Archive for the ‘“Musaafir” song’ Category
Kis maarag se jaanaa musaafir
Posted on: March 21, 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 : |
5725 | Post No. : | 18245 |
Today’s song is from a stunt film Jungle Princess-1942.
This was a film with Tarzan’s story. The only difference here was that the ‘Tarzan’ was a GIRL ! The story behind this film is interesting.
The original story of Tarzan was written by Edgar Rice Burrows. It was written as a serial story in 1912 in the then popular magazine “The All Story”. It ran in 12 parts and all parts were published as a book “Tarzan of the Apes” In 1914. The book became a Best Seller and was translated in almost all European languages. When the Silent films started, the Tarzan story was picked up. The unknown fact is that this story was based on an actual true story. In 1868, a young English Nobleman – William Mildin was shipwrecked off the African coast. His 11 year old boy was saved and adopted by monkeys-Apes. After 15 years, some adventurers captured this boy, now a young man, and returned him to civilization.
The first silent film was made by MGM in 1918. Until 1929, 8 silent films were made on Tarzan. After the Talkie films started, the first film was also by MGM-“Tarzan-The Ape Man” in 1932. Johnny Weissmuller, a 5-time Gold Medal winner Olympian swimmer was in the role of Tarzan. Along with him, Maureen Sullivan, another swimmer was Jane. This pair did 12 films upto 1948. Later many films with different actors were made on Tarzan, the last being in 2006. The Tarzan story came on stage, Radio, T.V.,in animated form and as Video game.
In India, the first Indian avatar of Tarzan came as ” Zambo- The Ape man” in 1937, followed by ” Zambo ka beta” in 1939. I wonder why Indians are in a hurry to bestow sons and daughters to even fiction heros. Aladdin, Alibaba, Hatimtai and Sindbad were also not left out without a son or daughter ! After 1939, a film with the name Tarzan first time came only in 1963 with ” Tarzan aur Jadugar”. In a spate of Tarzan films, there were 21 Tarzan films till 1964 Another Indian avatar came in 1958 as ” Zimbo”. There were 6 Zimbo films till 1999.
Wadia Movietone was the premier studio making stunt/action films since 1933. It’s not that the Wadias did not want to make a Tarzan film. Their problem was that their STAR was a woman and she obviously could not do a Tarzan’s role. The imaginative Wadias found out a way and planned a film on a LADY TARZAN, who would just replace the male character. The rest of the basic story would be the same except a few changes to camouflage the blatant copy !
In an interview in 1990, Nadia describes how the film began-” One day JBH Wadia took me to a Circus having shows near our studios. He showed me 4-5 lions and said in your next film, you have to work with these,” I was scared to the bones and hurriedly refused point blank. He simply smiled and said ”just think about it “. When we were about to leave, I saw a small girl-about 8-9 years, enter one of the Lion cages and feed the Lion. I was stunned and thought, “If this small girl can do this, why can’t I ? I told JBH that I would do the film and work with the Lions too.”
Thus began the journey of one year training spent with the lions. Nadia became an expert in handling not only Lions, but also Tigers and Elephants.
The shooting of her famous “The Jungle Princess” started in 1941 and the film was released in 1942, around summer in India. This was a very ambitious, big budget Stunt film of Wadia Movietone-the Greatest Nadia film after “Hunterwali”-1935.
Cast of the film was: Fearless Nadia, Radha Rani, John Cawas, Sardar Mansoor, Baby Madhuri, Dalpat, Hari Shivdasani, Jal Khambata, Shahzadi, Mithoo Miya, M.K. Hasan, Jiji Bhai, Habib, Gulshan Sufi. The story was….
A merchant ship is caught in a powerful storm, and as the boat threatens to sink, Sir Mangaldas (M.K. Hasan) places a life preserver around his five year old daughter Lila (Baby Madhuri) just as she is swept out to sea.
The lone survivor among the passengers and crew, Lila finds herself washed up on the beach of a lonely jungle where she is befriended by a lion. Years go by and Lila, now known as Mala by the aboriginals, has grown into a young woman (Fearless Nadia) who rules over her animal kingdom and who has become the adopted daughter of the jungle King of Harambano (Hari Shivdasani).
Lila’s uncle Mohanlal (Dalpat) has decided to have the girl and her father finally declared legally dead so that he can become the heir to Sir Mangaldas’ estate. But then, word comes through that Lila might be alive! So a search party, led by Surendra (John Cawas), heads out to find her.
Traipsing through the jungle, Surendra comes face to face with a ferocious lion and kills it. Mala learns of this and has the group arrested for murdering her animal friend. Surendra is able to free them all, however, when he is allowed to fight a dangerous tiger as penance for his crime.Surendra falls in love with Mala, not realizing she is the girl he and his party have been searching for, in fact they have all been led to believe that Meena (Radha Rani), the king’s treacherous consort, is in actuality the missing Lila. Meena traps the group in the palace and forces them to accept her as Lila or die. Mohanlal agrees to this, but the rest decide to attempt an escape resulting in Mala being wounded and the king ordering the execution of Surendra and his cohorts. It is a pride of Lions which attack the soldiers and free Mala and the others. In the fighting Mohanlal and Meena die. The team of Surendra, Mala and others return to the city happily.
The story of Jungle Princess was written by Fearless Nadia who also acted as dance director on the film.
In the 1930s, just when the silent era was giving way to the talkies, there appeared on Hindi film screens a blue-eyed blonde who caused men to shame. Among the first of cinema’s audacious feminists, she challenged male dominance with such rousing lines as: “Don’t be under the assumption that you can lord over today’s women. If the nation is to be free, women have to be freed first.” This was in 1940, in a socialist-themed film titled Diamond Queen. The heroine was a 27-year-old upstart called Nadia.
Nadia leapt from windows, jumped off cliffs, swung from chandeliers, fought atop speeding trains, lived among wild lions and routinely lifted men and flung them like a wrestler. Above all, she acquired fame as a woman who cracked the whip. She did all this on her own, without any safety measures and health insurance. A messiah-like figure unfailingly coming to the rescue of the downtrodden and weak, Fearless Nadia was the female Robin Hood of her time.
Astride her pet horse, named Punjab Ka Beta for comic effect, the masked, whip-wielding Nadia was a sensation among filmgoers in the early era of Hindi cinema. A devout Catholic, born in Perth, Australia, Nadia or Mary Evans was voluptuous but athletic and “supple”, as she puts it. It is a matter of great debate how she found acceptance as a major Bollywood star in the conservative 1930s. It was a strange phenomenon, unparalleled in the history of Hindi cinema. Strange, because it involved a White woman breaking into a Brown male bastion. And strange also because it happened so early in the day, a time when the cinematic taste of British-ruled India was in infancy. Nadia was an experiment that somehow worked at a critical time in Indian cinema’s history.
“For the Indian public, Nadia was a visual disconnect from their reality. Maybe that’s why they cheered her on. I doubt if an Indian-looking woman would have been received in a similar manner,” surmises Roy Wadia, her great-nephew who was introduced to ‘Mary Aunty’s’ pictures as a young boy. And pictures, she made many.
Nadia was a creation of Wadia Movietone, a studio founded by Roy’s grandfather Jamshed Wadia that specialised in making stunt and mythological films. The studio made a fortune on the back of her swashbuckling stunts. It was quite by chance that she came into contact with the Wadias. Born of a Scottish father and Greek mother, she arrived in Mumbai, then Bombay, as a toddler. Her father, a soldier in the British army, was transferred to Bombay’s Elephanta Island in 1912. Shortly thereafter, the family occupied a small flat in Colaba. It is interesting to note that Nadia, who would endear herself to the masses as a stuntwoman, at first wanted to be a singer and dancer. At a young age, writes Dorothee Wenner in the actress’ German language biography Fearless Nadia, she ‘learned polkas and Scottish dances from her father and her first Greek songs from her mother.’
She went on to sing in church choirs in school, her real talent of swords-and-whips still years away. In 1915, her father’s untimely death at the hands of Germans during World War I prompted the family’s move to Peshawar. It was here that Nadia developed a soft spot for animals that found expression in her movies. Even as a girl, she was different. While girls her age played with fluffy soft toys, she kept a pony who became her best friend. The family was uprooted yet again when Mary and her mother decided to return to Bombay for good, barely after a few years of stay in Peshawar.
“I was fat and the best way to lose weight was to dance,” recalled Nadia, a plumper figure by now, well past her prime as she spoke in an interview for Roy’s brother Riyad Vinci Wadia’s documentary on her, titled The Hunterwali Story. Originally screened as part of a Nadia film festival in 1993, the documentary is a comprehensive look at her life and times. Since then, Riyad, too, has passed away.
As a young woman, Mary joined a troupe of the Russian dancer Madame Astrova. She had earlier tried her hand at a job in the Army & Navy Store in Bombay as a salesgirl and had at one point wanted to learn “short-hand and typing to get a better job”. Astrova’s troupe performed for British soldiers at military bases, for Indian royalty and for other crowds in dusty small towns and villages. She mastered the art of cartwheels and splits, which came in handy later during her film stunts. With circus experience under her belt, Nadia was ready for bigger things. It is believed that Mary changed her name to Nadia on astrological advice. An Armenian fortune teller had foretold her that a successful career lay ahead but she would have to choose a name starting with the letter ‘N’. Nadia was finally chosen because it was “exotic-sounding”.
Nadia’s fortunes did rise. The Lahore cinema owner Eruch Kanga spotted her in a performance and reported this to Jamshed and Homi Wadia, the Wadia Movietone brothers. An appointment was fixed and a nervous Nadia, togged up in a blue dress and sunflower-decked hat, took a tram from Wellington Mews in Colaba to the Wadias’ original studio in Parel.
The Wadia brothers, of an elite Parsi family, were shocked by how visibly Western she was. How can a White woman even think of becoming a heroine in Hindi films? When Jamshed told her that he had never heard of her before, she shot back: “Until now, I hadn’t heard of you either!” Impressed with her attitude, they decided to put her to the test. Initially, she was given walk-on parts in studio productions that were in progress at the time. Later, she was hired at a weekly salary of Rs 60. Once in the Wadia fold, she was instructed to learn Hindi.
“She always had difficulty speaking Hindi and had a very strong accent, but for some reason, the audience did not object,” says Roy. The Wadias, who were raised on a diet of American Westerns and who idolised Tom Mix, Francis Ford and Eddie Polo, started preparing to launch Nadia in a big way. And Hunterwali, the dramatic story of a princess trying to rescue her kidnapped father and salvage his empire, was considered perfect material for her launch. Inspired by Douglas Fairbanks’ Robin Hood, it was an unconventional, even radical, subject for Indian viewers. Jamshed Wadia wanted to model Nadia on American heroines like Pearl White, Grace Cunardand Helen Holmes. A progressive intellectual who entered film production despite his family’s objection, Jamshed Wadia was the brain behind her success.
“In the film’s publicity campaign, [he] hyped her as a stunt queen. For a long time, Wadia Movietone was known only for Hunterwali,” says Roy. The film opened at Super Cinema, in Bombay’s theatre hub of Lamington Road. Thrilled at seeing a White woman don a mask and crack a whip at her father’s tormenters, the male audience was left thirsting for more. Director Homi Wadia had landed a magic formula. And Nadia became Fearless Nadia, which, as Wenner mentions, was carefully ‘built into the publicity strategy.’ Through her career, her audience remained predominantly male, the working class to whom she provided entertainment, deliverance and catharsis in equal measure.
Hunterwali was only a prelude to a remarkable career. Emboldened by its success, in film after film, Nadia took up the cause of social injustice, education, women’s emancipation, corruption, land-grabbing and exploitation. With each film, her stunts became more daring and death-defying. “Homi made her do more and more outlandish stunts. She would be told to lift men up because of her strength and she would do it, without any fuss. She would just do a little sign of a cross on her heart like any devout Catholic and jump into the scene,” says Roy.
“I will try anything once,” she used to say.
The former editor of the film periodical Screen, BK Karanjia recounts visiting the sets of one of her films (possibly Diamond Queen). “To my considerable amazement,” he is quoted as saying in The Hunterwali Story, “she did every stunt in a sort of bindaas manner. She didn’t take herself seriously. She did not take her stunts seriously. She was never afraid, always laughing, whistling and joking.”
On a number of occasions, Nadia risked her life in the line of duty. “It came with the territory,” says Roy. In Hunterwali, she had to swing from a chandelier. She did the rehearsal perfectly but fell flat on her face from a great height during the final scene. Once, she almost got swept away in the strong currents of Bhandardara Falls near Bombay.
Her films usually had recurring stock characters, doing the same sort of stuff that viewers expected of them. There was the pet horse, Punjab Ka Beta, and the old faithful Gunboat, a sprightly dog. Her jalopy bore the name (again, rather comically) Rolls Royce Ki Beti. The villain was almost always the wicked Sayani, who in Homi’s words, “acquired a following of his own, famous as he was for scratching his jaws with an evil look in his eyes. His stock line, ‘Dekha jayega’ had become a catchphrase.” Typically, a Nadia film also starred John Cawas and Boman Shroff, two heavyweight bodybuilders who desperately sought acceptance as actors. There was also a ubiquitous father figure, a simpleton in dhoti, kurta and turban. How the blonde could pass off as an Indian villager’s daughter is beyond anyone’s comprehension.
Hunterwali was only a prelude to a remarkable career. Encouraged by the success of ‘Hunterwali’, films were made on the cause of social injustice, women’s emancipation, corruption, land grabbing and exploitation of the poor. She always played roles like King Arthur and Robin Hood.
Her films had a set of characters. There was her pet horse – Punjab Ka Beta, Gunboat the Dog and her jalopy was called Rolls Royce Ki Beti (later when Homi Wadia started Basant Pictures with her, there was Horse Rajput, Dog Moti and the car – Austin Ki Bachhi). In her films, usually the villain was Sayani (his stock line was “Dekha Jaayega”). John Cawas and Boman Shroff – the heavyweight bodybuilders usually played the Heroes.
Her stunts became more dangerous and death defying with every film. She did all her stunts herself, breaking her bones many times while performing them. From 1933 to 1968 she did about 43 films. Her pet name in many films (starting with ‘Hunterwali’) was Madhuri.
She had married and divorced early and also had a son. Later she was in love with Homi Wadia, but could not marry him due to the opposition of his mother. They married in 1961 after his mother died. She was 53 years old by then.
In her last days she was frequently seen in the lanes of Colaba in Bombay, taking her dogs for walks. In 1993, her great grand nephew Riyad Vinci Wadia made a documentary on her, in which she had appeared.
She was born on 8-1-1908 at Perth, Australia. She died on 9-1-1996 at Mumbai. (Adapted from various sources like an article by Shaikh Aiyaaz, blog cinemajadoo, book cinerang by Isak Mujawar, writings of Riyad Wadia, wiki and my notes.)
I met FEARLESS NADIA !
Nadia has a special place in my memories. Sometime in 1972, one of my friends, Mahesh Sharma, who lived in Colaba, Bombay, told me that he frequently sees Nadia in a Garden where he went for his morning walks. She lived near his apartments. Anxious to meet her and talk to her, I stayed with Sharma ji overnight. Next day morning, we both went to that garden. Sure enough, after some time Nadia entered the garden with two of her dogs. She sat on a bench and her servant took the dogs for their walks. Mahesh had a casual acquaintance with her. He greeted her and said ” this is my friend Mr. Deshmukh. He is your great fan”. I greeted her and recited names of her 10-15 films which I had seen. She looked suitably impressed. She smiled and we talked for a few minutes and left. Alas ! In those days, there was no Mobile phone, otherwise I would have had my photos with her as a prize possession. Anyway, I will never forget my meeting with her- the great Stunt Queen, The Fearless Nadia !
Let us now enjoy a song by Sardar Mansoor, from this film…..
Song-Kis maarag se jaanaa musaafir (Jungle Princess)(1942) Singer- Sardar Mansoor, Lyricist- Pt. Indra, MD-Madhavlal D.Master
Lyrics
kis maarag se jaana musaafir
kis maarag se jaana
na tumhen apni manzil ka poora pata thhikaana
na tumhen apni manzil ka poora pata thhikaana
kis maarag se jaana musaafir
kis maarg se jaana
tu kise dhoondhne aaya
kisne tujhe bulaaya
tu kise dhoondhne aaya
kisne tujhe bulaaya
kis par tu ho gaya deewaana
kis par tu ha gaya deewanaa
kaun tera deewaana
kaun tera deewaana
kis maarag se jaana musaafir
kis maarag se jaana
kya seekha teer chalaana
kya seekha teer chalaana
jo lage na thheek nishaana
jo lage na thheek nishaana
do pag seedhhi do pag tedhi aisi hai ye raah
idhar udhar jo laga dekhne wo hoga gumraah
idhar udhar jo laga dekhne wo hoga gumraah
na mitey(??) musafir khaana
na mitey(??) musafir khana
kis maarag pe jaana musaafir
Musaafir kahaan hai tera des
Posted on: January 28, 2023
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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5307 | Post No. : | 17392 | Movie Count : |
4685 |
The Indian film industry has been absorbing and giving opportunities to all people in India, irrespective of their Caste, Culture, Language, Religion or Province. Maharashtra being ” The birthplace of Indian Film industry” (not my words, but a title of the English book by Isaq Mujavar), initially the film industry had a sizable majority of Marathi and Gujarati people. The Marathis had the talent and the Gujaratis had the money power. After some time, slowly people from all regions, religions and provinces joined the industry. By the time of the First talkie film came, the first film “Alam Ara”-1931 virtually reflected the representations of the variety of people operating in the film industry.
The producer director was a Parsee, the Hero was Marathi, the Heroine was a Muslim, the dialogue writer was a Jew and the cast included Punjabis, marathi, Hindu, Muslim and parsees. It even included an Afghani Muslim, who sang the first ever Hindi film song in the film. Indian films were made to entertain Indian people. No wonder along with Hindu Mythological films, many films with Muslim history and background were also made. Folk stories and Costume dramas were also popular. from 1931 itself, films with social content were made.
Majority films were based on Mythology, Romance, Folk stories, Costume films etc. Many films with Muslim backgrounds were made, but they were mostly on Mughal kings or Arabian Night stories. It is to be noted that the entire Hierarchy of Mughal Emperors has been the subject matter of Hindi films. Films were made on Taimur, Babar, Humayun, Akbar, Jehangir, Shajehan, Aurangjeb and even Bahadur Shah Zafar. Comparatively muslim social films were less in the early era. The first ever known Muslim social film was Rashida-1935. There was no systematic effort to make Muslim Social films.
It is popularly believed that it was Mehboob Khan who made the first ever muslim social film, when he made the film ” Najma”-1943. It was his first film after he established his own Mehboob production and his studio. The film had prominent stars like Ashok kumar, veena, Sitara devi, Kumar and others. But this is not true. The honour of making a series of Muslim Social films must go to the Fazli brothers. Who were they ?
Today’s song is from the film Qaidi-1940. The film was produced by Fazli brothers, known to make films on Muslim background only.
The producers, Fazli brothers, were the sons of Khan Bahadur S M Fazal Rabb of Bahraich- about 125 kms from Lucknow in U.P. The elder brother was Hasnain and the younger brother was Sibtain ( born on 9-7-1916). Hasnain Fazli was born on 12-1-1912 in the United Province (today’s U.P.). Their family belonged to the noble Sayyads of Allahabad. Hasnain was a graduate of Allahabad University. Though his father was a Khan Bahadur, a Government Jahagirdar and lifetime Magistrate, Hasnain refused to do any service and did not complete his I.C.S. studies, as expected by the family.
He had a creative mind. He joined the film line. He was very keen on making a film on Muslim Society. In those days it was considered outrageous to produce a film on Muslim society for fear of the ire of the fundamentalists. However Hasnain broke the barrier and the first Muslim Social film Qaidi-40 was produced and directed by him under the banner of Film Corporation of India, Calcutta. Very cleverly, the film was made at Calcutta, ( though the film depicted life in Lucknow ), and not at Bombay to avoid any disruption in the making of the film. The film was made so well that it was received very well by all strata of the population, including the Muslims and became a hit film. After this Hasnain made more Muslim social films like Masoom-41, Chowringhee-42, Fashion-43 and Ismat-44. These films discussed Muslim family life and problems etc.
His first directorial film was in his 23rd year- Triya Charitra-35. Then came Sajiv Murti-35, in which Handsome Vijay Kumar from Himachal Pradesh was the Hero. Fazli brothers also made Dil-46, Mehendi-47, Duniya-49 and Khoobsurat-52. Hasnain was so talented that he himself wrote the film stories, screenplays and dialogues usually. Sibtain Fazli directed 3 films-Chowringhee-42, Ismat-44 and Mehendi-47.
After the Partition, Fazli brothers migrated to Pakistan. Sibtain remained in Pakistan and Hasnain returned to India to make 2 more films. Later Hasnain too relocated to Lahore and died there on 16-7-1957. His brother Sibtain ( 9-7-1916 to 25-7-1985) who had directed 3 films in India, made 4 films in Pakistan, including the most popular Urdu film of Madam Noor Jehan – Dupatta-52.
Film Qaidi was a Muslim Social film made by Film Corporation of India, Calcutta, to avoid disturbance by Muslim fundamentalists in Bombay. It was directed by Hasnain fazli, the elder brother. The cast of the film was Ramola, Mehtab, Nandrekar, Monica desai, Wasti, Leela Mishra Madhuri and others. Songs were written by Arazu lucknowi and the Music Director was Bhishmadev Chatterjee.
Prof. Acharya Bhishma Dev Chatterji. He was born on 8-11-1909 in Hooghly, West Bengal. He studied upto M.A. in English. He became a Teacher and taught English in a college. Few years after learning Music from stalwarts of Bengal, he left the job of teacher and joined Megaphone Record Company as a Composer. He used to meet Kidar Sharma in the Recording studio.
Taking permission from his company, he became a Music Director for his First film – Dil hi to hai aka Aulad-1939, made by the Film Corporation of India, Calcutta. He composed some Ghazals, which Ramola and Ramdulari sang. After this film, Bhishma Dev gave music to 3 more Hindi films – The Rise-1939, Qaidi-1940 and Hamara Hindustan-1940. All films made by Film Corporation of India and in Calcutta. This was the end of his Hindi film music .
Bhishma Dev was highly respected in Bengal for his knowledge of Classical Music. Even S D Burman learnt music from him. His nature was saintly. He cut many records on Dhrupad sangeet. I am not aware of his contribution to Bangla films.
Suddenly, one day, he left his job, work, music, family, everything and he became a Sanyasi. He remained so till he died on 8-8-1977.
The story of the film Qaidi-1940 was…..
There was a poor family of a Mother (Leela Mishra), Son Aziz (Nandrekar) and small sister Chanda (Madhuri). Aziz is B.A. but does not have a job. In frustration of not getting any job or a loan, he murders a rich man. His younger brother dies for lack of buying medicines. Aziz is arrested and jailed for 10 years. His mother and sister become beggars.
In the prison, Aziz assaults the jailor and runs away. To hide from the Police, he enters a rich man’s house and due to mental strain falls unconscious. The daughter of the rich man is Salma (Ramola). She nurses him. The rich man is a Dacoit. With his help, Aziz also becomes a dacoit and murder. Salma loves him. Laila (Mehtab), a dancer also loves him but not as a passion.
Police track Azizx. When they shoot at Aziz, Laila takes the shot on her and before dying in the arms of Aziz, reveals that she is Chanda, his sister and their mother has also died. She dies. Aziz tries to run away into a Mosque, but the Police fire on him and he dies in the Mosque.
Now let us listen to the song from the film Qaidi-1940. The singer is not known. This rare record was uploaded by Syed Zafar Shah, a close friend of our Sudhir ji.
( some of the information about the film Qaidi-1940 is taken, with thanks, from the book ” Forgotten movies on Muslim Culture” by P. Kamlakar ji).
Song- Musafir kahaan hai tera des(Qaidi)(1940) Singer- Not known, Lyricist-Arzu Lucknowi, MD- Prof. Bhishmadev Chatterjee
Lyrics
Musaafir kahaan hai tera des
Musaafir kahaan hai tera des
ranj mein hani hani hani hani hanki
tang gali se
ranj mein hanki
tang gali se
bhog(??) badalkar bhes
dil ka sheesha naazuk sheesha
dil ka sheesha naazuk sheesha
kahin laage na thhes
kahin laage na thhes
Musaafir kahaan hai tera des
Musaafir kahaan hai tera des
ranj mein hanki
tang gali se
ranj mein hanki
tang gali se
bhog(??) badalkar bhes
dil ka sheesha naazuk sheesha
dil ka sheesha naazuk sheesha
kahin laage na thhes
kahin laage na thhes
Musaafir kahaan hai tera des
Musaafir kahaan hai tera des
Musaafir mujhko tu pehchaan
Posted on: January 23, 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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5302 | Post No. : | 17375 |
Today 23rd January (2023) is the 126th birth anniversary of one of the greatest ‘sons of this soil’, a great visionary, courageous and brave leader Subhash Chandra Bose.
He was born on 23rd January’1897.
This grateful nation pays tributes to him on his birth anniversary today.
This blog in turn pays tributes to Netaji Subhash Chandra Bose by bringing here songs from such movies which are based on the life of Subhash Chandra Bose.
I had in one of my earlier posts here noted such movies which have been represented on the blog. Two movies more have been added to this list later and I am now presenting below the updated list of such movies on the blog.
Here is the list of movies made on the life of Netaji Subhash Chandra Bose that have been represented on the blog till now.
| SNo | Movie | Year of the movie |
|---|---|---|
| 01 | Pehla Aadmi | 1950 |
| 02 | Netaji Subhashchandra Bose | 1966 |
| 03 | Subhash Chandra | 1978 |
| 04 | Subhash Chandra (Bangla) | 1978 |
| 05 | Bose- The forgotten hero | 2004 |
| 06 | Gumnaami (Bangla) | 2019 |
Other films inspired by Subhash Bose and INA are,
1. ’Samadhi’ (1950) was inspired from Indian National Army and it had couple of patriotic songs too).
2. ‘Ami Subhash Bolchi’ (2011) (Bangla) – a film about a social movement in Bengal inspired by the vision of Subhash Bose (something akin to ‘Lage Raho Munna Bhai’ (2006)).
3. ‘Raag Desh’ (2017) – a film about the famous Red Fort trials in which the leading soldiers of INA, Colonel Prem Sahgal, Colonel Gurbaksh Singh Dhillon, and Major General Shah Nawaz Khan, were tried by the British Govt. for sedition and waging war against the British Empire. They were sentenced to deportation for life, but the public outcry in favour of these soldiers was so great that the British were forced to release all the defendants. The protest slogan of ‘Sehgal-Dhillon-Shah Nawaz’ became very popular amongst the masses.
Today I am presenting a song from the ‘1978’ movie ‘Subhaash Chandra’.
‘Subhash Chandra-1978’ was directed by Piyush Bose.
It was an ‘A.K.B. Films, Calcutta’ presentation and passed by Censor Board on 06.02.1978.
It had Ashish Ghosh, Amar Dutt, Samar Kumar, Ajit Prakash, N. Vishwanathan, Lamsden, Bown, Smith, Reba Devi, and Rama Das.
This movie was passed by Censor Board on 06.02.1978.
This movie has six songs written by Kaifi Azmi and Saraswati Kumar ‘Deepak’.
Bansari Lahiri, Mukesh, Manna Dey, Mohd Rafi, Hemant Kumar, and Usha Mangeshkar had given their voices to the songs in this movie.
Music of this film was composed by Aparesh Lahiri.
Here is the list of songs in this movi. (HFGK Vol-V (1971-1980) does not mention the name of the lyricist for individual songs except for one song.
| SNo | Song Title | Lyricist | Singer/s | Posted On |
|---|---|---|---|---|
| 01 | Nahin maane jiyaraa | Not mentioned | Bansari Lahiri | |
| 02 | Yahaan raadha kund hai | ‘Deepak’ | Mukesh | 27.08.2018 |
| 03 | Neer na bahaa | Not mentioned | Manna Dey | |
| 04 | Hamaara bharat hamaari janani | Not mentioned | Mohd Rafi | 23.01.2016 |
| 05 | Musaafir mujhko | Not mentioned | Hemant Kumar | Song under discussion in this post |
| 06 | Desh hamaara | Not mentioned | Usha Mangeshkar | 26.01.2019 |
Today I present a song from this movie ‘Subhaash Chandra-1978’ which is sung by Hemant Kumar and composed by Aparesh Lahiri. It is the fourth songs from this movie to be posted on the blog.
I guess that in the movie this songs happens showing the journey of Subhash Chandra Bose when he escaped from Calcutta to Afghanistan and travels further to Russia and Germany.
I have not been able to note correct words at few places. I would request knowledgeable readers to kindly provide the correct words.
Let us listen to this poignant song sung by Hemant Kumar. Only the audio of this song is available.
Song-Musaafir mujhko tu pehchaan (Subhash Chandra)(1978) Singer-Hemant Kumar, MD-Aparesh Lahiri
Lyrics
musaafir rrr
are ho o o o
o o o
musaafir
mujhko tu pehchaan
mujhe na chhoo sakti hai maaya
mujhe na chhoo sakti hai chhaaya (?)
mere kuchh bhi nahin hai kaaya
mujhko tu pehchaan
musaafir rrr
mujhko tu pehchaan
mukti nahin main
gyaan nahin main ae
mukti nahin main
gyaan nahin main
swaarth nahin
abhimaan nahin main
aas lagaa phal(?) praan nahin main
aas lagaa phal(?) praan nahin main
jeewan ka maidaan (?)
musaafir rrr
mujhko tu pehchaan
yahaan nahin main
wahaan nahin main
yahaan nahin main
wahaan nahin main
is dharti par kahaan nahin main
dagar kaun si jahaan nahin main
dagar kaun si jahaan nahin main
sabko de(?) vardaan
musaafir rrr
mujhko tu pehchaan
mujhko tu pehchaan
mujhko tu pehchaan
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| Blog Day : | 4062 | Post No. : | 15195 |
“Jal Tarang”(1949) was directed by Rajendra Sharma for Kuldeep Pictures Limited, Bombay. This “social” movie had Geeta Baali, Rehman, Ram Singh, Rajan Haksar, Ramesh Thakur, Shashikala, Kesari, Pesi Patel, Shyama, Sevak, Uma Dutt, Tiger (dog) etc in it.
The ovie had nine songs in it that were penned by six lyricists. Four of these songs have been covered in the past.
Here is the fifth song from “Jal Tarang”(1949) to appear in the blog. The song is a sung by Rafi and Shamshad Begam for most part and then one unknown male voice sings a line in the last stanza. So, what was sounding like a duet becomes a non duet. I request our knowledgeable readers to help identify this unknown male voice. My guess is that it could be Husnlal or Bhagatram, one of the music director duo.
Pt Sudarshan is the lyricist. This was the only song penned by him in this movie. Music is composed by Husnlal Bhagatram.
Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of this song.
Song-Musaafir sada geet gaaye chala chal (Jal Tarang)(1949) Singers-Rafi, Shamshad Begam, Unknown male voice, Lyrics-Pt Sudarshan, MD-Husnlal Bhagatram
Both
Lyrics
musaafir sada geet gaaye chala chal
gaaye chala chal
gaaye chala chal
chala chal
chala chal
safar ki kahaani sunaaye chala chal
sunaaye chala chal
sunaaye chala chal
chala chal
chala chal
kahin ban ke rahmat ka baadal baras ja aa aa
kahin ban ke rahmat ka baadal baras jaa
kahin dil pe bijli giraaye chala chal
kahin dil pe bijli giraaye chala chal
giraaye chalaa chal
musaafir sada geet gaaye chala chal
gaaye chala chal
gaaye chala chal
chala chal
chala chal
rukaawat ke patthar hataaye chala chal l
rukaawat ke patthar
hataaye chala chal
dhuyen aasmaan ke udaaye chala chal
dhuyen aasmaan ke udaaye chalaa chal
udaaye chala chal
musaafir sada geet gaaye chala chal
gaaye chala chal
gaaye chala chal
chala chal
chala chal
tu duniya mein apna sabhi kuchh luta kar r
tu duniya mein apna sabhi kuchh lutaa kar
tu duniya ko apna banaaye chala chal
tu duniya ko apna banaaye chala chal
banaaye chala chal
musaafir sada geet gaaye chala chal
gaaye chala chal
gaaye chala chal
chala chal
chala chal
suna kar hamen chaar sukh dukh ki baaten
suna kar hamen chaar sukh dukh ki baaten
rulaaye chala chal hansaaye chala chal
rulaaye chala chal
hansaaye chalaa chal
hansaaye chala chal
musaafir sada geet gaaye chala chal
gaaye chala chal
gaaye chala chal
chala chal
chala chal
Ruk jaa musaafir pal bhar ko
Posted on: November 23, 2017
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“Baaghi Sipaahi”(1958) was produced and directed by Bhagwandas Varma for V P Films, Bombay. This costume movie, reportedly based on “Quo Vadis”(1951) had Ranjan, Madhubala, Poornima, Chandrashekhar, Sapru, S Nazir, Nishi, Renu Makad, Gajendra, Pal Sharma, Gope, Om Prakash etc in it.
Read more on this topic…
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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