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

Archive for the ‘Kamla Jharia songs’ Category


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

Blog Day :

4774 Post No. : 16523

Today’s song is from a film of the First decade of Talkie films in India. After the advent of the Talkie films in India, with Imperial’s ” Alam Ara”, many strong filmmakers from the silent era jumped into the field of making Talkie films. Initially only Bombay and Calcutta were the two filmmaking centres, but soon, Kolhapur,Lahore, Madras and a few other places began making Talkie films.

Most filmmakers made films based on Mythology, Folk stories, Costume dramas, but few Social and Historical films were also made. Imperial, Sagar, Bharat, Ranjit, Krishnatone and Mohan Bhavnani’s Indian Art Production made Hindi films in the First year. From Calcutta it was only Maadan Theatres which made Hindi films.

In 1932, Kardar’s Playart Photophone from Lahore, Kamla Movietone and Oriental Pictures from Lahore, Shantaram’s Prabhat Film co. and Torne’s Saraswati Cinetone form Poona, Saroj and Sharda Movietone from Bombay, Elephanta Movietone from Punjab and from Calcutta- New Theatres and the Eastern Films from Hyderabad joined the band of Pioneering filmmakers.

Although preparations for making a Talkie film had started from 1929 itself, initial equipment acquisition and training the technicians took one year and early in 1931 beginning, the talkie films went on floors at Bombay and Calcutta. Calcutta’s Maadan Theatres was better equipped with superior Machinery and A 1 Class actors for their film “Shirin Farhad”. Ardeshir Irani at Imperial, Bombay was making his “Alam Ara” at Bombay. Both companies wanted to be the First to release their Talkie film.

Irani was a clever person. He had his own Network at Calcutta, through which he knew the progress of Maadan’s film. When he came to know that “Shirin Farhad’ would have 18 songs, he took a decision to have only 7 songs in his film. This reduced the shooting and editing days and he was in a position to release his Talkie film on 14-3-1931 at Majestic Cinema in Bombay and record his name in the History books, as the First Talkie Filmmaker. Maadan could only release their film on 30-5-1931 to become the second Filmmaker of Talkie films in Hindi. However, their film was much better technically and sound was clear…yet they were second !

Within the next few years, the decade was shining with popular and meaningful films from New Theatres, Calcutta and Prabhat Film co. Poona. The reason was that New Theatres made films with a solid story base. They tried to make films on well known authors’ works and Prabhat film company took up social evils as the central themes of their films. These two companies also made it a point to make Bilingual movies – in local and in Hindi languages, thus capturing the home market and the All India market with the Hindi version.

Today’s film “Abhagin”-1938 made by new Theatres, Calcutta was based on the story by Bangla famous author Upendranath Ganguli. It was a bilingual film. In Bangla language it was titled ‘ Abhigyan”. Hindi dialogues were by A.H.Shore and lyrics were by Arzu lucknowi. The screenplay was by Phani Majumdar – his first as a script writer, who became a well known Director in later days. Bimal Roy was the Cinematographer. He too became a big filmmaker and a Director.

The film was directed by Prafulla Roy. Prafulla Roy ( Born on 1-1-1892 at Kushtia, Bengal) started his career in the silent era by directing 2 silent films. His first talkie film in Hindi was Ramayan-34, made by Bharat laxmi Pictures, Calcutta. Bharat Laxmi Pictures had Prafull Roy as its director for Bangla and Hindi films. Roy directed 12 films in Hindi. 9 out of them were made in Calcutta, 1 film in Lahore (Prem yatra-37) and 2 in Bombay (Mera Gaon-42 and Phulwari-51). Roy had also acted in 2 New Theatres films, namely Millionaire-36 and Mukti-37.

The cast of the film was Prithviraj Kapoor, Molina Devi, Vijay Kumar, Nemo, Menaka Devi, Pankaj Mullick, Chaman Puri (makes his Debut. He was the eldest brother of Madan Puri and Amrish Puri). The film was released in Majestic Cinema, Bombay.

One of the names in the cast is that of NEMO. I remember him as Seth ji, who is disturbed in the night by the Bastiwala’s singing, in the film Shri 420. This strange name is a Latin word, meaning ” Nobody”. All these years, I tried hard but never got any information about him. Recently, however, I could get some information about Nemo. Here it is, for the first time, for our readers.

Nemo (Mirza Muhammad Begg) was born on 27th december 1903 at Calcutta. He passed his Senior Cambridge. One day he, along with some friends, visited New Theatres to see a film shooting. Mirza Muhammad Begg merely wanted to watch the shooting of ‘Yahoodi Ki Larki’ (1933) but, as luck would have it, his visit to the New Theatres studio in Calcutta led to a small role in the same film. The part was that of a Roman king and little did Begg know back then that he’d soon be turning to Latin to fish out a lasting identity.

A year later, he was invited by New Theatres’ founder B.N. Sircar to work as the production manager of ‘Karwan-e-Hayat’ (1935) and another chance role beckoned. A female actor who was supposed to play an old witch in the film failed to turn up for the shooting and Begg volunteered for the part. The make-up department stepped up to the challenge and Begg, unrecognisable in the get-up, did the job (and always considered it his best effort). What happened next is even more interesting. Once the film was ready, the makers felt apprehensive about revealing to the public that a man had played the witch’s role. Begg came up with a solution – a gender-ambiguous screen name for himself. And in a delightfully wacky move, he picked a name that means ‘nobody/nothing’ in Latin – ‘Nemo’.

The name stuck on and this was the beginning of Nemo’s steadfast association with New Theatres – one that resulted in a string of features like ‘Karodpati’, ‘Dushman’, ‘Doctor’ and ‘Zindagi’. He was Vidushak, the royal jester, in ‘Vidyapati’, a rigid but caring father in ‘Jawani Ki Reet’ and the devoted caretaker Dharamdas in P.C. Barua’s ‘Devdas’. These diverse characters earned him appreciation from audiences and critics alike. Further, the story of the Saigal hit ‘The President’ (1937) was based on his idea and he was duly credited for the same. Alongside his work in films, he also edited and published ‘Akkas’ – a very popular Urdu (and later, Urdu-English bilingual) film magazine in those days. Its surviving copies now serve as an important archive of the early talkies. His last film with New Theatres was Kashinath. When Calcutta was bombed by Japan in late 1942, Nemo migrated with his family to his ancestral hometown, Lucknow. He later went over to Bombay for a short while to work in Mazhar Khan’s ‘Pehli Nazar’ (1945), and then returned to Lucknow to settle into a life far removed from the studio lights.

In the middle of it all lies an extraordinary fact – at the time he entered the movies, M.M. Begg was a national billiards champion! He won the inaugural Indian Open Billiards Championship in 1931 and never left the game thereon, despite a busy and flourishing film career. He won the trophy again in 1937, and between the 2 wins, he was the runner-up thrice. Not to mention, he represented the country at international tournaments and also headed various administrative organisations related to the game. His contributions towards establishing and popularising billiards and snooker in India are widely mentioned, and always in glowing terms. He was also obsessed with Racing.

It was nearly a decade after ‘Pehli Nazar’ that Raj Kapoor managed to pull Nemo out of his sabbatical for 2 memorable final acts in ‘Shree 420’ and ‘Jagte Raho’. In both, Nemo played similar roles of manipulative, corrupt seths who hide their sinister designs behind a facade of respectability. If he was jittery about facing the camera after a long gap, it doesn’t show (unless Seth Sonachand’s trembling chin is not a mannerism). He was particularly effective in ‘Shree 420’, where he puts on the most evil smile possible and hisses to Raj Kapoor, “Aap se mulaqaat ho gayi, is mein fayda hi fayda hai.” He also did 2 more films- Raja Vikram-57 and Nag Champa-58.

Nemo worked in 19 films of New Theatres and 4 others totalling 23 films in all. It is believed that he died in Bombay on 18-8-1960. Cinema, publishing, sports – Mirza Muhammad Begg distinguished himself in everything he touched. And chose to call himself a nobody. ( based on information from Filmdom-1946, HFGK, muVyz but mainly an article by Yasir Abbasi, with thanks.)

Today’s song is sung by Kamala Jharia. This is the 5th song from this film to feature on this Blog.


Song- Tumse maangne mein laaj aaye (Abhaagin)(1938) Singer- Kamla Jharia, Lyricist- Aarzu Lucknowi, MD- R C Boral

Lyrics

Tumse maangane mein laaj aaye
tumse maangne mein
Tumse maangane mein laaj aaye
tumse maangne mein

komal tan
komal man
komal tan
komal man
?? ka bojha
kaise uthhaaya jaaye
Tumse maangane mein laaj aaye
tumse maangne mein

koi jo maange muraad
ab bhi hai ?? baaqi
rah gayi maangke
lene ki tamanna baaqi
koi to maange muraad ab bhi hai
?? baaqi
rah gayi maangke
lene ki tamanna baaqi

?? dukh mein koyi
murjhaayi kali
khud khil jaaye
?? dukh mein koyi
murjhaayi kali
khud khil jaaye
sab kuchh ?? khona hai ke
sab kuchh mil jaaye
sab kuchh ?? khona hai ke
sab kuchh mil jaaye

kaun hai
kaun hai
kaun hai aisa jo ki
khud ko preet mein jalaa paaye
kaun hai aisa jo ki
khud ko preet mein jalaa paaye
???
Tumse maangane mein laaj aaye
tumse maangne mein


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

Blog Day :

4758 Post No. : 16502 Movie Count :

4483

India is a Multi racial, multilingual and Multi religions country. It is not only the largest Democracy in the world, but also the largest Secular state in the world, where people from different faiths have been living together since centuries.

Many saints and religious leaders have played a significant role in keeping the mixed population of India as One Unit, when it was needed the most. A majority of Hindus, ruled by Muslim Mughals was a natural cause for social divisions, but Saints like Kabir, Surdas, Tulsidas, Ramdas, Tukaram, Ramanand, Narsi Mehta, Purandar das,Namdev, Guru Nanak Dev, Eknath, Bhakta Pundarikar, Rohidas, Mrutyunjaya and many such noble souls, did an excellent job of maintaining harmony amongst peoples of different faiths.

Indian spiritual Gurus set themselves as Role models for the masses. Whether it was Ramkrishna Paramhansa or Shankaracharya or all the others have guided their followers to achieve peace of mind through spirituality. Religion is a way of life in India and most Gurus teach their followers how to follow the right path even while looking after their families.

Some of the saints have done monumental literary works for the masses, bringing what was available only in Sanskrit, to the doorsteps of the common people. Among such saints, Sant Tulsidas tops the list, according to me. He sets an example of how a person can educate himself and how a person can change himself for his Goals in life.

The period of 1300 to 1600 AD, a time frame of 300 years or thereabouts, was when most saints were active in India. This was the period when several outside rulers invaded India and established their rules. This was the time when the culture and religion of India had to be saved from annihilation. The saints of India played an important role in this and maintained Unity and Oneness of Indian culture from getting destroyed. But for them,there was a danger of the whole nation getting converted to Islam or Christianity. India will forever be grateful to the saints for this .

The Bhakti Movement was India’s own way to combat foreign attackers, cruel rulers and the sleeping people of India. The movement from 1300 to 1600 AD produced many religious Saints and social reformers from Kanyakumari to Kashmir and from Assam to Gujarat. The Indian culture is such that the advice given by a religious saint is more acceptable than that given by a social reformer. Thus, in this hour of need, India’s Saints tried to teach message of reforms such as removal of Untouchability, freedom from Varnashram lifestyles, importance of education, Women’s emancipation and other such matters,through their poems, dohas, Abhangs and writings as well as kirtans. They tried to make the masses wake up against the ill effects of social practices that were being observed those days.

Saints appeared in ALL areas of India,during this period. However,due to language problems, knowledge and information about Saints in other regions trickled down very slowly. States which shared the use of Devanagari script were aware about them in a better way. Thus,Maharashtra,Gujarat,Rajasthan and the Northern Hindi belt states exchanged their knowledge about their saints more frequently than other regions such as Bengal, the Eastern states or the southern states where the scripts were different. Andhra and Karnataka were closer as their scripts are similar, except perhaps the alphabet ‘K’. Tamil and Malayalam scripts have Dravidian origins and were not easily accessible for the rest of India.

With a view to bring some of these saints in limelight, I ran a series of 10 Bhajans from films which were made on the lives or incidents of some Saints of India. The title of this series was ” The Great Souls of India” and it ran from 1-11-2013 to 15-11-2013. It was one of the very popular series from my 26 series which I had run on this Blog. Many readers wrote their comments and conveyed that they liked the series.

In that series, I had purposely not included Meerabai, as my purpose, as always, was to highlight less known Saints into the limelight. Meerabai is a character on whom a maximum number of films were made….

Meerabai-1932

Raajrani Meera-1933

Matwali Meera-1940

Meera-1947

Meerabai-1947

Raajrani Meera-1956

Meera Shyam-1976

Meera-1979

Meera ka Mohan-1991 and

Meera ke Giridhar-1993

There was also one film ” Meerabai Not Out”-2008, but I believe it had nothing to do with Saint Meerabai. In the Silent era also I find a film Meerabai-1921 made by Kohinoor film co. and Sant Meerabai-1929 made by Hindustan Cinema Film co., Nashik.

Today’s song is from the film Matwali Meera-1940. This film was made in Calcutta by Bharat Lakshmi Pictures. It was directed by Prafulla Roy and the music was by Master Brijlal Verma. Lyricist was Pt. Bhushan. There were 15 songs, out of which only 5 were Meera Bhajans. The main lead was Mukhtar Begum who sang 3 Bhajans, Fida HGussain and Kamla Jharia one Bhajan each.

The cast had 17 names, out of which 11 were Muslim actors in this Bhakti Pradhan film. I have heard all the available songs-7 and frankly I was disappointed. Mukhtar Begum has sung the Bhajan in Mujra or Ghazal style. As it is in those times the music was very slow, making it further an outrage. I have selected, therefore, a song-not a bhajan- by Kamala Jharia.

With this song, the film Matwali Meera-1940 makes its Debut on this Blog.


Song-Sun ri sakhi ek Gope-suta ki sundar katha sunaaun (Matwaali Meera)(1940) Singer- Kamla Jharia, Lyricist-Pandit Bhushan, MD- Master Brijlal Verma

Lyrics

Sun ri sakhi
haan haan sun ri sakhi
ek Gope-suta ki sundar katha sunaaun
jiske atal prem par main bhi
waari waari jaaun
Sun ri sakhi
haan haan sun ri sakhi
ek Gope-suta ki sundar katha sunaaun

Dwaapar yug thhaa jis vasant ki
Dwaapar yug thhaa jis vasant ki
ras ke jharne jharte
raas rachaate Krishn Kanhaiyya
raas rachaate Krishn Kanhaiyya
man ki peeda harte
mast raag se kal-kal karti
bahti nadi toofaani ee ee
mast raag se kal-kal karti
bahti nadi toofaani
kho gayi jismein bahte bahte
kho gayi jismein bahte bahte
ik gopi deewaani
ik gopi deewaani
prem viyog mein jogan ban kar
is duniya mein raazi (?)
prem viyog mein jogan ban kar
is duniya mein raazi (?)
raaj ?? kul ki shobha
raaj ?? kul ki shobha
matwaali Meera bai
matwaali Meera bai
matwaali Meera bai


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

This is a labour of love, where “new” songs are added every day, and that has been the case for over THIRTEEN years. This blog has over 16500 song posts by now.

This blog is active and online for over 4000 days since its beginning on 19 july 2008.

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Total number of songs posts discussed

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

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