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

Archive for the ‘Morning song’ 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 :

4104 Post No. : 15255 Movie Count :

4192

Today’s song is from film ‘Gokul Ka Raja’ (1954). This is the first song of this film to be discussed here. I am surprised how this film was not featured on the blog so far, because songs of this film have been on You Tube for quite some time. May be, because the entire team of this mythological film was from Marathi film industry and the names of producer, director, MD, or the cast were not familiar to the most people. It is because this was a bilingual film, made first in Marathi as ‘Gokulcha Raja’ (गोकुळचा राजा) way back in 1950 and the Hindi version was released only in 1954.

Made by Yashodhan Chitra, Bombay for producers Nana Bapat and Haribhau Guruji, the film was directed by a well known Marathi Director – Bal Gajbar. He had earlier directed another bilingual Hindi-Marathi film ‘Sandesh’ (1952) and before that yet another bilingual ‘Mere Laal’ (1948) (माझं बाळ in Marathi). Bal Gajbar had directed few Kannada films too, like ‘Vichitra Prapancha’ (1955). Before becoming a director, he was an art director with V Shantaram’s Rajkamal Kala Mandir.

All songs of the film were written by YN Joshi. The Music Director was Shridhar Parsekar – a name very few people will remember. I wrote about him first time in my series “Less Known Composers”, on 17-12-2012, seven years ago. Not much was known about him then. In January 2017, Sadanand Kamath ji wrote on him. In last nearly 3 years, some new information has become available on him, so his bio data is now updated further. As the new sources give new information, the history keeps on updating itself. This is a regular process of nature.

Hindi film music is like an ocean. As many rivers merge into the ocean at various stages, regional music from various parts of India is assimilated in HFM (Hindi Film Music).

Initially it was the Marathi stage/natya sangeet and Parsee Theatre which influenced HFM. In the East, it was Robindra Sangeet and Nazrul Geeti made the basis of film songs. In the Lahore centre it was the Punjabi style after ‘Khazanchi’ (1941).

After Partition and polarisation of film production language wise, it was BOMBAY, which became the centre for HFM and it was a wonderful mixture of music specialties from all over the country. There were many successful Music Directors in India. I remember a famous quotation – “Behind every successful man there is a woman.”

Can you tell me,who is behind every successful Music Director ? I am sure many of us do not have the answer.

The answer is THE ARRANGER.

Now, who is this arranger? Some have a vague idea, some may even think, he is the person who arranges song recordings and the musicians.

An arranger is the SOUL of film music. Once the composer conceives the tune for a song, he tells it to the arranger, who immediately makes its notations (writing music or Swar Lipi), which a properly schooled musician can read and play. Arranger also decides the instruments and their placements in the song. Most of the arrangers in the Film Industry were from Goa, where traditionally Jazz music was very popular.

A typical Goan likes to live life – ‘sushegaat’– which loosely means ‘araam se‘ or a carefree life. Their philosophy is eat, drink and be merry. This merry part includes Music.

Goa has given many musicians to India. Lata/Asha are  from Mangeshi – Goa, though the family had shifted to Kolhapur, MDs Dattaram (Wadkar) and N Datta (Datta Naik), Singers Kishori Amonkar, Kesarbai Kerkar, Shobha Mudgal, Hema Sardesai, Prabhakar Karekar, Remo Fernandez, Lorna are from Goa. (The list is only indicative, not exhaustive).

Most Arrangers were from Goa —-

Anthony Gonsalves from Majorda, Goa. He worked for Naushad,OP Nayyar and LP. The famous song “My Name Is Anthony Gonsalves” is a tribute by LP to him. He had taught Pyaarelal so many things including notations.

Chic Chocolate aka Anthony Vaz from Aldona, Goa. He worked for C Ramchandra mainly.

Chris Perry worked for Khayyam, RD Burman, Kalyanji Anandji, and Laxmikant Pyaarelal.

Frank Fernando – Anil Biswas, Kishore Kumar, Roshan, C Ramchandra.

Sebastian D’Souza from Bicholim, Goa – worked for Shanker Jaikishen from 1952 to 1975, and also OP Nayyar.

Most of the players of western instruments in the orchestras were from Goa.

From this crop of musicians from Goa, there was one outstanding musician – SHRIDHAR PARSEKAR, who was a singer, a famous violin player, composer of many Marathi songs/films/dramas and few Hindi films. He was an expert in playing almost 10 different instruments.

SHRIDHAR PARSEKAR was born in 1920 in Goa. From the childhood he was a lover of music and learnt classical music, first from his uncle Parshuram Buwa Parsekar and he was trained by him in playing various instruments like harmonium, jaltarang, tabla and violin. He was a disciple of Gajanan Buwa Joshi a noted musician. He operated a vand in Bardez, Goa and played violin, clarinet, harmonium and many other instruments. He was a genius and soon became famous for playing violin.

He came to Bombay and continued learning music here under many well known gurus, like Khadeem Hussain Khan, Natthan Khan and Anwar Hussain. Soon he was performing in stage shows doing jugalbandis with stars of the day like Ravi Shanker, Vilayat Khan and Akbar Ali Khan. Kishen Maharaj was very pleased with him. For some time he joined AIR Bombay as a musician and got friendly with Ustad Alla Rakha who also worked in AIR. RG Ramnathkar, who got him the AIR job, also taught him many Raaga/Raaginis. Parsekar worked at AIR for 6 years.

Later he worked as asst. to Music Director Annasaheb Mainkar and then started as MD for Marathi Films and stage dramas. His music in dramas like ‘Bhakta Damaji’, ‘Paisa Bolto Ahe’, ‘Kuber’ and ‘Kanyadaan’ was very popular. He also recorded many bhavgeets and natyageets from reputed singers in Marathi. HMV and Odeon published his records. Singers like Jyotsna Bhole, Saraswati Rane, Hirabai Badodekar, Vatsala Kumthekar and Master Krishnarao Chonkar also sang for him. One of his songs- “Vithal Vithal Gajari, Awaghi Dum Dumali Pandhari” ( “विठ्ठल विठ्ठल गजरी, अवघी दुमदुमली पंढरी” ) from ‘Bhakta Damaji’ is so popular that it is sold even today.

With Marathi films, recording of private songs, stage shows with prominent musicians, Shridhar had every happiness with him. He had a bungalow, cars, bank balance, name, fame and plenty of demand. He wrote a book on music – ‘Swar Ninad‘.

And then it happened !

He became an alcoholic. Normally, a person becomes alcoholic when he is unsuccessful. But this was an opposite case. While on the top of success he became an alcoholic. He used to drink day and night.

Once there was a jugalbandi programme with Ustad Vilayat Khan. Shridhar came fully drunk to the theatre. Vilayat Khan scolded him and left the show. Such things kept on happening, leading to his downfall. He stopped getting work and all his wealth, house, cars etc. was sold for liquor. His condition was such that he would play violin on streets and earn money. Lata Mangeshkar has narrated an incident, which I read in a book ‘From Noorjehan to Lata’ by Isak Mujawar. The book says…

“One day Lata’s car stopped in the traffic. Out of curiosity she peeped out to see what happened. There was a person in tattered clothes playing a violin beautifully and people had gathered to listen to him. Some people gave him alms. She asked the driver if he knew that person. The driver replied that it was Parsekar Buwa. She got down, went to Parsekar and told him to come with her. She will look after him now. On this, Parsekar replied that her father had asked him to look after their family, which he could not do, so why should she look after him. If she wanted to help, just give some money. She gave him 50 rupees and he almost ran away from there – probably to the wine shop !“

Finally Shridhar Parsekar died of liver cirrhosis on 10-9-1964 !  He was only 44 years old !!  Such a brilliant artist wasted by alcohol. So sad ! Pt Ravi Shankar and Vilayat Khan had personally met his family after his death, so much was the respect for his talent !!

In addition to 7 Marathi films, Shridhar Parsekar gave music to five Hindi films – ‘Nagad Narayan’ (1943), ‘Mahakavi Kalidas’ (1944), ‘Meri Amanat’ (1947), ‘Andhon Ka Sahara’ (1948) and ‘Gokul Ka Raja’ (1954). He composed 45 songs in these films. He sang 5 songs in 2 films, ‘Andhon Ka Sahara’ and ‘Gokul Ka Raja. Many famous singers sang for him, like, Minakshi, Khan Mastana, Rajkumari, Master Krishnarao, Mohantara, Vinodini Dikshit etc.

(Information from these sources also used herein- Marathi Chitrapat Sangeetkar Kosh, Marathi Cinema in Retrospect by Sanjit Narwekar, Purvasurinche Soor by Dr. Suresh Chandvankar and the book ‘Kalatmak Gomantak’ – Kala Academy, Panji – 1972) .

The cast of the film consisted of Dwarakanath, Ratnamala, Chandrakant, Gauri, Hanumanta, Angre etc.

I do not know anything about actor Dwarakanath. Never heard of his name before or after this film ever. Actor Chandrakant was Chandrakant Mandhare (real name Gopal) – the elder brother of the more popular brother Suryakant. These two brothers ruled the Marathi cinema from the late 40s to the 60s.

Gauri was originally Tanibai Dawari, who was active in Prabhat from the silent era. She became famous because of her role of Awali – the shrew wife of Sant Tukaram in that film in 1936. I have recently written in details about her, only last month. As far as the heroine Ratnamala is concerned, how many of us really know anything about this actress. It is surprising that a very lovely and beautiful actress, who was heroine of about 20 films in the 40s and has about 300 films to her credit, remains practically unknown. She was the heroine with Saraswati Cinetone, Prabhat Film Company, Sagar, Ranjit, Prakash Pictures etc. – all well known banners. She was in films for 50+ years and was a famous name in Marathi films of Dada Kondke.

Its a great pity that hardly any or no information about her is available in books, encyclopedias, wiki or on internet. When all sources of information come to a dead end, I turn to Harish Raghuwanshi ji of Surat and I am never disappointed. Here, I provide a short bio-data of Ratnamala, based principally on the articles given by Harish ji. Thanks, Harish ji.

She was born as Kamal Bhivandkar on 22-6-1923 in Bombay. Her father was Auditor of Central Bank, Bombay. She was good looking and could sing well. From the age of 14 years, she went on the stage of several Ganesh Melas prevalent in those times. She earned 5-10 rupees per performance. Due to family’s financial problems, she started looking for work. She was proficient in Marathi, Gujarati, English and Urdu languages. In 1938, she was picked up by Dada Torne of Sarswati Cinetone, Poona, who cast her as Heroine in Marathi film ‘Bhagwa Zenda’. Seeing her performance, she was taken by Prabhat Film Company for the Marathi version of their film ‘Das Baje’ (1942). Torne had renamed her as Ratnamala.

Vijay Bhatt of Prakash Pictures offered her a role in film ‘Bharat Milap’ (1942), when Kusum Deshpande selected for the role of Bharat’s wife fell ill. Seeing her performance, she was selected as a heroine for film ‘Station Master’ (1942). Here too the original heroine Jyoti fell ill. Then came ‘Panghat’ (1943), ‘Police’ (1944), ‘Kavita’ (1944) etc. She acted in many mythological films also. Some of her well known films were ‘Dholak’, ‘Maya Bazaar’, ‘Sasural’, ‘Bhabhi Ki Chudiyan’, ‘Faulad’, ‘Woh kaun thi’, ‘Nishaan’, ‘Bahu Beti’, ‘Mera Saayaa’, ‘Raaz’, ‘Saraswati Chandra’, ‘Brahmachari’, ‘Upahaar’, ‘Seeta aur Geeta’, ‘Nastik’ etc.

She acted in 130 Hindi films and many more Marathi films. Later she did side roles. She became famous as mother of Dada Kondke in 11 of his films. She was called ‘Aaye’ (आये )  in the Marathi films of Kondke.

Ratnamala was married to Raja Pandir, producer director of Marathi films, when she was very young. As Ratnamala became successful and Raja became a failure, their marriage came on rocks. She had one son – Jaikumar, who had also acted in one film. Unfortunately, he died suddenly in an accident. Ratnamala lived in her own bungalow in Andheri, Bombay, along with her foster son – Ramesh. Ratnamala died of heart attack on 23rd January 1989.

Today’s song is the first song sung by Shridhar Parsekar that is being presented. One can easily make out from his clear voice, impeccable pronunciations and the classical singing style that the singer is trained in classical music and is a knowledgeable person. With this song the film ‘Gokul Ka Raja’ and singer Shridhar Parsekar are making their debut on this Blog.

Song – Mangal Prabhat Jaage Surya Kiran Sang (Gokul Ka Raja) (1954) Singer – Sridhar Parsekar, Lyrics – YN Joshi, MD – Sridhar Parsekar

Lyrics

jaa..aa..aa..aage ae ae ae
jaage ae ae ae

jaage
mangal prabhat jaage
jaage
mangal prabhat jaage
jaage
mangal prabhat jaage
jaage
mangal prabhat jaage
surya kiran sang
gokul mein rang
surya kiran sang
gokul mein rang
navjeevan anuraage
jaage
navjeevan anuraage
jaage
mangal prabhat jaage
jaage
mangal prabhat jaage
jaage

go dhan amrit varsha karta..aa..aa
aaaaa aaaa aaaa aaaa
go dhan amrit varsha karta
sukh saurabh gokul mein jharta
sukh saurabh gokul mein jharta
baal gopal
baal gopal charaayen gaayen
madhu murli jiya laage
laage
madhu murli jiya laage
laage
mangal prabhat jaage
jaage
mangal prabhat jaage
jaage
mangal prabhat jaage

surya kiran sang
gokul mein rang
navjeevan anuraage
jaage
mangal prabhat jaage
jaage
mangal prabhat jaage
jaage
jaa..aa..aa..aage

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

जा॰॰आ॰॰आ॰॰आ॰॰आगे ए ए ए
जागे ए ए ए

जागे
मंगल प्रभात जागे
जागे
मंगल प्रभात जागे
जागे
मंगल प्रभात जागे
जागे
मंगल प्रभात जागे
सूर्य किरण संग
गोकुल में रंग
सूर्य किरण संग
गोकुल में रंग
नवजीवन अनुरागे
जागे
नवजीवन अनुरागे
जागे
मंगल प्रभात जागे
जागे
मंगल प्रभात जागे
जागे

गो धन अमृत वर्षा करता॰॰आ॰॰आ
आsss आsss आsss आsss
गो धन अमृत वर्षा करता
सुख सौरभ गोकुल में झरता
सुख सौरभ गोकुल में झरता
बाल गोपाल
बाल गोपाल चराएं गाएँ
मधु मुरली जिया लागे
लागे
मधु मुरली जिया लागे
लागे
मंगल प्रभात जागे
जागे
मंगल प्रभात जागे
जागे
मंगल प्रभात जागे

सूर्य किरण संग
गोकुल में रंग
नवजीवन अनुरागे
जागे
मंगल प्रभात जागे
जागे
मंगल प्रभात जागे
जागे

जा॰॰आ॰॰आ॰॰आ॰॰आगे

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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 :

4018 Post No. : 15127 Movie Count :

4154

In the blog, Sudhir Jee sometimes describes me as Ranchiwala Gaanewaala.

I have spent the formative years of my life in Ranchi. But when I think about it now, I find that the last time I visited Ranchi was in 1991 ! So it has been 28 years since I lost touch with Ranchi ! More than a quarter of a century !

I would dearly love to go to Ranchi and relive my memories of that place. It will be an emotional, sentimental and nostalgic visit whenever I go there.

But do I have to actually go there to relive the memories of that place ? Now a days it is possible to try and relive those memories online as well. So, I tried to see if I could relive some of my memories through online technologies.

My father was a railwayman who joined Railways in 1958, before I was born. He was posted in Ranchi. Initially he lived here and there in rented accomodations and finally he got a railway quarter in Ranchi railway colony in 1964. He retained this quarter till 1992. It was vacated after he retired.

So, this small quarter in Ranchi was my base for more than a quarter of a century. Of course, I had left Ranchi in 1983 to pursue Engineering (in Railways itself).

I studied upto class V in one school. It only had classes upto V, so later I was admitted to another school from where I passed my matriculation in 1978. Then I joined college. So these were the three places where I went to study while at Ranchi.

On searching online, I found a few photographs of Ranchi Railway station and I noticed that the main building of Ranchi Railway station was virtually unchanged from what it was in 1970s.

I fired up google earth and zeroed it in to Ranchi Railway station. On zooming it in, I began to see many familiar locations. On North of the Railway station, there was a playground. It was Railway sports ground, now called SERSA (South Eastern Railway Sports Association) stadium. Till 1970s, it was an open field where buffaloes used to roam all around. When I used to commute between my home and school on foot, I would take this route (via the sports ground) while returning. In case some football matches were going on in the evening, I would stop and start watching the football match, postponing my return to home. 🙂

One Railway inter departmental football tournament was held during december 1974 and its final was played on 1 january 1975. There was a good crowd to watch the final, and naturally I too was there. The team that I was supporting (it was the team belonging to my father’s department) played well, but the opposition team, despite being outclassed on the field, managed to emerge winners, much to my disappointment. The teams were awarded by the Chief Guest and his wife. I wondered why he was the chief guest. Much later I came to know that he was the chief guest because he was the boss of Adra Division (Ranchi Railway station was under Adra division). His designation was Division Superintendent. Now this designation is changed to Divisional Railway Manager. The gentleman who was the DS was from the same service to which I would belong more than one decade later. I met that gentleman, named S M Bhargava much later in 1990s when I was posted in Secunderabad and he was settled there after retirement.

On google earth, I could also locate my school where I studied upto matriculation. This school has since been relocated to another far off place and it has been converted as an Ashram. The locals opposed this move, but the school authorities succeeded in converting it into an Ashram. On zooming the place, I could locate my erstwhile school (now an ashram). I could see the place which used to be our playground within the school, where we would play during lunch break.

Likewise, I was able to locate my earlier school and also my college on google earth.

What about locating my quarter ?

I zoomed in to the area south of Railway Station. I got disillusioned and disappointed because the area appeared totally unfamiliar. So what has happened. Has the Railway colony been totally changed and rendered unrecognisable ? I felt despondent and thought that a major part of my younger days has been robbed off.

Then I braced myself, and began to look again. This time I began to look with more concentration and this time I started to recognise places. Then I zeroed in to a place which had to be my quarter which was my base for 28 years. I compared it with other landmark. I became more and more convinced that this is indeed the place. I could recognise the other landmarks as well.

The quarter indicated with hand was my place.
When I looked at adjacent quarters, I recalled the persons who stayed in those quarters. I also located the river (Harmu River) that flowed may be 200 metres from the quarter.

What about my neighbours in the colony ? Can I locate some of them online. Likewise, what about my school mates, college mates ? Is it possible to locate someone.

I realised that locating the neighbours would be a tall order. I knew them mostly by their nicknames, not by their actual names. And in most cases, I was not even aware about thei names.

I decided that my best (and only) bet was to locate Josephs. Mr Joseph lived on the quarter adjacent to our quarter. He was a Railway driver. In one of my nostalgia pieces, I have mentioned that some of my neighbourhood kid used to have the best quality hoop made out of steam locomotive piston rings. I was talking about the Joseph kids.

How do I locate these Joseph Kids ? The one kid in my age group was known to us by his nickname of Chikkoo. But what was his real name ? I wrecked my brain, and remembered that his “school” name was Christopher. So I looked for Christopher Joseph on facebook. I located one, who had mentioned that he lived at Ranchi. I remembered that the Joseph’s had bought plot near the railway colony and had built their home there as Mr Joseph was nearing retirement in early 1990s. So it made sense that Christopher Joseph, the eldest available son would inherit that home after his father and would stay there.

But the facebook page contained little information and not even any DP. But when I looked at his facebook friends, I came across one person called Eugene Joseph. This person had his photograph in his facebook page. This person was unmistakably Eugene Joseph, the younger brother of Christopher Joseph. He was born in february 1966 in their railway quarter and the young neighbourhood kids including me were allowed to see the newborn brother of Chikkoo on that very day. He was named Eugene. Kids had difficulty pronouncing the name and they called him “Engine”. Later their younger brother was born and he was named Ashley. Obviously this name too was difficult to pronounce for kids and he was promptly renamed Asli by the kids. 🙂 The kids were like that. I recall that they had trouble pronouncing a kid called Shakeel and they would call him “cycle”. 🙂

I tried to locate some more neighbourhood kids but drew a blank mainly because I was not aware of their formal names.

What about locating my school mates and college mates by the same method ? I had tried that in the past and I was able to locate a school kid called Shyamal Kumar Dey. We were in the same class in school and later on both of us got admitted to St Xavier’s college, Ranchi in 1978. His facebook page mentioned that he had done Engineering from West Bengal and had then joined a PSU. He was incidentally posted in Ranchi itself which was the HQ of his PSU.

In 2018, when I first located him on facebook, I sent him an email message. He did not respond. Perhaps he could not remember me or may be he did not consider me worthy of responding.

What about someone from college, apart from Shyamal Dey ? I could locate one.

St Xavier’s college, Ranchi admitted only the “brightest” students where brightness was judged by marks obtained in the matriculation examination. The Bihar Board topper among girls, who had achieved fourth rank overall in the state was a resident of Ranchi and she had also joined St Xavier’s college. The students were divided into two sections, viz section A and B. Each section had batches. All girls were in the same batch. Some boys were also in that batch. I was among the boys who were in the batch alongwith girls. Needless to say that boys of other batches envied the boys of this batch. 🙂 Personally I think that most boys of this batch were quite simple and “bhondoo”, Amol Palekar type. 🙂 I do not recall interacting much with any of those girls. Once while doing chemistry practicals, I by fluke had produced a perfect bead while doing borax bead test. The instructor showed this bead to all including the girls telling them that it was created by one among them. 🙂

More than one decade later, I was in Delhi, as part of my probation as a Railway probationer. We were doing parliamentary training, where we would attend a three day seminar on how parliament functions. On one day we were also taken to Parliament to watch how it functioned. We saw Parliament hall from visitor’s gallery and watched the then PM V P Singh replying to some parliamentary question.

The parliamentary training batch had members of two other services in addition to Railways. The participants had their names written in front of them. I found the name of a lady participant matching the name by which we knew her in our college. It was unmistakably the same lady. Her surname differed which was only to be expected because she must have been married by that time.

Next day I mustered enough courage to approach her and talked to her. It turned out that she was indeed the same lady. She informed me that she had married an IAS officer who was then posted as an ADC to the Governor of that state.

That was nearly three decades ago. While searching for my college time mates, I came across the name of this lady once again. I found that considerable information was available on her online. Her husband had reached the top viz had become Principal Secretary of that state. They had two sons and one of them was an IAS officer as well. So this class mate of mine, who was the topper among girls in matriculation examination of Bihar that year was doing very well in her life. I felt happy for her.

I tried to locate some people, but drew a blank. I think that I need to physically go to Ranchi and visit the familiar landmarks, including the place where I stayed and try to find some old acquaintances who may actually be staying in Ranchi even today. That I suppose would be a tall order. Most people may have been staying elsewhere by now.

Ranchi itself has changed considerably, as I have been informed by those who are more current with developments in Ranchi. I was able to locate a few relatives of mine who were settled in Ranchi but they were too young for me to find much in common with them. I tried to locate their parents instead but they were not on facebook. In one of my posts on Binaca Geetmala 1971 finals, I have mentioned my Mama with whom I was going to Ranchi but had an unscheduled night halt in another town. I could locate his children on facebook but not the mama himself. Those kids were not even born by that time. The mama himself was not on facebook.

When I thought of a song to accompany my reminiscences about Ranchi, I was very clear about the movie the song was to be from. The movie had to be “Hip Hip Hurray”(1984). One clear reason is that the story of this movie takes place in Ranchi ! So, it is a perfect movie for my purpose.

“Hip Hip Hurray” (1984) was produced by Manmohan Shetty and Pradeep Uppoor. It was the debut movie of Prakash Jha as a movie director. The movie had Raj Kiran, Deepti Nawal, Deepa Rani, Nikhil Bhagat, Shafi Inamdar etc in it.

I would have saved my effort by quoting the story of this movie from wikipedia or imdb, but the story as contained in these sites are horrible. So I have provided my own summary of the story here:

Sandeep Chaudhary (Raj Kiran), a resident of Mumbai is a computer science and Electronics Engineering graduate as well as a sports enthusiast. After his graduation, he appears for some job interviews, including one interview for a multinational computer company (called IDM 🙂 ). The people taking interview on behalf of the company seem to be totally clueless about computers going by the kind of questions he ask (more seriously, it is a reflection on the dialogue writer’s lack of knowledge of computers. Our venerable Gulzar is the dialogue writer.)
He has a smart and pretty career minded and fast life loving girl friend Uma(Deepa Rani).

While Sandeep Chaudhary is waiting for offer from IDM, which is likely to take three months, his uncle asks him to use this time fruitfully by joining as a sports teacher in a school at Ranchi whose principal is known to him.

So Sandeep Chaudhary boards a train and arrives Ranchi Railway station. He takes a rickshaw and reaches the school. The school Jamnadas school (a fictional school-scenes of this school were shot in Vikas Vidyalaya and Bishop Westcott Boys’ School in Ranchi ) is full of incompetent and careless teachers as well as disinterested, disillusioned and indisciplined students.

School teachers there ask him -” Mr Chaudhary, Bambai ke kis school mein padhaate thhe aap ?”
Sandeep Chaudhary- “jee main engineer hoon. computer science aur electronics mein”.

Hindi teacher- “electric mein hain ? Aap electrician hain. To khel kood mein kahaan se aa gaye?”

Hindi teacher gives his gyan- “Khel kood se is desh ki pragati sambhav hai kya. Ab aap hi bataaiye. Hamaare desh ke jo bhi mahaan neta thhe.
Mahatma Gandhi, Nehru, Subhash, Guru Nanak, Kabir aur kaun sa footbaal ya hockey khela karte thhe ye log ?”

Sandeep Chaudhary tries to bring discipline in the sports field and is met with resistance by students, led by the rouge student Raghu (Nikhil Bhagat). Raghu, who has failed four years in a row in the same class is a school bully and he has a teenager’s crush on lady teacher Miss Anuradha Roy (Deepti Nawal).

It is clear that the ambitions and temperaments of Sandeep Chaudhary and his fiancee do not match. With Sandeep Chaudhary in Ranchi and not in habit of keeping in touch with his near and dear ones through letters (the usual way of keeping in touch those days), Uma writes to him that there was little point continuing this relation and they should part ways. And she wishes him best of luck for future.

Sandeep Chaudhary decides to build a school team despite resistance from all concerned, viz teachers, students as well as parents. He presses on regardless. The experience of the first football match is disastrous though, because the school team loses 0-12. Sports teacher of the other team (played by Shafi Inamdar) mocks him- “aapko sport teacher kisne bana diya Mr Chaudhary ?”

Sandeep Chaudhary renews his efforts to built a stronger team. He gradually wins over those good players (led by Raghu) who had kept away from playing the earlier match. Gradually, all of them except Raghu join in. Raghu, who thus finds himself isolated does not like it and he retaliates by attacking Sandeep Chaudhary. And he then falsely implicates Sandeep Chaudhary of roughing him up. This lie gets busted because of the evidences provided to the Principal by Miss Anuradha Roy, who herself is a victim of stalking by Raghu. The Principal decides to expel Raghu from school. But Sandeep Chaudhary intervenes and prevents his expulsion. A chastened Raghu grudgingly falls in line and starts practicing with the football team.

The students practice with great motivation, waking up early in the morning and reporting at the sports field for practice. There are murmurs of resistance though. Parents of one Kid prohibits their son from participating in football citing his poor academics as the reason. Sandeep Chaudhary goes and meets them to try and persuade them.

“pichhle saal wo ek baar fail kar chuka hai.”- mother of the boy states.

“lekin, pichhle saal to koi games nahin thha hamaare school mein.”- Sandeep Chaudhary points out.
“toh tum kya kehna chaahte ho. Football khelne se uska maths aur science theek ho jaayega.”- is the sarcastic retort by the father.

“No Sir. Mere kehne ka matlab hai games mein hissa na lene ka matlab zaroori nahin hota hai ki padhaai achchi ho jaati ho. Haan ye zaroor hota hai ki bachche jo school se bhaage rahte hain unka school mein dil lagne lagta hai. Aur phir, rahi baat maths aur science ki main Inder se pehle hi kah chuka hoon main usey tuition khud doonga na.”- Sandeep Chaudhary tells the father.

The father mocks him-“Come on, it is not football. Main physics, chemistry aur chemistry ki baat kar raha hoon.”

“I know sir, Main electronics aur computer science mein graduate hoon.”- Sandeep Chaudhary breaks this information to the stunned parents who look at each other in bemusement.

The rematch takes place with the team that had won the last time by 12-0 margin. This time the enthusiasm is palpable not only among the players and students, but among teachers as well. The match begins, with the opposite team coach Shafi Inamdar as dismissive of his opponents as earlier.

The match begins, and by halftime the team is down 0-2. Will history repeat itself ?

The tide slowly begins to turn in the second half. The team pulls one goal back, and then the second one two. In the dying minutes, Raghu, after a dodging a few defenders as well as the goal keeper puts the ball into the net.

The school secures a memorable and first ever win over their arch rival school. The whole school fraternity is overjoyed.

Sandeep Chaudhary receives a letter which is the job offer from IDM. He is naturally happy, but the happiness is naturally tempered.

Miss Anuradha Roy goes to meet Sandeep Chaudhary. He is still asleep, the attendant opening the door explains.

Miss Roy goes to the bedroom-“Sandeep, pata hai saadhe saat baj rahe hain. Janaab abhi tak bistar mein pade hain. Chalo uthho. Naha dho lo. Thanda lagta hai to paani garm kar deti hoon.” She proceeds to leave the bedroom.

“Anu, idhar aao”- Sandeep Chaudhary beckons him, still lying in bed.

Anu goes to him.
“Mujhse shaadi karogi”- he pops the question.
“nahin”- pat comes the reply, there is absolutely no connection between verbal language and body language.
“badmaash!”-remarks Sandeep Chaudhary so the deal is finalised.

A party is held to celebrate the win. Teachers as well as players are invited. The students wonder if the sports culture that he inclucated in the school was ephemeral. Will the school sports go back to its previous days ? Raghu offers to take up the responsibility of sports in the school and vows to return as a sports teacher to the school after passing out from the school.

The movie ends with Sandeep leaving the school premises for the station.

This movie was the debut movie of Prakash Jha as a director. And this movie is like scoring a century on debut. It is a movie that I have fallen in love with. What is there not to like and love in this movie.

1. The story is set in Ranchi.
2. The characters are totally real life and believable.
3. I was in the right age group as well as temperament to totally identify with the hero.
4. The movie is inspirational.
5. It is a different film. It is a film about sports.

Unlike usual movies, this movie does not have the usual formula based songs- a love song, a separation song, a cabarat etc. My guess is that the director did not want any songs in it but later on compromised and had some songs playing in the background. I find that the first two songs (that I shortlisted to go with this writeup) are both picturised almost in identical manner. It is as if the same picturisation was used for both songs.

I have finally decided to go with the first song. This song is movie opening song. The song plays in the background as Sandeep Chaudhary and his girl friend Uma go around places in Bombay.

The song is sung by Yesudas. Gulzar is the lyricist. Music is composed by Vanraj Bhatia.

With this song, “Hip Hip Hurray” (1984) makes its debut in the blog. Though I can hardly sit through movies these days, it is one movie that has the ability to hold my attention. I highly recommend this movie to anyone who is interested in watching good well made movies.

Going by the casting, the lady, who plays the fiancee of Raj Kiran is Deepa Rani. She looked quite impressive. I wonder why she failed to have a long innings in movie world.

Another impressive character was Raghu, played by Nikhil Bhagat. He too vanished from movies after this impressive role. 31 years later, he reappeared in “Tamasha”(2015), this time playing the role of Deepika Padukone’s father. Unlike others, Nikhil Bhagat was not enamoured of showbiz so he decided to concentrate on business. He has a business of leather goods. He was persuaded to come back to films by Imtiaz Ali, the director of “Tamasha”(2015) who had watched “Hip Hip Hurrray” (1984) during its time and who was suitably impressed with the movie as well as the actor.

I hope that the lady Deepa Rani too resurfaces some time in future, like Nikhil Bhagat.

Today (19 july 2019) marks eleven years of continued existence for this blog. Over fifteen thousand one hundred songs have been covered in the blog during the 4018 days of existence, which means that the blog has been buzzing with activity, covering songs at the rate of just under four songs daily. We have run up some impressive statistics associated with the songs covered in the blog. But more important that the numbers is the fact that the blog has given rise to a musical bandwagon, and a close knit team of music lovers who have gradually become close friends, online as well as offline.

I have loved this eleven year long journey. I have grown up considerably as a human being thanks to my interaction with so many like minded individuals during this musical journey.

I take this opportunity to thank one and all for their continued support, encouragement, contributions etc. May this association go on and on.

Audio

Video

Song-Ek subah ek mod par (Hip Hip Hurray)(1984) Singer-Yesudas, Lyrics-Gulzar, MD-Vanraj Bhatia

Lyrics

ek subah
ek mod par
maine kahaa
usey rok kar
ek subah ek mod par
maine kahaa usey rok kar
haath badhaa ae zindagi
aankh milaa ke baat kar
haath badhaa ae zindagi
aankh milaa ke baat kar

roz tere jeene ke liye
ek subah mujhe mil jaati hai
roz tere jeene ke liye
ek subah mujhe mil jaati hai
murjhaati hai
koyi shaam agar to
raat koyi khil jaati hai
main roz subah tak aataa hoon
aur roz shuroo karta hoon safar
haath badhaa ae zindagi
aankh milaa ke baat kar

tere hazaaron chehron mein
ek chehraa hai mujhse miltaa hai
tere hazaaron chehron mein
ek chehraa hai mujhse miltaa hai
aankhon kaa rang bhi
ek saa hai
aawaaz kaa ang bhi miltaa hai
sach poochho to ham do judwaan hain
tu shaam meri main teri sahar
haath badhaa ae zindagi
aankh milaa ke baat kar
ek subah ek mod par
maine kahaa usey rok kar
haath badhaa ae zindagi
aankh milaa ke baat kar
haath badhaa ae zindagi
aankh milaa ke baat kar
ek subah
ek mod par
maine kahaa
usey rok kar
maine kahaa
usey rok kar
maine kahaa
usey rok kar


This article is written by Avinash Scrapwala, 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 :

3833 Post No. : 14841 Movie Count :

4058

#the Decade of Seventies – 1971 – 1980 #
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#Bhoole-Bisre Geet # 79 # Remembering Director Tapan Sinha – His movies #
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In our film industry we have many personalities who have left indelible mark of their craftsmanship and genius through their contribution to the Indian film Industry.

Some of them achieved this in spite of producing or directing very few films. Such few personalities have immortalized themselves in the history of Indian Cinema through their works.

Today we pay our tributes to one such personality – one of the most prominent directors Shri.Tapan Sinha. He can be considered to be in the leagues of Shri.Satyajit Ray, Shri.Mrinal Sen, and Shri.Ritwik Ghatak. He was conferred with the highest honors for films the ‘Dadasaheb Phalke’ award in 2006.

Today 15th January 2019 is the tenth ‘Remembrance Day’ of Tapan Sinha (02.10.1924 – 15.01.2009).

The ‘nuances of life reality’ in his works and the ‘greatness of his efforts’ behind the presentations on ‘screen’ as we get to watch, cannot be detailed in one article here.

To put in short about him, I am reproducing below the text mentioned in the blurb on the jacket of the VCD (of film ‘Safed Haathi -1977).

“He is arguably the most uncompromising film maker outside the orbit of parallel cinema. And his awe-inspiring body of work can possibly be matched by only a – Mrinal Sen or a Satyajit Ray. He is the grand old man of cinema– Tapan Sinha.

His filmography presents an amazing variety of subjects. Even when the Director has profusely entertained the audience, he has done it every time, with a new yarn promising new experiences for the filmgoers. And these have not been ordinary crowd-pleasers nor have they seemed mired in familiar formulas. A veritable commander of the box-office, Tapan Sinha has offered many super hit films in succession – namely- ‘Hatey Bazaare’, ‘Aapnjan’, ‘Ekhani’, ‘Safed Haathi’ etc creating a record that is unsurpassed even today.

Yet in each of these films, adapted faithfully from widely read literary works and neatly told, a serious observer may discover the creative burst that raises a popular work to an artistic level. This nonchalant mastery of spinning pleasurable surprises right on the screen has been discernible in all his films, even including his work containing raw realities of life like ‘Apanjan’ or ‘Raja’.

His major works have been in Bangla films and in Hindi he has produced/directed – ‘Zindagi-Zindagi-1972’, ‘Sagina-1974’, ‘Safed Haathi-1977’, ‘Aadmi aur Aurat-1982’ and ‘Aaj Ka Robinhood-1987’, and the last one ‘Anokha Moti-2000’.
(Ref wiki page on Tapan Sinha)

Out of the above movies I remember to have watched ‘Ek Doctor Ki Maut’ and ‘Safed Haathi’ on ‘doordarshan’.
On our blog we have already covered all songs from the film ‘Sagina-1974’ and ‘Zindagi-Zindagi-1972’.

Today we introduce a song from the film ‘Safed Haathi-1976’ which was directed by Tapan Sinha, and this movie ‘Safed Haathi-1976’ make its debut on the blog today.

‘Safed Haathi-1977’ (alias ‘White Elephant’) was directed by Tapan Sinha. It was a ‘Neelkamal Movies, Calcutta’ presentation.
It was produced by R.A. Jalan and Pratap Agarwal.

Subodh Roy was the editor of this movie. Its dialogues were written by Hridayesh Pandey.
Tapan Sinha who directed this movie had also written the story and screenplay of this movie.

The film had Shatrughan Sinha (in special appearance), Vijay Arora, Sadhu Mehar, Mala Jaggi, Gayatri, Kalyan Chatterjee, Bhaskar Choudhary, Vishwa Guha Thakurta, Reena Barua and Utpal Dutt as its cast. Child artist Ashwani makes a debut in this movie.

Music of this film was composed by Ravindra Jain who also wrote the lyrics of the four songs in this film. Yesudas, Hemlata, Ravindra Jain, Nirmala Mishra gave their voices to the songs in this film.

This movie was passed by Censor board on 18.10.1977.

(While giving the details of this movie HFGK Vol-V makes a note that from the ‘booklet’ of this movie it comes to light that it was earlier titled as ‘Puraskar’ (The Prize))

As mentioned above, I had watched this movie earlier on ‘Doordarshan’ (may be sometime around 1991-92) and I remember how thrilled I was then and I always like to watch movies that have some ‘message’ in it and watching a movie which has ‘elephant’ as a ‘central character’ always fascinates me.
In this movie too watching ‘Airaavat’ or the ‘white elephant’ whenever he appears on the screen is very very interesting and touching.

So, few years back I had bought the VCD of this movie so that I can watch it again with my family at home. I always thought that such movies should be watched by all irrespective of what our age is.

I would not like to discuss more on the story of this movie since I wish that one should watch this movie and enjoy its thrill, its message and its learning. Review of this movie is available at ‘Memsaab Story’ too.

This movie was awarded National Film Award for Best Children’s Film in 1978.
It also got a ‘Special Jury Award’ in the Sixth Competitive Festival “The Child in Our Time” 1983 in Mifed, Milan, Italy.
It participated in several prestigious International film festivals where it received high acclaim and was well appreciated for its contemporary theme, preservation of flora and fauna and emphasis on qualities of chivalry, adventure and integrity of character in children.

Today we get introduced ourselves to this first song of the movie on our blog which is sung by Yesudas and written and composed by Ravindra Jain.

Let us now enjoy this wonderful song from this movie ‘Safed Haathi’ and pay our tributes to Late Shri.Tapan Sinha ji on the blog here today …

Video (Part I)

Video (Part II)

Audio

Song-Uthho hey laal (Safed Haathhi)(1977) Singer-Yesudas, Lyrics-Ravindra Jain, MD-Ravindra Jain
(Note: – HFGK mentions this song as one song while listing the songs of this movie)

Lyrics

Uthho hey laal uthho hey
Uthho hey laal uthho hey
Sooraj narayan aaye
Kirnon ki doli leke
Tumhre dwaare jaago hey
Jaago hey
Uthho hey laal
uthho hey ae ae
Uthho hey laal
uthho hey

Bhor ki ye bela nahin
soye ke ganwaane ki
Ghadi ye suhaani pyaare
jagne jagaane ki ee
Bhor ki ye bela nahin
Bhor ki ye bela nahin
soye ke ganwaane ki
Ghadi ye suhaani pyaare
jagne jagaane ki ee ee
Bina hi jagaaye jaage
Pyaare pyaare
Panchhiyon ki meetthhi meeththi baani
Suno hey
Jaago hey
Uthho hey laal
uthho hey ae ae
Uthho hey laal
uthho hey

Ban ki guphaaon mein jo luke chhupe baithe hain
Unke bhi sukh dukh
ham tum jaise hain
Ban ki guphaaon mein jo
Ban ki guphaaon mein jo luke chupe baithe hain
Unke bhi sukh dukh
ham tum jaise hain
Sher Cheetah Bhaalu Haathi
Inko banaa ke saathi
Inke bhi sang khelo hey
Jaago hey
Uthho hey laal
uthho hey ae ae ae
Uthho hey laal
uthho hey
Sooraj narayan aaye
kirnon ki doli leke
Tumhre dwaare
Jaago hey
Jaago hey
Uthho hey laal
uthho hey ae ae ae
Uthho hey laal
uthho hey

——————————-
(Part-II)
(In the audio link the following stanza is the second one, while in the film it is a separate one and hence mentioned here as Part-II)
——————————-
Taaron ne bikheri hansi
Phoolon ke bageeche pe
Kirnon ki toli daude
Ghaas ke galeeche pe ae ae
Taaron ne bikheri hansi

Taaron ne bikheri hansi
Phoolon ke bageeche pe
Kirnon ki toli daude
Ghaas ke galeeche pe ae ae
Kal kal gaati huyi
Nadiya ke thhande thhande
Paani ki rawaani
Dekho hey
Suno hey
Jaago hey
Uthho hey laal uthho hey
Uthho hey laal uthho hey

———————————
Devnagri script lyrics
——————————–

उठो हे लाल उठो हे
उठो हे लाल उठो हे
सूरज नारायण आये
किरणों कि डोली लेके
तुमरे द्वारे जागो हे
जागो हे
उठो हे लाल उठो हे ए ए
उठो हे लाल उठो हे
भोर के ये बेला नहीं सोये के गँवाने कि
घडी ये सुहानी प्यारे जगने जगाने कि
भोर के ये बेला नहीं
भोर के ये बेला नहीं सोये के गँवाने कि
घडी ये सुहानी प्यारे जगने जगाने की ई ई
बिना ही जगाये जागे
प्यारे प्यारे
पंछियों की मीठी मीठी बानी
सुनो हे
जागो हे
उठो हे लाल उठो हे ए ए
उठो हे लाल उठो हे
बन कि गुफाओं में जो लुका छुपे बैठे हैं
उनके भी सुख दुःख हम तुम जैसे हैं
बन कि गुफाओं में जो
बन कि गुफाओं में जो लुका छुपे बैठे हैं
उनके भी सुख दुःख हम तुम जैसे हैं
शेर चीता भालू हाथी
इनको बनाके साथी
इनके भी संग खेलो हे
जागो हे
उठो हे लाल उठो हे ए ए ए
उठो हे लाल उठो हे
सूरज नारायण आये
किरणों कि डोली लेके
तुमरे द्वारे जागो हे
जागो हे
जागो हे
उठो हे लाल उठो हे ए ए ए
उठो हे लाल उठो हे
—————-
(भाग – २)
(नीचे दिया गया अंतरा चलचित्र में अलग से दिखायी गया है एवं यह मुख्य गीत के साथ नहीं आता है, जब की गाने के श्रवण अंश यह हमें दुसरे अंतरे के रूप में सुनने को मिलता है )
—————–
तारों ने बिखेरी हंसी
फूलों के बगीचे पे
किरणों कि डोली दौड़े
घास के गलीचे पे ए ए
तारों ने बिखेरी हंसी
फूलों के बगीचे पे
किरणों कि डोली दौड़े
घास के गलीचे पे ए ए
कल कल गाती हुयी
नदिया के ठंडे ठंडे
पानी की रवानी
देखो हे
जागो हे
उठो हे लाल उठो हे
उठो हे लाल उठो हे


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

Blog Day : 3564 Post No. : 14287

Today’s song is from the film ‘Kisaan Kanya’ from 1937. This movie is famous for being the first indegenuously made colour film of India, by Ardeshir Irani’s Imperial Film Company. Film pioneer Irani was also the first to make an international co-production, with Italy – the film ‘Nala Damayanti’ – a silent film of 1920. Secondly, and more importantly, he also holds the honour of making and releasing India’s first talkie film ‘Alam Ara’ in 1931. And with film ‘Kisaan Kanya’, he achieved a hat trick of ‘First in India’ credit in film making.

Ardeshir Irani was very keen to become the first to make a talkie film in India. He knew that Madon Theatres of Calcutta too were busy in making their first talkie film, with two popular stars of the day. Irani hastened the speed of his shootings and recordings. Lot of secrecy was maintained in filming the movie. From his secret sources in Calcutta, he was getting information on the progress of Madon Theatres’ film in making. He came to know that their film was to have about 20 songs in the film. Irani decided to limit the number of songs in his film to save on time. Now they would have only 7 songs. Thus he saved on many days of shootings and recordings. His film, ‘Alam Ara’ was released on 14-3-1931. Madon could only release their first talkie film ‘Shirin Farhad’ on 30-5-1931, two and a half months later !

Similarly, Irani studied why Prabhat’s first colour film ‘Sairandhri’ from 1933 failed technically. So when he planned ‘Kisaan Kanya’, he decided to do all technical processes in India. Thus his colour film came out much better than Prabhat’s film. Ashok Raj, in his book ‘Hero-I’, writes the following about Ardeshir Irani.

Irani perhaps was the world’s first multilingual film maker, having made forays into English, Bengali, Marathi, Tamil, Persian, Burmese, Indonesian and Pushto. He is credited with launching the talkie era in countries like Burma, Indonesia and Iran. He made nearly 120 talkies in a span of just 8 years. He was also the first to establish a colour laboratory imported from Hollywood.

The first song from ‘Kisaan Kanya’ has recently been discussed on our blog, by our Sadanand Kamath ji, so I will not go into its details like story etc. Instead, I will discuss about 3 important persons connected with this film – namely Master Nisar, Padma Devi and Ram Gopal Pande.

Master Nisar was the most popular hero of the early talkie films. He was also one of the most highly paid stars of that era. His popularity was such – it is said that once due to a very large crowd gathered to see him, the Governor of Bengal was forced to divert his car to another road ! When Master Nisar went to Nashik for shooting Bhavnani’s film, he had to be kept closed in a room of his hotel to avoid his fans and hunters from other film companies, who would try to abduct him ! This same person, who enjoyed fame, name, money and fan following once, had to spend his last days in misery, poverty, neglect and pitiable conditions in a one room tenement in a Kamathipura chawl with few aluminum pots and a box full of photographs. During his heydays, he had learnt the art of massaging, as a hobby. This very art came to his help in his last days and he used to work as a masseur and earn few rupees sometimes.

Film historian Isak Mujawar has written in his book ‘Flashback-II’ about several instances of his later years. Here are two of them. When film ‘Do Bigha Zameen’ (1953) was being made, Bimal Roy wanted a masseur for a scene in which the Zamindar (Ulhas) is getting a body massage. Bimal da asked his the then manager Jugal Kishore (who later on became an actor, director and producer) to bring a masseur having solid physique. When Jugal Kishore brought  a very thin, emaciated looking person, Bimal da was very upset. When Jugal Kishore told him that he was Master Nissar, Bimal da was moved and gave him the role.

Those who have seen film ‘Guddi’ (1971), there is a scene in which a lanky, thin person is massaging Om Prakash. Dharmendra tells Guddi, “Do you know who he is ? Master Nissar, one time a great actor who was popular and very rich. Film line is such that riches to rags stories are very common here”. In his final days, Nisar was seen begging on roads.

Nissar Ali Mohammed Ali was born on 5-3-1902 in Delhi. His uncle brought him to Bhopal, when he was 10 year old. Nisar started singing and acting in his uncle’s drama company for Rs. 15 pm. He learnt music from Pt. Betab and Ustaad Jhande Khan. After few roles of girls and heroines, he got a hero’s role in Agha Hashr Kashmiri’s dramas, due to his good looks, fluent Urdu and singing skill.

He joined Madon Theatres for their dramas. When Madon decided to make their drama ‘Shirin Farhad’ into a talkie film, their first choice for hero was Nisar. Jahan Ara Kajjan was called from Bhagalpur, Bihar for the heroine’s role. The pair became very popular. People became mad after Nisar’s songs. The pair proved to be a gold mine They acted in 8 films together. Their songs became a rage all over India.

Master Nisar shifted to Bombay and joined Bhavnani Films at a salary of Rs. 3000 pm, a princely sum in those days. He was the first person in the industry to own a Rolls Royce car. His heroines were many like Padma Devi, Zebunnisa, Bibbo, Haseena, Sardar Akhtar, Kanta etc. He also acted in India’s first home made colour film ‘Kisaan Kanya’ (1937). This was also his last film as a hero. In the wake of the rise of Saigal, Ashok kumar, Surendra etc., in comparison his acting was very theatrical and it paled before the newer heroes. He shifted to character roles after being a hero in 45 films. In all, he appeared in 75 films during his career. The situation came that he would take whatever role came his way.

Master Nisar married 4 times. His first wife served him lovingly till the end. He survived by doing small and sometimes even un-credited roles like extras. He was friendly with Dilip Kumar, so he got small roles in his films. His style suited qawwaalis and he featured in many well known films like ‘Azaad’, ‘Barsat Ki Ek Raat’ etc. He is seen as the on screen lead singer in the qawwaali “Aaj Kyon Hum Se Parda Hai” in the film ‘Sadhna’ (1958). The writer of the qawwaali, Sahir Ludhianvi, came across Master Nisar, begging on the roadside. On recognizing him, he immediately hugged him, and took him to the office of BR Films. He introduced him to BR Chopra, and got him the role.

Nisar was a religious person and performed Namaaz five times a day. He had no bad habits like smoking or drinking or gambling, still he spent life in penury. Being a self respecting person, he never asked for roles from anyone. Born poor, lived rich and died poor. Master Nisar died on 13-7-1980. It is said that his neighbours collected money for his burial.

One of Master Nisar’s heroines was Padma Devi in some films. She was a Bengali actress named Neelima. She made her debut in silent films with ‘Sea God’, a 1931 production from Saroj Films. She acted in about 15 silent films. While moving to the talkie films, she had difficulty with her diction and singing in Hindi language. But she overcame this with grit and determination, and learnt all this. She did all this while working in films like ‘Laal e Yaman’, ‘Kurukshetra’, ‘Prithviraj Sanyogita’ etc. (all films from 1933).

She was introduced to Baburao Patel and in no time they became ‘special friends’. Baburao cast her as a heroine in 4 films in his own Gandharva Cinetone company. She became a part of his office and personal life too. However after Susheela Rani’s entry as Baburao’s secretary, she was pushed first aside and then outside. She returned to Calcutta in 1946 and appeared in many films in character roles. She returned to Bombay in 1961 and was seen in smaller roles in Hindi films till late 1970s. Her last film seems to be in 1979.

The music for ‘Kisaan Kanya’ was composed by Ram Gopal Pande, who was variously credited as RG Pande, Ram Gopal, Ram Gopal Pandey etc. He hailed from UP. After unsuccessfully trying to become a singer, he became assistant to many well known composers and learned their methods. His first break came in 1936 with ‘Matwaali Jogan’ aka ‘A Girl From Lahore’ (directed by K Amarnath). Then he was called by Ardeshir Irani at Imperial Film Company for their first colour film. Master Nisar and Padma Devi’s songs became popular, so he was given two more films viz., ‘Mere Laal’ (1937) and ‘Vasant Bangalee’ (1938).

Then in 1938, came Mother India, ‘Actress Kyon Bani’ (1939), ‘Flying Rani’ (1939), ‘Perfect Man’ (1938), Daughters of India’ (1939) and ‘Chalti Duniya’ (1940). He was then connected with Mohan Pictures and did 10 movies for them. His last film seems to be ‘Angoorbala’ in 1947. He was left behind as his music was stage and drama type only – he did not change his style.

Today’s song is First song of Master Nisar on our blog making a debut as a singer. After hearing his singing, one can get an idea about the public taste in the early 1930s and one wonders how they became so popular. One incident of his popularity – In 1954-55, when Master Nisar was in Coimbtore for shooting of film ‘Azaad’ (1955), he along with others went to the market for shopping. There they met one lady and talk started about songs of early era. She said, “I used to like Master Nisar’s songs, but after he died, I gave up listening to songs.” All were stunned. Then Master Nisar introduced himself to her. She was so pleased that she invited all the visitors from Bombay for a party in Nisar’s honour, with the promise that in return, he had to sing for her!

Let us now enjoy Master Nisar and Padma Devi song from ‘Kisaan Kanya’. It was uploaded by Shalin Bhatt ji only on 16th March 2018. Thanks, Shalin ji.

[Author’s Note: Acknowledgements and thanks – The above write up refers to and has adapted material from ‘Beete Huye Kal Ke Sitaare’ by Shri Shriram Tamrakar, ‘Hero-1’ by Ashok Raj, Isak Mujavar’s books, Prof. Yadav’s book, muVyz, chiloka.com, HFGK, Listener’s Bulletin, Encyclopedia of Indian Films and my own notes.]

 


Song – Aisa Nagar Basaaya Jis Mein Swarg Utar Kar Aaya (Kisan Kanya) (1937) Singer – Padma Devi, Master Nissar, Lyrics – [Unattributed], Music – Ram Gopal Pandey
Both

Lyrics (Provided by Sudhir)

aisa nagar basaaya
aisa nagar basaaya
jis mein swarg utar kar aaya
jis mein swarg utar kar aaya

aisa nagar basaaya

jahaan subeh ki kirnen aa kar
sona hans barsaayen
yahaan pe pahunche
premi bhanware
amar geet nit gaayen
chahun or sunehri gun paaya hum ne
aisa nagar basaaya
aisa nagar basaaya

is soney ke preet nagar ke
hum donon hain bhikhaari
jab tak suraj chaand rahenge
tab tak preeti hamaari
aisa vardaan hai paaya hum ne
aisa nagar basaaya
aisa nagar basaaya
jis mein swarg utar kar aaya
aisa nagar basaaya
aisa nagar basaaya

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

ऐसा नगर बसाया
ऐसा नगर बसाया
जिस में स्वर्ग उतर कर आया
जिस में स्वर्ग उतर कर आया

ऐसा नगर बसाया

जहां सुबह की किरणें आ कर
सोना हंस बरसाएँ
यहाँ पे पहुंचे प्रेमी भँवरे
अमर गीत नित गायें
चहुं ओर सुनहरी गुण पाया हम ने
ऐसा नगर बसाया
ऐसा नगर बसाया

इस सोने के प्रीत नगर के
हम दोनों हैं भिखारी
जब तक सूरज चाँद रहेंगे
तब तक प्रीति हमारी
ऐसा वरदान है पाया हम ने
ऐसा नगर बसाया
ऐसा नगर बसाया
जिस में स्वर्ग उतर कर आया
ऐसा नगर बसाया
ऐसा नगर बसाया


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

Blog Day : 3486 Post No. : 14003

“Shor”(1972) was produced and directed by Manoj Kumar for Vishal International Productions Private Limited, Bombay. This “social” movie had Manoj Kumar, Jaya Bhaduri, Premnath, Kamini Kaushal, Manorama, Manmohan, Kuljeet, Raj Mehra, Nana Palsikar, Krish Dhawan, Meena T, Shefali, Leena, Asrani, V Gopal, Ram Mohan, Sikandar Khanna, Ranveer Raj, M Masood, Master Avinash, Baby Sushma, Master Rakesh, Master Maruti, Master Satyajeet, with Nanda (special role).

The movie had five songs in it that were penned by three lyricists and sung by five singers.

Three of these songs have been covered in the past.

Here is the fourth song from “Shor”(1972) to appear in the blog. This song is sung by Lata. Verma Malik is the lyricist. Music is composed by Laxmikant Pyarelal.

The song is picturised as an “expression of love” song on Jaya Bhaduri, with Manoj Kumar also visible in the picturisation.


Song-Shehnaai baje na baje (Shor)(1972) Singer-Lata, Lyrics-Verma Malik, MD-Laxmikant Pyarelal

Lyrics

Lyrics

aah hmm hmm
aah hmm hmm
aah hmm hmm

aah hmm hmm
aah hmm hmm
aah hmm hmm
aah hmm hmm

gagan pe to taare takraaye
takraaker donon muskaaye
aah hmm hmm
aah hmm hmm
aah hmm hmm
chaand le sun li unki baat
ja baithha baadal ke saathh
hmm hmm
aah hmm hmm
aah hmm hmm
sun badal ne li angdaayi
boond boond ne baat phailaayi
gagan ki baat dharti pe aayi
kali ne sunli suni sunaayi
kali ne phool ko bhed bataaya
hmm hmm
aah hmm hmm
phool ne bulbul ko o samjhaaya
hmm hmm
aah hmm hmm
bulbul ne bhanwra bulwaaya
bhanwra gungun karta aaya
maine rok ke use sunaaya
sunaaya
sunaaya
aa aa

ban ke dulhaniya aaj chali hoon
main saajan ke dwaare
shahnaai baje na baje
shehnai baje na baje ae ae
shehnaai baje na baje

na koi mujhko kajra daale
na koi maang sanwaare
na koi mujhko kajra daale
na koi maang sanwaare
na chaahoon main baaje gaaje
na main dhol nakkaare
na koi meri raahen roke
na koi mujhe pukaare
banke dulhaniya aaj chali hoon
main saajan ke dwaare
shehnaai baje na baje ae ae
shehnaai baje na baje ae ae ae
shehnaai baje na baje

aah hmm hmm
aah hmm hmm
munda manney na manney
ghodi saje na saje
ho munda mane na mane
ghodi sajey na sajey
ho doli uthhe na uthhe
mehandi lagey na lagey
na main chaahoon bindiya shindiya
na main taare shaare
kal tak thhe jo gusse shusse
ho gaye jaan se pyaare
banke dulhaniya aaj chali hoon
main saajan ke dwaare
shahnaai
.. .. ..
baje na baje ae ae
shehnaayi baje na baje ae ae ae
shehnaayi baje na baje

aah hmm hmm
aah hmm hmm
aah hmm hmm
aah hmm hmm
aah hmm hmm
aah hmm hmm
aah hmm hmm
aah hmm hmm
aah hmm hmm

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

आह हम्म हम्म
आह हम्म हम्म
आह हम्म हम्म

आह हम्म हम्म
आह हम्म हम्म
आह हम्म हम्म
आह हम्म हम्म

गगन पे दो तारे टकराये
टकरा कर दोनों मुसकाए
आह हम्म हम्म
आह हम्म हम्म
आह हम्म हम्म
चाँद ने सुन ली उनकी बात
जा बैठा बादल के साथ
हम्म हम्म
आह हम्म हम्म
आह हम्म हम्म
सुन बादल ने ली अंगड़ाई
बूंद बूंद ने बात फैलाई
गगन की बात धरती पे आई
कली ने सुन ली सुनी सुनाई
कली ने फूल को भेद बताया
हम्म हम्म
आह हम्म हम्म
फूल ने बुलबुल को समझाया
हम्म हम्म
आह हम्म हम्म
बुलबुल ने भँवरा बुलवाया
भँवरा गुन गुन करता आया
मैंने रोक के उसे सुनाया
सुनाया
सुनाया॰॰आ॰॰आ

बनके दुलहनिया आज चली हूँ
मैं साजन के द्वारे
शहनाई बजे ना बजे
शहनाई बजे ना बजे॰॰ए॰॰ए
शहनाई बजे ना बजे

ना कोई मुझको कजरा डाले
ना कोई मांग सँवारे
ना चाहूँ मैं बाजे गाजे
ना मैं ढ़ोल नक्कारे
ना कोई मेरी राहें रोके
ना कोई मुझे पुकारे
बनके दुलहनिया आज चली हूँ
मैं साजन के द्वारे
शहनाई बजे ना बजे॰॰ए॰॰ए
शहनाई बजे ना बजे॰॰ए॰॰ए
शहनाई बजे ना बजे

आह हम्म हम्म
आह हम्म हम्म
मुंडा मन्ने ना मन्ने
घोड़ी चढ़े ना चढ़े
हो डोली उठे ना उठे
मेहंदी लगे ना लगे
ना मैं चाहूँ बिंदिया शिंदिया
ना मैं तारे शारे
कल तक थे जो गुस्से शुस्से
हो गए जान से प्यारे
बनके दुलहनिया आज चली हूँ
मैं साजन के द्वारे
शहनाई
॰॰ ॰॰ ॰॰
बजे ना बजे॰॰ए॰॰ए
शहनाई बजे ना बजे॰॰ए॰॰ए
शहनाई बजे ना बजे

आह हम्म हम्म
आह हम्म हम्म
आह हम्म हम्म
आह हम्म हम्म
आह हम्म हम्म
आह हम्म हम्म
आह हम्म हम्म
आह हम्म हम्म
आह हम्म हम्म


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

“Shri Ramanuja”(1943) was directed by Debki Kumar Bose for Shree Films, Calcutta. This movie had Biman Bannerji, Master Kumud, Dhiraj Bhattacharya, Bipin Gupta, B R Tandon, Vitthaldas Panchotia, Natwar, Hiralal, Vikram Kapoor, Vibhuti Ganguly, Prafull Mukherji, Tulsi Chakraborty, Nawaazish, Puttan, Meera Dutt, Radharani, Renuka, Chhaaya Devi etc in it.
Read more on this topic…


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

What does one do when one wakes up early in the morning? My daily routine is to take my two pets on their morning walks one by one. I have stuck to this routine unfailingly irrespective of the weather. While most fair weather morning walkers give up when the weather becomes foul, I perform my morning walk even when it is raining, it is fog, it is cold etc. Or rather, one can say that my pets insist on going on their morning walks and I accompany them.
Read more on this topic…


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

#the Decade of Seventies – 1971 – 1980 #
———————————————–
# Bhoole-Bisre Geet # 13 # Duet-2 – Lata Mangeshkar, Manna Dey
—————————————————————

Here is a pleasant duet sung by Lata Mangeshkar and Manna Dey from the 1975 Film ‘Chaitaali’.

I do not remember this movie now, but I think that I had watched it on ‘Doordarshan’ during early nineties.

As per information available in HFGK this is a Bimal Roy Productions presentation (produced by Mrs.Monabai Roy as per info on Wikipedia), directed by Hrishikesh Mukherjee.
Read more on this topic…


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

“Anjaan”(1941) was directed by Amiya Chakraborty for Bombay Talkies Limited, Bombay. The movie had Devika Rani, Ashok Kumar, V H Desai, Girish, Suresh, P F Pithawala, Gulab, Fatty Prasad, Yusuf Suleman, Saiyyad Mukhtar, David, Reva, baby Madhuri, Arun Kumar, Ibnul Hasan, Bachan Lal Dixit, Om Prakash, Tarun Kumar, Bhargavi etc in it.
Read more on this topic…


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

“Geet” (1944) was produced by A R Kardar and directed by S U Sunny. The movie had Chanda, Shahu Modak, Nirmala, Amir Ali, Shakir Ali, A Shah, Zahid Ali etc in it.
Read more on this topic…


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What is this blog all about

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

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

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

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Movies with all their songs covered =1180
Total Number of movies covered =4209

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