Archive for the ‘Meena Kapoor songs’ Category
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.
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Blog Day : |
5301 | Post No. : | 17367 |
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Blog 10-Year Challenge (2013-2023) – Song No. 7
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On this date ten years back viz on 22 January 2013, six songs from six movies were covered in the blog. Here are the details:-
| Blog post number | Song | Movie (Year) | Remarks |
|---|---|---|---|
| 7383 | Main dekhoon tohe din raati | Naina (1953) | 3 songs covered out of 7 by now |
| 7384 | Jaani re hum jaani re | Saanwariya(1949) | 8 songs covered out of 10 by now |
| 7385 | Sab din hot na ek samaan | Senapati(1961) | 2 songs covered out of 7 by now |
| 7386 | Ham pyaar ki baazi haare | Sazaa (1951) | Movie YIPPEED with this song |
| 7387 | Mera antar ek mandir hai tera | Tere Mere Sapne (1971) | Movie YIPPEED by now |
| 7388 | Maine tumko chaaha pehli baar | Double Cross (1973) | 2 songs covered out of 5 by now |
We observe that two movies (out of six movies) whose songs were covered ten years ago on this date (viz 22 January 2013) have since been YIPPEED. That leaves us with four movies that are eligible for Blog Ten Year Challenge today (22 January 2023).
One of the movies eligible for BTYC has already been taken up under BTYC today.
Chronoligally the second movie eligible for Blog Ten Year Challenge is “Naina”(1953).
“Naina”(1953) was produced by Chandu and directed by Ravindra Dave for Chandu Studios Limited, Bombay. The movie had Geeta Bali, Abhi Bhattacharya, Neeru, Manju, Leela Mishra, Ramesh Sinha, Ramesh Arora, Khairati, Narbada Shankar, Burhan, Patanjali, Raj Adeeb, Anand Pal, Biman Bannerji etc in it.
“Naina”(1953) had seven songs in it. Three songs have been covered so far.
Here is the fourth song from the movie to appear in the blog. The song is sung by Meena Kapoor. anjum is the lyricist. Music is composed by Ghulam Mohammad.
Only audio of this melancholic song is available. I request our knowledgeable readers to throw light on the picturisation of the song. Knowledgeable readers may also throw light on the lyricist, who is mentioned just as Anjum.
Song-Barbaadiyon ne hosh se begaana kar diya (Naina)(1953) Singer-Meena Kapoor, Lyrics-Anjum, MD-Ghulam Mohammad
Lyrics
barbaadiyon ne hosh se ae ae
ae ae ae
barbaadiyon ne hosh se ae ae
begaana kar diya aa aa
aa aa
ab aansuo ko dard ka afsaana kar diya aa
afsana kar diya
hay afsaana kar diya
aur aansuo ko dard ka afsana kar diya aa
afsana kar diya
haay afsaana kar diya
aate nahin to yaad bhi ee ee tum apni rok lo o o o
aate nahin to yaad bhi
tum apni rok lo o o
dil ko tumhaari yaad ne deewaana kar diya
deewaana kar diya
haay deewaana kar diya
jis ghar ko tumne pyaar se aabaad kiya thha aa
jis ghar ko tumne pyaar se aabaad kiya thha aa aa
us ghar ko tumne haay kyun veeraana kar diya aa
veerana kar diya
hay veeraana kar diya
barbadiyo ne hosh se begana kar diya
begaana kar diya
haay begaana kar diya
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.
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Blog Day : |
5264 | Post No. : | 17270 |
Today’s song is an interesting Trio from an old film Ghayal-1951.
The cast of the film was Sulochana Chaterjee, Shaikh Mukhtar, Geeta Bali, Jawahar Kaul, Ramsingh, p.Kailash, pesi Patel, Honey O’Brien, Yeshwant Dave, Rewa Shankar Marwadi and many more. There were 7 Lyricists for 11 songs of the film (one of them is a 2 part song). Likewise there were 6 singers. The M.D. was Gyan Dutt. All the singers were well known, except the singer ‘ Bhola’.
Many people think that Bhola was Bhola Shreshtha, the M.D., but it’s not true. This Bhola was Bulo C Rani,M.D. He joined the industry to be a singer. Khemchand Prakash gave him an opportunity to sing in the film Mehmaan-1942. Later, the same year,Gyan Dutt also gave him songs.Bulo C Rani sang 34 songs in 19 films – initial in his own name, and from 1944 onwards as ‘Bhola’, as he had become a Music Director himself by then, from film Moorti-1944.
Bulo C Rani was a Science graduate. In those days of early cinema, most people who joined the film line were less educated and mostly from lower middle class or poor families. Not ALL of course. There were few highly educated actors, directors, MDs etc but their number was much less. Actresses like Renuka Devi, Vanmala, Nalini Tarkhad etc. were graduates. Actors like Ashok kumar and Ranjan were graduates. Artistes like Dewan Sharar, Devika rani and Shakuntala Paranjpye had International experience, they wrote books also. Director Nanubhai Vakil and actor Surendra were BA,LL.B.
Ramchandra Thakur, Producer and Director of film Ghayal-51, was also from Elite and highly educated class. He also wrote articles in magazines – before and after his film career. Ramchandra Thakur was one such scholarly person who was a Postgraduate and a prolific writer on films in English, Hindi and Gujarati, before joining films. Ramchandra Thakur was born in Suver of Sabarkantha district in Gujarat, on 17-12-1908. He moved to Bombay when he was just 9 year old. He pursued his higher education in Bombay and emerged as a scholar of Pali language. When he gave his M.A. final exam, he wanted to become a teacher in a college, if he got First class. If not, he would join the film industry as a director. During his college years he had written many articles on films. He had translated Sound Recordist Minu Katrak’s English works in Hindi and Gujarati.
When he did not get First class, he joined Sagar Movietone, in its Marketing department. After a few months, Baburao Patel took over from him and he became an assistant director to Chimanlal Luhar for the film Dynamite-38. Next, along with Virendra Desai ( Nalini Jaywant’s first husband), he became a co-director of the film The Gramophone Singer-38. His first film, as an independent Director was the Debut film of Snehprabha Pradhan – Civil marriage-40. Then he joined Ranjit Movietone. He directed mythological, Social and Comedy films. Art Director Kanu Desai’s film Geet Govind was directed by him. Thakur directed 20 films. He also wrote the script for the popular film Baiju Bawra-52. He produced 5 films. He directed 2 Gujarati films and wrote stories and screenplays for several Gujarati films.
He was an accomplished writer. He wrote 4 novels – Amrapali, Budhidhan Birbal, Prem Diwani and Urmila. He wrote several satirical commentaries too. He wrote a detailed article on Sagar Movietone and Chimanlal Desai in Gujarati magazine ” Jee”. His last Hindi film as a director was Nawab Sirajuddaula-67, which he had produced also. He died on 31-10-1992.
I do not know about the storyline of the film Ghayal-51. One of my favourite actors – Jawahar Kaul – acted in this film. He was a very handsome fellow and had an unique style of acting. It was his bad luck that he could not prosper or become “A” grade actor, as in his period the competition was severe and there were many better actors operating then.
Jawahar Kaul was born in a Nehru family on the 27th of September in the year 1927 in the place revered as the heaven of India – Srinagar, Kashmir. When Jawahar was six days old, his grandfather’s sister adopted him, and his surname was subsequently changed to Kaul. Kaul did his Intermediate from the Punjab University and then went to the town of Rawalpindi. After spending some time there, he decided to go to Mumbai. His parents were not in favour of it and hence he convinced them that he would complete his graduation from the Pune University. He had a deep attraction for films from an early age and hence wanted to try his luck in the industry. In the 1940s, Dadar had three studios – Ranjit, Shri Sound and Supreme and hence was the epicenter of Indian cinema. Jawahar made Dadar his address.
He was always short on money as his family wasn’t aware of his venture into cinema. He often slept at the studio of Prabha Pictures. Due to his Kashmiri background – his looks, complexion, height were impressive, and he started getting work soon. Jawahar started his career doing minor roles. He used to portray supporting characters in big films. He made his debut while playing actor Kishor Sahu’s younger brother in the 1945’s ‘Veer Kunal’. In this year, he was seen in the role of ‘Humayun Mahawat’ in ‘Ek Din Ka Sultan’ which was made by Sohrab Modi. His first main lead role was in the flick ‘Khidki’ which was made in 1948. He was paired with Rehana for the same.
In Dadar, he became good friends with Radhakishan Mehra. Mehra used to live in the Lallubhai Mansion where Dada Bhagwan and Prabha Shankar Yagnik, ( brother of stunt film actor Navin Yagnik), the production managers of films used to stay too. It wasn’t long when Prabha Shankar and Kaul became good friends and started sharing their apartment. Their trio and friendship became popular in the film circle. Pyarelal Satoshi was friends with Radhakrishnan, and when he became a producer, he cast Kaul in his first movie. Kaul’s debut did average business, but the songs were a hit. Soon Kaul was seen in films like Azadi Ki Raah Par, Apni Chhaya, Kathputli, Pehli Jhalak, Laal Batti, Sahib Biwi Aur Ghulam, etc. He was a legend of the Black and White Cinema. He was a superstar in the films made in the 1960s. Throughout his career, he worked only in a few selected flicks, but he was able to efficiently enrapture the audience’s attention.
Jawahar was never happy about his career- the way it went. He had wanted it to be more successful. Anyway after his last film Zalim-1980, he left acting and joined as a Production Manager with Jwala Pictures of Sandeep Sethi. After two years he became his Secretary for the next 17 years. Meanwhile he produced a film-” Agniputra “, with Mithun Chakravarti. It took a long time to finally release in 2000. Not only was it a flop, it also gave a heavy financial burden on him. However, his only son and producer daughter Shabanam Kapoor repaid everything. He died peacefully in Andheri,Mumbai, on 15-4-2019. Till the end, he looked after his school and college ‘ Children’s welfare Centre’, nearby.
Jawahr Kaul acted in 31 films starting from a small role inGeet Govind-1947. I remember his role in my favourite film Dekh kabira Roya-1957.(Thanks to Beete Hue din Blog).
Like most artistes, the music Directors of the early cinema had a tough time in their later life. Music of their era and style was no longer saleable due to the changing tastes of the people. Newer and younger MDs had a tough competition themselves. Thus these oldies were helpless. Damodar Sharma became assistant to Laxmikant Pyarelal, Madholal Master started his business of making Puppets (His Joker’s puppet was used by Raj kapoor in his film ” Mera Naam Joker”), Vithaldas Panchotiya, Krishnarao Chonkar, Badri prasad, Rewa shankar Marwadi etc. started doing small roles in films to sustain life. B.R.Deodhar opened a Music school.
Rewashankar Marwadi had acted in today’s film Ghayal-1951. I tried very hard to get some information about Rewa Shankar Marwadi, who was an actor, lyricist, singer and also music director in the 1930s and 1940s. However I could not get anything concrete. Anyway I found a note on this multi talented artist of the early era, written by Shri Dhananjay Naniwadekar aka Nani, on the old RMIM forum, some 15 years ago and adapted by me for this article.
Some of Ranjit Movietone’s earliest talkie films had music by Ustad Jhande Khan. Next came the trio of Banne Khan, Ganga Prasad Pathak and Rewa Shankar Marwari. None of that music was ever released on 78 rpm records. From 1938-39, the great duo of Gyan Dutt and Khemchand Prakash took over the charge of Ranjit’s music, later to be joined by Bulo C Rani. It was only around 1938 that Ranjit started releasing its film music on 78-rpm records.
Rewa Shankar Marwari’s association with Ranjit Films and films produced or directed by ex-Ranjit hand Jayant Desai continued in the
1940s. While it is a pleasant surprise that imdb.com has a page for an obscure name like ‘Rewashankar Marwadi’ at all, it is not surprising
that his filmography has been put together for the site by people who are far from competent at that sort of thing. He acted in 27 films, till 1955, sang 12 songs in 9 films and gave music to 21 films from ‘Veer Babruwahan’ (1934) to ‘Matrubhoomi’ (1949). After 1949 only, he started acting in films.
Rewashankar Marwadi and Gangaprasad Pathak gave music together for Gunsundari- 1934 as well as the film Raat ki Raani-35. Rewashankar Marwadi then made a pucca pair with composer Banne Khan and this pair gave music to 12 films, as a pair. ( Barrister’s wife-35, College girl-35, Qeemati aansoo-35, Noor-e-watan-35, Chalaak chor-36, Raj Ramani-36, Dil ka daaku-36, Sipahi ki sajani-36, Matlabi Duniya-36, Lehri lala-36, Ghazi Diler-36 and Mitti ka putla-37 ). In my opinion, they should be considered the first pair of MDs as well as Trend setters and NOT Husnlal-Bhagatram. Of course the number of films the H-B team did was more ( 52), but that is because after 1935, the speed of making films increased. More films were made in the 40s and the 50s than in the 30s. Moreover many composers left for Pakistan in the late 40s, so more films for less composers were available. Numbers aside, but lack of enough knowledge about the early films and artistes has led to much injustice to the Pioneers, for sure !
Today’s song is a Trio, sung by G M Durrani, Geeta Roy and Meena Kapoor along with Chorus. The song is in 2 parts recorded on one single record-on both sides. HFGK mentions it as 2 separate songs, but today’s song is the combined version running for more than 6 minutes. Durrani’s voice was suitable for soulful songs- like Talat. However personally I feel he was better than Talat, though Talat got more popular songs than him. Durrani acted in 16 films, wrote songs for 1 film (Nazare-49), gave music to 8 films composing 48 songs and sang 305 songs in 168 films.
Song- O Rani Mainavati sun mera sandesh (Ghaayal)(1951) Singer-G.M.Durrani, Geeta Roy, Meena Kapoor, Lyricist- Saraswati Kumar Deepak, MD- Gyan Dutt
Lyrics
madan janak mrug manimay
hararararara daude
manjul vachan vilohit
?? kaaya
ahahahaha
latan tatan mrug manimay
?? sunil ??
??
?? sunil ??
??
?? sunil ??
??
O Rani Mainawati
sun mera sandesh
O raja pyaar kiya
bisra do ye des
Dil ko tod ke chalo jee
mukhda mod ke chalo jee
duniya milne na degi
milne na degi
o duniya milne na degi
milne na degi
dil ko tod ke chalo jee
mukhda mod ke chalo jee
duniya milne na degi
milne na degi
chalo doon khanjar barchha teer
mitaa doon duniya ki tasweer
chalo doon khanjar barchha
chalo doon khanjar barchha teer
mitaa doon duniya ki tasweer
jo apna rasta rokegi
jo apna rasta rokegi
milne na degi
Dil ko tod ke chalo jee
mukhda mod ke chalo jee
duniya milne na degi
milne na degi
dil dhadak dhadak dhadkaiyya leta
lahar lahar lahraiyyaan
dil dhadak dhadak dhadkaiyya leta
lahar lahar lahraiyyaan
sainyya padoon tumhaare painyyaan
sainyya padoon tumhaare painyyaan
padoon tumhaare painyyaan
sainyya padoon tumhaare painyyaan
hamaari chalne na degi
hamaari chalne na degi
milne na degi
Dil ko tod ke chalo jee
mukhda mod ke chalo jee
duniya milne na degi
milne na degi
bhes badal kar naar naweli
chali yaar ke sang
naak kataa kar kahaan jaayegi
?? karoon ??
daiyya o daiyya
o daiyya daiyya daiyya
jaane ki taiyyaariyaan
jaane ki taiyyaariyaan
jaane ki taiyyaariyaan
jaane ki taiyyaariyaan
aao aao kaafilon
aa jaao ??
jaane ki taiyyaariyaan
jaane ki taiyyaariyaan
aao aao kaafilon
aa jaao ??
jaane ki taiyyaariyaan
laal ?? mein chali chhabeeli
Thakur chala ??
laal ?? mein chali chhabeeli
Thakur chala ??
yaar ke tukde kar de chaar
uthha le ?? sardaar
teri ?? hai makkaar
dekh raha kya soorat bhola
?? tera pyaar
?? tera pyaar
dekh raha kya soorat bhola
?? tera pyaar
?? tera pyaar
Dil ko tod ke chalo jee
mukhda mod ke chalo jee
duniya milne na degi
milne na degi
o o paaji raajkumaar
aa aa aa aa aa aa
arre o paaji raajkumaar
meri dulhan ka ??
arre o paaji raajkumaar
meri dulhan ka ??
saamne aa le kar talwaar
saamne aa le kar talwaar
teri gardan doon abhi utaar
teri gardan doon abhi utaar
Thakur chhod de ae
pardesi ko kar le mera haath
Thakur chhod de ae ae
pardesi ko kar le mera haath
duniya hansne na degi
duniya rone na degi
duniya hansne na degi
duniya rone na degi
chain se marne na degi
kisi ko milne na degi
chain se marne na degi
kisi ko milne na degi
Thakur chhod de ae ae
pardesi ko kar le mera haath
Thakur chhod de
o raani
main na ??
aa gaya main aaj
sachcha tera yaar hai
tera Rajkumaar
dekh do tukde hai talwaar
malaniya kar inka singaar
dekh do tukde hai talwaar
malaniya kar inka singaar
mera ghoda sar se taiyyar
basaa lo tum apna sansaar
mera ghoda sar se hai taiyyar
basa lo tum apna sansaar
dekh do tukde hai talwaar
malaniya kar inka singaar
is ghode par baithh ke
jaao donon door
Raja Rani ek hain
?? ??
Siyawar Ramchandra ki jai
Siyawar Ramchandra ki jai
Siyawar Ramchandra ki jai
Jaa Ri Laadli Apne Ghar Ko
Posted on: November 23, 2022
- In: "Doli" song | bidaai song | Devnagri script lyrics by Sudhir | Duet | Feelings of heart | Geeta Dutt - Meena Kapoor NFS | Geeta Dutt songs | Geeta Dutt- Meena Kapoor duet | Guest posts | Lyrics contributed by readers | Meena Kapoor songs | NFS | Post by Sudhir | Rare song | Songs of 1950s (1951 to 1960) | Songs of 1952 | Wedding song | Yearwise breakup of songs
- 1 Comment
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 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.
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Blog Day : |
5241 | Post No. : | 17238 |
Today we celebrate a combined anniversary of two singers. Two singers who were contemporary, two singers who were very good friends, two singers whose voices were considered almost similar. It is the birth anniversary of Geeta Dutt (nee Roy), and the remembrance day of Meena Kapoor.
23rd November – Geeta Ji was born in the year 1930 in Idilpur village (now in Bangladesh), into a zamindar family. In early 1940s, they moved to Calcutta (now Kolkata) and then to Bombay (now Mumbai) in mid 1940s. The same date in 2017, Meena ji passed away in Kolkata, after some years of illness. She was in Delhi till 2003, the year when Anil Da (Anil Biswas) passed away, and then she moved to Kolkata.
Geeta ji started her singing career in 1945, with the film ‘Aadhaar’ under the music direction of SN Tripathi. Her last released film is ‘Anubhav’ from 1971, and then ‘Midnight’ from 1972, which remained unreleased.
Meena ji started her career in 1946. Two films with her playback singing were released that year – ‘Door Chalen’ under the music direction of KC Dey, and ‘Eight Days’ under the music direction of SD Burman. Her last singing assignment is recorded for the 1965 film ‘Chhoti Chhoti Baaten’, with music by Anil Biswas.
As I thought of writing a combined post for these two singing ladies, I tried to search for a duet sung by them. As per the Geet Kosh, I am able to locate only three duets they have sung. Two of them are already posted here on our blog. The first one is from the film ‘Aadhi Raat’ (1950) – “Main Ne Balam Se Poochhaa Miloge Kahaan”, and the second one is from the film ‘Jalte Deep’ also from 1950 – “Aayi Milan Ki Raat Karo Meethhi Meethhi Baat”. The third duet listed in Geet Kosh is from 1951 film ‘Ghaayal’. The song is “Tera Kisi Pe Aaye Dil…”. This song is not yet posted on our blog. And for good reason. This song is not yet traceable in public domain. The funny thing is that the song on the ‘palat’ (other) side of the record (GE 8739) is very much available – “Dil Toota Hua, Pal Pal Tujhe Pukaare” (singer is Meena Kapoor) and also posted on our blog. But as I started inquiring yesterday evening from my trusted circle of collector friends, all of the replied that this song is somehow not yet available.
But then today late morning, I got information about two other duet songs of this pair, which was very heartening. Just as a side, film ‘Ghaayal’ of 1951 has one other song in which the voices of these two ladies appear. However, this one is a trio song accompanied by GM Durrani. It is a long song, on both sides of the record (no. GE8740) which means it is about 6 minutes long. I was actually preparing to use this trio song for today’s post, but then I got two responses from two dear friends, both sharing information about one duet song each. Very interesting development indeed.
First I got to see a message from dear Gajendra Khanna ji (Bengaluru based) in which he shared info about another duet song. This one is from the 1948 film ‘Hip Hip Hurray’ (aka ‘Chaube ji’) and the song title is “Hum Jaan Gaye Jaan Gaye Jaan Gaye Ji”. The Geet Kosh does not list the singer names for this song. I tried to confirm this information, checking with another dear friend Zafar Bhai (based in Delhi-6), and he sent me the image of the record of this song. The reason that GK does not list the singer names is because the record itself does not carry these names. On checking back with Gajendra Ji, he shared with me the audio of the song, and said that the identification is based on the voices on the track. So we found another duet song.
And then almost immediately Zafar Bhai also responded with an additional song. This turns out to be a NFS duet, that makes it all the more rare. The fact that there are really very rare duet NFS songs (of any pair of singers), being able to locate one with these two voices, which have otherwise also not sung too many songs together, makes is rarer than rare.
I decided to go ahead with this NFS song, and dear Zafar Bhai immediately obliged by posting it on YouTube. All the additional delays that bring this post to almost 9 pm in the evening, are my doing. :D) :D)
The lyrics of this song are from the pen of Madhukar Rajasthani, an eminent poet of his time. Music is from the mind of Vedpal Verma, one of the lesser heard names in Hindi films, who has otherwise a notable portfolio of 70 songs from about a dozen films (this info is till 1980, and there may be more work done by this MD beyond 1980).
The song is a ‘bidaai’ song. A hoary tradition of this land – a song that is sung to bid farewell to a new bride as she starts her journey to a new home, a new family and a new life partner. The words are so wonderfully appropriate. My identification of the voices is that the first stanza is in the voice of Geeta ji and the second stanza is in the voice of Meena ji. I may be wrong, as I am not a good judge of voices. The record label unmistakably carries both names. In case my identification is in error, please let me know and I will make necessary changes.
In the beginning of the song there are a few lines that have been recited by an unidentified male voice. Could it be the poet himself? I cannot say.
Two very beautiful voices, and two very beautiful ladies. Good friends, but singing together only occasionally. Enjoy this very rare treat of an NFS duet song, with lots of thanks to Zafar Bhai for making my day.
Song – Jaa Ri Laadli Apne Ghar Ko (NFS) (1952) Singer – Geeta Roy (Dutt), Meena Kapoor, Lyrics – Madhukar Rajasthani, MD – Vedpal Verma
Lyrics
kaisa milan ye kaisa bichhudna
kaisa milan ye kaisa bichhudna
kaisi jag ki reet re
kaisi jag ki reet
de di bida mohe hanste hanste
de di bida mohe hanste hanste
kaise hain ye meet
goonj raha kaanon mein ab tak
wahi vidaai geet
ja ri laadli apne ghar ko
yaad hamaari karna
saath tumhaare meri duaaen
phoolo phalo khush rehna
ja ri laadli
oo oo oooo
bachpan ke sab sangi saathi
bachpan ke sab sangi saathi
bhulat naahin bhulaaye
man chhoda babul ki nagri
man chhoda babul ki nagri
tan doli mein jaaye
tan doli mein jaaye
door kahin wo le ke bansi
baar baar ye gaaye
ja ri laadli apne ghar ko
yaad hamaari karna
saath tumhaare meri duaaen
phoolo phalo khush rehna
ja ri laadli
————————————————
Hindi script lyrics (Provided by Sudhir Kapur)
————————————————
कैसा मिलन ये कैसा बिछुड़ना
कैसा मिलन ये कैसा बिछुड़ना
कैसी जग की रीत रे
कैसी जग की रीत
दे दी बिदा मोहे हँसते हँसते
दे दी बिदा मोहे हँसते हँसते
कैसे हैं ये मीत
गूंज रहा कानों में अब तक
वही विदाई गीत
जा री लाड़ली अपने घर को
याद हमारी करना
साथ तुम्हारे मेरी दुआएं
फूलो फलो खुश रहना
जा री लाड़ली
ओ ओ ओ
बचपन के सब संगी साथी
बचपन के सब संगी साथी
भूलत नहीं भुलाए
मन छोड़ा बाबुल की नगरी
मन छोड़ा बाबुल की नगरी
तन डोली में जाये
तन डोली में जाये
दूर कहीं वो ले के बांसुरी
बार बार ये गाये
जा री लाड़ली अपने घर को
याद हमारी करना
साथ तुम्हारे मेरी दुआएं
फूलो फलो खुश रहना
जा री लाड़ली
Na ronaa na ronaa
Posted on: May 13, 2022
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.
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Blog Day : |
5047 | Post No. : | 16959 |
Today’s song is from the film Door Chalen-1946.
Since the time Talkie films arrived in India in the form of Aalam Ara-1931, the enthusiastic film industry, with a pushover from the silent era to the Talkie era, was busy in discovering itself. It was improving in every field as the years passed by. In the first 5-6 years the industry was desperately trying to be free from the clutches of stage music, drama style acting and contents of the films made.
By 1937-38 all these 3 ghosts from the past had been thrown off. Music directors like Anil Biswas, R.C.Boral, Saraswati Devi, Shankar rao Vyas, K C Dey, Pankaj Mullick etc successfully brought a turnaround change in film music from stage -type boring singing to folk tunes and independent experiments with instruments, tuning and the singers. With actors like Motilal, Ashok kumar, Shahu Modak, Kumar etc. the acting became natural and free from drama-type overacting. New directors like Shantaram,Debki Bose, Mehboob etc. tried new themes in films. Prabhat and New Theatres made films on actual events or famous novels and dramas, thus making films vibrant and interesting.
By 1942 or so, many enterprising filmmakers and directors,hitherto tied up with the existing studios, broke free to start their own studios and film production companies. Shantaram, Mehboob,S. Mukherjee, Kardar, Homi Wadia and few more dynamic film makers began a new chapter in the film industry. With talented filmmakers, competing with each other to make better films, they were improving the quality of films in terms of content, music and the presentation substantially.
By 1946 to 1950 old towers shook hard to crumble. The studio system almost disappeared. Film industry could now boast of people highly educated, talented and hard working. Even artistes with International experience and success like Dewan Sharar, Shakuntala Paranjpye, actor Ranjan, Balraj Sahni etc contributed to Indian films. The old horse of Calcutta-New Theatres broke down and actors, directors and Music specialists from Bengal made a Bee-Line to Bombay, thus making it the strongest ever film centre.
1946 was also an year of consolidation, in a sense that due to the iminent Partition of India on the basis of Religion, agreed upon by Gandhi-Nehru combine, made Muslim artistes and film makers plan to pack their bage and move over to the new Utopia across the border. Their vacancies were to be filled up by the waiting second line of actors,directors and MDs. The3 film industry was to have a complete new look within 1-2 years and the beginning was from 1946. Thus the year was very important.
The year 1946 was an year which saw many changes in the film industry. The II world war had just ended. Rationing and control on many items had created Black marketing. This made many people Millionaires. The extra income started getting invested in Film making. The increased cost of Raw Films made filmmaking 7 to 8 times costlier. A film which was made in about 1 Lakh rupees in 1940, needed 8 Lakhs now. Studio system was waning and artiste rates increased in Lakhs instead of thousands.
In 1945, only74 films were made. This number increased to 153 films in 1946. Further, in 1947, the film industry produced a record number of films – 181, but of course that was due to Partition. The quality of films was sacrificed at the cost of the quantity of films made in 1946. However, some quality films were made in 1946, indicating the changing face of filmmaking.
Film Dharati ke Lal-46 was made by IPTA people and it became the first film to be exhibited in Russia. Neecha Nagar-46 won the Grand Prix award in French Film Festival. Film Dr. Kotnis ki amar kahani-46 was dubbed in English as ‘ The journey of Dr. Kotnis’. It was shown in the USA and then in Venice Film Festival. Two musical films- Anmol Ghadi and Shahjahan were made in 1946.
Year 1946 also saw the Debut of several stars and artistes. In fact one can call 1946 as the ” Debut year” of Hindi film industry. See this….
Nirupa Roy debuted in film Amar Raaj-46
Geeta Bali debuted with a dance in film Badnaami-46
Geeta Roy sang her first film song in film Bhakta Prahlad-46
Balraj Sahni debuted in film Insaaf-46. It was a small role,though.
K A Abbas-Director, Pt.Ravi Shankar-MD, Balraj Sahni as Hero and Damayanti Sahni as Heroine made their Debut in film Dharati Ke Lal-46
Meena kapoor sang her first Hindi film song in film Eight Days-46
Sudhir Phadke debuted as MD in film Gokul-46
P L Santoshi as Director, Dev Anand, Rehman, Rehana and Kamla Kotnis debuted as actors in film Hum Ek Hai-46
Chitragupta did his first film as MD in Lady Robin Hood-46
Ram Ganguly became MD with film Maharana Pratap-46
Abhi Bhattacharya debuted in Hindi film Milan-46
Chetan Anand as Director, Uma Anand and Kamini kaushal as actresses debuted in film Neecha Nagar-46
Hansraj Behl debuted as MD with film Pujari-46
Madhubala(as Baby Mumtaz) sang her first song in film Pujari-46
Majrooh Sultanpuri wrote his first Hindi film song in film Shahjahan-46
S D Burman as MD and Kishore Kumar as an actor debuted with film Shikari-46
So, you will find the year 1946 was truly an year of change. The winds of Partition were already blowing and the second line of supplementary artistes was ready to replace the Migrators, after the Partition.
Film Door Chalen-46 was made by Durga Pictures. Director was Phani Mujumdar, MD was K C Dey and all songs were written by Sajjan Purohit(the actor Sajjan). The cast was Naseem Jr., Kamal Kapoor, Balraj Sahni, Damayanti Sahni, Agha, David, K C Dey etc.HFGK sometimes blindly gave the data. The lead actress is written as just Naseem. Since in those days Naseem Bano (mother of Saira Bano) was famous, everybody thought that she was the heroine of this film. Her Filmography includes Door Chalen-46 and Jeewan Swapna-46. The reality is, there was another actress Naseem junior and she had acted in these films.
Naseem Jr. or Miss Naseem Jr. or Naseem Lodhi was the younger sister of actress Shameem. She was born in Lahore on 8-2-1930. Her father had a shop and he was a General merchant. She was educated in Islamia Girls school, Bombay where she was staying with her actress sister Shameem. After Matriculation, she too wanted to become an actress. While in school she did many dramas. At the age of 13, she did an uncredited small role in the film Salma-43.
Her first major film was Jwar Bhata-44- also the first film of Dilip kumar and Mrudula. Her second film was Manorama-44. She acted in few more films Sanyasi-45, Zeenat-45, Door Chalen-46, Amar Raj-46, Jeewan Sapna-46 and Mera Geet-46.
She had a hot temperament and could not get along with co-stars and the Directors. Soon the offers diminished. Not having any income, she stayed with her sister Shamim. However, she fell ill and soon died on 17-11-1946.
She did only a few films, but it was enough to cause confusion. Her films Jeewan Swapna-46 and Door chalen-46 are generally credited to Naseem Sr.’s filmography.
Similarly, only Kamal is written in the Cast in HFGK. One can not make out if this Kamal is a male or female. In reality he was Kamal Kapoor, making his Debut in the film line as a hero. His snake-like eyes and fair skin made him look more like a KGB or Nazi baddie. Prithviraj Kapoor’s cousin, Kamal Kapoor, acted in over 600 films, spanning across three languages. He started off as a hero but with little success. From the Sixties onwards, Kapoor switched to playing a minor villain. His notable work includes Don, Gora aur Kaala, and, of course, Mard, where he played the evil General Dyer.
Born on 22th February 1920 in Lahore, Kamal Kapoor completed his education in Lahore. He started his career in 1944, with Prithvi Raj Kapoor, working in his theatre. Kamal Kapoor’s debut film was the 1946 release, ‘Door Chalein’. This movie, produced under the banner of Durga Pictures was directed by Phani Majumdar and the music composer was K.C.Dey while Kamal Kapoor and Naseem were the leading pair. Kamal Kapoor played Raj Kapoor’s father in ‘Aag’ (1948) which was also Raj Kapoor’s debut film as producer-director. Later he got numerous offers to play similar roles which he flatly refused to do.
Kamal Kapoor’s career as a villain started with the film “Johar Mehmood In Goa” which was released in 1965. This movie proved to be a big hit thus putting an end to the bad times for Kamal Kapoor. Soon he was flooded with work and was offered to play different characters in films like “Johar In Bombay”, “Johar Mehmood In Hongkong”, “Jab Jab Phool Khile”, “Raja Aur Rank”, “Dastak”, “Pakeezah”, “Paapi”, “Chor Machaye Shor”, “Five Rifles”, “Do Jasoos”, “Deewar”, “Khel Khel Me”, “Mard” and “Toofan”.
He once again got a chance to play Raj Kapoor’s father in the 1967 release “Diwana”. In his career spanned over five decades he acted in over 200 films in Hindi, Punjabi and Gujarati languages. He played different kinds of roles from a gangster to the police officer. He played the role of Don’s right-hand man Narang in Don (1978). This blue-eyed actor always had a powerful presence on screen. He worked in 152 films – from Door Chalen-46 to Aakhri Sanghursh-97( last film).
Kamal Kapoor died on 2nd August, 2010.
Today’s song is a duet of Meena Kapoor and K C Dey. It is the 3rd song from this film on this Blog.
Song- Na rona na rona (Door Chalein)(1946) Singers-K C Dey, Meena Kapoor, Lyrics-Sajjan, MD-K C Dey
Lyrics
No rona
na rona
na rona meri raani
na rona
na dheeraj apna khona
na dheeraj apna khona
hai ek aankh phir kya kahiye
hai ek paaon phir kya kahiye
hai ek aankh phir kya kahiye
hai ek paaon phir kya kahiye
gar padha nahin to sonaa hai
pagli phir kaisa rona hai
gar padha nahin to sonaa hai
pagli phir kaisa rona hai
dulha mila salona
dulha mila salona
No rona
na rona
na rona meri raani
na rona
na dheeraj apna khona
na dheeraj apna khona
hamne dhoondha
hamne dhoondha le chiraag
ye laakhon mein hai laal
puny kiye thhe kisi janam mein
ho gayi aaj nihaal
phir kaisa rona-dhona
phir kaisa rona-dhona
No rona
na rona
na rona meri raani
na rona
na dheeraj apna khona
na dheeraj apna khona
na rona
gar kaala hai darr jaaungi
gar bahra hai mar jaaungi
gar kaala hai darr jaaungi
gar bahra hai mar jaaungi
gar padha nahin main doob gayi
gar padha nahin main doob gayi
gar baazi se main oob gayi
bas nahin chaahiye ??
bas nahin chaahiye ??
samjhona
samjhona
samjho na mujhe khilauna
No rona
na rona
na rona meri raani
na rona
na dheeraj apna khona
na dheeraj apna khona
na rona
Geeton Ka Sansaar Yahaan Par
Posted on: July 19, 2021
- In: Blog Anniversary Song | Celebration Song | Devnagri script lyrics by Sudhir | Free Spirit Song | Guest posts | Happy song | joie de vivre | Lyrics contributed by readers | Meena Kapoor solo | Meena Kapoor songs | Post by Sudhir | Revelry song | Songs of 1940s (1941 to 1950) | Songs of 1948 | Yearwise breakup of songs
- 6 Comments
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 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.
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Blog Day : |
4749 | Post No. : | 16484 |
So. Finally it is official.
We are teenagers now, the first step into the growing up years. The childhood years left behind and now the coming of age years are starting.
What started off as a ‘let’s-try-it’ hobby run with the simplest of the simple philosophical musings – “Miley Na Phool To Kaanton Se Dosti Kar Li“, has come of age today and has blossomed into a huge tree with thousands of branches spread out, with roots that are deep and strong, and are full of conviction. A tree that provides shade in terms of solace to the lovers of music, which in turn are spread out all over the globe. This is the world tree of music and songs. This is a tree that has a flavor for every palate, a tree that has fruits of everlasting tastes for the connoisseurs, a tree that conserves and perpetuates that enchanting phenomena that is the lovely Hindi Film Music – this is a tree that has many different meanings and many different treasures for the seekers of pleasure in music. There is a whole universe of music that has settled itself around this tree. Although the desires abounded for flowers, but when none were forthcoming this direction, the protagonist settled for the proverbial thorns to start with. That humble gesture ensured that flowers of all shades and colors, and also, flower bearers of all tastes and wonders, kept on coming together one by one, till a complete orchestra of performers was formed, and the bandwagon got its name.
Thirteen years and counting. And if you talk of counting, here are some counts that will really make you happy with wonder.
Do you know that we have a visitor to this blog, every thirty seconds – the total count (and still counting) is upwards of 14.5 million visitors. Now that is a number to really wonder about.
Do you know that we have been averaging quite, quite close to one new film per day since the inception of this blog. 4749 days today and 4480 films showcased. And oh yes, that is not counting the Non-Film songs categories. Adding them categories, we shall surely be at 1+ new film or new non-film song category per day. Isn’t that a wow that makes one feel like flying.
Do you know that the average daily rate of posting is upwards of three posts per day. Try doing that seven days a week, 365 days a year, and continuously at that rate for 13 years. Try writing a letter each to three friends every day, day on day, for 13 years. My, does that no yet boggle the mind.
And that is where the superlatives start ceasing to have an impact.
13 years – 4,749 days – 16,484 posts. . .
And just ONE person. Now isn’t that something to boggle the google. Especially when we know it is a labor of love, and that it is not an endeavor for remuneration. Ah yes, it does finally boil down to love. As does of course, everything else in this universe.
That one person, carrying the entire earth on his shoulders, like the legendary Atlas. Not pausing for even a day to rest. Of course yes, there have been rarities that we have had dot days. But in the final count, the averages will speak for themselves. No matter how many runs and how many centuries – double, triple – any other batsman has scored, the Don Bradman remains the Don Bradman when the averages are calculated.
Atul ji, over the years that we have been associated for this endeavor, we have completely used up all the possible epithets and adjectives to address our appreciation of your work. And now, we are at a loss to articulate this emotion any further. And will finally end up saying these lines that I borrow from another legend – ABBA,
So I say
Thank you for the music, the songs I’m singing
Thanks for all the joy they’re bringing
Who can live without it? I ask in all honesty
What would life be?
Without a song or a dance, what are we?
So I say thank you for the music
For giving it to me
And not just to me – to this entire world, a compilation that is sans any peers. Who would have thought it could have been possible. Your own words have been that your earliest flights of imagination brought you to a number of maybe 2,500. And that then you would rest.
Aah, but for the passion this ignited, within yourself, and within this motley crew of the musical bandwagon. The counter is ticking oh so close to 16,500 posts. And not a day’s breather seems to be in view. Mightier and stronger and higher we ride the Olympian altitudes. And the bandwagon keeps chugging along, day on day, week on week, month on. . .
I just thought of taking a look at the date of 19th July across our travels. We have had a total of 68 posts that have been celebrating this anniversary, after the intial 19th July post of 2008. Seven posts in 2009, 4 posts in 2010, 5 posts in 2011, 6 posts in 2012, 5 posts again in 2013, then on to 7 posts once again in 2014, 5 posts in 2015, and wow, a whopping 8 posts in 2016, back to 4 posts in 2017, aah – 3 posts in 2018, 4 posts in 2019, back up to 6 posts in 2020, and then today, 4 posts again to celebrate this wondrous milestone. With songs posted across the entire spectrum of decades, from 1936 all the way up to 2002, the celebrations of this anniversary have been multifarious and varied.
Ah but let me not bore you with any more statistics and analyses. And bring you to this song for the celebration today.
Geeton Ka Sansaar Yahaan Par
Took me a while to locate this wonderfully complementary theme song for this celebration. And for its rarity, it is – sorry, it was not yet available online. The film is ‘Nai Reet’ from 1948. The film itself makes a debut on our blog today.
The film has been produced under the banner of India Film Corporation, Bombay and is directed by Shubh Karan Ojha. This relatively obscure film that probably did not garner much attention and box office receipts when it was released in 1948, has the cast listed as Sulochana Chatterjee, Geeta Bali, Rajendra, Krishankant, Tiwari, Badri Prasad, Tara Bai, Leela Mishra, and Ramesh Sinha. Most names are familiar, and I am sure the full cast would be carrying more names.
The film has 8 songs in total. All the songs are written by a team of two songwriters in collaboration – Bal Krishan Gupta and Ratan Kumar Gupta. The footnote that is carried in the Geet Kosh, succinctly states that – “As per the information recieved from Lyricist Bal Krishna Gupta all songs this film were written by both Lyricists working together, i.e. `Kumar-Gupta` (Ratan `Kumar` Gupta + Bal Krishna `Gupta`. However the records carry the name as `Kumar Gupta`.” So by this input, we would also use the lyricist’s name as Kumar-Gupta.
The music is by SK Pal, and the singing voice is that of Meena Kapoor.
And the words – they oh so well sum up the emotions of this celebration today – that here is a universe of songs that has been put together for us.
गीतों का संसार यहाँ पर
मुसकानों का मेला है
पत्ती पत्ती झूम रही
हर फूल में जादू फैला है
A world of songs is here
It is a festival celebration of smiles
Every leaf is swaying with delight
There is a joyous magic spread through every flower
मैं भी अपनी झोली लाई
भर लेने को बिखरी दौलत
मैं भी दौड़ी दौड़ी आई
क्या छोड़ूँ क्या चुन लूँ इस में
लगता बड़ा झमेला है
In haste I come here
To gather this treasure spread about
I try to garner it all in my arms
And the mind is in a dilemma
What all shall I take
And what all shall I leave
एक अनोखा बाग है दुनिया
सुन्दर सुन्दर प्यारा प्यारा
मानो मीठा राग है दुनिया
पागल मन मेरा मस्ती में
कली सा खिल खिल खेला है
What a joyful garden this world is
So beautiful and lovely
The whole world is a sweet melody
And my mind is untamed in passion
Blossoming like new buds playing
Yes, all these emotions run through the mind when I look at this incredible and phenomenal treasure of enchanting melodies – this world of songs, here, with us.
A grand celebration for this inception day milestone.
A wonderful musical greetings to all readers and all members of the musical bandwagon.
And a bagful of wishes and blessings, that this tree may only proliferate further, day by passing day.
And that this journey may never cease.
तमन्ना है ये साथ चलते रहें हम ना बीते कभी ये सफर. . .
Song – Geeton Ka Sansaar Yahaan Par (Nai Reet) (1948) Singer – Meena Kapoor, Lyrics – Kumar-Gupta, MD – SK Pal
Lyrics
geeton ka sansaar yahaan par
muskaanon ka mela hai
mela hai
geeton ka sansaar yahaan par
muskaanon ka mela hai
mela hai
mela hai
patti patti jhoom rahi
jhoom rahi
patti patti jhoom rahi
jhoom rahi
har phool mein
har phool mein jaadu phaila hai
muskaanon ka mela hai
mela hai
mela hai
geeton ka sansaar yahaan par
muskaanon ka mela hai
mela hai
main bhi apni jholi laai
main bhi apni jholi laai
bhar lene ko bikhri daulat
main bhi daudi daudi aayi
kya chhodoon kya chun loon is mein
kya chhodoon kya chun loon is mein
lagta bada jhamela hai
muskaanon ka mela hai
mela hai
mela hai
geeton ka sansaar yahaan par
muskaanon ka mela hai
ek anokha baag hai duniya
ek anokha baag hai duniya
sundar sundar pyaara pyaara
maano meetha raag hai duniya
maano meetha raag hai duniya
paagal mann mera masti mein
paagal mann mera masti mein
kali sa khil khil khela hai
muskaanon ka mela hai
mela hai
mela hai
geeton ka sansaar yahaan par
muskaanon ka mela hai
mela hai
mela hai
————————————————
Hindi script lyrics (Provided by Sudhir Kapur)
————————————————
गीतों का संसार यहाँ पर
मुसकानों का मेला है
मेला है
गीतों का संसार यहाँ पर
मुसकानों का मेला है
मेला है
मेला है
पत्ती पत्ती झूम रही
झूम रही
पत्ती पत्ती झूम रही
हर फूल में
हर फूल में जादू फैला है
मुसकानों का मेला है
मेला है
मेला है
गीतों का संसार यहाँ पर
मुसकानों का मेला है
मेला है
मैं भी अपनी झोली लाई
मैं भी अपनी झोली लाई
भर लेने को बिखरी दौलत
मैं भी दौड़ी दौड़ी आई
मैं भी दौड़ी दौड़ी आई
क्या छोड़ूँ क्या चुन लूँ इस में
क्या छोड़ूँ क्या चुन लूँ इस में
लगता बड़ा झमेला है
मुसकानों का मेला है
मेला है
मेला है
गीतों का संसार यहाँ पर
मुसकानों का मेला है
एक अनोखा बाग है दुनिया
एक अनोखा बाग है दुनिया
सुन्दर सुन्दर प्यारा प्यारा
मानो मीठा राग है दुनिया
मानो मीठा राग है दुनिया
पागल मन मेरा मस्ती में
पागल मन मेरा मस्ती में
कली का खिल खिल खेला है
मुसकानों का मेला है
मेला है
मेला है
गीतों का संसार यहाँ पर
मुसकानों का मेला है
मेला है
मेला है
- In: "Moonch"/Mustache song | "Nok-Jhonk" song | Anil Biswas Songs | Body part song | Guest posts | Meena Kapoor songs | Post by Arunkumar Deshmukh | Shamshad Begam songs | Shankar Dasgupta songs | Song sung by three or more singers | Songs of 1950s (1951 to 1960) | Songs of 1952 | Yearwise breakup of songs
- 3 Comments
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 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
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Blog Day : |
4725 | Post No. : | 16437 |
Today’s song is from the film Do Raaha-1952, about which not much is known- except whatever is given in the HFGK.The film was made under the banner of ‘Progressive Pictures,Bombay’. It was directed by Bal Chhabra and was produced by his elder brother Sujit Chhabra under their own banner. The cast of the film was Nalini Jayawant, Shekhar, K N Singh, Agha, Dewan Sharara, Jagdish Sethi and many more. The 8 songs of this film were written by Prem Dhawan-6 songs and one each by Sahir Ludhianvi and Josh Malihabadi. It seems, there was one more song ” Sab paise ki hai maya” sung by Shankar Dasgupta, S D Batish and Prem Dhawan. The song was also recorded but not included in the film. The music was by Anil Biswas.
Like the film title ‘Do Raaha’, Anil Biswas was also almost at a Do Raaha point in his life. He was a disturbed person. His relations with wife Ashalata were worsening by the day. At the same time his closeness to Meena Kapoor was increasing. Out of his total 90 films in his career, 60 films were over and he was looking at the last 1/3 part of his career with a pessimistic view. After this film, he gave music to 29 more films, but his old magic seemed to be deserted him on the way somewhere. Only the films Fareb-53, Pardesi-57, Char dil char rahen-59 and Sautela Bhai-62 had songs having his faint old stamp.
Anil Biswas, the Bhishma Pitamaha of HFM, was a respected person in the industry. He started from the mid 30s and for the next 25 years or so, he created many everlasting gems in film songs. In Bombay,the Playback system was first started by him in the film Mahageet-1937. By the mid 50s his magic started waning and by 1960, he was almost gone from the industry.
Initially he did 10-11 films with Sagar, then with Mehboob for National studios and then in Bombay talkies- where his name became immortal with the film Kismet-1943.
He married Ashalata in 1936. Along with her he started variety pictures and they produced films like Laadli-49,Laajawab-50;Badi bahu-51,Hamdard-53 and Bajuband-54. ( a less known fact is-Anil da had made a Guest appearance in film Hamdard-53 as a barber. He also acted in the film Mehman-53 (produced by Ashalata),as a Pujari and a song was shot on him.In both cases he did not get any payments. As a Producer he lost heavily, because Ashalata usurped all the money. Frustrated, he gave up everything and separated from her in 1954.
To sustain life, he bought a Truck and did a business of transportation. In addition he also took the contract for a canteen in Mehboob Studios. He failed in both ventures. By now, his relations with Ashalata were soured and sweet links were established with singer Meena Kapoor-25 years younger to him, since 1948 itself. They got married with each other on 19-3-1957. The death of Brother in law and close friend Pannalal Ghosh in 1960 and younger brother Sunil in 1961 as well as his eldest son, broke his heart. He left Bombay and joined A.I.R. at Delhi on 1-3-1963, where he worked upto 27-6-1975. Later he was a consultant for Nehru University for a few years.
Like many filmi couples, Anil da’s married life was also a failure. In Bombay,he used to stay in a huge bungalow,called ” Asha-Pradeep “, on Vincent Road. From Ashalata,he got 3 sons-Pradeep, Amit and Utpal and 1 daughter-Shikha. His son Utpal formed a pair as Amar-Utpal and gave music to few films. The other son Amit established the First Digital Recording Studio in Bombay. Daughter Shikha too got married and settled.
However, hardly anything is known about his eldest son Pradeep, anywhere. Here is some information, hitherto not known much, brought specially for our readers.
Pradeep was a very bright student and always topped in school and college. He passed his entrance exam and the interview, with flying colours for entry to NDA college at Poona, to join armed forces. He excelled even in NDA training. Not only was he very popular there but sang well too. He participated in the music Festival of Khadakwasla NDA and sang 3 songs, winning all prizes. He was also an NDA Topper.
Shri Gopinath Talwalkar, an A.I.R. Programmer at Delhi, used to interview the Toppers of NDA every year. That year Pradeep was the Topper, so he was interviewed. Though the interview was in Hindi, after the recording, Pradeep asked Talwalkar, in pure Marathi, whether his interview had been good. Talwalkar was shocked. Pradeep then explained that he was Anil Biswas’s son and he had learnt Marathi from his actress mother Ashalata. Pradeep knew Hindi, Marathi, English and Gujarati languages.
After completing his NDA training, he was posted as Flight cadet at Jodhpur. He was further promoted and became Pilot Officer in 1957. During one Training flight some altitude problems occurred and his plane crashed at Begumpet Airport, Hyderabad, killing Pradeep instantly. This happened in 1961.
This was also the time of crisis for Anil da. He was struggling to survive. Films were not coming to him. Since he married Meena Kapoor, Lata Mangeshkar-a fast close friend of Ashalata , had gone against him and Meena’s singing career was suppressed. He had already lost Pannalal Ghosh and Sunil-his brother, and now Pradeep’s death devastated him and he was literally forced to seek employment with Delhi A.I.R., when the opportunity came. After retirement, till his death on 31-5-2003, he spent his life in total anonymity as a recluse. So sad for a composer, who was once a fountain of enthusiasm and who was considered Mentor by leading contemporary composers like C.Ramchandra.
Here is an interesting incident about the film Girls School-1949, between C Ramchandra, Anil Biswas and Lata Mangeshkar. This film was produced by Kavi Pradeep under the banner of Lokmanya Productions, Bombay. This was a company floated by him and Amiya Chakrawarty-director of this film. To understand the complexities of Girls school, we must go back a little. In 1942, Anil Biswas was invited by Ranjit @ 1500 pm and by Bombay Talkies @ 2500 pm. As National studio was winding up, Anil Biswas wanted to make a change anyway, but due to the contract of national he could not join Bombay Talkies openly. He ,however , gave music to film Basant-42 and the name of his brother in Law, Pannalal Ghosh was used as its MD.
Finally when Anil Biswas joined Bombay Talkies, there were already 2 groups there. One was led by Devika Rani and Amiya Chakraborty and the other was led by S. Mukherjee along with Ashok kumar, Gyan Mukherjee, Pradeep etc- a total of 15 artistes. Anil Biswas was invited by Devika Rani and that too at 2500 pm, when Pradeep was getting 1500 pm. This irritated Pradeep no end and he started troubling and finding faults with Anil Biswas. However Anil Biswas gave excellent music to film Kismet and then everyone was happy as the film celebrated jubilees everywhere.
With this background, Anil Biswas joined Girls school as a MD, mainly due to Amiya who knew his calibre. Kavi Pradeep being a producer and a Lyricist started interfering with Anil Bswas’s work and criticising him at every opportunity. Anil Biswas was fed up. He had already recorded 3 songs and a solo by Lata , “tum hi kaho, mera man udas kyun na rahe” was to be recorded. Anil Biswas had taken C Ramchandra as his assistant for this film. Though C Ramchandra was already a popular and well known composer himself, still due to sheer respect for Anil Biswas, he had accepted to be his assistant here. When the tune for Lata’s solo was made, Pradeep passed caustic remarks about it being not so good. There was an altercation between Anil Biswas and Pradeep and Biswas quit then and there and went away.
Automatically, C Ramchandra had to take over as MD for the balance songs. Pradeep was very happy. Next day recording of Lata’s solo song took place under the supervision of C Ramchandra, as planned. Later when Lata came to know that Anil Biswas had left and C Ramchandra had replaced him,she was very angry and said that she would not have recorded the song had she known about AB’s exit. She objected to CR’s taking over and complained to the Artistes association too. (Remember, at that time Lata and CR’s relations had not formed yet, Lata was still with Husnlal.)
Later on in 1954, when O P Nayyar replaced Roshan for Mehbooba-54, Lata took up the issue with the MDs’ association. Anil Biswas was the chairman that time and OPN was boycotted. That time Lata quoted the film Girls school incident to prove that she is “highly Principled” !
Anyway, this was how C Ramchandra became the next MD of Girls school-49, with 4 duets of Shamshad and 1 solo for Lalita Deulkar. All the 4 duets of this pair are very interesting. However, with all this jhamelas, film Girls school-49 was a total Flop. Pradeep lost heavily and closed the production company forthwith, after just one film.
Today’s song is a very good song and I was surprised to see that it was not yet posted here. Actually, there may still be some more such Gems, waiting to be discovered. This song is sung by Anil Biswas, Meena Kapoor, Shankar Dasgupta and Shamshad. I liked this song. You too will like it.
(Information used in this article is from books Sagar Movietone, Journey down melody lane, Ritu aaye Ritu jaaye, my notes and Marathi book Anil Biswas, with thanks).
Song-Arre na jaane kya samjhen ye moonchhon waale moonchhon waale (Doraha)(1952) Singers- Shankar Das Gupta,Shamshad Begam, Meena Kapoor, Anil Biswas, Lyricist- Prem Dhavan, MD- Anil Biswas
Female chorus
Male chorus
Lyrics
ae jee bach ke chalna aa
paaon mein moch aa na jaaye
ae kamar naazuk kahin bal kha na jaaye
are na jaane kya samjhe ye
moonchho waale
moonchhon waale
khud ko shaane khuda samjhen ye
moonchhon waale
moonchhon waale
ye baanki tagdi moonchho waale
ye ulti seedhhi moonchho waale
ye bin moonchho ke moonchho waale
khud ko shaane khuda samjhen ye
moonchho waale
moonchho waale
degree lene aaye thhe
mister magar
pad gayi jaane kahaan
unki nazar
ishq ke college mein aise
kho gaye
ho o o
ho o o
B A hote hote Majnoo ho gaye
aur humko bhi Laila samjhe
ye moonchho waale
moonchho waale
aur humko bhi Laila samjhe
ye moonchho waale
moonchho waale
ye chhoti chhoti moonchhon waale
ye moti moti moonchhon waale
ye bin moonchhon ke moonchhon waale
khud ko shaane khuda samjhen ye
moonchho waale
moonchho waale
saara din to jootiyaan chatkaayen hum
aur tab kahin ye chaar paise paayen hum
aeji laaye saadi
laayen powder surkhiyaan aan
o o o o
o o o o
tum udaao aur kamaate jaayen hum
arre phir bhi naaz dikhaayen haay
zulfon waale
zulfon waale
o phir bhi naaz dikhaayen haay
zulfon waale
zulfon waale
hoy naagan ban das jaayen haay
zulfon waale
zulfon waale
ho naagan ban das jaayen
ho das jaayen
ho das jaayen
haay
naagan ban das jaayen haay
zulfon waale
zulfon waale
ek din mister zara
ghar bhi raho
aur aane jaane waalon se parda karo
maanjo bartan
jhaadoo do
paani bharo
o o o o
o o o
jis tarah marte hain hum
tum bhi maro
phir dekhen khud ko kya samjhen
ye moonchhon waale
moonchhon waale
phir dekhen khud ko kya samjhen
ye moonchhon waale
moonchhon waale
ye Hitler jaisi moonchhon waale
ye machchar jaisi moonchhon waale
ye bin moonchhon ke moonchhon waale
khud ko shaane khuda samjhen ye
moonchho waale
moonchho waale
humko na jaane kya samjhen
ye moonchhon waale
moonchhon waale
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.
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Blog Day : |
4675 | Post No. : | 16351 |
“Jalti Nishaani”(1957) was produced by A G Dhanik and directed by Harish. This “Costume drama”(Veshbhoosha pradhan) movie had Geeta Bali, Kamal Kapoor, Ulhas, Kuldeep Kaur, Sundar, Chaman Puri, Indu Pal, Sheikh, Nazeer Kashmiri, Kamal, Mohan, Fazle Kareem, Patanjali, Nathan Raj, Ajeet, K Dukhiya, Asha, Meena, Najma etc in it.
The movie had eight songs in it. Five songs have been covered in the past.
Here is the sixth song from “Jalti Nishaani”(1957) to appear in the blog. This song is sung by Shamshad Behgam and Meena Kapoor. Qamar Jalalabadi is the lyricist. Music is composed by Anil Biswas.
Only the audio of the song is available. I request our knoledgeable readers to thro light on the picturisation of this song.
Lyrics of this song were sent to me by Prakashchandra.
Audio link:
Song-Saaf bata de o hajaayee tu dilbar hai kiska (Jalti Nishaani)(1957) Singers-Shamshad Begum, Meena Kapoor, Lyrics-Qamar Jalalabadi, MD-Anil Biswas
Lyrics(Provided by Prakashchandra)
arrey o o o o Teesmaar khaan
saaf bataa dey ae
o harjaayee ee
tu dilbar hai kis ka
saaf bataa dey ae ae
o harjaayee ee
tu dilbar hai kis ka
jaa rey jaa
tujhe dekh liyaa
kahin aankh ladin
aur khiskaa
khiskaa
khiskaa
saaf bataa dey
o harjaayee ee
tu dilbar hai kis ka
saaf bataa dey ae
mast nigaahein
qaafir qaafir
sau raahen aur ek musaafir
qaafir qaafir ek musafir
ek ka ho jaa o deewaaney
ek ka ho jaa o deewaaney
yaa us ka
yaa is ka
ho jaa aa
yaa us ka
yaa is ka
kis kaa
saaf bataa dey ae
o harjaayee ee
tu dilbar hai kis ka
saaf bataa dey ae
duniyaa mein kuchch kaam to kar jaa aa
jeene waaley mujhpe mar ja
hho mar jaa mar jaa..aa
jeene waaley mujhpe mar jaaa
o balle balle balle balle balle ae ae
maar ke na woh
chadh jaa soolee
rastaa dekhey kis ka
chadh jaa soolee
rasta dekhey kis ka
kis kaa
saaf bataa dey ae
o harjaayee eee
tu dilbhar hai kis ka
saaf bataa dey ae
ek nazar qurbaan hai us par
ek nazar kab se hai is par
ek nazar qurbaan hai us par
dil kehta hai is ka us ka
is ka us ka
is ka us ka
khiska
khiskaa
o khiska
khiskaa
khiskaa
saaf bataa dey ae
o harjaayee eee
tu dilbar hai kis ka
jaa rey ja tujhe dekh liya
kahin aankh lade aur
khiskaa
khiskaa
khiskaa aa
This article is written by Sadanand Kamath, a fellow enthusaist 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.
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Blog Day : |
4511 | Post No. : | 16059 |
kuchh aur zamaana kehta hai kuchh aur hai zidd mere dil ki
main baat zamaane ki maanoon ya baat sunoon apne dil ki
This was the swan song from ‘Chhoti Chhoti Baaten’ (1965) both for the singer and the music director of the song as this was their last film in Mumbai before shifting lock stock and barrel to Delhi in 1963. The playback singer was Meena Kapoor and the music director was Anil Biswas. In relation to her romantic affairs with Anil Biswas in the early 1950s, just like in the above two-liner, she was in a quandary. But her heart was adamant (aur hai zidd mere dil ki) that led to a long partnership with Anil Biswas irrespective of what the society said about their relationship.
Today, November 23rd is the 3rd Remembrance Day of Meena Kapoor. The day also happens to be 90th birth anniversary of Geeta Dutt. Both were born in the year 1930 in Bengal Presidency of British India. Both started their playback singing career in Mumbai in the year 1946 – Geeta Dutt with ‘Bhakt Prahlad’ (1946) and Meena Kapoor with ‘Pul’ (1947) in 1946 though her first released song was from ‘Eight Days’ (1946). The similarities do not end here.
Both Geeta Dutt and Meena Kapoor got recognition as playback singers under S D Burman – Meena Kapoor in ‘Aath Din’ (1946) and Geeta Dutt in ‘Do Bhai’ (1947). Both virtually ended their playback singing career around mid-1960s though there were few spill-over of their songs thereafter. Both had almost similar vocal cords giving an impression to the listeners that their singing voices sound more or less the same. And what was more important was that despite being in the competitive field of playback singing career, both were close friends to such an extent that they both became a part of extended family of Roys and Kapoors.
Unfortunately, their similarities of Geeta Dutt and Meena Kapoor did not reflect in their playback singing career. During their active years (1946-65) of playback singing career, Meena Kapoor’s output (around 175 songs) has no match with that of Geeta Dutt (around 1400 songs). Out of curiosity, I checked the year-wise growth of the playback singing career of both of them beginning with the year 1946 and up to 1955, the year from which Meena Kapoor had Anil Biswas as his life partner, almost retiring from her playback singing career except singing mainly for Anil Biswas. The statistics given in the table below reveal that Geeta Dutt was quite ahead of Meena Kapoor for all the years – both in terms of aggregate number of songs as well as films.
| Year | Geeta Dutt | Meena Kapoor | |||
|---|---|---|---|---|---|
| Films | Songs | Films | Songs | ||
| 1946 | 12 | 21 | 2 | 5 | |
| 1947 | 22 | 52 | 5 | 9 | |
| 1948 | 37 | 107 | 15 | 43 | |
| 1949 | 34 | 97 | 8 | 15 | |
| 1950 | 50 | 169 | 12 | 17 | |
| 1951 | 30 | 81 | 4 | 11 | |
| 1952 | 42 | 122 | 5 | 8 | |
| 1953 | 25 | 59 | 14 | 27 | |
| 1954 | 25 | 54 | 7 | 10 | |
| 1955 | 34 | 84 | – | – | |
[Source: List of songs of Geeta Dutt from http://www.geetadutt.com counter-checked with http://www.myswar.co and list of songs of Meena Kapoor from http://www.myswar.co]
What could be the reasons for such a significant difference in their output of songs? At the outset, I could not see any reason other than ascribing it to a pure bad luck for Meena Kapoor in the sense that she was born with a voice almost similar to Geeta Dutt. And it was Geeta Dutt’s voice which seems to have been preferred by most of the music directors over that of Meena Kapoor.
In Lata Khubchandani’s article reproduced in RMIM’s Article Archive (No.324), Meena Kapoor had said that she had never been ambitious and she had not taken her music seriously. She also did not make any effort towards furtherance of her playback singing career. Her father, Bikram Kapoor who was a character actor in New Theatre, Kolkata and later in Mumbai, wanted his daughter to excel in singing only after completing her education. When she started living with Anil Biswas sometime in mid-1950s, she was happier as a housewife than pursuing the playback singing profession.
There is an interesting trivia as to how Meena Kapoor met Anil Biswas for the first time. In the interview referred to above, she had revealed that she refused to give audition to Anil Biswas when he was planning to get some songs sung by her for ‘Anokha Pyaar’ (1948) under the recommendation from his brother-in-law, Pandit Pannalal Ghosh. She had already recorded many film songs under many composers. As such, she felt that it was not necessary to her to give a fresh audition to Anil Biswas. It was her father who took a few recorded songs of her to Anil Biswas. After listening to her song, tod gaye haaye tod gaye armaan bhara dil tod gaye from ‘Khel’ (1950) under the music direction of Sajjad Hussain, Anil Biswas called her for rehearsal without audition. This incidence also shows as to how casual Meena Kapoor was in regard to her playback singing career.
Geeta Dutt on the other hand was interested in pursuing the playback singing career in films and her parents encouraged her by arranging music teachers. It was exactly at a time when Meena Kapoor’s restrictive playback singing career due to her education gave opportunity for Geeta Dutt to get a strong foothold as a playback singer as the statistics in the above table reveal. For example, S D Burman after giving two songs to Meena Kapoor in ‘Aath Din’ (1946), he switched over to Geeta Dutt during 1948-55 beside Lata Mangeshkar. It was only after 1957 when Geeta Dutt could not give sufficient time to S D Burman for rehearsals, he switched over to Asha Bhosle (Lata Mangeshkar not singing for him due to some misunderstanding). It is interesting to note that after her marriage with Guru Dutt in 1953, the yearly aggregate number of songs sung by Geeta Dutt post-1953 have fallen mainly due to a stiff competition from Lata Mangeshkar coupled with her domestic compulsion.
Both Geeta Dutt and Meena Kapoor have emotional tone in their voices which suits the genre of poignant and devotional songs. However, going by a large number of songs sung by Geeta Dutt relative to that of Meena Kapoor, the former’s versatilities are evident to general listeners of her songs. Just note as to how S D Burman had been instrumental in making Geeta Dutt a versatile singer. From emotional mera sundar sapna beet gaya in ‘Do Bhai’ (1947) to light-hearted tadbeer se bigdi huyi taqdeer bana le in ‘Baazi’ (1951), to coquettish song, jaane kya toone kahi jaane kya maine suni, teasing song, janoon jaanoon re chhupke kaun aaya in ‘Insaan Jaag Utha’ (1959) and many of her club songs. Her repertoire of songs under other music directors is also large.
Meena Kapoor did not get much opportunities to display her versatilities as her singing output was less than 200 songs as compared to Geeta Dutt’s around 1400 songs. But Meena Kapoor had also a good repertoire of songs like waltz type song, aate hain wo aate hain wo in ‘Chalte Chalte’ (1947), light-hearted meri jaan meri jaan sunday ke sunday in ‘Shehnaai’ (1947), romance in ye samaa ham tum jawaan in ‘Maashooka’ (1953), folk song, rimjhim barse paani aaj more angna in ‘Pardesi’ (1957), Rabindra sangeet, mere chanchal naina madhur ras ke bhare in ‘Angoolimal’ (1960) etc.
With almost similar voice timbre, Geeta Dutt and Meena Kapoor had very few occasions to sing together during their active years of playback singing career as detailed below:
| Films | Songs (Geeta-Meena) | Co-singers | Music Director |
|---|---|---|---|
| Hip Hip Hurray (1948) | Main jaan gayi jaan gayi | – | Hanuman Prasad |
| Aadhi Raat (1950) | Maine baalam se poochha | – | Hansraj Bahl |
| Jalte Deep (1950) | Aayi milne ki raat | – | Shardul Kwatra |
| Hulchul (1951) | Mile dil aankh sharmaayi | – | Mohd. Shafi |
| Ghaayal (1951) | O rani mainwati -1 | G M Durrani | Gyan Dutt |
| Ghaayal (1951) | O rani mainwati -2 | G M Durrani | Gyan Dutt |
| Ghaayal (1951) | Tera kisi pe aaye dil | – | Gyan Dutt |
Before I conclude my article, I would like to give links of a solo song each of Meena Kapoor and Geeta Dutt for the purpose of their voice comparison. I have deliberately selected the songs of the same genre (Meera bhajans) so that the comparison is on the even keel.
| Meena Kapoor | main birhan baithi jaagoon | ‘Gopinath’ (1948) |
| Geeta Dutt | ae ri main to prem deewaani | ‘Jogan’ (1950) |
After repeatedly listening to these two songs, I can feel some differences in voices but I am unable to explain as to what are the differences. Probably, Meena Kapoor sounds slight nasal in her singing than Geeta Dutt. Of course, musicologists like the late Ashok Ranade would have technically explained their voice differences.
On the occasion of the 90th birth anniversary of Geeta Dutt and 3rd Remembrance Day of Meena Kapoor on November 23, 2020, I am presenting their duet song, aayi milne ki raat karo meethi meethi baat from an obscure film ‘Jalte Deep’ (1950). The song is written by Aziz Kashmiri which is set to music by Shardul Kwatra. The film was produced by R Vasudeva under the banner of Nihal Film Corporation and was directed by Deepak Asha. The star cast included Nimmi, Amarnath, Randhir, Sophia, Deepak, Kuldeep, Leela Mishra etc. The film had 12 songs of which one song has been covered in the Blog.
The voices of Geeta Dutt and Meena Kapoor are so similar that I get a feeling whether the song I am presenting is solo or duet. However, the lyrics do give an impression of a duet and HFGK mentions Geeta Dutt and Meena Kapoor as playback singers for the song.
Since the film’s VCD/DVD is not available, one can listen to the song only on the audio clip. I have a photograph from the film in which Nimmi and Sophia are seen holding a tray each with lamps. Based on the photograph, my guess is that the song may have been picturised on Nimmi and Sophia welcoming their ‘balam’ and ‘sajan’.
Audio Clip:
Song-Aayi milan ki raat karo meethhi meethhi baat(Jalte Deep)(1950) Singers-Geeta Dutt, Meena Kapoor, Lyrics-Aziz Kashmiri, MD-Sardul Kwatra
Lyrics
aayi milne ki raat
karo meethhi meethhi baat
tumhen meri kasam
o mere achhe balam
aayi milne ki raat
karo meethhi meethi baat
tumhen
o tumhe meri kasam
o mere achhe balam
aayi milne ki raat
karo meethhi meethhi baat
raat hai suhaag ki
chhaayi hai bahaar sajan
chhaayi hai bahaar
nainwa se phoot pada
meethha meethha pyaar
nainwa se phoot pada
meetha meetha pyaar
zara thhaamo ji haath
karo meethhi meethhi baat
tumhen
o tumhe meri kasam
o mere achhe balam
aayi milne ki raat
karo meethhi meethhi baat
tumhen meri kasam
o mere achhe balam
aayi milne ki raat
karo meethhi meethhi baat
taaron ne dekh liya tera mera mel sajan
tera mera mel
ankhiyon ne khel liya naya naya khel
ankhiyon ne khle liya naya naya khel
zara thhaamo ji haath
karo meethhi meethhi baat
tumhen
o tumhe meri kasam
o mere achhe balam
aayi milne ki raat
karo meethhi meethhi baat
o tumhen meri kasam
o mere achhe balam
aayi milne ki raat
karo meethhi meethhi baat
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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