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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 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 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.

Blog Day : 3490 Post No. : 14018

Missing Films of 1960s – 55
– – – – – – – – – – – – – – –

Today’s debut film is Shri Ram Bharat Milan, from 1965.

Today is also the birth anniversary of Kavi Pradeep, one of the leading poets who wrote for Hindi films, during the 1940s, 50s and 60s.

The film is produced under the banner of RM Art Productions Bombay, and is directed by Mani Bhai Vyas. The cast of actors listed for this film are Mahipal, Anita Guha, Nirupa Roy, Rajkumar, Aruna Irani, B M Vyas, Niranjan Sharma, Vanmala, Prithviraj, Balakram, Sulochana. The listings show that there are six songs in this film, all written by Kavi Pradeep. The music for the film is composed by Pandit Shivram. This particular song is a twin dance song sung by Asha Bhosle, Usha Mangeshkar and supported by chorus.

Time was 1960s, and religious films still had a popular following. And the producers community also had an ongoing interest, to continue making films based on our scriptures and ancient history, ensuring that these stories do not fade away from public memory. Their objective was also to ensure that the teachings of the epic stories associated with religion, continue to be passed on to the newer generations. It was a matter of personal and collective responsibility that the film makers and other artists would continue to get together and make such films. Sadly, in the recent decades, this awareness and this responsibility has become a thing of the past.

In 1965, two films were released narrating the story of brotherly love between Sri Ram and Sri Bharat. The other film is titled ‘Bharat Milap’. That film has already made its debut on our blog.

The scene enacted in this song is during the initial days of the vanvaas – the sojourn of Sri Ram to the forests for a period of 14 years, accompanied by Sita ji and Lakshman Bhaiya. As they reach the banks of River Ganga, they have to seek help of the boatmen to cross the river. This episode is a one of the most emotional and well documented episodes in the Ramayan. Nishad Raj Guh, the chief of the boatmen community, and Kevat, one of the boatmen in this community, play very significant roles in this episode.

As is also given in the description of this episode in the Ramayan, the boatmen community do not want Sri Ram to leave their humble village, and request Him to consider staying with them, for the duration of the forest sojourn. But of course Sri Ram has other things in mind, that He has to accomplish during these fourteen years. In this clip from the film, this request to Sri Ram is being presented as a dance. The two lead dancers – I am not able to place a name to these faces, and I request other knowledgeable readers to please help to identify them.

A very interesting thing about the construction of the song. The song is presented in two stanzas. As one hears them, and then also views the lyrics, one realizes that each stanza is quite long (yes, a five plus minutes song has just two stanzas). And the construction of the stanzas is quite complex. Kudos to both the songwriter and the music director to build a very attractive song with such a complex composition.

Listen to and enjoy is delightful song of request, as the boatmen families are requesting to Sri Ram to make their village as His abode for the duration of the vanvaas. They are promising that they will build a city for Him, as beautiful as Ayodhya, His own home town. And they also promise that they will also bring the Saryu river to this place.

A wonderful song to enjoy.

Song – Mat Jaao Mat Jaao Mat Jaao Ram Ji  (Shri Ram Bharat Milan) (1965) Singer – Asha Bhosle, Usha Mangeshkar, Lyrics – Pradeep, MD – Pandit Shivram
Asha Bhosle + Usha Mangeshkar
Female Chorus
Female + Male Chorus

Lyrics

yahin raho yahin raho yahin raho ram ji
mat jaao banvaas ram ji
mat jaao banvaas
chaudah baras tak
isi jageh par
raho hamaare paas ram ji
mat jaao banvaas ram ji
mat jaao banvaas
yahin raho yahin raho yahin raho ram ji
mat jaao banvaas ram ji
mat jaao banvaas ram ji
mat jaao banvaas

tum jo kahoge to yahin pe hum ik
nai ayodhya basaayenge ho..oo
nai ayodhya basaayenge
ho oo
tum jo chaahoge to dharti ko khod khod
saryu ko bhi yahaan laayenge
hey ram
siya ram
hey ram siya ram
hey ram
tumhaare liye ek
mahal banaayenge
phir haath jod jod
us mein basaayenge
sab devi devta
dekhan ko aayenge
daanton ke taley wo
ungli dabaayenge
ruk jaao
mat jaao
arey ho oo
tum yahaan kya aaye
hamre liye to
hey ram
ho oo oo
tum yahaan kya aaye
hamre liye to
dharti pe aaya akaash ram ji
mat jaao banvaas ram ji
mat jaao banvaas
yahin raho yahin raho yahin raho ram ji
mat jaao banvaas ram ji
mat jaao banvaas ram ji
mat jaao banvaas

raakhi ke din hum tumko banaayenge
apna pyaara bhiaya
ho oo oo
apna pyaara bhaiya
ho oo oo
seeta rani ko bhabhi kahenge
le lenge pyaar se balaiyaan
hey ram
siya ram
hey ram siya ram
hey ram
bhabhi ke aas paas
chakkar lagaayenge
hum in ko chhod ke
kahin na jaayenge
roothenge agar ye
in ko manaayenge
dholak bajaayenge
gaana sunaayenge
ruk jaao
mat jaao
arey ho oo
kabhi kabhi jangal mein mil jaate hain
hey ram
ho oo oo
kabhi kabhi jangal mein mil jaate hain
raakshas badey badmash ram ji
mat jaao banvaas ram ji
mat jaao banvaas
yahin raho yahin raho yahin raho ram ji
mat jaao banvaas ram ji
mat jaao banvaas ram ji
mat jaao banvaas

pal pal raho tum
aankhon ke saamne
hey dhanush ke dhaari
hey dhanush ke dhaari
ho oo oo
dekho tum hum ko chhod na dena
rakhna marzi hamaari
hey ram
siya ram
hey ram siya ram
hey ram
hey ram siya ram
hey ram
(hey ra..aam mat jaao)
hey ram siya ram
hey ram
hey ram siya ram
hey ram
(hey ra..aam mat jaao)
hey ram siya ram
hey ram
hey ram siya ram
hey ram
(hey ra..aam mat jaao)
hey ram siya ram
hey ram
hey ram siya ram
hey ram
(hey ra..aam mat jaao)
hey ram siya ram
hey ram
hey ram siya ram
hey ram

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
यहीं रहो यहीं रहो यहीं रहो रामजी
मत जाओ बनवास रामजी
मत जाओ बनवास
चौदह बरस तक
इसी जगह पर
रहो हमारे पास रामजी
मत जाओ बनवास रामजी
मत जाओ बनवास
यहीं रहो यहीं रहो यहीं रहो रामजी
मत जाओ बनवास रामजी
मत जाओ बनवास रामजी
मत जाओ बनवास

तुम जो कहोगे तो यहीं पे हम एक
नई अयोध्या बसाएँगे हो॰॰ओ
नई अयोध्या बसाएँगे
हो॰॰ओ
तुम जो चाहोगे तो धरती को खोद खोद
सरयू को भी यहाँ लाएँगे
हे राम
सिया राम
हे राम सिया राम
हे राम
तुम्हारे लिए एक महल बनाएँगे
फिर हाथ जोड़ जोड़
उसमें बसाएँगे
सब देवी देवता
देखन को आएंगे
दांतों के तले वो
उंगली दबाएँगे
रुक जाओ
मत जाओ
अरे हो॰॰ओ
तुम यहाँ क्या आए
हमरे लिए तो
हे राम
हो॰॰ओ॰॰ओ
तुम यहाँ क्या आए
हमरे लिए तो
धरती पे आया आकाश रामजी
मत जाओ बनवास रामजी
मत जाओ बनवास
यहीं रहो यहीं रहो यहीं रहो रामजी
मत जाओ बनवास रामजी
मत जाओ बनवास रामजी
मत जाओ बनवास

राखी के दिन हुम तुमको बनाएँगे
अपना प्यारा भइय्या
हो॰॰ओ॰॰ओ
अपना प्यारा भइय्या
हो॰॰ओ॰॰ओ
सीता रानी को भाभी कहेंगे
ले लेंगे प्यार से बलइंय्यां
हे राम
सिया राम
हे राम सिया राम
हे राम
भाभी के आस पास
चक्कर लगाएंगे
हम इनको छोड़ के
कहीं ना जाएँगे
रूठेंगे अगर ये
इनको मनाएंगे
ढोलक बजाएँगे
गाना सुनाएँगे
रुक जाओ
मत जाओ
अरे हो॰॰ओ
कभी कभी जंगल में मिल जाते हैं
हे राम
हो॰॰ओ॰॰ओ
कभी कभी जंगल में मिल जाते हैं
राक्षस बड़े बदमाश रामजी
मत जाओ बनवास रामजी
मत जाओ बनवास
यहीं रहो यहीं रहो यहीं रहो रामजी
मत जाओ बनवास रामजी
मत जाओ बनवास रामजी
मत जाओ बनवास

पल पल रहो तुम
आँखों के सामने
हे धनुष के धारी
हे धनुष के धारी
हो॰॰ओ॰॰ओ
देखो तुम हमको छोड़ ना देना
रखना मर्ज़ी हमारी
हे राम
सिया राम
हे राम सिया राम
हे राम
हे राम सिया राम
हे राम
(हे रा॰॰म मत जाओ)
हे राम सिया राम
हे राम
हे राम सिया राम
हे राम
(हे रा॰॰म मत जाओ)
हे राम सिया राम
हे राम
हे राम सिया राम
हे राम
(हे रा॰॰म मत जाओ)
हे राम सिया राम
हे राम
हे राम सिया राम
हे राम
(हे रा॰॰म मत जाओ)
हे राम सिया राम
हे राम
हे राम सिया राम
हे राम
(हे रा॰॰म मत जाओ)
हे राम सिया राम
हे राम
हे राम सिया राम
हे राम

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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.

Blog Day : 3481 Post No. : 13982

Today’s song is from film Maa-52. It is sung by Manna Dey, under the baton of composer S.K.Pal.

The film was produced by Ashok Kumar and Sawak Vachha for Bombay Talkies. The director was Bimal Roy. The screen play was also by Bimal Roy on the story of Swaraj Banerjee.Dialogues were by Nabendu Ghosh and the translations were done by Nazir Hussain and Asit Sen (roly poly actor and Director). The cast was Leela Chitnis, Bharat Bhushan,Shyama, Nazir Hussain,Asit Sen, Manju, B.M.Vyas, Achla Sachdev, Bikram Kapoor, Krishnakant, Samar Chatterjee, Bharata Vyas(uncredited) etc etc.

Nabendu Ghosh (27.3.1917 to 15.12.2007) was born in Dhaka. He was a famous Bangla writer, who joined New Theatres. In 1951 he left New Theatres and joined Bimal Roy in Bombay. He wrote Screen plays/dialogues for most of Bimal Roy’s films. After Roy’s death, he worked with Hrishikesh Mukherjee for a long time. In 1988, he directed his only film “Trishagni’. After his death, his autobiography,”Eka Nauker jatri” was published.

Maa-52 was Bimal Roy’s first film in Bombay. He was born on 12-7-1909, in Suvapur village in East Bengal. His father Hemchandra Roy was a very rich landlord. He was a simple and kind person. After he died, it was known that his servants had misappropriated all his money and land and the family came on the road. The big family shifted to Calcutta in 1930-31.

Bimal Roy joined New Theatres as an assistant to Nitin Bose. He soon became an expert Cameraman and shot films like Chandidas, Devdas, manzil, Grihdaah, Maya, Mukti etc. In 1937, he was married to Manobina Sen. He continued as a Cameraman till 1942 doing more films like Abhagin,Badi Didi, Abhinetri, Haar jeet and Meenakshi.

By 1942, due to restrictions on supply of raw film and financial crisis, added to Ego problems of Big artistes and the management, New Theatres came into problems. One after another most artistes like Barua, Debki Bose, Nitin Bose, Saigal, Prithwiraj kapoor, Kumar, Kidar Sharma etc left Calcutta and reached Bombay. Bimal Roy did a documentary on the Bengal Famine in 1943 and then directed his first Bangla/Hindi bilingual film Udayer Pathe/Hamraahi in 1944. The successful film ran for an year in Calcutta and established him. Then came Anjangadh,Mantramugdha and Pehla Admi.

Bimal Roy came to Bombay for the premiere of film Pehla Admi-50. Here he met his old collegue Hiten Chaudhari,who was working in Bombay Talkies-supposed to be a hub for all artistes coming from Bengal. He took Bimal Roy to Bombay Talkies and he got his first film in Bombay- Maa-52, for direction. Then came Parineeta-53. Bimal Roy then established his own Bimal Roy Productions and made many films. He directed films like Do Bigha Zamin, Naukari, Devdas, Madhumati, Sujata, Parakh, Prempatra and Bandini for his own productions. For others too he directed films like Biraj Bahu, Baap Beti and Yahudi. Bimal Roy Productions mad films like Amanat, Parivaar, Apradhi Kaun,Usne kaha tha,Kabuliwala and Benazir where other directors did the films.

Bimal Roy got 11 Film Fare Awards for Best films and Best Direction in all. He got several National and International awards too. He was a heavy smoker. In 1965, Lungs Cancer was detected and he died on 8-1-1966

Bimal Roy was not only a very sensitive person, but he was like an Institution for subordinates, who learnt a lot from him. He was like a complete school of film making and gave the film industry great film makers and writers like Hrishikesh Mukherjee, Gulzar, Nabendu Ghosh, Salil Chaudhari ( Do Bigha Zamin-53 was based on his story Rikshawala, written in the 40s. Parakh was also his story and he wrote screen play for Prempatra) and Basu Bhattacharya. After Bimal Roy’s death, Hrishikesh Mukherjee dedicated film Anupama to his memories.

One special characteristic of Bimal Roy was song picturisation on character and unknown artistes ( like Guru Dutt). Sachin Shankar sang Parakh song-kya hawa chali. His production manager’s wife Dolly kapoor sang 2 songs in Bandini. Rajdeep, a character artiste sang”mat ro mata laal tere bahutere”in film. W.M.Khan sang in Kabuliwala. In same film a small time actor M.V.Rajan also sang a song.

Bimal Roy shot a major part of film Madhumati in Nainitaal. When he came back to Bombay, to his dismay, he found that 60% shots were spoiled. Without losing head, he shot all those scenes in Bhandardara-near Bombay and the film was edited so well, that nobody felt any difference !

Film Maa-52 was a solid tear jerker competing with any Madras film from AVM or Gemini. The story of the film was…

Chander Babu (Nazir Hussain) is a retired Post office employee, now working with the local Zamindar, on a very low salary. He and his wife (Leela Chitnis) live in Chandanpur. They have two sons. Elder son Rajan (Paul Mahendra) is married to a wealthy family girl (Achla Sachdev), who is very arrogant. He is studying final Law course. The younger son Bhanu( Bharat Bhushan ) is good natured and helpful. He studies in college. he is in love with a girl Meena (Shyama) and her father approves their marriage.

Rajan needs Rs. 300 for his exams, but his father can not get this much money. His own wife has the money but refuses to give. One day Bhanu is returning to his house in the night when he hears “Thief, Thief ” He finds that the Thief is no one else, but his own father who tries theft for Rs 300 to give the fees. Bhanu takes the blame on himself, is caught and jailed.

When Bhanu is released and comes to meet his parents, he is told by Rajan that they don’t want to see even his face. Bhanu goes away, is helped by an advocate and gets a Bank job. His father confesses everything to his wife, gets a shock and dies. The mother goes in search of Bhanu. She is treated like a maid in Rajan’s house. Bhanu works hard and becomes a manager. He sends Rs100 money order every month to his mother, but Rajan and his wife take that Money order, without mother’s knowledge. Bhanu meets Meena and their love kindles again. She tells him about his mother.

Bhanu comes back and meets the mother. He realises that she is treated lie a maid by Rajan and wife. He goes to Rajan, fights with him, drags him to his mother. Rajan and his wife repent and ask for a pardon. The Maa pardons them. Bhanu and Meena’s marriage is announced.

Film Maa-52 had only 6 song. Today’s song is the fourth song to be posted here. It is sung by Manna Dey. The Music Director S.K.Pal- Surya Kumar Pal, was the nephew of composer Ramchandra Pal. He first joined Shalimar pictures of Poona and in the end did few films for Bombay Talkies. In all he did 19 films. His last film was Dhola Maaru-56, in which, for the first and last time, he used Lata Mangeshkar for his songs. The song is picturised on Leela Chitnis….


Song-Chale re chale Raam vanwaas (Maa)(1952) Singer-Manna Dey, Lyrics-Bharat Vyas, MD-S K Pal

Lyrics

aakaash bhai bhaanu ??
aaya andhiyaara
maa ke nainon se chhupaa
nainon ka saara

chale re
chale Raam vanwaas
chale re
chale Raam vanwaas
chhal chhal neer bahaaye maata
chhal chhal neer bahaaye maata
naina bhaye udaas
pita ke man mein peer uthhhi hai
pita ke man mein peer uthhhi hai
aas bhai hai niraas
chale re
chale Raam vanwaas
chale re
chale Raam vanwaas

aaj achaanak aandhi aayi
aandhi aayi ee ee ee
aaj achaanak aandhi aayi
van ki kali kali murjhaayi
sneh bhare ae ae ae ae
sneh bhare maa ke madhuvan se
sneh bhare maa ke madhuvan se
roothh gaya madhumaas
chale re
chale Raam vanwaas
chale re
chale Raam vanwaas

apne jeewan ka dhan kho kar
laut rahi hai maa ro ro kar
laut rahi hai maa ro ro kar
haay lagi kismat ki thhokar
tooti man ki aas
Raam gaye vanwaas
haaaaye
gaye Raam vanwaas


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 film ‘Sautela Bhai’ (1962). This film was about the divine quality of brotherly love between step-brothers, like Ram-Laxman or Ram-Bharat. The film had its quota of all possible tear jerking emotions and the artful close relatives who would enjoy the sorrow and misery of the otherwise united family. Actually, this was a most suitable story for a south Indian film, like AVM, who specialised in such movies.

This film’s story was based on famous Bangla author Sarat Chandra Chatopadhyaya’s novel ‘Baikunther Will’ (1920). There was another novel containing the word “will”, viz ‘Krishnakanter Will’ which was penned by Bankim Chandra Chattopadhyay in 1878.

These novels became the basis of several films in Bangla, Hindi and Tamil etc. The first silent movie came in 1927. Its Hindi version came in 1932 as ‘Krishnakant Ka Wasiyatnama’. Its latest Bangla version came in 2007 and Tamil film ‘Rohini’ came in 1953. However ‘Baikunther Will’ was not that popular and only one Bangla and one Hindi film was based on this novel. Screenplay and dialogues of Sautela Bhai were by Dev Kishen and film was directed by Mahesh Kaul.

Mahesh Kaul (1911-1972) was born in Lahore and educated in Moni College, Nagpur. After graduation, he worked as a journalist and then as a bank manager. He then started his career in films as a lyricist and dialogue writer. He debuted as an actor in KA Abbas scripted film ‘Naya Sansar’ (1941) and played Dronacharya’s role in film ‘Mahatma Vidur’ (1943). He was also in ‘Apna Ghar’ (1942). His first film as a director was ‘Angoori’ in 1943. Then came ‘Paristan’ (1944). He produced and directed film ‘Gopinath’ (1948), with Raj Kapoor and IPTA actress Tripti Mitra. Some of his major directorial ventures were ‘Naujawan’ (1951), ‘Akhri Dao’ (1958), ‘Talaaq’ (1958), ‘Kagaz Ke Phool’ (1959). As an actor his notable films are ‘Sautela Bhai’, ‘Palki’ (1967), ‘Sapnon Ka Saudagar’ (1968), ‘Tere Mere Sapne’ (1971) etc. His last film ‘Agni Rekha’ came after his death, in 1973.

The cast of film ‘Sautela Bhai’ (1962) is Guru Dutt, Bipin Gupta, Pranoti Ghosh Bhattacharya, Rajkumar, Asit Sen, Bela Bose, Ratna, Kanhaiyalal, SN Bannerji, Honey Irani, Sarosh irani etc. The music was composed by Anil Biswas.

By the time he was working on this film, Anil Biswas had lost interest in Bombay film world. The major reason being that with many new composers around, his demand had significantly diminished. He got only one more film after this – the film by his friend Motilal – ‘Chhoti Chhoti Baaten’ (1965). He was now looking for an alternative avenue in the field of music. He tried business outside music, but did not fare well at all. Due to all this and being unable to produce what the changing taste of the audience wanted, made his music most ordinary. But then, a diamond is a diamond. He gave a gem song “Ja Ja Re Baalma” in this film.

In the cast one finds two interesting names. One is Raaj kumar and the other is Sarosh Irani. For a long time, inspite of having seen the film, I was under the impression that this was an early film of Raajkumar ( Jaani wala). When Sudhir ji discussed a song from this film here, on 5-5-2011, I commented forcefully that this was the same Raaj kumar who was famous for his dialogue-bazi. Dear Sudhir ji tried to bring sense to the discussion, by giving some proof claiming that he was somebody else, but I was not convinced. Afterwards, we had a lot of emal exchange on the identity of this actor, in which even Dr.Surjit singh ji also jumped in with some photographs. Anyway, that time the discussion remained incomplete and indecisive, without any conclusion.

Later, however, I realised that I was wrong in this case and others were right. ‘This’ Rajkumar indeed was someone different. I started searching for details and found that there were actually 5 Rajkumars operating at the same time in Hindi films. Almost in the same period. The Maitri Manthan blog was also trying to solve this mystery and they were successful. ‘This’ Rajkumar was identified as Rajkumar Khatri. I have very recently given all his details in my post on the song “Jaag Re Jogi Jaag Re” from the film ‘Shuk Rambha’ (1953) in August 2017, hence I am not repeating that here.

I wish to draw your attention to the other interesting name – Sarosh Irani, in the cast of the film. From the name I suspected that Sarosh might be related to Daisy/Honey Irani. I remember in 2011, we were debating if Sarosh is a male or female and our Raja ji had confirmed that it was a male name indeed. I once again wish to thank the Maitri Manthan blog which located and intervieed the daughter of Sarosh Irani. I reproduce here a concise adaptation of his biography as it came out from the interview, for our readers,

Sarosh ji was born to Perin and Noshir Irani on 7 August, 1948 in Bombay. He is third among five siblings, namely, MenkaBunnySaroshDaisy and Honey. In 1979 he married Mona ji  and the couple is blessed with two lovely daughters, Sabah and Delnaaz. He did his initial schooling in Deolali’s well-known boarding school, The Barnes School. After he joined the film industry he went to St. Teresa’s High School in Bandra.

After his stint as a child-actor he and his brother, Bunny started their own construction company, B Irani S Irani.  In 1976 looking at favourable opportunities he went to Iran where he worked in the construction business. When the war broke out he was forced by the family to return and he came back to India with his wife towards the end of 1983. On his return he joined his brother Bunny (now retired) who by then was looking after the Irani CafeB Merwan which was started by their grandfather.

Sarosh ji’s first film as a child-actor was Masoom released in 1960.  He was finalised to play the eldest of the three siblings in the film. Little Honey Irani was chosen to play his younger sister. The song “Nani Teri Morni Ko More Le Gaye picturized on her, sung by Ranu Mukherjee.

Sarosh ji says “Satyen Bose was a good director. He had a lot of patience, he would wait till we gave the shot just like he had visualised. He would keep encouraging, even enact and show us at times. He was very friendly, never rude. I had a nice time shooting with him. Soon I got offers for Aarti (1962) and Sautela Bhai (1962). I started liking acting.

Tarachand Barjatya‘s Aarti (1962) was directed by Phani MajumdarAlok Bharati‘s Sautela Bhai (1962) directed by Mahesh Kaul was based on Sarat Chandra Chattopadhyay‘s “Baikunther Will” and had Pranoti GhoshBipin GuptaGuru DuttRaj Kumar and Kanhaiyalal playing pivotal parts. It’s a story of two step-brothers, the elder one a good-hearted rustic played by Guru Dutt and the younger, an educated weakling, spoiled by his crooked friends played by Raj Kumar. The film was honoured with the All India Certificate of Merit for the Third Best Feature Film at the 10th National Film Awards. The film is also known for Guru Dutt’s best ever performance as an actor. Sarosh ji played his childhood part. This adjoining scene from the film made us instant admirers of this child star.

Sarosh ji did a total of 5 films as a child actor – Masoom (1960), Aarti (1962), Sautela Bhai (1962), Man Mauji (1962) and Grahasti (1963). By the time Grahasti (1963) was released Sarosh ji was about 15 years old, an age when one is neither a child nor an adult and child stars hardly get acting assignments. In his short acting career Sarosh ji has left a mark, Masoom (1960) and Sautela Bhai (1962) are among our most loved films.

Around 1967 Sarosh ji joined his brother-in-law Kamran as an assistant director. The first film he assisted on was Watan Se Door (1968) which had Dara Singh and Nishi in leading roles. He assisted Kamran ji on about six films including Chalbaaz (1969) and Aisa Bhi Hota Hai(1971). Since then he hasn’t been associated with the film Industry directly but is glad to see the next generation, his nephews and nieces, Farah KhanSajid KhanFarhan Akhtar and Zoya Akhtar do well and make a mark in the entertainment  industry.

The story of the film Sautela Bhai is…..

Baikunth Muzumdar (Bipin Gupta) is a small time grocery merchant, having property and money in a village. After his first wife’s death, who has borne him a child, he gets marries again to Bhawani (Pranoti Bhattachrya). Contrary to everybody’s fears, Bhawani gives her love to Gokul, the infant. When she gets her own son, Vinod, both brothers love each others, like Ram-Laxman. Gokul (Guru Dutt) looks after family business, while Vinod (Rajkumar Khatri) goes to Calcutta for college studies. There, he gets into bad company and starts drinking etc.

Meanwhile, Baikunth dies after making a will, giving all property to Gokul, on wife’s instructions, as she is sure that Gokul will look after Vinod very well. When Vinod comes back, he is taunted by Gokul’s wife and father in law (Kanhaiyalal). Vinod thinks, being a step brother, Gokul has instigated this. He leaves the house with his mother against her will. He also plans to put a case against Gokul.

When Gokul learns all this, he goes to Vinod’s house, drags him out, beats him and gives away all the property to him in exchange of his love, which he professes with tears. Seeing all this, Vinod repents and realises how much Gokul loves him. He begs pardon and then all is well in the end. (646)

The film had 8 songs. 3 songs are already discussed. Today’s song is the fourth song. The situation of the song is, folk singers and dancers depict the love of Ram, Laxman and Bharat, when Ram is ordered to 14 years’ exile and Bharat is to be crowned as per Kaikeyi’s wishes. The song and scenes are symbolic of love between ‘Sautela Bhais’ of Ramayana. The young Gokul and Vinod are watching this drama, sitting on one mother’s lap, while the family too watches this. One of the singers is Pankaj Mitra, about whom I do not know anything. As per HFGK, Anil Biswas used 9 playback singers for 8 songs. Pankaj Mitra, Biswas and Arun Dutt are unfamiliar names. Pankaj Mitra seems to have sung songs in some Hindi films like ‘Sagina’ (1974), ‘Ganga Dhaam’ (1980), ‘Phagun’ (1973), ‘Mera Jeevan’ (1976), ‘Kinaara’ (1977), ‘Ab Aayega Mazaa’ (1984), ‘Grih Pravesh’ (1980), ‘Rihaaee’ (1980), ‘Raja Hindustani’ (1996) and ‘Mriggya’ (1976).


Song – Dekho Re Logo Bhai Bhai Ka Naata Dekho (Sautela Bhai) (1962) Singers – Manna Dey, Pankaj Mitra, Anil Biswas, Lyrics – Shailendra, MD – Anil Biswas
Chorus

Lyrics 

dekho..oo..oo
bhai bhai ka naata dekho
dekho dekho
dekho re logo
bhai bhai ka nata dekho dekho
amar agar ye preet na hoti jag me kya rah jata
dekho
dekho re logo bhai bhai ka nata dekho dekho

dekho taj ke aaj sukh dha..aam
chale ban ra..aa..aam
chale ban ra..aa..aa..aam
macha kohraam
ayodhya mein
dekho taj ke aaj sukh dham
chale ban ram
macha kohram ayodhya mein
macha kohram ayodhya mein
kahe log haaye kakaiyi
kumati kyon leyi
bhai tu badnaam ayodhya mein
macha kohram ayodhya me
kahe laage lakhan kar jod
kahe laage lakhan kar jod
hamen tum chhod akele ja na sakoge bhaiya
akele ja na sakoge bhaiya
rahu main sada tumhaare sang
tumhaara ang
akele dukh pa na sakoge bhaiya
akele dukh pa na sakoge bhaiya
akele dukh pa na sakoge bhaiya

aage aage ra..am siya
peechhe lakshman beer
purbasi dewen wida
naynan naynan neer
haaye ram
haaye ram
haaye ram
haaye ram

dekho dekho
dekho re logo..oo. . .
bhai bhai ka naata dekho dekho
dekho re logo
bhai bhai ka nata dekho dekho

sun ram ka van gaman bechaare bharat akula uthe
sun ram ka van gaman bechaare bharat akula uthe
laute ayodhya ko turat nij maat par jhujhla uthe
laute ayodhya ko turat nij maat par jhujhla uthe
is raaj ke badle agar tum mangti mera maran
is raaj ke badle agar tum mangti mera maran
mai dukh na paata chala jaata
chhoo kar tere charan
gaye ram van mein
haaye ram
gaye ram wan mein
aur karoon main raaj to dhikkaar hai
dhikkaar hai
dhikkaar hai
mere janam par dhikkaar hai
lauta na laaun ram ko
tab tak narak jeena mera
hai lahu peena tab talak
jal bhi yahaan peena mera
ram
ram jai jai ram
haaye ram
jai jai ram
jai jai ram
ram jai jai ram
siya ram
jai jai ram
jai jai ram
ram jai jai ram
jai jai ram
jai jai ram

nadi vikal
parbat hiley

kanpe gagan ke chhor
vyaakul wani bharat ki
goonj rahi chahun or
bhaiya chalo
laut chalo
ro ro taat ne pram gawaye
bhaiya chalo
laut chalo
ro ro tat ne pram gawaye
siya ram gawaa ke awadh puri ne
dono nayan gawaaye
bhaiya chalo laut chalo
ye aansoo koi jod sake to
ek sagar ban jaaye
do bol hain mukh pe logon ke
ek ram dooja haaye
ek ram dooja haaye
ek ram dooja haaye
bhaiya chalo laut chalo
ro ro tat ne pram gawaye
bhaiya chalo laut chalo

ram na laute to unke
charno ki nishani le kar
chale bharat
ke raaj karegi
tab tak yahi awadh par
ram jai jai ram
ram jai jai ram
siya ram jai jai ram
ram jai jai ram
bolo ram jai jai ram
ram jai jai ram
siya ram jai jai ram
ram jai jai ram
bolo ram jai jai ram
ram jai jai ram
siya ram jai jai ram
ram jai jai ram
bolo ram jai jai ram
ram jai jai ram
siya ram jai jai ram
ram jai jai ram
bolo ram jai jai ram
ram jai jai ram
siya ram jai jai ram
ram jai jai ram
bolo ram jai jai ram
ram jai jai ram

dekho dekho
dekho re logo
bhai bhai ka naata dekho dekho
amar agar ye preet na hoti
jag me kya rah jaata
dekho
dekho re logo bhai bhai ka naata dekho
dekho
dekho re logo

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

देखो॰॰ओ॰॰ओ
भाई भाई का नाता देखो
देखो
देखो रे लोगो
भाई भाई का नाता देखो देखो
अमर अगर ये प्रीत ना होती जग में क्या रह जाता
देखो
देखो रे लोगो
भाई भाई का नाता देखो
देखो

देखो तज के आज सुख धा॰॰म
चले वन रा॰॰आ॰॰म
चले वन रा॰॰आ॰॰आ ॰॰म
मचा कोहराम
अयोध्या में
देखो तज के आज सुख धाम
चले वन राम
मचा कोहराम अयोध्या में
मचा कोहराम अयोध्या में
कहें लोग हाए कैकई
कुमति क्यों लेई
भई तू बदनाम अयोध्या में
मचा कोहराम अयोध्या में
कहे लागे लखन कर जोड़
कहे लागे लखन कर जोड़
हमें तुम छोड़ अकेले जा ना सकोगे भैया
अकेले जा ना सकोगे भैया
रहूँ मैं सदा तुम्हारे संग
तुम्हारे अंग
अकेले दुख ना पा सकोगे भैया
अकेले दुख ना पा सकोगे भैया
अकेले दुख ना पा सकोगे भैया

आगे आगे राम सिया
पीछे लक्ष्मण बीर
पुरबासी देवें विदा
नैनन नैनन नीर
हाए राम
हाए राम
हाए राम
हाए राम

देखो देखो
देखो रे लोगो॰॰ओ॰ ॰ ॰
भाई भाई का नाता देखो देखो
देखो रे लोगो
भाई भाई का नाता देखो देखो

सुम राम का वन गमन बेचारे भरत अकुला उठे
सुम राम का वन गमन बेचारे भरत अकुला उठे
लौटे अवध को तुरत निज मात पर झुझला उठे
लौटे अवध को तुरत निज मात पर झुझला उठे
इस राज के बदले अगर तुम मांगती मेरा मरण
इस राज के बदले अगर तुम मांगती मेरा मरण
मैं दुख ना पाता चला जाता
छू कर तेरे चरण
गए राम वन में
हाए राम
गए राम वन में
और करूँ मैं राज तो धिक्कार है
धिक्कार है
धिक्कार है
मेरे जनम पर धिक्कार है
लौटा ना लाऊं राम को
तब तक नरक जीना मेरा
है लहू पीना तब तलाक
जल भी यहाँ पीना मेरा
राम
राम जय जय राम
हाए राम
जय जय राम
जय जय राम
राम जय जय राम
सिया राम
जय जय राम
जय जय राम
राम जय जय राम
जय जय राम
जय जय राम

नदी विकल
परबत हिले
कंपे गगन के छोर
व्याकुल वाणी भरत की
गूंज रही चहुं ओर
भैया चलो
लौट चलो
रो रो तात ने प्राण गँवाए
भैया चलो
लौट चलो
रो रो तात ने प्राण गँवाए
सिया राम गंवा के अवध पुरी ने
दोनों नयन गँवाए
भैया चलो लौट चलो
ये आँसू कोई जोड़ सके तो
एक सागर बन जाये
दो बोल हैं मुख पे लोगों के
एक राम दूजा हाए
एक राम दूजा हाए
एक राम दूजा हाए
भैया चलो लौट चलो
रो रो तात ने प्राण गँवाए
भैया चलो लौट चलो

राम ना लौटे तो उनके
चरणों के निशानी ले कर
चले भरत
के राज करेगी
तब तक यही अवध पर
राम जय जय राम
राम जय जय राम
सिया राम जय जय राम
राम जय जय राम
बोलो राम जय जय राम
राम जय जय राम
सिया राम जय जय राम
राम जय जय राम
बोलो राम जय जय राम
राम जय जय राम
सिया राम जय जय राम
राम जय जय राम
बोलो राम जय जय राम
राम जय जय राम
सिया राम जय जय राम
राम जय जय राम
बोलो राम जय जय राम
राम जय जय राम
सिया राम जय जय राम
राम जय जय राम
बोलो राम जय जय राम
राम जय जय राम

देखो देखो
देखो रे लोगो
भाई भाई का नाता देखो देखो
अमर अगर ये प्रीत ना होती
जग में क्या रह जाता
देखो
देखो रे लोगो भाई भाई का नाता देखो देखो 
देखो रे लोगो

 


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


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.
Read more on this topic…


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
————————————————

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.
Read more on this topic…


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”.
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.

“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.
Read more on this topic…


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.
Read more on this topic…


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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 more than nine years. This blog has over 14000 song posts by now.

This blog is active and online for over 3500 days since its beginning on 19 july 2008.

Total number of songs posts discussed

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Movies with all their songs covered =1084
Total Number of movies covered =3841

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