Archive for the ‘Post by Arunkumar Deshmukh’ Category
Main padh rahi hoon tumko
Posted on: May 26, 2017
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 Captain India-1960. Not only this film is making a Debut on the Blog, but its Music Director- Hemant Kedar- too is making his Debut here. It is a rare occasion these days that a music Director makes his Debut in the blog, because we have covered so many MDs already ( at my last count, we have covered 462 MDs on this Blog). However, there are still a large number of MDs whom we have yet to listen. From 1931 to till today, as per a rough estimate, there could be almost 500 to 700 Music Directors.
Of these, MDs who gave music in less than 5 films could be about 50 to 100, those who composed for 5 to 15 films may be 100, from 15 films to 50 films may be about 150, from 50 to 100 films will be around 100, from 100 to 200 films may be another 50, more than 200 films may be about 50 or so. Add to this one film wonder MDs- almost 200.
These are simply wild guesses, without any solid base. Well known Music Directors who have given music in many films are a large group and Music lovers are conversant with their names. What is of interest to a student of HFM is those Music Directors who have given music in less than 5 films and One Film Wonders( like Pt. Amarnath Chawla of Garm Coat-55, for example).
Have you ever heard the name of a composer called HEMANT KEDAR ? No, it is not a pair like Shankar Jaikishan, Kalyanji Anandji or Laxmikant Pyarelal .It is a misleading one name( like another such single name Shyamji Ghanashyam ji, for example). OK, did you ever know about R.K.Shinde or Ram Shinde ? I am sure , most of the readers may not have heard these names. These are the names of Ramkrishna Shinde. This reminds me of composer Snehal Bhatkar who used 5 different names as composer.
The composer of today’s film Captain India-60, Ramkrishna Shinde was a multi talented composer, who could not shine, though he had talents. Further he started his career at a time when India’s big composers like C.Ramchandra,Naushad, Husnlal-Bhagatram, Shanker-Jaikishen etc were in their best performing period and had hogged almost all the major production houses as their Patrons. In this flood of Musical Tsunami, smaller composers remained smaller due to non availability of exposure and good banners, waning into oblivion ! Those who had talents plus good luck survived, but composers with talents without Luck were soon forgotten.
Ramkrishna Shinde was born on 19-4-1918 in Malvan area of Maharashtra Coastal Belt. He was eldest amongst 2 brothers and 2 sisters When he was 9 yr. old, his father died and the faily was shifted to Bombay, by aunt and uncle. His interest in music was unusual. He took training in vocals fro Pt.Sitaram and learnt Sitar from Pt. Madhav rao. For survival, he took up a job in Dawn Mills. In 1944, he got married. Same time, he met Dancer Parvati kumar and Tabla player Ramakant. He soon left the job and started giving music to Marathi stage plays. He was a very popular composer.
His first Hindi film as a composer was Manager-47, followed by Kiski Jeet-48 and then Bihari-48, with Naresh Bhattacharya. Not getting films anymore,he turned to giving music to Dance Ballets. He became so famous in that, that 27 of his ballets went abroad with his music. He was called by Amiya Chakrawarty for giving Dance Music in Usha kiran’s film Gauna-50.
he returned to Hindi films again. This time as Hemant kedar. Reason for this name- his favourite Raagaas were hemant and Kedar. He gave music to
Khaufnak Jungle-55
Police Station-59 and
Captain India-60.
Hemant Kedar ( Like Daan singh and Jaidev) must be one whose unreleased films numbered many or more than than his released films. Some of his Unreleased films were
1. Hamari kahani
2. Avinash
3. Sati mahananda
4. Jannat ki Hoor
5. Peeli kothi
6. Paataal Devta ( This was the film in which actress Mumtaz had Debuted, but this movie was not released)
Hemant Kedar gave music in two Marathi films. Side by side, he did 5-6 programmes on All India Radio. After the advent of Television, he started giving music in TV Ballets and was in great demand for such programmes. He did about 15 Ballets on TV. He became ill and expired on 14-11-1985, leaving behind his wife and two daughters. Luckily, his wife had a good job. (Thanks to http://www.beetehuedin.blogspot.com for this information.)
Film Captain India-60 was produced by Rajaram Saqi and directed by C.Kant. It was a stunt film featuring Kamran, Krishnakumari and others. There were 5 songs, all written by the Producer himself-Rajaram Saqi. Kamran Khan Rizvi was a regular Stunt Hero and I used to enjoy his films. He started his film career with Baghi Sipahi-36, a film made by East India Film Co, Calcutta. A.R.Kardar was its Director. Later on Kamran came to Bombay, along with kardar, who was his Patron for quite some time.
Hero Kamran and Heroine Nazi was a popular combination of 12 stunt films, those days. Kamran worked in 52 films. In 1963, film Bachpan was being directed by Nazar Ahmed. He had some disputes with the Producer and he left the film midway. The Debutant Hero Salim ( father of actor Salman Khan) and Debutant Heroine Menaka ( sister of Daisy and Honey Irani…all daughters of Mrs. P.N. Irani, a greedy mother, who spoiled the childhood of her children for money) were in trouble. Kamran stepped in and completed the film by directing the balance part, without taking any money. During this period, he fell in love with menaka and they got married. Her film career ended there only. They had one son and one daughter ( Actor, compere, Director Sajid Khan and famous Choreographer and Director Farah khan).
Kamran stopped getting Hero’s roles, as stunt films were not being made to that extent in the 70s and later period. He decided to become producer and Director. This proved to be his nemesis. He failed miserably, lost everything and became an alcoholic. He divorced Menaka, who worked as a Housekeeper in a 5 star hotel (Hotel Sea Rock) and he lived in his big flat in Versova with 2 children but no money. He died in 1985.
Kamran directed 11 films from Panch Ratan-65 to Ban Manush-80. His last film as an actor was Nastik-83.
During the period 1950 to 1960, lot of stunt, action, and fiction films from Hollywood used to come . Among them my favourites were from Republic Serial films like “Trip to the Moon’, Hurricane’, Time machine, Superman,The 4 D man etc. There was one film “Captain Marvel”, which was my favourite and I saw it 5 times. I had thought that Captain India-60 was also like that film and went to see the film and came back hugely disappointed . The story of the film was-
Seth Mohan lal was a rich merchant in Burma. He decides to return to India, with his only daughter Krishna and settle in Roop Nagar to lead a retired life. Gangster Rajan from Rangoon comes to know that the Havel Mohan lal is to buy has some great secret hidden in it. If he can get that secret he can rue the world. So, he follows Mohanlal to India.
Meanwhile krishna meets Shekhar- a Press Reporter by job, Lover boy by habit and an all round spy as a hobby. After singing the mandatory love songs and doing exercise around Trees, they decide to marry and tell her father about their love. Rajan is very business minded and so, Mohan lal gets killed and the young couple is frightened with the existence of Ghosts etc in the Haveli.
Madhu is the moll of Rajan and she too loves Shekhar. She reveals the actual plan of Rajan and about the secret formula in the Haveli. Suddenly, Madhu gets killed in the arms of Shekhar. She is murdered by Rajan. Now he is after the lives of Krishna and Shekhar and they are on the run. With the help of the Police, Rajan is caught red handed, but he sets fire to the Haveli and the secret formula gets burnt.
All is well that ends well. After the end, audience is well and goes home cursing the film.
Song-Main padh rahi hoon tumko (Captain India)(1960) Singers-Sudha Malhotra, Talat Mehmood, Lyrics-Rajaram Saqi, MD- Hemant Kedar
Both
Lyrics
main padh rahi hoon tumko
meri kitaab tum ho
mere sawaal tum ho
mere jawaab tum ho
main padh raha hoon tumko
meri kitaab tum ho
mere sawaal tum ho
mere jawaab tum ho
main padh rahi hoon tumko
kaanon se sun raha hoon
main saaz zindagi ka
aankhon se pee raha hoon
meri sharaab tum ho
ye raat mohabbat ki
saugaat mohabbat ki
main pyaar ka samandar
phool hoon ke chaand tum ho
ho
fasle bahaar aayi
gulshan mein zinagi ke
main mad bhari mahak hoon
rangeen gulaab tum ho
main padh rahi hoon tumko
meri kitaab tum ho
mere sawaal tum ho
mere jawaab tum ho
main padh raha hoon tumko
baaqi raha na kuchh bhi
dil mein siwa tumhaare
sab kuchh luta ke hamne
paaya wo raaj tum ho
jo khwaab zindagi ke
poore huye na mere
khwaabon mein unko dekha
tabeer e khwaab tum ho
ho o
manzil wahi puraani
raahen wahi puraani
yoon lag raha hai jaise
sadiyon se saath tum ho
main padh rahi hoon tumko
Ham Punjaabi Ham Bangaali
Posted on: May 13, 2017
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.
REPORT ON MUMBAI GANGOUT – Part 2
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……Javed ji was introduced to Sadanand ji, as they were meeting each other for the first time. Even I had met him for the first time, though we had E-mail communications earlier. It so happened that, in the last Mumbai Gangout which Sudhir ji attended, he had gifted all of us a copy of Javed ji’s first Hindi book ( he has more books in Urdu), ” Kuchh kalaakaar-kuchh yaden “. After reading that book, I wrote a mail to Javed ji about certain discrepancies, I had found in the book. Actually I was hesitant whether to write such a mail to him, but my adventurism won over me and the mail was sent finally.
Happily, I received Javed ji’s reply in due course, in which he thanked me profusely and assured me that in the next editions all those corrections would be incorporated. Thus, we knew each other Electronically, before this physical meeting.
Sadanand ji and me had decided earlier that in an informal meeting of 2-3 persons, an Agenda would be superfluous. So, we did not have any written down agenda as such, but we had some points about some songs, to be discussed with Sudhir ji. Sudhir ji and Sadanand ji sat separately discussing from Sudhir ji’s Laptop. Javed ji had sent me a typed manuscript of his forthcoming Hindi book. Before sending the same to the publisher, Javed ji wanted that I see it and give my suggestions. So Sudhir ji and Sadanand ji made a pair discussing about their points and me and Javed ji sat discussing his book.
The first thing javed ji wanted me to do was to finalise the Title of the book. He had 3 Titles on offer and asked me to select one which he would give to the book. I remembered the occasion when Devika Rani had asked Yousuf-the fruit seller to select one of the 3 screen names for him- Dilip kumar, Jehangir and Vasudev. Oh my God ! Dilip Kumar and Arun Kumar ! What a coincidence !! Both in the same situation !!! We know what Yousuf selected and you will know what I suggested when the book is released soon.
My ego-balloon was soon deflated by a simple query about the lunch, as it was Lunch time already. We ordered few items from a nearby hotel. Upon its arrival and arrangements, an elaborate lunch programme was undertaken. After lunch, we decided to keep the book evaluation postponed to next day (accordingly, Javed ji came next day and we completed the exercise satisfactorily). We then discussed matters concerning the blog and related topics. However Javed ji was not able to participate, so we changed the discussions to old films and actors etc and Javed ji was kind enough to enthrall us with his knowledge.
At around 4pm we had tea with snacks. In the meantime, Sudhir ji was worried if Bakshish Singh ji would come to Mumbai next day to attend the seminar or not. Sudhir ji’s fear and the Mumbai-visit-curse took its toll and by evening Bakshish Singh ji confirmed that he has cancelled his coming as his own grandson met with an accident and had fracture of both legs-in the afternoon itself. (Next day, as a proof, he sent photographs of the poor child in plaster for both legs). The obvious conclusion was Bakshish Singh ji’s proposed Mumbai visit had caused all these mishaps !
By about 5 pm or so, Javed ji left the meeting venue to go to his relative for further stay. In the meantime Sadanand ji and Sudhir ji had planned to go to meet Khyati ji, who was to leave for USA later that night. She was in Borivali. Though keen to meet Khyati ji, after the double mishap in her family, I could not go with them due to my knee problems (doctors have advised me to avoid using stairs for a month. Khyati ji’s house was on ground floor, but my flat was on first floor !) and I was virtually under “house arrest ” !
By about 6 pm the meeting was concluded and Sudhir ji and Sadanand ji left to visit Khyati ji, along with my apologies to her. Later, I spoke to her on phone also.
Next 2 days, Sudhir ji was busy in attending his seminar. Third day also he visited Kushal ji. Next day he visited Famous Studios and also Anand ji (of he Kalyanji Anandji duo). On the 4th of May afternoon Sudhir ji shifted to his Mamaji’s place and on the 5th May, he and Javed ji left for Delhi, in the evening. Sudhir ji is hereby requested to write about his Mumbai visit.
I can not resist myself in sharing a secret of Sudhir ji, with all of you. One day, when we both were chatting in the evening, I asked Sudhir ji about his age. Pat came the answer “32 years”. I was stunned. I understood that he did not want to disclose his age. So I calculated. In 1988, Sudhir ji was working for some company in Bombay. That was 29 years ago. If he is 32 year old today, that time he must have been just 3 year old . When I pointed out this to him, with a straight face Sudhir ji answered, “Yes, I started earning early !”. Now mark my words…. very soon Sudhir ji’s name will be in The Guinness Book of World Records !!!
End of Report – Part 2
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Today’s song is from a film called ‘Hum Ek Hain’ (1969) which is making its debut in the blog. There were three films with the same title. The first ‘Hum Ek Hain’ was released in 1946, in which the lead pair of Dev Anand and Kamla Kotnis, along with Rehana and Rehman were making their debuts. Even the film’s director PL Santoshi was making his debut as a director with the film. Till them he had only worked as a lyricist and story writer. The second film with that title is today’s 1969 film and the third film was made in 1982.
Film ‘Hum Ek Hain’ (1969) was a social film, about sacrificing for the country. The film tried to put emphasis on National Integration too. The film shows a multi lingual family’s story. The main actors were Balraj Sahni and Nirupa Roy. The others in the cast were Dara Singh, Ravi Khanna, Samson, Jagdeep, Helen, Madhumati, Lalita Pawar, Rani, Savita, Naina etc etc.
The film was directed by Daljit. Daljit (real name Joginder Puri) was born in Sialkot on 17-9-1931. He was good looking. His first film was Punjabi – ‘Kauday Shah’ (1953). He entered Hindi films with ‘Noor Mahal’ (1954). He acted in 43 films, He was seen mostly in B and C grade action and stunt films. His last film as an actor was ‘Chowkidaar’ (1974). He directed 2 films. Hum ek hain-69 and Rajyogi-82. He paired with actress Chitra in 11 films.
The music director was Usha Khanna and the lyricist was Indeevar. There were only 5 songs but 8 singers were used. They were Lata, Asha, Rafi, Kamal Barot, Mukesh, Mubarak Begum, Mahendra Kapoor and Manna Dey. One song was about all religions being equal and another was stressing that all Indians were one. Looking at the type of songs and the story, I think this film must be one of those films which flooded after the 1965 war with Pakistan. During that period the patriotic fever was at peak. Looks like the film must have been delayed during its completion. By the time it came to the theatres, the fever had subsided and the topic of the film had become out of relevance. Naturally, the film flopped.
I was one of the people who went to the theatre to see the film. Here is the story in short-
In a certain town, there is a Punjabi family – husband, wife (Balraj Sahni and Nirupa Roy) and 3 sons. The eldest son Ashok, has married a Maharashtrian girl. The second son Raj, is engaged to a Kashmiri girl. The third son Dara chooses to remain bachelor. The entire family is a staunch patriotic one. All 3 sons are in Army.
In due course of time the war starts with the neighbouring country. All sons are sent on the border fronts. Two sons, Ashok and Dara die in action. During the war, the parents train their bahu as a nurse and send her on border to look after injured soldiers.
When the bodies of the dead sons are brought to the village for cremation, all the villages gather to mourn the deaths and console the family. However, Bharati Devi, the mother comes out and gives a long lecture, stating that her children did their duty to the nation and became Shaheeds. The family is proud of their sacrifice and no one should mourn their death…….
When I was checking the film’s cast etc, I found that the film’s Choreography is done by Badri Prasad and Vasant Naidu. I was surprised. Badri Prasad was a versatile and multifaceted artist of Hindi Cinema. He was an actor (first as a Hero, in the 1930s and then as a character artist) in 147 films. He was a singer – 7 films, 11 songs. He was lyricist for 1 film, 8 songs. He was a music director – 16 films, 168 songs. And he was a choreographer in 30 films. What a talent! His one daughter – Surekha Pandit was also an actress (played the role of the mother of Sharmila Tagore in film ‘Anupama’ (1966).
Similarly, the other choreographer Vasant Naidu was an active music director from 1939 to 1947, 22 films and 160 songs. He also sang in film ‘Mere Sajan’ (1941).
Strange are the ways of Filmi Duniya !!!
Song- Hum punjabi hum Bangali (Ham Ek Hain)(1969) Singers-Rafi, Manna Dey, Asha Bhonsle, Lyrics-Indeewar, MD-Usha Khanna
Chorus
All
Lyrics
hum punjabi
hum bengali
hum hain maratha
hum madrasi
hum punjabi
hum bengali
hum hain maratha
hum madrasi
baad mein kuchh aur magar
hum pahle hain bharatwasi
hum punjabi
hum bengali
hum hain maratha
hum madrasi
hoy
hoy
oho
hoy
doodh ki taaqat rakhnewaala aa aa aa
ye punjaab ka paani hai
bhagat singh ke saath yahaan aan aan
heer aur raanjhe ki kahaani hai
bhaarat ka hai roop yahi
bhaarat ki yahi jawaani hai
hum punjabi hum bengali
hum hai maratha hum madrasi
o o o
o o o
oho
hmm
oho
hmm
oho
maut ghulaami se behtar
netaji ne maut hi chuni hai
maut ghulaami se behtar
netaji ne maut hi chuni hai
ye tagore ki kavita
jisko duniya sun kar jhoomi hai
ye buniyad aazad hind ki
ye bengal ki bhoomi hai
ye buniyad aazad hind ki
ye bengal ki bhoomi hai
hum punjabi
hum bengali
hum hain maratha
hum madrasi
aa aa
aa aa aa aa aa
ye maharashtra ki paawan seema
sapna veer shivaji ka
ho sapna veer shivaji ka
hum sabne seekha hai
jis’se pahla sabak aazaadi ka
o pahla sabak aazadi ka
yahi desh ka tilak
yahi hai bharat mata ka teeka
yahi desh ka tilak
yahi hai bharat mata ka teeka
hum punjabi
hum bengali
hum hain maratha
hum madrasi
nritya aur sangeet se jo
sansaar ke man ko harti hai
har ghar ek kala ka mandir
ye dakkhan ki dharti hai
yahi hai bharat ki jal sena
jis’se duniya darti hai
yahi hai bharat ki jal sena
jis’se duniya darti hai
hum aasaami
hum hain udiya
hum gujraati raajasthani
baad mein hain kuch aur magar
hum pahle hain hindustani
hum punjabi
hum bengali
hum hain maratha
hum madrasi
ek phool ke liye chaman ko nahin ujaada jaayega
ek phool ke liye chaman ko nahi ujaada jaayega
ek daal ke liye ped ko nahi ukhaada jaayega
ek daal ke liye ped ko nahi ukhaada jaayega
dushman ko aa hi gaya
to milke pachhaada jaayega
milke pachhaada jaayega
o milke pachhaada jaayega
haan milke pachhaada jaayega
Naach rahi naach rahi champaakali
Posted on: May 10, 2017
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.
Report on Gangout in Mumbai on 29-4-2017, Part 1
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It so happened that Bakshish Singh ji had informed me that he would be in Mumbai, for a week, in February. Later on he informed that author Javed Hamid ji will also accompany him and so he suggested that we meet on 25th February 2017. Accordingly, all arrangements were made and plans were drawn by me and Sadanand ji. However, around 20th February or so, Bakshish ji informed me that due to a death in the family, he had cancelled his visit. So, the meeting was postponed to April end when, as per him, he would come to Mumbai with Sudhir ji and Javed ji.
In the meantime, Bharatbhai had left for a long trip to USA. These things were not new to me. even in the past,such planned meetings had been cancelled in Mumbai. Maximum number of Gangouts were planned, cancelled and also held in Mumbai, in last few years. Sigh ! Anyway, come April and once again Mails started flying between me, Sudhir ji and Sadanand ji. Now of course only two of us, me and Sadanand ji remained in Mumbai as active participants.( Nitin ji in Indore and no response from Nahm ji ). To further precipitate the matters, even Sadanand ji had expressed his doubts due to a proposed US visit. Luckily that was postponed and he was available.
Lo and behold ! As if it was mandatory, there was a death in the family of Bakshish Singh ji this time also and he cancelled his programme again. Sudhir ji too informed that even his programme was doubtful. I was following advise from Shrikrishna to Arjuna in Geeta- be a Sthitapradnya- स्थितप्रज्ञ – in adverse conditions. Means do not get affected by happenings surrounding you. I was mentally prepared for yet another cancellation of the Gangout. ( Anyway, I have decided to suggest to Bakshish Sngh ji that he should announce that he is going to Kolkata and coolly come to Mumbai !).
Sudhir ji, Bakshish Singh ji and Javed ji had plans to visit Pune also, after their seminar ( on 30th April and 1st May) was over. Because of the changed plans, even Javed ji wanted to cancel his Mumbai visit. In addition to all this, some health problem in Sudhir ji’s family put the whole plan in jeopardy !
All this uncertainty was causing hurdles in planning anything concrete for the Gangout. We were not even sure if it will take place. In all the earlier Gangouts at my place, we had lunch and Tea arrangements made by my daughters at home ( in Sudhir ji’s words “Anju-Manju event management company”). This time however, both daughters were not available, so we decided to make it a hybrid programme. My cook will make Chapati and Rice, other food will be ordered from outside and Sadanand ji would take care of the Sweets, while coming. From our side everything was planned and we sat with crossed fingers.
Finally,just one day prior to the Gangout, i.e. on Friday the 28th April, Sudhir ji confirmed that he and Javed ji have boarded the train for Mumbai and would arrive on 29th morning, as scheduled. He also confirmed that Bakshish singh ji, with all the difficulties, would reach Mumbai next day,i.e. on 30th….he would miss the Gangout but we could meet later. We heaved a sigh of relief and I gave all the finishing touches to the meeting.
As scheduled, Sudhir ji and Javed ji arrived in Mumbai on the morning of 29th April. Their train was one hour late. They alighted at Borivali and took a taxi to my place in Andheri. Normally the taxi fare would be around 250 to 300 rupees,depending on the traffic on the road. I was surprised that the Taxi driver charged them Rs. 600. They said even the meter showed this amount. This is an old trick used for outsiders, by the drivers. What they do is, they do not close the earlier trip meter to zero. Thus when the new passenger sits in the taxi, the meter starts from last reading.
I was very happy to see both of them. They were offered a welcome drink of Nimbu-Pani and over the drinks, they got the good news that they were cheated by the Taxi driver. With a sad heart, they freshened up and then had a breakfast of hot Upma and Idli sambar and Tea. By this time it was 11 am. At about 11.30 am Sadanand ji arrived with a box of sweets and Namkeen ( Kothimbir-vadi, a local delicacy) and finally….the meeting started. ( End of Part – 1 ).
Today’s song is from the film “Awara Shehzadi”-1956. The film makes its debut on the Blog with its first song.
Awara seems to be a favourite prefix of film titles. There are a total of 14 film titles having Awara in it. Funnily, the original “Awara Shehzada”was a film of 1933. It took 23 years to bring about a female version of the Title with Awara Shehzadi in 1956 ! Incidentally, film ‘Awara Shehzada’-33 was the First Talkie film, having a Double Role. Shahu Modak had done the roles of the Prince ( Rajkumar) and the Pauper ( Bholaram) in this film. It was directed by Master Vithal, the First Hero of First Talike of India, “Aalam Ara “-1931.
Film Awara Shehzadi-56 was produced by Hind Pictures and the Producer/Director was one Pyarelal. I do not know anything about this Pyarelal, but Hind pictures was originally established and owned by the successful Actor and Director Nazir Ahmed Khan. During the Partition riots, Hind pictures studio was burnt by the mob. Nazir Ahmed stood there,smoking a cigarette,watching his property turn into ashes. He must be glad, nobody recognised him. He knew that in Lahore, same type of frenzied mob had burnt Dalsukh Pancholi’s studio to ashes and he had expected its repercussions in India too. After this, shortly,he left everything he had earned in India here only and with only worn clothes left for Pakistan. There he started fro scratch again and became Pakistan’s successful produce/Director. This time he had his third wife, actress Swarnalata with him. His second wife Sitara Devi had eloped with his nephew K.Asif ( he ran a Tailoring shop then) to Delhi. Under the “Enemy Property law”-48, Hind picture studios must have been allotted to some person who had lost everything in Pakistan. May be this was that Pyarelal. I do not know. He produced and directed 4 films under the same banner-Hind pictures.
Film ‘Awara Shehzadi ‘ -56 had two MDs. Jimmy and Nashad. Composer Jimmy is one of those little known composers who never got fame or name in spite of their Talents. His real name was JAMES SINGH. he was a Christian sikh from Ludhiana. He was educated in Delhi. He started his career in Hindi films as a singer in Chorus. he could play many western instruments, especially all types of Guitars. When he failed as a singer, he became assistant to many composers. Finally, he got his chance to compose few songs for film ‘Muqaddar-50’,though with Khemchand Prakash and Bhola Shreshtha. He composed 2 duets of Asha and Kishore. The credit of teaching ” Yodelling ” to Kishore Kumar goes to Jimmy. Kishore ‘yodelled ‘ for the first time in this film.
Jimmy then gave music in 14 more films like, Shrimati ji, Smuggler, Awara Shehzadi, Sher e Baghdad, Nek khatoon, Pathan, Miss Chaalbaaz, Tarzan and Gorilla, Duniya hai dilwalon ki, Tarzan in fairy land, Khoon aur sazaa, Pyar ki baazi ,Aakhir and his last film, Sachhi Ibadat-1987. Inspite of giving sweet and melodious songs of a variety, Jimmy never came up to A class. He always remained a composer for C grade films. Anyway, as long as Kishore’s yodelling is heard, Jimmy’s name will be remembered.
In spite of my efforts, I could find only one song of this film on You Tube, so that way, it is a rare song. There were 7 songs in the film. 4 were composed by Jimmy and 3 by Nashad. Today’s song has a very good tune. Somewhere I felt that the same tune is used by another song in some film,but I could not remember that song. If any reader finds that song with similar tune, kindly put a comment here. The song is sung by Geeta Dutt and chorus. The Lyricist was Khawar Jama ( what a name ! ), who wrote 75 songs in 28 films- mostly B and C grade films. He had acted also in film Chandu-58.
The story of Awara Shehzadi was a typical one. The lead pair was Meena Shorey and Daljit. Daljit ( real name Jogender Puri) was born on 17-9-1931. He acted in 43 films and directed 2 films. All Stunt and action films. He had done 11 films with Chitra.
Meena is an unfortunate princess, who was abandoned by her father, because she was declared as a girl with lot of misfortune. A loyal maid took her and brought her up for 20 years. When she comes to know the truth, she decides to regain her position and heads to the Capital of the kingdom.
On her way, she meets a dancer. She takes her costume and proceeds. She meets the hero, who is like a Robin Hood. They fall in love. After completing the mandatory songs around trees etc, they proceed to the city. There are a series of funny and daring incidents. They are arrested as thieves, jailed, put in mental asylum and also sentenced to death. However with the help of good luck, friends and the team of Director and script writers they finally reach the king and reveal their identity.
Everything is fine after that and the lovers sing a song before the film closes.
Now let us enjoy this song.
Editor’s note- As many as 120 movies were released in the year 1956. This movie is the 100th movie of 1956 to find representation in the blog.
Song-Naach rahi naach rahi champakali (Aawaara Shahzaadi)(1956) Singer- Geeta Dutt, Lyrics- Khawar Zamaan, MD- Jimmy
Chorus
Lyrics
naach rahi naach rahi champaakali
kismat kahaan se kahaan le chali
haay kismat kahaan se kahaan le chali
champaakali champaakali champaakali
ho naach rahi naach rahi champaakali
ho naach rahi naach rahi champaakali
o o
gham ka fasana kisko sunaaun
dil ki lagi koi na jaane
gham ka fasaana kisko sunaaun
dil ki lagi koi na jaane
aankhon mein aansoo honthon pe aahen
sun le o zaalim zamaane
champaakali champaakali champaakali
ho naach rahi naach rahi champaakali
ho naach rahi naach rahi champaakali
naach naach naach rahi champaakali
kismat kahaan se kahaan le chali
haay kismat kahaan se kahaan le chali
o o o
aaho se khele taraane khushi ke
aankho mein ashkon ke mele
aahon se khele taraane khushi ke
aankhon mein ashkon ke mele
kismat ke teeron ka ban kar nishaana
rah gaye ham to akele
o o o
champaakali champaakali champaakali
ho naach rahi naach rahi champaakali
ho naach rahi naach rahi champaakali
naach naach naach rahi champakali
kismat kahaan se kahaan le chali
hay kismat kahaan se kahaan le chali
o o o
chhaai khizaayen dil ke chaman mein
roothi hain hamse bahaaren
chhaai khizaayen dil ke chaman mein
roothi hain hamse bahaaren
ujdi huyi hai khushiyon ki duniya
aise mein kisko pukaaren
champaakali champaakali champaakali
ho naach rahi naach rahi champaakali
ho naach rahi naach rahi champaakali
Ho chat mangni to pat shaadi
Posted on: May 7, 2017
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
Today’s song is from film Chaalbaaz (1958).
What an year 1958 was, in terms of musical films ! Most Music Directors had offered their best songs in this year. The popular playback singers were very busy and the musicians and the arrangers had a field day, running from this studio to that studio for rehearsals and recordings. The films that came in 1958 were full of wonderful music and one can not make choices in those films. Not only that but there was a variety of different Genres of films on offer. Historical, Costume, stunt,Mythologicals, social, Comedy….you name it and you would have it. A grade, B grade and C grade… all grades of films had A grade music. An example to quote would be “Hamen to loot liya mil ke husn walon ne…”a very popular qawwali from a C grade film like “Al Hilal “- 58.
Madan Mohan had 7 films in 1958 and almost all had superb music. Just take a look at these films of 1958… Panchayat, 24 Ghante, P.B.999, Samrat Chandragupta, Jasoos, Mausi, Do Phool, Police, Solva Saal, Sitaron se aagey, Talaq, Kaarigar, Amardeep, Yahudi, Baghi Sipahi, Sadhana, Light House, Dilli ka Thug, Adalat, Jailor, Aakhri Daav, Night Club, Khazanchi, Khota Paisa, Chandan,Kabhi andhera kabhi ujala, Mr. qartoon M.A., Mujrim, 12 o’clock, Howra Bridge, Phagun, Raagini, Sone ki chidiya, Lala Rukh, Phir subah hogi, Takdeer, Rambhakta Bibhishan, Savera, Detective, Parvarish, Suvarn Sundari, Sohni Mahiwal, Madhumati, Al Hilal, Naya Paisa, Aji bas shukriya………….
Film Chaalbaaz-58 too had very good songs, Chitragupta-the melody Maker being the composer for it. However the film being a stunt picture, songs from this film were not exposed to the elite or a larger section of population, hence it could not compete with other other film songs. As such the Indian public was drenched in lovely music from so many films in 1958 and for a stunt film there was no chance to showcase its music at all. The film had 7 songs- 5 written by Prem Dhavan and 2 by Anjum Jaipuri. Rafi, Lata, Asha,Geeta and Ram Kamlani had sung these songs. The main lead actors of the film were P.Jairaj and Nirupa Roy.
Nirupa Roy (4-1-1931 to 13-10-2004) was an enigma of Hindi Cinema. An ordinary lower middle class housewife turned into an actress due to need to survive. Funny thing was that it was her husband who had visited the studio to get a job as an actor and the studio selected his wife instead ! Nirupa Roy who acted in over 250 movies has been variously branded as a Goddess of Mythological films, a suffering wife of a poor farmer, a troubled housewife of social films, an acclaimed quintessential mother of Bollywood and even a Stunt film actress !
She has been a Heroine in 110 films, a mother in over 50 films,has been a Goddess in 50 Mythological films, a suffering wife in over 30 films and a Stunt girl in about 10 films. She sang Bhajans, romantic songs, Comedy songs, qawalis, sad songs and peasant folk songs on the screen.
She changed her Heros like “Badalate huwe saathi”. She did 18 films with Trilok Kapoor ( 50-65), 12 films with Balraj Sahni ( 53-72), 16 films with P.Jairaj ( 53-78), and 21 films with Ashok Kumar ( 56-89). She was Amitabh’s mother in 12 films and stunt Girl in 8 films. She even wrote a popular film song for film Samrat Chandragupta-58 ( Mujhe dekh chaand sharmaye – Lata).
Due to all this, one could never put any specific label to Nirupa Roy. God had given her a face which exuded Daya, Kshama,and Shanti all the time,so she suited best for the role of Goddesses in Mythological films. Not having a very beautiful face, she fitted very well as a poor farmer’s wife or a toiling,suffering middle class wife of a middle class husband. With heavy make up and Gaudy dresses, she could pass muster in Costume or Historical films. But while doing stunt films, same Nirupa Roy so ravishing,different and suitable ( in shirt and trousers) that one wondered if she was the same actress who did “Goddess “roles so convincingly ! This was possible due to her acting capabilities.
I have seen most of her stunt films. Recently, our own Raja ji said in one of his comments on the Blog that he can not think of Nirupa Roy in any dress other than a Saree or Salwar kameez ( not exact words, but with this meaning). I would stress that in films like Chaalbaaz-58 he could have seen Nirupa Roy in a different avatar all together. She has copied Fearless Nadia-almost, in being dressed in a shirt and trousers and by participating in various stunts and swordswomanship (like swordsmanship). The story of the film too was suitably built, with a trained Horse-Moti and a Trained Dog-Tiger too for masala effect.
The Director of film Chaalbaaz was Nanabhai Bhatt ( 12-6-1915 to 24-4-1999). He was her director in many films,because he directed mostly Mythological and stunt films only. Nanabhai was born as Yashwant ( pet name – Batuk) at Porbandar. Since he was the younger one he was called Nanabhai ( opposite to Motabhai-elder brother). This name continued till the end. His father was a doctor. After matriculation, he went to Mumbai in 1934, where his elder brother Balwant Bhatt was working. Balwant started with Imperial,shifted to Sagar and now was with Prakash pictures of Vijay and Shankar Bhatt. he got Nanabhai a job as Sound Recordist.Soon he graduated to Production Executive.He also wrote several screenplays.
In 1942 he directed “Muqabala”, for Homi Wadia, as Batuk Bhatt. Homi Wadia became his good friend. When Homi established his own Basant Pictures, Nanabhai joined him and directed his “Hunterwali ki Beti”-43, with Nadia again. He also did mauj, Jee Haan, Chaalis Karod etc. He directed about 50 films of various genres like Stunts, Mythologicals,crime, social, costume etc.
Nanabhai’s first wife was Hemlata. He also married Shirin banu, his Heroine of few films. To circumvent the Bigamy law, he married her in a Temple and that too in the presence of Hemlata ! He had 3 children from Hemlata and 6 from Shirin. Mukesh and Mahesh Bhatt are from Shirin. His children and grandchildren married is different religions.Thus his big family was an example of Secularism ! In addition to 9 children Nanabhai also produced 20 films under his own Deepak Pics and Gautam Chitra !
FILMOGRAPHY OF NANABHAI BHATT: 1942: Muqabala; 1943:Hunterwali Ki Beti; Mauj; 1945: Chalis Karod; 1946: Maa Baap Ki Laaj; 1947: Meerabai; 1949: Shaukeen; Veer Ghatotkach; Sudhaar; 1950: Hamara Ghar; Janmashthami; Veer Babruwahan; 1951: Lakshmi Narayan; Daman; Lav Kush; Ram Janma; 1952: Apni Izzat; Baghdad; Sinbad the Sailor; 1954: Toote Khilone; Watan; 1956: Kismet; 1957: Mr X; Ustad; 1958: Chaalbaaz; Son of Sinbad; 1959: Bazigar; Daaka; Kangan; Madam XYZ; Naya Sansar; 1960: Lal Qila; Police Detective; Zimbo Comes to Town; 1961: Teen Ustad; 1962: Baghdad Ki Raatein; Rocket Girl; 1963: Alapiranthavan; Bhootnath; Cobra Girl; 1964: Samson; 1965: Adhi Raat Ke Baad; Bekhabar; 1966: Shankar Khan; 1967: Arabian Nights; 1968: Jung Aur Aman; 1974: Jeevan Rekha; 1975: Balak Aur Jaanwar; 1976: Dharti Mata; 1981: Gajara Maru; 1982: Jaya Parvati Vrat.( Thanks to Harish Raghuwanshi ji and Encyclopedia of Indian Cinema for some information.)
Film Chaalbaaz was produced by his elder brother Balwant Bhatt and Ram Kamlani. Today’s song is only the second song to be posted here. It has a very melodious tune and is sung by Geeta Dutt and Mohd. Rafi. The story of the film is…
This is the story of the princess of a kingdom,who is very proud and selfish. She wanted her people to contribute for her crowning ceremony. Her army collected money from the people by force. A young son of a blind headman of a nearby village comes to Princes to complain against the army. He is arrested and hanged as a rebel.
Roopa (Nirupa Roy) his sister is shocked and wants to take a revenge. She dons a male costume and a hood and attacks the army people, snatching money from them and distributing to the people. She is soon declared as a rebel and becomes a wanted criminal.
Roopa and the Princess love the same young man-Randhir (P.Jairaj). Displeased with the Princess for her cruelty, Randhir leaves her court and joins Roopa and her fight against the army. He too is declared a rebel. They both are arrested by deceit and sentenced to death. Meanwhile the friends of Randhir and Roopa infiltrate the jail, liberate Randhir and Roopa.
There is a final show down when the princess and the army is attacked. A sword fight between Roopa and the princess takes place. No need to guess what will happen next. It happens same way and the end is sweet. Randheer becomes the King and Roopa becomes his Queen.
Song- Ho chat mangni to pat shaadi (Chaalbaaz)(1958) Singers-Geeta Dutt, Rafi, Lyricist- Anjum Jaipuri, MD- Chitragupta
Lyrics
ho chat mangni
to pat shaadi
na dil ko todo ji
bade lafde hain shaadi mein
ye lafde chhodo ji
ho chat mangani
to pat shadi
na dil ko todo ji
bade lafde hain shaadi mein
ye lafde chhodo ji
shaadi hogi bachche honge padega kamaana
muft ki roti khaane waale
karo na bahaana
aha shaadi hogi bachche honge
padega kamaana
muft ki roti khaane waale
karo na bahaana
ye rishta hai mohabbat ka
khushi se jodo ji
bade lafde hain shaadi mein
ye lafde chhodo ji
ho chat mangni to pat shadi
na dil ko todo ji
aha
bade lafde hain shaadi mein
ye lafde chhodo ji
shaadi hogi band bajega
karo na ghotaala
do din ki ye deewaali hai
phir hai deewaala
oho
shaadi hogi band bajega
karo na ghotaala
do din ki ye deewaali hai
phir hai deewaala
hain duniya mein bahut andhe
hamen to chhodo ji
bade lafde hain shaadi mein
ye lafde chhodo ji
gori rangat dil hai kaala
chali ho banaane
doodh se ujla naari ka man
arre o deewaane
arre gori rangat dil hai kaala
chali ho banaane
doodh se ujla naari ka man
arre o deewaane
ye dil le lo
wo dil de do
nazar na modo ji
bade lafde hain shaadi mein
ye lafde chhodo ji
ho chat mangni
to pat shadi
na dil ko todo ji
are baba re baba re
bade lafde hain shaadi mein
ye lafde chhodo ji
Duniya pakki four twenty
Posted on: April 28, 2017
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 Basant-60. Its namesake film Basant was made in 1942 as well. But in matters of success, both films were opposite to each other. Basant-42, directed by Amiya Chakrawarty , was a successful film, having well known actors and Music Director. Basant-60 in contrast was not so much successful. It was not liked by people, though the lead actors were well known. Nutan was already acclaimed but Shammi Kapoor had yet to come to his elements which he would do with the film Junglee-61. He was still struggling with ‘ Hum sab chor hain ‘ and ‘ Tumsa nahi dekha ‘ acting styles.
Nutan and Shammi Kapor came together for the first time in the film ” Laila Majnu “-53. Basant-60 was their second film. They were yet to become comfortable with each other and it was noticeable in the film too ! Nutan was a fine, talented artiste. She did such films for sustenance. Later this pair was to do yet another film, “Laat sahib “-67, by which time they had beccome seasoned actors.
However, one feels that Nutan was not an actress suited for Shammi’s style. He was suited more for actresses like Sharmila, Asha Parekh, Saira Bano, Kalpana etc. Moreover in the 60s, Shammi Kapoor’s films did not need any story. His films had almost the same story, with few cosmetic changes here and there. Audience went to see the film for Shammi’s antics, his love scenes with New actresses every time and for its Music.
Otherwise also, 1960’s films were escapist films. There was a quantum shift from social issues, reforms, poor farmers, family feuds etc of 1950s to Love, Romance,Music and Dance. Cinema showed us what we always dreamt-Ooty, Shimla, Kashmir, Manali, Musoorie, Himalayas, Villas, Imported cars, Heroines changing clothes 10 times in a day, Heroes stunningly rich or without a job need, or worry of any kind, circling around trees, Bees kissing each other and comic respites with specialist Comedians. In the beginning of such genre of films, a few early films could not develop this technique fully, but it was perfected soon enough and then we had films like Dil deke dekho, Love in Simla,Jab pyar kisise hota hai, Ek Musafir ek haseena etc etc.
The director of this film was B.Mitra or Bibhuti Mitra. Born in 1915 at Calcutta, he joined New Thatres as an assistant in the studio after graduating. Soon he shifted to Bombay and produced two documentaris- V for Victory and Voice of Youth, both in 1941, for British Government as an effort to their war propoganda. These documentaries were shown all over India, in the Theatres.
He tried his hand at film direction. His first film ‘Angoothi’-43 was a resounding Flop. Ashok Kumar was its Hero.when Angoothi was released Ashok’s film Kismet was creating records all over India. Even then, Angoothi ran only for 3 days and it was withdrawn from theatres.
Normally, in Film Industry, an unsuccessful Director is not touched with even a barge pole, but S. Mukherjee selected him as a Director, in Filmistan.
His first film with Filmistan was Safar-46. The director of the film was Bibhuti Mitra. C.Ramchandra was the Music Director. In fact this was his first film after joining Filmistan. Mitra had a nasty habit of interfering in the Music Director’s work. C.Ramchandra did not like it. But because of Shashdhar Mukherjee, he kept quiet. Luckily, halfway through the film, Mitra left and went away to Calcutta.
In late 1950, when the work for film Shabistan started, Bibhuti Mitra came back to Filmistan to direct this movie. The MD was C.Ramchandra. As expected, Mitra started interfering in film’s music. By now, C.Ramchandra was a well known and successful composer and was in great demand from producers. This time he did not tolerate Mitra’s interference. The matter went to S. Mukherjee. Mukherjee took Mitra’s side, as he had brought him back. C.Ramchandra decided to leave Filmistan. Mukherjee was shocked and tried to dissuade CR from leaving,but CR was firm. However he promissed to mukherjee that whenever Filmistan needed him, he will come back and work. True to his word, C.Ramchandra did come back to do Anarkali-53 and Nastik-54 later on. The balance work of Shabistan was done by Madan Mohan.
Bibhuti mitra( 1-1-1915 to 14-3-1989 ), had directed about 12 films from 1941 to 1972 (including phagun-58 and Ji chahta hai-64). He became a producer with his own Mitra productions. he produced Shart-54, Phagun-58 and Basant-60. After Basant’s failure he wound up his production outfit. He directed his last film Mehmil-72, in which he acted also.
Film Basant-60 had music by O P Nayyar. This was a film of Records. One- the film had 14 songs. One duet ‘Raste mein ek haseen’ featured twice in the film, thus effectively making it 15 songs in the film. Two- in all the 14 songs, Asha Bhosle’s voice was there. Three- she had only 1 solo ( and 2 with chorus). Four- there were 10 duets of Rafi and Asha. This was the highest for both of them in any film, in their careers. There was also a triad with Asha, Rafi and Batish. Even Mughal-e-azam had 12 songs. Five- Comedian Johnny Walker had 4 songs, the highest for him as a comedian in any film where he was not the hero.
One of the reasons why Basant-60 flopped was that its story was a mixture of Safar-46 and Shabnam-49 ( both films had their origins in Hollywood films), which were the most successful films of B.Mitra.
Greta memsaab has been writing reviews of Hindi films since some years now. She has reviewed this film also. As per her review, here is an edited synopsis of film Basant-60…..
“Take the plot of It Happened One Night, sprinkle in some ingredients from An Affair To Remember, then stir in a third plot which is completely nuts, and voila! it’s Basant. Two of my favorite Hollywood films and some masala craziness for the price of one Hindi film! Sure, there are huge plot holes and it’s nonsensical at times, but what do I care—especially when the hero and heroine are my beloved Shammi Kapoor and beautiful Nutan. They are great together: his nonchalant silliness complements her feisty character perfectly.
Plus, there’s Pran! and lovely music from OP Nayyar.Meenakshi Rai (Nutan) is the spoiled daughter of millionaire Rai Bahadur (Murad). We know that she’s a modern girl because she wears trousers and says “My foot!” a lot. She wants to marry Rajesh (Pran), a man of whom her father disapproves strongly.
Her father is escorting her to Calcutta by train to get her away from Rajesh, but she disembarks at another stop in the middle of the night as he is sleeping. Her bag is stolen on the platform by a scoundrel named Billoo (Johnny Walker) and she chases him to a nearby fairground, where she recovers her bag but discovers that her father already has the police after her.
To escape them, she takes to the stage and sings a lovely song (“Raaste Mein”) with a guy named Ashim (Shammi Kapoor). But when she returns to the train station to catch the Bombay train, it’s crawling with police and her father is there! So is Ashim, who has figured out who she is; he’s traveling to Bombay as well.
She decides to take the bus instead and sits next to Billoo—who steals all the money from her purse when she isn’t looking. For some reason never explained, Ashim is on the bus too, and sees a police roadblock ahead. He pushes Billoo aside and saves her from detection.
They enact a hilarious drama of a possessive husband and his shrewish wife, and the policeman flees to avoid getting involved. Shammi and Nutan are really fun to watch as he continues to needle her (and imitates her “My foot!” at every opportunity), and she gives it back to him as good as she gets.
To escape further notice, Meenakshi and Ashim take to the side roads. When Billoo the con man sees a poster with her photo and a Rs 50,000 reward, he starts trailing them. There is a lot of other comic side plot action with Johnny, but I won’t go into it here. He is pretty funny, though.
As Meenakshi and Ashim head towards Bombay by whatever transport they can find, they argue a lot but are getting acquainted too. She tells him that she is headstrong because her father has always been so controlling, and she is longing for a little freedom. They are so CUTE together.
Back in Bombay, Rai Bahadur just wants his daughter back, and is even willing to compromise with Rajesh.
But Ashim and Meenakshi are falling in love.
So true! When the two reach her home in Bombay, she confesses her feelings to Ashim. He tells her to meet him after one month apart, as a test to make sure their love is true. This seemed like a bad idea in An Affair To Remember, and it seems like a bad idea now, but she happily agrees.
Unfortunately, Rajesh is waiting in the wings, and he needs her money. On Meenakshi’s birthday—which Ashim attends in disguise—Rai Bahadur announces her engagement to Rajesh, as promised. Ashim is furious and confronts her, but she reassures him that she loves him. Rajesh overhears them, and sends his thugs to kill Ashim when he goes on a trip to deliver a valuable necklace in this place (our lunatic third plot development):
On the night when they are to meet, Meenakshi has a car accident and is paralyzed from her waist down. Rai Bahadur dies of a heart attack when he hears the news. When she recovers enough to leave the hospital in a wheelchair, Rajesh tells her that Ashim is dead too.
Poor Meenakshi is bereft. Is Ashim really dead? If not, where is he? Did he show up for their rendezvous and think her absence meant she had decided to marry Rajesh? Will she marry Rajesh? Will she ever walk again?
Oh, the drama! The tears! The beauty of Shammi! ”
Thank you Greta Memsaab. ( Do you find traces of ‘Chori- Chori’ and ‘Dil hai ki manata hi nahin ‘-91 in this film too ? )
Let us now enjoy one of the funny duets, filmed on Johnny Walker in the film Basant-60.
Song-Duniya pakki four twenty(Basant)(1960) Singers-Rafi, Asha Bhonsle, Lyrics-Qamar Jalalabadi, MD-O P Nayyar
Lyrics
duniya pakki four twenty
duniya pakki four twenty
maar maar ke
are maar mar ke chappal
meri kardi chaplam chanty
duniya four twenty
duniya pakki four twenty
aashiq ki hai reet niraali
bin tabley ke kare qawwaqli
akal ka andha gaanthh ka poora
dil mein mohabbat pocket khaali
jimijimijimijimi
jahaan bhi dekhe koi haseena
wahin baja di ghanty
duniya four twenty
duniya pakki four twenty
chhokariyaan baanki mastaani
sab hai paise ki diwani
inko chaahiye mota bakra
motor saadi surmedaani
jaha bhi tagda engine dekha
karti thamtham thanti
duniya four twenty
duniya pakki four twenty
waah re teri mohabbat ka
len den ke sar par haath
haan tu agar hai chalte purje
mister hum bhi hain chaalaak
aha
bhookhe pet mohabbat kaisi
chhodo tantam tanti
duniya four twenty
duniya pakki four twenty
biwi bachche bahan aur bhaai
sab hain matlab ke shaidaayi
jeb garam to yaara hazaro
kadki ho to kaun ho bhai
haan
biwi bache bahan aur bhai
sab hai matlab ke shaidayi
jeb garam to yara hazaro
kadki ho to kaun ho bhai
ik din inko maal na do to phir
dekho phantam ??
duniya four twenty
duniya pakki four twenty
hahah
hahahwah
duniya pakki four twenty
maar maar ke
haa haha
maar maar ke chappal meri
kar di chaplam ??
duniya four twenty
duniya pakki four twenty
Ab kahaan basera apna
Posted on: March 31, 2017
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
Today’s song is from film Pardesi-41. This was a Ranjit Movietone film, directed by Chaturbhuj Doshi and music by Khemchand Prakash.
Pardesi seems to be a popular Title for film producers Films with Pardesi title were produced in 1941, 1957, 1970 and 1993. Pardes was made in 1950 and 1997. Pardesi as a prefix to film titles were for 7 films. Pardesi-41 was a significant film for actress,singer Khursheed, because with this film, she became famous and came to be recognised as a singer. Earlier, she had worked in many films and also had sung songs, but Pardesi-41 music gave her such a turn in life that Chandulal Shah-the owner of Ranjit- decided to make her Saigal’s Heroine, whenever he would make a film with that king of melody. He was so much impressed with her singing style.
Read more on this topic…
Mere peechhe peechhe aa ke
Posted on: March 16, 2017
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.
While discussing interesting songs from the decade of the 50s, one can not keep away from C Ramchandra’s films. In the early 1950s, Chitalkar was in great demand and his films were becoming popular because of his songs. Of course, there were films like Jhanjhar-53 and Ghungroo-52, which did not become hits in spite of good songs.
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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 a parody song from Devar Bhabhi-58. It is sung by Mohd.Rafi,under the baton of Music Director Ravi. The song is written by Raja Mehandi Ali Khan. The film is making a debut on the Blog with this song.
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