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

Archive for the ‘Lord Ram related songs’ Category


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

After a long gap-a very long gap really-I am discussing a song from a Mythological film- Ayodhyapati-56.

This song is sung by Hemant Kumar- who had actually specialised in singing such songs in the decade of 1950s. This decade was a Golden period for Religious films, because as many as 124 Religious, Mythological and devotional films were released in the decade from 1950 to 1959. This worked out to an average of one such film released in every month for 120 months, that is 10 years, continuously. Some of the best Bhajans of Hemant Kumar are from this decade only.

Among Mythological stories, Ram katha has always been the most popular, having a slight edge over Lord Krishna’s stories. No wonder that so many films were made, from the silent era till the 1970s on this topic. After 1970s, the baton of religious films/ stories was passed on to Television and no mythological films, barring some exceptions, have been made during the last 30-40 years.

Film Ayodhyapati was slightly different from the normal movies of this genre, viz Ramkatha. The story content of this film was based on a little known but interesting chapter of Ramayana. It was related to an episode before Rama’s birth.

The central theme of the film ( and it occupied a major portion of the film ) was focused on King Dashratha and queen Kaikeyi.

The name Kaikeyi, when uttered, brings hatred, anger and disgust to one’s mind, as she is branded as a ” Villain ” in Ramayana. If one reads the original version of Ramayana, written by the sage Valmiki, one will find that the truth is entirely different. In film Ayodhyapati, the focus is on Kaikeyi- explaining how she got those two Boons, which changed the course of Ramayana, from king Dashrath.

When I went into details, I learnt so many new things. It seems, all was planned with a purpose. Lord Rama, being an incarnation of Bhagwan Vishnu, had a specific mission on this earth and Kaikeyi was made a vehicle to initiate this mission.

Rama accorded Kaikeyi full respect; he gave her his abode and released her from the cycle of births and deaths. Yet Rama’s devotees find it difficult to forgive her for banishing him to the forest. Tulasidas, however, says it was all a Cosmic Play to destroy the demons. But devotees argue that Rama could have gone to the forest anyway, to destroy the demons. Why drag Sita along? Yet a reading of Ramayana shows that all those who met Rama, Sita and Lakshmana were blessed and they attained life’s goal by seeing, meeting, serving, talking to Rama. Many lives were transformed by the vision of Rama with Sita and Lakshmana. Only one person was forever disgraced and disrespected, and that person was Kaikeyi.

No girl is named Kaikeyi lest she takes on her characteristics. This is the bhakti perspective as Kaikeyi is seen in negative light. A jnani would know that what Kaikeyi contributed to the Cosmic Drama. Hers was the greatest sacrifice as she embraced infamy forever. Rama acknowledges her sacrifice and gives her due respect when they all come to meet him in the forest and when he comes back to Ayodhya later.

Kaikeyi’s maid Manthara’s motives are clear as she wanted to serve the king’s mother. But Kaikeyi’s change of behaviour is strange. Kaikeyi was the daughter of King Ashwapati and the only sister of seven brothers. She was brave, daring, rode chariots, fought wars, was extremely beautiful, played instruments, sang and danced. King Dasaratha saw her on a hunting expedition in Kashmir and fell in love with her. Kaikeyi’s father extracted a promise that her son (his grandson) would ascend the throne. Dasaratha agreed as he had no son from any of his wives. But Kaikeyi did not bear a son and so Dasaratha married Sumitra.

It is only in old age that Dasaratha gets four sons due to a yagna ceremony and Rama is the beloved of all. Kaikeyi loves Rama more than her own son Bharata, so it was inconceivable that she would banish Rama to the forest for 14 years. Sages say all this was going according to a Cosmic Plan. Just as there are several grounds for God’s incarnation as Rama and the creation of Ravana, there are several reasons for Kaikeyi’s actions. Firstly, Dasaratha had promised the throne to Kaikeyi’s son and the promise had to be honoured as was the rule of the Raghu Dynasty- ‘Praan jaaye par vachan na jaaye’- ‘Our words must be honoured even at the cost of our life.’ Second, as a child, Rama told Kaikeyi that since he was the incarnation of Vishnu, he needed an excuse to destroy demons and save sages. He needed someone to banish Him for 14 years and chose Kaikeyi as she was the boldest of the queens. Thirdly, as a child, Kaikeyi had blackened the face of a sage in meditation and he cursed her that she too would get a similar black reputation.

Ramkatha exponent Morari Bapu, gives us a fourth reason. Kaikeyi’s guru Sage Ratna, an astrologer, predicted that she would marry the king of Ayodhya who would die due of grief for his sons. To save the Raghu Dynasty, Kaikeyi would have to ensure that for 14 years no one sat on the throne for that would lead to misfortune. Sage Ratna was father of Shravan Kumar’s grandparents. Shravan Kumar was later killed accidentally by King Dasaratha’s arrow. Shravan Kumar’s grandfather was Sage Dhoumya whose parents were Ratnavali and Sage Ratna. Sage Ratna was a royal priest of Nandigram ruled by King Ashwapati. Sage Ratna had warned her that life as a queen would be very testing and her husband would die of grief for his son. Guru Vasishtha knew of this and decided that grief for son could be death of a son so rather than one son and king dying it would be better that only the king dies. So grief of separation was introduced and Dasaratha was allowed to die. Vasishtha advised Kaikeyi to ask for her two boons — for Rama to be exiled for 14 years and throne for Bharata. He knew that Bharata would never sit on the throne as long as Rama was living. It was Vasishtha who advised Bharata to install Rama’s wooden slippers on the throne if Rama disagreed to return to Ayodhya. The whole drama was planned and the players merely acted.

Kaikeyi had been given two boons for her fighting skills. When Indra, king of gods, requested Dasaratha to fight demon Samhasura, Kaikeyi accompanied him. In the battle Dasaratha’s chariot wheel got loose and Kaikeyi put her little finger in the spoke. Soon she took the chariot to a safe place, changed the wheel, nursed the wounded king and again went in the battlefield and they won. Dasaratha promised her two boons which she laughed away. She had forgotten about these boons but not Vashishtha and Manthara. They advised her to use these boons, but the intentions were different.

Kaikeyi inherited obstinacy from her mother. Once when King Ashwapati and his queen were strolling he heard a pair of birds talking and laughed uncontrollably. Ashwapati, King of Kashmir, had the boon of understanding language of birds, insects and animals. The queen wanted to know what the bird had said but the king replied that according to the boon if he disclosed it he would die. The queen said she didn’t care whether he lived or died but he must tell her what the birds had said. The king banished her forever to her parental home. Kaikeyi was raised by maid Manthara who wanted Kaikeyi to enjoy the highest status.

Kaikeyi knew she would be abused, hated and disliked for all times to come but she agreed to be a part of God’s leela or play.(thanks to speaking tree.in for some information.)

Film Ayodhyapati-56 was produced by A.A.Nadiyadwala, under the banner of Pushpa Pictures. The film was directed by S. Fattelal. Sheikh Fattelal Yasin Mistri was born on 20-10-1897, at Kagal in Kolhapur state of Maharashtra. He was the son of a stone Mason.He took artistic education from Abalal Rehman in Kolhapur. At the age of 21 years, he co-founded Maharashtra Film Company in Kolhapur, with Baburao Painter. He worked as an alround technician, learning many aspects of film making, including cinematography to a perfection. He had a friend Vishnu Govind Damle here, who was with Fattelal till he died.

In 1929, Fattelal left Maharashtra Film Company, along with his friends, Damle, Shantaram, Dhaiber nd Sitaram Kulkarni, to establish Prabhat Film company. He was popularly known as ‘ Saheb Mama ‘. In Prabhat, Fattelal became head of the production department and built sets for all the major films of Prabhat. His sets were appreciated even in Hollywood in those days. He made a team with Damle and they first directed a silent film ” Maharathi Karna “. Their next venture was Talkie film ” Sant Tukaram”-36. This film won laurels all over India and also in the Venice film festival. He worked on film ” Gopal Krishna”-38, ” Sant Dyaneshwar”-40 and ” Sant Sakhu”-42. After Damle died in July 1945, Fattelal directed film ” Jagadguru Shankaracharys”-55 and his last film as a Director was ” Ayodhyapati”-56. Then he retired.
Fattelal died on 24-1-1964 at Bombay.

Fattelal had married actress Gulab bai alias Kamla Devi.She was an actress in Maharashtra film company and later on in Prabhat film company. Most of our readers must have seen the famous Logo of Prabhat Films. It shows a bent lady, blowing ” Tutari “. The lady was Gulab bai, on whom this logo was filmed…by Fattelal himself.

Film Ayodhyapati-56 had 11 songs. One song is already discussed here. Today’s song is the second song.Unfortunately, barring these two, no other song is presently available on You Tube or anywhere on Internet. There is a 3 part very melodious song in this film, which depicts the preparation for young Rama’s proposed coronation, which never took place then.

The cast of the film was Usha Kiran ( Kaikeyi), Abhi Bhattacharya (King Dashrath), Rajkumar-khatri ( Rama), Ratnamala (Seeta), Dar Kashmiri alias Jeevan (Narad) etc etc. We also find a name ‘ Baby Asha Parikh’- who was to debut as a Heroine within 3 years from then on. Today’s song by Hemant kumar is played in the background when lord Rama leaves Ayodhya for the banishment to Jungles for 14 years……..


Song-Chhod chaley aaj hamaare Raam Ayodhya chhod chaley (Ayodhyapati)(1956) Singer-Hemant Kumar, Lyrics-Saraswati Kumar Deepak, MD-Ravi

Lyrics

chhod chale ae ae
aaj hamaare raam ayodhya chhod chaley
chhod chale ae
aaj hamaare raam ayodhya chhod chaley
vanvaasi ban raj dulaare sabse naata tod chaley
mukh mod chaley ae
aaj hamaare raam ayodhya chhod chaley

chala raam ka sewak ban kar laxman jaisa bhai
chali jaanki ban kar apne preetam ki parchhaai
nar naari pashu panchhi sabka manyak(?) naata tod chaley
mukh mod chaley ae
aaj hamaare ram ayodhya chhod chaley

jaise bachhde chhin jaane par dekha karti gaiyya
jaise bachhde chhin jaane par dekha karti gaiyya
waise hi ro ro kar dekhen ram lakhan ko maiya
maaya mamta mahal moh in sabse naata tod chaley
mukh mod chaley ae
aaj hamare raam ayodhya chhod chaley

Laxman bina mahal hai soona
seeta bina rasoi
raam bina hai sooni ayodhya
saari parja royi
chhod ke kaliyon ki galiyaan kaanton se nata jod chaley
mukh mod chaley ae
aaj hamaare
raam ayodhya chhod chaley
aaj hamaare
raam ayodhya chhod chaley

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This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

“Dooj Ka Chaand”(1964) was directed by Nitin Bose for Filmasia, Bombay. The movie had Ashok Kumar, Bharat Bhushan, B saroja Devi, Chandrashekhar, Ratna, Ulhas, Murad, Ifthikar, raj Kumar, Parshuram, Prabhat Kumar, Radheshyam, Mirza Musharraf, Chaman Puri, Polson, Tiwari, Shah, Abhimanyu, Mahavir, Sharma, Ravikant, Tanveer, Nimbalkar, N Kashmiri, Padhi, Puttu, Agha, Sulochana, Azra, Preetibala, Jeewankala, Madhumati, Rani, Leena, tuntun etc in it.
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This article is written by Mahesh Mamadapur, 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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Mukesh and his co-singers – 4
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A song recorded and composed by Roshan in 1950, was the topic of discussion on a TV program nearly 5 decades later. The singer (judge on the show) was requested by none other than Anil Biswas, to sing a few lines of the famous song. The specific reference was to the word “ib” in the song “Sun Bairi Balam Sach Bol Re Ib Kyaa Hoga” from ‘Bawre Nain’ (1950). She rendered the song in an effortless manner without any background music. It is difficult to believe that she could sing so well at the spur of the moment.
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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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Today is the 98th birth anniversary of a venerated poet and song writer in our Hindi film industry. He is one of those lyricists in the industry, who has a significant portfolio of work but not much is known about his personal life. We only know that he started to work in the Hindi films in 1942. On our blog, the last two posted songs written by him are “Main Nainon Ka Saawan Bhulaane Chali Hoon”, and “Ek Gagan Panth Ka Pakheru”.
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This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

“Loafer”(1973) was directed by A Bhim Singh for Century Pictures, Bombay. The movie had Dharmendra, Mumtaz, K N singh, Mukri, Padma Khanna, Roopesh Kumar, Ifthikhar, V Gopal, Keshto Mukherji, Madhu, Sherry, Rani, Renu, Sabina, Rajrani, Bhushan Tiwari, Kamaldeep, Raj Kumar, Keerti Kumar, Rajesh, Shailesh, Jerry, Ved Kumar, Ghanshyam, Ramesh Kumar, Kailash Bannerji etc in it. In addition, there were lots of guest artists in the movie viz. Anil Dhawan, Farida Jalal, Madan Puri, Anwar Hussain, Tiwari, Hiralal, Manmohan, Premnath, Omprakash etc.
Read more on this topic…


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

“Lanka Dahan”(1952) was produced by Mohanlal Vahay (?) and directed by Raja Nene for Rani Productions, Bombay. The movie had Ranjana, Paro, Sapru, Ranjeet Kumari, Vijay Bali, Brij Kumar, Leela Gupte, Usha Marathe (Usha Kiran), S K Singh, Bachchalal Patel, Gadadhar Sharma, Bhujbal singh, Battu, Minni etc in it.
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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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Today’s song is from the film Dasshera-56. It is a melodious bhajan by Mohd. Rafi. In the decade of 50s, Mohd. Rafi’s name was synonymous with melodious and popular bhajans. He must have sung at least 100 to 200 such Bhajans during this period.
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This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

#the Decade of Seventies – 1971 – 1980 #
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# Bhoole-Bisre Geet # 48 # Remembering Dara Singh on his Birth Anniversary #
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Today (19th November 2016) is the eighty eighth Birth anniversary of Dara Singh (19.11.1928-12.07.2012).
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This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Today (15 april 2016) is the ninth day of the month of Chaitra in Indian calendar, which is the date of birth of Lord Ram. This date is commonly known as Ramnavami.
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This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a new contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

The system of borrowed voice (i.e., playback singing) for actors started sometime in 1934 and playback singing was firmly in place in the Hindi film industry by the end of 1940. However, in the 40s, there were some prominent actor-singers Like K L Saigal, Noor Jahan, Suraiya, Shanta Apte, Kanan Devi etc. who continued to sing for themselves. Mukesh, Kishore Kumar, Talat Mehmood, Sulkashana Pandit etc who started as playback singers also sang for themselves whenever they acted in some films. GM Durrani who started his filmy career as an actor in the 30s switched over to playback singing and he became one of the most sought after male playback singer in 1940s. All these actor-singers/singer-actors had good voices and therefore one would normally expect them to sing for themselves while acting in films. However, there are cases where a few of such artists had to borrow voices of other playback singers.
Read more on this topic…


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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 more than nine years. This blog has over 13800 song posts by now.

This blog is active and online for over 3400 days since its beginning on 19 july 2008.

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Blog Start date: 19 july 2008

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