Archive for the ‘Melancholic song’ 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 : |
4824 | Post No. : | 16602 |
“Saudaagar”(1951) was produced by S V Mungre and directed by M I Dharmsee for West Hind pictures, Bombay. This social movie had Rehana, Nasir Khan, Suraiyya Chaudhary, Bhudo Advani, Shakuntala, Ratan Kumar, Bala etc in it.
The movie had ten songs in it. Six were composed by C Ramchandra and four by Hanuman Prasad.
Four songs from the movie (three composed by C Ramchandra and one composed by Hanuman Prasad) have been covered in the past.
Here is the fifth song from “Saudaagar”(1951) to appear in the blog. The song is sung by Lata Mangeshkar. P L Santoshi is the lyricist. Music is composed by C Ramchandra.
Only audio of the song is available. It is almost certain that the song was picturised on Rehana. I euest our knowledgeable readers to throw light on the picturisation of this melancholic song.
Song-Bigad gayi kyun meri taqdeer bante bante (Saudaagar)(1951) Singer-Lata, Lyrics- P L Santoshi, MD- C Ramchandra
Lyrics
dil mein chupaaye unki ulfat kaa khazaana
aankhon se likh rahe hain taqdeer kaa fasaana
aa aa aa aa
bigad gayi kyon meri taqdeer bante bante
bigad gayi kyo meri taqdeer bante bante
mit gayi ulfat ki lakeer bante bante
bigad gayi kyun meri takdeer bante bante
aa aa aa aa
manzil ke paas aakar manzil hi bhool baithhe
manzil ke paas aakar manzil hi bhool baithhe
kismat ne mitaa daali tadbeer bante bante
kismat ne mitaa daali tadbeer bante bante
bigad gayi kyun meri taqdeer bante bante
bigad gayi kyun meri taqdeer bante bante
aa aa aa aa aa
tujhko to zamaane ne hone naa diyaa meraa
tujhko to zamaane ne hone naa diyaa meraa
hum mit gaye khud teri tasveer bante bante
hum mit gaye khud teri tasveer bante bante
bigad gayi kyun meri taqdeer bante bante
bigad gayi kyun meri taqdeer bante bante
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Blog Day : |
4822 | Post No. : | 16598 |
“Mamta”(1952) was produced by R B Haldia and J L Sharma and directed by Gunjal. This “social” movie was a Nishaat Films, Bombay production.
The movie had Sumitra Devi, Ulhas, Mirza Musharraf, Rajan Haksar, Kamal Mehra, Chitralekha, Bhagwandas, Ramesh, Rajni Shanta abi, Sadi, Kabil Amritsari, Baby Salma, Master Raja, G P Srivastav, Sheela, Paro etc in it.
The movie had eight songs in it. Seven of them were composed by Sonik, and one by Hansraj Bahl. Five songs have been covered in the past.
Here is the sixth song from “Mamta”(1952) to appear in the blog. The song is sung by Geeta Dutt. Verma Malik is the lyricist. Music is composed byS Sonik.
Only audio of this melancholic song is available. I reuest our knowledgeable readers to throw light on the picturisation of this song.
Song-Sitaaron hanso na meri bebasi par (Mamta)(1952) Singer-Geeta Dutt, Lyrics-Verma Malik, MD-Sonik
Lyrics
sitaaron hanso na
meri bebasi par
taras khaao kuchh to
meri zindagi par
tumhaare sahaare agar toot jaate
tumhaare sahaare agar toot jaate
mujhe is tarah tum kabhi na sataate
bahaa lo do aansu meri trasdi par
taras khaao kuchh to meri zindagi par
ho o o
meri jaan kar di ghamon ke hawaale ae
meri jaan kar di ghamo ke hawaale
ye kaisi saza di saza dene waale
kyun bijli gira di hai dil ki kali par
taras khaao kuchh to meri zindagi par
mita de mujhe
mujhko veeraan kar de
mita de mujhe
mujhko veeraan kar de
ae maalik tu mujhpe
ye ehsaan kar de
ke khushiyaan mana le meri bekasi par
taras khaao kuchh to meri zindagi par
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 : |
4802 | Post No. : | 16568 |
Today’s song is from the film Ladli-1949. This was one of the popular films of MD Anil Biswas in those times. He was still in his prime, but on the downward curve past his prime. By mid 50’s, films came at a snail’s pace to him and then in a few years he left Mumbai, shifted to New Delhi and his life took a 90 degree turn, personally and professionally.
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, Playback 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 the 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. By now, 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- Pradeep,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.
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 a 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 and 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.
By 1949, the Indian film industry had reasonably stabilised having gone through the rigours of the war period and total shake up of the industry due to the Partition blues. 1949 was the best year in the Golden Era of HFM. There were so many films offering evergreen, out of this world songs, that the audience did not know which film to see and which song to hear. The sale of records registered a Record of Sales in 1949. 157 films were made in 1949. Barring the figure of 181 films in 1947 ( we know the reasons), 1949 produced the maximum films from 1931 to 1984 – a period of 50++ years. What’s more, almost every alternate film gave superb songs. Nearly every Music Director of Hindi films was present in 1949, with his film.
This was also a transition period, when older composers were giving way to newer ones. Additionally, the competition between Naushad and C Ramchandra for the Number One position was at its peak. Though CR is my favourite composer, during the period 47 to 49, it was all the way Naushad who was the undisputed Numero Uno as far as quality and number of hit films were concerned.
In this period Naushad’s strike rate of Hit films was more than double, compared to C R, percentage wise. Naushad had 8 Hits from his 9 films in the period 1947 to 1949. For the same period, CR had only 4 Hits in his 18 films.
The year 1949 had absolutely heavenly showers of Musical Films. Some of such films were Andaz, Badi Behan, Barsaat, Bazaar, Dulari, Jeet, Apna Desh, Chandni Raat, Chaar Din, Sunehre Din, Shayar, Dillagi, Ek thi ladki, Kaneez, Laadli, Lahore, Mahal, Namoona, Patanga etc etc. The year 1949 also witnessed the introduction of A and U Censor certificates, the establishment of Films Division, the start of Navketan productions of Anand brothers and a few other landmarks in Hindi film industry.
Today’s song is an excellent song but rarely heard and not so popular for reasons difficult to fathom. It’s singer was Shiv Dayal aka S.D. Batish. I have a lot of respect for S D Batish,who did a marvellous job of promoting Indian Music in the UK and USA. He is one of those rare people who left the film world, but continued serving the Music,by turning a corner in Life. Such people are few in this world. The monumental work he did for Indian Music in foreign lands is unparalleled. An important point is that he did not do this service to Music for his personal gains. For his sustenance,he had opened a Restaurant in Santa Cruz,California,which was providing him enough for a comfortable living in the USA.
Born December 14, 1914, in Patiala, India, Shiv Dayal Batish abandoned a career in the nascent telephone industry to study devotional song, folk drama, and Indian classical music under his guru Hakim Chandan Ram Charan. In 1934, he relocated to Bombay to try his hand at acting, but roles proved scarce and he returned to Patiala two years later, renewing his focus on music. By 1936 Batish was regularly appearing on All India Radio and recording his first sessions for His Master’s Voice. The film industry nevertheless retained its allure for him, and in 1939 he returned to Bombay, working for a spell under broadcasting legend Z.A. Bokhari. After earning his first film work as an assistant musical director in 1942, Batish later graduated to full-fledged Bollywood musical director, in the years to follow working with playback singer greats including Asha Bhosle, Lata Mangeshkar, and Mohammed Rafi.
Batish also moonlighted as a playback singer in 70 films, singing 115 songs, among them 1944’s Daasi and 1948’s Barsaat ki Raat, before relocating to Britain in 1964. After accepting a position with the BBC Immigration Unit, Batish became a regular in British radio and television, most notably composing “Nai Zindagi Naya Jivan,” the theme song to the Beeb’s classic South Asian series Apna Hi Ghar Samajhiye (“Make Yourself at Home”). He also returned to his roots as a live musician, performing Indian folk and classical music on the vichitra veena, a long-necked fretless flute. In 1965 Batish was summoned by percussionist Keshav Sathe to record the Indian-inspired incidental music for the Beatles’ second feature film, Help! — the experience also proved the beginning of his lifelong friendship with Beatle George Harrison, who later hired Batish to teach his then-wife Patti Boyd the stringed dilruba.
In 1969 Batish assembled wife Shanta Devi, daughter Vijay Laxmi and sons Ashwin Kumar and Ravi Kumar to record North Indian Folk and Classical Music, which for decades remained the lone Indian release to appear on the seminal folk label Topic Records. A year later, the family emigrated to the U.S., settling in northern California and founding a restaurant, the Santa Cruz-based Krishna Café. Although the restaurant business remained Batish’s primary focus for the remainder of his life, he continued playing live and also cut the occasional LP, most notably 1980s Raga Todi, 1985’s Om Shanti Meditation on Dilruba and 1997’s The 72 Carnatic Melakhartas.
He founded “Batish Institute of Music and Fine arts” in California and wrote about 12 books on Indian Classical music,like Ragopaedia,Raga Channels,Rasik Raga lakshan Manjiri etc. He had also founded Batish Recording Co.
He died at age 91 on July 29, 2006.
His singing on AIR drew the attention of an older cousin, Pandit Amarnath, who was an accomplished musician in the Punjabi film industry in Lahore. Amarnath gave Batish the opportunity to sing a song – Pagdi Sambhal Jatta – he had composed for the film Gawandi (1942). The song became a hit, making Batish popular. But, all told, the experience was bittersweet. Ashwin says his father did not relish acting in the movie: the frequent takes, the blinding light from mirrors used as reflectors unnerved him.
As Amarnath’s assistant, Batish learned various aspects of music direction: rehearsing with singers, synchronising instruments and working with an orchestra. These learnings opened yet another opportunity for him. He was invited to Bombay by the Marathi writer and film impresario Keshav Prahlad Atre (Acharya Atre) to compose music for the film Paayaachi Daasi. But, in the end, credit was given to Annasaheb Mainkar.
After the Partition in 1947, the year Amarnath died, Batish moved back to Bombay, this time not to try his luck as an actor, but as a singer and composer. Several prominent music directors of the day employed him for their movies – Anil Biswas for Laadli, Husnlal-Bhagatram for Sawan Bhado, Hamari Manzil, and Surajmukhi; Ghulam Mohammad for Kundan; Roshan for Barsat ki Raat and Taksal; and Madan Mohan for Ada and Railway Platform. Some of his more notable songs were sung with Geeta Dutt in films he provided music himself, such as Betaab and Bahu Beti. He was associated with films in Hindi and gave music to 20 films, composing 154 songs, as S.D.Batish,Master Ramesh and Nirmal Kumar. Some of his songs were famous.
Batish, whose musical oeuvre has been described as an “amalgam of classical music and Punjabi folk and popular styles” composed for 20 films, including Har Jeet, Tipu Sultan and Toofan. For two films, he composed under the name Nirmal Kumar – a moniker that Lata Mangeshkar had given him for luck, according to Ashwin.
By this time, Batish had grown disenchanted with the Hindi film world. Ashwin recalls that his father needed a steady income to sustain his young family, but payments were erratic and delayed. Irked by this, Batish worked for a while to set up an artistes’ union to give them a platform to air their grievances and demands. Then the family decided to go to England.
Shanta Devi, like Batish early in his career, had been an artist with the All India Radio at one time. To raise money for the air tickets, the family sold its land in Bombay’s Santa Cruz neighbourhood – now worth a fortune, Ashwin says. Its new home was on Birchington Road, a residential area in London’s West Hampstead.
The move to the US, as with the one to England, was a family decision. Shanta Devi’s initiative led to the Batish India House (at first called the Sri Krishna Café), a restaurant on Santa Cruz’s Mission Street that served Indian food while music was played by members of the Batish family. “I would serve food and then jump on stage to play music,” remembered Ashwin, who like his father plays several instruments, including the sitar and tabla.
The restaurant was featured often in the local paper, The Santa Cruz Sentinel, and ran till 1985, before music became the all-absorbing act, and SD Batish embarked on the “project of a lifetime”. His wish to collate, annotate, and set in writing every known detail of the Hindustani (the Ragopedia compendia) and Carnatic musical systems coincided with Ashwin’s discovery of Gopher, an early internet protocol that enabled files to be recorded, uploaded and distributed easily. It was a project envisioned after their visits to the library of the University of Berkeley yielded barely a few books on Indian music, and mostly on the Carnatic tradition. What was an inspiration for Batish to explain every raga became a boon not merely for music aficionados but also for his students who were familiar only with English.
He regularly performed with his children, Ashwin and daughter Meena, and lived long enough to see his grandchildren, Keshav and Mohini, grow into musicians. ( Thanks to obituary and bio byJason Ankeny and an article by Anu kumar in scroll.in dated 24-6-2021, along with muVyz, HFGK, Wiki and my notes. All excerpts are adapted ).
Today’s song is the 8th song from this film to be posted here. I like this song very much, I hope you too will like it.
Song- Kisi rangeen duniya mein na kya kya zindagi dekhi (Laadli)(1949) singer-S D Batish, Lyrics-Chandrashekhar Pandey, MD-Anil Biswas
Lyrics
kisi rangeen duniya mein
na kya kya zindagi dekhi
rulaa de gham ko bhi ek baar
aisi zindagi dekhi
kisi rangeen duniya mein
na roti pet ko
kapde na tan ko
ghar na rahne ko
na roti pet ko
kapde na tan ko
ghar na rahne ko
magar kehlaate hain insaan
aisi zindagi dekhi
rulaa de gham ko bhi ek baar
luti duniya kisi ki
ee ee ee ee ee ee
luti duniya kisi ki
par wo sotey bhool kar rona
kafan laaun kahaan se haaaaye
kafan laaun kahaan se haaye
aisi zindagi dekhi
rulaa de gham ko bhi ek baar
umar baali phati dhoti
idhar kheenche udhar kheenche
umar baali phati dhoti
idhar kheenche udhar kheenche
jawaani bhookh donon se
sataayi zindagi dekhi
rulaa de gham ko bhi ek baar
Tadapte bhookh se bachche
padi beemaar hai beevi
Tadapte bhookh se bachche
padi beemaar hai beevi
padi beemaar hai beevi
na kuchh paayaa aa aa
na kuchh paaya
to rassi se
lalakti zindagi dekhi
kisi rangeen duniya mein
Sau baar miley mil kar bichhde
Posted on: August 20, 2021
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 : |
4781 | Post No. : | 16534 |
“Chhoti Duniya”(1953) was produced by D M Sheth and directed by Uday Kumar for Meera Productions, Bombay. This movie had Uday Kumar, Leela Kumari, Shiela Naik, Nannu, Ranjeet, Ashwin Roy, B Lalwani, Moolji Khushal, Babu, Chandar etc in it.
This little known movie had seven songs in it. Two songs have been covered in the past.
Here is the third song from “Chhoti Duniya”(1953) to appear in the blog. This is a mlncholic song which is sung by Sulochana Kadam. Bekal is the lyricist. Music is cmposed by Rajhans Kataria.
Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of this song.
This song is the 500th song from movies of 1953 to be covered in the blog.
Song-Sau baar mile mil kar bichhde (Chhoti Duniya) (1953) Singer-Sulochana Kadam, Lyrics-Bekal, MD-Rajhans Kataria
Lyrics
sau baar miley mil kar bichhde
sau baar miley mil kar bichhde
main dil ki lagi ko bujha na saki
main dil ki lagi ko bujha na saki
har baar sunaana ji chaaha
har baar sunaana ji chaaha
par dil ka haal suna na saki
par dil ka haal suna na saki
sau baar miley
teri yaad mein aahen bhar bhar ke
aur duniya se bhi dar dar ke
teri yaad mein aahen bhar bhar ke
aur duniya se bhi dar dar ke
kayi haar piroye tere liye
kayi haar piroye tere liye
main ek tujhe pahna na saki
main ek tujhe pahna na saki
sau baar miley
dil prem ki aag se jalta gaya
mere pyaar ka paudha phalta gaya
dil prem ki aag se jalta gaya
mere pyaar ka paudha phalta gaya
phaldaar hua to ae kismat
phaldaar hua to ae kismat
main uska bhi phal kha na saki
main uska bhi phal kha na saki
sau baar miley
wo bichhad gaye mujhse mil ke
armaan tadapte hain dil ke
wo bichhad gaye mujhse mil ke
armaan tadapte hain dil ke
main ujdi hui haay
main ujdi hui tere kadmo mein
ik chhoti si duniya bana na saki
ik chhoti si duniya bana na saki
sau baar miley mil kar bichhde
main dil ki lagi ko bujha na saki
main dil ki lagi ko bujha na saki
sau baar miley
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 : |
4769 | Post No. : | 16518 |
Today’s song is from an obscure film-Paaro-1947. It was made by Navyug Film co. One of the partners of this film company was Marathi’s famous writer, novelist and journalist Acharya Atre. By coincidence, the name of the Music Director of film Paaro-47 was Rasheed Atre. He, of course, was Muslim and Acharya Atre was a Hindu Bramhin.
The film was directed by one Shorey Daulatlavi, who was originally a Cinematographer with Minerva Movietone. His first film as a Director was Pathron ke saudagar-44, made by Minerva Movietone. Sohrab Modi was not known for recognising talents of his staff and encouraging them or rewarding them. He must have secured the services of Daulatlavi as a director for a negligible fee. Fed up with his attitude, Dalatlavi left Minerva and joined Navyug. Here he directed 3 more films namely, Din Raat-45, Paaro-47 and Sajan ka ghar-48. After this film, his name became traceless. Possibly he took up cinematography again.
Music Director Rasheed Atre was one of the 10 MDs I wrote about in my series ” Gems from the Migrators” in November 2014, about 7 years ago, on this Blog. This was about MDs, who started their careers in India and migrated to Pakistan after Partition. Many Muslim artistes had migrated to Pakistan. Let us take a look at the scenario of those times.
In undivided India, Lahore (then in the Punjab) was important as a showbiz centre. It had an established film-making centre. The first Talkie film ever to be made in a Lahore studio was Heer Ranjha-1932 and thereafter many Urdu and Punjabi films were produced from Lahore every year. The partition of India into two independent states – India and Pakistan, caused irreparable damage to film production in Lahore. Most of Lahore’s film producers were Hindus and as the city fell on the side of the Islamic state of Pakistan, they migrated to India. This deprived Lollywood, as Lahore is referred to in film circles, of much needed investment and expertise in film production and distribution.
LAHORE, an important city in the undivided Punjab in the pre-independence days was one of the major Film making Centres in India. Talented actors and musicians from all Punjab and Sindh area tried their luck in the Cine Industry at Lahore. Nevertheless, the biggest centre of film production was Bombay and it was every aspiring artiste’s dream to go to Bombay and shine there.
The film activity at Lahore increased considerably in the early 40s in terms of film production and Music. Those days many actors and musicians shifted their base to Bombay from there. The list of such people is very long, but it will suffice to mention some well known names-
Noorjehan, Pran, Saigal, Prithwiraj Kapoor and his sons, Shyam, Dilip Kumar, Surinder, Karan Dewan, Dev Anand, Balraj Sahni, Singer Khursheed, Mumtaz Shanti, Veena, Begum Para, Meena Shorey, Suraiya, Manorama, Kamini Kaushal, Shyama(Khursheed Akhtar), A R Kardar, M Sadiq, Suresh(Nazim Ahmed), Amar, Chetan Anand, Zande Khan, Ghulam Hyder, Pt.Amarnath and his brothers Husnlal-Bhagatram, Hansraj Behl, S.Mohinder, Firoz Nizami, Khursheed Anwar, Khayyam, Vinod, Shyamsunder, Kidar Sharma, Krishna Chander, O P Dutta, Saadat Hasan Manto, Qamar Jalalabadi, D N Madhok, Tanvir Naqvi, Prem Dhawan etc etc. Many of the actors and producers used to shuttle between Lahore and Bombay for their work.
And when the PARTITION took place in 1947, in the communal frenzy, polarisation of artistes took place. Some Hindus shifted to Bombay and Some Muslims left for Lahore.
At the actual time of Partition some artists were in Lahore for film work. They were B R Chopra, Ramanand Sagar, I S Johar, Gulshan Rai, Omprakash, Jeevan, O P Nayyar, Rajinder Singh Bedi, Naqsh Lyallpuri, Surinder and Prakash Kaur Manorama and Pushpa Huns. They all left Lahore hurriedly and reached Bombay Safely.
Same way many artists from Bombay left for Lahore and ALL of them reached safely. some of the Directors who migrated to Pakistan were-
Syed Shaukat Hussain Rizvi, S M Yousuf, Najam Naqvi, Munshi Dil, Nakshab Jarachavi, M Sadiq, Zia Sarhadi, Sibtain Fazli(of Fazli Brothers), S T Zaidi , Zahoor Raja, Wali saheb, A R Kardar,Nazir,W Z Ahmed,Masood Pervez, Shareef Nayyar,Luqmaan,Dawood Chaand,Rakhan,Nusrat Mansoori,M H Qasim,Roop K Shorey,Butt Kasher,Barkat Mehra and Manto.
Some of the Actors/actresses were- Nazeer, Sadiq Ali, Masood, Sudhir, Santosh, Ratan Kumar, Najmul Hussain, Suresh and Nasir khan(both came back to India later), Sh.Mukhtar, M.Ismail, Ajmal, Gulam Mohd, Kumar, Ghori, Majeed, Shahnawaz, Himalayawala, Shyam Kumar, Allauddin, Shah Shikarpuri, Charlie, Nazar Faizi Noorjehan, Meena Shorey, Khursheed, Zeenat Begum, Asha Posley, Najma, Kalawati, Rehana, Swarnalata, Ragini, Bibbo, Renuka Devi, Geeta Nizami, Maya Devi etc.
Some from the music field were- Khursheed Anwar, Inayat Hussain, Rafiq gaznavi, G A Chisti, Ghulam Hyder, Firoz Nizami, Nissar Bazmi, Nashaad, Tufail Faruqi, Tanvir Naqvi, Faiyaz Hasmi, Iqbal Bano, Premlata,Khursheed,Zeenat Begum,Shevan Rizvi,Rasheed Atre,Fateh Ali khan,Babul etc.
With so many people migrating to Pakistan at a time and given the condition of the Pakistan Film Industry then, it is a moot question, whether all these migrants could get work there and shine ?
(Notes- 1.All lists are only indicative and not exhaustive
2.Migrants means between 1947 to 1970 period.)
After partition,this turmoil subsided after a short period in India and it was business was as usual here, while in Lahore, Pakistan had to build up from scratch, but the Film Industry there too stabilised in a few years’ time. The base of Film industry in Pakistan was built by people who migrated from India. Migration from India to Pakistan continued till about 1970 for the pre-partition artistes. In fact till about 1965 there was an exchange of artistes from both sides to work in other countries, but after the 65 war, this working stopped completely.
Music Directors who left India after Partition had done a very good job here. Composers like Nissar Bazmi, Rasheed Atre and Feroz Nizami became exceptionally successful in Pakistan, but Nashad, Rafiq Ghaznavi and others were not successful to that extent. Khursheed Anwar, a very highly respected composer here remained a father figure even in Pakistan.
I always wondered, how some composers, who were found mediocre here, without much spark, giving music only to B and C grade films, became extremely popular and successful in Pakistan, winning accolades ? examples are is Nisar Bazmi, Rasheed Atre etc.. To understand this strange phenomena, one must consider the state of affairs in Pakistan Film Industry for 5-6 years post Partition. Here is a part of an article on this issue that I found on a Pakistani site, filmbirth.com
” Pakistan has been a part of India up until 1947. Up to that point Lahore was one of the thriving cinema producing centers in India. The first film made in a Lahore studio was “Delhi Express” (1935) and Urdu and Punjabi films were to follow. The partition of India into two independent states – India and Pakistan, caused the demise of the Lahore film industry. Most Hindu filmmakers in Pakistan fled the region when the Islamic Pakistani government became independent. Without the Indian funding and production facilities, the migration of many renowned filmmakers and stars and a lack of proper distribution channels, Lahore (Lollywood) soon became less than a footnote in the regional cinematic landscape.
Fortunately, the outflow from Lahore was accompanied by an inflow into the city. Affected by the same political change, a number of talented Muslims who have established themselves in Bombay’s (now Mumbai) film circles, moved back to Lahore. Prominent among them were film producer Syed Shaukat Hussain Rizvi, his wife actress and singer Noor Jehan, actress Swarn Lata, actor Nazeer, director W. Z. Ahmad, director Luqman, director Sabtain Fazli, music director Feroze Nizami and music director Khwaja Khursheed Anwar. These creative artists laid the foundation of the Pakistani film industry. They were also responsible for producing some of the best films ever made in Lollywood.
The creative energy of Lahore’s film people began to express itself as soon as the partition frenzy subsided. Lollywood became alive again and Teri Yaad was the first film released after partition. Featuring Nasir Khan, brother of film icon Dileep Kumar and Asha Posle, it was released at Lahore Parbhat Cinema on Sept 2, 1948. Its producer was a Hindu named Diwan Sardari Lal, Daud Chand was the director while Nath was the music director. The following year, Anis Productions released a Punjabi film Pheray. Featuring Nazeer (who was also its director) and Swarn Lata, the film proved to be a success and became the first Pakistani film to complete a 25-week run at cinema houses. Another important film was Naubahar Films’ Do Ansoo which was released in 1950. Produced by Sheikh Latif and directed by Anwar Kamal Pasha, it won popularity and became first Urdu film to complete its silver jubilee. “
Due to a shortage of composers, all were welcomed with open arms. Those who had talents did extremely well here. Unfortunately the second generation of composers of calibre were not prepared and once these migrants disappeared from the scene,the musical fields of Pakistan dried up. According to an article on Wiki, there are 7 ages in Pakistan Film music –
| S No | Phase | Period |
|---|---|---|
| 1 | Independence and growth | 1947-1958 |
| 2 | The Golden Age of Pak Film Music | 1959-77 |
| 3 | The age of Disaster (Onslought of VCR and brain Drain to Bangladesh) | 1977-88 |
| 4 | Politics,Islamisation and downfall | 1979-87 |
| 5 | Collapse | 1988-2002 |
| 6 | Decline | 2002-2009 |
| 7 | New wave and Hopes | 2010 onwards |
Anyway, Nisar Bazmi and Rasheed Atre prospered during the Golden Age period and got all the benefits.
Composer RASHEED ABDUL ATRE was born in Amritsar on 15-2- 1919. His father Khushi Mohammed was a well known musician and singer. Rasheed learnt music from Ustad Khan saheb Ashfaq Hussain. Then he went to Calcutta and worked under R.C.Boral. During his stay in Calcutta he is presumed to have composed songs for films “Pardanasheen”-1942 and “Mamta”-1942, under the name R.A.Atra. After coming back to Bombay he joined Jhande Khan and Gobindram in composing songs for “Pagli”-43. He was assistant to composer Amir ali in “Panna”-44. With Pt.Amarnath,he composed songs for “Shirin Farhad”-45. Then came Room No.9-46,Nateeja-47,Paro-47 and Shikayat-48. From 43 to 48 he gave music to 6(confirmed) films. Not much, but then he did not get much time either.
Nateeja was a Muslim social made by Bombay Talkies and he was specially called for it. Nateeja music was his best in India and all its songs became very popular. for Room No 9-46,he worked in Navyug Chitrapat co. where one of the owners was P K Atre, a noted Marathi writer and Dramatist. P K Atre was ,of course, a Hindu,but it was a coincidence.
After Partition Atre went to Pakistan. He first served Radio Pakistan, Rawalpindi and then at Lahore. He prospered in Pakistan and gave music in 54 Urdu and Punjabi films. He was awarded the coveted Nigar Award 3 times in a row. The famous Marching song of Pakistan ” Allah o Akbar ” was composed by Rasheed Atre. The first Pakistani film for which Rasheed Attre lent his music was director Masood Pervez’s Beli (1950).
Three years after Beli, Rasheed was in-charge of music for director Nazir Ahmed Khan’s Punjabi film, Shehri Babu (1953), whose evergreen songs still are popular in Pakistan . Attre’s music for director W.Z. Ahmed’s 1954 family-friendly film Roohi (1954) was a huge success.
Rasheed Attre’s music is all very praise-worthy in director Nazir Ahmed Khan’s film Khatoon, which was popular for its thumri. Attre’s composition exhibits an astonishing range and power in director Anwar Kamal Pasha’s superhit film Sarfarosh (1956). In 1956, Rasheed was also given the responsibility of composing songs for director Anwar Kamal Pasha’s golden jubilee punjabi film Chann Mahi (1956) (lyrics: Tufail Hoshiarpuri, starring: Bahar, Aslam Pervaiz). Attre was, indeed, a powerhouse of a musician and a case in point is director W.Z. Ahmed’s all-time favorite film, Waada (1957), which happened to be a movie from a more idealistic time. At the height of his fame, Attre came up with his magical composition for film director Anwar Kamal Pasha’s semi- historical movie, Anarkali (1958). To be precise, it was a joint venture of 2 film music composers Rasheed Attre and Master Inayat Hussain.
Rasheed Attre passed away on December 18, 1967, at the age of 48.
Today’s song is sung by Sulochana Kadam and M.Aslam. There is also a solo by M.Aslam of the same song in the film.
Song- Zakhmi ko naya zakhm lagaata hai zamaana (Paaro)(1947)Singers- Sulochana Kadam, M Aslam, Lyricist- Not known, MD- Rasheed Atre
Both
Lyrics
Zakhmi ko naya zakhm lagaata hai zamaana
Zakhmi ko naya zakhm lagaata hai zamaana
har tarah gareebon ko sataata hai zamaana
har tarah gareebon ko sataata hai zamaana
Zakhmi ko naya zakhm lagaata hai zamaana
kya hamne zamaane mein bigaaa hai kisi ka
kya hamne zamaane mein bigaaa hai kisi ka
kyun hamko nigaahon se giraata hai zamaana
Zakhmi ko naya zakhm lagaata hai zamaana
tadbeer kisi kee ee ee ee ee
tadbeer kisi ke ke
muhabbat mein hansenge
tadbeer to ki thhi ki
muhabbat mein hansenge
taqdeer to roti hai
rulaata hai zamaana
Zakhmi ko naya zakhm lagaata hai zamaana
muflis ki tamanna kabhi
poori nahin hoti
poori nahin hoti
muflis ki tamanna kabhi
poori nahin hoti
poori nahin hoti
?? har naaz uthhaata hai zamaaana
Zakhmi ko naya zakhm lagaata hai zamaana
jiska nahin ee eeduniya mein koi
ee ee ee ee ee ee ee ee
uska khuda hai
uska khuda hai
jiska nahin duniya mein koi
uska khuda hai
jiska nahin duniya mein koi
uska khuda hai
ye baat magar bhoolta jaata hai zamaana
Zakhmi ko naya zakhm lagaata hai zamaana
har tarah gareebon ko sataata hai zamaana
Zakhmi ko naya zakhm lagaata hai zamaana
Ek bewafa se pyaar kiyaa
Posted on: July 30, 2021
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 : |
4760 | Post No. : | 16504 | Movie Count : |
4484 |
Today’s song is from the film Duniya Deewaani-1943. This film was made by Kamal Pictures and the director was K.L.Kahan-who made Debut with this film as a director. Later he directed 5 more films…..Qatil-44, Nishana-46, Khooni-46, Bahadur Naresh and Tilasmi Kangan-49. All these films were stunt films. The Music Director for today’s film was K.Narayan Rao. He composed 10 songs in this film written by another Debutante Arshad Gujarati. In this film he used 5 playback singers.
The cast of the film consisted of 16 actors as per HFGK. Out of these, I know only 5 actors, the rest 11 are unknown to me. The known 5 are the lead pair-Eddie Billimorea and Romila, W.M.Khan, Firoza and Anant Marathe. Of The 5 singers 3 are unknown to me. I could not get any information whatsoever about this film, anywhere. No wonder,because in India at least 60% films were of this type only during the period 1939 to 1946. The reason was simple. Consequent to the crumbling of the Studio system, the ” novo rich’ financers had crashed into the Film industry with bags of money. The action, stunt, costume and C grade social films were made in plenty, because these needed less investment and profits were assured.
Fortunately, even in this period many creative, excellent and musical films were also made by the veterans and genuine film experts. By the end of the year 1942 some ambitious and capable film personalities like V.Shantaram, Mehboob Khan, A.R.Kardar, Ashok kumar, Homi Wadia etc had established their own studio and film companies. Many new playback singers like Hemant kumar, jagmohan sursagar, Manna Dey, Noorjehan etc and new Music Directors like Kamal Dasgupta, C Ramchandra, Vasant Desai, Ninu Mujumdar etc debuted in Hindi films. Artistes from New Theatres, Calcutta, like Saigal, Prithviraj, Kidar Sharma, K.N.Singh etc came to Bombay and the film industry in Bombay started shining with these changes in and from 1943 onwards.
Due to all these new changes and activities, the “outsiders” with Moneybags soon lost interest in films and turned to other fields. This paved the way for the film industry to enter into the ” Golden Era ” by the end of the decade.
The Hero of the film Duniya Diwani-1943 was Eddie Billimorea. He was a case of ” Mistaken Identity” to enter into film acting. E.(Eddie or Adi) Billimoria ( 1900-1981) came into film acting by accident. Eddie Billimoria was born in 1900 in Kirkee, a cantonment town near Poona, where his father worked in the ordinance factory. At 13 he ran away to join the railways as a fireman, hoping as many boys do to become an engine driver. Unfortunately, he fell ill and for a change of climate his parents took him to Bombay. There for the first time he saw a film – a silent American film. And it was then as he says, “that my troubles started.”
In Kirkee he couldn’t see any films as the only cinema hall was meant exclusively for British soldiers. Indians were not allowed. Eddie got around this by becoming a gate-keeper. During his spare time he hung around the projectionist cabin, and one day when the projectionist walked off in a drunken fit, Eddie got his job. Soon he decided to try his luck as a projectionist in Bombay. At nights he slept in the Azad Maidan and during the day he hung around the Excelsior and Empire cinemas hoping for a job. One night his hat, shoes and coat were stolen and Eddie felt the world had come to an end. Seeing the shoeless, coatless, hatless boy “from a good family” a kindly projection equipment dealer offered him a job. After this Eddie demonstrated and installed projection equipment in almost a thousand cinemas all over the country.
One day, he went to meet his younger brother D.Billimoria ( Dinshaw Billimoria), who had joined the film industry as an actor, in a studio. Both brothers, being Parsis, looked similar. The make-up man of that studio mistook E. for D. Billimoria, without caring about his protests,did his make-up. What’s more, the director immediately gave him a role in that silent movie,”Punjab Mail”-1929 too. Eddie enjoyed this confusion and did what was told. Thus he entered the cinema world. His first film as a Hero was Raj Ramani. He did 7 silent films with Imperial and 10 with Ranjit studios. At Imperial, he met a young man Prithviraj Kapoor, who worked as an extra there. After the arrival of Talkie films, Eddie was Hero in 32 Ranjit films. With actress Madhuri alone he did 15 films. He was called Dev Anand of Stunt films.He was the first Cowboy Hero of India.
Then for some time he was with Paramount owned by Kikubhai Desai. Desai’s sudden death led to the end of Eddie’s career as a leading man. After this he started accepting character roles, but even these were few and far between. Finally, he had to resort to playing an extra in crowd scenes.
After 1938, he did character roles and after 1953,as an extra in any film to survive. In old age he did service in a Fridge and A.C. shop. E.Billimoria died on 18-2-1981 in his own flat in Kemps corner, Bombay. He has worked in 73 Talkie films, directed 1 film,-Sone ki chidiya-48. He even sang 4 songs in 4 films,as per HFGK. His first Talkie film was Radha Rani or Divine lady-1932 and the last film was Honeymoon-73.( Thanks for some information taken from Cineplot and from book,”Inhe na bhulana” by Shri Harish Raghuwanshi ji )
There is one actress in the cast, who is not known to many – FIROZA. Firoza (real name Susan Soloman) was born in a village in Konkan, Maharashtra on 30-7-1905, into a Bene Isareli Jew community. By the time she finished her education, she was proficient in Hebrew, Marathi, Hindi and English. In spite of opposition from family, she started working in silent films and soon became popular. Some of her films also became famous and hits. She continued working in silent films till 1934, when Silent films stopped being made. Due to family’s opposition, she had to leave her house. She stayed in Bombay.
With the advent of Talkie films, she naturally entered Talkie films, with Noor E Yaman-1935, in a small role. She acted in films like Bhikaran-35, Aansuon ki duniya-36,Bharat ke laal-36, Jeevan Jyoti- 37, Dukhiyari-37, Veerbala-38 etc.etc. Due to her success in films,m she fell a prey to false promises and dreamt of working in Hollywood films.She wasted 3 years in this and dejected, started working in films again here with Ek Raat-42, Circus girl-43, Duniya diwani-43, Bhagta bhoot-43, Andhi duniya-43, Din Raat-45, Lal Batti-47, Daulat ke liye-47, Haatimtai-47, Dilwale-48 etc.
She became an alcoholic and a chain smoker. She made the mistake of refusing offers from Bombay Talkies and other big banners. Meanwhile she fell in love with actor Chandra Mohan and wished to marry him, but he became a drunkard and died in 1949. Her financial condition became worse. She did small roles in Marathi and Hindi films. Yasmin -54 was her last film.
She lost her parents and lived alone in a single room, where she died unnoticed one day in early 70s. She was one of the top 5 Jew actresses, included in the Documentary ” Shalom Bollywood’ made by Danny Ben-Moshe in 2003. Thus ended a talented artiste !.
NOTE – There was another FIROZA BEGUM- wife of Music Director Kamal Dasgupta of Calcutta. She is different. She was Bangla Deshi singer. Never acted in any film.
(Ack: Information culled from Beete kal ke sitare by S.Tamrakar,” The untold story of Jews in Indian Cinema”-Sunday Guardian, Women in Hindi Cinema by Bhavna, Jigna and Supriya, theoneminute.com and my notes.)
The song presented today is sung by K.Sundaramma. She was Music Director K.Narayan Rao’s wife. She was a trained classical singer by hobby. Narayan Rao gave her a break in this film. However, she did not pursue singing in films as a Playback singer, hence film Duniya Diwani became the first and last film for her career. Narayan Rao had also given a break to Lyricist Indivar in his film Jagriti-1949. He also introduced 3 playback singers in that film -Sanjivani Pai, Lalita Rao and Freni Shroff.
With today’s song, the singer K Sundaramma and the film Duniya Deewaani-1943 are making their Debuts on this Blog.
Song- Ek bewafa se pyaar kiya (Duniya Deewaani)(1943) Singer- K Sundaramma, Lyricist- Arshad Gujarati, MD- K Narayan Rao
Lyrics
Ek bewafa se pyaar kiya aa aa aa
aa aa aa
pyaar kiya hai pyaar kiya
Ek bewafa se pyaar kiya
pyaar kiya hai pyaar kiya
har waqt dil ne waar kiya
waar kiya hai pyaar kiya
Ek bewafa
aa aa aa aa
ae intahaaye ?? ye deewaangi teri ae ae ae ae
kyon unpe aitbaar kiya aa aa
aitbaar kiya hai pyaar kiya
kyon unpe aitbaar kiya
aitbaar kiya hai pyaar kiya
Ek bewafa
aa aa aa aa aa aa
aa aa aa aa
?? hai ?? koshishen
naakaam ho gayin
bekaar unse pyaar kiyaa
aa aa aa
pyaar kiya hai pyaar kiya
bekaar unse pyaar kiyaa
pyaar kiya hai pyaar kiya
Ek bewafa
?? dil ka ??
aur sar chhupa saki ee ee ee ee
ro ro ke ashkaar kiya
aa aa
ashkaar kiya hai pyaar kiya
ro ro ke ashkaar kiya
ashkaar kiya hai pyaar kiya
Ek bewafa
Koi bataa do re ab main kya karoon
Posted on: July 11, 2021
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 : |
4741 | Post No. : | 16468 |
“Girls’ School” (1949) was produced by Kavi Pradeep and Amiya Chakraborty and directed by Amiya Chakraborty for Lokmanya Productions, Bombay. This movie had Geeta Bali, Sohan, Mangala, Krishna, Sajjan, Ramsingh, Shashikala, Vimala Vashisht etc in it.
A letter sent to “Film India” magazine and published in its August 1949 edition has this to say about the movie:-
I am wondering what this film has to do with women’s educational institute. There is not a single scene depicting as to how our rustic Indian girls are thought to become good mothers, good wives and good sisters though the head mistress of the Girls School uses these phrases so generously.
Nowhere (in the film) do we come across a single shot of the newly appointed young teacher and the head mistress taking classes. But none the less, we see a good deal about their ‘Laila-Majnu’ affairs. I shudder to think of the consequences that might follow if all the unmarried teachers begin to act in this manner.
The above reader was not alone in holding such views about this movie. The movie duly flopped and with that Kavi Pradeep gave up his aspirations of becoming a producer and confined himself to being a lyricist for the rest of his career. His co producer Amiya Chakraborty, though continued to be a producer and director and he met ith considerable success in his subsequent ventures.
“Girls’ School” (1949) had nine songs in it. Amil Biswas was originally signed up as the music director and he had composed four songs before he was shown the door as he could not see eye to eye with Kavi Pradeep. The remaining five songs were composed by c Ramchandra.
8 Songs from “Girls’ School” (1949) have been covered in the past. Here are their details:-
| Sr. No. | Details of Songs | Date of Posting |
|---|---|---|
| 1. | Tumhi kaho mera man kyun rahe udaas nahin | 25 April 2011 |
| 2. | Baar baar tum soch rahi ho…chaar din ki chaandni hai | 9 July 2011 |
| 3. | O shahar ke baanke baaboo…zara dil pe rakhiyo qaaboo | 19 May 2015 |
| 4. | Kuchh sharmaate huye aur kuchh saham saham | 6 February 2016 |
| 5. | Raam bharose meri gaadi | 25 October 2016 |
| 6. | Danke ki chot par kehta hoon main | 12 November 2017 |
| 7. | Phoolon ka sapna dekhne waalon | 1 may 2021 |
| 8. | Gori ek baat sun badi mazedaar hai | 9 July 2021 |
Here is the ninth and final song from “Girls’ School” (1949) to appear in the blog. This song is sung by Lalita Deulkar. Kavi Pradeep is the lyricist. Music is composed by C Ramchandra.
Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of this song.
Lyrics of this song were sent by Prakashchandra.
With this song, all the songs of “Girls’ School” (1949) are covered in the blog and the movie joins the list of movies that have been YIPPEED in the blog.
audio link:
Song-Koi bata do re ab main kya karoon (Girls’ School)(1949) Singer-Lalita Deulkar, Lyrics-Kavi Pradeep, MD-C Ramchandra
Lyrics(Provided by Prakashchandra)
ek taraf hai jag ka aaa bandhan
ek taraf hai pyaaa..aaar
inn donon ke ae
beech mein meraa
jal rahaa hai sansaar
koyi bataa do rey ae ae
koyi bataa do rey
ab main kyaa karoon oon
kyaa karoon
mujhko woh din hai yaaa…aaad
mujhko woh din hai yaad
ke jab mere nain huye thhe chaar
palkon ne saath diya
khushi ki shabnam se singaar
magar woh din bhi
beet gaye ae ae ae ae
magar woh din bhi ee
beet gaye ae ae
bichchad gaye dildaar
meri aashaa ki
sab kishtiyaan
doob gayee manjhdaar
ho o doob gayi manjhdhaar
koyi bataa do rey ae ae
koyi bataa do rey ae
ab main kyaa karoon oon
kyaa karoon
kaun karega
apne haathhon se
apni chitaa taiyyaar
kaun rakhegaa
meri tarah se
phir us mein angaar
mere liye zindagi ee bani hai
ab talwaar ki dhaar
main to chaahoon ke
piyaa ko pukaaroon
phir bhi sakoon na pukaar
ho o
phir bhi sakoon na pukaar
koyi bataa do rey ae ae
koyi bataa do rey ae
ab main kyaa karoon oon
kyaa karoon
Dar dar ki thokaren hain
Posted on: June 3, 2021
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 : |
4703 | Post No. : | 16407 |
“Ghar Ki Izzat”(1948) was produced and directed by Ram Daryani for Murli Movietone Bombay. The movie had Mumtaz Shanti, Dilip Kumar, Manorama, Jeevan, Dixit, Suleman, Gulab, Gope etc in it. The movie had 12 songs in it. Eight songs have been covered in the past.
Here is the ninth song from “Ghar Ki Izzat”(1948) to appear in the blog. The song is sung by Shamshad Begam. I C Kapur is the lyricist. Music is composed by Pt Govindram.
The song is picturised on Mumtaz Shanti. Lyrics of the song were sent to me by Prakashchandra.
Song-Dar dar ki thokaren hain (Ghar Ki Izzat)(1948) Singer-Shamshad Begam, Lyrics-I C Kapur, MD-Pt Govindram
Lyrics(Provided by Prakashchandra)
dar dar ki ee thokarein hain
dar dar ki ee thokarein hain
dushman meraa jahaan hai ae
dar dar ki ee thokarein hain
dushman meraa jahaan hai ae
phootaa naseeb lekar
jaanaa mujhe kahaan hai ae
phootaa naseeb lekar
jaanaa mujhe kahaan hai ae ae
dar dar ki thokrein hain
bhatkaa huaa hai raahee
hain paaon dagmagaatey ae ae
bhatkaa huaa hai raahee
hain paaon dagmagaatey ae ae
manzil kaa kya thhikaanaa aan aa
rastaa hai na nishaan hai ae ae
manzil kaa kya thhikaanaa aan aa aa
rastaa hai na nishaan hai ae
dar dar ki ee thokarein hain
dushman mera jahaan hai ae
dar dar ki ee thokrein hain
shikwaa kisi se kyaa ho
jab apne huye paraaye
shikwaa kisi se kyaa ho o
jab apne huye ae paraaye aey
na zindagi hai saathi
naa maut meharbaan hai
na zindagi hai saathi ee
na maut meharbaan hai ae
dar dar ki thokarein hain
dushman meraa jahaan hai ae
dar dar ki thokarein hain
Raat dulhan bani chaand dulha bana
Posted on: March 15, 2021
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 : |
4623 | Post No. : | 16271 |
Yearwise discussion of Lata Mangeshkar songs in HFM: Part XXV: Year 1971
———————————————————————————————————
In this episode, we discuss Lata Mangeshkar songs that she sang in Hindi movies released in 1971.
In 1970, 115 Hindi movies containing 652 songs were released. Lata Mangeshkar got to sing in 52 of these movies and she sang 126 songs in these movies. So Lata Mangeshkar’s voice was heard in 45.2 % of the movies released in 1971. Her voice was heard in 19.3 % of the songs appearing in the movies of 1971.
Here are the details of songs sung by Lata Mangeshkar in Hindi movies released in 1971 :-
| S N | Movie | Music director | Lata song in the blog | Lata HFM songs recorded in the year | Lata solo songs | Male duet | Female duet | Other songs | Lyricists |
|---|---|---|---|---|---|---|---|---|---|
| 1 | Aap Aaye Bahaar Aayi | Laxmikant Pyarelal | 3 | 3 | 0 | 3 | 0 | 0 | Anand Bakshi |
| 2 | Albelaa | Shankar Jaikishan | 2 | 2 | 2 | 0 | 0 | 0 | Hasrat Jaipuri |
| 3 | Amar Prem | R D Burman | 2 | 2 | 2 | 0 | 0 | 0 | Anand Bakshi |
| 4 | Balidaan | Shankar Jaikishan | 2 | 2 | 2 | 0 | 0 | 0 | Verma Malik |
| 5 | Banphool | Laxmikant Pyarelal | 4 | 4 | 2 | 2 | 0 | 0 | Anand Bakshi |
| 6 | Bikhre Moti | Laxmikant Pyarelal | 1 | 1 | 0 | 1 | 0 | 0 | Majrooh Sultanpuri |
| 7 | Buddha Mil Gaya | R D Burman | 2 | 2 | 1 | 1 | 0 | 0 | Majrooh Sultanpuri |
| 8 | Caravan | R D Burman | 3 | 3 | 1 | 2 | 0 | 0 | Majrooh Sultanpuri |
| 9 | Chaahat | Laxmikant Pyarelal | 0 | 3 | 1 | 2 | 0 | 0 | Anand Bakshi |
| 10 | Chhoti Bahu | Kalyanji Anandji | 1 | 2 | 2 | 0 | 0 | 0 | Indeewar |
| 11 | Duniya Kya Jaane | Shankar Jaikishan | 0 | 1 | 1 | 0 | 0 | 0 | Rajinder Krishan |
| 12 | Dushman | Laxmikant Pyarelal | 4 | 4 | 3 | 1 | 0 | 0 | Anand Bakshi |
| 13 | Ek Thhi Reeta | Jaidev | 1 | 1 | 0 | 1 | 0 | 0 | Naqsh Llayalpuri |
| 14 | Elaan | Shankar Jaikishan | 1 | 1 | 1 | 0 | 0 | 0 | Hasrat Jaipuri |
| 15 | Gambler | S D Burman | 2 | 2 | 0 | 2 | 0 | 0 | Neeraj |
| 16 | Haathi Mere Saathi | Laxmikant Pyarelal | 3 | 3 | 0 | 3 | 0 | 0 | Anand Bakshi |
| 17 | Hangaama | R D Burman | 1 | 1 | 0 | 1 | 0 | 0 | Anjaan |
| 18 | Hare Rama Hare Krishna | R D Burman | 3 | 3 | 1 | 2 | 0 | 0 | Anand Bakshi |
| 19 | Jaane Anjaane | Shankar Jaikishan | 2 | 2 | 1 | 1 | 0 | 0 | Hasrat Jaipuri |
| 20 | Jai Bangla Desh | Kalyanji Anandji | 0 | 1 | 0 | 0 | 1 | 0 | Indeewar |
| 21 | Jal Bin Machhli Nritya Bin Bijli | Laxmikant Pyarelal | 5 | 7 | 5 | 2 | 0 | 0 | Majrooh Sultanpuri |
| 22 | Jawaan Mohabbat | Shankar Jaikishan | 1 | 1 | 1 | 0 | 0 | 0 | Hasrat Jaipuri |
| 23 | Kabhi Dhoop Kabhi Chhaaon | Chitragupta | 0 | 3 | 1 | 2 | 0 | 0 | Prem Dhawan |
| 24 | Kathhputli | Kalyanji Anandji | 1 | 2 | 0 | 2 | 0 | 0 | Shadab |
| 25 | Laakhon Mein Ek | R D Burman | 3 | 3 | 1 | 2 | 0 | 0 | Anand Bakshi |
| 26 | Ladki Pasand Hai | Sonik Omi | 0 | 1 | 1 | 0 | 0 | 0 | G L Rawal |
| 27 | Lagan | Laxmikant Pyarelal | 1 | 4 | 3 | 1 | 0 | 0 | Anand Bakshi |
| 28 | Main Sundar Hoon | Shankar Jaikishan | 2 | 2 | 2 | 0 | 0 | 0 | Anand Bakshi |
| 29 | Man Mandir | Laxmikant Pyarelal | 3 | 3 | 0 | 3 | 0 | 0 | Rajinder Krishan |
| 30 | Maryaada | Kalyanji Anandji | 3 | 3 | 1 | 2 | 0 | 0 | Anand Bakshi |
| 31 | Mehboob Ki Mehndi | Laxmikant Pyarelal | 3 | 3 | 1 | 1 | 1 | 0 | Anand Bakshi |
| 32 | Mela | R D Burman | 4 | 4 | 1 | 3 | 0 | 0 | Majrooh Sultanpuri |
| 33 | Mera Gaaon Mera Desh | Laxmikant Pyarelal | 5 | 5 | 4 | 1 | 0 | 0 | Anand Bakshi |
| 34 | Mere Apne | Salil Chaudhary | 1 | 1 | 1 | 0 | 0 | 0 | Gulzar |
| 35 | Naya Zamaana | S D Burman | 4 | 4 | 4 | 0 | 0 | 0 | Anand Bakshi |
| 36 | Paakeezaah | Ghulam Mohammad | 6 | 6 | 5 | 1 | 0 | 0 | Kaif Bhopali (2) Majrooh Sultanpuri (2) Kamal Amrohi (1) Kaifi Azmi (1) |
| 37 | Paaras | Kalyanji Anandji | 1 | 1 | 0 | 1 | 0 | 0 | Indeewar |
| 38 | Paraaya Dhan | R D Burman | 1 | 1 | 0 | 1 | 0 | 0 | Anand Bakshi |
| 39 | Parde Ke Peechhe | Shankar Jaikishan | 1 | 3 | 2 | 1 | 0 | 0 | Rajinder Krishan |
| 40 | Patanga | Shankar Jaikishan | 2 | 2 | 2 | 0 | 0 | 0 | Hasrat Jaipuri |
| 41 | Preetam | Shankar Jaikishan | 1 | 1 | 1 | 0 | 0 | 0 | Rajinder Krishan |
| 42 | Preet Ki Dori | Kalyanji Anandji | 1 | 2 | 2 | 0 | 0 | 0 | Indeewar |
| 43 | Prem Ki Ganga | Chitragupta | 0 | 1 | 1 | 0 | 0 | 0 | Prahlad Sharma |
| 44 | Pyaar Ki Kahaani | R D Burman | 2 | 2 | 0 | 1 | 1 | 0 | Anand Bakshi |
| 45 | Rakhwaala | Kalyanji Anandji | 3 | 3 | 2 | 1 | 0 | 0 | Unknown (1) Rajinder Krishan (1) Hasrat Jaipuri (1) |
| 46 | Reshma Aur Shera | Jaidev | 2 | 2 | 2 | 0 | 0 | 0 | Balkavi Bairaagi (1) Uddav Kumar (1) |
| 47 | Saaz aur Sanam | Chitragupta | 1 | 2 | 2 | 0 | 0 | 0 | Kaifi Azmi |
| 48 | Sharmilee | S D Burman | 3 | 3 | 2 | 1 | 0 | 0 | Neeraj |
| 49 | Tere Mere Sapne | S D Burman | 4 | 4 | 2 | 2 | 0 | 0 | Neeraj |
| 50 | Upaasna | Kalyanji Anandji | 1 | 1 | 0 | 1 | 0 | 0 | Rajinder Krishan |
| 51 | Uphaar | Laxmikant Pyarelal | 1 | 1 | 1 | 0 | 0 | 0 | Anand Bakshi |
| 52 | Wo Din Yaad Karo | Laxmikant Pyarelal | 2 | 2 | 1 | 1 | 0 | 0 | Anand Bakshi |
| Total | 52 movies | 10 MDs | 105 | 126 | 71 | 52 | 3 | 0 | 19 lyricists |
Lata Mangeshkar worked with 10 music directors and 19 lyricists in these 52 movies released in 1971. Shankar Jaikishan with 423 songs in the voice of Lata Mangeshkar were the leading music directors for her followed by C Ramchandra with 274 songs. Other top music directors for Lata Mangeshkar were Laxmikant Pyarelal (255), Chitragupta (233), Madan Mohan (174), Kalyanji Anandji (172), Roshan (144), S D Burman (143), Naushad (126), Hemant Kumar (124), Anil Biswas (120), Husnlal Bhagatram (108) and Vasant Desai (104). Together these thirteen music directors composed 2400 songs out of 3509 songs that Lata Mangeshkar had sung in Hindi movies till end of 1971. The top nine lyricists till end of 1971 for Lata Mangeshkar were Rajinder Krishan (502), Shailendra (361), Hasrat Jaipuri (283), Majrooh Sultanpuri (254), Anand Bakshi (222), Prem Dhawan (198), Shakeel Badayuni (189), Bharat Vyas (180) and Sahir Ludhianvi (114). These nine lyricists had penned 2304 songs sung by Lata Mangeshkar till that time.
Lata Mangeshkar did not collaborate with any new music director in a Hindi movie in movies of this year. Balkavi Bairaagi, Kamal Amrohi and Prahlad Sharma were three lyricists who got to collaborate with Lata Mangeshkar for the first time in movies released this year.
Here is the summary of Lata Mangeshkar’s playback career in Hindi movies till end of 1971 :
| Year | Movie count | Lata song in the blog | Lata HFM songs recorded in the year | Lata solo songs | Male duet | Female duet | Other songs | Remarks |
|---|---|---|---|---|---|---|---|---|
| 1946 | 3 movies | 4 | 4 | 4 | 0 | 0 | 0 | |
| 1947 | 3 movies | 5 | 5 | 3 | 1 | 0 | 1 | |
| 1948 | 16 movies | 50 | 50 | 37 | 6 | 4 | 3 | |
| 1949 | 38 movies | 134 | 157 | 103 | 35 | 12 | 7 | |
| 1950 | 36 movies | 114 | 143 | 93 | 32 | 14 | 4 | |
| 1951 | 49 movies | 189 | 223 | 158 | 52 | 10 | 3 | |
| 1952 | 43 movies | 149 | 177 | 138 | 31 | 4 | 4 | |
| 1953 | 45 movies | 170 | 195 | 149 | 35 | 5 | 6 | |
| 1954 | 43 movies | 140 | 172 | 144 | 23 | 4 | 1 | |
| 1955 | 50 movies | 165 | 218 | 177 | 30 | 10 | 1 | |
| 1956 | 49 movies | 168 | 204 | 153 | 35 | 13 | 3 | |
| 1957 | 47 movies | 129 | 160 | 110 | 38 | 7 | 5 | |
| 1958 | 35 movies | 102 | 132 | 95 | 25 | 10 | 1 | |
| 1959 | 58 movies | 188 | 211 | 130 | 68 | 12 | 1 | |
| 1960 | 48 movies | 139 | 166 | 102 | 50 | 12 | 1 | |
| 1961 | 44 movies | 125 | 152 | 88 | 55 | 5 | 4 | |
| 1962 | 40 movies | 118 | 129 | 84 | 40 | 5 | 0 | |
| 1963 | 37 movies | 103 | 111 | 62 | 38 | 8 | 3 | |
| 1964 | 46 movies | 122 | 133 | 91 | 31 | 8 | 3 | |
| 1965 | 42 movies | 83 | 91 | 71 | 17 | 1 | 2 | |
| 1966 | 49 movies | 104 | 133 | 110 | 14 | 8 | 1 | |
| 1967 | 44 movies | 92 | 106 | 67 | 38 | 8 | 3 | |
| 1968 | 33 movies | 83 | 84 | 59 | 19 | 5 | 1 | |
| 1969 | 43 movies | 77 | 97 | 67 | 27 | 2 | 1 | |
| 1970 | 54 movies | 86 | 130 | 84 | 39 | 3 | 4 | |
| 1971 | 52 movies | 105 | 126 | 71 | 52 | 3 | 0 | |
| Total upto 1971 | 1047 movies | 2961 | 3509 | 2460 | 831 | 173 | 63 |
By the end of 1971, she had sung in 1047 Hindi movies. So she achieved the distinction of lending her voice in more than one thousand Hindi movies.
It can be seen from the table of 1971 that Lata Mangeshkar sang 126 songs in 52 movies released in 1971. 105 of these songs are already covered in the blog.
All Lata Mangeshkar songs from 39 movies of 1971 are already covered in the blog. So 21 Lata Mangeshkar songs from 13 movies of 1971 are still available to be discussed.
Alphabetically the first movie of 1971 that offers us Lata Mangeshkar songs to be discussed is “Chaahat”(1971).
“Chaahat”(1971) was directed by Moni Bhattacharya for Ne Fils Corporation, Bombay. The movie had Mala Sinha, Biswajeet, Mumtaz, Jeetendra, Achala Sachdev, Asit Sen, Mridula, Sundar, Roopesh Kumar, Zalaani, Altaf, Shahid, Master Javed, Baby Yasmeen, Madhumati, Jayshreee T etc in it.
The movie had five songs in it. One song has been covered in the blog so far. Lata Mangeshkar had sung three songs in it, including one solo, one male duet and one female duet. None of these Lata songs are represented in the blog so far.
Here is the Lata solo from the movie. This song is penned by Anand Bakshi. Laxmikant Pyarelal is the lyricist. The song is picturised as a “betrayed in love” Mala Sinha in a wedding.
Lyrics of this song were sent to me by Prakashchandra a few months ago.
Song-Raat dulhan bani chaand dulha bana (Chaahat)(1971) Singer-Lata, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal
Lyrics(Provided by Prakashchandra)
raat dulhan bani
chaand dulha bana
raat dulhan bani
chaand dulha bana
aarzuon bhare dil machalne lage
dil machalne lage
ki har taraf
yoon khushi muskuraane lagi
gham ki aankhon se aansu nikalne lage
dil machalne lage
saara aalam hai yoon dagmagaaya hua
saari duniya hai yoon dagmagaayi huyi
aaj dil pe nasha sa hai chhaaya hua
aaj nazron pe masti hai chhaayi huyi
aur to gham nahin
hosh mein hum nahin
gir na jaayen kahin hum
sambhalne lage
dil machalne lage
raat dulhan bani
chaand dulha bana
aarzuon bhare dil machalne lage
dil machalne lage
ho gayi aaj dil ki tamanna jawaan
zindagi ban gayi pyaar ki daastaan
ae zamaane mubaarak tujhe ye ghadi
ae muhabbat mubaarak tujhe ye samaa
neend udne lagi
khwaab sajne lage
pyaas bujhne lagi
deep jalne lage
dil machalne lage
har taraf
yoon khushi muskuraane lagi
gham ki aankhon se aansu nikalne lage
dil machalne lage
is zamaane mein hote hain aise kai
koi jinko galey se lagaata nahin
jinki kismat mein hoti hai veeraaniyaan
unko gulshan mein koi bulaata nahin
thhaam ke ro padi
apne dil ko fiza (?)
kaafile jab bahaaron ke chalne lage
dil machalne lage
raat dulhan bani
chaand dulha bana
aarzuon bhare dil machalne lage
dil machalne lage
Lut gaya mere sapnon ka deraa
Posted on: March 6, 2021
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Blog Day : |
4614 | Post No. : | 16247 |
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Blog 10-Year Challenge (2011-2021) – Song No. 14
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The blog was chugging along nicely these days ten years ago. This day ten years ago, that is 6 march 2011, sa as many as seven songs from seven different movies getting covered in the blog. Here are the details:-
| Blog post number | Song | Movie (year) | Remarks |
|---|---|---|---|
| 3607 | O roothhe huye Bhagwaan tumko kaise manaaun | Sindoor(1947) | Seven songs covered by now(out of 8) |
| 3608 | Mera dil tadpaa kar kahaan chalaa | Shabnam (1949) | Movie YIPPEED by now |
| 3609 | Badli teri nazar to nazaare badal gaye | Badi Bahu(1951) | Movie YIPPEED by now |
| 3610 | Mere pyaar mein tujhe kyaa milaa | Maan(1954) | Movie YIPPEED by now |
| 3611 | Tera muskuraanaa banaa ik bahaanaa | Pyaar Ki Daastaan(1961) | 2 songs covered by now (out of 8) |
| 3612 | Tunak tun tun bole jiyaa | Kahin Pyaar Na Ho Jaaye(1963) | Movie YIPPEED by now |
One can see that “Pyaar Ki Daastaan”(1961) is one of the two movies which is eligible for blog Ten Year Challenge today on 6 March 2021.”Pyaar Ki Daastaan”(1961) as produced by Ghulam Hussain and directed by P L Santoshi for Pushpa Pictures, Bombay. The movie had Ameeta, Sudesh aka Soodesh Kumar, Shubha Khote, Mohan Choti, Niranjan Sharma, Mirza Musharraf,Rafiq Ansari,Siddique,Jawahar Kaul, Padam, Abid,Jeewan Kala, Bela Bose, Mumtaz Begum, Helen etc in it.
Two songs have been covered in the blog so far.
Here is the third song from “Pyaar Ki Daastaan”(1961) to appear in the blog. The song is sung by Rafi. Sarwar is the lyricist. Music is composed by Naashaad.
The song is picturised on Sudesh Kumar.
Lyrics of this song were sent to me by Prakashchandra.
Video
Audio
Song-Lut gayaa mere sapnon ka deraa (Pyaar Ki Daastaan)(1961) Singer-Rafi, Lyrics-Sarwar, MD-Naashaad
Lyrics(Provided by Prakashchandra)
lut gayaa mere sapnon ka deraa
ho o lut gayaa mere sapnon ka deraa
kaisaa insaaf maalik ye teraa aa
lut gayaa mere sapnon ka deraa
phool khilne na paaye thhe dil ke
ho gaye hum judaa tumse mil ke
phool khilne na paaye thhe dil ke
ho gaye hum judaa tumse mil ke
kar liyaa gham ne dil mein baseraa aa
lut gayaa mere sapnon ka deraa
ho o lut gayaa mere sapnon ka deraa
khel duniyaa ne kaisaa ye khelaa aa
ho gayaa aaj saathi akelaa
khel duniyaa ne kaisaa ye khelaa aa
ho gayaa aaj saathi akelaa
aur tadapaa rahaa pyaar meraa aa
lut gayaa mere sapnon ka deraa
jhuk gaya pyaar qismat ke aagey
pad gaye kachche ulfat ke dhaagey
jhuk gaya pyaar qismat ke aagey
pad gaye kachche ulfat ke dhaagey
dosh teraa nahin aur na meraa aa
lut gayaa mere sapnon ka deraa
kaisaa insaaf maalik ye teraa aa
lut gayaa mere sapnon ka deraa
haayye lut gayaa mere sapnon ka deraa
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