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

Archive for the ‘Lord Krishna related songs’ Category


This article is written by Sadanand Kamath, a fellow enthusaist 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 :

4280 Post No. : 15522 Movie Count :

4278

Today morning, I saw a message in my mail box from Sudhir ji in which he gave me a link of a Hindi song from a Bangla film which I have not covered so far in the series ‘Hindi songs from Bangla Films’. I took the note of the song and told him that I will write an article covering the song in the coming days. In the afternoon, I got another message from Sudhir ji on whatsapp with an urgent note that today is the birth anniversary of Suchitra Sen and I should write an article on the occasion covering the song referred to by him which is picturised on Suchitra Sen.

Suchitra Sen has been one of my favourite actresses since I saw her performance in ‘Aandhi’ (1975). After watching her performances in many Bangla films in the recent period, my admiration for her as a performing artist has grown. So, it is an opportunity for me to write  a tribute to her on behalf of our blog on the  occasion of  her 89th birth anniversary today, April 6th.

Most of the Hindi film audience may not be much familiar with Suchitra Sen as she had acted in only 7 Hindi films.  Her Hindi films were ‘Devdas’ (1955) in the role of Paro with Dilip Kumar, ‘Musafir’ (1957) with Shekhar, ‘Champakali’ (1957) with Bharat Bhushan,  ‘Sarhad’ (1960) and ‘Bambai Ka Babu’ (1960) with Dev Anand, ‘Mamta’ (1966) with Ashok Kumar / Dharmendra and ‘Aandhi’ (1975) with Sanjeev Kumar. It was the latter two films which made her well-known amongst Hindi film audiences of that time. Unfortunately, there was no occasion for further opportunity to work in Hindi films as she took voluntary retirement 1978 from the film industry.

Suchitra Sen (06/04/1931 – 17/01/2014) whose real name was Roma Dasgupta. She was born in Sen Bangabaari village in Pabna district in East Bengal (now Bangla Desh). The family migrated to Calcutta (now Kolkata) during the partition in 1947. At the age of 16, she got married to Dibanath Sen, a marine engineer and a son of an industrialist. She joined Bangla film industry in 1952 with the support from her father-in-law and her husband who financed her initial films.

Suchitra Sen’s first film was ‘Shesh Kothay’ (1952) which was never released. Her first officially released film was ‘Saat Number Kayedi’ (1953) in which her lead actor was Uttam Kumar who had been then labelled as a ‘flop hero’ due to films in which he worked in 1948-52 flopped at the box office. It was a coincidence that his first film with Suchitra Sen became a box office hit. Since then, the Suchitra Sen-Uttam Kumar pair worked in about 30 films. Almost all of which became box office hits.

During her filmy career (1952-78), Suchitra Sen worked in about 60 films (including 7 Hindi films). I have seen some of her Bangla films which gives me an impression that she was selective, especially from 1960 onwards, in choosing the films with good story line in which she as a heroine got more or less equal footages with the hero of her films. A few of films of her during this period were with woman-oriented stories.

Among the Bangla films I watched, Suchitra Sen gave excellent performances in ‘Saat Pake Bandha’, ‘Uttar Phalguni’ and ‘Deep Jwele Jai’. I feel that she reserved her best for these three films. These films were critically acclaimed and were remade in Hindi like ‘Mamta’ (1966) from ’Uttar Phalguni’ (1963), ‘Kora Kaagaz’ (1974) from ‘Saat Paake Bandha’ (1963), ‘Khamoshi’ (1966) from ‘Deep Jwele Jaai’ (1959) etc

Apart from her good performances and box office success records as an actor, Suchitra Sen’s professional approach to her career must have made the film producers to give her preference while choosing  the heroine. For instance, she refused the role in one of Satyajit Ray’s film because he wanted her to give bulk dates for shooting which would have affected the producers of her other films.

Sometime in 1970, Suchitra Sen lost her husband while on a visit to the USA. One of her close confidants was of the view that though she did not cancel any schedule of shooting at that time, her husband’s death was the beginning of her moving towards a secluded life. The failure of her film ‘Pranay Pasha’ (1978), made her to retire from the film industry at the age of 47. However, over a period of time, it became evident that with retirement from the films, she had also shunned public life. She spent her last 35 years in her house as recluse, confining herself within a close circle of family and a few friends. During this period, she did not attend any public functions. She refused Dada Saheb Phalke Award in 2005 just to avoid going to Delhi and the public glare.

Suchitra Sen suffered from lung infections for which she was admitted in a Kolkata hospital sometime in December 2013. She had almost recovered from her ailment but on January 17, 2014, she got a cardiac arrest which took her life.

[Note: Some of the information on Suchitra Sen is based on a number of articles available on-line including some from Gopal Krishna Roy, a film journalist with United News of India who remained one of a very few  close confidants of  Suchitra Sen until her death].

On the occasion of Suchitra Sen’s  birth anniversary, here is a very popular Meera bhajan “Barse Badariya Saawan Ki’ which is sung by Geeta Dutt for the Bangla film ‘Grihaprabesh’ (1954). The song is picturised on Suchitra Sen and a girl whom I am not able to recognise.  The song is intercepted after the mukhda with Bangla dialogues between Suchitra Sen and  Uttam Kumar who joins them. After the end of the dialogue, the song is resumed with Uttam Kumar playing tabla.

As per www.geetadutt.com , the other voice in the bhajan in the mukhda part is that of Krishna Banerjee who lip sync for the girl. Mukul Roy is the music director.

In the audio version of the song uploaded by SAREGAMA, the song starts after the dialogues in the sound track version of the song. The lyrics are based on the video version of the song.

This popular Meera bhajan has been rendered by many singers including Lata Mangeshkar, Suman Kalyanpur, Sudha Malhotra and other Hindustani classical singers. Geeta Dutt adds one more variation to this bhajan and I like it. Suchitra Sen lends serenity to the bhajan.

Video

Audio

Song – Barse Badariya Saawan Ki (Grihaprabesh) (1954) Singer – Geeta Dutt, Krishna Bannerjee, Lyrics – Meerabai, MD – Mukul Roy

Lyrics

barse badariya saawan ki

barse badariya saawan ki
saawan ki man bhaavan ki
saawan ki man bhaavan ki
barse badariya saawan ki
barse badariya saawan ki
barse badariya saawan ki

saawan ki man bhaavan ki
saawan ki man bhaavan ki

[dialogues]

saawan mein umagyo mero manwa
saawan mein umagyo mere manwa
bhanak suni hari aawan ki
bhanak suni hari aawan ki

umad ghumad chahun disi se aayo
umad ghumad chahun disi se aayo
damini damake jhar laawan ki
damini damake jhar laawan ki
barse badariya saawan ki
barse badariya saawan ki

nanhi nanhi boondan meha barse
nanhi nanhi boondan meha barse
sheetal pawan suhaavan ki
sheetal pawan suhaavan ki

meera ke prabhu girdhar naagar
meera ke prabhu girdhar naagar
aanand mangal gaawan ki
aanand mangal gaawan ki

barse badariya saawan ki
barse badariya saawan ki
saawan ki man bhaavan ki
saawan ki man bhaavan ki
barse badariya saawan ki
barse badariya saawan ki

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

बरसे बदरिया सावन की

बरसे बदरिया सावन की
सावन की मन भावन की
सावन की मन भावन की
बरसे बदरिया सावन की
बरसे बदरिया सावन की
बरसे बदरिया सावन की

सावन की मन भावन की
सावन की मन भावन की

[संवाद]

सावन में उमगयो मेरो मनवा
सावन में उमगयो मेरो मनवा
भनक सुनी हरी आवन की
भनक सुनी हरी आवन की

उमड़ घुमड़ चहुं दिश से आयो
उमड़ घुमड़ चहुं दिश से आयो
दामिनी दमके झर लावन की
दामिनी दमके झर लावन की
बरसे बदरिया सावन की
बरसे बदरिया सावन की

नन्ही नन्ही बूंदन मेहा बरसे
नन्ही नन्ही बूंदन मेहा बरसे
शीतल पवन सुहावन की
शीतल पवन सुहावन की

मीरा के प्रभु गिरिधर नागर
मीरा के प्रभु गिरिधर नागर
आनंद मंगल गावन की
आनंद मंगल गावन की

बरसे बदरिया सावन की
बरसे बदरिया सावन की
सावन की मन भावन की
सावन की मन भावन की
बरसे बदरिया सावन की
बरसे बदरिया सावन की


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 :

4279 Post No. : 15517

“Janam Janam Ke Phere”(1957) was produced by Subhash Desai and directed by Samar Chatterjee for Mukti Films, Bombay. This mythological movie had Manhar Desai Nirupa Roy, B M Vyas, Krishnakumari, S N tripathi, Amar, Pandey, Amirbai Karnataki, Satish Vyas, Malay Sarkar, Kanta Kumari, Champaklal, Santosh Kunwar etc with guest appearance by Mahipal.

The movi had nine songs in it. Five of these songs have been covered in the past.

Here is the sixth song from “Janam Janam Ke Phere”(1957) to appear in the blog. This song is sung by Shamshad Begam, Rafi and chorus. Bharat Vyas is the lyricist. Music is composed by S N Tripathi.

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


Song-Aayi mohan milan ki bela (Janam Janam ke Phere)(1957) Singers-Shamshad Begam, Rafi, Lyrics-Bharat Vyas, MD-S N Tripathi
Chorus

Lyrics

aayi mohan milan ki bela
laaga madhuban mein kaisa mela
ho o raadha bhi naache mohan bhi naache
naache re gaanv albela

aayi mohan milan ki bela
laaga madhuban mein kaisa mela
ho raadha bhi naache mohan bhi naache
naache re gaanv albela
aayi mohan milan ki bela

koi bajaaye jhaanjh jhamaajham
koi bajaaye jhanjh jhamaajham
koi bajaaye manjeere
koi bajaaye jhaanjh jhaamajham
koi bajaaye manjeere

raadha ji ke pag mein jhaajhar jhamak rahi dheere dheere
jhamak rahi dheere dheere
ho jhamak rahi dheere dheere

ho raadha hai naazuk jaise chameli
mohan hai jaise bela
aayi mohan milan ki bela
aayi mohan milan ki bela
laaga madhuban mein kaisa mela
ho raadha bhi naache mohan bhi naache
naache re gaanv albela
aayi mohan milan ki bela

baaj rahi hai gwaaliniyon ki paayaliya re chhoom chhanan
paayaliya re chhoom chhanan
ho paayaliya re chhoom chhanan

ho baaj rahi hai gwaaliniyon ki paayaliya re chhoom chhanan
upar chamke chaand poonam ka, neeche nache vrindawan
neeche nache vrindawan
ho neeche naache vrindawan

ho bansi ke vat pe kalindi tat pe, laaga hai kaisa jhamela
aayi mohan milan ki bela
aayi mohan milan ki bela
laaga madhuban mein kaisa mela
ho raadha bhi naache mohan bhi naache
naache re gaanv albela
aayi mohan milan ki bela


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 : 4255 Post No. : 15475

“Sewa”(1942), an obscure “social” movie, was directed by Dhirubhai B Desai for Ashok Pictures, Bombay. The movie had Zahoor Raja, A K Kabuli, Hadi, Prabha Shankar, Shyam Sundar, Bulbul, Shanta, Radha Rani, Anwari, Alice etc. in it.

The movie had 13 songs in it. One song has been covered in the past.

Here is the second song from “Sewa”(1942) to appear in the blog. The song is sung by Kamla. J C Kaur is the lyricist. music is composed by S N Tripathi.

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

With this song, we now have 200 S N Tripathi compositions in the blog.


Song-Mohan tum Mohan (Sewa)(1942) Singer-Kamla, Lyrics-J C Kapur, MD-S N Tripathi

Lyrics

Mohan tum Mohan
Mohan tum Mohan
mere Mohan
naina sohan
mere Mohan
naina sohan

Mohan Raadhe
Raadhe Mohan
Mohan Raadhe
Raadhe Mohan
Raadha sajni
Mohan Saajan
Raadha sajni
Mohan Saajan

Naina
naina mere Gokul Mathura
naina mere Gokul Mathura
aur man hai Vrindaawan
aa aa
aur man hai Vrindaawan
aa
Vrindaawan ki kunj galin mein
Vrindaawan ki kunj galin mein
murli bajaayenge manmohan
haan murli bajaayenge manmohan
Mohan
tum Mohan
haan
Mohan
tum Mohan
mere Mohan
naina sohan

pee pee papeeha bolega
pee pee
pee pee
pee pee papeeha bolega
kaanon mein amrit gholega
kaanon mein amrit gholega
rimjhim jab meha barsega
rimjhim jab meha barsega
Raadhe ka jiyara dolega
Raadhe ka jiyara dolega aa
Raadha pukaaregi
Mohan
Mohan
Raadha pukaaregi
Mohan
Mohan

Hanste aayenge nand nandan
Hanste aayenge nand nandan
wo paas bulaayenge
aur galey lagaayenge
preet ki reet sikhaayenge Mohan
preet ki reet sikhaayenge Mohan
naina sohan
mere Mohan
Mohan


This article is written by Sadanand Kamath, a fellow enthusaist 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 : 4246 Post No. : 15465

‘Shatranj Ke Khilaadi’ (1977) was Satyajit Ray’s first and only Hindi feature film which was based on a short-story by the same name written by Munshi Premchand. The film was produced by Suresh Jindal under the banner of Devki Chitra. From the low budget black and white Bangla films, Satyajit Ray charted his way into high budget Hindi colour film with multi-star cast with Mumbai and Kolkata based actors and also actors from the West. The actors included Sanjeev Kumar, Saeed Jaffrey, Amjad Khan, Shabana Azmi, Farida Jalal, Victor Bannerji, Richard Attenborough, Tom Alter, Barry John, Farooque Shaikh, David Abraham, Veena etc.

After successfully producing his first Hindi film ‘Rajnigandha’ (1974), Producer, Suresh Jindal in a chance meeting with Satyajit Ray sometime in 1974 requested him to direct for him a Hindi film, or an English film. If not, he is prepared to produce a Bengali film for him to direct. Satyajit Ray’s reaction to his request was positive as he said that he himself was thinking of directing a Hindi film. This opened their partnership of making ‘Shatranj Ke Khilaadi’ (1977).

From 1974 to 1976, the time was spent mostly on a detailed research on the subject including meetings with scholars in India and the UK. Both Satyajit Ray and Suresh Jindal visited various places in India and abroad which had connection with the story of the film for checking the authenticity of the historical events and also for the selection of authentic props. The visits included havelis of Lucknow and Jaipur, thakur baris of North Calcutta (Kolkata), museums and libraries of Hyderabad and London etc. The shooting of the film was delayed by few months due to non-availability of Sanjeev Kumar for health reasons. The film’s shooting finally commenced in December 1976 and wound up by June 1977. For details about the making of this film, one can read the book ‘My Adventures with Satyajit Ray : The Making of Shatranj Ke Khiladi’ by Suresh Jindal (Harper Collins, 2017).

I had covered in detail the story of the film while discussing one of the songs from the film, Kaanha main tose haari. Just to recapitulate in short, the story is set in the background of the impending take over of Awadh by the British troops as they feel that the Nawab of Awadh, Wajid Ali Shah is busier with singing, dancing and poetry reciting sessions than governing his kingdom. On the other hand, two of the aristocrats of Nawab are unmindful of what is in store for Awadh and of their families, as they are addicted to playing chess. At the end of film, Satyajit Roy has highlighted situational irony in which while Nawab Wajid Ali Shah, in order to avoid bloodshed, abdicates Awadh to Britishers, the chess playing aristocrats continue to play chess at a far-off place from their houses in order to avoid calls from Nawab to fight the Britisher troops. In the event, a bloody fight ensues between the two on a trivial chess move in which they are prepared to kill each other.

The film had 5 songs of which two songs have been covered in the Blog. Of the remaining 3 songs, 2 songs are partially used in the film although the record versions of them are longer. The remaining one song ‘hindola jhoole shyam’ which I am presenting here was deleted from the film before its the release. The song is rendered by Calcutta Youth Choir (as a chorus) which is set to music by Satyajit Ray. The lyrics are written by Wajid Ali Shah. Incidentally, Calcutta Youth Choir was set in 1958 by Ruma Guha Thakurta along with Salil Chowdhury and Satyajit Ray.

The long prelude and the last interlude music with short taraana would indicate that this song has been written for Kathak dance performance or for a musical play on Krishna. The verses were written by Nawab Wajid Ali Shah. The last stanza has some Urdu words. Some of the Urdu poets like Nazeer Akbaradbadi and Hasrat Mohani have written many poems in praise of the beauty of Lord Krishna and on his divine love for Radha in the mixed language of Urdu and Awadhi/Brij.

I was eager to know as to where this deleted song would have appeared in the film. I had read that Nawab Wajid Ali Shah had written plays about Lord Krishna and his raasleela with Radha in which, sometime he himself used to perform as Krishna. With this background, I guess this song would have fitted in the beginning of the film, during which a short Kathak dance is being performed by Wajid Ali Shah (Amjad Khan) as Lord Krishan along with Radha and other dancers.

The song is not only pleasing to ears but also soothing to the mind.

Audio Clip:

Song-Hindola jhoole Shyam (Shatraj Ke Khilaadi)(1977) Lyrics-Wajid Ali Shah, MD-Satyajit Ray

Lyrics

hindola jhoole shyam
hindola jhoole shyam
shyam gane se ghana chalat pawan
shyam gane se ghana chalat pawan
sanan sanan sanana naa aa aa
hindola jhoole shyam
hindola jhoole

sab sakhiyaan mil peng badhaao
deke ??
re ma pa ni sa
tanan tanana tan tanana aa aa aa
hindola jhoole shyam
hindola jhoole

mor mukut kati kehari kingini
paayal baaje ae
jhanan jhanan jhan jhanana aa
hindola jhoole

?? ??
tha de
dhe tha dhe tha
dhe tha re de re tha
jaan-e-aalam rahas mubarak
jaan-e-aalam rahas mubarak
yug yug jiyo sada viraajo
yug yug jiyo sada viraajo
maatar meera sang rahas mubaarak
jaan-e-aalam rahas mubaarak
jaan-e-aalam rahas mubaarak
jaan-e-aalam
jaan-e-aalam
jaan-e-aaaaaa


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 :

4241 Post No. : 15459 Movie Count :

4258

“Balram Srikrishna”(1968) was directed by Chandrakant for Joy Films, Bombay. This mythological movie had Dara Singh, Shahu Modak, Premnath, Nana Palsikar, Randhawa, Azad, Ashish Kumar, Gemini Ganesh, Prithviraj, Savitri, Jaishri Gadkar, Geetanjali, Madhumati, Bela Bose, Padma Rani, Sushma, Uma Khosla, Aruna Irani, Sulochana Chatterjee, Babu Raje, Sherry, BM Vyas, Anand Joshi, Arvind Pandya, Bhale Rao, Radheshyam, Pal Sharma etc in it.

The movie had nine songs in it. One song has been covered in the past.

Here is the second song from “Balram Srikrishna”(1968) to appear in the blog. The song is sung by Asha Bhonsle and chorus. Kavi Pradeep is the lyricist. music is composed by C Ramchandra.

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


Song-Mujhko auron se kya ab kaam (Balram Srikrishna)(1968) Singer-Asha Bhonsle, Lyrics-Kavi Pradeep, MD-C Ramchandra
Chorus

Lyrics

Mujhko auron se kya ab kaam
Mujhko auron se kya ab kaam re ae
mere man mein basey mere Shyaam re
mere man mein basey mere Shyaam
Jai Shree Krishn jai Govind
Jai Ghanshyam
Jai Shree Krishn jai Govind
Jai Ghanshyam

jiske sang rahe banmaali
uski roz hai deewaali
chanda kise chaahiye
sooraj kise chaahiye
chanda kise chaahiye
sooraj kise chaahiye
main to paa gayi jyoti ka dhaam re ae
mere man mein basey mere Shyaam re
mere man mein basey mere Shyaam
Jai Shree Krishn jai Govind
Jai Ghanshyam
Jai Shree Krishn jai Govind
Jai Ghanshyam

Prabhu pe
nichhaawar huyi main
Prabhu pe
saare sukh hain yahin sab ke
kaun jaaye Mathura
kaun jaaye Dwarika
kaun jaaye Mathura
kaun jaaye Dwarika
mujhko bhala mera Gokul graam re ae
mere man mein basey mere Shyaam re
mere man mein basey mere Shyaam
Jai Shree Krishn jai Govind
Jai Ghanshyam
Jai Shree Krishn jai Govind
Jai Ghanshyam


This article is written by Sadanand Kamath, 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 :

4240 Post No. : 15455 Movie Count :

4257

Hindi Songs from Bangla Films : 19
—————————————————–

‘Jogajog’ (Relationship, 2015) was a Bangla film which was based on a novel of the same name written by Gurudev Rabindranath Tagore and published in 1929. The film was directed by Shekhar Das. The main cast included Bhartya Basu, Suvalagna Mukherjee, Ananya Chatterjee, Arjun Chakraborty, Shaheb Chatterjee, Locket Chatterjee etc. By the way, Bhartya Basu, the lead actor in the film was the MLA and the Minister of Tourism of the Government of West Bengal when the film’s shooting started. It was a debut film for the lead actress, Suvalogna Mukherjee.

Unfortunately, the film is not available on video sharing platforms. So, I had to depend upon the English edition of Tagore’s novel which is available online as well as review of the film on the Times of India. Having gone through both the sources, I get an impression that the film’s director, Shekhar Das has, by and large, adhered to the story of the novel including the names of the characters. The novel itself is a commentary on the declining influence of aristocracy of landlords in Bengal Presidency from early 20th Century and the emergence of neo-rich business class and their clash of culture and values. It is a feminist novel but at the end, it is the defeat for the female protagonist in the novel.

The gist of the story of the film is as under:

The story revolves around the hostility of two families – the Chatterjees and the Ghoshals. The Chatterjees are landlords whose fortunes have declined while that of Ghoshals have improved considerably thanks to their flourishing business. Bipradas Chatterjee (Arjun Chakraborty), current head of Chatterjee family is indebted to Madhusudan Ghoshal (Bratya Basu), the middle-aged head of Ghoshal family. To resolve the debt issue, Madhusudhan offers Bipradas to marry his younger sister, Kumudini (Suvalogna Mukherjee), a strong-willed, religious minded and cultured girl. She agrees to get married to Madhusudan who is twice her age to save her elder brother from the clutches of indebtedness to Ghoshals.

From the day Kumudini comes to Madhusudhan’s house after her marriage, she is assigned a subsidiary status in an already dysfunctional Ghoshal family in which there is a hen-pecked younger brother, a sister-in-law, Shyamasundari (Ananya Chatterjee) who has become widow at a young age. Kumuduni carries out her work in the household which is expected of a married woman. As she has been brought up in a cultured family where women have been treated equal with their men folks, Kumudini finds Ghoshal house exactly opposite of her cultural upbringing. Here she is treated as a sub-servient to Madhusudan as well as an object of his sexual desires. His vulgar display of wealth and the rustic way of conversations with her puts her off to such an extent that she develops aversion towards her husband. Added to her woos is Madhusudan’s illicit relationship with his sister-in-law, Shyamasundari. With these background , she takes recourse to spirituality. She identifies herself with Meerabai and find solace in singing Meera bhajans.

Over a period of time, Kumudini is subjected to emotional trauma and the marital rape. Not able to cope up with her emotional trauma any more, Kumudini comes back to her elder brother’s house. He gives her assurance that she is not a burden on him. On the contrary, it is her right to be in his house. However, when Kumudini’s pregnancy is revealed, her elder brother does not agree with Kumudini to get her liberation from the marriage as she is carrying Madhusudhan’s child. He justifies his stand by saying that it is not right to deprive the child from the father’s home. Kumudini is sent back to the Ghoshal household.

In a way, it is a defeatist end in the novel to Kumudini. Probably, Tagore went with the stark reality of that time. Since director, Shekhar Das had made this film in the 21st century, the film’s end comes with some minor changes so as not to make the film with a defeatist end for Kumudini. I have seen the end part of a pirated version of the film on a video sharing platform in which Madhusudhan visits Chatterjee’s house and meets Kumudini privately. He tenders his apology to Kumudini for his wrongdoings and request her to come back home.

‘Jogajog’ (2015) has two Meera bhajans of which I am presenting one of the most popular and famous bhajans ‘mere to Giridhar Gopal doosro na koi’. The bhajan is rendered by Shreya Ghosal whom I consider as ‘Lata Mangeshkar of 21st century insofar as per playback singing is concerned. I have watched her growing from the winner of ZEE TV’s ‘sa re ga ma’(children) programme sometime in the 90s and her first playback singing for Hindi film ‘Devdas’ (2002) and thereafter. I still remember the confidence and the pose with which she rendered a song in front of stalwarts like Ustad Ali Akbar Khan, Ustad Zakir Hussain, Girija Devi, Anil Biswas etc on the dais and many more stalwarts in the audience.

The song is picturised on Suvalogna Mukherjee and Bratya Basu is an impatient listener. The bhajan is set to music by Pandit Debojyoti Bose who is a Sarod player and a disciple of Sarod Maestro Ustad Amjad Ali Khan. He is more into concerts than the music director.

I checked and found out that this Meera bhajan has been a part of more than a dozen Hindi films from 1932 onward. The singers varied from Zubieda, Sitara Kanpuri, M S Subbulaxmi, Mangeshkar sisters (Lata, Asha, Usha) to Vaani Jayraman. This is not an exhaustive list. There may be more singers in non-film segment.

I find Shreya’s Ghoshal’s version of this popular Meera bhajan equally pleasing to listen.

Video Clip:

Audio Clip:

Song-Mere to Giridhar Gopal doosro na koye (Jogajog)(Bangla)(2015) Singer-Shreya Ghoshal, Lyrics-Meera Bai, MD-Pandit Debojyoti Bose

Lyrics

mere to Giridhar Gopal doosro na koi
mere to Giridhar Gopal doosro na koi
jaake sir mor mukut mero pati soi
mere to Giridhar Gopal

taat maat bharta bandhu apna nahi koi
chhaadi do kul ki kaani
chhaadi do kul ki kaani kaa kariye koi
mere to Giridhar Gopal

aayi main bhakti ka jo jagat dekhat mohi
daasi Meera Giridhar prabhu
daa..aasi Meera Giridhar prabhu taaro ab mohi
mere to Giridhar Gopal doosro na koi
mere to Giridhar Gopal doosro na koi
jaake sir mor mukut mero pati soi
mere to Giridhar Gopal


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 : 4221 Post No. : 15425

“Aanchal Ke Phool”(1968) was directed by Karunesh Thakur for MRS Film production, Bombay. The movie had Sajjan, Kamini Kaushal, Jeevan, Chand Usmani, Sunder, Mohan Choti,Namrata, Jayant, Ulhas, Jagdish Raj etc. in it.

This movie was so dull and boring that it flopped badly at the box office. Little information was available on this movie. Our beloved inhouse encyclopeadia Mr Arunkumar Deshmukh had watched the movie during that time. Here is what he has to say about this movie:

It was a MRS Film production, directed by Karunesh Thakur,with music from Ved Sethi.

Ved Sethi is a Punjabi Music Director and the above film seems to be the only film in Hindi for which he gave music.There are only 4 songs in the movie.

The cast consisted of Sajjan and Kamini Kaushal as the lead pair, supported by Jeevan, Chand Usmani, Sunder, Mohan Choti, Namrata, Jayant, Ulhas, Jagdish Raj etc.

The story is Shankar(Sajjan) is a Mill worker in Bombay and stays with his 5 sons and a daughter.When he gets his 7th child,his childless neighbours Sunderlal(Sunder) and Ranu(Chand Usmani) volunteer to adopt the new born, but Shanker and Maya(K.K.) refuse. The expenses of the delivery are so much that when his only daughter Radha(Baby Poonam) ij injured in her leg, he has to go to the charitable hospital. When he learns that her leg has to be amputed, he is devastated and abandones the daughter and tells his wife that Radha has died.
The entire story is a boring,lengthy tear jerker which tries to emphasise that children are God’s gifts etc…..

The movie had four songs in it. Three songs have been covered in the blog.

Here are the details of these three songs :

S N Song Song number in blog Date of posting
1 Ek nanhi si kali roye daali ke liye 4788 12-Oct-2011
2 More man mein hai kaisi chubhan haay raam kaa se kahoon 14920 12-Mar-2019
3 Soyi hai dulhan raat ki 15418 3-Feb-2020

Here is the fourth and final song from “Aanchal Ke Phool”(1968). This song is sung by Manna Dey. Naqsh Llayalpuri is the lyricist. Music is composed by Ved Sethi. The melancholic song plays in the baackground while we watch Kamini Kaushal, Sajjan and their children suffering and marking the movie going public suffer with them.

With this song, all the songs of “Aanchal Ke Phool”(1968)are covered in the blog. With this remonstrating with the Almighty genre of song, “Aanchal Ke Phool”(1968) joins the list of movies that have been YIPPEED in the blog.


Song-Jaago brij ke vaasi (Aanchal Ke Phool)(1968) Singer-Manna Dey, Lyrics-Naqsh Llayalpuri, MD-Ved Sethi

Lyrics

jaago o o
brij ke ae vaasi
jaago ghanshyaam
jaago o o brij ke ae vaasi
jaago ghanshyaa aam

ban upwan mrig pakshi jaage
jaagin pushp lataayen aen
swar murli ke abhun na jaage
abhilaashi kit jaaye
nainan ke pat kholo muraari
bahut keeno vishram
jaago o brij ke ae vaasi
jaago ghanshyaa aam

vaayu ne sur mandal chheda
meethhe swar lahraaye ae
usha ke sundar nainan mein ek aasha muskaaye
jin sapnon ki maaya jhoothhi
wo sapne kis kaa aam
jaago o brij ke ae vaasi
jaago ghanshyaa aam

gwaal baal sab dwaar hain thhaare
chhod ke sagre kaa aaj
maakhan leke khadi hai maata
uthh baitho brij raaj
ravi kirnen prithvi ko choomen
le tumhro hi naa aam
jaago brij ke vaasi
jaago ghanshyaa aam
jaago o o o o o o


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 :

4218 Post No. : 15419 Movie Count :

4248

Today’s song is from a Mythological film of 1950, based on the early life of the popular God – Krishna. The film is Janmashtami-1950.

1950 was the last year of the decade of 1940s. This was a period when young Independent India was looking for its own identity. It was those times when the New World was beginning to influence the social structure of Indians. The joint family system was still in vogue. Almost every home had senior old people and they were the guiding lights for the younger generation. Men who were blooming into their youth, were a confused lot. They were caught between old customs and the call of the New World ways. Nehru’s socialism still attracted the majority and Democracy was sending its roots deeper into the grounds.

Ours was also a big joint family. With a sizeable number of senior old family members, religious atmosphere was maintained in the family. After the Prakash Pictures film “Ram Rajya”-43, the trend for the older people was to see every religious film that came calling. Having a guaranteed and assured audience, film makers became enthusiastic in producing Mythological films. The Holy Hindu books like Ramayan and Mahabharat and stories from 18 Puranas provided ample source material to make films. Religious films were also cheaper to make. The did not need any famous stars, famous directors or popular Music Directors of social films.

Like Stunt films, religious films too had fixed stars as actors, specialist Directors, Music Directors and Lyricists who were in demand for such films. Right from older actors like Prem Adeeb and Trilok Kapoor to newer actors like Bharat Bhushan and Manhar Desai, from Shobhana Samarth and Meena kumari to Nirupa Roy and Anita Guha and from Shankar Rao vyas and H C Bali to Avinash Vyas and S N Tripathi – a whole range of artistes were ready to carry the torch further. This automatically increased the number of Mythological and religious films made in the decade of 50’s (1951-1960) to an astounding figure of 124 films in the 10 year period. This worked out to at least 1 new film every month for 10 continuous years.

My liking and love for such films developed in this period. I was about 10 year old in 1950 and I had been chosen to act as a Male “Chaperone” to accompany the group of family oldies going to see such religious film. I liked the bright costumes and trick scenes in these films. This also imbibed in me to study our Vedas and other religious books to know more about the religion. This study and knowledge helped me a lot in in charting my career and family journey, in life.

According to scriptures, there were 10 Avatars or incarnations of God on this earth in various forms. Out of these, the characters of Ram and Krishna attained cult status. No wonder, most films were made in this Genre on stories about these two. Ram appeared on this earth first in Treta Yug, followed by Krishna in Dwapar Yug. In my opinion, Krishna is a more popular God than Ram. Ram depicted the model of a common Prince, without any super powers. He taught us righteousness, sticking to Justice and doing good all times. Ironically, in Ram’s total life, he suffered in more number of years than he ever enjoyed.

Krishna, Hero of many legends was with qualities like Love and Playfulness. He taught us how to be street smart. His philosophy was to use any means to achieve Goals. The common man has respect for Shri Ram, but he loves Krishna. On a cursory count, I found that more films are made on stories involving krishna than Ram. That is because, the common man feels that krishna teaches us how to live in today’s world and tackle bad people.

Film Janmashtami-50 depicts Krishna’s early life in Gokul and Mathura, till he goes to Dwaraka. The film is full of little Krishna’s antics. The role of young Krishna is done by Rajkumar khatri. He actually makes his Debut in films, with this movie. This actor Rajkumar is one of the ” Same Name Confusion” actors.

There were in all 5 Raj kumars in the industry at the same time. The first was Kannada Hero Dr. Rajkumar. However, he never worked in any Hindi film, so no confusion about him.The second was the famous Dialogue master Raaj kumar ‘Jaani’. Third was Rajkumar Gupta ( from Ranchi), who was the main character in popular film Jagriti-54. He never worked again in any film. Fourth was Raj(u) Kumar, a junior artist, who did minor roles- mostly uncredited-in films like Shri 420-55, Jagte Raho-56. Dilli ka Thug-58, Aaj aur kal-63, Ziddi-64 etc etc..The fifth was this Rajkumar, who mostly worked in Religious and Mythological films. His name was Rajkumar Khatri.

Rajkumar Khatri may have been born in or around 1940. He started as a child artiste in films like Janmashtami-50, Jai Mahakali-51 and Insaan-52. His first film as an adult was Shuk Rambha-53, in which he did the role of young Shukdev. He was a fine actor, not extraordinary, but there was something special about his screen presence. Apart from his boyish looks, he had an unspoken charm and emanated an inherent goodness. In his second film “Tulsidas”-54 he did the role of Shri Ram. He was hardly 15-16 year old then. This must be the youngest and most boyish looking Shri Ram ever seen on the screen !

Rajkumar khatri acted in 61 films, mostly Religious and Mythological films (47 to be precise). Not that he did not work in any social films, but such films were less. He was seen in films like Sautela Bhai-62, Aaj aur kal-63, Ustadon ke ustad-63, Ziddi-64, Nai umer ki nai fasal-65 etc etc. Due to his young looks, boyish face and innocent looks, he was generally given roles of younger brother. As Laxman, he acted in 7 films. His last film was probably Chintamanee Soordas-87.

In mid 80s, when films offers became scarce, he joined Prakash Mehra as an assistant. He used to live in Chembur. He was known as Chhota Rajkumar in the industry. He worked with Prakash mehra for a long time, as Assistant Director and as also his P.A. Reportedly, he died in September 2014. No further information on him was available.

Film Janmashtami-50 was made by Hindustan Chitra and it was directed by Nanabhai Bhatt. Lyricist was Bharat Vyas and all the 9 songs of the film were composed by the talented but less known Music Director Shyam Babu Pathak. Shyam Babu Pathak is not a very well known name among Music Directors. He is one of those artistes, who had the talent and a will to do hard work, but Luck did not support him. This resulted in his remaining with unknown banners and B and C grade films. His career spanned from 1938 to 1965 – a period of 27 years in which he composed music for just 29 films and his 1 film remained unreleased.

Shyam Babu Pathak was born in 1908 at Gwalior. His music tuition started when he was just 7 years old. He studied in Madhav Sangeet Vidyalaya, under Rajabhaiyya Poonchhwale, Narayan Gupte and Bhatkhande etc. He became an excellent singer and was invited by several Royal houses all over India, for singing. Even V D Paluskar had blessed him. Strangely, though a good singer, he never sang a song in any film.

While touring all over India for Music Mehfils, he learnt many folk songs and tunes. This actually prompted him to join films as a composer. His first film was Royal Commander-1938 – a B grade Costume drama film made by Vishnu Cinetone. In his first film, for just 9 songs, he used as many as 6 different singers. Minimum songs had been his specialty. This was a novelty in the 30s, when the norm was of an average of 12 to 15 songs each film.

V M Vyas of Vishnu Cinetone, was impressed with him and he gave him many films. He got Rani saheba-40, Torpedo-40, Samsheerbaz-40, Malan-42 and Ghar sansar-42. He gave good songs sung by Kalyani, Sardar Akhtar and Kajjan. In Lajwanti-42, his songs were light and comedy type. By now, he had become a confirmed Stunt/action and B/C grade composer. Pyara watan-42,Double face-46 were such films. Double face was Indivar’s first film.

Black Market-47, Namak-47, krishna Sudama-47 and Kismatwali-47 were not much helpful. Takdirwale-48 with Ramprasad, Imtihan-49 and Ret Mahal-49 led him to film Jeet-49 with Anil Biswas. Actually,it seems Anil Biswas took over when Pathak left the film halfway.

After Janmashtami-50 and Achha ji-50, came Preet ka geet-50.Famous poet Harikrishna Premi wrote the songs, which were sung by Mukesh, Geeta and Johra. Next film Hamari Duniya-52 had good Lata songs. Meanwhile his film Parda remained unreleased. In the last phase of his career, came Sapna-52, Vanraj-52, Bombay Central-60 and finally, film Mehbooba-65 closed his career.

Shyam Babu Pathak died of heart attack in Bombay on 23-11-1980.

Today’s song is a lovely song, sung by Amirbai Karnataki. With this song, film Janmashtami-1950 makes its Debut here.

Song-Murliwaale Ghanshyam mujhe apni bana lo na (Janmaashtmi)(1950) Singer-Amirbai Karnataki, Lyrics-Bharat Vyas, MD-Shyam Babu Pathak

Lyrics

Murliwaaale Ghanshyam
aaaaam

Murliwale Ghanashyam aam
mujhe apni bana lo na
Murliwale Ghanashyam aam
mujhe apni bana lo na
apni bana lo naa aa
mujhe apni bana lo na
ho o o
Murliwale Ghanashyam aam
mujhe apni bana lo na

nain jyot se karoon aarti
ujaalon ka deep jalaaye
nain jyot se karoon aarti
ujaalon ka deep jalaaye
aao na der lagaao Muraari
jiya mora akulaaye
aao na der lagaao Muraari
jiya mora akulaaye
Murliwale Ghanashyam aam
mujhe apni bana lo na

tan man arpan karoon charan mein
thhukraao na naaath
tan man arpan karoon charan mein
thhukraao na naaath
is dukhiyaa ki laaj Kanhaiyya
?? tumhaare haath
is dukhiyaa ki laaj Kanhaiyya
?? tumhaare haath
Murliwale Ghanashyam aam
mujhe apni bana lo na
Murliwale Ghanashyam aam
mujhe apni bana lo na
apni bana lo naa aa
mujhe apni bana lo na
ho o o
Murliwale Ghanashyam aam
mujhe apni bana lo na


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 :

4214 Post No. : 14415 Movie Count :

4247

Today’s song is from film Sant Dnyaneshwar-40. This film was made by Prabhat Film company,Poona.

In the early era of Talkie phase, many film companies were active like, Sagar, Ranjit, Imperial, Saraswati, Maharashtra, Krishna, East India, Madan, Wadia etc, but only New Theatres of Calcutta and Prabhat of Poona stood out for their excellence and social awareness.

Prabhat had 5 founding directors and each one had his own special department, e.g., Fattelal was an expert in Costume and Set Erection. Among these five, initially only Shantaram was active in film direction.He had started directing silent films since the time he was with Baburao Painter’s Maharashtra Film company, from where all the partners of Prabhat also had come.

When the Talkie started, Prabhat also jumped into the fray, but their first Talkie was made in 1932 and not in 1931, like all other major film companies, who vied with each others to become the historical “First Talkie Maker”. One wonders why companies like New Theatres, Calcutta and Prabhat, Poona did not take initiative in making the first ever Hindi Talkie film. The reason is, Prabhat was not yet a big company in 1931 and it needed finance to buy the sound equipment which was not possible in 1931.

As far as New Theatres is concerned, they did make a Talkie film in 1931, but not in Hindi. They made it in Bangla. Hindi was not their priority then ( or even later, for that matter). Bangla was their forte and main market. In fact NT released its first Bangla Talkie short film “Jamai Shashti”, in Crown Cinema Hall of Calcutta, on 11-4-1931 and its first Bangla full length feature film “Dena Paona”, in Chitra Cinema Hall in Calcutta on 30-12-1931.

Incidentally, it is interesting to know who all made their Hindi Talkie films in 1931. In all 24 Hindi Talkie films were made in 1931. The number of films made by every film maker, in 1931 is as following…

Madan Theatres, Calcutta 7 films
Imperial Film Company, Bombay 5 films
Krishna Movietone, Bombay 5 Films
Sagar Movietone, Bombay 3 Films
Ranjit Movietone,Bombay 1 Film
Bharat Movietone, Bombay 1 Film
Saroj Movietone, Bombay 1 Film
Indian Art production, Bombay 1 Film
Total 24 Films

The first Talkie film of Prabhat came in 1932. It was a Bilingual. In Marathi, it was called “Ayodhyecha Raja” (अयोध्येचा राजा ), and in Hindi it was titled “Ayodhya ka Raja”. The film depicted Raja Harishchandra’s story. The director was V. Shantaram. One after another, Shantaram directed 7 films in 4 years till Amar Jyoti-1936. Most films became popular and brought good revenues and profits. The name of Prabhat and Shantaram was now famous all over India.

This was not digested by few directors of Prabhat. They felt that their work was equally responsible for company’s success, but Shantaram hogged all publicity for himself. Slowly, but steadily the the discontent spread. Shantaram came to know about it. To set the matters right, he insisted that the next Marathi film “Sant Tukaram” be directed by Damle and Fattelal. It took place that way. At every stage, Shantaram helped them sincerely. He wanted them to understand that he was not selfish. Film Sant Tukaram-36 had a phenomenal success, even internationally. After this, Shantaram’s 2 big films “Duniya na maane”-37 and “Aadmi”-39 came and again he was applauded.

The duo of Damle and Fattelal decided to direct another Saint film – this time in both Marathi and Hindi. The film was “Sant Dnyaneshwar”-40. Earlier, Sant Tukaram-36 was made without any miracles or trick scenes. This time, it was planned to include some miracles/trick scenes in this film. Like in the earlier venture, this time also, Shantaram offered all possible help, to stress team spirit.

1940 was a period, when Dalits had no entry in any Temple and lot many agitations for it were held in India against this wrong tradition. Shantaram suggested the name of actor Shahu Modak for the main role of Dnyaneshwar. The reason was Sant Dnyaneshwar was a Bramhin saint. ( out of the 100 odd saints of Maharashtra during the Bhakti Movement period, only Sant Ramdas – Shivaji’s Guru – and Sant Dnyaneshwar were Bramhins. All the rest were from lower castes.) Shahu modak was not only a Dalit but also a converted Christian. So, Prabhat would act in consonance with their policy of social reforms, through films. By making a Dalit do the role of a Bramhin Saint, the right message would have gone to the society. His idea was unanimously accepted.

Shahu Modak had started his career by doing Krishna’s role in film Shyamsunder-1932, made by Saraswati Cinetone, Poona. His face, diction and acting was perfect for this role. In 1933, when film Pooran Bhagat was made by NT in Calcutta, in wake of the communal riots ongoing there that time, to avoid public displeasure, the Muslim Hero of the film Syed Ali Hasan Zaidi (aka Mijjan) was made to change his name to Kumar. In 1934, film Waman Awatar had a Parsee actor Phiroz Dastoor as a Hero. He also faced such problems and the film had to be withdrawn in some areas. However, in case of Shahu Modak, his name was sounding Hindu. So, no problem was foreseen.

Shahu had earlier worked in 2 Prabhat films, namely Mera Ladka-38 and Aadmi-39. For Aadmi, he had to increase his weight by bodybuilding, as the role was of a Policeman. But now for Sant Dnyaneshwar, he had to reduce his weight, for most of the film appearance, he had to be open chested only. In this film there is a character – Narmada ( Sumati Gupte Joglekar’s debut role). She was supposed to love Dnyaneshwar, but never expresses her love since childhood. Though Damle-Fattelal were the directors, V. Shantaram had also shot some scenes in which her mute love and respect for Dnyaneshwar is shown artistically.

There is a scene in the film where sage Changdev (Ganapatrao Tambat) comes to meet Dnyaneshwar. He always wears live snakes and moves around on a Tiger. For his scenes, live snakes, without teeth and poison sacs were worn over neck, by the actor. ( one by one many others too tried snakes around their necks, for curiosity and fun, in the studio). For the Tiger ride, a trained Circus Tiger was brought and the shot was taken, under the watchful eyes of its trainer. Just before the scene started, the tiger gave away a terribly loud roar. Changdev and his disciples got so scared that one of his disciples fell unconscious and had to be hospitalised !

Today’s song is sung by Vasant Desai for himself on the screen, in the role of a bullock cart driving farmer. It was known that the song and the composition was done by Desai himself, though the MD was Keshavrao Bhole. Desai was assigned by Shantaram to assist Bhole in composing and as an arranger. Desai assisted Bhole in few other films as well, but Bhole never spoke a single word of appreciation for Vasant Desai. Desai’s life was like that only.

Vasant Desai ( 9-6-1912 to 22-12-1975 ) was an incredibly talented man who never got his due.

That greatness has no correlation with commercial success, is best personified in the life and works of Hindi film music director Vasant Desai. Well versed in every department of film making, Desai’s talent was a blessing to the music world. Though critics may credit Naushad as a composer steeped in classical traditions, Vasant Desai was equally, if not more, proficient in making tunes based on complex ragas. Sadly, despite his prowess, this simple man whose birth anniversary was in 2012, had not been given his due by the film industry befitting his stature and contribution to its music.

Veteran Marathi film music director and Desai’s creative mentor Keshavrao Bhosle in his memoirs “Maazzhe Sangeet” (माझे संगीत ) applauds Desai for many such firsts as well as introduction of echo in sound recording in India with Zohra Bai’s song “Jo Dard Ban Ke” from “Parbat Pe Apne Dera”. Hear Rafi’s immortal “Kahdo Koi Na Kare Yahan Pyaar” and you realise how echo was not a tool for experimentation for Desai but a magnificent instrument of creative ability.

Though Lata Mangeshkar doesn’t acknowledge any of Desai’s creations in her top 20 personal favourites nor praises his vast repertoire, it is a fact that some of her finest renditions were under Desai. Allegedly, Lata had a grouse against him for promoting other singers, especially Vani Jairam, and hence ignores his contribution in her career even when most of her songs under Desai’s baton have been unsurpassed till this day. Go down the memory lane and you can’t ignore sublime creations like “Jo Tum Todo Piya” (“Jhanak Jhanak Payal Baaje”), “Tere Sur aur Mere Geet” (“Goonj Uthi Shehnai”), “Main Gaon Tu Chup Hoja” (“Do Aankhen Barah Haath”), “Piya Te Kahan” (“Toofan aur Diya”) or “Ik Tha Bachpan” (“Aashirwad”). Even though Desai made her “Ae Malik Tere Bande Hum” (“Do Aankhen Barah Haath”) into a memorable secular prayer, Lata hardly ever commends the composition. May be she is unhappy that Desai created an equally powerful bhajan “Humko Man Ki Shakti Dena” into a nationwide school prayer through Vani’s vocals.

His proficiency was the reason why he was greatly admired by maestros like Bismillah Khan (who made the shehnai famous with his recitals in “Goonj Uthi Shehnai”, Amir Khan, Bhimsen Joshi, and M. S. Subbulakshmi even got a song composed from Desai for her recital at the UNO headquarters. It was Desai’s virtuosity that made Dada Muni (Ashok Kumar) render an all-time favourite children’s song “Rail Gadi” (“Aashirwad”) with minimum instrumentals. Nowadays when Cannes Film Festival is a place of photo opportunity rather than exploration of artistry, it is overwhelming to know that decades ago Desai’s versatility made “Amar Bhoopali” the only Indian film to win a Grand Prix award for original musical score at Cannes! Obviously, lyricist Gulzar isn’t wrong to hail Desai as a “music composer extraordinaire” especially when he catapulted his “Bole Re Papiha” to Himalyan heights of popularity.

Born in a wealthy family in Sonwad village in Maharashtra, Desai joined the famous Prabhat Film Company at Kolhapur at its inception. Apart from performing several minor chores, he also acted, sang and sometimes composed songs in Prabhat’s films like “Dharmatma” and “Sant Dnyaneshwar” but once he had mastered the craft of music composition, he stuck to it. Devoted to V. Shantaram from his Prabhat days, Desai went along with the maestro when he broke away from Prabhat to form his own Rajkamal Studios. Scoring music for a majority of Shantaram’s films, Vasant’s career suffered a major blow when their relations soured in the late 1950s. Yet it is to his credit that even though they split after recording of “Aadha Hai Chandrama” (later re-done by C. Ramchandra), he never ever spoke ill about “Anna” till his dying day.

Film director Vikas Desai says, “even family members never came to know the reasons for leaving Shantaram though he went back to score the background music of ‘Geet Gaya Patharon Ne’ on Anna’s request”.

Going through his long and enviable list of songs would be difficult but suffice to say that his memorable songs are valuable gems of musical heritage. And though the patriotic Vasant Desai may have remained unsung for his cinematic as well as academic contribution to school music curriculum, his songs regale listeners with their inherent melodic fragrance.

In his initial stage of career, he had acted in 4 films like, Dharmatma-35, Amar Jyoti-36, Wahan-37 and Sant Dnyaneshwar-40. He even sang 12 songs in films like Amrit Manthan-34, Dharmatma-35, Amar Jyoti-36, Wahan-37, Sant Dnyaneshwar-40, Sant Sakhu-41, Shakuntala-43 and Parbat pe apna dera-44. In all, Vasant Desai gave music to 50 films, composing 382 songs. His first film was Shobha-42 and Last released film was Shaque-76. (some information in the article adapted from Wiki and The Hindu).

With this song, film Sant Dnyaneshwar-40 makes its Debut here. The song tune is catchy and it is sung in a haunting way. Enjoy….

( I thank Isak Mujawar’s “Santpatanchi Santwani” (संतपटांची संतवाणी ), Shantaram Ahavle’s autobiography, Wiki and Shantaram’s “Shantarama”, along with Encyclopedia of Indian Cinema, for information used herein. I also thank Sadanand Kamath ji for uploading this song on my request, promptly).


Song-Sabse pyaare hain duniya mein khet hamaare (Sant Dnyaneshwar)(1940) Singer-Vasant Desai, Lyrics-Pt Mukhram Sharma, MD-Keshavrao Bhole

Lyrics

Sabse pyaare hain duniya mein khet hamaare
sare aam
jape raam
jahaan saanjh sakhaare
jahaan saanjh sakhaare
Sabse pyaare hain duniya mein khet hamaare
sare aam
jape raam
jahaan saanjh sakhaare
shyaam dhan ?? aaye
Shyaam dhan ?? aaye
gwaal baal sang laaye
gwaal baal sang laaye
baajen mridang
chang shor machaawe
baajen mridang
chang shor machaawe
Sabse pyaare hain duniya mein khet hamaare
sare aaaam
jape raaam
sada raam hari re
rimjhim rim pyaar jhare
rimjhim rim pyaar jhare
dharti ka hiya bhare
hey ae ae ae
dharti ka hiya bhare
har man mein sukh ka mor jhoom raha re
Lachhmi saj saaj harey
Lachhmi saj saaj harey
Motin ka daan karey
Motin ka daan karey
ghar ghar mein daulat ka dher laga re ae
ghar ghar mein daulat ka dher laga re
Sabse pyaare hain duniya mein khet hamaare
Sabse pyaare hain duniya mein khet hamaare ae
sare aam
jape raam
sada raam hari re
sada raam hari re

aao chalo jaayen wahaan
aao chalo jaayen wahaan
machi huyi loot jahaan
machi huyi loot jahaan
kheton mein gokul ka rang jama re
chalo chalo chalo
gokul ka rang jama re
chalo chalo chalo chalo
gokul ka hai rang jama re
chalo chalo chalo chalo
gokul ka hai rang jama re
rang jama re ae ae


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Blog Day : 4213 Post No. : 15414

“Izzat”(1937) was directed by Franz Osten for Bombay Talkies. The movie had Devika Rani, Ashok Kumar, Kamta Prasad, Fateh Singh, M Nazir, Ahmad, Mumtaz Ali, K H Dharamsi, Vimla, P F Peethawala, N M Joshi, Ameer Ali, Suneeta Devi, Madhurika, Manohar Ghatwai, Chandraprabha etc in it.

The movie had six songs in it. Two of these soings have been covered in the past.

Here is the third song from “Izzat”(1937). This song is sung by Sunita Devi and Mumtaz Ali. J S Kashyap is the lyricist. Saraswati devi is the music director.

This song is picturised as a Radha Krishn expression of love song on Sunita Devi and Mumtaz Ali themselves.

With this song, Suneeta Devi makes her debut in the blog as a singer.


Song-Prem dor mein baandh hamen kit chale gaye giridhaari (Izzat)(1937) Singers- Sunita Devi, Mumtaz Ali, Lyrics-J S Kashyap, MD-Saraswati Devi

Lyrics

prem dor mein baandh humen
kit chale gaye giridhaari
chale gaye giridhaari
gaye kahaan kaho jaat bane
jag basi hai raadha pyaari
jag basi hai raadha pyari

baat banaawat laaj ni aave
kaise dheethh kanhaai
maanat jo saanchi kahoon sajni
tum bin kachhu na suhaai ee
tum bin kachhu na suhaai

chhadi kadamb ki chhainyya sainyya
rahi rahi raah nihaaroon
rahi rahi raah nihaaroon
aao sajaniya man mohaniya
kal kal baat guhaaroon
kal kal baat guhaaroon

saanwariya
saajaniya

balihaari
mam pyaari
giridhaari
chhavi nyaari
banwari
sheesh mukut kaanan bich kundal
murli kar sohe
murli kar sohe
sang raadhika subhag suhaani
jodi jag mohe
jodi jag mohe
raadhe
shyaam kanhaiya
raadha
sheesh mukut kaanan bich kundal
murli kar sohe ae ae
murli kar sohe ae ae
sang raadhika subhag suhaani
jodi jag mohe ae ae
jodi jag mohe ae
radhe
shyam
raadhe shyaam
raadhe shyam
raadhe shyam
raadhe shyaam
raadhe shyaaam


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 ELEVEN years. This blog has more than 15500 song posts by now.

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

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(© 2008 - 2020) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

Total number of songs posts discussed

15516

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Movies with all their songs covered =1196
Total Number of movies covered =4277

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