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

Archive for the ‘Ram Kamlani song’ Category


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

5067 Post No. : 16982

Today’s song is from the film Refugee-1948. This film was made by Harishchandra Pictures and it was directed by Tara Harish. Lyricist was Pt. Phani and the music director was Ajit Merchant. The cast consisted of Urmila, Harishchandra rao kadam,Hamid (actor Ajit), Majnu (Harold Lewis), Dalpat Joshi, Sulochana Kadam and others.

This was a film depicting the life story of a Hindu refugee from Lahore, who comes to Bombay and his love story. Though Harischandra rao Kadam was basically an action/stunt film actor and director, this was his first and last attempt of making a social film. The film was not successful and Kadam went back to his comfort zone of stunt/action films. This Kadam was the one who gave the first opportunity of directing a film to Master Bhagwan and also to C Ramchandra as a Music Director of a Hindi film for the first time. That film was Sukhi Jeevan-1942.

1948 was an year in which, after the turmoil caused by the Partition, the film industry was trying to come back on track. While the year 1947 saw the highest number of films made-181 films, the Indian film industry did not suffer so much, even after the exodus of film artistes,,because the sheer number of majority in the films was Hindus.Additionally, the vacancies were immediately filled by the II line of artistes in every department, waiting for their turns. Thus 1948 made a respectable number of films- 149, indicating the inherent strength of the film industry.

Partition did some damage to India, but as there was a second line waiting to take over, the impact was negligible. However, Pakistan had to build a new film industry with the help of the migrant artistes in almost all departments of filmmaking. Once this generation ended their career, unfortunately there was not much of a second line to take over in Pakistan.

Here is an excerpt from a book “The Travels of Bollywood Cinema ” by Anjali Geeta Roy, in this connection…….

” The rioting of 1947 set in motion irreversible, irrevocable migration. B R. Chopra and I S Johar were planning films in a big way for Lahore but had to run for their lives. Ramanand Sagar left in July, as did Gulshan Rai. Character actor Om Prakash (of Fateh Din fame, an all-time favourite skit relayed for years by Radio Lahore), comedian-bad man Jeevan and many others also left Lahore for Bombay. O P Nayyar recorded his immortal song Preetam Aan Milo/ Dukhia Jiya Bullai, Aan Milo at the His Master’s Voice studio in Lahore. He left Lahore only in 1948 when it became clear that people with the wrong religion were not going to return to their homes on either side of the Punjab. Writer Rajinder Singh Bedi escaped, sitting on top of a railway carriage carrying loads of Hindus and Sikhs out of Lahore. Song-writer Naqsh Lyallpuri began his literary career in Lahore as a journalist but had to leave in 1947. Punjabi singers Surinder Kaur and Prakash Kaur, and Pushpa Hans also left Lahore.

Migration in the other direction also took place. Nazir and his wife Swarnlata, Noorjahan and her husband Shaukat Husain Rizvi, character actor Alauddin and many others headed for Lahore. Manto came in January 1948, music directors Ghulam Haider and Khurshid Anwar followed some years later and director M. Sadiq probably in 1969 or 1970. Meena Shori, Khurshid and Mumtaz Shanti also immigrated to Lahore. Some Pakistani actors in Lahore continued to use Hindu filmic names. Santosh Kumar (Musa Raza) and Sudhir (Shah Zaman), the two most famous heroes of the 1950s and 60s represented such practice. On both sides, initially considerable goodwill existed between the two film communities.

Some families were divided. Thus for example, while Nazir shifted to Lahore, his nephew K. Asif stayed on in Bombay. Kardar stayed on but his brother Nusrat Kardar and son Rauf Kardar returned to Lahore. While Suraiya, her mother and grandmother settled in Bombay, many of her other relatives shifted to Lahore. Rafi stayed on to reign supreme in Bombay while his parents and siblings were in Lahore.

There were some cross-religion marriages that created peculiar challenges. Raj Kapoor’s maama (maternal uncle) Mr Mehra married a Muslim, converted to Islam and stayed in Lahore. A unique case of reverse migration took place as well: poet Sahir Ludhianvi (Abdul Hai) left Lahore for India.”

Following Partition in 1947, A. R. Kardar and his co-brother Mehboob Khan both left for Pakistan. However, according to Bunny Reuben, as quoted by Mihir Bose, they returned to India, but no reason was given for their return. Journalist and author of several books, Ambarish Mishra writes, ” when I asked Kardar about his Pakistan visit, he told me that after the Partition, Mehboob immediately went to Pakistan. He was disturbed with the news of Hindu-Muslim conflicts in Bombay Film Industry. It was said that Hindus will not allow Muslims in the film industry – which was totally wrong and only a rumour. He wanted to get an idea about his future in this new country. He was keen on settling there. After a month or so, I went there. Being from Lahore, I understood that the film conditions were not conducive for our growth there, as nothing was in order. Everything was in a mess there. I convinced Mehboob somehow and we both came back for good. I told him, as long as Nehru was there, they had no problems in India.” By coincidence, Nehru died and the next day Mehboob also died !

Film Refugee-48 is also an example of how the film industry reacted to the partition Blues. For the Music Director Ajit Merchant, this was his first film as an independent MD. Earlier he was working as an assistant to Ashok Ghosh and Anil Biswas. For actor Ajit (credited as Hamid), this was just his second film in a side role. Later he became the hero in the film Janampatri-1949. Singer Sulochana kadam (later Sulochana Chavan) acted for the first time. She acted in one more film and then settled as only a singer.

After Partition, 10 to 20 million people became refugees on both sides, with at least 10 million people losing their lives. This was easily the largest Refugee crisis in the world. India was the only country which has faced Refugee problem several times in recent history. In 1937, Burma was separated. First ruled by Japan and then the Thais. Finally the British ruled it and Burma was free on 4-1-1948. Every time lakhs of refugees came to India. At Least 2 names can be quoted- Helen and V.K.Naidu, MD, who were Burma refugees. Ceylon’s independence in 1948 gave us refugees. Bangladesh refugees still give us trouble though Bangladesh was formed in 1971. Pondicherry in 1954 and Goa was liberated in 1961, without much refugee crowds, which were manageable.

The film’s Heroine Urmila is a name having Same Name Confusion. Urmila Sr.and Urmila Bhatt are two Urmilas. This film’s Urmila …You will find the name Urmila- in some films she is named as Urmila Devi, and Urmila Gupta also. She was not a very good looking actress, but she compensated for it with her good acting. Urmila Gupta was born on 31-3- 1921 at Panja Sahib, Rawalpindi district of United Punjab. Her father, who was a Civil Contractor, died when she was only 5 year old. She did not get much education but could read and write as well as talk fluently, Urdu, Hindi and English.

She started her career with a small uncredited role in the film Mirza Sahiban-33. She was the younger sister of Mirza in this film. After some more small roles, she got her major role in the film Aansuon ki Duniya-36. After this, she did not look back and did Punjab Lancers-37, Talwar ka Dhani-38, Kahan hai manzil Teri-39, Hurricane special-39, Flying Ranee-39, Desh Bhakt-40, Sasural-41, Sajjan-41, Mere Sajan-41, Naari-42, Das Baje-42, Call of youth-42, Badal -42, Apna Paraya-42, Tamasha-42, Kirti-42, Salma-43, Bansari-43, Refugee-48 etc etc. Urmila got married to Vinod Talwar, a businessman and stopped working in films, for some time, maybe for raising a family. She resumed working in films and acted in another 20 odd films till 1952. She had sung 12 songs. In all, she worked in about 55 films.

Now something about the Producer, actor of this film, Hero of many stunt films, was Harishchandra Rao (Kadam). He was born in Bhuj, Gujarat on 11-8-1910. He did early schooling in Bhuj, but his family shifted to Karachi, due to financial debacle. He did Cycle repairing work and completed his matriculation by the age of 18 years. He joined a Touring film company. Once, while in Bombay he was watching the film shooting in the Paramount company. Suddenly, the director offered him a role in the film. Thus he entered the films. From 1932 he did few silent films.

He joined Shankar Bhatt’s Prakash Pictures and worked in their first Talkie, ” Bambai ki Mohini “- 1934. He was with Prakash, upto 1939, doing stunt films inside and outside also. He did some films for Wadia too, in between. Finally he started his own company, ” Harishchandra Productions “. He continued to work as an actor, director and producer. He sang a few songs also.

Some of his films were Daulat, Naujawan, Rangila mazdoor, Rangila jeevan, Sukhi jeevan, Lehri jawan, Inaam, Sone ki chidiya, Refugee, Durban, Laat sahib, Tamasha etc etc He worked in about 42 films.

His brother Chandrarao Kadam was also a stunt actor. He was known as Stunt King. He had his Chandrarao Films. He acted, directed and produced films. The brothers were friendly with Master Bhagwan and gave him preference in their films, till Bhagwan started his own company- Jagriti films. Later on Chandrarao floated his own Chandivali Studio in Bombay suburb, which is still actively run by his progeny.

Today’s song is a qawali, sung by Ram kamlani and chorus. Though the uploader of this song claims that Mukesh is also one of the singers, I did not find this song in the Mukesh Geet Kosh. The singer obviously must be one from the chorus itself.


Song- Hamen ghar sanam ke to jaana manaa hai 9Refujee Singers- Ram Kamlani, Lyricist- Pt. Phani, MD- Ajit Merchant
Chorus

Lyrics

hamen ghar sanam ke to jaana manaa hai
hamen ghar sanam ke to jaana manaa
miley raah mein to bulaana manaa hai
miley raah mein to bulaana manaa hai
hamen ghar sanam ke to jaana manaa hai

arre haaye ulfat jataayen to kaise
arre haaye ulfat jataayen to kaise
usey daagh dil ke dikhaayen to kaise
zabaan par muhabbat ka laana manaa hai
zabaan par muhabbat ka laana manaa hai
hamen ghar sanam ke to jaana manaa hai
hamen ghar sanam ke to jaana manaa hai
miley raah mein to bulaana manaa hai

arre bulaaana manaa hai jee
bulaana manaa hai
hamen ghar sanam ke to jaana manaa hai
hamen ghar sanam ke to jaana manaa hai

muhobbat ka naatak
kabhi hum jo khelen aen aen
mohobbat ka naatak
kabhi hum jo khelen
ke ghar saamne
uske ghar ke jo le len
museebat hai phir bhi
ke gaana manaa hai
museebat hai phir bhi
ke gaana manaa hai

agar geet gaa kar rijhaaya bhi usko o o o
agar geet gaakar rijhaaya bhi usko o o
bahut gidgidaakar
manaaya bhi usko
to wo baat dil ki
jataana manaa hai
to wo baat dil ki
jataana manaa hai
hamen ghar sanam ke to jaana manaa hai
hamen ghar sanam ke to jaana manaa hai
miley raah mein to bulaana manaa hai

haay haay bulaana mana hai jee
bulaaana manaa hai
hamen ghar sanam ke to jaana manaa hai
hamen ghar sanam ke to jaana manaa hai


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 4169 Post No. : 15343

Today’s song is a melodious song from the film Chaalbaaz-58. The film was produced by Balwant Bhatt and Ram Kamlani, under the banner of Neo Lite films. Songs were written by Anjum Jaipuri and Prem Dhawan. The music was by the Melody magician Chitragupta. There were 7 songs in the film. 2 songs are already discussed and today’s song is 3rd song from this film.

The title Chaalbaaz seems to be quite a favourite with film makers. Films with same title were made in 1958, 69, 80, 89 and 2003. In addition there was Chaalbaaz Leader-70 and Chaalbaaz Haseena-2002 also. The cast of Chaalbaaz -58 was Nirupa Roy, Jairaj, Nishi, K N Singh, David, Bhagwan, Cuckoo, Moti(Horse) and Tiger (Dog). It was a stunt film, directed by a veteran of this Genre – Nanabhai Bhatt.

Hindi film industry is a funny place. Here popular actors are immediately typedcast and it becomes their identity, whether they want it or not. Once a particular theme becomes a Hit, producers want to make similar films, with the same actor. Thus most leading actors get stamped. Many dont mind it because they too are comfortable with such type of films.

That is how Dharmendra was in the roles of “He Man” (does this mean all others were “She- Men”?), Amol Palekar as a Middle class simpleton, for a period Dilip kumar was a Tragedy king, Raj Kapoor a straight forward, simple man, Dev Anand a Playboy, Bharat Bhushan a lover or a singer, Rajendra Kumar almost always a suffering lover…..so on and so forth. Same was, even the actresses got typedcast like Meena Kumari was a Tragedy Queen, Madhubala, naughty lucky girl etc etc.

The audience categorised the actors for various Genres and roles. Other than these, the artiste was not acceptable to them in any other type casting. Can you ever imagine Kanhaiyalal, Nana palshikar or Rashid Khan in a Millionaire’s role? Can you imagine Nana Patekar as a Romantic, ‘run around a tree’ type lover boy ? Can you visualise Jeetendra in a Mythological film as Lord Shiva ? We can not, even in our dreams, accept them in these roles. Nimmi always had films in which she suffered and wept throughout. People had forgotten how she looked while smiling.

When film makers tried to change the type of roles of an actor, he became a failure (even a laughing stock) and he was not accepted in that role. For example, in his early films, Ashok Kumar was known as a shy Lover boy. When he was cast as Satyawan in film “Savitri”-1937, the audience was shocked and the film failed miserably. Similarly when Ashok Kumar (then 35 year old) acted as Abhimanuu (22 year old) in film “Uttara Abhimanyu’-1946, he was rejected outright.

Mehboob Khan cast him as King Humayun in film Humayun-45. In one scene, Ashok Kumar had to run, in a war costume, with a sword. The way he ran was so feminine and pathetic, that the audience used to laugh in the theatre. Thankfully, Ashok Kumar never again acted in any such films till the end. Leela Mishra was famous as a simple village type “Leela Mousi” in almost all films. In film “Baton baton mein”-79, she was shown as an Anglo Indian Christian woman. To see Leela Mousi in a knee long Frock and to feel her awckwardness in that dress was a painful exercise for the audience.

However, and thank God for this, there were some actors who consciously avoided getting typedcast and did variety of roles. One shining example was Sanjeev Kumar. He was truly a versatile actor and would fit into any Genre with natural ease. After Film Azad-55, Dilip Kumar also shook off the tag of “Tragedy king” and became a real versatile actor enjoying working in different type of roles.

Among Heroines, I can not think of any such actress, who fitted in all Genres and roles, Except One ! Yes, there was one actress who was truly versatile and did a lot of role types – social, historical, Mythological, comedy, tragedy, crime, family, action and stunts too, character roles, daughter in law, mother in law, mother, mujra dancer, religious films – you name it and she had done it. Can you guess the name ?

NIRUPA ROY !, Yes, she was a versatile actress. To prove my point, I repeat here what I had said about her few years back. Nirupa Roy (4-1-1931 to 13-10-2004) was an enigma of Hindi Cinema. An ordinary lower middle class housewife turned into an actress due to need to survive. Funny thing was that it was her husband who had visited the studio to get a job as an actor and the studio selected his wife instead ! Nirupa Roy who acted in over 250 movies has been variously branded as a Goddess of Mythological films, a suffering wife of a poor farmer, a troubled housewife of social films, an acclaimed quintessential mother of Bollywood and even a Stunt film actress !

She has been a Heroine in 110 films, a mother in over 50 films,has been a Goddess in 50 Mythological films, a suffering wife in over 30 films and a Stunt girl in about 8 films. She sang Bhajans, romantic songs, Comedy songs, qawalis, sad songs and peasant folk songs on the screen.

She changed her Heroes like “Badalate huye saathi”. She did 18 films with Trilok Kapoor ( 50-65), 12 films with Balraj Sahni ( 53-72), 16 films with P.Jairaj ( 53-78), and 21 films with Ashok Kumar ( 56-89). She was Amitabh’s mother in 12 films and stunt Girl in 8 films. She even wrote a popular film song for film Samrat Chandragupta-58 ( Mujhe dekh chaand sharmaye – Lata).

Film Chaalbaaz-58 was produced by Balwant Bhatt and Ram kamlani. The elder brother of Nanabhai Bhatt- Balwant Bhatt was born at Porbandar,Gujarat on 13-1-1909. Balwant started his career by assisting Naval Gandhi in 1930-31 and Pesi karani at Imperial Film company and then N.B.Vakil at Sagar Studios in 1932. A prolific director of second tier, action oriented films, Bhatt’s first as a director was Royal Film Company’s 1932 silent thriller PASSING SHOW which featured popular stunt-film actor Navinchandra. He turned Director with the advent of Talkie films and joined Prakash Pictures with BAMBAI KI MOHINI [1934; aka: ACTRESS] starring Miss Panna and Miss Alakhnanda. His last one was Nagin aur Sapera-1966. He directed 33 films,mostly stunt and C grade films.

Bhatt directed action star Fearless Nadia in DELHI EXPRESS (1949) and CIRCUSWALE (1950) as well as the comedian Bhagwan in JOKER (1949) and JODIDAR (1950), and even had opportunities to work with bigger names such as Bibbo in SUHAAG (1940), Maya Banerjee in MADHU SUDAN (1941), and Prithviraj Kapoor in AANKH KI SHARAM (1943). But the vast majority of Bhatt’s output was in the category of B-grade films.

He directed some Gujarati films like Sansar Leela,Seth Sagsha,Diwadandi,Snehlata etc.He was the producer of Dillagi-1942,Gunehgar-53,Alif Laila-53,Sinbad the sailor-52, Son of Sinbad-58, Police Detective-60 etc. etc. Diwadandi-1950 became famous for its song-” Taari aankhni afini”, sung by Dilip Dholakia with music by Ajit Merchant. His film Mordhwaj-52 was the Debut film for MD Narayan Dutt. Balwant Bhatt died on 7-2-1965,at Bombay.

Today’s song is a duet sung by Geeta Dutt and Ram Kamlani. Ram Kamlani was Gope’s youngest brother. They were 9 siblings and Ram kamlani was the last one. He was born on 20-10-1919. Though Gope started his career in acting in 1933 and concentrated only on acting,Ram kamlani dabbled in Acting,Direction,Production and Playback singing too. He entered the film line in late 40s.

As an actor he acted in 9 films like Ajeet, Inaam, Kaajal, Do Raaha, Joi Bangla Desh etc. As a Singer he sang 22 songs in 15 films. Starting with Doosri Shaadi-47, he sang in Ghar ki Izzat, Rangeen zamana, Kaajal, Refugee, Pyaar ki jeet, Maa ka pyar, Naao, Raakhi, Bahurani, Khamosh Sipahi, Meena Bazar, Malkin, Chaalbaaz, Laal Dupatta etc.

Mostly, he sang for his brother Gope. His songs were generally duets. These were mainly comedy songs,very few were serious ones.His rare solos like,” Bane hai hum to Ghar Jamai'(Ghar ki izzat) and ” Koi samze isse muhabbat”(Meena Bazaar) became popular.

When Gope established Gope Productions,he produced some films and directed some of them,like,Muskurahat,Biradari,Bezuban,khamosh Sipahi,Hangama etc.

Ram Kamlani died in 1983 in Bombay.

This is a melodious song. The mukhda is “Daudo re daudo, bhaga dil chura ke chor”. Surprisingly, there was another song in film Char Minar-56 (MD- Sardul Kwatra) which had a similar mukhda “Daudo ji chor chor bhaga dil chura ke”. This song also was a good song and had almost same tune. That song had Geeta Dutt and Rafi as singers. Let us now enjoy today’s song.
( Thanks to Harish Raghuwanshi ji for his Gujarati article and http://www.cinemajadu.com for information used herein.)


Song-Tina tin ke tina kisi ne dil hai chheena(Chaalbaaz)(1958) Singers- Geeta Dutt, Ram Kamlani, Lyricist-Prem Dhawan, MD- Chitragupta
Both

Lyrics

daudo re daudo bhaaga re bhaaga
dil chura ke chor
tina tin ke tina
kisi ne dil hai chheena
tina tin ke tina
daudo re daudo
bhaaga re bhaaga
dil chura ke chor
tina tin ke tina
kisi ne dil hai chheena
tina tin ke tina
kisi ne dil hai chheena
tina tin ke tina

khol zara to ghoonghat gori
dekhen soorat tori
hoy khol zara to ghoonghat gori
dekhen soorat tori
hum to hain deewaane tere
hamse kaisi chori
aaja ree
aaja chupke se paas gori
kaahe kare shor
tina tin ke tina
kisi ne dil hai chheena
tina tin ke tina
kisi ne dil hai chheena
tina tin ke tina

o ho ho
o ho ho o ho ho
ha ha ha
aa ha ha aa ha ha
devar jaage saas bhi jaage
jaag raha ghar saara
devar jaage saas bhi jaage
jaag raha ghar saara
phir bhi zaalim ne na jaane kaise daaka maara
daudo re daudo bhaaga re bhaaga
dil chura ke chor
tina tin e tina
kisi ne dil hai chheena
tina tin ke tina
kisi ne dil hai chheena
tina tin ke tina

na main jaaun baans bareli na main jaaun jhansi
na main jaaun baans bareli na main jaaun jhansi
in zulfon mein baandh ke mohe de de pyaar ki phaansi
aaja ree
aaja chupke se paas gori
kaahe kare shor
tina tin ke tina
kisi ne dil hai chheena

tina tin ke tina
kisi ne dil hai chheena
haay tina tin ke tina
kisi ne dil hai chheena
haay
tina tin ke tina
kisi ne dil hai chheena
tina tin ke tina


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4094 Post No. : 15238

Today’s song is from a film Rakhi-1949. This social film was made by Prakash Pictures,Bombay. It was directed by Dr. Shanti kumar ( he is different than the composer Shanti Kumar Desai). The 10 melodious songs were composed by the Melody-Magicians Husnlal-Bhagatram.

Most of us know that Husnlal and Bhagatram were the brothers of Pt. Amarnath- the eldest brother, who too was a well known, pre Independence music director. However, How many of us know that out of this pair, Bhagatram was the elder brother ? Have you anytime wondered why the younger brother’s name comes first in this pair ?

Normally, when a pair of brothers is referred, it is the elder brother’s name that comes first. For example, Ram-Laxman or Balram – Srikrishna or even Kalyanji – Anand ji, Jatin-Lalit or Anand-Milind. For many years, this matter was bothering me, but I could not find any justification for this unusual way of pairing. I was sure that there must be some story behind this.

Two years ago, the Blog “Songs of yore” published the second part of Husnlal-Bhagatram post on 11-8-2017, based on the interview of Dinesh Prabhakar, son of Husnlal and Ms. Nirmala Devi, wife of Husnlal. During her talk, Nirmala Devi explained the reasons for calling the pair as Husnlal-Bhagatram, inspite of Bhagatram being the elder one and more experienced of the two. Bhagatram had already given music, individually to 9 films, in the late 30s and early 40s, before the pair was formed. Her statement answered my long awaited query about the unusual name of the pair. Here is the related portion of her interview….

” The 90-year old Shrimati Nirmala Devi is an amazing lady. She still has a razor-sharp memory and superb knowledge of music and music personalities of that era. She gave me a lot of interesting information, not available elsewhere – for example, the reason why the younger brother Husnlal’s name comes first in the duo’s name. Her talk also revealed that other family commitments, too, in Delhi were contributory factors for their decline in the film music.

Shrimati Nirmala Devi speaks about her husband (late) Pt Husnlal

DD Kashyap, who was directing Chaand (1944) for Prabhat Films, wanted to engage Pt Amarnath based in Lahore, who was a towering figure in music. As he was heavily preoccupied, he strongly recommended his younger brother Pt Husnlal who was staying with him and assisting him in Lahore-based films of Pancholi and others, assuring Kashyap that Pt Husnlal was no less talented than him. Pt Amarnath was like a father-figure to his younger brothers, especially to Pt Husnlal. A music session was organized to demonstrate Pt Husnlal’s talent. Kashyap was highly impressed. When it was time for Pt Husnlal to proceed for Poona/Bombay, Pt Amarnath, out of concern for his kid-brother, suggested to Kashyap to also engage Pt Bhagatram with him. Kashyap expressed difficulty in arranging the payment for two as the contract was already made out. Pt Amarnath assured him that he should not bother about increasing the fee, but the two brothers must work together. (Thus it was that Bhagatram got appended to Husnlal, forming the duo HB. Another reason why the younger brother’s name preceded the elder brother was simply the aesthetics – Husnlal-Bhagatram sounding better than the other way around.) ”

Dr. Shantikumar directed the film Rakhi-49. No information is available about him anywhere. We only know that he directed 18 films. Starting with film Police-44, he ended his career with film Mahasati Behula-64.

The cast of the film was Kamini Kaushal (real name Uma Kashyap), Karan Dewan, Gope, Yashodhara Katju, Pran, Kuldip, Raj Adeeb (younger brother of Prem Adeeb), Ulhas etc. As time flows, Heroes become character artistes and then they fade out. There are hundreds of old time actors about whom absolutely no information is available. Intense search sometimes yields some results and one feels at peace with whatever is available. One such actor is Ulhas. For many years nothing was known about him except names of his films from HFGK. Over a period a little more about him came to light. Now we know that his real name was M.N.Kaul and that he was a Kashmiri Pandit. He worked in 155 films. Recently I found the following note on Ulhas in ‘ Chinar Shade’ Blog..

He was known as ULHAAS and his real name was M N Kaul. He belonged to a Kashmiri Pandit family from Ajmer. As a young boy, he moved to Poona in 1937 and joined Prabhat Pictures as an actor. His first movie as an actor was ” Wahan “. He worked with stalwarts like A R Kardar and Sohrab Modi.

Chandr Mohan Wattal , another Kashmiri actor of 1930s and 1940s helped him a lot to settle in films .In fact he intervened and requested V Shantaram for his role in “Wahan”. Ulhaas remained loyal to Chandr Mohan wattal for this favour till latter’s death in 1949.

When Bombay Talkies decided to start their New film BASANT, Ulhaas and Mumtaz Shanti were signed as lead pair. Again in the movie PARBAT PE APNAA DERA , he was signed as hero.

Thereafter , he started doing character roles. He played memorable character roles in Guide , Amar, Aadmi, ,Shama Parwana, Sehra, Ziddi, Goonj Uthhi Shehnaayi, Rani Roopmati, Dhaka Ki Malmal, Samrat Prithviraj Chauhan, Kundan, Heer, Mirza Ghalib ,Jhansi Ki Raani , Nai Umar Ki Nai Fasal, Sangharsh , Prem Pujaari, Badi Didi, Do Aaankhen Baarah Haath, Johar Mehmood in Goa.

In his 38 years of career, he acted in many hit movies. His last movie was Sawaal (1982).

We all know about Pran very well, so there is no point in giving his Bio-data here. Few days back I found an article on Pran on http://www.rediffmail.com. This article gave interesting points about Pran’s life, which normally are not known to most people. Here is an excerpt from this article, duly edited by me.
Pran’s full name is Pran Krishan Sikand. Pran wanted to be a photographer and even took up a job as an apprentice in A Das & Co, Delhi.

Pran’s first ever acting role was Sita to Madan Puri’s Ram in Shimla, at a local Ramlila.

Since Pran’s father was a civil contractor with the government, Pran studied at various schools in Kapurthala (Punjab), Unnao, Meerat and Rampur (Uttar Pradesh) and Dehradun (Uttarakhand).

Pran’s first film was in Punjabi called Yamla Jat (1940), where he played a villain. It was a huge hit.

Pran did not tell his father that he was shooting for a movie, as he thought his father would not permit him to have an acting career. When his first interview appeared in a newspaper, Pran asked his sisters to hide the papers. When his father finally learnt of his career, he was not upset as Pran had expected.

In one of his early films, Pran played hero to Noor Jehan in Khandaan (1942).

Pran came to Mumbai from Lahore on August 14, 1947, just a day before India’s Independence, with his wife and one-year-old son Arvind.

According to Pran, one of the most precious things he lost in the Partition was his dog. When Pran became popular, he would name his dogs Bullet, Whisky and Soda.

Before Pran came to Mumbai, he had already acted in 22 films as a villain. Due to the Partition, his career had a brief pause.

When Pran came to Mumbai, he stayed at the Taj Mahal hotel. As he had no work, money started running out, and the family had to shift to smaller and smaller hotels. Finally, they had to stay in a guest house.

After eight months of arriving in Mumbai, Pran — with the help of writer Saadat Hasan Manto and actor Shyam — got a role in Shaheed Latif’s Ziddi (1948), starring Dev Anand and Kamini Kaushal.

Ziddi was a hit. Within a week of its release, Pran signed three more films: S M Yusuf’s Grihasti, Prabhat Films’s Apradhi and Wali Mohammad Wali’s Putli.

BR Chopra’s Afsana (1951) was Pran’s first biggest hit after he shifted to Mumbai.

Pran had three children — Arvind, Sunil and Pinky — and five grandchildren.

Ashok Kumar and Pran were the best of friends and have acted in more than 25 films together, including Afsana, Victoria No 203, Chori Mera Kaam, Chor Ke Ghar Chor, Apna Khoon, Aap Ke Deewane, Raja Aur Rana, Inspector, Lakeeren, Mr X, Pooja Ke Phool, Purab Aur Pachhim, Adhikar, Naya Zamana and Aansoo Ban Gaye Phool.

Pran even played Valmiki in a mythological film called Luv-Kush.

When Pran was signed up for Halaku, Meena Kumari was quite upset but when she saw him in costume, and a few rushes from the film, she was very happy.

Pran would work on his make-up well. He would have an artist at home, who would sketch the kind of look he wanted. Then, his make-up man and wig-maker would work on it.

Pran acted in several Bengali films as well, including Joy Mukherjee’s Sonai Dighe, directed by Ashim Banerjee.

It was Pran who recommended Amitabh Bachchan to Prakash Mehra for Zanjeer, which had been offered to Dev Anand, Raaj Kumar and Dharmendra earlier.

Pran acted with Amitabh in 15 films like Zanjeer, Kasauti, Don, Amar Akbar Anthony, Majboor, Dostana, Naseeb, Kaalia and Sharaabi.

Not many know that Pran was paid more than Amitabh Bachchan. In the 1970s, only Rajesh Khannna was paid more than Pran. In the 1950s and 1960s, only Dilip Kumar, Dev Anand, Raj Kapoor and Rajendra Kumar were paid more than Pran.

Pran started rejecting film offers in the 1990s citing age-related problems. But when Amitabh was going through a rough patch in his career, he requested Pran to act in his film Mrityudaata and Tere Mere Sapne. Pran readily agreed.

During the filming of both Mrituyudata and Tere Mere Sapne, Pran’s legs used to tremble. So he shot most of the scenes in a seated position. After 2000, he made very few guest appearances in films.

Pran is a member of various social organisations, and even had his own football team called the Bombay Dynamos Football Club.
Pran’s favourite word ‘Barkhurdaar’ became immensely popular over the years.

In 2001, Pran got a Padma Bhushan, India’s third highest civilian award from the government of India.

Pran’s biography is titled …And Pran because in most of his movies, his name in the credits would appear last and read as …and Pran. Sometimes, it would be …above all Pran.

Film Rakhi was a typical ” Tear Jerker ” story of a spoiled brother and his sympathetic, protective sister. Shanti kumar was the most suitable director for such stories, as he handled emotional scenes perfectly, in his direction. The story of the film was…..

Shankar(Pran) is the brother of Kamini and is a vagabond.Because of him ,the sister suffers quite a lot, but ties a Rakhi always. Shankar is arrested for fraud and is in Police custody,when Karan Diwan -his sister’s husband is accused of Murder,which he has not done.Knowing this,Shankar runs away from lock up to get the real culprit and when he does,he is shot and dies in the arms of sister Kamini-who ties a Rakhi on his wrist as it is the Rakhi Poonam that day.Highly melodramatic indeed !

Today’s duet is the 4th song to be discussed here. It is sung by Shamshad Begum and Ram Kamlani . Ram Kamlani was Gope’s youngest brother. They were 9 siblings and Ram kamlani was the last one. He was born on 20-10-1919. Though Gope started his career in acting in 1933 and concentrated only on acting, Ram Kamlani dabbled in Acting, Direction, Production and Playback singing too. He entered the film line in late 40s.

As an actor he acted in 9 films like Ajeet, Inaam, Kaajal, Do Raaha, Joi Bangla Desh etc. As a Singer he sang 22 songs in 15 films. Starting with Doosri Shaadi-47, he sang in Ghar ki Izzat, Rangeen Zamaana, Kaajal, Refugee, Pyar ki jeet, Maa ka pyar, Naao, Raakhi, Bahurani, Khamosh Sipahi, Meena Bazar, Malkin, Chaalbaaz, Laal Dupatta etc.

Mostly, he sang for his brother Gope. His songs were generally duets. These were mainly comedy songs,very few were serious ones. His rare solos like,” Bane hai hum to Ghar Jamai'(Ghar ki izzat) and ” Koi samze isse muhabbat”(Meena Bazaar) became popular.

When Gope established Gope Productions, he produced some films and directed some of them,like, Muskurahat, Biradari, Bezuban, Khamosh Sipahi, Hangama etc.

Ram Kamlani died in 1983 in Bombay.

The song is very good to listen to. After all, it was composed by the Melody Magicians !


Song-Mohe laa de reshmi lehenga (Raakhi)(1949) Singers-Shamshad Begam, Ram Kamlani, Lyrics- Sarashar Sailani, MD- Husnlal Bhagatram
Both

Lyrics

mohe la de
ho mohe la de reshmi lehanga
mohe la de
ho mohe la de reshmi lehanga
chaahe sasta mile chaahe mahanga
ho chaahe sasta mile chaahe mahanga
waah ri meri nain michakko
bojh lehange ka kaise uthhaayegi
kaise uthhaayegi
tori patli kamar bal khaayegi
kamar bal khaayegi
tori patli kamar bal khaayegi
kamar bal khaayegi
main na laaunga
ho main na laaunga reshmi lehanga
main na laaunga
ho main na laaunga reshmi lehanga
chaahe sasta mile chaahe mahanga
chaahe sasta mile chaahe mahanga

ho phir laa de chunariya silki ee ee
ho phir laa de chunariya silki
toone baat kahi mere dil ki
ho toone baat kahi mere dil ki
par wo hai videshi mill ki
main na laaunga
main na laaunga chunariya silki

acchha suit sila de parachute ka
parachute ka
acchha suit sila de parachute ka
dil loot legi kisi rangroot ka
ho dil loot legi kisi rangroot ka

aji jaane bhi do chhodo ye bahaane
chhodo ye bahaane
gori sach main kahoon raam jaane
raam jaane, raam jaane, raam jaane

aji jaane bhi do chhodo ye bahaane
chhodo ye bahaane
gori sach main kahoon raam jaane
raam jaane, raam jaane, raam jaane raam jaane
achha to phir raam hi jaane
main to chali bareli
rooth chali mori nain michakko
chhod ke jaan akeli
kanghi le le sheesha le le
rooth naa meri jaan
kanghi le le sheesha le le
rooth naa meri jaan

bhaad mein jhonki kanghi shishe
baand mera saamaan
abe bhaad mein jhonki kanghi sheeshe
baand mera saamaan
main to maike chali
gham le ke chali
main to maike chali
gham le ke chali
duniya waalon
duniya waalon
duniya waalon
duniya waalon
dekho mere ghar ki baat niraali
sabka sheesh jhuke mere aage
par na jhuke gharwaali
gori maike na ja
dukh de ke na ja
gori mayke na ja
dukh de ke na ja
tohe la doonga
ho tohe laa dunga reshami lehanga
tohe la doonga
ho tohe laa doonga reshami lehanga

chaahe sasta mile chaahe mahanga
ho chaahe sasta mile chaahe mahanga


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.

Today’s song is from the film Ghar Ki Izzat (1948). It is a lively duet of Shamshad Begum and Ram Kamlani. The film is produced and directed by Ram Daryani, under the banner of Murli Cinetone, Bombay. Music was given by Pt Gobind Ram and songs and dialogues were by Ishwar Chandra Kapoor. The cast of the film was Mumtaz Shanti, Dilip Kumar, Gope, Gulab, Dixit, Manorama, Jeevan, Suleiman etc etc.
Read more on this topic…


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.

I am quite interested in looking up at songs related statistics in the blog. Seeing that we have notched quite a good number of songs in the blog, we have some good statistics to discuss.
Read more on this topic…


This article is written by Mahesh Mamadapur, 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.

Mukesh and his Composers – 9
————————————————

“Houston, we have a problem.”

This famous quote from the Hollywood film ‘Apollo 13’ (1995) pertains to the problem on board NASA’s unsuccessful mission to the moon. Though there is a different version to the line from NASA’s actual transcript, the phrase has now become part of everyday language for reporting any kind of problem.
Read more on this topic…


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

== == = = = = = = = = = = = = =
The Many Colors of Love #7 – Teasing the Eve
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –

And so wrote the scribe

“Ladki Cycle Waali”

“De Gayi Raste Mein Ik Pyaar Bhari Gaali”

“Gaali Pe Chhod Diya”

“Tujh Jaise Deewaane Ka Sar Kyun Nahin Tod Diyaa”

(‘Pati, Patni Aur Woh, 1978)
Read more on this topic…


What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over FOURTEEN years. This blog has over 17100 song posts by now.

This blog is active and online for over 5000 days since its beginning on 19 july 2008.

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(© 2008 - 2022) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

Total number of songs posts discussed

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Movies with all their songs covered =1329
Total Number of movies covered=4609

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