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

Archive for the ‘Lyrics by Sudhir’ Category


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 :

3783 Post No. : 14764 Movie Count :

4037

Today’s song is from film ‘Holi’ (1940). It is written by DN Madhok and composed by Khemchand Prakash. This duet is sung by Sitara Devi and Kantilal.

When silent films started talking, it became imperative for the film makers to recruit only those artistes who could sing on screen. In this compulsion, most of the times, the composers had to compromise on the singing ability of the artistes, because for the artistes, acting was primary and singing was secondary. Barring the born, natural singers like Noorjehan, KL Saigal, Khursheed, Surendra and few others, the rest of the singers in the film industry were all ‘make do’ types. In the early era, till about the beginning of the 40’s decade, the music directors had a tough time getting songs sung by these so called ‘singers’. May be, that is the reason why we find that many composers also sang when the playback started.

Almost all the heroes and heroines (with the sole exception of Jairaj – who was an ‘Aurangzeb’ in music) willy-nilly sang even after the playback singing had firmly set in. Pure and exclusive singers like Lata, Asha, Geeta, Rafi, Mukesh and Talat started occupying their legitimate place in playback singing in films from the mid 1940s onward. At the same time, slowly and steadily singing by the actors and actresses diminished, and by the dawn of the 1950’s decade, playback singing was rooted firmly. In my opinion, this was also one of the major reasons of ‘Golden Period of Film Music’ blossoming from around 1947-48 onward. Due to the availability of playback singers, actors started acting wholeheartedly and composers got new energy and they concentrated on making good music rather than breaking their heads on teaching the ‘pseudo-singers’ how to sing their songs ! In one of the interviews, Naushad had expressed his relief from getting song sung by non-singers !!

Singers like Ishwarlal, Kantilal, AR Oza, Vatsala Kumthekar etc were part actors and part singers. Thus we find that very rarely any song sung by these part time singers became an evergreen song. I can, however, think of only one song- “Zindagi Ka Saaz Bhi Kya Saaz Hai, Baj Raha Hai Aur Be-awaaz Hai” by Naseem Bano in film ‘Pukar’ (1939). She had sung it well and the composer Meer Sahab too should get some credit for its composition. But such cases are rare. Mohd. Rafi’s case in this connection can be quoted. After the regular playback singers became composers’ first choice, one by one the ‘part time’ singers closed their shops ! See here how Rafi did it.

Mohd. Rafi, no doubt, was a versatile singer. Like Lata, when he came on the scene of playback singing – after considerable hard work and struggle, he replaced the old singers who sang in the films, one by one.

  • Ashok kumar’s singing spree stopped when Rafi sang for him in film ‘Saajan’ (1947).
  • Ishwarlal stopped singing when Rafi sang for him in film ‘Sharbati Aankhen’ (1945).
  • Shahu Modak stopped after ‘Chakradhari’ (1954).
  • WM Khan after ‘Aalam Ara’ (1956).
  • Master Nissar after ‘Boot Polish’ (1954)
  • GM Durrani after ‘Lal Pathar’ (1971)
  • Karan Dewan after ‘Duniya’ (1949).
  • Noor Mohammed Charlie after ‘Zameen Ke Taare’ (1960).
  • Balak Ram after ‘Shri Ram Bharat Milan’ (1965).
  • Moti Sagar after ‘Paak Daman’ (1957).
  • Man Mohan Krishna after ‘Basant Bahar’ (1956).

Mohd. Rafi even sang for some composers who used to sing in films,

  • SN Tripathi – ‘Pawanputra Hanuman’ (1957).
  • Snehal Bhatkar – ‘Baawre Nain’ (1950) (he was doing a beggar’s role in this film)
  • Sudhir Sen – ‘Saat Phere’ (1970).

By the way, Rafi was the only male playback singer who sang with all 3 major singer actresses

  • Noorjehan – ‘Jugnu’ (1947).
  • Khursheed – ‘Aage Badho’ (1947)
  • Suraiya – they have sung together in 13 films

The female singer in today’s song is Sitara Devi (8-11-1920 to 25-11-2014), the well known Kathak dancer. Her life story is available freely on the internet. She was bestowed the title of ‘Nritya Samragni’  by Ravindranath Tagore, in 1936, when she was just 16 year old. Sitara is also famous for her multiple marriages. She was the one who refused to accept ‘Padma Bhushan’ honour, stating that she deserves nothing less than ‘Bharat Ratna’ alone ! She had taught Kathak Dance to younger actresses like Madhubala, Rekha, Mala Sinha and Kajol.

The male singer in today’s song is Kantilal. KANTILAL CHHAGANLAL PACHCHIGAR was born on 18-4-1907 in Surat, Gujarat. Due to inherent interest in music, after college education he came to Bombay to try film singing. His first film was ‘Bulbul e Paristan’ (1934) from Vishnu Cinetone. Kikubhai Yagnik was the MD. Kantilal sang 2 songs in it. In 1935, he acted, sang and gave music to ‘Preet Ki Reet’ (1935). He sang 6 songs. He also gave music in ‘Punjab Ka Sinh’ (1936) and also in ‘Gul Badan’ (1937). From 1937 to 1941, he was with Ranjit Movietone and acted and sang in 16 films. He sang 40 songs under Khemchand Prakash and Gyan Dutt.

Then came ‘Gazi Salahuddin’, ‘Kangan’, ‘Holiday In Bombay’ and ‘Kanchan’. Kantilal sang 60 songs in 24 films under 5 MDs. Some of his films were, ‘Toofaani Toli’, ‘Ban Ki Chidiya’, ‘Billi’, ‘Gorakh Aaya’, ‘Prithviputra’, ‘Adhoori Kahaani’, ‘Nadi Kinaare’, ‘Aaj Ka Hindusthan’, ‘Achhoot’, ‘Diwali’, ‘Holi’, ‘Musafir’, ‘Pardesi’, ‘Sasural’, ‘Shaadi’ etc.

In 1943, he married Ushaben and acted in Gujarati films and dramas. He passed away on 17-6-1971.

Khemchand Prakash (12-12-1907 to 10-8-1950) was a very talented composer, but unfortunately  most of his career, he dealt with average singers. Whenever he got opportunity to make songs for real singers like Saigal (‘Tansen’ and ‘Bhanwara’), Khursheed, Kishore ( ‘Ziddi’ and ‘Muqaddar’), Lata (‘Mahal’) and Rajkumari, his songs became famous and very popular. Today’s song is sung by the so called part time singers, but they have tried their best in it.

With this song film ‘Holi’ (1940) makes its debut on the blog.

 


Song – Dhanwaalon Ki Duniya Hai Ye, Nirdhan Ke Bhagwaan  (Holi) (1940) Singer – Kantilal, Sitara Devi, Lyrics – DN Madhok, Music – Khemchand Prakash
Kantilal + Sitara Devi

Lyrics (Provided by Sudhir)

dhanwaalon ki duniya hai ye
nirdhan ke bhagwan
dhanwaalon ki duniya hai ye
nirdhan ke bhagwan

nirdhan teri
nirdhan ka main
nirdhan teri
nirdhan ka main
ek anokhi shaan
ek anokhi shaan

do din ki ye mast jawaani
do din ki ye mast jawaani
do din ka ye roo..oop
ek mundere chaanv hai aayi
ek mundere dhoo..oop
bhole panchhi is pinjre ka
bhole panchhi is pinjre ka
jhootha tere maan
haa..aan
jhootha tere maan
haa..aan
dhanwaalon ki duniya hai ye
nirdhan ke bhagwan

ret ke mahal bana kar moorakh
ret ke mahal bana kar moorakh
in mein kiya baseraa. . .
ek fanaa ke jhonka aaya
kooch hua sab dera
ret ke mahal bana kar moorakh
ret ke mahal bana kar moorakh
in mein kiya baseraa. . .
ek fanaa ke jhonka aaya
kooch hua sab dera
jhootha jeevan ka iktaara
jhootha jeevan ka iktaara
jhoothi us ki taa..aan
dhanwaalon ki duniya hai ye
nirdhan ke bhagwan
dhanwaalon ki duniya hai ye
nirdhan ke bhagwan

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

धनवालों की दुनिया है ये
निर्धन के भगवान
धनवालों की दुनिया है ये
निर्धन के भगवान

निर्धन तेरी
निर्धन का मैं
निर्धन तेरी
निर्धन का मैं
एक अनोखी शान
एक अनोखी शान

दो दिन की ये मस्त जवानी
दो दिन की ये मस्त जवानी
दो दिन का ये रू॰॰प
एक मुंडेरे छाँव है आई
एक मुंडेरे धू॰॰प
भोले पंछी इस पिंजरे का
भोले पंछी इस पिंजरे का
झूठा तेरे मान
हाँ॰॰आँ
झूठा तेरे मान
हाँ॰॰आँ
धनवालों की दुनिया है ये
निर्धन के भगवान

रेत के महल बना कर मूरख
रेत के महल बना कर मूरख
इन में किया बसेरा॰ ॰ ॰
एक फना का झोंका आया
कूच हुआ सब डेरा
रेत के महल बना कर मूरख
रेत के महल बना कर मूरख
इन में किया बसेरा॰ ॰ ॰
एक फना का झोंका आया
कूच हुआ सब डेरा
झूठा जीवन का इकतारा
झूठा जीवन का इकतारा
झूठी उसकी ता॰॰आन
धनवालों की दुनिया है ये
निर्धन के भगवान
धनवालों की दुनिया है ये
निर्धन के भगवान

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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 : 3774 Post No. : 14752

Today’s song is a very melodious duet by Surendra and Waheedan Bai, in film Alibaba-1940.

Alibaba’s story is from Arabian Nights stories and is one of the most popular stories around the world. No wonder, our film makers took up this story. Films with ‘Alibaba’ title were made in 1940, 1946 and 1976. Films with ‘Alibaba and 40 Thieves’ title were made in 1932, 54, 66, 80 and 2004. ‘Alibaba and Marjina’ was made in 1977. There may be some more which I have missed. Comparatively, more films were made on Alladin and his Magic Lamp. After all magic has its own attraction. Even in silent era films were made on these two characters.

After the successful film ‘Ek Hi Rasta’ (1939), Mehboob started work on ‘Alibaba’. He had made the beginning of his film career by acting in the silent film on Alibaba. He was one of the 40 thieves ! By now, due to his continuous success, Sagar Movietone had benefited much and he was highly respected in the company. Besides Mehboob, Sagar Movietone had a team of other directors like CM Luhar, Sarvottam Badami, Hiren Bose, Ramchandra Thakur etc. They too were making films for Sagar. However, their films were not as successful as those by Mehboob. In addition, the onset of Second World War had a negative impact on Sagar and it went into loss. Soon, the owners decided to close the company.

By this time, Mehboob was ready with all the arrangements to start the shooting of ‘Alibaba’. Closing down of Sagar was a shock to him. He approached Ardeshir Irani of Imperial and asked for permission to shoot his film there. Irani was very happy. The novice ‘extra’ who had worked in his company – without pay for first five months – had now become acclaimed top class successful Director. Irani was proud of Mehboob. He gladly permitted him to shoot his entire film there.

In the film ‘Alibaba’, Surendra was to do the double role of Alibaba and his son. Now, Mehboob needed two heroines. He selected Waheedan Bai and Sardar Akhtar. Akhtar was the youner sister of Bahar – wife of AR Kardar. In an article in Filmfare dated 16-8-1957, Mehboob wrote “the moment I saw Sardar Akhtar, I fell for her and knew that one day she will be my wife.” Sure enough, he married her later.

It was during the shooting of film ‘Aurat’ (1940), Mehboob was attracted towards Jyoti – sister of Waheedan Bai and one of the cast of Aurat – and he started spending time with her, having tea together, lunch together etc. Sardar Akhtar noticed this and played her cards well. She encouraged Jyoti to accept outside film offers lest she would be out of circulation. Then she poisoned Mehboob by telling him that Jyoti was not a good girl and that she was more interested in outside film roles. Consequently, Jyoti’s role in film ‘Aurat’ was reduced. By the time film ‘Aurat’ was completed, Akhtar had fully influenced Mehboob and then insisted on getting married. He too wanted it and they got married just before the film was released.

Mehboob had wanted to make ‘Alibaba’ in Hindi and Punjabi. Anil Biswas was his pet MD for so many films. He asked Anil da to do the music of Hindi and Punjabi versions. Anil da flatly refused saying that he did not know Punjabi. Even after lot of discussion, he was not ready. Mehboob left the matter as it is. After a week or so, there appeared a news in papers that “. . . Anil Biswas, a Bengali, gives music to Hindi films but can not give music to Punjabi films”. Someone showed this news to Anil Biswas. He was agitated and ran to Mehboob. Anil da said, “OK, I will give music in any language that you make films in. French, English, Arabic, Spanish – any language, but stop spoiling my reputation.”  Mehboob just smiled and said, “Ja Bangali ja. Punjabi gaanon ko music de “. Anil Biswas sought assistance from a Punjabi technician Shahji, who helped him to understand the basic naunces of Punjabi music. The music he ended up composing for the Punjabi version was much better than the one given to Hindi version, according to Anil Biswas himself !

Basic Arabian Night story was adapted for Hindi by Dr. Safdar Aah and for Punjabi, it was Lala Yaqub. The Punjabi lyrics were by Shah Aziz. For film ‘Alibaba’, Mehboob had 4 assistant directors, Chimankant Gandhi, Jagdish Coopal (he also did a small role in the film), Narwekar and Gazi Banwali.

Mehboob Khan came up from a very poor family and he had to struggle hard to reach this stage. So he knew how it feels to miss opportunities to make it big. He himself had lost the opportunity to become a hero twice. First when he was almost selected for ‘Alam Ara’ (1931), vacating for Master Vithal and second time for film ‘Shehar Ka Jaadu’ (1934), this time making way for debutante Motilal.

Mehboob helped many actors to start their careers or do a memorable role first time, in his films, like Sitara Devi, Aruna, Surendra, Maya Banerjee, Arun Ahuja, Harish Taranath, Sheikh Mukhtar, Jyoti, Waheedan Bai, Sardar Akhtar, Veena and Nargis. Mehboob also gave Raj Kapoor his first big and famous film – ‘Andaz’ (1949).

Mehboob was very strict but also kind hearted when it came to remembering people who had helped him in some way. Much of the shooting of ‘Mother India’ (1957) was in rural area of Bilimora, Kolhapur and Nashik. In village Shiroli, near Kolhapur, when the shooting was going on, a major portion of the harvest in the field of a farmer was destroyed. Mehboob Khan met that farmer, apologized and paid fully for all damages. Not only that, when he learnt that the farmer and his family has never seen Bombay, he brought all of them to Bombay , at company’s expenses, and showed them around for a week. In addition, when film ‘Mother India’ was to be released in Rajaram Talkies in Kolhapur, Mehboob wrote to the distributor at Kolhapur to invite the farmer’s family as a special guest for the film premier !

Mehboob Khan’s life is nothing short of a film story. There are many things which have to be brought to people to focus on his qualities. An illiterate village boy touching the sky with hard work and determination is his life story.

Today’s song is very melodious and I liked it. I am sure you too will like it.

[Acknowledgement: Most part of the write up uses the information from the books, ‘Mehboob Khan’ by Shashikant Kinikar and ‘Cinemacha Cinema’ by Isak Mujawar).


Song – Dil Ka Saaz Bajaaye Jaa  (Alibaba) (1940) Singer – Surendra, Waheedan Bai, Lyrics – Dr Aah Sitapuri, Music – Anil Biswas

Lyrics (Provided by Sudhir)

hmmmm mmmmm

aaaa aaaa
dil ka saaz bajaaye ja
aaaaaaa
dil ka saaz bajaaye ja
jis taar mein tere naghme hain
jis taar mein tere naghme hain
mizraab usi pe lagaaye ja
mizraab usi pe lagaaye ja
dil ka saaz bajaaye ja
aaaaaa
dil ka saaz bajaaye ja

ae. . . pyaare geet sunaaye ja
ae. . . pyaare geet sunaaye ja
baithi hoon ishq ke jhoole mein
baithi hoon ishq ke jhoole mein
main sadqe peeng badhaaye ja
main sadqe peeng badhaaye ja
ae. . . pyaare geet sunaaye ja
ae. . . pyaare geet sunaaye ja

ye beda paar lagaaye ja
ye beda paar lagaaye ja
dariya e mohabbat gehra hai
dariya e mohabbat gehra hai
haaaa aaa
dil ki naav chalaaye ja..aa..aa
dil ki naav chalaaye ja
har baar mujhe apnaaye ja
har baar mujhe apnaaye ja
ye mera tera farq mitey
ye mera tera farq mitey
tu dil mein yun hi samaaye ja
tu dil mein yun hi samaaye ja
ye mera tera farq mitey
ye mera tera farq mitey
tu dil mein yun hi samaaye ja
tu dil mein yun hi samaaye ja..aa..aa

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

हम्ममम मम्ममम

आsss आsss
दिल का साज बजाए जा
आsss
दिल का साज बजाए जा
जिस तार में तेरे नग़में हैं
जिस तार में तेरे नग़में हैं
मिज़राब उसी पे लगाए जा
मिज़राब उसी पे लगाए जा
दिल का साज बजाए जा
आsss
दिल का साज बजाए जा

ए॰॰॰ प्यारे गीत सुनाये जा
ए॰॰॰ प्यारे गीत सुनाये जा
बैठी हूँ इश्क़ के झूले में
बैठी हूँ इश्क़ के झूले में
मैं सदक़े पींग बढ़ाए जा
मैं सदक़े पींग बढ़ाए जा
ए॰॰॰ प्यारे गीत सुनाये जा
ए॰॰॰ प्यारे गीत सुनाये जा

ये बेड़ा पार लगाए जा
ये बेड़ा पार लगाए जा
दरिया ए मोहब्बत गहरा है
दरिया ए मोहब्बत गहरा है
हाsss आsss
दिल की नाव चलाये जा॰॰आ॰॰आ
दिल की नाव चलाये जा
हर बार मुझे अपनाए जा
हर बार मुझे अपनाए जा
ये मेरा तेरा फ़र्क मिटे
ये मेरा तेरा फ़र्क मिटे
तू दिल में यूं ही समाये जा
तू दिल में यूं ही समाये जा
ये मेरा तेरा फ़र्क मिटे
ये मेरा तेरा फ़र्क मिटे
तू दिल में यूं ही समाये जा
तू दिल में यूं ही समाये जा॰॰आ॰॰आ


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 :

3772 Post No. : 14749 Movie Count :

4033

Since the day making of talkie films started in India, till today, no one knows how many actors have worked in films. Few years back, one gentleman had made a list of 7000 actors up to year 2000 and it was posted on a site, which is now defunct. Ordinary film buffs do not know all the names. The experts, perhaps, may know more. Fact remains that there are only few actors known to all and few known to some.

Some time ago, one of my friends and I took a bet on who knows more names of actors. The time limit fixed was 24 hours and no books etc. were to be referred. Next day, we exchanged our lists. Can you believe, I could not cross even 50 ! My friend was better, he wrote 54 names !! When you have some time, try doing this yourself, at least once.

Same case is with music directors and singers. Though no definite number is available, it is generally presumed that there were 1200 to 1500 music directors. How many can you list ?

As far as singers are concerned, it is a different story. I classify film singers into 4 categories.

  1. Regular playback singers like Rafi, Geeta Dutt, Asha, Mukesh, Lata etc
  2. Those who acted and sang – early era actors till 1950
  3. Accidental singers – These are non singers, who sang few lines or a song in a film, sometimes – like Dilip Kumar, Amitabh, many comedians etc., and
  4. Occasional singers – This is the biggest list. Some of the names in this category are, Ira Nigam, Anima Dasgupta, Balwant Singh, Bharat Vyas, Gopal Patel, Hridaynath Mangeshkar, Malti Pande, Jikki, Narendra Chanchal, Pinakin Shah, Ram Marathe, Shobha Gurtu, Seeta Agarwal, Mrs. Vishnilal, Laxmi Kumthekar etc.

It includes those singers, who sang 6-8 songs and disappeared. It also includes those singers who are from other languages like Marathi, Gujarati, Punjabi, Telugu, Tamil etc, but have sung few songs in Hindi too.

Today’s song is also sung by a singer who was a regular singer in Gujarati and Marathi films and occasional singer in Hindi films. The song is from film ‘Shri Ram Avatar’ (1950) and the singer is Leela Mehta. Leela is not new to our blog. Four of her songs are already discussed here.

Daughter of Kanhaiyalal Mehta and Indumati, Leela was born on 10-12-1935 at Borivali in Bombay. She was elder of the two sisters. Due to loss in business, her family shifted first to Ahmedabad and later to Baroda, where they settled. Leela studied in Marathi medium school – New Era Vidyalay in Baroda. Leela participated in all functions of the school and acted in dramas, much to the annoyance of their social circle. She developed interest in singing after listening to songs by Khursheed and Kananbala. She started learning music despite the resistance from home and others in their society.

VM Vyas, the famous director and a family friend knew about her interest and offered her the main role in film ‘Ranak Devi’ (1946). She was just 11 year old and did not suit the role, but she was given another role in it. Kokila Balsara aka Nirupa Roy too acted in it as a Debut film.

Due to her father’s death, the family shifted to Bombay and Leela took the responsibility of being the bread earner by acting and singing in dramas and radio plays. Meanwhile she learnt further music from Prof. Surendra Rao. She started acting and singing in Gujarati films. Ranjit Movietone offered her a big role in film ‘Gunsundari’ (1948), but since the role needed her to put on a sleeveless blouse, she refused that role. Finally, it went to Dulari. She, however sang songs in that film and they became quite popular in Gujarat.

Leela Mehta had grown up in Marathi atmosphere and also was educated in Marathi Medium, so her Marathi was very good. She was invited to work in Marathi dramas. She did roles in famous and popular Marathi dramas and also sang songs. From 1950 onwards, she started acting in Gujarati dramas. Meanwhile she used to sing in Hindi films occasionally. In early 50s, she made very successful foreign trips with her troupe, to perform Gujarati dramas and singing concerts.

Inspite of being successful and acting and singing in Marathi, Hindi and Gujarati films and dramas, her father did not see even one show of hers. This pained her till end. Leela stayed in a bungalow in Versova in Bombay. Once it was rumoured that there was a ghost in it. She immediately left that house and shifted to Dadar. Inadvertently, she forgot to inform the industry about her change of address, and this diminished her demand drastically.

Her mother died in 1972. In 1982, she toured USA. In 1985, the Marathi Natya Parishad honoured her with a cash award. Till 1992, she acted in Marathi and Gujarati TV serials. In all, Leela acted in 300 Gujarati/Marathi dramas, films and serials. Presently Leela is bedridden and unable to speak also.

Leela Mehta acted in only one Hindi film – ‘Shri Ram Avatar’ (1950). She sang 17 songs in 9 Hindi films, including 2 unreleased films. Her films are  ‘Nai Kahaani’ (1943) (2 songs), ‘Gaurav’ (1947) (1), ‘Namak’ (1947) (1), ‘Pehli Pehchan’ (1947) (2), ‘Gunsundari’ (1948) (2), ‘Satyawan Savitri’ (1948) (no information), ‘Chocolate’ (1950) (no information), ‘Shri Ram Avatar’ (1950) (4) and ‘Hanste Rehna’ (1950) (1). Her unreleased films were, Apradh (1948) (3) and ‘Bidhaata’ (1948) (1).

Film ‘Shri Ram Avtar’ was made under the banner of Praveen Leela Productions. It was directed by W Garcher – a name I have come across first time. He seems to have acted also in this film. The other cast was Shahu Modak, Ratnamala, Leela Mishra, Amarnath, Leela Mehta and others. Lyricist was Pt. Shivraj and the music was by Indravadan Bhatt.

Most names in the cast seem familiar except that of Ratnamala. How many of us really know anything about this actress. It is surprising that a very lovely and beautiful actress, who was heroine of about 20 films in the 40s and has about 300 films (131 Hindi films) to her credit, remains practically unknown. She was the heroine with Saraswati Cinetone, Prabhat Film Company, Sagar, Ranjit, Prakash Pictures etc. – all well known banners. She was in films for 50+ years and was a famous name in Marathi films of Dada Kondke.

Its a great pity that hardly any or no information about her is available in books, encyclopedias, wiki or on internet. When all sources of information come to a dead end, I turn to Harish Raghuwanshi ji of Surat and I am never disappointed. Here, I provide a short bio sketch of Ratnamala, based principally on the articles given by Harish ji. Thanks, Harish ji.

She was born as Kamal Bhivandkar on 22-6-1923 in Bombay. She was good looking and could sing well. From the age of 14 years, she went on the stage of several Ganesh Melas prevalent in those times. She earned 5-10 rupees per performance. In 1938, she was picked up by Dada Torne of Sarswati Cinetone, who cast her as a heroine in Marathi film ‘Bhagwa Zenda’. Seeing her performance, she was taken by Prabhat Film Company for the Marathi version of their film ‘Das Baje’ (1942). Torne had renamed her as Ratnamala.

Vijay Bhatt of Prakash Pictures offered her a role in film ‘Bharat Milap’ (1942), when Kusum Deshpande, selected for the role of Bharat’s wife, fell ill. Seeing her performance, she was selected as a heroine for film ‘Station Master’ (1942). Here too, the original heroine Jyoti fell ill. Then came ‘Panghat’ (1943), ‘Police’ (1944), ‘Kavita’ (1944) etc. She acted in many mythological films also. Some of her well known films were, ‘Dholak’, ‘Maya Bazaar’, ‘Sasural’, ‘Bhabhi Ki Chudiyan’, ‘Faulad’, ‘Woh Kaun Thi’, ‘Nishan’, ‘Bahu Beti’, ‘Mera Sayaa’, ‘Raaz’, ‘Saraswati Chandra’, ‘Brahmachari’, ‘Upahaar’, ‘Seeta Aur Geeta’, ‘Nastik’ etc.

She acted in 130 Hindi films and many more in Marathi films. Later she did side roles. She became famous as mother of Dada Kondke in 11 of his films. She was called ‘Aaye‘ (आये) in the Marathi films of Kondke.

Ratnamala was married to Raja Pandit, a Producer Director in Marathi films, when she was very young. As Ratnamala became successful and Raja became a failure, their marriage came on rocks. She had one son – Jaikumar, who had also acted in one film. Unfortunately, he died suddenly in an accident. Ratnamala lived in her own bungalow in Andheri, Bombay, along with her foster son – Ramesh. Ratnamala died of heart attack on 23rd January 1989.

The hero in this film was Shahu Modak. Shahu Modak was a regular actor in many religious films. He did Krishna’s role in over 30 films. He was born in a Christian family of Ahmednagar (Maharashtra), on 25-4-1918. He was trained in music by his Uncle Nivritinath Modak . He also got trained by Ustad Abdul Kareem Khan. There was a gym in his house and he became an expert in wrestling too. He was discovered by Bhal ji Pendharkar. Producer Nanasaheb Sarpotdar gave him his first break in films. He made his debut with a bilingual film from Prabhat – ‘Shyamsundar’ (1932), as a child artist. Shanta Apte also was a child artist debuting in this film. He also sang a song in this film.

In the next year itself he did a hero’s role in another bilingual – ‘Awara Shehzada’ (1933) (‘Ghatkecha Raja’ in Marathi). With this film, he entered the film History books for doing the first double role in a talkie film ever. He was a prince – Rajkumar and a pauper – Bholaram, in this film. The director of this film was Master Vithal, who himself was the first hero to do a double role in a silent film ‘Prisoner of Love’, in 1927.

Shahu became famous when he did the Havaldar Ganapat’s role in the landmark movie of Prabhat – ‘Aadmi’ (1939) (‘Maanus’ in Marathi). From 1932 to 1986 he acted in about 96 films. His last film too was a mythological – ‘Krishna Leela’ (1986), in which he did Krishna’s role for the last time, at the age of 68 years. He featured in many films of Prakash Pictures, which was a mythological film specialist studio. Shahu Modak initially sang his own songs. He must have sung about 54 songs in 18 films. From the film ‘Bhakta Pooran’ (1952), he started taking playback. But in 1971 he sang a song in film ‘Main Sunder Hoon’.

Shahu Modak passed away on 11-5-1993. There are two interesting things about Shahu Modak. One, he was a very accurate Astrologer. It is said that he had predicted his own date of death. Secondly, like Manhar Desai (Malcolm Alfredo Desai), he too was a Christian and both did roles of Hindu Gods in mythological films.

Let us now enjoy the Leela Mehta song from film ‘Shri Ram Avtar’. The movie makes its debut in the blog with this song.

[Acknowledgements: My thanks to Harish Raghuvanshi ji for some information from his book, ‘ Inhe Na Bhulaana’.]


Song – Aayi Aayi Basant Ritu Aayi  (Shri Ram Avtar) (1950) Singer – Leela Mehta, Lyrics – Pt Shivraj, Music – Indravadan Bhatt
Chorus

Lyrics (Provided by Sudhir)

aayi aayi
basant ritu aayi
sunder ritu aayi
daali daali ne li agndaayi
aayi aayi
basant ritu aayi
sunder ritu aayi
daali daali ne li agndaayi

mere mann ki kali
yug yug ki pali
aaj. . kisi ko dekh muskaai
sunder ritu aayi
daali daali ne li agndaayi
aayi aayi
basant ritu aayi
sunder ritu aayi
daali daali ne li agndaayi

chaand hain naina bolo
kis ke liye aaj
solah singaar kiya
kis ke liye
chaand hain naina bolo
kis ke liye aaj
solah singaar kiya
kis ke liye
kaun si surat
kaun wo moorat
kaun si surat
kaun wo moorat
bhole mann mein aaj samaai
sunder ritu aayi
daali daali ne li agndaayi
aayi aayi
basant ritu aayi
sunder ritu aayi
daali daali ne li agndaayi

mann vyakul hai
baat mukh pen a aaye
mukh pe jo aaye
laaj kehne na paaye
hoga suraj ya to
chanda sa koi
hoga suraj ya to
hoga suraj ya to
chanda sa koi
raja ?? ?? ?? hoga wo koi
raja ?? ?? ?? hoga wo koi

hoon hoon hoon

aayi aayi
basant ritu aayi
sunder ritu aayi
daali daali ne li agndaayi
aayi aayi
basant ritu aayi
sunder ritu aayi
daali daali ne li agndaayi

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

आई आई
बसंत ऋतु आई
सुंदर ऋतु आई
डाली डाली ने ली अंगड़ाई
आई आई
बसंत ऋतु आई
सुंदर ऋतु आई
डाली डाली ने ली अंगड़ाई

मेरे मन की काली
युग युग की पाली’
आज॰॰ किसी को देख मुसकाई
सुंदर ऋतु आई
डाली डाली ने ली अंगड़ाई
आई आई
बसंत ऋतु आई
सुंदर ऋतु आई
डाली डाली ने ली अंगड़ाई

चाँद हैं नैना बोलो
किसके लिए आज
सोलह सिंगार किया
किसके लिए
चाँद हैं नैना बोलो
किसके लिए आज
सोलह सिंगार किया
किसके लिए
कौन सी सूरत
कौन वो मूरत
कौन सी सूरत
कौन वो मूरत
भोले मन में आज समाई
सुंदर ऋतु आई
डाली डाली ने ली अंगड़ाई
आई आई
बसंत ऋतु आई
सुंदर ऋतु आई
डाली डाली ने ली अंगड़ाई

मन व्याकुल है
बात मुख पे ना आये
मुख पे जो आए
लाज कहने ना पाये
होगा सूरज या तो
चंदा सा कोई
होगा सूरज या तो
चंदा सा कोई
राजा ?? ?? ?? होगा वो कोई
राजा ?? ?? ?? होगा वो कोई

हूँ हूँ हूँ

आई आई
बसंत ऋतु आई
सुंदर ऋतु आई
डाली डाली ने ली अंगड़ाई
आई आई
बसंत ऋतु आई
सुंदर ऋतु आई
डाली डाली ने ली अंगड़ाई


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 : 3756 Post No. : 14722

Today’s song is from a film called ‘Diwali Ki Raat’ (1956). This is a film in which singer Talat Mahmood acted as a hero opposite heroine Roopmala. Talat Mahmood (24-2-1924 to 9-5-1998) acted in 12 films from 1945 to 1958 and he also did a cameo role, singing a song-“Shukriya Ae Pyaar Tera Shukriya“, of  three and half minutes in film Aaram-1951. In his early career starting in Calcutta, he fell in love with a Bangla actress Latika Mullick. They got married on 20-2-1951. She was converted to Islam and was renamed Nasreen, who bore two children to Talat. As per a book by Manek Premchand, ‘Talat Mahmood – The Velvet Touch’, he sang 777 songs which included Hindi film songs, NFS and unreleased films etc. As per another source he sang 451 Hindi film songs from 259 Hindi films.

Two very good singers – and my favourites – spoiled their singing careers at the cost of fulfilling their misplaced hype of making it as a singing hero, when such times had died down after Saigal. Mukesh ( 22-7-1923 to 27-8-1976 ) acted in 8 films from 1941 to 1956 and sang 928 songs from 538 films, as per one source. I personally feel, the film bug did more damage to Talat than Mukesh. Of course a money-smart Talat made it up with innumerable foreign tours for concerts and singing jaunts with a party made up of musicians, singers and mimicry artistes.

Recently, I received a copy of Talat’s handwritten inland letter, sent to one of my friends in Gujarat, who wanted to arrange his show. As per what Talat wrote on 26-12-1977, his fees was Rs. 12,000/-, plus hotel accommodation for him and others. The troupe, he said, consisted of singers, dancers, musicians and mimicry artistes. One may feel that Rs. 12,000 was too low, but remember, this was 41 years ago, when petrol was less than two rupees per litre. In late 70s, I had rented a two bedroom, 1,000 sq ft flat in prime locality like Andheri in Bombay, for just Rs. 800 pm. Today the same size flat will command a rent of Rs. 40,000 + pm.

Like the values of money and values of life changed in all these years, almost everything has changed nowadays. These changes have not come overnight, but like slow poisoning, the changes took almost 50 to 60 years to show their effect. The second world war and the independence era were the beginning when quantity started overpowering quality. The film industry was also not an exception. How good the acting or the music was, became secondary and how many films, became the testing apparatus to judge the actor or the composer. Thus the simple but the talented artistes fell behind and those who pushed hard or had the right connections (and the luck) went much ahead.

In the field of Music Direction, at least two names come to the mind, who were talented but too simple to last in the neck to neck competition of the film line. One of them was Snehal Bhatkar (the other being, Bharat Bhai’s favourite- Jaidev). He was the MD for the film ‘Diwali Ki Raat’.

White full shirt, ironed white pyjama, spectacles with big powerful lenses and the trademark white Gandhi Topi – he could easily be mistaken for a ‘Pandharpur Warkari’ (a regular pilgrim to Pandharpur) or a member of a ‘Bhajani Mandali’ or simply a middle class ‘Marathi Manoos’. Such was the appearance of one of Hindi filmdom’s talented, yet not so famous, music maestro VASUDEV GANGARAM BHATKAR or Snehal Bhatkar, as we all know him.

In Hindi film music field there were some talented composers like Ghulam Mohd, Mohd. Shafi, Iqbal Qureshi, Daan singh, C Arjun, Ramlal, Sardar Malik, Ajit Merchant, Jamal Sen, Dattaram, Ganesh, etc. who could never reach the peaks of their careers. They really deserved success and fame, but luck did not favour them. Big banners never approached them and eventually the losers were the music lovers in India. These composers did not know, perhaps, how to sell their art. May be they never wanted to enslave music to gain name and fame, instead they preferred to settle for genuine service to music!

Snehal Bhatkar was one such composer. The maxim of simple living and high thinking never worked in this Mayanagari, but he had no regrets. Till the very end he was contented with whatever God gave him, and whatever name and success he achieved.

He was born into and grew up in a family that was surrounded by traditional devotional music all around. In the lower middle class, the people had their entertainments in singing bhajans and doing keertans in temples en masse.

Vasudev G. Bhatkar was born on 17-7-1919. He knew at least 100 bhajans by heart by the time he was in his 10th class. He was invited to sing in Ganesh Melas and other celebrations and soon became a well-known name in the locality. Because of his singing and skills in playing harmonium and other instruments, he got a job with HMV in Bombay. Here he used to give accompaniment on harmonium to big classical singers. At the same time, taking cognizance of his singing skills, many Marathi bhavgeets and bhajans were recorded by HMV. Some of them are popular in Maharashtra even today.

All this while, Bhatkar was looking for opportunity to compose in films. Sudhir Phadke who also served in HMV and recorded some songs from 1943 to 1945, joined hands with Bhatkar and made a pair – Vasudev-Sudhir. In 1946, they got a film of Baburao Painter – ‘Rukmini Swayamvar’ – for music direction. The problem was that due to his service in HMV, he could not openly work outside. Hence he only gave his name as Vasudev. After this film, the pair separated and Phadke went to give music to films like ‘Gokul’ (1946), ‘Aagey Badho’ (1947), etc. Due to financial constraints Bhatkar was unable to leave his job with HMV.

In 1941, Bhatkar had come to know Kidar Sharma while recording songs for his film ‘Chitralekha’, which he was making for Ranjit Studios. Sharma had just come from Calcutta to establish himself in Bombay. He had a knack of identifying talents. He first gave a chance to Bhatkar to sing some songs with Leela Sawant in his film ‘Kaliyan’ (1944). After ‘Rukmini Swayamvar’, Kidar Sharma gave him his first break as an independent composer in his film ‘Neelkamal’ (1947), where Kidar Sharma launched Raj Kapoor and Madhubala in adult roles as the leading pair. Here Bhatkar used the name B Vasudev. In the subsequent years Bhatkar used different names for different films like VG Bhatkar in ‘Sant Tukram’ (1948), ‘Sati Ahalya’ (1949) and ‘Pagle’ (1950), and Snehal in ‘Suhaag Raat’ (1948) and ‘Thes’ (1949). After doing ‘The’s and ‘Sati Ahalya’, Bhatkar resigned from HMV.

Snehal Bhatkar and Kidar Sharma were very good friends. Kidar gave him ‘Neki Aur Badi’ in 1949. Meanwhile, Kidar Sharma met Roshan Lal Nagrath in some musical event. Sharma was terribly impressed with Roshan and wanted to give him a break in his film. At that point of time, Kidar had just started work on ‘Neki Aur Badi’. He had a heart to heart talk with Bhatkar and Bhatkar gladly left the film for Roshan. Thus Roshan got his break with ‘Neki aur Badi’. Roshan never forgot Bhatkar’s magnanimity in his life and always respected Bhatkar. In return Kidar Sharma gave ‘Hamari Beti’ (1950) to Bhatkar. As he was a free bird now, Bhatkar started using the name SNEHAL BHATKAR  from this film. Snehal was the short form of Snehalata, his daughter.

Snehal Bhatkar did many Marathi films and recorded many bhajans in Marathi, which are ever popular. He did 28 films in Hindi (including one unreleased film in the 1950s) and 12 films in Marathi. Out of 27 released Hindi films, 9 were made by Kidar Sharma.

The song which made Mubarak Begum and Bhatkar famous in India was ‘Kabhi Tanhayion Mein, Hamari Yaad Aayegi’ from the film ‘Hamari Yaad Aayegi’ (1961). (This film was was originally named ‘Jawaan Mohabbat’). Actually this song was to be done by Lata Mangeshkar. Lata had already recorded two songs for this film. Due to her extremely busy schedule she was unable to do this song, so she suggested the name of Asha Bhosle. But Kidar Sharma, already upset over Lata’s refusal, opted for Mubarak Begum and the rest, as they say, is history. She imbued a unique character to this song with her special voice.

After 1960, the musical scene in India was undergoing drastic changes and there was no space for composers like Bhatkar, who used minimum orchestra and dwelt upon melody. His films came in long intervals. Even Kidar Sharma left him after ‘Fariyaad’ (1964) only to return in ‘Pehla Qadam’ (1981). Finally Bhatkar did his last Hindi film ‘Sahme Hue Sitare’ (1994), which featured his son Ramesh Bhatkar, who was already a popular hero in Marathi film, stage and TV. This obscure film did nothing good to Bhatkar. After retirement Bhatkar devoted his time for children’s welfare and his original love – Bhajan Mandali singing.

Snehal or Vasudev Gangaram Bhatkar, together with cousin Devji Bhatkar and Panchambuwa Pandurang Shivalkar, was the founder member of ‘Vishwambhar Prasadik Bhajan Mandal’ in Dadar. It is still in operation after 50 years, with new set of singers. Bhatkar was very kind hearted. Every year, during Ganapati festival he used to visit his ancestral village ‘Bhate’ in Ratnagiri district and participate in singing bhajans.

Lata, Talat and Mukesh were his favourite singers. Although Talat has not sung many songs for him, his song “Zindagi Kis Mod Pe Laayee Hamein” from ‘Diwali Ki Raat’ was very popular. When rehearsals for this song were being done, Bhatkar had used only tabla and sitar for the practice session. The producer who chanced upon this rehearsal was so much impressed with this that he insisted recording the song only with minimum instruments. So, this song has only tabla, sitar and another instrument for accompaniment.

Though there were many melodious songs composed by Bhatkar like, Khusro’s “Lakhi Babul More Kaahe Ko Deenha Bides Re” sung soulfully by Mukesh in ‘Suhaag Raat’ (1948); “Ro-oge Pachhtaoge” by Mukesh and Rajkumari in ‘Thes’ (1949); Lata’s “Chanda Tujhko Laaj Na Aayee” from ‘Bhola Shankar’ (1951); Suman Kalyanpur’s “Haal-e-Dil Unko Sunana Tha“- Fariyaad (1964), no other big banner producer opted for Snehal Bhatkar, except Kidar Sharma . May be his compositions were not so simple for common man to hum or sing, although they were quality songs.

Despite several melodious songs Bhatkar was never counted among the first line composers. Kidar Sharma returned to him in 1980, but by that time Snehal Bhatkarwas already on a descending track.

SNEHAL BHATKAR, a talented but sadly not much applauded composer, died peacefully on 29-5-2007 at his Dadar home.

Today’s song is sung by Mahendra Kapoor. As far as I know, this is my first song of Mahendra Kapoor. Today’s song was his first solo song of his career. Mahendra Kapoor was among the premier playback singers of the Golden Age of Hindi musical cinema, with hits like “Chalo Ek Baar ” and “Neele Gagan Ke Taley” vaulting him to a level of celebrity rivaling the on-screen actors miming to his vocals. Born January 9, 1934, in Amritsar,  Kapoor spent the majority of his childhood in Mumbai, where he claimed top honors in the All-India Murphy-Metro Singing competition in 1957. His victory captured the attention of filmmaker Raja Nawathe, who used him in 1958’s ‘Sohni Mahiwal’. This also caused a controversy, because the contest was for new comers and Mahendra Kapoor had already sung  songs in several films like ‘Madmast’ (1953), ‘Madhur Milan’ (1955) ‘Lalkar’ (1956) and ‘Heer’ (1956) and also his first solo song in film ‘Diwali Ki Raat (1956). Later on he gave some lame excuse that he had not got any payment for that song etc. (beetehuedin.com has all the relevant details on this controversy and the court case etc, in MK’s interview article).

A year later, Kapoor launched into the top ranks of Bollywood singers when composer and musical director Ramchandra Chitalkar tapped him to perform the show stopping “Aadha Hai Chandrama Raat Aadhi” in the film ‘Navrang’ (1959). Kapoor quickly proved himself a versatile talent even by Bollywood standards, performing in a number of regional Indian languages beyond his native Hindi. Within the sub genre of Marathi language productions, he was renowned as the playback singer of choice for superstar Dada Kondke — and over time his repertoire expanded, becoming virtually synonymous with patriotic anthems when he delivered “Mere Desh Ki Dharthi. . .” in Manoj Kumar’s 1967 film ‘Upkaar’, a rendition that also earned him the Best Male Playback Singer honors from India’s National Film Awards voters.

Kapoor remained a respected and popular figure across his five-decade cinema career, notching additional hits via “Iktara Bole. . .” (from ‘Yaadgaar’, 1970), “Fakira Chal Chala Chal” (from ‘Fakira’, 1976) and “Ab Ke Baras” (from ‘Kranti’, 1981). While his filmography embraces dozens of directors, he enjoyed his most fruitful collaboration with filmmaker BR Chopra, a partnership that extends across productions like 1959’s ‘Dhool Ka Phool’, 1963’s ‘Gumrah’, 1965’s ‘Waqt’, 1969’s ‘Aadmi Aur Insaan’ and 1973’s ‘Dhund’. From 1980 onward Kapoor appeared largely in small, regional films in the Punjabi and Bhojpuri tongues, and with son Rohan he mounted a series of live tours spanning across India and overseas. His contributions to the Bollywood industry were later recognized via the Indian government’s Padmashri Award as well as the Madhya Pradesh government’s Lata Mangeshkar Award. Poor health plagued Kapoor during the final years of his life, and he suffered a fatal heart attack in his sleep on September 27, 2008.

Today’s song is the 7th song from this film, to be discussed here. There are 10 songs in the film as per HFGK, but one Talat song was removed from the film. For this film, Kersi Mistry and Prabhakar Naren were the assistants for Bhatkar. Mistry later claimed that the above song was composed by him.


Song – Tere Dar Ki Bhikmangi Hai Daata Duniya Saari (Diwaali Ki Raat) (1956) Singers – Mahendra Kapoor, Lyrics – Madhukar Rajasthani, Music – Snehal Bhatkar

Lyrics (Provided by Sudhir)

tere dar ki
bhikhmangi hai
daata duniya saari
ho daata duniya saari

koi maange mahal do-mehle
koi kutiya chhoti
koi maange sona chaandi
koi sookhi roti
re roti
koi maange laal salona
koi maange laal salona
koi sundar naari
maange koi sundar naari
waah re duniya rachne waale
shaan hai teri nyaari
shaan hai teri nyaari
tere dar ki bhikhmangi hai
tere dar ki bhikhmangi hai
daata duniya saari
ho daata duniya saari

koi tujh par phool chadha kar
maalik tujh rijhaaye
koi tujh par phool chadha kar
maalik tujh rijhaaye
koi bechaara dukh ka maara
aansoo bhent chadhaaye
koi bechaara dukh ka maara
aansoo bhent chadhaaye
donon hi mohtaaj hain tere
donon hi mohtaaj hain tere
donon tere pujaari
donon tere pujaari
khel rahe ho khel anokhe
kya samjhe sansaari
kya samjhe sansaari
tere dar ki bhikhmangi hai
tere dar ki bhikhmangi hai
daata duniya saari
ho daata duniya saari

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

तेरे दर की
भिखमंगी है
दाता दुनिया सारी
हो दाता दुनिया सारी

कोई मांगे महल दो-महले
कोई कुटिया छोटी
कोई मांगे सोना चाँदी
कोई सूखी रोटी
रे रोटी
कोई मांगे लाल सलोना
कोई मांगे लाल सलोना
कोई सुंदर नारी
मांगे कोई सुंदर नारी
वाह रे दुनिया रचने वाले
शान है तेरी न्यारी
शान है तेरी न्यारी
तेरे दर की भिखमंगी है
तेरे दर की भिखमंगी है
दाता दुनिया सारी
हो दाता दुनिया सारी

कोई तुझ पर फूल चढ़ा कर
मालिक तुझे रिझाये
कोई तुझ पर फूल चढ़ा कर
मालिक तुझे रिझाये
कोई बेचारा दुख का मारा
आँसू भेंट चढ़ाये
कोई बेचारा दुख का मारा
आँसू भेंट चढ़ाये
दोनों ही मोहताज हैं तेरे
दोनों ही मोहताज हैं तेरे
दोनों तेरे पुजारी
दोनों तेरे पुजारी
खेल रहे हो खेल अनोखे
क्या समझे संसारी
क्या समझे संसारी
तेरे दर की भिखमंगी है
तेरे दर की भिखमंगी है
दाता दुनिया सारी
हो दाता दुनिया सारी


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 : 3744 Post No. : 14701

Today’s song is from a comparatively less known film, ‘Prem Sangeet’ (1943). It was produced and directed by WZ Ahmed, under his own banner, Shalimar Pictures, Poona. The music was by its resident MD SK Pal aka Suryakant Pal (nephew of MD Ramchandra Pal, who was with Bombay Talkies). The lyricist was Bharat Vyas. The cast of the film was Neena, Jairaj, H Prakash, Shanta Thakkar, Rajkumari Shukla, Tiwari, Anwar, Gulab, Randhir and many more. The song is sung by Bharat Vyas and Shanta Thakkar.

Bharat Vyas (18-12-1918 to 4-7-1982) wrote 1247 songs in 189 films. In addition, he acted in 3 films, ‘Ghulami’ (1945), ‘Prithviraj Sanyogita’ (1946) and ‘Maa’ (1952). He directed a film also – ‘Rangila Rajasthan’ (1949). He sang 8 songs in 6 films – ‘Prem sangeet’ (1943), ‘Mann Ki Jeet’ (1944), ‘Ghulami’ (1945), ‘Chandralekha’ (1948), ‘Navrang’ (1959) and ‘Santaan’ (1980). He was one of the MDs for film ‘Rangila Rajasthan’ and had composed 3 songs. Shanta Thakkar, who sang with him was also not a regular singer. She had sung just one song in ‘Nirdosh’ (1941), and after today’s song, she sang one more song in ‘Mann Ki Jeet’ (1944) – only 3 songs in career.

There are many books on Hindi film related subjects in almost all languages. Most books give factual or biographical information. There was one author – Saadat Hasan Manto – whose books combined facts, myths, opinions, humour and lascivious stories about the film people he came in contact with, while he was in India before partition. I have some of his books like Meena Bazaar, Stars from Another Sky, and Dastavej Vol 5. One gets to know about the conditions prevailing in the film world in those times, through the eyes of one amongst them. Manto was close to many heroes like Shyam, Ashok kumar and others like Nazir Ahmed, Rafiq Ghaznavi etc. In one of his books, he has revealed the inside story how a shy housewife – Shahida – became a popular film heroine Neena and what magic her mentor (husband later on) WZ Ahmed played to convert her.

About two years back Sadanand Kamath ji had also written about her in one of his articles on song from film ‘Ek Raat’ (1942). I have used some part of his story along with additional information gathered from the All India Film Directory and Who’s Who – 1946, some Pakistani sites and my notes to make her story a wider one.

Neena (real name Shahida) was born on 18th July 1919 in Aligarh in a cultured Muslim family. She was the eldest of six siblings. Her father was  Prime Minister of a small state. Later he was appointed as a  magistrate in Lucknow. Subsequently, he became a member of Federal Public commission. She studied in Aligarh and completed her graduation. During her college days, Moshin Abdullah fell in love with her. They got married and she settled for her domestic duty. Her husband got a job in Bombay Talkies laboratory where Shashdhar Mukherjee was his colleague. Shahida accompanied her husband and stayed in Malad.

When WZ Ahmed set up his film production company, Shalimar Pictures, Moshin Abdullah joined him in the same capacity which he was holding in Bombay Talkies and shifted to Poona (Pune) with his wife Shahida. Probably it was during this period that WZ Ahmed came to know about Shahida and offered her the lead role in his first film ‘Ek Raat’ (1942). Even though her husband was connected with Hindi films and her sister-in-law (husband’s sister), Renuka Devi (Begum Mirza) was an established actress in Bombay Talkies, Shahida was not interested in pursuing a career in films. It was her husband who persuaded her to take the lead role in ‘Ek Raat’ (1942) offered by WZ Ahmed. Saadat Hasan Manto, in his book ‘Stars From Another Sky’ has pointed out that for Moshin Abdullah, Shahida taking up the role in the film was a necessity as he was always short of money due to his gambling habit.

Before the film went on floor, a massive publicity of the film with Shahida getting her screen name ‘Neena’ as a mystery woman was launched, with giant billboards on the roads of Karachi – without showing her face. This created a suspense and she started getting fan mail too, before her film was released. The film was first released in Karachi on 18th July 1942 where it ran for 9 weeks. With the positive feedback from the cine goers, the film was next released in Hyderabad (Deccan) followed by an all-India release. The film was a box office success.

WZ Ahmed announced his next film ‘Mann Ki Jeet’ (1944) with Neena and Shyam in the lead roles. However, in the meantime, he released a quickie , his second film ‘Prem Sangeet’ (1943) with Neena and Jairaj in lead roles without much publicity as there was no more mystery about Neena. His concentration was now on ‘Mnan Ki Jeet’ (1944). She was quite good looking. In 1945, she was voted “The best dressed beauty of the Indian film world” award from I.F.J.A. She worked in only 5 films, ‘Ek Raat’ (1942), ‘Prem Sangeet’ (1943), ‘Mann Ki Jeet’ (1944), ‘Prithviraj Sanyogita’ (1946) and ‘Meerabai’ (1947). One more ambitious film was planned and announced – ‘Shri Krishna Bhagwan’, in which she was to play Radha. However due to partition and their migration to Pakistan, this was cancelled.

WZ Ahmed in his capacity as a producer-director was virtually in full control of Neena. Her husband Moshin Abdullah being removed from Shalimar Pictures for not doing his allotted work, had lost his grip over his wife. On the other hand, Neena found wide differences in attitudes towards her of WZ Ahmed who was courteous and her husband who was not only swindling her money in gambling but he was also a womaniser. Slowly, she became close to WZ Ahmed. In 1946, Neena divorced her husband and married WZ Ahmed.

After the partition, both WZ Ahmed and Neena migrated to Pakistan lock stock barrel, leaving the staff of Shalimar Pictures in a lurch as many of the staff had not received their salary for months. In August 1948, Bombay High Court adjudged WZ Ahmed, the sole proprietor of Shalimar Pictures as insolvent. Thus the saga of a ‘mystery woman’ of Hindi films ended in mysterious circumstances.

Although, Ahmed was declared as insolvent, the workers of Shalimar made an attempt to revive the Shalimar Pictures company. They pooled their resources and Bharat Vyas produced a movie, ‘Rangeela Rajasthan’ in 1949, under the banner of Shalimar Pictures. Many ex employees like Bharat Vyas , SK Pal and Shyama Dulari etc. worked for free. However this last attempt was also not enough to save the company and it was sold out, to pay the dues of suppliers etc.

In Pakistan, Neena worked for her husband’s 2 films – ‘Roohi’ (1954) and ‘Vaada’ (1957). The third film remained unfinished, and she retired to remain a housewife – a second time. She died sometime in April 1990, in Karachi.

Waheeduddin Ziauddin Ahmed, the smart brain behind showing tempting dreams to a housewife and making her an actress in 5 films, died in a hospital in Lahore, after a prolonged illness, on 15-4-2007. It was/is believed by some even now that Neena sang her own songs initially. However, during one of his visits to India , Ahmed made it very clear that ALL songs including those attributed to Neena were sung by Sitara Kanpuri only. This is recorded in Listener’s Bulletin no. 134 of July 2007. So, there should be no doubt whatsoever about this. After his death in Lahore, the leading Newspaper of Pakistan, ‘The Dawn’ wrote a short obituary on him, on 17th April 2007. It throws light on his work. Here it is..

W.Z. Ahmed, 91, one of the most outstanding film directors of the subcontinent, passed away at a local hospital late on Sunday night (15-4-2007). He was suffering from an infection of the lung. He was laid to rest at the Bagh-i-Rehmat graveyard on Monday afternoon.

After coming up with a series of films in only five years, Wahiduddin Ziauddin Ahmed, was not as prolific as some of his successors in the film industry. He directed-produced five films before the partition of the sub-continent: ‘Aik Raat’, ‘Mann Ki Jeet’, ‘Prem Sangeet’, ‘Prithaviraj- Samyukta’ and ‘Mira Bai’ — all released between 1942 and 1947.

After partition, he made just two films ‘Roohi’ and ‘Wada’, while a third one, ‘Wafa Ki Ada’, remained incomplete. The country’s environment was obviously not suited to his brand of cinema and his creation as one of his masterpieces, ‘Roohi’, has the distinction of being the first-ever film to be banned in Pakistan. The government said the film generated ‘class hatred’, and if that was not bad enough, portrayed a ‘rich married woman having an affair with a young, unmarried man’.

The ban was later revoked and ‘Roohi’ was released in 1954. The same year W.Z. Ahmed was at the forefront of the campaign against the screening of Indian films. The protest was known as ‘Jaal agitation’ after a Dev Anand-starrer of the same name that had been imported out of East Pakistan’s quota — a limited number of Indian films were allowed into Pakistan until then — and then brought over to West Pakistan. The protest led to the arrest of Mr Ahmed and many others in Lahore.

Mr Ahmed owned the Shalimar Pictures in Pune and another studio in Madras before 1947. Some very famous writers and lyricists worked for Shalimar, including Josh Malihabadi, Krisan Chander, Ramanand Sagar, Akhtar-ul-Iman and Sagar Nizami. He established the W.Z. Studio at Wahdat Road in Lahore after some years after partition. He spent many years of his life pursuing the ideal of a filmmakers’ cooperative.

Sanaullah Khan Gandapur, who worked as an assistant to W.Z. Ahmed, remembers his guru as an excellent story-writer and a director with a vision and skill to mould actors according to his requirement. “He was a man of diversified interests and immense knowledge,” Mr Gandapur says.

Mr Ahmed was born in Gujarat, India, in 1916 where his father was a senior police officer. He is said to have been moved into entering filmdom by K.L. Sehgal’s Dev Das. It is said Mr Ahmed went to watch Dev Das and was so disappointed with the production that he decided to direct films himself.

He married twice. His first wife was a daughter of Sir Ghulam Husain Hidayatullah. Later on, he married Shahida, who acted in films under the adopted name of Neena. She died a few years ago (April 1990). Mr Ahmed had a son, Fariduddin Ahmed, and a daughter, Afia Rabbani.

Fariduddin Ahmed, well known as Farid Ahmed, was a talented filmmaker who married television and stage actor and producer, Samina Ahmed. Farid died in 1993.

Today’s song is a duet and is a parody of the famous and popular song from film ‘Jhoola’ (1941) – “Main To Dilli Se Dulhan Laaya Re”, sung by Arunkumar and Rehmat Bano. It was filmed on Mumtaz Ali and a debutant actress Shehzadi (not the sister of Zubeida, Sultana and Mehtab). I feel in this song some other tunes of songs are also present, but I could not identify them. This was the first ever song sung by Bharat Vyas in Hindi films.
 


Song – Main To Aagre Se Joota Laaya Re Ho Rani Ji (Prem Sangeet) (1943) Singers – Bharat Vyas, Shanta Thakkar, Lyrics – Bharat Vyas, Music – SK Pal

Lyrics (Provided by Sudhir)

main aagre se
main jaipur se
o main aagre se
o main jaipur se

main aagre se joota laaya re
ho rani ji
main aagre se joota laaya re
ho rani ji
main jaipur se chunri laayi re
ho raja ji
main jaipur se chunri laayi re
ho raja ji
o main aagre se joota laaya re
ho rani ji

aao paniya
aao paniya bharan ko chalen
haan haan paniya bharan ko chalo na re
haan chalo na re
ui chalo na re
aao paani pioge raja
na na chaai pilaao
na na paani pio
na na chaai pilaao
na na paani pio
pio pio
ye paani ka pyaala hai
pio pio
main naahin piunga
main naahin piunga
hato to to to. . .

mora jiya ghanda mera
keh sakoon ganwaar hai
mora jiya ghanda mera
keh sakoon ganwaar hai
hua hai qusoor humse zuroor
maaf hamen karo huzoor

khaao khaao kasam
tum ram ji ki
haan haan ram ji ki
hanuman ji ki
ho siya jaanki ki
aaj gori women ko haraaya re
ho ram ji
aaj gori women ko haraaya re
ho ram ji

main aagre se
o main jaipur se
o main aagre se
o main jaipur se
main aagre se joota laaya re
ho rani ji
main aagre se joota laaya re
ho rani ji
main jaipur se chunri laayi re
ho raja ji
main jaipur se chunri laayi re
ho raja ji
ho main aagre se
main aagre se joota laaya re
ho rani ji

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

मैं आगरे से
मैं जयपुर से
हो मैं आगरे से
हो मैं जयपुर से

मैं आगरे से जूता लाया रे
हो रानी जी
मैं आगरे से जूता लाया रे
हो रानी जी
मैं जयपुर से चुनरी लाई रे
हो राजा जी
मैं जयपुर से चुनरी लाई रे
हो राजा जी
ओ मैं आगरे से जूता लाया रे
हो रानी जी

आओ पनियां
आओ पनियां भरन को चलें
हां हां पनियां भरन को चलो ना रे
हाँ चलो ना रे
ऊई चलो ना रे
आओ पानी पीओगे राजा
ना ना चाय पिलाओ
ना ना पानी पियो
ना ना चाय पिलाओ
ना ना पानी पियो
पीओ पीओ
ये पानी का प्याला है
पीओ पीओ
मैं नाहीं पीऊँगा
मैं नाहीं पीऊँगा
हटो टो टो टो॰ ॰ ॰

मोरा जिया घणा मेरा
के सकूँ गंवार है
मोरा जिया घणा मेरा
के सकूँ गंवार है
हुआ है क़ुसूर हमसे जुरूर
माफ हमें करो हुज़ूर

खाओ खाओ कसम तुम राम की
हाँ हाँ राम जी की
हनुमान जी की
हो सिया जानकी की
आज गोरी वुमेन को हराया रे
हो राम जी
आज गोरी वुमेन को हराया रे
हो राम जी

मैं आगरे से
ओ मैं जयपुर से
हो मैं आगरे से
हो मैं जयपुर से

मैं आगरे से जूता लाया रे
हो रानी जी
मैं आगरे से जूता लाया रे
हो रानी जी
मैं जयपुर से चुनरी लाई रे
हो राजा जी
मैं जयपुर से चुनरी लाई रे
हो राजा जी
हो मैं आगरे से
ओ मैं आगरे से जूता लाया रे
हो रानी जी


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 :

3737 Post No. : 14687 Movie Count :

4014

Today’s song is from a saint film, ‘Sant Sakhu’ (1941).

Out of the many saints that came from Maharashtra, like Tukaram, Ramdas, Gyaneshwar etc, Sakhu was probably the only female saint on whom a bilingual film – Hindi and Marathi – was made. Unlike other saints, Sakhu possibly was not a historical figure because no mention about her is found anywhere in any document. Nevertheless, she was extremely popular amongst the rural folks of not only Maharashtra but also was a popular name in Karnataka, Andhra, Tamilnadu and Orissa. In the pre independence era, Sakhu or Sakhubai was quite a common name in these areas. I remember that we had a maid servant named Sakhubai in our Hyderabad home. She was a Telugu woman, did not know Marathi, but knew who Sakhu was !

The film was made by Prabhat Films, which was known to make mythological, religious and social films. It started its talkie era with ‘Ayodhya Ka Raja’ – a bilingual in Hindi and Marathi, in the year 1932. This is the oldest Indian talkie film available today, based on the story of King Harishchandra and Taramati. As the time went by, Prabhat became famous for its meaningful films. Apart from V. Shantaram, other partners of Prabhat, like Keshavrao Dhaiber, Damle and Fattelal and even the assistant of Shantaram, K. Narayan Kale had directed few films. However only the films directed by Shantaram became hits and were popular, with the exception of Sant Tukaram  (1936) a Marathi film.

While forming the company, the partners had chosen their fields of activity, like Damle was expert in sound recording and engineering, Fattelal was very good in art direction, set making etc. and Dhaiber was good at cinematography. Direction was unanimously allotted to V Shantaram. In the following years when only Shantaram’s name became famous, there was envy among the other partners. Shantaram too sensed it and tried to prove that he was a team man and helped others whenever required in their directorial efforts. But the seed of envy soon became a big tree and things were made difficult for Shantaram.

Another point known only to very few and which was never elaborated by Shantaram himself, was also at work. In the early years of Prabhat Films, one of the partners – S Fattelal married the company’s heroine Gulab Bai aka Kamlabai (she was the girl who blows the tutari in Prabhat’s logo). Disturbed by this event and fearing public ire, the company made a rule that hereafter no partner of the company should get involved in any actress or employee of the company and if it does happen, he should leave the company forthwith. This rule was used when in 1937, one of the partners, Keshavrao Dhaiber married Nalini Tarkhud, heroine of film ‘Rajput Ramani’ (1936), which he had directed. Consequently, Dhaiber left Prabhat and started his own company, Jaishree Films.

During the making of film ‘Padosi’ (1941) (‘Shejari’ in Marathi), V. Shantaram fell in love with the heroine of the Marathi version, Jaishree (Kamulkar) and married her on 26-10-1941. (He already had one wife, Vimlabai and 4 children). The envious partners got this solid point against Shantaram. The pressure increased on him to quit. Finally, Shantaram left Prabhat films (for mixed reasons) on 13-4-1941. He even left Poona and took up a job in Government’s Film Division, before establishing his own Rajkamal Kalamandir.

During all these happenings, film ‘Sant Sakhu’ was released at Central Talkies on 27-9-1941. Baburao Patel, in his Film India October ‘41 issue gave a mild review of the film. He, however, made a remark in his inimitable style-’the film is suitable for the old, women and children’. The film was directed by the duo of S Fattelal and VG Damle. This pair had directed a silent film also, ‘Maharathi Karna’ in 1928. After that they were busy with their own specialty jobs. Subsequently, the pair was virtually pushed to direct film ‘Sant Tukaram’ (1936) in Marathi, by none other than Shantaram himself. This was his attempt to bring peace and harmony among the partners of Prabhat. He genuinely helped the duo and the reluctant pair flew on the seventh heaven, when ‘Sant Tukaram’ became one of the international hit films !!!

The music to film ‘Sant Sakhu’ was by the resident musician Keshavrao Bhole and the cast of the film was Hansa Wadkar, Shankar Kulkarni, Gauri, Shanta Mujumdar, Master Chhotu and many others. Lyrics were by PL Santoshi and Pt Mukhram Sharma. During the making of film Sant Sakhu, Mukhram Sharma and actress Shanta Mujumdar fell in love and got married also.

One name in the cast is that of Gauri. Her real name was Tanibai Dawari. She was with Prabhat since its inception and did small roles in silent films. She was totally illiterate and could not read or write. After the advent of the talkie films, she continued doing small roles in Prabhat films. When film ‘Sant Tukaram’ was being conceived, Shantaram started searching for an actress to do the role of Tukaram’s wife – Avali, who loved Tukaram but was sort of a shrew because she felt Vithoba Bhakti was spoiling Tukaram.

One day, Shantaram saw Gauri and he called her. Giving a copy of the script to her, he said, “You are selected to do the role of Avali. Now read the dialogues and be prepared”. Gauri was stunned. She did not know how to react. She could not read. She was sure that now she will be exposed and removed from service, as Prabhat did not employ illiterate people. She took the script and went out of the room. Music Director Keshavrao Bhole found her in a corner weeping. When he enquired repeatedly, Gauri explained everything. Bhole pacified her and said, “Dont worry”. From that day onwards he taught Gauri reading and writing for 8 hours a day for 15 days. Being a sharp student Gauri picked it up very quickly, as it was a do or die situation.

Her role in film Sant Tukaram was lauded by one and all. It was praised even in the Venice film festival. Prabhat gave her a special award also. Gauri continued with Prabhat till it was making films. Then she retired from films and settled in Poona, doing some household jobs for survival. Unfortunately the Panshet flood disaster in Poona in 1961, washed out everything she had. She returned to her hometown, Kagal, near Kolhapur. In 1964, a film on Tukaram “Tuka Zalase Kalas” in Marathi was launched. Sulochana Latkar was to do the role of Tukaram’s wife, Avali. She wanted to take blessings from Gauri – the original Avali. Sulochana went to Kagal and took her blessings. She gave her a saree and some money too. Soon after this, Gauri aka Tanibai Dawari passed away.

Here is the story of film ‘Sant Sakhu’

Sakhu Bai (Hansa Wadkar), an ardent devotee of Vithal, lives with her husband (Shankar Kulkarni) and a cruel mother-in-law – Mhalsa Kaku (Gauri). The mother thinks that her daughter-in-law will spoil her only son and then he will start neglecting his mother. Her husband also does not say anything to his mother because he thinks that since he is her only son, people will disrespect him and his wife if he takes his wife’s side. So Sakhu has to bear all the ill-treatment silently. She worships Vitthala with all her heart and forgets her daily sufferings.

One day, her husband’s sister, Kalawati (Shanta Mujumdar) returns from her home with her daughter. She tells her mother how she was beaten by her mother-in-law and her husband and how they threw her out of the house. Her mother tells her to live in her home with his brother. She also starts troubling Sakhu, because she envies how his brother loves her. One day, Sakhu’s husband falls ill and Sakhu defies her mother-in-law’s order and comforts her husband rather than doing her prescribed work. Sakhu’s mother-in-law tells her son that he has to choose between his mother and her; he chooses his mother and throws Sakhu out of the house.

A sad Sakhu sees a group of Vitthala devotees doing naam-kirtan (chanting of the Lord’s name). She joins the group and starts doing naam-kirtan. Her husband’s sister finds her and tells her mother about that. The mother-in-law arrives and drags her to her home and ties her to a pole. Sakhu starts crying and worships Vitthala and after some time, things take a different turn. God Vithal appears there and releases her, taking her place as Sakhu. Now Sakhu is free to go to Pandharpur for the darshan of Vithal, along with the Varkaris. The movie ends with two Sakhus coming face to face. People get dumbfounded by seeing two Sakhus and start thinking that she is a ghost. The movie ends by clearing everyone’s doubts.

Let us now listen to this duet by Vinodini Dikshit and Vasant Desai (who was Keshavrao Bhole’s assistant in this film). With this song, the film ‘Sant Sakhu’ makes a debut on the blog.

(Credits – Book of Isak Mujawar, Book by Bhai Bhagat, Wikipedia, HFGK, Prabhat’s website and my notes.)


Song – Roop Ye Anoop Dekh Ke Nayan (Sant Sakhu) (1941) Singers – Vasant Desai, Vinodini Dixit, Lyrics – PL Santoshi, Music – Keshav Rao Bhole
Vasant Desai + Vinodini Dixit

Lyrics (Provided by Sudhir)

roop ye anoop
dekh ke nayan
roop ye anoop
dekh ke nayan
roop ke roop mein
samaa gaye
roop ke roop mein
samaa gaye
roop ye anoop
dekh ke nayan
roop ye anoop

chhaaya tera rang
mere ang ang
chhaaya tera rang
mere ang ang
mann mein bhi
chhaaya paandurang
mann mein bhi
chhaaya paandurang
roop ye anoop
dekh ke nayan
roop ye anoop
roop ye anoop
roop ye anoop
roop ye anoop

dekhe bina mohey
chain nahin aaye
dekhe bina mohey
dekhe bina mohey
chain nahin aaye
manaaye na maane
mora mann
manaaye na maane
mora mann

roop ye anoop
dekh ke nayan
roop ke roop mein
samaa gaye

roop ye anoop
dekh ke nayan
roop ye anoop

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

रूप ये अनूप
देख के नयन
रूप ये अनूप
देख के नयन
रूप के रूप में
समा गए
रूप के रूप में
समा गए
रूप ये अनूप
देख के नयन
रूप ये अनूप

छाया तेरा रंग
मेरे अंग अंग
छाया तेरा रंग
मेरे अंग अंग
मन में भी
छाया पांडुरंग
मन में भी
छाया पांडुरंग
रूप ये अनूप
देख के नयन
रूप ये अनूप
रूप ये अनूप
रूप ये अनूप
रूप ये अनूप

देखे बिना मोहे
चैन नहीं आए
देखे बिना मोहे
देखे बिना मोहे
चैन नहीं आए
मनाए ना माने
मोरा मन
मनाए ना माने
मोरा मन

रूप ये अनूप
देख के नयन
रूप के रूप में
समा गए

रूप ये अनूप
देख के नयन
रूप ये अनूप


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 : 3693 Post No. : 14608

Today’s song is from a film ‘Ek Hi Bhool’ from 1940. It was a film made by Prakash Pictures and was directed by Vijay Bhatt. The lyricist was ‘Anuj’ and the music director was the favourite of Prakash – Shankar Rao Vyas. The film’s cast was Jairaj, Mehtab, Umakant, Amirbai, Prahlad Dutt, Baby Meena (Meena kumari) and also a Dog called Tiger. (I always wonder when people can see that it is a dog, then why the owners name it as Tiger to mislead others ?).

Many people know that actress Mehtab was Sohrab Modi’s wife, having married him against opposition from all, on 28th April 1946. But most people do not know her background. Mehtab was born on 28th April, 1918 in Bombay. Her father Siddee Ebrahim Khan was the Nawab of Sachin (Surat, Gujarat). Her parents named her as Najma. She was the step sister of actresses Zubeida (‘Alam Ara’ fame), Sultana and Shehzadi. She studied up to intermediate. She was fluent in Urdu, Gujrati, English and Marathi. When her father – the Nawab – gave talaaq to her mother, her mother took her to Bombay where her sautan, Fatima, another wife of the Nawab was promoting her 3 daughters to become actresses. Fatima gave her refuge, solace and a promise to promote Najma also as an actress. Her career  started as child artist at the age of 12. She did 3 silent films, namely ‘Second Wife’ (1928), ‘Kamal e Shamsheer’ (1930) and ‘Sheroo Sainik’ (1931) – all  produced by her mother. Her first talkie film as heroine was Indian Arts Production’s ‘Veer Kunal’ (1932) through which she got her screen name Mehtab. Ashraf Khan was the hero of that film. Subsequently, Chandulal Shah signed her for two films viz. ‘Bhola Shikar’ (1933) opposite E Billimoria and ‘Ranchandi’ (1934) opposite Navin Chandra. None of these films did well, so her mother formed a film company of her own. Meanwhile, Mehtab had got married, at the age of 14 years only and had got a son from that marriage, Ismail. However, no film was completed under their company and they faced heavy losses. Moreover, Mehtab’s marriage also didn’t work out and she took divorce and won the custody of her son.

She started doing films in any role, not only heroine’s. After doing 19 films, she got a call from Calcutta. In 1940, she was offered a film named ‘Qaidi’ (1940) made by Film Corporation of India. Though she was not the leading heroine of the film but her acting was praised all over. She did 3 films in Calcutta. After ‘Qaidi’, she did ‘Masoom’ (1941). The banner signed her again as the heroine for their next film ‘Chitralekha’ (1941) in which she created a sensation overnight by doing a bathing scene aesthetically, something shown for the very first time in a Hindi film. Around 1941 to 1943, Mehtab was among the most famous actresses of Hindi films. Her next three films ‘Sharda’ (1942), ‘Chauringhee’ (1942), and ‘Bhakt Kabeer’ (1942) also proved to be hits.

In 1944, Central Studio signed Mehtab for their film ‘Parakh’ (1944). Sohrab Modi was directing the film. At the time of signing the contract, Mehtab told Modi that she had heard that he only took his own close-ups in his films and ignored the others. He told her that he wasn’t acting in that film. Thereafter, Sohrab Modi again took Mehtab as heroine in his film ‘Ek Din Ka Sultan’ (1945) opposite Wasti under his own banner Minerva Movietone. Slowly, Sohrab Modi fell in love with her and proposed to her. Mehtab agreed only on the condition that she would not leave her son Ismail. Sohrab didn’t find any problem in that and they got married on the birthday of Mehtab, 28 April 1946. Sohrab Modi’s family didn’t approve as they were Parsi and Mehtab was Muslim. Sohrab never interfered in Mehtab’s career or religion. Mehtab had a son from Modi named Mehli who was brought up as Parsi. Modi sent both the sons abroad to study.

Mehtab did few films after marriage like ‘Behram Khan’ (1946), ‘Saathi’ (1946), ‘Shama’ (1946). Her last major film was ‘Jhansi Ki Rani’ (1953). She did a small role in film ‘Samay Bada Balwan’ (1969). Sohrab Modi was the producer, director and the hero of the film. It was Sohrab’s first colour film. She acted in total 40 films.

Sohrab Modi died on 28 January 1984 due to cancer of the bone marrow. Mehtab’s both sons were settled abroad, though she spent her life in Cuff Parade, Mumbai till her death. She died on 8-4-1997. She was buried at the Bada Qabrastan, Marine Lines, Mumbai.

Another name one can see in the cast is that of Prahlad Dutt. He was actually a foreign trained photographer and cameraman, and an expert in trick photography. He was working in Lahore in the early 1940s. Pancholi’s film ‘Shirin Farhad’ (1945) was getting ready and Prahlad Dutt was its director and trick scenes master. His work was applauded by everyone. The scene where Farhad digs out a canal from a big mountain single-handed, was done by Prahlad with astounding results. After the partition, he ran away from Lahore to Bombay. He soon got work here as his name was well known and famous.

He was working in Ranjit directing a film ‘Mitti Ke Khilaune’ (1948). It was in early 1948. Gandhiji was assassinated on 30th January. 4-5 days after that, Ranjit studio workers were shocked to find a police jeep entering the studio, in speed. Out jumped an inspector and asked, “Where is Prahlad Dutt?”. Ranjit Manager asked “Why?” the answer was “We have his arrest warrant in connection with Gandhi killing”. While the manager offered to call him here from another floor where he was shooting, the police ran towards that place. As soon as Prahlad saw the police, he started running, with police chasing him and shouting at him to stop. He tried to climb the wall and disappear, but the inspector warned him first and then shot him with his pistol in his thigh. He fell down. He was arrested and taken away.

He was charged with various crimes and a case was put on him. However, he was released unblemished after 4 months. Ranjit management helped him quite a lot in those days. Prahlad Dutt acted in only one film – ‘Ek Hi Bhool’. He directed 5 films in all – ‘Shirin Farhad’ (1945), ‘Piya Ghar Aa Jaa’ (1947), ‘Mitti Ke Khilaune’ (1948), ‘Nazaare’ (1949) and ‘Madhubala’ (1950).

One more name in the cast is that of Umakant (full name Umakant Desai).  I am sure most people would not know anything about him.

People remember Dilip kumar for his double role in ‘Ram Aur Shyam’ (1967) and triple role in ‘Bairaag’ (1976). People also remember Sanjeev Kumar for his 9 roles in ‘Naya Din Nayi Raat’ (1974) or Kamal Hassan for his 10 roles in ‘Dashavtaar’ (2008), but hardly anyone knows that Umakant Desai was the FIRST actor to do 3 roles in film ‘Hukum Ka Ikka’ (1939) (as the rajkumar, as a madari and as a common man).

Umakant Desai was born in Sankheda, near Vadodara (Baroda), Gujarat on 13-6-1908. After matriculation, he came to Bombay and did a job in BB&CI Railways (Bombay,Baroda and Central India Railway), a private railway company of pre Independence period. He used to do roles in local dramas. One day director Chimanlal Desai saw him in a drama called ‘Jaya Aur Jayant’. He was so impressed with him, that he took him to act in Gujarat’s First Talkie ‘Narsi Mehta’ (1932). In this film Umakant did the role of Krishna.

So, the son of a landlord Himmatbhai Jagubhai Desai became a film actor. He joined Prakash Pictures on a salary of Rs 150/- pm, but when he left Prakash, he was drawing Rs 3,000/- pm. In 1934, he worked in Gujarati film ‘Sansaar Leela’. He sang 2 duets with Rajkumari in this film. The film was a hit and was remade in Hindi as ‘Nai Duniya’. He worked in ‘Bharat Milap’ (1942). His best remembered role was as Laxman in film ‘Ram Rajya’ (1943), which created several records, including that it was the first and the only film Mahatma Gandhi ever saw in his lifetime !

Umakant worked in 59 Hindi films and 15 Gujarati films. ‘Anmol Moti’ (1948) was his last film as a hero. Then he shifted to doing character roles. He had worked with Durga Khote, Shobhana Samarth, Pramila, Ratnamala, Ranjana, Sitara, Snehprabha Pradhan, Meena Kumari, Amita, Vijayanti Mala, Nalini Jaywant, Kamini Kaushal etc. For fluency in Hindi and Urdu, he had appointed a teacher also.

He worked in 26 films of Prakash, in which 8 films were directed by Vijay Bhatt. He mostly worked in mythological and social films. Some of his films were ‘Miss Mala’, ‘Chhote Babu’, ‘Station Master’, ‘Amar Asha’, ‘Poornima’, ‘Anmol Moti’, ‘Kavita’, ‘Hamara Ghar’ etc . He did Laxman’s role in 7 films.

Umakant’s son and daughter-in-law died a tragic death in a snow blizzard in USA in 1975. His wife Kaumudiben died in 2006 and Umakant died on 25-1-2007.

He was awarded Dadasaheb Phalke Academy Award in 2004.

While going through the title index by Harmandir ji for films from 1931 to 2012, I found that the word ‘EK’ is the most used word in Hindi film Titles. As many as 206 films are made, beginning with the word ‘EK’. Amongst these, there are 32 film titles starting with ‘Ek Aur ….’. Films with title ‘Ek Hi Bhool’ were made 3 times – 1940, 1981 and 2005.

Today’s song is sung by Amirbai Karnataki and NM Adhikari. I have not been able to get any information about this male singer. It seems this was the only film in which he sang. He sang 1 solo and 1 duet. With this song, the film ‘Ek Hi Bhool’ of 1940 and the singer NM Adhikari make their debut on our blog.

(Credits- Sapnon Ke Saudagar by Vithal Pandya, Harish Raghuwanshi, HFGK, MuVyz and my notes.)


Song – Main Phoolon Ki Sugandh Bankar Upvan Saara Mehkaaoon (Ek Hi Bhool) (1940) Singer – Amirbai Karnataki, NM Adhikari, Lyrics – Sampatlal Shrivastav ‘Anuj’, Music – Shankar Rao Vyas

Lyrics (Provided by Sudhir)

main phoolon ki
main phoolon ki
sugandh ban kar
upvan saara mehkaaun
main phoolon ki
sugandh ban kar
upvan saara mehkaaun
main phoolon ki
main bhaunra
main bhaunra ban kar
chupke se phoolon ka ras le jaaun
main bhaunra ban kar
chupke se phoolon ka ras le jaaun

main madmaati koel ban kar
birha ka geet sunaaun
main madmaati koel ban kar
birha ka geet sunaaun
main premi ke aansu ban kar
birha ki aag bhujaaun
main premi ke aansu ban kar
birha ki aag bhujaaun

aao hil mil
armaanon ki duniya nai basaayen
aao hil mil
armaanon ki duniya nai basaayen
is neeras jeevan
mein phir se
is neeras jeevan
mein phir se
hai nai umangen laayen
hai nai umangen laayen

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

मैं फूलों की
मैं फूलों की
सुगंध बन कर
उपवन सारा महकाऊँ
मैं फूलों की
सुगंध बन कर
उपवन सारा महकाऊँ
मैं फूलों की
मैं भौंरा
मैं भौंरा बन कर
चुपके से फूलों का रस ले जाऊँ
मैं भौंरा बन कर
चुपके से फूलों का रस ले जाऊँ

मैं मदमाती कोयल बनकर
बिरहा का गीत सुनाऊँ
मैं मदमाती कोयल बनकर
बिरहा का गीत सुनाऊँ
मैं प्रेमी के आँसू बन कर
बिरहा की आग बुझाऊँ
मैं प्रेमी के आँसू बन कर
बिरहा की आग बुझाऊँ

आओ हिलमिल
अरमानों की दुनिया नई बसाएँ
आओ हिलमिल
अरमानों की दुनिया नई बसाएँ
इस नीरस जीवन
में फिर से
इस नीरस जीवन
में फिर से
है नई उमंगें लाएँ
है नई उमंगें लाएँ


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 : 3689 Post No. : 14596

Today’s song is from film ‘Divorce’ (1938) – aka ‘Talaaq’. The song is sung by Sheela, lyricist was Pt. Anand Kumar and the MD was Meer Saheb (assisted by Ramchandra Chitalkar). The cast of the film was Naseem Bano, Gajanan Jagirdar, Prem Adib, Sheela, Vimla, Navin Yagnik, Khan Mastana etc. The film was made by Minerva Movietone and directed by Sohrab Modi. Divorce was one of the 3 films Modi made based on social problems. First film was ‘Meetha Zafar’ on alcohol habit, ‘Divorce’ was on separation of a couple and ‘Bharosa’ was on a very taboo and sensitive issue like incest.

One name in the cast is of Gajanan Jagirdar. We all know the famous actor and director Gajanan Jagirdar (real surname Jahagirdar. B 2-4-1907 D- 13-8-1988), but few know that he was branded ‘unlucky’. ‘Padosi’ (1941) was Jagirdar’s first film with Prabhat film company. By the time the film was complete Shantaram and his some friends left Prabhat making it crippled. Second time Jagirdar worked in  film ‘Ramshastri’ (1944) for Prabhat, the important partner Vishnupant Damle died and Prabhat almost collapsed. The third time Jagirdar worked for Prabhat in film ‘Lokmanya Tilak’, the company was auctioned and closed down for ever ! When Jagirdar worked in “Shahir Parshuram”of Mangal pictures, the company went bankrupt and closed down. In 1953, top production company Alhad Chitra employed Jagirdar for a bilingual film, ‘Mahatma’ (1953), not only the film flopped, it drowned the company and the Producer Datta Dharmadhikari came on the road. For survival he started a roadside kitchen !

Jagirdar started as a freelancer in the industry, in the film studios of Prabhat Films and Minerva Movietone and later acted and directed in a number of films post his accidental debut ‘Jalti Nishani’  in 1932.  He was hand-picked by V Shantaram to act in ‘Jalti Nishani’ when actor DD Mane wasn’t able to say the Urdu dialogues onscreen properly. And even though he was only 25, he enacted the part of a 75-year-old with aplomb.

Jagirdar began acting on the stage as a young child. As he grew older, he formed Arun Players, a theatre group which enacted plays like Harindranath Chattopadhyay’s ‘Returned from Abroad’ to Anton Chekhov’s ‘The Cherry Orchard’.

Not bound to any one studio, he worked as a freelancer for most of the major films studios of the time — from Prabhat Films to Minerva Movietone. At Prabhat, he began with writing the  English inter titles for films. He also taught the Prabhat artistes Urdu dialogue delivery. He assisted Bhalji Pendharkar for a bit and directed a few films like ‘Begunaah’ (1937) for Master Vinayak’s banner Hans Pictures. Later, he moved on to work as a scenarist (screenwriter) for Minerva Movietone’s ‘Meetha Zahar’ (1938) and ‘Divorce’ (1938). He also worked with filmmaker PK Atre, both as actor and director in a few films.

For V Shantaram’s last film with Prabhat Films, the famed director took up the issue of communal tension in the country. Jagirdar played the Muslim character Mirza, while Mazhar Khan played the Hindu character, Thakur in the bilingual. ‘Padosi’ was a critical and commercial hit at the time.

‘Ramshastri’ (1944) was a landmark bilingual film on Peshwa Madhavrao’s chief justice and one of the last classics produced by Prabhat Films. The film went through three directors — Raja Nene, Vishram Bedekar shot portions of the film before Gajanan Jagirdar, who was playing the lead character Ramshastri Prabhune, took over to finish it. It is said that V Shantaram also directed parts of it.

In Asit Sen’s ‘Apradhi Kaun’ (1957), Jagirdar played double role as two brothers Shrinath and Dinanath. It was a fantastic opportunity for the actor. As the wealthy Shrinath who has   inherited all of the ancestral property, Jagirdar was cool and composed. Meanwhile, as the down-on-his-luck brother Dinanath, Jagirdar transformed himself and his body to differentiate the two. Jagirdar acted in 147 films, directed 17 films and wrote 13 songs in film ‘Sant Tulsidas’ (1934).

Prior to his career in films, Jagirdar was also a teacher and later also taught acting. He became the first principal of the Film and Television Institute of India (FTII) in 1960, but resigned after a year.

He wrote two autobiographies that were published in 1971 and 1986. Additionally, he also wrote a book on acting which explored the Konstantin Stanislavsky’s method to the craft.

The film’s songs were written by Pt. Anand kumar. He was born in Delhi in 1907. He was a producer, director, writer and lyricist. From childhood, he was not interested in studies in English medium. He was taught Urdu, Hindi and Sanskrit by his poor Brahmin Shastri father. When he was 15 year old, he entered a business. He was always discontented. He wanted to become an actor, but family resisted. He tried fasting and even suicide. Then he stole some money and ran to Bombay. He could not get into any studio and after money finished, he returned to Delhi, only to take more money and run to Bombay again. Even after this failure, he went back to Delhi and started writing stories.

His first book ‘Mera Haq’ became a hot seller and he started earning money. He was invited by film people and he went to Bombay nth time. He wrote stories, dialogues and Lyrics of scores of films and earned name and money. He produced a film ‘Zameen’ (1943), under his own banner Anand Brothers. He directed 5 films,including a hit marathi film, ‘Gora Kumbhar’ (1942). Some of his films as a Lyricist were ‘Suvarn Mandir’ (1934), ‘Katle Aam’ (1935), ‘Pratibha’ (1937) ‘Divorce’ (1938), ‘Saathi’ (1938), ‘Alakh Niranjan’ (1940), ‘Punarmilan’ (1940), ‘Charnon Ki Daasi’ (1941), ‘Raja Rani’ (1942) etc. As a writer some films were, ‘Divorce’ (1938), ‘Honhaar’ (1936), ‘Saathi’ (1938), ‘Vasantsena’ (1942), ‘Rang Mahal’ (1948) etc.

Today’s song is sung by Sheela.  Sheela (real name – Roshan Ara) was born on 13-3-1925 at Sholapur-Maharashtra. Her father was Station Master at Sholapur Railway Station.

Once Sohrab Modi had come to Sholapur with his drama company. He went to the station to do reservations and saw Sheela. They got to know each other and he proposed to give her roles in his films. Thus Sheela came to Bombay in 1936 and Joined Minerva Movietone as a singer/actress.

Her first film was ‘Khan Bahadur’ (1937), in which she sang and acted. Then came ‘Jailor’ (1938) in which she sang 4 solo songs under MD Mir Sahib. Then ‘Divorce’ and ‘Meetha Zahar’ came.

She became famous only after her songs in ‘Pukar’ (1939). ‘Bharosa’, ‘Wasiyat’ and ‘Sikander’ also gave her name and fame. In ‘Sikander’ she had 6 songs out of total 7 songs. The famous song “Zindagi Hai Pyaar Se” also has her voice in the chorus. She was heroine in film ‘Wasiyat’ (1940).

‘Ulti Ganga’, ‘Bhakta Raidas’, ‘Prithvi Vallabh’, and ‘Patharon Ka Saudagar’ were all Minerva films. She had also done films elsewhere – ‘Alladin and Wonderful Lamp’, ‘College Girl’, ‘Gaibi Gola’, ‘Jahan Ara’, ‘Keemti Qurbani’, ‘Sansar Naiya’, ‘Shaitan Ka Paash’ etc. After 1943, she almost stopped working. Only in ‘Beete Din’ (1947) and lastly in ‘Billi’ (1949)’ sang songs, which was a stunt film of Nadia and Cavas.

She had married the actor Rama Shukla, in 1947. He was a Kanauji Brahmin and the families had terrible opposition to their marriage. The marriage was by Registration. Only 4 friends were present in the marriage. They had one son and one daughter. Rama Shukla died by heart attack in the 50s.

Her voice had a peculiar mixture of muslim style of Amirbai Karnataki and Marathi slant of Shanta Apte.

There is an anecdote with one of her songs. When film ‘Pukar’ was in the making, C Ramchandra was working as an assistant to MD Meer Saheb. He has mentioned in his autobiography also that in the absence of Meer saheb, he used to insert his tunes to songs as Meer Saheb’s. This was known to many, except, may be, Meer Saheb himself. One of the very popular songs sung by Sheela “Tum Bin Hamri Kaun Khabar Le” was actually composed by C Ramchandra. This is supposed to be CR’s first composed song. The credit, of course, went to Meer Saheb.

The song is very sweet and is sung also nicely.

(Credits- Swaron ki Yatra, Cinerang by Mujawar, Film Directory, Hindi Film Singers by Prof Yadav, HFGK, MuVyz and my notes.)


Song – Wo Aayen Na Aayen Yahaan Sajni (Divorce) (1938) Singer – Sheela, Lyrics – Anand Kumar, Music – Meer Saheb

Lyrics (Provided by Sudhir)

wo aayen na aayen yahaan sajni
wo aayen na aayen yahaan sajni
ghar hum ko aaj sajaana hai
ghar hum ko aaj sajaana hai

wo dekhen na dekhen hamen un ko
wo dekhen na dekhen hamen un ko
dil apna aaj dikhana hai
dil apna aaj dikhana hai
wo aayen na aayen yahaan sajni
wo aayen na aayen yahaan sajni
ghar hum ko aaj sajaana hai
ghar hum ko aaj sajaana hai

chaahe tum to kahaani bahut hi padhi
chaahe tum to kahaani bahut hi padhi
hamen apne haal sunaana hai
hamen apne haal sunaana hai

un ko apni kehte kehte
un ko apni kehte kehte
un ke dar par mit jaana hai
un ke dar par mit jaana hai

is raah ki khaaq mili jo hamen
is raah ki khaaq mili jo hamen
un ke kadmon ka thikaana hai
un ke kadmon ka thikaana hai
wo aayen na aayen yahaan sajni
wo aayen na aayen yahaan sajni
ghar hum ko aaj sajaana hai
ghar hum ko aaj sajaana hai
wo aayen na aayen yahaan sajni. . .

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

वो आयें ना आयें यहाँ सजनी
वो आयें ना आयें यहाँ सजनी
घर हमको आज सजाना है
घर हमको आज सजाना है

वो देखें ना देखें हमें उनको
वो देखें ना देखें हमें उनको
दिल अपना आज दिखाना है
दिल अपना आज दिखाना है
वो आयें ना आयें यहाँ सजनी
वो आयें ना आयें यहाँ सजनी
घर हमको आज सजाना है
घर हमको आज सजाना है

चाहे तुम तो कहानी बहुत ही पढ़ी
चाहे तुम तो कहानी बहुत ही पढ़ी
हमें अपना हाल सुनाना है
हमें अपना हाल सुनाना है

उनको अपनी कहते कहते
उनको अपनी कहते कहते
उनके दर पर मिट जाना है
उनके दर पर मिट जाना है

इस राह की खाक़ मिली जो हमें
इस राह की खाक़ मिली जो हमें
उनके कदमों का ठिकाना है
उनके कदमों का ठिकाना है
वो आयें ना आयें यहाँ सजनी
वो आयें ना आयें यहाँ सजनी
घर हमको आज सजाना है
घर हमको आज सजाना है
वो आयें ना आयें यहाँ सजनी॰ ॰ ॰


This article is written by Bharat Upadhyay, 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 : 3679 Post No. : 14571

 

[Dated 06 Aug, 2018]

Yesterday I was NOT on earth, for more than four hours . Now I know how joyful it will be in Heaven. I was a VIP guest at Jaidev’s 100 year Birthday celebration organised by by Hariharan and Chhaya Ganguli. I had full one and a half hours on back stage with artists and even was given a centre first row seat.

During that heavenly program Jaidev’s creations were presented by Hariharan, Penaaz Masani, Vibhavari Joshi,  Mahalakshmi Iyer and Suresh Wadkar.  Many luminaries like Shivkumar Sharma, Amol Palekar, Ashit Desai (who conducted the 20 piece orchestra for all the singers) etc talked about their association with Jaidev.

Penaaz Masani surprised everybody by singing a non-film, hardly heard composition written by the great poet Ramdhaari Singh Dinkar ji – a segment from his mahakavya ‘Urvashi’.  She interjected every stanza with the translated English poetry written by Khushwant Singh.

It may not be popularly known that Jaidev – the underrated genius composer, probably the best of our times, has composed literary pieces from poets like Ghalib and Kabeer to Harivanshrai Bachchan, Mahadevi Varma, Jaishankar Prasad, Maithilisharan Gupt and Ramdhaari Singh ‘Dinkar’.

I present today Jaidev ji composition of a renowned literary work – a lovely melody for Ramdhaari Singh Dinkar’s legendary opus – ‘Urvashi’. Unfortunately this partial composition, rendered by S. Janki remained unheard as the project got shelved and never completed. Jaidev truly was the Literary Composer.

In my khazaana I have a video of Jaidev ji in his own voice talking  about how he composed ‘Urvashi’ and the subsequent singing by S Janki – popularly and aptly called Lata from South India.

Enjoy this enchanting NFS, by listening to the song – you will want to listen to it repeatedly.

[Editor’s Note: ‘Urvashi‘ is a legendary lyrical drama, which is written by one of the greatest poets of modern India – Ramdhari Singh Dinkar. This creation was first published in 1961. This is a long play in 5 acts. It deals with the subject of beauty, love and passion, and the goes much beyond the superficial in exploring the depth of the quest for the truth behind the male-female union in this creation. The basis of this lyrical storytelling is the love saga of Urvashi and Pururava.

Urvashi is an apsara from swarg lok. As per the pauraanic texts, she appeared during the churning of the ocean – सागर मन्थन – the joint endeavour of the devatas (demigods) and the asuras (demons) in the quest for अमृत – the nectar of immortality. In another narrative, it is stated that when Narayan Rishi was doing penance and meditation in the Himalayas, Indra, the king of demigods, afraid for his throne, sent a group of apsaras to disturb his penance. Narayan Rishi became incensed, and to show Indra his powers, created a most beautiful apsara by simply stroking his chest (ur – ‘उर’), whose beauty surpassed the combined attraction of all the ones sent by Indra. Since she was created from the उर of Narayan Rishi, her name became Urvashi.

Pururava is the primeval male personality of the chandra vansh – the Lineage of the Moon (in which after many generation, Lord Krishna also appears as an incarnation). As per the Puraanas, at the beginning of creation, Manu and Shraddha, the original primal man and woman created by Brahma, called upon Vashisht Rishi to perform a yajna (यज्ञ) for begetting a child. Manu wanted a son to be born, and Shraddha wanted a daughter. As the outcome of this yajna, a duaghter was born. On seeing the disappointment on the face of Manu, Vashisht Rishi gave a boon and turned the daughter into a son. He was named Sudyuman (सुद्युम्न). When he grew up, once he went to a forest for hunting. Unknown to him, the forest was cursed, and he was not supposed to enter it. Being in the presence of that curse, he reverted to his original female form, and now he/she was named Ila (इला). In good time, Ila was married to Budh, the son of Chandrma, and from their union, a child was born who became the first generation of the chandra vansh. He was named Pururava.

In metaphysical terms, Urvahsi represents the epitome of the eternal female of this creation, and Prururava is the representation of the eternal male. Pururava is of the earth, and he desires for the pleasures and gratifications of the swarg lok. Urvashi is of the swarg lok, and with an innate and natural certainty, wants to partake the pleasures of the earth. She descends from the heavens to the earth and the two share a relationship of love. Urvashi is a representation of unbridled desires and passions, but having descended from the heavens, she is free from inner conflict and struggles. Pururava represents the earthly persona who is distracted and inconvenienced by a multitude of disturbing vibrations (रव).

In this lyrical creation, Dinkar explores the depth of the quest in a man-woman relationship. The thesis expounded is that inside a man, there is another level of existence of a man, beyond the physical. And the same holds true for the woman. Their longing for each other is a pursuit of seeking out this inner existence within each other. Their quest does not end simply on the physical union but goes much deeper, seeking the true ‘other’, the true counterpart for a more fulfilling and nourishing accord.

Dinkar received the Sahitya Academy award for this creation in 1959, and the Jnaanpeeth Award in 1972.]


Song: Main Roop-Rang-Ras-Gandh-Poorn Sakaar Kamal (S Janaki NFS) (1980)Singers: S Janki, Lyrics: Ramdhari Singh Dinkar, Music: Jaidev
Jaidev
[Ed Note: The clip includes some initial lines of this piece, in the voice of Jaidev ji himself.]

Lyrics (Provided by Sudhir)

par kya bolun?
kya kahoon?

bhraanti, yeh deh-bhaav

[Brief commentary by Jaidev ji]

main manodesh ki vaayu
vyagra, vyaakul, chanchal
avchet praan ki prabha
chetna ke jal mein
main roop-rang-ras-gandh-poorn sakaar kamal
sakaar kamal
sakaar kamal. . .

main roop-rang-ras-gandh-poorn sakaar kamal
sakaar kamal
sakaar kamal. . .

 

par kya bolun?
kya kahoon?

bhraanti, yeh deh-bhaav

main manodesh ki vaayu
vyagra, vyaakul, chanchal
avchet praan ki prabha
chetna ke jal mein
main roop-rang-ras-gandh-poorn sakaar kamal
sakaar kamal
sakaar kamal. . .

main nahin sindhu ki sutaa
talaatal-atal-vital-pataal chhod
neele samudra ko phod
shubhr jhalmal fenanshuk mein pradeept
naachti urmion ke sir par
main nahin mahatal se nikli

main nahin gagan ki lata
taarkao mein pulkit phoolti hui
main nahin vyompur ki baala
vidhu ki tanya chandrika sang
poorima sindhu ki parmojjwal abha-tarang
main nahin kirnon ke taaron par
jhoolti hui bhu par utri

main naam-gotr se rahit pushp
ambar mein udti hui mukt anand-shikha
itivrittheen saundrya chetna ki tarang
sur-nar-kinnar-gandharv nahin
priye main kewal apsara
vishw-nar ke atript ichha-saagar se sumudhbhoot

jan-jan ke mann ki madhur vhni
pratyek hriday ki ujiyaali
naari ki main kalpana charam
nar ke mann mein basne waali
main manodesh ki vaayu
vyagra, vyaakul, chanchal
avchet praan ki prabha
chetna ke jal mein
main roop-rang-ras-gandh-poorn sakaar kamal
sakaar kamal
sakaar kamal. . .

—————————
Hindi script lyrics
—————————
पर, क्या बोलूँ?
क्या कहूँ?

भ्रांति, यह देह-भाव

 

[जयदेव जी द्वारा संक्षिप्त समीक्षा]

मैं मनोदेश की वायु
व्यग्र, व्याकुल, चंचल
अवचेत प्राण की प्रभा
चेतना के जल में
मैं रूप-रंग-रस-गन्ध-पूर्ण साकार कमल
साकार कमल
साकार कमल॰ ॰ ॰

मैं रूप-रंग-रस-गन्ध-पूर्ण साकार कमल
साकार कमल
साकार कमल॰ ॰ ॰

 

पर, क्या बोलूँ?
क्या कहूँ?

भ्रांति, यह देह-भाव

मैं मनोदेश की वायु
व्यग्र, व्याकुल, चंचल
अवचेत प्राण की प्रभा
चेतना के जल में
मैं रूप-रंग-रस-गन्ध-पूर्ण साकार कमल
साकार कमल
साकार कमल॰ ॰ ॰

मैं नहीं सिन्धु की सुता
तलातल-अतल-वितल-पाताल छोड़
नीले समुद्र को फोड़
शुभ्र, झलमल फेनांशुक में प्रदीप्त
नाचती उर्मियॉ के सिर पर
मैं नहीं महातल से निकली

मैं नहीं गगन की लता
तारकॉ में पुलकित फूलती हुई
मैं नहीं व्योमपुर की बाला
विधु की तनया, चन्द्रिका-संग
पूर्णिमा-सिन्धु की परमोज्ज्वल आभा-तरंग
मैं नहीं किरण के तारों पर
झूलती हुई भू पर उतरी

मैं नाम-गोत्र से रहित पुष्प
अम्बर में उड़ती हुई मुक्त आनन्द-शिखा
इतिवृत्तहीन, सौन्दर्य चेतना की तरंग
सुर-नर-किन्नर-गन्धर्व नहीं
प्रिय मैं केवल अप्सरा
विश्वनर के अतृप्त इच्छा-सागर से सुमुद्भूत

जन-जन के मन की मधुर वह्नि
प्रत्येक हृदय की उजियाली
नारी की मैं कल्पना चरम
नर के मन में बसने वाली
मैं मनोदेश की वायु
व्यग्र, व्याकुल, चंचल
अवचेत प्राण की प्रभा
चेतना के जल में
मैं रूप-रंग-रस-गन्ध-पूर्ण साकार कमल
साकार कमल
साकार कमल॰ ॰ ॰


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 : 3653 Post No. : 14508

ASAD 10th Anniversary Celebrations – 14
———————————————————————

This Blog is completing 10 years on 19th July 2018.

HAPPY BIRTHDAY to the Blog and CONGRATULATIONS for ATUL ji.

I have yet to come across a similar blog which is running smoothly for 10 years, earning readers’ love and participation to an unbelievable level. The blog has created its own world of ATULITES, consisting of contributors of articles, lyrics, data supply, silent workers behind the limelight, who keep the blog’s non working videos replaced, untiringly and well wishers. The ATULITES run a WA group, meet at different locations in India (Mumbai, Bengaluru, Delhi, Lucknow) from time to time and otherwise keep connected with emails and phone calls. This is an exceptional example, how people of diverse interests-vocations-locations and different age groups stick together with the central magnet of what is called as ‘atulsongaday,’.

It is something beyond mere love of music. It is the result of Atul ji’s leadership that has kept this flock together for such a long period. To assist him, help him and lending a hand is dear Sudhir ji, whose role in keeping in touch with all members is unparalleled.

I came across this blog somewhere in the end of 2010, ending my newly learnt surfing journey here only. I had found a one spot treasure of old songs and information on old films – the people, the times and the stories thereof. My first article came up on 1-10-2012, because of Atul ji’s encouragement and it still continues. The blog has really taught me “It is never too late to turn a new page in the book of life”. It gave me a new identity and a name in the like minded groups, sites and blogs on the Internet. It also gave me new friends.

I take this opportunity to wish the blog many many happy returns of the day (19th July ) and many more milestones. I also wish Atul ji all the best in this enterprise.

BOMBAY (today’s Mumbai) has always been an attraction for people in India. It is considered a ‘mayanagari‘, a ‘swapnanagari‘, where the dreams of hard working talented people can come true. Not every person is a success story but maximum success stories in India have taken place here, in almost every field. When the film industry started blooming and job opportunities opened up in this new field, there was a new destination for people with ambitions and dreams.

There was a trend that aspirants from every corner of India would run away from their town to Bombay, in search and hope of better life. In fact, for all lost children, the search would start from Bombay first. Khalid Hasan, the famous journalist from Pakistan had written in The Friday Times, Lahore, “I love the Qaid e Azam, but what sort of a country he has given us ! There is nowhere for young boys and girls to run to now !!”

This is sufficient to endorse that Bombay was the most desired destination. Today’s song is selected, because in it the singer expresses his desire to go to Bombay. He says, “Bambai ko chalo Bambai ko”. This song is from film ‘Kirti’ from 1942. It was written by Pt. Phani. The music was by Harischandra Bali and it was sung by a most unexpected actor Mithu Miyan. No information about this actor is available. This may not be his real name also. As per records, he seems to have acted in 32 films, from ‘Lutaru Lalna’ (1932) to ‘Alibaba And 40 Thieves’ (1966).

The cast of the film is listed as Lalita Pawar, Jairaj, Sunalini Devi, Jagdish Sethi, Mithu Miyan etc. The film was directed by VM aka Dada Gunjal and the MD was Harishchandra Bali aka HC Bali.

HC Bali was born on 10-3-1906 at Jalandhar, Punjab. He received early training in music from Pt Tola Ram and Ustad Maula Baksh of Talwandi Gharana. He was also a desciple of Bhaskerbua Bakhle and Pt Dilip Chandra Vedi. He adopted their styles. Bali came to Bombay. He entered film by acting as a Hero in film ‘Naksh e Sulemani’ (1933). In later life also he acted in few more films. As an MD, his first film was ‘Aurat Ka Dil’ (1933) and last film was ‘Janata’ (1947). He gave music to 26 films. Among these were first films of Prof Pt Ramanand Sharma, ‘Watan Parast’ (1934), first film of actress Pramila, ‘Bhikharin’ (1935), first film of Debaki Bose in Bombay, ‘Jeewan Natak’ (1935). In film ‘Pati Patni’ (1939), Naushad was his assistant and composed few songs also. In 1942, Bali gave music to ‘Aple Ghar’ (1942), the Marathi verion of ‘Apna Ghar’ (1941). He was the MD for the last film of Vishnupant Pagnis, ‘Mahatma Vidur’ (1943) and in film ‘Janata’ (1947), he gave opportunity to lyricist Rajendra Krishna for the first time.

Bali also gets the credit for bringing KL Saigal to limelight. Both he and Saigal were from Jalandhar. When Saigal was in Calcutta for his job as a typewriter salesman, Bali was living with RC Boral. Bali told Boral about Saigal’s singing and the rest is history. Bali came into news in the late 1950s, when he said that Lata had sung 4 songs for his film ‘Seedha Rasta’ (1941) and thus claimed introducing her to the film singing. However, Lata clarified that till her father Dinanath’s death in 1942, she was in Kolhapur and there was no question of her singing in films in 1941. Thus Bali’s claim got scuttled.

After 1947, Bali retired from films and returned to Jalandhar. He started his own Music School,’Sangeet Vihar’. He became famous as a Music Guru to many singers in later years. Bali also sang on radio and was an A grade artist of All India Radio. He also wrote few books on Music. ‘Sangeet Vigyan’ in 4 volumes and ‘Sangeet Prakash’ in Punjabi language. These books were published by Punjab State University Text Book Board in Chandigarh. Harishchandra Bali died on 24-6-1976 at Jalandhar.

Now let us know something about Sunalini Devi, the actress. She was born on 1-1-1896 in Hyderabad Deccan. Her father, Aghornath Chatopadhyay, a Bengali settled in Hyderabad, was a Sanjskrit scholar. He was proficient in 27 languages and was the first Indian to get the D.Sc. honour. Sunalini was the elder sister of Sarojini, who became Sarojini Naidu after her marriage.

Sunalini learnt music and dance from the age of three itself. Due to her sweet voice, she was called ‘Kokila’. It is to be noted that her younger sister Saojini Naidu was called ‘Nightingale of India’ ! It is unfortunate that the film industry did not use Sunalini’s music skill in her films and she sang just one song in her career in film ‘Raja Rani’ (1942).

Sunalini started acting in stage dramas from 1918. Her first movie was ‘Light of Asia’ which was released initially in Germany and Poland in 1925. Its restored version was released on 5th July 2001, in India. This film was made by Himanshu Rai. The film was shot in Lahore. It was a silent film on Gautama Buddh. Her first talkie film was ‘Veer Kunal’ (1932). She acted in 56 films. Mostly she was known for motherly roles only. She had, like her more eminent sister, married a south Indian Mr AS Rajan, a writer from Madras.

Some of her well known films are, ‘Aurat’ (1940), ‘Lalaji’ (1942), ‘Inkaar (1943)’, ‘Nai Roshni’ (1941), ‘Talaash’ (1952), ‘Bairam Khan’ (1946), ‘Tamasha’ (1952), ‘Dilruba’ (1950), ‘Malhar’ (1951) etc. She retired from films in 1956.

The film ‘Kirti had 12 songs. The singer Mithu Miyan and the film make their debut here on this 10th anniversary day of the blog

[Author’s Note: Credits- Film Directory, Wiki, HFGK, MuVyz, Dhunon Ki Yatra, Tradition of Hindi Music by Manorama Sharma, Marathi Chitrapat Sangeetkar Kosh, and my notes.]

 


Song – Bambai Ko Chalo Bambai Ko (Kirti) (1942) Singer – Mithu Miyan, Lyrics – Pt Phani, Music – Harishchandra Bali
Chorus

Lyrics (Provided by Sudhir)

haiii haiii
bambai ko chalo bambai ko
bambai ko chalo bambai ko
bhai bada shehar bambai
bhai bada shehar bambai
yahaan khel tamaashe kai
yahaan khel tamaashe kai
haiii haiii
bambai ko chalo bambai ko
bambai ko chalo bambai ko

bambai shehar albela
albela
bambai shehar albela
sunder har (??) ka khela
sunder har (??) ka khela
haiii haiii
bambai ko chalo bambai ko
bambai ko chalo bambai ko

bada staashun bori bunder
bada staashun bori bunder
ghoomen chal ke us ke andar
ghoomen chal ke us ke andar
?? waali gaadi dekhen
uuu eee eee eee
?? waali gaadi dekhen
gali mohalle baadi dekhen
?? waali gaadi dekhen
gali mohalle baadi dekhen
haiii haiii
bambai ko chalo bambai ko
bambai ko chalo bambai ko

bambai ki sethani dekhen
bambai ki sethani dekhen..en..en
maarwaad ki rani dekhen
maarwaad ki rani dekhen
haiii haiii
haiii haiii
bambai ko chalo bambai ko
bambai ko chalo bambai ko

kalkatte ka baabu dekhen
kalkatte ka baabu dekhen
kaashi ji ka sadhu dekhen
kaashi ji ka sadhu dekhen
haiii haiii
haiii haiii
bambai ko chalo bambai ko
bambai ko chalo bambai ko

bhai bada shehar bambai
bhai bada shehar bambai
yahaan khel tamaashe kai
yahaan khel tamaashe kai
haiii haiii
bambai ko chalo bambai ko
bambai ko chalo bambai ko
bambai ko chalo bambai ko
bambai ko chalo bambai ko
bambai ko chalo bambai ko
bambai ko chalo bambai ko
bambai ko chalo bambai ko
bambai ko chalo bambai ko

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

हई॰॰ई हई॰॰ई
बंबई को चलो बंबई को
बंबई को चलो बंबई को
भई बड़ा शहर बंबई
भई बड़ा शहर बंबई
यहाँ खेल तमाशे कई
यहाँ खेल तमाशे कई
हई॰॰ई हई॰॰ई
बंबई को चलो बंबई को
बंबई को चलो बंबई को

बंबई शहर अलबेला
अलबेला
बंबई शहर अलबेला
सुंदर हर (??) का खेला
सुंदर हर (??) का खेला
हई॰॰ई हई॰॰ई
बंबई को चलो बंबई को
बंबई को चलो बंबई को

बड़ा सटेशन बोरी बंदर
बड़ा सटेशन बोरी बंदर
घूमें छलके उस के अंदर
घूमें छलके उस के अंदर
?? वाली गाड़ी देखेँ
ऊ॰॰ऊई॰॰ई॰॰ई
?? वाली गाड़ी देखेँ
गली मोहल्ले बाड़ी देखें
?? वाली गाड़ी देखेँ
गली मोहल्ले बाड़ी देखें
हई॰॰ई हई॰॰ई
बंबई को चलो बंबई को
बंबई को चलो बंबई को

बंबई की सेठानी देखें
बंबई की सेठानी देखें॰॰एं॰॰एं
मारवाड़ की रानी देखें
मारवाड़ की रानी देखें
हई॰॰ई हई॰॰ई
हई॰॰ई हई॰॰ई
बंबई को चलो बंबई को
बंबई को चलो बंबई को

कलकत्ते का बाबू देखें
कलकत्ते का बाबू देखें
काशी जी का साधू देखें
काशी जी का साधू देखें
हई॰॰ई हई॰॰ई
हई॰॰ई हई॰॰ई
बंबई को चलो बंबई को
बंबई को चलो बंबई को
भई बड़ा शहर बंबई
भई बड़ा शहर बंबई
यहाँ खेल तमाशे कई
यहाँ खेल तमाशे कई
हई॰॰ई हई॰॰ई
बंबई को चलो बंबई को
बंबई को चलो बंबई को
बंबई को चलो बंबई को
बंबई को चलो बंबई को
बंबई को चलो बंबई को
बंबई को चलो बंबई को
बंबई को चलो बंबई को
बंबई को चलो बंबई को


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What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over TEN years. This blog has over 14700 song posts by now.

This blog is active and online for over 3700 days since its beginning on 19 july 2008.

Total number of songs posts discussed

14789

Number of movies covered in the blog

Movies with all their songs covered =1153
Total Number of movies covered =4044

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