Archive for the ‘Rafi songs’ Category
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 : | 4129 | Post No. : | 15287 |
Today’s song is from a Musically Iconic film Bazaar-1949.
The film was made by Madhukar Pictures. It was based on a story by K.Amarnath, who also directed this film.The 16 songs of the film were written by Qamal Jalalabadi and the Music Director was Shyam Sundar- one of my favourite composers in Hindi.
1949 was the best year in the Golden Era of HFM. There were so many films offering evergreen, out of this world songs, that the audience did not know which film to see and which song to be heard. The sale of records registered a Record of Sales in 1949. 157 films were made in 1949. Barring the figure of 181 films in 1947 ( we know the reasons), 1949 produced the maximum films from 1931 to 1984 – a period of 50++ years. What’s more, almost every alternate film gave superb songs. Nearly every Music Director of Hindi films was present in 1949, with his film.
This was also a transition period, when older composers were giving way to newer ones. Additionally, the competition between Naushad and C Ramchandra for the Number One position was on its peak. Though CR is my favourite composer, during the period 47 to 49, it was all the way Naushad who was the undisputed Numero Uno as far as quality and number of hit films were concerned. Here is a chart…
| composer | Year | Number of films | Hit films |
|---|---|---|---|
| C Ramchandra | 1947 | 8 | |
| 1948 | 3 | ||
| 1949 | 7 | ||
| Total | 18 | 4 | |
| Naushad | 1947 | 2 | |
| 1948 | 3 | ||
| 1949 | 4 | ||
| Total | 9 | 8 |
In this period Naushad’s strike rate of Hit films was more than double, compared to C Ramchandra percentagewise.
The year 1949 had absolutely heavenly showers of Musical Films. Some of such films were Andaz, Badi Behan, Barsaat, Bazaar, Dulari, Jeet, Apna Desh, Chandni Raat, Chaar Din, Sunehre Din, Shayar, Dillagi, Ek thi ladki, Kaneez, Laadli, Lahore, Mahal, Namoona, Patanga etc etc. The year 1949 also witnessed the introduction of A and U Censor certificates, the establishment of Films Division, the start of Navketan productions of Anand brothers and few other landmarks in Hindi film industry.
The cast of bazaar -49 was Nigar Sultana, Shyam, Gope, Cuckoo, Badri prasad, Yakub etc etc. Shyam was a very handsome actor. However, just like Ashok kumar, he too was first rejected in the screen test by Bombay Talkies. In the case of Ashok kumar, this rejection was overruled by Himanshu Rai- owner of Bombay Talkies and he became a Hero immediately. In case of Shyam, he had to wait for some more time.
Sunder Shyam Chadda (20 February 1920 – 25 April 1951) was born in Sialkot, now in Pakistan on February 20, 1920. Shyam’s grand father was a village Patwari, while his father worked as a store keeper with the Indian medical Service. So the young Shyam had to keep moving with his father in different cantonment towns of Punjab. A graduate from the Punjab University Shyam had a great fascination for films right from early childhood. It was Shyam’s uncle, late Tarachand Chadha, a subedar with the British Army who convinced Shyam’s father to allow Shyam to join the film line. Shyam came to Poona and worked with Prabhat cinema and stayed in lane no-9 Prabhat road in Adhar Bungalow.
In 1941 Shyam was called for a screen test by Bombay Talkies but met with no success. Determined to work in films, he took up the job of assistant director to JK Nanda and appeared in a Punjabi picture from Lahore. Shyam’s first film was Mann ka meet-44. Saigal’s death in 1947 created a void in the film world which was soon filled up by one of the leading heroes of those times, Ashok Kumar. Shyam ruled the world of celluloid from 1948 and 1951, when he was killed in a tragic accident.
With super hits like Dillagi, Patanga, Kaneej, Samadhi, Man Ka Meet and Shabistan under his belt, Shyam had scaled dizzying heights of super stardom in his late 20s. He was a true achiever in every sense of the word.
After Dillagi, in which he stared opposite Suraiya, which was released in 1949, he shot to stardom with the popular song Tu Mera Chand Mai Teri Chandni, a rage in those days.( this song was sung by singer Shyam kumar and not by actor Shyam)
He married a Muslim, Mumtaz Qureshi (nickname “Taji”), with whom he had a daughter, Pakistani TV actress Sahira Kazmi, married to actor Rahat Kazmi, and a son named Shakir (born two months after his death), a psychiatrist based in UK. His wife migrated to Lahore, Pakistan, after his premature death in 1951, along with her elder sister, Zeb Qureshi, who was an actress in Bombay. Mumtaz later married a gentleman, Ansari after Shyam’s death.
He acted with Munawar Sulltana in many films like Kaneez and Majboor. A highly educated person, Shyam wrote an article for Blitz, a leading film magazine of those times on his favourite heroines. He was a close personal friend of Saadat Hasan Manto and was the inspiration of many of his stories. Even after partition, their bond of friendship endured.
He died after a nasty fall from horseback, at the young age of 30 when destiny snuffed the life out of this versatile actor. It was an ill-fated day when he was shooting for Filimistan’s Shabistan directed by Vibhuti Mitra at Ghodbunder road near Borivali when the reins of the horse slipped from Shyam’s hand. He was thrown off the horse and received major injuries on his head and was rushed to the Bombay Hospital where he succumbed to his wounds.
Fans from all over thronged to pay their respects to their loved hero at the Sonapur crematorium at the Bombay Kings road.
Even the BMC (Bombay Municipal Corporation) named the place where Shyam stayed in Chembur as Shyam Park. Though younger than Ashok Kumar , he played roles of the latter’s elder brother. After Ashok Kumar, Dilip Kumar, Raj Kapoor and Dev Anand , Shyam and Rehman are remembered most for their contribution to the field of Hindi cinema.
Shyam is incidentally survived by Younger brother, Harbans Chadha. Shyam was fond of his daughter Sahera but he did not live long to see his son, who was born a couple of month after his death. His son Shakir, who now lives in Pakistan with his mother Taji, who had migrated there after partition.
Filmography of Shyam’s films as a lead hero:
1948-Majboor,Shikayat,Bazaar,Chandani Raat,
1949- Char Din, Dada, Dillagi, Kaneez, Naach, Patanga, Raat Ki Rani,
1950- Choti Bhabiu, Meena Bazaar, Nirdosh, Samadhi, Sangeeta, Suraj Mukhi, Wafa , Kale Badal,
1951- Shabistan
Shyam acted in 24 films, in all.
There are many versions of how Shyam died during the shooting. However , here is the report from an eye witness, who was present there on that day and this happened before his eyes. The horse Shyam rode, was owned by him.
Jimmy Bharucha, one of the best Horse Trainers in India, had himself been trained in foreign countries. He had opened a Horse Training School in Poona. Yesteryear actor SHYAM was one of his earliest students. For all his films, Shyam used the same horse from Bharucha. Actor Shyam had died while doing a stunt for film Shabistan-51.
Whenever he talked about Shyam, Bharucha got emotional. The truth about Shyam’s death….
That fateful day, Shyam was in a very cheerful mood. He joked with other artists as usual. The film was SHABISTAN. He had to do a stunt scene on a horse. His double was kept ready. However Shyam insisted on doing that dangerous shot himself that day. The scene started and was also completed successfully. There was a round of applauding claps.
Shyam was getting down from the horse and suddenly,the horse started running. Shyam’s foot got stuck in the stirr-up and he was dragged some distance before people ran and stopped the horse. Shyam was unconscious. He was immediately taken to the hospital, but he died-with his make up and costume still on him ! ( from an article by Vasant Bhalekar in book ‘Ruperi Smaran Yatra’ by Prof. Subhash Savarkar and article ‘Anipals’ by Mala Doshi ).
Film Bazaar was released on 4-3-1949 at Excelsior Cinema in Bombay. The Film India magazine of May 1949 had published a review of this film. Once for a change, Baburao Patel had good words about a film and its music. The story of the film, as outlined in this review is this…
An impecunious poet, Parwana (Shyam), runs away from home in company with his pal Jagu (Gope) to join a theatrical company. On the way, they come across a gypsy camp and Jagu succeeds in picking up Koel (Cuckoo), a gypsy dancer, as his sweetheart. Parwana and Jagu soon cross swords with Khanna ( Yakub) of Khanna Theatres, whose main attraction is Bijli ( NIgar Sultana), a beautiful and temperamental dancer. Bijli is attracted by Parwana’s poetry and physique and we soon see Parwana, Jagu and Koel working in Khanna Theatres.
Parwana and Bijli begin to love each other and Khanna doesn’t like the look of things, being himself in love with Bijli. Things soon reach a show-down stage and Bijli walks out of Khanna Theatres arm-in-arm with Parwana and his stooges. The new team tries to start its own theatre business, but the love-stricken Khanna becomes vindictive and with his influence and money hounds them out from place to place till Parwana and Bijli are ruined and heartbroken. In a desperate attempt to save Parwana’s poetic soul, Bijli, sacrificing her love for him, compromises matters with Khanna, who helps to put Parwana on the stage once again. But, Parwana needs more than mere success to feel happy and very soon he returns heartbroken to his parental home, a sadder but wiser man.Now Parwana dedicates himself to national service and we soon come to the climax, in which Khanna, realizing the intensity of Bijli’s love for Parwana, gracefully gives her up and all rush to a public meeting for their individual professions and confessions. Evidently, anyplace seems to be good enough for the Punjabis to vomit their love and a large crowd does not deter Bijli from vomiting her love for Parwana on a public platform. It ends well.
Film Bazaar was remade as ‘Naya Andaz-1956’ starring Kishore kumar and Meena kumari . This film also had excellent music by O P Nayyar. Interestingly, this film also was directed by same K.Amarnath only.
Film Bazaar-49 had 16 songs. 14 are already discussed here. Today’s song is the 15th song.( I am surprised how this song remained uncovered so long. May be my good luck !) . The only song now remains to be covered is ” Nazar se mil jayegi nazar”. HFGK is silent about its singer, but also has a note that this song was removed from the film. This song’s record number is also not given, leading to a guess that, may be this song, having been removed from film, was not made into a record. In that case, today’s song is the last song of this film to be covered. Worth thinking.
Song- Maang raha hai Hindustan Roti Kapda aur Makaan (Baazaar)(1949) Singer- Mohd. Rafi, Lyricist- Qamar Jalalabadi, MD- Shyamsunder
Chorus
Lyrics
watan ki raah mein jo moti lutaaye jaate hain aen
to motiyon se jawaahar banaaye jaate hain aen
tu dekh Dilli mein jaa kar samaadh Baapu ki
ke is pe phool nahin
dil chadhaaye jaate hain
maang raha hai Hindustan
Roti kapda aur makaan
Roti kapda
Roti kapda aur makaan
maang raha hai
millon mein jaao aur dekho
millon mein jaao aur dekho
kya hai Hindustan
dekh ke bangle mein raunaq
dekh ke bangle mein raunaq
mazdoor ka ghar veeraan aan
maang raha hai Hindustan
Roti kapda aur makaan
Roti kapda
Roti kapda aur makaan
maang raha hai
kheton mein jaao aur dekho
kya hai Hindustan
kheton mein jaao aur dekho
kya hai Hindustan
zameendaar ke bhare hain kothe
zameendaar ke bhare hain kothe
bhookhha mare kisaan
maang raha hai Hindustan
Roti kapda aur makaan
Roti kapda
Roti kapda aur makaan
maang raha hai
mehlon mein jaao aur dekho
mehlon mein jaao aur dekho
daawat ka saamaan
neeche raste par soya hai
neeche raste par soya hai
ik bhookha insaan aan
maang raha hai Hindustan
Roti kapda aur makaan
Roti kapda
Roti kapda aur makaan
maang raha hai
Hindustan ko aaj banaa den
aisa Hindustan
sab ko mile roti kapda
sab ko mile makaan
- In: Amitabh Bachchan songs | Amitabh Bachchan songs by Kishore Kumar | Asha Bhonsle songs | Devnagri script lyrics by nahm | expression of love | Feelings of heart | Guest posts | Kishore Kumar songs | Lyrics contributed by readers | Post by nahm | Rafi songs | Song sung by three or more singers | Songs of 1970s (1971 to 1980) | Songs of 1980 | Usha Mangeshkar songs | Yearwise breakup of songs
- 9 Comments
This article is written by nahm, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 4102 | Post No. : | 15251 |
Amitabh Bachhchan, the star of the Millennium, was born in the than Allahabad (which is the English name of city named Ilahbad in Urdu) on 11.10.1942. His given name is Inquilab Srivastava, as per Wikipedia. This is a surprise for me and surely for many people, as a never heard fact. Also has the distinction of acting as the hero in the film ‘Inquilab’ not named after him :-). His father did name him after the slogan of freedom movement “Inquilab Zindabad”. I have never heard of anyone named ‘inquilab’, but have a friend named ‘Kranti’ which is the same thing with change in language only.
So, on 11.10.2019, he is celebrating 77th birthday as the most celebrated star actor and film personality. The Government of India honoured him with the Padma Shree in 1984, the Padma Bhushan in 2001 and the Padma Vibhushan in 2015 The Government of France honoured him with its highest civilian honour, “Knight of the Legion of Honour”, in 2007 for his exceptional career in the world of cinema and beyond. As per Wikipedia page again, he has won 15 filmfare awards, the most nominated actor with 41 nominations so far and still counting.
His achievements include 4 national awards and Dada Saheb Phalke award for “Lifetime Achievement”.
Luckily, I had the lyrics of this song from the film “Shaan” (1980) ready to present as the birthday celebration post. I said in my reply to Peevecie’s Mom’s comments on this post that BEST buses is a topic of another post. I had this song in mind, most of which is picturized on a BEST double decker bus. “BEST” was formerly Bombay Electricity Supply and Transport, now it is renamed as ‘Brihan Mumbai Electricity Supply and Transport”. My father has been saying this to us right from the beginning that though BEST’s face are the buses which have been the more reliable lifeline of Bombay since almost a century now, its main business and source of income is the electricity supply to the city areas.
If I have to write about the BEST than the story has to start with my father. It is in family folklore that my father had after completing engineering had the option of coming to Mumbai (than Bombay) or to go to Lucknow to join the Railways. This was in the early 60’s, and Bombay was a known place of people in the family, who used to visit it for business purposes also. Also my mother’s ‘Maternal uncle’ had studied in Grant Medical College in the 40’s and everyone was familiar with the city. There was a job in hand in Lucknow, which is an unknown place, nobody in the family had ever been and far away from Belgaum. The family was in favour of Bombay as my father’s sister was already staying here at Kalyan. The decision was left to my father’s youngest sister, who voted in favour of Bambai. So he came to Bombay and joined BEST as a “foreman” trainee. There is a lot more I want to write about my father’s journey (most of it is related to BEST), but will save it for another post. Sometimes I do wonder, if he had gone to Lucknow instead of coming to Mumbai, how different the things would have turned out. I envy the people who have spent their formative years in Lucknow(met a few in my working life), their diction of Urdu language. Some of them, though convent educated did speak a fluent form of spoken khari boli which is closer in diction and grammar to the Urdu that our teachers taught us, compared to my own, the so called Urdu medium product, with our typical bambaiyya dialect. More of the royal ‘aap’ and ‘hum’ in the conversations of people of my generations who spent years in Lucknow, or thereabouts, even as far as some northern cities of Madhya Pradesh.
Will go back to Amitabh Bachchan for now. The first movie I am aware of watching in the theatre is “Do aur do Paanch”, with a similar star cast of Amitabh, Shashi Kapoor and Parween Babi, similar to ‘Shaan’ I mean. Incidently both these films were released in the same year. But we all saw “Do aur do paanch” at Belgaum during summer vacations, whereas “Shaan” was seen in Mumbai. Thereafter, Amitabh Bachchan movies were seen regularly, with the whole family. The movies of before 1980 are all seen on TV, but the movies after 1980, including “Silsila”, “Kaalia”, “Namak Halaal”, ‘Naseeb”,”KhudgarzKhuddaar”, “bemisaal”, ‘Laawaris” etc. I remember watching in theatre.
My personal favorite Amitabh films are not the comic or multistarrers, but his solo films like ‘Zanjeer’, ‘Bemisaal”, ‘Kaalia”, “Abhimaan” ‘Anand’ etc. Among the films of the new millennia, I have seen a few, but missed most of them. He is without doubt the longest running superstar of the hindi film industry.
So here in this song there are four singers, Kishore Kumar for Amitabh Bachchan, Mohammed Rafi for Shashi Kapoor, Asha Bhosle for Parveen Babi and Usha Mangeshkar for Bindiya Goswami. Anand Bakshi is the lyricist and is composed by R. D. Burman.
The film is ‘Shaan’(1980), also mentioned in para 4 above.
Song-Jaanu meri jaan main tere qurbaan (Shaan)(1980) Singers-Kishore Kumar, Mohammed Rafi, Asha Bhosle, Usha Mangeshkar, Lyrics-Anand Bakshi, MD-R D Burman
Asha Bhoonsle + Usha Mangeshkar
All
Lyrics
Jaanu meri jaan
main tere qurbaan
Jaanu meri jaan
main tere qurbaan
arrey main tera tu meri
jaanu saara hindustaan
main tera tu meri
jaane saaraa hindustaan
Jaanu meri jaan
main tere qurbaan
Jaanu meri jaan
main tere qurbaan
arrey main tera tu meri
jaane saara hindustaan
main tera tu meri
jaane saaraa hindustaan
nazron se na tol mujhe
dil se kaam le
tu jis ki wo tere bin
kyon kisi ka naam le
arre nazron se na tol mujhe
dil se kaam le
tu jis ki wo tere bin
kyun kisi ka naam le
Jaanu meri jaan
main tere qurbaan
O Jaanu meri jaan
main tere qurbaan
arrey main tera tu meri
jaane saara hindustaan
main tera tu meri
jaane saaraa hindustaan
ha aha ha haan haan ha
hey ae ae
ae ae aaaaa
ae ae ae
oo ooo oooooo
chhoti si ik baat bani
baat se daastaan
bhool ke sab baaten hans de
hai yahi pyaar ki shaan
chhoti si ik baat bani
baat se daastaan
bhool ke sab baaten hans de
hai yahi pyaar ki shaan
jaanu meri jaan
main tere qurbaan
o jaanu meri jaan
main tere qurbaan
tu mera main teri
jaane saaraa hindustaan
tu mera
main teri
jaane saaraa hindustaan
arrey Jaanu meri jaan
main tere qurbaan
Jaanu meri jaan
main tere qurbaan
Hoy main tera tu meri
jaane saara hindustaan
tu meraa main teri
jaane saaraa hindustaan
————————————-
Devnagri script lyrics (Provided by nahm)
————————————-
जानु मेरी जान
मैं तेरे क़ुरबान
जानु मेरी जान
मैं तेरे क़ुरबान
अरे मैं तेरा तू मेरी
जाने सारा हिंदुस्तान
मैं तेरा तू मेरी
जाने सारा हिंदुस्तान
जानु मेरी जान
मैं तेरे क़ुरबान
जानु मेरी जान
मैं तेरे क़ुरबान
अरे मैं तेरा तू मेरी
जाने सारा हिंदुस्तान
मैं तेरा तू मेरी
जाने सारा हिंदुस्तान
नज़रों से न तोल मुझे
दिल से काम ले
तू जिस की वो तेरे बिन
क्यूँ किसी का नाम ले
नज़रों से न तोल मुझे
दिल से काम ले
तू जिस की वो तेरे बिन
क्यूँ किसी का नाम ले
जानु मेरी जान
मैं तेरे क़ुरबान
जानु मेरी जान
मैं तेरे क़ुरबान
अरे मैं तेरा तू मेरी
जाने सारा हिंदुस्तान
मैं तेरा तू मेरी
जाने सारा हिंदुस्तान
हा हा हा ह आहा हा
हे ए ए
हो हो हो हो
ओ ओ ओ ओ
छोटी सी इक बात बनी
बात से दास्तां
भूल के सब बाते हंस दे
है यही प्यार की शान
छोटी सी इक बात बनी
बात से दास्तां
भूल के सब बातें हंस दे
है यही प्यार की शान
जानु मेरी जान
मैं तेरे क़ुरबान
जानु मेरी जान
मैं तेरे क़ुरबान
तू मेरा मैं तेरी
जाने सारा हिंदुस्तान
तू मेरा
मैं तेरी
जाने सारा हिंदुस्तान
जानु मेरी जान
मैं तेरे क़ुरबान
जानु मेरी जान
मैं तेरे क़ुरबान
हो मैं तेरा तू मेरी
जाने सारा हिंदुस्तान
मैं तेरा तू मेरी
जाने सारा हिंदुस्तान
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 : | 4078 | Post No. : | 15216 |
“Chandu”(1958) was directed by Manju (Harold Lewis) for N R Productions, Bombay. The movie had Daljit, Meena, Shasikala, Pran, Gulab, Gope, Sunder, Om Prakash, Mehmood, Harun, Satish Batra etc.
The movie had six songs in it. One song has been covered in the past.
Here is the second song from “Chandu”(1958) to appear in the blog. This song is sung by Rafi and Geeta Dutt. Raja Mehdi Ali Khan is the lyricist. Music is composed by Bipin Baabul.
Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of the song.
Song-Gore gore gaalon pe kaala ye til (Chandu)(1958) Singers-Rafi, Geeta Dutt, Lyrics-Raja Mehdi Ali Khan, MD-Bipin Babul
Both
Lyrics
aa ha ha ha
gore gore gaalon pe kaala ye til
kaala til
haaye mera dil
gore gore gaalon pe kaala ye til
kaala til
haaye mera dil
ha ha ha
ha ha ha
ankhiyon mein pyaar kare
jhilmil jhilmil
jhilmil jhilmil
haaye mera dil
ek do teen chaar paanch chhe saat aath
ginta rahe
tere liye ho jiya tere liye
nau das gyaarah baarah terah chaudah
pandarah solha
ginti rahoon
tere liye o piya tere liye
hoy ginti na gino madam
aa mujhse mil
aa mujhse mil
haaye mera dil
ha ha
aa ha ha
ha ha ha
ankhiyon mein pyaar kare
jhilmil jhilmil
jhilmil jhilmil
haaye mera dil
taaron ki chhaanv mein tere liye
chanda ke sang sang jaaga karoon
raaton ko jungle mein tere liye
majnu main ban ke ho bhaaga karoon
kisne kiya hai mera jeena mushqil
maine
haan
maine kiya hai tera jeena mushqil
jeena mushqil
haaye mera dil
aa ha ha
aa ha ha
ankhiyon mein pyaar kare
jhilmil jhilmil
jhilmil jhilmil
haaye mera dil
dil ki tijori se daulat luta
mere liye ho billo mere liye
haan samjhe na waah haan
daulat ko sadkon pe doongi bichha
tere liye ho ballo tere liye
seene pe rakh mere sone ki sil
sone ki sil
haaye mera dil
aa ha ha
ha ha ha
ankhiyon mein pyaar kare
jhilmil jhilmil
jhilmil jhilmil
haaye mera dil
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog.This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4075 | Post No. : | 15213 | Movie Count : |
4182 |
It is a well-known fact that Shailendra wrote maximum number of songs for the music director, Shankar-Jaikishan (around 365 songs) out of about 750 songs he wrote during his life time. The second in line among music directors was Salil Chowdhury for whom Shailendra wrote around 105 songs. The third place was taken by S D Burman for whom he wrote around 70 songs. There were others music directors for whom he wrote songs albeit in comparatively lesser numbers. They were Roshan, S N Tripathi, Hemant Kumar, Anil Biswas, C Ramchandra, Ravi, Dattaram, and Kishore Kumar.
With major chunk of Shailendra’s songs (around 90% his total songs) written for the music directors listed above, I was curious to know as who were the other music directors to whom Shailendra wrote songs probably for one or two films. I traced almost all ‘other’ music directors. They were Basant Prakash (‘Badnam’ 1952), Manohar Arora (‘Chingaari’, 1955), Mukul Roy (‘Sailaab’ 1956 and ‘Detective’ 1958), Jimmy (Shrimatiji, 1952), Ninu Mazumdar (‘Bhai Saheb’, 1954), Sardul Kwatra (‘Pilpli Saheb, 1954 and ‘Tis Maar Khan’, 1955), Shivram (‘Naya Kadam’ 1958), Shailesh Mukherjee (‘Savera; 1958), Chitrgupt and Gajanan (‘Kal Hamaara Hai’ 1959), Kalyanji-Anandji (‘Satta Baazar’ (1959), Pandit Ravi Shankar (‘Anuradha’ 1960), R D Burman (‘Chhote Nawab’ 1961), Suhrid Kar (‘Kaanch Ki Gudiya’ 1961), and Sapan-Jagmohan (‘Begaana’ 1963).
But the surprise catch among ‘other’ music director to whom Shailendra wrote a song was Nachiketa Ghosh who has composed music for only one Hindi film ‘25th July’ (1951). But Shailendra was not the lyricist for this film. It transpired that Shailendra did write a Hindi song for Nachiketa Ghosh but for a Bengali film ‘Indraani’ (1958). Uttam Kumar and Suchitra Sen were the lead actors in the film. The film is available on YT with English sub-title.
So here is probably Shailendra’s only Hindi song for a Bengali film, ‘Indraani’ (1958). There are 7 songs in the film of which one song is in Hindi. The song is ‘sabhi kuchh lutaakar huye hum tumhaare’ which is sung by Mohammad Rafi. Nachiketa Ghosh is the music director.
The background for this song is that Uttam Kumar and Suchitra Sen get married despite opposition from her parents as Uttam Kumar is unemployed. On the wedding night, their feelings for each other is reflected in this song through a wayside singer playing guitar. The mood of the song appears to me the same as that of songs like ek haseen shaam ko dil mera kho gaya.
The song in the video clip is longer than the audio clip (78 RPM record version) because of the repetition in the former of mukhda part in each antara. Also, there are short dialogues in Bengali between Uttam Kumar and Suchitra Sen during the interludes of the song.
What a lovely song which I heard for the first time. I have been mesmerized by Rafi’s rendition of antara part of the song. Just note, how he goes one octave higher but keep his rendition soft on the antara lines ‘kisi ka tu ho jaa’, ‘hai khaamosh hum bhi’ and ‘ye khwaabon ki duniya’.
Video Clip:
Audio Clip :
Song-Sabhi kuchh lutaa kar huye ham tumhaare (Indraani)(Bangla)(1958) Singer-Rafi, Lyrics-Shailendra, MD-Nachiketa Ghosh
Lyrics(based on Video Clip)
sabhi kuchh lutaa kar
huye hum tumhaare
ke hai jeet uski
jo dil aaj haare
ye khoya sa chanda
ye behke se taare
to phir kyun na machlen
armaan hamaare
sabhi kuchh lutaa kar
mohabbat mein kho jaa..aa
kisi ka tu ho jaa
falak se zameen tak huye ye ishaare
ke hai jeet uski
jo dil aaj haare
sabhi kuchh lutaa kar
huye hum tumhaare
ki hai jeet uski
jo dil aaj haare
sabhi kuchh lutaa kar
hai chupchaap wo bhi
hain khaamosh hum bhi
khule jaa rahe hain magar raaz saare
ke hai jeet uski
jo dil aaj haare
ye khoya sa chanda
ye behke se taare
to phir kyun na machlen
armaan hamaare
sabhi kuchh lutaa kar
wo rangeen duniya
wo khwaabon ki duniya
simat kar ke baahon mein aayi hamaare
ke hai jeet uski
jo dil aaj haare
sabhi kuchh lutaa kar
huye hum tumhaare
ke hai jeet uski
jo dil aaj haare
ye khoya sa chanda
ye behke se taare
to phir kyun na machlen
armaan hamaare
sabhi kuchh lutaa kar
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 : | 4062 | Post No. : | 15195 |
“Jal Tarang”(1949) was directed by Rajendra Sharma for Kuldeep Pictures Limited, Bombay. This “social” movie had Geeta Baali, Rehman, Ram Singh, Rajan Haksar, Ramesh Thakur, Shashikala, Kesari, Pesi Patel, Shyama, Sevak, Uma Dutt, Tiger (dog) etc in it.
The ovie had nine songs in it that were penned by six lyricists. Four of these songs have been covered in the past.
Here is the fifth song from “Jal Tarang”(1949) to appear in the blog. The song is a sung by Rafi and Shamshad Begam for most part and then one unknown male voice sings a line in the last stanza. So, what was sounding like a duet becomes a non duet. I request our knowledgeable readers to help identify this unknown male voice. My guess is that it could be Husnlal or Bhagatram, one of the music director duo.
Pt Sudarshan is the lyricist. This was the only song penned by him in this movie. Music is composed by Husnlal Bhagatram.
Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of this song.
Song-Musaafir sada geet gaaye chala chal (Jal Tarang)(1949) Singers-Rafi, Shamshad Begam, Unknown male voice, Lyrics-Pt Sudarshan, MD-Husnlal Bhagatram
Both
Lyrics
musaafir sada geet gaaye chala chal
gaaye chala chal
gaaye chala chal
chala chal
chala chal
safar ki kahaani sunaaye chala chal
sunaaye chala chal
sunaaye chala chal
chala chal
chala chal
kahin ban ke rahmat ka baadal baras ja aa aa
kahin ban ke rahmat ka baadal baras jaa
kahin dil pe bijli giraaye chala chal
kahin dil pe bijli giraaye chala chal
giraaye chalaa chal
musaafir sada geet gaaye chala chal
gaaye chala chal
gaaye chala chal
chala chal
chala chal
rukaawat ke patthar hataaye chala chal l
rukaawat ke patthar
hataaye chala chal
dhuyen aasmaan ke udaaye chala chal
dhuyen aasmaan ke udaaye chalaa chal
udaaye chala chal
musaafir sada geet gaaye chala chal
gaaye chala chal
gaaye chala chal
chala chal
chala chal
tu duniya mein apna sabhi kuchh luta kar r
tu duniya mein apna sabhi kuchh lutaa kar
tu duniya ko apna banaaye chala chal
tu duniya ko apna banaaye chala chal
banaaye chala chal
musaafir sada geet gaaye chala chal
gaaye chala chal
gaaye chala chal
chala chal
chala chal
suna kar hamen chaar sukh dukh ki baaten
suna kar hamen chaar sukh dukh ki baaten
rulaaye chala chal hansaaye chala chal
rulaaye chala chal
hansaaye chalaa chal
hansaaye chala chal
musaafir sada geet gaaye chala chal
gaaye chala chal
gaaye chala chal
chala chal
chala chal
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 : | 4051 | Post No. : | 15180 |
Today’s song is from film Raj Mukut-50.
From the title itself one would know what type of film this could be. In our childhood we were fond of, first listening and then reading stories of Raja-Rani. As we grow older, this liking seems to have ended,but it is not so, in reality. Every adult has a child in him and the love for the Raja Rani stories is hiding behind the facade of other serious life matters of the adult age.
Precisely, this liking was identified by B and C grade action and costume filmmakers and films on Kings, Queens, the evil Vazier or the Army Chief, plus or minus the evil Magician were made. From the point of business, it was wise to make such films, because its Producers never suffered loss, where as failure of an A grade film invariably ruined the producer.
The simple reason was, the production cost, distribution cost, actors’ payments etc were very low and the income was very good. May be that was the reason, that even the big banners also sometimes or the other had made costume films about Kings and Queens etc.
Going by the film title list made by Hamraz ji, I found at least 43 films starting with Raaj – like Raaj Mukut, Raaj Tarang, Raaj Ratan, Raaj Nandini etc etc. There were 32 films having titles starting with Raja, like Raja Gopichand, Raja Harishchandra, Raja Vikram etc etc. Movie titles with Rani prefix were just 11 (Gender Bias ?).
Coming to the story of Raaj Mukut-50, it is no different than hundreds of its ilk. I wonder why are there story shortages in films ? Why do films have similar stories ? In the 40’s decade ,Master Bhagwan used just one story to make 11 action films. In later times, it was Nasir Hussain, who – starting with Tumsa Nahin Dekha-57 – used only one skeleton story for most of his films and what’s more surprising is that his most film were Hits.
While thinking about it, I found that, in 2004, a book called “Why we tell stories”, written by Christopher Booker was published. It is a book having 728 pages to be exact. The book says “There are only 7 (Seven) basic plots in the whole world. They are recycled again and again in Novels, movies, Plays and Operas. These are
1.Overcoming the Monster
2.Rags to riches
3.The quest
4.Voyage and return
5.Rebirth
6.Comedy and
7.Tragedy “.
After this book was published, there was a chaos and criticism started. ‘New York Times’ also jumped in. The author coolly replied to all points and stuck to his statements. If we look at Hindi films, I personally feel that what the author has said is true in our case. Only thing is that our film stories are always a clever mixture of all or some of the above points.
If we take a look at the cast of the film Raaj Mukut-50, we find some heavyweights like Veena, Jairaj, Nimmi, Sapru, Gulab, Janakidas, Baby Tabassum etc. The decade of the 50s started with the decline of old stalwarts of 30s and 40s, because of the rise of new generation of actors, actresses, directors, MDs and almost all departments of film making. Nimmi was a ‘ Black Sheep’ in this cast because she was from the newer generation rising star.May be she did this film to get well entrenched in the film industry. Moreover the banner was good and the other actors were well known too. Director Nanubhai Vakil was an expert veteran in costume and action film direction. The music was given by Gobindram, a respected name in the musical circles.
Baby Tabassum had debuted with film Nargis-46 ( released in 47). Tabassum – real name Kiran Bala Sachdev was born in 1944 in Mumbai to Ayodhyanath Sachdev, an Indian freedom fighter, and Asghari Begum, freedom fighter, journalist and an author. Her father named her Tabassum, keeping her mother’s religious sentiments in mind, while her mother kept her name Kiran Bala, keeping her father’s religious sentiments in mind. Her official name as per pre-marriage documents was Kiran Bala Sachdev.
Tabassum made her film debut as a child actor with Nargis (1947) followed by Mera Suhaag (1947), Manjhdhar (1947) and Bari Behen (1949). Later in Deedar (1951), directed by Nitin Bose, she played the childhood role of Nargis; the hit song Bachpan Ke Din Bhula Na Dena sung by Lata Mangeshkar and Shamshad Begum was picturised on her. Also, in the next year, she appeared in another important film Baiju Bawra (1952) directed by Vijay Bhatt, where she appeared in the childhood role of Meena Kumari. After a gap, she reentered films in adult roles, working as a character actress.
She hosted the first talk show of Indian television, Phool Khile Hain Gulshan Gulshan, which ran for 21 years from 1972 to 1993. Produced by Doordarshan Kendra Mumbai, it was based on interviews of film celebrities and became immensely popular. This also led to a career as stage compere. She was also the editor of Grihalaxmi, a Hindi women’s magazine for 15 years and wrote many joke books.
In 1985, she directed, produced and wrote her first film, Tum Par Hum Qurban. In 2006, she returned to television, as an actress in Pyaar Ke Do Naam: Ek Raadha, Ek Shyaam, produced by Rajshri Productions. She became a judge in a reality stand-up comedy show Ladies Special (2009) on Zee TV.
She continued to work as an interviewer for television and is currently doing a TV show on TV Asia USA and Canada titled Abhi Toh Main Jawaan Hoon based on the Golden Era of Hindi Cinema. Currently, she has launched her own channel on YouTube, titled “Tabassum Talkies” which consists of nostalgic talks, interviews of celebrities, shayaris, jokes and more.
She is married to Vijay Govil, elder brother of TV actor Arun Govil. Their son Hoshang Govil had brief career as a lead in three films Tum Par Hum Qurbaan (1985), which was produced and directed by Tabassum in which she introduced Johnny Lever for the first time on screen as a comedian. Kartoot (1987) and Ajeeb Dastaan Hai Yeah (1996) produced by Zee TV and directed by J Om Prakash (grandfather of Hritik Roshan). In 2009, her granddaughter Khushi (daughter of Hoshang) made her film debut with Hum Phir Mile Na Mile. ( courtesy- Wikipedia).
Tabassum is an actress of a kind who was an All rounder-not in body shape-(that she is in now!), who is the only one having succeeded in 5 different mediums of entertainment. Films,TV,Radio,Print Media and Stage. Here is a small note about her,as it appears on her Facebook page-
“Tabassum ,during her years as child star ,was dubbed by her fans ,the movie -industry and the media as “THE SHIRLY TEMPLE OF INDIA”.
FILMS
She made her debut at the age of two and half years, in 1946, in her first film –Famous Pictures “Nargis’.This film was produced by Baburao Pai ,directed by D.D.Kashyap ….“Nargis” starred the legendary Nargisji herself with Rehman ,Shahnawaz ,Alka ,Achrekar and BABY TABASSUM.
In a short span of about six years Tabassum chalked up a record of child artist roles in more than thirty films ,and she’s working in films even today with a total of more than 100 films to her credit.
TELEVISION
Tabassum was the first to start the movie- oriented T.V. series on Doordarshan (India’s Government owned Television channel) which started on October 2nd, 1972. On October 8th 1972 , she launched her famous series of film-personality interviews. The first person to be interviewed in these series , titled “PHOOL KHILE HAIN GULSHAN GULSHAN” was a veteran music director Naushad.
This programme ran continuously on Doordarshan for 21 years ..
Various cultural organizations ,audiences ,and the media in general even the then INFORMATION AND BROADCASTING MINISTER Mr. V.P.Sathe have dubbed Tabassum as THE T.V. QUEEN OF INDIA .
RADIO
Tabassum started on radio in 1946 with children programmes and did many other programmes regularly on All India Radio.
For 15 years from 1970 to 1985 Tabassum ran a regular radio programme of jokes on the commercial services of Radio Ceylon.The same programme was later switched also to Vividh Bharti where continued for many years. She is still doing programmes regularly on Vividh Bharti.She was conferred the award of “JOKES QUEEN OF INDIA”.
AUTHORSHIP AND JOURNALISM
Tabassum has been writing Urdu poetry , jokes ,short stories since her childhood which were being regularly published in Urdu and Hindi magazines ,newspapers ,etc.
During her more than sixty four years long career in show business ,Tabassum has also written seven books of Jokes ,Poetry ,and Urdu shayris ,the first of which was published at the age of 17 years when she had just passed her matriculation examination. She did her B.A. in Urdu from Aligarh University.
For the past many years Tabassum has fitted also journalism into her over crowded schedule when she took over as editor of the large circulation of a Woman’s magazine GRIHA LAKSHMI which is published monthly from New Delhi since last 17 years.
STAGE
As Baby Tabassum , Filmland’s original child-star the Shirley Temple of India ,began to appear on stage shows since the tender age of three to four years.Over three decades ago she launched her own stage show unit named “TABASSUM HIT PARADE’.This stage entertainment unit has over the past three decades performed variety entertainment shows all over India and in almost every country of the world from U.S.A.and Canada to the United Kingdom and Europe ,the Middle east and Gulf countries to South-east Asia ,Singapore and the far east in Hong Kong ,China ,Taiwan and Japan.
Now she is busy in promoting a stage programme titled “Tabassum Bhajan Sandhya” in India and abroad as spiritual entertainment.
On May 8th 1995 various well known cultural organizations of India celebrated TABASSUM’S HALF CENTURY IN FILM INDUSTRY AND SHOW BUSINESS AND WAS LARGELY ATTENDED BY FILM AND OWN MEDIA PERSONALITIES INCLUDING THE PRESS. ”
Film Raaj Mukut-50 story was about a Prince who is more interested in doing social service for the poor and down trodden ( and a love affair with the Village Mukhiya’s daughter) than getting crowned legitimately. So he disappears and goes to a village, to do what he always wanted to do, but could not do so far.
He learns that his younger brother, crowned after the deliberate false rumour of the prince- was perpetrating tyranny on kingdom’s people and also arrested his own parents and jailed them. His blood boils and he enters the capital incognito, along with his girlfriend and others. There is a fighting and the younger brother is killed. The King and Queen are released. The prince becomes the King and his girlfriend becomes his Queen. Clap, Clap !
The film had 11 songs. 4 songs are already discussed. Today’s song is the 5th song. It is sung by Shamshad Begum, Amirbai, Rafi and another unknown male voice. Incidentally, Gobind Ram had a special affinity for Shamshad Begum. He gave music to 32 films and composed 302 songs. Out of these, he composed as many as 86 songs in 19 films for Shamshad Begum. I believe, he may be the music director who has most songs for Shamshad Begum- atleast percentage wise (28.4 %).
Song- Dil hai lagane ke liye (Raj Mukut)(1950) Singers- Amirbai Karnataki, Shamshad Begam, Rafi, Lyrics-Bharat Vyas, MD- Pt Gobind Ram
Amirbai Karnataki + Shamshad Begam
Rafi + Unknown male voice
Lyrics
dil hai lagaane ke liye
ise laga lo yahin kahin
aji ise laga lo yahin kahin
nahin nahin jee nahin nahin
nahin nahin jee nahin nahin
dil hai lagane ke liye
ise laga lo yahin kahin
aji ise laga lo yahin kahin
nahin nahin jee nahin nahin
nahin nahin jee nahin nahin
chaar dinon ki hai ye jawaani
chaar dinon ka khel
aji chaar dinon ka khel
chaar dinon ki hai ye jawaani
chaar dinon ka khel
khatkhat karti chali jaa rahi
jeewan ki ye rail
suno jee
jeewan ki ye rail
mauj manaa lo phir nahin kehna
haan
mauj manaa lo phir nahin kehna
dil ki baaten dil mein rahin
is dil ko laga lo yahin kahin
nahin nahin jee nahin nahin
nahin nahin jee nahin nahin
dil hai lagaane ke liye
ise laga lo yahin kahin
aji ise laga lo yahin kahin
jaante hain haal hum
majnu dil e barbaad ka
haan aan aan aan
haan aan
jaante hain haal hum
majnu dil e barbaad ka
aur ishq mein anjaam dekho
kya hua farhaad ka
aur ye barbaadi ka rasta hai
is par chalna nahin nahin
hoy ye barbaadi ka rasta hai
is par chalna nahin nahin
is dil ko lagaa lo yahin kahin
nahin nahin jee nahin nahin
nahin nahin jee nahin nahin
dil hai lagaane ke liye
ise laga lo yahin kahin
aji ise laga lo yahin kahin
honthon par hai naam tumhaara
soorat dil mein basi huyi
aeji soorat dil mein basi huyi
honthon par hai naam tumhaara
soorat dil mein basi huyi
tum chaaho na chaaho
ham hain prem jaal mein phansi huyi
ham prem jaal mein phansi huyi
duniya mein badnaam huyi hain
haay
duniya mein badnaam huyi hain
kya kya baaten hamne sahin
is dil ko laga lo yahin kahin
nahin nahin jee nahin nahin
nahin nahin jee nahin nahin
dil hai lagaane ke liye
ise laga lo yahin kahin
aji ise laga lo yahin kahin
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 : | 4042 | Post No. : | 15167 |
“Guru Ghantaal”(1956) was produced by R N Sharma and N K Kaushik and directed by S M Yusuf for V K pictures Bombay. The movie had Sheila Ramani, Motilal, Usha Kiran, Agha, Sundar, Mirza Musharraf, Paro, Sheikh, Kesri, Vijaybala, Ravikant, Jagdev etc in it.
The movie had nine songs in it. Five songs have been covered in the past.
Here is the sixth song from “Guru Ghantaal”(1956) to appear in the blog. The song is sung by Rafi and Asha Bhonsle. Khawar Zamaan is the lyricist. Music is composed by Pt Lachchiram.
Only the audio of this rare song is available. I request our knowledgeable readers to throw light on the picturisation of this song.
This is a superb “nok jhonk” duet which deserves to be better known among music lovers.
Song-Ham aapke hain hamse toh parda na keejiye (Guru Ghantaal)(1958) Singers- Rafi, Asha Bhonsle , Lyrics-Khawar Zamaan, MD-Pt Lachchiram
Both
Lyrics
ham aapke hain
humse toh parda naa keejiye
o o o o
aji parda naa keejiye
aji parda naa keejiye
ho
ho o o
ham rooth jaayenge
hamen chheda naa keejiye
arre waah
ho o o o
hamen chheda naa keejiye
aji chheda naa keejiye ae
ho o
ik baat meri gaur se sun leejiye huzoor
ik baat meri gaur se sun leejiye huzoor
farmaayiye farmaayiye
ho o o
farmaayiye farmaayiye
sun lenge ham zaroor
sun lenge ham zaroor
tirchhi nigaah se hamen dekha naa keejiye
dekha naa keejiye
ham aapke hain
haan
ham aapke hain
humse toh parda naa keejiye
ho o o o
aji chheda naa keejiye
humen chheda naa keejiye ae
ho o o
kya jhoothh-moothh baaten banaane se faayda
kya jhoothh-moothh baaten banane se faayda
baithhe bithhaaye hamko
ho o o
baithhe bithhaaye hamko sataane se faayda
sataane se faayda
yoon baat baat par aji roothha naa keejiye
roothha naa keejiye
ham aapke hain
haan
ham aapke hain
humse toh parda naa keejiye
ho o o o
humen chheda naa keejiye
aji chheda naa keejiye ae
ho o o
dar hai ke zamaana kahin majboor naa kar de
dar hai ke zamaana kahin majboor naa kar de
iss pyaar ki duniya se
o o o
iss pyaar ki duniya se kahin door naa kar de
kahin doon na kar de
inn chhoti-chhoti baaton ko socha naa keejiye
socha naa keejiye
ham aapke hain
ham aapke hain
humse toh parda naa keejiye
ho o o o
aji chheda naa keejiye
humen chheda naa keejiye ae
ho o o
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