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

Archive for the ‘Lyrics contributed by readers’ Category


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.

“Bihaari”(1948) was directed by K D Katkar and A R Zameendaar for Samajchitra, Bombay.. This “Social” movie had B Nandrekar, Surekha, H Prakash, Nimbalkar, Samson, Sheikh, Fayazbai, Shabnam etc in it.

This obscure movie had ten songs in it that were penned by four lyricists and composed by two music directors.

One song from the movie was covered in the blog some three years ago. Here is the second song from “Bihaari”(1948) to appear in the blog.

This rare song is uploaded on YT by our own Mr Sadanand Kamath. normally I avoid discussing songs uploaded by him, preferring that he himself covers the song. But he has given us all an open offer to discuss these songs. Moreover, he on these days has left foor his annual activity, viz on a trek to mountains of Himalayas, so he may be back only after a few weeks.

This song is sung by Amirbai Karnataki. This is the only song in the movie whose lyricist as well as music director are unknown. The movie had Naresh Bhattacharya and Ramkrishna Shinde as the two music directors. It appears to me that the music is more Mumbai school rather than Bangal school so I have considered this song as a composition by Ramkrishn Shinde. I request our knowledgeable readers to throw light on the movie, its lyricist and music director and also on the picturisation of this song.

Lyrics of this song were sent to me by Avinash Scrapwala long back in 2014.


Song-Prem ke moti laayi badariya (Bihaari)(1948) Singer-Amirbai Karnataki, MD-Ramkrishn Shinde

Lyrics (Provided by Avinash Scrapwala)

laayi laayi laayi
prem ke moti laayi badariya
prem ke moti laayi
prem ke moti laayi badariya
prem ke moti laayi
aao aao mere saanwariya aa
aao aao mere saanwariya aa
prem ke moti laayi badariya
prem ke moti laayi
prem ke moti laayi badariya
prem ke moti laayi

tere liye mein haar banaaun
chanda ki kirnon se sajaaun
taare na maaren tujh ko najariya
taare na maaren tujh ko najariya
prem ke moti laayi
prem ke moti laayi badariya
prem ke moti laayi
hansi khushi main naachoon gaaun
sambhal sambhal kar kadam uthaaoon
sambhal sambhal kar kadam uthaaoon
odh ke aa mori hari chundriya
prem ke moti laayi
prem ke moti badariya
prem ke moti laayi

hans hans kar kaliyon ki jawaani
kahti hai mujhko
kahti hai mujhko roop ki raani
aayenge ab wo tere saanwariya
aayenge ab wo tere saanwariya
prem ke moti laayi
prem ke moti laayi badariya
prem ke moti laayi
aao aao mere saanwariya aa
aao aao mere saanwariya aa
prem ke moti laayi badariya
prem ke moti laayi
prem ke moti laayi badariya
prem ke moti laayi

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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.

Saga Of Sleepless Nights – 3
– – – – – – – – – – – – – – –

neend kabhi rehti thi aankhon mein
ab rehte hain saanwariya

Aah, so now we know, the sleep can no longer come to the eyes, for the eyes are already occupied with the images of the beloved. You cannot accommodate two swords in a single scabbard. Or for that matter, two lions in the same cave. So it has to be that sleep will have to wait outside, while the joys of visions of the beloved crowd all the room inside the eyes.

I fall back on Shakespeare, yet once again – this endearing snippet from a sonnet, that tells of why the eyes are without sleep, although the limbs are dreadfully tired. Just read these lines,

weary with toil, i haste me to my bed,
the dear repose for limbs with travel tired;
but then begins a journey in my head
to work my mind, when body’s work’s expired:

for then my thoughts–from far where i abide–
intend a zealous pilgrimage to thee,
and keep my drooping eyelids open wide,
looking on darkness which the blind do see:

save that my soul’s imaginary sight
presents thy shadow to my sightless view,
which, like a jewel hung in ghastly night,
makes black night beauteous, and her old face new.

He is putting the blame on his thoughts; that they are intending to make a pilgrimage to you, and intend to keep the drooping eyelids open wide. And when that sight is reached – “thy shadow to my sightless view”, it is like a bright shining jewel hung in the darkness of the ‘ghastly night’. And the consequential effect – the night becomes ‘beauteous’ and her old tired face seems so new. And this jewel of an image is preferred over the fatigue of the limbs and the sleep that they are demanding.

But even Shakespeare sound somewhat rough around the edges, when we compare his creation to the similar sounding songs of Hindi films. Think of “Neend Kabhi Rehti Thi Aankhon Mein, Ab Rehte Hain Saanwariya” (‘Aasra’, 1966). And my mind would prefer the soft melody of this song. Or the lilting strains of “Meri Aankhon Mein Bas Gaya Koi Re, Mujhe Neend Na Aaye Mein Kya Karoon” (‘Barsaat’, 1949).

Today’s song is somewhat unfamiliar – from the 1950 film ‘Muqaddar’. The singer is Nalini Jaiwant. Lyrics are from the pen of Raja Mehdi Ali Khan, and the music is composed by Khemchand Prakash and Bhola Shreshtha. Yes, the Geet Kosh indicates that the music is composed by the two together. This would be one of the very last films of Kehmchand Prakash, as he passed away on 10th Aug of 1950. So it is possible that the work begun by him, was completed by Bhola Shreshtha.

Nalini Jaiwant has a small repertoire of songs she has rendered in Hindi films. Her singing in films is clustered in two periods – from 1941 to 1943 and then from 1948 to 1950. One solo film follows in 1955. The films are ‘Bahen’, ‘Nirdosh’, ‘Radhika’ in 1941, ‘Aankh Micholi’ in 1942 and ‘Adaab Arz’ in 1943. Then we have ‘Gunjan’ in 1948, ‘Chakori’ in 1949, and then ‘Hindustan Hamaara’ and ‘Muqaddar’ in 1950. The film in 1955 is ‘Chingaari’. Total songs she has sung in films is 40, as per Geet Kosh listings. On the blog, we already have showcased six songs in her voice. This is her seventh rendering to be represented here.

Listen to this perky rendering, and if in love, prepare for another night without sleep.

And so continues the saga of sleepless nights. . .

 

 

Song – Jab Nainon Mein Koi Aan Basey  (Muqaddar) (1950) Singer – Nalini Jaiwant, Lyrics – Raja Mehdi Ali Khan, MD – Khemchand Prakash-Bhola Shreshtha

Lyrics

jab nainon mein koi aan basey
jab nainon mein koi aan basey
phir neend kahaan
o phir chain kahaan
phir neend kahaan
o phir chain kahaan
jab dil mein pyaar ki hook uthey
phir neend kahaan
o phir chain kahaan
phir neend kahaan
o phir chain kahaan

jab boley papiha piya piya
jab boley papiha piya piya
thar thar kaanpe haaye mora jiya
thar thar kaanpe haaye mora jiya
jab thandi hawa betaab bahe
jab thandi hawa betaab bahe
phir neend kahaan
o phir chain kahaan
phir neend kahaan
o phir chain kahaan

jab prem badariya chhaai ho
jab prem badariya chhaai ho
aur yaad
aur yaad kisi ki aai ho
aur yaad kisi ki aai ho
ik dil ko ik dil yaad kare
ik dil ko ik dil yaad kare
phir neend kahaan
o phir chain kahaan
phir neend kahaan
o phir chain kahaan

kuchh keh gaye aankhon aankhon mein
kuchh keh gaye aankhon aankhon mein. . .
dil le gaye
dil le gaye baaton baaton mein
dil le gaye baaton baaton mein
jab dil na kisi ke paas rahe
jab dil na kisi ke paas rahe
phir neend kahaan
o phir chain kahaan
phir neend kahaan
o phir chain kahaan

jab nainon mein koi aan basey
phir neend kahaan
o phir chain kahaan
phir neend kahaan
o phir chain kahaan
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
जब नैनों में कोई आन बसे
जब नैनों में कोई आन बसे
फिर नींद कहाँ
ओ फिर चैन कहाँ
फिर नींद कहाँ
ओ फिर चैन कहाँ
जब दिल में प्यार की हूक उठे
फिर नींद कहाँ
ओ फिर चैन कहाँ
फिर नींद कहाँ
ओ फिर चैन कहाँ

जब बोले पपीहा पिया पिया
जब बोले पपीहा पिया पिया
थर थर काँपे हाए मोरा जिया
थर थर काँपे हाए मोरा जिया
जब ठंडी हवा बेताब बहे
जब ठंडी हवा बेताब बहे
फिर नींद कहाँ
ओ फिर चैन कहाँ
फिर नींद कहाँ
ओ फिर चैन कहाँ

जब प्रेम बदरिया छाई हो
जब प्रेम बदरिया छाई हो
और याद
और याद किसी की आई हो
और याद किसी की आई हो
इक दिल को इक दिल याद करे
इक दिल को इक दिल याद करे
फिर नींद कहाँ
ओ फिर चैन कहाँ
फिर नींद कहाँ
ओ फिर चैन कहाँ

कुछ कह गए आँखों आँखों में
कुछ कह गए आँखों आँखों में॰ ॰ ॰
दिल ले गए
दिल ले गए बातों बातों में
दिल ले गए बातों बातों में
जब दिल न किसी के पास रहे
जब दिल न किसी के पास रहे
फिर नींद कहाँ
ओ फिर चैन कहाँ
फिर नींद कहाँ
ओ फिर चैन कहाँ

जब नैनों में कोई आन बसे
फिर नींद कहाँ
ओ फिर चैन कहाँ
फिर नींद कहाँ
ओ फिर चैन कहाँ

 


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 Ghar Ki Izzat (1948). It is a lively duet of Shamshad Begum and Ram Kamlani. The film is produced and directed by Ram Daryani, under the banner of Murli Cinetone, Bombay. Music was given by Pt Gobind Ram and songs and dialogues were by Ishwar Chandra Kapoor. The cast of the film was Mumtaz Shanti, Dilip Kumar, Gope, Gulab, Dixit, Manorama, Jeevan, Suleiman etc etc.

In the early decades of talkie era, i.e. in the 1930s and 40s, many Muslim actors and actresses took on Hindu names, for obvious reasons. Here are some such examples – Mumtaz Shanti (real name – Mumtaz Begum), Renuka Devi (Begum Khurshid Mirza), Neena (Shahida), Meena Shorey (Khursheed Jehan), Geeta Nizami (Rasheeda Begum), Madhubala (Mumtaz Jehan), Indurani (Ishrat Jehan), Veena (Tajour Sultana), Shyama (Khurshid Akhtar), Dilip Kumar (Yusuf Khan), Jayant (Zakaria Khan), Kumar (Syed Ali Hasan Zaidi), Suresh (Naseem Ahmed), Sudhir (Shah Zamaan Khan) and many more.

However, not all did this. Those who did not change name were Mehboob Khan, Mazhar Khan, Ashraf Khan, Najmul Hasan, Zubeida, Noorjehan, Khursheed etc etc.

After Independence, this trend diminished, but a new trend started – that of taking on a screen name other than the real name. Some examples are Sunil Dutt, Balraj Sahni, Sanjeev kumar, Raaj Kumar, Jeetendra, Rajesh Khanna, Akshay Kumar etc. A full article can be written on this subject, but this is enough for now.

Film ‘Ghar Ki Izzat’ was the only film Mumtaz Shanti did with Dilip kumar. Compared to young Dilip Kumar, Mumtaz Shanti was more successful and experienced with films like ‘Basant’ (1942) and ‘Kismet’ (1943). She had worked with top actors of that era, like Ashok Kumar. In this film, you can see an awkward Dilip Kumar and a vibrant and seasoned actress Mumtaz Shanti.

Mumtaz Shanti or Mumtaz Begum was born in 1922 at village Dinga in Punjab (now in Pakistan). She lost her parents early and she was brought up by her uncle who was a police constable. After his transfer to Lahore, Mumtaz was able to continue her schooling. She learnt dancing and music. She was also an expert in household chores. At the start of filmi career, she was at first rejected by Shorey Pictures. But then the famous writer/lyricist Wali Saheb helped her and took her to Calcutta’s East India Film Co. to work in a Punjabi film ‘Sohni Kumharan’ (1937). She also did another Punjabi film ‘Chambey Di Daali’ (1941) in Calcutta. Now the things were different and she was invited by Shorey Pictures to Lahore, to act in their Punjabi film ‘Mangti ‘ (1942). This film was immensely successful and ran for 65 weeks giving her name and fame.

Rai Bahadur Chunilal Of Bombay Talkies  offered her a role in their film ‘Basant’ (1942). She came to Bombay and did Basant and then ‘Kismet’ (1943). Both the films were hits all over India.  Mumtaz was good looking, tall and lithe, so looked attractive. After ‘Kismet’ she became a free lancer and worked with many different studios. Her notable films are ‘Badalti Duniya’ and ‘Sawaal’ (1943), ‘Bharthari’, ‘Lady Doctor’ and ‘Pagli Duniya’ (1944), ‘Chaand Chakori’ (1945), ‘Shravan Kumar’, ‘Dharti’, ‘Magadhraj’ and ‘Pujari’ (1946), ‘Dekhojee’ and ‘Doosri Shadi’ (1947), ‘Padmini’, ‘Heer Ranjha’ and ‘Ghar Ki Izzat’ (1948), ‘Putli’, ‘Biwi’ and ‘Aahuti’ (1950). Her last film in India was ‘Zamaane Ki Hawa’ (1952). In all she worked in 21 Hindi and 4 Punjabi films. She did 2 films in Calcutta, 4 in Lahore and the rest in Bombay.

She married lyricist/writer/director Wali Saheb in 1947. He directed her in 3 films in India. He was very strict and forced her to come to studios only in burqa. She was not allowed to talk to anyone. No one was allowed to touch her, even in any scene. They migrated to Pakistan after 1953. She retired from films and remained a housewife only. Wali Saheb did 3-4 films in Pakistan, without much success. He passed away in 1977. Mumtaz Shanti passed away in 1993/94, unsung and unknown in Pakistan.

After Independence films were being made on social values which the Indian people wanted to inculcate in their new life, like importance of joint families, need to do hard work, need to abolish bad customs like dowry, bridging the gap between the rich and the poor, importance of education, women’s emancipation, abolition of castes and untouchability, respecting elders and traditions etc. Thus it will be seen that every film had some or the other message for the society.

This was also one such film, in which the makers stressed the need to strengthen the joint family tradition and to reduce the gap between the rich and the poor. The film had become quite popular, as it did not sound like a propaganda film but the message was conveyed in a very entertaining way. The songs were good and became popular. The music of this film is composed by Pt Gobind Ram.

Pt Gobind Ram was a highly respected composer in the industry for his originality. Stalwarts like C Ramchandra considered Sajjaad Husain and Pt Gobind Ram ji as the original composers. It is stated by Pankaj Raag in his book ‘Dhunon Ki Yatra’ that in the mid 1940s, “. . . when K Asif planned his magnum opus ‘Mughal e Azam’, he had initially engaged Gobindram ji as the music director”. It is another thing that the film was delayed, for other reasons, by almost 15 years. Almost all the main players in the film got changed during this period of delay, including the music director. During his career, Pt Gobind Ram gave music to 32 films from 1937 to 1955, composing 302 songs.

Just before writing this article, I saw this film on YouTube to refresh my memory. I had seen the film in the early 1950s in its second run in Hyderabad. The cast of the film includes the name Dixit.  Only a handful readers will recollect who he was, but there was a time in the early talkie era of 1930s and the 40s when he was a popular name. He and actor Ghory had formed a comic pair on the lines of the Laurel and Hardy team of the English cinema. In those days 4 comedians were popular – Dixit, Ghory, Kesari and Charlie.

Manohar Janardan Dikshit (this became Dixit in film line) was born on 12-11-1906 at Sinnar in Nashik district of Maharashtra. It seems, his arrival in this world was predicted by a sadhu. Somehow, in Dixit’s career, roles of sadhu played a vital role. He acted as a sadhu in as many as 31 films. His father was a district judge and was very strict at home. Due to frequent transfers, Dixit lost interest in studies. After two unsuccessful attempts in matriculation, he stopped going to school.

He started his film career as an assistant cameraman in Navjeevan Studio, with the help of Mama Varerkar, a noted Marathi writer who was associated with many studios of Hindi films. Of course Dixit did not learn anything of cinematography and did only manual works like carrying the camera etc. On the 14th November 1929, he faced the camera for his first role in the silent film ‘Sparkling Youth’ with P Jairaj and Madhav Kale. In Navjeevan Studios he did 3 more silent films and then joined the prospering, upcoming Ranjit Film company. Here he met his future partner Nazir Ahmed Ghory, who was born on 11-8-1901 at Bombay. Ghory was a graduate in those days. They paired in their first comedy film, ‘Char Chakram’ (1932), directed by Jayant Desai. The four ‘chakrams‘ in the film were Dixit, Ghory, Eddie Bilimoria and Madhuri. It was a hit film and the comedy pair became famous. They copied Laurel and Hardy. They even looked like them. Dixit was the Hardy part of the team.

They continued working together till 1947. I do not know exactly, but my guess is that they worked together in about 20 films. After partition, Ghory migrated to Pakistan and Dixit worked alone. Dixit was described by Baburao Patel as ‘our best comedian’. He was the darling of film critics too. Unfortunately, all the Ranjit Films where in they worked together were destroyed along with other negatives and except for few photos and stories about them, nothing remains now. Dixit worked in 4 silent and 66 Talkie films in 17 years’ time. For a person carrying 220 pounds weight, it was really creditable.

After the film ‘Ghar Ki Izzat’, Dixit suffered from a heart attack and he passed away on 29-6-1949 (adapted from Eena Meena Deeka and MuVyz, with thanks.)

The story of the film,

Seth Chunilal (Dixit) is a rich person. His daughter Radhika (Manorama) has married Chaman (Gope) who is their ‘ghar jamaai‘. He does not work anywhere. Radhika’s mother (Gulab) taunts him every now and then and one day, frustrated Radhika leaves the house along with Chaman. They start an insurance business and prosper in a village nearby. Chunilal’s son Chander (Dilip Kumar) becomes a lawyer. He visits his sister in the village. In same village, lives Roopa (Mumtaz Shanti) with her two brothers (Jeevan and Suleiman).

Chander gets introduced to this family, falls in love with Roopa and they get married. Upon coming to the city home, Chander’s mother starts taunting the new bahu on her poverty. Bahu, being adarsh bhartiya nari tolerates everything, but Chander gets frustrated and starts drinking. Sister Radhika and Chaman bring him to their house.

Chander’s mother and father start repenting and finally they go to Chander and Roopa, beg their pardon and bring them back with honour. They even call Chander and Radhika, but they refuse to come back, as they have prospered now.

So, all is well that ends well.

 

This film has 11 songs. According to the blog 6 songs are already discussed, but it transpires that one song ‘Ae Dard Zara Dum Le’ posted on 17-5-2011 and included as this film’s song, is actually a song from film ‘Zamana’ (1938). It was only used in this film as a radio song. So actually only 5 songs are covered. Today’s song is the 6th song from this film. In the video, Gope and Manorama singing this melodious song. The newer generation folks will remember the Chachi in the 1972 film ‘Seeta Aur Geeta’. Ah yes, this is the same Manorama.


Song – Aankhon Ko Aankhon Se Do Chaar Kiye Jaao (Ghar Ki Izzat) (1948) Singer – Ram Kamlani, Shamshad Begum, Lyrics – IC Kapoor, MD – Pt Gobind Ram
Shamshad Begum + Ram Kamlani

Lyrics 

aankhon se aankhon ko
aankhon se aankhon ko do chaar kiye jaao
pyaar kiye jaao ji
pyaar kiye jaao
aankhon se aankhon ko
aankhon se aankhon ko do chaar kiye jaao
pyaar kiye jaao ji
pyaar kiye jaao

hai teer nigaahon mein
aur bijli adaaon mein
hai teer nigaahon mein
aur bijli adaaon mein
bas yun hi mere dil pe
tum vaar kiye jaao
bas yun hi mere dil pe
tum vaar kiye jaao
pyaar kiye jaao ji
pyaar kiye jaao

aankhon se aankhon ko
aankhon se aankhon ko do chaar kiye jaao
pyaar kiye jaao ji
pyaar kiye jaao

o mast nazar aaj tu
masti ko luta de
aur chaand se chehre se zara
zulfen hataa de
jo dil mein tere hai
jo dil mein tere hai
wo nigaahon se suna de
ulfat ke nibhaane ka iqraar kiye jaao
ulfat ke nibhaane ka iqraar kiye jaao
pyaar kiye jaao ji
pyaar kiye jaao

aankhon se aankhon ko
aankhon se aankhon ko do chaar kiye jaao
pyaar kiye jaao ji
pyaar kiye jaao

pehlu mein mere chhota sa ik
sehma hua hai dil
har taar hai is dil ka
tere pyaar ke kaabil
aa dekh sajaa rakhi hai
kis thaath se mehfil
aa dekh sajaa rakhi hai
kis thaath se mehfil
ji jaan ka nazraana sarkaar liye jaao
ji jaan ka nazraana sarkaar liye jaao
pyaar kiye jaao ji
pyaar kiye jaao

aankhon se aankhon ko
aankhon se aankhon ko do chaar kiye jaao
pyaar kiye jaao ji
pyaar kiye jaao

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

आँखों से आँखों को
आँखों से आँखों को दो चार किए जाओ
प्यार किए जाओ जी
प्यार किए जाओ
आँखों से आँखों को
आँखों से आँखों को दो चार किए जाओ
प्यार किए जाओ जी
प्यार किए जाओ

है तीर निगाहों में
और बिजली अदाओं में
है तीर निगाहों में
और बिजली अदाओं में
बस यूं ही मेरे दिल पे
तुम वार किए जाओ
बस यूं ही मेरे दिल पे
तुम वार किए जाओ
प्यार किए जाओ जी
प्यार किए जाओ

आँखों से आँखों को
आँखों से आँखों को दो चार किए जाओ
प्यार किए जाओ जी
प्यार किए जाओ

ओ मस्त नज़र आज तू
मस्ती को लुटा दे
और चाँद से चेहरे से ज़रा
ज़ुल्फें हटा दे
जो दिल में तेरे है
जो दिल में तेरे है
वो निगाहों से सुना दे
उल्फ़त के निभाने का इक़रार किए जाओ
उल्फ़त के निभाने का इक़रार किए जाओ
प्यार किए जाओ जी
प्यार किए जाओ

आँखों से आँखों को
आँखों से आँखों को दो चार किए जाओ
प्यार किए जाओ जी
प्यार किए जाओ

पहलू में मेरे छोटा सा इक
सहमा हुआ है दिल
हर तार है इस दिल का
तेरे प्यार के क़ाबिल
आ देख सजा राखी है
किस ठाठ से महफिल
आ देख सजा राखी है
किस ठाठ से महफिल
जी जान का नज़राना सरकार लिए जाओ
जी जान का नज़राना सरकार लिए जाओ
प्यार किए जाओ जी
प्यार किए जाओ

आँखों से आँखों को
आँखों से आँखों को दो चार किए जाओ
प्यार किए जाओ जी
प्यार किए जाओ


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.

“Sultaana Daaku”(1956), not to be confused with “Sultaana Daaku”(1972), was produced by Ramesh Ganatra and Rajni Modi and directed by Mohan Sinha for R D films, Bombay. This “social”(?) movie had Sheila Ramani, Jairaj, Roopmala, B M Vyas, Anil Kishore, Dubey, Amrit Rana, Krishnakumari, Heera Sawant, Ameena Bai, Raju, Lily Kelkar, Abdul azmeri, Master Babla etc in it.

This by now obscure movie had seven songs in it that were penned by four lyricists and were sung by more than eight singers.

Here is the first song from “Sultaana Daaku”(1956) to appear in the blog. This song is sung by Lata. Tanveer Naqvi is the lyricist. Music is composed by Bipin Baabul.

Only the audio of this song is available. I request our knowledgeable readers to throq light on the movie and also on the picturisation of this song.

While I have been able to get most of the lyrics right, there are still some words where I have got stuck. I request our readers with keener ears to help fill in the blanks/ suggest corrections as applicable.

This is a nice song to listen to, though I wonder what this song in doing in a movie titled “Sultaana Daaku”(1956) where characters should be rough and tough and not used to the tender feelings that this song expresses. 🙂

With this song, “Sultaana Daaku”(1956) makes its debut in the blog.


Song-Hai qismat ka khel dilon ka mel (Sultaana Daaku)(1956) Singer-Lata, Lyrics-Tanveer Naqvi, MD-Bipin Babul

Lyrics

hai qismat ka khel
dilon ka mel
arre dil deewaane
ye hai kaisi reet
ki apne meet
bane hain begaane
hai qismat ka khel
gham ki lay par gaate gaate
gham ki lay par gaate gaate
doob chali aawaaz
taaren bikhrin naghme ujde
taaren bikhrin naghme ujde
toot gaya hai saaz ho o o
ho gaya dil paamaal
hamaara haal zamaana kya jaane
ye hai kaisi reet
ki apne meet
bane hain begaane
hai qismat ka khel
is duniya mein pyaar bhare dil
is duniya mein pyaar bhare dil
hote hain barbaad
kitne dilon ke rotey armaa..aa..aan
kitne dilon ke rotey armaan
karte hai fariyaad ho o
aansoo thhe anjaan
rahe nakaam wafa ke afsaane
ye hai kaisi reet
ki apne meet
bane hain begaane
hai qismat ka khel
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
है किस्मत का खेल
दिलों का मेल
अरे दिल दीवाने
ये है कैसी रीत
कि अपने मीत
बने हैं बेगाने
है किस्मत का खेल

ग़म कि लय पर गाते गाते
ग़म कि लय पर गाते गाते
डूब चली आवाज़
तारें बिखरीं नग़मे उजड़े
तारें बिखरीं नग़मे उजड़े
टूट गया है साज हो ओ ओ
हो गया दिल पामाल
हमारा हाल ज़माना क्या जाने
ये है कैसी रीत
कि अपने मीत
बने हैं बेगाने
है किस्मत का खेल

इस दुनिया में प्यार भरे दिल
इस दुनिया में प्यार भरे दिल
होते हैं बर्बाद
कितने दिलों के रोते अरमा॰॰आं॰॰आं
कितने दिलों के रोते अरमां
करते हैं फरियाद हो ओ
आंसूं थे अंजान
रहे नाकाम वफा के अफसाने
ये है कैसी रीत
कि अपने मीत
बने हैं बेगाने
है किस्मत का खेल


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.

“Daaera”(1953) was produced and directed by Kamal Amrohi for Kamal Pictures, Bombay. the movie had Meena Kumari, Nasir Khan, Kumar, Roopmala, Nana Palsikar, Protima Devi, Kammo, Jankidas, H Prakash, Romesh Kapoor, Zarina etc in it.

The movie had eight songs in it. Seven songs from the movie have been covered in the blog. Here is the eighth and final song from “Daaera”(1953) to appear in the blog. This song is sung by Mubarak Begam. Majrooh sultanpuri is the lyricist. Music is composed by Jamal Sen.

I have failed to get the lyrics right at quite a few places. I request our readers with keener eras to help fill in the blanks/ suggest corrections in the lyrics as applicable.

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

With this song, “Daaera”(1953) joins the list of movies that have all their songs covered in the blog.


Song-Jali jo shama zamaane ko ho gaya maaloom(Daaera)(1953) Singer-Mubarak Begam, Lyrics-Majrooh Sultanpuri, MD-Jamal Sen

Lyrics

jali jo shamma aa aa
jali jo shamma
zamaane ko ho gaya maaloom
jo ham pe beet rahi hai
kisi ko kya maloom

mili thhi ham ko jo
do din ki zindagi ae dil
mili thhi ham ko jo
do din ki zindagi ae dil
ajab tarah se kategi
hamen na thha maaloom

yahi jo hai gham e hasti
to kya ilaaj iska
yahi jo hai gham e hasti
to kya ilaaj iska
suna hai maut dawa hai
to wo bhi kya maaloom

koi bataaye ke hai
kis taraf safar apna
na manzilon ka pata hai
na raasta maloom
jali jo shamma

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

जली जो शम्मा॰॰आ॰॰आ
जली जो शम्मा
ज़माने को हो गया मालूम
जो हम पे बीत रही है
किसी को क्या मालूम

मिली थी हमको जो
दो दिन की ज़िंदगी ए दिल
मिली थी हमको जो
दो दिन की ज़िंदगी ए दिल
अजब तरह से कटेगी
हमें ना था मालूम

यही जो है ग़म ए हस्ती
तो क्या इलाज इसका
यही जो है ग़म ए हस्ती
तो क्या इलाज इसका
सुना है मौत दवा है
तो वो भी क्या मालूम

कोई बताए के है
किस तरफ सफर अपना
ना मंज़िलों का पता है
ना रास्ता मालूम
जली जो शम्मा॰॰॰


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.

This post is the 13600th post, 600th song of Sahir Ludhianvi and 1100th post of Sudhir Jee in the blog.

One more song that I can’t believe has not yet been included in the annals of our blog. Such a melodious, lilting and fast paced lovable song. It used to be aired on the radio quite regularly, and was one of the listening favorites. The vintage is 1964, and so quite well still retained in the memory. As I started to search for a Sahir song for this post today, I was not quite satisfied with some of the ones that showed up as possible candidates. You see, as we progress and post more songs, and the artist counts starts to close in to their total no. of songs, then in all likelihood, the better ones, the favorite ones are mostly accounted for on the blog. So if one is looking for a favorite song as a representative work of an artist, it becomes quite an effort to locate one.

Ah yes, all this is being said because I have been trying to locate a good, attractive favorite song penned by Sahir Sb, for this celebration post today. So yes, this post is celebrating two major milestones. We arrive at the 13,600th station in this musical journey. In the same stroke, we are also celebrating a score of 600 songs posted, that have come from the pen of Sahir Ludhianvi. Congratulations to one and all members of this musical bandwagon, and all readers and friends on this blog. The going has been somewhat slow during the recent few weeks, but we continue to trek along these musical paths. The going is still strong – we still just at 35 to 40% of the known songs, considering the period from 1931 to 1980 (as covered in the first five volumes of the HFGK).

However, the same cannot be said of the artists. As we continue to progress and as we start getting near to the total number of songs of an artist, it then becomes somewhat of an effort, to search out a suitable, likeable song from the remaining lot. I have been working through the lists of remaining songs of Sahir Sb much of the early part of today. I picked out a few candidate songs, from across the years his career spans. With an excellent poet like him, I notice that majority, and I mean majority, of the songs written by him are accounted for. I run through the Geet Kosh, and the film name will tell me, not even try looking into the list, because this film is most certainly already ‘Yippeee’d’. Oh yes, I do pick up some, as I said earlier, but reaching 1964, checking out this film ‘Dooj Ka Chaand’, I was surprised that this film is not yet part of the Yippeee list on the blog. Scanning the list of songs, it is almost goose bumps running down my back, as I see this song listed. Quick check on the blog and I find this song is not yet present on the blog. I have made this faux pas a few times in the past, so I quickly send an email to Atul ji, to get a confirmation. I start to prepare the post in anticipation, as I wait for his response. The confirmation email from him a little while later is quite a relief, as you may understand. 🙂

The story of Sahir is a journey in bittersweet loneliness. His own life, his experiences and his personal emotions are quite reflected in the songs and his poetry. A romantic at heart, he was once expelled from his college (in Lahore) by the principal, who saw him sitting in the college lawns with a lady student. That same college today has an auditorium named after him. A childhood that begins with bitter family experiences – a strict and abusive father, and a mother who left the household on that account. He was close to his mother, who ensured that his education continued, even though she was not part of the family, strictly speaking. His poetry budded and took shape within him, and he published his first collection while still at college. The collection is titled ‘Talkhiyaan’ (तल्खियाँ). Literally, it means ‘bitternesses’. . .

The saga of the mutual love and attraction between Sahir and Amrita Pritam, the famous Punjabi poetess and author, is well known. It is not really clear what kept them apart. Was it that Amrita was already a married woman when they met? Was is familial or community apprehensions? We would not know. Theirs was an association of silence, and that is how it has remained – a mystery in silence. At one place, Amrita has written –

“our meetings and being together, were passages of silence. . . for me, it seemed as if the loneliness and silences of my soul took a human shape and came to sit besides me. . . he would be smoking all the time, and when he left, what remained behind was an ashtray full of half smoked cigarettes. . . I would keep them as treasures, and once in a while, would smoke them. . . holding that cigarette in my hand was like him holding my hand. . .”

There is one reference one finds to this personal affair. It is said that Sahir once said to his mother that the only one that could have been her ’bahu’ was Amrita.

Cigarettes and drink became his life, and he passed away quite early – just 57. Lines from two songs simply sum up his passage from the world of living. One – “Main Zindagi Ka Saath Nibhaata Chala Gaya”; I refer to the line “Har Fikr Ko Dhuen Mein Udaata Chala Gaya”. And the second – “Mehfil Se Utth Jaane Waalo”; I refer to the line “Mere Saathi. . . Mere Saathi. . . Mere Saathi Khaali Jaam”. A romantic – lived as one, passed away as one.

Today’s song is a wonderful duet between Lata ji and Asha ji. ‘Dooj’ is the second day in the waxing cycle of the moon. It is on this day that the first crescent of the moon really becomes visible. This view of the moon is considered to be the most auspicious. The Muslims celebrate their Id when this crescent moon is sighted. And in scriptures and books of Hinduism, this sighting finds many mentions, as an auspicious occasion. There is couplet (author unknown) which goes like,

avasar kaudi  jo chuke,  bahuri  diye ka  lakh
duij na chanda dekhiye, udai kaha bhari pakh

That a timely helping hand of just one ‘kaudi’ is worth much more than lakhs given when not needed; so is the sighting of the moon on ‘dooj’; seeing it that day is worth seeing it in all its phases for the rest of the fortnight.

The crescent moon and the star – which is an occasional sighting of the moon and the planet Venus in conjunction, has been considered as the most beautiful sights. It is the conjunction of the mind (मन) and beauty – moon represents the मन and the Venus represents beauty. Poets and authors have written that this sight is more beautiful than ‘Chaudhvin Ka Chaand’, which is the full moon.

Enjoy this lovely song. It depicts the age old tradition of unmarried girls praying to and paying their respects to this sighting of the moon, asking for the blessing of a beautiful loving husband. On screen, the song is performed as a group dance. B Saroja Devi is the lead dancer, accompanied by Madhumati and other ladies. They are teasing Saroja Devi to pray to the moon, and she is responding by saying that the one who may love her should come seeking her. And her friends respond by saying that her ‘bindiya’ and her ‘paayal’ are giving a different message. A lovely tete-a-tete.

Music is vintage Roshan, what a lovely and endearing melody this one is.

Song – Sajan Salona Maang Lo Ji Koi  (Dooj Ka Chaand) (1964) Singer – Asha Bhosle, Lata Mangeshkar, Lyrics – Sahir Ludhianvi, MD – Roshan
Chorus

Lyrics

o ooo oo oo
ooo ooo ooooo
ooo ooo ooo ooo ooo ooo

sajan salona maang lo ji koi
sajan salona maang lo ji koi
nikla hai dooj ka chaand sakhi ri
aaj na kariyo laaj sakhi ri
aaj na kariyo laaj
suno to gori
ui maa
kaahe ki chori
ui maa
sajan salona maang lo ji koi
nikla hai dooj ka chaand sakhi ri
aaj na kariyo laaj sakhi ri
aaj na kariyo laaj

mohe meethi naahi laage aisi baat
sakhi chhedo na
mohe meethi naahi laage aisi baat
sakhi chhedo na
naina chaahe kisi chhaliye ka saath
sakhi chhedo na
aa ha
tu na chaahe kisi mitwa ka saath ri sakhi
ke tori chham chham karti paayal chaahe
koi matwaara rasiya
suno to gori
ui maa
kaahe ki chori
ui maa
sajan salona maang lo ji koi
nikla hai dooj ka chaand sakhi ri
aaj na kariyo laaj sakhi ri
aaj na kariyo laaj

jaa ko bhaaun wo hi maange mera haath
main to maangun na
jaa ko bhaaun wo hi maange mera haath
main to maangun na
badi aai hai ye dooj ki raat
main to maangun na
haaye
tu na maange kachhu aaj ki raat
ri sakhi
ke tori cham cham karti bindiya maange
koi matwaara rasiya
suno to gori
ui maa
kaahe ki chori
ui maa
sajan salona maang lo ji koi
nikla hai dooj ka chaand sakhi ri
aaj na kariyo laaj sakhi ri
aaj na kariyo laaj

la la la la laa
la la la la laa
laaa aaaa la la laa
oo ooo ooo
hmmm hmmm hmmm
hmmm hmmm hmmm
hooo ooo ooo ooo
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————

ओ ओss ओs ओs
ओss ओss ओsssss
ओss ओss ओss ओss ओss ओss

सजन सलोना मांग लो जी कोई
सजन सलोना मांग लो जी कोई
निकला है दूज का चाँद सखी री
आज ना करियो लाज सखी री
आज ना करियो लाज
सुनो तो गोरी
ऊई माँ
काहे की चोरी
ऊई माँ
सजन सलोना मांग लो जी कोई
निकला है दूज का चाँद सखी री
आज ना करियो लाज सखी री
आज ना करियो लाज

मोहे मीठी नाही लागे ऐसी बात
सखी छेड़ो ना
मोहे मीठी नाही लागे ऐसी बात
सखी छेड़ो ना
नैना चाहें किसी छलिए का साथ
सखी छेड़ो ना
आ हा
तू ना चाहे किसी मितवा का साथ री सखी
के तोरी छम छम करती पायल चाहे कोई मतवारा रसिया
सुनो तो गोरी
ऊई माँ
काहे की चोरी
ऊई माँ
सजन सलोना मांग लो जी कोई
निकला है दूज का चाँद सखी री
आज ना करियो लाज सखी री
आज ना करियो लाज

जा को भाऊँ वो ही मांगे मेरा हाथ
मैं तो माँगूँ ना
जा को भाऊँ वो ही मांगे मेरा हाथ
मैं तो माँगूँ ना
बड़ी आई है ये दूज की रात
मैं तो माँगूँ ना
हाए
तू ना मांगे कछु आज की रात री सखी
के तोरी चम चम करती बिंदिया मांगे कोई मतवारा रसिया
सुनो तो गोरी
ऊई माँ
काहे की चोरी
ऊई माँ
सजन सलोना मांग लो जी कोई
निकला है दूज का चाँद सखी री
आज ना करियो लाज सखी री
आज ना करियो लाज

ल ल ल ल ला
ल ल ल ल ला
ला आ ल ल ला
ओ ओ ओ
हम्म हम्म हम्म
हम्म हम्म हम्म
हो ओ ओ ओ


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.

“Banjaare” (1948), by now an obscure movie, was directed by Hiren Bose for Hiren Bose Productions, Calcutta. This movie had Baby Deepanjan, Banshree, Malwika, Pramod Chandra, Jeewanlal, Kamal Mishra, A Malik etc in it.

The movie had nine obscure songs in it according to HFGK. HFGK is silent about the singers of these songs.

Here is the first song from “Banjaare” (1948) to appear in the blog. The singer is not known as far as HFGK is concerned. The uploader has mentioned the singer as Savitri Ghosh, spelled as Sabitri Ghosh in Bangla style.

Zakir Hussain is the lyricist. Music is composed by Anupam Ghatak.

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

I have not been able to get a few words right in the lyrics. I request our readers with keener ears to help fill in the blanks/ suggest corrections as applicable.

With this song, the movie “Banjaare” (1948) as well as the singer Savitri Ghosh make their respective debuts in the blog.


Song-Jhoom rahi masti mein ye phoolon ki daali (Banjaare)(1948) Singer-Savitri Ghosh, Lyrics-Zakir Hussain, MD-Anupam Ghatak

Lyrics

 

jhoom rahi..ee..ee
masti mein ye phoolon ki daali
jhoom rahi..ee..ee
masti mein ye phoolon ki daali
aayi hai..ae..ae
bahaar aaj zamaane mein niraali
aayi hai..ae..ae
bahaar aaj zamaane mein niraali

aabaad tha gulshan mere armaanon ka jis’se
aabaad tha gulshan mere armaanon ka jis’se
rutha huaa hai ae ae
wo hi baag ka maali
rutha huaa hai ae ae
wo hi baag ka maali

jis dil mein sabki shamaayen
jis dil mein sabki shamaayen
is id thhi raushan
ha..an
is id thhi raushan
ab isme..ae..ae
museebat ki
ghata chhai hai bhaari
ab isme..ae..ae
museebat ki
ghata chhai hai bhaari

ae dil e betaab usey yaad kiye jaa
jiske liye..ae..ae haalat ye
prabhu toone banaayi
jiske liye..ae..ae haalat ye
prabhu toone banaayi

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
झूम रही॰॰ई॰॰ई
मस्ती में ये फूलों की डाली
झूम रही॰॰ई॰॰ई
मस्ती में ये फूलों की डाली
आई है॰॰ऐ॰॰ऐ
बहार आज जमाने में निराली
आई है॰॰ऐ॰॰ऐ
बहार आज जमाने में निराली

आबाद था गुलशन मेरे अरमानों का जिससे
आबाद था गुलशन मेरे अरमानों का जिससे
रुठा हुआ है॰॰ऐ॰॰ऐ
वो ही बाग का माली
रुठा हुआ है॰॰ऐ॰॰ऐ
वो ही बाग का माली

जिस दिल में सबकी शमाएं
जिस दिल में सबकी शमाएं
इस ईद थी रोशन
हाँ
इस ईद थी रोशन
अब इसमें॰॰ऐं॰॰ऐं
मुसीबत की
घटा छाई है भारी
अब इसमें॰॰ऐं॰॰ऐं
मुसीबत की
घटा छाई है भारी

से दिल ए बेताब उसे याद किए जा
जिसके लिए॰॰ऐ॰॰ऐ हालत ये
प्रभु तूने बनाई
जिसके लिए॰॰ऐ॰॰ऐ हालत ये
प्रभु तूने बनाई



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.

Saga Of Sleepless Nights – 2
– – – – – – – – – – – – – – –

koi chupke se aa ke
sapne sulaa ke
mujhko jagaa ke boley
ke main aa raha hoon. . .

Our dear departed President had once made a statement that has now become a quotable quote, appearing in many PR campaigns and posters. He had said, “Dream is not that which you see while sleeping, it is something that does not let you sleep”.

President Abdul Kalam was a very influential statesman. His work, his accomplishments, and his vision are a shining example of a motivated personality with a very positive world view. In recent times, this is a quote that has become one of the top inspirational guiding light, for students and young generations.

No, I do not wish to take away the import and the magnitude of significance that this statement entails. I just want to point out that this theme, this concept has been written about by the poets, especially the romantic types, since time immemorial. That the dreams keep you awake. It is the thoughts of the beloved that will occupy the mind’s inner spaces. The dreams will go on an on – about the one you love, being with the one you love, missing the one you love, pining for the one you love, and. . . just simply dreaming to be with the one you love.

Shakespeare has something to say about this,

All days are nights to see till I see thee,
And nights bright days when dreams do show thee me.

That even the days are dark and lonely, like nights when I do not see you; but when I see you even in my dreams, the nights turn into bright days.

It is well known that we dream when we sleep. But tell me, when we are dreaming, does it not seem so very real? Does it not seem that we are living a real experience in real time? Till of course you wake up. And when you wake up from some dreams, it is hard to believe for a few moments that you were asleep – the experience was so very real.

And so the poets write about being awake in the dreams. The poetry that they write about dreams, especially when dream is about love and is about the loved one, tells us about how the beloved comes and wakes you up while you are dreaming – and the trance continues.

So many songs from Hindi films to pick about this experience. The one that is dearest to me is the song from ‘Anubhav’ (1971) – mentioned at the start of this article. Today, I present another lovely song, back from before the golden era of HFM. The song comes from a team that has created so many delightful musical offerings for us to savor. Words from the pen of Kedar Sharma, music from the mind of RC Boral and the lilting voice of Kaanan Devi. As I was searching for a song about dreams – ‘सपना’, I chanced upon this wonderful melody from the 1939 film ‘Sapera’.

The film is produced under the banner of New Theatres, and is directed by Debaki Bose. The cast is impressive – Kaanan Devi, Nawab, Pahadi Sanyal, Prithviraj Kapoor, KC Dey, Bikram Kapoor, Sham Laha, Satya Mukherji and Vinay Goswami etc. As is characteristic of RC Boral’s creations, the song has a significant prelude, before the singing comes on.

The song tells about the sleepless nights when the beloved comes visiting in the dreams. There is a touch of sensuousness – the words tell about meeting of lovers’ lips in the dream. There is a touch of melancholy – the words tell of tears flowing when the lovers’ eyes meet. And there is a strong presence of the emotions of longing throughout the song. Listen. . . and dream of your beloved.

 

Song – Sapnon Mein Koi Aata Hai  (Sapera) (1939) Singer – Kaanan Devi, Lyrics – Kedar Sharma, MD – RC Boral

Lyrics

sapnon mein koi aata hai
sapnon mein koi aata hai
kuchh chupke se keh jaata hai
kuchh chupke se keh jaata hai
hothon se honth milaata hai
hothon se honth milaata hai
hriday ka kanwal khilaata hai
hriday ka kanwal khilaata hai
sapnon mein koi aata hai
sapnon mein koi aata hai

main thandi aahen bharti hoon
main thandi aahen bharti hoon
wo aisi aag lagaata hai
koi poochhe mere saajan se
koi poochhe mere saajan se
koi poochhe mere saajan se
jo us se aankh ladaata hai
kyon uska dil moti ban kar
yun aankhon se beh jaata hai
kyon uska dil moti ban kar
yun aankhon se beh jaata hai
sapnon mein koi aata hai
sapnon mein koi aata hai

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

सपनों में कोई आता है
सपनों में कोई आता है
कुछ चुपके से कह जाता है
कुछ चुपके से कह जाता है
होंठों से होंठ मिलाता है
होंठों से होंठ मिलाता है
हिरदे का कंवल खिलाता है
हिरदे का कंवल खिलाता है
सपनों में कोई आता है
सपनों में कोई आता है

मैं ठंडी आहें भरती हूँ
मैं ठंडी आहें भरती हूँ
वो ऐसी आग लगाता है
कोई पूछे मेरे साजन से
कोई पूछे मेरे साजन से
कोई पूछे मेरे साजन से
जो उस से आँख लड़ाता है
क्यों उसका दिल मोती बन कर
यूं आँखों से बह जाता है
क्यों उसका दिल मोती बन कर
यूं आँखों से बह जाता है
सपनों में कोई आता है
सपनों में कोई आता है


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, which not many people will rememeber – ‘Shri Chaitanya Mahaprabhu’ (1953).

During the Bhakti movement period, almost all regions had their own Saints and Great Bhakts. One such great soul enlightened the people of Eastern India. He was known as Shri Chaitanya Mahaprabhu.

In a short life span of just 48 years (1486-1534), he did extraordinarily religious and reformative work in the 16th century in the regions of Bengal (both the current East Bengal (now in Bangladesh) and West Bengal), Bihar, Jharkhand, Manipur, Assam and Orissa. Not much information is available about him in other regions, so here is a short biography of Shri Chaitanya Mahaprabhu, adapted and edited from Stephen-Knapp.com – with thanks.

Sri Chaitanya Mahaprabhu (pronounced ‘चैतन्य’) (February 27, 1486 to 1534 AD) was born in Navadvipa, Bengal, on a full moon night during a lunar eclipse. It is typical for people to bathe in the Ganges during an eclipse and chant the Lord’s holy names for spiritual purification. So, everyone in the area was chanting the holy names when He was born. His parents, Shri Jagannatha Misra and Mata Shachi Devi, gave Him the name of Vishvambhara, meaning the support of the universe, because astrologers had predicted His super human qualities and that He would deliver the people of the world. He was also nicknamed Nimai because He had been born under a nima tree.

During His childhood He exhibited extraordinary qualities, even having philosophical discussions with His mother. While growing up, His brilliant intelligence began to become apparent. While still a child, He mastered Sanskrit and logic to the point of defeating local pandits, and established the truth of the spiritual and Vedic philosophy. He became so well known that many logicians of various religious and philosophical persuasions began to fear His presence and refused to debate with Him. Thus, Sri Chaitanya established the authority of the Vaishnava tradition through the process of debate and logic.

When Sri Chaitanya went to Gaya on the pretext to perform ceremonies for the anniversary of His father’s death, He received Vaishnava initiation from Shri Ishvara Puri. Thereafter, He lost all interest in debate and simply absorbed Himself in chanting and singing the names of Lord Krishna in devotional ecstasy. Upon returning to Navadvipa, He gathered a following with whom He would engage in congregational singing of the Lord’s holy names. Thus, He started the first ‘sankirtana‘ movement (congregational devotional singing), and established the importance of chanting the names of God in this age as the most elevated of spiritual processes, and the prime means for liberation from material attachments. At first, His chanting with people was for the few participants who were a part of His group, but then Sri Chaitanya ordered that the ecstasy of love of God be distributed to all people of the area. He gave no recognition for the privileges of caste, or for position, or type of philosophy a person had, or yogic asceticism. He only emphasized the devotional chanting of the Lord’s holy names, using the Hare Krishna mantra – “Hare Krishna, Hare Krishna, Krishna Krishna, Hare Hare / Hare Rama, Hare Rama, Rama Rama, Hare Hare”, which has the power to bring out the natural loving sentiments for God.

It was at the age of 24 when He shaved His head and took the order of sanyaasa, the renounced stage of life, when He accepted the name of Krishna Chaitanya from Shri Keshav Bharati during the initiation. He then spent four years travelling through South India, and also visited Vrindavana and Varanasi. During this time he also gave special instructions to his main followers, Shri Roop Goswami and Shri Sanatana Gosvami, who then also spread the glories of the Divine Love for Radha and Krishna. They settled in Vrindavana where they spent their years in writing many books elaborating the instructions of Lord Chaitanya and the glories of bhakti for Radha and Krishna. They also revealed the places where Radha and Krishna performed many varied pastimes in that land of Vrindavana, which have remained special spots where devotees can become absorbed in the bliss of love of Radha and Krishna.

Lord Chaitanya spent His remaining years in Jagannatha Puri. During this time He was absorbed in ecstatic devotion to Krishna in the loving mood of Radharani, in which He would lose all external consciousness. He freely distributed the divine nectar of this love for Krishna to everyone and anyone, day and night. Even His presence or mere touch could transform everyone that came near Him into the same devotional mood. He remained like this until He finally left our vision at the age of 48.

Lord Chaitanya is considered and was established by Vedic scripture as the most recent incarnation of God. The Lord always descends to establish the codes of religion. This is confirmed in Bhagavad-gita (4.6-8) where Lord Krishna explains that although He is unborn and the Lord of all living beings, He still descends in His spiritual form in order to re-establish the proper religious principles and annihilate the miscreants whenever there is a decline of religion and a rise in irreligious activity.

The birthplace of Shri Chaitanya Mahaprabhu, popularly known as Mayapur, is located on the banks of the Ganges river, at the point of its confluence with the Jalangi, near Navadveep, West Bengal (India), 130 km north of Kolkata (Calcutta). The headquarter of ISKCON (International Society for Krishna Consciousness) is situated in Mayapur. It is considered a holy place of pilgrimage by a number of other traditions within Hinduism. It is of special significance to followers of Gaudiya Vaishnav tradition, as the birthplace of Shri Chaitanya Mahaprabhu, regarded as a special incarnation of Krishna in the mood of Radha. It is visited by over a million pilgrims annually.

Mayapur can be reached by boat, and more commonly by train or bus. ISKCON Kolkata operates regular bus service from Kolkata to Mayapur. Frequent train service is available to Krishnanagar, Nadia from Kolkata’s Sealdah Station, then 18 km by auto or cycle rickshaw to Mayapur. During the visit one can see the huge headquarters of ISKCON and a long stream of saffron-robed devotees chanting the Hare Krishna mantra. I visited the place about two decade ago. For all those who visit Kolkata, it is like a rite of passage to visit Mayapur.

The music director of this film is the legendary RC Boral aka Raichand Boral, famous for his New Theatre, Calcutta  films and songs. Once upon a time New Theatres was a great institution. It gave many entertaining and meaningful films, in Bangla and Hindi. A highly capable band of authors, writers, actors, actresses, directors, music directors, lyricists, singers and a whole lot of technical staff started their careers here, and spent their best and most productive years with this institution. New Theatres was known for clean entertainment. This was true in the 20s, 30s and till late 40s. The atmosphere in the studio was like a family.

However, it is the law of nature that whatever goes up must come down also, with time. This process started from the mid 1930s itself when Nitin Bose and Debaki Bose had a big tiff – an ego clash. Later on PC Barua also left, followed by Kaanan Devi, who joined the new company founded by Barua. Uma Shashi eloped with some outsider. In the early 1940s a group of artistes, consisting of actors and directors left NT, to go to Bombay. KL Saigal, Prithviraj Kapoor, KN Singh, Kidar Sharma etc. left for Bombay. Around 1943, Nitin Bose came to Bombay. The Second World War had already broken the back of Film Industry in Calcutta. Additionally, this exodus caused greater harm. People like Pankaj Mullick, though unhappy in NT, did not leave. By about 1950, New Theatres was almost a non-entity !

A giant like Raichand Boral, music director, was invited by Nitin Bose to Bombay. Wanting to try his hand, RC Boral did 3 films in Bombay, namely, ‘Dard e Dil’ (1953) – a film made by Nitin Bose himself, ‘Shri Chaitanya Mahaprabhu’ (1953), a film made by the giant Prakash Pictures of the Bhatt brothers and ‘Swami Vivekanand’ (1955), a film made by Amar Mullick. RC Boral’s music was still in the traditional Bangla style. In Bombay, during the 1950s, the trend was for fast melodies. New generation MDs Shankar-Jaikishan were in full swing. C Ramchandra and SD Burman etc. were churning out  fast melodies. The newer generation of the music lovers was wary of the slow, sentimental, bhajan-like songs now. Boral’s traditional music was unacceptable to them. Therefore the music from none of the three films become popular. Moreover 2 of the 3 films of Boral, had subjects meant only for a limited captive audience of middle age to old age category. Thus Boral proved to be a failure and after these 3 films went back to Calcutta to be amongst his comfort zone of Bangla films.

RC Boral (19-10-1904 to 25-11-1981) was undoubtedly one of the greatest composers of Indian films – be it Bangla or Hindi. From his first Hindi Talkie film ‘Zinda Laash’ (1932) till his last Hindi film ‘Amar Saigal’ (1955),  Boral gave music to 33 Hindi films, most of which were made bilingual in Bangla and Hindi at Calcutta. According to the famous film music historian Dr. Ashok D Ranande, Boral made a significant contribution to the Indian film music. First, he gave lot of importance to background music to enhance the effectiveness of screen images. Secondly, he developed the concept of prelude and interlude music segments in film songs. Thirdly, he is credited with the introduction of playback singing in films . The songs of ‘Pooran Bhagat’ (1933), ‘Chandidas’ (1934), ‘President’ (1937), ‘Mukti’ (1937), ‘Street Singer’ (1938), ‘Lagan’ (1941), ‘Saugandh’ (1942), ‘Wapas’ (1943) and ‘Hamraahi’ (1944) are enough to make him immortal in the annals of film music in India. KL Saigal, Kaanan Devi, Pahadi Sanyal, Harimati and Binota Bose owe their fame and name to Boral. He composed the present tune of our national anthem “Jana Gana Man“, for his film ‘Hamrahi’. Boral got the President’s award in 1959, Sangeet Natak Academy award in 1978 and the prestigious Dada Saheb Phalke award in 1979. He passed away on 25-11-1981 but RC Boral-the legend will always live in the minds of music lovers.

Not only RC Boral, but many other artists from Bengal, who came to Bombay for their career felt uncomfortable and uneasy with the Bombay film culture and they always tried to gather Bangla artists in their work environment to feel safe. This was not so with Bombay film people when they went to Bengal or South. Even the musicians and directors from the South, operated in Bombay atmosphere quite comfortably. Probably, for the Bangla artists, the impact of regional pride and language of Bengal was a hindrance in Bombay.

The film ‘Shri Chaitanya Mahaprabhu’ had a total of 16 songs. In the 1950s, the Hindi films had an average of 8 to 10 songs only. Along with Asha, Lata, Rafi and Talat, Boral also used Dhananjay Bhattacharya and Binota Chakraborty from Calcutta, as playback singers. The name of Binota Chakraborty sounds completely Bengali, but she was a Marathi mulgi from Bombay and her real name was Vinita Amladi. Today’s song is sung by her.

Vinita Raghvendra Amladi was born on 9-8-1928 in Bombay. She had 3 sisters and 3 brothers. Her father, Raghavendra, used to play tabla. Her elder sister Hemlata, sang classical music. Vinita learnt singing from her sister Hemlata. Once, when Vinita was about 15-16 year old, she sang in a private birthday party, in which composer Sardar Malik was present. He was impressed with her singing and she was given an offer to sing songs in film ‘Rain Basera’ (1947), at a princely sum of Rs.250/-. After this film she also sang in the film ‘Renuka’ (1947).

When she went to record songs with Sardar Malik, she met her future husband Krishna Chakraborty, who worked as a pianist in the orchestra. She then met composer Vinod. She says-

“I was introduced to the sound recordist of Shorie films, at a song and dance group meeting. He in turn took me to Vinod. He heard my singing and included me in the chorus of a song of Lata in ‘Ek thi Ladki’ (1949). Then he said, “You have met me very late. Now I have only one song left. You sing it”. The song was “Dilli Se Aaya Bhai Tingu” from ‘Ek Tthhi Ladki’. The song became a super hit in those days.”

After this she did some Marathi films. In 1950 she got married to Krishna Chakraborty, against opposition from  her family and they moved to Calcutta and settled there. In 1952 Pankaj Mullick called her to sing a Meera Bhajan in film ‘Yatrik’. When she went to New Theatres for recording this song, she was thrilled. Her father was so happy with this song that they forgot the past and reunited. Pankaj Mullick sent her to Kamal Dasgupta and under his baton she sang some songs in Bengali films. By now her name had automatically tranformed from Vinita to Binota in the Bengali style. As Binota Chakrawarty she sang songs in yet another Hindi film from Calcutta ’25th July’ (1951).

In 1953 she came back to Bombay after her husband’s untimely death, to look after her ailing father. In Bombay she sang songs in ‘Kasturi’ and ‘Shri Chaitanya Mahaprabhu’, both in 1954. Now she stopped getting songs and she retired. She used to live in Goregaon, Mumbai.

The cast of the film was Bharat Bhushan, Ameeta, Krishnakumari, Durga Khote, BM Vyas, Umakant, Madan Puri, Raj Kumar, Pinakin Shah etc. Bharat Bhushan had received the Filmfare best actor Award for this film, in 1955. (Though the film was censored in 1953 December, it got released only in 1954).

Enjoy the song.


Song – Nimai Chaand, Gore Chaand (Shri Chaitanya Mahaprabhu) (1953) Singer – Binota Chakravarty, Lyrics – Bharat Vyas, MD – RC Boral

Lyrics 

nimai chaand
gore chaand o mere
chhod mohe kahaan. . .
kahaan re chalaa

ghar soona soona
kar ke chala re. . . hey. . .
o bap ik baar
mukhda dikha re
o bap nimai mere tu
ek baar mukh to dikha re. . .
ey. . .
nimai chaand

mann pinjre mein
panchhi hriday ka..aa..
jatnon se jisko main ne samaaya
haaye
udd gaya chhalia..aa
tod ke taala
bole vishnu ke ab hoon
roye
roye re
re. . . hey. . .
kaise dheer hey bandhaaun main
o bap nimai mere
kaise dheer hey bandhaaun main
??
nimai chaand

baal umar mein
bairaagi na hoyio
sanyaasi na hoyio
ghar reh ke let naam re nimai
maai ko tu layio re nimai
baal umar mein
sanyaasi na hoyio

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

नीमाई चाँद
गोरे चाँद ओ मोरे
छोड़ मोहे कहाँ॰॰॰
कहाँ रे चला

घर सूना सूना
कर के चला रे॰॰॰
हे॰॰॰
ओ बप इक बार
मुखड़ा दिखा रे
ओ बप निमाई मेरे तू
इक बार मुख तो दिखा रे॰॰॰
ए॰॰॰
नीमाई चाँद

मन पिंजरे में
पंछी हृदय का॰॰आ॰॰
जतनों से जिसको मैंने समाया
हाय
उड़ गया छलिया॰॰आ॰॰
तोड़ के ताला
बोल विष्णु के अब हूँ
रोये
रोये रे
रे॰॰॰
हे॰॰॰
कैसे धीर हे बंधाऊँ में
ओ बप निमाई मेरे
कैसे धीर हे बंधाऊँ में
??
निमाई चाँद

बाल उमर में
बैरागी ना होइयो
सन्यासी ना होईओ
घर रह के लेत नाम रे निमाई
माई को तू लईओ रे निमाई
बाल उमर में
सन्यासी ना होईओ


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 most common milestone in this blog is century of songs in the blog. Then we also have some associated milestones viz centuries by artists, contributors etc.

After this blog touched the five figure mark of songs on 20 july 2014, some of the regulars began to point out some “special” numbers that the blog was approaching. Though not round figures like centuries, these numbers held arithmetic significance and we in the blog decided to associate these numbers with special writeups.

The first of such “artificial” milestones was post number 11111. We marked the occasion by discussing a special song where as many as five artists completed their individual centuries in the blog with the same song.

The next such “artificial” milestone was post number 12345. Some regulars kept reminding Sudhir Jee and me about this milestone. We kept up a brave face telling everyone that we were aware of the special occasion. In reality we were all at sea to decide what song to discuss on that special occasion. Just at the nick of time, Sudhir Jee hit upon an ingenious idea and discussed a special song that had one lyricist, two music directors, three singers, which was piturised on four actors and this song appeared in the movie five times !

That done, we heaved a sigh of relief thinking that the next “artificial” special number was far off. We were mistaken. Mr Avadh Lal, a musically cum mathematically inclined regular suggested that the next “special” number was just round the corner. This number was 12357- all prime numbers.

If chosing a suitable song for post number 12345 was a challenge then chosing a song for post number 12357 turned out to be an even tougher challenge. How Sudhir Jee managed to pull off the feat of posting a song for post number 12357 is something that I have not understood even to this date.

Now, more than 1200 songs later, we arrive at another magic number, or a honky tonk number, as Sudhir Jee puts it. 13579 is the mumber, consisting of all odd numbers in ascending order.

Unlike the earlier honky tonk numbers, I am surprised (and somewhat relieved) to realise that the regulars of the blog have not noticed that we are approaching this number and as a result we have not received any reminders for this special number.

Unlike the songs that we found for the earlier three honky tonk numbers, finding a “suitable” song number 13579 is a tall order and I was quite unable to come up with a suitable and justifiable idea that our wise readers would find plausible and believable.

After giving the matter some thought, I realised that the ideas used for earlier occasions were not applicable in this case and we needed to come up with some original ideas.

After toying with some unpractical ideas, I thought up this idea that this post needed to be somehow associated with DMY format, viz 13-5-79.

So, I scanned google to find out if I could get some film personalities that were either born on 13-5-79 or they died on this date. I drew a blank. I came to know that the crown prince of an European nation was born on this date but no personality who could be even remotely associated with HFM was born on this date, nor did someone die on this date on that year.

There was one actress who was born on this date in a later year, but this blog is a U rated blog and so I would be very hesitant to have to do anything with her on this blog. 🙂

I also came to know that ‘Mr Natwarlal’ was released on 14 may 1979 (if it is correct), so it narrowly missed being a movie with 13-5-79 connection, not that it would have helped though, seeing that all songs from this movie have already been covered.

So, I decided that I needed to get some HFM related personality who has something to do with 13 may and hope that he/ she had something to do with the figure 79 as well.

A little search on our anniversary page revealed that two singers namely Utpala Sen and A R Oza had died on 13 may, though on years other than 1979. Did any of them die at the age of 79. If yes, then that would clinch the issue. Very little information is available on A R Oza, and whatever is avilable is contained in this very blog, thanks to the article by our beloved inhouse encyclopaedia, Mr Arunkumar Deshmukh. Going through his articles revealed that the date and year of birth of A R Oza is not available. So he is ruled out.

When I checked up the dates for Utpala Sen, I found that she was born on 12 March 1924 and she died on 13 May 2005 at the age of 81.

So I began to think of a combination. Let Utpala Sen supply 13-5 component of the jigsaw. Let the other portion of the jigsaw, viz 79 be supplied by someone who is associated with Utpala Sen in a Hindi movie song.

On checking up, I realised that Utpala Sen has sung very few Hindi movie songs (may be 15 or 16) and most of them are already covered in the blog. She sang most of these songs with Pankaj Mullick and all available songs of this combination are already covered.

I found that Utpala Sen had sung in ‘Wasiyatnama’ (1945) under the baton of RC Boral. Could RC Boral supply the other half of jigsaw ? I checked his biodata. He was born on 19 October 1903 and he died on November 1981. So he was just over 78 years of age. What a narrow miss ! Or was it ? If one counts the number of calendar years that RC Boral saw in his lifetime, he saw a total of 79 calender years ! So there is the other half of the jigsaw puzzle, nicely getting dovetailed with the other half with a satisfying sound !

‘Wasiyatnaama’ (1945), by now a forgotten movie, was directed by Soumen Mukherji for New Theatres, Calcutta. The movie had Asit Baran, Sumitra Devi, Bharati, Latika Bannerji, Ahindra Chaudhary, Hiralal, Devi Mukherji, Shor, Tandon, Natwar, Tulsi etc in it.

The movie had six songs in it and two of these songs are covered in the blog.

This third song from the movie, which is the 13579th song post for the blog, is sung by Utpala Sen and it is composed by RC Boral. The song is penned by Zakir Hussain and no details are available for him, so he was in any case of little use to us in our search for our magic numbers.

Here is this special song post for the blog. This song, like most such songs, is quite a rare song.

So, my dear readers of this song, here is song post number 13579 in the blog. Enjoy !

And hopefully this takes care of our honky tonk numbers for the near forseeable future. Phew, this was close ! 🙂

[Ed Note: In the second antaraa, the word ‘mrigya’ (मृग्या) is a modified form of the word ‘mrig-trishna’ (मृग तृष्णा), which translates to ‘mirage’ in English. It is the optical illusion created in the deserts, which makes the travellers and also animals in the desert, see things, especially water, at a distance, even though it is not actually there.]


Song – Gaaye Jaa Tu Geet Suhaane, Kaun Kisi Ke Mann Ki Jaane (Wasiyatnama) (1945) Singer – Utpala Sen, Lyrics – Zakir Hussain, MD – RC Boral

Lyrics

gaaye jaa tu geet suhaane
gaaye jaa tu geet suhaane
kaun kisi ke man ki jaane
haan jaane jaane
kaun kisi ke man ki jaane
gaaye jaa tu geet suhaane
suhaane

deepak ka hai kaam jalaana
deepak ka hai kaam jalaana
aur patange ka jal jaana
jal jaana
aur patange ka jal jaana
is mein kya hai dosh kisi ka
is mein kya hai dosh kisi ka
marne ke hain laakh bahaane
marne ke hain laakh bahaane
kaun kisi ke man ki jaane
haan jaane jaane
kaun kisi ke man ki jaane

jagmag jagmag ret jo chamke
mrigya jal ki lahren damken
jagmag jagmag ret jo chamke
mrigya jal ki lahren damken
kaisa hai ye sundar dhokha
aa aa aa
kaisa hai ye sundar dhokha
aa aa aa
aag se jaaye pyaas bujhaane
aag se jaaye pyaas bujhaane
kaun kisi ke man ki jaane
haan jaane jaane
kaun kisi ke man ki

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

गाये जा तू गीत सुहाने
गाये जा तू गीत सुहाने
कौन किसी के मन की जाने
हाँ जाने जाने
कौन किसी के मन की जाने
गाये जा तू गीत सुहाने
सुहाने

दीपक का है काम जलाना
दीपक का है काम जलाना
और पतंगे का जल जाना
जल जाना
और पतंगे का जल जाना
इस में क्या है दोष किसी का
इस में क्या है दोष किसी का
मरने के हैं लाख बहाने
मरने के हैं लाख बहाने
कौन किसी के मन की जाने
हाँ जाने जाने
कौन किसी के मन की जाने

जगमग जगमग रेत जो चमके
मृग्या जल की लहरें दमकें
जगमग जगमग रेत जो चमके
मृग्या जल की लहरें दमकें
कैसा है ये सुंदर धोखा
आ आ आ
कैसा है ये सुंदर धोखा
आ आ आ
आग से जाये प्यास बुझाने
आग से जाये प्यास बुझाने
कौन किसी के मन की जाने
हाँ जाने जाने
कौन किसी के मन की


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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 13600 song posts by now.

This blog is active and online for over 3300 days since its beginning on 19 july 2008.

Total number of songs posts discussed

13605

Number of movies covered in the blog

Movies with all their songs covered =1020
Total Number of movies covered =3725

Total visits so far

  • 9,676,730 hits

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Blog Start date: 19 july 2008

Active for more than 3250 days.

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