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

Archive for the ‘Praising The Almighty’ Category


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 :

4054 Post No. : 15185

Jai Sri Krishna.
Jai Govinda Jai Gopala.

The accompanying song is from Vinod Doshi presented 1983 release ‘Nastik’ which was directed by Pramod Chakravarthy. It starred Hema Malini, Nalini Jaywant, Reeta Bhadhuri, Sarika, Amitabh Bachchan, Pran, Amjad Khan, Deven Verma, Madan Puri, Bharat Bhushan, Lalitha Pawar, Jayshree T, Ratanmala, Praveen Paul, Kamal Kapoor, Shammi, Bhagwan, Yusuf Khan, Kamran, Viju Khote, Azaad, Pehalwan, Julian, Jaswant, Habib, Bob Christo, Daljeet, Tom Alter, Jezebel, Ranveer Raj, Darshan, Sehgal, Sunder Taneja, Umesh Khanna, Mehar Singh, Manik, Vaman, Master Raju, Baby Pinky, and Master Rajesh (young landlord grows up to be Amjad Khan).

It was basically an action-drama showcasing Amitabh as a young man (Shankar) who is outraged when his father is killed by the village landlord’s son Tiger (Amjad Khan) who also separates him from his mother and sister. He becomes an atheist – Nastik, and vows revenge on Tiger. Enroute to this destination of his, he encounters two small time crooks in Hema Malini and Pran. Like any masala movie the separated family members rediscover each other, Pran’s daughter regains consciousness to identify the person who tried to rape and kill her. So now Pran and Amitabh join forces and the family reunites in the climax at their village and the wrong doer is brought to book.

This movie had eight songs one of which is there on the blog. Today on the occasion of Sri Krishnashtami or Janmashtami, I present this bhajan, which appears twice in the movie. The movie opens with this bhajan as it is Shri Krishna Jayanti in the movie too. The first part is in the voices of Alka Yagnik and Sadhana Sargam. The bhajan comes again at the climax when Amitabh Bachchan has to deal with an almost dying sister – Reeta Bhadhuri and recollects the bhajan that he had sung with his father, sister etc in his childhood. The second version is in the voices of Mahendra Kapoor and Manhar Udhas (for Bharat Bhushan, Amitabh does not lip sync).

Govind Bolo Ke Krishna Kaho,
Shyaam Kaho Ya Murliwala
Matlab To Kanhaiya Se Hai

Haathi Ghoda Palki
Jai Kanhaiyalal ki

Part I

Part II

Song – Sagre Jagat Ka Ek Rakhwaala  (Nastik) (1983) Singer – Alka Yagnik, Sadhna Sargam, Manhar, Mahendra Kapoor, Lyrics – Anand Bakshi, MD – Kalyanji Anandji
Alka Yagnik + Sadhna Sargam
Chorus

Lyrics

Part 1
sagre jagat ka ek rakhwaala

sagre jagat ka ek rakhwaala
mohan murli waala..aa
mohan murli waala
shaam savere..ae
shaam savere jap mann mere
shyam ke naam ki maala..aa
sagre jagat ka ek rakhwaala
mohan murli waala
sagre jagat ka ek rakhwaala

[dialogues]

ho ooo ooooo
sab ka meet hai krishna kanhaiya
krishna kanhaiya
krishna kanhaiya
kanhaiya krishna kanhaiya
oooo oooo
jeewan geet hai krishna kanhaiya
krishna kanhaiya
krishna kanhaiya
kanhiya  krishna kanhaiya
jhoom uthe sab. . .
jhoom uthe tab
bansuriya jab
chhede nand ka lala..aa..aa
sagre jagat ka ek rakhwaala
mohan murli waala
sagre jagat ka ek rakhwaala

[dialogues]

ooo ooooo
woh hi sab ki laaj bachaaye,
laaj bachaaye
krishna kanhaiya
kanhiya krishna kanhaiya
hooo oooo
sabke bigde kaaj banaaye,
kaaj banaaye
krishna kanhaiya,
kanhiya krishna kanhaiya
antaryaami..ee
antaryaami sab ka swami
gokul ka woh gwaala..aa
sagre jagat ka ek rakhwaala

ooo ooooo
oooo ooooooo ooooo ooo
ye sukh dukh ye mann ye jeevan
ye mann ye jeevan
ye sukh dukh ye mann ye jeewan
sab tera sab tere arpan
sab tera sab tere arpan
tu hi sab kuchh dene waala
tu hi lene waala
sagre jagat ka ek rakhwaala
mohan murli waala
sagre jagat ka ek rakhwaala

gopala jai jai gopala
gopala jai jai gopala
ho ooo
gopala jai jai gopala

[dialogues]

gopala jai jai gopala
govinda jai jai Gopala
govinda jai jai gopala
hooo govinda jai jai Gopala
govinda jai jai gopala
krishna kanhaiya
kanhaiya murli wala
krishna kanhaiya
kanhaiya murli wala
krishna kanhaiya
kanhaiya murli wala
kanhiya murli wala
kanhaiya murli wala
kanhaiya murli wala
kanhaiya murli wala
kanhaiya murli wala

Part 2

oooooo oooooooo
tod ke jhoothe bharam ke phande
tod ke jhoothe bharam ke phande
sheesh jhuka kar dekh to bande
sheesh jhuka kar dekh to bande
ho sakta hai ae ae ae
ho sakta hai
teri bhi sun le
sab ki sun’ne waala
sagre jagat ka ek rakhwaala
aaaa aaaaa aaaa aaaa
aaaa aaaaa aaaa aaaa
aaaa aaaaa aaaa aaaa

shyam ki leela main kya jaanu
aaaa aaaa
o o shyam ki leela main kya jaanu
main logon ki baat na maanu
aaaa aaaaa aaaa 
dars dikhaaye
aaaa aaaaa aaaa 
saamne aaye
aaaa aaaaa aaaa 
dars dikhaaye saamne aaye
mujhse chhupne waala..aa..aa
sagre jagat ka ek rakhwaala
mohan murli waala
sagre jagat ka ek rakhwaala

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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 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 : 4028 Post No. : 15144

Today, 29th July, is the 66 birthday for Anoop Jalota, the renowned singer of classical and semi-classical music. Known as the Bhajan Samrat, his forte is in the arena of religious bhajans and devotional songs. Here is wishing him many many happy returns of this day.

Anoop was born this day in 1953, in Nainital. His late father, Purushottam Das Jalota has also been a renowned singer of devotional songs himself. Anoop got his initial education in classical music at the Bhatkhande Music Institute in Lucknow. He started his singing career as a chorus singer at All India Radio. Over the years, he has sung popular sugam sangeet and ghazals also. But he has not been as famous and successful in that area. He started singing devotional songs and for that, he has become very popular. He was honored with the award of Padam Shri in 2012.

His songs in Hindi films are quite limited, although I do find two songs by him already on our blog. Today’s song is from the 1977 film ‘Shirdi Ke Sai Baba’. This song is written by Pandurang Dixit and its music is also composed by him. On screen, this song is performed by Manmohan Krishan.

The film is produced by the Sarla Charities Trust, and is directed by Ashok V Bhushan. It is a screen adaptation of the biographical book on Sai Baba by the late Shri Govindrao Dhabolkar. The cast of actors includes Sudhir Dalvi in the title role, Manmohan Krishan, Raj Mehra, B M Vyas, Usha Chauhan, Beerbal, Nazeer Kashmiri, C S Dubey, Gurbachan Singh, Jyotsana Kirpekar, Preetam Balley, Vatsala Deshmukh, Ratanmala Pandit, Bhawna, Master Teeto, and Master Raju. The film has many special and guest appearances, viz., Rajendra Kumar, Hema Malini, Shatrughan Sinha, Premnath, Manoj Kumar, Madan Puri, Sachin, Dhiraj Kumar, Paintal, Krishan Dhawan, Satish, and Kuljeet.

Geet Kosh lists 9 songs for this film. Some are traditional, and the remaining are penned by Dev Krishan, Manoj Kumar and Pandurang Dixit. The latter is also the music director  for this film. One song of this film is already showcased here on our blog.

In this song, the on screen performer is Manmohan Krishan. He is leading a few others, including some police personnel and taking them to the place where Sai Baba resides.

This song was recorded in 1977, when Anoop would have been just 24 years of age. One can make out the difference in the quality of the voice – in this song and his singing 40 years hence, in the current period.

The Bhajan itself is written and composed very beautifully. Exhorting the listener to meditate on the universality of the message of brotherhood, and the underlying unity and commonalities of all the religions and beliefs. That is the message of Sai Baba – ‘Sab Ka Maalik Ek’ – that the Supreme One is the One and same for all people.

Song – Sumar Manwa. . . Sumar Re Panchtatva Suvichaar  (Shirdi Ke Sai Baba) (1977) Singer – Anup Jalota, Lyrics – Pandurang Dixit, MD – Pandurang Dixit
Chorus

Lyrics (Provided by Avinash Scrapwala)

sumar manwaa aa aa aa aa aa
sumar manwaa aa aa aa aa aa
sumar manwaa

sumar manwaa
sumar manwaa
sumar re panch tatva suvichaar

sumar manwaa
sumar manwaa
sumar re panch tatva suvichaar
ghat ghat bheetar jag mein nirantar
naad brahma saakar
sunlo pranav ki divya pukaar
sumar manwaa
sumar manwaa
sumar re panch tatva suvichaar

mera mera
kuchh nahin tera
chhod do ahankaar
paalo shaashwat soukhya apaar
sumar manwaa
sumar manwaa
sumar re panch tatva suvichaar

taaran aur phal
karm bhaagya ka
smar lo baaram baar
sunlo dharm chakra jhankaar
sumar manwaa
sumar manwaa
sumar re panch tatva suvichaar

chandra kor ka achal sahaara
kare sitaara ek aadhaar
maano shradhha ka ye saar
sumar manwaa
sumar manwaa
sumar re panch tatva suvichaar

aao jalaado
yagya agni mein
ye katu vishay vikaar
karlo daivi saakshaatkaar
sumar manwaa
sumar manwaa
sumar re panch tatva suvichaar
sumar manwaa
sumar manwaa
sumar re panch tatva suvichaar

ye stup aikya ka
prem dharm ka
satya shaanti ka dwaar
sandesh bhavya de
mantra divya de
sainaath avtaar
jai jai sainaath avtaar
jai jai sainaath avtaar

jai jai sainaath avtaar
jai jai sainaath avtaar
jai jai sainaath avtaar
jai jai sainaath avtaar
jai jai sainaath avtaar
jai jai sainaath avtaar
jai jai sainaath avtaar

———————————————————-
Hindi script lyrics (Provided by Avinash Scrapwala)
———————————————————-
सुमर मनवा आ आ आ आ आ
सुमर मनवा आ आ आ आ आ
सुमर मनवा

सुमर मनवा
सुमर मनवा
सुमर रे पञ्च तत्व सुविचार

सुमर मनवा
सुमर मनवा
सुमर रे पञ्च तत्व सुविचार
घट घट भीतर जग में निरंतर
नाद ब्रह्म साकार
सुन लो प्रणव की दिव्य पुकार
सुमर मनवा
सुमर मनवा
सुमर रे पञ्च तत्व सुविचार

मेरा मेरा
कुछ नहीं तेरा
छोड़ दो अहंकार
पा लो शाश्वत सौख्य अपार
सुमर मनवा
सुमर मनवा
सुमर रे पञ्च तत्व सुविचार

तारण और फल
कर्म भाग्य का
स्मर लो बारं बार
सुन लो धर्म चक्र झंकार
सुमर मनवा
सुमर मनवा
सुमर रे पञ्च तत्त्व सुविचार

चन्द्र कोर का चल सहारा
करे सितारा एक आधार
मानो श्रद्धा का ये सार
सुमर मनवा
सुमर मनवा
सुमर रे पञ्च तत्त्व सुविचार

आओ जला दो
यज्ञ अग्नि में
ये कटु विषय विकार
कर लो दैवी साक्षात्कार
सुमर मनवा
सुमर मनवा
सुमर रे पञ्च तत्त्व सुविचार
सुमर मनवा
सुमर मनवा
सुमर रे पञ्च तत्त्व सुविचार

ये स्तूप ऐक्य का
प्रेम धर्म का
सत्य शान्ति का द्वार
सन्देश भव्य दे
मंत्र दिव्य दे
साईनाथ अवतार
जय जय साईनाथ अवतार
जय जय साईनाथ अवतार

जय जय साईनाथ अवतार
जय जय साईनाथ अवतार
जय जय साईनाथ अवतार
जय जय साईनाथ अवतार
जय जय साईनाथ अवतार
जय जय साईनाथ अवतार
जय जय साईनाथ अवतार



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 : 3885 Post No. : 14914

Our blog regulars have a whatsapp group. One of major hghlights of this group are the good morning mwessages and thoughts of the day by our beloved inhouse encyclopaedia Mr Arunkumar Deshmukh. Nowadays ourinhouse rocket scientist Gajendra Khanna has also started sharing thoughts of the day in the morning.

I almost invariably find myself wholeheartedly agreeing with these thoughts of the day. I need not not them down for use, because I find that I already practice them. I share some of these messages with my wife that I think she needs.

Like these ones-

“Never stop doing little things for others. Sometimes, those little things occupy the biggest part of their hearts”

“Don’t let anyone’s ignorance, hate, drama or negativity stop you from being the best person you can be”

“Don’t permanently damage someone’s feelings just because you are temporarily upset”

“Leadership is not about ruling others, it is about showing others the right path”

“Motivation is what gets you started. Habit is what keeps you going”

“success also hurts when you do not have a loved one to congratulate you. Failure also looks beautiful when you have a loved one to support you”

“Challenges are what make life interesting and overcoming them is what makes life meaningful”

“Everything you need is already inside you. Do’t wait for others to light your fire. You have your own matches.”

“The real education is our attitude and behaviour with others. It defines our entire personality, no matter how qualified we are.”

“The height of candles may differ but they yield same brigtness. It is not your position but your ability that makes you shine”

“Respect is the most important element of your personality., It is like an investment whatever you give to others it will return to you with profit.”

“Everyone may not be nice. But there is something nice in everyone.Never keep a fixed image for anyone. because people act differently with different people.”

“If you light a lamp for someone else, it will also brighten up your path.”

“Silence is the best answer to someone who does not value your words”

“The pessimist sees difficulty in every opportunity. The optimist sees the opportunity in every difficulty.”

“People understand the true value of the right person only after they suffer from the wrong person”

“Love and kindness are never wasted. They bless the one who receives them, and they bless you (the giver).”

and many others.

Then there is this basic message that is hardwired into me- “Do unto others you would have them do unto you“. In other words, treat others with respect, and help them if you are in a position to. Because that is what I or anyone else expects from others.

It was day before yesterday (6 march 2019) when I was seated in my office chamber, when the door opened and I found a lady hesitantly asking if she could come in. Normally I expect a peon bring in a chit from the visitor where the name of the person is written (along with purpose of visit). But she obviously came in when no peon was at hand to stop her.

I had no idea if she was an employee or some outsider (like say a salesperson) but I allowed her to come in. She tried to explain what she wanted to say but she was not able to as she was unable to stop her from crying. But from the little she was able to speak and the paper she showed me, I was quickly able to find out that she was an employee of my place. She wanted to get herself transferred to another place. All the necessary approvals from competent authorities were obtained a few weeks ago. She needed to be relieved from the workplace so that she could join at her next place. But she was not getting relieved. The dealing clerk was telling her for the last three weeks that her case was “under process”. She wanted to get releved so that she could join her family. Her crying was mainly because of her young child who was away from her.

I tried to console her and asked her to get seated while I called for the dealer. It turned out that the dealer was not available. I asked the personal officer to come.

While I was waiting for the personal officer, I asked the lady how she was posted in this place while her family was elsewhere. She informed me that she had got her appointment here on compassionate ground as her father was an employee here and he had died while he was in service. Her husband was posted in Ranchi and her child was there with him there. Her old mother in law had to take care of the child while her husband went out on his work.

I tried to make her comfortable by telling her that I too had grown up in Ranchi though I have not been to that place for last 25 years. She asked where I studied. I informed her the name of my college and school, and also added that my school has now shifted to another location, whereas I had studied in this school when it was located in a location near Ranchi Railway station. She seemed to be aware of this place because she told me that her residence in Ranchi was in the same area of Ranchi where my school was earlier located.

I was feeling a bit nostalgic about Ranchi and would have talked some more about Ranchi but then the personal officer arrived. Iinformed him that the lady sitting there had applied for transfer to Ranchi and necessary permissions have already come three weeks back. The dealer is harassing her telling her that her case is under “process”. Please make sure that she is relieved within one hour.

I then turned to the lady and assured her that she would get relived and she should plan to leave for Ranchi on the same day.

She was barely able to belive her eyes. She did not belive that her work could get done so fast. She thanked me. I said it was alright. But she kept thanking me again and again. I told her that it was in my nature to help people and that is what I was doing now as well. She sought water. I asked her to walk into the adjacent room where she would get a glass of water. She went to the adjacent room and there I heard voices offering her water and consoling her telling her to get calmed and to compose herself.

After a while the personal officer brought me a file seeking my approval to get her relived. I signed the file silently. I did not remind him to quickly get it done with as that instruction was already given earlier.

In the second half, I wondered if the lady had received her relieving letter. I thought about enquiring from the personal officer. But before I could do that, I found the same lady entering my chamber informing me with glee that she had got her relieving letter. I expressed happiness that she had finally been relieved.

She left the chamber. I began to wonder when she would reach Ranchi. There is one direct train to Ranchi but that takes a very long semicircular route instead of taking a straight route and takes 24 hours. On checking on internet, I found that if one went to Varanasi (six hours journey) then there were lots of direct trains from Varanasi to Ranchi that took around ten hours to reach there. I was sure that people going to Ranchi, including the lady, may already be aware of this route.

I wondered whether I should have asked her for her travel plan, but then told myself that it was not needed. I had done her a good deed. She was quite broken and disconsolate when she had entered my chamber earlier in the morning. In the afternoon, she was a happy and relieved person, who was looking forward to get reunited with her family for all times to come. And I had made it possible for her. I was sure that lots of good words and blessings may have come my way behind my back. She may have phoned her family back home and may have informed them that she met me and she got her papers in a matter of hours. Not only she, even her family members back at Ranchi may have given their blessings to me.

That was two days ago. I am sure she must have arrived Ranchi by now and would have reported at her new place of posting in Ranchi. In a less sombre light, I wondered if she would visit the cricket ground to watch the ODI that is takng place at Ranchi today. Of course not. She would be too overwhelmed at the moment and she would be getting visited by her relatives and friends. And her young child must have felt mightily relieved and happy to see her mother.

In the evening, my wife called me on phone. It is her habit that she tells me daily about whatever happens in her workplace. She too had done some blessing worthy job in her workplace and she told me about that. I in turn informed her about my nek work. She felt happy as well. I was dreading at her next follow up question, but fortunately she did not ask that question. That question would have been- “You helped that lady get united to her spouse. When will you try to do the same for yourself as well ?” As things stand, she keeps reminding me every now and then that I should try and get myself transferred to MP. That is there in the rules as well-“If a spouse in in state service and another one in central service then the spouse in central service will apply to get transferred to the state where the other spouse in posted and the employer of the central government will try his best to post the central government employee to that state.”

My wife feels the need more than me, because she is a working lady herself. She needs my support and advice on his professinal work almost every day. At the same time, she is far more empowered and strong that most working ladies. So she is able to take care of herself in a far better manner that say the lady whom I helped. But the principles remain the same, of course. Now I shudder to think how she almost single handedly raised our daughter alone while I was posted at places different than her place. It helped though that I was posted in the same state while our daughter began to go to school. No matter what the situation, every child needs and deserves to ive with both of his/her parents.

I realised that today (8 march 2019) is women’s day. And in a way, I inadvertently gave a nice Women’s day gift to the lady. Today, I will be attending a Women’s day function in the office. I think that I may have already done something more worthwhile that mouthing a few platitutes in that gathering. And I feel quite satisfied and proud of myself.

On this occasion, here is a suitable song that tells us that we should do good for others because what we do to others comes back to us. The song is from “Khul Ja Sim Sim”(1956). The song is sung by Rafi (an appropriate singer for a song of this genre, if I must add). Asad Bhopali is the lyricist. Music is composed by Hansraj Bahl.

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


Song-Ye hai kaanoon uska jisne ye duniya banaai hai(Khul Ja Sim Sim)(1956) Singer-Rafi, Lyrics-Asad Bhopali, MD-Hansraj Bahl

Lyrics

aa aa aa
ye hai kaanoon uska
jisne ye duniya banaai hai
ye hai farmaan uska
jiski ye saari khudaai hai

o o o o
o o o
bhalaai kar bhala hoga
buraai kar bura hoga
bhalaai kar bhala hoga
buraai kar bura hoga
bhalaai kar bhala hoga
buraai kar bura hoga
koi dekhe na dekhe
par khuda to dekhta hoga

isi duniya mein jannat hai
yahi duniya jahannum hai
agar aamaal achche hain
to phir kis baat ka gham hai
tere aamaalnaame se hi tera faisla hoga
bhalaai kar bhala hoga
buraai kar bura hoga
koi dekhe na dekhe
par khuda to dekhta hoga

bhala hoga
aa aa
bhala hoga
aa aa aa

yahaan neki badi do raaste hain
gaur se sun le
tujhe jaana hai kis manzil pe
apna raasta chun le
kadam uthne se pahle soch le
anjaam kya hoga
bhalaai kar bhala hoga
buraai kar bura hoga
koi dekhe na dekhe
par khuda to dekhta hoga

bhala hoga
aa aa
bhala hoga
aa aa aa

gareebon ki madad kar
bekason ka saath deta ja
ye sauda naqad hai
is haath de is haath leta ja
wahi kaam aayega tere
jo toone de diya hoga
bhalaai kar bhala hoga
buraai kar bura hoga
koi dekhe na dekhe
par khuda to dekhta hoga


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


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 : 3737 Post No. : 14689

Mohammed Rafi – Duets – ‘अ’  से  ‘ह’ तक  (From ‘अ’ to ‘ह’) – 26
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –

‘भ’ – भैया रे भैया नैया छूआओ ना’ ॰ ॰ ॰

– – – –

चंदा का दिल टूट गया
के रोने लगे हैं सितारे ॰ ॰ ॰ 

कुछ ऐसा ही हुआ था उस दिन, जिस दिन तुम्हारे कूच की खबर आई थी॰ ॰ ॰

[Something as such, happened that fateful day, when the news of you departure came. . .]

– – – –

Today’s song is a wonderfully crafted song. And is euqally well performed and filmed.

The scenario is familiar – Shri Ram, accompanied by Sita ji and Lakshman, are travelling on foot, after departing from Ayodhya, for their sojourn of 14 years in the forest. They come to Shringverpur on the banks of river Ganga. To cross the river, Shri Ram requests the boatman to ferry them in a boat. Kevat, the boatman, at first refuses to ferry them. He has heard of the incident at the deserted ashram of Gautam Rishi, where by the mere touch of the dust from the feet of the Lord, Sati Ahilya who had been cast into stone by the curse of her husband, Gautam Rishi, came to life once again. Kevat cites that incident, and expresses apprehension that if by the touch of the dust from the feet of the Lord, his boat made of wood, would also come to life in the form of a lady, then what would become of him. Not just that he would lose his only source of income, and the only occupation he knows, he would have the additional burden of another member added to the family.

Much to the chagrin of Lakshman, Kevat dithers and dilly-dallies. And then he agrees on one condition – that the Lord should permit him to wash His feet, ostensibly to wash off any dust from the divine feet, and only then allow the trio to step on to his boat.

This event from the Ramayan is well known. It is so beautifully presented here in this song. The film is ‘Bharat Milap’ from 1965. The verses of this song are penned by Bharat Vyas, and the music is from the mind of Vasant Desai. The words are so beautifully crafted and the verses are embellished – अलंकृत is the word. The melodic construction is also very pleasing. It is a quick paced song, based on the folk music of the rural North India. The singing voices are of Rafi Sb and Kamal Barot.

On screen, the song is performed by Sunder, and a lady actor I am not able to identify and name. I request knowledgeable readers and friends to please help make the identification. The duo is accompanied by other members of the village community, and the song is presented as a group dance.
[Note: Thanks to Pramod ji and Prakash ji, the lady dancers are identified as Jeevankala, Manjula, Sheela Ramchandra, Aruna.]

The other main players in this scene are Shri Ram, Sita ji and Lakshman. Indrani Mukherjee plays the role of Devi Sita. As per IMDB listing of cast and crew, Anand Ashish Kumar plays the role of Ram. As far as Lakshman, I am not able to identify and name the actor playing that role.
[Note: Thanks to Pramod ji for correction to the name of he actor in the role of Ram.]

All in all, a very lilting, very pleasing and a very energetic presentation. Lovely song.

Song – Bhaiya Re Bhaiya Re Bhaiya Naiya Chhuaao Na  (Bharat Milap) (1965) Singer – Mohammed Rafi, Kamal Barot, Lyrics – Bharat Vyas, MD – Vasant Desai
Male Chorus
Female Chorus
All Chorus

Lyrics 

dhum tak
hey tak dhum tak
dhum tak
hey tak dhum tak
ho taa naa dere naa dere naa taa naa dere naa
hoooom
ho taa naa dere naa dere naa taa naa dere naa

uhun aahoon uhun aahoon uhun aahoon uhun aahoon

bhaiya re bhaiya re bhaiya ho..oo

dhum tak
hey tak dhum tak

ho bhaiya re bhaiya re bhaiya naiya chhuaao na
in ke paiyyan se ye naiya chhuaao na
bhaiya re bhaiya re bhaiya ho..oo
bhaiya re bhaiya re bhaiya naiya chhuaao na
in ke paiyyan seye naiya chhuaao na
bhaiya re bhaiya re bhaiya ho..oo

hum ne suni kahaani
gaaon waalon ki jabaani
jadu waala hai re ye ramaiyya
oho oho oho oho oho..oo
hum ne suni kahaani
gaaon waalon ki jabaani
jadu waala hai re ye ramaiyya
jadu waala hai re ye ramaiyya
jadu waala hai re ye ramaiyya
daiya re daiya re
ik patthar chhuaa to
jhat ban gayi phat se lugaiya
daiya daiya daiya
daiya re daiya re
ik patthar chhuaa to
jhat ban gayi phat se lugaiya
jhat ban gayi phat se lugaiya
jhat ban gayi phat se lugaiya
hey hey bhaiya re bhaiya re bhaiya ho..oo
bhaiya re bhaiya re bhaiya naiya chhuaao na
in ke paiyyan seye naiya chhuaao na
bhaiya re bhaiya re bhaiya ho..oo

bhori bhori batiyaan
suratiyaa suhaani hai
to batiyon mein mat phas jaiyo
hmmmmmm
arey haa..aan
bhori bhori batiyaan
suratiyaa suhaani hai
to batiyon mein mat phas jaiyo
batiyon mein mat phas jaiyo
batiyon mein mat phas jaiyo
saaf safaai kar
paaon dhoaai kar
peechhe naiya mein bithaio
ehe ehe ehe..ae
saaf safaai kar
paaon dhoaai kar
peechhe naiya mein bithaio
peechhe naiya mein bithaio
peechhe naiya mein bithaio
e he he bhaiya re bhaiya re bhaiya ho..oo
bhaiya re bhaiya re bhaiya naiya chhuaao na
in ke paiyyan seye naiya chhuaao na
bhaiya re bhaiya re bhaiya ho..oo
dhum tak tak
dhum tak
dhum tak
o tak dhum tak

oo oo ooo ooooooo
ooooooo oooooooooo
ooooooooo ooooooooooo
hum bhi kevat prabhu
tum bhi kevat ho to
bhaichaara hum se nibhaio
prabhu ji bhaichaara hum se nibhaio
oo ooo ooo
nadiya ke paar
nadiya ke paar lagaayen tumhen tum
hum ko bhi paar lagaiyo
haaaaye hum ko bhi paar lagaiyo
bhav saagar se paar lagaiyo
ho ho
bhav saagar se paar lagaiyo
e he he bhaiya re bhaiya re bhaiya ho ho..oo
dhum tak tak
tak tak dhum tak tak
tak tak
dere na dere na taa naa dere na
hoom hoom
dere na dere na taa naa dere na
dhum tak tak
tak tak dhum tak tak
tak tak
dere na dere na taa naa dere na
hoom hoom
dere na dere na taa naa dere na
oo oo ooo ooooooo

———————————————————
Hindi Script Lyrics (Provided by Sudhir)
———————————————————

धुम तक
हे तक धुम तक
धुम तक
हे तक धुम तक
हो ता ना देरे ना देरे ना ता ना देरे ना
हूम
हो ता ना देरे ना देरे ना ता ना देरे ना

उहूं आहूँ उहूं आहूँ उहूं आहूँ उहूं आहूँ

भैया रे भैया रे भैया हो॰॰ओ

धुम तक
हे तक धुम तक

भैया रे भैया रे भैया नैया छूआओ ना
इनके पइय्यन से ये नैया छूआओ ना
भैया रे भैया रे भैया हो॰॰ओ
भैया रे भैया रे भैया नैया छूआओ ना
इनके पइय्यन से ये नैया छूआओ ना
भैया रे भैया रे भैया हो॰॰ओ

हमने सुनी कहानी
गाँव वालों की जबानी
जादू वाला है रे ये रमइय्या
ओहो ओहो ओहो ओहो ओहो॰॰ओ
हमने सुनी कहानी
गाँव वालों की जबानी
जादू वाला है रे ये रमइय्या
जादू वाला है रे ये रमइय्या
जादू वाला है रे ये रमइय्या
दैय्या रे दैय्या रे
इक पत्थर छूआ तो
झट बन गई फट से लुगईय्या
दैय्या दैय्या दैय्या
दैय्या रे दैय्या रे
इक पत्थर छूआ तो
झट बन गई फट से लुगईय्या
झट बन गई फट से लुगईय्या
झट बन गई फट से लुगईय्या
हे हे भैया रे भैया रे भैया हो॰॰ओ
भैया रे भैया रे भैया नैया छूआओ ना
इनके पइय्यन से ये नैया छूआओ ना
भैया रे भैया रे भैया हो॰॰ओ

भोरी भोरी बतियाँ
सुरतिया सुहानी है
तो बतियों में मत फंस जइय्यो
हम्ममममम
अरे हाँ॰॰आँ
भोरी भोरी बतियाँ
सुरतिया सुहानी है
तो बतियों में मत फंस जइय्यो
बतियों में मत फंस जइय्यो
बतियों में मत फंस जइय्यो
साफ सफाई कर
पाँव धोआई कर
पीछे नैया में बिठईओ
ऐहे ऐहे ऐहे॰॰ऐ
साफ सफाई कर
पाँव धोआई कर
पीछे नैया में बिठईओ
पीछे नैया में बिठईओ
पीछे नैया में बिठईओ
ऐ हे हे भैया रे भैया रे भैया हो॰॰ओ
धुम तक तक
धुम तक
धुम तक
ओ तक धुम तक

ओ ओs ओss ओsssssss
ओssssss ओsssssssss
ओssssssss ओssssssssss
हम भी केवट प्रभु
तुम भी केवट हो तो
भाईचारा हम से निभईओ
प्रभु जी
भाईचारा हम से निभईओ
ओ ओss ओss
नदिया के पार
नदिया के पार लगाएँ तुम्हें तुम
हम को भी पार लगईओ
हाए हम को भी पार लगईओ
भव सागर से पार लगईओ
हो हो भव सागर से पार लगईओ
ऐ हे हे भैया रे भैया रे भैया हो हो॰॰ओ
धुम तक तक
तक तक धुम तक तक
तक तक
देरे ना देरे ना ता ना देरे ना
हूम हूम
देरे ना देरे ना ता ना देरे ना
धुम तक तक
तक तक धुम तक तक
तक तक
देरे ना देरे ना ता ना देरे ना
हूम हूम
देरे ना देरे ना ता ना देरे ना
ओ ओs ओss ओsssssss


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 : 3642 Post No. : 14468

A recent anniversary that I had been preparing for – and missed on account of some travel engagements – is the remembrance day for the exceptional poet and lyricist – Bharat Vyas. He passed away in 1982, on 5th July.

The mention of this name brings to mind names of films such as ‘Chandralekha’ (1948), ‘Rim Jhim’ and ‘Saawan Aaya Re’ (both 1949), ‘Janamashtami’ and ‘Hamaara Ghar’ (both 1950), ‘Parineeta’ (1953), ‘Do Aankhen Baraah Haath’ and ‘Amar Singh Rathod’ (both 1957), also ‘Janam Janam Ke Phere’ from 1957, ‘Samraat Chandragupt’ (1958), ‘Bedard Zamaana Kya Jaane’ and ‘Goonj Uthi Shehnaai’ (1959), ‘Navrang’ and ‘Raani Roopmati’ (again 1959), ‘Angulimaal’, ‘Veer Durgadas’ and ‘Saaranga’ (all 1960), ‘Jai Chittod’ and ‘Pyaar Ki Pyaas’ (1961), ‘Kan Kan Mein Bhagwan’ (1963), ‘Boond Jo Ban Gayi Moti’ (1967) – and many more films with many a memorable song.

A career that lasted well over four decades, starting in the early 1940s. with about 1200 songs from more than 130 films. And a majority of these films, say around 70%, is an exclusive list of religious and historical films that forms a very impressive read. So yes, his specialization seems to be poetry on religious themes. Even a (then) modern dance based love story – the film ‘Cha Cha Cha’ from 1964; when the producer needed a couple of songs of traditional nature, Bharat Vyas is the poet who was called upon for this task.

I am presenting this surprisingly very fun song from a nondescript children’s film ‘Phool Aur Kaliyaan’ from (1960). When I landed at this song and started listening, it seemed to be some sort of a normal bhajan beginning, being sung by a group of young children. The earnestness and sincerity writ upon their faces as they start the singing, is very engaging. And the mind prepares itself for some wonderful bhajan to follow. But just after the introductory lines are done with, the song transforms into a hilarious entreaty to the Almighty, wherein the children are praying for a very specific boon from Him.

As the song continues, the play of emotions continues to transform from one antaraa to the next, adding more and more hilarity with every passing line. The earnestness on the faces of these children, their expressions of entreaties, and their actions to the words in the song, adds to the humor. And the listener realizes that the children are dead serious with their pleadings to the Lord. In the entire process, the children use all forms of inducement – literally following the traditional method of “साम, दाम, दंड, भेद” which is inducement by praising, by promises of alluring gifts, by threats, and by logic.

The picturization of this song is excellently imaginative. I am just continuously laughing whenever I start listening to this song. The चाचा (uncle) of the children is a tailor. The song is being performed in his work place. The children pick up miscellaneous things from around them and contrive some very peculiar instruments to create the orchestra for the music. The expressions and the fervour of their delivery has been handled extremely well by the director, and of course by the kids themselves.

As the songs gets to its closing lines, the fervour and the intensity of expressions starts to increase. Suddenly come to mind certain other bhajans, in which the picturization shows a similar amplification of fervour and music, and by experience we know – a miracle is about to happen; the statue of God will shed a flower, or a tear. Or an unconscious, near dead person will start breathing and mumbling.

The film ‘Phool Aur Kaliyan’ comes from the banner of Rajkamal Kala Mandir of Bombay, which has been the flagship banner of V Shantaram after his separation from Prabhat Studios in 1942. The film is directed by Ram Gabaale. Geet Kosh lists four songs for this film, all from the pen of Bharat Vyas. The music composition is by Pt Shivram. The singing voice is that of Charusheela, the daughter of V Shantaram from his first wife Vimalabai.

So watch and listen to this oh so engaging song, and I promise you will be smirking and laughing all the way through, to the last when the miracle occurs. Needless to say, I am verily bowled over by this song. And if any listener disagrees and is not fully satisfied, I am ready to return their money. 🙂 🙂

 

Song – Jai Jai Krishn Murari, Jai Jai Krishn Murari  (Phool Aur Kaliyan) (1960) Singer – Charusheela Shantaram, Lyrics – Bharat Vyas, MD – Pt Shivram
Chorus

Lyrics

jai jai krishna murari
jai jai krishna murari
jai jai krishna murari
jai jai krishna murari
khel kood mein kho gai dekho
hum se gend hamaari
jai jai krishna murari
jai jai krishna murari
khel kood mein kho gai dekho
hum se gend hamaari
jai jai krishna murari
jai jai krishna murari

gol gol is gend ke jaise laddu khilwaayen
laddu laddu laddu
ke gol gol laddu
ke laddu khilwaayen
gol gol is gend ke jaise laddu khilwaayen
gend miley jo humko
gend miley jo humko din bhar tere gun gaayen
jai jai krishna murari
jai jai krishna murari
khel kood mein kho gai dekho
hum se gend hamaari
jai jai krishna murari
jai jai krishna murari

dhruv ji aur prehlad se
hum bhi baalak hain saare
dhruv ji aur prehlad se
hum bhi baalak hain saare
ik to rakshak tum ho
ik to rakshak tum ho
ik hain chacha bechaare
ik to rakshak tum ho
ik hain chacha bechaare
jai jai krishna murari
jai jai krishna murari
khel kood mein kho gai dekho
hum se gend hamaari
jai jai krishna murari
jai jai krishna murari

ik din gend tumhaari bhi
gir gai thi jamuna jal mein
naag naath ke kaise laaye
apni gend ko pal mein
ik din gend tumhaari bhi
gir gai thi jamuna jal mein
naag naath ke kaise laaye
apni gend ko pal mein
hum bhi sharan tumhaari aaye
hamri baat banaa do
dhoondh dhaandh ke kahin se bhagwan
gend hamaari la do
gend hamaari la do
gend hamaari la do

jai jai krishna murari
jai jai krishna murari
jai jai krishna murari
jai jai krishna murari
jai jai krishna murari
jai jai krishna murari

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
जय जय कृष्ण मुरारी
जय जय कृष्ण मुरारी
जय जय कृष्ण मुरारी
जय जय कृष्ण मुरारी
खेल कूद में खो गई देखो
हमसे गेंद हमारी
जय जय कृष्ण मुरारी
जय जय कृष्ण मुरारी
खेल कूद में खो गई देखो
हमसे गेंद हमारी
जय जय कृष्ण मुरारी
जय जय कृष्ण मुरारी

गोल गोल इस गेंद के जैसे लड्डू खिलवाएँ
लड्डू लड्डू लड्डू
के गोल गोल लड्डू
के लड्डू खिलवाएँ
गोल गोल इस गेंद के जैसे लड्डू खिलवाएँ
गेंद मिले जो हमको
गेंद मिले जो हमको
दिन भर तेरे गुण गाएँ
जय जय कृष्ण मुरारी
जय जय कृष्ण मुरारी
खेल कूद में खो गई देखो
हमसे गेंद हमारी
जय जय कृष्ण मुरारी
जय जय कृष्ण मुरारी

ध्रुव जी और प्रहलद से हम भी हैं बालक सारे
ध्रुव जी और प्रहलद से हम भी हैं बालक सारे
इक तो रक्षक तुम हो
इक तो रक्षक तुम हो
इक हैं चाचा बेचारे
इक तो रक्षक तुम हो
इक हैं चाचा बेचारे
जय जय कृष्ण मुरारी
जय जय कृष्ण मुरारी
खेल कूद में खो गई देखो
हमसे गेंद हमारी
जय जय कृष्ण मुरारी
जय जय कृष्ण मुरारी

इक दिन गेंद तुम्हारी भी
गिर गई थी जमुना जल में
नाग नाथ के कैसे लाये
अपनी गेंद को पल में
इक दिन गेंद तुम्हारी भी
गिर गई थी जमुना जल में
नाग नाथ के कैसे लाये
अपनी गेंद को पल में
हम भी शरण तुम्हारी आए
हमरी बात बना दो
ढूंढ ढांढ के कहीं से भगवन्
गेंद हमारी ला दो
गेंद हमारी ला दो
गेंद हमारी ला दो

जय जय कृष्ण मुरारी
जय जय कृष्ण मुरारी
जय जय कृष्ण मुरारी
जय जय कृष्ण मुरारी
जय जय कृष्ण मुरारी
जय जय कृष्ण मुरारी


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


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


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


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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What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over ELEVEN years. This blog has over 15100 song posts by now.

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

Total number of songs posts discussed

15182

Number of movies covered in the blog

Movies with all their songs covered =1176
Total Number of movies covered =4171

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