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

Archive for the ‘Introduction song’ Category


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

Blog Day :

3823 Post No. : 14825 Movie Count :

4054

Today’s song is from film Manthan-76. This was one of the films, which was very close to my heart. I must have seen it at least 3 times-an honour which I bestowed on only few films. Everything about this film was good-Story, Director, Actors and above all the only song in the film, sung so beautifully by Preeti Sagar.

This film was based on the work of Dr. Verghese Kurien, the person who helped the White Revolution to bloom in India. This film is close to my heart, because I have met Dr Kurien twice in my professional career. While working as the Head of the Veterinary Division of Glaxo, for the Western India, I had two occasions when I personally met Dr. Kurien in his office at Anand. That was somewhere in 1981.

I reduced seeing films in the 70’s beginning, for two reasons. One I was busy in Career building and family raising. The second reason was, the complexion of the films made from the 70s onwards were mostly ‘ Boy Meets Girl ‘ type escapist films.The films had sweet looking Heroines and Chocolate Heroes. There was no difference in film stories- only change of names and locations. Directors like Nasir Hussain publically admitted to having made films on same stories with minor changes. Such escapist films ended my interest in them In addition, the type of music in films was not of my choice or liking.

just imagine. a Chocolate Hero- Rajesh Khanna-emerged on the success horizon with film Aaradhana-69 and created an all time record( still unbroken) of 15 consecutive solo Hit films from just 1969 to 1971 ! The public too wanted to only the goody-goody films. Of course, there were exceptions but only exceptions, mind you, in Hindi films.
During this period, films called ” Parallel Cinema” or ” New Wave Cinema” or just the ” Art Films” flourished and provided relief to people like me. Some of these were blatant Art films, but most were entertaining and tackled day to day issues of the common people.

Parallel cinema was a film movement in Indian cinema that originated in the state of West Bengal in the 1950s as an alternative to the mainstream commercial Indian cinema, represented especially by popular Hindi cinema, known today as Bollywood.

Inspired by Italian Neo realism, Parallel Cinema began just before the French New Wave and Japanese New Wave, and was a precursor to the Indian New Wave of the 1960s. The movement was initially led by Bengali cinema and produced internationally acclaimed filmmakers such as Satyajit Ray, Mrinal Sen, Ritwik Ghatak, Tapan Sinha and others. It later gained prominence in other film industries of India and Bangladesh.

It is known for its serious content, realism and naturalism, symbolic elements with a keen eye on the sociopolitical climate of the times, and for the rejection of inserted dance-and-song routines that are typical of mainstream Indian films.

Realism in Indian cinema dates back to the 1920s and 1930s. One of the earliest examples was Baburao Painter’s 1925 silent film classic Savkari Pash (Indian Shylock), about a poor peasant (portrayed by V. Shantaram) who “loses his land to a greedy moneylender and is forced to migrate to the city to become a mill worker. Acclaimed as a realistic breakthrough, its shot of a howling dog near a hut, has become a milestone in the march of Indian cinema.” The 1937 Shantaram film Duniya Na Mane (The Unaccepted) also critiqued the treatment of women in Indian society.

The Parallel Cinema movement began to take shape from the late 1940s to the 1965, by pioneers. This period is considered part of the ‘Golden Age’ of Indian cinema. This cinema borrowed heavily from the Indian literature of the times.

Early examples of Indian cinema’s social realist movement include Dharti Ke Lal (1946), a film about the Bengal famine of 1943 directed and written by Khwaja Ahmad Abbas, and Neecha Nagar (1946), a film directed by Chetan Anand and written by Khwaja Ahmad Abbas that won the Grand Prize at the first Cannes Film Festival. Since then, Indian independent films were frequently in competition for the Palme d’Or at the Cannes Film Festival throughout the 1950s and early 1960s, with some of them winning major prizes at the festival.

During the 1950s and the 1960s, intellectual filmmakers and story writers became frustrated with musical films. To counter this, they created a genre of films which depicted reality from an artful perspective. Most films made during this period were funded by state governments to promote an authentic art genre from the Indian film fraternity. The most famous Indian “neo-realist” was the Bengali film director Satyajit Ray. Ray’s most famous films were Pather Panchali (1955), Aparajito (1956) and The World of Apu (1959), which formed The Apu Trilogy. Produced on a shoestring budget of Rs. 150,000 , the three films won major prizes at the Cannes, Berlin and Venice Film Festivals, and are today frequently listed among the greatest films of all time.

Certain art films have also garnered commercial success, in an industry known for its surrealism or ‘fantastical’ movies, and successfully combined features of both art and commercial cinema. An early example of this was Bimal Roy’s Do Bigha Zamin (1953), which was both a commercial and critical success. The film won the International Prize at the 1954 Cannes Film Festival and paved the way for the Indian New Wave. Hrishikesh Mukherjee, one of Hindi cinema’s most successful filmmakers, was named the pioneer of ‘middle cinema’, and was renowned for making films that reflected the changing middle-class ethos. Renowned Filmmaker Basu Chatterjee also built his plots on middle-class lives and directed films like Piya Ka Ghar, Rajnigandha and Ek Ruka Hua Faisla. Another filmmaker to integrate art and commercial cinema was Guru Dutt, whose film Pyaasa (1957) featured in Time magazine’s “All-TIME” 100 best movies list.

In the 1960s, the Indian government began financing independent art films based on Indian themes. Many of the directors were graduates of the Film and Television Institute of India(FTII), in Pune. The Bengali film director Ritwik Ghatak was a professor at the institute and a well-known director. Unlike Ray, however, Ghatak did not gain international fame during his lifetime. For example, Ghatak’s Nagarik (1952) was perhaps the earliest example of a Bengali art film, preceding Ray’s Pather Panchali by three years, but was not released until after his death in 1977. His first commercial release Ajantrik (1958) was also one of the earliest films to portray an inanimate object, in this case an automobile, as a character in the story, many years before the Herbie films.

During the 1970s and the 1980s, parallel cinema entered into the limelight of Hindi cinema to a much wider extent. This was led by such directors as Gulzar, Shyam Benegal, Mani Kaul, Rajinder Singh Bedi, Kantilal Rathod and Saeed Akhtar Mirza, and later on directors like Govind Nihalani, becoming the main directors of this period’s Indian art cinema. Mani Kaul’s first several films Uski Roti (1971), Ashadh Ka Ek Din (1972), Duvidha (1974), were critically appreciated. Parallel cinema of this time gave careers to a whole new breed of young actors, including Shabana Azmi, Smita Patil, Amol Palekar, Om Puri, Naseeruddin Shah, Kulbhushan Kharbanda, Pankaj Kapoor, Deepti Naval, Farooq Shaikh, and even actors from commercial cinema like Hema Malini, Raakhee, Rekha ventured into art cinema.

These actors did not have an easy entry even in Parallel cinema. Basu Chatterji once narrated how Amol palekar’s entry met with opposition.” I was to make ” Piya ka ghar”-72 for Rajeshree prodn. I took Rajkumar Barjatya to watch Amol in drama ” Aadhey Adhurey”, but Raj was not willing to gamble with an actor, who was the very antithesis of a ‘ Star ‘. He took Anil Dhavan for that film. After ‘ Rajnigandha ‘ became a hit, the same Rajkumar Barjatya wanted only Amol for his next film ” Chitchor”-76. ”

By the early 1990s, the rising costs involved in film production and the commercialisation of the films had a negative impact on the art films. The fact that investment returns cannot be guaranteed made art films less popular amongst filmmakers. Underworld financing, political and economic turmoil, television, and piracy proved to be fatal threat to parallel cinema, as it declined.

One of the major reasons for the decline of the parallel cinema in India is that the F.F.C. or the National Film Development Corporation of India did not seriously look into the distribution or exhibition of these films. The mainstream exhibition system did not pick up these films because these films did not have the so-called ‘entertainment value’ that they were looking for. Thus, it left to a few Film Societies to screen these film; that too on a single screening basis. The advent of television and its popularity saw the film society movement decline. Gradually, the government reduced the patronage of such films, for they had only unseen films to be shown on their balance sheets.
Manthan ( Churning) is a 1976 Hindi film directed by Shyam Benegal, inspired by the pioneering milk cooperative movement of Verghese Kurien, and was written jointly by him and Vijay Tendulkar. It is set amidst the backdrop of the White Revolution of India. Aside from the great measurable success that this project was, it also demonstrated the power of “collective might” as it was jointly crowd funded by 500,000 farmers who donated Rs. 2 each, when it was found that the budget provided by NFDC for it, was insufficient.
The film won the 1977 National Film Award for Best Feature Film in Hindi and National Film Award for Best Screenplay for Vijay Tendulkar, and was also India’s submission for the Academy Award for Best Foreign Language Film for 1976.

The title song (“Mero Gaam Katha parey”) was sung by Preeti Sagar. She won the Filmfare Award for Best Female Playback Singer for that year. The song was later used as the soundtrack for the television commercial for Amul.

The word Manthan literally means “churning”, and other meanings may be deep contemplation, churning of facts, analysis aimed at a solution or conclusion. The film traces a small set of poor farmers of Kheda district in Gujarat who had the vision and foresight to act in a way that was good for the society and not for the self alone. Under leaders like local social worker Tribhovandas Patel, who took up the cause of the farmers, lead to the formation of Kaira District Co-operative Milk Producers’ Union. Soon the pattern was repeated in each district of Gujarat, which in turn led to the formation of Amul, a dairy cooperative in Anand, Gujarat in 1946, which is today, jointly owned by some 2.6 million milk producers in Gujarat, India.

Eventually, this led to the initiation of White Revolution of India in 1970, by creating a “Nationwide Milk Grid”, and the setting up of Gujarat Co-operative Milk Marketing Federation Ltd. (GCMMF) in 1973, whose 500,000 members jointly financed the film, by donating Rs. 2 each, when NFDC budget for this film as sanctioned was found to be insufficient. Upon its release, truckloads of farmers came to see “their” film, thus making it a box office success.

Trivia- From 1946 to 2012, till his death, Kurien was in Gujarat, but he could never speak Gujarati. Though a Christian, he was cremated in Nadiad, where he breathed his last, as per his last wish.

The Music Director for this film was Vanraj Bhatia, a very highly educated Music expert. Born in 1927 in Bombay, Vanraj Bhatia trained in Western classical music while studying at the Elphinstone College in Mumbai for M.A. (English Honours); after graduating in 1949 he left for the Royal Academy of Music, London, to study music composition, which he passed with a Royal Academy Gold Medal in 1954.

Thereafter he entered the Paris Conservatory between 1954 and 1959. During his studies abroad he received various scholarships.

In 1960, he started his career as Reader in Musicology in charge of Western Music, at the Faculty of Music Delhi University, where he stayed until 1965.

Meanwhile, in 1959, he created his first advertising jingle for Shakti Silk Sarees. From that point on he became one of the pioneering ad jingle makers in India, and also one of the most successful, later moving to Mumbai and working for the advertising industry. In all he has created over 7000 scores for advertising jingles, corporate and business films.

His first film as a music composer was Ankur (1974), and he soon became a regular composer for Shyam Benegal and other art film makers of the time. He gave music to 23 films,composing 78 songs. His most noted works in this period are Manthan (1976), Bhumika (1977), Junoon (1978), 36 Chowringhee Lane (1981), Trikal (1985) and Mandi (1983) and Jaane Bhi Do Yaaro (1983).

He has also created music for Indian theatre productions such as “Tughlak” and “Andha Yug”.

In the following decade, his work was heard constantly on Indian television with the title scores for TV series like Khandaan, Yatra, Lifeline, Discovery of India, Wagle Ki Duniya, and the made-for-TV film Tamas (1987), for which he received the National Film Award for Best Music Direction in 1988.

In the 1990s, he worked in many commercial Hindi films as well as providing background scores for many other films, working on over 40 films during his career. His most noted works were for Shyam Benegal’s film Sardari Begum in 1996 and for Vijay Singh’s international film Jaya Ganga.

He is the composer of the famous Liril soap jingle “La… Lalala.la..”

The story of film Manthan-76, adapted from Wikipedia is …

The film traces the origins of the movement through its fictionalised narrative, based around rural empowerment, when a young veterinary surgeon, played by Girish Karnad, a character based on the then National Dairy Development Board (NDDB) chief, the 33-year-old Verghese Kurien, who joined hands with local social worker, Tribhovandas Patel, which led to the setting up of a local milk cooperative, in Anand, Gujarat.

Dr. Rao (Girish Karnad), a young veterinary doctor with his team of Deshmukh (Mohan Agashe), Chandravarkar (Anant Nag) and others comes to a village in Kheda district, Gujarat. The village is inhabited by poor people whose chief occupation seems to be cattle-rearing and producing milk, which they sell to a local dairy owner Mishra Ji (Amrish Puri). Mishra Ji pays them ridiculously low amounts for their milk. Dr. Rao and his team have arrived with the purpose of setting up a co-operative society dairy which will be owned collectively and managed by the villagers themselves. As Dr. Rao and his team grapple with village politics, rigid casteism and general distrust of the village folk, they face planned hostility from the local Harijan community’s leader Bhola (Naseeruddin Shah) who harbours deep anger and resentment against the higher caste Panchayat Head (Kulbhushan Kharbanda). Local village women are led by a feisty young woman Bindu (Smita Patil), mother of a young child whose husband has supposedly left her.

Dr. Rao wins the trust of Bindu and other villagers by testing their milk and paying them fair amounts for their high fat-content milk and this irks Mishra Ji. Deshmukh is worried by the caste politics and divide between the higher castes and Harijans in the village and repeatedly warns Rao against getting involved in it. Chandravarkar gets attracted to a local Harijan girl and has a few rendezvous with her in secret. The Harijans don’t want to join the co-operative as they feel that the higher caste Panch and his cronies will usurp the society as well. Rao and his associates talk sense into them and organise for an election for the post of the head of the co-operative. Bhola begins to trust and believe in Rao’s ideals when Rao fires Chandravarkar for having fun with the Harijan girl on pretext of marrying her and bails Bhola out of jail when Panch gets him arrested for rowdy behaviour.

Meanwhile, a mutual admiration and liking develops between Rao and Bindu, which is cut short when Bindu’s husband returns home suddenly and Rao’s wife comes to visit him in the village. In the election, the Harijan representative Moti defeats the Panch in a tiebreaker and the Harijans erupt in joy. The Panch takes the loss terribly on his ego and joins Mishra Ji, also aided by Bindu’s husband. Together, they force Bindu to put her thumb impression on legal papers that claim Dr. Rao has raped her. Dr. Rao is extremely agitated when the allegations are brought against him and starts to wonder whether or not he has bitten off more than he can chew. His wife also falls sick with Typhoid. Dr. Rao finishes the setting up of the board and leaves with his wife. This greatly troubles Bhola as he considers this cowardice on Dr. Rao’s part. Bhola, however, continues to carry on the work of the co-operative with support from a few villagers and notably, Bindu. Both of them have been inspired and churned as new, brave individuals by the work of Dr. Rao.

With this song, the film makes a Debut on the Blog and since there was only one song in the film, all songs in the film also completed.The song is the Title song of the film, used many times in the film as background song. It is based on a Folk song of Gujarat. The song is enchanting and once heard it keeps on coming back again and again. See for yourself…..

(Ack- information from Gaata rahe mera dil by Aniruddha and Balaji, wiki and The Hindu is used in adapted form here.)


Song- Mero gaam kaatha paarey (Manthan)(1976) Singer- Preeti Saagar, Lyricist- Neeti Saagar, MD- Vanraj Bhatia

Lyrics

mero gaam kaatha paare
jyaan doodh ki nadiya waahe
jyaan koyal tahuko gaaye
mhaare ghar aangna na bhoolo na
hey mhaare ghar aangna na bhoolo na
mero gaam kaatha paare
jyaan doodh ki nadiya waahe
jyaan koyal tahuko gaaye
mhaare ghar aangna na bhoolo na
hey mhaare ghar aangna na bhoolo na

mhaare gaamde leelalaher
jyaan naache mor ne dhel
jyaan doodh ki relamchhel
jyaan vad pipal ni chhainyaa
suh ti charti gaiya
aao aao re ae ae
aao aao re mhaare gaam
sabko pyaaro mhaaro dhaam
yaad rakhiyo mero shyaam
mare ghar aangna na bhulo na
hey mhaare ghar angana na bhoolo na
kabhi rukna mhaare gaam
o pardesiya
o pardesiya
o pardesiya
o pardesiya

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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 :

3803 Post No. : 14796 Movie Count :

4046

Sometimes, suddenly and unexpectedly, Lady Luck smiles on you and you are so bewildered, you don’t know how to enjoy that moment of Luck. This happened in my case. I have been writing about songs in old time movies and discussing about the people who made that film, that song and the circumstances in which the movie was made etc.

Sometimes,I come across a film, about which nothing-absolutely nothing- is available. No information, no songs, nothing. This is the dead end. But like a true crusader, I continue my efforts about that film, even when, leaving it aside, I have continued with my work. At times, I strike Gold, when it is not expected and I feel like dancing in the rain !

It is not only about a song or a movie, even an actor can get me stumped and then suddenly, there is light at the end of the tunnel ! I can quote several such examples, but I will limit my discussion only about today’s film, song and the MD.

I bought HFGK in mid 2012, that is six years ago and since then film Chowrangee-42 was on my radar. I was very curious about this film, because this was the only Hindi film in which the Great Poet of Bangladesh- Kazi Nazrul Islam, had composed some songs ( 2 songs, confirmed) as a Music Director and also had written those two songs as a Lyricist.

Kazi Nazrul Islam is to Bangladesh, what Rabindranath Tagore is to West Bengal. While, to my knowledge, Tagore never wrote any Naat or a Muslim religious verse, kazi wrote hundreds of Bhajans and Geets on Lord Rama and Krishna. Though many films- Bangla and Hindi- are based on the stories or novels of Tagore, he has not contributed anything directly to any Hindi film ( I do not know about Bangla films). On the other hand Kazi has written story of film Sapera-39 and provided Lyrics and Music to film Chowrangee-42 directly. Like Tagore’s Rabindra Sangeet, it was Nazrul Geeti in Bengal. I am not comparing them. Both were great souls.

The life story of Kazi is full of ups and downs. His last few years were spent in Glory but in very bad health.There were several deaths in his family. His wife became paralytic and he spent time in a Mental Hospital in Ranchi. After the formation of Bangladesh in 1971, the new country, invited him, bestowed honours on him, declaring him ” The National Poet”. The Bangladesh government also took good care of him in his last 4 years, but he was medically unfit to enjoy his glory.

Kazi Nazrul Islam (24 May 1899 – 29 August 1976) Composer and songwriter was born in Burdwan Dist., Bengal. With Tagore he was the major influence on popular Bengali music in the 20th C. Known as the Bidrohi Kavi or Rebel Poet and directly associated with radical nationalist movements (e.g. through the journal Dhoomketu which he edited in 1922, leading to his imprisonment on a charge of sedition), his poetry constitutes the first radical intervention into Hindu and Muslim devotional music, e.g. his famous addresses to the goddess Kali, his ghazal compilations (Chokher Chatak, 1929) and Islamic devotionals (Zulfikar, 1932). Much of his music, continued by the IPTA’s Bengali song repertoire, was polemically seen as a radical-romantic use of the ‘ tradition’ (e.g. Salil Choudhury, 1955). One of the first composer-writers to sign contracts with major record companies in Bengal (for Megaphone and Senola and later HMV) and with the Indian Broadcasting Corp., opening up new employment opportunities to a generation of younger composers such as Anil Biswas, S.D. Burman, Kamal Dasgupta and even Kishore Kumar (whose song Ai ek dui tran char gili gili/bam chick boob chick badhke bol in Kehte Hain Mujhko Raja, 1975, adapts Islam’s famous Cham chiki ude gelo). Created an urban variation of tribal jhumur music for Sailajananda Mukherjee’s Pataal Puri and wrote the songs for Nandini (1941) and Dikshul (1943). Some sources credit him as director for Dhruva, in which he played the Hindu sage Narad. Started Bengal Tiger Pics with Abbasuddin Ahmed. Their film of Islam’s novel Madina remained unfinished.

A significant impact of Nazrul’s work in Bengal was that it made Bengali Muslims more comfortable with the Bengali arts, which used to be dominated by
Bengali Hindus. His Islamic songs are popular during Ramadan in Bangladesh. He also wrote devotional songs on the Hindu Goddess Kali. Nazrul also composed a number of notable Shyamasangeet, Bhajan and Kirtan, combining Hindu devotional music.

Bengali polymath, poet, writer, musician, revolutionary and philosopher. Popularly known as Nazrul, his poetry and music espoused Indo-Islamic renaissance and intense spiritual rebellion against fascism and oppression. Nazrul’s impassioned activism for political and social justice earned him the title Bidrohi Kobi (The Rebel Poet). His musical compositions form the avant-garde genre of Nazrul geeti (Music of Nazrul). Accomplishing a large body of acclaimed works through his life, Nazrul is officially recognised as the National Poet of Bangladesh and highly commemorated in India and the Muslim world.
Born into a Bengali Muslim Quazi (Kazi) family, Nazrul received religious education and worked as a muezzin at a local mosque. He learned of poetry, drama, and literature while working with theatrical groups. After serving in the British Indian Army, Nazrul established himself as a journalist in Calcutta. He assailed the British Raj in India and preached revolution through his poetic works, such as Bidrohi (The Rebel) and Bhangar Gaan (The Song of Destruction), as well as his publication Dhumketu (The Comet). His nationalist activism in the Indian independence movement often led to his imprisonment by British authorities. While in prison, Nazrul wrote the Rajbandir Jabanbandi (Deposition of a Political Prisoner). Exploring the life and conditions of the downtrodden masses of the Indian subcontinent, Nazrul worked for their emancipation. His poetry and music fiercely inspired Bengalis during the Bangladesh Liberation War.
During his visit to Comilla in 1921, Nazrul met a young Bengali Hindu woman, Pramila Devi, with whom he fell in love, and they married on 25 April 1924. Brahmo Samaj criticised Pramila, a member of the Brahmo Samaj, for marrying a Muslim. Muslim religious leaders criticized Nazrul for his marriage to a Hindu woman.

Nazrul’s writings explore themes such as love, freedom, and revolution; he opposed all bigotry, including religious and gender. Throughout his career, Nazrul wrote short stories, novels, and essays but is best known for his poems, in which he pioneered new forms such as Bengali ghazals. Nazrul wrote and composed music for his nearly 4,000 songs (including gramophone records), collectively known as Nazrul geeti (Songs of Nazrul), which are widely popular today. In 1942 at the age of 43 Nazrul himself fell ill and gradually began losing his power of speech. His behaviour became erratic, he started spending recklessly and fell into financial difficulties. In spite of her own illness, his wife constantly cared for her husband. However, Nazrul’s health had seriously deteriorated and he grew increasingly depressed. He underwent medical treatment under homeopathy as well as Ayurveda, but little progress was achieved before mental dysfunction intensified and he was admitted to a mental asylum in 1942. Spending four months there without making progress, Nazrul and his family began living a quiet life in India. In 1952, he was transferred to a psychiatric hospital in Ranchi. Through the efforts of a large group of admirers who called themselves the “Nazrul Treatment Society”, Nazrul and Promila were sent to London, then to Vienna for treatment. The examining doctors said he had received poor care, and Dr. Hans Hoff, a leading neurosurgeon in Vienna, diagnosed that Nazrul was suffering from Pick’s disease.It was rumoured that this was because of slow poisoning by the British Government. His condition was judged to be incurable, Nazrul returned to Calcutta on 15 December 1953. On 30 June 1962 his wife Pramila died, and Nazrul remained in intensive medical care. He stopped working due to his deteriorating health.

On 24 May 1972, the newly independent nation of Bangladesh brought Nazrul to live in Dhaka with the consent of the Government of India. In January 1976, he was accorded the citizenship of Bangladesh.Despite receiving treatment and attention, Nazrul’s physical and mental health did not improve. In 1974. his youngest son, Kazi Aniruddha, a guitarist, died, and Nazrul soon succumbed to his long-standing ailments on 29 August 1976.

His Filmography – 1937: Bidyapati (Writer), 1938: Gora, 1939: Sapurey (Writer), Sapurey/Sapera (Writer), 1942: Chauranghee, Chauranghee, 1949-Chattagram Astraghar Lunthan, 1972: Padi Pishir Barmi Baksha (Lyricist) ( information adapted from Encyclopedia of Indian Cinema and wiki).

I was ecstatic when recently, I could lay my hands on one song of this film, composed and written by Kazi. These songs are so rare that for the last 76 years none of these songs have ever appeared on public domain, like YT etc.
Film Chowrangee-42 was a Muslim social film on a professional singer’s life, who had a Kotha on Chowrangee area of Calcutta. The film was produced by Fazli brothers, known to make films on Muslim background only. The film was directed by the younger brother- Sibtain Fazli.

The producers Fazli brothers, were the sons of Khan Bahadur S M Fazal Rabb of Beharaich- about 125 kms from Lucknow in U.P. The elder brother was Hasnain and the younger brother was Sibtain ( born on 9-7-1916). Hasnain Fazli was born on 12-1-1912 in United Province (today’s U.P.). Their family belonged to the noble Sayyads of Allahabad. Hasnain was a graduate of Allahabad University. Though his father was a Khan Bahadur, a Government Jahagirdar and lifetime Magistrate, Hasnain refused to do any service and did not complete his I.C.S. studies, as expected by the family.

He had a creative mind. He joined film line. He was very keen on making a film on Muslim Society. In those days it was considered outrageous to produce a film on Muslim society for fear of the ire of the fundamentalists. However Hasnain broke the barrier and the first Muslim Social film Qaidi-40 was produced and directed by him under the banner of Film Corporation of India, Calcutta. Very cleverly, the film was made at Calcutta, ( though the film depicted life in Lucknow ), and not at Bombay to avoid any disruption in the making of the film. The film was made so well that it was received very well by all strata of population, including the Muslims and became a hit film. After this Hasnain made more Muslim social films like Masoom-41, Chowranghee-42, Fashion-43 and Ismat-44. These films discussed Muslim family life and problems etc.

His first directorial film was at his 23rd year- Triya Charitra-35. Then came Sajiv Murti-35, in which the Handsome Vijay Kumar from Himachal Pradesh was the Hero. Fazli brothers also made Dil-46, Mehendi-47, Duniya-49 and Khoobsurat-52. Hasnain was so talented that he himself wrote the film stories, screenplays and dialogues usually. Sibtain Fazli directed 3 films-Chowranghee-42, Ismat-44 and Mehendi-47.

After the Partition, Fazli brothers migrated to Pakistan. Sibtain remained in Pakistan and Hasnain returned to India to make 2 more films. Later Hasnain too relocated to Lahore and died there on 16-7-1957. His brother Sibtain ( 9-7-1916 to 25-7-1985) who had directed 3 films in India, made 4 films in Pakistan, including the most popular Urdu film of Madam Nurjehan – Dupatta-52.

Film Chowrangee had 13 songs. It included 3 wonderful Ghazals- 2 by Jigar Moradabadi and 1 by Mirza Ghalib ( I have heard these songs). It will be the first time that a song from this film-in its full form- will be available on You Tube, because our Sadanand ji Kamath has uploaded it on my request. Thanks Sadanand ji.

Hanuman Prasad Sharma ( aka Hanuman Prasad Triloki. Both are same. Triloki and Sharma are surnames in Brahmins. This is like the other case. The son of Bhagatram Batish, of Husnlal-Bhagatram duo, Ashok, calls himself as Ashok Sharma.) was also a Music Director for this film. With this film he made his debut in Hindi films. Unfortunately, except for 4 songs-2 for each MD- HFGK is silent on the singer or MD’s names of remaining 9 songs, making it difficult to know the reality. However, according to Encyclopedia of Indian Cinema, the Lori, ” aa jaa ri nindiya ” is also composed by Kazi. May be, in future, some proof or information will emerge to confirm or clarify matters !

There were as many as 5 Lyricists for these 13 songs- Kazi Nazrul Islam, Arzoo lucknowi, Mirza Ghalib, Jigar Moradabadi and Partav Lucknowi. With this song , not only the movie, but also Kazi Nazrul Islam makes his Debut on the Blog as an MD and a Lyricist. Enjoy this historical song….


Song-Chowranghee hai ye chowranghee (Chowrangee)(1942) Singer-Unknown female, Lyrics- Kazi Nazrul Islam, MD- Kazi Nazrul Islam

Lyrics

Chowranghee hai ye chowranghee
Chowranghee hai ye chowranghee
iski duniya rang birangee
iski duniya rang birangee
Chowranghee hai ye chowranghee

gore kaale aawen jaawen
gore kaale aawen jaawen
apni apni chhab dikhlaawen
apni apni chhab dikhlaawen
ye dagar mein sab sansaar aar aar
ye dagar mein sab sansaar aar aar
iski duniya rang birangee
iski duniya rang birangee
Chowranghee hai ye chowranghee

kitne aawe raaja baabu
kitne aawe raaja baabu
kitne hamse bechaare
kitne apne dil ke bande
kitne prem pujaari ee ee
kitne prem pujaari
koi kisi ko raah lagaaye
koi aakar khud kho jaaye
koi kisi ko raah lagaaye
koi aakar khud kho jaaye
seedha rasta peer hazaar
seedha rasta peer hazaar
iski duniya rang birangee
iski duniya rang birangee
Chowranghee hai ye chowranghee
Chowranghee hai ye chowranghee
Chowranghee hai ye chowranghee


This article is written by Peevesie’s mom, 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 : 3795 Post No. : 14783

Hullo, hi, pranaam. Good day to all of Atuldom.

Today (8 december 2018) we have a handsome man turning a year older. He has crossed 80 a few years ago but that has not reduced his charisma or charm or fan-following. He is still active on the silver-screen, even if only in home productions, and has his sons as his co-stars.

He has had a rather loooonnnngggg journey having started in 1960. He was the son of a village school headmaster in Ludhiana of Punjab. His mother was the one who supported him in fulfilling his dream of being an actor (he has mentioned this in various interviews of his). He was bitten by the acting bug after seeing Dilip Kumar on-screen. To pursue his dream, he entered the Filmfare New Talent Contest and won it. He was launched by Arjun Hingorani in “Dil Bhi Tera Hum Bhi Tere” in 1960. From then on, he has been entertaining us.

Dharmendra – the he-man with a soft heart. I have read in numerous of his interviews and heard him on television too that his home is always open to anyone who needs his help. The first time I registered this actor or fell in love with him was probably in “Guddi” along with Jaya Bhadhuri (she was also shown to be a Dharmendra fan) or was it in “Seeta aur Geeta”. Or it could be that I saw “Sholay” fell in love with Veeru and then subsequently saw “Guddi” and “Seeta aur Geeta” on Doordarshan and realized who Raka or Dharmendra (he played himself in Guddi) the actor was.

After “Sholay” I have seen many of his movies, even those where he stood next to a bookshelf and sang – “ya dil ki suno duniyawalon ya mujhko abhi chup rehne do” or stood looking out of a window with the “Meghdhoot” in had singing – “tum pukarlo, tumhara intezaar hai”. Loved him even with his heavy lip-sticked- makeup singing “aap ki haseen rukh pe aaj naya noor hai”.

How can anyone forget his pairing with Meena Kumari, Asha Parekh, Waheeda Rehman, Nutan, Vyjayanthimala, Sadhana, Saira Bano, Mumtaz, Babita and all the other ladies of the 60s. He is a lucky guy as he got to romance all the leading ladies of the 70s & 80s. He was sensible enough in not trying to play a romantic lead in the 90s and the few movies where he had heroines it was either Jaya Prada or Sridevi. In the other movies he played a mentor or guardian to the hero or heroine as in “Dadagiri” {1987} he mentors Padmini Kolhapure and helps her in her mission to take revenge against Amrish Puri.

Similarly, in the 1988 “Paap ko jalakar raakh kar doonga” he is shown his to keep his emotions under control in front of his niece played by Farha after her husband is killed by ‘goondas’ and quietly trying to take revenge against the people responsible of the havoc caused in his ‘hasta khelta’ niece’s life. He is an actor who held his ground during the Rajesh Khanna and Amitabh Bachchan wave.

There are many movies starring Dharmendra and we have covered all his popular ones. Atleast that is what I expected. But I am proved wrong there are many more out there which makes it a difficult job to decide what song to present here. I am taking the easy way out and posting the song which is topmost on my head. It is by the Kishore Kumar- Anand Bakshi- R D Burman trio, from the 1978 Pramod Chakravarty produced and directed “Azaad” which was decently successful at the box office.

It was a typical masala movie where Hema Malini played a rich-spoilt- haughty princess and Dharam an eccentric do-gooder (Ashok) who first has his run-ins with the Rajkumari, teaches her to respect food, the poor etc and finally lands up in a factory owned by her. The movie goes through the routine of the princess trying to humiliate Ashok, then falling in love with him and the evil villains trying every trick to bring the movie to the climax.

Today’s song happens when Hema is in the haughty phase and Dharam wants to protect all of the jungle creatures if possible. The song shows our darling Dharam in his trade mark style of being rough and tough (junglee to an extent) and Prem Chopra to be a little stupid. But this is the perfect song to show who or what we experienced when we saw Dharmendra on screen in the late 70s and early 80s.

Wishing you a very Happy Birthday dear Veeru or Garam Dharam alias Dharmendra.


Song-Main Laila ka Majnu Shirin ka Farhaad (Aazaad)(1978) Singer-Kishore Kumar, Lyrics-Anand Bakshi, MD-R D Burman

Lyrics

O hoooo
o hoooooo

main laila ka majnu
shireen ka farhaad
main hoon sabse pehle
arre sab hain mere baad
main aazaad
main aazaad
main laila ka majnu
shireen ka farhaad
main hoon sabse pahle
arre sab hain mere baad
main aazaad
main aazaad

Ooooo
Ooooo

pehle bano nishaana
phir tum teer chalaana
thhaam ke apne dil ko phir tum saamne aana
arre pehle bano nishaana
phir tum teer chalaana
thhaam ke apne dil ko phir tum saamne aana
tum jaise dekhe hain
maine bade saiyyaad
main laila ka majnu
shireen ka farhaad
main aazaad
main aazaad

mujhse bachke rehna
baat bigad jaayegi
saari raat kasam se tumko
neend nahin aayegi
arre mujhse bachke rehna
baat bigad jaayegi
saari raat kasam se tumko
neend nahin aayegi
bhool na paaogi tum
main aaunga yaad
main laila ka majnu
shireen ka farhaad
main aazaad
main aazaad

inn aankhon ke raste
dil mein bas jaaoonga
tum naagin toh main sapera
tumko das jaaoonga
arre inn aankhon ke raste
dil mein bas jaaoonga
tum naagin to main sapera
tumko das jaaoonga
ab karti ho gussa
phir karna fariyaad
main laila ka majnu
shireen ka farhaad
main aazaad


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 : 3742 Post No. : 14697

“Raja Rani” (1942) was directed by Najmul Hasan Naqvi for Atre Pictures, Bombay. The movie had Vanmala, Sunalini Devi, Maya Devi, Trilok Kapoor, Baby Vimal, Mazhar Khan, Navin Yagnik, David, Bal Govind etc in it.

The movie had fourteen songs in it. One song has been covered in the past.

Here is the second song from “Raja Rani” (1942) to appear in the blog. This song is sung by Baby Vimal. Seeing that Baby Vimal figures in the cast of the movie, we can guess that the song was picturised on her as well.

Pandit Anand Kumar is the lyricist. Music is composed by Khan Mastana.


Song-Main ek niraali gudiya (Raja Rani)(1942) Singer-Baby Vimal, Lyrics-Pt Anand Kumar, MD-Khan Mastana

Lyrics

main ek niraali gudiya
main ek niraali gudiya
main ek niraali gudiya
main ek niraali gudiya
mere nanhe nanhe paanv
mere nanhe nanhe paanv
pair mein jhaanjar jhanjhana baaje
pair mein jhaanjar jhanjhana baaje
mere chhote chhote kaan
mere chhote chhote kaan
kaanon mein baali cham cham chamke
kaanon mein baali cham cham chamke
jaise gagan ke taare
haan haan jaise gagan ke taare
main ek niraali
ek niraali
ek niraali
haan haan haan
main ek niraali gudiya
main ek niraali gudiya
main ek niraali gudiya

chhamchham chhamchham paayal baaje
chaacha ke ghar jaaun
chhamchham chhamchham paayal baaje
chaaha ke ghar jaaun
meethhe meethhe geet sunaakar
chaachi ko bahlaaun
meethhe meethhe geet sunaakar
chaachi ko bahlaaun
main ek niraali
ek niraali
ek niraali
haan haan haan
mai ek niraali
ek niraali
ek niraali
haan haan haan
main ek niraali gudiya
main ek niraali gudiya
main ek niraali gudiya

kunj kunj mein chhup chhup jaaun
kheloon aankh michauli
boondaniyon ke taal pe naachoon
boloon prem ki boli

main ek niraali
ek niraali
ek niraali
haan haan haan
main ek niraali
ek niraali
ek niraali
haan haan haan
main ek niraali gudiya
main ek niraali gudiya
main ek niraali gudiya


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 : 3713 Post No. : 14641

Today (17 september 2018) is the 19th rememberance day of Hasrat Jaipuri (15 April 1922 – 17 September 1999). Hasrat Jaipuri (and also Shailendra and Shankar Jaikishan) made his debut with “Barsaat”(1949). What a sensational debut it was for this musical team. This team of lyricists and music director lasted for nearly two decades and the team was broken, first by the death of Shailendra and then by the death of Jaikishan. Also, Raj Kapoor, after the box office failure of “Mera Naam Joker”(1970) dropped his entire music team and signed up an entirely new team, beginning with “Bobby”(1973).

Hasrat Jaipuri’s best work was indeed with Shankar Jaikishan. Two of his songs, both composed by Shankar Jaikishan, won him filmfare best lyricist award for “Bahaaron phool barsaao”(Suraj)(1966) and “Zindagi ek safar hai suhaana”(Andaaz)(1971).

Most of Hasrat Jaipuri’s major songs have already been covered in the blog. He penned a little over 1000 songs in HFM. This blog has 645 of his songs so far.

As a tribute to Hasrat Jaipuri, here is a song from “Sher Dil”(1965). This movie was directed by Chaand for Pinky Films, Bombay. This “Costume” movie had Dara Singh, Parveen Chaudhary, Jayant, Padma Chauhan, Uma Dutt, Shakeela Bano Bhopali, Bhagwan, Hari Malik, Sunanda, Majnu, Ridku, Nazeer Kashmiri, Amir Ali etc in it.

This song, the title song of the movie, is the second song from the movie to appear in the blog. The song is sung by Manna Dey and chorus. Hasrat Jaipuri is the lyricist. Music is composed by C Ramchandra.

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


Song-Main hoon sherdil (Sher Dil)(1965) Singer-Manna Dey, Lyrics-Hasrat Jaipuri, MD-C Ramchandra
Chorus

Lyrics

main hoon sher dil
main hoon sher dil
main hoon sher dil
main hoon sher dil
chaand se bhi door
mere pyaar ki manzil
main hoon sher dil
main hoon sher dil
aa hahahaahahaha
aa ha ha
lalalalala
lalalala
main hoon sher dil
main hoon sher dil

main watan ka pyaar hoon
pyaar ki bahaar hoon
dushmanon ke waaste
teer hoon talwaar hoon
gham ki nadiyon mein hoon
aas ka saahil
main hoon sher dil
main hoon sher dil
aa hahahaahaha
aa ha ha
lalalalalala
lalalala
main hoon sher dil
main hoon sher dil

aasra gareeb ka
hoon dhani naseeb ka
aasra gareeb ka
hoon dhani naseeb ka

khaaq mein milaaun main
hausla raqeeb ka
aaye mere saamne
koi bhi qaatil
main hoon sher dil
main hoon sher dil
aa hahahaahaha
aa ha ha
lalalalala
lalalala
main hoon sher dil
main hoon sher dil

aman ka sipaahi hoon
pyaar ka main raahi hoon
zaalimon ke waaste
zulm hoon tabaahi hoon
dharam hai insaaniyat
pyaar ka bismil
main hoon sher dil
main hoon sher dil
aa hahahaha
aahahaha
lalalalalaala
main hoon sher dil
main hoon sher dil
main hoon sher dil
main hoon sher dil


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 : 3622 Post No. : 14434

“Malika Salomi”(1953) was directed by Mohammad Hussain for Comedy Pictures, Bombay. This movie was a costume drama. It had Roopa Varman, Krish Kumari, Kamran, Amrit, Dara, Sheikh, Rani, Arvind Kumar, Bilali, Nazeer Kashmiri, Rafiq, Shafi, Nanda, Sattar, Shetty, Ranjana Shukla, Kamal Mohan, Helen etc in it.

The movie had six songs in it. Krishn Dayal and Iqbal were the two music directors and the six songs were equally divided between the two.

One song has been covered in the past.

Here is the second song from “Malika Salomi”(1953) to appear in the blog. The song is sung by Meena Kapoor. Farooque Kaiser is the lyricist. Music is composed by Iqbal.

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


Song-Main matwaali naagan hoon (Malika Salomi)(1953) Singer-Meena Kapoor, Lyrics-Farooque Kaiser, MD-Iqbal

Lyrics

aa
aa aa aa
aa aa aa
aa aa aa
aa aa
aa

main matwaali naagan hoon
main matwaali naagan
main matwaali
main matwaali naagan hoon
main matwaali naagan

zehar ke badle amrit tapke ae ae ae ae
zehar ke badle amrit tapke
mere raseele honthon se ae ae ae
mere raseele honthon se
chhal chhal chhal chhal jeevan chhalke ae
chhal chhal chhal chhal jeevan chhalke
mere mad bhare nainon se
mere mad bhare nainon se
kaali zulfen aen
kaali zulfen jab lehraayen
naache jahaan ka tan man
naache jahaan ka tan man
main matwaali
main matwali naagan hoon
main matwaali naagan

sun ke kisi ke man ki veena aa aa aa aa
sun ke kisi ke man ki veena
preet meri lehraaye ae ae ae
preet meri lehraaye
darti hoon ke aashaaon ki ee ee
darti hoon ke aashaaon ki
laaj chali na jaaye
haaye laaj chali na jaaye
koi bataaye ae ae
koi bataaye
kaise chhupaaun
apne jiya ki dhadkan
apne jiya ki dhadkan
main matwaali
main matwaali naagan hoon
main matwaali naagan

aa aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa aa


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 : 3505 Post No. : 14082

“O Tera Kya Kehnaa”(1959) was produced by Nariman H Baria and Abdul Khaliq and directed by K Parvez for Young Technician Unit Baria Films, Bombay.

This “social” movie had Mehmood, Chitra, Kammo, Helen, Sheikh, Bhagwan, Renu Makad, Shaam Kumar, Babu Raje, Manohar Kamat, Munshi Munaqqa, Kathana, Haneef, Fazlu, Bagla, Maqbool, Kallan etc in it.

The movie had six songs in it that were penned by five lyricists and they sung by eight singers !

Five of these songs have been covered in the blog.

Here are the details of the five songs from the movie that have been covered till now:-

Song Title

Post No.

Post Date

Dil leke jaate ho kahaan 2350 16-Mar-10
Majnu ke chhilke chor hain ye dil ke 3200 13-Nov-10
Haay boot polish haay haay re boot polish 3220 17-Nov-10
Aaja aaja ke dil ko teri yaad aayi 13749 20-Nov-17
Dil maange dil de doon 14078 20-Feb-18

Here is the sixth and final song from “O Tera Kya Kehnaa”(1959) to appear in the blog. This song is sung by Suman Kalyanpur. Hasrat Jaipuri is the lyricist. Music is composed by Kalyanji.

Only the audio of the song is available. This song sounds like a club dance song to me. I request our knowledgeable readers to throw light on the picturisation of this song.

Lyrics of this song were sent to me by Prakashchandra.

With this song, “O Tera Kya Kehnaa”(1959) joins the list of movies that have all their songs covered in the blog.


Song-Main hoon miss laali kaliyon ki daali (O Tera Kya Kehna)(1959) Singer-Suman Kalyanpur, Lyrics-Hasrat Jaipuri, MD-Kalyanji

Lyrics(Provided by Prakashchandra)

main hoon miss laali
kaliyon ki daali
dekho nahin dena jhatka
main hoon miss laali
kaliyon ki daali
dekho nahin dena jhatka
jaalima ja ja ja
baalma ja ja ja
jaalima ja aa aa aa
baalma ja aa aa
main hoon miss laali
kaliyon ki daali
dekho nahin dena jhatka
jaalima ja ja ja
baalma ja ja ja
jaalima ja aa aa
baalma ja aa aa

maaroon nazar ka nishaana
dekho ji dil ko bachaana
masti bhara hai zamaana
baadal to hain mere gesu
maaroon nazar ka nishaana
dekho ji dil ko bachaana
masti bhara hai zamaana
baadal to hain mere gesu
main hoon miss laali
kaliyon ki daali
dekho nahin dena jhatka
jaalima ja ja ja
baalma ja ja ja
jaalima ja aa aa
baalma ja aa aa

karke anokha ishaara
chanda ko neeche utaara
vo bhi hua phir hamaara
us par kiya aisa jaadu
karke anokha ishaara
chanda ko neeche utaara
vo bhi hua phir hamaara
us par kiya aisa jaadu
main hoon miss laali
kaliyon ki daali
dekho nahin dena jhatka
main hoon miss laali
kaliyon ki daali
dekho nahin dena jhatka
jaalima ja ja ja
baalma ja ja ja
jaalima ja aa aa
baalma ja aa aa
main hoon miss laali
kaliyon ki daali
dekho nahin dena jhatka


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 : 3501 Post No. : 14067

“Heera Panna”(1973) was produced and directed by Dev Anand for Navketan Internationa Films Private Limited, Bombay. This “social” movie had Dev Anand, Zeenat Aman, Dheeraj, Rehman, Jeewan, Paintal, Rakhi (special appearance), Sudhir, Manmohan, Shaam Kumar, Maruti, A K Hangal, Neelam, Sheetal, Dilip Dutt, Kirti Kumar, Mac Mohan, Rajrani, Madhup Sharma, Dhanna, Mohammad Ali, Chhura etc in it.

This movie had four songs in it. Three of these songs have been covered in the blog in the past. Here are their details:-

Song Title

Post No.

Post Date

Heera ki tamanna hai ke panna mujhe mil jaaye 770 19-Feb-09
Bahut door mujhe chale jaana hai 6726 26-Sep-12
Ek paheli hai tu 13786 3-Dec-17

Here is the fourth and final song from “Heera Panna”(1973) to appear in the blog. This song is sung by Kishore Kumar. Anand Bakshi is the lyricist. Music is composed by R D Burman.

The song is picturised on Dev Anand and Zeenat Aman. In the song, Dev Saab is seen posing as a fashion photographer who claims to get skimpily clad females to pose for him. 🙂 I do not think too many moviegoers were convinced when the movie was released. Dev Saab and Rahman made their debuts together in the same movie in 1946 in “Ham Sab Ek Hain”. But we find Rahman playing a middle aged man in “Heera Panna”(1973) while Dev Saab kept insisting on playing half his age, looking as unconvincing as one can be. 🙂

The very first song of the movie, viz the theme song was the most popular song from the movie as far as I was concerned. I remember all the songs from the movie though I suspect that these songs have become rather less known songs by now.

With this song, “Heera Panna”(1973) joins the list of movies that have all their songs covered in the blog.


Song-Main tasweer utaartaa hoon (Heera Panna)(1973) Singer-Kishore Kumar, Lyrics-Anand Bakshi, MD-R D Burman

Lyrics

haan
zara hans ke
zara aur khhilkhhilaa ke
steady please

main tasveer utaartaa hoon
bikhri hui haseenon ki
zulfen sanvaartaa hoon
phir zulfon ke saaye mein
main raaten guzaartaa hoon
haaye
main tasveer utaartaa hoon
bikhri hui haseenon ki
zulfen sanvaartaa hoon
phir zulfon ke saaye mein
main raate guzaartaa hoon

koi haseenaa kitni bhi magroor ho
husn ki duniya mein kitni mashhoor ho
koi haseenaa kitni bhi magroor ho
husn ki duniya mein kitni mashhoor ho
masti mein choor ho
paas ho ke door ho
arre masti mein choor ho
paas ho ke door ho
daudi chali aati hai
main jisko pukaartaa hoon
main tasveer utaartaa hoon

chaand ki bhi na padi jinpe kiran
maine dekhe un haseenon ke badan
chaand ki bhi na padi jinpe kiran
maine dekhe un haseenon ke badan
meraa aisa hai chalan
jaane jaan o jaaneman
tod ke saare parde
main sabko nihaartaa hoon
main tasveer utaartaa hoon
haay bikhri hui haseenon ki
zulfen sanwaartaa hoon
phir zulfon ke saaye mein
main raaten guzaartaa hoon

thhak ke saahil pe samandar so gayaa
yaad teri aa gayi
main kho gayaa
thhak ke saahil pe samandar so gayaa
yaad teri aa gayi
main kho gayaa
ye gayaa
main wo gayaa
ye mujhe
kya ho gayaa
ye gayaa
main wo gayaa
ye mujhe kya ho gayaa
naam tera leta hoon
main jisko pukaartaa hoon


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 : 3468 Post No. : 13923

Now, none of the regulars can say they have not heard this song. In a film that boasts of more than one song that competes for the title of the best song in the film, this song surely is one of the best songs in this film. Wow – that sure is saying something for the quality of songs of this film. In 1962, music director Ravi has been active as an independent music director for about seven years now, and he already has about 30 films behind him, that he has composed for. His films include such notable hits as ‘Ek Saal’ (1957), ‘Dilli Ka Thug’ (1958), ‘Ghar Sansaar’ (1958), ‘Chaudhvin Ka Chaand’ (1960), ‘Ghunghat’ (1960), ‘Gharaana’ (1961), ‘Modern Girl’ (1961), ‘Bombay Ka Chor’ (1962) and many more. And then in 1962, out comes this Shammi Kapoor, Shakila, Helen starrer called ‘China Town’ – and the popular response is “Baar Baar Dekho, Hazaar Baar Dekho”. Oh yes, the songs of this film – one just does not feel done with them, no matter how many times you have heard them.

Produced and directed by Shakti Samant, the cast of actors includes such notables – Shammi Kapoor, Shakila, Helen, Madan Puri, SN Bannerjee, Keshav Rana, TunTun, Rashid Khan, Polson, Samson, Shetty, Jeevankala, Mridula and about twenty more names.  Songwriter of all the eight songs in this film is Majrooh Sultanpuri, and the music, already mentioned, is by Ravi.

Eight songs in all, seven of which have already been showcased on our blog. And we come to the yippeee night for this film, brining on board this last, but not the least, songs of this film. It is a lovely composition, and just by listening to it, even without the visual, the image that comes to mind is – Helen. Ravi has tried to recreate the magic of “Mera Naam Chin Chin Chu” – albeit a slower pace, and has done a great composition.

But wait. What is this that I discover? The song that we have always heard in the film, and also as generally available in most uploads – goodness that song is missing from the listings in Geet Kosh. This question took up most of my time today afternoon and evening. I must admit that either I have been forgetful, or plain ignorant. Other folks may already know this, but this song has two versions, which, as I discovered after some leg work on the internet and searching my own collection, are quite different from each other, in terms of wordings. The tune and the melody is exactly the same but the words are noticeably different.

The Geet Kosh listing shows the title of this song as “Laakhon Haseenon Se Hai Gulzar China Town”. But as we play the video clip of this film, this song appears as the film beginning song, with the title line changed to “Rangeen Bahaaron Se Hai Gulzar China Town”. This latter version is the one that is the most available in all the searches one makes online. It is almost as if the former version does not exist. I checked in my collection, and am relieved to find that I have both versions in the folder of this film. And then, with some more intense search online, I am finally also able to locate a Sa Re Ga Ma upload, which is the “Laakhon Haseenon” waala version. The upload comment specifically states that this recording is from the vinyl record prepared from the sound track. There is some error here possibly, because the sound track version is “Rangeen Bahaaron Se”. I checked some more and then I am able to locate an Eraksoldies upload of an SLBC (Sri Lanka Broadcasting Corp) program that presents all songs of this film. Knowing this is an SLBC recording, these songs are quite surely from 78 rpm records. And this selection contains the “Laakhon Haseenon” waala version. I checked again in my collection, and sure enough, this version in my collection also is from a 78 rpm recording. So anyways. . .

What may have been the reason to make two versions, is not clear at this time. We know that it was an era that all songs were recorded twice, once for the 78 rpm record, and once for the final sound track. We see many instances that the two versions are different, in that there is either a different antaraa, or an additional antaraa in the sound track version. More noticeably, the difference in the two versions generally is the music – different lengths of preludes and interludes, maybe an extra couplet in the beginning, subtle variations in the music arrangement and the instruments used. However, it is only rarely that we see that there is a considerable variation in the wordings of different lines themselves. It is generally accepted that the 78 rpm version is released first. Also generally that both versions are recorded simultaneously. But yes, there are known cases where these two recordings may have been done at different points in time, as per circumstantial requirements. Recall the song of ‘Chhalia’ (1960) in which the song “Chhalia Mera Naam. . .” was re-recorded for sound track after the censors raised objections to some words in the original recording.

By that logic, it would seem that the “Laakhon Haseenon” waala version is recorded earlier and the “Rangeen Bahaaron Se” version which appears in the sound track was probably done later. The former, 78 rpm version carries two antaraas, and the latter soundtrack version carries three antaraas. And there is a sizeable modifications of words themselves. Now what prompted these wording changes – that needs to be explored. I would request our knowledgeable readers and friends to please add information related to this query.

The earlier songs posted for this film are listed below.

Baar Baar Dekho Hazaar Baar Dekho 617 25-Jan-09
Dekho Ji Ek Baalaa Jogi 3486 2-Feb-11
Yamma Yamma Yamma Tu Parwaana Main Shamma 4858 21-Oct-11
Hum Se Na Poochho Hum Kahaan Chale 11688 24-Dec-15
Ye Rang Na Chhootega Ulfat Ki Nishaani Hai 13586 15-Sep-17
Bada Qaatil Hai Mera Yaar China Chin Chin Chu 13917 14-Jan-18

 

Of the above listed songs, the “Yamma Yamma Yamma. . .” song actually includes two songs, which are listed at nos. 5 and 6 in the Geet Kosh. And the song “Bada Qaatil Hai Mera Yaar. . .” is the song listed at no. 8 in the Geet Kosh.

So we bring to Yippeee land, this most musical film, that started its journey on our blog close to – goodness, nine years. Wow. Maybe one day we shall do an analysis on the patterns in the time taken to bring all songs of a film on board. Maybe it brings out some interesting results.

Enjoy both these “Rangeen Bahaaren” and “Laakhon Haseeen” versions of the song. And welcome ‘China Town’ to Yippeee land. 🙂

[Ed Note: Ah yes, and the titling on the video clip (it is uploaded in the Rajshri channel) is also incorrect. They have captioned the upload as “Thandi Bahaaron Se. . .” whereas it is very clearly heard as ‘Rangeen Bahaaron Se. . .”.]

[Video Version – from Fim Clip]

[Audio Version – from Gramophone Record]

Song – Rangeen Bahaaron Se Hai Gulzaar China Town  (China Town) (1962) Singer – Asha Bhosle, Lyrics – Majrooh Sultanpuri, MD – Ravi
Chorus

Lyrics

Video Version
rangeen bahaaron se hai gulzar china town

shehar waalon ki shaam e bahaar china town
aa ke to dekho ek baar china town
china town
china town
china town

ho oo
dekho dekho
idhar to dekho
dil ki ye raahen
hawaayen
ye rang raliyaan
ho oo
behki behki
ye mehki mehki
zulfon ki bhaanti
balkhaati
lehraati kaliyaan
nomoshkaar

rangeen bahaaron se hai gulzar china town
shehar waalon ki shaam e bahaar china town
aa ke to dekho ek baar china town
china town
china town
china town

oo oo
chung chung cheena
o chun chun chinna
kehte hain pyaare
ishaare
sambhal ke zara
oo oo
babu aana
par kho na jaana
ye dil ka pyaala
matwaala
na chhalke zara
bo-shu
rangeen bahaaron se hai gulzar china town
shehar waalon ki shaam e bahaar china town
aa ke to dekho ek baar china town
china town
china town
china town

oo oo
kar le baaten
pyaari hain raaten
tujhko duniya se
begaana
ho jaana hai to aa
oo oo
kar le baaten
pyaari hain raaten
tujhko duniya se
begaana
ho jaana hai to aa
aa-shu
rangeen bahaaron se hai gulzar china town
shehar waalon ki shaam e bahaar china town
aa ke to dekho ek baar china town
china town
china town
china town
china town
china town

Audio Version

laakhon haseenon se hai gulzar china town
dil waalon ki hai shaam e bahaar china town
aa ke to dekho ek baar china town
china town
china town
china town

oo oo
chung chung cheena
qaatil haseena
karti hai pyaare
ishaare
sambhal ke zara
oo oo
babu aana
par kho na jaana
ye dil ka pyaala
matwaala
na chhalke zara
bo-shu
laakhon haseenon se hai gulzar china town
dil waalon ki hai shaam e bahaar china town
aa ke to dekho ek baar china town
china town
china town
china town

oo oo
kar le baaten
pyaari hain raaten
tujhko deewaana
mastaana
ho jaana hai to aa
oo oo
khud hai masti
yahaan ki basti
haare alam ko
har gham ko

bhulaana hai to aa
aa-shu
laakhon haseenon se hai gulzar china town
dil waalon ki shaam e bahaar china town
aa ke to dekho ek baar china town

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
विडियो संस्करण
रंगीं बहारों से है गुलज़ार चाइना टाउन
शहर वालों की शाम ए बहार चाइना टाउन
आ के तो देखो एक बार चाइना टाउन
चाइना टाउन
चाइना टाउन
चाइना टाउन

हो ओ॰॰॰
देखो देखो
इधर तो देखो
दिल कि ये राहें
हवाएँ
ये रंग रलियाँ
हो ओ॰॰॰
बहकी बहकी
ये महकी महकी
ज़ुल्फों की भांति
बलखाती
लहराती कलियाँ
नोमोष्कार

रंगीं बहारों से है गुलज़ार चाइना टाउन
शहर वालों की शाम ए बहार चाइना टाउन
आ के तो देखो एक बार चाइना टाउन
चाइना टाउन
चाइना टाउन
चाइना टाउन

ओ ओ॰॰॰
चुँग चुँग चीना
ओ चुन चुन चिन्ना
कहते हैं प्यारे
इशारे
संभाल के ज़रा
ओ ओ॰॰॰
बाबू आना
पर खो ना जाना
ये दिल का प्याला
मतवाला
ना छलके ज़रा
बो-शू
रंगीं बहारों से है गुलज़ार चाइना टाउन
शहर वालों की शाम ए बहार चाइना टाउन
आ के तो देखो एक बार चाइना टाउन
चाइना टाउन
चाइना टाउन
चाइना टाउन

ओ ओ॰॰॰
कर ले बातें
प्यारी हैं रातें
तुझको दुनिया से
बेगाना
हो जाना है तो आ
ओ ओ॰॰॰
कर ले बातें
प्यारी हैं रातें
तुझको दुनिया से
बेगाना
हो जाना है तो आ
आ-शू
रंगीं बहारों से है गुलज़ार चाइना टाउन
शहर वालों की शाम ए बहार चाइना टाउन
आ के तो देखो एक बार चाइना टाउन
चाइना टाउन
चाइना टाउन
चाइना टाउन
चाइना टाउन
चाइना टाउन

औडियो संस्करण
लाखों हसीनों से है गुलज़ार चाइना टाउन
दिल वालों की है शाम ए बहार चाइना टाउन
आ के तो देखो एक बार चाइना टाउन
चाइना टाउन
चाइना टाउन
चाइना टाउन

ओ ओ॰॰॰
चुँग चुँग चीना
क़ातिल हसीना
करती है प्यारे
इशारे
संभल के ज़रा
ओ ओ॰॰॰
बाबू आना
पर खो ना जाना
ये दिल का प्याला
मतवाला
ना छलके ज़रा
बो-शू
लाखों हसीनों से है गुलज़ार चाइना टाउन
दिल वालों की है शाम ए बहार चाइना टाउन
आ के तो देखो एक बार चाइना टाउन
चाइना टाउन
चाइना टाउन
चाइना टाउन

ओ ओ॰॰॰
कर ले बातें
प्यारी हैं रातें
तुझको दीवाना
मस्ताना
हो जाना है तो आ
ओ ओ॰॰॰
खुद है मस्ती
यहाँ की बस्ती
हारे अलम को
हर ग़म को
भुलाना है तो आ
आ-शू
लाखों हसीनों से है गुलज़ार चाइना टाउन
दिल वालों की है शाम ए बहार चाइना टाउन
आ के तो देखो एक बार चाइना टाउन
चाइना टाउन
चाइना टाउन
चाइना टाउन
चाइना टाउन
चाइना टाउन

 


This article is written by Peevesie’s mom, 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.

Hullo to all in Atuldom

At the outset I should wish everyone a very Happy New Year 2018.

Hope everyone had a good time in 2017.

Our blog also went from song post number 12750 to song post number 13851 during 2017. We had our ring-leader, sutradhar, Atulji touching his personal milestone of 10000 posts on 22nd April 2017, today he stands at 10429. We celebrated 3400 days of existence in cyberland on 8th November 2017 with the 3400th song of the decade of 1960s being posted on that date (Atulji says this was a coincidence). The 13600th post coincided with Sudhirji touching 1100 posts which also happened to be Sahir Ludhianvi’s 600 on the blog.

Added to all this we had our usual milestone of 100 posts every four to five weeks. (Only one set of 100 was slow in coming. Right Atulji?) We were left waiting for the first- farmaisher’s double centurieth (I know this word doesn’t exist in English language) post. If this had been a cricket match I am sure he- the first farmaisher Rajaji- would have hit hard to the boundary for a four and reached the milestone. But this isn’t cricket, here we go one post at a time and so we wait, till his next four posts appear- to celebrate. Of course, in the manner of Tendulkar’s 100 100s (49 in ODIs and 51 in Test Matches) Rajaji has already touched 200 -196 posts and 4 as lyrics contributor.

Now today on day 1 of the new year, 2018, here is my first post. The song I have zeroed in on is a party song. It is a party of the street-side type. We have an unusual jodi- Amitabh Bachchan and Nana Patekar. Amitabh is playing a Bhaiyya or simply put a person from UP and Nana is playing a Bangali. By the story of the movie both are in disguise. Amitabh is an ex- army man, on the run from the law, with the whole and sole aim of taking revenge (what else!) from Danny’s character of corrupt minister who was responsible for the death of an army officer. Nana Patekar is an officer sent on a mission to uncover he truth about Dadabhai/ Devraj Hathoda alias Amitabh in disguise. On discovering the truth, the Bangali- BBC (some name ending with Chattopadhyay) Nana, joins hands with Dadabhai to bring the minister to justice and terminate some terrorist activities. So that then is the gist of the movie. It released in August of 1999 to mixed reviews. It was a treat for Nana Patekar and Tabu fans. It was an average grosser.

Now the regular followers of this blog need not wonder why I chose this song. It features today’s birthday boy – Vishwanath Patekar- birth name of Nana Patekar. He turns 67 (unbelievable). He has been on the Bollywood firmament from 1978 (Gaman). I was impressed when I saw him for the first time in “Ankush” (1986) as an unemployed young man. He was too good in the role of Anna Seth in “Parinda” (1989) which won him an award for Best Supporting actor both at Filmfare and National Awards. He is perhaps the only person to have a Filmfare best actor award – Krantiveer; best supporting actor- Parinda and best villain award -Angaar. He is also a Padmashri winner. He is a silent philanthropist have donated more-than generously to the cause of rebuilding flood ravaged villages of Bihar and drought- hit villagers of Marathwada and Vidarbha. He is one of the few actors with a simple life style.

Today’s song is penned by Dev Kohli and Dilip Sen- Sameer Sen are the music directors who got Sudesh Bhonsle to sing for Amitabh and Amit Kumar for Nana Patekar. We have Mukul Dev and Ayesha Julka playing the romantic young jodi and Tabu making a fleeting appearance. The scene after the song is hilarious with a supposedly drunk Nana mouthing the sher – “na geela karenge, na sookha karenge, tu salaa mat raho yehi bad dua karenge”. And Amitabh understands it correctly as “na gila karenge na shikwa karenge tum salaamat raho yehi bas dua karenge”
I also give the same ‘dua’ for all ASAD followers.

Here is wishing a joyous and musical ride to every follower of Atulsongaday in 2018. And a very Happy Birthday to Nana Patekar.


Song-Ham hain Banaras ke bhaiyya (Kohraam)(1999) Singers-Amit Kumar, Sudesh Bhonsle, Lyrics-Dev Kohli, MD-Dilip Sen Samir Sen
Male chorus
Female chorus

Lyrics

ho o
Ek mashooka hai yeh zindagi
tum ho isspe shaida
aaj tumhaara janam divas hai
hic
arre lo tum ho gaye paida
ha ha
waah bhai waah
kya sher maaraa hai
zara humri bhi toh suno
ain

haan haan sunaao

hum hain banaras ke bhaiyya
ho mere bhaiyya
jissko bhi chaahe nacha den
haan
arre hum hain banaras ke bhaiyya
ho mere bhaiyya
jissko bhi chaahen nacha den
arre chadh ke na utregi bhaiyya
o bade bhaiyya
hum aisi masti pila den

shuno baabu moshaay
aami tere deewaane
tumi goshti bole mishti ghole
manva dole jaane
aami tere deewaane
aami tere deewaane

ham hain banaras ke bhaiyya
ho mere bhaiya
jissko bhi chaahen nacha den
arre chadh ke na utaregi bhaiyya
o bade bhaiyya
ham aisi masti pila den haan

shuno baabu moshaay
aami tere deewaane
tumi goshti bole mishti ghole
manva dole jaane
aami tere deewaane
aami tere deewaane
ham hain banaras ke bhaiyya
ho bade bhaiyya
jissko bhi chaahen nacha den

ho ho ho ho ho ooooo
yaiyai yaiyai yo oooo
ho ho ho ho ho hoooo
yaiyai yaiyai yo oooo

laakhon yahaan dilwaale hain
kuchh gore hain kuchh kaale hain
koyi nahin hamse badhke
sabse juda hum niraale hain

tu mast hai
main hoon mastaana
haay
mashoor hai apna yaaraana
haay
paagal hai tu
main hoon di di di di deewaana
karna hai koyi hungaama
hey ae ae ae
arre aisa na karna tu bhaiyya
hum hain banaras ke bhaiyya
ho ta tha thaiyya
jissko bhi chaahen nacha de
arre chadh ke na utaregi bhaiyya
o mere bhaiyya
hum aisi masti pila den haan

shuno babu moshaay
aami tere deewaane
tumi goshti bole mishti ghole
manava dole jaane
aami tere deewaane
aami tere deewaane

eeya eeya eeya
eeya eeya eeya
eeya eeya

eesh
baanshuri

ham josh mein jab aayenge
phir dekhna rang jamaayenge
chakkar ham aisa chalaayenge
sab dekhte rah jaayenge

ham kaun hain yeh bata denge
hey
pal mein nazaara dikha denge
hey
ham hosh sabke uda denge
hey
parda agar jo uthha denge
hey ae ae ae
arre doobegi phir kisski naiyya
hum hain banaras ke bhaiya,
o ta tha thaiya
jissko bhi chaahe nacha den
arre chadh ke na utaregi bhaiyya
o mere bhaiyya
ham aisi masti pila den haan

shuno babu moshaay
aami tere deewaane
tumi goshti bole mishti ghole
manwa dole jaane
aami tere deewaane
aami tere deewaane


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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 14800 song posts by now.

This blog is active and online for over 3800 days since its beginning on 19 july 2008.

Total number of songs posts discussed

14847

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Movies with all their songs covered =1158
Total Number of movies covered =4060

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