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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 : 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

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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 : 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


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 : 3642 Post No. : 14470

Today’s song is from an almost unknown film ‘Haqdaar’ (1946).

There were two more films with the same title, made in 1964 and 1981. The love of Hindi films for identical titles is well known. In silent films, the situation was different. There used to be one name for Censor Certificate and then in every linguistic state the film would have one local name for the film, to attract local audience. In talkie films, this facility was absent, as everywhere, the film name is the same.

Thus, we find that there was/is ‘Same Name Confusion’ even in film titles. But of course, the system of mentioning the year, made them different, like ‘Haqdaar’ (1946), ‘Haqdaar’ (1964) or ‘Haqdaar’ (1981) etc. Here again confusion was whether the year of Censor Certificate should be mentioned or the year of film’s release. Standard documents, like HFGK, give only the year of Censor Certificate, irrespective of the film’s release year. Regular users of HFGK know this very well. Usually most films are released quickly and very few take time to get released.

Shri Harmandir Singh Hamraaz ji has published a Film Index for films made between 1931 to 2012. I went through this list to find out about the same name titles. Films made 2 times and 3 times are many and beyond count. However, on counting detailed way, I found 80 film titles repeated 4 times, 23 films repeated 5 times and 5 films repeated 6 times. Above all, there is ONE film whose title is repeated 7 times. The name is ‘Insaaf’. It was made at regular intervals – almost every decade. It was made in 1937, 1946, 1956, 1866, 1973, 1987 and 1997! The person who had registered the name first, must have earned a lot!

‘Haqdaar’ of 1946 was directed by Rafiq Rizvi, who had worked as assistant to AR Kardar. He was brother of lyricist Ehsan Rizvi. His first film as an independent director was ‘Waida’ (1940). Then came ‘Awaaz’ (1942), ‘Koshish’ (1943), ‘Haqdaar'(1946), ‘Alladin Ka Beta’ (1955) and lastly ‘Kaarvan’ (1956). Thereafter he migrated to Pakistan.

The Music Director was Mohd Shafi (25-12-1925 to 30-4-1980).  He was one of those talented artists of Hindi Film Music who was only used by others and never got enough credit for his work. He is honoured as the ‘The Original Arranger’ in the industry. He was an excellent sitar player. He started with Imperial Film company, where he played Bulbul Tarang. In 1937 he went to Calcutta, joined New Theatres and played Sitar in films ‘Kapaal Kundala’ (1939) and ‘Aandhi’ (1940), as an assistant to Pankaj Mullick and KC Dey. He played sitar in the film ‘Ujaala’ (1942). In this film, the hero – Prithviraj Kapoor played the role of a sitar player, hence the expertise of Shafi was fully utilised in this film.

Starting with film ‘Haqdaar’, he gave music to 19 Hindi films and 2 Marathi films. He worked with Naushad, as his assistant and arranger, for 14 years. He was considered a ‘Daada’ in background music. He gave background music to about 70 films (for Naushad and others). For ‘Mughal e Azam’ (1960), K Asif used to send his personal car to fetch him to studio. It was Shafi who gave the first break to Suman Hemmadi (Kalyanpur) in ‘Mangu’ (1954).

Shafi had bought his first car when he was just 15 year old. He had a posh flat in Shivaji Park area of Dadar in Bombay. In the end , everything was gone.He had helped the families of Shakeel Badayuni and Ghulam Mohammed after their deaths. However in his last difficult days, except Rafi, no one came for his help. In the final few months, his memory had gone. His begum ruefully said,” Good that he does not remember anything. All took his advantage and gave him nothing. There were more things to forget than to remember!”

It is said that the entire music of ‘Sohni Mahiwal’ (1958) was done by him. Naushad was sick during this period and did not attend even one recording. “Do Hanson Ka Joda” and “Dhundho Dhundho Re Saajna” from ‘Gunga Jamuna’ (1961) were his creations. He used to give tunes to many composers too – whoever asked for help.

The cast of film ‘Haqdaar’ was Harish, Najma, H Prakash, Amirbai Karnataki, Kalyani, Azad etc.

Harish was also known as Tara Harish. Tara Harish – this name is quite misleading. At first glance, it looks lie a woman’s name. On second thoughts, one feels it must be a pair of persons like Krishnan Panju or Aruna Vikas. But this is name of a single person, who was an actor, producer, director and a singer too!

Born on 23-10-1916 at Delhi, his real name was Tarachand Harish Mathur. He was distantly related to Motilal and Mukesh. His father died when he was just 3 year old. He was brought up by his brothers and uncle. He graduated in 1937. After trying and failing in a second hand car business, he decided to enter film world and joined Sagar Movietone, where Motilal was getting established. His first foray into films was in film ‘300 Days And After’. In this film he was uncredited. However he got roles in other films like ‘Postman’, ‘Ladies Only’, ‘Service Limited’, ‘Hum,Tum Aur Woh’, ‘Ek Hi Raasta’, ‘Civil Marriage’, ‘Aurat’, ‘Nai Roshni’, ‘Vijay’, ‘Haqdaar etc. He used to sing also in the films. As a hero his last film was ‘Amaanat’ (1943).

Harish took up direction with film ‘Beda Paar’ (1944), a C grade stunt film, but soon he directed many social films also. In his career he directed 21 films. Some of his films are ‘Toote Taare’ (1948), ‘Ustad Pedro’ (1951), ‘Malhaar’ (1951) (originally Harish was to be the hero, but he gave chance to Arjun), ‘Daku Ki Ladki’ (1954), ‘Laalten’ (1956), Kaali Topi Laal Roomaal’ (1959), ‘Do Ustad’ (1959), ‘Burma Road’ (1962). His last film was ‘Awaara Abdulla’ (1963).  Harish acted in 21 films. He sang 39 songs in 16 films (stats by MuVyz). He established his own production company – Omar Khayyam Films. When he was directing film ‘Ustad Pedro’ (1951), he changed the name of actress Nargis Rabadi to Shammi, since another more famous actress of same name was already working in films.

Tara Harish died sometime in 1970.

The heroine Najma was born at Lahore in 1928. Her father was a businessman. Her real name was Naseem. Since there was already one famous actress Naseem, she changed her name. She first worked in ‘Kunwaara baap’ (1942) and ‘Uljhan’ (1942) Then came ‘Nai Zindagi’ (1943), ‘Dr Kumar’ (1944), ‘Piya Milan’ (1945) and last film ‘Naseeb’ (1945). Then she got married and left films.

There was an actor Azaad in this film. His real name was Mohd Hanif. He was born in November 1916 at Delhi in a wealthy family. His father was an electrical engineer and a political leader. His elder brother was in the British Army. Hanif started motor vehicles business in Delhi. He got married also. Due to his desire to act in films, he came to Bombay. His acting career started with ‘Himalaya Ki Beti’ (1938). During this film he got to know Kalyani Bai, the singer actress. Soon they got married. While she did well in films, he was struggling in his career, without credit. In film ‘Haqdaar’ (1946), he was credited with his filmi name Azaad. Frustrated, he left films and went back to Delhi to restart his motor vehicles business. Kalyani brought him back and together they started their own production company – Azad Pictures. However, soon after partition, he and his family migrated to Pakistan. Kalyani stayed back.

There were two Kalyanis and there is always a confusion.

Kalyani Bai (1920-2009) (real name – Zarina) was an actor-singer who was trained in classical singing. She sang khayal, thumri and ghazals for All India Radio and recorded such genre of songs for HMV. This led her to a filmy career in Calcutta in 1934 as an actor-singer. After some struggle, she was employed with New Theatres and she acted in films like ‘Anaath Ashram’ (1937), ‘Mukti’ (1937), and ‘President’ (1937) in which she also sang some songs for herself.

In 1937, Kalyani Bai left New Theatres and joined Ranjit Movietone in Bombay (Mumbai). Her first film with Ranjit Movietone was ‘Toofaani Toli’ (1937). In the 40s, she appeared to have become a free-lancer, although I find that she worked in more films directed by VM Vyas of Sunrise Films than other banners. Her last film as an actor-singer was ‘Ghar’ (1945). However, she lent her voice for other actresses in films released during 1947-54. She also acted in small roles in a few films of 1970s and probably early 80s. She later married Seth Chirauddin Bakar. She had 2 sons and a daughter from him. She retired and settled in Bombay.

Kalyani Das was a playback singer who started her career in Hindi films from Calcutta with PC Barua’s ‘Jawaab’ (1942) and ended her playback singing career in Hindi films with ‘Iran Ki Ek Raat’ (1949). She also sang for a few films made in Bombay. To the best of my knowledge, she did not act in any films.

It is not so difficult to segregate ‘Kalyanis’ as both of them worked in Calcutta at different time. Kalyani Bai worked in films produced in Calcutta up to 1937 whereas Kalyani Das commenced her playback singing career from Calcutta from 1942 onward. She mostly worked for music director Kamal Dasgupta (8 out of 11 Hindi films in which she was playback singer).

‘Haqdaar’ had 9 songs. I have heard some more songs also, but as today’s song is somewhat comical, I have selected this. Name of the singer is not mentioned.

[Auth Notes: Credits – ‘Hindi Film Singers’ by Prof Yadav, Harish Raghuwanshi ji, Film Directory, MuVyz, HFGK, Film Index, Swaron Ki Yatra, Beete Kal Ke Sitaare, RMIM and my notes.]

 

Song – Haaye Khujlaane Laga Phir Mera Sar, Baap Re Baap (Haqdaar) (1946) Singer – [Unattributed], Lyrics – CM Hunar, Music – Mohammed Shafi

Lyrics (Provided by Sudhir)

haaye khujlaane laga phir mera sar baap re baap
haaye khujlaane laga phir mera sar baap re baap

haaye khujlaane laga
phir mera sar baap re baap
khair ab aati nahin
apni nazar baap re baap
hai chhuri haath mein
zaalim ke udhar baap re baap
dil dhadakta hai mera
darr se idhar baap re baap
jaan ab jaa ke bachaaun main kidhar baap re baap

haan
kya meri tarah se
hota hai yun sab ka haal
kya mohabbat mein utarti hai yun hi sab ki khaal
jootian dene ki hai jis tarah rasm e susraal
haa..aaan
kya nasibon mein hai..ai..ai..ai
us shauk ke ye hi janjaal
haan..aan
kya yun hi khijte hain sab shaam o sehar baap re baap
kya yun hi khijte hain sab shaam o sehar baap re baap
kya yun hi khijte hain sab shaam o sehar baap re baap
kya yun hi khijte hain sab shaam o sehar baap re baap

haan
ishq ka bhoot mere
sar pe subh o shaam rahe
mar ke bhi mujhko na ik roz se araam rahe
ae..ae
tarq e majnoon ka mere saamne nakaam rahe
ae..ae
pehla number hi..ee..ee
mahobbat mera naam rahe
paida naalon mein ho kuchh aisa asar baap re baap
paida naalon mein ho kuchh aisa asar baap re baap
paida naalon mein ho kuchh
paida naalon mein ho kuchh aisa asar baap re baap
aisa asar baap re baap
paida naalon mein ho kuchh aisa asar baap re baap

haaye khujlaane laga phir mera sar baap re baa..aap

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

हाय खुजलाने लगा फिर मेरा सर बाप रे बाप
हाय खुजलाने लगा फिर मेरा सर बाप रे बाप

हाय खुजलाने लगा
फिर मेरा सर बाप रे बाप
खैर अब आती नहीं
अपनी नज़र बाप रे बाप
है छुरी हाथ में
ज़ालिम के उधर बाप रे बाप
दिल धड़कता है मेरा
डर से इधर बाप रे बाप
जान अब जा के बचाऊँ मैं किधर बाप रे बाप

हाँ
क्या मेरी तरह से
होता है यूंहीं सब का हाल
क्या मोहब्बत में उतरती है यूंही सब की खाल
जूतियाँ देने की है जिस तरह रस्म ए सुसराल
हाँ॰॰आं
क्या नसीबों में है॰॰ऐ॰॰ऐ॰॰ऐ
उस शौक के ये ही जंजा;
हाँ॰॰आं
क्या यूंही खिजते हैं सब शाम ओ सहर बाप रे बाप
क्या यूंही खिजते हैं सब शाम ओ सहर बाप रे बाप
क्या यूंही खिजते हैं सब शाम ओ सहर बाप रे बाप
क्या यूंही खिजते हैं सब शाम ओ सहर बाप रे बाप

हाँ
इश्क़ का भूत मेरे
सर पे सुबहो शाम रहे
मर के भी मुझको ना इक रोज़ से आराम रहे
ए॰॰ए
तर्क ए मजनूँ का मेरे सामने नाकाम रहे
ए॰॰ए
पहला नम्बर ही॰॰ई॰॰ई
महोब्बत में मेरा नाम रहे
पैदा नालों में हो कुछ ऐसा असर बाप रे बाप
पैदा नालों में हो कुछ ऐसा असर बाप रे बाप
पैदा नालों में हो कुछ
पैदा नालों में हो कुछ ऐसा असर बाप रे बाप
ऐसा असर बाप रे बाप
पैदा नालों में हो कुछ ऐसा असर बाप रे बाप

हाय खुजलाने लगा फिर मेरा सर बाप रे बा॰॰आप


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 : 3636 Post No. : 14464

Today’s song is from a very old film, ‘Himalay Ki Beti’ from 1938.

It is generally said that in this era, most actors and actresses came from poor families and most artists had no or had negligible education. While it is true to a great extent, it is not 100% true. It is not that even in this period, there were no educated persons in the film industry. Right from the beginning of the silent era to talkie film era up to the end of the 1940s decade, there were actors, actresses, directors, producers and musicians who were quite educated. Some of them had even been trained in western countries.

Take the case of Himanshu Rai and Devika Rani and their team of writers like Niranjan Pal, from the silent era. They were all highly educated and from rich, cultured families. Niranjan Pal was the son of the freedom fighter Bipin Chandra Pal. BN Sircar is another example. Director Nanubhai Vakil was actually an advocate with BA LLB degree. Surendra was BA, LLB. Motilal was a graduate, so were Ramchandra Thakur, Nandlal Jaswantlal, Jayant Desai, Jairaj, Umakant Desai. Ashok kumar, Dev Anand and his 2 brothers etc.

Among actresses, Leela Chitnis, Shanta Apte, Durga Khote, Renuka Devi were graduates. Vanmala was BA, BT. Kamini Kaushal was BA. The point here is, that educated and people with respectable family background were also a part of the film industry. But of course, initially their number was smaller compared to others who were either illiterate or less educated. For example, the beautiful Meena Shorey and Sitara Kanpuri could not even sign – leave alone reading and writing! That is why, they were cheated in their contracts by Sohrab Modi and WZ Ahmed (of Shalimar Pictures and husband of actress Neena).

In the film under discussion today – ‘Himalay Ki Beti, the hero, heroine and the director were all highly educated. The heroine, Enakshi Ram Rao was the daughter of an ICS officer of Madras Presidency. She came to England for her graduation. After graduation, she took part in some stage dramas, where she got introduced to Niranjan Pal and Himanshu Rai. When Himanshu Rai decided to make a silent film on the story of Taj Mahal, he asked Niranjan Pal to write the film story. Sita Devi aka Renee Smith was selected for the vamp’s role and Enakshi was selected for the main role of Selima (who was later named Mumtaj Mahal by Prince Khurram – who was later known as Shahjehan.). The film was named ‘Shiraz’ (1928).

Enakshi is a very unusual name. Comparatively, Meenakshi is a well known name. Meenakshi means ‘one with eyes like a fish’.  Enakshi means ‘one with the eyes of doe or deer’. In other words, Enakshi means Mrignayani. Except name of this actress, I have never ever come across this name (Enakshi) in my life elsewhere!

Her work in film ‘Shiraz’ was applauded in England, Germany and India. When she returned to India, She met Bhavnani, who made a silent film ‘Vasantsena’ (1931), with her in the lead role. More than as an actress of silent and talkie films, Enakshi’s name was known in elite circles for different achievements, after she stopped working in films.

Not many of us know that Enakashi Bhavnani  (Enakshi Rama Rao before her marriage) has done an enormous service to bring Indian dances and designs to the western world. She made immense contribution to bring the Kashmir handicrafts and designs (fabric, wood and papier-mâché) to the west.  An American tourist told in Kerala recently about her detailed work on Kashmir designs (shawls, jackets etc.). This side of Enakshi’s personality and work is in addition to her contribution as a dancer, photographer and actress. Two scholarly books written by Enakshi Bhavnani were also published. Both the books are preserved in the American Museum of Natural History. These are,
(1) Folk And Tribal Designs of India, and
(2) The Dance of India: The Origin and History, Foundation, Art and Science of the Dance in India .

This exceptionally talented woman stayed in Kashmir for sometime in 1950 and met a cross section of people connected with arts and crafts. She had been a visitor thereafter as well. She also visited Leh and Kargil for her book. During this period she also clicked some photographs in Kashmir portraying its rich culture and scenic beauty. She also shot a documentary ‘Valley Of Kashmir’ during this period.

Enakshi was an active membmer of the Crafts Council of India, which was founded in 1964 to support artisans and keep their crafts relevant and marketable amid rapidly changing economies at home and abroad. The photographs clicked by her have also appeared in National Geographic magazine, especially her series. And in her book on folk dances of India, Enakshi covers all forms folk dances of Kashmir.

Enakshi married film maker Mohan Bhavnanai (1903-1962) who was trained in Germany and Hollywood. She was a dancer, actor, photographer and writer on arts, crafts and culture.  From 1929 to 1938, she acted in six films as a leading lady. Out of these six films, five, namely ‘Vasantsena’ (1931), ‘Trapped’ (1931), ‘Jaagaran’ (1936) , ‘Himalaya Ki Beti’ (1938) and ‘Yangrilla’ (1938) were directed by her husband Mohan Bhavnani. Only ‘Shiraz’ (1928) produced by Himanshu Roy was directed by Franz Osten.

Producer director Mohan Bhavnani was a learned and illustrious person. This is what the Encyclopedia of Indian Cinema says about him-

Mohan Dayaram Bhavnani (1903-62)
Hindi director born in Hyderabad, Sind. Studied at College of Technology, Manchester (1921-4), then studied film-making in Germany at UFA (1924). Contracted to Kohinoor (1925-6) where his Sulochana? films were the earliest efforts in the Indian cinema to create a Hollywood-type movie star, e.g. Cinema Ni Rani where she plays a famous actress with whom the painter hero falls in love, or Wildcat of Bombay where she played multiple roles. Joined Imperial (1927-9), where he made Khwab-e-Hasti, adapted from the novel Dreamland (later also adapted by N. Taurog’s Strike me Pink, 1936). Scripted by A.S. Desai, this film is not to be confused with Kashmiri?’s play of the same title. Vasantsena was the first Kannada intertitled film. Became independent producer with Indian Art Prod. (1931-2). Returned to Germany to study sound film technique. Started Ajanta Cinetone (1933-4) and his own Bhavnani Prod. (1935-48). Sound début was a flop, but it introduced ​Dur ga Khote. Hired Premchand to script Mazdoor, representing the author’s only direct encounter with film, following it with the unemployment melodrama ​Jagran. Produced and directed the first full-length colour film shot on 16mm Kodachrome and blown up to 35mm, Ajit. Joined Films Division and became its first Chief Producer (1948-55). In 1958 Bhavnani followed up an invitation from Zhou En-Lai to make a documentary on China and travelled extensively throughout the country shooting with cameramen Kishore Rege and S.K. Kulkarni. His wife Enakshi Rama Rao, who acted in Vasantsena, had earlier played the lead in Shiraz (1928) and became a noted dancer and author of the book The Dance of India (1965).

FILMOGRAPHY: 1925: Cinema Ni Rani; Matri Prem; Veer Bala; Seth Sagalsha; 1 9 2 6 : Pagal Premi; Diwan Bhamasha; Mena Kumari; Ra Kawat; Samrat Shiladitya; Bhamto Bhoot; 1 9 2 7 : Naseeb Ni Lili; Daya Ni Devi; Trust Your Wife; Wildcat of Bombay; Gamdeni Gori; 1929: Hawai Swar; Khwab-e- Hasti; Mysore, Gem City of India (Doc); Khedda (Doc); 1 9 3 0 : Vasantsena (all St); 1 9 3 1 : Shakuntala; Farebi Jaal; Lafanga Langoor (Sh); 1 932: Veer Kunal; 1 933: Afzal; Rangila Rajput; 1 9 3 4 : Dard-e-Dil; Mazdoor; Sair-e-Paristan; 1935: Jung Bahadur; Navjeevan; Shadi Ki Raat; 1936: Dilawar; Garib Parwar; Jagran; Wrestling (Doc); 1 9 3 7 : Zambo the Ape Man; 1 9 3 8 : Double Cross; Himalay Ki Beti; Yangrilla; 1 9 3 9 : Zambo Ka Beta; 1940: Jhoothi Sharm; PremNagar?; 1945: Biswi Sadi; 1 946: Rang Bhoomi; 1 948: Ajit; 1 9 4 9 : Vale of Kashmir (Doc); 1 9 5 0 : The Private Life of a Silkworm (Doc); 1 9 5 1 : Lest We Forget (Doc); 1 9 5 2 : Kumaon Hills (Doc); 1 9 5 3 : Folk Dances of India (Doc); Republic Day Record (Doc); 1 9 5 5 : Republic Day 1955 (Doc); 1 956: Operation Khedda (Doc); 1 957: The Himalayan Tapestry (Doc)

The film ‘Himalay Ki Beti’ had 11 songs. Today’s song is sung by Prof Ramanand. He had 4 solos and 1 duet with Enakshi. She had 2 solos. One song was by Maya Chatterjee. There is no information in HFGK about the balance 3 songs. Pt Badri Prasad had given the music. I heard 4 more songs from this film, but all are copies of stage style songs. Prof Ramanand, the actor and the singer was different than Swamy Ramanand, the lyricist in few films.

The hero of the film was Prof Pt Ramanand Sharma. If you are a regular listener of radio early in the mornings,you would have heard many Bhajans sung by Sharma Brothers of Shriram Darbar. These four brothers – Gopal, Shukdev, Kaushalendra and Raghavendra are the sons of this Ramanand Sharma. These Sharma brothers have sung the famous Bhajan “Sooraj Ki Garmi Se” from the film ‘Parinay’ (1972). Ramanand was the singing hero of many early talkie films like ‘Noor-e-Islam’ or ‘Aurat Ka Dil’ (1934) and ‘Himalay Ki Beti’ (1938). He also sang many songs in other films. After his work in ‘Premnagar’ (1940), RC Boral of the New Theatres, Calcutta came down to Bombay and took Ramanand to Calcutta to act in films. But Ramanand was fed up with the film world and decided to only sing Ram Bhajans for his Shri Ram Darbar which he had established. He went back to Muzaffarpur and used to sing Ram Bhajans all over India. His 7 albums were released by HMV.

Here is a rare song from a rare film, ‘Himalay Ki Beti’ (1938). The film makes its debut on the blog.

[Author’s Note: Credits – Chinar Shade, autarmota.blogspot.com, HFGK, MuVyz, Wikipedia, indiancine.ma, and my notes.]

Song – Siddhraaj Jaago Aaj (Himalay Ki Beti) (1938) Singer – Prof Ramanand, Lyrics – Pt Narottam Vyas, Music – Pt Badri Prasad

Lyrics (Provided by Sudhir)

jaaa..aa..aa..go..oo..o

sidhraaj jaago aaj
sidhraaj jaago aaj
padi hai vipat gaaj
padi hai vipat gaaj
bigade banaawo kaaj
sidhraaj jaago aaj

tum ho paropkaari
tum ho paropkaari
duniya jaanat saari
duniya jaanat saari
meri raakho laaj
sidhraaj jaago aaj

charan pada hoon aaye
charan pada hoon aaye
sharnaagat sahaaye
sharnaagat sahaaye
tum naam di awaaj (??)
sidhraaj jaago aaj
sidhraaj jaago aaj

sidhraa..aa..aa..aaj

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
जा॰॰आ॰॰आ॰॰गो॰॰ओ॰॰ओ

सिद्धराज जागो आज
सिद्धराज जागो आज
पड़ी है विपत गाज
पड़ी है विपत गाज
बिगड़े बनावो काज
सिद्धराज जागो आज

तुम हो परोपकारी
तुम हो परोपकारी
दुनिया जानत सारी
दुनिया जानत सारी
मेरी राखो लाज
सिद्धराज जागो आज

चरण पड़ा हूँ आए
चरण पड़ा हूँ आए
शरणागत सहाय
शरणागत सहाय
तुम नाम दी आवाज (??)
सिद्धराज जागो आज
सिद्धराज जागो आज

सिद्धरा॰॰आ॰॰आ॰॰आज


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 : 3630 Post No. : 14456

Today’s song is from film ‘Kunwara Baap’ (1942).

Hindi film industry is a funny place. Great stories of the world fail when made into films and some ‘made to order’ stories become so successful films that the subsequent film makers copy the films, with slight alterations. Sometimes identical titles have nothing in common and sometimes remakes are made with different titles – not matching the original one in any way.

There was a film ‘Kunwaara Baap’ in 1974 also, made by the comedian Mehmood. There was absolutely no similarity in the story of these films. Mehmood’s film was essentially based on Polio Protection, while the 1942 film was a total comedy. In this case only the title is same, everything else is different. There is interesting information on ‘Kunwara Baap’ of 1942.

‘Bachelor Mother’ (1939) was a popular Hollywood film directed by Garson Kanim, with Ginger Rogers and David Niven in the lead. It was a story of a single girl, who finds an abandoned child and raises it. She is stamped as unwed mother and many hilarious situations are created with her lover.

This film was copied by Kishore Sahu, who produced and directed it under the banner of Acharya Art Prodns. He was the hero and the heroine was Pratima Dasgupta. The film was ‘Kunwara Baap’ (1942). The theme was reversed here and the rich bachelor boy finds a child left in his car. Not finding its parents he decides to keep the child, which causes misunderstandings with his lady friend etc.

The noted Hindi novelist Amritlal Nagar (famous for his novels – ‘Boond aur Sagar’ and ‘Shatranj ke Mohre’ etc.) wrote the dialogues and lyrics of this film. He also acted in the film. Nagar had earlier written for films ‘Sangam’ (1941) and ‘Kisi Se Na Kehna’ (1942). Later he also wrote for ‘Raja’ (1943).

This film became very popular. Later on many films in many languages were made on this theme. Even Hollywood made a remake called ‘Bundle of Joy’ in 1956 with Debbie Reynolds and Eddie Murphy in the lead.

In Madras the AVM supremo saw these two films and decided to make a Tamil film ‘Vazhkai’, on this story. He got his cast ready except the heroine. He wanted a fresh face, preferably a debutante. Anyway, a young Telugu actress Pandhari Bai was selected, but it was found that she could not speak Tamil fluently.  MV Raman, AVM’s Director suggested a name of a young dancer Vijayantimala, who was the daughter of actress Vasundhara Devi and MD Ramaswami. She was called and a contract for 3 years was signed .

When ‘Vazhkai’ was being made, AVM supremo saw the Hindi film ‘Khidki’ (1942) with C Ramchandra’s music. This he liked so much that as many as 3 songs from ‘Khidki’ were copied and used in ‘Vazhkai’ by the MD – Sudarshanam. ‘Vazhkai’ was released in 1949 and it was a super duper hit. AVM made a Telugu remake – Jeevitham (1950). This too was a hit.  Then AVM decided it was time to invade the Hindi films and a film called ‘Bahaar’ was made in 1951 with Vijayantimala and Karan Dewan. Karan Dewan was considered a lucky star in those days. This film also became a hit. ‘Bahar’ also had a  similar story as ‘Kunwara Baap’.

The cast of this film was Kishore Sahu, Pratima Dasgupta, Anjali Devi, Master Dhulia, Moni Chatterjee, Nana Palshikar etc. The film was made by Acharya Art Productions, owned by NR Acharya (ex Bombay Talkies). The film was directed by Kishore Sahu. The music was composed by Ramchandra Pal, for the lyrics by Amritlal Nagar, Balam, Satyakam and Sharma. However, in HFGK, none of the songs of the film are specifically credited to any one lyricist.

The story, dialogues, screenplay and some lyrics were by Amritlal Nagar (17-8-1916 to 23-2-1990). He was an extraordinary person. He handled almost every department of literature – except perhaps poetry and autobiography. Short stories, novels, dramas, travelogues etc. were written by him. During 1940 to 1947 he was associated with the film industry. He wrote stories, screenplays, dialogues of as many as 20 films in Bombay, Kolhapur and Madras. He dubbed MS Subbulaxmi’s Tamil film ‘Meerabai’ (1947) into Hindi. He also worked to translate Russian films like ‘Zoya’ and ‘Bukhara’ into Hindi. He won innumerable awards, including Padma Bhushan and Sahitya Academy award. He was one of the very rare Hindi literature stalwarts to work in film industry for such a sustained period.

Music Director Ramchandra Pal, born in 1909 was actually a medical Doctor, who entered this profession in various capacities. As an actor he did 3 films – ‘Manmohan’ (1936), ‘Deccan Queen’ (1936) and ‘Aazad’ (1940). He produced and directed a film ‘Raj Nandini’ (1962), made under his own banner – Pal Films. However, this film was never released.

He started his music career with  Tamil films, ‘Bilwamangal’ (1932) and ‘Sarangdhara’ (1935). He shifted to Calcutta and gave music to Bangla films, ‘Rajani’ (1936) and ‘Indira’ (1936). His first Hindi film was ‘Prem Sagar’ (1939), a film made in south by a Bombay film company. This he confirmed in the interview given to Harmandir ji (LB-69).

He was connected as MD with Bombay Talkies films ‘Kangan’ (1939), ‘Punarmilan’ (1940), ‘Bandhan’ (1940), ‘Aazad’ (1940) and ‘Naya Sansar’ (1941). His last film as MD was ‘Raj Nandini’ of 1962. In all he gave music to 20 films. He also sang 15 songs in 7 films. Incidentally, today’s song was his last song as a singer. After 1942 he left singing and after 62 he left film industry and started his private medical clinic in Shivaji Park, Dadar, Bombay. He practiced till his death.

The name Anjali Devi, which appears in the cast is not of the famous south actress Anjali Devi (8-12-1927 to 13-1-2014), who acted in films like ‘Ek Tha Raja’ (1951) (dubbed film), ‘Shuk Rambha’ (1953), ‘Ladki’ (1953), ‘Devta’ (1956), ‘Suvarn Sundari’ (1957) etc. This Anjali Devi of the 40s was different. As usual, I find that the filmography of south Anjali Devi includes films done by Anjali Devi of the 40s. This is what I call Same Name Confusion.

Miss Anjali Devi’s real name was Durgesh Kumari. She was born at Benaras in 1926 in a respectable Brahmin family. Her education was not much but she was fluent in Hindi, Urdu, English and Sanskrit. At the age of 14 years, she came to Bombay, to fulfil her desire of becoming an actress. She joined Ranjit Films and worked in film ‘Pardesi’ (1940). The film was released in 1941. She was credited as Durgesh in this film. She was called to Bombay Talkies to work in film ‘Punarmilan’ (1940), directed by Najam Naqvi. When a section of artistes, led by S Mukherjee, left Bombay Talkies to start Filmistan in 42, one of the BT directors NR Acharya also left and started his own company Acharya Art Productions. Anjali Devi also left to join Acharya. She acted in 3 films of Acharya, ‘Kunwara Baap’, ‘Uljhan’ (1942) and ‘Aage Kadam’ (1943). She later on acted in ‘Paristan’ (1944), and ‘Parivartan’ (1949). She then got married to NR Acharya and settled as a housewife.

Film’s heroine was the dashing Pratima Dasgupta.  She was an actress, producer and a director. She was born on 5-9-1921 into a wealthy family of Bhavnagar. Though many sources mention name of the place of Bhavnagar, which is in Gujarat, I doubt it very much. There are no mentions or references that she was in anyway connected to Gujarat in her lifetime. I believe she was born in Bhanagar – a town just 31 kms. from Calcutta city. This unknown Bhanagar must have become well known Bhavnagar. Her family was related to Ravindranath Tagore. So, after the initial education in England, she came to Shantiniketan and completed her studies. She was a favourite and a favoured student throughout.

Looking at her acting skills,it was Tagore himself who recommended her to act in the Bangla film ‘Gora’ (1938), based on his own novel. Her role of Latika – daughter of Paresh Babu in the film – who falls in love with Bijoy and marries him – was liked by Tagore. She did one more film ‘Na Honewali Baat’ (1938) in Hindi,followed by the Hindi version of ‘Rukmini’ in 1939. After doing 4 Bangla films, she did the Trilingual film (Bangla, Hindi and English)- ‘Raj Nartaki’ (1941). This was made by Wadia Movietone in Bombay and was directed by Modhu Bose, husband of the heroine Sadhona Bose – the international dancer. During her Bombay visit, she got married to an aspiring actor Madsrurul Haq, son of a rich Zamindar Ehsanul Haq of Jallundhar. Madsrurul Haq’s younger sister, Begum Para was a sizzling actress of the 1940s and 1950s

Her other Hindi films were ‘Kunwaara Baap’ (1942), ‘Raja’ (1943) and ‘Shararat’ (1944), all directed by Kishore Sahu. She also did ‘Namaste’ in 1943. After this she turned to direction and did her first film ‘Chhamiya’ in 1945, with Begum Para and David as a Lead pair. She repeated this team again in ‘Pagle’ (1950) also. However her second film ‘Jharna’ (1948) was banned by Morarji Desai, the then Chief Minister of Bombay Province, on the plea that the film had explicit sexual scenes in it. No wonder, as her sister in law – the sizzling Begum Para, had given some uninhibited scenes in this film. This film was a financial disaster for Pratima and she decided to quit films.

In all, Pratima Dasgupta did 10 Hindi films and 8 Bangla films.

Out of the 9 songs of film Kunwara Baap, I have heard 6 songs. Some of them are quite interesting like “Chai Piyogi Rani” and “O Meri Rani, Meri Rani ”, but I felt we must have at least one song of Ramchandra Pal on our blog. This is the only song listed for the film, for which HFGK mentions the singer’s name . Other songs are without names of singers or lyricists. The song’s tune is not very catchy or lilting but the song has a historical value.

The singer and the film both make a debut on the blog.

 

[Author’s Note: Credits – Khalid Hasan from TFT, Pakistan; Isak Mujawar; A.I. Film directory; HFGK; MuVyz; LB-69; Harish Raghuwanshi ji; Wikipedia; and my notes.]

 


Song – Kaahe Paap Se Paap Chhipaaye (Kunwaara Baap) (1942) Singer – Ramchandra Pal, Lyrics – [Unattributed], Music – Ramchandra Pal

Lyrics (Provided by Sudhir)

kaahe. . .
kaahe. . .

paap se paap chhipaaye
re paapi mann..nn
paap se paap chhipaaye
re paapi mann..nn
paap se paap chhipaaye

bigdi baat banaane ko tu
bigdi baat banaane ko tu
hari se aankh churaaye
bigdi baat banaane ko tu
hari se aankh churaaye
karni karta ?? ?? ??
phir paachhe pachhtaaye
re paapi mann..nn
paap se paap chhipaaye

phool ki ?? hovey phir bhi
phool ki ?? hovey phir bhi
bhog doosra paaye
ye kaisa nayay jagat ka
ye kaisa nayay jagat ka
ye kaisa nayay
re paapi mann..nn
paap se paap chhipaaye
paap se paap chhipaaye

paap se paap chhipaa..aaye. . .

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

काहे॰ ॰ ॰
काहे॰ ॰ ॰

पाप से पाप छिपाए
रे पापी मन
पाप से पाप छिपाए
रे पापी मन
पाप से पाप छिपाए

बिगड़ी बात बनाने को तू
बिगड़ी बात बनाने को तू
हरी से आँख चुराये
बिगड़ी बात बनाने को तू
हरी से आँख चुराये
करनी करता ?? ?? ??
फिर पाछे पछताए
रे पापी मन॰॰न्न
पाप से पाप छिपाए

फूल की ?? होवे फिर भी
फूल की ?? होवे फिर भी
भोग दूसरा पाये
ये कैसा न्याय जगत का
ये कैसा न्याय जगत का
ये कैसा न्याय
रे पापी मन॰॰न्न
पाप से पाप छिपाए
पाप से पाप छिपाए

पाप से पाप छिपा॰॰आए॰ ॰ ॰


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 : 3628 Post No. : 14452

Today’s song is from a film ‘Paaro’ (1947), made during the turmoil of Independence of India. By early 1947, it was clear that India would be divided and a new nation, based on religion, would be carved out by bifurcating United India. The name Pakistan was also known to everyone.

Like in every other field of activity, Hindi film industry  was also abuzz with rumours of who is migrating and who is not. Close to the month of June, July 1947, many ‘would be’ migrators were seen selling their properties. There was total chaos in film world. People were seen with suspicion and caution. All this culminated in a frenzy of activity in the industry. Everyone was in a hurry to complete his assignments. Financiers were hastening the producers and directors to complete their films somehow.

This finally ended in a record number of films made in the year 1947. The number of total films made was 280, and only Hindi films were 181. This record number was surpassed only after 41 years ! In the year 1985, the number of Hindi films made was 185. These figures are taken from Film Index by Harmandir ji. It automatically transpired that the quantity was achieved at the cost of quality. Almost 75 to 80 % films of 1947 were obscure and forgotten within a short time.

Films like ‘Aisa Kyun’, ‘Atom Bomb’, ‘Barrister’, ‘Beete Din’, ‘Chalte Chalte’, ‘Chandrahaas’, ‘Dehati’, ‘Daulat Ke Liye’, ‘Extra Girl’, ‘Farz’, ‘Gaurav’, ‘Gudiya’, ‘Heera’, ‘Janata’, ‘Jhalak’, ‘Khandaani’, ‘Lalat’, ‘Manmaani’, ‘Mere Bhagwan’, ‘Mohan’, ‘Nai Baat’, ‘Pehla Pyaar’, ‘Riwaaz’, ‘Shabari’, ‘Shahkaar’, ‘Tohfa’, ‘Toote Dil’, ‘Veerangana’ are some of the films made in 1947. How many of us even know about them ? Actually, some of these were films in which well known and major stars of the times had acted. For example, Mohan had Dev Anand as hero, Lalat was the debut film of Usha Kiran (as Usha Marathe), Prem Adib and Vanmala had acted in Chandrahaas etc.

‘Paaro’ was also one such film which was probably the outcome of the frenzy of 1947. The music director, the heroine, the director, both the lyricists and one singer of this film migrated to Pakistan at their earliest. I have not seen this film. perhaps it never came to Hyderabad. After Independence, Sardar Patel had launched ‘Operation Polo’, to annexe Hyderabad state  to India in 1948. The state was in turmoil, so new releases of 1947 came only after October 1948, that too only the most popular ones like ‘Shehnai’, ‘Saajan’, ‘Naatak’, ‘Neelkamal’, ‘Jugnu’, ‘Elaan’, ‘Dard’ and the likes of them.

The cast of film ‘Paaro’ was Geeta Nizami, Randhir, Jeevan, Ranjeet Kumari (who married actor Ram Singh and settled in UP) , Saroj Borkar, Kusum Bhate (sister of Rohini Bhate, the internationally famous dancer, on whom Lata’s first playback song was filmed in film ‘Aap Ki Sewa Mein’) etc. Geeta Nizami’s real name was Rashida Begum. She was born in 1926, in a middle class family of Lahore. At the age of 14, she was married to Barkat Nizami, uncle of actress Mumtaz Shanti. This was his second marriage.

It was through the efforts of Barkat Nizami that she was introduced to the screen. This person had a knack for recruiting girls to cinema. First he brought in Mumtaz Shanti and then his own wife. According to him this was a business, more than a marriage. He used to take 50% of earnings from Mumtaz Shanti, but after she married Wali Saheb, this stopped. To compensate, he brought Geeta. He had made a written agreement with her that she will give 50% of her income to Barkat and 25 % to his son from first wife. She earned only 25 %. This type of arrangements used to be there in those days. This was nothing but exploitation of helpless poor girls.

Geeta Nizami made her debut as a Heroine.  Initially, she took on the name of Mohini, but after realizing that there was another actress Mohna, already in films, she became Geeta and added Nizami to it. Another actress having such a Hybrid name was Mumtaz Shanti, in the same period.

In her first film ‘Mann Ki Jeet’ (1944), she acted and had a song and dance. The song was “More Jubna Ka Dekho Ubhaar” sung by Zohrabai, written by Josh Malihabadi and composed by SK Pal. The dance Geeta did on this song was very sensuous. She was shown emerging from a blooming lotus and at that time she did such provocative actions that soon the song became talk of the town. The then Bombay Government, led by Morarji Desai, promptly banned the song, but in the rest of India the song became very popular.  Her second film was Navyug’s propaganda film ‘Panna’ (1944). Her acting in this film was so good that the Govt. of India gave her a gift of Rs. 9000 as a reward.

Famous author Manto says in his book, ‘Dastavej ‘ Vol 5, that after this film, Geeta Nizami left Barkat Nizami, refusing to give him any share of her earnings. He went to the court and his case lingered, meanwhile he migrated to Pakistan also. Geeta Nizami then married several times and was known for that.

Geeta Nizami could not continue long as a heroine in films. She was lead actress in only seven films, out of total 13 that she did in India. The reason why she did not get more roles as a heroine was found in a book by a well known author. According to this author, Geeta took a bath only once a week, smelt horrible and her head was full of lice. No actor was ready to do a close up scene with her. (I remember another actress of the early 1960s – Kalpana, with same reputation. Shammi Kapoor was on record saying that Kalpana smelt very foul as she probably took bath only once a month. He had refused to work again with her in any film, after ‘Professor’ (1962).)

Geeta Nizami did just 13 films. Her last film was ‘Ek Tha Ladka’ (1951). After this she migrated to Pakistan. In Pakistan she formed a dance troupe and did shows in various cities of Pakistan. She died on 28-4-2008.

The film had only 7 songs, written by Nakshab Jarchavi and S. Nadeem, composed by Music Director Rashid Atre.

Composer RASHEED ABDUL ATRE was born in Amritsar on 15-2-1919. His father Khushi Mohammed was a well known musician and singer. Rasheed learnt music from Ustad Khan Saheb Ashfaq Hussain. Then he went to Calcutta and worked under RC Boral. During his stay in Calcutta he is presumed to have composed songs for films ‘Pardanasheen’ (1942) and ‘Mamta’ (1942), under the name RA Atra. After coming back to Bombay he joined Jhande Khan and Gobindram in composing songs for Pagli’ (1943). He was assistant to composer Amir Ali in ‘Panna’ (1944). With Pt Amarnath, he composed songs for ‘Shirin Farhad’ (1945). Then came ‘Room No. 9’ (1946), ‘Nateeja’ (1947), ‘Paaro’ (1947) and ‘Shikaayat’ (1948). From 43 to 48 he gave music to 6 (confirmed) films. Not much, but then he did not get much time too.

‘Nateeja’ was a Muslim social made by Bombay Talkies and he was specially called for it. ‘Nateeja’ music was his best in India and all its songs became very popular. For ‘Room No 9’, he worked in Navyug Chitrapat Co. where one of the owners was PK Atre, a noted Marathi writer and dramatist. PK Atre was, of course a Hindu, but it was a coincidence.

After Partition Atre went to Pakistan. He first served Radio Pakistan, Rawalpindi and then at Lahore. He prospered in Pakistan and gave music in 54 Urdu and Punjabi films. He was awarded the coveted Nigar Award 3 times in a row.  The famous marching song of Pakistan ”Allah o Akba ” was composed by him. The first Pakistani film for which Rasheed Atre gave his music was director Masood Pervez’s ‘Beli’ (1950).

Three years after ‘Beli’, Rasheed was in-charge of music for director Nazir Ahmed Khan’s Punjabi film, ‘Shehri Babu’ (1953), whose evergreen songs still are popular in Pakistan . Atre’s music for director WZ Ahmed’s 1954 family-friendly film ‘Roohi’ (1954) was also a huge success.

Rasheed Atre’s music is all very praise-worthy in director Nazir Ahmed Khan’s film ‘Khatoon’, which was popular for its thumri. Atre’s composition exhibits an astonishing range and power in director Anwar Kamal Pasha’s superhit film ‘Sarfarosh’ (1956). In 1956, Rasheed was also given the responsibility of composing songs for director Anwar Kamal Pasha’s golden jubilee punjabi film ‘Chann Mahi’ (1956) (lyrics: Tufail Hoshiarpuri, starring: Bahar, Aslam Pervaiz). Atre was, indeed, a powerhouse of a musician and a case in point is director WZ Ahmed’s all-time favorite film, ‘Waada’ (1957), which happened to be a movie from a more idealistic time. At the height of his fame, Atre came up with his magical composition for film director Anwar Kamal Pasha’s semi-historical movie, ‘Anarkali’ (1958). To be precise, it was a joint venture of 2 film music composers Rasheed Attre and Master Inayat Hussain.

Rasheed Attre passed away on December 18, 1967, at the age of 48.

Today’s song is sung by Rashid Atre himself with co singers, whose names are not mentioned in HFGK, so no guessing. Both, singer Rashid Atre and the film Paro-47 make a debut on the blog today.

[Author’s Note: Credits- Film directory, mpop.org, pakfilms.net, Encylopedia of Indian Cinema, Harish Raghuwanshi ji, Muvyz, HFGK, my notes.]
[Ed note-With this song, “Paaro” (1947) becomes the 100th movie of 1947 to get represented in the blog]

 


Song – Jeevan Panchhi Boli Boley (Paaro) (1947) Singer – Rashid Atre, Unidentified Female Singer, Lyrics – [Unattributed], Music – Rashid Atre

Lyrics (Provided by Sudhir)

jeevan panchhi boli boley
jeevan aana jaana re pagle
jeevan aana jaana

jeevan panchhi boli boley
jeevan aana jaana re pagle
jeevan aana jaana

kaun chhoot aur kaun achhoot
sab hindustani hain
kaun chhoot aur kaun achhoot
sab hindustani hain
alag alag paudhe bagiya ke
par hai paani ek
alag alag paudhe bagiya ke
par hai paani ek
?? kahaana re
?? kahaana re
jeevan panchhi boli boley
jeevan aana jaana re pagle
jeevan aana jaana

ek baap ke laakhon bete
ek bhoomi par rehte
ek baap ke laakhon bete
ek bhoomi par rehte
aandhi paani aag hawaa sab
ek saath hi sehte
aandhi paani aag hawaa sab
ek saath hi sehte
kyun bairi ban jaana re
kyun bairi ban jaana re
jeevan panchhi boli boley
jeevan aana jaana re pagle
jeevan aana jaana

do din ka hai sab ka jeevan
kaun oonch aur neech
do din ka hai sab ka jeevan
kaun oonch aur neech
palak jhapakte udd jaayen sab
?? ho ya ??
?? ho ya ??
maati mein mil jaana re
maati mein mil jaana re
jeevan panchhi boli boley
jeevan aana jaana re pagle
jeevan aana jaana

desh jal raha
desh jal raha
desh jal raha bhed bhav ki
ab ye aag mita do
ho jaao sab ek
prem ki ganga nadi bahaa do
ho jaao sab ek
ho jaao sab ek
ho jaao sab ek

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

जीवन पंछी बोली बोले
जीवन आना जाना रे पगले
जीवन आना जाना

जीवन पंछी बोली बोले
जीवन आना जाना रे पगले
जीवन आना जाना

कौन छूत और कौन अछूत
सब हिंदुस्तानी हैं
कौन छूत और कौन अछूत
सब हिंदुस्तानी हैं
अलग अलग पौधे बगिया के
पर है पानी एक
अलग अलग पौधे बगिया के
पर है पानी एक
?? कहाना रे
?? कहाना रे
जीवन पंछी बोली बोले
जीवन आना जाना रे पगले
जीवन आना जाना

एक बाप के लाखों बेटे
एक भूमि पर रहते
एक बाप के लाखों बेटे
एक भूमि पर रहते
आँधी पानी आग हवा सब
एक साथ ही सहते
आँधी पानी आग हवा सब
एक साथ ही सहते
क्यों बैरी बन जाना रे
क्यों बैरी बन जाना रे
जीवन पंछी बोली बोले
जीवन आना जाना रे पगले
जीवन आना जाना

दो दिन का है सब का जीवन
कौन ऊंच और नीच
दो दिन का है सब का जीवन
कौन ऊंच और नीच
पालक झपकते उड़ जाएँ सब
?? हो या ??
?? हो या ??
माटी में मिल जाना रे
माटी में मिल जाना रे
जीवन पंछी बोली बोले
जीवन आना जाना रे पगले
जीवन आना जाना

देश जल रहा
देश जल रहा
देश जल रहा बेहद भाव की
अब ये आग मिटा दो
हो जाओ सब एक
प्रेम की गंगा नदी बहा दो
हो जाओ सब एक
हो जाओ सब एक
हो जाओ सब एक


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 : 3623 Post No. : 14440

Today’s song is from the film ‘Maata’ aka ‘The Mother’ (1942). Not many people know about this film. Made by Kirti films, it was a social film, directed by Dada Gunjal. Music was composed by Vasant Kumar Naidu, for the lyrics by DN Madhok. The cast of the film was Shobhana Samarth, Chandrakant, Mubarak, A. Himalaywala, Urmila Devi, Bhudo Advani, Moti, Bibi Bai, Munshi Khanjar, Suraiya Begum etc.

Chandrakant is a name which appears for a very few films as an actor. In fact, he acted in only 2 films. The other film was ‘Maharathi Karna’ (1944) (he had a small role). Chandrakant Gaur was born in UP in 1929. He was an educated person and knew many languages like Marathi, Gujarati and Punjabi, in addition to Hindi and English. He was a quick learner and a good writer. He came to Bombay to become a director. Instead of that he started as an actor in ‘Maata’.

During the shooting of ‘Maharathi Karna’, Bhalji Pendharkar spotted this young man’s talents and took him to Kolhapur as his assistant. Chandrakant, being a fast learner, became adept at direction. He came back to Bombay and hurriedly directed his first film – ‘Riding Hero’ (1951), a stunt film made by Laxmi Productions of Chimanlal Trivedi. After this, he directed 29 Hindi films, mostly B grade, stunt/action films only.

He also directed a Hit Punjabi film ‘Bhagat Dhanna Jaat’ (1974). According to indiancine.ma, this film is said to have revived Punjabi film industry. He did some Gujarati mythologicals and Marathi films too. Together his tally goes to 45 films. In between he became famous for writing stories of films like ‘Patita’ (1953), ‘Seema’ (1955), ‘Dekh Kabira Roya’ (1957), ‘Kathputali’ (1957), ‘Anita’ (1967) and ‘Mahasati Savitri’ (1973).

From the cast listing, another interesting name is that of A Himalaywala. His name was Mohd Afzaluddin. He was born in March 1916, at Dehradun. After school education he joined his brother, Mohd Misaluddin’s firm – The Himalaya Drug Company, a leading Pharma company of repute (even today). He worked there for 10 years and after a dispute with his brother, left the company. He came to Bombay to join films.

First he had thought of starting a company, but looking at the situation, he decided to do acting only. His first film was ‘Kiski Biwi’ (1942), directed by MA Mirza. His name was changed from Afzal to A Himalaywala (since he came from the Himalayan town of Dehradun, like Kashmiri from Kashmir), by Shaukat Hussain, husband of Noorjehan. However in many films he was credited as Afzal only. He worked in few films like, ‘Vishwaas’ (1943), ‘Ankh Ki Sharm’ (1943), ‘Dost’ (1944), ‘Kismatwaala’ (1944), ‘Zeenat’ (1945), ‘Humayun’ (1945), ‘Nal Damayanti’ (1945), ‘Jagbeeti’ (1946), ‘Samrat Ashok’ (1947) and ‘Elaan’ (1947).

He was an outspoken and straightforward person, fond of hunting, football and travelling by car. He toured all of India twice in his car. In 1943, he married actress singer Amirbai Karnataki. After marriage he banned her from acting in films. Within 2-3 years, on this and other issues, they could not get along. He used to hit her and take all her money. At last, it was rumoured that he gave her talaaq after taking 2 lakh rupees and her car. Even after this he was stalking her. She stayed with her elder sister Ahilya Bai. Then one day, she was kidnapped by Himalaywala, from the recording room. She was kept locked in a room and beaten daily. She somehow managed to inform this to her sister.

Ahilyabai then got in touch with her acquaintance Mr Rasiklal Vyas and his brother Chhailabhai Vyas – one of the best criminal lawyers of Bombay. With their political and social connections, they forced the police to register an FIR, which was refused due to Himalaywala’s bribe. Meanwhile Himalaywala was alerted by his cronies. Within few hours Amirbai was escorted back to her sister’s place, by Himalaywala. All this episode is described in full details in the book ‘Aap Ki Parchhaiyaan’, by Rajnikumar Pandya ji. Amirbai later married Gujarati Journalist Badri Kaanchwala.

After partition, Himalaywala migrated to Pakistan. There the lady luck smiled on him and he did very well. He became successful as an actor and was famous also. His role of Akbar in film ‘Anarkali’ (1957) was particularly appreciated very much. Mohd Afzuluddin Himalaywala died in 1984 in Lahore.

The director of this film was V.M. aka Dada Gunjal, who started his career by directing his first film, ‘Bhakt Ke Bhagwan’ (1934). He went on to direct 38 films in Hindi and Marathi. His last film was ‘Ek Armaan Mera’ (1959). Dada Gunjal was born in Bombay on 25-1-1904 and died also at Bombay on 6-11-1968.

The music director for this film was a less known composer, Vasant Kumar Naidu. He was  born in 1915. His family had settled in Burma like thousands of other South Indian families.  When Burma was struggling for independence, in the 1930s, most Indians left Burma and came to India. Many went to Calcutta and many went to South India. Many families walked for around 6 months from Burma to India.  Vasant Kumar’s family was one among them.  They walked from Rangoon to Madras.  The family settled in Madras for some years.

Vasant Kumar Naidu had come alone to Bombay earlier in search of a career in music. He was an instrumentalist and could play any string instruments and also harmonium. He was also very much interested in reading different languages. There were many books that he read. He was also very keen in dressing up and had several suits in those days. He joined the film industry and started getting established as a music director.  He then called his mother and other siblings to live with him in Bombay along with his eldest brother’s widow and her son. He had 4 brothers. His eldest brother expired in Madras itself. Vasant Kumar was the second eldest. He had two younger brothers as well.  They all lived on Peddar Road. He left his Peddar Road flat and moved to Parel. He lived in Parel until his death on 16-10-1951.

Vasant Kumar got married in Madras. This marriage was a proposed marriage arranged by his mother. Eventually his other brothers also got married. All three brothers and their wives stayed under the same roof in Parel in a joint family which was headed and supported monetarily by Vasant Kumar.  His younger brother Pandurang Naidu was also picking up in music career. He became a musician (he played banjo and mandolin). Vasant Kumar taught several string instruments to him. His youngest brother, Sreenivasan Naidu, in the later part of his life became music composer for Indian Railway Music Academy (Central Railway Cultural Academy).

Vasant Kumar is survived by his only daughter, Pramila Naidu, who is a widow now. She lives in Pune with her grown up children. Pramila Naidu was around 5 years old when her father expired.  She has a vague memory of her father. It’s sad to see her struggling now financially. She still gives tuition at the age of 70 to make her living. She lawfully owns all these 3 flats in Parel, Mumbai but the 3rd generation of the family has occupied these flats and are not willing to vacate the property. This property is now worth in crores. The cousins of Pramila Naidu got together and filed a law suit against these 3rd generation greedy family members. The law suit is going on now for the past 3 years.

Vasant Kumar started his career in 1939 by giving music to film ‘Thunder’ (1939) and ‘Pakke Badmash’ (1939). Till 1947, he gave music to 22 films, as per the HFGK entries. He composed 160 songs in these 22 films. He is variously mentioned as Vasant, Vasant Kumar and VK Naidu, in addition to his name Vasant Kumar Naidu. He sang 1 song, a duet with Khan Mastana for film ‘Mere Sajan’ (1941).

His filmography is,

  • Thunder (1939)
  • Pukke Badmash (1939)
  • Rangeela Jawan (1940)
  • Jung-e-Azadi (1940)
  • Desh Bhakta (1940)
  • Suhana Geet (1941)
  • Meri Khwaish (1941)
  • Mere Saajan (1941)
  • Lehri Jawan (1941)
  • Lalaji (1942),
  • Call of youth (1942)
  • Mata (1942)
  • Watan ki Pukar (1943)
  • Nai zindgi (1943)
  • Mohabbat ki jeet (1943)
  • Daawat (1943)
  • Circus Girl (1943)
  • Bhagta Bhoot (1943)
  • Beda Paar (1944)
  • Shahi Khazana (1946)
  • Chamkati Bijli (1946)
  • Toote Di (1947)

Unfortunately, Vasant Kumar got mostly B and C stunt and action films for composing the music. Big banners like National Studios gave him an opportunity with film ‘Lalaji’ (1942), in which Naidu got many songs sung by Anil Biswas, Kusum Mantri, and Vatsala Kumthekar. However such films came to him only as an exception, therefore his exposure to audience was limited and his name did not gain any fame. Actually, many big, well known and popular singers sang for Naidu.

However, without a mentor, Godfather or the support of a big banner, it became impossible for Vasant Kumar to grow further. During the transition period of 1947-48, when many composers migrated to Pakistan, the existing big composers made their positions solid. Thus smaller composers never got any opportunity to benefit from the void created by the exit of composers. This was the case of many small time composers like Vasant Kumar.

The film ‘Maata’ has 7 songs. I have heard 6 of them and feel, he could have done better than this. The selected song is a better one from the lot. The singer’s name is not available.The film makes its debut on the blog.

[Author’s Note: Credits- indiancine.ma, A.I. Film Directory (1946), Aap Ki Parchhaiyaan, Muvyz, HFGK, Shishir Krishna Sharma’s and my notes.]


Song – Mann Ka Mor Mera Kisey Bakhaane (Maata) (1942) Singer – [Unknown], Lyrics – DN Madhok, Music – Vasant Kumar Naidu

Lyrics (Provided by Sudhir)

mann ka mor mera
mann ka mor mera
kisey bakhaane
tum bin aur kaun jaane
mann ka mor mera
mann ka mor mera
kisey bakhaane
tum bin aur kaun jaane

chhod kari
ghar ko aa ja re
saawan ki ritu aayi
jhir jhir baadal
barsan laage
birhan de duhaai
aa tu kisi bahaane
aa tu kisi bahaane
tum bin aur kaun jaane
mann ka mor mera
mann ka mor mera
kisey bakhaane
tum bin aur kaun jaane
mann ka mor mera
mann ka mor mera
kisey bakhaane
tum bin aur kaun jaane

sab ke saajan
ab ghar aaye
baaki ek nigodi
un ka bhala kabhi na hove
preet laga jin todi
jiya laag la
jiya laag la
kisi thikaane
jiya laag la
kisi thikaane
tum bin aur kaun jaane
mann ka mor mera
mann ka mor mera
kisey bakhaane
tum bin aur kaun jaane
mann ka mor mera
mann ka mor mera
kisey bakhaane
tum bin aur kaun jaane

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

मन का मोर मेरा
मन का मोर मेरा
किसे बखाने
तुम बिन और कौन जाने
मन का मोर मेरा
मन का मोर मेरा
किसे बखाने
तुम बिन और कौन जाने

छोड़ करि
घर को आजा रे
सावन की ऋतु आई
झिर झिर बादल
बरसन लागे
बिरहन दे दुहाई
आ तू किसी बहाने
आ तू किसी बहाने
तुम बिन और कौन जाने
मन का मोर मेरा
मन का मोर मेरा
किसे बखाने
तुम बिन और कौन जाने
मन का मोर मेरा
मन का मोर मेरा
किसे बखाने
तुम बिन और कौन जाने

सब के साजन
अब घर आए
बाकी एक निगोड़ी
उन का भला कभी ना होवे
प्रीत लगा जिन तोड़ी
जिया लाग ला
जिया लाग ला
किसी ठिकाने
जिया लाग ला
किसी ठिकाने
तुम बिन और कौन जाने
मन का मोर मेरा
मन का मोर मेरा
किसे बखाने
तुम बिन और कौन जाने
मन का मोर मेरा
मन का मोर मेरा
किसे बखाने
तुम बिन और कौन जाने


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 : 3619 Post No. : 14422

Today’s song is from a really unknown and unheard of film of the early era – ‘Fauladi Mukka’ (1936).

So far 3 films with this title are made in Hindi. The other two films were made in 1965 and 1985. The 1965 movie was a regular C grade action stunt movie of actor Aazad and the 1985 movie was a Tamil film dubbed in Hindi. It starred Rajinikant. I call him a sophisticated stunt actor, although he is known to have worked in serious social films too. But generally, in the world beyond Tamilnadu, Rajinikant is equivalent to unimaginable, logic-basher, nature-defying stunts which make you not only wonder but also bring you a smile.

It is a wonder that such an actor is treated like a God in south. But then, South has always been like that. Adoring the actors beyond acceptable norms, deifying them and even building temples for them. Once when I was travelling in Tamilnadu, I had seen a Temple for actress Khushboo (it was promptly destroyed by the same fans, when Khushboo made some sensible, practical and logical remarks during an AIDS awareness campaign). Now I hear there is a Temple for actress Namitha !

Forget about actors, but some typical film titles shout loudly about it being patently a stunt film. Can you ever imagine that films like Khooni Darinda, Khoon Ki Pyaasi Daayan, Khooni Jaadugar, Guru Ghantal, Atom Bomb, Bhedi Bungla, Khooni Laash, Madame Zapata, Daryayi Lutera and similar scary but funny title film, being a social meaningful film, showing a dedicated wife, dutiful son and disciplined children serving their grandparents?

The fun is, there is a fixed set of producers, directors and actors in an action film. Moreover, such films used to be shown in some obscure, dilapidated, old cinema houses. When I was young, I remember having seen stunt films in theatres of old city part of Hyderabad, having names like Taj, Delite and Moosa. Yes, a theatre on the banks of river Moosa was named as Moosa Theatre !

Ok, Ok, to make the matter short and sweet, today’s film too was a C grade stunt/action film, made by Wadia Movietone famous for such films. Low Budgets-No Publicity-Big Profits. This sure shot formula of Wadia Movietone prompted them to promote a foreign, daring girl, who was ready to any stunts in films. She overtook all the then prevailing stunt kings like Baburao Pehelwan, Kamran, Dalpat, Prakash and the likes of them and in a flash became famous as Fearless Nadia.

So, again coming to the point, ‘Fauladi Mukka’ was also a stunt film featuring well known action artists like Harishchandra Rao, Husn Banu, Sayani Atish, Dalpatram, Master Chhotu, Shahjehan etc. The MD was the usual stunt film specialist Master Mohammad. The leading lady Husn Banu’s story is very interesting.

Her mother Sharifa was an actress in the 20s and the 30s. She hailed from the Central Provinces and joined the Corinthian Theatre company of Calcutta, in which the famous Urdu writer Agha Hasra Kashmiri was also working. She and Agha fell in love. However during one performing tour, the Maharaja of Charkhari in Central Province, fell for Shareefa. He followed the drama company to Calcutta and bought the already debt ridden Corinthian Theatre company for Rs. 40 Lakhs. This included the entire property and the services of Agha and Shareefa too. Soon they resigned and Shareefa started acting in films.

A Parsi magician named Minoo Kooper (the actor singer Minu Cooper, the mystique, of Bombay was a different person) came to Calcutta to give performances. Shareefa was attracted to him and they both left on a tour of Far East. She went as his helper and a consort. For a year they stayed together. When Shareefa became pregnant, Minoo left them in Singapore and returned to India.

Roshan Ara aka  Husn Banu was born in Singapore on 8-2-1919. She was very beautiful. She started her career in Calcutta (just like her mother), by working in New Theatre’s film ‘Daaku Mansoor’ (1934). After this film, Shareefa brought her to Bombay and she started getting roles in Wadia films. She was working  only in C grade stunt action films. After 1940, she got 2 social films made by Bharat Laxmi films and in 1941 again 1 film each from Bhavnani productions and National studios. However she got only small or side roles.

In 1941, When she was selected for Ranjit’s film ‘Dhandora’ as a Heroine, this was a new experience for her as she had never worked in a social or a comedy movie as the lead actress. All her experience was for stunt films only. Husn Bano acted in 53 films and sang 44 songs in 16 films. She had married Wadia’s director Aspi Irani. Husn Bano worked in films till 1977; her last film was ‘Akhari Sajda and then she retired. She had a big house ‘Shareefa Manzil’ in Dadar, Bombay. On 23-11-1986, her husband Aspi Irani left home for work and he simply disappeared. He was never found and was declared as a “Missing Person” by the police.

Husn Banu was beautiful. She was featured in Lux Soap advertisement in the early 1940s. Leela Chitnis was the first to feature in this ad during early 1940. After that Azuri, Bharati Devi, Manorama, Ratanbai, Shobhana Samarth, Mumtaz Shanti, Neena, Sadhona Bose and Maya Banerjee have also featured in these ads.

Hero of this stunt film was Harishchandra Rao (Kadam). He was born in Bhuj, Gujarat on 11-8-1910. He did his early schooling in Bhuj, but his family shifted to Karachi, due to financial debacle. He did cycle repairing work and completed his matriculation by age of 18 years. He joined a touring film company. Once, while in Bombay he was watching the film shooting in Paramount company. Suddenly, the director offered him a role in the film. Thus he entered the films. from 1932 he did few silent films.

He joined Shankar Bhatt’s Prakash Pictures and worked in their first Talkie, ‘Bambai Ki Mohini’ (1934). He was with Prakash, upto 1939, doing stunt films inside and outside also. He did some films for Wadia too, in between. Finally he started his own company – Harishchandra Productions. He continued to work as actor, director and producer. He sang few songs also.

Some of his films were ‘Daulat’ (1937), ‘Naujawan’ (1937), ‘Rangila Mazdoor’ (1938), ‘Rangila Jawaan’ (1940), ‘Sukhi Jeevan’ (1942), ‘Lehri Jawaan’ (1935), ‘Inaam’, ‘Sone Ki Chidiya’ (1934), ‘Durbaan’ (1946), ‘Laat Sahib’ (1946), ‘Tamaasha’ (1942) etc. He worked in about 42 films.

His brother Chandrarao Kadam was also a stunt actor. He was known as Stunt King. He had his own company – Chandrarao Films. He acted, directed and produced films. The brothers were friendly with Master Bhagwan and gave him preference in their films, till Bhagwan started his own company- Jagriti films. Later on Chandrarao floated his own Chandivali Studio in Bombay suburb, which is still actively run by his progeny.

The film ‘Fauladi Mukka’ had only 5 songs. Listen to today’s song. There are some dialogues in the beginning. If you recollect, there was a famous song by Surendra and Bibbo, from film Manmohan-36, which had a prose line by Bibbo- क्या मै अंदर आ सकती हुं ?. This made the song very popular. In today’s song also similar lines are there and these songs were recorded earlier than Manmohan-36, as per record numbers.  may be this song perhaps had been an inspiration for the ‘Manmohan’ song. Just a thought !

The film and singer Harishchandra Rao make their debut on the blog today.

( Credits- Stages of Life-Indian Theatre Autobiographies by Kathryn Hansen, All India Film Directory (1946), HFGK, MuVyz, www.chiloka.com, Isak Mujawar, Vithal Pandya and my notes.)

 


Song – Prem Mandir Mein Manmurakh Yeh Har Ki Kundi Khole (Faulaadi Mukka) (1936) Singer – Husn Bano, Harishchandra Rao, Lyrics – Munshi Gyan, Music – Master Mohammed
Unidentified Male Voice

Lyrics (Provided by Sudhir)

prem,
aaj ka lesson to khatm hua
aur is ke baad

behan,
prem ki pariksha to kar li
ab prem pariksha bhi kar lo

chandrakanta,
tumhaare bhai chhotu ne vaakai ek mushkil sawaal hamaare saamne pesh kar diya hai

haan,
sawaal, ye aisa sawaal
jiska jawaab siwaye zindagi ki sunehri kitaab ke aur kahin nahin mil sakta

o ho
aap (??) bhi hain
bhala bataaiye aap ki kitaab e zindagi
prem ke baare mein kya kehti hai

prem mandar mein
mann murakh ye har ki kundi khole
prem mandar mein
mann murakh ye har ki kundi khole
kaa..aath ki bansi
prem raag mein
har dam tu ru boley
kaa..aath ki bansi
prem raag mein
har dam tu ru boley

prem ki duniya kitni badi hai

ek hi bindu prem ki duniya
ek hi bindu prem ki duniya
saagar laakh samaate hain
saagar laakh samaate
prem naiya mein
prem nagar se
prem ke moti doley
prem naiya mein
prem nagar se
prem ke moti doley

aur prem ki shakti

prem nagar mein
mann mastaana
amrit ka deewaana
prem nagar mein
mann mastaana
amrit ka deewaana
vi..eesh ka pyaala
le kar paagal
amrat amrat boley
vi..eesh ka pyaala
le kar paagal
amrat amrat boley

prem mandar mein
mann murakh ye har ki kundi khole

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

प्रेम
आज का लेस्सन तो खत्म हुआ
और इस के बाद

बहन
प्रेम की परीक्षा तो कर ली
अब प्रेम परीक्षा भी कर लो

चंद्रकांता
तुम्हारे भाई छोटू ने वाकई एक मुश्किल
सवाल हमारे सामने पेश कर दिया है

हाँ
सवाल, ये ऐसा सवाल
जिसका जवाब सिवाय ज़िंदगी की सुनहरी
किताब के और कहीं नहीं मिल सकता

ओ हो
आप (??) भी हैं
भला बताइयेआप की किताब ए ज़िंदगी
प्रेम के बारे में क्या कहती है

प्रेम मंदर में
मन मूरख ये हर की कुंडी खोले
प्रेम मंदर में
मन मूरख ये हर की कुंडी खोले
का॰॰आठ की बंसी
प्रेम राग में
हर डैम तू रु बोले
का॰॰आठ की बंसी
प्रेम राग में
हर डैम तू रु बोले

प्रेम की दुनिया कितनी बड़ी है

एक ही बिन्दु प्रेम की दुनिया
एक ही बिन्दु प्रेम की दुनिया
सागर लाख समाते हैं
सागर लाख समाते
प्रेम नैया में
प्रेम नगर से
प्रेम के मोती डोले
प्रेम नैया में
प्रेम नगर से
प्रेम के मोती डोले

और प्रेम की शक्ति

प्रेम नगर में
मन मस्ताना
अमरत का दीवाना
प्रेम नगर में
मन मस्ताना
अमरत का दीवाना
वी॰॰ईष का प्याला
ले कर पागल
अमरत अमरत बोले
वी॰॰ईष का प्याला
ले कर पागल
अमरत अमरत बोले

प्रेम मंदर में
मन मूरख ये हर की कुंडी खोले


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

This is a labour of love, where “new” songs are added every day, and that has been the case for over TEN years. This blog has over 14600 song posts by now.

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

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Movies with all their songs covered =1147
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