was the daughter of Dr. Umedram Lalbhai Desai and Satyabhama Devi, a well-known musician of the early 20th Century. Her father was a Gujarati, and her mother hailed from Bihar. Her father who was a reputed Doctor of that period died in the year 1930.
Monica Desai first worked for Bangla movie ‘Nimai Sanyasi’ which released in the year 1940. She was an actress who represented the era of upcoming character actresses like Leela Mishra, Ram Dulari, who made debut along with her and later ruled the Indian screen.

Monica Desai acted under the direction of Phani Majumdar and Kidar Nath Sharma. She did not concentrate much on acting as she got married to Phani Majumdar, a pioneering Indian film director, who worked in Hindi cinema. Phani Majumdar is known for Meena Kumari’s classic film ‘Aarti’ (1962), and ‘Oonche Log’ (1965). Monica Desai had a sister named Leela Desai, who was a renowned actress in Hindi and Bengali cinema. Leela Desai has even acted in the film ‘Kapal Kundala’ (1939) directed by Phani Majumdar. After completion of the venture, Phani Majumdar married Monica Desai.

Monica acted with Prithviraj Kapoor in her career, in film Gauri. ‘Gauri’ was an Indian Bollywood film that was the seventh highest grossing Indian film of 1943 and this established Monica Desai as an actress. Later, she featured in a film ‘Devdasi’ as a heroine that was also top seven grossing film at the Indian box office in 1945. She appeared in the film ‘ Chitralekha’ which was the second-highest grossing Indian film of 1941, in this movie, she portrayed the character of Yasodhara.

This film also was a debut film for actor Bharat Bhushan, who later achieved fame with ‘Baiju Bawra’ (1952). Monica Desai had also acted with a legendary actor and singer K. L Saigal.

Monica worked in only 9 Hindi films- Qaidi-40, Chitralekha-41, Bhakta Surdas-42, Gauri-43, Bhanwara-44, Lakharani-45, Devdasi-45, Rangeen Zamana-48 and Vikram Shashikala-49.

The screenplay and direction of Bhanwara-44 was by Kidar Sharma. This was a social comedy film. Saigal was never known for comedy acts. In fact, it was a new experience for him, since this was only a comedy dominated love story without any sad songs-hallmark of Saigal’s popular songs,done by him so far.

Saigal shifted to Bombay in December-1941 for two reasons. One- Ranjit had offered him a very lucrative offer ( One lakh per movie, according to one source) and secondly most of his friends like Prithviraj kapoor, K N Singh, Kidar Sharma etc had shifted to Bombay. Further, the atmosphere in New Theatres was nowadays polluted and vitiated with Ego clashes, financial difficulties and new entrants to replace the vacancies. Saigal was uncomfortable with all this.

In Bombay, Saigal met all his old friends and he had a gala time with them. In 1944 itself he went back to Calcutta to complete film ‘My Sister’. Then again he went in 1945 to do film ‘Kurukshetra’. This was perhaps his last visit, as he became very busy in 45 and 46 in Bombay. In early 1947, in his visit to his hometown, Saigal breathed his last, luckily amidst his family members.

Bhanwara-44 was a story of two friends- Pancham (Saigal) and Rikhab (Arunkumar Ahuja), who come to Bombay in search of employment. The chawl where they stay,in single room tenements, has a pair of sisters, Indu(Monica) and Bindu(Kamla Chaterji). Indu happens to work as a teacher in the same place where Pancham is working as a Music and singing teacher. They fall in love. His friend Rikhab loves Bindu but is too shy to express his love. In this, he is assisted by his neighbour friend Pehelwan (Lala Yaqub). With his help, Rikhab develops a great body and finally wooes his ladylove. At the end, both the couples unite happily. The film was full of comic sequences, particularly with Arun Ahuja and Bindu. All in all, it was a hilarious movie.

The film had 11 songs. 7 songs are already discussed here. The remaining songs are difficult to get as they are not uploaded on the Net yet, Record collectors, of course, have them. Today’s song is also one such rare song. It is a duet of Amirbai and Arunkumar Mukherjee.

This song can be considered an example of an unusual coincidence. It is like Shyamkumar singing for Shyam in Dillagi. This song is an example of an even rare coincidence. This song finds one Arunkumar (Mukherjee) singing for another Arunkumar (Ahuja)…..and a third Arunkumar
(Deshmukh) writing about it !


Song- Mann ki baazi haar chuke to preet ki baazi jeet (Bhanwra)(1944) Singers- Amirbai Karnataki, Arun Kumar Mukherji, Lyrics- Kidar Sharma, MD- Khemchand Prakash
Both

Lyrics

Mann ki baazi haar chuke to
preet ki baazi jeet
Mann ki baazi haar chuke to
preet ki baazi jeet
jeet mein haar
haar mein jeet
jeet mein haar
haar mein jeet
ye preet ki ulti reet
preet ki ulti reet
saajan ki har baat niraali
ee ee
ee ee

saajan ki har baat niraali
ee ee
ee ee

chitwan ki
ee ee
chitwan ki har aas niraali
ee ee

ee ee
ee ee

chitwan ki
ee ee
chitwan ki har aas niraali
ee ee

ee ee
ee ee

khel raha hai aankh michauli
aankh michauli
michauli
michauli
aankh michauli
michauli
michauli
khel raha hai aankh michauli
man se man ka meet
jeet mein haar
haar mein jeet
jeet mein haar
haar mein jeet
ye preet ki ulti reet
preet ki ulti reet

phir aayin ghanghor ghataayen
aen aen
phir aayin ghanghor ghataayen
aen aen
mor papeehe shor machaayen
ae ae ae ae
mor papeehe
mor papeehe
mor papeehe
shor machaayen
phooli nahin samaati kaliyaan
sun bhanwron ke geet
phooli nahin samaati kaliyaan
sun bhanwron ke geet

jeet mein haar
haar mein jeet
jeet mein haar
haar mein jeet
ye preet ki ulti reet
preet ki ulti reet

man ki baaazi ee


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 : 3881 Post No. : 14905

I wish all our readers a very Happy and cosmic MAHASHIVRATRI, to be celebrated today, i.e. 4th March 2019.

This is the one day in the entire year (barring Shravan Somvars) on which I become more religious and engage in pooja, listening to Shiv Bhajans and also do fasting. Our family was very religious. My father was a Sanskrit Scholar and had spent some time in Banares, giving religious sermons in the Kashi Vishveshar Temple during 1948-49. This was the time when he had gone underground to avoid arrest, as most Hindu Mahasabha leaders were arrested along with Savarkar, after Gandhi ji’s death. He was finally arrested and freed by the court “ba-izzat“. We came down to Hyderabad and he started practicing as a Lawyer as he was BA LLB.

Very soon we moved into our spacious bungalow, adjacent (within our compound) to which he constructed a Mahadev Mandir. It was open to public also. Every Shrawan Somvar and Mahashivaratri, there used to be big celebrations, a pooja by 101 bramhins and playing of Shiv Bhajans throughout the day. All this has been etched deep on my mind and I too became a Shiv Bhakta. Now also I do poojas on these days, but I miss all those days’ enjoyment as a growing teenager.

I have read the Shiv Puraan completely (and also other Puraans). The marriage of Shiv-Parvati has been described very minutely in this Puraan. They are believed to have married on the midnight of Mahashivratri. During the period upto early 70s, I never missed any Hindi/ Marathi/ Telugu/ Kannada Shiva film. I have also seen this film – ‘Shankar Parvati’ (1943).

‘SHANKAR PARVATI’ was quite a successful movie in those days, as it appealed to the religious minded Indians, who have grown up listening to mythological stories. I remember seeing this movie in its second run, as there was an attraction of trick scenes in this movie. The story is about how Sati (Sadhona Bose) the daughter of King Daksha, goes to attend Yagnya by Daksha, uninvited and gets insulted for her husband – Shankar (played by Arun Kumar Ahuja- father of actor Govinda). She jumps into the fire and dies and on hearing this, Shankar is very angry and does the Tandav Nritya. Sati is reborn as Parvati, who, to regain her love back, dances and wins Shankar. Their elder son Kartikeya ,destroys Tarakasur etc.

Sadhana Bose was an internationally acclaimed dancer and acted in some Hindi and several Bengali movies in the 1940s and 1950s.
Her most famous film was ‘RAJNARTAKI’ (1941), opposite Prithviraj Kapoor and it was made in Hindi, English and Bengali at the same time. Though a box office failure, it had fabulous dances by her.

There are few songs sung by Sadhana Bose in ‘Shankar Parvati’ and ‘Paigham’ (1942). According to Timir Baran, these are not sung by her, but by Suprabha Ghosh. However, famous music Historian Kamalakar Pasupuleti says that Sadhana Bose was an accomplished dancer and singer too. In her all time favourite ‘ALIBABA’ in Bengali she, as Marjina, and her director husband Madhu Bose, as Abdulla in the film, sang many duets which are popular even today in Bengal.

Arun Mukherji, Music Director of ‘Parineeta’ (1953), had literally translated one song from ‘Alibaba’ in Hindi “Aye Baandi, Tum Begum Bani….’ sung by Kishore and Asha in ‘Parineeta’ (1953).

The film was directed by Chaturbhuj Doshi. During the early era of talkie films, till the 1960s, there was a horde of Gujarati directors and producers. Bhatts, Trivedi, Thakur, Shahs, Desais, Pancholi, Doshi, Daves were some names frequently found directing various genres. Usually they specialised in certain class and type of films. The Bhatts (Shankar and Vijay) liked to do Mythological films, Ramnik Shah handled stunt, action, fantasy films, Jayant Desai was social film oriented etc.

Chaturbhuj Doshi (1894–1969) was a Hindi and Gujarati writer-director of Indian cinema. He was one of the top Gujarati screenplay writers, who helped script stories for the Punatar productions. He is stated to be one of the leading figures who launched the Gujarati film industry with work on notable films like ‘Gunsundari’ (1948) and ‘Nanand Bhojai’ (1948). He was ‘well known’ for his family socials and had become ‘a celebrity in his own right’. He made a name for himself as a journalist initially and was referred to as the ‘famous journalist’ & publicist by Baburao Patel, editor of Filmindia.

His debut film as a director was ‘Gorakh Aya’ (1938), produced by Ranjit Movietone, though he joined Ranjit in 1929, as a scriptwriter. In 1938, he directed another film for Ranjit, a social comedy, ‘The Secretary’, and both films were box-office successes for Doshi. His forte was socials, regularly adapting stories and novels for films. He worked initially on comedies like ‘Secretary’ and ‘Musafir’ (1940), but then ‘shifted to more significant films’.

Chaturbhuj Anandji Doshi was born in 1894 in Kathiawad, Gujarat, British India. He was educated at the University of Bombay, after graduation he started work as a journalist for a daily, Hindustan (1926), working for editor Indulal Yagnik. His entry into films was working as a scenarist in the silent era for directors like Jayant Desai, Nandlal Jaswantlal & Nanubhai Vakil. He joined Ranjit Movietone in 1929, and wrote stories and screenplay for several of Ranjit films.

Film ‘Gorakh Aya’ (Gorakh has come) in 1938, was the first film directed by Doshi. It was produced by Ranjit Movietone with screenplay by Gunvantrai Acharya & dialogues by PL Santoshi. The music, termed ‘good’ was composed by Gyan Dutt. ‘The Secretary’ (1938), was a “riotous comedy”, starring Madhuri, Trilok Kapoor. Charlie. The music was composed by Gyan Dutt, became a regular in most of the films directed by Doshi. Musafir in 1940 was a comedy costume drama, which had Charlie playing a prince.

‘Bhakta Surdas’, a devotional film directed by Doshi in 1942, is stated to be the “most famous” of the several versions made. It starred KL Saigal and Khursheed “the singing idol(s) of millions”, winning “unprecedented popularity” everywhere.

‘Mehemaan’ (1942) starred Madhuri, Ishwarlal, Shamim and Mubarak. Music director Bulo C. Rani had come to Bombay in 1942, and joined Ranjit Studios assisting Khemchand Prakash in music direction.

Doshi helped enormously in the development of the Gujarati cinema. During 1948-49 he directed three successful Gujarati films which “brought immense success to the industry”. The success of the Gujarati film ‘Kariyavar’ in 1948, directed by Chaturbhuj Doshi from a story by Shaida, called Vanzari Vaav, helped establish the Gujarati film industry along with other films like ‘Vadilo Ne Vanke’ (1948) by Ram Chandra Thakur and ‘Gadono Bel’ (1950) by Ratibhai Punatar. His next Gujarati film was ‘Jesal Toral’ (1948) based on folk-lore, which proved a big box-office success. In 1949, Doshi directed another Gujarati film, ‘Vevishal’, an adaptation of Meghani’s novel of the same name.

He also wrote stories, and one of his stories ‘Pati Bhakti’ was used in the Tamil film ‘En Kanawar’ (1948) produced by Ajit Pictures, which starred the Veena maestro, Sundaram Balachander, who was also the debut director and music composer for the film. In all he directed 24 Hindi films. His last Hindi film was ‘Sanskar’ (1958). He had also written few songs in film ‘Maya Bazaar’ (1932).

Chaturbhuj Doshi died on 21 January 1969 in Bombay, Maharashtra, India. Filmography

1932: Narasinh Mehta (Writer), 1934: Sitamgarh (Writer), 1938: Gorakh Aya, Secretary, 1939: Adhuri Kahani, 1940: Musafir, 1941:Pardesi, Sasural, 1942: Bhakta Surdas, Dhiraj, Mehmaan, 1943: Chhoti Maa, Shankar Parvati (Director, Writer), 1944: Bhartrahari, 1945:Murti, 1946: Phulwari, 1947: Bela, Kaun Hamara, 1948: Jesal Toral, Kariyavar (Director, Writer), Sati Sone, 1949: Bhakta Puran, Vevishal, 1950: Akhand Saubhagya, Kisi Ki Yaad, Ramtaram, 1954: Aurat Teri Yahi Kahani, 1956: Aabroo, Dashera, Dassehra, 1957: Khuda Ka Banda, Shesh Naag, 1958: Sanskar, 1960: Mehndi Rang Lagyo (Writer, Lyricist).

The cast of the film was Sadhona Bose, Arun Ahuja, Mahipal, Rewa Shankar, Narbada Shankar etc. The MD was Gyan Dutt. Today’s song is sung by Rewa Shankar Marwadi. This is only the second song of Rewa Shankar on this blog. About 3 years ago, our Sadanand Kamath ji had given a complete biography of the actress dancer Sadhona Bose, while discussing the song – “Ganga Kinaare Mohe Bagiyaa Lagaa Do Sainyya“, of this film, hence I will not repeat it.

Sadhana Bose was responsible for the names of at least 2 actresses in Bombay. Actress Sadhana Shivdasani’s mother was very much impressed with the dancing skills of Sadhana Bose. She was her fan and saw her films repeatedly. When she was carrying for Sadhana, she had decided that if she gets a girl, her name would be Sadhana only. Thus Bombay Sadhana got the Calcutta Sadhana’s name.
Secondly, actress/dancer Kumkum’s real name was Zebunnisa. When she was selected by director Shahid Lateef, for his film ‘Sheesha’ (1952), first time for debut, there was already an actress Zebunnisa existing. What’s more, this Zebunnisa was also in the same film, so Shahid was thinking for a new name for the newcomer. He remembered that his favourite Sadhana Bose had acted in a film by the name ‘Kumkum-the Dancer’ (1940), so he selected the name Kumkum for this new dancer and Kumkum got her name.
After Sadhna stopped her dance films as a heroine, she resumed her work as a choreographer. In the early 50s, she choreographed in films like ‘Bhola Shankar’ (1951), ‘Nandkishore’ (1951), ‘Shinshinaki Boobla Boo’ (1952). She used to do bit roles too in these films to earn money. It is very sad that she died in penury and neglect, but artistes in the 40s and 50s-many of them- had similar stories.

I tried very hard to get some information about today’s singer Rewa Shankar Marwadi, who was an actor, lyricist, singer and also music director  in the 1930s and 1940s. However I could not get anything concrete. Anyway I found a note on this multi talented artist of the early era, written by Shri Dhananjay Naniwadekar aka Nani, on the old RMIM forum, some 15 years ago and adapted by me for this article.

Some of Ranjit Movietone’s earliest talkie films had music by Ustad Jhande Khan. Next came the trio of Banne Khan, Ganga Prasad Pathak and Rewa Shankar Marwari. None of that music was ever released on 78 rpm records. From 1938-39, the great duo of Jnan Dutt and Khemchand Prakash took over the charge of Ranjit’s music, later to be joined by Bulo C Rani. It was only around 1938 that Ranjit started releasing its film music on 78-rpm records.

Rewa Shankar Marwari’s association with Ranjit Films and films produced or directed by ex-Ranjit hand Jayant Desai continued in the
1940s. While it is a pleasant surprise that imdb.com has a page for an obscure name like ‘Rewashankar Marwadi’ at all, it is not surprising
that his filmography has been put together for the site by people who are far from competent at that sort of thing. He acted in 27 films, till 1955, sang 12 songs in 9 films and gave music to 21 films from ‘Veer Babruwahan’ (1934) to ‘Matrubhoomi’ (1949).

Rewa Shankar sang a beautiful classical composition ‘Jai Jai Shankar’ in the film ‘Shankar Parvati’ for composer Jnan Dutt. It is available with only few collectors, and is a rare instance of film music using Raag Shree.

Song – Jai Jai Shankar Gangadhar Shiv Sukhkaari  (Shankar Parvati) (1943) Singer – Rewa Shankar, Lyrics – Pt Indra, Music – Gyan Dutt

Lyrics

jai jai shankar gangadhar shiv sukhkaari
jai jai shankar gangadhar shiv sukhkaari
jai ajar amar anandroop bhayahaari
jai ajar amar anandroop bhayahaari
jai jai shankar gangadhar shiv sukhkaari

jai indu bhaal ur vyaal maal hitkari
jai indu bhaal ur vyaal maal hitkari
jai ashutosh har dosh rog tripurari
jai ashutosh har dosh rog tripurari
jai jai shankar gangadhar shiv sukhkaari
jai ajar amar anandroop bhayahaari
jai ajar amar anandroop bhayahaari
jai jai shankar gangadhar shiv sukhkaari
jai jai shankar gangadhar
jai shankar gangadhar shiv sukhkaari
jai ajar amar anandroop bhayahaari
jai jai shankar gangadhar
jai shankar gangadhar
jai shankar gangadhar shiv sukhkaari
jai jai

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

जय जय शंकर गंगाधर शिव सुखकारी
जय जय शंकर गंगाधर शिव सुखकारी
जय अजर अमर आनन्दरूप भयहारी
जय अजर अमर आनन्दरूप भयहारी
जय जय शंकर गंगाधर शिव सुखकारी

जय इन्दु भाल उर व्याल माल हितकारी
जय इन्दु भाल उर व्याल माल हितकारी
जय आशुतोष हर दोष रोग त्रिपुरारी
जय आशुतोष हर दोष रोग त्रिपुरारी
जय जय शंकर गंगाधर शिव सुखकारी
जय अजर अमर आनन्दरूप भयहारी
जय अजर अमर आनन्दरूप भयहारी
जय जय शंकर गंगाधर शिव सुखकारी
जय जय शंकर गंगाधर
जय शंकर गंगाधर शिव सुखकारी
जय अजर अमर आनन्दरूप भयहारी
जय जय शंकर गंगाधर
जय शंकर गंगाधर
जय जय शंकर गंगाधर शिव सुखकारी
जय जय


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 : 3878 Post No. : 14901

Today’s song is from film ‘Doctor Z’ from 1959.

The title seems funny, isn’t it? Somehow, I find that the film makers give bizarre titles to their films sometimes. Films with prefix Mr. or Dr. were plenty. The earliest such a Talkie film was ‘Mr. 420’ made in 1937. Later, ‘Mr. X’ was made in 1938. This was repeated in 1957 and 1984. ‘Mr. X in Bombay’ was made in 1964. ‘Mr. India’ came in 1961 and also 1987. There was a ‘Mr. Bechara’ in 1996, ‘Mr. Chakram’ in 1956, ‘Mr, Jhatpat’ in 1943, ‘Mr John’ in 1959, ‘Mr. Lamboo’ in 1956. ‘Mr. Romeo’ in 1973 and 1999. ‘Mr. Q’ in 1958, ‘Mr.Bond’ in 1992, ‘Mr. Azad’in 1994, ‘Mr .Dynamite’ in 1947, ‘Mr. Murder’ in 1969, ‘Mr. Qartoon, M.A.’ in 1958, ‘Mr. Sampat’ in 1952, ‘Mr. Toofan’ in 1963, ‘Mr. 100%’ in 2005, ‘Mr. Badmash’ in 2009, ‘Mr. Bhatti on Chhutti’ in 2012, ‘Mr. Hot and Mr. Cool’ in 2007, ‘Mr. Lonely Miss Lovely’ in 2004, ‘Mr. Prime Minister’ in 2005, ‘Mr. Singh Mrs. Mehta’ in 2009, ‘Mr. White Mr. Black’ in 2007, ‘Mr. ya Mrs.’ in 2005, The most hilarious title in this category was ‘Mr. Khujli’ in 2007 !!!

Starting with ‘Dr. Madhurika’ (1935), it was ‘Dr. Ambedkar’ (1989 and 2000), ‘Dr. Kotnis Ki Amar Kahani’ (1946), ‘Dr. Kumar’ (1944), ‘Dr. Ramesh’ (1949), ‘Dr. Vidya’ (1962), ‘Dr. Z’ (1959) etc.

The decade of the 1940s and the 1950s was the period when stunt and action films were made in plenty. There were specialised actors, producers, directors, composers and even specialised audiences too for such films. Stunt and action films was a very sweeping name for a genre which included several types of sub-categories. When I started studying these films, I found one kind soul – Mike Burnum -who identified and classified stunt/action films made in India, into sub categories. For the information of our esteemed readers, the different types within the generalised stunt/action films are…(in descending order of number of films made….

  1. Fantasy and Arabian  Nights  -92 films
  2. Horror – 67
  3. Jungle Thrillers (Tarzan/Zimbo/Zambo/Zangbo/Zingara etc)
  4. New Century Horror films ( Horror films made after 2000)
  5. Science Fiction
  6. Chillers
  7. Spies and Detective
  8. Super heroes / heroines
  9. Murder and Mystery
  10. Sword Fighting and
  11. Naag Films etc.

Today’s film ‘Doctor Z’, falls under Science Fiction category. Though it was a C grade action film, HFGK mentions it as a ‘Social’ film. May be, as it was not exactly a stunt film, the film may have been classified as a social film. The story of this film was just a one line story, expanded at convenience as per needs of audiences. Mahipal – a Police officer is after a gang of anti-national criminals, who want to steal a formula from a scientist, which can destroy a big country like India in just 2 minutes. He (naturally, compulsorily and as per the director’s directions) falls in love with the scientist’s pretty daughter to sing songs, when not on duty. The film ends on expected Happy Notes.

The cast of the film was Shakila, Mahipal, Helen, Krishnakumari, Mirza Musharraf, Sunder, Tun Tun and a host of other junior actors. The film was made by Baliwala Films. It was produced and directed by its owner Jal. There were two lyricists and the 8 melodious songs were composed by Music Director Manohar Arora. Now this Manohar was a separate, different and independent composer. Most sites and blogs mistake him for being Manoharlal Sonik, of Sonik-Omi composer duo. This is NOT so. He was different. 2 songs from this film have been posted on this blog and both the times he was mentioned as Manoharlal Sonik. I must confess that I was responsible for this mix up. I had made a comment in 2011 that he was Manoharlal Sonik of the duo, which was a wrong statement. 3 years after that comment the real information about Manohar came up, hence I am making this clarification, at this opportunity. I feel sorry that I had followed the wrong info track that time.

The composer MANOHAR ARORA was a Punjabi music director who came from Sialkot to try his luck in Bombay. His first film was ‘Raees’ in 1948. Then came ‘Josh’ in 1950, ‘Rangeele Musafir’ (1950), ‘Bhoole Bhatke’ (1952), ‘Jingo’ (1952), ‘Usha Kiran’ (1952). His best remembered film was ‘Chingari’ (1955). Then came ‘Passing Show’ (1956), ‘Mister Q’ (1958), ‘Dr. Z’ (1959), ‘Choron Ki Baarat’ (1960) and last film was ‘Do Dushman’ (1967). His name is mostly written as ‘Manohar’ only. This created a misunderstanding that he was Manoharlal Sonik, which is NOT correct.

From the cast of this film, Krishna Kumari is another name which causes confusion. There was a Krishna Kumari in silent films and talkie films of the 1930s. Then there was another Krishna Kumari who was from South and featured in dubbed and remade films. She too is different. Actress Krishna Kumari who worked in  Hindi films from 1948 to 1968 was another one.

Krishna Kumari (not to be confused with the 1930s actress of the same name nor the south Indian actress T. Krishna Kumari) was born Rajinder Kaur in Rawalpindi, Punjab state (now part of Pakistan) on October 3, 1934. Occasionally playing the heroine in B-grade films including ‘Vanraj’ (1952), ‘Gorilla’ (1953), ‘Black Rider’ (1960), ‘State Express’ (1961) and ‘Khush Naseeb’ (1964) she is probably much better known as a temptress or villain in the likes of ‘Baghdad Ka Jaadu’ (1956), ‘Zimbo’ (1958), ‘Police Station’ (1959), ‘Lady Of The Lake’ (1960), ‘Jaadu Mahal’ (1962) or dozens of similar action, horror and fantasy films.

Her debut came in the film ‘Girls School’ (1949), which also featured newcomers Geeta Bali and Shashikala, after which she appeared in ‘Nao’, which actually ended up in theaters first, releasing in 1948, just two months after her film ‘Intezaar’ (1948) was released. Film ‘Girls School’ was stalled due to the dispute between Amiya Chakravarty and Anil Biswas.

Krishna Kumari’s career lasted 20 years, and during that time she managed to chalk up an impressive amount of credits, even if most of the pictures she made were not considered important by critics. She acted in 117 films. Her first film on screen was ‘Intezaar’ (1948) and last film was ‘Jung Aur Aman’ (1968).

Hiralal is a familiar face to every fan of vintage Bollywood as he played countless character parts, often as the villain, in literally hundreds of films both big and small.

He was born Hiralal Thakur on March 14, 1912 in Lahore (now part of Pakistan) and began his career in silent films with AR Kardar’s ‘Safdar Jung’ which was released in 1930, while his second film, ‘Daughters of Today’, actually made it to movie theaters first, in 1929. He was under contract to United Players Corporation and made several silent pictures for them before making the transition to sound and moving on to other studios for films like ‘Pavitra Ganga’ (1932), ‘Seeta’ (1934), and ‘Blood Feud’ (1935).

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

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

Now let us enjoy the comedy song from film ‘Doctor Z’. This was filmed on Sunder and Nasreen. This duet is sung by Balbir and Geeta Dutt.

(Thanks to Mike Barnum ji, Harish Raghuwanshi ji, Flash Back, vol I-Isak Mujawar, HFGK, MuVyz and my notes.)

 

Song – Main Hoon Bhaiya Dim Timkar  (Doctor Z) (1959) Singer – Balbir, Geeta Dutt, Lyrics – Akhtar Romani, Music – Manohar
Balbir + Geeta Dutt

Lyrics (Provided by Sudhir)

main hoon bhaiya dim timkar
baap mera tee timtimkar
eh he dil gum hui gavaa
pyaar mein khui gavaa
ik tu samajh dilbar

main hoon madam rimjhimkar
maa meri thi simsimkar
nainwa chubhoi gavaa
jisko wo rui gavaa
tu ka hui rehat khabar

itna akad mat
arey mujh se jhagad mat
baat nahin ye achhi
dil ko jakad mat
mujh pe bigad mat
preet meri hai sachchi
zara muskaaye di ho
dil ko khilaaye di ho
zulm karat kyon dil par..rr
main hoon madam rimjhimkar
maa meri thi simsimkar
nainwa chubhoi gavaa
jisko wo rui gavaa
tu ka hui rehat khabar

pyaar jataa mat
zyaada mujhko banaa mat
matlab ki sab yaari
nazren phira mat
haaye re haaye dil ko jalaa mat
kuchh to dikha dildaari
mera naam lio nahin
aisa kabhi kio nahin
varna to jayi ho mar mar
main hoon bhaiya dim timkar
baap mera tee timtimkar
eh he dil gum hui gavaa
pyaar mein khui gavaa
ik tu samajh dilbar

dil tera ghar hai
meri jaan tera hi jigar hai
tujh pe sab kurbaan
pyaar ka asar hai
jhoomti nazar hai
hanste hain armaan
aaj mera dil gaya
to se jaa ke mil gayaa
hui bina judaa dam bhar

main hoon bhaiya dim timkar
baap mera tee timtimkar
eh he dil gum hui gavaa
pyaar mein khui gavaa
ik tu samajh dilbar

main hoon madam rimjhimkar
maa meri thi simsimkar
nainwa chubhoi gavaa
jisko wo rui gavaa
tu ka hui rehat khabar

lar lar lallaa pam pam pam

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

मैं हूँ भईया डीम टिमकर
बाप मेरा टी टिमटिमकर
एह हे दिल गुम हुई गवा
प्यार में खुई गवा
इक तू समझ दिलबर

मैं हूँ मैडम रिमझिमकर
माँ मेरी थी सिमसिमकर
नैनवा चुभोई गवा
जिसको वो रुई गवा
तू का हुई रहत खबर

इतना अकड़ मत
अरे मुझ से झगड़ मत
बात नहीं ये अच्छी
दिल को जकड़ मत
मुझ पे बिगड़ मत
प्रीत मेरी है सच्ची
ज़रा मुस्काए दी हो
दिल को खिलाये दी हो
ज़ुल्म करत क्यों दिल पर॰॰र्र
मैं हूँ मैडम रिमझिमकर
माँ मेरी थी सिमसिमकर
नैनवा चुभोई गवा
जिसको वो रुई गवा
तू का हुई रहत खबर

प्यार जता मत
ज़्यादा मुझको बना मत
मतलब की सब यारी
नज़रें फिरा मत
हाय रे हाए दिल को जला मत
कुछ तो दिखा दिलदारी
मेरा नाम लियो नहीं
ऐसा कभी कियो नहीं
वरना तो जई हो मर मर
मैं हूँ भईया डीम टिमकर
बाप मेरा टी टिमटिमकर
एह हे दिल गुम हुई गवा
प्यार में खुई गवा
इक तू समझ दिलबर

दिल तेरा घर है
मेरी जान तेरा ही जिगर है
तुझ पे सब क़ुर्बान
प्यार का असर है\
झूमती नज़र है
हँसते हैं अरमान
आज मेरा दिल गया
तो से जा के मिल गया
हुई बिना जुदा दम भर

मैं हूँ भईया डीम टिमकर
बाप मेरा टी टिमटिमकर
एह हे दिल गुम हुई गवा
प्यार में खुई गवा
इक तू समझ दिलबर

मैं हूँ मैडम रिमझिमकर
माँ मेरी थी सिमसिमकर
नैनवा चुभोई गवा
जिसको वो रुई गवा
तू का हुई रहत खबर

लर लर लल्ला पम पम पम


Advertisements

Important Announcement

(© 2008 - 2019) 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.

What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over TEN years. This blog has over 14900 song posts by now.

This blog is active and online for over 3800 days since its beginning on 19 july 2008.

Total number of songs posts discussed

14949

Number of movies covered in the blog

Movies with all their songs covered =1164
Total Number of movies covered =4085

Total visits so far

  • 11,480,304 hits

Enter your email address to subscribe to this blog and receive notifications of new posts by email.

Join 1,695 other followers

Bookmark

Bookmark and Share

Category of songs

Current Visitors

Archives

Stumble

visitors whereabouts

blogcatalog

Music Blogs - BlogCatalog Blog Directory

blogadda

Historical dates

Blog Start date: 19 july 2008

Active for more than 4000 days.

Advertisements
%d bloggers like this: