Advertisements

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

Archive for the ‘Inspirational song’ Category


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 : 3658 Post No. : 14522

“Sanskaar”(1952) was produced and directed by V M Vyas. The movie had Mumtaz Shanti, Purnima, Veera, Pran, Razi, Shashi Kapoor (Sr), Ihswar Lal, Mirza Musharraf, Murad, Kalyani, Pappu, Baby Naaz, Indira Mumtaz etc in it.

The movie had seven songs in it. Four songs from this movie have been discussed in the past.

When I looked at the three balance songs of the movie, I discovered that these songs were great and special songs in their respective genre. Nevertheless, if I keep holding songs back for special occasions then I may not find myself with too many songs to discuss on a “normal” day. 🙂 So I decided that one out of these three songs should be discussed today.

Here is the fifth song from “Sanskaar”(1952) to appear in the blog. This song is an inspiration song which is sung by Lata. Shailendra is the lyricist. Music is composed by Roshan.

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


Song-Jeenewaale o matwaale zindagi se pyaar kar (Sanskaar)(1952) Singer-Lata, Lyrics-Shailendra, MD-Roshan

Lyrics

jeenewale o matwaale
zindagi se pyaar kar
pyaar kar
yoon na baith zindagi mein zindagi se haar kar,
pyaar kar
jeenewaale

moorakh na dar dekh andhera
moorakh na dar dekh andhera
hoga kabhi to savera
hoga kabhi to savera aa
ranj-o-gham se zindagi ke roop ka singaar kar
pyaar kar
jeenewale o matwaale
zindagi se pyaar kar
pyaar kar
jeenewaale

jo dukh bhi aaye tu jhelta chal
jo dukh bhi aaye tu jhelta chal
har gham se khelta chal
har gham se khelta chal
zinda hai to zindagi pe jaan bhi nisaar kar
pyaar kar
jeenewale o matwaale
zindagi se pyaar kar
pyaar kar
jeenewaale

Advertisements

This article is written by Pradeep Raghunathan, 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.

Blog Day : 3646 Post No. : 14476

ASAD 10th Anniversary Celebrations – 1
———————————————————————

I have not been active either on the blog, or on whatsapp groups for quite a while now. Earlier this year I developed a health issue and had to go through a surgical procedure. Things are fine now though 🙂 . Catching up on all the work pending for the last few months.

Let me now get to the post that I would like to contribute.

10 years, that is a decade. . . the “BIG X”. What a journey this has been! Still remember how one fine day, by sheer accident, I stumbled upon this amazing blog, and made my way to the first post that was made – the song “Miley Na Phool Toh Kaanton Se Dosti Kar Li” by Rafi sahab for the film ‘Anokhi Raat’ (1968), starring Parikshit Sahni. Then the next song if I remember correctly was “Tum Agar Mujhko Na Chaaho Toh Koi Baat Nahi” by Mukesh Sahab for the movie ‘Dil Hi To Hai’ (1963), sung on screen by Raj Kapoor and he sings it to the cute and gorgeous Nutan 🙂 .

One of my favourite bosses always used to tell us – there is one thing I find is the secret of being sane and that is to have a ROUTINE! He says, that it does not matter if you have your highs or your lows in life, never give up on your routine. If you have to walk in the morning, do that, come what may. If you have lunch at a particular time, do that regularly. Somehow with time, and how our priorities change, we give up on what once used to a routine / habit for us. But few people who we can get inspired by for being so committed and never gave up on their routine and dedication to the blog are Atul ji, Sudhir ji, Arunkumar ji, Bharat ji and the entire group of Atulites. What they have managed to do in these 10 years is more than monumental. This is going to be a treasure trove for generations to come. All this was not because it was a great startup idea or there was a motive behind it, it was just for sheer love of old hindi music and as Atul ji likes to call it ‘Labour of Love’.

I wish in the near future I am able to get back to my old routine and be more active on the blog (it does need a mention, that in spite of me being inactive, I have always been kept in the loop with emails, thank you Atulites). Have also spoken to Avinash ji, that Aparna, Avinash ji and I should get back to our Project YIPPEEEE!! (should get much more easy now with help from Sudhir ji).

To celebrate this wonderful milestone, I choose a very recent song, which I really like and also a song that my daughter plays in a loop every time she gets in the car 🙂 . The song is from the recently release movie ‘Sanju’, a movie on the life of actor Sanjay Dutt. The movie had mixed reactions and even I did feel that his life story was glorified, but what no one can refute is the fact that Ranbir Kapoor was a class act. He has portrayed Sanjay Dutt to the T, so much so that at some point of time into the movie, one forgets that he is Ranbir and start thinking he is Sanjay Dutt. The movie also makes one wonder how life would have been for the respected Sunil Dutt, having to lose his wife, Nargis to cancer and at the same time bring up a troubled child like Sanjay.

Coming to the song, it is a song that Sanjay Dutt imagines his mother egging him on to conquer anything. The song is titled “Kar Har Maidaan Fateh” and sung by one and only Sukhwinder Singh (his voice is a perfect fit for songs like these). And ably supported by another wonderful singer, Shreya Ghoshal. The tempo of the song is brilliant and it is like a shot in the arm and a morale booster to conquer any mountain.

Though 10 years is a big mountain that Team Atul have conquered, as Atul ji says, we have hardly scraped the surface, and there is a long journey to look forward to. Here is a BIG congratulation to Team Atul and wishing us all the very best for the next milestone round the corner 🙂 . So so blessed to be part of this journey 🙂 .


Song – Kar Har Maidaan Fateh (Sanju) (2018) Singers – Sukhwinder Singh, Shreya Ghoshal, Lyrics – Shekhar Astitwa, MD – Vikram Montrose
Chorus

Lyrics

pighla de zanjeerein
bana unki..ee.ee shamsheerein
kar har maidaan fateh o bandeya
kar har maidaan fateh

ghayal parinda hai tu
dikhla de zinda hai tu
baaki hai tujhmein hausla..aa..aa
tere junoon ke aage
ambar panaahein maange
kar daale tu jo faisla..aa..aa

roothi takdeerein to kya
tooti shamsheerein to kya
tooti shamsheeron se hi ho oo oo
kar har maidaan fateh
kar har maidaan fateh
kar har maidaan fateh re bandeya
har maidaan fateh
kar har maidaan fateh
kar har maidaan fateh
kar har maidaan fateh re bandeya
har maidaan fateh

in gardishon ke baadalon pe chadh ke
waqt ka girebaan pakad ke
poochhna hai jeet ka pata
jeet ka pata
in muthiyon mein chaand taare bhar ke
aasman ki hadd se guzar ke
ho ja tu bheed se judaa
bheed se judaa
bheed se judaa
kehne ko zarra hai tu
lohe ka chharra hai tu
tooti shamsheeron se hi ho oo oo
kar har maidaan fateh
(kar har maidaan fateh)
kar har maidaan fateh
(kar har maidaan fateh)
kar har maidaan fateh re bandeya
har maidaan fateh
kar har maidaan fateh
kar har maidaan fateh
kar har maidaan fateh o bandeya
har maidaan fateh
kar har maidaan fateh
kar har maidaan fateh
kar har maidaan fateh re bandeya
har maidaan fateh

teri koshishein hi kaamyaab hongi
jab teri yeh zid aag hogi
phoonk dengi na-ummeediyaan
na-ummeediyaan
tere peechhe peechhe raaste ye chal ke
baahon ki nishanon mein dhal ke
dhoondh lenge apna aashiaan
apna aashiaan
apna aashiaan
lamhon se aankh mila ke
rakh de jee jaan lada ke
tooti shamsheeron se hi ho oo oo
kar har maidaan
har maidaan
har maidaan
har maidaan
kar har maidaan fateh
kar har maidaan fateh
kar har maidaan fateh o bandeya
har maidaan fateh
kar har maidaan fateh
kar har maidaan fateh
kar har maidaan fateh o bandeya
har maidaan fateh
kar har maidaan fateh
kar har maidaan fateh
kar har maidaan fateh re bandeya
har maidaan fateh

kar har maidaan fateh re bandeya
har maidan fateh

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

पिघला दे ज़ंजीरें
बना उनकी॰॰ई॰॰ई शमशीरें
कर हर मैदान फतेह ओ बंदेया
कर हर मैदान फतेह

घायल परिंदा है तू
दिखला दे ज़िंदा है तू
बाकी है तुझ में हौसला॰॰आ॰॰आ
तेरे जुनूं के आगे
अम्बर पनाहें मांगे
कर डाले तू जो फैसला॰॰आ॰॰आ

रूठी तक़दीरें तो क्या
टूटी शमशीरें तो क्या
टूटी शमशीरों से ही हो ओ ओ
कर हर मैदान फतेह
कर हर मैदान फतेह
कर हर मैदान फतेह रे बंदेया
हर मैदान फतेह
कर हर मैदान फतेह
कर हर मैदान फतेह
कर हर मैदान फतेह रे बंदेया
हर मैदान फतेह

इन गर्दिशों का बादलों पे चढ़ के
वक़्त के गिरेबाँ पकड़ के
पूछना है जीत का पता
जीत का पता
इन मुट्ठियों में चाँद तारे भर के
आसमां की हद्द से गुज़र के
हो जा तू भीड़ से जुदा
भीड़ से जुदा
भीड़ से जुदा
कहने को ज़र्रा है तू
लोहे का छर्रा है तू
टूटी शमशीरों से ही हो ओ ओ
कर हर मैदान फतेह
(कर हर मैदान फतेह)
कर हर मैदान फतेह
(कर हर मैदान फतेह)
कर हर मैदान फतेह रे बंदेया
हर मैदान फतेह
कर हर मैदान फतेह
कर हर मैदान फतेह
कर हर मैदान फतेह ओ बंदेया
हर मैदान फतेह
कर हर मैदान फतेह
कर हर मैदान फतेह
कर हर मैदान फतेह रे बंदेया
हर मैदान फतेह

तेरी कोशिशें कामयाब होंगी
जब तेरी ये ज़िद आग होगी
फूँक देंगी नाउम्मीदियाँ
नाउम्मीदियाँ
तेरे पीछे पीछे रास्ते ये चल के
बाहों के निशानों में ढल के
ढूंढ लेंगे अपना आशियां
अपना आशियां
अपना आशियां
लम्हों से आँख मिला के
रख दे जी जान लड़ा के
टूटी शमशीरों से ही हो ओ ओ
कर हर मैदान
हर मैदान
हर मैदान
हर मैदान
कर हर मैदान फतेह
कर हर मैदान फतेह
कर हर मैदान फतेह ओ बंदेया
हर मैदान फतेह
कर हर मैदान फतेह
कर हर मैदान फतेह
कर हर मैदान फतेह ओ बंदेया
हर मैदान फतेह
कर हर मैदान फतेह
कर हर मैदान फतेह
कर हर मैदान फतेह रे बंदेया
हर मैदान फतेह

कर हर मैदान फतेह रे बंदेया
कर हर मैदान फतेह


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.

Blog Day : 3607 Post No. : 14389

Today’s song is from an obscure, unknown film the early era – ‘Pratibha’ (1937).

Any industry, to develop into a profitable one, requires hard work by the pioneers. This applies totally to Hindi Film Industry in India. The original initiators of the film industry were not any rich people, but the industry took the seeds from ordinary, middle class people.They had no riches, but their zeal, dedication, ambition and desire to achieve goals overtook their poverty and they toiled and moiled to raise the required finance for their projects. We all know about  the great Dadasaheb Phalke, who staked everything he owned to achieve his goals and became a name to remember for ever. In this endeavour, he was not alone. There was one more person from Kolhapur, who took Phalke’s dream much ahead from silent to talkie films. His name is taken today with awe and respect by film historians. He was Baburao Painter.

Kala Maharshi Baburao Painter ( real name Baburao Krishnarao Mestri) was born on 3rd June 1890 at Kolhapur. The success of Dadasaheb Phalke in making films in India inspired Baburao and his cousin brother Anandrao immensely. They too wanted to make films, but it was not possible in Kolhapur. Phalke had gone to England to learn the film making and had brought machinery from England. This was beyond the reach of these poor young men.

Anandrao found that a second hand projector was for sale in Null Bazar in Bombay. Crazily, he decided to change the projector into a film camera, by making some structural changes. They sold the gold ornaments of family and bought the projector. To start with and to get further finance they used it to show films in theatres. They even showed some Hollywood films here. After several attempts, Anandrao was successful in converting the projector into a film camera. Baburao was also with him in this. Unfortunately, Anandrao died suddenly giving a set back to the project.

Baburao now needed finance to go ahead. Luckily a famous classical singer of those days, Tanibai Kagalkar – wife of Bapusaheb Kagalkar and the sister of Vinayakrao Ghorpade (who was the father of child actress and singer Vasanti), invested Rs. 15,000 – an astronomical figure for those times. Baburao established Maharashtra Film Company in Kolhapur and started preparations for making his film ‘Sairandhri’, released in 1919. The cast of this film included 2 women, Gulab Bai aka Kamla Devi and Anusuya Bai aka Susheela Devi. These women were promptly thrown out of their homes and society. They remained with the company and even cooked and washed clothes of artistes, besides acting in the films other times. (This Gulab Bai aka Kamla Devi later posed for the symbol of Prabhat Film company- playing Tutari with bent body. She married Fattelal, one of the directors of Prabhat Films.)

‘Sairandhri’ was a tremendous success. Enthused Baburao Painter made another 15 films. Lokmanya Tilak was so impressed with Baburao’s dedication, he awarded him the title of ‘Cinema Kesari’. Baburao Pendharkar was the General Manager of the company, mainly because he could speak fluent English, with customers. Others were V Shantaram, Dhaiber, Damle and Fattelal as his assistants in different departments. Sarpotdar, NH Apte and Vashikar were the script writers and Prof NS Phadke, the novelist, wrote film titles. In 1920 second half, there was a big fire in the company and all films were burnt.

Baburao Painter started afresh in 1921. He made many mythological and historical films. Baburao was the first to make a social film, ‘Savkari Pash’ on the issue of exploitation of  poor farmers by money lenders in the villages. In 1928, a foreign trained film director was appointed from Bombay – Moti B Gidwani, on a fat salary. (He was later to direct the film ‘Khazanchi’ (1941) in Lahore). This caused unrest in the company and resulted in Shantaram, Dhaiber, Damle and Fattelal leaving the company. They established Prabhat Film Company. In 1930, Baburao also left Maharashtra Film company. When talkie films started he made 7 talkie films, including 2 Hindi films – ‘Pratibha’ (1937) and ‘Matwala Shaayar Ramjoshi’ (1947) along with Shantaram. He then left films and concentrated on his painting and sculpture. Baburao Painter died on 16-1-1954 at Kolhapur.

Baburao’s contribution to Indian film industry-

  1. He was the first to use coloured screens and clothes for realistic effect.
  2. Indoor filming with artificial lighting.
  3. Fade out and fade in techniques
  4. Outdoor shootings; Debaki Bose, in his visit to studio, was amazed to see Baburao’s working techniques.
  5. Making sketches of scenes and costumes before shooting.
  6. Advertising posters. film booklets with film story and pictures.

All assistants of Baburao painter became big people. He was simply a God sent gift to Hindi film industry.

‘Pratibha’ was also one of the 2 Hindi films in which the great classical singer of India, Hirabai Badodekar acted. The other film was ‘Suvarn Mandir’ (1934). She, however, sang 9 songs in 3 films, namely ‘Pratibha’,  ‘Lalat’ (1947) (‘Lalat’ was the debut film of Usha Kiron, who used her real name Usha Marathe in this film) and ‘Dolti Naiya’ (1950). The cast of the film was Durga Khote, K Datey, Miss Heera, Master Shyam, Hirabai, Nanasaheb Phatak, Vishupant Jog, Raja Paranjpe etc.

Nanasaheb Phatak was one of the greatest stage actor of Marathi dramas. He was called ‘Natwarya’ ( नटवर्य ), euphemism for “the greatest among actors”. This was the only Hindi film he ever acted in his lifetime. Raja Paranjpe (24.4.1910 – 9.2.1979), one of the big names in Marathi films later was in the making in the 30s. He acted in 15 Hindi films and also directed 5 Hindi films. ‘Pratibha’ was his first film as an actor. His last film was ‘Us Paar’ (1974).

Hirabai Badodekar (29-5-1905 to 20-11-1989) was the daughter of Ustad Abdul Kareem Khan and Tarabai aka Tahirabibi. She was never interested in acting in films, but she did it for Baburao Painter.

Ustad Abdul Karim Khan and Tarabai Mane, had fled from the city of Baroda to settle in Bombay after their affair was not accepted by the extended families. However, their fleeing away from their roots did not mean the end of the road to the music career that Hirabai Barodekar would eventually become a part of. According to archives in history, Tarabai Mane was the daughter of Sardar Maruti Rao Mane, one of the brothers of the Rajmata of Baroda. During her childhood years in the early 19th century, Tarabai Mane used to learn music from Ustad Abdul Karim Khan, who was a mere court musician in Baroda. The two gradually fell in love, a feeling that was not supported by any of the family members precisely because of the gap between their status and ranks in the society. The couple had no other option but to flee Baroda to settle in Bombay city. Tarabai Mane and Abdul Karim Khan married in Bombay and gave birth to five children, two sons and three daughters. The third child was named Champakali, who was later renamed to Hirabai Badodekar in her adult years.

After about 1920, Khansaheb became very busy with his many tasks and concert tours throughout India. As a result, he could not attend to the needs and music education of his children. Compounded with some household family problems, Tarabai decided to separate from him and left him in 1918. In the beginning, she stayed in Bombay for some time and then moved to Pune with her five children.

She decided to change their Muslim names. She was the daughter of Sardar Mane of Badoda state. She used Mane and Badodekar as the surnames. Badodekar was derived from the name of her native place whereas Mane was her surname before marrying Khan Saheb. Thus Abdul Rahman became Suresh (God of music notes) Babu Mane. Out of her 5 children, Champakali became Hirabai Badodekar, Sakina or Chhotu Tai became Saraswati Mane and after marriage Sarawati Rane. Tarabai opened up new music school ‘Nutan Sangeet Vidyalaya’ with Sureshbabu as a teacher along with other teachers and students. Sureshbabu also began to teach his sister Champakali (later Hirabai). However, they were all in their teens, and hence Tarabai persuaded and appointed uncle Abdul Wahid Khan as the teacher for children. Later on, with the help of Sawai Gandharva (Rambhau Kundgolkar) she opened up drama wing of Nutan Sangeet Vidyalaya. They staged several old and new drama and all brothers and sisters played various roles. Sureshbabu and Hirabai also played roles in Hindi and Marathi films during 1930s and 40s. Sureshbabu also composed music for films – ‘Sant Tulsidas’ (1934) and ‘Sach Hai’ (1939).

The training under her brother and uncle proved to be very beneficial for Hirabai Badodekar, and was soon able to perform for a larger audience. Her voice had always been praised and was a source of inspiration to many in her generation and subsequent generations to come. Hirabai Badodekar’s first step into the world of classical Hindustani music was in the year 1920 when she started performing in public concerts. It was the early 20th century and though women had already stepped out of their homes by this time, the idea of an Indian woman performing on the world stage was still a less heard concept. Therefore, Hirabai Badodekar was not only a renowned classical singer, she was also a pioneer in the field of classical singing by women on a world stage. She was the first woman to stage a ticketed concert in India. Needless to say, this drive popularized Hindustani classical music not only among connoisseurs of music, but also the common man in search of new entertainment opportunities.

Till today, classical music experts refer to Hirabai Badodekar’s voice as melodious and soulful. Her rendition of the ‘Taar Sa’ raga became the benchmark of her concerts. She was asked to perform the particular music in every concert appearance. The Kirana Gharana was already a very popular house of classical music during the 20th century and the success of Hirabai Badodekar only helped to make it more famous among the masses. She was an expert in the fields of khayal, thumri, bhajan and Marathi natya sangeet. Hirabai Badodekar’s career as a classical music singer did not remain enclosed within stage performances. It was only after a few years in stage singing that she started to work as a recording artist, largely responsible because of her growing popularity among the common man. After her phenomenal success as a recording artist, following her stint on the stage, Hirabai Barodekar came to be known as ‘Gaanhira’, a diamond in the world of singing.

Hirabai had participated in several plays during her early school years. The stage too was not a new place for her. Therefore, she progressed from being a classical music singer and recording artist to a film actress. Her career as a movie artist though was not as glorious as compared to the one in Hindustani classical music. Nevertheless her contribution to movies like ‘Janabai’, ‘Municipality’, ‘Suvarna Mandir’ and ‘Pratibha’ are still etched in history. Apart from a prosperous career in classical singing and a memorable one in movies, Hirabai also set up a music school for young girls to learn Hindustani classical music. Her school Nutan Sangeet Vidyalaya, was successful in popularizing the concept of classical music through the plays that it staged.

She became such a well known name in the field of classical Indian music that she was showered with a number of awards and prizes given to her by the Government of India. The highest honor which came her way was probably the offer to sing the national song Vande Mataram in the programme held in Red Fort on the 15th of August 1947, the day that India got its independence from the British. Her voice won her the title of ‘Gaansaraswati’ bestowed upon her by Jagadguru Shankaracharya. She was referred to as ‘Gaan Kokila’ by the nightingale herself, Sarojini Naidu. In the year 1953, she was one of the prominent members of a delegation which was sent from India to China and several countries across East Africa. The delegation performed to a world audience to present the cultural heritage of India. Over subsequent years, she became one of the most prominent classical singers that India had ever witnessed, with the government conferring the Sangeet Natak Akademi Award upon her in 1955 and Padma Bhushan, one of the highest civilian awards, in 1970.

She was successful in grooming a set of students who continued to contribute to the field of Hindustani classical music after her death. Prabha Atre is one of the most prominent students that Hirabai has left behind to carry on her legacy. Ever since 1992, the genius of Hirabai Badodekar has been celebrated through the Sureshbabu – Hirabai Smruti Sangeet Samaaroh, a music festival held every year in Mumbai.  She passed away on 20-11-1989.

‘Pratibha’ was a bilingual film – Hindi/Marathi – produced by Shalini Cinetone of Kolhapur. When Baburao Painter left Maharashtra Film Co., and others left to start Prabhat at Pune, the king of Kolhapur – Shahu Maharaj was disturbed. He wanted kolhapur to remain a hub of film production. He himself established Kolhapur Shalini Cinetone, mainly to keep Painter employed. Baburao, Bhalji Pendharkar and Master Vinayak also came back to make films here. After few films like ‘Akashvaani’ (1934), ‘Vilasi Ishwar’ (1935) (in Hindi it was ‘Nigaah e Nafrat’ (1935), a Debut film for Shobhana Shilotri, who became Shobhana Samarth later on), ‘Pratibha’ and Phalke’s only talkie film ‘Gangavataran’ (1937) (debut film of Leela Mishra aka Leela Mausi), ‘Gangavataran’ was made on lavish scale spending lot of money. However the film flopped and Kolhapur Shalini Cinetone was closed down forever.

The story of film ‘Pratibha’,

Poet Prasad (Datey) lives far from the city in a forest, enjoying only the company of wife Pratibha (Khote). The court poet Kaveeshwar (Phatak) of the neighbouring kingdom learns about his poetry and beautiful wife and invites them to his palace, promising glory and fame. Against Pratibha’s advise, Prasad  succumbs to the temptation, only to find that his poetry is plagiarized and his wife is harassed.

Baburao Painter excelled in this film shooting with his classical touch, deftly handling the crowd scenes etc. The highlight of the film was when Prasad and Pratibha leave the palace in a raging storm.

Here is a rare film song of Hirabai Badodekar from this film.

Here is a tribute to Baburao Painter on his Birth Anniversary.

(Credits – Maharashtra- Birthplace of Indian Film Industry, by Isak Mujawar, iloveindia.com, wiki, HFGK, Encyclopedia of Indian Cinema and my notes )


Song – Bharamuva Kaahe Pe Baawre (Pratibha) (1937) Singer – Hirabai Barodkar, Lyrics – Pt Anand Kumar, Music – Gobind Rao Tembe

Lyrics (Provided by Sudhir)

bharamuva kaahe pe baawre
bharamuva kaahe pe baawre
bhole manava
aa aa aaa
bharamuva kaahe pe baawre
bhole manava
aa aa aaa
bharamuva kaahe pe baa.aawre
bhole manava..aa..aa
bharamuva kaahe pe

rang birange. . .
aaa aaaa aaaa aaa
rang birange. . .
aaaaaa
aaaaaa aaaa aaaa
aaaa aaaa aaa aaaaaa
rang birange. . .
aaa
aaaa aaaa aaa aaaaaa
rang birange
aaa aaaa aaaa aaa
aaaa aaaa aaa aaaaaa
rang birange baag bageeche
hey
saaj sajeele sab phal mere (??)
bhole manava
aaa aaaa aaaa
bharamuva kaahe pe baawre

bharamuva kaahe pe baa..aawre
bharamuva kaahe pe baawre
bharamuva kaahe pe baa..aawre
bhole manava
aaa aaaa aaaa
bharamuva kaahe pe baawre
bharamuva kaahe pe baa..aawre
haaan aaaa
bharamuva kaahe pe baawre
bhole manava
aaa aaaa aaaa
haaan aaaa
haaan aaaa
bharamuva kaahe pe baawre
bhole manava

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

भरमवा काहे पे बावरे
भरमवा काहे पे बावरे
भोले मनवा
आ आ आss
भरमवा काहे पे बावरे
भोले मनवा
आ आ आss
भरमवा काहे पे बा॰॰आ॰॰वरे
भोले मनवा॰॰आ॰॰आ
भरमवा काहे पे

रंग बिरंगे॰ ॰ ॰
आ आsss आss आs
रंग बिरंगे॰ ॰ ॰
आsss
आsss आss आs
आ आsss आss आs
रंग बिरंगे॰ ॰ ॰
आsss
आ आsss आss आs
रंग बिरंगे॰ ॰ ॰
आsss आss आs
आ आsss आss आs
रंग बिरंगे बाग बगीचे
हे
साज सजीले सब फल मेरे (??)
भोले मनवा॰॰आ॰॰आ
आsss आss आss
भरमवा काहे पे बावरे

भरमवा काहे पे बा॰॰आ॰॰वरे
भरमवा काहे पे बावरे
भरमवा काहे पे बा॰॰आ॰॰वरे
भोले मनवा
आsss आss आss
भरमवा काहे पे बावरे
भरमवा काहे पे बा॰॰आ॰॰वरे
हाँ’ आsss
भरमवा काहे पे बावरे
भोले मनवा
आsss आss आss
हाँ’ आsss
हाँ’ आsss
भरमवा काहे पे बावरे
भोले मनवा


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.

Blog Day : 3604 Post No. : 14382

Today’s song is from an obscure film from 1941 – ‘Amrit’. The film was produced by Navyug Chitrapat Ltd. It was directed by Master Vinayak. The music was by Dada Chandekar, who was a regular with Master Vinayak, for his Hindi and Marathi films. The cast of the film was Meenakshi Shirodkar, Vinayak, Master Vithal, Lalita Pawar, Baburao Pendharkar, Dada Salvi, Damuanna Malvankar, Vishnupant Jog etc. The cameraman was Pandurang Naik, one of the owners of Navyug, along with Baburao, PK Atre and Vinayak, of course.

Hindi film industry of Bombay was dominated by Gujarati and Marathi people. It was natural, considering that Bombay was located in Maharashtra and close to Gujarat. The Gujarati people had money, so they became producers, financiers, owners and distributors, never interfering with the making of films, but controlled the monetary part. Marathi people had talents in various categories like acting, music, direction, publicity etc. As the industry grew and got talents from every part of India, in due course the number of Marathi people diminished in the industry. During this period, the Marathi film industry was also very strong and the Marathi crowd of Hindi films shifted to Marathi industry.

Till independence, this situation was in place. The Marathi film makers like Master Vinayak, V Shantaram, Bhalji Pendharkar etc made films simultaneously in Marathi and Hindi, from the earliest time of the film making in India. This trend, however, almost stopped completely, after the polarisation in 1947, except for few bilingual films made later, like ‘Chhatrapati Shivaji’ in 1952 and ‘Mahatma’ in 1953 which came in Marathi and Hindi. ‘Mahatma’ was even made in English.

Master Vinayak Karnataki (19-1-1906 to 19-8-1947) was born in Kolhapur. Many of his cousins and family members were already in film line. His half brothers Bhal ji and Baburao Pendharkar, maternal cousin V Shantaram and his brother V Avadhoot (cinematographer) were in films. His own brother Vasudev also became a cameraman. Master Vinayak was working as a teacher in a school, but Bhalji convinced him to join films. Initially Vinayak was with Prabhat, working under Shantaram and learning many things. He started his own company, Hans Pictures, in partnership with Baburao Pendharkar and cameraman Pandurang Naik. Their first film was ‘Chhaaya’ (1936). Almost all films made by Master Vinayak till 1947 were bilingual in Marathi and Hindi, sometimes with different titles, like ‘Ardhaangi’ in Marathi became ‘Ghar Ki Rani’ (1940) in Hindi etc.

While Shantaram stressed on technical aspects of film making successfully, Vinayak was keen on strong story. Therefore he used the works of top class writers in Marathi like VS Khandekar, PK Atre, Mama Varerkar etc. [Auth Note: VS Khandekar later won the Sahitya Academi Award, the Jnanapeeth award, Padma Bhushan award and many more honours like D Litt etc. The Government issued a postage stamp in his honour, after his death.] ‘Chhaaya’ won many awards and was commercially successful. Next came ‘Dharamveer’ (1937) and ‘Premveer’ (also 1937). The heroine in ‘Premveer’ was Ashalata – wife of music director Anil Biswas). Then came ‘Jwaala’ in 1938, with Chandramohan in both versions – Marathi and Hindi. He learnt to speak excellent Marathi for this film. Later he did three more Marathi films. Unfortunately, ‘Jwaala’ was a resounding flop – not because of any reason other than Master Vinayak meddling with the story too much, according to VS Khandekar (this appears to be a chronic ailment of film line !).

Master Vinayak fell back on comedy and made ‘Brahmachari’ in 1938 and ‘Brandi Ki Botal’ in 1939. Both were successful, but the loss due to ‘Jwaala’ was too big. Even one more comedy – ‘Ghar Ki Rani’ (1940) could not salvage the damage. Hans Pictures was dissolved to form another company Navyug Chitrapat, with PK Atre as a partner. Navyug was the first film company to offer 100 rs. shares directly to public. (Bombay Talkies had shares with only the directors, initially). The first film was ‘Lapandav’ (1940). Though it was successful, PK Atre left the company along with its heroine Vanmala – his consort, and established his own company Atre Pictures.

After another comedy, Navyug made ‘Amrit’ in 1941. In 1942, Navyug made the film ‘Pahili Mangalagaur’, in which Lata Mangeshkar made her debut as an actress and singer. She sang her first ever film song with Snehprabha Pradhan, under the baton of Dada Chandekar. There was a kissing scene of Snehprabha and Shahu Modak in this film. During the making of this film, Master Vinayak left Navyug and started his own company Prafull Pictures. He made several Hindi and Marathi films including ‘Badi Maa’ (1945). He died on 19-8-1947, just 4 days after Independence.

The music director of ‘Amrit’ was Dada Chandekar, a regular of Master Vinayak. His real name was Shankar Vishnu Chandekar. He was born on 19-3-1897 at Kolhapur. His father used to do ‘keertan‘ in temples. His younger brother Narhari used to call him as Dada (Bade Bhaiya – elder brother), and subsequently everyone started to call him Dada only. Later his real name was not known to anyone. He was an excellent harmonium player.

He joined Kirloskar Drama Company, where he used to do female roles, as per system in those days. Once Deenanath Mangeshkar’s Harmonium player was absent. Dada was called and then he worked in Deenanath’s Balwant Natak Mandali  for next 20 years. Later he joined Dhamman Khan, MD as his assistant. In 1935 he gave some songs in film ‘Kaliya Mardan’, when Dhamman Khan left midway.

In 1937 Dada Chandekar joined Hans Pictures. He composed the background music for ‘Jwaala’. Pleased by his work, Master Vinayak gave him his first independent film- ‘Bramhachari’ in 1938. All the songs became hits and were popular. Particularly the song by Meenakshi, “Yamuna Bich Khelun Khel, Kanhaiya”. The song was performed on screen by Meenakshi wearing a swimming costume, a very revolutionary idea in that era. The song became popular all over India. People repeatedly saw the film for this song and Meenakshi in swimming dress ! However, Master Vinayak did not get any money from this film, as he had to sell the film, while still in production, at a mesum- mainly because of the new heroine. Actually, it was successful due to her only.

Dada continued with Master Vinayak till 1947. Then he left Hindi films. Till 1964, he gave music to dramas and Marathi films. He also worked in All India Radio, Poona for some time. He died on 27-1-1976. In all, he gave music to 13 Hindi and 25 Marathi films. some of his Hindi films are, ‘Bramhachari’, ‘Brandy Ki Botal’, ‘Jwaala’, ‘Ghar Ki Rani’, ‘Amrit’, ‘Ladaai Ke Baad’, ‘Din Raat’, ‘Main Tera Hoon’, ‘Moti’ and ‘Phool Aur Kaante’.

One of the actors in the film was Damuanna Malvankar (1893 to 1975); incidentally the film shooting was done in his home town Malwan only. He was one of the most famous and popular comedian in Marathi films. He used his natural squint in his comedy. He did about 100 films in all, which also include Hindi films like ‘Andheri Duniya’, ‘Bramhachari’, ‘Brandy Ki Botal’, ‘Sangam’, ‘Ghar Ki Rani’, ‘Mera Haq’, ‘Mera Ladka’, ‘Badi Maa’, ‘Jeevan Yatra’, ‘Subhadra’, ‘Main Tera Hoon’etc. His daughter Bharati (Marathi film actress) is the wife of Lata’s brother Hridaynath Mangeshkar. Baburao Patel of Film India was a great fan of Damuanna Malvankar and wrote very lovingly about him in his magazine.

Then there was actor Vishnupant Jog, who paired with Damuanna in 29 comedy films.

I have not seen this film. Here is the film synopsis from ‘Encyclopedia of Indian Cinema’,

A complicated plot about class differences in a coastal Konkan village. It introduced a typical Khandekar character, the idealistic but dogmatic patriarch who becomes a victim of his own beliefs.

Here it is Bappa (Salvi), who monopolises the village palm trees from which toddy is made. He believes in fairness, not mercy. The story of his urban son Vilas (Master Vithal), his daughter Lata (Meenakshi) and her friend Sadanand (Master Vinayak) is interspersed with that of a drunken shoemaker Krishna (Baburao Pendharkar) and his wife Seeta (Lalita Pawar). Vilas, who covets the shoemaker’s wife Seeta, procures a new hut for them. He then starts having problems with his father and all the parallel stories converge when Vilas accidentally kills Seeta’s daughter.

Bappa, using his political influence, gets her innocent husband arrested instead and Seeta exploiting Vilas’s desire for her, retaliates by making him virtually her slave. Bappa eventually faces up to his moral responsibility in a tale that also warns against the Demon Drink.

The song being presented today, is sung by Meenakshi Shirodkar, Vishnupant Jog and chorus. This is an old style song. The film makes its debut on the blog.

[Author’s Note: Acknowledgements and thanks – The above write up refers to and has adapted material from Encyclopedia of Indian Cinema, Marathi Chitrapat Sangeetkar Kosh, Listener’s Bulletin, IMDB, MuVyz, HFGK, Wikipedia, and my own notes.]


Song – Jaago Jawaano, Jaago Jawaano, Navyug Aaya Re (Amrit) (1941) Singer – Vishnupant Jog, Meenakshi Shirodkar, Lyrics – Pt Indra, Music – Dada Chandekar
Chorus

Lyrics (Provided by Sudhir)

jaago. . .
jaago. . .
jaago jawaano
jaago jawaano
navyug aaya re
navyug aaya re
ey hey. . .

aaya re
aaya re
aaya re
jaago jawaano
jaago jawaano
navyug aaya re
navyug aaya re
ey hey. . .

nav jeevan laaya re
nav jeevan laaya re
laaya re
laaya re
laaya re
jaago jawaano
jaago jawaano
navyug aaya re
navyug aaya re

na koi nanga
na koi bhookha
na koi ooncha neecha
ik paani se
ik khaad se
sab booton ko seencha
amrit baagh lagaaya re
amrit baagh lagaaya re
jaago jawaano
jaago jawaano
navyug aaya re
navyug aaya re

teri daulat hai tu
teri taaqat hai tu
teri himmat hai tu
teri kismat hai tu
tere haathon mein honi jhoome
haan tere haathon mein honi jhoome
tere paanv ko manzil choome
tere paanv ko manzil choome
teri aankhon mein hardam savera
teri aankhon mein hardam savera
savera
savera
savera
savera
savera
savera
tu to suraj se chamki kaaya re
tu to suraj se chamki kaaya

jaago jawaano
jaago jawaano
navyug aaya re
navyug aaya re

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
जागो॰ ॰ ॰
जागो॰ ॰ ॰
जागो जवानो
जागो जवानो
नवयुग आया रे
नवयुग आया रे
ए हे॰ ॰ ॰

आया रे
आया रे
आया रे
जागो जवानो
जागो जवानो
नवयुग आया रे
नवयुग आया रे
ए हे॰ ॰ ॰

नव जीवन लाया रे
नव जीवन लाया रे
लाया रे
लाया रे
लाया रे
जागो जवानो
जागो जवानो
नवयुग आया रे
नवयुग आया रे

ना कोई नंगा
ना कोई भूखा
ना कोई ऊंचा नीचा
इक पानी से
इक खाद से
सब बूटों को सींचा
अमृत बाग लगाया रे
अमृत बाग लगाया रे
जागो जवानो
जागो जवानो
नवयुग आया रे
नवयुग आया रे

तेरी दौलत है तू
तेरी ताक़त है तू
तेरी हिम्मत है तू
तेरी किस्मत है तू
तेरे हाथों में होनी झूमे
हाँ तेरे हाथों में होनी झूमे
तेरे पाँव को मंज़िल चूमे
तेरे पाँव को मंज़िल चूमे
तेरी आँखों में हरदम सवेरा
तेरी आँखों में हरदम सवेरा
सवेरा
सवेरा
सवेरा
सवेरा
सवेरा
सवेरा
तू तो सूरज से चमकी काया रे
तू तो सूरज से चमकी काया रे

जागो जवानो
जागो जवानो
नवयुग आया रे
नवयुग आया रे


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 : 3523 Post No. : 14148

“Ajeeb Ladki” (1952) was directed by Mohammad Ehsan for Tajmahal Pictures, Bombay. The movie had Rehman, Naseem Bano, Cuckoo, Shashikala, Agha, Jayant, Shyam Kumar, Shakuntala, Samson, Kathana, Bakshi, A K Sagar, Munshi Munaqqa etc in it.

The movie had ten songs in it. Eight songs from the movie have been covered in the past.

Here is the ninth song from “Ajeeb Ladki” (1952) to appear in the blog. The song is sung by Rafi and chorus. Shakeel Badayuni is the lyricist. Music is composed by Ghulam Mohammad.

This song is an inspirational song where the protagonist hopes to change the world with his new found enthusiasm. Only the audio of this song is available. I request our knowledgeable readers to throw light on the picturisation of this song.


Song-Suno na logon raag puraana (Ajeeb Ladki)(1952) Singer-Rafi, Lyrics-Shakeel Badayuni, MD-Ghulam Mohammad

Lyrics

suno na logon raag puraana
chhed do mil kar naya taraana
duniya waalon ki hamen taqdeer badalna hai
suno na logon raag puraana
chhed do mil kar naya taraana
duniya waalon ki hamen taqdeer badalna hai
hamen taqdeer badalna hai

din ka sooraj
raat ke taare ae ae
sab hain saath hamaare
din ka sooraj
raat ke taare ae ae
sab hain saath hamaare ae ae
soye jaga do
bhaag laga kar
sachhaayi ke naare
sachhaayi ke naare
jhooth ke is andher nagar se hamko nikalna hai
duniya waalon ki hamen taqdeer badalna hai
hamen taqdeer badalna hai
suno na logo raag puraana
chhed do mil kar naya taraana
duniya waalon ki humen taqdeer badalna hai
suno na logon raag puraana
chhed do mil kar naya taraana
duniya waalon ki humen taqdeer badalna hai
humen taqdeer badalna hai
humen taqdeer badalna hai
humen taqdeer badalna hai
humen taqdeer badalna hai
suno na logon raag puraana
chhed do mil kar naya taraana
duniya waalon ki humen taqdeer badalna hai
humen taqdeer badalna hai

poorab pashchim aag lagi hai
jalta hai jag saara aa aa
poorab pashchim aag lagi
jalta hai jag saara
aao zara is gham se dila den
duniya ko chhutkaara
duniya ko chhutkaara
pyaar ke shamma leke andheri raat mein chalna hai ae
duniya waalon ki hamen taqdeer badalna hai
hamen taqdeer badalna hai
suno na logon raag puraana
chhed do mil kar naya taraana
duniya waalon ki hamen taqdeer badalna hai
suno na logon raag puraana
chhed do mil kar naya taraana
duniya waalon ki hamen taqdeer badalna hai
hamen taqdeer badalna hai


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 : 3513 Post No. : 14113

“Miss India”(1957) was directed by I S Johar for Rawal Pictures, Bombay. This movie had Nargis, Pradeep Kumar, Nishi, Shammi, Tuntun, Sheela Vaz, Minoo Mumtaz, I S Johar, Pran etc in it.

Mr. K Satish Shenoy, while writing about an earlier song of this movie had given the story of this song. Here is what he had to say about the movie:-

The movie “Miss India” is not about a beauty contest winner. The movie refers to the leading lady as “Miss India”, because the character is about an educated, self reliant, righteous young lass who fights for her rights, against injustice and comes out a winner.

Nargis graduates as a lawyer. Her father puts out a matrimonial advt asking for a match for the educated lady without expecting dowry. An imposter (Pradeep Kumar) marries her & absconds, abandoning her, & taking away her jewellery. She comes to the city, in search of him, & to reform him & continue her married life (& not to catch him & punish him- –after all she is a Bhararatiya Naari ! 🙂 .

After few fruitless days she finds him, but he is unable to recognise her (since he ran away without lifting her ‘ghoongat’.! –That is typical Bollywood!). At this point she befriends him in the guise of a young lad, so as to buy time to reform him. This disguise also helped her find a job.

To cut a long story short, she manages to make him realise his misdeeds and in the end they unite. In the final scenes there is a court case where all riddles are resolved and judge notes the trouble Nargis has gone through and says she is a role model and should be referred to as “Miss India”!!

“Miss India”(1957) had ten songs in it. Nine of them have been covered in the past. Here are the details of the songs that have already been covered:-

Song Title

Post No.

Post Date

O mere sajnaa aaja re aaja (Miss India) 1785 22-Aug-09
Aaha badla zamaana waah waah badla zamaana (Miss India) 1913 13-Sep-09
Jaise ko taisaa nahle pe dahlaa (Miss India) 2574 2-Jul-10
Jaaun main kahaan ye zameen ye aasmaan chhod ke (Miss India) Multiple version song 3311 9-Dec-10
Baad e saba kuchh to bata (Miss India) 10200 2-Sep-14
Albela main ik dilwaala (Miss India) 11620 1-Dec-15
Thhokar naseeb ki jo khaa kar bhi muskuraaye (Miss India) 13463 23-Jul-17
Gori zara mukhde se ghoonghat hataao na (Miss India) 14107 28-Feb-18

Here is the tenth and final song from “Miss India”(1957). The song is sung by Asha Bhonsle and Manna Dey. Rajinder Krishan is the lyricist. Music is composed by S D Burman.

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

Though the singers, lyricist and music director are all legends and they all have had long and distinguished careers, but it may surprise some to know that this is the only Manna Dey-Asha Bhonsle duet created by the lyricist-MD combination of Rajinder Krishan and S D Burman. In fact, Rajinder Krishna and S d Burman worked together only in five movies. This movie was the last occasion when the came toether in a movie.

With this song, “Miss India”(1957) joins the list of movies that have all their songs covered in the blog.


Song-Maalik ne haath kaahe do do diye (Miss India)(1957) Singers-Asha Bhonsle, Manna Dey, Lyrics-Rajinder Krishan, MD-S D Burman
Male chorus
Female chorus
Both
All

Lyrics

maalik ne haath kaahe do do diye
tu kaam kare pet bhare jab tak jiye
maalik ne haath kaahe do do diye
tu kaam kare pet bhare jab tak jiye

he he he
malik ne haath kaahe do do diye
tu kaam kare pet bhare jab tak jiye
hey hey hey
hey hey hey hey hey hey
hey hey hey hey hey hey
hey

uthhaaye ja o chhokri
ye zindagi ki tokri

uthhaaye ja o chhokri
ye zindagi ki tokri

rozi halaal ki
mehnat ki naukri
rozi halaal ki
mehnat ki naukri

khaana haraam hai jo mile bina kaam kiye
maalik ne haath kaahe do do diye
tu kaam kare pet bhare jab tak jiye

he he he
maalik ne haath kaahe do do diye
tu kaam kare pet bhare jab tak jiye
hey hey hey
hey hey hey hey hey hey
hey hey hey hey hey hey
hey

rookhi sookhi khaayenge
paseena bahaayenge

rookhi sookhi khaayenge
paseena bahaayenge

kaahe kisi ki ghulaami uthhaayenge
kaahe kisi ki ghulaami uthaayenge
banda jo apni kamaai ki khaaye piye
maalik ne haath kaahe do do diye
tu kaam kare pet bhare jab tak jiye

he he he
maalik ne haath kaahe do do diye
tu kaam kare pet bhare jab tak jiye
hey hey hey
hey hey hey hey hey hey
hey hey hey hey hey hey
hey

zaroorat hai car ki
na resham ke taar ki
zaroorat hai car ki
na resham ke taar ki

pahli bhookh pet ki
dooji hai pyaar ki

pahli bhookh pet ki
dooji hai pyaar ki

mehnat ke baad chalen haathon mein haath liye
hey
haathon mein haath liye

maalik ne haath kahe do do diye
tu kaam kare pet bhare jab tak jiye
hey hey hey
hey hey hey hey hey hey
hey hey hey hey hey hey
hey


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

Blog Day : 3493 Post No. : 14034

The box office successes of ‘Chaudhvin Ka Chaand’ (1960) and ‘Taj Mahal’ (1963) were mainly attributed to musical bonanzas they offered to the cinegoers in general. In that process, the captain of the ships, i.e., the director of the films who had an important role in making the films the box office success was largely ignored. In those days, like many, I identified the first film with Guru Dutt and the music director Ravi. In case of ‘Taj Mahal’ (1963), I identified the film with the musical and lyrical feasts of Roshan and Sahir Ludhianvi. I was not aware at that time that these two successful films were directed by M Sadiq.

After few years when I did come to know of M Sadiq, I thought of him as a new upcoming director who specialised in directing Muslim social and historical films. This was borne out of the facts that his subsequent two films were ‘Bahu Begum’ (1967) and ‘Noor Jahan’ (1967). How wrong I was!

Last year, while doing a research on producer-director  AR Kardar, I became aware of the fact that M Sadiq (10/03/1910 – 03/10/1971) started his filmy career as early as 1932 as screen-play writer for Punjabi film, ‘Heer Ranjha’ (1932) which was a debut film for AR Kardar as the director of a talkie film.

After 1932, there appears to be a big gap in his filmy career if I go by his filmography. However, browsing through many pages of various ‘Filmindia’ issues gives me an indication that M Sadiq assisted AR Kardar all through 1932 to 1942 in his various directorial ventures, in various capacity – story/screen-play/dialogue writer, editor in addition to being one of his regular Assistant Directors.

By 1942, M Sadiq had become one of the two key assistants to AR Kardar along with SU Sunny. (SU Sunny later directed films like ‘Udan Khatola’ (1955), ‘Kohinoor’ (1960) and ‘Paalki’ (1966)). Baburao Patel, Editor of ‘Filmindia’ magazine had described them as ‘the left hand and the right hand of AR Kardar’ without identifying as to who was left hand and who was the right hand. He had also nicknamed them as ‘little Kardars’.

When AR Kardar set up his film production company, Kardar Productions in 1942 with his maiden film ‘Sharda’ (1942) as a producer-director, he gave an additional responsibility to M Sadiq as the film editor. In his next film, ’Namaste’ (1943),  AR Kardar entrusted  M Sadiq and SU Sunny to jointly direct the film. Kardar’s ‘Jeewan’ (1944) appears to be the first film which M Sadiq directed independently. However, this film did not do well on the box office. In the same year, Jaimini Dewan Productions gave him the opportunity to direct ‘Rattan’ (1944). The film became a box office bonanza for its producer. However, the credit for the success of the film was mainly given to the musical scores by Naushad.

From 1946 through 1950, M Sadiq directed 8 films which included ‘Shaam Savera’ (1946), ‘Daak Bangla’ (1947), ‘Kaajal’ (1948), ‘Chaar Din’ (1949) and ‘Sabak’ (1950), the last mentioned film was his first home production under the name of Sadiq Productions. In the 1950s, he directed 11 films, mostly his home productions like ‘Saiyaan’ (1951), ‘Shabaab’ (1954), ‘Musafirkhana’ (1955), “Chhoo Mantar’ (1956), ‘Mai Baap’ (1957), ‘Duniya Rang Rangeeli’ (1957) and ‘Khota Paisa’ (1958).

However, many of his home production films did not fare well on the box office. When Guru Dutt started ‘Chaudhvin Ka Chaand’ (1960), being a Muslim social film, he wanted the film to be directed by a Muslim director who was well versed in Lucknowi etiquette. Those days, M Sadiq had a lot of financial difficulties and Guru Dutt wanted to help him (as mentioned in Nasreen Munni Kabir’s documentary ‘In Search of Guru Dutt’).

‘Chaudhvin Ka Chaand’ (1960) was a box office hit film. However, the credit for the success of the film went mainly to the musical scores of Ravi with the lyrics of Shakeel Badayuni. In Hindi film industry, a director working for a producer who also happens to be an ace director would remain in his shadow. For, the people will always have a doubt whether the ace director was a ‘shadow director’ of his own film. The song sequences in the film as Abrar Alvi puts it “. . .bear the stamp of Guru Dutt. . .” (Source: ‘Ten Years with Guru Dutt’). This kind of aspersions were also made in the case of  Radhu Karmakar who directed RK Films’ ‘Jis Desh Mein Ganga Behti Hai’ (1960) and of Abrar Alvi himself who directed Guru Dutt’s ‘Sahib Bibi Aur Ghulam’ (1962).

In spite of the success of ‘Chaudhavin Ka Chaand’ (1960), M Sadiq did not get offers for directing the films until ‘Taj Mahal’ (1963). Once again the success of this film did not help him in his career as in this case also, the credit for the success of the film was mainly shared by its super hit songs composed by  Roshan on the lyrics of Sahir Ludhianvi.

I feel that  it was unfortunate that the film industry did not recognise the contribution of M Sadiq in the success of  films like ‘Rattan’ (1944), ‘Shabaab’ (1954), ‘Chadhavin Kaa Chaand’ (1960) and ‘Taj Mahal’ (1963). I have seen all these films and I feel that M Sadiq had done a wonderful job as a director. Guru Dutt was indeed a master craftsman in picurisation of songs. He may have done the song picturisation himself in ‘Chaudhavin Ka Chaand’ (1960).

In my view, M Sadiq was not a novice in picturisation of song sequence in the films. Having experience of directing films for 20 years at the time when he directed ‘Taj Mahal’ (1963), I do not think that he would not have done justice to the song sequences of ‘Chaudhvin Kaa Chaand’ (1960). Just note how beautiful was his picturisation of the song Paaon Chhoo Lene Do Phoolon Ko Inaayat Hogi. It is a difficult situational song where Pradeep Kumar’s open romantic proposal has to be  met with a restrained modesty of the heroine Bina Rai. In this song, the director has also to make the sequence of picturisation interesting with an added handicap of the expressionless Pradeep Kumar. Nonetheless, the director had succeeded at least for me as it is one of those songs where I like to watch and listen on the video clip rather than listening on the mp3 clip.

Again, after the success of ‘Taj Mahal’ (1963), M Sadiq had to wait for another 4 years to get the directorial assignments of ‘Bahu Begum’ (1967) and ‘Noor Jahan’ (1967). Unfortunately, both these films, despite good musical scores, did not fare well at the box office. Sometime in 1970, M Sadiq migrated to Pakistan and directed the film ‘Baharon Phool Barsaao’ (1972) under his own banner, Sadiq Productions. In a couple of Pakistani articles on the migration of film artists, it has been mentioned that M Sadiq came to Pakistan on an assignment to make ‘Bahaaron Phool Barsaao’ (1972). However, when the film was more than half way through, he left for the heavenly abode on 03/10/1971 in Lahore.

Today, I am presenting a multiple version song, “Meri Mitti Ki Duniya Niraali. . . Jahaan Bhagwaan Basen’ from the film ‘Shaam Savera’ (1946) which makes a debut on our blog today. The film was directed by M Sadiq. The star cast included Swarnalata, Wasti, Sulochana Chatterjee, Rafiq Ghaznavi, Badri Prasad, Pratima Devi  etc.

I became aware of this song only a few days back when I heard it in the voice of SD Batish. I immediately fell in love with the song for its rendition and the lyrics. In fact, its first verse led me to minutely grasp the subsequent part of the lyrics. As I was planning to present the song for the blog, somewhere I got confused with the film ‘Subah Shaam’ (1944) which has already made a debut on the blog. Since this film is not in the verge of attaining the status of a ‘yippied’ film, I felt that there was no urgency in presenting the song.

Yesterday, I heard this song once again. But this time, it was in the voice of Rafiq Ghaznavi. After checking on the website, it transpired that it was a multiple version song. It was at this stage I realised that the song in reference was from ‘Shaam Savera’ (1946) which is yet to make a debut on the Blog.

In my 3 decades of trekking in the Himalayas for soaking in the nature, I had always felt that there is Godliness in the nature – “jahaan bhagwan base”.


Song – Meri Mitti Ki Duniya Niraali (Shaam Savera) (1946) Singer – Rafiq Ghazanvi, Lyrics – [Unattributed] , MD – Pt Amarnath
SD Batish

Lyrics

meri mitti ki duniyaa niraali ee
ho o o o o
o o
jahaan bhagwaan basen
jahaan bhagwaan basen
meri mitti ki duniyaa niraali ee
ho o o o o
o o
jahaan bhagwaan basen
 
phoolon se rang churaayaa aa
kaanton se dard main laayaa
komalta pankhadiyon se
belon mein pyaar basaayaa
main hoon sundar ban kaa maali
ho o o o o
o o
jahaan bhagwaan basen
jahaan bhagwaan basen
meri mitti ki duniyaa niraali ee
ho o o o o
o o
jahaan bhagwaan basen
 
hirnon ne aankhen de deen
moron ne naach sikhaayaa aa
hirnon ne aankhen de deen
moron ne naach sikhaayaa
mad bhari koyal ki koo koo
pi pi papihaa ne gayaa
ban ke panchhi phiroon daali daali
ho o o o o
o o
jahaan bhagwaan basen
jahaan bhagwaan basen
meri mitti ki duniyaa niraali ee
ho o o o o
o o
jahaan bhagwaan basen
 
guru’on kaa saath jahaan hai
pariyon kaa naach jahaan hai
sundar taanon kaa raseelaa
prem kaa geet jahaan hai
main ne jaadoo ki nagri basaa li ee
ho o o o o
o o
jahaan bhagwaan basen
jahaan bhagwaan basen
meri mitti ki duniyaa niraali ee
ho o o o o
o o
jahaan bhagwaan basen

SD Batish Version 
meri mitti ki duniyaa niraali ee
ho o o o o
o o
jahaan bhagwaan basen
jahaan bhagwaan basen
meri mitti ki duniyaa niraali ee
ho o o o o
o o
jahaan bhagwaan basen
 
ho jahaan chaandni raaten
pyaar-o-muhabbat ki ghaaten
sundar sunehraa jeewan ho
kyun na ho pyaar ki baaten
tu ne ganga ki nadiyaa bahaa li
ho o o o o
o o
jahaan bhagwaan basen
jahaan bhagwaan basen
meri mitti ki duniyaa niraali ee
ho o o o o
o o
jahaan bhagwaan basen
 
jeewan mein thhaa jo andheraa
kiranon ne kiyaa saveraa aa
jeewan mein thhaa jo andheraa
kiranon ne kiyaa saveraa aa
khilaa kamal hai suhaanaa
swarg banaa ghar teraa
tu ne preet nagariyaa basaa li ee
ho o o o o
o o
jahaan bhagwaan basen
jahaan bhagwaan basen
meri mitti ki duniyaa niraali ee
ho o o o o
o o
jahaan bhagwaan basen

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

स्वर: रफ़ीक़ ग़ज़न्वी

मेरी मिट्टी की दुनिया निराली
हो ओ ओ ओ
ओ ओ
जहां भगवान बसें
जहां भगवान बसें
मेरी मिट्टी की दुनिया निराली
हो ओ ओ ओ
ओ ओ
जहां भगवान बसें

फूलों से रंग चुराया
काँटों से दर्द मैं लाया
कोमलता पंखड़ियों से
बेलों में प्यार बसाया
मैं हूँ सुंदर बन का माली
हो ओ ओ ओ
ओ ओ
जहां भगवान बसें
जहां भगवान बसें
मेरी मिट्टी की दुनिया निराली
हो ओ ओ ओ
ओ ओ
जहां भगवान बसें

हिरणों ने आंखें दे दीं
मोरों ने नाच सिखाया
मद भरी कोयल की कू कू
पी पी पपीहा ने गाया
बन के पंछी फिरूँ डाली डाली
हो ओ ओ ओ
ओ ओ
जहां भगवान बसें
जहां भगवान बसें
मेरी मिट्टी की दुनिया निराली
हो ओ ओ ओ
ओ ओ
जहां भगवान बसें

गुरुओं का साथ जहां है
परियों का नाच जहां है
सुंदर तानों का रसीला
प्रेम का गीत जहां है
मैंने जादू की नगरी बसा ली
हो ओ ओ ओ
ओ ओ
जहां भगवान बसें
जहां भगवान बसें
मेरी मिट्टी की दुनिया निराली
हो ओ ओ ओ
ओ ओ
जहां भगवान बसें
====================

स्वर: शिव दयाल बातिश 

मेरी मिट्टी की दुनिया निराली
हो ओ ओ ओ
ओ ओ
जहां भगवान बसें
जहां भगवान बसें
मेरी मिट्टी की दुनिया निराली
हो ओ ओ ओ
ओ ओ
जहां भगवान बसें

हों जहां चाँदनी रातें
प्यार ओ मोहब्बत की घातें
सुंदर सुनहरा जीवन हो
क्यों ना हों प्यार की बातें
तूने गंगा की नदिया बहा ली
हो ओ ओ ओ
ओ ओ
जहां भगवान बसें
जहां भगवान बसें
मेरी मिट्टी की दुनिया निराली
हो ओ ओ ओ
ओ ओ
जहां भगवान बसें

जीवन में था जो अंधेरा
किरणों ने किया सवेरा
जीवन में था जो अंधेरा
किरणों ने किया सवेरा
खिला कमाल है सुहाना
स्वर्ग बना घर तेरा
तू ने प्रीत नगरिया बसा ली
हो ओ ओ ओ
ओ ओ
जहां भगवान बसें
जहां भगवान बसें
मेरी मिट्टी की दुनिया निराली
हो ओ ओ ओ
ओ ओ
जहां भगवान बसें


This article is written by Sudhir, 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.

Blog Day : 3487 Post No. : 14004

As I am searching for a song to make the debut post for today, my mind goes to check the anniversaries page, and I find that today is the anniversary of passing away of Pt Shivram. This gives me an impetus and I start exploring the films for which Pt Shivram has composed the music. After going thru the list of his films, as given in the Geet Kosh, I find that although his work in Hindi cinema is confined to about 23 films, there still are some of his films that are not yet represented on our blog. So I search thru his pending films, and I come across this obscure film, albeit from a major banner.

The film is ‘Phool Aur Kaliyan’ from 1960, and it is produced by V Shantaram for his own banner – Rajkamal Kala Mandir. From the descriptions that I am able to locate, this is a children’s film. The unique distinction that this film carries is that it is the first children’s film to receive the National Award in the then newly created category of children’s films.

The director of the film is Ram Gabale. The songs of this film are penned by Bharat Vyas, and the music, yes, is by Pt Shivram. The list of actors as per the Geet Kosh, reads like – Radhika, Uma Dutt, Shaamlal, Daljeet, Bhagwan, Kiran, P N Bali, Somdutt, Moti Bai, R Khanna, Shakeela Bano Bhopali, Rani, Premlata, and George.

My plan was to also provide a brief bio sketch of Pt Shivram. As I scouted the net for gathering information, I came across a blog post by Aditya Pant ji, on his blog ‘Parwaaz e Khwaahish’. This blog post is dedicated to Pt Shivram. As I read through this blog, and checked out the reference materials listed, I find that I could not have done anything more or any better a job that this. I would encourage all readers to please also visit this blog (https://urgetofly.blogspot.in/2015/12/remembering-pandit-shivram-krishna.html), and read this very well researched and equally well written biosketch.

The interesting thing is about the singing voices. For this film, Pt Shivram has got three of the four songs in the film, to be sung by the daughters of V Shantaram – Madhura and Charusheela. This particular song is sung by Madhura Shantaram.

The song is a very wonderful and a very poignant one, albeit a very inspirational song. Keeping in with the spirit of the film being a children’s film, this song is a song of encouragement and motivation. It tells about the difficulties that one is bound to face in life. But with patience and faith, one will surely overcome all such difficulties. A superb song for children.

With this post, now the 1960 film ‘Phool Aur Kaliyan’ makes its debut on our blog.

 

Song – Mann Re Mat Ro, Kal Aayega Tera Savera  (Phool Aur Kaliyan) (1960) Singer – Madhura Shantaram, Lyrics – Bharat Vyas, MD – Pt Shivram

Lyrics

mann re
mat ro
kal aayega tera savera
mann re
mat ro
kal aayega tera savera
mann re. . .

aas ka taar
bada naazuk hai
aas ka taar
bada naazuk hai
nahin tootne dena. . .
peer jagat ki sehna
dheeraj nahin chhootne dena
mann re
mat ro
kal aayega tera savera
mann re
mat ro
kal aayega tera savera
mann re. . .

is jeevan mein
daata ne to
is jeevan mein
daata ne to
sukh dukh dono baante
jitne phool aur kaliyaan hain
utne hi hain kaante
mann re
mat ro
kal aayega tera savera
mann re
mat ro
kal aayega tera savera
mann re. . .

aansoo ke dhaagon se pagle
aansoo ke dhaagon se pagle
bhaavon kyon seena
jeevan ek kasauti hai
tu hanste hanste jeena
mann re
mat ro
kal aayega tera savera
mann re
mat ro
kal aayega tera savera
mann re. . .

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
मन रे
मत रो
कल आएगा तेरा सवेरा
मन रे
मत रो
कल आएगा तेरा सवेरा
मन रे॰॰॰

आस का तार
बड़ा नाज़ुक है
आस का तार
बड़ा नाज़ुक है
नहीं टूटने देना॰॰॰
पीर जगत की सहना
धीरज नहीं छूटने देना
मन रे
मत रो
कल आएगा तेरा सवेरा
मन रे
मत रो
कल आएगा तेरा सवेरा
मन रे॰॰॰

इस जीवन में
दाता ने तो
इस जीवन में
दाता ने तो
दुख सुख दोनों बांटे
जितने फूल और कलियाँ हैं
उतने ही हैं कांटे
मन रे
मत रो
कल आएगा तेरा सवेरा
मन रे
मत रो
कल आएगा तेरा सवेरा
मन रे॰॰॰

आँसू के धागों से पगले
आँसू के धागों से पगले
भावों को क्यों सीना
जीवन एक कसौटी है
तू हँसते हँसते जीना
मन रे
मत रो
कल आएगा तेरा सवेरा
मन रे
मत रो
कल आएगा तेरा सवेरा
मन रे॰॰॰


This article is written by Peevesie, 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.

Blog Day : 3479 Post No. : 13977

Republic day is a holiday that nearly everyone looks forward to in this country.

As a kid I would hate the day, though. We would have to get ready even earlier than usual, find our way to school for the ‘jhanda vandan’ – flag hoisting ceremony. I would usually be both in the marchpast and the patriotic dance. So, I would have to do a sneak off as soon as the flag is hoisted and get in costume for a badly choreographed patriot dance which had more in common with the actions that accompany a nursery rhyme.

I would then head back home where the society ‘jhanda vandan‘ would be over already and there would be poha for breakfast. My friends and I would chill together and then head home once our parents have finally gone hoarse from calling out to us for lunch. Then of course it would be the ol’e hearty meal and hearty sleep routine.

These days I love the day like the rest of the adult population. Which to be honest is mostly because it’s an off for nearly everyone and most people get to sleep in on a weekday. Except maybe liquor store owners and alcoholics. It is a difficult day for them indeed.

I know I sound cynical, but the way our country is right now, we manage to find our inner patriotism and urge to display our constitutional values only twice a year. We find it in ourselves to be socialist, liberal, proud of our diversities, and nationalist with a urge to do genuine social good. We talk about ‘swachhta abhiyan‘ over non-biodegradable thermocol cups of tea and foiled paper plates of food and plastic spoons. We have really taken our country for granted in a manner that is unprecedented in history.

The other day at the pre-Republic Day annual get together in my society, the party was ended with a loud cheer for a late communal regional leader of Maharashtra. My friends and I had a really uncomfortable look exchange and we then had a private conversation about how certain views sometimes get expressed in our families that we choose to remain silent out of respect for the elders in question. There was also a general agreement that the current political environment leaves very little space for the youth to be fully socialist liberals and thus we are choosing to be capitalists looking to make our way.

I think it’s high time we decide to be patriots outside the National holidays, cricket stadiums and the auditoriums of sports-based movies. Let us inculcate the values that make our nation move forward.

And meanwhile let me introduce some of you to a patriotic song from a recent sports-based movie, ‘Mary Kom’ (2014).

[Ed Note: With this song, the film ‘Mary Kom’ makes its debut on our blog today.]

Song – Jhuke Tere Aage Sar (Mary Kom) (2014) Singers – Vishal Dadlani, Salim Merchant, Lyrics – Sandeep Singh, MD – Shivam
Chorus

Lyrics (Provided by Peevesie’s mom)

jhuke tere aage sar
teri god mera ghar
hai tujhe salaam india
india

mushkil waqt mein bhi
hum na khoyen hausla
mil ke  saath chalne ka yoon kar len faisla
mitti hum jo choome to milta josh hai
bas teri hi khaatir jaan ye sarfarosh hai
jeet ka jashan hum manaayenge
aasmaan tiranga sajaana aaj hai
shaan se sabhi ko bataayenge
jeet lenge ye saara jahaan

jhuke tere aage sar
teri god mera ghar
hai tujhe salaam india
jhuke tere aage sar
teri god mera ghar
hai tujhe salaam india
india aa aaaaaaa
india aa
india

ho abr se iraade hon
koshisho ke waade hon
manzil milegi chaahe raahein hon khafa
aaaaaaaaaa
ho abr se iraade hon
koshisho ke waade hon
manzil milegi chaahe raahein hon khafa
desh ye sikhaata hai
himmatein badhaata hai
thhokar se gir ke na tu rukna be-wajaah
tera ye watan
kar kuch bhi jatan tu
jaan bhi is pe luta de tu
dar ko dara ke raggon mein fateh ka josh jaga
arsh ki udaane lagani hain
in hawaaoon ka rukh badalna aaj hai
desh ye ibbadat humari hai
de tu ye aaj sab ko bataa

jhuke tere aage sar
teri god mera ghar
hai tujhe salaam india
jhuke tere aage sar
teri god mera ghar
hai tujhe salaam india
jhuke tere aage sar
teri god mera ghar
hai tujhe salaam india
jhuke tere aage sar
teri god mera ghar
hai tujhe salaam india
aaaaaa

———————————————————-
Hindi script lyrics (Provided by Sudhir)
———————————————————-
झुके तेरे आगे सर
तेरी गोद मेरा घर
है तुझे सलाम इंडिया
इंडिया

मुश्किल वक़्त में भी
हम न खोएँ हौसला
मिलके साथ चलने का यूं कर लें फैसला
मिट्टी हम जो चूमें तो मिलता जोश हाओन
बस तेरी ही खातिर ये जां सरफरोश है
जीत का जशन हम मनाएंगे
आसमां तिरंगा सजाना आज है
शान से सभी को बताएँगे
जीत लेंगे ये सारा जहान्

झुके तेरे आगे सर
तेरी गोद मेरा घर
है तुझे सलाम इंडिया
झुके तेरे आगे सर
तेरी गोद मेरा घर
है तुझे सलाम इंडिया
इंडिया॰॰आ॰॰आ॰॰आ
इंडिया॰॰आ
इंडिया

हो अब्र से इरादे हों
कोशिशों के वादे हों
मंज़िल मिलेगी चाहे राहें हों खफा
आ॰॰आ॰॰आ॰॰आ
हो अब्र से इरादे हों
कोशिशों के वादे हों
मंज़िल मिलेगी चाहे राहें हों खफा
देश ये सिखाता है
हिम्मतें बढ़ाता है
ठोकर से गिरके तू ना रुकना बेवजह
तेरा ये वतन
कर कुछ भी जतन
जां भी इस पे लुटा दे तू
डर को डरा के रगों में फतेह का जोश जागा
अर्श की उड़ाने लगानी हैं
इन हवाओं का रुख बदलना आज है
देश ये इबादत हमारी है
दे तू ये आज सबको बता

झुके तेरे आगे सर
तेरी गोद मेरा घर
है तुझे सलाम इंडिया
झुके तेरे आगे सर
तेरी गोद मेरा घर
है तुझे सलाम इंडिया
झुके तेरे आगे सर
तेरी गोद मेरा घर
है तुझे सलाम इंडिया
झुके तेरे आगे सर
तेरी गोद मेरा घर
है तुझे सलाम इंडिया
आ॰॰आ॰॰आ॰॰आ


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 : 3476 Post No. : 13964

Most Indians are well aware about Subhash Chandra Bose, who was easily one of the most charismatic and inspirational figures among the Indian freedom fighting leaders of pre independence era.

Hindi movies too have been impressed enough with him and there have been quite a few movies featuring him,viz. “Netaji Subhash”(1947), “Samaadhi”(1950), “Netaji Subhash Chandra Bose”(1966), “Subhash Chandra”(1978) etc.

The latest movie on Netaji has been “Bose-The Forgotten hero”(2004).

Lyrics of a song from this movie were sent to me by Avinash Scrapwala to be posted today (23 january 2018) on the occasion of the 121st birth anniversary of Netaji.

That got me interested in watching the movie. I have not watched it fully yet, because the story is too well known and moreover I cannot bear to watch the part when the British realise that Subhash Chandra has escaped. I know that all that happened 77 years ago and what I am watching is just a movie but even today I dread thinking about the treatment meted out by the British to Subhash Chandra Bose’s family members to find his whereabouts. There was nothing Gandhian about how policemen interrogated Subhash Chandra Bose’s relatives.

Fortunately, the song under discussion happens before that. And it involves that part of the movie that appeals me the most. That part has to do with Subhash Chandra Bose’s escape from Calcutta to Gomoh by road and from there he catches a train to Peshawar at midnight.

Subhash Chandra Bose was capable of great meticulousness in making his plans and executing them. And this escape was a shining example of that.

Subhash Chandra Bose was kept in Fort William Jail, Calcutta in december 1940. There he staged a fast unto death strike. Unnerved, the British rulers released him and kept him under house arrest in his residence at 38/2 Elgin Road, Calcutta.

While at his residence, Subhash Chandra Bose pulled off a meticulously planned escape from right under the noses of securitymen.

Subhash Chandra Bose made it known to the world (including Britishers) that he was contemplating sanyas. He retreated into a room in the residence where no one was allowed to see him. His meal would be shoved under the door of the room once a day in a thaali and that thaali would be pushed back after consuming the foodstuff.

Subhash Chandra Bose’s extended family had another residence at 1, Woodburn park. where Subhash’s elder brother Sarat Chandra Bose used to live with his family. Subhash picked Sisir Chandra Bose, the son of Sarat Chandra Bose, for his plan.

The Bose family had several cars, viz Studebaker, Opel, Wanderer W24 etc. Subhash Chandra Bose chose Wanderer 24 W for the purpose.

Prima facie, Wanderer was a noisy car rather than a soundless car as befitting a getaway car But it had advantages over the other cars posssessed by the family. Cars those days did not have efficient cooling arrangements for engine and the radiator was required to be re-filled with water and the car was required to be stopped for cooling while on long distance drive. Wanderer had an advanced cooling system and this car did not suffer from that engine overheating problem during long drives.

Sisir Kumar Das, then a medical student (he went on to become a renowned paediatrician) was made to go on a trial run on 25 december 1940 upto Burdwan ( a distance of 100 km) on this car to check if the car as well as he himself were ready to undertake the long journey.

Every day for several days Sisir would drive to Subhas’s house late at night in his car. When policemen stopped him, he would tell them, “My uncle wants to listen to the radio broadcast about the Second World War. He is too ill to tune the radio himself. So, he depends on me to do it for him. The guards would let him pass. He would leave after midnight. So this routine of leaving in that car after midnight was set up several days in advance.

Bose slipped out of his Calcutta residence after midnight on 1:30 AM on 17 january 1941 on this car, with Sisir Kumar Bose driving as usual and the securitymen did not notice anything unusual.

Sisir Bose drove through the night. He was constantly being seved coffee by his uncle who was seated on the left rear side and was carrying a thermos containing coffee. The car arrived Barari near Dhanbad (270 KM), where Ashok Nath Bose, the elder brother of Sisir Bose was posted with “Barari Coke Works” (Now Bharat Central Coalfields Limited) as a chemical Engineer and stayed with his newly married wife Mira. Subhash Chandra Bose, posing as Ziauddin, spent the whole day of 17 January 1941 there. He was supposed to catch 63 UP Howrah-Peshawar train at Asansol, but Ashoknath advised his uncle to board the train at Gomoh. Asansol was an important station and the train arrived there well before midnight so chances of being noticed there were high. Gomoh on the other hand was a smaller station and the train arrived there after midnight, so there would be very few people there and chances of being noticed was low.

Subhash Agreed to this change of plan. Sisir was not famiiar with the road from Barari to Gomoh (50 KM) so Ashoknath and his wife Meera, seated in the rear of the car accompanied Sisir (at the wheel) and Subhash (at the passenger seat) upto Gomoh.

They reached Gomoh railway station at midnight. Subhash asked the others to go back instead of seeing him off at the platform. Sisir insisted on accompanying him to the platform, to see his uncle off. He went to the station, bought the ticket from Gomoh to Peshawar and boarded the train which arrived Gomoh after midnight. Some policemen, rubbing tobacco on their palms were around, while the most sought after revolutionary (though he was not yet known to have escaped) quietly slipped away into the unknown from right under their noses.

Later he reached Peshawar and from there futher plans to escape out of India were chalked out.

The movie does not have scope for many songs, but the song that plays in the background while Subhash’s train runs through the breadth of the nation, hauled by a steam locomotive, is quite evocative and moving. The same song is again played when he is seen going towards the western border of India into Afghanistan.

The song keeps playng in the background at moments like this in parts. The longer and full song is available only in the audio version.

Here is this inspirational and moving song from an inspirational figure from our recent history. The song is sung by Sonu Nigam (hindi part) and Nachiketa Chakraborty (Bangla part), with some chorus singing as well. Jawed Akhtar is the lyricist. Music is composed by A R Rahman.

Audio

Video part I


Video part II

Song-Jodi tor daak shune keu naa aashe..tanha raahi apni raah chalta jaayegaa (Bose The forgotten hero)(2005) Singer-Sonu Nigam, Nachiketa Chakraborty, Lyrics-Jawed Akhtar, MD-A R Rahman

Lyrics (Provided by Avinash Scrapwala)

Jodi tor daak shune keu naa aashe
Tobey ekla cholo re
Jodi tor daak shune keu naa aashe
Tobey ekla cholo re

Ekla cholo
Ekla cholo
Ekla cholo
Ekla cholo re
Jodi tor daak shune keu naa aashe
Tobey ekla cholo re

Tanhaa raahi ee ee apni ee raah chalta jaayegaa
Aa aa aa aa
Tanhaa raahi ee ee apni ee raah chalta jaayegaa
Aa aa aa aa

Ab to jo bhi hoga dekha jaayegaa
Ab to jo bhi hoga dekha jaayegaa

Tanhaa raahi ee ee apni raah chalta jaayegaa
Tanhaa raahi ee ee apni raah chalta jaayegaa
Ab to jo bhi hoga dekha jaayegaa

Aa aa aa aa

Aa aa aa aa
Aa aa aa aa

Bojh kitnaa ho mushkilon ka magar
Na jhuka hai naa jhuk sakega ye sar
Zinda phir bhi rahega mera zameer
Jism ko maut bhi aa jaaye agar r r
Tanhaa raahi ee ee apni ee raah chalta jaayegaa
Tanhaa raahi ee ee apni raah chalta jaayegaa
Ab to jo bhi hoga dekha jaayegaa

Jodi tor daak shune keu naa aashe
Tobey ekla cholo re
Jodi tor daak shune keu naa aashe
Tobey ekla cholo re
Ekla cholo
Ekla cholo
Ekla cholo
Ekla cholo re
Jodi tor daak shune keu naa aashe
Tobey ekla cholo re

Baazi pe lagaane ki khaatir
Ham jaan hathheli par laaye ae ae
Baazi pe lagaane ki khaatir
Ham jaan hathheli par laaye
Ab chaahe jiyen ab chaahe maren
Jo hona hai wo ho jaaye
Ab chaahe jiyen ab chaahe maren
Jo hona hai wo ho jaaye
Jodi tor daak shune keu naa aashe
Tobey ekla cholo re
Jodi tor daak shune keu naa aashe
Tobey ekla cholo re

Manzilen kabhi kya milegi hamen
Hogi kya sahal kabhi jo raah hai kadi
Aaj har jawaab hamko mil jaayega
Aa gayi hai aaj faisle ki ee ghadi ee ee ee ee

Tanhaa raahi apni raah chalta jaayegaa
Aa aa aa aa aa aa
Tanhaa raahi apni raah chalta jaayegaa
Aa aa aa aa aa aa
Ab to jo bhi hoga dekha jaayegaa
Ab to jo bhi hoga dekha jaayegaa

Jodi tor daak shune keu naa aashe
Tobey ekla cholo re
Dekha jaayega
Jodi tor daak shune keu naa aashe
Dekha jaayega
Tobey ekla cholo re
Dekha jaayega
Ekla cholo
Ekla cholo re
Dekha jaayega

Ekla cholo
Ekla cholo re
Jodi tor daak shune keu naa aashe
Tobey ekla cholo re
Dekha jaayega

——————————–
Devnagri Script Lyrics (Provided by Avinash Scrapwala)
——————————–

जोदि तोर डाक शुने केवू ना आशे
तोबे एकला चोलो रे
जोदि तोर डाक शुने केवू ना आशे
तोबे एकला चोलो रे
एकला चोलो
एकला चोलो
एकला चोलो
एकला चोलो रे
एकला चोलो रे

जोदि तोर डाक शुने केवू ना आशे
तोबे एकला चोलो रे

तनहा राही ई ई अपनी ई राह चलता जाएगा
आ आ आ आ
तनहा राही ई ई अपनी राह चलता जाएगा
आ आ आ आ

अब तो जो भी होगा देखा जाएगा
अब तो जो भी होगा देखा जाएगा

तनहा राही ई ई अपनी राह चलता जाएगा
तनहा राही ई ई अपनी राह चलता जाएगा
अब तो जो भी होगा देखा जाएगा
आ आ आ आ
आ आ आ आ
आ आ आ आ

बोझ कितना हो मुश्किलों का मगर
न झुका है ना झुक सकेगा ये सर
जिंदा फिर भी रहेगा मेरा ज़मीर
जिस्म को मौत भी आ जाए अगर ..र ..र
तनहा राही ई ई अपनी राह चलता जाएगा
तनहा राही ई ई अपनी राह चलता जाएगा
अब तो जो भी होगा देखा जाएगा
जोदि तोर डाक शुने केवू ना आशे
तोबे एकला चोलो रे
जोदि तोर डाक शुने केवू ना आशे
तोबे एकला चोलो रे
एकला चोलो
एकला चोलो
एकला चोलो
एकला चोलो रे
एकला चोलो रे

जोदि तोर डाक शुने केवू ना आशे
तोबे एकला चोलो रे

बाज़ी पे लगाने की खातिर
हम जान हथेली पर लाये ऐ ऐ
बाज़ी पे लगाने की खातिर
हम जान हथेली पर लाये ऐ ऐ
अब चाहे जिए अब चाहे मरें
जो होना है वो हो जाए
अब चाहे जिए अब चाहे मरें
जो होना है वो हो जाए

जोदि तोर डाक शुने केवू ना आशे
तोबे एकला चोलो रे
एकला चोलो रे

जोदि तोर डाक शुने केवू ना आशे
तोबे एकला चोलो रे
मंजिलें कभी क्या मिलेगी हमें
होगी क्या सहल कभी जो राह है कड़ी
आज हर जवाब हमको मिल जाएगा
आ गयी है आज फैसले की ई घडी ई ई ई
तनहा राही अपनी राह चलता जाएगा
आ आ आ आ आ आ

तनहा राही अपनी राह चलता जाएगा
आ आ आ आ आ आ
अब तो जो भी होगा देखा जाएगा
अब तो जो भी होगा देखा जाएगा
जोदि तोर डाक शुने केवू ना आशे
तोबे एकला चोलो रे
देखा जाएगा
जोदि तोर डाक शुने केवू ना आशे
देखा जाएगा
तोबे एकला चोलो रे
देखा जाएगा

एकला चोलो
एकला चोलो
देखा जाएगा

एकला चोलो
एकला चोलो रे
जोदि तोर डाक शुने केवू ना आशे
तोबे एकला चोलो रे
देखा जाएगा


Advertisements

Important Announcement

(© 2008 - 2018) 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.

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 TEN years. This blog has over 14700 song posts by now.

This blog is active and online for over 3700 days since its beginning on 19 july 2008.

Total number of songs posts discussed

14789

Number of movies covered in the blog

Movies with all their songs covered =1153
Total Number of movies covered =4044

Total visits so far

  • 11,079,456 hits

Enter your email address to subscribe to this blog and receive notifications of new posts by email.

Join 1,650 other followers

Bookmark

Bookmark and Share

Category of songs

Current Visitors

Archives

Stumble

visitors whereabouts

blogcatalog

Music Blogs - BlogCatalog Blog Directory

blogadda

Historical dates

Blog Start date: 19 july 2008

Active for more than 4000 days.

Advertisements
%d bloggers like this: