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

Archive for the ‘“Nok-Jhonk” song’ Category


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

5302 Post No. : 17372 Movie Count :

4678

Today’s song is from the film Choron ki Baraat-1960. This is a very rare song from a film, which is making its Debut on the Blog with this song. There was another film having the same title ,in 1980 also. 26 film titles started with the word Chor…, from 1931 to 2012.

produced by Charanjeet, under the banner of K Pictures, Bombay, the film was directed by Pradeep nayyar and the Music Director was Manohar (Arora), whose assistants for this film were Sonik-Omi, who themselves became a reasonably successful MD pair with the film ” Dil ne phir yaad kiya”-1966. The cast of the film was Amarnath (Bharadwaj), Nazi, Shaikh, Nemo, Shakeela Bano Bhopali, Gulab, Jeevankala, Ram Mohan and many others.

Film Choron ki barat-60 was a story about a hidden treasure and different people who are after getting it and how they try to outsmart others. It is a strange coincidence that in this film, there are artistes who, in their real life, were fit to be in a Choron ki baraat. What I mean to say is that, one Lyricist and one singer from this film cheated the film industry, the audience and the common people by hiding certain facts. Not only these two, but some other famous actors, actresses, singers etc, have hidden their career matters from others – mind you, not inadvertently but intentionally ! I am providing details of some such cases here for your information.

There were 5 Lyricists for 6 songs of this film. One of them was “Gulzar Deenvi”, who was known as ‘ Gulzar’ – the famous poet, director , singer and actor in later days. One of the singers of this film was Mahendra Kapoor. These two are the culprits, who tried to hide and cheat everyone in not admitting honestly how they entered the filmline. Now read this –

Gulzar’s first song was not from Bandini – 63, as is always claimed by him, in every interview. He has written lyrics in films Choron ki Baraat-60, Diler Haseena-60 and Shriman Satyawadi-60. He wrote these songs as Gulzar Deenvi. But he also wrote lyrics in the film Kabuliwala-61 and Prempatra-62 in the name of Gulzar. Even then he claims Bandini-63 as his first film- which is wrong. There is enough proof that Gulzar Deenvi and Gulzar is the same person.

Born January 9, 1934, in Amritsar, Mahendra Kapoor spent the majority of his childhood in Mumbai, where he claimed top honors in the All-India Murphy-Metro Singing competition – 57, for Newcomers. His victory captured the attention of filmmaker Raja Nawathe, who used him in 1958’s Sohni Mahiwal. This also caused a controversy, because the contest was for new comers and Mahendra Kapoor had already sung songs in several films like Madmast-53, Madhur milan-55 Lalkar-56 and Heer-56 and also his first solo song in film Diwali ki raat-56. Later on he gave some lame excuse that he had not got any payment for that song etc etc.

Mala Sinha came from Calcutta to make a career in Bombay films. In Calcutta she worked in a Bilingual film ‘Chitrangadha-54’ in Bangla and Hindi. In 54 again,she did her first film in Bombay, Badshah-54, then came Hamlet-54, Riyasat-55 and Ekadashi-55. In all her interviews, Mala Sinha always quoted “Rangeen Raten”-56 with Shammi Kapoor as her first film in Bombay. She was ashamed of revealing that in film Riyasat-55, her Hero was Mahipal and in film Ekadashi the Hero was Trilok Kapoor. She always hid this fact. There are many Heroines who want to hide their struggling days. For example,in film “Professor”-62 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. Filmslike Veer Ghatotkach-49, Shri Ganesh Mahima-50, Laxmi Narayan-51, Hanuman Paataal vijay-51 and Alladin aur Jadui Chirag-52 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-51, had earlier worked in “The last message or Aakhri paigham”-49. A C grade film. However this fact is not told by anyone.

Not only actors,but even singers do this. They hesitate to say that they first sang for C grade films. Take the case of Sudha Malhotra, who used to declare Arzoo-50 as her first film, under Anil Biswas,but she never told that earlier she had sung 3 songs in film Aakhri paigham-49, under the baton of Abid Hussein Khan, a less known composer.

It is very unfortunate that once the artiste becomes famous, he tends to forget his humble beginning with a less known film or a composer. This is because they are ashamed of it. Shri Girdharilal Vishwakarma ji,famous collector and a film Historian,rues that they do so. He feels the blame also goes to people who take their interview,because the interview taker does not do proper homework. Many times they do not know anything and simply listen to whatever is told by the artiste.

One of the names in the cast of this film is NEMO. Hardly any reader would remember this name, but he was a major actor in the Hindi films of New Theatres, Calcutta and some films of Raj Kapoor in Bombay. Incidentally, the film Choron ki Baraat-1960 was his last film in which he had acted, though in a small role. The film was released just 10 days after Nemo died in Bombay. Here is his Bio-data….

Mirza Muhammad Begg was born on 27th december 1903 at Calcutta. He passed his Senior Cambridge. One day he, along with some friends, visited New Theatres to see a film shooting. Mirza Muhammad Begg merely wanted to watch the shooting of ‘Yahoodi Ki Larki’ (1933) but, as luck would have it, his visit to the New Theatres studio in Calcutta led to a small role in the same film. The part was that of a Roman king and little did Begg know back then that he’d soon be turning to Latin to fish out a lasting identity.

A year later, he was invited by New Theatres’ founder B.N. Sircar to work as the production manager of ‘Karwan-e-Hayat’ (1935) and another chance role beckoned. A female actor who was supposed to play an old witch in the film failed to turn up for the shooting and Begg volunteered for the part. The make-up department stepped up to the challenge and Begg, unrecognisable in the get-up, did the job (and always considered it his best effort). What happened next is even more interesting. Once the film was ready, the makers felt apprehensive about revealing to the public that a man had played the witch’s role. Begg came up with a solution – a gender-ambiguous screen name for himself. And in a delightfully wacky move, he picked a name that means ‘nobody/nothing’ in Latin – ‘Nemo’.

The name stuck on and this was the beginning of Nemo’s steadfast association with New Theatres – one that resulted in a string of features like ‘Karodpati’, ‘Dushman’, ‘Doctor’ and ‘Zindagi’. He was Vidushak, the royal jester, in ‘Vidyapati’, a rigid but caring father in ‘Jawani Ki Reet’ and the devoted caretaker Dharamdas in P.C. Barua’s ‘Devdas’. These diverse characters earned him appreciation from audiences and critics alike. Further, the story of the Saigal hit ‘The President’ (1937) was based on his idea and he was duly credited for the same. Alongside his work in films, he also edited and published ‘Akkas’ – a very popular Urdu (and later, Urdu-English bilingual) film magazine in those days. Its surviving copies now serve as an important archive of the early talkies. His last film with New Theatres was Kashinath. When Calcutta was bombed by Japan in late 1942, Nemo migrated with his family to his ancestral hometown, Lucknow. He later went over to Bombay for a short while to work in Mazhar Khan’s ‘Pehli Nazar’ (1945), and then returned to Lucknow to settle into a life far removed from the studio lights.

In the middle of it all lies an extraordinary fact – at the time he entered the movies, M.M. Begg was a national billiards champion! He won the inaugural Indian Open Billiards Championship in 1931 and never left the game thereon, despite a busy and flourishing film career. He won the trophy again in 1937, and between the 2 wins, he was the runner-up thrice. Not to mention, he represented the country at international tournaments and also headed various administrative organisations related to the game. His contributions towards establishing and popularising billiards and snooker in India are widely mentioned, and always in glowing terms. He was also obsessed with Racing.

It was nearly a decade after ‘Pehli Nazar’ that Raj Kapoor managed to pull Nemo out of his sabbatical for 2 memorable final acts in ‘Shree 420’ and ‘Jagte Raho’. In both, Nemo played similar roles of manipulative, corrupt seths who hide their sinister designs behind a facade of respectability. If he was jittery about facing the camera after a long gap, it doesn’t show (unless Seth Sonachand’s trembling chin is not a mannerism ). He was particularly effective in ‘Shree 420’, where he puts on the most evil smile possible and hisses to Raj Kapoor, “Aap se mulaqaat ho gayi, is mein fayda hi fayda hai.” He also did 3 more films- Raja Vikram-57 and Nag Champa-58 and Choron ki Baraat-60.

Nemo worked for 19 films of New Theatres and 6 others, totalling 25 films in all. His Filmography – Yahudi ki ladki-33, Karwaan E Hayat-35, Devdas-35, Karodpati-36, Manzil-36, Vidyapati-37, Anath Ashram-37, President-37, Dushman-38, Dharati Mata-38, Abhagin-38, Jawani ki reet-39, Badi Didi-39, Zindagi-40, Haar Jeet-40, Doctor-40, Aandhi-40, Lagan-41, Saugandh-42, Paheli Nazar-45, Shri 420-55, Jaagte Raho-56, Raja Vikram-57, Nag Champa-58 and Choron ki Barat-1960

It is believed that he died in Bombay on 18-8-1960. Cinema, publishing, sports – Mirza Muhammad Begg distinguished himself in everything he touched. And chose to call himself NEMO – a nobody. ( based on information from Filmdom-1946, HFGK, muVyz and an article by Yasir Abbasi ji, with thanks.)

Today’s song is a duet sung by Suman Kalyanpur and Mahendra Kapoor.


Song-Le maar haath pe haath (Choron Ki Baaraat)(1960) Singers-Mahendra Kapoor, Suman Kalyanpur, Lyrics-Naqsh Llayalpuri, MD-Manohar Arora
Female chorus
Male chorus

Lyrics

Le maar haath pe haath
goriye kar le pakki baat
faislaa ho jaaye
jaa jaa
faisla ho jaaye
arre pade zor ke saath
jo tere munh per ulta haathh
faisla ho jaaye

Allah jee
faisla ho jaaye
balle balle heeriye
oy balle balle Raanjhna

Dil ka sauda dil se kar ke
dekh zara mutiyaare
hoy dil ka sauda dil se kar ke
dekh zara mutiyaare
hoy dekh zara mutiyaare
jaa jaa re jaa tu
aur kisi ko dena aise laare
ho aise laare

tu kehna mera maan
ke hoga tera ye ehsaan
faisla ho jaaye
abhi
faisla ho jaaye
le maar haathh pe haathh
ha a a

kaathh ke ulloo itna keh de
kya hai tera iraada
kaathh ke ulloo itna keh de
kya hai tera iraada
hoy kya hai tera iraada

arre laakh buri hai soorat
lekin dil ka hoon shehzaada
main hoon shehzaada
arre kya hai tera zor
agar main abhi machaa doon shor
faisla ho jaaye

haaye Billo
faisla ho jaaye
arre pade zor ke saath

balle balle heeriye
o balle balle Ranjhna

bhola bhaala mukhdaa
us per gusse ki ye laali
hoy bhola bhaala mukhdaa
us per gusse ki ye laali
hoy gusse ki ye laali
arre chhod chhod chunri ka palla
warna doongi gaali
ho doongi gaali

yoon nakhron se na maar
tu karle deewaane se pyaar
faisla ho jaaye
jaa jaa
faisla ho jaaye
le maar haathh pe haath
ha ha

mera peechha chhod ke
apna kar le koi thhikaana
mera peechha chhod ke
apna kar le koi thhikaana
hoy kar le koi thhikaana

arre saaya ban kar saath rahega
tera ye deewaana
ho ye deewaana
hatt yoon na mujhko ghoor
teri nazron se ho jaadoo
faisla ho jaaye

haaye guddo
faisla ho jaaye


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 :

5300 Post No. : 17361

Today’s song is from the film Milan-1958.

Films having titles as Milan were made in 1946, 1958, 1967, and 1994. Then there was Milan ki Aag-1991, Milan ki Pyaas-1989, Milan ki Raat-1967 and Milan Talkies-2019. Even during the Silent era 2 such films were made, one in 1924 and the other in 1929. Milan-1946 had a historical value as it was made in Hindi and Bangla and was based on Tagore’s novel ” Noukadubi”. This was a Debut film for 2 Heroines, namely Meera Mishra and Ranjana- both opposite Dilip Kumar. The more famous film was Milan-1967, starring Sunil Dutt and Nutan and it was a remake of a hit Telugu film ” Mooga Manasulu”-1963. Its song ‘ Saawan ka mahina’ by Mukesh and Lata was very famous. It had a ‘rebirth’ story.

Film Milan-1958 was not actually based on a Rebirth story, but its story was about a loving couple separated and joined together after some years. The Indian audience loves such stories. That is why films having ‘ Happy Ending ‘ are made 100 times more than ‘ Sad Ending ‘ films ! When Saigal featured in the film ” Devdas’ in 1935, in which he died at the end, there was a wave of films in which the hero dies at the end. Dilip Kumar was a victim of such 8 consecutive films. Though his initial fame came with these films, it also stamped him as ” Tragedy King” and he had to consult a Psychiatrist and as per advice he shifted to Comedy films !

Film Milan-58 was directed by Kedar Kapoor. Kedar Kapoor was born on 2-9-1927. Not much information is available about him. Kedar joined the film line in 1945 and did a small role in the film Bhakta Prahlad-46. Working as an assistant to many directors, he started his career by directing the film Lal Pari-1954. In all he directed 35 Hindi films, mostly B and C grade. He specialised in Dara singh films. He directed 8 films of Dara Singh in the 60s. Some of his films were, Miss Cocacola-55, Changez khan-57, Senapati-57, Dara singh-64, Patanga-71 etc etc. His last film was Bekhabar-83. Kedar kapoor died on 5-6-1987.

The film was made by N.C.Films, a family concern and it was produced by Gulshan Behl-his brother. My sincere opinion is that there were only 2 MDs who were real melody makers. They were Hansraj Behl and Chitragupt. In every film atleast 50% songs used to be very melodious. Unfortunately, both of them never ranked in the “A” grade or within the first 5 to 10 MDs. This was because, barring some exceptions, they were never attached to any famous or well known film houses. That is how the film industry worked !

Hansraj Behl and his brother, Gulshan Behl founded N.C.Films, on their father’s name-Nihal Chand- and produced B and C grade movies to which Hansraj gave his music. Hansraj was known as Master ji, in the industry. Only two people were known as Master ji…one was Ghulam Haider and the other was Hansraj Behl. Hansraj usually worked alone and rarely used any assistant while giving music.

Hansraj is remembered for giving initial playback singing breaks to Asha Bhonsle and Madhubala Jhaveri. He also gave a chance to his own friend Verma Malik-Lyricist. Malik used to live with him initially, in Bombay. He composed music for 62 films from Pujari-46 to Badmashon ka Badmash-79. One film “Insaaf ka Khoon” was released after his death,in 1988.

Hansraj Behl is one of the music directors who became successful in the post independence era. He composed music for not only Hindi films but also for Punjabi films. Hansraj was born on 26th November 1916 in Punjab. He got his basic education in music from Pt. Chunnilal. Then he opened his music school in Lahore and he had some non-film records released under the label of HMV. In 1944 Hansraj came to Bombay to try his luck in the Hindi film industry as a music director.

After one year of struggle he got his first film Pujari, made by Ardeshir Irani, in 1946. He got films like Gwaalan and Phulwari in the same year, but all these films could not do well at the box office. Behl tasted success in 1947 with the release of Lakhon Mein Ek and Chheen Le Azadi. ‘Moti Chugne Gayi Re Hansi..’ sung by Shamshad Begum and Mukesh from the film Chheen Le Azadi became very popular. In 1948 he came up with four films – Chunariya, Mitti Ke Khilone, Pardesi Mehmaan and Satya Narayan, of which Chunariya’s music was a hit especially the song ‘Dil-e-Nashaad Ko Jeene Ki Hasrat Ho Gayi..’ sung by Lata Mangeshkar. The song which placed him among high class music directors was ‘Sab Kuchh Lutaya Hamne Aakar Teri Gali Me..’ sung by Mohammed Rafi and written by Mulk Raj Bhaakri.

In the year 1949, he came out with Chakori, Raat Ki Raani, Zevraat and few more films. Lata sang one of her favourite songs, ‘Haye Chanda Gaye Pardes Chakori Yahan Ro Ro Mare..’ in Chakori, which became very popular and it helped Hansraj to gain popularity among music lovers. ‘Jin Raaton Mein Neend Ud Jaati Hai..’ sung by Mohammed Rafi in Raat Ki Raani was a nationwide hit.

In 1950-51 he gave many hit songs with Lata Mangeshkar, Geeta Dutt and Suraiyya. Songs of Kisi Ki Yaad became very popular soon after the release of the film. ‘Koi Mujhko Na Bulaye..’ and ‘Tadapta Chhod Kar Mujhko Kahaan Tum Reh Gaye..’ both sung by Geeta Dutt and ‘O Jaane Wale Ye Kya Kiya..’ by Mohammed Rafi gained immense popularity. In 1952 he introduced Madhubala Jhaveri as a playback singer in Apni Izzat and Jaggu. Madhubala sang ‘Dil Mere Tera Diwaana..’ with Talat Mehmood and ‘Meethi Meethi Loriyaan Main Dheere Dheere Gaoon..’ (both Apni Izzat) featured her solo voice. In 1954, he again came out with musical films like Dost and Khaiber. ‘Aaye Bhi Akela Jaye Bhi Akela..’ from Dost (1954) sung by Talat Mehmood was among one of his memorable compositions.

He continued to give his best in films like Rajdhani, Milan, Miss Bombay, Changez Khan and Saawan. Songs like ‘Bhool Ja Sapne Suhane..’ from Rajdhani (1956), ‘Mohabbat Zinda rehti Hai..’ from Changez Khan (1957), ‘ Jab Raat Nahi Katti..’ from Changez Khan (1957), ‘Zindagi Bhar Gham Judaai Ka..’ from Miss Bombay (1957), ‘Haseen Ho Khuda To Nahi..’ from Mud Mud Ke Na Dekh (1960), ‘Bheega Bheega Pyar Ka Sama..’ from Saawan (1959) and ‘Tujhko Dhundu To Dhoondu Kahan..’ from Milan (1959) crossed all the barriers of success and Hansraj Behl’s name was on the lips of every music lover.

After all these successful films he continued to give music till 1969 but failed to give any hit because his later films were either stunts or fantasy films with little scope for having good music. His last hit song was an all time great creation ‘Jahan Daal Daal Pe Sone Ki Chidiya Karti Hai Basera..’ which was sung by Mohammed Rafi for the film Sikandar-e-Aazam in 1965.

Hansraj Behl died of Cancer in Bombay on 20-5-1984.

The cast of the film Milan-1958 was Nalini jaywant, Ajit, Nishi, Helen, Tiwari, Tun Tun, Narmada Shankar etc. Nalini Jaywant worked with Ajit in 10 films and with Ashok Kumar in 11 films. In this matter Nirupa Roy beats all Heroines. She worked with balraj sahani in 12 films, With Jairaj in 16 films, with Trilok Kapoor in 18 films and ….hold your breath, with Ashok Kumar, she worked in 21 Films ! (By the way she acted as Amitabh’s mother in 12 films too !).

The story of the film was….

Ajit and Nalini love each other and get married. They also have one son. While the son is growing up, they have serious differences and they separate from each other. Nalini , with her son, shifts to another town and works as a Nurse in a Hospital. Ajit gets involved with another girl-Nishi. After a few months, Nishi cheats Ajit and leaves him. Ajit gets disgusted with his life and leaves the town. By coincidence he too lands in the same town where Nalini and his son are living. They do not know about each other’s existence in the same town. One day, Ajit meets with an accident and is brought to the same hospital where Nalini is serving. She is shocked to see Ajit. She looks after him with care and as soon as he is well enough to be discharged, Nalini resigns from the hospital and packs her luggage to shift to another town- to be away from Ajit. Ajit enquires at the hospital about her address and goes to her house. Ajit begs her pardon and pleads her to be with him again. Both weep a lot together and then accept each other happily !

Today’s song is a duet by Rafi and Shamshad Begum, who have sung some of the best duets in Hindi films. Together, they sang 160 duets in their career. I am sure, more than 50 % will account for my favourites. Let us enjoy this duet now….


Song-Ho lamba chauda jaat jaat re khud ko samjhe Laat (Milan)(1958) Singers-Shamshad Begam, Rafi, Lyrics-Prem Dhawan, MD-Hansraj Bahl

Lyrics

ho lamba chauda jaat jaat re
khud ko samjhe laat
baat meri maane na
hoy dil leke bedardi
ab pehchaane na
makhna
hoy girgit jaisi naar
naar tu badle rang hazaar
pyaar ko jaane na
hota hai ik baar pyaar
tu maane na
meri banto

o o o
?? to nahin hai koi aur(??) jee
dekho dil ko na todo
o o o
o o o
koi ho
man hi jaayega koi aur jee
jaao peechha chhodo

tu lathhmaar ganwaar
bada hai
pyaar ka thhekedaar
baat meri maane na
hoy dil leke bedardi ab pehchaane na
o makhna

o o o
mere peechhe to pad gayi chhokri
dekho duniya waalon

o o o o
o o o o
main to karoongi tumhaare sang naukri
zara preet lagaa lo
o basre ki hoor
hoor
o khatte hain angoor
pyaar ko jaane na
hota hai ik baar pyaar
tu maane na
o banto

o o o o
dil diya hai to sadke jaan bhi
chaahe hamen aazmaa le
o o o o
o o o o
sachche pyaar ki hamen hai pehchaan jee
jaao dorey na daalo

??
per maane na
hoy dil leke bedardi
ab pehchaane na
hurrrr
o girgit jaisi naar
naar tu badle hai rang hazaar
pyaar ko jaane na
hota hai ik baar pyaar
tu maane naa
meri banto

ho lamba chauda jaat
jaat re khud ko samjhe laat
baat meri maane na
hey dil leke bedardi ab pehchaane na
o makhna


This article is written by nahm, 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 :

5272 Post No. : 17281

98th birth anniversary of Mohammed Rafi sahab

Rafi Sahab’s Legendary Associations – 11

How the human mind works and the vagaries of human memory system, the scientists are still figuring out. I, for one, am very grateful that my memory brings forth to the mind a significant Rafi song to write a post at the most unexpected moment.

Since last few months, things have been very hectic at the domestic front, for no real tangible reason. They just are somewhat crazy, with stress levels running high on the work front too. Family events, travels notwithstanding, I should have written a few more posts this year, if only I could focus. So much so that I was on the verge of advising the HOD that the office needs a “self-help-stress management” “how to make the office atmosphere positive” “How to have healthy work relations with colleagues” sort of workshops/seminar. Not that I am going to do any such thing as advising the HOD, at-least I am trying not to. The thing is, a close friend expressed an opinion, if any such events are organised at the office, this will add to the stress levels of the already stressed-out officers.

I could also suggest some soothing music to be played on the non-existing PA system. There really are many classic music compositions, human civilization has produced. Many of them are having soothing qualities, some have the capacity to amaze the listener, that something like this could be created. There are many amazing and wonderful things, that we human can be grateful for. Sounds of music is one of them. The simplest things in life, which are free are to be valued and be thankful for. I thought the pandemic and tribulations it brought to humans, would make us all better humans, and teach us thankfulness, for many of the blessings which we all take to granted.

Post pandemic, as the world is back to normal, the massive restrictions during 2020 & 2021 are all but forgotten, which seem like a bad dream. Only sometimes I think of those days when work from home was possible, that was one advantage.

I honestly feel, it has had an impact on the evolution of humans. It has had huge psychological impact on young kids and elders. It is to be hoped that kids with the resilience of the young, will get past this bad dream. But the reminders of the bad dream are everywhere around us. The other day, I saw those round circles painted on the floor outside a supermarket. We were made to stand in queue to buy groceries, only a few people allowed inside at a time, to buy essentials for gods sake. If this was not a trial of psychological bondage training imparted to masses, then what was it? No wonder, humans, evolved after the pandemic are more disgruntled than before.

As the scientific community is grappling with the impact on the mental health (which is the new pandemic), lowered immunity in young and old, it is the responsibility and duty of able-minded people in the society to take great care, of their social surroundings, environment and individuals who may need a word or two, of care, of encouragement, of belief, of faith that things do not remain the same, they always change for the better.

No doubt that the research papers and thesis that come out on the impact of COVID – 19 on humanity, will point to the great stress it put on the psychological strength of the world’s populace. For this, the disease is not at fault, but the handling of the crisis, is the culprit. Having said this, I admit that being judgmental in hindsight is easy. But dealing with the aftermath is not going to be easy and it requires all the resilience of humanity.

I read about the voyager 1 & 2 sometime back and about the recordings of sounds to earth which they carried. With great hope I looked for the details of Indian songs in the 90 minutes music record. I found this Hindustani classical song is part of that.

Bhairavi: Jaat Kahan Ho Traditional Kesarbai Kerkar (vocals) with harmonium, Tanpura and tabla accompaniment Recorded in Bombay, April 1953 Hindustani Shastriya Sangeet (Indian classical music) 3:30

Hindustani classical music is an important component of sound of earth in all senses, so its inclusion in the above record is not a surprise. For our part, we have here a hindi film song which is a Hindustani classical song, by Mohammed Rafi Sahab. This is from the film Mrig Trishna(1975), written and composed by Shambhu Sen. This is a soothing, mental massage, critically acclaimed song. I was aware of the song and have heard it many times before today. I have also heard a great fan of Rafi Sahab, singing this song, and he was all praises for this rendition by the maestro. Obviously, he knows a great deal more about classical music than me. I had seen the song many times of TV too. So as soon as he said the mukhda before singing it, I was able to recollect even the filming of the song, and Hema Malini dancing to it. This was a few years ago. But today seeing the song again, I have also remembered reading somewhere, about the location shoot of the song. It is filmed at an actual location of some Haveli or fort is Rajasthan. The original art work and carpet and the carving in the pillars and jharokhas is visible in the hall.

Before starting this post I had checked and could not find the film Mrig Trishna (1975) in the list. But I just thought of checking it again, and now I find that 2 songs from this film are posted and this particular song is posted here.

So here we are, in the 99th year of Rafi Sahab, we are soon going to enter the 100th year of Rafi Sahab. I hope and pray, that we maintain the equilibrium as humanity and take inspiration from the personality of Rafi Sahab and his life’s principles.

Rafi Sahab, keep spreading happiness and peace to the world and beyond, even if the Voyager, has missed out on including your amazing voice. No doubt, as one of the super creations, Rafi sahab has made his contribution to this civilization and increased the ‘shobhaa’ of this ‘sansaar’.

I am posting this funny group song from the film Madhur Milan(1955), which the antithesis of Hindustani classical, which was my original idea for this post. Geeta Dutt and A. R. Ojha are giving company or having fun with Rafi sahab in the song composed by Bulo C. Rani. Raja Mehdi Ali Khan is the lyricist. Among the legendary associations, Geeta Dutt, is next to only Asha Bhonsle. Raja Mehdi Ali Khan was also part of Madan Mohan’s team for a time. While Bulo C. Rani has composed many sweet renditions by Rafi sahab in early 50’s, some of which I have posted.

So we enjoy this social comic song by this team on this birth anniversary occasion.


Song-Joru ne nikaala hai deewaala mere ghar ka (Madhur Milan)(1955) singers-Mohammed Rafi, A R Oza, Geeta Dutt, Lyrics- Raja Mehdi Ali Khan, MD-Bulo C. Rani
A r Oza + Geeta Dutt
Mohammad Rafi + Geeta Dutt

Lyrics

Ek taraf meraa ghar hai
aur ek taraf susaraal.. ha
lut gayaa main duniyaa waalon
meraa bura haal… hunh hunh
joru ne nikaala hai diwaala mere ghar ka
diwaala mere ghar ka
diwaala mere ghar ka
suno bhai
ban gaya hai maalik
meraa saala mere ghar ka
ban gaya hai maalik
meraa saala mere ghar ka

o joru ne
nikaala hai
deewaala mere ghar ka
ghar ka mere ghar ka
o joru ne
nikaala hai
diwaala mere ghar ka
ghar ka mere ghar ka
o joru ne
aisi taqdeer jaagi
do gharon ke mel se
jale unn ki laaltain
woh bhi mere tel se
handiya mein bhi padta hai
masaala mere ghar ka
handiya mein bhi padta hai
masaala mere ghar ka
ban gaya hai maalik
meraa saala mere ghar ka
ban gaya hai maalik
meraa saala mere ghar ka

laayi thhi jahez mein tu
poori baarah thhaaliyaan
tu poori baarah thhaaliyaan
le gayi utthaa ke
sab ki sab hain meri saaliyaan
de do unn ko jaa ke
chaabhi taala mere ghar kaa
ban gaya hai maalik
meraa saala mere ghar ka
ban gaya hai maalik
meraa saala mere ghar ka

arey saala saala saala
kya kehta hai
saala teraa kya le gayaa

nikaal ? ? ka photo
mere ghar se uttha ke le gayaa
tu ne bhi to odhaa hai
dushaala mere ghar ke
arey tu ne bhi to odhaa hai
dushaala mere ghar ke

khabardaar mister jo tu ne
meri behan ko daantaa

arre waah betaa
khabardaar mister jo tu ne
meri behan ko daantaa

peethh pe mukka maaroongaa main
munh pe doonga chaanta
peetth pe mukka maarungaa main
munh pe doonga chaanta
arey ladna hai to lad lo jimaar daala maar daala maar daala
bhai ko bachaao ji bachaao ji bachaao ji bachaao ji
maar daala maar daala maar daala

(h oho h oho h oho)
bhai ko bachaao ji bachaao ji bachaao ji bachaao ji
bachchon budhon naujawaanon
meri madad ko aao ji
maar daala maar daala maar daala
bhai ko bachaao ji bachaao ji bachaao ji bachaao ji

hosh mein aao
duniyaa ko
tamasha kyun
dikhaaaate ho…..
apne ghar ka ronaa ro ke ae ae
duniyaa ko hansaate ho o o
haayen… jaao bhai
jaao tum kya
dekhte deewar se
jaao bhai
jaao tum kya
dekhte deewar se

miyaan biwi
aapas mein to
lad rahen hain pyaar se

ha ha ha ha
miyaan biwi
aapas mein to
lad rahen hain pyaar se

bandar ka tamasha nahin
bhaalu ka tamasha nahin

tum kaahe ko dekhte
ghotaala mere ghar ka
arey tum kaahe ko dekhte
ghotaala mere ghar ka

dekho ji
ab na gaana

kya
o joru ne
nikaala hai
diwaala mere ghar ka
ghar ka mere ghar ka
o joru ne


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 :

5127 Post No. : 17079 Movie Count :

4614

Today’s song is a duet from the film ‘Her Highness’ (1946).

The year 1946 was an year which saw many changes in the film industry. The 2nd World War had just ended. Rationing and control on many items had created black marketing. This made many people millionaires. The extra income started getting invested in film making. The increased cost of raw films made film making 7 to 8 times costlier. A film which was made in about 1 Lakh rupees in 1940, needed 8 Lakhs now. Studio system was waning and artiste rates increased in lakhs instead of thousands. In 1945, only 74 films were made. This number increased to 153 films in 1946. Some quality films were made in 1946, indicating the changing face of film making.

Film ‘Dharati Ke Lal’ (1946) was made by IPTA people and it became the first film to be exhibited in Russia. ‘Neecha Nagar’ (1946) won the Grand Prix award in the French Film Festival. Film ‘Dr. Kotnis Ki Amar Kahani’ (1946) was dubbed in English as ‘The journey of Dr. Kotnis’. It was shown in the USA and then in the Venice Film Festival. Two musical films – ‘Anmol Ghadi’ and ‘Shahjahan’ were made in 1946. Year 1946 also saw the debut of several stars and artistes. In fact one can call 1946 as the ‘debut year’ of the Hindi film industry. See this….

Nirupa Roy debuted in film ‘Amar Raaj’.

Geeta Bali debuted with a dance in film ‘Badnami’

Geeta Roy sang her first film song in film ‘Bhakta Prahlad’

Balraj Sahni debuted in the film ‘Insaaf’. It was a small role, though.

KA Abbas-Director, Pt. Ravi Shankar-MD, Balraj Sahni as hero and Damayanti Sahni as heroine made their Debut in film ‘Dharti Ke Lal’

Meena Kapoor sang her first Hindi film song in film ‘Eight Days’

Sudhir Phadke debuted as MD in film ‘Gokul’

PL Santoshi as Director, Dev Anand, Rehman, Rehana and Kamla Kotnis debuted as actors in film ‘Hum Ek Hain’

Chitragupta did his first film as MD in ‘Lady Robin Hood’

Ram Ganguly became MD with film ‘Maharana Pratap’

Abhi Bhattacharya debuted in film ‘Milan’

Chetan Anand as Director, Uma Anand and Kamini kaushal as actresses debuted in film ‘Neecha Nagar’

Hansraj Behl debuted as MD with film ‘Pujari’

Madhubala (as Baby Mumtaz) sang her first song in film ‘Pujari’

Majrooh Sultanpuri wrote his first Hindi film song in film ‘Shahjahan’

SD Burman as MD and Kishore Kumar as an actor debuted with film ‘Shikari’

So, you will find the year 1946 was truly an year of change. The winds of Partition were already blowing and the second line of supplementary artistes was ready to replace the migrators, after the Partition.

‘Her Highness’, a stunt film was made by Bharat Talkies. The cast of the film consisted of the usual members of action/stunt films. Sarla Devi, Dilawar, Mehdi Raja, Madhukar Gupte, Meerabai, Prakash, Agha Peerjaan, Narmada Shankar etc. Lyricists were Roopbani and Madhup Sharma. However HFGK does not credit any Lyricist for any specific song. It also does not mention the singers’ names of any song.

The film was directed by stunt film veteran – Balwant Bhatt. He was the elder brother of Nanabhai Bhatt, who too was an expert in directing B and C grade films. One sees this kind of close relatives following each other from the very beginning of the talkie films. Even Zubeida, heroine of the first talkie – ‘Alam Ara’ (1931) had her 2 sisters and mother in this profession. If I start listing such names, it will be a long list. One interesting feature of Balwant Bhatt was that he had also directed the film ‘His Highness’ in the year 1937. If there were films like ‘Momma Highness’ and ‘Papa Highness’, I am sure Balwant Bhatt would have directed those films too !

The elder brother of Nanabhai Bhatt, Balwant Bhatt was born at Porbandar,Gujarat on 13-1-1909. Balwant started his career by assisting Naval Gandhi in 1930-31 and Pesi Karani at Imperial Film company and then NB Vakil at Sagar Studios in 1932.

A prolific director of second tier, action oriented films, Bhatt’s first film as a director was Royal Film Company’s 1932 silent thriller ‘Passing Show’ which featured popular stunt-film actor Navinchandra. He turned director with the advent of talkie films and joined Prakash Pictures with ‘Bambai Ki Mohini’ (aka ‘Actress’) (1934) starring Miss Panna and Miss Alaknanda. His last one was ‘Nagin Aur Sapera’ (1966). He directed 33 films, mostly stunt and C grade films.

Bhatt directed action star Fearless Nadia in ‘Delhi Express’ (1949) and ‘Circuswale’ (1950) as well as the comedian Bhagwan in ‘Joker’ (1949) and ‘Jodidar’ (1950), and even had opportunities to work with bigger name’s such as Bibbo in ‘Suhaag’ (1940), Maya Banerjee in ‘Madhusudan’ (1941), and Prithviraj Kapoor in ‘Aankh Ki Sharam’ (1943). But the vast majority of Bhatt’s output was in the category of B-grade films.

He directed some Gujarati films like ‘Sansar Leela’, ‘Seth Sagsha’, ‘Divadandi’, ‘Snehlata’ etc. He was the producer of ‘Dillagi’ (1942), ‘Gunehgar’ (1953), ‘Alif Laila’ (1953), ‘Sindbad The Sailor’ (1952), ‘Son Of Sindbad’ (1958), ‘Police Detective’ (1960) etc. etc. ‘Diwadandi’ (1950) became famous for its song – ”Taari Aankhni Afini”, sung by Dilip Dholakia with music by Ajit Merchant. His film ‘Mordhwaj’ (1952) was the debut film for MD Narayan Dutt. Balwant Bhatt died on 7-2-1965, at Bombay.

Today’s song is a rare song, but we do not know who wrote or who sung this duet. HC Bali was the music director.

Harishchandra Bali aka HC Bali was born on 10-3-1906 at Jalandhar, Punjab. He received early training in music from Pt. Tola Ram and Ustad Maula Baksh of Talwandi Gharana. He was also a disciple of Bhaskarbuwa Bakhale and Pt. Dilip Chandra Vedi. He adopted their styles. Bali came to Bombay. He entered film by acting as a hero in the film ‘Naqsh-e-Sulemani’ (1933). In later life also he acted in a few more films. As a MD, his first film was ‘Aurat Ka Dil’ (1933) and last film was ‘Janta’ (1947).

He gave music to 26 films. Among these were first films of Prof. Pt. Ramanand Sharma, ‘Watan Parast’ (1934), first film of actress Pramila, ‘Bhikarin’ (1935), first film of Debaki Bose in Bombay, ‘Jeewan Natak’ (1935). In the film ‘Pati Patni’ (1939), Naushad was his assistant and composed a few songs also. In 1942, Bali gave music to ‘Aple Ghar’, the Marathi version of ‘Apna Ghar’ (1941). He was the MD for the last film of Vishnupant Pagnis, ‘Mahatma Vidur’ (1943) and in film ‘Janta’ (1947), he gave the opportunity to lyricist Rajendra Krishna for the first time.

Bali also gets the credit for bringing KL Saigal to limelight. Both he and Saigal were from Jalandhar. When Saigal was in Calcutta for his job as a typewriter salesman, Bali was living with RC Boral. Bali told Boral about Saigal’s singing and the rest is history. Bali came into news in the late 50s, when he said that Lata had sung 4 songs for his film ‘Seedha Rasta’ in 1941 and thus claimed to introduce her to  film singing. However, Lata clarified that till the death of her father Dinanath Mangeshkar in 1942, she was in Kolhapur and there was no question of her singing in films in 1941. Thus Bali’s claim got scuttled.

After 1947, Bali retired from films and returned to Jalandhar. He started his own music school, ‘Sangeet Vihar’. He became famous as a music Guru to many singers in later years. Bali also sang on radio and was an A grade artiste of All India Radio. He also wrote a few books on music – ‘Sangeet Vigyan’ in 4 volumes and ‘Sangeet Prakash’ in Punjabi language. These books were published by Punjab State University Text Book Board in Chandigarh. Harishchandra Bali died on 24-6-1976 at Jalandhar.

Here is the rare song from the film ‘Her Highness’. The names of the singers of this duet are not even mentioned on the gramophone record, but I feel the song must have been sung by the cast members itself, to save expenses. Such tactics were followed by the producers while making stunt C grade films.

With this song, film ‘Her Highness’ makes it’s debut on the Blog.


Song- La Do Sajan Mohe Baajuband (Her Highness)(1946) Singers-Sarla Devi, Dilawar, Lyrics-Unknown, MD-HC Bali

Lyrics

la do sajan mohe baajuband
la do sajan mohe baajuband
nahin jaee hoon
nahin jaee hoon
nahin jaee hoon main naihar ko aaj
o o o o
jaee hoon main naihar ko aaj
la do sajan mohe baajuband
la do sajan mohe baajuband
nahin jaee hoon
nahin jaee hoon main naihar ko aaj

jaane ka naam na lo
ro doonga
jaane ka naam na lo
ro doonga
nanhi see
nanhi see
nanhi see
zindadi main kho doonga
jaane ka naam na lo
ro doonga
nanhi see zindadi main kho doonga
haaye haaye
choolha jalaate mori jhulsen ungaliyaan
haaye haaye
choolha jalaate mori jhulsen ungaliyaan
kuchh to karo
tum laaj

aa aa aa aa
jaee hoon main naihar ko aaj
jhagdo na saajan nithhalle
jhagdo na saajan nithhalle
sambhaalo ye peetal ke chhalle
sambhaalo ye peetal ke chhalle
ye hansuli
ye mundri
ye paanwon ki paajeb
ye hansuli
ye mundri
ye paanwon ki paajeb
jhumke hamelon ke saath
ho o o
main to jaaoongi naihar ko aaj

bigdo na sajni
baat baat par
bigdo na sajni
baat baat par
paaon dabaaun torey
paaon dabaaun torey
raat rat bhar
bigdo na sajni
baat baat par
paaon dabaaun tore
raat rat bhar
kaadun nihore tore
kaadun nihore tore
roothho na sajni mose
kaadun nihore tore
roothho na sajni mose
laa doonga baajuband aaj
ho o o o
tumhe laa doonga baajuband aaj

khaao kasam mori
haan haan kasam tori
khaao kasam mori
haan haan kasam tori
laa doge baajuband aaj
haan haan haan
baba laa doonga baajuband aaj

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

ला दो साजन मोहे बाजूबंद
ला दो साजन मोहे बाजूबंद
नहीं जई हूँ
नहीं जई हूँ
नहीं जई हूँ मैं नैहर को आज
ओ ओ ओ ओ
जई हूँ मैं नैहर को आज
ला दो साजन मोहे बाजूबंद
ला दो साजन मोहे बाजूबंद
नहीं जई हूँ
नहीं जई हूँ मैं नैहर को आज

जाने का नाम ना लो
रो दूँगा
जाने का नाम ना लो
रो दूँगा
नन्ही सी
नन्ही सी
नन्ही सी
जिंदड़ी मैं खो दूँगा
जाने का नाम ना लो
रो दूँगा
नन्ही सी जिंदड़ी मैं खो दूँगा
हाय हाय
चूल्हा जलाते मोरी झुलसे उँगलियाँ
हाय हाय
चूल्हा जलाते मोरी झुलसे उँगलियाँ
कुछ तो करो तुम लाज

आ आ आ आ
जई हूँ मैं नैहर को आज
झगड़ो ना साजन निठ्ठल्ले
झगड़ो ना साजन निठ्ठल्ले
सम्भालो ये पीतल के छल्ले
सम्भालो ये पीतल के छल्ले
ये हँसुली
ये मुँदरी
ये पाँवों की पाजेब
ये हँसुली
ये मुँदरी
ये पाँवों की पाजेब
झुमके हमेलों के साथ
हो ओ ओ
मैं तो जाऊँगी नैहर को आज

बिगड़ो ना सजनी
बात बात पर
बिगड़ो ना सजनी
बात बात पर
पाँव दबाऊँ तोरे
पाँव दबाऊँ तोरे
रात रात भर
बिगड़ो ना सजनी
बात बात पर
पाँव दबाऊँ तोरे
रात रात भर
काडूँ निहोरे तोरे
काडूँ निहोरे तोरे
रूठो ना सजनी मोसे
काडूँ निहोरे तोरे
रूठो ना सजनी मोसे
ला दूँगा बाजूबंद आज
हो ओ ओ
तुम्हें ला दूँगा बाजूबंद आज

खाओ क़सम मोरी
हाँ हाँ क़सम तोरी
खाओ क़सम मोरी
हाँ हाँ क़सम तोरी
ला दोगे बाजूबंद आज
हाँ हाँ हाँ
बाबा ला दूँगा बाजूबंद आज


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 :

5120 Post No. : 17069

———————————————–—————————————
Blog 10-Year Challenge (2012-2022) – Song No. 74
————————————————————————————–

This date ten years ago (viz 25 July 2012) saw three songs from three different movies getting covered in the blog.

Here are the details:-

Blog Post number Song Movie (Year) Remarks
6308 Inhi logon ne le leenha dupatta mora Himmat(1941) 2 songs covered out of 10
6309 Suno suno he nar naari Aage Badho(1947) Movie YIPPEED by now
6309 Jawaan jawaan husn ke rangeen ye kaafile Adventures of Robinhood (1965) Movie YIPPEED by now

It can be seen that two movies (out of three) whose songs were covered ten years ago on this date (25 July 2012) have since been YIPPEED. That leaves us with just one movie which is eligible for Blog Ten Years today (25 July 2022).

The eligible movie is “Himmat”(1941).

‘Himmat'(1941) was directed by Roop K Shorey for Kamal Movietone Limited. The movie had Ragni aka Ragini, Manorama, Majnu, Beg aka Baig, Zahoor Shah, Radha, Ghulam Qadir, Maalaa, Ramesh, Ranchhod, Jaan, Malti etc in it.

‘Himmat’ (1941) had ten songs in it. Two songs have been covered in the past.

Here is the third song from ‘Himmat’ (1941) to appear in the blog.

HFGK is silent about the singers of the song. But going by the comments posted by some knowledgeable readers on YouTube, I have considered Umrazia Begam and Karimdad Khan as the singers of this song. Aziz Kashmiri is the lyricist. Music is composed by Pt Gobindram.

Only audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of the song.

Lyrics of the song were sent to me by Prakashchandra.

Audio link:

Song-Main hoon Raani ek sunehri nagri ki (Himmat)(1941) Singers-Umrazia Begam , Karimdad Khan, Lyrics-Aziz Kashmiri, MD- Pandit Gobindram
Both

Lyrics (Provided by Prakashchandra)

main hoon raanee
main hoon raanee
main hoon raanee
main hoon raanee
ek sunehri nagri kee
ek sunehri nagri kee

main hoon raaja
main hoon raaja
main hoon raaja
main hoon raaja
ek sunehri nagri ka
ek sunehri nagri ka

meri nagri aisi sundar
meri nagri aisi sundar
jaise
chaandi kaa ho mandir
chaandi kaa ho mandir

meri nagri aisi sundar
meri nagri aisi sundar
jaise
soney kaa ho mandar
soney kaa ho mandar

main hoon apne ghar ka raaja
aur bajaaoon baaja
main hoon apne ghar ka raaja
aur bajaaoon baaja
main hoon raaja

raaja se hai raani sundar
raani se hai raaja sundar
raaja se hai raani sundar

hum donon mein kaun hai sundar
aao tumhein bataaoon
hum donon mein kaun hai sundar
aao tumhein bataaoon
hum donon hain ek baraabar
hum donon hain ek baraabar
jaise chaand aur sooraj
haan jaise chaand aur sooraj
ab naa ladna
kyon
ab naa ladna
mujhse darna

mujhse darna
hum milkar phulwaari banen
tum koyal ban kar gaao..oo
tum koyal ban kar gaao..oo
koyal bankar gaao..oo
koyal bankar gaao o o

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

मैं हूँ रानी
मैं हूँ रानी
मैं हूँ रानी
मैं हूँ रानी
एक सुनहरी नगरी की
एक सुनहरी नगरी की

मैं हूँ राजा
मैं हूँ राजा
मैं हूँ राजा
मैं हूँ राजा
एक सुनहरी नगरी का
एक सुनहरी नगरी का

मेरी नगरी ऐसी सुन्दर
मेरी नगरी ऐसी सुन्दर
जैसे
चांदी का हो मन्दिर
चांदी का हो मन्दिर

मेरी नगरी ऐसी सुन्दर
मेरी नगरी ऐसी सुन्दर
जैसे
सोने का हो मन्दर
सोने का हो मन्दर

मैं हूँ अपने घर का राजा
और बजाऊँ बाजा
मैं हूँ अपने घर का राजा
और बजाऊँ बाजा
मैं हूँ राजा
राजा से है रानी सुन्दर
रानी से है राजा सुन्दर
राजा से है रानी सुन्दर

हम दोनों में कौन है सुन्दर
आओ तुम्हें बताऊँ
हम दोनों में कौन है सुन्दर
आओ तुम्हें बताऊँ
हम दोनों हैं एक बराबर
हम दोनों हैं एक बराबर
जैसे चाँद और सूरज
हाँ जैसे चाँद और सूरज
अब ना लड़ना
क्यों
अब ना लड़ना
मुझसे डरना
मुझसे डरना
हम मिलकर फुलवारी बनें
तुम कोयल बन कर गाओ॰॰ओ
तुम कोयल बन कर गाओ॰॰ओ
कोयल बन कर गाओ॰॰ओ
कोयल बन कर गाओ॰॰ओ


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 :

5119 Post No. : 17067

Today’s song is from the film Ladai ke baad-1943.

This is a very misleading title for a film which was made during the peak period of Second World war. Reading this title, it is natural for anyone to feel that this was a film which was on the matters which will take place after the war is over, or it may be a depiction of the country and the social life going through changes after the war ended. But none of it ! It was simply all about a war (Ladai) between two neighbouring families, caused by the usual Ego clash – though there is a loving couple in both families, hoping to get married. And it was called a Comedy film.

The film was made by Navyug Chitrapat, Poona. There is a little history behind the launch of this film making company. Master Vinayak (father of actress Baby Nanda) had his own film company Hans Pictures, in partnership with half brother Baburao pendharkar and cameraman pandurang Naik. Their first film was Chhaya-36-aq bilingual in marathi and hindi. It was not only a hit film but also it won many awards. Next 2 films, Premveer-37 and Dhrmveer-37 were also successful. Then came the film Jwala-38, a bilingual. Unfortunately this film was a big flop and Vinayak suffered heavy loss. To make it up, he then made 2 more films-Bramhachari-38 and brandy ki botal-39. Although these were successful at the Box office, the loss was not compensated. Even the last attempt with marathi film Ardhangi-40 (Hindi-Ghar ki Rani-40) could not salvage the damage done by jwala and Hans Pictures was dissolved.

He then launched navyug Chitrapat, along with Acharya P.K.Atre as a partner. Navyug was the first film company to offer 100 rupees shares to the common public (Bombay Talkies had given its shares to its Directors initially). The first film made was in Marathi-Lapandav-40. Then came Amrit-41(in Hindi and marathi) and ‘Pahili Mangalagaur’-42 in marathi, wherein Lata Mangeshkar made her Debut. During the making of this film, Vinayak left navyug and started his own ” Prafull Pictures’. After the last film Ladai ke baad-1943, navyug Chitrapat also closed down.

Actually, if one goes through the early marathi Cinema production history, one would know that launching and closing film companies was quite frequent in the Marathi film industry. In the early era, films were made in Poona, Kolhapur and Bombay. Two major communities in Maharashtra, Gujarati and Marathi entered the cinema field. Gujaratis were businessmen and had the money power. They immediately became the owners of film companies, supplied finance and made profits. Marathi people had no money but they had a hard working nature, acting Talent, Music expertise and Technical knowledge. Thus the jobs were automatically divided. Whenever Marathi people owned or launched film companies, they lost the battle due to lack of business sense and clash of false egos among partners. In later years, however, this picture changed.

Film Ladai ke baad-43 was directed by R.S.Junnarkar. Raghunath Shankar junnarkar was born on 19-3-1911 in Bijapur. After matriculation, he joined the film industry as a technician,in 1931, in Zarina pictures. He moved to kohinoor film company and then to United Artistes. Later he joined Kohinoor Cinetone in the capacity of screenplay writer and editor in 1934. master Vinayak Called him to Hans pictures in 1936. He was diligent and hard working. He got his first chance as a director of film sangam (Hindi and Marathi)-1941. Before this, he had jointly directed the film Bahurani in 1940, with actor Mubarak.

For navyug pictures he directed Pahili mangalagaur, Tuzach (Hindi version Main tera hoon) and Pundalik all marathi films. After Vinayak left navyug he completed the film pahili mangalagaur. In this film, there was a kissing scene of Snehaprabha pradhan and Shahu Modak. Lata also debuted in this film with acting and singing for herself.

Junnarkar was excellent as a screenplay writer. he wrote for films Nigahe nafrat -35 (Debut of Shobhana Samarth), Chhaya-36, dharmaveer-37, jwala-38, Neera and nanda-1946(directed also). he also wrote lyrics for film Taqrar-1944, he edited films, premveer, Nigahe nafrat, dharmaveer, Birha ki raat and Baazuband. (Thanks to the book ‘ Marathi Cinema in retrospect’ by Sanjit Narvekar).

Coming back to film Ladai ke baad-43, the songs were written by Wali Saeb.He was the brother of lyricist Nazim Panipati. Wali Saheb was a person of one of a kind. He was an educated person fond of writing stories and songs, but he was also very orthodox in nature, So much so, that he had made it compulsory for his actress wife Mumtaz Shanti, to come for shootings in a Burkha, and was also a perfect Hypocrite who allowed her to act in films as a lover of the Hero ! He would put it in her contract that the hero would not touch her during the shoots. To ensure this, he used to be present personally in her every shoot. After the shooting, she was to put on her Burkha again and head straight home, without talking a word with anyone.

It seems her uncle Barkat Nizami ( husband of actress Geeta Nizami) had brought her in films and he used to take away 75% of her earnings ( 50% for himself and 25% for his son). However, after her marriage to Wali saheb, this had stopped.

His name was Wali Mohd Khan. He was born in Poona on 10-8- 1908. His family was from Punjab. He became a Compounder with a Doctor in Lahore till 1938. He used to write songs for the Recording companies, for a sum of Rs. 5 per song ! He entered film line as a story writer and Lyricist, with film,” Soni Kumharan ‘ produced by East India Film Company.His songs became popular and he started writing dialogues too.He wrote songs, stories and dialogues for 36 films in all, with 280 songs. He worked for Kamla Movietone, Pancholi studios,Talwar productions, Cine art production etc.He even sang one song in the film Udhar-1949.

After trying his hand at Direction in Venus pictures film ” Lady Doctor”-44, he went on to produce and direct film ” Dekhoji”-47, under his own banner, Punjab film corporation ltd. Bombay. He produced and directed 4 more films, Padmini-48, Heer Ranjha-48, Putli-50 and Zamane ki Hawa-52. In all these films, the Heroine was Mumtaz Shanti. He migrated to Pakistan, with his actress wife, in the mid 50s. ( Thanks to information from Film Directory-46, muVyz, HFGK and my notes.)

I am not giving the film story because it was given along with the film’s first song discussed here in 2016. The music was by Dada Chandekar. Shankar Vishnu aka Dada Chandekar was from Kolhapur. He was born on 19-3-1897. His father used to do Keertan in temples and also play Harmonium. Dada also became an expert in playing the harmonium. Due to poverty, Dada joined Kirloskar drama company and used to do female roles. One day, by chance when the regular Harmonium player was absent, Dada got the opportunity to play Harmonium in a drama, which was lauded by all.

Later he joined Deenanath Mangeshkar’s Balwant Natak company where he played Harmonium for 20 years. Now Dada wanted to join the film industry. He assisted Dhamman Khan in the film Kaliya Mardan made by Bhali Pendharkar. When Dhamman Khan was removed due to his irregularity, Dada was appointed MD for the same film. Thus started his career finally. In 1937, he joined Huns Pictures of Master Vinayak and gave background music for the film Jwala-1938. This prompted the film Brahmachari-1938 to be given to him. This film’s music became Hit and created records in Hindi and Marathi versions. He gave music to Huns and Navyug films.

His other films as a MD were Brandy ki Botal-39, Devta-39, Ghar ki Rani-40, Amrit-41, Sangam-41, Ladai ke baad-43, Lieutenant-44, Din Raat-45, Main Tera Hoon-47, Moti-47 and his last Hindi film Phool aur Kaante-48. Meanwhile he was doing Marathi films also. He gave music to 25 Marathi films till 1964. It was he, who gave the First ever opportunity to Lata Mangeshkar to sing in a film. The film was ” Pahili Mangalagaur”-1942. It was a duet with Snehprabha Pradhan.

Dada Chandekar gave music to many Marathi dramas and he also worked for All India Radio, Poona for a few years. Dada Chandekar, one of the early composers of Hindi and Marathi films, died on 27-1-1976 at Poona.

Today’s song is a duet sung by Snehprabha Pradhan and Govind Kuruvilkar.

Editor’s note. This is the 100th song of Wali sahab as a lyricist in the blog. He becomes 32nd lyricist and 94th artist overall to complete 100 songs in the blog.


Song- Dagar mori chhodo ji (Ladaai Ke Baad)(1943) Singers- Snehprabha Pradhan, Govind Kuruvilkar, Lyricist- Wali Sahab, MD- Dada Chandekar

Lyrics

Dagar mori chhodo ji
Dagar mori
chhodo ji
tum to chhedoge
main hoon akeli
tum to chhedoge
main hoon akeli
Dagar mori chhodo ji
Dagar mori
chhodo ji

donon haathhon mein mere kabootar
donon haathhon mein mere kabootar
tere sar se bhari hai ye gaagar
tere sar se bhari hai ye gaagar
kaise chhedoonga
naar naveli

Dagar mori chhodo ji
Dagar mori
chhodo ji
tum to chhedoge
main hoon akeli
tum to chhedoge
main hoon akeli
gaagar mein donon kabootar bithhaakar
gaagar mein donon kabootar bithhaakar
gaagar ko dhhakke se upar uthhaakar
gaagar ko dhhakke se upar uthhaakar
hamse karoge athhkheli
hamse karoge athhkheli
tu ko samjhaye ??
tu ko samjhaye ??

Dagar mori chhodo ji
Dagar mori
chhodo ji
tum to chhedoge
main hoon akeli
tum to chhedoge
main hoon akeli

mujhe baadh liya kaajal ki dori se kyun
mujhe baadh liya
mujhe baadh liya kaajal ki dori se kyun

toone chhedaa thha
toone chhedaa thha
panghat pe chori se kyun
toone chhedaa thha
panghat pe chori se kyun
mose bhool hui
aaj mose bhool hui
naar naveli

kahin dekhe na mori saheli
Dagar mori chhodo ji
Dagar mori
chhodo ji
tum to chhedoge
main hoon akeli
tum to chhedoge
main hoon akeli
agar mori chhodo ji
Dagar mori
chhodo ji


This article is written by Sudhir, 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 :

5094 Post No. : 17024

———————————–
This Week, That Year – 9
———————————–
26Jun – 02Jul, 2012

Ah yes, long gap. My intention has been to make this series a weekly affair. But then – ‘man proposes, everybody else disposes’ keeps happening with me. 😀 . And so, intentions aside, this series has been a victim of my preoccupations / laziness / lack of creativity – howsoever I may say it. But of course, no excuses are relevant.

Rear view mirror scenario on the blog, of the week that was – 26th Jun to 2nd July of 2012. Let us take a look at the numbers first.

Here is the table that shows the daily postings on the blog for that week.

Blog Ten Year Challenge (2012-2022) Series
Sl.No. Movie Name Year HFGK NoS ASAD NoS Possible UT Deb/Yip Milestone Film Status Pending
26-Jun-12
1 Mahaa Pooja 1954 9 4 D Pending 5
2 Dhaake Ki Malmal 1956 8 8 Yippeee’d
3 Sangam 1964 8 8 Yippeee’d
4 Taangaawaali 1955 9 7 2 Yc 2 UT
5 Chhote Sarkar 1974 4 4 D Yippeee’d
27-Jun-12
1 Bhoot Bangla 1965 6 6 Yippeee’d
2 Anaamika 1973 5 5 Yippeee’d
3 Jheel Ke Us Paar 1973 6 5 Pending 1
4 Khushboo 1975 4 5 Yippeee’d
5 Baalika Badhu 1976 6 7 Yippeee’d
28-Jun-12
1 Laalten 1956 8 4 D Pending 4
2 First Love 1961 6 6 Yippeee’d
3 Khoobsurat 1952 8 8 AC – 100
(SH Behari)
Yippeee’d
4 NFS – CH Atma 1960 0 3 D Yippeee’d
29-Jun-12
1 Miss Frontier Mail 1936 4 4 D Yippeee’d
2 Amar Jyoti 1936 11 7 Pending 4
3 Baarood 1960 7 7 Yippeee’d
4 Naghma 1953 10 11 Yippeee’d
30-Jun-12
1 Sannaata 1966 5 5 D AC – 1800 (Lata Mangeshkar) Yippeee’d
2 Saheli 1965 6 6 Yippeee’d
3 Johnny Mera Naam 1970 6 6 Yippeee’d
4 Kathputli 1971 8 2 D Pending 6
5 Johar Mehmood in Hongkong 1971 6 4 D Pending 2
1-Jul-12
1 Jugnu 1947 8 8 Yippeee’d
2 Duniya 1968 6 6 Y Yippeee’d
3 Aap Ki Kasam 1974 6 6 Y Yippeee’d
4 Ek Mahal Ho Sapnon Ka 1975 5 7 Yippeee’d
5 Son of India 1962 9 9 Yippeee’d
2-Jul-12
1 Garam Coat 1955 6 6 D Yippeee’d
2 Chhoti Bahen 1959 9 9 Yippeee’d
3 12 O`clock 1958 7 7 Yippeee’d
4 Ardhaangini 1959 7 7 Yippeee’d
5 Hum Matwaale Naujawaan 1961 7 6 Pending 1

A total of 33 songs were posted in that week, at an average of about 4.7 songs per day. The pageant of the calendar covered is four decades – from 1936 to 1976.  Break up of films by decade is as follows,

1930s  –  2 (Both from 1936)
1940s  –  1 (Jugnu, 1947)
1950s  –  12
1960s  –  9
1979s  –  9

No film got repeated and so we covered 33 films during that week, Well actually, it is 32 films and 1 NFS. The NFS was a song by CH Atma.

As many as 9 films made their debut that week. And yes, 2 films got Yippeee’d in that week – ‘Duniya’ (1968) and ‘Aap Ki Kasam’ (1974). Just as an aside, I did a quick check on the Yippeee status of films, till that week. When the week started, we were 3 years, 11 months and 7 days ahead of the blog initiation date of 19 July, 2008. Want to take a guess as to how many films had been Yippeee’d till then? I myself was a little surprised at the number. By that date, we had already Yippeee’d 135 films on the blog. Majority of this list is from the 1950s and 1960s. Surprise item is that there is one film from 1939. Besides, there are 12 films from 1940s, and 17 films from 1970s. The remaining 105 films are from the two decades of 50s and 60s.  We were 6,133 posts old on 26th June.

The week saw two major milestone achieved. On 28th June, with the song “Beech Bajariya Mori Chunariya Sar Se Sarki Jaaye” from film ‘Khoobsurat’ of 1952, SH Behari arrived at his first century milestone. He had made his debut on the blog on 1st December, 2008, and completed his first century in a little more than three and a half years. On 30th June, with the song “Koi Bechaara” from the film ‘Sannata’ of 1966, Lata Mangeshkar breached the 1,800 mark on the blog.

Of all the 33 films that were showcased that week, 25 have been Yippeee’d since then. Seven films continue to be tagged with ‘Pending’ status. One film, ‘Tangaawaali’ from 1955 carries the conditional Yippeee tag. Of the 9 songs in this film, 7 are already posted here. However two songs are not released on 78rpm record. The video of the film has not yet surfaced on public domain. So we tag those two songs as untraceable (UT). And pending their discovery, we tag the film with the status as conditionally Yippeee’d (Yc).

During this current week, two songs of pending films in this week have been posted as part of the ten year challenge series. One song from the 1973 film ‘Jheel Ke Us Paar’  – “Haaye Bichhua Das Gayo Re”, was posted by Avinash ji on 27th June, and actually Yippeee’d that film too. And just a little while ago today, Atul ji has posted the song “Kaaraj Ki Jyot Sadaa Hi Jarey” from the 1936 film ‘Amar Jyoti’. So the numbers given above get modified as pending films reduced to 6 and the number of Yippeee’d films now is 26.

And with the song that I bring to the blog in this post, these numbers will change once again. This song is from the 1961 film ‘Hum Matwaale Naujawaan’. This film so far has only one song remaining to be posted. With this post on the blog, the film will also get Yippeee’d. Pending films list is further reduced to 5 and the Yippeee’d films number increases to 27.

The song is a real gem – a vintage Chitragupt creation. The music director is well known for his melodious commpositions. And this song is a very fine example of his creativity and talent. I listened to this song today, after tons of years, jiggling my memory of the radio listening days. And I am surprised that this melody has been waiting in the wings for so long. This film made its debut here on 28th October, 2010. The previous posted song (fifth one from the film) came on to the blog on 29th September, 2018. The final song of the film comes on board today, after more than eleven and a half years of its debut.

The song is such an endearing duet of Lata and Usha Mangeshkar. The lyrics are from the pen of Mahjrooh Sb.

The words of the song indicate as being a male-female duet. But since it is sung as a all female duet, it is possible that this duet may be a performance by two actresses on screen, one taking the role of the male person. The male person is trying to woo the lady and invites her to visit his alley, And the lady appears to be putting up a refusal to the gentleman’s advances.

A very lively melody, that is a hallmark of Chitragupt’s music. Jiggling memories of the wonderful music that we used to enjoy on the radio.

Listen and enjoy.

Song – Aana Kabhi Hamre Duaar Saanwal Goriya  (Hum Matwaale Naujawaan) (1961) Singer – Lata Mangeshkar, Usha Mangeshkar, Lyrics – Majrooh Sultanpuri, MD – Chitragupt
Chorus

Lyrics (Provided by Prakashchandra)

ghar ki hamaare gori
yahi hai dagariya

ho o o o
o o o

aana kabhi hamre duaar saanwal goriya
aana kabhi hamre duaar saanwal goriya
jhootha pardesia ka pyaar saanwal goriya
jhootha pardesia ka pyaar saanwal goriya

jit dolun ut dole zaalim
saath hamaare ho ke
haaye haaye saath hamaare ho ke
jit dolun ut dole zaalim
saath hamaare ho ke
hum to nahin kuchh kehte
khaali raah khade hain roke
haaye haaye raah khade hain roke
o o o
mal mal ke hatheli
reh jaaun main akeli
mal mal ke hatheli
reh jaaun main akeli
kar nahin paaun pukaar saanwal goriya
jhootha pardesia ka pyaar saanwal goriya
aana kabhi hamre duaar saanwal goriya

aanchal ko lehraati pagli
pag pag mudti jaaye
jabse tu ne chheda
lat meri aur bhi udti jaaye
haaye haaye aur bhi udti jaaye
ho o o
ari o gulab juhi
ab ke bhi dekh yun hi
ari o gulab juhi
ab ke bhi dekh yun hi
rutth chali jaaye bahaar saanwal goriya
aana kabhi hamre duaar saanwal goriya
jhootha pardesia ka pyaar saanwal goriya

dekh rahi main
chhalki jaaye tere dil ki pyaali
haaye haaye tere dil ki pyaali
dekh rahi main
chhalki jaaye tere dil ki pyaali
tod ke mera dil
kya paaogi o jhumkewaali
haaye haaye ri o jhumkewaali
ho o o
teri gali aaun bairi
tujhe tadpaaun bairi
aawe tab dil ko
qaraar saanwal goriya
aana kabhi hamre duaar saanwal goriya
hat
jhootha pardesia ka pyaar saanwal goriya
aana kabhi hamre duaar saanwal goriya

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

घर की हमारे गोरी
यही है डगरीया

हो ओ ओ
ओ ओ ओ
आना कभी हमरे दुआर सांवल गोरीया
आना कभी हमरे दुआर सांवल गोरीया
झूठा परदेसिया का प्यार सांवल गोरीया
झूठा परदेसिया का प्यार सांवल गोरीया

जित डोलूँ’ उत डोले ज़ालिम
साथ हमारे हो के
हाय हाय साथ हमारे हो के
जित डोलूँ’ उत डोले ज़ालिम
साथ हमारे हो के
हम तो नहीं कुछ कहते
खाली राह खड़े हैं रोके
हाय हाय राह खड़े हैं रोके
ओ ओ ओ
मल मल के हथेली
रह जाऊन मैं अकेली
मल मल के हथेली
रह जाऊन मैं अकेली
कर नहीं पाऊँ मैं पुकार सांवल गोरीया
झूठा परदेसिया का प्यार सांवल गोरीया
आना कभी हमरे दुआर सांवल गोरीया

आँचल को लहराती पगली
पग पग मुड़ती जाये
जबसे तूने छेड़ा
लट मेरी और भी उड़ती जाये
हाय हाय और भी उड़ती जाये
हो ओ ओ
अरी ओ गुलाब जुही
अब के भी देख यूंही
अरी ओ गुलाब जुही
अब के भी देख यूंही
रुठ चली जाये बहार सांवल गोरीया
आना कभी हमरे दुआर सांवल गोरीया
झूठा परदेसिया का प्यार सांवल गोरीया

देख रही मैं छलकी जाये
तेरे दिल की प्याली
हाय हाय तेरे दिल की प्याली
देख रही मैं छलकी जाये
तेरे दिल की प्याली
तोड़ के मेरा दिल
क्या पाओगी ओ झुमकेवाली
ओ ओ ओ
तेरी गली आऊँ बैरी
तुझे तड़पाऊँ बैरी
आवे फिर दिल को
क़रार सांवल गोरीया
आना कभी हमरे दुआर सांवल गोरीया
हट
झूठा परदेसिया का प्यार सांवल गोरीया
आना कभी हमरे दुआर सांवल गोरीया

 

 


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 :

5040 Post No. : 16951

Today’s song is a Fun-Duet from the film Aage Kadam-1943.

This is a duet sung by Leela Pawar and Master Amritlal. There were many actresses who carried the name Leela. Some were famous, some were not.Leela Desai and Miss Leela (Chandragiri) formed a part of ” Same Name Confusion” pair, as both acted and sang in A grade films. Some others were, Leela Mishra (the eternal Leela Mausi), Leela Sawant, Leela Kumari and Leela Pawar. Later on came Leela Naiduand Leela Mehta also. Those who used their surnames faced no identity problem. As such Leela Sawant and Leela Pawar were actresses of B and C grade action films. Leela Mishra did roles of elderly persons and mothers from the very beginning.

However, Master Amritlal caused a lot of confusion with another same name film personality- Amritlal Naqgar. Master Amritlal was originally a stage and silent film artistes from Gujarat, who acted in 20 Talkie films. His first film was Vikram Charitra-1932 and his last film was Roop Nagar-1947 as an actor He sang 23 songs in 10 films from his film Vikram Charitra-32 uptoPagli Duniya-44.

The other Amritlal (Nagar) was a renowned author who spent his time in Hindi film industry from 1940 to1947, after which he went back to his original profession as writer. Here is what the Encyclopedia of Indian films says about him…..Amritlal Nagar ( 17-8-1916 to 23-2-1990). He was an extraordinary person. He handled almost every department of Literature-except perhaps Poetry and Autobiography. Short stories, Novels, dramas,travelogues etc etc were written by him During 1940 to 1947 period, he was in the film industry. He wrote stories, s/p, dialogues of as many as 20 films in Bombay , Kolhapur and Madras. He dubbed M.S.Subbulakshmi’s Tamil film ‘ Meerabai’ into Hindi. he also worked to translate Russian films like Zoya and Bukhara into Hindi. He won innumerable awards, including Padma Bhushan and Sahitya academy award. He was one of the very rare Hindi Literature stalwarts to work in the film industry for such a sustained period. As a Lyricist he wrote 33 songs in 4 films- Sangam-41, Kunwara Baap-42, Kisiko na kahna-42 and Raja-43.

Unfortunately, due to similarity in the first name, most people consider them as one person who acted, wrote lyrics, sang songs and wrote stories, dialogues and screen plays !

1943 was an year in which the II world war was in full swing. Both sides were almost equal. The effects of the war on India were… it faced the infamous Bengal Famine, caused by the war profiteering. Controls on film production were tightened by the Government. I.P.T.A. became operative with its first staged p0lay ‘ Nibanna’. Film Kismet became one of the biggest Hits ever. V.Shantaram’s Rajkamal Kalamandir debuted with Shakuntala, as did Mehboob with his film Najma. Government made showing of Newsreel before any film mandatory. Film Raj Nartaki’s english version The Court Dancer was exhibited in the USA, first time for an Indian film.

1943 produced 105 Hindi films, the highest number during the war years, 1939 to 1945. Many landmark and musical films appeared in this year giving a respite to the war torn audience of Indian Cinema. Let us take a look at some of these films.

Film Bhaichara had music by the only other ” Sursagar” musician – Himangshu Dutt ( the more well known being the singer Jagmohan Sursagar).

C.Ramchandra had his first musical hit with the film Bhakta Raj, made by Jayant Desai productions.

Gauri from Ranjit became Monica Desai’s first Hindi film in Bombay. It was a very successful film with songs by Khemchand Prakash, based on Bangla Folk tunes.

Kanan Devi gave some sweet songs in the film Hospital, under Kamal Dasgupta’s baton.

Bombay Talkies film Hamari Baat was the last film in which Devika Rani acted. Anil Biswas was the composer.

Music Director Khurshid Anwar brought Gauhar Sultana from Lucknow to sing some songs in the film Ishara. Naushad'[s musical film Kanoon had some good Suraiya and Shyam duets.

Film Kashinath was Nitin Bose’s last film in New Theatres, after he developed differences with B.N.Sircar.

Anil Biswas gave his career best musical Hit film ” Kismet”- the longest running film from Bombay Talkies.

Nurjehan’s musical film Nadaan was popular with songs from composer K.Datta. Director Mehboob made his first film Najma, under his own banner Mehboob productions.

Yet one more musical from Naushad- film Namaste.

At last a musical hit for composer S.N.Tripathi- Panghat from prakash Pictures. Rajkumari Shukla sang her only Hindi song in this film;. (the film was remade as Chitchor-1976).

Film Paraya Dhan had music by Bengal’s famous musician Gyan Prakash Ghosh. Deena Pathak sang her only 2 songs in this film as Deena Sanghavi.

Ghulam Haider makes merry again with Shamshad hit songs in the film Poonji from Pancholi, Lahore.

One more superhit film – Ram Rajya from Prakash Pictures had very good songs from composer Shankar Rao Vyas. Saraswati Rane gave 2 melodious songs. Yashwant joshi and Yashwant Nikam sang the famous song ” Bharat ki ek Sannari ki katha”. Ram Rajya had also a distinction as the only Hindi film that was seen by Mahatma Gandhi, on 2-6-1944.
( Before this, Gandhi had seen ” Mission to Moscow-43′ an English film, in Wardha, according to The Hindu (Kathmandu Ed.) dt.8-2-2010). The film had early songs by Manna Dey also.

Naushad in full swing with his 3rd Musical Sanjog, where Suraiya gave playback to Mehtab, the Heroine.

Vasant Desai gave excellent songs in the hit film Shakuntala by V.Shantaram.

Hospital– excellent songs by kanan Devi.

Kanoon– another hit from Naushad.

Mera Khwab– MD Ghulam Mohammed’s Debut film

Najma– Mehboob khan’s first film, on Muslim society.

Nurse– Gyan Dutt gave an excellent song of Rajkumari-‘ Vo gaye nahin’

Prithvi Vallabh– A big budget costume drama made by Minerva, based on the story of K.M.Munshi. It had songs by Minakshi Shirodkar.

Tansen– Saigal’s first film in Bombay. Khurshid matches him song by song.

Taqdeer– Nargis aka Baby Fatima debuted as an adult. However her name comes third in the credits, after Motilal and Chandramohan.

Compared to all this, the film Aage kadam-43 was nowhere in any field-story, music or Box office. The film cast included Motilal, Anjali Devi, Mubarak, Rajkumari Shukla, Padma Banerjee, Master Amritlal, Leela Pawar, Narmada Shankar etc. Heroine Anjali Devi was not the actress from the South,who entered Bollywood much later in the next decade. This was a different actress about whom I have written earlier. The director was N R Acharya.

Today’s song is a Fun Duet by Leela Pawar and Master Amritlal. The lady is urging her lover that he should stop smoking. She describes all the bad things of smoking and the Lover replies with his explanations, countering all her objections.


Song-Ho mat piyo morey chhaila (Aage Kadam)(1943) Singers-Leela Pawar, Master Amrutlal, Lyrics-Kailash Matwala, MD-Madholal Master and Ramchandra Pal

Lyrics

Ho mat piyo
ho mat piyo
ho mat piyo more chhaila
tambaaku re mat piyo
hey main to piyoon
hey main to piyoon
sun gori sajaniya ho o o
main to tambaaku piyun
sun gori saaniya ho o o
main to tambaaku piyoon
hey main to piyoon
hey main to piyoon

tum tambaaku jo piyoge
tum tambaaku jo piyoge
main naagan ban kar jaaungi
torey haath kabhi na aaungi
torey haath kabhi na aaungi

tu naagan ban kar jaayegi
main jogi ban kar aaunga
tu naagan ban kar jaayegi
main jogi ban kar aaunga
tujhe pungi se rijhaaunga
tujhe pungi se rijhaaunga

tum tambaaku jo piyoge
main Maachhaariya ban jaaungi
tum tambaaku jo piyoge
main Maachhaariya ban jaaungi
torey haath kabhi na aaungi
torey haath kabhi na aaungi

tu maachhariya ban jaayegi
main bagla ban kar aaunga
tu maachhariya ban jaayegi
main bagla ban kar aaunga
tujhe chonch mein le ud jaaunga
tujhe chonch mein le ud jaaunga

ho mat piyo
hey main to piyoon
ho mat piyo
hey main to piyoon

tum tambaaku jo piyoge
main jal jal kar mar jaaungi
tum tambaaku jo piyoge
main jal jal kar mar jaaungi
main maati mein mil jaaungi
torey haath kabhi na aaungi
tu maati mein mil jaayegi
ho o o ho o o ho o
tu maati mein mil jaayegi
to teri chilam banaaunga
tere dil mein
ho tere dil mein
hey tere dil mein aag lagaaunga
phir ??
phir ?? ho
phir ?? ka dhuaan udaaunga

ho mat piyo
hey main to piyoon
ho mat piyo
hey main to piyoon


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 :

5024 Post No. : 16932

‘Pyaar Ka Rishtaa-1973’ was directed by Sultan Ahmed for ‘Golden Films, Bombay’. It was produced by Tony Walker. It had Mumtaz, Sameer, Vinod Khanna, Shatrughan Sinha, Balraj Sahni, Nirupa Roy, Nadira, with Jayshree T., Malka, Randhir, Yunus Parvez, Master Ripple, Baby Deepali, Moolchand Kapoor, Master Ejaz and Chaman Puri and Johny Walker.

This movie was written by Mushtaq Jalili and editing of this movie was done by M.S. Shinde.

This movie was passed by Censor Board on 301.01.1973.

‘Pyaar Ka Rishtaa’ had total five songs that were composed by Shankar-Jaikishan. Mohd Rafi, Kishore Kumar, Asha Bhonlse and Sharda had given their voices to the songs in this movie.

The songs in this movie were penned by Shakeel Badayuni (who by the time of release of this movie had passed away on 20.04.1970). He wrote three songs for this movie and the two remaining songs were written by Indeevar.

Today 20th April’ 2022 is the fifty-second ‘Remembrance Anniversary’ of Shakeel Badayuni (3 August 1916 – 20 April 1970).

As a tribute to him I am presenting a song from the movie ‘Pyaar Ka Rishtaa’.

A per statistics on the blog Shakeel Badayuni had written lyrics for around 766 songs. Out of these 766 we have 644 songs covered on the blog.

I had not gone through these details earlier. I was under the impression that most of the songs written by Shakeel Saab had already been covered on the blog. But 122 songs pending is a big number. I wonder if all these remaining songs are available.

It would be interesting to go through the ‘filmography’ of Shakeel Badayuni to know the movies from which the songs are yet to be posted. (I hope to do it in the future as possible).

For today we have a song sung by Kishore Kumar and Asha Bhonsle which on screen is performed by Sameer (hope I am correct) and Mumtaz. Today’s song is a ‘chhed-chhaad & nok-jhonk’ type song.

Lyrics are by Shakeel Badayuni. And music is composed by Shankar-Jaikishan.

None of the songs composed by Shankar-Jaikishan featured in the annual list of ‘Binaca Geetmala-1973’. However, two songs composed by them one from ‘Aaj Ki Taazaa Kabhar-1974’ (mujhe meri biwi se bachaao) and one from ‘Chori Chori-1974’ (waastaa hi na jab rahaa tumse) appeared in the list of ’32 next rung songs’ of 1973 Binaca Geetamala.

Let us now listen to today’s song … and pay our tributes to Shakeel Badayuni …

Video


Song-O nakhrewaali (Pyaar Ka Rishta)(1973) Singers-Kishore KUmar, Asha Bhonsle, Lyrics-Shakeel Badayuni, MD-Shankar Jaikishan

Lyrics

o nakhrewaali ee
o o nakhrewaali ee
o de de
de de
de de
o dil mera aa
paagal deewaane ae
paagal deewaane ae
arey jaa jaa

naa
jaa jaa
naa
jaa jaa
naa
o nakhrewaali ee

meri jaan hai tujhpe bhaari
tere husn ki adaayein
na ye bojh le ke chal tu
tere paanv dukh naa jaayen
arey jaanwar
anaadi

aan
toone dekha mera sapnaa
haan haan
tujhe pyaar aur mujhse
zaraa munh to dho le apnaa aa
paagal deewaane ae
paagal deewaane ae
arey jaa jaa

aan
jaa jaa
aan
jaa jaa
aan
arey jaa jaa
o o nakhrewaali ee

ye haseen teri zulfein
mujhe inmein tu chhupaa le
arey itni berukhi kya
zaraa aankh to milaa le ae
mere saamne se hat jaa
badaa aaya ishqwaalaa aa
main mazaa chakhaa hi doongi
mujhe toone gar sataayaa
paagal deewaane ae
paagal deewaane ae
arey jaa jaa

nahin
jaa jaa
nahin
jaa jaa
nahin
arey jaa jaa
o o nakhrewaali ee

tere dil mein
main hi main hoon
teri mujhpe hain nigaahein
idhar aa
mere galey mein
zaraa daal de ye baahein ae
na milegaa zindagi mein
koyi tujhsa dheethh mujhko
tu hazaar kar khushaamat
tera dil na doongi tujhko o
paagal deewaane ae
ho paagal deewaane ae
arey jaa jaa

naa
jaa jaa
naa
jaa jaa
naa
arey jaa jaa
o o nakhrewaali ee
o nakhrewaali ee
ah de de
kya
de de
chal chal
o de de
hatt …
o dil meraa
paagal deewaane ae
o o nakhrewaali
aa aa aa
laa laa la laa
aa aa aa
aa aa aa
aa aa aa
hay


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 :

5000 Post No. : 16899

When one looks at the songs of Hindi movies, there are lots and lots of songs of the genre of feelings of heart” and “expression of love”. Going by the statistics of the blog, 46 % songs are “feelings of heart” and 25 % of all Hindi movie songs are “expression of love”.

An interesting and spicy version of the above mentioned genre of songs is “nok jhonk” songs or. They may be fewer in number, but they are great fun songs to listen to.

Another variation of such songs is “roothhna-manaana” aka “sulking-appeasing” song.

The blog so far has 61 “nok jhonk” songs that often take place between the lovers, who are often spouses. I had done some research in these songs and I had come to the conclusion that all the roothhna (on the past of the lady) lasts for 2 minutes and 30 seconds in a 3 minutes song, and the lady then relents in the slog overs of the match and then all is well. 🙂

Here is another “nok jhonk”cum “sulking appeasing” song. This song is from “Guru Dakshina”(1950).

“Guru Dakshina”(1950) was produced by Rajasthan Studios, Bombay. This is all the detail that is mentioned about this movie in HFGK.

The movie had eight songs in it. Two songs have been covered in the past.

This third song from the movie is sung by Trilok Kapoor (singer) and Prempal. Prempal is a female singer unlike what the name suggests. Sarshar Sailaani is the lyricist according to the uploader (Mr Girdharilal Vishwakarma, a renowned collector of records). Music is composed by Pt Lachchiram.

This is an interesting song. after the roothna-manaana on the part of the lady, it is the gentleman that sulks, and then quicky gets appeased just in the nick of time as the record time is coming to an end. 🙂


Song-Baalam se munh mod maad ke (Guru Dakshina)(1950) Singers-Trilok Kapoor, Prempal, Lyrics-Sarshar Sailaani, MD-Pt Lachchiram
Both

Lyrics

O baalam se mukh mod maad ke
prem ka naata tod taad ke
gehne kapde chhod chhaad ke
kaahe roothh chali ho gori
kaahe roothh chali
main chali shahar ke thhaane
rapat likhaane
mulzim ko saza dilaane

ho kaisa mulzim
ik Rajput ka bachccha
baat ka kachcha
jo kare mera dil chori
dikhlaaye seena jori
ab bhanwra ban ke kali kali ka
ghoome gali gali

o gori kaahe roothh chali

o o
kisne bhar diye tere kaan
kaun hai aisa beimaan
naam uska batlaao gori
yoonhi kaam na khaa
kyun batlaaun
kyun batlaaun ke nandu naai
usko batlaawe harjaai
sach kehta hai ?? baniya
tera baalam bada ??
teri aankh mein dhool daal ke
ghoome gali gali

o gori kaahe roothh chali

o rajput ki bachchi
kaan ki kachchi
?? se mera mair puraana
nandu ko mera karz chukaana
isi liye karte hain donon
baaten bhali buri
o gori kaahe roothh chali
chhod bhi do taqraar ki baaten
aao karen kuchh pyaar ki baaten
sun le chaukidaar ki baaten
aadhi aadhi raat gaye tu
ghoome gali gali

chaukidaar se mera pehra
gaaon ka numberdaar jo thhehra
chaukidaar ki dekh bhaal ko
ghoomoon gali gali
ho gori kaahe roothh chali
sach kehta hai
teri qasam main sach kehta hoon
pooch ?? jaaye
jo aur ko chaahoon
aao karen phir pyaar ki baaten
chhod ke sab taqraar ki baaten

uhoon
roz roz tu kare ladaai
roz kare meri ruswaai
ab main roothh chala
tumse roothhe meri bala
sach kehti hai
teri qasam main sach kehti hoon
tujhse mil ke khush rehti hoon

aao karen phir pyaar ki baaten
chhod ke sab taqraar ki baaten
aao karen phir pyaar ki baaten
chhod ke sab taqraar ki baaten


What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over FOURTEEN years. This blog has over 17400 song posts by now.

This blog is active and online for over 5000 days since its beginning on 19 july 2008.

Important Announcement

(© 2008 - 2023) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

Total number of songs posts discussed

17401

Number of movies covered in the blog

Movies with all their songs covered =1341
Total Number of movies covered=4685

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