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

Archive for the ‘Hamida Bano songs’ Category


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 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 :

4805 Post No. : 16573

‘Main Kya Karoon’ (1945) was produced under the banner of Flora Films and was directed by Sudhir Sen. The star cast included Suraiya, Hansa Wadkar, Pahadi Sanyal, Bikram Kapoor, Anil Kumar, Agha, Shah Nawaz, E Billimoria, Gulab, Cuckoo, Sunetra, Motibai, Ratan Piya etc. The film was released on July 12, 1946.

It is interesting to note from the advertisement of this film (which I have included in the video clip of the song) is that Cuckoo’s name appears in the cast list as ‘Kukoo’. The name of the dance director, ‘Prof. More’ appears prominently in the advertisement which is bolder than that of names of the supporting actors like Pahadi Sanyal, Shah Nawaz etc. I guess, ‘Prof. More’ is the same person as K S More (also spelled as ‘Moray’ or ‘Morey’) who was also the Dance Director to whom Cuckoo had married.

‘Filmindia’ in its October 1946 issue, had written a favourable review. While noting that the film had an usual story of a marriage tangle, the review had commended the work of the dialogue-writer in making an ordinary story into a fast-paced narratives thus sustaining the audience interest in the film. The gist of the story is as under:

Two head-strong fathers (Shah Nawaz and Bikram Kapoor) get their boy and the girl married in their childhood. Soon the fathers start quarrelling eventually cutting off their relationship. The girl comes back to her father house.

Both the boy and the girl lose sight of each other over a period of time. They have grown up in their own environments. One day both of them meet each other without knowing that they were married in their childhood. The hero (Agha) falls in love with the heroine (Suraiya) who is a bit hesitant because she thinks that she was a child widow. However, the hero convinces her for the marriage.

In the meanwhile, there is another development. The hero’s friend is in love with his sister (Hansa Wadkar) who is the friend of the heroine. Multiple misunderstandings develop between all the four main characters resulting in some humorous situations. Finally, the marriage tangle is solved to the satisfaction of all.

The fact that the film was released on July 12, 1946 and the review was published after about 3 months indicates that the film must have run for at least 3 months.

‘Main Kya Karoon’ (1945) had 8 songs – written by D N Madhok (7) and Rammurti Chaturvedi (1) which were set to music by Ninu Mazumdar. The Blog has so far covered 5 songs from the film. I am presenting the 6th song, ‘baamna ki chhori dil le gayi, baniye ka poot jiya le gaya’ rendered by Ninu Mazumdar and Hamida Bano. The song is written by D N Madhok.

This is a love song as a tete a tete between lovers in which there is a bit of teasing as well as the assessment of the then prevailing situation in India where inter-caste marriages were frowned upon. The boy admits that his heart has been taken away by a daughter of a brahmin. The girl retorts that her heart has been taken away by a baniya’s (trader’s) son. Then they talk about how they lost their heart to each other. The girl says that her beloved’s magical eyes, his fair complexion and smiles cast spell on her. The boy reminds his beloved that they have yet to cross the stumbling block of the respective families as both of them belong to different castes. The girl is confident that more than the caste and the family, it is the mutual love for each other that matters the most in the marriage.

I heard this song for the first time only a couple of days back and I immensely liked both the tune and the orchestration. Both the prelude and interlude orchestrations enhance the mood of the song. Another innovative use of the orchestration is instead of the short ‘musical fillers’ in-between lines of the song, there is what I would call it as ‘extra interlude’ orchestrations after the first four lines of the antara of the song to avoid monotony of the repeat of the lines thereafter.

With this song, only two songs from the film remain to be covered on the Blog:

1. Mai-e-gulgun hai jawaani hai by Rajkumari Dubey and Hamida Bano

2. Jaaniyaan maano hamri rasiya maano hamri by Hamida Bano

Audio Clip:

Song-Baamna ki chhori dil le gayi (Main Kya Karoon)(1945) Singers-Ninu Mazumdar, Hamida Bano, Lyrics-D N Madhok, MD-Ninu Majumdar

Lyrics

baamna ki chhori dil le gayi
ho o o o
baniye ka poot jiya le gaya..aa

baamna ki chhori dil le gayi
ho o o o
baniye ka poot jiya le gaya

gaagri utaaye jaaye
gaagri utaaye jaaye
pag to le
o kamar do bal khaaye
jaadu bhari aankh rang hai gora
jaadu bhari aankh rang hai gora

ho o o o
hans hans ke moh liya man mora
ho o o o
hans hans ke moh liya man mora
sukh lekar dukh de gaya

haay
sukh lekar dukh de gaya
ho o o o
baniye ka poot jiya le gaya..aa

baamna ki chhori dil le gayi
ho o o o
baniye ka poot jiya le gaya..aa

jaat begaani biraadari ka dar
ho ham pe lagi hai jaani sab ki nazar
pyaar mein biraadari na jaat koi
ho neh laga liya jo wo kare so hoi

jaat begaani biraadari ka dar
ho ham pe lagi hai jaan sab ki nazar
pyaar mein biraadari na jaat koi
o neh laga liya jo wo kare so hoi
sukh lekar dukh de gaya

haay
sukh lekar dukh de gaya
ho o o
baniye ka poot jiya le gaya..aa
baamna ki chhori dil le gayi
ho o o
baniye ka poot jiya le gaya..aa


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 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 :

4782 Post No. : 16536 Movie Count :

4500

I have come across 3 Hindi films on the story of ‘Krihsna-Arjuna Yuddh’. I had never heard of the story of war between Krishna and Arjun in Mahabharat. How could they be at war with each other when Arjun and Lord Krishna were not only great friends but they were also relatives. Then how did the story of ‘Krishna-Arjuna Yuddh’ emerge? I could not get the slightest indication of the story even as a sub-plot in Mahabharat. A search on the internet revealed that there was indeed a story of Krishna-Arjun war. I came across at least two such stories with some minor variations though the main theme (the reasons for the war) remained the same in both the stories. There may be a few more versions of this story.

The first version of the story of Krishna-Arjuna Yuddh’ which I read is based on a fictional work written by a Telugu author, Chilakamarti Lakshminarasimhan with a title ‘Gayapakhyanam’ (1890). Based on this story, the Telugu drama ‘Sri Krishnarjuna Yuddham’ was staged in early 20th century. Later, the film, ‘Sri Krishnarjuna Yuddham’ (1963) was made in Telugu. The timeframe in the story was pre-Mahabharat war. The full story can be read here and here.

The first film on Krishna-Arjuna war was a silent film ‘Krishna Arjuna Yuddha’ (1923). With the advent of talkies, the same was made into a sound film in 1934 in Hindi. This was again remade as ‘Shri Krishnarjuna Yuddha’ (1945) and ‘Shri Krishna Arjuna Yuddh’ (1971), both in Hindi. Going by the synopsis of the 1934 talky film, I feel that all these films were based on the second version of the story for which the timeframe for this story was post-Mahabharat war. I will also not be surprised if the story writers of each of these films may have added sub-plots to the main story to make the films interesting to watch.

The story of ‘Krishna-Arjuna Yuddh’ in Hindi films seems to have been adapted from the second version which I have read in an article in Punjab Kesari. I have paraphrased the story to make it concise:

Once Maharshi Gaalav was making a divine offering to Sun God in the early morning when he saw Gandharva king, Chitrasen travelling in his aviation chariot in the sky. However, while travelling, Chitrasen’s spit fell in the Gaalav’s offerings. He was terribly annoyed with Chitrasen. He was about to give him a curse when he realised that his cursing would result in nullifying his years of meditation. So, he went to Lord Krishna with a complaint against Chitrasen. After hearing, Lord Krishna at once took a vow that before the sunrise the next day, he would kill Chitrasen. Gaalav returned to his hermitage satisfied.

After Gaalav had left, Devrishi Narad reached Lord Krishna’s house. Observing Lord Krishna in a serious mood, Narad asked him as to what was the reason for his serious face. Lord Krishna revealed about Gaalav’s visit and his vow to kill Chitrasen before the sunrise the next day. After hearing this, Narad rushed to meet Chitrasen and apprised him of the danger to his life with Lord Krishna’s vow. Chitrasen got panicky and proceeded to Lord Indra and Lord Shiva with a request to protect him from Lord Krishna. His requests went in vain as they would not like to interfere with Lord Krishna’s matter.

A disappointed Chitrasen came back to Narad and requested him to find a way out to get his life protected. Narad gave him a solution by advising him to visit a particular place on the banks of Yamuna River in the midnight and cry loudly. After listening to his cries, a lady would come to him and enquire as to the reasons for his crying. He would have first get her commitment for the protection from his impending death without revealing as to who was his potential killer. Once the lady gives the promise to protect him, he can reveal the name of Lord Krishna as his potential killer. Chitrasen had no other option but to agree to Narad’s advice.

In between, Narad made a hasty visit to Arjun’s palace and met Subhadra. He told her that the day was the most auspicious one to take a bath in Yamuna River in the midnight and if she gets an opportunity to help a needy person, she would get ‘akshya punya’. That night, Subhadra visited the banks of Yamuna River along with her friends for the auspicious bath, After her bath, she heard a loud cry for help. She thought it as an opportunity to help a person in distress for ‘akshya punya’ and visited the person who was none other than Chitrasen. He told his problem to Subhadra without revealing the name of Lord Krishna. Once he got the firm commitment from her that she would protect him, Chitrasen revealed the name of his potential killer as Lord Krishna. Subhadra was now in a piquant situation. On the one side, Lord Krishna’s promise to Gaalav has to be met. On the other side, it was her commitment to save Chitrasen from a sure death,

Subhadra returned to her palace with Chitrasen and presented him to Arjun who turned out to be his friend. Arjun was ready to protect Chitrasen to fulfill the commitment Subhadra made to him. Arjun gave refuge to Chitrasen in his palace. Now it was Narad’s turn to meet Lord Krishna and to apprise him that his close friend and brother-in-law, Arjun had given protection to Chitrasen. He suggested to Lord Krishna to think twice before planning his next move. Lord Krishna requested Narad to convince Arjun to release and bring Chitrasen to his place.

Narad met Arjun with Lord Krishna’s proposal which Arjuna flatly refused to comply with. He said that having given promise to Subhadra to give protection to Chitrasen, it was not correct on his part to deviate from his promise as per the teachings of Lord Krishna. Narad went back to Lord Krishna and conveyed Arjun’s decision. Now a war was eminent between Lord Krishna and Arjun. Lord Krishna comes with his army of Yadavas and Arjuna with the army of Pandavas. A pierce war broke out between them exhausting all their conventional weapons without any result. At last, Lord Krishna took out his Sudarshan Chakra for which Arjun’s response was through his Pashupatashtra. Knowing that these two potent weapons were capable of destroying the whole world, Arjun invoked Lord Shiva who appeared at the war scene. After taking control of both these potent weapons, Lord Shiva reached out to Lord Krishna and reminded him that there were several instances where he had not fulfilled his vows in difference to his devotees. Lord Shiva ordered them to stop the war at once. Lord Krishna stopped the war by hugging Arjun and freed Chitrasen from his vow to kill him.

Maharshi Gaalav was disappointed. He felt that Lord Krishna, Arjuna, Subhadra and Chitrasen had played pranks with him. He told them that he was going to burn them with his power. So, he took some water on his hand to pour on the ground so that all the four are destroyed by burning. But before he could do so, Subhadra said loudly that if she was an ardent devotee of Lord Krishna and her devotion to Arjun was complete, the water from the hands of Gaalav would not fall on the ground. That was what exactly happened when Gaalav attempted to pour the water from his hand.

Maharshi Gaalav was ashamed of his act. He took leave of Lord Krishna and returned to his hermitage.

I like this fictional story because there is lot to be learnt from it. Firstly, one should never give commitment to anyone without ascertaining the facts in full. Second, one should not unilaterally act based on the information provided by a third party. Thirdly, the punishment should be in commesurate with the offence. Lastly, there should be timely intervention by the superiors before the matter goes out of hand.

‘Shri Krishnarjuna Yuddh’ (1945) was produced under the banner of Murari Picutures and was directed by Mohan Sinha. The star cast included Prithviraj Kapoor, Shobhana Samarth, Shahu Modak, Maneka Devi, Kanaiyalal, Rattanbai, Trilok Kapoor, Vasant Pehalwan, Nand Kishore, Shyam Sundar etc.

The film had 10 songs of which Y N Joshi and Dr Safdar Aah Sitapuri wrote 6 songs and 2 songs, respectively. Lyricists for the remaining 2 songs are not known. All the songs were set to music by Jagannath Prakash. This was the only film for which he was the music director.

I am presenting the first song, ‘vandan karo ri sakhi vandan karo’ from ‘Shri Krishnarjuna Yuddh’ (1945) to appear on the Blog. The song is written by Y N Joshi. HFGK is silent on the singers of the song. The song’s mp3 clip mentions the name of the singers as Hameeda Bano and Geeta Roy which I am inclined to agree.

With this song, ‘Shri Krishnarjuna Yuddh’ (1945) and the music director, Jagannath Prakash make debut on the Blog.

Audio Clip:

Song-Vandan karen ree sakhi vandan karen (Shri Krishn Arjun Yudhh)(1945) Singers-Hameeda Bano, Geeta Roy, Lyrics-Y N Joshi , MD-Jagannath Prakash
Chorus

Lyrics

vandan karen ri sakhi vandan karen
vandan karen ri sakhi vandan karen
vandan karen ri sakhi
vandan karen ri sakhi
vandan karen
vandan karen ri sakhi
vandan karen ri sakhi
vandan karen

vandan karen ri sakhi vandan karen ae ae
vandan karen ri sakhi vandan karen ae ae
vandan karen ri sakhi vandan karen
vandan karen ri sakhi vandan karen
Shri Ram kaa
Shri Ram kaa
Shri Ram kaa
Shri Ram kaa

maaya apaar inki mahima apaar
maaya apaar inki mahima apaar
shobha apaar inki leela apaar
shobha apaar inki leela apaar
rishi muni swaami??
haar gaye ree ee
rishi muni swaami ??
haar gaye ree ee
paaya na koi paar
koi paar
paaya na koi paar
koi paar
chalo milkar sakhi naman karo sakhi naman karo
chalo milkar sakhi naman karo sakhi naman karo
o sakhi naman karo
o sakhi naman karo

Shri Ram kaa
Shri Ram kaa
Shri Ram kaa
Shri Ram kaa

aise Gopal ko mere Gopal ko
man mein bithhaaungi aaj
aise Gopal ko mere Gopal ko
man mein bithhaaungi aaj
aise Gopal ko mere Gopal ko
man mein bithhaaungi aaj
aise Gopal ko mere Gopal ko
man mein bithhaaungi aaj
mangal Yashoda nandan karen ree sakhi
vandan karen
mangal Yashoda nandan kare ree sakhi vandan karen
vandan karen
o sakhi vandan karen
o sakhi vandan karen
Shri Ram kaa
Shri Ram kaa
Shri Ram kaa
Shri Ram kaa

ham karm par datey rahen
ham dharm par adey rahen
ham karm par datey rahen
ham dharm par adey rahen
inne sikhaaya hai hamen
anyaay se bhidey rahen
ham karm par datey rahen
ham dharm par adey rahen
ham karm par datey rahen
ham dharm par adey rahen
inne sikhaaya hai hamen
anyaay se bhidey rahen

mangal Yashoda nandan karen ri sakhi
vandan karen
mangal Yashoda nandan karen ri sakhi
vandan karen
o sakhi vandan karen
o sakhi vandan karen
Shri Ram kaa
Shri Ram kaa


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.

This article is his 1000th post in the blog.

Blog Day :

4779 Post No. : 16531

POST NO. 1000
——————————-

I had never imagined that in my life I would ever write 1000 articles on old films and music. When I retired from my regular service in 1998, I had many offers from the Pharma Industry, because of my 35 years’ successful track record. I had joined the Pharma giant – Glaxo Laboratories as a Medical Representative and retired as the General Manager – Marketing.

Instead of doing another job, I started my own Consultancy and ran it till 2008. Then I got fed up of doing the same thing for so many years and closed the consultancy. I spent 2 years travelling all over the country with my wife. In 2010, I decided to learn Computer. My enthusiastic grandchildren became my teachers and I learnt the basics soon. Initially I found fun downloading old film songs and making CDs. I had crossed my 70 years by that time.

Then one day while surfing the Net, I discovered atulsongaday.wordpress.com and I was very glad to see the way songs were discussed here. I became a regular visitor. At that time I remembered about several diaries and notebooks, in which I had written about the films I had seen from the 40’s to the 60’s. I opened those boxes and cleaned the notebooks. Some had been damaged by white ants and few were torn and had become old with faded ink.

With whatever was remaining, I started commenting on the posts of the Blog and soon I was a known person to other regulars. Even at that time, I did not think of writing posts myself. After about 2 years, once Atul ji suggested that i write posts and he himself posted my write up on a song of 1937 sent to him along with the song, so that it could be used for the Blog. The post was published the next day on my name and I was welcomed by all regulars. Enthused with the acceptance, I continued writing regularly from 1-10-2012 onwards and today I am at this stage, with 1000 posts here and some more on other Blogs and sites. I published interviews of relatives of old time actors and also wrote one book, which was published in July 2018.

My journey in this field has been unbelievable. From a Nobody to a person well known in the Cyberworld of old films and music, whose name is mentioned in several books by other authors, national and international. All these accolades and recognition is because of one person, who helped me from the beginning and continues to do so even now. That person is ATUL JI. I thank him wholeheartedly for supporting, encouraging and motivating me throughout. Thank you, ATUL JI.

I also thank all other ATULITES of our group here who have been very appreciative and helpful. Thanks to each one. ATUL JI is not very expressive about the good he does to people, so I express my feelings about him, whenever the occasion comes. I also wish, one day I meet him on one of his visits to Mumbai.

In the journey of the last 10 years, I have devoted a lot of effort to dig out information on the unknown and the less known artistes, films and songs of the yore. I think my best contribution to the history of old films is about the ” SAME NAME CONFUSIONS “. I had found that this was one problem which troubled every student of film history (like me) and no work has been specifically done on solving this problem. My tireless efforts have clarified the SNC cases of about 80 film personalities so far.

Digging up History is a continuous process. None of the writerson old films were present when things took place in the 30’s and the 40’s. At least no one was in the age of understanding matters of films or writing about films. So, all historians have to depend on existing documents like old books, old papers and magazines and similar materials to get credible information. Since old information keeps on cropping up at several intervals, the film history keeps on updating itself. In some cases, new information proves the existing old information wrong. So sometimes old statements are proven wrong in view of the new evidence. Thus you will find that no book on film history is without a mistake.A MISTAKE TODAY WAS THE TRUTH TILL NEW INFORMATION NULLIFIED IT. It does not and should not reduce the credibility of the author in any way. Some of my own comments made in 2011 and 2012 were found to be wrong when new information became available. It happens to all. The readers must understand this.

In my last 9 years, i have written about hundreds of people, films and songs. In my Laptop, I have stored information of more than 1600 people and films. In the last 1000 psots here, i have never written a post without giving some information. I feel the reader must gain something when he spends time reading my post. I don’t claim that my posts had no mistakes…they had, but never intentionally. I also make it a point to credit the source whenever I have taken information from somebody or somewhere. It is possible that I forgot sometimes but never knowingly. I do not feel ashamed to accept my mistakes. A mistake is a mistake, anyway. I never wrote on popular and well known artistes like Dilip, Raj , Dev, AB, Meenakumari etc etc. I hope I have always given something new to readers in my post.

So, what next ?

I can only repeat the verse of Robert Frost………..

The woods are lovely, dark and deep
But I have promises to keep
and miles to go before I sleep
and miles to go before I sleep……

Thank you Atul ji, Sudhir ji, my friends in the ATULITE group, my co-travellers in this journey and guides like Rajni Kumar Pandya ji, Dr Surjit Singh ji, Shishir Krishna Sharma ji, AK ji of Songs of yore,  Gopal Pillai ji and many others.

I can not end this without thanking wholeheartedly the help and encouragement given to me at every stage by Shri HARISH RAGHUWANSHI JI, without whom my work would be incomplete. Thank you Sir !

For today’s occasion, I have selected a song from a film which has music by my favourite MD- C. Ramchandra. Film Naghma E Sahra-1945 had a special importance in the lives of Master Bhagwaqn and C. Ramchandra. Master Vithal was the idol for both of them. Though Master Bhagwan himself worked in, produced and directed stunt films, he was keen that his idol Master Vithal should work in his film and that he should do the direction . By 1945, master Vithal was losing his popularity in Hindi films and he was also not getting many films, so he was thinking of concentrating on Marathi films and to go and settle in Kolhapur, where he had bought a big Chawl. So his income from its rent was also guaranteed.

When Bhagwan came to know this, he became panicky, thinking that his dream would remain incomplete. He gathered courage and contacted Master Vithal and offered him a role in his film. To Bhagwan’s delight Master Vithal almost readily accepted the offer. Until then Bhagwan had no idea about his film. He started work along with Ehsan Rizvi, his favourite writer, on the story of the new film. He also contacted C.Ramchandra to give the news. Untill then, C. Ramchandra gave music to Bhagwan’s films, but used other names than C.Ramchandra. For this film, he decided to use his real name. Thus their dream of working with master Vithal was fulfilled.

This way the film was made. As luck would have it, this film really became the last film Master Vithal did in Hindi in Bombay. He left Bombay and went away to Kolhapur. However, he regretted his hurried shift, later in life. I would have written more about Master Vithal, but the post has already become a long one. Maybe some other time.

Today’s song is a duet sung by Khan Mastana and Hamida Bano. Enjoy…..


Song-Bahaar hai Baahar (Naghma e Sahra)(1945) Singers- Chitalkar, Khan Mastana, Hamida Bano, Lyricist- Ehsaan Rizvi, MD- C Ramchandra
Both

Lyrics

bichhdi hui bahaar
galey daalti hai haar

aa aa aa aa aa
aa aa aa aa aa

ba..haar hai bahaar
ba..haar hai bahaar

hai raab e shokhiyaan
phoolon pe hai nikhaar
ba..haar hai bahaar
ba..haar hai bahaar

na husn ko hai guroor
na ishq ko hai nayaaz
mil ke gale se aa aa aa
karte hain donon naaz
ab baj rahe hain saaz
ab baj rahe hain saaz
ab mil gaye hain taar
aa aa aa aa aa aa
aa aa aa aa aa
ba..haar hai bahaar
ba..haar hai bahaar

aankhon mein hai sharaab
ehsaan mere gulaab
chhoo kar na ho bata
aa aa
ab jee apne hi kharaab
do do jiyen chiraa
do do jiyen chiraa
ab kiska intezaar
aa aa aa aa aa
aa aa aa aa aa
ba..haar hai bahaar
ba..haar hai bahaar

deewaana main tera
dil ko kiye hoon
tu mere liye hai
main tere liye hoon
aa ae dil ki aarzoo
armaan hain beqaraar
aa aa aa aa aa
aa aa aa aa aa
ba..haar hai bahaar
ba..haar hai bahaar

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

बिछड़ी हुई बहार
गले डालती है हार

आ आ आ आ आ
आ आ आ आ आ

बा..हार है बहार
बा..हार है बहार

है राब ए शोखियाँ
फूलों पे है निखार
बा..हार है बहार
बा..हार है बहार

ना हुस्न को है गुरूर
ना इश्क़ को है नयाज़
मिल के गले से आ आ आ
करते हैं दोनों नाज़
अब बज रहे हैं साज़
अब बज रहे हैं साज़
अब मिल गए हैं तार
आ आ आ आ आ
आ आ आ आ आ
बा..हार है बहार
बा..हार है बहार

आँखों में है शराब
एहसान मेरे गुलाब
छू कर ना हो बता
आ आ
अब जी अपने ही खराब
दो दो जीएं चिरा
दो दो जीएं चिरा
अब किसका इंतज़ार
आ आ आ आ आ
आ आ आ आ आ
बा..हार है बहार
बा..हार है बहार

दीवाना मैं तेरा
दिल को किए हूँ
तू मेरे लिए है
मैं तेरे लिए हूँ
आ ए दिल की आरज़ू
अरमां हैं बेक़रार
आ आ आ आ आ
आ आ आ आ आ
बा..हार है बहार
बा..हार है बहार


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 :

4492 Post No. : 16018

Today’s song is from film Bade Nawab Saheb-44. It was a Muslim social film, produced by Silver films – a joint venture of actors Kumar and Chandra Mohan. The film was directed by Vedi, a name about which I could not get any information except that he was a director from the Silent era. In the Talkie era, he has 4 films to his credit as director. First film is Bade nawab saheb-44, then Naseeb-45, Room Number-9 – 46, and For Ladies only-51. This is all I know about Vedi. Unfortunately, we do come across few such names from the early era films. This is because we have very poor documentation. Information on big actors etc is available. That is why the task of Hindi film History students (like me, for example) is tough in securing and recording information for the posterity.

The music director was Bashir Dehalvi. Here too, we only know that he gave music to films like Jhankar-42, Kalakar-42, Ujala-42, Koshish-43 and hawai Khatola-46, in addition to today’s film. The 10 songs of the film were written by Lyricist Shams Lucknowi. He seems to be a story and dialogue writer too. Story of film Andaz-49 was by him. He wrote the dialogues of films like Idd ka chand-33 and Kimiyagar-36. He also acted in film Parchhain-52. He wrote 104 songs in 15 films from Lal Haveli-44 to Dahej-50. May be , then he migrated to Pakistan or what, we do not know.

Most of the so called Historical (my friend calls them Distortical), Costume dramas, Arabian Night stories films etc have a Muslim background. But ” Muslim Social” films is a separate category. Initially it was considered to be a very sensitive issue to depict the social life of Muslim families in India and so film producers were wary of making such films. When film makers with modern thinking came to the industry – like K Asif, Mehboob or Fazli brothers- there was a cautious but slow beginning of Muslim social films. My two friends, shri Kamlakar Pasupuleti ji (originally from Hyderabad and settled later in US) wrote an informative book, ” Forgotten movies on Muslim Culture 1933 to 1947 and shri Isak Mujawar ji wrote (in Marathi) ” Muslim Cinema”. Both these books give good information on this category of films.

Like many other myths in Hindi film industry, one myth is that Mehboob Khan was the pioneer in making Muslim social films in India. This probably originated because the first film of Mehboob’s own company Mehboob Productions was ” Najma”-43, a Muslim social film starring Ashok kumar, Veena, Stara, Kumar, Yaqub etc. But the fact is different.

The first Muslim social film was ” Rashida”-35, made by Madon Theatres, Calcutta, featuring Kajjan, Effendi and others. It was directed by a Jew-Izra Mir. The name of the film indicated that it was about a Muslim girl. Somehow, I find a lot of Muslim social films made had titles of girl’s names, Like Zeenat, Ameena, Najma, Shama, Heena, Zubeida, Salma, Ismat etc etc.

The beginning of serious Muslim social films was done by Fazli Brothers- Hasnain and Sibtain Fazli. They first made a Muslim social film Qaidi-1940, featuring Ramola,Mehtab, B.Nandrekar, Wasti etc. This was a period of struggle for Indian Independence. The fundamentalists in Muslims were active and due to the fear of their reaction, film makers were wary of producing such films.Even Fazli brothers were also afraid that there would be obstruction from these people to their film, so they decided to make the film in Calcutta. Their first Muslim Social film Qaidi-40 was very successful. Encouraged, they made 2 more such films (Masoom-41 and Chauranghee-42) in Calcutta. For film Chauranghee-42, the Fazli Brothers roped in famous Bangla poet (who later on became the National Poet of Bangladesh) Kazi Nazrul Islam- the creator of Nazrul geeti, as a Lyricist and MD for the film.

After 1942, Fazli Brothers shifted their activities to Bombay and made many Muslim social films like Fashion-43,Ismat-44, Dil-46 and Mehendi 47. So, in true sense, it is the Fazli Brothers who were the pioneers of Muslim Social films in India.

From the 40s to the 47, there was a line of Muslim social films lined with pride and confidence. Notable amongst them were Paak Daaman-40 by Rustom Modi, Masoom-41 by Fazli brothers, Muslim ka lal-41 by Mohan Pictures, Fashion -43 by Fazli Brothers, Najma-43 by Mehboob, Salma-43 by Nazir Ahmed, Ismat-44 by Fazli Brothers, Bade Nawab saab-44 by actor Kumar and Pramila, Bhaijaan-45 by United Films, Phool-45 by K.Asif, and Director Mazhar Khan’s Muslim social film ” Pehli Nazar’ in 1945. Amongst these, film ‘ Elan ‘-47 was a milestone film, produced by Mehboob. It dwelt upon the needs of improvements for Muslim community.

After 1947, India lost a very big market for its Muslim social films, when Pakistan-East and West- was formed. It does not mean that Muslim social films were not made after 1947 in India. Films like Kaneez-49, Nisbat-49, Parda-49, Hyderabad ki Nazneen0-52,Darwaza-54, Chandni Chowk-54, Maalik-58, Maa ke aansoo-59, Pahli Raat-59 etc were all Muslim socials. They, however, were not successful, for whatever reasons. But the fun is films of Muslim backgrounds but non social films like Anarkali,Mirza Ghalib,Hatimtai,Alibaba and forty thieves etc were good grossers and ran well. The first Hindi film to win the President’s Gold Medal (the first was Marathi film-Shyam chi aai ), was Mirza Ghalib-54. This indicated that there was no audience for Muslim social films now. Later on, the conditions changed and Muslim social films like Chaudhavi ka chaand, Barsaat ki raat, Chhote Nawab, Bahu Begum, Mere huzur, Pakeeza etc became quite successful. However, some opine that these films succeeded due to other reasons like Music, songs etc. One funny thing was that most Muslim social films-from the beginning- showed Lucknow as the background of the story ! (Film names being mentioned are only indicative and not exhaustive, so many names will be missing here.)

The cast of film Bade Nawab Saheb-44 was Chandra Mohan, Pahadi Sanyal, Kumar, Pramila, Bibbo, Sushil Kumar, Leela Mishra, Kamala, Agha Jaan etc. etc. Chandra Mohan was one of the most handsome actors of Hindi cinema. Some other handsome actors were B. Nandrekar, Vijay Kumar, Al Nasir etc. Chandra Mohan was also a versatile actor. Incensed by losing a role in the Marathi version of film Amrit Manthan-1934, just because he could not speak Marathi fluently, he learnt Marathi in no time and later worked as Hero in 3 Marathi versions of Hindi films !

Born on 24-7-1906 in Narsinghpur in Madhya Pradesh, Chandra Mohan was known for his large grey eyes, voice modulation and dialog delivery. His eyes form the opening sequence in V. Shantaram’s 1934 film Amrit Manthan, which was also his film debut. It was the first film made in the new established Prabhat Films studio, and made both in Hindi and Marathi. Mohan received acclaim for his role as role Rajguru and went on to establish himself as noted villains of times.

In film Geeta-40, Chandramohan was the Hero and had done the Father and Son double role. This was a Bilingual film in Hindi and Marathi, and in both versions, Chandramohan was the Hero. Earlier, V. Shantaram had given a break to Chandramohan in his film ” Amrit Manthan”-34, which also was a Bilingual film in Hindi and Marathi. Chandramohan being a Kashmiri and not knowing Marathi, in the Marathi version, his role of Rajguru was done by keshavrao Datey.

However. soon Chandramohan picked up fluent Marathi and acted in the Bilingual films of Hindi and Marathi like, Jwala-38, Geeta-40 and Apna Ghar-42 He became the first Hindi actor to do roles in Marathi films.

Chandra Mohan later appeared as Emperor Jehangir in Sohrab Modi’s Pukar, as Randhir Singh in Mehboob Khan’s Humayun and as Seth Dharamdas in Mehboob Khan’s Roti.

Actor Kumar did many films in Ranjit, but in 1942, he was removed from Ranjit. At the same time his friend Chandra Mohan also left Minerva Movietone ( reason – inspite of Pukar-39 being a Blockbuster, his salary was not increased, though Modi had promised him so.) They both decided to launch their own company and on 16-3-1942, SILVER FILM COMPANY was launched. Its first film was Jhankaar-42. They produced Bhalai-43, Bade Nawab Saab-44, Naseeb-45, Devar-46, Dhun-53 and Bahana-60. Kumar had acted in these films. He also directed Dhun and Bahana.

One of his last appearances was in Ramesh Saigal’s film Shaheed-48. As Rai Bahadur Dwarka Nath, he played father to Ram, who was portrayed by Dilip Kumar. His character in this film, initially supports the British Government, but later favours the Freedom struggle. Chandra Mohan’s last major film was Raambaan-1949, in which he played the role of demon emperor Ravan. Chandra Mohan had acted in 31 films in all from Amrit Manthan-1934 to film Chocolate-50, which was released after his death.

Chandra Mohan despite being a Kashmiri himself was against Kashmiri girls working in films. He is said to have intimidated actress Shyama Zutshi from working in Hindi films and she left the films. However, later when Yashodhara Katju came into the films, she did not care for his opposition and continued successfully in films. He was very friendly with actor Motilal and treated him as his son.

He was the original choice to play the lead role in K. Asif’s Mughal-e-Azam, but due to his untimely death the film had to be reshot after ten reels were shot with him as lead. The film was eventually released in 1960.

Chandra Mohan took to heavy gambling and drinking and died penniless on 2nd April 1949 at the age of 44 at his residence, Bilkha House, in Bombay.

The story of Bade Nawab Saheb-44 was …….

Nawab Kokub Mirza had 2 wives, but he loved the younger one so much that he even tolerated her younger brother Mushir, a trouble maker. Sikandar was Mirza’s younger brother and they had an old loyal servant Baksho. Sikandar marries an orphan girl-Anwar from an orphanage. On this count, the younger wife and Mushir are able to throw Sikandar and Baksho out of the house.

Sikandar goes out of Lucknow to look for a job. His wife, unaware of the relations, starts working as Maid in Nawab saheb’s house. Mushir tries to misbehave with the modesty of Anwar and is thrown out of the house. Now the nawab is closer to Badi Begum, who convinces him to recall Sikandar. Nawab calls Sikandar and also pardons Mushir.

Now Mushir wants to poison Nawab saheb. He adds poison to his Kheer. Unfortunately, the Kheer is eaten by his sister, the young Begum. She dies and Police arrest Mushir. Now the 2 couples live happily !

Today’s song is a duet by Hamida and Durrani. This is the second song of this film to feature on this Blog. (Thanks to information from books mentioned in the post, which is used herein)


Song-Jaag gayi Jaag gayi Hamaari kismat (Bade Nawab Sahab)(1944) Singers- Hamida Bano, G M Durrani, Lyrics-Shams Lakhnavi, MD- Bashir Dehalvi
Both

Lyrics

Jaag gayi
Jaag gayi
Hamaari
kismat
Hamaari kismat
jaag gayi
Jaag gayi
Hamaari kismat

prem nadi mein josh jo ??
bhai ne bhai ko bulaaya
prem nadi mein josh jo ??
bhai ne bhai ko bulaaya
chhant gaye
zulf ke baadal saare

samjho chaand sitaare
chhant gaye
zulf ke baadal saare

samjho chaand sitaare
chaand sitaare
sachchi
ulfat
sachchi
ulfat
jaag gayi
jaag gayi
hamaari
kismat
hamaari
kismat
jaag gayi
jaag gayi
hamaari kismat

toote huye phir dil milenge
toote huye phir phool khilenge
toote huye phir dil milenge
toote huye phir phool khilenge
kaun
khilenge
sachchi
ulfat
sachchi
ulfat
jaag gayi
jaag gayi
hamaari
kismat
hamaari
kismat
jaag gayi
jaag gayi
hamaari kismat


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 :

4437 Post No. : 15877

“Bikhre Moti”(1951) was directed by S M Yusuf for Great India Productions, Bombay. The movie had Kamini Kaushal, Nigar, Jeevan, Jayant, Neelam, Ranjna, Sherry etc in it.

This movie had nine songs in it. Four of these songs have been covered in the blog in the past.

Here is the fifth song from “Bikhre Moti”(1951) to appear in the blog. This song is a melancholic sung by Hamida Bano. Khumar Barabankwi is the lyricist. Music is composed by Ghulam Mohammad.

Only the audio of this song is available. I request our knowledgeable readers to throw light on the picturisation of this song.


Song-Khushi maangi thhi aur gham de diya (Bikhre Moti)(1951) Singer-Hamida Bano, Lyrics-Khumar Barabankwi, MD-Ghulam Mohammad

Lyrics

khushi maangi thhi aur gham de diya
khushi maangi thhi aur gham de diya
bhala ho tera o bedard duniya
bhala ho tera o bedard duniya
khushi maangi thhi aur gham de diya

sitam sehna magar khaamosh rehnaan
jabaan se itna karna kuchh na kehna
haa aan aan aan
kahen kya haal apni bebasi ka
bhala ho tera o bedard duniya
khushi maangi thhi aur gham de diya

huye armaan saare khak jal ke
mohabbat reh gayi haathon ko mal ke
ae ae ae
chala kaabu na kuchh bhi haaye apna
bhala ho tera o bedard duniya
khushi maangi thhi aur gham de diya

muqaddar hai tera dushman zamaana
nahin duniya mein ab apna thhikaana
haan aan aan aan
bani hai jaan par ae maut aa ja
bhala ho tera o bedard duniya
khushi maangi thhi aur gham de diya


This article is written by Arunkumar Deshmukh, a fellow enthusaist 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 : 4240 Post No. : 15453

Today’s song is from the early era of Talkie films. The film is Desh Deepak-1935. The film was made by Wadia Movietone – the pioneers and Flag bearers of Stunt and Costume films. The film was directed by J B H Wadia, the elder brother of the owners. The screenplay, story and Lyrics were by Joseph David and the music was given by Master Mohammed. The cast included Master Mohammed, Shareefa, Iqbal, Sayani Atish, Sardar Mansoor, Husn Bano, Nadia, Boman Shroff, John Cavas, Jaidev(composer), Jijibhai and many more.

When the Talkie films started, the audience was awestruck and went to the theatres to see and enjoy, whatever the producers served them on the screen. Initially, the films were mostly Mythological and Costume dramas, but in due course, the film makers realised that making a stunt film was much more profitable than a Costume drama. Stunt films could be made in Rs. 30-50 thousand, whereas for other films, the investment was more. Further religious films catered to only a particular religion, i.e. Muslim and Christian audience would not see a Mythological film and Hindu and Christians will not see a Muslim religious film. But stunt films were for all and sundry. There was no restriction.

Due to all this, the pioneers of stunt/action films decided to concentrate on this Genre only. Wadia Movietone was the leading film maker of these C grade films. Other companies who made such films were, Imperial, Ranjit, Sharda, krishna, Saraswati, Saroj, Sagar, Bharat Royal, Ajanta, Madan etc. in 1933 Wadias entered with force in this market, and followed by others, in just 3 years i.e. from 1933 to 1935, a total of 138 films of Stunt/Action, Costume, Arabian Night stories and magic based Imaginary films ( all C grade) were made. Significantly, out of these 138 films, as many as 42 films were Stunt and Action films. This was mainly because of Wadia Movietone. They introduced Fearless Nadia in Hunterwali-35 and virtually ignited the flame of Stunt/Action films from 1935 to 1950. Thus the decade of 40s could be called “Stunt Film Decade” with 210 such films from 1941 to 1950.

Wadia Movietone was a noted Indian film production company and studio, based in Mumbai, established in 1933 by Wadia brothers J. B. H. Wadia and Homi Wadia. It was most known for stunt, fantasy and mythological films, including Hunterwali (1935).

Wadia brothers belonged to a Parsi family, and their ancestors came from the ship building Wadia family (Wadia Group), originally from Surat, which also built the British wartime ship HMS Trincomalee (1817). Their ancestors moved to Bombay in the 18th century. It was co-established in 1933, by producer and screenwriter J. B. H. Wadia, his younger brother director Homi Wadia, film distributor Manchersha B. Billimoria, and brothers Burjor and Nadirsha Tata.
However, the Tata brothers left the partnership within three years. The company then continued production of film, documentaries and newsreels from its studios near Lowjee Castle, Mumbai, the Wadia family mansion, owned by their great-grandfather Lovji Nusserwanjee Wadia, a noted shipbuilder, who founded the Wadia Group in 1736. The company even had its logo as a ship, honouring their family legacy. They company made Hunterwali (1935) starring Fearless Nadia, Boman Shroff and John Cawas, which became a surprise hit and its first big success. Thereafter, they made several films based on the Arabian Nights.

However, by the end the 1930s, the genre of stunt, fantasy and mythology films which dominated the early films, was beginning to fail and the company ran into heavy losses, after they invested into ambitious projects which flopped. The last film made by the company was Raj Nartaki (1941) under the direction of Madhu Bose. Thereafter, the studio premises were up for sale; V. Shantaram bought the studio in 1942 and established Rajkamal Kalamandir on the premises. Homi Wadia, who worked as a director the company, went on to establish Basant Pictures in the same year, though initially as a film production house. Subsequently, he established a film studio under the same banner in 1947, which functioned till 1981.

Riyad Vinci Wadia, grandson of J.B.H. Wadia inherited the studio in 1990. He is most known for his film, Bomgay (1996) and a documentary on Nadia, Fearless: The Hunterwali Story. He died in 2003.

In the early phase of Cinema, till about the end of 40s, the Studio system was in vogue. Initially, all studios employed their own staff and the films were sold on the name of the studios, e.g. Prabhat, Wadias, Ranjit, Sagar, New Theatres etc etc. Over the years slowly the ‘ Free Lance ‘ system set in and major stars operated independently. All studios tried to have the best, among their staff. Successful artistes had great demands. Even the story writers and screenplay writers were important. one such person was Joseph David (Penkar), from Imperial film co., who ,later on , joined Wadias. He was a Jew. The contribution of Jew Community to Hindi cinema in different fields like, acting, Direction, Cinematography, etc was noteworthy from the beginning of Talkie films.

Among the earliest script writers for the silent films was a Bene Israel Jew, Joseph David Penkar- (जोसेफ डेव्हिड पेणकर) (1872-1942), a theatre manager of the third decade of the twentieth century, who was also the author of plays in Marathi and Urdu. Today, three of his plays – Queen Esther, The Maccabeen Warriors and Prince Ansalom – are archived in Israel.
He wrote the story, screenplay and some of the music of Alam Ara (1931), the first full length talkie of Indian cinema. Alam Ara betrays the influences of Hebrew, Hindi and English stories. In one scene, the wicked queen imprisons a young man who fails to respond to her advances, like the Biblical story of Joseph and Potiphar’s wife. And the sub-plot of a lover couple separated, reminds of Rama and Sita from the great Hindu epic Ramayana, with perhaps a touch of Shakespeare’s Romeo and Juliet.
Joseph David was born in the Marathi speaking Penkar (पेणकर ) clan of Bene Israel Jews in the Dongri-Umarkhadi area of Bombay in 1872.
Although David did not receive much of schooling, he acquired fluency in Hebrew, English, Hindi, Urdu, Marathi and many other Indian languages. Driven by his passion for English plays, David joined the Parsi Theatrical Company as a stagehand. He was given small improvisational parts as an actor. But, with his talent for music composition and way with words, he soon found himself working as a playwright.

He made a breakthrough when he wrote the screenplay for India’s first talkie, Alam Ara, which was released on 14th March 1931. The film was a huge success. Tickets were sold for twenty times the admission rate as crowds thronged to see the first talkie venture of Indian cinema. After Alam Ara, he joined its production house, the Imperial Film Company, as a playwright and also got involved with film-producing, directing and music composing. Other screenplays followed: Sati Sone (1932); Lal-e-Yaman (1933), to which he also composed the scores; and Desh Deepak (1935). Joseph David died in 1942.

He gave music to 3 films,composing 40 songs…Laal E Yaman-33, Vaman Avtar-34 and Bagh E Misr-34. He also wrote 110 songs in 11 films, from Mahabharat-33 to Pahadi Kanya-36.

Film Desh Deepak-35 had music by Master Mohammed- who also acted in this film. Master Mohammed started his career as an actor and composer in Krishnatone’s ” Harishchandra”-1931-one of the earliest Talkie film in the first year itself. He composed 20 songs in ” Seeta swayamvar”-1933. Same year he acted and composed music to India’s First Talkie Fantasy film “Lal E Yaman”-33. He used to sing songs in his films. He was MD of many films of Fearless Nadia, from her First big film ” Hunterwali ” -1935 to ” Sher E Baghdad”-46. He gave music to 24 films, composing 217 songs and sang 41 songs in 18 films. He also acted in 23 films.

His specialty was patriotic songs in his films. Some of his famous songs were, Hum watan ke-jai Bharat-36 and Zanda uncha rahe hamara-Lutaru Lalna-38. Another song from his film, ‘Jagat ka sapna” was based on Hindu-Muslim Unity. In his every film, there used to be a patriotic song.

His last film as an actor was ” Flying Prince “-1946.
His last film as a composer was Sati Seeta-46.

I have not seen this film, but I got its story, with thanks, from a Blog, exclusive for such film discussions – http://www.pedrotheapebomb.wordpress.com. One special point about this film. This film has the famous composer Jaidev, acting in it as a child artiste. Jaidev had run away from home to Bombay and did few films before returning to home, according to his biography.

The story is…

A kingdom loses its king and there is a mad scramble to take power which would otherwise go to the child prince (Master Jaidev), who is now in hiding. Meanwhile a young woman (Sharifa) is selected to run the country.

To keep the woman in power, her elder sister (Iqbal) joins forces with the General (Sayani Atish) who, unbeknownst to anyone, desires the kingdom for himself. But the woman’s husband (Sardar Mansoor), a patriot, will not divulge the whereabouts of the prince, who is safely hidden away with a high priest (Master Mohammad) and his family, so the general puts him in jail.

The General’s daughter, a pacifist, wins over one of her father’s officers (S.L. Puri) in hopes that he will help avert an all out war, but the General, feeling betrayed, demands his execution. The daughter then meets two entertainers (Nadia and Parsi Charlie) and they try to release the patriot and two other rebels (Boman Shroff and John Cawas), who are imprisoned with him, and together they hope to stop the execution of the young officer.

When she comes to realize the General’s true plans, the elder sister turns against him and goes back to help her husband…but then, the younger sister and her army set out to crush the rebellion once and for all.

One song from this film is already posted here. So, this is the second song, sung by Husn Bano and S L Puri.


Song-Naseeba mera chamka jo sabak loon tumse (Desh Deepak)(1935) Singers-Husn Bano, S L Puri, Lyrics-Joseph David, MD-Master Mohammad
Both

Lyrics

sipahsaalar Feroz

Kya

insaan ka khoon bahaana
ye sab aapka ka kaam hai
?? jo maalik tumhaare haathon
khuda ke bandon ka khoon bahaate hain
wo sirf apna matlab nikaalte hain
sipahsaalaar
watan kaum aur mazhab ke liye
jung karna jitna achcha hai
usse behtar insaani hamdardi mein koshish karna behtar hai

shahzaadi saahibaa
to aaj se mujhe apna shaagird banaa lo

naseeba mera chamka
jo sabak loon tumse jaana ka
mujhe tum hi se haasil ho
tajarbaa aah re duniya ka
mujhe tum hi se haasil ho
tajarbaa aah re duniya ka

yahi laajim hai insaan ko
yahi laajim hai insaan ko
bane hamdard insaan ka
bada ye ??
bane hamdard insaan ka

museebat dil ko ??
aisa aaj na hona
koi maatamzada mile jaaye
jinse ??baan hona
koi aur raah gum kar de
aisa rehnuma hona
?? har ??khuda marha??
?? hona
har baar ?? marha??
kis tarah hona

yahi laajim hai insaan ko
yahi laajim hai insaan ko
bane hamraaz insaan ka
badhaaye ?? aisa ko
bane ?? ka
badhaaye ?? aisa wo
bane hamsa ?? ka


This article is written by Arunkumar Deshmukh, a fellow enthusaist 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 : 4234 Post No. : 15444

Today’s song is from a film having a familiar title – Lakhon mein ek-1947, but this film is hardly known to anyone. The title is familiar, because there were two more films with the same title, in two different decades later on. One was Lakhon mein ek-1955, which had a less known Heroine Asha Mathur, opposite a veteran Jairaj. It had music by Bhola Shreshtha. The other film was Lakhon mein ek-1971, which had an unknown (till then and later too) debutante Heroine- Radha, opposite comedian Mehmood. This film had music by R D Burman and few songs became popular for some years.

Today’s film was made by Ranjit Movietone- the film factory, owned by Sardar Chandulal Shah. The film had music by Hansraj Behl (7 songs) and Bulo C Rani (4 Songs).

In 1947, Bulo C Rani was employed by Ranjit as their in house composer after Gyan Dutt (37-40) and Khemchand Prakash (40-45). The film’s songs were written by Pt. Indra Chandra. The film was directed by Taimur Behramsha, who debuted as a director, with this film. Earlier he was a Cinematographer in Ranjit. After this film, Ranjit gave him another film for direction – Bhool Bhulaiyan-49. Then he floated his own company ‘ Taimur Art Productions’ and produced and directed film Izzat-1952.

The cast of the film was Khursheed Jr. (Meenakumari’s elder sister), Nirupa Roy, Ghulam Mohammed, Bipin Gupta and others. Khursheed jr, first entered the films, then came Meena Kumari and lastly Baby Madhuri aka Madhu. All sisters got married only to suffer in their later life. Their stories are pathetic. The handsome actor Altaf, was married to Khurshid. Mehmood & Altaf were co-brothers,being married to siblings Khursheed & Madhu respectively. Khursheed & Madhu tried their luck & appeared in few movies,but were not successful. Madhu, it may be recalled had a brief role in Manzil(1960).

Altaf was not as lucky as his co-brother- Mehmood or sister in law Meena Kumari. Although,initially he appeared in some movies as leading man in 40s, but soon he was relegated to play negative roles in films. Chhote Nawab, Ghulam Beghum Badshah, Sone Ki Chidia, Noor Jahan, Raja Rani, Char Chand etc were few of his movies.

Meena Kumari, Khurshhed & Madhu,it seems, were destined to suffer, in their second half of life. While we are aware of Meena Kumari’s last days, Khurshid & Altaf led miserable life & were forced to live in Jhopadpatti, due to financial constraints, after Meena Kumari passed away. Madhuri was divorced by Mehmood & she had to leave the house,to live the life in penury.

The music director Hansraj Behl is one of my favourite composers, though his name never came up in the A class composers. His compositions were very melodious, but his luck was very harsh with him. Many such cases, be they composers, actors, directors or singers, are known to us. When one sees their life stories and works, one is forced to believe that LUCK is more important than Talent, at least in Film Industry. This is Hansraj Behl for you….

Hansraj Behl (19-11-1916 to 20-5-1984), in my opinion,is one of those composers in film world, who composed lots of melodious songs. Unfortunately, he was also one of those composers who never got Big banners to work for. He and his brother, Gulshan Behl founded N.C.Films, on their father’s name-Nihal Chand- and produced B and C grade movies to which Hansraj gave his music. Hansraj was known as Master ji, in the industry. Only two people were known as Master ji…one was Ghulam Haider and the other was Hansraj Behl. Hansraj usually worked alone and rarely used any assistant while giving music.

Hansraj is remembered for giving initial playback singing breaks to Asha Bhonsle and Madhubala Jhaveri. He also gave chance to his own friend Verma Malik-Lyricist. Malik used to live with him initially, in Bombay. He composed music for 71 films from Pujari-46 to Badmashon ka Badmash-79. One film “Insaaf ka Khoon” was released after his death,in 1988.

Hansraj Behl is one of the music directors who became successful in the post independence era. He composed music for not only Hindi films but also for Punjabi films. Hansraj was born on 19 November 1916 in Punjab. He got his basic education in music from Pt. Chunnilal. Then he opened his music school in Lahore and he had some non-film records released under the label of HMV. In 1944 Hansraj came to Bombay to try his luck in Hindi film industry as a music director.

After one year of struggle he got his first film Pujari, made by Ardeshir Irani, in 1946. He got films like Gwaalan and Phulwaari in the same year, but all these films could not do well at the box office. Behl tasted success in 1947 with the release of Laakhon Mein Ek and Chheen Le Aazadi. ‘Moti Chugne Gayi Re Hansi..’ sung by Shamshad Begum and Mukesh from the film Chheen Le Aazadi became very popular. In 1948 he came up with four films – Chunariya, Mitti Ke Khilone, Pardesi Mehmaan and Satya Narayan, of which Chunariya’s music was a hit especially the song ‘Dil-e-Nashaad Ko Jeene Ki Hasrat Ho Gayi..’ sung by Lata Mangeshkar. The song which placed him among high class music directors was ‘Sab Kuchh Lutaya Hamne Aakar Teri Gali Me..’ sung by Mohammed Rafi and written by Mulk Raj Bhaakri.

In the year 1949, he came out with Chakori, Raat Ki Raani, Zevraat and few more films. Lata sang one of her favourite songs, ‘Haye Chanda Gaye Pardes Chakori Yahan Ro Ro Mare..’ in Chakori, which became very popular and it helped Hansraj to gain popularity among music lovers. ‘Jin Raaton Mein Neend Ud Jaati Hai..’ sung by Mohammed Rafi in Raat Ki Raani was a nation wide hit.

In 1950-51 he gave many hit songs with Lata Mangeshkar, Geeta Dutt and Suraiyya. Songs of Kisi Ki Yaad became very popular soon after the release of the film. ‘Koi Mujhko Na Bulaye..’ and ‘Tadapta Chhod Kar Mujhko Kahaan Tum Reh Gaye..’ both sung by Geeta Dutt and ‘O Jaane Wale Ye Kya Kiya..’ by Mohammed Rafi gained immense popularity. In 1952 he introduced Madhubala Jhaveri as a playback singer in Apni Izzat and Jaggu. Madhubala sang ‘Dil Mera Tera Diwaana..’ with Talat Mehmood and ‘Meethi Meethi Loriyaan Main Dheere Dheere Gaoon..’ (both Apni Izzat) featured her solo voice. In 1954, he again came out with musical films like Dost and Khaiber. ‘Aaye Bhi Akela Jaye Bhi Akela..’ from Dost (1954) sung by Talat Mehmood was among one of his memorable compositions.

He continued to give his best in films like Rajdhani, Milan, Miss Bombay, Changez Khan and Saawan. Songs like ‘Bhool Ja Sapne Suhane..’ from Rajdhani (1956), ‘Mohabbat Zinda rehti Hai..’ from Changez Khan (1957), ‘ Jab Raat Nahi Katti..’ from Changez Khan (1957), ‘Zindagi Bhar Gham Judaai Ka..’ from Miss Bombay (1957), ‘Haseen Ho Khuda To Nahi..’ from Mud Mud Ke Na Dekh (1960), ‘Bheega Bheega Pyar Ka Sama..’ from Saawan (1959) and ‘Tujhko Dhoondhu To Dhoondhu Kahaan..’ from Milan (1959) crossed all the barriers of success and Hansraj Behl’s name was on the lips of every music lover.

After all these successful films he continued to give music till 1969 but failed to give any hit because his later films were either stunts or fantasy films with little scope for having good music. His last hit song was an all time great creation ‘Jahan Daal Daal Pe Sone Ki Chidiya Karti Hai Basera..’ which was sung by Mohammed Rafi for the film Sikandar-e-Aazam in 1965. In all, he gave music to 71 films and composed 530 songs.

Hansraj Behl died of Cancer in Bombay on 20-5-1984.

Today’s song is a very melodious song sung by Hamida Bano. Singer Hamida Bano was born on 19-10-1928,in Lahore. Her family shifted to Bombay in 1942. Hamida’s elder brother Akbar worked with a Drama company. He gave her the initial training in singing. This kindled a desire in her mind to sing in Hindi Films. Those days,the well known,Actor/Director Master Bhagwan lived nearby. He once recommended her name to his best friend-C.Ramchandra. He was the MD for Bhagwan’s film ” Naghma-e-Sehara “-1943. He gave her a break with 3 songs in this film. Unfortunately,this film got delayed and was released only in 1945. Meanwhile,Naushad had found her and he gave her a song in film ” Sanjog’-43 and she sang her first released song with Shyam kumar.

C.Ramchandra continued using her in films like Bahadur, Lalkar, Manorama, Raunaq, Sawan etc. In those years C.Ramchandra himself was not very famous-till his HIT films like Safar-46 and Shehnai-47 etc. So Hamida was not much benefitted with these songs. From 1945,it was composer Bulo C Rani,who used Hamida Bano for some really memorable songs like in film ” Moorti”-45–badariya baras gayi uss paar. Then came Rajputani, Chheen le Azadi, Phulwari, Badi baat, Shahenshah Babar, Naseeb, Parayi aag,Preet, Devar Dharti, Nek Parveen, Neelkamal, Tohfa and Rimjhim. After 1950 her songs became less and she sang in Bikhre Moti, Rajput, Anjaam,and Majboori-54-her last film in India. She sang about 125 odd songs in about 62 films.

In 1956, she migrated to Pakistan. In Karachi,she recorded some songs. Then she settled in Lahore and became active in social work. Occasionally, she was seen in functions like ” Nigar Awards Function ” etc. She continued singing on Lahore Radio. Hamida Bano died on 20-11-2006 at the age of 78 yrs. Her last song in India was with Asha in Majboori-1954-“Tere poojan ko Bhagwan bana Man mandir aalishan”.

Enjoy this lovely song composed by Hansraj Behl.

(Audio video not available on Youtube – This is another site audio mp3 song)
Audio – Mp3 Link
Click Here – Hum Tumhare Tum Hamaare.mp3
Song-Hum tumhaare tum hamaare aao karen pyaar (Laakhon Mein Ek)(1947) Singer- Hamida Banu, Lyricist- Pt. Indra, MD- Hansraj Behl

Lyrics

hum tumhaare tum humaare
aao karen pyaar
hum tumhaare tum humaare
aao karen pyaar
dekho ji dekho ye kaisi bahaar
dekho ji dekho ye kaisi bahaar
hum tumhaare
tum humaare
hum tumhaare tum humaare
aao karen pyaar
hum tumhare tum humaare
aao karen pyaar

gungun karen bhanwara pukaar
gungun karen bhanwara pukaar
kaliyon ne ghoonghat diye hain utaar
kaliyon ne ghoonghat diye hain utaar
aasha ne khole mere sapnon ke dwaar
aasha ne khole mere sapnon ke dwaar
hum tumhaare
tum humaare
hum tumhare tum humaare
aao karen pyaar
hum tumhaare tum humaare
aao karen pyaar

chanda se maangege kiranen udhaar
chanda se mangege kiranen udhaar
shabnam se le lenge moti ka haar
shabnam se le lenge moti ka haar
saajan ko dhoondhenge kar ke singaar
saajan ko
haan haan saajan ko
haan haan saajan ko dhoondhenge kar ke singaar
hum tumhaare
tum humaare
hum tumhaare tum humaare
aao karen pyaar
hum tumhaare tum humaare
aao karen pyaar
dekho ji dekho ye kaisi bahaar
dekho ji dekho ye kaisi bahaar
hum tumharae tum humaare
hum tumhaare tum humaare
aao karen pyaar
hum tumhaare tum humaare
aao karen pyaar


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.

Blog Day : 3681 Post No. : 14577

“Naseeb”(1945) was directed by Vedi for Silver Films, Bombay. The movie had Pramila, Kumar, David, Krishnkant, Sunetra, Jillo, Nazma, Leela Mishra, Chandabai, Moone Agha, Agha Jaan, Ghori etc in it.

This “social movie”, also called “Can’t help it” had nine obscure songs in it that were penned by three lyricists and the songs were sung by at least four singers.

Three of these songs have been covered in the past.

Here is the fourth song from “Naseeb”(1945) to appear in the blog. This song is sung by Khan Mastana and Hamida Bano. Rammurty Chaturvedi is the lyricist. Music is composed by Pt Govindram.

Only the audio of this song is available. I request our knowledgeable readers to throw light on the movie as well as on the picturisation of this song.


Song-Deewaani teri do din ki zindagaani (Naseeb)(1945) Singers-Khan Mastana, Hamida Bano, Lyrics-Rammurty Chaturvedi, MD-Pt Govindram

Lyrics

deewaani teri do din ki zindagaani
deewaani teri do din ki zindagaani
do din ki zindagaani
deewaani teri do din ki zindagaani
deewaani teri do din ki zindagaani
deewaani teri do din ki zindagaani

ghar mein teri maata rowe
baahar sakhi saheli
ghar mein teri maata rowe
baahar sakhi saheli
tu mahlon ki raani bankar
karti hai athhkheli

tu mahlon ki raani bankar
karti hai athhkheli
deewaani teri do din ki zindagaani
deewaani teri do din ki zindagaani

apna hua paraaya tera
hua paraaya apna aa
hua paraaya apna
apna hua paraaya tera
hua paraaya apna aa
hua paraaya apna
bhool gaye bachpan ke saathhi
ho gaye saare sapna

bhool gaye bachpan ke saathhi
ho gaye saare sapna
deewaani teri do din ki zindagaani
deewaani teri do din ki zindagaani


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.

Blog Day : 3677 Post No. : 14566

“Anban”(1944) was directed by Niren Lahiri for Bharat Productions, Bombay. The movie had Nargis, Pahadi Sanyal, Shahnawaz, David, Mubarak, Shobhana Samarth, Jagirdar, Gula, sunalini Devi, Rajendra, anand etc in it.

The movie had eight songs in it. Two songs have been covered in the past.

Here is the third song from “Anban”(1944) to appear in the blog. The song is sung by Hamida Bano. Pt Madhur is the lyricist. Music is composed by Gyan Dutt.

Only the audio of the song is available. Going by the story of the movie, as narrated by Mr Arunkumar Deshmukh, our beloved inhousse encyclopaedia, while covering an earlier song from the movie, it appears to me that this song was picturised on Nargis. Nevertheless, I request our knowledgeable readers to throw light on the picturisation of the song.

This “missing the beloved” genre of song is penned in chaste Hindi using words that may not have been used much in HFM. I have not been able to get a few words right in the lyrics. I request our readers with keener ears to help fill in the words/ suggest corrections as applicable.


Song-Kyun dard de ke bhool gaye Shyam salone(Anban)(1944) Singer-Hamida Bano, Lyrics-Pt Madhur, MD-Gyan Dutt

Lyrics

Kyun dard de ke bhool gaye ae ae
shyaam salone
Kyun dard de ke bhool gaye ae ae
shyaam salone
aankhon ke saath
ab to laga dil bhi hai rone aen aen
shyaam salone
Kyun dard de ke bhool gaye ae ae
shyaam salone

toone diya hai dukh mujhe
dukkhon se pyaar hai
toone diya hai dukh mujhe
dukkhon se pyaar hai
nadiyon ke geet mein
mere dil ki pukaar hai
nadiyon ke geet mein
mere dil ki pukaar hai
aahen lagi hain yaad ke daanon ko pirone ae ae
shyaam salone

hai prem haar haath mein
meethhi hai baat bhi
phoolon ke hindole hain
aur saawan ki raat bhi
dukhiyaa ke man mein
aag lagaayi hai sabon ne ae
shyam salone

prabhat ke sang mein unhen bhi
dekh main paaun
baahon ka haar prem se
saajan ko pinhaaun
zakhmon ko banaaun
mere jeewan ke khilaune ae
shyaam salone
zakhmon ko banaaun
mere jeewan ke khilaune ae
Shyaam salone
Kyun dard de ke bhool gaye ae ae
shyam salone


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.

Blog Day : 3666 Post No. : 14538

“Bahaadur”(1944) was directed by Bhagwan for Jagriti Pictures, Bombay. This stunt movie had Baburao Pahalwan, Bhagwan, Samson, Bhagwandas, Dharpure, Yashwant, Shanta Patel, Bibi, Surekha, Nirasha etc in it.

The movie had eight songs in it.

Here is the first from “Bahaadur”(1944) to appear in the blog. HFGK is silent about the singers of this movie. The uploader (our own Mr Sadanand Kamath) identifies the singers as Hamida Bano and C Ramchandra.

Ehsan Rizvi is the lyricist. Music is composed by C Ramchandra.

Only the audio of the song is available. Assuming that Bhhagwan and Shanta Patel were the lead pair in the movie, it would appear that the song was picturised on them. I request our knowledgeable readers to throw light on the movie as well as on the picturisation of this song.

With this rare song, “Bahaadur”(1944) makes its debut in the blog.


Song-Aao more pyaare saanwariya(Bahaadur)(1944) Singers-Hamida Bano, C Ramchandra, Lyrics-Ehsan Rizvi, MD-C Ramchandra
Both

Lyrics

Aao more pyaare saanwariya
aao more pyaare saanwariya
man ki
man ki sooni nagariya
man ki
man ki sooni nagariya aa aa aa
pihu pihu bole papeeha
pihu pihu bole papeeha
chhaayi hai
chhaayi hai kaali badariya
chhaayi hai
chhaayi hai kaari badariya aa aa
aao more pyaare saanwariya

aayi mere man ko sajan yaad tihaari
aayi mere man ko sajan yaad tihaari
laagi mere man mein ye aankhon ki kataari
laagi mere man mein ye aankhon ki kataari

bane kyun un un
bane kyun prem pujaari
bane kyun un un
bane kyun prem pujaari
baanki hai tori najariya
un hoon
tori najariya
aao more pyaare saanwariya

maine wahaan tumko nazar kah ke pukaara
maine wahaan tumko nazar kah ke pukaara
kiski nigaahon ne kiya phir ye ishaara
kiski nigaahon ne kiya phir ye ishaara

maine aen aen
maine papeeha ko pukaara
maine
maine papeeha ko pukaara aa aa aa
aaya main teri atariya aa aa aa
aaya main teri atariya

man ki
man ki sooni nagariya
man ki
man ki sooni nagariya aa aa aa
aao more pyaare saanwariya


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 over THIRTEEN years. This blog has over 16600 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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(© 2008 - 2021) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

Total number of songs posts discussed

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Movies with all their songs covered =1280
Total Number of movies covered=4520

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