Archive for the ‘mother-child song’ Category
This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
Blog Day : |
4616 | Post No. : | 16250 |
Yearwise discussion of Lata Mangeshkar songs in HFM: Part XXIII: Year 1970
———————————————————————————————————
In this episode, we discuss Lata Mangeshkar songs that she sang in Hindi movies released in 1970.
In 1970, 98 Hindi movies containing 805 songs were released. Lata Mangeshkar got to sing in 54 of these movies and she sang 129 songs in these movies. So Lata Mangeshkar’s voice was heard in 55.1 % of the movies released in 1969. Her voice was heard in 16 % of the songs appearing in the movies of 1970.
Here are the details of songs sung by Lata Mangeshkar in Hindi movies released in 1970 :-
S N | Movie | Music director | Lata song in the blog | Lata HFM songs recorded in the year | Lata solo songs | Male duet | Female duet | Other songs | Lyricists |
---|---|---|---|---|---|---|---|---|---|
1 | Aan Milo Sajna | Laxmikant Pyarelal | 3 | 3 | 1 | 2 | 0 | 0 | Anand Bakshi |
2 | Anand | Salil Chaudhary | 1 | 1 | 1 | 0 | 0 | 0 | Gulzar |
3 | Aansoo Aur Muskaan | Kalyanji Anandji | 1 | 2 | 2 | 0 | 0 | 0 | Indeewar |
4 | Abhinetri | Laxmikant Pyarelal | 3 | 6 | 4 | 2 | 0 | 0 | Majrooh Sultanpuri |
5 | Bachpan | Laxmikant Pyarelal | 2 | 3 | 3 | 0 | 0 | 0 | Anand Bakshi |
6 | Bhagwan Parshuram | Jai Kumar | 0 | 1 | 1 | 0 | 0 | 0 | Madan |
7 | Bhai Bhai | Shankar Jaikishan | 0 | 2 | 2 | 0 | 0 | 0 | Hasrat Jaipuri |
8 | Daghaabaaz | Dilip Roy | 0 | 2 | 2 | 0 | 0 | 0 | B D Mishra |
9 | Darpan | Laxmikant Pyarelal | 2 | 3 | 3 | 0 | 0 | 0 | Anand Bakshi |
10 | Dastak | Madan Mohan | 3 | 3 | 3 | 0 | 0 | 0 | Majrooh Sultanpuri |
11 | Devi | Laxmikant Pyarelal | 1 | 2 | 0 | 2 | 0 | 0 | Anand Bakshi |
12 | Dharti | Shankar Jaikishan | 4 | 4 | 2 | 2 | 0 | 0 | Rajinder Krishan (2) Hasrat Jaipuri (2) |
13 | Ehsan | R D Burman | 0 | 1 | 1 | 0 | 0 | 0 | Majrooh Sultanpuri |
14 | Geet | Kalyanji Anandji | 3 | 3 | 1 | 2 | 0 | 0 | Anand Bakshi (2) Hasrat Jaipuri (1) |
15 | Ghar Ghar Ki Kahaani | Kalyanji Anandji | 0 | 2 | 2 | 0 | 0 | 0 | Rajinder Krishan (1) Hasrat Jaipuri (1) |
16 | Gopi | Kalyanji Anandji | 3 | 3 | 1 | 2 | 0 | 0 | Rajinder Krishan |
17 | Harishchandra Taramati | Hridaynath Mangeshkar | 1 | 4 | 4 | 0 | 0 | 0 | Veerendra Mishra |
18 | Heer Ranjha | Madan Mohan | 4 | 4 | 3 | 0 | 0 | 1 | Kaifi Azmi |
19 | Himmat | Laxmikant Pyarelal | 1 | 1 | 0 | 1 | 0 | 0 | Anand Bakshi |
20 | Holi Aayee Re | Kalyanji Anandji | 2 | 2 | 1 | 0 | 0 | 1 | Indeewar |
21 | Humjoli | Laxmikant Pyarelal | 2 | 2 | 0 | 2 | 0 | 0 | Anand Bakshi |
22 | Ishq Par Zor Nahin | S D Burman | 5 | 5 | 4 | 1 | 0 | 0 | Anand Bakshi |
23 | Jawaab | Laxmikant Pyarelal | 1 | 2 | 1 | 1 | 0 | 0 | Rajinder Krishan |
24 | Jeewan Mrityu | Laxmikant Pyarelal | 3 | 3 | 2 | 1 | 0 | 0 | Anand Bakshi |
25 | Johny Mera Naam | Kalyanji Anandji | 2 | 2 | 2 | 0 | 0 | 0 | Indeewar |
26 | Jwaala | Shankar Jaikishan | 1 | 6 | 3 | 1 | 1 | 1 | Rajinder Krishan (5) Shailendra (1) |
27 | Kab Kyon Aur Kahaan | Kalyanji Anandji | 1 | 1 | 1 | 0 | 0 | 0 | Indeewar |
28 | Kati Patang | R D Burman | 2 | 2 | 1 | 1 | 0 | 0 | Anand Bakshi |
29 | Kaun Ho Tum | Usha Khanna | 0 | 1 | 1 | 0 | 0 | 0 | Raja Mehdi Ali Khan |
30 | Khilauna | Laxmikant Pyarelal | 1 | 1 | 1 | 0 | 0 | 0 | Anand Bakshi |
31 | Maa Aur Mamta | Laxmikant Pyarelal | 3 | 3 | 1 | 2 | 0 | 0 | Anand Bakshi |
32 | Maharaja | Madan Mohan | 1 | 1 | 1 | 0 | 0 | 0 | Kaifi Azmi |
33 | Man Ki Aankhen | Laxmikant Pyarelal | 2 | 2 | 0 | 2 | 0 | 0 | Sahir Ludhianvi |
34 | Mastaana | Laxmikant Pyarelal | 1 | 4 | 2 | 2 | 0 | 0 | Anand Bakshi |
35 | Mere Humsafar | Kalyanji Anandji | 3 | 3 | 2 | 1 | 0 | 0 | Anand Bakshi |
36 | Pagla Kahin Ka | Shankar Jaikishan | 2 | 2 | 1 | 1 | 0 | 0 | Hasrat Jaipuri |
37 | Pardesi | Chitragupta | 4 | 4 | 3 | 0 | 1 | 0 | Majrooh Sultanpuri |
38 | Pavitra Paapi | Prem Dhawan | 1 | 1 | 1 | 0 | 0 | 0 | Prem Dhawan |
39 | Pehchaan | Shankar Jaikishan | 1 | 1 | 0 | 1 | 0 | 0 | Verma Malik |
40 | Prem Pujaari | S D Burman | 3 | 3 | 2 | 1 | 0 | 0 | Neeraj |
41 | Priya | Kalyanji Anandji | 0 | 1 | 1 | 0 | 0 | 0 | Indeewar |
42 | Purab Aur Paschim | Kalyanji Anandji | 1 | 1 | 0 | 0 | 0 | 1 | Santosh Anand |
43 | Pushpaanjali | Laxmikant Pyarelal | 2 | 3 | 2 | 1 | 0 | 0 | Anand Bakshi |
44 | Raaton Ka Raja | R D Burman | 1 | 2 | 1 | 1 | 0 | 0 | Majrooh Sultanpuri |
45 | Saas Bhi Kabhi Bahu Thhi | R D Burman | 0 | 2 | 1 | 1 | 0 | 0 | Rajinder Krishan |
46 | Sachcha Jhoothha | Kalyanji Anandji | 2 | 2 | 0 | 2 | 0 | 0 | Qamar Jalalabadi (1) Indeewar (1) |
47 | Safar | Kalyanji Anandji | 1 | 1 | 1 | 0 | 0 | 0 | Indeewar |
48 | Samaaj Ko Badal Daalo | Ravi | 2 | 3 | 1 | 1 | 1 | 0 | Sahir Ludhianvi |
49 | Sau Saal Beet Gaye | Usha Khanna | 0 | 4 | 2 | 2 | 0 | 0 | Indeewar |
50 | Sharaafat | Laxmikant Pyarelal | 1 | 5 | 5 | 0 | 0 | 0 | Anand Bakshi |
51 | Suhaana Safar | Laxmikant Pyarelal | 0 | 1 | 1 | 0 | 0 | 0 | Anand Bakshi |
52 | The Train | R D Burman | 2 | 2 | 1 | 1 | 0 | 0 | Anand Bakshi |
53 | Truck Driver | Sonik Omi | 0 | 1 | 1 | 0 | 0 | 0 | Indeewar |
54 | Yaadgaar | Kalyanji Anandji | 1 | 1 | 1 | 0 | 0 | 0 | Indeewar |
Total | 54 movies | 15 MDs | 86 | 130 | 84 | 39 | 3 | 4 | 18 lyricists |
Lata Mangeshkar worked with 15 music directors and 18 lyricists in these 54 movies released in 1970. Shankar Jaikishan with 406 songs in the voice of Lata Mangeshkar were the leading music directors for her followed by C Ramchandra with 274 songs. Other top music directors for Lata Mangeshkar were Chitragupta (227), Laxmikant Pyarelal (215), Madan Mohan (174), Kalyanji Anandji (157), Roshan (144), S D Burman (134), Naushad (126), Hemant Kumar (124), Anil Biswas (120), Husnlal Bhagatram (108) and Vasant Desai (104). Together these thirteen music directors composed 2313 songs out of 3383 songs that Lata Mangeshkar had sung in Hindi movies till end of 1970. The top nine lyricists till end of 1969 for Lata Mangeshkar were Rajinder Krishan (492), Shailendra (361), Hasrat Jaipuri (274), Majrooh Sultanpuri (241), Prem Dhawan (195), Shakeel Badayuni (189), Bharat Vyas (180), Anand Bakshi (171) and Sahir Ludhianvi (114). These eight lyricists had penned 2217 songs sung by Lata Mangeshkar till that time.
Lata Mangeshkar collaborated with Jai Kumar Parte as a music director in a Hindi movie for the first time this year. Santosh Anand and Veerendra Mishra were two lyricists who got to collaborate with Lata Mangeshkar for the first time in movies released this year.
Here is the summary of Lata Mangeshkar’s playback career in Hindi movies till end of 1970 :
Year | Movie count | Lata song in the blog | Lata HFM songs recorded in the year | Lata solo songs | Male duet | Female duet | Other songs | Remarks |
---|---|---|---|---|---|---|---|---|
1946 | 3 movies | 4 | 4 | 4 | 0 | 0 | 0 | |
1947 | 3 movies | 5 | 5 | 3 | 1 | 0 | 1 | |
1948 | 16 movies | 50 | 50 | 37 | 6 | 4 | 3 | |
1949 | 38 movies | 134 | 157 | 103 | 35 | 12 | 7 | |
1950 | 36 movies | 114 | 143 | 93 | 32 | 14 | 4 | |
1951 | 49 movies | 189 | 223 | 158 | 52 | 10 | 3 | |
1952 | 43 movies | 149 | 177 | 138 | 31 | 4 | 4 | |
1953 | 45 movies | 170 | 195 | 149 | 35 | 5 | 6 | |
1954 | 43 movies | 140 | 172 | 144 | 23 | 4 | 1 | |
1955 | 50 movies | 165 | 218 | 177 | 30 | 10 | 1 | |
1956 | 49 movies | 168 | 204 | 153 | 35 | 13 | 3 | |
1957 | 47 movies | 129 | 160 | 110 | 38 | 7 | 5 | |
1958 | 35 movies | 102 | 132 | 95 | 25 | 10 | 1 | |
1959 | 58 movies | 188 | 211 | 130 | 68 | 12 | 1 | |
1960 | 48 movies | 139 | 166 | 102 | 50 | 12 | 1 | |
1961 | 44 movies | 125 | 152 | 88 | 55 | 5 | 4 | |
1962 | 40 movies | 118 | 129 | 84 | 40 | 5 | 0 | |
1963 | 37 movies | 103 | 111 | 62 | 38 | 8 | 3 | |
1964 | 46 movies | 122 | 133 | 91 | 31 | 8 | 3 | |
1965 | 42 movies | 83 | 91 | 71 | 17 | 1 | 2 | |
1966 | 49 movies | 104 | 133 | 110 | 14 | 8 | 1 | |
1967 | 44 movies | 92 | 106 | 67 | 38 | 8 | 3 | |
1968 | 33 movies | 83 | 84 | 59 | 19 | 5 | 1 | |
1969 | 43 movies | 77 | 97 | 67 | 27 | 2 | 1 | |
1970 | 54 movies | 86 | 130 | 84 | 39 | 3 | 4 | |
Total upto 1970 | 995 movies | 2856 | 3383 | 2389 | 779 | 170 | 63 |
It can be seen from the table of 1970 that Lata Mangeshkar sang 130 songs in 54 movies released in 1970. 86 of these songs are already covered in the blog.
All Lata Mangeshkar songs from 30 movies of 1970 are already covered in the blog. So 44 Lata Mangeshkar songs from 24 movies of 1970 are still available to be discussed.
Alphabetically the first movie of 1970 that offers us Lata Mangeshkar songs to be discussed is “Aansoo Aur Muskaan”(1970).
“Aansoo Aur Muskaan”(1970) was produced by Ananthaswami and directed by P Madhvan for Screen Gems, Madras. The movie had Hema Malini, Ajay Sahni, Om Prakash, Bobby, Jagdeep, Suresh, Maruti, David, Bindu, Shabnam, Tuntun, Birbal, Padmini, Manmohan, Kishore Kumar etc in it.
The movie had six songs in it. Three songs have been covered so far. Lata Mangeshkar had sung two solo songs in it. One song sung by her has been represented in the blog so far.
Here is another Lata Mangeshkar song from “Aansoo Aur Muskaan”(1970). Indeewar is the lyricist. Music is composed by Kalyanji Anandji.
The song is picturised on a child artist. I request our knowledgeable readers to help identify her. My guess from the starcast is that she is Bobby.
Audio
Video
Song-Taara koi bhi aaj gagan se toota nahin (Aansoo Aur Muskaan)(1970) Singer-Lata, Lyrics-Indeewar, MD-Kalyanji Anandji
Lyrics
o maa aa aaa
o maa aa aa aa
o maa aa aa
o maa aa aa
taara koi bhi aaj gagan se toota nahin een
tara koi bhi aaj gagan se toota nahin
sahaara kisi ka aaj kisi se chhoota nahin
phir kyun maa toot gaya mamta ka naata pyaara aa
taara koi bhi aaj gagan se toota nahin
o maa aa aa aa
o maa aa aa
sabki hi maayen phoolon ko apne baahon ke jhoole jhulaaye ae ae
baaho ke jhule jhulaye
maathe ko sehalake chumke palke
meethi si lori sunaaye aen
mithi si lori sunaaye
chidiya chugaaye bachcho ko daane
kyun tune mujhko bisaara
taara koi bhi aaj gagan se toota nahin
kaahe mujhe tu duniya mein laayi
kaahe bani maa tu meri ee
kaahe bani maa tu meri
paalee naa jaaye, sambhaalee naa jaaye, tujhse jo santaan teri ee
tujhse jo santaan teri
khelegi kab tak aankh michauli
mann mera dhoondh ke haara
tara koi bhi aaj gagan se toota nahin
sahaara kisika aaj kisi se chhoota nahin
phir kyun maa toot gaya mamta ka naata pyaara aa
taara koi bhi aaj gagan se toota nahin
o maa aa aa aa
o maa aa aa
o maa aa
o maa aa aa
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 : |
4544 | Post No. : | 16118 |
Sahir Ludhianvi & His Music Directors-3 – (two-movie collaboration only)
Welcome all to today’s post, the third in this series. Today we look into a ‘two-movie collaboration’ between Sahir and his music directors.
Here is the list where Sahir had worked with the music directors in two movies each;
S.no | Name of the Movie | Year | Music Director | Songs of lyricist in the blog | Song penned by lyricist in movie as per HFGK | Song penned by lyricist in movie as per the book -The People’s Poet |
---|---|---|---|---|---|---|
1 | Doraaha | 1952 | Anil Biswas | 1 | 1 | 1 |
2 | Chaar Dil Chaar Raahein | 1959 | Anil Biswas | 7 | 7 | 6 |
3 | Hum Hindustani | 1960 | Usha Khanna | 1 | 1 | 1 |
4 | Vaasna | 1968 | Chitragupta | 6 | 6 | 6 |
5 | Nanha Farishta | 1969 | Kalyanji-Anandji | 1 | 4 | 4 |
6 | Sansaar | 1971 | Chitragupta | 7 | 7 | 7 |
7 | 36 Ghante | 1974 | Sapan Chakravarty | 4 | 4 | 4 |
8 | Zameer | 1975 | Sapan Chakravarty | 7 | 7 | 8 |
9 | Shankar Shambhu | 1976 | Kalyanji-Anandji | 5 | 5 | 5 |
10 | Hum Tere Aashiq Hain | 1979 | Ravindra Jain | 1 | 6 | 6 |
11 | Insaaf Ka Taraazu | 1980 | Ravindra Jain | 4 | 4 | 4 |
12 | Lakshmi | 1982 | Usha Khanna | 2 | 2 | 2 | TOTAL | 46 | 54 | 54 |
Out of the twelve movies listed above we have already covered the songs of ten movies and only two movies viz. ‘Nanha Farishta-1969’ and ‘Ham Tere Aashiq Hain-1979’ are remaining where only one song from each of these movies is posted.
We go to the older movie first which is ‘Nanha Farishta-1969’. One song from this movie was posted on the blog on 14.11.2014.
‘Nanha Farishta-1969’ was directed by T. Prakash Rao for ‘Vijaya International, Madras’. It was produced by B. Nagi Reddi and Chakrapani. This movie was presented by B Nagi Reddi.
It had Pran, Ajit, Anwar Hussain, Padmini, Balraj Sahni and Baby Rani, who were supported by Suresh, Mukry, Raj Mehra, Sundar, Maruti, Prem Kumar and Johny Walker.
Story of this movie was written by Thuraiyoor K. Moorthy and dialogues were written by Inder Raj Anand. Editing of this movie was done by B.S. Glaad.
This movie had four songs which were written by Sahir Ludhianvi and music was composed by Kalyanji-Anandji.
The playback singers for this movie are Lata Mangeshkar, Mohd Rafi, Asha Bhonsle, Kishore Kumar, Manna Dey, Mahendra Kapoor and Manhar (the titles of the movie also mentioned the name of Balbir in the list of playback singers, however HFGK has not mentioned Balbir’s name for any song of this movie)
HFGK mentions the following four songs from this movie;
Song | Posted On |
---|---|
O natkhat nanhi laadli tujhe dekhe | Being posted today |
Chandaa kaahe ka tera maama | |
O re o, sharaabi tujhme ek kharaabi | |
Bachche mein hai bhagwaan | 14.11.2014 |
Let us now enjoy today’s song sung by Lata Mangeshkar.
Music is composed by Kalyanji-Anandji and as mentioned above lyrics are by Sahir Ludhianvi.
Padmini is seen lip-syncing in Lata Mangeshkar’s voice. Baby Rani, Pran, Ajit, Anwar Hussain and Balraj Sahni (in sad version) are also seen in the picturisation.
Audio
Video Part I (Happy version)
Video Part II (Sad version)
Song-O natkhat nanhi laadli tujhe dekhe tera mama (Nanha Farishta)(1969) Singer-Lata, Lyrics-Sahir Ludhianvi, MD-Kalyanji Anandji
Lyrics
Part I-Happy version
————————————–
O o o o
O o o o o o
O o
O natkhat nanhi laadli
Tujhe dekhe
Tera maama
chandaa maama
O natkhat nanhi laadli
Tujhe dekhe
Tera maama
chandaa maama
Ab jhatpat kehna maan ri
Tujhe dekhe
Tera maama
chandaa maama
Har raat ko chandaa aaye ae
Har raat ko chandaa aaye
Aur doodh malaai laaye ae
Chaandi ki thhaali mein
Sone ki pyaali mein
Tu khaaye
chandaa muskaaye
O natkhat
O natkhat nanhi laadli tujhe dekhe
Tera maama
chandaa maama
o o o o o
Tu gudiya pyaari pyaari ee
Tu gudiya pyaari pyaari
Maama ki raaj dulaari ee
Chun-chun ke taaron ko
Bun-bun ke haaron ko
Tera maama tujhko pehnaaye
O natkhat
O natkhat nanhi laadli tujhe dekhe
Tera maama
chandaa maama
Yoon tera mukhdaa damke ae
Yun tera mukhdaa damke
Jyun nabh par chandaa chamke
Wo ambar ka moti hai
Tu dharti ki jyoti hai
Teri jyoti jug jug lehraaye
O natkhat
O natkhat nanhi laadli tujhe dekhe
Tera maama
chandaa maama
O o o o
Hmm hmm hmm hmm hmm
Hmm hmm hmm
hmm hmm hmm
——————————-
PART – II (sad)
——————————-
O natkhat nanhi laadli
Tujhe dekhe
Tera maama
chandaa maama
O gudiya pyaari pyaari
Maama ki raaj dulaari
Tera maama nabh ka moti
Aur tu dharti ki jyoti
Teri jyoti jug jug lehraaye
O natkhat nanhi laadli tujhe dekhe
Tera maama….
Ek thhi nindiya do thhe naina
Posted August 18, 2020
on:This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
Blog Day : |
4414 | Post No. : | 15814 |
Today, August 18th 2020 is 86th Birth Day of the poet, lyricist, story, screen-play and dialogue writer, producer and director, Gulzar. His presence in Hindi film industries is an assurance that lovers of Hindi films and Hindi film songs would continue to get the opportunity to watch and listen to the meaningful films and songs. I regard Gulzar Saab as an extension of what Sahir Ludhianvi left in October 1980 – a legacy of poetry in Hindi film songs.
I have already covered a substantive information about the filmy career of Gulzar saab in my articles ae hairat-e-aashiqui jagaa mat on the occasion of his 85th birth day last year and in shaam se aankh mein nami si hai, abut 5 years back. Also, there is no dearth of information on Gulzar Saab on the internet, in the print media and his website. So, I would skip this part.
What a great journey Gulzar saab has with Hindi film industry which began in early 1960s as a lyricist. He became an assistant to Bimal Roy and eventually became a director with ‘Mere Apne’ (1971). During his almost six decades in Hindi film industry, he wrote nearly 700 songs, wrote screen-play/dialogues for nearly 50 films and directed 19 films. In addition, he wrote and directed a few TV serials like ‘Mirza Ghalib’(1988), ‘Noopur’ (1990), ‘Potli Baba Ki’ (1991), ‘Tehreer Munshi Premchand Ki’ (2004) etc. He published many novels, short stories and collections of his poems. Of late, Gulzar saab has been busy with translating in Hindi, poems in regional languages from all over India for their wider dessimination.
On the occasion of 86th birth day of Gulzar Saab, I have chosen a song of a rare combination – Gulzar-Suman Kalyanpur-Shankar-Jaikishan. The song is ‘ek thhi nindiya do thhe naina’ from the film ‘Seema’ (1971). Probably, Gulzar saab got involved in writing the lyrics of a couple of songs in this film as he was the story-screen-play-dialogue writer for the film. Surendra Mohan made his debut as a director in this film. The film was produced by Sohanlal Kanwar. The story of the film is summarised below:
Seema (Simi Garewal) has lost her parents in her childhood and she has been brought up by her caring uncle (Abhi Bhattacharya). In her grown-up years, Seema develops a superstition that whoever loved her would get the same fate as her parents. She spends her time mostly alone except with a friend, Rajni (Kanchan) who tries to erase her superstition by saying that she is still alive despite Seema loving her but of no avail.
Seema’s life gets a change when she come across a charming Sunil (Kabir Bedi). But her superstition will not allow her to reciprocate his love. He convinces her to overcome her fear and they get married in a temple. Unfortunately, after few days, Sunil dies in an accident and the fear of superstition returns to Seema as she is pregnant with his child in the womb. She gives birth to Banke (Rakesh Roshan) in secrecy as the society does not know of her marriage to Sunil. The child is brought up by her maid (Chand Usmani) who is kept away from Seema’s home out of fear of losing her child. However, Seema keeps the tab over her son’s activities from a distance.
Banke grows up cosying with Chamki (Bharathi) and also trying to discover as to who his parents are. After a lot of poignant moments in the film, it is Rajni who eventually reveals to Banke that Seema is his mother and his father had died of accident. Seema embraces Banke thus giving up her superstitions.
The song under discussion is a lori which have been picturised in the film on two occasions. First, Suman Kalyanpur sings for Simi on piano. The second, Sushma Shreshta sings for the boy which is taken over by Suman Kalyanpur singing for Chand Usmani as a continuation of the lori. In the audio clip, the entire lori is sung by Suman Kalyanpur.
‘Seema’ (1971) was Jaikishan’s last film. He died while the film was in the making.
Video Clip:
Suman Kalyanpur solo
Video
Audio
Suman Kalyanpur- Sushma Shreshtha duet
Video
Song-Ek thhi nindiyaa do thhe nainaa (Seema)(1971) Singer-Suman Kalyanpur/ Sushma Shreshtha, Suman Kalyanpur, Lyrics-Gulzar, MD-Shankar Jaikishan
Lyrics
———————————
Suman Kalyanpur Solo (based on Audio)
———————————
ek thhi nindiya
do thhe naina aa
raat ki jaayi shaam ki behna aa aa aa
raat ki jaayi shaam ki behna aa
o oo oooo
ooo ooo ooo
hmm hmm hmm hmm hmm
ek thhi nindiya
do thhe naina aa
raat ki jaayi shaam ki behna aa aa aa
ek thhi nindiya do thhe naina
raat ki jaayi shaam ki behna aa aa aa
raat ki jaayi shaam ki behna aa
roz wo pariyon jaisi nindiya aati thhi
donon judwa nainon ko bahlaati thhi
aankhon pe rakh deti thhi meethhe sapne
sapnon waali nindiya maa kahlaati thhi
ek thhi nindiya do thhe naina aa
raat ki jaayi shaam ki behna aa aa aa
raat ki jaayi shaam ki behna aa aa aa
ek thhi nindiya do thhe naina aa
raat ki jaayi shaam ki behna aa aa aa
ek thhi nindiya do thhe naina
raat ki jaayi shaam ki behna aa aa aa
raat ki jaayi shaam ki behna
roz wo pariyon jaisi nindiya aati thhi
donon judwa nainon ko bahlaati thhi
aankhon pe rakh deti thhi meethhe sapne
sapnon waali nindiya maa kahlaati thhi
ek thhi nindiya do thhe naina aa aa
raat ki jaayi shaam ki behna aa aa aa
raat ki jaayi shaam ki behna aa aa aa
oas ki boondon mein jo barsa karti thhi
wo nindiya ab do nainon se roothh gayi
chhoot gaye wo reshmi jhoole sapnon ke
chaandni jaisi lori ki dhun toot gayi
ek thhi nindiya do thhe naina aa aa
raat ki jaayi shaam ki behana aa aa aa
raat ki jaayi shaam ki behana
nindiya ki mamta ko baant ke do naina
aadhi aadhi saansen le kar jeete hain
baari baari dekhte hain toote sapne
baari baari aankh ke aansoo peete hain
ek thhi nindiya do thhe naina aa aa
raat ki jaayi shaam ki behana aa aa aa
raat ki jaayi shaam ki behana
raat ki jaayi shaam ki behana aa aa aa
raat ki jaayi shaam ki behna aa aa aa
raat ki jaayi shaam ki behna aa
—————————————————–
Lyrics: Duet Version – Sushma Shreshta, Suman Kalyanpur
—————————————————–
ek thhi nindiya do thhe naina aa
raat ki jaayi shaam ki behna aa aa
ek thhi nindiya do thhe naina
raat ki jaayi shaam ki behna aa aa
raat ki jaayi shaam ki behna aa
roz wo pariyon jaisi nindiya aati thhi
donon judwa nainon ko behlaati thhi
aankhon pe rakh deti thhi meethhe sapne
sapnon waali nindiya maa kahlaati thhi
ek thhi nindiya do thhe naina aa
raat ki jaayi shaam ki behana aa
raat ki jaayi shaam ki behana aa
oas ki boondon mein jo barsa karti thhi
wo nindiya ab do nainon se roothh gayi
chhoot gaye wo reshmi jhoole sapnon ke
chaandni jaisi lori ki dhun toot gayi
ek thhi nindiya do thhe naina aa
raat ki jaayi shaam ki behna aa aa aa
raat ki jaayi shaam ki behna
nindiya ki mamta ko baant ke do naina
aadhi aadhi saansen le kar jeete hain
baari baari dekhte hain toote sapne
baari baari aankh se aansoo peeten hain
ek thhi nindiya do thhe naina aa aa
raat ki jaayi shaam ki behna aa aa aa
ek thhi nindiya do thhe naina
raat ki jaayi shaam ki behna aa aa aa
raat ki jaayi shaam ki behna aa aa aa
raat ki jaayi shaam ki behna..aa
Sooraj soya soye ujaale
Posted August 13, 2020
on:- In: Blog ten year challenge (2010-2020) | Devnagri script lyrics by Avinash Scrapwala | Guest posts | Lata solo | Lata song | lullaby | Lyrics by Prakashchandra | Lyrics contributed by readers | mother-child song | Post by Avinash Scrapwala | Songs of 1960s (1961 to 1970) | Songs of 1966 | Yearwise breakup of songs
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This article is written by Avinash Scrapwala, a fellow enthusaist of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
Blog Day : |
4409 | Post No. : | 15802 |
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Blog 10-Year Challenge (2010-2020) – Song No.54
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Six songs were posted on 13.08.2010 from six movies viz. ‘Mela-1948’, ‘Kohinoor-1960’, ‘Bandini-1963’,‘Shaheed-1965’, ‘Daadi Maa-1966’, and ‘Aankhon Aankhon Mein-1972’ in chronologically ascending order.
A good variety of popular song, including musical gems were covered on that day.
Song | Movie title-Year | Remarks |
---|---|---|
Gham ka fasaanaa kisko sunaayen | Mela-1948 | All songs covered |
Do sitaaron ka zameen par hai milan aaj ki raat | Kohinoor-1960 | All songs covered |
O panchhi pyaare saanjh sakhaare | Bandini-1963 | All songs covered |
Jogi ham to lut gaye tere pyaar mein | Shaheed-1965 | All songs covered |
Chale aaye re ham to | Daadi Maa-1967 | 03 songs posted |
Aankhon aankhon mein baat hone do | Aankhon Aankhon Mein-1972 | All songs covered |
Out of the six movies represented five movies have already been covered with all their songs on the blog and they have attained ‘Yippeeeeee’ status on the blog.
That leaves us with only one movie ‘Daadi Maa-1966’, which is eligible for the blog ten year challenge today.
‘Daadi Maa-1966’ had seven songs and eight sound tracks including the ‘title music track’. All the seven songs were written by Majrooh Sultanpuri and music was composed by Roshan. Lata Mangeshkar, Manna Dey, Mahendra Kapoor, Puran, Asha Bhonsle, and Mohd Rafi had given their voices to the songs in this movie.
So far, the following three songs from ‘Daadi Maa-1966’ have been covered on the blog;
Song | Posted On |
---|---|
Usko nahin dekha hamne kabhi | 27.01.2009 |
Jaataa hoon main mujhe ab naa bulaanaa | 10.06.2010 |
Chale aaye re ham to | 13.08.2010 |
We can see that the above three songs include two well known songs from this movie viz. Usko nahin dekha hamne kabhi and Jaataa hoon main mujhe ab naa bulaanaa. These two songs are the only songs I am familiar with and I associate these songs with the movie. I don’t remember to have listened to other songs of this movie.
Today’s song is a ‘lorie’ songs sung by Lata Mangeshkar and lip-synced on screen by Beena Rai.
Also seen in the picturization of this song is Shashikala.
I remember that the heart touching cute lorie ‘nanhi kali sone chali hawaa dheere aanaa’ sung by Geeta Dutt used to trend on ‘top’ in the list of ‘Top Posts’ visited on the blog from 2012 till 2014.
Let us now listen to today’s ‘lorie’ song written by Majrooh Sultanpuri and composed by Roshan.
Lyrics of this song were sent by Prakashchandra.
Audio
Video
Song-Sooraj soya soye ujaale (Daadi Maa)(1966) Singer-Lata, Lyrics-Majrooh Sultanpuri, MD-Roshan
Lyrics(Provided by Prakashchandra)
sooraj soyaa aa
soye ae ujaaley
mera chaand jaage aa jaa
aa jaa ri aa aa aa
nindiyaa tu aa aa
sooraj soyaa aa
soye ujaaley ae
mera chaand jaage aa jaa
aa jaa ri aa aa aa
nindiyaa tu aa
kaise kahoon kyun dhool milaa re
mere pyaar ka moti
kaise kahoon kyun dhool milaa re
mere pyaar ka moti ee
aayi be-rahem aandhi aisi
door aa padi hai ghar se
ghar ke deep ki jyoti
nindiyaa
mera chaand jaage aajaa
aajaa ri aa aa aa aa aa
nindiyaa tu aa
kyaa jaanoon aakaash hain kitne
gagan mein taaraa kitnaa aa
kyaa jaanoon aakaash hain kitne
gagan mein taaraa kitnaa aa
pagli maamta
bas ye jaane
god mein girey jo aakar
woh taaraa hai apna
nindiyaa
mera chaand jaage aa jaa
aajaa ri aa aa aa aa aa
nindiyaa tu aa
door se nindiya tu kya dekhe
mera bheegtaa mukhdaa
door se nindiya tu kya dekhe
mera bheegtaa mukhdaa
ghaav dekh chhaati ke mere
jod naa sakoon main tan se
apne hi tan ka tukdaa
nindiyaa
mera chaand jaage aa jaa
aajaa ri aa aa aa aa aa
nindiyaa tu aa aa
sooraj soyaa aa
soye ujaaley ae
mera chaand jaage aa jaa
aa jaa ri aa aa aa
nindiyaa tu aa
————————————
Devnagri script lyrics (Provided by Avinash Scrapwala)
————————————-
सूरज सोया आ
सोए ए उजाले
मेरा चाँद जागे आ जा
आ जा री आ आ आ
निंदिया तू आ आ
सूरज सोया आ
सोए उजाले ए
मेरा चाँद जागे आ जा
आ जा री आ आ आ
निंदिया तू आ
कैसे कहूं क्यों धुल मिला रे
मेरे प्यार का मोती
कैसे कहूं क्यों धुल मिला रे
मेरे प्यार का मोती ई
आई बे-रहम आंधी ऐसी
दूर आ पड़ी घर से
घर के दीप की ज्योति
निंदिया
मेरा चाँद जागे आ जा
आ जा री आ आ आ आ आ
निंदिया तू आ
क्या जानूं आकाश हैं कितने
गगन में तारा कितना आ
क्या जानूं आकाश हैं कितने
गगन में तारा कितना आ
पगली मामता
बस ये जाने
गोद में गिरे जो आकर
वो तारा है अपना
निंदिया
मेरा चाँद जागे आ जा
आ जा री आ आ आ आ आ
निंदिया तू आ
दूर से निंदिया तू क्या देखे
मेरा भीगता मुखड़ा
दूर से निंदिया तू क्या देखे
मेरा भीगता मुखड़ा
घाव देख छाती के मेरे
जोड़ ना सकूं मैं तन से
अपने ही तन का टुकडा
निंदिया
मेरा चाँद जागे आ जा
आ जा री आ आ आ आ आ
निंदिया तू आ आ
सूरज सोया आ
सोए उजाले ए
मेरा चाँद जागे आ जा
आ जा री आ आ आ
निंदिया तू आ …
- In: Background song | Blog ten year challenge (2010-2020) | Devnagri script lyrics by Avinash Scrapwala | Lyrics by Avinash Scrapwala | Lyrics contributed by readers | Manna Dey solo | Manna Dey songs | mother-child song | Rajesh Khanna present (without lip syncing) | Rajesh Khanna songs | Songs of 1970s (1971 to 1980) | Songs of 1973 | Yearwise breakup of songs
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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: | 4263 | Post No.: | 15489 |
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Blog 10-Year Challenge (2010-2020) – Song No. 13
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In olden days (even today for that matter) Indians were expected to behave in a particular manner. For instance, when it came to their day to day live, most of them were “gareeb” and they were told that they had the sole right on the resources of the nation in the form of doles aka subsidies. All political parties claimed to be pro poor parties and promised to “hataao” gareebi if voted to power. After repeatedly getting voted to power on the plank of hataaoing gareebi, the same politicians now claim to be for the “gareeb”. These “gareeb” are supposed to be gullible possessing of short memory so the politicians can get away despite failing to fulfill their past promises.
Movie makers were no different. They too made movies for the same segment of society that were treated as “gareeb” by the political classes. This section of society was supposed to like movies with escapist stories that bore little resemblance to real life. Depicting real life was considered no no. Movies depicting real life were considered boring. Why would a “gareeb” audience come to the movie hall to watch movies depicting his real dull life ? This was what the movie makers believed in.
Sometimes, some movie makers would make movies with realistic movies. Ordinary movie goers and even press would describe these movies as boring. Most movies like this flopped.
Top stars acted in such movies for creative satisfaction, but the ordinary fans felt betrayed when they would go to the movie hall and find their star sans his usual mannerisms.
Rajesh Khanna is “Aavishkaar” (1973), and Amitabh Bachchan in “Man Aazaad Hoon” (1990) are two such movies that readily comes to my mind.
“Aavishkaar” (1973) was directed by Basu Bhattacharya Aarohi Film Makers Bombay. This movie had Rajesh Khanna, Sharmila Tagore, Dina Gandhi, Denis Clement, Satyen Kappu, Monika Jasnan (child artist), Devendra Khandelwal, Margaret, new discoveries Mahesh Sharma and Minna Johar etc in it.
The movie dealt with a real life “boring” tale, viz the marital life of a couple, played by Rajesh Khanna and Sharmila Tagore. Fans of superstar Rajesh Khanna, who went to the movie hass expecting a movie like “Aaraadhana”(1969) were disappointed. There was no way juvenile fans (including yours truly) of Rajesh Khanna, who were brought up on stuff like “Haathi Mere Saathi”(1971) and “Apna Desh” (1972) were going to like this movie.
This movie was only for “mature” movie goers. Just like “rich” people were looked down upon by “gareeb” people, “mature” people, with their occasional boring movies were looked down upon by people loving “mainstream” movies.
Please do not believe the review of “Aavishkaar”(1973) that is carried by wikipedia etc. These reviews are written with the benefit of hindsight by people who were not even born when this movie was released. I remember the reviews carried out in mainstream Hindi media during 1973 which bore no resemblance whatsoever with its review that we now find online.
Coming to the songs of the movie, “Aavishkaar” (1973) had five songs in it. Four of these songs are covered in the past as described hereunder:-
Song | Posted On |
---|---|
Hansne ki chaah ne kitna mujhe | 19.09.2008 |
Naina hain pyaase mere | 20.03.2010 |
Mahaa shoonya ke mahaan vistaar mein | 18.07.2016 |
Baabul mora, naihar chhuto hi jaaye | 27.05.2019 |
From the table above, we can see that one song from the movie was covered on this day, ten years ago. So, this movie provides us an opportunity to have a blog ten year challenge. At the same time, all the songs of the movie get covered as well.
Ten years ago on this day, two songs were covered in the blog
Song | Movie title-Year | Remarks |
---|---|---|
Naina hain pyaase mere | Aavishkaar-1973 | 04 of 05 songs posted |
Kaali badariya maare najariya | Do Roti-1957 | All Songs posted on the blog |
Here is the fifth and final song from “Aavishkaar”(1973) to appear in the blog. The song is sung by Manna Dey. Gyandev Agnihotri is the lyricist. Music is composed by Kanu Roy.
Lyrics of this song were sent to me by Avinash Scrapwala.
With this song, “Aavishkaar”(1973) joins the list of movies that have all their songs covered in the blog.
Video
Audio
Song-Maa ko pukaar kar poochha bachche ne (Aavishkaar)(1973) Singer-Manna Dey, Lyrics-Gyandev Agnihotri, MD-Kanu Roy
Lyrics(Provided by Avinash Scrapwala)
maa ko pukaar kar poochha bachche ne
aaya kahaan se hoon maa
bolo to
padaa kahaan paaya
bolo to
sun kar sawaal ye
maa ke stanon se ufan padaa doodh
aur bah aaya aankhon se
uttar
mere laal
tum to hamesha thhe
mere man ki abhilaasha mein
tan ki paribhaasha mein
bachpan ke gudiyaaghar mein ae
kitni baar tujhe
khelte khelte
toda aa
todte todte ae
jodaa aa
paakar khoya aur
kho kar payaa aa hai
kahaan se bataaun tu aaya hai
padaa tujhe maine kahaan paaya hai
mere ae laal
tu
haan tu hi to hai
meri amar aasha
subah ka sapna
maa aur daadi ki
sunehri khwaahish
prem ki paramparaa aa
aag ki khwaahish
aur prem ki aasha se
bani teri kaaya hai
kahaan se bataaun tu aaya hai
padaa tujhe maine kahaan paaya hai
mere laal
————————————
Devnagri Script lyrics(Provided by Avinash Scrapwala)
—————————————
माँ को पुकार कर पूछा बच्चे ने
आया कहाँ से हूँ माँ
बोलो तो
पडा कहाँ पाया
बोलो तो
सुन कर सवाल ये
माँ के स्तनों से उफन पडा दूध
और बह आया आँखों से
उत्तर
मेरे लाल
तुम तो हमेशा थे
मेरे मन की अभिलाषा में
तन की परिभाषा में
बचपन के गुड़ियाघर में ए
कितनी बार तुझे
खेलते खेलते तोड़ा आ
तोड़ते तोड़ते ए
जोड़ा आ
पाकर खोया और
खो कर पाया आ है
कहाँ से बताऊँ तू आया है
पडा तुझे मैंने कहाँ पाया है
मेरे ए लाल
तू
हां तू ही तो है
मेरी अमर आशा
सुबह का सपना
माँ और दादी कि
सुनहरी ख्वाईश
प्रेम की परंपरा आ
आग की ख्वाईश
और प्रेम की आशा से
बनी तेरी काया है
कहाँ से बताऊँ तू आया है
पडा तुझे मैंने कहाँ पाया है
मेरे लाल
- In: "Swimming Pool" song | Asha Bhonsle songs | Club song | Devnagri script lyrics by Sudhir | Duet | Feelings of heart | Geeta Dutt songs | Geeta Dutt-Asha Bhonsle duet | Guest posts | Lyrics by Sudhir | Lyrics contributed by readers | Mixed Genre Songs | mother-child song | Post by Arunkumar Deshmukh | Songs of 1950s (1951 to 1960) | Songs of 1958 | Yearwise breakup of songs
- 4 Comments
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 : | 3819 | Post No. : | 14817 |
Today’s song is from film ‘Ek Shola’ (1958). It is sung by Asha Bhosle and Geeta Dutt. The lyricist was Majrooh Sultanpuri and the music director was Madan Mohan. The film was produced by Deep and Pradeep Productions – a joint venture of Deep Khosla and Pradeep Kumar. The film was directed by Chander Sehgal. Not much is known about Chander Sehgal, except that he directed only 2 films – ‘Ek Shola’ and ‘Mitti Mein Sona’ (1960). He died on 29-5-1960. The cast of the film is Pradeep Kumar, Mala Sinha, Jawahar Kaul, Leela Mishra, Nazir Hussain, Shubha Khote etc.
In Hindi films, there have been three actors who were very handsome and very lucky but zero in acting – Karan Dewan, Pradeep Kumar and Bharat Bhushan. They all appeared in leading roles opposite all leading actresses of their times. They had the best films, best songs and best roles. Karan Dewan had about 25 Silver Jubilees to his credit and was considered a lucky star. Bharat Bhushan had the most musical films to his credit like ‘Baiju Bawra’ (1952), ‘Shabaab’ (1954) and ‘Mirza Ghalib’ (1954) etc. Pradeep Kumar had ‘Anarkali’ (1953) and ‘Taj Mahal’ (1963).
All three had their brothers producing films for them. Gemini Dewan made films for Karan Dewan, R. Chandra made films for Bharat Bhushan and Kalidas for Pradeep Kumar. Unfortunately, in later years, all three lost everything and died in poverty and neglectful anonymity. Karan Dewan was a manager with BR Chopra’s production company. When he died no one came for his funeral except for Chandrashekhar and Manmohan Krishan from the Cine Artist’s Association. Bharat Bhushan even worked as a watchman in a film studio, in his last days. He too died unsung and only the men from the Association were present at the cremation.
Pradeep Kumar’s case is the saddest. He lay seriously ill in the ICU of a Calcutta nursing home, abandoned by his relatives. The hospital was not discharging him, unless the bills were paid. Luckily one Mr. Pradeep Kondaliya, an estate agent, recognised him, despite his grown beard. He paid the huge outstanding bill of the hospital and took Pradeep Kumar to his home, where he passed away after a few days. He was cremated by his fan. Such is the film industry – cruel and ruthless, where the recognition lasts only till one is successful, and even close relatives desert you in bad times.
Pradeep Kumar aka Sital Batabyal was born on 4 January 1925. When he was 17 years old, he started as assistant cameraman. Later he decided to take up acting. He started his film career in Bengali films. His notable roles in Bengali films were in ‘Alaknanda‘ (1947), directed by renowned filmmaker Debaki Bose, and in ’42‘ (1951). It was Debki Bose, who gave him the filmy name Pradeep Kumar.
Pradeep Kumar then shifted to Bombay and Filmistan studios, and had an important role in the film ‘Anand Math‘ (1952). He played the lead role with Bina Rai in ‘Anarkali’ (1953) and with Vyjayanthimala in ‘Nagin’ (1954). Both films were very popular and had songs that added to the movies’ success. He had a spate of releases in the second half of the 1950s. He did not enjoy as much success in the 1960s, though ‘Ghoonghat’ (1960), ‘Aarti’ (1962) & ‘Taj Mahal’ (1963) were successful. He worked with Meena Kumari in seven films; ‘Adil-E-Jahangir’, ‘Bandhan’ (1956), ‘Chitralekha’, ‘Bahu Begum’, ‘Bheegi Raat’, ‘Aarti’ and ‘Noorjehan’; and with Mala Sinha in eight films; ‘Naya Zamana’, ‘Hamlet’, ‘Baadshah’, ‘Detective’ (1958 movie), ‘Fashion’ (1959 film), ‘Ek Shola’, ‘Duniya Na Maane’, and ‘Mitti Mein Sona’.
He did not get to act in lead roles with the newer heroines of the 1960s such as Sadhana, Saira Banu, Babita or Sharmila Tagore, though he did work with Asha Parekh in ‘Ghoonghat’ and ‘Meri Surat Teri Aankhen‘ and with Waheeda Rehman in ‘Raakhi‘ (1963). In 1969, he moved to character roles with ‘Sambandh’ and ‘Mehboob Ki Mehndi’, but did not have many visible roles till ‘Jaanwar’ and ‘Razia Sultan’ in 1983.
He won the Kalakar Award-Lifetime Achievement Award (1999).
Pradeep Kumar died in Calcutta on 27 October 2001, at the age of 76. He is survived by his daughters Reena, Meena and Beena Banerjee who plays character roles in movies and TV serials including ‘Uttaran’, son Debiprasad and granddaughters Tanisha, Suparna, Riya and Hrishita. Beena Banerjee’s son Siddharth Banerjee worked as assistant director in Sajid Khan’s ‘Housefull 2’ (2012) and ‘Himmatwala’ (2013).
Mala Sinha was an educated, hard working actress. Though she worked with leading banners and was heroine to well known heroes, she was never counted among the class I heroines of her times. She worked with many newcomers, like Dharmendra etc. Her career spanned a long time but she never got a single Filmfare Award, though nominated 4 times.
Mala Sinha was born in a Bengali Nepalese Christian family in Calcutta, on 11-11-1936. Mala Sinha claimed herself a Bengali descent Nepali many years ago in a TV interview Her parents named her Alda. Her friends at school used to tease her by calling her Dalda (a brand of vegetable oil), so she changed her name to Mala. In her childhood she learnt dancing and singing. Although she was an approved singer of All India Radio, she has never done playback singing in films. But as a singer she has done stage shows in many languages from 1947 to 1975.
Mala started her career as child artist in Bengali films ‘Jai Vaishno Devi’ followed by ‘Shri Krishan Leela’, ‘Jog Biyog’ and ‘Dhooli’. Noted Bengali director Ardhendu Bose saw her acting in a school play and took permission from her father to cast her as a heroine in his film ‘Roshanara’ (1952) – Bangla film, her cinematic debut.
After acting in a couple of films in Calcutta, Mala had to go to Bombay for a Bengali film. There she met Geeta Bali, a noted Bollywood actress, who was charmed by her and introduced her to film director Kidar Sharma. It was Sharma who cast her as a heroine in his ‘Rangeen Ratein‘ (1956). Her first Hindi film was ‘Baadshah’ (1954) opposite Pradeep Kumar. Then came ‘Ekadashi’ (1955), a mythological film. Both failed, but her lead role in Kishore Sahu’s ‘Hamlet’ (1954), paired opposite Pradeep Kumar, fetched her rave reviews in spite of it failing at the box office. Films like ‘Lai Batti’ (actor Balraj Sahni’s only directorial venture), ‘Nausherwan-E-Adil’ where she starred as the fair maiden Marcia in Sohrab Modi’s romance about forbidden love and ‘Phir Subah Hogi’, which was director Ramesh Saigal’s adaptation of Dosteovsky’s novel Crime and Punishment, established Mala Sinha’s reputation as a versatile actress who took the maximum career risks by accepting unconventional roles.
Mala was a singer of some repute and used to sing for All India Radio; she was not allowed to sing playback (even for herself) in the movies with the lone exception being 1972’s ‘Lalkar’. In the 1950s, she had string of hits opposite Pradeep Kumar like ‘Fashion’ (1957), ‘Detective’ (1958), ‘Duniya Na Maane’ (1959) though their first two ventures had failed. The films she did with Pradeep Kumar were men-oriented. In 1957, noted Bollywood actor and film director Guru Dutt (the husband of Geeta Dutt) cast Mala in his film ‘Pyaasa‘ (1957) in a role originally intended for Madhubala. Mala gave a memorable performance as the relatively unsympathetic part of an ambitious woman who chooses to marry a rich man (played by actor Rehman) and have a loveless marriage rather than a poor, unsuccessful poet and her impoverished lover (played by Guru Dutt) whom she ditches. ‘Pyaasa‘ remains to this day a classic in the history of Indian cinema and a turning point for Mala Sinha.
After ‘Pyaasa’ her major success were ‘Phir Subah Hogi’ (1958) and Yash Chopra’s directorial debut ‘Dhool Ka Phool’ (1959) that elevated her into a major dramatic star. There was no looking back for Sinha then as she was part of many successful movies from 1958 to the early ’60s like ‘Parvarish’ (1958), ‘Ujaala’,’ Main Nashe Main Hoon’, ‘Duniya Na Maane’, ‘Love Marriage’ (1959), ‘Bewaqoof’ (1960), ‘Maya’ (1961), ‘Hariyali Aur Rasta’ and ‘Dil Tera Deewana’ (1962), ‘Anpadh’, ‘Bombay Ka Chor’ (1962). Critics believe her career best performance was in ‘Bahurani’ (1963), ‘Gumrah’, ‘Gehra Daag’, ‘Apne Huye Paraaye’ and ‘Jahan Ara’. Apart from pairing with Pradeep Kumar, her pairing opposite Raaj Kumar, Rajendra Kumar, Biswajit and Manoj Kumar in woman-oriented films were appreciated by audiences, with her films opposite Biswajit being the most popular. She did 10 films with Biswajit. In 2007, they won the Star Screen Lifetime Achievement Award, calling them on stage together giving due respect to their popularity as a pair who have tasted box office success.
The most remarkable feature of career of Mala Sinha was that most of her 1960s and 1970s hits were fueled by her own star power as much as the heroes and most of the times her role was more powerful than the hero. Though she was pitted opposite her seniors like Raj Kapoor, Dev Anand, Kishore Kumar, Pradeep Kumar and when she acted opposite the emerging stars from late 1950s like Shammi Kapoor, Rajendra Kumar and Raaj Kumar, she made sure her role was as good as theirs.
In 1966, Sinha went to Nepal to act in a Nepali film called ‘Maitighar‘ when the Nepali film industry was still in its infancy. This was the only Nepali film she did in her career. Her hero in the film was an estate owner called Chidambar Prasad Lohani. Soon after, Mala Sinha married CP Lohani with the blessings of her parents. From the beginning theirs was a long-distance marriage with Lohani based in Kathmandu to look after his business and Sinha living in Bombay with their daughter Pratibha. She continued acting after her marriage.
From 1974, she cut down on her assignments as the lead actresses. She accepted strong character roles in films like ’36 Ghante‘ (1974), ‘Zindagi‘ (1976), ‘Karmayogi‘ (1978), ‘Be-Reham’ (1980), ‘Harjaee’ (1981), ‘Yeh Rishta Na Tootay’, ‘Babu’ (film) and ‘Khel’, which were popular.
In the early ’90s Madhuri Dixit was promoted as new Mala Sinha in magazines. But, after 1994, she completely withdrew from industry and has given very few public appearances. In ‘Dhool Ka Phool’ and BR Chopra’s ‘Gumrah’, she played the first unwed mother and adulterous wife respectively in Hindi cinema. As she grew older, she gracefully moved on to doing character roles that befitted her age. She was last seen in ‘Zid’ (1994). Though Mala Sinha evinced as much interest in her daughter Pratibha’s career as her father did in her career, she was unable to achieve the same success for her daughter. (Adapted from wiki).
Mala Sinha came from Calcutta to make a career in Bombay films. In Calcutta she worked in a Bilingual film ‘Chitrangada’ (1954) in Bangla and Hindi. In 1954 again, she did her first film in Bombay, ‘Baadshah’ (1954), then came ‘Hamlet’ (1954), ‘Riyaasat’ (1955) and ‘Ekadashi’ (1955).
In all her interviews, Mala Sinha always quoted ‘Rangeen Raten’ (1956) with Shammi Kapoor as her first film in Bombay. She was ashamed of revealing that in film ‘Riyaasat’ (1955), her Hero was Mahipal and in film ‘Ekadashi’ it was Trilok Kapoor. She always hid this fact. There are many heroines who want to hide their struggling days. For example, in film ‘Professor’ (1962) Shammi Kapoor’s heroine was Kalpana. Though touted as her first film, her first film was ‘Pyar Ki Jeet-62’, opposite Mahipal – a fact which Kalpana always hid from everyone.
Similarly, A grade heroine Meena Kumari also had done several mythological and costume films before ‘Baiju Bawra’ took her high up and above other heroines. Films like ‘Veer Ghatotkach’ (1949), ‘Shri Ganesh Mahima’ (1950), ‘Laxmi Narayan’ (1951), ‘Hanuman Paataal Vijay’ (1951) and ‘Alladin aur Jadui Chirag’ (1953) had Mahipal as her Hero. In her later years, she always hid her earlier film Heroes.
Even comedian Johnny walker, who is supposed to have made a beginning with ‘Baazi’ (1951), had earlier worked in ‘The Last Message’ or ‘Aakhri Paigham’ (1949). However this fact is not told by anyone.
Not only actors, but even singers do this. They hesitate to tell that the first sang for C grade films. Take the case of Sudha Malhotra, who used to declare ‘Arzoo’ (1950) as her first film, under Anil Biswas. But she never told that earlier she had sung 3 songs in film ‘Aakhri Paigham’ (1949), under the baton of Abid Hussein Khan, composer.
It is very unfortunate that once the artiste becomes famous, he tends to forget his humble beginning with less known film or a composer. This is because they are ashamed of it. I feel the blame also goes to people who take their interview, because the interview takers do not do proper homework. Many times they do not know anything and simply note down whatever is told by the artiste.
There were 8 songs in the film ‘Ek Shola’. 3 songs are already discussed. This is the 4th song. It is a long song, recorded on one side each of 78 rpm record nos. N-52832 and 52833). We present here the full song covering both sides.
Song – Chanda Se Bhi Pyaara Hai, Akhion Ka Taara Hai (Ek Shola) (1958) Singer – Asha Bhosle, Geeta Dutt, Lyrics – Majrooh Sultanpuri, Music – Madan Mohan
Lyrics (Provided by Sudhir)
mmmm mmmmm mmmm
mmm mmm mmm mmm mmm mmmmmmm
chanda se bhi pyaara hai
akhion ka taara hai
dil ka sahaara mera laadla
chanda se bhi pyaara hai
akhion ka taara hai
dil ka sahaara mera laadla
ghata ka saaya hai zindagi
idhar se aai udhar chali
rukey na jeevan ki baansuri
haaye.. apni dhun mein gaa
khushi se saagar jal chhalke
pakad chaley dil sambhal ke
kahen tarangen machal ke
zaraa mauj mein lehra haaye..
khushi se saagar jal chhalke
pakad chaley dil sambhal ke
kahen tarangen machal ke
zaraa mauj mein lehra haaye..
ghata ka saaya hai zindagi
idhar se aai udhar chali
rukey na jeevan ki baansuri
haaye.. apni dhun mein gaa
chanda se bhi pyaara hai
akhion ka taara hai
dil ka sahaara mera laadla..aa..aa
jab mera nannha chhaiyan chhaiyan
thummak thummak doley
tuk tuk taakey
jhuk jhuk jhaanke
gudiya ghunghat kholey
jab mera nannha chhaiyan chhaiyan
thummak thummak doley
tuk tuk taakey
jhuk jhuk jhaanke
gudiya ghunghat kholey
ho gudde sa dulaara
akhion ka taara hai
dil ka sahaara mera laadla..aa..aa
ghata ka saaya hai zindagi
idhar se aai udhar chali
rukey na jeevan ki baansuri..ee
apni dhun mein gaa
jo mastion mein jee’e hain
usey na ?? ?? ??
ye raaz tere liye hai magar
tu nahi samjha haaye..
jo mastion mein jee’e hain
usey na ?? ?? ??
ye raaz tere liye hai magar
tu nahi samjha haaye..
ghata ka saaya hai zindagi
idhar se aai udhar chali
rukey na jeevan ki baansuri..ee
apni dhun mein gaa
chanda se bhi pyaara hai
akhion ka taara hai
dil ka sahaara mera laadla..aa..aa
A B C D
aleef bay pay
ka kha ga gha..aa..aa
A B C D
aleef bay pay
aur bhai ka kha ga gha
ab padhne askool chala hai
ye mera shehzaada
ab padhne askool chala hai
ye mera shehzaada
ho parion ne sanwaara hai
akhion ka taara hai
dil ka sahaara mera laadla
aa..aa..aa
chanda se bhi pyaara hai
akhion ka taara hai
dil ka sahaara mera laadla
mmm mmm mmmmmm mmmm
mmm mmm mmmmmm mmmm
aaa aaa aaaa aaa aaa aaa
———————————————————-
Hindi script lyrics (Provided by Sudhir)
———————————————————-
मम्मम मम्ममम मम्मम
मम्म मम्म मम्म मम्म मम्म मम्म मम्ममममम
चंदा से भी प्यारा है
अखिओं का तारा है
दिल का सहारा मेरा लाड़ला
चंदा से भी प्यारा है
अखिओं का तारा है
दिल का सहारा मेरा लाड़ला
घटा का साया है ज़िंदगी
इधर से आई उधर चली
रुके ना जीवन की बांसुरी
हाए॰॰ अपनी धुन में गा
खुशी से सागर जल छलके
पकड़ चले दिल संभाल के
कहें तरंगें मचल के
ज़रा मौज में लहरा हाए॰॰
खुशी से सागर जल छलके
पकड़ चले दिल संभाल के
कहें तरंगें मचल के
ज़रा मौज में लहरा हाए॰॰
घटा का साया है ज़िंदगी
इधर से आई उधर चली
रुके ना जीवन की बांसुरी
हाए॰॰ अपनी धुन में गा
चंदा से भी प्यारा है
अखिओं का तारा है
दिल का सहारा मेरा लाड़ला॰॰आ॰॰आ
जब मेरा नन्हा छइयाँ छइयाँ
ठुमक ठुमक डोले
टूक टूक ताके
झुक झुक झाँके
गुड़िया घूँघट खोले
जब मेरा नन्हा छइयाँ छइयाँ
ठुमक ठुमक डोले
टूक टूक ताके
झुक झुक झाँके
गुड़िया घूँघट खोले
हो गुड्डे सा दुलारा है
अखिओं का तारा है
दिल का सहारा मेरा लाड़ला॰॰आ॰॰आ
घटा का साया है ज़िंदगी
इधर से आई उधर चली
रुके ना जीवन की बांसुरी
हाए॰॰ अपनी धुन में गा
जो मस्तीओं में जीए हैं
उसे ना ?? ?? ??
ये राज़ तेरे लिए है मगर
तू नहीं समझा हाए॰॰
जो मस्तीओं में जीए हैं
उसे ना ?? ?? ??
ये राज़ तेरे लिए है मगर
तू नहीं समझा हाए॰॰
घटा का साया है ज़िंदगी
इधर से आई उधर चली
रुके ना जीवन की बांसुरी॰॰ई
हाए॰॰ अपनी धुन में गा
चंदा से भी प्यारा है
अखिओं का तारा है
दिल का सहारा मेरा लाड़ला॰॰आ॰॰आ
ए बी सी डी
अलीफ बे पे
क ख ग घ॰॰अ॰॰अ
ए बी सी डी
अलीफ बे पे
और भई क ख ग घ
अब पढ़ने अस्कूल चला है
ये मेरा शहज़ादा
अब पढ़ने अस्कूल चला है
ये मेरा शहज़ादा
ओ परियों ने संवारा है
अखिओं का तारा है
दिल का सहारा मेरा लाड़ला
आ॰॰आ॰॰आ
चंदा से भी प्यारा है
अखिओं का तारा है
दिल का सहारा मेरा लाड़ला
मम्म मम्म मम्मममम मम्मम
मम्म मम्म मम्मममम मम्मम
आ आ आ आ आ आ॰॰आ
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 : | 3792 | Post No. : | 14776 |
I was very fond of seeing movies and listening to the songs since childhood.Those days,children were not allowed to see films,unlike today. If at all a film is to be seen,the children had to go with their mother,aunt, grandmother or some such female relative and the film would invariably be something like Ram Ravan Yudh or Bakasur ki Maut.
Hyderabad state,where I spent my early years was ruled by a Muslim king-The Nizam(Ala Hazarat).There were some social customs,like Burkha,which reflected in the social lives of the citizen.
For example, in almost every theatre,there used to be a special class-“Zanana Class”.It was made out of the half of the Balcony class with a wall partition between them.The frontal portion facing the screen had a thick curtain,which was removed after the film started and covered again after the film ended,thus protecting the women spectators from the prying eyes of the public.
Same procedure was for Interval period also.Only women and small children were allowed in this subsidised class.A special ‘Curtain Mover’ used to be the in charge of this and the Zanana Class.
Usually a She -Male or a He -Female (don’t know which) was appointed for women’s safety.This type of arrangement was also available in other Muslim states like,Junagarh,Bhawalpur,Lucknow,Bhopal etc.Women used to make lot of noise and at times there were big quarrels,when the films were stopped,curtain moved, peace restored and the films were restarted.
I was lucky to start seeing films independently from the end of 40s. Usually,it was from the school directly. Every Friday to Sunday,there used to be a Morning show from 11 am. In this,the tickets were almost half rates, like 4 annas, 6 annas, 12 annas etc. Thus I was able to see many films of 30s and 40s, till about 1955-56 or so.
Once I went to college, then took up the job and other priorities of life,I saw less films,but never missing an opportunity to see older films and making notes. From 1980 onwards, I stopped seeing films, and when I retired in 1998, I dug out my old collections. I have not visited a theatre after 1980 and yet to see how a Multiplex looks like. I saw few films on TV and players.
In the initial era of Talkie films, Calcutta’s New Theatres and Poona’s Prabhat were the most well known film makers. They used to make films on social issues. Particularly, Prabhat was famous for keeping their films centred on the Reform themes like,Dowry, Child Marriage, Second Marriage, Cast difference etc.From the mid 30s one more company came into limelight and that was Bombay Talkies- founded by Himanshu Rai and Devika Rani. They also followed the trend and films on social issues like Untouchability, illiteracy etc were made. Today’s song is from a film made by Bombay Talkies- Jeewan Prabhat-37.
This was also a film dealing with Caste differences and second marriage. In this film,however, it was shown that the Caste difference stayed and the proposed second marriage got cancelled. I would say, it was quite a realistic depiction of the Indian mindset, because even after hundreds of years, the caste differences exist today, while the other social ills like child marriage, dowry, illiteracy etc are controlled to a greater extent. It would not be wrong to say that as long as the Reservation Policies exist, caste differences will continue to exist-with official support !
Film Jeewan Prabhat-37 was directed by the German Director Franz Osten. The Music Director was Saraswati Devi and lyrics and dialogues were by J.S.Casshyap. The screen play was by Niranjan Pal- Himanshu Rai’s friend since their London days. Kishor Sahu and Renuka Devi made their Debut in this film. Others in the cast were Mumtaz Ali,Prithwiraj kapoor, Maya Devi and M.Nazeer etc etc. The film was released on 2-11-1937 at Minerva Talkies in Bombay. Baburao Patel of Film India, in its December 1937 issue had not much good about this film. He, in fact, criticised both the Debutantes, for their acting calling them as ‘ disappointments ‘. However, the film did good business and ran for 17 weeks in Bombay.
Unlike Prabhat or New Theatres, Bombay Talkies produced their films in quick time. This film-Jeewan prabhat- was made in just 2 months. Their most popular film Achhut kanya-36 was made in 6 months. This was possible due to self sufficient facilities, good planning, modern equipment and total involvement of the staff. Franz Osten’s speed and his planning was such that in the span of just 4 years, Franz directed 16 films for Bombay Talkies !
The Debut making actress Renuka Devi was one of a kind. I am not only surprised,but awed and terribly impressed,when I went through her Autobiography ” A woman of substance-Begum Khursheed Mirza “.
Begum Khursheed Mirza is none other than the famous Heroine of the 30s and 40s-Renuka Devi ( 4-3-1918 to 8-2-1989 ). She was perhaps one of the most educated, upper class, sophisticated and highly cultured Muslim lady, who ever joined the film industry then. One more striking feature of Renuka Devi was that she was one of the very few actresses,who joined the films after their marriage. The other such examples I remember offhand is that of Meenakshi Shirodkar (Bramhachari-38 fame), Shobhana Samarth and actress Neena ( real name Shahida-wife of Mohsin Abdulla, brother of Renuka Devi and later wife of W.Z.Ahmed) in those times.
Renuka Devi had studied upto Masters degree in English Literature,from Aligarh Muslim University. The only other nearest example I remember offhand is that of actress Vanmala (real name Susheela Devi Pawar), who had done B.A and B.T. and was a Teacher in the college before joining films,at the behest of writer,journalist and Director P.K.Atre.
The story of Renuka Devi is quite interesting. Khursheed Jehan was born in Aligarh on 4-3-1918, to Shaikh Abdulla and his wife Waheed Jehan Beg. She was the 6th of the 7 siblings. Her father Shaikh Abdulla (1874-1965) was originally a Hindu. He was the son of a rich Jahagirdar and Landlord from Poonch,Kashmir. They were Kashmiri Brahmins. His name was Thakur Das. He embraced Islam in 1890, while studying in Aligarh. When his family learnt about it, he was disowned by them. He took the name Shaikh Abdulla.
He became a leading Advocate of Aligarh. After he married Waheed Jehan Beg,they both- being of progressive thinking- decided to work for the Muslim women’s education. They faced lot of resistance from the fundamentalists,but they established a Muslim women’s college in Aligarh. To provide students for this college,a school was also started for Muslim girls. soon the girls started joining the school and college. Shaikh Abdulla ensured that all his children were educated. One daughter became a Doctor,another Advocate and two daughters did master’s degrees and later on became Principals of the women’s college. Khursheed also studied upto masters but due to her marriage could not complete it. ( she completed her Masters in English Litterateur in 1963,at the age of 45 years,later).
Khursheed Jehan was married to Akbar Mirza,a Police Officer in Aligarh. Soon she gave birth to 2 sons also.
Her brother Mohsin Abdulla was working in Bombay Talkies,at Bombay. He used to describe how professional these studios were. Khursheed was 21 year old and beautiful. She desired to work in films. She wrote a letter to Devika Rani expressing her desire. This she did, without informing her husband. She received a letter from Devika Rani, inviting her to Bombay for an interview. Now she confided in her husband and he wholeheartedly supported her.
Thus started her acting career. She was 21 years,married and had 2 children too. Her first film was ‘ Jeewan Prabhat”-37. She was given the name RENUKA DEVI. This was a Debut film for Kishore Sahu. Bombay Talkies bosses were very happy with her performance and she was offered a Heroine’s role opposite Jairaj in film ” Bhabhi”-1939. Jairaj was also from a rich background,cultured and highly educated. Their tuning was excellent and the film was a grand success. Renuka also sang few songs in Bhabhi-39. ( when the news of her acting in films reached Aligarh,there was a hue and cry. Her mother wrote to Renuka,’not to visit Aligarh for now’. Renuka did not go to Aligarh for next 2 years).
She was invited to Calcutta By New Theatres to act in film, Badi Didi-39. Her other films were Naya Sansar-41 (Ashok kumar), Sahara-43 (S D Narang), Ghulami-45 ( Masood Parvez) and Samrat Chandragupta-45 ( Ishwarlal ). her film career was very short. She announced her retirement from films in February 1944,while shooting for her last films. She did only 7 films and sang only 3 songs in 3 films.
After partition,her family migrated to Pakistan. In Pakistan,though in demand,she refused to do any films. Instead,she decided to devote her time for women’s uplift,education,welfare and social work. She also did some work on Pakistan Radio.
When TV came to Pakistan,she became very active and for next 15-20 years she was a popular figure on Pak TV. In 1963,she completed her Master’s degree,at the age of 45 years. From August 1982 to April 1983,she published 9 instalments of her autobiography in the popular magazine ” Herald ” as ” The uprooted sapling”. This was,later on,edited and published as a Book, ” A woman of substance- the memoirs of Begum Khursheed Mirza “, by her daughter Lubna,in 2004. Renuka Devi died on 8-2-1989 at Lahore after a prolonged illness.
In her book she included a chapter of 24 pages ” Renuka Devi-my celluloid identity”,in which she has described many interesting anecdotes. her detailed description of the times of the 30s and 40s is a lovely chronicle of history of Bombay film industry. here are some excerpts from her book, for you…
1) Back in the Thirties, acting in films was not considered an honourable profession for anybody. And for a married woman from a well-educated and respectable upper-middle class Muslim family, it was forbidden to even think about it. But Khurshid Mirza, the daughter of the founders of the Aligarh Women’s College, the wife of a police officer and already a mother of two, was too free-spirited to be tied down by any social norm. I took the plunge and soon a star named Renuka Devi was born.
2) In 1939, Shanta Apte wrote that she received four or five letters each day from young girls wanting to join the movies “due perhaps to this monetary attraction”. Actresses themselves acknowledged in interviews that the money was substantial and more than one actress claimed that her salary rivalled that of the Governor of Bombay! But aside from several myth-building exercises, it is now apparent that film acting was a uniquely high-paying profession for women. According to Filmindia, Shobhana Samarth’s approximate total income in 1942 was Rs 36,000 while Sardar Akhtar, Naseem Banu, and Madhuri earned about Rs 30,000 each. These figures indicate that leading heroines of the day averaged an income of Rs 3,000-4,000 per month (some actresses were freelancers and did not work through the year), at a time when a French chiffon sari cost Rs 9, and a brand new imported Studebaker cost Rs 6,000. It is hardly surprising then, that I would want to make “a little dough”.
3) Akbar stood by me in the face of stiff opposition from both our families. Nevertheless, he maintained a strange attitude towards my work. He enjoyed the benefits the money brought us, such as a new car, expensive game-hunts, and pleasure trips to fashionable Mussoorie in summer and excellent schooling for our children. And, yet, he treated my work as a hobby, instead of giving it its due importance.
( My thanks to the book,”A woman of substance “, some information from ” Free Library”,Cineplot and my own notes).
One more name Maya Devi may be new to readers. Maya Devi was from Bombay and started her career from silent films in 1928 with Anarkali by imperial. Her first Talkie film was Kunwari ya widhva-35. Her real name was Leela. She became a favourite of Bombay Talkies and she did 6 films with them in 37 and 38. In all she did 5 silent films and 31 Talkie films till 1949. She got married with a Muslim and then migrated to Pakistan, where she did 19 films and then retired in 1964. She died in Lahore on 1-2-67. She did films in Gujarati and Punjabi also.( info from pakfilms.com).
The story of film Jeewan Prabhat-37 was……..
In this film Uma (Devika Rani) is born in a high caste Brahmin family,but falls in love with a boy of Kumhar caste(Potters).Her love with Ramu (Kishore Sahu) leads them nowhere as there is a great opposition to this from all sides. They realise that their love will lead them nowhere. Finally Uma is married off to Nandlal (Prithviraj kapoor), a Brahmin boy and Ramu accepts the reality.
The marriage makes the potters very happy too. Later it is rumoured that Nandlal is about to marry Padma (Chandraprabha),because Uma is a ‘ baanjh’ (infertile). Ramu meets Uma and their meeting is seen by Nandlal. He sends Uma back to her parents. Few days later, Uma discovers that she is pregnant,but Nandlal doubts her fidelity. At the end Padma, herself understands how much Uma loves Nandlal. She withdraws from the proposed marriage. Not only this,she also convinces Nandlal about Uma’s purity.
Finally, Nandlal and Uma begin a new life a new Jeevan Prabhat.
Song-Paalna mero munwa jhoole (Jeewan Prabhat)(1937) Singer-Saraswati Devi, Unidentified Male Voice, Lyrics-J S Kashyap, MD-Saraswati Devi
Chorus
Lyrics (Provided by Sudhir)
mero lalna jhoole paalna
mero lalna jhoole paalna
mero munna jhoole paalna
mero lalna jhoole paalna
mero munna jhoole paalna
hari gulabi resham ki dor lagi
soney chaandi ki bati ye khoob bani
hari gulabi resham ki dor lagi
soney chaandi ki bati ye khoob bani
faro faro maa ek lagaai
mann mohey bholi chhavi pyaari
faro faro maa ek lagaai
mann mohey bholi chhavi pyaari
maa ke mann mein uthat hilore
maa ke mann mein uthat hilore
jhoola jhoole laalna
jhoola jhoole laalna
mora bituwa jhoole paalna
jhoola jhoole laalna
mora bituwa jhoole paalna
badho bhalo to chhodo jhoola
doley it ut chalo khadula
badho bhalo to chhodo jhoola
doley it ut chalo khadula
baat banaawe bholi bholi
baat banaawe bholi bholi
bhookh lagey par daudo aawe
kahey totli boli
bhookh lagey par daudo aawe
kahey totli boli
maa maa
oti de
maa maa
dudhu de
maa daud uthaave
doodh pilaave
maa daud uthaave
doodh pilaave
laalna
mero munwa jhoole paalna
mero lalna jhoole paalna
mero munna jhoole paalna
?? to ghar mein aawe
maatha peete daud lagaave
?? to ghar mein aawe
maata ji se to daud lagaave
arey kin ne maara
baa..boo
babua kaun laaya
baa..boo
dudhu kaun pilaaya
ammaa
kaala teeka deta
ammaa
mera pyaara raaj dulaara
amma amma karta pyaara
mera pyaara raaj dulaara
amma amma karta pyaara
laalna
mero munwa jhoole paalna
mero lalna jhoole paalna
mero munna jhoole paalna
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
मेरो ललना झूले पालना
मेरो ललना झूले पालना
मेरो मुन्ना झूले पालना
मेरो ललना झूले पालना
मेरो मुन्ना झूले पालना
हरी गुलाबी रेशम की दो लगी
सोने चांदी की बटी ये खूब बनी
हरी गुलाबी रेशम की दो लगी
सोने चांदी की बटी ये खूब बनी
फड़ो फड़ो माँ एक लगाई
मन मोहे भोली छवि प्यारी
फड़ो फड़ो माँ एक लगाई
मन मोहे भोली छवि प्यारी
माँ के मन में उठत हिलोरे
माँ के मन में उठत हिलोरे
झूला झूले लालना
झूला झूले लालना
मोरा बिटुवा झूले पालना
झूला झूले लालना
मोरा बिटुवा झूले पालना
बढ़ो भलो तो छोड़ो झूला
डोले इत उत चलो खडोला
बढ़ो भलो तो छोड़ो झूला
डोले इत उत चलो खडोला
बात बनावे भोली भोली
बात बनावे भोली भोली
भूख लगे पर दौड़ो आवे
कहे तोतली बोली
भूख लगे पर दौड़ो आवे
कहे तोतली बोली
माँ माँ
ओटी दे
माँ माँ
दुधु दे
माँ दौड़ उठावे
दूध पिलावे
माँ दौड़ उठावे
दूध पिलावे
लालना
मेरो मुनवा झूले पालना
मेरो ललना झूले पालना
मेरो मुन्ना झूले पालना
?? ?? तो घर में आवे
माथा पीटे दौड़ लगावे
?? ?? तो घर में आवे
माथा पीटे दौड़ लगावे
अरे किन ने मारा
बा॰॰बू
बबुआ कौन लाया
बा॰॰बू
दुधु कौन पिलाया
अम्मा
काला टीका देता
अम्मा
मेरा प्यारा राज दुलारा
अम्मा अम्मा करता प्यारा
मेरा प्यारा राज दुलारा
अम्मा अम्मा करता प्यारा
लालना
मेरो मुनवा झूले पालना
मेरो ललना झूले पालना
मेरो मुन्ना झूले पालना
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