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Zulfen hain teree Kashmeeree sitamgar

Posted by: on: April 18, 2024


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 :

 5753 Post No. : 18277

Today’s song is from the film Zingaro-1963.

This Costume film was produced and directed by Chandrakant. It had music by S.N.Tripathi. The cast of the film was Jairaj, Jabeen jalil, Tiwari, Bela Bose, Maruti, Aruna Irani, Mrudula, Baburao Pehelwan and others. From this cast, actors Jairaj and Baburao Pehelwan and actresses Mrudula and Jabeen Jalil are the artistes who were quite capable, but somehow LUCK did not favour them and they fell aside from Big Banners and well known films.

I feel really sad for Mrudula, who was the heroine of Dilip Kumar in his Debut film Jwar Bhata-1944. It was the Debut film for Mrudula too, but see where Dilip Kumar reached -to be India’s famous and A grade top Hero, whereas Mrudula never reached that level. She was good looking and a capable actress. The question is, then why did she fall back in the race ? The simple but unknown answer is – she became a victim of the Studio system.

Till the end of the 1940’s decade, the Studio System was very strong. Initially films were promoted and sold on the names of the studio making it. The names of actors were not even mentioned on the posters and in the booklets. Thanks to actress Sulochana Sr. (Ruby Meyers), who fought for it and names of actors started appearing on the posters and in booklets, albeit in smaller types than the names of studios. If you see the advertisements in old issues of magazines like Film India (whose old issues are freely available on the Internet), you will notice what I am saying.

Due to the Contract system of studios and adamant natures of the studio owners, careers of many actors, actresses and singers were ruined. The culprits were Prabhat, Minerva, Shalimar, Bombay talkies etc. Some tough and courageous artistes like Shanta Apte, Master Vithal and Meena Shorey could get their freedom from giants like Sharda, Prabhat and Minerva, but many others spoiled their careers. Some examples are Mrudula from Bombay Talkies, Manju from Prabhat, Sitara Kanpuri and Shama Dulari from Shalimar etc.

Mridula ( real name Chandrakanta) was born on 2-11-1924 at Almora, but was educated in Delhi. When she was in college doing her graduation, Amiya Chakravarty of Bombay Talkies came to Delhi on a Talent Hunt. He contacted her and gave her an offer. She signed a 5 year contract with Bombay Talkies and Devika Rani became her Mentor, teaching her everything. She was paid 2500 rupees salary with a furnished house. Her first film was “Jwar Bhata”-44, opposite another Debutant Dilip Kumar (Yousuf Khan). After Himanshu Rai’s death, Bombay Talkies was already in disarray. Many people had left the company due to differences with Devika Rai. A group of them formed Filmistan.
She got married to her lover Mr. G C Andley. However the marriage was unsuccessful and she went back to Delhi. She spent a miserable life selling whatever she had to survive. She got divorce and came back to Bombay to work in films, in 1954. She worked in 53 films in all. Her last released film was Saboot-80, though she had married again and retired some time before that.

Mridula was also a victim of her contract with Bombay Talkies. It destroyed her career as a Heroine forever. Devika Rani was her Mentor in Bombay Talkies. However, after Himanshu Rai’s death, no one was listening to her in the company due to groupism. Disgusted, Devika rani left Bombay Talkies, having sold all the shares. Mridula got stuck in the company without work, due to her 5 year contract. It was Vijay Bhatt of Prakash Pictures who somehow convinced Bombay Talkies to loan her to him and she got roles in 2 of their films. In the film ‘Bhakta Dhruva”-47, she played mother to 16 year old Shashi kapoor (sr) when she herself was about 23 year old only ! But she had no choice. The film and her role became famous, but she lost her chances of becoming Heroine in any film thereafter.

Till 30-9-2016 she was living in Worli, Mumbai all alone. Her only daughter stayed nearby and looked after her. There is no news about her anymore.

The other actress who could not or did not go far in the film industry was Jabeen Jalil. She did only 24 films ( plus 5 films unreleased) in the span of 20 years from 1954 to 1974. It was not due to the studio system, but simply due to bad luck.

Jabeen Jaleel was a short, petite but attractive actress. She was born on 1st April 1936 in Delhi, but was educated in Japan and Bombay, as her father was in foreign services of India. She used to take part in college dramas and in one such drama the judges were Nigar Sultana and her director husband S.M.Yusuf. They offered her a film as a Heroine. Jabeen’s father had expired and only mother and younger brother were there. She accepted the offer. Her first film was Guzara in 1954. Her second film in 55 was Lutera. Her first hero was Karan Dewan and second was Nasir khan. She became famous in New Delhi-56, in the role of Kishore’s sister Nikki’s role. She acted in 29 films, out of which 5 were unreleased. She also acted in 4 Punjabi films. She got a National award in 1962 for a Punjabi film in which her Hero was Prem Chopra.

She was a popular actress of Hindi cinema of the 50s & 60s. Although She acted in merely 24 Hindi ( plus 5 films were unreleased) & 4 Punjabi films in her almost 20 years career, she made millions of fans of her beauty and wonderful acting. She has worked with top Bollywood stars like Shashi Kapoor, Shammi Kapoor, Kishore Kumar, Dev Anand & Pradeep Kumar during 1955 to 1965.

Jabeen made her film debut with Guzaara (1954) where her hero was Karan Dewan. Her second film was Lutera (1955) where her hero was Nasir Khan. She however got true recognition with her third film, New Delhi (1956) where she played the role of Kishore Kumar’s sister Nikki. She got benefitted by the success of New Delhi. In the late 1950s, many films starring her released, including Char Minar, Fashion, Jeevan Sathi, Hathkadi, Panchayat, Raagini, Bedard Zamana Kya Jaane and Raat ke Raahi. In the 60s, Jabeen acted in films like Batwara, Khiladi, Sachche Moti, Taj Mahal and Raju. The Batwara song “Yeh Raat Yeh Fizaayen Phir Aayen Na Aayen” picturised on her and Jawahar Kaul is popular to this day. She also got the National Award for the 1962 Punjabi film Chaudhary Karnail Singh in which her hero was Prem Chopra. Jabeen acted in three other Punjabi movies Kadi Dhoop Kadi Chhaon, Geet Baharaan De & Aye Dharti Punjab Di.

Many songs picturised on her were extremely popular including ‘Tum Aur Hum…’ (Fashion), ‘Madbhari Yeh Pyaar Ki Palken…’ (Fashion), ‘Ta Thaiyya Karte Ana…’ (Panchayat), ‘Piya mai hoon patang tu dor…’ (Raagini), ‘Qaid mein Hai Bulbul Sayyad Muskuraye…’ (Bedard Zamana Kya Jaane), ‘Door Kahin Tu Chal…’ (Bedard Zamana Kya Jaane), ‘Aa Bhi Ja Bewafa…’ (Raat Ke Rahi), ‘Tu Kya Samjhe Tu Kya Jaane…’ (Raat Ke Rahi) and ‘Ek Nazar Ek Ada…’ (Raat Ke Rahi).

Jabeen Jalil quit films in 1974 after wrapping up her career with the film Vachan. In 2008 she had produced a movie “Pehli Nazar Ka Pyaar”.

Jabeen got married in the year 1968. Her Husband Ashok Kak is of Kashmiri Origin & hailed from Jodhpur. He was President of the Kodak Company and was the youngest CEO of that time. After moving away from films Jabeen was active in social work also. Jabeen and her family stayed in America for 10 years. The family moved back to Mumbai in 1998. She lives with her husband, son and elderly mother-in-law in her flat in South Bombay and divides her time between playing the de­voted wife and the ideal mother.Her son Divvij Kak is also an actor and Jabeen became a producer with Jabeen International. She lives in Dadar, Mumbai nowadays.

Today’s film is the routine King, Queen and Vazier type story. For a change, the Vazier is good but the Queen is evil. The story of the film is……

A ruler’s demise leaves a kingdom in turmoil, with a fight over which of his two wives should become queen mother. The honor goes to the elder queen, much to the dismay of Chandrasen (Tiwari), who hoped his sister would gain the position.

Mad for power, Chandrasen meets a holy man who requires seven virgins to be sacrificed to his guru. The holy man gives Chandrasen a magic flower that will allow him to take any form, and he uses it to become a duplicate of the God that is worshiped by the jungle people. He is challenged by Zingaro (Jairaj), a swarthy young jungle man, so Chandrasen turns his servant, Bahadur, into a copy of Zingaro and orders him to abduct girls from the village.

The Queen mother begs someone to capture Zingaro, but because of his legendary prowess and strength, nobody is brave enough to take the challenge except Kiran (Jabeen), the daughter of Diwan, the late king’s loyal assistant. Kiran finds Zingaro, but Zingaro convinces her of his innocence and the two set out together to capture the impostor who is committing the crimes. They apprehend the fake and throw him in jail, but Chandrasen’s magic flower helps set him free. Chandrasen then kidnaps Kiran and locks her up in his palace.

Zingaro, searching for Kiran, is arrested and Kiran must now figure out a way to save herself and Zingaro. Zingaro gets help from his friends and escapes. He finds about the magic flower, secures it and then changes the picture, Kiran is freed and the younger queen and her brother Chandrasen are arrested and hanged. Zingaro destroys the magic flower. he and Kiran get married.

Today’s song is sung by Mahendra Kapoor, who seems trying to copy Rafi style unsuccessfully. This is the last and final song and the film gets YIPPEED, with all its songs covered. Enjoy the song….


Song-Zulfen hain teree Kashmiri sitamgar (Zingaaro)(1963) Singer-Mahendra Kapoor, Lyricist- Prem Dhawan, MD- S N Tripathi

Lyrics

Zulfen hain teri Kashmiri sitamgar
aankh teree Bangaale kee
hoye hoye
zulfen hain teri Kashmiri sitamgar
aankh teree Bangaale kee
khair nahin o ghoonghat waalee
aaj kisi dilwaale kee
haaye re haaye haaye
zulfen hain teri Kashmiri sitamgar
aankh teree Bangaale kee
hoye hoye

hum se kaisee pardaadaaree
saamne to aao zaraa
gorey mukh se kaalee chunree
dhheere se sarkaao zaraa
kyaa zaroorat
chaand pe hai
kaho to baadal kaale kee
haaye re haaye haaye
zulfen hain teri Kashmiri sitamgar
aankh teree Bangaale kee

husn tujhse bheekhh maange
ishq sau sau sajde kare
ik nazar jo dekh le wo
zindagee bhar aahen bhare
waah re Kudrat
aisee soorat ke banaane waale kee
hoye hoye
zulfen hain teri Kashmiri sitamgar
aankh teree Bangaale kee
hoye hoye
zulfen hain teri Kashmiri sitamgar
aankh teree Bangaale kee
khair nahin o ghoonghat waalee
aaj kisi dilwaale kee
haaye haaye haaye haaye haaye
zulfen hain teri Kashmiri sitamgar
aankh teree Bangaale kee
hoye

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Mere Mohan kee leela hai nyaaree

Posted by: on: February 27, 2024


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 :

 5702 Post No. : 18220

Today’s song is from a very old film – almost 86 years old – Gopal Krishna-1938.

Modern Technology has made wonders possible, otherwise finding such old songs unthinkable. The first year of the Talkie Cinema saw the release of 24 films in its first year-1931. None of these films are available now. The oldest Hindi film that is available today is the film ” Ayodhya Ka Raja”-1932 in Hindi and Marathi (as अयोध्येचा राजा ), made by the Prabhat Film Company of Poona, Maharashtra. Same year, Prabhat also made another film ” Shyam Sunder”-1932. This was the Debut film of Shahu Modak, as young Krishna and also Shanta Apte as his mother-Yashoda. This too was made in Hindi and Marathi.

Film Gopal krishna-1938 was made again on the life of young Krishna. Here Shanta Apte played the role of Yashoda again. However, this time, the role of Krishna was done by another Debutant Ram Marathe. This film was bilingual-in Hindi and Marathi. In the early era, Hindi films were made mainly in Bombay and Calcutta. Calcutta churned out the Hindi versions of almost all popular films for the All India market. Before new Theatres, Calcutta, Prabhat had started this trend. Being nearer to Bombay and within Maharashtra, Prabhat had the natural advantage of getting Hindi speaking actors easily, whereas . From the beginning, New Theatres had to look for artistes who could speak Hindi or use dubbed dialogues.

For the first 5-6 years, Prabhat and new theatres virtually ruled the Movie world in India. Even the posters of films made by them flanked the Banner’s name prominently like ” Prabhat Presents ” or “New Theatres presents”. The films were sold and seen by the audience on their names. Names of actors and actresses were not even mentioned on the film posters, only their photos were used thereon.

This system was,however, broken by the First Superstar actress Sulochan (Ruby Myers). She was the highest paid star of those days, with a salary of Rs. 5000 pm. She had her own Chauffeur driven car to come to the studio. One day she saw a film poster of her film and was shocked to find that no names of any actors were mentioned there. She exploded and threatened to stop work of all actors, unless her and other main actors’ names were mentioned on the film posters. Due to her insistence, the producers immediately started mentioning the cast names on the posters. This was around 1935.

The case was different for Gramophone records. In the first place the producers and the Gramophone companies were not enthusiastic about bringing out film song records. But soon, they found that it was yet another source of making money as Talkie films quickly became popular all over India. Initially the First 2 commercial records were issued for 4 songs of film Madhuri-1932 (N-5622 and N-5623, HMV Label). For a few years the singers’ names were not mentioned on the records. Only the composer and film name was mentioned. Later when the Play-back system came in vogue, the name of the role in films who sang the song on the screen was given on the records. An example is – “Kamini” was the role-name of Madhubala in the film “Mahal”-1949. The famous song by Lata, “Aayega aanewala” from Mahal had the name of Kamini on its record and not Lata’s name !. Soon this changed and singers’ names were given on the records. Lyricists were the last to appear on records.

Film Gopalkrishna-1938 depicted the childhood life of Krishna( Ram Marathe) in Gokul. The king of Mathura (maternal uncle of Krishna,in relation) Kansa-played by Ganapatrao- also ruled Gokul. He was the killer of 7 siblings of Krishna,after their births,while Vasudev and Devki were in his jail. He also wanted to kill Krishna (because he knew he would destroy Kansa one day),but all his efforts so far had been foiled.

The various incidents in the film are taken from Bhagwat Puran and Vishnu Puran. Once Kansa sends his Commander in chief Keshi Rakshasa -played by Haribhau- in disguise to capture and kill Krishna,but Krishna’s lame fast friend Pendya and others expose him and he is killed by Krishna. Angered by this Kansa finally,with his magical powers,creates heavy rains and floods in Gokul so that all people and cattle die in it. Krishna however,lifts the mountain Gowardhan on his little finger of left hand to make it an umbrella for the people and cattle. This is how Krishna got his name ‘Gowardhan Giridhari’.
For various shots in the film Prabhat wanted hundreds of cows,which were not available in Poona. Here more buffaloes were available. The search team of Prabhat found several herds of cows in Dombivali, near Bombay. These cows were hired on a daily basis from their Tabelas (stables) and brought to Poona in a special train,for shooting. Such was the commitment of Prabhat in those days for reality in films.

The cast of the film was Ram Marathe, Shanta Apte, Parshuram,Ulhas and many others. Songs were written by Pt.Anuj (S.L.Srivastava) and Music was by Master Krishnarao. This name was from a pair of “Same Name Confusion”. There was another Master Krishnarao (Chonkar), who was an actor and singer as well. Film’s MD was Master Krishnarao Phulambrikar.

Krishnaji Ganesh Phulambrikar (1898–1974), popularly known as Master Krishnarao, was a musical genius – a vocalist, classical musician and composer of Hindustani music. He was credited with the creation of three Hindustani ragas and several bandishes. Phulambrikar was a recipient of the Sangeet Natak Akademi Fellowship.

Krishnarao Phulambrikar was born on 20-1- 1898 at Devachi Alandi, a town in the periphery of Pune, in Maharashtra to the Deshastha Brahmin couple Ganesh Phulambrikar (who was Vedmurti) and Mathura bai. He also ventured into Marathi theatre as a child artist by performing as an actor-singer in Sant Sakhu, a musical drama produced by Natyakalapravartak Mandali. He acted in other musical dramas produced by this drama company. And at this drama company, he first got a chance to learn Indian classical music from Sawai Gandharva who used to act in the musical dramas of this company. Later, he approached the renowned singer, Bhaskarbuwa Bakhale in 1911 who trained the young boy in Gwalior, Agra and Jaipur gharanas of Hindustani music and their guru-shishya relationship lasted till Bakhale’s death in 1922. The tutelage under Bakhale also gave him the opportunity to meet and get associated with Bal Gandharva, who would later go on to become a noted Marathi singer. His first solo concert was when he was 13 years of age (he was awarded the title of Sangeet Kalanidhi in 1930 by Jagadguru Shankaracharya Dr.Kurtkoti), which preceded several concerts in India and abroad, including a trip to China as a Government of India delegate in 1953.

Phulambrikar served as the director of Pune Bharat Gayan Samaj, a music academy founded by his mentor Bhaskarbuwa Bakhale in Pune. Besides his career as a classical vocalist and as a film music composer, he scored music for several plays which included Menaka, Savitri, Asha-Nirasha, Amritasidhhi, Kanhopatra, Nand Kumar and Vidhi Likhit for Gandharva Sangeet Natak Mandali, a drama company founded by Bal Gandharva, during the period 1915–1933 and acted in a few of them. Later, he also composed music for a few plays such as Kulavadhu, Ek Hota Mhatara, Kone Eke Kali and Bhagyoday for Natyaniketan where the lead singer and actress was Jyotsna Bhole. On the academic front, he compiled the compositions taught to him by Bakhale as well as his own compositions and published them as a 7-volume book, Raag Samgraha. Besides his notations are available in print under the titles, Rashtra Sangeet, Shishu Sangeet, Amar Sangeet, Mohan Maal, Natya Geet Notations and Chitra Geet Notations. He also tutored several musicians, film and drama artists. Ram Marathe, Yogini Joglekar, Saraswati Rane, Haribhau Deshpande, Anjanibai Kalgutkar, Madhusudan Kanetkar, Jaymala Shiledar, Dr.Pabalkar, Bapurao Ashtekar, Dattopant Bhope, Pitre buwa, Suhas Datar, Sudhakar Joshi, Ravindra Joshi, Mohan Karve, Rangnath Karkare, Shivram Gadgil, Balwant Dixit and his daughter, Veena Chitko are some of his notable disciples.

Soon after he received the Sangeet Kalanidhi title from Dr. Kurtkoti, the Shankaracharya of Karvir Peeth, he was contracted by Prabhat Film Company owned by V. Shantaram and other partners, to compose music for its forthcoming film, Dharmatma, where he was reunited with his old associate, Bal Gandharva, who played the role of Sant Eknath, the protagonist of the movie. The film which was released in 1935 had sixteen songs, many of them sung by Bal Gandharva. A year later, his next hindi film was released under the name, Amar Jyoti, again a Prabhat Film Company production. The film was reported to have been critically acclaimed and was the first Indian film to be screened at the Venice Film Festival. Wahan, another Prabhat production released in 1937, this time with a new director, K. Narayan Kale, was his next film, followed by the musical Gopal Krishna in 1938 directed by Damle and S Fattelal. He composed music for 15 films which included Padosi, another Shantaram film and the film featured a ten-minute song, Lakh lakh chanderi, reportedly with complex choreography. He played the lead role of Sant Savata Mali in the movie Bhakticha Mala released by Rajkamal Kalamandir. He composed the music for this movie and also sang his own songs in this movie. Many aspiring composers of that period – Vasant Desai, C.Ramchandra, Sudhir Phadke, Purushottam Laxman Deshpande, Snehal Bhatkar, Dinkarrao Amembal (alias D Amel) and Gajananrao Watve got inspired by his school of musical thought.

In the Hindi film arena, he gave music to 10 Hindi films (Dharmatma-35, Amar jyoti-36, Wahan-37, Gopal krishna-38, Aadmi-39, Padosi-41, Vasantsena-42, Mali-44, Lakharani-45 and keechak Vadh-59). In these 10 films he composed 104 Hindi songs. He sang 11 songs in 2 Hindi films – Mali-44, Meri Amanat-47 and Pooja-54. He acted as the main lead in Hindi film Mali-1944.

Master Krishnarao Phulambrikar received the Vishnudas Bhave Gold Medal of the Government of Maharashtra in 1969 and the Government of India awarded him the civilian honor of the Padma Bhushan in 1971. He was the first recipient of the Balgandharva Gold Medal. The Sangeet Natak Akademi honored him with the Sangeet Natak Akademi Ratna Puraskar in 1972. In 1961, he suffered a facial paralysis which forced him to abandon his career as a singer in 1969. On his 60th birth anniversary, a 9-day long music conference was staged in Pune in which many notable musicians from all over India took part. He did not survive much longer and the death came on 20 October 1974, when he was 76 years of age. The story of his life has been documented in his biography, Bola Amrit Bola (बोला अमृत बोला ) which was published posthumously in 1985. Every two years an award in his memory is presented to a music critic or author of a music book by Maharashtra Sahitya Parishad, Pune. Since his family originated from Phulambri in Marathwada, a drama theatre has been named “Master Krishnarao Phulambrikar Natyagruha” in Jalna, Marathwada in his honour. Every year Pune Bharat Gayan Samaj celebrates his birth anniversary and death anniversary. His daughter, Veena Chitko, who died in September 2015, was a notable light classical musician. ( Based on wiki, Marathi book पूर्वसुरींचे सूर by Dr. Suresh Chandvankar and my notes).

The other Krishnarao was …..Master Krishnarao Chonkar.

Master Krishnarao Chonkar was born on 25-12-1908, in Bombay. He studied upto Matriculation. Then he joined Gandharva Natak mandali as a Hero in dramas. After films came he shifted to films.

In music, he was trained by Govindrao Dhurandhar, Mohan Palekar, Shankar rao etc.

He used classical music on his stage performance mainly. From 1932 to 1934, he worked in films like Amirzadi, Kala Vadya, Saubhagyalaxmi, Payam E Ulfat and other C grade films. Then he went to Gujarati dramas.
Though he sang in early films, no records are made. From 1940 to 1960, again he worked in films like Mali-44, Chhatrapati Shivaji-52 etc . His songs in films Pooja-54, Rani Roopmati -59 and Hamara Hindustan, etc. In 1962, he directed a Marathi film Nandadeep.

He had 2 daughters and one son. The elder daughter Nalini also worked in films-Marathi and Hindi. Later she opened a Music and Dance school in Andheri, Mumbai.(12-6-1938 to 26-6-2005). Krishnarao lived in Mumbai till his death.

Today’s song is sung by Parshuram, about whom I have written several times. I had interviewed his daughter in 2013. He played the role of “Pendya” in this film. Pendya was a close friend of Krishna in Gokul. He was lame by one leg. This character is found only in Marathi and not in Hindi or even in the Bhagwat Puran. Perhaps this was created in Marathi for comedy. Now let us listen to the song…..

Audio

Vimeo


Song- Mere Mohan ki leela hai nyaari (Gopal Krishna)(1938) Singer- Master Parshuram, Lyricist-Pt. Anuj (S.L.Shrivastav), MD- Master Krishnarao Phulambrikar

Lyrics

Kisan
kisan pe jaaun vaari vaari
mere mohan ki leela hai nyaari
chhavi nyaari tori hai muraari
tum brij ke dulaare
tum brij ke dulaare
mohan pe jaaun vaari vaari
mere mohan ki leela hai nyaari
chhavi nyaari tori hai muraari

kahoon gwaal baal bane
kahoon pratipal bane
kahoon pratipal bane
natvar chhaliya bhaari
natvar chhaliya bhaari
tum brij ke dulaare
mohan pe jaaun vaari vaari
mere mohan ki leela hai nyaari
chhavi nyaari tori hai muraari

jamuna ke jal mein
gopaalon ke dal mein
sab mein samaaya
jamuna ke jal mein
gopaalon ke dal mein
sab mein samaaya
tero ant nahin paaya
tori leela balihaari
tero ant nahin paaya
tori leela balihaari

tum brij ke dulaare
mohan ki leela
murli waale ki leela
nand lala ki leela hai nyaari
tum brij ke dulaare
tum brij ke dulaare
mohan ki leela
bansi waale ki leela
nand lala ki leela hai nyaari

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Jheel rakhoon kanwal rakhoon

Posted by: on: September 22, 2023


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 :

 5544 Post No. : 18005 Movie Count :

4819

‘Teesra Kinaara’ (1986) is one of those films of 1980s which faded into oblivion despite having a good story and music. The film has become so obscure that it is not available for viewing on video sharing platforms. Despite my best efforts, I did not find the film on OTT platforms also. Fortunately, the video clips of a couple of songs are available besides mp3 clips of all the songs.

The film was produced by Saeed Abdul Aziz and Saeed Anwar Hussain, the latter being also the cinematographer of the film. The film was directed by Krishnakant. Smita Patil, Raj Babbar were in lead roles with Anita Raj being the ‘teesra kinaara’. Other supporting actors were Jagdish Raj, Paintal, Shubha Khote, Lalita Kumari, Manmohan Krishna, Javed Khan, Dinesh Hingoo etc.

The director of the film, Krishnakant was a veteran Hindi and Gujarati film actor of yesteryears, besides associated with Gujarati theatres as actor and director. Krishnakant Maganlal Bhookhanwala (15/09/1922 – 24/10/2016) (KK) was born in Howrah where his father was working as a Textile Engineer in a cotton mill. He had his early education in Kolkata, Banaras and finally in Surat where his father settled after retirement.

After completion of his high school, KK came to Mumbai and completed Diploma in Wireless and Electrical Engineering from Khalsa College of Technical Institute at Matunga, Mumbai. During his college days, he used to see film actors like Prithviraj Kapoor, K L Saigal, K N Singh etc who used to come to Khalsa College to play badminton in their badminton hall which was sometime also used for recording. The star-like status of these actors created a desire in KK’s mind to become an actor.

After completion of his college, KK joined Amar Studio of Chimanlal Desai as a Sound Engineer. At that time, Chimanlal Desai had planned a new film for which he had called Nitin Bose of New Theatres to direct the film. There was a need for a person who knew both Hindi and Bengali to converse with Nitin Bose. Since KK was knowing both the languages, he was selected to assist Nitin Bose. This connection became a route for KK to get into acting in the films.

K K assisted Nitin Bose in his direction in a bilingual film, ‘Paraya Dhan’ (1943) which was simultaneously made in Bangla as ‘Bichar’ (1943). He had a small role in both the versions as a production assistant in a radio station. Thereafter, he assisted Nitin Bose in ‘Muzrim’ (1944) and ‘Mazdoor’ (1945). After Nitin Bose joined Bombay Talkies, KK also went along with him and assisted him in his direction for the film, ‘Milan’ (1946). It was during the making of ‘Milan’ (1946), KK developed a strong desire to become an actor like Dilip Kumar. However, knowing his limitation in terms of his physique, he reconciled to the fact that he can only be a supporting actor. For that he needed to brush up his pronunciation in Hindi/Urdu.

KK started taking lessons in Hindi/Urdu from Bombay Talkies’ dialogue writer, S H Hussain. This helped him in getting roles as a supporting actor in films during 1950-60. Some of the films he acted in supporting roles were ‘Mashaal’ (1950). ‘Muqaddar’ (1950), ‘Andolan’ (1951), ‘Baadal’ (1951), ‘Tamaasha’ (1952), ‘Maa’ (1952), ‘Kaafila” (1952), ‘Daag’ (1952), ’Do Bigha Zameen’ (1953), ‘Patita’ (1953), ‘Baadbaan’ (1954), ‘Baap Beti’ (1954), ‘Dhobi Doctor’ (1954), ’Naukari’ (1954), ‘Seema’ (1955). “Amaanat’ (1955), ‘Bahu’ (1955), ‘Faraar’ (1955), ‘Jaagte Raho’ (1956), ‘Bandi’ (1957), ‘Detective’ (1958), ‘Howrah Bridge’ (1958), ’Parvarish’ (1958),’ Sitaaron Se Aage’ (1958).’Insaan Jaag Utha’ (1959), ‘Jaali Note’ (1960) etc.

I have given above, a big list of his early films because I have noted that a common factor in all these films was that they were directed by Bengali directors, Nitin Bose, Phani Majumdar, Amiya Chakraborty, Bimal Roy, Aravind Sen. Shakti Samanta. Satyen Bose, Gyan Mukherjee, S Bannerjee, Shambhu Mitra etc. It appears that KK’s knowledge of Bengali language has helped him developing the rapport with Bengali directors which in turn helped him in furthering his acting career.

Sometime in 1960, KK developed aversion to Hindi film industry after he had to quit directing his first Hindi film, ‘Shriman Satyawadi’ (1960) because of serious differences with Mahipatrai Shah, the producer of the film. He quit the Hindi film industry and shifted with his family to Surat where he started a business for a living. After about 10 years of hiatus from the film industry, KK was lured into Gujarati films and theatres. He directed about a dozen films in Gujarati in the 1970s. He also acted in many Gujarati films and plays. In addition, he acted and directed some Gujarati and Hindi TV serials.

Simultaneously, KK also started his second innings in Hindi films with ‘Aradhana’ (1969). Thereafter, he had acted in a number of Hindi films in the 1970s and 80s, like ‘Do Raaste’ (1970), ‘Sharmeelee’ (1971), ‘Haathi Mere Saathi’ (1971), ‘Annadaata’ (1972),Trimurti’ (1974), Kaala Sona’ (1975), ‘Sajjo Rani’ (1976), ‘Aawaaz’ (1984) and many more. He has acted in over 100 films during his 5 decades of association with Hindi films. ‘Dil Se’ (1998) was his last film as an actor.

KK once again shifted back to Surat during his old age where he passed away on October 24, 2016, at the age of 94.

[Note: The profile of Krishnakant is mainly based on Harish Raghuvanshi’s book, ‘Inhe Na Bhulaana’ (2018)- Hindi Edition].

As I mentioned earlier, I could not get to see the film. So, I have summarised the story of the film based on the synopsis available online from multiple sources. As usual, synopsis of the films does not mention as to how the film’s story ends.

Satyajit (Raj Babbar) is a journalist, poet and singer who stays in a labour colony in Mumbai. He is married to Savitri (Smita Patil), a typical village girl. They have two minor sons. Savitri manages the house with a bare minimum income Satyajit earns. Although Satyajit loves his wife and children, somewhere in the back of his mind, he carries a feeling that marrying her has reduced him to a mechanical life, earning livelihood for a living. This has shattered his dream of becoming a celebrated man of letters. He cannot discuss with his wife anything on the literature as she has no interest on the subject.

Before marrying Savitri, Satyajit was in love with Shamli (Anita Raj) the daughter of a wealthy publisher (Jagdish Raj), who shared her interest in his poetry. However, due to differences in their financial status, Shamli’s father pressurised her to marry a boy he selected. After many years, Satyajit meets his ex-flame Shamli who has now become a widow. She is now running her father’s publishing business. Satyajit develops a rapport with her to achieve his dream of becoming a literary celebrity. Shamli, during their courtship, had felt that Satyajit needed to be promoted to achieve his objective. Now, that opportunity has come to both of them.

By nature of his work, Satyajit has now become busy because he spends much of his time with Shamli who has made him now a literary celebrity. So, he gets very little time to spend with his family. The marriage heads toward a break down as Savitri suspects her husband’s having affairs with Shamli. The reality is that Shamli’s friendship with Satyajit is more of professional than personal in nature.

With no respite for Savitri from her deep suspicion about Satyajit’s ‘affairs’ with Shamli, she decides to free her husband from the marriage by handing over to him the divorce paper duly signed by her. She pursues her efforts to become an independent woman to take care of her two sons. How Satyajit and Savitri are united at the end is the climax of the film.

The film had 5 songs written by Anjaan (4) and his son, Sameer (1) which were set to music by Shyam Sagar (3) and Uttam-Jagdish (2). Interestingly, there are about a dozen films for which the names of father-son, Anjaan and Sameer have appeared together as lyricists in their individual capacity.

I am presenting the first song, ‘jheel rakhoon, kanwal rakhoon ke jaam rakhoon’ from the film to appear on the Blog. The song is written by Sameer and is set to music by Shyam Sagar. From the lyrics of the song, it appears that the song was picturised at a time when Satyajit (Raj Babbar) and Shamli (Anita Raj) were in relationship prior to his marriage with Savitri (Smita Patil). In the picturisation, Jagdish Raj and Paintal are also seen. Perhaps, Shamli has arranged a get together to promote Satyajit as a poet.

In this song, Shyam Sagar has added a sanchari tune ( a different tune in the first two lines of second antara followed by usual antara tune) to give a new dimension to the song. In addition, the song has the pleasant reminiscence of the golden period of Hindi film music with Shabbir Kumar’s voice reminding of Mohammed Rafi.

Video Clip:

Audio Clip:

Song-Jheel rakhoon kanwal rakhoon (Teesra Kinaara)(1986) Singer-Shabbir Kumar, Lyrics-Sameer, MD-Shyam Sagar

Lyrics (based on audio clip):

hmm hmm hmm….
hmm hmm….
hmm hmm

jheel rakhoon
kanwal rakhoon
jheel rakhoon
kanwal rakhoon
ke jaam rakhoon
teri aankhon ka kya naam rakhoon
jheel rakhoon
kanwal rakhoon
ke jaam rakhoon
teri aankhon ka kya naam rakhoon

saawan aah bhare ghata jhuk jaaye
dhoop chhup jaaye kahin chhaanv sharmaaye
saawan aah bhare ghata jhuk jaaye
dhoop chhup jaaye kahin chhaanv sharmaaye
ghata rakhoon
chhanv rakhoon
ho ho
ghata rakhoon
chhanv rakhoon
ke shaam rakhoon
teri zulfon ka kya naam rakhoon
jheel rakhoon
kanwal rakhoon
ke jaam rakhoon
teri aankhon ka kya naam rakhoon

surkh honthon pe hansi aise khil jaaye
bhor ki pehli kiran jaise muskaaye
surkh honthon pe hansi aise khil jaaye
bhor ki pehli kiran jaise muskaaye
kali rakhoon
kiran rakhoon
ho ho
kali rakhoon
kiran rakhoon
gulfaam rakhoon
tere honthon ka kya naam rakhoon
jheel rakhoon
kanwal rakhoon
ke jaam rakhoon
teri aankhon ka kya naam rakhoon

mere khwaabon mein kabhi tu jo chali aaye
meri har saans naya geet koi gaaye
mere khwaabon mein kabhi tu jo chali aaye
meri har saans naya geet koi gaaye
geet rakhoon
ghazal rakhoon
geet rakhoon
ghazal rakhoon
kalaam rakhoon
teri soorat ka kya naam rakhoon
jheel rakhoon
kanwal rakhoon
ke jaam rakhoon
teri aankhon ka kya naam rakhoon
teri aankhon ka kya naam rakhoon
teri aankhon ka kya naam rakhoon

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Roop tumhaara mere jiyaa ko lubhaaye re

Posted by: on: June 14, 2023


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 :

 5444 Post No. : 17844 Movie Count :

4768

When we discuss songs of 1930s and 1940s, we tend to think that those days that are now 80 to 90 years behind us were similar to present days, as far as listening to songs was concerned. This assumption is highly incorrect. Today everyone is able to listen to any song that is available online. Those days technology was far less advanced. Forget internet, even Radio and TV were in their infancy. Record players and movies were the only means to listening to songs. Record players were very expensive. Only rich people could afford them. Even Radio was expensive. Even if Radio was there, there were very few Radio stations that played film songs. For majority of people, visiting movie halls may have been the only way they would be ale to listen to a song. If the movie was a hit movie, then getting entry into the movie hall was a tall order. One needed to brave big crowd and somehow jostle one’s way to the ticket counter and shove one’s hand, with money in it, inside the round counter measuring less than six inch in diameter and tell the counter clerk how many ticket you required.

In case the movie was less popular, that movie would not even get released in smaller places. Movies that did not get to many opportunities to get released would find their songs failing to get popular because few people listened to them. Unless enough number of people listen to songs and liked them, even record companies would shy away from making too many copies of those songs.

I wonder how many copies of songs were made by record companies those days. Popular songs would sell more copies so more copies would be made. But what was the minimum number of records made for a less popular movie ? Did all the records of such less popular songs get sold or there were some unsold records too ? What happened to the unsold records ?

Suppose there was a movie that failed to get popular. With time the copies of its film were lost. Very few copies of its records got sold. Decades upon decades passed. The original individual who bought the record passed away. What happened to these records ?

When I think along these lines, I am really surprised that the records of less popular movies of 1940s are still available today, eighty to ninety years later, and they are gradually finding their way online. That way, these songs are getting heard by the present generation, perhaps for the first time in eighty to ninety years !

Take the movie “Seeta Swayamwar”(1948) for example. This movie, clearly based on Ramayan, did not do as well as the movie “Ram Rajya”(1943), which was a super duper all time hit movie. “Seeta Swayamwar”(1948) hoped to do similar kind of business, but could not. This movie was directed by A R Sheikh for Vijay Pictures, Bombay. The movie had Durga Khote, Anant Thengdi, Balakram, Nimbalkar, Kelkar, Sulochana, Usha Marathe, Manjrekar etc in it.

The movie had nine songs in it. Unlike “Ram Rajya”(1943), the songs of “Seeta Swayamwar”(1948) were not available till recently. This movie is not represented in the blog for this reason.

A couple of songs from this movie have now become available. So this movie can now make its debut in the blog.

Here is the first song from “Seeta Swayamwar”(1948) to appear in the blog. This song is sung by Malti Pande. Amar Verma is the lyricist. Music is composed by Sudhir Phadke.

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

I have not been able to get a few words in the last paragraph of the song. I request our readers with keener ears to help fill in the gaps/ suggest corrections wherever applicable.

With this song, “Seeta Swayamwar”(1948) makes its debut in the blog.


Song-Roop tumhaara mera jiya ko lubhaaye re(Seeta Swayamwar)(1948) Singer-Malti Pande, Lyrics-Amar Verma, MD-Sudhir Phadke

Lyrics

roop tumhaara mere jiya ko lubhaaye re ae ae
jiya ko lubhaaye re
roop tumhaara mere jiya ko lubhaaye re ae ae
jiya ko lubhaaye re

bade bade nain wohi
wohi muskaana hai
bade bade nain wohi
wohi muskaana hai
bolo kahaan ki tumse meri pehchaan hai
bolo kahaan ki tumse meri pehchaan hai
naina tumhaare mere naina nachaaye re ae
jiya ko lubhaaye re
roop tumhaara mere jiya ko lubhaaye re ae ae
jiya ko lubhaaye re

janam janam ke meet hamaare
janam janam ke meet hamaare
bhole bhaale ho tum pyaare pyaare
bhole bhaale ho tum pyaare pyaare
yaaden tumhaari mohse bhoole na bhulaaye re ae
yaaden tumhaari mohse bhoole na bhulaaye re ae
jiya ko lubhaaye re
roop tumhaara mere jiya ko lubhaaye re ae ae
jiya ko lubhaaye re

man mandir mein toh ko bithhaaun
man mandir mein toh ko bithhaaun
praanon se runjhun taar bajaaungee
praanon se runjhun taar bajaaungee
daasee tumhaaree dekho aanandee gaaye re ae
daasee tumhaaree dekho aanandee gaaye re ae
jiya ko lubhaaye re
roop tumhaara mere jiya ko lubhaaye re ae ae
jiya ko lubhaaye re
jiya ko lubhaaye re
roop tumhaara mere jiya ko lubhaaye re ae ae
jiya ko lubhaaye re

Tags: , , , ,

Taram Pum Taram Pum Taram Pumm, Chalo Usko Dhhodhenge Hum

Posted by: on: May 3, 2023


This article is written by Peevesie’s mom, 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 :

 5402 Post No. : 17726 Movie Count :

4748

Hullo Atuldom

Back after a gap of around one & half months.

Have been so active, doing various other activities, that for the first time, since 2009 (when I discovered the blog) and 2012 (when my first post appeared on the blog), I missed a few milestones (the 17,700th post) on the day it was posted. Also missed a post by Sudhir ji, which featured a song which I simply love to see “Wo Ladki Hai Kahaan“.

Also I missed writing posts on a few occasions for which I had drafts ready in my mind, but could not get down to writing or typing them. Occasions like the Hindu New Year (call them by any name- Ugadi, Vishu, Baishakhi, Cheti Chand etc.), birthdates and anniversaries of a few favourite celebs (Sachin Tendulkar, Rishi Kapoor, Irfan Khan, etc). Of course, there were posts on these special dates, just that I have been catching up on them over the last few days.

This last month and half, I have been attending a few weddings and landmark birthdays of my brothers & beloved Aunty (‘Kaaki‘ sounds more personal than Aunty). That meant hurried trips to Kerala & Mumbai (twice), and three days in Chennai. I managed to meet Guru ji on my first trip to Mumbai, but could spend only an hour with him. And saw he was preparing for his book ‘Forgotten Artists of Early Cinema and The Same name Confusion’ release.  Feel so proud that I know him.

Getting to the purpose of this post- 3rd May is a special date in the annals of Indian Film Industry. It was on this date, in the year 1913, that Dadasaheb Phalke’s ‘Raja Harishchandra’, the  first full length feature film produced in India, was premiered at Coronation Theater in Bombay. (The first ever film, projected moving pictures, was presented by the Lumiere Brothers in December 1895 in Paris, France).

Starting from that screening of the silent film ‘Raja Harishchandra’ till today, it is 110 years. We have had hundreds & thousands films made in almost all the Indian languages possible. There have been instances of films borrowing story ideas from our mythologies, folklore etc. Stories of India’s freedom struggle, biographies of leaders who were at the forefront at that time. The films made in India have converted novels, books into moving images that have left a permanent imprint in the minds of the enthralled fans. The list of ideas on which films are based are as varied as the framework of our country.

I have never felt the need to see films made in any other country, never had time to discover anything else. Of course, there have been a few English films that have crept into my list of films seen in my lifetime, these may add up to 15/20. But, largely, I have relished films made in Hindi, Malayalam, Tamil, Marathi, Telugu etc. In the days when Doordarshan was the sole home-entertainment source, I have even seen films in Gujarati, Bengali & Punjabi.

I know for sure that films were initially made in Lahore, Calcutta, Madras, Bombay, Kolhapur, Poona etc. Post 1947, Bombay, Madras & Calcutta (don’t know about Kolhapur & Poona) were the movie making centres with most South Indian language films being made in Madras. I am not sure about when Kerala, Andhra Pradesh & Karnataka and other states set up their own film cities. (I am expecting answers to all my doubts from the knowledgeable Atulites).

Just as story-ideas were exchanged between the films of all the languages, actors from one region were seen in films of other regions. That trend still continues.

Similarly, there has been a trend of bilinguals & trilinguals (movies made in two or three languages simultaneously) that is accepted by the audiences. And finally there are dubbed versions of popular films too. Even, this system has not been given up, and so we have ‘KGF’ (essentially a Kannada film), ‘RRR’ (Telugu), ‘Bombay’ (Tamil), ‘Roja’ (Tamil) being brought to the notice of the Hindi audiences by dubbing them. I would love to add instances of films from other languages too , but I am ignorant of these. I know for sure that ‘English Vinglish’, ‘Dil Se’, ‘PK’ have been dubbed into south Indian languages.

To celebrate the birthday of the Indian Film Industry I have chosen a song from the film ‘Doli Saja ke Rakhna’ (1998). This is Priyadarshan remaking Fazil’s (who normally made movies in Tamil and Malayalam) ‘Aniyathi Pravu’ (which directly translates as ‘Younger Sister Dove’). ‘Aniyathi Praavu’ was remade as ‘Premisthunnanu’ in Telugu, ‘Kadhalukku Mariyadhai’ in Tamil & ‘Preethigagi’ in Kannada. This is what made me feel ‘DSKR’ was an eligible option to celebrate the Indian Film Industry. It has Anupam Kher, Moushumi Chatterjee, Aruna Irani, Paresh Rawal, Mohnish Behl, Tej Sapru, Ninad Kamat, Suresh Menon, Umesh Shukla playing the family and friends to Akshaye Khanna and Jyothika. Amrish Puri had a special appearance in this film. Malayalam actor Innocent Vareed Thekkethala,  known mononymously as Innocent, also made his Hindi debut in this film.

‘DSKR’ is also the debut film of Jyothika who was born in Mumbai in 1978. She starred in many South Indian films and became very popular too.

I would like to put in a few words about Innocent. He was a versatile actor who graced the Malayalam screen from 1972 and was seen playing characters that mostly brought a smile on the viewers face. He made an excellent foil, co-actor to all his co-stars and his pairing with KPAC Lalitha (who passed away in 2022) was well-received. His career of close to 700 films featured Tamil & Kannada films too. There were two Hindi films also, both made by Priyadarshan. He was also a writer, film producer and a politician. Innocent, who was born on 28th February 1948 died recently, on 26th March at the age of 75. He was a cancer survivor who took ill on 3rd March and died three weeks later. We can see him in today’s song in the uniform of an Army Colonel.

Today’s song is sung by Babul Supriyo & Srinivas. (Again meeting of artists from two regions). The song is composed by AR Rehman and written by Mehboob Kotwal (who is always credited as Mehboob).

Song – Taram Pum Taram Pum Taram Pumm, Chalo Usko Dhhodhenge Hum (Doli Saja Ke Rakhna) (1998) Singer – Babul Supriyo, Srinivas, Lyrics – Mehboob, MD – AR
Male Chorus
Female Chorus

Lyrics (Provided by Sudhir)

ye khoya khoya rehta hai
ye din mein soya soya rehta hai
ye raaton mein uth uth ke yahi gaata hai
wo le gai dil
tarram pum tarram pum tarramm pumm
chalo usko dhoondhenge hum
pari hai wo hai hoor koi
jo dhaaya hai itna sitam
nahin wo to kuchh aur hi hai
kahen kya yaaro tumse hum
tarram pum tarram pum tarramm pumm
chalo usko dhoondhenge hum

itni haseenon mein
chhupi ik aisi haseena hai
ke moti seep mein ho jaise
angoothi mein ho
nageena koi wo
dekha hai tumne
kaho kya usko
ho o o o
jaise nageena koi wo
dekha hai tumne
kaho kya usko oo oo oo
tarram pum tarram pum tarramm pumm
chalo usko dhoondhenge hum
pari hai wo hai hoor koi
jo dhaaya hai itna sitam
nahin wo to kuchh aur hi hai
kahen kya yaaro tumse hum
tarram pum tarram pum tarramm pumm
chalo usko dhoondhenge hum

tarram pum tarram pum tarramm pumm
tarram pum pum pum pum pum pumm
tarram pum tarram pum tarramm pumm
tarram pum pum pum pum pum pumm

doodh si rangat hai
dhuli ho chaandni se jaise
kamal ke jaisi nazaakat hai
karishma hai wo
khuda hi ka to jo
dekha hai tumne
kaho kya usko oo oo
jaise karishma hai wo
dekha hai tumne
kaho kya usko oo oo oo
tarram pum tarram pum tarramm pumm
chalo usko dhoondhenge hum
pari hai wo hai hoor koi
jo dhaaya hai itna sitam
nahin wo to kuchh aur hi hai
kahen kya yaaro tumse hum
tarram pum tarram pum tarramm pumm
chalo usko dhoondhenge hum
pari hai wo hai hoor koi
jo dhaaya hai itna sitam

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

ये खोया खोया रहता है
ये दिन में सोया सोया रहता है
ये रातों में उठ उठ के यही गाता है
वो ले गई दिल
तर्रम पम तर्रम पम तर्रम्म पम्म
चलो उसको ढूँढेंगे हम
परी है वो है हूर कोई
जो ढाया है इतना सितम
नहीं वो तो कुछ और ही है
कहें क्या यारो तुमसे हम
तर्रम पम तर्रम पम तर्रम्म पम्म
चलो उसको ढूँढेंगे हम

इतनी हसीनों में
छुपी इक ऐसी हसीना है
के मोती सीप में हो जैसे
अंगूठी में हो
नगीना कोई वो
देखा है तुमने
कहो क्या उसको
हो ओ ओ ओ
जैसे नगीना कोई वो
देखा है तुमने
कहो क्या उसको ओ ओ ओ
तर्रम पम तर्रम पम तर्रम्म पम्म
चलो उसको ढूँढेंगे हम
परी है वो है हूर कोई
जो ढाया है इतना सितम
नहीं वो तो कुछ और ही है
कहें क्या यारो तुमसे हम
तर्रम पम तर्रम पम तर्रम्म पम्म
चलो उसको ढूँढेंगे हम

तर्रम पम तर्रम पम तर्रम्म पम्म
तर्रम पम पम पम पम पम पम्म
तर्रम पम तर्रम पम तर्रम्म पम्म
तर्रम पम पम पम पम पम पम्म

दूध सी रंगत है
धुली हो चाँदनी से जैसे
कमाल के जैसी नज़ाकत है
करिश्मा है वो
खुदा ही का तो जो
देखा है तुमने
कहो क्या उसको ओ ओ
जैसे करिश्मा है वो
देखा है तुमने
कहो क्या उसको ओ ओ ओ
तर्रम पम तर्रम पम तर्रम्म पम्म
चलो उसको ढूँढेंगे हम
परी है वो है हूर कोई
जो ढाया है इतना सितम
नहीं वो तो कुछ और ही है
कहें क्या यारो तुमसे हम
तर्रम पम तर्रम पम तर्रम्म पम्म
चलो उसको ढूँढेंगे हम
परी है वो है हूर कोई
जो ढाया है इतना सितम

 

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Surya dev jagdeep tej jinka jag saaje

Posted by: on: March 24, 2022


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 :

 4997 Post No. : 16894

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Blog 10-Year Challenge (2012-2022) – Song No. 36
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This date ten years ago (viz 24 march 2012) saw five songs from five different movies getting covered in the blog. Here are the details:-

Blog Post number Song Movie (Year) Remarks
5686 Beena madhur madhur kachhu bol Ram Rajya(1943) 5 songs covered so far out of 12
5687 Chhota sa fasaana hai tere mere pyaar ka Birha Ki Raat(1950) Movie YIPPEED by now
5688 Ye zindagi ka mausam aur ye samaa suhaana Ghoonghat (1960) Movie YIPPEED by now
5689 Wo ghar ghar ke diye bujhaakar bane huye dhanwaan Ham Bhi Insaan Hain (1948) 4 songs covered so far out of 9
5690 Chal diye banda nawaaz Mr and Mrs 55(1955) Movie YIPPEED by now

We can see from the table that three of the movies whose songs were covered on 24 march 2012 have since been YIPPEED. That leaves us with two movies that are still unYIPPEED and therefore eligible for Blog Ten Year challenge today on 24 March 2022.

“Ram Rajya”(1943) is one such movie.

“Ram Rajya”(1943) was produced and directed by Vijay Shankar Bhatt for Prakash Pictures, Bombay. The movie had Prem Adib, Shobhana Samarth, Umakant Desai, Chandrakant, Badri Prasad, Yeshawant Nikam, Pandit, Ranjana, Amirbai Karnataki, Shanta Kumari, Athawaale, Madhusudan Jani, Pande etc in it.

This movie had 12 songs in it. Five songs have been covered in the blog so far.

Here is the sixth song from “Ram Rajya”(1943) to appear in the blog. This song is sung by a male singer that is not identified in HFGK. Ramesh Gupta is the lyricist. Music is composed by Shankar Rao Vyas.

The song is picturised as a song being sung on the occasion of the coronation of Lord Ram (played by Prem Adib.

I request our knowledgeable readers to help identify the singer. From the voice, it appears that the singer was a classiclly trained singer.

Lyrics of the song were sent to me by Prakashchandra.

Video link:

Song-Surya dev Jagdeep tej jinka jag saaje (Ram Rajya)(1943) Lyrics-Ramesh Gupta, MD-Shankar Rao Vyas

Lyrics(Provided by Prakashchandra)

Surya Dev
Jagdeep tej
jinnkaa…aaaaa…
jag saajey aey ae ae
saat ashw ke aey ae rath par
saarathi ..eee…eee…eee
Arun biraajey aey ae ae ae

tum unnke kul deep Raam
ghar ghar jay gaaje ae aey ae ae
goonj uthhey ae aey ae
dash deesh
keerti ka dankaa…aaaa..aaaa
baajey aey ae ae ae

DaanVeer Harishchandra nripati
satya sewaa vratdhaari..eee…eee
putra naari diye bech satya par
bann gaye aap bhikhaari..eee..eee

kathin tapasyaa
bhagirath ne ki
gangaa jee ko laaye aey ae ae
woh brahman prathipaal bhoopati
Dilip Raaj kahaaye ae
Raghu Raaj kee
gaurav gaathaa
koyee nahin bisraaye ae ae
ashwamedh kar
ajj ne jag mein
keerti dhwaj pharkaaye aey ae
Dashrath jee ne
deh tajaa par
bachan nahin taj paaye ae aey ae
tum ho unnke praan jagat
jin ke nit din gun gaaye ae ae
Sooryaavansh kee
vijay pataakaa
tum phir se pharkaa do o o
Raam raajya se
Bhaarat mein tum
sukh shaanti barsaa do o o o o
Raam raajya se
Bhaarat mein tum
sukh shaanti barsaa do o o o o o

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Mathura Na Jaao Bhai Kaashi Na Jaao

Posted by: on: March 4, 2022


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 : 4977 Post No. : 16854 Movie Count : 4585

#The Decade of Seventies – 1971 – 1980 #
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# Bhoole-Bisre Geet # 168 # Missing Films of 1972 – 17#
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Today’s song is from the movie ‘Shiv Bhakt Baabaa Baalaknaath’. I was not aware of this movie earlier, till coming across it in the ‘Hindi Film Geet Kosh’ – Vol-V i.e., 1971-1980.

‘Shiv Bhakt Baabaa Baalaknaath’ was directed by Avtar for Balaknath Art Films, Bombay. It is a devotional (bhakti pradhan) movie passed by Censor Board on 09.05.1972. The star cast of this movide includes Babloo, Jayshree Gadkar, Mahesh Desai, BM Vyas, Sulochana, Babu Raje, Sulochana Chatterjee, Radheshyam, Anuradha Guha, Suresh Divekar, Thakur, Lakiram, Pushpa, Bhagirath, Raghu, Moolchand, Omi, Sitaram, Parasram, Maruti, Madhukar, Narendra Shridhar and others. SN Tripathi and Aarti make a special appearance in this movie.

As per HFGK, this movie has eight songs written by five lyricist as per details given below.

Sl. No. Song Title Singer/s Lyricist
01 Om Jai Kalaadhaari Hare, Swami Jai Pauna Hari Hare Mahendra Kapoor, chorus Durgadas Jagota
02 Ulfat Ki Rawaani Mat Poochho, Bewa Ki Jawaani Mat Poochho Mahendra Kapoor Bharat Vyas
03 Chanda O Mere Chamke Tu Aisa Ki Mit Jaaye Jag Ka Andheraa Usha Mangeshkar Bharat Vyas
04 Aaj Guru Ki Aagyaa Le Kar… Is Bharat Ki Bhoomi Par Aise Teerath Mahendra Kapoor Thakur Chhabda
05 Ghar Ghar Bhatkoon, Dar Dar Bhatkoon, Milta Nahin Mujhe Tera Thhikaanaa Usha Mangeshkar Sudarshan Sharma
06 Mathura Naa Jaao Bhaai, Kaashi Naa Jaao … Jinki Ek Jhalak Se … Manna Dey, Krishna Kalle, chorus Bharat Vyas
07 Baba Mera Suhaag Naa Ujde Suhaag, Ban Ke Suhaagin Rahi Abhaagan … Usha Mangeshkar Bharat Vyas
08 Hote Hain Dilwaale Kamal Barot, Usha Bansal Gauhar Kanpuri

Today’s song is sung by Manna Dey and Krishna Kalle with chorus. Audio and video links for the songs of this movie seems to be unavailable as of now. However, this movie is available in parts on YouTube.

Let us have take another look on the list of movies of 1972 alphabetically after adding today’s movie, which is the 117th movie of 1972 in the listing as per Geet Kosh. For brevity the list given below includes the list of movies missing on the blog and list of all movies from the last post – “O Kheton Ki Shahzaadi” from the movie ‘Shaayar-e-Kashmir Mahjoor’ 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 07121972 0 No Information
17 Bachche Mere Saathi TN Babu MS Vishwanathan 17111972 Songs Not Available 6
24 Bharat Darshan Khwaja Ahmed Abbas Jaidev 04111972 0 No Information
45 Fighter Sheela Vijay Not Mentioned 07101972 0 No Information
50 Gunfighter Johnny KSR Das Aadi Narayan Rao 25031972 Songs Not Available 5
53 Hunterwaali KS Reddi Satyam 02091972 Songs Not Available 5
54 Jaadoo Nagari Vednatham Roghaviya Aadi Narayan Rao 05061972 0 No Information
68 Lady James Bond KSR Das Satyam 11071972 Songs Not Available 5
73 Maayaa Darpan Kumar T Shahni Bhaskar Chandavarkar 12121972 0 No Information
81 Miss Chaalbaaz (Tingoo Agent 000) Ravi Rajan-Nagendra 27111972 Songs Not Available 4
95 Raajdhaani Express BJ Patel L Chakravarty 04031972 Songs Not Available 5
115 Shaayar-e-Kashmir Mahjoor Prabhat Mukherjee Prem Dhawan 24081972 1 10
116 Sharaarat Manmohan Desai Ganesh 21021972 7 6 
117 Shiv Bhakta Baabaa Baalaknaath Avtaar Roshanlal Khatri 09051972 0 8

*Notes: –

  1. Songs for ‘Bachche Mere Saathi’, ‘Gunfighter Johnny’, ‘Hunterwaali’, ‘Lady James Bond’ and ‘Miss Chaalbaaz’ (Tingoo Agent 000) seem to be unavailable as of now.
  2. 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.

Let us now listen to today’s song, and welcome ‘Shiv Bhakt Baba Baalak Nath’ on the blog.

Song – Mathura Na Jaao Bhai Kaashi Na Jaao (Shiv Bhakt Baba Baalak Nath) (1972) Singer – Manna Dey, Krishna Kalle, Lyrics – Bharat Vyas, MD – Prem Dhawan
Manna Dey + Krishna Kalle
Chorus

Lyrics

mathura na jaao bhaai
kaashi na jaao
teerath na jaao
aur na ganga nahaao
jin ki ek jhalak se janam janam ke paap kat jaayen
aise baba ke gun gaao
baba ki dhooni ramaao
aise baba ke gun gaao
baba ki dhuni ramaao
mathura na jaao bhaai
kaashi na jaao
teerath na jaao
aur na ganga nahaao

uttar dakshin
purab paschim
koi na aaye kaam re ae
baba ke charnon mein dhoondho
milenge chaaron dhaam re ae ae
milenge chaaron dhaam re ae
na bhasmi ramaao aur na maala phiraao
mandir mandir mann ko at bhatkaao
jin ki ek jhalak se janam janam ke paap kat jaayen
aise baba ke gun gaao
baba ki dhooni ramaao
aise baba ke gun gaao
baba ki dhooni ramaao
mathura na jaao bhaai
kaashi na jaao
teerath na jaao
aur na ganga nahaao

baalak roop hai kitna pyaara
sab devon se nyaara hai
sabhi devta jhilmil taare
baba to dhruv taara hai ae
baba to dhruv taara hai 
in ki mohini moorat bhaai
sab ki jyot hai in mein samaai
jin ki ek jhalak se janam janam ke paap kat jaayen
aise baba ke gun gaao
baba ki dhooni ramaao
aise baba ke gun gaao
baba ki dhooni ramaao

mathur na jaao bhaai
kaashi na jaao
teerath na jaao
aur na ganga nahaao
jin ki ek jhalak se janam janam ke paap kat jaayen
aise baba ke gun gaao
baba ki dhooni ramaao
aise baba ke gun gaao
baba ki dhooni ramaao
aise baba ke gun gaao
baba ki dhooni ramaao
aise baba ke gun gaao
baba ki dhooni ramaao

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Hindi script lyrics (Provided by Sudhir Kapur)
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मथुरा ना जाओ भाई
काशी ना जाओ
तीर्थ ना जाओ
और ना गंगा नहाओ
जिनकी एक झलक से जनम जनम के पाप कट जाएँ
ऐसे बाबा के गुण गाओ
बाबा की धूनी रमाओ
ऐसे बाबा के गुण गाओ
बाबा की धूनी रमाओ
मथुरा ना जाओ भाई
काशी ना जाओ
तीर्थ ना जाओ
और ना गंगा नहाओ

उत्तर दक्षिण
पूरब पश्चिम
कोई ना आए काम रे
बाबा के चरणों में ढूंढो
मिलेंगे चारो धाम रे
मिलेंगे चारो धाम रे
ना भस्मी रमाओ और ना माल फिराओ
मंदिर मंदिर मन को मत भटकाओ
जिनकी एक झलक से जनम जनम के पाप कट जाएँ
ऐसे बाबा के गुण गाओ
बाबा की धूनी रमाओ
ऐसे बाबा के गुण गाओ
बाबा की धूनी रमाओ
मथुरा ना जाओ भाई
काशी ना जाओ
तीर्थ ना जाओ
और ना गंगा नहाओ

बालक रूप है कितना प्यारा
हर देवों से न्यारा है
सभी देवता झिलमिल तारे
बाबा तो ध्रुव तारा है
बाबा तो ध्रुव तारा है
इनकी मोहिनी मूरत भाई
सबकी ज्योत है इन में समाई
जिनकी एक झलक से जनम जनम के पाप कट जाएँ
ऐसे बाबा के गुण गाओ
बाबा की धूनी रमाओ
ऐसे बाबा के गुण गाओ
बाबा की धूनी रमाओ

मथुरा ना जाओ भाई
काशी ना जाओ
तीर्थ ना जाओ
और ना गंगा नहाओ
जिनकी एक झलक से जनम जनम के
पाप कट जाएँ
ऐसे बाबा के गुण गाओ
बाबा की धूनी रमाओ
ऐसे बाबा के गुण गाओ
बाबा की धूनी रमाओ
ऐसे बाबा के गुण गाओ
बाबा की धूनी रमाओ

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O Kheton Ki Shahzaadi

Posted by: on: March 2, 2022


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 : 4975 Post No. : 16851 Movie Count : 4584

#The Decade of Seventies – 1971 – 1980 #
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# Bhoole-Bisre Geet # 168 # Missing Films of 1972 – 16#
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Today’s song is from the movie ‘Shaayar-e-Kashmir Mahjoor’.

I had never read or heard about this movie earlier till I become aware of this in HFGK Vol-V (1971-1980). It seems to be an obscure movie and very less information about it is available so far. Luckily though few of its songs have been uploaded by music lovers and I sincerely express my gratitude towards them.

‘Shaayar-e-Kashmir Mahjoor’ was directed by Prabhat Mukherji. It seems that Prabhat Mukherji was also the producer of this movie, as HFGK mentions the production company as Prabhat Mukherji (Producer, Calcutta).

The star cast of the movie is listed as Balraj Sahni, Ajay Sahni (Parikshit Sahni), Miss Kaul, Kalpana Sahni, Pran Kishore Kaul, Badgami, Raja Hamid, Kishori Kaul, Rajani Gupta, Gitanjali Desai, Shazda Zameer Ahmed, Ghulam Muhammad Pandit, Ghulam Muhammad Sufi, Krishna Pandit, Zehar Rai, and others. It was passed by Censor Board on 24.08.1972.

Here is brief about this movie which is mentioned on its song-link on YouTube by the uploader of the today’s song.

Mahjoor (Peerzada Ghulam Ahmad) was a poetic legend in the valley of Kashmir, known for his revolutionary poetry of 20th Century, Unfortunately, not much documented and heard beyond the valley. Balraj Sahni was amazed with the popularity of the poet in the region and decided to document the poet’s life on celluloid in mid 60s. He opted his son Parikshit to play the role of the poet in biopic, while he himself played father of Mahjoor. The music was given by Prem Dhawan with songs penned by Kaifi Azmi & Prem Dhawan (a few translations of Mahjoor’s works). The bilingual film directed by Prabhat Mukherjee got delayed in making and release and could only be released in 1972. The song gives some insight, how Mahjoor was the poet & the VOICE of the folk, the common people of the valley with his images, and characters from common walks of life.

As per HFGK Vol-V (1971-1980) this movie had ten songs written by two songwriters – six songs by Prem Dhawan and three songs by Kaifi Azmi. One song is a traditional and famous ghazal penned by Mirza Ghalib. Though HFGK mentions Prem Dhawan’s name for six songs it does not mention Kaifi Azmi’s name for the remaining four songs. However, for lyricists of the movie the credit is given to both.

The list of songs in this movie is as given below (as provided in HFGK).

Sl. No.  Song Title Singer/s Lyricist
01 Phir Mujhe Deed-Ay-Tar Mahendra Kapoor Ghalib
02 Aaja Aaja O Mere Dilbar Usha Mangeshkar, chorus
03 Chaman Waale Mahendra Kapoor, chorus
04 Aazaadi Hamaare Ghar Aayi Mahendra Kapoor, chorus
05 Subah Ki Hansmukh Dulhan Manna Dey, chorus Prem Dhawan
06 O Kheton Ki Shahazaadi Talat Mehmood Prem Dhawan
07 Maine Naye-Naye Phool Choone Usha Mangeshkar Prem Dhawan
08 Ruk Jaa Aaj Ki Raat Krishna Kalle, chorus Prem Dhawan
09 Tamanna Kab Se Hai Dilbar Suman Kalyanpur Prem Dhawan
10 Jaane Kab Aaoge O Dilbar Manna Dey, chorus Prem Dhawan

Today’s song is sung by Talat Mehmood. I had not listened to this song earlier and when I discovered the link for this song, I got a pleasant surprise. Besides being a song sung by Talat Mehmood it was also not posted on the blog and I got this opportunity to present it on the blog.

With the today’s song ‘Shaayar-e-Kashmir Mahjoor’makes its debut on the blog.

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 “Is Duniya Mein Rehnewaale Sab Hon Ek Samaan” from the movie ‘Samaanta’ 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
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
107 Samaantaa Nitin Bose Nitin Mangesh 30.12.1972 1 3
108 Sanjog SS Balan RD Burman 03.02.1972 4 4
109 Sant Tulsidas P Bhalchandra Ram Kadam 07.09.1972 1 8
110 Savera VK Sharma RD Burman 05.10.1972 2 4
111 Sazaa Chaand Sonik-Omi 20.05.1972 1 5
112 Seeta Aur Geeta Ramesh Sippy RD Burman 27.10.1972 5 5
113 Shaadi Ke Baad LV Prasad Laxmikant-Pyarelal 18.03.1972 2 5
114 Shahzaada K Shankar RD Burman 05.09.1972 4 5
115 Shaayar-e-Kashmir Mahjoor Prabhat Mukherjee Prem Dhawan 24.08.1972 Making its debut on the blog today 10

*Notes: –

  1. Songs for ‘Bachche Mere Saathi’, ‘Gunfighter Johnny’, ‘Hunterwaali’, ‘Lady James Bond’ and ‘Miss Chaalbaaz’ (Tingoo Agent 000) seem to be unavailable as of now.
  2. 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.

Let us now listen to the today’s song, and welcome ‘Shaayar-e-Kashmir Mahjoor’ on the blog.

Song – O Kheton Ki Shahzaadi (Shaayar-e-Kashmir Mahjoor) (1972) Singer – Talat Mehmood, Lyrics – Prem Dhawan, MD – Prem Dhawan

Lyrics

o kheton ki shehzaadi
qurbaan tujh pe vaadi

o kheton ki shehzaadi
qurbaan tujh pe vaadi
tu jab bhi muskura di
har phool ne dua di
har phool ne dua di ee ee
o kheton ki shehzaadi
qurbaan tujh pe vaadi

khushboo ki tarah hardam
awaara jungalon mein
khushboo ki tarah hardam
awaara jungalon mein
kaatib ka chaand jaise
bechain baadlon mein
rangeen sabaab jitna aa aa aa
rangeen sabaab jitna
utni hi seedhi saadi
utni hi seedhi saadi
o kheton ki shehzaadi
qurbaan tujhpe vaadi

jhoomar hain motiyon ka
maathhe ka ye paseena
jhoomar hain motiyon ka
maathhe ka ye paseena
karti hai rashq tujh pe
mehlon ki har haseena
sab ki muraad lekin
sab ki muraad lekin
qismat ne naa muraadi
qismat ne naa muraadi
o kheton ki shehzaadi
qurbaan tujhpe vaadi

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

ओ खेतों की शहज़ादी
कुर्बान तुझपे वादी

ओ खेतों की शहज़ादी
कुर्बान तुझपे वादी
तू जब भी मुस्कुरा दी
हर फूल ने दुआ दी
हर फूल ने दुआ दी॰ ॰ ॰
ओ खेतों की शहज़ादी
कुर्बान तुझपे वादी

खुशबू की तरह हरदम
आवारा जंगलों में
खुशबू की तरह हरदम
आवारा जंगलों में
कातिब का चाँद जैसे
बेचैन बादलों में
रंगीं शबाब जितना॰ ॰ ॰
रंगीं शबाब जितना
उतनी ही सीधी सादी
उतनी ही सीधी सादी
ओ खेतों की शहज़ादी
कुर्बान तुझपे वादी

झूमर है मोतियों का
माथे का ये पसीना
झूमर है मोतियों का
माथे का ये पसीना
करती है रश्क तुझपे
महलों की हर हसीना
सब की मुराद लेकिन
सब की मुराद लेकिन
किस्मत ने ना मुरादी
किस्मत ने ना मुरादी
ओ खेतों की शहज़ादी
कुर्बान तुझपे वादी

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Sipaahi toone jeet liya maidaan

Posted by: on: February 27, 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 :

 4972 Post No. : 16845

Today’s song is from the film Phir Milenge-1942.

The film was made by Minerva Movietone. In 1942, WWII was on its peak. Till that time, the Germans were on the attack, but from 1942 onwards, their decline had started and by 1945 end, both Japan and Germany had lost the war and surrendered to the Allies. However, the damage caused by the war situation continued for a few more years and like all other industries the film industry too took time to normalise its set up.

The war affected the film industry mainly in 3 ways. Firstly, the essential commodities like Petrol, Sugar etc went into shortage and the Government put several items under ” Rationing”. The list also included a shortage of Raw Film, the main requirement for making movies. Many restrictions like the length of the film etc were implemented. To rationalise and to take advantage of the powerful media like films, the Government gave additional raw film to producers on ‘ controlled rates ‘, provided they made a film with a story of helping the government war efforts. It was called a “propaganda” film.

Major film producers make a film or two such films to take advantage of the concession and allotment. During this period many such ‘ War effort’ films were made. Some examples are, Master Vinayak made ” Badi Maa”-1945 with Nurjahan and others ( including Lata and Asha). Acharya Atre’s Navyug films made the film ” Panna”-1944 with Jairaj and Geeta Nizami and film ” Phir Milenge”-1942 was made by Minerva Movietone.

The second impact of War, on the Indian Film Industry was that considerable clandestine Black Money entered the film making and many new, so called ‘Producers’, with bags of money were seen making films. Although more money became available to make more films, the directors had to entertain the whims of the producers about selection of actors or changes in the story. Many such producers started to ‘Direct’ the films. This lowered the quality of films, but brought in many new artistes and provided work to more people.

The third effect of the War was the most damaging. Since the new producers and directors did not have their own studios, they started alluring the studio employed artistes by giving more money per film. They hired studios for shooting films. This devastated the ” Studio Culture”, because artistes started “Freelancing”, without getting attached to a studio. This crumbled the studios on one hand and on the other hand the cost of engaging artistes escalated many folds. Before the war, films could be made in 75000 to 1 lakh rupees, now films needed 1 to 2 lakhs to make one film. It went on increasing and today, making a film in the 2020’s decade one needs atleast 40 to 50 crores per film.

Film Phir Milenge-42 had Sardar Akhtar, Sadiq Ali (later on called The Prince of Minerva), Meena, K N Singh, Menaka and a host of others. The film was directed by Sohrab Modi.

Sohrab Modi’s rise from a Stage Actor to a very popular and successful studio owner, actor-famous for his Dialogue Delivery of very long sentences, producer and director is very interesting. With small successes and big failures, he learned the art of giving what the audience liked in those days. However, one drawback of such people is that they can not and do not change as per the need of the times and become obsolete, ending their careers pathetically.

Famous for making large scale films, powerful dialogues and films with a lot of dramatics, Modi could not cope up with the changing tastes of the audience from the 30’s to the 60’s. The audience changed with 2 generations, but Sohrab Modi’s Minerva Movietone could not change their success formula which was not working now unlike earlier times ! May be he never wanted to change-due to self admiration or king size Ego !!

Minerva was the last big studio and film maker in the list of eminent studios established in the 30’s. When Minerva Movietone was established in 1936, there were already studios like Madon Theatres (est.1919), Imperial (1926), Ranjit Studio (1929), Prabhat (1929), Sagar Movietone (1929), New Theatres (1931), Wadia movietone (1931) and Bombay Talkies(1933). Therefore Minerva was the youngest studio. It is to its credit that it survived with dignity for a longer time-and actively too- than its predecessors and competitors, who perished, some tragically, from 1938 (Madon) to Ranjit (1963).

Sohrab Modi was a colossal personality. leela Chitnis,actress who had the experience in working for films made in different centers like Bombay, Poona, Kolhapur, madras, Calcutta,and Lahore writes in her Marathi autobiography ” चंदेरी दुनियेत “, about all major studios. About Minerva, she writes -“The atmosphere in Minerva was very playful, but once Sohrab Modi entered the premises, everyone used to be quiet and only did his work. He was a taskmaster and a great disciplinarian. he did not like people laughing or whiling their work time. it felt like a Jailor taking rounds in the jail. The atmosphere became suffocating sometimes. ”

I liked him and his films. However I always felt that Sohrab Modi was a polished, educated and a white collared version of Dara Singh. I liked his dialogue delivery style. Later I shifted my liking to Raajkumar ‘Jaani’.

In the cast we see a new name Eruch Tarapore. I was keen to know about this actor because of his strange name. It was a typical Parsee name. I searched quite a lot. Ultimately one day I accidentally came across a site about Parsee artistes. I forgot to note down the name and URL address of that site and till today I did not find it ever again. Anyway I found this information about Eruch Tarapore on this site.

Eruch Tarapore was a distant relative of Sohrab Modi and he worked only in Modi’s films. He worked in 16 films, right from Modi’s first film Hamlet-35 up to 1948. Eruch sang one song each in 3 films, Meetha zehar-38, Jailor-38 and Phir milenge-43. He died in 1948.

Today’s song is sung by Sardar Akhtar and chorus. The song was written by Pt. Sudarshan.


Song- Sipaahi toone jeet liya maidaan (Phir Milenge)(1942) Singer- Sardar Akhtar, Lyricist- Pt. Sudarshan, MD- Meer Saheb
Unknown male voice
Chorus

Lyrics

Sipaahi toone jeet liya maidaan
Sipaahi toone jeet liya maidaan
ladta chal tu
badhta chal tu
ladta chal tu
badhta chal tu
saath tere Bhagwaan
saath tere Bhagwaan
sipaahi toone
sipaahi toone
sipaahi toone
jeet liya maidaan
sipaahi toone jeet liya maidaan

?? bahaadur hai tu
?? bahaadur hai tu
ek ladaai jeet gaya
ek ladaai jeet gaya
jo kaala din aaya thha wo
jo kaala din aaya thha wo
hanste hanste beet gaya aa
hanste hanste beet gaya
dekh dekh kar himmat teri
dekh dekh kar himmat teri
duniya hai hairaan
duniya hai hairaan
sipaahi toone jeet liya maidaan
sipaahi toone jeet liya maidaan

kal wo din thha jab duniya ne
kal wo din thha jab duniya ne
dekhta thha laachaar tujhe
dekhta thha laachaar tujhe
aaj ladaai toone jeeti
aaj ladaai toone jeeti
aaj ?? hathiyaar tujhe
aaj ?? hathiyaar tujhe
kal duniya jai jai bolegi
kal duniya jai jai bolegi
hain sabhi ek zabaan
hain sabhi ek zabaan
sipaahi toone jeet liya maidaan
sipaahi toone jeet liya maidaan
sipaahi toone jeet liya maidaan


Tags: , , , , ,

Zindagi Dene Waale Dil To Mera Leta Jaa

Posted by: on: January 28, 2022


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

This article is the 16800th post in the blog.

Blog Day :

 4942 Post No. : 16800

Centuries – pivotal events. And always welcome. Give us a quantized measure of manageable progress.  Like one part of a lo..ong project accomplished. Or like completing one cycle of an endless process. Would we like to compare with the earth going around the sun? Maybe not a good idea. A century taking 365 days to complete. Or maybe compare to Victor Trumper and Don Bradman and Majid Khan – getting a century in the very first session of a test match. Ah but that maybe going too fast for this crowded bandwagon of Atulites.

Well then maybe the Phileas Fogg of the Victorian Britain, who put the girdle around the world in eighty days. Hmm. . . that could be a close measure. Although I assure you that this bandwagon is trotting along somewhat faster than him, and his trusted valet – Passepartout. Now this name always intrigued me till the time I discovered that this faithful valet was a Frenchman. And that explained a lot that happened in the saga of the precise Mr. Fogg.

So let’s see. We are now at the 168th century mark on this trip into the dreamland of music. If he did a Fogg-Song-A-Day on his trip, one girdle of the earth would account for 80 songs. And if he did this 168 times, he would have enjoyed the flavor of 13,440 editions of Hindi film music. So yes, we are doing better than him on that count.

[Ah yes, you may catch the misdirection in my drift, but then this is just a tongue in cheek opening of the one hundred and sixty eighth hundred milestone post of remarkable blog.]

Remarkable is just one word, and it is incapable of spanning the entire gamut of emotions that arise when I begin to describe this blog. And its accomplishments. And yes, we have a gargantuan accomplishment, as recent as three days ago, that we must also talk about. And we will.

So yes, remarkable is an inadequate qualifier. Into the fourteenth year now, and few months away from completing it. And no bureaucratic or corporate infrastructure to drive it. And appearing on a day to day basis, just like the sun rising in the east every day. The drive of THE one person, and the “साथी हाथ बढ़ाना. . .” pull and push of the entire bandwagon. In my entire personal experience of all the young years I have, I have never seen or even heard someone mention something similar; of the classic real life manifestation of the celebrated poetic idiom of Majrooh Sb – “. . . लोग साथ आते गए, और कारवां बनता गया”.

Beyond all the kudos and accolades and all the bouquets and all the doffed headgear that we can shout out with joy, we must also acknowledge and honor – that element of destiny that actually drives all the human endeavors. Like the Marco of ‘Guide’ says to Raju, when he discovers the lost caves of ancient history, replete with sculpted beauties – a lifetime of aspirations realized. He says, “. . . लेकिन तुम जानते हो राजू, आज तक कोई पारखी यहाँ तक क्यों नहीं आया? क्योंकि ये काम मेरी किस्मत में लिखा था।” [“But do you know Raju, why no connoisseur has ever reached here? Because this discovery was destined to be my endeavor.”]

Yes, the endeavors of the chosen, ordained by destiny. For other than that, there is no plausible explanation as to why it happens so in the affairs of men and in the flow of history. Accomplishments, discoveries, explorations, deeds of triumph – history always has a name written on them. It is never that hordes of men discovered America, or that a whole school of mathematicians got together to propose the methods of Calculus. History always has a name – a singular busybody to associate with high tides of achievements.

This blog, by any measure, is a feat of incalculable perseverance, and defined merit that has endured years and years of continuity. And that is yet an understatement, as for the subject matter that this blog deals with – the unending ocean of music that is the Hindi film song. And a project that has now assumed a life of its own. At the 16,800 mark today, we are just about at the one third mark, considering just the first five decades of Hindi cinema. And not even at one fifth, if the scale expands to cover almost the entire ten decades of film music – as the time passes. Only an insightful vision can fathom the purpose, the purposefulness, and the lasting dedication that has brought this humble beginning that started with saying – “Miley Na Phool To Kaanton Se Dosti Kar Li” to that zenith of accomplishment where the burden of the group song now is

Geeton Se Dosti Hai, Music Se Yaari Hai
Aise Maze Ki Pyaare Zindagi Hamaari Hai

A Labor of Love – so rightly printed in the banner of our home page. There is no other way accomplishments of such enormous magnitude are made. Decidedly yes, one song at a time. But the cumulative effect of the persistent doggedness and the dedicated perseverance brings us here to this pinnacle of a looming mountain range ahead.

There is so much about this blog that boggles the mind that I would like to propose we stop calling this Atul-Song-a-Day Blog and start calling it Atul-Song-a-Day Boggler. Because that is what happens with this bandwagon – a new mind boggling something or the other week-in and week-out. Everything is so colossal and titanic about this blog that it is now beyond even creating wonder in the minds of regulars.

And yet, we have events on the blog that shake us all. Three days ago, on 25th Jan, the visitor clock on our home paged logged in the 15 Millionth visit. Atul ji had done some basic averaging to announce that we are clocking more than three thousand visitors per day, which in turn translates to two visitors hitting this blog every minute. Quite a crazy number considering that this blog deals with a topic that one would consider as not being the choice of majority of the social media users. Hindi film song, and that too pre 1980s. And goodness, non digital music – who would prefer that in this age. But of course, the numbers belie expectations. 3000+ hits a day – I am sure very few non-commercial, non-social-media web sites can boast of such a massive following.

So, 168th century. And 15 million visitors. Celebrations are called for and have been announced. But of the date today, there is one more celebration that we must honor and observe. Suman Kalyanpur, an eminent and essential Diva of Hindi cinema, turns 85 today.

The profiles and biographies and discographies – all have been touched upon and presented in numerous posts on this blog itself. I will not attempt to present those details again. I will talk about Suman Kalyanpur, as I see her in my mind, an artist, an accomplished singer who has made her mark on the history of Indian cinema, in face of many odds and struggles.

The singular expression that comes to mind when her name is mentioned – a quiet and humble persona that has led a blemish-less career as a playback singer, a career that has lasted almost four decades of active performance. The tinsel town that is India’s film industry, is a hard and difficult place to survive. Much has been said about the circumstances that have been faced by many a talented and gifted artists who did not get their seat on the stage of first tier performers. And it is surprising to see many a name that did not make it.

But surely, here is a name that was not a first preference of the top line banners and music directors. Despite that, to make a mark and leave behind memories of songs that will never be forgotten – that is surely an accomplishment. A major part of her repertoire belongs to the B and C grade cinema. And when one listens to those obscure and forgotten sounds and melodies, one is surely inclined to wonder.

Today, I present an obscure and unheard melody – a song from an obscure film from 1963 – ‘Royal Mail’. One of the many variations of the theme of Zorro that have kept appearing regularly in Indian cinema. For a long time, this film was unavailable, until recently, when the video of this appeared online. Although the film is available now, but all the songs of this film are not. Especially this song, a solo rendition by Suman Kalyanpur – I have not been able to locate it online, and so I have uploaded it from my collection.

Way back in 2014, I had uploaded one song of this film, at the request of a reader of another blog. That song is “Chali Jaaye Re Jeevan Ki Gaadi”. The lead pair in this film are somewhat unknown names – Mahesh Kumar and Ambika. The above mentioned song was picturised on this lead pair. And today’s song also features the lead pair. Mahesh Kumar is present in the clip, but only Ambika is lip syncing the song. The dialogues leading into the song indicate the situation. The Rajkumari (Ambika) was in some trouble, and a masked vigilante (Mahesh Kumar) saves her. This masked person is known in the land as Royal Mail, and is a friend of the poor and the oppressed, and a foe of the oppressors. And when he asks permission to leave, Rajkumari breaks into this song, expressing her gratitude and requesting the masked masquerader to stay and accept her love.

The words are from the pen of Indeevar, and the music is by Avinash Vyas. An unheard and lovely song that I post today, to honor Suman ji on her 85th birthday. I wish her well, I wish her good health and comfort and I wish her many more such celebrations to follow.

So, we have had centuries today, we have had millions, and we also have an important birthday celebration. 28th Jan, 2022 – a red letter day of sorts.

I wish Atul ji, and the rest of the gang of bandwagoneers many more centuries up ahead. That the drums may keep rolling and the band keeps on playing – all the wonderful music that we love.

I would like to close this post with some lines remembered from the very first song posted by Atul ji, four thousand nine hundred and forty one days ago –

ab aage jo bhi ho anjaam, dekha jaayega
khuda tarash liya, aur bandagi kar li

Happy listening.


Song – Zindagi Dene Wale Dil To Mera Leta Jaa  (Royal Mail) (1963) Singer – Suman Kalyanpur, Lyrics – Indeewar, MD – Avinash Vyas

Lyrics

zindagi dene waale
dil to mera leta ja
pyaar tu de ke na de
yaad to apni deta ja
zindagi dene waale

dil ki aankhon se tujhko dekha
hum ne pehchaan liya
tere dil ki pooja mein
hum ne tujhe apna maan liya
hum ne tujhe apna maan liya
zindagi dene waale
dil to mera leta ja
pyaar tu de ke na de
yaad to apni deta ja
zindagi dene waale

phool sa dil seena parbat sa
tujh sa koi dildaar kahaan
tere iraade rok sakey jo
aisi hai deewaar kahaan
aisi hai deewaar kahaan
zindagi dene waale
dil to mera leta ja
pyaar tu de ke na de
yaad to apni deta ja
zindagi dene waale

sab kuchh de kar kuchh na liya
tu kaisa dene waala hai
tera shukriya jaane waale
kaisa jaadu daala hai
kaisa jaadu daala hai
zindagi dene waale
dil to mera leta ja
pyaar tu de ke na de
yaad to apni deta ja
zindagi dene waale

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

ज़िंदगी देने वाले
दिल तो मेरा लेता जा
प्यार तू दे के ना दे
याद तो अपनी देता जा
ज़िंदगी देने वाले

दिल की आँखों से तुझको देखा
हमने पहचान लिया
तेरे दिल की पूजा में
हमने तुझे अपना मान लिया
हमने तुझे अपना मान लिया
ज़िंदगी देने वाले
दिल तो मेरा लेता जा
प्यार तू दे के ना दे
याद तो अपनी देता जा
ज़िंदगी देने वाले

फूल सा दिल सीना परबत सा
तुझ सा कूई दिलदार कहाँ
तेरे इरादे रोक सके जो
ऐसी है दीवार कहाँ
ऐसी है दीवार कहाँ
ज़िंदगी देने वाले
दिल तो मेरा लेता जा
प्यार तू दे के ना दे
याद तो अपनी देता जा
ज़िंदगी देने वाले

सब कुछ दे कर कुछ ना लिया
तू कैसा देने वाला है
तेरा शुक्रिया जाने वाले
कैसा जादू डाला है
कैसा जादू डाला है
ज़िंदगी देने वाले
दिल तो मेरा लेता जा
प्यार तू दे के ना दे
याद तो अपनी देता जा
ज़िंदगी देने वाले

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over FIFTEEN years. This blog has over 18300 song posts by now.

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

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