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

Archive for the ‘Mukesh songs’ Category


“Hanste Aansoo” (1950) was one of the first Hindi movies to get an Adult certificate from the censors. The reasons for getting A certificate those days used to be quite flimsy. For instance, “Barsaat” (1949) had become the first Hindi movie to get an A certificate. The reason why censors were provoked thus was that the female actors in the movies, viz Nargis, Nimmi etc are shown without dupattas and in one song there is even the talk of dupatta flying away in the breeze, viz. Hawa me udta jaaye mora laal dupatta malmal ka. 🙂 And the censors were righteously indignant about all this. 🙂
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The last time I heard radio on a regular basis was in early 1980s, viz more than three decades ago. I continued to listen to radio for some more time during 1980s but only sporadically and things were never really the same again as far as radio listening was concerned.
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“Kunwaari” (1966) was produced by R N Mandloi for Ravi Kala Chitra Production. It was directed by S N Tripathi. The movie had Indrani Mukherjee, Ravindra Kapoor, Jeevan, Tabassum,Leela Mishra,Prem Chopra, Murad, Sunder, Shammi,Tuntun,Mridula, S N Tripathi, Mumtaz Begum, Babu Raje, Khursheed, RajKishore, Susheela, Sheela Kashmiri, Chanda Bai, Daya Devi, Ajeet , Maula, Omprakash, Munshi Munakka, Safdar, RadheShyam, Ameeta, Anwari, Meera, Helen, Shashi, Chhunni etc in it.
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This article is written by Sudhir, a fellow enthusiast of Hindi movie music anda regular contributor to this blog.

Navin Nischol, an unlikely hero, who seems to be gone too soon. A gold medalist from the Pune Film and Television Institure, he made his debut with the film ‘Saawan Bhaadon’ in 1970. He rode the popularity wave for less than a decade and soon transitioned over to character roles. He continued to be active both on the big screen and small screen. But seeing him always gave a feeling that he went past his prime too quickly – the best was still out there.
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This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this song.

In Hindi films we find a variety of songs. Love songs, Happy songs, Sad songs, Comedy songs, Birthday songs, patriotic songs, Chorus songs, prayers, Lories, Bhajans and many more types.
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This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

For the past few days, I have been going through the poems of Amir Khusrau. Fortunately, most of his poems are available on the internet with English translation. His love poems, riddles, dohas (couplets in Hindwi), qawwalis etc are very absorbing. I feel, it will not be an exaggeration to say that the trigger for the first literary renaissance especially in northern India was witnessed during the time of Amir Khusrau. He was one among the first in elite class to propagate the use of an Indian vernacular language in his poems which he called Hindawi ( mix of Hindi and its subsidiary dialects). I am not sure but the development of Urdu language in later years may have come as a continuum from Hindwi language.
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“Pehchaan” (1970) was produced and directed by Sohanlal Kanwar. The movie had Manoj Kumar, Babita, Balraj Sahni, Sulochana, Sunder, Sailesh Kumar, Chand Usmani, Tiwari, Asit Sen, Mohan Choti, Daisy Irani, Lata Bose, Madhui Apte, C S Dubey etc in it.
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This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

A romantic song in the garden, with the hero and heroine moving between the flowers and around the trees, has been almost a fixture in the formula of social drama movies, almost from the word go. A difference that one can point out that in 30s and 40s, for such songs, the lead pair would be more sober with their movements, and probably be singing with very little movements. This changed in the 50s and 60s, when dancing, running and chasing each other became important elements of picturization of such songs.
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This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

In a book ‘Vedanta Treatise’ I have with me, four types of yogas have been prescribed for attainment of salvation. They are Bhakti (devotion), Gyaana (knowledge), Karma (activity) and Hata (compulsion). It is generally believed that devotion is the mother of all other yogas. Without devotion, all other yogas would be incomplete for attaining the objective. In this context, I recall an introduction by late C Rajagopalichari on a LP of M S Subbulaxmi’s immortal ‘Bhaj Govindam-Vishnu Shashtranamavali and I quote a part of it from the CD I have with me:
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