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

Archive for the ‘Post by Arunkumar Deshmukh’ Category


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

5243 Post No. : 17241

Today’s song is “Prabhat Vandana” from the film ‘Sant Janabai’ (1949).

This post from me is coming after a gap of 30+ days. Luckily the gap was divided in October and November months. I did not want to create a record of missing a full Calendar month, therefore I am sending this post in November. The last time such a big gap occurred was also in October/November months of 2017. Looks like I have to be careful in these two months since both times the cause of the gap was my health issues. But then, at the age of 82 years, these things are unavoidable. After this post again, there will be a gap in my posts as I will be busy with my grandson’s marriage in the first week of December. Then onward hopefully, I will continue my posts as regularly as before this gap.

Today’s song is like a “Prabhatiya” of Gujarat. It is sung in the early hours of the day, presumably as the first thing in the morning, praising God. Indians, in general, are very religious minded. While some may openly do things proclaiming their inclinations – like singing Bhajans, visiting temples, following religious traditions etc; there are , however, people who follow religion in their behavior and thoughts. The greatest advantage of the Hindu religion is that there are several ways of doing Bhakti and one can choose and follow what is possible for him.

According to Bhagwat Geeta and Vishnu Puran, there are 9 forms of Bhakti one can follow as per his wishes. They are….

1. Shrawan ( श्रवण ) Listening to Divine name like King Parikshit
2. Keertan ( कीर्तन ) Glorify God by discourse Like saint Tyagaraj
3. Smaran (स्मरण ) Remembering God by meditation Like Bhakt Pralhad
4. Paad Sewa (पाद सेवा ) Service at the feet of God Like Lakshmi Devi
5. Archana (अर्चना ) Worship for blessings doing Pooja
6. Vandana (वंदना ) Prostration before God doing Sashtang Namaskar
7. Dasya (दास्य ) Service to God Like Hanuman
8. Sakhya (सख्य ) Being friendly to God Like Arjun
9. Atma Nivedan (आत्म निवेदन ) Self Surrender like Meerabai

This is called Nav vidha Bhakti (नव विधा भक्ती ). Each method carries the same weightage. This has been followed since Vaidik times.

During the foreign attacks and cruel rulers, a wake up call to people of India was by means of the Bhakti Movement from 1300 to 1600 AD. This produced many saints and social reformers from Kanya Kumari to Kashmir and from Gujarat to Assam. Saints appeared in all areas of India. During the Bhakti Movement, almost all regions had their own Saints and great Bhakts. Maharashtra has been known to be a well developed modern state, boasting of an Education centre (Pune) as well as a commercial hub center (Mumbai). It is also a lucky state because it had many saints and social reformers from every strata of society. While Ramdas and Dnyaneshwar were Bramhins, other saints belonged to the different castes. Here are some names of saints in Maharashtra….

Tukaram – Baniya, Janabai-House maid, Namdev-Tailor, Gor kumbhar-Potter, Narhari Sonar-Goldsmith, Chokha Mela-Gardener, Soyrabai- Harijan, Eknath-Warkari, Rohidas-Cobbler, Savta Maali-Gardener, Banka Mahar- harijan, Sant Bhagu-Harijan, Kanhopatra- Dancing girl, Sant Sakhu- Harijan Housewife, Sena Nhavi- Barber, Pundalik-Backward etc.

Bhakti movement started in Tamilnadu in the 6th century and spread northwards from 15th to 17th century. Sant Janabai was one of such Saints. The story of the film was….

Jana, a little girl whose mother before dying told her to go to Pandharpur where she will be protected by Lord Vitthal, A merchant who is the father of Sant Namdev accidentally steps on Jana’s hand and asks for her forgiveness. He asks what she was doing in the temple alone, she tells him her story, being a good devotee of Vitthal he adopts her.

Little Namdev likes her from the instant he sees her and accepts her as his elder sister with joy. But the mother of Namdev wasn’t too happy with another person being in the family, but later she too melts to the love and simplicity of the little girl who would become a great saint as we know today.

Jana was assigned the work of washing the clothes by Namdev’s mother. Jana and Namdev hear a group of pilgrims singing in praise of Lord Vitthal and they start singing and dancing. Children in the group who are very thirsty run to Janabai to beg for water from her. “There are many wells in the village, go get your own water” says Namdev. “But we are outcasts, nobody gives us water” says one of the pilgrims.

Janabai pours them water from her pot, the satisfied devotees bless her for giving them water to drink. She gets scolded and beaten by Namdev’s mother for her act of charity towards the outcasts, which was considered a terrible thing during those times.

Namdev being a very devotional man, always sings and dances and forgets the duties of a householder. Janabai works hard for the food of Namdev’s family (wife and two children). Janabai prays to Vitthal for the food, when Vitthal gives her food she only takes what she needs for a day or two.

Namdev had a big debt to be settled, but he was on a pilgrimage to North India. The wealthy man who had lent him money decides to take Namdev’s property into possession. Jana pleads with him and agrees that she would pay all the money back. Jana works night and day to gather the money she needs.

One night she was very tired and fell asleep while working, but when she wakes up she sees a blanket on her and also sees that the work has been finished. Next night she pretends to be sleeping so that she could catch the person who did it. As soon as she sleeps she sees Lord Vitthal appear and do her work for her.

She catches him while working, from then on Lord Vitthal helps her in her work, he sings for her. He fetches water for her and does many things around.

One day Lord Vitthal feels very tired, seeing that Jana puts him to sleep. In the morning when he wakes up, he walks back to the temple with the blanket around his body, his ornament falls from his neck and falls on the floor of Janabai’s house.

In the morning when priests see the statue of Lord Vitthal they come to the conclusion that somebody must have stolen the ornament of Lord. They see a blanket nearby and assume it must belong to the thief. They start questioning everyone to find out to whom that belonged.

Janabai tells them that it belonged to her, priests search her house and when they find the ornament they accuse her of the theft, she tells them that the Lord was sleeping in her house yesterday and he must have left the ornament. People laugh at her, and thinking of her to be a liar, they decide to hang her to death.

They march her on streets, and just before the time to kill her, she prays to Lord Vitthal and he appears to save her. All people bow to Janabai.

This was a film made by Prabhat Film company, which was sinking day by day. After V Shantaram left it in 1942, the company survived by making several Devotional movies which gave money to the company, but could not save it. In fact, the film ‘Sant Janabai’ was the last film made by Prabhat Film company. After this the company was locked out. The Prabhat Studio and its property were auctioned in 1952 and the once famous company Prabhat was closed for ever on 13-10-1953.

Most of the devotional films made by Prabhat were written by GD Madgulkar- who was a famous writer of Marathi. The story and the screenplay of the film ‘Sant Janabai’ was also written by Madgulkar. He wrote some of the famous films of Hindi cinema in later years. He was an accomplished actor also and had acted in several Marathi and Hindi films.

Gajanan Digambar Madguḷkar (1 October 1919 – 14 December 1977) was a Marathi poet, lyricist, writer and actor. He was born in village Shetphal, Atpadi Taluka, Sangli district in Maharashtra. His family hailed from village Madgule in the same Taluka.

He is popularly known in his home state of Maharashtra by just his initials as Ga Di Ma (गदिमा). He was awarded Sangeet Natak Akademi Award in 1951 and Padma Shri in 1969. He has written 157 screen plays and over 2000 songs in his career. He was called Adhunik Valmiki (the modern Valmiki) of the current era due to his composition of Geet Ramayan (Ramayana in Songs) as the most notable work. 2019 was celebrated as his Birth Century year. The Government of Maharashtra hosted various events and festivals to grace the occasion.

Madgulkar wrote poetry, short stories, novels, autobiographies and scripts, dialogues and lyrics for Marathi as well as Hindi movies. His poems have been adapted to a wide range of musical forms such as Sugam-Sangeet (light music), Bhav-Geet (emotional songs), Bhakti-Geet (devotional songs), and Lawani (a genre of folk songs in Maharashtra). Madgulkar entered the world of movies in 1938 at Kolhāpur. He contributed to 157 Marathi and 25 Hindi movies. He was also an artist. He loved to paint nature scenes. Special mention must be made for the films, ‘Jeewan Jyoti’ (1953) Screenplay and dialogues, ‘Toofan aur Diya’ (1956) – story, and ‘Do Aankhen Barah Haath’ (1957) -story, screenplay and dialogues.

A noteworthy fact about Madgulkar is that during his peak period in Marathi films, he created a World Record. He teamed up with Music Director Sudhir Phadke and director Raja Paranjape. Together, as a team, they gave a total of 11 Hit films in a row in 18 years – from 1948 to 1966 … a record for a Team. He had knowledge of 10 languages including Marathi, Hindi, English, Urdu, Bengali, Gujarati, Punjabi, Kannada, Tamil and Telugu.

Madgulkar was married to Vidya (Padma Patankar, Kolhapur) and they had 3 sons (Shridhar, Anand, Sharad Kumar) and 4 daughters (Varsha, Kalpalata, Deepa, Shubhada). The popular Marathi writer, Vyankatesh Madgulkar was his younger brother. His home in Pune (‘Panchavati Bungalow’) has become a place of attraction for his fans.

I was based in Poona during the period 1974 to 1976. In this period one of my local friends took me to Madgulkar’s bungalow and introduced me. When Madgulkar came to know that I hailed from Hyderabad, he was very excited and asked me several questions. I spent about 4-5 hours with him and had lunch also with him, on his repeated insistence. He was a good conversationalist and loved to talk and listen. I will never forget this meeting. Those days he was not keeping good health.

Today’s song is sung by Manna Dey and chorus. Written by Narendra Sharma, it was composed by Sudhir Phadke. It is quite inspiring.

Audio

Video

Song-Prabhat Vandana Karen (Sant Janabai)(1949) Singer-Manna Dey, Lyrics-Pt Narendra Sharma, MD-Sudhir Phadke
Manna Dey + Chorus

Lyrics

prabhaat vandana karen
prabhaat vandana karen
jaago hey hare
hey hare
prabhaat vandana karen
jaago hey hare
hey hare

usha ka deep baal
saja neel gagan thhal
aarti utaare jagat
aarti utaare jagat
jaago saanwre
jaago saanwre
hey hare
prabhaat vandana karen
jaago hey hare
hey hare

kholo nayan jyotirmay
jeewan ko karo abhay
kholo nayan jyotirmay
jeewan ko karo abhay
bhakti kiran jan man mein
bhakti kiran jan man mein
charan dhruv dhare
charan dhruv dhare
hey hare
prabhaat vandana karen
jaago hey hare
hey hare

taj kar vaikunthdhaam
aaa aa aa aa
aa aa aa aa
taj kar vaikunthdhaam
aaye tum megh shyam
megh shyam
roop madhur pandurang
roop madhur pandurang
punya naam re
punya naam re
hey hare
prabhaat vandana karen
jaago hey hare
hey hare

vithal vithal
vithal pandurang
vithal vithal
vithal pandurang
vithal vithal vithal pandurang
vithal vithal vithal pandurang
vithal pandurang
vithal pandurang
vithal pandurang
vithal pandurang
vithal pandurang
vithal pandurang
kamal nayan vithal
harisharnam

—————–——————————-
Hindi script lyrics (Provided by Sudhir Kapur)
————————————————

प्रभात वन्दना करें
प्रभात वन्दना करें
जागो हे हरे
हे हरे
प्रभात वन्दना करें
जागो हे हरे
हे हरे

उषा का दीप बाल
सजा नील गगन थाल
आरती उतारे जगत
आरती उतारे जगत
जागो सांवरे
जागो सांवरे
हे हरे
प्रभात वन्दना करें
जागो हे हरे
हे हरे

खोलो नयन ज्योतिर्मय
जीवन को करो अभय
खोलो नयन ज्योतिर्मय
जीवन को करो अभय
भक्ति किरण जन मन में
भक्ति किरण जन मन में
चरण ध्रुव धरे
चरण ध्रुव धरे
हे हरे
प्रभात वन्दना करें
जागो हे हरे
हे हरे

तज कर वैकुंठधाम
आ आ आ आ आ
आ आ आ आ
तज कर वैकुंठधाम
आए तुम मेघ श्याम
मेघ श्याम
रूप मधुर पांडुरंग
रूप मधुर पांडुरंग
पुण्य नाम रे
पुण्य नाम रे
हे हरे
प्रभात वन्दना करें
जागो हे हरे
हे हरे

विट्ठल विट्ठल
विट्ठल पांडुरंगा
विट्ठल विट्ठल
विट्ठल पांडुरंगा
विट्ठल विट्ठल विट्ठल पांडुरंगा
विट्ठल विट्ठल विट्ठल पांडुरंगा
विट्ठल पांडुरंगा
विट्ठल पांडुरंगा
विट्ठल पांडुरंगा
विट्ठल पांडुरंगा
विट्ठल पांडुरंगा
विट्ठल पांडुरंगा
कमल नयन विट्ठल
हरी शरणम्


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

5210 Post No. : 17195

Today’s song is a song in praise of Lord Vishnu from the film Laxmi Narayan-1951.

I have been a fan of Religious and Mythological films right from my childhood and I have seen hundreds of such films. Maybe, since the family atmosphere was conducive to religious matters, I developed this liking. I also used to read a lot of religious stories and books, which was very uncommon for children of my age and many times I was the centre of ridicule and fun for other peers.

These days not many films are made on religious stories, but it is compensated for by TV serials. Older people spend their time seeing these serials. During the 80’s when Ramayan and later Mahabharat serials were aired on TV, millions of people all over India saw them and the serials earned unprecedented popularity.

Nowadays, of course, even talking about religion is considered ‘ out of fashion ‘. Today’s generation is grossly unaware of our legacy. Not their fault, because they are not exposed properly to our culture and religion. Additionally, being a ‘ secular Nation ‘, teaching does not include lessons about culture and religion.

Secularism does not mean Anti Hindu or against any other religion. The definition says ” separation of religion from civic affairs and the state. ‘ Today, however, secularism is the most misunderstood word in India. So be it. Let us not dwell on this point about which we can not do anything.

When I say Religious films, they are of two types-
1.Stories from Ramayana and Mahabharat and
2. stories from Puranas.

What is a Puran ? It is a vast Genre of literature about legends and other traditional lores. There are 18 major Puranas and 18 Up Puranas (sub puranas). Purans unveil our glorious past encapsulated with great soul stories and provide Life Morales.
The Film Laxmi Narayan-1951 was based on a story from Vishnu Puran. It is about how Laxmi and Narayan met and got united. It has the background of ‘Samudra Manthan’ or Churning of the ocean. In our Puranas, there are stories about the SAMUDRA MANTHAN. It is believed that Kamala or Laxmi emerged from this churning and Narayan married her. In all, 14 unique, magical and invaluable things came out of the ocean after this Samudra Manthan or Churning of the Ocean.
For your information here are these 14 objects-

1. Halahal-The Poison 2.Varuni-The wine 3.Kamdhenu-Magical Cow 4. Airawat-The Flying Elephant 5. Uchhaiswas-The 6 Headed Horse 6. Apsaras like Rambha,Urvashi, Menaka etc. 7. Kaustubh Mani- A powerful Diamond 8. Kalpavriksha-The Magical Tree 9. a Divine Bow 10. Chandra-The Moon 11. Ratnas or Gems 12. Laxmi or Kamala 13. Dhanwantari-The Gods’ Physician,with a book on Ayurved and 14. The Amrit- the drink that makes one immortal.

There are few variations in the list depending on its sources. Here is some information on Samudra Manthan-

The great sage, Durvasa Muni, once offered a garland to Indra, who ignored it and put it on the tusk of his elephant, which trampled it. Seeing Indra’s disregard, the revered sage became furious. He cursed Indra saying that he and the other gods would lose all their powers. In due course, Indra and the other gods began losing all battles against the demons, and the demons led by Bali took control of the universe. Seeing no other way, the helpless Indra rushed to Vishnu for help.

Vishnu had a plan. He said that to get back their powers the gods would have to churn the oceans and bring out the magical nectar-amrita. Only after consuming it could they regain their powers. This great churning is known as samudra manthan. But as the gods were powerless now, they sought the help of the demons to accomplish this huge task.

The gods and demons got together for the herculean task. The huge mountain, Mandara, was used as the pole to stir the waters. But as the pole entered the water it kept sliding into the depths of the ocean. To stop this, Vishnu quickly transformed himself into a tortoise and supported the mountain on his back. This image of Vishnu as the tortoise was his second avatar called ‘Kurma.’

Once the pole was balanced, it was tied to the gigantic snake, Vasuki, and the gods and demons started pulling it from either side. As the churning began and the massive waves whirled, an extremely poisonous drink called Halahal came out. The gods became scared because this blue drink could destroy creation.

They all got together and prayed to the powerful Shiva to help them. Shiva appeared before all and gulped the entire poison. But, he did not swallow it. He kept the poison in his throat. Since then, Shiva’s throat became blue, and he became known as Neelkantha or the blue-throated one.

The story of the film tells us the details of how Laxmi took another Birth to become Narayani or wife of Narayan. Here is the film’s story….

Arishtanemi, the king of Danavas was ruining Mother Earth for his own sadistic enjoyment. He had polluted the waters of the rivers. All the Gems were thrown away in the sea and everywhere there was a tale of suffering. At the same time Bhuwanmohini, daughter of Bhrigu Rishi was in the bloom of her youth and many Kings and Gods were aspiring to marry her. Indra, the King of Gods and Arishtanemi were two aspirants competing with each other, while Bhuwanmohini herself wished to marry Lord Vishnu, thanks to the praise of the Lord by Narad. Indra took away Bhuwan with him against her wishes.

To take advantage of this situation, Arishtanemi started a Yagna with Bhrigu as his Purohit. From the holy fire of the Yagna emerged Vritasur with whose help Arishtanemi conquered the kingdom of Gods. There Arishtanemi searched for Bhuwan but she had left Indra’s palace and sat alone on the top of a mountain and prayed to the Lord to come to her rescue. Having lost his kingdom Indra prayed to God Shankar for help to conquer Arishtanemi.

God Shankar told him that only one weapon could kill Vritasur and that it was to be made from the bones of Sage Dadhichi. Indra went to Dadhichi and served him while power-mad Arshtanemi attacked Sage Dadhichi only to be burnt down by the Sage. Indra got the weapon he wanted and won the battle with Vritasur. Indra then went in search of Bhuwanmohini but unwilling to surrender to Indra she jumped down to the sea.

When Bhrigu learnt about this mishap he went to Lord Vishnu who was asleep and kicked him in the chest to wake him up. In anger he called out “How can you sleep sound when my daughter died crying out ” lord Vishnu said,” dont worry, Oh Sage She will come to me when time is ripe for the same. In the meanwhile let me massage your foot which must have been hurt when you struck me”. Later the Gods and the Danavas churned the great sea when Bhuwanmohini emerged as Laxmi radiant with wealth and Lord Vishnu accepted her as his consort. This union is famous in the Hindu mythology by the name LAXMI NARAYAN.

The film was made by Basant Pictures of Homi Wadia, by now a specialist in making Mythological films along with Stunt films featuring Fearless Nadia. The film was directed by an expert- Nanabhai Bhatt. The cast of the film was Mahipal, Meena Kumari, Dalpat, Urmila, S.N.Tripathi, Amarnath, Sulochana and a host of other artistes. Music was provided by S.N.Tripathi and the songs were written by Ramesh Pandey and B.D.Mishra.

This is the 3rd song from this film I am presenting. By coincidence a song from this film was the first song of my series ” Bhajan Mala” from 22-5-2014 to 10-6-2014. Then another song was also the first song of my another series ” Mahashivratri-Mini Series” from 13-2-2015 to 17-2-2015. Today’s song is the first song from a religious film after almost 2 years.

I have great regard for S.N.Tripathi, composer of this film. He always provided very sweet and melodious songs to religious films which became an additional attraction for its success. Another such composer was Chitragupt.

The song is very good and its video is very interesting. Enjoy….


Song-O jag ke paalanhaar tera khel hai niraala (Laxmi Narayan)(1951) Singer-S N Tripathi, Lyrics-B D Mishra, MD-S N Tripathi
All Chorus
Female chorus
S N Tripathi + Male chorus

Lyrics

om
om
om

o jag ke paalanhaar tera khel hai niraala
tera khel hai niraala
o jag ke paalanhaar
tera khel hai niraala
tera khel hai niraala

o chakr sudarshandhaari
teri leela sabko pyaari
o chakr sudarshandhaari
teri leela sabko pyaari

tere roop anekon bhagwan
tu hazar naamon waala
tera khel hai niraala
tera khel hai niraala
o jag ke paalanhaar
tera khel hai niraala
tera khel hai niraala

jo tera sumiran karte
bhavsaagar paar utarte

jo tera sumiran karte
bhavsaagar paar utarte

tumne kitne hi dukhiyon ko prabhu dukh se nikaala
tera khel hai niraala
tera khel hai niraala
o jag ke paalanhaar
tera khel hai niraala
tera khel hai niraala

tu teen lok ka swaami
avinaashi antaryaami
tu teen lok ka swaami
avinaashi antaryaami

milta hai sab lokon ko prabhu tujhse hi ujaala
tera khel hai niraala
tera khel hai niraala
o jag ke paalanhaar
tera khel hai niraala
tera khel hai niraala

shaantaakaram bhujangshayanam padanaabham suresham
vishvadhaaram gagansadrisham meghvarnam shubhaangam
laxmikaantam kamalnayanam yogibhidhyarnagamyam
vande vishnum bhavbhayharam
sarvlokaikanatham


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

5208 Post No. : 17193

Today’s song is from a Hindi film made in Madras with South actors, a Debutante lady Director and an M.D. pair. The film was “Chandirani”-1953, simultaneously made in Tamil, Telugu and Hindi.

The year was 1948. A developing and fast growing southern film studio was making an ambitious Tamil film on a very big scale. The producer Director was very ambitious and he wanted his film to be All India famous. The only way to make it happen was to make this film in Hindi too, so that the All India market can be captured. His thought was final and thus began the historical thrust of south made Hindi films into the Hindi market of all India with S.S.Vasan’s giant film venture ” Chandralekha” in Tamil and Hindi languages. The film had taken 5 years to be made.

The film’s 603 prints were sent all over India and its release was synchronised for 9th April 1948. In the south it was released in 44 cities and towns. The success of this south film in Hindi inspired other south filmmakers and it started a flow of south made Hindi films during the period 1949 to 1960. This was a period when maximum Hindi films from south were shown all over India. My rough estimate is, these must be around over 100 films – multilingual, remakes and dubbed ones, all included. After Chandralekha, in 1949 to 1954 itself the following are some of the south made Hindi films – Nishan-49, Mangala-50, Bahar-51, Ek tha Raja-51, Sansar-51, Krishna kanhaiya-52, Mr. Sampat-52, Patal Bhairavi-52, Rani-52, Shamsheer-53, Chandirani, 53, Ladki-53, Bahut din hue-54, Manohar-54 etc etc.

The point is first it was Calcutta which made Hindi films and later it was Madras which was after grabbing the All India Hindi market. In this process, almost all major artistes of south acted in Hindi films, like N.T.Rama Rao, A.Nageshwar Rao, M.G.Ramchandran, Sivaji ganeshan, Gemini ganeshan, Savitri, Rajkumari, Pandharibai, Bhanumathi, Pushpavalli, S.V.Ranga Rao, Relangi etc. etc. Calcutta stopped making Hindi films from the 60’s, whereas the south onslaught continued till about the 80’s. Nowadays, ofcourse, films are remade at Mumbai, based on Hit southern films, but still some dubbed films keep coming to the Hindi belt. Dubbing is the cheapest way to market southern films in other languages.

Today’s film Chandirani-1953 was also one of the trilingual films made in the south. It was made by Bharani productions, floated by Bhanumathi and her husband P.S.Ramkrishna Rao. The company was started in 1947 with the film Ratnamala and after 10 films, ended in 1964 with the film Vivah Bandhanam. Film Chandirani was the Debut film for Bhanumathi as a Director. Later on she directed yet another Hindi film Itni Jaldi kya hai–86. She acted in 8 Hindi films – Nishan-49, Mangala-50, Rani-52, Shamsheer-53, Chandirani-53, Hamen bhi jeene do-62, Nai Roshani-67 and Itni jaldi kya hai-86. She sang 12 songs in 4 Hindi films.

Bhanumathi did a double role in this film. She wrote the story and husband Ramkrishna scripted the film. Music was by C. R. Subburaman originally, but after recording just one song, he died suddenly. His 2 assistants, M.S.Vishwanathan and Ram Murthy managed the balance songs. With this film this pair-Vishwanathan and Ram Murthy started working as a pair of composers and played havoc in the southern film industry, by giving hit music to 90% of their films. The story of the film Chandirani-53 was…..

King Veerasimha was attracted to a court dancer during his birthday celebrations. She delivers twin girls after their union. The Senani, (major) Prachandudu, who also likes her, kills the dancer and imprisons the King. The minister saves one of the twins and sends her to the forest. Knowing this, Prachandudu kills him and takes charge of the kingdom. The other twin stays in the kingdom. Champarani in the kingdom, and Chandirani in the forest, grow up as two different personalities. The son of the minister Kishore and Champarani love each other. Mukund is the son of Prachandudu. Kishore goes to the forest and learns about Chandirani, and that she loves him. With the help of Mukund, Chandirani enters the fort and meets her father. She learns about the love between Champarani and Kishore. Meanwhile, Prachandudu arrests Kishore. Chandirani attacks the kingdom with the help of the people. During the conflict, Chandirani sacrifices her life to eliminate Prachandudu, before dying she unites Champarani and Kishore.

Here is a short Bio of the extraordinary artiste P.Bhanumathi. P. Bhanumathi Ramakrishna was born on 7 September 1925 (7 September 1925 – 24 December 2005) in Doddavaram village of Prakasam district, near Ongole, Andhra Pradesh. She was the third child to Saraswatamma and Bommaraju Venkata Subbaiah. She grew up watching her father perform in various stage shows. Her father, Venkata Subbayya, was a lover of classical music and trained her in music from an early age. Bhanumathi entered the film industry in 1939, and acted in over 100 films in Telugu and Tamil. She was also called Ashtavadhani by the film industry people as she was a writer, actor, director, producer, singer, music director, editor and studio owner. She also had a good knowledge of astrology and philosophy. She is regarded as the first female super star of Telugu cinema.

She made her debut in Telugu cinema in 1939 as Kalindi (a 13 years old girl who is forced to marry an old man and ended her life by committing suicide) in Vara Vikrayam (Telugu), directed by C. Pullayya. She acted in Malathi Madhavam, Dharma Patni and Bhaktimala. Her first popular film was Krishna Prema. In 1953, she made her directorial debut with Chandirani (made simultaneously in Tamil, Telugu and Hindi). Her last film was made in 1998, entitled Pelli Kanuka. She got the National Award for the film and also for performances in movies Anthasthulu and Palnati Yudham (1964) she received National Awards (Rashtrapati Award). She is the last recipient of Rashtrapati Award.

Due to her rift with Aluri Chakrapani, she left her role in Missamma and Miss Mary movie (Initially Bhanumathi was shot for some scenes in the movie before being replaced by Savitri ) but after the release of the movie she watched and commented that “she lost a wonderful role but industry gained a talented actress like savitri” which showed her sportiveness and encouragement towards new actors. Due to clash with Aluri Chakrapani, she produced a satirical movie on him titled Chakrapani which was a huge hit and became a classic in Tollywood for this movie she also worked as music director.

Apart from being a fine actress, she was also a talented musician. She was adept in both Carnatic and Hindustani music. She gave voice to her songs despite it being the norm to use playback singers for actors. Some of her songs are still popular in Telugu; and in Tamil. She also provided music to a lot of her films.

During her later years, she served on various movie related organizations. She was a Member of the State Film Awards Committee for two years. She was also a Visiting Professor at the Film Institute for one year. She was a Member of Children Film Society for 5 years, from 1965 to 1970. In India, she was the first and the only woman to have owned a film studio and the first woman to have directed a movie simultaneously in three languages. She is first south Indian actress to receive Padma Awards

Bhanumathi was also a talented writer with a number of short stories to her credit. Her autobiography Nalo Nenu was published in Telugu and later, released in English as Musings. Andhra Pradesh Sahitya Academy awarded her as the best short story writer for her popular short stories “Attagari Kathalu”. She was a Member of Lalit Kala Academy for 5 years, and Sahitya Academy, Andhra Pradesh for 10 years. She served as Director and Principal of the Tamil Nadu Government Music College.

She was an eminent social worker who was closely associated with a number of Social Service Organizations. She was the founder member and treasurer of the Madras branch of Altrusa International Inc., Chicago for a lifetime starting from 1963. She was a life member of the ‘Red Cross Society’. She established an educational institution named as “Dr. Bhanumathi Ramakrishna Matriculation School” at Saligramam, Chennai providing free education to the poor.

During the shooting of the film Krishna Prema (1943), she met P. S. Ramakrishna Rao (1918–1986), an assistant director for that film. He was a film producer, director and editor of Telugu and Tamil Films. The couple married on 8 August 1943 and have one son, Bharani. Later they launched a popular production company, Bharani Pictures, in their son’s name. She died at the age of 80 years in Chennai,on 24-12-2005.

In Hindi, she acted in 8 films,directed 2 films and sang 12 songs in 4 films. ( Based and adapted from wiki, nett4you and my notes ).

Here is today’s song, sung by Bhanumathi. Though she has tried hard to master the Hindi pronunciation and diction, still one can make out that she is not a Hindi speaking singer. However, compared to her other songs in this film, I found this was a much better one.


Song- Khili khili Chaandni chhaayi bahaar hai (Chandirani)(1953) Singer- P.Bhanumathi, Lyricist- Vishwamitra Adil, MDs- C.R.Subburaman and M.S.Vishwanathan

Lyrics

khili khili chaandni
chhaayi bahaar hai
dil ki haar hai dil ka lagaana
khili khili chaandni
chhaayi bahaar hai
dil ki haar hai dil ka lagaana
khili khili chaandni

baadal ki oat se chanda jo taake
jiyara kaanpe hoye ghabrake
tan man khoya naina milaake
tan man khoya naina milaake
lut gaya mere dil ka khazaana
khili khili chaandni chhaayi bahaar hai
dil ki haar hai dil ka lagaana
khili khili chaandni

jhilmil jhilmil chamke jo taare
dil ki duniya pi ko pukaare
dhoondhe jaise naiyya kinaare
dhoondhe jaise naiya kinaare
ban gayi meri kahaani fasaana
khili khili chaandni
chhaayi bahaar hai
dil ki haar hai dil ka lagaana
khili khili chaandni
chhaayi bahaar hai


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

5202 Post No. : 17186

Today’s song is from the film Hip Hip Hurray-1948.

How many of us really know what ” Hip Hip Hurray ” means in reality ? I am sure all of us have used this slogan several times during our school and college days, whenever we were celebrating a victory of our team over the rivals or someone had earned a coveted Reward or an Honour from the authorities. I have used it many times myself, as a victory slogan etc. That was not an age when we cared for the dictionary meaning of popular words or phrases like this one. The colloquial meaning was sufficient for us.

Out of curiosity, I checked a few English dictionaries like the Oxford and the Concise Cambridge dictionary. I found that ” HHH ‘ is a cheer slogan called out to express congratulations towards someone or something. It also denoted appreciation and approval of a victory. ” So much for the meaning of this phrase !

I could not find the story of this film, despite my efforts. There was another film made in 1984 with the same title. That film was based on an Inter-Collegiate Football competition, with a background of a love story of Raj Kiran and Dipti Naval. Then there was also a TV serial, with the same title. It ran from 21-8-1998 to 25-5-2001, with 80 episodes, followed by its second season with 45 episodes , after 15 years.

Anyway, the film Hip Hip Hurray-1948 was produced by Navin Yagnik and Hari Kashmiri, for the banner ‘ Kashmir Films’. The film was directed by Arvind Sen. He had earlier acted in 2 films-Doctor-1940 and Devdasi-1945. Hip Hip Hurray -1948 was his Debut film as a director and he went on to direct another 10 films till Nasihat (1986). His 2 films Muqaddar-(1950) and Kafila-(1952) became successful. They had excellent music also.

The film’s Music Director was Pt. Hanuman Prasad. The name Hanuman Prasad paints a picture of a Pehelwan playing kushti in an akhaada. Guru Hanuman and his akhaada in North India were quite famous. In the late 50s and 60s,there were many Wrestling Championships played in India. Many Pehelwans from other countries also came here to participate. Through these bouts the name of Dara Singh became very famous and later he appeared in Hindi films. The name Hanuman rekindles memories of that era.

However, one would be reasonably surprised if I tell that Pt. Hanuman Prasad ( Sharma/Triloki) was a well known Hindi Film Music Director in the 40s and 50s. Hanuman Prasad was a complete musical package, in the sense that he composed, wrote lyrics ( Gaali, Jasoos, Saudagar and Rasilee) and sung a song also in film( Rasili)-as Sharma. He even directed the film Rasilee-46. Geeta Dutt fans will remember him as the one who discovered her and gave her the first break in Playback singing in Hindi films in 1946.

There were 2 lyricists for 9 songs (actually 11 songs). The 9th song had 3 parts on 2 different records. It was sung by different singers). However, HFGK failed to credit every song with its lyricist’s name. The cast of the film was Balwant Singh, Navin Yagnik, Nirupa Roy, Mangala, Prabhu Dayal, Kumkum, Gulab etc. and a battery of comedians like Dikshit, Bhudo Advani, Radha Kishen and Gope.

Balwant Singh was an actor and a singer. He had no song in this film and from the film ‘Apni chhaya’-1950, with Mohd. Rafi giving him the playback, his singing came to a close.

BALWANT SINGH was born in Pandoga village of Hoshiarpur on 9-12-1918 in a Jahagirdar’s family. He was quite rich. After a training from Pt. Bhishmadev in classical music, he came to Bombay and joined Bombay Talkies at the age of 18 years. He first gave Playback in Jeevan Prabhat-37.In Nirmala-38 he acted and also sang a song. Then came Durga-39 where also he acted and sang. V. Shantaram cast him in Padosi-41 and his songs in this film were hits.

He was Hero in Darpan (1941),Swapna (1942),Malan (1943),Naukar (1943),Paraya Dhan (1943), Ashirwaad (1943), Collegian (1944), Dr.Kumar (1944), Bhanwar (1947,Hip hip Hurray (1948) and Apni Chhaya-(1950) etc. As a hero he sang less songs. His songs with Shanta Hublikar (Malan) and Parul Ghosh and Khan Mastana (Bhanwar) were very popular. He also acted in Nirmala, Vachan and Kangan.

In all, he acted in 18 films, sang 20 songs in 10 films and also wrote 6 songs in the film Sumitra-1949.

He married a girl from the royal family of Palanpur, Gujarat. After leaving films, he worked in All India Radio for 4 years. Then he settled in Ahmedabad, directing Dramas and Teaching music. Finally, he shifted to Ludhiana where, after a long illness, he died on 4-12-1985.

When Balwant Singh worked for A.I.R., it was claimed that he was responsible for the making of the famous morning Signature Tune of the A.I.R., and despite all presentations to several authorities, he was not given the credit for this. His son also claimed this in his interview given to our friend Shishir Krishna Sharma, for his Blog ” Beete hue din”. When I read his interview on the Blog and the You Tube, I wrote to Sharma ji, pointing out to him that this tune was made by the German refugee in India- Walter Kaufmann and NOT Balwant Singh. My E Mail dated 21-4-2021, to him is given here….

Dear Sharma ji,

I visited YouTube and heard your presentation.
I have also read what is written in your post about Balwant Singh on your Blog.
I would like to bring to your notice that it seems this Signature Tune of A.I.R. was NOT made by Balwant Singh,
but by one Walter Kaufmann, when he worked for All India Radio from 1934 to 1946.
There is a book ” THE MUSIC THAT STILL RINGS AT DAWN, EVERY DAWN”
Walter Kauffmann in India, 1934 – 1946
Author – Amrit Gangar
Published by Goethe Institut, Max Mueller Bhavan, Mumbai. 2013

Chapter 3 in this book is THE ALL INDIA RADIO, on page 36.

In this chapter it has been given in detail, with proofs in terms of several letters etc about the signature tune made by him for A.I.R.
There is an interview of the son of Dinkar Amembel, station Director, Bombay AIR, who says that Dinkar had played the Tanpura and
Mehli Mehta played the Violin.

I have this book, gifted to me by the author.

When you come back to Mumbai, you can visit me and see the book entries yourself.
I am fully convinced that the tune was done by Walter Kaufmann only.
It is possible that that is the reason why Balwant Singh’s claim was not entertained ever !

However, for whatever reasons, the said point was neither removed from his Blog nor the YouTube presentation.

Today’s song is sung by 4 singers namely, Geeta Roy, Zohrabai Amabalawali, G.M. Durani and Shamshad Begum. It is a good song. Enjoy….


Song- Jawaani hum guzaaren tumhaare aasre (Hip Hip Hurray)(1948) Singers- G.M.Durrani, Geeta Roy, Zohrabai Ambalabai, Shamshad Begum, Lyricist- Not known, MD- Pt. Hanuman Prasad

Lyrics

hahahahahaha
hahaha
hmmhm hm hmm hmm hmm hmm hmm hmm
hmm hmm hm hmm hmm hmm
jawaani hum guzaaren
guzaaren
jawaani hum guzaare
tumhaare aasre
hum tumhare aasre
tumhaare aasre
hum tumhare aasre

jabse hua hai milan
mera man hai magan
mujhko chhod akeli
kahin jaao na sajan
o kahin jaao na sajan
main to teri nazar se
rahoon saath saath re
poori hogi aas re
aao jawaani hum guzaare guzaare
guzaare
tumhaare aasre
hum tumhare aasre
tumhaare aasre
hum tumhare aasre

?? sapnon ??
??
ise looto na raani
tum door se mere jiya mein chubh ??
aao ?? re
aaja paas paas re
poori hogi aas re
aao jawaani hum guzaaren
guzaaren
tumhaare aasre
hum tumhaare aasre
tumhaare aasre
hum tumhaare aasre

tum aayi to le aayi
ummeedon ka savera
hansi khushi ki har ek shaam
aur pyaar ka basera
tere rain basere mein
kaatenge ?? re
kaatenge ?? re
hum rachenge raas re
hum rachenge raas re
aao jawaani hum guzaaren
guzaaren
tumhaare aasre
hum tumhaare aasre
tumhaare aasre
hum tumhaare aasre

?? hai
muhabbat zindagi mein museebat ka ?? hai
pyaar karo to bahaar chhaye
ho jaaye ?? baat re
?? baat re
hum rachenge raas re
poori hogi aas re
aao jawaani hum guzaaren
guzaaren
tumhaare aasre
hum tumhaare aasre
tumhaare aasre
hum tumhaare aasre
jawaani hum guzaaren
guzaaren
jawaani hum guzaaren
tumhaare aasre
hum tumhaare aasre
tumhaare aasre
hum tumhaare aasre


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

5186 Post No. : 17165 Movie Count :

4623

Today’s song is from the film Nadi Kinare-1939. The film was released in Pathe Theatre of Bombay on 10-11-1939.

The year 1939 was a landmark year in the history of the world.

The year was 1939 and the British Government had declared war against Germany and Japan, as soon as the WW II began. All countries ruled by Britain were – willingly or unwillingly, drawn into the war efforts and its effects. The war began in the month of September and soon various restrictions came into operation – like rationing, blackouts, shortages etc. The film industry which was still under its development stage suffered. It also realised the importance of remaining united as one industry. However, all that came after 1 or 2 years. In 1939 there was not much effect seen on the film industry.

The industry had its own problems. In spite of the playback system in operation, their problem was that because there was no technique of recording from the film negative yet, the singers had to sing twice. Once for the actual film shooting of the song, and later, with the same set of orchestra, for commercial records. Sometimes, the original singer was not available due to any reason, some other singer had to sing for commercial records. Thus we have many such examples, where the singer in the film song and the record is different. However, this problem continued only till mid 50’s when the Tape and the required technique became available. With just one time recording, the film and commercial recording were taken care of.

Khemchand Prakash. K.Datta (Datta Koregaonkar), Rafiq Ghaznavi and Anupam Ghatak made their Debut as Music Directors. Kavi Pradeep wrote his first film song for film Kangan. In 1939, 2 most Unusual songs were presented, for the first time ( and this record is not yet broken even after more than 80 years.). One was a Multi-Lingual song from film Aadmi-39, a film by Prabhat….Kis liye kal ki baat. This song was in Hindi, Urdu, Punjabi, Gujarati, Bangla, Tamil and Telugu. ( In its Marathi film version-” माणूस “, this song was only in one language-Marathi.) Different Lyricists and MDs were used for each language. The song became very popular.

Second unusual song was from film ‘ Ghareeb ka Laal’-1939. The song lyrics had the names of 32 artistes, operating in Hindi films that time. Top Heroes and Heroines were mentioned in this song. The beginning of the song was ” Tuze Bibbo kahoon ya Sulochana, Uma shashi kahoon ki Jamuna “. This song was sung by the comedian Mirza Musharraf. In later years many songs with film artistes’ names came but none had so many names. Thus this record is still unbroken, in case of both songs.

Besides these songs, let us quickly take a look at some films of 1939….

Aadmi – Prabhat’s hit film, a remake of the Marathi film ” माणूस “. It had some good songs by Shanta Hublikar, Sundarabai Jadhav and Ram Marathe.

Adhuri Kahani – a trend of Tragedy films set by the effect of film ‘Devdas’. All the 3 main characters of this film commit suicide in the end.

Badi Didi – A New Theatres film.

Brandy ki Botal – Master Vinayak’s comedy remake of Marathi film ‘ ब्रॅंडीची बाटली ‘.

Dil hi to hai – Debut of Kidar Sharma as a Director and Ramola as a Heroine in a Hindi film.

Dushman – New Theatres’ film of Saigal, with only his 4 songs.

Ek hi Raasta – Sagar presents first film with 3 Heroes in one film.

Ghazi Salauddin – Debut of Khemchand Prakash as M.D.

Hukum ka Ikka – First film with a Triple role by Umakant Desai ( who later specialised as Lakshman in 7 films, including Ramrajya-43).

Imaandaar – Debut of actress Shamim Akhtar.

India in Africa – This was the First Hindi film to be shot abroad (in Africa). The Hero B. Nandrekar had also gone to Africa for its shooting. Naaz-54 was not the first such film, though HFGK mentions it so.( Ref – pp 69, Maharashtra-The Birthplace of Indian cinema by Isak Mujawar)

Kangan – First of the 4 Hit films of Ashok Kumar and Leela Chitnis, made by Bombay Talkies. Kavi Pradeep’s Debut as a Lyricist in this film.

Kapal kundala – New Theatres. Pankaj Mullick’s hit song ‘ Piya milan ko jaana ‘.

Leather Face – Debut of Meena Kumari as a child artiste.

Navjeevan – Debut of Hansa Wadkar as a Heroine- Bombay Talkies film.

Pukar – Hit film from Minerva Movietone. Naseem Bano sings ” Zindagi ka saaz bhi kya saaz hai….”

Indian filmmakers had practiced 4 ways of getting stories for their films, since the beginning of Talkie films.

1. Copy from older films
2. copy from other languages or remake them
3. use stories from Foreign films – especially Hollywood and
4. make a mixture of all this and make a film.

Hundreds of films were made on the stories of Alibaba. Alauddin, Sindbad, Thief of Baghdad, Hatimtai, Gul E Bakavali and other stories from the Arabian Nights. Hollywood films made on famous novels or dramas were another source of inspiration. When the Talkie films started, the first such film was made in 1933 itself titled- “Awara Shehzada “, with Shahu Modak as its Hero.This was the first Hindi film based on the famous novel of Mark Twain- The Prince and the Pauper, published in 1881. Films on this ” Look alike” theme were made in Hollywood as early as 1915 and 1920 This theme was used abundently in Hindi films like Ram aur Shyam, Don, Seeta aur Geeta, Kanoon and many more films. The list will be too long.

In 1937 a film ” Duniya kya Hai” was made by Lalita Pawar, based on Count Leo Tolstoy’s famous novel ” Resurrection”, published in 1899. The Hindi film was inspired by the Hollywood film ” We live again” made on this novel. In 1938, prakash pictures made ” Khwaab ki Duniya “. It was inspired by the popular Hollywood film ” The Invisible man”-1933, which was based on the famous novel of same name, by H.G.Wells in 1897. Subsequently many films like Mr. X, Mr. India etc were made in Hindi on this theme.

These are few examples to prove the point. There are umpteen number of such films. Sometimes the story departments of the film strudios play a clever game. They mix up the stories of 2-3 Hollywood films and make a Hindi film. Today’s film ” Nadi Kinare”-1939 was also made based on few scenes and themes from 3 Hollywood films, namely ” The king and the chorus girl”-1937, ” Bluebeard’s eighth wife “-1937 and ” The rage of Paris “-1938.

The film was directed by Manibhai Vyas (27-4-1920 to 14-11-1993). he directed 20 films from Dukhiyari-1937 to Shrikrishna Bhakti-1973. The MD was Gyan Dutt and the cast was Kumar, Sitara Devi,Indubala, Ram Marathe, Kantilal and others.There were 13 songs in the film sung by Indubala, Sitara Devi,Kantilal,Kalyani and Gyan Dutt himself. Lyrics were by P.L.Santoshi and D.N.Madhok.

Actor/singer Ram Marathe had done a child role in this film He is one of those child actors who left film world at the right time and pursued his hobby of classical singing. Consequently he bacame a big name in Classical Music all over India. His case reminds me of anothe child actor-n Shashi kapur Sr, who was much in demand as a child actor during the period 1944 to 1955. he did 21 films as a child actor. Then he left films, completed his M.Sc. and Ph.D. He went to USA and became a Professor of Maths in Michigan University in USA.

Actually many child actors like Baby naaz, M.Kabir, Sarosh Irani, Master Romi etc reached an age when they were neither child nor an adult. They stopped getting any roles and had to leave films. Child actor Ramchandra ( Ram) Marathe was born on 23-10-1924 in Poona and studied in Bhave school up to 10th.He and his brother ( Anant Marathe aka Anant kumar) worked in films as child actors, due to family conditions. They started work from 1936 onwards. Ram Marathe had an edge over his brother,in that he could sing too. Starting with Shahu Chor in 1936, he worked in Sagar movietone (6 films), Ranjit (3 films) and Prabhat (2 films), in addition to other companies like prakash, Mohan Pictures, Imperial etc. he acted as a child star in 16 films. he sang 11 songs in 6 films. After this Ram left films and started training in classical music-his liking. Here is a short bio of Ram Marathe, adapted from meetkalakar.com….

Ramchandra Purshottam Marathe (1924-1989) began his early career as an actor and singer in films produced by the Prabhat company. His formal training in music assumed a definite direction when he came under the tutelage of Master Krishnarao (Phulambrikar). Later, he trained under accomplished musicians such as Mirashibuwa of Gwalior and Vamanrao Sadolikar of Atrauli-Jaipur. His quest for widening his musical horizons culminated in a long-lasting discipleship (15 years) under Jagannathbuwa Purohit (“Gunidas”). As a consequence of his broad training and background, Rambhau’s music integrated the best of Gwalior, Agra and Jaipur styles. Rambhau was a stalwart in the field of Marathi Natya Sangeet. He was also known as a composer. Among his pupils is Ulhas Kashalkar.

Pt.Ram Marathe had performed in all the prestigious musical festivals at various places like Jalandhar, Patna, Lahore, Delhi, Gwalior, Calcutta, Banaras,Amritsar and almost all over Maharashtra. His contribution to Indian classical music was recognized with several Awards for his unique and successful performances. He was “A-top grade” Hindustani Classical Artist of All India Radio.

Since he had undergone proper Tabla training, he had a great command on Taal and Layakari. He had special command on Rare–Anvat Ragas & Jod Ragas and he was highly recognized for his clear and fast tankriyas and also for Purity of Ragas. He always used to enrich his audience with various semi-classical forms like Khayal, Tarana, Tappa, Natyasangeet, Thumri, Dadra & Bhajans in his concerts. Unlike the present classical singers, his concerts used to last more than 5 hours with the powerful intensity and stamina.

He started his stage career under the perusal of Natvarya Shri Ganpatrao Bodas in 1950 as a leading character in old classical musical dramas like Saubhadra, Sanshaykallol, Swayamvar, Ekach Pyala, Manapman etc. with veteran actor and actress such as Balgandharva, Hirabai Badodekar, Vinayakbuwa Patwardhan, Nanasaheb Phatak etc. Despite his busy schedule in concerts, he performed in 22 old & new Sangeet Natak with more than 5000 stage shows. This is purely out of his dedication and commitment towards Sangeet Rangbhoomi.

Composed music for more than 10 dramas such as – Mandarmala, Suvarna Tula, Meghmalhar, Tansen, Baiju etc. and acted in the play as a leading character role.

His disciples include many eminent classical singers like Pt. Ulhas Kashalkar, Sudhir Datar, Ram Pratham, Vishwanath Kanhere, Vishwanath Bagul, Yogini Joglekar, Shashikant Oak, Madhuwanti Dandekar, Sanjay Marathe & Mukund Marathe etc. (more than 50) and have got the training from him under the traditional Gurukul way of learning.

Maharashtra Government honoured the “Sangeet Bhushan” degree in 1961.
• Recognition by Government of Maharashtra in 1981 for successful completion and continuous 30 years of career in Marathi Sangeet Rangbhumi.

• Honoured “Sangeet Chudamani Degree” by Jagadguru Shankaracharya of Puri.

Appointed by AIR, New Delhi on the Northern (Hindustani) Music Audition Board Committee. Also Advisory Nagpur and other Universities in India.
More than 100 Records and number of CDs and LPs to his credit and composed more than 50 Bandish in various Ragas.
Ram Marathe died on 4-10-1989.

Today’s duet song is sung by Sitara Devi and Kantilal (18-4-1907 to 17-6-1971). Kantilal acted in 31 films and sang 59 songs in 24 films.


Song- Duniya Deewaani duniya deewaani (Nadi Kinaare)(1939) Singers- Sitara Devi, Kantilal, Lyricist- Not known, MD- Gyan Dutt
chorus

Lyrics

Duniya deewaani
duniya deewaani
duniya deewani
duniya deewaani
duniya deewani

koi kahe haaye jigar
koi kahe dil
koi kahe haaye jigar
koi kahe dil
koi kahe chori chori
aake sajan mil
koi kahe chori chori
aake sajan mil
duniya deewaani
duniya deewaani
duniya deewaani
duniya deewaani
duniya deewaani

koi kahe dil na mila
aankh mila le
koi kahe dil na mila
aankh mila le
aankh mila le
koi kahe aankhon ke parde mein chhipa le
koi kahe aankhon ke parde mein chhipa le
duniya deewaani
duniya deewaani
duniya deewaani
duniya deewaani
duniya deewaani

le ke dil aaya hoon main yahaan
koi khareede
le ke dil aaya hoon main yahaan
koi khareede
koi khereede
hai koi dil waala jo
dil deke ye dil le
hai koi dil waala jo
dil deke ye dil le
duniya deewaani

duniya deewaani
duniya deewaani
duniya deewaani
duniya deewaani

loot le joban ke maze
duniya hai phaani
loot le joban ke maze
duniya hai phaani
duniya hai phaani
dam bhar mein guzar jaayenga
ye khwaab e jawaani
dam bhar mein guzar jaayenga
ye khwaab e jawaani
duniya deewani
duniya deewaani
duniya deewaani
duniya deewaani
duniya deewaani

le ke dil aaya hoon main yahaan
koi khareede
le ke dil aaya hoon main yahaan koi khareede
koi khereede

haaye
hai koi dil waala jo
dil deke ye dil le
hai koi dil waala jo
dil deke ye dil le
duniya deewaani
duniya deewaani
duniya deewaani
duniya deewaani
duniya deewaani


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

5184 Post No. : 17162

Today’s song is from the film Bahurani-1950. Films with the same title were made in 1940, 1950, 1963 and 1989. All films had different storylines. Bahurani 1950 was about a bahu who comes to a house after marriage, which is on the brink of breaking relationships due to crumbling family business and subsequent dwindling finances. The story is about how the clever Bahu mends matters to improvement and earlier glory and happiness.

Films made after India’s Independence, especially in the period of 1950 to 1960 dealt with the benefits of joint family, benefits of traditions and culture and ideal bringing up of the children. There was an attempt to glorify, reinvent and reestablish the ideals of togetherness and family value importance. This had become socially necessary because of the disturbed family structures during the Independence struggle of the 40’s. That was also the reason how during this decade i.e. 1950 to 1960, the highest number of religious films (124) were made.

In the subsequent decades i.e. from the 60’s to the 80’s, the family values changed, society structure took another shape and the focus turned from people to money. Because of the expanding money market, job opportunities all over the country, escalating living index, industrialisation and increasing cost of living, the joint family turned into nuclear families with limited progeny. Accordingly,  the type of films also changed and they became music and entertainment oriented. The family centred stories diminished (however, they remained only in films made in the South).

This also explains why old people love old films because they want to relive the atmosphere of their younger days. Music in the later period became loud with more instruments and less poetry. But this was accepted and liked by the young generation and it grew by leaps and bounds.

Coming back to today’s film bahurani-1950, it was made by Harishchandra Pictures, Bombay. This was a company floated by harishchandra rao Kadam, who was a stunt film actor, director and producer in the 30’s and the 40’s. He was the one who actually launched C. Ramchandra as a Hindi film Music Director for his film “Sukhi Jivan’-1942. Earlier C.Ramchandra had begun his career with acting as a Hero in film Naganand-1935 and then as assistant to several MDs in Minerva movietone. As a Music director he had given music to 2 Tamil films by then. Harishchandra rao kadam was the hero of film Sukhi Jivan opposite actress Ashalata (Mehrunnisa Bhagat -the first wife of Anil Biswas, MD). His brother Chandra rao kadam also was a stunt actor and a studio owner himself in his later life. His studio is still run by his sons.

Hansraj Behl was the Music director of this film and there were 4 Lyricists – B.R.Sharma, Aziz Siddiqi, Shevan Rizvi and Bharat Vyas. The cast of the film was Sulochana Chatterjee, Shekhar, kaushalya, Amar, Yashodhara Katju, David, Sofia, Ansari, E.Bilimoria and many others.

Heroine of the film was Sulochana Chatterjee-younger sister of Kamla Chatterjee, an actress and wife of Kidar Sharma, the famous writer and Director of Hindi films. Actually, at one time, there were at least 5 Sulochanas operating at the same time in the Hindi film industry. They did not create Same Name Confusion because every Sulochana used her Surname, setting her apart from other Sulochanas. There were 3 actresses- Sulochana Sr aka Ruby Myers, Sulochana Latkar and Sulochan Chatterjee. There were 2 Singers- Sulochana Chavan and Sulochana Vyas.

Born in Chandranagar, Sulochana Chatterjee was the daughter of a military man and the family, five girls, including the late Kamla Chatterjee ( she looked like Geeta Bali, and was Kidar Sharma’s wife), and one boy, used to travel along with their parents to wherever their father was transferred. From Calcutta they moved to Jabalpore and it was here that Sulochana did her school­ing. She also took an active part in school dramatics. After some time the family was transferred to Bombay and here her younger sister, Kamla, was spotted by Sohrab Modi, a friend of their father’s, and given a role as a child star in Modi’s picture Jailor (1938).

Once Sulochana happened to visit the sets one day and after watching her sister at work, She was offered a part in Harishchandra Pictures’ “Aina”-44, which she accepted. She co-starred with Trilok Kapoor. She starred in scores of films after that, among them the comedy “Ladli”-50, in which she appeared with Jairaj, and “Grahasti”-48 which was a memor­able hit and in which she play­ed with Yakub and Masood.

Sulochana acted in two Bengali pictures “Apanaela”, produced by Saroj Mukerjee and directed by Benoy Banerjee with Pradeep Kumar as her leading man, and Benoy Banerjee’s “Minoti” in which she shared stellar honors with Smriti Biswas and Paresh Banerjee. Her well known films are Chaitanya Mahaprabhu-53, Rami Dhoban-53, Shahjehan-46, Veena-48, Nav Durga-53, Jagte Raho-56, Jis desh mein Gaqnga behti hai-60, Saraswatichandra-68 etc. In all she acted in 119 films. Her first film was Shobha-42 and last film was Shabas Daddy-79. After retirement, she settled in Bombay. Sulochana Chatterjee died on 30-8-1999.

Her favorite pastime was playing with her sister’s children. She cooked, too, and knitted off and on. She was fond of English pictures , liked Ingrid Bergman and Gregory Peck and comedies. Sulochana could play Bad­minton and drove a car. A gifted linguist, she knew Bengali, her mother tongue, Hindi, English, Marathi, Punjabi, Kutchi and Guajarati. She spoke them all fluently.

Sometime back in one of my posts, I had assured that I will give the biodata of Ansari. So it is here…..Nisar Ahmed Ansari was the son of the late Dr. Ameer Ahmed Ansari. He was born on 29-8-1917 at Jhansi. His father had been serving in Military for 11 years and he expired in 1938. He was well known in Jhansi as he practiced there for 40 years.Ansari matriculated from Allahabad University in 1933. In 1935, he passed his Inter from Aligadh. By 1939 he was a graduate of Bombay University. He was keen to join films and in this, Mehboob khan helped him by recommending him for film Aasra-40, made by National Studios. It was directed by Mehboob’s assistant Chimanlal Gandhi.

By watching him, no one can ever visualise that a suave and respectable man like him can be a scheming villain . Competition for him was tough,initially when he joined the film industry ,as there were many character actors already there ,who were specialists in negative roles . But young and energetic Nisar Ahmad Ansari had faith in his potential .

He believed that it is not necessary that a villain should have thick eyebrows with roving eyes and have a permanent frown on his face. A person having negative traits may have a smiling face also ,to conceal his evil designs . Therefore in most of his movies , he was a well dressed person ,always beaming and had a friendly smile on his face . In his films , he used to be the boss of a criminal syndicate and had an army of foot soldiers who carried out dirty work on his behalf . To keep a distance between master and servant , instead of calling them by their name he used to call his cronies by their allotted numbers like Number Ten Or Number Five .

With a hit movie ‘Mangu’ , he became a director and later directed many successful movies like Black Cat ,Tower House ,Mr Lamboo ,Zara Bach Ke, Wanted etc for various producers and after he established his own banner Bundel Khand Films ,he made many memorable movies . Although he had to look after his own company and permanent staff ,he did not disappoint other filmmakers ,who wanted to have him in their movies in the role of villain. It is a fact that it was his Black Cat which helped G P Sippy to be a part of the league of big producers ,but it is also true ,Mr Sippy forgot him later and never acknowledged Mr Ansari’s contribution .

Mr N A Ansari ,was essentially a dedicated film maker and had no false illusions about his own capabilities . His movies were never lavishly made and had average production value ,but it did not deter his fans and sizable majority of film viewers ,who adored him and his pictures to patronise his movies . Those who love the movies of the golden age ,fondly remember his movies which used to have him in the role of villain ,beside good music, suspense, comedy, ,dance with a plausible story and a strong message for society ,that “Crime Never Pays”.

With producer/actor Sheikh Mukhtar, Nisar Ahmad Ansari had earlier worked as an actor in Dada, Dara & Ustad Pedro. Sheikh Mukhtar, aware of Ansari’s capability ,in 1954,offered him Mangu to direct. The big success of Mangu was a game changer for Ansari & O P Nayyar. They both were immensely benefited with the favourable outcome of the movie & its music. Mangu had predictable Jodi of Sheikh Mukhtar & Mukri ,with Nigar Sultana ,Sheila Ramani & Ansari himself, as a suave villain. Mangu had a breathtaking, thrilling climax, involving the speeding train. Some real shots, a few stock shots & rest studio shots with back projections (Aadhi Haqeeqat ,Aadha Fasana ),made the climax awe-inspiring. Unfortunately, the movie could not be preserved & the present generation has been deprived of witnessing Ansari’s first effort as director. Mangu is one of the most searched movies on youtube.

He again directed Mr Lambu, a big success, for Sheikh Mukhtar. This time with the classic beauty Suraiyya with music by O P Nayyar, but a similar tragedy happened, again. No print of the movie is available. In almost all his films N.A.Ansari played the role of an urbane & sophisticated Don. He always appeared, well dressed in impeccably tailored suits, fedora, trade mark pipe between his teeth & walking stick, in his hand.

Beside Sheikh Mukhtar,he directed movies, like Black Cat,Tower House,Jara Bach Ke,Wanted for other producers and playing the main villain .He had no qualm for working in the movies directed by other film makers & in this category, movies like Private Secretary,Fareb ,Do Thug ,Khota Paisa, Gunda,Ustad 420,Gunahon Ke Raaste can be named. Under his own banner Bundel khand Films he made Wahan Ke Log,Mulzim,Zindagi Aur Maut,Mr Murder, Jurm Aur Sazaa and Noor E Ilahi. The last one being his last production in 1976 & then he decided to hang his boots.It was a big journey for Ansari,who was discovered by Mehboob & given a role in Aasra ,released in 1941.

He could not say “No” to film maker Sultan Ahmad ,when he insisted him to appear in Dharam Kanta -1982 & later in Jai Vikranta. N.A.Ansari closed his eyes forever on 11 Jan 1993, in Canada, thousands of kilometres away from his beloved city Jhansi ,much before the release of his last movie Jai Vikranta in 1995. As an actor he did roles in 77 films, starting with Aasra-41. He directed 11 films, from Mangu-54 to Jurm aur Saza-74.

(Based on information from Filmdom-46 and an article by M.N.Sardana ji, with thanks.)

Today’s song is a female duet sung by Asha Bhosle and Shamshad begum. It is a good song. Enjoy….


Song- Bas itna bata do jiyen ya maren (Bahurani)(1950) Singers-Shamshad Begam, Asha Bhonsle, Lyrics-Aziz Siddiqui, MD-Hansraj Bahl

Lyrics

Bas itna bata do
jiyen ya maren
muhobbat jo ho jaaye
phir kya karen
muhobbat jo ho jaaye
phir kya karen
Bas itna bata do
jiyen ya maren
muhobbat jo ho jaaye
phir kya karen
muhobbat jo ho jaaye
phir kya karen

ye chitchor hote hain kitne nidar
ye chitchor hote hain kitne nidar
churaate hain dil
saamne baithhkar
churaate hain dil
saamne baithhkar

taraste hain soorat ko
hum raat bhar
hai kismat ki marzi ke aathhon pahar
hai kismat ki marzi ke aathhon pahar
ya aansoo bahaayen
ya aahen bharen
bas itna bata do
jiyen ya maren
bas itna bata do
jiyen ya maren

bas itna bata do
jiyen ya maren
muhobbat jo ho jaaye
phir kya karen
muhobbat jo ho jaaye
phir kya karen

Muhobbat ka chhaayaa hua hai khumaar
Muhobbat ka chhaayaa hua hai khumaar
tumhaari qasam
humko tumse hai pyaar
tumhaari qasam
humko tumse hai pyaar

judaai ne loota hai chain aur qaraar
hai jeene ki mushqil
wahi intezaar
hai jeene ki mushqil
wahi intezaar
kahaan tak kaleje pe patthar dharen
bas itna bata do
jiyen ya maren
bas itna bata do
jiyen ya maren

bas itna bata do
jiyen ya maren
muhobbat jo ho jaaye
phir kya karen
muhobbat jo ho jaaye
phir kya karen
muhobbat jo ho jaaye
phir kya karen
bas itna bata do
jiyen ya maren
muhobbat jo ho jaaye
phir kya karen
muhobbat jo ho jaaye
phir kya karen


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

5182 Post No. : 17158

Today’s song is from the film Aap ki Marzi-1939. This film was made by Sudama productions, Bombay, founded by Dr. Ambadas patel, after Sagar Movietone merged with National Studios. This comedy social film was directed by Sarvottam Badami and the music was given by Gyan Dutt. The cast of the film was Sabita Devi, Motilala, Vasanti , mazhar, Khursheed, Sunalini devi, K.N.Singh, jagdish Sethi and others. Lyricists were P.L.Santoshi and S.P.Kalla Film Aap ki Marzi aka As you please-1939 was based on the hit Hollywood film” Paradise for 3 “-1938.

” FATE ” is a phenomenon which no one has understood so far and no one will ever know how it works.It makes the Rich a poor one and a Pauper may become a millionaire. Fate takes you through unknown destinations and you can niot guess where it will take you. There is no better example of this FATE, other than the life story of this film’s director.

The changes in the career of Sarvottam Badami took place are simply unimaginable. His life started as an ordinary Motor Garage mechanic.Fate made him a Film projectionist, an Automobile Engineer, a Sound Recording Engineer, a Film director of Tamil, Telugu and Hindi films, Film Division producer, An industrialist and finally a management Consultant ! Can you beat it ?

Sarvottam Badami was born in 1910 at Channapatna in Karnataka,to a revenue officer working in Mysore. He passed his SSLC and worked as a garage mechanic and then a projectionist in Select Picture House, Bangalore, both of which were owned by Dr. Ambalal Patel. Patel moved to Bombay and financed Ardeshir Irani of Imperial Film Company, and Chimanlal Desai as a partner, forming Sagar Movietone in 1930.
At the age of 19 years, Badami went to Bombay to study automobile engineering. He was asked by Ardeshir Irani who met him at a wedding to help out with the recording equipment he had purchased from abroad.

Badami helped in the sound recording department for the first Talkie in India, Ardeshir Irani’s Alam Ara (1931). Around that time a German director making the film Harishchandra left half-way and Badami offered to complete it, the co-director was Raja Chandrasekhar, although the co-director credit has also been cited as T. C. Vadivelu Naicker. The film turned out to be successful. He was contracted by Sagar Movietone (Sagar Film Company) to direct three films, two in Telugu and one in Tamil: Galava Rishi (Tamil), Rama Paduka Pattabhishekam and Shakuntala in Telugu. The success of these films established him as a director. His working team had people like the cinematographer Faredoon Irani, music director Anil Biswas and the Sagar Movietone favourites Sabita Devi and Motilal.

Initially, to avoid embarrassment to his family he requested not to be credited in the regional language films. He did not know Hindi but from 1932-1947, he worked for Sagar Movietone and also directed nearly 30 films in Hindi, for many others. His first Hindi film was Chandrahasa (1933) starring Noor Mohammed Charlie. He was paid Rs 2000 per film with the complete film being made within Rs 50,000. He worked with most of the top actors of the time like Motilal, Nargis, Ashok Kumar and Pahari Sanyal. He brought Mehboob Khan who was then doing roles as an extra out of obscurity and gave him the role of Sabita Devi’s father in the film Vengeance is mine(1935).

He made several films based on novels. Some of the writers whose work he used were K.M.Munshi, Sarat Chandra and Ramanlal Vasanthlal Desai. The film Aap ki Marzi (1939) was inspired by the Hollywood film Paradise for Three (1938). He became known for his satirical comedies and “socially relevant films”.His film Grihalaxmi (1934), which starred Jal Merchant and Sabita Devi, had the woman getting into marriage only if her doctor husband agreed not to want children. The success of the film mitigated the enraged public reaction at the time.

He showed his understanding of media publicity required for films when in 1937, Badami resorted to woo audiences by announcing cash prizes of Rs.500, Rs.200 and Rs.100 for the best reviews of his newly released film Kulvadhu (1937). The promotional gambit worked sending audiences to the theatres. According to an interview, most of Badami’s films didn’t survive as the negatives were burnt to extract the silver from the silver nitrate.

After Aap ki Marzi-38, he followed his mentor, Dr. Patel and joined Sudama Pictures, when in 1939, Sagar Movietone merged into National Films. Badami also worked in Famous Cine Laboratories, from 46 to 48.

Apparently, in 1948 Deputy Prime Minister Vallabh Bhai Patel, who was then also in charge of the Information Ministry, on a visit to the Cine Laboratories Bombay, asked Badami to help set up a NewsReel and Documentary section. The Films Division was established in 1948. He became chief producer in the newsreel department and made several documentaries. He worked in the Films Division making documentaries from 1948-1952. After that he stopped making films and returned to Bangalore to retire as “I was a forgotten man in the feature film world”. He became an industrialist by starting a manufacturing business. Later he worked as a Consultant for Kamani Group of Industries also. He died in 2005 in Bangalore, Karnataka, India.

FILMOGRAPHY: 1932: Harishchandra; Galava Rishi; Paduka Pattabhishekham; Shakuntala; 1933: Chandrahasa; 1934: Grihalakshmi; 1935: Dr. Madhurika; Vengeance is Mine; 1936: Jeevan Lata; Grama Kanya; 1937: Kokila; Kulavadhu; 1938: Three Hundred Days and After; 1939: Aap Ki Marzi; Ladies Only; 1940: Chingari; Sajani; 1941: Holiday in Bombay; 1942: Khilona; 1943: Prarthana; 1944: Bhagya Lakshmi; 1945: Ramayani; 1946: Uttara Abhimanyu; 1947: Manmani; 1951: Vinoba Bhave (Doc);1952: Roof over the head

(Ack: Sapnon ke saudagar by Vithal Pandya, Sagar Movietone by Biren Kothari, HFGK, muVyz, Encyclopedia of Indian Cinema, and my notes)

Film industry is one place where the most unimaginable things happen. Here are some examples – A young man working as a laboratory Technician overnight becomes, albeit reluctantly, an actor and later on a famous Hero in Hindi films (Ashok Kumar), A Choreographer becomes a very famous and successful Director and actor (Guru Dutt), A Clerk in Government Rationing office touches the sky and becomes a heart throb Cinema Hero (Dev Anand), A Bus Conductor is turned into a famous cult Hero of South (Rajnikant), A simple young man goes to meet his actor brother in a studio and is mistaken for his brother and made a hero in 40 Hindi films(D.Billimoria), a clueless scholarly young man standing in a bus queue in Madras is picked up as a hero and works in about 55 hindi films (Ranjan). These are some examples of how, when Lady Luck smiles on a person, his life changes !

Here is one case. The case of the suave, handsome actor MOTILAL who had absolutely no dream of becoming a film hero ! Born in Shimla on 4 December 1910, Motilal Rajwansh came from a distinguished family. His father was a renowned educationist, who died when Motilal was one year old. He was brought up by his uncle who was a well-known civil surgeon in Uttar Pradesh. At first, Moti was sent to an English school at Shimla and later, in Uttar Pradesh (UP). Thereafter, he shifted to Delhi where he continued with school and college.

After leaving college, Motilal came to Bombay to join the Navy, but he fell ill and could not appear for the test. Fate had other choices charted out for him. One day, he went to see a film shoot at Sagar Studios, where director K. P. Ghosh was shooting. Motilal, even then, was quite the man about the town and he caught Ghosh’s eye. Motilal described this event in his inimitable style,in one of his interviews….” The director Ghosh Babu looked towards me and said,” please come here”. I first thought he was calling someone standing behind me. I looked back and moved to one side. Nobody came forward, but Ghosh Babu came to me and pointed his finger at me and said, ” Yes, I am talking to you. Please come here” I went with him .” In 1934 (aged 24), he was offered the hero’s role in Shaher Ka Jadoo -1934 by the Sagar Film Company. Sabita Devi and Motilal’s first movie as a pair in the famous Sagar Movietone, the movie Lure of the City (aka Shaher ka Jadoo) released on 29 th September 1934 at the Imperial Cinema Bombay.

Mehboob Khan was earlier selected for the lead role and was later replaced by Motilal. This was actor Motilal’s debut film and Motilal – Sabita made the best pair in the Sagar Film Company. They acted together in many other movies under the banner of the Sagar like, Silver King -1935, Dr Madhurika -1935, Lagna Bandhan -1936, Jeevan Lata -1939, Kulvadhu -1937, Kokila -1937, Three hundred days and after -1938 and later in Sudhama Films in Ap Ki Marzi -1939 and Minerva’s Prarthana -1944. He worked with Mehboob Khan in Jagirdar -1937 and Hum Tum Aur Woh -1938 under the Sagar Movietone banner, in Taqdeer -1943 for Mehboob Productions, and Kidar Sharma’s Armaan -1942 and Kaliyan -1944. He also acted in S. S. Vasan’s film Paigham -1959 (Gemini Studios), and Raj Kapoor’s Jagte Raho -1956. In 1965, he also acted in the Bhojpuri film Solaho Singar Kare Dulhaniya.

Perhaps the role for which he received the most critical appreciation was that of the gentleman crook in S. S. Vasan’s adaptation of R K Narayan’s book Mr Sampat -1952. He is most remembered for his role as “Chunni Babu” in Bimal Roy’s Devdas -1955, for which he won his first Filmfare Best Supporting Actor Award. Actor Naseeruddin Shah once described him as one of three all-time best actors of Hindi cinema, others being Balraj Sahni and Yakub.

Motilal was very suave and polished, and moved in high society, though towards the end of his life he was in financial difficulty. Although a thorough gentleman, he enjoyed gambling and races, and died almost penniless on 17th June 1965.

Motilal was an excellent Pilot and owned a small aircraft. He rarely travelled by train and always liked to fly. His family life was happy. His wife was a doctor.

He was in a relationship for several years with the actress Nadira. He was later involved with actress Shobhna Samarth after she separated from her husband, and he played Samarth’s real-life daughter Nutan’s father in Hamari Beti, Shobhana’s launch movie for Nutan. He also played her guardian in Anari, though this time the role had a villainous touch to it.

Motilal and Ashok Kumar were popular stars at the same time. Ashok Kumar was employed by Bombay Talkies and Motilal was employed by Ranjit. It is said that Sardar Chandulal paid Rs. One lakh to Motilal in those days. Motilal was a gambler. Once Chandulal Shah paid his debt of 75000 rupees which Motilal had lost in gambling, just to keep Motilal with Ranjit ! It is surprising that Ashok Kumar never worked with Motilal’s Heroines-Shobhana Samarth or Khursheed and Motilal never worked with Ashok Kumar’s heroines- Devika Rani or Leela Chitnis !

Actor Chandra Mohan treated Motilal as his son. During the last days of Chandra mohan, once Motilal had gone to meet him. Chandra Mohan was drinking from a costly forein Whisky bottle, but he did not offer it to Motilal. Motilal was feeling bad and then Chandra Mohan said, ” I know you must be feeling bad that I am not offering you this Whisky, but trust me it is not whisky- I am drinking Bewada (country liquor) from this bottle and I don’t want my son to drink this dirty stuff ! ”

Motilal was the winner of Filmfare Best Supporting Actor Award for Devdas -1955 and Parakh -1960. He is credited with being among Hindi cinema’s first natural actors.

He also directed the film Chhoti Chhoti Baatein -1965, but died before its release. At the 13th National Film Awards, it won the award for Certificate of Merit for the Third Best Feature Film and he posthumously won the Certificate of Merit for the Best Story Writer. ( adapted some information from Vithal Pandya’s book-Asli Nakli Chehere, wiki, Star portraits, nett4you, the book Sagar Movietone, and Shirish Kanekar’s book- Yaadon ki Baaraat, with thanks and my notes.)


Song- Gauven charaa ke Baanke Bihaari apne ghar nahin aate thhe (Aap Ki Marzi)(1939) Singers- Khursheed Bano, Gyan Dutt, Lyricist- P L Santoshi, MD- Gyan Dutt
Both

Lyrics

gauven charaa ke
baanke bihaari
apne ghar nahin aate thhe ae
gauven charaa ke baanke bihari
apne ghar nahin aate thhe
phir jaa ke kahaan kho jaate thhe
phir jaa ke kahaan ko jaate thhe ae

gauven charaa ke baanke bihaari
apne ghar nahin aate thhe ae
gauven charaa ke baanke bihari
apne ghar nahin aate thhe

saath chhodkar gwaal baal sang
kunjon mein chhup jaate thhe
saath chhodkar gwaal baal sang
kunjon mein chhup jaate thhe
phir jaise hi ghar aate thhe
wo thappad maa ka khaate thhe
phir jaise hi ghar aate thhe
wo thappad maa ka khaate thhe

bansi baja ke Raadha ko wo
chupke chupke bulaate thhe
haan
bansi baja ke Raadha ko wo
chupke chupke bulaate thhe

sun bansi ki taan niraali
aji Raadha
aji Raadha
ho matwaali
sun bansi ki taan niraali
aji Raadha
aji Raadha
ho matwaali
donon raas rachaate thhe
kuchh hanste thhe kuchh gaate thhe
donon raas rachaate thhe
kuch hanste thhe kuchh gaate thhe
wo apna jee bahlaate thhe
wo apna jee bahlaate thhe
gauven charaa ke baanke bihaari
apne ghar nahin aate thhe
gauven charaa ke baanke bihaari
apne ghar nahin aate thhe


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

5180 Post No. : 17156

Today’s song is from the film Lehren-1953. It was made by ” New Sai Productions” Bombay. It was a film production company floated by C.Ramchandra, his close friend actor Omprakash and Lata Mangeshkar. They produced Jhanjhar-1953, Leharen-1953 and Duniya gol hai-1955 ( directed by Omprakash himself.) These films were neither successful nor their music became popular.

When the film Jhanjhar-1953 was about to be released, C. Ramchandra and Lata Mangeshkar went to Punjab to attend the release function of the film. In this visit, Lata Mangeshkar spoke to singer Nurjehan in Pakistan, from her hotel room telephone and they decided to meet each other. Accordingly Lata and Nurjehan met on the “No Man’s Land” between the Indo-Pak border. They embraced each other and spent a lot of time together.

Another noteworthy event happened when the film Jhanjhar was in the making. At that time C.Ramchandra, under a loose contract with Filmistan, was also giving music to Filmistan’s ” Anarkali’. Directors in Filmistan knew that he was also making his own film Jhanjhar and they suspected that he may be neglecting music of Anarkali at the cost of Jhanjhar. He was sent a legal notice accusing him of this. However, Jhanjhar released first, flopped and then Anarkali was released. Anarkali music became a superhit and Jhanjhar was nowhere. The legal case was happily dropped and C Ramchandra was also awarded a gift from Filmistan for its music !

Film Lehren-1953 was directed by H. S.Rawail and the 10 songs of the film were written by Rajendra krishna. Rajendra Krishna (6-6-1919 to 23-9-1987. Songs 1671 for 269 films) and C.Ramchandra were very good friends. They came together from C. Ramchandra[‘s film Patanga-1949. Together they worked in 52 films. However, in 1958 this friendship broke up. The story is….in 1958 C.Ramchandra was called to Madras by producer S.S.Vasan of Gemini Films. He was offered the film Raaj Tilak for music. This was a remake of Vasan’s hit Tamil film ” Vanjikottai Valiban”. A Telugu remake was also on cards and C.Ramchandra was to give music to Hindi and Telugu versions. He had already given music to the Tamil original. He gladly accepted and wanted to call Rajendra krishna to write the songs. To his shock, Vasan objected to calling Rajendra krishna. Vasan was angry at him because he had written songs for his competitor AVM’s 2 films Bhai Bhai-1956 and Bhabhi-1957. Both films’ songs were popular and hits also. Vasan asked Ramchandra to suggest some other name. He suggested P.L.Santoshi and it was accepted. The music was completed for Raaj Tilak-1958.

C.Ramchandra went back to Bombay and started making songs for the film Amardeep along with Rajendra krishna. After the music was set, Rajendra Krishna came to know that C.Ramchandra had replaced him with Santoshi for a South film. He was enraged and broke their partnership. Rajendra krishna was also popular in South and he started suggesting the Southern producers names of Chitragupta and Ravi as Music Directors. C. Ramchandra stopped getting any films from Madras. At that time even Lata left him after recording 2 songs of the film Amardeep-1958. C.Ramchandra’s bad period had begun…..

The cast of the film Lehren-1953 was Shyama, Kishore Kumar, Shakuntala, Bipin Gupta, Iftikhar, Sunder, Johnny Walker, Leela Mishra and others. In this film, Raj kapoor was a Guest Artiste. Also Omprakash’s brother Pachhi did a small role in this film. Later Pachhi became a big Producer of Hindi films himself. In this film 6 singers were used for 10 songs. The singers were Mohd. Rafi, Kishore kumar, Hiemant kumar, Lata Mangeshkar, Shamshad Begum and Sunder. Today’s fun song is sung by Mohd. Rafi and Sunder. To most readers Sunder was a comedian, but Sunder Singh was a Hero in his early films and sang many songs in his own films.

For a long time,I was searching for information on comedian Sunder. I got hold of a 2 page detailed article on Sunder, but it was in Punjabi- which I could not read or use. I found a small paragraph on Sunder in Sanjit Narvekar ji’s book ” Eena Meena Deeka”. Lastly, I requested Harish Raghuwanshi ji for help. Despite his failing health, he promptly sent me articles in Hindi, English and Gujarati, on Sunder. He is such a helpful person. May God give him a healthy life.

Sunder Singh aka Sunder was born in Sialkot, Punjab on 10th August 1916. His father was working in Madon Theatres, Calcutta. Sunder also started working there. Initially, for a long period,he did Girl’s roles. Once his work was seen by H.S.Rawail (Director in later life). He was quite impressed. Later Rawail started working with R.N.Vaidya as his assistant in direction.Meanwhile Sunder started working in Talkie films. His first film,where he was credited, was ” Na hone wali baat”-38. Before that, Rawail and Vaidya were preparing to make the film Banke Sipahi-37.Rawail recommended Sunder and Vaidya gave him an uncredited small role in that film.

Sunder and Rawail became good friends and started staying in one flat in Calcutta. After a few films here, they both went to Lahore and Sunder got the Hero’s role in the film ” Shukriya”-44. There were 4 Heroines in the film- Ramola, Rooplekha, Manorama and Raksha. Sunder’s role in this film was that of a young man from a village and Ramola was from a City. Sunder’s one song from this film-‘ Nayanon ke teer chala gayee ek shehar ki laundiya’ became very popular all over India, However the song was banned in Punjab due to its lyrics. After this they both came back to Calcutta.

His next film was Albeli-45, in which too there were 4 Heroines- Ramola, Rooplekha, Manorama and Usha. In the 40’s , Sunder acted in many films like Arabian Nights, Baap, Shabri, Chandrashekhar, Ek aurat, Grihalaxmi, Lottery, Samapti, Jhoothi kasme, Savyasachi, Do baaten, Shadi ke baad, Bawra, Khiladi, Nai Bhabhi etc. In Calcutta, Sunder got married to a girl from his community. Rawail left for Bombay. After a few months, Sunder also returned to Bombay.

Rawail was very happy to get him back and gave him roles in almost all of his films. Not only Rawail, but also J.Om Prakash, Mohan Kumar, Lekhraj Bhakri, Manoj kumar etc gave him roles in all their films and he became a busy actor. He was at one time, in great demand. He was quite popular due to his nature.In the decade of 50’s he did 88 films, which increased in the 60s and 70s. In the 80s however films came haltingly.

From singing Hero, he became a Junior artiste( extra), in presence of the new crop of actors. The role of comedians was on decline, as Heroes like Amitabh and others did comedy scenes themselves. His health started troubling him. His last film was probably Bahurani-89. He became ill for a long time and finally died on 5-3-1992. Sunder acted in 436 films. He was a good singer and sang his own songs in early cinemas. In all, Sunder sang 40 songs in 25 films. ( Thanks to Harish Raghuwanshi ji for material for adaptation.)

The story of the film Lehren-1953 was….The story of Lehren-53 revolves around 3 characters. One Hero and 2 Heroines. Kishore loves Shakuntala and treats Shyama sympathetically because she had lost her parents. She stays with her uncle omprakash. Shyama however takes Kishore’s sympathy as his love for her. Even his uncle and Kishore’s best friend Sunder think that way. This happens because Kishore feels too shy to express his love for Shakuntala. This situation becomes very embarrassing for Kishore, especially as he is pushed to marry Shyama. This part of the story is upto Interval.

After Interval, Kishore tries very hard to get out of this tricky situation and succeeds by first telling the truth to Sunder and then to uncle Omprakash. They make a plan so that Shyama overhears Kishore’s love dialogues to Shakuntala. But this has an opposite effect. Shyama thinks that Kishore has played a double game with both the girls.

At the end, all misunderstandings are cleared( for which Shakuntala had to pretend her suicide and sacrifice to allow Shyama and Kishore to get married). Shyama steps back and Kishore and Shakuntala are married.

Let us now enjoy the comedy song, by Rafi and Sunder Singh.


Song-Kehta hoon sach ke jhoothh ki aadat nahin mujhe (Lehren)(1953) singers-Sunder, Rafi, Lyrics-Rajinder Krishan, MD-C Ramchandra
Both

Lyrics

Duniya jhol hai
ae jee hum na kehte thhe
ke duniya jhol hai
aur tum samahte thhe ke beta gol hai
waah
aah
samhe mama
kehta hoon ke
kehta hoon sach
ke jhoothh ki aadat nahin mujhe
kehta hoon sach
ke jhoothh ke jhoothh ki aadat nahin mujhe
ae jaaneman
kisi se adaawat nahin mujhe
ae jaaneman
kisi se adaawat nahin mujhe
kehta hoon sach
ke jhoothh ki aadat nahin mujhe
kehta hoon sach
ke jhoothh ki aadat nahin mujhe
ae jaaneman kisi se adaawat nahin mujhe
ae jaaneman kisi se adaawat nahin mujhe

ae jee achche bure ko dekh ke
achche bure ko dekh ke
kehta hoon saaf baat
kya
arre suno to mama
arre achche bure ko dekh ke
arre kehta hoon saaf baat
arre din ho to din kahoonga
agar raat ho o o to raat
ahahaha

arre jhoothe kaa
kya
munh kaala

arre nahin
suno to mama
arre jhhoote ka saathh
dene ki aadat nahin mujhe
jhhoothe ka saath dene ki aadat nahin mujhe
ae jaaneman kisi se adaawat nahin mujhe
ae jaaneman kisi se adaawat nahin mujhe

aa aa aa aa aa
aji jaaiye bhi aap to
jhoothon ke baap hain

aji mama ee
dekho main to nahin hoon
per aap hain
aa aa aa aa
ab chhodiye jee peechha
ke fursat nahin mujhe
ab chhodiye jee peechha
ke fursat nahin mujhe

ae jaaneman kisi se adaawat nahin mujhe
ae jaaneman kisi se adaawat nahin mujhe

kehta hoon sach ke jhoothh ki ee ee ee ee ee ee ee
kehta hoon sach ke jhoothh kee ee ee ee ee ee ee
kehta hoon
o kehta hoon
o kehta hoon
o kehta hoon
sach ke jhoothh ki aadat nahin mujhe

kehta hoon sach
ke jhoothh ki aadat nahin mujhe
ae jaaneman kisi se adaawat nahin mujhe
ae jaaneman kisi se adaawat nahin mujhe ae ae


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

5178 Post No. : 17154

Today’s song is from the costume/stunt film ‘Jungle King’ (1959). The film was made by Artists United, Bombay (the name reminds me of the famous Hollywood company ‘United Artists’). It was produced by a group calling itself ‘Four X’ (for reasons best known to them) composed of Morris, Akbar, Asghar and Haider. The director was Masood and the music was by the pair of Bipin-Babul. The cast was very interesting. It consisted of Shaaga, Haaydu (what strange names! Never heard them !!), Sheila Ramani, Anwar, Majnu, Kamal Mehra, Heera Sawant, Tun Tun, Kabban Mirza, Dambe, Doud, Badshah, Rampuri Mehmood, Elephant Laxmi and many others.

I have never heard such strange names of actors in any film. Shaaga, Haaydu, Dambe, Rampuri Mehmood ? Where did they get these people with such names ? That way, earlier also I have come across some queer names in stunt films, like Bajarbattoo, Chemist, Dhondu, Babu Fatty, Gareeb Nawab etc. Few years back, Dr. Surjit Singh ji had downloaded 7,000 names of actors who acted in Hindi films from 1931 to 2000, from an internet site, which is extinct now. He had put it on the RMIM forum from where I downloaded the list. But in the intervening times, with me changing my Laptop several times till today, the list was lost in transit from one Laptop to the next one. The point is there were many funnier names of actors in that list.

Old time artistes had no means of publicity like today. With TV, Social Media, WA, Fb, newspapers, glossy magazines etc, publicity is easier for modern actors. Old time actors were forgotten as soon as they stopped appearing in films. Today’s film ‘Jungle King’ (1959) is a special film because in its cast are 2 old time actors who were forgotten totally with the times. One was a heroine of the then leading heroes, who fell on bad times and accepted whatever films came her way. But wisely she got married and spent a rich and comfortable retired life. The other one was an occasional singer, who held an honorable post in All India Radio and his songs became a choice of critics in those days. Let us know more about them.

One was actress Sheila Ramani,  a forgotten name today, but most of us will remember her in Navketan’s ‘Taxi Driver’ (1954) where she was cast as Anglo-Indian club dancer – Sylvie. I also remember her as the leading lady in ‘Funtoosh’ (1956), also from the banner of Navketan. Sheila was born on 2-4-1931, in Karachi. She was selected as Miss Mussoorie in 1948 and judged ‘Miss Simla’ in 1950. She made her debut as Champa, the femme fatale of ‘Badnam’ (1952), and revealed herself as a danseuse of charm in ‘Anand Math’ (1952). She was one of the few Sindhi actresses besides Sadhana, who made it big in Bollywood. She was mostly seen as an upper class mod girl in the 50s, a role she enacted to perfection all through that swinging era in films like V Shantaram’s ‘Teen Batti Char Raasta’ (1953), Sheikh Mukhtar’s ‘Mangu’ (1954), ‘Meenar’ (1954), ‘Railway Platform’ (1955), and ‘Funtoosh’ (1956).

Her uncle Sheikh Latif alias Lachchu was a famous Pakistani producer who produced films like ‘Pathan’ (1955), ‘Khizan Kai Baad’ (1955), ‘Darbar-e-Habib’ (1956) etc. Sheila visited Karachi – Pakistan on the request of her uncle, to play the lead role in Pakistani film ‘Anokhi’ (1956). The film was based on Hollywood’s ‘Fabulous Senorita’ (1952). “Gari Ko Chalana Babu, Zara Halkey Halkey Halkey, Zara Dil Ka Jaam Na Chhalkey” sung by Zubeda Khanum was the popular song from the film which did modestly good business in Pakistan. The movie’s great music was composed jointly by Timir Baran (a Bengali who came from India for this purpose) and Hassan Latif. Sheila went back to India and remained as a middle-of-the-range performer in Bombay films. In the later part of her career, she was reduced to obscure films with titles that sounded like ‘Jungle King’ (1959), and ‘The Return of Superman’ (1960) – one of the last films composed by Anil Biswas. In all, she acted in 24 films. Her last film was ‘Awaara Ladki’ (1967).

Sheila was very fond of sports, especially football and swimming. Ballroom dancing was a virtual addiction for her and she used to go out dancing as often as she could. Sheila was 5 feet four inches tall, and was so fastidious that any dress she would wear won’t be repeated for six months to come at least.

According to her son Rahul Cowasji, she retired from acting in 1962 and married  Jal Edi Cowasji on 31st March 1963. Part of her family that remained in Pakistan converted to Islam. She was a Hindu. She used to live in Mumbai with her husband Jal Cowasji (President of Bombay Dyeing) till 1981. They moved to Khartoum for 3 years and then to Sri Lanka for 3 years. After her husband’s death in 1984 she migrated to Australia on her own in the late 80’s and lived in Sydney and Surfers Paradise until health problems required her to return to India in the new millennium.  She used to live in her husband’s ancestral home in Mhow, near Indore (MP). She was frail and bed ridden for a few years before her death on 15-7- 2015.

Her favorite Hindi film of her career was ‘Taxi Driver’ (1954). Sheila was also the leading lady of India’s first Sindhi film after partition – ‘Abana’ (1958), in which young Baby Sadhna played her younger sister’s role.  [Thanks to Cineplot for some of the information in this Biosketch].

The other one was an  AIR announcer and an anchor. He was also a singer and an actor for a few films. His name was Kabban Mirza. Kabban Mirza’s name is known to very few people. He is one of those people who appeared like a comet and disappeared like a lightning. In his short stint with Hindi films, he acted in 2 films – ‘Jungle King’ (1959) (he was also the Assistant Director for this film) and ‘Murad’ (1961). He sang 1 song in the film ‘Captain Azad’ (1964) and 2 songs in the film ‘Razia Sultan’ (1983). He claimed to have sung a song “Is Pyar Ki Basti Mein” in a film called ‘Sheeba’,  without getting credited. No film with the name ‘Sheeba’ is traceable, but a song with the same mukhda is found in the film ‘Jungle King’ (1959), credited to Suman Kalyanpur and Babul with chorus. We don’t find a third voice in this song. It is possible that the film ‘Sheeba’ was left incomplete and the same song was used in the film ‘Jungle King’ (1959) with Babul as the male singer.

The question is why Kabban Mirza is remembered with such a meager contribution to film acting and singing ? The answer is because of his deep voice. Mirza who briefly flirted with the film world, left a lasting impression with his songs for producer-director Kamal Amrohi’s epic, ‘Razia Sultan’.

The songs — “Aayee Zanzeer Ki Jhankar Khuda Khair Kare” and “Tera Hijr Mera Naseeb Hai” — rendered in Mirza’s deep voice, were filmed on the slave-warrior character of Yaqut played by Dharmendra in the film.

Mirza was picked out after Amrohi auditioned dozens of singers in his search for a unique voice to suit the character of the slave-warrior. The film’s music director, Khayyam, reminisces: ‘‘Kamal Saab was a perfectionist. He called over 50 singers for a voice test, but remained unconvinced. Then someone suggested Kabban Mirza who was also a popular nauhaa khan (one who sings elegy for Imam Hussain’s martyrdom during Muharram). Kamal Saab’s search ended with Mirza.’’

Overnight his popularity soared. Mirza got a few more singing offers, including for BR Chopra’s ‘Nikaah’ (1982), but his preoccupation with radio came in the way. ‘‘His voice had a unique bass, unheard of in the industry,’’ says poet-lyricist Nida Fazli who penned a song for Razia Sultan.

Kabban Mirza was born in 1937 in Hapur, Uttar Pradesh. He belonged to the  Siddi community. This is a community that migrated from Central Asia/North Africa, during the time when India was ruled by Muslim dynasties. These people were brought in as slaves in the courts of the rulers of Delhi, Lucknow and other kingdoms in North India. They are also known as ‘Habshi’. It is curiously incidental that Yaqut, the slave in the court of Razia Sultan, also belonged to this ‘Habsh’ community. It sounds almost providentially ordained that the two people, separated by more than seven centuries – the original persona, and the singer who would sing for that historical character in a film, belong to the same original ethnic community. (Another very well known personality of Indian cinema belongs to this community – His real name was SYED HASSAN ALI ZAIDI. His family used to call him MIJJAN Miyan and screen name was Kumar, the actor who played the role of the sculptor in the film ‘Mughal e Azam’ (1960)).

The child in Kabban took to music and singing very early. He was drawn to the ‘nauhaa’ style of singing – the traditional ‘marsiaa’ and ‘taaziadaari’ singing on the solemn occasion of Muharram. It is noted that the child Kabban used to practice his singing with his head inserted inside a ‘matka’ (earthen pot).

As he grew up, he was recognized as a very impressive and inspiring ‘nauha-rubaan’ – a singer of traditional Muharram renderings. His voice caught the attention, and he got his break with All India Radio, in the music department. This phase of his life is not well documented, no details are available about his training in classical music and who his teachers were. But his depth of knowledge about the detailed nuances of classical ragas is well acknowledged in his presentations of the radio program ‘Sangeet Sarita’. He anchored this program for many years. He would play select film songs based on Hindustani classical music, and then described in great detail the classical basis, the raag and its variations, the sur, the taal, and their interplay. He garnered a good measure of fan following for this program.

He had joined AIR in Lucknow, but he was soon transferred to Bombay station, where he would take on the anchor role for such noteworthy programs as ‘Hawa Mahal’, ‘Sangeet Sarita’ and ‘Chhaaya Geet’, for many years. There is some mention that he was approached to sing for music director Ravi in BR Chopra’s ‘Nikaah’ (1982), but apparently his association with AIR and his popularity as the anchor of mainline radio programs, came in the way of his further association with the world of films.

The two songs of ‘Razia Sultan’ became very popular in their time – the record sales were impressive. But as destiny would have it, this rise in popularity was accompanied by the most unfortunate health news for Kabban Mirza. He was detected with cancer of the larynx. This was a stroke of extreme bad luck from which he could never recover. His voice and his throat were his vital and essential assets. And that is where fate struck its most unkind blow. He went into prolonged treatment, but eventually he had to be operated upon. The year was 1993. He recovered from surgery and returned home. Thankfully, the malady seemed to be in remission, but then never got to use his voice for any serious and significant assignments.

Mirza, who was admitted to Jaslok Hospital on May 9 after he complained of cough and neck pain, came back home minus his once-famous voice. The tracheotomy tube inserted in his windpipe allows him to breathe, not speak. ‘‘He was diagnosed with throat cancer and treated 10 years ago also. But its relapse has shattered us. He won his bread and our happiness through his voice. Now he has lost that very voice,’’ bemoans Rifat, Mirza’s daughter.

The respite from the physical predicament lasted for a decade. The problem reared its painful head once again, and in May/June 2003, he had to undergo another surgery that resulted in the removal of a significant part of his larynx, leaving him practically with no sound in his throat. His vocal communications were reduced to very limited rasping utterances at the best. This regrettable fate for someone who had once been honored with the Golden Voice Award by the AIR. He reportedly died in June 2006.

[Based on information collated from the articles by Mohd. Wajihuddin in Indian Express dt. 24-6-2003, Ganesh Vancheeswaran in scroll.in, and Sudhir ji in Blog ASAD,  muVyz, HFGK and my notes, with thanks to all.]

Song- Dil Thaame Huye Baithe Hain Bechain Nazar Hai (Jungle King) (1959) Singers – Babul, Uma Devi, Meera Shiraz, Lyricist – Anjum Jaipuri, MD- Bipin Babul
Babul + Khurshid Bawra
All Chorus

Lyrics (Provided by Sudhir)

dil tha..aame huye. . .
baithe hain. . .
haaye
bechain nazar hai

dil thaame huye
dil thaame huye baithe hain
bechain nazar hai
kehte hain muhabbat jise
kuchh tumko khabar hai
dil thaame huye baithe hain
bechain nazar hai

dil thaamne ke laakh sabab hote hain nadaan
ey ey ey hey
beemar hai
eeekhiy
beemar hai khud
haan
beemar hai khud
ya hai koi dost pareshan
ya phir kisi mehmaan ke aane ki khabar hai
ya phir kisi mehmaan ke aane ki khabar hai
ey ey ey
dil thaame huye baithe hain
bechain nazar hai
kehte hain muhabbat jise
kuchh tumko khabar hai

aati hain muhabbat mein kabhi aisi bhi raaten
neend aati nahin hoti hain taaron hi se baaten
ae ji taaron hi se baaten
ho ji taaron hi se baaten
jis dil mein mohabbat ho ye usko hi khabar hai
jis dil mein mohabbat ho ye usko hi khabar hai
dil thaame huye baithe hain
bechain nazar hai
kehte hain muhabbat jise
kuchh tumko khabar hai

ho (??) pe insaan to kabhi neend naa aaye
kaanton pe bhi so jaaye jo maa lori sunaaye
hmmm hmmm hmmm
maa baap ke kadmon mein muhabbat ka nagar hai
maa baap ke kadmon mein muhabbat ka nagar hai
dil thaame huye baithe hain
bechain nazar hai
kehte hain muhabbat jise
kuchh tumko khabar hai

raste hain alag pyaar ki manzil hai magar ek
laakhon hain tamannaayen to kya khush hai magar ek
laakhon hain tamannaayen to kya khush hai magar ek
hanste huye chalna ye muhabbat ka safar hai
hanste huye chalna ye muhabbat ka safar hai

dil thaame huye baithe hain
bechain nazar hai
kehte hain muhabbat jise
hum sab ko khabar hai
dil thaame huye baithe hain
bechain nazar hai

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

दिल थामे हुये
बैठे हैं
हाए
बेचैन नज़र है

दिल थामे हुये
दिल थामे हुये बैठे हैं
बेचैन नज़र है
कहते हैं मोहब्बत जिसे
कुछ तुमको खबर है
दिल थामे हुये बैठे हैं
बेचैन नज़र है

दिल थामने के लाख सबब होते हैं नादां
ए ए हे
बीमार है
ईखी॰ ॰ ॰
बीमार है खुद
हाँ
बीमार है खुद
या है कोई दोस्त परेशां
या फिर किसी मेहमान के आने की खबर है
या फिर किसी मेहमान के आने की खबर है
ए ए ए
दिल थामे हुये बैठे हैं
बेचैन नज़र है
कहते हैं मोहब्बत जिसे
कुछ तुमको खबर है

आती हैं मोहब्बत में कभी ऐसी भी रातें
नींद आती नहीं होती हैं तारों ही से बातें
ए जी तारों ही से बातें
हो जी तारों ही से बातें
जिस दिल में मोहब्बत हो
ये उसको ही खबर है
जिस दिल में मोहब्बत हो
ये उसको ही खबर है
दिल थामे हुये बैठे हैं
बेचैन नज़र है
कहते हैं मोहब्बत जिसे
कुछ तुमको खबर है

हो (??) पे इनसां तो कभी नींद ना आए
काँटों पे भी सो जाये जो माँ लोरी सुनाये
हम्मम हम्मम हम्मम
माँ बाप के कदमों में मोहब्बत का नगर है
माँ बाप के कदमों में मोहब्बत का नगर है
दिल थामे हुये बैठे हैं
बेचैन नज़र है
कहते हैं मोहब्बत जिसे
कुछ तुमको खबर है

रस्ते हैं अलग प्यार की मंज़िल है मगर एक
लाखों हैं तमन्नायेँ तो क्या खुश है मगर एक
लाखों हैं तमन्नायेँ तो क्या खुश है मगर एक
हँसते हुये चलना ये मोहब्बत का सफर है
हँसते हुये चलना ये मोहब्बत का सफर है

दिल थामे हुये बैठे हैं
बेचैन नज़र है
कहते हैं मोहब्बत जिसे
हम सब को खबर है
दिल थामे हुये बैठे हैं
बेचैन नज़र है


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

5176 Post No. : 17149

Today’s song is from the film Bhagwan Parshuram-1970. It was a Mythological film made by Mewad films, Bombay. Directed by Babubhai Mistry – The king of trick scenes and a highly respected cinematographer since the 30’s decade. The 6 songs of the film were written by Madan Bharati and the music was by Jaikumar Parte, for whom this was a Debut film as a Music Director. The cast included Abhi Bhattacharya, Jayashree Gadkar, Niranjan Sharma, Sulochana, Saproo, Jeevan, Trilok Kapoor and many others.

I immensely like Mythological and religious films for many reasons. First of all, I have been seeing such films since my childhood. I was the officially nominated ‘Chaperone’ in my family to accompany the group of elders going to see these Dharmik films. I liked the film’s costumes, big palaces, trick scenes and the final ‘triumph of the good over the evil’ stories.

When the Talkie films’ era came to India, the early filmmakers tended to make films on folk tales and Mythological stories in the first decade, i.e. 1931 to 1940. In the second decade of 1940 to 1950 many religious films were made-some of them like Ram Rajya-1943 being All India blockbuster- and the third decade from 1951 to 1960 achieved the peak for Mythological films made, worth calling it ‘ The Golden period of Religious films’. As many as 124 such films were made in this decade. From 1961 to 1970 1nd 1971 to 1980 were ok, but 1980 onwards there was a decline in such films and Mythological films became scarce except some dubbed films from the South, where such films are made even today regularly. The Television became a competition to this as many Dharmik serials were shown on TV.

The reason is not that such films do not bring profit, but where was the audience to see them ? The interest, respect and knowledge of our heritage, the glorious past and our culture has diminished to a depth. Due to lack of reading habits, children have no knowledge of our religion or interest in Mythological stories. Today if you ask the following simple questions to Boys and Girls of the age group of 15 to 25 years, you will be shocked with their guess work , ignorance or blank faces….
1.Can you name the 4 Yugas ?
2. Which are the 4 Vedas ?
3. Can you name the 10 Avatars of Vishnu ?
4. Who were the wives of Laxman, Bharat and Shatrughna ?
5. For how many years the Pandava went to Vanvas and why ?

The reason for this apathy is not just modern life or modern gadgets. The causes are deep, like lack of reading habit, Text Books not having religious stories, no ” Sanskars” from parents, treating such knowledge as ‘ backward ‘ etc etc.

Anyway, all this apart, the film Bhagwan Parshuram-1970 was based on Vishnu’s avatar of Parshuram. It was a very good Dharmik picture. As we know, there were 10 Avatars Vishnu had taken.Parshuram was also one of them.(Matsya, Kurma, Varah, Narsinh, Waman,Parshuram,Shri Ram, Shri Krishna, Buddha and Kalki- which is yet to take place.)

Parshuram is known in Puranas, as one who made the Prithvi-Nikhshatriya. That is, he killed all the kshatriyas on this Prithvi, 21 times . The reason was, the Kshatriyas had gone out of control. With their weapons and power, they looted and ruled very cruelly. To control their “atyachar”, Vishnu came down as Parshuram.

Parshuram was born to Jamdagni Rishi and his wife Renuka. They had Surabhi-daughter of Kamdhenu-a cow which gave what one wished. Rakhshas Sahasrabahu,who was granted a boon of strength of thousand arms(by God Dattatreya),had become very cruel. He wanted Surabhi, but when he could not get her, he abducted Renuka. Renuka escaped and returned, but Jamdagni gave her a curse of Leprosy. Narada advises her to go on pilgrimage. Meanwhile, Parshuram helps a damsel in distress and she happens to be Princess Gayatri, daughter of Sahastrabahu. When Sahasrabahu comes to know this, he kills own daughter. Parshuram kills him and makes Gayatri alive again.

The entire film is full of major Gods like Bramha ,Vishnu, Mahesh and Indra,in addition to many lesser gods. The credits have shown a loooong list of 18 puranas etc to claim authenticity of this story. It was very interesting to see the trick scenes and revise our knowledge about Puran kathas.

In this film Jeevan had done his pet role of Narad, perhaps for the last time. He did this role many times in his career. The number of his Narad roles varies from 49 to 84 films in different sources.

This was the first film of Music Director Jay Kumar Parte in Hindi. He is yet another case of a talented person without Luck. I my last post I had written about Shridhar Parsekar, today we will have details about Jay Kumar, MD. His name was Jai Kumar Parte. He was also known as Bal Parte. He was born on 14-10-1932 at Kolhapur. His father was a doctor. His mother and father played Sitar which made the family atmosphere musical. He learnt Harmonium from Gopalrao Gokakkar. Once when Prithviraj Kapur came to Kolhapur, he got introduced to his father and they became thick friends.

Prithviraj took his father’s family to Bombay and he became the official medical officer of Prithvi theatres. Jai worked in the dance troupe of dancer Hema Kasargod and travelled all over India. When Shankar- Jaikishen became independent composers, their vacancy in Prithvi Theatres was filled up by Jai Kumar as a Harmonium player. Dattaram was his friend and Jai assisted him in almost all of his films. For many years he worked as assistant to kalyanji-Anand ji. Though Laxmikant-pyarelal were their arrangers, K-A kept Jai kumar as their assistant. He prepared the background music of many films of K-A.

Lata Mangeshkar also stayed in the same building (Shankarshet mansion) where jai Kumar lived in Bombay. Due to her encouragement he learned western instruments from V.Balsaraand became an expert in Chords. Kalyanji called him ” The king of Chords “. jai Kumar worked as assistant to Usha Khanna and as an arranger with Sardar Malik, Avinash Vyas, Iqbal Qureshi, Hridaynath Mangeshkar, Yeshawant Deo, Mahesh-Naresh and Shridhar Phadke. Playing Chords with Chromatic scales and in Whampine systems, he was an acclaimed expert.

He was keen on becoming a Music director. Finally, he gave music to Bhagwan Parshuram-1970 for the first time. Then came Putlibai-1972, Jaan Hajir hai-1975 and finally gawah-1979. He gave music to just 1 Marathi film-Mangalsutra-1968. Jaikumar Parte was more or less like an introvert in his temperament. He never asked anybody for work. He used to feel insulted frequently due to perhaps his complex as he was not a successful music Director.

He started sitting at home without canvassing for work and work never came to him. He went the usual way and finally breathed his last on 9-4-1981 at the age of just 48. His son Tushar works as a lead Guitarist and an arranger in Hindi films. (adapted from Marathi Sangeetkar Kosh and Rahe na Rahe hum, with thanks.)

In this film actor Niranjan Sharma played the role of Sahasrabahu. he was an actor, director, story writer, a dialogue writer and even a lyricist. He started his career with film pandav kaurav-1933 as a story writer and film Sach hai-1939 as a dialogue writer. His first film as an actor was Sawaal-1943-a film which he directed also. in all he acted in 129 films, most of which were mythologicals and B grade films. Before film Bhagwan Parshuram was released he died due to heart attack. He is credited in this film as (Late) Niranjan Sharma. 2 more films were released after his death, in which he played roles.

His daughter Gayatri’s role was played by Jayashree Gadkar- a well known and famous Marathi actress. Jayshree Gadkar (21 February 1942 – 29 August 2008) was a noted Marathi and Hindi movie actress and a star of Marathi cinema from the 1950s up to the 1980s. Jayshree was born into a Konkani-speaking family at Kanasgiri (Sadashivgad) near Karwar in the Uttara Kannada district of Karnataka, India. She married Bal Dhuri, a theatre actor best known for his portrayal of Dashratha in Ramanand Sagar’s TV serial, Ramayana (where Jayashree herself played his wife, Kaushalya). She also published an autobiography, Ashi Mi Jayshri.

She began her career as a child dance artist. She entered films as a tamasha dancer in movies. Her first role was that of a group dancer in V. Shantaram’s Jhanak Jhanak Payal Baaje in 1955, which featured Sandhya as the leading lady. Later, well known Marathi film Director Dinkar D Patil cast her in a small role with dance in his Marathi film Disat Tasa Nasat, opposite Raja Gosavi. This was followed by Sangtye Aika, a tamasha-based movie which was the first in which she played a leading role. This helped her gain fame and recognition and she started doing heroine roles. She eventually became one of the most successful and prolific heroines in the history of the Marathi film industry.

Many remember her for the famous song Bugdi mazi saandli ga jata sataryala. But Jayshree Gadkar was much more than that. She was not only a versatile and accomplished actress but the face of Marathi cinema in its golden era. This paved her way into mainstream Marathi cinema. Later, both Raja Gosavi and Jayshree gave many hits as a pair, like Aaliya Bhogasi [her first film], Utavla Navara, Yala Jeevan Aise Nav, Awaghachi Sansar and Paishacha Paus. Gath Padli Thakathaka was her first major role. Jayashree got a lot of success as a heroine in movies based on tamasha and lavni, the trend at the time.

Her film Saangtye Aika (1959) ran for 132 weeks in a theater. Her terrific dance performance in Bugdi mazi saandli ga became a craze among Marathi viewers. She was paired with the most popular heroes of the time like Suryakant (Pancharati, Rangpanchmi, Vaijayanta) and Arun Sarnike (Sawal Maza Aika, Ek Gav baara Bhangadi, Gangaulan). Manini was a turning point in her career. She was paired with Chandrakant Gokhle. She went on to act with his son Vikram Gokhle too, in films like Utavla Navra and Subhdra Haran.

Gadkar also acted in historical movies like Mohityaanchi Manjula and Shahir Parshuram. She won many accolades and awards at the national and state level. She was also felicitated with the state government’s V Shantaram Purskar, Gadima Purskar, P Savlaram Purskar and many more. She married co-star Bal Dhuri in 1975, and directed two films, Sasar Maher and Ashi Asavi Saasu.

Jayshree acted in about 250 films over a period of four decades. Her filmography was varied and included a rich repertoire of tamasha stories as also mythologicals in addition to socials and love stories.

In later years, Jayshree turned film director. Her directorial efforts include Saasar Maher and Ashi Asavi Saasu. She also acted in Ramanand Sagar’s TV Series Ramayana, as Kaushalya (mother of Rama) along with her husband Bal Dhuri, who was Dasharath (father of Rama). Her home is adorned with the photo of both in Ramayana costume. Her Autobiography Ashi Me Jayshree was published in 1986. Gadkar had received awards for her part in the films Manini, Vaijantha, Sawaal Majha Aika! and Saadhi Mansa.

Surprisingly, Jayashree Gadkar had acted in as many as 73 Hindi films. Her first film was Jhanak Jhanak Payal Baje-55 and the last film was Lav kush-97. However another film which was delayed came in 2009 was Jai jai Santoshi Maa. (Thanks to wiki, rediff.com, muVyz, HFGK and my notes)

Today’s song is sung by Mukesh. This is the second song from this film to feature here. This second song from the movie appears in the blog 11 years (3948 days)after the first song appeared in the blog on 28 november 2011.


Song- Koi roye koi gaaye kaisa tera sansaar maalik (Bhagwan Parshuram)(1970) Singer-Mukesh, Lyrics-Madan Bharti, MD-Jai Kumar Parte

Lyrics

Koi roye koi gaaye ae ae ae
kaisa tera sansaar maalik
kaisa tera sansaar
o o o o o o o
koi samajh nahin paaye ae ae ae ae
tera kaarobaar
maalik
kaisa tera sansaar

ujad jaaye jab rain basera
panchchi sir dhun roye
ujad jaaye jab rain basera
panchchi sir dhun roye
koi na jaane dard kisi ka
sab matlab mein khoyen
ambar neer bahaaye ae ae ae ae
dharti kare pukaar
maalik
kaisa tera sansaar

din ke sang toone raat banaai
phoolon ke sang kaante
din ke sang toone raat banaai
phoolon ke sang kaante
jaane kahaan kis jagah baithh kar
tu ye sukh dukh baante
patjhad jahaan muskaaye ae ae ae ae
roye wahin bahaar
maalik
kaisa tera sansaar
koi roye koi gaaye ae ae ae ae
kaisa tera sansaar
maalik
kaisa tera sansaar
o o o
o o o o
o o o
koi samajh nahin paaye ae ae ae ae
tera kaarobaar
maalik
kaisa tera sansaar

koi dhoondhhe tujhe Badrinath mein
koi dhoondhhe Haridwaar
koi dhoondhhe tujhe Badrinath mein
koi dhoondhhe Haridwaar
koi dhoondhhe Kaashi mein tujhko
koi Rameshwar dwaar
sab teerath se paawan n n n n
teerath ganga dhaar
maalik
kaisa tera sansaar
koi roye koi gaaye ae ae ae ae
kaisa tera sansaar
maalik
kaisa tera sansaar
o o o
o o o o
o o o
koi samajh nahin paaye ae ae ae ae
tera kaarobaar
maalik
kaisa tera sansaar


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

This is a labour of love, where “new” songs are added every day, and that has been the case for over FOURTEEN years. This blog has over 17200 song posts by now.

This blog is active and online for over 5000 days since its beginning on 19 july 2008.

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