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

Archive for the ‘Rare 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 :

5053 Post No. : 16968

Today’s song is from a film called ” Azadi ke Baad “-1951.

HFGK shows 10 songs for this film. It does not give record numbers or singer’s names(except for 2) for the songs. Today’s song is not listed on this page, for whatever reasons. Nevertheless, it is confirmed that this song is from this film only, as the uploader has given the photo of this record on RMIM and also mentioned on YouTube that this song is not listed in HFGK. Possibly, at the time of compilation, the record details with singers’ names etc were not available to Hamraz ji. It happened in some other film cases too.

The film was made in Calcutta by The Great Oriental Pictures. It was directed by D.K.Chatterjee. I found only this one film for this director in HFGK. The music was by K.P. Sen. This name may not be known to most readers.

During the early phase of filmmaking, Bombay was the attraction for people connected with films. Actors, directors and composers used to rush to Bombay from all over India to try their Luck.

Bengal was also not an exception. Initially almost all regional film centres in India were on a smaller scale than Bombay. Therefore more opportunities were available here. Out of the hundreds of aspirants, those with great luck and readiness to do hard work with patience won the race and made their career in Bombay. On Hard work and Luck, I remember a comment by our Atul ji on one of my posts. He commented ” The harder one works, the Luckier one gets ” (31-1-2018). How true ! Cases like composer Naushad who slept on footpaths of Bombay or Sunil Dutt, who lived in Dharavi slum, during their struggle periods are examples of such successes.

During the 1930s and the 40’s decades many Bangla composers came to Bombay and gave music to Hindi films, ranging from 1 film to 5 films. Some of them were…Radhacharan Bhattacharya, N. R. Bhattacharya, Shoolpani Mukherjee, S.P.Mukherjee, V.V.Ganguli, Niren Lahiri, Shivrani Ghosh, Mihir Kiran Bhattachrya, A.C.Biswas, Hiren Bose, Bhishmadev Chatterjee, Ramani Mukherjee, Anath Bose, Kazi nasrul islam, Anil Bagchi, Dakhina Tagore, Dhiuren Mitter, Kartik Chatterjee, Himangshu Dutt Sursagar, Jagmohan Sursagar, Subal Dasgupta, Sailesh duttagupta, Gopen Mullick, Gyanprakash Ghosh, Naresh Bhattacharya, Pratap mukherjee, Khshirodchandra Bhattacharya, Ravi Roychaudhuri, prafull Chaudhuri, T.K.Das etc etc. Some composers who did not succeed here, were real big names in Bengal, like Kazi Nazrul Islam,Niren Lahiri, Hiren Bose, Bhishmadev Chatterjee, Himangshu Dutt Sursagar, Subal Dasgupta, Gopen Mullick, Gyanprakash Ghosh etc etc

K.P.Sen, Music Director of today’s film had given music to 3 more Hindi films- Baap-46, Do Baten-49 and Shadi ke Baad-49. Film Azadi ke baad-51 was his last Hindi film. No more information about him is available. I have always stated that it is extremely difficult to get information on most Bangla artistes in any other language than Bangla.

The cast of the film was Asit Baran, Mira Mishra, Pearl,Parvati, Kalpana, Pannalal Bose, Nripen, Rekha, Sujata etc. Pearl was the sister of Violet Cooper and Patience Cooper among the 7 sisters. Pearl acted in 6 Hindi films – Indra Sabha-32, Anokha prem-34, Khudadad-35, Jahanara-35, Burkhewali-36 and Abla ki Shakti-40. Her sister Violet acted in 5 Hindi films and Patience Cooper acted in 16 Silent and 34 Talkie Hindi films. The hero was Asit Baran.

Asit Baran was born on 19-11-1913 at Calcutta in a middle class family.His pet name was kalo. He was not much interested in schooling. He learnt music and Tabla from Gyanprakash Ghosh. He became an expert in Tabla playing and did few programmes on Calcutta A.I.R. also. In one of the All India Music Conferences,Pahadi Sanyal noticed him and invited him to New Theatres. Impressed with his good looks and singing capability, he got the role of Pahadi sanyal’s younger Brother in the film ” Protisruti ”-42. He acted in severai Hindi and Bangla films of New Theatres.

His first Hindi film- Saugandh-42, was a remake of ‘ Protisruti ‘. He did the same role in Hindi also. His songs became popular.In all,Asit Baran acted and sang in 43 films-Hindi and Bangla together. Some of his Hindi films were Saugandh,Jawab,Wapas,Arabian Nights,Parineeta,Suhag Sindoor,Kashinath,Wasiyatnama,Manzoor,Roop kahani,faraar,Azadi ke baad etc. He left New Theatres in 1952 and came to Bombay on the invitation by Sailesh Mukherjee,to act in Suhag Sindoor. By this time,his voice had deteriorated and he was given playback by Sailesh Mukherjee. Same thing happened to Parineeta also. He acted in 14 Hindi films and sang 24 songs in 10 films. His last film was Babla-53

Asit Baran returned to Calcutta and did some more Bangla films. He founded a Theatre group called “Rangorash” which spread the teachings of Shri Ramkrishna Paramhans ji.

He died on 27-12-1984 at Calcutta.

Today’s song is almost a qawwali – an unusual genre of songs in films coming from Calcutta. By the way, as per an internet site, the film Azadi ke baad-51 was a remake of Bengali film Sahajatri-51, directed by Agradoot (Bibhuti Laha). Today’s song is sung by Pannalal Bose and chorus. Pannalal Bose was a Bangla actor and singer, This is the only song he sang in Hindi and considering that, his pronunciation and diction of Hindi words is very good. Needless to say that no information is available about him anywhere.


Song- Saamne hai yaar ka (Aazaadi Ke Baad)(1951) Singer-Pannalal Bose, Lyricist- M.Razi Banarasi, MD- K.P.Sen
Chorus

Lyrics

Saamne hai yaar ka nakshe ka pepa(?) choom le
hai dile naadaan yahi
jannat ka naqshaa choom le
hai dile naadaan yahi
jannat ka naqshaa choom le

kyun bhatakta hai bata aa aa aa
jairo- ??haram mein khaam khaa
kyun bhatakta hai bata
jairo ??haram mein khaam khaa

hey jairo ??haram mein khaam khaa
jairo ??haram mein khaam khaa
aa aa aa aa
likh ke tu naam e Muhammad
karke sajda choom le
likh ke tu naam e Muhammad
karke sajda
likh ke tu naam e Muhammad
karke sajda
likh ke tu naam e Muhammad
karke sajda
karke sajda choom le

dekhna gar hai tujhe ae ae
jalwa jamaal e yaar ka
dekhna gar hai tujhe
jalwa jamaal e yaar ka

ae jalwa jamaal e yaar ka
jalwa jamaal e yaar ka
karke ?? kar madeene
?? unka roza choom le
karke ?? jaa kar madeene
?? unka roza
karke ?? jaa kar madeene
unka roza?? choom le

jiski hai talaash wo o o o o
parda nasheen parde mein hai ae ae
parda nasheen parde mein hai
parda nasheen parde mein hai
hey
parda nasheen parde mein hai

?? pehle parda choom le
??
ae jee pehle parda
??
aahe pahle parda
?? pahle parda choom le

?? ne ? ne ae ae
?? jaakar choom li
/ ne ? ne ae ae
?? jaakar choom li

hey ?? jaakar choom li
?? jaakar choom li
aa aa aa aa
?? yaar ka
tu ban ke shaida choom le
?? yaar ka
ae jee banke shailda
?? yaar ka
ae jee ban ke shaida
?? yaar ka
tu ban ke shaida choom le
haan saamne hai yaar ka
naqshe ka pepa (??) choom le ae ae ae


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 :

5026 Post No. : 16934

Today’s song is from the film Diwali-1940.

Going through the Film Index book, listing all Hindi films from 1931 to 2012, I was surprised to see that only one film was made with the title of Diwali. One more film was Diwali ki Raat-56. Similarly, only one film was made with the title Dussehra-1956. There are 2 films on Holi-1940 and 1984 while another was Holi ayee re of 1970. This is the end of Indian Festival films. 2 Films were made on Eid ka chaand in 1933 and 1964, Idd ka salaam-1976 and finally Idd Mubarak-1988.

I fail to understand, when so many films are made on Mythological stories, Gods, Arabian Night stories and Mughal Kings, why were the filmmakers disinterested in making films on Indian festivals ? It is ofcourse most unlikely, rather impossible, that any Indian producer will read my question and give a convincing answer. Likewise there are not many songs on Diwali or other festivals either. I found many songs on Holi and Rakhi, though. I don’t expect any explanation for this either !

I am not aware of the storyline or any other matter concerning today’s film. The film was made by Ranjit Movietone and was directed by Jayant Desai. Music was given by the inhouse MD- Khemchand Prakash. This was his first film with Ranjit. Before him Gyan Dutt was the resident MD who worked from 1937 to 1940. After Khemchand prakash left Ranjit, it was Bulo C Rani from 1945 onwards.

In the early era, Ranjit was one of the most powerful and famous filmmaking companies in India, boasting of famous and popular artistes on its payroll. owned by Chandulal Shah, Ranjit Movietone made,in all, 175 films during its existence. Calcutta’s New Theatres, however, stands tall at No.1 with 177 films to its credit.

Film Diwali-1940 had 13 songs, written by D N Madhok, Pt. Sudarshan and P L Santoshi, but HFGK does not credit any song to any Lyricist. The cast of the film was Motilal, Madhuri, Ishwarlal, Keshavrao Datey, Dikshit, Indubala, Suresh, Vasanti etc.etc. The name of Indubala is a misfit. She was a Bengali and did Hindi films mainly made by Calcutta producers in Calcutta and she acted during a period from 1932 to 1949. She sang 30 Hindi songs in 14 films She acted in 33 Hindi films. In most films, she did comic roles. Even in this film she is paired with comedian Dikshit ( of the Ghori-Dikshit pair of the 1930s films). Here is Indubala’s Biodata based on an article by Dr, J.P.Guha, with thanks to him.

Indubala’s mother was Rajabala, who along with sister Matibala and brother Tinkary worked in Motilal Bose’s The Great Bengal Circus, also known as Bose’s Circus or Professor Bose’s Circus. Harimati was the eldest sister of Rajabala and had a different life. Rajabala performed mainly as a trapeze artiste and got married to Motilal Bose at a temple in Ujjain, India. At the time he was then in his forties while Rajabala was still a teenager. The marriage was never accepted as legal by Motilal’s family. Motilal Bose’s first wife was Mrs. Annadamohini Devi.

Indubala was born in November, 1899 at Amritsar, where the circus party had gone for performance. Indu was born premature and Dr. Bidhumukhi Basu was taken to Amritsar from Calcutta to attend Rajbala. Such was the affection and concern of the husband for his young wife. Motilal’s interest in Rajbala dwindled later, supposedly because Rajbala showed no interest in going back to the circus after Indu’s birth and soon she was left to fend for herself. She came to Calcutta with her daughter and was given shelter by a Jiban Krishna Ghosh, who remained loyal to her till his death and also played a major role in establishing Indubala in her life as a performer. Once in Calcutta, Rajabala trained herself as a singer and Indubala’s first training in music was from her mother. The initial plan was to train Indu as a nurse and she was admitted as a trainee in a hospital in the Pataldanga locality of Calcutta. Indu did not take fancy in the job and ran away from the hospital, much to the disappointment of her mother, who never wanted her only daughter to be forced into a life of indignity.

After this incident Indubala’s musical training started. Although her father ignored wife Rajabala completely, he remained fond of his daughter and kept in touch with her and often invited her to his ancestral home where he lived during his brief visits to Calcutta and sent her a monthly pocket money of Rupees twenty till his death. Indubala’s first performance was at a gathering of distinguished guests where her mother was the chief entertainer. Each one of the guests appreciated Indu’s singing and thus began her formal training from Gouri Shankar Mishraji. Indu was only about twelve then. This also marked the entry of Indubala into the red light world. Amongst her trainers were Kali Prasad Mishra, Elaahi Bux and Miss Gauhar Jaan. Apart from music, Miss Gauhar Jaan, credited as Prima Donna of India, Indu also learned etiquette from the elder artiste and developed a close friendship with her. This association provided Indu with valuable musical knowledge and experience.

In later years she took training from Girin Chakraborty, Kamal Dasgupta, Subal Dasgupta, Jamiruddin Khan and Kazi Nazrul Islam. In time she came to be one of the major exponents of Nazrul songs and her songs along with those of Miss Angurbala and Kamala Jharia are still referred to for authenticity of lyrics and tunes of Nazrul songs. In 1916, Indubala recorded her first songs. She was brought into the record circle by Bhagabati Charan Bhattacharya and Mr. Manindra Nath Ghosh, alias Mantababu, himself a gramophone singer of repute. The first songs published as a record were Asha Phuraye Gelo, Sindhu Khambaj and Aar Mukhey Boley Ki Hobey, Kedara. The record number was P 4306. In the beginning she did not take any money from the Gramophone Company and as such was credited in the records as Miss Indubala (Amateur). She was not the first amateur artiste of the company but enjoyed the privilege of announcing her name at the end of each song saying “My name is Indubala”. The amateur status continued for a fairly long period. Later on she received Rupees two hundred per record and also received a royalty of five per cent over the sales. Her first songs of Nazrul on the disc were “Cheyona Sunayana” and “Rumjhum Rumjhum Ke Eley Nupur Paye”. The record number was P 11661. To Indubala also goes the credit of being the first Bengali artiste to record Hindustani songs for the Gramophone Company. For the Indian State Broadcasting Center, later named All India Radio, Indubala first sang on the second day of the radio company’s broadcasting in 1927 in Calcutta and went on singing in this medium for nearly fifty years. Over the radio, Indubala sang not only from Calcutta but from several other stations by special invitation all over India. Apart from discs and the radio, Indubala was well established by the thirties in cultural functions all over India. Frequent invitations used to come from Shahjahanpur, Pakur, Madras, Bangalore, Palanpur, Nagpur, Hyderabad, Oudh, Trivandrum, Vizagapattam, Ajmer, Coimbatore, Dacca and several other places.

In 1936 she was appointed court musician to His Highness, The Maharajah of Mysore. She received a monthly salary of Rupees two hundred and fifty and this continued till the time when the native princes faced withdrawal of privy purse. In all Indubala had recorded some two hundred and eighty songs, including about two hundred forty basic songs, the rest being from films. Indubala’s first stage appearance was in The Rambagan Female Kali Theatre, established by her mother Rajabala in 1922. Both mother and daughter took part in the plays and Indubala appeared in about twelve plays in this short-lived company which lasted for only two years and in 1924 she joined Calcutta’s most prestigious stage, The Star Theatre. She continued to appear on the stage mainly in singing roles and her songs were a major attraction in each of the plays. By rotation she acted in all the public theaters of Calcutta and even took part in the Hindi Parsee Theatre in 1945 and 1946, the plays being Ghar Ki Laaj and Jasoos. Her last appearance in the public stage was in the play Prithviraj in the role of Mehga at Star Theatre in 1950. Thereafter she worked in call shows till almost 1958.

Jamuna Puliney (1933) has been credited as her first film. This is probably because this was her first film contract although Ankh Ka Tara (1932) released before Jamuna Puliney. In all she acted in about forty eight films in Bengali, Hindi, Urdu, Punjabi, Tamil languages. In most of them, she had songs as a major attraction or else did comic roles as in Bengali Indira (1937) and Hindi Diwali (1940) to name a few. She did the role of Dhai Ma in both the versions of Swayamsiddha (1947). Thereafter she was not seen on the screen. As a playback singer she lent her voice in films like Alibaba (1937), Chandragupt (1934) in Hindi, Ab E Hayat (1933) in Urdu and Dil Ki Pyaas (1935) also in Urdu. She did not act in these four films. Indubala did not receive any major award apart from the Gold Disc given on behalf of His Master’s Voice. The government of India never considered her name for any award. The Sangeet Natak Academy however honoured her with a lifetime achievement award in 1975. The government of West Bengal, India however did arrange for a pension for which a lot of running about had to be done.

In personal life, Indubala was most humble and polite and bold in her behavior and was never ashamed to admit or discuss her origin. Even when established as a major singing artiste with an all India fame, she refused to move out to a respectable place leaving her residence in Rambagan, a notorious red light area of Calcutta. Indubala got herself involved in voluntary work for the uplift of fallen women and worked actively for their rights in society through various organizations, which were patronized by top political leaders of the time. She had some interesting hobbies like writing poetry and collecting perfumes.

Even at old age all the empty perfume bottles were kept within her view. She was fond of jewelry too and had a great collection, either purchased or gifted by admirers. These valuables vanished when she was too unwell to keep track of them. Her contemporary artiste Miss Angurbala was a close friend with whom she confided and shared the joys and sorrows of life and this friendship lasted till the very end. Indubala adopted a nephew of her mother’s friend Jiban Krishna Ghosh. The boy’s name was Pranab Ghosh. This foster son did not look after her mother very much when in old age Indubala suffered from conditions like cataract and then paralytic strokes. It was Dr. Badan Sengupta who made necessary arrangements for her treatment. She could not afford nursing homes and therefore was treated at state government hospitals in all occasions of illness.

The end came on the thirtieth day of November, 1984 after a prolonged illness during which again Dr. Badhan Sengupta looked after her as his own mother. Perhaps by coincidence her friend Angurbala died the same year.

Today’s song is sung by Vasanti and Suresh. Vasanti was a very well known and popular Child star. So was Suresh. However Suresh became an adult star in later years. I know of only 2 child artistes, who left the film world, though they were in great demand. First was Vasant, who got married at an appropriate age and left films. The second was Shashi Kapoor Sr. who quit a quite flourishing film career to pursue higher education. He spent his life as a Professor in an US University.

Let us now listen to the duet of Vasanti and Suresh.


Song- Ye bade sahab ka topa hai (Diwali)(1940) Singer- Vasanti, Suresh, Lyricist- Not known, MD- Khemchand Prakash

Lyrics

Ye bade sahab ka topa hai
ye memsaab ka baja
Ye bade sahab ka topa hai
ye memsaab ka baja
ye dholak Natthu dhobi ki
ye Kalkatte ka Raja
ye dholak Natthu dhobi ki
ye Kalkatte ka Raja

Ye bade sahab ka topa hai
ye memsaab ka baja
Ye bade sahab ka topa hai
ye memsaab ka baja
ye dholak Natthu dhobi ki
ye Kalkatte ka Raja
ye dholak Natthu dhobi ki
ye Kalkatte ka Raja

Raja ke ghar saab aaya
gitpit gitpit boley
Raja ke ghar saab aaya
gitpit gitpit boley
Raja Rani pade soch mein
kaun kiwaade kholey
Raja Rani pade soch mein
kaun kiwaade kholey

Natthu dhobi aaya re
Natthu dhobi aaya re
sang mein dholak laaya re
sang mein dholak laaya re

dhanak dhanak dhan dhanak dhanak dhan
dholak baaje re
dhanak dhanak dhan dhanak dhanak dhan
dholak baaje re
raja ke ghar topey waala
saath biraaje re
raja ke ghar topey waala
saath biraaje re

maange sodawater
oye
maange sodawater
Raja ?? baaje
Raja ?? baaje
maange sodawater
maange sodawater
Raja ?? baaje
Raja ?? baaje

haa aa ha ha ha ha aha
aah ha ha ha h ah
haa aa ha ha ha ha aha
aah ha ha ha h ah
haa aa ha ha ha ha aha
aah ha ha ha h ah
haa aa ha ha ha ha aha
aah ha ha ha h ah
hey


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 : 5022 Post No. : 16930 Movie Count : 4596

Today’s song is from an obscure old film – Chhote Sarkar-1938.

My today’s post is No.32 of this year i.e. 2022. Since 1st January 2022, the pattern of my poists seems to have changed perceptibly. Earlier I was known for writing on films of the 30’s and the 40’s on priority, but this year, till my last post (31 posts), I have written only 3 posts on films of the 30’s, only 11 posts on films of the 40’s but 17 posts on films of the 50’s. Come to think of it, there is no intentional shift in my policy or any purpose in doing so, but it looks like it is happening inadvertently. My today’s post will be only the 4th post on a film of the 30’s this year.

Do I have an inclination towards antique films ? YES is the answer. I like to bring the unknown, the less known and the not so famous artistes of the early era to light, to bring the pillars of the film industry in Limelight, so that the younger generation knows about them and becomes aware of the difficult times through which the stalwarts carried our film industry towards today’s Glory !

While doing so, I had to do the hard yards to dig information about these forgotten artistes, contact several Historians, buy and read many books, spend hours on the Internet and collect and record the information. I was singularly Lucky to get a suitable platform to showcase my results, in the form of Atul ji’s Blog. Atul ji’s help in publishing my posts untiringly has helped not only me but the Blog has also now become a storehouse of Credible, Reliable Information on the old timers in the film world, for the use of future students of film history. Thanks a million, Atul ji.

During the writing of my posts here since 2012 till date, I have noticed one thing. I am not sure of anyone else, other than Atul ji, who has also noticed it. I observed that in the early times of this Blog from 2008, the number of visitors kept on increasing and many of the visitors took pleasure in putting in their comments on almost every post. Comments on popular film songs were naturally more, but later readers also commented on other posts, about the artistes, songs, film making, their experiences and provided additional information. Therefore, visiting the Blog was a pleasure not only to enjoy the songs posted, but also to read different comments from the readers.

I remember there were several readers from abroad who used to write comments. There were comments from readers from Singapore, Fiji, Malaysia, Australia, Newzealand, Africa, European countries, UK, USA, Dubai, Pakistan and also from several cities of India like Lucknow, Delhi, Calcutta, Bombay, Pune,Andhra, Madras, Gujarat, Maharashtra, Kerala – in fact from all nooks and corners of India and the world. Many of them were quite knowledgeable too.

Unfortunately, from somewhere from 2016-17 onwards I saw a steady drop in the number of comments from readers. Notably comments from readers from abroad diminished considerably and as of today, their number is almost nil. What could be the reason for this change ? One guess is that the older generation which commented is now too old and hence not active. The other guess could be that initially, as the Blog was new, most songs posted were the popular and well known ones, which the readers knew well, but slowly that stock, naturally, thinned out and unknown and unheard new but old songs were being discussed, which were not known to many present readers to comment upon.

The second guess seems to be more convincing. Nowadays younger contributors are posting songs from the 70’s, 80’s and the 90’s and comments are trickling from equally younger readers, though not so many as in the past. I believe the trend of appreciation, encouraging and commenting changes with the change of Readers’ Profiles.

Today’s film Chhote Sarkar-1938 was made by Sundar Movietone (never heard of it). It was directed by Homi Master. He was one of the directors of the First Generation of Hindi films of the early era, who was a spillover from the Silent Film Era. Since his career as a Director ended in 1946, there is no chance that the younger generation readers would know about him, so here is some information on him.

Homi Master (1900–1949) was an actor-director of early Indian cinema. His work extended from the silent era to the talkie era and up to his death. He produced his best films for Kohinoor Film Company and he has been referred to as “silent cinema’s most successful film-maker”.

He acted as Duryodhan in the then-controversial film Bhakta Vidur (1921), as hero in Kala Naag and Kulin Kanta. Some of his important films were Bismi Sadi, Manorama, Do Ghadi Ki Mauj (1935), Samaj Ki Bhool (1934) and Gul Sanobar (1934). He was active from 1921 to 1949 and made over seventy-eight films. His later films in Gujarati and Hindi were termed as B movies. He died in 1949.

At the age of thirteen, Master joined a famous Parsi theatre group called Bilwala. He soon became a popular stage actor, with his performance in Pakzaad Parveen being appreciated. Following a brief stint at the Phalke Film company, he joined Kohinoor Film Company working initially as an actor. He went on to direct films for them starting with Bismi Sadi.

Homi Master acted in three films before getting a chance to direct. The three films, Bhakta Vidur (1921) (in the role of Duryodhan), Ajamil (1922) and Vratasur Vadha (1923), were directed by Kanjibhai Rathod. He played the lead role in Kala Naag, a film he helped co-direct with Rathod in 1924. A crime drama, it was the first “recorded example” using real-life characters and was based on the Champsi-Haridas Murder case in Bombay.

In 1924, Master started his career as a director with Dwarka Sampat’s Kohinoor Film Company. His first film for Kohinoor was Bismi Sadi, starring Raja Sandow, Miss Moti and Noor Mohammed Charlie. The film was about a hawker who becomes a mill-owner and goes on to exploit the people working under him. Manorama (1924) was based on the famous Gujarati romantic poet Kalapi’s autobiographical poem “Hridaya Triputi”. The film was made in the fantasy genre and broke “all records” when it ran for fourteen weeks.

Other significant films at this time were The Telephone Girl (1926), also called Telephone Ni Taruni, produced by Kohinoor, and starring Ruby Myers, Gohar and Raja Sandow. Educated Wife or Bhaneli Bhamini (1927), was another Kohinoor film with Gohar, Vaidya and Raja Sandow. They were social films that were successful at the box office.

Gul Sanobar (1928) was a fantasy production from Kohinoor Film Company, based on Persian fairy tale romances, and directed by Master. It starred the then-popular star Khalil with Miss Yakbal. The film was later remade in 1934, with the same name, directed by Master and produced by Imperial Film Company. The cast included stars of the time like Sulochana (Ruby Myers), D. Billimoria and Zubeida.

His 1934 film Samaj Ki Bhool, was a social film promoting a widow’s right to remarry. It starred Jamshedji, Lalita Pawar, Jilloobai, Dulari and Rafiq Ghaznavi, with music composed by Pransukh Nayak.

In 1935, he directed three films Do Ghadi Ki Mauj a social film produced by Imperial, starring Ruby Myers and D. Billimoria; Ghar Jamai, a social comedy, a Hindi/Gujarati bilingual, produced by Premier Films with story by Mohanlal G. Dave. (A story about a “resident son-in-law” that became a “major success” at the box office). The third film, Naya Zamana was again produced by Premier Films and starred Heera and Ghulam Mohammed with music by Khansaheb.

It was said that Master was sent abroad to Europe to market Phalke’s films . He teamed successfully with scenarist Mohan lal Dave and cameraman D.D.Dabke with actress Gohar to make many popular films. Gohar called him the most dramatic director , better than Mohan Bhavnani or even Chandulal Shah. His first Talkie film was Saubhagya Sundari-1933 and the last was Chamkati Bijli-1946.

He continued to direct films making ‘B’ class films and some in the Gujarati language. According to the Encyclopedia of Indian Cinema, he worked as a production manager at Kardar Studios towards the end of his career. He died in 1949. ( based on The Encyclopedia of Indian Cinema, wiki, Film world-1946 and my notes).

The cast of the film was Jal Merchant, Leela Chitnis, Panna, Heera, Meher Bano, Raj kumari etc. Jal Merchant was a typical Parsi born on 15-1-1920 and brought up in the Parsi Colony area in Bombay. Though his family had a business, he did not join it as he was keen to make a career in films. Bombay being the centre of filmmaking he had plenty of chances. He did not have a masculine, wide chested body, but he compensated with his superb acting skills. He could also sing in his soft voice.

It was a colorful stellar team that Jal Merchant formed with Zubaida in the early talkies. But it was in mythological roles, and not romantic parts, that they first won the hearts of cinegoers. The first picture that made them a rage everywhere was Sagar’s “Veer Abhimanyu,” in which Jal played Abhimanyu to Zubaida’s Uttara. In the next one- Subhadra Haran-32, Jal was Arjun, Abhimanyu’s father, while Zubaida played Subhadra.

Like Zubaida, Jal Merchant joined films in the “silent days”. It was a change of medium for him, for he had been playing female roles on the Gujarati stage! His performance as the heroine of “Shankit Hriday,” a Gujarati play, proved a hit, and Nagendra Majumdar, who directed the play, induced him to switch over to screen acting. Jal joined the Imperial Film Company, and among his early films the most notable was “Vasant Bengali,” a social picture directed by R.S. Chowdhury. In those days, the screen hero generally had more brawn than brains, but the lead player of “Vasant Bengali” was called upon to show more intelligence than physical prowess. Jal did just that – and won instant fame.

After the advent of sound, Jal’s first four films for Sagar were mythologicals – “Veer Abhimanyu-1931,” Subhadra Haran-1932,” “Pandav Kaurav-1933” and “Mahabharat-1933”. For close-ups of these pictures, Jal used to wear trousers and only the upper part of his body was made up for his role. But in one close-up his pants were also visible! The shot was cut on the first day of screening in Bombay.

Gifted with a fine voice, he also delighted cinegoers with his singing. He sang 33 songs in 7 films-Meerabai-32, Pandav Kaurav-33, Mahabharat-33, Grihalaxmi-34, Aaj kal-34, Sone ka Shahar-35 and Toofan Express-1938.

In “Zarina,” written and directed by Ezra Mir, he was the tongawallah who falls in love with a dancing girl at a carnival. This poignant romantic tragedy won plaudits for both Jal and Zubaida. It was their last picture together for Sagar. Zubaida left Sagar and Sabita Devi took her place. Sabita and Kumar were the first stars imported from Calcutta. Sabita co-starred with Jal in “Phantom of the Hills,” directed by Ezra Mir, in which he played a dashing Pathan riding a white charger. In “Educated Wife” (Grihalaxmi), directed by Sarvottam Badami, he played a modern educated youth. In this role the versatile Jal revealed a genial personality. Sabita was again his co-star.

Jal and Zubaida played stellar roles together once again in “Aaj Kal,” directed by R.S. Chowdhury. This was the last important picture for both stars. Jal acted in about n15 Silent films and 29 Talkie films. His first Talkie film was Veer Abhimanyu-1931 and his last Talkie film was Armaan 1953.

Jal Merchant, who already had a family flourishing business, retired from the screen. Later, he started to live a quiet life in Bandra. Jal was an excellent shikari in his younger days. His screen associates also remember his soft voice, gentle manners and sensitive, handsome face. His pairing with Zubeida and Sabita Devi was very popular. He had all the gentle Parsee manners and was a popular co-star for the heroines.

I have read somewhere that Jal Merchant died in 1963 in Bombay. He was unmarried till the end, like many Parsis. ( information from an article by V.P.Sathe in Screen, ‘Screenplay’ by Isak Mujawar, HFGK, muVyz and my notes have been used in this post, with thanks.)

With today’s song by Rajkumari, film Chhote Sarkar-1938 makes its Debut on this Blog.


Song- Sukh chain ke din sab beet gaye (Chhote Sarkaar)(1938) Singer- Rajkumari, Lyricist- Pandit Amar, MD- Shanti Kumar Desai

Lyrics

Sukh chain ke din
sab beet gaye
dukh rain andheri chhaayee hai
sukh chain ke din
sab beet gaye
dukh rain andheri chhaayee hai
koi sang na saathi saath sakhi
koi sang na saathi saath sakhi
sapna sa ?? mein aayi
sapna sa ?? mein aayi
Sukh chain ke din
sab beet gaye
dukh rain andheri chhaayee hai

jhoothha prem ye jhoothhi aashaa
jhoothha prem ye jhoothhi aashaa
jhoothhi kaaya
jhoothhi maaya
jhoothhi kaaya
jhoothhi maaya
jhoothhe jag mein
???
jhoothhe jag mein
???
jhoothhi preet lagaayi hai
jhoothhi preet lagaayi hai
Sukh chain ke din
sab beet gaye
dukh rain andheri chhaayee hai


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 :

5019 Post No. : 16927

Today’s song is from an old and not much known early era film from Minerva Movietone – Khan Bahadur-1937.

Minerva Movietone was owned by Sohrab Modi. Its first film was ” Atma Tarang-1937″, which was an out and out big flop, with just 20 persons in the audience for the First Day First Show ! Basically, proper advertising was missing, so people did not know anything about the film. The two earlier films featuring Sohrab Modi-jointly with his brother- were stage dramas shot as films, so with this background Modi failed to declare that this film was NOT like that. The 20 daring persons who came to see the film regretted deeply having come there. The film was made on a subject which was very dear to Modi himself – Celibacy or Bramhacharya, truly a ‘Dry’ subject. The heroine was Prabha, who was very beautiful. She featured only in 3 songs, whereas Modi was in 6 songs out of the 12 songs of the film !

In those days Sohrab Modi was influenced by the teachings of Shri Ramkrishna Mission, but his audience was not. With the failure of this film, Modi learnt a lesson that he should make films on subjects of the liking of the people and not his own liking. Then he studied what type of films were successful and popular and then he decided to make a film on a Muslim King who was brave and who did many good things for his people. Thus, the film Khan Bahadur was made and as expected, it did a good business at the Box office. Later Modi made films like Meetha Zahar-38 on ills of drinking, Divorce-38 on Husband -wife differences and Bharosa-40 on Incest. He had learnt his lesson well !

What does Khan Bahadur mean ? Is it a name or a Title or a popular decoration ? 1937 was a British Raj period. In those days the British awarded different titles to Public Achievers, kings and those who were Loyal to the crown. As such ” SIR ” and ” KNIGHTHOOD ” were the highest decorations already, but they were given to highly educated or the members of Royalties of India only. So, the British introduced 3 level Titles for the other public and small kings etc.

First Grade level…. Nawab Bahadur ( for Muslims) or Dewan Bahadur (For Hindus)
Second Level…. Khan Bahadur (Muslims) or Rai Bahadur (North Indian Hindus) or Rao Bahadur (South Indian Hindus) and
Third level….Khan Sahib (Muslims) or Rai Sahib or Rao Sahib (Hindus).

The cast of the film Khan Bahadur-1937 was Sohrab Modi, Naseem Bano, Prem Adeeb, Sheela, Shareefa (mother of actress Husn Banu), Eruch Tarapore, M.Sadiq, Sadat Ali etc.etc. There were 12 songs in the film. The name of the lyricist is not known. The Music Director was B.S.Hoogan.

B.S.Hoogan…. Frankly, how many of us have really heard this name ? Maybe only a few. Until about 12 years ago, I was not even aware of this name. When I first came across this name B.S.Hoogan, in the list of Hindi composers,my first reaction was,what is this foreigner doing in Hindi Films ?

Further when I saw his name as MD in 10-15 films of the 30s, I became very curious and wanted to know more about him.As per my experience so far,I usually got information for any -or almost any-Film personality from my notes,Old cuttings,books,magazines,old articles etc ,or even from an obscure,less known Internet site,but in Hoogan’s case I always found myself at a dead end. There was simply NO information about him anywhere ! It was as if no one in India knew about him or as if he was from some alien planet.

I was perplexed.How can anybody from the Film industry,with so many films to his credit,be such an unknown person ? This was a challenge and I decided ,come what may,to find out about this elusive,dodging and unreachable B.S.Hoogan,at any cost.

Almost one year passed and I found a ray of Hope.

I visited the Blog of Mr.Kamalakar Pasupuleti ji. He is a writer on old films, music and an avid collector of old songs,besides having been an active RMIM worker.He is also a mine of information. Incidentally,he too is from Hyderabad-just like me,and being in the same age group,we enjoyed discussing matters relating to people and places in old Hyderabad of the 40s and 50s,when we were youngsters.Later on, he migrated to the USA.

On his Blog, he had written about Hoogan. He had located the nephew of Hoogan, in India and contacted him.He got some information from him about Hoogan. Although the info was not exhaustive, it was a great find. Kamalakarji himself had also written about Hoogan,from his interaction with people who had met Hoogan in Hyderabad. I wrote to kamalakar ji in the USA and he very graciously gave me permission to use all that material for this article.

At this juncture, my luck suddenly decided to cooperate and I found some info about Hoogan in a book.I even found out that the same nephew of Hoogan had uploaded 4 songs of Hoogan,(2 from Parakh-37 and 2 from Meetha Zahar-38) on Hamara Forum.

The nephew of Hoogan was one Prakash Raj. Once he appeared on the Internet forum through some member and he gave some more information. In addition Hoogan’s grandson- Mr. David Singh Hoogan, from Chittaranjan, W.B. appeared on Atul ji’s Blog and gave some more information as late as in 2020. With all this additional new information, I revised the old information and made up this revised new one. So it is not the same, as some may think. This Mr. Ashok Raj has written 2 books namely The Hero-Volume I, which has information on artistes of the Silent Era and upto Dilip Kumar. The second Book is also named The Hero-Volume II, discussing artistes from Amitabh to Khans and beyond. I have both these books with me. In these books the author has proudly mentioned that B.S.Hoogan was his Uncle. The books are also dedicated to Hoogan.

B.S.Hoogan was not a foreigner,he was very much an Indian.His name was BALWANT SINGH HOOGAN. He was tall,of wheat complexion and of medium build. He was born in 1901 at Firozpur, Punjab, where his family was settled. Earlier the family was in Lahore. He was a Kashmiri Brahmin. According to C.Ramchandra also,he was originally from Kashmir.

It seems Hoogan was keen to pursue higher studies in England, so he left Ferozpur. After reaching Bombay, he changed his mind and wanted to be in films being a Music Director.Before becoming a music director he seems to have learnt classical music and western music.He played many western instruments.

In the days of silent films,orchestras used to play in the theatres ,in front of or behind the screen.During the film also they played appropriate music pieces.It would add live pleasure with moving images. Hoogan learnt this music and conducting orchestra from his teacher, Mr.Victor Aimes,an Englishman,from the Albert Music Company. He learnt writing music in notations and conducting orchestra with a baton. He played in his orchestra of 12 musicians.

Hoogan looked impressive with a Black Tailcoat,Bow-Tie and Grey Trousers,as described by a Hyderabad Nawab,who had been personally introduced to Hoogan in Hyderabad in 1930.

B.S.Hoogan started his career as MD with Ajanta Cinetone of Mohan Bhavnani.He gave music to Afzal,Maya jaal,Rangeela Rajput(all 1933)Dard e dil,Dukhtar e Hind,Mazdoor,Sair e Paristan,Vasavdatta(all1934),Pyar ki maar,Registan ki Rani,Sone ka shahar,sherdil Aurat(all 1935), Begunah,khan Bahadur,Parakh(all1937),Meetha Zahar,Vijay marg(all 1938) and Sansar Sagar-1939.

Total films-18. Songs composed- 231.

Music Director C.Ramchandra, in his Marathi autobiography ( माझ्या जीवनाची सरगम ), wrote about Hoogan. When CR was working in Minerva, He worked with several Music Directors like Habib Khan, Bundoo Khan,Hoogan and finally Meer Sahib. CR learned something from every MD. Hoogan joined the company, in place of Habib Khan, the composer. He showed CR how the Desi Raag can be played on foreign musical instruments. He brought in many Goan orchestra players into the company. CR knew writing notations, Hoogan improved this. Hoogan liked CR very much. Hoogan would take CR with him to all big hotels of Bombay. Orchestras would be playing there. CR learned how those tunes could be indianised in his music here only.

Hoogan would make tunes and ask CR to write the notations. CR would hum those tunes and then improve the tunes. Hoogan would not know. Thus many of his tunes were used by Hoogan without knowing it. In the film Meetha Zahar-1938, Naushad was Hoogan’s assistant. Actors like Nissar, Bibbo, Sheila and Naseem Bano sang for him.

Hoogan had only one son-Avtar Singh. In Bombay, Hoogan contracted Tuberculosis. He started treatment and on doctor’s advise, left for hometown Ferozpur, with family. Soon his illness took a serious turn and B.S.Hoogan died in Ferozpore in September 1938, at the age of 37 only. In another few months, his wife too died and his son was taken care of by his maternal Uncle. The son Avtar singh got a job in Railways at Chittaranjan, W.B. and he moved there. He converted to Christianity. He had a son David who also settled in W.B. only. After conversion his family in Ferozpur broke off all contact with them. His story ends thus.

Prem Adib was new. He first started acting in the film Romantic India-36. Soon he came to Minerva and his film Khan Bahadur was released first and thus became his Debut film. In the early 40’s he became famous with his role of Shri Ram (along with Shobhana Samarth as Seeta) in the Mythological films of Prakash Pictures. Along with him, in this film, there was one more Debutante artiste, and her name was Sheela. Her real name was different. When she was named Sheela, she was the only actress with that name. However, later on many Sheelas entered Films, but luckily they did not cause any Same Name Confusion. Some other Sheelas were…..Sheila Ramani, Sheela Vaz, Sheela Mitra, Sheela Naik, Sheela Devi, Sheela Dalaya (only in the film Mughal E Azam) and Sheela Haldar.

SHEELA(real name-Roshan Ara) was born on 13-3-1925 at Solapur-Maharashtra. Her father was Station Master at Solapur Rly.Stn.
Once Sohrab Modi had come to Sholapur with his Drama company. He went to the station to make reservations and saw Sheela. They got to know each others and he proposed to give her roles in his films.Thus Sheela came to Bombay in 1936 and Joined Minerva Movietone as a singer/actress.
Her first film was Khan Bahadur-37, in which she sang and acted. Then came Jailor-38 in which she sang 4 solo songs under MD Mir Sahib.Then Divorce and Meetha Zahar came.

She became famous only after her songs in Pukar-39. Bharosa, Wasiyat and Sikander also gave her name and fame. In Sikander she had 6 songs out of total 7 songs. The famous song ‘ zindagi hai pyar se’ also had her voice in the chorus. She was Heroine in the film ‘ Wasiyat’-40,Ulti Ganga, Bhakta Raidas, Prithvi Vallabh,and Patharon ka Saudagar were all Minerva films.

She had also done films elsewhere- Aladdin and wonderful lamp, college Girl, gaibi Gola, jahan ara, keemti qurbani, Sansar naiya, Shaitan ka pash etc.
After 1943, she almost stopped working. Only in Beete Din-47 and lastly in Billi-49 she sang songs., which was a stunt film of Nadia and Cavas.
She had married the actor Rama Shukla, in 1947. He was a Kanauji Brahmin and they had terrible opposition to their marriage. The marriage was by Registration. Only 4 friends were present in the marriage. They had one son and one daughter. Rama Shukla died by Heart attack in the 50s.

Her voice had a peculiar mixture of Muslim style of Amirbai Karnataki and Marathi slant od Shanta Apte. There is an anecdote with one of her songs. When the film Pukar-1939 was in the making, C.Ramchandra was working as an assistant to MD Meer Saheb. He has mentioned in his autobiography also that in the absence of Meer sahib, he used to insert his tunes to songs as Meer saheb’s. This was known to many, except, maybe, Meer sahib himself. One of the very popular songs sung by Sheela ” Tum bin hamri kaun khabar le ‘ was actually composed by C.Ramchandra. This is supposed to be CR’s first composed song. The credit ,of course, went to Meer Sahib.

Today’s song is a duet sung by Sheela and Eruch Tarapore. Eruch Tarapore was a distant relative of Sohrab Modi and he worked only in Modi’s films. He worked in 16 films, right from Modi’s first film Hamlet-35 up to 1948. Eruch sang one song each in 3 more films, Meetha zehar-38, Jailor-38 and Phir milenge-43. He died in 1948.


Song- Prem ke pyaale de (Khan Bahadur)(1937) Singers- Sheela, Erich Tarapore, Lyricist-Unknown, MD- B.S.Hoogan

Lyrics

Prem ke pyaale de
Prem ke pyaale de
piyarwa bhole bhaale
piyarwa bhole bhaale
Prem ke pyaale de
Prem ke pyaale de
piyarwa bhole bhaale
piyarwa bhole bhaale/em>

dilbar ??
geet ?? ke geet suna de
dilbar ??
geet ?? ke geet suna de
Prem ke pyaale de
Prem ke pyaale de
piyarwa bhole bhaale
piyarwa bhole bhaale

nain se prem prem barsa
nain se prem prem barsa
aman ki ?? jaaye
nain se prem prem barsa
nain se prem prem barsa
aman ki ?? jaaye
gul khilaaye jaa daali daali
pyaare matwaale
gul khilaaye jaa daali daali
pyaare matwaale
bulbul buldul ?? bole bole
bulbul bulbul bole bole ja
?? tumhre kaale

piyarwa bhole bhaale
piyarwa bhole bhaale
Prem ke pyaale de
Prem ke pyaale de
piyarwa bhole bhaale
piyarwa bhole bhaale


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 : 5012 Post No. : 16917 Movie Count : 4595

Today’s song is from an ” interesting” film – Pamposh-1953.

I have always been stating that History is never permanent. Whenever new evidence comes, the history changes to that effect. Same is the case with Film History. It keeps on changing, whenever honest workers dig up new evidence with credible proofs. This is normal and Film History lovers have accepted it too. Occasionally – very occasionally or almost rarely, some such evidence comes out which no one had ever dreamt about and when no one had ever doubted the existing accepted matters as facts.

From the early 80’s or to be precise, when Harmandir Singh Hamraz ji published his HFGK for the 50’s decade, as the first in his series of many decades subsequently, we all had known that the Music Director of film Pamposh-1953 was Manoharlal Khanna – father of MD Usha Khanna, the second prolific woman composer for hindi films. (the first prolific woman MD was Saraswati Devi). It was mentioned in the HFGK and Usha Khanna too had repeatedly told so in her articles and interviews.

During the last few years, I have met close relatives of many yesteryear artistes and interviewed them. One thing I noticed was that most relatives, those close ones, did not know or were not sure of certain matters. Sometimes they knowingly told wrong things to enhance the image of that artiste. So I learnt to counter check facts before including them in the interview material.

Usha Khanna’s case also seems to be like this. I carefully listened to her interview about her father, posted on RMIM recently and I found that she made claims which were not wholly correct about her father. One of the claims she always made was that it was she who actually had given music to film pamposh, but her father’s name was credited. Actually neither Usha Khanna (who was barely 12 year old in 1953)nor her father M.L.Khanna had given music to film Pamposh-53. It is noteworthy to note that HFGK has a footnote for this film stating that ” The film booklet mentions MD’s name as Mohan Lal Aima and Cecil Mendoza”. Enthusiastic senior RMIM members worked furiously on this issue and dug up several proofs to arrive at a conclusion that MOHAN LAL AIMA was actually the Music Director of film Pamposh-53.

Film Pamposh was screened at the Cannes Film Festival, France on 9-4-1954 with the French title “FLEUR DE LOTUS” (Lotus of Kashmir or कश्मीरी कमल ). In that also the MD’s name was given as Mohan Lal Aima. This film was made in English, French, Spanish,Italian, German, Hindi, Bengali and Tamil and had won high praise in Cannes, as per the French newspaper “LE MONDE”. This information is from the book ” The world of Ezra Mir” by N.J.Kamath, pub.2005.

I am not only impressed but also amazed to see how the active RMIM members coordinate while working on a research project. Some of the senior members, like Magicians, produce Links, Photographs, Book extracts, Paper cuttings etc. to add to the information. I am not taking any names, because

i) the list will be too long and

ii) they all are equally knowledgeable and hard workers.

Imagine doing their regular jobs and yet contributing enthusiastically on the forum which is simply superhuman ! My Hats Off to RMIM !. Over the years, they have contributed substantially to Hindi film history. I Hope some members produce a book on RMIM. One small book already published is not enough.

Now the important point would be to know who this M L Aima is. Here is his information,collected from various sources made available on RMIM forum.

Mohan Lal Aima was born in a family of ‘Datatreya Kauls’ of Fateh Kadal, Srinagar, on 21-7-1922 . This area was across the Jhelum river and close to Syed Ali Akbar locality. His father , Pandit Ved Lal Aima had earned respect and goodwill in the society even with his modest means and simple living. The family got Aima nickname as some elder from this clan was a gifted osteopath (Waatangor) who cured many people with fractures and dislocations.

After completing his M.A. LLB, and a Diploma in Statistics, he was to join Bar and establish himself as an advocate, but contrary to that, he gave a surprise/shock to his family and the conservative Kashmiri Pandit society ( at that point of time) when he decided to opt for music and singing as his career. During those days, it was something like a rebellious act for his middle-class family. And he earned the nickname “Mohan Chhakri”.

He also led a group of boys that sang this song when Pandit Jawahar Lal Nehru and Sheikh Mohd Abdullah addressed a huge gathering at Palladium cinema Lal chowk Srinagar in November 1947 . This song was written by Maulana Masoodi, a close associate of Sheikh Mohd Abdullah during those days and it used to be played as an anthem song in official functions during 1948 and 1949.

He scored music for first full-length Kashmiri feature film MAENZRAAT. He scored music for Nadim sahib’s opera ‘Bombur Ta Yemberzal’ that was widely appreciated and shown to Russian dignitaries Nikita Khruschev and Nikolai Bulganin. during their visit to Kashmir. It was performed in early December, 1955 at Nedou’s Hotel , Srinagar by a galaxy of Kashmiri artists and singers. Marshal Bulganin was reportedly seen tapping his foot when the artists sang the Bomburo Bomburo. He also scored music for the Kashmiri version of the movie “Shayar e Kashmir’ Mehjoor”.

His tune for Nadim Sahib’s composition “Bomburo Bumburo Shaam Rang Bomburo” became popular in the entire length and breadth of the country after it was used in a Bollywood movie.

He scored music for Ezra Mir’s 1953 film “Lotus of Kashmir(Pamposh)”.It was produced by Ambalal J. Patel. He also scored music for “ROKO” a short telefilm produced for Door Darshan by M Y Bhat . It was telecast from four metros of the country sometime in1975 or 1976. He further gave music to the film “Kashmira”, produced by Childrens Film Society.

He was also commissioned by Muzaffar Ali as a music consultant cum co-composer for his aborted high profile film Zooni ( Story based on the life of Habba Khatoon ) . The music of the international version was to be done by Oscar winner Japanese composer, Riyuchi Sakamoto, while music for all the songs in Kashmiri was to be scored by Mohan Lal Aima. And the renowned fashion designer, Mary McFadden of New York had been engaged to design the costumes of the film.Muzaffar Ali had to put his project on hold due to widespread militancy in Kashmir. The shooting of this high profile movie with Dimple Kapadia and Vinod Khanna in lead roles had been started during the summer of 1989.

He was the Head of the Music section in Radio Kashmir, Srinagar from 1949 to 1964. Aima was sent as Director General, on deputation to Kabul for Radio Afghanistan. He became extremely popular there. Later he was transferred to New Delhi and Bombay also. During 1979, he lived in Seven Bunglows area of Andheri West in Bombay. He was always eager to help the visiting Kashmiri artistes and arranged for their staying free at Bombay.

Aima could play several traditional Kashmiri Musical instruments. In Bombay, he prepared a CD of kashmiri Devotional geets. It was named ” Man Pamposh”. It became very popular. In 1990, he was bed ridden with Cancer and he died in Bombay.

Many eminent music experts and his friends like Padmashree Pran Kishore Kaul, Bihari Kak – actor, Muzaffar Ali, Padmashri Moti Lal Khemu and others have written about him.

His brother Omkarnath Aima was an actor. He was the hero of the First Kashmiri film “Maenz Raat”. Onkar’s son Alok Aima was also an actor and worked in many Hindi films like “Jaane bhi do yaaron “. M.L Aima’s son Satish Kaul was also an actor. (Based mainly on an article by Shri Autar Mota, on his Blog The Chinar Shade, with thanks and RMIM sources.)

This film was directed by Ezra Mir. Some of the Senior readers, in the bracket of 55 to 75 years of age would recollect the Indian Documentaries made by Ezra Mir, shown before almost every film in the theatres. Indian News Reel and these documentaries on various subjects were actually used as a facility to enter the theatre late and still catch the whole movie from the beginning. These documentaries were made mostly by Ezra Mir and the voice over used to be that of Pratap Sharma usually. ( his younger brother Mahesh Sharma was my good friend in those days).

Ezra Mir was one of the rare persons who worked in the famous Hollywood studios for a considerable time, before he came to India and got involved in making films here. He was also a rare person who, despite being in great demand in the commercial cinema, chose to join a Government organisation and did monumental significant work for the future generations. For a long time, I was thinking him to be a Muslim man, but at a much later date, I came to know that he was a Jew person.

Ezra Mir ( real name Edwyn Meyers) was born on 26-10-1902 at Calcutta. After completing his education, he joined Madon Theatres in 1921. In 1923, he left for Europe and America to work in the film industry. After doing bit roles in Rudolph Valentino’s films in Long Island, New York and working for First National Biograph Studios, he joined the Universal studios as a ” Film Cutter” and later as a Scenario writer. By his diligent and hard work he became the chief of story Department in United Artistes. In 1929, he wrote and directed a film ‘ Simbolisque ‘, which created a sensation in the film circle there.

With the advent of the Talkie, he came back to India , joined Imperial Film co. and made film Noorjehan-31 in Hindi and English. In 32-33, he joined Sagar movietone and directed Zarina-32, Pagal premee-33 and Farzand e Hind-34. Then Ezra went to Calcutta. After doing some films he came back and made documentaries on second world war. In 1940, he was appointed by the Govt. on the Film Advisory Board. In 1942, when V.Shantaram left as its head, he became the head. From 1942 to 1946, he made 170 documentaries.

In 1951 he joined the Films Division and in 1956, became its President. In his tenure here, he made 400 documentaries. In 1970 he got ‘ Padma Shri ‘. Ezra Mir died on 7-3-1993. His Filmography is Noorjehan-31, Zarine-32, Pagal premi-33, Farzand e Hind-34, Mera Pyara and Rasheeda-35,Jeevan Sangram, Parivartan,Rajdulari and Shaitan ka pash-36, Rikshawala-38,Sitara-39, Beete din-47, pamposh-54 and Raju aur gangaram-64.

The cast of the film was Moghali (Leela Kanade), B.Bilimorea, Violet Smith,Savitri,Vinod, Savi Multani, Rusi Patel and others. The story, screenplay and direction was of Ezra Mir. The film was produced by Ambalal Patel, who was with Sagar Movietone when it was launched in 1932. The lyricist was Manohar lal Khanna.There were 5 songs sung by Seeta Kalyanpur and Moti Sagar -3 solos and 2 duets.

Lastly, about the singer of today’s song-Seeta Kalyanpur. I have not got any information about her anywhere, but I faintly remember having read somewhere that She was the sister of Suman Kalyanpur’s husband. However I can’t confirm it. With this song Film Pamposh and Singer Seeta Kalyanpur make their Debut on our Blog.


Song- Jannat hai Kashmir hamaara (Pamposh)(1953) Singer-Seeta Kalyanpur, Lyricist- Manohar Lal Khanna, MD- Mohan Lal Aima and Cecil Mendoza

Lyrics

Jannat hai Kashmir hamaara
Kashmir hamaara
Jannat hai Kashmir hamaara
Kashmir hamaara
Kudrat ki godi mein khele
har nazaara
nazaara pyaara pyaara
ho nazaara pyaara pyaara
Jannat hai Kashmir hamaara
Kashmir hamaara

phoolon ke hain yahaan khazaane
jharnon mein sangeet suhaane
phoolon ke
phoolon ke hain yahaan khazaane
jharnon mein sangeet suhaane
hardam bahti prem ki dhaara
nazaara pyaara pyaara
ho nazaara pyaara pyaara
Jannat hai Kashmir hamaara
Kashmir hamaara

saada dil insaanon ki basti
mehnat ho jeewan ki kashti
saada dil insaanon ki basti
mehnat ho jeewan ki kashti
har mehnat hai hamen gawaara
nazaara pyaara pyaara
ho
nazaara pyaara pyaara
Jannat hai Kashmir hamaara
Kashmir hamaara

dulhan si kashmir ki waadi
?? jo bhi shahzaadi
dulhan si kashmir ki waadi
?? jo bhi shahzaadi
kudrat ne hai ise sanwaara
nazaara pyaara pyaara
ho nazaara pyaara pyaara
Jannat hai Kashmir hamaara
Kashmir hamaara
kudrat ke godi mein khele
har nazaara
nazaara pyaara pyaara
hai nazaara pyaara pyaara
Jannat hai Kashmir hamaara
Kashmir hamaara


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 : 5010 Post No. : 16912 Movie Count : 4592

Today’s song is from a totally unknown and obscure film Shah E Misr-1946. The only reason this film will ever be remembered by the Historians is because film actor Ajit made his debut as a hero in this film, albeit with his real name Hamid. So, except the Historians and Ajit, you and I are the only people in this world who know the significance of this film !

The word “Shah” generally means a King. Historically, the Persian Monarchs were known as Shah-in-Shah, the colloquial may be Shahenshah, perhaps. In India, however, a Shah means a rich Sethiya- the name being common amongst the higher, richer Gujarati businessmen. There are several stories in world literature how Lady Luck made a commoner a King and thus there are many folk tales in Arabic and Persian languages about how common people became kings due to their valour and good luck.

No story of this film is available and I have also not seen this film. Therefore we can, at best, presume that this film depicted some such story in it. The film was directed by G.R.Sethi. He is one of those artistes about whom no information is available in any book that I have or on the Internet or any Bloge which I visit. So, all that we know about G.R.Sethi is only through the details available in HFGK. But whatever is available, is more than enough to make him an Unique person in Indian Film History !

G R Sethi started his directorial debut with the film Roshan Ara-1932. Then in 1933, Bharat Movietone , a film company, did something which has never been attempted again by anybody, later in the history of Hindi film making ! They made a film in one year in 4 different parts, which was directed by G.R.Sethi. The film was “Hatim Tai”, part I, part II part III and part IV , all launched,completed and released in 1933. All 4 films were independently full length films, with the same titles. They had different Censor Certificates. Though Marutirao Pehelwan was the Hero in all 4 parts, he had different Heroines in every part. This Marutirao is the same actor who did the main role in the First Gujarati Talkie film “Narsi Mehta “-1932, made by Sagar Movietone. Marutirao was the father of International Dancer Gopi Krishna, whose mother was actress Tara-sister of dancer Sitara Devi.

The second achievement of G.R.Sethi was that he directed the film “Hatimtai-1933 Part I “, in which India’s First song with ANOKHE BOL featured. The song was ” Donga Donga Dum Dum Daaka, Adam Boka, Masnam Maaka “. It was a Chorus song. The music was by Madhulal Master.

G.R.Sethi directed 23 films in his career. His last film was, by a strange coincidence, “Hatimtai-1947 ! Sethi wrote 84 songs in 9 films also – Roshan ASra-32, Nav Chetan-32, Hatimtai-1933..all 4 parts, Veer poojan-34, Sharif Daaku-38 and Imandar-39. The cast of the film was Hamid, Geeta Bose, Meghmala, Janaki, Syed etc.etc. The 9 songs of the film were written by Roopbani. The Music Director was Shanti Kumar Desai.

The Music Director of this film was Shanti Kumar Desai, a very talented but unlucky composer who rarely got support from any famous banner. His music was enchanting and tunes were superb, but Lady Luck did not favour him.

He was born in Amreli, Saurashtra, Gujarat state on 3-3-1908. His family was in service as Royal Musicians, so he was exposed to music from childhood.He was an expert Harmonium player. To start his career, he came to Bombay and worked in H.M.V. as a Broadcaster. Here he came into contact with many composers and learnt how they operated and made tunes etc.

He was already giving music to Dramas, but wanted to join the Film line as M.D. He got his first film Navbharat ( Jawanmard)-1934. In those days Gujarati producers and directors used to prefer Gujarati MDs. Thus out of his 36 films, 18 were done with Gujarati Directors like Sohrab modi, Nanubhai Vakil, V.M.Vyas(4 films), Kanjibhai Rathod, Dhirubhai Desai etc. He also gave music to Gujarati films.

He gave music along with Madholal Master,Rafiq Ghaznavi, Pannalal Ghosh, Shyambabu Pathak etc. Famous singers like Rafi, Manna Dey, Zohrabai, Amirbai etc sang in his films during their early careers. Even Kishore Kumar’s early film Sati Vijay-48 had music by Shanti Kumar Desai. He gave music to films of early era actors like Prem Adib, Mehtab, Sitara Devi, Leela Chitnis, Jal Merchant, Ashraf Khan, Rajkumari, Mazhar khan, Shanta Hublikar, Jairaj, E Billimoria, Kumar, Sardar Akhtar, Chandramohan, Shobhana Samarth, Durga Khote, Shahu Modak and Sulochana.

From 1934 to 1948, he gave music to 38 films. In 1964 his one film (Tere dwar khada Bhagwan) was released. He composed 333 songs. He never got films from top banners like Bombay Talkies,Prabhat, Sagar or Minerva, otherwise his career would have been different.

He died on 6-1-1986. Some of his better known films were Bholi bhikaran-36, Punarjanma-38, Anjaam-40, Suhaagan-42, Naukar-43, Ek din ka sultan-45, Shah E Misr-46 and Lav Kush-51

Only the other day I was re reading the book, ” ये उन दिनोंकी बात है ” (in English), written by Yasir Abbasi- a journalist and a Film Historian, who has written some books on films.When I bought this book and read it, I was pleasantly surprised that he had mentioned my name along with Hamraz ji and Harish ji, in ” acknowledgements”, thanking us for the help rendered to him. I was overwhelmed to see this, because such honesty and humbleness is rare these days. Not that I had done something great, but his acknowledgement was very soothing indeed !

This book is a collection of translated (from Urdu to English) articles written by several film artistes like Dilip kumar, Ajit, Nadira, Shyama, Talat mahmood, Johnny Walker, Veena etc. There are 15 such articles, 5 perspectives written by film actors and pen Portraits of 10 film personalities like Kardar, Satyajit Ray, K.Asif etc etc. All in all, it is a very engrossing book. I read what actor Ajit had written, before I wrote this post. He has shared his experiences with other artistes like W.Z. Ahmed, actor Shyam. he has described what happened after Shyam’s accident during Shabistan, madhubala, K.Asif, balraj Sahni, some anecdotes while shooting for Mughal E Azam, Prithviraj kapoor, Motilal and some more. The book has become so interesting because they have shared their experiences in the industry.

There are so many stories and anecdotes that I can easily make 3-4 posts on it. Maybe sometime in the future, when I write on a film of one of these artistes. Today’s song is sung by Amirbai Karnataki. With this song film Shah E Misr-1946 makes its Debut here.


Song-Dil mein mere khushi nahin(Shah e Misr)(1946) Singer-Amirbai Karnataki, Lyrics-Roopbani, MD-Shanti Kumar Desai

Lyrics

Dil mein mere khushi nahin
Dil mein mere khushi nahin
lab pe mere hansi nahin
lab pe mere hansi nahin
kehte hain jisko zindagi
kehte hain jisko zindagi
haaye wo zindagi nahin
haaye wo zindagi nahin
Dil mein mere khushi nahin

jinka main haal kya kahoon
jinka main haal kya kahoon
wo to guzar hi jaata hai
wo to guzar hi jaata hai
roye bina ke raat kar (?)
roye bina ke raat kar (?)
apni kabhi kati nahin
apni kabhi kati nahin
Dil mein mere khushi nahin

kisko sunaaun jaa ke main
kisko sunaaun jaa ke main
dard o alam ki daastaan
dard o alam ki daastaan
mera to is jahaan mein
mera to is jahaan mein
gham ke siwa koi nahin
gham ke siwa koi nahin
Dil mein mere khushi nahin

ris ris ke zakhm e dil mere
ris ris ke zakhm e dil mere
aasmaan pe chhaa gaye
aasmaan pe chhaa gaye
ye to jigar ke paar hai
ye to jigar ke paar hai
taaron se roshni nahin
taaron se roshni nahin
Dil mein mere khushi nahin
lab pe mere ae ae
hansi nahin


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

Blog Day : 5010 Post No. : 16911 Movie Count : 4591

I am presenting a rare song of a 1946 released film, sung by Mohammed Rafi. I came across this song for the first time about 5-6 years back on one of the video-sharing platforms and I immensely liked it. However, to my dismay, I found that the uploaded song was incomplete. I could not find the full song on any of the video sharing-platforms at that time. I tried to locate it from other on-line sources but failed to get it. Gradually, this song went out of my mind. It was only yesterday, I accidentally found the full song – accidentally because the uploader of the song (probably a ‘front’ for SAREGAMA) while uploading the song about 3 years back, wrongly captioned it.

The song is ‘dil samajhta hai yaa khuda jaane’ from an obscure film, ‘Hoor-E-Baghdad’ (1946). The name of the singer is not indicated by SAREGAMA which means that the 78 RPM gramophone record of the song may not have mentioned the name of the singer. However, without any doubt, the voice in the song is that of Mohammed Rafi. The song is written in a ghazal format by F M Pindvi, a name I heard for the first time. Damodar Sharma is the music director. The film had 9 obscure songs of which as of now, only two songs are available.

I get a feeling that F M Pindvi who wrote this song in a ghazal format may have been influenced by Daagh’s ghazal written in the same metre. I reproduce four shers from Daagh’s ghazal:

dil ko kya ho gaya ḳhuda jaane
kyun hai aisa udaas kya jaane

is tajaahul kaa kya thikaana hai
jaan kar jo na mudda jaane

kah diya maine raaz-e-dil apna
us ko tum jaano yaa ḳhuda jaane

kya ġharaz kyun idhar tawajjoh ho
haal-e-dil aap ki bala jaane

‘Hoor-E-Baghdad’ (1946) was produced under the banner of Mohan Pictures and was directed by A M Khan. The star cast included Shiraz, Ayyaz Begum, Devraj, Fazlu, Anwari Bai, Khan Chand, Garib Shah, Aziz Siddiqui, Fateh Singh, Miss Mumtaz etc. From the star cast, it can be guessed that it was a stunt/fantasy film. The story of the film as appeared in this link (probably taken from the song booklet of the film) is reproduced below:

The Shah, feeling that it will soon be the time to pass the crown to one who is duly able, wishes to test his four sons to see who is the most deserving of the honour. Prince Anwar, the Shah’s eldest, was the most able of all and is chosen heir to the throne.

The Shah’s young second wife (Anwaribai) objected, however, as she felt her own son (Devraj) should be the successor. To make her happy, the Shah decides to test them all again, this time in a special court. Again, Anwar was victorious. Still unhappy, the young queen arranges yet another test, with the additional prize being the hand of the vizier’s (A. Siddique) daughter, Almas (Ayaz Begum), who is known as the most beautiful in all of Baghdad. In this new test, each of the sons must risk life and limb to bring back four valuable objects.

With this song, The film. ‘Hoor-E-Baghdad’ (1946) and the lyricist, F M Pindvi make debut on the Blog.

Audio Clip:

Song-Dil samajhta hai ya khuda jaane (Hoor e Baghdad)(1946) Singer-Rafi, Lyrics-F M Pindvi, MD-Damodar Sharma

Lyrics

dil samajhta hai yaa khuda jaane ae ae
meri muskil ko koi kya jaane
dil samajhta hai yaa khuda

aa aa aa aa aaa
kaisi ulfat
mujhe to wahashat hai…..ae ae
kaash mera wo mudda jaane ae ae
dil samajhta hai yaa khuda jaane ae ae /em>

mere hosh-o-khirad pe…ae ae ae ae ae ae ae ae ae
kya guzri..ee ee ee
nigaahen aaj chhupaaye kya jaane
dil samajhta hai yaa khuda
wo tasawwur mein aen aen
aake kehte hain..aen aen aen
tum ho kaise meri bala jaane ae
tum ho kaise meri bala jaane ae
dil samajhta hai yaa khuda jaane 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.

This article is the 16900th post in the blog on its 5000th day.

Blog Day :

5000 Post No. : 16900

Today (27 March 2022) is one of those days that arrives regularly in the blog. It is the century post day. Moreover, it is an even more special day for the blog. Today is the 5000th day of the blog !

The fact that today is the 5000th day of the blog was known for quite some time. The idea that this day should coincide with the century post germinated a few days ago, even though it meant that we needed to go at a slower rate than even the already slow rate for the blog.

Sudhir Jee, who floated this idea was under the impression till the last moment that today we were on to 17000th post. It was only at the last moment that he realised that we were onto just the 16900th post. 🙂

Sudhir Jee had identified a special post for the occasion of 17000th post and so that song had to be held back.

We did not have any backup song for the occasion.

Most of our century posts get posted on week days when the blog gets more visits. Today is perhaps the first time in many years when the century post was getting covered on a Sunday. The previous such occasion that I can think of was 20 July 2014, which was a Sunday too and that was the day when the 10000th post was covered on the blog. That day which saw 8 articles being posted was a memorable day for the blog, as the regulars of the blog remember even to this day.

Today is Sunday. A few years ago, I had discovered a rare and remarkable old song of 1940s that celebrated Sunday. I vaguely remembered that I had noted it down and I had even downloaded that song. That song would have been a perfect century song for today. But I could not locate that song, despite searching hard in my portable hard disks and elsewhere. It could well have been hiding in some laptop that I am no longer using.

I informed Sudhir Jee about this song and he too searched for it. But that song could not be located.

During my searches, I came across some other rare songs and I considered using one of them, in case our “Sunday” song could not be located. So here is that song.

This song, quite an interesting and rare song, is from ‘Phulwaari’ (1946).

‘Phulwaari’ (1946) was directed by Chaturbhuj Doshi. The movie had Motilal, Khursheed, Madhubala, Ramayan Tiwari etc in it. This obscure movie had 9 obscure songs in it. Two songs from the movie have been covered in the blog.

This song, third from the movie and 16900th song in the blog is a children’s song. It is sung by Baby Anu and chorus. Pt Indra is the lyricist. Music is composed by Hansraj Bahl.

The song is a take on Chanda Mama from her point of view. It is quite a fun song, quite an interesting song indeed. The song , like its movie ended up becoming obscure.

I request our knowledgeable readers to help throw light on the movie as well as on the picturisation of the song.

I have no idea who this singer Baby Anu was. She may have been a small child while recording this song, but today she would be in her 70s. I request our knowledgeable readers to throw light on her. She makes her debut as a playback singer in the blog.

16900 songs on the 5000th day for the blog ! It has been quite a marathon run for this musical blog where songs have been covered at a rate of 3.4 songs everyday. These figures demonstrate the fact that if one can be consistent and disciplined that it is possible to achieve such high figures, even if our daily rate of posts may be seemingly low.

The blog now has 16900 songs from nearly 4600 movies, and around 1300 of these movies have already been Yippeee’d. These figures may not appear too daunting to the uninitiated, but these figures are big figures. We realize their size only when we try to list them or try to go through the list, or try to take a print out.

The next century mark is the big mark of 17000th song. Who thought, 14 years ago during 2008, that this blog would still be around in 2022 and people here would talk of 17000 songs in it. We are here and that target is just 100 songs away from us.

I take this opportunity to thank one and all. And as always, let us hope that this musical bandwagon keeps rolling on and on and we keep discovering many musical gems in our journey.


Song-Chaand mama ne amrood churaaya re (Phulwaari)(1946) Singer-Baby Anu, Lyrics-Pt Indra, MD-Hansraj Bahl
Chorus

Lyrics

chaand mama ne
chaand mama ne ho
chaand mama ne amrood churaaya re
chaand mama ne amrood churaaya re
chori chori
ho chori chori
chori chori akele hi khaaya re
chori chori akele hi khaaya re

chaand mama chaand mama
chaand mama rakhiya bandhaane ko aaya
ho o o o
ho o o o
chaand mama rakhiya bandhaane ko aaya
jholi mein kitne khilaune wo laaya
jholi mein
jholi mein kitne khilaune wo laaya
munni munne ke man bhaaya re
munni munne ke man bhaaya re
chaand mama ne amrood churaaya re
chaand mama ne amrood churaaya re

chaand mama chaand mama
chaand mama chaand mama
baaghon mein aana
chaand mama chaand mama
baaghon mein aana
munni ko kirnon ka jhoola jhulaana
munni ko
munni ko kirnon ka jhoola jhulaana
jhoolan ka mausam aaya re
jhoolan ka mausam aaya re
chaand mama ne amrood churaaya re
chaand mama ne amrood churaaya re

chaand mama chaand mama
chaand mama chaand mama
school jaana
chaand mama chaand mama
school jaana
master jee se chhutti dilaana
chhutti dilaana
master jee se chhutti dilaana
mera janm din aaya re
mera janm din aaya re
chaand mama ne amrood churaaya re
chaand mama ne amrood churaaya re

chori chori
ho chori chori
chori chori akele hi khaaya re
chori chori akele hi khaaya re
chaand mama ne


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 :

5000 Post No. : 16899

When one looks at the songs of Hindi movies, there are lots and lots of songs of the genre of feelings of heart” and “expression of love”. Going by the statistics of the blog, 46 % songs are “feelings of heart” and 25 % of all Hindi movie songs are “expression of love”.

An interesting and spicy version of the above mentioned genre of songs is “nok jhonk” songs or. They may be fewer in number, but they are great fun songs to listen to.

Another variation of such songs is “roothhna-manaana” aka “sulking-appeasing” song.

The blog so far has 61 “nok jhonk” songs that often take place between the lovers, who are often spouses. I had done some research in these songs and I had come to the conclusion that all the roothhna (on the past of the lady) lasts for 2 minutes and 30 seconds in a 3 minutes song, and the lady then relents in the slog overs of the match and then all is well. 🙂

Here is another “nok jhonk”cum “sulking appeasing” song. This song is from “Guru Dakshina”(1950).

“Guru Dakshina”(1950) was produced by Rajasthan Studios, Bombay. This is all the detail that is mentioned about this movie in HFGK.

The movie had eight songs in it. Two songs have been covered in the past.

This third song from the movie is sung by Trilok Kapoor (singer) and Prempal. Prempal is a female singer unlike what the name suggests. Sarshar Sailaani is the lyricist according to the uploader (Mr Girdharilal Vishwakarma, a renowned collector of records). Music is composed by Pt Lachchiram.

This is an interesting song. after the roothna-manaana on the part of the lady, it is the gentleman that sulks, and then quicky gets appeased just in the nick of time as the record time is coming to an end. 🙂


Song-Baalam se munh mod maad ke (Guru Dakshina)(1950) Singers-Trilok Kapoor, Prempal, Lyrics-Sarshar Sailaani, MD-Pt Lachchiram
Both

Lyrics

O baalam se mukh mod maad ke
prem ka naata tod taad ke
gehne kapde chhod chhaad ke
kaahe roothh chali ho gori
kaahe roothh chali
main chali shahar ke thhaane
rapat likhaane
mulzim ko saza dilaane

ho kaisa mulzim
ik Rajput ka bachccha
baat ka kachcha
jo kare mera dil chori
dikhlaaye seena jori
ab bhanwra ban ke kali kali ka
ghoome gali gali

o gori kaahe roothh chali

o o
kisne bhar diye tere kaan
kaun hai aisa beimaan
naam uska batlaao gori
yoonhi kaam na khaa
kyun batlaaun
kyun batlaaun ke nandu naai
usko batlaawe harjaai
sach kehta hai ?? baniya
tera baalam bada ??
teri aankh mein dhool daal ke
ghoome gali gali

o gori kaahe roothh chali

o rajput ki bachchi
kaan ki kachchi
?? se mera mair puraana
nandu ko mera karz chukaana
isi liye karte hain donon
baaten bhali buri
o gori kaahe roothh chali
chhod bhi do taqraar ki baaten
aao karen kuchh pyaar ki baaten
sun le chaukidaar ki baaten
aadhi aadhi raat gaye tu
ghoome gali gali

chaukidaar se mera pehra
gaaon ka numberdaar jo thhehra
chaukidaar ki dekh bhaal ko
ghoomoon gali gali
ho gori kaahe roothh chali
sach kehta hai
teri qasam main sach kehta hoon
pooch ?? jaaye
jo aur ko chaahoon
aao karen phir pyaar ki baaten
chhod ke sab taqraar ki baaten

uhoon
roz roz tu kare ladaai
roz kare meri ruswaai
ab main roothh chala
tumse roothhe meri bala
sach kehti hai
teri qasam main sach kehti hoon
tujhse mil ke khush rehti hoon

aao karen phir pyaar ki baaten
chhod ke sab taqraar ki baaten
aao karen phir pyaar ki baaten
chhod ke sab taqraar ki baaten


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 :

5000 Post No. : 16898

“Durga”(1939) was produced by Devika Rani and Himanshu Rai and directed by Franz Osten for Bombay Talkies, Bombay. The movie had Devika Rani, Rama Shukul, V H Desai, Mumtaz Ali, Peethawala, Saroj Borkar, Balwant singh, Lalita Deulkar etc in it.

“Durga”(1939) had ten songs in it. Two songs have been covered in the blog so far.

Here is the third song from “Durga”(1939) to appear in the blog.

Devika Rani is the singer. Lyrics are penned by Narendranath Tuli. Saraswati Devi is the music director.

Only the audio of this rare song is available. It is clear that the song was picturised on Devika Rani herself.

From the lyrics it is seen that the song is a “wedding” song. Whether it is a gudda gudiya wedding song or a real wedding song is not known, seeing that video of the song is not available.

Nevertheless, the fact that this song came to my notice just now and it is getting discussed today validates the oft made observation that some higher forces are overseeing this blog and it is these higher forces that often decide what songs are covered in this blog on what day. 🙂 The daughter of one of our regulars got married today and fate ordained that the blog celebrates the occasion with this song from the yore.

So we take this occasion to greet the recently wedded daughter of our regular contributor Avinash Scrapwala. We all wish Shivani and Jeegar a very happy, prosperous and long married life.


Song-Nanhi Bitiya Byaah Rachaaye (Durga) (1939) Singer-Devika Rani, Lyrics-Narendranath Tuli, MD-Saraswati Devi

Lyrics

Nanhi bitiya byaah rachaaye
dulha chadh haathi par aaye
Nanhi bitiya byaah rachaaye
dulha chadh haathi par aaye
baaje dhol mridang
?? rah jaaye dang
baaje dhol mridang
?? rah jaaye dang
laal chunariya kesari choli
sheesh chadhe chandal aur roli
laal chunariya kesari choli
sheesh chadhe chandal aur roli
kumkum pushp ka phool
maang bhare sindoor
kumkum pushp ka phool
maang bhare sindoor

baapu aaye doli chadhaaye
naina chham chham neer bahaaye
baapu aaye doli chadhaaye
naina chham chham neer bahaaye
maa ko bhaari ??
ghar ko ??
nanhi bitiya byaah rachaaye
dulha chadh haathi par aaye
baaje dhol mridang
chhalakat ??


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 THIRTEEN years. This blog has over 16900 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.

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Total Number of movies covered=4587

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Active for more than 5000 days.

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