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

Archive for the ‘philosophical song’ Category


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 :

4835 Post No. : 16618

koi aaghe aaghe thhi venu vaay chhe

Thus sang the Nightingale of Gujarat, Kaumudi Munshi, who is regarded as the pioneer in popularising the semi-classical non-filmy songs in Gujarati.

Today, October 13, 2021 is first Remembrance Day of vocalist, Kaumudi Munshi, the Gujarat Kokila who regaled her Gujarati admirers spread all over the world with her beautiful renditions of semi-classical non-film songs. She sang in the genres of bhajans, ghazals, thumris, dadras and other forms of ‘sugam sangeet’ in Gujarati and Hindi for over 6 decades.

I had watched the videos of the facilitations to Kaumudi Munshi on the occasion her 90th birth day, held sometime in 2019 during which she also rendered a few of her popular non-film songs. She looked hale and hearty even in her 90s with clear diction. Unfortunately, she became one of the victims of Covid and left for her heavenly abode in the early morning of October 13, 2020 at the age of 91. Aakashvaani, Rajkot paid a special tribute to Kaumudi Munshi by playing some of her non-filmy Gujarati songs on the same day.

Kaumudi Munshi (1929 – 13/10/2020) was the sixth child of Kunwar Nandlal Munshi and Anuben Munshi, born in Varanasi in a landlord family. Her forefathers belonged to Vadnagar in Gujarat but they had settled in Varanasi 6-7 generations back. Hence the family members mostly spoke in Hindi. Because of the servants in the house who spoke in Awadhi and Bhojpuri, she was proficient in speaking these dialects also.

From the childhood, Kaumudi was exposed to classical music as there used to be regular musical soirees in her house. After completion of graduation in music from Banaras Hindu University in 1950, she came to Mumbai where her brothers were settled. Her maternal uncle and Gujarati laureate, Ramanlal Desai and his son Akshay Desai helped her in pursuing a career in music. Akshay Desai taught her Gujarati in which she was not proficient due to her upbringing in Varanasi.

After passing the audition test, Kaumudi Munshi joined All India Radio (AIR) as a singer in 1951. Starting as a chorus singer, she graduated to singing solo songs on AIR, mostly composed by Ninu Mazumdar, the music director of Hindi films of 40s and early 50s who was also a music producer in AIR. This relationship developed into her marriage with Ninu Mazumdar in 1954.

Generally, training for vocalists in classical music starts in the childhood so that by the time, they attain adulthood, they are well trained to perform as concert vocalists. But in the case of Kaumudi Munshi, though she was interested in classical music, her family did not encourage her as singing was not regarded as honourable career for a girl. However, after the marriage, Ninu Mazumdar encouraged her to take a formal training in Hindustani classical music as a vocalist. She had two options to take training – Siddeshwari Devi, the thumri queen and Begum Akhtar, the ghazal queen. Kaumudi Munshi chose Siddeshwari Devi over Begum Akhtar purely from the logistic point of view as the former was staying in Varanasi and Kaumudi had the parental house in Varanasi.

During 1955-60, Kaumudi Munshi mostly stayed in Varanasi for her training and accompanied Siddeshwari Devi on her concerts and the music conferences. Later, she also took training from Ustad Taj Ahmed Khan for ghazal singing.

After returning to Mumbai in early 1960s, she concentrated on singing thumri, dadra, ghazal, bhajan, and folk songs mainly from Uttar Pradesh and Gujarat. Most of her songs were composed by her husband, Ninu Mazumdar though she also worked with other music director like Avinash Vyas, Dilip Dholkiya, Ajit Merchant etc. She sang semi-classical songs mainly in Gujarati and Hindi Probably, Kaumudi Munshi may be the first to popularise the Hindustani semi-classical songs in Gujarati. She also composed and sung children’s songs both in Hindi and Gujarati.

Kaumudi Munshi’s association with Hindi films was very limited. It started and virtually ended in 1954 with two films – ‘Bhai Saheb’ (1954) and ‘Teen Tasveeren’ (1954) for which her husband, Ninu Mazumdar was the music director. The reason was that she started singing in Hindi films only after her marriage with Ninu Mazumdar in 1954. In the same year, she left for Varanasi to be the disciple of Siddeshwari Devi. After her return to Mumbai in early 1960s, she and her husband concentrated on non-filmy semi-classical and folk songs though she sang in two Hindi films, ‘Shola Aur Shabnam’ (1961) and ‘Raja Aur Rank’ (1968) besides singing a song in a Bhojpuri film ‘Bidesiya’ (1963).

On the occasion of the first Remembrance Day of Kaumudi Munshi, I have chosen one of her songs from the film ‘Teen Tasveeren’ (1954). The song is ‘kar ke singaar chali, saajan ke dwaar chali’. The song is in two parts. The part of the song sung by Kaumudi Munshi and chorus is written by Prem Dhawan while remaining part-1 and the full pat-2 of the song sung by Ninu Mazumdar is mainly based on Sant Kabir Das’s nirgun bhajan.

‘Teen Tasveeren’ (1954) was a very obscure film with not so well-known cast. I have no idea about the story of the film. Hence, it is difficult to know the context in which the song under discussion was picturised. What I can surmise is that while the first part of the song rendered by Kaumudi Munshi and Chorus is pre-wedding ‘bidaai’ song, the part of the song sung by Ninu Mazumdar which continues in Part-2 is, in the broader context of ‘bidaai’ from this world. In a way, part-2 of the song is philosophical. The word, ‘saajan’ has been used metaphorically to mean the Lord of the universe in Ninu Mazumdar’s version.

The broad meaning of the Ninu Mazumdar’s version of the song is as under:

O clever woman, be ready with make-up and the best dresses. You have to go to the God’s house. Do wash, bathe and braid your hairs. There is no returning from God’s house where the shroud will be of earth; the bed will be of earth and thus you will have to get united with the earth.

————————————————————————————-

Note: The life sketch of Kaumudi Munshi is based on https://www.kaumudimunshi.com/about.html and the video of her interview taken in Gujarati on the occasion of her 90th birthday celebration.

Audio Clip (Parts-1&2):

Song-Kar ke singaar chali saajan ke dwaar chali (Teen Tasweeren)(1954) Singers-Kaumudi Munshi, Ninu Majumdar, Lyrics-Kabeer, MD-Ninu Majumdar
Chorus

Lyrics

————————-
Part-1
————————-

kar ke singaar chali
saajan ke dwaar chali
chatura albe..li
kar ke singaar chali
saajan ke dwaar chali
chatura albe..li
chhanan chhanan mori ghunghroo baaje
jhanan jhanan paayaliyaa re
jhanan jhanan paayaliyaa
chhanan chhanan mori ghunghroo baaje
jhanan jhanan paayaliyaa re
jhanan jhanan paayaliyaa
sanan sanan gaaye re pawan ghan
ghanan ghanan baadaliyaa
sanan sanan gaaye re pawan ghan
ghanan ghanan baadaliyaa
o o o o o o
kar ke singaar chali
saajan ke dwaar chali
chatura albe..li

dhin ta thai thai
dhin ta thai thai
dhin dha ki ta dhaki ta dha
dhin ta thai thai
dhin ta thai thai
dhin ta thai thai
dhin dha ki ta dhaki ta dha
dhaki ta dha
ta thai thai

gori teri saajan kaun albela
khel kahaan preet ka khela aa
gori teri saajan kaun albela
khel kahaan preet ka khela

o o o o o
mujhse na poochho
poochho in nainan se..ae
jaane ye kya kah baithe ae saajan se
thhaam ke mori bainyyaan
chupke se bole sainyaan
thhaam ke mori bainyyaan
chupke se bole sainyaan
ab raha jaaye na akela
o o o o o o
saj dhaj ke naar chali
ban ke bahaar chali
chatura albe..li
kar ke singaar chali
saajan ke dwaar chali
chatura albe..li

kar le singaa….ar
chatura albeli ee ee
saajan ke ghar jaana hoga
kar le singaa….ar

————————–
Part-2
————————–

kar le singaa….ar
chatura albeli ee ee
saajan ke ghar jaana hogaa
kar le singaa…aar

naha le dho le
sheesh gunthha le
naha le dho le
sheesh gunthha le
phir wahaan se nahin aana hogaa…aa
saajan ke ghar jaana hogaa
kar le singaa…ar
chatura albeli..ee ee
saajan ke ghar jaana hogaa
kar le singa….ar

mitti odhaawan mitti bichhaawan
mitti odhaawan mitti bichhaawan
mitti mein mil jaana hogaa…aa
mitti mein mil jaana hogaa
mitti mein mil jaana hogaa


This article is written by Arunkumar Deshmukh, 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 :

4833 Post No. : 16615

Today I am presenting a Non-Film song by Master Ashraf Khan. Some of you may remember Ashraf Khan, who sang songs in the films Roti-42 and Baaghbaan-38. We all know him mainly as a film actor, who finally became a Sufi Saint, but his contribution to the Gujarati theatre was substantial. Most of us know many things about Cinema, but very little about Theatre and stage dramas.

Prior to films becoming a source of entertainment for the common man, it was the stage drama which diligently and sincerely gave pure and musical entertainment to the commoners. The rich of course could afford private singing jalsas with famous singers and Tawayafs. Stage dramas were popular mainly in Bengal, Maharashtra and Gujarat, since the early to middle 19th Century. It started a bit late, on a regular scale, in South India, at the beginning of the 20th Century or so.Despite modern means of entertainment like TV and Films, stage dramas are still popular in Maharashtra and Gujarat. These two states have a glorious history and tradition of producing classical singers, many of them through the stage dramas.

Master Ashraf Khan was very popular and famous on the Gujarati stage. He was known as the ” Saigal of Gujarat”. Singing of Gazals in stage dramas started with Ashraf Khan, it is believed. Stage dramas are usually called ” Parsi-Urdu,” ” Parsi-Hindi”, ” Parsi-Gujarati”, because the Parsi community was prominent in this medium. Parsis came from Iran (Persia) into North Konkan, and Gujarat and they merged with the Indian People. All generations of Parsis spoke Hindi and Gujarati (with a typical, recognisable tone) and prospered in various trades and fields of Business.

The Gujarati stage was full of artistes from Saurashtra, North Gujarat and Bombay. They belonged to different castes. Jaishankar Bhojak (Sundari), Amrit Kershav Nayak, Vadilal Nayak, Master Shaani, Master Vikram etc were from Bhojak Nayak caste. From the Meer caste came Himmat Meer, Kasam Meer, Lallubhai Meer etc. -all singer actors. Parsis like Sorabji katrak, Sorabji kerawala, Faredoon irani and some Muslims like Ashraf Khan, Alladdin, Ghulam Sabir, Master Fida hussai, Master nissar, Kumar etc. were some members of this community.

Starting from 1871, these drama companies toured Bombay Presidency, Saurashtra, Calcutta and Bengal and upto Rangoon in Brahmadesh (Burma). Unlike Marathi stage the Parsi and Bangla dramas got women doing female roles sooner than in Maharashtra. Some actresses were, Miss Mary fanten, Miss Fitna, Mehtab, gafooran, Gauhar, Deenabai Mistri etc. In the modern dramas of the 1960 to 1980’s even Saraswati Devi (Vidya Bajpai) and Sandhya(Vijaya Deshmukh) acted on Gujarati stage.

However, in the initial years i.e. from 1890 to 1930, there were actors doing female roles. Anand ji ‘Kabootar’, Vikram, Fakir, Himmat meer and Jaishankar Bhojak were major actors famous in female roles. Jaishankar was popular and did female roles in dramas like Vikram Charitra, Barrister, Vasant Prabha and Saubhagya Sundari. His role as ” Sundari” in drama “Saubhagya Sundari” was so popular that later on his name was changed to Jaishankar “Sundari”. He worked till 1961. In his honour, a Drama Theatre in Ahmedabad is named as Jaishankar Sundari Theatre ! What an honour. He was friendly with Marathi stage actor Bal Gandharva and they both used to see each others’ dramas, without fail.

Orphaned very early, Master Ashraf was brought up by one Baburao, his father’s friend. He was a born singer. His mother tongue was Urdu/Pashto, but he mastered Gujarati so well that people considered him to be a Gujarati actor. Master Himmat meer brought him to the Theatre in 1894. He did only male roles and sang also. many dramas like Prithviraj, Arab ka Sitara, Samudragupta, Sansar Sagar, Ek Abla etc, as its Hero. He did about 3000 shows of his drama ‘ Malavpati”, as it became very popular. In 1960, he was felicitated by the President of India and after that he acted in the same drama once again in 1961, though old. He also worked in Hindi films upto 1941 His Heroines were Zebunnisa, Mehtab, Sardar Akhtar, Iqbal Begum (mother of Meena Kumari). From 1950 onwards he tilted towards Sufism and finally became a Saint.

ASHRAF KHAN was an actor and singer in many films in the 40s. He left films ……..and became……..believe it or not…..a SUFI SAINT !

I had first written about him somewhere 9 years ago…in 2012 or so. Here is his information again, but in a different format with some more information collected later on. My friend shri kamlakar Pasupuleti ji had done a lot of research on this actor. It was from his Blog and his book that I learnt more details about Ashraf Khan.

Ashraf Khan shot to limelight with the film Baghban – 1938 . He played the role of a mendicant and rendered three lovely songs composed by Music Director Mushtaq Husain . Ro ro nain gavanvun ,sajanwa aan milo was the most popular song among the three songs he rendered. The movie was a great hit and all the nine songs in the movie were popular. The movie was directed by AR Kardar. The lyrics were penned by the comedian Mirza Musharraf. He was paid Rs 90 / – for the nine songs he wrote for the movie. It is important to know how he progressed in his life and attained the spiritual powers with which he helped millions of people across the globe .

Ashraf Khan was born in Indore on 22-10-1901. He lost his father at a young age of seven. The burden of taking care of his widowed mother and a young sister fell on his shoulder . Indore was a famous city for wrestling and the wrestling competitions were held for all ages including children. He took up wrestling as a profession for some time . He later became a Shepherd boy and guarded the sheep .

He had a good voice and used to sing while taking the sheep in and out of the city. One evening while returning home from the outskirts he started singing loudly. A Gujarati’s drama company was stationed in a nearby bungalow. The owner of the drama company heard his song and he was called inside. The owner asked the boy if he was willing to work for the drama company. The boy replied Yes. There upon the owner asked him if he can play the role of a girl. The boy daringly replied No, will play the role of a boy . The owner was impressed and he got into the Gujarati drama company.

He started playing small roles and as he grew up was given the role of a hero . His salary increased gradually and by the time he was playing hero roles he was paid Rs 600 / per month. He used to give away his entire earnings to his mother. His mother used to give him four annas a day as his allowance as he had the habit of eating Paan( betel leaf ), but Ashraf Khan used to return back the four annas to his mother in the evening.

Ashraf Khan’s mother tongue was Urdu and Pushtu but he learnt to speak Gujarati with ease and he rendered his dialogues fluently. He gave record breaking performances in Malopati Manjh ( Prithvi Vallabh ). He played the role of a hero Prithvi Vallabh in three thousand shows. Prithvi Raj Chauhan was another stage performance in which he played the hero role of Prithviraj Chauhanbin two thousand shows. Ashraf Khan’s heroine on the Gujarati stage was Sandhya. Ashraf Khan was associated with the Gujarati stage even after joining the films .

With the advent of talkie he moved over to Bombay in 1931. His first film was Shakuntala-31 ( made in Bombay.There was another film Shakuntala made the same year in Calcutta by Madon Theatres) With his experience on stage he was hired for three movies Bhartruhari, Gul-e-Bakavali and Veer Kunal. He played the role of a hero initially and later in life played character roles. He acted in more than a dozen movies. Mehboob Khan portrayed him as a mad professor in his famous film Roti – 1942. It was during the filming of Roti that he came in contact with Peer-o-Murshid ( Spiritual Guide) Ghulam Sarvar. Ghulam Sarvar belonged to Lahore and was employed in railways as a guard. He had many followers in Bombay. Ashraf Khan’s devotion towards his spiritual guide was so great that whenever he visited Bombay he used to carry his luggage on his head and escort him home .

Large crowds used to gather to meet Peer-o-Murshid Ghulam Sarvar in the 1940’s and among the film personalities the notable were A R Kardar, Mehboob Khan, Yaqub, Prithviraj Kapoor , Trilok Kapoor, Sardar Akhtar, Akhtari Faizabadi, Jaddan Bai etc etc to name a few. Akhtari Faizabadi and Jaddan Bai used to sing devotional songs during the assembly .

Taking care of the visitors footwear was the first duty assigned to him by his Peer and Ashraf Khan never thought it was a menial job He knew that the peer is shedding his ego by assigning such tasks. Peer-o-Murshid Ghulam Sarvar was so pleased with his devotion that he handed over his Gaddi ( seat ) to Ashraf Khan. Ashraf Khan became a Peer .

His association with the Gujarati stage lasted till his end. In 1962 after his last stage show at Dhoraji in Gujarat he returned to the Dargah where he was stationed with his family . It was the ninth day of the Gyarhvi Sharif ( the eleventh month of Islamic calendar ). He lay down on his bed and spoke few words to his wife and fell unconscious, but his lips started moving as if he was narrating verses from Ayat Sharif. This situation continued the whole of that night and the next day. His wife , family members and devotees remained at his bedside reading verses from Ayat Sherief He opened his eyes in the evening. His devotees asked him how he was and he replied that wherever he is, he is doing well .

He was brought to the hospital at Rajkot in this condition. Ashraf Khan passed away at eleven PM on the eleventh day of the Gyarhvi Sharif, the eleventh month of Islamic calendar. His mortal remains were brought for funeral to the residence of Dr Malik who was a friend and a devotee. His devotees were chanting holy verses from Ayat Sharif and Darood Sharif . Around 4 O’ clock in the morning he opened his eyes once again, looked all around him with a smile and closed his eyes. This was a surprising moment for all those who were present around him. A dead man opening his eyes and smiling was something strange. The crowd shouted Hazrat is alive, Hazrat is alive, call the doctor. There are several people alive today who witnessed this strange incident. Dr Malik examined him and pronounced him dead. He was buried at Ganj Shahda which is located on the Ahmedabad – Delhi highway . The Urs is celebrated every year and lakhs of devotees all across the globe visit his Mazaar ( Tomb ).

Among the film personalities who used to attend the Urs were Mehboob Khan, Sardar Akhtar, Zaibunissa, Mehtab, Begum Akhtar, Prithviraj Kapoor and Trilok Kapoor etc .

There are hundreds of families in Hyderabad whose vows were fulfilled by the spiritual powers of Hazrat Ashraf Khan. Each family has a different story to narrate. Many sickly people got cured, many got rid of financial troubles, rivals became friends, and many women became mothers after best efforts by doctors failed .

Amirbai Karnataki rendered a couple of devotional songs in his praise. Some disc collectors of Hyderabad had them in their collection .

Ashraf Khan acted in 31 films in all. Some of his films were- Aaiye 1949, Phool 1945, Roti 1942, Baghban 1938, Ajamil 1934, Roop Basant 1933, Malati Madhav 1933, Husn Ka Gulam 1933, Veer Kunal 1932, Gul-e-Bakavali 1932, Bhartruhari 1932. He sang 59 songs in 14 films. Some of the songs rendered by Ashraf Khan were in movies …..Baghban 1938, Baaghi 1939, Aazaadi-E-Vatan 1940, Roti 1942, Pagli Duniya 1944 and Naiya-1947. His last film was Arab ka sitara-1961.

Noted Record Historian, Dr. Suresh Chandvankar also wrote about Ashraf Khan in his book in Marathi ” पूर्वसूरींचे सूर “. He says that after the death of his parents, Ashraf khan was looked after by his father’s Hindu friend Baburao. He learnt Gujarati so well that people thought that he was a Gujarati. He entered the Gujarati stage. Due to his good singing, in later periods he was called Saigal of Gujarat. In 1960, he was felicitated by the President of India. In Bombay he had a bungalow in Girgaon. From 1950 onwards, he inclined towards Sufism, while still working on stage and films.

After his death, his Darga is set up at Dana Limdi, on the Bombay-Gujarat highway, where every year Urs is held and lakhs of visitors come. (Based on information from article by P.Kamalakar ji, book -पूर्वसूरींचे सूर by Dr. Suresh Chandvankar, Gujarati Rangbhumi by K.N.Parekh, HFGK, muVyz and my notes. Thanks to all.)

Six songs of Ashraf Khan are discussed on this Blog. All are film songs. This is perhaps his first Non Film Song to feature here.


Song- Khudi mitaaye na jab tak Khuda nahin milta (Ashraf Khan NFS)(1940) Singer- Master Ashraf Khan Lyricist- Unknown MD- Unknown

Lyrics

Khudi mitaaye na jab tak
Khuda nahin milta
Khudi mitaaye na jab tak
Khuda nahin milta aa
aa aa

?? mein shaakh mein ae ae ae ae
aa aa aa aa aa
aa aa aa aa aa
?? mein shaakh mein
gul mein usi ka jalwa hai ae
ke uspe kehte hain
hamko khuda nahin milta aa aa aa
kiya na uska tasawwur
na dhyaan hai dil mein
ae ae ae ae
kiya na uska tasawwur
na dhyaan hai dil mein ae
kisi ko raasta chaltey
Khuda nahin milta aa aa
(??)jabaan dil se alag rakkho
tu tu mai mai se ae ae ae
jahaan hai ??
Khuda nahin milta aa aa

kisi ka dost na paaya
jahaan mein ae makhmoor
kisi ko dost na paaya
jahaan mein ae makhmoor
Khuda to mil bhi sake
aashna nahin miltaa
Khuda to mil bhi sake
aashna nahin miltaa
?? gair kahin
?? to kya nahin milta
aa aa aa


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 :

4821 Post No. : 16597

“Bhakt Pooran”(1952) aka “Parasmani” was a partially colour film. This mythological movie was produced by Vinod Chandra Desai and directed by Dhirubhai Desai for Vinod Films, Bombay. The movie had Nirupa Roy, Shahu Modak, Vanmala, Sapru, B M Vyas, Niranjan Sharma, Lalita Pawar, Shanta Kunwar, Radha, Dhuliya, Lathani, Amina, Munnas, Anwari, Pratibha, Ramesh Tiwari, Dilip Pahalwan, M Tandon, Baby Naaz, Pappu etc in it.

“Bhakt Pooran”(1952) had eight songs in it. Four songs have been covered so far.

Here is the fifth song from “Bhakt Pooran”(1952) to appear in the blog. The song is sung by Rafi. Ramesh Chandra Pandey is the lyricist. Music is composed by Chitragupta.

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


Song-Re moorakh kis baat par karta hai abhimaan(Bhakt Pooran)(1952) Singer-Rafi, Lyrics-Ramesh Chandra Pandey, MD-Chitragupta

Lyrics

re moorakh kis baat par
karta hai abhimaan
tujhse kitne chal base ae ae
raha na naam nishaan

andha manva nain deewaane
andha manva nain deewaane
andha manva
jaane tujhe kahaan le doobe
jaane tujhe kahaan le doobe
inke kaun thhikaane re ae
andha manva

kya hai tere paas re praani
kis par tu itraaye ae ae
kya hai tere paas re praani
kis par tu itraaye
angaaron ko phool samajh kar phoola nahin samaaye
saja ke jhoothhe sapne suhaane re ae
andha manva nain deewaane
andha manva

panchrang chunri odh ke thhagini
chham-chham naache maaya
laakhon kanchan si kaaya ko o
laakhon kanchan si kaaya ko
mitti ban kar khaaya
to mit gaye ek se ek sayaane re
andha manva

ooncha chadh kyun chamak dikhaave ae ae ae
ooncha chadh kyun chamak dikhaave
kare gagan se baaten
pal mein ye din dhal jaayenge
pal mein ye din dhal jaayenge
hongi andheri raaten
bhed ye moorakh man kya jaane
moorakh man kya jaane
moorakh man kya jaane ae ae


This article is written by Peevesie’s mom, 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 :

4800 Post No. : 16566 Movie Count :

4512

Hullo Atuldom

Last year in May, I had posted a Hindi song from a Malayalam film which starred Mohanlal, on the occasion of his 60th birthday. At that time I had mentally made note to write a post for the birthday of the other super actor of Malayalam.

Mammootty, birth name Muhammad Kutty Panaparambil Ismail, turned 70 on 7th September. I recalled that I missed the date only now.
Mammootty is a versatile actor who made his debut as a Junior artist in 1971. His next film came in 1973 which had a dialogue too. He was also active on stage and landed his first lead film role in 1979, but that movie never got completed. His first released movie, which had him playing a credited role came in 1980 followed by a supporting role of a circus stunt bike rider in the 1980 release ‘Mela’. His career ran the course of small roles or supporting roles till 1987 when he had a major success with “New Delhi”, one of the first Mammootty films that I got to see.

Here I would like to add that I became aware of this actor only post 1988 when I shifted down-south and began seeing, enjoying and understanding these movies. Prior to that I was aware of only Kamal Hassan and Rajnikanth because they had made appearances in Bollywood.

I would also like to add that the Mammooty starrer “New Delhi” was remade in Hindi, in 1988. where Jeetendra replaced Mammootty and rest of the cast was retained. The other Mammootty films of that period which I have seen on repeat, almost like an ‘Amar Akbar Anthony’ or ‘Sholay’, are ‘Oru CBI Dairy Kurippu’ (A CBI Dairy Entry), ‘Nair Saab’ and ‘Iyer The Great’. I would also recommend these movies to the followers of this blog, even if they don’t follow the language, for the sheer quality of the acting, story and overall look of the movies. Of course, ‘Oru CBI Dairy Kurippu” was made in Hindi as ‘Police Public’ (1990) where Raaj Kumar played the CBI officer character that Mammotty had played in the Malayalam film. His “Katha Parayumpol” (as the story is told) was remade in Hindi as “Billu” where Shahrukh Khan played the character which Mammooty enacted in the original. Even Rajesh Khanna has acted in a remake of the Mammootty film “Kanamarayathu” (Hidden in plain sight-1984); the Hindi film was called ‘Anokha Rishta’ (1986).

I can go on listing movies of his which has him play comic hero, action hero or serious hero; he played characters which are all of these at the same time. He has acted in over 400 films and in 1986 alone he was seen in 35 films.

This actor has done a few films in Tamil, Telugu, Hindi, Kannada and also the role of Dr. Babasaheb Ambedkar in a Jabbar Patel directed biographical film on the architect of Indian constitution, in English. For this role he won the National award for best actor in 1999. He is the recipient of three National awards, seven state awards and thirteen Filmfare awards. He is also a Padma Shri recipient.

Before we proceed to the song I would like to mention that he is a qualified lawyer and also involved in a lot of philanthropic work specially towards improving the life of cancer patients, eradication of child labour and child begging etc. His son Dulquer Salman has been an actor too, for the last 10 years or so.

We are having s song from the Jabbar Patel directed “Dr. Babasaheb Ambedkar” which had a theatrical release in 2000 although it was certified in 1998. It was produced by NFDC and was jointly funded by the Ministry of Social Justice and Empowerment and the Government of Maharashtra. It was simultaneously shot in Hindi and English. Jabbar Patel has said that Mammootty was considered for the role after Patel saw Mammooty’s picture on a magazine cover and felt there was a resemblance. The actor himself was hesitant to take on the role as it meant shaving his moustache and also playing the character out of his own imagination as there were no known footage of Babasaheb available to study the body language and way of speaking etc. The movie had 6 or 7 songs of which one has been credited to Sant Kabir. The music was by Amar Haldipur. Ravindra Sathe, Roop kumar Rathod, Vinod Sehgal, and Jayashree Shivaram were the playback singers used. The cast included Sonali Kulkarni (Ramabai Ambedkar), Mohan Gokhale (Mohandas Karamchand Gandhi) etc. Today’s song is in the voices of Ravindra Sathe and Vinod Sehgal. Wishing Mammukka (as his fans address him affectionately) on reaching 70, albeit belatedly.


Song-Kabira kahe ye jag andha (Dr Babasaheb Ambedkar)(2000) Singers-Ravindra Sathe, Vinod Sahgal, Lyrics-Kabir, MD-Amar Haldipur

Lyrics

kabira kahe ye jag andha
kabira kahe ae ye jag andha
kabira kahe ye jag andha
kabira kahe ae ye jag andha

andhi jaisi gaai
bachhda tha so mar gaaya
andhi jaisi gaai
bachhda tha so mar gaaya
jhoothi shaan chataaye
kabira kahe ye jag andha
kabira kahe ae ye jag andha

gagan ghata gahraani sadho oo oo
gagan ghata gahraani sadho
gagan ghata gahrani
purab disha se uthhi hai badariya
ho o o purab disha se uthhi hai badariya
rimjhim barsat paani ee
rimjhim barsat paani
purab disha se uthhi hai badariya
rimjhim barsat paani
ho rimjhim barsat paani
andhi jaisi gaai
bachhda tha so mar gaya
jhoothi shaam chataaye
kabira kahe ye jag andha
kabira kahe ae ye jag andha
kabira kahe ae ye jag andha
kabira kahe ae ye jag andha

arda parda chhod de
ho oo ardha pardha chhod de
bin parde ke baad
ardha parda chhod de ae ae
bin pardhe ki baad
dulhan se dulha mila toh
dulhan se dulha mila toh
pheekhi ee eee
pheekhi padhi baaraat
kabira kahe ye jag andha
kabira kahe ae ye jag andha



This article is written by Peevesie’s mom, 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 :

4748 Post No. : 16478

Hullo Atuldom

18th July 2012- nine years to the date since the first superstar of Bollywood passed away. An actor who charmed his way into the hearts of his (female) fans with a smile that reached his eyes and could express his emotions with his eyes.

The style with which he said “Pushpa, I hate tears”. Or the the way he said “why are you roing?” to his girlfriend (Farida Jalal) who has come to wish him ‘all the best’ as he is leaving for the war.

Can anyone forget “Zindagi aur maut toh uparwale ke haath mein hain jahaanpanaah……” There are numerous such dialogues and sequences that are etched in the collective minds of his fans. But all these superlative scenes and dialogues came in the first few years of his stardom when he gave 15 consecutive hits.

What happened next? A tall lanky man walked in and went on to become the next superstar. But did he actually dislodge our Kaka from his pedestal? Not exactly. Kaka still kept coming up with movies were he was the solo hero, which were decently successful at the Box-Office too. In 1984-85 he had 11 releases of which 8 were hits in spite of the Amitabh mania being at its peak. In fact none of the superstars (past and/or present) Amitabh Bachchan, Salman Khan, Aamir Khan or Shahrukh Khan or all those who followed, can say that they have similar crazy fans. There are anecdotes about how female fans threw themselves at his car, how many of them were heart-broken when he got married etc.

I have read Amitabh Bachchan’s blog (that is the only other film-based blog, besides ASAD that I read/follow on such occasions) where he has said “The word ‘Superstar’ was invented for him, and for me it shall ever remain his, and no others .. !! His generation and the generations that follow, shall never be able to describe, or understand his phenomena .. !!”. What more can say about Kaka a.k.a Rajesh Khanna.

He was the highest paid actor for the longest time and he made an eye-pleasing pair with all his heroines of the time. Be it Hema Malini, Rekha, Shabana Azmi, Moushumi, Waheeda Rehman, Zeenat, Parveen babi etc. etc. etc. and Sridevi, Jaya Prada, Padmini Kolhapure, Tina Munim etc. from the next set. R D Burman, Kishore Kumar and Rajesh Khanna were a successful team and had worked together in 32 films. He had a keen sense of music and the songs of his movies right from ‘aur kuch der thahar aur kuch der na jaa’ to ‘Jai Jai Shiv Shankar’ to any songs, which any reader wants to add in this list, are well loved and still popular .

Selecting a song for this post was not easy as there are so many songs to choose from. I have tried to find a song which is not by R D Burman and the first song that I thought of is a personal favourite which, I am surprised, is not yet on the blog. In fact, Sudhirji had pointed out the absence of this song on the blog a long time back.

The song is written by Sawan Kumar Tak and composed by Usha Khanna. The song had two versions one by Lata Mangeshkar which was sung on screen by Padmini Kolhapure and the other by Kishore Kumar which was lip synced by (but of course) Rajesh Khanna. Both the versions cannot be classified as happy or sad but the song is very philosophical. Yes, I am talking of “Zindagi pyar ka geet hai” from ‘Soutan’ (1983). I don’t want to get into any discussion about which version is better and has stood the test of time. We shall straight away get to the song.

Here is that ever-so-popular song where we have both actors at their emotional best.

Male version

Female version

Song-Zindagi pyaar ka geet hai ise har dil ko gaana padega(Sautan)(1981) Singer-Kishore Kumar/ Lata, Lyrics-Saawan Kumar Tak, MD-Usha Khanna

Lyrics

—————————-
Male version (Kishore Kumar)
—————————-

zindagi pyaar ka geet hai ae ae
ise har dil ko gaana padega
zindagi pyaar ka geet hai ae ae
ise har dil ko gaana padega
zindagi gham ka saagar bhi hai ae ae
hans ke us paar jaana padega

zindagi ek ehsaas hai
toote dil ki koi aas hai
zindagi ek ehsaas hai
toote dil ki koi aas hai
zindagi ek vanwaas hai ae ae
kaat kar sabko jaana padega
zindagi pyaar ka geet hai ae ae
ise har dil ko gaana padega

aaaaa aaaaaaaaaaa
aaaaaaaaa aaaaaaaa

zindagi bewafa hai toh kya
apne roothe hain humse toh kya
zindagi bewafa hai toh kya
apne roothe hain humse toh kya
haath mein haath na ho toh kya aa aa
saath phir bhi nibhaana padega
zindagi pyaar ka geet hai ae ae
ise har dil ko gaana padega

zindagi ek muskaan hai
dard ki koi pehchaan hai
zindagi ek muskaan hai
dard ki koi pehchaan hai
zindagi ek mehmaan hai ae ae
chhod sansaar jaana padega
zindagi pyaar ka geet hai ae ae
ise har dil ko gaana padega
zindagi gham ka saagar bhi hai ae ae
hans ke us paar jaana padega
aaaaa aaaaaaa aaaa
aaaaa aaaaaaa aaaa

———————————–
Female version (Lata Mangeshkar)
———————————-
zindagi pyaar ka geet hai ae
ise har dil ko gaana padega
zindagi pyaar ka geet hai ae ae
ise har dil ko gaana padega
zindagi gham ka saagar bhi hai ae ae
hans ke us paar jaana padega

jiska jitna ho aanchal yahaan par
usko saugaat utni milegi
la la laa
la la laa
la la la la laa
jiska jitna ho aanchal yahaan par
usko saugaat utni milegi
phool jeevan mein gar na khilen toh
kaanton se bhi nibhaana padega
zindagi pyaar ka geet hai ae ae
ise har dil ko gaana padega

hai agar door manzil toh kya
raasta bhi hai mushkil toh kya
la la laa
la la laa
laa laa laa laa laaa
hai agar door manzil toh kya
raasta bhi hai mushkil toh kya aa aa
raat taaron bhari na mile toh o
dil ka deepak jalaana padega aa
zindagi pyaar ka geet hai ae ae ae
ise har dil ko gaana padega

zindagi ek paheli bhi hai,
sukh dukh ki saheli bhi hai
la la laa
la la laa
laa laa laa laa laaa
zindagi ek paheli bhi hai
sukh dukh ki saheli bhi hai ae ae
zindagi ek vachan bhi toh hai ae ae
jise sabko nibhaana padega aa
zindagi pyaar ka geet hai ae ae
ise har dil ko gaana padega
zindagi gham ka sagar bhi hai ae ae
hans ke us paar jaana padega


This article is written by Peevesie’s mom, 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 :

4734 Post No. : 16454 Movie Count :

4468

Hullo Atuldom

“Ghar Ka Chiraag” is a title that has been used twice in Bollywood- in 1967 and 1989. The 1967 film had a cast of Dharmendra, Waheeda Rehman, Balraj Sahni, Indrani Mukherjee, Dev Kumar, Biswajeet etc and had music by Madan Mohan for songs written by Kaifi Azmi. This was directed and produced by Jagdev Bhambri.
The 1989 film had Rajesh Khanna leading a cast of Neelam, Chunky Pandey, Om Shivpuri, Shafi Inamdaar, Navin Nischol and Dipika Chikhalia in a special appearance. It had music by Bappi Lahiri and Anjaan was the lyricist. This one was directed by Sikander Bharti and produced by Rajeev Kumar Choudhry.

The content in both the films seem to be different going by the synopsis available on the internet. But I know for a fact that “Ghar Ka Chiraag” (1989) was majorly inspired by the 1969 Balraj Sahni- Sadhana- Sanjay Khan starrer “Ek Phool Do Mail”. This statement of mine is sufficient to give the followers an idea about the movie, correct? Of course, there were minor differences in the story. In “Ek Phool Do Mali” (EPDM) Sadhana becomes an unwed mother because she is molested, whereas “Ghar Ka Chiraag” (GKC) had Neelam getting pregnant with Chunky Pandey’s child. In EPDM Sanjay was a mountaineer and GKC had Chunky as a racing enthusiast. Rest of the story was same in both the movies. And both movies had melodious songs.

GKC had eight songs with two songs having happy and sad versions. “Tutak tutak tutak tutiya” was very popular when the movie had released and I think it was inspired by some Punjabi folk song; this one had two versions. Another song ‘yeh kismat hai kya, jaanta hai wahi’ also had two versions. The happy version is when Kumar (Rajesh Khanna) is celebrating his happiness with wife (Deepika) and friends. We see that this song is echoing the thoughts that Dilip Kumar and Shammi Kapoor had put forth in this song.

In the second version we have Rajesh Khanna singing out his life experiences, and says ‘ek thokar lagi, toota sara nasha’.

Bappi Lahiri used Mohammad Aziz, Amit Kumar and Sapna Mukherjee (youtube is crediting Alka Yagnik for this song, need confirmation) for this song and Alisha Chinai and Amit Kumar for ‘Tutak tutak tutiya’. Udit Narayan, Alka Yagnik and Sarika Kapoor (another new name, for me at least) were the other playback singers.
Mohammad Aziz who sang the sad version of today’s song would have celebrated his 67th birthday on July 2nd. He was born in Kolkatta. He sang, primarily, in Hindi, Bengali and Odia films plus some Sufi devotional songs and also various genres in 10 other languages. He was also credited as Munna in some movies. ‘Mard’ by Anu Malik was his breakthrough though the 1984 movie ‘Amber’ with music by Sapan-Jagmohan was his debut in Bollywood. He has sung alongside all the prominent singers of the ’80s and ’90s with music composed by RD Burman, Laxmi-Pyare, Ravindra Jain, Raamlaxman etc; even OP Nayyar and Naushad.

Amit Kumar who has sung the duet with Sapna Mukherjee (or it could be Alka Yagnik, as per the tagging on youtube) celebrates his birthday on July 3rd turns 69!!!!! Is it so!!!!! Unbelieveable!!!! Cannot think of some people as aging, right no 🙂

We have enough fans of Amit Kumar on this blog and everyone knows his history, lineage etc. His last film appearance was in the 1989 release ‘Mamta Ki Chhaon’ which was a movie left incomplete by Kishore Kumar-his father. He had acted in many movies made by his father beginning with “Door Gagan Ki Chhaon Mein” in 1964. He won the Filmfare award for best singer in 1982 for the 1981 release “Love Story”.

Here is remembering Munna a.k.a Mohammad Aziz on his birth anniversary and Wishing Amit Kumar many more Happy Returns. May he continue to entertain us. He is launching a special RD Burman tribute on his birth-date on his YouTube channel… looking forward to it

Happy version (Duet)

Sad version (Sung by Md Aziz)

Song-Ye kismat hai kya jaante hain wahi zamaane mein hai jinki kismat buri (Ghar Ka Chiraag)(1989) Singers-Alka Yagnik/ Sapna Mukherjee, Amit Kumar, Lyrics-Anjaan, MD-Bappi Lahiri

Lyrics

———————-
Happy version
———————

aadmi kismat se kya
lad paayega bolo yahaan
darr ke kismat se ruka hai
iss zameen pe aasmaan

ye kismat hai kya jaante hain wahi
zamaane mein hai jinki kismat buri
ye kismat hai kya jaante hain wahi
zamaane mein hain jinki kismat buri
hooo ooooo
ooooo
ye kismat hai kya kisne dekha yahaan
ye kismat hai kya kisne dekha yahaan
apni kismat banaata hai khud aadmi

ye kismat hai kya jaante hai wahi
zamaane mein hain jinki kismat buri
ye kismat hai kya kisne dekha yahaan
apni kismat banaata hai khud aadmi

jitne oonche ho insaan ke hausle
utne oonche mahal uske kadmon taley
ho jitne oonche ho insaan ke housle
utne unche mahal uske kadmon taley

jinki mehenat ke dam se mahal hai khade
unko rehne ko milte hai kyon jhonpde
unki mehenat main ye akal shaamil na thhi
apni kismat banaata hai khud aadmi

ye kismat hai kya jaante hain wahi
zamaane mein hai jinki kismat buri

laakh mehnat se seenche koi gulsitaan
baag mein gul khila na sake baaghbaan
laakh mehnat se seenche koi gulsitaan
baag mein gul khila na sake baaghbaan
uski mehenat mein hogi kahi kuchh kami
warna kya hai jo kar na sake aadmi

aadmi khud ko insaan bana na saka
apni kismat banaayega kya aadmi
ye kismat hai kya kisne dekha yahaan
apni kismat banaata hai khud aadmi

aaj ka aadmi chaand ko chhoo saka
phir bhi dharti ko khushaal na kar saka
yahaan mehenat se sholon pe bhi gul khile
buri kismat se barsaat mein ghar jale
aaa aaaa aaa aa
aa aa aa aa
ye takraar sadiyon se yoonhi chale
magar ho sake na kabhi faisle
ye sach hai ki mehnat se sab kuchh miley
magar jab ye kismat yahaan saath de
na mehenat hai chhoti na kismat badi
hai donon ke dam pe ye duniya khadi
ye kismat hai kya jaante hain khadi
zamaane mein hain jinki kismat buri
ye kismat hai kya kisne dekha yahaan
apni kismat banaata hai khud aadmi

——————————————–
Sad version (Sung by Md Aziz )
——————————————–

har dua ek baddua
kyun ban gayi,
pal mein yahaan
bewafa kismat bhi,
uthth gaya sar se aasmaan

ye kismat hai kya jaanta hai wahi
zamaane mein hai jiski kismat buri
aadmi khud ko insaan bana na saka
apni kismat banayega kya aadmi
ye kismat hai kya jaanta hai wahi
zamaane mein hai jinki kismat buri

ye kismat hai karti ajab faisle
yahaan milke sab kuchh
bhi kuchh na miley
bhatakti hai yoon dar-badar zindagi
ke marke bhi insaan mar na sakey
ye kismat hai kya jaanta hai wahi
zamaane mein hai jiski kismat buri

ek thhokar lagi toota saara nasha
ab hai jaanaa kahaan kuchh nahin hai pata
laake kismat ne chhoda hai kis mod par
jo musaafir thha khud ban gaya raasta
ye kismat hai kya jaanta hai wahi
zamaane mein hai jiski kismat buri
aadmi khud ko insaan bana na saka
apni kismat banayega kya aadmi


This article is written by Arunkumar Deshmukh, 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 :

4722 Post No. : 16433

Today’s song is from a Mythological film- Shri Krishna Bhakti-1955. Made under the banner of Combined films Traders, Bombay, it was directed by the Wizard of Trick scenes- Babubhai Mistry. MD was my favourite- Chitragupta. All the 8 songs of this film were written by G S Nepali.

Hindu religion describes how the 10 Avatars of Lord Vishnu (Dashavataar) actually represent the Evolution of the Human race. The 10 Avatars were…

1. Matsya….Life started from water.
2. Kachha(Tortoise)…. First Amphibian who learned to live both in Sea and on Land.
3. Varaah (The Boar)….Life solely on Land.
4. Narsimha….Half qualities of Animal and half of Human.
5. Waman….Developing Humans.
6. Parshuram….Human ruled by Emotions
7. Shri Ram….Perfect Human being.
8. Shri Krishna….Survival amongst the opposition.
9. The Buddha….Extreme stage of Sacrifice
10. Kalki….End of Anarchy and present set up, to start a New Age all over again….Yet to come.

The most popular among these are, of course, Ram and Krishna. But what was the necessity of these Avatars at all ? Answer to this is in Bhagwad Geeta. BHAGAVAD GITA is one of our cultural heritage books. It is a part of Mahabharat and is also a part of Bramhopnishad-which is a scripture on Yogas.

This is a dialogue between Lord Shri Krishna and Arjun. The legend says that when Kauravas and Pandavas stood opposite each others for a war on Kurukshetra, Dhritrashtra,the blind father of Kauravas asked Sanjay- who had the divine power of seeing the war at Kurukshetra- to describe him the war happenings. Sanjay starts and in the course of his reporting, the entire Geeta too is narrated.

Without going into the details further, enough to stress that Lord Shrikrishna explains to Arjuna that, whenever there is a decline of Dharma and righteousness, He takes birth from age to age (sambhavami yuge yuge), to protect the virtuous, destroy evil-doers and to reestablish Dharma and righteousness.

This is described in the IV chapter, stanzas 7 and 8 in Bhagavad Gita thus-

“Yada Yada Hi Dharmasya
Glanirva Bhavathi Bharatha,
Abhyuthanam Adharmaysya
Tadatmanam Srijami Aham’.

Bhagavad Gita (Chapter IV-7)

“Whenever there is decay
of righteousness O! Bharatha
And a rise of unrighteousness
then I manifest Myself!”

Praritranaya Sadhunam
Vinashaya Cha Dushkritam
Dharamasansthapnaya
Sambhavami Yuge-Yuge.”

Bhagavat Gita (Chapter IV-8)

“For the protection of the good,
for the destruc­tion of the wicked and
for the establishment of righteousness,
I am born in every age.”

Indian filmmakers have made several films on the stories associated with these two Avatars- Ram and Krishn. Lord Ram has always been hailed as the “Purushottam” or the complete man. Personally, I feel that Characters like Shri Ram are not suitable for this age. For today’s times, the best suited is Krishna. While Ram taught us how to rule righteously, Krishna taught us how to win over the Villains and be successful. In today’s context, Krishn-Niti is more suitable,I aver. When your righteous living is in danger due to evil forces, you can not remain like a Purshottam. You will need to adopt Krishn Niti for survival. The best difference between these two can be explained by this Shlok.

Shri Ram – Ahinsa Parmo Dharmah….There is nothing greater than Non violence.

Shri Krishna – Dharma Hinsa tathaiva cha….You are justified to pick up arms for a just cause.

For the last 100 odd years, we were taught only the first part, but now we realise the second part is more suitable for our survival, in these times. Krishna Niti says, there is nothing wrong to adopt unconventional methods if your Right Cause is facing strong opposition. Lord Krtishna’s life was full of interesting episodes and therefore I like Krishna more than Ram, for his relevance to modern times.

Today’s song is from a film which depicts the story of a Krishn Bhakt. It is about how the devotee is saved from imminent death. The story of the film is….

In a village lives a boastful Bramhin Balbhadra Shastri and Cheta-the Krishn Bhakta Harijan. One day Cheta invites several Sadhus for food, whom Balbhadra had insulted. At the time of meals, the Sadhus get more than enough food. At the same time, food from Balbhadra’s house disappears. This enrages Balbhadra Shastri. On Janmashtami day, Shanti- Balbhadra’s daughter serves Prasad to Seva, son of Cheta. Balbhadra is very angry and hits Seva. He becomes unconscious. Same time the Idol in the temple disappears miraculously. People are afraid and request Cheta to invoke God to come back. Cheta sings a Bhajan and Seva comes alive and at the same time the Temple idol returns. All the people start hailing Cheta.

Balbhadra is very angry and decides to kill Cheta, but in the melee, instead of Cheta, Balbhadra kills his own daughter Shanta. Balbhadra accuses Cheta of her murder and takes him to court. Cheta is sentenced to death. On the day of execution, when Cheta is singing a bhajan while on way to the Gallows, suddenly, Shanta comes running and explains that the killed girl was someone else and she was kidnapped. Cheta is freed. Balbhadra repents and Cheta is honoured as a Great Krishn Bhakt.

The great Editor and special effect-Trick scene expert Babubhai Mistri ( 5-9-1918 to 20-12-2010), in the beginning, was an assistant with Prakash pictures.Prakash was making a film “Khwabon ki Duniya”- 37, based on the famous novel “The Invisible Man” by H.G.Wells,1897.The shooting started but the basic problem was how to show the ‘invisible‘ man. There was no special effect technique available in India till then, like in Hollywood.

Vijay Bhatt had an assistant called Babubhai Mistri, who accepted the challenge and using a dim light, a black curtain and a black thread to move articles, he achieved the desired results. This made the film not only a hit and popular one, but also a unique one. Babubhai Mistri, thus, became the father of the trick scenes and special effects in India. In the process, Babubhai also earned a nickname of ‘kaala dhaaga‘ (black thread) for the rest of his life, in the film industry.

Babubhai directed 49 Hindi films-mostly B and C grade Mythologicals, Costume, and Historical films. He also directed 1 Telugu and 9 Gujarati films. His first film as a director was Muqabala-42. Surprisingly he started off with a social film, but there was a valid reason. The initial Poster Painter had developed into a skilled Editor and trick scene expert, by his own hard work, encouraged by the Wadia brothers. The film was an unusual film of a story of twin sisters. Wadias wanted Babubhai to do something which will make the film stand out from all other such films.

Directed by Babubhai Mistry, it was the last movie of Fearless Nadia for Wadia Movietone. She had a double role of twin sisters: good Madhuri and bad Rita.
This film was First in India to use Split-screen method for double roles, where both sisters could cross each others, shake hands and talk together. The other attraction was the Night club set, which, in case of police Raid, could be converted into a respected residence in few minutes. It was a great fun to watch these two things.
A happy ending picture, but to see and hear the laboured Hindi dialogues of Madhuri (good Nadia) was another treat.

Today’s song is a bhajan by Mohd. Rafi and chorus.


Song- Ganga mein nahin Jamuna mein nahin (Shri Krishn Bhakti)(1955) Singer- Mohd. Rafi, Lyricist- G S Nepali, MD- Chitragupta
Chorus

Lyrics

Ganga mein nahin
Jamuna mein nahin
mehlon mein nahin
kutiyon mein nahin een een een
jahaan yaad karo Bhagwaan wahin
jahaan yaad karo Bhagwaan wahin
mehlon mein nahin
kutiyon mein nahin
jahaan yaad karo Bhagwaan wahin
jahaan yaad karo Bhagwaan wahin

kyun naam na lekar dhan jode
kaudi ke liye naataa tode
kyun naam na lekar dhan jode
kaudi ke liye naataa tode

sone mein nahin chaandi mein nahin
sone mein nahin chaandi mein nahin
heere mein nahin moti mein nahin
jahaan yaad karo Bhagwaan wahin
jahaan yaad karo Bhagwaan wahin

chupke se ro(?) man ki maala
chupke dekhe murli waala
chupke se ro(?) man ki maala
chupke dekhe murli waala

jantar mein nahin mantar mein nahin
jantar mein nahin mantar mein nahin
dharti mein nahin saagar mein nahin
jahaan yaad karo Bhagwaan wahin
jahaan yaad karo Bhagwaan wahin

paataal gagan jal mein thhal mein
muskaata hua ?? pal mein
paataal gagan jal mein thhal mein
muskaata hua ?? pal mein

mandir mein nahin teerthon mein nahin
mandir mein nahin teerthon mein nahin
Geeta mein nahin Vedon mein nahin
jahaan yaad karo Bhagwaan wahin
jahaan yaad karo Bhagwaan wahin
mehlon mein nahin
kutiyon mein nahin
jahaan yaad karo Bhagwaan wahin
jahaan yaad karo Bhagwaan wahin


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 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 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 :

4696 Post No. : 16386 Movie Count :

4452

When Imperial Movietone released India’s  first sound film, ‘Alam Ara’  in  1931, other top film production companies of Hindi films followed suit. Madan Theatre with ‘Shirin Farhad’ (1931), Ranjit Movietone with ‘Dev Devyani’ (1931), Sagar Films with ‘Meri Jaan’ (1931), Prabhat Film Company with ‘Ayodhya Ka Raja’ (1932, in Marathi and Hindi), New Theatre with ‘Mohabbat Ke Aansoo” (1932) were some of the early film production companies to release their first Hindi sound films.

Wadia Brothers were the late entrant to the production of sound films. The reason was that JBH Wadia did not have his own banner when he was making the silent films since 1928. It was only when sound films came into existence, JBH Wadia was joined by his brother Homi Wadia to set up Wadia Movietone in 1933. The banner’s first sound film was ‘Laal-e-Yaman’ (1933) which was directed by JBH Wadia. Wadia Brothers were the populist film-makers who believe in making wholesome entertainment films. They mainly chose the genres of stunts, action, adventure and costume drama films. The first sound film was a money spinner for the banner which enabled them to set up their own studio.

‘Laal-e-Yaman’ (1933) will be remembered for shaping the career of two artists who acted in the film in side roles.  First, Master Feroze Dastoor was introduced in the film as a singer-actor. JBH Wadia was a patron of Hindustani classical music. When he heard 14-year-old Feroze Dastoor singing a Hindustani classical song, he decided to use his voice for the film. In the absence of the playback singing system, he was taken in the film as an actor so that he can sing the songs. Feroze Dastoor sang 7 songs in the classical/semi-classical genre. Later, Pandit Feroze Dastoor became one of the leading Hindustani classical vocalists belonging to Kirana Gharana.

The second actor was Nadia who did a small role in the film as a chorus singer. In a couple of years after the release of ‘Laal-e- Yaman’ (1933), JBH Wadia selected her as lead actress for ‘Huntrerwali’ (1935) which was directed by his brother, Homi Wadia. The film became a runway success in terms of box office collection. Eventually, she became the Wadia Movietone’s top most star and India’s top action actress, popularly known as ‘Fearless Nadia’.

JBH Wadia’s interest in Hindustani classical music motivated him to make short films of about 10 minutes on then upcoming vocalists and musicians for their promotions. During 1933-42, he made many such short films covering  Mallika Pukhraj, Kumar Gandharva, Azim Prem Ragi, Ahmed Jaan Thirkawa (Tabla), Sakhawat Hussain Khan (Sarod) among others. These short films were shown along with Wadia Movietone’s main feature films as an added bonus for the audience. The first two mentioned above are availabe for viewing on video sharing platforms.

JBH Wadia was involved with Indian National Congress during 1930-38. Under the influence of Congress, JBH Wadia promoted the theme of freedom struggle, Hindu-Musilim unity, eradication of caste system, emancipation of women, eradication of illiteracy etc, in his stunt and action films. In 1937, he came into contact of MN Roy (1887-1954), a Marxist revolutionary, who had joined the Indian National Congress in 1936 after his disillusionment with communism. After leaving Congress in 1940, MN Roy started an alternative ideology called ‘Radical Humanism’. JBH Wadia was highly influenced by MN Roy’s intellect and the honesty of the convictions about his ideology. Under his influence, JBH Wadia was leaning towards making socially relevant films. Later in his life, MN Roy became his close friend and philosophical guide.

Sometime in 1941, Wadia Movietone decided to produce a big budget film ‘Raj Nartaki’ (The Court Dancer) (1941) in Hindi, Bangla and English which featured Sadhana Bose and Prithviraj Kapoor in the lead role. The film was directed by Madhu Bose. Unfortunately, the film failed in the box office collections. With this, the differences between Wadia brothers as also between JBH Wadia and the financiers arose leading to the dissolution of partnership in Wadia Movietone. Homi Wadia left Wadia Movietone in 1942 to form his own film production company called Basant Pictures and continue to produce stunt and action films.

The financiers of Wadia Movietone wanted it to continue to make stunts films. JBH Wadia was veering toward social genre of films.  The differences led to financiers withdrawing their support to Wadia Movietone. To raise the finance, JBH Wadia had to sell the studio to V Shantaram who had then set up his own film production company, Rajkamal Kala Mandir in 1942. JBH Wadia started producing social genre of films. Some of his such films were ‘Aankh Ki Sharm’ (1943), ‘Vishwas’ (1943), ‘Mela’ (1948), ‘Magroor’ (1950), ‘Madhosh’ (1951), ‘Duniya Jhukti Hai’ (1960), Saaz Aur Sanam’ (1971) etc.

[Note: Some of the events mentioned in the above paragraphs are based on an article ‘Those Were The Days’ written by JBH Wadia and published in ‘50 Years of Indian Talkies (1931-1981)’ by Indian Academy of Motion Picture Arts and Sciences, 1981. The article was reproduced in cinemaazi.com].

I find it interesting coincidence to note that one of the reasons for the downfall of Sagar Movietone was its ambitious and a high budget film ‘Kumkum, the Dancer’ (1940) which failed at the box office. Wadia Movietone’s downfall was also due to its high budget film ‘Raj Nartaki’ (1941) which also failed at the box office. Both the films had a common theme of a dancer played by Sadhana Bose. Both the films was directed by Madhu Bose.

‘Manthan’ (1941) was produced under the banner of Wadia Movietone and was directed by Ramjibhai Arya. The cast included Sardar Mansoor, Radha Rani,  Rajkumari, Dalpat, Boman Shroff, MK Hasan etc. The film belonged to the genre of ‘costume drama’. This film was made at a time when Wadia Movietone was under financial strains due to the money locked in its ambitious high budget film, ‘Raj Nartaki’. Probably, this may be the reason that not  much advertisements of the film during its making as well its release, were noticed.

‘Manthan’ (1941) had 10 songs. All the songs were written by Pandit Faani which were set to music by Baldev Nayak. I am presenting the first song from the film “Jeevan Ki Aashaayen’ to appear on the blog. HFGK mention the name of the singer as Rajkumari. The voice does not sound  that of Rajkumari Dubey. This means that the singer could be Rajkumari Calcuttewaali. I have a seen a photograph of Rajkumari from the film ‘Manthan’ (1941) and she does not look like Rajkumari Dubey. On checking with Girdharilal Vishwakarma ji, who has uploaded the song, he has confirmed that the singer is Rajkumari Calcuttewaali.

With this song, ‘Manthan’ (1941) makes a debut on the Blog.

Song – Jeevan Ki Aashaayen (Manthan) (1941) Singer – Rajkumari Calcuttewaali, Lyrics – Pt Faani, MD – Baldev Nayak
Chorus

Lyrics

jeewan ki aashaayen
ae ae
jeewan ki aashaayen
jeewan ki aashaayen
jeewan ki aashaayen  
jeewan ki aashaayen
jeewan ki aashaayen
 
ek nahi
do chaar nahi
kitani hai koi paar? nahi
kitani hai
kitani hai koi paar? nahi
roz roz hoon
roz roz badh jaayen
jeewan ki aashaayen
jeewan ki aashaayen
aashaayen
 
aashaaon se khel rahi hai
aashaaon se khel rahi hai
jeewan sukh se mil rahi hoon
jeewan sukh se mil rahi hoon
jeewan mein aashaayen
jeewan mein aashaayen
jeewan mein aashaayen
jeewan ki aashaayen
jeewan ki aashaayen
aashaayen

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

जीवन की आशाएँ
ए ए
जीवन की आशाएँ
जीवन की आशाएँ
जीवन की आशाएँ
जीवन की आशाएँ
जीवन की आशाएँ

एक नहीं
दो चार नहीं
कितनी हैं कोई पार नहीं
कितनी हैं
कितनी हैं कोई पार नहीं
रोज़ रोज़ हाँ
रोज़ रोज़ बढ़ जाएँ
जीवन की आशाएँ
जीवन की आशाएँ
आशाएँ

आशाओं से खेल रही हूँ
आशाओं से खेल रही हूँ
जीवन सुख से मिल रही हूँ
जीवन सुख से मिल रही हूँ
जीवन में आशाएँ
जीवन में आशाएँ
जीवन में आशाएँ
जीवन की आशाएँ
जीवन की आशाएँ
आशाएँ


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 :

4676 Post No. : 16353

“Chandrashekhar Azad”(1963) was directed by Jagdish Gautam for Kwatra Films, Bombay. This patriotic movie had Jairaj, Nirupa Roy, Indira Billi, Leela Mishra, Majnoo, Indira Bansal, Tuntun, Altaf, Kuldeep Chaand, Dharampal, Ravikant, Bhagwan Sinha, Jagdeesh Kamal, Harun, Jagdish Gautam, Kabuli, Rafia Sultna, Manohar Geer, Prem Lata, Gopal Sahgal, Zillani, Sarala, Niranjan Sharma, Sheikh, Babu, Rajinder etc in it.

The movie had five songs in it. One song has been covered in the past.

Today (7 May 2021) is the 20th remembrance anniversary of Prem Dhawan (13 June 1923-7 May 2001). On this occasion, here is a song from “Chandrashekhar Azad”(1963). This song is sung by Rafi and chorus. Prem Dhawan is the lyricist. Music is composed by Sardul Kwatra.

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

Lyrics of this song were sent to me by Avinash Scrapwala.


Song-Kaahe paap kamaaye re bande kuchh bhi kaam na aayegaa (Chandrashekhar Azad)(1963) Singer-Rafi, Lyrics-Prem Dhawan, MD-Sardul Kwatra
chorus

Lyrics(Provided by Avinash Scrapwala)

Kaahe paap kamaaye re bande
Kuchh bhi kaam na aayegaa
Tod ke tan ka pinjraa ek din
Man panchhi ud jaayegaa
Kaahe paap kamaaye re bande
Kuchh bhi kaam na aayegaa
Tod ke tan ka pinjraa ek din
Man panchhi ud jaayegaa
Ud jaayegaa
Ud jaayegaa
Ye panchhi ud jaayegaa
Ye panchhi ud jaayegaa
Kaahe paap kamaaye re bande
Ae ae
Raam bolo
Ke bhaiyya raam bolo
O bolo Raam bolo
Ke bhaiyya raam bolo

Takht taaj ye raaj paat
Kuchh bhi to jaata saath nahin
Kuchh bhi to jaata saath nahin
Rok sake udtey panchhi ko
Ye to kisi ke haath nahin
Bhai ye bhi to kisi ke haath nahin
Laakh lagaa le pehre phir bhi
Laakh lagaa le pehre phir bhi
Zor nahin chal paayega
Tod ke tan ka pinjraa ek din
Man panchhi ud jaayegaa
Kaahe paap kamaaye re bande
Ae ae ae
Raam bolo
Ke bhaiyya raam bolo
O bolo Raam bolo
Ke bhaiyya raam bolo

Kya kya soche sochne waala
Par kya kuchh ho jaata hai
Are par kya kuchh ho jaata hai
Jaane waala haath na aata
Aisa kahin kho jaata hai
Are aisa kahin kho jaata hai
Ek baar jo taara tootaa aa
Ek baar jo taara tootaa
Phir wo nazar na aayegaa
Tod ke tan ka pinjraa ek din
Man panchhi ud jaayegaa
Kaahe paap kamaaye re bande
Ae ae ae ae
Raam bolo
Ke bhaiyya raam bolo
O bolo Raam bolo
Ke bhaiyya raam bolo

Na teri na meri duniya
Na gore na kaale ki
Bhai na gore na kaale ki
Yahaan chali
Aur sadaa chalegi
Marzi upar waale ki
Ab marzi upar waale ki
Bura bhala jaisa bhi karega
Bura bhala jaisa bhi karega
Waisa hi phal paayega
Tod ke tan ka pinjraa ek din
Man panchhi ud jaayegaa
Ud jaayegaa
Ud jaayegaa
Ye panchhi ud jaayegaa
Ye panchhi ud jaayegaa
Kaahe paap kamaaye re bande
Ae ae ae ae
Raam bolo
Ke bhaiyya raam bolo
O bolo Raam bolo
Ke bhaiyya raam bolo
O bolo Raam bolo
Ke bhaiyya raam bolo

Ye panchhi ud jaayegaa
Aa aa
O bolo Raam bolo
Ke bhaiyya raam bolo
O bolo Raam bolo
Ke bhaiyya raam bolo
O bolo Raam bolo
Panchhi ud jaayegaa
Ke bhaiyya raam bolo
O bolo Raam bolo
Ke bhaiyya raam bolo
O bolo Raam bolo
Ke bhaiyya raam bolo
O bolo Raam bolo
Ke bhaiyya raam bolo
O bolo Raam bolo
Ke bhaiyya raam bolo
O bolo Raam bolo
Ke bhaiyya raam bolo
O bolo Raam bolo
Ke bhaiyya raam bolo
O bolo Raam bolo
Ke bhaiyya raam bolo
O bolo Raam bolo
Ke bhaiyya raam bolo

Ye panchhi ud jaayegaa


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 THIRTEEN years. This blog has over 16600 song posts by now.

This blog is active and online for over 4000 days since its beginning on 19 july 2008.

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(© 2008 - 2021) 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.

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Movies with all their songs covered =1280
Total Number of movies covered=4520

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