Archive for the ‘Parul Ghosh songs’ Category
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This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5201 | Post No. : | 17184 |
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Blog 10-Year Challenge (2012-2022) – Song No. 113
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Ten years back on this date viz on 14th October 2012, five songs from five different movies were covered on the blog. Here are the details:-
| Blog post number | Song | Movie (Year) | Remarks |
|---|---|---|---|
| 6851 | Aaj sahi inkaar magar kal karna hoga pyaar | Zalzala(1952) | Movie YIPPEED by now |
| 6852 | Kisne chheda man ka taar | Tohfaa (1947) | 8 songs covered out of 10 by now |
| 6853 | Ham tumhaare hain zara ghar se nikal kar dekh lo | Chalti Ka Naam Gaadi(1958) | Movie YIPPEED by now |
| 6854 | Main hoon Mr John | Naach Ghar(1959) | Movie YIPPEED by now |
| 6855 | Na chaand ho na suraj ho | Jaadugar Daaku (1962) | 3 songs covered out of 6 by now |
We can notice that three movies (out of five) whose songs were covered on this date ten years ago (14 october 2012) have since been YIPPEED in the blog. That leaves us with two movies that have a few songs left and so they are still eligible for Blo Ten Year Challenge today (14 october 2022).
“Tohfa”(1947) is one such movie.
“Tohfa”(1947) was directed by Aghajaani Kashmiri for Seth Brothers Productions, Bombay. The movie had Nawab, Veera, Anuradha, Rehman, Mishra, Basant Malini, T N Charlie, Agha Mirza, Masih, Shakuntala, Pushpa, Baby Janet, Anita etc in it.
The movie had ten songs in it.Eight songs from this movie have been discussed in the past.
Here is the ninth song from the movie. This song was sung by Parul Ghosh (described as Shrimati Ghosh in HFGK). Aarzoo Lucknowi was the lyricist. Music was composed by M A Rauf Osmania.
Lyrics of the song and other details were sent to me by Prakashchandra.
Only audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of this rare song.
Song-Kabhi tarsi hui aankhon ki hasrat chhup nahin sakti(Tohfa)(1947) Singer-Parul Ghosh, Lyrics-Aarzoo Lucknowi, MD-M A Rauf Osmania
Lyrics(Provided by Prakashchandra)
Kabhi tarsi hui aankhon ki hasrat
chhup nahin sakti
parakhne waali nazron se
haqeeqat chhup nahin sakti
chhupaao laakh pardon mein
muhabbat chhup nahin sakti
chhupaao laakh pardon mein
muhabbat chhup nahin sakti
zamaana chaahe jitni door
pahuncha de
juda kar keh
muqaddar bhi ??
jitni hi deewaaren khadi kar de
samaai ho jo aankhon mein
wo soorat chhup nahin sakti
samaai ho jo aankhon mein
wo soorat chhup nahin sakti
jo dil mein ho shuru se hai
shikan aati hai maathhe par
banaawat ki hai ??
?? ne keemat ??
kisi soorat tadapte dil ki haalat
chhup nahin sakti
kisi soorat tadapte dil ki haalat
chhup nahin sakti
na kat’te aankh mein ??
?? lagaawat mein
kali daali mein ho
?? khushboo ??
chaar gulshan mein
adaawat chhup bhi sakti hai
muhabbat chhup nahin sakti
adaawat chhup bhi sakti hai
muhabbat chhup nahin sakti
Tum hi sab kuchh ho meri maa
Posted on: May 8, 2022
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5042 | Post No. : | 16953 |
Today’s song is from the film Devadasi-1945.
The custom of Devdasi has been in India since the 6th Century. Devdasi means- a female artiste dedicated to the worship and service of God in Temples or a Deity for life. She is said to be married to God. (sounds similar to Nuns in Christian Churches, who are also supposed to be married to God). These Devdasis learned the art of dance and music. Initially their status in the society was very high during the period from the 6th century to 13th century. Devdasis used to be quite rich too, due to large donations and gifts from the kings and the Royalties. However, later on Devdasis were used for personal purposes by the Nobles and the kings and their status became worse than prostitutes. They became poor and dependent on their patrons. They bore children too. Their daughters became traditionally Devdasis again.
The British brought the ” Devadasi protection Act” in 1934. However the Devdasis continued to be used unabated. The system continued like other social ills like Dowry system and Child marriage etc. After independence, all state governments made laws abolishing Devadasi custom, but even now – after 75 years of independence -this custom is followed in villages in some or the other form.
Unlike the other social ills, not many films were made on the plight of Devdasis. I found only 1 film -today’s film- on this subject. A film on similar subject was ” Jogan”-1950, but not on Devdasi custom. Pity that Indian filmmakers opted for several versions, in all Indian languages, to make films on Devdas, but none on Devdasis ! So much for Women’s Emancipation !
Film Devadasi-45 was made by New Maharashtra Productions. It was directed by C.S.Bose and the music was by the first blind composer-K.C.Dey. The 11 songs were written by Narottam Vyas. Except prithviraj Kapoor, majority of the cast and singers were Bangla artistes. The other cast members were Monica Desai, K C Dey, Vikram Kapoor, Suman, Kamla, Dar Kashmiri, Prasannat Kumar etc.etc.
The heroine Monica Desai (sister of actress Leela Desai) was talented and an interesting person. Her entry into Bombay’s Hindi films, courtesy Kidar Sharma, was sensational but strange enough to put the owners of Ranjit and her Mentor Kidar kapoor on the edge of anxiety !. It so happened that…..
For film Gauri-1943 Kidar Sharma insisted to Ranjit owners that the Hero’s role of Khumar- the Idol Maker be done only by his friend Prithviraj kapoor. His name was of course agreed upon. However, Goharbai queried as to who Sharma had in his mind to do the sensitive Heroine’s role. Sharma ji replied that he needed someone who looked fresh and innocent. He asked for some time. Actually he had thought of Monica Desai- the younger sister of famous actress Leela Desai. Monica worked as a school teacher in Calcutta. She had done a small role in his film ‘ Chitralekha’-41. In those days Sharma was impressed with her and had assured her that when he gets stabilised as a Director and has a suitable script, he will give Heroine’s role to Monica.
Next day, Sharma ji told Chandulal Shah about her selection. Chandulal had confidence in his judgement. The big hearted Shah gave Rs. 5000/- to Sharma to send to Monica for coming to Bombay comfortably in First Class. Kidar Sharma sent the money to her and asked her to travel only by First class to Bombay, to get down at Dadar, keep the luggage in Cloak room and freshen up in the waiting room. She was asked to wear a silk saree also. Sharma asked her if she understood all the instructions and she confirmed. She was to visit Ranjit Studios at 2.30pm, when Sharma would introduce her to Sethji.
On the afternoon of her arrival day, the Shah couple and others waited anxiously for Monica’s arrival. In the afternoon, Monica arrived at the gates of the studio looking tired and untidy, along with all her luggage. Seeing her, Chandulal became nervous, but asked Sharma ji to arrange for her stay and food etc. Chandulal Shah was not only upset with Monica’s looks but also annoyed. Still without commenting, he left the studio immediately with Goharbai. Sharma as well as Prithviraj felt humiliated with the foolish Monica who came to the studio, not following Sharma’s instructions. This she did to save some money, but put everyone in an awkward situation. Anyway, Sharma made her staying etc arrangements.
Next day, Chandulal called him to his office and said that he will continue making film Gauri, as promised, but he will not participate in any shootings, recordings or other matters till the film is completed. He will, however, see the finished movie before it goes to Censors. It was too obvious that both the Shahs were upset about the ordinary looking and childish, immature Monica as Heroine.
Kidar Sharma gulped all this quietly and started work on the film quickly. The team went to Calcutta also and came back. When the film was completed, Sharma invited Chandulal and Goharbai to see it. Actually whenever such a preview was done all other Directors of Ranjit also attended it, but this time there were only the two of them-Chandulal and Goharbai. The entire team of the film was also present. Sharma had known that when Chandulal did not like the film, he usually abused loudly and sometimes even threw his chappals at the screen. With bated breath, Sharma showed him the film Gauri and waited for his reactions, expecting fireworks. Instead, Chandulal and Goharbai left the room and went to their office. Everyone,including Sharma was sure that Sharma has to leave the company now.
With great courage, Sharma went to their office to know their opinions. To his great surprise, Chandulal dug into his pocket and removed whatever money was there and gifted it to Sharma. He said,” this is my gift to you for making a sublime movie.” Gohar too appreciated it heartily. Both of them were spellbound with Monica’s performance. Shah offered Monica a 3 year contract, furnished house and a new car with a driver etc. Shah also increased Sharma’s salary to Rs.5500/pm.
Thus Monica Desai’s first film was a great success. ” GAURI” was a winner. Kidar Sharma was the winner.
One film old Heroine Monica Desai- was called from Calcutta by Kidar Sharma. He knew her well earlier,from Calcutta.
Monica Desai was a famous Indian actress during the 1930’s and 40’s. She was the daughter of Dr. Umedram Lalbhai Desai and Satyabhama Devi, a well-known musician of the early 20th Century. Her father was a Gujarati, and her mother hailed from Bihar. Her father who was a reputed Doctor of that period died in the year 1930.
Monica Desai first worked for Bangla movie ‘Nimai Sanyasi’ which was released in the year 1940. She was an actress who represented the era of upcoming character actresses like Leela Mishra, Ram Dulari, who made debut along with her and later ruled the Indian screen.
Monica Desai acted under the direction of Phani Majumdar and Kidar Nath Sharma. She did not concentrate much on acting as she got married to Phani Majumdar, a pioneering Indian film director, who worked in Hindi cinema. Phani Majumdar is known for Meena Kumari’s classic films ‘Aarti’ (1962) and ‘Oonche Log’ (1965). Monica Desai had a sister named Leela Desai, who was a renowned actress in Hindi and Bengali cinema. Leela Desai has even acted in the film ‘Kapal Kundala’ (1939) directed by Phani Majumdar. After completion of the venture, Phani Majumdar married Monica Desai.
Monica acted with Prithviraj Kapoor in her career, in the film Gauri. ‘Gauri’ was an Indian Bollywood film that was the seventh highest grossing Indian film of 1943 and this established Monica Desai as an actress. Later, she featured in a film ‘Devdasi’ as a heroine that was also among the top seven grossing films at the Indian box office in 1945. She appeared in the film ‘Chitralekha’ which was the second-highest grossing Indian film of 1941, in this movie, she portrayed the character of Yashodhara.
This film also was a debut film for actor Bharat Bhushan, who later achieved fame with ‘Baiju Bawra’ (1952). Monica Desai had also acted with a legendary actor and singer K. L Saigal.
Monica worked in only 9 Hindi films- Qaidi-40, Chitralekha-41, Bhakta Surdas-42, Gauri-43, Bhanwara-44, Lakharani-45, Devdasi-45, Rangeen Zamana-48 and Vikram Shashikala-49.
One name Dar Kashmiri appears in the cast. He was the eldest brother of actor Jeevan (Narad roles and later on comic villain roles). When Jeevan came to Bombay he was called O.K.Dar. Since some confusion arose between these names, here is the explanation to clarify. Om Prakash Dar was born into a large family, he had 23 siblings. His grandfather was the Governor of Gilgit in Gilgit-Baltistan. He lost his father when the youngest- Jeevan- was 3 years old and his mother died at childbirth. Being the eldest,he came to Bombay in search of jobs and entered films. Instead of his original long name,he was called Dar Kashmiri.
Actually, When Jeevan came to Bombay in search of film roles, Om Prakash Dar aka Dar kashmiri, his elder brother, was already working in films. Jeevan appeared for the first time in Fashionable India-35. Since his name was Onkar nath, he was billed as O.K.Dar (and not Dar kashmiri-please note).
His elder brother Dar Kashmiri worked in some films like –
Noor Mahal-34, Watan parast-34, yaad rahe-40, Abla-41, Saugandh-42, Angoori-43, Naya Tarana-43, Devdasi-45, Room No.9-46, Hua savera-48, Kundan-55 and Ayodhyapati-56. and many other films. Every film, he was billed as Dar Kashmiri only.
Jeevan was billed as O.K.Dar (Jeevan) from film Romantic India-36 onwards and then on as Jeevan only-except still a few films where he was billed as O.K.Dar(Jeevan).
In the film Patit pawan-1955, both brothers acted and they were individually billed as Jeewan and Dar Kashmiri. This settles their name issue completely.
Here is the second song from the film Devadasi-45, sung by Parul Ghosh.
Song- Tum hi sab kuchh ho meri maa Main aur kisi ko nahin jaanoon (Devdasi)(1945) Singer- Parul Ghosh, Lyricist- Narottam Vyas, MD- K C Dey
Lyrics
Tum hi sab kuchh ho
meri maa
main aur kisi ko nahin jaanoon
main aur kisi ko nahin jaanoon
meri maa
main aur kisi ko nahin jaanoon
tum hi sab kuchh ho
bin rain magan man tum mein
bin rain magan man tum mein
main aur na koi sukh maanoon
meri maa
main aur kisi ko nahin jaanoon
ek tumhi to ?? mein hamne
ek tumhi jag ke rab ne
sone mein sab mein(?)
ek tumhi jab ?? rab ne to ?? mein
jidhar dekhti udhar tumhi ho
jidhar dekhti udhar tumhi ho
aur kya gun main bakhaanoon
meri maa
main aur kisi ko nahin jaanoon
?? aankhon ke anjan
?? ke bol tum
kaanon ke kundal
?? gahne aankhon ke anjan
baani ke bol sun kaanon ke gunjan
tumhen chhod sab saare jagat mein
main nahin kise pahchaanoon
tumhen chhod sab saare jagat mein
main nahin kise pahchaanoon
main aur kisi ko nahin jaanoon
meri maa
main aur kisi ko nahin jaanoon
tum hi sab kuchh ho
meri maa
main aur kisi ko nahin jaanoon
main aur kisi ko nahin jaanoon
meri maa
main aur kisi ko nahin jaanoon
tum hi sab kuchh ho
Hamko kyun dushman samajhte ho
Posted on: October 8, 2021
This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4830 | Post No. : | 16610 |
“Nai Maa”(1946) was directed by K J Parmar for Prakash Pictures, Bombay. This obscure movie had Jeewan, Ranjana, Rajkumari , Baby Madhuri etc in it.
The movie had eight songs in it. One song has been covered in the past. That song was discussed in 2013.
Now, after the passage of more than 8 years, here is the second song from “Nai Maa”(1946) to appear in the blog. The song is sung by Parul Ghosh. Ramesh Gupta is the lyricist. Music is composed by Hanuman Prasad.
Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of this song.
Song-Humko kyun dushman samajhte ho (Nai Maa)(1946) Singer-Parul Ghosh, Lyrics-Ramesh Gupta, MD-Hanuman Prasad
Lyrics
humko kyun
humko kyun dushman samajhte ho
tumhen kya ho gaya
haaye ummeedon ke jagte hi
muqaddar so gaya
zindagi ke haaye ab to
sab sahaare chhoot gaye
hum bharose ki tarah se
mai kisi ke lut gaye
ab khushi ka geet bhi
gham ka taraana ho gaya
ab khushi ka geet bhi
gham ka taraana ho gaya
apne haathon hi bandhe hum
zulm ki zanjeer mein
zulm ki zanjeer mein
thokaren khaana hi likha
thha meri taqdeer mein
thha meri taqdeer mein
tumne aankhen pher lin
dushman zamaana ho gaya
tumne aankhen pher lin
dushman zamaana ho gaya
humko kyun
humko kyun dushman samajhte ho
tumhen kya ho gaya
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
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Blog Day : |
4774 | Post No. : | 16524 |
Today, August 13, 2021 is the 44th Remembrance Day of a playback singer who was associated with the historic moment in the Indian film industry when for the first time, a system of playback singing was introduced in the film ‘Dhoop Chhaaon’ (1935)/’Bhaagya Chakra’ (Bangla). Yes, the playback singer is Parul Ghosh, one of the first three female playback singers – other two being Suporva Sarkar and Harimati Dua.
I am not sure as to how many of the Hindi film music lovers of the present generation have heard of Parul Ghosh as a playback singer. Or how many are aware that she was the sister of Anil Biswas, the ‘Bhishma Pitamaha’ among the Hindi film music directors and the wife of Flute maestro, Pandit Pannalal Ghosh. The main reason for her name being not known to the present generation is that Parul Ghosh had a short stint as a playback singer and that too in the 1940s during which time, she sang very close to 100 songs.
Parul Ghosh (1915 – 13/08/1977) was born in Barisal (now in Bangla Desh). She was the second child among three in the family, the first being Anil Biswas and the last being Sunil Biswas. Her mother, Satyabhama Biswas was a classical singer and a kirtankar. In 1924, Parul Ghosh got married to Pannalal Ghosh, a close friend of Anil Biswas. At the time of the marriage, Parul Ghosh was 9 and Pannalal Ghosh was 13.
Sometime in 1930, Anil Biswas shifted his base to Kolkata. Pannalal Ghosh and Parul Ghosh also fallowed him. While Anil Biswas was employed in Hindustan Recording Company as a singer and composer, both Pannalal Ghosh and Parul Ghosh were employed in New Theatres (NT) as the musician and singer, respectively. It is said that while working with NT, Parul Ghosh sang some Bangla film songs. To devote more time on his first love, flute, Pannalal Ghosh shifted to Mumbai along with his family in 1940. At that time, Bombay Talkies was conducting audition for new playback singers. Parul Ghosh also went for audition and got selected.
In Mumbai, the playback singing career of Parul Ghosh started in the right earnest. At that time, the top-most female playback singers like Amirbai Karnataki, Shamshad Begum, Zohrabai Ambalewaali, Zeenat Begum etc came from the family of professional singers. On the other hand, Parul Ghosh was first a house-wife then a playback singer. It took some time for her to create a space for herself in the midst of the top playback singers of that time.
After singing a couple of songs in ‘Kanchan’ (1941) and ‘Mala’ (1941) which failed at the box office front, Parul Ghosh sang as many as 8 songs in Bombay Talkies’ ‘Basant’ (1942) under the music direction of her brother, Anil Biswas. {For the reason of the contractual obligation, Pannalal Ghosh was credited as the music director for the film). The film was a hit and its songs became very popular.
In ‘Basant’ (1942), Shanti Sudha Ghosh, the elder daughter of Parul Ghosh also sang two solo songs for Baby Mumtaz (Madhubala) thus making her probably the first female child play-back singer of Hindi films. Also, this may probably be for the first time that two mother-daughter version songs were sung in the film. Shanti Sudha Ghosh rendered two songs for Baby Mumtaz which were also rendered by her mother, Parul Ghosh for Mumtaz Shanti in the film. These two songs are hamko hai pyaari hamaari galiyaan and mere chhote se man mein chhoti si duniya re.
Following the success of ‘Basant; (1942), Parul Ghosh sang 5 songs for Devika Rani in ‘Hamaari Baat’ (1943) under the music direction of Anil Biswas and 5 songs for Protima Dasgupta in ‘Namaste’ (1943) under the music direction of Naushad. In musical blockbuster film, ‘Kismet’ (1943) in which songs of Amirbai Karnataki dominated, Parul Ghosh sang only one song, papeeha re mere piyaa se kahiyo jaaye which became very popular.
In ‘Sawaal’ (1944). Parul Ghosh sang 5 songs under the music direction of her husband, Pannalal Ghosh. In this film, I liked the ghazal, aaj pehlu mein dard sa kya hai, rendered by her. In ‘Jwaar Bhaata’ (1944), Parul Ghosh sang as many as 8 songs under the music direction of Anil Biswas. One of her best songs in this film was bhool jaana chaahti hoon. In ‘Milan’ (1946) she rendered a beautifully raaga-based song, suhaani beriyaan beeti jaayen. Parul Ghosh rendered 4 songs for ‘Tohfa’ (1947) under the music direction of M. A. Rauf Osmania. She has beautifully rendered an emotion-filled ghazal, hamne tumne kiyaa thha jo aabaad.
Sometime in 1947, due to domestic compulsion, Parul Ghosh reduced her playback singing assignments and chose the life of a house-wife looking after her two daughters and her husband. She sang for the last time as a playback singer in ‘Andolan’ (1951) under the music direction of her husband, Pandit Pannalal Ghosh. This was also the last film for Pannalal Ghosh as a music director. From 1955-60, the family stayed in Delhi after Pannalal Ghosh took up the job as a Composer and Director of All India Radio, Delhi Vadhya Vrinda (Orchestra).
I have been able to collate songs rendered by Parul Ghosh, from the various sources which works out to 95 songs in 33 films. As expected, she sang the maximum number of her songs (30) in 7 films under the music direction of her brother, Anil Biswas.
Parul Ghosh faced a series of tragedies after she withdrew from playback singing. In 1951, her second daughter, Noopur died of small pox when she was around 2 years. In 1960, her husband, Pandit Pannalal Ghosh suddenly died of heart attack at the age of 48. Shanti Sudha, her elder daughter who got married to Devendra Murdeshwar, one of the senior disciples of Pandit Pannalal Ghosh died of cancer in January 1975. All these tragic events had led to deterioration in the health of Parul Ghosh who became bedridden after her elder daughter’s death. During this period, she was looked after by her two nieces (her younger brother, Sunil Biswas’s daughters) and some of the disciples of Pandit Pannalal Ghosh to whom she was the ‘Guru Maa’. Parul Ghosh died on August 13, 1977 at Malad.
On the occasion of the 44th Remembrance Day of Parul Ghosh, I am presenting one of my favourite songs of her from the film ‘Seedha Rasta’ (1947). The song is ‘tum jhooth na jaano saajan mera pyaar’, written by Amar Verma and set to music by S K Pal. The song is picturised on Kamala Kotnis. The video clip of the song end abruptly while the audio clip which I have uploaded has the full song.
In a Radio interview some years back, Anil Biswas had said that his mother’s voice had the melody of a flute and the texture of a shehnai and Parul Ghosh inherited the same quality of voice from her mother. This song reaffirms what Anil Biswas had said about Parul Ghosh’s voice.
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Note: Some of the personal information about Parul Ghosh have been sourced from
(1) the interviews of V G Karnad and Anand Murdeshwar, disciple and grandson, respectivey of Pandit Pannalal Ghosh which are available on http://www.pannalalghosh.com and (2) an article ‘Sublime Genius – Pannalal Ghosh’ written by the late Mohan Nadkarni which is available on his website, https://mohannadkarni.org
Audio Clip:
Video Clip:
Song-Tum jhooth na jaano saajan mera pyaar (Seedha Raasta)(1947) Singe-Parul Ghosh, Lyrics-Amar Verma, MD-S K Pal
Lyrics (Based on Audio Clip)
tum jhooth na jaano saajan mera pyaar
tumhen kaise samjhaaun
tumhen kaise samjhaaun
tum jhooth na jaano saajan mera pyaar
tumhen kaise samjhaaun
tumhen kaise samjhaaun
beete din ki hai yaad
beete din ki hai yaad
jab kabhi aati
dil jalta hai
jyun jale diye ki baati
aankhon se bahti hai aansoo ki dhaa..aa.aar
jiya kaise bahlaaun
jiya kaise bahlaaun
kal tak jo thhe wo aaj rahe na hamaare
ek jhalak dikha kar toot gaye do taare
maine na jaana ulfat ke din chaa…aar
ro ro ke pachhtaaun
ro ro ke pachhtaaun
tumhre haathhon haay mit gayi anjaani
tumhre haathhon haay mit gayi anjaani
ab roti hai..ae ae
ab roti hai
meri barbaad kahaani
badnaam huye
chhoda hamne gharbaar
gharbaar
kise fariyaad sunaaun
kise fariyaad sunaaun
tum jhoothh na jaano saajan mera pyaar
tumhen kaise samjhaaun
tumhen kaise samjhaaun
Prabhu charnon mein deep jalaao
Posted on: June 9, 2020
This article is written by Arunkumar Deshmukh, a fellow enthusaist of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4344 | Post No. : | 15650 |
Today’s song is from the film Jwar Bhata-44. It is an important film of the 40’s, because it was the Debut film of Dilip Kumar.
In Hindi film industry, the “Trimurti”of Raj, Dev and Dilip dominated the decades of late 40s, 50s and the 60s- a period of about 25 years in the Golden Age of Hindi films.These three were the most popular, most talked about and the most ‘ín demand’ actors when they were in full form. Each one had a dedicated fixed audience for their films.There were others equally,if not better, actors in this period like, Ashok Kumar, Motilal,Balraj Saqhni, Sanjeev Kumar etc, but these three were different.
What was so different in them ? One point strikes me most, that they never compromised,in selecting films or roles. In other words, once they got established as Heroes, they did not do any roles which did not suit their temperament, style or capacity. For example, when Ashok Kumar was famous as a Romantic Hero,he acted in a Mythological film, “Savitri’-1937, to do Satyavan’s role. Again in 1945, he did the title role in the film ‘Humayun”. Both these Genres were misfits to his image then. He looked pathetic in those misfitting roles. The big three kept off such venturisms, thoughtfully !
Secondly, they always chose only the big banners and ensured they got the maximum footage, the best songs and the best scenes. Thirdly, they never worked with heroines other than A class and of their choice.
Agewise, Dilip Kumar was the seniormost, having been born in 1922. Dev Anand was next, from 1923 and the youngest was Raj kapoor, born in 1924.However, he was the first to die, in 1988. Careerwise, Rajkapoor had only 41 years’ career, from Hamari Baaten-43 (first adult role) to Kim-84. Next was Dilip Kumar, having a career span of 54 years – from Jwar Bhata-44 to Qila-98. Dev Anand had the longest career span of 65 years, from Hum Ek Hain-46 to Chargesheet-2011. He was also the only one of the three, to continue in the next Century, i.e. 21st Century !
All the three gor Dadasaheb Phalke award. Raj Kapoor got it in 1987 at his 63rd year, Dilip Kumar in 1994,when he was72 years and Dev Anand received it in 2002, when he was 79 year old.
While Dilip Kumar and Dev Anand started as Heroes (rather one of the Heroes) in their careers, Raj Kapoor started as a Child artiste in film Inqilab-35 and did 3 films as adult roles, before he became the hero in film Neel Kamal-1947. The first one to become Hero was Dilip Kumar in Jwar Bhata-44 and next was Dev Anand in Hum Ek hain-46.
During my association with this Blog and in my 870 posts, which I wrote here, I have hardly written about songs of these 3 actors. I don’t remember exactly, but I think I have written about 2 films each of Raj, Dev and Dilip, so far. The first film of Dilip Kumar I wrote about was the film Milan-1946 and today’s film Jwar Bhata-44 is his second film today. This is his Debut film.
One more point about these three actors. It was only Raj kapoor’s First Heroine Madhubala, who also became a famous A grade actress. In case of Dilip Kumar, his first Heroine, Mridula Rani and Dev Anand’s first heroine Kamala Kotnis, never took off in Hindi films, nor did they reach A grade status. In a span of a few years, their careers as heroines ended. The Shortest career was of Kamala Kotnis ( who was actually a Telugu actress, married to a Marathi Cinematographer Pandurang Kotnis, who was the younger brother of Dr. Dwarkanath Kotnis, on whose life, V.Shantaram had made the film “Dr. Kotnis ki amar kahani”-1946). Mridula survived longer with about 60 films, upto 1980 to her credit. The last I had heard about her was, in 2016 when she was alive and stayed in Worli, Mumbai. As far as Madhubala’s career, we all know too well.
Incidentally, the case of actress Ameeta was also similar. She was the heroine of Shammi Kapoor in film “Tumsa Nahin Dekha-1957”. He became a big star, but Ameeta remained as a B and C grade film actress. The opposite is the career of Meena Kumari. In her initial career, she was the Heroine of Mahipal. Later Meena Kumari became a big A class actress, but Mahipal remained where he was- B class films.
The case of Dilip Kumar was opposite to Raj Kapoor and Dev Anand’s cases. Both these actors struggled hard in their initial stages, but Dilip was extraordinarily lucky. He was actually invited to be a Hero directly. Here is his story, how he came into the film line…
Born as Yusuf khan in Peshawar, on 11-12-1922, he was third amongst 12 siblings. His father moved to Bombay in 1930 to set up the family’s Dry Fruit business. Yusuf graduated (B.A.) from Khalsa College and took up his first job as Assistant manager in the Army Canteen at Deolali Camp, near Nashik in Maharashtra. Unlike the other two stars (Raj and Dev), he had absolutely no connection in his family with film line, dramas or any art for that matter. One brother did MBBS and settled in the UK, another did Management course and the youngest Nasir Khan alone joined films – much later than Dilip Kumar.
Devika Rani of Bombay Talkies had gone for shopping, one day. At one fruit shop, she saw Yusuf, who had, by chance, replaced his ill father, in the shop. She found his face sensitive and eyes expressive. She called him, talked to him and gave him her card, asking him to meet her next day at the studios. After the routine Screen tests,interview etc, Yusuf was taken in by Bombay Talkies as an apprentice. Devika Rani started grooming her personally. Bhagvati Charan Sharma, famous Hindi writer, employed by Bombay Talkies then, gave yususf the name Dilip. The suffix Kumar was borrowed from Ashok kumar. Bunny Rueben, Film Historian says, “Devika Rani came up with three names – Dilip Kumar, Vasudev and Jahangir. Yusuf selected Dilip kumar.”
Bombay Talkies was heaven for New talents. It had launched and relaunched to fame, Heros like Ashok Kumar,Jairaj, kavi Pradeep, directors K A Abbas, N R Acharya, Najam Naqvi, Amiya Chakrawarty, Gyan Mukherjee, Bimal Roy and actresses Renuka Devi, Mumtaj Shanti, Ranjana and many more. Dilip Kumar’s first film in Bombay Talkies was Jwar Bhata-44. He was not the main Hero. Agha was the main Hero. Dilip was the second hero. His Heroine-Mridula Rani was also a New Entrant.
In his first film, Dilip Kumar did not impress anybody. He was criticised heavily by Baburao patel, who called him Ánaemic and one who needs a lot of good food to look better. As such, even Bombay Talkies also did not have much expectation from him. They had pinned their hopes on the new Heroine Mridula Rani. With every film, Dilip Kumar improved, beyond belief and India got an A class actor.
The story of Mridula is sad. She fell into marital trouble and sank deep into it. She took a break of about 4 years and when she came back, she had to accept only character roles, which she did.
Mridula was a victim of her contract with Bombay Talkies. It destroyed her career as a Heroine forever. Devika Rani was her Mentor in Bombay Talkies. However, after Himanshu Rai’s death, no one was listening to her in the company due to groupism. Disgusted, Devika rani left Bombay Talkies,having sold all the shares. Mridula got stuck in the company without work, due to her 5 year contract. It was Vijay Bhatt of Prakash Pictures who somehow convinced Bombay Talkies to loan her to him and she got roles in 2 of their films. In the film ‘Bhakta Dhruva”-47, she played mother to 16 year old Shashi kapoor (sr) when she herself was about 23 year old only ! But she had no choice. The film and her role became famous, but she lost her chances of becoming Heroine in any film thereafter for ever.
Mridula ( real name Chandrakanta) was born on 2-11-1924 at Almora, but was educated in Delhi. When she was in college doing her graduation, Amiya Chakravarty of Bombay Talkies came to Delhi on a Talent Hunt. He contacted her and gave her an offer. She signed a 5 year contract with Bombay Talkies and Devika Rani became her Mentor, teaching her everything. She was paid 2500 rupees salary with a furnished house. Her first film was “Jwar Bhata”-44, opposite another Debutant Dilip Kumar (Yousuf Khan). After Himanshu Rai’s death, Bombay Talkies was already in disarray. Many people had left the company due to differences with Devika Rai. A group of them formed Filmistan.
After getting released from Bombay Talkies, she acted in few films – Samaj ko badal dalo-47Bhakt Dhruv-47, Toote taare-48, Nar Narayan-49, Veer Babruvahan-50 and Ram Darshan-50.
She got married to her lover Mr. G C Andley. However the marriage was unsuccessful and she went back to Delhi. She spent a miserable life selling whatever she had, to survive. She got divorce and came back to Bombay to work in films, in 1954. She worked in 53 films after this. Her last released film was Saboot-80, though she had married again and retired some time before that.
The last I heard about her was, she was living in worli, Mumbai all alone, in 2016. Her only daughter stayed nearby and looked after her.
( some information for this post has been taken from the book – “Hero vol.I,” by Ashok Raj, with thanks.)
Today’s song is sung by Parul Ghosh and Amirbai Karnataki. Pt Narendra Sharma is the lyricist. Music is composed by Anil Biswas.
Song-Prabhu charnon mein deep jalaao(Jwaar Bhaata)(1944) Singers-Parul Ghosh, Amirbai Karnataki, Lyrics-Pt Narendra Sharma, MD-Anil Biswas
Chorus
Lyrics
prabhu charanon mein deep jalaao
man mandir ujiyaalaa ho
prabhu charanon mein deep jalaao
man mandir ujiyaalaa ho
prabhu charanon mein deep jalaao
kare kripaa jo krishnachandra to
kare kripaa jo krishnachandra to
kyun dukh kaa andhiyaalaa ho
kyun dukh kaa andhiyaalaa ho
prabhu charanon mein deep jalaao
man mandir ujiyaalaa ho
prabhu charanon mein deep jalaao
hridayakamal kaa sinhaasan
bane kr^ishna kaa vrindaavan
hr^idayakamal kaa sinhaasan
bane kr^ishna kaa vrindaavan
jeevan apanaa use saunp do
jeevan apanaa use saunp do
jo jag kaa rakhvaalaa ho
jivan apnaa use saunp do
jo jag kaa rakhvaalaa ho
prabhu charanon mein deep jalaao
man mandir ujiyaalaa ho
prabhu charanon mein deep jalaao
nainaa prem-chakor sakhi
chandaa nandakishor sakhi
nainaa prem-chakor sakhi
un nainan se dekh jagat ko
un nainan se dekh dekh
un nainan se dekh jagat ko
base yhaan nandalaalaa ho
base yahaan nandalaalaa ho
prabhu charanon mein deep jalaao
man mandir ujiyaalaa ho
prabhu charanon mein deep jalaao
giridhar ke charanon mein aa
giridhar ke charanon mein aa
raadheshyaam naam gun gaa
koras:raadheshyaam raadheshyaam
jai raadheshyaam raadheshyaam
giridhar ke charanon mein aa
giridhar ke
maalik meraa bansiwaalaa
maalik meraa bansiwaalaa
man meraa brijabaalaa ho
maalik meraa bansiwaalaa
man meraa brijabaalaa ho
prabhu charanon mein deep jalaao
man mandir ujiyaalaa ho
prabhu charanon mein deep jalaao
This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3762 | Post No. : | 14735 |
“Jwaar Bhaata”(1944) was directed by Amiya Chakravarty for Bombay Talkies. The movie had Mridula, Shamim, Agha Jaan, Dilip Kumar, P F Pithawala, K N Singh, Mumtaz Ali, Arun Kumar, Vikram Kapoor, Jagannath Arora,Naseem Lodhi, C J Pandey, Khaleel etc in it. The movie is today remembered as the debut movie of Dilip Kumar.
The movie had ten songs in it. For some reason I thought that this movie was already YIPPEED. My be I confused it with some other movie. Only three songs from the movie have been discussed so far.
Here is the fourth song from “Jwaar Bhaata”(1944) to appear in the blog. This song is a calling the beloved song which is sung by Parul Ghosh. Pt Narendra Sharma is the lyricist. Music is composed by Anil Biswas.
Only the audio of this song is available. I request our knowledgeable readers to throw light on the picturisation of this song.
Some words in the lyrics are not clear. I request our readers with keener ears to help fill in the blanks/ suggest corrections as applicable.
Audio
Song-More aangan mein chhitki chaandni (Jwaar Bhaata)(1944) Singer-Parul Ghosh, Lyrics-Narendra Sharma, MD-Anil Biswas
Lyrics
More aangan mein chhitki chaandni
haan chaandni
ghar aaja sajan
More aangan mein chhitki chaandni
haan chaandni
ghar aaja sajan
chhedi koyal ne
chhedi koyal ne preet ki raagini
meethhi raagini
chhedi koyal ne preet ki raagini
meethhi raagini
ghar aaja sajan
More aangan mein chhitki chaandni
haan chaandni
ghar aaja sajan
More aangan mein chhitki chaandni
chanda more ang jalaaye ae
chanda more ang jalaaye
preet ki jwaala
preet ki jwaala
?? ??
chanda more ang jalaaye
kumhlaaye ho kumhlaaye ae
kumhlaaye piya bin shaalini(?)
haan shaalini(?)
ghar aaja sajan
More aangan mein chhitki chaandni
haan chaandni
ghar aaja sajan
More aangan mein chhitki chaandni
kheli sajan sang neend nigodi
kheli
haa haa
kheli sajan sang neend nigodi
tadpat nikle man ki ??
??
sajan sang neend nigodi
ho o o o o
main bani teri bairaagini
bairaagini ee
More aangan mein chhitki chaandni
haan chaandni
ghar aaja sajan
More aangan mein chhitki chaandni ee ee ee
Kaise sunaaun kaise bataaun
Posted on: August 16, 2018
This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3681 | Post No. : | 14575 |
“Sawaal”(1943) was directed by Niranjan for Geetanjali Movietone, Bombay. This “social” movie had Mumtaz Shanti, Ulhas, Radharani, Rajrani, Sadiq, Agha, Niranjan, V Sherali, Habeeb, Babu Bhai etc in it.
Three songs from the movie have been covered in the past.
Here is the fourth song from “Sawaal”(1943) to appear in the blog.
HFGK is silent about the singers for four out ten songs of the movie, including this song. Listening to the song, one can make out that this song is sung by Parul Ghosh. Wali Sahab is the lyricist. Music is composed by Pannalal Ghosh.
It is a superb song penned by Wali Sahab. It is a hidden gem of a song. Perhaps songs like this are better than way otherwise such song will get badly mutilated and spoiled by the so called cover version singers.
Song-Kaise chhupaaun kaise bataaun (Sawaal)(1943) Singer-Parul Ghosh, Lyrics-Wali Sahab, MD-Pannalal Ghosh
Lyrics
kaise chupaaun oon
kaise bataaun oon
kaise chhupaaun oon oon
kaise bataaun oon
preet hai tumse
pyaar hai tumse
jeewan ka singaar hai tumse ae
preet hai tumse
pyaar hai tumse
jeewan ka singaar hai tumse ae
man mein ek jwaala jalti hai ae ae
man mein ek jwaala jalti hai
wo kaise dikhlaaun oon oon
kaise bataaun oon
kaise chhupaun
kaise chhupaaun oon
kaise bataaun oon
kaise chhupaaun oon
kaise bataaun oon
honthon par khaamosh kahaani ee
man mein agni aankhon mein paani ee ee
honthon par khaamosh kahaani ee
iska matlab kya hota hai
iska matlab kya hota hai
wo kaise batlaaun oon oon
kaise bataaun oon
kaise chhupaun
kaise chhupaun oon
kaise bataaun oon
kaise chhupaun oon oon
Gun gun gun gun boley bhanwraa
Posted on: February 19, 2018
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3503 | Post No. : | 14074 |
Today’s song is from the film ‘Milan’ (1946).
Bengali people, in general, are fond of reading. The literacy percentage of Bengal during last century and before that has been quite noteworthy. The literate population of Bengal is divided in two parts. One is Bhadralok– a term used to indicate upper and middle class – affluent and educated people; and the other is Madhabit (or what we call a middle class in rest of India). Both these classes of society in Bengal were patrons of books. In addition, Bengal also boasts of a large number of very famous authors. Eminent writers like Rabindranath Tagore, Bankim Chandra Chatterji, Sarat Chandra Chatterji, Sunil Gangopadhyaya, Bibhuti Bhushan Bandopadhyay, Satyajit Ray, Mahashweta Devi, Tarashankar Bandopadhyay, Shirshendu Mukhopadhyay, Shardendu Bandopadhyay, Humayun Ahmed, Kazi Nazrul Islam, Michael Madhusudan, Manik Bandopadhyay, Premendra Mitra, Badal Sircar, Sukumar Rai, Jibanand Das, Rajnikant Sen and many others were, and continue to be popular in Bengal.
No wonder, then, that their novels, dramas and short stories became the basis of Bangla films, both in the silent as well as talkie era. In rest of India, almost all major production houses had their own story departments, where many Munshis, Pandits and the likes of them were employed to provide ‘made to order’ story material for films. The Lahore, Bombay and Madras centres depended heavily on mythology, folk tales, history, and stage dramas etc. for their films.
Since Bangla films had their firm stories, their films were closer to the audiences in Bengal and Eastern India in general. This literary sourcing was firmly entrenched in the minds of the film directors of the 1930s to the 1950s, in Bengal. When an exodus of actors, directors and technicians started from Calcutta to Bombay, in the 40s and 50s, most directors from Bengal made Hindi films in the Bombay center, based on Bangla novels, dramas and short stories. Some important examples are, ‘Do Bigha Zameen’ (Salil Choudhari’s short story of 1943), ‘Devdas’, ‘Parineeta’, ‘Parivar’, ‘Biraj Bahu’, ‘Yahudi’, ‘Ratnadeep’ etc.
When Nitin Bose left Calcutta and came to Bombay to join Bombay Talkies, no one was surprised. Bombay Talkies was known to attract Bangla talent and gave them opportunities to showcase their skills. Being owned by a Bengali-Himanshu Rai and managed by a Bengali-Shashadhar Mukherjee, Bangla cine artistes were always welcome. For his first directorial venture in Bombay, Nitin Bose suggested Rabindranath Tagore’s novel Noukadubi, first published in 1906. This story was a favourite of producers. Already a Bangla film on it was made in 1932. Nitin Bose further suggested to make it a bilingual film – in Hindi and Bangla, for Bengal and East India.
The year was 1946. Himanshu Rai had passed away in 1940, S. Mukherjee left in 1942 with his friends. Devika Rani had left in 1945. Bombay Talkies was in dire straits already. The powers that be at the company thought that making a bilingual film will open doors to Bengal and other East Indian states. While the Hindi version ‘Milan’ was made in 1946, the Bangla version ‘Naukadubi’ was made in 1947.
Dilip Kumar was an upcoming new hero in Bombay Talkies. He had just done 2 films. ‘Jwar Bhata’ in 1944 and ‘Pratima’ in 1945. He was chosen for ‘Milan’ as its hero. The film needed two heroines. One, Ranjana was already available and selected. For the second heroine, Bombay Talkies gave advertisements in newspapers. From several applicants, a new Kanpur born Bengali speaking girl Meera Mishra was selected.
Meera Mishra’s joining the films generated a lot of interest and excitement because she was the wife of an IPS officer. She was chosen to play Kamala in both versions. For the role of Hemnalini, Meera Sircar was selected for the Bangla version, and Ranjana did this role in the Hindi versions. The role of Ramesh, the hero, was assigned to Dilip Kumar in the Hindi version, and to Abhi Bhattacharya in the Bengali version. The role of Akshay Babu was assigned to Pahadi Sanyal in both Hindi and Bangla versions.
In a manner of speaking, Meera Misra made her debut opposite to Dilip Kumar as her first leading man. The film was directed by Nitin Bose and Anil Biswas was the music director. Parul Ghosh lent her voice in both the versions. In ‘Noukadubi’ she had five Tagore songs, her only Bengali songs.
Both ‘Noukadubi’ and ‘Milan’ did well. Initially Meera had planned to retire after this one film. However, her husband, Kripa Sindhu Mishra was killed in action during Delhi riots and Meera decided to carry on with her film career. She had a son Jishnu from the Late KS Mishra. Her other films include ‘Abhijatya’ (1949), ‘Eki Gramer Chhele’ (1950), ‘Abarta’ (1950), ‘Sandhyabelar Rupkatha’ (1950), ‘Sabyasachi’ (Hindi-1948, based on Sarat Chandra Chatterjee’s ‘Pather Dabi’. Meera played the role of Sumitra) and Bishnupriya (1949). Her other Hindi films include ‘Ghar Ki Numaish’ (1949), ‘Kashmir Hamara Hai’ (1950), ‘Azaadi Ke Baad’ (1951), ‘Chamakee’ (1952), and ‘Chhoti Maa’ (1952). She quit films early and settled into married life again. Her second husband was Mr Ranjit Gupta, Chief Secretary to the Government of West Bengal. She passed away in Calcutta in 2008.
‘Milan’ was produced for Bombay Talkies by Hiten Choudhury, who was with New Theatres earlier. He was the earliest member to leave New Theatres and join Bombay Talkies in Bombay. After Nitin Bose left Bombay Talkies, it was Hiten Choudhury who brought in Bimal Roy to make film ‘Maa’ (1952). Bimal Roy, who had come to Bombay for the premiere of his film ‘Pehla Aadmi ‘ (1950), subsequently settled in Bombay. Asit Sen, BN Banerjee, Salil Choudhury, Hrishikesh Mukherjee and few others too left New Theatres to join Bimal Roy in Bombay.
Director Nitin Bose was working with Dilip Kumar for the first time. That time Dilip had not yet developed the nasty habit of interfering in director and composer’s work. He was still learning and he learnt a lot from Nitin Bose. It seems that the famous hair style of Dilip was also suggested by Nitin Bose while shooting a boat scene for Milan. Dilip acknowledges that Nitin Bose had groomed him.
Later Nitin Bose directed Dilip again for ‘Deedar’ (1951) and ‘Ganga Jamuna’ (1961). Nitin Bose once wrote that during the shooting of ‘Ganga Jamuna’ he was sitting aside on a chair, helplessly watching Dilip Kumar do his (the director’s) job. By that time Dilip had obtained a Doctorate in this “art of interference”.
Dilip had become famous due to his early tragic films, when he used to die frequently in most of them. In 1948 alone, out of his 6 films, he died 4 times. In the year 1955, he died in 3 films. In the entire 50’s decade he died 6 times. In a total of 57 films, Dilip kumar had died in 18 of them. Interestingly his last film ‘Qila’ (1998) also saw him dead! A real tragedy king indeed !!! By the way, in his 57 films 39 directors worked with him. SU Sunny directed him in 4 films. Nitin Bose, Bimal Roy and Subhash Ghai directed him in 3 films each.
‘Milan’ was based on Rabindranath Tagore’s novel ’Noukadubi’, published in 1925. This story was a favourite of producers. It was produced in Bangla in 1932, 1947, 1979 and 2011. Hindi versions came in as ‘Milan’ (1946), ‘Ghoonghat’ (1960) and ‘Kashmakash’ (2011). The cast of the 1946 version incudes Dilip Kumar, Meera Mishra, Ranjana, Pahadi Sanyal, Shyam Laha, S.Nazir, Moni Chatterjee, KP Mukherjee etc. The story is –
The story is set in 1905. Ramesh (Dilip Kumar) is studying law in Calcutta and has just appeared for his final exams. He is a friend and neighbour of Jogen who is also studying law. Jogen (Shyam Laha) lives with his father Annada Babu (Moni Chatterjee) and sister Hemnalini (Ranjana). Ramesh and Hemnalini are fond of each other and Ramesh visits their house most days for tea. Their association is disliked by another friend Akshay (Pahadi Sanyal) who also likes Hemnalini.
Ramesh has been asked to come back to his village for the holidays by his father but is dissuaded from going by Hemnalini. Ramesh’s father Braja Mohan (KP Mukherjee) is from the priestly caste and lives in the village. He receives an anonymous letter stating that his son is involved with the neighbour’s daughter who comes from a tradesman caste and that he spends his entire time there.
Braja Mohan goes to the city and brings Ramesh back with him to the village. He has arranged Ramesh’s wedding with a poor widow’s daughter. Ramesh tries to convince his father about his involvement with Hemnalini. His father after satisfying himself that Ramesh has as yet not committed himself to Hemnalini prevails upon Ramesh to marry Sushila because of the promise he had given to the girl’s mother. There is a storm at night when the wedding party from the groom’s side is returning to their village by boat. During the crossing the boat capsizes. Nearly all on the boat are drowned including Ramesh’s father and Ramesh appears to be the only one to survive. He sees a woman in bridal dress lying unconscious on the bank. He brings her to his village but soon understands that this is a case of mistaken identity. She continuously checks him when he calls her Sushila and tells him her name is Kamala (Meera Mishra). He realizes there was another bridal procession and their boat too had capsized.
After the formalities of his father’s funeral service Ramesh decides to take Kamala to Calcutta. He finds out about her only living relative, an uncle, and writes to him. A letter arrives telling him of the death of Kamala’s uncle but the sender has mentioned Kamala’s husband’s name and profession. His name is Nalin and he’s a doctor. Ramesh now starts searching for Dr. Nalin. He has so far made no mention about his marriage to Hemnalini or her family nor told anyone regarding the mistaken identity of his supposed bride to avoid any embarrassment to the girl.
On arrival in Calcutta, Ramesh suggests that Kamala get an education. After allaying her apprehension regarding her age he admits her in a girl’s boarding school. Akshay’s sister also studies in the same school and through her Akshay gets to know the truth about Ramesh’s marriage. In the evening he questions Ramesh in front of Hemnalini. Ramesh deflects the question and asks Hem to trust him. Preparations are on at Annada’s house for the wedding of Hemnalini and Ramesh. Their wedding is set for the coming Sunday but Ramesh is asked by the principal to take Kamala home for the weekend. Ramesh postpones the wedding and brings Kamala back from school. Akshay brings Jogen to Ramesh’s house where they see Kamala and on being questioned Ramesh keeps silent. Hemnalini goes into a state of shock when she’s told about Ramesh’s wife.
Her father takes her to Kashi to recuperate. Ramesh decides to leave Calcutta and he takes Kamala with him to Ghazipur. Kamala reads the letter Ramesh has written to Hem explaining the entire situation and mentioning Kamala’s husband’s name. She finally recognizes the truth about her and Ramesh’s situation. She decides to kill herself and leaves the house. She is rescued and comes under Nalin’s mother’s care.
She realizes that Nalin is her husband but finds out that Hemnalini and he are to be betrothed. However, Nalin is not happy about the betrothal as he refuses to believe that Kamala is dead and wants to wait a while longer. Finally the truth comes out and she’s accepted by her husband and his mother while Ramesh and Hemnalini get back together.
The film had 8 songs. Today’s song is the 5th song to be posted. All other songs are also available on You Tube. Enjoy the video song.
[Author Note: My acknowledgements and thanks to Dr. JP Guha ji, the book ‘Hero-I’ by Ashok Raj, HFGK, and my own notes.]
Song-Gungun gungun boley bhanwra (Milan)(1946) Singer-Parul Ghosh, Lyrics-P L Santoshi, MD-Anil Biswas
Dilip Kumar
Ranjana
Lyrics
gungun gungun boley bhanwrva aa
hamaari bagiya mein aaike
wo gungun gungun bole bhanwrva aa
hamaari bagiya mein aaike
hamaari bagiya mein aaike ho bhanwra
gungun gungun boley
hamaari bagiya mein aaike
wo gungun gungun bole bhanwrva aa
hamaari bagiya mein aaike
madhuvan se laaye sandesha bahaar ka
madhuvan se laaye sandesha bahaar ka aa aa
taar(?) jaaye mere pyaar ka
veena baja ke
baawri bana ke
haumaari bagiya mein aaike ho bhanwra
gungun gungun bole
humaari bagiya mein aaike
wo gungun gungun bole bhanwrva aa
hamaari bagiya mein aaike
Dialogues
———————————
iraada badal bhi sakta hai
lekin uske liye ek munaasib bahaana gadhna padega
bahaana
haan aakhir pitaaji ka hukm
baghair kisi vajah ke thhode hi taala jaa sakta hai
aur aap kya samajh rahin hain
ham apni marzi se jaa rahe hain
oh
lekin ye sab ek shart par
kya shart
jo gaana abhi ham sun rahe thhe wo poora ho
poora hoga
aaiye
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gungun gungun boley bhanwrva aa
hamaari bagiya mein aaike
wo gungun gungun boley bhanwrva aa
hamaari bagiya mein aaike
wo jaan gaya re
jaan gaya re
wo jaan gaya re
mere man mein hai kya
jaan gaya re
kahta phire sab kaliyon se jaa
kahta phire sab kaliyon se jaa
mere man mein hai kya
jaan gaya re
jaan gaya re
dekh rahi thhi
main raah kisi ki
dekh rahi thhi
main raah kisi ki
ankhiyaan bichhaai ke
?? lagaay ke ae
ankhiyaan bichhaai ke
?? lagaay ke
hamaari bagiya mein aay ke ho bhanwra
gungun gungun boley
hamaari bagiya mein
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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