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

Archive for the ‘Khan Mastana songs’ Category


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

Blog Day :

4801 Post No. : 16567

‘Parbat Pe Apna Dera’ (1944) was V Shantaram’s second film under his banner, Rajkamal Kala Mandir following a tremendous box office success of his first film ‘Shakuntala’ (1943). The film was released on August 8, 1944. The starcast included Vanmala and Ulhas in the lead roles supported by Shantarin, Madan Mohan, Kanta Kumari, P L Samant, Vijaya, Baby Nalini etc.

The lead actor of the film, Ulhas (real name: M N Kaul) had switched over to character actor’s roles when I started watching films in the theatre. So, it was a new experience to me when I first saw his performance as a lead actor in ‘Basant’ (1942) about 6-7 years back after which I saw his performance in the lead role in ‘Parbat Pe Apna Dera’ (1944). I have noted that Ulhas had worked in some films under V Shantaram – ‘Wahaan’ (1937), ‘Dr Kotnis Ki Amar Kahani’ (1946), ‘Dahej’ (1950), ‘Surang’ (1953), ‘Toofaan Aur Diya’ (1956), ‘Do Aankhen Baarah Haath’ (1957), ‘Navrang’ (1959) and ‘Sehra’ (1963).

Ulhas’s connection with V Shantaram goes back to 1937 when he left his home town, Ajmer and reached Pune to try his luck as an actor. He met his fellow Kashmiri, Chandramohan who has become a well-known actor in Prabhat Film Company. He helped Ulhas in getting a side role in ‘Wahaan’ (1937) in which Chandramohan was a lead actor and V Shantaram was the director. After this, there was no looking back for Ulhas. He acted in over 150 films during his active filmy career of over 3 decades.

V Shantaram who had been making films with progressive themes like in ‘Duniya Na Maane’ (1937). ‘Aadmi’ (1939), ‘Padosi’ (1941) etc, chose a different theme for the film which he had not handled in his previous films. The theme was an unusual romance between an ascetic with a hilltop as his abode sans the worldly pleasure and a blind heiress staying in her palatial home. I have watched the film a couple of months back. The story of the film is as under:

Sadhu Ram Das (Ulhas) has renounced the world and made a hill top his abode Just below his hilltop abode is a Shiva temple. Meera Devi (Vanmala) an heiress who has lost her eyesight in the childhood, often visit Shiva temple along with her father (P L Samant) and her maid (Shantarin) to seek the blessing for curing her eyesight as modern medical science has not been able to restore her eyesight.

During one of her visits to Shiva temple, Meera Devi hears a singing voice from a distance which happens to be that of Sadhu Ram Das. Meera Devi is eager to visit the place to see the singer. Sadhu Ram Das does not like people visiting him as they distract his concentration during the prayer. First, he discourages her to come near him. But finding Meera Devi blind, he offers to cure her blindness within six days through his herbal eye drops.

On the sixth day, Meera Devi’s eyesight is restored. Now she wants to become a devotee of Sadhu Ram Das to serve him in his daily routine. But Sadhu turns her away as he does not want to get affected in his prayer and the concentration. After she leaves, Sadhu Ram Das is restless and feels her absence. Hence, when Meera Devi starts visiting his abode to help him in his daily routine, he does not object her presence. Slowly, he tastes the luxury of someone doing the work for him.

Meera Devi’s daily visit to the abode of Sadhu Ram Das creates a flutter among other sadhus staying nearby. She suggests Sadhu Ram Das to shift to her palatial residence which after some hesitation, he agrees. He soon gets used to the luxuries of life. He shades his beard and sadhu’s outfits. He starts flirting with Meera Devi and soon they get married.

After marriage, Sadhu Ram Das becomes Ram Babu who suddenly develops taste for enjoying the company of other ladies. During a boat ride with Meera Devi, he gets attracted towards a courtesan who is singing in her own boat. He clandestinely visits her boats every day and enjoy her company with wine. During one of his such visits, he is caught red-handed by Meera Devi’s father but decides not to tell his daughter after Ram Babu promises not to repeat the mistake.

Ram Babu’s addiction for the company of females results in breaking his promises to his father-in-law and flirts with a florist in the vicinity of his home itself. He is once again caught red-handed by Meera Devi who is hurt by his behaviour. She debars him from entering her home.

Now that his wife knows about his weakness for women, he now openly flirts with women during the Navratri festival. On the Dusshera day, he flirts with one of Meera Devi’s friends (Kanta Kumari) and attempts to molest her. To save herself, she throws a burning cracker towards Ram Babu which hits him in his eyes resulting in blindness.

When Meera Devi comes to know about the incidence, she goes with her father in search of him. Eventually, they find him in his hilltop abode. Meera Devi suddenly remembers his magic herbal eye drop bottle which she retrieves from his cave. Alas, on the way, it falls and bottle is broken. Finally, it is the continuous ringing of the temple bell by both Meera Devi and Ram Babu which restores his eyesight.

Most of V Shantaram’s films have some message to the society and ‘Parbat Pe Apna Dera’ (1944) is no exception. In the film, he sets out the message that it does not take much time for ascetic to turn hedonist. Afterall, an ascetic is also a human and is subject to the temptation of the worldly pleasures which are addictive in nature. The title of the film did make me hesitant to watch the film. But once I began to watch, the film unfolded like a smooth sailing.

There is nothing much in the story by Diwan Sharar. In fact, the story’s end is a tame affair. But his dialogues are crispy. It is V Shantaram’s direction which makes the story visually interesting. There are a few brilliant streaks of symbolisms in his direction. For instance, the ascetic’s abode on a hilltop conveys that his status is on a high pedestal. When he decides to shift to Meera’s palatial home on the plains and is walking with her to come down, a big bolder with accompanying rocks and stones roll down symbolising that the ascetic is walking down to a lower status to become a householder.

On the performances of the actors in the film, only 4 actors have a large screen presence – Ulhas, Vanmala, Shantarin and Madan Mohan (not to be confused with music director, Madan Mohan). All the four have given a good performance.

Another plus point of this film is the musical compositions of Vasant Desai. Most of the songs have pleasing tunes and good orchestrations which have been nicely picturised. All these three elements of the songs put Vasant Desai’s music being ahead of its time.

So far, six songs (out of 9) have been covered in the Blog. I am presenting the 7th song from the film, ‘sapanon mein aane waale’ rendered by Khan Mastana. The song is written by Diwan Sharar which is set to music by Vasant Desai.

The song is picturised on Ulhas who, after renouncing from asceticism and marrying Vanmala, has become a playboy. He sings this song during a festival gathering to attract female participants.

Video Clip:

Audio Clip:

Song-Sapnon mein aanewaale hamko jaga rahe hain (Parbat Pe Apna Dera)(1944) Singer-Khan Mastana, Lyrics-Dewan Sharar, MD-Vasant Desai

Lyrics

aaa aa aa aa
aa aa aa
aa aa aa aaa

sapanon mein aanewaale
sapanon mein aanewaale
hamko jagaa rahen hain
hamko jagaa rahen hain
ham jinko dhoondhte thhe
ham jinko dhoondhte thhe
wo khud bula rahen hain
wo khud bula rahen hain

mehmaanon ki hai raunaq
mehmaanon ki hai raunaq
taanta sa lag raha hai
taanta sa lag raha hai
do chaar jaa rahen hain
do chaar aa rahen hain
do chaar jaa rahen hain

hairaan hain nighaaein
hairaan hain nighaaein
kya chaahen kya na chaahen
kya chaahen kya na chaahen
wo kuchch dikha rahe hain
aur kuchch chhupa rahe hain
aur kuchch chhupa rahen hain

doley ae
doley hain mann ki naiyya
doley ae
doley hain mann ki naiyya
aur bekhabar khaiwaiyya
aur bekhabar khaiwaiyya
bhooli huyi dagar mein aen
bhooli huyi dagar mein
ham dagmaga rahe hain
ham dagmaga rahe hain
sapanon mein aanewaale
hamko jagaa rahe hain
ham jinko dhoondhte the
wo khud bula rahe hain
sapanon mein aanewaale ae


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

This article is his 1000th post in the blog.

Blog Day :

4779 Post No. : 16531

POST NO. 1000
——————————-

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

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

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

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

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

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

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

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

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

So, what next ?

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

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

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

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

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

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

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

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


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

Lyrics

bichhdi hui bahaar
galey daalti hai haar

aa aa aa aa aa
aa aa aa aa aa

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

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

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

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

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

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

बिछड़ी हुई बहार
गले डालती है हार

आ आ आ आ आ
आ आ आ आ आ

बा..हार है बहार
बा..हार है बहार

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

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

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

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


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a 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 :

4762 Post No. : 16509 Movie Count :

4487

Today’s song is from the film Duniya Tumhari hai-1942. This was a social film made by Pawar Pictures- owned by the Director G.P.aka Ganapatrao Pandurang Rao Pawar. The name G.P.Pawar instantly reminds us of Lalita Pawar. He was her first husband. Before and also after marriage Pawar was director of most films of Lalita Pawar. They had a son- Jai Pawar.

The marriage crashed on a rock, when Lalita discovered the love affair brewing between him and her younger sister. She immediately divorced him, but kept using the surname “Pawar” till the end , though she had married again. Their son Jay could never become an actor. He was a Producer of Parwana-71 and Manzil-79. Earlier he was assistant director during the film Mem Didi-61. His son too could never become an actor, though he tried hard.

The film’s Music Director was S N Tripathi and Lyricist was I.C.Kapoor. The cast was Kanta Kumari, B.Nandrekar, Madhukar Gupte, Sadiq, Ansari etc. There were 12 songs in the film.

In the Hindi film industry, in the early years, it was expected that the hero of a film must be tall, handsome, fair, strong and with an impressive personality. If not all, then most of the above qualities were expected in a Hero. Now, nobody can have ALL these qualities desired in one person. So slowly, the industry accepted the reality and instead of a tall, handsome etc etc Hero, compromises were made and his singing and acting ability became the desired qualities. Over a period, singing was dropped and only the histrionic capabilities became the desired quality and thus actors like Om Puri, Balraj Sahani, Shaikh Mukhtar, Nasiruddin Shah etc became Heroes and succeeded on the basis of their acting alone.

However, still the puppy faced, Chubby and Chocolate looking actors were popular. Actors like Pradeep Kumar, Karan Dewan, Bharat Bhushan etc. got dozens of films and the best and most beautiful Heroines, despite their lack of acting skills.

When I look back at different Heroes operating in Hindi films from 1931 onwards, I find that there were very few really handsome Heroes. I can quote names of at least 3 Heroes who were really handsome and attractive. They were B.Nandrekar, Najmul Hasan and Chandra Mohan.

There was an actor who easily transitioned from silent films to talkie films. This was B Nandrekar or Baba Saheb Dada saheb Nandrekar.

Nandrekar was one of the very few really handsome actors Hindi films ever had. He was born on 15th November 1910, in Sangli district of Maharashtra, near Kolhapur. Being a Muslim, he could speak Urdu/Hindi fluently. He completed his schooling from Kolhapur and joined films. Vishnupant Damle (one of the founder partners of Prabhat Films) was making silent film ‘Maharathi Karna’ (1928) for Maharashtra Film Co. He offered Nandrekar a role. Then he worked in other films like ‘Baji Prabhu Deshpande’ (1929), ‘Lanka’ (1930), ‘Kismet’ (1931) and ‘Dushman Ki Raat’ (1931).

His first talkie film was ‘Kurukshetra’ (1933). Prabhat gave him a role in ‘Sant Tukaram’ (1936) (its Hindi version came in 1948). He worked in ‘Amar Jyoti’ (1936) and became quite popular as a hero, opposite Shanta Apte. He was the hero in ‘Baghbaan’ (1938) opposite Sitara Devi.

In 1939, he became the first actor to go abroad to shoot scenes in the film ‘Africa In Hind’ – ‘हिन्द में अफ्रीका’ (1939). The shooting was done in Africa. Thus this became the first ever Hindi film to shoot in foreign country, and NOT film ‘Naaz’ (1954), as is popularly believed and also as mentioned in HFGK. Nandrekar had become very popular. The chappals he used in the film ‘Baghbaan’ became fashionable by the name ‘Nandrekar Chappals‘. This alone is enough to prove his popularity.

His lawsuit against Prabhat Film Company was a topic of discussion in the industry. There were differences between him and Prabhat over his contract with them. His lawyers were Mr. Jinnah and Mr. Setalwad, who won the case for him. He was also the first actor to work as a freelancer.

His sister Ameenabai was also an actress. Nandrekar acted in some Marathi films also.

Nandrekar appeared in 23 films. His films were ‘Kurukshetra’ (1933), ‘Amar Jyoti’ (1936), ‘Jaadugarin’ (1937) (UR), ‘Baghbaan’ (1938), ‘Africa In Hind’ (1939), ‘Qaidi’ (1940), ‘Hindustan Hamara’ (1940), ‘Alakh Niranjan’ (1940), ‘Chitralekha’ (1941), ‘Mamaji’ (1942), ‘Duniya Tumhari Hai’ (1942), ‘Nai Kahaani’ (1943), ‘Andhi Duniya’ (1943), ‘Swarn Bhoomi’ (1944), ‘Lady Doctor’ (1944), ‘Ismat’ (1944), ‘Bachpan’ (1945), ‘Kamla’ (1946), ‘Jeevan Sikho’ (1946), ‘Parshuram’ (1947), ‘Meri Amaanat’ (1947), ‘Khandani’ (1947), ‘Sant Tukaram’ (1948) and last film ‘Bihari’ (1948).

He passed away in 1949. No definite information is available about his demise.

One more interesting personality in this film was Ansari. Nisar Ahmed Ansari was the son of the late Dr. Ameer Ahmed Ansari. He was born on 29-8-1917 at Jhansi. His father had been serving in the Military for 11 years and he expired in 1938. He was well known in Jhansi as he practiced there for 40 years.

Ansari matriculated from Allahabad University in 1933. In 1935, he passed his Inter from Aligadh. By 1939 he was a graduate of Bombay University. He was keen to join films and in this, Mehboob khan helped him by recommending him for film Aasra-40, made by National Studios. It was directed by Mehboob’s assistant Chimanlal Gandhi.

By watching him, no one can ever visualise that a suave and respectable man like him can be a scheming villain . Competition for him was tough, initially when he joined the film industry, as there were many character actors already there, who were specialists in negative roles . But young and energetic Nisar Ahmad Ansari had faith in his potential .

He believed that it was not necessary that a villain should have thick eyebrows with roving eyes and have a permanent frown on his face. A person having negative traits may have a smiling face also ,to conceal his evil designs . Therefore in most of his movies, he was a well dressed person ,always beaming and had a friendly smile on his face. In his films, he used to be boss of a criminal syndicate and have an army of foot soldiers who carried out dirty work on his behalf. To keep a distance between master and servant, instead of calling them by their name he used to call his cronies by their allotted numbers like Number Ten Or Number Five.

With a hit movie ‘Mangu’, he became a director and later directed many successful movies like Black Cat, Tower House, Mr Lamboo, Zara Bach Ke, Wanted etc for various producers and after he established his own banner Bundel Khand Films, he made many memorable movies. Although he had to look after his own company and permanent staff ,he did not disappoint other filmmakers ,who wanted to have him in their movies in the role of villain. It is a fact that it was his Black Cat which helped G P Sippy to be a part of the league of big producers, but it is also true, Mr Sippy forgot him later and never acknowledged Mr Ansari’s contribution .

Mr N A Ansari, was essentially a dedicated film maker and had no false illusions about his own capabilities. His movies were never lavishly made and had average production value ,but it did not deter his fans and sizable majority of film viewers ,who adored him and his pictures to patronise his movies. Those who love the movies of the golden age, fondly remember his movies which used to have him in the role of villain, beside good music, suspense, comedy, dance with a plausible story and a strong message for society, that “Crime Never Pays”.

With producer/actor Sheikh Mukhtar, Nisar Ahmad Ansari had earlier worked as an actor in Dada, Dara & Ustad Pedro. Sheikh Mukhtar, aware of Ansari’s capability ,in 1954, offered him Mangu to direct. The big success of Mangu was a game changer for Ansari & O P Nayyar. They both were immensely benefited with the favourable outcome of the movie & it’s music. Mangu had predictable Jodi of Sheikh Mukhtar & Mukri ,with Nigar Sultana ,Sheila Ramani & Ansari himself, as a suave villain. Mangu had a breathtaking, thrilling climax, involving the speeding train. Some real shots, a few stock shots & rest studio shots with back projections (Aadhi Haqeeqat ,Aadha Fasana ),made the climax awe-inspiring. Unfortunately, the movie could not be preserved & the present generation has been deprived of witnessing Ansari’s first effort as director. Mangu is one of the most searched movies on youtube.

He again directed Mr Lambu, a big success, for Sheikh Mukhtar. This time with the classic beauty Suraiyya with music by O P Nayyar, but a similar tragedy happened, again. No print of the movie is available. In almost all his films N.A.Ansari played the role of an urbane & sophisticated Don. He always appeared, well dressed in impeccably tailored suits, fedora, trade mark pipe between his teeth & walking stick, in his hand.

Beside Sheikh Mukhtar,he directed movies, like Black Cat,Tower House,Jara Bach Ke,Wanted for other producers and playing the main villain .He had no qualm for working in the movies directed by other film makers & in this category, movies like Private Secretary,Fareb ,Do Thug ,Khota Paisa, Gunda,Ustad 420,Gunahon Ke Raaste can be named. Under his own banner Bundel khand Films he made Wahan Ke Log,Mulzim,Zindagi Aur Maut,Mr Murder, Jurm Aur Sazaa and Noor E Ilahi. The last one being his last production in 1976 & then he decided to hang his boots.It was a big journey for Ansari,who was discovered by Mehboob & given a role in Aasra, released in 1941.

He could not say “No” to film maker Sultan Ahmad,when he insisted him to appear in Dharam Kanta (1982 ) & later in Jai Vikranta. N.A.Ansari closed his eyes for ever on 11 Jan 1993, in Canada, thousands of kilometres away from his beloved city Jhansi ,much before the release of his last movie Jai Vikranta in 1995. As an actor he did roles in 77 films, starting with Aasra-41. He directed 11 films, from Mangu-54 to Jurm aur Saza-74.

(Based on information from Filmdom-46 and an article by M.N.Sardana ji, with thanks.)

With today’s song, film Duniya tumhari hai-1942 makes its Debut on this Blog.


Song- Hansi rahegi labon per jahaan rahe na rahe (Duniya Tumhaari Hai)(1942) Singer- Khan Mastana, Lyricist- Ishwar Chand Kapoor, MD- S N Tripathi

Lyrics

Hansi rahegi labon per
jahaan rahe na rahe
Hansi rahegi labon per
jahaan rahe na rahe
zameen rahe na rahe
zameen rahe na rahe
aasmaan rahe na rahe
haan
zameen rahe na rahe
aasmaan rahe na rahe

kam na hoga kabhi
shauk tere sijdon(??) ka
kam na hoga kabhi
shauk tere sijdon(??) ka
zameen rahe na rahe
zameen rahe na rahe
aasmaan rahe na rahe
haan
zameen rahe na rahe
aasmaan rahe na rahe

hansi rahegi labon pe
jahaan rahe na rahe
hansi rahegi labon pe
jahaan rahe na rahe
zameen rahe na rahe
zameen rahe na rahe
aasmaan rahe na rahe

ek apni duniya niraali
basaayenge dil mein
ek apni duniya niraali
basaayenge dil mein
bala se apni ye
bala se apni ye
saara jahaan rahe na rahe
haan bala se apni ye
saara jahaan rahe na rahe
udaas (??) chain se ujdi chaman mein bulbul ki
udaas (??) chain se ujdi chaman mein bulbul ki
bahaar aayi hai ab
bahaar aayi hai ab
aashiyaan rahe na rahe
haan
bahaar aayi hai ab
aashiyaan rahe na rahe
hansi rahegi labon par
jahaan rahe na rahe


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

Blog Day :

4750 Post No. : 16485

The tale of two brothers – Hafiz Khan and Aziz Khan, sons of the Ustad Waheed Khan of Etawaha Gharana is not only saddening but also contrasting in the end. After a promising start in Hindi films as a playback singer and the music director in the 1940s, Hafiz Khan died in 1972 in extreme poverty. Aziz Khan, on the other hand, after a brief stint with Hindi film industry as a music director, reverted to playing Sitar and trained his son, Ustad Parvez Khan who is now an internationally well-known Sitar player.

Etawaha Gharana popularised the Sitar and Surbahar and Ustad Waheed Khan was a famous exponent of both these musical instruments. He appeared in Satyajit Ray’s ‘Jalsaagar (1958) in which he can be seen playing Raag Bihaag on Surbahar in one of the scenes of the film. Ustad Waheed Khan was a court musician at the court of Holkar of Indore for 18 years, in the court of Maharaja of Patiala for 3 years and later in the court of Nizam of Hyderabad until 1948. Naturally, he wanted his two sons to continue the Gharana tradition of playing Sitar and Surbahar. With this aim in mind, Ustad Waheed Khan gave extensive training in Sitar, Surbahar and vocal music to his two sons. At the age of around 12 , Hafiz Khan was sent to Kolkata to receive further training in Sitar and Surbahar from his uncle, Ustad Inayat Khan (father of sitar maestro Ustad Vilayat Khan) who found Hafiz Khan to be a promising student of Sitar and Surbahar. He used to accompany his uncle in his sitar/surbahar concerts.

In Kolkata, Hafiz Khan got mesmerised with the songs of K L Saigal and Pankaj Mullick. He was now more interested in becoming a singer in Hindi films than learning Sitar and Surbahar. On a visit to Hyderabad to spend some time with his father who had then become a court musician in the court of Nizam, Hafiz Khan got a chance to sing songs on Hyderabad Radio. Knowing fully well of his father’s strong aversion to film songs, he had to sing on the radio without revealing his name. He got some money for his singing on the radio.

Knowing that his father would never allow him to sing for Hindi films, one day Hafiz Khan ran away from Hyderabad with his money earned from radio singing to Mumbai some time in 1934. After doing some odd jobs in the film studio including small roles as actor, producer Chandrarao Kadam, who was producing ‘Bahadur Kisaan’(1938) for which Mir Sahab was entrusted with the music direction, gave him a chance to sing a solo song ‘baalam gaye pardes ri sajni’ which became his debut playback song in a film. With this song, Hafiz Khan became known as a singer. Since he wanted to hide his name associated with film songs from his father, Mir Sahab gave him a new name ‘Khan Mastana’ keeping in view his jolly nature.

After the release of ‘Bahadur Kissan’ (1938), Mir Sahab joined Minerva Movietone as the music director. He also took Khan Mastana to Minerva Movietone where he was taken as a playback singer on a 3-year contract. During this period, he sang songs in ‘Jailor’ (1938), ‘Talaaq’ (1938), ‘Pukaar’ (1939) ‘Main Haari’ (1940), etc. His songs from these films raised his popularity graph. During the last year of the contract with Minerva Movietone, Sohrab Modi wanted him to play sitar in addition to his contract as playback singer. Khan Mastana refused to play sitar as he did not wish to become a musician. He left Minerva Movietone. By that time, he had also got an offer from a film producer to work as a music director (probably for ‘Virginia’, 1940). Since Sohrab Modi did not want to lose Khan Mastana, he gave him a chance as a music director in his film ‘Vasiyat’ (1940) which he accepted as a free-lancer.

In around 1945, Khan Mastana’s younger brother, Aziz Khan had also joined Bombay film industry as a music director. To conceal his identity for his association with films, he had also changed his name to ‘Aziz Hindi’. By 1947, Khan Mastana had become a top male playback singer next only to G M Durrani and had given music direction to as many as 23 films. Everything was going very fine in his filmy career. He had money, fame and the luxury of staying in any one of his 5 flats in Mumbai. But his misfortune started when he paid a visit to Hyderabad sometime in 1947. His father who was a court musician at that time with Nizam, did not allow him to return to Mumbai. Instead, he pressurized Khan Mastana to learn classical music and sing in front of him rather than in the films. This continued for almost a year which led to delay in films for which he was committed to complete the recording of the songs as playback singer and as a music director. The producers of such films had to engage some other music directors to complete their films. Khan Mastana’s unprofessional attitude resulted in losing some prospective films as the music director.

In early 1948, Khan Mastana once again ran away from Hyderabad for Mumbai. One year of the absence from the film industry is sufficient for a film artist to be forgotten. Khan Mastana managed to get some playback singing assignments to re-establish himself in the film industry. One of the songs in which he sang with Mohammed Rafi was ‘watan ki raah pe watan ke naujawaan shahid ho’ from ‘Shaheed’ (1948) which became very popular. When Khan Mastana has just settled down in the film industry mainly as a playback singer in his second innings, his father came to Mumbai and forcibly took him ( also his brother, Aziz Khan) back to Hyderabad. This time, he was trapped in Hyderabad for about 2 years.

When Khan Mastana returned to Mumbai after 2 years – probably in 1951, he had not only faced the wrath of producers and music directors for his unprofessional behaviour, he had to face stiff competition of emerging playback singers like Mohammed Rafi, Mukesh, Talat Mehmood and Manna Dey. Some new music directors had also emerged during his absence who were happy with the emerging playback singers. Khan Mastana realised that his days as playback singer and the music director were over. In his third inning in film industry, he could get only a handful of songs to sing. He sang his last song as a playback singer, zindagi hai yaa koi toofaan hai in ‘Zindagi Yaa Toofaan’ (1958) which became his swan song.

From the mid 1950s up to his death in March 1972, Khan Mastana lived a life of extreme poverty. During his heydays, he lavishly spent money on his friends who also made him addicted to some vices including drinking. So, he had not saved money for the future. He was staying with his family in a small room mocated in a lane adjunct to Mahim Dargah. He had got afflicted with paralysis in 1966. His only son got similar affliction at the age of 14.

Khan Mastana who had sung nearly 150 songs, composed music in around 30 films besides acting in around 10 films died unsung in abject poverty in March 1972.

What a sad end of a lineage from the Etawah Gharana. His nephew, Ustad Shahid Parvez Khan (son of his brother, Aziz Khan) who is an accomplished sitar player of international repute is of the view that going by the recordings of his uncle’s Hindustani classical renditions and sitar/surbahar recitals available with the family’s archive, Khan Mastana would have become one of the leading exponents of Hindustani classical music if he had concentrated on playing Sitar/Surbahar and as a classical vocalist rather than in the Hindi film industry.

‘Muqabala’ (1942) was one of the films of Khan Mastana’s heydays for which he was not only the music director, he also sang for himself in the film and also provided playback singing for other actors. This film seems to have been produced at a time when Wadia Movietone was in the verge of a split between Wadia Brothers. The film was made under the banner of J B H Wadia Productions but it was a Homi Wadia presentation. The film was jointly directed by Batuk Bhatt (Nanabhai Bhatt) and Babubhai Mistry. The star cast included Nadia and Yaqub in the lead role supported by Srinivas, Rajni, Dalpat, Nazira, Agha, Jal Khambata, M K Hasan, Baby Madhuri etc.

The film had 9 songs of which 3 songs have been covred in the Blog. All the songs were written by A Karim. I am presenting the film’s 4th song, ‘mujrim hoon mohabbat ka jo chaahe saza dena’ which is picturised on Yaqub. Agha is also seen in the song picturization.

Almost all on-line resources mention Yaqub as the singer. But it is apparent that the voice in the song is that of Khan Mastana.

——————————————————————————————————————————————————————

Acknowledgement: Sometime last year, one of my friends sent me a photocopy of an article written by Madhup Sharma which was published in Hindi magazine, ‘Madhuri’ in 1969. This article was based on the interview the author had taken with Khan Mastana in his house. Much of the information about Khan Mastana in my article is based on this source with some updates.

Video Clip:

Audio Clip:

Song-Mujrim hoon mohabbat ka jo chaahe sazaa dena (Muqaabla)(1942) Singer-Khan Mastana, Lyrics-A Karim, MD-Khan Mastana

Lyrics

aa aa aa
haaa haaa
aaaa aaaaa
mujrim hoon mohabbat ka
jo chaahe saza dena
mujrim hoon mohabbat ka
jo chaahe saza dena

mujrim hoon mohabbat ka aa aa
haan aan
jo chaahe saza dena aa aa
par yaad rahe itna
dil se na bhula dena
par yaad rahe itna
dil se na bhula dena

main dil tumhen deta..aa hoon
lekin kahe deta hoo..n
main dil tumhen deta hoon
lekin kahe deta hoon
mujhko to mitaaya hai
isko na mita dena
mujhko to mitaaya hai
dil ko na mita dena

aaraam na hai din ko….o o o o
aur neend na raaton ko…o o o o
aaraam na hai din ko
aur neend na raaton ko..o o o
beemaar kiya tumne
ab tum hi dawa dena
beemaar kiya tumne
ab tum hi dawa dena

wo guzri huyi baaten
raaton ki mulaakaaten
wo guzri huyi baaten
raaton ki mulaakaat..en
bhoole se jo yaad aaye
do aansoo baha dena
bhoole se jo yaad aaye
do aansoo baha dena
mujrim hoon mohabbat ka
jo chaahe saza dena
par yaad rahe itna
dil se na bhula dena


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

Blog Day :

4748 Post No. : 16476

Kishore Sahu, actor, producer, director and story/screen-play/dialogue writer must be a dynamic, ambitious and resourceful person. Otherwise, how could one explain the pace at which he turned producer after the release of only one film? He started his acting career with a lead role in Bombay Talkies’ ‘Jeewan Prabhat’ (1937). One film old Kishore Sahu set up a film production company, India Artists Ltd. As a managing director of the company, he produced ‘Bahurani’ (1940) which was released in June 1940. The film was commercially successful.

By 1945, Kishore Sahu had become a successful film producer, director, writer and actor. But before that he faced a ‘speed breaker’ in his career path. Sometime in the latter half of 1940, Kishore Sahu’s marriage with Snehprabha Pradhan, his co-star in ‘Punar Milan’ (1940) in September 1940 ran into trouble. In less than six months of their marriage, they separated. The long court battles and the resultant divorce sometime in 1942 affected Kishore Sahu to such an extent that he left Bombay in early 1941 and went into ‘hibernation’ for a year or so in his native town and Nagpur.

It is said that a person in a depressed mind for a long time is likely to experience change in his personality after he overcomes the depression. But in the case of Kishore Sahu, it appears that more than the likely change in his personality, the recovery from the personal problems changed his filmy career for the better. Kishore Sahu returned to Bombay with a story of ‘Kunwaara Baap’ (1942) which was his debut film as a director. He was also the lead actor opposite Protima Dasgupta. It was a social satirical film.

The box office success of ‘Kunwaara Baap’ (1942) encouraged him to direct two more films with similar theme – ‘Raja’ (1943) and ‘Sharaarat’ (1944) making them a trilogy of films with social satire as the theme. He was once again paired with Protima Dasgupta in both these films. While ‘Raja’ (1943) was a commercial success, ‘Sharaarat’ (1944) did not fare well at the box office. But his subsequent film, ‘Veer Kunal’ (1945) which Kishore Sahu produced and directed under the banner of Ramnik Productions was a commercially successful film. In this film, he played the lead role of Veer Kunal.

The next line of career progression took place in 1945 when he bought the banner, Hindustan Chitra Production and become the producer-director under his own banner. Films like ‘Sindoor’ (1947), ‘Saawan Aaya Re’ (1947), ‘Kali Ghata’ (1951) and “Mayur Pankh’ (1954) became successful at the box office. As a director, he saw success in ‘Saajan’ (1947), ‘Nadiya Ke Paar’ (1948). ‘Dil Apna Aur Preet Paraayi’ (1960), ‘Grihasti’ (1963) etc. He also acted in films of other banners.

As happens with many film directors, after his successful innings of around 10 years, Kishore Sahu, by and large, failed as a director in his later part of the career. After ‘Grahasti’ (1963), he could not attain the same level of success as in the 1940s and 1950s. In the 1960s and 70s, Kishore Sahu produced and directed ‘Poonam Ki Raat’ (1965), ‘Hare Kaanch Ki Chooriyaan’ (1967), ‘Pushpanjali’ (1970) and directed ‘Dhuen Ki Lakeer’ (1974) but could not create ripples on the box office front.

Of these four films, I had seen ‘Poonam Ki Raat’ (1965) when it was released. The film was a suspense thriller. I found the film interesting with tightly maintained suspense coupled with outstanding song compositions by Salil Chowdhury. Around the same time, I had seen ‘Gumnaam’ (1965), and later, I had also watched on TV ‘Wo Kaun Thhi’ (1964), The common factors in all these three films were (i) suspense thriller, (ii) Manoj Kumar as the lead actor and (iii) melodious music and songs. While ‘Poonam Ki Raat’ failed at box office, the other two films were box office success. Can it be said that the young directors were more innovative and had read the pulse of the filmy audience of mid 1960s better than Kishore Sahu or was it simply a loss of his magic touch?

When Kishore Sahu was facing a downturn in his career as a producer-director, he started doing character roles in the films of other banners. Dev Anand seems to be fond of Kishore Sahu who acted with him in ‘Kala Paani’ (1958), ‘Kala Baazar’ (1960), ‘Guide’ (1965), ‘Gambler’ (1971) and ‘Hare Rama Hare Krishna’ (1972). By the way, Dev Anand worked with Kishore Sahu for the first time in ‘Namoona’ (1949).

Kishore Sahu died on August 22, 1980 while on a family trip to Thailand. His last film, ‘Vakil Babu’ (1982) was released after his death.

‘Raja’ (1943) was Kishore Sahu’s third film as a director and the 5th film as an actor. He also wrote the story, screen-play and dialogues for the film. The star cast included Kishore Sahu and Protima Dasgupta in the lead roles supported by Ranibala, Moni Chatterjee, Gulab, Vijay Sahu, Wasker, Anant Prabhu etc.

There were 8 songs in the film of which one song has been covered on the Blog. I am presenting the film’s second song, ‘aankhon ki ye sharaab piye jhoom ke nikle’. The song is written by Amritlal Nagar which is set to music by Khan Mastana. Most of the on-line resources mention Kishore Sahu as the singer. But it is apparent that the voice in this song is that of Khan Mastana.

When I first listened to the song, it gave me an impression of a song of enjoyment. By the time I come to the last stanza of the song, it dawns to me that all is not well in protagonist’s love life.

Audio Clip:
Song-Aankhon ki ye sharaab piye jhoom ke nikle (Raja)(1943) Singer-Khan Mastana, Lyrics-Amritlal Nagar, MD-Khan Mastana

Lyrics

shar…..aab
shar….aab
ye shar…..aab
aankhon ki ye sharaab
aankhon ki ye sharaab
aankhon ki ye sharaab piye jhoom ke nikle
haan jhoom ke nikle
haan haan jhoom ke nikle
armaan mere dil ke
armaan mere dil ke ghaav choom ke nikle
haan choom ke nikle
haan haan choom ke nikle
aankhon ki ye sharaab
aankhon ki ye sharaab piye jhoom ke nikle
haan jhoom ke nikle
haan haan jhoom ke nikle
aankhon ki ye sharaab

main kis tarah bachoon
main kis tarah bachoon na ke madhosh banoon main
behosh banoon main aen
main kis tarah bachoon na ke madhosh banoon main
behosh banoon main
behosh banoon main
gar ?? khud sharaab
gar ?? khud sharaab bane jhoom ke nikle
haan jhoom ke nikle
haan haan jhoom ke nikle
aankhon ki ye sharaab
aankhon ki ye sharaab piye jhoom ke nikle
haan jhoom ke nikle
haan haan jhoom ke nikle
aankhon ki ye sharaab

toota huwa dil ek bhi apna sa na paaya
hamne nahin paaya
toota huwa dil ek bhi apna sa na paaya
hamne nahin paaya
hamne nahin paaya
ham pyaar ki duniya se
ham pyaar ki duniya se bahut ghoom ke nikle
haan ghoom ke nikle
haan haan ghoom ke nikle
aankhon ki ye sharaab
aankhon ki ye sharaab piye jhoom ke nikle
haan jhoom ke nikle
haan haan jhoom ke nikle
armaan mere dil ke
armaan mere dil ke ghaav choom ke nikle
haan choom ke nikle
haan haan choom ke nikle
aankhon ki ye sharaab


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 :

4688 Post No. : 16372

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Blog 10-Year Challenge (2011-2021) – Song No. 23
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This day ten years ago (19 may 2011) saw four songs being covered in the blog. That month of may 2011 was seemingly a month when I was not in a position to discuss songs with the same regularily and rate that I used to achieve in the past. My guess is that summer vacations were on at that time. My school going daughter, my ife and our three pets had joined me at Nagpur and that as the reason for less number of posts in this month. With the benefit of hindsight, even that rate that I managed to achieve in this month ten years ago makes that month seems like a prolific month vis a vis the same month ten years later. 107 songs were covered in may 2011, whereas 18 days of the corresponsing month this year has seen only 26 songs getting covered in first 18 days of the month of may 2021.

Here are the details of the four songs covered in the blog on 19 may 2011:-

Blog post number Song Movie (Year) Remarks
3904 Ham apne dard ka kissa sunaaye jaate hain Muqabala (1942) Two songs covered by now out of nine
3905 Aasmaan se door taaraa ho gaya Darogaji(1949) Eleven songs covered out of 12. Final song unavailable
3906 Aaya re aaya re mera jaane bahaar aayaa Insaaf(1966) 2 songs covered by now out of six
3907 Naseeb hoga mera meharbaan kabhi na kabhi Chaalis Din(1959) 5 songs covered by now out of 8

We can see that all four movies remain upYIPPEED even ten years later. So potentially we can have four Blog Ten Year Challenge posts today. But realistically, it can not be that. For example, the one missing song of “Darogajee”(1949) seems to be unavailable. So another song from that movie cannot be discussed. And so, that movie cannot be YIPPEED as things stand today.

“Muqaabla”(1942) was chronologically the first movie whose song was covered ten years ago. This movie was produced by Homi Wadia and directed by Batuk Bhatt and BabuBhai Mistry. It had Fearless Nadia and Yakoob
with Sreenivas, Rajni, Dalpat, Agha, Nazira, Baby Madhuri, M.K.Hasan, Jal Khambata, Khan Mastana, A.Rehman, Azim, Habib, Kunzru etc in it.

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

Here is the third song from “Muqaabla”(1942) to appear in the blog. This song is sung by Khan Mastana.An unknown female voice joins in chorus for a few lines. A Karim is the lyricist. Music is composed by Khan Mastana.

The song is picturised as a dance song on a male and a female dancer. I am unable to identify the male dancer, but the ghaghra choli donning female is unmistakably fearless Nadia. It must be a rare occasion where fearless Nadia is dressed in a desi female attire and she is dancing like a desi lady. We are used to see her dressed in masculine attire and fighting baddies.

It is another man (and not the male dancer) who lip syncs the song on screen.

I request our knowledgeable readers to throw light on the picturisation of this song.

Can it be so that the female voice heard in the song is that of Fearless Nadia herself ? I request our knowledgeable readers to throw light on this matter.

Lyrics of this song were sent to me by Prakashchaadra.

video link:

audio link:

Song-Meri jholi bhar de khaali teri raam kare rakhwaali (Muqaabla)(1942) Singers-Khan Mastana, Lyrics-A Karim, MD-Khan Mastana
Khan Mastana + Unknown female voice

Lyrics(Provided by Prakashchandra)

meri jholi bhar dey khaali
meri jholi bhar dey khaali
rey teri raam karey rakhwaali
meri jholi bhar dey khaali
meri jholi bhar dey khaali
rey teri raam karey rakhwaali

paisaa dewey paisaa paavey
paisaa dewey paisaa paavey
sunn ley rey baabaa aa
jaisaa dewey waisaa paawey
jaisaa deway waisaa paawey
diyaa liyaa tere sang chale ae
diyaa liyaa tere sang chale
ye jag ki reet niraali
ye jag ki reet niraali
rey teri ram karey rakhwaali
meri jholi bhar dey khaali
meri jholi bhar dey khaali
rey teri raam karey rakhwaali

moh lobh ke tod dey phandey ae
o baaboo jee
moh lobh ke tod dey phandey ae ae
o baaboo ji
moh lobh ke tod dey phandey ae
jhoothi duniya jhoothey dhandey
le jaa dil ki duaayein
bandey kabhi na jaayein khaali
de jaa dil ki duaayein
bandey kabhi na jaayein khaali
rey teri ram karey rakhwaali
meri jholi bhar dey khaali
meri jholi bhar dey khaali
rey teri raam karey rakhwaali

duniya rain baseraa hai
paapon kaa chahoon oar andheraa hai ae ae
duniya rain baseraa hai ae ae
paapon kaa chahoon oar andheraa hai
neki ka tu diyaa jalaa ley
ek paisaa dey ae
neki ka tu diyaa jalaa ley
ek paisaa dey ae
rain baney ujiyaali manwa
rain baney ujiyaali
rey teri ram karey rakhwaali
meri jholi bhar dey khaali
meri jholi bhar dey khaali
rey teri raam karey rakhwaali


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 :

4580 Post No. : 16192

Today’s song is from the film Shri Nagad Narayan-1955.

There is a little story on why I have chosen this song today for my post here. Only the other day, I was going through my mails, searching for some reference. while searching for it, i went back well upto 2014 mails. Suddenly my attention fell on a mail written on 25-8-2014, by our friend in ASAD group-Mr. Mahesh Mamadapur. The mail was addressed to me, Atul ji and Sudhirji. It pointed out that a song by Khan Mastana in the film Shri Nagad Narayan-55 was still uncovered and he had suggested that one of us should make a post on it, as it was a good song.

Out of curiosity, I immediately checked whether this song was covered on the Blog. I was also curious to know, finally who wrote the post on that song. To my utter surprise, I found that even after 7 years the song had still remained uncovered. Perhaps, in those days, all of us must have thought that the other would write on the song. Then I checked on YouTube if this song was available. After a little effort, I found the song also. I felt relieved and decided to correct the slip at least now. Perhaps it was my destiny to write a post on this song, afterall ! Thanks Mahesh ji for the song and here it is, dedicated to Mahesh ji !

The film Shri Nagad Narayan-55 was produced by S.N.Kanva-of Kanva Brothers Corporation, under the banner of their own Kamdhenu Films, Bombay. It was directed by I.S.Johar and the music was by Vinod. The cast consisted of Meena (Shorey), Motilal, Majnu, Omprakash, Badri pershad,Leela Mishra, Shirin etc. The director, composer and the lead pair reminded me of their earlier Hit film ” Ek Thi Ladki”-1949, where, for the first time I.S.Johar and Majnu had made a comedy pair on the lines of Bud Abott and Louise Castello. Later they acted together as a pair in almost every film of Roop K. Shorey, who considered them ” Lucky Mascot”. However, I liked this pair in the film ” Hum sab chor hain”-1956, which was a adapted copy of the film Ek this Ladki-49.

There was another film ‘Nagad Narayan” made in 1943. This was a remake of a Marathi film ” पैसा बोलतो आहे ” made by Bhal G. Pendharkar. I do not know the story of today’s film, but I guess it was a comedy film ( with ‘ Vinod’ as the appropriate MD !). The film had 11 songs written by Qamar Jalalabadi, P L Santoshi, Verma Malik and Madhup Sharma.

In the year 1981, when I was the Zonal Manager in Glaxo Laboratories in Bombay, I had come in contact with this Madhup Sharma. Our company was making an Audio-Visual presentation for our London Principles, for our Veterinary products. One Mr. Mahesh Sharma was making it for us. He knew Madhup Sharma, who was friendly with actor Ashok Kumar. In those days Ashok Kumar used to have a very large Poultry Farm at Lonavala (between Bombay and Poona). We needed to shoot there and also interview Ashok Kumar. Madhup Sharma took us to Ashok kumar in his Chembur bungalow. There I met Ashok kumar personally for discussions. I took many photographs with him at that time.

This Madhup Sharma was a character actor, who acted in 48 films, from 1970 to 1989. He also wrote Lyrics for 2 films, Dara-53 and Shri Nagad narayan-55.

From 1950 to 1960 period, the maximum number of films – 124 were made in 1955, but most films this year were Mythological, Religious, Costume, Comedy and Stunt films. Incidentally, for the same period, 1950 to 1960, there were maximum Mythological/Religious films made – 124. Here are some milestones of 1955.

Film Pather Panchali had a world premier in New York. Festivals of Indian Films were held in London and Peking. Children’s Film Society was established in 1955 and Journal of Film Chamber was started by the South Indian Film Chamber of Commerce.

Taking a look at the 124 films of 1955, we find that…

A coloured Costume film ‘Azaad’, with A grade actors like Dilip Kumar, Meena kumari, Pran etc came from Madras stable.

Leela Chitnis tried to launch her son AJIT as a Hero in the flop film ‘ Aaj ki Baat’. 19 Popular Saigal songs were repeated in film Amar Saigal.

Comedy musical Baap re Baap and Naashad’s Baradari made ripples.

Ashok Kumar’s film Bandish…..on the night of 6-12-1955, when Ashok kumar and MD Arunkumar Mukherjee-his cousin, were returning from the Trial show of Bandish, Arunkumar Mukherjee, died in the car after a massive Heart attack, on Ashok Kumar’s lap.

Film Bhagwat Mahima had very good Bhajans by Hemant kumar.

Film Chingari had lovely songs by MD Manohar. Nalini Jaywant sang her last film song. This was the last film of actress Sunalini Devi also.

Om Praksh directed his first flop film Duniya Gol hai. The film had a record number of 13 Guest Artistes !

The only film of Pt. Amarnath Chawla,” Garm Coat” was renamed ‘ The clerk and the coat’.

Burman’s musical House No.44 became popular.

Another Costume film with A grade actors like Dilip kumar, Dev Anand, Beena Rai etc. from Madras again – Insaniyat. The Hollywood import monkey Zippy featured in Radio Ceylon advertisements for the film.

The evergreen dance and Music film from V.Shantaram – Zanak Zanak Paayal Baaje drew large crowds.

MD Jaidev debuted with a flop film Joru ka Bhai.

N.Datta debuted with film Milap.

MD Ravi debuted with the film Vachan.

Some other films were Mr. and Mrs. 55,Munim ji, Railway Platform (Sunbil Dutt made a Debut), a serious musical, Seema, the great film Shri 420 and Naushad’s Udan khatola.

In the cast of today’s film, you find the name Shirin Bano. Yes, she too is one of the artistes who joined films to get a suitable husband and lead a respectable and comfortable life. Shirin, Shirin Bai or Shirin Bano was from a tawaayaf mother from Lucknow. Her father was a Tamil Brahmin – Ram Seshadri Aiyar, who worked as an accountant with Kikubhai Desai (father of Manmohan Desai) in his distribution department. They were 5 sisters and 1 brother. Shirin joined films at an early age.

Her first film was ‘Maharani’ (1934). The same year she worked in ‘Vehmi Duniya’, ‘Sewa Sadan’ and ‘Bala Joban’. In 1935 her films were ‘Shamsher e Arab’, ‘Pardesi Sainya’ and ‘Bambai Ki Sethani’. In 1936, she worked in ‘Tope Ka Gola’, ‘Snehlata’, ‘Passing Show’ and ‘Azaad Veer’. ‘Khwab Ki Duniya’, ‘His Highness’ and ‘Challenge’ are her films from 1937, ‘State Express’ and ‘Purnima’ in 1938, and ‘Leather Face’ and ‘Hero No. 1’ from 1939. Total 18 films only.

Shirin alson sang 9 songs in 6 films – Maharani-34, Pardesi Saiyan-35, Khwab ki duniya-37, His Highness-37, Purnima-38 and Hero No.1-39

Her youngest sister Meher Bano also joined films with the name Purnima (she also married a producer / director Bhagwandas Varma). Shirin married producer / director Nanabhai Bhatt, who already had a wife and 3 children. They had 6 children – Mahesh Bhatt and Mukesh Bhatt are their sons.

Today’s song is sung by khan Mastana. In the last part of this song, there are lines “” Laila, Laila pukarun mein ban mein, meri Laila basi mere man mein”. These are famous lines from an original song by Master Nissar in film ” Laila Majnu”-1931, made by Madon Theatres. These lines are used in many other Hindi film songs too.


Song- Aata hai yaad mujh ko guzra hua zamaana (Shri Nagad Narayan)(1955) Singer-Khan Mastana, Lyricist-Qamar Jalalabadi, MD-Vinod

Lyrics

aata hai yaad mujhko guzra huaa zamaana
aata hai yaad mujhko guzra huaa zamaana
tu thhi meri deewaani
main tha tera deewaana
tu thi meri deewaani
main tha tera deewaana
aata hai yaad mujhko guzra huaa zamaana

chanda ki chaandni mein tu so rahi thi gori
aakar teri gali mein seeti mera bazaana
aata hai yaad mujhko guzra huaa zamaana

khidki mein tera aake chhupchhup ke muskuraana
ab tere ho chuke ham
ye kah ke bhaag jaana
aata hai yaad mujhko guzra huaa zamaana

ik din khabar ye aana
tu ban gayi hai dulhan
doli mein tera jaana ro ro ke mera gaana
laila laila pukaaroon main ban mein aen
meri laila basi mere man mein
laila laila pukaaroon main ban mein aen
meri laila basi mere man mein
laila laila pukaaroon main ban mein


This article is written by nahm, 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:

4488 Post No. : 16010

Tanvir Naqvi – 48th Death Anniversary on 01/11/2020
——————————————————————

Geet
————
Kahaan tak sunoge kahan tak sunaaun
Hazaaron hi shikwe hain kya kya sunaaun

Huzoor aap par ek jahaan ki nazar hai
Nigaah-e-karam se bhi mujh ko ye dar hai
Jahaan ki nazar mein kahin aa na jaaun
Kahaan tak sunoge kahaan tak sunaaun

Zamaana huaa hai muhe muskuraaye
Muhobbat mein kya kya hain sadme utthaaye
Kise yaad rakkhoon kise bhool jaaun
Kahaan tak sunoge kahaan tak sunaaun

Duaa hai yahi kuchh zabaan tak na aaye
Muhobbat ka shikwa bayaan tak na aaye
Jalen zakhm dil ke magar muskuraaun
Kahaan tak sunoge kahaan tak sunaaun
Kahaan tak sunoge kahaan tak sunaaun
Hazaaron hi shikwe hain kya kya sunaaun

Tanvir Naqvi
Courtesy: rekhta.org

This is the profile reproduced from Rekhta.org :

Tanveer Naqvi’s lineage traces back to a family of poets who originally came from Iran. With a family immersed in poetry, literature and arts, Naqvi came to be influenced by the poetry of dissent against the British Empire.

Naqvi started as a lyricist in the Hindi film industry in the 1940s, starting his career with Swami (1941). He wrote the lyrics for close to 200 films before moving to Pakistan. He was married to renowned singer and actress Noor Jahan’s sister, Eidan Bai. The big hits of his career include Mehboob Khan’s musical hit Anmol Ghadi (1946) and Jugnu (1947) which were each the highest grossing Indian films of the respective years. Anmol Ghadi (1946) has some of the most memorable melodies in Hindi Cinema. Few people know that Mohammad Rafi was introduced to the Hindi film industry by Naqvi. He was much sought after as a songwriter. After partition, Tanvir Naqvi migrated to Pakistan and for over 15 years remained one of the leading lyricists of Urdu and Punjabi films. His patriotic number sung by Noor Jahan during the 1965 war “Rang Laayega Shaheedon ka Lahoo” became extremely popular.
A collection of his poetry has been published under the title ‘Sunahre Sapne.’
He died on November 1, 1972 in Lahore.

If Tanvir Naqvi wrote songs for 200 films in India before migrating to Pakistan , at a guess his songs tally should be around 400, again guessing at an average of 2 songs per film. 85 songs are so far posted in the blog. So here is one more person who we need to thank for introducing Mohammad Rafi to the hindi film industry.

Shri. Shalin Bhatt Sir has commented on the youtube link of this song that there are 3 singers in this song, Khan Mastana, G. M. Durrani and Mohammed Rafi with Chorus. I agree with this, because I thought there are two different voices singing the second and third portion of the song. Rafi sahab has only two lines to sing independently and in another line in mukhda, he is accompanied by G. M. Durrani(?).

At the time of writing this post in 2018, I was hard at work trying to confirm the details of credits. That when I remembered that one of my cousin who has been in UAE for 3 decades now, once mentioned that Tanvir Naqvi’s son was his colleague, once upon a time, but it has been years since he shifted back to Pakistan. I asked my cousin at the time, if he could get in touch with the son, perhaps to confirm about the song. But it seems, the contact is lost, with no common friends/colleagues links.

This is the third song from Laila Majnu (1945) to be posted in the blog. All songs of this film are written by Tanvir Naqvi and music composer in Govind Ram. So this is one more of the many songs from 1940’s by Rafi sahab which are yet to be posted, as a tribute post for Tanvir Naqvi on his remembrance day.


Song-Sakhi ki khair maayi babaa ki khair teraa Allah nigehbaan ho (Laila Majnu)(1945) Singers-Mohammed Rafi, Khan Mastana, G. M. Durrani, Lyrics-Tanveer Naqvi, Music Director- Pt Govind Ram

Lyrics

Sakhi ki khair
maayii babaa ki khair
teraa Allah nigehbaan ho
sakhi ki khair
maayi babaa ki khair
teraa Allah nigehbaan
ho o o
Allah nigehban ho
sakhi teraa maula nigehbaan ho
ho oo
Allah nigehban ho
sakhi teraa maula nigehbaan ho
Allah nigehban ho
sakhi teraa maula nigehbaan ho
sakhi ki khair
maayii babaa ki khair
teraa Allah nigehbaan ho oo

chaar dinon ki hai yeh duniyaa
aakhir ko mar jaanaa hai
chaar dinon ki hai yeh duniyaa
aakhir ko mar jaanaa hai
samajh samajh kar chalna bande
duniya musaafirkhaana hai
ye duniyaa musaafirkhaana hai
ye duniyaa musaafirkhaana hai
sakhi ki khair
maayi babaa ki khair
teraa Allah nigehbaan ho oo

haan aa
de de maula naam (? ?)
teraa Allah nigehbaan ho oo
haan aa
de de maula naam (? ?)
teraa Allah nigehbaan ho oo
Allah nigehbaan ho
sakhi teraa maula nigehbaan ho
Allah nigehbaan ho
sakhi teraa maula nigehbaan ho
de de maula naam (? ?)
teraa Allah nigehbaan ho oo
de de maula naam (? ?)
teraa Allah nigehbaan ho oo

dar par tere aaya sawaali
khairaat de de naa aa
khairaat de de naa aa
dar par tere aaya sawaali
khairaat de de naa aa
khairaat de de naa aa
bhar de pyaala apne karam se
meri duaa lenaa aa aa
bhar de pyaala apne karam se
meri duaa lenaa
sakhi ki khair
maayi babaa ki khair
teraa Allah nigehbaan ho oo
sakhi ki khair
maayi babaa ki khair
teraa Allah nigehbaan ho oo
haan de de maula naam (? ?)
teraa Allah nigehbaan ho oo
haan de de maula naam (? ?)
teraa Allah nigehbaan ho oo
Allah nigehbaan ho
sakhi teraa maula nigehbaan ho


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 :

4394 Post No. : 15762

Today’s song is from the film Jeewan yatra-46. This film was made by Rajkamal. The film was a social film, directed by Master Vinayak and its music was composed by Vasant Desai.

V Shantaram left Prabhat films or rather was compelled to leave it, because he broke a rule of Prabhat Films. Soon after When the company was founded, one of its directors S Fattelal had married one of its lead actresses Gulab Bai aka Kamla Devi (one who is seen bending in the Prabhat Logo). After this, the team of partners/directors made a rule that if, in future, any of them falls in love with an artiste of the company or gets married to her, he will have to leave the company. After a few years, Keshav Rao Dhaiber, one partner, married Prabhat’s Heroine Nalini Tarkhad. He had to leave the company,in 1938.

V Shantaram also loved and married Prabhat’s lead actress Jayashree (Kamulkar) and had to leave the company. As such, all was also not well between Shantaram and other directors,because they felt that somehow, Shantaram kept all the focus on him for publicity, though they too were capable. Due to all this he left Prabhat. For some time he worked in the Films Division and then started his own studio “RAJ KAMAL Kalamandir”, on the premises of Wadia studios. The name of his company was made up by taking the first syllable of his parents’ names – RAJ(aram) and KAMAL(abai) making RAJKAMAL.

The first film of Rajkamal was Shakuntala with Jayashree playing the role of Shakuntala and Chandra Mohan being King Dushyant. Next films were, Parbat pe apna Dera-44 and Jeevan Yatra-46. Then came the iconic film “Dr. Kotnis ki amar kahani”-46. Rajkamal produced many well known films, mostly in Prabhat tradition. I personally consider the film “Do aankhen barah haath”-58, as its best film in terms of the content, acting and the Music. It’s a matter of pride that one of the songs of this film-“Aye Maalik tere bande hum”, became the school prayer song in Pakistan, till 1965.(Ref:Ruperi Smaranyatra by Prof. Subhash Savarkar).

Film Jeevan Yatra-46 was directed by Master Vinayak. This was his last film as a director for Shantaram. Rajkamal films were directed by Shantaram, Vinayak, Keshavrao Datey, V Awadhoot or Kiran Shantaram only. Initially the studio system was very strong in the film industry, but during and after the II WW, Freelancing and crumbling of the studios, one after the other saw the virtual extinction of the studio system. Companies affected were Sagar, Ranjit, National, Wadia, Prabhat, Bombay Talkies, New Theatres, Madon Theatres, East India, Shalimar, Paramount, Imperial etc. It sadly heralded individualistic operations. Most studios became available for hiring for shootings. Only Rajkamal, Mehboob and RK studios etc continued some more years with almost the same force. Now, RK studio is demolished and Rajkamal and Mehboob studios are used for TV serial shooting and audio recording facilities.

Talking of Master Vinayak, it was Shantaram who helped shape his career. In Kolhapur, the 3 families- Bhal G. Pendharkar, V Shantaram and Master Vinayak were closely related. Bhal ji Pendharkar (Bhalchandra Gopal Pendharkar) was the son of Dr.Gopal Pendharkar, the Royal Physician of Shahu Maharaj of Kolhapur state and his partner Radhabai. Dr. Gopal was already married to another lady. This couple gave birth to Bhalji and Baburao Pendharkar. Their mother Radhabai left Dr. Gopal Pendharkar and married Damodar Karnataki. They had two sons- Master Vinayak (father of Baby Nanda), famous actor, director, producer and a studio owner and his brother Vasudev- who became a Cameraman. Kamalabai, the younger sister of Radhabai married Rajaram Vankudre and they had 2 sons- V.Shantaram, famous actor, director,producer and a studio owner and his brother V. Awadhoot- equally famous Cinematographer.

Master Vinayak Karnataki ( 19-1-1906 to 19-8-1947) was born in Kolhapur. Many of his cousins and family members were already in the Film line.His half brothers Bhal ji and Baburao Pendharkar, maternal cousin V. Shantaram and his brother V.Avadhoot ( cinematographer) were in films. His own brother Vasudev also became a cameraman. Master Vinayak was working as a Teacher in a school, but Bhalji brought him in films. Initially Vinayak was with Prabhat, working under Shantaram and learning many things. He started his own company ” Hans Pictures” in partnership with Baburao Pendharkar and cameraman Pandurang Naik. Their first film was Chhaya-36. (almost all films made by Vinayak till 47 were bilingual in Marathi and Hindi-sometimes with different Titles ( like Ardhangi in Marathi became Ghar ki rani-40 in Hindi etc.)

While Shantaram stressed on technical aspects of film making successfully, Vinayak was keen on a strong story. Therefore he used the works of Top class writers in Marathi like V.S.Khandekar, P.K.Atre, Mama Varerkar etc. ( V.S.Khandekar, later won Sahitya Akademi award, Jnanpith award, Padma Bhushan award and many honours like D.Litt etc. The Government issued a Postage stamp after his death also). Film Chhaya won many awards and was commercially successful. Next Dhrmaveer-37 and Premveer-37 ( The Heroine in this film was Ashalata-wife of Anil Biswas). Then came film Jwala-38, with Chandramohan in both versions-Marathi and Hindi. He learnt to speak excellent Marathi for this film. Later he did 3 more Marathi films also. unfortunately, film Jwala was a resounding flop-not because of anything else. According to V.S.Khandekar, Vinayak had meddled with the story too much. ( this looks to be a chronic ailment of the film line !)

Vinayak fell back on comedy and made Brahmachari-38 and Brandi ki botal-39. Both were successful, but the loss due to Jwala was too big. Even one more comedy- Ghar ki rani-40 could not salvage the damage and Hans pictures was dissolved to form another company Navyug Chitrapat, with added P.K.Atre as a partner. Navyug was the first film company to offer 100 rs. shares directly to the public. ( Bombay Talkies had shares with only the directors, initially). The first film was Lapandav-40. Though successful, P.K.Atre left the company- (along with its Heroine Vanmala- his consort) and established his own company Atre Pictures.

After another comedy, Navyug made Amrit-41. In the year 1942, Navyug made the film ‘ Pahili Mangalagaur”-42, in which Lata Mangeshkar made her debut as an actress and singer. She sang her first ever film song with Snehprabha Pradhan- under the baton of Dada Chandekar. There was a kissing scene of Snehprabha and Shahu Modak in this film. During the making of this film, Vinayak left Navyug and started his own ” Prafull Pictures”. Vinayak made several Hindi and Marathi films including Badi Maa-45. Vinayak died on 19-8-1947, just 4 days after Independence.

Vinayak acted in 18 Hindi films, from Jalti Nishani-32 to film Mandir-48. He also directed 13 Hindi films, from film Nigah E Nafrat-35 (debut film of Shobhana Samarth) to film Mandir-48. He sang 22 songs in 10 films. But from film premveer-37 onwards he could not sing properly due to his tooth problems, hence Master Vasant Eric used to sing his songs for the balance 6 films, though mostly Vinayak is credited for these songs.

Now, who was this Master Eric ? His real name was Vasant Jadhav. He was born in 1907 into a Marathi Christian family of Kolhapur. Bhalji Pendharkar selected him for acting and singing in Shyam Cinetone’s film Parth kumar-1934 (Hindi/Marathi) His pet name was Eric, so he became Vasant Eric and later on due to his singing, he was called Master Vasant Eric. He joined Kolhapur Shalini Cinetone and worked with master Vinayak. He also worked in films like Aakashwani-34 and Honhaar-36. He sang songs in films from 1937 onwards. In all the Marathi/Hindi films of Vinayak he sang for him.

Vasant Eric knew Ratanbai. She introduced him to Ardeshir Irani and he employed Eric in his Music Department, playing various instruments and singing whenever needed. He acted and sang in films made by Huns, Navyug and Prafull films. In 1948, he gave music to a Marathi film. He was called by many MDs to play Chord Piano for their songs.The male voice in Lata’s First Hindi Playback song ” Paa laagu kar jori re” is that of master Vasant Eric only.

His son Ravindra was an actor and daughter Hemlata Shankar (Jadhav) was a film dancer. His grandson Nitin Shanker is an arranger in Bollywood today. Master Vasant Eric died in 1982.(Ack: Marathi Chitrapat Sangeetkar Kosh by Madhukar Potdar).

As per The Encyclopedia of Indian Cinema, film Jeewan Yatra-46 features a large number of characters travelling on a bus to Benares. A storm forces the passengers to take shelter in an abandoned temple where a prostitute tries to seduce Raja (Yakub) and he is left behind. The bus later breaks down and when Raja rejoins the group a local bandit, Vishwas (Pendharkar), attacks it. Eventually the bandit turns out to be Raja’s father and the husband of an old woman, Kalindi (Protima Devi), another passenger on the bus. Vinayak’s only film in the mainstream Hindi cinema, it included the collective number Ao azadi ke geet gate chalein and Lata Mangeshkar’s Chidiya bole choo choo. Lata Mangeshkar plays a village girl.

There were 10 songs in this film. Twqo songs are already on the Blog. This is the third one. It is a song sung by Khan Mastana, Zeenat Begum and other uncredited voices.


Song-Motor maze se chala re musaafir (Jeewan Yaatra)(1946) Singers- Khan Mastana, Zeenat Begum, Lyricist- Dewan Sharar, MD- Vasant Desai
Unknown male voice 1
Unknown male voice 2
Unknown male voice 3
chorus

Lyrics

Motor maze se chala re musaafir
Motor maze se chala re musaafir
Motor maze se chala dheere dheere
Motor maze se chala dheere dheere
ho o o
o o o
motor waale
re motor waale

Motor maze se chala re musaafir
Motor maze se chala
dheere dheere
hai naazuk zamaaana
dheere dheere
hai naazuk zamaana
haule haule hata chalaana
haule haule hata chalaana

kahin lachke na patli kamariya
kahin lachke na
kahin jhapke na teekhi majariya
ho kahin jhapke na teekhi majariya
kahin sarke na sar ki chunariya
kahin sarke na sar ki chunariya

dheeme dheeme chala
haule haule chala
dheeme dheeme chala
haule haule chala
motor maze se chala dheere dheere

haan maze se chala halke halke
o motorwaale
haan maze se chala halke halke
jaise ?? ke dhhalke
jaise mad ka bhara pyaala chhalke
jaise dulhan
jaise dulhan koi aaye chal ke
jiska joban ho jaadoo bhara aa
Motor maze se chala dheere dheere

?? ki motor ke purze hain ??
naaarayan
inko bachaayega paapon ki aanch se

haan shashtri
jeewan ki yaatra pe jaana hai door door
jeewan ki yaatra pe jaana hai door door

laagi jo thhes kahin to motor hai choor choor
bach bach ke bach bach ke jaa aa gaadi
bach bach ke bach bach ke jaa
haan
Motor maze se chala dheere dheere
ho o o
o o o
motor waale
re motor waale

haaye
motor maze se chala re musaafir
Motor maze se chala dheere dheere
Motor maze se chala aa aa aa


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 :

4389 Post No. : 15751 Movie Count :

4342

The job of writing on old films and music is not an easy one, as many people may be thinking. Normally, such information is not available at one place and even if it is, the same has to be cross verified by other documents or proofs of some kind. There are many books available on these topics, but just having a book and copying from it has its own dangers. The danger to your credibility is one and misleading information is another one. I am of the firm opinion that no book on these subjects is without any errors. Every book contains incomplete information – including my own book !

After a gap of 40 years, when I again turned to old films and music and started making comments based on my notes of many years and writing articles, I quickly realised that some of my information had become old, outdated and newer evidence had emerged to prove matters differently. Secondly, as I started collecting and reading several books, I got a different perspective to what I knew. New facts had been unearthed and established myths had been busted. I also realised that a major menace of ‘Same Name Artistes’ was causing a lot of miscrediting, misinformation and injustice was being done to real performers.

As a challenge, I started work on this project and in the last 5-6 years, I dug out credible, indisputable information on at least 35 such cases- involving about 80 old artistes, comprising Actors, Singers, Composers, Directors etc. From what I read on the internet, this project has helped film historians and is quoted by them in their works. Recently, when I visited another well known Blog on old films and music, I was pleasantly surprised when I read a comment from a reader, ” I believe Arun ji, more than what any site says”. I treat this as a certificate of credibility.

In the initial years like 2011 and 2012, some of the comments I made on this and other Blogs and sites are no more valid, because new evidence had emerged and today those comments seem to be totally wrong. But then History, be it of any subject, always gets updated as new evidence, documents, Interviews, Old books, Magazine articles, Newspaper posts etc. emerge and some old bits of information get a changeover. I will give just one example.

In 2011, I had said somewhere,” C Ramchandra and Vasant Desai gave music together to 3 films, under the name of Vasant Ramchandra” and it was accepted. However when a new book was published on Vasant Pawar, Music Director, it became known that he and Ramchandra Wadhavkar-another MD made a pair as Vasant-Ramchandra and gave music to 3 films. This was confirmed in the biography of Datta Dharmadhikari-the director of these films. This way, the earlier belief was proved incorrect and matters became clear and my statement became wrong.

Many such riddles were solved when new evidence cropped up or dug out. Riddles like
1. Who sang ‘ Dilli se aya bhai Tingu’
2. Who sang ‘ Bharat ki ek sannari ki…’
3. Who actually sang songs from the film ‘ Ummeed-41’ as Noorjehan…
4. Who directed films Pariwar-56 and ‘ Apradhi Kaun-57’
and many more riddles were solved when new information came out.

Dedicated workers in this field have done a great job and enriched the old films history. Information on unknown or less known artistes came to light. This is an ongoing process. Those who write on old films and music were not living in that era, so they have to depend on available information in books and other documents. The advent of the internet too has helped, but at times it also spreads wrong or incomplete information. Thus some famous sites too have become doubtful providers of information. Enthusiasts with half knowledge are a headache because they write without checking or corroborating. They simply copy from somewhere – many times out of context. I have kept my policy- ” Never write anything, which you can not defend “.

Why I am writing all this is just to emphasize the value of credibility of what we write. Readers must understand that gaining credibility requires hard work and investment in time. Fortunately, this Blog is famous for providing information which is tested and credible. This Blog is highly respected in the Cyber world of old films and music.

Today’s song is from an obscure film Khilauna-42. It was the first film made by Amar Pictures, which came into being when National Studios was closed. National itself started when Sagar Movietone merged into it. The film was directed by Sarvottam Badami. He was born in 1910 at Channapatna in Karnataka,to a revenue officer working in Mysore. He passed his SSLC and worked as a garage mechanic and then a projectionist in Select Picture House, Bangalore, both of which were owned by Dr. Ambalal Patel. Patel moved to Bombay and financed Ardeshir Irani of Imperial Film Company, and Chimanlal Desai as a partner forming Sagar Movietone in 1930.

At the age of 19 years, Badami went to Bombay to study automobile engineering. He was asked by Ardeshir Irani who met him at a wedding to help out with the recording equipment he had purchased from abroad.

Badami helped in the sound recording department for the first Talkie in India, Ardeshir Irani’s Alam Ara (1931). Around that time a German director making the Tamil film “Harishchandra” left half-way and Badami offered to complete it, the co-director was Raja Chandrasekhar, although the co-director credit has also been cited as T. C. Vadivelu Naicker. The film turned out to be successful. He was contracted by Sagar Movietone (Sagar Film Company) to direct three films, two in Telugu and one in Tamil: Galava Rishi (Tamil), Rama Paduka Pattabhishekam and Shakuntala in Telugu. The success of these films established him as a director. His working team had people like the cinematographer Faredoon Irani, music director Anil Biswas and the Sagar Movietone favourites Sabita Devi and Motilal.

Initially, to avoid embarrassment to his family he requested not to be credited in the regional language films. He did not know Hindi but from 1932-1947, he worked for Sagar Movietone and also directed nearly 30 films in Hindi, for many others. His first Hindi film was Chandrahasa (1933) starring Noor Mohammed Charlie. He was paid Rs 2000 per film with the complete film being made within Rs 50,000. He worked with most of the top actors of the time like Motilal, Nargis, Ashok Kumar and Pahari Sanyal. He brought Mehboob Khan who was then doing roles as an extra out of obscurity and gave him the role of Sabita Devi’s father in the film Vengeance is mine(1935).

He made several films based on novels. Some of the writers whose work he used were K.M.Munshi, Sarat Chandra and Ramanlal Vasanthlal Desai. The film Aap ki Marzi (1939) was inspired by the Hollywood film Paradise for Three (1938). He became known for his satirical comedies and “socially relevant films”.His film Grihalaxmi (1934), which starred Jal Merchant and Sabita Devi had the woman getting into marriage only if her doctor husband agreed not to want children. The success of the film mitigated the enraged public reaction at the time.

He showed his understanding of media publicity required for films when in 1937, Badami resorted to woo audiences by announcing cash prizes of Rs.500, Rs.200 and Rs.100 for the best reviews of his newly released film Kulvadhu (1937). The promotional gambit worked sending audiences to the theatres. According to an interview, most of Badami’s films didn’t survive as the negatives were burnt to extract the silver from the silver nitrate.

After Aap ki Marzi-38, he followed his mentor, Dr. Patel and joined Sudama Pictures, when in 1939, Sagar Movietone merged into National Films. Badami also worked in Famous Cine Laboratories, from 46 to 48.

Apparently, in 1948 Deputy Prime Minister Vallabh bhai Patel, who was then also in charge of the Information Ministry, on a visit to the Cine Laboratories Bombay, asked Badami to help set up a Newsreel and Documentary section. The Films Division was established in 1948. He became chief producer in the newsreel department and made several documentaries. He worked in the Films Division making documentaries from 1948-1952. After that he stopped making films and returned to Bangalore to retire as “I was a forgotten man in the feature film world”. He became an industrialist by starting a manufacturing business. Later he worked as a Consultant for Kamani Group of Industries also. He died in 2005 in Bangalore, Karnataka, India.

FILMOGRAPHY: 1932: Harishchandra; Galava Rishi; Paduka Pattabhishekham; Shakuntala; 1933: Chandrahasa; 1934: Grihalakshmi; 1935: Dr. Madhurika; Vengeance is Mine; 1936: Jeevan Lata; Grama Kanya; 1937: Kokila; Kulavadhu; 1938: Three Hundred Days and After; 1939: Aap Ki Marzi; Ladies Only; 1940: Chingari; Sajani; 1941: Holiday in Bombay; 1942: Khilona; 1943: Prarthana; 1944: Bhagya Lakshmi; 1945: Ramayani; 1946: Uttara Abhimanyu; 1947: Manmani; 1951: Vinoba Bhave (Doc);1952: Roof over the head.

(Ack: Sapnon ke saudagar by Vithal Pandya, Sagar Movietone by Biren Kothari, HFGK, muVyz, Encyclopedia of Indian Cinema, and my notes)

The cast of the film “Khilauna”(1942) was Snehprabha Pradhan, Jairaj, Prabha, Satish, Kanhaiyalal, Pratima Devi, Nagendra and others. Prabha and Nagendra may be new names for most people. Prabha Rajpal was from a respectable Hindu family of Punjab. She was born on 6-6-2015 at Ludhiana. Her father Rajpal was a high ranking government officer based at Lahore. All her education was done in Lahore. She was fluent in Urtdu, Hindi, punjabi and English.

Right from childhood, she was keen on working in films. Being an orthodox family, there was opposition, but despite all this she entered films and her first film was Jung Bahadur aka DareDevil-1935. After doing some films like Dilawar-36, Awakening-36, she left Bhavnani camp and worked in Minerva’s film Atma Tarang-37 as a Heroine opposite Sohrab Modi. She was very beautiful. Then she joined Sagar and worked in films like Gramophone singer-38, ladies only-39, Civil marriage-40. Later she became a freelancer.

In all she worked in 36 films in her career. She got married to a Cinematographer Virender Ahuja and settled down after the film Veerangana-47.
When her husband was one of the producers, she worked in film Shrimati ji-52 and then retired from films.
(Ack; Filmdom, Film Directory, CITWF, HFGK and my notes).

Nagendra Majumdar was the father of Music Director Ninu (Niranjan) Majumdar. Nagendra was born in a happy family in the year 1894 in Bombay. After his father died, “Pearl Dairy” established by his father ran very well doing good business. Suddenly, Nagendra’s wife fell seriously ill and despite taking her full care, she expired. Due to neglect of the Dairy in this period, Dairy also closed down.

He shifted to Baroda and worked as a State Police Inspector.Later he worked as Watch and Ward Inspector in Baroda Railways. He left the job and started working as a hero in dramas of famous dramatist R.V.Desai. Heeralal, the owner of Laxmi Film Company, Bombay was impressed with his personality and took him to Bombay in 1926 to act in his silent films. Thus started his film career. In those days Silent films used to be completed within a month. He worked as a Hero in films of Laxmi, Jagdish and Imperial film companies.

In the same year, he directed a film ‘Paani mein aag’-1926, made by Royal Arts. Then came two more films made by Kaiser E Hind films. He also directed films for other companies. In all, he directed 15 Silent films by 1932. By then the Talkie had arrived. In the next 14 years he directed 12 Talkie films like – Ras Vilas-32, Sassi Punnu-32, Patit Pawan-33, mirza Sahibaan-33, Mera Imaan-34, Kala Wagh-34, Rangila nawab-35, Kimiyagar-36, Aaj ka Alladin aka Alladin II-36, Lehri lutera-37, Talwarwala-46 and Swadesh Sewa-46.

When offers for direction became few, he started acting in films. He acted in 12 films. When K L Saigal came to Bombay, Nagendra wanted to work with him. In the film Tansen-43, he did the role of Tansen’s (Saigal’s) father and he was very happy. Other films that he acted in were Kanchan-41,Beti-41, Khilauna-42, Bhakt Surdas-42, Armaan-42, Tansen-43, Gauri-43, Adab Arz-43, Bharthari-44, Prabhu ka Ghar-45, Ghazal-45 and Dhanna Bhagat-45.

His last 2 films came in 1946, but his health was not cooperating for quite a few years. He gave up work and took a rest. However, he suffered from paralysis and died on 22-8-1951. His son Ninu Majumdar worked in Bombay A.I.R. as head of Gujarati programmes, since 1937. By the time Nagendra died, Ninu had already started working as a Music Director.

As a Director, Nagendra had worked with the best of his times like, Master Vithal, Zubeida, Jillo, Billimorea brothers, Madhuri, Navinchandra, Durga Khote, Jairaj, Sultana, Noorjehan sr and such luminaries of those days. He had worked for Ranjit, Imperial, Sharda, Lakshmi, Jayant Desai films, Yagnik films etc etc.
( Information for this, is collated from various sources like Listener’s Bulletins No. 40 of Feb-80 and No.145 of July 2010, HFGK, muVyz, Sapnon ke Saudagar by Vithal Pandya, Silent films by Dr.Verma, Lost Treasures by Kamlakar P. and my notes.)

Film Khilauna-42 was based on the Gujarati story by Vaju Kotak. Screenplay and dialogues were by R S Chaudhari. The film was released on 21-3-1942 at Royal opera House, Bombay. It did average business at the box office. The film’s review came in the Film India issue of May 1942. Baburao Patel did not have a good opinion about the film’s direction, but he praised Snehaprabha’s acting along with Prabha. The film’s story was about a jobless artiste and a homeless girl. The love story had some complications but the end , as expected, was happy. The film had 10 songs and today’s song is its best song, according to me.


Song-Nazron ke khel khele koi kis tarah akele (Khilauna)(1942) Singers- Khan Mastana, Snehprabha Pradhan, Lyricist- Pt. Indra, MD- Khemchand Prakash
Both

Lyrics

Dil unko dhoondhta hai
Hum dil ko dhoondhte ae ae hain
manzil ke paas donon manzil ko dhoondhte hain

nazron ke khel khele
koi kis tarah akele
nazron ke khel khele
koi kis tarah akele

??
koi kis tarah akele
nazron ke khel khele
koi kis tarah akele
nazron ke khel khele

lut gayi main to soch lo
lut gayi main to soch lo

lut(?) gaya ji main to sochna
lut(?) gaya ji main to sochna
utar gayi tasweer si dil mein
aa baithhi taqdeer nazar mein
utar gayi tasweer si dil mein
aa baithhi taqdeer nazar mein
ab na aur samaay rasiya
ab na aur samaay
ab na aur samaay rasiya
ab na aur samaay

chhalkat chhalkat ?? gagariya
??
chhalkat chhalkat ?? gagariya
??
ghat ghat dolat hamri najariya
ghat ghat dolat hamri najariya
ek musaafir aaye
?? dekhoon soyi ankhiyaan
?? dekhoon soyi ankhiyaan
tanman mein ??

tanman mein aa jaaye rasiya
tanman mein aa jaaye rasiya
tanman mein aa jaaye
nazron ke khel khele
koi kis tarah akele
nazron ke khel khele


What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over THIRTEEN years. This blog has over 16600 song posts by now.

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

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