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

Archive for the ‘Post by Sadanand Kamath’ Category


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.

BINDIYA (1946) was produced under the banner of Sun Art Pictures and was directed by Chimanlal Luhar. The star cast included Amar, Ragini, E Billimoria, Kamal Zamindar, Leela Mishra, Pratima Devi, Shakir, Bhagwandas, Leela Pawar etc. The film was reviewed in August 1946 issue of ‘Filmindia’. I was surprised to find for a change that the review was somewhat lengthier than the usual. After reading the review, I came to know as to why it was so. The additional length of the review was utilised for heavily criticising the director of the film for his inapt handling of the emotional scenes and for Prabhulal Dwivedi, the story writer for the film story based on a mix of several mythological stories.

I have attempted to make a condensed version of the review which is given below:

Raja Ganesh Prasad disappears leaving his wife, a little son and a huge property to his manager, Jagdish. Over a period of time, Jagdish misappropriates the property and expels the mother and the child. He now takes a new title, Raja Jagdish Prasad. He has a new manager, Prakash (E Billimoria) who is an ambitious and a greedy person. He has an eye over the huge property and Jyoti (Ragini), the daughter of Raja Jagdish Prasad.

As the years passed, the mother, Saraswati and the grown up son, Niranjan (Amar) devote their time for the services of the villagers. Prakash makes the first move towards his goal by arresting a cashier of the firm on a false charge. This brings Niranjan in the direct confrontation with Prakash. After the intervention of Raja Jagdish Prasad, the cashier is let off.

During the course of the negotiation for releasing the cashier, Niranjan introduces himself as the son of Raja Ganesh Prasad which makes Raja Jagdish Prasad uncomfortable. He gets a heart attack. He decides that the property which he had misappropriated from Raja Ganesh Prasad should be given back to Niranjan. But this is not to the liking of Prakash who now plans to frame up Niranjan. He also starts blackmailing Raja Jagsidh Prasad of his wrong doings.

In the meanwhile Jyoti, who is now in college, suddenly finds one sadhu giving astrological prediction and tells Jyoti that she is destined to become a widow on the day of her marriage. He also gives a prediction to Prakash that he would have blood of his father on his hand and tells another person that soon police will put chain around his wrists. This was all the handiwork of Prakash as he wanted to frame Niranjan. However, instead of Niranjan, another person is arrested by the police and chained on his wrists. So the first of Sadhu’s predictions has become true by design.

Jyoti loves Prakash and is about to get married. But Prakash backs out when he comes to know that Raja Jagdish Prakash would not give him the gold during the marriage. The story now takes an unusual turn. Jyoti gets married to Nirnajan under a tree in a forest and at that very time the lightning strikes Niranajan who is deemed killed. Jyoti becomes widow on the day of her marriage as predicted by the sadhu.

After some crying and wailing followed by singing of a song over her loss, a group of sanyasi finds Niranjan very much alive. The hero and the heroine are united. Prakash, the villain has a change of heart thanks to the group of sanyasis, the head of which is none other than Raja Ganesh Prasad. The film ends with a happy note.

BINDIYA (1946) had 11 songs written by Pandit Madhur (9) and Rammurthi Chaturvedi (2) which have been set to music by Kamal Dasgupta. Here is the first song ‘baadal baras baras ke tu paighaam suna de’ from the film to appear on the Blog. It is a multiple version song – the first one being duet sung by Amar and Kalyani Das. The second version is a solo sung by Kalyani Das with different antara lyrics. Both the versions of the songs are written by Pandit Madhur.

Since Amar is a lead actor in the film, it is apparent that the duet version is picturised on Amar and Ragini. In the film review referred to above, there is a mention that immediately after the marriage, Niranjan (Amar) is deemed to be killed by a lightning strike. At that time, Jyoti (Ragini) sings the song lamenting over her loss of ‘bhaag kaa sindoor’. After the end of the song, both Jyoti and Niranjan slowly walk towards each other and are united. The solo version of the song seems to fit in the situation.

With these songs, ‘Bindiya’ (1946) makes its debut in the Blog.

Duet Version :

Female Solo Version :

Song-Baadal baras baras ke tu paighaam suna de (Bindiya)(1946) Singers-Amar, Kalyani Das, Both/ Kalyani Das, Lyrics-Pt Madhur, MD-Kamal Dasgupta

Lyrics
—————————–
Duet version
—————————–

baadal baras baras ke
baadal baras baras ke tu
paighaam suna de
paighaam suna de
paimaana choor choor hai
tooti hai suraahi
har oar gham hai dard hai
aansoo hai tabaahi
manzil abhi baaqi hi rahi
thhak gaya raahi
hai door kinaara
usse tu paas mein laa de
manzil abhi baaqi hi rahi
thhak gaya raahi
hai door kinaara
usse tu paas mein laa de
baadal baras baras ke tu
paighaam suna de
paighaam suna de

deepak ne raushni bhi di
aur ghar bhi jalaaya
aur ghar bhi jalaaya
deepak ne raushni bhi di
aur ghar bhi jalaaya
aur ghar bhi jalaaya
sooraj ne jal ke chaand kaa
sansaar basaaya
sansaar basaaya
sooraj ne jal ke chaand kaa
sansaar basaaya
sansaar basaaya

parde mein chhupi zindagi
parde mein chhupi zindagi
parda tu hataa de ae ae
parda tu hataa de
parde mein chhupi zindagi
parda tu hataa de ae ae ae
parda tu hataa de
taqdeer ke likkhe ko mita de
tu mita de ae
taqdeer ke likkhe ko mita de
tu mita de
mita de
mita de ae

————————
Female Solo Version
————————-
baadal garaj garaj ke
baadal garaj garaj ke tu
paighaam suna de ae ae ae
paighaam suna de
baadal garaj garaj ke tu
paighaam suna de ae ae
paighaam suna de
dharti se aasmaan tak
dharti se aasmaan tak
toofaan macha de ae ae ae
toofaan macha de
dharti se aasmaan tak
toofaan macha de ae ae ae
toofaan macha de

haathhon se abhi mehandi bhi
ho na saki door
haathhon se abhi mehandi bhi
ho na saki door
hai loot liya jisne mere bhaag kaa sindoor
hai loot liya jisne mere bhaag kaa sindoor
uss lootne waale kaa dil ek baar
ek baar
ek baar hi la de ae ae
ek baar hi la de
baadal garaj garaj ke tu
paighaam suna de ae ae
paighaam suna de
baadal garaj garaj ke tu
paighaam suna de ae ae
paighaam suna de…ae

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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.

The song which I heard today for the first time, made me to prepare a short write up on it. The song is ‘uthhaa hai ik toofaan seene mein hai talaatum’ sung by Shamshad Begum in the film CHILMAN/JANNAT (1949). The poignant song was written by M K Chibbar and was set to music by Hanuman Prasad. By the way, I came across for the first time, the Urdu word ‘talaatum’ in the song. According to http://www.rekhta.org, the word means ‘dashing of waves, sea storm, or upheaval’.

I had come to know from ‘Filmindia’ magazines of 1949 that the film was originally titled CHILMAN (1949) as all advertisements and the film’s still photographs were in the name of CHILMAN. From the magazines, it is not known as to when the name of the film was changed to JANNAT (1949). Both the films have the same banner and the same director, viz O S S Productions (Orient Sound Studio Production) and M Changezy, respectively. The main star casts in both these films were the same – Ajit, Rehana, Shanti Madhok, Pritama Malhotra, Nazir Kashmiri, Anwari etc.

The change in title of the film at the last moment before the release is not new to the Hindi film industry. Off hand, I can recall that the film’s title ‘Dil Hi To Hai’ (1939) was changed to ‘Aulad’ (1939) at the time of its release. Similarly, ‘Dil Ki Aawaz’ (1948) was released as ‘Anokha Pyaar’ (1948). However, in case of ‘Chilman’ (1949), the film, in its new avatar as ‘Jannat’ was released with the original 10 songs of ‘Chilman’ (1949) and two additional songs – both the songs being sung by Kalyani (I have not heard these two songs. So I am not able to say whether these two songs were sung by Kalyani Das or Kalyani Bai). In this context, I reproduced below the comments by Sudhir ji on my post zahe kismat teri mehfil se jo paighaam aaya hai which solves the ‘puzzle’:

Regarding the two films, ‘Chilman’ and ‘Jannat’; yes, they are the same film. Released once, and then re-released under a different banner (financial compulsions maybe – one banner selling the rights to the movie to another banner, and the re-release happens in a different name to avoid any legal complications). The peculiar thing would be that it is re-released within the same year. As you have pointed out, all songs of ‘Chilman’ are also present in ‘Jannat’, and that ‘Jannat’ has two extra songs.

This means that ‘Chilman’ (1949) was released first with 10 songs and later on it was once again released as ‘Jannat’ (1949) after some re-shooting and adding two songs as mentioned above. The change in banners of these two films was only cosmetic. ‘Chilman’ was produced under the banner of O S S Productions. When the ‘Jannat’ was released, the name of the banner was changed to Orient Sound Studio Production, the full form of the earlier banner.

Shamshad Begum is mainly known for singing light-hearted songs which have become very popular. But the song under discussion is a poignant one and in my view she has beautifully rendered the song keeping her high throated voice in control. I wish, music directors especially of 1950s and 1960s could have utilised her voice more often for such type of songs which in those years went mainly to Lata Mangeshkar by default.

This is the song which has one of the best amalgams of voice, melody and lyrics. Unfortunately, the song did not become popular probably due to the failure of the film at the box office.


Song-Uthhaa hai ik toofaan (Chilman/ Jannat)(1949) Singer-Shamshad Begam, Lyrics-M K Chhibbar, MD-Hanuman Prasad

Lyrics

uthhaa hai ik toofaan
seene mein hai talaatum
uthhaa hai ik toofaan
seene mein hai talaatum
jee ho raha hai bekal
khushiyaan palat gayi hain
dil hai mera pareshaan
dil hai mera pareshaan
uthhaa hai ik toofaan
seene mein hai talaatum

kyun chaand chhup raha hai
bijli chamak rahi hai
main jaanti hoon meri
kismet pe hans rahi hai
kismet pe hans rahi hai
main ho rahi hoon hairaan
main ho rahi hoon hairaan
uthhaa hai ik toofaan
seene mein hai talaatum

maathhe pe kya likha hai
ye kaun jaanta hai
kismet zama ke meri
khaamosh ho gayi hai
khaamosh ho gayi hai
nikle na dil ke armaan
nikle na dil ke armaan
uthhaa hai ik toofaan
seene mein hai talaatum

aayi khabar khushi ki
ik aas paa gayi hai
ab hai gham e judaai
milne ki phir khushi hai
milne ki phir khushi hai
dil ho raha hai shaidaa
dil ho raha hai shaidaa
uthhaa hai ik toofaan
seene mein hai talaatum


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.

Atul ji’s 10K Song Milestone Celebrations – 4
——————————————————————–

कर्मणये वाधिकारस्ते मां फलेषु कदाचन ।
मां कर्मफलहेतुर्भू: मांते संङगोस्त्वकर्मणि ।।
Karmanye aadhikaraste ma phaleshu kadachan
Ma karmaphalheturbhu maate sangostavakarmani

[You have a right to perform your duties but without any expectation.  You have no right to the fruits of your works. Let yourselves be not attached to inaction.]

I used to remember this shloka (verses) during the telecasting of ‘Mahabharat’ on TV. In the recent period, I have once again started recalling this shloka as I find this shloka apt for Atul ji! He has been doing his karma (duties) of posting Hindi film and non-film songs faithfully since the inception of the Blog on July 19, 2008 without expectation of any kind of rewards.
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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.

Last week, I came across a rare song from NEK DIL (1948), a film I heard for the first time. The film was produced and directed by G A Thakur under the banner of Light House Productions. Pran and Smriti Biswas were in lead roles with Begum Parveen, Ramesh, Nazar, Saleem Raza, Durga Mota, Zubeida etc in the supporting role. The film was produced in Lahore and it was stated to be belonging to the social genre.
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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.

Today, April 12th 2017 is the 107th birth anniversary of one of the earliest multi-talented film personalities who, despite being a post-graduate in English literature, started his filmy career as a painter and a still photographer in New Theatres, Calcutta in 1933. With sheer hard work and talent, he rose to become the screenplay and dialogue writer and lyricist within a year. In about 5 years from joining the film industry, he became a director. He was Kedar Nath Sharma, better known as Kidar Sharma (12/04/1910 – 29/04/1999).
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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.

 

Wadia Brothers’s (JBH Wadia and Homi Wadia) last silent film was ‘Toofan Mail’ (1932) which was released after sound films came into being.  As far as I know, the first sound film with a prestigious train name was also ‘Toofan Mail’ (1934) produced under the banner of Ranjit Movietone. This was probably the first action-adventure-stunt film with a title of the film after a prestigious train which became a huge box office success.
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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.

Today, February 21st 2017 is the 26th Remembrance Day ( I, feel it is better to call it Remembrance Day than calling it death anniversary) of Nutan, one of my favourite actresses. The first film of her which I saw in a theatre was ‘Milan’ in 1967. Thereafter, I had watched her black & white films when they were telecast on Doordarshan sometime in the early 80s. I am sure, many readers would agree with me that Nutan, through her intense acting, made us to ponder over the some of the social issues raised in films like ‘Seema’ (1955), ‘Sujaata’ (1959), Bandini’ (1963), ‘Saraswatichandra’ (1968) 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.

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.
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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 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 over 13200 song posts by now.

This blog is active and online for over 3150 days since its beginning on 19 july 2008.

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