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

Archive for the ‘Light hearted song’ Category


This article is written by Peevesie’s Mom, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 :

5183 Post No. : 17161

Hullo Atuldom

A very Happy Navaratri to all. The date corresponds to the first day after Amavasya in the month of Ashwin of the sixth month (as per the Solar Bengali calendar) and seventh month (as per the Indian National lunar calendar of the Deccan Plateau) overlapping the months of September and October of the Gregorian calendar. It is the Sharath Navaratri. The period when we worship the Mother Goddess in the form of Durga Lakshmi and Saraswati. Additionally, this is also the time when we have Ram Leela celebrations across the country.

That is why I have chosen a song featuring Ram Leela. We can see Dev Anand, Janakidas, Premnath, Paintal, on stage enacting the Lanka dahan part of the Ramayan. It begins with Seeta maiyya crying under a tree in Ashok Vatika and  Hanuman seeing her from atop a tree. Sita maiyya (who is the actress?) sees Hanuman when he falls from the tree (I don’t know if all Ram Leelas have such comic elements. Remember there was a similar comic Ram Leela in Hrishikesh Mukherjee’s ‘Naram Garam’). Ravan’s son Meghnad is played by Sharat Saxena. Did anyone recognize the Kumbhkaran? It is the actor who has a Guinness book entry for playing a police inspector maximum number of times. Yes, Jagdish Raj. Then we have two Hema Malini in the audience.

I could only recognize Manna Dey’s voice as the male playback, there is one more male singer. The female voice belongs to Anuradha Paudwal. The song is written by Anand Bakshi and Laxmikant Pyaarelal are the music directors. Also we can hear Dev Anand’s voice in all the dialogues in between.  All-in-all an entertaining song from the 1976 released Chetan Anand directed ‘Jaaneman’.

The storyline of the film had Dev Anand playing a taxi driver and Hema Malini in the double role of sisters -Santo & Banto. Plus there were Premnath, Ajit, Paintal, Janakidas Sharat Saxena Jagdish Raaj etc. in the cast.

I have read somewhere that it was a movie in the 25th year of Navketan Films. The movie has 6 songs and the blog has 4 of them (one is a three part song).  The last song from this movie was posted in 2016. Today’s song is sort of in the same category as the iconic song from ‘Munim ji’ (1955) – “O Shivji Bihaane Chale Paalki Sajaaye Ke

Born on 26 September, 1923, today is also the 99th birth anniversary of Dev Anand. With this song, we remember him and celebrate his birth anniversary.blog

Editor’s note:-This song is the 200th song picturised on Dev Anand in the blog.

 

Song – Siyavar Ramchandra Ki Jai (Jaaneman) (1976) Singer – C Anand Kumar, Manna Dey, Anuradha Paudwal, Vinod Sharma, Lyrics – Anand Bskshi, MD – Laxmikant Pyaarelal
Dev Anand
Chorus

Lyrics (Provided by Sudhir)

siyavar ramchandra ki
jai
janak nandini siya maiyya ki
jai
laadle lakhan lal ki
jai
pavan sut hanuman ki
jai

seeta ji ka haran kiya
ravan ne badal ke bhes
ram bhaye vyaakul lachhman ke
mann ko laagi tthes
pavan putr hanuman chala
udd kar laane sandes
baavan kot chhappan darwaazon waale lanka dhaam
aur phir

[parda kholo]
[laughter]
[ae bhai]
[? Kholo]

lanka pahunch kar hanuman ne dekha

kya dekha

ke ashok vatika mein
seeta maiyya
ik vriksh ke neeche
apni akhiyaan meeche
ram ke. . .
dhyaan mein
khoi huyi hai

tum bin naahi chain
din raean. . .
tum bin naahi chain
rim jhim barsat nain
din raean. . .

[laughter]
[kamjor ped kaahe laaye]
[tum kaun ho]
[bolo, bolo kyon maun ho]

pavan putr main ram bharose

[ram bharose aap apne ghar honge]
[yahaan hanuman ho, hanuman]

pavan putr shri ram ka pyaara
mere mann mein ram rehte hain
mujhe hanuman kehte hain
mujhe hanuman kehte hain
pavan putr shri ram ka pyaara
mere mann mein ram rehte hain
mujhe hanuman kehte hain
mujhe hanuman kehte hain

seeta ji ko hamri batiyaan
kahin laage na jhoothi
is kaaran raghunath ne bheji
hamre haath angoothi

[hanuman, ram kaise hain]
[kuchh wahan ka haal sunaao]

ram sukhi hain

[arey seeta ke bina ram sukhi kaise ho sakte hain]
[kaho ram dukhi hain]

ram dukhi hain
aapki aankhon se aansoo behte hain
mujhe hanuman kehte hain
mujhe hanuman kehte hain

[seeta maiyya, yadi aapki aagya ho to]
[main kuchh kha loon]
[apni bhookh mita loon]

[khaa lo]
[mita lo]

bees bhuja das sees ka ravan
gyaani aur balwaan
kaisi nadaani kar baitha
dekho wo nadaan
us ko sabak sikhaane aaya
ram bhakt hanuman

[hmmm. . .]
[meghnaad, ye tum kya laaye]

pujya pita ye hai ik bandar
is be baag ke sab phal khaaye
isi liye isey baandh ke laaye

[bol tu hai kiska doot]

main
main hoon teri maut ka bhoot

[ha ha ha]
[tu aur mujhko maarega]

arey marte samay
hee hee hee hee
marte samay tu ram ka naam pukaarega

bolo jai siya ram
bolo jai siya ram
bolo jai siya ram
bolo jai siya ram
bolo jai siya ram
bolo jai siya ram
bolo jai siya ram
bolo jai siya ram
bolo jai siya ram
bolo jai siya ram

[raavan tum kyon gaate ho jai siya ram]

[band karo ye ram ram ram ram ram]

ram
ram

[khubhkaran]
[bolo isey dand kya doon]

[snoring]

[ye sota hai]
[isey sone do]
[meghnaad tum to jaagte ho]
[tum hi kaho isey kya dand den]

[iski poonchh mein aag laga do]

[satya vachan]
[main teri poonchh mein aag laga doonga]

[laga do, laga do]
[main apni poonchh se teri lanka jala doonga]

[jala do jala do]
[aieeen, ye kya kaha vaanar]

[laughter]

 


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 :

5180 Post No. : 17156

Today’s song is from the film Lehren-1953. It was made by ” New Sai Productions” Bombay. It was a film production company floated by C.Ramchandra, his close friend actor Omprakash and Lata Mangeshkar. They produced Jhanjhar-1953, Leharen-1953 and Duniya gol hai-1955 ( directed by Omprakash himself.) These films were neither successful nor their music became popular.

When the film Jhanjhar-1953 was about to be released, C. Ramchandra and Lata Mangeshkar went to Punjab to attend the release function of the film. In this visit, Lata Mangeshkar spoke to singer Nurjehan in Pakistan, from her hotel room telephone and they decided to meet each other. Accordingly Lata and Nurjehan met on the “No Man’s Land” between the Indo-Pak border. They embraced each other and spent a lot of time together.

Another noteworthy event happened when the film Jhanjhar was in the making. At that time C.Ramchandra, under a loose contract with Filmistan, was also giving music to Filmistan’s ” Anarkali’. Directors in Filmistan knew that he was also making his own film Jhanjhar and they suspected that he may be neglecting music of Anarkali at the cost of Jhanjhar. He was sent a legal notice accusing him of this. However, Jhanjhar released first, flopped and then Anarkali was released. Anarkali music became a superhit and Jhanjhar was nowhere. The legal case was happily dropped and C Ramchandra was also awarded a gift from Filmistan for its music !

Film Lehren-1953 was directed by H. S.Rawail and the 10 songs of the film were written by Rajendra krishna. Rajendra Krishna (6-6-1919 to 23-9-1987. Songs 1671 for 269 films) and C.Ramchandra were very good friends. They came together from C. Ramchandra[‘s film Patanga-1949. Together they worked in 52 films. However, in 1958 this friendship broke up. The story is….in 1958 C.Ramchandra was called to Madras by producer S.S.Vasan of Gemini Films. He was offered the film Raaj Tilak for music. This was a remake of Vasan’s hit Tamil film ” Vanjikottai Valiban”. A Telugu remake was also on cards and C.Ramchandra was to give music to Hindi and Telugu versions. He had already given music to the Tamil original. He gladly accepted and wanted to call Rajendra krishna to write the songs. To his shock, Vasan objected to calling Rajendra krishna. Vasan was angry at him because he had written songs for his competitor AVM’s 2 films Bhai Bhai-1956 and Bhabhi-1957. Both films’ songs were popular and hits also. Vasan asked Ramchandra to suggest some other name. He suggested P.L.Santoshi and it was accepted. The music was completed for Raaj Tilak-1958.

C.Ramchandra went back to Bombay and started making songs for the film Amardeep along with Rajendra krishna. After the music was set, Rajendra Krishna came to know that C.Ramchandra had replaced him with Santoshi for a South film. He was enraged and broke their partnership. Rajendra krishna was also popular in South and he started suggesting the Southern producers names of Chitragupta and Ravi as Music Directors. C. Ramchandra stopped getting any films from Madras. At that time even Lata left him after recording 2 songs of the film Amardeep-1958. C.Ramchandra’s bad period had begun…..

The cast of the film Lehren-1953 was Shyama, Kishore Kumar, Shakuntala, Bipin Gupta, Iftikhar, Sunder, Johnny Walker, Leela Mishra and others. In this film, Raj kapoor was a Guest Artiste. Also Omprakash’s brother Pachhi did a small role in this film. Later Pachhi became a big Producer of Hindi films himself. In this film 6 singers were used for 10 songs. The singers were Mohd. Rafi, Kishore kumar, Hiemant kumar, Lata Mangeshkar, Shamshad Begum and Sunder. Today’s fun song is sung by Mohd. Rafi and Sunder. To most readers Sunder was a comedian, but Sunder Singh was a Hero in his early films and sang many songs in his own films.

For a long time,I was searching for information on comedian Sunder. I got hold of a 2 page detailed article on Sunder, but it was in Punjabi- which I could not read or use. I found a small paragraph on Sunder in Sanjit Narvekar ji’s book ” Eena Meena Deeka”. Lastly, I requested Harish Raghuwanshi ji for help. Despite his failing health, he promptly sent me articles in Hindi, English and Gujarati, on Sunder. He is such a helpful person. May God give him a healthy life.

Sunder Singh aka Sunder was born in Sialkot, Punjab on 10th August 1916. His father was working in Madon Theatres, Calcutta. Sunder also started working there. Initially, for a long period,he did Girl’s roles. Once his work was seen by H.S.Rawail (Director in later life). He was quite impressed. Later Rawail started working with R.N.Vaidya as his assistant in direction.Meanwhile Sunder started working in Talkie films. His first film,where he was credited, was ” Na hone wali baat”-38. Before that, Rawail and Vaidya were preparing to make the film Banke Sipahi-37.Rawail recommended Sunder and Vaidya gave him an uncredited small role in that film.

Sunder and Rawail became good friends and started staying in one flat in Calcutta. After a few films here, they both went to Lahore and Sunder got the Hero’s role in the film ” Shukriya”-44. There were 4 Heroines in the film- Ramola, Rooplekha, Manorama and Raksha. Sunder’s role in this film was that of a young man from a village and Ramola was from a City. Sunder’s one song from this film-‘ Nayanon ke teer chala gayee ek shehar ki laundiya’ became very popular all over India, However the song was banned in Punjab due to its lyrics. After this they both came back to Calcutta.

His next film was Albeli-45, in which too there were 4 Heroines- Ramola, Rooplekha, Manorama and Usha. In the 40’s , Sunder acted in many films like Arabian Nights, Baap, Shabri, Chandrashekhar, Ek aurat, Grihalaxmi, Lottery, Samapti, Jhoothi kasme, Savyasachi, Do baaten, Shadi ke baad, Bawra, Khiladi, Nai Bhabhi etc. In Calcutta, Sunder got married to a girl from his community. Rawail left for Bombay. After a few months, Sunder also returned to Bombay.

Rawail was very happy to get him back and gave him roles in almost all of his films. Not only Rawail, but also J.Om Prakash, Mohan Kumar, Lekhraj Bhakri, Manoj kumar etc gave him roles in all their films and he became a busy actor. He was at one time, in great demand. He was quite popular due to his nature.In the decade of 50’s he did 88 films, which increased in the 60s and 70s. In the 80s however films came haltingly.

From singing Hero, he became a Junior artiste( extra), in presence of the new crop of actors. The role of comedians was on decline, as Heroes like Amitabh and others did comedy scenes themselves. His health started troubling him. His last film was probably Bahurani-89. He became ill for a long time and finally died on 5-3-1992. Sunder acted in 436 films. He was a good singer and sang his own songs in early cinemas. In all, Sunder sang 40 songs in 25 films. ( Thanks to Harish Raghuwanshi ji for material for adaptation.)

The story of the film Lehren-1953 was….The story of Lehren-53 revolves around 3 characters. One Hero and 2 Heroines. Kishore loves Shakuntala and treats Shyama sympathetically because she had lost her parents. She stays with her uncle omprakash. Shyama however takes Kishore’s sympathy as his love for her. Even his uncle and Kishore’s best friend Sunder think that way. This happens because Kishore feels too shy to express his love for Shakuntala. This situation becomes very embarrassing for Kishore, especially as he is pushed to marry Shyama. This part of the story is upto Interval.

After Interval, Kishore tries very hard to get out of this tricky situation and succeeds by first telling the truth to Sunder and then to uncle Omprakash. They make a plan so that Shyama overhears Kishore’s love dialogues to Shakuntala. But this has an opposite effect. Shyama thinks that Kishore has played a double game with both the girls.

At the end, all misunderstandings are cleared( for which Shakuntala had to pretend her suicide and sacrifice to allow Shyama and Kishore to get married). Shyama steps back and Kishore and Shakuntala are married.

Let us now enjoy the comedy song, by Rafi and Sunder Singh.


Song-Kehta hoon sach ke jhoothh ki aadat nahin mujhe (Lehren)(1953) singers-Sunder, Rafi, Lyrics-Rajinder Krishan, MD-C Ramchandra
Both

Lyrics

Duniya jhol hai
ae jee hum na kehte thhe
ke duniya jhol hai
aur tum samahte thhe ke beta gol hai
waah
aah
samhe mama
kehta hoon ke
kehta hoon sach
ke jhoothh ki aadat nahin mujhe
kehta hoon sach
ke jhoothh ke jhoothh ki aadat nahin mujhe
ae jaaneman
kisi se adaawat nahin mujhe
ae jaaneman
kisi se adaawat nahin mujhe
kehta hoon sach
ke jhoothh ki aadat nahin mujhe
kehta hoon sach
ke jhoothh ki aadat nahin mujhe
ae jaaneman kisi se adaawat nahin mujhe
ae jaaneman kisi se adaawat nahin mujhe

ae jee achche bure ko dekh ke
achche bure ko dekh ke
kehta hoon saaf baat
kya
arre suno to mama
arre achche bure ko dekh ke
arre kehta hoon saaf baat
arre din ho to din kahoonga
agar raat ho o o to raat
ahahaha

arre jhoothe kaa
kya
munh kaala

arre nahin
suno to mama
arre jhhoote ka saathh
dene ki aadat nahin mujhe
jhhoothe ka saath dene ki aadat nahin mujhe
ae jaaneman kisi se adaawat nahin mujhe
ae jaaneman kisi se adaawat nahin mujhe

aa aa aa aa aa
aji jaaiye bhi aap to
jhoothon ke baap hain

aji mama ee
dekho main to nahin hoon
per aap hain
aa aa aa aa
ab chhodiye jee peechha
ke fursat nahin mujhe
ab chhodiye jee peechha
ke fursat nahin mujhe

ae jaaneman kisi se adaawat nahin mujhe
ae jaaneman kisi se adaawat nahin mujhe

kehta hoon sach ke jhoothh ki ee ee ee ee ee ee ee
kehta hoon sach ke jhoothh kee ee ee ee ee ee ee
kehta hoon
o kehta hoon
o kehta hoon
o kehta hoon
sach ke jhoothh ki aadat nahin mujhe

kehta hoon sach
ke jhoothh ki aadat nahin mujhe
ae jaaneman kisi se adaawat nahin mujhe
ae jaaneman kisi se adaawat nahin mujhe ae ae


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 :

5136 Post No. : 17093

Today’s song is a comedy song from the film ‘Madmast’ (1953).

The film was made by Sweet Pictures. Produced and directed by Jagdish Pant, the film had music by V Balsara. Jagdish Pant seems to be a director by hobby, because he directed only one more film i.e. ‘Padosi’ (1971), which was also produced by himself. The cast of the film ‘Madmast’ (1953) was Nirupa Roy, Shashikala, Sapru, Nazir, Ansari, Shakeela and others. 7 songs were written by Madhuraj aka Madhukar Rajasthani, 2 by Manav, 1 by the director Jagdish Pant himself and one chorus song is left without name credit.

Hindi film music is like an ocean. As many rivers merge into the ocean at various stages, regional music from various parts of India is assimilated in HFM (Hindi Film Music).

Initially it was the Marathi Stage/Natya Sangeet and Parsi theater which influenced HFM. In the East, it was Rabindra Sangeet and Nazrul Geete made the basis of film songs. In the Lahore center it was the Punjabi style after ‘Khazanchi’ (1941).

After partition and polarisation of film production language wise, it was Bombay, which became the center for HFM and it was a wonderful mixture of music specialties from all over the country. There were many successful Music Directors in India. I remember a famous quotation – “Behind every successful man there is a woman.”

Can you tell me who is behind every successful Music Director ?
I am sure many of us do not have the answer.

The answer is the ARRANGER.

Now, who is this arranger? Some have a vague idea, some may even think he is the person who arranges song recording and the musicians.

An Arranger is the SOUL of film music. Once the composer conceives the tune for a song, he tells it to the Arranger, who immediately makes its notations (writing music or Swaralipi), which only a properly schooled musician can read and play. Arranger also decides the instruments and their placements in the song. Most of the Arrangers in the Hindi film industry were from Goa, where traditionally Jazz music was very popular.

A typical Goan likes to live life ‘sushegaat‘ – which loosely means ‘araam se‘ or a carefree life. Their philosophy is eat, drink and be merry. This merry part includes Music.

Goa has given many musicians to India. Lata/Asha are from Mangeshi – Goa, though the family had shifted to Kolhapur; MDs Dattaram (Wadkar) and N Datta (Datta Naik); singers Kishori Amonkar, Kesarbai Kerkar, Shobha Mudgal, Hema Sardesai, Prabhakar Karekar, Remo Fernandes, Lorna are from Goa. (The list is only indicative,not exhaustive).

Most Arrangers were from Goa——

Anthony Gonzalves from Majorda – Goa. He worked for Naushad, OP Nayyar and Lakhsmikant Pyaarelal The song “My Name Is Anthony Gonzalves” from ‘Amar, Akbar, Anthony’ (1977) is a tribute by Lakhsmikant Pyaarelal to him, as he taught Pyarelal so many things including notations.

Chic Chocolate aka Anthony Vaz from Aldona – Goa. He worked for C Ramchandra mainly.

Chris Perry worked for Khayyam, RD Burman, Kalyanji Anandji and Lakhsmikant Pyaarelal.

Frank Fernando worked for Anil Biswas, Kishore Kumar, Roshan, C Ramchandra.

Sebastian D’Souza from Bicholim – Goa. He worked for Shanker Jaikishen from 1952 to 1975 and OP Nayyar.

Most of the players of western instruments in the orchestras were from Goa, like renowned musicians such as Robert Correa and Mike Machado (the pianists), Albuquerque, Verga, Simplicio D’Souza and John Gonsalves (the cellists), V Balsara and Goody Seervai (the accordionists), Duorado, Narvekar and Karnad (the solo violinists) and David (the mandolin player) etc.

The names given above are only indicative and not exhaustive. In addition to these arrangers, there were countless known and unknown arrangers in the film industry. Many arrangers, after working for a long time, desired to become music directors themselves. Some of them became MDs also, however history says that most such arrangers failed as MDs. Of course, there are few cases where they have succeeded too, but such cases are very few.

Datta Davjekar, Timir Baran Bhattacharya, Master Eric, Chic Chocolate, Shridhar Parsekar, Anil Mohile, Hemant Kedar (Ramkrishna Shinde), Bal Parte, Bhushan and many other names can be quoted as arrangers who failed as MDs in Hindi films. Few people know that the original arranger in the Hindi film industry was Mohd Shafi – who too became a music director later in his career. According to DO Bhansali, a leading sound recordist of the 60s and the 70s, a group of arrangers, namely Dattaram, Enoch Daniels and Sebastian D’souza together gave music to film ‘Street Singer’ (1966), under the name of ‘Suraj’. After this one film, the group disintegrated. There are however some cases where the one time assistants or arrangers became famous and successful independent music directors. In fact, most MDs were assistants in the beginning of their careers to gain knowledge and experience. There is an interesting case where a well known MD worked as an arranger/assistant to another famous MD, because he respected the senior MD. I am talking about C Ramchandra who became the assistant and arranger to Anil Biswas for the film ‘Girls School’ (1949). By 1949, CR himself was a much in demand and popular MD, but because of his respect for Anil Biswas he agreed to be his assistant on request from Anil Biswas ! This was the respect given to seniors in early days of Hindi films in Bombay !

Now let us talk about V Balsara, who was an assistant and arranger in Hindi films who became music director for today’s film ‘Madmast’. His piano, univox and melodica, the instruments he loved, be it for composing music for films or otherwise, have come to personify the legend of Vistas Ardeshir Balsara, the music director, who died in Kolkata’ on 24-3-2005.

The ‘gentleman musician’, as the affable Parsi was known among friends, had only his music to give him company in the twilight years as he grappled alone with ill health in the absence of his wife and two sons had predeceased him. The striking feature of Balsara was his never-say-die spirit. At 83, Balsara was still going strong on the music front with his Bengali film production ‘Til Theke Taal’ (2005) running in theaters in West Bengal.

He settled in Kolkata in 1954 after he was invited by legendary musician Jnan Prakash Ghosh, to the city. Earlier, he had been in Mumbai, then Bombay.

Born on 22nd June 1922, Balsara learnt music from his mother Nazamaye, and gave his first solo performance at the age of six with the pedal harmonium, in use in those times, at a packed CJ Hall in Mumbai. Barely ten years later, the young lad was assisting famous music director Ustad Mushtaque Hussain, in a Bombay film production ‘Baadal’ (1942) and had made a place for himself as a permanent assistant music director at the Filmistan studio under popular directors Madan Mohan, Khemchand Prakash and Ghulam Haider.

Balsara had his brush with the Who’s Who of the music world after he became the orchestra director of music company HMV in 1947 and then switched over to the RK Films banner three years later to work with the likes of Shankar Jaikishan and Naushad.

As the Founder Secretary of peer bodies like Bombay Cine Musicians’ Association and Bombay Cine Music Directors’ Association, Balsara earned the love and respect of his associates and young musicians.

Basking in the audience appreciation during a musical soiree in Kolkata’s Hindustan Park in 1953, the young musician decided to make this cultural capital his home a year later with a prized film assignment ‘Agni Pariksha’ (1954). At the coveted New Empire Theatres, he charmed audiences again in 1962 arranging music for Rabindranath Tagore’s celebrated play ‘Debatar Grash’ while debuting his own group the Indian Symphony Orchestra.

He gave Kolkata another first — the city’s maiden stereo recording in 1970 — when he put together ‘The Sound of Music’ recording strains of four Indian instruments in one album.

He had to his credit numerous popular film albums, both in Hindi and Bengali, a language he chose to speak more frequently in and with much more ease than his native Gujarati.

From the obscure ‘Circus Girl’ in 1943 to ‘O Panchi’ (1944), ‘Rangmahal’ (1948), ‘Madmast’ (1953), ‘Talash’ (1952), ‘Char Dost’ (1956), ‘Vidyapati'(1964), ‘Qurbani’ (1952), ‘Wohi Ladki’ (1967), ‘Jogi Aur Jawani’ (1975), ‘Pyaar’ (1969), ‘Jai Baba Vaidyanath’ (1979) in Hindi to ‘Madhu Shraboni’, ‘Joy Baba Baidyanath’, ‘Maa’, ‘Chalachal’, ‘Panchatapa’, ‘Subho Bibaha’, ‘Manik’, ‘Kanchan Kanya’, ‘Panna’ and ‘Pathey Holo Dekha’ in Bengali, he had an enviable repertoire.

Balsara who was greatly influenced by western music learnt to play the piano from Hildafield, a German musician. His knowledge of the piano made him use it to play Indian classical music also with ease. He mastered the technique of using the instrument for playing Indian classical music from Muneswar Dayal of Gaya. He was equally at ease with string and wind instruments.

Today’s song is sung by Mohd. Rafi and it is a comedy song. In this film’s songs 2 songs are sung by Dhan Indorewala, who was V Balsara’s wife. Today’s song is 4th song of this film to be featured on this Blog.


Song- Sulag rahi hai husn ki sigdi (Madmast)(1953) Singer- Rafi, Lyricist-Madhuraj, MD-V Balsara

Lyrics

sulag rahi hai husn ki sigdi
aaja pakaayen prem ki khichdi
khaayenge baith ke raja rani
phir nainon ki jhagda jhagdi
de pachhaad dham dham dham
de pachhaad dham dham dham
de pachhaad de pachhad de pachhaad
de pachhaad dham dham dham dham
de pachhaad dham dham dham
de pachhaad dham dham dham

khuli hai khidki
kahaan hai maina aa aa aa
taak jhaank ker mar gaye naina aa
khuli hai khidki
kahaan hai maina
taak jhaank ker mar gaye naina
kab tak sabr kare ye majnu
aaja chham chham chham chham
kab tak sabr kare ye majnu
aaja chham chham chham chham
de pachhad de pachhad
de pachhad dham dham dham dham
aaja chham chham chham chham
aaja chham chham chham chham

pyaar mein tere ulta asar hai ae ae ae ae
main baahar hoon tu bheetar hai ae
pyaar mein tere ulta asar hai
main baahar hoon tu bheetar hai
tere baap ke joote khaa kar
ghut gaya mera dam
haaye
tere baap ke joote khaa kar
ghut gaya mera dam
haaye
de pachhaad de pachhaad
de pachhaad
dham dham dham dham dham
aaja chham chham chham chham
ghut gaya mera dam
haaye
aaja chham chham chham chham
ghut gaya mera dam dam dam

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

सुलग रही है हुस्न की सिगड़ी
आजा पकाएं प्यार की खिचड़ी
खाएँगे बैठ के राजा रानी
फिर नैनों की झगड़ा झगड़ी
दे पछाड़ धम धम धम
दे पछाड़ धम धम धम
दे पछाड़ दे पछाड़ दे पछाड़
दे पछाड़ धम धम धम धम
दे पछाड़ धम धम धम
दे पछाड़ धम धम धम

खुली है खिड़की
कहाँ है मैना आ आ
ताक झांक कर मिस्टर गए नैना
खुली है खिड़की
कहाँ है मैना
ताक झांक कर मिस्टर गए नैना
कब तक सब्र करे ये मजनू
आजा छम छम छम छम
कब तक सब्र करे ये मजनू
आजा छम छम छम छम
दे पछाड़ दे पछाड़
दे पछाड़ धम धम धम धम
आजा छम छम छम छम
आजा छम छम छम छम

प्यार में तेरे उल्टा असर है
मैं बाहर हूँ तू भीतर है
प्यार में तेरे उल्टा असर है
मैं बाहर हूँ तू भीतर है
तेरे बाप के जूते खा कर
घुट गया मेरा दम
हाय
तेरे बाप के जूते खा कर
घुट गया मेरा दम
हाय
दे पछाड़ दे पछाड़
दे पछाड़
धम धम धम धम धम
आजा छम छम छम छम
घुट गया मेरा दम
हाय
आजा छम छम छम छम
घुट गया मेरा दम दम दम


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 :

5131 Post No. : 17086

Today’s song is a comedy duet from the film ‘Roshni’ (1949).

The film was made by Standard Pictures Corporation, Bombay. It was directed by Ramanlal Desai and the MD was C Ramchandra. The lyricist was PL Santoshi. The cast of the film was Rehana, Nihal, Pran, VH Desai, Mumtaz Ali, Sophia, Chand Barq, Indira, Shama, Zarine, Ishrat etc.

After making it in Hindi films as an MD for film ‘Sukhi Jeevan’ (1942), C Ramchandra had joined Jayant Desai productions on a salary of Rs. 300 pm. He gave successful films like ‘Bhaktaraj’ (1943), ‘Zaban’ (1943), ‘Lalkar’ (1944), ‘Manorama’ (1944) and ‘Samrat Chandragupta’ (1945), C Ramchandra felt that he deserved a salary increase. As Jayant Desai was not ready to increase it to his desire, he left the company. After a few months, with the help of Kavi Pradeep, C Ramchandra joined Filmistan, where he got what he wanted, namely salary of Rs. 1,000 pm and freedom to give music to outside films also.

While he continued with Filmistan, he reached his peak in career by giving hit musicals like ‘Safar’ (1946), ‘Shehnai’ (1947), ‘Sajan’ (1947), ‘Nadiya Ke Paar’ (1948), ‘Khidki’ (1948), ‘Patanga’ (1949), ‘Sargam’ (1950) and many more. Meanwhile he was giving music to films of other production companies, but managing a proper balance with Filmistan films. ‘Roshni’ (1949) was also one such film.

Taking a look at the cast, I found 3 actresses of interest, about whom not much is known to common lovers of old films and music. The first was Shama. During the period of 1930’s and the 1940’s, there were 3 actresses with the name Shama or Shyama. The first of them was Shyama Zutshi, second was Shama Dulari and the third was actress Shyama, who ruled in the 50’s and the 60’s with over 160 films.

Shyama Zutshi was the first Kashmiri Girl who joined films in 1934. She acted in many films, some of which are :-

1 ‘Vishnu Bhakti’ in 1934
2 ‘Laila Majnu’ in 1935
3 ‘Khooni Jadugar’ in 1939
4 ‘Kaarwaan e Hayaat’ in 1935

Shyama Zutshi belonged to a well to do family of Lahore. Her father was a barrister. She was quite a successful and sought after actress but suddenly she moved out from films and focused on politics and freedom struggle. Shyama was a congress leader .

Another reason for her to quit films was the presence of a fellow Kashmiri Actor Chander Mohan Wattal. Chander Mohan would always tell her to quit as according to him acting in films was not meant for girls from good families . Chander Mohan Wattal opposed the entry of Kashmiri girls to films .

The second was Shama Dulari. Not much is known about her personal life. Shyama Dulari hailed from a small city of Madhya Pradesh. She was interested in acting and had acted in school and college dramas. After education, she came to Bombay and appeared for a screen test and interview at Filmistan. She passed the test, but did not like the salary that was offered.

She went to Poona and met WZ Ahmed of Shalimar Pictures. He was quite impressed with her and signed an exclusive contract for 3 years, offering her a very lucrative salary. However in the next two years she acted only in two films – ‘Meerabai’ (1947) and ‘Shehzadi’ (1947). Due to the contract, she could not work anywhere else also.

After 1947, when Ahmed migrated to Pakistan along with Neena, she came to Bombay. Jayant Desai signed her for the lead role in the film ‘Lakhpati’. Unfortunately, due to her father’s illness, she had to leave Bombay and go back to her native city in MP. She came back and tried to get work. She worked in films like ‘Rangeela Rajasthan’ (1949), ‘Shair’ (1949), ‘Roshni’ (1949), ‘Rooplekha’ (1949), ‘Naqli Baap’ (1949), ‘Jal Tarang’ (1949), ‘Ek Teri Nishani’ (1949), ‘Char Din’ and ‘Dolti Naiya’ (1950). Her last known film was ‘Babul’ (1950) wherein she did a small role.

No information after that. Problem was that at the same time the famous actresses Shyama (Khurshid Akhtar) and Shyama Dulari were in the film line. Shyama initially was acting under the names like Baby Akhtar, Baby Khurshid and Baby Shyama; whereas Shama Dulari was credited as Shama, Shama Dulari and sometimes Shyama also. I listed films in Shyama’s name and tried to see the credits of films which were available. Though very few films are available on You Tube, I tried to separate the films for Shama Dulari based on her credits and by conjuncture. Still there could be some errors, which will be corrected when proof comes up suitably.

The third was Shyama, too well known to write anything about. We all know her well.

The case of Shama Dulari was different. She was actually a victim of an intentional restrictive contract. When she signed a contract with WZ Ahmed of Shalimar Pictures, Poona, little did she know that she would rot there without work for 3 years ! The company used her only in 2 films – ‘Shehzadi’ (1947) and ‘Meerabai’ (1947). Rest of the time she was paid only half salary and legally she was prohibited from working elsewhere. It was only after Ahmed migrated to Pakistan, with Neena and without paying the staff salaries, she became a free bird.

Such cases were not uncommon in the Hindi film industry. This happened with actress Meena Shorey too (Lara Lappa girl) and Sohrab Modi, who demanded Rs. 60,000 from her to remove a legal case against her for breaking their contract and working in a Lahore film. It was with the intervention of Mehtab, that the amount was reduced to Rs. 30,000, which Meena had to pay through her nose to avoid legal action.

Same happened with Mrudula, the first heroine of Dilip Kumar in the film ‘Jwaar Bhata’ (1944). She had signed a contract with Devika Rani of Bombay Talkies for work in the films. However, after ‘Jwaar Bhata’, she did not get any film. After 1945 end, Devika Rani left Bombay Talkies, selling all her shares and getting married to ‎Svetoslav Roerich,  a Russian artiste, leaving Mrudula to rot for the remaining 3 years without work and thus spoiling her career.

This also took place with the firebrand actress Shanta Apte, when Prabhat Film company threatened her to take legal action if she worked in films of other companies, breaking their contract. She was a tough person. She staged a demonstration at the gates of Prabhat film company and also sat for Fasting (अन्न सत्याग्रह). Newspaper reporters were called, and for the fear of bad publicity, Prabhat compromised and relieved Shanta Apte unconditionally !

The third name in the cast is Indira (Wadkar). In the 40’s and 50’s, there were 3 Indira named actresses. Indira Wadkar, Indira Billi (heroine of some Punjabi films) and Indira Bansal – the fat comedienne. Hansa Wadkar’s father had three sisters, Kesharbai, Indirabai and Sushilabai. Sushila was married to Master Vinayak, a renowned actor-director of the early era of Indian cinema. The elder sister as well as Indira Wadkar were acting in films and Indira was a classical singer as well. Indira acted in several films including ‘Duniya Kya Hai’ (aka ‘Resurrection’) (1937) and in films of Vinayak’s production company Hans Films like ‘Devata’ (1939) in Marathi. Indira used the surname Wadkar to avoid using the family name Salgaokar, for fear of reprisal from society against women acting in films. Her older sister, Kesharbai, was working in a film made by MG Rangnekar and suggested that Indira Wadkar work in films to sustain her family. She acted in 11 Hindi films. She was a popular shrewish mother in law in Marathi films.

Today’s song is a comedy duet sung by Chitalkar and Shamshad Begum. Enjoy.


Song- Mere dil ka dil ka mere dil ka kabootar(Roshni)(1949) Singers-Chitalkar, Shamshad Begam, Lyrics-P L Santoshi, MD-C Ramchandra
Chitalkar + Shamshad Begam

Lyrics

mere dil ka dil ka
mere dil ka
o mere dil ka kabootar
tere chhajje pe bole
tere chhajje pe bole
gutar goon goon goon goon goon goon
gutar goon goon goon goon goon goon
gutar goon goon..hoon
mere dil ka dil ka
mere dil ka kabootar

tere gali ke karoon main sau sau phere
saanjh sawere
tere gali ke karoon main sau sau phere
saanjh sawere
duniya kahe tu laila hai meri
main tera majnu
duniya kahe tu laila hai meri
main tera majnu
gutar goon goon goon goon goon goon
gutar goon goon goon goon goon goon
gutar goon goon..hoon
mere dil ka dil ka mere dil ka
haan mere dil ka kabootar tere chhajje pe bole
tere chhajje pe bole
gutar goon goon goon goon goon goon
gutar goon goon goon goon goon goon
gutar goon goon..hoon
mere dil ka dil ka
mere dil ka kabootar

gali ke phere na kar more raja
ankhiyon mein aa jaa more raja
gali ke phere na kar more raja
ankhiyon mein aa jaa more raja
nazar bachaa ke main duniya se
palkon mein rakh loon
nazar bachaa ke main duniya se
palkon mein rakh loon
gutar goon goon goon goon goon goon
gutar goon goon goon goon goon goon
gutar goon goon..hoon
mere dil ka dil ka mere dil ka
haan mere dil ka kabootar
tere chhajje pe bole
tere chhajje pe bole
gutar goon goon goon goon goon goon
gutar goon goon goon goon goon goon
gutar goon goon..hoon
mere dil ka dil ka
mere dil ka kabootar

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

मेरे दिल का दिल का
मेरे दिल का
ओ मेरे दिल का कबूतर
तेरे छज्जे पे बोले
तेरे छज्जे पे बोले
गुटर गूँ गूँ गूँ गूँ गूँ गूँ
गुटर गूँ गूँ गूँ गूँ गूँ गूँ
गुटर गूँ गूँ गूँ॰॰हूँ
मेरे दिल का दिल का
मेरे दिल का
मेरे दिल का कबूतर

तेरी गली के करूँ मैं सौ सौ फेरे
साँझ सवेरे
तेरी गली के करूँ मैं सौ सौ फेरे
साँझ सवेरे
दुनिया कहे तू लैला है मेरी
मैं तेरा मजनूँ
दुनिया कहे तू लैला है मेरी
मैं तेरा मजनूँ
गुटर गूँ गूँ गूँ गूँ गूँ गूँ
गुटर गूँ गूँ गूँ गूँ गूँ गूँ
गुटर गूँ गूँ गूँ॰॰हूँ
मेरे दिल का दिल का
मेरे दिल का
हाँ मेरे दिल का कबूतर
तेरे छज्जे पे बोले
तेरे छज्जे पे बोले
गुटर गूँ गूँ गूँ गूँ गूँ गूँ
गुटर गूँ गूँ गूँ गूँ गूँ गूँ
गुटर गूँ गूँ गूँ॰॰हूँ
मेरे दिल का दिल का
मेरे दिल का कबूतर

गली के फेरे ना कर मोरे राजा
अँखियों में आजा मोरे राजा
गली के फेरे ना कर मोरे राजा
अँखियों में आजा मोरे राजा
नज़र बचा के मैं दुनिया से
पलकों में रख लूँ
नज़र बचा के मैं दुनिया से
पलकों में रख लूँ
गुटर गूँ गूँ गूँ गूँ गूँ गूँ
गुटर गूँ गूँ गूँ गूँ गूँ गूँ
गुटर गूँ गूँ गूँ॰॰हूँ
मेरे दिल का दिल का
मेरे दिल का
हाँ मेरे दिल का कबूतर
तेरे छज्जे पे बोले
तेरे छज्जे पे बोले
गुटर गूँ गूँ गूँ गूँ गूँ गूँ
गुटर गूँ गूँ गूँ गूँ गूँ गूँ
गुटर गूँ गूँ गूँ॰॰हूँ
मेरे दिल का दिल का
मेरे दिल का कबूतर


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 :

5123 Post No. : 17072 Movie Count :

4613

A QUEST FOR THE UNKNOWN !

Today’s song is a comedy song from the film Dr.Ramesh aka Dr.Romesh-1949.

Last year, at the beginning of the Rainy season, I had gone to our Farm House at Malavali (near Lonavala) with my family. It is a cool place for relaxation. While talking to the watchman of our house, we came to know about a natural and very scenic waterfall between Malavali and Lonavala. It was, I think, called ” Johnson’s Waterfall” – a name I had never heard in my life. In fact no one in the group had heard about it. I took the address from him and the next day we set out to visit this waterfall. The driver heard the directions and the GPS was set for that location accordingly. We proceeded as per the guidance of Google GPS. After a few kilometers, the road became very narrow. When we proceeded on it, after a Km or so, we found that a big board was put across the road, proclaiming that this road was now closed forever.

We were stunned. We got down. There were few farmers looking at us with pity. On enquiry, we came to know that the said waterfall has now been closed for the visitors. We were advised by the farmers to go back. Now, the road was so narrow that it was impossible to turn around the car. The only way was to go in reverse till a wider road was available. We were forced to do so and finally turned around the car after 2 kms of reverse travel. The disappointment was greater than the trouble we had to undergo. All our enthusiasm to see the hitherto unseen waterfall was washed away ! You can only imagine our sunken faces and drooping shoulders.

Why I am telling you about this case of disappointment here is because last week once again I experienced this same feeling of disappointment, in the case of the film Dr. Ramesh-1949. When Jaffer Bhai uploaded 4 songs of this film, I was wondering whether these songs were already discussed on the Blog. I immediately checked up the ‘ List of songs-Moviewise” on the blog and to my delight, I found that ” Dr. Ramesh” songs were not yet discussed here. I was very happy that I got a chance now to write about a ‘ Debuting ‘ film. To get further details about the film, I opened the HFGK and came to the page of this film.

This is when I remembered my trip to ‘ Johnson Waterfalls ‘ near Lonavala. The page of ‘ Dr. Ramesh was totally BLANK ! Only the name of the film and mukhadas of some songs were seen. Other than that there was no other information about the Director, Music Director, Lyricist or even the film’s cast. I was stunned. All my enthusiasm about writing on this film and its song withered away instantly. I had reached a Dead End !

Then I tried every arrow in my armour. I searched for this film on Google, all books, all known sites of film and songs. Perhaps some information would have been available if this film was made in Bombay, Poona, Kolhapur or even Madras. Unfortunately this film was made By Dev Darshan films in Calcutta. So no information was available. Finally and desperately, I wrote mails to Shri Hamraz ji and Harish Raghuwanshi ji. While Harish ji declared “No Information”, it was the prompt response of hamraz ji that he would give me ‘some’ information next day-it was already 10 pm in the night.

True to his words, next before 9 am, Hamraz ji’s mail came with ‘ some ‘ information. I am thankful to him that he replied so quickly to my query and gave whatever was available with him about this film. What he gave was this –
1. Director….Prakash Bakshi
2. Music Director….Kali pad Sen aka K.P.Sen
3. Lyricist…. Rangeen
4. Cast…. Naeem,Maya, Channi, Balqees, Haqumat, Pinaki, K.C.Verma and Kavish.

This was my last chance of getting information and he gave it to me, but I was no wiser. None of these names (except K.P.Sen with only his 4 films’ names known) I received were known to me and all these names were heard by me for the first time in my life ! Now my quest for information about these names started. Lo and Behold ! I came across the big disappointment once more. I could not get any information on any of these names anywhere on the Net or in any books.

You know this is the problem with Bengali films and artistes. Their information is not easily available in any other language, possibly except Bangla. This is because Bengalis, I feel, generally do not believe in the world outside Bengal. I understand they have a problem with the Hindi language. Even South film artistes too have the same problems. But then this is how we have missed out on the arts and talents of Bangla artistes and other experts.

Anyway, the gist of the matter is I have no information on the film, its director, MD, Lyricist or any of the Cast members. Now, what does one do when he has hit his head against a boulder ? What can I write in this post on this very good comedy song from this film ? Nothing ! The last straw on the Camel’s back was that the singer’s name is Dwijen Choudhary, about whom also I do not know anything !

This is the failed story of the ” Quest for a Film’s information “. Now let us forget it and enjoy this really very good song from the film Dr. Ramesh aka Dr.Romesh-1949.

The movie “Dr Ramesh”(1949) as well as the singer Dwijen Chawdhary make their debuts in the blog with this song.


Song-Compoundary bhi kitni museebat ka kaam hai(Dr Ramesh)(1949) Singer-Dwijen Chawdhury, Lyrics-Rangeen, MD-K P Sen

Lyrics

compoundary bhi kitni museebat ka kaam hai
compoundary bhi kitni museebat ka kaam hai
ho doctor na paas to jeena haraam hai
ho doctor na paas to jeena haraam hai
compoundary bhi kitni museebat ka kaam hai

dispensary mein ye jo dawaayen hain
is kadar
quonine soda iodine aur ye tincture
har roz inse main hi banaata hoon mixture
har roz inse main hi banaata hoon mixture
kaaghaz ki is ?? ke likh deta hai doctor
har kaam main karoon
magar doctor ka naam hai
compoundary bhi kitni museebat ka kaam hai

aate hain ghoorte huye ae ae ae ae
aate hain ghoorte huye mujhko mareez sab
jaise sabhi ke dard aur dukh ka main hoon sabab
inko na kuchh lihaaj kisi ka na hai adab
inko na kuchh lihaaj kisi ka na hai adab
aur inke is salook pe dil keh raha hai ab
dispensary ko door se mera salaam hai
compoundary bhi kitni museebat ka kaam hai

khaali hai pet
khaali hai pet paas rasad hai na maal hai
dispensary mei ab mera rehna muhaal hai
khaali hai pet paas rasad hai na maal hai
dispensary mei ab mera rehna muhaal hai
aate hain jo mareez to unka ye haal hai
aate hain jo mareez to unka ye haal hai
paisa koi nikaal ke de kya majaal hai
roti ka koi jikar na shaam(?) hai
compoundary bhi kitni museebat ka kaam hai
compoundary bhi kitni museebat ka kaam hai


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 :

5112 Post No. : 17055

Today’s song is from a stunt film Ji Haan aka Yes please – 1945.

This film was made under the banner of Gautam Chitra, Bombay. It was directed by a pair of Babubhai Mistry and Ramnik Bhatt. All the 8 songs were written by Pt. Indra and the music was by S.N.Tripathi…who was initially for stunt films and later was famous for Mythological movies. The cast consisted of Agha, Bhagwan,Shanta Patel, Meera, Gulab, Raziya,Azeembhai, Anant Prabhu etc etc.

Based on the major chunk of films made, the first 3 decades of talkie films can be easily named accordingly. For example, the 1930’s decade was the “experimental Decade’ because being a new medium, the filmmakers had no idea as to which type of films would attract the audience. Hence there was a mix of all Genres like Historical, Mythological, Folk stories, stunts, family and what not. The 1950’s decade can decisively be called a ” Mythological and Religious films decade” as 124 such films were made in this period. And the 1940’s decade can be said to be a Gold mine for B and C grade action/stunt and costume films. The contribution of Master Bhagwan in this Genre is incomparable to any other filmmaker in the first 30 years of Talkie era. He was not the ‘ initiator’ but surely a ‘developer’ of action films.

An American -Mike Barnum – runs 2 Blogs on B and C grade Hindi action/stunt films of India. Don’t be surprised. There are a few more foreigners who have extraordinary interest in Indian cinema of the yore and they have their own Blogs. One more example is ” memsaabstory.com’n run by Greta Kemmer. Then there is Tom Daniels too. Mike Barnum writes about Master Bhagwan thus…

” Known to his fans as a comedic sidekick in countless Bollywood films of the Golden Era, Bhagwan (Bhagwan Abaji Palav)played the lead and sometimes also directed numerous B grade comedy-action films throughout the 40’s and the 50’s decade. Bhagwaqn often worked opposite former wrestler Baburao pehelwan. With Bhagwan’s short, stubby stature and Baburao’s handsome physique, they made a popular pair.

Bhagwan entered films during the silent era. After a few years, doing bit parts and supporting roles, he tried his hand at Directing with the 1938 stunt film Bahadur Kissan, starring popular action star Chandrarao. Bhagwan co starred in the film with Hansa Wadkar, Sunetra and Vasantrao pahelwan-another former wrestler who was often seen in his films.

Bahadur kissan-38 was quickly followed by Criminal-39, Vanmohini-40 and Raja Gopichand-41 in which the comedian again acted and directed. Bhagwan’s comedy-stunt film combination became quite popular, but is little remembered today, mostly due to the fact that no prints seem to have survived.

Along with the stunt genre, Bhagwan took his brand of comedy and incorporated Horror in House of Mystery(Bhedi Bangla)-49 and spoofed Tarzan pictures with The Jungle man-50. While the masses enjoyed these little B films, it was not until Albela in 1951 that Bhagwan managed to impress the critics. This little musical comedy (produced under his banner-Bhagwan Art productions) also starred Geeta Bali and Baburao Pehelwan and it struck gold at the box office. Bhagwan tried to duplicate Albela’s success with rangeela and Jhamela-51, but both films flopped.

Sadly, of Bhagwan’s dozens of starring roles, only Albela and the comedy Damaad are currently available to see. Thankfully we can at least enjoy the ads and posters from many of his lost or missing films….. and who knows someday a few of these old classics will be unearthed for all to see ! Some of his films were madadgar, Pyar ki raat, Bahadur kissan, criminal, vanamohini, raja gopichand, Rooplekha, Achhajee, Bhedi bangla, Jungle man, Albela, damaad, Actor, Bhole piya, Joker, Bhoole bhatke, Dushmani, Daughter of the Sea, gunehgar, Sukhi jeevan, Badla, Nagma e sahra, Ji haan, Dosti, Shake hands, matwale, laalach, jalan, Jigar and others. “

Master Bhagwan was unique. He was a very hard working person. In the real sense, he brought in the wave of stunt films in the late 40s. After the films of Master Vithal and Fearless Nadia waned in their popularity by 1944-45, it was Master Bhagwan, who established his own Production house-Jagriti Films and produced several stunt films. he had a set of actors and actresses, which included Baburao pehelwan, Vasantrao pehelwan, Azeem Bhai, Shanta Patel, Chanchal, Leela Gupte, Usha Shukla and Vitha Lokare.

The storyline for most of his films was also fixed. Two young vagabonds-Baburao pehelwan and Bhagwan, come to Bombay in search of employment. One Sethji (Azeembhai ) appoints them to protect him from the local criminal (Vasantrao pehelwan). Sethji has a good looking daughter ( one of the stock Heroines), who has a maid (another girl from the stock). Baburao loves Seth ji’s daughter and Bhagwan loves the maid. After a lot of stunts and fighting scenes, the end would be happy. The same story with changed names and other minor changes was used in almost all his films like Badla, Bahadur, Jalan, Madadgaar, Dosti, Shake hand, Matlabi,Bach ke rehna,Bhole bhale, Jeete Raho or such other films. The audience did not mind . They were happy with the stunts. (Did Nasir Hussain and Manmohan Desai get inspiration from Bhagwan in this matter ?).

There was a time when most Indian heroes of the 60’s and the 70’s were great fans of Bhagwan’s action films. Examples are Kishore kumar and Sanjeev kumar. Actor Shyam was his good friend C.Ramchandra, Raj kapoor, P L Santoshi, Shashdhar Mukherjee and many others were his fans. I can not be counted among these famous ones, but I and Greta memsaab simply love Bhagwan’s action films.

Today I am presenting a fun song from the film Ji Haan-45. Out of 8 songs of the film, 5 were comedy songs. One comedy song is already discussed on this Blog. This will be the second song. Let us now enjoy this song.


Song-Mera piya tram chalaawe (Jee Haan)(1945) Singer-Meera, Lyrics-Pt Indra Chandra, MD-S N Tripathi

Lyrics

Mera piya tram chalaave
maayee re mose ticket maange
Mera piya tram chalaave
maay ree mose ticket maange
mere bachche ki laaj na aawe (?)
mere bachche ki laaj na aawe (?)
maayee re mose ticket maange
Mera piya tram chalaave
maay ree mose ticket maange

saajan mera thumka deta
saajan mera thumka deta
dete dhuaan udaawe
maaye re
dete dhuaan udaawe
mera sainyya afeem khaawe
mera sainyya afeem khaawe
Cheen des ko jaawe ae
Cheen des ko jaawe

baalam mera ??
baalam mera ??
tabla roz bajaawe
maaye re
tabla roz bajaaye

preetam mera charas chadhaawe
preetam mera charas chadhaawe
bhor bhaye ghar aawe ae
bhor bhaye ghar aawe
aate hi ?? bajaawe
maayee re
aate hi ?? bajaawe
maayee re mose ticket maange
mera piya tram chalaawe
maayee re mose ticket maange
mere bachche ki laaj na aawe
mere bachche ki laaj na aawe
maayee re mose ticket maange
mera piya tram chalaawe
maayee re mose ticket maange

mere ghar mein saas ??
mere ghar mein saas ??
jhaadu mujhe bataawe
maayee re
jhaadu mujhe bataawe

nanad akeli chugli kaate
nanad akeli chugli kaate
ik ut aag lagaawe ae
ik ut aag lagaawe

dewra mera bada chorta?
dewra mera bada chorta?
jhumka bech ke khaawe
maayee re
jhumka bech ke khaawe

sainyya hamra bada anaadi
sainyya hamra bada anaadi
munh pe ??
munh pe ??

bolo to aankh dikhaawe
maayee re
bolo to aankh dikhaawe
maaye re mose ticket maange
mera piya tram chalaawe
maaye re mose ticket maange
mere bachche ki laaj na aawe
mere bachche ki laaj na aawe
maaye re mose ticket maange
mera piya tram chalaawe
maaye re mose ticket maange


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 :

4998 Post No. : 16895

Today’s song is from the film Sasural-1941.

Most of the “Family Dramas”, especially from the Southern stables, depict the problems of the family after the new Bahu comes to the house. In majority cases “problem” means disputes between the Saas- Bahu or the torture meted out to the meak and humble, sanskari Bahu by the Saas and /or Nanad. We have seen many such films. And then we have also seen films where the Bahu is dominating and gives troubles to saas and sasur- going to the extent of throwing them out of their own house. The third and most enjoyable type of family drama is wherein the Bahu is Tit for Tat to the machinations of the irritating Saas and Nanad.

I have been watching movies for about 65-70 years in different languages like Marathi, Hindi, English, Telugu, Kannada, Tamil and even a few Bangla ones. This was because Hyderabad state, where I grew up, was a multilingual state having a substantial population of Marathi, Telugu and Kannada people and of course Urdu speaking Muslims-the Rulers. In the beginning, when I was about 10 to 12 years old, I used to be a ‘Chaperone’ to a group of old relatives in the family for going to the theatre to see the films. Their invariable choices were essentially Mythologicals or tear jerker family films. I have seen more such ‘crying’ or ‘miracle’ filled films in my childhood.

But besides the types of family films mentioned above, there is or rather was one more category, wherein the film story used to be , in which the ‘would be’ Sasural was described in detail or the film story was about the proposed Sasural. In such films, the marriage is fixed, but the Groom or the Bride is mistaken for a wrong person,causing misunderstanding between the pair, till the mistake is rectified to set the things right. I have seen such films too. One film of the 40’s I remember is ” Panghat”-1943, wherein the groom is mistaken for a wrong person. Another similar story was in the film ” Chitchor”-1976. Such films were quite fun to see, because except the actors in the film, everyone in the theatre knew who was the real groom or the bride ! This enhanced the enjoyment.

Today’s film Sasural-1941 is also of this type only. In this film, however, both the groom and the bride misunderstand each other for some other person, but luckily fall in love with the right companion. This film was made by Ranjit Movietone and was directed by Chaturbhuj Doshi. All 13 songs of the film were written by D N Madhok and the music was by Gyan Dutt. The cast consisted of Motilal, Madhuri, Nurjahan Sr., Kantilal, Urmila, Bhagwan Das etc.etc.

Motilal was one of the earliest actors who brought ” Natural acting” to films. Later on actors like Ashok Kumar, Sanjeev Kumar, Amol Palekar and few others practiced it to enrich their films. Most of the new age readers may not be knowing who the actress ” Madhuri” in this film was. The only Madhuri they know is Madhuri Dikshit (I too liked her). For their benefit I reproduce here, once again, a translation of my article on this actress Madhuri. This was originally written in Marathi for a periodical, which has ceased to exist anymore.

Place- Shanmukhanand Hall,Mumbai
Date 7-2-1999
Time- 7 p.m.
Programme- Felicitation to ‘ Stars from the Silent Era’
Organisers- ” Amrut” and ” Cine Society of Bombay ”

The entire hall was overcrowded. Not only all the seats were occupied, but people were standing wherever possible. Everybody wanted to see the Two STARS on the stage-Jairaj and Madhuri. Both were in their late 80s, but looked radiant and smiling. For Madhuri it was a surprise, that the organisers found her out after living in oblivion for over 50 years. She was simply overwhelmed with the people’s affection and love. For Jairaj,these things were not new. He has been around all the time.

Madhuri and Jairaj were a Popular pair in Silent film era. They worked as a lead pair in 3 films, one each in 1930-Rasili Rani, 1931-Warrior from the wild and 1932-My Hero. They came together after almost 70 years, on this stage.

Like many others, Madhuri too was an Anglo Indian. Her name was Beryl Claessen. She was born on 3-11-1913 at Delhi. Her father was a big officer in the Government. Her initial schooling took place in Nainital. She learnt music too,because she wanted to become a Music Teacher. However, she never became,but on a visit to Bombay she was picked up by producer Indulal Yagnik and she started acting in silent films.

Many Heroines in those days were Anglo-Indians,Europeans or Jew girls. Since silent films did not require speaking Hindi or Urdu ( or any language,for that matter),these girls were preferred,as the Indian audience loved their fair colour (Gori Mem). Additionally,these girls did not hesitate to give intimate scenes like kissing or doing stunts themselves. Most girls knew Horse riding,fencing and fighting.

In 1928,there was a Silent film Madhuri,but actress Sulochana(Ruby Myers) did this role and in 1932 there was a Talkie film Madhuri,in which also Sulochana only did the role. When the Talkie films era began most of the Anglo Indian girls became jobless,since they could not speak Hindi/Urdu nor could they sing a song-the two requirements for actresses in early era Talkie films. However,few intelligent and professional actresses learnt Hindi/Urdu language speaking. Madhuri and Sabita Devi (Irene Gasper) were two such clever girls who achieved proficiency in these matters.

Madhuri was very beautiful. After doing 17 silent films,she made her debut in Talkie films with ‘ Pardesi Preetam’-1933. Jaswantlal Nandlal directed his first film here. Her Hero was Raja Sandow. She did many films for Ranjit under the direction of Jayant Desai. From 1933 to 1942,she acted in 28 films. They were (not in order) Kashmeera, Mitti ka Putla, Noor e watan, Secretary, Lehri lala, Rangeela Raja, Sitamgarh, Prithviputra, Thokar, Raj Ramni, Diwali, Matlabi Duniya, Toofani Toli, Shama parwana, College Girl, Nadira, Veer Babruvahan, Zamin ka chaand, Ban ki chidia, Toofan Mail, Mehman, Sasural, Shadi, Ikrar, Vakil Saheb, Paapi, Mazaq and Dharm-45 …her last film.

In 1941,Madhuri got married and after completing films on hand, retired from Film line. After this, she simply disappeared for next 50 years without a trace,till the organisers of a programme located her. Bombay’s ” Amrut” and ” Cine Society of Bombay ” held a felicitation programme on 7-2-1999, for “Stars from the Silent Era”. For Madhuri it was a surprise that the organisers found her out after living in oblivion for over 50 years. She was simply overwhelmed with the people’s affection and love.

She and Jairaj were felicitated on that day.

Film Sasural-1941 story appeared in the December issue of Film India magazine review, in short. Our Sadanand Kamath ji had given it in 2016, in his comments. Here it is…

“The marriage of Vinod (Motilal) and Usha (Madhuri) is fixed, But Usha has not seen her would-be-husband. A mix-up of suitors happens when a fat servant (Kantilal) impersonates Usha’s would-be-husband. The detailed story is not revealed in the review probably to avoid the ‘suspense in the comedy of errors’. It is only towards the end of the film when the impersonation of suitors gets revealed while on a forest trail when Usha falls in the arms of Vinod and the fat servant (Kantilal) gets the maid (Nur Jahan Sr,) as the original suitors.”

The funny song is sung by Kantilal, Motilal and chorus. Kantilal was a favourite with Sagar Movietone initially and then Ranjit Movietone. he featured in all the 3 successive comedy films made by Ranjit in this war period, namely Musafir-1940, Pardesi-1941 and Sasural-1941. Chandulal Shah believed that his audience needed lauhter during the tensions created by the second world war.

KANTILAL CHHAGANLAL PACHCHIGAR ( Soni) was born on 18-4-1907 in Surat, Gujrat. He was from a Goldsmith family. Due to inherent interest in music,after college education he came to Bombay to try film singing.

His first film was ‘Bulbul e Paristan’-1934 from Vishnu Cinetone. Kikubhai Yagnik was the MD. Kantilal sang 2 songs in it.In 1935, he acted, sang and gave Music to Preet ki reet. He sang in 6 songs. From 1937 to 1941, he was with Ranjit Movietone and acted and sang in 16 films. He sang 40 songs under Khamchand Prakash and Gyan Dutt. Then came Gazi Salahuddin, Kangan, Holiday in Bombay and Kanchan. Kantilal sang 60 songs in 24 films under 5 MDs.

In 1943,he married Ushaben and acted in Gujarati films and Dramas.
He died on 17-6-1971.

Some of his films were, Tufani Toli, Ban ki chidiya, Billi, Gorakh Aya, Prithvi Putra, Adhuri Kahani, Nadi kinare, Aaj ka Hindustan, Achhut, Diwali, Holi, Musafir, Pardesi, Sasural, Shaadi etc.

Enjoy the comedy song….


Song- Bibi bole naahin kunda khole naahin (Sasuraal)(1941) Singers- Kantilal, Motilal, Lyricist- D N Madhok, MD- Gyan Datt

Lyrics

ho o o
khole naahin
bole naahin
ho kunda khole nahin
bibi bole naahin
ho kunda khole nahin
aji baahar pade re barsaat
bole naahin
bibi bole naahin
o kunda khole naahin

aji baahar pade re barsaat
bole naahin
bibi bole naahin
o kunda khole naahin
bibi bole naahin

baaman ke ghar kutiya re bhaunke
bole naahin
kuchh bole naahin
baaman ke ghar kutiya re bhaunke
ghadi ghadi mein ?? chaunke
baali umar dar jaat
bole naahin
bibi bole naahin
o kunda khole naahin
o ji baali umar dar jaat
bole naahin
bibi bole naahin
o kunda khole naahin
bibi bole naahin

kanya ke ghar chaandi sona
par kismat mein phata bichauna
bole naahin
bibi bole naahin
kanya ke ghar chaandi sona
par kismat mein phata bichauna
khaane ko hai bhaat
bole naahin
bibi bole naahin
o kunda khole naahin
aji khaane ko hai bhaat
bole naahin
bibi bole naahin
o kunda khole naahin
bibi bole naahin

aeji baahar pade re barsaat
bole naahin
bibi bole naahin
o kunda khole naahin
bibi bole naahin

miyaan ke ghar mein patli jo daal
miyaaan jee ladke chale sasuraal
o miyaan ke ghar mein patli jo daal
miyaaan jee ladke chale sasuraal
aji shaadi kar pachhtaaye
bole naahin
bibi bole naahin
ho kunda khole naahin

aeji shaadi kar pachtaaye
bole naahin
bibi bole naahin
o kunda khole naahin
bibi bole naahin

aeji baahar pade re barsaat
bole naahin
bibi bole naahin
o kunda khole naahin
bibi bole naahin

?? nain lade re
aeji bhaado ki kaali kaali raat
bole naahin
bibi bole naahin
o kunda khole naahin
aeji bhaado ki kaali kaali raat
bole naahin
bibi bole naahin
o kunda khole naahin
bibi bole naahin
o kunda khole naahin
bibi bole naahin
aeji baahar pade re barsaat
bole naahin
bibi bole naahin
o kunda khole naahin
bibi bole naahin
bole naahin


This article is written by Peevesie’s mom, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 : 4980 Post No. : 16862 Movie Count : 4587

Hullo Atuldom

March 7th sees Anupam Kher, the versatile actor, turn a year older. He has played characters beyond his calendar age in numerous films. He has played the archetypal villain with as much finesse as serious supporting roles. He has also tried playing characters which are comic but of course some of these have been over-the-top and mostly making faces, using odd hair-get-ups etc. would be used to create comic effect. But I think we can excuse this fine actor of these excesses as he used to balance them by doing roles as in “Daddy” (1989), Utsav (1984), Karma (1986), Rao Saheb (1985), Kaash (1987), Zevar etc.

He played Shahrukh Khan’s son-friendly father in a few movies, as also father to Salman Khan and other heroes of the 90s. But I have never been able to get over the fact that he played father to Anil Kapoor in one movie and grandfather in the next movie. Similarly, he has played friend, jija, father, grandfather etc to Rishi Kapoor. I can go on and on about the various actors with whom he played such characters. All of these just show the love this man has towards all things connected with films and movie making.

He turned producer in 2000 with “Bariwali” which was in Bengali and had his wife Kirron Kher play a lonely, sad, unfortunate, middle-aged woman. He directed ‘Om Jai Jagdish” in 2002. Additionally he has appeared in a few international television serials, and films. He has also been seen in Punjabi, Bengali, Tamil, Malayalam, Marathi films.

His brother Raju Kher is an actor as also his wife and her son (his step-son) Sikandar Kher are actors.

This was a song that I posted in 2020 on Anupamji’s birthday. There are so many choices available to go with today’s post. I have zeroed in on a song where we have Rishi Kapoor playing Anupam Kher’s ‘chela’ reminding us of Joy Mukherjee and I.S Johar in “Shaagird”.

This movie “Shreemaan Aashique” (1993) was directed by Deepak Anand and produced by Shakeel Noorani. The film starred Urmila Matondkar, Rishi Kapoor, Anupam Kher, Bindu, Reema Lagoo, Mehmood, Annu Kapoor etc. Music was by Nadeem-Shravan, Sameer and Noor Kaskar (never heard this name before) were the lyricists. I recently discovered that Anupam Kher has sung a few songs in movies and today’s song is one of them. The other voice in the song is Ahmed Mirza (never heard this name too).

I apologize to all the purists in subjecting them to this song, but we shall see the positive side that this actor didn’t mind making himself a buffoon too.
Wishing Anupam Kher health and happiness


Song-Abhi to main jawaan hoon (Shreeman Aashique)(1993) Singer-Ahmed Mirza, Anupam Kher, Lyrics-Sameer, MD-Nadeem Shrawan

Lyrics

abhi to main jawaan hoon
abhi to main jawaan hoon
abhi to main jawaan hoon
abhi to main jawaan hoon
umang hai jawaan meri
tarang hai jawaan meri
umang hai jawaan meri
tarang hai jawaan meri
ajab hai daastaan meri
jawaan dilon ki shaan hoon
abhi to main jawaan hoon
abhi to main jawaan hoon
abhi to main jawaan hoon
abhi to main jawaan hoon
abhi to main jawaan hoon

abhi to tu jawaan hai
abhi to tu jawaan hai
abhi to tu jawaan hai
abhi to tu jawaan hai
jawaani ko nikhaar le
ye zulf to sanwaar le
jawaani ko nikhaar le
ye zulf to sanwaar le
zara tu seedhi chaal chal
na ladkhada
sambhal sambhal
na ladkhada
sambhal sambhal
kamar teri kamaan hai ae
kamar teri kamaan hai
abhi to tu jawaan hai
abhi to tu jawaan hai
abhi to tu jawaan hai
abhi to tu jawaan hai

payjama kurta na pahan
deewaane up to date ban
payjama kurta na pahan
deewaane up to date ban
disco mein jaakar dance kar
ab khul ke tu romance kar
ab khul ke tu romance kar
ghabraata hai naadaan hai
ghabraata hai naadaan hai
jawaani ki tu shaan hai
abhi to tu jawaan hai
abhi to tu jawaan hai
abhi to tu jawaan hai

ab doodh pee
baadaam kha
uthh ke subah jogging ko ja
ab doodh pee
baadaam kha
uthh ke subah jogging ko ja
gaalon pe hongi surkhiyaan
jaayengi saari jhurriyaan
jaayengi saari jhurriyaan
tujhmein abhi tak jaan hai
tujhmein abhi tak jaan hai
abhi to tu jawaan hai
abhi to tu jawaan hai
abhi to tu jawaan hai
abhi to tu jawaan hai
abhi to tu jawaan hai
abhi to tu jawaan hai


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 :

4961 Post No. : 16830

Today’s song is a comedy song from the film Arabian Nights-1946.

Can there be a child who has not read the story of Alibaba or Alladin or Sindbad the sailor ? All of us have read these stories in our younger days,but not many know that these stories are from ‘Arabian Nights’ or ‘The 1001 Nights’.

These are collections of stories from West and south Asia. The history of this book is very complex.Suffice to say that it is a composite work and that the earliest tales came from India and Persia. Perhaps in the 8th century,these were translated into Arabic and authors from every generation went on adding stories to it.However,the basic Frame story remains the same for centuries.

King Shahriyar of Persia is shocked to discover that not only his brother’s wife but his own wife is not faithful to them.He has both women executed.Having lost faith in women,he orders his Vazir to bring one Virgin everyday to him,for marriage.The next morning,she gets executed,to prevent her from being unfaithful. At one point of time,the Vazir exhausts his supply and he is to be executed the next day.His daughter Sheherzad asks her father to marry her to the King.Her pleading forces him to offer her to the king and they are married.On the first night of Marriage,Sheherzad starts telling a story to the king for whole night,but does not complete it.The story is so interesting that the King postpones her execution.

Second night she continues and the whole night the story remains incomplete….this way she tells him 1001 stories in 1001 nights.Finally a happy King pardons her. These are collectively called “The Arabian Night Stories. Many sources like Sanskrit, Persian, Arabic etc claim to be its root. However Historians’ consensus is that it is a composite work of many authors. Many stories from this book have been made into films in Hollywood and Bollywood.

A cursory look at the Film Title Index-1913 to 2012 by Hamraz ji tells us that the most popular stories are on Allauddin, Alibaba and Sinbad as well as Gul E Bakavli, besides films on other not so well known characters. In the Silent film era, films on Alibaba were made in 1927 (2films), Allauddin in 1927 (2), 1928,1931 Sindbad in 1930(2) and Arabian Nights-1930. During the Talkie films, the first film on Alibaba was in 1932, then in 40,46,54(2),66,76,77,80 and 2004. On Aladdin in 35, 36, 39,41, 49,52 (2), 55, 57,58,66,78, 82(2). On Sindbad in 46(2),52(2),58,65 and 2000.

As always, the creative heads in the story departments of filmmakers invented titles like Alladin ka Beta, Alladin ki Beti, Alladin and Laila. Similarly son and daughter were gifted to Alibaba and Sinbad and films made on them. The funniest title was Sindbad, Alibaba and Allauddin-1965 !

On a quick checking of HFGK entries for the 40’s decade we find that as many as 9 films were made in 1946 alone on these characters. Added were Baghdad ka chor, Hoor E Baghdad Sher E baghdad Arab ka chand and Shah E Misr-in which actor Ajit debuted with his real name Hamid.

Film Arabian Night-46 was made by P R Productions , Bombay, in Calcutta. In those days, many films were made by Bombay Producers in Calcutta with Bangla Artistes. Examples are films Krishnleela-46(producer laxmidas Anand from Bombay), Arabian Nights-46 and Chandrashekhar-48 (Ashok kumar was specially brought from Bombay to act opposite Kanan Devi). Speciality of these films was that Bombay banners preferred Kanan devi as Heroine and Kamal Dasgupta as MD for their films.

Film Arabian Nights-46 was directed by Niren Lahiri. kamal Dasgupta gave music to songs written by Faiyyaz Hashmi-the popular lyricist who could write songs in pure Hindi also. His name is known to NFS loving music lovers all over India. he wrote beautiful Lyrics for NFS sung by Talat Mahmood, Hemant kumar, Jagmohan, Juthika Roy, Pankaj Mullik and others.

Fayyaz was born on 18-6- 1920 at Calcutta. His father, Syed Muhammad Hussain Hashmi Dilgeer was a very famous poet and writer of stage drama. He was director at the top class theater of that time named “ MADAN THEATER LTD.” He knew 8 languages.

Senior lyricist, Faiyyaz Hashmi, passed away in Karachi on Nov 29 th 2011. He shot to fame after penning lyrics for such non-film songs as ;Ye Raatein Ye Mausam; (Pankaj Mullick), ;Tasveer Teri Dil Mera; (Talat Mehmood), ;Dil Ko Hai Tum Se Pyar Kyun; (Jagmohan), ;Bhala Tha Kitna Apna Bachpan; (Hemant Kumar), and so many more rendered by the likes of Juthika Roy and Feroza Begum.

Mr. Fayyaz Hashmi is a legendary song and dialogue writer and above all a true loving person. He is by himself an institution and a common asset of the Indo-Pakistan film-world. His admirers as ever are not confined in national frontiers. Those fond of Hindi / Urdu songs anywhere in the world have affection for him. The emergence of this bright star was evidenced much before independence of India, when Fayyaz Hashmi, still a teenager wrote the most famous song “Tasveer Teri Dil Mera Behla Na Sakhe Gi”. It was recorded in the voice of Talat Mehmood and music was composed by Kamal Das Gupta. This song brought “Talat” to limelight. Music for most of the Fayyaz Hashmi’s songs recorded at Calcutta was composed by Kamal Das Gupta.

The dynamic achievements of young Fayyaz Hashmi and his clarity of expression by using simple words were greatly appreciated by Qazi Nazrul Islam -“Tum mann main doob kar mann ka bhed nikaltey ho. Aasan shubdoon mein mushkil baat kehna buhut mushkil hay”. His unique combination of Urdu, Hindi and Sanskrit words to produce a harmonious song thus became a guideline for the future poets of geets. The transformation of some traditional Bangla songs was also facilitated. He has also written songs in Brij Bhasa and Purbi. His pre-independence songs total to about 1000.

Fayyaz Hashmi wrote his first verse “Chaman main Ghuncha-o-gul ka tabassum dekhne walo – Kabhi tum ne haseen kalyoon ka murjhana bhi dekha hai” when he was in 7th class. As a student of 9th class, he was participating in regular “mushairas”. He got an assignment in the British owned Gramophone Company at DumDum (now called Jessore Road, Kolkotta) India. He served there during 1943 to 1948 period. At that time the average monthly production of record was only 16. Once all the records (16) issued in a month were written by Mr. Fayyaz Hashmi- a record by itself. Some of the evergreen hit songs of Mr. Fayyaz Hashmi are quoted here:

1- Honton se gulfishan hain who – Aankhoon se ashkbar hum Talat Mahmood
2- Do Kafir Aankhoon ne mara Talat Mahmood
3- Dil ko hai tum se pyar kyoon Jag Mohan
4- Aaj use phir dekha hai Jag Mohan
5- Bhala tha kitna apna bachpan Hemant Kumar
6- Yeh Raaten yeh mausam yeh hansa hansana Pankhaj Mallick
(Also re-sung by Lata Mangeshkar as a tribute to the legendary Pankhaj Mallick)
7- Tasveer teri dil mera behla na sake gi Talat Mehmood
8- Ab yad hamein kyoon aati ho Hemant Kumar
9- Kitna dukh bhulaya tum ne Hemant Kumar
10-Maloom hay mujhko – ban Jao gi tum ek din taqdeer hamari Jag Mohan.

While in India, he wrote 48 songs in 9 Hindi films, namely-Subah Shyam-44, Meghdoot-45, Zameen Aasmaan-46, Pehchan-46, Krishna Leela-46, Arabian Nights-46, Giribala-47, Faisla-47 and Iran ki ek raat-49

He chose to migrate to Pakistan after the Partition.

In 1948, he was posted as recording Manager at Dhaka Center of the Gramophone Company and thereafter in 1951 at Lahore. He promoted many talents like Farida Khanum, Saeen Marna, Saeen Akhtar and Saeen Budha. He diverted towards the writing of film songs in 1956. “Kunwari Bewa” was the first film in Pakistan with his songs. He wrote more than 2000 songs for films and Gramophone Recording Company. He had also written stories, dialogues and scripts of many hit films like AULAD, ZAMAN KIYA KAHE GA, NEHLEY PE DEHLA, INTEKHAB, PEHCHAN, KHUDA AUR MUHABBAT, GHAREEBON KA BADSHAH etc. including “ HUM AIK HAIN” which was also directed by him. It was the first Pakistani film with 5 songs filmed in colour and as such a record in Pakistan film industry.

Every film, songs of which were written by Mr. Fayyaz Hashmi became super hit like SAHELI, AULAD, ASHIANA, SUHAGAN, HONAHAR, PEGHAM, SARTAJ, SHAREEK-E-HAYAT, EID MUBARAK, SHABNAM, LOVE IN JUNGLE, TOBA, SAWAL, LAKHOON MAIN AIK, DEWAR BHABI etc.

He received Graduate Award 3 times and also Nigar award for the best song in 1978 on “Chalo Achha Hua Tum Bhool Gaye” film “Lakhoon Main Aik”. He received International award in 1986 and another Nigar award in 1988 for the best dialogue of film “ Ghareebon Ka Badshah”. In addition to these he recounts about 11 Silver Jubilee Awards and 17 Golden Jubilee**. “Deewane Tere Pyar ke” is the latest film all songs of which have been written Fayyaz Hashmi.

The first compilation of his poetry was published as “ RAG RANG” in 1944 in India. His poems were published in various journals and magazines like Adbi Duniya, Adbe Lateef, Alamgeer, Beesveen Sadi, Shama (Delhi), Chitrali (Dhaka), Nigar (Karachi), Amar Jadeed and Amrit Bazar Patrika (Calcutta, India). He wrote many Naats and Qawwalis. He also wrote many National songs like (Ae Quiad-e-Azam tera ehsan hai ehsan” & “ Suraj Kare Salam – Chanda kare Salam”.

On the publication of his mystic verses, Mr. Raees Amrohi commented that “History of Sufi poets is indicative of a glorious future for them and Mr. Fayyaz.

(Based primarily on the article by Nadeemur Rehman, courtesy shri Rajnikumar Pandya ji and my own notes. ).

The cast of the film Arabian Nights-46 was Kanan Devi, Nawab, Robin Mujumdar, Debi Mukherjee, Molina Devi, Heeralal and Sunder. Today’s song is sung by actor Sunder Singh. Most readers will know Sunder only as a comedian. But he was a Hero in his early career and sang songs in films. Let us now enjoy his funny song.


Song- Zindagi kya ek gadbad hai (Arabian Nights)(1946) Singer- Sunder Singh, Lyricist- Faiyaz Hashmi, MD- Kamal Dasgupta

Lyrics

Zindagi kya
zindagi kya ek gadbad hai ree
gadbad hai
dil yahaa ka
dil yahaan ka
sab sadbad hai ree
gadbad hai

hai khilaadi duniyaa saari
duniyaa saari ee ee
hai khilaadi duniyaa saari
duniyaa saari ree ee
zindagi kya
zindagi kya ik gadbad hai ree
gadbad hai

husn pe duniya bhar ki nazar hai
yahaan pe aashaq ghanchakkar hai
ye maston ke baap ka ghar hai
baap ka ghar hai
aji ye maston ke baap ka ghar hai
baap ka ghar hai

sab hain rote
ham hain hanste
jeet hamaaree ree
sab hain rote
ham hain hanste
jeet hamaaree ree ee
zindagi kya
zindagi kya ik gadbad hai ree
gadbad hai

is daulat mein phanske marte
marte

kuchh hai fanda
sabke marte
marte
hansne waale hanske marte
marte marte
hansne waale hanske marte
marte marte
hansi khushi ki
saari daulat
ham par waarenge ae ae
hansi khushi ki
saari daulat
ham par waarenge ae ae
zindagi kya
zindagi kya ik gadbad hai ree
garbad hai
khel yahaan ka
hel yahaan ka
sab sadbad hai ree
gadbad hai


This article is written by Avinash Scrapwala, 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 :

4957 Post No. : 16825

#The Decade of Seventies – 1971 – 1980 #
————————————————————
# Bhoole-Bisre Geet # 169 # Missing Films of 1972-Kavi Sammelan -02#
——————————————

Welcome all to today’s post.

Today’s song – ‘poetry recitation’ is the second offering from this movie ‘Kavi Sammelan’ to appear on the blog. The first ‘poem-post’ from this movie – “Ek Baar Priye Tum Aa Jao“, was posted on the blog on 05.02.2022. The poem in this first post was written and recited by poet-lyricist Maya Govind.

‘Kavi Sammelan’ was directed by Kedar Sharma for Rajshri Productions Pvt Ltd. It was produced by Tarachand Badjatya.This film is  live recording of a stellar gathering of poets, who came together on one stage to present and sing their poems, in 1968. Compering of this program and introducing the poets was done by Ramrikh Manhar. This movie was passed by Censor Board on 18.02.1972 (within few days now this movie will complete its ‘fifty years’).

The footnote for this movie page in HFGK Vol-V (1971-1980) mentions that ‘Bharat ke shreshthhtam Kavi pehli baar ek saath rajat-pat par pesh kiye gaye thhe’. Poems of following ‘poets’ are included in this movie.

Rashtrakavi Shri Ramdhari Singh ‘Dinkar’
Santosh Anand (mentioned as ‘Santoshanand’)
Kaka Hathrasi
Som Thakur
Bekal ‘Utsahi’
‘Neeraj’
Snehlata ‘Sneh’
Radheshyam ‘Pragalbh’
Shail Chaturvedi
Govind Vyas
Maya Devi
Nirbhay Hathrasi
Balkavi Bairaagi
Omprakash ‘Aaditya’
Manik Verma
Kedar Sharma
Gopal Prasad Vyas

(Addenda in HFGK Vol-V (1971-1980) for this movie mentions that there were two more creations by Vimlesh and Paras Bhramar in this movie.)

Today’s poem is written by Kaka Hathrasi. On screen Kaka Hathrasi himself has recited this poem which is a ‘humorous poem’ (haasya kavita), the genre of poems, which Kaka Hathrasi is well known for. Kata Hathrasi (real name Prabhulal Garg) was born on 18th September, 1906 in Hathras (in United Provinces of Agra and Oudh in British India), in a ‘Agrawal Vaishya’ family. Kaka has himself written about his date of birth as below.

Din athharah sitamber, Agrawal parivaar
Unnisau chhah mein liyaa, kaka ne avatar
😊

His ancestors came from Gokul Mahawan and settled in Hathras. They were in the business of selling of utensils. Grandfather of Kaka Shri Sitaram continued the business he got from his father. When the property was divided Kaka’s father Shri Shivlal Garg had to work in a ‘utensils’ shop as a ‘munim’.

The year Kaka born was the time when ‘plague’ had spread in India. Many families lost their near and dear ones in that pandemic and the tragedy of plague destroyed many families. Kaka’s family also suffered in this pandemic. And when Kaka was only 15 days old, he lost his father. His mother Barfidevi, a twenty-year-old housewife then, was grief-stricken. Kaka’s elder brother Bhajanlal was only two years old then.

His father could only leave a small house in Hathras as his property and nothing more that that with which the family could survive. Kaka’s mother took Kaka and his brother to Iglas where her parents and brothers were staying. Kaka’s maternal uncles helped his mother in all the way as possible. However, she could not get mental peace there and she decided to return to Hathras to their home. Her brothers arranged for a regular financial help for the family. When Kaka was ten years old his maternal uncle brought him to Iglas for education. After completing his education Kaka took a job at Rs.6/- per month salary where he was supposed to keep accounts and records of the weight of the grain bags.

Kaka used to take part in plays while he was in school and his character as ‘Kaka’ in one of the plays got him this name as Kaka and people used to call him by the name of Kaka. He kept the same name and added his place of birth Hathras to his name. When he took up writing he continue to write by the name of Kaka Hathrasi.

His first book ‘Kaka Ki Kachehari’ was published in 1946. Some stories and some of his humorous poems were compiled in this book. By this time Kaka had become a well-known personality of ‘humorous and satirical’ poems and a regular part of ‘Hasya Kavi Sammelans’. He used to keep beard, and this look of him got popular too.

Kaka wrote about his ‘beard’

kaka daadhhi raakhiye, bin daadhhi sab soon
jyon massoorie ke bina vyarth dehradun
vyarth dehradun isi se nar ki shobhaa
daadhhi se hi pragati kar gaye sant vinoba
manu vashishthha yadi daadhhi munh par nahin rakhaate
to kya bhagwaan ram ke guru ban jaate

काका दाड़ी राखिए बिन दाड़ी सब सून
ज्यों मसूरी के बिना व्यर्थ देहरादून
व्यर्थ देहरादून इसी से नर की शोभा
दाड़ी से ही प्रगति कर गए सन्त विनोबा
मुनि वशिष्ठ यदि दाड़ी मुंह पर नहीं रखाते
तो क्या भगवान राम के गुरु बन जाते

In 1957 Kaka was invited to a Kavi Sammelan held at Red Fort Delhi. On this occasion Kaka was asked to present a poem on ‘bravery and valour’ which was not his genre of poems. But Kaka presented a poem to hail the revolutionaries who fought for the freedom of India in 1857 – ‘Kraanti Ka Bigul’. The organiser of this program was Gopal Prasad Vyas. All present at this function appreciated Kaka’s poem, and thus Kaka continued further and became a prominent name among the writers and poets of India.

Kaka has many creations to his credit where the prominent among them are ‘Kaka Tarang’, ‘Kaka Ki Chaupaal’, ‘Jai Bolo Beimaan Ki’ and ‘Mera Jeevan’. Kaka was honoured with Padma Shri in 1985 by the government of India. Delhi based Hindi Academy has instituted a  ‘Kaka Hathrasi Award’ for ‘outstanding contributions in the field of Hindi literature’ every year.

Born on 18th September, 1906 Kaka left for his heavenly abode on the same date in 1995 at the age of eighty-nine years.

[Author’s Note: Sources for biographical information on Kaka Hathrasi – article on Kaka Hathrasi in ‘Bharat Darshan’ Hindi Sahityik Partrika (web edition), and Wikipedia).

Let us now enjoy the today’s poem written by Kaka Hathrasi and presented by himself for this movie ‘Kavi Sammelan’.


Song-Lakshmi Maiyya Var De (Kavi Sammelan) (1972) Singer-Kaka Hathrasi, Lyrics-Kaka Hathrasi

Lyrics

(Introduction excluded, other conversation and audience laughing sound excluded)

aadarniya
adhyaksh mahoday
deviyon aur devtaaon
main pehle ek vandana prastut kar raha hoon
main bahot pehle saraswati vandana ka paath kiya karta thha
saraswati vandanaa ka paath karte karte meri financial position bigadti gayi
tab maine lakshmi vandana aarambh ki, aur mere upar noton ki varsha hone lagi
tabse maine niyam bana liyaa hai,
kavi sammelan mein sabse pehle lakshami vandana prastut kartaa hoon…

lakshami maiyya var de
lakshami maiyya var de
kaka kavi ko isi varsh mein
karodpati kar de ae
var de ae
lakshami maiyya var de ae
lakshami maiyya var de

chhand chhod
chhal chhand banaaun
chhand chhod
chhal chhand banaaun
kavitaa kaat akavita gaaun
chhand chhod
chhal chhand banaaun
kavitaa kaat akavita gaaun
phat jaaye yah mike aisaa
powerful swar de ae
var de ae
var de ae
lakshami maiyya var de
lakshami maiyya var de

kalaakar kavi ho ke khilaadi
kalaakar kavi ho ke khilaadi
rajasthani ya mewaadi
kalaakar kavi ho ke khilaadi

(vimlesh, rajasthani)

kalaakar kavi ho ke khilaadi
rajasthani ya mewaadi
rakhni hogi sabko daadhhi
compulsory kar de ae
var de ae
var de ae
lakshami maiyya var de ae
lakshami maiyya var de

munh par daadhhi dikhlaayenge

(aage se chunaao kaise huaa karenge maine nirnay liyaa)

jo munh par daadhhi dikhlaayenge
wahi vidhaayak ban paayenge

(unko hi ticket milegaa)

jo munh par daadhhi dikhlaayenge
wahi vidhaayak ban paayenge
samvidhaan mein aavashyak yah
sanshodhan kar de ae
var de ae
lakshami maiyya var de
lakshami maiyya var de

car kaamini kanchan kothi
car kaamini kanchan kothi

(ye kaka ki kavita hai isliye ‘ka’ ikkathhe kare hain)

car kaamini kanchan kothi
lapke jihwaa phadke boti
car kaamini kanchan kothi
lapke jihwaa phadke boti
amrika ka saara sona
mere ghar dhar de ae
var de ae
var de ae
lakshami maiyya var de ae
lakshami maiyya var de

bank rashtriyakaran ho gaya

(hum kya karen)

bank rashtriyakaran ho gaya
bhaagya hamaara kahaan so gayaa
bank rashtriyakaran ho gaya
bhaagya hamaara kahaan so gayaa
bache khuche bankon ka mujhko
proprietor kar de ae
var de ae
var de ae
lakshami maiyya var de
lakshami maiyya var de

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

आदरणीय अध्यक्ष महोदय
देवियों और देवताओ
मैं पहले एक वन्दना प्रस्तुत कर रहा हूँ
मैं बहुत पहले सरस्वती वन्दना का पाठ किया करता था
सरस्वती वन्दना का पाठ करते करते मेरी financial position बिगड़ती गई
तब मैंने लक्ष्मी वन्दना आरंभ की
और मेरे ऊपर नोटों की वर्षा होने लगी
तब से मैंने नियम बना लिया है
कवि सम्मेलन में सबसे पहले लक्ष्मी वन्दना प्रस्तुत करता हूँ

लक्ष्मी मैया वर दे
लक्ष्मी मैया वर दे
काका कवि को इसी वर्ष में
करोड़पति कर दे
वर दे
लक्ष्मी मैया वर दे
लक्ष्मी मैया वर दे

छन्द छोड़
छल छन्द बनाऊँ
छन्द छोड़
छल छन्द बनाऊँ
कविता काट अकविता गाउँ
फट जाये ये माइक ऐसा
Powerful स्वर दे
वर दे
वर दे
लक्ष्मी मैया वर दे
लक्ष्मी मैया वर दे

कलाकार कवि हो या खिलाड़ी
कलाकार कवि हो या खिलाड़ी
राजस्थानी या मेवाड़ी
कलाकार कवि हो या खिलाड़ी
(विमलेश, राजस्थानी)
कलाकार कवि हो या खिलाड़ी
राजस्थानी या मेवाड़ी
रखनी होगी सबको दाड़ी
Compulsory कर दे
वर दे
वर दे
लक्ष्मी मैया वर दे
लक्ष्मी मैया वर दे

मुंह पर दाड़ी दिखलाएंगे

[आगे से चुनाव कैसे हों, मैंने निर्णय लिया है]

जो मुंह पर दाड़ी दिखलाएंगे
वही विधायक बन पाएंगे

उनको ही टिकट मिलेगा

जो मुंह पर दाड़ी दिखलाएंगे
वही विधायक बन पाएंगे
संविधान में आवश्यक ये
संशोधन कर दे
वर दे
लक्ष्मी मैया वर दे
लक्ष्मी मैया वर दे

कार कामिनी कंचन कोठी
कार कामिनी कंचन कोठी

[ये काका की कविता है इसलिए ‘का’ इकट्ठे करे हैं]

कार कामिनी कंचन कोठी
लपके जिव्हा फड़के बोटी
कार कामिनी कंचन कोठी
लपके जिव्हा फड़के बोटी
अमरीका का सारा सोना
मेरे घर धर दे
वर दे
वर दे
लक्ष्मी मैया वर दे
लक्ष्मी मैया वर दे

बैंक राष्ट्रियकरण हो गया

[हम क्या करें]

बैंक राष्ट्रियकरण हो गया
भाग्य हमारा कहाँ सो गया
बैंक राष्ट्रियकरण हो गया
भाग्य हमारा कहाँ सो गया
बचे खुचे बाँकों का मुझको
Proprietor कर दे
वर दे
वर दे
लक्ष्मी मैया वर दे
लक्ष्मी मैया वर दे


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 FOURTEEN years. This blog has over 17100 song posts by now.

This blog is active and online for over 5000 days since its beginning on 19 july 2008.

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Movies with all their songs covered =1329
Total Number of movies covered=4609

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