Archive for the ‘Kanan Devi songs’ Category
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5733 | Post No. : | 18255 |
Today’s song is from the film Hospital-1943.
The film was directed by Sunil Mujumdar. Music was by Kamal Dasgupta, who was one of the pioneers in making NFS popular all over India through many singers from Bengal. The cast of the film was Kanan Devi, Agindra Chaudhari, Heeralal, Tulsi Chakraborti, Poornima, Manorama and many others.
When we talk of Calcutta or films made in Bengal, we generally think of New Theatres only. You will be surprised that there were at least 20+ film companies and studios, before and after New Theater started and some of them even made Hindi films too. Since the beginning of British Rule in India, Calcutta was the Capital of India. In the year 1911, the British shifted the Capital to Delhi. Till then Calcutta had a mixed population. people from all parts of India lived there. However business minded and hard working Gujarati and marwadi communities ruled the business of all types, including the film industry in Calcutta, much before the establishment of New Theatres. Sharmishtha Gooptu, the well known film historian has written this about the beginning of film business in Calcutta….
” Marwari and Gujrati businessmen had been quick to appreciate the scope for profit in the fast-growing cinema industry. One of the first to invest in the industry was Lalji Haridas, a businessman from Kathiawar, who founded M/S Lalji Hemraj Haridas in Calcutta, a firm dealing in piece goods. In 1918 he secured the Bengal agency for the Kohinoor Film Company of Bombay, and became an agent for Sharda Pictures in 1926. In 1930 he was managing Jupiter Cinema in Calcutta. With the advent of the talkies, he secured the distributing rights of, among others, Bombay’s Wadia Movietone, Paramount Film Company, and Shree Vishnu Cinetone. In 1936/37, Haridas managed the Bharat Laxmi Theatre in Calcutta. By 1937-38, he was one of the leading distributors of Indian films in Eastern India, Burma, and the Far East, with offices in Calcutta, Rangoon, and Singapore respectively. In 1938, Lalji Hemraj Haridas were the sole agents of Wadia Movie tone, Paramount, Indian Liberty Pictures, Shree Vishnu Cinetone, Jaybharat Movietone, Diamond Pictures, Daryani Productions, and Wishvakala Movietone for Bengal, Bihar, Orissa, and Assam.
Similarly, Bajrang Lal Khemka, one of the first among the Marwaris to go into the film business, had been a dealer in piece goods, jute, and Hussein; an importer of sugar and motor spare parts; and invested part of his profits therein in the fast expanding film industry. In 1932, soon after New Theatres was formed, Khemka started the East India Film Co. In 1937 he launched the Metropolitan Pictures in Calcutta. Soon he owned cinema houses in various parts of the country.
Radha Kisen Chamria of Radha Film Co., Babulal Chowkani, proprietor, Bharat Laxmi Pictures, and exhibitor/distributors H. M. Chamria and Chandanmal Indrakumar were other Marwari business magnates who claimed a plum share of profits accruing from Bengal’s film industry. These businessmen were close competitors of the Bengali bhadralok, men like B. N. Sircar; Anadi Bose, proprietor of Aurora Film Corporation; P. N. Ganguly, proprietor of Kali Films; Sir P. C. Tagore, chairman of the board of directors of the Film Corporation of India Ltd.; or producer/distributor Prafulla Ghosh, proprietor of Prafulla Pictures formed in 1936.
Aurora, for instance, though one of the leading “Bengali” distributors in Calcutta was evidently operating on a much smaller scale than Lalji Hemraj Haridas. Compared to the latter’s holding of sole distribution rights of eight Bombay concerns, Aurora, in 1938, was distributing for New Theatres Ltd., Radha Film Co., Bharat Laxmi Pictures, and Kali Films. Further, Aurora was not distributing for New Theatres in the most-significant eastern region, as revealed by Dossani Film Corporation’s claim of being the sole distributing agent for Bengal, Bihar, Orissa, Assam, and Burma for New Theatres Ltd.Until the mid-1920s, there was no evidence of Bengali Muslims’ involvement with the cinema. The first involvement came in 1927 when members of the family of the Nawab of Dhaka made an experimental short film, Sukumari. In 1929, the same group embarked on the project of a full-length film, released as The Last Kiss in 1931. These initiatives apart, Bengali Muslim involvement in the film industry, through the 1930s was confined to solitary figures like Kazi Nazrul Islam and Abbasuddin Ahmed. Though later initiatives like the Chalachhitra Darshak Samiti (1939) and Bengal Tiger Pictures (1941) were patronized by some Muslim elites like Fazlul Haq and Humayun Kabir, they were marginal projects, and Bengali Muslims, by and large, remained detached from the film industry, so much so that Dhaka had no organized film industry until after independence. ”
Today’s film was made by M.P.Productions, Calcutta. Bajranglal Khemka, owner of the East India Film Company established Metropolitan Pictures Production co. in 1937. Film Hospital-1943 was made in Calcutta with all Bengali artistes. It is very difficult to get detailed information on Bengali actors as it is only available in Bangla languages, mostly. However, I could get information about the film’s Hero Ahindra Chaudhari, from The Encyclopedia of Indian Cinema by Ashish Rajadhyaksha. Here it is….
Ahindra Choudhury, born on 6th August, 1896, was a legendary theater actor and director of the Bengali stage who also enjoyed a long career in Bengali cinema.
Ahindra Choudhury’s theater debut was for the Art Theater at the Star, in Aparesh Chandra Mukhopadhyay`s “Karnarjun” i.e. “Karna and Arjun” in 1923. Interestingly, his film debut preceded his stage appearance by a year. His first film appearance came in the year of 1922 in the silent film ‘The Soul of the Slave’ (Dir. Prafulla Ghosh; produced by the Photography Syndicate of India). He continued to regularly feature in lead as well as character roles in significant films of important directors such as Madhu Bose etc till the 1950s.His two-volume autobiography is titled “Searching for my Lost Self” (Nijere Haraye khunji), which is full of important information about and insight into professional Bengali theater of the early twentieth century.
Actor born in Calcutta. Major Calcutta Theatres stage star launched with the key role of Arjun in epochal production of Karnarjun at Star Theatre (1923). Stagework in e.g. Iraner Rani, Bandini, Chirakumar Sabha, Mishar Rani etc. had an impact comparable to that of Sisir Bhaduri, who had a similar career. Early films at Madan Theatres, usually by Jyotish Bannerjee who continued to direct him into the talkie era, included stage successes like Mishar Rani and Karnarjun. At Madan also filmed scenes from his stage plays in early sound experiments. In 1928 attempted, unsuccessfully, to start the Ahindra Film Studio at Ultadanga, North Calcutta. Then directed some Telugu films for Aurora (Ansuya, Vipranarayana). Was a regular genre actor in Bengali cinema, notably in films by Sailajananda Mukherjee, P.C. Barua and Modhu Bose, until he retired in mid-50s. Wrote a two-volume autobiography, Nijere Haraye Khunji (1945). His collection of theatre and film memorabilia forms the Ahindra Choudhury Archives at Chetla, Calcutta. He died on 4-11-1974.
HOSPITAL-1943 was a film depicting a different atmosphere and a novel story matter, which made it a film worth a look. Added to it, the melodious music by Kamal Dasgupta and haunting songs by Kanandevi made the film a successful one at the Box office.
The film,a M.P.Production was directed by Sunil Muzumdar who was basically a writer.He used to write stories,Dialogues and Screenplays of films.Even in this film,he joined hands with Pt.Bhushan in Dialogue writing ,with Manmath Ray in its story and with Premendra Mitra in writing the screenplay. Lyrics were by Pt.Madhur and Pt.Bhushan.
Jayant is the son of Dr.Deen Dayal.He is educated but a vagabond and always in need of money. Once Deen dayal tells him that unless he gets married and does something for a living,he will not get any money.Dr.Deen Dayal is a widower and has established a hospital in a village for the benefit of poor people,in the memory of his departed wife.He goes to the Hospital from time to time.Jayant is introduced to Pratima(Kanan Devi) by Sandeep, her distant cousin and a friend of Jayant.
one day Jayant proposes to Pratima to act as his wife,only for a day, so that he can fool his father and extract some money from him.Pratima,after lot of cajoling,agrees to do so and they go to Dr.Deen dayal.The father is very happy to see his daughter in law.He not only compliments Jayanta for his choice but also gives him lot of money. The work having been achieved, Pratima wants to go away, but the Doctor would have none of it. He forces her to go with him to the village Hospital.
Dr.Bhatt, his assistant is a hidden enemy of Deendayal and wants to throw him out to usurp the hospital.He suspects that Jayanta and Pratima are not married.He employs detectives and confirms this.In the meantime Jayant and Pratima start loving each other.Pratima also finds out that Dr.Bhatt has misappropriated Hospital money for Medicines.She exposes him before he exposes her and the Doctor is removed from the Hospital. By now, Deen dayal also has found out that these two are not married. He gets them married.
Today’s song is a duet sung by Kanan Devi and Jagmohan Sursagar. HFGK does not mention the male singer’s name. However, Sunil Trivedi ji of Surat who was a family friend of Jagmohan Sursagar has informed that Jagmohan himself told him that this song was sung by him. Sunil ji’s comments to this effect are available on this Blog. Enjoy….
Song- Ae ronewaale hansne ke din door nahin hain(Hospital)(1943) Singers- Kanan Devi, Jagmohan Sursagar, Lyrics-Pt. Madhur, MD- Kamal Dasgupta
Both
Jagmohan Sursagar + another male voice
Lyrics
Man ke haare haar hai
man ke jeete jee ee ee ee eet
raat dhale
din hot hai
ye duniyaa aa aa aa ki reet
ae ronewaale
hansne ke din door nahin hain
jo aaj hai mazboor
kal majboor nahin hai
ae ronewaale
hansne ke din door nahin hain
jo aaj hai mazboor
kal majboor nahin hai
ae ronewaale
hansne ke din door nahin hain
jo aaj hai majboor
kal majboor nahin hai
bahti nahin hai zindagi bhar
dukh ki dhaara
door nahin hai
door nahin hai
bahti nahin hai zindagi bhar
dukh ki dhaara
majboor nahin hai
majboor nahin hai
gahra jo samandar hai to uska bhi kinaaraa
gahra jo samandar hai to uska bhi kinaaraa
aakhir to kahin hai
aakhir to kahin hai
aakhir to kahin hai
ae ronewaale
hansne ke din door nahin hain
jo aaj hai majboor
kal majboor nahin hai
duniya mein maraj bhi hai
ae ae ae ae ae ae
dua bhi hai dawaa aa aa aa bhi
duniya mein maraj bhi hai
dua bhi hai dawaa bhi
duniya mein maraj bhi hai
dua bhi hai dawaa bhi
baadal mein jahaan rahti hai bijlee to hawaa bhee
baadal mein jahaan rahti hai bijlee to hawaa bhee
paanee bhee wahin hai
paanee bhee wahin hai
paanee bhee wahin hai
ae ronewaale
hansne ke din door nahin hain
jo aaj hai majboor
kal majboor nahin hai
Aaj huyee hai bhor suhaanee
Posted on: June 2, 2023
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.
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Blog Day : |
5432 | Post No. : | 17818 |
I make it a point to wake up around 4 AM every morning. I do that without fail. The idea is to take my two dogs on their morning walks, one dog at a time. The first dog (Junior Dog Izza) goes first. Her walk starts at around 4:30 and she is back by around 4:50. Then Bhole (the senior dog) goes on walk. His walk typically ends at 5:10 AM. That is the time when the sky begins to get brighter. It is then that “morning walkers” start coming out on roads for their morning walk. To my mind, the best time for morning walk is between 4:30 to 5 AM or so. That is the window of opportunity for a meaningful morning walk. At that time, it is actually morning (viz it is still pre dawn), very few people are out at that time, and one has true privacy, so to say. By the time it is 5:10 AM or so, roads become crowded and the window of opportunity for morning walk is over. During winter season, this window of opportunity is from 5:30 AM to 6 AM. In winter, most of the summer ime morning walkers are nowhere to be found. They go on hibernation during winter season and they resume their morning walk only in summer season. They keep away from morning walk on rainy season, windy days ets as well. In other words, most morning walkers are strictly fair weather morning walkers. A slight change in weather rendering it a bit adverse, and most morning walkers are no where to be found.
I and my dogs are hardcore morning walkers though. 🙂 Even rain or storm, or fog or any other adverse weather conditions do not deter us.:)
I had started this morning walk practice from 2015 when I got posted at Izatnagar (Bareilly) in 2015. I kept up this practice throughout my three years stay there. Then I was transferred to Gorakhpur. In Gorakhpur, there was no need to take the dogs on their morning walk. My official residence there had vas space around the residence, all fenced by high walls. So my dogs could do all their morning walk on their own inside the compound, without the fear that they would go out and would lose their way. Not just walk, the dogs would run all around, roll on the lawn, and in general would have a great time.
After I left Gorakhpur and settled down at Bhopal, I have resumed my morning walks, mainly for the sake of the dogs.
One benefit of morning walk is that you feel refreshed and cheerful for the whole day. That is more true for the dogs and less true for me. The dogs often wake me up at odd hours. My wife and daughter cannot be bothered to wake up, so it is my responsibility to take care of the dogs. I have great patience, unlike my wife and I do not get irritated even if the dogs wake me up at odd hours.
Today morning (2 June 2023) would start the same way, viz with me taking my two dogs on their morning walk. But then the rest of the day is going to be different from what it has been for the last 11 months. after I arrived at Bhopal in July 2022, I have been out of Bhopal only on two days. On both occasions, I went to Jabalpur by early morning train, and was back at Bhopal my night train.
Today, I am going to undertake a much longer journey.
Today, I will board a morning flight from Bhopal to Mumbai. Initially I had booked my ticket on an even earlier flight, but the timing of that flight got deferred to afternoon, and that defeated the very purpose of my visit. The next available flight would leave Bhopal at 10:30 am and I would land at Mumbai at 12 noon.
My visit to Mumbai is to meet our blog regulars at the residence of our Mumbai stalwart and our beloved inhouse encyclopaedia Mr Arunkumar Deshmukh. The occasion is a get together of our blog regulars. Mumbai regulars M/s Sadanand Kamath and Nitin Shah will be there. Sudhir jee and Bakhshish jee will arrive from Delhi. Avinash Scrapwala will arrive from Vadodara. Mr Satish Shenoy will arrive from Bangalore. So it is going to be a golden chance to meet so many blog regulars. I have met M/s Sadanand Kamath, Nitin Shah, Sudhir Kapur and Bakhshish Singh jee in the past, and I will be meeting the others for the first time.
I had attended an earlier gangout in Mumbai in Devember 2014, and that was a very well attended get together as well. Lots and lots of reports of that meeting is available in the blog. I am sure we will have another great get together this time as well. This will be followed by reports on the meeting by the participants.
The meeting is scheduled to begin at 11 AM. I will be able to join hopefully by 12 :30 or so. I will have a return flight at night and I will be back to my home on the same night. So hopefully my dogs will once again have me to take them on their morning walk the next morning. 🙂
Our Hindi movies have songs for many occasions. There are some very fine “morning” songs that have already been covered.
While posting a blog Ten Year challenge article in the month of may 2023, I came across a “morning” song. Morning was already over at that time, so I saved this song for future use and discussed another song from the same movie.
That future use is now. Here is this morning song from “Arabian Nights”(1946).
“Arabian Nights”(1946) was directed by Niren Lahiri for P R Productions. This movie had Kanan Devi,Nawab, Robin Majumdar, Debi Mukherjee, Molina, Meera Dutt,Hiralal, Sunder,Rirkoo,Shayam Laha etc in it.
“Arabian Nights”(1946) had 14 songs in it. Five songs have been covered in the blog in the past.
Here is this sixth song from :”Arabian Nights”(1946). This song is sung by Kanan Devi. Faiyyaz Hashmi is the lyricist. Music is composed by Kamal Dasgupta.
This song post appears in the blog at 5 AM, just when the morning is about to break and the fair weather morning walkers are about to leave for their morning walks. 🙂
Lyrics of the song were sent to me by Prakashchandra.
audio link:
Song-Aaj huyee hai bhor suhaanee (Arabian Nights)(1946) Singer-Kanan Devi, Lyrics-Faiyyaz Hashmi, MD-Kamal Dasgupta
Lyrics(Provided by Prakashchandra)
aaj huyee hai ae ae
bhor suhaanee
bhor suhaanee ee ee ee ee ee ee
aaj huyee hai bhor suhaanee
pehli baar
pehli baar
aaj huyee hai bhor suhaanee
pehli baar
pehli baar
chamak bharee ye laalee ee
maine ae ae ae
ae ae
maine kabhee na dekhee
chamak bharee ye laalee
maine ae aey ae ae ae
maine kabhee na dekhee
bin torey deewaalee ee
maine ae ae ae
maine kabhee na dekhee
sooraj mein hai
sooraj mein hai nayee jawaanee
pehli baar
pehli baar
sau phool khiley aansoo ke
ya/ye husn kabhi na paaye
sau phool khiley aansoo ke
ye husn kabhi na paaye ae ae
sau rang chaman ne badlaa
ye rang nazar na aaye ae ae
sau rang chaman ne badlaa
ye rang nazar na aaye ae ae
khwaab mein aayee
khwaab mein aayee
rut ki raanee
pehli baar
pehli baar
bhanwraa aur kali ka mel
mujhko kabhee na bhaayaa aa
bhanwraa aur kali ka mel
mujhko kabhee na bhaayaa aa
gulshan mein ye pyaar ka khel
mujhko kabhee na bhaayaa aa
nayee lagee hai
nayee lagee hai
baat puraanee
pehli baar
pehli baar
aaj huyee hai ae bhor suhaanee
pehli baar
pehli baar
Hum dil ko dil hum ko samjhaaye
Posted on: May 5, 2023
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.
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Blog Day : |
5404 | Post No. : | 17732 |
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Blog 10-Year Challenge (2013-2023) – Song No.112
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On this date ten years ago (5 May 2013), eight songs from eight different movies were covered in the blog. Here are the details:-
| Post No | Song Title | Name of the movie | Remarks |
|---|---|---|---|
| 8038 | Matwaale nainon waale ke main waari waari jaaun | Beqasoor (1950) | Movie YIPPEED by now |
| 8039 | Daya kar hey girdhar gopal | Shabaab(1954) | Movie YIPPEED by now |
| 8040 | Maine dekha khwaab mein ek niraala jahaan | Arabian Nights (1946) | 4 songs covered out of 14 by now |
| 8041 | Ghar aaya mehmaan koi jaan na pehchaan | Udan Khatolaa (1955) | Movie YIPPEED by now |
| 8042 | Jabse chale gaye hain wo | Naatak(1947) | Movie YIPPEED by now |
| 8043 | Hamen jo koi dekh le ek nazar bhar ke | Deewaana (1952) | Movie YIPPEED by now |
| 8044 | Haay haay rasiyaa tu bada bedardi | Dil Diyaa Dard Liyaa (1966) | Movie YIPPEED by now |
| 8045 | Aa jaa re aaja re o mere dilbar aaja | Noorie (1979) | Movie YIPPEED by now |
We oibserve that eight songs from eight different movies were covered in the blog on this date ten years ago (on 5 May 2013). As many as seven movies (out of eight movies) have since been YIPPEED in the blog. That leaves us with just one unYIPPEED movie that is eligible for Blog Ten Year Challenge today (5 May 2023).
That movie is “Arabian Nights”(1946).
“Arabian Nights”(1946) was directed by Niren Lahiri for P R Productions. This movie had Kanan Devi, Nawab, Robin Majumdar, Debi Mukherjee, Molina, Meera Dutt, Hiralal, Sunder,Rirkoo, Shayam Laha etc in it.
“Arabian Nights”(1946) had 14 songs in it. Four songs have been covered in the blog in the past.
Here is the fifth song from the movie to appear in the blog. This is a sad song which is sung by Kanan Devi. Faiyyaz Hashmi is the lyricist. Music is composed by Kamal Dasgupta.
Only audio of the song is available. It is clear that the song is picturised on Kanan Devi herself.
Song-Hum dil ko dil hum ko samjhaaye (Arabian Nights)(1946) Singer-Kanan Devi, Lyrics-Faiyyaz Hashmi, MD-Kamal Dasgupta
Lyrics
hum dil ko
dil ham ko
samjhaaye ae ae
hum dil ko
dil ham ko samjhaaye ae
na haansi
na rona
na vo aaye ae ae
ek pal bhi
khush rahne nahin paaye ae ae ae ae
ek pal bhi
khush rahne nahin paaye ae ae ae
hum apni
kismat se
sharmaaye ae ae
hum apni
kismat se sharmaaye haaye
seene mein ummeeden marti haaye
seene mein ummeeden marti haaye
hum aise jeene se baaz aaye ae ae
hum aise jeene se baaz aaye haaye
main dekhoon khud apni barbaadi ee ee ee
main dekhoon khud apni barbaadi ee ee ee
mere aage
meri duniyaa
lut jaaye ae ae
mere aage
meri duniyaa lut jaaye haaye
Rah rah uthhti tees hriday mein
Posted on: July 3, 2021
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
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Blog Day : |
4733 | Post No. : | 16453 | Movie Count : |
4467 |
Today’s song is from the film Maa-1936. As per the Title index book, there were 5 films having this same title and one was incomplete in the 60’s. In addition there were 23 other films with titles having Maa in them like, Maa qasam etc.
Among this series, today’s film Maa 1936 seems to be the first one. The film was made under the banner of Prafulla Pictures, floated by Producer-Director Prafulla Ghosh. Possibly, this was the only Hindi film of this banner. The MD was S.P.Rane, who was a ‘Marathi Manus’ grown up in Gujarat. The lyricist was B.N.Gupta and the cast was Zubeida, Jal Merchant, Kanan Bala, Master Brijmohan, Manorama and others.
The actress Manorama in this film was a Bengali Jew, whose real name was Winnie Stewart. This Manorama was obviously different from the comic Manorama of Hindi films of the 40s to the 90s. This later manorama was famous for her role of Chachi in the film Seeta aur Geeta-1972. The Manorama of film Maa was acting in silent films.She acted in 15 silent films and then 19 Talkie films. She acted in many Hindi films made in Calcutta like Anath Ashram-37, Dushman-38, Kapal Kundala-39, Zindagi-40, Kashinath-43, Hospital-43, Hamrahi-44, Tum aur Main-46, Suleh etc. Her last film was in 1952- Chhoti Maa .
Director Prafulla Ghosh was directing films since the Silent era. After the Talkie started, he first directed the First Talkie film made by Sagar Movietone-Veer Abhimanyu-1931. He went on to direct 3 more films for Sagar- Abul Hasan-31, Romantic Prince-31 and Subhadra haran-32. In 3 of these 4 films the lead pair was Zubeida and Jal Merchant. Ghosh then went to Calcutta and directed Chaar darvesh-33 and hari Bhakti-34. He came to Bombay and started his own banner Prafulla Pictures and made today’s film Maa-1936. There is non information about him after this. Maybe he went back to Calcutta and did work in Bengali. We do not know.
In the early years of Talkie films, Parsis made substantial contributions in many departments of filmmaking. In acting, Sohrab Modi, Eddi Billimoria, Dinshaw Billimoria, Jal Khambata and Jal Merchant were famous. Jal Merchant was a typical Parsi born and brought up in the Parsi Colony area in Bombay. Though his family had a business, he did not join it as he was keen to make a career in films. Bombay being the centre of filmmaking he had plenty of chances. He did not have a masculine, wide chested body, but he compensated with his superb acting skills. He could also sing in his soft voice.
It was a colorful stellar team that Jal Merchant formed with Zubaida in the early talkies. But it was in mythological roles, and not romantic parts, that they first won the hearts of cinegoers. The first picture that made them a rage everywhere was Sagar’s “Veer Abhimanyu,” in which Jal played Abhimanyu to Zubaida’s Uttara. In the next one- Subhadra Haran-32, Jal was Arjun, Abhimanyu’s father, while Zubaida played Subhadra.
Like Zubaida, Jal Merchant joined films in the “silent days”. It was a change of medium for him, for he had been playing female roles on the Gujarati stage! His performance as the heroine of “Shankit Hriday,” a Gujarati play, proved a hit, and Nagendra Majumdar, who directed the play, induced him to switch over to screen acting. Jal joined the Imperial Film Company, and among his early films the most notable was “Vasant Bengali,” a social picture directed by R.S. Chowdhury. In those days, the screen hero generally had more brawn than brains, but the lead player of “Vasant Bengali” was called upon to show more intelligence than physical prowess. Jal did just that – and won instant fame.
After the advent of sound, Jal’s first four films for Sagar were mythologicals – “Veer Abhimanyu-1931,” Subhadra Haran-1932,” “Pandav Kaurav-1933” and “Mahabharat-1933”. For close-ups of these pictures, Jal used to wear trousers and only the upper part of his body was made up for his role. But in one close-up his pants were also visible! The shot was cut on the first day of screening in Bombay.
Gifted with a fine voice, he also delighted cinegoers with his singing. He sang 33 songs in 7 films-Meerabai-32, Pandav Kaurav-33, Mahabharat-33, Grihalaxmi-34, Aaj kal-34, Sone ka Shahar-35 and Toofan Express-1938.
In “Zarina,” written and directed by Ezra Mir, he was the tongawallah who falls in love with a dancing girl at a carnival. This poignant romantic tragedy won plaudits for both Jal and Zubaida. It was their last picture together for Sagar. Zubaida left Sagar and Sabita Devi took her place. Sabita and Kumar were the first stars imported from Calcutta. Sabita co-starred with Jal in “Phantom of the Hills,” directed by Ezra Mir, in which he played a dashing Pathan riding a white charger. In “Educated Wife” (Grihalaxmi), directed by Sarvottam Badami, he played a modern educated youth. In this role the versatile Jal revealed a genial personality. Sabita was again his co-star.
Jal and Zubaida played stellar roles together once again in “Aaj Kal,” directed by R.S. Chowdhury. This was the last important picture for both stars. Jal acted in about n15 Silent films and 29 Talkie films. His first Talkie film was Veer Abhimanyu-1931 and his last Talkie film was Armaan 1953.
Jal Merchant, who already had a family flourishing business, retired from the screen. Later, he started to live a quiet life in Bandra. Jal was an excellent shikari in his younger days. His screen associates also remember his soft voice, gentle manners and sensitive, handsome face. His pairing with Zubeida and Sabita Devi was very popular. He had all the gentle Parsee manners and was a popular co-star for the heroines.
I have read somewhere that Jal Merchant died in 1963 in Bombay. He was unmarried till the end, like many Parsis. ( information from an article by V.P.Sathe in Screen, ‘Screenplay’ by Isak Mujawar, HFGK, muVyz and my notes have been used in this post, with thanks.)
The Heroine for film Maa-36 was Zubeida Sr, who had acted in India’s first Talkie film-Alam Ara-1931, made by Imperial film co. She also acted in the first talkie film made by Sagar nMovietone- Veer Abhimanyu-1931. One of the 4 wives of Nawab Siddi Ibrahim Muhammad Yakut Khan of the state of Sachien,Gujarat, was Fatima Begum. She was in films, even before marriage. There is however no proof of their marriage. From the Nawab, She had three daughters, namely Sultana, Shahzadi and Zubeida. All daughters and the mother were into films.
When the girls became of age, Fatima used to make them dance in the film theatres between the change of reels- which was to entertain the audience. The beautiful eldest daughter Sultana and playful sister Shahzadi were already working in films. When Fatima and the Nawab had some differences, Fatima took her daughters and came to Bombay to work on her own.
Fatima was the First woman to establish Fatima Film co, Bombay, to produce and Direct Bulbul-E-Paristan-1926. All the 4 women acted in it. Fatima then formed Victoria Fatima Film Co. in 1928 and produced 7 silent films-Chandravali,Heer Ranjha both in 1928 and Kanak Tara, Milan Dinar, Goddess of Love, Shakuntala and Wonderful Prince all in 1929. Her company was closed in 1930.
Sultana, the eldest daughter, known as The sultry Sultana;, was famous for doing sexy roles. She came into limelight when she filed a case against Yassir Hussain Lalji, son of the chief of Bombay Municipality, in 1931, claiming to be his wife and demanding a sum of Rs. 5 lakhs in those days !
The second daughter known as Lovable Shahzadi also acted in films.
The third Zubeida, was born in 1911 and acted in silent film Veer Abhimanyu, but debuted as a Heroine in Gul Bakavali-1922. She acted in 36 silent films and then she became the Heroine of India’s first Talkie AALAM ARA-1931. In this film she sang one song also.
In 1935, she converted to Hinduism and married Raja Dhanrajgir Narsing Girji Gyan Bahadur, a very rich Jagirdaar from Hyderabad state. She stopped working in films, after 21 films, in 1935.
She lived peacefully with her husband in Bombay. In 1982, one of her legs was amputated due to severe Diabetes and she spent her remaining life in a wheelchair, yet till her end on 20-9- 1988, she used to look very beautiful and gracious.
Please note there was another actress named Zubeida, who appeared only after Zubeida Sr. retired in 1935. Zubeida Jr. was the inspiration for the film Zubeida-2001. These two are different. Do not get confused.
With today’s song, the film Maa-1936 will make its Debut on this Blog.
Song- Rah rah uthhti tees hriday mein (Maa)(1936) Singer- Kanan Bala, Lyricist- B N Gupta, MD- S P Rane
Lyrics
Rah rah
uthhti tee ee ee ees
hriday mein aen
aen aen
aen aen aen aen aen
Rah rah uthhti teees
hriday mein
Rah rah uthhti teees
hriday mein
?? ka man mere man mein
Rah rah uthhti teees
hriday mein
?? ka man mere man mein
Rah rah uthhti teees
hriday mein
paa gayi wo sab is jeevan mein
paa gayi wo sab is jeevan mein
aa aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa aa
aaa
aa aa
aa aa aa aa aa
paa gayi wo sab is jeevan mein
nahin kisi par trish(??) hai
phir kyun
nahin kisi par trish(??) hai
phir kyun
Rah rah uthhti teees
hriday mein
Rah rah uthhti teees
hriday mein
?? ka man mere man mein
Rah rah uthhti
Rah rah uthhti
Rah rah uthhti teeeees
Morey ghar aao sajan re
Posted on: April 13, 2021
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.
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Blog Day : |
4652 | Post No. : | 16317 |
Today’s song is from a ‘not so famous’ film from New Theatres – which had been making popular and musical films for the last few years. The song belongs to the film ” Sapera aka The Snake Charmer”-1939. The song was written by Kidar Sharma and the music was by R C Boral-The Doyen of Film music in India. The film was directed by Debaki Bose and the cast was Nawab, Kanan Devi, Pahadi Sanyal,Prithviraj Kapoor, K C Dey, Menaka Devi and others.
Today’s song is sung by Kanan Devi. I have memories that I first heard her singing “Toofan Mail” from the film Jawab-42, sometime in the end of the 40s, when I was about 10 year old. We had a “Phono” (Gramophone) with a lot of records in 2-3 Record boxes. My father was fond of Pankaj Mullick songs, so we had many records of his film and non-film songs. Also Saigal songs, but I only remember vividly the song of Kanan Devi-Toofan mail, ye duniya hai Toofan mail. Later on, as I grew older, other film songs took over, but even today, whenever I hear this song, I get a nostalgic feeling. That was the magic of her singing !
Kanan Devi is a true example of “Rags to Riches” story. She rose from a very low level, but ended up with earning all the honours and respect a successful artiste can have ! When I first read her autobiography-‘ My Homage to all’, tears came to my eyes. Famous film writer late Pran Neville called her “an unlettered slum girl, who rose to become a much sought after social celebrity”. She did not know who her father was, she faced a failed love affair and a broken marriage, but won over all these things to become the winner.
If one sees the history of early cinema in Bengal, about 70% of the cine artistes (in all departments of filmmaking) were educated and from well to do families. Some were foreign returned, some were very rich and very few came from low level. Kanan was an example. In her childhood, she faced days when she had nowhere to go, but in the end, she led the way to other strugglers.
Kanan Devi, the melody queen and superstar of the 1930s and 40s, was a remarkable personality. An epitome of beauty, glamour and grace and the recipient of the prestigious Dadasaheb Phalke Award (1976), Kanan’s life story (1916-1992) transcends that of Eliza Doolittle in “Pygmalion” and “My Fair Lady”. Her memoir “Sabare Ami Nami” (I pay my respect to everyone) provides a fascinating account of her transformation from an unlettered slum girl into a much sought after social celebrity. The most astounding aspect of her persona was her grit, determination and courage which led her to attain the pinnacle of fame and glory and thus become a legend and an institution in her lifetime.
Kanan was born on 22 April 1916 in Howrah, West Bengal. In her autobiography, entitled ” My Homage to all”, Kanan has observed that those she considered as her parents were Ratan Chandra Das and Rajobala, who lived together. After the death of her adoptive father, Ratan Chandra Das, young Kanan and Rajobala were simply left to fend for themselves. Her life story is a true tale of rags to riches. Some say she did her schooling (not completed) from Howrah’s St. Agnes’ Convent School.
A well wisher, Tulsi Banerji, whom she called Kaka babu, introduced Kanan when she was only ten to Madan Theatres/Jyoti Studios, where she was cast in a small role in Jaidev (1926), followed by Shankaracharya in 1927. She was known as Kanan Bala.
By now, she was known as a good singer. By 1929, she was recording several songs. In this year, Kanan Bala met handsome Hiren Bose and a new chapter in her life seemed to be blooming. Hiren Bose was highly educated and had earned titles of “Vidya Bhushan” and “Sangeet Ratna”. In the years 1928 to 1932, Hiren had joined HMV as a Music Director. Here he became a close friend of Kazi Nazrul Islam and Dhiren Das. Both Kazi and Hiren wrote lyrics for songs in HMV .
Around 1929,a new , young and attractive singer came to HMV. Her name was KANAN BALA. She came to record songs. Soon the handsome Hiren cast his spell on Kanan and she started considering him as her mentor in HMV. They were a quartet of friends, Kanan, Hiren, Kazi and Dhiren. In HMV Kanan recorded many songs set to tune or written by Hiren Bose. In 1932,this team left HMV, on the issue of Royalty and joined the newly formed Megaphone Recording company. Here too after 2 years, this team left Megaphone and joined Columbia recording company. By 1934,Hiren wrote in his autobiography- JATI SMAR (My memories)-later that he had lost interest in Kananbala. She was broken-hearted.
Kanan did at least five films with Madan Theatres productions, (1926–1932) Rishir Prem (1931), Jorebarat (1931), Vishnu Maya (1932) and Prahlad, playing even male leads in the last two. She then worked with Radha Films from 1933 to 1936, then with New Theatres from 1937 to 1941, with MP Productions 1942 to 1948 and finally set up her own label Shrimati Pictures, 1949 to 1965.
From silent film roles as a child artist, Kanan made the successful transition into talkie films and was noticed with Jorebarat (1931), Manomoyee Girls School, Khooni Kaun and Maa (1934).
Her films with Jyotish Bannerjee included Joydev (1926), Rishir Prem (1931), Jorebarat (1931), Vishnumaya (1932), Kantahaar (1935) and Manomoyee Girls School (1935). Her films with Prafulla Ghosh were Sree Gouranga (1933), Char Darvesh (1933), Maa (1934) and Hari Bhakti. Others with Radha Film Company were Kanthahar (1935), Krishna Sudama (1936), Bishabriksha (1936) and Char Darvesh (1933).
New Theatres’s P.C. Barua wanted her to play the lead in his Devdas (1935), but, due to contractual reasons with Radha, she could not act in the film, a factor she regretted all her life.
The films of New Theatres, owned by Biren Sircar, established her as a superhit singer and her films ran to packed audiences. She had to travel under constant protection, given her huge fan following. During her years with New Theatres, Calcutta from 1937, she played the lead in Barua’s Mukti (1937), which was perhaps her finest performance, making her the studio’s top star. Apart from Mukti, she did Vidyapati, Saathi (1938), Street Singer (1938), Sapera (1939), Jawani Ki Reet (1939), Parajay (1939), Abhinetri (1940), Lagan (1941), Parichay (1941) and Jawab (1942). She became known as Kanan Devi from this point.
She came in contact with the music maestro Rai Chand Boral, who not only coached and familiarized her in the Hindi accent, but experimented with many classical Western and Indian forms in his music. She received her initial musical training under Alla Rakha. She was employed as a singer at the Megaphone Gramophone Company, receiving further training under Bhishmadev Chatterjee. She later learnt Rabindra Sangeet under Anadi Dastidar. Kanan remained the top star of New Theatres until she resigned her contract in 1941 and began to freelance in Bengali and Hindi films.
She worked with the biggest names in Indian cinema with K. L. Saigal, Pankaj Mullick, Pramathesh Barua, Pahari Sanyal, Chabi Biswas and Ashok Kumar.
M.P. Productions’ Jawaab was perhaps her biggest hit. Her song Duniya Yeh Duniya, Hai Toofan Mail was well received. She repeated the same feat in Hospital (1943), Banphool (1945) and Rajlakshmi (1946). Kanan Devi’s last Hindi film was Chandrashekhar (1948), with Ashok Kumar. In all, she worked in 20 Hindi films. She also sang 86 songs in 16 Hindi films.
In 1947, she went abroad to educate herself with the goings on in the western world of cinema. She was glad to visit Hollywood and meet legends like Clark Gable, Spencer Tracy, Robert Taylor and others. On her return she resumed her professional career and worked in some films before setting up her own Shrimati Productions. Kanan turned producer with Shrimati Pictures in 1949 and later launched the Sabyasachi Collective with the film Ananya (1949). Her own productions were mainly based on the stories of Sharat Chandra Chattopadhyay.
Kanan married Ashok Maitra in December 1940. He was the son of the staunch Brahmo Samaj educationist Heramba Chandra Maitra. Despite their best intentions, the marriage could not withstand the severe condemnation by the then conservative society. Even the poet Rabindranath Tagore, who sent a token gift to the married couple received scathing criticism for blessing the couple. The main issue was that Kanan was not expected to be working in films after her marriage. She filed for divorce in 1945. Despite the pain of the divorce, Kanan expressed her immense gratitude towards her first husband for giving her social recognition through marriage for the first time in her life. To Kanan’s credit, she maintained excellent relations with Rani Mahalanobis, sister to Ashok Maitra and her husband, the famous social scientist P.C. Mahalanobis and with Kusumkumari Devi, Ashok Maitra’s mother, even after the marriage was severed.
Kanan married Haridas Bhattacharjee around 1949. Haridas Bhattacharjee was then ADC to the Governor of Bengal. He eventually left the naval service to join Kanan in her filmmaking venture and became a competent director. While raising their son Siddharth in Calcutta, she also formed and worked as the president of Mahila Shilpi Mahal, an organization to help senior female artists and other charitable and community causes, including those for the betterment of Bengali cinema.
It was quite an uphill task for Kanan Bala to transform herself into Kanan Devi in those days when women liberation was unheard of. She had to struggle and with her strong determination and independent personality, she virtually forced the society to shower their respect and esteem on her when she became a celebrity in her own right. In her old age, she fondly remembered her days at New Theatres, full of joy and laughter. She was deeply impressed with K.L. Saigal and had the greatest regard for him.
Kanan Devi virtually stopped singing after 1947. Her last concert was at the India House in London when she was invited by Shri Krishna Menon, the High Commissioner, to perform on 15th August 1947. She mentioned it as the greatest moment in her life as a singer. Kanan inspired a whole generation of later day singers, the foremost being Lata Mangeshkar. She lived a full life both as an artiste as well as a woman. A great devotee of Lord Krishna, during her last years she spent most of her time in worshipping her lord and reading Geeta for her self-realisation and inner peace.
Kanan Devi, as the first lady of the Bengali screen, received many honours for her contribution to Indian cinema. An honorary degree from Vishwabharati, the Padma Shree in 1968 and the Dadasaheb Phalke Award in 1976.
She died on 17 July 1992 in Bellevue Clinic, Calcutta when she was around seventy-six years of age. ( based on some information from Wiki, an article by Pran Neville, book ‘ My homage to all’ by Kanan Devi, muVyz, and my notes, with thanks.)
In the film’s cast the name Menaka Devi appears. She is a part of Same Name Confusion, as another Menaka was also active at the same time. Luckily this was from Calcutta and the other one was from Bombay. However, by working in Bombay films and Calcutta films, both Menakas did create enough confusion. Let us know more about this Manaka Devi- Calcuttewali.
Menaka Devi was born in Varanasi on 23-1-1921. Her mother was a resident of the holy city although her father was from Bengal. She studied upto Matriculation. She could speak fluent English and Hindi, but not much of Bangla, having been raised in Varanasi. Her interest in music and dance took her to Bombay where she starred in a couple of films like Prince Thaksen (1929), Uttara Abhimanyu, Ishwar Ki Maut and others as a child artiste. When the Talkie started she acted and sang in Bhedi Rajkumar-34, Pyara Dushman-35 and Krishna Shishtai – 35.
Reportedly, she met the legendary film director Debaki Bose of Bengal during a train journey and he was so impressed by her that he decided to cast her in the lead role of his next venture in the Hindi version of the bilingual Sonar Sansar (1936 in Bangla and Sunehra Sansar-36 in Hindi) and thus began the illustrious career of Menaka Devi.
Her devotion to work was such that she learnt Bengali, her mother tongue although she was anything but fluent in it having spent all her life till then outside Bengal, so that she could play the same role (that of Alka) in the Bengali version also. Dhiraj Bhattacharya was her first hero on the screen. P.C.Barua, who was on the lookout for a young and fresh face to play Jharna in his forthcoming production Mukti (1937) selected her for both the versions ( Bangla and Hindi) and a flow started whereby she starred in films like Adhikar (1939), Abhigyan (1938), Bardidi (1939 in Bangla and Badi Didi in Hindi), Rajat Jayanti (1940) and others.
She decided to try her luck in Bombay around 1944 and starred in a few films there and definitely made her presence felt although playing the second lead most of the time. Kishore Sahu procured her services for Hamari Duniya (1952). She was married to Pannalal Shrivastav and had 1 daughter ( Jaya Ganguly). She turned producer also and this proved her undoing. Both her films as producer, Apna na Huye Apne (No information of this film,probably incomplete) and Jeene Do-48, both starring herself with prominent Bombay stars flopped.
She returned to Calcutta a broken woman and found to her dismay that roles were not coming to her. She joined the MG Enterprise, a drama group of Molina Devi and performed on the stage to continue to live as an actress. She even arranged magic shows along with husband Pannalal Srivastava while small roles came pouring in films like Ekti Raat (1956) and others. The feature that strikes even today while seeing her performance is the spontaneous nature of her acting. Why good roles eluded her is a mystery. She was last seen on the screen in Bhombal Sardar (1983). In all, she acted in 60 films-Bangla and Hindi together.
Her end came on 22-1- 2004 after a prolonged fight not only against poor health but also poverty. Her death was reported only in one Bengali daily although her death news received good coverage on television.
Filmography- Only Hindi
——————————–
| Title | Place of production | Comments |
|---|---|---|
| Bhedi Rajkumar-34 | in Bombay | Acted and sang 1 solo |
| Pyara Dushman-35 | ” | Acted and sang 2 solos |
| Krishna Shishtai-35 | ” | Acted and sang 2 solos |
| Sunehra Sansar-36 | in Calcutta | Acted and sang 1 solo |
| Mukti-37 | “ | Acted and sang 1 solo |
| Abhagin-38 | ” | Acted |
| Badi Didi-39 | “ | “ |
| Sapera-39 | “ | “ |
| Mahakavi Kalidas-42 | ” | “ |
| Shrikrishna Arjun yuddha-45 | Bombay | Acted |
| Shravan Kumar-46 | ” | “ |
| 1857-46 | ” | “ |
| Chitod Vijay-47 | ” | “ |
| Jeene Do-48 | ” | ”( produced also) |
| Hamari Duniya-52 | ” | “ |
| Do Bigha Zamin-53 | Calcutta | “ |
Now that we have seen the life stories of Kanan Devi and Menaka Devi-Calcutta Wali, let us enjoy the song from the film Sapera-1939.
Song-Morey ghar aao saajan re (Sapera)(1939) Singer- Kanan Devi, Lyricist- Kidar Sharma, MD- R C Boral
Lyrics
Morey ghar aao sajan re
ae morey pyaare sajan
Morey ghar aao sajan re
ae morey pyaare sajan
roop ki bagiyaa
baras(?) rahi hai
roop ki bagiyaa
baras(?) rahi hai
man ki maina chahak rahi hai
haan aan aan aan
man ki maina chahak rahi hai
ae morey pyaare sajan
Morey ghar aao sajan re
ae morey pyaare sajan
Morey ghar aao sajan re
leti hai angdaiyaan
piyaa aa
aa aa aa aa aa
leti hai angdaiyaan
pi ee
sooni hai hirday ki basti ee
sooni hai hirday ki basti ee
aao ab aan baso re
ae morey pyaare sajan
aao ab aan baso re
ae morey pyaare sajan
Morey ghar aao sajan
leti hai angdaiyaan
piyaa aa aa aa
aa aa aa
leti hai angdaiyaan
pi ee
sooni hai hirday ki basti ee
aao ab aan baso re
ae morey pyaare sajan
Morey ghar aao sajan re
ae morey pyaare sajan
Morey ghar aao sajan re
Tu sun le kahaani
Posted on: January 23, 2020
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 : | 4206 | Post No. : | 15397 |
“Ban Phool”(1945) was directed by Dhiren Lahiri for P R productions, Calcutta. The movie had Kanan Devi, Krishnkant, Debi Mukherji, Ahin Chaudhary, Roy Mohan, Shyam Laha, Dev Bala, Bijli, Hiralal etc in it.
This movie had nine songs in it. Four songs have been covered in the past.
Here is the fifth song from “Ban Phool”(1945) to appear in the blog.
This song is sung by Kanan Devi. Pt Madhur is the lyricist. Music is composed by Dhiren Mittar.
It is clear that the song was picturised on Kanan Devi herself.
Song-Tu sun le kahaani (Ban Phool)(1945) Singer-Kanan Devi, Lyrics-Pt Madhur, MD-Dhiren Mittar
Lyrics
tu sun le kahaani
tu sun le kahaani
ae meri munni
ae meri raani
sun le kahaani
jis roz gaya bachpan
aayi jawaani pancham
aankhon mein hansa gulshan
aankhon mein
aankhon mein hansa gulshan
phir udne laga ye man
Ye man
phir udne laga ye man
ye ?? na jaane
sun le kahaani
tu sun le kahaani
is raah ?
?? se bachaaya
Main bani uski chhaaya
main bani uski chhaaya
?? hanse ??
hansi ka ??
rulaani
sun le kahaani
kuchh ko gayi manaane
dukh dard gham bhulaane
zakhmon ki dawa laane
zakhmon ki dawa laane
usne kiye bahaane
?? deewaani
sun le kahaani
tu sun le kahaani
ae meri munni
ae meri raani
ab raat nahin baaqi
ab aah nahin baaqi
man ?? hai
par raah nahin baaqi
ab raah nahin baaqi
baaqi hai ye nishaani
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 : | 3670 | Post No. : | 14548 |
“Ban Phool”(1945) was directed by Dhiren Lahiri for P R productions, Calcutta. The movie had Kanan Devi, Krishnkant, Debi Mukherji, Ahin Chaudhary, Roy Mohan, Shyam Laha, Dev Bala, Bijli, Hiralal etc in it.
This movie had nine songs in it. Three songs have been covered in the past.
Here is the fourth song from “Ban Phool”(1945) to appear in the blog.
This song is sung by Kanan Devi. Pt Madhur is the lyricist. Music is composed by Dhiren Mittar.
I have not been able to note down the lyrics to my entire satisfaction. I request our readers with keener ears to blanks/ help fill in the corrections wherever applicable.
With this song, 200 HFM songs from movies released in 1945 have been covered in the blog.
Audio
Song-Kali tu hi bata de hawa tu hi bata de(Ban Phool)(1945) Singer-Kanan Devi, Lyrics-Pt Madhur, MD-Dhiren Mittar
Lyrics
kali tu hi bata de
hawa tu hi bata de
chaman mein kaun aaya
kaun gaya aa aa
kali tu hi bata de
hawa tu hi bata de
kaise pyaar ho gaya
kaisi bahaar de gaya aa
kaise pyaar ho gaya
kaise pyaar ho gaya
kaisi bahaar de gaya aa
kali tu hi bata de
hawa tu hi bata de
aa aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa aa
hai pal mein badal gayi duniya
hain badal gayi pichhli kaliyan
aur naach uthhi jeewan ghadiyaan
ab chamak rahi mann phuljhadiyaan
mann phool raha
mann phool raha
mann pyaasa raha
mann doob gaya
mann phool raha
mann phool raha
mann pyaasa raha
mann doob gaya
paayal ki ab sun kar dum
tan man naache chham chham chham
duniya kehti tham tham tham
iqraar kiya to laaj hansi
inkaar kiya to pyaar hansa
iqraar kiya to laaj hansi
inkaar kiya to pyaar hansa
Ye dil hai tumhen pukaare
Posted on: August 2, 2018
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 : | 3667 | Post No. : | 14540 |
“Ban Phool”(1945) was directed by Dhiren Lahiri for P R productions, Calcutta. The movie had Kanan Devi, Krishnkant, Debi Mukherji, Ahin Chaudhary, Roy Mohan, Shyam Laha, Dev Bala, Bijli, Hiralal etc in it.
This movie had nine songs in it. Two of these songs have een covered in the past.
Here is the third song from “Ban Phool”(1945) to appear in the blog.
HFGK mentions this song as sung by Kanan Devi and chorus. But listening to this song, it becomes clear that the song is a duet sung by a male voice and Kanan Devi, with the male voice in fact singing bulk of the song. Uploader of the song mentions this sopng as sung by Dhirendra Chandra Mittar and Kanan Devi, where the male voice is the same as the music director. I have gone with that name for the male voice. I request our knowledgeable readers to throw light on the picturisation of this song as well as on the identity of the male voice.
Pt Madhur is the lyricist. Music is composed by Dhiren Mittar himself.
I have not been able to note down the lyrics to my entire satisfaction and there are words that I feel need correction. I request our readers with keener ears to suggest corrections in the lyrics wherever applicable.
Song-Ye dil hai tumhen pukaare (Banphool)(1945) Singers-Dhirendra Chandra Mittar, Kanan Devi, Lyrics-Pt Madhur, MD-Dhirendra Chandra Mittar
Both
Lyrics
Ye dil hai tumhen aen aen aen aen pukaare
Ye dil hai tumhen pukaare
Ye dil hai tumhen pukaare
jis din tumse milna hoga
haan chamkenge andhiyaare
chamkenge andhiyaare
chamkenge andhiyaare
chamkenge andhiyaare
aandhi aur toofaan mein
shaayad ham tum honge saath
phoolon ki sundar duniya mein
ham tum karenge baat
phoolon ki sundar duniya mein
ham tum karenge baat
ham tum karenge baat
tumko roz bulaane jaate
tumko roz
tumko roz bulaane jaate ae ae
aashaaon ke taare
aashaaon ke taare
aashaaon ke taare
aashaaon ke taare
Ye dil hai tumhen pukaare
Ye dil hai tumhen pukaare
yahaan nahin to
wahaan milenge
milna hamen zaroor
milna hamen zaroor
nahar kinaare khojoon main ke
paar ho ya door
nahar kinaare khojoon main ke
paas ho ya door
paas ho ya door
jeet hamaari aakhir hogi
jeet hamaari aakhir hogi
chaahe duniya haare
chaahe duniya haare
Ye dil hai tumhen pukaare
Ye dil hai tumhen pukaare
Main sharmaayee kyun sharmaayee
Posted on: June 1, 2018
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| Blog Day : | 3605 | Post No. : | 14386 |
“Raaj Laxmi”(1945) was Premendra Mitra for M P Productions, Calcutta. The movie had Kanan Devi, Chhabi Vishwas, Natwar, Jahar, Poornima, Tandon, Ifthikhar Ahmad, Rai Mohan, Puri, Talat Mehmood etc.
The movie had seven songs in it. HFGK mentions eight songs but the eighth song is a private song.
One song from the movie has been covered in the past. Here is the second song from the movie to appear in the blog.
This song is sung by Kanan Devi. Suresh Chaudhary is the lyricist. The movie had two music directors, but the distribution of songs among them is not known.
Only the audio of the song is available. It is clear that the song was picturised on Kanan Devi herself.
I have not been able to get a few words right in the lyrics. I request our readers with keener ears to help fill in the blanks/ suggest corrections as applicable.
Audio
Song-Main sharmaayi kyun sharmaayi (Raaj Laxmi)(1945) Singer-Kanan Devi, Lyrics-Suresh Chaudhary, MD-Robin Chatterji, Dhiren Ghosh
Lyrics
Main sharmaayi
kyun sharmaayi
Main sharmaayi
kyun sharmaayi
jab paas thhe wo
main door rahi
kyon door rahi
ab chale gaye ae ae
man le ke gaye
o man le ke gaye
main pachhtaayee
kyun door rahi
Main sharmaayi
kyun sharmaayi
haan aan aan
ruki ghaat par
jab thhi naiyya
mujhe bulaaye ae
na wo khewaiyya
haan aan aan aan aan
wo chale gaye
main kyun na gayi
kyun door rahi
ujad gayi aasha ki bagiya
chhaayi ab sapnon pe duniya(?) aa aa
ujad gayi aasha ki bagiya
chhaayi ab sapnon pe duniya(?)
guzre dinon ki saari kahaani
guzre dinon ki saari kahaani
aansuon mein doob gayi
main door rahi
main sharmaayi
kyun sharmaayi
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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