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

Archive for the ‘Pankaj Mullick songs (as Singer)’ 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 :

4713 Post No. : 16419

Today’s song is from the film Adhikar-1938. Made at Calcutta by New Theatres, the film was directed by P C Barua, who also acted in the film’s both versions-Bangla and Hindi. The film title was the same in both. While the Bangla version released on 12-1-1939, the Hindi version was delayed and released on 21-10-1939.

In the early era of film making, right from the Silent films, Bombay was the most active and important film centre. Two local communities in Bombay were predominantly engaged in filmmaking. One was the Gujarati – who were shrewd businessmen who had an eye on the profits. The other local community was Marathis. Marathi people were poor in finance, bereft of business acumen, they were very good performers. So, they were inclined to acting, direction,production, Art direction, story writing, Music directions, singing etc. Everything and anything that did not involve finance or business !

This continued till the Talkie arrived. Then one more player joined in and that was Bengali community from Calcutta. They recognised the need to showcase their films on the All India platform to make their film industry viable. So, making Hindi films for the All India market started. The pioneers in Cinema in Bengal – the Madons had their own network of Cinema Theatres and after a while New Theatres too established their film distribution network in North, West and South India.

Bengalis were hardworking and intelligent in those days and so understood the mechanics of successful films.First thing that they did was to use established novels and stories from the Bengali literature to make films. The Madons had bought the rights of all the novels of Bankimchandra Chatterjee and the New Theatres followed suit by using Sharadchandra Chatterji and the rest of the famous writers. This made their film’s base strong. Secondly, they introduced their favourite and revered Rabindra Sangeet in film songs. To the Bombay audience, who was bored with classical and stage drama music, this was a welcome change. Thus, in the early years of Talkie films i.e. 1933 to almost 1945, Calocutta contributed substantially in making films popular and profitable.

Automatically, many Bangla artistes tried their hand at acting and Music making in Hindi films. Have you ever heard of these names ?
Radhacharan Bhattacharya, Motibabu, N R Bhattacharya, Shoolpani Mukherjee, S P Mukherjee, V V Ganguly, Niren Lahiri, Shivrani Ghosh, A C Biswas, Bhishmadev Chatterjee etc etc .

I am sure none of these names ring any bell in your mind. Simply because they are not famous Bangla names. Let me tell you that these are some names of Bangla Music Directors, who gave music to Hindi films in the 30s and 40s. The contribution of Bangla artistes in various fields of film making, especially Music composition and singing has been sizable. Over a period, with the emergence and strengthening of regional centres, the contribution started reducing and in a period of 20 years,it trickled to the minimum.

In the decade of the 30s Music Directors like R C Boral, Pankaj Mullik, K C Dey, Timir Baran, Anupam Ghatak and Anil Biswas contributed heavily by building the base of Hindi Film music. In the 40s it was Pannalal Ghosh, Kamal Dasgupta, Pt.Ravishankar and Ram Ganguly. In the 50s it was S D Burman, Salil Chaudhary and Hemant Kumar. In the 60s it was Robin Banerjee, in the 70s it was only R D Burman and in the 80s it was only Bappi Lahiri.

Similarly, among Singers too the initial high number came down over a period. To start with it was K C Dey, Anil Biswas, Ashok Kumar, Asit baran, Harimati Dua, Kalyani Das(real name Zareena), Kanan Devi, Pahadi Sanyal, Pankaj Mullik, Parul Ghosh, Maya Banerjee etc. Then came Ashima Banerjee, Geeta Dutt, Hemant Kumar, Jagmohan, Juthika Roy, Manna Dey, Ranu Mukherjee, Sandhya Mukherjee, Sailesh Mukherjee, Shankar Dasgupta, Subir Sen, Utpala Sen etc. In the 70 to 85 period it was mainly Kishore Kumar, Amit kumar, Aarti Mukherjee, Bappi Lahiri, Runa Laila, Kalyani Mitra, Pankaj Mitra, Sapan Chakravarty etc. After 85 the number was reduced to Shreya Ghoshal, Abhijeet, Babul Supriyo etc.
(All names are only indicative and not exhaustive).

Amongst the singers from Bengal, possibly Pahadi Sanyal acted in the maximum number of Hindi films-36. He sang 70 songs in 20 Hindi films, the rest were for only acting. His songs with Uma Shashi, Kanan Devi, Molina Devi and Sehgal were famous. Luku Sanyal-the English news Reader of early Doordarshan News was his daughter. Today’s film Adhikar-38 had music by Timir baran bhattacharya. The cast of the film was P C Barua, Jamuna, Menaka, Pahadi Sanyal, Pankaj Mullik, Jagdish Sethi, Bikram Kapooretc.etc. From the cast, Menaka Devi was a member of Same Name Confusion, as there was another Menaka-actress and singer- from Bombay in the same time period.

Menaka Devi (Calcutta Wali) was born in Varanasi on 23-1-1921. Her mother was a resident of the holy city although her father was from Bengal. She studied upto Matriculation. She could speak fluent English and Hindi, but not much of Bangla, having been raised in Varanasi. Her interest in music and dance took her to Bombay where she starred in a couple of films like Prince Thaksen (1929), Uttara Abhimanyu, Ishwar Ki Maut and others as a child artiste. When the Talkie started she acted and sang in Bhedi Rajkumar-34, Pyara Dushman-35 and Krishna Shishtai – 35.

Reportedly, she met the legendary film director Debaki Bose of Bengal during a train journey and he was so impressed by her that he decided to cast her in the lead role of his next venture in the Hindi version of the bilingual Sonar Sansar (1936 in Bangla and Sunehra Sansar-36 in Hindi) and thus began the illustrious career of Menaka Devi.

Her devotion to work was such that she learnt Bengali, her mother tongue although she was anything but fluent in it having spent all her life till then outside Bengal, so that she could play the same role (that of Alka) in the Bengali version also. Dhiraj Bhattacharya was her first hero on the screen. P.C.Barua, who was on the lookout for a young and fresh face to play Jharna in his forthcoming production Mukti (1937) selected her for both the versions ( Bangla and Hindi) and a flow started whereby she starred in films like Adhikar (1939), Abhigyan (1938), Bardidi (1939 in Bangla and Badi Didi in Hindi), Rajat Jayanti (1940) and others.

She decided to try her luck in Bombay around 1944 and starred in a few films there and definitely made her presence felt although playing the second lead most of the time. Kishore Sahu procured her services for Hamari Duniya (1952). She was married to Pannalal Shrivastav and had 1 daughter ( Jaya Ganguly). She turned producer also and this proved her undoing. Both her films as producer, Apna na Huye Apne (No information of this film,probably incomplete) and Jeene Do-48, both starring herself with prominent Bombay stars flopped.

She returned to Calcutta a broken woman and found to her dismay that roles were not coming to her. She joined the MG Enterprise, a drama group of Molina Devi and performed on the stage to continue to live as an actress. She even arranged magic shows along with husband Pannalal Srivastava while small roles came pouring in films like Ekti Raat (1956) and others. The feature that strikes even today while seeing her performance is the spontaneous nature of her acting. Why good roles eluded her is a mystery. She was last seen on the screen in Bhombal Sardar (1983). In all, she acted in 60 films-Bangla and Hindi together. She was in 19 Hindi films and sang 8 songs in 4 Hindi films.

Her end came on 22-1- 2004 after a prolonged fight not only against poor health but also poverty. Her death was reported only in one Bengali daily although news of her death received good coverage on television.

Here is a small note on Jagdish Sethi.

Jagdish Sethi was born on 15-1-1903 at Pind Dandan Khan (Campbellpore) in Punjab.

After matriculation in 1920, he graduated from Lahore. He was known as a fighter in college due to his dominating nature. He joined the film line as assitant cameraman in Punjab film company in 1928.

He went to Calcutta to work as an extra in New Theatres, came back to Bombay and worked in Alam Ara-31. He went back to New Theatres in 1933 and worked in films like President,Anath Ashram,Mukti, jawani ki reet,Ghar ki laaj etc.

He worked in about 85 films in his career. In Bombay he was famous as a person with changing moods. He did not have many friends. He worked in films made by Imperial, Amar Movietone, Maiden Films, New Theatres, Laxmi Productions (belonging to L V Prasad), Janak Productions, Filmistan etc etc. He started his own J.S.Productions and produced and directed films like Do Dil-47, Raat ki Rani-49, Jaggu-52 and Pensioner-54.

He amassed huge wealth. He was fond of Racing, Cards and Tennis. He was also a writer and published a book “Hichkiyan”-short stories on Film world.

He died on 12-6-1969.

Today’s song is sung by Pankaj Mullik, Pahadi Sanyal and Pratap Mukherji. The tune of today’s song is similar to one used in film Forty Days-1959 song of Asha-Manna Dey “Naseeb hoga mera meherbaan kabhi na kabhi”….MD-Bipin-Babul. Enjoy….


Song- Aish waalon se gareebi ki museebat na kaho (Adhikaar)(1938) Singers- Pankaj Mullik, Pahadi Sanyal, Pratap Mukherjee, Lyricist-Arzoo Lucknavi, MD- Timir Baran Bhattacharya

Lyrics

Aish waalon se gareebi ki museebat na kaho
Aish waalon se gareebi ki museebat na kaho
zakhm ki tarah hanso
haan zakhm ki tarah hanso
dard ki haalat na kaho
Aish waalon se gareebi ki museebat na kaho

sukh mein jo hain
unhen kya kadr (??)
paraaye jo thhaken
haan aan aan
sukh mein jo hain
unhen kya kadr (??)
paraaye jo thhaken
haan aan aan
haan haan
haan aan
?? se achcha hai ke haajat(??) na kaho
?? se achcha hai ke haajat(??) na kaho
Aish waalon se gareebi ki museebat na kaho

sabr kadva hai magar
haan aan aan
sabr kadva hai magar
sabr ka phal meethha aa hai ae
haan aan aan
haan
bhes badli hui ??aahat ko
??yat na kaho
bhes badli hui ??aahat ko
??yat na kaho
Aish waalon se gareebi ki museebat na kaho

Bhed khulta hai
bharam jaataa hai
hoti hai hansi
?? aane se hi ?? na kaho
?? aane se hi ?? na kaho
Aish waalon se gareebi ki museebat na kaho

aa aa aa
apne hi munh se
haaye ye apni hi tauheen
haan aan tauheen
aa aa aa aa
apne hi munh se
haaye ye apni hi tauheen
haan aan tauheen
sharm izzat ki agar hai
to museebat na kaho
gar museebat ki agar hai
to museebat na kaho
Aish waalon se gareebi ki museebat na kaho


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 :

4314 Post No. : 15596

The days were when gramophone instruments and radios used to be a luxury. People could (and would) listen to music and songs either at family functions and weddings where a gramophone player was part of the arrangements, or in cinema halls, or maybe at restaurants and corner shops. But then still, the awareness and popularity of the songs and the artists was evidently widespread. The gramophone records of popular songs would sell out briskly, and there are many cases of a 2nd, and a 3rd edition of records being released by the companies. Word of mouth was a strong method of spreading awareness, and people used to hum and lightly sing the popular songs as they went about their work. One reads about this phenomena in anecdotal references in newspapers and magazines – like such and such song being on the lips of ‘everybody’, or such and such song being played in every street and lane – ‘गली गली में बजता था’.

Just put on the imagination cap and visualize – the songs being hummed by the common people as they go about their work, in streets and market place, singing – “Piya Milan Ko Jaana”, or “Ye Kaun Aaj Aaya Savere Savere”, or “Chale Pawan Ki Chaal”, or “Tere Mandir Ka Hoon Deepak Jal Raha”, and other such wonderful creations – in the voice of one of the very first group of singers in this country that started being recognized and loved across the length and breadth of our land.

Remembering Pankaj Babu today, on the 116th anniversary of birth – 10 May, 1905.

A voice that is so uniquely impressive, a voice that appears to be emanating from the depths of a sublime creativity, the deep resonating bass that defies measure and replication. A voice that is so enmeshed with an equally deep understanding and awareness of what music is, and how it becomes a delight for the listeners.
A voice and creativity that was so genuine, so sincere; a voice that expressed itself with a perceivable authority, understanding and proficiency – so much so that Gurudev Rabindranath Tagore was so verily impressed by the composition and expression of this young artist that he immediately granted the requested permission to use Gurudev’s poetry and compositions for commercial cinema. In that accomplishment, Pankaj Babu is eminently instrumental in giving a unique personification to Rabindra Sangeet, and to take it beyond the borders of Bengal and make it a recognized genre across the entire country.

A career that is not defined by numbers, but more by the quality of his creative genius. Working with RC Boral at New Theatres, Calcutta he was instrumental in introducing to the world of cinema, such delightful sounds of singing – KL Saigal, Kanan Devi, Uma Shashi, Pahadi Sanyal, Suprova Sarkar, and more. Defining and establishing the methodology of off-line recording of music and songs, thus becoming the pioneer of playback singing. He was a music director, a singer, an actor, and a teacher – all rolled into one.

Yes, a career that is not defined by numbers. In that, a couple of days ago, I was almost at the verge of despair, being unable to locate a song by him to post today. Most of his songs in films, including the version songs of the film ‘My Sister’ (1944), and many of his non-film Hindi songs are already showcased here. But yes, I am able to locate another very beautiful non-film Hindi song to present today.

Lyrics of this song are from the pen of Pandit Bhushan. The music composition is by Pankaj Babu himself. Anecdotal information available tells that the orchestration arrangement was done by a musician named Francisco Casanova, who used to lead the band at the Grand Hotel in Calcutta. Here is a brief information about this gentleman, which I am able to locate from an article on Pankaj Babu, written by Shri N Venkatraman on the blog ‘Songs of Yore’. Regulars will know this as AK ji’s blog.

Francisco Casanova was a Spanish musician, conductor and composer. He could play the saxophone, flute and clarinet with equal deftness. He was a well-known performer, and on the occasion of the Olympic Games in 1924, he performed with his orchestra at the Champs-Elysées Theatre in Paris. In 1930 he came to India with his orchestra and performed in many cities. He chose to stay at Calcutta and was appointed the Principal of the Calcutta School of Music. He stayed in India till 1956. He was closely associated with Mehli Mehta, father of Zubin Mehta. In 1952, Casonova and Mehta assisted Yehudi Menuhin, when he came to India to perform. He was also a leading conductor of Calcutta Symphony Orchestra and the conductor of a Spanish band at one of Calcutta’s foremost hotels. Manohari Singh learnt the nuances of playing the key flute from him. It is also said that the orchestration to our National Anthem was by him!

Listen and enjoy this vintage voice, in a recording that surely is 70+ years young. 🙂

 

Song – Yaad Aaye Ke Na Aaye Tunhaari  (NFS – Pankaj Mullick) (1940s) Singer – Pankaj Mullick, Lyrics – Pandit Bhushan, MD – Pankaj Mullick

Lyrics

yaad aaye ke na aaye tumhaari
main tum ko bhool na jaaun
yaad aaye ke na aaye tumhaari
chhin chhin aawat waar tumhare
bin kaaran gaane gaaun
yaad aaye ke na aaye tumhaari

din jaaye chale jab tak jeeta hoon
raah chalte kabhi main aaj to aa pahunchun
din jaaye chale jab tak jeeta hoon
raah chalte kabhi main aaj to aa pahunchun
mukh pe tumhaare sukh ki pyaari
meethi hansi hi paaun
main isi liye bin kaaran gaane gaaun
yaad aaye ke na aaye tumhaari

jhadte hain phool phagun ke
phagun ke mahine mein
main tum se bida hota hoon
ik dard liye seene mein
jhadte hain phool phagun ke
phagun ke mahine mein
main tum se bida hota hoon
ik dard liye seene mein
din beetega aur hoga andhera
geet nahin goonjega
tham jaayegi beena
din beetega aur hoga andhera
geet nahin goonjega
tham jaayegi beena
jab tak tum raho aankhon mein
jam jam jee behlaaun
main isiliye bin kaaran gaane gaaun
yaad aaye ke na aaye tumhaari

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

याद आए के ना आए तुम्हारी
मैं तुमको भूल ना जाऊँ
याद आए के ना आए तुम्हारी
छिन छिन आवत वार तुम्हारी
बिन कारण गाने गाउँ
याद आए के ना आए तुम्हारी

दिन जाये चले जब तक जीता हूँ
राह चलते कभी मैं आज तो आ पहुंचूँ
दिन जाये चले जब तक जीता हूँ
राह चलते कभी मैं आज तो आ पहुंचूँ
मुख पे तुम्हारे सुख की प्यारी
मीठी हंसी ही पाऊँ
मैं इसी लिए बिन कारण गाने गाउँ
याद आए के ना आए तुम्हारी

झड़ते हैं फूल फागुन के
फागुन के महीने में
मैं तुमसे बिदा होता हूँ
इक दर्द लिए सीने में
झड़ते हैं फूल फागुन के
फागुन के महीने में
मैं तुमसे बिदा होता हूँ
इक दर्द लिए सीने में
दिन बीतेगा और होगा अंधेरा
गीत नहीं गूंजेगा
थम जाएगी बीना
दिन बीतेगा और होगा अंधेरा
गीत नहीं गूंजेगा
थम जाएगी बीना
जब तक तुम रहो आँखों में
जम जम जी बहलाऊँ
मैं इसी लिए बिन कारण गाने गाउँ
याद आए के ना आए तुम्हारी


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 :

4283 Post No. : 15530

—————————————————————————
Blog 10-Year Challenge (2010-2020) – Song No. 19
—————————————————————————

Regulars on the blog would be surprised to see my post covering a song from the forties or rather from the decade of ‘thirties’-1931-40.

My forte is the movies from the ‘seventies’. But, yes, I have from time to time shared songs from movies before the years of ‘seventies’ too.
As a music lover, I love the songs from the ‘golden period’ or ‘pre-golden period’ of Hindi cinema. I have a great admiration for the stalwarts of that era and a great fascination of the movies and songs of that era.

During my childhood days, I got to watch many movies of the ‘black & white’ era e.g. ‘Dillagi-1949’, ‘Dard-1947’, ‘Dulaari-1949’ etc. during the regular weekly screening of movies at our colony recreation club.

I don’t think I have ever watched a movie from the decade of 1931-1940. So, when I noticed this movie ‘Nartaki-1940’ falling under ‘blog ten year challenge’ of today 09.04.2020 I browsed its pending songs, and when I found that a song from the great Pankaj Mallick is pending to be posted, it was enough reason for me to share this song.

A few years back I got to watch a documentary on ‘New Theatres’ on ‘Doordarshan’ and I got to watch it more than once. The great Pankaj Mallick and songs sung by him have special place in my heart so I am more than happy to share this song here today.

HFGK Vol 1 1931-1940 mentioned this song in two versions (i.e. Male version and Female Version by Roop Kumari). The audio/video links of the song available were only for the male version sung by Pankaj Mallick or some mentioned them as Pankaj Mallick and chorus.

As the movie was available online, I decided to watch this movie. For me this is the oldest movie I have watched till date. And, for me, the current ‘situation’ makes it a special occasion and a very ‘special movie’ to watch and to remember as a ‘memory of these days’.

(Imagine what record I have created for me :). I have watched a movie released twenty-eight before I was born and I have watched a movie seventy-nine years after it was released. 🙂 (This movie was passed by the then Bengal Board of Censors on 18.12.1940).

After watching this movie, I can say that there is no female version sung by Roop Kumari for today’s song as mentioned in HFGK. (And I think this needs to be corrected in HFGK).

Coming back to the movies represented ten years back on this day we have the following songs represented on the blog on 09.04.2010 including a song from this movie ‘Nartaki-1940’;

Song Movie title-Year Remarks
Dene waala jab bhi detaa … Funtoosh-1956 All songs covered (08)
Dil mein hamaare kaun samaayaa… Adhikaar-1954 All songs covered (08)
Beqaraar hai koi Shama Parwaana-1954 All songs covered (11)
Prem ka naataa chhootaa Nartaki-1940 05 of 08 songs covered

So far, following songs from “Nartaki-1940” have been covered on the blog;

Song Posted On
Prem ka naataa chhootaa 09.04.2010
Madbhari rut jawaan hai 21.09.2011
Ye kaun aaj aayaa sawere sawere 15.03.2011
Aankh moond kar dhyaan 10.06.2011
Teri dayaa se ae daayee 12.10.2011

let us now enjoy this song for today …

(video) (Part-1)

Video (Part II)


Audio (Record version)

Song-Kaun tujhe samjhaaye (Nartaki)(1940) Singer-Pankaj Mullick, Lyrics-AArzoo Lucknow, MD-Pankaj Mullick

Lyrics
——————————-
Video (Part I)
——————————-

kaun tujhe samjhaaye moorakh
kaun tujhe samjhaaye
kaun tujhe samjhaaye moorakh
kaun tujhe samjhaaye

prem parikshaa(?)
ulte seedhe donon baan chalaaye
ae ae
bhed chhipaaye
marey ghut ghut ke
kahe to maaraa jaaye ae
bhed chhipaaye
marey ghut ghut ke
kahe to maaraa jaaye ae
moorakh
kaun tujhe samjhaaye
kaun tujhe samjhaaye moorakh
kaun tujhe samjhaaye

(conversation between the actor & actress, not included)

kaun tujhe samjhaaye moorakh
kaun tujhe samjhaaye
kaun tujhe samjhaaye moorakh
kaun tujhe samjhaaye

prem juaa aur laabh ki aasha
jo hai ye bhi jaaye ae ae ae
prem juaa aur laabh ki aasha
jo hai ye bhi jaaye ae ae ae
man maujan ki ulti Gangaa
jeeta daanv haraaye
moorakh
kaun tujhe samjhaaye ae

(song continues in the background as the actor & actress are shown walking together)

kaun tujhe samjhaaye moorakh
kaun tujhe samjhaaye
apni chaal badalnaa maanjhi
ee ee ee ee
apni chaal badalnaa maanjhi
mauj bhanwar naa sataaye
swarg ghaat ko jaati naiyya
narak pahunch na jaaye ae
swarg ghaat ko jaati naiyya
narak pahunch na jaaye
moorakh
kaun tujhe samjhaaye ae

———————————
Video (Part II)
———————————-

kaun tujhe samjhaaye moorakh
kaun tujhe samjhaaye ae
kaun tujhe samjhaaye moorakh
kaun tujhe samjhaaye ae
prem juaa aur laabh ki aasha aa
jo hai ye bhi jaaye ae ae ae
prem juaa aur laabh ki aasha
jo hai ye bhi jaaye ae
man maujan ki ulti Gangaa
jeeta daanv haraaye
moorakh
kaun tujhe samjhaaye ae

(dialogues, not included)

apni chaal badalnaa maanjhi
ee ee ee ee
apni chaal badalnaa maanjhi
mauj bhanwar naa sataaye ae
swarg ghaat ko jaati naiyya
narak pahunch na jaaye ae ae …

—————————————————-
(chorus) (record version)
—————————————————–
kaun tujhe samjhaaye moorakh
kaun tujhe samjhaaye
kaun tujhe samjhaaye moorakh
kaun tujhe samjhaaye
prem juaa aur laabh ki aasha
jo hai ye bhi jaaye ae ae ae
prem juaa aur laabh ki aasha
jo hai ye bhi jaaye ae ae ae
man maujan ki ulti Gangaa
jeeta daanv haraaye
moorakh
kaun tujhe samjhaaye ae

prem parikshaa (?)
ulte seedhe donon baan chalaaye
ae ae
prem parikshaa(?)
ulte seedhe donon baan chalaaye
ae ae
bhed chhipaaye
marey ghut ghut ke
kahe to maaraa jaaye ae
bhed chhipaaye
marey ghut ghut ke
kahe to maaraa jaaye ae
moorakh
kaun tujhe samjhaaye

apni chaal badalnaa maanjhi
ee ee ee ee ee ee ee ee
apni chaal badalnaa maanjhe
mauj(?) bhanwar naa sataaye
swarg ghaat ko jaati naiyya
narak pahunch na jaaye ae
swarg ghaat ko jaati naiyya
narak pahunch na jaaye ae
moorakh
kaun tujhe samjhaaye ae
kaun tujhe samjhaaye moorakh
kaun tujhe samjhaaye


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

Blog Day :

4171 Post No. : 15345 Movie Count :

4230

Hindi Songs in Bangla Films – 13
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‘Monihar’ (‘Jeweled Neckless’, 1966, Bangla film) was directed by Salil Sen. The main cast included Soumitra Chatterjee, Biswajeet, Sandhya Roy, Kamal Mitra, Pahadi Sanyal, Chhaya Devi etc. The film is available on a video sharing site with English sub-titles. The film belongs to the genre of the musical family drama and is about two brothers who share a cordial relationship yet there are misunderstandings regarding the financial matters as well as their likings for the same girl. Yet there is no villainous attitude towards each other. And this is the highlight of the film. This is one more among Bangla films which has got the theme of declining influence of aristocracy in Bengal during the British rule. The gist of the story of the film is as under:

Ajay (Soumitra Chatterjee) and Arun (Biswajeet) are two brothers belonging to an aristocratic family who stay with their widowed mother. The family’s financial position is not good. Except for a huge palace and some business ventures which are running at losses, they have almost nothing to indulge in aristocratic life style. Ajay being the elder, looks after the family business. He is also a good trained singer under the tutelage of an Ustad (Pahadi Sanyal). Arun, the younger one has gone to Calcutta (Kolkata) for higher study to become a doctor.

The mother, before her death, had taken an assurance from Ajay the he would look after Arun in the same way as she would have looked after him. She also hands over a ‘monihar’ (jeweled necklace) to Ajay for her prospective wife whenever he gets married as this has been passed over three generation to the eldest daughter-in-law in the family.

Due to losses in business, Ajay finds it difficult to meet the expenses of Arun. He takes loans from a moneylender who eyes his palace in case he fails to repay the loan. Over a period of time, he had to sell his investments in losses and also the family jewelries to repay the loan to the moneylender. Arun is aware of the financial conditions of the family but Ajay tells him to concentrate on his studies and leave the financial matters to him.

As a part of improving his financial position, Ajay takes to teaching music with a pseudo name, Kumar and one of the students is Bandana (Sandhya Roy) whom he likes for her good singing. But before that Bandana has met Arun in a picnic and both fall in love. All the three – Ajay, Arun and Bandana are unaware of these developments. In the meanwhile, due to his popularity as a singer and the music teacher, Ajay’s financial position improves.

During one of his occasional visits, Arun comes to know that Ajay has sold family assets without consulting him. But he is not aware that Ajay has sold them mainly to take care of Arun’s education. This create some misunderstanding between the two brothers. Also, during his musical training to Bandana, Kumar ( who in reality is Ajay) had given to her monihar as a token of his blessing. When Arun see Bandana with monihar, he thinks that Ajay has sold monihar to Kumar for raising money. The monihar also creates misunderstanding between Arun and Bandana as he thinks that Bandana loves Kumar.

In the meanwhile, Ajay is sick and also to avoid further misunderstanding with his younger brother, he transfers all his assets in the name of Arun and decides to leave the house forever. However, the call of his mother for the responsibility of Arun brings him back to his house. The explanations from Ajay and also from Bandana’s parents about the monihar, clear all misunderstandings and Arun gets married to Bandana.

‘Monihar’ (1966) had 9 songs of which one song was in Hindi. The highlight of remaining 8 Bengali songs was that Lata Mangeshkar sang for Sandhya Roy, Hemant Kumar sang for both Soumitra Chatterjee and Biswajeet. One dance song was sung by Suman Kalyanpur.

I am presenting the only Hindi song from the film ‘piya bin nis din roun saheli’. I was pleasantly surprised to find that this song was rendered by the great maestro Pankaj Mullick who lent his voice for Pahadi Sanyal in the film. In fact, the film starts with this song. I was under the impression that Pankaj Mullick had no occasion to sing filmy songs in Hindi after ‘Kasturi’ (1954). Probably, this song may be his last filmy song in Hindi. The song is available only on sound track and no gramophone record of the song seems to have been issued. Mp3 clip of the sound track of the song is now available on SAREGAMA for sale. The song was penned by Kaifi Azmi which was set to music by Hemant Kumar.

It is a lovely song. Pankaj Mullick sings in almost the same resonance as he used to sings in the 1940s.

Video Clip:

Audio Clip:

Song-Piya bin nis din roun saheli (Monihar)(Bangla)(1966) Singer-Pankaj Mullick, Lyrics-Kaifi Azmi, MD-Hemant Kumar

Lyrics

aa aa aa aa aa
piya bin nis din roun saheli
piya bin nis din roun saheli
piya bin nis din roun saheli
piya bin nis din roun saheli

o o o
mann ki paheli sab jag boojhe
mann ki paheli sab jag boojhe
kisko bujhhaaun tan ki paheli
piya bin nis din roun saheli

o o o
kajara ko tarase kaare naina
kajara ko tarase kaare naina
mehndi ko tarase gori hatheli
piya bin nis bin roun saheli

o o o
pi ko bulaaun dhoondhan jaaun
pi ko bulaaun dhoondhan jaaun
kaise bitaaye roun akeli
piya bin nis din roun saheli
piya bin nis din roun saheli ee ee ee


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

This article is his 600th writeup in the blog.

Today’s song is from film Aandhi-40. The film was directed by Dinesh Ranjan Roy, music was by K.C.Dey and this song is sung by Pankaj Mallik and Radha Rani.

There is a reason why I selected this song. I wanted a song sung by Radha Rani, so that I get an opportunity to settle the issue of multiple Radha Ranis. ” Same name confusion ” is very common in the world of Hindi cinema. Luckily, the confusion existed only between 1931 and 1960. There are many many cases of same name Directors, Music Directors, Singers and Actors. Information on all names is extremely difficult to come by. Still I managed to write on 15 pairs of Same name Artistes in 3 articles and tried to clarify the confusions.
Read more on this topic…


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

“Anjangarh”(1948) was directed by Bimal Roy for New Theatres, Calcutta. This movie had Bipin Gupta, Ajay Kumar, Hiralal, Sunanda Devi, Rama Indu, Parulkar, Bhupendra Kapoor, Tulsi Chakraborty, Asit Sen, Jahar Roy etc in it.
Read more on this topic…


This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Forgotten Melodies of the 1940s – 35
————————————–
I had never heard of the film AANDHI (1940) until I came across a couple of mp3 audio clips of the songs from the film. It was more surprising for me when I came to know that the film was from the stable of New Theatres Ltd. Of course, the film was produced under the banner of Associated Productions Ltd, probably an associate or subsidiary of the New Theatres. The film was directed by Dinesh Ranjan Das, a name I heard for the first time. The star cast included Pankaj Mullick and Mollina Devi in lead roles supported by Nemo, Shreelekha, Manjari, Muzamil, K C Dey etc.
Read more on this topic…


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

“Dharti Mata”(1938) was directed by Nitin Bose for New Theatres, Calcutta. The movie had K L Saigal, Jagdeesh Sethi, Kamlesh Kumari, Nemo, Nawab, K C Dey, Uma Shashi, Vikram Kapoor, Shaam Laha etc in it.
Read more on this topic…


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

I am discussing Pankaj Mullick songs these days and now I find that I have discussed almost all the movie songs composed by him barring a few rare ones. So now I only have his NFS left to discuss.
Read more on this topic…


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

“Yatrik”(1952) was directed by Kartik Chatterji for New Theatres, Calcutta. This movie had Basant Chaudhary, Tulsi Chakraborty, Abhi Bhattacharya, Shishir Batavyal, Nitish Mukherji, Gaurishankar, Lalit Chatterji, Natwar, Kamal Mishra, Manoj Chatterji, Keshto Das, Arundhati Mukherji, Maya Mukherji, Molina Devi, Rajlaxmi, Manorama, Ashalata, Maya Bose, Vandana Devi, Roma Devi, Kanaklata, Mukul Jyoti, Protima Bose, Jayshree Sen etc in it.
Read more on this topic…


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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 THIRTEEN years. This blog has over 16400 song posts by now.

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