Archive for the ‘“Phool” song’ Category
Prem ban ko main bhaagee gayee
Posted on: December 31, 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.
|
Blog Day : |
5279 | Post No. : | 17293 |
Today’s song is a rare song from an obscure film – Jeevan Natak-1935.
During the silent film era, there was no sound in the film and hence no dialogues. This was compensated by showing dialogue strips on the screen. Initially scenes and the dialogue srips were shown alternatively i.e. after the actor says something, the next scene was only his dialogue srip. Later on ,however, simultaneously showing of the dialogue strip started. In any case this prevented continuation of the story and importance of the dialogue. This also made the filmmakers make silent films action oriented, rather than using dialogues. 90 % silent films were action/stunt films or costume films.
When the Talkie film started, the filmmakers were rather perplexed as to what sort of Talkie films would be successful. In absence of previous data, it was a big challenge. Most filmmakers stuck to Mythologicals, Folk stories and social themes to be on the safe side. An analysis of films made in the first 3 years of Talkie films, underlines how the kind of films were decided.
The Talkie films can be broadly categorised into following Genres….
1. Mythologicals
2. Religious
3. Folklore stories
4. Social themes
5. Historicals
6. Costume films
7. Stunt/action
8. Imaginary
9. Comedy
10. Musicals etc.
Now, let us see what type of films were made in the first 3 years, i.e. 1931, 1932 and 1933 to understand how the filmmakers gave their preferences to different types of films.
| Year | total films made | Mythologicals | Social | Folklore | Imaginary | Costumes | all others |
|---|---|---|---|---|---|---|---|
| 1931 | 24 | 5 (21%) | 6 (25%) | 6 (25%) | – | 5 (21%) | 2 (8%) |
| 1932 | 62 | 14 (22.5%) | 15 (24%) | 3 (5%) | 7 (11%) | 9 (14.5%) | 14 (22.5%) |
| 1933 | 76 | 18 (24%) | 17 (22%) | 6 (8%) | 8 (10.5%) | 17 (22%) | 10 (13.5%) |
The above rough statistics prove how Mythologicals, Social, Costume and Imaginary story films evolved as popular genres. In all this process, the filmmakers played very safe and used as far as possible, only known stories – with minor variations done as ‘ cinematic liberties. because of all this, most filmmakers did not try any offbeat of different stories. However, even in this period some producers did try to make films with offbeat stories – like the film ” Awara Shahzada’-1933, with a story of Look-alikes. A very young Shahu modak played The Prince and Pauper’s roles. As the years passed by, adventurous filmmakers came up with offbeat stories.
Worth mentioning is Prabhat’s film “Wahan”-1937 used a story about another Planet. Then there was a film by Prakash films – “khwab ki duniya”-1937, based on the novel “The invisible man” by H.G.Wells. (later on there were more films like Mr. X-1957, Mr. X in Bombay-1964 and Mr. India-1987, on the same story). Yet another film was “Duniya kya hai”-1938 based on Leo Tolstoy’s novel ‘Resurrection’. In 1941 came film ” Bahen” by National studios, which was on suggestive incest. But by and large, such offbeat stories were rare in Hindi films till recent times.
All this is discussed here, because today’s song is from the film “Jeevan Natak”-1935, which too had an offbeat story. It was about the memories of an earlier birth. The main role of the protagonist was done wonderfully by Durga Khote. The story of this film, in short, was….
The plot is set in two historical epochs, 1735 and 1935. The spirited Miss Queen (Khote), performing in a period play, recalls a previous incarnation when she was the actual person she is now acting on the stage. She inherited the throne because the state of Ranigarh had no constitutional heirs and her horoscope was deemed auspicious. Instead of being merely a figurehead, she opposes the corrupt minster Jairaj and army commander Mubarak (Pahelwan), she makes sure the royal court is accessible to the suffering people.
The film was made by Debki Bose productions and was also directed by Debki Bose. Debaki Kumar Bose,Bengali and Hindi director was born in Akalpoush, Burdwan Dist., West Bengal on 25-11-1898.He was the Son of a noted solicitor, Madhusudhan Bose. Influenced by Sisir Bhaduri, his teacher at Bidyasagar College, Calcutta (1920), he left university to join the non-co- operation movement of Calcutta Congress (1920). He was caught and jailed. After coming out,his father threw him out. He started selling ‘Gamachhas’ on the road. He started and Edited journal, Shakti, from Burdwan (1927-8). One day he was seen and hired by Dhiren Ganguly as actor and scenarist for Dinesh Ranjan Dass’ Kamonar Aagun (1930), Devotee of Vaishnava evangelical movement. He joined British Dominion Films (1927) as scenarist, then director.
He became friendly with the Cinematographer Krishna Gopal, with whom he went to Lucknow where they made a film ” A shadow of dead”. The film flopped and Debki returned to Calcutta, but Krishna Gopal was held hostage by the producers till he paid their investment. Debki took a loan from P C Barua and paid that amount to get Krishna Gopal released.
He joined P.C. Barua’s Barua Pics (1930), then entered New Theatres (1932-4) together with Barua, directing the studio’s first hit, Chandidas, after 7 consecutive flops by New Theatres.. This was the First film in India,with Background music. Its cinematic validation of a major stage genre – the quasi-legendary biographical – helped lessen Bengali cinema’s dependence on the Calcutta Theatres for its themes as well as its literary, musical and acting talent. Early work known mainly for his free and inventive approach to established genres, esp. the mythological and the Saint film, creating a Bengali quality cinema (e.g. Aparadhi and Chandidas). He was the one who promoted film music as a mix of Rabindra sangeet and Indian Classical music. It helped New Theatres to make its film songs popular all over India.
He also made Pooran Bhagat-1933. Handsome actor Mijjan (Syed Hasan Ali Zaidi) was the Hero. When the film was ready and about to be released,communal riots started in Calcutta,between Hindu and Muslims. After the peace returned,New Theatres was worried about Mijjan’s name in this Mythological film. Debaki kumar Bose,who hailed from a rich Zamindar family,told Mijjan “dont worry. From today I give you half of my name-Kumar.” Mijjan’s name became Kumar and he went on to become a big actor. After this,Debaki Bose himself never used the suffix Kumar to his name,in his life.
He made Rajrani Meera in 1933. During this film making he had a quarrel with director Nitin Bose and he decided to leave New Theatres.
After this he Went to East India Film (1934-6) where he made the lyrical Seeta which launched Prithviraj Kapoor and Durga Khote as a star duo. Seeta became the First Indian film to be sent to the International film festival at Venice. Here the film won a Diploma too and thus Debaki Bose was the first Indian artiste to win an International award for his film. He then Returned to New Theatres (1937-41), on invitation of B N Sarkar, making the classic Bidyapati.
In 1942 he left Calcutta and came to Bombay. His first film here as a Director was Circo’s Apna Ghar, made also in Marathi as ‘ आपले घर ‘. This also he directed.
His independent Debaki Bose Prod. (1935) with stars from the Hindi and Marathi cinemas paved the way for other Calcutta cine artistes after the decline of New Theatres in the early 40s. Made Arghya, a documentary on the caste system, based on four narrative poems by Tagore to celebrate the centenary of his birth. Debaki Bose was not just a director,but he was an actor (3 films),a producer (1 film) and also a writer (14 films). He was given the Sangeet Natak Academy award in 1957 and a Padmashree in 1958. He was India’s star director.
He died on 17-11-1971 at Calcutta. In his career of 31 years he made 50 films,in Bangla,Hindi,Marathi,Tamil and English.
FILMOGRAPHY: 1930: Kamaner Aagun (only act); Panchasar (also act); 1931: Aparadhi; Shadows of the Dead; 1932: Nishir Dak (all St); Chandidas; 1933: Puran Bhakt; Meerabai/Rajrani? Meera; Dulari Bibi; 1934: Seeta; 1935: Inquilab; Jeevan Natak; 1936: Sonar Sansar/Sunehra? Sansar; 1937: Bidyapati/Vidyapati?; 1939: Sapurey/ Sapera; 1940: Nartaki; Abhinav; 1942: Apna Ghar/Aple Ghar; 1943: Shri Ramanuja; 1945: Meghdoot; Swarg Se Sundar Desh Hamara; 1946: Krishna Leela; 1947: Chandrasekhar; 1948: Sir Shankarnath; 1949: Kavi; 1951:Ratnadeep/Ratnadeepam; 1953: Pathik; 1954: Kavi; Bhagwan Shri Krishna Chaitanya; 1955: Bhalobasha; 1956: Chirakumar Sabha; Nabajanma; 1958: Sonar Kathi; 1959: Sagar Sangamey; 1961: Arghya (adapted from Encyclopedia of Indian Cinema,with thanks)
Let us now listen to this rare song, sung by Rampyari. Enjoy….
Song-Prem ban ko main bhaagee gayee (Jeewan Naatak)(1935) Singer- Miss Rampyari, Lyricist- Pt. Narottam Vyas, MD- H.C.Bali
Lyrics
Prem ban ko main bhaagi gayi
Prem ban ko main bhaagi gayi
lene sundar prem ke phool
Prem ban ko main bhaagi gayi
Prem ban ko main bhaagi gayi
lene sundar prem ke phool
Prem ban ko main bhaagi gayi
sookh gaya ban
phool jhhad padey ae
sookh gaya ban
phool jhhad padey ae
?? haath mein mere phool
?? haath mein mere phool
?? haath mein mere phool
Prem ban ko main bhaagi gayi
Prem ban ko main bhaagi gayi
aaj dard zor kar hai koi
leenhi maine jo hi kataar
yoon ??
haath kat gaya
baaki raha phool ka phool
baaki raha phool ka phool
baaki raha phool ka phool
Prem ban ko main bhaagi gayi
Prem ban ko main bhaagi gayi
Prem ban ko main bhaagi gayi
This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
|
Blog Day : |
4961 | Post No. : | 16831 | Movie Count : |
4580 |
#The Decade of Seventies – 1971 – 1980 #
————————————————————
# Bhoole-Bisre Geet # 168 # Missing Films of 1972 – 14#
——————————————
Today’s song is from the movie ‘Rut Rangeeli Aayee’ of the year 1972. This movie is one those still missing movie for the year 1972 on the blog. Today it makes its debut here.
‘Rut Rangeelee Aayee’ was directed by SM Pushkarna for Roshan Films, Bombay. It had Kanan Kaushal, Vijay Sharma, Jayshree T, Bharat Bhushan, Shyama, Brahmachari, Rehman, Nana Palsikar, Ramesh Deo, Madan Puri, Jagdish Malhotra, Bahri, Master Ratan and others. This movie was passed by Censor Board on 07.10.1972.
The film has four songs written by Hasrat Jaipuri and Tajdar Taj – two songs each. Music of this film was composed by Ratnadeep-Hemraj. The list of songs in this movie is as given below (as provided in HFGK).
| Sl. No. | Song Title | Singer/s | Lyricist |
| 01 | Husha Hayya, Sha Shaiyya…Shola Hoon Jawaan | Asha Bhonsle, Chorus | Hasrat Jaipuri |
| 02 | Koyi Chal Diya, Koyi Rah Gayaa Akela | Mohd Rafi, Chorus | Hasrat Jaipuri |
| 03 | Ek Zaraa Sa Kaam Karo, Bolo Bolo, Aaj Yahaan… | Kishore Kumar, Asha Bhonsle | Tajdar Taj |
| 04 | Leke Main To Champaa Chameli Baabu, | Mohd Rafi, Asha Bhonsle | Tajdar Taj |
Today’s song is sung by Mohd Rafi and Asha Bhonsle and on screen it is lip synced by Brahmachari and Jayshree T. The song happens to be a stage drama song. However, since the movie is not available it is difficult to say in what context this song happens in the movie.
‘Rut Rangeelee Aayee’ is an obscure movie of its time. Though video of couple of its song are available. But the movie seems to be unavailable, or I could not find it.
Let us have a look on the list of movies of 1972 alphabetically after adding the today’s movie. For brevity the list given below includes the list of movies missing on the blog and list of all movies from the last post “Aaj To Mera Ho Ja Tu“, from movie ‘Ratna Daaku’ to today’s movie song-post.
| Sl. No. | Movie Title | Director | Music Director | Passed by Censor Board | No of Songs on the Blog | No of Songs as per HFGK |
| 1 | Aakraant | Girish Vaidya | Jagat Singh | 07.12.1972 | 0 | No Information |
| 17 | Bachche Mere Saathi | TN Babu | MS Vishwanathan | 17.11.1972 | Songs Not Available | 6 |
| 24 | Bharat Darshan | Khwaja Ahmed Abbas | Jaidev | 04.11.1972 | 0 | No Information |
| 45 | Fighter Sheela | Vijay | Not Mentioned | 07.10.1972 | 0 | No Information |
| 50 | Gunfighter Johny | KSR Das | Aadi Narayan Rao | 25.03.1972 | Songs Not Available | 5 |
| 53 | Hunterwaali | KS Reddi | Satyam | 02.09.1972 | Songs Not Available | 5 |
| 54 | Jaadoo Nagari | Vednatham Roghaviya | Aadi Narayan Rao | 05.06.1972 | 0 | No Information |
| 65 | Kavi Sammelan | Kedar Sharma | 18.02.1972 | We have to wait 😊 | 17 | |
| 68 | Lady James Bond | KSR Das | Satyam | 11.07.1972 | Songs Not Available | 5 |
| 73 | Maayaa Darpan | Kumar T Shahni | Bhaskar Chandavarkar | 12.12.1972 | 0 | No Information |
| 81 | Miss Chaalbaaz (Tingoo Agent 000) | Ravi | Rajan-Nagendra | 27.11.1972 | Songs Not Available | 4 |
| 95 | Raajdhaani Express | BJ Patel | L Chakravarty | 04.03.1972 | Songs Not Available | 5 |
| 100 | Ratnaa Daakoo | KSR Das | Satyam | 29.12.1972 | 1 | 5 |
| 101 | Return Of Johnny | N Ramesh | N Dutta | 06.09.1972 | 1 | 6 |
| 102 | Rivaaj | T Prakash Rao | Shankar Jaikishan | 19.08.1972 | 5 | 8 |
| 103 | Roop Teraa Mastaanaa | Khalid Akhtar | Lakshmikant Pyarelal | 04.11.1927 | 7 | 7 |
| 104 | Rut Rangeelee Aayee | MM Pushkarna | Ratnadeep-Hemraj | 07.10.1972 | Making its debut on the blog today | 4 |
*Notes: –
- Songs for ‘Bachche Mere Saathi’, ‘Gunfighter Johnny’, ‘Hunterwaali’, ‘Lady James Bond’ and ‘Miss Chaalbaaz’ (Tingoo Agent 000) seem to be unavailable as of now.
- There is no information about the songs in HFGK Vol-V (1971-1980) for the movies – ‘Aakraant’, ‘Bharat Darshan’, ‘Fighter Sheela’, ‘Jaadu Nagari’ and ‘Maaya Darpan’ as mentioned above.
With the today’s song this movie ‘Rut Rangeelee Aayee’ makes its debut on the blog.
Let us now listen to today’s melodious song and welcome ‘Rut Rangeelee Aayee’ on the blog. 😊
Video
Audio
Song – Le Ke Main To Champa Chameli Babu (Rut Rangeeli Aayi) (1972) Singer – Asha Bhosle, Mohammed Rafi, Lyrics – Tajdar Taj, MD – Ratandeep Hemraj
Lyrics
champaa chameli motiya leke aayi phoolonwaali
phool le lo o
leke main to champa chameli baabu
leke main to champa chameli baabu
raste mein khadi hoon akeli baabu
laga de in kaliyon ke daam
o mere dilbar chhaliya
laga de in kaliyon ke daam
o mere dilbar chhaliya
haaye ae
champa ya chameli na man bhaaye
champa ya chameli na man bhaaye
gori tera komal badan bhaaye
jawaani kar de mere naam
o meri chhammak chhallo o
jawaani kar de mere naam
o meri chhammak chhallo o o
gajrey
kharido gajrey
in bheeni
pyaari kaliyon le
arey chakkar
lagaaye barson
maine sajani
teri galiyon ke
meri galiyon ke na phere karna
rapat likhwa doongi teri warna
leke main to champa
aa ha
aa ha
aa ha
ho leke main to champa chameli baabu
raste mein khadi hoon akeli baabu
laga de in kaliyon ke daam
o mere dilbar chhaliya
laga de in kaliyon ke daam
o mere dilbar chhaliya
haaye
dil pe
nahin hain kaabu
kaisaa jaadu
tu ne kar daalaa
arey doongi
thhapede kas ke
aayaa majnu
hunh
bada dilwaala
tere sab nakhre hain
thhode din ke
ho loonga saare badle
main gin gin ke
aa ha champa ya chameli
ho o o oye oye oye
champa ya chameli na man bhaaye
gori tera komal badan bhaaye
jawaani kar de mere naam
o meri chhammak chhallo o
jawaani kar de mere naam
o meri chhammak chhallo o o
rang hai
nasheela jinka aa aa
laayi chunke aise gul boote
haaye haaye
tujh sa
nahin hai koyi
tere aage
saare rang jhhoothhe
tu hai bada pakkaa shikaari rasiya
ke aaj tere aage main haari rasiya
leke main to
aa ha
leke main to champa chameli baabu
raste mein khadi hoon akeli baabu
laga de in kaliyon ke daam
o mere dilbar chhaliya
laga de in kaliyon ke daam
o mere dilbar chhaliya
haan aa
champaa ya chameli na man bhaaye
champaa ya chameli na man bhaaye
gori tera komal badan bhaaye
jawaani kar de mere naam
o meri chhammak chhallo o
jawaani kar de mere naam
o meri chhammak chhallo o
o chhammo
o chhallo
o chhammo
ji chhallo
arey meri chhammak chhallo
zara aa
ahaa ahaa ahaa
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 : |
4820 | Post No. : | 16592 | Movie Count : |
4522 |
Today’s song is from an obscure old film Jhoothi Sharma-1940. The film was made by Bhavnani Productions, Bombay and was directed by its owner Mohan Bhavnanni himself Music was given by the veteran, multi-talented Badri Prashad and the songs were written by D.N.Madhok.
Though the film was obscure which remained unknown in later years, it was a special film because a German had written its story and screenplay, while another German had provided the background music and the orchestration for the film. Now, where did the Germans come from in this film ?
Very few people know that Indian Cinema had a little known connection with the rise of Hitler in Germany in 1932-33. A group of men , engaged in Cinema in Germany, flocked to India in the 30’s and played a vital role in Indian Cinema and the arts of that time. After Hitler took over Germany in 1933, the German Cine Studio’s glory days were over and they were turned into Nazi Propaganda Machines !
It was at this time that several of its men left the studio and arrived in India, and contributed during the Indian cinema’s formative years.
The foremost among them is Frantz Osten, a German whom Himanshu Rai and Devika Rani met at the UFA when they went to train there (they worked with Lang and Marlene Dietrich). Osten had already been directing films for the couple since 1925, when he made Light of Asia for them from Germany.
In 1934, he came to India and the next year, after Rai founded ‘ Bombay Talkies ‘ the legendary film studio in Malad that now lies in ruins, Osten directed its first film.
He went on to direct the famous Devika Rani-Ashok Kumar starrer, Achhyut Kanya, without much knowledge of Hindi. The film, which featured the song “Main ban ke chiriya”, was shot by Joseph Wirsching; the sets were designed by Karl von Spreti and the laboratory was headed by Zolle, Osten’s team of UFA ex-members who worked for Rai’s state-of-the-art studio.
Osten and his fellow Germans directed 16 films for Rai. It was a remarkable feat for people who knew little Hindi ‘ mistaking the word “bulbul” once for a pair of bulls. While in Bombay, he became a member of the Nazi Party (1936). He was interned by the British at the outbreak of WW2 while shooting his last film there, Kangan. Released and allowed to return to Germany (1940).
“It’s not clear if they had anything to do with the Nazi ideology, either way,” said film historian Amrit Gangar.
“If they did, it did not show in their films. But there were two other people who almost certainly migrated to India because of the persecution of Jews.”
They were Walter Kauffman, a scholar and composer interested in Oriental music, and Wilhelm Haas, a writer and a friend of Franz Kafka.
“Both were Jews, and Haas came to India because of Kauffman, who went on to found the Bombay Chamber Music Society,” Gangar added.
Kauffman arrived in 1934 after meeting director-producer Mohan Bhavnani at the UFA (where V. Shantaram also did a stint).
“Haas was in Czechoslovakia, but left the country for India just after Hitler’s invasion,” Gangar said.
Kauffman, Haas and Bhavnani worked together in Premnagar (1940), Naushad’s first film as music director. Kauffman composed the background score; Haas wrote the screenplay.
“It is debatable, but Kauffman is probably also the person behind the All India Radio signature tune. Haas was a member of the Indian chapter of PEN,” Gangar said. Haas also wrote the script for Bhavnani’s Jhooti Sharam (1939) and Kauffmann provided Orchestration and background music.
The story of Paul Zils ( 1-6-1915 to 30-3-1979 ) stands out, though. Zils, believed to be a Nazi sympathizer, turned up in India under strange circumstances: he was bound for Indonesia in a steamer that got torpedoed by an Indian naval ship during World War II and he was taken prisoner.
After his release, because of his film experiences, the leadership of the sales department in Ezra Mir led government documentary production company, called him to join Information films of India. End of October 1945, he came to Bombay and started his work. In March 1959 he returned to Germany.
Josph Virsching-the Cinematographer, however, stayed back in India till his death in 1967. He did few Hindi films too.
Paul Zils directed 3 Dev Anand films, according to the documents. Hindustan Hamara-50 and Zalzala-52 are found in HFGK, but the third film called ‘ Shabash”, though listed in 1949, gives no details, except the film name. ( Information adapted from the book ” Walter Koffman” by Amit Gangar, with thanks and my notes.)
The cast of the film Jhoothi Sharm-40 was Trilok Kapoor,Bimla Kumari, Shareefa, Navin Yagnik, Nayampally, Girish, Iqbal, Rajkumari and others. The film was directed by Mohan Bhavnani. Most of the new generation readers may not know anything about this pioneer film maker.
Mohan Dayaram Bhavnani was born on 2-10-1903 at Hyderabad-Sindh. He studied at the College of Technology, Manchester (1921-24). After graduation, he went to Germany to study film making at the UFA (Universum Film ArtikenGessel schaft), a German motion picture production company in 1924. He came back to India and joined Kohinoor Film Co. in Bombay. He made several Silent films with actress Sulochana, like Cinema ni rani, Maitri prem, Veer Bala, Bhamto Bhoot, Wild Cat of Bombay ( she played 8 different roles in it) etc. Then he joined Imperial film co. in 1927. In 1931 he became an independent producer with Indian Art Production.
He returned to Germany to study sound film technique, when the advent of the Talkie happened in India. he came back and made his first Talkie Farebi jaal aka The Trapped-1931, a part Talkie film. It flopped but actress Durga Khote debuted with this film and sang 2 songs too. Even his future wife Enakshi Rama Rau also acted in this film in a small role.
He started his Ajanta Cinetone(1933-34) and his own Bhavnani Productions (1935-1948). He hired famous author Premchand to write a story for the film ‘ Mazdoor’ (The Mill)-1934. The film was banned for 2 years. It was followed by the film Jagran-1936- both films on Labourer’s problems. He also produced a film Ajeet-48, the first full length colour film on 16 mm and blown up on 35 mm.
He left filmmaking and joined the Government Films Division as its first Chief producer (48-55). Then he went to China, on the invitation of Chow En Lai to make documentaries for China. He took his cameraman Kishore Rege and S.K.Kulkarni with him.
His wife Enakshi became a famous Dancer and also wrote books on Dances of india. Mohan Bhavnani died on 30-12-1962 at Bombay The 72nd Annual Cannes film Festival was organised from 14th to 25th May 2019 and it was dedicated to short films made by Mohan Bbhavnani of india. What an honour for him to get such a tribute!
Filmography- 1925: Cinema Ni Rani, Matri Prem, Seth Sagalsha, Veer Bala, 1926: Bhamto Bhoot, Diwan Bhamasha, Mena Kumari, Pagal Premi, Ra Kawat, Samrat Shiladitya, 1927: Daya Ni Devi, Gamdeni Gori, Naseeb Ni Lili, Trust Your Wife, Wildcat of Bombay, 1929: Hawai Swar, Khedda, Khwab-e-Hasti, Mysore: Gem City of India, 1930: Vasantsena, 1931: Farebi Jaal, Lafanga Langoor, Shakuntala, 1932: Veer Kunal, 1933: Afzal, Rangila Rajput, 1934: Dard-e-Dil, Mazdoor (Director, Writer), Sair-e-Paristan, 1935: Jung Bahadur, Navjeevan, Shadi Ki Raat, 1936: Dilawar, Garib Parwar, Jagran (Director, Producer), Wrestling, 1937: Zambo the Ape Man, 1938: Double Cross (Director, Producer, Writer), Himalay Ki Beti, Yangrilla, 1939: Zambo Ka Beta, 1940: Jhoothi Sharm, Prem Nagar (Director, Producer), 1945: Biswi Sadi, 1946: Rang Bhoomi, 1948: Ajit (Director, Producer), 1949: Vale of Kashmir, 1950: The Private Life of a Silk Worm, Search For Shelter (Producer), 1951: Lest We Forget, 1952: Kumaon Hills, 1953: Feminine Fashions (Producer), Folk Dances of India, Republic Day Record, Six Years of Freedom (Producer), 1954: Good Manners (Producer), Modest Homes (Producer), 1955: Republic Day 1955, 1956:Operation Khedda, 1957: The Himalayan Tapestry ( Thanks to Encyclopedia of indian Cinema.)
Today’s song is sung by Iqbal Bibi. I do not have any information about this singer/actress.
Song- Phoolon ki main laayee hoon maala (Jhoothhi Sharm)(1940) Singer-Iqbal Bibi, Lyricist- D N Madhok, MD- Badri Prasad
Lyrics
Phoolon ki main laayee hoon maala
Phoolon ki main layee hoon maala
chun chun kali kali
Phoolon ki main laayee hoon maala
chun chun kali kali
koi mohe kahe kahaan
koi mohe kahe kahaan
preet ki hai kaun gali
koi mohe kahe kahaan
preet ki hai kaun gali
Phoolon ki main laayee hoon maala
chun chun kali kali
ab Ghanshyam milo
ho ab Ghanshyam milo
bhayi birha ki gali
ab Ghanshyam milo
ab Ghanshyam milo
bhayi birha ki gali
Phoolon ki main laayee hoon maala
chun chun kali kali
Phoolon ki main layee hoon maala
torey bin chain nahin
torey bin chain nahin
kal bin rain nahin
torey bin chain nahin
kal bin rain nahin
ab Ghanshyam milo
ab Ghanshyam milo
jag hai chalaa chali
ab Ghanshyam milo
ab Ghanshyam milo
jag hai chalaa chali
Phoolon ki main laayee hoon maala
chun chun kali kali
Phoolon ki main laayee hoon maala
Mori dukaniya aanaa baabu
Posted on: September 1, 2021
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 : |
4793 | Post No. : | 16553 | Movie Count : |
4507 |
Leela Desai was one of the top actresses during 1937-47 both in Kolkata and Mumbai. There was a curiosity in me as to why she suddenly disappeared from the film industry after 1947 when her career was at the peak. Thereafter, she lived in almost obscurity. What is surprising about Leela Desai is that information about her date/year of birth, her marital status, what she did after she left the film industry and when she passed away are unknown or sketchy.
Leela Desai was the 4th of the 5 children born to Dr Umedram Desai from Gujarat and Satybala Devi, daughter of a Bengali landlord settled in Bihar. It was a second marriage for both of them as Satyabala Devi lost her husband during the childhood while Dr Umedram Desai got married to his first wife in his childhood through whom he had two sons. Later, Dr Umedram Desai married Gunobati Mitter, a Bengali Christian, for the third time with whom he had 6 children. Before her marriage, Gunobati Mitter worked as a tutor for the children of Dr Umedram Desai and Satyabala Devi in Rampur. So apart from her own 4 siblings, Leela Desai had 8 step brothers/sisters.
Leela Desai was born in Newark when her parents were in the USA for a 3-year stint. She was brought up in Rampur as her father, Dr Umedram Desai became the State Surgeon for the State of Rampur and the personal Physician to the Nawab of Rampur. At the age of six, Leela Desai was sent to Kolkata for her primary schooling and to Kurseong near Darjeeling from where she completed her Matric and Junior College. Thereafter, Leela Desai returned to Lucknow by which time her father had passed away in Mumbai. In Lucknow, she enrolled to learn Kathak from Shambu Maharaj. During her training, she gave a lot of charity dance performances and made a good name as a dancer.
Hemchandra Chunder, one of the film directors in New Theatres who was on a visit to Lucknow, attended one of Leela Desai’s dance performances. He was impressed by her dance performance with her expressive eyes. He offered her a role of a younger sister of Kamlesh Kumari in New Theatre’s ‘President’ (1937) in which she had also a dance performance. At first, she did not show much interest to work in the film. However, after few days when she watched New Theatres’ Krorepati’ (1936), she felt that she could act in the film. She wrote to Hemchandra Chunder about her willingness to work in the film. The fact that Hemchandra along with Nitin Bose rushed to Lucknow with a contract showed their eagerness to take Leela Desai for the film without the screen test.
‘President’ (1937) became a hit on the box office and Leela Desai’s performance in the film was appreciated so much that overnight she became the star. Under New Theatres’ banner, apart from ‘President’ (1937), she worked in ‘Vidyapati’ (1937), ‘Dushman’ (1938), Kapal Kundala’ (1939) and ‘Nartaki’ (1940). Except ‘Kaapal Kundala’, she also acted in Bangla versions of the films and had also dance performances in these films.
After ‘Nartaki’ (1940), Leela Desai left New Theatres and took a year-long all-India tour with her dance troupe which became very successful both in terms of recognition as a dancer as well as in monetary terms. After accepting the attractive offer from Chimanlal Trivedi of Laxmi Productions, she landed in Mumbai to act in their maiden film ‘Tamanna’ (1942). In Mumbai, though Leela Desai worked as a free-lance actor, she was associated with Laxmi Productions for ‘Inkaar’ (1943), ‘Sharaafat’ (1943), ‘Miss Devi’ (1944), ‘Kamala’ (1946), and ‘Maharani Milandevi’ (1946). She also worked with her New Theatres’ colleagues and directors in Mumbai such as Nitin Bose in ‘Paraaya Dhan’ (1943) and ‘Mujrim’ (1944), with Debaki Bose in ‘Meghdoot’ (1945) and with Kidar Sharma in ‘Kaliyaan’ (1944). In addition, she worked with veterans directors like Vishram Bedekar in ‘Nagad Narayan’ (1943), R S Chaudhary in ‘Magadraj’(1946) and with Ramchandra Thakur in ‘Geet Govind’ (1947).
During her short filmy career between 1937-47, Leela Desai worked in 22 films. After 1947, Leela Desai seems to have taken a ‘voluntary retirement’ from the film industry. Her only connection to filmy industry after 1947 was that her name appeared on the credit titles of Bimal Roy’s film, ‘Kabuliwala’ (1961) as Associate Producer. It is said that Leela Desai bought the rights of ‘Kabuliwaala’ (1961, Bangla) from Tapan Sinha with an intention to make the film in Hindi. However, later she sold the rights to Bimal Roy.
Leela Desai’s elder sister, Shanti Desai was married to Bratindranath Tagore, a nephew of Gurudev Rabindranath Tagore. Her younger sister, Monica Desai was also an actress in Bangla and Hindi films who got married to film director, Phani Majumdar in 1947.
As I said earlier, not much information about Leela Desai was available after she left the films. One of the commentators has mentioned on the facebook page that Leela Desai remained unmarried for rearing the children of her elder sister, Shanti who passed away at a young age. If it is true, it is a sacrificial act by her to leave the film industry and remain unmarried to take care of her elder sister’s children.
Another reference I got about Leela Desai after her leaving films was from an obituary of Sumita Sanyal written in 2017 by Shoma A Chatterji, a film scholar and a free-lance journalist. In this article, she has mentioned that Leela Desai was staying in Mumbai at her apartment in Worli Sea Face where she used to conduct acting classes for the prospective actors coming from Kolkata. One of such actors to whom she gave acting training was Sumita Sanyal. It is possible that Leela Desai may have recommended Sumita Sanyal to Hrishikesh Mukherjee for the film ‘Ashirwaad’ (1968).
As per the comment on Upperstall, written by Shoma A Chatterji in the context of yester year stars who passed away in oblivion, it was stated that Leela Desai passed away in Mumbai. But her date/year of death was not mentioned. She further stated that none of the newspapers and film magazines carried the news of her death.
Leela Desai who started her filmy career with her maiden film “president’ (1937) under the direction of Nitin Bose, got the opportunity to work under his direction in ‘Paraaya Dhan’ (1943) and ‘Mujrim’ (1944), later film being also produced by Nitin Bose under the banner of Vishnu Cinetone. The star cast included Motilal, Leela Desai, Jagdish Sethi, Yakub, Veena Kumari, Sunalini Devi, Cuckoo etc.
From a very short synopsis available on-line, the film was a ‘musical crime-thrilling family drama’. Motilal is a kind hearted person who meets Leela Desai and fall in love with her. Both of them want to marry each other but a villain, Yakub comes in the way as Leela Desai would inherit a lot of wealth if she gets married. So, Motilal is framed under a false murder case by Yakub. How the real culprit is traced and Motilal and Leela Desai get united, becomes the part of the thrilling end.
The film had 6 songs written by Kailash Matwala (4) and Rammurti Chaturvedi (2). The songs were set to music by Padmabhushan Pandit Jnan Prakash Ghosh, one of the greatest Tabla and Harmonium players.
I am presenting the first song ‘mori dukaniya aana baabu’ from ‘Mujrim’ (1944) to appear on the Blog. The song is rendered by Rajkumari Dubey on the words of Rammurti Chaturvedi. It is very melodious song with unusual orchestration. There is also some influence of Rabindra Sangeet in the musical composition of the song.
With this song, ‘Mujrim’ makes a debut on the Blog.
Note: Leela Desai’s early life sketch is based on an article which appeared in July 1942 issue of ‘Filmindia’ magazine after the release of ‘Tamanna’ (1942), her maiden film in Mumbai. Some personal information about Desai family is supplemented from a Blog of Adeel Desai.
Audio Clip:
Song-Mori dukaniya aana baabu (Mujrim)(1944) Singer-Rajkumari, Lyrics-Rammurty Chaturvedi, MD-Pandit Jnan Prakash Ghosh
Lyrics
mori dukaniya aana baabu
mori dukaniya aana
mori dukaniya aana baabu
mori dukaniya aana aa aa
bhaant bhaant ke phool rangeele
des lekar jaana
haan aan aan
bhaant bhaant ke phool rangeele
des lekar jaana baabu
mori dukaniya aana aa aa
jeth maheena aa aa
raat ki raani ee ee
jeth maheena raat ki raani
phoolen aadhi ratiyaan aan aan
jeth maheena raat ki raani
phoolen aadhi ratiyaan aan aan
bahey paseena jee ghabraaye
saajan karen na batiyaan
karen na batiyaan
karen na batiyaan
aan aan aan aan aan aan
phool ka haar pahan ke sajni
saajan ko lalchaana aa aa
mori dukaniya aana baabu
mori dukaniya aana aa aa
aaya maas ashaadh
chameli phooli kyaari kyaari
aaya maas ashaadh
chameli phooli kyaari kyaari
kali kaliyon mein se khushboo nikli pyaari pyaari
chilla chilla kar baabu mere roothhi naar manaana
chilla chilla kar baabu mere roothhi naar manaana
baabu roothhi naar manaana
mori dukaniya aana baabu
mori dukaniya aana aa aa
bhaant bhaant ke phool rangeele
des lekar jaana
baabu
mori dukaniya aana aa aa
Phool le lo phool
Posted on: March 25, 2021
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 : |
4633 | Post No. : | 16287 | Movie Count : |
4425 |
Today’s song is from an obscure ‘never heard of’ type film of the early times of the Talkie era – Kaun Kisi ka-1939. The film was made by Hindustan Cinetone. It was directed by Chimanlal Luhar, a talented person. He was a rarity in those days as he was a Science graduate. In times when there were very few educated people in the film industry, he was respected everywhere.
Director CHIMANLAL MULJIBHOY LUHAR ( 1901-1948) was a Chemistry graduate from Bombay University. He started writing as a critic and author in journals like Beesvin sadee, Navchetan and Bombay Chronicle. He joined the film line as a lab Assistant in Kohinoor studios in his early 20s. Soon he became a noted cameraman for several documentaries, with K.D.Brothers, Bombay,under a British cameraman of Prince of Wales’ official entourage. After a brief stint at Rajkot with Saurashtra Films and a longer one at Krishna Films-where he shot 20 films, he joined Sharada Studios with ‘Dagabaz Duniya-1926 and several stunt films by Master Vithal. He turned a producer for a few stunt films.
Later he was a partner in Sharda films and a Director with Sagar Movietone(1934-1940). From 1941 to 46 he worked for Prakash Pictures. He directed Sassi Punnu-32,Silver King-35 Talash-E-haq (first film of Nargis, made by Jaddanbai)-35, Do deewane, Kharab Jaan, Capt. Kirtikumar, Dynamite, Kaun kisika, Sewa Samaj, Saubhagya, Darshan, Station master, School Master, Uss paar and Bindiya. He died at the young age of 47 years,in 1948. He had established his own production outfit ‘Sun Art Pictures’ in 1943, but he made only 3 films with it -School Master-43, Uss Paar-44 and Bindiya-46, before he died, after a prolonged illness.
FILMOGRAPHY: 1932: Sassi Punnu; 1935: Silver King; Talash-e-Haq; 1936: Do Diwane/Be Kharab Jan; 1937: Captain Kirti Kumar; 1938: Dynamite; 1939: Kaun Kisika; Seva Samaj; 1940: Saubhagya; 1941: Darshan; 1942: Station Master; 1943: School Master; 1944: Us Paar; 1946: Bindiya.
The Music Director of this film was Rafiq Ghaznavi, Lyricist was Munshi Dil and the cast of the film was Padma Devi, Shobhana Samarth, Khurshid, Nazir Ahmed, Mubarak, K N Singh, Maruti Rao, Khalil Ahmed, Gope etc.etc. Most of these actors, director and the MD disappeared by the end of the 40’s, because many of them were the spill overs from the Silent Era. Except a few like K.N.Singh, Gope, Mubarak or Shobhana Samarth, none of the other names will mean anything to our readers in the age bracket of 40 to 60 years. The Partition further precipitated this condition and made matters difficult to track old artistes and get their information. Considering the poor conditions in India of preserving and documenting events, information and life stories of old time artistes, it became a Herculean task to collect information on such persons.
I have written articles on films of the early cinema i.e. from the decade of the 1930s. In these articles, I have introduced few unknown or less known heroes and heroines of those times, to our readers. Some of these are Vijay Kumar, Ram Singh, Shankar Rao Vazare, Gul Hamid, Prakash and heroines like Shamim, Nazma, Anjali Devi, Shahzadi, Menaka, Radha Rani, Meera Mishra, Meera Devi etc. Today also we will talk about yet another less known artiste of the silent and early talkie films – Master Khalil Ahmed.
From the lot of the “brought forward” actors and actresses from the silent to the talkie films, two heroes were the true super stars. Master Khalil and Master Vithal. Since they had started their careers from the silent era of the 1920’s, they did not go beyond the 1940’s, when their competition increased and the newer breed of heroes took over with ease!
Though world’s first first feature film, originally presented as a talkie ,’The Jazz Singer’, released in October 1927, it took about 4 years more for talkie films to come to India. When it did come in March 1931, there was tremendous enthusiasm amongst the film makers. Initially, however, there was skepticism in the minds of well established silent film makers. Famous film makers like Dadasaheb Phalke and even V Shantaram are on record having expressed their views that talkie films will not survive. However, the same people later on, not only supported the talkie, but V Shantaram became one of the best proponents of Hindi talkie films. Even Dada Saheb Phalke ended his career by making his only Talkie, ‘Gangavataran’ in 1937. (Leela Mishra had acted in it.)
The coming of sound to films changed the film making for ever. Till then what was a fragmented production activity, slowly became an industry. Earlier, silent films were made at a cost of 8 to 10 thousand rupees. Now the talkie needed 25 to 50 thousand per film. Automatically, the hobbyists and poorer film makers disappeared. So did the acting crew who could not speak Hindi fluently or sing a song.
One finds that suddenly, there was a deluge of talented, creative and enterprising people from various professions and different backgrounds to take up the challenges of this new industry. The changing society in India is partly responsible for this deluge. Due to education and attraction to cities, many people were rapidly getting uprooted from their traditional occupations and they looked forward to these opportunities. For example a motor mechanic Sarvottam Badami became a sound recordist (and later, a director too) and a traditional carpenter like S Fattelal became the great set designer in Prabhat films. An ordinary poster painter, Baburao Painter became a director. Many such examples are available. The deluge was made up of producers, directors, sound recordists, writers, lyricists, singers, technical staff and of course the actors and actresses.
Among the first generation of heroes, namely Khalil, Sandow, Sohrab Modi, Master Nissar, Chandramohan, Prithviraj Kapoor, Motilal, Ashok Kumar, Master Vithal, Jal Merchant, Bilimoria brothers and Saigal emerged as the main players. Among actresses Mehtab, Bibbo, Kajjan, Gauhar, Sitara, Sita Devi, Zubeida, Cooper sisters, Sabita Devi, Leela Chitnis, Durga Khote, Devika Rani, Naseem, Jamuna, Kanan Bala etc. became popular.
Master Khalil Ahmed (variously mentioned as Khalil, Master Khalil, and Khalil Ahmed) was the first ever star of the silent era as well as talkie films from 1920 to 1940s. Born in 1903, he became a hero in Kohinoor’s ‘Gul E Bakavali’ (1924), opposite Zubeida. He was the first handsome and macho hero of those times. He acted with all top heroines of his time. Some of his 30 silent films are, ‘Kaala Naag, ‘Kulin Kanta’, ‘Lanka Ni Laadi’, ‘Cinema Queen’ etc.
He featured in his first talkie film, ‘Draupadi’ (1931), made by Imperial, opposite Ermeline (aka Sudhabala ). Then came ‘Daulat Ka Nasha’ (1931), ‘Bharati Mata’ (1932), ‘Niti Vijay’ (1932), Do Rangi Duniya’ (1933) and ‘Saubhagya Sundari’ (1933). In 1934 Khalil went to Calcutta on the invitation of East India Films. His first film in Calcutta was ‘Kismet Ki Kasauti’ (1934). Then he joined Tollywood Studio (Madon Theatres). Here his first film was ‘ Gaibi Gola’ (1935), in which Baby Noorjehan made her debut as a child star.
He was in great demand in Bombay also, so Khalil started doing films in Calcutta and Bombay, by frequently travelling between the two cities. This caused a lot of stress on him, but he always kept his commitments. During this period, he also got married and got children. He settled in Calcutta and travelled often to Bombay to do films there.
Khalil did different roles, including Hindu Gods. He never changed his name. in those days very few Muslim actors kept their real names. Incidentally, during his peak time, there were two more artists named Khalil. One was Khalil Aftab, who was a lyricist and he acted in film ‘Dard E Dil’ (1934) and ‘ The Mill’ (1934) (this latter film was banned and was released later in 1936 as ‘ Ghareeb Parwar’). The other actor was Khalil Khan, who had acted in film ‘Deepak Mahal’ (1940). In all, Khalil acted in 28 Talkie films. He died quite young, on 28-11-1941, at Calcutta. Too much travelling and stress must have taken its toll on him. He was only 38 year old. He left behind a wife with 5 children.
Khalil did 13 films in Calcutta – ‘Kismet Ki Kasauti (1934), ‘Gaibi Gola’ (1935), ‘Miss Manorama’ (1935), ‘Jawaani Ka Nasha’ (1935), ‘Divine Sacrifice’ (1935), ‘Raj Dulari (1936), ‘Bulbul e Iran’ (1936), ‘Parivartan’ (1936), ‘Adarsh Mahila’ (1937), ‘Aflatoon’ (1937), ‘Karmaveer’ (1938), ‘Abla Ki Shakti’ (1941) and ‘Merchant Of Venice’ (1941).
In Bombay, he did 15 films in Bombay – ‘Draupadi’ (1931), Daulat Ka Nasha’ (1931), ‘Bharati Mata’ (1932), ‘Niti Vijay’ (1932), ‘Do Rangi Duniya’ (1933), ‘Saubhagya Sundari’ (1933), Typist Girl (1935), ‘Shaitan Ka Paash’ (1936), ‘Khudai Khidamadgar’ (1937), ‘Kiski Pyaari’ (1937), ‘Kaun Kisi Ka'(1939), ‘Hamara Desh’ (1940), ‘Pyaar’ (1940), ‘Waayada’ (1940) and ‘Taj Mahal’ (1941).
Khalil acted with most of the leading heroines of his time like, Noorjehan (Sr), Jilloo (Zulekha Ibrahim – she was known by Jilloo Bai in her later career), Kajjan- 6 films, Mushtari – 3 films (She died too young, in her teens only), Miss Rose – 2 films, Violet Cooper – 2 films, Radha Rani, Ram Pyari, Begum Akhtar (she was then known as Akhtari Faizabadi), Sulochana, Ameena, Leela Desai, Indurani, Gulab, Ermelin and Sheela etc. Khalil was very good natured and a popular actor among his co stars and producers.
A Muslim by birth, he performed a variety of roles in films. His initial acting phase included roles of Shri Krishna and Shri Ram. Disenchanted by the communal riots during those times, he gave a speech in the Indian Motion Picture Congress, on 4th May 1939. Baburao Patel’s Film India published this extract from his speech- “I have played Hindu Gods in films. I worked under Hindu producers only. I am disturbed by these riots. I am popular among Hindus and Muslims. We are the devotees of Art and Art has no religion.” Indian Film Industry is perhaps the only industry which is mostly a secular one, since its inception. Master Khalil Ahmed was an example of that.
I could not get any information about this film, its story or other details. I was surprised that this song was available on the You Tube channel. The song is sung by Khurshid, Nazir Ahmed and chorus. With this song, film Kaun Kisi Ka-39 makes its Debut on this Blog.
Song-Phool le lo phool (Kaun Kisi Ka)(1939) Singers-Khursheed, Nazeer Ahmad, Lyrics-Munshi Dil, MD-Rafiq Ghaznavi
Chorus
Lyrics
Phool le lo phool
Phool le lo phool
aayi basant ki saari bahaar
joban barsaaya hai singaar
ae man ??
jhoole jhool
ae man ??
jhoole jhool
Phool le lo phool
Phool le lo phool
kaisa ?? hai tera singaar
phoolon mein lipti ho jaise talwaar
madam jee sadqe
hum donon ??
joban ke badle
hum donon ??
haaan
aankhon mein teri daaloon dhool
aankhon mein teri daaloon dhool
Phool le lo phool
Phool le lo phool
aayi basant ki saari bahaar
aayi basant ki saari bahaar
gali gali par barse phuhaar
gali gali par barse phuhaar
aayi basant ki saari bahaar
aayi basant ki saari bahaar
baaghon se maalan laayi sandes
baaghon se maalan laayi sandes
aate hain preetam apne des
hey ae ae es
aate hain preetam apne des
sun sun kaliyaan sej sajaawo o o
sun sun kaliyaan sej sajaawo o o
phool bechaaron ho na malool
phool bechaaron ho na malool
Phool le lo phool
Phool le lo phool
aayi basant ki saari bahaar
aayi basant ki saari bahaar
kali kali par barse ??
kali kali par barse ??
aayi basant ki saari bahaar
aayi basant ki saari bahaar
This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
|
Blog Day : |
4489 | Post No. : | 16013 |
I have mentioned in one of my earlier post here that these days I am looking for movies where only one song has been posted so far. In my daily browsing of the blog while I have already noted some movies, new surprises keep coming e.g. the time-lag between posting of the first song of the movie and thereafter posting of the second song. While we can understand a couple of year time-lag is considerable some have to wait for their second song almost more than five to six years or even ten years as we have seen during posting of ‘blog ten-year challenge song’. Well, if that was not enough, I have found a movie with a song posted in 2008 and still waiting for its second song to be posted on the blog. 😊
In today’s case the movie is ‘Mordhwaj-1952’ and one of its song, namely dagmag dagmag doley naiyya… has been posted on 02.06.2014.
Today we will listen to a lovely melodious song from this movie. This song took almost seven years to get posted after it was noted down. 😊
‘Mordhwaj-1952’ alias ‘Raja Mordhwaj’ (as mentioned in HFGK Vol.III-1951-1960) was directed by Balwant Bhatt for ‘Nav Anand Chitra, Bombay’. It was produced by Mangalanand Gautam and it was passed by Censor Board on 27.10.1952.
This movie had Durga Khote, Prem Adeeb, Ram Singh, Tiwari, Shashi Kapoor, Manju, Nand Kishore, Babu Raje, Urvashi, Raj Adeeb, Leela Mishra, Y.N. Joshi, Sushila, Bindu, Neeru and others.
Music for this movie was composed by Narayan Dutta and all the eight songs this movie has were penned by Bharat Vyas.
Our respected Arun Kumar ji has mentioned in detail about the music director, director and stars of this movie while presenting the first song from this movie viz. dagmag dagmag doley naiyya.
I am presenting herewith details of the songs of this movie as given below;
| Song | Singer/s | Posted On |
|---|---|---|
| Dagmag dagmag doley naiyya | Mohd Rafi | 02.06.2014 |
| Palkon ki dori bani … gupchup un sang ho gayi ankhiyaan chaar re | Asha Bhonsle, Mubarak Begam, Dilip Kumar Roy | |
| Aayi rang bhari phoolon ki rut pyaari re … | Geeta Dutt | Being posted today |
| Mera man hai magan, muskaaye gagan, poonam ki chamacham raat hai | Asha Bhonsle, Khan Mastana | |
| Kit jaaoge ghanshyam muraari, tumhe jaane na doonga | Mohd Rafi | |
| Gin gin taare ratiyaa bitaaun… aaoji raajkumar | Geeta Dutt | |
| Jhoothha jag jhoothhi re maayaa | Dilip Kumar Roy | |
| Lekh vidhaataa ka likha … maat pita ke haathon dekho baalak ka balidaan re | Mubarak Begam, Khan Mastana |
Let us now enjoy today’s song. It is sung by Geeta Dutt and composed by Narayan Dutta. Lyrics are by Bharat Vyas.
Song-Aayi rang bhari phoolon ki rut pyaari re (Mordhwaj)(1952) Singer-Geeta Dutt, Lyrics-Bharat Vyas, MD-Narayan Dutt
Chorus
Unknown male voice
Lyrics
Aayi rang bhari phoolon ki rut pyaari re
Ghar aaja muraari re ae ae
Ghar aaja muraari re
Aayi rang bhari phoolon ki rut pyaari re
Ghar aaja muraari re ae ae
Ghar aaja muraari re
Gun gun bhanware jhoom rahen
Gun gun bhanware jhoom rahen
Kaliyon ka munh choom rahe
Munh choom rahe
Munh choom rahe
Dhaani hain dharti
Neela gagan hai ji
Aaja piya
Dole jiya
Jiya magan hai ji
Boley koyalia kaari
Boley kayalia kaari
Kaari
Kaari re
Aayi rang bhari phoolon ki rut pyaari re
Ghar aaja muraari re ae ae
Ghar aaja muraari re
Chori chori piya pyaare
Palkon mein tumko
Chhupaa loongi re
Chhupaa loongi
Jaane na paaoge tumhen
Nainon ka kaajal banaa loongi re
Banaa loongi
Matwaari soorat par waari ee
Matwaari soorat par waari
Waari
Waari re
Aayi rang bhari phoolon ki rut pyaari re
Ghar aaja muraari re ae ae
Ghar aaja muraari re
Painyya padoon sainyya tore
Chhup chhup ke
Mohe sataao naa ji
Sataao naa
Thhandi thhandi chaandni raaton mein
Yoon
Jiyaraa jalaao na ji
Jalaao na
He he he he
Tum jeete sajan main haari
Tum jeete sajan main haari
Haari
Haari re
Aayi rang bhari phoolon ki rut pyaari re
Ghar aaja muraari re ae ae
Ghar aaja muraari re
——————————————-
Devnagri script lyrics (Provided by Avinash Scrapwala)
——————————————-
आई रंग भरी फूलों की रुत प्यारी रे
घर आजा मुरारी रे ए ए
घर आजा मुरारी रे
आई रंग भरी फूलों की रुत प्यारी रे
घर आजा मुरारी रे ए ए
घर आजा मुरारी रे
गुन गुन भंवरे झूम रहें
गुन गुन भंवरे झूम रहें
कलियों का मुंह चूम रहे
मुंह चूम रहे
मुंह चूम रहे
धानी है धरती
नीला गगन है जी
आजा पिया
डोले जिया
जिया मगन है जी
बोले कोयलिया कारी
बोले कोयलिया कारी
कारी
कारी रे
आई रंग भरी फूलों की रुत प्यारी रे
घर आजा मुरारी रे ए ए
घर आजा मुरारी रे
चोरी चोरी पिया प्यारे
पलकों में तुमको
छुपा लूंगी रे
छुपा लूंगी
जाने न पाओगे तुम्हे
नैनों का काजल बना लूंगी रे
बना लूंगी
मतवारी सूरत पर वारी
मतवारी सूरत पर वारी
वारी
वारी रे
आई रंग भरी फूलों की रुत प्यारी रे
घर आजा मुरारी रे ए ए
घर आजा मुरारी रे
पैंय्या पडूँ सैंय्या तोरे
छुप छुप के
मोहे सताओ ना जी
सताओ ना
ठंडी ठंडी चांदनी रातों में
यूं
जियरा जलाओ ना जी
जलाओ ना
हे हे हे हे
तुम जीते सजन मैं हारी
तुम जीते सजन मैं हारी
हारी
हारी रे
आई रंग भरी फूलों की रुत प्यारी रे
घर आजा मुरारी रे ए ए
घर आजा मुरारी रे
- In: "Panchhi" song | "Phool" song | Bird songs | Devnagri script lyrics by Avinash Scrapwala | expression of love | Feelings of heart | Guest posts | Hemlata solo songs | Hemlata songs | Kishore Kumar songs | Lyrics contributed by readers | Multiple version song | Post by Avinash Scrapwala | Songs of 1980s (1981 to 1990) | Songs of 1982 | Yearwise breakup of songs
- 6 Comments
This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
|
Blog Day : |
4466 | Post No. : | 15954 | Movie Count : |
4371 |
Today 9th Oct’2020 is the sixth Remembrance Day of music director, lyricist and singer Ravindra Jain. He passed away on 9th Oct’2015 at the age of 71 yrs (born on 28th February’1944).
On this occasion as a tribute to him here is a song from the ‘1982’ movie ‘Bhaagya’ which is composed as well as written by him.
‘Bhaagya-1982’ was directed by Naval Kishore for ‘Baba Movietone, Bombay’. It was produced by Ravindranath Dasgupta.
It had Vinay Kumar, Meera, Sushma Verma, A.K. Hangal, Sulochana, Bhagwan Dada, Birbal, Chandrashekhar, Jagdeep, Keshto Mukherjee, Prabal Sen, Rajendra Singh Thakur, Zareen, Manmauji, Dev Sharma, Meghdoot.
Ajay Bannerjee make his debut appearance in this movie. Jalal Agha make a friendly appearance in this movie.
This movie was passed by Censor Board on 10.02.1982.
This movie had six songs (as per HFGK Vol.VI-1981-1985) composed by Ravindra Jain. Ravindra Jain also wrote lyrics for all the six songs.
Kishore Kumar, Hemalata, Yesudas, Amit Kumar, Abhijeet and Rachna, gave their voices to the songs in this movie.
Today’s song is sung by Kishore Kumar and Hemlata separately. HFGK mentions this song as two different songs i.e. ‘Koi phool na mahke’ and ‘janmon ka hai pyaar hamaara…’, however from the video (partial) of this song mentioned under part-II the female version appears in continuation after the male version (which might be the second stanza of repeat of few lines of the male version of this song).
(Also, if we watch the video of male version only (Part-1) we can see the heroine appearing at the end of this song and may be the female version starts here?) …
Knowledgeable readers who have watched this movie can throw more light on the movie and its songs…
I have not watched this movie and had neither heard of this song till seven years back when I came across it during my daily song listening browsing session and had shared it then itself, however this remains to be posted and today we are introducing it with the movie ‘Bhaagya-1982’ also making its debut on the blog.
Let us now listen to this song …
Video (partial)
Audio (Both versions)
Song-Koi phool na mahke koi panchhi na chahke (Bhaagya)(1982) Singer-Kishore Kumar/ Hemlata, Lyrics-Ravindra Jain, MD-Ravindra Jain
Lyrics
—————————–
Kishore Kumar version
—————————–
Koi phool na mahke
Koi panchhi na chahke
Koi phool na mahke
Koi panchhi na chahke
Sooni hain saari bahaarein
Pyaasi nigaahen
Tujhko pukaaren
Aaja re
Koi phool na mahke
Koi panchhi na chahke
Nadiya ka sunsaan kinaara
Aur bhi gumsum ho gaya
Sukh dukh mein sang jaagnewaale
Kyun tu aise so gaya
o janmon ke meet bataa tu
Bin bole kahaan kho gaya
Teri yaad sataaye
Din raat rulaaye
Sooni hai saari bahaarein
Pyaasi nigaahen
Tujhko pukaare
Aaja re
Koi phool na mahke
Koi panchhi na chahke
Aankh se ojhal honewaale
Dhoondhhta hoon tujhe khwaab mein
Tu hai kahaan jis’se bhi poochha
Chup ho gaya jawaab mein
Thha main kabhi tere pyaar mein dooba aa
Ab dooba hoon sharaab mein
Yahi ek sahaara
Mere ghamon ka chaara
Sooni hai saari bahaarein
Pyaasi nigaahen
Tujhko pukaare
Aaja re
Koi phool na mahke
Koi panchhi na chahke
Koi phool na mahke
Koi panchhi na chahke
———————————-
Hemlata version
———————————
O ho o o o
O ho o o o
O o o o o
O o o o o
Janmon ka hai pyaar hamaara
Janmon tak sang jaayega
Kasme waade itni jaldi
Kaise koi bisraayega
Tod ke har deewaar milenge
Dil ko dil jo bulaayega
Kahin door nahin hoon
Jahaan dhoondhhe wahin hoon
Tu mere dil mein rahega
Tujhse miloongi
Jab bhi kahega
Aa jaa re
Main hoon prem deewaani
Tere sapnon ki raani
Kal bhi tujhse door na thhi main
Aaj bhi tere paas hoon
Mit kar bhi jo mit nahin paaye
Main aisi ek aas hoon
Jitna udaas tu mere bina
Main tujh bin utni udaas hoon
Mujhe bhool na jaana
Sadaa pyaar nibhaana
Tu mere dil mein rahega
Tujh se miloongi
Jab bhi kahega
Aa jaa re
Main hoon prem deewaani
Tere sapnon ki raani
O o o o o
O ho o o o
O o o o o O
o o o o
O o o
O o o
O o o
o o o
o o o
————————————————
Devnagri Script lyrics (Provided by Avinash Scrapwala)
————————————————
——————–
किशोर कुमार संस्करण
——————–
कोई फूल न महके
कोई पंछी न चहके
कोई फूल न महके
कोई पंछी न चहके
सूनी है सारी बहारें
प्यासी निगाहें
तुझको पुकारे
आजा रे
कोई फूल न महके
कोई पंछी न चहके
नदिया का सूनसान किनारा
और भी गुमसुम हो गया
सुख दुःख में संग जागनेवाले
क्यूँ तू ऐसे सो गया
वो जन्मों के मीत बता तू
बिन बोले कहाँ खो गया
तेरी याद सताए
दिन रात रुलाये
सूनी है सारी बहारें
प्यासी निगाहें
तुझको पुकारे
आजा रे
कोई फूल न महके
कोई पंछी न चहके
आँख से ओझल होनेवाले
ढूंढता हूँ तुझे ख्वाब में
तू हैं कहाँ जिससे भी पूछा
चुप हो गया जवाब में
था मैं कभी तेरे प्यार में डूबा
अब डूबा हूँ शराब में
यही एक सहारा
मेरे ग़मों का चारा
सूनी है सारी बहारें
प्यासी निगाहें
तुझको पुकारे
आजा रे
कोई फूल न महके
कोई पंछी न चहके
कोई फूल न महके
कोई पंछी न चहके
——————————–
हेमलता संस्करण
——————————–
ओ ओ ओ ओ ओ
ओ ओ ओ ओ ओ
ओ ओ ओ ओ ओ
ओ ओ ओ ओ ओ
ओ ओ ओ
ओ ओ ओ ओ
ओ ओ ओ ओ ओ
जन्मों का है प्यार हमारा
जन्मों तक संग जाएगा
कसमे वादे इतनी जल्दी
कैसे कोई बिसरायेगा
तोडके हर दीवार मिलेंगे
दिल को दिल जो बुलाएगा
कहीं दूर नहीं हूँ
जहां ढूंढें वहीँ हूँ
तू मेरे दिल में रहेगा
तुझसे मिलूंगी
जब भी कहेगा
आ जा रे
मैं हूँ प्रेम दीवानी
तेरे सपनों की रानी
कल भी तुझसे दूर न थी मैं
आज भी तेरे पास हूँ
मिट कर भी जो मिट नहीं पाए
मैं ऐसी एक आस हूँ
जितना उदास तू मेरे बिना
मैं तुझ बिन उतनी उदास हूँ
मुझे भूल न जाना
सदा प्यार निभाना
तू मेरे दिल में रहेगा
तुझ से मिलूंगी
जब भी कहेगा
आ जा रे
मैं हूँ प्रेम दीवानी
तेरे सपनों की रानी
ओ ओ ओ ओ ओ
ओ ओ ओ ओ ओ
ओ ओ ओ ओ ओ
ओ ओ ओ ओ ओ
ओ ओ ओ
ओ ओ ओ ओ
ओ ओ ओ ओ ओ
Tujhe chaand kahoon ya phool kahoon
Posted on: June 3, 2020
- In: "chaand" song | "Helen" song | "Phool" song | Blog ten year challenge (2010-2020) | Devnagri script lyrics by Avinash Scrapwala | Duet | expression of love | Feelings of heart | Lata song | Lyrics by Prakashchandra | Lyrics contributed by readers | Mukesh songs | Mukesh-Lata duet | Songs of 1960s (1961 to 1970) | Songs of 1963 | Yearwise breakup of songs
- 1 Comment
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: | 4338 | Post No.: | 15637 |
—————————————————————————
Blog 10-Year Challenge (2010-2020) – Song No. 33
—————————————————————————
When I look back at 2010, the blog posting rate was surprisingly similar to the post rate of 2020. Every day one or two posts appeared during 2010. The blog clocked around 60 odd posts per month. Same is happening even in 2020.
Coming to this date 10 years ago, viz 3 june 2010, two posts were discussed in the blog as below :-
| Song | Movie title-Year | Remarks |
|---|---|---|
| Tere binaa zindagi se koi shikwa nahin | Aandhi (1975) | All songs covered |
| Mil ke bhi ham mil na sake | Sunahri Naagin (1963) | 07 of 08 songs posted |
“Sunahri Naagin-1963” was directed by Babubhai Mistry for Everest Pictures, Bombay. Its story and screenplay were by Pt Madhur and Vishwanath Pandey. Dialogues were by C K Mast. It was a fantasy movie which had Mahipal, Helen, Sulochana, Anwar Hussain, Sapru, Priti Bala aka Zeb Rehman, Ulhas, Paul Sharma, Jeevankala, Bela Bose, Madhumati, Sheela Kashmiri, Kamal Mehra etc in it.
When I was going through the above, I thought that I was going through the credits of “Parasmani”(1963). Both movies were created by the same team, and even the star cast had much in common. Mahipal was the hero in both the movies, Here in ‘Sunahri Naagin'(1963), we have Helen in female lead instead of Geetanjali.
“Sunahri Naagin”(1963) had eight songs in it. Seven songs have been covered in the past. Here are the details of the seven songs covered in the blog:-
| S N | Song | Post number in blog | Date of posting |
|---|---|---|---|
| 1 | Been na bajaana jaadu na jagaanaa | 2342 | 12-March-2010 |
| 2 | Tu hi tu hai main dekhaa karoon | 2345 | 14-March-2010 |
| 3 | Chhedoge mujhko agar jaan ke | 2449 | 16-March-2010 |
| 4 | Mil ke bhi ham mil na sake | 2511 | 3-June-2010 |
| 5 | Main to ho gayi re badnaam | 14495 | 16-July-2018 |
| 6 | Yoon na akadiye yoon na bigadiye | 15482 | 16-March-2020 |
| 7 | Donon haathhon se dil kyun sambhaala hai | 15493 | 24-March-2020 |
From the table, it can be seen that the movie made its debut in march 2010 and I discussed three songs from the movie in that month. Another song was discussed in june 2010. Then this movie was not taken up again in the blog for eight years.
This year, two songs have been discussed and one of these two songs was a Blog Ten Year Challenge song.
Today, another blog ten year challenge opportunity presents itself. On this occasion, here is this lovely song from “Sunahri Naagin”(1963). It is sung by Mukesh and Lata. The song is picturised on Mahipal and Helen. This song appears to be the song corresponding to Chori chori jo tumse mili to log kyaa kahenge of “Parasmani”(1963).
Not only are the singers same in the two songs, even the lyricist 9Farooque Kaiser is the same. Parasmani had music by Laxmikant Pyarelal. Here Kalyanji Anandji are the music director. Though HFGK is silent about the assistant music directors, it appears to me that Laxmikant Pyarelal may have been the assistant music director in this movie. I can notice Laxmikant Pyarelal stamp in this song.
It is a lovely song to listen to. Its lyrics and details were sent jointly by Prakashchandra and Avinash Scrapwala. Prakashchandra gave valuable background information on this movie whereas Avinash Scrapwala was the catalyst behind this Blog Ten Year Challenge Post.
With this song, all the eight songs of “Sunahri Naagin”(1963) are covered and the movie joins the list of movies that have been YIPPEEED in the blog. I notice that “Parasmani”(1963) too had been YIPPEED with its equivalent song viz Chori chori jo tumse mili to log kyaa kahenge . Such coincidences occur in the blog all the time.
Audio
Video
Song-Tujhe chaand kahoon ya phool kahoon (Sunahri Naagin)(1963) Singers-Mukesh, Lata, Lyrics-Farooque Kaiser, MD-Kalyanji Anandji
Lyrics(Provided by Prakashchandra)
————————
tujhe chaand kahoon yaa aa
phool kahoon
tujhe chaand kahoon yaa aa
phool kahoon
mere pyaar ka koi
naam nahin
haaye naam nahin
main teri nazar mein ae
bas jaaun
main teri nazar mein ae
bas jaaun
duniya se mujhe koi
kaam nahin
haaye kaam nahin
zulfon ki chamak ye kehti hai
tu koi sunehri naagin hai
zulfon ki chamak ye kehti hai
tu koi sunehri naagin hai
har saans mein sholaa tadpe hai
har geet mein dil ki dhadkan hai
har geet mein dil ki dhadkan hai
aankhon mein nashaa saa chhaayaa hai
aur haath mein mere
jaam nahin
haaye jaam nahin
main teri nazar mein
bas jaaun
duniya se mujhe koi
kaam nahin
haaye kaam nahin
do chaar ghadi kaa
milnaa ye
ab saari umar kaa bandhan hai ae
do chaar ghadi kaa
milnaa ye
ab saari umar kaa bandhan hai ae
tum naam wafaa ka
lete ho
duniyaa to wafaa ki
dushman hai
duniyaa to wafaa ki
dushman hai
do pyaar bharey dil waalon ko
duniyaa mein kahin aaraam nahin
aaraam nahin
tujhe chaand kahoon yaa
phool kahoon
mere pyaar ka koi
naam nahin
haaye naam nahin
main teri nazar mein
bas jaaun
duniya se mujhe koi
kaam nahin
haaye kaam nahin ee
———————————————
Devnagri Script Lyrics (Provided by Avinash Scrapwala)
———————————————–
तुझे चाँद कहूँ या आ
फूल कहूं
तुझे चाँद कहूँ या आ
फूल कहूं
मेरे प्यार का कोई
नाम नहीं
हाए नाम नहीं
मैं तेरी नज़र में ए
बस जाऊं
मैं तेरी नज़र में ए
बस जाऊं
दुनिया से मुझे कोई
काम नहीं
हाए काम नहीं
जुल्फों की चमक ये कहती है
तू कोई सुनहरी नागिन है
जुल्फों की चमक ये कहती है
तू कोई सुनहरी नागिन है
हर सांस में शोला तडपे है
हर गीत में दिल की धड़कन है
हर गीत में दिल की धड़कन है
आँखों में नशा सा छाया है
और हाथ में मेरे
जाम नहीं
हाए जाम नहीं
मैं तेरी नज़र में ए
बस जाऊं
दुनिया से मुझे कोई
काम नहीं
हाए काम नहीं
दो चार घडी का
मिलना ये
अब सारी उम्र का बंधन है ए
दो चार घडी का
मिलना ये
अब सारी उम्र का बंधन है ए
तुम नाम वफ़ा का
लेते हो
दुनिया तो वफ़ा की
दुश्मन है
दुनिया तो वफ़ा की
दुश्मन है
दो प्यार भरे दिल वालों को
दुनिया में कहीं आराम नहीं
आराम नहीं
तुझे चाँद कहूँ या आ
फूल कहूं
मेरे प्यार का कोई
नाम नहीं
हाए नाम नहीं
मैं तेरी नज़र में ए
बस जाऊं
दुनिया से मुझे कोई
काम नहीं
हाए काम नहीं
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: | 4331 | Post No.: | 15625 |
Today, May 27, 2020 is the 56th Remembrance Day of India’s first Prime Minister, Pandit Jawaharlal Nehru. I also remember this day for two other reasons. First, it was the day when my SSC result was out in the morning and second, I had to attend my maternal uncle’s marriage. That day was almost like current lockdown situation except that the trains were running and we could go out. A pall of gloom was visible on almost every one’s faces I met at the marriage. The question in their mind was ‘After Nehru, Who?
Pandit Jawaharlal Nehru was a visionary and the architect of modern India. For a newly independent country, charting of a growth path was necessary. The policies were directed towards creating infrastructure facilities like construction of major dams, power plants and setting up of heavy industries like steel plants, engineering and chemicals. Higher educational institutes like Indian Institute of Technologies (IITs), the Indian Institute of Management (IIMs) and other scientific institutes like All India Institute of Medical Science (AIIMs) were set up. He was also the architect of non-alignment movement during the cold-war years.
There were also brickbats for Pandit Nehru’s policies. His handling of Kashmir issue in 1948 and his China policies were highly criticised. Also, the food crisis in the 1960s were blamed for not giving importance to the agricultural sector in the Five-year plans. The foremost critics of Nehruvian policies in those days were Dr. Ram Manohar Lohia of Socialist Party, Hem Barua, H V Kamath and Barrister Nath Pai of Praja Socialist Party, Balraj Madhok of Jan Sangh and Hiren Mukherjee of Communist Party of India. Despite their relatively much lower number of seats in the parliaments, they were forces to reckon with as the leaders from the opposition parties.
I remember in my teen that during the parliament sessions that the newspapers will carry front-page news of the criticism of Government’s policies by one or more of the names of the leaders I mentioned above. Some of these names may not ring bell to the new generations. Most of them were good orators. It was the charismatic presence of Pandit Jawaharlal Nehru who aptly handled heated debate upholding the democratic norms in the parliament.
After the General Election of 1957, one more strong critic of Pandit Nehru’s policies entered the Lok Sabha. He was 33-year old Atal Bihari Vajpayee of Jan Sangh. There used to be heated arguments between the young Atal Bihari Vajpayee and Pandit Nehru in Lok Sabha. One of the anecdotes which Atal Bihari Vajpayee revealed during a ‘no confidence’ motion against his Government in 1996, proves that despite serious differences, Pandit Jawaharlal Nehru’s admired Atal ji’s performance in the Lok Sabha. Let us read in Vajpayee’s own words which he spoke in Hindi (translated by me in English):
Once during the heated debate in the Lok Sabha, I told Nehru ji that he had a mixed personality in which he was both Churchill and Chamberlain (former prime ministers of the U K – first was supposed to be hawkish and the second dovish in crisis management). Nehru ji did not get angry. In the evening, I attended at a function organised for a visiting foreign dignitary. At the venue, Nehru ji saw me and called at his place to complement me for my rousing speech of that day in the Lok Sabha. He took me to one of the foreign dignitaries and introduced me by saying ‘he is a young leader from the opposition who always criticises me, but I see in him a great future’.
And what a great statesman Atal Bihari was as well. In 1977, when Atal Bihari Vajpayee became the Foreign Minister, he came to South Block to take charge of his ministry. While walking in the lobby of his office, he noticed that Nehru ji’s portrait was missing from the wall. He called his officials and asked them as to what happened to the portrait. There was no answer. After some time, he found that Nehru ji’ portrait was back in its place. Both these anecdotes indicate the greatness of both these leaders and their relationship in which there was no malice despite serious political differences.
Some of the IPTA members belonging to Hindi film fraternity were also the critics of the Nehruvian policies. Majrooh Sultanpuri in 1948 wrote a poem calling Pandit Nahru a stooge of Hitler and the slave of the Commonwealth for which he was arrested in 1949 by the then Chief Minister of Bombay State, Morarji Desai. Sahir Ludhianvi’s satirical song, cheen o arab hamaara hindustaan hamaara had an implicit criticism of the Government’s policies for widening the gap between ‘haves’ and ‘haves not’.
Shailendra was also the critics of Nehru. He had written a sarcastic poem on Nehru’s visit to the UK in June 1953 to attend the coronation ceremony of Queen Elizabeth. In today’s scenario, probably, Shailendra would have become a persona non grata in South Block. But with Pandit Nehru, it was different. The following anecdote which I read on the facebook page of Dinesh Shankar Shailendra, the youngest son of Shailendra, throws some light which indicates that Pandit Nehru had no malice towards his critics.
Sometime after the Chinese aggression in October 1962, Pandit Nehru invited some members of Indian Film Industry to Delhi to personally thank them for doing programmes for the Indian Army to boost their moral and also raise funds. Raj Kapoor with his core team comprising Shankar-Jaikishan, Mukesh, Hasrat Jaipuri and Shailendra were also the guests. All the guests were waiting at the venue but Nehru ji got delayed. A bored Shailendra told Raj Kapoor that he was tired of waiting and would like to go back to his hotel room. He also said that there were so many important guests and he would not be missed. Raj Kapoor agreed.
After some time, Pandit Nehru arrived and personally met all his guests. While talking to Raj Kapoor, Pandit Nehru suddenly asked ‘Where is Shailendra? – the man who wrote hothon pe sachchaayi rehti hai, jis desh mein ganga behti hai. Raj Kapoor was in a quandary. He immediately sent Shankar to bring Shailendra from his hotel room which he did. A relieved Raj Kapoor proudly introduced Shailendra to Pandit Nehru who insisted getting photographed exclusively with Shailendra. Nehru ji told Shailendra that he would personally sign the picture and send it to him which he did.
It was, therefore, no surprise that the finest tributes to Pandit Nehru following his death on May 27, 1964 came from his critics. After reading them, I feel that they have all come from the bottom of their hearts and also out of immense respect for him. Kaifi Azmi wrote a heart-felt song, meri aawaaz suno, pyaar ka raag suno for ‘Naunihaal’ (1967). He also wrote a nazm, Nehru in 1964. Sahir Ludhianvi wrote a nazm, Jawaharlal Nehru soon after the death of Pandit Nehru.
Pandit Nehru was a great admirer of Hindi and Urdu poetry. He was a fan of poets like Josh Malihabadi, Firaq Gorakhpuri, Suryakant Tripathi Nirala and Harivanshrai Bachchan with whom he used to interact with them on poetry. There are anecdotes on Pandit Nehru’s friendship with these poets which also reveal that Pandit Nehru took criticism from his friends without malice towards them.
Pandit Nehru was instrumental in setting up of Children’s Film Society of India in 1955. He had invited Kidar Sharma to direct the first film for the children, ‘Jaldeep’ (1956). The film won the award of the best film under children’s film category at Cannes Film Festival in 1957. For the next children’s film, ‘Bachhon Se Baaten’ (1957), Kidar Sharma requested Nehru ji as a part of the film. One can say that Pandit Nehru acted in a film where he was the main actor. [Source: Kidar Sharma’s autobiography, ‘One And Lonely Kidar Sharma’ (2002)].
Shailendra wrote a non-film song as a tribute to Jawaharlal Nehru. On the occasion of the 56th Remembrance Day of Pandit Jawaharlal Nehru, I am presenting the same non-film song ‘phool khilega baaghon mein’ (1964) which is rendered by Mukesh. The song is set to music by Shankar-Jaikishan.
Audio Clip:
Song-Phool khilega baaghon mein jab tak ghulaab hai pyaara (Mukesh NFS)(1964) Singer-Mukesh, Unknown voie, Lyrics-Shailendra, MD-Shankar Jaikishan
Chorus
Chorus + Mukesh
Lyrics
Chacha Nehru
amar rahen
Chacha Nehru
amar rahen
Chacha Nehru
amar rahen
phool khilega baaghon mein
jab tak gulaab kaa pyaara
tab tak zinda hai dharti par
Nehru naam tumhaara
jab tak hai iss jag mein
chanda suraj kaa ujiyaara
tab tak zinda hai dharti par chaacha naam tumhaara
humko hai dukh humne kho daala apna humjholi
jiske saath deewaali thhi uske sang khelen holi
kaun bada ab hum jaise ban ke khilwaad karega
pyaar karega jhagdega jhoothi taqraar karega
khilega jag ke aangan mein
jab tak bachpan pyaara
tab tak zinda hai dharti par chaacha naam tumhaara
kaun manga kar dega humko bhaalu haathi cheete
bachpan ke din apne to bachpan se pehle beete
kaun hamen chitti likhega pyaar bhari bhaasha mein
haay tumhen bhi hum likh paate kaash aur tum jeete
jab tak bachche muskaayenge youn nirmal jaldhaara
tab tak zinda hai dharti par chaacha naam tumhaara
wo muskaan hamaare jaisi hriday jeetne waali
wo gussa jo sheetal hai jaise barkha matwaali
wo ghudki jo sikhlaati hai sabak yaad kar lena
wo baaten jaise bikhraaye phool phool ki daali
yaad aayengi jab tak dukh mein degi yaad sahaara
tab tak zinda hai dharti par chaacha naam tumhaara
phool khilega baaghon mein jab tak gulaab ka pyaara
tab tak zinda hai dharti par chaacha naam tumhaara
chale gaye ho lekin lagta hai tum yahin chhupe ho
jaise hum bachchon se aankh micholi khel rahe ho
bagiyaa ke phoolon mein bikhri hai muskaan tumhaari
nadiyon ke sang chalte ho parvat ke saath khade ho
jab tak baaki hai duniya mein jo kuchh bhi hai pyaara
tab tak zinda hai dharti par chaacha naam tumhaara
kabhi na bhoolenge hum tumne itna pyaar diya hai
kabhi na murjhaayega tumne jo gulzaar diya hai
hamen tumhaari yaadon ki saugandh ke hum bachche bhi
yogya banenge uske tumne jo sansaar diya hai
jab tak mehnat ke haathon jaayega vishwa sanwaara
tab tak zinda hai dharti par chaacha naam tumhaara
hum sachche insaan banen
hum dost banen vishwaasi
hum chaahe jo hon pahle hon achchhe Bharatwaasi
kabhi na ho ab jung zameen par
desh rahen sab mil kar
jung ek hi ho duniya mein
bhookh rog aur dukh par
jab tak bahti hai is duniya mein Ganga ki dhaara
tab tak zinda hai dharti par chaacha naam tumhaara
phool khilega baaghon mein
jab tak gulaab kaa pyaara
tab tak zinda hai dharti par
chaacha naam tumhaara
tab tak zinda hai dharti par
chaacha naam tumhaara
tab tak zinda hai dharti par
chaacha naam tumhaara
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
Recent comments