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

Archive for the ‘Meena Kapoor songs’ Category


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.

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


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

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.

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 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 :

4517 Post No. : 16071

Today’s song is from the film Sautela Bhai-62. The film was made by Alok Bharti, Bombay. It was directed by Mahesh Kaul and Anil Biswas provided the Music.The cast of the film was, Guru Dutt, Pranoti Bhattacharya, Bipin Gupta, Rajkumar, Ratna, Honey Irani, Sarosh Irani, Asit Sen, Bela Bose, Kanhaiyalal etc.etc.

The film was based on a famous novel in Bangla- ” Baikunther will “, written by Sarat Chandra Chatterjee. Many people mix up this novel with another novel- ” Krishnakanter will “, written by Bankim chandra Chatterjee. Films were made on both the novels. This reminds me that in 1932, Bharat Laxmi Pictures of Calcutta had made a film ” Krishkanter will” in Bangla language. When I went into details, I found that a silent film was also made on this novel in 1927 and a Talkie was made in 1932. One more film was also made in 2007. Even a Tamil film was made on this novel -Rohini in 1953. Its storyline was woven around a forged will and it was very popular. Comparatively, Baikunther will was made only once in Bangla and now this in Hindi. This novel was based on a family issue.

The screenplay and dialogues of film Sautela Bhai-62 were by Dev Kishen and Mahesh Kaul had directed it. The story of film Sautela Bhai-62 was….

Baikunth Muzumdar (Bipin Gupta) is a small time grocery merchant, having property and money in a village. After his first wife’s death, who has borne him a child, he gets marries again to Bhawani (Pranoti Bhattacharya). Contrary to everybody’s fears, Bhawani gives her love to Gokul, the infant. When she gets her own son, Vinod, both brothers love each other, like Ram-Laxman. Gokul (Guru Dutt) looks after family business, while Vinod (Rajkumar Khatri) goes to Calcutta for college studies. There, he gets into bad company and starts drinking etc.

Meanwhile, Baikunth dies after making a will, giving all property to Gokul, on wife’s instructions, as she is sure that Gokul will look after Vinod very well. When Vinod comes back, he is taunted by Gokul’s wife and father in law (Kanhaiyalal). Vinod thinks that, being a step brother, Gokul has instigated this. He leaves the house with his mother against her will. He also plans to put a case against Gokul.

When Gokul learns all this, he goes to Vinod’s house, drags him out, beats him and gives away all the property to him in exchange of his love, which he professes with tears. Seeing all this, Vinod repents and realises how much Gokul loves him. He begs pardon and then all is well in the end.

In the star cast, you find 2 names Rajkumar and Sarosh Irani. I remember, when I was new in this Blog group, there was a discussion in 2011 about who this Rajkumar was. It was only later, when I started my research on my project ” Same Name Confusion”, I found that this Rajkumar was different from the ” Jaani” wala Rajkumar.

In fact, I found that there were 5 Rajkumars operating at the same time in the film industry, causing so much confusion that filmology details were mixed up of everybody. The first was Kannada Hero Dr. Rajkumar. However, he never worked in any Hindi film, so no confusion about him.The second was the famous Dialogue master Raaj Kumar ‘Jaani’. Third was Rajkumar Gupta ( from Ranchi), who was the main character in popular film Jagriti-54. He never worked again in any film. Fourth was Raj(u) Kumar, a junior artist, who did minor roles- mostly uncredited-in films like Shri 420-55, Jagte Raho-56. Dilli ka Thug-58, Aaj aur kal-63, Ziddi-64 etc etc..The fifth was this Rajkumar, who mostly worked in Religious and Mythological films. His name was Rajkumar Khatri.

Rajkumar khatri may have been born in or around 1940. He started as a child artiste in films like Janmashtami-50, Jai Mahakali-51 and Insaan-52. His first film as an adult was Shuk Rambha-53, in which he did the role of young Shukdev. He was a fine actor, not extraordinary, but there was something special about his screen presence. Apart from his boyish looks, he had an unspoken charm and emanated an inherent goodness. In his second film “Tulsidas”-54 he played the role of Shri Ram. He was hardly 15-16 year old then. This must be the youngest and most boyish looking Shri Ram ever seen on the screen !

Rajkumar khatri acted in 61 films, mostly Religious and Mythological films (47 to be precise). Not that he did not work in any social films, but such films were less. He was seen in films like Sautela Bhai-62, Aaj aur kal-63, Ustadon ke ustad-63, Ziddi-64, Nai umer ki nai fasal-65 etc etc. Due to his young looks, boyish face and innocent looks, he was generally given roles of younger brother. As Laxman, he acted in 7 films. His last film was probably Chintamanee Surdas-87.

In the mid 80s, when film offers became scarce, he joined Prakash Mehra as an assistant. He used to live in Chembur. He was known as Chhota Rajkumar in the industry. He worked with Prakash Mehra for a long time, as Assistant Director and as also his P.A. Reportedly, he died in September 2014. No further information on him was available. (Thanks to maitrimanthan.com for information.)

Now let us come to the other name Sarosh Irani. Normally the filmgoers are aware of Daisy Irani, Honey Irani or Aruna Irani. Few people even knew Menaka Irani, but hardly anyone knows about Sarosh Irani. Being an unusual name we debated earlier whether this is a Girl’s name or Boy’s. Here is some information on Him….

Sarosh was born to Perin and Noshir Irani on 7 August, 1948 in Bombay. He is third among five siblings, namely, Menka, Bunny, Sarosh, Daisy and Honey. In 1979 he married Mona and the couple is blessed with two lovely daughters, Sabah and Delnaaz. He did his initial schooling in Deolali’s well-known boarding school, The Barnes School. After he joined the film industry he went to St. Teresa’s High School in Bandra.
Sarosh’s first film as a child-actor was Masoom released in 1960. He was finalised to play the eldest of the three siblings in the film. Little Honey Irani was chosen to play his younger sister. The song ‘Nani Teri Morni Ko Mor Le Gaye‘ picturized on her, sung by Ranu Mukherjee.

Sarosh says “Satyen Bose was a good Director. He had a lot of patience, he would wait till we gave the shot just like he had visualised. He would keep encouraging, even enact and show us at times. He was very friendly, never rude. I had a nice time shooting with him. Soon I got offers for Aarti (1962) and Sautela Bhai (1962). I started liking acting.”

Tarachand Barjatya‘s Aarti (1962) was directed by Phani Majumdar. Alok Bharati‘s Sautela Bhai (1962) directed by Mahesh Kaul was based on Sarat Chandra Chattopadhyay‘s “Baikunther Will” and had Pranoti Ghosh, Bipin Gupta, Guru Dutt, Raj Kumar and Kanhaiyalal playing pivotal parts. It’s a story of two step-brothers, the elder one a good-hearted rustic played by Guru Dutt and the younger, an educated weakling, spoiled by his crooked friends played by Raj Kumar. The film was honoured with the All India Certificate of Merit for the Third Best Feature Film at the 10th National Film Awards. The film is also known for Guru Dutt’s best ever performance as an actor. Sarosh played his childhood part.

Sarosh did a total of 5 films as a child actor – Masoom (1960), Aarti (1962), Sautela Bhai (1962), Man Mauji (1962) and Grahasti (1963). By the time Grahasti (1963) was released Sarosh was about 15 years old, an age when one is neither a child nor an adult and child stars hardly get acting assignments. In his short acting career Sarosh has left a mark, Masoom (1960) and Sautela Bhai (1962) are among our most loved films. Around 1967 Sarosh joined his brother-in-law Kamran as an assistant director. The first film he assisted on was Watan Se Door (1968) which had Dara Singh and Nishi in leading roles. He assisted Kamran on about six films including Chalbaaz (1969) and Aisa Bhi Hota Hai(1971).

After his stint as a child-actor he and his brother, Bunny started their own construction company, B Irani S Irani. In 1976 looking at favourable opportunities he went to Iran where he worked in the construction business. When the war broke out he was forced by the family to return and he came back to India with his wife towards the end of 1983. On his return he joined his brother Bunny (now retired) who by then was looking after the Irani Cafe, B Merwan which was started by their grandfather.

Since then he hasn’t been associated with the film Industry directly but is glad to see the next generation, his nephews and nieces, Farah Khan, Sajid Khan, Farhan Akhtar and Zoya Akhtar do well and make a mark in the entertainment industry. ( Thanks to maitrimanthan.com for information.)

The music director Anil Biswas, once upon a time in Top rung and respected as the original composer and a Mentor to many MDs, including C Ramchandra, was on the way to end his musical career. After this film, he only did one more film- by his friend Motilal- Chhoti Chhoti Baten-1965. Then he retired from the films and joined All India Radio at Delhi. Today’s song is sung by Meena Kapoor, Pankaj Mitra and chorus. The song is shot on Dulari and Radhakrishna. The video also shows Pranoti and Bipin Gupta.


Song-Maiyya maiyya boley baal kanhaiyya (Sautela Bhai)(1962) Singers-Meena Kapoor, Pankaj Mitra, Lyrics-Shailendra, MD-Anil Biswas
Both

Lyrics

maiyya aa aa
maiyya aa
maiyya aa
maiyya maiyya boley baal kanhaiyya
chalat chalat pag dukhan aaye
ab to god uthha le
maiyya aa aa aa aa aa aa aaaa aa aa aa

aa ha ha haa ha ha
aa haa haa haa
balihaari yashoda hari leenhe godi uthhaaye
yashoda hari leenhe god uthhaye
aah mamta ki ye chhavi jo dekhe
mamta ki ye chhavi jo dekhe
dekhat hi rah jaaye
chhavi dekhat hi rah jaaye
chhavi dekhat hi rah jaaye
chhavi dekhat hi rah jaaye
yashoda hari leenhe god uthaaye
yashoda hari leenhe god uthaaye

hmm hmm hmm hmm hmm hmm hmm hmm
hmm hmm hmm hmm hmm
lori ga nit rain sunaaye
bhor hi choom jagaaye yashoda
bhor hi choom jagaaye
kahe jaago o
jaago o o o
kahe jaago jaago jaago re kanhaiyya jaago
re gopaala
jaago jaago jaago

paraat mein nand kunwar ka
maa mukh chandr dhulaaye
dekho maa mukh chandr dhulaaye
jal bich sundar shyam hanse ae ae ae ae ae ae
jal bich sundar shyam hanse
jyun neelkamal muskaaye
jyun neelkamal muskaaye
sheet lage na lage natkhat hari
sheet lage na lage natkhat hari
kat kat daant bajaaye

hari kat kat daant bajaaye
yashoda hari leenhe god uthhaaye
yashoda hari leenhe god uthhaaye


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.

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


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 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 :

4477 Post No. : 15983

I wonder why Guru Dutt (09/07/1925 – 10/10/1964) who till 1958, had acted in lead roles in films of his own banner only, decided to act in films outside his banner. His first film outside his banner in a lead role was ’12 O Clock’ (1958) followed by ‘Sautela Bhai’ (1962), ‘Bharosa’ (1963), ‘Bahurani’ (1963), ‘Suhaagan’ (1964) and ‘Saanjh Aur Savera’ (1964). While his first film outside his banner as a lead actor may be an aberration, some of his later films as an actor outside his banner may probably have been out of financial compulsion following the box office failure of his film ‘Kaagaz Ke Phool’ (1959).

There is always hidden desire of any intellectual film director to direct a film on a story of his choice and on his terms. But very few producer/financier would agree to produce/finance such a film from the point of view of the commercial consideration. For Guru Dutt, ‘Pyaasa’ (1957) and ‘Kaagaz Ke Phool’ (1959) were two such films which he was keen to bring them to the notice of the film audience.

I came to know from an article by Nasreen Muni Kabir in https://scroll.in that the idea of making ‘Pyaasa’ (1957) had virtually begun in 1948 when Guru Dutt had written a story out of the frustration when he came to Mumbai in 1948. The post-partition period was difficult to adjust to a new environment. It was also difficult for the Padukone family to sustain in a big city without work. And Guru Dutt was not getting film offers. So, he wrote the story titled ‘Kashmakash’ making a poet the protagonist who faces the problem in getting his poems published. The story remained in the limbo until he established himself as a film director of repute.

In 1951, in the wake of his commercially hit film, ‘Baazi’ (1951) for which Sahir Ludhianvi had written popular songs, Guru Dutt had become a successful film director. I remember to have watched an interview of a film celebrity during its B/W avatar (I do not recall now as to who was the film celebrity). That film celebrity mentioned that during the making of Baazi’ (1951), Sahir Ludhianvi had given to Guru Dutt a copy of his collections of poems ‘Talkhiyaan’ (1944). Guru Dutt was very much impressed with a couple of nazms which included ‘jinhe naaz hai Hind par wo kahaan hai’. This nazm matched with the gloom of a poet in his story. Guru Dutt had decided to include this nazm whenever he makes the film based on his story, ‘Kashmakash’.

Since Guru Dutt was not sure of getting producer or financier for such a film and also the response on the box office due to gloomy nature of the story, he felt that he will have to take the financial risk in producing the film. For that he required his own resources to make the film as a producer. This explains as to why Guru Dutt, in the meanwhile, concentrated on making saleable light comedy films like ‘Aar Paar’ (1954) and ‘Mr and Mrs 55’ (1955) to fill his coppers for producing a film on a subject for which box office outlook was uncertain.

Abrar Alvi, in Satya Saran’s book ’10 years with Guru Dutt’ (2008) has mentioned that during one of the shooting schedules of ‘Mr and Mrs 55’ he narrated the story of a real life Gulabo, a courtesan to Guru Dutt which fascinated him to give a shape to his story, ‘Kashmakash’. In the meanwhile, he got busy with producing ‘C.I.D’ (1956) which also got the tremendous success at the box office. Now, Guru Dutt was ready to produce and direct the film of his choice. ‘Kashmakash’ became ‘Pyaasa’ (1957). Contrary to Guru Dutt’s expectation, ‘Pyaasa’ (1957) did good business at the box office and also got critics’ appreciation.

Probably, the success of ‘Pyaasa’ (1957) gave Guru Dutt a confidence in producing another of his favourite gloomy subject. That the fame and glamour attached to a successful film director has its cost in terms of personal spaces. A single failure would wipe out all the gains of a successful director earned over the years. A commercial failure would get more highlighted than the appreciation of his brilliant work of the past. The box office failure of ‘Kaagaz Ke Phool’ (1959) overshadowed the brilliant work as a director. What hurt Guru Dutt most was not the box office failure but the way the critics slammed him as narcissist and as his own biopic. After a gap of over a decade, Guru Dutt’s box office disaster got recognition as one of the greatest classic Hindi films.

The box office failure of ‘Kaagaz Ke Phool’ (1959) has affected the banner, Guru Dutt Films financially. There was not enough money to sustain the staff of Guru Dutt Films. It is during this time, Guru Dutt seems to have found a way of raising funds by acting in the films made outside his own banner during 1962-64. He also took the decision not to direct any films in future. His next two films under his own banner – ‘Chaudhavin Ka Chaand’ (1960) and ‘Sahab Bibi Aur Ghulam’ (1962) became box office hits, redeeming his film production banners.

‘Sautela Bhai’ (1962) was his first film in a lead role outside his banner after the debacle of ‘Kaagaz Ke Phool’ (1959). The film was directed by Mahesh Kaul. The main star cast included Guru Dutt, Pranoti Ghosh, Bipin Gupta, Rajkumar, Kanhaiyailal, Asit Sen, Bela Bose, Rani, Jeevankala, Radheshyam, etc. The film was based on a story, ‘Baikunther Will’ by Sharatchandra Chattopadhyay.

So far, 4 songs out of 8 from the film have been covered on the Blog. Here is the 5th song, ‘ab laagi naahin chute raama chaahe jiya jaaye’ from ‘Sautela Bhai’ (1962) which is presented here. The song is sung by Lata Mangeshkar and Meena Kapoor on the dancers, Rani and Jeevankala, respectively. There is also a male voice in a couple of lines in the song which, I feel, is that of the music director, Anil Biswas. The song was written by Shailendra.

Half-way through the dance, Guru Dutt makes a surprise entry and finds that his step brother (I guess, he is Rajkumar Jr.) is drunk and seen in the midst of the dancers. In a fit of rage, Guru Dutt assaults him. Some of patrons push Guru Dutt out of the courtesan’s house after which the singing and dancing resume.

Video Clip:

Audio Clip:

Song-Laagi naahin chhoote raam chaahe jiya jaaye (Saautela Bhai)(1962) Singers-Lata, Meena Kapoor, Anil Biswas, Lyrics-Shailendra, MD-Anil Biswas
Lata Mangeshkar + Meena Kapoor
Unknown male voice

Lyrics(based on video clip)

ab laagi naahi chhoote raam
laagi naahi chhoote raama
chaahe jiya jaaye raama
chaahe jiya jaaye raama
chaahe jiya jaaye
laagi naahi chhoote
naahi chhoote
naahi chhoote raa…m aam
chaahe jiya jaaye

waade ae ae kaa tere kisko bhala
o bhala aitbaar thha aa

phir bhi tamaam raat piya intzaar thhaa
khaamoshiyon mein har kisi aahat pe chaunk kar
aji aahat pe chaunk kar
kisi aahat pe chaunk kar
kehna mere is dil ka yahi
yahi
baar baar thha aa aa aa
kya
ae pare hatt
ke laagi naahi chhoote raa aam
chaahe jiya jaaye raa..m
chaahe jiya jaaye raama
chaahe jiya jaaye raama
chaahe jiya jaaye
laagi naahi chhoote
naahi chhoote
naahi chhoote raa.. aa aam
chaahe jiya jaaye

yoon hi raha jo teri wafa
ho jafaaon ka Silsila aa
niraash hoke toot hi jaayega dil mera
kya gujri mujhpe
tum ye kisi se na poochhna
kisi se na poochhna
kisi se na poochna

sun lena meri kabr se ae
aayegi ye sada aa aa
kya
ke laagi naahi chhoote raa. aa aam
chaahe jiya jaaye raama
chaahe jiya jaaye

chaahe jiya
chaahe jiya
chaahe jiya
chaahe jiya jaaye
laagi naahi chhoote
naahi chhoote
naahi chhoote raa….. aa aa aam
chaahe jiya

[Interruption in dances]

aa aa aa
aa aa aa aaa
ek maazra sunaata hoon main husn ishq ka

waah

[dialogues]

lekin wo dono kabron se aati thhi yeh sada
kya
laagi naahi chhoote raama
chaahe jiya jaaye raama
chaahe jiya jaaye

aaha
subhaan allah

laagi naahi chhoote raama
chaahe jiya jaaye raama
chaahe jiya jaaye

chaahe jiya
chaahe jiya
chaahe jiya
chaahe jiya jaaye
ah ah ah
waah waah jiyo


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 : 4219 Post No. : 15421

“Anyaay” (1949) was produced and directed by J S Kashyap for Diamond Pictures Limited, Bommbay.

“Anyaay”(1949) was a unique kind of movie. It was not an “original” standalone movie. It basically took scenes from 14 earlier movies of Bombay Talkies and combined them to come up with a story, shooting a few additional scenes as required. For shooting these scenes, the movie had used J S Kashyap, Laxman Saroj, Putli Bai, Narbada Shankar, Devidutt Nautiyal, Kesar Bai, Shree Bhagwan, B S Bhatnagar etc.

The movie had nine songs according to HFGK. Even the songs of the movie were those songs which were already utilised in Eearlier Bombay Talkies movies. For instance, the movie reused (with visuals) two songs from “Jeewan Prabhat”(1937) and one song from “Hamaari Baat”(1943).

Two songs from the movie have been covered in the past.

Here is the third song from “Anyaay” (1949) to appear in the blog. This song was originally used in “Izzat”(1937). There the song was sung by Devika rani but here the same song is sung by Meena Kapoor.

J S Kashyap was the lyricist in both the movies. Music in “Anyaay”(1949) version was by Ram Prasad.

Incidentally the tune of the song was different in the two movies.

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

Incidentally, the same song is mentioned in HFGK under two headings, viz at serial number 4 as “O jaane waale ye to bata” and at serial number 9 as “nagari laage sooni sooni”. So in effect, the movie had eight songs and not nine.


Song-O jaane waale ye to bata..nagari laage sooni sooni (Anyaay)(1949) Singer-Meena Kapoor, Lyrics-J S Kashyap, MD-Ram Prasad

Lyrics

O jaane waale
ye to bata
mujhe kiske sahaare chhod chala
mera man jeewan soona kar ke
kyun nirmohi munh mod chada

nagari laage sooni sooni
nagari laage sooni sooni
jabse gaye pal chain na gaye
ja se gaye
palchain na aaye
buri bhayi gati man ki
buri bhayi gati man ki
nisdin naina raah takat hai
nisdin naina raah takat hai
chaah lagi darashan ki
ho chaah lagi darsan ki
more peer badhat din dooni
more peer badhat din dooni

nagari laage sooni sooni
nagari laage sooni sooni


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 : 4207 Post No. : 15401

Today’s song is from a ‘C’ grade stunt film – ‘Return of Mr. Superman’ aka ‘Superman Ki Wapsi’ (1960).

Hindi film industry is full of third grade, mindless and cheap copies of successful foreign films and stories. Indian films can not copy the costly scenes, sets and A grade actors for C grade films, so they make do with childish cheap sets, unknown producers or directors, actors who are at the fag end of their careers and overall an easy treatment to films. It is painful to see such films.

There was an era, when even action/stunt films carried some prestige. They were made by reputed or specialist film makers like, Wadias, Mohan Pictures, Imperial, Ranjit or even Master Bhagwan. They used to spend a fair amount on erecting sets or on outdoor shootings. Above all, their stunts used to be real and actually breath taking. Famous stunt actors like Azad, Prakash, John Cavas, Fearless Nadia, Vasantrao and Baburao Pehelwan etc. used to undertake thrilling stunts using trained animals like tigers, lions, horses, monkeys, dogs and even jalopy cars and motor cycles. The audience went to watch the stunts. Story, histrionics or music/songs were secondary.

Superman is a comics character popularised first in USA. The first cinema on Superman came in 1948 with actor Kirk Alyn as the hero. This was like a film serial. The feature film came in 1951 with George Reeves first and then the most popular Christopher Reeves. Many actors have done this role till now. A Superman with extraordinary powers has been a dream for mankind since a long long time. May be, perhaps, the Gods in almost every religion were endowed with such powers in fiction and the mythology.

Indian film makers were hardly to miss such stories. But I find that more than flying in the air or jumping from building to building, like Batman or Spiderman, Indian audiences lapped up the ‘Invisible Man’ theme more. The first such film was made by Prakash Pictures, ‘Khwaab Ki Duniya’ in 1938. Then came the successful 1957 film ‘Mr. X’ and lastly the most popular film came on this theme in 1987 as ‘Mr. India’.

On this background, no wonder, Superman, Batman or Spiderman never captured the imagination or fascination of Indian film audience. 1960 saw 2 films on Superman and one was in 1987. Comparatively, Tarzan films became more popular here. Creative producers combined Tarzan with any and every character of Arabian nights, gave him son, daughter and brought him to city or even Circus. Indian avatars of Tarzan like, Zambo and Zimbo were also popular. these films helped Dara Singh to establish himself in Hindi films. Anyway, gone are the days when action or stunt films had special audience. Neither that audience nor those films have any presence now.

Since the day SFX (special effects – an improved version of old trick scenes) became popular in India, every hero has become a stuntman himself. Except probably Ajay Devgan and Akshay Kumar, most other actors are stuntmen by SFX only.

Coming to today’s film ‘Return of Mr. Superman’, the film was made by Manmohan Films – owned by the producer, director and lyricist Manmohan Sabir. From 1952 to 1986, he had directed 10 films. Today’s film was his 6th film as a director. Some songs of the film were also written by PL Santoshi, Kaif Irfani and Anand Bakshi. The cast of the film was Jairaj, Sheila Ramani, Majnu, Naazi, David, Ram Mohan, Rajan Haksar, Master Navin and many others.

Music Director of this C grade stunt film was Anil Biswas, who was once upon a time an A grade composer and many other composers followed him as their ‘Guru’. Anil Biswas (7-7-1914 to 31-5-2003) started his career in music in the early 1930’s. Usually, one generation is considered as 25 to 30 years, but in film music the generation period is 12 to 15 years. So, in his career from early 30s to late 60s, Anil Biswas saw two generations of music lovers. It was easier for him to adapt to changing tastes of music from 30s to late 40s. However, to adapt to changed tastes from 50s to 60s, it became difficult for him. The audience tastes changed drastically from 1930s to 60’s music. In the 30s and the 40s , the music was closer to traditional Indian music, but in the 60s, the film music followed the world music trends like Rock N Roll, Twist and other types.

In this stage of his career, Anil Biswas was in two minds – whether to continue what he knew best or to change over to new way of film music demands. He chose to mix the two, but this took him nowhere. This film music was a compromise on his abilities. After this film, he did two more non descript movies – ‘Lucky Number’ (1961) and ‘Hamen Khelne Do’ (1962). At last he retired after completing his last film ‘Chhoti Chhoti Baaten’ (1965) and left for Delhi to serve at AIR (All India Radio), Delhi. He gave music to 90 films composing 767 songs. He also sang 59 songs in 31 films.

The heroine of this film Sheila Ramani was one of my early favourites, from the time I saw her with Dev Anand in film ‘Funtoosh’ (1956). Earlier too I had seen her in few films, but she looked quite attractive and glamorous in ‘Funtoosh’.

Sheila Ramani, a forgotten name today, but most of us still remember her in Navketan’s ‘Taxi Driver’ (1954) where she was cast as Anglo-Indian club Dancer – Sylvie. Sheila was born on 2-3-1932, in Sindh province. She was selected as ‘Miss Mussoorie 1948’ and adjudged ‘Miss Simla 1950’. Made her debut as Champa, the femme fatale of ‘Badnaam’ (1952), and revealed herself as a danseuse of charm in ‘Anand Math’ (1952). She was one of the few Sindhi actresses besides Sadhana, who made it big in Bollywood. She was mostly seen as upper class mod girl in the 50s, a role she enacted to perfection all through that swinging era in films like V Shantaram’s ‘Teen Batti Chaar Raasta’ (1953), Sheikh Mukhtar’s ‘Mangu’ (1954), ‘Meenar’ (1954), ‘Railway Platform’ (1955), and ‘Funtoosh’ (1956).

Her Uncle Sheikh Latif alias Lachchu was a famous Pakistani producer who produced films like ‘Pattan’ (1955), ‘Khizan Kai Baad’ (1955), ‘Darbar-e-Habib’ (1956) etc. Sheila visited Karachi – Pakistan on the request of her uncle, to play the lead in Pakistani film ‘Anokhi’ (1956). The film was based on Hollywood’s ‘Fabulous Senorita’. “Gaadi Ko Chalana Babu, Zara Halkey Halkey Halkey, Zara Dil Ka Jaam Na Chalkey” sung by Zubaida Khanum was the popular song from the film which did modest to good business in Pakistan. The movie’s great music was composed jointly by Timir Baran (a Bengali who came from India for this purpose) and Hassan Latif. Sheila went back to India and remained as a middle-of-the-range performer in Bombay films. In the later part of her career, she was reduced to obscure films with titles that sounded like ‘Jungle King’ (1959), and ‘The Return of Superman’ (1960). In all, she acted in 24 films. Her last film was ‘Awaara Ladki’ (1967).

Sheila was very fond of sports especially football and swimming. Ballroom dancing was a virtual addiction for her and she used to go out for dancing as often as she could. Sheila was 5 feet four inches tall, and was so fastidious that any dress she would wear won’t be repeated for six months to come at least.

According to her son Rahul Cowasji, she married late Jall Edi Cowasji (President of Bombay Dyeing) on 31st March 1963 and retired from acting in 1962. Part of her family that remained in Pakistan converted to Islam. She was a Hindu. She used to live in Bombay with her husband Jall Cowasji till 1981. They moved to Khartoum (in Sudan, Africa) for 3 years and then to Sri Lanka for 3 years. After her husband’s death in 1984 she migrated to Australia on her own in the late 1980’s and lived in Sydney and Surfer’s Paradise until health problems required her to return to India in the new millennium. She used to live in her husband’s ancestral home in Mhow, near Indore (Madhya Pradesh). She was frail and bed ridden for few years before her death on 15-7-2015.

Her favorite Hindi film of her career was ‘Taxi Driver’ (1954). Sheila was also the leading lady of India’s first Sindhi film after partition – ‘Abana’ (1958), in which, young Baby Sadhana played her younger sister’s role. (Thanks to Cineplot and Sheila’s son Rahul, for some of the information in this Bio).

One more person from the cast of the film – Ram Mohan – needs introduction to our readers with his short Bio. Ram Mohan Sharma, a young, handsome lad from Ambala, was born on 2-11-1929. He was a graduate (BA) and had come to Bombay in 1945 in search of a career in cinema.

The youngster, who was in his early twenties, with fair colour, curly hairs & sharp features, approached Jagdish Sethi to get work in movies as an actor.  Jagdish Sethi found him sincere and gave him a supporting role in ‘Jaggu’ (52), which he was to make. The movie had very good music, scored by Hansraj Behl & it had moderate success, when released. Later, Ram Mohan got small roles in few movies & in 1954, Sethi Sahab took him in the romantic role opposite Shyama in ‘Pensioner’. The movie did not do well & it was the end of Ram Mohan’s career as hero.

Life goes on and he decided to accept any role offered to him. Soon he was a known name in the film circles. In ‘Do Behnen’ (1959), which had Shyama in double role, Ram Mohan enacted the role of villain, which gave his career a big boost as bad man. Later he came in contact with Sunil Dutt & Nargis and forged a permanent friendship with them. Although Ram Mohan mostly got roles of tough characters, but inside he was soft hearted. He was a member of film artists association. He requested Sunil Dutt Ji who was feeling depressed after Nargis Ji passed away, to help the ‘Have Nots’ of film industry. Virtually an encyclopedia of film industry, Ram Mohan knew every technician, junior artists as well as old & forgotten artists, who needed help. Whenever they both were free, they used to visit the ailing artists in hospital or their residences, to give them moral and financial support. Charatcter actor Rajan Haksar was in a charity hospital, after failure of his kidneys. Both benevolent persons visited the hapless artist to boost his spirit. Ram Mohan was a confidant of Asha Parekh, the kind hearted lady who was president of the Artists Association & they together helped many artists, who were in dire need of assistance.

Ram Mohan was also the vice president of CINTAA (Cine and TV Artists Association) for 4 years and secretary for 6 years. Ram Mohan Ji had high reputation every where and when he came to know about the miserable condition of AK Hangal, he met a political leader and arranged the financial help through Maharashtra Govt, on a regular basis. At the time of bereavement, he made it a point to help the family till all religious formalities were over. Every one in the film industry used to address him as Ram Mohan Ji ,to show their genuine respect to him.

In his career of more than five decades, Ram Mohan appeared in more than 250 movies (the number varies from 240 to 277), mostly in negative roles. He did not believe in self publicity and did his philanthropic work quietly. Ram Mohan was keeping indifferent health for six months, when his pillar of strength, his life partner passed away. Ram Mohan Ji also followed suit and breathed his last on 06th December 2015 .

Ram Mohan had 3 sons and 1 daughter, all very well settled in life. He will always be gratefully remembered by thousands of anonymous film artists who were helped by him. His memories will be cherished by his admirers, who loved his work on and off the screen. Truly, to find people like him, in this era is rarity. Let us hope his selfless work will inspire other persons connected with the film industry to help their less fortunate colleagues and the tradition of Vasudhaiva Kutumbkam set by him will continue. He found an admirer in Gulzar Sahab ,who always referred him as Ram Mohan Ji. Please see the credit titles of Izaazat, where his name is mentioned as Ram Mohan ji. (Thanks to Blog – ‘Beete Hue Din’, and Shri MN Sardana ji, for some of this information).

Today’s song certainly reminds us the type of club music of the late 1950s and early 1960s. This, of course, is not a club song, but a love song between hero and heroine. The song does not have anything to suggest the famous Anil Biswas touch of yore. It is one of those routine songs of those times.


Song – Dekh o babu dekh (Return of Mr Superman) (1960) Singer – Meena Kapoor, Lyricist – PL Santoshi, MD – Anil Biswas

Lyrics

dekh o baabu dekh
o baabu dekh
dekh o baabu dekh
o baabu dekh
dil ki dukaan se main layi hoon ye cake
marzi ho to take baabu
marzi ho na take
o babu dekh
dekh o baabu dekh
o baabu dekh
dekh o baabu dekh

bahut hai mehngi
bahut hai sasti
gaahak ki jaisi ho hasti
bahut hai mahangi
bahut hai sasti
gaahak ki jaisi ho hasti
le jaayega koi dilwaala kismat waala cake
o baabu dekh
dekh o baabu dekh
o baabu dekh
dekh o ba abu dekh

dekh ke iski lazzat mister
ho jaayegi ulfat mister
dekh ke iski lazzat mister
ho jaayegi ulfat mister
lekin sun lo shart humari
doge na tum phenk
for godsake
dekh o baabu dekh
o baabu dekh
dekh o baabu dekh

hum to tumse pyaar karega
pyar ka hi iqraar karega
hum to tumse pyaar karega
pyar ka hi iqraar karega
chaahe ho nadiya ka kinara
chaahe romantic lake
o baabu dekh
dekh o baabu dekh
o baabu dekh
dekh o baabu dekh

dil se dil ka sauda kar lo
pyaar se apna pocket bhar lo
dil se dil ka sauda kar lo
pyaar se apna pocket bhar lo
beet gayi gar yoonhi jawaani
ho jaaoge late
o baabu dekh
dekh o baabu dekh
o baabu dekh
dekh o baabu dekh

———————————————————–
Devnagri Script lyrics (Provided by Sudhir)
———————————————————–
देख ओ बाबू देख
ओ बाबू देख
देख ओ बाबू देख
ओ बाबू देख
दिल की दुकान से मैं लाई हूँ एक केक
मर्ज़ी हो तो टेक बाबू
मर्ज़ी हो ना टेक
ओ बाबू देख
देख ओ बाबू देख
ओ बाबू देख
देख ओ बाबू देख

बहुत है महंगी
बहुत है सस्ती
गाहक की जैसी हो हस्ती
बहुत है महंगी
बहुत है सस्ती
गाहक की जैसी हो हस्ती
ले जाएगा कोई दिलवाला किस्मत वाला केक
ओ बाबू देख
देख ओ बाबू देख
ओ बाबू देख
देख ओ बाबू देख

देख के इसकी लज़्ज़त मिस्टर
हो जाएगी उलफत मिस्टर
देख के इसकी लज़्ज़त मिस्टर
हो जाएगी उलफत मिस्टर॰॰र्र
लेकिन सुन लो शर्त हमारी
दोगे ना तुम फेंक
फॉर गॉड सेक
देख ओ बाबू देख
ओ बाबू देख
देख ओ बाबू देख

हम तो तुमसे प्यार करेगा
प्यार का ही इक़रार करेगा
हम तो तुमसे प्यार करेगा
प्यार का ही इक़रार करेगा
चाहे हो नदिया का किनारा
चाहे रोमांटिक लेक
ओ बाबू देख
देख ओ बाबू देख
ओ बाबू देख
देख ओ बाबू देख

दिल से दिल का सौदा कर लो
प्यार से अपना पाकिट भर लो
दिल से दिल का सौदा कर लो
प्यार से अपना पाकिट भर लो
बीत गई गर यूं ही जवानी
हो जाओगे लेट
ओ बाबू देख
देख ओ बाबू देख
ओ बाबू देख
देख ओ बाबू देख


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.

Blog Day : 3972 Post No. : 15058

———————————————–——————————————
Blog 10-Year Challenge (2009-19) – Song No. 34
——————————————————————————————

Ten years back, 3rd June, 2009, five songs and five films. The films are,

Shart 1954
Return of Mr Superman 1960
Ganga Jamuna 1961
Khoj 1971
Ek Baar Muskura Do 1972

The film ‘Shart’ from 1954 made its debut on the blog with the iconic “Naa Ye Chaand Hogaa Na Taare Rahenge”. In terms of completion, the films ‘Shart’ and ‘Ganga Jamuna’ have been yippeee’d already. The remaining songs of the rest of the three films are waiting in the wings.

Coming of 1960s also saw the waning of the career of music director Anil Biswas. Active in the industry since 1935, Anil Biswas has made a very significant and a lasting contribution to the music of Hindi cinema. A trendsetter in many ways, Anil Da has also been responsible to introduce and groom some of the finest singing voices in the industry.

After two and half decades, in the beginning of 1960s, his body of work was reduced to just a trickle. In 1961, he directs the music for ‘Lucky Number’; in 1962, it is ‘Sautela Bhai’; and after many delays, ‘Chhoti Chhoti Baaten’ finally got released in 1965.  And it turns out to be his last film in the industry. He had actually moved to Delhi already, during this time frame (March of 1963) and was working at the All India Radio as the director of the National Orchestra and Chief Producer of the program ‘Sugam Sangeet’.

Today, we revisit one of his lesser known films – ‘Return of Mr Superman’ from 1960. The song is a mujra performance, presented on screen by Heera Sawant. I hope I am correctly identifying the main dancer in this clip. I request other knowledgeable readers and friends to please confirm or correct me. There are other actors in the audience that can be identified. We can clearly make out David and Rajan Haksar. There is another gentleman with ruffled hair and a large round eyes. I request the readers and friends to please help put a name to this face. Also, there is a trio of supporting singers on screen, who lip sync the chorus lines. Again, the request is to help identify these ladies.
[Ed Note: Prakash ji has identified the “. . .gentleman with ruffled hair and a large round eyes.” as Jagdish Kanwal. Thanks Prakash ji.]

The film is produced and directed by Manmohan Sabir, for his home banner – Manmohan Pictures, Bombay. The film has seven songs listed in the Geet Kosh, written by four songwriters – Anand Bakshi, Kaif Irfani, Manmohan Sabir, and PL Santoshi. This song is written by Manmohan Sabir. The music, of course, is by Anil Biswas.

The cast of the film is listed as Jairaj, Sheela Ramani, Helen, David, Naazi, Majnu, Shammi, Ram Mohan, Rajan Haksar, Jagdish Kanwal, Heera Sawant, Nazeer Kashmiri, Mohinder, Saleem Raza, Robert, Gulab, Ramesh, Arvind, Harun, Master Naveen, Krishna, and Funny Walker.

There is one interesting discussion that we have had earlier on this blog, relating to one song purportedly from this film. The song is “Stella O Stella O Stella”. The curiosity about this song is that it has also appeared earlier in the film ‘Chaar Dil Chaar Raahen’ from 1959. This earlier film also has music directed by Anil Biswas. On our blog, it so happens that this song, as it appears in ‘Return of Mr Superman’ is already posted; and the same song as it appears in ‘Chaar Dil Chaar Raahen’ has not yet been posted.

I would like to bring to the notice of interested readers, the fact that this song does NOT appear in the list of songs given in Geet Kosh for the film ‘Return of Mr Superman’. The original song, as appearing in ‘Chaar Dil Chaar Raahen’, written by Sahir Sb, is the correct attribution of this song. The appearance in the later film ‘Return of Mr Superman’ is simply a repeat use, probably inserted at a short notice to fill a certain scenario. The song certainly does not belong to this later film.

Coming back to the song for today – as one listens carefully, one realizes that this is actually a ghazal that has been presented as a mujra. An interesting variation. I am sure we will find more such instances, if we start looking carefully. Earlier, we have identified a couple of ghazals that has been presented as qawwaalis (and I am sure there are more of such instances also). So now we have another variation – I am sure we will find more cases of a ghazal presented as a mujra. As one listens to the wordings, it is really a very endearing expression –

dil to tujh ko de diya, ab jaan bhi de denge hum
jaan lene se na ab, ae jaan e mann ghabraaiye

So, remembering Anil Biswas – his rememberance day was 31st May, just three days ago. Getting on to another 10 year connect. And getting to listen to this wonderful mujra. . .

Editor note-With this song, Meena Kapoor completes 100th song as a singer in the blog.

Song – Dil Milaate Jaaiye Nazren Milaate Jaaiye (Return of Mr Superman) (1960) Singer – Meena Kapoor, Lyrics – Manmohan Sabir, MD – Anil Biswas
Chorus

Lyrics

dil milaate jaaiye..ae..ae
nazren milaate jaaiye
dil milaate jaaiye
nazren milaate jaaiye
ik nazar ae meharbaan
ab aur na tarsaaiye
ik nazar ae meharbaan
ab aur na tarsaaiye

haaye na tarsaaiye
ab aur na tarsaaiye
dil milaate jaaiye
nazren milaate jaaiye
dil milaate jaaiye
nazren milaate jaaiye

aap ka parda rahe aur
hum ko ho deedaar e yaar
aaaa aaaa aaaa aaaa
bach ke duniya ki nazar se
ae ji khwaab mein aa jaaiye
bach ke duniya ki nazar se
khwaab mein aa jaaiye
khwaab mein aa jaaiye
khwaab mein aa jaaiye
dil milaate jaaiye
nazren milaate jaaiye
dil milaate jaaiye
nazren milaate jaaiye

gair ki mehfil mein hum se
parda-daari kis liye
haaan aaaa aaaa aaaa
hum tumhaare hain
tumhaare
tumhaa..are
ae ji hum se na sharmaaiye
hum tumhaare hain
tumhaare
hum se na sharmaaiye
hum se na sharmaaiye ji 
hum se na sharmaaiye
dil milaate jaaiye
nazren milaate jaaiye
dil milaate jaaiye
nazren milaate jaaiye

dil to tujh ko de diya
ho oo oo oo oo
dil to tujh ko de diya
ab jaan bhi de denge hum
haaan aaa aaa aaa aaaa
jaan lene se na ab
ae jaan e mann ghabraaiye
jaan lene se na ab
ae jaan e mann ghabraaiye
jaan e mann ghabraaiye
ji jaan e mann ghabraaiye
dil milaate jaaiye
nazren milaate jaaiye
ik nazar ae meharbaan
ab aur na tarsaaiye
dil milaate jaaiye
nazren milaate jaaiye

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

दिल मिलाते जाइए॰॰ए॰॰ए
नज़रें मिलाते जाइए
दिल मिलाते जाइए
नज़रें मिलाते जाइए
इक नज़र ए मेहरबान
अब और ना तरसाइए
इक नज़र ए मेहरबान
अब और ना तरसाइए

हाए ना तरसाइए
अब और ना तरसाइए
दिल मिलाते जाइए
नज़रें मिलाते जाइए
दिल मिलाते जाइए
नज़रें मिलाते जाइए

आप का पर्दा रहे और
हमको हो दीदार ए यार
आ आ आ आ
बच के दुनिया की नज़र से
ए जी ख्वाब में आ जाइए
बच के दुनिया की नज़र से
ख्वाब में आ जाइए
ख्वाब में आ जाइए
ख्वाब में आ जाइए
दिल मिलाते जाइए
नज़रें मिलाते जाइए
दिल मिलाते जाइए
नज़रें मिलाते जाइए

गैर की महफिल में हमसे
पर्दादारी किस लिए
हाँ आ आ आ आ
हम तुम्हारे हैं
तुम्हारे
तुम्हा॰॰आरे
ए जी हम से ना शर्माइए
हम तुम्हारे हैं
तुम्हारे
हम से ना शर्माइए
हम से ना शर्माइए
जी हम से ना शर्माइए
दिल मिलाते जाइए
नज़रें मिलाते जाइए
दिल मिलाते जाइए
नज़रें मिलाते जाइए

दिल तो तुझको दे दिया
हो ओ ओ ओ ओ
दिल तो तुझको दे दिया
अब जान भी दे देंगे हम
जान लेने से ना अब
ए जान ए मन घबराइए
जान लेने से ना अब
ए जान ए मन घबराइए
जान ए मन घबराइए
जी जान ए मन घबराइए
दिल मिलाते जाइए
नज़रें मिलाते जाइए
इक नज़र ए मेहरबान
अब और ना तरसाइए
दिल मिलाते जाइए
नज़रें मिलाते जाइए


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Blog Day : 3908 Post No. : 14965

“Phool Aur Kaante”(1948) was directed by Achyut Ranade for Navyug Chitrapat, Bombay. The movie had Lalita Pawar, Salvi, Saroj Borkar, Mohan Sahgal, Master Ratan, Swaroop Sahgal, Tulsi Bai, Shalini, Chaube etc in it.

The movie had twelve songs in it. Four songs from this movie have been discussed in the past.

Here is the fifth song from “Phool aur Kaante”(1948) to appear in the blog. This song is sung by Meena Kapoor. Vishwamitra Adil is the lyricist. Music is composed by Dada Chandekar.

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


Song-Ik teer jigar par khaa ke ham(Phool aur Kaante)(1948) Singer-Meena Kapoor, Lyrics- Vishwamitra Adil, MD-Dada Chandekar

Lyrics

ik teer jigar pe khaa kar hum
ik teer jigar pe khaa kar hum
na idhar ke rahe
na udhar ke rahe
na idhar ke rahe
na udhar ke rahe
seene mein aag laga kar hum
na idhar ke rahe
na udhar ke rahe
na idhar ke rahe
na udhar ke rahe

nazron ke bhi takkar khoob rahi
ladti bhi rahin sharma bhi gayin
nazron ke bhi takkar khoob rahi
ladti bhi rahin sharma bhi gayin
par dil se dil takra kar hum
na idhar ke rahe
na udhar ke rahe
na idhar ke rahe
na udhar ke rahe
ik teer jigar pe khaa kar hum
na idhar ke rahe
na udhar ke rahe
na idhar ke rahe
na udhar ke rahe

jab yaad kisi ki aati hai
jab yaad kisi ki aati hai
aankhon se aansu girte hain
dil mein toofaan uthhaa kar hum
na idhar ke rahe
na udhar ke rahe
na idhar ke rahe
na udhar ke rahe
ik teer jigar pe khakar hum
na idhar ke rahe
na udhar ke rahe
na idhar ke rahe
na udhar ke rahe

hain phool aur kaante donon hi
ulfat ki rangeeli raahon mein
hain phool aur kaante donon hi
ulfat ki rangeeli raahon mein
ulfat mein paaon badhaa kar hum
na idhar ke rahe
na udhar ke rahe
na idhar ke rahe
na udhar ke rahe
ik teer jigar pe khaa kar hum
na idhar ke rahe
na udhar ke rahe
na idhar ke rahe
na udhar ke rahe
seene mein aaga laga kar hum
na idhar ke rahe
na udhar ke rahe
na idhar ke rahe
na udhar ke rahe


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 THIRTEEN years. This blog has over 16500 song posts by now.

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

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(© 2008 - 2021) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

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Movies with all their songs covered =1280
Total Number of movies covered=4510

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