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

Archive for the ‘Gyan Dutt Songs’ Category


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

Blog Day :

5182 Post No. : 17158

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


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

Lyrics

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

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

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

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

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


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

Blog Day :

4697 Post No. : 16387 Movie Count :

4453

When I was about 15 year old, I saw Dev Anand for the first time. Not on screen, but in person. I had gone to my Uncle, who was an assistant Police Commissioner in Bombay that time. Through his contacts, we attended a shooting of Dev’s film. After this I saw Ashok kumar, Dilip Kumar, Raj Kapoor and many other actors and actresses in person at various times. Though I did not speak to any cine artiste in those times, I have seen them with my own eyes. So, I had access to their first hand information, their films, songs, music etc. All the material was available in film magazines, newspapers and also in books. If I had wanted to write about them at that time, all the material was available – all credible,genuine and full of facts which could be corroborated or checked with them or with persons close to them……

CUT to old times, like the 30’s and the 40’s….

I was not living in those times and it is almost impossible to find a cine artiste alive who worked in films of the 30’s or 40’s. So today, if I want to write about those artistes,films,
music, songs etc of the bygone era, what should I do ? To get the right, genuine and credible information, I must depend on historical documents like books, newspaper cuttings, old film magazines or collect information from the sons/daughters or near relatives of old time artistes.

None of today’s old film writers were living in those times, and they have to depend on materials listed above. Due to the advent of and easy availability of the Internet, many sites and Blogs are available. Some of these sites proclaim themselves as a store-house of information on old films and music. At one time I had found and listed some 110 such sites. The problem with these sites is that they hardly give any information other than what is given in the HFGK. There are many authors who consider themselves as Experts and have brought out books on old films and artistes. Such books are available in almost all languages.

While some books genuinely provide research based credible information (it shows in their writings itself) on old films, many books churn out recycled half-true information collected from Internet sites. I have a collection of many books in many languages, but barring few books most others are of no use. Sites like IMDB, Wikipedia, Gomollo etc are not trustworthy. The reason is, Wikipedia is a site where anyone can upload, update, add or delete information. Unfortunately many enthusiastic new and fresh entrants of old films, present their data on Wikipedia.

I quote an example. The actress-singer Nirmala Devi (mother of actor Govinda) was born in a Hindu family in Banares. Someone changed this on Wikipedia and added that ‘ she was a Muslim and her name was xxx’. Dr. Surjit Singh ji immediately corrected this matter and wrote about her parents and that she was a Hindu. This was published. After some days, this was again changed to Muslim. This alternately went on for some time. Now imagine a New enthusiast of old films getting wrong information or getting confused with information from Wikipedia, this way.

IMDB is notoriously famous for mixing up information and filmography of artistes, who are members of ” Same -Name -Confusion” group. Any number of letters for correction are neither replied nor information corrected on IMDB. Thus bad quality information is passed on to seekers. In this respect Cineplot and muVyz are much better. They take immediate action to rectify mistakes, if you write to them with correct information with proof.

There was a film ” Bramhachari “-1938, in which Master Vinayak and Minakshi Shirodkar were the lead pair. Internet site Gomollo gives the name of Minakshi Seshadri as its Heroine in 1938 ! When Shamshad Begum aka Chhamia, mother of actress Naseem Bano died, one site declared that singer Shamshad Begum had died in 1998 ( she actually died in 2013). Both these examples are still on the sites, if anyone wants to check both sites.

Therefore, my advice to people who are eager to write about old films is to be careful and to corroborate your information with other sources or books or an expert to confirm that you have the right information. When film titles are repeated many times in different years, mistakes about the cast etc becomes common. Films with the title ” Insaf” were made 7 times from the 30’s to the 90’s !

Finally, a point. Like any History, old film history also gets updated as and when new documentary evidence becomes available. So what was written earlier, with good faith, becomes wrong ! I have experienced this. Some of my comments in 2011 and 2012, on this Blog, have been rendered wrong, because new information became available. Some examples are 1. Singer of song ” Dilli se aaya bhai Tingu” (film Ek thi ladki-49), 2. Singers of ” Bharat ki ek sannari ki” (film Ramrajya-1943), 3. Child actor Rajkumar Khatri (film Sautela Bhai-62) etc.etc.

Today’s song is from the film Dhiraj-1942. It’s cast consists of names like Sitara, Noorjehan, Khatoon, Rajkumari and Ibrahim – who are all members of “Same Name Confusion.” There were 2 Sitaras, 3 Noorjehans, 2 Khatoons, 4 Rajkumaris and 2 Ibrahims. Now if someone wants to write about one of these artistes, he will have to be very specific and careful.

The song is sung by Gyan Dutt, MD of the film himself. Gyan Dutt composed 604 songs in 58 films as MD, he sang 15 songs in 9 films and he wrote song lyrics of 13 songs in 3 films. With today’s song, film Dhiraj-42 makes its Debut on this Blog. This rare song was given to me by shri Abhay Jain ji and it was uploaded by Sadanand Kamath ji. Thanks to both.


Song- Tu kaisa hai Bhagwaan (Dhiraj)(1942)Singer-Gyan Dutt, Lurics-Pt Indra, MD-Gyan Dutt

Lyrics

Tu kaisa hai Bhagwaan
Tu kaisa hai Bhagwaan
teri kya hai jaan pehchaan
Tu kaisa hai Bhagwaan
teri kya hai jaan pehchaan
Tu kaisa hai Bhagwaan

kabhi kabhi meri aah sune tu
kabhi na sune pukaaar
kabhi kabhi meri aah sune tu
kabhi na sune pukaaar
kahin band darwaaze tere
kahin khule hain dwaar
kahin band darwaaze tere
kahin khule hain dwaar
tera kya hai naam nishaan
Tu kaisa hai Bhagwaan
teri kya hai jaan pehchaan
Tu kaisa hai Bhagwaan

bade aadmi gulaab jal se
tere paanv dhulaaye
bade aadmi gulaab jal se
tere paanv dhulaaye
ham to baarah maas aapse (?)
ganga jal bhar paaye
ham to baarah maas aapse(?)
ganga jal bhar paaye
kyun phir bhi maan gumaan
Tu kaisa hai Bhagwaan
teri kya hai jaan pehchaan
Tu kaisa hai Bhagwaan
teri kya hai jaan pehchaan
Tu kaisa hai Bhagwaan


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 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.

Toady’s song is from film ‘Achhoot’ (1940),sung by composer Gyan Dutt and singer actress Vasanti.

The second world war started from 1939, but its effects started being felt in India after 1940 only. The Government became alert and sensitive. Lots of restrictions were put on Imports and Exports. All exports to Germany and Japan were banned. Foreign travel came under Government microscope. Imports were restricted to only essential goods. Raw film stock came under Government control (and naturally became available freely in black market at exorbitant price). Taking advantage of the situation, Government declared that those film production houses who help Government in its war efforts, by making films with pro Govt. themes, would get raw film on priority.
Read more on this topic…


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

This is a labour of love, where “new” songs are added every day, and that has been the case for over FOURTEEN years. This blog has over 17100 song posts by now.

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

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