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

Archive for the ‘“Raja” song’ Category


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 :

4427 Post No. : 15850

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Blog 10-Year Challenge (2010-2020) – Song No. 66
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Ten years back on 31 august 2010 (tuesday), the first post of the day appeared at 7:39 AM and the sixth and final post appeared on 9:42 AM.
Here are the details of these six songs from six movies:-

Song Movie title-Year Remarks
Ae jaane e jigar dil mein samaane aajaa Aaraam-1951 All songs covered
Ek main hoon ek meri beqasi ki shaam hai Taraanaa-1951 All songs covered
Khushiyon ko lootkar yahaan Shirin Farhad-1956 All songs covered
Beet gayi hai aadhi raat Naache Naagin Baaje Been-1960 05 songs posted
Husn e jaanaa idhar aa Saathi-1968 All songs covered
Koi aur duniyaa mein tumsaa haseen hai Pyaar Ki Kahaani-1971 02 songs posted

Four movies whose songs were covered ten years ago have already been YIPPEED. That leaves us with just two unYIPPEED movies namely “Naache Naagin Baaje Been”(1960) and “Pyaar Ki Kahaani”(1971) that are eligible for today’s Blog Ten Year Challenge.

“Naache Naagin Baaje Been” (1960) was produced by Devi Sharma and directed by Tara Harish for Janta Chitra, Bombay. The movie had Kumkum, Chandra Shekhar, K.N.Singh, Amar, Sunder, Parasram, Ratna, Sood, Kamal Mehra, Chandabi, Ratan Gurung, Rafiq, Indira Bansal, Helen, Agha etc in it.

The movie had 8 songs in it. The movie made its debut in the blog ten years ago. Five songs from the movie have been covered so far as detailed below :-

Song Posted On
Beet gayi hai aadhi raat 31.08.2010
Ham jaan lutaa denge apni saajan ki jaan se pehle 23.10.2015
Main hoon gori naagan 30.112015
Le ke sahaaraa tere pyaar ka 04.04.2017
Gori naagan ban ke na chalaa karo 23.05.2018

Here is the sixth song from “Naache Naagin Baaje Been” (1960) to appear in the blog. This song is sung by Lata. Majrooh Sultanpuri is the lyricist. Music is composed by Chitragupta.

This song is puicturised as a dance song where a lady is seeen wooing her beau. When I watched the lady dressed in Maharashtrian style sari, I thought that she looked familiar but who was she ? Lyricist sender Prakashchandra also sends details of the song and the movie, and he had mentioned this song as picturised on Helen and Agha. Me bad ! One does not expect Helen to be dressed in a sari and one often struggles to identify her when she is dressed in Indian attires. 🙂

Prakashchandra has sent the lyrics (as mentioned above) while Avinash Scrapwala has sent the BTYC related details.

video link:

Audio link:

Song-Ho raaja sainyyan aati hoon main bhi ruk jaana (Naache Naagin Baaje Been)(1960) Singer-Lata, Lyrics-Majrooh Sultanpuri, MD-Chitragupta

Lyrics (based on audio link)(Provided by Prakashchandra)

(Dialogues)

ho raaja sainyyan
aati hoon main bhi ruk jaanaa…aa
akele jaanaa na
ho raaja sainyyan
aati hoon main bhi ruk jaanaa
akele jaanaa na

chalogey tum to
aanchal ki chhainyyaan daar doongee
rukogey tum to
tann mann ko tum pe waar doongi
chalogey tum to
aanchal ki chhaiyyaan daar doongee
rukoogey tum to
tann mann ko tum pe waar doongi
tumhaari hoon main piya hamse takraanaa naa
ho raaja saiyyan aati hoon main bhi ruk jaanaa
akele jaanaa naa
ho raaja saiyyan aati hoon main bhi ruk jaanaa
akele jaanaa naa

na hoye aisaa koi gori teri oar dekhey
lagaake nehaa
koi jaadugarni dor phenkey
na hoye aisaa koi gori teri oar dekhey
lagaake nehaa
koi jaadugarni dor phenkey
buri hai duniya
raahon mein lutt jaanaa naa
ho raaja saiyyan
aati hoon main bhi ruk jaanaa
akele jaanaa naa
ho raaja sainyyan
aati hoon main bhi ruk jaanaa
akele jaanaa naa

bade naadaan ho
apnon se naataa todte ho o
kalaayi mori
bedardi kaahey modte ho
bade naadaan ho
apnon se naataa todte ho o
kalaayi mori bedardi kaahey modte ho
pukaarey hanske koi tumko deewaanaa naa
ho raaja sainyyan
aati hoon main bhi ruk jaanaa
akele jaanaa naa
ho raaja saiyyan
aati hoon main bhi ruk jaanaa
akele jaanaa naa


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 :

4413 Post No. : 15812

Today’s song is from film Patrani-1956. It was a Prakash Pictures’ film, produced by Shankarbhai Bhatt-the elder brother and directed by Vijay Bhatt, the younger brother. The music was by Shankar-Jaikishen (S-J). Songs were written by Shailendra (9) and Hasrat Jaipuri (1).

In my last post, I had talked about songs from the 50’s decade, especially songs from Shankar-Jaikishen films of this decade. I was determined to discuss such songs from Shankar-Jaikishen in the 50’s, so I started scanning each of their films made in the 50s. From 1951 to 1960, Shankar-Jaikishen gave music in a total of 41 films. First, I made a list and then revised it to an alphabetical list. That way, it would be easier for me to check songs from every film, from the Blog’s ” List of songs-moviewise”. Before starting, I went through the list once again and my heart sank. Looking at the titles of the films, I was afraid that most films must have already been ‘ Yippied ‘.

When I sat at the Laptop and started going through the movie titles, my worst fears seemed to get confirmed. When I finished scanning all the 41 films, I found that as many as 40 films out of the 41 total films had been Yippied, with all their songs covered. Only 2 songs from the film Patrani-56 miraculously remained uncovered yet. I felt like ‘ खोदा पहाड और निकला चूहा ‘. At this point , I remembered that in Nov-Dec-2015, I had myself done a series ” Songs of Shankar-Jaikishen from the 50’s “, in this Blog. In this series, I think, I must have discussed some 15 songs from 15 such films. Film Patrani-56 song was also one of that series, I remember.

Today’s song is from the film Patrani-56, and Shankar- Jaikishan were the Music Directors. Yesteryear composer Lallubhai Nayak was their assistant in this film. Lallubhai was the First music Director of Prakash Pictures since 1934. He gave a break to Rajkumari in 1934. He was a paid composer with Prakash in the 30s. Later he was first replaced by Shankar Rao Vyas and then by Naushad. After 1948, Lallubhai was living an anonymous life. Shankar Jaikishan brought him again in the industry with Patrani-56, to help him financially.

Patrani-56 was probably the First film of Shankar Jaikishan after they fought back and gained control over their music compositions in Raj Kapoor movies where Raj Kapoor used to exercise control over their compositions till then.

The film is set in Gujarat in the 11th century. it was based on a novel by Kanhaiyalal Munshi. The producers took plenty of cinematic liberties with the novel. PATRANI-1956 was supposed to be a Historical film,but there is no base for its story in real History. As I said once,Historical movies in India are most of the times ’Distortical’ movies, either being imaginary or bent for cinematic liberty.

A Prakash picture’s film (actually they were known for Mythological films), it was directed by Vijay Bhatt,its owner himself. The story,Dialogues and Screenplay was by R.S.Chaudhary. The music was by Shankar-Jaikishen and their assistant in this film was Lallubhai Naik, who played Sarod in this film.

The story of Patrani -56 was…..

King Karnadev Solanki,king of Gujrat(Pradeep Kumar) had many queens but no issues. The Rajmata(Durga Khote) insisted that he marry another girl after ascertaining astrologically her capability to give children.

The king had seen one princess in Somnath temple once and wanted to marry only her.But he does not know who she is. Actually she is princess Mrinal(Vyjayanti Mala) daughter of King Jai keshi(Ramesh Sinha) ofKarnatak.She was on a Teerth yatra when she saw Karnadev. She also wanted to only marry him,but did not know who he was.

Munjal Mehta (David),Mahamantri of Karndev goes on a mission and soon finds out Mrinal.She is beautiful,but her skin becomes black in the sunlight.Munjal knows Karndev’s dislike of black.mrinal is astrologically also fit.He tells her and shows the sketch of Karandev,after which she is happily ready to marry him.

They all travel to Gujarat, but during travel Mrinal’s skin becomes black.During marriage,there is a veil,but after marriage Karndev sees that she is black and rejects her.

She is good natured and becomes Raj mata’s pet. When the King falls sick, Mrinal serves him very well and slowly the King realises that outer skin colour does not make a person good or bad. He accepts her as she is and all’s well that ends well.

The cast of the film included Vaijayanti mala, Pradeep kumar, Omprakash, Shashikala, Praveen Paul, Sheela Vaz, Helen, David, Jeevan and many others.Actress Praveen Paul was born in 1930 in Punjab. She entered films in 1953, with the film Naulakha Haar-53. She did 128 films.Her last film was Sawerey wali gaadi-86. After her first marriage ended, she got involved with actor K.N.Singh. K.N.Singh was married and never acknowledged Praveen. They were involved with each other for 25 years. From this relationship , they had a son named “Vibhu”. He also went by the name’s “Vibhu Paul”,”Vibhu Singh”. He is now known as “Vibhushan Singh Paul” and is based in Toronto, Ontario,Canada. He is an owner operator of a Transport company. He has a daughter named Sarah Faria who is married to Cyrus Faria. K.N.Singh never publicly accepted Vibhushan as his son. (Thanks to IMDB).

This film’s Hero Pradeep Kumar was a fortunate actor. He was the first choice to play prince/king in numerous Hindi films. His talwar-cut moustache, broad shoulders, receding-into-his-temples coiffure, peaches-and-honey complexion, and regal bearing made him fit the role of an amorous aristocrat like a made-to-order crown.

Pradeep was the kind who could smoke a hookah with the same élan as while puffing State Express cigarettes when he played the modern lover.

Pradeep Kumar aka Sital Batabyal was born on 4 January 1925. Pradeep bided his time till he was 17 years old before he announced his decision to pursue an acting career. Despite his father’s disapproval, Pradeep began acting on stage. During one of his performances, renowned filmmaker Debaki Bose spotted him and cast him in a Bengali film, Alaknanda (1947).

Encouraged, Pradeep moved to Mumbai and found a job in the bustling Filmistan Studio. He brushed up on his Hindi and learnt Urdu in a bid to make an impression in his first Hindi film, Anand Math (1952). The film, set in the 18th century, had strong nationalistic overtones and co-starred Prithviraj Kapoor and Geeta Bali. The Vande Mataram number from this film became a cult success.

In the next two years, Pradeep’s career escalated to the top with two hugely successful musical hits — the Bina Rai-starrer Anarkali (1953) and the Vyjayanthimala-starrer Nagin (1954). While Anarkali revolved around the eternally popular legend of Mughal prince Salim’s passionate affair with a commoner Anarkali, Nagin was a reed-slim romance between two lovers belonging to rival snake-catching tribes.

The songs of both films (Nagin had as many as 12) had audiences transfixed. Pradeep’s lessons in fencing for Anarkali and his gamble of letting a python play on his wrist for Nagin paid off.

Pradeep’s regal demeanour won him legions of fans. He went on a signing spree (in 1956, he had 10 releases) and inked deals with V Shantaram (Subah Ka Tara) and Raj Kapoor (Jagte Raho).

All the top-notch heroines of the 1950s — Nimmi (Jayshree), Nargis (Adalat), Nutan (Heer), Meena Kumari (Bandhan) — were paired with Pradeep.

After Rajhath (1956), the actor tried desperately to make a hit pair with the beauteous Madhubala. They did as many as five other films together — Yahudi Ki Ladki (1957), Gateway Of India (1957), Police (1958), Mahlon Ke Khwaab (1960) and Passport (1961), but Pradeep’s efforts were in vain.

His films with lucky mascot Vyjayanthimala (including his home production Ek Jhalak) did not enjoy even a fraction of the success of Nagin. But his pairing with Bina Rai seemed to have stilled the wings of time. This teaming salvaged Pradeep’s career from the late-1950s dip, first with Ghunghat (1960) and more decisively with Taj Mahal (1963). Even a decade after Anarkali, Pradeep could evoke a regal aura while playing love-struck Mughal royalty. Roshan’s dulcet duet, Paon chhu lene do toh and Jo vaada kiya from Taj Mahal, like an unforgettable promise, continue to haunt radio listeners even today.

Pradeep’s career got a further fillip with Rajshri’s social, Aarti. Meena Kumari and Pradeep played lovers who bond together because of their common desire to serve the poor. But their love story comes under a cloud when a rich, unscrupulous doctor (played by the late Ashok Kumar) is irretrievably drawn towards Meena Kumari. Aarti’s success ensured that Pradeep and Meena worked unceasingly in a series of films. Pradeep once said, “Meena and I made a fine pair and worked very well together, but her husband did not like our friendship.”

He worked with Meena Kumari in seven films; Adil-E-Jahangir, Bandhan (1956 film), Chitralekha, Bahu Begum, Bheegi Raat, Aarti and Noorjehan; and with Mala Sinha in eight films; Naya Zamana, Hamlet, Baadshah, Detective (1958 movie), Fashion (1959 film), Ek Shola, Duniya Na Maane, and Mitti Mein Sona.

He did not get to act in lead roles with the newer heroines of the 1960s such as Sadhana, Saira Banu, Babita or Sharmila Tagore, though he did work with Asha Parekh in Ghoonghat and Meri Surat Teri Aankhen and with Waheeda Rehman in Raakhi (1963). In 1969, he moved to character roles with Sambandh and Mehboob Ki Mehndi, but did not have many visible roles till Jaanwar and Razia Sultan in 1983.

The first Meena-Pradeep film to release on the heels of Aarti was Kidar Sharma’s Chitralekha (1964). Pradeep played the hedonistic Samanta Beejgupta in this period film set in the Gupta period. Despite lavish production values, the stolid support of veteran Ashok Kumar and exquisite penmanship by Sharma and Sahir, the film collapsed at the box office. Kalidas’s love triangle Bheegi Raat, which featured the tried triangle of Ashok Kumar, Meena Kumari and Pradeep once again, was an average success. But M Sadiq’s Muslim socials Bahu Begum (Ashok Kumar again) and Noorjehan, both released in the same year, spelt the death knell for the team.

Pradeep, who had not signed a single film with the new breed of successful heroines of the 1960s like Sadhana, Saira Banu and Sharmila Tagore, suddenly found himself without a rudder.

In 1969, Pradeep saw a glimpse of success once again with Sambandh, albeit in a character role. Ironically, Ajoy Biswas, the director of Sambandh, who had provided him with a short burst of fame, caused him a lot of heartburn too. Biswas had a short-lived and unhappy marriage with Pradeep Kumar’s actress daughter, Bina.

Pradeep’s princely persona and impeccable Urdu was relegated to the pages of history for the next decade and more. But the onscreen prince was destined to play an emperor in Kamal Amrohi’s Razia Sultan (1983). Pradeep Kumar acted in 144 Hindi films. He directed one film-Do dilon ki dastan-1966. He won the Kalakar Award-Lifetime Achievement Award (1999).

The semi-retired Pradeep played the emperor as only he could — forcefully. After all, he had played blue-blooded characters all his life. He lived a life removed from the spotlight for the next 18 years. His end was pathetic. 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 him, 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,on 28-10-2001, at the age of 76 years.. He was cremated by his fan. Such is the film industry – cruel and ruthless, where the recognition lasts only till one is successful, and even close relatives desert you in bad times.

He is survived by his daughters Reena, Meena and Beena Banerjee who plays character roles in movies and TV serials including Uttaran, son Debiprasad and granddaughters Tanisha, Suparna, Riya and Hrishita. Beena Banerjee’s son Siddharth Banerjee worked as assistant director in Sajid Khan’s Housefull 2 (2012) and Himmatwala (2013).

(Ack: adapted from an article ” Ever the Royal” by Dinesh Raheja in Rediff.com dt 2-6-2003 and my notes, HFGK and muVyz. Thanks to all).

So, here is the song from the film Patrani-56, with music by Shankar-Jaikishen. It is sung by sisters Lata and Usha Mangeshkar with chorus. Enjoy….


Song-Raaja pyaare mat karo pyaar ka mol (Patraani)(1956) Singers-Lata, Usha Mangeshkar, Lyrics-Shailendra, MD-Shankar Jaikishan
Chorus

Lyrics

raaja pyaare
ho raaja pyaare
mat karo pyaar ka mol
raaja pyaare
ho raaja pyaare
mat karo pyaar ka mol

is duniya mein
ho is duniya mein ek yahi cheez anmol
raaja pyaare
mat karo pyaar ka mol
raaja pyaare
ae ae
ae ae

tum khushiyon ke saagar pyaare
main ithlaati lehri
tum khushiyon ke saagar pyaare
main ithlaati lehri
tum umde to o o
o o o
tum umde to main lehraayi
varna thahri thahri
raaja pyaare
ho raaja pyaare
mat karo pyaar ka mol
is duniya mein
ek yahi cheez anmol
raaja pyaare
ae ae
ae ae

satrangi kirnon ke sooraj
tumse jag mein jyoti
satrangi kirnon ke sooraj
tumse jag mein jyoti
main shabnam
ho o o o
o o
main shabnam tum se hi jagmag
varna jhoothha moti
raaja pyaare
ho raaja pyaare
mat karo pyaar ka mol
raaja pyaare
mat karo pyaar ka mol
is duniya mein
ek yahi cheez anmol
raaja pyaare
ae ae ae ae


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 :

4299 Post No. : 15560

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Blog 10-Year Challenge (2010-2020) – Song No. 24
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“Anmol Moti”(1969) was produced and directed by S D Narang. The movie had Jeetendra, Babita, Rajendra Nath, Jayant, Aruna Irani, Shabnam, Jagdeep, Jayant, DK Sapru, Veena, Tuntun, Saul George, Gajanan Jagirdar, Jeevan, Hari Shivadasani, Jagdish Raj, Meena T, Prakash Thapa, Niranjan Sharma, Iftekhar, Uma Datt, Kanu Roy, Tiwari, Abhimanyu Sharma, Om Sahani, Baby Meena, Baby Mozal, Baby Neena, Basant, Hansa, Khursheed, Lajpat Mehra, Miss Gillain, Miss Kerian, Moolchand, Moses, Mrs Hacker, Narbada Shankar, Raj Deep, Rajan Kapoor, Ramesh, Ramlal, Razak, Sham, Sudha, Sundeep, Susheela, Uma Khosla etc in it.

The movie had six songs in it. Two songs have been covered in the past. The movie had made its debut ten years ago on this very day with the song Ae jaane chaman tera goraa badan .

That day ten years ago saw only two songs covered in the blog. The other song apart from the “Anmol Moti”(1969) debut song was Akela hoon main hamsafar dhoondhhta hoon from “Jaal”(1969). This movie has since been YIPPEED in the blog.

Only two songs from “Anmol Moti”(1969) have been covered in the blog. So there is choice of as many as four songs today as “Blog Ten Year Challenge” post. As it is, Prakashchandra as well as Avinash Scrapwala both sent songs for this challenge, and they sent different songs ! Prakashchandra sent his contribution earlier, so I am going with the song sent by him as “Blog Ten Year Challenge” post.

This song is sung by Asha Bhonsle and chorus. Rajinder Krishan is the lyricist. Music is composed by Ravi.

This is one song that I have listened to a lot of time. It is one of those iconic songs that I used to listen to during my formative years, even though I had no clue what movie these songs were from. I have listened to this song many a times, on loudspeakers as well as Radio. It is only now, more than 50 years later, on this day 25 April 2020 that I have come to know that this iconic song is from “Anmol Moti”(1969). I can be that kind of a tubelight. 🙂

The song is picturised as a boat/ river song on Babita, with Jeetendra also making a belated appearance. Many other ladies (who appear like foreigners, perhaps from Soviet Union) are also seen in the picturisation, performing synchronised swimming, underwater swimming etc.

As mentioned earlier, lyrics of this song were sent to me by Prakashchandra, who pips Avinash Scrapwala to the post for this “Blog Ten Year Challenge” opportunity.

audio link:

video link:

Song-Aaja Raaja le ke baaraat aa jaa (Anmol Moti)(1969) Singer-Asha Bhonsle, Lyrics-Rajinder Krishan, MD-Ravi
Female chorus

Lyrics(Provided by Prakashchandra)

aaaaa….aaaa aaaa….aaa aaa
aaaaa…aaaa…..aaa
aaaaa….aaaa aaaa….aaaa aaa
aa aa aa
aaa aa aa aaa
aa aa aa
aa aa aa

motiyon ki sej
bichhaayi huyi hai ae
dil ki bhi duniya
sajaayi huyi hai
aaja raajaa
leke baaraat aa jaa aa
aaja raajaa
leke baaraat aa jaa
motiyon ki sej
bichhaayi huyi hai ae
dil ki bhi duniya
sajaayi huyi hai ae
aaja raajaa
leke baaraat aa jaa
aaja raajaa
leke baaraat aa jaa

haar singaar mera
pehla pehla pyaar mera
tere liye hai
dil ki ye nagri
ankhiyon ka dwaar rajaa
tere liye hai
raah mein nainaa
lagaaye huye hain
palkon ke taarey
bichhaaye huye hain aen
aaja raajaa
leke baaraat aa jaa
aaja raajaa
leke baaraat aa jaa
motiyon ki sej
bichhaayi huyi hai ae
dil ki bhi duniya
sajaayi huyi hai ae
aaja raajaa
leke baaraat aa jaa
aaja raajaa
leke baaraat aa jaa

sapne kanwaare mere
tera intezaar karein
mere sajan
tu kya jaaney kitnaa
tujhse ye pyaar karein
mere sajan
adh-khili kaliyon ki
maalaa piroye huye
kabse khadi hoon teri
raah mein khoye huye
aaja raajaa
leke baaraat aa jaa aa
aaja raajaa
leke baaraat aa jaa
motiyon ki sej bichhaayi huyi hai ae
dil ki bhi duniya sajaayi huyi hai
aaja raajaa
leke baaraat aa jaa aa
aaja raajaa
leke baaraat aa jaa

aaaaa….aaaaaaaa….aaaaaa
aaaaa…aaaa…..aaa
aaaaa….aaa aaaaa.
aaa aaa aaa
aaaaa…aaaa…..aaa
aa aa aaaa
aa aa aa

raat milan ki
der se aayi hai ae
sajdhaj ke
door se aayi
tujhe saath laayee
sajdhaj ke
kitni bahaarein teri
yaad mein guzaar ke
aaj tujhe paaya maine
sab kuchch haar ke ae
aaja raajaa
leke baaraat aa jaa aa
aaja raajaa
leke baaraat aa jaa
motiyon ki sej bichhaayi huyi hai ae
dil ki bhi duniya sajaayi huyi hai
aaja raajaa
leke baaraat aa jaa
aaja raajaa
leke baaraat aa jaa

aaaaa….aaaa aaaa….aaaaaa
aaaaa…aaaa…..aaa aa aa
aaaaa….aaaa aaa….aaa aaa
aaaaa…aaaa…..aaa
aaaaa….aaaa aaaa….aaaaaa
aaaaa…aaaa…..aaa aa aa
aaaaa….aaaa aaa….aaa aaa
aaaaa…aaaa…..aaa
aa aa

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

आsss आss आss आs आs
आsss आss आs
आsss आss आss आss आs
आ आ आ
आs आ आ आs
आ आ आ
आ आ आ

मोतियों की सेज
बिछाई हुई है
दिल की भी दुनिया
सजाई हुई है
आजा राजा
ले के बारात आजा॰॰आ
आजा राजा
ले के बारात आजा
मोतियों की सेज
बिछाई हुई है
दिल की भी दुनिया
सजाई हुई है
आजा राजा
ले के बारात आजा॰॰आ
आजा राजा
ले के बारात आजा

हार सिंगार मेरा
पहला पहला प्यार मेरा’
तेरे लिए है
दिल की ये नगरी
अखियों के द्वार राजा
तेरे लिए है
राह में नैना
लगाए हुये हैं
पलकों के तारे
बिछाए हुये हैं॰ ॰ ॰
आजा राजा
ले के बारात आजा
आजा राजा
ले के बारात आजा
मोतियों की सेज
बिछाई हुई है
दिल की भी दुनिया
सजाई हुई है
आजा राजा
ले के बारात आजा॰॰आ
आजा राजा
ले के बारात आजा

सपने कंवारे मेरे
तेरा इंतज़ार करें
मेरे सजन
तू क्या जाने कितना
तुझसे ये प्यार करें
मेरे सजन
अधखिली कलियों की
माला पिरोये हुये
कब से खड़ी हूँ तेरी
राह में खोये हुये
आजा राजा
ले के बारात आजा
आजा राजा
ले के बारात आजा
मोतियों की सेज
बिछाई हुई है
दिल की भी दुनिया
सजाई हुई है
आजा राजा
ले के बारात आजा॰॰आ
आजा राजा
ले के बारात आजा

आsss आssssss आssss
आsss आss आs
आsss आsss आsss
आsss आsss आsss
आssss आsss आss
आss आss आsss
आs आs आs

रात मिलन की
देर से आई है
सजधज के
दूर से आई
तुझे साथ लाई
सजधज के
कितनी बहारें
तेरी याद में गुज़ार के
आज तुझे पाया मैंने
सब कुछ हार के
आजा राजा
ले के बारात आजा
आजा राजा
ले के बारात आजा
मोतियों की सेज
बिछाई हुई है
दिल की भी दुनिया
सजाई हुई है
आजा राजा
ले के बारात आजा
आजा राजा
ले के बारात आजा

आssss आsss आsss आsssss
आssss आsss आss आs आs
आssss आsss आss आss आss
आssss आsss आss
आssss आsss आsss आsssss
आssss आsss आss आs आs
आssss आsss आss आsss आsss
आssss आsss
आss आss


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 :

4281 Post No. : 15523 Movie Count :

4279

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


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 :

4211 Post No. : 14409 Movie Count :

4245

Today’s song is from the film Nav Jeevan-1939. It was a film made by Bombay Talkies, one of the heavyweight film making companies of those times. Bombay Talkies and Prabhat Film company of Poona were the companies that tackled offbeat and social reform issues through their films. They generally, combined social work with entertainment successfully and therefore their films became popular.

The owners of Bombay Talkies, Himanshu Roy and Devika Rani were Bengali. The company, no doubt, helped and gave opportunities to many capable Bangla artistes in different fields of film making, like cinematography, direction, acting etc. However, they were also known to recognise talents and offered opportunities to right persons irrespective of language, caste or religion – Bangla or non Bangla. Both the owners were foreign educated and Himanshu Roy had been in Germany to make films. Very few people know that his first wife was a German lady !

The couple had a soft corner for Germans because of their personal experiences. This was evident from the fact that Bombay Talkies had employed a team of German Technicians and other specialists like Director, Cinematographer etc. In the early stages of Bombay Talkies, from 1935 to 1939, almost all their films were directed by Franz Osten – a German.

Germany had a very good name in India during the olden days i.e. during the early part of the last century. I remember, my Grandfather ( who expired in 1975 at the age of 91 years) always praising Germany for so many things. In India, all things German were considered the Best- even better than the Vilayati or the British things !

Very few people know that Indian Cinema had a little known connection with the rise of Hitler in Germany in 1932-33. A group of men engaged in Cinema in Germany, flocked to India in the 30’s and played a vital role in Indian Cinema and the arts of that times. After Hitler took over Germany in 1933, the German Cine Studio’s glory days were over and they were turned into Nazi Propaganda Machines !

It was at this time that several of its men ( mostly persecuted Jews) left the studio and some arrived in India, and contributed to Indian cinema’s formative years.

The foremost among them is Frantz Osten, a German whom Himanshu Rai and Devika Rani met at the USA when they went to train there (they worked with Lang and Marlene Dietrich). Osten had already been directing films for the couple since 1925, when he made Light of Asia for them from Germany.

In 1934, he came to India and the next year, after Rai founded Bombay Talkies ‘the legendary film studio in Malad that now lies in ruins,’ Osten directed its first film.

He went on to direct the famous Devika Rani-Ashok Kumar starrer, Achhyut Kanya, without much knowledge of Hindi. The film, which featured the song “Main ban ke chiriya”, was shot by Cinematographer Joseph Wirsching; the sets were designed by Karl von Spreti, the laboratory was headed by Zolle, and the sound recordist was Len Heartley. This was Osten’s team of USA ex-members who worked for Rai’s state-of-the-art studio.

Osten and his fellow Germans directed 16 films for Rai. It was a remarkable feat for people who knew little Hindi mistaking the word “bulbul” once, for a pair of bulls.

“It’s not clear if they had anything to do with the Nazi ideology, either way,” said film historian Amrit Gangar.

“If they did, it did not show in their films. But there were two other people who almost certainly migrated to India because of the persecution of Jews.”

Franz Osten(23-12-1876 to 2-12-1956) Hindi director, was born in Munich as Franz Ostermayer, the elder brother of successful producer Peter Ostermayer. They set up a travelling cinema, Original Physograph (1907) and founded Munchner Kunstfilm (1909) after Osten had been making shorts for Pathé, Gaumont and Eclair. Their first feature: Die Wahrheit (1910). Osten’s début as director: Erna Valeska (1911). War correspondent in 1915. Joined Peter’s company Emelka (later Bavaria Film) in 1918. Made Der Ochsenkrieg (1920) with young cameraman Frank Planer of later Hollywood fame, one of Osten’s several contributions to a budding genre that after WW2 became known as the Heimatfilm. In fact, the Ostermayr/Osten brothers claimed to be the originators of the genre.

When Himanshu Rai and Emelka made a deal to produce Prem Sanyas aka Light of Asia, Osten was assigned to direct. Continued directing Rai’s productions, often shooting in India as well as in Europe, in addition to directing for numerous companies in Berlin. Moved with cameraman Josef Wirsching and set designer Karl von Spreti to India to work at Himansu Rai’s Bombay Talkies (1934).

While in Bombay, became a member of the Nazi Party (1936). He was interned by the British at the outbreak of WW2 while shooting his last film there, Kangan. Released and allowed to return to Germany (1940). Employed by Bavaria Film until 1945, for casting and setting up its film archive. In addition to Indian films, directed 33 silent features and 10 sound films.

After WW2 became manager of a Bavarian spa. His Indian films, following UFA tradition, were huge Orientalist spectacles with elephants, camels and expansive vistas often shot in deep focus. Effective authorship shared by producer Rai and scenarist Niranjan Pal. Adopted European conventions to introduce main actors, e.g. backlit mid-shots in soft focus gradually becoming more contrasted; also used mobile outdoor shots as in the railway-crossing sequence of Achhut Kanya. Strongly influenced younger Bombay Talkies film-makers Amiya Chakrabarty and Gyan Mukherjee, though they used his techniques for very different purposes.

Filmography-1925: Prem Sanyas, 1928: Shiraz, 1929: Prapancha Pash, 1935: Jawani Ki Hawa, 1936: Achhut Kanya, Janmabhoomi, Jeevan Naiya, Mamata, Miya Bibi, 1937: Izzat, Jeevan Prabhat, Prem Kahani, Savitri, 1938: Bhabhi, Nirmala, Vachan, 1939: Durga, Kangan, Navjeevan

In addition to the German team in Bombay Talkies, there were three more Germans who also came to India and worked in Hindi films. One was Walter Kauffman (1-4-1907 to 9-9-1984). The other was Wilhelm Haas (18-6-1915 to 30-3-1979), who was a writer. Both were Jews and friends. Kauffman, Haas and Bhavnani worked together in Premnagar (1940), Naushad’s first film as music director. Kauffman composed the background score; Haas wrote the screenplay.

“It is debatable, but Kauffman is probably also the person behind the All India Radio signature tune. Haas was a member of the Indian chapter of PEN,” Gangar said. Haas also wrote the script for Bhavnani’s Jhooti Sharam (1939).

The third German was Paul Zils ( 1-6-1915 to 30-3-1979 ). Zils, believed to be a Nazi sympathizer, turned up in India under strange circumstances: he was bound for Indonesia in a steamer that got torpedoed by an Indian naval ship during World War II and he was taken prisoner.

After his release, because of his film experiences, the leadership of the sales department in Ezra Mir led government documentary production company called him to join Information films of India. End of October 1945, he came to Bombay and started his work. Following the closure of the Information Films of India, Zils was freelancing and in 1948 founded his own company Documentary Films of India; in 1949 India created new state production company Films Division. To popularize the documentary he was supported in 1949 among others by Mulk Raj Anand , B.K.Karanjia , Vikram Sarabhai , Frene Talyarkhan and Jagmohan.

1950-1952 is Zils tried as a feature film director, turning three films with Dev Anand. Paul Zils directed 3 Dev Anand films, according to the documents. Hindustan Hamara-50 and Zalzala-52 are found in HFGK, but the third film called ‘ Shabash”, though listed in 1949, gives no details, except the film name.

Paul Zils was also active in organizations of filmmakers. From 1957 to 1959 he was president of the Indian Documentary Producers Association (IDPA). In March 1959 he returned to Germany.

As the studio system came to an end and individual producers took over, the days of the Germans in Indian cinema were over. Many, including Osten, went back to Germany. Set designer Spreti was appointed German ambassador to Guatemala and was later shot dead by terrorists.

Most of the others remained associated with the film world abroad.

Film Nav Jeevan-39 had music by Saraswati Devi (a Parsee). Amongst the first 3 women Music Directors of India – the first being Ishrat Sultana aka Bibbo, the second was Jaddanbai and then came Saraswati Devi (1912-10.8.1980) – she was the most consistent and prolific composer. She gave music to 31 films, composing 262 songs. She also sang 10 songs in 6 films.

The cast of the film was Hansa Wadkar, Rama Shukul, V H Desai, Mumtaz Ali, P F Peethawala, Lalita Deulkar and many others. Today’s song is written by J.S. Kashyap and this duet is sung by Lalita Deulkar and Balwant Singh.

LALITA was born in Bombay in 1924.She was not interested in acting or singing, but poor family conditions and father’s T.B. forced her to earn a living by singing and acting. During 1940-45, she recorded many songs. One Mr. Dulerai Pandya, a Gujarati, owned “The National Recording Co.Ltd.” in Bombay’s fort area. There was a Tricolour shown on the labels of the records,hence this company was known as Jhandewali record co.. V.Shantaram was also on its Board of Directors. Initially Prabhat and later Rajkamal film songs were issued on this Jhanda Chhap records only. The company had hired Datta Davjekar for Marathi and Avinash vyas and Lallubhai Bhojak for Hindi and Gujarati songs. She recorded many Darya songs and Bhavgeets in this company.Along with her, Gajanan Watwe, Jyotsna Bhole also recorded songs here. Some records named her as Lalita Devi. Once Saraswati Devi heard her and gave her chance to do small roles and sing in chorus of songs of Bombay Talkies films. Her Debut was made with the song ” Raja hamen na niharo”. It was a duet with Balwant Singh, in film Navjeevan-39.

After singing songs in films like Parbat pe apna dera-44,Valmiki-46 and Eight Days-46,she got a good break in film Saajan-1947. Her duet with Rafi, ” Humko tumhara hi aasra” is remembered even today. Film Nadiya ke paar-48 also had a duet with Rafi,”More raja ho,le chal nadiya ke paar” which was very popular. C.Ramchandra was MD for both these films. She sang in several other films like Bhakta Dhruv,Khidki,Jalan,Shaheed,Shakti,Vidya,Bedard,Daulat,Girls school,Jai Bheem,Roshni,Sanwariya,Shabnam,Apni Chhaya,Malti Madhav,Pahli Tarikh,Sajni etc.

In all she acted in 5 films and sang 79 songs in 36 films.

She got married to Composer Sudhir Phadke (25-7-1919 to 29-7-2002),on 29-5-1949 at Poona. Their common friend Mohd. Rafi sang a specially prepared and meticulously rehearsed ” Mangalashtak ” ( an eight stanza marriage song in Marathi), in their marriage. After marriage she sang only in films of Sudhir Phadke. After Sajni-56, she stopped singing completely and became a devoted housewife. She died on 25-5-2010. Their son Shridhar Phadke is a well known Marathi singer and composer.

The male voice in this duet belongs to Balwant Singh. BALWANT SINGH was born in Pandoga village of Hoshiyarpur on 9-12-1918 in a Jahagirdar’s family. He was quite rich.

After a training from Pt.Bhishmadev in classical music, he came to Bombay and joined Bombay Talkies at the age of 18 years. He first gave Playback in Jeevan Prabhat-37. In Nirmala-38 he acted and also sang a song. Then came Durga-39 where also he acted and sang.

V.Shantaram cast him in Padosi-41 and his songs in this film were hits.

He was Hero in Darpan, Swapna, Malan, Naukar, Paraya Dhan, Ashirwaad, Collegian, Dr.Kumar, Bhanwar, Hip hip hurray and Apni chhaya-50 etc. As a hero he sang less songs. His songs with Shanta Hublikar(Malan) and Parul Ghosh and Khan Mastana(Bhanwar) were very popular. He also acted in Nirmala,Vachan and Kangan.

In all, he acted in 18 films, sang 20 songs in 10 films and also wrote 6 songs in film Sumitra-1949.

He married a girl from the royal family of Palanpur, Gujarat. After leaving films, he worked in All India Radio for 4 years. The signature tune played just before the morning broadcast was composed by Balwant Singh, for A.I.R.

Then he settled in Ahmadabad, directing Dramas and Teaching music. Finally, he shifted to Ludhiana where, after a long illness, he died on 4-12-1985.

With today’s song, film Nav Jeevan-1939, makes its Debut here.

( Some information used herein is from the book ” The music that rings every dawn ” by Historian Amrit Gangar ji, The Record news Bulletins of S.I.R.C , Prof. Yogesh yadav ji’s book ” Hindi film singers ” and Encyclopedia of Indian Cinema. My thanks to these sources.)

Audio

Video

Song-Raja hamen na nihaaro (Navjeevan)(1939) Singers-Lalita Deulkar, Balwant Singh, Lyricist- Jamuna Swarup Kashyap ‘Natwan’, MD-Saraswati Devi
Both

Lyrics

Raja hamen na nihaaro
o raja hamen na nihaaro
hamen to lag jaayegi najariya
ho raam
hamen to lag jaayegi najariya re

tirchhi najariya patri kamariya
tirchhi najariya patri kamariya

chhedo hamen na sanwariya
haan haan
chhedo hamen na sanwariya
haan haan
chhedo hamen na sanwariya
hamaari baali umariya
ho raam
hamen to lag jaayegi najariya
ho raam
hamen to lag jaayegi najariya re

kaun des se aayi gujariya
kaun des se aayi gujariya
ka matki bhar laayi gujariya
ka matki bhar laayi gujariya

brindawan ?? aayi gujariya
prem preet ras aagi gujariya
brindawan ?? aayi gujariya
prem preet ras aagi gujariya
daasi tihaari rasiyaa
haan haan
daasi tihaari rasiyaa
haan
daasi tihaari rasiyaa
sang sang beete umariya
ho raam
hamaari beete umariya
ho raam
hamaari beete umariya re


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

3971 Post No. : 15055 Movie Count :

4131

Today’s song is not only unique and rare,but it is also one of the few real early songs of the Talkie Films. It is from film Vikram Charitra aka Rajkumar Thaksen – 1933. Thanks to Mr. Shalin Bhatt, who has uploaded this rare Gem, sung by Gauhar Karnataki.

When you see the title of the film, one feels that it is about King Vikramaditya, but when you see the other title Rajkumar Thaksen, you know that this is something else. When Talkie films started, it had profound influence of stage dramas, because that was the only accepted form of entertainment in India, till films arrived…Silent or Talkie. Parsee, Gujarati and Marathi theatre stories, Natya Sangeet and the artificial way of stage acting were things followed in early films,cent percent. Fairy tales, folk tales, Panchatantra stories and Traditional Grand ma stories started appearing as films, after some time.

When I first bought the 5 volume set of HFGK, I started going through the films of 1930s. I read this film title and I suddenly remembered the story of Raja Vikram and Rajkumar Thaksen I had read, when I was about 10-12 years young. That was one of my favourite stories and I felt it was a good competition to Arabian Night stories of Alibaba, Alladin or Sindbad. The Thaksen story had Indian background and felt closer to heart.

However, during the growing years, the tastes changed and the Thaksen story went into the background. Now, when I decided to write on this film song, I tried to recollect the story, but could not recall it fully or cohesively. Despite searching on the net for several days, the story eluded me. Suddenly, one day I bumped into a children’s story book ” Raja Vikram and Rajkumar Thaksen”. I simply can not put into words, how much joy I got after reading this story all over again !

The story of King Vikram, his queen Shashikala and Rajkumar Thaksen was first filmed in 1929, as Prince Thaksen, by Aryan Film company, Poona, in which the role of Thaksen was done by the handsome Nandram Pehelwan. This was a Silent film. In the Talkie era, the first film on Thaksen was this- Vikram Charitra-1933 by Sharda Movietone. In 1933 itself a sequel to this film was made as ” Rambha raniaka Stree Charitra” made by same company, with the same cast and team as Vikram Charitra. This was followed by another film ” Bhedi Rajkumar aka The Mysterious Prince aka Rajkumar Thaksen” in 1934, by Saraswati Cinetone, Poona belonging to R G Torney. After a gap, ” Vikram Shashikala ” was made in 1949, by Chitravani productions, Bombay featuring Master Vithal as Thaksen.

In short, film makers were attracted towards the story of Thaksen. What is this story all about. The story, in short, is thus described in the book….

Raja Vikram of Avanti Nagari was having 7 queens, but he loved queen Shashikala most and used to take her on tours with him. This made the other queens jealous and they conspired to teach her a lesson. When the king came to them, they unanimously complained against Shashikala that she criticised the king on his back. This enraged the king and he deserted Shashikala. She was kept far away in a fortress, surrounded by a water trench all around, with only one entrance. The queen was pregnant, but the king was not aware of it.

In due course, Shashikala gave birth to a handsome prince, who was named Raj Ratan. The king was duly informed, but he never came to see his son. As the Prince grew, he became an expert in the Bird’s and Animal’s languages. He also learnt how to disguise skilfully. Once he tricked even his mother and mother lovingly called him Thaksen ( one who cheats). This name became his name for all purposes.

One day Thaksen came to know about what Raja Vikram did to his mother and he prepared to take revenge. Despite mother’s request, he started for the capital.

To cut the story short, how he reaches the king, teaches him a lesson, saves the king from foreign aggression, how he falls in love with Rambha Rani etc has to be read from the original book itself. It is full of adventures, magic and stories of Thaksen’s valour. In the end, all is well and Shashikala is honourably recalled to the Capital by Vikram etc etc.

The film was made by Sharda Movietone and was directed by Harshadrai Sakerlal Mehta. The cast of the film consisted of Baburao Apte (as Vikram) and Madhav Kale (as Thaksen), along with Gauhar Karnataki, Dulari, Shivrani etc etc. Baburao Apte is the same as elder brother of actress Shanta Apte-about whom I wrote just last month. We do not know the names of the Lyricist or the Music Director, as HFGK is silent on these.

It is a well known established fact that in the early years, women artistes came from lower classes, singing families or Tawayafs and similar types. Most of these girls joined the film line in order to get a a rich Seth ji or a suitable husband and spend the rest of the life respectfully. There are many examples of such ‘ planned’ marriages in the early era. However, this process continued even in later times.

Film industry is one industry where men and women have to work together. Whether it is Actor-director or Singer-Composer, for the sake of work they have to spend much time together. No wonder then that Cupid does his work overtime. Sometimes there are mutual attraction and at times there are one sided fires burning. In most cases the one sided fire is extinguished in a very painful way, like what P L Santoshi faced with actress Rehana or the slap Sanjiv Kumar got from actress Nutan.

There were cases when love of Dilip kumar for Madhubala, died in the High court witness Box, when he gave evidence against her father in the ‘ Naya Daur ‘ legal case. Dev Anand’s love with Suraiyya ended happily for Dev Anand with him marrying Kalpana Kartik, but Suraiyya stayed “Unmarried”, in his ” yaad”, throughout her life. Here the villain was her so called ” Grand mother “, who actually was her own mother, as documented in the book “Stars from another sky” by Saadat Hasan Manto !

The successful 2-way traffic usually ended with a marriage. We can see marriages between producers and Actresses( Himanshu Rai-Devika rani and W Z Khan and actress Nina), directors and singers/actresses ( Nalini jaywant-Virendra Desai, Shaukat Hussain-Noorjehan, Geeta Dutt-Guru Dutt, Lalita Pawar-G.P.Pawar, Rattanbai-Hafiz Khan), Actors and Actresses ( Arun Ahuja-Nirmala devi, Snehprabha Pradhan-Kishore Sahu, Dev Anand-Kalpana Kartik, Dharmendra- Hema Malini, Rajesh Khanna-Dimple Kapadiya, Amitabh Bachchan-Jaya, Abhishek-Aishwarya, Kishore Kumar-Madhubala, Premnath-Bina Rai, Karan Dewan-Manju Desai, Marutirao Pehlwan-Tara Devi.)

There were some odd combinations like Satyendranath Athiah-Bhanu Athaiya (Lyricist-Costume designer),Lyricist-Singer (Amar Verma-Manik Verma), Singer-villain (Shakti Kapoor- Shivangi Kolhapure),Music teacher-student ( Roshan-Ira Moitra, Hemant Kumar-Bela Mukherjee, C.Ramchandra-‘Ben’ Ratan Thakur), and even a singer-Orchestra player (Vinita Amladi-Krishna Chakravarty) and lastly between singer-singers ( Jyoti-G M Durani, Gauhar Karnataki- Bal Gandharva). There were those pairs who were singers-actors ( Amirbai- Himalayawala,Rafiq Gazanavi- Anwari bai).

The interesting group, however,was that of Composer-Singers ( Sudhir Phadke-Lalita Deulkar, Asha Bhosle-R D Burman, Naashad-Premlata, Anil Biswas-Meena Kapoor, Pannalal Ghosh-Parul Ghosh, Khayyam-Jagjit Kaur, Ghulam Haider-Umrao Zia begum, Kamal Dasgupta-Firoza begum, Ninu Majumdar-Kaumudi Munshi).

The Heroine of today’s film- Gauhar karnataki was also one such artiste who did a ‘planned’ marriage. Her life story is interesting. Tabla player Hussain khan,living in a small town Belagi,near Hubli,had 6 daughters. The first was Allamma(Ahilya),then Amirbai,next was Gauhar(Born in 1908),then a series of badi Munni,Chhoti Munni and Nanhi Munni. Son was Dastgir.

Being from a singing family,Amirbai and Gauhar(Gauramma) worked in a drama company called Vanivilas Natak mandali. Since Hubli, Dharwad, Belgaum came under Bombay Presidency and also near Sangli/Miraj and Kolhapur, the sisters were experts in Marathi too.

Brother Dastgir went on to study B.Sc and did a job in AIR, Belgaum. From the beginning only, Amirbai and Gauhar did not get on well with each other. May be professional jealousy. Gauhar got classical music training from a blind teacher NIlkanth Panchakshari Buwa. Great classical singer Mallikarjuna Mansur’s brother Basavanna wrote songs for Gauhar and also accompanied her on Harmonium.

Marathi singer actor Chaphekar took the sisters to Bombay for working in films. Gauhar and Chaphekar stayed as companions in Bombay for few years. Meanwhile Gauhar got a daughter Ashamma. Her father’s name is not known. Ashamma remained with Gauhar till her death.

Gauhar started acting in Marathi and Hindi films. She acted,sang and also composed her own songs,but no records were brought out.

Gauhar was mesmerised by the famous Marathi singer actor BAL GANDHARVA. She first met him in 1937,in actor Himalayawala’s flat(Amirbai karnataki’s cruel Husband). It is widely believed that Gauhar used Black magic to attract Bal Gandharva to her. As expected he fell in her love and Gauhar joined his Balgandharva Natak Mandali in 1938. After her arrival into the Mandali, all senior artistes left the company as they were afraid of Gauhar’s black magic.

From 1938, Gauhar remained with Balgandharva till she died in 1964. Balgandharva’s wife died in grief in 1940 and Gauhar married Balgandharva in 1951.

She acted in films like Raas vilas-32,Kala pahad and Sohni mahiwal-33,Kala vagh and Shak karta Shivaji(M)-34,Pyar ki Maar-35,Bansriwala,Gol Nishan and Graduate-36,kala Bhoot and Chabuk swar-37,Vijay Danka-38,hawai khatola and swadesh sewa-46. chabuk swar-37 was a stunt film a-la Fearless Nadiya style wherein she did some stunts and fencing too. (Thanks to lifekidhun,warren senders,wiki and HFGK for some information used above.)

Gauhar is mentioned as Gauhar karnataki or Gauhar from Bijapur in the HFGK. She must have sung at least 100 songs but since there were no records, there is no information.As her many films were C grade, no records were issued even for them. However she has sung many Marathi natyageet and Bhajans.

There can not be any comparison with her sister Amirbai since Amirbai was in a higher league and her records were also made. She had many composers and singers to sing along.

Film Vikram Charitra-33 was written by C M Luhar, who became a well known director later on. There were 15 songs in the film. This song was recorded by Gauhar Karnataki in June 1934, according to the uploader. Since hardly any records of Gauhar Karnataki are available, this song becomes a rare song. let us enjoy this 85 year old recorded song. With this song, film Vikram Charitra-33 makes its Debut on the Blog.


Song-Raaja ke chaman se laayi manke ki maala (Vikram Charitra)(1933) Singer- Gauhar Karnataki, Lyrics- Not Known, MD- Not known

Lyrics

Raaja ke chaman se laayi
Raaja ke chaman se laayi
Manke ki maala
Raaja ke chaman se laayi
Raaja ke chaman se laayi
Manke ki maala
joohi manke ki maala
joohi manke ki maala
joohi manke ki maala
joohi manke ki maala
joohi manke ki maala
Raaja ke chaman se laayi
Raaja ke chaman se laayi
Raaja ke chaman se laayi
manke ki maala
aa aa aa
aa aa aa
aa aa aa
aa aa aa
aa aa aa
aa aa aa
manke ki maala
joohi manke ki maala
joohi manke ki maala
Raaja ke chaman se laayi
Raaja ke chaman se
hamaara kaam hai
sabhi ne ??
sabhi ne ??
sabhi ne ??
sabhi ne ??
??
aa aa aa
jaise nihaar ??
jaise nihaar ??
jaise nihaar ??
jaise nihaar ??
manke ki maala
joohi manke ki maala
joohi manke ki maala
joohi manke ki maala
Raaja ke chaman se laayi
Raaja ke chaman se laayi
Raaja ke chaman se laayi
manke ki maala
Raaja ke chaman se laayi
manke ki maala
joohi manke ki maala
Raaja ki


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.

Blog Day : 3938 Post No. : 15013

—————————————————-
Mohammed Rafi : The Incomparable (II) – Song No. 10
—————————————————–
As story telling songs go, my personal favourite song is
this song from “Jab Jab Phool Khile”. Another such song which is readily coming to mind is this
this post written by me.

There are more such wonderful songs in this genre in Hindi films. While looking for a Mohammed Rafi song for the 15KSMC, I found this song, which is sort of storytelling and kids entertainment song. It’s a pure Solo song from the 50’s written by Rajendra Krishan and composed by C. Ramchandra for the film Insaaniyat(1955).

One more feature of this song is that it has Agha(senior) singing it for the benefit of kids watching describing the antics by a monkey. From the page containing Anniversay dates I find that the veteran character and comic actor Aghajan Baig was born on 21st March 1914 at Pune and died on 30/04/1992 also in Pune. So this year on 30/04/2019, it is Agha’s 27th death anniversary. There are many songs which Agha has been seen singing on screen. He had at least two solo Rafi songs in this film “ Insaaniyat” alone. So by this yardstick there are a few more songs picturized on him may still remain to be posted. One more song which is Agha is singing on screen is this one .
One more poignant Rafi solo highlighting the plight of the deprived and under preliviged. Another significant song on him is this this song .

Last week a younger work-mate and a friend, who is maybe born in the 80’s described a person (who looks like Agha actually) as ‘Shakaal’. I tried to explain that he is actually very similar to Agha looks-wise, but she did not know who was Agha. Even saying that he was a comic character actor from black & white movies and Jalal Agha’s father failed to ring a bell. So there came this memory from long back, of a TV ad featuring Agha. This was the advert for ‘Brittania Coconut Cookies”. Here Agha is seen wearing a sherwani walking down a garden of coconut trees swinging his walking stick. One coconut falls down, hits him on the head before hitting the ground . Agha picks up the coconut, which is broken and opens into two pieces of the shell with the biscuits inside. The catch phrase of the add was “ab brittania ne nariyal ko kurmurana sikhaya’. Of course Agha is seen eating the biscuit and enjoying it. I tried to find if the that ad clip is available on the net, but could not find it.

Anyway, this song was there with lyrics written down and a look at the Anniversary page made the writing of this post a must.

Clearly Mohammed Rafi sahab’s is enjoying singing this song. A cheerful and peppy no. I heard this only today that the thespian had said to someone ‘that “Mohammad Rafi” is the name given to him by his parents and he prefers to be called Mohammed Rafi instead of Rafi Sahab’.

Actually when I had stumbled upon this blog and thought of looking at the stats page, the first name I tried to find is Mohammed Rafi. No one can imagine my shock when the name was not there in the M list of singers. Thankfully I thought to look under R also as I was on the page and looking in the correct list of singers.

Some may say “ what is there in a name ?”, so I am certainly not in a position to insist that the blog also call him by his given full name.

So this is song No. 10 of the series, which will continue at least till 31st July.


Song-Raja beta bada ho ke jaayega school (Insaaniyat)(1955) Singer-Mohammed Rafi, Lyrics-Rajendra Krishan, MD-C Ramchandra

Lyrics

Raja beta badaa ho ke
Jaayegaa school
O Raja beta badaa ho ke
Jaayegaa school
Beta jaayegaa school
karegaa padhaayi ya likhaayi
Mein na bhool
Haan likhaayi mein na bhool

Ye baat rahe yaad
Banegaa ustaad
Waah re ustaad beta
Waah waah re ustaad

Baitthe baitthe ladkon pe
Ra’ub jamaayegaa

Hogaa jo shareer
Uss ke baint lagaayegaa
Ji baint lagaayegaa
Ji baint lagaayegaa
Phir karegaa raja shaadi
Khush hongi Amma daadi
Dulhan hogi tez mizaaj
Karegi iss par poora raaj
Chulha phunkwaayegi
Roti bhi pakwaayegi
Bachcha bhi khilwaayegi
Han haan
Sab kuchh karwaayegi
Samjhe naa

Masaala piswaayegi
Arey o lala
Ragad masaala
De ragdaa
De ragdaa
Mol liyaa thhaa
Kaahe beta
Shaadi ka ye jhagdaa

Dekho dekho
O dekho dekho
Bajaaye shehnaayi
Bajaaye shehnaayi
Hamaare lalnaa
Haan hamaare lalnaa


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 : 3919 Post No. : 14982

 

Today’s song is from film ‘Shahenshah Babar’ (1944).

Hindi film makers seem to have an attraction for Mughal Empire. Films were made on life events of right from Babar to Bahadurshah Zafar- the first to the last Mughal kings. I do not know what the film makers found so magnetic in their lives. Not only Mughal kings, but also the Mongol king Changez khan, Nadir Shah and generals like Behram Khan also became the subject matters of films. May be the producers found lot of scope to show big palaces, big armies, wars, dances and songs, beautiful women etc. in such films which attracted the audience.

More than any other Mughal king, it is Babar, who has been in public discussion in India , since about 20-30 years, for well known reasons for which we are not concerned here. Babar was born as Zaheeruddin Mohammed, on 14-2-1483 in Fergana valley in what is known today as Uzbekistan. He was a direct descendant of Taimurlane. At the age of 12 years he ascended his father’s thrown and faced rebellion. Next few years were spent on fighting to save his kingdom. Having lost, and won and again lost the valley of Fergana and Samarkand three times, Babar decided to go to India.

He marched with his army towards India, which was ruled by Ibrahim Khan Lodhi that time. Babar’s army was tired and tried rebellion till they reached India. In the battle of Panipat, he defeated Lodhi and became the Emperor of India. Later he fought with several Rajput kings and won also. Babar married several times and had several children too. His 3 sons were main and Humayun was his dearest son. Babar established the Mughal Empire in 1526 at Delhi. It was Humayun, who succeeded Babar when he died on 26-12-1530.

‘Shahenshah Babar’ is a depiction of his life from childhood to death, but most part of the film is about the love affair and sickness of Humayun. After his death Babar was first buried in Agra, but later his remains were buried again in Kabul. Babar is considered a national hero in Uzbekistan and Kergystan. In India Babar is not known for such good things.

This film was made by Ranjit Movietone, calling it a historical film. It was directed by Wazahat Mirza Changezi (20-4-1908 to 4-8-1990). He directed 5 films, namely, ‘Swaminath’ (1942), ‘Jawaani’ (1942), ‘Shahenshah Babar’ (1944), ‘Prabhu Ka Ghar’ (1945) and ‘Nishaana’ (1950). He wrote lyrics in films like ‘Watan’ (1938), ‘Hum Tum Aur Woh’ (1938), ‘Bahen’ (1941), ‘Roti’ (1942) and ‘Jawaani’ (1942). Later he became famous as a screenplay and dialogue writer. Some of his famous films are ‘Zeenat’ (1945), ‘Shaheed’ (1948), ‘Shikast’ (1953), ‘Mother India’ (1957), ‘Yahudi’ (1958). ‘Mughal e Azam’ (1960), ‘Ganga Jamuna’ (1961), ‘Leader’ (1964), ‘Palki’ (1967) etc.

The music director was Khemchand Prakash and lyricists were Pt. Indra, Munshi Aziz and Munshi Shums. Out of the 9 songs, today’s song is 5th song to be discussed here. The cast of the film was Khurshid, Sheikh Mukhtar, Sushil Kumar, Yakub, Majid, Anwari, Agha and others.

Religious, mythological or historical stories have some characters who are with extra ordinary strength or even Rakshasas. Such characters maintained the equilibrium of entertainment in those films and made them more interesting with their actions. In the Hindi film industry, some actors fitted this requirement. Some of them were BM Vyas, Ramayan Tiwari, Sheikh Mukhtar, Dara Singh, Dev kumar etc. Sheikh Mukhtar fitted into these roles perfectly, for example as ‘Nadir Shah’ in film ‘Nadir Shah’ (1968), as Changez Khan in film ‘Changez Khan’ (1957), or as Sher Afghan in film ‘Noor Jehan’ (1967). In social films, roles of police officers and in action/stunt films as dacoit, drunkard, gambler etc. In some of the films directors used to make him do unimaginable and unbelievable acts like in film ‘Roti’ (1942), he brings down an aircraft with his spear throw ! As a police officer, he would hold 5-6 criminals by their scruff in his extra large hands or run barefoot after a speeding jeep and stop it !

His real name was Mukhtar Ahmed Siddiqi. He was from old Delhi. His father was a senior police officer. He was Bollywood`s first ‘hunk’ – one who would have put today`s WWF hulks to shame. Exceptionally tall and frighteningly hefty, he was endowed with an immense physique. His face was a roadmap of crisscrossing muscles. A sharp jaw line added to the dimensions of his rock-hard face. Hardly `star` material compared to the Hrithiks and Salmans of today. Yet, this rugged man was once a hero.

Those were the days when a limp-wristed hero, who could not even unlock the mysteries of the lush curls of his beloved, was universally adored in cinema halls. In such times, Sheikh Mukhtar adorned the garb of a hero. This feat was achieved by movie monarch Mehboob Khan. In ‘Ek Hi Raasta’ (aka ‘The Only Way’), a film directed by Mehboob Sb for Sagar Movietone way back in 1939, Sheikh Mukhtar was one of the three heroes. The other two were Arun Ahuja (matinee idol Govinda`s father) and a certain Harish (who later directed films such as ‘Burma Road’, he was Tara Harish). Though billed as male lead, Sheikh Mukhtar never fitted into the `romantic` mold. And why should he? He portrayed an uncouth lover, almost a pre-Neanderthal man, in Mehboob Khan`s ‘Roti’ with sensuous Sitara Devi as his beloved. In that film, Sheikh would bring down an aircraft with the mere strike of his spear. When thirsty, he would empty an entire bucket down his throat in one go. Soppy dialogues oozing with maudlin emotions such as love and romance, did not come forth from the super-hunk.

In Wadia`s ‘Krishnabhakt Bodana’ (1944), Sheikh Mukhtar was the Lord`s devotee. In ‘Bahen’ (1941), he portrayed the role of Nalini Jaywant’s brother. His imposing personality fitted well into period films which dabbled in history. He played the role of Shahenshah Babar; went on to become Chengez Khan and then donned the mantle of Sher Afghan in ‘Noor Jehan’, a film which he produced. He was often teamed with Begum Para, the bewitching beauty of that era. The pair hit it off exceedingly well on the screen. For countless cinema aficionados, the Sheikh Mukhtar-Begum Para pair was a classic case of the beauty and the beast. With pint-sized Mukri, Sheikh Mukhtar had a successful celluloid partnership. Sheikh Mukhtar produced a string of Hindi films, such as ‘Dada’, ‘Dara’, ‘Ustad Pedro’, ‘Toote Taare’, ‘Mr. Lambu’, ‘Annadaata’, ‘Mangu’ (with another beauty, Nigar Sultan), ‘Do Ustaad’, and ‘Noor Jehan’, among others.

He wove into his films a variety of songs, from “Bahaaron Ke Dole Mein Aayi Hai Jawaani”, a romantic number from ‘Annadaata’, to naughty ditties, such as “Dil Ka Ye Injan Seetiyaan Maare” from ‘Ustaad Pedro’, and “Namaste, Doctor Baaro, Hum Ko Bhi Ek Injection Maaro”. Sheikh Mukhtar`s pair of shoes, of twelve number size, (in ‘Do Ustaad’), summed up his big time existence. His role in this film was widely appreciated. Sheikh Mukhtar showcased his acting talents in the concluding scene of ‘Do Ustaad’ when he holds his long-lost brother and son to his bosom.

Sheikh Mukhtar invested all his hard-earned money on ‘Noor Jehan’, his dream project. However, the period film bombed miserably at the box office. And with the film collapsed this mighty man. Debts began to pile up. Income Tax arrears kept multiplying in geometrical progression. Unable to resolve this crisis, Sheikh Mukhtar, who was adored in Bollywood for his integrity and for his firmness to keep vices of every variety at bay, fled to Pakistan with the alacrity of a small-time house burglar. He took with him the prints of his films. But, sadly, the Pakistan film industry offered him no succor. He kept running from pillar to post, visiting government offices with a plea that he be allowed to release his films.

He was not at all welcomed by Pak film industry. As it is Indian films were already banned there. When all efforts failed, he met General Zia ul Haq. He was a great fan of Sohrab Modi. When he learnt that Sohrab Modi was acting in this film, he allowed the film’s release. However, the Pak film industry went to Supreme court against this order. The case dragged on and finally on 11th may 1980 he won the case. While hee was returning to Lahore with his son Sheikh Moinuddin, Mukhtar got a severe heart attack in the flight. He was immediately taken home and doctor was called. Strangely no doctor came to help him. Finally by the time he was taken to hospital, he died on the way.

‘Noor Jehan’, which was released in Pakistan after Sheikh Mukhtar died, on 23rd may 1980, kept the box office registers ringing with cash. In his 40 years’ career he acted in 70 films and under the banner of his own Omar Khayyam Films, he produced 8 films. (Some information from articles by Shirish Kanekar and Jawed Hamid is used here with thanks).

Singer actress Khurshid played the heroine Hameeda’s role and sang good songs too. Here is an edited interview of Khursheed, taken in 1992,by Pakistani journalist, Navid Rasheed (Thanks to Cineplot)..

Khursheed Bano was born as Irshad Begum in Lahore, on 14th April 1914. As a child she resided in the Bhatti Gate area next to Allama Iqbal’s house. The two families were pretty close. Khursheed was a child then. There was no ambition of joining the showbiz bandwagon then and it was by chance that led her to this arena.

Khursheed was very still young when she became an actress in the early 30’s. The era of the silent movies had already ended with the release of ‘Alam Ara’ in 1931 and the Indian film industry was going through a revolution. What set her apart from other heroines were her attractive face and certain flamboyance owing to which she made her presence felt. And then she was very good actress who could be melodramatic and happy-go-lucky with equal ease.

Each star then was required to playback for themselves and Khursheed was lucky to have a good voice. Hence started the brilliant era of some timeless classical and exemplary numbers like “Panchhi Baawraa Chaand Se Preet Lagaaye”.

The graceful and decent actress was luckier to secure some of the best films including ‘Sitaara’, ‘Shaadi’, ‘Musafir’, ‘Pardesi’, ‘Bhagat Surdas’, ‘Dekha Jayega’, ‘Shehanshah Babar’ and ‘Tansen’. ‘Pardesi’ had a very famous soundtrack comprising of memorable numbers by the late actress. In ‘Tansen’ she played the protagonist Tani with Kundan Lal Saigal as Tansen. Together they made indelible performances and the role took her to great heights. She even transcended Saigal with her strong performances and pretty looks and her fans started calling her Tani after that. Her leading men in those days apart from Saigal were Motilal, Ishwar Lal, Nazeer and Sadiq Ali. She made a successful pair with Motilal the most. Her female contemporaries included actresses of caliber like Kanan Bala, Devika Rani, Leela Chitnis, Suraiya, Swaranlata and Noor Jehan. The last three were her juniors.

Khursheed said that there was no such thing as rivalry in those days and actresses worked in close coordination. Abusing, backbiting or gossiping was not amongst their traits. Even the male stars with whom she worked treated her with great respect and there were no scandals.

Though she was an accomplished singer, acting remained her forte and first love. “Singing was a requirement to be a heroine in those days”, she said, “and even heroines with not too good voices were forced to sing if they were to act. But the composers were so good that they managed to get the best out of them then. Each song was recorded after several rehearsals. But I was an actress first and singing was just to complement that.”

Khursheed was not too happy with the way films shaped up in the years to come. So much so that she never wanted to see films anymore. In the interview she expressed her displeasure, “In spite of the resources and much higher budget, there is not a single film maker in the entire sub continent who could make a film even half as good as the films made in my era. Ours were simple films but treated well and had strong content. Plus the hard work and honesty of each unit member reflected in the entire film. This thing is missing now. A film is not only about technique, rather the issue, sensitivity and sincere dedication too.

Following partition in 1947, Khursheed opted to move to Pakistan. She worked in two Pakistani films too – ‘Mandi’ and ‘Fankaar’. But then she decided to quit and tied the knot with a Karachi – based businessman Yousaf Bhai Mian. They had one daughter who lived in the US when the interview was conducted. She then concentrated on her marriage alone and emerged equally successful on the home front as much as she was in films. She was happy that she quit films before their standards declined .

Khursheed died on 18-4-2001 at Lahore.

Khursheed Bano sang about 170 songs in about 40 films in India. Her life and career would have been like any other actor/singer, but for the controversy of her initiation into films as ‘SHEHLA’ ( HFGK writes this name as SHAILA ) at Calcutta between 1931 and 1935. It was finally and conclusively proved by Shri Kamlakar Pasupuleti ji, that Khurshid and Shehla were different and two separate individuals.

The story of film Shahenshah Babar,

The film starts with the march of Babar’s army to India in 1526, with flashbacks of his childhood and activities as an young man. Defeating Ibrahim Khan Lodhi in the battle of Panipat, Babar becomes Emperor of India.

One of his knights Sardar Sheikh has a daughter Hameeda. She and Babar’s son Humayun fall in love and meet often. When Babar comes to know this, he takes a promise from Humayun that he will forget Hameeda. Humayun promises and leaves Hameeda. Heart broken Hameeda is taken by her father to their native place .

Humayun falls ill and is on death bed. To save his life Babar prays to God that he saves Humayun and instead give death to Babar. In addition, he himself goes and brings back Hameeda to Humayun. In few months Humayun gets well, but Babar dies.

I distinctly remember, when I was studying in 5th or 6th standard, we had a lesson “The Power of Prayer” and in this lesson Babar and Humayun’s story was told, how Babar sacrifices his life for son’s life by praying to God. The film too has the same theme. It seems this story is there in ‘Humayun-Nama’ written by Gulbadan Begum, half sister of Humayun. I have not seen this film.

Today’s song is a duet of Zohrabai and Munshi Aziz. The song is written by Pt. Indra.

(Some information has been used, with thanks, from book ‘Forgotten movies on Muslim Culture 1933-1947’, by Shri Kamlakar Pasupuleti ji.)

Song – Hamen Bhool Mat Jaiyo Raja Ji  (Shahenshah Babar) (1944) Singer – Zohrabai, Munshi Aziz, Lyrics – Pt Indra, Music – Khemchand Prakash

Lyrics

hamen bhool mat jaiyo raja ji
hamen bhool mat jaiyo raja ji

ho raja ji
souten ke lambe lambe kes
o raja ji
souten ke lambe lambe kes
ulajh mat jaee
ulajh mat jaiyo raja ji
hamen bhool mat jaiyo raja ji

o rani ji
jaana padey hai bides
o rani ji
jaana padey hai bides
sandesa deti rahiyo
ho sandesa deti rahiyo rani ji
hamen bhool mat jaiyo raja ji

purab mat jaiyo ho morey raja
purab mat jaiyo ho morey raja
maalan ke teekhe teekhe nain
ho raja ji
maalan ke teekhe teekhe nain
paagal na ban jaiyo
ho paagal na ban jaiyo raja ji
hamen bhool mat jaiyo raja ji

dil to rahega paas tumhaare
dil to rahega paas tumhaare
naadan hai kismet kahiyo
o rani ji
naadan hai kismet kahiyo
sandesa deti rahiyo
ho sandesa deti rahiyo rani ji
hamen bhool mat jaiyo raja ji

dacchin mat jaiyo o morey raja
dacchin mat jaiyo o morey raja
panihaari ki matwaali chaal
ho raja ji
panihaari ki matwaali chaal
machal mat jaiyo
haaye machal mat jaiyo raja ji
hamen bhool mat jaiyo raja ji

pyaasa rahoon par panghat na jaavun
pyaasa rahoon par panghat na jaavun
tum hi pyaas bujhaiyo o rani ji
tum hi pyaas bujhaiyo
sandesa deti rahiyo
ho sandesa deti rahiyo rani ji
hamen bhool mat jaiyo raja ji

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

हमें भूल मत जइयो राजा जी
हमें भूल मत जइयो राजा जी

हो राजा जी
सौतन के लंबे लंबे केस

राजा जी
सौतन के लंबे लंबे केस
उलझ मत जइ
उलझ मत जइयो राजा जी
हमें भूल मत जइयो राजा जी

ओ रानी जी
जाना पड़े है बिदेस
ओ रानी जी
जाना पड़े है बिदेस
सँदेसा देती रहियो
हो सँदेसा देती रहियो रानी जी
हमें भूल मत जइयो राजा जी

पूरब मत जइयो हो मोरे राजा
पूरब मत जइयो हो मोरे राजा
मालन के तीखे तीखे नैन
हो राजा जी
मालन के तीखे तीखे नैन
पागल ना बन जइयो
हो पागल ना बन जइयो राजा जी
हमें भूल मत जइयो राजा जी

दिल तो रहेगा पास तुम्हारे
दिल तो रहेगा पास तुम्हारे
नादाँ है किस्मत कहियों
ओ रानी जी
नादाँ है किस्मत कहियों
सँदेसा देती रहियो
हो सँदेसा देती रहियो रानी जी
हमें भूल मत जइयो राजा जी

दछिन मत जइयो ओ मोरे राजा
दछिन मत जइयो ओ मोरे राजा
पनिहारी की मतवाली चाल
हो राजा जी
पनिहारी की मतवाली चाल
मचल मत जइयो
हाए मचल मत जइयो राजा जी
हमें भूल मत जइयो राजा जी

प्यासा रहूँ पर पनघट ना जावूँ
प्यासा रहूँ पर पनघट ना जावूँ
तुम ही प्यास बुझइयो ओ रानी जी
तुम ही प्यास बुझइयो
सँदेसा देती रहियो
हो सँदेसा देती रहियो रानी जी
हमें भूल मत जइयो राजा जी


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

———————————————–
Blog 10-Year Challenge (2009-19) – Song No. 11
————————————————

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. 😉

 

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 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 :

3845 Post No. : 14857 Movie Count :

4062

Today’s song is from a film which was made by the Film Factory- Ranjit Movietone, in 1938. The name of the film is Billi aka The Cat. The film was directed by Jayant Desai and the music was by the in house Music Director-Gyan Dutt. All the songs and the screen play was by P L Santoshi.

This was the first decade of the Talkie films. Initially films were made on Mythology, folk tales and Parsi Theatre stories. Therefore there were repetitions of film subjects like Harishchandra or Shirin Farhad, among the different film makers. When this became too obvious, the film makers turned their attention to other sources like Hollywood films, famous novels and stories by well known authors.

In this race, the Calcutta film makers, notably New Theatres, was on ‘numero uno’ position. Bengal has a rich literary tradition. The works of famous writers like Bankim chnadra Chatterji, Saratchandra Chatterji, Rabindranath Tagore, A K Sen, Bijoy Muzumdar and many more have enriched Bangla literature. Films based on their stories were made in Calcutta. Bombay, of course, was not to lag behind and many films on National and International novels and Hollywood films were made here.

The major difference in these two film centres was that Bangla films were mostly true to the original novels and Bombay films were made keeping in view entertainment of the audience and so were made by adapting these famous literary works using cinematic liberties in plenty.

Most movies made in Bengal were based on famous stories, novels and dramas. These movies were made in Bangla (for eastern India markets) and Hindi language for all India market.

In Bombay, one of the the earliest films made on a famous author’s work was ” The Mill aka Mazdoor-1934, by Mohan Bhavnani’s Ajanta Cinetone. It was written by Munshi Premchand, and was based on the miserable and pathetic plight of the Mill workers of Bombay. Unfortunately, the powerful lobby of the rich Mill Owners of Bombay and Ahmedabad pressurised the Government of Bombay State to ban this film. Two years later and after many cuts, the dilapidated film was released as ” Ghareeb parwar aka Daya Ki Devi” in 1936, but it flopped miserably, dragging the makers- Ajanta Cinetone to bankruptcy.

In 1937, a film ” Khwabon ki Duniya” was made by the Prakash pictures’ duo of Vijay and Shankar Bhatt. It was based on the famous and popular novel ” The Invisible Man” by H.G.Wells, published in 1897. This Hindi film was a copy of the Hollywood film of the same name, made in 1933. The film was a novelty and did very good business. Later on, another film Mr. X – 1957 was also on the same theme.

Today’s film Billi-38 was based on the famous novel ” Damsel in distress” by P.G.Wodehouse. Wodehouse (15-10-1881 to 14-2-1975) was from England but stayed in US for most of his life. ( He is my favourite writer and I have many of his novels with me.) Wodehouse was famous for his British humour filled novels spun around characters like Jeeves, Bertie Wooster, Psmith, Blandings Castle and Lord Emsworth and Mr. Mulliner. His most famous novel Damsel in Distress was first serialised in ‘ The Saturday Evening Post’ in May and June 1919. It was published as a book on 4-10-1919 in UK and on 15-10-1919 in US. A stage play based on this novel, gave 234 performances in UK in 1928 and a Musical Comedy on it was made in 1937 in US.

‘Crime and Punishment’ by Fydor Dostoyevsky was the basis for film ‘ Phir subah hogi’-58. Many films were made on Tarzan novels by Edgar Rice Burrows and some thrillers were made on novels of Edgar Wallace. Hindi films based on famous novels/stories by Indian authors were many. An old example is Milan-46 on Tagore’s Nauka Doobi and recent examples are Chetan Bhagat’s 4 novels- Hello, Kai Poche, 2 states and 3 Idiots, as films of the same name. Some other films on Indian and western novels are Devdas, Parineeta, Omkara, Tere mere sapne, Guide, Aisha,Maqbool, junoon, Pinjar, Shatranj ke khiladi, Hamlet, Haider, Bandini, Balika Badhu, Dharamputra, Amar prem, Tamas and many more. the list would be too long, so suffice to mention these films.

There is nothing wrong in making films on famous novels, but when producers, directors, actors twist the story, add own stuff and make a ‘ Khichdi ‘ of the novel, think what the author must be feeling. ( In film Guddi, a writer called Deshpande, describes what the film makers do to the stories, to Prof. Gupta played by Utpal Dutt). A case in point is film Guide. It is on record how R K Narayan was disgusted with the Cinematic liberties the film makers took on his novel, and how he stopped attending shootings and vowed never to allow another producer to buy his stories !

Trouble comes when when the film is made on a western novel like ” Damsel in Distress “. First thing is to adapt the novel to Indian context and traditions. While doing this , most times, a mess is created. The story of this novel takes place in London and shifts to a village nearby later. in Indian version you have to show an Indian city ( Bombay) and a village. I read the review of this film in Film India- October 1938 issue. Baburao Patel- who rarely appreciated a film and was very partial to few directors and actors- tore apart the film. Every aspect of the film was criticised. However, despite his attempt, the film did very good film and was a success. It is shown in this film that after meeting just once, the hero and heroine, in their subsequent meeting, do not recognise each others and a Cat, gifted by hero to the heroine in their first meeting, helps in getting them together again.

The cast of the film had E. Billimorea, Sunita, Ishwarlal, Kantilal, Ila Devi, Mazhar, Ram Apte, Ghory and others. There were 11 songs in the film. today’s song is the first song to feature here. The song is sung by Ishwarlal and Ila Devi. I knew Ishwarlal, but Iladevi was a new name. Even after efforts no information was available to me about her. From the question-answer column of the magazine Film India, I learnt that Ila Devi’s original film name was Miss Ilmas. I do not know in which religion or community, this name is used.After making her debut in Hindi films in ‘ Nishan -E- Jung ‘-1937, she changed her name to Ila Devi and acted in 6 more films. Four films in 1938 (Billi,Bazigar, Rikshawala and Gorakh Aaya) and two films in 1939 (Adhuri Kahani and Kahan hai teri manzil). After this her name is not found in any films, when I checked.

This change of name, after using one name in a film, is not unique, though,this seems to be the First such instance. I know, off hand, at least two more such instances in Film industry. Actress Ameeta (Tumsa nahi dekha fame) had used name Jaijaiwanti in her first film Thokar-1953 ( her second film kaafila -52 was released first as Ameeta,however), but he changed it to her name Ameeta from next film onwards. ( her real name was Qamar Sultana). The second example is actress Zeb Rehman who was known first as Preetibala, then she changed her name to Zeb Rehman.

The male singer in this song is Ishwarlal. ISHWARLAL was born on 9-10-1911 at Ghanghaniya,Kathewar,Gujrat, as Ishwarlal Hariprasad Doshi.

He belonged to a Jain family. His father was in Police department at Kathiawar Agency. His father died when Ishwarlal was just 3 year old and mother raised him.

After Matriculation, he completed Teaching Diploma at the age of 16, but did not a job as he was underage.He came to Bombay, where his brother had some business, in 1927 to act in films. Ishwarlal was very handsome.

He got a job in Ranjit Studios.He started with silent films at a salary of Rs. 35 pm.His first Talkie film was Bhutiya Mahal-1932.Then came Char Chakram-32.He started acting and singing in films.Initially he sang only duets.meanwhile,with Jwalamukhi-36,he became Hero.he sang many songs in Ranjit films,but the records are not available.Those days,not all songs of the film were recoded for commercial purpose.
In Billi-38,he sang a duet with Ila Devi and Sunita devi and also in Aaj ka Hindustan.In Ummeed-41,he had a duet with Nurjahan. In Pyaas-41,he sang with S.Pradhan.

In 1942,first time he got solo songs to sing in Fariyaad. In Jabaan,under C.Ramchandra,he sang 7 songs.

Some of his films were-
Diwali,Dheeraj,Chandni,bhola shikar,nadira, sitamgarh, Veer babruwahan, Barrister’s wife, College kanya, Desh dasi, Keemti aansoo
dil ka daku,Jwalamukhi,Sajni,Dil farosh,Adhuri kahani,Thokar,Holi,pyar,Bansari Lalkar,Chirag,Us paar,
He worked in Ranjit for 13 years. Then he worked with Prafull pictures, Sun art, Wadia, Hind pictures and Atre Pictures also.

In 1945,he was the hero of Nurjehan in Badi Maa,but he had no songs, infact his last songs were in Us Paar-1944. His singing stopped completely when Rafi gave him playback in film Sharbati Aankhen-45.

Then he did character roles in Subhadra,Mahasati tulsi vrinda,Sanskar,Naulakha haar,Khuda ka banda etc.

He acted in 86 films. He also directed 11 films. He sang 36 songs in 14 films. His last film released was was kahani kismet ki-73
He was married in 1931 to a loyal wife kamalabai. They had no issues. Due to excessive smoking he contracted lung diseases and died on 22-1-1969 in Bombay.

With this song, the film Billi aka The Cat-38 and the singer Ila Devi make their Debut on this Blog.


Song-Chaal chale matwaari (Billi)(1938) Singers- Ishwarlal, Ila Devi, Lyrics-P L Santoshi, MD- Gyan Dutt
Both

Lyrics

Chaal chale matwaari
gaadi Chaal chale matwaari
Chaal chale matwaari
gaadi Chaal chale matwaari

raaja jee ki ajab sawaari
Chaal chale matwaari
Raaja
haan
raaja jee ki ajab sawaari
Chaal chale matwaari
gaadi Chaal chale matwaari
Chaal chale matwaari
gaadi Chaal chale matwaari

Raaja
kahaan rakha hai mukut tumhaara

ye hai sundar pyaara pyaara
Raaja
kahaan rakha hai mukut tumhaara

ye hai sundar pyaara pyaara

baaje chidiyaghar ke raaja
baaji moorakhpur ki raani
raani jee ki ajab sawaari
raaja jee ki ajab sawaari
raani jee ki ajab sawaari
raaja jee ki ajab sawaari
Chaal chale matwaari
gaadi Chaal chale matwaari
Chaal chale matwaari
gaadi Chaal chale matwaari


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

This is a labour of love, where “new” songs are added every day, and that has been the case for over TWELVE years. This blog has over 15900 song posts by now.

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

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