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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


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

Lyrics

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


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

Lyrics

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

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

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


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

Today’s song is a “Special ” song from film Gulbakavali-47. It is written by Munshi Shefta, the MD was Phiroz Dastoor and the song is sung by Menakabai.

Now let see what is so ‘special’ about this song.

Couple of years back I had written a series of 3 articles of “Same Name Confusions”, in which a total of 15 Cine Artistes causing Same Name Confusions due to their similar names were segregated and the confusion, hopefully, was clarified.

When I had thought of this series, I had made a list of such names. The list consisted of over 30 such names. Important and frequently mistaken identities were selected first and I wrote about them. While doing that series,I know how much hard work I had to do to get the information from different sources and that too after corroborating it several times.

At one time, besides these 15 Same Name personalities, in my list of other artistes,there were at least

4 Raajkumars
6 Gauhars
8 Nalinis
3 Neelams
3 Zohras
2 Meenakshis
2 Madhuris
4 Noorjehans
3 Ameerbais

several Leelas, Khursheeds, Bimlas, Yasmins etc etc etc……

Hindi film industry is an ocean and no wonder, several students have earned their Ph.D.s in studying HF and HFM. I too continue learning new things from this ocean, every now and then.

Same thing happened the other day, when our friend Sadanand Kamath ji sent an email to me asking if Menaka, Menakabai and Menakabai Shirodkar were the same. He also made a fleeting remark about a certain Menaka Devi of Calcutta. Though I sent him the information I had about Menaka, I was wondering about all these Menakas. Thus started my intensive research for information on Menakas.

For almost 10-12 days, I stopped writing any posts on the Blog and I was engrossed in referring to various sources on the Net, various books and old discussions on RMIM etc. I also requested Harish Raghuwanshi ji for information on this subject. Once I got all data, I started dissecting and analysing it, by corroborating them with cross references from several books that I have.

During this process Sadanand ji was encouraging me and discussing this matter with me, raising questions and doubts and making suggestions by mails. After a marathon work of 15 days, finally I compiled all the information ( knowing that I may have to defend all this with references) and wrote down notes on both Menakas. I sent this information to Sadanand ji with a suggestion to him that he can use all this information for his article, since he had obtained a rare song of Menakabai from film Gulbakavali-47.

He, however, magnanimously wrote back to me that ” since you have done so much research on ‘Menakas’, I strongly feel that not me, but you should write the article on this “same Name Confusion” artiste. Please consider my request.” When I politely declined, he wrote back,” having done so much work, it is in the fitness of things that you reconsider to write this article”. Not only this, he also sent me the link for the uploaded song and the song lyrics. After this mail, I simply could not refuse and agreed to write this article.

For the benefit of our readers,I am giving the short Biographies of both the Menakas herewith….

Menaka Devi ( Calcutta)
—————————–
Menaka Devi was born in Varanasi on 23-1-1921. Her mother was a resident of the holy city although her father was from Bengal. She studied upto Matriculation. She could speak fluent English and Hindi, but not much of Bangla, having been raised in Varanasi. Her interest in music and dance took her to Bombay where she starred in a couple of films like Prince Thaksen (1929), Uttara Abhimanyu, Ishwar Ki Maut and others as a child artiste. When the Talkie started she acted and sang in Bhedi Rajkumar-34, Pyara Dushman-35 and Krishna Shishtai – 35.

Reportedly, she met the legendary film director Debaki Bose of Bengal during a train journey and he was so impressed by her that he decided to cast her in the lead role of his next venture in the Hindi version of the bilingual Sonar Sansar (1936 in Bangla and Sunehra Sansar-36 in Hindi) and thus began the illustrious career of Menaka Devi.

Her devotion to work was such that she learnt Bengali, her mother tongue although she was anything but fluent in it having spent all her life till then outside Bengal, so that she could play the same role (that of Alka) in the Bengali version also. Dhiraj Bhattacharya was her first hero on the screen. P.C.Barua, who was on the lookout for a young and fresh face to play Jharna in his forthcoming production Mukti (1937) selected her for both the versions ( Bangla and Hindi) and a flow started whereby she starred in films like Adhikar (1939), Abhigyan (1938), Bardidi (1939 in Bangla and Badi Didi in Hindi), Rajat Jayanti (1940) and others.

She decided to try her luck in Bombay around 1944 and starred in few films there and definitely made her presence felt although playing the second lead most of the time. Kishore Sahu procured her services for Hamari Duniya (1952). She was married to Pannalal Shrivastav and had 1 daughter ( Jaya Ganguly). She turned producer also and this proved her undoing. Both her films as producer, Apna na Huye Apne (No information of this film,probably incomplete) and Jeene Do-48, both starring herself with prominent Bombay stars flopped.

She returned to Calcutta a broken woman and found to her dismay that roles were not coming to her. She joined the MG Enterprise, a drama group of Molina Devi and performed on the stage to continue to live as an actress. She even arranged magic shows along with husband Pannalal Srivastava while small roles came pouring in films like Ekti Raat (1956) and others. The feature that strikes even today while seeing her performance is the spontaneous nature of her acting. Why good roles eluded her is a mystery. She was last seen on the screen in Bhombal Sardar (1983). In all, she acted in 60 films-Bangla and Hindi together.

Her end came on 22-1- 2004 after a prolonged fight not only against poor health but also poverty. Her death was reported only in one Bengali daily although her death news received good coverage on television.

Filmography- Only Hindi
——————————–

Title Place of production Comments
Bhedi Rajkumar-34 in Bombay Acted and sang 1 solo
Pyara Dushman-35 Acted and sang 2 solos
Krishna Shishtai-35 Acted and sang 2 solos
Sunehra Sansar-36 in Calcutta Acted and sang 1 solo
Mukti-37 Acted and sang 1 solo
Abhagin-38 Acted
Badi Didi-39
Sapera-39
Mahakavi kalidas-42
Shrikrishna Arjun yuddha-45 Bombay Acted
Shravan kumar-46
1857-46
Chitod Vijay-47
Jeene Do-48 ” ( produced also)
Hamari Duniya-52
Do Bigha Zamin-53 Calcutta

Menaka/Menakabai / Menakabai Shirodkar ( Bombay )
—————————————————-
Menaka was born in Lahore in or around 1910. She was from a professional singer family and got training in classical singing. The family was originally from Belgaon and her maiden name was Menaka Belgaonkar. Later she was married and became Menaka Shirodkar.
At the age of 23-24 she landed in Bombay to try her luck in films. In those days such girls from singing families used to get into films easily, due to their singing capability. She joined Minerva and sang in their films, starting with Pukar-39,in which she got only one song.
She was more interested in classical singing and hence concentrated on singing more than acting. However, she did act in 5 films, in which she also sang.

After her film Gul Bakavli-47 she devoted her full time in singing and holding jalsas. Soon she became a known figure in singing circles. After marriage she got two daughters. One of them Shobha became famous singer and was known as Shobha Gurtu.
After her singing was over Menakabai Shirodkar-as she came to be known later- retired and settled in Ponda,Goa.
She died on 23-12-2003 at the age of around 93 years.

Filmography-
——————–

Title Comments
Pukar-39 1 solo song
Paak Daman-40 Acting and 3 solos+ 1 Duet
Main Haari-40 1 solo, 2 Duets
Bharosa-40 Acting and 2 solos, 1 Duet
Sikandar-41 1 solo
Ulti Ganga-42 1 solo, 1 Trio
Phir milenge-42 Acting and 3 solos
Prithwi Vallabh-43 2 solos, 2 Duets and 1 Trio
Bhakta Raidas-43 Acting and 1 Duet as Menakabai
Dr. Kumar-44 1 solo
Gul Bakavali-47 Acting and 4 solos, a Duet..all as Menakabai.

( The above article is based on writings of Jyoti prakash Guha ji, Kolkata, Yogesh Yadav ji, Baroda, Dhananjay Naniwadekar ji, U.S.A., of RMIM,Isak Mujawar ji, information received from shri Harish Raghuwanshi ji, Surat, my notes, IMDB, Muvyz and HFGK. Thanks to all. )

The cast of the film Gulbakavali-47 was Phiroz Dastoor,Rabab,Sanobar,Menaka,Shyam kumar,Jabbar etc. The film was released in Super Cinema,Bombay 0n 9-1-1948. The film had a popular story from the Arabian Nights.Fantasy stories and Fairy tales have been enchanting masses for centuries. This is because everybody wants a magic which will make him happy, seeking a solace in such stories. For several centuries such stories have been invoking the child in a man.

GUL-E-BAKAVALI or the magic flower of the Bakavali Tree is supposed to do many things which are unimaginable. let us see the history of this story which has mesmerised the film producers for many years.

Gul-e-Bakawali is a popular medieval romance in many versions. The seventeenth-century poet Nawazish Khan was perhaps the first to write a Bangla version of Gule Bakawali, a story in verse about the love of Prince Taj ul mulk for the fairy Bakawali. The Sprinter catalogue records an Urdu Gule Bakawali written in verse in 1625. In 1722, Sheikh Izzatullah, a Bengali, wrote a prose version, Taj ul mulk Gule Bakawali, in persian. It is not known on which version Nawazish Khan based his poem.

There were several variant versions of Gule Bakawali, such as the poetic versions by Muhammad Mukim (1760–70), Muhammad Ali, Munsi Ebadat Ali (1840), Umacharan Mitra (1834), and Abdus Shakur, and the prose version by Bijaynath Mukhopadhyaya (1904). Kedarnath Gangopadhyaya wrote a play based on the story in 1978. Ebadat Ali’s Gule Bakawali is a dobhasi puthi.

The story was also popular in Urdu. Thus, at the beginning of the nineteenth century, Munshi Nehalchand Lahori wrote a prose version titled Mazhabe Ishq (1803), and Dayashankar Nasim wrote a masnavi (poem) called Gulzare Nasim (1835).

* Gul-e-Bakavali was the first picture with the same subject as Silent film in 1924 directed by Kanjibhai Rathod and produced by Kohinoor flms. It starred Jamna, Khalil, Fatma Begum, Noor Mohamed, Sabita Devi, Sultana, Usha Rani and Zubeida.

* The story was made as Silent film again in 1930 (Starring Vishnu, Gulab .. Dir Mohanlal Shah)

* Gul-e-Bakavali was made as Hindi films five times in 1932 ( starring Ashraf Khan, Zaibunnisa.. Dir Anand Prasad Kapoor), 1947 ( Starring Feroz Dastur, Menaka, Rabab, Sanober..Dir Rustom Modi), 1956 ( starring MG Ramachandran,Varalaxmi, Rajkumari…Dir Ramanna TR), 1963( starring Jairaj, Nishi.. Dir Jugal Kishore) and 1982( starring Feroz Khan , Amjad Khan … Dir Ravi (Kant Nagaich )..

* The story was pictured earlier in Telugu in 1938 with title Gulebakavali directed by Kallakoori Sadasivaravu and starring B. Jayamma. and again pictured as Gulebakavali Katha in 1962 (starring NT Ranarao , Jamuna, Nagaratnam .. Dir Kamalakara Kameshwara Rao)

* There are two Tamil versions, one from mid 30’s by Soundararajan (Tamilnadu Talkies fame!) and another version in 1955 , directed and produced by T. R. Ramanna and starring M. G. Ramachandran, T.R. Rajakumari and G. Varalakshmi…

The earlier Punjabi version was released in 1938 (*Baby Noorjehan , Ajmal , M Isamil … Dir Barkat Mehra) …

In Pakistan the story was pictured in 1961 (Ilyas Kashmiri, Jamila Razzaq .. Dir Munshi Dil .. MD.. Safdar Hussain ).

The story of the film was….

Long long ago a king was blessed with a son to his second wife, but the astrologer had warned him that if he sees his son’s face before he is 28 years, the king will go blind. So the king sends his queen and the new born out of kingdom. They go and settle in a jungle where the prince grows up. His name is Taj ul Mulk (Phiroz Dastur). After 26 years the king and his soldiers are passing through a jungle where this prince is living. By chance the king sees him and suddenly he loses his eyes. He realises that it is his son. The queen also comes there. The Raj jyotishi tells that only the flower of magic tree Bakavali or Gul-e-bakavali can bring back king’s sight. One condition is that only his son should bring it.

The king has 3 sons from his first queen, but they are useless. However they promise the king that they will bring the flower and set out in its search. Taj ul Mulk also goes searching for it.

Once Taj and the three other sons meet and they tie Taj with ropes, loot all his money and leave him like that for jungle animals to eat. The princess of state Bakavali is flying on her magic carpet with her friends, when she sees Taj. They get down and release him. Taj and princess fall in love and immediately sing a song or two to solidify the ties.

The Princess promises Taj to get him the magic Flower. While she is bringing the flower, the 3 evil sons steal it and run away. The princess is turned into a stone statue. When Taj learns about it, he follows the 3 Princes and gets the flower, bring the Princess to Human life and also brings back the King’s site.
All is well that ends well.

The song is sung by Menakabai and according to the book,” Dhunon ki yatra” by Pankaj Raag, the song was composed by Phiroz Dastoor. It is a good song. Let us enjoy it.

With this rare song, “Gul Bakaawli”(1947) makes its debut in the blog.

Audio

Song-Unhen kissa e gham sunaati rahoongi (Gul Bakaawli)(1947) Singer-Menka Bai, Lyrics-Munshi Shefta, MD-Feroz Dastoor

Lyrics(Provided by Sadanand Kamath)

unhen kissa-e-gham sunaati rahoongi
unhen kissa-e-gham sunaati rahoongi
main rang e mohabbat
main rang e mohabbat
jamaati rahoongi
unhen kissa-e-gham sunaati rahoongi

main har(?) pe shiqaayat
na laaungi
lab pe
sitam par tere
muskuraati rahoongi
sitam par tere
muskuraati rahoongi
unhen kissa-e-gham sunaati rahoongi

main taaron ki chhaaon mein
betaab ho o o kar
teri yaad mein
gungunaati rahoongi
teri yaad mein
gungunaati rahoongi
unhen kissa-e-gham sunaati rahoongi

wafaaon ko apni
zafaaon ko teri
main ginti rahoongi
wafaaon ko apni
zafaaon ko teri
main ginti rahoongi
ginaati rahoongi
ginaati rahoongi
unhen kissa-e-gham sunaati rahoongi


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

Today’s song is from the film Sailaab-56. The film was produced by Mukul Roy under the banner of his own company “M.R.Films”. The film was directed by Guru Dutt and its music was given by the producer Mukul Roy himself.
Read more on this topic…


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

Today’s song is from Gemini Films’ presentation- Raj Tilak-1958.

This film is important for HFM historians for two reasons.
Read more on this topic…


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

Today’s song for discussion is from the film Sindbad the sailor-52 ( also called Sindbad Jahaazi ).
Read more on this topic…


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

Today’s song is from the film Taksaal-56. It is sung by S.D.Batish and Lakshmi Shankar with chorus.
Read more on this topic…


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

Today’s song is from the film Hatimtai-56.

Among older generations, reading books, novels etc, other than the school Text books, was considered a gateway to general knowledge and an aid to develop an impressive personality. As times changed, I think this habit has diminished with every new generation and today I find that students do not read anything ( not even Newspapers-except sports and films section) other than school or college syllabus and Guide books. Their general knowledge is below par in most cases. I do not blame them, because the education system in our country has been modelled on such lines that students will only read what brings them more marks. Nothing else. They have no time left for general reading due to college and classes. Additionally parents too encourage only this – not general reading…out of helplessness ! Of course their intelligence and skills have not diminished but have different openings suitable for today’s life-struggle.
Read more on this topic…


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

Today’s song is from the film Sheesh Mahal-1950. It was a Minerva Movietone production directed by Sohrab Modi. Vasant Desai was the music director. There were nine songs in the film, which were penned by four Lyricists.
Read more on this topic…


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

Today’s song is a complete turn around from my style of writing on old films and music. Today’s song is from the film “Chameli ki shaadi”(1986). Usually I restrict my choice of songs to the period between 1930s to the 1960s films. But there are some films made after 1970 ( and some made even after the year 2000) which I liked very much. “Chameli ki shaadi”(1986) is one such film.
Read more on this topic…


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What is this blog all about

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

This is a labour of love, where "new" songs are added every day, and that has been the case for more than eight years. This blog has more than 12900 song posts by now.

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

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Blog Start date: 19 july 2008 Active for 3000 days.
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