Archive for the ‘Morning song’ Category
Bhor bhayee uthh jaag re bande
Posted on: March 24, 2024
This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5728 | Post No. : | 18248 |
“Mere Laal”(1966) was produced by Jyotsna Sen and directed by Satyen Bose for S.S.Chitramandir (P) Ltd.
The movie had Dev Kumar, Indrani Mukherjee, Jagdev, Shekhar Purohit, Lalit Kapoor, Prakash Misra and Abhi Bhattacharya. They were supported by Jamal, Samson, Raj Kumar, Siddiq, Ghulam Sabir, Bhola, Master Anwar,
Madhuraj, Meenakshi, Juthikadevi, Darshan, Moolchand, Master Satyajit, Mahesh Kumar, Master Ratan, Bihari,Kedarnath Saigal, Harbans Darshan. M.Arora, Ratan Gaurang, Moolchand etc in it.
Story of the movie, as collected from internet and shared by Prakashchandra is
Badshah (Dev Kumar) is the most wanted dacoit in town. One day he goes to rob a house with his group, but the police comes to catch them. Badshah manages to flee and hides at an unknown place, where he finds a young girl kidnapped and tied with ropes. He rescues the girl. The girls name is Jamna (Indrani Mukherjee) and she is a street dancer. She stays with her alcoholic uncle. Jamna develops an immediate liking for Badshah, inspite of knowing his profession.
One day Badshah sees one of his enemies and he chases him. He follows him in a little boat in the Ganges. But the boat drowns in the flood. Badshah escapes safe through the flood and finds a little boy crying at the shore. The little boy was trapped in the flood and actually belonged to a married couple of the village. Badshah does not feel like leaving the kid alone. He takes the child with him. He goes to Jamna to give her the child so that she can take care of him. But she refuses, thinking that the child is Badshah’s son.
Badshah takes the responsibility of the child and names him “Bacchu”. He gets very attached to Bachhu, also leaves his profession and eventually turns into a good man. On the other hand Bachhu’s real mother, Madhu (Mala Sinha) is devastated to have lost her only child. Badshah starts earning his bread and butter by singing and dancing on the streets.
Ten years pass by. One day Badshah falls sick and Bachchu goes to sing alone, where he meets his real mother Madhu . Madhu and her husband recognize Bachhu by his locket. They go to Badshah to seek permission for taking Bachhu along with them. Badshah with initial hesitation lets them take their child, so that Bachhu can get a better home and education. Bachhu goes with his real parents. But Badshah and Bachhu both are really sad to have got separated. Badshah falls sick and his condition becomes critical. Bachhu flees from his home to meet Badshah. But by that time Badshah has died.
“Mere Laal”(1966) had eight songs in it. Seven songs have been covered in the blog.
Here are the details of the songs covered so far:-
| SNo in Blog | Song Title | Singer/s | Lyrics | Posted On | Remarks |
|---|---|---|---|---|---|
| 1234 | Meri patli kamar lambe baal re | Lata Mangeshkar | Majrooh Sultanpuri | 7 May 2009 | |
| 1242 | Paayal ki jhankaar raste raste | Lata Mangeshkar | Majrooh Sultanpuri | 8 May 2009 | |
| 8362 | Agar padho likhoge babu raja banoge | Lata Mangeshkar | Majrooh Sultanpuri | 17 July 2013 | Lyrics by Khyati Bhatt jee |
| 13626 | Jab tak ye sansaar nachaaye Multiple version song | Mukesh, Usha Mangeshkar | Majrooh Sultanpuri | 1 October 2017 | Post by Sudhir Jee , Multiple version song. One thousandth song of Majrooh Sultanpuri in the blog as lyricist |
| 14882 | Baadal roya naina roye | Lata Mangeshkar | Majrooh Sultanpuri | 16 February 2019 | |
| 18204 | Laal tera jug jug jiye maataa | Lata Mangeshkar | Majrooh Sultanpuri | 12 February 2024 | Lyrics by Prakashchandra |
One can observe that The movie had as many as five Lata Mangeshkar solo songs in it. One song had voices of Mukesh and Usha Mangeshkar.
One final song from the movie remains to be covered in the blog. This song is sung by Hemant Kumar. This brief song is picturised as a background song. Majrooh Sultanpuri is the lyricist. Music is composed by Laxmikant Pyarelal.
Lyrics of the song were sent to me by Prakashchandra.
With this song, all the songs of “Mere Laal”(1966) get covered in the movie. The movie thus joins the list of movies that have been YIPPEED in the blog.
Video
Audio
Song-Bhor bhayee uthh jaag re bande (Mere Laal)(1966) Singer-Hemant Kumar, Lyrics-Majrooh Sultanpuri, MD-Laxmikant Pyarelal
Lyrics(Provided by Prakashchandra)
bhor bhayee
bhor bhayee
uthh jaag rey bandey ae ae
rain gayee ee ab sonaa kyaa rey ae
samay chook phir pachhtaawegaa aa aa
samay chook phir pachhtaawegaa
aisaa avsar kab aawegaa aaa
jhilmil jyot jharey aey ambar se
tu andhee..ee sapnon mein aen tarsey
ye ujiyaaree ang lagaa ley
jeevan mein phir ronaa kyaa rey
bhor bhayee ee ee ee
bhor bhayee uthh jaag rey bandey aey ae
rain gayee ab sonaa kyaa rey ae
bhor bhayee
Jaago hey Yadurai
Posted on: February 18, 2024
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5693 | Post No. : | 18211 |
Today’s song is from a semi Mythological film, Maya Bazar-1949.
I said ” Semi Mythological” film and there is a reason for it. Both Ramayan and Mahabharat are more than 5000 year old. Since generations,Indians have been infatuated with the various stories from these sacred books. Actually, Mahabharat is 4 times bigger than Ramayan. Ramayan contains stories of Loyalty, Obedience, righteous behaviour. Ideal Human Qualities, war against evil, Ideal democracy and good Just Governance. In short-everything that is ideal and good.
Whereas Mahabharat contains stories of deceit, injustice, adventures, magic, diplomacy, Tit for Tat principle and ways to win over the evil at any cost – even adopting cheating and using weakness of the enemies. In short, Ramayan is following the right systems and methods and Mahabharat is achieving Goals by overcoming opposition by hook or crook !
Naturally mahabharat stories are more interesting. Personally, I like Krishna more than Ram. Ram is ideal but Krishna is practical and result oriented ! Perhaps Indian film makers also agree with me because there are more films made on stories of Mahabharatthan Ramayan. Over thousands of years, many new stories are added to Mahabharat and Ramayan. As per the experts, more stories are added to Mahabharat than Ramayan. Obviously, because Ram had only one wife whereas Krishna had 8 regular wives in addition to 16008 wives whom he had freed from the prisons of King Kans ( to provide them a respectful living). Jokes aside, there was obviously more scope in Mahabharat as there were hundreds of characters involved, unlike the limited number of Ramayan characters. Ramayan was a story of one Ram, but Mahabharat was a conglomerate of stories of 5 brothers, their wives, Krishna and his several wives.
During the Silent film era, fictitious stories erupted about the love marriage of Balram’s daughter and son of Arjun. This is not in the original story at all. In some stories the name of the girl was Vatsala and in some it was Surekha. These stories were primarily written for stage dramas. They had enough love, adventure, magic and sweet end – almost similar to later day modern film love stories. The first silent film on this imaginary pair was made by Baburao painter through his Maharashtra Film Company of Kolhapur. It was titled Vatsala Haran in 1919 Another film was made as Surekha Haran in 1921 and a third one was made as Maya Bazar aka Vatsala Haran in 1925. During this period the added roles were of Krishna and Ghatotkach (son of Bheem and Hidimba). Including these characters the first Talkie was made by Sagar Movietone-Maya Bazar in 1932. Later films with this title were made in 1949, 1958, 1971 and 1984. That is why I called today’s film a ‘Semi Mythological ” film.
In all this, the Southern film industry was not to lag behind. The famous Drama and later film company, Surabhi Drama Troupe made their silent film, in which the name of Vatsala or Surekha was changed to Sasirekha in Maya Bazar-1925. A Talkie ” Maya Bazar aka Sasirekha Parinay” was made in 1936. The Vijay Vauhini studio made Maya Bazar in 1957 in Tamil and Telugu. Its dubbed version in Kannada came in 1958. This was , so far, the best film and became popular and also won many awards.
The market for mythological and religious films kept on increasing from the period 1931 to 1960. The best decade was 1950 to 1960. Then there was a steady decline in its number and by the end of the century and the Millenium, such films became rare. What was the reason ?The clear answer is The Audience. Who saw such films ? Males in the age group of 40 to 60++ and women of almost all ages. If you compare the age wise Demographyof population in 1961 and 2022, the following picture emerges…..
| Year | Age group | Percentage |
|---|---|---|
| 1961 | 0-14 | 15 % |
| 15-60 | 50 % | |
| 60++ | 35 % | |
| 2022 | 0-14 | 25.31 % |
| 15-64 | 67.80 % | |
| 65++ | 6.90 % |
( figures taken from Wikipedia)
No doubt this was one reason. The other reason was Change of taste of the audience. The inkling was obvious in the 50’s decade, when Romantic/Musical films became very popular. Escapist and light comedy musicals like Naya Daur, Tumsa nahi dekha, Paying Guest, Hum sab chor hain etc were followed later in different garbs and at times same stories with little variation , by Nasir Hussain . Manmohan Desai and their ilk. Both these reasons were responsible equally for the shrinking of religious films being made. First they shifted to TV in the guise of serials like Ramayan and Mahabharat and then they became rare even there !
Film Maya Bazar aka Vatsala Haran-1949 was written by Pt. Mukhram Sharma. The film was made in Hindi and Marathi. The songs and screenplay was also by Sharma. The director was Datta Dharmadhikari and the music was by Sudhir Phadke. The cast was Durga Khote, Shahu Modak, baby Shakuntala, Balak Ram, Kusum deshpande and Vasant Thengdi(wife-husband), Ganpatrao Bakre (a handsome, well built wrestler, acted as Ghatotkach), Usha Marathe (who later became Usha Kiran from film gauna-1950) and many others. The story of the film was….. Subhadra (the sister of Balarama and Krishna) marries a Pandava- Arjuna. Their son Abhimanyu falls in love with Balarama’s daughter, Vatsala. The families consent to their marriage when they reach adulthood. When Abhimanyu and Vatsala have grown up, Krishna introduces them to each other. One day, the Pandavas are invited by Duryodhana, the eldest of the Kauravas to join in a game of dice. Duryodhana’s uncle, Shakuni, manipulates the results of the game, thereby costing the Pandavas their wealth, their liberty and their wife Draupadi. Duryodhana’s brother, Dushasana, attempts to disrobe Draupadi. He is seen by Krishna, who, furious, comes to her rescue.
On hearing what happened to the Pandavas, Balarama decides to teach the Kauravas a lesson and travels to their capital Hastinapuram. Shakuni and Duryodhana approach Balarama with an insincere respectful manner, then seek his approval of a marriage between Vatsala and Duryodhana’s son Lakshmana Kumara. Their true goal is to force Balarama and Krishna to support them if the Pandavas wage war. Unaware of their real intentions, Balarama agrees to the marriage.
Because of the ruined financial state of Pandavas, Balarama’s wife, Revati, refuses to honour her commitment to marry Vatsala and Abhimanyu and expresses her support for the alliance with the Kauravas. Krishna, who is aware of Duryodhana and Shakuni’s real intentions, orders his charioteer Daaruka to take Subhadra and Abhimanyu through the forests to Ghatotkacha’s hermitage.
Ghatotkacha, who happens to be Abhimanyu’s brother, at first thinks they are intruders in his forest and attacks them but later apologises for the misunderstanding. When Subhadra explains the change in the marriage arrangements, Ghatotkacha decides to wage war against both the Kauravas and Balarama. At the urging of his mother, Hidimbi, and Subhadra, Ghatotkacha abandons his plans and is advised instead to try some trickery in Dwaraka.
With the knowledge of Krishna and Vatsala’s servant, he carries the sleeping Vatsala in her bed from Dwaraka, and flies to his hermitage. Assuming Vatsala’s form, he returns to Dwaraka and, with the help of his assistants, wreaks havoc on her wedding to Lakshmana Kumara, preventing the marriage from being carried out.
With the help of assistants, Ghatotkacha creates a magical town consisting of an illusory marketplace and palace. He names the town Mayabazar and invites the Kauravas to stay there. Assistants introduce themselves to the Kauravas as servants appointed by Balarama to look after them. They manage to trick Shakuni’s lackeys. Ghatotkacha (in Vatsala’s form) makes Duryodhana’s wife rethink the marriage arrangement and teases Lakshmana Kumara. He plans the wedding of the real Vatsala and Abhimanyu in his hermitage which is attended by Krishna. Using his divine powers, Krishna also attends as a guest for the marriage taking place in the Mayabazar.
On the wedding day, Ghatotkacha appears before Lakshmana Kumara in various tantalising forms while, at the hermitage, Vatsala marries Abhimanyu. When Shakuni discovers what has really happened, he blames Krishna. Satyaki, Arjuna’s disciple, asks Shakuni to speak standing on a magical box. He proceeds to stand on the box, which makes him involuntarily explain the Kauravas’ real intentions behind the marriage proposal. Ghatotkacha then reveals his identity. After humiliating the Kauravas, Ghatotkacha sends them back to Hastinapur. Vatsala’s parents accept her marriage. They thank Ghatotkacha, who credits Krishna as the mastermind behind everything, including Abhimanyu and Vatsala’s marriage. ( just for information…. Laxman Kumar is killed by Abhimanyu on the 13th day of the Mahabharat war).
Today’s song is sung by Malti Pande and chorus. Malti Pande was a popular Marathi Natya sangeet and film singer. Malati Pande is one of my most favourite Marathi singers. Her Bhavgeets in the 1950s were extremely popular in Maharashtra and with all the Marathi people wherever they were in the world. Malati Pande was also a Classical singer and has sung very few songs in Hindi films, but excelled in Classical and Marathi songs. Her songs like ” tya tithe, palikade, tikde, maziya priyeche zopde” or ” kunihi paay naka vajvu” are evergreen. She is one of those Marathi singers like Manik Verma, Jyotsna Bhole, Hirabai Badodekar, Saraswati Rane, Shobha Gurtu, Nalini Mulgaonkar, Ram Marathe, Bhimsen Joshi, D.V.Paluskar etc, who just visited Hindi films out of curiosity, but returned to their comfort zones immediately.
Malati was born on 19-4-1930 at Poona, She was attracted to music from her childhood. She was trained by several teachers like Bhaskarrao Ghodke, Trivedi Master, Vilayat Hussain Khan, Vinayak buwa Patwardhan, Bholanath Ghatt and also her husband Pt. Padmakar Barve. At the age of 15 years, she was invited to sing on A.I.R. Poona. She did her Ph.D in Music.
When Sudhir Phadke brought her to Prabhat for an audition, for songs of Marathi version of ‘ Aage Badho ‘-47, Fattelal was very happy with her style of singing and thanked Phadke. Malati Pande’s first lori song “kunihi Paay Naka vajvu…” was with Singer & Music Director Gajanan Watve and poet Shrinivas Kharkar. It is said that afterwards, many singers and music directors recorded lori songs, but Malati Pande’s this lori song is the best and is still remembered by the Marathi listeners.
Malati Pande sang many Marathi songs under the music direction of Gajanan Watve, Sudhir Phadke, Ram Phatak, Shrinivas Khale, Datta Dawjekar, Madhukar Pathak etc.
Malati Pande sung some 15 Hindi songs under the music direction of K. Bhole, Avinash Vyas, Sudhir Phadke in the following Hindi films – Seeta Swayamvar-48, Maya Bazar-49, Shrikrishna Satyabhama-51, Shri Vishnu Bhagwan-51 and Malati Madhav-55.
Malati married classical singer Pt. Padmakar Barve. They have a son Rajiv Barve who is a singer. His daughter Priyanka Barve is also a famous singer in Marathi and Hindi films. Malati Pande died on 27-12-1997.
Let us now enjoy today’s song….
Song- Jaago hey Yadurai (Maaya Baazaar)(1949) Singer- Malti Pande, Lyricist- Pt. Mukhram Sharma, MD- Sudhir Phadke
Chorus
Lyrics
Jaao o o
jaago hey Yadurai
jaao o o
jaago hey Yadurai
deep bujhe
chakwi hai harshaai
jeena jeena taaron waala
jeena jeena taaron waala
door hataa ke ghoonghat kaala
poorv disha muskaayee jaago
poorv disha muskaayee jaago
jaago hey Yadurai
jaao o o
jaago hey Yadurai
deep bujhe
chakwi hai harshaai
band kalee ne nainaa kholey
band kalee ne nainaa kholey
gun gun gun gun bhanwra boley
koyal kook sunaayee jaago
koyal kook sunaayee jaago
jaago hey Yadurai
jaago jaago hey Yadurai
jaago jaago hey Yadurai
deep bujhe
chakwi hai harshaai
jaago jaago hey Yadurai
jaago jaago hey Yadurai
oas ke motee bikhre laakhon
oas ke motee bikhre laakhon
?? nabh pe dekho
nabh pe dekho
kiran sunahree aayee
jaago jaago
jaago jaago
jaago jaago
jaago jaago
jaago hey Yadurai
jaago jaago hey Yadurai
jaago jaago hey Yadurai
deep bujhe
chakwi hai harshaai
jaago jaago hey Yadurai
jaago jaago hey Yadurai
jaago hey Yadurai
Aaj huyee hai bhor suhaanee
Posted on: June 2, 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.
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Blog Day : |
5432 | Post No. : | 17818 |
I make it a point to wake up around 4 AM every morning. I do that without fail. The idea is to take my two dogs on their morning walks, one dog at a time. The first dog (Junior Dog Izza) goes first. Her walk starts at around 4:30 and she is back by around 4:50. Then Bhole (the senior dog) goes on walk. His walk typically ends at 5:10 AM. That is the time when the sky begins to get brighter. It is then that “morning walkers” start coming out on roads for their morning walk. To my mind, the best time for morning walk is between 4:30 to 5 AM or so. That is the window of opportunity for a meaningful morning walk. At that time, it is actually morning (viz it is still pre dawn), very few people are out at that time, and one has true privacy, so to say. By the time it is 5:10 AM or so, roads become crowded and the window of opportunity for morning walk is over. During winter season, this window of opportunity is from 5:30 AM to 6 AM. In winter, most of the summer ime morning walkers are nowhere to be found. They go on hibernation during winter season and they resume their morning walk only in summer season. They keep away from morning walk on rainy season, windy days ets as well. In other words, most morning walkers are strictly fair weather morning walkers. A slight change in weather rendering it a bit adverse, and most morning walkers are no where to be found.
I and my dogs are hardcore morning walkers though. 🙂 Even rain or storm, or fog or any other adverse weather conditions do not deter us.:)
I had started this morning walk practice from 2015 when I got posted at Izatnagar (Bareilly) in 2015. I kept up this practice throughout my three years stay there. Then I was transferred to Gorakhpur. In Gorakhpur, there was no need to take the dogs on their morning walk. My official residence there had vas space around the residence, all fenced by high walls. So my dogs could do all their morning walk on their own inside the compound, without the fear that they would go out and would lose their way. Not just walk, the dogs would run all around, roll on the lawn, and in general would have a great time.
After I left Gorakhpur and settled down at Bhopal, I have resumed my morning walks, mainly for the sake of the dogs.
One benefit of morning walk is that you feel refreshed and cheerful for the whole day. That is more true for the dogs and less true for me. The dogs often wake me up at odd hours. My wife and daughter cannot be bothered to wake up, so it is my responsibility to take care of the dogs. I have great patience, unlike my wife and I do not get irritated even if the dogs wake me up at odd hours.
Today morning (2 June 2023) would start the same way, viz with me taking my two dogs on their morning walk. But then the rest of the day is going to be different from what it has been for the last 11 months. after I arrived at Bhopal in July 2022, I have been out of Bhopal only on two days. On both occasions, I went to Jabalpur by early morning train, and was back at Bhopal my night train.
Today, I am going to undertake a much longer journey.
Today, I will board a morning flight from Bhopal to Mumbai. Initially I had booked my ticket on an even earlier flight, but the timing of that flight got deferred to afternoon, and that defeated the very purpose of my visit. The next available flight would leave Bhopal at 10:30 am and I would land at Mumbai at 12 noon.
My visit to Mumbai is to meet our blog regulars at the residence of our Mumbai stalwart and our beloved inhouse encyclopaedia Mr Arunkumar Deshmukh. The occasion is a get together of our blog regulars. Mumbai regulars M/s Sadanand Kamath and Nitin Shah will be there. Sudhir jee and Bakhshish jee will arrive from Delhi. Avinash Scrapwala will arrive from Vadodara. Mr Satish Shenoy will arrive from Bangalore. So it is going to be a golden chance to meet so many blog regulars. I have met M/s Sadanand Kamath, Nitin Shah, Sudhir Kapur and Bakhshish Singh jee in the past, and I will be meeting the others for the first time.
I had attended an earlier gangout in Mumbai in Devember 2014, and that was a very well attended get together as well. Lots and lots of reports of that meeting is available in the blog. I am sure we will have another great get together this time as well. This will be followed by reports on the meeting by the participants.
The meeting is scheduled to begin at 11 AM. I will be able to join hopefully by 12 :30 or so. I will have a return flight at night and I will be back to my home on the same night. So hopefully my dogs will once again have me to take them on their morning walk the next morning. 🙂
Our Hindi movies have songs for many occasions. There are some very fine “morning” songs that have already been covered.
While posting a blog Ten Year challenge article in the month of may 2023, I came across a “morning” song. Morning was already over at that time, so I saved this song for future use and discussed another song from the same movie.
That future use is now. Here is this morning song from “Arabian Nights”(1946).
“Arabian Nights”(1946) was directed by Niren Lahiri for P R Productions. This movie had Kanan Devi,Nawab, Robin Majumdar, Debi Mukherjee, Molina, Meera Dutt,Hiralal, Sunder,Rirkoo,Shayam Laha etc in it.
“Arabian Nights”(1946) had 14 songs in it. Five songs have been covered in the blog in the past.
Here is this sixth song from :”Arabian Nights”(1946). This song is sung by Kanan Devi. Faiyyaz Hashmi is the lyricist. Music is composed by Kamal Dasgupta.
This song post appears in the blog at 5 AM, just when the morning is about to break and the fair weather morning walkers are about to leave for their morning walks. 🙂
Lyrics of the song were sent to me by Prakashchandra.
audio link:
Song-Aaj huyee hai bhor suhaanee (Arabian Nights)(1946) Singer-Kanan Devi, Lyrics-Faiyyaz Hashmi, MD-Kamal Dasgupta
Lyrics(Provided by Prakashchandra)
aaj huyee hai ae ae
bhor suhaanee
bhor suhaanee ee ee ee ee ee ee
aaj huyee hai bhor suhaanee
pehli baar
pehli baar
aaj huyee hai bhor suhaanee
pehli baar
pehli baar
chamak bharee ye laalee ee
maine ae ae ae
ae ae
maine kabhee na dekhee
chamak bharee ye laalee
maine ae aey ae ae ae
maine kabhee na dekhee
bin torey deewaalee ee
maine ae ae ae
maine kabhee na dekhee
sooraj mein hai
sooraj mein hai nayee jawaanee
pehli baar
pehli baar
sau phool khiley aansoo ke
ya/ye husn kabhi na paaye
sau phool khiley aansoo ke
ye husn kabhi na paaye ae ae
sau rang chaman ne badlaa
ye rang nazar na aaye ae ae
sau rang chaman ne badlaa
ye rang nazar na aaye ae ae
khwaab mein aayee
khwaab mein aayee
rut ki raanee
pehli baar
pehli baar
bhanwraa aur kali ka mel
mujhko kabhee na bhaayaa aa
bhanwraa aur kali ka mel
mujhko kabhee na bhaayaa aa
gulshan mein ye pyaar ka khel
mujhko kabhee na bhaayaa aa
nayee lagee hai
nayee lagee hai
baat puraanee
pehli baar
pehli baar
aaj huyee hai ae bhor suhaanee
pehli baar
pehli baar
Mere baalon mein saawan ki ghataa
Posted on: May 30, 2023
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.
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Blog Day : |
5429 | Post No. : | 17809 |
#the Decade of Fifties –1951 – 1960 #
——————————————————————
“Shuk Rambhaa-1953” was directed by Dhirubhai Desai for ‘Chandrakala Pictures, Bombay’. Dhirubhai Desai was also the producer of this movie.
This movie was passed by Censor Board on 05.05.1953. “Shuk Rambhaa-1953” was a ‘mythological genre’ movie and partly shot in colour as per information given in HFGK Vol-III (1951-1960).
It had Anjali Devi, Bharat Bhushan, Lalita Pawar, Niranjan Sharma, Rajkumar, Ishwar Lal, Nirupa Roy, Suryakant, Jagdish Kamal, C. J. Pandey, Krishnakumari, Roopa, Kusum Thakur, and Lalit Kapoor, Chaubey ji, Dilip, Tiwari, Pandya, Lajendra, Zareena, Lathani and others.
“Shuk Rambhaa-1953” has nine songs in it which were penned by two lyricist viz. Bharat Vyas(eight songs) and Saraswati Kumar ‘Deepak’(one song).
Three songs from this movie have been posted on the blog as per details given below.
| S.No | Song Title | Lyricist | Singer/s | Posted On |
|---|---|---|---|---|
| 01 | Hey shivshankar hey pralayankar | Saraswati Kumar Deepak | Asha Bhonsle, Unknown Male Voice | 15.02.2015 |
| 02 | O meri maayi de de bidaayi | Bharat Vyas | Master Gopal, Asha Bhonsle | 02.01.2017 |
| 03 | Jogi re yogi jaag re | Bharat Vyas | Asha Bhonsle,Manna Dey | 14.08.2017 |
Today’s song is the fourth song from this movie “Shuk Rambhaa-1953” being presented on the blog.
It is sung by Geeta Dutt. This is the only Geeta Dutt song in this movie (as per details mentioned in Geet Kosh).
Lyrics are by Bharat Vyas and music is composed by Manna Dey.
Video of this song is available. It shows a female (Rambha ?) dancing in early morning in the bedroom of a King (Shuk ?) who is sleeping. She goes away when the King wakes up.
Ed note: It is informed by Prakashchandra that the actors seen in the picturisation are Anjali devi and Raajkumar (different from the Jaani fame Raj Kumar).
Let us now enjoy the song …
Audio
Video
Song-Mere baalon mein saawan ki ghata (Shuk Rambha)(1953) Singer-Geeta Dutt, Lyrics-Bharat Vyas, MD-Manna Dey
Lyrics
hmm mm mm
hmm hmm hmm
mm mm mm mm
aa aa aa
aha haa haa
aa ha ha
aha haa haa
mere baalon mein
saawan ki ghataa
aa haa aa
aa haa aa
mere baalon mein
saawan ki ghataa
mere gaalon par
yauwan ki chhataa
yauwan ki chhataa
main ae ae
main nav-vasant ki paagal
angdaayi hoon oon oon
main roomjhoom kar
dwaaar tere aayi hoon
oon
dwaaar tere aayi hoon
aa aa aa aa aa aa
aa aa aa aa aa aa
main ithhlaate madhuban ki
bal khaati ek kali hoon
main lehraate saagar ke
lehron ke beech pali hoon oon
bijlee ki chamak
taaron ki damak
bijlee ki chamak
taaron ki damak
phoolon ke mehak se pyaari hoon
main ae ae
main nav prabhaat ki ujjwal
arunaayee hoon oon
main roomjhoom kar
dwaaar tere aayi hoon
oon
dwaaar tere aayi hoon
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.
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Blog Day : |
5359 | Post No. : | 17574 |
#the Decade of Fifties –1951 – 1960 #
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In this post we are going to listen to a song from the movie ‘Devyaani-1952’. It was directed by Vasant Painter for ‘Madhav Pictures’.
Madhukar Harihar was the producer of this movie. It had Shakuntala, Sapru, Mahipal, Meenakshi, Vasantrao Pahalwan, Banke Bihari, Baburao Pendharkar and others.
This movie was passed by Censor Board on 15.07.1952.
“Devyaani-1952” was a ‘mythological film’. Our respected Arunkumar ji has mentioned about this movie in brief as given below, while presenting a song from this movie on the blog on 19.10.2021.
I am reproducing the text from his post as given below.
There were regular wars between the Gods and the Demons (Sur and Asur). However the Gods could never win any battle. The reason?, Rishi Shukracharya, who was the Rajguru of the Demons knew the Sanjivani mantra, with which the dead demons would be brought back to life.
Realising that without getting the mantra, they would never win any battle with Demons, the Gods sent Kach- son of God Brihaspati (Jupiter) to Shukracharya as his disciple. Kach impressed Shukracharya’s daughter Devyani and they became friends. Devyani started loving Kach.
The Demons came to know who Kach was . They killed him, burnt his body and mixed the ashes with wine, which was given to Shukracharya to drink. He knew that it contained Kach ashes. Meanwhile Devyani came to know that Kach was killed. She insisted that Shukracharya use his Mantra and bring him back to life. Due to daughter’s love, Shukracharya recited the Sanjivani mantra and Kach came out alive from his stomach. Shukracharya died. But Kach now knew the Mantra and he brought back Shukracharya to life again.
Devyani now expresses her love and proposes marriage to Kach, but he refuses stating that since he came from Shukracharya’s stomach, she was her sister now. Devyani is disappointed with his weak logic and curses Kach that what he learned here, he will never be able to use anywhere. Angrily, Kach too curses her that no Bramhin will ever marry her in her life. He goes away and the film ends as a tragedy.
“Devyaani-1952” has seven songs in it, all were penned by Manohar Khanna. Music for this movie was composed by S. Purushottam.
So far, three songs from this movie have been posted on the blog earlier as per details given below.
| SNo. | Song Title | Singer/s | Posted On |
|---|---|---|---|
| 01 | Madhur madhur sapnon mein aaj main | Asha Bhonsle | 15.11.2016 |
| 02 | Man se man ke taar milaa le | Sulochana Kadam | 22.05.2018 |
| 03 | Prem ki maala meri kahin toot na jaaye | Asha Bhonsle | 19.10.2021 |
Today’s song is the fourth song from this movie. It is sung by Mohd Rafi.
Only the audio of this song is available. I would request knowledgeable readers to throw more light on the movie and the picturisation of it’s’ songs.
Song-Jaag jaag o Shaktimaan ab praath ho gayaa jaag re (Devyani)(1952) Singer-Rafi, Lyrics-Manohar Khanna, MD-S Purushottam
Lyrics
jaag jaag o shaktimaan
ab praath ho gayaa
jaag re ae
jaag jaag o shaktimaan
ab praath ho gayaa
jaag re ae
bhor tere darshan ki pyaasi
charan sparsh ko o
vyaakul dharti
baat takey ae
gangaa ki lehren
gaaye praabhaati raag re ae ae
praath ho gayaa jaag re ae
teen lok mein ae
ek hai tu hi
mahaabali sanjeevandhaari
praan-pati tu
saare jag kaa
tujhse jag kaa suhaag re ae
praath ho gayaa jaag re ae,/em>
jaag jaag shivji ke pyaare ae
jaag jaag shivji ke pyaare
dekh prabhaakar aaya dwaare ae ae
param puneet charaachar kar de
jagaa de hamre bhaag re ae
praath ho gayaa jaag re
ab praath ho gayaa jaag re ae
Ab jaago Radha Rani
Posted on: December 16, 2021
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4899 | Post No. : | 16701 |
Songs from Artiste Name Films….Second Season….No. 10
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Today this series ends with a song from film Durga-1939. No prizes for guessing the name of the star of today’s post. Of course it is Durga Khote. Though she was not a part of this film, still I chose her, because lovers of old films know her too well, but as she ended her career almost 40 years ago, readers in the age group of 50-60 may not know her too well.
Film Durga – 1939 was made by Bombay Talkies, owned by Devika Rani and Himanshu Rai. The cast of the film Durga-39 consisted of Devika Rani, Rama Shukul, V H Desai, Mumtaz Ali, Peethawala, Saroj Borkar, Balwant singh, Lalita Deulkar etc. The film was directed by Franz Osten and the music was by Saraswati Devi. The year was 1939 and inits month of September, the World War started. It did affect Indian film industry too, but the effects were felt from 1940 onwards. In 1939, the industry was trying to free itself from the shackles of stage drama type music, an unnecessary stress on making films on Mythology and Folk tales and old styles of loud acting. New blood had flown in, replacing the spill over of silent movie actors and themes.
The year was 1939 and the British Government had declared war against Germany and Japan, as soon as the WW II began. All countries ruled by Britain were – willingly or unwillingly, drawn into the war efforts and its effects. The war began in the month of September and soon various restrictions came into operation – like rationing, blackouts, shortages etc. The film industry which was still under its development stage suffered. It also realised the importance of remaining united as one industry. However, all that came after 1 or 2 years. In 1939 there was not much effect seen on the film industry.
The industry had its own problems. In spite of the playback system in operation, their problem was that because there was no technique of recording from the film negative yet, the singers had to sing twice. Once for the actual film shooting of the song, and later, with the same set of orchestra, for commercial records. Sometimes, the original singer was not available due to any reason, some other singer had to sing for commercial records. Thus we have many such examples, where the singer in the film song and the record is different. However, this problem continued only till mid 50’s when the Tape and the required technique became available. With just one time recording, the film and commercial recording were taken care of.
Khemchand Prakash. K.Datta (Datta Koregaonkar), Rafiq Ghaznavi and Anupam Ghatak made their Debut as Music Directors. Kavi Pradeep wrote his first film song for film Kangan. In 1939, 2 most Unusual songs were presented, for the first time ( and this record is not yet broken even after more than 80 years.). One was a Multi-Lingual song from film Aadmi-39, a film by Prabhat….Kis liye kal ki baat. This song was in Hindi, Urdu, Punjabi, Gujarati, Bangla, Tamil and Telugu. ( In its Marathi film version-” माणूस “, this song was only in one language-Marathi.) Different Lyricists and MDs were used for each language. The song became very popular.
Second unusual song was from film ‘ Ghareeb ka Laal’-1939. The song lyrics had the names of 32 artistes, operating in Hindi films that time. Top Heroes and Heroines were mentioned in this song. The beginning of the song was ” Tuze Bibbo kahoon ya Sulochana, Uma shashi kahoon ki Jamuna “. This song was sung by the comedian Mirza Musharraf. In later years many songs with film artistes’ names came but none had so many names. Thus this record is still unbroken, in case of both songs.
Besides these songs, let us quickly take a look at some films of 1939….
Aadmi – Prabhat’s hit film, a remake of the Marathi film ” माणूस “. It had some good songs by Shanta Hublikar, Sundarabai Jadhav and Ram Marathe.
Adhuri Kahani – a trend of Tragedy films set by the effect of film ‘Devdas’. All the 3 main characters of this film commit suicide in the end.
Badi Didi – A New Theatres film.
Brandy ki Botal – Master Vinayak’s comedy remake of Marathi film ‘ ब्रॅंडीची बाटली ‘.
Dil hi to hai – Debut of Kidar Sharma as a Director and Ramola as a Heroine in a Hindi film.
Dushman – New Theatres’ film of Saigal, with only his 4 songs.
Ek hi Raasta – Sagar presents first film with 3 Heroes in one film.
Ghazi Salauddin – Debut of Khemchand Prakash as M.D.
Hukum ka Ikka – First film with a Triple role by Umakant Desai ( who later specialised as Lakshman in 7 films, including Ramrajya-43).
Imaandaar – Debut of actress Shamim Akhtar.
India in Africa – This was the First Hindi film to be shot abroad (in Africa). The Hero B. Nandrekar had also gone to Africa for its shooting. Naaz-54 was not the first such film, though HFGK mentions it so.( Ref – pp 69, Maharashtra-The Birthplace of Indian cinema by Isak Mujawar)
Kangan – First of the 4 Hit films of Ashok kumar and Leela Chitnis, made by Bombay Talkies. Kavi Pradeep’s Debut as a Lyricist in this film.
Kapal kundala – New Theatres. Pankaj mullick’s hit song ‘ Piya milan ko jaana ‘.
Leather Face – Debut of Meena kumari as a child artiste.
Navjeevan – Debut of Hansa Wadkar as a Heroine- Bombay Talkies film.
Pukar – Hit film from Minerva Movietone. Naseem Bano sings ” Zindagi ka saaz bhi kya saaz hai….”
As stated in the beginning, today’s star is Durga Khote. She was one of the most respected artistes from the early cinema. In her glorious and non-controversial career of over 50 years, she acted in 183 films and sang 35 songs in 14 early cinemas. At the end of her career, she wrote her autobiography in Marathi ” मी दुर्गा खोटे “, which was later translated into English by Shanta Gokhale. This book ( along with ” चंदेरी दुनियेत ” by Leela Chitnis ) is an authentic chronicle of Indian film industry development from infancy to adulthood, in addition to personal details.
Durga Khote (14 January 1905 − 22 September 1991) was one of the foremost leading ladies of her times, she remained active in Hindi and Marathi cinema, as well as theatre, for over 50 years, starring in 182 Hindi films and numerous theatre productions. In 2000, in a millennium issue, India Today named her among “100 People Who Shaped India”, noting: “Durga Khote marks the pioneering phase for women in Indian Cinema” as she was one of the first women from respectable families to enter the film industry, thus breaking a social taboo.
She also ranks among the top ten actresses in mother roles in Hindi cinema, most notable among them were as Jodhabai in K. Asif’s Mughal-e-Azam (1960); as Kaikeyi in Vijay Bhatt’s classic Bharat Milap (1942); her other memorable roles as mother were in Charnon Ki Dasi (1941); Mirza Ghalib; Bobby (1973) and Bidaai (1974). She has received the highest award in Indian cinema, the Dadasaheb Phalke Award (1983), for lifetime contribution to Indian cinema.
Khote was born as Vitha Lad, to a family which hailed from Goa and spoke Konkani at home. Her father’s name was Pandurang Shamrao Lad and her mother’s name was Manjulabai. She grew up in a large joint family in Kandewadi. She was educated at Cathedral High School and St. Xavier’s College where she studied for B.A. While still a college-going teenager, she married into the Khote family and settled down with her husband. By the age of 26, Durga Khote was a widowed mother with two young sons; Bakul and Harin. She had to seek work in film to support her children. In doing so, she became a pioneer of sorts: She hailed from a traditional family and the film industry was regarded as the preserve of the base and the bawdy. Also, most of the female characters were played by men at the time.
Durga Khote debuted in a minor role in the obscure 1931 Talkie film Farebi Jaal or trapped, by M. Bhavnani. She had to sing 3 songs also in this film. Followed by Maya Machindra (1932) by Prabhat Film company.. She was soon promoted to play heroine in the 1932 double version (Hindi and Marathi) Ayodhyecha Raja, another Prabhat film, which was the first ever Marathi talkie, and proved to be a runaway hit, where she played the role of Rani Taramati. Indeed, she ventured yet another pioneering trend: Despite working closely with the Prabhat Film Company, she broke away from the “studio system” (exclusive contract with a studio to work in its films on a monthly salary) then in vogue and became one of the first “freelance” artistes of that era by working occasionally with the New Theatres, East India Film Co. (both at Calcutta), and Prakash Pictures.
In 1936, she played Saudamini in Amar Jyoti, which is one of her most memorable roles. The characters played by her were very much like her regal personality and she commanded a screen presence even in front of legendary actors like Chandra Mohan, Sohrab Modi and Prithviraj Kapoor. In 1937, she produced and directed a film titled Saathi ( Sawangadi in Marathi), making her one of the first women to step into this role in Indian cinema. The 40s opened for her in a big way, with award-winning performances in Aacharya Atre’s Payachi Dasi (Marathi) and Charnon Ki Dasi (Hindi) (1941) and Vijay Bhatt’s classic Bharat Milap (1942), both of which got her the BFJA Best Actress Award for two consecutive years.
Durga Khote remained active in the theatre circuit for many years, especially the Marathi theatre in Mumbai. She was actively associated with the Indian People’s Theatre Association (IPTA) and worked in several plays for the Mumbai Marathi Sahitya Sangh. In 1954, she famously performed the role of Lady Macbeth in V.V. Shirwadkar’s Marathi adaptations of Macbeth, as Rajmukut, (The Royal Crown), along with Nanasaheb Phatak.
Durga Khote played a wide variety of roles over a career that was not only long, but also untouched by scandal. She was the inspiration for several generations of Indian actresses, including veterans such as the late Shobhna Samarth, who frequently spoke of how she had been inspired by Khote’s example. During later years, she played several important character roles, such as the mother of the protagonist. Her portrayal of Jodhabai, the queen of Akbar torn between duty towards her husband and love towards her son in Mughal-e-Azam (1960) was well received. In 1963, she acted in Merchant Ivory’s debut film The Householder (1963).
She went on to play other widely appreciated character roles in later movies, such as the role of the grandmother of the heroine in Bobby (1973), the hero’s aunt in Abhimaan (1973), and the very memorable Bidaai (1974), where she played a mother, a very sensitive role that can make one cry and received the Filmfare Best Supporting Actress Award. Her final memorable role was in Subhash Ghai’s Karz (1980), where she played the role of the mother of Raj Kiran and later, mother to Rishi Kapoor, who played the role of Raj Kiran’s reincarnation after the screen death of Raj Kiran in the movie.
She acted in 182 Hindi films in her career. Her last film as an actress was Daulat ka Dushman-1983. She had also sung 32 songs in 13 films. Her last song was in the film Panna Dai-1945. By the 1980s she successfully diversified into production of short films, ad films and documentaries by setting up Fact Films and later, Durga Khote Productions, which produced the Doordarshan TV series Wagle Ki Duniya.
Durga Khote was married when she was a teenager to Vishwanath Khote, a gentleman of her own caste and similar social background, in a match arranged by their parents in the usual Indian manner. It was a traditional marriage into an orthodox family, the couple lived a harmonious and happy life, and the marriage was blessed with two sons. Vishwanath was a mechanical engineer who had graduated from Banaras Hindu University. His family was upper middle class and professional, with modern English education and high social standing; his ancestors had been prominent bankers.
Unfortunately, Vishwanath Khote died young, when Durga was barely into her 20s. She and her sons continued to reside with her in-laws, as is traditional in India, but she was not comfortable with her dependent position, especially because her father-in-law was no more, and they were dependent on other family members for their expenses. She thus felt impelled to make a living any which way she could, and the opening in films happened entirely by chance. The fact that she came from a modern and English-educated family meant that, even as a widow, she was able to act in films, which was derided as a disreputable profession in those days.
She thus raised her two sons, Bakul and Harin, single-handedly. Both of them went on to become well-settled in life. But she suffered the loss of her son Harin, who predeceased her and died in his 40s. Harin was married to Vijaya Jaywant, and they were the parents of two sons. After Harin’s early death, his widow married a Parsi man named Farrokh Mehta and became famous as the film-maker Vijaya Mehta.
Durga Khote’s grandchildren (children of Bakul and Harin) include her grandson Ravi, a filmmaker; granddaughter Anjali Khote, an actress; and grandson Deven Khote, a successful producer who is one of the co-founders of UTV, and who has also directed a film. Deven Khote is noted for producing films such as Jodhaa Akbar and Life in a Metro.
Durga Khote’s brother-in-law, Nandu Khote (brother of Vishwanath), was a noted stage and silent movie actor. Two of Nandu’s children also became actors in the film industry. His son Viju Khote (1941-2019) was an actor perhaps best known for his role of “Kalia” in Sholay (1975). Nandu’s daughter is the actress Shubha Khote, who debuted in Seema (1955) and worked as a heroine in several films before moving to character roles. Still later, she moved to directing and producing Marathi films and also entered television in the 90s. Shubha’s daughter, Bhavana Balsavar, is also an award-winning TV actress who appeared in sitcoms like Dekh Bhai Dekh and Zabaan Sambhalke before deciding to settle down and raise a family. Thus, the acting profession which was pioneered by Durga Khote in her family has been fully embraced by her late husband’s family.
Later in life, Durga Khote wrote an autobiography in Marathi, entitled Mee, Durga Khote, which was translated into English as I, Durga Khote, and moved to Alibaug, near Mumbai. Durga Khote died in Mumbai on 22 September 1991. ( Thanks to her autobiography, wiki,muVyz and my notes.)
This ends my series on Artistes, on whose names film titles existed. This is of course only indicative and not exhaustive one. I wrote only on 20 such artistes, but still about 30+ such films are remaining, most of which are not available with their songs on the social media.
I had plans to revive some more old series again, but readers’ poor response does not motivate me to do so. Still, who knows…….
Song- Ab jaago Radha Rani (Durga)(1939) Singer- Balwant Singh, Lyricist- Narottam Vyas, MD-Saraswati Devi
Lyrics
Ab jaago Radha Rani
Ab jaago Radha Rani
?? bhayi ab hua sawera
jage jagat ke praani
ab jaago Radha Rani
?? bhayi ab hua sawera
jage jagat ke praani
ab jaago Radha Rani
ab jaago Radha Rani
sapne mein ??
sapne mein ??
?? prem kahaani
sapne mein ??
?? prem kahaani
ab jaago Radha Rani
ab jaago Radha Rani
nadi kinaare Kaanh tumhaare
nadi kinaare Kaanh tumhaare
bhar bansi mein baani
nadi kinaare ?? tumhaare
bhar bansi mein baani
?? aaye ??
ab jaago Radha Rani
?? des mein ??
??
ab jaago Radha Rani
ab jaago Radha Rani
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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