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

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This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 :

4935 Post No. : 16780 Movie Count :

4568

Today’s song is from an obscure C grade action film Chini Jadugar-1959.

The film was made under the banner of Noshirwan Movietone, Bombay, – possibly owned by the director of this film – Noshir Engineer. He was also its Producer. He was a specialist director of action/stunt/costume films. He directed 7 films, starting with the film Inteqam-1947. The came Shamsheerbaz-53,Carnival Queen-55, Diler Daku-57, Circus Queen-59, Chini Jadugar-59 and lastly it was Noor Mahal-1965, In 5 of these films the MD was Shafi M Nagari.

The composer for the film Chini Jadugar-59 was ‘Shafi M. Nagri’. It was a riddle. Who was this Shafi Nagri ? In a few films, his name also appeared as Shafi Nagri. I was tired of searching for information in books and on the Internet, about this Shafi. Finally, the riddle was solved by Shri Girdharilal ji Vishwakarma, the famous Historian and Collector of songs. He explained that this person was none other than Shafi mohd. Nagri -popularly known as Mohd. Shafi !

Composer Mohd. Shafi ( 25-12-1925 to 30-4-1980 ) was one of those talented artistes of Hindi Film Music who was only used by others and never got enough credit for his work.He is honoured as “The original Arranger” in the industry.He was an excellent Sitar player. He started with the Imperial Film company-where he played Bulbul Tarang. In 1937 he went to Calcutta, joined New Theatres and played Sitar in films Kapal Kundala-39 and Aandhi-40, as an assistant to Pankaj Mullick and K.C.Dey. He played the sitar in the film “Ujala”-42. In this film, the Hero-Prithviraj kapoor was shown as a Sitar player,hence the expertise of Shafi was fully utilised in this film.

Starting with the film ‘Haqdaar’-46, he gave music to 19 Hindi films and 2 Marathi films. He worked with Naushad, as his assistant and Arranger, for 14 years.He was considered a ‘Dada’ in Background music.He gave Background music to about 70 films( for Naushad and others). For Mughal E Azam, K.Asif used to send his personal car to fetch him to studio. It was said that Shafi gave the first break to Suman Hemmadi(Kalyanpur) in Mangu-54 and Hemlata in the unreleased film Iraada.

Shafi had bought his first car when he was just 15 year old. He had a posh flat in Shivaji Park area of Dadar in Bombay. In the end , everything was gone.He had helped families of Shakeel Badayuni and Ghulam Mohammed after their deaths. However in his last difficult days , except Rafi, no one came for his help. In the final few months, his memory had gone. His Begum ruefully said,” Good that he does not remember anything. All took his advantage and gave him nothing. There were more things to forget than to remember ! ”

It is said that the entire music of Sohni Mahiwal-58 was done by him. Naushad was sick during this period and did not attend even one recording. “Do hanson ka joda” and “Dhoondo dhoondo re saajna” Gunga Jamuna-61 were his creations. He used to give tunes to many composers too-whoever asked for help.

It is believed that Shafi also acted in 2 films, namely Jungi Jawan-43 and Diler Detective-48. As a MD, he gave music to 19 films and composed 125 songs.

Film Chini jadugar-1959 had music by Shafi M Nagari. Now, who is this composer ? A search on HFGK gives names of films for him, namely Krishna Kanhaiya-52, Shamsheerbaz-53, Sher dil-54, Carnival Queen-55, Diler Daku-57, Circus Queen-59 and Chini Jadugar-59. Well known Music expert and collector Shri Girdharilal Vishwakarma ji has confirmed that it is none other than composer Mohd. Shafi only. In this name he gave music to 7 films and composed 48 songs.

During the Studio system and later on, few known MDs too availed of this trick to find a way out of the rules. For example, Snehal Bhatkar used different names to give music as long as he worked in HMV. C.Ramchandra used the name Annasaheb or P Ramakant when giving music to action/stunt films, Lata Mangeshkar gave music in the name of Anandghan, Hafiz Khan Mastana used the alias Gunjan and S D Batish used Nirmal Kumar. So, it is no wonder that while assisting Naushad for so many years, Mohd. Shafi used an alias for giving music to outside films.

The cast of the film Chini Jadugar consisted of Kamran, Krishnakumari,Shaikh, Habeeb,Vasantrao pehelwan, Ismail,Rajni, Moti (Dog), Ustad (Horse) and many others. Kamran was the Hero. Kamran khan Rizvi was a regular Stunt Hero and I used to enjoy his films. He started his film career with Baghi Sipahi-36, a film made by East India Film Co, Calcutta. A.R.Kardar was its Director. Later on Kamran came to Bombay, along with kardar, who was his Patron for quite some time.

Hero Kamran and Heroine Nazi was a popular combination of 12 stunt films, those days. Kamran worked in 52 films. In 1963, film Bachpan was being directed by Nazar Ahmed. He had some disputes with the Producer and he left the film midway. The Debutant Hero Salim ( father of actor Salman Khan) and Debutant Heroine Menaka ( Eldest sister of Daisy and Honey Irani…all daughters of Mrs. P.N. Irani, a greedy mother, who spoiled the childhood of her children for money) were in trouble. Kamran stepped in and completed the film by directing the balance part, without taking any money. During this period, he fell in love with Menaka and they got married. Her film career ended there only. They had one son and one daughter ( Actor, compere, Director Sajid Khan and famous Choreographer and Director Farah khan).

Kamran stopped getting Hero’s roles, as stunt films were not being made to that extent in the 70s and later period. He decided to become producer and Director. This proved to be his nemesis. He failed miserably,lost everything and became an alcoholic. He divorced Menaka, who worked as a Housekeeper in a 5 star hotel (Hotel Sea Rock) and he lived in his big flat in Versova with 2 children but no money. He died in 1985.

Kamran directed 11 films from Panch Ratan-65 to Ban Manush-80. His last film as an actor was Nastik-83.

In the cast there is the name of an actor, Shaikh. Sheikh was a Comedy actor in the 40s,50s and the 60s. He has acted in 170 films,as per Muvyz stats. He sang 10 songs in 7 films as per HFGK (Daulat ki duniya-47, Fifty Fifty-UR, Nakli Baap-49, Jiya Raja-49, Dushman-50, Hatimtai-56 and Naagmani-57).

He was essentially a B and C grade film comedian, so his name is not known to most people. Sanjeev Narvekar’s book, “Eena meena deeka” gives very little information about him. In his hey-days, he was popular in a class of people who were regulars of stunt,fantasy and action films. He was a fixture in almost all Wadia films. He was the main singer in the iconic qawali, “Humen to loot liya milke husn walon ne ‘ from the film Al Hilal-58. (It was the 5000th song on this Blog)

He had directed 2 films, Shahnaaz-48 and Mr.Toofan-63. He started his career in Hindi films with Pakke badmash-39. Before that he had acted in a Marathi film “Netaji Palkar-39″by Bhalji Pendharkar (info from CITWF). His last film was Aadamkhor-85. No information is available on his life anywhere.

Today’s song is a duet, sung by S.Balbir and Suhasini Kolhapure. She sang only 6 songs in 5 films like Sabse bada Rupiah-55, Shahi bazar-57, Chini Jadugar-59, Laalach-60 and Saaya-61., before disappearing without a trace.

With this song, film Chini Jadugar-59 makes a Debut on the Blog.


Song- Ye rut haseen ye raahen (Cheeni Jaadoogar)(1959)Singers- S Balbir, Suhasini Kolhapure, Lyricist- Akhtar Romani, MD- Shafi M. Nagari aka Mohd. Shafi
Both

Lyrics

hurr
haha

Ye rut haseen ye raahen

Ye rut haseen ye raahen
ye jawaan jawaan nigaahen
mehki hawaayen
behki fizaayen
dil kyun machal na jaaye
Ye rut haseen ye raahen

aankhon mein hai rang suhaane
honthon pe naye afsaane
ae kaash yahin thham jaayen
yoon pyaar ki ye mastaani
chhoote na saath
chhoote na haath
aao sapan ??yen
Ye rut haseen ye raahen

main phool agar ban jaaun
main bhanwra ban ke gaaun
ban jaaun agar main titli
main ban ke hawa lahraaun
aayi bahaar laayi qaraar
??yen
Ye rut haseen ye raahen

udte huye kaale baadal
lehraata hua ye aanchal
nazron mein anokhi masti
dil mein hai niraali halchal
jaage umang naache pawan
do dil jo muskuraayen
Ye rut haseen ye raahen
ye jawaan jawaan nigaahen
mehki hawaayen
behki fizaayen
dil kyun machal na jaaye
Ye rut haseen ye raahen


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 :

4929 Post No. : 16769

Today’s song is from a C grade film called Baghi Sardar (1956).

I remember once Atul ji had expressed his opinion that ‘many times the B and C grade films provide A grade music’. I tend to agree with his opinion on this issue. There are many examples of songs from costume, stunt, action and religious films which became very popular. Off hand I remember at least two songs. The first was “Zara Saamne To Aa O Chhaliye” from a religious film ‘Janam Janam Ke Phere’ (1957). It was sung by Lata and Rafi, written by Bharat Vyas and music was by SN Tripathi. This song not only became very popular, but it became the No. 1 song on Binaca Geet Mala for 4 weeks. The second was a Rafi song “Parwardigar e Aalam, Tera Hi Hai Sahara” from the film ‘Hatimtai’ (1956). There was another song also from this film”Jhoomti Hai Nazar Jhoomta Hai Pyaar” which too became very popular. This was a costume film.

Another example comes to my mind. A qawwaali from the film ‘Al Hilal’ (1958), a costume film. This qawwaali “Hamen To Loot Liya Mil Ke Husn Waalon Ne” became very famous. This song also had the prestigious honor of being the 5000th song for this Blog on 13-11-2011. Further, it had an unique honor of having write ups from 3 stalwarts, namely Atul ji, Sudhir ji and Raja ji. Incidentally, earlier in 1935 also there was a film Al Hilal, first directorial venture of the great Mehboob Khan. This was a film made by Sagar Movietone. The songs of this film also became very popular. However, since the playback had not yet started then, no records were issued for these songs.

I used to like watching religious films because of the trick scenes of the films. I liked stunt and action films for their death defying stunts by the actors and I saw costume films because of their King, Queen and evil Vazir stories. Children liking such films, for the reasons given here, is understandable, but I wondered how adults and grown up people came to see such films. Later I learnt that there is a child hidden in every adult.

This child in some adults gets excited with magic, supernatural strength and fighting. Such people constituted the audience of B and C grade films. The audience for religious films constituted old adults, and ladies, who believed in God’s power. Film makers all over the world have always taken such people as their targets and films were made to attract them and satisfy their emotions.

Right from the First Silent film ‘Raja Harishchandra’ (1913), films have been made on religious stories. A vast nation like India provides plenty of folk tales and all these have been used to make films. In addition, Arabian Night stories of 1001 was yet another bumper source of masala for making interesting films. The 30’s, 40’s, 50’s and to some extent the 60’s had been making stunt / action / costume / religious films. In early films, till film ‘Aan’ (1952), the actors working in the films used to do all the stunts themselves. From this film, use of doubles and fight masters/composers started being used. In film ‘Aan’, the fights and the horses were managed by Azim Bhai and Douglas took care of fight scenes involving fencing. Same year, in films like ‘Sinbad Jahaazi’ (1952) and ‘Shin Shinaki Boobla Boo) (1952), the south developed hero Ranjan (real name Ramnarayan Venkatraman Sarma) appeared on Hindi scene in Bombay and entertained us with his Olympic level fencing fights. Earlier he was seen in ‘Chandralekha’ (1948), ‘Nishan’ (1949) and ‘Mangala’ (1949) – remakes of their Tamil films. In the subsequent years these Fight Masters became ‘Action Directors’.

In the films from 1935 to the 1950s, Nadia and others used to perform the stunts themselves. In the 60’s – a decade dominated by romantic films, for heroes, the action was mostly relegated to the climax scenes to rescue the ‘Damsels in Distress’ ! The 60’s also saw the emergence of ‘The Action Hero’. The first film, where a hero dared to bare his chest for the first time, was in film ‘Phool Aur Patthar” (1966) and the action hero was born with Dharmendra !

The set of actors, directors, producers, banners and even the audience was fixed for such films. Certain theaters were earmarked to exhibit such films in every city and small town. Some heroes of these action films, later on, became directors for such movies e.g. Majnu, Kamran, Daljit, John Cavas etc. ‘Baghi Sardar’ (1956) was also directed by Majnu, who started his talkie film career with a parody film ‘Majnu’ (1935). Though his original name was Harold Lewis, he was branded as Majnu and he too continued with this name.

MAJNU – Harold Lewis was a Punjabi Christian. He was born on 2-11-1913. It is said that before joining films, Harold had worked in circus as a joker. He acted in 3 Silent films, including ‘Flames Of Flesh’ (1930).

He was the childhood friend of Roop K Shorey. When Shorey wanted to make his second film, he chose Harold as the hero. Majnu was introduced as a leading man opposite Shyama Zutshi by producer/director Roop K Shorey in film ‘Majnu’ (1935) — a musical comedy satirizing the old story of Laila Majnu, produced, directed and shot in Lahore with Ghulam Haider as music director. With daring motorbike stunts and special effects, audiences were thrilled at the sight of Majnu strapped on the railway tracks by the villain.

The film was a success and RK Shorey repeated Majnu as the leading man in his next film, ‘Tarzan Ki Beti’ (1938). ‘Tarzan Ki Beti’ was hailed as the best jungle picture ever produced in India at the time. Filmed in the snowy Himalayas, the film topped its predecessor in its action sequences and placed Punjab on the entertainment map of India and the world.

Majnu appeared in almost all of Shorey’s films. He was also doing films with other producers. In 1942 he did a double role in ‘Nishani’ and in 1943 he directed his first film ‘Paapi’. Shorey also gave him a film ‘Badnami’ (1946) for direction and it was here that Majnu met IS Johar who wrote the story and dialogues of ‘Badnami’.

Majnu paired with IS Johar in ‘Ek Thi Ladki’ (1949), the debut film of Johar. Later they made a comedy pair in 10 films, including the hit ‘Hum Sab Chor Hain’ (1956). His last film with Johar was ‘Akalmand’ (1966).

Majnu acted in 77 films. His first film was ‘Majnu’ (1935) and his much delayed and released last film was ‘Shri Krishna Bhakti’ (1973). He acted in many Punjabi films also. He directed 8 films including ‘Paapi’ (1943), ‘Badnami’ (1946), ‘Son Of Alibaba’ (1955), ‘Tatar Ka Chor’ (1955), ‘Malika’ (1956), ‘Basre Ki Hoor’ (1956), ‘Baghi Sardar’ (1956), and his last film – ‘Chandu’ (1958).

Harold Lewis aka Majnu died on 26-3-1974.

The cast of this film consisted of Daljit, Chitra, Majnu, Ameeta, Amarnath, Prithvipal, Shaikh, Helen, Kammo, Satish Batra, Ramesh Thakkar, Shakuntala, Kanchanmala, Jugal Kishore etc. The music for this film was given by composer BN Bali. He was one of those small time composers, who got only the B and C grade films. First of all, let us know who this BN Bali is. There was yet another composer Bali, in the early era of Hindi films – HCBali or Harishchandra Bali (20-3-1906 to 24-6-1976), the expert classical singer who changed into a successful composer is credited with discovering KL Saigal in the early 30s.

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

“Jab Un Ka Khayal Aata Hai”, sung by Rafi in ‘Pehla Pehla Pyar’ was a copy of Rafi’s “Jin Raaton Mein Neend Ud Jaati Hai” by Hansraj behl. “Sapne Meine Saiyan Tum Aaya Na Karo” – Asha / Manna Dey song was a true copy of OP Nayyar’s “Ek Pardesi Mera Dil Le Gaya”, and “Tu Us Ka Kar Bhala” – Rafi in ‘Raja Vikram’ sang the same “Bhagwaan” tune as in “O Duniya Ke Rakhwaale” etc.

Today’s song also resembles some song, but I am unable to recollect exactly. If some reader recognizes the original song, please mention as your comment here.


Song – Lagi re lagi re lagi lagi re (Baaghi Sardaar)(1956) Singers- Geeta Dutt, Satish Batra, Lyricist- Bharat Vyas MD- BN Bali
Unidentified Male Voice

Lyrics

hey ae
lagi re lagi re lagi lagi re

lagi re lagi re lagi lagi re
lagi re lagi re lagi lagi re
meri mehfil mein hai bheed lagi
main kis’se kis’se pyaar karoon
hai dekh rahi aankhen kitni
main kis’se aankhen chaar karoon
haay kis’se aankhen chaar karoon
lagi re lagi re lagi lagi re

ye kehte mere ghar aao
wo kehte dil mein bas jaao
in mein kisko ghayal kisko zakhmi kisko beemar karoon
haay kis’se aankhen
haaye kis’se aankhen chaar karoon
lagi re lagi re lagi lagi re

lafde mein pado na jaane jigar
jhagde na karo yoon shaam pahar
paam papa pam paam papa pam
haahi hi hahai hi
are hum bhi hain tere deewaane
zara dekh lo humko ek nazar
bakta hai
tu bakta hai

ho o o o o
sab yoon hi bakne wala hai
mai kis kis ko aetbaar karu
haay kis’se aankhen
haay kis’se aankhen chaar karoon
haay kis’se aankhen chaar karoon
he lagi re lagi re lagi lagi lagi re

farhad ki kasmein khaayi hain
majnu ki mujhe duhaayi hai
teri mehfil mein maine dilbar
dil ki kaaleen bichhaayi hai
ae husn ki mallika haan kar do
apna dil bhi gulzaar karo

haay kis’se aankhen chaar karoon
lagi re lagi re lagi lagi re

ooh haaye
samjho to ishaare akl ke hain
budhhu
abey chup be
ulfat ki hain ye lalkaaren
kya samjhe
aap ik saath nahi tik sakti hain
ek myaan mein do do talwaaren
hat be
abe ja bey

o o
main jaan tumhaari hoon pyaare
lo tum se main ikraar karoon
haay kis’se aankhen
haaye kis’se aankhen chaar karoon
haaye kis’se aankhen chaar karoon
lagi re lagi re lagi lagi re
lagi re lagi re lagi lagi re
meri mehfil mein hai bheed lagi
main kis’se kis’se pyaar karoon
hai dekh rahi aakhen kitni
main kis’se aankhen chaar karoon
haay kis’se aankhen chaar karoon
lagi re lagi re lagi lagi re


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 :

4925 Post No. : 16762

Today’s song is from the film with a funny name- Pilpili Saheb-1954.

When I saw this film’s posters in Hyderabad in 1954 , I laughed at the title of the film. I thought that the film had to do something with the yellow colour ! None of my friends knew the meaning of this word. After intense discussion, we decided to go to our Hindi teacher-Mathur sir. He was from Allahabad and was a very jovial person. He treated the students with a lot of humour and gentle talk. So we did not feel any fear or awkwardness to ask him this question. Otherwise, in those days asking such questions to any teacher was a certain invitation to caning !

Mathur Sir explained that Pilpili Saheb means a villager who dons modern western clothes, like Pant, Shirt, Coat, Hat etc. Listening to this reply, I felt an urge to see the film. As such the film had few comedians like Agha, Sunder and Mehmood.

Out of the 9 songs of the film, 4 songs are already on the blog. The first song appeared here on 4-3-2011. It was a duet of Meena Mangeshkar and Mohd. Rafi. That time Atul ji had called the song a very rare song and rightly so. That was because Meena Mangeshkar had sung very few songs in Hindi films. (She had already become Meena Khadikar after her recent marriage then, in 1953). She sang only 13 songs in 11 films, during a period of 38 years ( 1952 ton 1990). Earlier it was felt that her songs are only 12 in 10 films, but Mahesh Mamdapur has found out one more song of Meena from film Pehli Shadi-1953, with Asha Bhosle and Mohantara Ajinkya (nee Talpade). Thank you, Mahesh ji. Today’s song is a triad with Usha Mangeshkar and a newcomer Shaminder Singh Pal.

Here is a short Bio of singer Shaminder Singh, for the benefit of those who are not aware of this less known singer, who sang in Hindi films between 1954 to 1973.This was written by our Sadanand Kamath ji on 18-9-2012 in one of his posts. Thanks for this.

Shaminder( also known as Bhai Shaminder Singh) born in 1930/31, belonged to a wealthy landlord sikh family in Muktsar Sahib district of Punjab. It is said that the family owned almost half of the village where they stayed. Since his childhood, he was fond of music. He was a fan of Mohammed Rafi and Talat Mehmood whose songs he would listen to on the radio for hours and sing in sync with their songs. He adored Lata Mangeshkar as a Goddess. As he grew up, singing became his hobby and he could sing songs in the style of Rafi and Talat at ease.

As I said earlier, singing a duet song with Lata Mangeshkar was his obsession and to achieve his goal, he left his village for Bombay (Mumbai) some time in 1953 and met Sardul Kwatra, who was an upcoming music director. Sardul found that Shaminder had the quality of a professional playback singer. He felt that there was a man who could sing in a voice which had a blend of Rafi and Talat. So he decided to use him as a playback singer for songs in his Punjabi film ‘Vanjara’ (1954) which was being produced by Sardul’s family. In this film, there was a duet song which he was planning to get Shamshad Begum to sing with Shaminder. However, Shaminder was bent upon singing this song with Lata Mangeshkar. To fulfill his obsession, he offered a carrot to Sardul by way of financing his Punjabi film. This trick worked with Sardul. I had read elsewhere that Sardul Kwatra was a charming person especially among women folks. Probably with his charm, he must have persuaded Lata Mangeshkar to sing a Punjabi song with a newcomer Shaminder. Fortunately for Shaminder, not only this duet song but all songs sungs by him in this film became hits with the masses of Punjab.

Having tasted success, Shaminder was now interested in singing in Hindi films and again his obsession was singing a duet with Lata Mangeshkar. He got the chance to sing with her in the film ‘Pilpili Saheb’ (1954). It is said that he also got a chance to sing with Asha Bhonsle in some other films but I could not locate any such song in YT. In any case, he did get the chance to sing a song with Geeta Dutt in the film ‘Son of Alibaba’ (1954). I find that he sang almost all of his Hindi film songs under the baton of Sardul Kwatra. Later, Mohinder also took him as a playback singer for Punjabi films.

Having fulfilled his obsession to sing with Lata Mangeshkar, he was no longer very much interested in playback singing. In all, he sang only 15 Hindi songs in 8 films, namely Pilpili Saheb-54, Pensioner-54, Tees Maar Khan-55, Son of Alibaba-55, Jalwa-55, Ghar ghar mein diwali-55, Kala Chashma-62 and finally Mera Desh mera Dharam-73. By late 50s/early 60s, he turned to acting in Punjabi and Hindi films. In Punjabi films he mostly acted in lead roles while in Hindi films, he got side roles in a few films like ‘Aas Ka Panchhi’-1961, ‘Anpadh’ -1962, Bank Robbery-1969 and Sultana Daku-1972. He acted mainly in Punjabi films.
He passed away some time in the early 90s.( The article is a little adapted to include his film and song details.)

I had given the storyline of the film Pilpili Saheb-1954, some 11 years ago, as a comment on the film’s second song presented on 3-11-2011. For the benefit of our new readers, here it is…

PILPILI SAHEB(1954) was a Kwatra film production,produced by Malika and N.S.Kwatra,Directed by H.S.Kwatra and Music by Sardul Kwatra. Thus it was an all family affair.
The film cast was full of funsters like Agha,Sunder,Mehmood and a couple of beauties like Shyama,Kuldip kaur,Lalita kumari,Helen,Mumtaz(old),but still it failed at the Box office.

The story and Dialogues were by S.P.Bakshi and S.K.Prabhakar and s/play by Ravi Kapoor.

Pilpili Saheb is an Emotional-Romantic Musical-Comedy-Thriller Family Drama Film crafted with excellence by H.S. Kwatra. The Story revolves around the life of Pilpili Saheb (played by Agha)- A Kind-Hearted man living alone in this world and loves to live by his means and falls in love with Rani (played by Shyama)- A Sweet girl and wants to marry her. He crossed every obstacle and hurdles in front of him and wanted her to love him- without knowing she is married to another man (played by Pran), leading to consequences.

In this film Agha is PILPILI SAHEB.In his villege,he loves Rani(Shyama) for whom he wants to build a Taj Mahal,but first he must win her love to marry her and she should die before him !

To get her he tries everything,leaves the village,rides a Donkey,cleans utensils,becomes a photographer,acts on stage-a clown,a villain,a Hero etc etc.
There is a twist in the tale.Thru a stage artist,it is revealed that Rani is already a married woman and her husband is Pran.
Even his friend Sunder who loves Kuldip Kaur,marries and lives happily.

Indian cine goers have fixed ideas about the end results of a film-like Good wins over Bad,Lovers either unite or die,The Poor wins in the end etc.The end either has to be a Tragedy or a happy ending.

Pilpili Saheb had an utterly strange ending which was seen as cheating by the viewers,instead of getting amused. Therefore,although the film had good music,comedy scenes etc,still it failed miserably at the Box office.

Let us now listen to this rare song of Meena Mangeshkar, with sister Usha Mangeshkar and Shaminder Singh.


Song-Sapnon ki duniya mein naye rang laaya (Pilpili Sahab)(1954) Singers- Shaminder Singh, Usha Mangeshkar, Meena Mangeshkar, Lyricist- Shailendra, MD- Sardul Kwatra

Lyrics

dhintanana dhite dhite dhintanana
dhintanana dhite dhite dhintanana
aa aa aa aa
aa aa aa aa
aa aa aa aa
dhintanana dhite dhite dhintanana

sapnon ki duniya mein naye rang laaya
o man bhaaya
phaagun aaya
phaagun aaya
phaagun aaya
phaagun aaya
sapnon ki duniya mein naye rang laaya
o man bhaaya
phaagun aaya
phaagun aaya
dhintanana dhite dhite dhintanana

galiyon mein nikli hain gokul ki goriyaan
gokul ki goriyaan
gokul ki goriyaan
o o o o o o
haathon mein
haan haan haathon mein pichkaari
nainon mein doriyaan
nainon mein doriyaan
nainon mein doriyaan
o o o o
aa aa aa aa aa
aankhon mein aao tumhen dil ne bulaaya
jiya lahraaya
phaagun aaya jee
phaagun aaya
phaagun aaya
phaagun aaya
dhintanana dhite dhite dhintanana

ankhiyaan churaa ke yoon bachke na jaao ji
bachke na jaao ji
bachke na jaao ji
o o o o o
rang daalo
haan haan rang daalo hamko
ya aap rang jaao ji
aap rang jaao ji
aap rang jaao ji
o o o o o o
aa aa aa aa aa
aise mein jisne bhi daaman bachaaya
wo pachhtaaya
phaagun aaya jee
phaagun aaya
phaagun aaya
phaagun aaya
sapnon ki duniya mein naye rang laaya
o man bhaaya
phaagun aaya
phaagun aaya
phaagun aaya
phaagun aaya
dhintanana dhite dhite dhintanana
aa aa aa aa aa aa
aa aa aa aa aa aa


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

Blog Day :

4922 Post No. : 16753

Today’s song is from the film ‘Dekho Jee’ (1947).

The year 1947 is a reminder not only for the Independence of India, but also for the upheaval that took place in the film industry that time. More than in any other industry in India, Muslims were plentiful, working in different sections and departments of the Hindi film industry. majority of them migrated to the newly formed Muslim Nation of Pakistan. This did create a lot of disturbance in the film industry. Right from the beginning of 1947, there were signs that soon the British would leave India – after dividing it into two Nations, India and Pakistan. When the month and date became known for the Partition, there was a great hurry among the filmmakers to complete their projects on hand and in process, compromising many factors like quality of the film, number of songs and such other things.

This resulted in the record number of films made in 1947 alone – 181 Hindi films and about 100 films in other languages in India. This was a record which remained unbroken till 1985, when 187 Hindi films were made. Thus from 1931 to 1985, this record remained unbroken for more than 50 years ! Obviously, this resulted in a big compromise on quality to achieve quantity with many films produced half heartedly. Most or rather many films made in 1947 remained obscure, unheard of and many flopped due to poor quality. Actually only few films were released in 1947, because many films were released in 1948 and 1949, with some films being released in Pakistan too.

Did you ever hear about films ‘Amar Asha’, ‘Angoorbala’, ‘Attention’, ‘Barrister’, ‘But Tarash’, ‘Chalte Chalte’, ‘Chandrahas’, ‘Daghabaaz Dost’, ‘Dehati’, ‘Ek Kadam’, ‘Gaurav’, ‘Giribala’, ‘Heera’, ‘Intezar Ke Baad’, ‘Jhalak’, ‘Jurmana’, ‘Khaufnak Aankhen’, ‘Lalaat’, ‘Mangalsutra’, ‘Moti’, ‘Sewagram’, ‘Stage Girl’, ‘Tohfa’ or ‘Utho Jaago’ ? Of course not all films were below standards. Some of the landmark films were also made in 1947, like ‘Shehnai’, ‘Mirza Sahiban’ and Parwana etc. However by and large the picture was like this only.

Today’s film ‘Dekho ji’ was also one such film. The producer/director,MDs, hero heroine and most actors of this film migrated to Pakistan, one after another in few years’ time. The film was made by The Punjab Film Corporation, Bombay. The Producer/ Director was Wali saheb. There were 2 MDs, namely Tufail Faruqui and Sabir Hussain There were 11 songs in the film but only few songs are available on YouTube. The cast consisted of Mumtaz Shanti, Anjum, A Shah, Haroon, Khatoon, Afzal, Dilshad, Mintobai, Gulnar etc.

When we talk of partition and migration of artistes from one country to another, only the famous and the well known names are taken. There were hundreds of small-time actors, directors, lyricists, composers, instrument players, chorus singers, technicians etc who were not known to many and also had migrated for various reasons. The other day I was reading a book, ‘Who’s Who: Music in Pakistan’ written by A Shaikh and M Shaikh. In this book I found several names of singers, composers, lyricists and above all instrument players, who shifted to Pakistan.

It is a well known fact that in olden times, the instrument players, chorus singers and orchestra players had personal attachments and preferences for particular composers and vice versa too. That is why when Ghulam Haider went back to Lahore after partition, he was extremely happy to meet some of his orchestra players in Lahore. In one of the interviews he had said that he felt like he was having a family reunion. He arranged a get together for all those people.

In the Hindi film industry, many partition immigrants came back to dominate and transform the scene here. Filmmakers like Sippy, BR Chopra, Yash Chopra, Ramanand Sagar-all India’s most successful commercial producers were also partition immigrants. Once heavily dominated by Muslim film makers, writers, actors and composers, the Hindi film industry changed drastically after the partition, only to again be dominated after 60-70 years !

Many successful film personalities had gone to Pakistan between 1947 and 1950, including producers like Mehboob, Kardar and Shaukat Hussain Rizvi – who went to Lahore with capital to buy the Hindu-owned studios. Prominent producers of Lahore like Dalsukh Pancholi and Roop K Shorey were forced to sell their studios and properties for a song and flee for their life to India after riots in Pakistan post partition. Some Muslim artistes returned to India after a few years when they realized that Lahore film industry had largely collapsed due to exodus of prominent Hindu producers.

The crucial role played by films in Indian culture could be seen in the refugee camps of Delhi where Hindi movies were shown for free for two hours every evening to all. ‘Film India’ magazine commented that there were more than 15,000 refugees from Sindh and Punjab in Bombay. It also suggested that good looking and educated women can be employed in films. Due to polarization, there was much inflammatory writing published in this magazine at that time.

However, as before and always Bombay film industry maintained its secular culture. A big rally, led by Durga Khote and Prithviraj Kapoor was taken out on 2-10-1947 in Bombay. The entire film industry had joined in it and slogans like ‘Hindu-Muslim bhai bhai’ etc were shouted in the rally. Similarly, to pacify over one lakh refugees from East Pakistan (now Bangaladesh) in Calcutta, film artistes had led a rally in Calcutta at the same time.

The famous Music Historian James McConnachie said, ”As India marched into an uncertain future – in 1947 – film songs offered something unique: they helped creating a sense of belonging to One Nation, something that the divisive extremist right wingers in India, chanting ”Hindustan for Hindus” could never achieve. When Hindi film singers sang, nobody cared that Mohd Rafi was a Muslim or Lata was a Hindu Brahmin. Its great music bridged the gap between Hindus and Muslims, much better than any Politician (including Gandhi and Nehru) ever could achieve.” -World Music-The Rough Guide,Vol II,pp 106,pub.1990 by Harper.

Like many top class composers who migrated to Pakistan, there were some small time or recently started composers who also left, like Inayat Hussain (only 1 Punjabi film ‘Kamli’), Fateh Ali Khan (2 films – ‘Aaina’ (1944) and ‘Director’ (1947), Tufail Farooqi (2 films – ‘Sona Chandi’ (1946) and ‘Dekho Jee’ (1947)). Inayat Hussain of course became a legend in Pakistan.

Today we will talk about TUFAIL FAROOQI.

Tufail was born in Taran Taaran, Amritsar, Punjab, on 10-7-1918. After taking musical lessons from Ustad Abdul Waheed Khan for several years, he joined AIR, Lahore. He also worked with many composers. Finally, he got his first film, ‘Sona Chaandi‘ in 1946. Out of 12 songs of the film, he composed 10 songs and 2 were composed by DC Dutt. In this film Tufail gave an opportunity to a young but promising newcomer, who was struggling to get established as a playback singer – Mohammed Rafi. Rafi got 4 songs in this film and he was overjoyed at this break.

Later Tufail gave music to his second film- ‘Dekho Jee’ (1947). Here too he composed 6 songs and the other 5 were composed by composer Sabir Hussain. Actually, Sabir Hussain was his assistant and just to encourage him, Tufail credited these songs to him.

After partition,Tufail migrated to Pakistan along with family, with Sabir Hussain in tow, but had to struggle hard there too. His first film was ‘Barkha’ in 1953. Tufail gave music to 37 films, mostly Punjabi films and less Urdu. His film, ‘Bahadur Kissan’ (1970) had a song – ”Mera Sona Des Kisaan Da”, sung by singer Masood Rana. This tune was a blatant direct copy of the song ”Ye Desh Hai Veer Jawaanon Ka” from ‘Naya Daur’ (1957). The Pakistani song became a tremendous hit, not only with the Punjab farmers but also was played on Radio and TV often.

Tufail Farooqi’s sister was Master Ghulam Haider’s first wife (Umrao Zia Begum was his second wife), from whom he had a son – Saleem Haider. Later Saleem joined Pakistan Army and rose upto the rank of Lt. General. He retired in 2000.

Tufail worked till early 80s. He married the famous Pak singer Pappu Pukhraj in 1953. He died in Lahore on 25-3-1988.

Another actor in the cast, who was quite a popular comedian those days was A Shah aka Aziz Shah. He was born in 1910, at Sialkot. He did not have much schooling, except primary education at Lyallpur and at Islamia High School, Lahore. Due to his rich and sweet voice, he used to recite Holy Quran, on farmaish. He wrote poetry also.

He joined Saroj Movietone in 1930, under Mohan Bhavnani as an artiste at Rs. 40 per month. He acted in ‘Shakuntala’ (1931) and ‘Gul Bakavli’ (1932). He had to take a 2 year break, due to an illness. Back in Bombay, he worked in the film ‘Fidai Tohid’ (1934) as a hero. He gave music to the film ‘Gunehgar’ (1936). He wrote dialogues for ‘Mother India’ (1938) and ‘Daughters of India’ (1939). His first comic role was in Ranjit’s ‘Mirza Sahiban’ (1935). He became famous with his role in Punjabi film ‘Kurmai’ (1941).

His best role came in ‘Sharada’ (1942), as Munshi Udharchand Shikarpuri. This was repeated by him in the film ‘Keemat’ (1946). Some of his 11 films were, ‘Dhandora’ (1941), ‘Armaan’ (1942), ‘Sukh Dukh’ (1942), ‘Kanoon’ (1943), ‘Sanjog’ (1943), ‘Geet’ (1944) and ‘Ek Din Ka Sultan’ (1945). After 1947, he stopped acting and wrote lyrics in films like ‘Raat Ki Rani’ (1949), ‘Namoona’ (1949) and ‘Ek Teri Nishani’ (1949). After this he migrated to Pakistan and we have no further information about him anymore. Baburao Patel of ‘Film India’ magazine was his fan.

We do not know who sang today’s song, since the HFGK does not mention name of the singer.


Song- Mela mela mela jawaani chaar dinon ka mela (Dekho Jee)(1947) Singer- Unknown female singer, Lyricist-Wali Sahib, MD- Tufail Faruqui

Lyrics

mela mela mela
mela mela mela
jawaani chaar dinon ka mela
haaye jawaani chaar dinon ka mela aa aa
haaye jawaani chaar dinon ka mela aa aa
mela mela mela
jawaani chaar dinon ka mela

chaar dinon ke mele mein
kyun phire akelaa
chaar dinon ke mele mein
kyun phire akelaa aa aa aa
haaye jawaani chaar dinon ka mela aa aa
hoye jawaani chaar dinon ka mela aa
mela mela mela
Jawaani chaar dinon ka mela

joban par mat jaiyyo o o
joban par mat jaiyyo
ye harjaai re ae ae
dukh se mat ghabraiyyo
dukh se mat ghabraiyyo
ye parchhaai re
jyon paani ka rela rela rela
mela mela mela
jawaani chaar dinon ka mela

jab tak phool mein rang roop hai
jab tak phool mein rang roop hai
tab tak
tab tak bhanwra doley ae ae
ab tak ambuwan daal hari hai
ab tak ambuwan daal hari hai
tab tak koyal boley
tab tak koyal boley
kaun kisi se khela khela khela
mela mela mela
jawaani chaar dinon ka mela aa
haaye jawaani chaar dinon ka mela aa
hoy jawaani chaar dinon ka mela aa
mela mela mela
jawaani chaar dinon ka mela aa

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

मेला मेला मेला
मेला मेला मेला
जवानी चार दिनों का मेला
हाए जवानी चार दिनों का मेला॰ ॰ ॰
हाए जवानी चार दिनों का मेला॰ ॰ ॰
मेला मेला मेला
जवानी चार दिनों का मेला

चार दिनों के मेले में क्यों फिरे अकेला
चार दिनों के मेले में क्यों फिरे अकेला॰ ॰ ॰
हाए जवानी चार दिनों का मेला॰ ॰ ॰
ओए जवानी चार दिनों का मेला॰ ॰ ॰
मेला मेला मेला
जवानी चार दिनों का मेला

जोबन पर मत जईओ
जोबन पर मत जईओ
ये हरजाई रे
दुख से मत घबरईओ
दुख से मत घबरईओ
ये परछाई रे
ज्यों पानी का रेला रेला रेला
मेला मेला मेला
जवानी चार दिनों का मेला

जब तक फूल पे रंग रूप है
जब तक फूल पे रंग रूप है
तब तक
तब तक भँवरा डोले
जब तक अम्बुवन डाल हरी है
जब तक अम्बुवन डाल हरी है
तब तक कोयल बोले
तब तक कोयल बोले
कौन किसी से खेला खेला खेला
मेला मेला मेला
जवानी चार दिनों का मेला
हाए जवानी चार दिनों का मेला॰ ॰ ॰
ओए जवानी चार दिनों का मेला॰ ॰ ॰
मेला मेला मेला
जवानी चार दिनों का मेला॰ ॰ ॰


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

Blog Day :

4920 Post No. : 16748

Today’s song is a rare song by Meena Mangeshkar from the film Aabroo-1956.

Meena Mangeshkar is the number two of the 4 Mangeshkar sisters – Lata, Meena, Asha and Usha, with the youngest sibling being their brother Hridaynath. Meena was born on 8-9-1931 to Master Deenanath Mangeshkar and wife Shevanti. Like other sisters, Meena too got education in Music from her father and other experts, but she never entered the film line for singing, because she got married to Vasant Khadikar, a businessman, quite early as per prevailing norms those days. By the way, Meena is the only one among the 4 sisters to have been married to a single person throughout her life. Lata and Usha never got married while Asha was the most experienced. She had 3 Life partners. Meena lost her husband in 2011. She has a son-Yogesh and a daughter-Rachana.

Although, Meena sang very well and she had a good singing voice, she did not do much work in Hindi films. In all, she sang only 12 songs in 10 Hindi films, namely Annadata-52, Farmaish-53, Pilpili Saheb-54, Chandni Chowk-54, Patrani-56, Aabroo-56, Mother India-57, Gateway of India-57, Arpan aka Anjali-57 and Iss paar ya uss paar-1990. She gave music to 1 Hindi film-Kanoon ka shikar-1978. Her assistant was Anil Mohile.

Out of her 12 songs, the Blog Statistics show 7 songs covered, but on the Home page column only 6 songs are credited to her name. When I checked all her covered songs, I found that a song from the film Mother India-57 (Duniya mein hum aaye to jeena hi padega) is not credited to her yet. Hope this anomaly will be corrected soon.

Film Aabroo was made in 1943, 1956 and 1968 with the same title. In the 1956 film the director was Chaturbhuj Doshi and the music was by Bulo C Rani, ably assisted by C Arjun. The cast was Kamini Kaushal, Kishore Kumar, Smriti Biswas, Moti Sagar, Madan puri, Anwari, Indira Bansal, Uma Devi etc.etc.

In the Hindi film industry, there are 4 types of people.

The first type is those people, who join this industry, struggle very hard and succeed in fulfilling their dreams, for example Guru Dutt, Mehboob, Johnny Walker, Lata Mangeshkar, Mohd.Rafi etc. who are well known to all by now.

The second type of people are those who join the industry, struggle very hard ,do not succeed and leave dejected.

The third type is those people who have a filmi connection or a strong luck, who join, struggle a bit and succeed like for example, Raj Kapoor, Dev Anand, Dilip kumar, Rakesh and Rajesh Roshan, Anand Milind, Nanda, Nargis, Meena Kumari etc

And….. the fourth type is those people who join the industry, struggle very hard and succeed partly, but end up doing something else, to keep them sustaining here.

The industry is full of people of the fourth type. People who come with dreams in their eyes, but end up doing something else. People who start as a Hero in 2-3 films, settle for side roles and finally character roles, like Dev Kumar, Sujit kumar, Jeevan etc.

Not only this but we have examples where they started with something else and ended with a totally different thing and succeeded. For Example, Guru Dutt started as a Choreographer/dance Director (Lakharani-45) and ended up Actor/Director, Ashok kumar started as a Lab Technician in photography but became a great actor and Amiya Chakravarty who started as a Bangla Teacher and a Canteen Manager in Bombay Talkies, for which later he directed finest movies.

In olden days, when the Studio system was there, Artistes used to be employed on a monthly basis and they had to do whatever work was given as per their capability. For example, in Ranjit Studios over 700 people were on the rolls at one time(The Government had to open a Ration shop inside the studio premises for them) from where actors were made out of script writers and the Director wrote songs ! So people joined the industry with a mind prepared to do whatever job, just to succeed in their ambition.

MOTI SAGAR was one such person who came to the industry to become a Hero, but ended up doing sundry roles, singing songs, writing stories and scripts and producing films. He ,however, could not get great success in any of these and ended up being ‘Jack of all trades, Master of None’.

MOTI SAGAR was born in New Delhi on 16-4-1925, but graduated from Lahore. In Lahore he got interested in acting in films. Then he met Inayat Hussain and G.A. Chishti-the composers and he loved singing. He came to Bombay in 1946. His cousins Motilal, Mukesh and Tara Harish were already there in films. Harish and Motilal were established, and Mukesh was trying very hard.

Moti Sagar did a second hero’s role in MALHAR-1951.

He sang his first song under Bulo C. Rani in GUL SANOBER-53 with Kalyani. Then came Pamposh, Shikar, Deewali ki raat, Makhichoos, Jai Mahadev, Salgirah, Film hi film, and Prerana.

When he stopped getting songs and roles, he switched over to writing. He wrote stories for Badal, Lalkaar, Charas, Ram Bharose. He acted in 13 films. He directed 2 films, namely Prerana-84 and Tanya-94. He wrote songs also for the film Prerana-84. He sang 13 songs in 9 films.

When this stopped he produced 2 films Hum Tere Ashiq hai and Badal. So, Moti Sagar was an Actor, Director, Producer, Lyricist, and a Singer After 1994, he retired. He died on 14-3-1999. Preeti Sagar is his daughter. She too was a struggling singer.

The film Aabroo- 1956 was directed by Chaturbhuj Doshi. During the early era of talkie films, till the 1960s, there was a horde of Gujarati directors and producers. Bhatts, Trivedi, Thakur, Shahs, Desais, Pancholi, Doshi, Daves were some names frequently found directing various genres. Usually they specialised in certain classes and types of films. The Bhatts (Shankar and Vijay) liked to do Mythological films, Ramnik Shah handled stunt, action, fantasy films, Jayant Desai was social film oriented etc.

Chaturbhuj Doshi (1894–1969) was a Hindi and Gujarati writer-director of Indian cinema. He was one of the top Gujarati screenplay writers, who helped script stories for the Punatar productions. He is stated to be one of the leading figures who launched the Gujarati film industry with work on notable films like ‘Gunsundari’ (1948) and ‘Nanand Bhojai’ (1948). He was ‘well known’ for his family socials and had become ‘a celebrity in his own right’. He made a name for himself as a journalist initially and was referred to as the ‘famous journalist’ & publicist by Baburao Patel, editor of Filmindia.

His debut film as a director was ‘Gorakh Aya’ (1938), produced by Ranjit Movietone, though he joined Ranjit in 1929, as a scriptwriter. In 1938, he directed another film for Ranjit, a social comedy, ‘The Secretary’, and both films were box-office successes for Doshi. His forte was socials, regularly adapting stories and novels for films. He worked initially on comedies like ‘Secretary’ and ‘Musafir’ (1940), but then ‘shifted to more significant films’.

Chaturbhuj Anandji Doshi was born in 1894 in Kathiawad, Gujarat, British India. He was educated at the University of Bombay, after graduation he started work as a journalist for a daily, Hindustan (1926), working for editor Indulal Yagnik. His entry into films was working as a scenarist in the silent era for directors like Jayant Desai, Nandlal Jaswantlal & Nanubhai Vakil. He joined Ranjit Movietone in 1929, and wrote stories and screenplay for several of Ranjit films.

Film ‘Gorakh Aya’ (Gorakh has come) in 1938, was the first film directed by Doshi. It was produced by Ranjit Movietone with screenplay by Gunvantrai Acharya & dialogues by PL Santoshi. The music, termed ‘good’ , was composed by Gyan Dutt. ‘The Secretary’ (1938), was a “riotous comedy”, starring Madhuri, Trilok Kapoor. Charlie. The music was composed by Gyan Dutt, who became a regular in most of the films directed by Doshi. Musafir in 1940 was a comedy costume drama, which had Charlie playing a prince.

‘Bhakta Surdas’, a devotional film directed by Doshi in 1942, is stated to be the “most famous” of the several versions made. It starred KL Saigal and Khursheed “the singing idol(s) of millions”, winning “unprecedented popularity” everywhere.

‘Mehemaan’ (1942) starred Madhuri, Ishwarlal, Shamim and Mubarak. Music director Bulo C. Rani had come to Bombay in 1942, and joined Ranjit Studios assisting Khemchand Prakash in music direction.

Doshi helped enormously in the development of Gujarati cinema. During 1948-49 he directed three successful Gujarati films which “brought immense success to the industry”. The success of the Gujarati film ‘Kariyavar’ in 1948, directed by Chaturbhuj Doshi from a story by Shaida, called Vanzari Vav, helped establish the Gujarati film industry along with other films like ‘Vadilo Ne Vanke’ (1948) by Ram Chandra Thakur and ‘Gadono Bel’ (1950) by Ratibhai Punatar. His next Gujarati film was ‘Jesal Toral’ (1948) based on folk-lore, which proved a big box-office success. In 1949, Doshi directed another Gujarati film, ‘Vevishal’, an adaptation of Meghani’s novel of the same name.

He also wrote stories, and one of his stories ‘Pati Bhakti’ was used in the Tamil film ‘En Kanawar’ (1948) produced by Ajit Pictures, which starred the Veena maestro, Sundaram Balachander, who was also the debut director and music composer for the film. In all he directed 24 Hindi films. His last Hindi film was ‘Sanskar’ (1958). He had also written a few songs in the film ‘Maya Bazaar’ (1932).

Chaturbhuj Doshi died on 21 January 1969 in Bombay, Maharashtra, India. Filmography-

1932: Narasinh Mehta (Writer), 1934: Sitamgar (Writer), 1938: Gorakh Aya, Secretary, 1939: Adhuri Kahani, 1940: Musafir, 1941:Pardesi, Sasural, 1942: Bhakta Surdas, Dhiraj, Mehmaan, 1943: Chhoti Maa, Shankar Parvati (Director, Writer), 1944: Bhartrahari, 1945:Murti, 1946: Phulwari, 1947: Bela, Kaun Hamara, 1948: Jesal Toral, Kariyavar (Director, Writer), Sati Sone, 1949: Bhakta Puran, Vevishal, 1950: Akhand Saubhagya, Kisi Ki Yaad, Ramtaram, 1954: Aurat Teri Yahi Kahani, 1956: Aabroo, Dashera, Dassehra, 1957: Khuda Ka Banda, Shesh Naag, 1958: Sanskar, 1960: Mehndi Rang Lagyo (Writer, Lyricist).

Today’s song is the seventh and the final song of the film. Actually, this song was not available on social media or anywhere else. The famous Record Collector and Music Historian shri Girdharilal Vishwakarma ji sent me this song on my request and our Sadanand Kamath ji uploaded it for me on his You Tube Channel. I thank shri Girdharilal ji and Sadanand ji for their help. Today’s song will be Meena’s 8th song on this Blog. Now only 4 songs are remaining. They are one each from films Annadata-52, Chandni Chowk-54, Pilpili Saheb-54 ( Sapnon ki duniya mein), and Iss paar ya uss paasr-1990.

With this song, film Aabroo-56 has all its songs covered and it becomes an YIPPEE film.


Song- Hai mausam ye mastaana muskuraana dil churaana (Aabroo)(1956) Singer- Meena Mangeshkar, Lyricist- G S Nepali, MD- Bulo C Rani (Assitant C Arjun)
chorus

Lyrics

Hai mausam ye mastaana
muskuraana
dil churaana
meri taraf zara hans ke mud jaana
Hai mausam ye mastaana
muskuraana
dil churaana
meri taraf zara hans ke mud jaana

chali thhandi hawaayen to o
chali thhandi hawaayen to
belon ne khaaye hichkoley
na tum boley
na hum boley
na tum boley
na hum boley
huyi ulfat bina boley
nazar ka ye nazraana
muskuraana
dil churaana
meri taraf zara hans ke mud jaana
meri taraf zara meri taraf hans ke mud jaana

haaye
Hai mausam ye mastaana
muskuraana
dil churaana
meri taraf zara hans ke mud jaana

bahaaren aa gayin
een een een een een een
bahaaren aa gayin
apni tumhaare
ik ishaare par
na tum boley
na hum boley
na tum boley
na hum boley
banaaya dil ne ??
wo preet ?? lubhaana
muskuraana
dil churaana
meri taraf zara hans ke mud jaana
meri taraf zara meri taraf hanske mud jaana
haaye
hai mausam ye mastaana
muskuraana
dil churaana
meri taraf zara hanske mud jaana


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

Blog Day :

4912 Post No. : 16729

Today’s song is from the film Raja Harishchandra-1952.

The story of Raja Harishchandra is prominent in Hindu culture for being a Satyawadi king, who made big sacrifices to stand by his word given to a sage, though in a dream. Most people in the age group of 50 and above possibly must have read his story in their childhood. This was not only a popular story for children but even the Hindi film makers loved this story.

The very first silent feature film made in 1913 by Dadasaheb Phalke was on this story. From 1913 onwards there were 5 silent films made on this story, in the years 1913, 1917,1924, 1928 and 1929. After the Talkie films started, in the first year itself, i.e. in 1931, there were 2 films made on this story. The first was Harishchandra-1931 made in Bombay by Krishnatone film co. and the other was Satyawadi Raja Harishchandra-1931 made in Calcutta by Madan Theatres. Following is the list of films on this story….
1931- Harishchandra
1931- Satyawadi Raja Harishchandra
1932- Ayodhya ka Raja ( Hindi version of the First Marathi Talkie ” Ayodhyecha Raja”, by Prabhat Films )
1952- Raja Harishchandra
1958- Harishchandra
1963- Harishchandra-Taramati
1970- Harishchandra Taramati
1979- Raja Harishchandra

These are Hindi films. There were several films in Regional languages too. In the last 30 years or so, I am not aware of any mythological or religious films made in Hindi – though regional languages keep on making such films. Perhaps Hindi filmmakers have become too ‘ Secular’ to make religious films !

Film Raja Harishchandra-1952 was made by Trivedi productions, owned by Chimanlal Trivedi. He was a producer of a different kind. He founded many production houses, starting with the famous CIRCO Productions – which was sold to A.R.Kardar in 1942 to make his own Kardar studio. Kardar was a paid director in this company.

Chimanlal Trivedi, was one of the major filmmakers of the 30s and the 40s decade. He was more a Producer businessman than a Director. While he directed hardly 7 films, he produced close to 50 films- all having A grade actors, directors and composers !

Born on 19-3-1909 at a village near Anand in Gujarat he was from a Brahmin family. He did his schooling in Ahmedabad and technical graduation from Baroda. Being an expert in weaving, he took up a job as a weaving Master in Calcutta. Fond of writing, he started writing Dramas, which were staged in Bengal and Gujarat. He was attracted towards Cinema and tried some work in New Theatres. Knowing that the real playing field is Bombay he reached there. He wrote stories for the film Chevrolet-36 and Danger Signal-37 for Mohan pictures.

He established his own production company CIRCO (Cine Industries Recording COmpany) in 1937. By 1943, he had made 12 films. He preferred not to direct his films, but appointed directors like Mohan Sinha for Laxmi-40, Anuradha-40 and Vanmala-41, Balwant Bhatt for Suhag-40 and Madhusudan-41, A R Kardar for Swami-41 and Nai Duniya-42 and Debki Bose for Apna Ghar-42.

He had the art of getting the most popular stars for his films like, Prithviraj kapoor, Chandramohan, Durga Khote,Mazhar khan, Bibbo,Surendra, Jairaj, Sitara, Jeevan, Yaqub, Shobhana Samarth, Prem Adeeb, Vishnupant Pagnis,Leela Desai, Pahadi Sanyal, Shanta Apte and many others. Even big directors like Debki Bose,Nitin Bose, Kardar,Mohan Sinha, Sarvottam Badami, Nandlal Jaswantlal,Profull Roy, Sudhir Sen, R S Chaudhary, Phani Mujumdar, Balwant Bhatt etc. worked for him. From Prabhat he brought Shanta Apte for Rs.1000 pm, and also Chandramohan, Pagnis and Mazhar khan. His friend Chandulal Shah followed his way and brought K L Saigal from New Theatres !

C L Trivedi was an expert in gathering funds for his films. After CIRCO at Parel, he started Laxmi Productions at Andheri, in 1942. He made mera Gaon, Sharafat, Bhagya Laxmi, Kadambari, Tamanna, Inkaar, Mohabbat,Miss Devi etc. In 1951, it was Supreme Pictures, Trivedi Productions was in 1952, Kala Kendra in 1953 and with Chitra Bharati in 1954, he made 13 films upto 1961. Top Composers like Timir Baran, Ashok Ghosh, Rafiq Gaznavi, K C Dey, Saraswati Devi,Husnlal-Bhagatram and Naushad gave music to his films.

In the end, he turned to Stage and started Abhinay Bharati. He staged many dramas in Bombay and Gujarat. Chimanlal always went for big names. He had close relations with Nehru, Menon, Morarji Desai, and other National leaders. His wife Kantaben was a Leader herself. Chimanlal Trivedi died on 25-11-1973. His wife, 3 sons and a daughter settled in the USA.

It may be a coincidence, but Gujarati businessmen like Chimanlal Trivedi, Chimanlal Desai,Chimanlal Luhar, Chaturbhuj Doshi, Chimankant Desai, Chunibhai Desai and Chandulal Shah made sizable contribution to Hindi cinema in the first 20 years of the Talkie era. All names started with CH ( ? ) !

My today’s post will be my last post in this year – 2021. I have written 121 posts in this year, from January 2021 till this one. This is much faster than my 95 posts written in 2020. I had reached my Landmark post no. 1000 on 18-8-2021. Forget the number of posts I write, the sheer joy I get in writing about old films and music can not be measured. The credit for my writing goes to ATUL ji and our readers of this Blog. This Blog has achieved an unique position in the Blogosphere for its consistency, accuracy, credibility and variety of information available – unrestricted to any and everyone interested in old films and music. It is a matter of Pride for us to be one of the contributors here. Thank you, ATUL ji.

Most of us who had read the story of Raja Harishchandra in our childhood may not be remembering it fully now. So, here is the story of the film Raja Harishchandra-1952….

Truth alone shall succeed in the end. For, Truth alone can keep the world stable. From times immemorial, torch-bearers of Truth have blazed the trail of human progress. Such one was Harishchandra, the King of Ayodhya. . Child Harischandra flowered into a handsome youth on the bough of royal luxury. The young heart fell for Princess Taramati of Mithila. Every full moon saw the young hunter Harischandra making his way to the forest to meet his love, Taramati.

On one such occasion, the lovers lost their track in the darkness of the heavy bursting clouds and wandered to the ashram of a blind Brahmin sage Sachchidanand, who gave them shelter for the night. Next morning came the time to take leave; but Harishchandra could not feel like leaving the ashram until he knew his future from the lips Sachchidanand, the miracle of whose astrological powers, he was fortunate to see. Sachinanand tried to dissuade Harishchandra from his thoughts but Harishchandra insisted upon knowing his future. Helpless Sachidanand had to foretell what lay in store in the future of Harishchandra. . “The married life of Harishchandra and Taramati shall be a hard one”. What a rude shock to the great lovers.

Harishchandra did his utmost to persuade Taramati away from her decision of marrying him. But how could Taramati be happy without Harishchandra? So Harishchandra and Taramati were married. The father of Harishchandra refused to believe in the words of Sachchidananad and put him behind the bars. . Destiny has its way with human beings. In spite of everything, Harishchandra could not find peace with himself. The shadows of the coming events made him restless. The words of Sachchidanad started taking shape. This development was too much for the old father of Harishchandra to bear. He broke down under its weight and died a miserable man.

This completely unnerved Harishchandra and took him to the feet of Sachchidanand seeking his advice in saving himself and his family from ruination. . Sachchidanad impressed upon him the greatness of Honesty and Karma, and asked him to practice Truth.

When Harishchandra accepted and started practicing the doctrine of Truth, Indra, the King of Gods, was greatly shocked. For, a mere human being like Harishchandra had started on his path to Godliness by practicing Truth and might one day unseat the Gods! . Sensing this great danger, Vishwamitra decided to put Harishchandra on severe trials, with a view of forcing him to commit breaches in his practice of Truth. He thought of the most ruthless snares to catch Harishchandra unawares. Next day he went to the king and asked him to donate all his kingdom, which the king had promised him in the sage’s dream. Satyavadi Harishchandra donates the kingdom, sells his wife and son to a Brahman and self to a guard of Shamshan, in order to collect Dakshina amount.

After a few days,his son dies of snake bite,but there is no money to pay tax for cremation. Taramati sells her Mangalsutra and pays to Harishchandra, the Shamshan Guard to cremate their son. Seeing all this, the Gods descend and make his son alive,return all his kingdom and give the family a place in Heaven. Thus Truth alone triumphs.

The cast of the film was Sumitra Devi, Prem Adeeb, Gope, Lalita pawar, Tiwari, Kammo and many others.Film’s 6 songs were written by Bharat vyas, Ramesh Gupta, Gulshan and qamar Jalalabadi and the music was by Husnlal-Bhagatram. 5 songs of this film were already discussed. Today’s song is the 6th and final song here, making the film an ” YIPPEE” film.

Here is wishing our readers a very Happy and prosperous New Year – 2022 !


Song- Khushiyan manaao aaj deepak jalaao aaj(Raja Harishchandra)(1952) Singers- Sulochana Kadam, Satish Batra, Lyricist- Not known, MD- Husnlal Bhagatram

Lyrics

khushiyaan manaao aaj
deepak jalaao aaj
saajan ke sang sang naacho sajaniya
saajan ke
saajan ke sang sang naacho sajaniya
khushiyaan manaao aaj deepak jalaao aaj
saajan ke sang sang naacho sajaniya
saajan ke
saajan ke sang sang naacho sajaniya

o o o o
o o o o
suno suno suno saajna tumhen sikhaaun naachna
suno suno suno saajna tumhen sikhaaun naachna
aaj naache mora ang ang re
aaj naache mora ang ang re
naacho naacho chham chhama chham chham chhama chham
naacho naacho chham chhama chham chham chhama chham
jhoom jhoom gaao aaj masti lutaao aaj
saajan ke sang sang naacho sajaniya
saajan ke
saajan ke sang sang naacho sajaniya
khushiyaan manaao aaj
deepak jalaao aaj
saajan ke sang sang naacho sajaniya
sajan ke
saajan ke sang sang naacho sajaniya

o o o o
o o o o
o o o o

dekho dekho dekho saanwri huyi khushi se baawri
dekho dekho dekho saanwri huyi khushi se baawri
man bhi naache paayal ke sang re
man bhi naache paayal ke sang re
khelo khelo khelo more baalma
khelo khelo khelo more baalma
raas rachaao aaj
rang udaao aaj
saajan ke sang sang naacho sajaniya
saajan ke
saajan ke sang sang naacho sajaniya
khushiyaan manaao aaj
deepak jalaao aaj
saajan ke sang sang naacho sajaniya
saajan ke
saajan ke sang sang naacho sajaniya

o o o o o
o o o o
hato hato hato saanwre
chhedo na sabke saamne
hato hato hato saanwre
chhedo na sabke saamne
mukhde ka ud na jaaye rang re
mukhde ka ud na jaaye rang re
jaao jaao jaao more baalma
jaao jaao jaao more baalma
dil ko na jalaao aaj
aankhen na churaao aaj
saajan ke sang sang naacho sajaniya
saajan ke
saajan ke sang sang naacho sajaniya
khushiyaan manaao aaj
deepak jalaao aaj
saajan ke sang sang naacho sajaniya
saajan ke
saajan ke sang sang naacho sajaniya


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

Blog Day :

4910 Post No. : 16724

Today’s song is from the film ‘Aazmaaish’ (1952). It was a ‘C’ grade action film made by Vinod Chitra. The producer HS Thorani was the director also. This was Thorani’s last film as a Director. Earlier to this film, he had directed 4 films, namely- ‘Stage Girl’ (1947), ‘Black Market’ (1947), ‘Taqdeerwale’ (1948) and ‘Achha ji’ (1950). During and after the World War II, such nondescript (meaning those who had no earlier Filmi background) producers and directors had cropped up. I strongly believe Thorani too was one of such people. The entry of black money into the film industry was due to such people only.

Funnily, all such novices made only C grade action and stunt films on priority. Why ? The reason was simple. In those days i.e. during the 1940s decade, a C grade stunt film was made in just about 75000 to 1 lakh Rupees, all inclusive. These films had a captive audience in almost every city and town in India, hence the films gave guaranteed returns of 100-150 % returns on Investment. Whereas the success rate of A grade Social films was not predictable and the investment was also four times more. So, no wonder, investors like Thorani preferred making stunt films only.

I was a great fan of stunt films and would not miss any stunt films running as a morning show (11 a.m.) at much reduced rates. In those days- I am talking about the early 50’s- the morning show rates were very low like 5 Annas, 8 Annas, 12 Annas and 1 Rupee for Balcony etc. All my pocket money and short term loans were spent on this. In the late 40s and early 50s I could see some films of the 30’s and 40’s shown in their second or third runs. By mid fifties, films of the 30’s became rare and then zero, but 40’s films were coming till late into the 50’s. I have seen fearless Nadia films, and films of Master Bhagwan, Prakash, Navinchandra, Kadam brothers, Billimoria brothers, Raja Sandow, John Cavas and many more.

In those days, it was not just me or people like me, but some of the film actors of those times too were great fans of stunt films. One great example was that of Kishore Kumar who was an ardent fan of Stunt Hero Shankar Rao Vazre and he used to coax Ashok kumar to do fighting like these actors, instead of singing songs with Devika Rani ! He himself has told this thing in his several interviews. Master Bhagwan was famous as a Producer, director and actor of C grade stunt films, till he made ‘Albela’ (1951) and entered the social film circle. Once Sanjeev Kumar introduced Bhagwan to his mother saying that he used to bunk school to see Bhagwan’s stunt films.

In one interview Master Bhagwan had said that “we had a fixed story and we used to make changes in the same story several ways in different films and used it. Our audience never bothered about the story or histrionics or songs. All they needed was a few dances and death defying stunts in the films. That we gave plenty in our films.”

Actor Shyam was Bhagwan’s good friend. Once Shyam said, ”I want to work in your films.” Bhagwan said,”First you see the shooting of our films and then we will talk.” It was decided that Shyam would visit Jagriti studios of Bhagwan to see the shooting of film ‘Laalach’ (1948).

Next day Shyam and his ‘close friend’ Munawwar Sultana came to see the shooting. A fight scene was being shot. Baburao Pehelwan was single handedly fighting with 3-4 gundas. During the shooting Baburao got a forceful hit from a fighter and he fell down from the first floor gallery on a glass table below. The table was in pieces. Seeing this, Shyam and Munawwar Sultana shouted in horror. Thinking that Baburao would die from this fall, they hurriedly ran away from the studio.

Luckily, Baburao was safe with some scratches. He tied a hankie and started the fighting again. When Shyam returned, he was astonished to see Baburao doing the shoot. Bhagwan asked Shyam, “so Shyam, do you still want to work in my films ?” Shyam shuddered and said, “No Baba, who wants to die doing stunts ?” Ironically Shyam did die after doing a horse riding stunt for the film ‘Shabistan’ (1951) ! (Actually, Shyam was a trained horse rider. The famous trainer Jimmy Bharucha had trained him in Poona).

Now something about the singer Ragi. We are accustomed to seeing only the usual regular well known names, but when some new or unknown name appears, our brows are raised and we wonder who this singer is. Same thoughts came to my mind when I first came across his name a few years back. One would immediately think of the singers in a Gurudwara, who are also called Raagis. I tried and tried very hard, but except that he hailed from Andhra Pradesh, I could not get any other information on him. Then one fine morning KS Raagi’s daughter- Vijaya Hazari from Pune- appeared on RMIM forum and gave some more information. Though even this was very meager, still at least something was there.

Kewal Singh Ragi was born and brought up in Hanamkonda, Warangal in erstwhile Andhra Pradesh (now it comes in Telangana), about 100 kms from Hyderabad. From childhood he was interested in singing. When he was in his teens, he ran away to Bombay (where else ? In olden days those who ran away used to land in Bombay almost always. Where do people run away to, nowadays ?). He got an entry into All India Radio and started singing there. He was in Bombay for 12 years. He not only got a chance to sing in films, but he composed music too as well as acted in some films,like ‘Daagh’ (1952) and ‘Patita’ (1953) etc.

He sang in films from 1940 to 1952 and sang songs with Geeta Roy, Shamshad Begum, Uma Devi, Kishori (supposedly, his own sister), Zebunnisa, Khursheed, Roshan Ara Begum, Razia Begum etc. These were all songs from B and C grade films. Some of the films he sang in were, ‘Do Bhai’ (1947), ‘Namumkin’ (1946), ‘Hamari Kismet’ (1949), ‘Siskiyaan’ (1950s), ‘Bulbul’ (1951), ‘Humraz’ (1940), ‘Aazmaaish’ (1952) etc. He gave music to ‘Bulbul’ (1951) and ‘Siskiyaan’ (1950s) (unreleased).

At this time, he had a heart problem and after leaving everything, he left for Hanamkonda, where he lived till 1974, when he breathed his last there.

The story of the film ‘Azmaish’ (1952) was nothing special –

Chhaya was engaged to Manoj. But he fell in love with Bela – the gypsy girl. Markus – son of the gypsy leader also loved Bela and his assistant Keron had bad designs on Bela. Disgusted with all this, Bela induces Manoj to run away with her to the city and they leave one night. Meanwhile Chhaya and her friend Bijli come to know that they are in city and they too go to the city to search them.

Keron is furious. He tries to rape Bela but Bela commits suicide. Markus kills Keron and in a fight with Manoj, Markus gets killed by falling from a hill. Manoj now realizes his mistake. He accidentally meets Chhaya and Bijli. They embrace each other and the story ends with their marriage.

Here is a duet of Shanti Sharma and KS Ragi. Shanti Sharma had sung 15 songs in 6 Hindi films – ‘Raees’ (1948), ‘Veer Ghatotkach’ (1949), ‘Kinara’ (1949), ‘Aazmaaish’ (1952) and ‘Maalik’ (1954).


Song- Kalkatte ki Laila tu main Dilli shahar ka chhailaa hoon (Aazmaaish)(1952) Singers-Kewal Singh Raagi, Shanti Sharma, Lyricist- FM Qaiser, MD- Ninu Mujumdar

Lyrics

Kalkatte ki Laila tu
main Dilli shahar ka chhaila hoon
albela
Kalkatte ki Laila tu
main Dilli shahar ka chhaila hoon
albela
do dil ki mehmaan jawaani
do dil ki mehmaan jawaani
duniya chaar dinon ka mela
hoy chhaila
hoy chhaila
Kalkatte ki Laila tu
main Dilli shahar ka chhaila hoon
albela

paison ko tum goli maaro
prem ka rishta hamse jodo
paison ko tum goli maaro
prem ka rishta hamse jodo
aaine mein munh apna dekho
paaon pado aur peechhaa chhodo
aaine mein munh apna dekho
paaon pado aur peechhaa chhodo
dil ka lagaana khel na samjho
dil ka lagaana khel na samjho
bhaiyya hai ye bada jhamela
bhaiyya hai ye bada jhamela
Kalkatte ki Laila tu
main Dilli shahar ka chhaila hoon
albela

dil mein basne waalon hardam
humko apna meet samajhna
humko apna meet samajhna
meet samajhna
meet samajhna
prem ki baazi haarne waale
haar ko apni jeet samajhna
haar ko apni jeet samajhna
jeet samajhna
jeet samajhna
jeet ke haara haar ke jeeta
jeet ke haara haar ke jeeta
jisne prem ka juaa khela
o chhaila

Kalkatte ki Laila tu
main Dilli shahar ka chhaila hoon
albela

aapas ka iqraar na toote
duniya chhoote tu na chhoote
aapas ka iqraar na toote
duniya chhoote tu na chhoote
ye na kehna pade kisi din
hum sachche tum jhoothhe
ye na kehna pade kisi din
hum sachche tum jhoothhe

aaja milkar bitaayen jeewan
aaja milkar bitaayen jeewan
tu bhi akeli main bhi akela
o Laila
tu bhi akeli main bhi akela
Kalkatte ki Laila tu
main Dilli shahar ka chhaila hoon
albela
Kalkatte ki Laila tu
main Dilli shahar ka chhaila hoon
albela


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

Blog Day :

4908 Post No. : 16719

Today’s song is from the film Harihar Bhakti-1956. This was a story from Vishnu Puran. It is also mentioned in Shiv Puran as a story on Banasur. of course the story was adapted to suit the film requirements. When such stories are used for films, naturally there is plenty of room for adaptation and imagination, because every detail is not mentioned in the original story.

The 50’s decade for Hindi films was a Golden period for religious and Mythological films. Ever since the Talkie films started, the maximum and consistently religious films were made in this decade. In the 10 year period 124 religious films were made, which works out to an average of one such film per month for 10 continuous years. I have been watching films since the late 40s, but I too have seen maximum films in this decade only.

I loved seeing religious films. As such ours was a religious minded family. We had constructed a big Shiv temple within the compound of our house. It was open to all people, with a separate entry point. This was possible as it was about 30 feet away from our bungalow on an adjacent plot. Every festival was celebrated and Mahashivratri was a big event. Due to all this ,I became interested in reading Vedas, Purans and other religious books. I am not a religious person in actions. I hardly visit temples or do regular daily pooja at home. But I am a strong believer in my religion and I am convinced that the Hindu religion is the greatest in the world.However, I dont go out and show off my religious opinions. I believe that Religion is a Personal matter and one should limit it to his doorstep only.

Nevertheless, I am pained to see the apathy and ignorance of our religion in the younger generation. The other day, I saw one video in which questions on religion, Ramayan and Mahabharat were asked to college students and to my dismay 99 % of students gave wrong answers or no answers. It is not their fault. Today the lifestyles have become suchthat the parents themselves do not set any example for their children in this matter. Anyway, this is a different issue…..

Initially, I used to like religious films for their trick scenes and miracles. Later on I started observing how the original stories have been twisted, adapted or even changed to suit the cinematic needs. The efforts are to exaggerate in order to impress the audience, no matter if the story gets distorted.

I am sure that very few people today know there are two major sects in religion. They are ” SHAIV”s – those who worship Lord Shiv and the other is “VAISHNAV”s – those who worship Lord Vishnu. Few generations ago, there were no marriages between these two sects. Today, of course people do not even know which sect they belong to.

Film Harihar Bhakti-56 is about this division of sects and how in one case, Shiv ji and Vishnu ji came face to face in case of a Shiv devotee whom Shiv ji had given a Boon and Vishnu ji wanted to kill him for Mankind. HARIHAR BHAKTI-1956 is a story of the age-old feud between the Vaishnaites (Vishnu Bhakt) and the Shaivites (Shiv Bhakts).it tells us that the GOD is one,in different forms.

A Raghuvir chitra niketan film,it was produced and directed by C.Raghuvir.The music was by K.Datta(Datta Korgaonkar) and lyricists were S.P.Kalla,Odak and Agrawal.

BANASUR the king of Rakshasas was a great Shiv bhakta and after a hard tapasya,he gets a boon from Lord Shiva that he will NOT die at the hands of any mortal.Powered with this boon,he starts torturing Vaishnavites and converting them forcibly to Shaivites.
Banasur(Ulhas) has a daughter Usha(Asha Mathur).he wants her to marry only a Shiv Bhakta.Usha,one day sees a young man Anirudha(Vivek) in her dreams and falls in his love.he is grandson of Krishna.Chitralekha(Nayantara),her saheli brings Anirudha-in his sleep-to Usha and they get married.Banasur learns this and fights with Anirudha,throwing Sarp-Astra over him.His grandfather krishna comes to know this thru Naradmuni and he is ready to fight Banasur.Banasur calls for Shiva’s help.

Now Krishna and Shiva are against each other but knowing Krishna as an avatar of Lord Vishnu,Shiva allows him to kill Banasur.
It was a very interesting film with a lot of trick scenes and very melodious music by K.Datta.

The Bombay film industry has seen many talented artistes end their careers and lives sadly. S P Kalla is yet another such example.
TIME is not only a great healer but also a great crusher. Once upon a time, S P Kalla was moving in the Top bracket of the industry, but his TIME changed so much that he had to live all alone and one day end it all by himself !

Sooraj Prakash Kalla or S P Kalla was a resident of Jodhpur, Rajasthan. In the early 50s he was having a nice job in the state Secretariat in Jaipur. He was a good writer of songs. During his service tenure, once he visited Bombay casually and then stayed back here only, leaving the lucrative steady job, to enter the film industry as a lyricist. His first film was ‘Lanka Dahan’-52, in which he wrote all 8 songs. Due to his easy and meaningful Lyrics he started getting film after film. After about 20-25 films, he turned to Film direction and succeeded in this too. Some of the films he directed were, Aastik, Naya kadam, Shyam ki Jogan etc.

He acted in the film kailashpati-62. He directed films-Aastik-56, Shyam ki Jogan-57 and Naya Kadam-58. He wrote 49 songs in 8 films

Having won laurels here he became a Producer and that proved to be his nemesis. He lost everything he had earned. Family life became miserable and all friends deserted him. Finally he separated from his family and went back to Jaipur. There he got two Rajasthani films for direction. Then he got some serials and video films. Some of his serials on TV were ‘ Samay ki Dhara’ and ‘Teesmar khan’,which were popular.

He became an alcohol addict and closeted himself in a small room, where he ended his own life on 20-5-2007.

Today’s song is sung by Mubarak begum, Sulochana kadam and Chonkar. Enjoy the song….


Song- Chori chori aayi Gori milne piya dhadke jiya (Harihar Bhakti)(1956) Singers- Mubarak Begum, Sulochana Kadam , Chonkar, Lyricist- S.P.Kalla, MD- K.Datta

Lyrics

Chori chori aayi Gori milne piya
dhhadke jiyaa
o jee rasiyaa
Chori chori aayi Gori milne piya
dhhadke jiyaa
o jee rasiyaa
hum to aayenge teri galiyaan
kare kyon jiya
dil jo diya pyaar kiya
Chori chori aayi Gori milne piya
dhhadke jiyaa
o jee rasiyaa

laaj maren ye donon ankhiyaan
donon ankhiyaan aan aan
laaj maren ye donon ankhiyaan
kahin na dekh len bairi sakhiyaan
kahin na dekh len bairi sakhiyaan
mil na paayenge
suno jee piyaa
chhodo bainyya
padoon painyyaan
jaao sainyyaan
haule haule man bole suno batiyaan
beete ratiyaan
beete ratiyaan
haule haule man bole suno batiyaan
beete ratiyaan
beete ratiyaan
hum to aayenge teri galiyaan

?? kyon jiya
dil jo diya pyaaar kiya
Chori chori aayi Gori milne piya
dhhadke jiyaa
o jee rasiyaa

ab na chhodenge haathh tera
ab na chhodenge haathh tera
janam janam ka saath mera
saath mera
saath mera
janam janam ka saath mera
saath mera
saath mera
tumhaari yaad mein laage na jiyaa
bolo chhaliyaa
jaadoo kyon kiyaa
?? kyon liya
haule haule man bole suno batiyaan
beete ratiyaan
beete ratiyaan
Chori chori aayi Gori milne piya
dhhadke jiyaa
o jee rasiyaa
hum to aayenge teri galiyaan
?? kyon jiya
dil jo diya
pyaar kiyaa

da dir dir dir
di dir dir dir daani dum
dum dum
daani dum
din tananananana
de re na de re na
na dir dir dir dir
ditum ditum
dim tum
dim tum
dim tum
tananananana
dere de
dere na

Chori chori aayi Gori milne piya
dhhadke jiyaa
o jee rasiyaa
Chori chori aayi Gori milne piya
dhhadke jiyaa
o jee rasiyaa


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

Blog Day :

4901 Post No. : 16706

Today’s song is from the film Badi Maa-1945.

No wonder that the word Maa is one of the favorites of our film makers. There were 5 films called Maa and its varieties like Badi Maa, Chhoti Maa. Then there were Maa films with Baap, Beta, Beti, Behen,Biwi, Mamata, Aanchal, Pyaar, Aansoo, Saugandh, Shakti, and Qasam. Additionally, Durga and Santoshi Maa were also made. Almost 30 films about Maa at one place in the index book. I did not try other letters of the alphabet to see more films with the word maa – like Naani Maa etc !

BADI MAA-1945 was a film of Prafull Pictures of Master Vinayak (Father of actress Nanda).It was produced and directed by Master Vinayak with music by K.Datta or Datta korgaonkar or D.P.Korgaonkar.The story was by V.S.Khandekar,noted Marathi writer,who was ,later,the First Marathi recipient of Gyanpeeth Award for his novel “YAYAATI”.The lyrics were by Anjum Pilibhiti,Zia Sarhadi and Raja Badhe,who was a noted Marathi poet.

Master Vinayak was forced to produce this war effort movie to save his company,because the Govt. At that time desperately needed public support for their war efforts.Such pictures were given grants for production also.if they refused,the consequences were dire. The word Badi Maa,in this film meant Motherland-India.

Today’s song is one of Lata’s early songs in Hindi films. Being brought up in a Marathi atmosphere, initially, she had to struggle very hard to learn Hindi / Urdu word pronunciations, which, like a good learner, she picked up fast. Entering Film world was not so easy, but Master Vinayak played a vital role in establishing her in films or at least in bringing her to the notice of other stalwarts, because he himself died quite early in 1947 itself.

After Deenanath Mangeshkar’s death, Lata was adopted by Master Vinayak. In 1942, vinayak directed his last film for navyug Films “Pahili Mangalagaur”. he gave a small role and one song to her in that film. Then he, with the help of friend Vasant joglekar got her a song in Marathi film ” Kiti Hasaal’. However it was removed from the film before its release. In 1943, Vinayak launched his own Prafulla Pictures and madr 6 movies – 3 Marathi and 3 Hindi.

In the film Gajabhau-44 he gave Lata a hindi song. Then in the film Subhadra, Lata got 3 songs. In 1945, he directed ‘Badi Maa’. Lata and Asha got acting roles and Lata got 2 songs. In Jeevan yatra-46, she sang one song. And finally in 1947, Lata sang her first Hindi playback song in the film ” Aap ki Sewa mein”.

Vinayak died almost immediately after our Independence, but he had done the basic ground work to give a beginning to Lata’s career. Lata was later helped by Ghulam Haider, Khemchand Prakash and Anil Biswas. Then she never looked back.

The story of the film Badi Maa-45 was written by V.S.Khandekar. In those days there were Bangla, Gujarati, Hindi and Marathi writers with almost all film companies to assist in stories and dialogues. V. S. Khandekar was a very popular and famous writer in Marathi.

Vishnu Sakharam Khandekar (11 January 1898 – 2 September 1976) was a Marathi writer from Maharashtra. He was the first Marathi author to win the prestigious Jnanpith Award.

Khandekar was born on 11 January 1898 in Sangli, Maharashtra. His father was a munsif (a subordinate official) in Sangli principality where he spent his childhood and completed his early education. In his early life, he was interested in acting in movies and staged various dramas during school days.
After passing his matriculation exam in 1913, Khandekar joined Fergusson College, Pune. In 1920, he started working as a school teacher at a school in Shiroda.

Khandekar’s writing career began in 1919 when Shrimat Kalipuranam, his first work, was published, and continued to 1974 when his novel Yayati was published.

In 1920, Khandekar started working as a school teacher in a small town, Shiroda, in the present-day Sindhudurg district of the Konkan region in Maharashtra. He worked in that school until 1938. While working as a teacher, Khandekar produced in his spare time abundant Marathi literature in various forms. In his lifetime, he wrote sixteen novels, six plays, around 250 short stories, 50 allegorical stories, 100 essays, and over 200 critiques. He worked and founded Khandekari alankar in Marathi grammar.

In 1941, Khandekar was elected as the president of the annual Marathi Sahitya Sammelan (Marathi Literary Conference) in Solapur. In 1968, the Government of India honoured him with a Padma Bhushan award in recognition of his literary accomplishments. Two years later, he was also honoured with the Sahitya Akademi Fellowship of the Indian Sahitya Akademi. in 1974, he was awarded the Jnanpith Award, country’s highest literary recognition, for his novel Yayati. Shivaji University at Kolhapur, Maharashtra conferred on him an honorary degree of D.Litt. In 1998, the Government of India issued a commemorative postage stamp in his honour.

Khandekar’s novel Yayāti (ययाति) received three prestigious awards: A Maharashtra State Award (1960), a Sahitya Akademi Award (1960), and a Jnanpith Award (1974).

Films on his novels were made in Marathi (5), Hindi (3 – Chhaya-36, Jwala-38 and Amrut-41) and in Telugu and Tamil (1 – Dharm Patni-41). He wrote stories, lyrics and dialogues for Marathi and Hindi films too.

Here is his Filmography as per the Indian Cinema Encyclopedia-

1936: Chhaya (Writer, Lyricist), 1938: Dhruva (Lyricist), Jwala (Writer, Lyricist), Jwala (Writer, Lyricist), 1939: Devata (Writer, Lyricist, Screenplay, Dialogue), Mera Haq (Writer, Lyricist), Sukhacha Shodh (Writer, Lyricist), 1940: Lagna Pahave Karun (Writer, Lyricist, Screenplay), 1941: Amrit, Amrit (Writer, Lyricist), Dharma Patni (Writer, Story), Dharmapatni (Writer, Story), Sangam (Writer, Lyricist), 1942: Sarkari Pahune, Tuzhach (Writer, Lyricist), 1943: Mazhe Bal (Writer, Lyricist), 1945: Badi Maa, 1946: Subhadra, 1948: Mandir, 1953: Soneri Savli, 1960: Antaricha Diva (Writer, Lyricist), 1961: Mansala Pankh Astaat (Writer, Lyricist, Story, Screenplay, Dialogue), 1962: Sunbai (Lyricist)

The cast of the film Badi Maa was Noorjahan, Ishwarlal, Yaqub, Jog,Meenakshi, Sitara, Leela Mishra, Damuanna, Lata Mangeshkar and others. The story of the film Badi Maa-45 was…..

In Dinapur,Durgadas(Salvi) was worried about his son Dinesh(Ishwarlal) studying in London,due to attacks by Germans.Moneylender Ghanashyam(Girish)agrees to write off his loan,if his daughter Usha(Meenakshi) marries his son Rajendra(Yakoob).But Rajendra and Mona(Sitara Devi) are Japanese spies in India.When Durgadas refuses ,his house is confiscated,sold and he is on road. Ghanashyam’s daughter Hema(Noorjehan) does not like this as she loves Dinesh.Dinesh comes back to find father poor and destitute.SuddenlyJapanese attack the village and Rajr=endra helps them .Usha urges Rajendra to fight for Badi Maa i.e. Motherland and dies due to bullets.Rajendra repents and saves his village,along with Dinesh.In this,Rajendra dies for the motherland or Badi Maa.

Dinesh and Hema marry.

Let us now listen to this song by Lata, Meenakshi Shirodkar and chorus.


Song- Janani Janmabhoomi (Badi Maa)(1945) Singers- Meenakshi Shirodkar, Lata Mangeshkar, Lyricist- Anjum Pilibhiti, MD- Datta Korgaonkar
chorus.

Lyrics

Janani Janmabhoomisch
swargdapi gariyasi
swargdapi gariyasi
Janani Janmabhoomisch
swargdapi gariyasi

tum maa ho
badi maa
tum maa ho
badi maa
nyaay ke jag mein
deep jala do
o o o o o
soye huye hirday ko jaga do
nyaay ke jag mein
deep jala do
soye huye hirday ko jaga do
dharti ko
aakaash bana do
bana do
aakaash bana do
tum maa ho
badi maa
tum maa ho
badi maa
tum maa ho
badi maa
tum maa ho
badi maa

chhote baalak bilakh rahe hain
aen aen aen
nange bhookhe sisak rahe hain
nange bhookhe sisak rahe hain
daulatwaale ae ae
daulatwaale
hulas rahe hain
julam sitam ka raaj mita do
tum maa ho
badi maa
tum maa ho
badi maa
tum maa ho
badi maa
tum maa ho
badi maa

badli gham ki aisi chhaayi
chhaayi
dushman hua hai
bhai ka bhai
dushman hua hai
bhai ka bhai
hindu musalmaa sikh isaai
hindu musalmaa sikh isaai
ab tum sabko
galey mila do
o o o o
o o o
ab tum sabko galey mila do
o o o o
o o o o
tum maa ho
badi maa
tum maa ho
badi maa
tum maa ho
badi maa
tum maa ho
badi maa
tum maa ho
badi maa


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

Blog Day :

4899 Post No. : 16701

Songs from Artiste Name Films….Second Season….No. 10
—————————————————————–

Today this series ends with a song from film Durga-1939. No prizes for guessing the name of the star of today’s post. Of course it is Durga Khote. Though she was not a part of this film, still I chose her, because lovers of old films know her too well, but as she ended her career almost 40 years ago, readers in the age group of 50-60 may not know her too well.

Film Durga – 1939 was made by Bombay Talkies, owned by Devika Rani and Himanshu Rai. The cast of the film Durga-39 consisted of Devika Rani, Rama Shukul, V H Desai, Mumtaz Ali, Peethawala, Saroj Borkar, Balwant singh, Lalita Deulkar etc. The film was directed by Franz Osten and the music was by Saraswati Devi. The year was 1939 and inits month of September, the World War started. It did affect Indian film industry too, but the effects were felt from 1940 onwards. In 1939, the industry was trying to free itself from the shackles of stage drama type music, an unnecessary stress on making films on Mythology and Folk tales and old styles of loud acting. New blood had flown in, replacing the spill over of silent movie actors and themes.

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….”

As stated in the beginning, today’s star is Durga Khote. She was one of the most respected artistes from the early cinema. In her glorious and non-controversial career of over 50 years, she acted in 183 films and sang 35 songs in 14 early cinemas. At the end of her career, she wrote her autobiography in Marathi ” मी दुर्गा खोटे “, which was later translated into English by Shanta Gokhale. This book ( along with ” चंदेरी दुनियेत ” by Leela Chitnis ) is an authentic chronicle of Indian film industry development from infancy to adulthood, in addition to personal details.

Durga Khote (14 January 1905 − 22 September 1991) was one of the foremost leading ladies of her times, she remained active in Hindi and Marathi cinema, as well as theatre, for over 50 years, starring in 182 Hindi films and numerous theatre productions. In 2000, in a millennium issue, India Today named her among “100 People Who Shaped India”, noting: “Durga Khote marks the pioneering phase for women in Indian Cinema” as she was one of the first women from respectable families to enter the film industry, thus breaking a social taboo.

She also ranks among the top ten actresses in mother roles in Hindi cinema, most notable among them were as Jodhabai in K. Asif’s Mughal-e-Azam (1960); as Kaikeyi in Vijay Bhatt’s classic Bharat Milap (1942); her other memorable roles as mother were in Charnon Ki Dasi (1941); Mirza Ghalib; Bobby (1973) and Bidaai (1974). She has received the highest award in Indian cinema, the Dadasaheb Phalke Award (1983), for lifetime contribution to Indian cinema.

Khote was born as Vitha Lad, to a family which hailed from Goa and spoke Konkani at home. Her father’s name was Pandurang Shamrao Lad and her mother’s name was Manjulabai. She grew up in a large joint family in Kandewadi. She was educated at Cathedral High School and St. Xavier’s College where she studied for B.A. While still a college-going teenager, she married into the Khote family and settled down with her husband. By the age of 26, Durga Khote was a widowed mother with two young sons; Bakul and Harin. She had to seek work in film to support her children. In doing so, she became a pioneer of sorts: She hailed from a traditional family and the film industry was regarded as the preserve of the base and the bawdy. Also, most of the female characters were played by men at the time.

Durga Khote debuted in a minor role in the obscure 1931 Talkie film Farebi Jaal or trapped, by M. Bhavnani. She had to sing 3 songs also in this film. Followed by Maya Machindra (1932) by Prabhat Film company.. She was soon promoted to play heroine in the 1932 double version (Hindi and Marathi) Ayodhyecha Raja, another Prabhat film, which was the first ever Marathi talkie, and proved to be a runaway hit, where she played the role of Rani Taramati. Indeed, she ventured yet another pioneering trend: Despite working closely with the Prabhat Film Company, she broke away from the “studio system” (exclusive contract with a studio to work in its films on a monthly salary) then in vogue and became one of the first “freelance” artistes of that era by working occasionally with the New Theatres, East India Film Co. (both at Calcutta), and Prakash Pictures.

In 1936, she played Saudamini in Amar Jyoti, which is one of her most memorable roles. The characters played by her were very much like her regal personality and she commanded a screen presence even in front of legendary actors like Chandra Mohan, Sohrab Modi and Prithviraj Kapoor. In 1937, she produced and directed a film titled Saathi ( Sawangadi in Marathi), making her one of the first women to step into this role in Indian cinema. The 40s opened for her in a big way, with award-winning performances in Aacharya Atre’s Payachi Dasi (Marathi) and Charnon Ki Dasi (Hindi) (1941) and Vijay Bhatt’s classic Bharat Milap (1942), both of which got her the BFJA Best Actress Award for two consecutive years.

Durga Khote remained active in the theatre circuit for many years, especially the Marathi theatre in Mumbai. She was actively associated with the Indian People’s Theatre Association (IPTA) and worked in several plays for the Mumbai Marathi Sahitya Sangh. In 1954, she famously performed the role of Lady Macbeth in V.V. Shirwadkar’s Marathi adaptations of Macbeth, as Rajmukut, (The Royal Crown), along with Nanasaheb Phatak.

Durga Khote played a wide variety of roles over a career that was not only long, but also untouched by scandal. She was the inspiration for several generations of Indian actresses, including veterans such as the late Shobhna Samarth, who frequently spoke of how she had been inspired by Khote’s example. During later years, she played several important character roles, such as the mother of the protagonist. Her portrayal of Jodhabai, the queen of Akbar torn between duty towards her husband and love towards her son in Mughal-e-Azam (1960) was well received. In 1963, she acted in Merchant Ivory’s debut film The Householder (1963).

She went on to play other widely appreciated character roles in later movies, such as the role of the grandmother of the heroine in Bobby (1973), the hero’s aunt in Abhimaan (1973), and the very memorable Bidaai (1974), where she played a mother, a very sensitive role that can make one cry and received the Filmfare Best Supporting Actress Award. Her final memorable role was in Subhash Ghai’s Karz (1980), where she played the role of the mother of Raj Kiran and later, mother to Rishi Kapoor, who played the role of Raj Kiran’s reincarnation after the screen death of Raj Kiran in the movie.

She acted in 182 Hindi films in her career. Her last film as an actress was Daulat ka Dushman-1983. She had also sung 32 songs in 13 films. Her last song was in the film Panna Dai-1945. By the 1980s she successfully diversified into production of short films, ad films and documentaries by setting up Fact Films and later, Durga Khote Productions, which produced the Doordarshan TV series Wagle Ki Duniya.

Durga Khote was married when she was a teenager to Vishwanath Khote, a gentleman of her own caste and similar social background, in a match arranged by their parents in the usual Indian manner. It was a traditional marriage into an orthodox family, the couple lived a harmonious and happy life, and the marriage was blessed with two sons. Vishwanath was a mechanical engineer who had graduated from Banaras Hindu University. His family was upper middle class and professional, with modern English education and high social standing; his ancestors had been prominent bankers.

Unfortunately, Vishwanath Khote died young, when Durga was barely into her 20s. She and her sons continued to reside with her in-laws, as is traditional in India, but she was not comfortable with her dependent position, especially because her father-in-law was no more, and they were dependent on other family members for their expenses. She thus felt impelled to make a living any which way she could, and the opening in films happened entirely by chance. The fact that she came from a modern and English-educated family meant that, even as a widow, she was able to act in films, which was derided as a disreputable profession in those days.

She thus raised her two sons, Bakul and Harin, single-handedly. Both of them went on to become well-settled in life. But she suffered the loss of her son Harin, who predeceased her and died in his 40s. Harin was married to Vijaya Jaywant, and they were the parents of two sons. After Harin’s early death, his widow married a Parsi man named Farrokh Mehta and became famous as the film-maker Vijaya Mehta.

Durga Khote’s grandchildren (children of Bakul and Harin) include her grandson Ravi, a filmmaker; granddaughter Anjali Khote, an actress; and grandson Deven Khote, a successful producer who is one of the co-founders of UTV, and who has also directed a film. Deven Khote is noted for producing films such as Jodhaa Akbar and Life in a Metro.

Durga Khote’s brother-in-law, Nandu Khote (brother of Vishwanath), was a noted stage and silent movie actor. Two of Nandu’s children also became actors in the film industry. His son Viju Khote (1941-2019) was an actor perhaps best known for his role of “Kalia” in Sholay (1975). Nandu’s daughter is the actress Shubha Khote, who debuted in Seema (1955) and worked as a heroine in several films before moving to character roles. Still later, she moved to directing and producing Marathi films and also entered television in the 90s. Shubha’s daughter, Bhavana Balsavar, is also an award-winning TV actress who appeared in sitcoms like Dekh Bhai Dekh and Zabaan Sambhalke before deciding to settle down and raise a family. Thus, the acting profession which was pioneered by Durga Khote in her family has been fully embraced by her late husband’s family.

Later in life, Durga Khote wrote an autobiography in Marathi, entitled Mee, Durga Khote, which was translated into English as I, Durga Khote, and moved to Alibaug, near Mumbai. Durga Khote died in Mumbai on 22 September 1991. ( Thanks to her autobiography, wiki,muVyz and my notes.)

This ends my series on Artistes, on whose names film titles existed. This is of course only indicative and not exhaustive one. I wrote only on 20 such artistes, but still about 30+ such films are remaining, most of which are not available with their songs on the social media.

I had plans to revive some more old series again, but readers’ poor response does not motivate me to do so. Still, who knows…….


Song- Ab jaago Radha Rani (Durga)(1939) Singer- Balwant Singh, Lyricist- Narottam Vyas, MD-Saraswati Devi

Lyrics

Ab jaago Radha Rani
Ab jaago Radha Rani

?? bhayi ab hua sawera
jage jagat ke praani
ab jaago Radha Rani

?? bhayi ab hua sawera
jage jagat ke praani
ab jaago Radha Rani
ab jaago Radha Rani

sapne mein ??
sapne mein ??
?? prem kahaani
sapne mein ??
?? prem kahaani
ab jaago Radha Rani
ab jaago Radha Rani

nadi kinaare Kaanh tumhaare
nadi kinaare Kaanh tumhaare
bhar bansi mein baani
nadi kinaare ?? tumhaare
bhar bansi mein baani
?? aaye ??
ab jaago Radha Rani

?? des mein ??
??
ab jaago Radha Rani
ab jaago Radha Rani


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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 THIRTEEN years. This blog has over 16700 song posts by now.

This blog is active and online for over 4000 days since its beginning on 19 july 2008.

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