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.
| Blog Day : | 4143 | Post No. : | 15308 |
Today’s song is from the film Leela-1947.
Film Leela-1947, a Filmistan offering, was directed by Dattaram N Pai. He was actually an Editor with Filmistan. His name appears as a Director first for film Eight Days-1946. That film was actually directed by Ashok kumar, but Dattaram’s name was given as a Director in the credits. His second and last film as a Director was Leela-1947. I suppose, he did try to do justice to the Director’s chair, but after this film, he did not direct any other film. May be, looking at his limitations, Filmistan did not opt for him anymore.
All the 9 songs of the film were written by G S Nepali and Qamar Jalalabadi. The singers were Binapani, Shamshad, Geeta Roy, Amirbai and Chitalkar. The MD was C Ramchandra. The cast of the film was Shobha, Kanu Roy, Veera, V H Desai, Agha, Leela Mishra, Sunalini Devi etc.etc.
The Heroine of this film, Shobha, unfortunately remains an actress about whom no information is available. On going through the HFGK, I find her name in at least 20++ films. Sometimes she is listed as Shobha Devi. Another bit of information about Shobha was that that the actress Lata Sinha, who started as a child star (as Baby Lata) in Riyasat-55 and Nau Do Gyarah-1957 etc. was her daughter. Lata did a good role in Bees saal baad-1962. She mainly acted in action/stunt, costume and other B and C grade films only. She was also in film Bhoot Bungla-1965.
Film Leela-1947 was made by Filmistan. When a dissatisfied, and disillusioned splinter group fell out of Bombay Talkies, Filmistan was a Dream project for them. The important members from this group were S.Mukherjee, Ashok Kumar, Gyan Mukherjee and Rai Bahadur Chunilal. For them founding Filmistan was a goal achievement. For C Ramchandra, finding Filmistan was a goal achievement, because those days he had left Jayant Desai’s company and was looking for another film company.His good old friend Kavi Pradeep, who was close to S.Mukherjee from their Bombay Talkies days, brought in a very lucrative offer from Filmistan and C Ramchandra joined it with pleasure.
Though C Ramchandra had begun his career in 1942 with Sukhi Jeevan, his first Hindi film as a MD, his music had not flourished till he joined Filmistan. The 5 films he had made with Jayant Desai were reasonably good but they were not Hits. It was only in Filmistan he achieved, what one would call-Success. Out of the 11 films that he made here. his success rate was more than 50%. Especially, the music of films like Shehnai-1947, Saajan-1947, Khidki-1948, Nadiya ke par-1948, Patanga-1949, Samadhi-1950 and Anarkali-1953 created songs which are remembered even today. To make songs whose popularity lasted for more than 70++ years, is surely an achievement.
It was also when he was with Filmistan that people were comparing him and Naushad and a discussion always circulated who was the Numero Uno as an MD. Though I am a C Ramchandra Bhakta, I am of the opinion, that in the race of creating everlasting Hit songs, C Ramchandra was no match to Naushad. The strike rate of Naushad’s Hit films was much much more than that of C Ramchandra.
In the year 1946, C Ramchandra gave music to 4 films(1 for Filmistan), in 1947 it was 7 films (4 for Filmistan) and in 48 films were 8 (2 for Filmistan). So, in these 3 years, he did 19 films (7 for Filmistan). The rest comprised of stunt films of Master Bhagwan and other social films. Hit films were -5, all for Filmistan.
During this period, starting with film Safar-1946, his female lead singer was Binapani Mukherjee. She remained so, till Lata Mangeshkar dominated the music of C Ramchandra from 1950 onwards. As such, Binapani was not a great singer and she had limitations. This, precisely, was the reason why her career was limited to only about just 20 odd films with 50 odd songs. Her all popular songs were with C Ramchandra only.
Binapani was born on 17-10-1925, in a music loving family of Calcutta. Initial music training was by her grandfather Sheetal chandra Mukherjee and and later from ustad Sageer Khan of Rampur.
C.Ramchandra gave her first break in playback in film “Muskurahat”-1943. Her first song was-‘Hans le gaa le…’. It was a duet with CR.
Then came Majdoor, Eight days, Darban, Rangbhumi, but she became famous after ‘Safar’-46.
Her most popular song-‘kabhi yaad kar ke,gali paar kar ke,chali aana hamare angana…’ was from this film, as a duet with C Ramchandra.
She also sang in Leela, Mulakat, Shahnai, Samrat Ashok, Satyanarayan, Raaz, Rumaal, Asra, Abla, Bhikari, Fariyad, Laajawab, Ghayal etc.
Her last film was Gyan Dutt’s ‘Ghayal’-1951.
She was the lead singer (female) for C.Ramchandra, till 1950 i.e. till Lata came on the scene.
Her voice was very sweet and was suitable for sad songs.
She sang under C Ramchandra, Khemchand Prakash, Gyan Dutt, Hansraj Behl, Sardar Malik, Anil Biswas, S D Burman, H P Das, Premnath, Gulshan Sufi, Khursheed khan etc. etc.
After playback singing, she retired from film singing and taught music to aspirants throughout her unmarried life. She was staying in Bombay, with her brother.
The Hero of film Leela was Kanu Roy. The name KANU ROY is another instance of ” Same name confusion “. There was a composer also by the name Kanu Roy who gave music in a few films. Most people and many Internet sites, including IMDB,consider these two different persons as one and claim films for acting and music together, as if he was an actor and a composer. In Hindi films this happened routinely, but in the early era of Talkie films. Master Krishnarao, Vinayakrao Patwardhan, Master Mohammed, Badriprashad, Vithaldas Panchotiya etc can be quoted as actor/composers. Lately only the name of Kishore Kumar comes to the mind in this category.
Kanu Roy (the Actor) was in reality a name for Nalini Ranjan Roy, born on 9-12-1912 at Jabalpore. He was very fond of acting and so landed at Bombay Talkies, a company started by 2 Benagalese- Himanshu Roy and Devika Rani. Those days many people from Bengal used to come to Bombay Talkies, but only the capable ones like Amiya Chakravarty, Shashadhar Mukherjee or Ashok Kumar etc could make their careers here.
Kanu Roy started his acting career from the film Basant-1942. His name Nalini was sounding like a Girl’s name in Bombay ( there were already half a dozen Nalinis working in films those days), so it was changed and he opted for Kanu, his pet name in the house. Thus Kanu Roy came into films. Due to his good looks, he even became a lead actor in a few films. Nazrana-1946 (UR) was one such film where he was working opposite Kamini Kaushal. Kanu Roy also left Bombay Talkies along with S.Mukherjee and others and joined Filmistan. He was in many Filmistan films like, Munim ji, Nastik, Naagin, Jagriti etc. He acted in a Bangla film ‘Samar’too in 1950. Kanu Roy worked in about 40 odd films from 42 to 83 ( kisi se naa kehna).
It is a coincidence that Leela Mishra was also working in film Leela-1947. This is one actress ,who came from a village and remained a villager though out her life. Though she earned a lot with 300++ films, till the end she lived in a 2 room tenement only. She disliked and never saw films, even her own films.
Leela Mishra (1 January 1908 – 17 January 1988) was a Hindi film actress. She worked as a character actor in over 300 Hindi films for five decades, and is best remembered for playing stock characters such as aunts (Chachi or Mausi). She is best known for her role of “mausi” in the blockbuster Sholay (1975), Dil Se Mile Dil (1978), Baton Baton Mein (1979), Rajesh Khanna films such as Palkon Ki Chhaon Mein, Aanchal, Mehbooba, Amar Prem and Rajshri Productions hits such as Geet Gaata Chal (1975), Nadiya Ke Paar (1982) and Abodh (1984). Her career’s best performance was in Naani Maa in 1981, for which she received Best Actress award at the age of 73.
Leela Mishra was married to Ram Prasad Mishra, who was a character artist, then working in silent films. She got married at the very young age of 12. By the time she was 17, she had two daughters. She hailed from Jais, Raebareli. She and her husband were from zamindar (landowners) families.
Leela Mishra was discovered by a man called Mama Shinde, who was working for Dadasaheb Phalke’s Nasik Cinetone. He persuaded her husband to make her work in films. During those days there was a severe scarcity of women actors in films; this was evident in the paychecks that the Mishras received when they went to Nasik for the shooting. While Ram Prasad Mishra was hired on a salary of Rs. 150 per month, Leela Mishra was offered Rs. 500 per month. However, as they fared poorly in front of the camera, their contracts were cancelled.
The next opportunity that came their way was an offer to work in the movie Bhikarin, which was being produced by Kolhapur Cinetone, a company owned by the Maharaja of Kolhapur. However, Leela Mishra lost out on this opportunity too, as the role required her to put her arms round the actor (who was not her husband) while delivering a dialogue, which she point-blank refused to do.
Their next film was Gangavataran-1937, directed by Dadasaheb Phalke. This was his only and the last Talkie film. In this film Leela did the role of Parvati. This became her first film.
She had faced a similar problem while working earlier in another film titled Honhaar-1936. She was cast opposite Shahu Modak as a heroine, and was supposed to hug and embrace him, which she again refused steadfastly. Since the company was legally in a weak position, they couldn’t turn her out of the film, which proved to be a blessing in disguise for her. She was offered Modak’s mother’s role in the film and it clicked instantly. This opened the doors for her to play mother roles at the young age of 18.
Early on in her career she acted in notable films such as the musical hit Anmol Ghadi (1946), Raj Kapoor’s Awaara (1951) and Nargis-Balraj Sahni starrer Lajwanti (1958), which was nominated for the Palme d’Or for Best Film at 1959 Cannes Film Festival.
She acted in the first Bhojpuri film, Ganga Maiyya Tohe Piyari Chadhaibo (1962), which also starred Kumkum, Helen and Nasir Hussain.
Her roles varied from mothers, benign or evil aunts, to comic roles.
She acted in 344 films. Her last released film was Aatank-1996. 8 films were released after her death.
Today’s song is the 7th song (out of nine) from the film. It is a duet of Chitalkar and Binapani ( this is a name of Goddess Saraswati). It is aquite hummable song. Enjoy.
Song-Aate jaate nazar milaate ho jaata hai pyaar (Leela)(1947) Singers-Binapani Mukherjee, C Ramchandra, Lyrics-Gopal Singh Nepali, MD-C Ramchandra
Both
Lyrics
Aate jaate nazar milaate
mil jaate dildaar
do dil bolen
sang sang dolen
ho jaata hai pyaar
ho o ho o
tum ?? milne the
main duniya mein anjaani
tum ?? milne the
main duniya mein anjaani
?? nadi ki donon ??
phir kya aana-kaani
?? nadi ki donon ??
phir kya aana-kaani
hilmil jaayen
ghulmil jaayen
chalo chalen us paar
do dil bolen
sang sang dolen
ho jaata hai pyaar
jab phoolon ka chaand uthhe
dharti se dheere dheere
jab phoolon ka chaand uthhe
dharti se dheere dheere
hum bhi ghar se nikal chalenge
pyaar ki jamuna teere
hum bhi ghar se nikal chalenge
pyaar ki jamuna teere
nayi jawaani raat chaandni
milne ka tyohaar
do dil bolen
sang sang dolen
ho jaata hai pyaar
lambi raah door hai jaana
thhak jaana ruk jaana
lambi raah door hai jaana
thhak jaana ruk jaana
tum peepal ki thhandi chhaaya
ban ke jhhuk jhhuk aana
tum peepal ki thhandi chhaaya
ban ke jhhuk jhhuk aana
preet laga ke
meet bana ke
kaun kare inkaar
do dil bolen
sang sang dolen
ho jaata hai pyaar
Aate jaate nazar milaate
mil jaate dildaar
do dil bolen
sang sang dolen
ho jaata hai pyaar
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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 4141 | Post No. : | 15303 |
Today’s song is from film Arsi-1947.
Till recently, I was wondering, what was the meaning of this Title word Arsi. I could not find the meaning anywhere and finally I left my attempts. Then one day, I read the review of this film, in the June 1948 issue of Film India and I got a new piece of wisdom that Arsi was a name of the girl in the film. It was for the first time that I learnt that a name such as Arsi could be a girl’s name in India. Out of curiosity, I checked the 3 ” Boys and Girls Names ” books that I have in my collection, but in none of the books this name was found. At last, I decided to surrender to Guru Google ji, and to my surprise, I learnt that the word means ” Mirror ” !
The film Arsi was made by Jeevan Pictures, Lahore. It was directed by Daud Chaand. All the 11 songs were written by Sarashar Sailani. This was his first film as a Lyricist. The owner of Jeevan Pictures, was Motiram Jain and he was a lover of Shayari and poetry. Sarashar Sailani, who was not much educated (not a graduate), but was a school teacher, used to participate in Mushayras. Motiram liked his shayari. When Motiram started his First film Arsi-47, he invited Sailani to write story, song and dialogues for this film. Some songs became popular and Sailani jumped into film line.
Lachhiram called him for his next film Mohini-47 and Shyamsunder called him for Ek Roz-47. Along with director Daud Chaand, Sailani also shifted to Bombay. However, after the Partition, Daud returned to Lahore but Sailani remained in India. He wrote lyrics. generally he got only low budget films, but he worked with some quality composers like Pt. Amarnath, Husnlal-Bhagatram, Roshan, Chitragupta, Jaidev, A R Qureshi, Hansraj Behl etc.
In all, he wrote 150 songs in 32 films. From 1960 onwards, after film ‘ Bade ghar ki bahu’, he stopped song writing and took up only story, dialogue writing, in which he did many good films. Sarshar Sailani died on 10-4-1969.
In film Arsi-47, there were 2 MDs – Lachhiram Tamar and Shyamsunder. Although HFGK is silent on crediting MDs for any song, those who uploaded the songs on YT have indicated MD names as given on the records. Much is written about Shyamsunder, but not much is available on Lachhiram. Last year, in one of posts, I have given information about Lachhiram Tamar already.
The film’s director was Daud Chaand. Dawood Chand was a prominent film director of 1930’s & 1940’s of Indian cinema. He directed Veer Kaisri (1938), Joshe-e-Islam (1939), Sipahee (1941), Jangee jawan (1943), Paraey Bas main (1946), Aaarsee and Aik roze (1947) and Papeeha Re-48 in India.
In Paksitan he was director of first ever released Pakistan film Tairi Yad (1948). Some of his others films were Hichkoley, Mundri (1949), Sassi (1954), Bulbul (1955), Mirza Sahebaan and Hatim (1956), Muraad (1957), Aalam ara (1959), Sapairan (1961), Khaiber Pass and Ghazala (1963), Reshma (1970), and Bahadra (1973).RAZA MIR (Producer/Director)
He acted in Indian film Shaher say door (1946) but in Pakistan he chose other profession. He was Pakistan’s First film Teri yaad’s (1948) cinematographer and director. He also directed some other films like Baiti (1964), Lakhon main aik (1967), Aaasra and Aneela (1969), Parai aag (1971), Naag muni, Vicharya saathi (1973), Professor and Arzoo (1975) Sohni mahiinwal (1976) and Dil keey daagh (1978). Asif Raza Mir film hero of late 1970’s and early 1980’s and a good TV artist is his son. He died on 24-5-1975 at Lahore, Pakistan.
The cast of the film was Meena (Shorey), Al Nasir, Ajmal, Asha Posley, Zahoor Shah, Bheemsain, Ramlal, Pran, Cuckoo etc etc. When I had first come across the name Asha Posley, in my younger days, I was a bit amused, because the name sounded almost like Asha Bhosle ! When I started writing about old films, I realised that her real name was something else and this was a name acquired by her.
Asha Posley was born Sabira Begum in Patiala, Punjab, British India in 1927. She was given the film name Asha Posley by the renowned music director Ghulam Haider. She made her film debut in a Lahore-made Punjabi film Gawandi (1942) as a supporting actress.Later she played just a few female lead roles in some films starting with film Champa (1945) and then Kamli (1946) in British India. Her films in India were Champa-45, Paraye Bas mein-46, Kamla-46, Badnaami-46, Aai Bahar-46, Pagdandi-47, Ek Roz-47, Arsi-47, Sassi-48 (un released), Roop Rekha-48, Papeeha Re-48 and Barsat ki ek raat-48. She also sang 5 songs in 3 films.
After independence of Pakistan in 1947, her whole family migrated to Lahore, Pakistan including her music director father Inayat Ali Nath and her 2 sisters- actress Rani Kiran and Kausar Perveen who later gained fame in Pakistan as a film playback singer. Her father was the music director for the first-ever released film in Pakistan- Teri Yaad (1948) and Asha Posley played the female lead role in the film opposite Nasir Khan who was a brother of famous Indian actor Dilip Kumar.
Later she was mostly cast in supporting roles opposite comedian actors Nazar and Asif Jah in films both in Urdu and Punjabi languages. She acted in 129 films in total in her career spanning over 4 decades (1942-1986). Her last film was Insaf (1986). She also appeared on Stage, TV and Radio and she was also a part-time singer. Asha Posley was awarded a Special Award for Excellence in 30 years of acting by the prestigious Nigar Awards organization in Pakistan in 1982.
Asha Poslay died on March 26, 1998 at Lahore.
Asha Posley’s case is a sad one. The way Pak film industry treated her in her last days, is no different than what Indian film industry did in the past. She and her family spent hard days and she died in poverty. Only the other day, I came across an article written by film journalist of Pakistan- Navaid Rasheed in The Dawn.com in April 2001. In it, he wrote about her house…..” The humble abode is enveloped in depressive atmosphere. The rooms are in ramshackle condition. The main door leads to a very small room which is without a roof. If it was bigger in size, it would be called a courtyard. Things are helter skelter all over the place. Can somebody imagine that this is a place where a glamorous diva lived not too long ago.
Yes, this place was the last abode of Pakistan film industry’s first heroine Asha Posley who died three years ago. Ever since then the family has been living in a dilapidated state. Not that the things were any better when the actress was alive, in fact she herself was dependent on her brother whose house this is. But at least she was there for them, her being there was enough for them.”
Asha Posley was a very attractive, frank, ever smiling and popular actress in Pakistan. Asha Posley was undoubtedly one of the most modern, bold and flamboyant heroine of the local cinema. Those well-arched eye-brows, deep almond-shaped set of eyes, high cheek bones, the square jaw, the curly jet black locks and the mischievous smile is hard to forget. For a woman who once charmed the cinegoers for so long did not have enough money to make her ends meet at her retirement. Such a sad ending is not what she deserved. But that is exactly what happened.
Ever since Asha Posley was forced to sit home by the ruthless film industry that gave her no work for long, there was not a single day when she didn’t wait to be offered even a small role from the industry. When no one came from the industry to help her, she looked towards the public sector. She requested time and again for help but in vain. Such a talented actress of calibre was fast diminishing into oblivion but no one was bothered to save her. So finally she died unsung in March, 1998. Still no one was effected.
Teri Yaad was the first Pakistani film to be released in 1948 and Asha’s hero in it was Dilip Kumar’s brother Nasir Khan. It was directed by Dawood Chand. Asha Posley belonged to Patiala (India) and was born in 1927. She worked in Radio Pakistan as Riffat Aisha and was in possession of a good voice. Before partition she worked for the first time in Kamli (1946) which was not too successful but owing to her looks, her spicy sense of humour and bold style of conversation, she became pretty famous in film circles.
After partition she also worked in films like Ghalat Fehmi, Shahida and Bulbulall of which proved to be failures. However, when she opted to play a vamp in Sassi, it proved to be very successful. Hence onwards began a long journey of vampish roles for Asha. Her occasional pairing with comedian Nazar in certain films too won accolades for her as a comedy star. One of her memorable films as a vamp was Intezaar featuring Noor Jehan and Santosh Kumar
in the lead. Kismet and Dulla Bhatti were other successful ventures where she put in memorable performances. Her dances too were the main highlight of these films.
Asha’s younger sister Rani Kiran was also a film heroine while another of her sister Kausar Parveen was a famous playback singer of the 50s who died very young. Rani Kiran is still alive but leading a pathetic life.
Asha’s famous films include Toofaan, Mukhra, Hatim, Ashiana, Hum Aik Hein, Khizaan kei Baad, Son of Ali Baba, Mehandi, Pasbaan and others. She made occasional appearances on various television shows where she reminisced her past glory and mentioned for support too. But apparently nothing happened. Nobody could improve her state of affairs, but at least someone can still help her sister Rani Kiran and save her from going the Asha Posley way, out of this world.
This was the fate of discarded artistes…be it Pakistan or India. We can quote many such cases from our own court yards. Thank God, these days the situation is much much better and no such cases are to be seen since few years. Hope this is so even in Pakistan.
Film Arsi-47 was released on 10-4-1948 at Majestic Cinema in Bombay. The screenplay was by M R Bhakhri. Film India magazine June 48 issue featured a review of this film. As usual Baburao Patel had nothing good to say about the story, acting or even the Music. He surely sympathised with the Director, who could not do much with the weak story. The story,in short, as given in the review (minus criticism) is …
Ramesh (Al Nasir) is the son of the village Zamindar. He loves Arsi (Meena), daughter of Bansi, a poor farmer. Unfortunately, the Zamindar himself wants to marry Arsi. When this proposal is declined, Bansi, with his daughter and young son is driven out of the village. Soon after, Bansi dies and Arsi has to sell a Gold Frame, gifted by Ramesh. However, she is accused of stealing it from the Zamindar’s house and is sentenced to 14 years of Jail term.
Her brother grows up. The Brother Mohan (Ajmal) loves and marries dancer Sharada (Asha Posley). The Zamindar dies. After 14 years, Arsi is released. She is employed as a Maid by Ramesh and later they marry also. The End !!! (Thank God !)
The story is too simple and predictable. No wonder Film India criticised it. Today’s song is a duet by S D Batish and Zeenat Begum. One more interesting Trivia. Sarashar Sailani had also acted in this film, but under the name Bheemsain. This was the only film he ever acted in a film.
Song- Duniya chhoote par na chhoote teri gali ka phera (Aarsi)(1947) Singers- S D Batish, Zeenat Begum, Lyrics- Sarshar Sailani, MD- Lachhiram Tamar
Lyrics
Duniya chhoote
ho
Duniya chhoote par na chhoote teri gali ka phera
ho teri gali ka phera
Duniya chhoote
ho
Duniya chhoote par na chhoote teri gali ka phera
ho teri gali ka phera
gali ka phera kaise chhoote
prem ka bandhan kaise toote
gali ka phera kaise chhoote
prem ka bandhan kaise toote
kaise chhodoon kaise chhoote
teri gali ka phera re
haay teri gali ka phera re
Duniya chhoote
ho
Duniya chhoote par na chhoote teri gali ka phera
ho teri gali ka phera
nain milaa ke
mast banaa ke
nain milaa ke
mast banaa ke
jee bharma ke loot liya
haaye loot liya
nain milaa ke
mast banaa ke
jee bharma ke loot liya
haaye loot liya
loot liya sajni ke man ko
loot liya sajni ke man ko
saajan bada lutera re
haaye saajan bada lutera re
Duniya chhoote
ho
Duniya chhoote par na chhoote teri gali ka phera
ho teri gali ka phera
kaise jaadoo daala dil par
teri mast nigaahon ne
kaise jaadoo daala dil par
teri mast nigaahon ne
duniya chhod ke aan lagaaya
duniya chhod ke aan lagaaya
teri gali mein dera re
haaye teri gali mein dera re
Duniya chhoote
ho
Duniya chhoote par na chhoote teri gali ka phera
ho teri gali ka phera
naav bhanwar mein chhod na dena
preet ke matwaare rasiya
naav bhanwar mein chhod na dena
preet ke matwaare rasiya
preet laga ke tod na dena
preet laga ke tod na dena
naazuk hai dil mera re
haaye naazuk hai dil mera re
Duniya chhoote
ho
Duniya chhoote par na chhoote teri gali ka phera
ho teri gali ka phera
chun chun kankar mahal basaaya
log kahen ghar mera aa re
na ghar tera na ghar mera aa aa
chidiya rain basera aa aa aa
Aaye sajni shubh din aaye
Posted on: November 16, 2019
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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 4138 | Post No. : | 15298 |
Today’s song is from film Manzil-1936.
The film was made by Calcutta’s New Theatres. It was directed by P C Barua – who also acted in the film. P C Barua (24-10-1903 to 29-11-1951) had acted in 8 Hindi films and directed 14 films in Hindi. In film Jawab-42, he even sang one song. The lyricists for this film were Arzoo Lucknowi and A H Shor. The music was composed by R C Boral, duly assisted by Pankaj Mullick. Though there were 9 songs in the film, it seems only 4 songs were issued on commercial records. 2 songs are already discussed and today’s song will be the 3rd song from Manzil-36. The cast of the film was Jamuna, Molina Devi, P C Barua, Prithvirasj Kapoor, Nimo, K C Dey, Harimati, Sitara, Shor etc.etc.
In the first decade of Talkie films, films made by New Theatres, Calcutta were more popular than Hindi films made in Bombay. There were 3 reasons. One- Bangla films were strong on story content. Two- music was appealing – especially of Saigal films and three- their distribution network was very wide and strong, thereby reaching a larger audience. It covered, South, West, North, in addition to East and Burma.
The story content was strong, because almost every film was based on famous Bangla novels. This ensured that the audience was familiar with the theme and now they wanted to see and hear the characters from the book. Film makers from Bengal were all well educated and rarely resorted to made up stories. They invariably made films on famous novels. Films from Bombay were made either from folk tales, Parsi-Gujarati- Marathi stage dramas or on stories cooked up by the so called ” story Departments” of the studios.
While there were films based on stories by authors from many languages, the most such films were based on works from Bengal.The reasons were simple. The film makers from and in Bengal were educated and secondly,those film makers who shifted from Calcutta to Bombay, followed the same pattern. Thus many films were made on novels from Bengal. One name stands out ,whose works outnumber all other authors on whose novels Hindi films were made and that name is SARAT CHANDRA CHATTOPADHYAYA (Chatterjee)-1876-1938.
Other famous authors like Bankimchandra Chatterjee etc. were also used, but to my knowledge, more films were based on Sarat Babu’s novels. Except perhaps Devdas, his novels generally were spun around misunderstandings between Lovers,friends, relatives etc. and ended with happy events. These were entertaining, surely.
Some of his novels on which films were made are…
1. Devdas…1935,55,2002 and 2009. 16 films in 7 languages
2. Parineeta…1953 and 2005
3. Swami…1977(H) and 2008(B) (Antaratma)
4. Apne paraye…1980 (Nishkriti)
5. Chhoti Bahu…71 and 84 (Bindur Chhele)
6. Iti Shrikant…2004 (Shrikant)
7. Khushboo…54 and 75 (Pandit Mashai)
8. Majhli Didi…67 (Mejdidi)
9. Manzil…36 (Grihdaah)
10. Biraj Bahu…54 (Biraj Bahu)
11. Mana Desam…49 NTR’s Debut…Telugu (Vipradas)
12. Vagdanam-61 Telugu (Datta)
( This list is only indicative and not exhaustive)
Today we will listen to a song from film MANZIL-1936, produced by New Theatres, Calcutta. This film is based on Sarat’s “GRIH DAAH” (The inflammed Home).
The novel Grih Daah was first serialised in Bangla paper ‘Bharatbarsha’ in 1919. The novel was published on 20-3-1920 in Calcutta. The central theme of the novel was the conflict between the Bramho Samaj and the Traditionalists in those days.
To understand this theme one must know the background. In the late 19th century BRAMHO SAMAJ was established in Bengal by those Bramhins/ Bhadraloks who thought that it was now time for the Renaisance of the Bramhins who were stuck in the age old outdated customs and rituals. But there was a large group who strongly believed in Traditional ways, values and the customs. In the end of 19th century and the begining of 20th century this battle between these two groups became fierce. Bramhos wanted to be upto date with modern times.
Saratchandra belonged to the Tradionalists. Most of his novels advocated this. Ofcourse,his novels had captivating situations, literary values and very firm and strong Heroines which made his novels very popular. His stories were mostly woman-centric.
One point I must admire in Bengali film makers and that is that they were very loyal and true to the storylines on which the films were made. There was neither compromise nor ” Cinematic liberties” taken at all.
Manzil-36 was a story of this conflict.
MAHIM (Pramathesh Barua) is a poor but educated young man. His friend Suresh (Prithviraj Kapoor) is a rich playboy. ACHALA ( Jamuna ) is brought up in a modern Bramho family, who has the liberty to choose her own life partner. Both Suresh and Mahim love Achala. She chooses Mahim, impressed with his intellectual power and education, though she is also impressed with the riches of Suresh. After marriage, both move to another town. In a short time Achala gets disillusioned about Mahim, due to his poverty. She remembers Suresh. Once Mahim gets this doubt and they fight. Their relations become strained. Mahim falls ill seriously. Meanwhile Suresh arrives in that town and meets Achala. While treating and nursing Mahim, Achala is in two minds.
One day she elopes with Suresh, but in a month’s time she realises her blunder. She sees the playboy ways of Suresh and realises that he is not loving her truly. With remorse, she shows the courage to return to her husband Mahim. He also,with great magnanimity,forgives her and accepts her. Thus the traditional principals have won over the modern outlook.
The cast of this film includes Jamuna and Molina Devi, about whom, not much information was available here. Jamuna’s name is a ” same name confusion” case. I know atleast 3 Jamunas, who worked in Hindi films. Luckily, they all operated in almost different time periods, still Internet makes lot of mistakes in their Filmographies.
Jamuna ( 10-10-1919 to 24-11-2005) was the fourth of the six daughters of Puran Gupta, a resident of a village near Agra, India. Each of the sisters was named after an Indian river like Ganga, Jamuna, Bhagirathi etc. As destiny would have it, Jamuna came to reside in Calcutta, a leading film producing city in India. Originally from Gauripur of Assam’s Goalpara district (undivided), Jamuna was married to the legendary actor director Pramathesh Barua, or P.C. Barua, who died in 1951. She began her acting career in her husband’s famous production Devdas in 1936 and was the film’s lead character Parvati or Paro. She went on to make a number of memorable movies in Assamese, Bengali and Hindi, notably Amiri, Mukti, Adhikar and Sesh Uttar. She stopped acting after Barua died.
Jamuna made her film debut in the 1930s and played a small role in Mohabbat Ki Kasauti (1934), Hindi version of Rooplekha (Bengali), directed by P.C. Barua. A romance started although Barua, hailing from the native Indian state of Gauripur, Assam, was already twice married. As the actress, who was to play Parbati in Barua’s next venture Devdas (1935) reported inability to attend the studio on the very first day of shooting, Jamuna was called from Barua’s residence (she was living with him by then) and was asked to get down to work straight away without any preparation whatsoever. Thus she came to be the first Parbati of Indian talkies- Miss Light had played the role in the silent version of the enormously popular Sarat Chandra novel. Aishwarya Rai happens to the last so far and Devdas has been made and re-made a number of times. Jamuna played the same role in the Hindi version also and was accepted in this very first proper exposure as an actress in her own right.
She continued to act in Barua’s films like Grihadaha (1936), Maya (1936), Adhikar (1939), Uttarayan (1941), Shesh Uttar (1942), Chander Kalanka (1944) and the respective Hindi versions of each film. Barua had left the prestigious New Theatres in 1940 and was directing as well as producing his films. Thereafter she acted in a number of Barua directed Hindi movies like Amiree, Pehchan and Iran Ki Ek Raat. These films however did not add to the prestige of either to Barua or to Jamuna. Jamuna also acted outside Barua direction in three Bengali films Debar (1943) and Nilanguriya (1943) where she proved herself without Barua’s influence. Her last film Malancha (1953) was also outside Barua’s direction. She also starred in its Hindi version Phulwari (1953).
Barua’s death in 1951 when he was only 48 changed Jamuna’s life altogether. She had three sons by Barua, Deb Kumar, Rajat and Prasun. They were all minors at the time and the Gauripur estate refused to take any of their responsibilities. She had to wage a legal battle with the powerful and influential royal family to get her and her children’s dues and recognition. Time settled the matters and she was allowed ownership of the house with its vast adjoining land and also an allowance. Jamuna spent the rest of her life after Barua as a housewife, busy in bringing up her minor sons. She had to complete the unfinished film Malancha of course but bid adieu to the film industry soon after. Later in her life she did attend a number of functions to celebrate the centennial year of husband P.C. Barua and received felicitations from the Government of India and the state Government of Assam as the first Parbati of Indian talkies.
Her last days were not very comfortable and she was bedridden for more than six months prior to her death. She is survived by her three sons and their families and a host of relatives. According to her family members, she had been ill for some time, and the cause of death was illness related to old age. She died at her residence in South Kolkata. She had acted in 13 Hindi films. Her last film was Phulwari-51.
Molina being an uncommon name there was no other actress of this name. Molina Devi was born in 1917. She received training in acting from Aparesh Mukherjee, and made her debut, at the age of 8, in a silent movie. She was acknowledged as one of the leading actresses of the Bengali stage, with her professional career spanning more than three decades.
In 1924, she debuted in a silent film while at the age of 8 and thereafter worked as dancer mainly in the mythological and historical plays. She performed some memorable roles in Bengali as well as Hindi films. She got a break through in Puran Bhagat and, Molina played the title role in the movie, Rani Rasmani. She took various roles, even vamps in her early career such as in Pramathesh Barua’s Rajat Jayanti in 1939. She also directed a Kolkata based theatre troupe, M. G. Enterprises.
Molina worked in Rangana theatre as chief artist. She performed as a singer on radio and contributed for formation of Mahila Silpi Mahal, a welfare association for female artists of Bengal. Molina Devi’s high creative excellence had found expression in such diverse media as the stage, the film and the radio. As a founder of the M. G. Enterprise, now in its twenty-third year, she had been responsible for the success of such well-known plays as ‘Thakur Sri Sri’, ‘Rani Rasmoni’, ‘Jagatbandhu’ and ‘Bholagiri’.
She had been honoured and decorated by many eminent organisations and learned bodies. For her eminence in the field of Drama and her contribution to its enrichment , Molina Devi received the Sangeet Natak Akademi Award for Acting.
Her first husband was Jolu Boral and the second husband was actor Gurudas Banerjee.
Molina died on 13 August 1977 in Kolkata. She acted in 22 Hindi films. Her first Hindi film was Raaj Rani Meera-33 and last film was Babla-53. She also sang 11 songs in 4 Hindi films.
The singer of today’s song, Harimati Dua was one of the three singers of the First playbback song in Hindi Film History recorded for film Dhoop Chhaon-1935, along with Parul Ghosh and Suprova Sarkar.
She acted in 2 films and sang 9 songs in few films like, Manzil, Dhoop chhaaon, Maya, Ananth Ashram and Khudai khidmatgar.
Song-Aaye sajni shubh din aaye sab ki bigdi Raam banaaye (Manzil)(1936) Singer- Harimati, Lyrics- Aarzoo Lucknowi, MD- R C Boral
Lyrics
Aaye sajni
shubh din aaye
Aaye sajni
shubh din aaye
sab ki bigdi raam banaaye
sab ki bigdi raam banaaye
dekh dekh ke man lalchaaye
dekh dekh ke man lalchaaye
aankh mili
dil bhi mil jaaye
aankh mili
dil bhi mil jaaye
moh ka rasiya ras barsaaye
moh ka rasiya ras barsaaye
jalti agni maar bujhaaye
jalti agni maar bujhaaye
Aaye sajni
shubh din aaye
Aaye sajni
shubh din aaye
sab ki bigdi raam banaaye
sab ki bigdi raam banaaye
?? nahin hansi ye ro dena
?? to nahin hansi ye ro dena
na apni na wo kahin aap hi se ro dena
na apni na wo kahin aap hi se ro dena
sadabahaar bane ye tumhaara raaj suhaag
sadabahaar bane ye tumhaara raaj suhaag
jo sukh dukhon se mila hai
wo phir na kho dena
jo sukh dukhon se mila hai
wo phir na kho dena
ye rog wo hai jo dil ?? ke jaan leta hai
ye rog wo hai jo dil ?? ke jaan leta hai
usi ki jeet hai jo haar maan leta hai
usi ki jeet hai jo haar maan leta hai
Aaye sajni
shubh din aaaaaaaye
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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 4137 | Post No. : | 15296 |
Today’s song is from the film Maya Bazar-49.
There can not be a single person in India who does not know stories from Ramayan and Mahabharat. Whether the person is educated or uneducated, belonging to any religion or Caste, knows about these Epics. People other than Hindus, may not know much, but every Hindu knows Ramayan and Mahabharat stories.
We have heard and read various stories from these Epics, which were written several thousand years ago. The Mahabharat, which is approximately four times bigger than Ramayana has stories which are full of Adventure, Human qualities and Magic. These stories are more interesting than Ramayana stories, anyday.
The very fact that these Epics are age old, is also the cause of many newer stories getting added to the original ‘ Historical Document ‘ over several generations. Some highly imaginative and enterprising playwright of Yore created a new character in Mahabharat. This was supposed to be the daughter of Balram, the elder brother of Shri Krishna, and got her married to the son of Arjuna, in a very thrilling way. In the original epic, she is non-existent.
This first started in Maharashtra, where stage dramas were very popular. Different drama companies gave the imaginary daughter different names, to prove that their story was authentic. Thus two names- Surekha and Vatsala came into the stories for this fictitious character. Addition of Krishna and a Rakshas- Ghatotkach also added the required humour and magic. These dramas became very popular.
When Silent film era began, the then famous Maharashtra Film company of Kolhapur, belonging to Baburao Painter, made not one, but three silent films on this story. The first film was Vatsala Haran-1919, the second was Surekha-Abhimanyu alias Surekha Haran-1921 and the third film was Maya Bazar alias Vatsala Haran-1923.
The South was not to lag behind. They too staged dramas on this story, but the name of the daughter was changed to Sasirekha, to claim that their story was the original.The famous ” Surabhi Drama Troupe” of south made the play- one of the most crowd pulling popular show. In south a silent film on this story was made as ” Maya Bazar”-1925.
When the Talkie films started in 1931, in the very next year, film ” Maya Bazar”-32 was made by Sagar Movietone. Subsequently, movies on this title were made in 1949, 1958, 1971, and 1984 also. The south made a Talkie film Maya Bazar in 1936 with a title ‘ Sasirekha Parinay’, because Surekha/Vatsala was known as Sasirekha in south. However, one of the best ever films on this story was made by Vijay Vauhini Studios, Madras as ” Maya Bazar” in 1957 in Telugu and Tamil. The Kannada version- as dubbed film- came in 1958. This film was on Top in the list ” 100 greatest films made in India “, by CNN-IBN, for the period of 100 years-1913 to 2013. I have seen this wonderful film and enjoyed it thoroughly.
Our today’s film Maya Bazar-(Vatsala Haran)-49 was made by Manik Studios, Bombay. All songs of this film as well as the story and screenplay was done by Pt. Mukhram Sharma and the music was by Sudhir Phadke. The film was made Bilingual-in Hindi and Marathi. The cast was Durga Khote, Shahu Modak, Baby Shakuntala, Balakram, Kusum Deshpande and Vasant Thengadi ( they were Husband-wife pair in real life), Ganpatrao Bakre (one time a famous, popular and handsome Hero of silent films), Usha Marathe ( she changed her name to Usha Kiran and became famous in Hindi and Marathi films,later on), Master Chhotu etc.etc.
The film was directed by Datta Dharmadhikari. This was his first independent film as a director. Earlier he had joined Raja Nene for directing film Shadi se pehle-47. Datta Dharmadhikari was born on 2-12-1913 at Kolhapur in a lower middle class family. He studied up to Matriculation and started working in various film studios of Kolhapur. He first worked with Baburao pendharkar and then joined Prabhat. He learnt from almost every department of film making, except the Music department. He even acted a small role in film Sant Gyaneshwar -40, a bilingual in Marathi and Hindi. Having worked as an assistant director, he became joint Director with Raja Nene for film ‘Shadi se pehle ‘-47. Simultaneously, he directed some very successful films in Marathi.
He established his own production company “Alhad Chitra “. Alhad ( means joy ) was his son, who worked as a child artiste in all his films- Hindi and Marathi.Datta re-made some of his successful Marathi films in Hindi, like Nanhe Munne-52 ( Chimni Pakhare in Marathi), Mahatma-53 in 3 Languages- Marathi, Hindi and English and Suhagan-54 ( Suwasini in Marathi ).
When he produced film Mahatma-53 in Hindi and Marathi with an English version,he lost heavily and was forced to sell everything he had. Things were so bad that his wife had to cook Tiffins for people to run the house. However Datta came out of this all. He started accepting Directorial work from other producers, both in Marathi and Hindi. His last film was in 1982. Datta Dharmadhikari died on 30-12-1982.
He directed 21 Marathi and 11 Hindi films. His films in Hindi are Shadi se pehle-47, Maya Bazar-49, Nanhe Munne-52, Mahatma-53, Bhagyawan-53, Savdhan-54, Sudarshan Chakra-56, Deep jalta rahe-59, Subhadra Haran-64, Mujhe seene se lagaa lo-69 and last film Daulat ka Nasha-82. He gave break to a pair of Composers- Vasant-Ramchandra ( Vasant Pawar and Ramchandra Wadhavkar ) for 5 of his films in Hindi, but they could not get any work from other banners and their career in Hindi, as a pair, ended with these 5 films only.
The story of film Maya Bazar-49 was….
Subhadra (the sister of Balarama and Krishna) marries a Pandava- Arjuna. Their son Abhimanyu falls in love with Balarama’s daughter, Vatsala. The families consent to their marrying when they reach adulthood. When Abhimanyu and Vatsala have grown up, Krishna introduces them to each other. One day, the Pandavas are invited by Duryodhana, the eldest of the Kauravas to join in a game of dice. Duryodhana’s uncle, Shakuni, manipulates the results of the game, thereby costing the Pandavas their wealth, their liberty and their wife Draupadi. Duryodhana’s brother, Dushasana, attempts to disrobe Draupadi. He is seen by Krishna, who, furious, comes to her rescue.
On hearing what happened to the Pandavas, Balarama decides to teach the Kauravas a lesson and travels to their capital Hastinapuram. Shakuni and Duryodhana approach Balarama with an insincere respectful manner, then seek his approval of a marriage between Vatsala and Duryodhana’s son Lakshmana Kumara. Their true goal is to force Balarama and Krishna to support them if the Pandavas wage war. Unaware of their real intentions, Balarama agrees to the marriage.Because of the ruined financial state of Pandavas, Balarama’s wife, Revati, refuses to honour her commitment to marry Vatsala and Abhimanyu and expresses her support for the alliance with the Kauravas. Krishna, who is aware of Duryodhana and Shakuni’s real intentions, orders his charioteer Daaruka to take Subhadra and Abhimanyu through the forests to Ghatotkacha’s hermitage.
Ghatotkacha, who happens to be Abhimanyu’s brother, at first thinks they are intruders in his forest and attacks them but later apologises for the misunderstanding. When Subhadra explains the change in the marriage arrangements, Ghatotkacha decides to wage war against both the Kauravas and Balarama. At the urging of his mother, Hidimbi, and Subhadra, Ghatotkacha abandons his plans and is advised instead to try some trickery in Dwaraka.
With the knowledge of Krishna and Vatsala’s servant, he carries the sleeping Vatsala in her bed from Dwaraka, and flies to his hermitage. Assuming Vatsala’s form, he returns to Dwaraka and, with the help of his assistants, wreaks havoc on her wedding to Lakshmana Kumara, preventing the marriage from being carried out.
With the help of assistants, Ghatotkacha creates a magical town consisting of an illusory marketplace and palace. He names the town Mayabazar and invites the Kauravas to stay there. Assistants introduce themselves to the Kauravas as servants appointed by Balarama to look after them. They manage to trick Shakuni’s lackeys. Ghatotkacha (in Vatsala’s form) makes Duryodhana’s wife rethink the marriage arrangement and teases Lakshmana Kumara. He plans the wedding of the real Vatsala and Abhimanyu in his hermitage which is attended by Krishna. Using his divine powers, Krishna also attends as a guest for the marriage taking place in the Mayabazar.
On the wedding day, Ghatotkacha appears before Lakshmana Kumara in various tantalising forms while, at the hermitage, Vatsala marries Abhimanyu. When Shakuni discovers what has really happened, he blames Krishna. Satyaki, Arjuna’s disciple, asks Shakuni to speak standing on a magical box. He proceeds to stand on the box, which makes him involuntarily explain the Kauravas’ real intentions behind the marriage proposal. Ghatotkacha then reveals his identity. After humiliating the Kauravas, Ghatotkacha sends them back to Hastinapur. Vatsala’s parents accept her marriage. They thank Ghatotkacha, who credits Krishna as the mastermind behind everything, including Abhimanyu and Vatsala’s marriage. ( just for information…. this Laxman Kumar is killed by Abhimanyu on the 13th day of the Mahabharat war).
Today’s song is a ‘Sales Pitch’ song- one of the earliest in its category. The singer is Sudhir Phadke, whose voice is so fresh. This was the first Hindi film, in which he sang a song. Same year he also sang in film Sant Janabai-49. That way, this is a rare song. Thanks to Sadanand kamath ji, who uploaded this song on my request.
(I also thank book “Silent Cinema” by Dr. R K Varma, baklol.com and The Hindu article of 30-4-2015 on this film, for information used herein.)
Song-Phatey puraane kapde phenko naye naye tum le lo (Maaya Baazaar)(1949) Singer- Sudhir Phadke, Lyrics- Pt Mukhram Sharma, MD- Sudhir Phadke
Lyrics
Ho o
Nagarvasiyon suno
dhyaan de kar suno
aisa swarn awsar phir kabhi haath na aayega
puraana do
naya lo
puraana
do naya lo
phate puraane kapde phenko
phate puraane kapde phenko
naye naye tum le lo
naye naye tum le lo
gaya samay phir haath na aaye
soch rahe kya le lo
soch rahe kya le lo
soch rahe kya le lo
makhmal pahno
resham pahno
mor mukut peetaambar pahno
maile chithhde phenko phenko o
maile chithhde phenko phenko
naye naye tum le lo
naye naye tum le lo
soch rahe kya le lo
aasmaani ?? chunariyaan
indrdhanush ki lagi chunariyaan
lagi chunariyaan
angiya mein hain chaand sitaare
aawo
le lo
le lo
aao le lo le lo
aao le lo le lo
soch rahe kya le lo
saadi le lo
hanse jawaani
hanse jawaani
hanse jawaani
phoohad pahne
bane sayaani
bane sayaani
bane sayaani
dhaani dhaani jaali waali
kaali peeli choli le lo
le lo
le lo le lo
aao le lo le lo
aao le lo le lo
soch rahe kya le lo
toote phoote bartan phenko
nakkaashi ke bartan dekho
toote phoote bartan phenko
nakkaashi ke bartan dekho
daan dharm ki lagin dukaanen
lagin dukaanen
daan dharm ki lagin dukaanen
lagin dukaanen
lagin dukaanen
muft maal hai le lo
muft maal hai le lo
soch rahe kya le lo
maanik moti heere pehno
ratan jadaau gehne pehno
maanik moti heere pehno
ratan jadaau gehne pehno
Laxmi ka bhandar khula hai
Laxmi ka bhandar khula hai
nagarwaasiyon aao le lo
nagarwaasiyon aao le lo
le lo le lo
le lo le lo
le lo le lo
le lo le lo
le lo le lo
le lo le lo
le lo le lo
le lo le lo
le lo le lo
le lo le lo
le lo le lo
Is duniya se hum nahin darega
Posted on: November 8, 2019
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 4130 | Post No. : | 15289 |
Today’s song is from film Izzat-1952.
The title “Izzat” obviously carried lot of “Izzat” with producers, because I find this Title in 1937, 1952, 1968 and 1992. Further there was Izzat Aabroo-90 and Izzat Aabroo-2005 (I thought these words were synonyms), Izzat ka Rakhwala-2010, Izzat ke Lutere-90, Izzat ki Roti-93, and Izzatdaar-90. I am waiting for a title Izzat ka Falooda. In these days of strange Titles, this is not impossible.
The cast of the film Izzat-52 was Nirupa Roy, Amarnath, Manorama, Agha, Rajni, Jeevan, Veera, P.Kailash, Pesi Patel, Ramesh Thakur, Baby kalpana etc etc.The film was made by Taimur Art productions. Its owner Taimur Behram Shah was the Producer and also the director of this film. The music was by Bulo C Rani. There were two lyricists,namely Raja Mehedi Ali Khan (7 songs) and Butaram Sharma who wrote just 1 song. Taimur Behram Shah was earlier in Ranjit, working as an assistant director. He got opportunity to direct 2 films of Ranjit – Lakhon mein ek-47 and Bhool Bhulaiya-49. Then he started his own production house and made Izzat-52.
Film industry has a cycle, just like Nature. An actor comes, becomes a Hero, after few years works as a side Hero and then shifts to do character roles. There are some actors, who started as Heros, remained Heros and retired as Heros. Such cases are very few. Same applies to actresses too, There are more actresses who quit films, while they were still Heroines. The reasons are usually, marriage or getting children etc. I remember at least one actress, who was a popular Heroine in the late 30s and 40s-till 1947, but stopped acting in films, because her husband strictly forbade her from doing roles other than Heroine. Her name is Meenakshi Shirodkar.
From the cast, we can see that Nirupa Roy, Amarnath, Manorama, Jeevan, Veera, Agha and P.Kailash began as Lead actors and then became side Heroine/Hero and lastly settled for character roles. Some readers may be surprised about Agha being a Hero anytime. It is interesting to note that in film ” Jwar Bhata “-44, Agha was the Hero and Dilip Kumar had made his Debut in this film as a side Hero. While Agha’s Heroine was Shamim, Dilip’s Heroine was Mrudula – a Debutante herself.
Among the cast, the name of P.Kailash and his mention as a Hero in the past, may be a matter of surprise for some readers. For a long time, I was very curious about this actor. One day I was reading a book “Asli Nakli Chehre” ( असली नकली चेहरे ) by Vithal Pandya. In this book, he has given information about P.Kailash, who did the main role in film ” Jai Hanuman-48″, for which Pandya was an assistant Director. Vithal Pandya had spent over 30 years in film industry from the 30s and 40s. He worked with many directors and in many banners. He wrote 2 books in Gujarati/Hindi, which are highly informative with first hand knowledge. For example, he mentions that S N Tripathi, the Music Director was also an actor and was famous in the role of Hanuman in all Wadia movies. However in this film-Jai Hanuman-48, he had done the role of Ravan. Anyway, based on information in this book coupled with an article by M N Sardana ji, on Fb page ‘Voh din yaad karo’ about P.Kailash, here is some information on P.Kailash for our readers, first time. My thanks to both of them.
Mr P Kailash (Pandit Kailash Chandra Sharma),was born on 03 February 1924 at Multai , a small town in Distt Baitul ( Madhya Pradesh ) .After doing H.S.C., he did a stint of teaching in Akola. Bestowed with sharp features and deep voice, fair coloured P Kailash came to Bombay in 1946 to become an actor . He had not to wait for a long to have entry in the film line .
Seth Chandulal Shah gave him a chance in his mythological movie Jai Hanuman ,as hero opposite Nirupa Roy. The movie made under the banner of Ranjit Movietone was directed by Ram Chandra Thakur. Thereafter , Mr Kailash appeared in many mythological, fantasy and historical movies like Veer Durga Das, Sati Anusuiya, Maha Bharat, Prabhu Ki Mahima, Veer Arjun, Gopal Krishna, Nadir Shah, Thief Of Baghdad, Hercules ,Aab E Hayat, Gul E Bakawali etc. In 1953, he performed as a cop in Ranjit Mvietone’s Papi, along with Raj Kapoor. With Dilip Kumar, he did a role which had comic shades in Leader. Shirin Farhad ,made by veteran film maker Aspi Irani, was another movie in which his performance was much appreciated .
Mr P Kailash appeared in numerous movies made by Film makers like Shree Ram Bohra, B K Adarsh and Filmistan. Maine Jeena Seekh Liya, Hum Kahan Ja Rahe Hain, Picnic, Baba Sari Ladli (Rajasthani) ,Jekra Charnwa Mein Lagle Pranwa (Bhojpuri), Love and Murder, were the movies, Mr P Kailash did for the said film makers. Versatile director Krishan Chopra (May God Bless His Soul) ,who died before completing his second movie ,gave him a life time role of a tyrannical land lord in Heera Moti which was based upon the heart warming story Do Bailon Ki Katha, written by great writer Prem Chand . He brought alive the arrogant and heartless Zamindaar on the screen with his dynamic performance .
Krishan Chopra, impressed with the magnificent personality of Mr P Kailash, gave him an important role in his next movie Gaban ,which was completed by Hrishkesh Mukherjee ,after Mr Chopra passed away untimely. It was a sad coincidence ,that Mr P Kailash ,also did not live long. While on a visit to his birth place Multai, he suffered massive heart attack and left for his heavenly abode on 23 May 1967 . Payal Ki Jhankaar ,made by Filmistan and Thief of Baghdad by Mr Shree Ram Bohra were released later ,after he had gone forever in the young age of 43 years ,leaving his two daughters ,one son and wife .
P.Kailash acted in 43 films. His first film was Jai Hanuman-48 and the last released film was Irada-1971.
The Hero of film Izzat-52 was Amarnath. Amarnath (Bharadwaj) is one of the “same name confusions” victims. There were two Pt. Amarnath Music Directors, 1 actor Amar, 1 actor Amarnath and 1 actor/Director (K.) Amarnath. This Amarnath was born in Hafizabad, in Gujaranwala district of Punjab (Now in Pakistan) in 1922. He started acting in 1939 with Kidar Sharma’s “Dil hi to hai”. Graduating from doing small roles he was made the Leading Man in Dalsukh Pancholi’s film “Patjhad”, started in 1947 opposite Meena (Shorey). Pancholi had to flee Lahore due to Partition riots, but he carried the negatives of Patjhad. Though the film was censored in India in 1948, it seems it was never released.
Amarnath starred as Hero in many other films,like Naghma E Sehra-45, Papiha re-48, Barsat ki ek raat-48, Swayam sidha-49, Nai Bhabhi-50, Kamal ke phool-50, Sheesh Mahal-50, Jalte Deep-50, Johri-51, Nai zindagi-51 , Nirmohi-52, Nirmal-52, Izzat-52, Bahu Beti-53, Nav Durga-53, Toofan-54 etc. Then he switched over to side roles. In all, he worked in 81 films (CITWF data). His last film was Kaun ho tum-70.
The third uncommon name in the cast is that of Veera, about whom very few will be knowing. One time she was a very sensuous actress. Veera was from a Parsi family. Her full name was Veera Ankaleshwaria. Obviously, her family came from Ankaleshwar, a small industrial town(now), in Gujarat.
She started her career in films as a Heroine opposite Nasir khan in film Mazdoor-1945. Then came Shikari-46 and later Eight days-46, both had Ashok kumar as the Hero. Both the films were from Filmistan. Her last film as Heroine was Tohfa, opposite Rehman and Leela opposite Agha , both films from 1947. Then she stopped getting Heroine roles and shifted to side roles. In all she did 22 films.
Her other films were, Veena, Ziddi, Chanda ki Chandani- all 48, Sanwaria-49, Hamara Ghar and hamari beti- 1950, Hamari shaan, Ramjanma and Sagar-1951, Aasmaan, izzat, Moti mahal, Sanskar and Shin shinaki boobla boo-all 1952, Dana Pani-53, Boot polish and Sheeshe ki deewar both 1954.
She married Mohsin Abdulla, who had worked in Bombay Talkies as a writer. He was the younger brother of actress Renuka Devi ( Begum Mirza) and the First husband of actress Neena. After the marriage, both migrated to Pakistan in 1955. No news after that.
Today’s song is a duet sung by G M Durrani and Shamshad Begum. It is a typical song belonging to the 50’s music, influenced by C Ramchandra, O P Nayyar and Shankar Jaikishen. I liked this song. I am sure you too will like it.
Song- Iss duniya se hum nahin darega(Izzat)(1952) Singers- G M Durrani, Shamshad Begum, Lyrics- Raja Mehdi Ali Khan, MD- Bulo C Rani
Both
Lyrics
Iss duniya se hum nahin darega
Iss duniya se hum nahin darega
karega karega karega
kargega
karega karega
tumse muhabbat karega
Iss duniya se hum nahin darega
karega karega karega
karega karega
tumse muhabbat karega
zara sambhal sambhal ke aana
ho zara sambhal sambhal ke aana
meri gali mein kahin na pit jaana
ho meri gali mein kahin na pit jaana
haay marenga marenga marenga
marega
karega karega
tumse muhabbat karega
hamen chhedo na
haaye chhedo na
sab duniya dekhti
aaankhen sekti
uyi
dil phenkti
haaye
tamaasha dekhti
tere nain se nain mera ladega
tere nain se nain mera ladega
ladega ladega ladega
bhai ladega
karega karega tumse mohabbat karega
tere galey mein baahon ka
main haar daaloonga
toone roka
ya toka
to maar daaloonga
aisa karega to
aisa karega to dekh phaansi chadhenga
aisa karega to dekh phaansi chadhenga
haa
chadhega chadhega chadhega
lekin
karega karega
tumse mohabbat karega
hum soch samajh ke baat karega
milo akele mein
tum hampe gadbad karte ho
kis bhare jhamele mein
kabhi chhup chhup mere paas aana
ho kabhi chhup chhup mere paas aana
paas aane se kya hoga samjhaana
paas aane se kya hoga samjhaana
abe
karega karega karega
bhai karega
karega karega
tumse muhabbat karega
Is duniya se hum nahin darega
Is duniya se hum nahin darega
karega karega karega
bhai karega
karega karega
tumse muhabbat karega
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 4129 | Post No. : | 15287 |
Today’s song is from a Musically Iconic film Bazaar-1949.
The film was made by Madhukar Pictures. It was based on a story by K.Amarnath, who also directed this film.The 16 songs of the film were written by Qamal Jalalabadi and the Music Director was Shyam Sundar- one of my favourite composers in Hindi.
1949 was the best year in the Golden Era of HFM. There were so many films offering evergreen, out of this world songs, that the audience did not know which film to see and which song to be heard. The sale of records registered a Record of Sales in 1949. 157 films were made in 1949. Barring the figure of 181 films in 1947 ( we know the reasons), 1949 produced the maximum films from 1931 to 1984 – a period of 50++ years. What’s more, almost every alternate film gave superb songs. Nearly every Music Director of Hindi films was present in 1949, with his film.
This was also a transition period, when older composers were giving way to newer ones. Additionally, the competition between Naushad and C Ramchandra for the Number One position was on its peak. Though CR is my favourite composer, during the period 47 to 49, it was all the way Naushad who was the undisputed Numero Uno as far as quality and number of hit films were concerned. Here is a chart…
| composer | Year | Number of films | Hit films |
|---|---|---|---|
| C Ramchandra | 1947 | 8 | |
| 1948 | 3 | ||
| 1949 | 7 | ||
| Total | 18 | 4 | |
| Naushad | 1947 | 2 | |
| 1948 | 3 | ||
| 1949 | 4 | ||
| Total | 9 | 8 |
In this period Naushad’s strike rate of Hit films was more than double, compared to C Ramchandra percentagewise.
The year 1949 had absolutely heavenly showers of Musical Films. Some of such films were Andaz, Badi Behan, Barsaat, Bazaar, Dulari, Jeet, Apna Desh, Chandni Raat, Chaar Din, Sunehre Din, Shayar, Dillagi, Ek thi ladki, Kaneez, Laadli, Lahore, Mahal, Namoona, Patanga etc etc. The year 1949 also witnessed the introduction of A and U Censor certificates, the establishment of Films Division, the start of Navketan productions of Anand brothers and few other landmarks in Hindi film industry.
The cast of bazaar -49 was Nigar Sultana, Shyam, Gope, Cuckoo, Badri prasad, Yakub etc etc. Shyam was a very handsome actor. However, just like Ashok kumar, he too was first rejected in the screen test by Bombay Talkies. In the case of Ashok kumar, this rejection was overruled by Himanshu Rai- owner of Bombay Talkies and he became a Hero immediately. In case of Shyam, he had to wait for some more time.
Sunder Shyam Chadda (20 February 1920 – 25 April 1951) was born in Sialkot, now in Pakistan on February 20, 1920. Shyam’s grand father was a village Patwari, while his father worked as a store keeper with the Indian medical Service. So the young Shyam had to keep moving with his father in different cantonment towns of Punjab. A graduate from the Punjab University Shyam had a great fascination for films right from early childhood. It was Shyam’s uncle, late Tarachand Chadha, a subedar with the British Army who convinced Shyam’s father to allow Shyam to join the film line. Shyam came to Poona and worked with Prabhat cinema and stayed in lane no-9 Prabhat road in Adhar Bungalow.
In 1941 Shyam was called for a screen test by Bombay Talkies but met with no success. Determined to work in films, he took up the job of assistant director to JK Nanda and appeared in a Punjabi picture from Lahore. Shyam’s first film was Mann ka meet-44. Saigal’s death in 1947 created a void in the film world which was soon filled up by one of the leading heroes of those times, Ashok Kumar. Shyam ruled the world of celluloid from 1948 and 1951, when he was killed in a tragic accident.
With super hits like Dillagi, Patanga, Kaneej, Samadhi, Man Ka Meet and Shabistan under his belt, Shyam had scaled dizzying heights of super stardom in his late 20s. He was a true achiever in every sense of the word.
After Dillagi, in which he stared opposite Suraiya, which was released in 1949, he shot to stardom with the popular song Tu Mera Chand Mai Teri Chandni, a rage in those days.( this song was sung by singer Shyam kumar and not by actor Shyam)
He married a Muslim, Mumtaz Qureshi (nickname “Taji”), with whom he had a daughter, Pakistani TV actress Sahira Kazmi, married to actor Rahat Kazmi, and a son named Shakir (born two months after his death), a psychiatrist based in UK. His wife migrated to Lahore, Pakistan, after his premature death in 1951, along with her elder sister, Zeb Qureshi, who was an actress in Bombay. Mumtaz later married a gentleman, Ansari after Shyam’s death.
He acted with Munawar Sulltana in many films like Kaneez and Majboor. A highly educated person, Shyam wrote an article for Blitz, a leading film magazine of those times on his favourite heroines. He was a close personal friend of Saadat Hasan Manto and was the inspiration of many of his stories. Even after partition, their bond of friendship endured.
He died after a nasty fall from horseback, at the young age of 30 when destiny snuffed the life out of this versatile actor. It was an ill-fated day when he was shooting for Filimistan’s Shabistan directed by Vibhuti Mitra at Ghodbunder road near Borivali when the reins of the horse slipped from Shyam’s hand. He was thrown off the horse and received major injuries on his head and was rushed to the Bombay Hospital where he succumbed to his wounds.
Fans from all over thronged to pay their respects to their loved hero at the Sonapur crematorium at the Bombay Kings road.
Even the BMC (Bombay Municipal Corporation) named the place where Shyam stayed in Chembur as Shyam Park. Though younger than Ashok Kumar , he played roles of the latter’s elder brother. After Ashok Kumar, Dilip Kumar, Raj Kapoor and Dev Anand , Shyam and Rehman are remembered most for their contribution to the field of Hindi cinema.
Shyam is incidentally survived by Younger brother, Harbans Chadha. Shyam was fond of his daughter Sahera but he did not live long to see his son, who was born a couple of month after his death. His son Shakir, who now lives in Pakistan with his mother Taji, who had migrated there after partition.
Filmography of Shyam’s films as a lead hero:
1948-Majboor,Shikayat,Bazaar,Chandani Raat,
1949- Char Din, Dada, Dillagi, Kaneez, Naach, Patanga, Raat Ki Rani,
1950- Choti Bhabiu, Meena Bazaar, Nirdosh, Samadhi, Sangeeta, Suraj Mukhi, Wafa , Kale Badal,
1951- Shabistan
Shyam acted in 24 films, in all.
There are many versions of how Shyam died during the shooting. However , here is the report from an eye witness, who was present there on that day and this happened before his eyes. The horse Shyam rode, was owned by him.
Jimmy Bharucha, one of the best Horse Trainers in India, had himself been trained in foreign countries. He had opened a Horse Training School in Poona. Yesteryear actor SHYAM was one of his earliest students. For all his films, Shyam used the same horse from Bharucha. Actor Shyam had died while doing a stunt for film Shabistan-51.
Whenever he talked about Shyam, Bharucha got emotional. The truth about Shyam’s death….
That fateful day, Shyam was in a very cheerful mood. He joked with other artists as usual. The film was SHABISTAN. He had to do a stunt scene on a horse. His double was kept ready. However Shyam insisted on doing that dangerous shot himself that day. The scene started and was also completed successfully. There was a round of applauding claps.
Shyam was getting down from the horse and suddenly,the horse started running. Shyam’s foot got stuck in the stirr-up and he was dragged some distance before people ran and stopped the horse. Shyam was unconscious. He was immediately taken to the hospital, but he died-with his make up and costume still on him ! ( from an article by Vasant Bhalekar in book ‘Ruperi Smaran Yatra’ by Prof. Subhash Savarkar and article ‘Anipals’ by Mala Doshi ).
Film Bazaar was released on 4-3-1949 at Excelsior Cinema in Bombay. The Film India magazine of May 1949 had published a review of this film. Once for a change, Baburao Patel had good words about a film and its music. The story of the film, as outlined in this review is this…
An impecunious poet, Parwana (Shyam), runs away from home in company with his pal Jagu (Gope) to join a theatrical company. On the way, they come across a gypsy camp and Jagu succeeds in picking up Koel (Cuckoo), a gypsy dancer, as his sweetheart. Parwana and Jagu soon cross swords with Khanna ( Yakub) of Khanna Theatres, whose main attraction is Bijli ( NIgar Sultana), a beautiful and temperamental dancer. Bijli is attracted by Parwana’s poetry and physique and we soon see Parwana, Jagu and Koel working in Khanna Theatres.
Parwana and Bijli begin to love each other and Khanna doesn’t like the look of things, being himself in love with Bijli. Things soon reach a show-down stage and Bijli walks out of Khanna Theatres arm-in-arm with Parwana and his stooges. The new team tries to start its own theatre business, but the love-stricken Khanna becomes vindictive and with his influence and money hounds them out from place to place till Parwana and Bijli are ruined and heartbroken. In a desperate attempt to save Parwana’s poetic soul, Bijli, sacrificing her love for him, compromises matters with Khanna, who helps to put Parwana on the stage once again. But, Parwana needs more than mere success to feel happy and very soon he returns heartbroken to his parental home, a sadder but wiser man.Now Parwana dedicates himself to national service and we soon come to the climax, in which Khanna, realizing the intensity of Bijli’s love for Parwana, gracefully gives her up and all rush to a public meeting for their individual professions and confessions. Evidently, anyplace seems to be good enough for the Punjabis to vomit their love and a large crowd does not deter Bijli from vomiting her love for Parwana on a public platform. It ends well.
Film Bazaar was remade as ‘Naya Andaz-1956’ starring Kishore kumar and Meena kumari . This film also had excellent music by O P Nayyar. Interestingly, this film also was directed by same K.Amarnath only.
Film Bazaar-49 had 16 songs. 14 are already discussed here. Today’s song is the 15th song.( I am surprised how this song remained uncovered so long. May be my good luck !) . The only song now remains to be covered is ” Nazar se mil jayegi nazar”. HFGK is silent about its singer, but also has a note that this song was removed from the film. This song’s record number is also not given, leading to a guess that, may be this song, having been removed from film, was not made into a record. In that case, today’s song is the last song of this film to be covered. Worth thinking.
Song- Maang raha hai Hindustan Roti Kapda aur Makaan (Baazaar)(1949) Singer- Mohd. Rafi, Lyricist- Qamar Jalalabadi, MD- Shyamsunder
Chorus
Lyrics
watan ki raah mein jo moti lutaaye jaate hain aen
to motiyon se jawaahar banaaye jaate hain aen
tu dekh Dilli mein jaa kar samaadh Baapu ki
ke is pe phool nahin
dil chadhaaye jaate hain
maang raha hai Hindustan
Roti kapda aur makaan
Roti kapda
Roti kapda aur makaan
maang raha hai
millon mein jaao aur dekho
millon mein jaao aur dekho
kya hai Hindustan
dekh ke bangle mein raunaq
dekh ke bangle mein raunaq
mazdoor ka ghar veeraan aan
maang raha hai Hindustan
Roti kapda aur makaan
Roti kapda
Roti kapda aur makaan
maang raha hai
kheton mein jaao aur dekho
kya hai Hindustan
kheton mein jaao aur dekho
kya hai Hindustan
zameendaar ke bhare hain kothe
zameendaar ke bhare hain kothe
bhookhha mare kisaan
maang raha hai Hindustan
Roti kapda aur makaan
Roti kapda
Roti kapda aur makaan
maang raha hai
mehlon mein jaao aur dekho
mehlon mein jaao aur dekho
daawat ka saamaan
neeche raste par soya hai
neeche raste par soya hai
ik bhookha insaan aan
maang raha hai Hindustan
Roti kapda aur makaan
Roti kapda
Roti kapda aur makaan
maang raha hai
Hindustan ko aaj banaa den
aisa Hindustan
sab ko mile roti kapda
sab ko mile makaan
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4127 | Post No. : | 15283 | Movie Count : |
4206 |
Today’s song is from stunt/action film – Kismatwali-47. The director of the film was Behram Mukadam, who was a Cinematographer with Wadia Movietone. This was the only film he directed. The six songs of the film were written by C M Hunar and music was given by Shyam Babu Pathak.
Shyam Babu Pathak is not a very well known name among Music Directors. He is one of those artistes, who had the talent and a will to do hard work, but Luck did not support him. This resulted in his remaining with unknown banners and B and C grade films. His career spanned from 1938 to 1965 – a period of 27 years in which he composed music for just 29 films and one of his film remained unreleased.
Shyam Babu Pathak was born in 1908 at Gwalior. His music tuition started when he was just 7 years old. He studied in Madhav Sangeet Vidyalaya, under Rajabhaiyya Poonchhwale, Narayan Gupte and Bhatkhande etc. He became an excellent singer and was invited by several Royal houses all over India, for singing. Even V D Paluskar had blessed him. Strangely, though a good singer, he never sang a song in any film.
While touring all over India for Music Mehfils, he learnt many folk songs and tunes. This actually prompted him to join films as a composer. His first film was Royal Commander-1938 – a B grade Costume drama film made by Vishnu Cinetone. In his first film, for just 9 songs, he used as many as 6 different singers. Minimum songs had been his specialty. This was a novelty in the 30s, when the norm was of an average of 12 to 15 songs each film.
V M Vyas of Vishnu Cinetone, was impressed with him and he gave him many films. He got Rani saheba-40, Torpedo-40, Samsheerbaz-40, Malan-42 and Ghar sansar-42. He gave good songs sung by Kalyani, Sardar Akhtar and Kajjan. In Lajwanti-42, his songs were light and comedy type. By now, he had become a confirmed Stunt/action and B/C grade composer. Pyara watan-42,Double face-46 were such films. Double face was Indivar’s first film.
Black Market-47, Namak-47, krishna Sudama-47 and Kismatwali-47 were not much helpful. Takdirwale-48 with Ramprasad, Imtihan-49 and Ret Mahal-49 led him to film Jeet-49 with Anil Biswas. Actually,it seems Anil Biswas took over when Pathak left the film halfway.
After Janmashtami-50 and Achha ji-50, came Preet ka geet-50.Famous poet Harikrishna Premi wrote the songs, which were sung by Mukesh, Geeta and Johra. Next film Hamari Duniya-52 had good Lata songs. Meanwhile his film Parda remained unreleased. In the last phase of his career, came Sapna-52, Vanraj-52, Bombay Central-60 and finally, film Mehbooba-65 closed his career. Shyam Babu Pathak died of heart attack in Bombay on 23-11-1980.
Film Kismatwali-47 was a stunt film featuring Fearless Nadia, John Cavas, Sayani Atish, Khurshid Banu, Sultana, Manchi Toothi, Azim, Habib and many others. In the cast you find a name Sultana. Many readers may not know that, Sultana was the elder sister of actress Zubeida, Heroine of Aalam Ara-1931, India’s first Talkie film. Here is some more information on Sultana.
Sultana, also known as Sultana Razaaq, was one of the earliest film actresses from India and acted both in silent movies and later in talkie movies. She was daughter of India’s first female film director, Fatima Begum. Zubeida (leading actress of India’s first talkie film Alam Ara -1931) was younger sister of Sultana. The youngest sister was Shehzadi-also an actress. Actress Mehtab (Sohrab Modi’s wife), whose real name was Najma, was step sister of these girls. Najma was the daughter of Marium, one of the wives of Nawab of Sachin.
Sultana was among the few girls who entered films at a time when it was not considered an appropriate profession for girls from respectable families, let alone Royalty. Born in the Surat city of Gujarat in western India, Sultana was a stunningly beautiful Muslim princess, the daughter of Nawab Siddi Ibrahim Muhammad Yakut Khan III of Sachin State and Fatima Begum. She had two sisters, Zubeida and Shehzadi, both actresses. However, there is no record of a marriage or a contract having taken place between the Nawab and Fatima Bai or of the Nawab having recognised any of her children as his own, a prerequisite for legal paternity in Muslim family law. Actually, the Nawab had 3 wedded wives and Fatima was an ‘ outside’ arrangement.
Sultana was a popular actress in the silent movie era, usually cast in romantic roles. She started her career as actress in Veer Abhimanyu (1922) film in 1920s and later performed in several silent films. Later, she also acted in talkie movies. Sultana did sexy roles in films and earned a name as “Sultry Sultana”. She acted in 20 Silent films. She continued acting after the Talkie films started and worked in 19 Talkie films. Her last film was ‘ Girdhar Gopal ki Meera’-1949.. She came into limelight when she filed a case against Yassir Hussain Lalji, son of the chief of Bombay Municipality, in 1931, claiming to be his wife and demanding a sum of Rs. 5 lakhs in those days !
When India was partitioned in 1947, she migrated to Pakistan with her husband, a wealthy man named Seth Razaaq. Her daughter, Jamila Razaaq, was also encouraged by her to act in Pakistani films and she produced a film in Pakistan, named Hum Ek hain (1961), written by famous scriptwriter, Fayyaz Hashmi. The film was partly shot in colour, which was rare those days, but it failed miserably and Sultana stopped producing any films afterwards.
Sultana’s daughter, Jamila Razaaq, married the well known Pakistani cricketer Waqar Hasan, who is the brother of filmmaker Iqbal Shehzad. He runs a business under the name National Foods at Karachi.
Stunt films in India began with Silent films itself.They continued with greater force when Talkie films started. Contrary to popular belief, silent films did not lose ground to Talkie films – not at least immediately. In fact, there was a steep rise in the number of Silent films- from 88 in 1926 to 172 in 1932. In the first Talkie year itself the number rose to 207 silent films. They continued to be made till 1934. They did not pass away because there was no demand, but because Theatres were not available, as all theatres got equipped with sound machines.
The stunt films in India entered its Golden Period, with the entry of Fearless Nadia in the mid 30’s and ended with Master Bhagwan in the mid 50’s. The initiator of this Golden Period was Wadia Movietone. In 1935, they created a fantastic character and a fascinating actress with Nadia- Fearless Nadia. Their inspiration came from 1914 Hollywood film ” Perils of Pauline’, in which the Heroine played several stunts.
Here Nadia became a Masked Terror. She was modern, bold,frank and used a whip on evil men. She was portrayed as a figure deeply committed to overthrow the oppressive male dominated order. Her stunts, played cleverly on Trains, Horse carriages and with wild animals were widely applauded. She was truly the First Feminist icon of Hindi Cinema.
Wadias had a set of other actors, who would be seen alternatively in Nadia’s stunt films. Heros like Prakash, D and E Bilimoria brothers, John Cavas, Jal Merchant and Jal Khambata, Sayani, Habib, Azeem and a line up of non Human actors like Horse-Punjab ka beta, Dogs-Tiger and Moti, and a rattled Rolls Royce car-Rolls Royce ki Beti. In some films wild animals were used.
The definition of STUNT, according to Oxford Dictionary is “an action displaying spectacular skill and daring”. This has been made possible by thousands of stuntmen and women all over the world. Achievements of stunts in the films of 20’s to 50’s, in India is more praiseworthy, considering the lack of proper equipment and the infrastructure in olden days here.
Nadia, Baburao Pehalwan, Vasantrao Pehalwan, Shankar Vazre, Prakash, Raja Sandow, Master Bhagwan, Ranjan and many unsung and unknown action Heros did thrilling stunts only with their ingenuity and daring. The stunt professionals were first time used in Mehboob’s ” Aan “-52 for the action scenes. Azimbhai handled the horses and Douglas took care of the fights-including Fencing.
From the mid sixties, Hindi cinema saw rise of the He Man or the Hero doing stunts himself. This process began with Dharmendra, where the Hero dared to bare his chest for the first time in film Phool aur Patthar-66. As the time went by, stuntmen became Fight masters and they became Action Directors in turn. Nowadays, almost every action film has SPL FX assistance. However few Bollywood actors and actresses take pride in doing stunts themselves. According to an article by Hema Sanghvi on bookmyshow.com, the following 10 actors have done dangerous stunts in their films, all by themselves, without taking a double. Like me, you too will be surprised to see names of 5 well known actresses in this list. The names are Akshay kr., Amitabh Bachhan, Hritik Roshan, Shahrukh Khan, Tiger Shroff, Katrina Kaif, Priyanka Chopra, Sonakshi Sinha, Taapsee Pannu and Shradha Kapoor.
In older times, there were special stunt films making production houses, like Wadias, Ranjit, Imperial, Kohinoor, Mohan Pictures etc. There were specialist directors like Nanabhai Bhatt, Aspi Irani, R S Chaudhari etc. There were specific actors too. As far as Music was concerned,it had little importance in stunts and anyone would do as MD. In every town, there used to be specific Theatres for stunt films and almost every town had a set of bonded audience for stunt films. I was a part of that audience in Hyderabad in my teens.
Whenever I write about a Nadia film, I always remember my meeting with her in 1982. If only Mobile phones were prevalent that time, my meeting with her would have been captured for ever. Alas !!!
Today’s song is sung by Salma. I do not know who she was. With this song, film Kismatwali-47 and singer Salma make their Debut on this Blog.
Song- Gaa ae muhabbat gaa aakhri naghma gaa (Kismatwaali)(1947) Singer- Salma, Lyrics- C M Hunar, MD- Shyam Babu Pathak
Lyrics
Gaa ae muhobbat gaa
Gaa ae muhobbat gaa
aakhri naghma gaa
aakhri naghma gaa
Gaa ae muhobbat gaa
Gaa ae muhobbat gaa
kitne dinon ki khushi ki lay par
kitne dinon ki khushi ki lay par
aansoo apne ae
gham ka taraana gaa
aansoo apne ae
gham ka taraana gaa
Gaa ae muhobbat gaa
Gaa ae muhobbat gaa
kaale kaale baadalon ko ?? tera
kaale kaale baadalon ko ?? tera
chamcham chamkat bijliyaan
ko o o
hasrat samajh ke gaa
hasrat samajh ke gaa
Gaa ae muhobbat gaa
Gaa ae muhobbat gaa
subah ?? hawa chali hai
aandhi bankar haay
dil apna ?? deepak ke
dil apna ?? deepak ke
bahaar tu na aa
gaaye
shole jo jigar mein bhadke hai
haaye haaye
shole jo jigar mein bhadke hai
haaye haaye
uljha aa aa
uljha hai ?? hawaa aa
Hans le hans le hans le
Posted on: November 3, 2019
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Today’s song is from film Baraat-42. There was a film in 1960 with the same title and another one in 1954 titled Baraati.
The film was made by Kirti Pictures. The director was Dada aka V M Gunjal. The Lyricist was Gujarat’s famous poet Raskavi Raghunath Bramhabhatt. The music was by Ratanlal and Khemraj ( it was a pseudo name of Khemchand Prakash). The cast of the film was Shobhana Samarth, Harish Manmohan, Kaushalya, Mirza Musharraf, Rampyari, Nayampalli, Vatsala Kumthekar, Putlibai, Prakash, Sankata Prasad etc etc.
From the cast one will find few uncommon names like, Rampyari, Nayapalli, Vatsala Kumthekar, Putlibai and Prakash. The first four artistes were major actors in early era films of the Silent and the Talkie films of the 30s. The decade of 40s was a time when their careers were downhill and coming to an end. The last days of Rampyari and Vatsala Kumthekar were very sad and pathetic. Sankatha Prasad was actually a regular actor at Sagar films, but after the eclipse of Sagar, National and Amar, he became a Free Lancer. His younger brother was Kanhaiyalal Chaturvedi, who had joined film line as a writer and Lyricist, but settled with little fame as comic villain and character roles.
If you take a look at, say, 100 artistes who were active in Silent films and switched over to Talkie films, I feel a major chunk of them had a very bad period at the end of their life. Well known artistes like Rattanbai and Wasti-a one time Hero of successful films, became beggars on the street. Vatsala Kumthekar-a well known singer of repute and a Heroine, roamed the streets of Bombay as a Mad woman and died one day as an unclaimed unknown body ! Same was the case with actor singer Parshuram who became a beggar and died on road in Bandra. There are so many cases like this.
Why did this happen to these people ? Thinking about it, I found that many or rather most of the artistes of early era were from poor families and had joined films to survive. When they got money, they enjoyed life fully, without thinking about future. As such in those days actors did not earn so much as today. Further, there were no investment opportunities like today to secure the future. Film artistes did not enjoy respect in the society, so they enjoyed in wine, dine and women, thus spending what they earned. In few cases, the near and dear ones deserted or cheated them, leaving them penny less. All in all, it was a tough life, no doubt.
The case of Master Nisar, who was at one time the only actor in Bombay to own a car and for whom the Governor of Bombay had to make way due to his fan crowd, is very touching. This one time Prince of acting, having 2 Cars, 2 Bungalows, 4 wives and millions of fans, died a pauper in a slum of Kamathipura in Bombay. His last rites were done by the Actors’ Association.
One of the actresses of the film Baraat-42 was Rampyari. Rampyari hailed from a Telugu family of highly skilled professional dancers and singers. She lived in Nagulchinta area of old Hyderabad city.
She was born in 1908 December, the year Hyderabad witnessed devastating floods. She was taught Urdu and English. Apart from her mother tongue Telugu, she was also proficient in Marathi and Kannada. She was trained in Dancing and singing. In 1918, at the age of 10 years, she was taken to Madras by her aunt, who trained her in Bharat Natyam. After 4 years of rigorous training, she became the best dancer of Madras.
In 1926, a film producer from Kohinoor Film company, Bombay, visiting Madras, saw her dancing and invited her to Bombay. It was the era of Silent movies. Her first film was Gunsundari, with Miss Gauhar and Raja Sandow. It was directed by Chandulal Shah and was released in 1927. Her supporting role as a dancer in the film was lauded by the audience. Next film Vile woman was also successful. She acted in more than 20 Silent films as a Heroine and dancer and established her name as a seasoned actress of the 30s.
With the advent of Talkies, she easily switched over. She had no difficulty in delivering Urdu dialogues. In 1931, she acted in Paak Daman, Laila Majnu and Ghar ki laxmi, Gunsundari in 1934 and Azad Abla, Meethi Nazar and Hamlet in 1935.
Famous director Debki Bose from New Theatres, Calcutta invited her and signed up for ” Sunehra Sansar”-36 and Vidyapati-37, which was a mega hit. She had a big dispute with New Theatres and there was mud slinging through legal letters between her and the company, which called her ‘ a street singer ‘ who was helped by the company. She refuted their charges successfully.
She toured the entire south India and gave dance performances in major cities. She became so famous that the Ceylon Labour Union invited her to Ceylon and presented her with Gold Mementos. She was greatly inspired by the acting of Sulochana aka Ruby Meyers and Miss Gauhar of Ranjit, with whom she acted in many films.
She shifted to Bombay permanently in the 30s. Her family also moved out of Hyderabad and came to Bombay. She had a large fan following in Hyderabad. She had a great fan mail too, which she replied in fluent Urdu and English. Later she got married and retired from films.
She acted in 30 films. Her last film was Dak Bungla-47. She sang 14 songs in 8 films.
The other uncommon name in the cast is that of Nayampalli. S.B. Nayampally (or Nayampalli) was working at the firm of Killick, Nixon and Company when he was discovered by film director P.Y. Altekar at a gym where Nayampally regularly exercised. Altekar felt that Nayampally very much resembled the famous French boxer Georges Carpenter and would be perfect for the stunt films that had become popular at the time. At Altekar’s urging, Nayampally joined Imperial Studios and was quickly cast in his first film, Wedding Night(1929), opposite the popular actress Jilloo.
When he arrived at Imperial to begin his first day of filming he was amused to find that the building now used for the studio had formerly housed the school he’d attended as a child.“Wedding Night was a stunt film of the Robin Hood type,” Nayampally explained in a 1964 interview. “It had a little more of a plot to it than many films of the same class. My next film, Hell’s Paradise (1929), I remember for three reasons. One, it was based on a real-life episode involving an Indian prince and a foreign girl, described as an adventuress. Two, Mama Warerekar, the noted writer, did the story. Three, the film had a kissing scene, probably the first ever in an Indian film.”
Nayampalli was cast in Imperial’s Noorjehan (1931), which was initially to be a silent picture, but because of the success of their film Alam Ara (1931), which was India’s first talkie, the studio decided to make Noorjehan partly with sound. Nayampally was not originally cast in Noorjehan, but a chance meeting with the film’s director, Ezra Mir, got him the role of Prince Salim in the film.Nayampally then played Karna in Imperial’s next sound film, the mythological Draupadi (1931), but the actor considered his best mythological role to be that of the wily Shakuni in Mahatma Vidur (1943), a part that was appreciated by critics and the public, alike.
As sound films came in, silent actors were being discarded in favor of those with stage backgrounds and could not sing, so Nayampalli joined the Grant Anderson Theatrical Company which specialized in Shakespearean plays. After gaining some experience he tried to rejoin films, but without much luck. His previous roles had been leads, so he decided if he wanted to work regularly, maybe he should take a different approach and he offered himself up for character parts.His break came in the role of a hunchback in love with the heroine in Ezra Mir’s Zarina which starred Jal Merchant and Zubeida. The dentures he wore for the role were created specially by a dentist named Jimmy Gheista who had trained abroad with the dentist who had made similar dentures for Lon Chaney.
Nayampally had learned early on how to apply make-up for his roles and, in fact, he became so good at it he eventually came to specialize in horror make-up, which earned him the nickname “The Indian Lon Chaney.” Indeed, Chaney, Erich von Stroheim, Emil Jannings, and John Barrymore were the actors that Nayampally most tried to emulate. Boris Karloff was another of his role models. He was able to put his make-up expertise to good use for the film Sair-e-Paristan (1934), where he was a vampire-like devil, and in Zingaro(1935), in which he played a monster created by a mad scientist, and then as a the hairy “missing link” in Zambo (1937) and its sequel Zambo Ka Beta (1938). For Kalkoot (1935) he created a make-up to resemble the wrinkled effect that Karloff had used in The Mummy(1932).
Nayampally continued working in films throughout the 1940s and 50s, particularly in mythologicals and costume pictures including Raj Nartaki (1941), Nagad Narayan (1943), Vishwas 1943), Taramati(1945), Urvashi (1946), Jhansi-Ki-Rani (1953), Durgesh Nandini (1956), Basant Bahar (1956) and Shiv Parvati (1962) His last credited film appearance was in 1970’s Priya.
After the career in films ended, he started making Documentaries. He made about 35 documentaries. He won ‘ Silver Dolphin’ award for his documentary in the International Film Festival at Teheran in 1970. He died on 7-5-1994, in Mumbai.
The story of the film Baraat-42 was that of a Love pair who get separated and in the end get united, when the Lover Boy brings a Baraat to the Girl’s house. It is also a story of 2 friends who get distanced due to wealth. The story is….Jwala Prasad and Kabirchand are 2 friends staying as neighbours. Jwala has a son Savan and a daughter Lalima. Kabir has 2 daughters- Nayna and Kiran.
Savan and Nayna are betrothed in childhood. By the time they grow up, Jwala Prasad becomes very rich and Kabir remains poor. This creates a distance between the two families and also the marriage of their children is also in jeopardy. The lovers are banned to see each others.
The film is full of emotional scenes and improbable situations. Dada Gunjal’s direction is unable to fill in the gaps in the storyline. The story brings changes in the mindset of Jwala Prasad and finally, he agrees to the marriage.
Today’s song is sung by Suhas and Hashmat. I am not aware who is Suhas, but Hashmat is the real name of actor Prakash, who is in this film. In all probabilities, he is the same person who sang this duet. Hashmat (Prakash) had worked on A.I.R.Delhi as a singer for 2 years, 1938 to 1940, before he came back to Bombay to restart his acting career with Rani Sahiba-1940.
With this song, film Baraat-42 and Suhas and Hashmat make their debut on this Blog.
(Thanks to book ‘ The Lost Treasure ‘ by Kamlakar P. for some information used herein along with my notes.)
Song-Hans le hans le hans le (Baaraat)(1942) Singers – Hashmat, Suhas, Lyrics- Raskavi Raghunath Bramhabhatt, MD – Ratanlal- Khemchand Prakash
Lyrics
Hans le
Hans le
Hans le
Hans le
Hans le
Hans le
hansi se jeevan bhar le ae
Hans le
Hans le
Hans le
tera jaag uthha sansaar
gulshan mein aayi bahaa aar
Hans le
Hans le
Hans le
kali kali upwan mein hansti
haan panchhi hanste lataayen hanstin
panchhi hanste lataayen hanstin
hanste gaate kisaan jaayen
hanste gaate kisaan jaayen
Hans le
Hans le
Hans le
jhaanjhaniyaa jhankaati jaatin
panghat pe purnaar
jhaanjhaniyaa jhankaati jaatin
panghat pe purnaar
tera jaag uthha sansaar
tera jaag uthha sansaar
Hans le
Hans le
Hans le
murli waale
hans khushi se
royen un ko rone do
beh chali nainon ki dhaara
beh chali nainon ki dhaara
man dhoye unko dhone do
tum gaao megh malhaar
tum gaao megh malhaar
waise to mera ujad gaya hai
hara bhara gulzaar
aasha ko mat kar le niraasha
aasha hai sansaa aar
aasha ko mat kar le niraasha
aasha hai sansaar
sun le pyaari
aasha ki jhankaa aar
sun le pyaari
aasha ki jhankaar
tera jaag uthha sansaar
tera jaag uthha sansaar
Hans le
Hans le
Hans le
Hans le
Hans le
Hans le
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws
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Today’s song is from a film Mangalsootra-1947.
In Maharashtra, from the 19th century onwards, theatre dramas became popular. They were the sole source of entertainment for the family. The stage dramas developed to a great extent, till about the 20’s decade of the twentieth century, when they faced their first competition – in the form of Silent films. However those films being silent, they could not compete wholly with dramas, which provided dialogues, living people on stage and above all music in the dramas.
However by 1931, the Talkie films arrived and the drama sensed the potential danger. They became alert. Still, the Talkie films were not invading the smaller towns as much as the bigger cities and so dramas survived for some time. As the time passed by and the film industry started inroads into smaller towns and villages, there was real panic. There was a Bee-line of stage actors, directors, singers and music directors to the Cinema world. It offered them name, fame and money. Not all were successful, but many musicians, writers and actors defected to this industry.
Even the big names in Marathi stage, like Bal Gandharva, Deenanath Mangeshkar, Nanasaheb Phatak, Master Avinash, dramatists like P K Atre, Mama Varerkar, Novelists like N S Phadke and V S Khandekar and musicians like Prof. B R Deodhar and Master krishnarao Fulambrikar etc tried their hand at this medium. One such name was a well known and very Popular Chintaman Rao Kolhatkar, who was an actor, director, producer and a playwright of repute in Marathi stage dramas.
He also tried his hand at acting in films as well as directing in both, Marathi and Hindi languages. He acted in 2 Hindi films, namely Andheri Duniya-1936 and Mangalsootra-1947. He also directed a bilingual in Marathi and Hindi film Krishna Arjun Yudha-1934. Here is his short Bio data from netizen.com –
Chintamanrao Ganesh Kolhatkar (12 March 1891 – 23 November 1959) , was a very prominent actor as well as producer, director and playwright of Marathi theatre. He joined the Maharashtra Natak Mandali in 1911, but after a year left for another troupe named as Shri Bharat Natak Mandali. His career took a major turn when he entered the Kirloskar Natak Mandali in 1914. He helped establish the Balwant Sangit Natak Mandali with Dinanath Mangeshkar in 1918. Chintamanrao Ganesh Kolhatkar’s greatest performances came in R. G. Gadkari-s plays, in Punyaprabhav i.e. Force of Virtue’ in 1916, Rajsanyas i.e. ‘Kingdom Renounced’ in 1922, and especially as the villain Ghanashyam in Bhavbandlmn i.e. ‘Bond of Affection’ in 1919. He tried the movie industry in 1933 when Sangitnatak began to decline and acted in two films, notably as the tyrant Shakara in Vasantsena in 1942. This was based on Sudraka, but failed in this medium and returned to theatre. He joined Gangadharpant Londhe’s Rajaram Sangit Mandali, worked with M. G. Rangnekar’s Natyaniketan, and established his own company, Lalit Kala Kunj. This one gave P. L. Deshpande a break. Kolhatkar was a non-singing actor, who took roles in Hindi and Urdu as well.
The Police Commissioner of Bombay felicitated him for his acting in Punyaprabhav. Jawaharlal Nehru once called him Bahurupi i.e. ‘many-formed’. This was a term applied to one-man folk performances, which Kolhatkar used as the title for his autobiography. He also wrote character sketches of several playwrights titled Majhe Natakkar i.e. ‘My Dramatists’, and a five-act play, Purnavatar i.e. ‘Complete Avatar’ in 1924. This was staged in 1996 by the group Antarnatya in Mumbai.
His son Chittaranjan Kolhatkar was also a very prominent , famous and prolific actor, producer and director of Marathi stage and films.
Chintamanrao was awarded Sangeet Natak Akademi Award in 1957, given by the Sangeet Natak Akademi, India’s National Academy of Music, Dance & Drama.
The cast of the film Mangalsootra-47 was Urmila, Anand, Chintaman Kolhatkar, Motibai, Shanta Kunwar, Sheelabai, Mehebano, Dalpat and many others. In the cast, you will find a name Urmila- in some films she is named as Urmila Devi, and Urmila Gupta also. She was not a very good looking actress, but she compensated it with her good acting. Urmila Gupta was born in 1921 at Panja Sahib, Rawalpindi district of United Punjab. Her father, who was a Civil Contractor, died when she was only 5 year old. She did not get much education but could read and write as well as talk fluently, Urdu, Hindi and English.
She started her career with a small uncredited role in film Mirza Sahiban-33. She was the younger sister of Mirza in this film. After some more small roles, she got her major role in film Aasuon ki Duniya-36. After this, she did not look back and did Punjab Lancers-37, Talwar ka Dhani-38, Kahan hai manzil Teri-39, Hurricane special-39, Flying Ranee-39, Desh Bhakt-40, Sasural-41, Sajjan-41, Mere Sajan-41, Naari-42, Das Baje-42, Call of youth-42, Badal -42, Apna Paraya-42, Tamash-42, Kirti-42, Salma-43, Bansari-43 etc etc. Urmila got married to Vinod Talwar, a businessman and stopped working in films, for some time, may be for raising a family. She resumed working in films and acted in another 20 odd films till 1952. She had sung 12 songs. In all, she worked in about 55 films.
I do not know anything about the film Hero Anand. I have seen his name first time in a credit list. The film was made by Golden Pictures, Bombay. It was directed by Dada aka V M Gunjal. Director Vishnupant Mathaji Gunjal or simply Dada Gunjal, was born in Kolhapur in 1904. He was not interested in education, so after passing his Matriculation, he joined the film industry.
Initially he worked in various capacities, but concentrated on Directing the films. He established his own Gunjal Production company at Bombay and directed his first silent film Collegian in 1929. Soon ,realising that producing films was not his cake, he shifted to Directing films for Vishwesh film company, Bombay. Making silent films like Bharati, The Bandit, Vijeta, Bewafa qatil, khabardar, Bhedi khanjar etc.
When Talkie films started, he directed Bhakta ke Bhagwan and Ambarish in 1934. Dada Gunjal directed in all 37 films. Some of his films were, Bhakta dhruv, Panihari,Aparadhi, Ekadashi, Mata, Mamta, Tulsi, Bhakta ke Bhagwan, Noorjehan, Baraat, Kirti, Pati patni, Alakh Niranjan, Mother India -1938 etc.
Dada Gunjal died in 1968.
The film’s Music Director was Ratanlal. He is one of those artistes, about whom hardly any information is available. All that we know about him is what is available in HFGK and books like Dhunon ki Yatra etc. There are only 4 films to his credit. For 2 films- Baraat-42, he gave music with Khemchand Prakash and for film Kismatwala-44 he was with Shanti kumar Desai. Independently he gave music to only Mangalsootra-47 and Parshuram-47.
As per January-1948 issue of magazine Film India, the film was released on 5-12-1947 at Swastik Cinema, Bombay. The review of the film done in this issue, by Baburao Patel is highly critical of every aspect of the film-acting, direction, technical support, story, dialogues etc etc. There is no comment on Music of this film, which means either he was satisfied with it or it was very much below standard to comment even. However, I have listened to some songs of this film and some other films of Ratanlal, I feel he was reasonably good composer. The review only praises the acting by actress Motibai in this film.
The story line of this film, as given in the review is…. Dayal, called popularly Dayal mama (Chintaman Kolhatkar), is a social worker and a Politician in a certain town. He is dragged into a false case and gets jail term of 10 years. After his going to jail, his wife Laxmi (Motibai) and daughter Radha (Urmila) become homeless and helpless. They leave the town and wander.
After 10 years, Dayal comes out of jail and looks for family, but he does not find them. He goes to another city, where, by chance he saves the Zamindar from riding on a Horse, which becomes wild. The Zamindar takes him home, treats him as a friend and appoints him his trusted Manager. Mohan (Anand) is his son, who completes his education. The zamindar dies and Mohan becomes the boss.
Meanwhile Radha grows up as a beautiful and attractive young girl. She and mother move to Mohan’s town, where Radha becomes the village teacher. Radha and Mohan fall in love. But Dayal is against this as Radha’s father is missing.
However, after few reels and may be few Love songs etc, Dayal Mama sees Radha’s mother Laxmi, in the last reel, recognises her. Now, Radha being his own daughter Dayal Mama gives Hari Zandi to Radha- Mohan marriage. All is well. The End. Clap, Clap, Clap.
With such poor and powerless story, what can Vrajendra Gaur, the script and dialogue writer do ? Actually Gaur was a well known and successful writer of many films in 40s and the 50s. He even directed film Kasturi-54. He wrote 59 songs in 13 films. Anyway, all in all, film Mangalsootra-47 was an eminently forgettable film.
With today’s song, this film and Music Director Ratanlal make Debut on the Blog.
Song-Jiya doley Jiya doley Jiya doley re (Mangalsutra)(1947) Singer- Rajkumari, Lyrics- Brijendra Gaud, MD-Ratanlal
Lyrics
Jiya doley
Jiya doley
Jiya doley re ae
Jiya doley
Jiya doley
Jiya doley re
hauley hauley
hauley hauley
khaaye jhakoley
hey hey hey
hauley hauley
khaaye jhakoley
hey hey hey
Jiya doley
Jiya doley
Jiya doley re ae
Jiya doley
Jiya doley
Jiya doley re
neel gagan mein kaale baadal
jhilmil jhilmil ho o
neel gagan mein kaale baadal
jhilmil jhilmil ho
khule chaman mein bhanwra rasiya
kaliyaan choome ho ho o
khule chaman mein bhanwra rasiya
kaliyaan choome ho o
haa aa aa aa
aa aa aa
Jiya doley
Jiya doley
Jiya doley re
Jiya doley
Jiya doley
Jiya doley re ae
hauley hauley
hauley hauley
khaaye jhakoley
hey ae ae
hauley hauley
khaaye jhakoley
hey ae ae
Jiya doley
Jiya doley
Jiya doley re ae
Jiya doley
Jiya doley
Jiya doley re
chanchal lahren magan pawan ke
sang sang bal khaayen
chanchal lahren magan pawan ke
sang sang bal khaayen
jin se meri lagan lagi hai
wo saajan mil jaayen
jin se meri lagan lagi hai
wo saajan mil jaayen
haa aa aa aa aa aa
a aa aa aa
donon mil ke ek nayi duniya basaayen
ho nayi duniya basaayen
Jiya doley
Jiya doley
Jiya doley re
Jiya doley
Jiya doley
Jiya doley re ae
hauley hauley
hauley hauley
khaaye jhakoley
ho ho o
hauley hauley
khaaye jhakoley
hey ae ae
Jiya doley
Jiya doley
Jiya doley re ae
Jiya doley
Jiya doley
Jiya doley re ae ae
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