Archive for the ‘Mohantara Talpade Songs’ Category
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
|
Blog Day : |
5457 | Post No. : | 17872 |
Today’s song is from a not so well known but deserving film – Saudamini (1950).
In Hindi (and in almost all indian languages) films, well known and popular dramas, Novels, Stories and the famous writers have played a significant role in providing material to make logical and meaningful films with a message to the people or a particular society. I can say that films based infamous and popular writings have been made into more qualitative presentations than films on Folk stories and Historical Myths.
In the early era of films, as far as I know, Marathi and Bangla films were in the lead in making films based on well known Authors’ works, whether it was a popular book or a not so popular one. Even good short stories made it to be an inspiration for filmmaking. Literature and a habit of reading was prominent amongst these two communities. Tamil and Telugu, who were as old as the Hindi/Marathi/Bengali languages in making films also used the popular stories, but since they came into the All India market only after S.S.Vasan’s adventurous foray into it with his BlockBuster ” Chandralekha” (1948), their numbers were less in this sphere.I have done some work Marathi, Hindi, Telugu and Kannada film Histories and published articles on them, I know for sure that Kannada and Malayalam films were latecomers into the All india picture, comparatively. Of course, when they came up strongly, they too were not anyway less into making films on published popular and famous literature.
In the infant stage of every language filmmaking, the stress was on Mythology and Folk stories, but during the ascent to adulthood, they all graduated to make use of local literature, which appealed to the audiences of their languages. Many authors, poets and dramatists actually joined the film industry and contributed their themes, stories, poems etc. Even the giants like Rabindranath Tagore and Kazi Nazrul Islam, could not stay away from the film industry by participating personally !
All this narration is because today’s film Saudamini(1950) was also based on the short story (later a novel, I believe) by the famous Bengali author Sharad Chandra Chatterjee. The film was made by National Screen Service, Bombay. It was directed by Prabhash Chandra Joshi, who has only this film to his credit as a director, as far as I know. He also acted in this film and wrote a few song/s also for this film. Which ones and how many is not mentioned in the HFGK, however, individual Records may have the Lyricists’ names.
The music Director was S.N.Tripathi, who had also acted in this film. He was a multi-faceted artiste. He acted in 83 films for which he gave music, as an MD he had 107 films, he sang 13 songs in 7 films and he even directed 18 films ! What a varied output !! There were 4 Lyricists in this film – P.C.Joshi, Anjum Pilibhiti, Arjun and B.D.Mishra. The cast of the film was Sona Chaterjee, P.C.Joshi, S.N.Tripathi, Bikram kapoor, Leela Chitnis, Rampyari, Shyamsundar, Cuckoo etc.
The story of this film was very powerful, but this film did not become very successful, for whatever reasons. In fact, later on when the ” Offbeat films” (new wave etc.) started, the same story with some changes were made into films which became Hits. Similar story films (some) were Rajanigandha, Swami, Dhadkan, Hum dil de chuke sanam etc. Here is the film story. After reading this story, readers may remember more films,in different languages too, having almost a similar story…..
Sarat Chandra Chattopadhyay’s Bengali novel by the name Swami, is set in the early 20th century. The word “swami” could be translated as ‘lord and master’, not in the sense of a tyrant but as the traditional master of a Hindu household, based on the concept of an ideal husband: gentle and protective, dependable, and considerate, the perfect grihastha or householder .
Saudamini is an educated girl, a rare phenomenon at the turn of the century. Her uncle and guardian, who has imbibed liberal ideas of the time, offers her a measure of freedom that girls of that time were largely denied. Her widowed mother is critical of the girl’s headstrong nature; she considers the uncle’s handling of the girl indulgent and irresponsible, particularly with regard to marriage.
Saudamini is romantically involved with Narendra, the boy-next-door who is pursuing studies in the nearby city of Calcutta. Under repeated prodding from the mother, the uncle sets out to inspect a prospective groom, Ghanshyam. Though a widower, Ghanshyam is a respectable man who is considered eligible in the marriage market, as the eldest son of a well-to-do business family. Unfortunately, the uncle suffers a heart attack while coming back. As he lays dying, he pleads with his niece to accept Ghanshyam who he feels will make an ideal husband for her.Saudamini, who has been given her way thus far, suddenly finds the reins drawn in. In a desperate bid for freedom, she writes a letter to her lover in Calcutta, asking him to come to her rescue. He does not turn up. In her new household, Saudamini finds Ghanshyam’s shrewish stepmother and step-family – a married brother, and an unmarried sister. Forced into an unwanted relationship, she feels alienated, not only from the family but also from her husband. Ghanshyam, sensing her state of mind, does not force his attentions upon her.
Slowly Saudamini observes how Ghanshyam, though he is the actual breadwinner in the family, is treated with neither respect nor care. Even the servants ignore his request for water to wash with or for food, while the stepmother lavishes love and sweetmeats on her own son. Ghanshyam seems to accept this situation with, what may be called, gentle stoicism. Saudamini finds her attitude changing to one of concern for her husband and decides to stand up for his rights. When a prospective bridegroom for Ghanshyam’s step sister ridicules the poor girl, at the same time demanding an exorbitant dowry, Ghanashyam puts his foot down for the first time. She is not a commodity on sale in the market, he says in defiance of his stepmother, who is only too eager to rid herself of her burden.
This is a key incident in Saudamini’s changing attitude towards her husband. Just as prospects seem to be growing pleasant, Narendra enters Saudamini’s life again. Narendra pleads with Saudamini to come away with him, leaving her in a state of conflict. Their tete-a-tete is discovered by the wicked stepmother, who accuses her of infidelity and forces the situation to a point where Saudamini has no choice but to leave. However, there is still one last twist remaining. Waiting for the train at the railway platform, Saudamini recalls the simplicity, gentleness and tolerance of her husband. As she loses herself in memories, her eyes well with tears.
The train arrives. But so does Ghanashyam…She embraces Ghanashyam and he pats her. Streaming tears from her eyes tell him that she is repenting for leaving the home. No words are necessary and both realise their true love. ” A crime is no longer a crime when you ask for forgiveness with a clean heart ! “
After a very long time, the name of actress Rampyari was seen in the cast of this film. Here is some information on her…..
Actress Rampyari’s life story is interesting. Though from a singing family(Tawaif) from Hyderabad, she was quite educated. Fluent in English and Urdu, besides Hindi and mother tongue Telugu, she used to reply in chaste English or Urdu to her fan’s letters. She is also one of the earliest film artistes who did programmes in other countries, in those days.
Rampyari was from Low cast and profession, but was a highly polished and sophisticated actress in those days. Rampyari hailed from a Telugu family of highly skilled professional dancers and singers. She lived in Nagulchinta area of old Hyderabad city.She was born on 27-8-1908 . That year Hyderabad witnessed devastating floods.She was taught Urdu and English. Apart from her mother tongue Telugu she was also proficient in Marathi and Kannada. She was trained in Dancing and singing. In 1918, at the age of 10 years, she was taken to Madras by her aunt, who trained her in Bharatanatyam. After 4 years of rigorous training, she became the best dancer of Madras.
In 1926, a film producer from Kohinoor Film company, Bombay ,visiting Madras, saw her dancing and invited her to Bombay.It was the era of Silent movies. Her first film was Gunsundari, with Miss Gauhar and Raja Sandow. It was directed by Chandulal Shah and was released in 1927. Her supporting role as a dancer in the film was lauded by the audience. Next film Vile woman was also successful. She acted in more than 20 films as a Heroine and dancer and established her name as a seasoned actress of the 30s.
With the advent of Talkies, she easily switched over. She had no difficulty in delivering Urdu dialogues. In 1931, she acted in Paak Daman, Laila Majnu and Ghar ki laxmi, Gunsundari in 1934 and Azad Abla,Meethi Nazar and Hamlet in 1935.
Famous director Debki Bose from New Theatres, Calcutta invited her and signed up for ” Sunehra Sansar”-36 and Vidyapati-37, which was a mega hit. After this, she did few films in Calcutta with other companies. Her film Milap-37 was famous for being the first to show the prototype of a “vamp” in Indian Cinema. Rampyari was shown wearing “an off-shoulder dress” and using a cigarette-holder, with the intent of seducing the hero Prithviraj Kapoor, the scene was later used by Raj Kapoor on Nadira in his film Shree 420 (1955) for the song “Mud Mud Ke Na Dekh”.
She toured the entire south India and gave dance performances in major cities. She became so famous that the Ceylon Labour Union invited her to Ceylon and presented her with Gold Mementos. She also performed in Burma. She was greatly inspired by the acting of Sulochana aka Ruby Meyers and Miss Gauhar of Ranjit, with whom she acted in many films.
She shifted to Bombay permanently in the 30s. Her family also moved out of Hyderabad and came to Bombay. She had a large fan following in Hyderabad. She had a great fan mail too, which she replied in fluent Urdu and English. Later she got married and retired from films.
She acted in 30 films. Her last film was Dak bungla-47. She sang 14 songs in 8 films.
She died on 28-8-1970 at Bombay. There was no news in any paper. (Thanks to P.Kamlakarji’s Blog and his book ” The lost treasure” and my notes ).
Today’s song is the 8th song, out of the total 9 songs from the movie, to feature here. It is sung by Mohantara Talpade and Chorus.
Song-Saj ke aaye baalam ban thhan ke aaye baalam (Saudaamini)(1950) Singer- Mohantara Talapade, Lyricist- Not known, MD- S N Tripathi
chorus
Lyrics
Saj ke aaye baalam
ban thhan ke aaye baalam
goree ko lene aaj
aaj saj ke aaye baalam
ban thhan ke aaye baalam
goree ko lene aaj
jaao re
jaao re
jaao re jaao goree
baalam ke ghar
apne saajan ke ghar
apne preetam ke ghar
aaj saj ke aaye baalam
ban thhan ke aaye baalam
goree ko lene aaj
saj ke aaye baalam
ban thhan ke aaye baalam
goree ko lene aaj
haathh lagee mehandi
aur paaon mein mahaawar
aur paaon mein mahaawar
haathh lagee mehandi
aur paaon mein mahaawar
aur paaon mein mahaawar
bholee bhaalee soorat pe
chaand bhee nichaawar
ho chaand bhee nichaawar
bholee bhaalee soorat pe
chaand bhee nichaawar
ho chaand bhee nichaawar
o o o o
keh de zara goree
o o o o
keh de zara goree
saajan se kaise bole
baalam se kaise bole
saj ke aaye baalam
ban thhan ke aaye baalam
goree ko leke aaj
saj ke aaye baalam
ban thhan ke aaye baalam
goree ko lene aaj
maa kee dulaar
dulaar ki saakee(?)
raanee ban rehnaa tu
apne piyaa kee
apne piyaa kee
soona soona laage ab angna hamaara
soona soona laage ab angna hamaara
hamko rulaaye hansna tumhaara
hansna tumhaara
Saj ke aaye baalam
ban thhan ke aaye baalam
goree ko leke aaj
saj ke aaye baalam
ban thhan ke aaye baalam
goree ko leke aaj
laaj bhare nainan mein
pyaar bharee ghaaten
hai pyaar bharee ghaaten
laaj bhare nainan mein
pyaar bharee ghaaten
hai pyaar bharee ghaaten
laal laal honthon pe
pyaar bharee baaten
hai pyaar bharee baaten
laal laal honthon pe
pyaar bharee baaten
hai pyaar bharee baaten
soch rahee man mein ab
kaise kate raaten
goree kaise kate raaten
soch rahee man mein ab
kaise kate raaten
goree kaise kate raaten
o o o
dulhan albelee
o o o
dulhan albelee
ho zara nakhre sambhaal goree
nakhre sambhaal
bhed tere dil ka
ab hamne liyaa jaan
goree hamne liyaa jaan
bhed tere dil ka
ab hamne liyaa jaan
goree hamne liyaa jaan
saj ke aaye baalam
ban thhan ke aaye baalam
goree ko leke aaj
saj ke aaye baalam
ban thhan ke aaye baalam
goree ko lene aaj
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 : |
5387 | Post No. : | 17669 |
“Magadh Raj”(1946) was directed by R S Choudhari for Kamal Pictures, Bombay. The movie had Mumtaz Shanti, Chandra Mohan, Baburao Pendarkar, Sulochana Chatterji, Harish, Anita Sharma, Pande, Feroz Dastur, Munshi Khanjar, Ebrahim etc in it.
The movie had ten songs in it. Two songs yhave been covered so far.
Here is the third song from the movie to appear in the blog. The song is sung by Mohantara Talpade. Pt Indra Chandra is the lyricist. Music is composed by Bulo C Rani.
Only audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of this philosophical song.
Lyrics of the song were sent to me by Prakashchandra.
Song-Panchhi ka oonchey udna sabne dekha (Magadh Raj)(1946) Singer-Mohantara Talpade, Lyrics-Pt Indra Chandra, MD-Bulo C Rani
Lyrics(Provided by Prakashchandra)
panchhi kaa oonchey udnaa
panchhi kaa oonchey udnaa
sabne dekhaa
panchhee kaa oonchey udnaa aa aa aa
kisne dekhaa ghayal ho uskaa girnaaa
sabne dekhaa
panchhee kaa oonchey udnaa aa aan aaa
kisne dekhaa ghayal ho uskaa girnaaa
sabne dekhaa naainon ka rang bikharnaa aa aaa
kisne dekhaa unse aansoo kaa jharnaa
sabne dekhaa naainon ka rang bikharnaa aa aaa
kisne dekhaa unse aansoo ka jharnaa
sabne dekhaa aaa aaa patang ka udnaa
sabne dekhaa aaa aaa patang ka udnaa
kisne dekhaa aaa aaaaa pankhon ka jalnaa
kisne dekhaa aaa aaaaa pankhon ka jalnaa
sabne dekhaa deepak ka jalnaa aaa aa
sabne dekhaa deepak ka jalnaa aaa
kisne dekhaa aaa aaaa jal jal kar bujhnaa
kisne dekhaa aaa aaaa jal jalkar bujhnaa
sabne dekhaa aa
kaliyon kaa hans hans khilnaa aa aan
kisne dekhaa
murjhaa ke phool ka girnaa
sabne dekhaa aa
kaliyon ka hans hans khilnaa aan
kisne dekhaa
murjhaa ke phool ka girnaa
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 : |
5347 | Post No. : | 17532 | Movie Count : |
4717 |
Today’s song is from a C grade Stunt film – Fighting Hero-1946.
1946 was an important year in the history of Hindi films. This was the period when the impending Independence of India was on the Anvil and everyone knew that in the year 1947 it would take place. At the same time when the country was to be divided on the basis of Religion and another muslim country Pakistan was to come into existence. Many of the muslims in the film industry were excitedly awaiting their departure from India to the Utopia. This would, naturally, create a lot of vacancies in every department of film making. However, there was enough talent available in the remaining India to fill up the void. Hence from the year 1946 itself there were several debutantes. This made the year 1946 an year of Debuts of several new actors, directors, MDs, Lyricists etc etc.
The second World War had just ended, which had created inumerable millionaires, fed on black marketing and illegal trades in the war period. Many of them were keen on investing their ill gotten wealth in the film industry. Thus, there was no dearth of finances in the industry. From 1946 to around the early years of the 50’s, some of these ” novo-rich” persons provided finance. Some even tried their hand at directing films or even acting in it. Let us see what other things happened during this period.
By 1946 to 1950 old towers shook hard to crumble. The studio system almost disappeared. Film industry could now boast of people highly educated, talented and hard working. Even artistes with International experience and success like Dewan Sharar, Shakuntala Paranjpye, actor Ranjan, Balraj Sahni etc contributed to Indian films. The old horse of Calcutta-New Theatres broke down and actors, directors and Music specialists from Bengal made a Bee-Line to Bombay, thus making it the strongest ever film centre.
1946 was also an year of consolidation, in a sense that due to the iminent Partition of India on the basis of Religion, agreed upon by Gandhi-Nehru combine, made Muslim artistes and filmmakers plan to pack their bags and move over to the new Utopia across the border. Their vacancies were to be filled up by the waiting second line of actors,directors and MDs. The film industry was to have a complete new look within 1-2 years and the beginning was from 1946. Thus the year was very important.
The year 1946 was an year which saw many changes in the film industry. The II world war had just ended. Rationing and control on many items had created Black marketing. This made many people Millionaires. The extra income started getting invested in Film making. The increased cost of Raw Films made filmmaking 7 to 8 times costlier. A film which was made in about 1 Lakh rupees in 1940, needed 8 Lakhs now. Studio system was waning and artiste rates increased in Lakhs instead of thousands.
In 1945, only74 films were made. This number increased to 153 films in 1946. Further, in 1947, the film industry produced a record number of films – 181, but of course that was due to Partition. The quality of films was sacrificed at the cost of the quantity of films made in 1946. However, some quality films were made in 1946, indicating the changing face of filmmaking.
Film Dharati ke Lal-46 was made by IPTA people and it became the first film to be exhibited in Russia. Neecha Nagar-46 won the Grand Prix award in the French Film Festival. Film Dr. Kotnis ki amar kahani-46 was dubbed in English as ‘ The journey of Dr. Kotnis’. It was shown in the USA and then in the Venice Film Festival. Two musical films- Anmol Ghadi and Shahjahan were made in 1946.
Year 1946 also saw the Debut of several stars and artistes. In fact one can call 1946 as the ” Debut year” of the Hindi film industry. See this….
Nirupa Roy debuted in film Amar Raaj-46
Nasreen (real name Zareena), daughter of Rafiq Gaznavi and Anwari bai had debuted in her first released film ” Shahjahan-1946.
Geeta Bali debuted with a dance in film Badnami-46
Geeta Roy sang her first film song in film Bhakta Prahlad-46
Balraj Sahni debuted in the film Insaaf-46. It was a small role,though.
K A Abbas-Director, Pt.Ravi Shankar-MD, Balraj Sahni as Hero and Damayanti Sahni as Heroine made their Debut in film Dharti Ke Lal-46
Meena kapoor sang her first released Hindi film song in the film Eight Days-46. She also recorded her first Hindi film song in the film ‘Door Chalen’-1946, which was released later than the film Eight Days-46.
Sudhir Phadke debuted as MD in film Gokul-46
P L Santoshi as Director, Dev Anand, Rehman, Rehana and Kamla Kotnis debuted as actors in film Hum Ek Hai-46
Chitragupta did his first film as MD in Lady Robin Hood-46
Ram Ganguly became MD with film Maharana Pratap-46
Abhi Bhattacharya debuted in Hindi film Milan-46
Chetan Anand as Director, Uma Anand and Kamini kaushal as actresses debuted in film Neecha Nagar-46
Hansraj Behl debuted as MD with film Pujari-46
Madhubala(as Baby Mumtaz) sang her first song in film Pujari-46
Majrooh Sultanpuri wrote his first Hindi film song in film Shahjahan-46
S D Burman as MD and Kishore Kumar as an actor debuted with film Shikari-46
So, you will find the year 1946 was truly an year of change. The winds of Partition were already blowing and the second line of supplementary artistes was ready to replace the Migrators, after the Partition.
Film Fighting Hero-46 was produced by Keshav k. Talpade, under his own banner- Talpade productions, Bombay. He also directed the film. He had already directed another film-Stunt king-in 1944, so he got confidence. Later he also directed 2 more films for Basant Pictures of Homi Wadia and directed Fearless Nadia in Tigress-48 and Maya Mahal-49. After this his name does not appear anywhere. Keshav was earlier in the petrochemical business and apparently had earned a lot. However after this one film – Fighting Hero he did not produce any other film. He purposely chose this Genre of stunt films, because in that period, this was a genre in which a stunt film could be made in 5 to 7 lakhs only. Further it did not require well known actors or Music directors.
The Music Director for this film was Chitragupt for whom this was only the third film as a Music Director, having debuted in the same year with the film Lady Robin Hood-46. Chitragupt (16-11-1917 to 14-1-1991) later became a Melody maker giving music to 149 films and composing 1036 songs. He also sang29 songs in 16 films. He was one of my favourite composers. Though a genius, he was not lucky enough to ever join the grade A MDs simply because he did not get any famous film house as a mentor.
The film had only 6 songs, 3 of which were sung by Mohantara Talpade, niece of the Producer/Director. She started in 1942 and sang 117 songs in 54 films till 1958. She was a very popular singer in marathi films and NFS. She was born on 24-10-1926 in Bombay. She studied upto matriculation. She learnt music from Heerabai Zaveri, Shyamalabai Mazgaonkar and Navrang Master too. Khemchand Prakash recorded her first song in 1941 but her song in the film Mamaji-1942 was released first. It was composed by H.C.Bali, who was responsible for Saigal’s entry in films.
1946 was the best year for her as she sang in 12 films in 1946. Her best period was 1946 to 1948. Then Lata overtook and she fell back. She was married in 1949 and took a 3 years’ gap to raise a family. She became Mohantara Ajinkya. From 1952 to 1955 again she sang. Then she shifted to Marathi and became popular there.
The cast of the film included Sudha Rao, Iqbal Begum, Kavita Sardesai, Romesh Vyas, Moolchand, Niranjan Sharma and others. Except Moolchand and Niranjan Sharma, I do not know about anyone else in the cast. Moolchand made his acting Debut in this film. He acted in 131 films till the film Toofan-1989. He died on 18-12-1988. Niranjan Sharma was a well known Character actor. He too made his Debut in this film. He worked in 129 films till mata vaishno devi-1971. He wrote Lyrics in 3 films for 23 songs. Niranjan Sharma wrote the story and Dialogues of the film Fighting Hero-1946, besides acting in it. All in all, I guess this must be one of the most economically made films of that time.
Today’s song is sung by Mohantara Talpade and written by I.C.Kapoor.
Song- Mere sapnon ke raaja mere jeewan mein aa jaa (Fighting Hero)(1946) Singer- Mohantara Talpade, Lyricist- I.C.Kapoor, MD- Chitragupt
Lyrics
Mere sapnon ke raaja
mere sapnon ke raaja
mere jeewan mein aa jaa
mere jeewan mein aa jaa
aa jaa aa jaa
mere sapnon ke raaja
mere sapnon ke raaja
mere jeewan mein aa jaa
mere jeewan mein aa jaa
aa jaa aa jaa
sapnon mein hans hans kar aanaa
sapnon mein hans hans kar aanaa
jeevan mein tarsaana
sapnon mein hans hans kar aanaa
jeevan mein tarsaana
kaisi hai ye preet balamwaa
kaisi hai ye reet
kaisi hai ye preet balamwaa
kaisi hai ye reet
kuchh mujhko samjha jaa
mere jeewan mein aa jaa
aa jaa aa jaa
mere sapnon ke raaja
mere sapnon ke raaja
mere jeewan mein aa jaa
mere jeewan mein aa jaa
aa jaa aa jaa
jab se tose nain lade hain
jab se tose nain lade hain
tab se teri raah khade hain
tab se teri raah khade hain
dil mein meethhi meethhi chaahen
dil mein meethhi meethhi chaahen
khuli huyi hain meri baahen
khuli huyi hain meri baahen
mere dil ki aag bujhaa jaa
mere jeevan mein aa jaa
mere dil ki aag bujhaa jaa
mere jeevan mein aa jaa
aa jaa aa jaa
Jai Ambe jayaa Ambe
Posted on: January 20, 2023
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 : |
5299 | Post No. : | 17357 |
———————————————–—————————————
Blog 10-Year Challenge (2013-2023) – Song No. 3
————————————————————————————–
On this date ten years back viz on 20 January 2013, six songs from six movies were covered in the blog. Here are the details:-
| Blog post number | Song | Movie (Year) | Remarks |
|---|---|---|---|
| 7371 | Kiye ja pyaar kiye ja pyaar | Rajputaani(1946) | 3 songs covered out of 9 by now |
| 7372 | Dhak dhak dhak jiya kare dhak | Sazaa (1951) | Movie YIPPEED by now |
| 7373 | Kabul ki main naar | Krorepati(1961) | Movie YIPPEED by now |
| 7374 | Ho mera dil hai nikhhattoo | Niraala(1950) | Movie YIPPEED by now |
| 7375 | Ik shab ke musaafir hain ham to | Maikhaana(1967) | 2 songs covered out of 7 by now |
| 7376 | Aa jaa badli ke sang mera jiya doley re | Dhobi Doctor(1954) | 2 songs covered out of 7 by now |
One can observe that three movies (out of six) whose songs were discussed this day ten years ago (on 20 January 2013) have since been YIPPEED in the blog. That leaves us with three unYIPPEED movies that are eligible for Blog Ten Year Challenge today.
“Rajputani”(1946) is chronologically the oldest of the three eligible movies. This movie was directed by Aspi for Ranjit Movietone, Bombay. The movie had Veena, P.Jairaj, Bipin Gupta, Ghulam Mohammed, Altaf Hussain, Azim, Baby Mumtaz, Noorie, Usha devi etc in it.
“Rajputani”(1946) had nine songs in it. Three songs have been covered in the blog in the past.
Here is the fourth song from the movie to appear in the blog. The song is sung by Mohantara Talpade. Pt Indra Chandra is the lyricist. Music is composed by Bulo C Rani.
The song is a Durga stuti. So it was a fit song to be presented on the occasion of Durga Puja. But I guess that the movie uses this song as a prelude to some battle, where the lady seeking the blessings of Maa Durga prior to the battle sings this song.
Only audio of the song is available. I request our knowledgeable readers to throw light on the movie as well as on the picturisation of the song.
Lyrics of the song were sent to me by Prakashchandra.
Audio link:
Song-Jai Ambe Jaya Ambe (Rajputani)(1946) Singer-Mohantara Talpade, Lyrics-Pt Indra Chandra, MD-Bulo C Rani
Lyrics(Provided by Prakashchandra)
jai ambe jaya ambe
jai ambe jaya ambe
jai chandike kul taarini
jai chandike kul taarini
jai ambike shubh kaarini
jai ambike shubh kaarini
jai khadaga khappar dhaarini
jai asur kulsanhaarini
jai ambe jaya ambe
jai ambe jaya ambe
shumbh nishumbh vidaarey
mahishaasur maarey ae
shumbh nishumbh vidaarey
mahishaasur maarey ae
maiyya mahishaasur maarey ae
brahma vishnu maheshwar..rr
brahma vishnu maheshwar..rr
sab tumse haarey aey ae
jai…aey ae ae
jai ambe jayaa ambe
jai ambe jayaa ambe
oonch neech koyee bhee
jo tumko dhyaawey
oonch neech koyee bhee
jo tumkho dhyaawey
maiyya jo tumko dhyaawey
man vaanchhit phal paawey ae
man vaanchhit phal paawey ae
sab jag it gaawey (?)
jai…ae
jai ambe jaya ambe
jai ambe jayaa ambe ae
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 : |
4366 | Post No. : | 15695 | Movie Count : |
4326 |
Today’s song is a very rare song from an obscure film-Parbat ki Rani-1948. The film was made by Leela Chitra Mandir, owned by the heroine of the film-Leela Pawar. The lyricist and director of this film was A.Karim and the Music Composer was Master Ibrahim. He gave music to only 2 films and his only one song is available. It is uploaded by Shri Girdharilal Vishwakarma ji, who kindly tells us about who are the singers too. HFGK does not mention any singers.
When filmmaking, especially the Talkie films started, there were some reputed and well known companies who produced films. In the few initial years, the films were sold and seen only based on who had made them. These companies had that much respect in India.Companies like Imperial, Ranjit, Sharda, krishna,Madon, Sarswati, Prabhat, New Theatres, Bombay Talkies etc had their own studios, own set of actors, directors, Music Directors and Technical staff. They employed good to very good people in different departments. These companies produced films, keeping in view the profile of their audiences. Who were they ? They were the educated middle class, well to do people doing service, the small and big businessmen, women of households and generally the upper crest and the affluent section of the society.
The question came up as to what about the entertainment of the lower middle class,poor people, servants of the rich and their families, the daily earners and generally the poor class, who could not afford tickets of the posh theatres and those who hesitated to to join the white collared audience, for seeing the social films ? For them new types of films came up.Films which were cheap to make, cheap to distribute and cheap to exhibit in old theatres or theatres located in the older parts of the towns. To make the film cheap, everything about it had to be cheap, like unknown or new actors, less known composers and directors less or no expenses on settings etc etc.
Yet, the films had to appeal to the poor people. These people liked stories about Kings and Queens, injustice taken revenge of, where the poor becomes the king, stories in which the Hero has extraordinary physical powers to deal with villains and beautiful girls dancing and singing. These stories are identified with their dreams. So, film makers made such films, using Folk tales and adapted Arabian Night stories. The audience did not bother about the Histrionic capabilities of the actors or the quality of music, what they wanted to see was fighting, stunts and the daring hero winning the damsel , that all. All that they wanted to see was the Hero bashing the bad men and taking away the girl of his choice, Hero helping and fighting for the poor and punishing the wicked rich.They wanted fun, fights and few damsels. That’s all. And then, such films were made for them. This was the beginning of ‘ C ‘ grade films !
Initially, these action films were crude, but as the time went by, the films became polished and got some prestige and respect when the big film companies, like Ranjit, Mohan, Imperial, Madon and later Wadia Movietone started producing these type of films.Actors like Billimoria brothers, Jal merchant, Fearless Nadia, Radha Rani, Boman Shroff etc. brought some prestige to these films. Later on such films were done by Dara Singh, Azad etc.
Everything about C grade films was weird- from theatres to the audience. Even their Titles were strange, for example…Khooni Khanzar, Dagabaj Doctor, Shaitaan ka paash, Char chakram, Daku Rani Talwarwali, Jaadu ka dandaa, Zinda Laash, Revolver Rani, Sindbad-Alladin-Alibaba, Flying man, Fighter Sheela, Khooni Darinda, Tarzan aur Jadugar, Tarzan aur Jadui Chiraag, Golden Gang, Murde ki jaan khatare mein, Jadui putli etc.
The actors in such films,besides the main actors were…Bajar Battu, Phoolkumari, Maruti pehelwan, Bataata, Mitthoo Miyaan, Fatty Prasad, Boken Chattu, Minu the Mystic, Manchi Tuthi, Gareeb Raja, Kurbaan Jaoon, Pandit Dukhi, Vilayatu, Loveji Lavangiya, Adam Sandow, Sandow Safar, Dunlop, Chic Chak and a very strange name CHEMIST ! This name is found in 5-6 films. Many such names appeared.
Stunt films were made more attractive by including wild animals and regular animals like Horse, Dog, cat, parrot, Lion, Tiger, Elephants etc. In some films there were Hyenas and pythons too.
From 1935 onwards stunt films ,including Nadia’s,had a Horse named ‘Punjab ka Beta”, a Dog named ‘Tiger’, and a motor car named ‘ Rolls Royce ki beti’.
After Wadia brothers split and Homi started his Basant pictures, Nadia joined him and another set of animals like, Rajpoot(Horse), Moti(Dog) and Austin ki bachhi(a motor car) were included. In addition there was a Motorcycle called ‘Runnio’ as well.
Film critics and those who wrote in glossy magazines ignored these films, but a certain portion of Indian audience was a firm supporter of such films. Master Vithal, Master Bhagwan, Baburao pehelwan, John Cavas, kamran etc were their Heroes. Usually the Music Directors and Directors of these films were unknown and those available on minimum fees were always hired.
The Music Director of this film was also one such person – Master Ibrahim, who did only 2 films as MD. In the 50s and the 60s decade, there used to be a programme on Radio Ceylon, titled “Saaz aur Awaz”, at 7 am everyday. In this programme, film songs on different Musical Instruments were played-like Van Shipley on Guitar, Bismilla Khan on Shehnayi,Master Ibrahim on Clarinet. After this programme, there was ” Ek hi filmon ke geet” and at 7.30 the evergreen “Purane filmon ke geet” was scheduled.
For many years, I used to wonder as to who this Master Ibrahim was. I had read about Van Shipley and others, but information on Master Ibrahim was not seen anywhere. Finally, when my friend Javed Hamid ji from Delhi, sent me his book copies, published in Hindi, I found an article on Ibrahim, in one of his books,” Hindi cinema ke sadabahar Sangeetkar “.
His name was Ibrahim Rehmat Ali ( or E.R.Ali or Master Ajmeri, on some Record labels). He was born in 1915 at Ajmer and by his 11th year itself, he achieved expertise in playing a difficult musical instrument like Clarinet. he also learnt classical music from Banne khan, Jere khan and Dinkar Rao. From 1934 to 1936, he worked in Ranjit Movietone’s Music department. Then he joined All India Radio, for the next 6 years. In 1942, he joined H.M.V. and served there for the next 25 years.
In these 25 years, Master Ibrahim played his Clarinet in more than 6000 songs, recorded at HMV. He was also the Pioneer in presenting film songs on Musical Instruments. Even during his service. A.I.R. Bombay used to arrange his Clarinet Mehfil every month. He used to present different Raagas on Clarinet as per time of the day or night.
He gave music to only two films. Both were C grade,in the 40s decade. These films were Parbat Ki Rani-1948 and Bigde Dil-1949. He worked as assistant to many Music Directors like Ghulam Hyder, V K Naidu, Shyam Sundar, Fateh Ali Khan, Gulshan Sufi and Firoz Nizami.
He played not just the Clarinet, but also played Xylophone, Vibraphone, Alto saxophone, Supranophone and a few others. After his film songs on Clarinet became popular, different artistes like Van Shipley on Hawaiian Guitar, Enoch Daniels, Goodi Seervai, Hazara Singhand Sunil Ganguly on Piano Accordion and Brian Silas on Piano also became famous and popular, with their performances.
Master Ibrahim died on 20th September 1980, due to a Heart attack. The work of preserving his music on CDs started by HMV from 2015 and so far 4 CDs are published. His contribution in songs of films like Mughal E Azam, C.I.D., Mere Mehboob, Basant Bahar, Madhumati, Maya, Goonj uthi Shehnayi etc is remembered even today. Every year Radio Ceylon celebrates his death anniversary on 20th September by playing only his records.
He had 3 sons, who all are in the Music industry. They are experts in Vibraphone. Its use is very frequent in films nowadays. ( I thank Javed Hamid ji for his article in his book ” Hindi Cinema ke Sadabahar Sangeetkar” हिंदी सिनेमा के सदाबहार संगीतकार ).
The film’s director and lyricist was an all rounder. He acted in 3 films. From the film Aaj ki Duniya-40 to Mehbooba-1965, he wrote songs for 20 films. He directed 13 films. First film was Kalakar-42 and the last film was Mehbooba-65. He also gave music to 5 films. The films were kashmir ki kali-46, Toofani Tirandaz-47, Atom Bomb-47, Maya mahal-49 and Dhumketu-49.
I do not find today’s song very good, but then it is wrong to conclude anything with just one song. This song is important, because this is the only song of Master Ibrahim as a MD that is available. With this song film Parbat ki Rani-48 makes its Debut on the Blog.
Song-Badi bekal hai mere dil ki tamanna sajna tere liye (Parbat Ki Raani)(1948) Singers- Mohantara Talpade,Yashwant Bhatt, Lyricist- A Kareem, MD- Master Ibrahim
Both
Lyrics
Badi bekal hai mere dil ki tamanna aa aa
sajna tere liye
sajna tere liye
Badi bekal hai mere dil ki tamanna aa aa
sajna tere liye
sajna tere liye
hardam seene mein teri yaad hai
hardam seene mein teri yaad hai
duniya ummeedon ki aabaad hai
duniya ummeedon ki aabaad hai
tujhko jo dekha
huye raushan meri aankhon ke diye
sajni tere liye
sajni tere liye
Badi bekal hai mere dil ki tamanna aa aa
sajna tere liye
sajna tere liye
aaoge tum to main chhup jaaungi
aaoge tum to main chhup jaaungi
dhoondhoge haath nahin aaungi
dhoondhoge haath nahin aaungi
tumko sataaungi bahut tumne mujhpe zulm kiye
sajna tere liye
sajni tere liye
Badi bekal hai mere dil ki tamanna aa aa
sajna tere liye
sajna tere liye
apna waada na kabhi bhoolnaa
apna waada na kabhi bhoolnaa
dil ki dhadkan pe sada jhoolnaa
dil ki dhadkan pe sada jhoolnaa
jab tak jeewan hai rahenge hum tum sang priye
sajni tere liye
sajni tere liye
Badi bekal hai mere dil ki tamanna aa
sajni tere liye
sajna tere liye
Badi bekal hai mere dil ki tamanna aa
sajni tere liye
sajna tere liye
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 : | 4206 | Post No. : | 15398 |
“Khidki”(1948) was produced by P L Santoshi under the banner of Arvind And Anand Films, Bombay. This movie had Rehana, Jawahar Kaul, Mumtaz Ali, Radha Kishan, Tiwari, Ram Singh, Srinath, Baba Raja, Abbas Rizvi, Harun, Deshraj, Shanta Kunwar, Indira, Neelam, Mona, Kamal Rani, Usha, Chanchal Kumari, Kalpana, V H Desai, Leela Mishra etc in it.
The movie had ten songs in it. Nine songs from this movie have been discussed in the past. Here is the breakup of the songs from the movie that have been covered so far:
| Song | Movie | Year | Sono Post number | Post date |
|---|---|---|---|---|
| Tere binaa soonaa soonaa man ka meraa aangnaa | Khidki | 1948 | 2517 | 7-June-2010 |
| Qismat hamaare saath hai jalne waale jalaa karen Multiple version song | Khidki | 1948 | 5058 | 24-Nov-2011 |
| Kya hai zamaana chaahta fifty fifty | Khidki | 1948 | 7424 | 29-Jan-2013 |
| Jai bolo Mahatma Gandhi ki | Khidki | 1948 | 7426 | 30-Jan-2013 |
| Badi badi paati likhwainyaan | Khidki | 1948 | 10642 | 5-Jan-15 |
| Ae jee munh kyun chhupaana | Khidki | 1948 | 11134 | 16-May-15 |
| Hamen bhi koi yaad karta Multiple version song | Khidki | 1948 | 15389 | 20-Jan-2020 |
As can be seen, it has taken almost a decade before all the songs of the movie could be covered. The songs covered this year were rare songs not easily available.
Here is the tenth and final song from “Khidki”(1948) to appear in the blog. HFGK mentions this song as sung by Mohantara Talpade. It would seem that most of the song is sung by chorus, though.
P L Santoshi is the lyricist. Music is composed by C Ramchandra.
The song, created more than seven decades ago is an inspirational song, and talks about women empowerment in an era when this concept was difficult to accept even in western countries, forget India. Kudos to the movie makers for coming up with such a song. Indeed, a nation cannot progress if its women do not come forward and participate actively in this act of nation building.
With this song, all the songs of “Khidki”(1948) are covered in the blog and this song joins the list of movies that have been YIPPEED in the blog.
Song-Ham Hind ki hain naariyaan jalti chingaariyaan(Khidki)(1948) Singer-Mohantara Talpade, Lyrics-P L Santoshi, MD-C Ramchandra
Lyrics
Ham Hind ki hain naariyaan
jalti chingaariyaan
samjhe na koi hamen phoolon ki kyaariyaan
Ham Hind ki hain naariyaan
jalti chingaariyaan
samjhe na koi hamen phoolon ki kyaariyaan
Ham Hind ki hain naariyaan
waqt jab wo aayega
ki apne pran tyaag do
waqt jab wo aayega
ki apne pran tyaag do
apne khoon se jagaao
bujhti hui aag ko
apne khoon se jagaao
bujhti hui aag ko
hum machal uthhengin
hum machal uthhengin
ek saathh banke aandhiyaan
hum machal uthhengin
ek saathh banke aandhiyaan
Ham Hind ki hain naariyaan
jalti chingaariyaan
samjhe na koi hamen phoolon ki kyaariyaan
Ham Hind ki hain naariyaan
purushon ke aage aage hum kadam badhaayenge
purushon ke aage aage hum kadam badhaayenge
hum kisi se kam nahin
hum kisi se kam nahin
ye dniya ko dikhaayenge
apni aan ke liye
apni shaan ke liye
denge kurbaaniyaan
denge kurbaaniyaan
Ham Hind ki hain naariyaan
jalti chingaariyaan
samjhe na koi hamen phoolon ki kyaariyaan
Ham Hind ki hain naariyaan
Hawa chale saany saany
Posted on: October 19, 2019
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 : | 4110 | Post No. : | 15261 |
Today’s song is a Parody song from film Phoolwari-46. It is sung by Mohantara Talpade. Jayashree T and Meena T were her brother’s daughters, I believe. Mohantara was a major female playback singer in the 40s. Starting with film Mamaji-42,she sang 117 songs in 54 films, till Inaam-55. Though she got married in 1950 to Dr. Ajinkya, she continued with using her maiden name to avoid confusion. Mohantara was a popular Bhavgeet and film singer in Marathi also.
In Hindi films we find a variety of songs. Love songs, Happy songs, Sad songs, Comedy songs, Birthday songs, patriotic songs, Chorus songs, prayers, Lories, Bhajans and many more types.
However there is one type of songs which is a sure hit with all viewers and that is a PARODY SONG(in Hindi it is called VIDAMBAN song – विडंबन ). Normally a Parody song is equated with a medley of old popular song tunes, set to new Lyrics, enacted by someone else.
While this is right to a great extent, the actual definition of a Parody song is ” A song which involves changing or copying well known musical ideas or lyrics or copying a particular style of a composer or an actor or even a general twisted style of Music ”.
Our friend AK ji of Songs of Yore says, “As is commonly known, parody is an exaggerated imitation of a person, song, literature or performance to produce a comic effect. It seems parody has existed from the earliest days of dramatic performance. Wikipedia states that according to Aristotle, Hegemon of Thasos was the inventor of a kind of parody; by slightly altering the wording in well-known poems he transformed the sublime into the ridiculous. In ancient Greek literature, a parodia was a narrative poem imitating the style and prosody of epics “but treating light, satirical or mock-heroic subjects”. The ancient Indian treatise on dramaturgy, Natyashstra by Bharat Muni, is of similar antiquity. Though it mentions Prahasan as one of the ten types of play, from its definition it seems to be a low form of performance – something like burlesque – and not quite parody as we know today.
Where do parody songs in Hindi films fit in the above general description? Parody songs do not have any pretensions of being art. They are not intended to mock the original either. Very simply, these songs are a recognition of the original’s popularity. They include a large number of such songs. Broadly classified Parody songs are in two types: one, parody based on a single song, and the other, a medley of songs. There could be some more subtle variations within these broad categories.” (adapted, with thanks, from his article on Songs of Yore dt.2-3-2018)
The very FIRST Parody song in Hindi films came as early as 1936. It came from a film called ” Sunehara Sansaar”-1936. It was a Parody of a famous patriotic song by Dr. Iqbal-” Saare jahan se achha Hindosta hamara…” The parody song was ‘ Saare jahan se achha saabun bana hamara,hum kishtiyan hai iski…’
The lyricist was Vijay Kumar, B.A. and the Music Director was K C Dey.
When the song was released, instead of becoming popular, it drew people’s ire for distorting a patriotic song. There was criticism and several protests.
Another Music Director Master Mohd. (who was well known for composing many patriotic songs in those days, in his films) decided to make a Parody of K C Dey’s famous song, ‘Jao jao aye mere sadhu…’ from Pooran Bhagat-1933.
He included this parody song in same year in his film ‘ Miss frontier Mail ‘-1936. The lyrics for this song were- gaao gaao aye mere aye mere sadhu…’.
It was sung by Minu,the Mystique in the film.
This Minu was actually Minoo Cooper, a regular singer in Bombay city Parsi circles. He used to sing in many Hotels in those days. He has also sung a few more songs in Hindi films later.
This retaliatory Parody song was well received by the audience and it became popular too.
This song has been posted on this Blog, by our dear SUDHIR ji, on 29th June 2012.,along with a very interesting write up, for which he is known.
So, parody songs entered Hindi films with an interesting History behind them !
I can recall that during our younger days, it was our hobby to twist the popular songs with comic lyrics. Even today I still remember a few of them…
1) Jiya beqarar hai
Nargis ko bukhar hai,
Aja be Dilip kumar
tera intejar hai.
2) Dhoti chhod ke mat jaana
Dhoti saath mein le jaana
kasam tujhe mere Pehelwanki….
3) Bhaiya mere, saambaar mein Idli na dubaana
4) Ek saal pehle,tum to Bekaar the
Gadhe pe sawar the,
aaj bhi ho,aur kal bhi rahoge…
5) De gayi bill, budhiya dukaan ki… etc etc
I am sure many of the readers also must have done this,in their times. These song Parodies added spice to our lives. So when some film had a Parody song, we used to see that film without fail !
Making a Parody song is one of the easiest matters for the Music Directors and many Music Directors have resorted to Parody songs at least once, except probably serious composers.
The cast of the film Phoolwari was Motilal, Khursheed, Dikshit, Tiwari, Himmat Sharma (brother of Kidar Sharma), Leela Shinde, Baby Anwari etc etc. The film was made in Ranjit studios. Ranjit was almost like a factory, churning out films after films continuously. The studio had 6 shooting floors. When a Ranjit film was not shooting, the floor would be given on hire to other producers. When film Phulwari was being made, there were other five films shooting in Ranjit , on other floors. They were Prabhu ka Ghar, Chaand Chakori, Dharati, Rajputani and Seeta Haran. In this list, Khurshid had 2 films, Trilok kapoor was in 2 films and Mumtaz Shanti also had 2 films being shot there at the same time. In other films actors like Jairaj and Surendra were acting. By the way this was Khurshid’s last film at Ranjit Studios.
The film was directed by Chaturbhuj Doshi. Chaturbhuj Doshi (1894–1969) was a Hindi and Gujarati writer-director of Indian cinema. He was one of the top Gujarati screenplay writers, who helped script stories for the Punatar productions. He is stated to be one of the leading figures who launched the Gujarati film industry with work on notable films like Gunsundari (1948) and Nanand Bhojai (1948). He was well known for his family socials and had become a celebrity in his own right. He made a name for himself as a journalist initially and was referred to as the “famous journalist” & publicist by Baburao Patel, editor of Filmindia.
His debut film as a director was Gorakh Aya (1938), produced by Ranjit Movietone, though he joined Ranjit in 1929, as a scriptwriter. In 1938, he directed another film for Ranjit, a social comedy, The Secretary, and both films were box-office successes for Doshi. His forte was socials, regularly adapting stories and novels for films. He worked initially on comedies like Secretary and Musafir (1940), but then “shifted to more significant films”.
Chaturbhuj Anandji Doshi was born in 1894 in Kathiawad, Gujarat, British India. He was educated at the University of Bombay, after graduation he started work as a journalist for a daily, Hindustan (1926), working for editor Indulal Yagnik. His entry into films was working as a scenarist in the silent era for directors like Jayant Desai, Nandlal Jaswantlal & Nanubhai Vakil. He joined Ranjit Movietone in 1929, and wrote stories and screenplay for several of Ranjit films.
Film Gorakh Aya (Gorakh has come) in 1938, was the first film directed by Doshi. It was produced by Ranjit Movietone with screenplay by Gunvantrai Acharya & dialog-ues by P. L. Santoshi. The music, termed “good” was composed by Gyan Dutt. The Secretary (1938), was a “riotous comedy”, starring Madhuri, Trilok Kapoor. Charlie. The music was composed by Gyan Dutt, became a regular in most of the films directed by Doshi. Musafir in 1940 was a comedy costume drama, which had Charlie playing a prince.
Bhakta Surdas, a devotional film directed by Doshi in 1942, is stated to be the “most famous” of the several versions made. It starred K. L. Saigal and Khursheed “the singing idol(s) of millions”, winning “unprecedented popularity” everywhere.
Maheman (1942) starred Madhuri, Ishwarlal, Shamim and Mubarak. Music director Bulo C. Rani had come to Bombay in 1942, and joined Ranjit Studios assisting Khemchand Prakash in music direction.
Doshi helped enormously in the development of the Gujarati cinema. During 1948-49 he directed three successful Gujarati films which “brought immense success to the industry”. The success of the Gujarati film Kariyavar in 1948, directed by Chaturbhuj Doshi from a story by Shaida, called Vanzari Vaav, helped establish the Gujarati film industry along with other films like Vadilo Ne Vanke (1948) by Ram chandra Thakur and Gadono Bel (1950) by Ratibhai Punatar. His next Gujarati film was Jesal Toral (1948) based on folk-lore, which proved a big box-office success. In 1949, Doshi directed another Gujarati film, Vevishal, an adaptation of Meghani’s novel of the same name.
He also wrote stories, and one of his stories Pati Bhakti was used in the Tamil film En Kanawar (1948) produced by Ajit Pictures, which starred the Veena maestro, Sundaram Balachander, who was also the debut director and music composer for the film. In all he directed 24 Hindi films. His last Hindi film was Sanskar-1958. He had also written few songs in film Maya Bazar-32.
Chaturbhuj Doshi died on 21 January 1969 in Bombay, Maharashtra, India. Filmography-1932: Narasinh Mehta (Writer), 1934: Sitamgarh (Writer), 1938: Gorakh Aya, Secretary, 1939: Adhuri Kahani, 1940: Musafir, 1941:Pardesi, Sasural, 1942: Bhakta Surdas, Dhiraj, Mehmaan, 1943: Chhoti Maa, Shankar Parvati (Director, Writer), 1944: Bhartrahari, 1945:Murti, 1946: Phulwari, 1947: Bela, Kaun Hamara, 1948: Jesal Toral, Kariyavar (Director, Writer), Sati Sone, 1949: Bhakta Puran, Vevishal, 1950: Akhand Saubhagya, Kisi Ki Yaad, Ramtaram, 1954: Aurat Teri Yahi Kahani, 1956: Aabroo, Dashera, Dassehra, 1957: Khuda Ka Banda, Shesh Naag, 1958: Sanskar, 1960: Mehndi Rang Lagyo (Writer, Lyricist) (Thanks to Gujarati articles provided by Harish Raghuwanshi ji and Encyclopedia of Indian Cinema).
In the cast, you will find a name Dikshit or Dixit. In the olden films Dixit and Ghory was a comedy pair, which became very famous. Some times they even acted singly in different films. Phoolwari-46 was one such film for Dixit.
Manohar Janardhan Dixit was born on 12-11-1906 at Sinner in Nashik district,Maharashtra (Bombay state at that time.) His comedy career started with silent film ‘Sparkling youth’-1930. His first day of work in a film was 14-11-1929. He did 3 more silent films with Navjivan Films and then joined Ranjit studio. Here he met his mate Nazir Ahmed Ghori,born on 11-8-1901 at Bombay.He was the senior of the two,having started in 1927. He worked till 1931 in silent films of various companies and then joined Ranjit studio in 1931 Here too he did 4 silent films.
He paired with Dixit first time in Char Chakram-1932,directed by Jayant Desai.The film was a terrific hit and the pair did many films together like, Bhutio mahal, Do Badmash, Bhola shikar, Bhool bhulaiya, Vishwamohini, Nadira etc. They worked together till 1947,doing solo films also in between. Unfortunately none of their films have survived and we know about their acting only through Photographs,interviews and articles. However Dixit’s solo films like Pehle Aap-44, Jeevan yatra-46, Aap ki sewa mein-47 and Pugree-47 are still available. In film Pugree,his name was Ramu kaka and the very fat Dixit (222 pounds) carried the world’s smallest dog-Chikoo in the film. Later comedian Omprakash did this role in the remake of the film in Dil Daulat Duniya-1972.
Dixit acted in 66 Talkie films and 8 silent films in 17 years. He died on 29-6-1949 due to a massive heart attack. His partner Ghori migrated to Pakistan and did 8 films there till 1960,without much success. He too died on 9-12-1977 at Karachi. (Thanks to book Ina Mina Dika by Sanjit Narwekar.)
Music was by Hansraj Behl, for this Ranjit movie. I have heard many many parody songs, have seen also many, but this must be the only time when the singer of the original song is also in the same film in which that singer’s song is ‘parody- ed’. Today’s song is a parody of the famous song of Khurshid from film Tansen-43 ” Ghataa ghanghor ghor, Mor machaave shor “. I wish I was able to this film.
Song-Hawaa chale saany saany (Phoolwaari)(1946) Singer- Mohantara Talpade, Lyrics- Pt Indra Chandra, MD- Hansraj Behl
Lyrics
hawa chale saany saany
hawa chale saany saany
kauwa kare kaany kaany
more sajan jaago o
jaago
more sajan jaago o
murga jaaga
murgi jaagi
jaage khel kabootar
murga jaaga
murgi jaagi
jaage khel kabootar
bhadak bhadak kar jaagi bhainsan
jaage saanp chhachhundar
bhadak bhadak kar jaagi bhainsan
jaage saanp chhachhundar
chhodo piya chaarpaayi
chhodo piya chaarpaayi
garma garam chaai laayi
more sajan jaago o
jaago
more sajan jaago o
dhanna dhobi ganga teli
natkhat nanda naai
dhanna dhobi, ganga teli
natkhat nanda naai
chhagan sambholi laaya goli
koot raha halwaai
chhagan sambholi laaya goli
koot raha halwaai
chaukwa khaska de bhaiya
chaukwa khaska de bhaiya
wahaan dekho jaaya(?) sainya
more sajan jaago o
jaago
more sajan jaago o
daal chadhi choolhe per meri
garam masaala laao
daal chadhi choolhe per meri
garam masaala laao
main talti hoon bhajiya bhaaji
tum bacche nahlaao
main talti hoon bhajiya bhaaji
tum bacche nahlaao
raho piya ?? joda
raho piya ?? joda
rahe jaise ?? ghoda
more sajan jaago o
jaago
more sajan jaago o
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
Recent comments