Archive for the ‘Post by Sadanand Kamath’ Category
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie and a regular contributor to this blog.
A few months back, I came across a thumri ‘ro ro nain gawaaun sajanwaa aan milo’ sung by Ashraf Khan. I liked this thumri and assumed it to be a traditional thumri bandish rather than from a Hindi film. I marked it in my play list and forgot about it. It was only when I read an article on actor-singer Ashraf Khan written by Arun Kumar Deshmukh as part of a series of his articles on some lesser known singers for this blog that I realised that the thumri sung by Ashraf Khan which I referred to earlier was in fact a thumri based song from the film ‘Baaghbaan’ (1938).
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Baazooband khul khul jaaye
Posted on: October 28, 2012
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.
It is a known fact that popular thumris (or ghazals) ascribed to the original classical and ghazal singers have also been sung by a few other doyens of Hindustani classical and ghazal singers. For instance, Bade Ghulam Ali Khan sang two thumris – ‘yaad piya ki aaye’ and ‘aaye na baalam kaa karu sajani’ to express his grief over the loss of his beloved wife in 1932, which became so popular that many classical singers in the concerts would get ‘farmaish’ to sing these two thumris. Similarly, Shakeel Badayuni’s ghazal ‘ae mohabbat tere anjaam pe ronaa aaya’ which was made immortal by Begum Akhtar’s rendition in early 50s, has been sung by many renowned ghazal singers. In the filmy parlance, these become version renditions of thumris and ghazals.
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Suniyo jee araj mhaaro
Posted on: October 26, 2012
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.
Having stayed in Mumbai for over 60 years, I have a fair knowledge of Marathi but not as good as Hindi and English being my medium of instructions in school and college days respectively. In my younger days, I used to often listen to some non-filmy Marathi songs on the radio as also during some public functions like Ganesh festival. Of these, two Marathi songs which created interest in me to listen to more Marathi songs were “mee dolkar dolkar dolkar dariya cha raaja” ( I am a boatman, the king of sea) sung by Hemant Kumar and Lata Mangeshkar and “ne majsi ne matrabhumi laa, sagara praan talmal laa” (O sea, take me back to my motherland. My heart aches for her) sung by all the five Mangeshkars – Lata, Asha, Usha, Meena and Hridaynath. Both these songs were composed by Hridaynath Mangeshkar probably in the late 60s or early 70s. These two songs were my first introduction to Hridaynath Mangeshkar.
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Khuda e bartar teri zameen par
Posted on: October 25, 2012
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.
This is a story of the only son of a wealthy jagirdar ( feudal land owner) Choudhary Fazal Mohammed and Sardar Begum, one of his wives. The jagirdar had almost deserted Sardar Begum but he wanted his only son in his custody for which he was prepared to pay a handsome monetary compensation to his estranged wife. But she was not prepared to part with her son. The matter went to the court and the judge asked their 9 year old son to make a choice as to whether he would stay with his father or mother. He had to make a choice between a wealthy father and a poor mother who was facing difficulties in sustaining on a day to day basis. The young boy preferred his poor mother to his wealthy father. In preferring to stay with his poor mother, the young boy may have perhaps made a statement of intent to his father that ‘tu itnaa ameer nahin banaa abba ki tu apne bête ko khareed sake’ – a similar type of dialogue used in the film ‘Deewaar’ (1975). The boy was Abdul Hayee later known as Sahir Ludhianvi.
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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.
I am aware of the film ‘Siskiyaan’ which was released in 2005 but did not know that a film with the same name was made some time in early 50s until I stumbled upon a beautiful song ‘tum bhi wohi ho main bhi wohi hoon’ on YT a few days back. I liked the song so much that I at once sat down to decipher the lyrics for posting on the blog. But on a second thought, I got a doubt about the singer of this song which the YT uploader has credited to Kishori Amonkar. As far as I know from the various sources of the websites, Kishori Amonkar’s first Hindi film song as a playback singer was “geet gaayaa pathharon ne” in 1964. Mogubai Kurdikar did not like her daughter to venture into playback singing career. As a result, Kishori Amonkar did not sing for any films until Drishti (1990) for which she was also the music director.
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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.
Duniyaa jise kehati hai jaadoo ka khilonaa hai
Mil jaaye to mitti hai kho jaaye to sonaa hai
This couplet of a ghazal written by Nida Fazli, the modernist Urdu poet and writer, made him famous among mushaira goers. Later this full ghazal was sung by Jagjit Singh and Chitra Singh sometime in late 70s bringing Nida Fazli in the limelight in a wider canvass including Hindi film industry.
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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.
Guru Dutt is one of the few Hindi film personalities on whom one can find tonnes of information by way of articles, books and film documentaries. Within a short span of 13 years as a producer, director and actor, he left us with his rich legacy in about a dozen films. Under his own banner, Guru Dutt Films, he covered almost all the main genre of films – crime thriller, comedy, romance, social, melodrama and period. As an actor, his eyes spoke more than the dialogues. As a director, he was known for taking shots with unusual camera angles. The songs in his films narrated the story of the films on the continuum. His films were artistic within the ambit of what is called as popular commercial cinema. Even 48 years after his death, I guess, he has more fan followings than when he was alive. His films are the subject matter of intellectual discussions and they are a part of some film institutes’ curriculum.
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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 is the story of a diva who, despite being in the midst of very adverse family circumstances in her formative years and facing the conservative society, created a niche for herself in the field of classical and ghazal singing. It is also the story of a woman who, despite fame and adulation showered on her by millions of fans, felt lonely all through her life.
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Dhitang dhitang boley
Posted on: September 26, 2012
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.
AAWAAZ (1956) was a Mehboob Production film directed by Zia Sarhadi. I do not know the story of the film but when Mehboob and Zia Sarhadi come together for a film, one can expect that with their leftist ideologies, the film would depict the class conflict between rich and poor. The film had Rajendra Kumar and Nalini Jaywant in the lead roles with Usha Kiran, Zul Vellani, Nazir Hussain, Leela Chitnis, D K Sapru, Jagdeep, Anwar Hussain, etc in the supporting roles. With a story of class conflicts and Nazir Hussain and Leela Chitnis in the film, one can visualise that the film would have a lot of melodramatic contents.
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Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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