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

Archive for the ‘Light hearted song’ Category


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 : 3941 Post No. : 15017

“Insaaf Ka Taraazu”(1980) was produced and directed by B R Chopra for B R Films, Bombay. This movie was inspired from an American movie called “Lipstick” (1976). The movie was a rape and revenge movie. Many people who thronged to watch “Insaaf Ka Taraazu”(1980) were attracted to the movie hall because of this fact.

The movie had Zeenat Aman, Raj Babbar (new discovery), Deepak Parashar (new discovery), Padmini Kolhapure, Shreeram Lagoo, Simi Garewal, Iftekhar, Jagdish Raj, Vijay Sharma, Prem Sagar, Sunil Dhawan, Om Shivpuri, Sujit Kumar, Yunus Parvez, Sudha Shivpuri etc in it, with Hiralal in a guest appearance and Dharmendra in a special appearance.

“Insaaf Ka Taraazu”(1980) had four songs in it. Three of these songs have been covered in the past.

The details of the songs from the movie that have been covered earlier :-

1 Insaaf ka taraazu 8774 27-Sep-13
2 <Log aurat ko faqat jism samajh lete hain 13021 8-Mar-17
3 Hazaar khwaab haqeeqat ka roop le lenge 14913 8-Mar-19

The three songs that have been covered so far were serious songs all penned by Sahir Ludhianvi. The fourth and final song under discussion is a light hearted happy teasing song picturised on Padmini Kolhapure, Zeenat Aman (playing her sister)and Deepak Parashar (playing her would be jeeja ji). Sahir Ludhianvi demonstrates that he was capable of penning superb light hearted non jhonk songs as well.

The song is sung by Asha Bhonsle, Hemlata and Mahendra Kapoor.

With this song, allthe four songs are covered and “Insaaf Ka Taraazu”(1980) joins the list of movies that have been YIPPEED in the blog.


Song-Hai jo yehi pyaar ka trailer to picture na jaane kya hogi(Insaaf ka Taraazu)(1980) Singers-Asha Bhonsle, Mahendra Kapoor, Hemlata, Lyrics-Sahir Ludhainvi, MD-Ravindra Jain
Asha Bhonsle + Hemlata
All
Deepak Parashar

Lyrics

jeeja ji
didi ko dekhe
hmm
didi jeeja ji ko
main bhookhi pyaasi baithi hoon
ye nahin hosh kisi ko
chup saali
saali nahin
sister-in-law
sister-in-law

hai jo yahi
hai jo yahi pyaar ka trailer
to picture na jaane kya hogi
hai jo yahi pyaar ka trailer
to picture na jaane kya hogi
o hero ji
heroine ji
ab aur rehearsal jaane do o
hai jo yahi pyaar ka trailer
to picture na jaane kya hogi

na maangoon ghoda
na maangoon haathi
maangoon hoon keval
only
only
maangoon hoon keval l l
sabji chapaati
kyun yunhi tar tar bheja hai khaati
bheja hi tum donon ka nahin hai
warna kabhi ki main kha bhi jaati
tu baaz nahin aati
kya baaz aaun
tum khud hi socho
faake se meri
hai jaan jaati
mujhko bacha lo
shaadi ke din tak
ghat jaayega warna aa aa
aaj ik baaraati
chaawal bhi dhare hain
kaddu bhi hai kaata

o ho
kyun sar pe chadhe hai
jaa goondh le aata

achcha ji
hai jo yahi
o ho ho
hai jo yahi pyaar ka trailer
to picture na jaane kya hogi
hai jo yahi pyaar ka trailer
to picture na jaane kya hogi

is bhootni ko
ghar se bhaga do
jaldi se iski o o o o
shaadi racha do

haan ji
kya kasht pahuncha hai
ye to bata do
what is the trouble sir
main kisko dekhoon
tum jija ji ho
apne sa husband isko bhi la do

arre husband jaanti hai
pati pati

pata hai
are pata nahin
pati pati

is jaisa budhu main to na loongi
chahe gaddhe mein ae ae ae ae
mujhko gira do
hmm
gaali deti hai saali

saali de sakti hai gaali
ladka to hai dekha
achcha
langdaata hai thoda
oooon
aur baat kare to
hak hak haklaata hai thoda

aa maaroongi
o sister ji
o mister ji
ye maara maari jaane do

jaane do
hai jo yahi
o o o
hai jo yahi pyaar ka trailer
to picture na jaane kya hogi
hai jo yahi pyaar ka trailer
to picture na jaane kya hogi

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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 : 3939 Post No. : 15015

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Blog 10-Year Challenge (2009-19) – Song No. 30
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May 1st 2019. International Labour Day. Also happens to be the date when the states of Maharashtra and Gujarat came into being from the erstwhile Bombay state in the year 1960. This happened as a consequence of the States Re-organisation Act of 1956 which defined boundaries for the states within India on the basis of languages. The Bombay State, that was formed by this act, was composed of different areas where Marathi, Gujarati, Kutchi and Konkani were spoken. There was a movement since 1956, which demanded that the state of Bombay be re-organised further on the basis of areas where Gujarati and Kutchi was a major language and other where Marathi and Konkani was majorly spoken. So, The Bombay Reorganization Act was enacted in the Indian Parliament on 25th April 1960 and the states of Gujarat and Maharashtra were born on 1st May 1960. That makes Gujarat and Maharashtra 59 years old today.

On the day these two states were born Prafulla Chandra Dey turned 41. He had already made a debut in the world of film music in the ’40s with the movie “Tamanna” which had music by his paternal uncle Krishna Chandra Dey and had a hit duet with Suraiya “Jago Aayee Usha Ponchi Boley Jago”. From then on he made his way into the hearts of music lovers across the country and sang in many Indian langauges – Bhojpuri,Magadhi, Maithili, Ounjabi, Assamese, Odia, Konkani, Sindhi, Gujarati, Marathi, Konkani, Malayalam and Nepali in addition to Hindi and Bengali.

He was trained in singing initially by his paternal uncle Krishna Chandra Dey and Ustaad Dabir Khan. He was credited with the success of Indian Classical Movies in Indian commercial movies. How can anyone forget the Raga-based songs “Sur na saje kya gaaun maain” or “Kaun aaya mere mann ke dwaare payal ki jhankar liye”. But his “Aao twist karien” and “ae bhai zara dekh ke chalo” were equally popular. He might have sung his first duet “subah ki pehli kiran” with Kishore Kumar in 1952 but their association on “ek chatur naar karke shingaar” is unforgettable. He has shared the recording studio with all the major singers of the time till the ’90s haing sung under the baton of most of India’s music directors beginning with K.C. Dey in “Tamanna” in 1942 to Shamir Tandon in 2006- that last song of Prafulla Chandra Dey a.k.a Manna Dey has been posted on the blog Duniya Waalon Ko Nahin Kuchh Bhi Khabar. Almost 102 music directors.

Now coming to the Blog Ten Year Challenge the songs that were posted on the 1st of May 2009 were:-
(1) Daa dir daaraa.. meri laadli(Andaaz)(1949) it had 2 comments and the movie is YYIIPPEEEED!
(2) Ghadi Ghadi Mora Dil Dhadke (Madhumati)(1958) had 7 comments, movie is YYIIPPEEEED!
(3) Masti mein chhed ke taraana koyi dil ka (Haqeeqat)(1964) had 4 comments, movie is YYIIPPEEEED
(4) Naach meri jaan fataafaat (Main Sundar Hoon)(1971) had 11 comments, movie is YYIIPPEEEED!!
(5) Do kadam tum bhi chalo (Ek Haseena Do Deewaane)(1972) had 6 songs with a multiple version song of which 2 are posted. (the sad Mukesh solo version is not yet posted)
(6) Haan pehli baar ek ladki mera haath pakad kar (Aur Kaun)(1979) had 12 comments and 1 out of 4 songs of this movie has been posted

The song with this post is from the 1972 romantic movie “Ek Haseena Do Diwane” which was produced by RG Films Kantibhai Zaveri and directed by S.M. Abbas. the movie had Jeetendra and Babita in the lead with Vinod Khanna as the villain. Om Prakash, Nirupa Roy, Shammi- played the elders and Johnny Walker headed a large supporting cast. The movie’s story in a nutshell as given by wikipedia-
Amar, the Nainital-based, orthodox and traditional person, obtains a degree in Engineering and re-locates to Bombay for employment. After doing so, he decides to assist his friend, Prakash, woo a wealthy and educated woman, Neeta but ends up falling in love and marrying her himself much to the chagrin of her father. Shortly after the marriage, he takes her to visit his widowed-schoolteacher mother, but she has gone on an outing. They return, and shortly thereafter arguments ensue, which escalate to such an extent that Amar assaults her, compelling her to return to her parents’ home. When she insists on a divorce – Amar refuses until and unless she lives with him for 15 days in order to create a false scenario of a happy marriage for his mother.

The song with today’s post is sung by Johnny Walker in the movie with two unknown ladies pestering him. it was a song I loved the instant I saw it. it has interlude music lifted from “Rattan”, “Pyaasa” and “Badi Behan” to add the comic element. It is written by Qamar Jalalabadi and Kalyanji Anandji were the music composers. The song brings out the full range that Manna Da was capable of.

Here I must confess that had I not attended the R.M.I.M last month i would have forgotten that Manna Dey would have turned 100 today if he had been there. Thinking of Manna Dey ……….

Audio

Video

Song-Hey re raama raam kasam kaisa aaya ye zamaana (Ek Haseena Do Deewaane)(1972) Singer-Manna Dey, Lyrics-Qamar Jalalabadi, MD-Kalyanji Anandji
Chorus

Lyrics

hey re raama
hey re raama raam kasam kaisa aaya ee zamaana
hey re raama ram kasam kaisa aaya e zamaana
mardan ka dekho kaise chhede hai janaana
mardan ka dekho kaise chhede hai janaana
(yahaan wahaan haath mat lagiyo haan)
haath lagaiho to jaiho main thaana bachaana
koi police ko bulaana bulaana
hey re raama
hey re raama raam kasam kaisa aaya ee zamaana

petticoat waalone diya humka maar
petticoat waalone diya humka maar
jabse inka dekha hua hai bantaadhaar
chhoriyan ka pyaar jhootha
pyaar ka vyopar jhootha
roop ka singar jhootha
mukh ka nikahar jhootha
aar jhootha
paar jhootha
yaari jhoothi
yaar jhootha
inse na neha lagaana lagaana
hey re raama
hey re raama raam kasam kaisa aaya ee zamaana

arre aaj tore bhaktan ka patla hai haal
aaj tore bhaktan ka patla hai haal
jai jai jai jai bajrangbali
aayi bala taal
natkhat naar khoti
kajre ki dhaar khoti
lat ki funkar khoti
ankhiyon ki maar khoti
choodi ki jhankaar khoti
chhori hushiyaar khoti
jhaanse mein inke kabahu na aana
hey re raama
hey re raama raam kasam kaisa aaya ee zamaana
mardan ka dekho kaise chhede hai janaana
haath lagaiho to jaiho main thaana
koi police ko bulaana bulaana
hey re raama
hey re raama raam kasam kaisa aaya ee zamaana

jinhen desh par garv hai u kahaan hai kahaan hai kahaan hai
ee galiyo ee koochhe e fashion ke bazaar
ee bechaare mardan pe naari ki lalkaar
chun chun ke bharat ke netan ka laao
(hey nutan
humaare hote huye nutan

hmm hmm hmm
nutan naahin netan
huyi gaya kabaada)
phir se leo
chun chun ke bhaarat ke netan ka laao
netan ka inke ee nakhre dikhaao
yadi ee karihen more dil ka bhojan
to kaise hoyega parivaar niyojan
kahaan hai kahaan hai kahaan hai kahaan hai
(yahaan hai
top
arre baap re)
koi police ko bulaana bulaana
hey re raama
hey re raama raam kasam kaisa aaya ee zamaana
hey re raama
hoye re raama
hey re raama
hoye re raama
hey re raama.
bhaag raam
hey re raama
bhaag raama


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 : 3938 Post No. : 15013

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Mohammed Rafi : The Incomparable (II) – Song No. 10
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As story telling songs go, my personal favourite song is
this song from “Jab Jab Phool Khile”. Another such song which is readily coming to mind is this
this post written by me.

There are more such wonderful songs in this genre in Hindi films. While looking for a Mohammed Rafi song for the 15KSMC, I found this song, which is sort of storytelling and kids entertainment song. It’s a pure Solo song from the 50’s written by Rajendra Krishan and composed by C. Ramchandra for the film Insaaniyat(1955).

One more feature of this song is that it has Agha(senior) singing it for the benefit of kids watching describing the antics by a monkey. From the page containing Anniversay dates I find that the veteran character and comic actor Aghajan Baig was born on 21st March 1914 at Pune and died on 30/04/1992 also in Pune. So this year on 30/04/2019, it is Agha’s 27th death anniversary. There are many songs which Agha has been seen singing on screen. He had at least two solo Rafi songs in this film “ Insaaniyat” alone. So by this yardstick there are a few more songs picturized on him may still remain to be posted. One more song which is Agha is singing on screen is this one .
One more poignant Rafi solo highlighting the plight of the deprived and under preliviged. Another significant song on him is this this song .

Last week a younger work-mate and a friend, who is maybe born in the 80’s described a person (who looks like Agha actually) as ‘Shakaal’. I tried to explain that he is actually very similar to Agha looks-wise, but she did not know who was Agha. Even saying that he was a comic character actor from black & white movies and Jalal Agha’s father failed to ring a bell. So there came this memory from long back, of a TV ad featuring Agha. This was the advert for ‘Brittania Coconut Cookies”. Here Agha is seen wearing a sherwani walking down a garden of coconut trees swinging his walking stick. One coconut falls down, hits him on the head before hitting the ground . Agha picks up the coconut, which is broken and opens into two pieces of the shell with the biscuits inside. The catch phrase of the add was “ab brittania ne nariyal ko kurmurana sikhaya’. Of course Agha is seen eating the biscuit and enjoying it. I tried to find if the that ad clip is available on the net, but could not find it.

Anyway, this song was there with lyrics written down and a look at the Anniversary page made the writing of this post a must.

Clearly Mohammed Rafi sahab’s is enjoying singing this song. A cheerful and peppy no. I heard this only today that the thespian had said to someone ‘that “Mohammad Rafi” is the name given to him by his parents and he prefers to be called Mohammed Rafi instead of Rafi Sahab’.

Actually when I had stumbled upon this blog and thought of looking at the stats page, the first name I tried to find is Mohammed Rafi. No one can imagine my shock when the name was not there in the M list of singers. Thankfully I thought to look under R also as I was on the page and looking in the correct list of singers.

Some may say “ what is there in a name ?”, so I am certainly not in a position to insist that the blog also call him by his given full name.

So this is song No. 10 of the series, which will continue at least till 31st July.


Song-Raja beta bada ho ke jaayega school (Insaaniyat)(1955) Singer-Mohammed Rafi, Lyrics-Rajendra Krishan, MD-C Ramchandra

Lyrics

Raja beta badaa ho ke
Jaayegaa school
O Raja beta badaa ho ke
Jaayegaa school
Beta jaayegaa school
karegaa padhaayi ya likhaayi
Mein na bhool
Haan likhaayi mein na bhool

Ye baat rahe yaad
Banegaa ustaad
Waah re ustaad beta
Waah waah re ustaad

Baitthe baitthe ladkon pe
Ra’ub jamaayegaa

Hogaa jo shareer
Uss ke baint lagaayegaa
Ji baint lagaayegaa
Ji baint lagaayegaa
Phir karegaa raja shaadi
Khush hongi Amma daadi
Dulhan hogi tez mizaaj
Karegi iss par poora raaj
Chulha phunkwaayegi
Roti bhi pakwaayegi
Bachcha bhi khilwaayegi
Han haan
Sab kuchh karwaayegi
Samjhe naa

Masaala piswaayegi
Arey o lala
Ragad masaala
De ragdaa
De ragdaa
Mol liyaa thhaa
Kaahe beta
Shaadi ka ye jhagdaa

Dekho dekho
O dekho dekho
Bajaaye shehnaayi
Bajaaye shehnaayi
Hamaare lalnaa
Haan hamaare lalnaa


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 :

3934 Post No. : 15007 Movie Count :

4109

Today’s song is from a film of the first decade of the Talkie films- Rikshawala aka Bhola Raja-1938.

In India, documentation of old films, songs, actors and other artistes of the film industry, is extremely poor. The major part of the responsibility being with the Government, it was all the more in poor condition For Historical data maintenance work, dedicated people are required to do the proper caring. In Govt. offices, this was expecting too much. Thus occasional fires engulfing heritage films, books, documentaries etc and frequent theft or loss of books and other materials from the archives was not surprising.

Of course, everything and all the time, it was not that there were no good peoplein Govt. Agencies. It is because if such rare good and capable people only, we have today, whatever is available in the Govt. archives. The common feeling in India is that Govt. should look after everything under the Sun. Have the people no responsibility or accountability towards preservation of Heritage ? Go to any Heritage Temple, building or structure, you will invariably find that Lovers have carved their names on stones and walls, as if the world was eager to know ! So much for public awareness !! I feel, these things have to be taught from primary school level onwards only. We have failed miserably to inculcate National pride, Nationalism and Patriotism in our newer generations, from their childhood. These things have only remained to symbolically unfurl Flags and sing National Anthem on Independence Day !

Luckily, as far as Film history is concerned,there are some people who, on their own, try to preserve old film data and other related matters to the best of their capabilities. Record collectors, song collectors, old film magazine collectors, films and books collectors, poster collectors and those who open up their valuable collections to the general public free of charge are worthy of appreciation. They are doing a great service to preservation of history.

Apart from these, those who upload old and rare song videos on You Tube or other social medias, for use of anybody and everybody are also doing yeoman’s service to hindi film music. It is another thing that some selfish uploaders upload incomplete songs,but there are good people like Shalin Bhatt, Alaknanda, Girdharilal Wishwakarma ji, Sadanand Kamath ji,our own Sudhir ji, Atul ji, Javed bhai etc who upload not only complete but also rare songs on Internet. My sincere thanks to these Noble Souls.

In addition there are some less known Blogs who do a great job in this field. Most people are totally unaware of one such Blog run by an American-Mike Barnum ji. On his Blog Mike has written on atleast 100+ only C grade action and stunt films alone. He has made classification by different Generes also, like Jungle films, Mystery films, Murder films, Horror films etc etc. There are Photos, posters, cast details, film stories and short Bios of unknown C grade artistes. Once you go to his Blog, you get lost for a long time. It is a great work, involving a neglected Genre of Hindi films, which was once upon a time, a very popular film variety for certain audiences. I thank him profusely for this service. thanks, Mike Barnum ji.

Why I am writing all this is, most people are unaware of these things and they must know the good work done by these people also. Many times I use song videos uploaded by Shalin ji Bhatt. They are clean, clear, full and rare most times. Thanks, Shalin ji.

Today’s film, churned out from the Ranjit factory was not a stunt film, but a social film. The Music Director was Gyan Dutt. The lyrics were by the young Pyarelal Santoshi, who became very famous writer and a director later on. The cast consisted of Mazhar Khan, Ila Devi, Wasti, Indubala, Charlie, Dikshit and Ghori, Waheedan Bai, Tara bai etc. The film was directed by Ezra Mir.

Some of the Senior readers, in the bracket of 55 to 75 years of age would recollect the Indian Documentaries made by Ezra Mir, shown before almost every film in the theatres. Indian News Reel and these documentaries on various subjects were actually used as a facility to enter the theatre late and still catch the whole movie from the beginning. These documentaries were made mostly by Ezra Mir and the voice over used to be that of Pratap Sharma usually. ( his younger brother Mahesh Sharma was my good friend in those days).

Ezra Mir was one of the rare persons who worked in the famous Hollywood studios for a considerable time, before he came to India and got involved in making films here. He was also a rare person who, despite being in great demand in the commercial cinema, chose to join a Government organisation and did a monumental significant work for the future generations. For a long time, I was thinking him to be a Muslim man, but at a much later date, I came to know that he was a Jew person.

Ezra Mir ( real name Edwyn Meyers) was born on 26-10-1902 at Calcutta. After completing his education, he joined Madon Theatres in 1921. In 1923, he left for Europe and America to work in film industry. After doing bit roles in Rudolph Valentino’s films in Long Island, New York and working for First National Biograph Studios, he joined the Universal studios as a ” Film Cutter ” and later as a Scenario writer. By his diligent and hard work he became the chief of story Department in United Artistes. In 1929, he wrote and directed a film ‘ Simbolisque ‘, which created a sensation in the film circle there.

With the advent of the Talkie, he came back to India , joined Imperial Film co. and made film Noorjehan-31 in Hindi and English. In 32-33, he joined Sagar movietone and directed Zarina-32, Pagal premee-33 and Farzand e Hind-34. Then Ezra went to Calcutta. After doing some films he came back and made documentaries on second world war. In 1940, he was appointed by the Govt. on Film Advisory Board. In 1942, when V.Shantaram left as its head, he became the head. From 1942 to 1946, he made 170 documentaries.

In 1951 he joined Films Division and in 1956, became its President. In his tenure here, he made 400 documentaries. In 1970 he got ‘ Padmashri ‘. Ezra Mir died on 7-3-1993. His Filmography is Noorjehan-31, Zarine-32, Pagal premi-33, Farzand e Hind-34, Mera Pyara and Rasheeda-35,Jeevan Sangram, Parivartan,Rajdulari and Shaitan ka pash-36, Rikshawala-38,Sitara-39, Beete din-47, pamposh-54 and Raju aur gangaram-64.

Another interesting artiste in this film was Indubala. Indubala’s mother was Rajabala, who along with sister Matibala and brother Tinkary worked in Motilal Bose’s The Great Bengal Circus, also known as Bose’s Circus or Professor Bose’s Circus. Harimati was the eldest sister of Rajabala and had a different life. Rajabala performed mainly as a trapeze artiste and got married to Motilal Bose at a temple in Ujjain, India. At the time he was then in his forties while Rajabala was still a teenager. The marriage was never accepted as legal by Motilal’s family. Motilal Bose’s first wife was Mrs. Annadamohini Devi.

Indubala was born in Novenber, 1899 at Amritsar, where the circus party had gone for performance. Indu was born premature and Dr. Bidhumukhi Basu was taken to Amritsar from Calcutta to attend to Rajabala. Such was the affection and concern of the husband for his young wife. Motilal’s interest in Rajabala dwindled later, supposedly because Rajabala showed no interest in going back to the circus after Indu’s birth and soon she was left to fend for herself. She came to Calcutta with her daughter and was given shelter by a Jiban Krishna Ghosh, who remained loyal to her till his death and also played a major role in establishing Indubala in her life as a performer. Once in Calcutta, Rajabala trained herself as a singer and Indubala’s first training in music was from her mother. The initial plan was to train Indu as a nurse and she was admitted as a trainee in a hospital in the Pataldanga locality of Calcutta. Indu did not take fancy in the job and ran away from the hospital, much to the disappointment of her mother, who never wanted her only daughter to be forced into a life of indignity.

After this incident Indubala’s musical training started. Although her father ignored wife Rajabala completely, he remained fond of his daughter and kept in touch with her and often invited her to his ancestral home where he lived during his brief visits to Calcutta and sent her a monthly pocket money of Rupees twenty till his death. Indubala’s first performance was at a gathering of distinguished guests where her mother was the chief entertainer. Each one of the guests appreciated Indu’s singing and thus began her formal training from Gouri Shankar Mishraji. Indu was only about twelve then. This also marked the entry of Indubala into the red light world. Amongst her trainers were Kali Prasad Mishra, Elaahi Bux and Miss Gauhar Jaan. Apart from music, Miss Gauhar Jaan, credited as Prima Donna of India, Indu also learned etiquette from the elder artiste and developed a close friendship with her. This association provided Indu with valuable musical knowledge and experience.

In later years she took training from Girin Chakraborty, Kamal Dasgupta, Subal Dasgupta, Jamiruddin Khan and Kazi Nazrul Islam. In time she came to be one of the major exponents of Nazrul songs and her songs along with those of Miss Angurbala and Kamala Jharia are still referred to for authenticity of lyrics and tunes of Nazrul songs. In 1916, Indubala recorded her first songs. She was brought into the record circle by Bhagabati Charan Bhattacharya and Mr. Manindra Nath Ghosh, alias Mantababu, himself a gramophone singer of repute. The first songs published as record were Asha Phuraye Gelo, Sindhu Khambaj and Aar Mukhey Boley Ki Hobey, Kedara. The record number was P 4306. In the beginning she did not take any money from the Gramophone Company and as such was credited in the records as Miss Indubala (Amateur). She was not the first amateur artiste of the company but enjoyed the privilege of announcing her name at the end of each song saying “My name is Indubala”. The amateur status continued for a fairly long period. Later on she received Rupees two hundred per record and also received a royalty of five per cent over the sales. Her first songs of Nazrul on the disc were “Cheyona Sunayana” and “Rumjhum Rumjhum Ke Eley Nupur Paye”. The record number was P 11661. To Indubala also goes the credit of being the first Bengali artiste to record Hindustani songs for the Gramophone Company. For the Indian State Broadcasting Center, later named All India Radio, Indubala first sang on the second day of the radio company’s broadcasting in 1927 in Calcutta and went on singing in this medium for nearly fifty years. Over the radio, Indubala sang not only from Calcutta but from several other stations by special invitation all over India. Apart from discs and the radio, Indubala was well established by the thirties in cultural functions all over India. Frequent invitations used to come from Shahjahanpur, Pakur, Madras, Bangalore, Palanpur, Nagpur, Hyderabad, Oudh, Trivandrum, Vizagapattam, Ajmer, Qoembatore, Dacca and several other places.

In 1936 she was appointed court musician to His Highness, The Maharajah of Mysore. She received a monthly salary of Rupees two hundred and fifty and this continued till the time when the native princes faced withdrawal of privy purse. In all Indubala had recorded some two hundred and eighty songs, including about two hundred forty basic songs, the rest being from films. Indubala’s first stage appearance was in The Rambagan Female Kali Theatre, established by her mother Rajabala in 1922. Both mother and daughter took part in the plays and Indubala appeared in about twelve plays in this short-lived company which lasted for only two years and in 1924 she joined Calcutta’s most prestigious stage, The Star Theatre. She continued to appear on the stage mainly in singing roles and her songs were a major attraction in each of the plays. By rotation she acted in all the public theaters of Calcutta and even took part in the Hindi Parsee Theatre in 1945 and 1946, the plays being Ghar Ki Laaj and Jasoos. Her last appearance in the public stage was in the play Prithviraj in the role of Mehga at Star Theatre in 1950. Thereafter she worked in call shows till almost 1958.

Jamuna Puliney (1933) has been credited as her first film. This is probably because this was her first film contract although Ankh Ka Tara (1932) released before Jamuna Puliney. In all she acted in about forty eight films in Bengali, Hindi, Urdu, Punjabi, Tamil languages. In most of them, she had songs as a major attraction or else did comic roles as in Bengali Indira (1937) and Hindi Deewali (1940) to name a few. She did the role of Dhai Ma in both the versions of Swamsidhha (1947). Thereafter she was not seen on the screen. As a playback singer she lent her voice in films like Alibaba (1937), Chandragupt (1934) in Hindi, Ab E Hayat (1933) in Urdu and Dil Ki Pyaas (1935) also in Urdu. She did not act in these four films. Indubala did not receive any major award apart from the Gold Disc given on behalf of His Master’s Voice. The government of India never considered her name for any award. The Sangeet Natak Academy however honoured her with a lifetime achievement award in 1975. The government of West Bengal, India however did arrange for a pension for which a lot of running about had to be done.

In personal life, Indubala was most humble and polite and bold in her behavior and was never ashamed to admit or discuss her origin. Even when established as a major singing artiste with an all India fame, she refused to move out to a respectable place leaving her residence in Rambagan, a notorious red light area of Calcutta. Indubala was got herself involved in voluntary work for the uplift of fallen women and worked actively for their rights in society through various organizations, which were patronized by top political leaders of the time. She had some interesting hobbies like writing poetry and collecting perfumes.

Even at old age all the empty perfume bottles were kept within her view. She was fond of jewellery too and had a great collection, either purchased or gifted by admirers. These valuables vanished when she was too unwell to keep track of them. Her contemporary artiste Miss Angurbala was a close friend with whom she confided and shared the joys and sorrows of life and this friendship lasted till the very end. Indubala adopted a nephew of her mother’s friend Jiban Krishna Ghosh. The boy’s name was Pranab Ghosh. This foster son did not look after her mother very much when in old age Indubala suffered from conditions like cataract and then paralytic stokes. It was Dr. Badan Sengupta who made necessary arrangement for her treatment She could not afford nursing homes and therefore was treated at state government hospitals in all occasions of illness.

The end came on the thirtieth day of November, 1984 after a prolonged illness during which again Dr. Badhan Sengupta looked after her as his own mother. Perhaps by coincidence her friend Angurbala died the same year.

I have not seen this film, nor have I got any idea about its storyline. 90% of Ranjit films were destroyed in a fire so there is no chance of seeing this film anymore. From the lyrics of the song, it seems to be a comedy song.

“Rickshaawaala” aka “Bhola Raja” (1938) makes its debut with this song.

( some information for this post has been used with thanks from an article by Dr. J.P.Guha in an adapted form, Filmdom-46, Bengali Cinema by B.C.Roy and my notes)


Song-Khatmal Ram ji Khatmal Ram ji tumko sau sau baar salaam (Rickshaawaala)(1938) Singer- Indubala, Lyrics- P L Santoshi, MD- Gyan Dutt

Lyrics

Khatmal Ram ji
Khatmal Ram
tumko sau sau baar salaam
Khatmal Ram ji
Khatmal Ram
tumko sau sau baar salaam
sone waale madhur neend mein
jab khurraate bharte
aa aa
sone waale madhur neend mein
jab khurraate bharte
aa aa aa aa
aa aa aa aa
aa aa aa aa
sone waale madhur neend mein
jab khurraate bharte
lekar apni baaki toli
lekar apni baaki toli
tum ?? karte

Khatmal Ram ji
Khatmal Ram
tumko sau sau baar salaam
pahle pahar mein
bhogi jaage
dooje pahar mein rogi
hey ae
teeje pahar mein
???khu jaage
chauthe pahar mein jogi
aa aa aa
aa aa aa
aa aa aa
aa aa
apna apna kaam bhool kar
jo hain chup so jaate
aa aa aa
apna apna kaam bhool kar
jo hain chup so jaate
ang ang ek tedhi(?) kar ke
ang ang ek tedhi(?) kar ke
aake unhen jagaate
Khatmal Ram ji
Khatmal Ram
tumko sau sau baar salaaaam


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 : 3932 Post No. : 15005

Today’s song is from film Zamane ki Hawa-52.

From 1-1- 2019 to 23-4-2019, I wrote 43 posts here and out of this, only 8 posts are about films of 1950’s decade. This is roughly 20% of my output in this period. If I calculate the number of posts of 1950s decade in my entire 750+ articles, then the percentage may hover around just about 10 % only, I am sure, though I have not calculated that. It is not that I deliberately avoided them, but the problem is, this Blog has covered most popular films fully and I guess, the maximum percentage of songs covered is also from the decade of 1950’s.

In such a case, I was not left with much scope and choice. Still, I wrote on many left out Gems. In fact, I ran few ‘Series’ too like ” Missing Gems from the 50s decade” with 18 songs and ” Bhajan Mala-Golden 50s” with 12 songs. There was yet another one also-” Shankar-Jaikishan in the 50s ” with 10 songs. However, all said and done, I will not hide the fact that I am very partial to songs from the 1930s and the 1940s. Discussing these songs- which is my Forte and also Comfort Zone, I get Nostalgic and I am able to share information on forgotten artistes of that era. Today, these posts may not mean much, but after I am gone and after a few years, I know that my posts will be the Researcher’s “Wanted list” and will be much sought after for their rare contents.

When I first heard today’s song, sometime in the early 1950s, I was in Hyderabad and had, till then, not been to Bombay anytime. The kind of language and the words used in this song are typically Bambaiya. I did not know it and we friends used to laugh at the lyrics and wordings of this and other similar songs ( of Johnny Walker, mainly). Over a period of time I realised that in Hindi film songs, the greatest victim is the language Grammar, pronunciation and diction of words.

Most lyricsts and composers twisted words to suit the Meters, Rhyming and never bothered about the gender of the words. Words like Tu, Tum,Hum, Mai, Aap, Voh, Un, Unhen etc were used irrespective of their suitability in the lyrics just because they fitted in Meters and rhymed perfectly. Once I realised this aspect, I and my friends started finding such wilful blunders in melodious and popular songs.

The reason I remembered all this is, few days back I found an article ” Vyakaran, Uchharan aur Utpeedan”( व्याकरण, उच्चारण और उत्पीडन), by shri AK ji, who is a reader and well wisher of this Blog, posted on his Blog – Songs of yore. He has written an absolute Gem discussing how in Hindi songs, the Grammar, pronunciation and right usage of language and words is molested/abused. He has also quoted several examples in songs. I strongly recommend this article to connoisseurs of HFM.

Film Zamaane ki Hawa-52 was a film made during the transition period of Hindi cinema from the works of pre independence artistes to cope up with the changing times and tastes of the Indian audience in the rapidly ascending Golden Era of HFM. The major change was the extra emphasis on churning out melodious and musical films than on Histrionic excellence or a strong story line. This film was produced and directed by a veteran of pre-independence era- Wali Sahab, under the banner of his own production outfit Punjab Film Corporation.

Music direction was by not one, but 4 less known and less successful composers like, Z.Sherman, Gulshan Soofi, Khan Mastana and Aziz Khan. For 12 songs of the film, as many as 5 Lyricists were there, which included Wali sahab, his brother Nazim Panipati, Kaif, Khalish and Sagar Badayuni. One song from this film has been discussed here earlier. The cast of the film consisted of Mumtaz Shanti, Husn Bano, her mother Shareefa, Shakuntala, Suresh, Murad, Pran, Kesari and many others. It was an uncommon instance, when both mother and daughter worked together in the same film. While launching Nutan in film Hamari Beti-50, both Nutan and her director mother Shobhana Samarth had acted in the same film.

This pair of Mother and daughter- Husn Bano and Shareefa- had strange life stories.

Roshan Ara aka Husn Banu was born in Singapore on 8-2-1919. She was very beautiful. She started her career in Calcutta ( just like her mother), by working in New Theatre’s film “Daaku Mansoor-34″. After this film, her mother, Shareefa brought her to Bombay and she started getting roles in Wadia films. She was working only in C grade stunt action films. After 1940, she got 2 social films made by Bharat Laxmi films and in 1941 again 1 film each from Bhavnani productions and National studios.However she got only small or side roles.

In 1941, When she was selected for Ranjit’s film Dhandora as a Heroine, this was a new experience for her as she had never worked in a social or a comedy movie as a Heroine. All her experience was for stunt films only. Husn Bano acted in 53 films and sang 44 songs in 16 films. She had married Wadia’s director Aspy Irani. Husn Bano worked in films till her last film Akhari Sajda-1977 and then she retired. She had a big house ‘Shareefa Manzil” in Dadar, Bombay. On 23-11-1986, her husband Aspy irani left home for work and he simply disappeared. He was never found and was declared as a “Missing Person” by the Police.

Husn Banu was beautiful. She was featured in Lux Soap advertisement in the early 40s. Leela Chitnis was the first to feature in this Ad during early 1940. After that Azuri, Bharati Devi, Manorama, Ratanbai, Shobhana Samarth, Mumtaz Shanti, Neena, Sadhona Bose and Maya Banerjee had also featured in these ads.

The story of actress Shareefa is very strange.

Sharifa was an actress in the 20s and the 30s. She hailed from the Central provinces and joined the Corianthian Theatre company of Calcutta, in which the famous Urdu writer Agha Hasra Kashmiri was also working. She and Agha fell in love. However during one performing tour, the Maharaja of Charkhari in Central Province, fell for Shareefa. He followed the drama company to Calcutta and bought the already debt ridden Corinthian Theatre company for Rs. 40 Lakhs. This included the entire property and the services of Agha and Shareefa too. Soon they resigned and Shareefa started acting in films.

A Parsi magician named Minoo Kooper ( the actor singer Minu cooper/the mystique of Bombay was a different person) came to Calcutta to give performances. Shareefa was attracted to him and they both left on a tour of Far East. She went as his helper and a consort. For an year they stayed together. When Shareefa became pregnant, Minoo left them in Singapore and returned to India.

Roshan Ara aka Husn Banu was born in Singapore on 8-2-1919. She was very beautiful. She started her career in Calcutta ( just like her mother), by working in New Theatre’s film “Daaku Mansoor-34″. After this film, Shareefa brought her to Bombay and she built a very big mansion in Dadar called ” Shareefa Manzil’.
Shareefa acted in almost 40 films and sang 10 songs in 5 films in early cinema. She continued working till early 50s, when she died.

Another interesting artiste in this film was one of its Music Directors- Gulshan Soofi. He was born at Larkana in 1914. His father and mother died when he was small. He was looked after by a Hermit named Agha Ghulam Nabi Soofi, who treated him as his son. Here he got some education. Having an attraction for Theatres, he ran away and joined Agha Hashr Theatrical company, but he was forced back to the Hermit.

Finally, he came to Bombay with Bhai Dessa and recorded few songs. He joined nanubhai Vakil as an extra, where his talent was recognised and he sang in films Rashk e Laila-34 and Gulshan e Alam-35 besides acting small roles. Then he worked at karachi in films, sang Sindhi songs in Amritsar Gramophone co.. He worked in Mother india-38, Watan-38, Payam e Haq-39 and Jungle Princess-42.

he started as MD with film Aina-44, then came Mauji Jeewan-44, Saathi-46, Durban-46, Devar-46, Pati Sewa-47, Janmapatri-49, Sabj Bagh-51, Zamane ki Hawa-52, Faryadi-53 and lastly Ghamand-55. Gulshan acted in 7 films and sang14 songs. He composed 66 songs in 11 films. In 1957, Gulshan Soofi migrated to Pakistan and retired. No news after that.

Today’s song is composed in a very lilting and melodious tune. The language used here is typical lower class Bambaiya. During Johnny Walker’s time, such words were used in songs sometimes, but after that it stopped totally. As such, the system of having an independent Comedian itself is no more, so no question of comedy songs. I enjoyed this song. You too will, I am sure.

(I have used some information in this post from the book ” Stages of Life- Indian Theatre autobiographies ” by Kathryn Hansen, Filmdom-46 and my notes, with thanks.)


Song-Arre o bewafa tu apne kothe pe chadhela hai (Zamaane Ki Hawa)(1952) Singers- Khan Mastana, Sulochana Kadam, Lyrics- Nazim Panipati, MD- Gulshan Soofi

Lyrics

arre o bewafa
are o bewafa
tu apne kothe par chadhela hai
chadhela hai
are o bewafa
tu apne kothe par chadhela hai
chadhela hai
tera aashaq kai kallak se neeche khadela hai
tera aashaq kai kallak se neeche khadela hai
are o bewafa
o hi hu ha ha

tumhari jaan mein jaaneman
museebat me padeli hai
tumhaari jaam mein jaaneman
museebat me padeli hai
padosi bhi jagela hai
padosan bhi jageli hai
padosi bhi jagela hai
padosan bhi jageli hai
are o bewafa

sa re ga ma
pa dha ni sa

arre marne de in dono ko
aur tu saath chal mere,
saath chal mere
arre marne de in dono ko
aur tu saath chal mere
saath chal mere
idhar tamtam khadeli hai
udhar taanga khadela hai
idhar tamtam khadeli hai
udhar taanga khadela hai
are o bewafa
o ho ho ho ho

chaloongi saath tere
kya hai tamtam ho ke taanga ho
chaloongi saath tere
kya hai tamtam ho ke taanga ho
ki ye bulbul to ab
ulfat ke fande mein fanseli hai
ki ye bulbul to ab
ulfat ke fande mein fanseli hai
arre o bewafa

sa re ga ma pa dha ni sa

magar jaane se pahle
jaaneman
kuchh maal le aao
maal le aao
maal le aao
maal le aao
magar jaane se pahle
jaaneman
kuchh maal le aao
maal le aao
humaare paas kadki hai
na dheli hai na dhela hai
humaare paas kadki hai
na dheli hai na dhela hai
are o bewafa
o ho hui ho ha

ghar ka ghar loot ke
le aaungi
darr kiska hai
jaan kiski hai
jigar kiska hai
sar kiska 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 : 3931 Post No. : 15003

Mukesh song ” Dil jalta hai to jalne de” actually introduced me to the film Pehli Nazar-45. Being a Muslim social film, it was quite popular in Hyderabad, which was Nizam state, with a considerable Muslim population in it.

When the Fazli Brothers-the Director brothers- decided to make their first Muslim social film, ” Qaidi” in 1940, they were not sure how the purists in their religion would accept a film on Muslim life.But the director-Hussanain Fazli- was very firm that come what may, he would produce a Muslim social film. Just to be on a safe ground, he chose to make the film in Calcutta- far off from Bombay to avoid any resistance from the fundamentalists. The film was made by Film Corporation of India, Calcutta.

Contrary to Fazli’s fears, film Qaidi-40 was received by the Muslim community with open arms. It was a Box office success wherever it was released. For first time perhaps, the community was treated with a film about their culture and social life. Film Qaidi-40 set the ball rolling. It gave a feeling of ” yes, we can do it” not only to Fazli Brothers but many other producers, like Mehboob, K.Asif, Mazhar Khan etc etc.

From the 40s to the 47, there was a line of Muslim social films lined with pride and confidence. Notable amongst them was Paak Daaman-40 by Rustom Modi, Masoom-41 by Fazli brothers, Muslim ka lal-41 by Mohan Pictures, Fashion -43 by Fazli Brothers, Najma-43 by Mehboob, Salma-43 by Nazir Ahmed, Ismat-44 by Fazli Brothers, Bade Nawab saab-44 by actor Kumar and Pramila, Bhaijaan-45 by United Films and Phool-45 by K.Asif.

With this background, the Actor, Producer and the Director Mazhar Khan decided to make a Muslim social film and he started ” Pehli Nazar’ in 1945. When he was thinking about the cast, one of his friends from Lahore told him about a new beautiful girl from Lahore who acted in film Khazanchi-41 in a small role of a Bar Girl-on whom a full song was filmed. She, though a Muslim, called herself “Asha”. Mazhar khan saw the film and decided to feature this girl as heroine of his film. he went to Lahore, met the girl and gave her such a lucrative offer that she accepted it immediately. She was Munawar Sultana.

We have often heard and read that in olden days, young film aspirants from far off cities and smaller towns, ran away from homes to the Maya Nagari-Bombay, to try their luck. Few of them succeeded. But mind you, not ALL stars came running away to Bombay. Many of them were brought honourably too, particularly from other film centres like Calcutta and Lahore. For example, Shamshad Begum was brought to Bombay, honourably from Lahore. Saigal was brought from Calcutta to Bombay, with attractive offer.

That, precisely, was the fame of Bombay, that careers are made in Bombay and opportunities are found in abundance for them who have Talent and Luck ! Munawar Sultana, was one such star, who was brought from Lahore with an offer of Rs. 4000 pm and rented furnished accomodation – by Mazhar Khan

Munawar Sultana was born on 8 November 1924, in Lahore, into a strict Punjabi Muslim family. According to an interview with son Sarfaraz and daughter Shaheen, conducted by Shishir Krishna Sharma, Munawwar’s father was a radio announcer. Munawwar wanted to become a doctor, but was side-tracked by an offer in films. This was a small role in the film, Dalsukh Pancholi’s Khazanchi (1941), where she played a barmaid, and had a song, “Peene Ke Din Aaye” picturised on her. She went by the screen name Asha for this period.
In 1945, she was visited in Lahore by producer-actor-director Mazhar Khan, who contracted her on a monthly fee of Rs. 4000 plus an apartment, and brought her to Bombay. Munawwar’s first film with Mazhar was Pehli Nazar, where she was cast opposite actor Motilal. In the popular song “Dil Jalta Hai Toh Jalne Do” (Let the Aflame Heart Burn) playbacked by singer Mukesh for Motilal, Khan focused on Munawwar’s close-ups during the picturisation.

Following Pehli Nazar, she was kept busy through 1947 to 1949 working in several films. Baburao Patel wrote in the cine-mag Filmindia 1949, about her being one of the most over-worked actresses along with Suraiya and Nargis.
In 1947, Munawar acted in four films Dard, Elaan, Andhon Ki Duniya and Naiyya. Dard was directed by Kardar under Kardar Productions. In spite of no big stars being in the film, it turned out to be a surprise “musical hit” at the box office. The hero of the film was Kardar’s brother Nusrat (Kardar). The song “Afsana Likh Rahin Hoon” became a big success. Elaan garnered positive reviews for Munawwar. A Muslim social, the film was praised for its “progressive attitude” towards the need of education.

A lot has already been written about Elaan-47,elsewhere,as well as on this blog too,earlier.

When Mehboob Khan heard the story initially,he spent few days thinking about it.He anticipated the adverse reactions of the Fundamentalists on this film. His team for this film included many Muslims, almost in every department. Major contributors like Naushad, Zia Sarhadi, Amirbai Karnataki and most important , Munawar Sultana,the Heroine,were all Muslims.Others at least were connected indirectly,but Munawar was the Heroine.

Mehboob Khan had a sitting with her and explained to her the entire story and the likely repercussions to the film.He gave her an option to opt out of the film. Munawar played very brave and firmly told Mehboob Khan that she was 100% with him and was ready to work and face,whatever happens as an aftermath.
This act of courage was loved and appreciated by Mehboob Khan very much and he remained indebted to her ever after.
1948 saw Munawar in four more films. Parai Aag, Sona, Majboor and Meri Kahani

1949 was Munawar’s busiest year with seven releases. Out of her four films released in 1950, Munawar’s most notable film was Babul (Father’s House). She acted opposite Dilip and Nargis in this love triangle. Directed by S. U. Sunny, the music was composed by Naushad The film became a major success at the box office. She acted in a few more films till 1956, with Jallad being her last appearance.

From 1950, Munawar’s career slowed down, and she acted in fewer films. She met her husband Sharif Ali Bhagat, a businessman, on the sets of a movie for which he provided furniture. He produced two films with Munawar in the lead, Meri Kahani (1948) and Pyar Ki Manzil (1950). Following the sudden death of her husband in 1966, Munawar managed her family of four sons and three daughters . In the last eight years of her life, Munawar suffered from Alzheimer’s disease. She died on 15 September 2007, at her home in Ambedkar Road. Pali Hill, Mumbai, Maharashtra, India.

For the second Heroine’s role, Mazhar had already signed actress Veena. He was impressed with her looks and style. Getting Veena for this film posed no problem.The Hero was to be Motilal. Anil Biswas too had been signed for its music. The shooting started in early 1945. In between Mazhar khan himself as well actress Veena were acting in K Asif’s film Phool-a Muslim social film again. This film was full of Top stars of those times, so even after completion of the shooting of the film Pehli Nazar, the film was not released in Bombay. The film was censored in the end of 1945. Then the film was first released in Lahore and then in major cities of Northern India. Finally Pehli Nazar was released in Bombay on 18-4-1947 at Minerva Theatre. Originally it was to be in Royal opera House, but the inordinate delay in Bombay release forced it to be in Minerva, another posh theatre of repute.

The film and the acting, particularly of Motilal and Munawar Sultana was appreciated by newspapers and film magazines. There were different opinions about the end of the film. Overall Mazhar khan was successful in fulfilling his dream of making a good Muslim social film, after all. The cast of the film was Motilal, Veena, Munawar Sultana, Baburao Pendharkar, Balakram,Bhudo Advani, Cuckoo, Parveen ( made her debut in this film), Nemo, Nafeesa Begum, Bibbo, Leela Pawar etc etc.

Nemo’s real name was M M Beg. Born at Calcutta on 27th December 1903. Passed Senior Cambridge exam and entered Film line. In 1933. He edited the periodical ‘ AKKAS’ for New Theatres, in English and Urdu. Wrote story of film “President”. Debut in film Yahudi ki Ladki-33 Mostly worked in NT films. till Kashinath-43. In all, he worked in 25 films, 17 of them with new Theatres only. I remember him in film Shri 420 as the seth who brings Police to stop the song and dance of the Basti.

The story of film Pehli Nazar-45 was….. Nasir Mirza and Akhtar Mirza were Lucknow based brothers. Due to a rift between them they lived separately in the same Haveli as neighbours. There was no talk between the brothers.

However Shahida ( Veena), daughter of Nasir and Husna (Munawar Sultana) daughter of Akhtar were bosom friends since childhood and were almost inseparable.

Nasir’s friend in Bareilly sends his son Mushtaq (Motilal) for studies in Lucknow. Mushtaq and Shahida become friendly and Nasir gets them engaged. But, as the brothers are not on talking terms this is kept secret.

One day Mushtaq happens to see Husna, she also sees him and love blooms between them. Mushtaq is so enamoured with Husna, that he breaks his engagement with Shahida. Upset Shahida feels guilty that she did not inform Husna about their engagement.

When Husna learns about the engagement of Shahida and Mushtaq, she feels guilty and perturbed. There is now a chaos in both families. Husna fears that her father may commit suicide to avoid humiliation. After lot of thinking Husna decides to end her life and consumes poison and dies.

The brothers are in shock and grief. They realise their follies and unite. Mushtaq finally marries Shahida only.

There are 10 songs in this film. 7 songs are already discussed. There are several stories about the recording of song ” dil jalta hai to jalne de”. which have been discussed earlier, so we bypass them today. Songs of this film have been discussed by Sadanand ji, Sudhir ji and Atul ji. With me presenting a song today, the film becomes Unique whose songs have been discussed by all 4 of us !

Today’s song is a song and dance, shot on Cuckoo and others. HFGK is silent on the names of singers. This is an issue which is unnecessarily magnified. One must understand that Harmandir ji did this colossal work of HFGK, with great hard work and used whatever information was available to him that time. In few cases no information was available, in some cases wrong information was used and in some case doubtful information was there. He added ” Addenda” to all volumes, with additional information correcting the gaps etc. So, even if singers are not mentioned for some songs, later on experts have rightly identified the voices and due credit is given. We did it on our Blog this, several times. So ” HFGK does not mention singer” need not be made into a big issue at all. In today’s case Sadanand ji-the uploader- has identified the main voice as that of Binapani Mukherjee. Some other expert has identified Naseem Akhtar as the second voice. I am considering both these names as singers.
Editor note- There is a third female voice in the song as well.

( I am thankful for some information used from ‘Forgotten movies on Muslim culture 1933-1947’ by Kamlakar Pasupuleti ji, The Filmdom-1946, Harish Raghuwanshi ji, and my notes ).


Song- Khan Kaabul se aaya ji wai wai (Pehli Nazar)(1945) Singers – Naseem Akhtar, Binapani Mukherjee, Unknown female voice, Lyrics- Dr. Safadar Aah, MD- Anil Biswas

Lyrics

hoy
khan kaabul se aaya ji
wai wai wai
pista chilgoza laaya ji wai wai

shawl lena ji pashmeena lena
ho na naqdi to kishton pe lena
shawl lena ji pashmeena lena
sasta sauda lagaaya ji
sasta sauda lagaaya ji
wai wai wai wai
wai wai wai wai
kaabul se aaya
haan maano(?) hamaari gali aana
hamaari gali aana
zara nainon se naina milaana
ji naina milaana

khan aaya ji
aaya ji
wai wai wai wai
wai wai wai wai
kaabul se aaya
chalo kaabul hamaare saath janiya(?)
ho janiya janiya (??)
chalo kaabul hamaare saath janiya(?)
mujhe maaregi teri pathaniya
mujhe maaregi teri pathaniya

main pathaani ko ghar se nikaaloon
main pathaani ko ghar se nikaaloon
paani paani(?)
phir to bainyyaan main tere gale daaloon
phir to bainyyaan main tere gale daaloon

tujhko ?? banaaya ji
aurat banaaya ji
bibi banaaya ji
wai wai wai

aayi meri pathaani hathheeli
kahin mujhko chhupa le chhabeeli
kahin mujhko chhupa le chhabeeli
zara mujhko nigode bata de
kya huye tere shaadi ke waade
kya huye tere shaadi ke waade

sab bhulaaya
sab bhulaaya
bhulaaya ji
wai wai wai wai
wai wai wai wai
kaabul se aaya
kyun aaya

khan ki ham to aurat pathaani
ae kaun shaitan ki tu hai naani
ae kaun shaitan ki tu hai naani
mard hamaara churaaya ji wai wai wai
mard hamaara churaaya ji wai wai wai
mard hamaara churaaya ji wai wai

jaan jaane de
jaan jaane de
hatt jaa deewaane
kyun re aaya thha naina ladaane
kyun re aaya thha naina ladaane
too ne isko bhulaaya ji
too ne isko bhulaaya ji wai wai wai
too ne isko bhulaaya ji wai wai wai
too ne isko bhulaaya ji wai wai wai


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 : 3901 Post No. : 14952

This song is from Master Bhagwan’s film ‘Damaad’ (1951).

This is the film which inspired Bhagwan to write a comedy social musical film story for his evergreen film Albela. In the decade of 1940’s, Bhagwan had specialised in low budget C grade action and stunt films. Usually his films would be completed in Rs. 60 to 70 thousand rupees only. He used to churn out films after films with the same set of actors with almost the same story in all his films. The audience of Master Bhagwan’s films came to the theatre to see his antics and comedy, coupled with action scenes of fighting and incredible stunts.

Usually Bhagwan never played the hero’s role in his own films. The hero in his films would necessarily be Baburao Pehelwan and Bhagwan used to be his side kick. Both had their love interests – usually the heroine for Baburao and her friend or maid for Bhagwan. Like Baburao and Bhagwan, even the lady actors were fixed. He had a set of such actresses like Shanta Patel, Chanchal, Leela Gupte, Vitha Lokare, Usha Shukla etc. They used to be in his films by turns. Actor Azim Bhai (who later became the famous Fight Master in Hindi films) was usually the good natured but timid employer of these two. Their job was to protect the Seth ji from goons, fight with them and finally win the girls in the end. Film after film the same story was used with slight changes here and there. The audience was least bothered about the story or the histrionics etc. They came for the dialogues, the fights and stunts.

Very few people know that both Raj Kapoor and Dilip Kumar were his great fans. When Bhagwan fell on bad times and shifted to a 2-room tenement in a chawl in Dadar, Dilip Kumar, while going for his daily shootings, used to stop at the chawl, honk till Bhagwan appeared in the gallery and waved to him, and then he proceeded to his work.

It was Raj Kapoor, who used to see his shootings in Jagriti studio, very near to RK studio. He once suggested to him to try making a social film. Incidentally, his good friend C Ramchandra (Anna for Bhagwan) also pressed him to dare making a social film. CR even promised him to give music to his social film in his popular name C Ramchandra (he gave music to Bhagwan’s films in the name of ‘Annasaheb ‘ till then). Bhagwan started thinking seriously on this issue. At that very time he got an offer to work in a social comedy film, to be produced by Beema Films of MT Mudnani and directed by Brij Rani. Since this was a social film Bhagwan wanted to give it a try. He wanted to assess the feasibility of making his own social film.

The film was ‘Damaad’ (1951). The story was simple. A simpleton is made a ‘ghar jamai’ (resident son-in-law) and has a miserable life. Incidentally, he becomes a successful singer. The film was absolutely an ordinary one. Being a director himself, Bhagwan understood the potential of the story to become a hit film. In addition the offer of C Ramchandra’s music was also inviting him. The film ‘Damaad’ came and went without making any ripples. Neither the producer made any more films, nor the director got any other film. The cast and the 3 MDs employed were also C grade anyway.

Taking inspiration from film ‘Damaad’, Bhagwan started writing the story of ‘Albela’ . For this film, he needed a cast other than his usual C grade film cast. Other actors were booked but no reputed heroine was ready to work in his film. Those days, Bhagwan’s name was only associated with C grade action stunt films. Then one day he approached Geeta Bali. She agreed – a bit reluctantly – to listen to his story. After listening to the story, Geeta Bali realized the potential of a hit film and said yes.

The shooting of ‘Albela’ started but Bhagwan kept it a secret. After few weeks of shooting, he invited Anna (CR) to come to see the shooting, without telling him anything. Anna went to Jagriti studios to see the shooting. After some shots were taken, he asked, ‘Bhagwan, this is your film, but where are the fights?”. Bhagwan smiled and said,”Anna, there are no fights. This is a social film I am making which you wanted me to do. Now it is your turn to stand by what you had promised to give your best music”. Sure enough C Ramachandra gave immortal music to film ‘Albela’ and the rest is history as they say.

Bhagwan’s planning for ‘Albela’ was so perfect that he got the Censor Certificate on 13-12-1951 and the film was released on next day i.e. on 14-12-1951 at Imperial Talkies in Bombay. Within 3-4 days, the film became houseful in every show. It was so successful that it overshot the combined collection of first week opening of BR Chopra’s ‘Afsaana’, Raj Kapoor’s ‘Awaara’, Dev Anand’s ‘Baazi’, AVM’s ‘Bahaar’ and Nitin Bose’s ‘Deedaar’, all released in 1951 only!

The tremendous success of ‘Albela’ made the financiers, producers and directors to line up Bhagwan’s doorstep with project proposals. The success of ‘Albela’ had also gone to the head of Bhagwan dada. He did not realize or acknowledge the contribution of Geeta Bali and C Ramchandra’s music to its success. He thought that it was due to him and he went on signing film after films in that period. As his new films started failing, the incomplete films were abandoned and ‘Albela’ became his swan song. The downward slide of his career and popularity started right after this film, although some more films like ‘Bhagam Bhag’ (1956) etc were hits-again due to music and Kishore Kumar.

Anyway the producer NT Madnaney never ever tried to produce any more films after ‘Daamad’, which was not at all successful at the box office.
The screenplay and direction was by Brij Rani. There were 3 composers, Shamoo who had given music to ‘ Yeh hai zindagi-48’ and ‘Begunah’ (1949) with Haribhai. Indravadan Bhatt had given music to 10 films in the late 40s. Ram Panjwani had been an actor in Berozgaar-36 and Chhotisi duniya-39, a singer in Damad-51 and Maa ka pyar-49, an MD for Magroor-50 and Damad-51 and also a Lyricist for one song in film Teen Batti chaar Rasta-53

The story was more or less same as ‘Albela’ – a good for nothing fellow sings well and makes a fortune – that is the one line story of this film.

Chamak (Bhagwan) is too simple a person, who is a teacher in a school, where even his students make fun of him. He gets married to a rich man’s daughter-Geeta (Krishna Kumari). Chamak loses his job and his father-in-law takes him to his house in a bigger town. Chamak is impressed with all the wealthy living and eats like a hog and sleeps like a dog every day. Honored initially as the son-in-law of the house, slowly he is despised, insulted and treated shabbily by in laws for doing nothing.

One day when Chamak is singing alone, the manager of the local theatre hears him, gets impressed and offers him job of a singer. Chamak accepts it and in no time becomes a famous singer and tours all over India. Seeing that he is famous, his in laws start pampering him. Now Chamak has become clever. He teaches a lesson to his in laws and finally they realize their folly and all is well that ends well.

The cast of the film was Bhagwan, Krishna Kumari, Yashodhara Katju, Protima Devi, Cuckoo, Habib, Kathana, Ishu Jahagirdar etc. etc. The story and screenplay was by director Brijrani.

Brij Rani was born in 1921 at Shikarpur, Sindh province, in a well to do business family. She studied up to Matriculation and also qualified as a Middle School Teacher. However, she opted to join films as an actress. Her first film was Jeewan Jyoti-37, doing an un credited small role to get the feel, followed by Calcutta after Midnight-37, Aurat-40, Wayda-40, Ulti Ganga-42, Daughters of the Jungle-43, Bhagta Bhoot-43, Circus Girl-43 and Lal Haveli-44.

She was getting roles only in stunt films and C grade films. Being from a business community, she started her own company- Bharat productions and herself made stunt films.

Meanwhile she continued acting in films like Lal Haveli-44 and acted and directed film Circus King-46 and film Sajni-47. Then there was a gap. probably she looked after her family. In 1951, she directed film Daamaad-51.

As far as Yashodhara Katju is concerned, there is a bizarre story behind her entry into films. Earlier there was a Kashmiri girl working in Hindi films,in the late 30s. Her name was Shyama Zutshi. Actor Chandramohan too was a Kashmiri Bramhin and held the view that Kashmiri Bramhin girls should not work in films as it is below their dignity. He strongly opposed Shyama’s work in the films and put lot of pressure on her to quit films. Fed up of his pestering and also afraid of his anger, Shyama left films. Her last film was Khooni Jadugar-1939.

However, soon after this, yet another girl who too was a Kashmiri Bramhin came into films from 1941. Chandramohan tried all his pressure tactics and tried to force her out of the films, but this girl was different. She was tough and did not fear him or yield to his intimidations. She continued to work in films unabated. Chandramohan died in 1949, but this girl worked in films from 1941 to 1974. She worked in 86 films and earned quite a name.

Her name was Yashodhara Katju ( 15-4-1928 to 1974 ). She was the niece of Pt. Nehru, but never ever used her highly placed relations to get work. Her father K L Katju was U.P.’s well known politician and also a senior bureaucrat. They were from Lahore, where Yashodhara had studied upto Senior Cambridge and also dancing. She was a leading comedienne in the early 50s and had formed a pair with Gope for some films. She married a Navy officer and spent her retired life as a housewife, away from filmdom.

Today’s song is actually in 2 parts, but it is combined in one video. The singers are Sulochana kadam(for Yashodhara katju), Ram Panjwani (for Bhagwan), Ishu Jahagirdar (for Dhobi), and Shrimati Vishnilal ( for elderly lady). VISHNI LAL was born in Hyderabad( Sindh) in 1926. She came to Bombay in 1943 to sing in films. Ram Daryani recommended her to Khemchand Prakash and he gave a break to her in film Chiragh-43. She sang in very few films like Qurbani-43,Anjuman-48 Mitti ke khilaune-48,Maghroor-50,Daamaad-51,Chhoti Duniya-53 etc.

Her family shifted to Bombay in 1947, after Partition. She was married to a businessman Mansukhani. She then settled in Dubai, with her family.

Let us now enjoy the song video.


Song – Dhobiya Re Dhobiya Re Tera Chhora (Daamaad) (1951) Singers – Sulochana Kadam, Ram Panjwani, Shrimati Vishnilal, Ishu Jahagirdar, Lyrics – Bahaar Ajmeri, MD – Indravadan Bhatt
Sulochana Kadam + Ram Panjwani
Chorus

Lyrics

oo oo oo
dhobia

dhohia re dhobia re tera chhora
ho tera chhora
beech bajaria chhed kare mosey
beech bajaria chhede
dhohia re dhobia re tera chhora
ho tera chhora

main na chhedoon
main na chhedoon is ko dada
jhooth kahe ye tosey
ram kasam. . .
ram kasam iljaam dhare hai
bair karey ye mosey
ram kasam iljaam dhare hai
bair karey ye mosey

hmmm mmmmm

tu chhori re chhori re chhori chhori re
bada sareef hai mera chhora
bada sareef hai mera chhora
oo oo chhori
chhori jhooth kyon boley
o chhori jhooth kyon boley
sundar dekh ke morey lallan ko
kyon tera manwa doley
ho chhori
kyon tera manwa doley

oo oo
oo oo oo oo oo
o dhobia
sunder hai tera chhora to
main bhi naar albeli
sunder hai tera chhora to
main bhi naar albeli
roop dekh sharmaaye jaaye re
dhobia
roop dekh sharmaaye jaaye re
bagia mein haaye chameli
bagia mein haaye chameli
bada theed hai
bada theed hai. . .
o tera chhora
bada theed hai
bada theed hai. . .
o tera chhora
beech bajariya ghere
beech bajariya ghere
dhobia re dhobia re tera chhora
ho tera chhora

kyon ri dhobaniya
lagaai bujhaai to kar ke chali
par main to ko samjhunga
lagaai bujhaai to kar ke chali
par main to ko samjhunga
bhari bajariya mein o chhori
bhari bajariya mein o chhori
teri khabar main loonga
ab teri khabar main loonga
oo oo oo dhobia
chal hatt
parey hatt

oo oo dhobia
samjhaaye lei e ka
nahin to main rapat likhaaye deungi
samjhaaye lei e ka
nahin to main rapat likhaaye deungi
oo oo thaanedar se
thaanedar se keh kar main to
lambardaar se keh kar main to
band karaye deungi
milat mein
milat mein
qaid karaaye deungi
main ghabraaye gai
tere chhore se
phirey hai peeche morey
phirey hai peeche morey
dhobia re dhobia re tera chhora
oo tera chhora

shiv ram
shiv ram
shiv ram
shiv ram
shiv ram

mukhiya ke chhore se chhori
mukhiya ke chhore se chhori
kaahe karey tu ladaai
maafi maang le 
o chhori
maafi maang le 
maine lallan se kar di teri sagaai

oo oo oo oo
teri meri bhool hui o baalam
kar le mosey mel
haan haan
kar le mosey mel
tu mera chaand hai
main teri chandni

oo oo oo oo
chhaila re chhaila re chhaila chhaila re
khelen chaand ka khel
aao khelen chaand ka khel
khel
aa ri dhobaniya
ho gaya tera mera mel
ho gaya tera mera mel
ho gaya tera mera mel
ho gaya tera mera mel. . .

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

ओ ओ ओ
धोबिया

बीच बज़रिआ छेड़ करे मोसे
बीच बज़रिआ छेड़े
धोबिया रे धोबिया रे तेरा छोरा
हो तेरा छोरा

मैं ना छेड़ूँ
मैं ना छेड़ूँ इसको दादा
झूठ कहे ये तोसे
राम कसम॰ ॰ ॰
राम कसम इल्जाम धरे है
बैर करे ये मोसे
राम कसम इल्जाम धरे है
बैर करे ये मोसे

हम्मम म्ममम

तू छोरी रे छोरी रे छोरी छोरी रे
बड़ा सरीफ है मेरा छोरा
बड़ा सरीफ है मेरा छोरा
ओ ओ छोरी
छोरी झूठ क्यों बोले
सुंदर देख के मोरे ललन को
क्यों तेरा मनवा डोले
हो छोरी
क्यों तेरा मनवा डोले

ओ ओ
ओ ओ ओ ओ ओ
ओ धोबिया
सुंदर है तेरा छोरा तो
मैं भी नार अलबेली
सुंदर है तेरा छोरा तो
मैं भी नार अलबेली
रूप देख शरमाये जाये रे
धोबिया
रूप देख शरमाये जाये रे
बगिया में हाए चमेली
बगिया में हाए चमेली
बड़ा ठीठ है
बड़ा ठीठ है॰ ॰ ॰
ओ तेरा छोरा
बड़ा ठीठ है
बड़ा ठीठ है॰ ॰ ॰
ओ तेरा छोरा
बीच बज़रिआ घेरे
बीच बज़रिआ घेरे
धोबिया रे धोबिया रे तेरा छोरा
हो तेरा छोरा

क्यों री धोबनिया
लगाई बुझाई तो कर के चली
पर मैं तो को समझूँगा
लगाई बुझाई तो कर के चली
पर मैं तो को समझूँगा
भरी बज़रिआ में ओ छोरी
भरी बज़रिआ में ओ छोरी
तेरी खबर मैं लूँगा
अब तेरी खबर मैं लूँगा
ओ ओ ओ धोबिया
चल हट
परे हट

ओ ओ धोबिया
समझाये लेई ए का
नहीं तो मैं रपट लिखाये देऊंगी
समझाये लेई ए का
नहीं तो मैं रपट लिखाये देऊंगी
ओ ओ थानेदार से
थानेदार से कह कर मैं तो
लंबरदार से कह कर मैं तो
बंद कराये देऊंगी
मिलत में
मिलत में
क़ैद कराये देऊंगी
मैं घबराए गई तेरे छोरे से
फिरे है पीछे मोरे
फिरे है पीछे मोरे
धोबिया रे धोबिया रे तेरा छोरा
हो तेरा छोरा

शिव राम
शिव राम
शिव राम
शिव राम
शिव राम

मुखिया के छोरे से छोरी
मुखिया के छोरे से छोरी
काहे करे तू लड़ाई
माफी मांग ले ओर छोरी
माफी मांग ले
मैंने ललन से कर दी तेरी सगाई

ओ ओ ओ ओ
तेरी मेरी भूल हुई ओ बालम
कर ले मोसे मेल
हाँ हाँ
कर ले मोसे मेल
तू मेरा चाँद है
मैं तेरी चाँदनी

ओ ओ ओ ओ
छैला रे छैला रे छैला छैला रे
खेलें चाँद का खेल
आओ खेलें चाँद का खेल
खेल
आ री धोबनिया
हो गया तेरा मेरा मेल
हो गया तेरा मेरा मेल
हो गया तेरा मेरा मेल
हो गया तेरा मेरा मेल॰ ॰ ॰


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

3898 Post No. : 14943 Movie Count :

4082

Colorful greetings to all readers and friends. May this festival of colors, bring happiness and good health, to yourself, and to everyone you know. 🙂  May these colors multiply and spread good cheer across every day in the calendar.

Happy Holi to all.

On this blog, we are celebrating the eleventh iteration of this festival. Statistics is one thing – apart from that, the wonderful fact is that the songs of Holi in Hindi films, seem like a supply with no end. Of course yes, when the films and their directors continue to add more songs celebrating this festival every year.

I bring to your attention, this wonderfully fabulous song of the spirit of Holi, from a really very recent film – ‘Ye Jawaani Hai Deewaani’ from 2013. This film was one of the most successful films of that year, and I am sure you must be aware of it, even though it is possible that your tastes and preferences are rooted in the 1940s and 50s which is the gold standard for melody and music in Hindi films. However, that does not mean that music of the decades after the golden . . . – well it does deserve credit. It does catch your attention, and the music and songs still grow into your mind to become darling memories.

Although I have myself not been paying much attention and time to the music of the current years. But quite decidedly, along comes a film with a blast of music that forcefully captures your attention, and insists on becoming part of your list of favorites. Something quite of this sort happened with this 2013 film, for me. And it started very much with this song.

After a long time, I must say, that I have encountered a song of this festival, that simply takes your breath away. The spirit of celebration, and all the emotions that uniquely make this festival what it is – is not so totally and carefully represented every time. But surely, this song does it.

There is color, lots and lots of it.
There is water – it starts off with that.
There is cheer – for every person who is part of this song, and everyone else who may be listening and enjoying it.
There is music – yes of course.
There is dancing – goodness you must be kidding.
There is ‘bhaang’, and there is noise.
There is a large dipping pool – nay, a large dunking pool.
Oh yes, there is “छेड़ छाड़” – chhed chhaad, there is “ज़ोर ज़बरदस्ती” – zor zabardasti.
There are fair maidens running away to save themselves from being smothered with color and water.
And there are insistent and forceful young charmers who will not take ‘no’ for an answer. Or rather they do not even care what the answer is – they will force the color into your face and hair. They will chase you, and run you down, and cuddle you – and they will be more insistent, the more resistance one puts up.
There are drums.
There is singing – very loud, yes.
There is nonsense lyrics – like “लट्टू पड़ोसन की भाभी हो गई” – lattu padosan ki bhabhi ho gayi.
There are meaningful verses – “ज़ुल्मी ये हाजिर जवाबी हो गई. . .” – zulmi ye haazir jawaabi ho gai.
There is “नोक झोंक” – nok-jhonk – that is very verbal and very physical too.
There is humor, and there is suggestive propositioning – like “अरमानों में बेहिसाबी हो गई” – armaanon mein behisaabi ho gai.
And there is flights of fancy.
And there is uncharacteristic expressions of festivity from unexpected quarters
And there is a glimmer of surprised realizations.
The matters of heart, unexpressed, are just beneath the surface sheen.
And of course there is a shock of unexpected and amazing realizations – yes, this could surely be it.
There is joy of shared happinesses.
There is a loud cheer of good spirit.
And everything, each and every one of these ingredients put together into the mix to convince you – yayyy, it is Holi – get colored, and get wet, very wet.

Amazing, simply and truly amazing – after a long time, comes along a new sound that astonishes the mind with the honesty with which the true spirit of the festival is so sweetly captured. Needless to say it – but yes, I am quite truly floored.

I have not yet seen the complete film. I got introduced to the songs of this film over the past many months. Especially this Holi song was forcefully dumped into my notice just about a year ago, yes around the last iteration of this celebration. Enthused as I was, I could not make and present a post in time for the festival; now coming around to it after a wait of a full year. Even with this passage of time, the charm of this song has not diminished even one bit. I simply do not seem to be getting enough of this song. 🙂

The lyrics are written by Amitabh Bhattacharya and the music is by Preetam. Singing voices are of Vishal Dadlani and Shalmali Kholgade. On screen, the song is performed by Deepika Padukone, Ranbir Kapoor, Kalki Koechlin, Aditya Roy Kapoor and a ton of dancers. Deepika and Ranbir are so truly convincing in the complete free form enjoyment in this song. The movie makes its debut on our blog with this song.

Wishing a grand celebration of this festival today, to all friends and readers. Go out, get doused in colors, make up some fun lyrics – like “लट्टू पड़ोसन की भाभी हो गई” types, and sing it out at the top of the voice. It does not matter – it is Holi. Just down one glass of bhang and then blame it for everything. 😀 😀 😀

Happy Holi – – – celebrate.

 

Song – Balam Pichkaari Jo Tu Ne Mujhe Maari  (Ye Jawaani Hai Deewaani) (2013) Singer – Shalmali Kholgade, Vishal Dadlaani, Lyrics – Amitabh Bhattacharya, MD – Preetam
Chorus

Lyrics

abbey chashmish

kaun chashmish

holi hai. . .

itna mazzaa
kyon aa raha hai
tu ne hawa mein bhaang milaaya

itna mazzaa
kyon aa raha hai
tu ne hawa mein bhaang milaaya
duguna nasha
kyon ho raha hai
aankhon se meetha tu ne khilaaya
ho teri malmal ki kurti gulaabi ho gai
tu chali chaal jaise nawaabi ho gai
to
balam pichkaari
jo tu ne mujhe maari
to seedhi saadi chhori sharaabi ho gai
o jean pehan ke
jo tu ne maara thumka
to lattu padosan ki bhabhi ho gai
balam pichkaari
jo tu ne mujhe maari
to seedhi saadi chhori sharaabi ho gai
o jean pehan ke
jo tu ne maara thumka
to lattu padosan ki bhabhi ho gai

teri kalaai hai
haathon mein aai hai
maine maroda to
lagti malaai hai
mehnga padega ye
chaska malaai ka
upvaas karne mein
teri bhalaai hai
ho bindiya teri marhagaabi ho gai
ke armaanon mein behisaabi ho gai
teri to
balam pichkaari
jo tu ne mujhe maari
to seedhi saadi chhori sharaabi ho gai
o jean pehan ke
jo tu ne maara thumka
to lattu padosan ki bhabhi ho gai

kyon no vacancy ki
hothon pe gaali hai
jab ke tere dil ka
kamra to khaali hai
mujhko pata hai re
kya chaahta hai tu
boli bhajan teri
neeyat qawwaali hai
zulmi ye haazir jawaabi ho gai
tu to har taale ki aaj chaabi ho gai
o o
balam pichkaari
jo tu ne mujhe maari
to seedhi saadi chhori sharaabi ho gai
o jean pehan ke
jo tu ne maara thumka
to lattu padosan ki bhabhi ho gai

balam pichkaari
jo tu ne mujhe maari
to seedhi saadi chhori sharaabi ho gai
o jean pehan ke
jo tu ne maara thumka
to lattu padosan ki bhabhi ho gai

haan bole re zamaana kharaabi ho gai

haan bole re zamaana kharaabi ho gai

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

अबे चशमिश

कौन चशमिश

होली है॰ ॰ ॰

इतना मज़ा
क्यों आ रहा है
तूने हवा में भांग मिलाया

इतना मज़ा
क्यों आ रहा है
तूने हवा में भांग मिलाया
दुगुना नशा
क्यों हो रहा है
आँखों से मीठा तू ने खिलाया
हो तेरी मलमल की कुर्ती गुलाबी हो गई
तू चली चाल जैसे नवाबी हो गई
तो
बलम पिचकारी
जो तूने मुझे मारी
तो सीधी साड़ी छोरी शराबी हो गई
ओ जीन पहन के
जो तूने मारा ठुमका
तो लट्टू पड़ोसन की भाभी हो गई
बलम पिचकारी
जो तूने मुझे मारी
तो सीधी साड़ी छोरी शराबी हो गई
ओ जीन पहन के
जो तूने मारा ठुमका
तो लट्टू पड़ोसन की भाभी हो गई

तेरी कलाई है
हाथों में आई है
मैंने मरोड़ा तो
लगती मलाई है
महंगा पड़ेगा ये
चसका मलाई का
उपवास करने में
तेरी भलाई है
हो बिंदिया तेरी महारगाबी हो गई
के अरमानों में बेहिसाबी हो गई
तेरी तो
बलम पिचकारी
जो तूने मुझे मारी
तो सीधी साड़ी छोरी शराबी हो गई
ओ जीन पहन के
जो तूने मारा ठुमका
तो लट्टू पड़ोसन की भाभी हो गई

क्यों नो वेकेंसी की
होठों पे गाली है
जब के तेरे दिल का
कमरा तो खाली है
मुझको पता है रे
क्या चाहता है तू
बोली भजन तेरी
नीयत क़व्वाली है
ज़ुल्मी ये हाजिर जवाबी हो गई
तू तो हर ताले की आज चाबी हो गई
ओ ओ
बलम पिचकारी
जो तूने मुझे मारी
तो सीधी साड़ी छोरी शराबी हो गई
ओ जीन पहन के
जो तूने मारा ठुमका
तो लट्टू पड़ोसन की भाभी हो गई

बलम पिचकारी
जो तूने मुझे मारी
तो सीधी साड़ी छोरी शराबी हो गई
ओ जीन पहन के
जो तूने मारा ठुमका
तो लट्टू पड़ोसन की भाभी हो गई

हाँ बोले रे ज़माना खराबी हो गई

हाँ बोले रे ज़माना खराबी हो गई


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 : 3872 Post No. : 14890

Today’s song is from the film Toote Khilaune-54. It is produced by N.Mehta, directed by Nanabhai Bhatt and the music Director is my favourite – Chitragupt. The cast of the film was Shekhar, Purnima, Gulab, Ranjeet Kumari, Master Romi, Babu Raje, a dog called Ginger and Guest artiste Asha Mathur.

This was a typical family film, involving a too much interfering Mother in law, a foster son and a loving step mother. The decade of the 50s was a period when the film makers were trying their best to give something to everyone. Films of almost all Genres were made in this decade. This decade was a Bridge Period between the old style music and the film making and the New Age films and the Music.

Sadly, the melody in Music had died a slow death, along with the phased exit of composers of the 40s and the 50s. Though emergence of New Age music makers kept the country on par with the changing world tastes, the Music, in particular, suffered the demise of melody and sweetness in film music. Earlier too,songs were inspired by foreign tunes, but the new age music based on foreign tunes was more noisy and instrument dominant, rather than the melody of tunes and singing styles. The 1959 film ‘ Dil deke dekho’ heralded loudly the coming of new age music from then on.

One can not blame the music makers alone, because not only the tastes of audience were changing, but also a whole new generation of producers, directors, actors, singers and composers was replacing the older one step by step. No change takes place overnight. One always gets the warning signals well in advance. Change is inevitable. Either accept change or perish !

Music composers from the 40s and 50s did survive in the 60’s decade, but they were relegated to B and C grade films. Very few composers remained A grade even in 60 or the early 70s. Ultimately, they had to give way to new music. This change was seen as the ” end of the Golden Period” of film music.

Cases like that of Chitragupta and others of his ilk were different. They operated long time but never became A grade. However, it was to their credit that even then, they composed melodious songs which delighted lovers of good music. That is why I like Chitragupt songs. Pick them up from any film and you will not be disappointed as far as melody and good tunes are concerned.

Songs of Toote Khilaune-54 are no exception. Songs were very sweet. There were 8 songs (this was another change that took place in the 50s onwards. Now films had songs less than 10 on average- unlike 10 to 15 songs in 40s and 15 to 20 songs in the 30s). 3 songs are already discussed here. Today’s song is 4th song. This is a duet sung by Chitragupt and Shamshad Begum.

From the cast, I have written about Shekhar and Purnima in my earlier posts. The 3 odd names appearing in the cast are Gulab, Ranjeet kumari and Asha Mathur. Ranjeet kumari’s name was Ranjit kaur. She was a sikh from Punjab. She acted in only 8 films, from Matwali Meera-40 to her last film Toote Khilaune-54. She got married to actor Ramsingh and moved with him to his village in U.P. to become and remain a housewife till her last day.

One of the few educated actresses of her times, Asha Mathur (Sohan Singh in real life) studied up to B.A. Both Asha Mathur and Bina Roy were introduced by Kishore Sahu in Kali Ghata (1951). While Bina Roy was relatively more successful among the two and did some memorable movies including Anarkali (1953) and Taj Mahal (1963), Asha Mathur was relegated to obscure mythical and costume films including Alif Laila (1953), Rajyogi Bharthari (1954), Malka-E-Alam Noorjehan (1954), Amar Kirtan (1954) etc because of her lackluster performances. Her most memorable role was in Poonam (1952), as a suffering wife of Ashok Kumar. She married famous director of her times Mohan Sehgal and left films. She acted only in 18 films. Her last film was Taqdeer-58.

Asha Mathur is a forgotten name today except for the few popular songs picturized on her – Humsai na poocho koi pyra kiya hai (Kali Ghata, 1951) and Baanki adayein dekh na ji dekh na(Amanat, 1955).

One of the beauties of old films was Gulab. The First actress form Kashmir to work as a Heroine in Hindi films was GULAB. Her real name was Saraswati Devi. She was born on 10-6-1908 at Jammu. She joined Krishna Film Company in 1924. Her first silent film’Krishna kumar’ came in 1925. She worked in 60 silent films. Her last silent film was ‘Dagabaz Dushman’-32, made by east India Film co.Bombay.

Her first Talkie film was Suryakumari-33, made by Vishnu Cinetone. It was directed by Dhirubhai Desai. She sang one song ‘more preetam jab ghar aaye’ composed bu Kikubhai Yagnik. Then came Baburao Patel’s ‘Bala Joban’-34, Sewa Sadan-34 and Nai Duniya-34 ( Debut film of Rajkumari and Jayant). In this film Gulab sang 2 songs.

Gulab was very beautiful and quite popular in film industry. Some of her films were Bambai ki sethani-35, Challenge-37, Bharosa-40, Pyas-41, Ek Raat-42, Station master-42, Gaali-44, Rattan-44, Mann ki jeet-44, Mirza Sahibaan-47, Lahore-49, Badi Behan-49, stage-51, Post Box 999-58, Chhabili-60 etc etc. She acted in 160 films. Her last film seems to be Haqeeqat-64. She also sang 22 songs in 11 films.

The story of film Toote Khilaune-54 , as found on Cineplot, is…..Pragati Pictures’ “Toote Khilone,” premiered at the Roxy Theatre on March 19th, 1954 is pro­duced by N. Mehta and directed by Nanabhai Bhatt and it is a very good film based on a story-idea whose truth and simplicity invest it with an irresistible appeal.
The deeply moving and very human story, sensitively enacted by Shekhar, Purnima, Asha Mathur and little Romi, tells of a little child and his bewildered sorrow in the midst of do­mestic troubles.

Written by Akhtar Mirza, the story centers on a young married couple and their little son who dotes on his mother’s cousin, Sheela. When the mother dies of cancer, Sheela stays on to look after the little boy and eventually marries his father.

Trouble arrives in the shape of Sheela’s mother who moves into the happy household and builds up in her daughter a resentment against the child. The poisonous insinuations of the older woman turn Sheela into a confused and bitter foster-mother, but kindness and love triumph when the heart-broken child runs away. The film reaches a cleverly presented climax in which Sheela and her husband find the child safe and all three happily return home.

Playing his role with restraint and sym­pathy is Shekhar who puts over a fine perform­ance as the boy’s father. His portrayal of a man who marries a second time so that his child may have a mother is quite flawless.

As the young wife, Purnima is superb. Hers is a natural and convincing performance, done with a fine understanding of the role.

A superb performance comes from Romi, as the little boy caught up in a web of circumst­ances he cannot understand. He is utterly lov­able and, together with the wonderful canine star, Ginger, he walks away with the picture’s honors.

Gulab turns in another one of her brilliant cameos as the interfering mother-in-law, and Asha Mathur gives an appealing and warm in­terpretation of the tragic role of Shekhar’s wife.

The fine supporting cast is headed by Ranjit Kumari and Babu Raje who provide the comedy relief as the kind, devoted servants.

Gay and appealing dances punctuate the story, and the songs, with the music composed by Chitragupta, are melodious.

“Toote Khilone” is a charming film, well directed and acted, with polished production values and excellent sets, decor and photogra­phy.

Let us now enjoy the melodious duet of Chitragupt and Shamshad Begum from film Toote Khilaune-54.

( Thanks to Cineplot, directory of Films-1948 and my notes)


Song- Tere pyar mein huye badnaam hum, lote ki kasam, thali ki kasam (Toote Khilaune)(1954) Singers- Chitragupta, Shamshad Begum, Lyricist- Raja Mehdi Ali Khan, MD- Chitragupta
Both

Lyrics

Tere pyaar mein huye badnam hum
lote ki kasam, thaali ki kasam
lote ki kasam, thaali ki kasam
bhoole ghar ke sab kaam hum
aaloo ki kasam gobhi ki kasam
aaloo ki kasam gobhi ki kasam

Tere pyaar mein huye badnaam hum
lote ki kasam, thaali ki kasam
bhoole ghar ke sab kaam hum
aaloo ki kasam gobhi ki kasam

din raat muhabbat mein teri
choolhe ki tarah hum jalte rahe
haaye jalte rahe
din raat muhabbat mein teri
choolhe ki tarah hum jalte rahe
haaye jalte rahe
hum dil ki kadhaahi mein baalam
tere pyaar ke bhajiye talte rahe
hum dil ki kadhaahi mein baalam
tere pyaar ke bhajiye talte rahe

choolhe ki tarah hum jalte rahe
jalte rahe subaho shaam hum
koyle ki kasam lakdi ki kasam
koyle ki kasam lakdi ki kasam
tere pyaar mein huye badnaam hum
lote ki kasam thhaali ki kasam

bhoole ghar ke sab kaam hum
aaloo ki kasam gobhi ki kasam

nainon ki rakaabi mein rakh ke
hum pyaar ki barfi laa na sake
haaye laa na sake
nainon ki rakaabi mein rakh ke
hum pyaar ki barfi laa na sake
haaye laa na sake

tera jalwa meethha halwa hai
jee bhar ke ise hum khaa na sake
o tera jalwa meethha halwa hai
jee bhar ke ise hum khaa na sake
jee bhar ke ise hum khaa na sake
tum piste aur baadaam hum
pede ki kasam barfi ki kasam
pede ki kasam barfi ki kasam

Tere pyaar mein huye badnam hum
lote ki kasam, thaali ki kasam
lote ki kasam, thaali ki kasam
bhoole ghar ke sab kaam hum
aaloo ki kasam gobhi ki kasam
aaloo ki kasam gobhi ki kasam


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Blog Day : 3862 Post No. : 14878

“Chale Hain Sasuraal”(1966) was directed by Dharam Kumar for Krishnadeep Productions, Bombay. This B movie had Helen and Chandrashekhar in lead roles. The movie also had Bhagwaan, Meenakshi, Madhumati, Sherry, Sunder, Tuntun, Aruna Irani, Mirza Musahrraf, Sheikh, Polson, Indira Bansal, Dilip Dutt, Jerry, Jilaani, Thakur, Anwari, Raj Deewan, Maqbool, Bimla Kashmiri, RN Nambiar etc in it.

The movie had six songs in it. One song from the movie has been covered in the past (distant past viz 2012).

Here is the second song from the movie to appear in the blog. This song is sung by Rafi and Manna Dey. The light hearted lyrics are penned by Qamar Jalalabadi. Music is composed by C Arjun.

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


Song-Qismat ka khel dekho kahaan hamen laayi (Chale Hain Sasuraal)(1966) Singers-Rafi, Manna Dey, Lyrics-Qamar Jalalabadi, MD-C Arjun
Both

Lyrics

qismat ka khel dekho kahaan hamen laayi
baithe bithaaye bhaiya kaisi shaamat aayi
ham to maare gaye maare gaye maare gaye
ham to maare gaye maare gaye maare gaye

koi naseeb waala jaaye sasuraal jee
koi naseeb waala aa
koi naseeb waala jaaye sasuraal jee
waapas wo ghar ko laute hoke maalaamaal jee
waapas wo ghar ko laute hoke maalaamaal jee
kaise hain ham deewaane
aaye hain paagal khaane

naani ki chhod bhaiya naani yaad aayi
baithe bithaaye bhaiya kaisi shaamat aayi
o ham to maare gaye maare gaye maare gaye
ham to maare gaye maare gaye maare gaye

ek se ek yahaan dekho banda khaas hai
ek se ek yahaan
ek se ek yahaan dekho banda khaas hai
koi hai mughle-e-aajam koi devdas hai
koi hai mughle-e-aajam koi devdas hai
baalam aaye base more man mein
baalam
koi hai taan leta
koi farmaan deta

takht na taaj phir bhi karen badshaahi
baithe bithaye bhaiya kaisi shaamat aai
o ham to maare gaye maare gaye maare gaye
ham to maare gaye maare gaye maare gaye

sheron ki takkar hai ji
kushti ka ye ring hai
sheron ki takkar hai ji
sheron ki takkar hai ji
kushti ka ye ring hai
koi king kong yahaan koi dara singh hai
koi king kong yahaan koi dara singh hai
kushti ki chaal dekho
in ka kamaal dekho

dekhi na hogi aisi haathon ki safaai
baithe bithaaye bhaiya kaisi shaamat aayi
ham to maare gaye maare gaye maare gaye
ham to maare gaye maare gaye maare gaye

kahaan pe aake yaaron phanse hain ghareeb jee
kahaan pe aake yaaron
kahaan pe aake yaaron phanse hain ghareeb jee
kaise yahaan se bhaagen socho ye tarkeeb jee
kaise yahaan se bhaagen socho ye tarkeeb jee
rishwat chadhaa ke dekho
maska lagaa ke dekho

jaan bacha ke aji bhaago mere bhai
baithe bithaaye bhaiya kaisi shaamat aayi
o ham to maare gaye maare gaye maare gaye
ham to maare gaye maare gaye maare gaye
he he he he he


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What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over TEN years. This blog has over 15000 song posts by now.

This blog is active and online for over 3900 days since its beginning on 19 july 2008.

Total number of songs posts discussed

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Movies with all their songs covered =1171
Total Number of movies covered =4122

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