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This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws
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Blog Day : |
4450 | Post No. : | 15909 |
Today’s song is a comedy song from a Costume/Action film “Jungle ka Jawahar”-52. The film was a production from Basant Pictures, owned by producer/Director Homi Wadia. In 1942, brothers JBH Wadia and Homi Wadia separated from each other on a very important point. The elder brother JBH Wadia was of the opinion that the life of the action-stunt films is a short one. He firmly believed that the market for action films will dry up within the next 10-15 years, hence the company should change over to Social films.
The younger brother Homi Wadia differed and wanted to continue with stunt films. He separated and established his own Basant Pictures. Most stunt actors joined his group – especially Fearless Nadia. Besides the Human artistes, Homi Wadia also replaced Animals used in stunt films. In Wadia films there was a Horse named ‘Punjab ka Beta’, a dog named ‘Tiger’, and a Motor car called ‘Rolls Royce ki Beti’. Basant Pictures brought a Horse named ‘Rajput’, dog called ‘Moti’, and a Motor Car called ‘Austin ki Bachhi’. In addition they also acquired a Motorcycle named ‘Runnio’.
The history of stunt action films is as old as the Silent film history. Silent films were essentially a Visual medium, as there was no sound. What could be achieved by dialogues had to be conveyed only with the visuals, hence there was not much scope for emotional films. In the initial stages of silent films, the audience was mainly of the middle and lower class of the society. Impressing and attracting them was easy with action films. That’s how the majority of silent films consisted of action or stunt scenes.
After the advent of Talkie films, the trend of stunt films continued and also became money spinners. Those days stunt films did not need any well known or famous actors or beautiful heroines. These films were made with minimum budgets. Master Bhagwan used to make a stunt film in just 60 to 70 thousand Rupees, covering all expenses. The Wadia, Mohan, Imperial or Ranjit action films cost a little more as they were more elaborate with some story and known actors.
There were specialist actors like Baburao Pehelwan, Vasantrao Pehelwan, Fearless Nadia, Prakash, Boman Shroff, Billimoria brothers, John Cawas and few others who were fixed stars of stunt films. In those days “SPL FX” techniques were not there and all the stunts were actually done by the actors themselves.
Veeru Devgan – yesteryear Fight Master, has written an article on “Stunts and Actions” in the “Encyclopedia of Hindi Cinema”. He says in it,
“It was from film Aan-52 that professionals were employed for the first time. Azeembhai handled the Horses and Douglas took care of the fights and fencing….
“Evolution of action hero began with “Phool aur Pathar”-66, when Dharmendra bared his chest for the first time….
“Stunts in Hindi cinema started taking centre stage in the late 60s and early 70s…..
“What is creditable is that most of today’s actors are ready to do all the action scenes themselves “.
These days, no film is complete without “SPL FX”. What we miss now is the Human involvement in film stunts !
The cast of today’s film was Fearless Nadia, John Cawas, Goldstein, Dalpat, Leela kumari, Rajani, Shyamsundar, Raja Sandow etc. This film is remarkable for 2 reasons. First is – for its Music Director, Madholal Damodar Master, this was his last film as MD. He retired from films, but excelled in another field with International fame, after retirement. More of it later in this post.
Secondly, one of the names in the film cast today was Raja Sandow. He indeed was in the film and film credits, though he had died on 25-11-1943 only ! Surprised ? Not only this film, but a total of 5 Hindi films and over a dozen Tamil films featured Raja Sandow in their films till 1960 ! This is because this legend of stunt films was so popular that his film shots were used again in different films for over a decade as a member of film cast. This must be unique in the world.
Raja Sandow (born P. K. Nagalingam) was an Indian film actor, film director and producer. He began his career as an actor in silent films and later became a prominent actor and director in Tamil and Hindi films of the 1930s. He is considered to be one of the pioneers of early Indian cinema.
Raja Sandow was born in Pudukottai, Tamil Nadu. He was trained as a gymnast and started his film career as a stunt actor in S.N. Patankar’s National Film Company at Bombay. He was given the name “Raja Sandow” because of his physique (after strongman Eugen Sandow). His first lead role was in Patankar’s Bhaktha Bhodhana (1922), for which he was paid Rs. 101 as salary. A passionate gymnast, he started his career as a stunt actor in S.N. Patankar’s National Film (1922). Top star at Kohinoor and its associate LAxmi Pics. (1922-8) under Manilal Joshi (Mojili Mumbai), R.S. Choudhury and Homi Master. Achieved fame when he formed a trio with director Chandulal Shah and heroine Gohar starting Jagdish Film with them (1928) and its successor, Ranjit Film (1929-36). Sandow’s star image in reformist melodramas, playing complex psychological characters opposite Gohar, was launched with Gunsundari and extended in several classic ‘negative’ roles in Shah-Gohar sound films, e.g. Desh Dasi, Prabhu Ka Pyara and Barrister’s Wife. Other noted roles include Indira MA where he plays Kishore.
He became famous by starring in silent films like Veer Bhemsen (1923), The Telephone Girl (1926). After acting in a few silent films he also worked as a director in Ranjit Studios for a monthly salary. His first film as director was Sneh Jyoti (1928).
Returning to Tamil Nadu, he directed and acted in a number of silent films for R. Padmanaban’s Associate Film Company. Many of his silent films had reformist social themes like Peyum pennum (1930), Nandhanar (1930), Anadhai Penn (1931), Pride of Hindustan (1931) and sathi usha sundari (1931). After talking films were introduced with Alam Ara in 1931, he went back to Bombay and starred in many Hindi and Tamil talkies. He was often paired with the actresses Gohar and Sulochana (Ruby Myers). Between 1932–35, he acted in many socially themed Hindi films like Shyam sundar (1932), Devaki (1934) and Indira MA (1935). In 1935, he was commissioned to direct his first Tamil film Menaka and returned to Madras. He continued directing and acting in films till his death in 1943. Vasantha Sena(1936), Chalak Chor (1936), Chandrakanta (1936), Vishnuleela (1938), Thiruneelakantar (1939) and Choodamani (1941) were some of the films he directed and starred in during that period. The last film he worked in was Sivakavi (1943). Sandow suffered a heart attack and died at Coimbatore on 25 November 1943. He was survived by his wife Leelabai and one Son.
As far as films are concerned, he acted in 58 Silent films, 16 Hindi Talkie films and also directed 2 Hindi Talkie films.
Sandow was the first Tamil film director to adopt the practice of using names of actors in film titles. He was the first to introduce intimate kissing scenes and dancers in revealing costumes to the then conservative Tamil film industry. He was also the first director and producer to move Tamil cinema from remaking mythological stories and into making social themed films. He even advertised his films as “Don’t miss to see your own picture”. Sandow was also the first director to use Tamil literary works for film by directing Anadhai penn in 1931 based on Vai. Mu. Kothainayagi Ammal’s novel of the same name.
Writing about Sandow, film historian Theodore Baskaran says: “As a director, actor, scriptwriter and producer, his contribution to Tamil cinema is significant. Many of the stars of the Forties and Fifties have worked with him. He was very competent at coaching actors and maintained complete control over his films. He was a martinet on the sets and was often compared to a ringmaster in a circus. In his films, the emphasis shifted from songs to the spoken word.”
Film historian Randor Guy has also described him as a tough task master: “Raja Sandow was a tough and no-nonsense guy who would not hesitate to shout at and slap his crew and cast including women! Regretfully there are no such directors these days!.”
The Tamil Nadu Government has instituted an annual award in his name called Raja Sandow memorial Award, given for outstanding services to Tamil Cinema. A Postage stamp had been issued in recognition of his contributions to Indian cinema.
Filmography-Talkie films in Hindi…Pardesi preetam-33, Noor e imaan-33, Toofani Taruni-34, Partha Kumar-34, kashmeera-34, Indira M.A.-34, Gunsundari-34, Ratan Manjiri-35, Raat ki rani-35, Desh Dasi-35, College girl-35, Barrister’s wife-35, Prabhu ka pyara-36, Matlabi Duniya-36, Dil ka Daku-36 and Chalaak Chor-36. He directed Raat ki rani-35 and Chalaak Chor-36.
An extraordinary point. Raja Sandow was so popular during the Silent era and early Talkie period, that even after his death in 1943 at Coimbatore, his film shots and leftover films were used in 5 Hindi films till 1953-that is till 10 years after his death. Even his name appeared in the film cast and credits !. I feel this is an exclusive honour, which I have never heard in case of any other actor. The films using his shots in them were Dhoomketu-49, Alladin and Wonderful lamp-52, Jungle ka Jawahar-52, Nav Durga-53 and Husn ka chor-53. This information is given in The Encyclopedia of Indian Cinema.
(Thanks for information from wiki, The Encyclopedia of Indian Cinema, Atit ke sitare by Nand kishore, muVyz, HFGK and my notes).
The name Madholal Master must be unknown to the newer crop of Music lovers, because he retired from film music in 1952- much before most readers were even born. The story of Madhulal Master is as strange as his death. On the morning of 19th June 1990, The Times of India, Bombay flashed a news…” The old time Music Director and a Director of Indian Institute of Puppetry, shri Madholal Damodar Master is found murdered in his Shivaji Park home.”
Born on 21-6-1903, Madholal joined the film industry to become a Comedian, but he was first made a sound recordist assistant, then an assistant MD for two films and finally independent MD for Krishna Tone Film Company for their film, ‘ Navchetan’-32. In the next 21 years he gave music to 34 Hindi films, few Gujarati films and some documentaries, composing 267 Hindi songs. Unable to cope up with the changed pattern of Music and public taste, he retired from this profession after his last film- Jungle ka Jawahir-52. After this he pursued his hobby of Puppet making and soon developed a flourishing business. Internationally well known, he was the only Indian member honoured by the International Puppetiers’ Organization. Very few people know that it was his JOKER PUPPET which was used by Raj Kapoor in his ambitious film MERA NAAM JOKER-1970.
He was invited as a special guest for the release ceremony for the HFGK-Vol I, on 8-10-1988, after Harmandir ji meticulously made special efforts to locate him in Bombay. He was overwhelmed with this gesture. Madholal ji showed a Catalogue to Harmandir ji, in which Madholal ji had recorded information about all songs composed by him with details of every film that he did in his career. Harmandir ji was wonder struck with his systematic records. In the ceremony, senior artistes like Naushad, Sitara Devi, Rajkumari ji etc all touched his feet with respect. He regaled the audience with his humorous talk for an hour. He had spent 38 years before this in anonymity. It is very sad that his life ended in such a tragic way. ( His murderer was never found out, nor was the motive known and the case file was closed.)
Here is today’s duet from the film “Jungle ka Jawahar”-52. It is shot on Rajni and actor singer Shyamsundar. Enjoy….
Song- Pyaare Pappu Gore Gappu paas tu mere aa (Jungle Ka Jawaahar)(1952)Singers- Sulochana Kadam, Shyamsundar, Lyricist- Saraswati Kumar Deepak, MD- Madholal Damodar Master
Lyrics (Provided by Avinash Scrapwala)
pyaare pappu gore gappu
pass tu mere aa
o ri kallo jhapak jhallo
chhod de mujhko ja
pyaare pappu gore gappu
pass tu mere aa
o ri kallo jhapak jhalo
chhod de mujhko ja
adiyal tattu mere mitthu
meethe bol suna
ulti sulti khoti khoti
baaten nahin bana
adiyal tattu mere mitthu
meethe bol suna
ulti sulti khoti khoti
baaten nahin bana
bhaiya bhaiya bhaiya
bhaiya aurat ki ye jaat
iski koi na samjhe baat
karti baaton ki barsat
chaahe din ho chaahe raat
maare ghodi ban ke laat
kahoon main mutalle chhod de muhalla
kahoon main nithhalli chhod mera palla
kahoon main mutalle chhod de muhalla
kahoon main nithalli chhod mera palla
main jungle ki sherni
tu shahar ka pilla
khaati gaajar mooli tu
main khaata rasgulla
main khata rasgulla
bhaiya bhaiya bhaiya
bhaiya aurat ki ye jaat
iski koi na samjhe baat
karti baaton ki barsat
chaahe din ho chaahe raat
maare ghodi ban ke laat
ja ja ja na phira dimaag mera
ho ho ho dekha bada rubaab tera
are ja ja ja na phira dimaag mera
ho ho ho dekha bada rubab mera
mujhe jaan le,
nahin
kahaa maan le
nahin nahin
mujhe jaan le
kaha maan le
o tauba hai ??
mujhko nahi sata
bhaiya bhaiya bhaiya
bhaiya aurat ki ye jaat
iski koi na samjhe baat
karti baaton ki barsat
chaahe din ho chaahe raat
maare ghodi ban ke laat
pyare pappu gore gappu
pass tu mere aa
o ri kallo jhapk jhalo
chhod de mujhko ja
adiyal tattu mere mitthu
meethe bol suna
ulti sulti khoti khoti
baaten nahin bana
bhaiya bhaiya bhaiya
bhaiya aurat ki ye jaat
iski koi na samjhe baat
karti baaton ki barsat
chaahe din ho chaahe raat
maare ghodi ban ke laat
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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4448 | Post No. : | 15901 |
Today’s song is from film Daku ki Ladki-54. I remember, there was a film in 1933 with the same title, featuring Sulochana, Dinshaw Bilimorea, Ghulam Mohd. Hadi etc. In that film, Ghulam Mohd. had done the role of the Daku, Sulochana was Daku’s Ladki and Dinshaw was the Police Officer.Ghulam Mohd. was known as ” The Prince of Imperial Film Company”, in those days.
Today’s film was made by Harish Productions. Naturally, the director and the Producer was Tara Harish only. Music was by Hemant Kumar. The cast of the film was Geeta Bali, Sheikh Mukhtar, Arjun, Shivraj, Rajan Kapoor, Mukri, Sankatha Prasad, Cuckoo etc etc.
The word “Daku” regularly appeared in the film titles right from the time Talkie films started. There were a total 32 films starting with the word Daku. When the film Daku ki Ladki came in 1933, as if to counter it, a film called Daku ka Ladka came in 1935. Thank God Daku’s family did not expand further ! Interestingly, there were 16 films based on female Dakus and only 7 films on Male Dakus. I wonder, what is the Hindi word for female Daku. A Dakin ? or a Dakuin ? or is it enough just to say He Daku and She Daku ? While female Dakus were honoured by calling them Daku Rani in 5 films and Daku Maharani in 1 film, the poor He Dakus had prosaic titles like Daku Bhupat or Daku Mansoor etc.etc.
When I took up discussing the 50’s film songs, I found that a lot of melodious and good songs to be yet to be discussed. Today’s song is one such song. To listen to Lata and Hemant Kumar is nothing short of a Bliss. Out of 2 such duets from this film one had remained to be discussed. In one of her interviews, Lata had said that she had always enjoyed singing duets with Hemant Kumar. She also said ” I used to feel as if some Sadhu was singing when I heard him singing a song”.
In the Costume drama Daku ki Ladki-54, Ravi Shankar Sharma was Hemant’s assistant in composing music.In few Hemant Kumar films, Ravi has sung songs, including this film. Later on when Ravi himself became a famous and successful composer, he made Hemant Kumar sing in his films. HK was a very respected person in the industry. When he came to Bombay his Hindi was not so good. Like all Bangla people, he had inherent difficulty in pronunciation of certain Hindi words. This was because, in Bangla language, there are no such sounds as plain ” A ” (अ ). So, Arun becomes Orun and Lata becomes Lota. With great practice and hard work, he improved his Hindi. Initially, even Geeta Roy had this problem.
In the cast of the film, you will see a name Shivraj. Not much is known about this good actor. Sometimes I feel some actors have such features that they are fixed for certain roles only and they are misfits in another role. For example, can you ever imagine Rashid Khan or Kanhaiyalal in a role of a sophisticated Millionnnaire ? Or Aruna Irani or Padma Khanna in a Mythological Devi’s role ? They may be good actors, but their physical features and style of acting restricts them to certain roles only. This is true even in case of big stars. Thus, Ashok Kumar became a laughing stock as Abhimanyu or warrier Humayun in full war gear.
The name SHIVRAJ in the cast always created curiosity in my mind. I had seen this actor in several films. I was unable to get any information on him anywhere. His role as the meek husband of Kaushalya (Manorama) in the film Seeta aur Geeta-72 is unforgettable. When I started work on this post, I tried again. This time I found an article – actually an Obituary – on him in The Hindu, dated 4-6-2017. Of course it described in it only about his different roles. From some other source, I got his date of Birth and Death and a little other information.
Shivraj was born on 11-6-1920 in Madhya Pradesh. His full name was Shivraj Pandey. After doing his graduation, he came to Bombay in search of a good job, but joined the film industry. To start with he worked in Minerva as an assistant in administration, He did some film roles too without getting credited. He left Minerva and got a role in the film Sarai ke bahar-47. This was a film made by National studios. His next films were Ziddi, Majboor, Batohi, and Asha all in 1948. Then there was no looking back. Shivraj acted in 212 films. He directed 1 film, Jaani Dushman-57. He retired from work in 2000, but his last released film was Yaar meri zindgi-2008. Shivraj died on 4-6-2017.
There is also a name Arjun in the cast. Now this is a ‘ Same Name Confusion ‘ artiste. Arjun was the Hero in film Malhar-51, opposite actress Shammi (Nargis Rabadi). His name is confused with Music director C.Arjun and many people wrongly presume that C.Arjun acted in the film Malhar. This Arjun is different. His name was Arjun Bakshi Gill. His first film was Naujawan-51, then came Malhar-51.Later he acted in Daku ki Ladki-54 etc. He wrote screenplays and went on doing small roles in films. He migrated to Canada and opened a Music shop. A RMIM member met him there, and recognised Arjun as Malhar Hero. Arjun died in 2001. His daughter Jyoti Bakshi was also an actress, who died in pitiable condition in 2003.
Finally, let us take a look at dancer Cuckoo.
It was 1944. The talkies were already around for 15 years. Devika Rani and Shobana Samarth had already established their glowing presence but it was still a time when nice girls didn’t even become leading ladies, let alone do roles where they had to wriggle their hips — however tastefully — and bare flesh, which at the time meant shoulders and maybe a bit of leg. At such a time, a pretty, fresh-faced Anglo-Indian girl with eyes that danced as enchantingly as her feet appeared in two films — “Pehli Nazar”- 1945 (in which Mukesh made his debut with “Dil Jalta hai toh jalne de”) and “Mujrim -1944.” The girl’s name in the film’s credits was listed simply as “Cuckoo.” Cuckoo was perhaps the first of the most well known dancing queens of Indian Cinema. She was born on 4-2-1928. Her predecessors were many, including a dancer called Azurie, who it is said Cuckoo modeled herself on. But in terms of the sheer body of work and its impact, Cuckoo would have to be the first among Hindi cinema’s dancing queens. It was with her that “cabaret” became an almost indispensable part of films made between the 1950s and 1970s.
Her debut in 1944 was an instant hit and in the space of just the next five years, she had appeared in an incredible 49 films, including Mehboob Khan’s “Anokhi Ada” (1948), H. S. Rawail’s “Patanga” (1949) and Devendra Goel’s “Aankhen” (1950). The only major filmmaker of the time who did not feature Cuckoo in his films was V. Shantaram. In a lot of her films, her role was just a song but its impact was so electrifying that distributors considered it almost as indispensable as the heroine. Like the Helen-Asha combination later on, in many of these songs, Cuckoo’s screen `voice’ was Shamshad Begum. Together, they were responsible for some unforgettable hits.
Mehboob Khan’s films proved to be the turning points in Cuckoo’s career. Her dance numbers in hisAnokhi Ada established her as the leading dancer of the time; and Andaz, a romantic melodrama featuring Raj Kapoor, Dilip Kumar, and Nargis, gave the dancer an opportunity to showcase her acting skills.During her peak period,she was getting Rs.6000/- per dance appearance.
Cuckoo remained the top dancer of Hindi films till she was displaced by Helen and such dancer-actresses as Vyjayanthimala.Cuckoo gave dances in about 76 films. Ironically, it was Cuckoo who had initiated a 13-year-old Helen into films as a chorus dancer.Cuckoo continued to dance until the beginning of the 1960s, the last few years as part of the chorus dancing.It has been recently confirmed that Cuckoo’s real name was Cuckoo Moray.Cuckoo died a slow lingering death, due to Cancer on 30-9-1981 penniless and unattended. No one from the Film industry attended her cremation. (Thanks for some information from Cineplot and from the book”Tujhe mere geet bulate hain” by Sanjeev Tanwar).
Today’s song is a delightful duet of Lata and Hemant Kumar. Let us now enjoy it….
Song-Nazron se chhup gaya hai taqdeer ka saweraa (Daaku Ki Ladki)(1954) Singer-Lata, Hemant Kumar , Lyrics-Kaif Irfani, MD-Hemant Kumar
Lyrics
nazron se ae
chhup gaya hai ae ae
taqdeer kaa aa savera
nazron se chhup gaya hai
taqdeer kaa savera
girta hai jo bhi aansu
leta hai naam teraa
ham rah gaye tadap kar
munh zindagi ne phera
girta hai jo bhi aansu
leta hai naam teraa
nazron se chhup gaya hai
taqdeer kaa savera
duniya mein ham ye kaisi taqdeer le ke aaye
tukde dil-o-jigar ke
ashkon mein muskuraaye
hansti hai mujhpe kismat
rota hai pyaar meraa
girta hai jo bhi aansu
leta hai naam teraa
nazron se chhup gaya hai
taqdeer kaa savera
aaja ki dil liye hai maayoosiyaan nazar mein
ek shamma jal rahi hai
teri yaad ki jigar mein
baaki hai har taraf ab chhaaya hua andhera
girta hai jo bhi aansu
leta hai naam teraa
nazron se chhup gaya hai
taqdeer kaa savera
girta hai jo bhi aansu
leta hai naam teraa
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog.This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4445 | Post No. : | 15893 |
Today’s song is from the film Chingari-1955. There were 4 films made with the same title – in 1940, 1955, 1988 and 2006. There was a dubbed film with a title ” Chingari Jawani” in 2003. I am still trying to understand its meaning !
During the second world war period many commodities like Petrol, Kerosene,foods as well as Raw film for making films went into shortage. Most essential items were controlled by the British government. The supply of raw film especially affected the film industry. Depending on the past history of making films by the film makers,” Quota “s were fixed at Government rates. Also, the govt. started a scheme of ” war effort promotion films”. Those films which promoted British efforts for the war in some way or the other, used to get extra Raw film supply at control rates. Many producers took advantage of this scheme and films like ” Panna”-44 and ” Badi Maa”-45 etc were made as ” War effort Promotion films” and got more Raw films.
When there is a shortage of anything, its Black Marketing is rampant. In India too, black market of Raw film, Petrol, sugar, even Rice and wheat prospered making the black marketeers prosperous. Some of the Black money flowed into film production as Finance. The result was, the films lost their purpose and quality as new financiers provided production money and interfered in selection of actors, MDs etc. During the period 1940 to almost early 50’s, these financers with black money made films at their will. Not all financers interfered. Actually most of them wanted to double their money investments. Some rich financers tried their hand at directing the films, without much experience. It was in this period that the Distributors started deciding film stories, singers, actors,directors etc, as they provided advance money for film production.
Why I am writing about all this is, during my years of writing on old films, I have come across strange names as film producers and directors. They appeared once and then disappeared for ever.Obviously they were the ‘ Curious Cats’ who wished to be a part of the films which they financed. Today’s film ‘ Chingari-55’ also is one of this category. This film was produced and directed by one S.Srivastava – a name I never came across earlier or after this film ! This film was planned somewhere in 1952-53, because all its songs were recorded in Jan-Feb 1953. That time this film was titled ” Paraya Ghar”. However, the film was delayed by a couple of years and with a new title ” Chingari” it was censored on 22-3-1955. It was released on 8-4-1955 at the Central Cinema and the film ran for just 3 weeks there.
The music of this film was by ” Manohar”. This name has caused ‘ Same name Confusion’. Manoharlal Khanna(father of Usha Khanna,MD) was also a Music director – though for only one film-Pamposh-54 and another was Manohar Sonik or Master Sonik (one of the Sonik-Omi composer duo). For many years these names got mixed up and no one knew who was who. The composer MANOHAR ARORA was a Punjabi music director who came from Sialkot to try his luck in Bombay. His first film was ‘Raees’-1948. Then came Josh-50, Rangeele Musafir-50,Bhoole Bhatke-52, Jingo-52, Usha kiran-52. His best remembered film was Chingari-55. Then came passing show-56, Mister Q-58, Dr. Z-59, Choron ki Baarat-60 and last film was Do dushman-67.
His name is mostly written as ” Manohar” only. This created a misunderstanding that he was Manoharlal Sonik,which is NOT correct.
The cast of the film was Nalini Jayawant, Shekhar, Pran, Leela Mishra, Sunalini Devi etc etc. Though I have seen many films of Nalini Jayawant, I remember her role only in “Hum sab chor hain”-56, which was loosely based on a similar story of film ‘ Ek thi Ladki’-49, with some changes like twin sisters lost in childhood (in Kumbh Mela ?). Nalini Jayawant’s life story is a lesson for those who make immature decisions-only to regret later. Fortunately, she came out of her blunder of marrying Virendra Desai ( a much married man of 32 years) at her age of just 17 years, albeit with some scratches and loss of 5 years of young life.
Nalini Jaywant (18 February 1926 – 20 December 2010) was an Indian film actress who appeared in Hindi films in the 1940s and 1950s.
Nalini Jaywant was born in Bombay (now Mumbai) in 1926. She was first cousin of actress Shobhna Samarth, the mother of actresses Nutan and Tanuja. Since 1983, she lived mostly a reclusive life.
She was married to director Virendra Desai in the year 1943. They divorced in 1948. Later, she married her second husband, actor Prabhu Dayal,in 1960 with whom she acted in several movies. Prabhudayal died in 2001.
The marriage with Virendra Desai ( who was 15 years elder to her) and the next 5 years were quite traumatic for Nalini. This marriage only gave suffocation and wastage of 5 years of her teen age and the opportunities of working in films. More than her, Virendra Desai suffered due to this marriage. His mother Nandgauri, a tough lady, announced a family boycott on him and never again she spoke to him. Even when she was on death bed and Virendra had gone to meet her, she refused to talk to him. His wife and 3 children also treated him in aloof manner, like a stranger. His career was destroyed and he never came out of this situation.
In her teens, she appeared in Mehboob Khan’s Bahen (1941), a film about a brother’s obsessive love for his sister. Nalini finally broke through with Anokha Pyar (1948). The film was a love triangle with Nalini, Dilip Kumar and Nargis, with Nalini sacrificing her love for the hero, Dilip Kumar. It is to her credit that it was she who got the best reviews in the film, many critics calling her the only saving grace in the otherwise disappointing film.
1950 was Nalini’s big, big year as she became a top star with two of her films opposite Ashok Kumar, Samadhi and Sangram. Samadhi was a patriotic drama addressing Subash Chandra Bose and the Indian National army. Nalini and Kuldip Kaur played sisters who were spies for the British. The film, though called politically obsolete by leading film magazine of the day, Filmindia, was a huge success at the box office, its song Gore Gore O Banke Chhore being perhaps Nalini’s most popular song ever. On the other side of the spectrum, Sangram was a gritty crime drama wherein she played the heroine doing her best to reform the anti-hero. Nalini more than left her mark on both the films and went on to form a hit pair with Ashok Kumar, the two of them doing several films together thereafter like Kafila (1952), Naubahar (1952), Saloni (1952), Mr X and Sheroo (1957). It is said the two of them were romantically involved for a period as well.
Nalini remained an important leading lady through to the mid 1950s. Filmmakers like KA Abbas (Rahi-53), Ramesh Saigal (Shikast-53 – arguably her career’s best performance opposite Dilip Kumar, Railway Platform and Zia Sarhady (Awaaz) extended Nalini Jaywant’s association with realistic and socialistic films while filmmakers like Mahesh Kaul (Naujavan (1951)) and AR Kardar (Jaadu) developed her alternate musical persona, later personified by the frothy Filmistan musicals like Nastik, her biggest hit opposite Ajit, and Munimji, a carefree romantic film with Dev Anand as her leading man.
Perhaps Nalini’s last big, successful film was the Raj Khosla directed Kala Pani (1958). She gave one of the best performances of her career as the nautch girl Kishori who is the key witness in framing the hero’s father for a murder he did not commit. Playing a shaded character, she easily stole a march over goody-two-shoes heroine Madhubala and deservedly went on to win the Filmfare Award for Best Supporting Actress for the film. She is absolutely unforgettable in the film be it in the come-hither mujra Nazar Laage Raja Tore Bangle pe or as she looks tearfully at Dev Anand from across the room in that all time great SD Burman composition, Hum Bekhudi Mein.
Nalini remained an important leading actress through the mid-1950s, appearing in such films as Rahi (1953), Shikast (1953), Railway Platform (1955)), Nastik (1954), Munimji (1955), and Hum Sab Chor Hain (1956). The 1958 film Kala Pani, directed by Raj Khosla, was Nalini’s last successful movie. Bombay Race Course (1965) was the last film she made before retirement. After 18 years, she returned as a character actress in Nastik-83 which marked her last film appearance.
Nalini acted in 64 films. She also sang 41 songs in 10 films. Her last song was in the film Chingari-55. She worked in 10 films with actor Ajit and in 11 films with Ashok kumar.
Nalini Jaywant died lonely on 20 December 2010, aged 84, at her bungalow of 60 years at Union Park, Chembur, Mumbai, India. The death was not noticed by anyone until an ambulance carried her body after 3 days of her passing away. The neighbours reported that she had secluded herself from society and had not been meeting people after her husband’s death. Her relatives were also not in touch with her for long.
(based on information from wikipedia, Upperstall, and book “Sagar Movietone” by Biren Kothari ji with thanks.)
While the film Chingari had the last song sung by Nalini Jayawant, this was also the last film of actress Sunalini Devi, who after doing 56 films, retired from films and got married. Incidentally, she was the sister of Sarojini Devi Naidu and actor Harindranath Chatopadhyaya.
The songs of Chingari-55 were very good. Today’s song is also a good one. It is also one of the few songs with ‘Anokhe Bol’, sung by Lata and an unknown male voice. Enjoy…..
Song-Dil ki duniya mein aake na jaana …ya Rabba Peri Peri (Chingaari)(1955) Singers- Lata Mangeshkar, Unknown male voice, Lyrics-Shailendra, MD-Manohar
chorus
Lata + Unknown male voice
Lyrics
dil ki duniya mein aake na jaana
tujhe meri kasam na rulaa aa aana
ya rabba peri peri
ya rabba peri peri
ya rabba peri peri aa
dil ki duniya mein aake na jaana
tujhe meri kasam na rulaa aana
ya rabba peri peri
ya rabba peri peri
ya rabba peri peri yaa
tujhse hai ye zindagi suhaani
o o
pyaar ke geeton mein hai rawaani
o o o
mera singaar tu hai
mauj o bahaar tu hai
jeene mein hai maza
ya rabba per peri
ya rabba peri peri
ya rabba teri teri yaad
aaja pyaar ke taraane gaayen
aa aa aa
aa aa aa
aa aa aa
aa aa aa
hmm hmm hm
hmm hmm hmm
aaja aisa ek jahaan basaayen
chaand ka diya ho jismein
taare loriyaan sunaayen
aa aa aa
aa aa
sapnon ke dole mein jhoola jhulaaye hamen baad e saba
sapnon ke dole mein jhoola jhulaaye hamen baade saba
ya rabba peri peri
ya rabba peri peri
ya rabba peri peri yaa
bheegi bheegi raat ye nazaare
o o o
dil ki baat kahte hain sitaare
o o o
aankhon mein noor bhar de
dil mein sarur bhar de
o mere dilruba
ya rabba peri peri
ya rabba peri peri
ya rabba peri peri yaa
aarzoo yahi hai
meri justzu yahi hai
na ja
dilbar
na ja
ankhiyon mein aake
o mere dilruba
mere dil se na ja
hai ye dil ki dua
hai ye dil ki dua
ya rabba peri peri
ya rabba peri peri
ya rabba peri peri yaa
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog.This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
This is his 900th write-up in the blog.
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My God ! This is my 900th post on the Blog !
I just can’t believe it. I feel like having written my First post just the other day. How time flies !
But this also means that I have enjoyed writing posts on this Blog. It has been exactly 8 years that I have been writing posts, primarily on old time films, songs and the people connected with them. My first post appeared here on 1-10-2012, when I was 72 year old. At the end of the 8 years period, I have 900 articles on my name and I am 80 years old.
When my first post appeared here on 1-10-2012, I had already posted 400 comments, film reviews and information tit bits on old films on the Blog. With so much of information, it was expected by Atulites that someday I will write posts. Personally. I had never thought of that. There is a story behind how my posts started appearing on this Blog.
At the end of September 2012, one of my friends sent me a song from the film Savitri-1937. I was quite excited to get such a rare song. Savitri-37 was the first Mythological film by Bombay Talkies and also their popular Hero Ashok Kumar ( later he acted in one more Mythological film ” Uttara Abhimanyu”-46. Thank God he never acted in another Mythological film ! He was a perfect misfit in them.). I wrote to Atul ji that I had that song and suggested that he should post it. I volunteered to provide the necessary details of the film etc. He wrote back asking me to send him the information on that song. Enthusiastically, I wrote a long essay-like post about the film, song, story etc. and sent it to him, so that he should post the rare song.
Next day i.e. on 1-10-2012, I got an email from Atul ji that he has posted the write up on film Savitri song, as my Post. I was pleasantly surprised. Honestly, I was thrilled too ! My post and on this Blog ? How sweet ! By evening, there were 36 comments on the post. Most Atulites welcomed my step of becoming a post contributor. I was really overwhelmed. Then I decided, anyway I was in the Swimming Pool, so why not enjoy swimming ?
Thus started my journey of 900 posts. All the credit goes to our Leader- ATUL JI. His encouragement, motivation and help from time to time was an asset for me. Atul ji is not expressive about the good deeds he does, but I am indebted to him. I learnt using the Computer when I was past my 70 years of age. So, there used to be many mistakes in my typing the articles like in using the upper/lower cases, use of Capitals, Punctuation marks, construction of sentences etc etc. But Atul ji and Sudhir ji stretched their tolerance limits to maximum and accepted me as I was. Since 2018 onwards, I conscientiously made changes in my writing, checking the article for mistakes, doing corrections before sending it etc. I also changed the type of the script Font that I was using, for more clarity of reading and today, I feel, my writings are far better than earlier times. Sudhir ji’s help has been particularly useful in the last 8 years. Thank you, ATUL JI and SUDHIR JI, for making me what I am today in the Blogosphere and amongst the like minded people of the Internet, Facebook etc.
My 800th post was on 29-9-2019. The 900th post too is in September. Thanks to all my readers, friends, Group Atulites and well wishers.
Today’s song is from the film Malati Madhav-1955. This is a story from the Sanskrit play ‘Malti Madhav’ written by Bhavbhuti. Wikipedia has this to say about Bhavbhuti and the story of Malati Madhav….
Bhavabhuti was an 8th-century scholar of India noted for his plays and poetry, written in Sanskrit. His plays are considered the equal of the works of Kalidasa. Bhavabhuti was born in Padampura, Vidarbha, in Gondia district, on the Maharashtra and Madhya Pradesh border. His real name was Srikantha Nilakantha, and he was the son of Nilakantha and Jatukarni. He received his education at ‘Padmapawaya’, a place some 42 km South-West of Gwalior. Dayananidhi Paramahansa is known to be his guru. He composed his historical plays at ‘Kalpi’, a place on the banks of river Yamuna.
He is believed to have been the court poet of king Yashovarman of Kannauj. Kalhana, the 12th-century historian, places him in the entourage of the king, who was defeated by Lalitaditya Muktapida, king of Kashmir, in 736 AD.
The play is set in the city of Padmavati. The king desires that his minister’s daughter Malati marry a youth called Nandana. Malati has been in love with Madhava ever since she saw him and drew his portrait. Madhava reciprocates, and draws a portrait of her in turn. Malati suspects her father’s motives in falling in with the King’s plans for her. A side plot involves the lovers’ friends Makaranda and Madayantika. The latter is attacked by a tiger, and Makaranda rescues her, getting wounded in the process. After numerous travails, all ends well, with the two couples uniting. According to the renowned Sanskritist Daniel H.H. Ingalls, the Malatimadhava is a work that combines love and horror with a felicity never again equaled in Sanskrit literature.
Today’s song is sung by Malati Pande and chorus. Malati Pande is one of my most favourite marathi singers. Her Bhavgeets in the 50’s decade were extremely popular in Maharashtra and with all the Marathi people wherever they were in the world. Malati Pande was also a Classical singer and has sung very few songs in Hindi films, but excelled in Classical and Marathi songs. Her songs like ” tya tithe, palikade, tikde, maziya priyeche zopde” or ” kunihi paay naka vajavu” are evergreen. She is one of those Marathi singers like Manik Verma, Jyotsna Bhole, Hirabai Badodekar, Saraswati Rane, Shobha Gurtu, Nalini Mulgaonkar, Ram Marathe, Bhimsen Joshi, D.V.Paluskar etc, who just visited Hindi films out of curiosity, but returned to their comfort zones immediately.
Malati was born on 19-4-1930 at Poona, She was attracted to music from her childhood. She was trained by several teachers like Bhaskarrao Ghodke, Trivedi Master, Vilayat Hussain Khan, Vinayak buwa Patwardhan, Bholanath Ghatt and also her husband Pt. Padmakar Barve. At the age of 15 years, she was invited to sing on A.I.R. Poona. She did her Ph.D in Music.
When Sudhir Phadke brought her to Prabhat for audition, for songs of Marathi version of ‘ Aagey Badho ‘-47, Fattelal was very happy with her style of singing and thanked Phadke. Malati Pande’s first lori song “kunihi Paay Naka vajavoo…” was with Singer & Music Director Gajanan Watve and poet Shrinivas Kharkar. It is said that afterwards, many singers and music directors recorded lori songs, but Malati Pande’s this lori song is the best and is still remembered by the Marathi listeners.
Malati Pande sang many Marathi songs under the music direction of Gajanan Watve, Sudhir Phadke, Ram Phatak, Shrinivas Khale, Datta Dawjekar, Madhukar Pathak etc.
Malati Pande sang some 15 Hindi songs under the music direction of K. Bhole, Avinash Vyas, Sudhir Phadke in the following Hindi films – Seeta Swayamvar-48, Maya Bazar-49, Shrikrishna Satyabhama-51, Shri Vishnu Bhagwan-51 and Malati Madhav-55.
Malati married classical singer Pt. Padmakar Barve. They have a son Rajiv Barve who is a singer. His daughter Priyanka Barve is also a famous singer in Marathi and Hindi films. Malati Pande died on 27-12-1997.
Let us now enjoy her last song in Hindi films…
Song-Motiyon se maang bhare sundari suhhaaye re (Maalti Madhav)(1951) Singer- Malti Pande, Lyricist- Pt.Narendra Sharma, MD- Sudhir Phadke
Chorus
Lyrics
Motiyon se maang bhare sundari suhhaaye re
sundari suhhaaye re
Motiyon se maang bhare sundari suhhaaye re
sundari suhhaaye re
aarsi na dekho
kahin drishti lag jaaye re
drishti lag jaaye re
sundari suhhaaye re
sundari suhhaaye re
Motiyon se maang bhare sundari suhhaaye re
sundari suhhaaye re
nakh range hain laadli ke
choomti usha charan
nakh range hain laadli ke
choomti usha charan
jaise laal laal kamal
khil rahe hain man haran
jaise laal laal kamal
khil rahe hain man haran
ye charan ki jodi kahin
door chali jaaye re
door chali jaaye re
sundari suhhaaye re
sundari suhhaaye re
Motiyon se maang bhare sundari suhhaaye re
sundari suhhaaye re
Motiyon se maang bhare sundari suhhaaye re
sundari suhhaaye re
mukh hai jaise chandr chaandni si roop mohani
mukh hai jaise chandr chaandni si roop mohani
apni aaj kal paraayi hogi sakhi sohini
dekho kaali naagin si veni lehraaye re
veni lehraaye re
sundari suhhaaye re
sundari suhhaaye re
Motiyon se maang bhare sundari suhhaaye re
sundari suhhaaye re
aarsi na dekho
kahin drishti lag jaaye re
drishti lag jaaye re
sundari suhhaaye re
sundari suhhaaye re
Motiyon se maang bhare sundari suhhaaye re
sundari suhhaaye re
Dhak dhak dhak dhak kare dil
Posted on: September 9, 2020
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog.This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Today’s song is from the film Baraati-54. This is a comedy song sung by Chitalkar and the MD is Roshan. The director was J.K.Nanda and the cast was Chand Usmani, Peace Kanwal,Agha, Omprakash, Shyam Kumar, Leela Mishra, Johnny Walker, Rajan Haksar, Kathana and many others.
The director J.K. Nanda aka Jai Kishen Nanda was born in 1904, in Bham, Punjab. He was a director, story writer and screenwriter. In spite of all these qualities and having got good films to direct, Nanda could not have a crowded career and directed only 12 films in his career. He wrote screenplay and story of films like Jailor-1938, Singaar-49, Baraat-54 and Mirza Ghalib-54. Films of his direction were Pavitra Ganga-32, Inteqaam-33, Bahen ka Pyar-35, Kudmai-41, Ishara-43, Jhumke-46, Parwana-47, Singaar-49, Chamkee-52, Baraati-54, Dhake ki Malmal-56 and Chaalaak-66.
Out of the total 8 songs of this film, 6 songs are already posted here. Today’s song is the 7th song and the 8th song is also available freely on YT. If one of us discusses that, this film too can be Yippeed.
Though this films’ songs are not composed by C Ramchandra, he has sung this song for Roshan. This is because Chitalkar was very fond of singing. From his childhood his interest was in music and singing. He had actually been trained by qualified singers. He had done singing roles in stage dramas also in his younger age. Even in his first ever film ” Naganand-35″ he had sung 2 songs. Though the actual number of his songs-sung by him- is not available, according to one estimate ,he sang about 150 duets or trios with various singers and about 50 odd solo songs in his career, in 77 films. This number is as good as any second line singer in the industry. Of course Chitalkar sang essentially for his own films. However there were occasions when he was invited by other composers for singing songs.
In those days there was a friendly atmosphere and cordial relations existed among the musical fraternity. All composers, singers, their assistants, lyricists, musicians used to have a lot of fun, get-to-gethers and even outings. One can find many such photographs on the Internet. Though there was keen competition, it was very healthy and not a Cut-Throat type – yet. This clean atmosphere started getting spoiled when some conniving composers (read Shankar Jaikishan, Laxmikant Pyarelal and others of their ilk) started unethical means to grab undeserving awards and films. Honest and True to music composers like S D Burman, C Ramchandra, Madan Mohan, Khayyam etc were thrown aside as they proved to be misfits in this new ” Dog Eat Dog ” culture that crept stealthily, in the film industry !
Anyway, Chitalkar sang in films composed by other Music Directors very selectively and for the sake of specific reasons. He seems to have sung for Mir Sahib (his first Guru), Anil Biswas(his idol),S D Burman, Roshan(his close friend), P.Ramakant, Chic Chocolate(his assistant of many years), Hemant Kumar, Laxmikant Pyarelal,Usha Khanna and Kishore Kumar. He sang for the last three in his last few years.
His songs with other Music Directors may not exceed 15 at the most. Lata sang hardly 2-3 songs as duets with him, for other music directors. Remaining of his duets for other music directors were with other singers.
I feel that he sang only ONE duet with Asha Bhonsle for other Music Directors and that song is from today’s film Baraati-54.
Anyway, today’s song is from Baraati, a film from 1954 and the Music Director was Roshan. At this juncture, Roshan was fighting for survival. After Bawre Nain and Malhar he had not given any Hit film. Few songs from his films had become popular. In 1954, he was summarily removed from the film MEHBOOBA and O P Nayyar took over . There was a huge hue and cry and the matter was taken up by the Association too. One good thing that happened was that during this period Lata stood behind Roshan like a Rock. Their relations were extremely sweet, so much so that when Lata decided to produce a Film “Bhairavi”, she appointed Roshan as its Music Director, much to the amazement of the industry ! The film did not materialise, is another matter. Though Roshan was never a Front row composer in the industry, Lata had recognised his Talent in the musical arena. The sweet relations between Lata and Roshan remained so for a long time-only to become bitter when Roshan gave opportunities to Hemlata in his films.
Chitalkar and Roshan were very good friends. After Chitalkar had retired from films, Roshan used to frequently go to his house in the evenings for drinks. Though Roshan hardly drank anything, Chitalkar more than compensated the deficit!. They used to exchange their sorrows. Roshan’s family life was not a happy one, which added to his nervous nature and took its toll finally.
Initially BARAATI-1954 was given to Chitalkar, who was already doing Yasmeen for Kardar Studios. Since Chitalkar knew that Roshan was without work, he persuaded A R Kardar to give the film to Roshan, thus Roshan became the Music Director for this movie.
When this song of Baraati-54 was to be recorded, Roshan purposely opted for Asha, since he knew that in future Chitalkar would try to bank upon her as a replacement for Lata. However it was not to be, though Chitalkar tried his best in this direction. In the film Amardeep-58, out of 12 songs,Asha was given 7 songs while Lata sang only two. In this connection there is an interesting incident….
In January 1957,there was a singing competition called ” MURPHY-METRO SINGING CONTEST ” held on the open grounds of Mahalaxmi Racecourse, Bombay. The judges were Naushad, Anil Biswas, C Ramchandra, Vasat Desai and Madan Mohan (He was the youngest of them all, which was an honour for him). Aarti Mukherjee and Mahendra Kapoor were the winners in this contest.
At the end of the Contest,when the curtain opened after a break, C Ramchandra suddenly appeared at the Centre-stage, with his full orchestra. (This was NOT announced to the audience earlier, giving them a pleasant surprise.)
Within minutes Asha Bhonsle appeared on the stage and they started a live show under his baton, presenting the First ever ROCK N ROLL number in the annals of Hindi film Music. Asha brought down the whole Mahalaxmi house that evening with her ultra spirited singing of ‘ Mr. John, ya Baba khan ya Lala Roshan daan ” from film BAARISH-57 to be released only next month viz. February 1957.
Such was C Ramchandra’s clout in his heydays that he was considered the heralder of westernised music in Indian films. It is well known that once S D Burman told his son, Pancham “If you want to go western, do it by all means, but first study the songs of C Ramchandra,study the vistas explored by him as a composer !!”
In the film Baraati-54, there were two Heroines – Chand Usmani and Peace Kanwal. For both of them, this was their second movie in their career. Peace Kanwal had a very short career of only 10 films. Then she got married and quit films. Chand Usmani survived for a longer period. She did 109 films. Her last film was a record-delayed film. Started in 1987, the film Yaar meri zindagi finally released in 2008 !
Chand Usmani was one of those actresses, who were good in acting but poor in good luck ! Actresses like Farida Jalal, Tabassum, Shubha Khote, Nazima, Zahira,Zahida, Yashodhara katju and many more fell in this category. These actresses never made upto regular Heroine roles, more than a few films. They had some beginner’s luck but that was the end. They continued in side roles only.
Chand Bibi Khanam Usmani was born on 3-7-1933 in Agra, U.P.and came to limelight by participating in ‘Kardar-Kolynos-Teresa Contest’ in 1949.She felt surprised when she was selected for the contest and overjoyed when selected as the second in the finals.She acted as the female lead of ‘Jeevan Jyoti’ directed by Mahesh Kaul in 1953, opposite Shammi Kapoor.It was the debut film of Shammi Kapoor also.
Chand Usmani became an established actress later on, but she got only secondary roles which she performed always nicely.Gradually she accepted supporting roles,character roles,mother roles etc.She got Filmfare Best Supporting actress award for her portrayal of the character as ‘Champa’ in the 1970 film ‘Pehchan’.
Chand Usmani acted in films of all prominent actors of that period.
In 1957 in the film ‘Naya Daur’ directed by B.R.Chopra, and in which Dilip Kumar-Vyjayantimal were the main pair, Chand Usmani acted as sister of the hero Dilip Kumar’s character ‘Shankar’.
In the historical film ‘Samrat Pritviraj Chauhan’ she acted in the role of Rajkumari.
‘Prem Patra’ was a well noted film directed by Bimal Roy in 1962.A medical College student Arun Kumar Mathur(Shashi Kapoor) has a misunderstanding over a love letter and the consequences were the theme of the film.Sadhna was the heroine and Chand Usmani acted in the supporting role as ‘Sumitra’.
‘Biswajeet,Saira Banu,Jayant,Sajjan,Nazima,Chand Usmani’ etc were the cast of ‘April Fool’ directed by Subodh Mukherjee.This film pointed to the fact that sometimes even practical jokes done for just fun can also lead to unexpected serious problems.
In the super hit film ‘Khilona’ in which Sanjeev Kumar acted in leading role in 1970, Chand Usmani acted as the character Laxmi Singh.
In the film ‘Ujala Hi Ujala'(74), she portrayed mother’s role and acted as mother of Yogita Bali’s character Anuradha.
She presented excellent acting skills along with Shabana Azmi in the 1976 classic movie ‘Kadambari’.
In the 1977 super hit movie of Manmohan Desai ‘Parvarish’ in which Amitabh Bachchan,Shammi Kapoor,Neetu Singh,Shabana Azmi,Vinod Khanna,Amjad Khan,Kader Khan’ etc acted, Chand Usmani acted skilfully as the mother of Neetu and Shabu (Neetu Singh and Shabana Azmi).
She had a well noted character role in another super hit film of Amitabh Bachchan-Neetu Singh pair ‘Yaarana’ in 1981 and yet another film ‘Pukar'(83) in which Amitabh Bachchan and Zeenat Aman were the main pair.
She acted as mother of Suraj (Raj Babbar) in the film ‘Zakhmi Aurat'(88). In all, she acted in 109 films. Her first film was Jeewan Jyoti-53 and the last released film was a record delayed film, Yaar meri zindagi, which started in 1987 and was released in 2008 !
Chand Usmani died on 26-11- 1989 at Mumbai.
As far as Peace Kanwal is concerned, film Kismet-56 was her third and last film as a Heroine. When the film was released, she was pregnant and delivered in 1957. Later she did only side or character roles in films. As such, her tenure in films was not very long. she just did 10 films in all.
She was born on 16th December ( she never told the year of her birth). Her father was a doctor in a Mission Hospital in Agra. He had his private Hospital in Amritsar also.He was related to the Royal families of Jaipur and Jodhpur. He converted to Christianity and changed his old name Indriyas to Andrew Kanwal.
Peace studied in Amritsar, Lahore, Rawalpindi and Delhi. She got admission in Ludhiana Medical college.In the vacations after her first year MBBS, she visited Bombay. Due to persuasion from a newly acquired friend, Peace participated in the ” Kardar Kolynos Talent Contest”. She won the contest (Chand Usmani was second. Shubha khote and Anita Guha too competed in the contest).
A R Kardar signed a 2 year contract with Peace for Kardar Studios. Her debut film was ” Dil E Nadaan ”-53 in which Talat Mehmood also made a Debut as a singer Hero, opposite her. The film was a musical hit. her second film was ” Baraati”-54, opposite Agha. On the sets of this film, she got introduced to Susheel Ruia and soon they got married in 1955. Her name after marriage was Rajashri.
Her third film was Kismat-56, opposite Ranjan. In 1957, she gave birth to her first child and took a break from working. Later she started doing character roles. Her husband was against her working in films. They divorced in 1968. She engaged herself in a lot of social work and painting,her hobby. Her Paintings were in great demand and she held exhibitions of her paintings in India and the USA as well as in Australia.
In 1976, she was introduced to Mr. V.Ramesh, grandson of ex-president V.V.Giri. She married him in 1977. Presently, she stays in Juhu, Mumbai and is into social work and paintings upto her neck. She worked in Dil e Nadaan-53, Baraati-54, Kismat-56, Nai maa-60,Maa Baap-60, Barsaat ki raat-60, Aarti-62, Chambal ki kasam-80, Aasmaan-84, and Woh subah kabhi to aayegi-91 ( adapted from interview on Beetehuedin.blogspot.com, with thanks).
The story of the film Baraat was…..Lajo (Chand Usmani) is a homely girl. She has no father and stays with her widowed mother and brother Sunder (Agha). Her mama-Bishen Das(Omprakash) and Mami (Leela Mishra) also stay in the village. Lajo’s mother depends upon Sunder and Mama Bishen for finding a groom for Lajo. Sunder starts visiting prospective grooms, but at one place, falls in love with a girl and marries her. When he and the new Bride Pilu (Peace Kanwal) come home, they are not allowed to enter unless Sunder finds a suitable match for Lajo. Sunder and Bishen start the mission again and finalise a boy, Atmaram, son of a rich Zamindar, Girdharilal(Shyam Kumar),who is very stingy and money minded. He puts many conditions which are all accepted. The marriage takes place, but Girdharilal makes additional demands and refuses to take the bride into his house. Lajo is devastated and attempts suicide, but Bishen Das saves her. He suggests that Lajo win back her husband by her love. She succeeds in doing this and Atmaram rebels against his father,takes Lajo into his home and the father relents.
Song-Dhak Dhak kare dil…Jhatpat pat jhat aake mil (Baaraati)(1954) Singer-C Ramchandra, Lyrics-D N Madhok, MD-Roshan
Lyrics
dhak dhak dhak dhak
dhak dhak kare dil
jhat phat pat jhat jhat phat aake mil aa ke mil
aake mil
dhak dhak dhak dhak
dhak dhak kare dil
jhat phat pat jhat jhat phat aake mil aa ke mil
aake mil
chanda un se jaakar kahna
mushkil un bin jeete rahna
roti hai majboor jawaani
haaye re dhadke hai dhadke hai
bechaara dil
jhat phat pat jhat
jhat pat aake mil
aa ke mil
dhak dhak dhak dhak
dhak dhak kare dil
jhat phat pat jhat jhat phat aake mil aa ke mil
aake mil
mere dil ko dil mein rakh le
dard piya ke aap parakh le
thhes lagi khud kah dogi tum
haaye re
toot gaya
toot gaya mera nannha sa dil
jhat pat pat jhat pat
aake mil
aa ke mil
dhak dhak dhak dhak
dhak dhak kare dil
jhat pat pat jhat
jhat pat aake mil
aake mil
mere pyaar ki alakh jaga de
haaye alakh jaga de
sharam haya ko aag laga de
haan aag laga de
aisi raaten aur tanhaayi
haaye re patther ka
patthar ka hai tera dil
jhat pat pat jhat
jhat pat aake mil
aa ke mil
dhak dhak dhak dhak
dhak dhak kare dil
jhat pat pat jhat jhat pat
aake mil
aa ke mil
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog.This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4433 | Post No. : | 15868 |
Today’s song is from the film Gumashta-51. This was a film by S M Yusuf, the producer and Director, under his own banner Aaina Pictures, Bombay. The music Director was K.Datta aka Datta Korgaonkar. This style of nomenclature especially by Marathi composers was started first by the successful C Ramchandra aka Ramchandra Narhari Chitalkar. Till he changed his name, when he had joined Jayant Desai in 1943, C Ramchandra used to write his name as Ram Chitalkar. Besides these two Music Directors, there were some more like N Dutta or Dutta Naik, SbPurushottam or Purushottam Solankurkar and C Balaji or Balaji Chougule. Off hand, I can remember only these names.
The cast of the film was Nigar Sultana, Wasti, Kuldip Kaur, Baby Tabassum, W M Khan, Husn Banu, Ismail, Nurjehan Sr, Mirza Musharraf etc etc. There were 9 songs in the film written by Raja Mehdi Ali Khan, Wahid Qureshi and Noor Lucknovi.
The title of the film is Gumasta- spelt differently as Gumastha or Gumashta etc. How many of us really know what the meaning is of the word Gumasta ? The simple meaning is ‘ Agent ‘. Actually, this word came into use when the British East India Company appointed people to collect Protection money from the rich people as a ransom. Thus, they became agents. Later on, this was the name used for anyone who came for collecting money. For example, Rent collector from the house owners, Bill payments from the shop keepers, doctors and other suppliers of goods and services.
Our filmmakers were quite imaginative. They solved their problem of giving titles to their films, by opting for those who did specific jobs, like say Pandit ji, Munimji etc etc. Out of just curiosity a cursory look at the catalogue of film titles, which is otherwise a very prosaic document, I found that films were titled for various Service Providers.
Let us see some Film Titles…. Pandit ji, Munim ji, Gyani ji, Gurudev ji (but not Guruji ? injustice !),Chowkidar, khazanchi, Daak Babu, Band Master, Bank Manager, Barrister, professor, School Master, Minister, Chief Minister, President, Boss, Body Gaurd, CID Inspector, Inspector, Boxer, Chaandaal, Daroga ji, Daaku, Dalal, Detective, Director, Dancer, Doctor, Durban, Fauzi, Film star, Gawaiya, Gramophone singer, Hero, Heroine, Jadugar, Jagirdar, Jasoos, Jailor, Jallad, Joker, Juari, Kavi, Police, Postman, Pujari, Qaidi, Raisaheb,Senapati, Taxi Driver, Typist Girl, Ustaad etc etc.
This information only confirms that our filmmakers are very imaginative and the films made in India are on varied topics. With this kind of angle to look at the film catalogue, hitherto unthought of, provides insight into film making, surely !
The producer director of film Gumasta-51, S M Yusuf was one of the very few people from Indian film industry, who became very successful in Pakistan. After his last film Mehendi-58 in India, he migrated to Pakistan, and remade this film as Saheli-60. It was released on 23-12-1960. It proved to be a great Super Hit film and offers piled up with Yusuf. Later, he also made a remake of Indian film Gumasta-51 as Bahurani-69. It was released on 4-7-1969. This was also successful. Lastly, he remade Indian film Nek Parveen-46, with the same name. It was released on 5-12-1975. This film, however, did Average business. In all he did 13 films in Pakistan. In today’s film Gumasta-51, his own wife Nigar Sultana was the Heroine.
In the cast two names-Wasti and W M Khan- are actors about whom not much is known. I feel the younger generation may not have heard their names even.
Riyasat Ali Wasti was born in 1912, at Naagao in U.P. His father was Citi magistrate, a judge and Dewan of the state. The family was well known in Bundelkhand area. After graduating from Ambala, Wasti did service for 7 years in the PWD of Punjab. He wanted to join films and he became a Hero in New oriental Films, Lahore’s ” Premyatra”-37. His Heroine was Umarazia Begum,later on the wife of Ghulam Haider. He acted in Bombay’s films like Baghban,Industrial India,Pati Patni, Rikshawala,Thokar , Qaidi, Nartaki, Kudmai(Punjabi), Awaz, Nai Duniya, Sharda, Namaste etc. He was a fixture for Kardar films.As a Hero he did many films. In all he had acted in 63 films. He sang 5 songs in 2 films also-Rikshawala-38 and Pati Patni-39.
In the 50s he acted in 11 films. In 60s and 70s he did 20 films. His roles in jab pyar kisi se hota hai and Phir wohi dil laya hoon may be known to many.His last film was kasam-76. Two films produced by him in 1952 and 56 flopped. Last 20 years of his life were spent in penury and anonymity. In his last years,he was often seen begging near liberty cinema in Bombay. He died on 15th April 1996.
Old timer Wasti, who regaled the audiences with his natural acting in Sanjog , Rattan, Pugree made in the forties and many Punjabi & Hindi movies later on, was passing through a bad phase . Nasir Saheb honored him by offering the roles of substance in Dil Deke Dekho,Jab Pyar Kisi Se Hota Hai & Phir Wohi Dil Laya Hoon.
Actually Wazir Mohammed Khan is a name which will be always mentioned, whenever Hindi Talkie films are chronicled. He was the FIRST on screen singer in the first talkie film- Alam Ara-1931. W.M.Khan was a Pathan. His first film was ‘Alam Ara’-31 and his last film was also Aalam Ara-73. He sang a song in the first film and again the same song in the similarly titled film Alam Ara-56. I saw him on the screen for the first time in the film Kabuliwala-61, in which he lip synched the famous song ” Aye mere pyare watan…”. W.M.Khan acted in 105 films. He sang 6 songs in 4 films, namely Alam Ara-31, Sair e paristan-34, Dard e dil-34 and after 22 years he sang his first song again in film Alam Ara-56- though no record was issued for it, even here !
When he acted in the third version of Aalam Ara in 73, he became the first male actor to have worked in 3 films with the same title, from the very first Talkie film. The next and the only other actor to achieve this feat was Ashok Kumar, who acted in Kangan-39, kangan-59 and kangan-72. The only female actress to achieve this feat was Sulochana ( Ruby Meyers) who had acted in Anarkali-28, Anarkali-35 and Anarkali-53.
W.M.Khan died on 14-10-1974, in Bombay.
Today’s song is a comedy duet sung by Shamshad Begum and G M Durrani. Almost all songs of this film are very good.
Song- Tera gora gore gaal humko ekdum pasand hai (Gumaashta)(1951) Singers-G M Durrani, Shamshad Begam, Lyricist-Raja Mehdi Ali Khan, MD- K.Datta
Unknown male voice
Lyrics
Tera gora gore gaal
Tera gora gore gaal
humko ekdum pasand hai
hoy tera honth laal laal
humko ekdum pasand hai
ekdum pasand
Tumhre gora gore gaal
ye lipstick ki baaliyaan
tauba hai tauba hai
hoy hoy hoy
ye aankhen chaai ki pyaaliyaan
tauba hai tauba hai
aay haay
oy tauba
oy tauba
ye London ka maal
ye London ka maal
humko ekdum pasand hai
ekdum pasand
tumhre gore gore gaal
hua hai ya nahin hua hai
shaadi aap ka
mere shaadi nahin hua
hua thha mere baap ka
hum ekdum kunwaara hai
ekdum kunwaara hai
bundle to nahin maara hai
bundle to nahin maara hai
naay naay naay naay
tumhaara dekh bhaal
tumhaara dekh bhaal
humko ekdum pasand hai
ekdum pasand
tumhre gore gore gaal
zara humse door rahiye jee
ye dil churaaye maal hai
dil churaaye maal hai
aisa na kaho memsaab
hamaara bura haal hai
jee hamra bura haal hai
tumhra bura haal
tumhaara bura haal
humko ekdum pasand hai
ekdum pasand hai
tumhre gore gore gaal
aa aa aa aa
aa aa aa aa aa
lalalalalalala
teri nazar to mere gore mukhde par nisaar hai
lekin
pati hamaara kahta hai
hum ekdum ganwaar hai
hum ekdum ganwaar hai
na
gadha hai
arre bewaqoof hai
kahaan hai wo
khabar loon
us manhoos beimaan ki
bhala gadha kya jaane
kadr ?? kuraan ki
tumaara ye khayaal
tumaara ye khayaal
humko ekdum pasand hai
ekdum pasand hai saab
tumhaara intkaal
tumhaara intkaal
humko ekdum pasand hai
ekdum pasand
tumhre gore gore gaal
tumhra gora gora gaal
humko ekdum pasand hai
haan munna
tera honth laal laal
humko ekdum pasand hai
ekdum pasand
tumhre gore gore gaal
Main to beti thhaanedaar ki re
Posted on: September 3, 2020
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog.This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4430 | Post No. : | 15857 |
Today’s song is from the film Actor-51. This was a film by Sarosh Pictures, directed by Ramjibhai Arya. It was produced by H M Kerawala and Bhojani. The music was by 2 MDs- Aziz Hindi and Ibrahim, both small time composers. The 10 songs of the film were written by Nazim Panipati (8 songs) and Shewan Rizvi (2 Songs).
I can understand two composers working together on one song in the film…like Aziz and Ibrahim composed four songs together, in today’s film , but I was surprised to find that even Lyrics are written jointly by two lyricists in some films ( not in today’s film). I have always wondered how two different poets can write one song together. But in Hindi films this was not a rarity. Actually, a few years back, thinking that this phenomenon was worth discussing, I started finding out such songs from the HFGK. After getting names of films where more than one lyricist have jointly written songs, like Chandrtalekha-48, Anyaya-49, Sheesh Mahal-50 Hum Log-51, Buzdil-51, Footpath-53, Chandni Chowk-54, Dhobi Doctor-54, Darbar-55, Miss Bombay-57, Changez Khan-57, pardesi-57…I stopped my search. I realised that this happened in many films and it was not a novelty. I cancelled my idea of discussing this matter in my posts.
Connected to these issues is another problem with stories of films like Actor -51. There are many cases in Hindi films, where remakes of earlier films on the same stories are made. As far as Folklore like Laila Majnu or Shirin Farhad or stories from Ramayan and Mahabharat, one can surely understand, but it is very strange why people want to make films on the same stories.
In some cases, in addition to the same stories, even the film titles are the same. The case of actress Sulochana-Ruby Meyers, is unique. She featured in 7 such films where the Titles and stories were the same. Sulochana acted in Anarkali-28, Anarkali-35 and Anarkali-53. She also acted in Madhuri-28 and Madhuri-32. She also acted in Indira B.A.-29 and Indira M.A.-34. Then there was Gunsundari-27 and Gunsundari-48, with different heroines. All these films had the same Titles and same stories.
Then there are other films which have same stories, but different Titles. Some of such films are Panghat-43 and Chitchor-76, Mala-41 and Amar-54 (MD was Naushad for both films and Jayant did the same role in both films), Grihasthi-48 and Ghar Basa ke dekho-63, Malkin-53 and Biradari-66, Aurat-40 and Mother India-57(Kanhaiyalal did the same role in both films) etc etc. There are 100s of such remakes, but I have yet to see a film which mentions it in their credits. One can not forget films like Do dooni char-68 and Angoor-82. Here the first hindi film Do dooni char was a remake of Bangla film of 1963 ” Bhrantibilas”, which was based on the novel of the same name by Ishwarchandra Vidyasagar who had taken inspiration from Shakespeare’s play ” Comedy of Errors”- which was an adptation of a play by Plautus ” Menaechmi”. Hope this was atleast the original story !
It is a notable coincidence that in 1951, in just One year alone, there were 3 films with almost same story and Bhagwan was the Hero in all 3 films – Actor-51, Daamaad-51 and Albela-51. The basic story was that a poor man, without any help, tries to become a Singer or an Actor and how Luck helps him to become a famous artiste.
Film Daamaad was censored on 8-2-51, film Actor was censored on 1-5-51 and Albela was censored on 13-12-51 and released immediately on next day i.e. 14-12-51. Earlier it was felt by me that film Actor was a failed copy of film Albela. That was before I got the HFGK. Now I know that I was wrong in my assumption. The fact is actually different. Both C Ramchandra and Raj Kapoor were after Bhagwan to start a Social film, instead of making only stunt/action films. After working in these two films, Bhagwan became aware that this story was a winning one, if made into film wisely and if C Ramchandra gives his best music.
Bhagwan started making a draft and writing the story of Albela. Due to his image of a stunt film maker, no main stream Heroine was ready to work in his film and he would not afford their fees also. He thought of Geeta Bali. When he narrated the story to her, smart as she was, she understood its potential to become a Hit film, and she agreed to work in Albela as a Heroine. The rest, as they say, is History !
The director of film Actor-51 was Ramjibhai Arya, who came to Talkie films from silent films. After working as an assistant to few directors he first directed film Hind ke laal-40, then came Manthan-41, Jungle ki Pukar-46, Bhedi Dushman-46, Sher-E-Bengal-47 and his last film was Actor 51.
Ibrahim- one of the MD duo of this film was the brother of MD Ghulam Mohd. He was an excellent Harmonium player. He gave music to only 3 films-two with Aziz Hindi…Utho Jaago-47, Bachelor Husband-50 (with Sarswati Devi) and Actor-51. After this film, Ibrahim joined Naushad as his assistant and was with him for many years. He should not be mistaken with Master Ibrahim- the great Clarinet player. He too gave music to 2 Hindi films, namely Parbat ki Rani-48 and Bigde dil-49. Such names cause ‘Same name Confusion’. Fortunately none of them was a famous one.
In Hindi films, there were two names of Composers – Aziz Khan and Aziz Hindi. Many people thought that these were two separate persons, but the fact is they are the names taken by One composer only. Some time ago, our friend Shri Sadanand ji Kamath had dug out some important and revealing and authentic information from an Internet site of Parvez khan-the International Sitarist, son of Aziz Khan.
” Ustaad Waheed Khan was a well known and respected player of Sitar and Surbahar. His place in the Etawah Gharana was high up. He had 3 sons. Bande Hassan,Hafiz khan and Aziz Khan. Waheed khan was very keen that his sons should continue his profession,earn a name and shine in classical music of Etawah Gharana. He thought working for music in films was below their dignity and a shame. Bande Hassan specialised in vocal music and became a famous qawali exponent. Second son Hafiz khan,after initial training in classical music turned to film singing,without his father’s knowledge. Not only that,he also accepted the pen name of Mastana-awarded by composer Meer Sahib- to hide his identity from his father. The third son Aziz Khan also went the film way,using the name Aziz Hindi sometimes.
Though Aziz Khan did not continue his family profession,he ensured that his son Pervez took the training and became an International Sitarist,settling in the USA. Even son of Pervez- Shakir became a famous Sitarist. he continues the Etawah gharana tradition now. ”
A senior RMIM member Mr. Jayraman reported in 2008 that he had traced, found and met the only son of Hafiz khan Mastana,in Mahim,Mumbai. His name was Zaheer aka Alla Rakha. The son confirmed all the above facts and also that Aziz Khan was Aziz Hindi.
Though this fact was confirmed, books like ‘ Dhunon ki yatra’ (Pankaj Raag) mentioned Aziz Khan and Aziz Hindi as two different persons.As the book was published in 2006, he can not be blamed for this,however. But since it is mentioned in a book , for many readers this wrong information is ‘authentic’ and this is quoted by many in their writings. This is because the findings of Mr. Jayaraman did not get enough publicity widely.
In addition to this revelation,one more sort of Revelation has been made by Aziz Khan’s grandson-Shakir Khan-International Sitar player himself, on his own site http://www.shakirkhan.in . According to him,Aziz Khan gave music to 4 films, along with Khayyam. Those films are Heer Ranjha-48, Parda-49, Beevi-50 and pyar ki Baten-51. As per HFGK, Aziz Khan’s name is mentioned only for Heer Ranjha-48 and Beevi-50,while there is no mention of his name in the other two films. It is also interesting to note that singer Hafeez Khan Mastana was the elder brother of composer Aziz khan. To fulfil his father’s wishes, if not him,at least his son Shahid Parvez should become an Etawah Gharana Sitar expert, Aziz Khan left the film world after 1958 and devoted himself to train and teach his son. Thus Shahid Parvez became an International Sitarist.
Aziz Khan gave music to these film-sometimes as Aziz Hindi and with other composers in few films-
Flying Prince-46, Pandit ji-46, Intezar ke baad-47, Utho Jaago-47, Parivartan-49, Roomal-49, Shoharat-49, Putli-50, Beewi-50, Actor-51, Zamane ki hawa-52,Dhoop Chhaon-54, Danka-54 and Chalta Purja-58.
Today’s song is a comedy song and is sung by Sulochana Kadam and Yeshwant Bhatt. Actually most songs of this film are good songs.
Song- Main to beti Thaanedar ki re tu beta chapraasi ka re (Actor)(1951) Singers- Sulochana Kadam, Yeshwant Bhatt, Lyricis-Najim Panipati, MD-Aziz Hindi
Lyrics
main to beti thaanedar ki re
tu beta chapraasi ka re
to phir kya baat bane ae ae
to phir kya baat bane
main to beti thaanedar ki re
tu beta chapraasi ka re
to phir kya baat bane ae ae
to phir kya baat bane
tu bhaabhi mere maamu ki re
main maamu teri maasi ka re
to phir kya baat bane ae
to phir kya baat bane
mohe lahnga la de saatan ka saatan ka saatan ka
mat laana kabhi kaatan ka kaatan ka kaatan ka
tu lahnga maange saatan ka
ho jo saatan ka aahe ji saatan ka
munh dekho jaise kaatan ka
munh dekho jaise kaatan ka
munh dekh zara apna
ki jaise tabla ho miraasi ka
to phir kya baat bane ae
to phir kya baat bane
main to beti thaanedar ki re
tu beta chapraasi ka re
to phir kya baat bane ae ae
to phir kya baat bane
toone rogi kar diya sainya aa aa aa
toone rogi kar diya sainya aa aa aa
kapde dho dho thhak gayin bainya
kapde dho dho thhak gayin bainya
washing ka bill de nahin sakta aa aa
I am sorry
washing ka bill de nahi sakta aa
tees rupaye hai meri tankha
meri tankha
o jee tees rupye hai meri tankha
meri tankha
abhi chhod ke tujhko pakdoongi main
haath kisi madraasi ka
kya baat bane ae ae
to phir kya baat bane
main to beti thaanedar ki re
tu beta chapraasi ka re
to phir kya baat bane ae ae
to phir kya baat bane
main to beti thaanedar ki re
tu beta chapraasi ka re
to phir kya baat bane ae ae
to phir kya baat bane
tu to bhaabhi mere mamu ki re
main maamu teri maasi ka re
to phir kya baat bane
to phir kya baat bane
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4425 | Post No. : | 15843 |
Today’s song is from the film Hill Station-1957.
The peak of the Golden Era of HFM was in the decade of the 50’s. In this decade, probably all operating MDs gave their best songs and the ordinary, common music loving film goer did not know how much good music he could digest. For some, it was almost an indigestion with excessive indulgence in good, Divine music and this condition had no medicine. The music lovers had to endure and enjoy the excess provision of his choicest music.
1957 – what an year it was! The best year in the Golden Era! The best year in the 50s! The best year for melody and music! Such wonderful films came in this year!!! The lineup of 1957 films looks like the selection of the creamy layer in everlasting music – ‘Mother India’, ‘Pyasa’, ‘Tumsa Nahin Dekha’, ‘Bhabhi’, ‘Asha’, ‘Miss Mary’, ‘Naya Daur’, ‘Do Aankhen Barah Haath’, ‘Paying Guest’, ‘Nau Do Gyarah’, ‘Dekh Kabira Roya’. ‘Nausherwaan e Adil, ‘Gateway Of India’, ‘Hum Panchhi Ek Daal Ke, ‘Kathputali’, ‘Sharada’ . . . Films like Baarish, Ab Dilli door nahin, Abhiman, Bada Bhai, Begunah, Beti, Chhote Babu, Coffee House, Dushman, Johnny Walker, Miss Bombay, Miss India, Mr. X, Narsi Bhagat, Paak Daaman, Pawanputra Hanuman, Ustad, Zamana, Garma Garam had equally melodious songs like other films mentioned, albeit may not be so famous. Films produced in Madras were quite popular. AVM’s ‘Bhabhi’, ‘Miss Mary’ and ‘Hum Panchhi Ek Daal Ke’, Prasad Production’s first Hindi film ‘Sharda’, and MV Raman’s film ‘Asha’ played havoc with their captive audiences. Films from south somehow have always concocted a success formula, mixing comedy, tragedy, social message, excellent production values and above all superb music, which made their films very popular everywhere.
Satyen Bose’s ‘Bandi’ brought together all the three Ganguly brothers in one film for the first time. Later he would repeat this feat in ‘Chalti Ka Naam Gaadi’ in 1958. ‘Musaafir’, Hrishikesh Mukherjee’s first Hindi film as a director, was an experimental film depicting the phases of life – birth, life, death and rejuvenation, symbolically through a succession of tenants in a house on rent. Director Amiya Chakravarty’s competition with Gyan Mukherjee came to an end with his unexpected demise while the making of ‘Kathputali’ was in progress. The film was completed by Nitin Bose. (Later, Gyan Mukherjee also passed away while making ‘Sitaron Se Aagey’ (1958) which was later completed by Satyen Bose. Both films had the same story and same heroine).
With the musical blockbuster ‘Tumsa Nahin Dekha’ from Filmistan, Nasir Hussain introduced his own success formula of entertaining films and minted crores by repeating it several times, in a new garb. This film changed Shammi Kapoor’s luck, and made him an A grade actor. However, it did not much benefit the heroine Ameeta. She remained where she was – a second grade actress. Filmistan also released ‘Paying Guest’, with chocolate hero Dev Anand, with superb music and songs composed by SD Burman. Dev also featured in ‘Nau Do Gyarah’, another musical entertainer from Navketan, his home production company.
A surprise hit that year was the socio-religious film ‘Janam Janam Ke Phere’. The song “Zara Saamne To AaO Chhaliye” became the unexpected top song of the year and an iconic one at that! ‘Apradhi Kaun’ was genuinely an excellent detective story. Amiya Chakravarty’s ‘Dekh Kabira Roya’ was a hit due to its superb music, though its cast was quite ordinary. ‘Do Aankhen Barah Haath’ got the national award. Amiya Chakravarty and Gope passed away this year. Nimmi got married. Vividh Bharati started its broadcast on 3rd October 1957.
Compared to all these musical giants. today’s film Hill Station-57 was not at all comparable. MD Hemant Kumar gave music to 9 films in 1957 alone- must be his maximum for any year. Music Aficionados still debate vehemently whether Hemant Kumar was a better singer or a better MD. As MD, he gave music to 55 films, composing 423 songs. As a singer he sang 320 songs in 173 films. In 1957, while he gave music to 9 films, he actually sang songs in 12 films.
I have not seen this film – that time or even at a later time, because I was not a fan of Bina Rai or Pradeep Kumar. Produced by A A Nadiadwala, for the banner- Pushpa Pictures, this Social film was directed by Shakti Samant. In the cast were also, K N Singh, Maruti, Prtotima Devi, Krishnakant, Shyama,Sheela Vaz and many others, including a Dog named Tiger. I always wondered, how can anybody name a Dog as Tiger, when Tigers are never known to be named as Dog. And then, what’s the role of a Dog in a Social film ? Of course in some films, trained dogs do some story turning acts, as in film ” Hum aapke hain Kaun-94″
In Hindi films, there are some senior actors ( I mean, those who have been in films for more than 25-30 years), who remained quiet, without attracting much comments or getting even few lines in the film reviews. They came, stayed and went as quietly as they remained in films. Actors like Sankatha Prasad, Niranjan Sharma,Habib, Anwar, Shaikh, Shivraj etc etc. One such name was Krishna Kant.
The name of krishna kant or K K is known to many people. Krishnakant ( 15-9-1922 to 24-10-2016) was a noted character actor of long standing. His career spanned from 1943 to 1989, a whopping 46 years. After retirement he had settled in Surat, Gujarat. His life story has been made into a Gujarati book ” Guzra hua zamana” written by the famous author Shri Biren Kothari ji. He has gifted me a copy of this book. Reading this book takes you into those times.KK had a knack of telling the history in an interesting way, with a lot many photographs. Till the last day (94 years) his memory was excellent. During my visit to Surat in early 2016, I could not meet him, due to paucity of time. This will pinch me forever. Our Sudhir ji and Bakshish Singh ji met him, when they went to Surat to meet Harsh Raghuwanshi ji.
Krishnakant acted in 109 Hindi, 16 Gujarati, 2 Bangla and 2 English movies. He has also directed 2 Hindi and 13 Gujarati films. In addition, he was active on TV in his later years. He acted in 8 Hindi and 6 Gujarati serials and directed 3 Hindi serials. He also acted in 1 Hindi and 7 Gujarati stage dramas. Here is a short Bio data of him-
Krishnakant (15-9-1922 to 24-10-2016)
————————————-
Gujarati and Hindi actor and director born in Howrah, Bengal, as Krishnakant Maganlal Bukhanwala. Son of a textile engineer; educated in Surat and in Bombay. Obtained a diploma in radio and electrical engineering (1940); then joined the Rooptara Studio in Bombay, working in the sound department. Assisted Nitin Bose for five years, then worked with Arvind Sen on Muqaddar (also acting in it) and with Subodh Mukherjee (Paying Guest, 1957). First major acting role in Phani Majumdar’s Andolan; other notable roles are a paralytic in Amiya Chakravarty’s Patita and the villain in Shakti Samanta’s Detective. Left films in the late 50s to concentrate on Gujarati theatre work (e.g. Pravin Joshi’s Manas Name Karigar) mainly with Harkrishen Mehta’s group. Returned to cinema in the early 70s; turned to direction with Dakurani Ganga, adapting Mehta’s novel Pravaha Paltavyo. Directed a series of Gujarati films based on plays or films from other languages: e.g. Visamo is based on Harkrishen Mehta’s play, in which he acted the role of an old teacher, recalling Paranjpe’s Oon Paoos (1954) and Panthulu’s School Master (1958). Also adapted Anant Mane’s Manini (1961) as Maa Dikri. With these films he introduced a novel style of urban entertainment to Gujarati cinema, although relying on conventional reformist melodrama plots about the joint family, the generation gap and the exploitation of women. Also noted actor on Hindi and Gujarati television.FILMOGRAPHY (* also d): 1943: Paraya Dhan; 1950: Chor, Muqaddar; Mashaal; 1951: Andolan; 1952: Daag; Tamasha; Zalzala; 1953: Patita; 1954: Baadbaan; Dhobi Doctor; Naukri; 1955: Faraar; Subse Bada Rupaiya; Ghar Ghar Mein Diwali; Seema; 1956: Sailaab; Jagte Raho; Patrani; Sudarshan Chakra; Dhola Maru; 1957: Agra Road; Bandi; Begunah; Hum Panchhi Ek Dal Ke; Yahudi Ki Ladki; Bhabhi; 1958: Ghar Sansar; Detective; Howrah Bridge; Mehndi; Parvarish; Post Box 999; Delhi Ka Thug; 1959: Insaan Jaag Utha; Satta Bazaar; Madhu; Ghar Ghar Ki Baat; Jaalsaaz; 1960: Jaali Note; 1961: Tanhaai; 1963: Jivno Jugari; Vanraj Chavdo; 1969: Do Raaste; Kanku; 1971: Duniya Kya Jaane; Hathi Mere Saathi; Pyar Ki Kahani; Sharmilee; Paraya Dhan; 1972: Mere Jeevan Saathi; Do Chor; Annadata; Gunsundari No Ghar Sansar; 1973: Gaai Aur Gori; Suraj Aur Chanda; Mr Romeo; Manchali; 1974: Parinay; Ajnabi; Trimurti; Vardan; Aarop; 1975: Anari; Kala Sona; Sant Surdas; 1976: Deewangee; Koi Jeeta Koi Haara; Sajjo Rani; Dakurani Ganga*; 1977: Jagriti; Kulavadhu*; 1978: Khoon Ki Pukar; Visamo*; Maa Dikri*; Ghar Sansar*; 1979: Sonba Ane Rupba*; 1980: Maniyaro*; Meru Mulande*; Jog Sanjog*; 1981: Hotel; 1982: Prem Lagna*; Dharmo*; Jawabdaar*; 1983: Main Awara Hoon; Poojana Phool; 1986: Teesra Kinara*; Chhota Admi*; 1988: Kharidar.
(adapted from Encyclopaedia of Indian Cinema).
Today’s song is a very good, typical Lover’s song by Hemant Kumar. The song had its own share of popularity for some time in those days. Now enjoy the song, with Nostalgia…..
Song-Wo khushnaseeb hain jinko yahaan qaraar mila (Hill Station)(1957) Singer-Hemant Kumar, lyrics-S H Bihari, MD-Hemant Kumar
Lyrics
wo khushnaseeb hain jinko yahaan qaraar mila
hamen to dil jo mila wo bhi beqaraar mila
wo khushnaseeb hain jinko yahaan qaraar mila
hamen to dil jo mila wo bhi beqaraar mila
wo khushnaseeb hain
mili hain pyaar mein dar dar ki thokaren hamko
mili hain pyaar mein dar dar ki thokaren hamko
lagaaye rakhte hain seene se har ghadi gham ko
jo khatm ho na kabhi aisa intazaar mila
hamen to dil jo mila wo bhi beqaraar mila
wo khushnaseeb hain
sitam hai gham ke samandar mein har khushi doobi
sitam hai gham ke samandar mein har khushi doobi
hamaare ashq mein khud apni zindagi doobi
sahaara de koi aisa na ek baar mila
hamen to dil jo mila wo bhi beqaraar mila
wo khushnaseeb hain jinko yahaan qaraar mila
hamen to dil jo mila wo bhi beqaraar mila
wo khushnaseeb hain
Main maali ka chhokraa
Posted on: August 27, 2020
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Today’s song is from the film Sarkar-1951. If this was the title from the times after year 2000, one would find this movie made on some Political subject. But the year was 1951, just 4 years after Independence.
When I was a young boy of about 8-9 years, like most others of my age, I too was very fond of reading stories of Kings and queens. As I grew up, slowly my interest in such stories waned. As I was exposed now to a bigger, wider and different world, my interests rested in many other subjects and after a few years, I totally started avoiding such stories.
Till 1947, there were 562 Princely states. After getting Independence,all these states were merged with India, but the kings retained their status as “Raj pramukh” or the Head of their states, albeit for namesake. Indira Gandhi abolished their Privy purses ( salaries) in 1971 and gradually the remaining status of these heads vanished completely. For thousands of years, Indians lived under some or the other Kings. No wonder their minds liked stories of Kings and Queens. This trait was precisely picked up by the filmmakers and they made films, practically in every Genre, woven around a kingdom or kings, queens and vaziers.
As the newer generation emerged from the Post-Independence period and became adults, they had neither any affinity nor interest in stories of Kings. Their world was wider and hence their film choices were different. By the end of the decade of the 60’s, films woven around kings, kingdoms etc stopped being made regularly.
Now films were made on a variety of topics and themes. The film Genres of Action/Stunt, Costumes and Folk tales became nearly extinct and their place was taken over by crime, horror, music, comedy, action by Spl FX etc etc. The older generation audience compromised with the new changes and started enjoying the new types of films, based on day-to-day topics, called New Wave or Parallel Cinema.
The senior generation of actors who were known for their typical acting in Monarchical films, like Sohrab Modi, Prithviraj Kapoor, Premnath, Ajit etc, either disappeared with time and age or changed their style of acting. In due course of time, the entire set of old actors was replaced by New Generation actors. This is the rule of Times. Almost every 15-20 years, the set of actors and others like singers, composers,directors etc get replaced and suitable people take over.
Today’s film is one of those films, which had a Monarchic story. It was produced by Ramniklal Shah, under his banner of Mohan Pictures, which used to make Action/Stunt, Costume and Mythological films. The film was directed by a veteran K.Amarnath (1-12-1914 to 14-5-1983), who had 34 films to his credit as a successful Director, from Matwali Jogan-36 to Voh din yaad karo-1971. He is known for well known films like Gaon ki gori-45, Mirza Sahibaan-47, Bazaar-49, Beqasoor-50, Bara Dari-55, Naya Andaz-56, Bada Bhai-57 etc etc.
Amarnath is also known for renaming Ajit ( from Hamid Ali Khan), for launching Saleem Khan (Salman khan’s father and one of the famous Saleem-Javed story writers), Sanjay Khan, Minoo Mumtaaz, and Helen. Noorjehan did her last film in India-Mirza Sahibaan, under his direction.. He directed 3 Tamil films also. ( information from his site k.amarnath.com with thanks.)
The 9 songs from the film were written by Qamar Jalalabadi (9) and Mulk Raj Bhakri (3). The music was by Pt. Gobind Ram. The cast included Veena, Ajit, Shashikala, Ulhas, Usha Kiran, Murad, Cuckoo and many others. The story of the film Sarkar-1951 was….
Vikram was head of a Gypsy Group and he had brought up Vijay as his own son. Vijay was so versed in the art of handling swords, that even Vikram was forced to bend down before the swordsmanship of Vijay. . Vijay was son of the king of Ram Nagar who was killed by the usurper, the present king-this secret told by Vikram to Vijay when they actually reached the skirts of Ram Nagar. Vijay was furious to take revenge but Vikram advised him to take every step cautiously.
One night Vijay stealthily entered the palace and reached near the garden where the princess was witnessing a Dance. Cupid did his trick and without Caring to know who is who-Vijay and Princess became one is Love. Vijay returned to his Camp but his heart was with Princess Bella, the daughter of Vikram, who was also in love with Vijay, noticed this change but could not understand it. . Again next night Vijay went to the palace but he could not find the princess in the garden, in search of her, he reached her bed room. Princess was surprised to find him there but more she was pleased to meet him. Now Vijay realised the blindness of his love – he had given his heart to none other than the princess herself but he had to tell l her with a solemn heart that he had come to take off the head of the King-to take revenge of his fathers opposed him, challenged him Vijay was determined, he proceeded.
The prime minister also noticed the steps of Vijay-he drew his sword there was a duel between Vijay and the Prime minister. Hearing the noise, the king got up and saw a stranger in the Palace. Vijay thought best to flee away and he did. The King was surprised and became enraged to see an enemy in the Palace and that too with the Princess. He inquired from her but she could not satisfy him. King gave orders for the execution of the Princess. . When Vijay reached the Camp-Vikram and Bela found him bleeding-they smelt the wound of Love in his heart and Vikram instructed Bela to have a watch over Vijay.
Vijay had no peace-he had to see the Princess-Bela allowed him to go but accompanied him. In the palace the Prime Minister had laid a plot-and the innocent lovers fell Victim. Vijay was arrested and thrashed into the dark cell where Sher Singh, loyal servant of the Late King, was locked up. They both came to know each other but were helpless. . Princess and Bela both tried to save Vijay from the execution- They secretly brought him out of the prison, but this was seen by the Prime Minister and he came to kill Vijay. Meanwhile the King too came there and the prime Minister killed the king and Vijay killed the prime Minister. Finally he and the princess get married and Vijay is crowned the king. All is well that ends well. [Source: Booklet]
The name AJIT evokes an image of a suited,Booted,suave,Corporate style Villain,who has a battery of assistants,typically named Michael,Robert,Peter and the like.He also carries a Black cat in his arms and moves with his moll, ‘Mona Darling’. This villain does not do any bad acts himself. He would mix with the Rich and the Famous,till a poor hero exposes him. One can also recall the flood of ” Ajit Jokes ” in the 80s and the 90s.
Ajit (Hamid Ali Khan) was born on 27-1-1922, in Shahjahanpur-UP. His father was the personal driver of Hyderabad Nizam. Ajit completed education,sold all his books and ran away to Bombay,to become a Hero. After doing some secondary roles in Shah e Misr, Sikandar, Aap Beeti, Hatimtai and Sone ki Chidiya, he became a Hero first time in film JANAMPATRI-1949, opposite Sudha Rao. While doing film Beqasoor-50, Director K.Amarnath gave him his new name AJIT. Till then he was Hamid in the credits,
When he became a hero, Raj, Dilip, Dev and Ashok kumar were in the First grade. Among the second grade were the heros like Karan Dewan, Suresh, Bharat Bhushan,or Shekhar. Ajit looked manly with his height and masculine figure. He worked in 195 films, out of which he was the Hero in about 40 films. He did maximum films -10- with Nalini Jayawant. He was so much accustomed to call her Nalini, that few times he called his own foreigner wife (an Ava Gardener look alike ) as Nalini and enraged by this, she gave him the divorce.
His other heroines were, Madhubala, Geeta Bali, Vanmala, Begum para, Rehana, Kamini Kaushal, Bina Rai, Veena, Jayashree, Nimmi, Meena Kumari etc.
From Mughal e Azam and Naya Daur, he started doing side roles. In Naya Daur, he matched Dilip kumar by all standards. He delivered dialogues like ‘ Rajput jaan se jaate hain, Vachan se Nahin (Mughal-e-Azam) and ‘ Dosti ke naam pe thook diya toone, voh bhi ek loundi ke khatir’ (Naya Daur) and the audience clapped !
From Suraj-1966 he turned a Villain and established his special brand of villainy. He modified and fine tuned the suave Pran’s style further,which became his trademark. Ajit acted in 195 films. Ajit died on 21-10-1998.
Here is what ” Independent” the London daily newspaper wrote in his obituary, on 27-10-1998-
” AJIT was Indian cinema’s most successful villain. Acting in over 200 films in a career which spanned nearly four decades, Ajit delivered his outrageously evil, double entendre one-liners with a deadpan face which inspired a genre of outlandish jokes and eventually made him into a national folk hero.
With his Clark Gable-style pencil moustache and imposing physique, Ajit gave a twist to villainy in Bollywood, India’s film capital city of Bombay. He ably portrayed the ruthlessly suave, archetypal thug constantly surrounded by an army of “heavies”. He was invariably accompanied by a vacuous moll named something like Silly Lilly or Mona Darling and a side-kick called Robert or Mike.
In one of his movies he nonchalantly confines the hero, already beaten to a pulp and chained to a dungeon wall, to a living hell by ordering him to be dipped into a drum full of liquid oxygen. “The liquid will not let him live and the oxygen will not let him die,” he cries. In another film he tells Mona Darling, “The password is `Legs’. Spread the word.”
Ajit’s dialogues were a hilarious mix of Hindi and pidgin English which captured the public’s imagination and led to hundreds of Ajit jokes that are still in circulation today. In one such quip Ajit is asked by his sidekick Peter to suggest a name for his newly born son. “Call him Re Peter,” comes the unblinking response. Ajit himself was vastly entertained by these jokes, which continued long after his retirement from films in the early Nineties. “I used to download them from the Internet and read them to him and he would laugh heartily,” said his son Zahid Ali Khan. ”
Today’s duet is by Mohd. Rafi and Shamshad Begum. It is a good song.
Song-Main maali ka chhokra (Sarkaar) (1951) Singers-Rafi, Shamshad Begam, Lyrics-Qamar Jalalabadi, MD-Pt Govindram
Lyrics
Main maali ka chhokra
hoy main maali ka chhokra
mera baag hai jamuna paar paar
mera baag hai jamuna paar
ho mera baag hai jamuna paar paar
mera baag hai jamuna paar
hoy tararararararara hoy
hoy main kisaan ki chhokri
hoy main kisaan ki chhokri
mera khet hai ganga paar paar
mera khet hai ganga paar
mera khet hai ganga paar paar
mera khet hai ganga paar
lelo kela aur naarangi
le lo laal anaar
baabu le lo laal anaar
jo bhi khaaye anaar hamaara
chadhe na usko bukhaar
jo bhi khaaye anaar hamaara
chadhe na usko bukhaar
do do aane
do do aane
do do aane
do do aane
le lo laal anaar yaar
mera baag hai jamuna paar
hoy main maali ka chhokra
mera baag hai jamuna paar paar
mera baag hai jamuna paar
hoy
hoy
teri anaar ??
sasti aur mazedaar
lelo sasti aur mazedaar
aao logon le lo isko
ik paise ki chaar
aao logon le lo isko
ik paise ki chaar
ik paise ki chaar chaar
mera khet hai ganga paar
hoy main kisaan ki chhokri
mera khet hai ganga paar paar
mera khet hai ganga paar
arre suno suno suno suno suno
Amritsar ke lo kharboooje
Kaashi ke amrood
bhaiyya Kaashi ke amrood
Poone ki mausambi le lo
wo bhi hai mauzood
Poone ki mausambi le lo
wo bhi hai mauzood
aur Kaashmeer ke seb khareedo
ek rupaye ke chaar
Kaashmeer ke seb khareedo
ek rupaye ke chaar
ek rupaye ke chaar chaar
mera baag hai jamuna paar
hoy main maali ka chhokra
mera baag hai jamuna paar paar
mera baag hai jamuna paar
hoy dekho dekho dekho dekho dekho
khet hai iska kitna maghanga
saste ka ye khaana
mere saste ka ye khaana
Changu khaaye
Mangu khaaye
khaaye boodhha naana
aur Mangla khaaye
Bindiya khaaye
khaaye sabhi zamaana
ek ek aana
ek ek aana
le lo ek ek aana
ek ek aana
ek ek aana
le lo ek ek aana
ek ek aana
ek ek aana
ek ek aana
ek ek aana
hurr
haa
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