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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 : | 3881 | Post No. : | 14905 |
I wish all our readers a very Happy and cosmic MAHASHIVRATRI, to be celebrated today, i.e. 4th March 2019.
This is the one day in the entire year (barring Shravan Somvars) on which I become more religious and engage in pooja, listening to Shiv Bhajans and also do fasting. Our family was very religious. My father was a Sanskrit Scholar and had spent some time in Banares, giving religious sermons in the Kashi Vishveshar Temple during 1948-49. This was the time when he had gone underground to avoid arrest, as most Hindu Mahasabha leaders were arrested along with Savarkar, after Gandhi ji’s death. He was finally arrested and freed by the court “ba-izzat“. We came down to Hyderabad and he started practicing as a Lawyer as he was BA LLB.
Very soon we moved into our spacious bungalow, adjacent (within our compound) to which he constructed a Mahadev Mandir. It was open to public also. Every Shrawan Somvar and Mahashivaratri, there used to be big celebrations, a pooja by 101 bramhins and playing of Shiv Bhajans throughout the day. All this has been etched deep on my mind and I too became a Shiv Bhakta. Now also I do poojas on these days, but I miss all those days’ enjoyment as a growing teenager.
I have read the Shiv Puraan completely (and also other Puraans). The marriage of Shiv-Parvati has been described very minutely in this Puraan. They are believed to have married on the midnight of Mahashivratri. During the period upto early 70s, I never missed any Hindi/ Marathi/ Telugu/ Kannada Shiva film. I have also seen this film – ‘Shankar Parvati’ (1943).
‘SHANKAR PARVATI’ was quite a successful movie in those days, as it appealed to the religious minded Indians, who have grown up listening to mythological stories. I remember seeing this movie in its second run, as there was an attraction of trick scenes in this movie. The story is about how Sati (Sadhona Bose) the daughter of King Daksha, goes to attend Yagnya by Daksha, uninvited and gets insulted for her husband – Shankar (played by Arun Kumar Ahuja- father of actor Govinda). She jumps into the fire and dies and on hearing this, Shankar is very angry and does the Tandav Nritya. Sati is reborn as Parvati, who, to regain her love back, dances and wins Shankar. Their elder son Kartikeya ,destroys Tarakasur etc.
Sadhana Bose was an internationally acclaimed dancer and acted in some Hindi and several Bengali movies in the 1940s and 1950s.
Her most famous film was ‘RAJNARTAKI’ (1941), opposite Prithviraj Kapoor and it was made in Hindi, English and Bengali at the same time. Though a box office failure, it had fabulous dances by her.
There are few songs sung by Sadhana Bose in ‘Shankar Parvati’ and ‘Paigham’ (1942). According to Timir Baran, these are not sung by her, but by Suprabha Ghosh. However, famous music Historian Kamalakar Pasupuleti says that Sadhana Bose was an accomplished dancer and singer too. In her all time favourite ‘ALIBABA’ in Bengali she, as Marjina, and her director husband Madhu Bose, as Abdulla in the film, sang many duets which are popular even today in Bengal.
Arun Mukherji, Music Director of ‘Parineeta’ (1953), had literally translated one song from ‘Alibaba’ in Hindi “Aye Baandi, Tum Begum Bani….’ sung by Kishore and Asha in ‘Parineeta’ (1953).
The film was directed by Chaturbhuj Doshi. During the early era of talkie films, till the 1960s, there was a horde of Gujarati directors and producers. Bhatts, Trivedi, Thakur, Shahs, Desais, Pancholi, Doshi, Daves were some names frequently found directing various genres. Usually they specialised in certain class and type of films. The Bhatts (Shankar and Vijay) liked to do Mythological films, Ramnik Shah handled stunt, action, fantasy films, Jayant Desai was social film oriented etc.
Chaturbhuj Doshi (1894–1969) was a Hindi and Gujarati writer-director of Indian cinema. He was one of the top Gujarati screenplay writers, who helped script stories for the Punatar productions. He is stated to be one of the leading figures who launched the Gujarati film industry with work on notable films like ‘Gunsundari’ (1948) and ‘Nanand Bhojai’ (1948). He was ‘well known’ for his family socials and had become ‘a celebrity in his own right’. He made a name for himself as a journalist initially and was referred to as the ‘famous journalist’ & publicist by Baburao Patel, editor of Filmindia.
His debut film as a director was ‘Gorakh Aya’ (1938), produced by Ranjit Movietone, though he joined Ranjit in 1929, as a scriptwriter. In 1938, he directed another film for Ranjit, a social comedy, ‘The Secretary’, and both films were box-office successes for Doshi. His forte was socials, regularly adapting stories and novels for films. He worked initially on comedies like ‘Secretary’ and ‘Musafir’ (1940), but then ‘shifted to more significant films’.
Chaturbhuj Anandji Doshi was born in 1894 in Kathiawad, Gujarat, British India. He was educated at the University of Bombay, after graduation he started work as a journalist for a daily, Hindustan (1926), working for editor Indulal Yagnik. His entry into films was working as a scenarist in the silent era for directors like Jayant Desai, Nandlal Jaswantlal & Nanubhai Vakil. He joined Ranjit Movietone in 1929, and wrote stories and screenplay for several of Ranjit films.
Film ‘Gorakh Aya’ (Gorakh has come) in 1938, was the first film directed by Doshi. It was produced by Ranjit Movietone with screenplay by Gunvantrai Acharya & dialogues by PL Santoshi. The music, termed ‘good’ was composed by Gyan Dutt. ‘The Secretary’ (1938), was a “riotous comedy”, starring Madhuri, Trilok Kapoor. Charlie. The music was composed by Gyan Dutt, became a regular in most of the films directed by Doshi. Musafir in 1940 was a comedy costume drama, which had Charlie playing a prince.
‘Bhakta Surdas’, a devotional film directed by Doshi in 1942, is stated to be the “most famous” of the several versions made. It starred KL Saigal and Khursheed “the singing idol(s) of millions”, winning “unprecedented popularity” everywhere.
‘Mehemaan’ (1942) starred Madhuri, Ishwarlal, Shamim and Mubarak. Music director Bulo C. Rani had come to Bombay in 1942, and joined Ranjit Studios assisting Khemchand Prakash in music direction.
Doshi helped enormously in the development of the Gujarati cinema. During 1948-49 he directed three successful Gujarati films which “brought immense success to the industry”. The success of the Gujarati film ‘Kariyavar’ in 1948, directed by Chaturbhuj Doshi from a story by Shaida, called Vanzari Vaav, helped establish the Gujarati film industry along with other films like ‘Vadilo Ne Vanke’ (1948) by Ram Chandra Thakur and ‘Gadono Bel’ (1950) by Ratibhai Punatar. His next Gujarati film was ‘Jesal Toral’ (1948) based on folk-lore, which proved a big box-office success. In 1949, Doshi directed another Gujarati film, ‘Vevishal’, an adaptation of Meghani’s novel of the same name.
He also wrote stories, and one of his stories ‘Pati Bhakti’ was used in the Tamil film ‘En Kanawar’ (1948) produced by Ajit Pictures, which starred the Veena maestro, Sundaram Balachander, who was also the debut director and music composer for the film. In all he directed 24 Hindi films. His last Hindi film was ‘Sanskar’ (1958). He had also written few songs in film ‘Maya Bazaar’ (1932).
Chaturbhuj Doshi died on 21 January 1969 in Bombay, Maharashtra, India. Filmography
1932: Narasinh Mehta (Writer), 1934: Sitamgarh (Writer), 1938: Gorakh Aya, Secretary, 1939: Adhuri Kahani, 1940: Musafir, 1941:Pardesi, Sasural, 1942: Bhakta Surdas, Dhiraj, Mehmaan, 1943: Chhoti Maa, Shankar Parvati (Director, Writer), 1944: Bhartrahari, 1945:Murti, 1946: Phulwari, 1947: Bela, Kaun Hamara, 1948: Jesal Toral, Kariyavar (Director, Writer), Sati Sone, 1949: Bhakta Puran, Vevishal, 1950: Akhand Saubhagya, Kisi Ki Yaad, Ramtaram, 1954: Aurat Teri Yahi Kahani, 1956: Aabroo, Dashera, Dassehra, 1957: Khuda Ka Banda, Shesh Naag, 1958: Sanskar, 1960: Mehndi Rang Lagyo (Writer, Lyricist).
The cast of the film was Sadhona Bose, Arun Ahuja, Mahipal, Rewa Shankar, Narbada Shankar etc. The MD was Gyan Dutt. Today’s song is sung by Rewa Shankar Marwadi. This is only the second song of Rewa Shankar on this blog. About 3 years ago, our Sadanand Kamath ji had given a complete biography of the actress dancer Sadhona Bose, while discussing the song – “Ganga Kinaare Mohe Bagiyaa Lagaa Do Sainyya“, of this film, hence I will not repeat it.
Sadhana Bose was responsible for the names of at least 2 actresses in Bombay. Actress Sadhana Shivdasani’s mother was very much impressed with the dancing skills of Sadhana Bose. She was her fan and saw her films repeatedly. When she was carrying for Sadhana, she had decided that if she gets a girl, her name would be Sadhana only. Thus Bombay Sadhana got the Calcutta Sadhana’s name.
Secondly, actress/dancer Kumkum’s real name was Zebunnisa. When she was selected by director Shahid Lateef, for his film ‘Sheesha’ (1952), first time for debut, there was already an actress Zebunnisa existing. What’s more, this Zebunnisa was also in the same film, so Shahid was thinking for a new name for the newcomer. He remembered that his favourite Sadhana Bose had acted in a film by the name ‘Kumkum-the Dancer’ (1940), so he selected the name Kumkum for this new dancer and Kumkum got her name.
After Sadhna stopped her dance films as a heroine, she resumed her work as a choreographer. In the early 50s, she choreographed in films like ‘Bhola Shankar’ (1951), ‘Nandkishore’ (1951), ‘Shinshinaki Boobla Boo’ (1952). She used to do bit roles too in these films to earn money. It is very sad that she died in penury and neglect, but artistes in the 40s and 50s-many of them- had similar stories.
I tried very hard to get some information about today’s singer Rewa Shankar Marwadi, who was an actor, lyricist, singer and also music director in the 1930s and 1940s. However I could not get anything concrete. Anyway I found a note on this multi talented artist of the early era, written by Shri Dhananjay Naniwadekar aka Nani, on the old RMIM forum, some 15 years ago and adapted by me for this article.
Some of Ranjit Movietone’s earliest talkie films had music by Ustad Jhande Khan. Next came the trio of Banne Khan, Ganga Prasad Pathak and Rewa Shankar Marwari. None of that music was ever released on 78 rpm records. From 1938-39, the great duo of Jnan Dutt and Khemchand Prakash took over the charge of Ranjit’s music, later to be joined by Bulo C Rani. It was only around 1938 that Ranjit started releasing its film music on 78-rpm records.
Rewa Shankar Marwari’s association with Ranjit Films and films produced or directed by ex-Ranjit hand Jayant Desai continued in the
1940s. While it is a pleasant surprise that imdb.com has a page for an obscure name like ‘Rewashankar Marwadi’ at all, it is not surprising
that his filmography has been put together for the site by people who are far from competent at that sort of thing. He acted in 27 films, till 1955, sang 12 songs in 9 films and gave music to 21 films from ‘Veer Babruwahan’ (1934) to ‘Matrubhoomi’ (1949).
Rewa Shankar sang a beautiful classical composition ‘Jai Jai Shankar’ in the film ‘Shankar Parvati’ for composer Jnan Dutt. It is available with only few collectors, and is a rare instance of film music using Raag Shree.
Song – Jai Jai Shankar Gangadhar Shiv Sukhkaari (Shankar Parvati) (1943) Singer – Rewa Shankar, Lyrics – Pt Indra, Music – Gyan Dutt
Lyrics
jai jai shankar gangadhar shiv sukhkaari
jai jai shankar gangadhar shiv sukhkaari
jai ajar amar anandroop bhayahaari
jai ajar amar anandroop bhayahaari
jai jai shankar gangadhar shiv sukhkaari
jai indu bhaal ur vyaal maal hitkari
jai indu bhaal ur vyaal maal hitkari
jai ashutosh har dosh rog tripurari
jai ashutosh har dosh rog tripurari
jai jai shankar gangadhar shiv sukhkaari
jai ajar amar anandroop bhayahaari
jai ajar amar anandroop bhayahaari
jai jai shankar gangadhar shiv sukhkaari
jai jai shankar gangadhar
jai shankar gangadhar shiv sukhkaari
jai ajar amar anandroop bhayahaari
jai jai shankar gangadhar
jai shankar gangadhar
jai shankar gangadhar shiv sukhkaari
jai jai
———————————————————-
Hindi script lyrics (Provided by Sudhir)
———————————————————-
जय जय शंकर गंगाधर शिव सुखकारी
जय जय शंकर गंगाधर शिव सुखकारी
जय अजर अमर आनन्दरूप भयहारी
जय अजर अमर आनन्दरूप भयहारी
जय जय शंकर गंगाधर शिव सुखकारी
जय इन्दु भाल उर व्याल माल हितकारी
जय इन्दु भाल उर व्याल माल हितकारी
जय आशुतोष हर दोष रोग त्रिपुरारी
जय आशुतोष हर दोष रोग त्रिपुरारी
जय जय शंकर गंगाधर शिव सुखकारी
जय अजर अमर आनन्दरूप भयहारी
जय अजर अमर आनन्दरूप भयहारी
जय जय शंकर गंगाधर शिव सुखकारी
जय जय शंकर गंगाधर
जय शंकर गंगाधर शिव सुखकारी
जय अजर अमर आनन्दरूप भयहारी
जय जय शंकर गंगाधर
जय शंकर गंगाधर
जय जय शंकर गंगाधर शिव सुखकारी
जय जय
Chal Chal Re Pathik Chal Re
Posted on: June 18, 2018
- In: Bhajan | Devnagri script lyrics by Sudhir | Guest posts | Lyrics contributed by readers | Mahendra Kapoor solo | Mahendra Kapoor songs | Multiple version song | philosophical song | pilgrimage song | Poignant Song | Post by Sudhir | Praising The Almighty | Songs of 1960s (1961 to 1970) | Songs of 1967 | Yearwise breakup of songs
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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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3622 | Post No. : | 14436 |
Missing Films of 1960s – 76
– – – – – – – – – – – – – – –
Hindi cinema encompasses quite a few genres and categories. It is a sad statement that the industry has almost always been controlled and driven more by the financial expectations. The earliest model of large studios as centers of film production activities, was somewhat immune to the craziness of financial pressures. The studio system had its own cons, but it provided a larger stability and sustainability to the production effort and to the team belonging to the studio.
It was all too soon that people with all kinds of mental inclinations realized both the power of this medium, and the possibility of landing a jackpot with a hit film. This awareness brought in all kinds of unscrupulous elements, as well as businessmen with an urge to invest unaccounted money in a gamble to make more money. If I recall correctly, the 1949 film ‘Kalpana’ touched upon this aspect, displaying a cruel brazen-ness with which the financiers and the touts dealt with the artists. The grossly dismal record the industry has in terms of its own record keeping and archiving, is an outcome of this ‘jackpot’ mentality – the actual owners of film actually cared a zilch for the film itself. With every venture, the financier would launch a new production banner. One can well imagine the ill effects of this lack of continuity and ownership for the artistic product itself.
But I digress – this discussion on film financing models, another time. I started with the genres and categories, with the purpose to highlight how some genres and categories have fallen by the wayside, over the decades. One of the casualties of the projected “lack of public interest” and the “lack of return on investment” has been the genre of religious pictures. Till the end of 1970s, or maybe even 1980s, there used to be quite a number of offerings of religious films produced every year. In one of his articles, our dear Arun ji has presented an analysis of this aspect – the number of religious films produced on average per year, and the progressive decline of this number over the decades. These days, one rarely hears about a religious offering coming from the mainline cinema. TV, yes, we do hear more about serials on religious themes. Or maybe the investment by the end user, in terms of time and money, is getting channelized much more towards TV productions and the live kathas (discourses) – there literally has been an explosion in the number of kathas being organized and being attended by the people.
The reason for this preamble, of course, is that today’s debut film from 1960s is a religious film of certain importance, from 1967. The film is ‘Badrinath Yatra’. Produced under the banner of Mewar Films, Bombay and is directed by Dhirubhai Desai. The star cast of this film is listed as Nirupa Roy, Abhi Bhattacharya, Sulochana, Indira, Jeevan, Sundar, Niranjan Sharma, Indira Bansal, Fazlu, Nandini Desai, and Kukku Desai amongst others.
There is a huge importance attached to pilgrimage, in our religion. Our land has been blessed from the very beginning of time itself, with famous and important temples which are the abodes of the Gods in our pantheon of worship. The origins and foundation histories of many of these temples and places is lost in the antiquity of time. For many of these temples and places of pilgrimage, there are references in our historical records – and by historical I mean our books of scriptures, which contain details of many such places of pilgrimage being established by protagonists of these histories like Sri Ram, Sri Krishna, the Pandvas, and our Rishis etc. Our histories abound with such tales in detail.
In the 8th century AD, there appeared a champion who measured the breadth and length of this sub-continent – Adi Shankaracharya. He travelled across the land with the mission to reestablish the importance of the Vedantic Dharma, and to re-ignite the lamp of worship in the temples. He established four matha (मठ) in the four regions, which became the four primary centers of learning and research into the Vedic knowledge. These four centers were placed in proximity to the four main destinations of pilgrimage of primary importance for the followers of the Dharma. These pilgrimage places are Badrinath in the north, Puri in the east, Rameshwaram in the south and Dwarka in the west. Each of these four pilgrimage places are historically important with a detailed history about their establishment and their antiquity being described in our scriptures.
Over the ages, these four have been collectively referred to as ‘Chaar Dhaam’ – literally ‘Four Destinations’. It is ordained in our teachings that a person must pay their homage and worship at each one of these pilgrimages, at least once in their life time. A significant importance is attached to completing this journey. Further, the same teachings also exhort the children to comfortably facilitate such a journey for their parents, and enable them to pay homage and complete their worship at these four centers of pilgrimage.
Since the early decades of Hindi cinema, a number of films have been produced as travelogues or “यात्रा” (yatra), covering one or more holy centers of pilgrimage. This film also covers the journey to the ‘chaar dhaam’ or the four holy destinations. This particular song appears more than once in the film, and I am including three different video clips from three different points in the storyline sequence. In the clips, we can see Abhi Bhattacharya, as the obedient son, who is taking his parents (roles played by Sulochana and Niranjan Sharma) for their journey to the ‘chaar dhaam’. The storyline belongs to a certain unspecified era in history, as we can see that Abhi Bhattacharya is even carrying his parents in a yoke shoulder carrier – a long pole with large baskets hanging at two ends, large enough for a human person to sit in. In north India, this shoulder carrier is called “वेहंगी” (wehngi). Folks familiar with the stories from the scriptures will recall the story of Shravan Kumar, the young boy who carried his old and blind parents in a wehngi for pilgrimage.
The song is written by Madan, and is composed by Pt Shivram. The singing voice is that of Mahendra Kapoor. Listening to this song evokes strong emotions in my heart. Not that I have not heard this song before, but now, as I listened to it again repeatedly for lyrics etc., the words and the tune is simply at home with me in my heart. Listen to this beautiful evocation that covers so many philosophies of life. And think.
Part 1
Part 2
Part 3
Song – Chal Chal Re Pathik Chal Re (Badrinath Yatra) (1967) Singer – Mahendra Kapoor, Lyrics – Madan, MD – Pt Shivram
Lyrics
Part 1
chal chal re pathik chal re
tujhe bhagwan milenge
tu chaaron dhaam chal re
wahin tere paap mitenge
chal chal re pathik chal re
tujhe bhagwan milenge
aaj nahin to kal jag se hai jaana
duniya musaafirkhaana re bhai
duniya musaafirkhaana hai
dhan ke liye dharam kyon beche
ik din to mar jaana hai
tyaag kapat chhal prabhu ke dhaam chal
wahin tere daag mitenge
tujhe bhagwan milenge
chal chal re pathik chal re
tujhe bhagwan milenge
bachpan khoya khel mein tu ne
khoyi jawaani bhog mein
bhool ke tu bhagwan ko praani
phas gaya jagat ke moh mein
aaya budhaapa ab to ram bhaj
tere dukh wahi harenge
tujhe bhagwan milenge
chal chal re pathik chal re
tujhe bhagwan milenge
tu chaaron dhaam chal re
wahin tere paap mitenge
chal chal re pathik chal re
tujhe bhagwan milenge
amrit taj ke vish kyon peeta
ram naam ras pee le
kaam krodh mad moh lobh taj
hari charnon mein jee le
hari charnon mein janam maran ke
bandhan tere katenge
tujhe bhagwan milenge
chal chal re pathik chal re
tujhe bhagwan milenge
Part 2
prabhu darshan ko badhe ja rahe
baalak vriddh jawaan
oonch neech sadhu sanyasi
nirdhan kya dhanwaan
ganga yamuna ki dhaara mein
jin ki mahim hai avichal
pralay ke toofaanon mein bhi jo
hain sadiyon se achal atal
yug yug se bharat bhoomi
gaaye jin ka gun gaan
woh hain naath anaathon ke
shri badrinath bahgwan
shri badrinath bahgwan
ab jeevan ki har mushkil ko
wahi aasaan karenge
tujhe bhagwan milenge
chal chal re pathik chal re
tujhe bhagwan milenge
tu chaaron dhaam chal re
wahin tere paap mitenge
chal chal re pathik chal re
tujhe bhagwan milenge
Part 3
chhaale pade chaahe paaon mein tere
suraj tapey aasmaan mein
haar na himmat badhta hi chal re
tapte registaan mein
tapte registaan mein
prabal hai bhakti ki shakti
tujhe koi kya rok sakenge
tujhe bhagwan milenge
chal chal re pathik chal re
tujhe bhagwan milenge
tu chaaron dhaam chal re
wahin tere paap mitenge
chal chal re pathik chal re
tujhe bhagwan milenge
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
भाग १
चल चल रे पथिक चल रे
तुझे भगवान मिलेंगे
तू चारों धाम चल रे
वहीं तेरे पाप मिटेंगे
चल चल रे पथिक चल रे
तुझे भगवान मिलेंगे
आज नहीं तो कल जग से है जाना
दुनिया मुसाफिरखाना रे भाई
दुनिया मुसाफिरखाना है
धन के लिए धरम क्यों बेचे
इक दिन तो मर जाना है
त्याग कपट छल प्रभु के धाम चल
वहीं तेरे दाग मिटेंगे
तुझे भगवान मिलेंगे
चल चल रे पथिक चल रे
तुझे भगवान मिलेंगे
बचपन खोया खेल में तू ने
खोई जवानी भोग में
भूल के तू भगवान को प्राणी
फंस गया जगत के मोह में
आया बुढ़ापा अब तो राम भज
तेरे दुख वही हरेंगे
तुझे भगवान मिलेंगे
चल चल रे पथिक चल रे
तुझे भगवान मिलेंगे
तू चारों धाम चल रे
वहीं तेरे पाप मिटेंगे
चल चल रे पथिक चल रे
तुझे भगवान मिलेंगे
अमृत तज के विष क्यों पीता
राम नाम रस पी ले
काम क्रोध मद मोह लोभ तज
हरी चरणों में जी ले
हरी चरणों में जनम मरण के
बंधन तेरे काटेंगे
तुझे भगवान मिलेंगे
चल चल रे पथिक चल रे
तुझे भगवान मिलेंगे
भाग २
प्रभु दर्शन को बढ़े जा रहे
बालक वृद्ध जवान
ऊंच नीच साधू सन्यासी
निर्धन क्या धनवान
गंगा यमुना की धारा में
जिन की महिमा है अविचल
प्रलय के तूफानों में भी जो
हैं सदियों से अचल अटल
युग युग से भारत भूमि
गाये जिन का गुण गाँ
वो हैं नाथ अनाथों के
श्री बद्रीनाथ भगवान
श्री बद्रीनाथ भगवान
अब जीवन की हर मुश्किल को
वही आसान करेंगे
तुझे भगवान मिलेंगे
चल चल रे पथिक चल रे
तुझे भगवान मिलेंगे
तू चारों धाम चल रे
वहीं तेरे पाप मिटेंगे
चल चल रे पथिक चल रे
तुझे भगवान मिलेंगे
भाग ३
छाले पड़ें चाहे पाँव में तेरे
सूरज तपे आसमान में
हार ना हिम्मत बढ़ता ही चल रे
तपते रेगिस्तान में
तपते रेगिस्तान में
प्रबल है भक्ति की शक्ति
तुझे कोई क्या रोक सकेंगे
तुझे भगवान मिलेंगे
चल चल रे पथिक चल रे
तुझे भगवान मिलेंगे
तू चारों धाम चल रे
वहीं तेरे पाप मिटेंगे
चल चल रे पथिक चल रे
तुझे भगवान मिलेंगे
Laga Us Se Lau Tu Madadgaar Hai Wo
Posted on: June 16, 2018
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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3620 | Post No. : | 14429 |
98 years ago, this day, was born this exceptional artist – Hemant Kumar. A singing voice that is remembered and cherished for it depth and softness. His versatility with the lower octaves is a measure of wonder. And a pleasure to listen to the songs sung by him.
I was checking online today for news and articles on the occasion of his birth anniversary. I found some – new and less recent. What amazes me is the shallowness of research effort that people put into such endeavours. All articles talk about the beginning of his career in Hindi films – ‘Jaal’ (1952) and SD Burman’s “Ye Raat Ye Chandni Phir Kahaan” as a singer; and as a music director – “Nagin” (1954). One article, based on an interview with him, at least gets to the correct debut as a music director – ‘Anand Math’ (1952). But as a singer, the complete period of 1945 to 1951 is completely overlooked.
Not too many songs to list for this part of his career, but at least the correct information needs to be investigated and presented. His debut Hindi film as a singer is ‘Iraada’ from 1945. For the next 5 to 6 years, he is on record as having sung 2 to 3 songs per year, before reaching the early 1950s, and getting the popular acknowledgement.
For today’s remembrance, I present this wonderful song from the film ‘Banphool’ of 1945. The lyrics of this song are written by Narendra Nath Tuli and the music composition is by Dhiren Mitra. This song is a kind of ‘naat’ in the honor of the Almighty, telling about his qualities as a benevolent Master, and as an unforgiving Judge who would impartially impart justice for both the good and the bad deeds. The mukhda (title line) of this song is an exhortation to revere Him and to connect with Him in love and submission, for He is the true benefactor.
लगा उस से लौ तू
मददगार है वो
On this Holy day of Eid celebration, I present this song in the honor of the Almighty, who is essentially the Father figure for this entire creation. Praise Be Upon Him.
And wishing a very Happy Eid to all friends and readers.
Aameen.
Song – Laga Us Se Lau Tu Madadgaar Hai Wo (Banphool) (1945) Singer – Hemant Kumar, Lyrics – Narendra Nath Tuli, MD – Dhiren Mitra (Dhirendra Chandra Mitra)
Lyrics
laga us se. . .
lau tu. . .
madadgaar hai. . . wo
laga us se lau tu
madadgaar hai wo
laga us se lau tu
madadgaar hai wo
laga us se lau tu
tu ban uska banda
ke ghamkhaar hai wo
laga us se lau tu
tu ban uska banda
ke ghamkhaar hai wo
laga us se lau tu
sitamgaar jis par na ye zulm dhaaye
jo sakhti ke aage na sar ko jhukaaye
sitamgaar jis par na ye zulm dhaaye
jo sakhti ke aage na sar ko jhukaaye
nadaar ho kar bhi khudgaar hai jo
nadaar ho kar bhi khudgaar hai jo
tu banda hai uska talabgaar hai wo
laga us se lau tu
haan. . aan
ghani aur muflis pe. . .
waa ik nazar hai. . .
keeneh ki badi ke ey. . .
mutaabiq ajar hai
wo samjhega us se gunehgaar hai jo
wo samjhega us se gunehgaar hai jo
badal uske khoo hai ki
jabbaar hai wo
laga us se lau tu
madadgaar hai wo
laga us se lau tu
laga us se. . .
lau tu. . .
madadgaar hai. . . wo
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
लगा उस से ॰ ॰ ॰
लौ तू ॰ ॰ ॰
मददगार है ॰ ॰ ॰ वो
लगा उस से लौ तू
मददगार है वो
लगा उस से लौ तू
मददगार है वो
लगा उस से लौ तू
तू बन उसका बंदा
के ग़मखार है वो
लगा उस से लौ तू
तू बन उसका बंदा
के ग़मखार है वो
लगा उस से लौ तू
सितमगार जिस पर ना ये ज़ुल्म ढाये
जो सख्ती के आगे ना सर को झुकाये
सितमगार जिस पर ना ये ज़ुल्म ढाये
जो सख्ती के आगे ना सर को झुकाये
नादार हो कर भी खुदगार है जो
नादार हो कर भी खुदगार है जो
तू बंदा है उसका तलबगार है वो
लगा उस से लौ तू
हाँ॰॰आँ
ग़नी और मुफलिस पे ॰ ॰ ॰
वा इक नज़र है ॰ ॰ ॰
कीन्हे की बदी के ए॰ ॰ ॰
मुताबिक अजर है
वो समझेगा उस से गुनहगार है जो
वो समझेगा उस से गुनहगार है जो
बदल उस के खू है की
जब्बार है वो
लगा उस से लौ तू
मददगार है वो
लगा उस से लौ तू
लगा उस से ॰ ॰ ॰
लौ तू ॰ ॰ ॰
मददगार है ॰ ॰ ॰ वो
Jagat Mein Dhoom Hai Teri
Posted on: March 25, 2018
- In: Devnagri script lyrics by Sudhir | Guest posts | Lyrics by Sudhir | Lyrics contributed by readers | Post by Arunkumar Deshmukh | Praising The Almighty | Ram Marathe Solo Songs | Ram Marathe Songs | Song of 1937 | Songs of 1930s (1931 to 1940) | Thanking the Almighty | Yearwise breakup of songs
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This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3537 | Post No. : | 14203 |
Today’s song is from the film ‘Captain Kirti Kumar’ (1937). The song is sung by a child star of yore – Ram Marathe.
Do you ever wonder, what happens to child stars when they grow up or what must be adult actors doing when they stop getting roles or get retired ? In the early years of films, anyone looking good and was a tolerably good singer could become actor or an actress. Education was not necessary. Working in films was not considered good those days. So, those who joined film line, in their early years, had no other skill or education. The payments were dismal, there was no guarantee of continuation and temptations were too many.
As a result, many of the first generation of actors, singers and others in the film world, ended up in poverty, loneliness and met a sad end. Many such heart breaking stories are well known. However, not all ended up like this. There were cases, where the artist left the film industry even when they were getting ample work, changed their course of life and achieved greater success or happiness.
The child stars were of two types. One type who had no relatives or a godfather to help them when they passed the age of being a child actor. Such actors got lost in the merciless world of film industry and ended up doing work as a junior artist or an extra or at the most doing character roles. Examples are Junior Mehmood and Jagdeep etc. The other type was, who had someone in their family or a close relative well established in the film world. When they crossed their child actor age, they got into adult roles easily. Many of them became top class heroes and heroines. Some examples are Madhubala, Meena Kumari, Shashi Kapoor and many other Kapoors, Nargis, etc.
Of course, there were exceptions. I know of at least two examples of successful and in demand child stars – with a godfather, who left the film industry midway to pursue their ambition in some other fields. One case is that of Shashi Kapoor senior. Starting as a child star from 1944 he did child roles in 21 films up to 1955. Then he left films, completed his graduation and post graduation in science, and worked as a lecturer in Bombay. Then he went to USA to do his PhD in Maths. He worked in an American university as a Professor of Maths for 30 years. What a life, indeed !
The second case is of child actor Ramchandra (Ram) Marathe. He was born on 23-10-1924 in Poona and studied in Bhave school up to 10th class. He and his brother (Anant Marathe aka Anant kumar) worked in films as child actors, due to family conditions. They started work from 1936 onwards. Ram Marathe had an edge over his brother, in that he could sing too. Starting with ‘Shahu Chor’ in 1936, he worked in Sagar movietone (6 films), Ranjit (3 films) and Prabhat (2 films), in addition to other companies like Prakash, Mohan Pictures, Imperial etc. He acted as a child star in 16 films and sang 11 songs in 6 films. After this Ram left films and started training in classical music – his liking. Here is a short bio of Ram Marathe, adapted from meetkalakar.com,
Ramchandra Purshottam Marathe was born on 23rd October, 1924. He began his early career as an actor singer in films produced by the Prabhat company. His formal training in music assumed a definite direction when he came under the tutelage of Master Krishnarao (Phulambrikar). Later, he trained under accomplished musicians such as Mirashibuwa of Gwalior and Vamanrao Sadolikar of Atrauli-Jaipur. His quest for widening his musical horizons culminated in a long-lasting discipleship (15 years) under Jagannathbuwa Purohit (‘Gunidas’). As a consequence of his broad training and background, Rambhau’s music integrated the best of Gwalior, Agra and Jaipur styles. Rambhau was a stalwart in the field of Marathi natyasangeet. He was also known as a composer. Among his pupils is Ulhas Kashalkar.
Pt. Ram Marathe had performed in all the prestigious musical festivals at various places like Jalandhar, Patna, Lahore, Delhi, Gwalior, Calcutta, Banaras, Amritsar and almost all over the Maharashtra. His contribution to Indian classical music was recognized with several Awards for his unique and successful performances. He was ‘A Top Grade’ Hindustani classical artist of All India Radio.
Since he had undergone a proper Tabla training, he had a great command on taal and layakari. He had special command on rare – Anvat Raags and Jod Raags and he was highly recognized for his clear and fast tankriyas and also for purity of Raags. He always used to enrich his audience with various semi-classical forms like khayal, tarana, tappa, natyasangeet, thumri, dadra and bhajans in his concerts. Unlike the present classical singers, his concerts used to last more than 5 hours with powerful intensity and stamina.
He started his stage career under the perusal of Natvarya Shri Ganapatrao Bodas in 1950 as a leading character in old classical musical dramas like Saubhadra, Sanshaya Kallol, Swayamvar, Ekach Pyaala, Maan Apmaan etc. with veteran actors and actresses such as Balgandharva, Hirabai Badodekar, Vinayakbuwa Patwardhan, Nanasaheb Phatak etc. Despite of his busy schedule in concerts, he performed in 22 old and new Sangeet Natak with more than 5000 stage shows. This is purely out of his dedication and commitment towards Sangeet Rangbhoomi.
He composed music for more than 10 dramas such as – Mandarmala, Suvarntula, Megh Malhaar, Tansen, Baiju etc. and acted in them as the leading charter role.
His disciples includes many (more than 50) eminent classical singers like Pt. Ulhas Kashalkar, Sudhir Datar, Ram Pratham, Vishwanath Kanhere, Vishwanath Bagul, Yogini Joglekar, Shashikant Oak, Madhuwanti Dandekar, Sanjay Marathe and Mukund Marathe etc. who have got training from him under the traditional Gurukul way of learning.
Maharashtra Government honoured him with the ‘Sangeet Bhushan’ degree in 1961. In 1981, he again got recognition from the Government of Maharashtra, for successful completion and continuous 30 years of career in Marathi Sangeet Rangbhoomi. He was also bestowed the honoured title of ‘Sangeet Chudamani’ by Jagadguru Shankaracharya of Puri.
He was appointed by AIR, New Delhi on Northern (Hindustani) Music Audition Board Committee. He was also on the Advisory Board of Nagpur University and other universities in India. He has more than 100 gramophone records and a number of CDs and LPs to his credit and composed more than 50 bandish in various Raags.
Ram Marathe died on 4-10-1989.
The film ‘Captain Kirti Kumar’ had a cast consisting of Motilal, Bibbo, Yaqub, Sankatha Prasad, Pandey, Bhudo Advani and VH Desai. Comedian VH Desai made his debut with this film. He was a famous and extremely popular comedian from late 30s to 40s. He was a law graduate from Baroda, but instead of pursuing a career in courts, he opted for films. His style was typical-fast delivery of dialogues. He was very poor in remembering dialogues and required many retakes. As per Ashok Kumar, in ‘Kangan’ (1939), a Bombay Talkies film, he took as many as 75 retakes. The German director Franz Osten was so furious that he told Desai “If you were not so popular a comedian in India, I would have thrown you out long back”.
Starting with Sagar Movietone, he appeared in ‘Captain Kirti Kumar’, ‘Bhabhi’ and ‘Navjeevan’, and then joined Bombay Talkies, appearing in ‘Jhoola’, ‘Kangan’, ‘Naya Sansaar’, ‘Kismet’ etc. He acted in initial films of Filmistan, from where he was taken by PL Santoshi for ‘Shehnai’ and ‘Khidki’. Later he also appeared in ‘Shaheed’ (1948) and ‘Andaz’ (1949). In ‘Andaz’ he did the funny role of DDT – Prof. Devdas Dharamdas Trivedi. The role was specially written for him. Desai died of heart attack in 1949.
Another regular actor of Sagar Movietone was Sankatha Prasad. He was the elder brother of the more famous character actor Kanhaiyalal (who was initially only a lyricist). Sankatha Prasad was born in UP in February 1903. He came to Bombay and started working in films in 1929. From the beginning of his career, he was a regular actor in the silent and talkie films of Sagar Movietone, and also of National Studios and Amar Pictures. Sankatha Prasad worked as a character actor for his entire career. He featured in all the three talkie films of Sagar in 1931. His first talkie film was ‘Veer Abhimanyu’ (1931) and the last film was ‘Do Mastaane’ (1958). In all, he worked in 65 films.
The film’s director, Chimanlal Muljibhoy Luhar (1901 to 1948 ) was a graduate in chemistry. He was a noted author and critic with various journals in the early 1920’s. He joined Kohinoor as a lab assitant, but soon learnt photography and became an expert cameraman. He shot about 20 films with Krishna Cinetone, and then joined Sharda Pictures. Later, he joined Sagar as a Director from 1934 to 1940. He also worked with Prakash Pictures from 1941 to 1946. He directed 15 films including film ‘Talaash e Haq’ (1936), in which Baby Rashida made her debut. She later became famous as Nargis.
The film has 10 songs, composed by A Bhasker Rao. This was his only film as an MD. He was a writer (‘Aadmi’, 1939) and assistant director (‘Padosi’, 1941) in Prabhat. Hailing from south Karnataka, Amembal Bhasker Rao’s elder brother A Sunder Rao was an expert Harmonium player. His younger brother A Dinkar Rao aka D Amel, was with AIR as a Musician for 40 years. A Bhasker Rao was a tabla player and a disciple of Master Krishna Rao Phulambrikar.
With this song, the film ‘Captain Kirti Kumar’ makes its debut on our blog today.
[Author’s Note: Acknowledgements and thanks – The above write up refers to and has adapted material from ‘Sagar Movietone’ by Shri Biren Kothari ji, ‘Eena Meena Deeka’ by Sanjit Narwekar, books written by Isak Mujawar, MuVyz.com, HFGK and my own notes.]
Song – Jagat Mein Dhoom Hai Teri (Captain Kirti Kumar) (1937) Singer – Ram Marathe, Lyrics – [Unattributed], Music – A Bhaskar Rao
Lyrics (Provided by Sudhir)
jagat mein dhoom hai teri
daya ki wo mere bhagwan
sunaa deta hoon sun le ??
daya ki wo mere bhagwan
sunaa deta hoon sun le ??
daya ki wo mere bhagwan
bura hoon ya bhala hoon
jo bhi hoon tera pujaari hoon
bura hoon ya bhala hoon
jo bhi hoon. . .
. . . bhala hoon
jo bhi hoon tera pujaari hoon
suna deta hoon main gham ki
kahaani wo mere bhagwan
jagat mein dhoom hai teri
daya ki wo mere bhagwan
wo raja hi nahin
sab bekason ka aasra bhi hai
wo raja hi nahin
sab bekason ka aasra bhi hai
unhin ke dam se hai mera
?? wo mere bhagwan
unhin ke dam se hai mera
?? wo mere bhagwan
jagat mein dhoom hai teri
daya ki o mere bhagwan
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
जगत में धूम है तेरी
दया की वो मेरे भगवन्
सुना देता हूँ सुन ले ??
दया की वो मेरे भगवन्
सुना देता हूँ सुन ले ??
दया की वो मेरे भगवन्
बुरा हूँ या भला हूँ
जो भी हूँ तेरा पुजारी हूँ
बुरा हूँ या भला हूँ
जो भी हूँ॰ ॰ ॰
॰ ॰ ॰ भला हूँ
जो भी हूँ तेरा पुजारी हूँ
सुना देता हूँ मैं ग़म की
कहानी वो मेरे भगवन्
जगत में धूम है तेरी
दया की वो मेरे भगवन्
वो राजा ही नहीं
सब बेकसों का आसरा भी है
वो राजा ही नहीं
सब बेकसों का आसरा भी है
उन्हीं के दम से है मेरा
?? वो मेरे भगवन्
उन्हीं के दम से है मेरा
?? वो मेरे भगवन्
जगत में धूम है तेरी
दया की वो मेरे भगवन्
- In: Deedar Singh Pardesi Songs | Devnagri script lyrics by Avinash Scrapwala | Guest posts | Lyrics contributed by readers | Mahendra Kapoor songs | Minu Purushottam Songs | philosophical song | Post by Avinash Scrapwala | Praising The Almighty | Prayer | Song About Religious Unity | Song sung by three or more singers | Songs of 1970s (1971 to 1980) | Songs of 1974 | Spiritual song | Yearwise breakup of songs
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This article is written by Avinash Scrapwala, 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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
Today, 25th of October 2017, is the thirty seventh ‘remembrance anniversary’ of the great ‘poet-lyricist’ Sahir Ludhianvi. He passed away this day in 1980 leaving behind the great legacy of his poems and leaving behind his immortal poetry which people are still enjoying, discussing, and even doing research on it and writing about his life and his poetry. And like me there will be many who will agree that Sahir and his poetry will be discussed as long as Hindi Cinema and HFM exists and his poetry will be discussed so long as humanity and human relations, emotions exists.
Read more on this topic…
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