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

Archive for the ‘MD singing for another MD’ 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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 4108 Post No. : 15259

Today’s song is a lovely duet by Lata and Hemant Kumar, from film Daaka-59. The film was made by Starland productions, Bombay for Hasmukh Kheda. The film was directed by Nanubhai Bhatt and the 6 songs of the film were written by Majrooh Sultanpuri (2 songs) and by Prem Dhawan (4 songs). Their music was composed by the King of Melody – Chitragupta. Dilip Dholakia was his assistant for this movie.

The cast of the film was Ashok Kumar, Nirupa Roy, Pran, Maruti, Smriti Biswas, Badri Pershad, Balam, Kesari, Kathana etc.etc. Songs of this film were recorded in 1956, but for reasons not known to us, the film was censored only in 1959 (25-11-1959). The length of the film was 12,698 feet and was in 14 reels.

Why I gave the details of the length and number of reels is that during the period of 50s, I remember how the films used to begin in the theatres. In Hyderabad city, once the show time was up, the theatre would be plunged in darkness and advertisements would start with slides or shorts. After this, usually there would be Indian News Reel or a Documentary of the Films Division. The Indian News reel was interesting and when some Cricket match was being played, here or abroad, some shots of the match would be shown. By this time, all the audience used to be in their seats. The first scene of the start of the main film was showing its Censor Certificate. It was at this time, when 99% audience used to read loudly in chorus, “14 Reels”, as if they had discovered some top secret ! Perhaps, it gave them an idea whether the film was a long one , normal or a short one.

Ashok Kumar (13-10-1911 to 10-12-2001) the Hero of this film, always surprised me. I wonder how much energy this man must have had. If you see his Career graph,it is most unusual. I am saying this because, normally an actor is at his best Performance level when he is young. As the age increases, his level diminishes and after a certain period, he is away from the Silver screen. In case of Ashok Kumar this is very different story. See the following chart and you will realise what I mean.

Period in years Aproximate Age No. of films done in the decade
Decade 1 (1936-1940 ) 25-30 years 12 (First film- Jeevan Naiya-1936)
Decade 2 (1941-1950 ) 30-40 years 23
Decade 3 (1951-1960) 40-50 years 55
Decade 4(1961-1970) 50-60 years 62
Decade 5(1971-1980) 60-70 years 85
Decade 6 (1981-1990) 70-80 years 60
Decade 7 (1991-1997 ) 81-86 years 13 (Last film- Aankhon mein tum ho-1997)

From 1936 to 1997 he acted in 310 films. That is a very long journey in films, of 61 years ! His first Heroine-Devikarani- was born in 1908 and the Heroine of his last film- Suman Ranganathan was born in 1974 ! He worked with Heroines from 4 generations (a film generation is counted as 15 years). Ashok Kumar ,in his career, paired with Devika Rani-she was 3 years elder to him in age- in 8 films, with Nalini Jayawant in 11 films and with Nirupa Roy in 21 films in 33 years’ period-from Bhai Bhai-56 to Dana Pani-89.

He had to sing his own songs. By that time the system of Playback had started, but actor singing his/her own songs also continued for some time. He sang 77 songs in 25 films. Effectively, his singing was halted by Mohd. Rafi, when he sang for Ashok Kumar in the film Saajan-47- a duet with Lalita Deulkar ( Humko tumhara hi aasra). After this Ashok Kumar sang one song each in film Chalti ka naam Gaadi-58, Aashirvad-68, Kangan-72, Khoobsurat-80 and finally in Shaukeen-82.

Look at his energy level in the above chart. As he grew up in age, his demand increased, he worked in more and more films till he was 86 year old. He was simply unique in this respect. May be Amitabh Bachhan is a match to him or even better than him because nowadays more films are made than before. I hope some contributor does this comparison in the same way.

When Ashok kumar started acting, he had a great problem. He did not know what to do with his hands. in all his early films, you will find him acting very awkwardly, because of this problem. When he acted in film Anjaan-41, this problem was solved. In this film he did a Doctor’s role, who is accused of a murder- which he did not commit. He had to be a detective to collect proof of his innocence and argue in the court also. During this period, he started smoking cigarettes and his ‘Hand’ problem was solved once for all. After this film, Ashok Kumar and his smoking became inseparable in every film ! (and also in private life) .

Ashok Kumar was one of those actors who did Natural acting in their films. Initially, that was not so, but after solving his ‘Hand’ problem in film Anjaan-41, he was one of the best such actor. Motilal, Sanjeev Kumar, Amol Palekar, Farooq Shaikh and Paresh Raval are some other names that came to my mind in this category.

For actress Smriti Biswas, film Daaka-59 was her last film. She quit films and married actor, director, producer and studio owner S D Narang.

Actress Smriti Biswas was born on 17-2-1932, in Calcutta in a middle class family. She was educated at home and she worked as child star in Bangla films, Sandhya and Dwandwa in the 1930s.

Hoping to make a better career, she shifted to Lahore. Here Pancholi studio gave her a break with the film Dhamkee-45. The film shooting started in 1943, but it was released in 1945. She got Raagini-45 in the same year. Its Director was Shanker Mehta. Two more of her films, viz Nek Dil-48 and Roop rekha-48 were also released there.

After Partition she returned to Calcutta. S.D.Narang, actor, producer and director also shifted to Calcutta along with her. He established his own Bengal National Studio and made Bangla and Hindi films with Smriti. Their ‘Ek Aurat’-48 was quite popular.

New Theatres cast Smriti in their film “Pehla Aadmi”-50 based on the story of Subhash Chandra Bose. It was directed by Bimal Roy. Both Smriti and Narang came down to Bombay. In the decade of 1950’s, she did about 21 films there. Daaka-59 was her last film. In 1960, she married S.D.Narang and retied from films, though she was still in demand. She has 2 sons. S.D.Narang died on 25-1-1986. She is in her 80s but enjoys life with family and friends.

Smriti Biswas did only about 27 films in her career, but her vivacious looks, sweet face and speaking style still reminds us of her roles.

Some of her more well known films are, Arab ka Saudagar-56, Bhai saheb-54, Lakhon mein ek-55, Samsheer-53, Aab e Hayat-55, Hum Safar-53 (opposite Dev Anand), Dilli ka Thug-58, Teen batti chaar Rasta-53, Baap re Baap-55 and Bhagam Bhag-56.

Recently I saw an article in Maharashtra Times of 14-4-2017. It was mentioned that She was living in a barely 500 square feet flat in Nashik, along with her two grown up, unmarried sons. All the property, Gold and money left by S D Narang was looted by other relatives and Smriti finds it difficult to pull on.

The Heroine of this film Nirupa Roy was a very unconventional actress of Hindi films. Her repertoire of roles was so varied that she could not be stamped with any one type of roles.

Nirupa Roy (4-1-1931 to 13-10-2004) was an enigma of Hindi Cinema. She has been a Heroine in 110 films,a mother in over 50 films,has been a Goddess in 50 Mythological films, a suffering wife in over 30 films and a Stunt girl in about 10 films.( I remember our Raja ji once said that it was difficult to imagine Nirupa Roy in any other dress than a Saree.) She sang Bhajans,romantic songs,Comedy songs,qawalis,sad songs and peasant folk songs on the screen.

She changed her Heroes like “Badalate huwe saathi”. She did 18 films with Trilok Kapoor ( 50-65), 12 films with Balraj Sahni ( 53-72), 16 films with P.Jairaj ( 53-78), and 21 films with Ashok Kumar ( 56-89). She was Amitabh’s mother in 12 films and a stunt Girl in 8 films. She even wrote a popular film song for film Samrat Chandragupta-58 ( Mujhe dekh chaand sharmaye – Lata).

Today’s song is a sweet duet of Lata and Hemant Kumar. Listening to some of their duets is a divine experience. Some of their duets like “yaad kiya dilne kahan ho tum”, “ye raat ye chandni phir kahan”, “gupchup gupchup pyar karen”, and ” Sanware salone aaye din bahar ke ” are some of the songs they made immortal in HFM. Lata’s voice never sounded sweeter with any other singer.

Today’s song is not as well known as the songs mentioned above, nevertheless this song has the hallmark of a Lata-Hemant Kumar duet song. It is a song that is best heard at night time- a “chhaayaageet” category song.


Song- Chaand ne kuchh kaha taaron ne kuchh suna (Daakaa)(1959) Singers- Hemant Kumar, Lata Mangeshkar, Lyrics- Prem Dhawan, MD- Chitragupta
Both

Lyrics

chaand ne kuchh kaha
taaron ne kuchh suna
baat hi baat mein jaane kya ho gaya
aankhen jhuk jhuk gayin
dhadkanen ruk gayin
kya bataaun mera dil kahaan kho gaya

chaand ne kuchh kaha taaron ne kuch suna
baat hi baat mein jaane kya ho gaya

hum to khud se hi nazren churaane lage
jaane kya soch kar muskuraane lage
hum to khud se hi nazren churaane lage
jaane kya soch kar muskuraane lage

ab to dil na kisi bhi bahaane lage
baat hi baat mein jaane kya ho gaya
aankhen jhuk jhuk gayin dhadkanen ruk gayin
kya bataaun mera dil kahaan kho gaya

raat aayi hai zulfen sanwaare huye
aankhon aankhon mein kya kya ishaare huye
raat aayi hai zulfen sanwaare huye
aankhon aankhon mein kya kya ishaare huye
bas hai itni khabar
hum tumhaare huye
baat hi baat mein jaane kya ho gaya

chaand ne kuchh kaha
taaron ne kuchh suna
baat hi baat mein jaane kya ho gaya

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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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

3864 Post No. : 14881 Movie Count :

4070

Today’s song is from a film Iqraar-42. The song is sung by Bulo C Rani, who became a Music Director himself in 1943. Music Director for this film was Khemchand Prakash. The film was directed by Manibhai Vyas. The 10 songs of the film were written by Pt. Indra and Munshi Dil. The cast of the film was, Madhuri, Motilal, Rama Shukul, Shanta Kashmiri,Bhagwandas, Tarabai, Bhoopat Rai and others.

Cut to….

———————————————
Place- Shanmukhanand Hall,Mumbai
Date 7-2-1999
Time- 7 p.m.
Programme- Felicitation to ‘ Stars from the Silent Era’
Organisers- ” Amrut” and ” Cine Society of Bombay ”

The entire hall was overcrowded. Not only all the seats were occupied,but people were standing wherever possible. Everybody wanted to see the Two STARS on the stage-Jairaj and Madhuri. Both were in their late 80s,but looked radiant and smiling. For Madhuri it was a surprise,that the organisers found her out after living in oblivion for over 50 years. She was simply overwhelmed with the people’s affection and love. For Jairaj,these things were not new. He has been around all the time.

Madhuri and Jairaj were a Popular pair in Silent film era. They worked as a lead pair in 3 films, one each in 1930-Rasili Rani, 1931-Warrior from the wild and 1932-My Hero. They came together after almost 70 years,on this stage.

Like many others, Madhuri too was an Anglo Indian. Her name was Beryl Claessen. She was born on 3-11-1913 at Delhi. Her father was a big officer in Government. Her initial schooling took place in Nainital. She learnt music too,because she wanted to become a Music Teacher. However that she never became,but on a visit to Bombay she was picked up by producer Indulal Yagnik and she started acting in silent films.

Many Heroines in those days were Anglo-Indians, Europeans or Jew girls. Since silent films did not require speaking Hindi or Urdu ( or any language,for that matter),these girls were preferred, as Indian audience loved their fair colour (Gori Mem). Additionally,these girls did not hesitate to give intimate scenes like kissing or doing stunts themselves. Most girls knew Horse riding, fencing and fighting.

In 1928,there was a Silent film Madhuri, but actress Sulochana(Ruby Myers) did this role and in 1932 there was a Talkie film Madhuri,in which also Sulochana only did the role. When Talkie films era began most of the Anglo Indian girls became jobless, since they could not speak Hindi/Urdu nor could they sing a song-the two requirements for actresses in Talkie films. However, a few intelligent and professional actresses learnt Hindi/Urdu language speaking. Madhuri and Sabita Devi (Irene Gasper) were two such clever girls who achieved proficiency in these matters.

Madhuri was very beautiful. After doing 17 silent films,she made her debut in Talike films with ‘ Pardesi Preetam’-1933. Jaswantlal Nandlal directed his first film here. Her Hero was Raja Sandow. She did many films for Ranjit under the direction of Jayant Desai. From 1933 to 1942,she acted in 26 films. They were (not in order) Kashmeera,Mitti ka Putla,Noor e watan,Secretary,Lehri lala,Rangeela Raja,Sitamgarh,Prithviputra,Thokar,Raj Ramni,Diwali,Matlabi Duniya,Toofani Toli,Shama parwana,College Girl,Nadira,Veer babruvahan,Zamin ka chaand,Ban ki chidia,Toofan Mail,mehmanSasural,shadi and Ikrar. By the way, Iqrar – 42 was Madhuri’s last film.

In 1941, Madhuri got married and retired from Film line. After this she simply disappeared for next 50 years without a trace,till the organisers of above programme located her.

This film was made by the film producing machine of the Industry- Ranjit Movietone. The huge set up of the studio, having a galaxy of stars on its roll, had at one time, as many as 300 persons on its pay roll. Most of the workers used to live in studio premises or around it. The Government had opened a Ration shop in the studio campus, for the benefit of their families.

I said it was a film machine, because at a time 5 to 6 films’ shootings took place on the 6 floors of the studio and films for future were planned at the same time. As per a News item published in Film India Magazine of November 1942, the studio had films ready for release…Gauri, Chhoti Maa, Bhakta Surdas, Dukh Sukh, Fariyad, Andhera and Iqrar. The films on floor were Tansen, Vish kanya, Sati Parvati, Kalidas, Shrawan kumar, Rakhi and Jaydev. Due to this continuous activity, the studio staff was always busy and one could hearthe musical rehearsals from near the Music Department.

Like all studios, Ranjit too had a system of employing Music Directors on monthly basis for long terms. In 1942, it was Khemchand Prakash. Hailing from Sujanghar in Rajasthan, Kemchand Prakash, born on 12-12-1907, was an accomplished Kathak dancer and a classical singer. The earthy music of Rajasthan flowed in his veins and helped him infuse irresistible charm into his compositions.

He learned Dhrupad *gaayaki* from his father Govardhan Prasad. He then went to Nepal and lived there for eight years under the patronage of the Maharaja. His career in films began when, on his return, he joined New Theatres (Calcutta) as an assistant to Timir Baran on a monthly salary of Rs.120. When he left New Theatres in 1939 he was drawing Rs. 500 p.m.

As Baran’s assistant he was said to have composed Saigal’s “baalam aaye baso more nam me.n” (in Raag Kafi) and “dukh ke ab bitat nahin” (Raag Des) in’Devdas.’ He even enacted a comic scene and sang a song “lo khaa lo madam khaanaa” in ‘Street Singer’ at the suggestion of the director, Phani Majumdar.

Khemchand migrated to Bombay with Prithviraj Kapoor and Kidar Sharma in search of independent assignments and joined Ranjit Movietone. Khemchand was employed by Ranjit Movietone from 1940 to 1945, in place of Gyan Dutt who was in Ranjit from 1937 to 1940 ( 15 films). Khemchand gave music to 20 films in 5 years period. When he left Ranjit, his friend Bulo C. Rani joined in his place. However ,by that time Ranjit was already going downhill due to financial difficulties caused by the gambling of Sardar Chandulal Shah. With ‘Meri Ankhen’ (1939) he proved himself as an independent composer. Followed ‘Pardesi’, ‘Shaadi’, and ‘Umeed’in 1941 which gave him a firm foothold in the Bombay industry.

One of the most popular songs composed by him during the early phase was sung by Khurshid: “pahele jo mohabbat se inakaar kiyaa hotaa.” “But Khurshid,” recalls Pandit Jagannath Prasad, a cousin and close associate of Khemchand, “was reluctant to sing the song.” And an angry Khemchand gave her the ultimatum: “Sing or get out.”

Unwilling to offend acomposer of Khemchand’s calibre, Khurshid finallygave in and rendered the song. Khurshid had her own reason for hisitating to sing the song, which was a recognizable rehash of Begum Akhtar’s famous ghazal,”deevaana bannana hai to.” She didn’t want to risk a comparison with the great Begum, for she was never really sure of her own calibre as a singer. Ironically, “pahele jo mohabbat” brought her unprecedented laurels!

Khemchand had more hits in 1942–like ‘Chandni’ and’ Khilauna.’ But it was ‘Tansen’ (1943), which sent hsi stock soaring. Based on the immortal singer’s life, ‘Tansen’ inspired Khemchand to come out with a veritable feast of light classical songs, which pleased both the connoisseur and the uninitiated. The film paired Saigal, who had been lured to Bombay by monetary considerations, with Khurshid. And Khemchand gave them a wide range of hummable songs to sing. “more baalaapan ke saathi” (Khurshid,Saigal), “dukhiyaa jiyaraa” and “baraso re” (Raag Megh Malhar–Khurshid), “ghata ghan ghor ghor” (Raag Sarang–Khurshid), “rumjhum rumjhum chaal tihaari”(Raag Shankara–Saigal), “diyaa jalaao” (Raag Deepak–Saigal) and “sapt suran teen graam” (Raag Hameer in Dhrupad–Saigal) were all brilliant compositions, which contributed in a big way to the film’s commercial suceess.

Khemchand’s sway over the Hindi film music scene continued unabated even after the influx of the robust Punjabi brand of music. He stuck steadfastly to classical and Rajasthani folk music and ghazals. His compositions in ‘Bharthari’ (“chandaa des piyaake jaa”–Amirbai), ‘Bhanwara’ (“ham apanaa unhebanaa na sake”–Saigal) and ‘Shahenshah Babar'(“mohabbat me.n saara jahaan jal rahaa hai”–Khurshid) became a rage.

Khemchand was in trouble when the Ranjit boss,Chandulal Shah, started disapproving of his association with outside producers. (Prakash Pictures’ ‘Samaj Ko Badal Dalo’ and Filmistan’s ‘Sindoor.’). The rift came to a head when Shah refused to let Khemchand use a raw voice for a song. “I don’t want an unknown voice in my film.” Shah told off Khemchand. And Khemchand walked out of Ranjit Movietone. The “unknown voice” was young Lata Mangeshkar’s! (Lata had been recommended to Khemchand by Anil Biswas, and he took an instant liking for her mellifluous voice.)

From Ranjit, Khemchand went to Bombay Talkies to score the music for ‘Ziddi.’ The success of the film vindicated his stand on Lata. Lata’s rendering of “chandaa re jaa re jaa re” based on a Rajasthani folk song “kaagaa re jaa re jaa re” was unanimously acclaimed.

‘Ziddi’ launched another eventful career–that of Kishore Kumar’s. In spite of his reputation as a ‘master yodeller’ and a singer of the frothy, light numbers, Kishore invariably excelled as a singer of sad songs. Khemchand Prakash was the first to discover this talent in Kishore. Besides the sad ‘Ziddi’ number (“marne ki duvaaye.n kyaa maangu”), he gave him another pathos-ridden song in ‘Rimjhim’ (jag mag jag mag kartaa nikalaa chaand poonam ka pyaara”).

A line in the song–“meri chaandani bichhad gayi mere ghar mein huaa andhiyaara”–proved ominously prophetic a fortnight after he’d composed the song, when his wife died, which made him a sad, lonely man, and perhaps accounted for the pathos recurring in his later compositions.

Nevertheless, Khemchand wore the facade of a ready-witted jovial person. He had an incorrigible weakness for good food and liquor. In his while dhoti and silk kurta, he was often mistaken for a rich Marwari, while he actually led a frugal existence. At Ranjit Novietone, Khemchand was paid Rs. 100 p.m. When he composed music for his last film at Bombay Talkies, he drew a salary of Rs.1,500. Producers for whom he freelanced seldom paid him his dues in spite of making the best use of his exceptional talent. Once, to collect the two thousand rupees Kishore Sahu owed him, he told the producer-director that he needed the money desperately to perform the last rites of his grandmother. When lyricist Bharat Vyas heard of this ‘bereavement’, he went to Khemchand to offer his condolences. The composer smiled wryly and said, “My grandmother is 90 and fit as a fiddle. I have been ‘killing’ her again and again only to collect my dues from the producers.”

In spite of his meagre earnings, Khemchand was a large-hearted man. He went out of his way to present a radio set to the general ward of Bombay’s K.E.M. Hospital where he had once undergone treatment. (“The antique piece is still working,” says his now physician, Dr. Hindlekar).

Khemchand never allowed his financial worries to affect his creativity. He exhibited his versatility in every composition of his of his–whether it was based on a classical raag (“kukat koyaliyaa kunjan mein”/raag Sarang/Kajjan/’Bharthari’); a Rajasthani folk tune (“silvaa de re sajanavaa mohe/Paro, SushilSahu/’Sindoor’); a ghazal (“dil lagaane mein kuchhmazaa hi nahin”/Khurshid/’Shahenshah Babar’); abhajan (“prabhu ke gun gaaoon main”/Khurshid,chorus/’Shadi’); a romantic song (“ye kaun aaj aayaare”/Kishore, Lata/’Ziddi’); or a heart-reding musical wail (“o roothe hue bhagavaan tum ko kaisemanaaoon”/Amirbai/’Sindoor’). Even as his stock went up as a musician and he came to be acknowledged as one of the best ever composers the film industry had known, Khemchand suffered an acute feeling of loneliness towards the later stages of his career after his wife’s sudden demise, and he began drowning himself in liquor.

During this phase, when he was hospitalized for abdominal ailment, he fell in love with a pretty nurse, Sridevi, who was to be his inspiration in times to come. Khemchand was in poor health when,unexpectedly, Kamal Amrohi assigned the music of Bombay Talkies’ ‘Mahal’ to him. Ashok Kumar had just come back to take over the reins of Bombay Talkies in a desperate attempt to prevent a great institution from crumbling. But the choice of Khemchand as the music director raked up a controversy, as doubts were raised about his about his ability to meet the needs of a changing breed of filmgoers. The music scene in the Bombay film industry had begun to change with breezy, catchy tunes taking over from the slow, classically oriented numbers. The rhythmic, rustic and fast-paced Punjabi folk music was becoming immensely popular. Would the ‘slow’ style of Khemchand suit the changing scene? When he heard the *mukhda* of”aayega aanevaala” in its formative stages, one of the producers of Bombay Talkies, Savak Vachcha, lost his temper, and asked Khemchand, “But when will it(the song) come?” (referring to “aayega” which is repeated five times in the song.) In his faltering Hindi the genial Parsi is said to have asked, “Aap to ‘aayega, aayega’ karte hain, vo aanevaala kidhar hai?”, which provoked the composer to walk out of the room in a fit of fury.

Sometime ago when Kamal Amrohi (who directed’Mahal’) was asked as to what had influenced the choice of Khemchand Prakash for the film, the 69-year old veteran said, “I’d been greatly impressed by Khemchand’s talent when he was with Ranjit. There was always an undercurrent of pathos in his music which reminded me of *marsia* (a dirge) and *noha*(the mournful songs of Moharrum). But he was reluctant to work with me because of my abusive tongue. When I wrote the first part (“khaamosh hai zamaane..”) of “aayega aanevaala”–the rest of the song was written by Nakhshab–and showed it to him,he instantly moved his fingers on the harmonium and played a tune… and I approved it on the spot. Though Nakhshab was angry with me for accepting the very first tune, Khemchand was relieved that I wasn’t so difficult a person after all! Nobody at Bombay Talkies, barring me, was confident of the success of ‘Mahal’ or its songs.”

The film and its music, however, went on to make history. “aayega aanevaala”, based on a Rajasthani folk tune, not only became the film’s major draw,but has remained a perennial favourite of music lovers. The song also opened floodgate of opportunities for Lata Mangeshkar.

Rajkumari, Khemchand’s favourite singer, also sang five memorable songs in ‘Mahal’ (including”ghabaraake jo ham sar ko” and “haaye mera dil”). Though, unfortunately, one of them (“suno mere nainaa”) had to be deleted from the film.

When ‘Mahal’ was released on October 13, 1950 at Bombay’s Roxy cinema to overwhelming response, Khemchand Prakash wasn’t alive to see the fruits of his labour. He had died two months earlier at the Harikisondas Hospital–on August 10, 1950–at the young age of 42.

At the time of his death, Sridevi was beside him. As she wasn’t married to Khemchand and had no legal rights over what he’d left behind, she was left high and dry.

Today, many years after Khemchand’s death, nothing seems to have changed for Sridevi. She still lives in the past, on the pavements of Borivli. Khemchand’s old physician, Dr. Hindlekar, still treats her with great care, but she’s no longer in a position to respond to anybody’s sympathy. The only sound which brings her back to ‘life’ is the strains of “aayega aanevaala.” Whenever she hears the song she stands still on the road, clutching at her only possession–a small sack of clothes and memories of a ‘melodious’ time.

( adapted from articles by Nalin Shah, Satish Chopra, Pankaj Raag and my notes, HFGK, MuVyz and Mid Day 12-2-1999.

Thanks to Harish Raghuwanshi ji )
———————————————-

I have not seen this film and I do not know its theme. However, from a photo with comments in Film India magazine, it can be presumed that the film was a Love Triangle film. Two friends, Motilal and Rama Shukul vying for the same girl Madhuri. In the process they distance themselves from each others and Madhuri tries to bring them together again. One of the actors in this film is Tarabai. She was the elder sister of Sitara Devi and mother of famous Dancer Gopi Krishna. After marriage with Marutirao Pehelwan, she fell on bad days and started working sundry roles in films. Later on her condition became worse and she used to live in Bombay’s slums. Another actor Bhagwan das, who did small roles in films, became a big time producer, later on and then became a pauper also. He had married actress Poornima. One of the 10 songs of this film is sung by one Master Vithal. He was not that Vithal who acted in Aalam Ara-31-India’s first Talkie. This master Vithal was a professional singer from Sholapur.

Today’s song is sung by Bulo C Rani (6-5-1920 to 24-5-1993). He gave music to 71 films composing 574 songs. He sang 37 songs in 19 films also. His end was terrible. He committed suicide by burning himself in his house. Bulo C Rani had joined Ranjit after Khemchand Prakash left in 1945, but by that time, Ranjit was already drowning.

This song is a very slow paced song and I feel it has inspired some other popular song from some later film, but I am unable to pinpoint the song.


Song-Muhabbat mein luta dee apne haathon zindagi apni(Iqraar)(1942) Singer- Bulo C Rani, Lyrics- Not specified, MD- Khemchand Prakash

Lyrics

Muhabbat mein luta dee
apne haathon zindagi apni
Muhabbat mein luta dee
apne haathon zindagi apni
dil apna
aarzoo apni
hansi apni
khushi apni
dil apna
aarzoo apni
hansi apni
khushi apni

meri ghamgheen raaton mein
ujaala bhi andhera hai
meri ghamgheen raaton mein
ujaala bhi andhera hai
unhi ke bazm mein ae shamma
le ja raushni apni
unhi ke bazm mein ae shamma
le ja raushni apni

main barbaad e tamanna hoon
main naakaam e muhabbat hoon oon oon
main barbaad e tamanna hoon
main naakaam e muhabbat
muhabbat ke haseen waadon pe duniya
ro rahi apni
muhabbat ke haseen waadon pe duniya
ro rahi apni

tamanna thhi ki shaam e gham
tamanna thhi ki shaam e gham
kabhi saahil pe ?? hote ae ae ae ae ae
tumhaari qaid hoti aur ?? apni
muhabbat mein ??


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3800 Post No. : 14791

“Spy in Goa”(1966) was directed by Dharam Kumar. This “stunt” movie had Sheikh Mukhtar, Randhwa, Malika, Meenakshi, Amarnath, Maruti, Helen, Hercules etc in it.

The movie had six songs in it. One song has been covered in the past.

Here is the second song from “Spy in Goa”(1966) to appear in the blog. The song is sung by Usha Khanna and chorus. Yogesh is the lyricist. Music is composed by Robin Bannerji.

The song is picturised as a club dance song. I am unable to identify the lady who lip syncs in Usha Khanna’s voice. I request our knowledgeable readers to help identify her.


Song-Aao na jaane jaan..ye samaa khushnuma(Spy in Goa)(1966) Singer-Usha Khanna, Lyrics-Yogesh, MD-Robin Bannerji
Chorus

Lyrics

aa aa aa
aa aa aa

aa aa aa
aa aa aa
aa aa aa aa aa
aa aa aa

ye sama
ru ru ru
khushnuma
ru ru ru
aao na
ru ru ru ru
jaane jaan
ru ru ru ru
chhed de hum jawaan
daastaan
aao na
ye sama
khushnuma
aao na jaane jaan
chhed den
hum jawaan
daastaan

aaj chhaaya hai ye kya
in fizaaon mein ae dilruba
haaye jaalim nasha madbhara
saaj-e-dil pe ae sanam
dhun koi haay ab pyaar ki
chhed de tu bhi zara
ye sama
ru ru ru
khushnuma
ru ru ru
aao na
ru ru ru ru
jaane ja
ru ru ru ru
chhed de hum jawaaan
daastaan
aao na
ye sama
khushnuma
aao na ae jaane ja
ched de ham jawaan
daastaan

beet jaaye na yoonhi
baaton baaton mein dekho kahin
aaj humdum ye ghadiyaan haseen
kaun jaane kal ho kya
yahaan pal ka nahin hai pata
kar na kal pe tu yakeen
ye sama
ru ru ru
ho khushnuma
ru ru ru
aao na
ru ru ru ru
jaane jaan
ru ru ru ru
ched de
hum jawaan
ru
daastaan
aao na
ye sama
khushnuma
aao na
ae jaane ja
ched de ham jawaan
daastaan


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 : 3465 Post No. : 13907

I was vaguely aware that today (12 january 2018) was an anniversary of C Ramchandra. Subsequently, I came to know that it was no ordinary anniversary. It was the birth centenary of C Ramchandra (12 january 1918- 5 january 1982).

It goes without saying that C Ramchandra was one of the many pioneers of HFM who helped add considerably to the cause of HFM.

For someone who is known as a music director among music lovers, C Ramchandra did not start his career that way. His film career began as a lead actor in “Naganand”(1935). After a few stints as an actor, he turned a music director-and that too in a Tamil film !

He became a music director in Hindi movies with “Sukhi Jeewan” (1942).

C Ramchandra kept working as a music director as well as a singer for some time before he made it big in the second half of 1940s. He was a leading music director of Hindi movies for nearly one year before he found himself relegated to the background.

During his career as a music director C Ramchandra worked in 111 Hindi movies where he composed 907 songs. This blog has 484 of his compositions, which adds up to more than 53 % of all C Ramchandra compositions in Hindi movies.

As many as 30 of these movies have already been YIPPEED in the blog.

Today is an ideal day to showcase a rare C Ramchaandra composition which also happens to the the final song of the movie. The movie under question is “Sangeeta”(1950). The movie had ten songs in it and the song under dicussion is the tenth and final song from the movie.

This song is sung by C Ramchandra and Snehal Bhatkar. It must be one of very few occasions when two persons, better known as music directors rather than singers sang a duet !

P L Santoshi is the lyricist. Music is composed by C Ramchnadra, of course.

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

With this song, “Sangeeta”(1950) joins the list of movies that have all their songs covered in the blog.


Song-Arre jaise hukke ke dhuyen se…teri haay ke saath(Sangeeta)(1950) Singers-C Ramchandra, Snehal Bhatkar, Lyrics-P L Santoshi, MD-C Ramchandra

Lyrics

haaye
haaye
haaye
haaye
haaye

arre jaise hukke ke dhunye se
dhuaan mil jaaye
jaise chilam ke dhunye se dhuaan mil jaaye
haan aan aan aan aan aan aan
arre haaye
teri haaye ke saath niklegi meri bhi haaye
teri haaye ke saath niklegi meri bhi haaye
are haaye re haaye re haaye re haaye
teri haaye ke saath niklegi meri bhi haaye
are haaye re haaye re haaye re haaye re haay
teri haaye ke saath niklegi meri bhi haaye
are haaye re haaye re haaye re haaye re haay
teri haaye ke saath nikalegi meri bhi haaye

jahaan tumhaara bahe paseena
ham sab khoon baha den
are khoon ki nadiyaan bhi baha den
ishq mein marke majnu aur farhaad ka naam mita den
ha unka bhi nam ek dam dho daalenge yaar
agar hame bhi koi laila aur shirin mil jaaye
are haaye re haaye re haaye re haaye re haay
teri haaye ke saath niklegi meri bhi haaye
teri haaye ke saath niklegi meri bhi haaye
are haaye re haaye re haaye re haaye
teri haaye ke saath niklegi meri bhi haaye
are haaye re haaye re haaye re haaye re haay
teri haaye ke saath niklegi meri bhi haaye

ek baar dil dekar dekho
uska dil na dukhaana
gale lagaao yaar
uska dil mat dukhao
soch samajh kar chalna hero
bahut bura hai zamaana
bahut bura hai
ek dum
kahin jaal mein phansi chiraiya
furr se na ud jaaye
are haaye re haaye re haaye re haaye re haay
teri haaye ke saath niklegi meri bhi haaye
teri haaye ke saath niklegi meri bhi haaye
are haaye re haaye re haaye re haaye
teri haaye ke saath niklegi meri bhi haaye
are haaye re haaye re haaye re haaye re haay
teri haaye ke saath niklegi meri bhi haaye


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.

“Chhaila Baabu”(1967) is often confused with “Chhaila Baabu”(1977). While the later was a Rajesh Khanna movie, “Chhaila Baabu”(1967) was a small budget movie that began in early 1960s. Financial and other thoubles delayed its release and it was finally released only in 1967.
Read more on this topic…


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

“Bolti Bulbul”(1942) aka “Shaahi Fakeer” was directed by Dhirubhai Desai for Vishnu Cinetone, Bombay. This fantassy movie had Anil Kumar, zebunnisa, Mehar Sultana, sardar Mansoor, Nawaz, Mumtaz, S Nazir, Samson, Ali, Mirajkar, Shahzaadi, Alaknanda etc in it.
Read more on this topic…


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

Many of the music directors of the the Golden era and the pre- golden era were competent singers as well. They sang mostly in their own films, but sometimes they also sang under the batons of other music directors. Today’s song, a qawwaali from “Samrat”(1954), is one such song, where C Ramchandra sings for Hemant Kumar. Rafi and chorus accompany C Ramchandra in this song.
Read more on this topic…


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

Today’s song is from the film Nadaan-1951. It is a duet sung by Lata Mangeshkar and Chitalkar. It is a fun song video, filmed on Dev Anand and Madhubala.
Read more on this topic…


This article is written by Sadanand Kamath, 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.

Ever since the talkies came into being, Shakespeare’s plays have been one of the most favourites literary sources that have been used in Hindi films after suitably adapting them. The first talkie film adapted from Shakespeare’s play ‘Hamlet’ is stated to be ‘Khoon Ka Khoon’ (1935) directed by Sohrab Modi. Shakespeare’s plays which have been the favourite with Hindi film industry beside ‘Hamlet’ are ‘Macbeth’, ‘Othello’ and ‘Romeo & Juliet’.
Read more on this topic…


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

“Genius is one percent inspiration and 99% perspiration”. This declaration has been made by Albert Einstein, the one who himself is regarded as one of the greatest ever. For the perceptive minds, it is ever so the experience that whenever we witness people who are considered consistent achievers, and accomplishments that are significantly impressive, then a little bit of probing behind the bright lights will reveal a whole amount of dedicated hard work behind the achievements. When we see an acrobat so effortlessly doing some wondrous acrobatics, one should not just stop at the amazement that the protagonist has made this difficult trick look very simple. We should also realize the importance of the fact that the same person spends maybe twelve to fourteen hours every day to practice the trick that is played out in a few minutes for the audience.
Read more on this topic…


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What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over ELEVEN years. This blog has over 15200 song posts by now.

This blog is active and online for over 4000 days since its beginning on 19 july 2008.

Total number of songs posts discussed

15258

Number of movies covered in the blog

Movies with all their songs covered =1179
Total Number of movies covered =4192

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Active for more than 4000 days.

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