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

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

It is a well-known fact that when sound films came into being in 1931, majority of the films which were produced, especially in the 1930s, belonged to the genres of action, adventure, costume drama, mythology, fantasy, folk legend etc. There were few takers for films containing social, family drama and romantic themes. In a way, this was the legacy from silent films. Those who produced and directed silent films may have thought it prudent to try more or less the same genres in sound films to begin with.

Hyderabad (Sindh) born Mohan Dayaram Bhavnani (1903-1962) was one of those directors who started his filmy carreer as director in silent films in 1925. He directed 19 silent films before venturing into sound films. From the listing of films directed by him, I find that most of his films belonged to the genres of action, adventure and costume dramas.

Before joining film industry, Mohan Bhavanani had studied film making in Germany after completion of his college in 1925. On the eve of the imminent arrival of sound films in India, Mohan Bhavnani once again went to Germany to study the techniques of sound films. His first sound film was ‘Trapped’ (1931) which probably may have been converted from his last silent film ‘Farebi Jaal’ (1931). This was the film in which Durga Khote made her maiden appearance as an actress. This was also the film in which Enakshi Rama Rao had a small role who later married Mohan Bhavnani.

In 1935, Mohan Bhavnani started his own film production company, Bhavnani Productions. Under his banner, he produced the first film ‘Jaan Bahadur’ (1935). This was followed by ‘Jaagran’ (1936) in which his wife, Enakshi Rama Rao was the lead actress. In all, he directed 23 sound films. 13 of these films were produced under his own banner.

In 1948, Mohan Bhavnani bid adieu to film industry and joined Film Division as the Chief Producer. He worked in this till 1955. In 1958, on an invitation from the Chinese Government for producing a documentary on China, he made extensive trips to China.

In 1937, Mohan Bhavnani had produced and directed a jungle adventure film ‘Zambo, the Ape Man’ a.k.a. ‘Sher-E-Jungle’ (1937). The film seems to be a success at the box office as he produced and directed its sequel, ‘Zambo Ka Beta’ a.k.a. Son of Zambo (1939). The star cast of the film included Navin Yagnik, Bimla Kumari, Nayampalli, Sunita Devi, Vatsala Kumthekar, David, Fatty Prasad, A S Gyani, Gulab, Gulzar etc.

There were 9 songs in the film written by Pandit Shivkumar who was associated with India’s independence movement and was a scholar in Hindi, Sanskrit and Urdu languages. Songs were set to music by Pandit Badri Prasad who, in his later filmy career, switched over in the role as a character actor and choreographer.

I am presenting the first song ‘hai ishq wohi aag jo paani mein lagaa de’ from the film ZAMBO KA BETA (1939) to appear in the Blog. The song is sung by Vatsala Kumthekar who also acts in the film. The song is rendered in the thumri style. After all, Vatsala Kumthekar was trained in Hindustani classical music under Ustad Khadim Hussain Khan of Agra Gharana.

With this song, ‘Zambo Ka Beta’ (1939) makes its debut in the Blog.

Audio

Song-Hai ishq wahi aag jo paani mein lagaa de (Zambo Ka Beta)(1939) Singer-Vatsala Kumthekar, Lyrics-Pt Shivkumar, MD-Pt Badri Prasad

Lyrics

hai ishq wahi aag jo o
paani mein lagaa de
haan haan
paani mein lagaa de
haan haan
paani mein lagaa de ae ae ae ae
hai khwaab wahi khwaab jo o
sotey se jagaa de
haan aan
sotey se jagaa de
haa aan
hai khwaab wahi khwaab jo o
sotey se jagaa de…ae ae ae ae

hai khushk ?? dekh chuke ae
ae ae ae ae ae
hosh ki duniya aa aa aa aa
ab aisi pilaa de ki jo o o
behosh banaa de
haan haan
behosh banaa de
haan aan
ab aisi pilaa de ki jo o
behosh banaa de ae ae ae

khaali hai suraahi to o o o o o
madhosh to tu hai ae ae ae ae ae ae
khaali hai suraahi to o o o o o
madhosh to tu hai ae ae ae ae ae ae
aa apne labon ko ye mere
aa apne labon ko ye mere
munh se lagaa de
haan haan haan
munh se lagaa de
haan aan
aa apne labon ko mere
munh se lagaa de
haa aan
hai ishq wahi aag jo
paani mein lagaa de…ae ae ae

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

Behzad Lucknowi was one of many Urdu poets who entered Hindi film industry in the 1930s. However, in my view, he was also one of the least visible poet-lyricists among those who had spent over a decade in the Hindi film industry in the 1930s and 1940s. Some of his high quality ghazals like zinda hoon iss tarah ki gham-e-zindagi nahin, tumhaare bulaane ko jee chaahta hai, rehne laga hai dil mein andhera tere baghair are still remembered today. Most listeners of these ghazals would identify these songs with Mukesh, Lata Mangeshkar and Begum Akhtar, respectively, as it so often happens in case of popular Hindi film songs.
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This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

In my last write-up kyun dil mila hamaara tumhaara jawaab do, I had discussed the confusion about ‘Kalyanis’- Kalyani Bai, the actor-singer and Kalyani Das, the playback singer. I had also mentioned therein that their distinct voices help listeners distinguish between the two. The song I had presented in that write-up was sung by Kalyani Bai. I was toying with the idea of presenting a song sung by Kalyani Das immediately after my last write-up. I had already identified her song from ‘Manmaani’ (1947).
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This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

I used to get confused among singers where the name of the singer was mentioned as Kalyani or Miss Kalyani. Some songs were also accredited to Kalyani Das. Are they all the same or are they different singers? It was only after reading the interview of Kalyani Bai (Real name: Zarina) which appeared in Shishir Krishna Sharma’s Blog ‘beetehuedin’ some time in 2012 that I could differentiate between songs accredited as ‘Kalyani’ or ‘Miss Kalyani’ between Kalyani Bai and Kalyani Das. In our Blog, the songs sung by Kalyani Bai has been tagged as ‘Kalyani’ whereas songs sung by Kalyani Das have been tagged as such. So there is no same name confusion in the Blog for both the singers.
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This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

NAGAD NARAYAN (1943) was produced in Hindi and Marathi by Baburao Pendharkar under the banner of New Huns Pictures. The Marathi title of the film was ‘Paisa Bolto Aahe’ (1943). Both the versions of the films were directed by Vishram Bedekar. The star cast in Hindi version included Leela Desai, Baburao Pendharkar, Kusum Deshpande, Nayampalli, Masood, Pratima Devi, Shakir etc.
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This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

One of the signs of a person which indicates that he has become old is when he starts remembering events that happened during his childhood and younger days, more frequently than before ( I guess, I am on this stage now as I have started going through old photo albums and converting them to JPEG images!!). In the next stage, he starts sharing those events with the younger generations (based on the experiences with the seniors).
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This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Muslim socials, one of the genres of Hindi films, came into prominence during 1940s when ‘Qaidi’ (1940), produced by Film Corporation of India, Calcutta became a box office hit. Thereafter, in the 1940s, films like ‘Maasoom’ (1941), ‘Yaad’ 1942), ‘Naukar’ (1943) ‘Najma’ (1943), ‘Ismat’ (1944), ‘Zeenat’ (1945), ‘Pehli Nazar’ (1945), ‘Nek Parween’ (1946), ‘Shama’ (1946), ‘Dard, (1947), ‘Elan’ (1947), ‘Kaneez’ (1949) etc were released and most of them which became box office successes.
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This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

PRATIMA (1945) was produced under the banner of Bombay Talkies and it was directed by Jairaj. Dilip Kumar and Swarnlata were in the lead roles with Jyoti, Shah Nawaz, P F Peetahwala, Mumtaz Ali, Mukri etc in supporting roles. It was the second film for Dilip Kumar. Among the films in which Dilip Kumar acted in the 1940s, ‘Pratima’ (1945) may well be his least known film. I was surprised to note that not much information about the film was available on ‘Filmindia’ magzines of 1945 issues. The film had not fared well at the box office.
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This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Many aspirants, dreaming of becoming actor, singer, lyricist, music director etc. have been attracted towards Bollywood right from the time that sound films came into existence in 1931. However, a significantly large numbers of such aspirants do not get a chance to prove their perceived talents. Some of them who get chances in Bollywood are mainly those who have their relatives or friends to recommend them to producers/directors. But there is no guarantee that they would be successful and would establish themselves in the Hindi film industry. Many of them had to either leave the film industry or look for some other vocations in the film industry which were not of their choices.
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This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

I had never thought highly of producer-director Kishore Sahu until I read an article written in August 1942 issue of ‘Filmindia’ by Hyacinth (a pseudo name for Susheela Rani Patel) a few months back. Until then, I had come across his name as the director of ‘Dil Apna Aur Preet Paraayi’ (1960) which I had seen in the theatre. Then, I was also aware of him of his association with ‘Kaalighata’ (1951) and ‘Mayur Pankh’ (1954). But in all these films, Kishore Sahu was not in my radar as my attention was more on Shankar-Jaikishan for their melodious songs in these movies.
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What is this blog all about

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

This is a labour of love, where "new" songs are added every day, and that has been the case for more than eight years. This blog has more than 12900 song posts by now.

This blog is active and online for over 3000 days since its beginning on 19 july 2008.

Total number of songs posts discussed

12933

Number of movies covered in the blog

Movies with all their songs covered =900 Total Number of movies covered =3633

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Blog Start date: 19 july 2008 Active for 3000 days.
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