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

Archive for the ‘Post by Arunkumar Deshmukh’ Category


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

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

In the early decades of talkie era, i.e. in the 1930s and 40s, many Muslim actors and actresses took on Hindu names, for obvious reasons. Here are some such examples – Mumtaz Shanti (real name – Mumtaz Begum), Renuka Devi (Begum Khurshid Mirza), Neena (Shahida), Meena Shorey (Khursheed Jehan), Geeta Nizami (Rasheeda Begum), Madhubala (Mumtaz Jehan), Indurani (Ishrat Jehan), Veena (Tajour Sultana), Shyama (Khurshid Akhtar), Dilip Kumar (Yusuf Khan), Jayant (Zakaria Khan), Kumar (Syed Ali Hasan Zaidi), Suresh (Naseem Ahmed), Sudhir (Shah Zamaan Khan) and many more.

However, not all did this. Those who did not change name were Mehboob Khan, Mazhar Khan, Ashraf Khan, Najmul Hasan, Zubeida, Noorjehan, Khursheed etc etc.

After Independence, this trend diminished, but a new trend started – that of taking on a screen name other than the real name. Some examples are Sunil Dutt, Balraj Sahni, Sanjeev kumar, Raaj Kumar, Jeetendra, Rajesh Khanna, Akshay Kumar etc. A full article can be written on this subject, but this is enough for now.

Film ‘Ghar Ki Izzat’ was the only film Mumtaz Shanti did with Dilip kumar. Compared to young Dilip Kumar, Mumtaz Shanti was more successful and experienced with films like ‘Basant’ (1942) and ‘Kismet’ (1943). She had worked with top actors of that era, like Ashok Kumar. In this film, you can see an awkward Dilip Kumar and a vibrant and seasoned actress Mumtaz Shanti.

Mumtaz Shanti or Mumtaz Begum was born in 1922 at village Dinga in Punjab (now in Pakistan). She lost her parents early and she was brought up by her uncle who was a police constable. After his transfer to Lahore, Mumtaz was able to continue her schooling. She learnt dancing and music. She was also an expert in household chores. At the start of filmi career, she was at first rejected by Shorey Pictures. But then the famous writer/lyricist Wali Saheb helped her and took her to Calcutta’s East India Film Co. to work in a Punjabi film ‘Sohni Kumharan’ (1937). She also did another Punjabi film ‘Chambey Di Daali’ (1941) in Calcutta. Now the things were different and she was invited by Shorey Pictures to Lahore, to act in their Punjabi film ‘Mangti ‘ (1942). This film was immensely successful and ran for 65 weeks giving her name and fame.

Rai Bahadur Chunilal Of Bombay Talkies  offered her a role in their film ‘Basant’ (1942). She came to Bombay and did Basant and then ‘Kismet’ (1943). Both the films were hits all over India.  Mumtaz was good looking, tall and lithe, so looked attractive. After ‘Kismet’ she became a free lancer and worked with many different studios. Her notable films are ‘Badalti Duniya’ and ‘Sawaal’ (1943), ‘Bharthari’, ‘Lady Doctor’ and ‘Pagli Duniya’ (1944), ‘Chaand Chakori’ (1945), ‘Shravan Kumar’, ‘Dharti’, ‘Magadhraj’ and ‘Pujari’ (1946), ‘Dekhojee’ and ‘Doosri Shadi’ (1947), ‘Padmini’, ‘Heer Ranjha’ and ‘Ghar Ki Izzat’ (1948), ‘Putli’, ‘Biwi’ and ‘Aahuti’ (1950). Her last film in India was ‘Zamaane Ki Hawa’ (1952). In all she worked in 21 Hindi and 4 Punjabi films. She did 2 films in Calcutta, 4 in Lahore and the rest in Bombay.

She married lyricist/writer/director Wali Saheb in 1947. He directed her in 3 films in India. He was very strict and forced her to come to studios only in burqa. She was not allowed to talk to anyone. No one was allowed to touch her, even in any scene. They migrated to Pakistan after 1953. She retired from films and remained a housewife only. Wali Saheb did 3-4 films in Pakistan, without much success. He passed away in 1977. Mumtaz Shanti passed away in 1993/94, unsung and unknown in Pakistan.

After Independence films were being made on social values which the Indian people wanted to inculcate in their new life, like importance of joint families, need to do hard work, need to abolish bad customs like dowry, bridging the gap between the rich and the poor, importance of education, women’s emancipation, abolition of castes and untouchability, respecting elders and traditions etc. Thus it will be seen that every film had some or the other message for the society.

This was also one such film, in which the makers stressed the need to strengthen the joint family tradition and to reduce the gap between the rich and the poor. The film had become quite popular, as it did not sound like a propaganda film but the message was conveyed in a very entertaining way. The songs were good and became popular. Pt Gobind Ram – the music director was a highly respected composer in the industry for his originality. Stalwarts like C Ramchandra considered Sajjaad Husain and Pt Gobind Ram ji as the original composers. Pt Gobind Ram gave music to 32 films from 1937 to 1955, composing 302 songs.

Just before writing this article, I saw this film on YouTube to refresh my memory. I had seen the film in the early 1950s in its second run in Hyderabad. The cast of the film includes the name Dixit.  Only a handful readers will recollect who he was, but there was a time in the early talkie era of 1930s and the 40s when he was a popular name. He and actor Ghory had formed a comic pair on the lines of the Laurel and Hardy team of the English cinema. In those days 4 comedians were popular – Dixit, Ghory, Kesari and Charlie.

Manohar Janardan Dikshit (this became Dixit in film line) was born on 12-11-1906 at Sinnar in Nashik district of Maharashtra. It seems, his arrival in this world was predicted by a sadhu. Somehow, in Dixit’s career, roles of sadhu played a vital role. He acted as a sadhu in as many as 31 films. His father was a district judge and was very strict at home. Due to frequent transfers, Dixit lost interest in studies. After two unsuccessful attempts in matriculation, he stopped going to school.

He started his film career as an assistant cameraman in Navjeevan Studio, with the help of Mama Varerkar, a noted Marathi writer who was associated with many studios of Hindi films. Of course Dixit did not learn anything of cinematography and did only manual works like carrying the camera etc. On the 14th November 1929, he faced the camera for his first role in the silent film ‘Sparkling Youth’ with P Jairaj and Madhav Kale. In Navjeevan Studios he did 3 more silent films and then joined the prospering, upcoming Ranjit Film company. Here he met his future partner Nazir Ahmed Ghory, who was born on 11-8-1901 at Bombay. Ghory was a graduate in those days. They paired in their first comedy film, ‘Char Chakram’ (1932), directed by Jayant Desai. The four ‘chakrams‘ in the film were Dixit, Ghory, Eddie Bilimoria and Madhuri. It was a hit film and the comedy pair became famous. They copied Laurel and Hardy. They even looked like them. Dixit was the Hardy part of the team.

They continued working together till 1947. I do not know exactly, but my guess is that they worked together in about 20 films. After partition, Ghory migrated to Pakistan and Dixit worked alone. Dixit was described by Baburao Patel as ‘our best comedian’. He was the darling of film critics too. Unfortunately, all the Ranjit Films where in they worked together were destroyed along with other negatives and except for few photos and stories about them, nothing remains now. Dixit worked in 4 silent and 66 Talkie films in 17 years’ time. For a person carrying 220 pounds weight, it was really creditable.

After the film ‘Ghar Ki Izzat’, Dixit suffered from a heart attack and he passed away on 29-6-1949 (adapted from Eena Meena Deeka and MuVyz, with thanks.)

The story of the film,

Seth Chunilal (Dixit) is a rich person. His daughter Radhika (Manorama) has married Chaman (Gope) who is their ‘ghar jamaai‘. He does not work anywhere. Radhika’s mother (Gulab) taunts him every now and then and one day, frustrated Radhika leaves the house along with Chaman. They start an insurance business and prosper in a village nearby. Chunilal’s son Chander (Dilip Kumar) becomes a lawyer. He visits his sister in the village. In same village, lives Roopa (Mumtaz Shanti) with her two brothers (Jeevan and Suleiman).

Chander gets introduced to this family, falls in love with Roopa and they get married. Upon coming to the city home, Chander’s mother starts taunting the new bahu on her poverty. Bahu, being adarsh bhartiya nari tolerates everything, but Chander gets frustrated and starts drinking. Sister Radhika and Chaman bring him to their house.

Chander’s mother and father start repenting and finally they go to Chander and Roopa, beg their pardon and bring them back with honour. They even call Chander and Radhika, but they refuse to come back, as they have prospered now.

So, all is well that ends well.

 

This film has 11 songs. According to the blog 6 songs are already discussed, but it transpires that one song ‘Ae Dard Zara Dum Le’ posted on 17-5-2011 and included as this film’s song, is actually a song from film ‘Zamana’ (1938). It was only used in this film as a radio song. So actually only 5 songs are covered. Today’s song is the 6th song from this film. In the video, Gope and Manorama singing this melodious song. The newer generation folks will remember the Chachi in the 1972 film ‘Seeta Aur Geeta’. Ah yes, this is the same Manorama.


Song – Aankhon Ko Aankhon Se Do Chaar Kiye Jaao (Ghar Ki Izzat) (1948) Singer – Ram Kamlani, Shamshad Begum, Lyrics – IC Kapoor, MD – Pt Gobind Ram
Shamshad Begum + Ram Kamlani

Lyrics 

aankhon se aankhon ko
aankhon se aankhon ko do chaar kiye jaao
pyaar kiye jaao ji
pyaar kiye jaao
aankhon se aankhon ko
aankhon se aankhon ko do chaar kiye jaao
pyaar kiye jaao ji
pyaar kiye jaao

hai teer nigaahon mein
aur bijli adaaon mein
hai teer nigaahon mein
aur bijli adaaon mein
bas yun hi mere dil pe
tum vaar kiye jaao
bas yun hi mere dil pe
tum vaar kiye jaao
pyaar kiye jaao ji
pyaar kiye jaao

aankhon se aankhon ko
aankhon se aankhon ko do chaar kiye jaao
pyaar kiye jaao ji
pyaar kiye jaao

o mast nazar aaj tu
masti ko luta de
aur chaand se chehre se zara
zulfen hataa de
jo dil mein tere hai
jo dil mein tere hai
wo nigaahon se suna de
ulfat ke nibhaane ka iqraar kiye jaao
ulfat ke nibhaane ka iqraar kiye jaao
pyaar kiye jaao ji
pyaar kiye jaao

aankhon se aankhon ko
aankhon se aankhon ko do chaar kiye jaao
pyaar kiye jaao ji
pyaar kiye jaao

pehlu mein mere chhota sa ik
sehma hua hai dil
har taar hai is dil ka
tere pyaar ke kaabil
aa dekh sajaa rakhi hai
kis thaath se mehfil
aa dekh sajaa rakhi hai
kis thaath se mehfil
ji jaan ka nazraana sarkaar liye jaao
ji jaan ka nazraana sarkaar liye jaao
pyaar kiye jaao ji
pyaar kiye jaao

aankhon se aankhon ko
aankhon se aankhon ko do chaar kiye jaao
pyaar kiye jaao ji
pyaar kiye jaao

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

आँखों से आँखों को
आँखों से आँखों को दो चार किए जाओ
प्यार किए जाओ जी
प्यार किए जाओ
आँखों से आँखों को
आँखों से आँखों को दो चार किए जाओ
प्यार किए जाओ जी
प्यार किए जाओ

है तीर निगाहों में
और बिजली अदाओं में
है तीर निगाहों में
और बिजली अदाओं में
बस यूं ही मेरे दिल पे
तुम वार किए जाओ
बस यूं ही मेरे दिल पे
तुम वार किए जाओ
प्यार किए जाओ जी
प्यार किए जाओ

आँखों से आँखों को
आँखों से आँखों को दो चार किए जाओ
प्यार किए जाओ जी
प्यार किए जाओ

ओ मस्त नज़र आज तू
मस्ती को लुटा दे
और चाँद से चेहरे से ज़रा
ज़ुल्फें हटा दे
जो दिल में तेरे है
जो दिल में तेरे है
वो निगाहों से सुना दे
उल्फ़त के निभाने का इक़रार किए जाओ
उल्फ़त के निभाने का इक़रार किए जाओ
प्यार किए जाओ जी
प्यार किए जाओ

आँखों से आँखों को
आँखों से आँखों को दो चार किए जाओ
प्यार किए जाओ जी
प्यार किए जाओ

पहलू में मेरे छोटा सा इक
सहमा हुआ है दिल
हर तार है इस दिल का
तेरे प्यार के क़ाबिल
आ देख सजा राखी है
किस ठाठ से महफिल
आ देख सजा राखी है
किस ठाठ से महफिल
जी जान का नज़राना सरकार लिए जाओ
जी जान का नज़राना सरकार लिए जाओ
प्यार किए जाओ जी
प्यार किए जाओ

आँखों से आँखों को
आँखों से आँखों को दो चार किए जाओ
प्यार किए जाओ जी
प्यार किए जाओ

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

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

Ashok kumar was probably the earliest star actor who was called an Evergreen Actor, because he continued to do Hero’s roles till he was 49 years old ! However, after he retired, Dev Anand overtook him by doing Hero’s roles till he was 66 years old. So, truly speaking, Dev Anand was the real Evergreen Hero ! But, surprisingly, a Meteor, or call it a Hurricane-if you like it- Called Rajesh khanna, swept these two first generation stalwarts and created a Record of doing Maximum Films as a Hero. You will be ( or may be not ) surprised to read that Rajesh Khanna has an Unbroken Record of doing 106 films as a solo Hero, followed by Dev Anand with 92 films and Ashok kumar at the 3rd number with 86 films as a Solo Hero !

In last so many years- till 1980 – I must have seen hundreds of Films- Hindi, Marathi, English, Tamil, Telugu, kannada, Malyalam and Konkani. In the Hindi films, I can not forget 3 actresses, who were Bubbly, playful, with innocent looks and with Natural acting talent. They were Meena Shorey, Nalini Jaywant and Geeta Bali. I enjoyed every film of these actresses, which i saw. It is difficult to forget the role and acting of Meena Shorey in film ” Ek thi Ladki-49″, or Nalini Jaywant in film ” Hum sab chor hain-56″, or Geeta Bali in film ” Aji Bas Shukriya-58″. These were all my favourite actresses. it is very unfortunate that they all met their deaths in very tragic circumstances.

Geeta Bali’s dancing eyes and her animated, expressive face which mirrored her soul were her most outstanding features. Yet life was snatched away from this vibrant personality at an achingly young age of 35.It is some consolation that Geeta crammed a lot into her short life: 80 odd films in a ten-year career.

She married struggling actor-turned-megastar Shammi Kapoor and mothered two children: a son and a daughter. Today, she is remembered as a wonderfully natural actress and a fabulous human being.She was quite close to her sisters and brother. her childhood pet name was KEETA.

True, Geeta’s reputation as an actress rests more on her performances than her roles. Natural, spontaneous and gifted with a spot-on sense of comic timing, she never really found a vehicle worthy of her talent. Largely a shade better than the movies she starred in, she frittered away her talents in B-grade films.

Probably the fact that she was born into a family that had to struggle for sheer survival and the fact that she reached the top through sheer grit had Geeta stress on quantity rather than quality. Film lore has it that when mentor [filmmaker] Kidar Sharma first met Geeta, she was living with her family in somebody’s bathroom!

Geeta, who was born on 30-11-1930 at Amritsar, as Harikirtan Kaur, had done a few small-time dancing roles in pre-Partition Punjab in films like Badnami-46, Kahan gaye-46 and Pat jhad-48, before moving to Mumbai. Impressed by her off-screen vivacity, Sharma cast Geeta in his Suhaag Raat (1948). Audiences related to her instantly and watched wide-eyed as she nonchalantly tossed her unconscious hero, Bharat Bhushan over her shoulder in a scene.

Soon, Geeta was inundated with contracts (that’s what they called film offers then). She accepted most. She won raves even in supporting roles like in the 1949 Suraiya starrer Badi Behan and the Madhubala starrer Dulari.

In 1951, she became a major star with Guru Dutt’s first hit, Baazi (she went on to do three other films under his direction). Geeta played gangster’s moll with a golden heart to Kalpana Kartik’s conventional heroine. But Geeta played her role with such gay abandon that hero Dev Anand divulges, “People came repeatedly to theatres to see Geeta’s spirited dancing to Tadbeer se bigdi hui taqdeer bana de.

Geeta proved she could do tragedy (Sharma’s Raj Kapoor starrer Bawre Nain) or and play the lighthearted heroine to comedian Bhagwan in the super successful Albela. Albela’s swinging C Ramchandra composed songs like Shola jo bhadkeand Sham dhale mere khidki tale made front-benchers dance with the stars and even fling coins on screen.

Pug-nosed Geeta was no conventional beauty, but that transparent face and that smile constantly flirting on her lips made sure you couldn’t tear your eyes away from her.

Watch Geeta Bali in the Guru Dutt-directed Jaal (1952). Dev Anand, a cigarette-smoking smuggler on the run from the police, tries to entice morally upstanding heroine Geeta into his web. Geeta evocatively communicates her struggle against, and her eventual surrender to, handsome Dev’s seduction call Yeh raat, yeh chaandni phir kahan.

Famously down-to-earth despite her star status, Geeta was the antithesis of the coy 1950s’ heroine. She often drove herself to her premieres in an open jeep. Those who knew her claim she was a Samaritan who touched the lives of whoever she met. She is said to have personally groomed Mala Sinha, then a newcomer.

To date, so many years after her death, her secretary Surinder Kapoor’s (Boney Kapoor’s father) productions begin with a shraddhanjali to Geeta Bali.

Shammi Kapoor entered her life when they worked in the quaintly named Miss Coca Cola and Coffee House together. On an impulse, Geeta played a small role of a man in Sharma’s Shammi Kapoor starrer Rangeen Raatein. On the film’s Ranikhet outdoor, Shammi and Geeta fell in love.

Kapoor was a year younger to her and was not yet a star, but the twosome were hell bent on marrying each other. Geeta had worked with Shammi’s eldest brother, Raj Kapoor in Bawre Nain, and with his father, Prithviraj Kapoor in Anand Math, Shammi was unsure about their reaction to this match.

But on August 23, 1955, with producer-director Hari Walia as witness, the couple were married at the Banganga Temple at 4 am.

Geeta continued to work after marriage in a few films like Sohrab Modi’s Jailor (1958), where she won raves as a blind girl. With Shammi Kapoor turning into a huge star and the birth of her two children Aditya (nicknamed Mickey) and Kanchan, she eased her workload.

The desire to do that one fulfilling role she would be remembered for prompted Geeta to attempt the production of a classic for herself. She started Rano, based on Rajinder Singh Bedi’s famous novel, Ek Chaddar Maili Si, based on a widow’s remarriage to her brother-in-law.

Upcoming star Dharmendra played her hero.

Geeta, had not been vaccinated for small pox, despite the fact her father too had died of Small Pox. She had ignored repeated warnings in the child hood. She contracted the dreaded disease while shooting the film. The best care was rushed to her, but her fever apparently reached 107 degrees. Her doctor saw a picture by his patient’s bedside and asked who the pretty lady was. The disease had so wracked Geeta’s frail frame that he didn’t recognise her as the same person!

Geeta Bali passed away on January 21, 1965, leaving behind eight-year-old Aditya and three-year-old Kanchan in the care of a devastated Shammi Kapoor.

Ironically, she was cremated in Banganga, not far from where she was married. ( adapted from Rediffmail.com, with thanks.)

Film Raag Rang-52 had 11 songs. 8 songs are already discussed and posted in the Blog. Today’s song is the 9th song. This is a lively duet. Since I have not seen the movie, I can not say on whom it is filmed, but from the lyrics, it looks that it might have been filmed on Geeta Bali. This duet is sung by Lata Mangeshkar, Trilok Kapoor and chorus. Now, this singer Trilok Kapoor is a case of ‘ Same name confusion’. There was another actor Trilok Kapoor ( famous for the role of Mahadev in Mythological films) operating at the same time in the industry. Since he was the more famous one, most sites, Blogs and enthusiastic new music lovers credit this singer’s songs to the actor. I reproduce here what I wrote about this singer and the actor in my series ” Same name Confusions” posted on http://www.anmolfankaar.com, about 3 years ago.

About the Singer TRILOK KAPOOR….

He too was from Multan, just like the actor Trilok kapoor, and was keen on singing in films. He and his wife have sung many Punjabi songs.
Singer Trilok kapoor sang a song in film Birhan-48 (Tu chanda main teri chakori – a duet with Dilshad Begum- record No. GE 5232). The film was in the making in 1946 at Lahore, but was released in 1948 due to Partition in 47.

The singer of this song can not be the actor Trilok kapoor, for the simple reason that he was busy in making 4 films in 1946 in Bombay and it is impossible that just to sing a song in a film, anybody would go to Lahore in those tumultous days.
Anyway, after the Partition, the singer Trilok Kapoor became a displaced person. He came to Bombay and met MD Shyamsunder, who sympathised with him, being a Punjabi himself from the same region. Shyam Sunder gave him a song in Bhai Behan-1950, a duet with Shamshad Begum. He got a job in Radio and continued singing in films like Guru Dakshina, Raag rang, Titlee,Goonj, Naya Raasta, Miss Mala, Saloni, Tootey Khiloune, Laadla and finally his last song in Trolley Driver-1958.

So, the actor Trilok Kapoor and singer Trilok Kapoor are two different persons-

1) Actor Trilok Kapoor never sang after 1942.

2) Singer Trilok Kapoor never sang in any film featuring actor Trilok Kapoor.

3) If actor Trilok Kapoor was a singer himself, he would have sung his own songs in his films, instead of taking playback from other singers, e.g. G M Durrani in Mirza Sahibaan-47. Those who are singer actors rarely take playback from others.

4) The voice of Trilok Kapoor in songs and the dialogues in films is different.

5) It is likely that,actually the song of Aaj ki Duniya-40 and the duets of Raja Rani also were sung by the singer Trilok Kapoor, as he sang a song in Birhan in 1946, as mentioned above with record number. the entry in HFGK may be just a case of ” Same name confusion” (like few other cases). Since the songs are not available, the benefit of doubt should go to singer Trilok Kapoor because he was a singer and NOT to actor Trilok Kapoor as he was NOT a singer.

6) The final verdict was Shamshad begum had confirmed over Phone that Trilok Kapoor with whom she sang was NOT the actor/brother of Prithviraj Kapoor, but was a different person.

So,please remember,actor Trilok Kapoor and singer Trilok Kapoor were two different persons.

Let us now enjoy the catchy duet from the film Raag Rang-52. The Music Director is Roshan.


Song-O maniyaapur ke chhaila (Raag Rang)(1952) Singers-Lata, Trilok Kapoor, Lyrics-Prakash Bakshi, MD-Roshan
Chorus

Lyrics

gori gori
gori chori
gori gori
gori chori
gori gori
gori chori

(o o o maniyaapur ke chhailaa
ho o o)
gori gori
chori chori

gori gori
gori chori

o maniyaapur ke chhailaa
main roop gaanv ki chhori
main roop gaanv ki chhori
gori gori re
gori chhori re

daar nain mein kaajar raajaa
baat main dekhoon tori
baat main dekhoon tori
chori chori re
chori chori re

o maniyaapur ke chhaila

raat chaandni
rut phaagun ki
tum bin jiyaa lage naa
haaye lage naa
jab se gaye pardes piyaa more
ghar mein diyaa jage naa
haay jage naa
o o o
jag bairi na dekh sake ji
hamri tumhri jori
chaand chakori
main roop gaanv ki chhori
gori gori re
chori chori re

o maniyaapur ke chhailaa

faaslaa hum mein sau kos kaa
beech bahe dariyaa aa aa aa
na naiyyaa na tair sakoon main
kaise aaun bataa aa aa
na naiyyaa na tair sakoon main
kaise aaun bataa aa aa

milnaa ho to raajaaji
milne ke laakh bahaane
laakh bahaane
nadi cheer kar milte hain nit premi ?? deevaane
?? divaane

o o o
teri aas mein jeeti hoon nit ??
joraa jori
main roop gaanv ki chhori
gori chhori re
gori chhori re


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

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

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

In a short life span of just 48 years (1486-1534), he did extraordinarily religious and reformative work in the 16th century in the regions of Bengal (both the current East Bengal (now in Bangladesh) and West Bengal), Bihar, Jharkhand, Manipur, Assam and Orissa. Not much information is available about him in other regions, so here is a short biography of Shri Chaitanya Mahaprabhu, adapted and edited from Stephen-Knapp.com – with thanks.

Sri Chaitanya Mahaprabhu (pronounced ‘चैतन्य’) (February 27, 1486 to 1534 AD) was born in Navadvipa, Bengal, on a full moon night during a lunar eclipse. It is typical for people to bathe in the Ganges during an eclipse and chant the Lord’s holy names for spiritual purification. So, everyone in the area was chanting the holy names when He was born. His parents, Shri Jagannatha Misra and Mata Shachi Devi, gave Him the name of Vishvambhara, meaning the support of the universe, because astrologers had predicted His super human qualities and that He would deliver the people of the world. He was also nicknamed Nimai because He had been born under a nima tree.

During His childhood He exhibited extraordinary qualities, even having philosophical discussions with His mother. While growing up, His brilliant intelligence began to become apparent. While still a child, He mastered Sanskrit and logic to the point of defeating local pandits, and established the truth of the spiritual and Vedic philosophy. He became so well known that many logicians of various religious and philosophical persuasions began to fear His presence and refused to debate with Him. Thus, Sri Chaitanya established the authority of the Vaishnava tradition through the process of debate and logic.

When Sri Chaitanya went to Gaya on the pretext to perform ceremonies for the anniversary of His father’s death, He received Vaishnava initiation from Shri Ishvara Puri. Thereafter, He lost all interest in debate and simply absorbed Himself in chanting and singing the names of Lord Krishna in devotional ecstasy. Upon returning to Navadvipa, He gathered a following with whom He would engage in congregational singing of the Lord’s holy names. Thus, He started the first ‘sankirtana‘ movement (congregational devotional singing), and established the importance of chanting the names of God in this age as the most elevated of spiritual processes, and the prime means for liberation from material attachments. At first, His chanting with people was for the few participants who were a part of His group, but then Sri Chaitanya ordered that the ecstasy of love of God be distributed to all people of the area. He gave no recognition for the privileges of caste, or for position, or type of philosophy a person had, or yogic asceticism. He only emphasized the devotional chanting of the Lord’s holy names, using the Hare Krishna mantra – “Hare Krishna, Hare Krishna, Krishna Krishna, Hare Hare / Hare Rama, Hare Rama, Rama Rama, Hare Hare”, which has the power to bring out the natural loving sentiments for God.

It was at the age of 24 when He shaved His head and took the order of sanyaasa, the renounced stage of life, when He accepted the name of Krishna Chaitanya from Shri Keshav Bharati during the initiation. He then spent four years travelling through South India, and also visited Vrindavana and Varanasi. During this time he also gave special instructions to his main followers, Shri Roop Goswami and Shri Sanatana Gosvami, who then also spread the glories of the Divine Love for Radha and Krishna. They settled in Vrindavana where they spent their years in writing many books elaborating the instructions of Lord Chaitanya and the glories of bhakti for Radha and Krishna. They also revealed the places where Radha and Krishna performed many varied pastimes in that land of Vrindavana, which have remained special spots where devotees can become absorbed in the bliss of love of Radha and Krishna.

Lord Chaitanya spent His remaining years in Jagannatha Puri. During this time He was absorbed in ecstatic devotion to Krishna in the loving mood of Radharani, in which He would lose all external consciousness. He freely distributed the divine nectar of this love for Krishna to everyone and anyone, day and night. Even His presence or mere touch could transform everyone that came near Him into the same devotional mood. He remained like this until He finally left our vision at the age of 48.

Lord Chaitanya is considered and was established by Vedic scripture as the most recent incarnation of God. The Lord always descends to establish the codes of religion. This is confirmed in Bhagavad-gita (4.6-8) where Lord Krishna explains that although He is unborn and the Lord of all living beings, He still descends in His spiritual form in order to re-establish the proper religious principles and annihilate the miscreants whenever there is a decline of religion and a rise in irreligious activity.

The birthplace of Shri Chaitanya Mahaprabhu, popularly known as Mayapur, is located on the banks of the Ganges river, at the point of its confluence with the Jalangi, near Navadveep, West Bengal (India), 130 km north of Kolkata (Calcutta). The headquarter of ISKCON (International Society for Krishna Consciousness) is situated in Mayapur. It is considered a holy place of pilgrimage by a number of other traditions within Hinduism. It is of special significance to followers of Gaudiya Vaishnav tradition, as the birthplace of Shri Chaitanya Mahaprabhu, regarded as a special incarnation of Krishna in the mood of Radha. It is visited by over a million pilgrims annually.

Mayapur can be reached by boat, and more commonly by train or bus. ISKCON Kolkata operates regular bus service from Kolkata to Mayapur. Frequent train service is available to Krishnanagar, Nadia from Kolkata’s Sealdah Station, then 18 km by auto or cycle rickshaw to Mayapur. During the visit one can see the huge headquarters of ISKCON and a long stream of saffron-robed devotees chanting the Hare Krishna mantra. I visited the place about two decade ago. For all those who visit Kolkata, it is like a rite of passage to visit Mayapur.

The music director of this film is the legendary RC Boral aka Raichand Boral, famous for his New Theatre, Calcutta  films and songs. Once upon a time New Theatres was a great institution. It gave many entertaining and meaningful films, in Bangla and Hindi. A highly capable band of authors, writers, actors, actresses, directors, music directors, lyricists, singers and a whole lot of technical staff started their careers here, and spent their best and most productive years with this institution. New Theatres was known for clean entertainment. This was true in the 20s, 30s and till late 40s. The atmosphere in the studio was like a family.

However, it is the law of nature that whatever goes up must come down also, with time. This process started from the mid 1930s itself when Nitin Bose and Debaki Bose had a big tiff – an ego clash. Later on PC Barua also left, followed by Kaanan Devi, who joined the new company founded by Barua. Uma Shashi eloped with some outsider. In the early 1940s a group of artistes, consisting of actors and directors left NT, to go to Bombay. KL Saigal, Prithviraj Kapoor, KN Singh, Kidar Sharma etc. left for Bombay. Around 1943, Nitin Bose came to Bombay. The Second World War had already broken the back of Film Industry in Calcutta. Additionally, this exodus caused greater harm. People like Pankaj Mullick, though unhappy in NT, did not leave. By about 1950, New Theatres was almost a non-entity !

A giant like Raichand Boral, music director, was invited by Nitin Bose to Bombay. Wanting to try his hand, RC Boral did 3 films in Bombay, namely, ‘Dard e Dil’ (1953) – a film made by Nitin Bose himself, ‘Shri Chaitanya Mahaprabhu’ (1953), a film made by the giant Prakash Pictures of the Bhatt brothers and ‘Swami Vivekanand’ (1955), a film made by Amar Mullick. RC Boral’s music was still in the traditional Bangla style. In Bombay, during the 1950s, the trend was for fast melodies. New generation MDs Shankar-Jaikishan were in full swing. C Ramchandra and SD Burman etc. were churning out  fast melodies. The newer generation of the music lovers was wary of the slow, sentimental, bhajan-like songs now. Boral’s traditional music was unacceptable to them. Therefore the music from none of the three films become popular. Moreover 2 of the 3 films of Boral, had subjects meant only for a limited captive audience of middle age to old age category. Thus Boral proved to be a failure and after these 3 films went back to Calcutta to be amongst his comfort zone of Bangla films.

RC Boral (19-10-1904 to 25-11-1981) was undoubtedly one of the greatest composers of Indian films – be it Bangla or Hindi. From his first Hindi Talkie film ‘Zinda Laash’ (1932) till his last Hindi film ‘Amar Saigal’ (1955),  Boral gave music to 33 Hindi films, most of which were made bilingual in Bangla and Hindi at Calcutta. According to the famous film music historian Dr. Ashok D Ranande, Boral made a significant contribution to the Indian film music. First, he gave lot of importance to background music to enhance the effectiveness of screen images. Secondly, he developed the concept of prelude and interlude music segments in film songs. Thirdly, he is credited with the introduction of playback singing in films . The songs of ‘Pooran Bhagat’ (1933), ‘Chandidas’ (1934), ‘President’ (1937), ‘Mukti’ (1937), ‘Street Singer’ (1938), ‘Lagan’ (1941), ‘Saugandh’ (1942), ‘Wapas’ (1943) and ‘Hamraahi’ (1944) are enough to make him immortal in the annals of film music in India. KL Saigal, Kaanan Devi, Pahadi Sanyal, Harimati and Binota Bose owe their fame and name to Boral. He composed the present tune of our national anthem “Jana Gana Man“, for his film ‘Hamrahi’. Boral got the President’s award in 1959, Sangeet Natak Academy award in 1978 and the prestigious Dada Saheb Phalke award in 1979. He passed away on 25-11-1981 but RC Boral-the legend will always live in the minds of music lovers.

Not only RC Boral, but many other artists from Bengal, who came to Bombay for their career felt uncomfortable and uneasy with the Bombay film culture and they always tried to gather Bangla artists in their work environment to feel safe. This was not so with Bombay film people when they went to Bengal or South. Even the musicians and directors from the South, operated in Bombay atmosphere quite comfortably. Probably, for the Bangla artists, the impact of regional pride and language of Bengal was a hindrance in Bombay.

The film ‘Shri Chaitanya Mahaprabhu’ had a total of 16 songs. In the 1950s, the Hindi films had an average of 8 to 10 songs only. Along with Asha, Lata, Rafi and Talat, Boral also used Dhananjay Bhattacharya and Binota Chakraborty from Calcutta, as playback singers. The name of Binota Chakraborty sounds completely Bengali, but she was a Marathi mulgi from Bombay and her real name was Vinita Amladi. Today’s song is sung by her.

Vinita Raghvendra Amladi was born on 9-8-1928 in Bombay. She had 3 sisters and 3 brothers. Her father, Raghavendra, used to play tabla. Her elder sister Hemlata, sang classical music. Vinita learnt singing from her sister Hemlata. Once, when Vinita was about 15-16 year old, she sang in a private birthday party, in which composer Sardar Malik was present. He was impressed with her singing and she was given an offer to sing songs in film ‘Rain Basera’ (1947), at a princely sum of Rs.250/-. After this film she also sang in the film ‘Renuka’ (1947).

When she went to record songs with Sardar Malik, she met her future husband Krishna Chakraborty, who worked as a pianist in the orchestra. She then met composer Vinod. She says-

“I was introduced to the sound recordist of Shorie films, at a song and dance group meeting. He in turn took me to Vinod. He heard my singing and included me in the chorus of a song of Lata in ‘Ek thi Ladki’ (1949). Then he said, “You have met me very late. Now I have only one song left. You sing it”. The song was “Dilli Se Aaya Bhai Tingu” from ‘Ek Tthhi Ladki’. The song became a super hit in those days.”

After this she did some Marathi films. In 1950 she got married to Krishna Chakraborty, against opposition from  her family and they moved to Calcutta and settled there. In 1952 Pankaj Mullick called her to sing a Meera Bhajan in film ‘Yatrik’. When she went to New Theatres for recording this song, she was thrilled. Her father was so happy with this song that they forgot the past and reunited. Pankaj Mullick sent her to Kamal Dasgupta and under his baton she sang some songs in Bengali films. By now her name had automatically tranformed from Vinita to Binota in the Bengali style. As Binota Chakrawarty she sang songs in yet another Hindi film from Calcutta ’25th July’ (1951).

In 1953 she came back to Bombay after her husband’s untimely death, to look after her ailing father. In Bombay she sang songs in ‘Kasturi’ and ‘Shri Chaitanya Mahaprabhu’, both in 1954. Now she stopped getting songs and she retired. She used to live in Goregaon, Mumbai.

The cast of the film was Bharat Bhushan, Ameeta, Krishnakumari, Durga Khote, BM Vyas, Umakant, Madan Puri, Raj Kumar, Pinakin Shah etc. Bharat Bhushan had received the Filmfare best actor Award for this film, in 1955. (Though the film was censored in 1953 December, it got released only in 1954).

Enjoy the song.


Song – Nimai Chaand, Gore Chaand (Shri Chaitanya Mahaprabhu) (1953) Singer – Binota Chakravarty, Lyrics – Bharat Vyas, MD – RC Boral

Lyrics 

nimai chaand
gore chaand o mere
chhod mohe kahaan. . .
kahaan re chalaa

ghar soona soona
kar ke chala re. . . hey. . .
o bap ik baar
mukhda dikha re
o bap nimai mere tu
ek baar mukh to dikha re. . .
ey. . .
nimai chaand

mann pinjre mein
panchhi hriday ka..aa..
jatnon se jisko main ne samaaya
haaye
udd gaya chhalia..aa
tod ke taala
bole vishnu ke ab hoon
roye
roye re
re. . . hey. . .
kaise dheer hey bandhaaun main
o bap nimai mere
kaise dheer hey bandhaaun main
??
nimai chaand

baal umar mein
bairaagi na hoyio
sanyaasi na hoyio
ghar reh ke let naam re nimai
maai ko tu layio re nimai
baal umar mein
sanyaasi na hoyio

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

नीमाई चाँद
गोरे चाँद ओ मोरे
छोड़ मोहे कहाँ॰॰॰
कहाँ रे चला

घर सूना सूना
कर के चला रे॰॰॰
हे॰॰॰
ओ बप इक बार
मुखड़ा दिखा रे
ओ बप निमाई मेरे तू
इक बार मुख तो दिखा रे॰॰॰
ए॰॰॰
नीमाई चाँद

मन पिंजरे में
पंछी हृदय का॰॰आ॰॰
जतनों से जिसको मैंने समाया
हाय
उड़ गया छलिया॰॰आ॰॰
तोड़ के ताला
बोल विष्णु के अब हूँ
रोये
रोये रे
रे॰॰॰
हे॰॰॰
कैसे धीर हे बंधाऊँ में
ओ बप निमाई मेरे
कैसे धीर हे बंधाऊँ में
??
निमाई चाँद

बाल उमर में
बैरागी ना होइयो
सन्यासी ना होईओ
घर रह के लेत नाम रे निमाई
माई को तू लईओ रे निमाई
बाल उमर में
सन्यासी ना होईओ


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

Today’s song is from film Lajawab-50. It was a production of Variety pictures – a company owned by actress Ashalata Biswas- wife of Anil Biswas ( real name Mehrunnisa Bhagat). It is needless to state that the music for this and every film of this company, was composed by Anil Biswas. The film was directed by the veteran J.P.Advani, who was known to Anil Biswas from the mid 30s. However, they came together only in 3 successive films, namely Veena-48, Laadli-49 and Lajawab-50.

Jagatrai Pesumal Advani was born on 17-5-1903 in Hyderabad ( Sindh ). After graduating, he studied film making in Germany in the 1920s. After coming back to India, he joined Mohan Bhavnani – a big gun in those days- as his assistant. His first film as a Director was Heer Ranjha-1931. He shifted to Saroj Movietone in 1934 and then to Karachi to work for Golden Eagle Company. He was considered an expert who could handle the Heroines at his will.

He directed about 30 films, including a Hindi/Punjabi bilingual film Sassi-Punnu-46. His Filmography is- 1931: Heer Ranjha; 1933: Zehar-e-Ishq; 1934: Afghan Abla; Dilara; Gafil Musafir; Johar-e-Shamsheer; Tilasmi Talwar; Vasantsena; Flashing Sword; 1935: Bahar-e- Sulemani; Farebi Duniya; Shah Behram; 1936: Elaan-e-Jung; Shokh Dilruba; Sipahsalaar; 1937: Saqi; Insaaf; 1939: Dekha Jayega; 1940: Dharma Bandhan; Sneh Bandhan; 1941: Shehzadi; 1942: Suhagan; 1943: Sahara; 1946: Sassi Punnu; 1948: Veena; 1949: Laadli; 1950: Wafaa; Lajawaab; 1952: Saloni; 1954: Danka; 1955: Hasina.

The cast of the film consisted of Rehana, Sohan, Kuldeep Kaur, David, Pran, Iftekhar etc etc. Not much information is available about this Hero- Sohan. In Hindi films, many aspirants tried their luck. Not all of them got an opportunity to enter films. In the early era, it was easy, but as the years passed by, it became difficult for the hopefuls. Few lucky ones got a Mentor- it helped them to only to enter films but not stay in the industry.

“Aaye bhi vo, gaye bhi vo, khatam fasana ho gaya “. These newcomers were given a fair opportunity to showcase their abilities, but unfortunately, despite their honest efforts, their skill did not show up and the audience was unimpressed. They got big banners, good experienced directors, but they disappointed their Mentors with non existent abilities to act. They proved to be ‘Non- Actors ‘.

Among them, some male actor’s names which I remember off hand are Arjun in Malhar-51, Rattan Chopra in Aman-67,Mom ki Gudia-72, Vijay kumar in Alif laila-54,Premendra in Holi aayee re-70, Deepak kumar in Aabroo-68, Ajay in Wapas-69, Som Dutt in mann ka meet-68, Vikram in Julie-75,Rajeev Kapoor in Raam teri Ganga maili-85, Shekhar Suman in Utsav-84, Kaycee mehra in Chhabilee-60 and mem didi-61, prashant in Sehra-63, Ashok Sharma in Hamari yaad aayegi-61, Ajit Chitnis in Aaj ki baat-55, Nusrat Kardar in Dard-47, Manish in Saraswati Chandra-68, Rajiv in Nayi umar ki nayi fasal-65, Aroop kumar in Bezubaan-62 etc etc.

Sohan kapila was also one such actor, who was not successful as a Hero. Actually, big banners like Filmistan supported him. He got seasoned Heroines like Geeta Bali and Rehana as well as Debutants Jayashree Gadkar and Nalini Chonkar, but nothing worked. He proved that you can take the Horse to the water, but you can not make it drink !!! He acted in Girls school-49, lajawab-50, Sanskar-58, Ek armaan mera-59, Chaand ki duniya-59, Babar-60, Commercial pilot officer-63 and picnik-66 and may be some more as character roles. After he retired, his daughter actress Padmini Kapila also had the same fate !

Film Lajawab-50 had another interesting artiste- Kuldeep kaur. Her life story is very interesting. Born in 1927 at Lahore, Kuldeep Kaur was the daughter of a wealthy landlord family of Punjab and the daughter-in-law of the grandson of Ranjit Singh’s daredevil military commander, General Sham Singh Attariwala.

Her in-laws lived in the village of Attari. Located on Amritsar district’s border with Lahore district, just off the Grand Trunk Road, it was 18 miles away from both Amritsar and Lahore.
Kuldip Kaur was a very shy and simple, beautiful Sikh woman.

Her rich landlord husband, Mohinder Singh Sidhu (also called Mohinder Singh Pompa), was a spoiled chap. He hardly spent a day without visiting either Lahore or Amritsar. He was a good friend of Maharaja Jagatjit Singh of Kapurthala and visited his French style palace – modelled on the Versailles – as well as the magnificent Jagatjit Club several times during the winters. During the summers the Maharaja himself was often on a tour of France and other European countries and was seldom available in Kapurthala.

Kuldip Kaur was brought up like a princess. Her spoiled Sardar husband wanted his wife to be like a modern westernized lady. He wanted his wife to learn swimming and rub shoulders with the club-going English elite based in Lahore and Amritsar.

Once exposed to the club culture, Kuldip Kaur also started getting a taste of its dark side. Since Lahore was a film city, Kuldip Kaur started dreaming about becoming a film actress.

According to one story, Kuldip Kaur started admiring the professional qualities of actor Pran Nath, who was in film acting in Lahore since 1940, when he successfully performed the role of a hero in Punjabi film “Yamla Jutt” (The Simple Peasant).

By July and August of 1947, communal violence erupted into a full-fledged exercise in ethnic cleansing, with Muslims on one side and Sikhs and Hindus on the other. Both Lahore and Amritsar were engulfed in the worst sectarian violence in recent history.

Both Pran and Kuldip Kaur were made to leave Lahore in a jiffy, leaving virtually every belonging behind. Her own village being right on the border was also not peaceful. So Kuldip
Kaur left straight for Bombay. According to one story, in order to impress Pran, Kuldip Kaur decided to bring Pran’s stranded car from Lahore to Bombay.

In a gesture of unprecedented daredevilry, she travelled from the safety of Amritsar to Lahore and drove Pran’s car first to Amritsar and then all the way to Bombay, where she handed over the keys to a surprised but grateful Pran.

After leaving for Bombay, Kuldip Kaur’s contact with her parents and in-laws got diminished. On arrival in Bombay, Kuldip Kaur made up her mind to plunge headlong into the film industry. She was prepared to act in Hindi/Urdu as well as Punjabi films. The experts of film industry were of the opinion that her large piercing eyes and her flat
chin made her an ideal choice for the role of a vamp.

The first ranking heroines of the time included Naseem Bano, Madhubala, Nargis, Suraiya and Nutan. Other heroines included Binarai, Shyama, Nimmi, Nirupa Roy, Meena Shori, Nigar Sultana, Veena and Kamini Kaushal. There was a shortage of ladies willing to perform the role of vamps.

One of Kuldip Kaur’s first films was a Punjabi blockbuster “Chaman” (1948). Within the same year Kuldip Kaur acted in two Hindi/Urdu films “Ziddi” and “Grahasthi“. All her 1948 films did well. After that she never looked back and went from strength to strength. At one stage Kuldip Kaur was so busy in her film roles that for a long duration she did not visit Punjab.

In 1949, Kuldip Kaur worked in at least two films “Ek Thi Ladki” and “Kaneez”. “Ek Thi Ladki” was a blockbuster. Music Director Vinod composed some great tunes for this movie. “Kaneez” did not do too well.In 1950, Kuldip Kaur acted in two great musical Hindi movies “Samadhi” and “Adhi Raat” and did two Punjabi movies “Madaari” and “Chhai”.
1951 was a great year for her: she played the roles of vamps in six movies – “Stage”, “Rajput”, “Nai Zindagi”, “Ek Nazar”, “Afsana” and “Mukhra”. Her role in film “Afsana” received critical acclaim.

1952 was another great year for Kuldip Kaur. She worked in four movies – “Shisham”, “Nau Bahar”, “Baiju Bawra” and “Anjaam”. Again her role was highly praised in what became an all-time classic, “Baiju Bawra”. In 1953 again, Kuldip Kaur had four films – “Mashooka”, “Baaz”, “Anarkali” and “Aabshar”. Of these, “Anarkali” was a super hit and her role stole the limelight. 1954 proved another great year. She was featured in three movies – “Lal Pari”, “Gul Bahar” and “Daak Babu”.

1955 was one of her busiest professional years. She played the bad girl’s role in “Teer Andaz”, “Miss Coca Cola”, “Mast Qalandar” and “Jashan”. In 1956, things slowed down a bit. She worked in two films, but none was released. Two of Kuldip Kaur starrers spilled over into the new year and were released in 1957. These were “Sheroo” and “Ek Saal”. In 1958 Kuldip Kaur had her roles in two films “Sahara” and “Panchyat”. In 1959, she did three films – “Pyaar Ka Rishta”, “Mohar” and “Jagir”. Out of these, one film, “Mohar,” was a great musical. Its music composed by Madan Mohan was simply outstanding.

When Kuldip had fewer Hindi films in hand, she worked in Punjabi films. 1960 started as a reasonably good year for Kuldip Kaur. She had a Hindi film, “Maa Baap,” and a Punjabi film, “Yamla Jutt”.But during this very year, her life was cut short when she got some thorns in her feet and legs and she pulled those out by herself. True to her character of a daredevil woman, she did not seek medical advice immediately. Her sores became not only septic, but she contracted tetanus too, which was then incurable.

Kuldip Kaur died in 1960.

Today’s song is the 5th song to be posted from this film. There were total 11 songs. I feel this film had some of the best songs of Anil Biswas. All the 3 duets of Anil Biswas and Lata are very good. Today’s duet is the third of them, in which Anil Biswas has no words but makes only funny sounds. Enjoy this melodious duet….


Song-Do din bahaar hai do din ka pyaar hai (Laajawaab)(1950) Singers-Lata, Lyrics-Prem Dhawan, MD-Anil Biswas
Male chorus + Anil Biswas
Female chorus

Lyrics

hoyi hoyi hoyi
hoyiya re hoyiya
hoyi hoyi hoyi
hoyiya re hoyiya

ho ho ho ho ho ho
hoyi hoyi hoyi
hoyiya re hoyiya

ho ho ho ho ho
hoyi hoyi hoyi
hoyiya re hoyiya
hoyi hoyi hoyi
hoyiya re hoyiya

ho ho ho ho ho
hoyi hoyi hoyi
hoyiya re hoyiya
hoyi hoyi hoyi hoyiya
re hoyiya
hoyi hoyi hoyi
hoyiya re hoyiya

do din bahaar hai
do din ka pyaar hai
do din ki hai ye zindgaani
hoyi hoyi hoyi
hoyiya re hoyiya

do din bahaar hai
do din ka pyaar hai
do din ki hai ye zindgaani
hoyi hoyi hoyi
hoyiya re hoyiya

duniya jawaan hai
dil mein toofaan hai
duniya jawaan hai
dil me toofaan hai
kar le ji bhar ke tu manmaani ee
do din bahaar hai
do din ka pyaar hai
do din ki hai ye zindgani
hoyi hoyi hoyi
hoyiya re hoyiya
hoyi hoyi hoyi
hoyiya re hoyiya
hoyi hoyi hoyi
hoyiya re hoyiya

bhanwron se boli ye baad e saba
bhanwron se boli ye baad e saba
lo kaliyaan hansi
lo chaman khil gaya
lo kaliyaan hansi
lo kaliyaan hansi
lo kaliyaan hansi
lo chaman khil gaya
phoolon pe jhoom lo
kaliyon ko chum lo
phoolon pe jhoom lo
kaliyon ko choom lo
aayegi phir na rut suhaani ee
do din bahaar hai
do din ka pyaar hai
do din ki hai ye zindgaani
hoyi hoyi hoyi
hoyiya re hoyiya
hoyi hoyi hoyi
hoyiya re hoyiya

jo kahana hai tumse wo kah na sakoon
na kahne ke dukh ko main sah na sakoon
jo kahana hai tumse wo kah na sakoon
na kahne ke dukh ko main sah na sakoon
dil bekaraar hai
tumpe nisaar hai
dil bekaraar hai
tumpe nisaar hai
itni si hai meri kahaani ee
do din bahaar hai
do din ka pyaar hai
do din ki hai ye zindgani

hoyi hoyi hoyi hoyiya re hoyiya
do din bahaar hai
do din ka pyaar hai
do din ki hai ye zindgani

hoyi hoyi hoyi
hoyiya ri hoyiya
hoyi hoyi hoyi
hoyiya re hoyiya

ho ho ho ho ho
hoyi hoyi hoyi hoyiya re hoyiya
ho ho ho ho ho
hoyi hoyi hoyi hoyiya re hoyiya
ho ho ho ho ho
hoyi hoyi hoyi hoyiya re hoyiya


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

Today’s song is from the landmark film ‘Amar Jyoti’ (1936), made by the Prabhat Film company, Poona. It was directed by V Shantaram. It was photographed by his elder brother V Avadhoot and the music was by Master Krishnarao Phulambrikar. All the songs were written by Pandit Narottam Vyas. Today’s song is sung by Vasanti and chorus. The song is also used as a background song few times in the movie since it conveys the essence of the film’s theme- fight against injustice.

This is a significant and a noteworthy film by Shantaram. Durga Khote performed one of her most memorable roles. K Narayan Kaale wrote the story and screenplay, with dialogues by Pt. Narottam Vyas. The cast included Durga Khote, Chandra Mohan, Shanta Apte, Vasanti, Nandrekar, Keshav Narayan Kaale etc. etc. Songs by Shanta Apte, especially “Suno Suno Ban Ke Praani“, whose records sold by thousands and a duet by Apte and Nandrekar, “Aaj Hamen Ban Behad Bhaata” were very popular.

The film was about a rebellious woman turning into a pirate, because of the injustice meted out to her. She was a queen who suffered due to severe male oriented laws and was denied custody of her only son, when she separated from her husband. This outstanding adventure film – the first pirate film in Hindi – was the first Indian film to be screened at the Venice Film Festival. The film became a box office hit because of three reasons. One – Durga Khote’s excellent acting, and two – the special effects and the novel, unusual pirate story and three – it’s popular songs and music.

Durga Khote, in her Autobiography, ‘I, Durga Khote’ has stated the following about this film,

A film like Amarjyoti, an imaginary story and beautiful in every respect, happens only once in a rare while. The cinematography, sets, costumes, jewellery, songs, and backgrounds were so perfectly attuned, that the audience went crazy with every scene. Every element, whether it was shots of ships, surging waves and enormous rocks, or the casting and performances with minute shades of expression, heroism, self-sacrifice, and extreme tyranny—was striking in itself, and in complete harmony with every other element of the complicated plot. Shanta Apte’s songs became very popular. Vasanti’s lovable charm, the harsh anger that I, as Saudamini, expressed against injustice, Chandramohan’s impressive performance, light eyes flashing—were all wonderfully effective. The costumes of the smugglers, their lifestyle, the weapons they carried, were all imaginary, and yet they came through so convincingly on screen. Every costume was so precisely selected that it fitted in its place perfectly, as if carved for that space.

Though Durga Khote was the main and central character of the film, the romantic respite was provided by Shanta Apte and B Nandrekar. Now Shanta Apte is a well known name but who was this Nandrekar ?

In the days of silent movies, the only requirement for males to get into films was that they should be reasonably good looking and must have good height and physique. For the females the requirement was beauty and consent to do romantic scenes, including kisses, if required. If these points were in order, their entry to the films was assured. Due to these conditions, mostly uneducated good looking girls from tawaiaf and kothewali families used to join films. Anglo-Indians, Germans and other foreigner girls too joined film world. For them kissing or romantic scenes were no great issues. In males too, uneducated young men from poor families, having a good muscular body and good looks joined the films.

However, when the talkie films started, the requirements included good Hindi/Urdu/Hindustani speaking skills and ability to sing a song, if needed. Almost all Anglo-Indian, Jew, German and other girls left films as they did not know Hindi language or singing. There were, of course, few dedicated girls who learnt better Hindi and singing to remain in films. Some examples are Savita Devi, Sulochana, Madhuri etc.

In males most actor had no problem, but those who came from regions other than Bombay could not speak Hindi well and had no scope. The most well known example was that of Master Vithal, who excelled in silent films but was a failure in talkie films for his inability to speak Hindi fluently. No doubt he was selected to be the hero in India’s first talkie film, ‘Aalam Ara’ (1931), but when he failed to mouth Hindi dialogues, his role was curtailed and he was portrayed as unconscious for a major part of the film.

Actors like Master Bhagwan had no problem. He had been working in silent films since ‘Bewafa Aashiq’ (1930), and he smoothly walked into talkie films as Hindi speaking skills were good. There was yet another actor who easily transitioned from silent films to talkie films. This was  B Nandrekar or Baba Saheb Nandrekar.

Nandrekar was one of the very few really handsome actors Hindi films ever had. He was born in 1910, in Sangli district of Maharashtra, near Kolhapur. Being a Muslim, he could speak Urdu/Hindi fluently. He completed his schooling from Kolhapur and joined films. Vishnupant Damle (one of the founder partners of Prabhat Films) was making silent film ‘Maharathi Karna’ (1928) for Maharashtra Film Co. He offered Nandrekar a role. Then he worked in other films like ‘Baji Prabhu Deshpande’ (1929), ‘Lanka’ (1930), ‘Kismet’ (1931) and ‘Dushman Ki Raat’ (1931).

His first talkie film was ‘Kurukshetra’ (1933). Prabhat gave him a role in ‘Sant Tukaram’ (1936) (its Hindi version came in 1948). He worked in ‘Amar Jyoti’ (1936) and became quite popular as a hero, opposite Shanta Apte. He was hero in ‘Baghbaan’ (1938) opposite Sitara Devi.

In 1939, he became the first actor to go abroad to shoot scenes in film ‘Africa In Hind’ – ‘हिन्द में अफ्रीका’ (1939). The shooting was done in Africa. Thus this became the first ever Hindi film to shoot in foreign country, and NOT film ‘Naaz’ (1954), as is popularly believed and also as mentioned in HFGK. Nandrekar had become very popular. The chappals he used in film ‘Baghbaan’ became fashionable by the name ‘Nandrekar Chappals‘. This alone is enough to prove his popularity.

His law suit against Prabhat Film Company was a topic of discussion in the industry. There were differences between him and Prabhat over his contract with them. His lawyers were Mr. Jinnah and Mr. Setalwad, who won the case for him. He was also the first actor to work as a freelancer.

Nandrekar appeared in 23 films. His films were ‘Kurukshetra’ (1933), ‘Amar Jyoti’ (1936), ‘Jaadugarin’ (1937) (UR), ‘Baghbaan’ (1938), ‘Africa In Hind’ (1939), ‘Qaidi’ (1940), ‘Hindustan Hamara’ (1940), ‘Alakh Niranjan’ (1940), ‘Chitralekha’ (1941), ‘Mamaji’ (1942), ‘Duniya Tumhari Hai’ (1942), ‘Nai Kahaani’ (1943), ‘Andhi Duniya’ (1943), ‘Swarn Bhoomi’ (1944), ‘Lady Doctor’ (1944), ‘Ismat’ (1944), ‘Bachpan’ (1945), ‘Kamla’ (1946), ‘Jeevan Sikho’ (1946), ‘Parshuram’ (1947), ‘Meri Amaanat’ (1947), ‘Khandani’ (1947), ‘Sant Tukaram’ (1948) and last film ‘Bihari’ (1948).

He passed away in 1949. No definite information is available about his demise.

Another lesser known actress is Vasanti. Vasanti Vinayakrao Ghorpade, was born on 26-3-1924 in Kolhapur. Her father’s sister Tanibai was a famous classical singer. Married to Bapusaheb Kagalkar, she was active in films till 1931 in Kolhapur. Vasanti was trained by Pt. Vamanrao Sadolikar and Ustad Bamman Khan. She first acted in ‘Dharmatma’ (1935) as a child artist. Then came ‘Amar Jyoti’ and ‘Duniya Na Maane’ (1937). Her songs in these films were popular. She left Prabhat in 1939 and joined Ranjit. She appeared in ‘Sant Tulsidas’ (1939), ‘Musafir’ (1940), ‘Diwali’ (1940), ‘Achhoot’ (1940), ‘Beti’ (1941), ‘Sukh Dukh’ etc. She also sang in ‘Aapki Marzi’ (1939), ‘Bhaktaraj’ (1943) and ‘Qurbani’ (1943). Vasanti acted in 15 films. She sang 60 songs in 14 films – all for herself only.

In 1944,she married Indubhai Patel and went to Bangalore. Her last film was ‘Bachchon Ka Khel’ (1946). [Note: In this film Meena Kumari appeared in an adult role for the first time].

The music director of this film, Krishnarao Ganesh Phulambrikar was a Marathi actor, composer, and musicologist. He was an architect of the golden period of Sangeetnatak in Marathi Theatre. He was born in Alandi near Pune in 1898. He was the son of a professional pandit who died when Krishnarao was only 6, reducing the family to abject poverty. He was weak in health. He did not have much formal education, but his sweet, elastic voice facilitated entrance into the Natyakala Pravartak Mandali, where he did small roles. After 1910, he left to learn classical music under Bhaskarbuwa Bakhle in Pune.

In 1918, Bal Gandharva employed him in the Gandharva Natak Mandali as male lead actor and music director, though he did some women’s roles as well. He developed as a most versatile composer who, with Govindrao Tembe, helped Bal Gandharva in spreading Hindustani classical music. He left the Mandali in 1933 to become music director for V Shantaram’s Prabhat Film Company, scoring highly original songs for ‘Dharmatma’ i.e. ‘Soul of Dharma’ in 1935, ‘Maanus’ i.e. ‘Life Is for the Living’ in 1939, and other movies. He gave music to 10 films and composed 104 songs for them. Being a singer, he sang  11 songs in 3 films. Later, he joined MG Rangnekars Natyaniketan. His classical-based light music for Rangnekar’s plays like ‘Kulavadhu’ i.e. ‘Family Bride’ in 1942 and ‘Ek Hota Mhatara’ i.e. ‘There Was an Old Man’ in 1948 is considered a Sangeetnatak landmark. Among his many books on music, he wrote a seven-volume series for vocal and instrumental training, titled Raagsangraha i.e. Raaga Anthology, in 1940-71. He also contributed to popularize the Jaipur gharana. He passed away in the year 1974.

The film had a total of 11 songs. Four songs are already on the Blog. This will be the fifth song. The song is having a lilting tune. After you hear it completely, I am sure it will not leave your memory because of the old Natya Sangeet style of singing.

A brief summary of the film is,

Saudamini (Durga Khote) is denied custody of her son by the Queen (Karuna Devi) and Durjaya, the tyrannical Minister of Justice (Chandra Mohan) after she separates from her husband. Durjaya tells her that a woman is the slave of her husband and essentially has no rights. This enrages Saudamini and she vows vengeance and becomes a pirate. She and her pirates capture a ship which is supposed to be carrying the princess Nandini (Shanta Apte). However, she finds her old enemy Durjaya and takes him prisoner cutting off one of his legs. Nandini has been hiding in chest, and when she comes out of it, the imprisoned Durjaya sees her. He falls in love with her and offers her his food. Nandini however falls in love with a young shepherd boy Sudhir (Nandrekar). When she meets Saudamini and her helper Rekha (Vasanti) she joins them as a pirate and tells Sudhir off. Durjaya escapes with the help of Sudhir and arrives to arrest Saudamini. Saudamini is captured, but the others, along with Nandini and Rekha, escape. It is finally revealed that Sudhir is Saudamini’s long-lost son. Nandini and Sudhir marry and Rekha carries forward Saudamini’s legacy.

 

———————————————————
Translation (Provided by Sudhir)
———————————————————

karte rahna mismaar, duniya zulm o jafaa ki
This world is of cruelty and injustice
Demolish it, raze it to ashes
[Notes: mismaar = to demolish, raze]

phir se basaao sansaar
himmat waala, izzat wala, jannat waala
amrit dhaara sukh sansaadi bahe wafaa ki
Let us build a new world again
A world of courage
A world of dignity and esteem
A world that is like heaven
Where flows the elixir of love and justice
Having all happiness and resources
[Note: sansaadi = resources; also means complete, undivided, unified]

lehron mein lehron si shamsheer chamke
paave na mohlat
ladna le lena duniya ki daulat
jawaan mein ho tum veer
rann mein dharo tum dheer
Let the swords shimmer like the waves of the ocean
Let there be no respite (for the tyrannical and the wicked)
Fight, and seize the wealth of this world
You are the brave amongst the young
In the battlefield, be unperturbed and composed

karna duniya mein manmaani
ban jaawo ho jaawo laasaani
tan de dena, dhan de dena
vachan naa apna nishfal karna
Have your own way with this world
Become matchless, unconquerable
Stake your assets, and yourself
But never let your word, your promise be fruitless
[Note: laasaani = matchless, incomparable]

bal dikhlaayenge, mar khap jaayenge
kadam badhaayenge, safal kahaayenge
We shall display our valour, our strength
We may die, may be destroyed
But we shall always move forward
We shall always be known as the victors

[Editor’s Note: As noted by Arun ji, this song appears in the film more than once. As one starts to view this film, this song is the very first thing that plays after the initial credits. In this initial playing, the main singers are Saudamini (Durga Khote) and Rekha (Vasanti), with crew of their pirate ship joining in chorus. Nandini (Shanta Apte) is not yet on the scene. Later in the sequence of events, when Saudamini has been captured by Durjaya (Chander Mohan), this song is initiated once again by Rekha, to bring life and strength to the ship’s crew, who are completely demoralized after the capture of their leader. At this stage, Nandini has also joined the ship. In this reprise of the song, the singing voices are now of Vasanti, Durga Khote and Shanta Apte. The video clip that is accompanying this post, is the clip of this second playing of the song. The song starts as a chorus background. Then the young Rekha starts to sing the initial lines, then there is a flashback as Saudamini is shown being taken away as a prisoner. This part of the song is in Durga Khote’s voice, part of the same lines that she sings in the initial playing of this song. Then Nandini joins the singing, and the voice here is of Shanta Apte. The ship’s crew then steps in once again with chorus. In the initial playing, the lines being sung by Nandini (in this video clip) are also sung by Saudamini.]


Song – Karte Rehna Mismaar Duniya Zulm o Jafaa Ki (Amar Jyoti) (1936) Singer – Vasanti, Durga Khote, Shanta Apte, Lyrics – Pt Narottam Vyas, MD – Master Krishna Rao
Chorus

Lyrics 

karte rahna mismaar
duniya zulm o jafaa ki
karte rahna mismaar
duniya zulm o jafaa ki
phir se basaao sansaar
himmat waala
izzat wala
jannat waala
amrit dhaara
sukh sansaadi
bahe wafaa ki
karte rahna mismaar
duniya zulm o jafaa ki
karte rahna mismaar
duniya zulm o jafaa ki

lehron mein lehron si shamsheer chamke
lehron mein lehron si shamsheer chamke
paave na mohlat
ladna le lena duniya ki daulat
jawaan mein ho tum veer
rann mein dharo tum dheer
baala ji
ladna le lena duniya ki daulat
jawaan mein ho tum veer
rann mein dharo tum dheer
baala ji

karna duniya mein manmaani
karna duniya mein manma..aani
ban jaawo ho jaawo laasaani
ban jaawo ho jaawo laasaani
tan de dena
dhan de dena
tan de dena
dhan de dena
vachan naa apna nishfal karna
bal dikhlaayenge
mar khap jaayenge
kadam badhaayenge
safal kahaayenge
karte rahna mismaar
duniya zulm o jafaa ki
karte rahna mismaar
duniya. . .
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
करते रहना मिस्मार
दुनिया ज़ुल्म ओ जफा की
करते रहना मिस्मार
दुनिया ज़ुल्म ओ जफा की
फिर से बसाओ संसार
हिम्मत वाला
इज्ज़त वाला
जन्नत वाला
अमृत धारा
सुख संसादी बहे वफा की
करते रहना मिस्मार
दुनिया ज़ुल्म ओ जफा की
करते रहना मिस्मार
दुनिया ज़ुल्म ओ जफा की

लहरों में लहरों सी शमशीर चमके
लहरों में लहरों सी शमशीर चमके
पावे ना मुहलत
लड़ना ले लेना दुनिया की दौलत
जवां में हो तुम वीर
रण में धरो तुम धीर
बाला जी
लड़ना ले लेना दुनिया की दौलत
जवां में हो तुम वीर
रण में धरो तुम धीर
बाला जी

करना दुनिया में मनमानी
करना दुनिया में मनमा॰॰आनी
बन जावो हो जावो लासानी
बन जावो हो जावो लासानी

तन दे देना
धन दे देना
तन दे देना
धन दे देना
वचन ना अपना निष्फल करना
बल दिखलाएंगे
मर खप जाएँगे
कदम बढ़ाएँगे
सफल कहायेंगे
करते रहना मिस्मार
दुनिया ज़ुल्म ओ जफा की
करते रहना मिस्मार
दुनिया॰॰॰



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

Today’s song is from film Nishan-49. the film was made by Gemini Studios,Madras and the Director was S.S.Vasan. Music for this costume drama was by a team of 3 Gemini composers,namely – Rajeshwar rao,M.D.Parthasarathy and B.K.Kalla. For the song under discussion, the composer was B.K.Kalla.

As many as three films named “Nishaan” have been made over the years, in 1949, 1965 and 1983.

Initially, in the early era, Bombay was the biggest centre for film making. When the Talkie films started, other smaller centres in those times, like Lahore and the South woke up. For Lahore, language was not a problem and so there was a traffic between Lahore and Bombay film people for work and technology. Thus few centres for film production prospered in Lahore-like Pancholi and Shorey etc.

But for South, Language was the biggest hurdle in having connections with Bombay. For the first few years, some Tamil and Telugu films were made in Bombay. Some southern film makers like L.V.Prasad worked in Bombay in their initial career and learnt the tricks of the trade-as they say. Later on L V Prasad became one of the biggest film producers in South owning Studios, Laboratories and related industries. Incidentally, while in Bombay, L V Prasad became the only actor who worked in the First Hindi Talkie, Alam Ara-31, First Tamil Talkie,Kalidas-31 and First Telugu Talkie, Bhakta Prahlad-32 all made at Bombay !

However soon the South established its own production centre at Madras and made Tamil, Telugu, Malyalam and Kannada films. In 1948, S.S.Vasan of Gemini Studios, released his ambitious Tamil/ Hindi film ” Chandralekha ” all over India with 600 film prints. The extraordinary success of ‘Chandralekha’-48 gave a clear idea to South producers how hugh the Hindi market was. With a 3 million investment, Vasan earned 20 million from ‘Chandralekha’.

After the unprecedented foray of Gemini’s Vasan’s hit film Chandralekha-48. Subramaniam Srini Vasan or simply S S Vasan, became aware of the unlimited scope of the Hindi belt market for south-made Hindi films.

Vasan was a writer, Editor, producer and Director, but above all, he was a Business Tycoon. He had established the popular Tamil magazine “Anand Vikatan”, and owned Gemini studios, Gemini Laboratories and Gemini distribution circuits. He soon decided to take advantage of the success of Chandralekha and made another Trilingual film . In Tamil it was called “Apoorva sahodarargal”, in Telugu, it was “Apoorva Sahodaralu”, and in Hindi it was called “Nishan”-49. This film too was a great success.

Encouraged by this, S S Vasan made his 1943 Tamil Hit film “Mangamma Sapatham”-43, into a remake in Hindi with the name “Mangala”-50.
Not by coincidence, but by design, the Hero for all these 3 remakes and the originals was Ranjan. (This film was remade in Sinhalese as “Mathalan” in 1955 and in Telugu as “Mangamma shapatham”in 1965- featuring N T Ramarao, later the Chief Minister of erstwhile Andhra Pradesh, and Jamuna).

Encouraged with all this, the enthusiastic adventurer called Vasan took his 1949 hit Tamil film ” Vazhakan ” and made a Telugu remake, “Jeevitham”-50 and a Hindi remake,” Bahar-51″, introducing Vyjayanti mala. ‘Bahar’ was a box office hit. Vasan next made ” Ladki-53″ in Hindi, with simultaneous remakes in Tamil (Penn) and Telugu (Sangham).

Today’s film under discussion, Nishan-49 is a remake of original Tamil film, ‘ Apoorva Sahodarargal ‘-49. It was based loosely on Douglas Fairbanks’ film ” The Corsican Brothers “-41. The inspiration came from Alexander Duma’s novel of the same name published in 1844.

When the Tamil film was being made, the Hero was decided as M.K.Radha of Chandralekha fame, Heroine was P.Bhanumathy, but an actor for the Villain’s role was not decided. Many actors were considered, but finally Vasan decided on R.Nagendra,a veteran of Kannada stage. Vasan’s judgement proved correct. Nagendra acted so well that all critics were full of praises. Vasan continued Nagendra for the Telugu remake( Apoorva Sahodaralu) and for Hindi version-Nishan. It is to the credit of Nagendra that he picked up fluent Tamil, Telugu and Hindi pronunciations quickly and with great accuracy too in no time !.

Today’s song is sung by Shamshad Begum and many male voices and it is a Multi language song , having few lines in Bangla, Punjabi, Gujarati and Tamil language also. The original song in Tamil was also a Multi language one having few lines in Malyalam, Telugu, Kannada and Hindi in it. The song had become quite popular in south during that time.

The cast of the film was P.Bhanumathy, Ranjan, Nagendra Rao, J.S.Kashyap, Maya Banerjee, B.K.Kalla, Narayan Rao etc etc. The story of the film was….

Mahendra and Martand are rival kings. When Mahendra’s wife gives birth to conjoined twins, Dr. Nanji separates them skillfully. In a surprise attack, Martand and his men set fire to Mahendra’s fort thinking that the entire Mahendra clan perishes. But the good doctor has taken the babies to the safety of his house. And thereafter the elder twin Vijay grows up in the city, while the younger twin Vikram is brought up in the forest by the loyal Maruti.

When they are 25 years old, the doctor sends for them and introduces them to each other and makes them aware of their history. The twins swear to avenge the dastardly killing of their father and restore the glory of their kingdom. Meanwhile, Vijay saves the beautiful Ranjana from the aging yet lust-filled Martand and his men. Vijay and Ranjana fall in love in due course.

Problems arise between the brothers in the forest, as Vikram too falls for Ranjana. And being the younger of the conjoined twins, Vikram aches with frustrating feelings of physical desire whenever Vijay and Ranjana are together. Not wanting to be the cause for the brothers turning against each other and in order to enable them to reach their avowed objective without further distraction, Ranjana leaves Vijay in the forest, only to fall straight into the clutches of Martand. The rescue of Ranjana, and Martand getting his retribution form rest of the exciting tale.

Editor’s note-While most words in Bangla, Punjabi and Gujarati have been noted down with reasonable accuracy, Tamil words are required to be deciphered. I request our Tamil language experts to help fill in the Tamil lyrics. Readers are also requested to suggest corrections/ help fill in the words wherever applicable in the lyrics, and especially in the non Hindi lyrics.


Song-Jaiyyo jaiyyo sipahiya baazaar (Nishaan)(1949) Singers-Shamshad begam, Sundar, Lyrics-Pt Indra Chandra, MD-B K Kalla

Lyrics

mooli
matar
tamaatar

aur gaajar
haan haan gaajar
aaloo
mooli
matar
tamaatar
gaajar

paapad aur pakaudi chatni
chatpat garam masaala
haan chatpat garam masaala
garmaa garam jalebi ho to
haazir khaanewaala

haaye
bhookhe khade sipahiya mere
main kya karoon akeli

ham sab madad karenge teri
ae naazuk albeli

haan
to aao aao
aao aao

jaiyo jaiyo
o jaiyo jaiyo
sipaiya baazaar
daal meri chulhe chadhi
o laiyo laiyo
laiyo laiyo ji nimbu achaar
daal meri chulhe chadhi
o jaiyo jaiyo

aeji thaanedar ji chulha jalaao
chulha jalaao phoonke lagaao
aji jamedar ji haldi milaao
haldi milaao chhaunk lagaao
ham hain chowkidar sabka ?? ji
ho ?? ji

ham hain hawaldar
kehte sab humko sarkaar ji

aao ji sarkar ??
kakdi majedaar le lo
chakku chowkidar rakhiyo
rakhiyo ji door talwaar
daal meri chulhe chadhi
ho jaiyo jaiyo
jaiyo jaiyo
sipaiya baazaar
daal meri chulhe chadhi
o jaiyo jaiyo

waah waah waah
??
?? thhaako
?? thhaako
chomotkaar
chomotkaar

main bangaalan ban jaaun
gol gol rasgulle tumhen chakhaaun
main bangaalan ban jaaun
o ji dharamtalle waali
rongeela rongeela rongeela re
rongeela
rongeela rongeela rongeela re
aamaare chhadiya bondhu
koi koi bela re
rongeela rongeela rongeela re
rongeela
aami hobo chaand bandhu
tumo hoyo paani eee
aami hobo chaand bondhu
tumo hoyo paani ee
tumaa de aamaa de tobe hobe jaanaa jaani
tumaa de aamaa de tobe hobe jaanaa jaani

o ho rongeela rongeela rongeela re
rongeela

hen
soniyo
aidar ni takna
main kya
asi bhi aa gayaan

main punjaaban ban jaaun
thhandi meethi lassi tumhen pilaaun
main punjaaban ban jaaun
o ji anarkali waali

bedi lagiye kinaare se oye
bedi lagiye kinaare se oye
duniya main vaar lutaa
tere ik we ishaare pe oye
duniya main vaar lutaaun
haan aan
tere ik we ishaare pe
asmaani te in phir di oye
asmaani te in phir di oye
teri meri ik jindadi
haan ?? vich nit mil di
?? nit mil di oye

teri meri ik jindadi ee
khwaabe wich nit mil di

arre ame to aain aache
tame koi na lassi na
koi na rasgulla aapo chhu
ame su ??
aam aawne

main gujraatan ban jaaun
chaupathi ka chuda bhel khilaaun
main gujraatan ban jaaun
o ji kalbadevi waali
bhaari beda na hu to naazuk ?? naar
oy maa bhaari beda na hu to naazuk ?? naar
khem kari paani ?? bharaaye re
panmariya kunwaaa ne ?? re
sau sau ??
thaara sansaar
haay
sau sau ??
thaara sansaar
?? nazar na laagi jaaye re

banmariya kunwaaa ne paat re
?? nazar na laage jaaye re
banmariya kunwaaa ne paat re

Tamil words..

main madrasan ban jaaun
idli dosa samber tujhe khilaaun
main madrasan ban jaaun
o ji mylopore waali
( Tamil words )

aise dekhe sune na ganwaar
daal meri chulhe chadhi
o jaiyo jaiyo
jaiyo jaiyo sipaiya bazaar
daal meri chulhe chadhi
o jaiyo jaiyo
o jaiyo jaiyo
sipaiya bazaar
daal meri chulhe chadhi
o jaiyo jaiyo
o jaiyo jaiyo
sipaiya baazaar
daal meri chulhe chadhi
o jaiyo jaiyo
o laiyo laiyo jee neembu achaar
daal meri chulhe chadhi
o laiyyo laiyyo
o laiyyo laiyyo jee neemboo achaar
daal meri chulhe chadhi
o laiyyo laiyyo
o laiyyo laiyyo jee neemboo achaar
daal meri choolhe chadhi


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.

This article is his 600th writeup in the blog.

Today’s song is from film Aandhi-40. The film was directed by Dinesh Ranjan Roy, music was by K.C.Dey and this song is sung by Pankaj Mallik and Radha Rani.

There is a reason why I selected this song. I wanted a song sung by Radha Rani, so that I get an opportunity to settle the issue of multiple Radha Ranis. ” Same name confusion ” is very common in the world of Hindi cinema. Luckily, the confusion existed only between 1931 and 1960. There are many many cases of same name Directors, Music Directors, Singers and Actors. Information on all names is extremely difficult to come by. Still I managed to write on 15 pairs of Same name Artistes in 3 articles and tried to clarify the confusions.

There are still so many names which are on my radar and hopefully I may write about another 5-6 pairs soon under that series. Many times there is misleading, contradictory and overlapping information and we have to take extra effort to sort it out. The main difficulty is to get authentic, corroborative and reliable information. It should be irrefutable and defendable, if need be. Most of the old time artistes are either no more, or are no more residing in India or those who are alive and available, but may not be reachable or reliable due to their senile failing memories.

Just about a fortnight back, in a post on a song from film ” Hind ke lal “-40, I had written about 3 Radha Ranis. Our Mr. Sadanand Kamath ji had raised some queries on that information. Actually, at that time my work on Radha Rani was not complete and I needlessly hurried to write on Radha Rani. After these queries, I hastened my speed on this work and soon most unexpectedly, I stumbled upon a gold mine of information on Radha Rani from two reliable, provable sources and all the confusion is now very clear. The search seems to be complete for now. However, new bits of information keep on getting discovered sometimes and the history thus gets amended and re-written. It goes on endlessly. Presently, however the case of Radha Rani is clear.

Doing research on old time cine artistes is a very tedious task. The kind of sources one has to tap is simply unimaginable. If you happen to meet a close relative or a family member, who has the knowledge about the old timer, then you are lucky. This was precisely what happened in case of Bhudo Advani ( his son), Parshuram (his daughter), Mirza Musharraf ( his daughter/son in law ), Indurani (her son), and Latika ( her daughter), who met me and I could get enough Bio data on them. But this is by and large by pure Luck only. Otherwise hard work in such searches is the only way and one does not know how much time it will take and what will be the final outcome.

In case of Radha Rani, most important point is, there are only Two of them and NOT three as believed earlier. One was operating only in Calcutta and the other was from Bombay. Here are the details. Here, I am making it a concise version to avoid too long an article.

1. RADHA RANI (BOMBAYWALI) –
———————————–

She was the daughter of a Military Officer. Born at Quetta, Baluchistan, in or around 1920-21, she had a British father and Indian mother. She had total Indian looks. Her initial education and schooling was done in Bombay. She became an expert in Horse Riding, swimming, cycling, driving and skating. She was very beautiful and attractive. At the age 15, she looked quite grown up with distinct features. While in school final itself, she got offers from films. Her first film was Romantic India-36. Being an expert singer, she started singing in films. Next she acted in Badhe Chalo-37.

She was called to Calcutta to act in film ‘ Swaraj ke Sipahi ‘-37. From Calcutta, she went to Madras to do a role in a Telugu film ‘ Bhakta Jaidev ‘-38. Returning to Bombay, Radha Rani acted in Sunehra Baal-38 and then joined Wadia movietone. Here she did 7 stunt/action films.

After this she became a freelancer and acted in 18 more films of different banners. She also acted in Punjabi film ‘ Kurmai’-41. Her achievements in films were amazing. Stepping directly from school classroom onto the Silver screen, in her first 5 years of career itself, she had bagged 15 feature films. This was mainly due to to her striking screen beauty, linguistic dexterity and histrionic versatility. She was a consummate actress, singer and dancer. She was very fond of reading English literature and would spend time reading books during shooting breaks.

She made a good pair with actor Zahoor Raja in 8 films. She acted in 3 films of his production company and in film Badal-42, he directed her. her last film was Rasilee-46. After this film she got married and went to England.

Filmography- Romantic India-36, Badhe Chalo-37, Swaraj ke sipahi-37, Bhakta Jaydev-38(Telugu), Sunehra Baal-38, kahan hai manzil teri-39, Hind ka lal-40, Diamond queen-40, Jai swadesh-40, Bambaiwali-41, Manthan-41, Safed sawar-41, Seedha Rasta-41, Darpan-41, Kurmai-41(Punjabi), Swami-41, Badal-42, Motorwali-42, Sewa-42, Suhagan-42, Jungle Princess-42, Mazaq-43, Mr.Jhatpat-43, Paraya Dhan-43, Sawal-43, Bhai-43, O Panchhi-44, Ghazal-45, Laaj-46 and Rasilee-46

RADHA RANI ( CALCUTTEWALI) –
——————————–

This Radha Rani was born in 1903 at Jiaganj, Murshidabad in West Bengal. She was from a rich Marwadi family settled in Bengal for many generations. Her Bangla was very good.After the demise of her father, her mother established a Gopal ji Mandir at her residence.

Listening to keertans from in house offerings and also from visitors, she developed a liking for devotional songs. She was trained by Keertania Harimakhan Das and then Manju Ustad. She was trained in Thumris and Ghazals by Ustad Dabeer Khan. She stayed in Behrampur to learn music.

She started giving performances. In one such performance the Zamindar of Jiaganj, Surendranath Singh heard her. Impressed with her, he brought her to Calcutta and she was exposed to theatre ,Radio and films. Her first silent film was Sreekant-30. Then she acted in several silent films like in which she worked with Debki Bose, Sabita devi, Dhiren Ganguly etc etc. She cut several private records for Hindustan Records company. She sang pala Keertan songs which became very popular.

New Theatres too her in ‘ Yahudi ki Ladki ‘-33. Subsequently she also acted in film ‘ Kashinath-43’ from new Theatres. She acted in only films made in Calcutta and by Calcutta companies. She did many Bangla films.

Radha Rani also gave playback in 4 Hindi films,namely- Mukti-37, Nartaki-40, Aandhi-40 and Irada-44. She worked in Hindi films till only 1947. How long she worked in Bangla films, I do not know. This Radha Rani expired on 22-8-1997 at Calcutta, at the ripe age of 94 years.

Filmography in Hindi- Silent films like Srikant-30, Flames of Flesh-30, Panchsaar-30, After the Death-31, Money makes what not-31 etc Talkie Films- Yahudi ki ladki-33, Daku ka Ladka-35, Daksha Yagnya-35, Kadkati Bijli-36, Khudai Khidamatgar-37, karmaveer-38, Kashinath-43, Shri Ramanuj-43, Kurukshetra-45, Baap-46 and Aisa Kyun-47.

Film Aandhi-40 was made by Associated Production company- which was floated by New Theatres only. The film had 12 songs. Though Radha Rani did not act in this film, as she was New Theatre’s favourite, she sang songs in this film. There were her 4 duets -all with Pankaj Mullick. Out of these one duet and one song by K.C.Dey is already discussed on this Blog. Today’s song is the third one from this film. This is a typical old time style of singing.

My thanks to –

Shri Harish Raghuwanshi ji-Surat
Dr. Jyoti Prakash Guha ji-Calcutta
Shri Kamalakar Pasupuleti ji-USA
Year Book-Who’s who-1938
Year Book-Who’s who-1942
Shri Kushal Gopalka ji-Mumbai
Isaq Mujawar’s books
Vithal Pandya’s books
HFGK
My notes


Song-Main patton mein chhupi kali hoon (Aandhi)(1940) Singers- Radharani, Pankaj Malik, Lyrics- Aarzoo Lucknowi, MD- K C Dey

Lyrics

main patton mein chhupi kali hoon
kali mein jaise baas
main patton mein chhupi kali hoon
kali mein jaise baas
achraj jo tum taav lage to
pahunche
pahunche mere paas
achraj jo tum taav lage to
pahunche
pahunche mere paas

chaand chhupa ghanghor ghata mein
darshan ki nahin aas
man boley wo yahin kahin hai
nainan nahin vishwaas
chaand chhupa ghanghor ghata mein
darshan ki nahin aas
man boley wo yahin kahin hai
nainan nahin vishwaas

door bhi rah ke pas hoon pyaare
man ka darpan dekh
door bhi rah ke pas hoon pyaare
man ka darpan dekh
prem ki badhti ?? kaaran
taal nadi sab ek
prem ki badhti ?? kaaran
taal nadi sab ek

chhupne waale jhalak dikha ke
kaahe man lalchaaye
chhupne waale jhalak dikha ke
kaahe man lalchaaye
man ki ?? mein to mujhe bhi
nyaay mein kyun anyaay
man ki ?? mein to mujhe bhi
nyaay mein kyun anyaay

is milan mein maza nahin
is milan mein maza nahin
jo be-dhoondhe mil jaaye
chubhte kaante paanv se masle
chubhte kaante paanv se masle
dukh jhele sukh paaye


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

Today’s song is from a lesser known film ‘Pehla Pehla Pyar’ (1958).  Made by National Cine Corporation, it was produced by Daljit and directed by the veteran Nanubhai Vakil.

As we all know, in the early era of films – both silent and talkie, many actresses came from the traditional singing families (read tawaiafs). Average to good looks and ability to sing tolerably were their main qualifications. Many of these girls joined film line for two reasons. One – it gave them name, fame and money and the more importantly second – they tried to catch a big fish to marry. Many of them succeeded in this and we can see many examples of such marriages and live-in relationships of these girls in the film line. Gujarati producers and directors were in the forefront in this matter.

Thus we saw the first heroine of the talkie film, Zubeida marrying Raja Dhanrajgir of Hyderabad, who would camp in Bombay and attend all her shootings. Even her mother Fatima had married the Nawab of Sachin (Gujarat), who was very fond of films. Then, the other actress named Zubeida (of the late 40s – on whose life the film ‘Zubeida’ (2000) was made) married Raja Dhanvant Singh of Jodhpur – who used to follow her like a shadow. Then we have Sohrab Mody and  Mehtab, Sardar Chandulal Shah and Gauhar Mamajiwala, Nanabhai Bhatt and Shireen (parents of Mahesh and Mukesh Bhatt), Ramnik Lal and Indurani (real name Ishrat Jehan), Anil Biswas and Mehrunnisa Bhagat aka Ashalata, Shamshad Begum and Ganpatrao Batto, Nanubhai Vakil and Sarojini aka Roshan aka Ranee, Gauhar Karnataki and Bal Gandharva, Amirbai Karnataki and Badrinath Kanchwala etc.  This is only an indicative list to support the assertion.

Gujarat has enriched the Hindi film industry more than any other state, by providing producers and directors. Though the industry was based in Maharashtra, it generally provided actors, actresses and composers in the early era, but not the producers. Obviously money and tremendous hard work was the hallmark of Gujarati community. The Shahs, Desais and the Bhatts, along with other people have enriched various aspects of the industry like film direction, film production, cinematography and studio management. They provided employment to thousands and gave opportunities to the capable. One such person was Nanubhai Vakil.

There was a time when so many people from Valsad region of Gujarat came to films. Nanubhai was also born in Bulsar (Valsad) on 24-12-1904 (as per IMDB). Originally a Desai from Bulsar, Nanubhai’s father was a lawyer. Nanubhai studied in Wilson College, Bombay and earned the degrees of BA and LLB. He became a lawyer, but never practised. Instead he joined films in 1926. In his 45 years career he directed 20 silent films and 70 talkie films.

His speciality was mainly action stunt films, costume dramas and fantasy films. His star cast used to be  Bilimoria, Ishwarlal, Shanta Kumari, Putli, Madhvi etc. for silent films and artistes like Sarojini, Indurani, Navinchandra, Rafiq, Prakash, Gulnar, Daljit, Chitra worked in his Talkie films. It is not that he did not use other artists. Zubeida, Yakub, Jal Merchant, Jaddanbai, Shanta Hublikar, Nimmi, Veena, Jairaj, Shakeela, Nirupa Roy, Nadira, Mehmood etc. also worked in his films.

He was a daring person and gave gave opportunities to many people. He made Sarojini  a Heroine in many of his films. Zubeida too got many roles with him. He helped AR Qureshi (tabla expert Allah Rakha, the father of tabla maestro Zakir Hussain). Amirbai Karnataki was given many roles by Nanubhai. SD Burman sang his first Hindi film song in Nanubhai’s film ‘Taj Mahal’ (1941). Juthika Roy sang  in his film ‘Lalkar’ (1956). Kaifi Azmi wrote stories for his films.

He was a director, writer and producer too. He produced 6 films. ‘Hatimtai Ki Beti’ (1940) and ‘Hatimtai Ki Beti’ (1955), both were directed by him (the ’55 film was also produced by him). He made ‘Alam Ara’ twice – in 1956 and 1973. He took Wazir Mohammed Khan in both versions and even made him sing the original Alam Ara’s song,”De De Khuda Ke Naam” again, in both the films.

He directed the first Gujarati talkie film ‘Narsi Mehta’ in 1932, made by Sagar Movietone. He remade most of his silent films as talkie films. He made 17 films with Mohan Studios. Nanubhai had married Sarojini (real name Roshan aka Ranee). Sarojini and Nanubhai’s daughter Azra also became an actress. Her role in debut film ‘Love in Shimla’ (1960) was much acclaimed.

Nanubhai Vakil had remained ‘vakil‘ (lawyer) only in name. He died on 29-12-1980.

The music for this film iwas given by composer BN Bali. He was one of those small time composers, who got only the B and C grade films. First of all, let us find out who this BN Bali is. In the early era of Hindi films, there was another composer Bali. HC Bali or Harish Chandra Bali (20-3-1906 to 24-6-1976), the expert classical singer who became a successful composer, is credited with discovering KL Saigal in the early 1930s. HC Bali gave music to his last film ‘Janata’ (1947) (in this film Vijaya Das had acted. Later, she married Satyajit Ray). He died on 24-6-1976, after a long retirement from films, for almost 30 years.

BN Bali or Baldev Nath Bali, too was a good singer. He was a composer restricted mostly to religious and low budget films. His career starts with the film ‘Bedard’ (1949) and he is active up to ‘Do Dilwale’ (1973), a total of 24 films, including one unreleased film ‘Bahut Door’ (1940s). He also gave music to a Haryanvi film in 1973. Though he composed music with a lot of variety, somehow he lacked what it takes to make it to the big league. And, he is known for copying the popular tunes of other composers blatantly. Some examples –

“Jab Un Ka Khayal Aata Hai”- sung by Rafi in ‘Pehla Pehla Pyaar’ was a copy of Rafi’s “Jin Raaton Mein Neend Ud Jaati Hai” (‘Raat Ki Rani’, 1949) by Hansraj Behl.

“‘Sapne Mein Saiyaan Tum Aaya Na Karo” – an Asha-Manna Dey song from ‘Flying Rani’ (1959)  is a close copy of OP Nayyar’s “Ek Pardesi Mera Dil Le Gaya” from ‘Phagun’ (1958).

“Tu Uska Kar De Bhala” sung by Rafi in ‘Raja Vikram’, carries the same “Bhagwaan” tune as in “O Duniya Ke Rakhwaale” etc.

BN Bali’s following two songs are absolute Gems – “Mujhko Sanam Tere Pyaar Ne Jeena Sikha Diya“, an Asha – Manna Dey duet in ‘Flying Rani’ (1959); and the Mukesh song “Ae Duniya Ke Maalik Tu Bataa” from ‘Baghdad Ka Chor’ (1955).

Today’s song is sung by Geeta Dutt and chorus. It is a Rock N Roll dance song. 1955 to 1960 was a period when Rock N Roll music played havoc in Hindi films. Most MDs composed songs based on this this music. Some famous Rock N Roll songs like “Laal Laal Gaal” from ‘Mr X’ (1957), “Mister John Ya Baba Khan” from ‘Baarish’ (1957), “Mera Naam Chin Chin Chu” from “Howrah Bridge’ (1958) and many such songs brought the craze and then almost every alternate film had a song like this. Music is such a thing that it catches on very fast from continent to continent, country to country and people to people. Actually Rock N Roll music began long back, somewhere in 1951 or so. Elvis Presley in vocal and Bill Halley in instrumental made it into a people’s craze. But it took quite some time to to influence the traditional Indian people.

For such songs, the voice and style of Asha and Geeta were most suitable. In fact, most such songs are to their credit. Lata Mangeshkar – the self proclaimed purist, kept herself away from such songs. However, there is one incident worth telling here. most people will find it new.

Film ‘Chacha Zindabad’ (1959) was produced and directed by Om Prakash, the comedian. MD was Madan Mohan. On the insistence of both Lata sang a Rock N Roll song for this film and it was recorded also. But Lata was very much disturbed and uneasy after this. She felt it was a blot on her singing career image. She had very close and homely relations with both Om ji and Madan ji. She treated them as her brothers. Before the film was completed, the Rakhi Festival came. Like every year, Lata went to Om ji’s house to tie the Rakhi. After the ritual was over, she asked him, “As a sister, if I ask you some gift, will you give me ?”  Om ji quietly said, “I will stake my life to give you what you ask for. Just tell me.”

Lata coolly asked Om Prakash to remove that song from his film. Without any hesitation, Om Prakash not only removed the Rock N Roll song from the film, but also the recording was destroyed, despite the expenses incurred !. That is why that song is not available unlike many other ‘ removed’ or ‘ excluded’ songs available from other films. (From the book ‘चित्रपट संगीताचा सुवर्ण काळ’, लेखक –  इसाक़ मुजावर).

Ok, now enjoy this rocking tune song by Geeta Dutt. Don’t forget, it is composed by BN Bali- you may have heard this tune somewhere !

 


Song – Akka Bakka Tin Tila, Dekho Mausam Hai Khila (Pehla Pehla Pyaar) (1958) Singer – Geeta Dutt, Lyrics – Madan Mohan, MD – BN Bali
Chorus

Lyrics (Provided by Sudhir)

akka bakka tin tila
dekho mausam hai khila
jaley ko jalaa ke chal
nazren milaa ke chal
duniya se darta hai kya

akka bakka tin tila
dekho mausam hai khila
jaley ko jalaa ke chal
nazren milaa ke chal
ghaayal banaa ke chal
duniya se darta hai kya. . .
akka bakka tin tila
dekho mausam hai khila

shehri babu akela hai
pyaar ka khel bhi khela hai
dost na kahin piyela hai
arre ye dil tujh pe marela hai
ye dil tujh pe marela hai
hans ke hansaa ke chal
masti mein gaa ke chal
apna banaa ke chal
jeene ka le le mazaa. . .
akka bakka tin tila
dekho mausam hai khila
jaley ko jalaa ke chal
nazren milaa ke chal
ghaayal banaa ke chal
duniya se darta hai kya
akka bakka tin tila
dekho mausam hai khila

duniya ek jhamela hai
dil to nahin jalela hai
tujh ko pyaar milela hai
ya bekaar padela hai
ya bekaar padela hai
sun ke sunaa ke chal
gham ko bhulaa ke chal
ye to bataa ke chal
jeene ka kya hai silaa. . .
akka bakka tin tila
dekho mausam hai khila
jaley ko jalaa ke chal
nazren milaa ke chal
ghaayal banaa ke chal
duniya se darr kaahe ka
akka bakka tin tila
dekho mausam hai khila

ab tu nahin akela hai
ye dil tera bikela hai
kismet teri khulela hai
ab kya wahaan khadela hai
ab kya wahaan khadela hai
bigdi banaa ke chal
dil mein basaa ke chal
mann ko lubhaa ke chal
karo na jawaani se gilaa. . .
akka bakka tin tila
dekho mausam hai khila
jaley ko jalaa ke chal
nazren milaa ke chal
ghaayal banaa ke chal
duniya se darta hai kya
akka bakka tin tila
dekho mausam hai khila
akka bakka tin tila
dekho mausam hai khila

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
अक्का बक्का तिन तिला
देखो मौसम है खिला
जले को जला के चल
नज़रें मिला के चल
दुनिया से डरता है क्या

अक्का बक्का तिन तिला
देखो मौसम है खिला
जले को जला के चल
नज़रें मिला के चल
दुनिया से डरता है क्या॰ ॰ ॰
अक्का बक्का तिन तिला
देखो मौसम है खिला

शहरी बाबू अकेला है
प्यार का खेल भी खेला है
दोस्त ना कहीं पीएला है
अरे ये दिल तुझ पे मरेला है
ये दिल तुझ पे मरेला है
हँस के  हँसात के चल
मस्ती में गा के चल
अपना बना के चल
जीना का ले ले मज़ा॰ ॰ ॰
अक्का बक्का तिन तिला
देखो मौसम है खिला
जले को जला के चल
नज़रें मिला के चल
दुनिया से डरता है क्या
अक्का बक्का तिन तिला
देखो मौसम है खिला

दुनिया एक झमेला है
दिल तो नहीं जलेला है
तुझको प्यार मिलेला है
या बेकार पड़ेला है
या बेकार पड़ेला है
सुन के सुना के चल
ग़म को भुला के चल
ये तो बता के चल
जीने का क्या है सिला॰ ॰ ॰
अक्का बक्का तिन तिला
देखो मौसम है खिला
जले को जला के चल
नज़रें मिला के चल
दुनिया से डरता है क्या
अक्का बक्का तिन तिला
देखो मौसम है खिला

अब तू नहीं अकेला है
ये दिल तेरा बिकेला है
किस्मत तेरी खुलेला है
अब क्या वहाँ खड़ेला है
अब क्या वहाँ खड़ेला है
बिगड़ी बना के चल
दिल में बसा के चल
मन को लुभा के चल
करो ना जवानी से गिला॰ ॰ ॰
अक्का बक्का तिन तिला
देखो मौसम है खिला
जले को जला के चल
नज़रें मिला के चल
दुनिया से डरता है क्या
अक्का बक्का तिन तिला
देखो मौसम है खिला
अक्का बक्का तिन तिला
देखो मौसम है खिला

 


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

Today’s song is from the film Bhool Bhulaiyan-49.

Films with this title were made three times.
Read more on this topic…


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

Today’s song is from film ‘Baghdad Ka Jaadu’ (1956). The HFGK is silent on the singer names, but MD is indicated as Shafi M Naagari.

The name of the city of Baghdad became famous all over the world after the Arabian Night stories became popular in almost all languages of the world. There was an air of mystery around the city where many or most stories are told by Princess Scheherzade to the Sultan Shahryar. These are said to be 1001 stories, each told in parts every night by her to delay her death. These stories were first published in English in 1706 and in quick time became extremely popular throughout the world.
Read more on this topic…


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What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for more than nine years. This blog has over 13600 song posts by now.

This blog is active and online for over 3300 days since its beginning on 19 july 2008.

Total number of songs posts discussed

13605

Number of movies covered in the blog

Movies with all their songs covered =1020
Total Number of movies covered =3725

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Blog Start date: 19 july 2008

Active for more than 3250 days.

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