Archive for the ‘“Raani” song’ 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.
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Blog Day : |
5198 | Post No. : | 17180 |
Hullo Atuldom
Top three actors of the golden era of Hindi cinema (from mid 1940s to late 1960s) were Dilip-Dev-Raj. They were nearly of the same age though their debut years were “Jwar Bhata” (Dilip Kumar) in 1944, “Hum Ek Hain” which came in 1946 (Dev Anand) and “Valmiki” also in 1946 which had Raj Kapoor in his first adult role but it was a tiny role. The three of them carved their own path and were the dominant stars of the Golden Era. Raj Kapoor went on to become a much-acclaimed actor-director earning him the title of ‘The greatest Showman’, Dev Anand also became an actor-director and was usually associated with slick and stylish city-based films and became popular for his trendy fashion sense as well, and Dilip Kumar came to be hailed as the greatest actor and set a high bar for future generations to emulate.
However, ironically all three never got the opportunity to come together on screen and act in a single film. Maybe no director or story writer could conceive a script to bring these stars together. However, there were two films where two of the three acted as co-stars and these two films therefore are rare treasures to be appreciated and preserved for this unique aspect.
The above are the thoughts expressed by a blogger in this post.
I had similar thoughts about the troika of the 1970s Jeetendra- Amitabh Bachchan- Rajesh Khanna and have stated it in this post. On further rewinding I recalled “Anand” (1970), “Namak Haram” (1973), “Gehri Chaal” (1973) & “Dharam Kaanta” (1982). That is a list of movies which had Amitabh Bachchan & Rajesh Khanna; Jeetendra & Amitabh Bachchan; and Rajesh Khanna & Jeetendra. But there were non after these. I am sure, readers will agree that it was a loss for Hindi Movie buffs. Here I would like to mention that Amitabh Bachchan was the last to make his debut in Hindi films; the other two had their first releases in 1964 and 1966.
This was a post to celebrate Jeetendra turning 80. With today’s post we are wishing The Big B- as many of his fans address him- on turning 80. He is still very active and his last movie released on 7th October.
For the last 10-15 years he has been playing roles of older characters but mostly roles specially written keeping his abilities in mind. “Piku” one of his recent movies had him play an eccentric 70 year old father of an architect (Deepika Padukone), living in Delhi. His act of the Hypochondriac with chronic constipation, who traces every problem to his bowel movements is a standout from his recent movies. In 2020, we saw him play a stingy old ghar jamai Chunnan ‘Mirza’ Nawab in ‘Gulabo Sitabo”. That role won him a Critics Best Actor award at the 66th Filmfare Awards. This man is still getting roles which get him awards.
Since 2000 he has been the host of the Indian version of “Who Wants to be a Millionaire?” i.e. “Kaun Banega Crorepati?” (KBC for short) and people who know me know that I am addicted to that show. But then my family and friends will say that I am addicted to anything that so much as shows Amitabh Bachchan’s shadow. I will stop any job at hand if I spot “Sholay”, “Deewar”, “Amar Akbar Anthony”, “Khuddar”, “Trishul”, “Don”, “Satte Pe Satta”, “Mahaan” and “Bhootnath”, “Piku”, “Black”, “Ab Tumhaare Hawaale Watan Saathiyo” and most of the 200 movies (maybe I will give a few of his initial movies a miss) that he has acted in, over the last 53 years. And when there is such a huge library of movies and songs to choose from getting the one that highlights the person’s abilities is not easy.
The song that I have chosen shows Amitabh Bachchan with Aruna Irani who incidentally was the first heroine who played AB Sr’s romantic interest in the 1972 released “Bombay To Goa”. There is an interview of Aruna Irani that keeps popping up on YouTube where she speaks of how uncomfortable AB Sr. used to be in the dance sequences of “Bombay To Goa”. AB Sr. was always good at action, emotion, comedy etc; today’s song will show the improvement that had come in his dancing over the years.
The song is from the 1983 released “Mahaan” which was directed by S. Ramanathan. If I am not wrong he had directed “Bombay To Goa” also. “Mahaan” had AB Sr. in a triple role of father and sons who are twins. Waheeda Rehman, Zeenat Aman and Parveen Babi played the heroines. Amjad Khan led the brigade of villains that included Kadar Khan, Shakti Kapoor, Sujit Kumar, Mac Mohan. Ashok Kumar, Mukri, Urmila Bhatt, Aruna Irani and Meenakshi (or was it Nandita Thakur) who formed the rest of the cast. The songs were written by Anjaan and RD Burman was the music director. Asha Bhonsle, Kishore Kumar, Amit Kumar, RD Burman and Amitabh Bachchan were the playback singers used.
Happy 80th Birthday to the Darling of the masses. Happy Birthday to the Big B. Happy Birthday to Amitabh Bachchan.
Song-Har chhori raani hiyaan har chhora raaja(Mahaan)(1983) Singer-Kishore Kumar, Lyrics-Anjaan, MD-R D Burman
Lyrics
hmmm mm mm
ee galiyan ka dharam alag hai
alag hai reet riwaaz
kaa samjhe
na samjhe to samajh lo hamse
ham samjhaa den aaj
har chhori raani hiyaan
har chhora raaja
har chhori raani hiyaan
har chhora raaja
magar kabhi baja nahin
hiyaan band baaja
magar kabhi baja nahin
hiyaan band baaja
aawara galiyan ki pariyaan
dekh uthhe dil jhoom
waah waah
kya maza
aawara galiyan ki pariyaan
dekh uthhe dil jhoom
itar paan gajre ki mahak
ghunghru mujre ki dhoom
chanchhan chhanan chhanan
khankhan khanan khanan
chanchhan chhanan chhanan
khanan khanan
natkhat chhori
ban ke chakori
chanchal gori
kare dil ki chori
kabhi lachak lachak kar
kabhi chhamak chhamak kar
kabhi jhatak jhatak kar
kabhi matak matak kar
kabhi latkau latkau
kabhi jhatkau jhatkau
kabhi thumkau thumkau
kabhi matkau matkau
lachak lachak chhamak chhamak
jhatak jhatak matak matak
palat tera dhyaan kidhar hai bhai
har chhori raani hiyaan
har chhora raaja
haan
har chhori raani hiyaan
har chhora raaja
magar kabhi baja nahin
hiyaan band baaja
magar kabhi baja nahin
hiyaan band baaja
suno suno
ee aasik maasuk ke jhagde
ee meethi takraar
aa haa haa haa
ee aasik masuk ke jhagde
ee meethi takraar
baat baat mein baat badhe to chale teg talwaar
are chal gayi laathi
badi mar gulaati
are chal gayi laathi
badi mar gulaati
chheer vayra
tamacha koochh
chheer vayra
tamacha kooch
chheer vayra
tamacha kooch
aah
are bam babam bam bambu
tad patrika tambu
kabhi tadip tad kabhi satykam
kabhi kurukshetar ka lambu
bambu
tambu
kabhi tadip tad kabhi satykam
kabhi kurukshetar ka lambu
bar jorikar na sainya
ho bar jori kar na sainya
ho meri chhod chhod bainya
chhod baiya
ho padoon painyaan
palat tera dhyan kidhar hai bhai
har chhori raani hiyaan
har chhora raaja
bhai
har chhori raani hiyaan
har chhora raaja
magar kabhi baja nahin
hiyaan band baaja
magar kabhi baja nahin
hiyaan band baaja
hey shiv shambhu
uthha ke taal tamboora
aur ukhaaaad de tambu
are hiya raat bhar raas rachaawen
dharam k thekedar
sach to ee hai
inhi ke dum pe chale hai ee baazaar
khabardar hoshiyar thaanedar hawaldar
pahredar aur jamaadar
pakad lo in bandaron ko
aur
suno suno in ghonchu paakhandiyon ke kaarykram
arre vadki jinko sunke toot jaayenge tumhaare saare bharam
arre din bhar ye jogi re jogi
haa
raat bhar ye bhogi re bhogi
dekho re dekho
roop ke lobhi kaise hai ye dhongi re dhongi
inki najar me hum saare hain mooli gajar aalu gobhi
har chhori raani hiyaan
har chhora raaja
haan
har chhori raani hiyaan
har chhora raaja
magar kabhi baja nahin
hiyaan band baaja
magar kabhi baja nahin
hiyaan band baaja
Main Hoon Raani Ek Sunehri Nagri Ki
Posted on: July 25, 2022
- In: "Nok-Jhonk" song | "Raani" song | "Raja" song | "Rani" song | Blog Ten Year Challenge (2012-2022) | Devnagri script lyrics by Sudhir | Lyrics by Prakashchandra | Lyrics contributed by readers | Songs of 1940s (1941 to 1950) | Songs of 1941 | Umaraziya Begum Songs | Yearwise breakup of songs
- Leave a Comment
This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5120 | Post No. : | 17069 |
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Blog 10-Year Challenge (2012-2022) – Song No. 74
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This date ten years ago (viz 25 July 2012) saw three songs from three different movies getting covered in the blog.
Here are the details:-
| Blog Post number | Song | Movie (Year) | Remarks |
|---|---|---|---|
| 6308 | Inhi logon ne le leenha dupatta mora | Himmat(1941) | 2 songs covered out of 10 |
| 6309 | Suno suno he nar naari | Aage Badho(1947) | Movie YIPPEED by now |
| 6309 | Jawaan jawaan husn ke rangeen ye kaafile | Adventures of Robinhood (1965) | Movie YIPPEED by now |
It can be seen that two movies (out of three) whose songs were covered ten years ago on this date (25 July 2012) have since been YIPPEED. That leaves us with just one movie which is eligible for Blog Ten Years today (25 July 2022).
The eligible movie is “Himmat”(1941).
‘Himmat'(1941) was directed by Roop K Shorey for Kamal Movietone Limited. The movie had Ragni aka Ragini, Manorama, Majnu, Beg aka Baig, Zahoor Shah, Radha, Ghulam Qadir, Maalaa, Ramesh, Ranchhod, Jaan, Malti etc in it.
‘Himmat’ (1941) had ten songs in it. Two songs have been covered in the past.
Here is the third song from ‘Himmat’ (1941) to appear in the blog.
HFGK is silent about the singers of the song. But going by the comments posted by some knowledgeable readers on YouTube, I have considered Umrazia Begam and Karimdad Khan as the singers of this song. Aziz Kashmiri is the lyricist. Music is composed by Pt Gobindram.
Only audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of the song.
Lyrics of the song were sent to me by Prakashchandra.
Audio link:
Song-Main hoon Raani ek sunehri nagri ki (Himmat)(1941) Singers-Umrazia Begam , Karimdad Khan, Lyrics-Aziz Kashmiri, MD- Pandit Gobindram
Both
Lyrics (Provided by Prakashchandra)
main hoon raanee
main hoon raanee
main hoon raanee
main hoon raanee
ek sunehri nagri kee
ek sunehri nagri kee
main hoon raaja
main hoon raaja
main hoon raaja
main hoon raaja
ek sunehri nagri ka
ek sunehri nagri ka
meri nagri aisi sundar
meri nagri aisi sundar
jaise
chaandi kaa ho mandir
chaandi kaa ho mandir
meri nagri aisi sundar
meri nagri aisi sundar
jaise
soney kaa ho mandar
soney kaa ho mandar
main hoon apne ghar ka raaja
aur bajaaoon baaja
main hoon apne ghar ka raaja
aur bajaaoon baaja
main hoon raaja
raaja se hai raani sundar
raani se hai raaja sundar
raaja se hai raani sundar
hum donon mein kaun hai sundar
aao tumhein bataaoon
hum donon mein kaun hai sundar
aao tumhein bataaoon
hum donon hain ek baraabar
hum donon hain ek baraabar
jaise chaand aur sooraj
haan jaise chaand aur sooraj
ab naa ladna
kyon
ab naa ladna
mujhse darna
mujhse darna
hum milkar phulwaari banen
tum koyal ban kar gaao..oo
tum koyal ban kar gaao..oo
koyal bankar gaao..oo
koyal bankar gaao o o
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Hindi script lyrics (Provided by Sudhir Kapur)
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मैं हूँ रानी
मैं हूँ रानी
मैं हूँ रानी
मैं हूँ रानी
एक सुनहरी नगरी की
एक सुनहरी नगरी की
मैं हूँ राजा
मैं हूँ राजा
मैं हूँ राजा
मैं हूँ राजा
एक सुनहरी नगरी का
एक सुनहरी नगरी का
मेरी नगरी ऐसी सुन्दर
मेरी नगरी ऐसी सुन्दर
जैसे
चांदी का हो मन्दिर
चांदी का हो मन्दिर
मेरी नगरी ऐसी सुन्दर
मेरी नगरी ऐसी सुन्दर
जैसे
सोने का हो मन्दर
सोने का हो मन्दर
मैं हूँ अपने घर का राजा
और बजाऊँ बाजा
मैं हूँ अपने घर का राजा
और बजाऊँ बाजा
मैं हूँ राजा
राजा से है रानी सुन्दर
रानी से है राजा सुन्दर
राजा से है रानी सुन्दर
हम दोनों में कौन है सुन्दर
आओ तुम्हें बताऊँ
हम दोनों में कौन है सुन्दर
आओ तुम्हें बताऊँ
हम दोनों हैं एक बराबर
हम दोनों हैं एक बराबर
जैसे चाँद और सूरज
हाँ जैसे चाँद और सूरज
अब ना लड़ना
क्यों
अब ना लड़ना
मुझसे डरना
मुझसे डरना
हम मिलकर फुलवारी बनें
तुम कोयल बन कर गाओ॰॰ओ
तुम कोयल बन कर गाओ॰॰ओ
कोयल बन कर गाओ॰॰ओ
कोयल बन कर गाओ॰॰ओ
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4823 | Post No. : | 16601 |
On this 1st October 2021, I am completing 9 years of my blogging here. My first post was published on this Blog on 1-10-2012. It was on the film Savitri-1937. Since then in the last 9 years I have been continuously writing here and elsewhere. Though my writings are also published on several other Blogs and sites, my main favourite place is this one only.
Most of my original works were first published first here, except the interviews of relatives of old time artistes, which were published on memsaabstory.com. Some articles were published on anmol fankaar, Sangeet ke Sitare,Harveypam Blog, Kalyan Music Group, Songs of yore etc etc. In the last 9 years I have written, till today, 1020 posts here. It works out to an average of 1 article every 3.2 days-every 4th day- continuously for 9 years. In addition I have written film synopses of more than 600 films and more than 500 comments on this Blog alone. When I look back, I get surprised. How did I do it ?
There are reasons how and why I could do it. First, I like the atmosphere of this Blog. Secondly, Atul ji is a silent motivator, a good leader and he encourages contributors by giving a free hand and without disturbing styles of narrations. Thirdly, it is a very congenial and friendly team of Atulites. There are many more points but we all know them.
The Blog has created a special place for itself in the Blogosphere for its Credibility, Variety, Quantum of songs with lyrics and pots of information not available easily elsewhere. The Blog has actually become ” A Point Of Reference” for most other music and old film lovers. Information from the Blog is invariably quoted as proof and authenticity. Credit for all this goes to Atul ji. Thanks Atul ji. We feel proud to be associated with atusongaday !
Today’s song is from a Mythological film – Jai Bhim-1949. The film was made by Nav Jhankar productions, Bombay. It was directed by Anant mane -who became one of the all time successful Directors of marathi Cinema, later on. Music was by Sudhir Phadke, for songs written by lyricist Amar Verma- who married the famous Classical Singer Manik Dadarkar, better known as Manik Verma. The cast of the film was Vishwas, Vasant Thengdi, Ganapatrao Bakre, uma Devi, kusum deshpande, kanta kumari and many others.
Film Jai Bhim-49 was a MYthological film, but its information is not available anywhere. It is one of those films which have existance only in HFGK pages. The film was directed by Anant Mane. He was a struggling Director in 1949, but due to hard work and of course with good luck, he became a very big and renowned director in Marathi cinema. His contribution in the Hindi cinema was of a minimal nature but his Marathi films were mostly Hit films.
Anant mane was born in a lower middle class family of kolhapur, on 22-9-1915. His uncle Gyanba Mane was working in Prabhat films as an actor (in his last days Gyanba was seen selling vegetables on the roads of Kolhapur, for survival). Anant used to go with him to Prabhat studio. The studio life attracted him. At the age of 15 years, he left school and joined Prabhat. he was given work in the Laboratory. First 2 years he worked without pay and then he got a salary of Rs.10 pm.
While in Prabhat he worked and learned a lot in editing, Artwork, Sound recording in addition to working as an extra in a Mob scene. He was impressed with Shantaram’s knowledge in the studio. When the film ” Sairandhri” was made, he was given Vishnu’s role in it.
His diligence impressed Shantaram and he was taken in Editing laboratory. When Prabhat shifted to Poona, he too came with it and continued working in editing. He did editing of all Prabhat films till 1941. When Shantaram left Prabhat in 1942, he too left but joined as an assistant to director Raja nene till 1946. In 1949, he directed his first Hindi film ” Jai Bhim”-1949.
In 1950, Anant mane and Dada Dharmadhikari started ” Alhad Chitra”. Its very first Marathi film ” Bala jo jo re” became a hit and celebrated Silver jubilee. Their next two films ” Stree janma hi tuzi kahani” and ” Chimni Pakhare” also became Jubilee films. Chimni Pakhare was remade in Hindi as Nanhe Munne-1952. Anant mane directed 2 Hindi films in 1954-Kalakar and Suhagan, which were remakes of their Marathi films.
After this he concentrated only on marathi cinema and became a well known and successful director of 58 Marathi films. He also wrote stories and screenplays of 14 films. He won many State and Central Government awards. He considered Shantaram as his Guru. Even after being so successful, he worked as an assistant director to Shantaram for his famous film ‘ Pinjara”-1972.
Anant Mane died on 5-10-1995.
In the cast of this film you will find 2 names- Vasant Thengdi and Kusum Deshpande. They were husband and wife in real life. Thengdi was a very handsome person. Vasant Thengadi was born on 11-1-1910 at Nagpur. He was son of Congress leader Dhaniram Thengadi. Vasant had his education in Poona. He could not join the Army, because of his father’s political connections. He had to leave his Engineering college after father’s death. Being very handsome,tall and with good physique, he started working in Marathi dramas and films. He started his Hindi work with the film Dhuwandhar-35. ( This was also the Debut film for Leela Chitnis and Meera Alexander). He started doing Villain roles and became popular and famous. Besides Marathi films, his Hindi films were Taramati-45, Phir bhi apna hai-46, Mera Ladka-38, Din Raat-45, Ten o clock-42 etc. Later he also worked as assistant director to Raja Nene.
Kusum Deshpande was born on 20-11-1914 at Nagpur. She came to Bombay in 1930 and worked in Minerva as an apprentice, without pay. She worked in A.I.R. and some Marathi dramas and films. Her first Hindi film was Ghar ki Rani-40. She also did Charnon ki Daasi-41, Village Girl-45, Wamaq Azra-46 and Zamin Asmaan-46. In all she did 20 Hindi films. She married actor Vasant Thengadi on 30-11-1944.
After she stopped getting roles in Hindi films, she turned to Marathi films and had a long and fruitful career in it. She was the sister of actress Ranjana, who was Dilip Kumar’s Heroine in film Milan-1946( a bilingual in Hindi and Bangla, made by Bombay talkies).
Today’s song is a duet by Sudhir Phadke and Lalit Deulkar ( after this film they got married on 29-5-1949).
Song-O roop nagar ki raani dekho roothh ke na jaao (Jai Bhim)(1949) Singers- Sudhir Phadke, Lalita Deulkar, Lyricist- Amar Verma, MD-Sudhir Phadke
Lyrics
O roop nagar ki raani
dekho roothh ke na jaao
O roop nagar ki raani
dekho roothh ke na jaao o
roothh ke na jaao
mera jiya na dukhaao
o o
roothh ke na jaao
O roop nagar ki raani
dekho roothh ke na jaao
o o o
prem nagar ke raaja
prem nagar ke raaja
haath na lagaao o
haath na lagaao
jahaan rahe wahi jaao
haath na lagaao
main to jaan gaya
tere man ki batiyaan
o main to jaan gaya
tere man ki batiyaan
bolo kahaan thhe teen din tin ratiyaan
kahaan thhe teen din tin ratiyaan
bolo kahaan thhe teen din tin ratiyaan
kahaan thhe teen din tin ratiyaan
haan
to isliye roothhhi thi meri raani
suno
main to thha Panchal desh mein
jahaan hua Draupadi swayamwar
jahaan hua Draupadi swayamwar
nagar nagar ke raaja aaye
bade dhanurdhar veer dhurandhar
bade dhanurdhar veer dhurandhar
sabne apne dhanush baan ki
vidhya ke kaushal dikhlaaye
vidhya ke kaushal dikhlaaye
par koi bhi chakr beech
machhli ki aankhen bhed na paaye
haay raam
phir kya hua
phir brahman ke vesh mein
aaya Arjun veer
chhaaya dekhi tel mein
diya lakshya ko cheer
tab muskaayi jyun sadi
tab muskaayi jyun sadi
prem ras tabhi laga ??
phir mangal baaje baje
Parth ko varmaala pahnaai
o roopnagar ki raani
aao naacho dhoom machaao
dhoom machaao
o prem nagar ke raaja
aao naacho dhoom machaao
dhoom machaao
Raaja ko raani se pyaar ho gaya
Posted on: October 1, 2020
This article is written by nahm, 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.
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Blog Day : |
4458 | Post No. : | 15937 | Movie Count : |
4369 |
01/10/2020 – 101st Birth anniversary of Majrooh Sultanpuri.
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Mujh se kaha jibrayil e junoon ne ye bhi vahi-e-ilaahi hai
Mazhab to bas mazhab-e-dil hai baaqi sab gumraahi hai
The Angel(of obsession) tells me that this too is divine decree,
The religion of love is the faith, rest all is deception
Dekh zindaan se pare, rang-e-chaman josh-e-bahaar
Raqs karna hai to phir paaon ki zanjeer na dekh
Look far away from the dungeons, towards the colourful garden and spirited spring
Want to dance (fly), than don’t be bothered by the limitation of feet.
Bahaane aur bhi hote hain zindagi ke liye
Ham ek baar teri aarzu bhi kho dete
There could be other reasons to live
Had the hopes of you been lost.
Jafaa ke zikr pe tum kyun sambhal ke baitth gaye
Tumhari baat nahi baat hai zamaane ki
When there is talk of unfaithfulness (or deception/tyranny), you are alert.
This is not about you, but lamenting is for the world at large.
Bacha liya mujhe toofan ki mauj ne warna
Kinaare wale safeena mera dubo dete
The tall waves of the storm have sheltered me, otherwise
the idle waves of the coast were bent on sinking my (last)boat.
Rok saktaa hamen zindaan-e-balaa kya majrooh
Ham to aawaz hain deewar se chhan jaate hain
Can the darkened holes of adversity stop us Majrooh
We are those sound waves which pierce the walls
Zaban hamaari na samjha yahan koyi Majrooh
Ham ajnabi ki tarah apne hi watan mein rahe
No one understands the words we speak, Majrooh.
We stayed as outsiders in our own homeland.
tujhe na maane koyi tujh ko iss se kya Majrooh
chal apni raah bhatakne de nukta-chinon ko
Don’t bother if they believe you or not Majrooh
Go on your way, let those critics wander around
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There is no better way of describing a poet and paying tribute to him, than quoting some of his work. So the major part of this post is going to be taken up by Majrooh sahab’s sukhan or kalaam. Today is the 101st birth Anniversary of the poet from Sultanpur district of Uttar Pradesh, the state in India which is the known as the ‘gehwara’ of urdu civilization. There are great shua’ra from other parts of the country, but those poets will also agree that UP is essentially the cradle of urdu. Like all children, the ‘khari boli’ urdu has also grown up and left the cradle. So that other children may enjoy the same nourishment and contentment that urdu had in its childhood.
Maybe some caravan’s upped and left the homeland and took their belongings. The cradle did not want to go away from the roots, so they took the embellishments and the toys from the cradle, and left if bereft. But some of the old dolls and some pillows were not taken with them as there was not enough space. They remained with the cradle and they strived to make the gehwara, the playground of urdu. Majrooh Sultanpuri is one of those old pillows which graced the old cradle.
After all this sentimentality, I don’t wish to write more. I have written a few posts about Majrooh and so have other contributors, in the past. So I will let his poetry do the talking.
I am reproducing one of his famous ghazals here :
Jab hua i’rfaan to gham aaraam-e-jaan bantaa gayaa
Soz-e-janaan dil mein soz-e-digaraan bantaa gayaa
Rafta rafta munqalib hoti gayi rasm e chaman
Dhire dhire naghma e dil bhi fughan bantaa gayaa
Main akelaa hi chala thha jaanib e manzil magar
Log saathh aate gaye aur kaarwaan bantaa gayaa
Main to jab jaanun ki bhar de saaghar e har khaas o a’am
Yun to jo aaya wohi peer e mughaan bantaa gayaa
Jis taraf bhi chal pade ham aabla-paayaan e shauq
Khaar se gul aur gul se gulistaan bantaa gayaa
Sharh-e-gham to mukhtasar hoti gayee uss ke huzoor
Lafz jo munh se na niklaa daastaan bantaa gayaa
Dahr mein majrooh koyi javedaan mazmoon kahaan
Main jise chhutaa gayaa wo javedaan bantaa gayaa
The song with this post is written by Majrooh sultanpuri, and the music director is Anu Malik. It is from Akele ham Akele Tum (1995). Udit Narayan and Alka Yagnik are the singers. Aamir Khan and Manisha Koirala are the actors in the film, who are singing it on screen.
This is the fourth song in the ‘inspired/copied’ song series. The inspiration behind this song is “The Godfather theme” .
During the tough months of April/May, someone posed this quiz in the family group on whatsapp :
“What is it that connects, The Godfather, Arvind Swamy and Anu Malik ?”.
This song is the answer to the quiz.
Audio
Video
Song-Raaja ko raani se pyaar ho gaya (Akele Ham Akele Tum)(1995) Singers-Udit Narayan, Alka Yagnik, Lyrics-Majrooh Sultanpuri, MD-Anu Malik
Lyrics
Raaja ko raani se
pyaar ho gayaa
pehli nazar mein pehla pyaar ho gayaa
dil jigar donon ghaayal huye
teer-e-nazar dil ke paar ho gayaa aa
raaja ko raani se pyar ho gayaa
raaja ko raani se
pyaar ho gayaa
pehli nazar mein pehla pyaar ho gayaa
dil jigar donon ghaayal huye
teer-e-nazar dil ke paar ho gayaa aa
raaja ko raani se
pyaar ho gayaa
pehli nazar mein pehla pyaar ho gayaa
dil jigar donon ghaayal huye ae
teer-e-nazar dil ke paar ho gayaa aa aa
raaja ko raani se
pyaar ho gayaa
raaja ko raani se
pyaar ho gayaa
ho o o
raahon se raahen
baahon se baahen
mil ke bhi milti nahin
ho oo
hotaa hai aksar
armaan ki kaliyaan
khil ke bhi khilti nahin
hey
phir bhi na jaane
kyun nahin maane
phir bhi na jaane
kyun nahin maane
deewaana dil
beqaraar ho gayaa aa
raaja ko raani se
pyaar ho gayaa
raaja ko raani se
pyaar ho gayaa
raani ko dekho
nazren milin to
aankhen churaane lagi ee
hoo oo
karti bhi kya wo
sar ko jhukaa ke
kangana ghumaane lagi ee
hoo
raaja ne aisa jaadu chalaaya
raaja ne aisa jaadu chalaaya
na karte karte
iqraar ho gayaa aa
raaja ko raani se
pyaar ho gayaa
pehli nazar mein pehla pyaar ho gayaa
dil jigar donon ghaayal huye
teer-e-nazar dil ke paar ho gayaa aa
Tu ban ka raaja tu ban ki raani
Posted on: April 7, 2020
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.
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Today’s song is from an old film Baaghi-1939. Same title films were also made in 1953, 1964, 1990 and 2000. In addition the word Baaghi was used as a prefix in few more films, like Baaghi Aurat-2000 or Baaghi Sipahi-36 etc .
Today’s film was made by Vishnu Cinetone and it was directed by the banner’s owner Dhirubhai Desai, a veteran in Costume and other C grade films. The film had other names like ‘ Bandkhor (बंडखोर )’ and ‘Sarfarosh’. This double or treble name system was prevalent in film industry since the Silent films. For silent films such multiple names were justified and necessary, because silent films ran in different language regions. So, for the benefit of local audience, these films were advertised in different names. Somehow this system continued even after Talkie films started, though its utility had diminished when films had dialogues and were shown all over the country, but still, one finds that this trend continued. Nowadays, I find that almost every film has an indicative Tag line.
In the Hindi film industry,there are 4 types of people.
The first type is of those people,who join this industry,struggle very hard and succeed in fulfilling their dreams,for example Guru Dutt, Mehboob, Johnny Walker, Lata Mangeshkar, Mohd.Rafi etc. who are well known to all by now.
The second type of people are those who join the industry,struggle very hard ,do not succeed and leave dejected.
The third type is those people who have a filmi connection or a strong luck,who join,struggle a bit and succeed, like for example,Raj Kapoor, Dev Anand, Dilip kumar, Rakesh and Rajesh Roshan, Anand Milind, Nanda, Nargis, Meena Kumari etc.
And….. the fourth type is those people who join the industry, struggle very hard and succeed partly, but end up doing something else,to keep them sustaining here.
The industry is full of people of the 4th type. People who come with dreams in their eyes, but end up doing something else. People who start as a Hero in 2-3 films,settle for side roles and finally character roles, like Dev Kumar, Sujit Kumar, Jeevan etc.
Not only this but we have examples where they started with something else and ended with a totally different thing and succeeded.For Example,Guru Dutt started as a Choreographer/dance Director (Lakharani-45) and ended up Actor/Director, Ashok kumar started as a Lab Technician in photography but became a great actor and Amiya Chakravarty who started as a Canteen Manager in Bombay Talkies,for which, later, he directed finest movies. Kanhaiyalal and Mirza Musharraf came here to become Lyricist, but ended as Comedians.
All such cases do not end happily. In most cases, the artiste has to make compromise with his fate. One such artiste was Music Director Jimmy, who came to films to make a career as a singer. He did not succeed as a singer, but having settled for a career of a Composer, here too he was not much successful. Today’s duet is sung by him.
Composer Jimmy is one of those little known composers who never got fame or name in spite of their Talents. His real name was JAMES SINGH. He was a Christian sikh from Ludhiana. He was educated in Delhi.He started his career in Hindi films as a singer in Chorus. He sang 7 songs in 6 films (Imandar-39, Baghi-39, Pyar-40, Anjaam-40, Jadoo Nagri-40, and Maaya Nagri-44). He could play many western instruments, especially all types of Guitars.When he failed as a singer, he became assistant to many composers. Finally, he got his chance to compose few songs for film ‘Muqaddar-50’, though with Khemchand Prakash and Bhola Shreshtha. He composed 2 duets of Asha and Kishore. The credit of composing the First ” Yodelling ” song of Kishore kumar goes to Jimmy. Kishore ‘yodelled ‘ first time in this film.
Jimmy then gave music to 14 more films like, Shrimatiji-52, Smuggler-59, Awara Shehzadi-56, Sher e Baghdad-57, Nek khatoon-59, Pathan-62, Miss chaalbaz-61, Tarzan and Gorilla-63, Duniya hai dilwalon ki-66, Pyar ki Baazi-67, Tarzan in fairy land-68, Aakhir-84, Khoon aur sazaa-86 and his last film, Sachhi Ibadat-1987. Inspite of giving sweet and melodious songs of a variety, Jimmy never came up to A class. He always remained a composer for C grade films. Anyway, as long as Kishore’s yodelling is heard,Jimmy’s name will be remembered. For singing,he used the name James Singh and as a Music Director he used Jimmy. (Like Chitalkar and C Ramchandra) .
The cast of film Baaghi-39 was Mehtab, Shamim, Amirbai karnataki (who sang as Amir jan), Anwari, Anil kumar (real name Sardar Gul), Ashraf Khan, Master Shiraz and many others. Actress Anwari, who acted in this film , was from a Tawayaf family of Lucknow. She started her acting career with film Heer Ranjha-32 opposite Rafiq Ghaznavi and then she acted in film Pooran Bhagat-1932, along with K L Saigal. She did the role of Rani Uchharan.
She joined East India Film co. and worked in films like Aurat ka pyar-33, Night Bird-34, Nagin-34 and Mumtaz Begum-34. She had also acted in another NT film Chandidas-34. She shifted her base to Bombay and worked in several films for next four decades. Her last film was Chaitali-1975. In all she did 140 films. She was known as ‘ Pride of Lucknow’ during her peak period. She was credited variously as Anwari Begum, Anwari, and Anwari bai.
Actress Anwari was the second wife of Rafiq Ghaznavi with whom she had a daughter, Zarina. Later, Zarina changed her name to Nasreen and worked in director A.R. Kardar’s movie, ‘Shah Jehan’ and Daud Chand’s movie, ‘Aik Roaz.’ Later Zarina married Liaqat Gul Agha, a rich Jeweller of Pakistan and they settled in London. She became Zarina Agha. Further, Zarina Agha’s daughter, Salma Agha, achieved great name and fame as a singing star. She expired somewhere in early 80s.
Anwari and Rafiq Ghaznavi were divorced (or separated) after Zarina/Nasreen’s birth, and Anwari then married a rich Hindu businessman named Jugal Kishore Mehra ( Maternal uncle-Mama- of Raj Kapoor). In order to marry Anwari, Jugal Kishore Mehra abandoned not only his family but also his religion; he became a Muslim and took the name Ahmed Salman. Since Anwari had a child, Jugal Kishore Mehra effectively became the father of the infant Zarina/Nasreen.
The most interesting name in the cast is that of Master Shiraz. He was one of the most popular and very famous Heros in the silent era. Like many others, when the Talkie era began, he too was relegated to the background and with great difficulty could get character roles in films. His first Talkie film was Mast Faqir-1934. He sang one song each in 2 films- Baghdad ka chor-34 and Chalta Purja-34. He continued doing roles in films.
During his good times, he had learnt the art of Massaging, as a Hobby and this became his last straw for survival. When film roles were not available, he used to roam about with his kit and do Massaging to earn a living. After doing about 26 films, till Naiya-47, he stopped getting credited in the cast. Now he worked as an extra.
He was last seen in film Guddi-1971- doing massage to Omprakash in one scene. In that film, Dharmendra tells Jaya Bhaduri (Guddi) that Master Shiraj was a star in silent film era. Director Hrishikesh Mukherjee ensured that Shiraj got his name in the film credits of Guddi-71.
Master Shiraj was just one of those unfortunate film artistes who spent their end-time in a very pathetic manner. Some other examples are- actor/singer Parshuram- died on road as a beggar, Singer Vatsala Kumthekar- died on road as a mad beggar,Wasti was seen begging near Liberty cinema and Rattanbai was seen begging near Haji Ali. There are many more such stories. The world of films is the most unpredictable and unless the artiste is wise to secure his future, there is no light at the end of the tunnel !
Today’s song is sung by Shamim and James Singh. The song is composed by Shanti Kumar Desai and is of average quality, but it has special importance as it is sung by James Singh, whose songs are not available much. With this song, film Baaghi -39 makes its Debut on the Blog.
( information used in this article is culled from various sources like Encyclopedia of Indian Films, Film Directory-46, The Lost Treasure by Kamlakar Pasupuleti, our beloved Pakistan by Anis Shukur, HFGK and my notes. Thanks to all)
Song-Tu Ban ka Raja tu ban ki raani (Baaghi)(1939) Singers- Shamim, James Singh, Lyricist- Gaurishankar Lal ‘Akhtar’, MD- Shanti Kumar Desai
Both
Lyrics
Tu ban ka Raja
tu ban ki Raani
Tu ban ka Raja
megha banke garje chaaron oar re
tu ban ki Raani
bijri ban ker chamke chaaron oar re
Tu ban ka Raja
megha banke garje chaaron oar re
tu ban ki Raani
bijri ban ker chamke chaaron oar re
main kaise tumhen rijhaaun
aur kya kya ban kar aaun
main kaise tumhen rijhaaun
aur kya kya ban kar aaun
main saagar ban kar dhoom dhaam se
chaaron taraf lahraaun
main sarita bankar us saagar ki dhaar se dhaar milaaun
main saagar ban kar dhoom dhaam se
chaaron taraf lahraaun
main sarita bankar us saagar ki dhaar se dhaar milaaun
main baadal ban ka
jhoom jhoom kar swaati jal barsaaun
main papeeha ban kar wo jal dhaara
pee ke amar ho jaaun
main baadal ban ka
jhoom jhoom kar swaati jal barsaaun
main papeeha ban kar wo jal dhaara
pee ke amar ho jaaun
ho ban ka raaja
ban ki raani
ham hain ban ke
raaja raani
ham hain ban ke raaja raani
Main duniya ki raani
Posted on: May 30, 2019
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.
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Today’s song is from film Ghar ki shobha-1944.
The history of Hindi Film Music (HFM) begins with the very first Talkie ” Alam Ara”-1931, in which there were 7 songs. Madan Theatres, Calcutta, Krishna Cinetone, Bombay and few other production houses were busy hectically in 1931, to release their First Talkie film, ahead of all others. Lucky Ardeshir Irani got the cake and released his film Alam Ara before all others and engraved his name in the history of Hindi and Indian talkies. Music and singing being an integral part of the Talkie films, many musicians were attracted to films. Stage and Drama musicians and some classical singers joined films and gave music in them. In those days, Film music was totally influenced by Gujarati, Parsee and Marathi stage and Drama music (Natya Sangeet). Probably no one ever imagined that there was a need for a different approach to Cine Music.
For the first 9-10 years of Hindi films, i.e. 1931 to almost 1940,there was virtually no change in the music pattern or the singing styles of songs in films. By the end of the 30s, playback technique was gaining a foothold. This system actually freed the Cinema from songs sung by film stars who were no singers at all ! Genuine, independent, non-star singers were now available to give playback. This was the case in the western India or Bombay made films. The Eastern centre of Hindi film making-Calcutta was strictly following Robindra Sangeet and Nazrul Geeti, adapted into Hindi film songs. They also used more pure Hindi words like Preet, Prem, Bandhan, Milan, Sangam, Vyatha etc to appeal to Hindi belt audience.
Beginning of the change came from the far off Lahore. Dalsukh Pancholi’s “Khazanchi”-41 introduced for the first time the Punjabi folk tunes music in the voice of a New singer SHAMSHAD BEGUM. The use of Dholak and Punjabi robust rhythm in songs was tried by the composer Master Ghulam Hyder. This path breaking,new type of Music was received by the audience with great joy and love, all over India. With this was ushered in the VIBRANT changes HFM was to undergo in the 5th decade,i.e. from 1941 to 1949.
This was also the time when the old batch of actors, singers and composers were slowly getting replaced by a newer crop of artistes. Phirozshah Mistry, Master Ali Baksh, Jaddanbai,Lallubhai Nayak, Pransukh Nayak, Brijlal Verma, Nagardas Nayak, Sunderdas Bhatiya, Govindrao Tembe, Keshvrao Bhole, Master Krishnarao Phulambrikar, master Mohammed, Jhande Khan, Rewashankar Marwadi, B S Hoogan, Meer Sahab, Damodar Sharma, Jhande Khan, Rewashankar Marwadi, S P Rane, Vithaldas Panchotiya, Annasaheb Mainkar, Dada Chandekar, Mushtaq Hussain, Master Chhaila etc were disappearing one by one.
A new set of composers and singers like Anil Biswas, Ashok Ghosh, C.Ramchandra, Ghulam Hyder, Sajjad Hussain, Naushad, K.Datta, Govind Ram, Pt. Amarnath, Husnalal Bhagatram, Khemchand Praksah,Khursheed Anwar, Nissar Bazmi, Vinod, A R Qureshi, Saraswati devi, Bulo c Rani, Gyan Dutt etc were taking over from the old guards.
These new entrants brought with them melodious tunes and music from Goa, UP, Rajasthan, Bengal, Maharashtra, Punjab, Kashmir etc and their experimentation truly enriched the HFM making it a genuinely All India music.
In the 40s, the HFM became absolutely VIBRANT. The new composers with new ideas and hard work tried to understand what the audience wanted. In other words,we can say that hitherto the film music was ” Sales Oriented ” (selling what you produce) till the 30s decade, but the 40’s music was ” Market oriented” (producing what the audience wants). Now, there was a fair and healthy competition and a wide variety in music. The composers too had new singers who were trained and had a singing voice and talent, unlike the earlier ‘Untrained forced singers’. Naushad Ali had once said,’’ The coming of Rafi and Lata liberated we composers from the painful task of making the ‘musically illiterate’ actors and actresses.” Thus Ashok kumar,Leela Chitnis and the likes of them were left alone to concentrate on their acting,while the trained singers sang for them.
New and exclusive playback singers like Amirbai, Zohrabai, Kalyanibai, Rajkumari Mohantara, Shamshad, lalita Deulkar, G M Durani, Rafi etc became popular. Actually, the lead actors now started deciding who should sing their songs. This paved the way for stars to become powerful in coming period.
Like Music, the type of cinema stories too started changing. The Fantasy, Stunt, Mythological, Historical, Religious and Costume dramas gave way to Love stories, Musicals. Family dramas, Comedy, Crime stories…so on and so forth. Overall, the cinema industry was going through a overhauling. However, the winds of Independence, after the world war put a brake to these changes. 1945 to 1950 was a period of turmoil and matters settled fully with the advent of the new decade of the 50’s.
In this change over, here was a film discussing the problems of a Happy Home. Ghar ki Shobha-1944 was a film which stressed the importance and need of the capable housewife who was an ” Adarsh” Bahu, Bibi, Mother and everything else the society needed !
The main players in this family drama were, Karan Dewan, Swarnalata, Jagdish Sethi, Dixit, Fazlu, Ramesh Saigal etc etc. The film was directed by Harshadrai Mehta- who became a well known director in Tamil films of Madras, later. Ramesh Saigal assisted him in direction. Harshadrai Sakerlal Mehta
was a Pioneer Hindi and Tamil director born in Mota, Bardoli Dist., Gujarat. Started as a painter, editor and cameraman at Kohinoor (1919), but made his début for Krishna Film (Ver Ni Vasulat). At Krishna he began his association with long-time partner and cameraman Luhar (e.g. Be Din Ni Badshahi, Amar Asha) making melodramas often starring the Anglo-Indian star Ermeline. Best-known film of this period is Janjirne Jankare, the much-acclaimed Rajput romance scripted and shot by Luhar. Made his most influential films with the famous Mehta- Luhar Prod. set up in 1931 with Bapubhai Desai and the informal support of the Sharda Studio. Made several Sharda-type stunt movies featuring e.g. Navinchandra. Moved to Coimbatore’s Premier Cinetone (1937) and made a number of Tamil films.
In Hindi films, there have been three actors who were very handsome and very lucky but zero in acting – Karan Dewan, Pradeep Kumar and Bharat Bhushan. They all appeared in leading roles opposite all leading actresses of their times. They had the best films, best songs and best roles. Karan Dewan had about 25 Silver Jubilees to his credit and was considered a lucky star. Bharat Bhushan had the most musical films to his credit like ‘Baiju Bawra’ (1952), ‘Shabaab’ (1954) and ‘Mirza Ghalib’ (1954) etc. Pradeep Kumar had ‘Anarkali’ (1953) and ‘Taj Mahal’ (1963).
All three had their brothers producing films for them. Gemini Dewan made films for Karan Dewan, R Chandra made films for Bharat Bhushan and Kalidas for Pradeep Kumar. Unfortunately, in later years, all three lost everything and died in poverty and neglectful anonymity. Karan Dewan was a manager with BR Chopra’s production company. When he died no one came for his funeral except for Chandrashekhar and Manmohan Krishan from the Cine Artist’s Association. Bharat Bhushan worked as a watchman in a film studio, in his last days. Even he died unsung and only the men from the Association were present at the cremation.
Pradeep Kumar’s case is the saddest. He lay seriously ill in the ICU of a Calcutta nursing home, abandoned by his relatives. The hospital was not discharging unless the bills were paid. Luckily one Mr. Pradeep Kondaliya, an estate agent, recognised him, despite his grown beard. He paid the huge outstanding bill of the hospital and took Pradeep Kumar to his home, where he passed away after a few days. He was cremated by his fan. Such is the film industry – cruel and ruthless, where the recognition lasts only till one is successful.
Dewan Karan Chopra aka Karan Dewan ( 6-11-1917 to 2-8-1979 ) youngest of three brothers was born at Gujranwala, Punjab (now in Pakistan), British India. He studied in Lahore, where he became interested in Journalism and started editing a film magazine in Urdu, Jagat Lakshmi. One of the local distributors he met was Tarachand Barjatya, who was then the Manager of Chandanmal Inder Kumar’s distribution office at Lahore. Through his connection with Barjatya he landed in Calcutta, and in 1939, made his acting debut as Puran in the Punjabi feature film Puran Bhagat
Dewan started his film career with the role of Puran in Puran Bhagat in Punjabi in 1939 in Calcutta. It was produced by Raisaheb Sukhlal Karnani and directed by Roop K. Shorey’s father R. L. Shorey. His second film Mera Maahi (1941) was also a Punjabi film, directed by Shankar Mehta at Lahore and starring Ragini and Manorama. This was the movie in which he sang songs for the first time in the movies under the baton of legendary music director Shyam Sunder. Later, in Rattan, he sang for the first time in Hindi movies for Naushad. B R Chopra, then working as a film journalist in Lahore, helped Karan Dewan to get in touch with Devika Rani, who invited Dewan to come to Bombay. When this did not helpDewan get films, he taught “Urdu pronunciation to actors and actresses”.
In 1944, Karan Dewan acted in Rattan, a musical romantic drama, directed by M. Sadiq, which became one of the most popular films of that year. “A tremendous hit”, it paired Dewan with Swarnalata. His decisive film was Rattan (1944), which was produced by his brother Jaimini Diwan, and this movie had turned out to be the biggest hit of 1944. He also sang songs in this movie under music director Naushad, and his song “Jab Tum Hi Chale Pardes” became popular. He sang in films such as Piya Ghar Aaja (1947), Mitti Ke Khiloune (1948) and Lahore (1949). His other important films were Zeenat (1945), Lahore (1949), Dahej (1950), Bahar (1951) and Teen Batti Char Rasta (1953). Known as a “jubilee star”, about twenty of his films are stated to have been jubilee (twenty-five weeks or more) hits.
Dewan married co-actress Manju in 1944 following the release of Rattan, in which she had a character role. By 1966, he was working as a casting agent for the film unit of Maya (1966). He continued to work in the 1960s and 1970s playing supporting parts in films such as Apna Ghar (1960), Shaheed(1965), Jeene Ki Raah (1969) and Nadaan (1971), with the last film in which he was credited being Sohanlal Kanwar’s Atmaram (1979).
He worked in 73 films and sang 18 songs in 9 films. He worked with all leading actresses of his times,including Noorjehan and Nargis. At the end of his career, however, he was down financially and had to work as a Manager with B R Chopra’s company. When he died, except two workers of Cine artistes association, no one else from Film industry was present.
Ustad Alla Rakha aka A R Qureshi ( 29-4-1919 to 3-2-2000) gave music to this film. Having started only in 1943 with Mahasati Anusuya, film Ghar ki shobha-44 was his only the second film as an MD. So his music sounds fresh. After you hear today’s song, you will agree with me. He gave music to 40 films, composing 356 songs. He also sang 14 songs in 7 films.
In the cast of this film, there was one fading actor – Dixit, from the Dixit and Ghori pair of that era. The projected themselves on the lines of Laurel and Hardy…Hardy being our Dixit. Later, Yaqub and Gope triede to project their image as Laurel and Hardy and still later Johar and Majnu tried to copy Bob Hope and Bing Crosby of Hindi cinema ! Let’s take a look at Dixit and Ghory- a very popular comedy pair of early cinema.
Manohar Janardhan Dixit was born on 12-11-1906 at Sinner in Nashik district,Maharashtra (Bombay state at that time.) His comedy career started with silent film ‘Sparkling youth’-1930. His first day of work in a film was 14-11-1929. He did 3 more silent films with Navjivan Films and then joined Ranjit studio. Here he met his mate Nazir Ahmed Ghori,born on 11-8-1901 at Bombay.He was the senior of the two,having started in 1927. He worked till 1931 in silent films of various companies and then joined Ranjit studio in 1931 Here too he did 4 silent films.
He paired with Dixit first time in Char Chakram-1932,directed by Jayant Desai.The film was a terrific hit and the pair did many films together like, Bhutio mahal,Do badmash,Bhola shikar,Bhool bhulaiya,Vishwamohini,nadira etc. They worked together till 1947,doing solo films also in between. Unfortunately none of their films have survived and we know about their acting only through Photographs,interviews and articles. However Dixit’s solo films like Pehle aap-44,Jeevan yatra-46,Aap ki sewa mein-47 and Pugree-47 are still available.In film Pugree,his name was Ramu kaka and the very fat Dixit (222 pounds) carried the world’s smallest dog-Chikoo in the film.Later comedian Omprakash did this role in the remake of the film in Dil Daulat Duniya-1972.
Dixit acted in 66 Talkie films and 8 silent films in 17 years. He died on 29-6-1949 due to a massive heart attack. His partner Ghori migrated to Pakistan and did 8 films there till 1960, without much success. He died on 9-12-1977 at Karachi.
Today’s song is sung by Rajkumari. Note the type of music and tune. With this song, film Ghar ki Shobha-44 makes its Debut on the Blog.
Song-Main duniya ki raani (Ghar Ki Shobha)(1944) Singer- Rajkumari, Lyrics- Roopbani, MD- Alla Rakha Qureshi
unknown male voice
Lyrics
Main duniya ki raani
laalalalaalaalala
duniya ki raani
Main duniya ki raani
laalalalaalaalala
duniya ki raani
firti hoon mauj manaati
firti hoon mauj manaati
chhed chhaad se dil behlaati
chhed chhaad se dil behlaati
karti hoon main manmaani
karti hoon main manmaani
Main duniya ki raani
laalalalaalaalala
duniya ki raani
Main duniya ki raani
laalalalaalaalala
duniya ki raani
main ?? kheloon
saagar se geet bakheroon(?)
main ?? kheloon
saagar se geet bakheroon(?)
aazaadi ki deewaani
aazaadi ki deewaani
Main duniya ki raani
laalalalaalaalala
duniya ki raani
Main duniya ki raani
laalalalaalaalala
duniya ki raani
meri laila jaisi aankhen
meri laila jaisi aankhen
sab majnu ban kar jhaanken
sab majnu ban kar jhaanken
zulfen to mast jawaani
zulfen to mast jawaani
Main duniya ki raani
laalalalaalaalala
duniya ki raani
Main duniya ki raani
laalalalaalaalala
duniya ki raani
?? kar pankh hilaati
bhanwron ko paas bulaati
?? kar pankh hilaati
bhanwron ko paas bulaati
patthar dil kar doon paani
patthar dil kar doon paani
haay haay laila
Main duniya ki raani
laalalalaalaalala
duniya ki raani
Main duniya ki raani
laalalalaalaalala
duniya ki raani
- In: "Raani" song | "Raja" song | Blog ten year challenge (2009-2019) | Devnagri script lyrics by Sudhir | expression of love | Feelings of heart | Guest posts | Lata solo | Lata song | Love song | Lyrics contributed by readers | Post by Sudhir | Romantic song | Seduction song | Songs of 1970s (1971 to 1980) | Songs of 1972 | 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 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 : | 3882 | Post No. : | 14908 |
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Blog 10-Year Challenge (2009-19) – Song No. 11
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5th March, 2009. As many as nine song posted on that day. Of course, from 9 different films. And guess what, over the years, eight of these films have been yippeee’d already. The films are
- ‘Shahjehaan’ from 1946,
- ‘Munim ji’ from 1955,
- ‘Kaala Pani’ from 1958,
- ‘Goonj Uthi Shehna’ from 1959,
- ‘Umar Qaid’ from 1961,
- ‘Bin Baadal Barsaat’ and ‘Tere Ghar Ke Saamne’ from 1963,
- and then ‘Anubhav’ from 1971,
- and lastly ‘Raja Jaani’ from 1972.
Except for the last listed film above, all the other eight films that appeared on that day have all their songs posted here. And so the only option left to present a 10 year challenge post is a song from ‘Raja Jaani’ from 1972.
The song I present today is performed on screen by Hema Malini, as she is making efforts to woo and evoke the interest in the mind of a reluctant hero – Dharmendra. It was a time when the real life romance of Hema Malini and Dharmendra was just taking off and was coming in the notice of the media and the public. It is speculative to say whether such a real life situation adds to the reel performances. 🙂
The songs of this film are written by Anand Bakshi, and the music is by Laxmikant Pyaarelal. The singing voice is that of Lata Mangeshkar. The performance gets quite close to the category of a ‘seduction’ song.
‘Reel-life’ or ‘Real-life’ – I leave it up to the readers to judge. 😉
Audio
Video
Song – Aa Aa Ja, Aa Jaa, Kuchh Keh Jaa, Kuchh Sun Jaa (Raja Jaani) (1972) Singer – Lata Mangeshkar, Lyrics – Anand Bakshi, MD – Laxmikant Pyaarelal
Lyrics
aa aa
aa aa
aa aa ja aa ja
kuchh keh ja kuchh sun ja
aa aa ja aa ja
kuchh keh ja kuchh sun ja
door door kyon rehta hai
apni rani se raja
door door kyon rehta hai
apni rani se raja
aa aa ja aa ja
kuchh keh ja kuchh sun ja
angdaai..ee..ee
yun li hai armaanon ne
dil loota is dil ke mehmaanon ne
angdaai yun li hai armaanon ne
dil loota is dil ke mehmaanon ne
dil se dil tu na mila
aa aankhen to mila ja
aa aa aa ja aa ja
kuchh keh ja kuchh sun ja
aa aa ja aa ja
kuchh keh ja kuchh sun ja
sapnon ki..ee..ee
duniya mein kho jaaungi
aa sajna varna main so jaaungi
sapnon ki duniya mein kho jaaungi
aa sajna varna main so jaaungi
neend se pehle tu aa ke
in nainon mein sama ja
aa aa aa ja aa ja
kuchh keh ja kuchh sun ja
aa aa ja aa ja
kuchh keh ja kuchh sun ja
door door kyon rehta hai
apni rani se raja
aa aa aa ja aa ja
kuchh keh ja kuchh sun ja
aa aa ja aa ja
kuchh keh ja kuchh sun ja
mmmm hmmmm aa ja
kuchh keh ja kuchh sun ja
———————————————————-
Hindi script lyrics (Provided by Sudhir)
———————————————————-
आ आ
आ आ
आ आ जा आ जा
कुछ कह जा कुछ सुन जा
आ आ जा आ जा
कुछ कह जा कुछ सुन जा
दूर दूर क्यों रहता है
अपनी रानी से राजा
आ आ जा आ जा
कुछ कह जा कुछ सुन जा
अंगड़ाई॰॰ई॰॰ई
यूं ली है अरमानों ने
दिल लूटा इस दिल के मेहमानों ने
अंगड़ाई यूं ली है अरमानों ने
दिल लूटा इस दिल के मेहमानों ने
दिल से दिल तू ना मिला
आ आँखें तो मिला जा
आ आ आ जा आ जा
कुछ कह जा कुछ सुन जा
सपनों की॰॰ई॰॰ई
दुनिया में खो जाऊँगी
आ सजना वरना मैं सो जाऊँगी
सपनों की दुनिया में खो जाऊँगी
आ सजना वरना मैं सो जाऊँगी
नींद से पहले तू आ के
इन आँखों में समा जा
आ आ जा आ जा
कुछ कह जा कुछ सुन जा
आ आ जा आ जा
कुछ कह जा कुछ सुन जा
दूर दूर क्यों रहता है
अपनी रानी से राजा
आ आ जा आ जा
कुछ कह जा कुछ सुन जा
आ आ जा आ जा
कुछ कह जा कुछ सुन जा
म्मममम हम्मममम आ जा
कुछ कह जा कुछ सुन जा
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 : | 3611 | Post No. : | 14404 |
“Bezubaan”(1962) was directed by Ram Kamlani for Gope Productions, Bombay. The movie had Ashok Kumar, Nirupa Roy, David, Helen, Vishwa Mehra, Shammi, Ishwar Lal, Paro, Jamal, Genius, Umesh Sharma, Ramesh Rai, Baby Anita, Kathana, Prem Sagar, Rammurti, Hamid, Majnu etc in it.
The movie had six songs in it. Two of these songs have been covered in the past.
Here is the third song from “Bezubaan”(1962) to appear in the blog. This song is sung by Lata. Prem Dhawan is the lyricist. Music is composed by Chitragupta.
Picturisation shows Nirupa Roy with Baby Anita, who have been thrown out of home by Ashok Kumar. The kid, too young to realise what is going on, wonders why her father is not with them. Nirupa Roy tries to put the kid to sleep by singing this “story” song which also doubles up as a lullaby.
Audio
Video
Song-Ek thha raaja ek thhi raani ek thha raajkumaar (Bezubaan)(1962) Singer-Lata, Lyrics-Prem Dhawan, MD-Chitragupta
Lyrics
hmm hmm hmm
hmm hmm hmm
ek thha raaja
ek thhi raani ek thha raajkumaar
pyaar bhari thhi duniya unki
sukh se bhara ghar baar
raaja ke man me ik din jaane kaisa lobh samaaya
bhool gaya wo pyaar ke naate
dekh ke jhoothi maaya
raaja nikla desh paraaye
laane heere moti
tab se pukaare saanjh sakhaare
raani roti roti
aaja re aaja
pardesi raaja
munna tujhko bulaaye
ro ro ke haari raani bechaari
munne ko neend na aaye
mujhse to tum roothhe sahi
bhoole ho munne ka pyaar kya
mujhse to tum roothhe sahi
bhoole ho munne ka pyaar kya
pahunchi nahin kaanon talak
nanhe si dil ki pukaar kya
aaja re aaja
pardesi raaja
munna tujhko bulaaye
ro ro ke haari raani bechaari
munne ko neend na aaye
kehta hai dil
aaoge tum
sone ki nagri ke paar se
kehta hai dil
aaoge tum
sone ki nagri ke paar se
hoti nahin daulat badi
sacche dilon ke pyaar se
aaja re aaja
pardesi raaja
munna tujhko bulaaye
ro ro ke haari raani bechaari
munne ko neend na aaye
Chalo chalo raani karo na manmaani
Posted on: April 14, 2017
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.
“Sau Ka Note”(1955) was produced by Ram Singh and directed by Yashwant Pethkar for R S Films, Bombay. This “social” movie had Geeta Bali, Karan dewan, Begam Para, ram Singh, Krishnakumari, Manorama, Sundar, Leela Mishra, Sulochna, Narbada Shankar, Lotan, Bango etc. Then there were gust appaerances by Zabeen, Chaand Usmani, Tiwari, Bard Prasad, Smriti Biswas, Ranjit Kumari, Vivek, Dhumal, Rajan, Naaz Chandabai, Mohana, Chitra and Johny Walker.
Read more on this topic…
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