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

Archive for the ‘Rare song’ Category


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 4078 Post No. : 15216

“Chandu”(1958) was directed by Manju (Harold Lewis) for N R Productions, Bombay. The movie had Daljit, Meena, Shasikala, Pran, Gulab, Gope, Sunder, Om Prakash, Mehmood, Harun, Satish Batra etc.

The movie had six songs in it. One song has been covered in the past.

Here is the second song from “Chandu”(1958) to appear in the blog. This song is sung by Rafi and Geeta Dutt. Raja Mehdi Ali Khan is the lyricist. Music is composed by Bipin Baabul.

Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of the song.


Song-Gore gore gaalon pe kaala ye til (Chandu)(1958) Singers-Rafi, Geeta Dutt, Lyrics-Raja Mehdi Ali Khan, MD-Bipin Babul
Both

Lyrics

aa ha ha ha
gore gore gaalon pe kaala ye til
kaala til
haaye mera dil
gore gore gaalon pe kaala ye til
kaala til
haaye mera dil
ha ha ha
ha ha ha
ankhiyon mein pyaar kare
jhilmil jhilmil
jhilmil jhilmil
haaye mera dil

ek do teen chaar paanch chhe saat aath
ginta rahe
tere liye ho jiya tere liye
nau das gyaarah baarah terah chaudah
pandarah solha
ginti rahoon
tere liye o piya tere liye

hoy ginti na gino madam
aa mujhse mil
aa mujhse mil
haaye mera dil
ha ha
aa ha ha
ha ha ha
ankhiyon mein pyaar kare
jhilmil jhilmil
jhilmil jhilmil
haaye mera dil

taaron ki chhaanv mein tere liye
chanda ke sang sang jaaga karoon

raaton ko jungle mein tere liye
majnu main ban ke ho bhaaga karoon
kisne kiya hai mera jeena mushqil
maine
haan
maine kiya hai tera jeena mushqil
jeena mushqil

haaye mera dil
aa ha ha
aa ha ha
ankhiyon mein pyaar kare
jhilmil jhilmil
jhilmil jhilmil
haaye mera dil

dil ki tijori se daulat luta
mere liye ho billo mere liye
haan samjhe na waah haan
daulat ko sadkon pe doongi bichha
tere liye ho ballo tere liye

seene pe rakh mere sone ki sil
sone ki sil
haaye mera dil
aa ha ha
ha ha ha

ankhiyon mein pyaar kare
jhilmil jhilmil
jhilmil jhilmil
haaye mera dil

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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 : 4077 Post No. : 15215

“Baghdad Ka Chor”(1955) was Produced by Ram Kumar and directed by Shriram for Madan Chitra, Bombay. This “kaalpnik” (fantasy) movie had Chitra, Daljeet, Krishnakumari, Yashodhara Katju, Naaz, Amrit Rana, Ram Kumar, Sheikh etc in it.

The movie had eight songs in it. One song has been covered in the blog. These songs were penned by four lyricists.

Here is the second song from the movie to appear in the blog.

Only the lyricist’s name is mentioned in HFGK for this song. Details of singers are not given.

On listening to the song, it is clear that the song is sung by Asha Bhonsle.

Omar Khayyam Saharanpuri is the lyricist.

Music is composed by B N Bali.

Only audio of this rare song is available. I request our knowledgeable readers to throw light on the picturisation of this song.

I have not been able to get a few words right towars the end of the song. I request our readers with keener ears to help fill in the lanks/ suggest corrections as applicable.


Song-Le le ye dil tera (Baghdad Ka Chor)(1955) Singer-Asha Bhonsle, Lyrics-Omar Khayyam Saharanpuri, MD-B N Bali

Le le ye dil tera
le le ye dil tera
hey
dena dhokha bahut bura hai

mausam e bahaar hai
dil mein mere pyaar hai
ek baar keh zara
ke tumko mujh se pyaar hai
ho ho ho ho
Le le ye dil tera
le le ye dil tera
hey
dena dhokha bahut bura hai

nazar se jab nazar mili
kali mere dil ki khili
mastiyon mein kho gayi
ik nayi zindagi mili
nazar se jab nazar mili
kali mere dil ki khili
mastiyon mein kho gayi
ik nayi zindagi mili
he he he he
Le le ye dil tera
le le ye dil tera
hey
dena dhokha bahut bura hai

phool muskura diya
bhanwra no gunguna diya
shama jali parwaana mite
?? diya
aa ha ha ha ha
Le le ye dil tera
le le ye dil tera
hey
dena dhokha bahut bura hai
Le le ye dil tera
le le ye dil tera
hey
dena dhokha bahut bura hai

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 :

4064 Post No. : 15198 Movie Count :

4176

Today’s song is from an obscure, unknown, ‘Ç’ grade stunt film – Toofani Tirandaz-47. This film was made by Homi Wadia’s Basant Pictures, but, for a change, it was directed by Boman Shroff – who was a regular actor in Wadia’s stable, present in almost every film of Fearless Nadia, including today’s film. The cast of the film was Nadia, Prakash, Sayani Aatish, Boman Shroff, Sona Chatterjee, Mithu miyan, Krishnakant, Rajpoot(horse) and Austin ki Bachhi(a jalopy). The film had 8 songs, all written by Begum Aziz Minai ( her other film was Aabida-47 in which she wrote 3 songs). Music was composed by A.Karim.

Toofani Tirandaz-47 was a routine stunt film from Wadia, having more or less the same story and same actors. Despite this, the films of Fearless Nadia were extremely popular in a certain class of audience in India and in many Arab and Middle east Gulf countries, where there was a great demand for these films. After Partition, even in Pakistan, Wadia stunt films were popular and in demand. In 1948, when Wadia made the film “Shri Ram Bhakta Hanuman”-48, he exported even this film to Muslim countries after changing the Title as “Udta Bandar” ( उडता बंदर ) or The Flying Monkey, converting a Mythological film into an action film ! The film was equally popular there.For Nadia films, additionally, a lady bashing up goons and restoring justice, while at the same time having a love story with the Hero was so thrilling for the audience. They were so enamoured with Nadia, that they did not care, she did not look Indian or her Hindi diction was defective !

There was a difference between Wadia – Nadia stunt films and stunt films made by other film makers. The specialty was, in addition to the regular human star cast, these films were full of thrilling acts by Animals. In most Wadia films,the animals had a distinct role to play- of course without dialogues ! Ha Ha !!

As long as Wadia Movietone was united, there was a roll-call of trained animals like Horse, Dog, Cat, Tiger, Lion, Elephants etc etc. In some films there were Hyenas and pythons too. In addition,Machines also played specific roles, like a Car and a Motor Cycle. In one film, Nadia’s whistle used to make the Motorcycle come to her ! What was most noteworthy was that that all these Non-Human stars had their own names !

The set of actors and actresses working in stunt/Action films in C grade movies were a fixed lot. In a way they ‘specialised‘ in this sort of films. In almost all the stunt films of Nadia( she did few social films too), the fixed crew and cast included the Bilimoria brothers, John Cavas, Jal Khambata, Minoo the mystique(Minu Cooper), Sardar Mansoor, Boman Shroff, Sayani Atish etc. Not everyone was in every film, but they took turns in appearances.

From 1935 onwards stunt films ,including Nadia’s, had a Horse named “Punjab ka Beta”, a Dog named ‘Tiger’, and a motor car name ‘ Rolls Royce ki beti’.

After Wadia brothers split and Homi started his Basant pictures, Nadia joined him and another set of animals like, Rajpoot(Horse), Moti(Dog) and Austin ki bachhi(a motor car) were included. In addition there was a Motor Cycle called ‘Runnio’ as well.

Few years back, in one of my posts, I had written about the animals and Machines in Nadia films, but it was not a detailed information. I was very keen to know more about animals in films. Who trained them, how are they handled and whether the animals are not scared of the strangers and the Arc lights etc were my questions. I did not know how to get this information.

Then suddenly I remembered having read an article-PDF- by some Mala Doshi, on Memsaab’s Blog , some years ago. I tried but could not locate it. As usual the kind hearted Memsaab came to my rescue and she provided me the link to it. I read it completely. However this did not have answers to my questions, though it is also quite informative.

I contacted one of my friends in Pune and he told me that an article giving all this information was published in RASRANG-a Marathi film magazine, years ago. This was a poor clue, but I started searching for it without any result for a long time. My luck smiled on me one day, when I was reading a book RUPERI SMARANYATRA (memories of the silver screen) by Prof. Subhash Savarkar. That article , which I was searching so desperately was reprinted in this book !

The article is written by Mr. Vasant Bhalekar who also holds its copyright. This article must have been published in the late 60s or so. I thank Mr.Bhalekar for this information.

‘Punjab ka beta’ was trained by Agha Mehmood who was in the Film Industry since 1930 onwards supplying trained animals. The Horse was born in Ahmedabad, trained in Surat and worked in Bombay. He was very intelligent. His first film was ‘Ishq ki Laila’-a silent film. In 1935 Punjab ka Beta or PKB joined Wadia movietone. His original name was GAZI which was changed by JBH Wadia to PKB, when he first worked in “Hind kesari”-35

He was expert in running, trotting, falling, sleeping-like dead, jumping, walking on knees, standing on 2 legs etc. Nadia used him first time in ‘Lutaru Lalna’-38 and PKB was her horse till it died. In Diamond queen-40 PKB and Nadia jumped through wild raging fire. Both were burnt, but the shot came off fantastic.

In Jai Bharat-36, PKB carried Master Chhotu in his mouth for a distance and gave close ups too. In Flying Prince there was a shot when the Heroine chases a Train and jumps onto it. PKB was ridden by Hashim, son of Agha, in Heroine’s clothes and boarded the train, but both were a little hurt.

Punjab ka beta died soon after working in Hind ka laal-40. Agha trained another horse Rajpoot just like PKB.

Rajpoot gave a deadly shot in Baabuji-50, where he had to climb and come down stairs of a 30 feet set. Agha first took the horse around the sets and up and down 4-5 times. The horse got the idea of the shot and he gave it superbly, though this shot was very life threatening.

Rajpoot also acted in Darvesh-49 and Cobra Girl-63 in which he had to do some back kicking (like an ass). Actually back kicking is the first thing all trainers make the horse to forget before horse’s training starts. Now Rajpoot had to be taught what he was made to forget. For this Agha used to rap his hind legs and make a sound on the Tin sheet kept behind him. After 2-3 days the horse understood what is to be done and started back kicking.

In film Zabak – 61, the horse was supposed to smile and wink at the Hero. Agha knew that when a Foal (colt or filly- young horse) is brought before a Horse it starts making a laughing face and sounds. Hence be brought a colt and took the shots of Rajput smiling. Then for winking, they used water used after washing crackers. When horse’s eyes are washed with this water, horse winks for one hour ! Thus this shot was also taken.

Agha also trained horse Moti and elephant Ramchandra for film NAVRANG-59. They both were trained to do dancing steps for a month. Sandhya danced with these animals and it has come out wonderfully.

We see many animals ‘acting’ in the films, but we hardly know how much effort of the Trainers has gone behind that. Besides taking care of the animals, the trainers have to tolerate the ‘moods’ of the animals also.

With the the stunt films in “C” grade dwindling, animals which are used nowadays in films are only the pet animals, like Dogs, cats, Birds etc. The use of wild animals like Tigers, Lion, Elephants etc is no more required in the films. Horses are used sometimes.

Jimmy Bharucha, one of the best Horse Trainers in India, had himself been trained in foreign countries. He had opened a Horse Training School in Poona. Yesteryear actor SHYAM was one of his earliest students. For all his films, Shyam used the same horse from Bharucha. Actor Shyam had died while doing a stunt for film Shabistan-51.

Whenever he talked about Shyam, Bharucha got emotional. The truth about Shyam’s death….

That fateful day, Shyam was in a very cheerful mood. He joked with other artists as usual. The film was SHABISTAN. He had to do a stunt scene on a horse. His double was kept ready. However Shyam insisted on doing that dangerous shot himself that day. The scene started and was also completed successfully. There was a round of applauding claps.

Shyam was getting down from the horse and suddenly,the horse started running. Shyam’s foot got stuck in the stirr-up and he was dragged some distance before people ran and stopped the horse. Shyam was unconscious. He was immediately taken to the hospital, but he died-with his make up and costume still on him !( another actor who died on the sets was comedian actor Gope. He finished his shot. His last dialogue was ” Main upar jaa raha hoon”, and he collapsed with a massive heart attack which took his life instantly.)

Bharucha had supplied horses to films like Aan, Anarkali and Mughal e Azam etc. He had supplied Dogs for films like Love in Simla, Hum Hindustani etc. Once when the Producer was not paying in time he stopped the animal’s work. They were paid immediately because the animal’s shots were half done till that time.

Bharucha had trained one beautiful white Horse to dance to the tune of Waltz and Cha Cha. The horse was in great demand by Taj Mahal Hotel to entertain Foreign guests !

So much about the Animals in films. There is much more information , may be some other time. I was also keen to know more about the actors of Wadia films, but it was like searching a needle in a hay stack. One thing – they were seen only in C grade stunt films and hence the so called “Gentleman” magazines and papers etc. paid no heed to them and secondly – they ended their careers in the late 40s or early 50s, as the C grade stunt film Genre died its natural death. When no source works on my own, I turn to one sure point, i.e. Harish Raghuwanshi ji. Though he is not keeping too well these days, he is always prompt in responding and providing help, whenever available.With his help, I got some – only some – information on 2 of the major actors of Wadia – Nadia movies.

Sayani Aatish – his real name was Sayani Abdul Hamid Ahmed. He was born in Bombay. He had a ancestral Timber business, but his intense desire to work in films brought him to this profession in 1925. He started working in Silent stunt films as a villain.By the time Talkie films came, he had perfected his style. He joined Wadia Movietone. His first Talkie film was “Laal-E-Yaman”-33. After this he did 18 films.His last film was Mere Sajan-41. He was considered an outstanding villain of films.He was a writer and composer too.

Boman Shroff was born in Kalyan-Bombay. He joined films in 1922. After doing many silent films, he joined Wadia Movietone. His first Talkie film was “Laal E Yaman-33”. He was known as a Dare Devil stuntman and master of make up. His role was usually of a comedian. His best performance was in Toofani tarzan-37. He worked in 17 films. His last film as an actor was Stunt King-44. Boman Shroff also directed two films. One, today’s film Toofani tirandaz-47 and Sher Dil-54.

Whenever I write on any Fearless Nadia film, I always remember my meeting with her in the early 80s in Bombay. I only regret that I did not take a Photograph with her. If only Mobile Phones were in vogue in those times…….

(Thanks to Harish Raghuwanshi ji, Vasant Bhalekar, Subhash Savarkar, Greta Memsaab, Film Directory-1938 and my notes for information used herein.)


Song – Hum Bharat ki santaan (Toofaani Teerandaaz)(1947) Singers-Unknown Female voice, Unknown male voice, Lyrics – Begum Aziz Minai, MD- A Kareem
Female Chorus
Male chorus

Lyrics

Hum Bharat ki santaan
Hum Bharat ki santaan
aise chamke teer hamaare
jyon Arjun ke baan
aise chamke teer hamaare
jyon Arjun ke baan
jyon Arjun ke baan
Hum Bharat ki santaan
Hum Bharat ki santaan

jaagi hai Bharat ki naari
dekhegi ab duniya saari
jaagi hai Bharat ki naari
dekhegi ab duniya saari
karegi ab ye desh ki sewa
de kar jeewan daan
karegi ab ye desh ki sewa
de kar jeewan daan
de kar jeewan daan

Hum Bharat ki santaan
Hum Bharat ki santaan

ran mein nikle taan ke seena
paap hai kaayar ban ke jeena
ran mein nikle taan ke seena
paap hai kaayar ban ke jeena
himmat ho to ho jaati hai
har mushqil aasaan
himmat ho to ho jaati hai
har mushqil aasaan

har mushqil aasaan
Hum Bharat ki santaan
Hum Bharat ki santaan
aise chamke teer hamare
jyon Arjun ke baan
jyon Arjun ke baan

hum Bharat ki aankh ke taare
le kar ghoda saath hamaare
hum Bharat ki aankh ke taare
le kar ghoda saath hamaare
hum toofaani teer chalaayen
hum bhi hain balwaan
hum toofaani teer chalaayen
hum bhi hain balwaan
hum bhi hain balwaan

toofaanon se kyun ghabraayen
apni naiyya aap chalaayen
toofaanon se kyun ghabraayen
apni naiyya aap chalaayen
jiske seene mein shakti hai
uska hai Bhagwaan
jiske seene mein shakti hai
uska hai Bhagwaan

uska hai Bhagwaan
hum Bharat ki santaan
hum Bharat ki santaan
aise chamke teer hamaare
jyon Arjun ke baan
aise chamke teer hamaare
jyon Arjun ke baan
jyon Arjun ke baan


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 :

4061 Post No. : 15194 Movie Count :

4174

Today’s song is from film Abla-41.This highly obscure film was directed by actor Director R.N.Vaidya (9 silent and 16 Talkie films as a director). The film was made under the banner of Bharat Photophones Ltd. Bombay. The music was composed by one Khurshid khan. This seems to be the only film for which he composed music. All the 6 songs were written by Pt. Gyan Chandra, who wrote mainly for Wadia films and other C grade action films. The cast of film Abla-41 was Heeralal,Shyam Narayan,Dar Kashmiri, Akbar khan, Ghulam Mohd., Sunder, Raja Babu, Chandrika, Suryakumari, Dev kumari, Sheela, Guljar etc.etc.

Funny cast this ! There is a Suryakumari and a Chandrika and there is a Dev Kumari also!There is a Raja, Akbar and Ghulam also ! And there is a Sunder and Guljar also !! What a collection !! Apart from the humour, names of Surya kumari, Chandrika, Dev kumari and Shyam Narayan are names which I have heard first time.

About Dar Kashmiri.Most sites and Blogs list Dar kashmiri as another initial name for actor Jeevan. Even Surjit Singh ji, in his short articles on years from 1931 to 1947, on his site, claims that Jeevan was called Dar Kashmiri in his initial career (see article on 1934 on his site). The reality, however, is different. Dar Kashmiri was a Pseudo-name used for Om Prakash Dar- a Kashmiri actor, who was the elder brother of actor Jeevan and who came to work in Hindi films much earlier than Jeevan had.

Om Prakash Dar was born into a large family, he had 23 siblings. His grandfather was the Governor of Gilgit in Gilgit-Baltistan. He lost his father when the youngest- Jeevan- was 3 years old and his mother died at childbirth. Being the eldest,he came to Bombay in search of jobs and entered films. Instead of his original long name,he was called Dar Kashmiri.

Actually, When Jeevan came to Bombay in search of film roles, Om Prakash Dar aka Dar kashmiri, his elder brother, was already working in films. Jeevan appeared first time in Fashionable India-35. Since his name was Onkar Nath, he was billed as O.K.Dar (and not Dar kashmiri-please note).
His elder brother Dar Kashmiri worked in films like –
Noor Mahal-34, Watan parast-34, yaad rahe-40, Abla-41, Saugandh-42, Angoori-43, Naya Tarana-43, Room No.9-46, Hua savera-48, Kundan-55 and Ayodhyapati-56. and many other films. Every film, he was billed as Dar kashmiri only.
Jeevan was billed as O.K.Dar (Jeevan) from film Romantic India-36 onwards
and then on as Jeevan only-except still a few films where he was billed as O.K.Dar(Jeevan).
In film Patit pawan-1955, both brothers acted and they were individually billed as Jeewan and Dar Kashmiri. This settles their name issue decisively. Most of this information comes from Filmdom-The All India Film Directory and Who’s who in Indian Film Industry-1946.

The curse of ” Same Name Confusion” is cast on the film industry from its early era (The first heroine Zubeida – Alam Ara-31, had a same name actress later on in the 40s). The name Ghulam Mohammed was the only one in 1932, but later on two more Ghulam Mohammeds came on the scene for the same period. One of them was the well known Music Director and the third one was a small time singer in the 50s and the 60s. Initially, very little information was available on actor Ghulam Mohammed. Now,more information is available and hence his information is more uptodate- with dates of Birth and Death etc. Here is the latest note on Ghulam Mohammed-the actor…

Ghulam Mohammad was born on 19-3- 1905 in Lahore and died on March 10, 1961. He appeared in more than 500 stage dramas and was, during the WW1, in Baghdad, Iraq. He was best known as Chacha (Uncle) in film circles.

Ghulam Mohammad was a super star villain actor in the pre-partition films. He was a popular stage actor in the 1920s and appeared in movies mostly as villain actor in the 1930s/40s. His first big film was Madhuri in 1932 which was directed by R.S. Choudhary. He was in Villain’s role with actress Salochana who was a Jewish artist and the first ever super star film heroine in the sub-continent. It was one of many famous productions by the leading Bombay based film company Imperial Film Co. and Ghulam Mohammad was an automatic choice for them. He was called Prince of Imperial Film Company and he was the first ever Muslim actor to bye a luxury car in the 1930s.

Ghulam Mohammad was an all round actor and appeared as hero, villain and supporting actor in 65 movies in the 1930s-40s. In ‘Daku ki Ladki’-33 he was in the role of the Daku. With this film he became popular. By 1942,he was called by Dalsukh Pancholi,to Lahore. He did ‘Khandan’,’ Zamindar’, and Shirin Farhad’ during 1942 to 1945. Shirin Farhad was a big flop. He came back to Bombay. He did about 25 films here. Some of his films were Ek din ka Sultan,Sanyasi,Behram Khan,Humjoli, Raajputani, Chhin le Azaadi, Jugnu, Lakhon mein ek, Heer Ranjha, Pardesi Mehmaan, Vidya etc.

He played the main villain role in the first ever colored film Kissan Kanya in 1937. He was in main role with Noorjahan in Lahore based Punjabi film Chowdhary in 1941 and also in her first Hindi/Urdu film as heroine, Khandan in 1942, which was made in Lahore as well. He was also in the last big film before partition Jugnu (with Noorjahan and Dilip Kumar and Sulochana).

Around 1949,he migrated to Pakistan and did 69 films there (41 urdu and 28 Punjabi films) and finally died in poverty and anonymity.

( Adapted from http://www.pakmag and vo bhuli dastan by Subhash Jadhav)

For a long time,I was searching for information on comedian Sunder. I got hold of a 2 page detailed article on Sunder, but it was in Punjabi- which I could not read or use. I found a small paragraph on Sunder in Sanjit Narvekar ji’s book ” Eena Meena Deeka”. Lastly, I requested Harish Raghuwanshi ji for help. Despite his failing health, he promptly sent me articles in Hindi, English and Gujarati, on Sunder. He is such a helpful person. May God give him a healthy life.

Sunder Singh aka Sunder was born in Sialkot, Punjab in August 1916. His father was working in Madon Theatres, Calcutta. Sunder also started working there. Initially, for long period,he did Girl’s roles. Once his work was seen by H.S.Rawail (Director in later life). He was quite impressed. Later Rawail started working with R.N.Vaidya as his assistant in direction.Meanwhile Sunder started working in Talkie films. His first film,where he was credited was ” Na honewali baat”-38. Before that, Rawail and Vaidya were preparing to make film Banke Sipahi-37.Rawail recommended Sunder and Vaidya gave him an uncredited small role in that film.

Sunder and Rawail became good friends and started staying in one flat in Calcutta. After few films here, they both went to Lahore and Sunder got the Hero’s role in film ” Shukriya”-44. There were 4 Heroines in the film- Ramola, Rooplekha, Manorama and Raksha. Sunder’s role in this film was that of a young man from a village and Ramola was from a City. Sunder’s one song from this film-‘ Nayanon ke teer chala gayee ek shehar ki laundiya’ became very popular allover India, However the song was banned in Punjab due to its lyrics. After this they both came back to Calcutta.

His next film was Albeli-45, in which too there were 4 Heroines- Ramola, Rooplekha, Manoram and Usha. In the 40’s , Sunder acted in many films like Arabian Nights, Baap, Shabri, Chandrashekhar, Ek aurat, Grihalaxmi, Lottery, Samapti, Jhoothi kasme, Savyasachi, Do baaten, Shadi ke baad, Bawra, Khiladi, Nai Bhabhi etc. In Calcutta, Sunder got married to a girl from his community. Rawail left for Bombay. After few months, Sunder also returned to Bombay.

Rawail was very happy to get him back and gave him roles in almost all of his films. Not only Rawail, but also J.Om Prakash, Mohan Kumar, Lekhraj Bhakri, Manoj kumar etc gave him roles in their all films and he became a busy actor. He was at one time, in great demand. He was quite popular due to his nature.In the decade of 50’s he did 88 films, which increased in the 60s and 70s. In the 80s however films came haltingly.

From singing Hero, he became a Junior artiste( extra), in presence of the new crop of actors. The role of comedians was on decline, as Heroes like Amitabh and others did comedy scenes themselves. His health started troubling him. His last film was probably Bahurani-89. He became ill for a long time and finally died on 5-3-1992. Sunder acted in 436 films He was a good singer and sang his own songs in early cinemas. In all, Sunder sang 40 songs in 25 films. ( Thanks to Harish Raghuwanshi ji for material for adaptation.)

I do not know, what the film Abla-41 was about and what its story was. I could not find anything about this film in any issues of Film India of that period. Only 2 songs of the total 6 songs in the film are available on You Tube. From the HFGK, it is known that the film’s singers were Ram Dulari, Binapani, Bhawani and Akbar Khan Durrani Peshawari- who had worked in the film also. Today’s song is sung by Akbar Khan and Chorus. With this song, film Abla-41 makes its Debut on the Blog.


Song-Bharat ki vidhwa dukhiyaari (Abla)(1941) Singer- Akbar Khan Durrani Peshawari, Lyricist- Pt. Gyan Chandra, MD- Khurshid Khan
Chorus
Unknown female voice 1
Unknown female voice 2

Lyrics

Bharat ki vidhva dukhiyaari
Bharat ki vidhava
Bharat ki vidhava dukhiyaari
Bharat ki vidhva

bin maalik ke kheti jaaye
bin maalik ke kheti jaaye
chor uchakka najar lagaaye
chor uchakka najar lagaaye
laage aag bhasam ho jaaye
laage aag bhasam ho jaaye
sookhe jeewan ki phulwaari
Bharat ki vidhva dukhiyaari
Bharat ki vidhva

?? jewar
?? saare
?? jewar
?? saare

har deewaali gaye intzaari
har deewaali gaye intzaari

mata pita bhi thokar maaren
mata pita bhi thokar maaren
bipad padi dukhiya pe bhaari

Bharat ki vidhava dukhiyari
Bharat ki vidhava

jaago jaago hosh mein aao
ghar mein laagi aag bujhaao
jaago jaago hosh mein aao
ghar mein laagi aag bujhaao
vidhwaaon ke kasht mitaao
vidhwaaon ke kasht mitaao

?? dekh ki duniya bhaari
Bharat ki vidhva dukhiyaari
Bharat ki vidhva


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.

Blog Day : 4057 Post No. : 15189

Mukesh and his co-singers – 5
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We remember Mukesh on his remembrance day today (22 July 1923 – 27 August 1976).

Needless to say, the post had to be special. But, when a singer has almost 80% of songs considered as hits and most of these songs already represented on the blog, what can be more special. Well, a few hitherto songs of Mukesh continue to be discovered with a great deal of exhilaration to his fans and old hfm lovers in general. I assume that the present song will make this post special.

It is well known that Mukesh has nil to very few duets with singers like Noorjahan, Amirbai Karnataki, Jagit Kaur, Khursheed, Parul Ghosh etc. With singers like Hamida Banu, Suraiya, Rajkumari, Surinder Kaur, Sitara Kanpuri etc, the numbers are again quite few. He does have sizable numbers with Lata, Asha, Suman Kalayanpur, Geeta Dutt etc.

A very interesting companion in singing in this discussion will be off course the versatile Shamshad Begum. I had almost taken it for granted that all songs of hers with Mukesh have been covered on the blog. But then one thing led to another and resulted in this post of which I am extremely happy. Not one but two duets have been discovered in the last few weeks. Before I proceed with revealing the songs, it is pertinent to mention the traceability aspects of these duets.

We go back to Sadanand ji posting the Mukesh number for MGR in the comments section. I decided to take up Dhaniram’s collaboration with Mukesh and as usual sent the query to Shri Harish Raghuvanshi ji (of Surat) enquiring if it was the sole song under the composer.

Harish ji did confirm the singularity of the case, but added a priceless info that there is a duet in Shole (1953) in which Mukesh has a duet with Shamshad Begum. He further stated that very few music lovers are aware of this duet. The context being Dhaniram being the other composer apart from Naresh Bhattacharya to have scored music for the film. When I searched for this duet on the internet, I came across a Hemant Kumar solo and his duet with Shamshad Begum. Not losing hope, I was lucky enough to find the full movie on youtube. I first decided to go through the credit titles if I could trace Mukesh.

The film titles are shown on a railway track with very poor background and the moving train literally pushing the titles out of the screen. With great difficulty, I saw all the titles and there appears no mention of any of the playback singers in the film. Here, I would seek more knowledgeable reader’s kind explanation as to why many of the old films never bothered to credit playback singers in the titles. I suppose this trend continued even in the sixties for quite a few films.

The print of the film is extremely poor in both voice and picturization. The saving grace being something is available to run through. In spite the bad print and poor audio what stands out is the impeccable grace and beauty of Bina Rai and the ever energetic and melodious voice of Shamshad Begum. Coming back to the bad print of the film Shole (1953), I decided to run the film arbitrarily at short intervals. Then for one of the duets with a rather long prelude, I could hear sound bites very familiar to me. Yes, it is undoubtedly Mukesh.

I was so excited that I noted the time at which this duet starts and closed the film. I went to the other room in my house where my wife was busy with our daughter in her studies. They had a cursory look at my face and instantly both asked what I was so delighted about. I told them about the discovery and they again became engrossed with the studies knowing very well that this guy has no better work to do. My daughter likes a few songs of Raj Kapoor sung by Mukesh and wife likes a few of his duets and solos, but they are never into these statistics and other aspects of old hfm songs as I am. Anyways, I was back to the same link and juncture and again savored what I was listening for the very first time; an unheard duet of Mukesh. Only the first couple of lines of the mukhda are sung by Mukesh and then Shamshad Begum takes over for the rest of the duet. Its an extremely melodious duet to listen.

Now coming to another strange feature, I found four different versions of this song. The below table is self-explanatory and I have provided links for each of the versions.

Version Singers YouTube link
Film Soundtrack Mukesh, Shamshad Begum https://youtu.be/G8gkPL4qc8o
Hemant Kumar https://youtu.be/mmoh60LfIsc
78 rpm record Hemant Kumar https://youtu.be/OuvVFrcTYuU
Hemant Kumar, Shamshad Begum https://youtu.be/zlzgIDgky7g
Full movie SHOLE (1953) https://youtu.be/W6ubiNUgZuQ

Now, if the film had Mukesh and the 78 rpm version songs had Hemant Kumar, it would have been quite understandable. But, Hemant Kumar having sung the film version of the solo makes the case quite intriguing. Did Mukesh walk out of the film after singing the duet? We may never know. What we do know is that during this period he was working in various departments such as acting, composing, producing etc. and these experiments costing him dearly in terms of getting offers to give playback arguably for the rest of his singing career.

Also, during late forties and early fifties, the void created by the passing away of KL Saigal in early 1947 was yet to be filled. Good friends Mukesh and Talat Mahmood were vying to fill the gap and they both failed. One can now say with much conviction that the void created by KL Saigal will remain till the end of days.

Coming back to the versions, both the film soundtracks have poor audio and the 78 rpm ones have better audio quality. For some reason, I personally feel the duet of the film soundtrack is the best amongst the four if a better copy is available to listen. The momentary pause that Shamshad Begum has in the film soundtrack is more appealing than in the version song. Now one may ask, pause is a pause and how it can be differentiated. Well, crazy music lovers have additional senses to assimilate such nuances in music. Long live such craziness. 🙂

Now we come to the important discussion on the combo of Shamshad Begum and Mukesh. Forget writing in detail about their association, the very mention of the two names together excites me to no end.  Mukesh and Shamshad Begum, two different styles, but when it came to duets the styles glued to form some glorious duets in the annals of HFM. At many places on the net it is mentioned that the singers have altogether 22-24 duets. I am happy to list 29 and here is the carcanet of the jewels.

A cursory glace at the table reveals that they have actively sung most of their 29 duets during a period of only for 4 years of their career. This aspect has much to be pondered about.

S. No Name of song Movie (year) Music Director Lyricist
1 kya jaadu hai tere paas piyaa Chehra (1946) M A Mukhtar I C Kapoor
2 O dil ko hasaane wale Shatranj (1946) Madhav Lal and Baldev Nayak G S Madhup
3 lut gayi laajo beech Chheen Le Aazaadi (1947) Hansraj Behl Pt Indra Chandra
4 Moti chugne gayi re hansi Chheen Le Aazaadi (1947) Hansraj Behl Pt Indra Chandra
5 aagre se odhni manga de Laakhon Mein Ek (1947) Hansraj Behl Pt Indra Chandra
6 raat ko ji haay raat ko ji  Aag (1948) Ram Ganguly Majrooh Sultanpuri
7 kaise bataaun unse Anjuman (1948) Bulo C Rani Majrooh Sultanpuri
8 kabhi dil dil se takraataa  Anokhi Ada (1948) Naushad Shakeel Badayuni
9 Bhool gaye kyun deke Anokhi Ada (1948) Naushad Shakeel Badayuni
10 Tere naaz uthhane ko jee Grihasthhi (1948) Ghulam Mohammad Shakeel Badayuni
11 aayi saawan ritu aayi Mela (1948) Naushad Shakeel Badayuni
12 dharti ko aakaash pukaare Mela (1948) Naushad Shakeel Badayuni
13 main bhanwara tu hai phool Mela (1948) Naushad Shakeel Badayuni
14 mera dil todne waale Mela (1948) Naushad Shakeel Badayuni
15 O janewale humko bhool na O Jaanewaale (1948) Ali Hussain Moradabadi
16 sajanwaa prem kahaani O Jaanewaale (1948) Ali Hussain Moradabadi
17 ho badi zulmi tamanna hai Dada (1949) Naashad Majrooh Sultanpuri
18 pyaar mein tumne dhokhaa Shabnam (1949) S D Burman Qamar Jalalabadi
19 tu mahal mein rehni waali Shabnam (1949) S D Burman Qamar Jalalabadi
20 tumhaare liye huye badnaam Shabnam (1949) S D Burman Qamar Jalalabadi
21 maine dekhi jag ki reet (Happy and Sad versions) Sunhere Din (1949) Gyan Dutt D N Madhok
22 hamse nain milaana BA paas Aankhen (1950) Madan Mohan Raja Mehdi Ali Khan
23 Jaao sidhaaro hey raadha Aarzoo (1950) Anil Biswas Majrooh Sultanpuri
24 ho kaale kaale baadal Apni Chhaaya (1950) Hanuman Prasad P L Santoshi
25 kehne waale kehte hain Bijli (1950) Khemchand Prakash Bharat Vyas
26 hato hato ji aati hain ham Dilruba (1950) Gyan Dutt S H Bihari
27 mohabbat karne waalon se Hanste Aansoo (1950) Ghulam Mohammad Shewan Rizvi
28 duniya ne chede kahaniyaan Ek Thha Raja (1951) C R Subbaraman Pt Sudarshan
29 Aye dil tu kahin le chal (multiple versions)

 

Shole (1953)

 

Naresh Bhattacharya

 

Kamil Rashid

Before I proceed to write on the above duets please note that song no 23 has SD Batish, 26 has Geeta Roy, Pramodini Desai and 27 has Rafi saab singing along with Mukesh and Shamshad Begum in the respective songs.

It would not be an exaggeration to state that Mukesh and Shamshad were pioneers in playback singing. I know it is more often used for Shamshad’s career, but let us not forget that Mukesh too started giving playback as early as 1944 with ‘Uss Paar’. Why ‘Uss Paar’ and not ‘Moorti’ or ‘Pheli Nazar’? Well, that could take another detailed post. 🙂

In the above list song number 1, 3, 4 and 5 are regular features on Radio Ceylon and are played to this day. 6 was of course the directorial debut of Raj Kapoor, with Ram Ganguly’s haunting scores – the songs of the film remain popular to this day. The next film of RK, as we are well aware, had a change in composers. Shamshad Begum had a cabaret solo in ‘Awara’ and a couple of not so popular songs for SJ thereafter.

10 by one of my favourite composers Ghulam Mohammed is a rare treat to hear. I only wish Mukesh has sung more songs for him.

8, 9 and 11 to 14 need no description and arguably are the best-known duets of the combo; the magician of these two films being none other than the great Naushad.

‘Shabnam’ under SD Burman had 3 duets of the combo with Mukesh giving playback for thespian Dilip Kumar. Needless to say, the songs of this film were a huge rage during those days.

21 under Gyan Dutt is an absolute masterpiece. The debut movie of Madan Mohan had the combo singing a comical duet at 22.

The other songs may not be very well known, but as I have said earlier it is the combination of the singers that make the duets lively and a pleasure to listen.

Quite a few of these duets have been covered by our Sudhir ji in his series on Mukesh wherein he covered the rare and difficult to trace songs at the beginning of Mukesh’s career. Again, as I have written earlier, in spite of the best efforts of Sudhir ji having covered all the songs of Mukesh till 1950, welcome discoveries continue to be uncovered and 2 is such an example. Sudhir ji has shared the audio with me and it will be posted on the blog in the very near future. 🙂

29 and probably the last duet of the combo is covered in this post and I have already written about the many facets of this song. In fact Sudhir ji has sent queries and sought clarifications from his collector friends to understand the existence of the multiple versions of this song in the film.

‘Shole’ (1953) was directed by BR Chopra for Hira Films. The movie had Ashok Kumar, Bina Rai, Purnima, Jeevan, Mohana, Manmohan Krishna, Mirza Musharaf, Romi, Naaz, Uma Dutt etc in it. The movie had two music directors viz Dhaniram and Naresh Bhattacharya. The present song is composed by the latter. The lyrics of this multiple version song are credited to Kamil Rashid.

The lyrics of the Hemant Kumar solo version are slightly different in the 78 rpm vs the soundtrack versions, but giving due credit to Hamant Da, I herewith, for obvious reasons, present the lyrics of only the film soundtrack version of Mukesh and Shamshad Begum

I thank Harish ji for all the help rendered in making this elusive duet of Mukesh appear on the blog. I also thank Sudhir ji and Atul ji for giving me yet another opportunity to present this post.

Lastly, on his remembrance day, I pay humble tributes to Mukesh whose mellifluous voice continues to regale listeners the world over.

Song – Ae Dil Tu Kahin Le Chal  (Shole) (1953) Singer – Mukesh, Shamshad Begum, Lyrics – Kaamil Rashid, MD – Naresh Bhattacharya

Lyrics

ae dil
ae dil
tu kahin
le chal
le chal

ae dil tu kahin le chal
le chal
le chal

ae dil tu kahin le chal
le chal
le chal

aa aa aa aa

ye door ki manzil se mujhe
kis ne pukara hai
bhatke hue raahi ko
yeh kis ka ishaara hai
aashaon ke sagar ka
shayaad wo kinara hai
aashaon ke sagar ka
shayaad wo kinara hae
ae dil wahin le chal
wahin le chal
wahin le chal

ae dil tu kahin le chal
tu kahin le chal
kahin le chal
kahin le chal

jahaan ishq ke hothon par
fariyaad na ho koi
majboor na ho koi
naashad na ho koi
taqdeer ki thokar se
barbaad na ho koi
barbaad na ho koi
ae dil wahin le chal
wahin le chal
wahin le chal

ae dil tu kahin le chal
tu kahin le chal
kahin le chal
kahin le chal

do dil jo judaa kar de
wo raat na aati ho
hothon pe shikaayat ki
koi baat na aati ho
jahaan gham ki ghata le kar
barsaat na aati ho
barsaat na aati ho
ae dil wahin le chal
wahin le chal
wahin le chal

ae dil tu kahin le chal
tu kahin le chal
kahin le chal
kahin le chal

le chal
le chal
le chal
le chal
le chal

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

ए दिल
ए दिल
तू कहीं
ले चल
ले चल

ए दिल तू कहीं ले चल
ले चल
ले चल

ए दिल तू कहीं ले चल
ले चल
ले चल

आ आ आ आ

ये दूर की मंज़िल से मुझे
किसने पुकारा है’
भटके हुये राही को
ये किसका इशारा है
आशाओं के सागर का
शायद वो किनारा है
आशाओं के सागर का
शायद वो किनारा है
ए दिल वहीं ले चल
वहीं ले चल
वहीं ले चल

ए दिल तू कहीं ले चल
तू कहीं ले चल
कहीं ले चल
कहीं ले चल

जहां इश्क़ के होठों पर
फरियाद ना हो कोई
मजबूर ना हो कोई
नाशाद ना हो कोई
तक़दीर की ठोकर से
बर्बाद ना हो कोई
बर्बाद ना हो कोई
ए दिल वहीं ले चल
वहीं ले चल
वहीं ले चल

ए दिल तू कहीं ले चल
तू कहीं ले चल
कहीं ले चल
कहीं ले चल

दो दिल को जुदा कर दे
वो रात ना आती हो
होठों पे शिकायत की
कोई बात ना आती हो
जहां ग़म की घटा ले कर
बरसात ना आती हो
बरसात ना आती हो
ए दिल वहीं ले चल
वहीं ले चल
वहीं ले चल

ए दिल तू कहीं ले चल
तू कहीं ले चल
कहीं ले चल
कहीं ले चल

ले चल
ले चल
ले चल
ले चल
ले चल


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 : 4055 Post No. : 15187

Today’s song is from film Insaaf-1946. This was a social film, directed by Phani Mujumdar and the music was by Hari Prasanna Das aka H P Das. The lyrics came from the veteran, successful lyricist D N Madhok. This film is a special one, because this was the Debut film for Balraj Sahni, after he decided to join films.

Balraj Sahni has a very high place in my list of Original actors, the others being Ashok Kumar, Motilal, Om Puri, Sanjeev Kumar, Amol Palekar, Anupam Kher, Satish Shah and few more. Indian film industry had very few ‘ Natural’ actors and most of them operated from the 30s to the 70s. As I am not well acquainted with the Newer generation actors, I can not speak about them,but I am sure there must be few such Natural actors. I guess Ranbir Kapoor is one actor , who I feel acts with ease.

Basically, it is wrong to compare old actors with the crop of New actors. Comparisons are always between ” Like with Like”. There is a sea of change in everything in film making. The parameters are changed because the needs are different today. It is grossly unfair to compare anything with the old ones.

Few years back, when I first wrote about Balraj Sahni, I had said that Balraj Sahni was a different type of person than all other film actors. It is surprising how he came into film line, in the first place. Basically he was a very sensitive writer and stage actor, but having once entered the film world, he continued for the sake of earning a livelihood, making lot of compromises on his journey of life. I still stand by what I had said. It is worthwhile to even repeat it.

In the days,when not many educated people came into films, Balraj-a double MA in English and Hindi joined the films. In the conventional way he was not a handsome person,but his superior acting prowess compensated for this. In an industry,which is a ‘show business’, he was never counted amongst the Top grade stars, though critics and learned viewers always found him excellent. You can never imagine a Raj kapoor or a Dev Anand in a film like Seema or Kabuliwala, nor can a Dilip kumar fit into ‘Do Bigha Zameen’. For such roles Balraj was matchless. After the film Do Bigha Zameen, he and Nirupa Roy became India’s most loved, poor and uneducated, good natured and simple couple for many subsequent films.

Due to this, Balraj never got any romantic or Glamorous roles. However, to earn his daily bread satisfactorily, he compromised and worked in several B grade movies, like Black Cat-59, opposite a Non actress Minu Mumtaz !

Yudhishthir Sahni aka Balraj Sahni was born in Rawalpindi, Punjab, British India (now Pakistan) on 1st May, 1913 in a Punjabi family. After completing his graduation in Bachelor of Arts (Hindi), and post graduation in Masters of Arts (English Literature), both from Punjab University; he got married to Dayamanti. It was in late 1930s that both husband and wife moved to Bengal to join Rabindra Nath Tagore’s Vishva Bharati University in Shantiniketan as English and Hindi teacher. It was about the same time that in 1936 Balraj wrote his first compilation of Hindi fiction called “Shahzaadon ka Drink”. It was also in Bengal that Balraj and Damayanti’s son, Parikshit was born. In 1938, Sahni went to work with Mahatma Gandhi for a year and the very next year went to England to join the British Broadcasting Network’s Hindi service as a radio announcer. In 1943, he returned to India.

It was in 1944 that Sahni moved to Bombay and joined the Indian People’s Theatre Association (IPTA), a group with which he also started his acting career, albeit through plays. In the same year, he bagged a role in the film “Insaf”, which marked the beginning of his acting career in Hindi film industry. “Dharti ke Lal” and “Door Chalein” were his next of releases in the same year. (In 1947, after doing Heroine’s role in film Gudiya-47, Damayanti expired. Two years later, Balraj married his first cousin Santosh Chandhok and they had 2 children.) It was, however, the film “Do Bigha Zameen” that established his strengths as an actor. The movie was directed by Bimal Roy and came out in 1953; it also won the international prize at the Cannes Film Festival. The film is now considered a classic.

In the years that followed, he played many leading roles in commercial films opposite actresses like Nargis, Meena Kumari, Vyjayanthimala, and Nutan in films “Lajwanti” (1958), “Ghar Sansar” (1958), “Satta Bazar” (1959), “Kathputli” (1957), and “Sone Ki Chidiya” (1958) respectively. These films further established his position as a versatile actor. In the 1961, film “Kabuliwala”, written by Tagore, went on to become another of his classic. To prepare for the role, Balraj lived with kabuliwalas in a Bombay suburb. His character roles with strong performances in films like “Haqeeqat” (1964), “Waqt” (1965), “Do Raaste” (1969), “Ek Phool Do Mali” (1969), and “Mere Humsafar” (1970) further left an indelible mark in the film fraternity and fans alike. The legendary song “Ae Meri Zohra Jabeen” from the film “Waqt”, picturized on Balraj Sahni and Achala Sachdev is still etched deep in peoples’ memories and is loved by the current generation as well. He acted in 3 films.

Along with successfully proving his acting prowess, he also displayed exceptional directing skills through the film Lal Batti (1957), where passengers are forced to spend a night together at the railway platform at the time of India’s independence. Balraj co-directed this movie along with Krishan Chopra. His performance in the film “Garm Hava” (1973) is considered to be the best, till date. Sadly, this was his last film before his death.

Sahni’s writing career begun with “Shahzaadon Ka Drink” that came out in 1936. This was his first compilation of Hindi fiction. He went on to become an esteemed writer in the Punjabi literature. He wrote “Mera Pakistani Safar” shortly after his visit to Pakistan in 1960. After a tour to Soviet Union in 1969, he wrote “Mera Rusi Safarnama”. This book also earned him the Soviet Land Nehru Award. He also wrote his autobiography called “Meri Filmy Aatmakatha”. Sahni even penned the screenplay for the 1951 released film “Baazi”; starring Dev Anand and directed by Guru Dutt. Apart from this, he wrote a number of poems, short stories, and contributed to the Punjabi magazine Preetlari.

Going through depression for some time after his young daughter Shabnam’s untimely death, Balraj Sahni passed away on 13th April, 1973 at the age of 59 following a cardiac arrest. He is survived by his son Parikshit, who is also an actor in the Hindi film industry.

Balraj Sahni received Padma Shri Award in 1969. Balraj Sahni earned the ‘Soviet Land Nehru Award for his book Mera Rusi Safarnama in 1969. Balraj Sahni starrer movie ‘Do Bigha Zameen’ won the international prize at the Cannes Film Festival in 1953. Balraj Sahni joined the BBC-London’s Hindi service as a radio announcer from 1939-43. ‘Punjabi Kala Kender’, founded in 1973 at Mumbai by Balraj Sahni, gives away the annual Balraj Sahni Award’. ‘All India Artists’ Association’ also gives away the annual ‘Balraj Sahni Award’.

The other day,I was reading the Autobiography of Balraj Sahni. His style of narration is very good. He does not miss even the smallest details.The part of his life when he entered the Hindi films is extremely readable.

When he was with BBC, London,once he was deputed to attend a seminar in Poona,India. He came down with his wife Damayanti and they stayed with a friend-Appasaheb Pant, the scion and Yuvraj of Aundh-a princely state in British India, in Maharashtra.( He later became the High Commissioner to Britain, post Independence). One evening they all went to see a Marathi film “Manoos'(Aadmi-39) of Prabhat, directed by V.Shantaram. After seeing the film,he was terribly impressed with Shantaram’s direction and was all praise for him.
When Balraj left BBC and returned to India,he was again in Poona. This time he went to see Shantaram, with prior appointment. When he reached the Gate, a person was waiting for him. he was taken to the reception room. That man left. In the room there was one more person with a Black cap-which was very common for Maharashtrians, those days. Balraj thought he too was another visitor like him After few minutes, that man asked in excellent English if he was Balraj Sahni. Balraj was astonished and nodded affirmatively. That man got up and said,’I am Shantaram. Nice to see you’. Later Shantaram took him around the studio etc.

Balraj returned to Bombay absolutely mesmerized with Shantaram. While in Bombay they were loitering, when they suddenly met Chetan Anand- his old friend. They were very happy to see each others. Chetan took them to his 4 bedroom spacious flat in Pali Hill,Bandra.They stayed with him for few days. Balraj had decided to work in films and was negotiating for his role in film Insaf, while Chetan was busy in his Neecha Nagar-46. One evening they went to see film ‘Shakuntala’, made by Shantaram. After seeing the film Balraj was very much upset and started criticising Shantaram that his standard has gone down, compared to Aadmi-39.

Chetan Anand smiled and said, “Shantaram has made a film for Box office.” Balraj did not understand. Chetan Anand explained, ” One can not go on making art films alone. To run the studio, you need money. Shantaram being a good businessman, he makes such films which earn him money. With this money he can make more meaningful films. For example after Shakuntala, Shantaram made Parbat pe apna Dera-44 and then his memorable film Dr. Kotnis ki amar kahani-46. This is how the maths of cinema works”. There are many such incidents described in his Autobiography which is highly readable,not only for his story but also for glimpse into the film scenario of the 40s and 50s.

Balraj had done 101 films. His first film was ‘Insaaf’-46 and the last film of Balraj, to be released well after his death was “Amaanat”-77.

The film Insaaf-46 was directed by Phani Mujumdar (28-12-1911 to 16-5-1994),who was already a seasoned Director. He is the only Director who directed films in 9 languages (Hindi, Bangla, English, Malay, Chinese, Magadhi, Maithili, Aasamese and Punjabi). Starting with P C Barua in Calcutta, besides Street singer-38 and Kapalkundala-39, he had directed several hit films like Baadbaan, Doctor, Tamanna, Door Chalen, Faraar, Aarti, Kanyadan, Akashdeep, Oonche Log etc., a total of 29 films. A short Biography and Obituary on him, written by the famous Film Historian and writer of “Encyclopedia of Indian Cinema”-Ashish Rajadhyaksha was published in The Independent,Calcutta, on 22-6-1994. I have reproduced it few months back in one of my earlier posts, so I am not repeating it here.

The Music Director of this film, Hari Prasanna Das or H.P.Das was born in Chitgaon, East Bengal, in 1905. He was a Bengali. He was assistant to Pankaj Malik in films Dushman and Kapal Kundala-1939. He gave music to Bangla film ‘ Nimai Sanyasi’-40, in which he gave singing opportunity to 20 year old young Hemant Kumar. His first Hindi film as a MD was New India Films’ Blood Feud (or Josh-E-Inteqam)- 1935. His other films were Mohabbat-43, Meena-44, Kadambari-44, Mazdoor-45, Begum-45, Insaaf-46, Veerangana-47, Sati Toral-47 and Hum bhi insaan hai-48. He died on 26-9-1989.

The film Insaaf aka Justice aka Nyay (न्याय)- 1946 had 8 songs – all penned by D.N.Madhok (5-9-1902 to 9-7-1982), who was an actor (Radheshyam-32), Music Director (Radheshyam-32), Singer (Radheshyam-32), and a Director (16 films,from 1933 to 1955). As a Lyricist, he wrote 882 songs in 119 films (1932 to 1969).

2 songs from this film are already discussed here. Today’s song will be the 3rd song. It is a chorus song. Looks like a Marching song or similar one. I do not know the story line of this film. From the lyrics of all the songs ( I have all the 8 songs of this film with me), I feel it is a film about the battle between “The Haves and The Have Nots”. No wonder, a man of Socialistic leanings, Balraj Sahni made his beginning from such a film ! There is 1 solo and 1 duet of Manna Dey in this film. These are his earliest songs in Hindi films. Manna Dey was a joint MD with H P Das in 3 films – Veerangana-47, Sati Toral-47 and Hum bhi Insaan hai-48.

Now let us listen to this chorus song.


Song- Chala chal chalaa chal uthaa ke kadam (Insaaf)(1946) Singers- Chorus, Lyricist- D N Madhok, MD-Hariprasanna Das

Lyrics

Chala chal chalaa chal
uthaa ke kadam
bhaaga jaaye jagat
rah na jaayen ham
Chala chal chalaa chal
uthaa ke kadam
bhaaga jaaye jagat
rah na jaayen ham
?? chal diya hai magar
?? hain nahin
aa aa aa
aa aa aa
?? chal diya hai magar
?? hai jahaan walwale nahin
aa aa aa
aa aa aa
?? hai jahaan walwale nahin
pyaara watan
aa aa aa
pyaara watan
pyaara watan
pyaara watan
pyara watan
le na kahin dam
Chala chal chalaa chal
uthaa ke kadam
bhaaga jaaye jagat
rah na jaayen ham

maate tujhse ??
ghutnon ke bal par chalte jo
maate tujhse ??
ghutnon ke bal par chalte jo
uthha kadam
uthha kadam
uthha kadam
aa aa aa
uthha kadam
aa aa aa
?? se nahin kam
Chala chal chalaa chal
uthaa ke kadam
bhaaga jaaye jagat
rah na jaayen ham
Chala chal chalaa chal
uthaa ke kadam
bhaaga jaaye jagat
rah na jaayen ham

maate tujhse ??
ghutnon ke bal par chalte jo
maate tujhse ??
ghutnon ke bal par chalte jo
uthha kadam
uthha kadam
uthha kadam
aa aa aa
uthha kadam
aa aa aa
uthha kadam
?? se nahin kam
Chala chal chalaa chal
uthaa ke kadam
bhaaga jaaye jagat
rah na jaayen ham
Chala chal chalaa chal
uthaa ke kadam
bhaaga jaaye jagat
rah na jaayen ham
aa aa aa
aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa aa


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 : 4052 Post No. : 15181

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

According to HFGK, the movie had at least eight songs in it, and perhaps more. One song from the movie has been covered in the psst.

Here is the second song from the movie. According to HFGK, it is sung by Prempal. Music is composed by Pt Lachchiram. Mr Deepak, a visitor of this blog and a record collector has mentioned Gulab, Prempal and Krishna Rane as the actors in this movie in a comment in YT. He also mentions Saarshaar Saliaani as the lyricist.

I thought that Prempal must be a male actor. But on listening to this song, it appears that Prempal was a lady. And going by the star cast mentioned by Mr Deepak, this song was picturised on Prempal herself.

I request our knowledgeable readers to throw light on the movie as well as on this singer, who makes her debut in the blog with this song.


Song-Bedard zamaana kya jaane kyun dard ke maare rote hain (Guru Dakshina)(1950) Singer-Prempal, Lyrics-Sarshar Sailaani, MD-Pt Lachchiram

Lyrics

bedard zamaana kya jaane
kyun dard ke maare rote hain
wo paas thhe lekin door huye
wo paas thhe lekin door huye
aashaaon ke darpan choor huye
ab hook jigar mein uthhti hai
aur nain humaare rote hain
bedard zamaana kya jaane
kyun dard ke maare rote hain

manjhdhaar khiwaiyya chhod gaya
jeevan ka sahaara tod gaya
jeevan ka sahaara tod gaya
ummeed ki naiya doob gayi
hum baithh kinaare rote hain
bedard zamaana kya jaane
kyun dard ke maare rote hain
bedard zamaana kya jaane
kyun dard ke maare rote hain


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 4042 Post No. : 15167

“Guru Ghantaal”(1956) was produced by R N Sharma and N K Kaushik and directed by S M Yusuf for V K pictures Bombay. The movie had Sheila Ramani, Motilal, Usha Kiran, Agha, Sundar, Mirza Musharraf, Paro, Sheikh, Kesri, Vijaybala, Ravikant, Jagdev etc in it.

The movie had nine songs in it. Five songs have been covered in the past.

Here is the sixth song from “Guru Ghantaal”(1956) to appear in the blog. The song is sung by Rafi and Asha Bhonsle. Khawar Zamaan is the lyricist. Music is composed by Pt Lachchiram.

Only the audio of this rare song is available. I request our knowledgeable readers to throw light on the picturisation of this song.
This is a superb “nok jhonk” duet which deserves to be better known among music lovers.


Song-Ham aapke hain hamse toh parda na keejiye (Guru Ghantaal)(1958) Singers- Rafi, Asha Bhonsle , Lyrics-Khawar Zamaan, MD-Pt Lachchiram
Both

Lyrics

ham aapke hain
humse toh parda naa keejiye
o o o o
aji parda naa keejiye
aji parda naa keejiye
ho
ho o o
ham rooth jaayenge
hamen chheda naa keejiye

arre waah
ho o o o
hamen chheda naa keejiye
aji chheda naa keejiye ae
ho o

ik baat meri gaur se sun leejiye huzoor
ik baat meri gaur se sun leejiye huzoor
farmaayiye farmaayiye
ho o o
farmaayiye farmaayiye
sun lenge ham zaroor
sun lenge ham zaroor

tirchhi nigaah se hamen dekha naa keejiye
dekha naa keejiye
ham aapke hain
haan
ham aapke hain
humse toh parda naa keejiye
ho o o o
aji chheda naa keejiye
humen chheda naa keejiye ae

ho o o

kya jhoothh-moothh baaten banaane se faayda
kya jhoothh-moothh baaten banane se faayda
baithhe bithhaaye hamko
ho o o
baithhe bithhaaye hamko sataane se faayda
sataane se faayda

yoon baat baat par aji roothha naa keejiye
roothha naa keejiye
ham aapke hain
haan
ham aapke hain
humse toh parda naa keejiye
ho o o o
humen chheda naa keejiye
aji chheda naa keejiye ae

ho o o

dar hai ke zamaana kahin majboor naa kar de
dar hai ke zamaana kahin majboor naa kar de
iss pyaar ki duniya se
o o o
iss pyaar ki duniya se kahin door naa kar de
kahin doon na kar de

inn chhoti-chhoti baaton ko socha naa keejiye
socha naa keejiye
ham aapke hain
ham aapke hain
humse toh parda naa keejiye
ho o o o
aji chheda naa keejiye
humen chheda naa keejiye ae

ho o o


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 :

4038 Post No. : 15162 Movie Count :

4165

Today’s song is from film Talwar ka Dhani-1938. It is a very rare song. The film was made by Vishnu Cinetone and the director was its owner Dhirubhai Desai, who became well known for C grade action / stunt and costume films, later on. The MD for this film was Kikubhai Yagnik. The lyricist was Pt. Gauri shankar lal ‘ Akhtar ‘. The cast of the film was, Anil kumar, Putli, Shaikh, Gulab, Anwari, Moosa Pehelwan, Urmila, Meher Sultana and others. There were 8 songs in the film, Names of Anil kumar, Meher Sultana and Urmila are given for 4 songs. The balance 4 songs remain uncredited in HFGK.

20 years later, there was another film with the same title, Talwar ka Dhani, featuring Manhar Desai, Nadira etc etc. This too was a stunt/Costume film like its earlier version.I remember having read in one interview of Dwarka Khosla, Director of the latter film, that this was a only a remake of the earlier film of the same name. No wonder, because many films were remade from old films of early era. One example I remember off hand is that of film Gunsundari. Original silent film Gunsundari – 27, was remade as Talkie Gunsundari in 1934.The Heroine was same-Gauhar Mamajiwala. Both films were directed by Sardar Chandulal Shah. 14 years later, Chandulal Shah’s nephew Ratilal Punatar made Gunsundari in 1948, with Nirupa Roy in the lead role. The story was same in all 3 versions.

The story of Talwar ka Dhani was woven around a routine, commonly used story of a lone queen, her abandoned son, ambitious and cruel Head of Army, desirous of usrping the throne and how the lost son defeats the Army chief and gives relief to the kingdom’s subjects- while reuniting with the Queen Mother. A love story was also inter woven.

The Hero of the 1938 film, Talwar ka Dhani was Anil kumar. This name is obscure and there is no chance that our readers will know anything about this actor of the 30s and 40s films.His real name was not Anil Kumar, but it was Sardar Gul. He was a Muslim.During the era of Silent films and Talkie films of the early years, it was a trend to take on a Hindu name for films. Whether the actor was Jew, Anglo-Indian, European or a Muslim, a Male or a Female, an actor or a singer, this trend was predominant. Of course, not all artistes changed their names- some continued with their real names, but made them shorter, like Majid, Masood, Rehman etc.

Most name changes were found in actresses. Some examples are Sabita Devi (Irene Gasper), Feroza (Susal Soloman), Indira Devi (Effie Hippolet), Lalita Devi (Bonnie Bird), Pramila (Esther Abraham), Sulochana (Ruby Myers), Seeta Devi (Renee Smith), Madhuri (Berryl Classen), Manorama (Winnie Stewart), Nadira (Florence Ezekiel), Meera (Muriel Alexander), Mohna (Mona Cabral), Kammo (Kamarjehan), Shyama (khurshid Akhtar), Purnima (Meher Bano), Indurani (Ishrat jehan), Ameeta (Qamal Sultana) etc etc.

Some examples of Males- Dilip kumar (Yusouf Khan), Kumar (Syed Ali Hasan Zaidi), Jagdeep (Syed Ishtiaq Ahmed), Ajit (Hamid Ali) etc etc.

Actor Anil Kumar (Sardar Gul) was born in 1915 at Calcutta.His father had a fruit business. They were from Peshawar (just like Dilip Kumar). He was not much educated but could speak Hindi, Urdu and English fluently. Once he went to Bombay to meet a friend. There he met an old acquaintance, who took him to Sohrab Modi.

The good looking Sardar Gul was liked by Modi and he offered him the lead role in his film ‘ Saed E Havas’-36. Sardar Gul was given a screen name of Chandra Kumar. The film was based on a translation of William Shakespeare’s drama- King John, by Agha Hashra Kashmiri in 1907. Sardar Gul was to get Rs. 200 for this work. The film was a flop and Sohrab Modi refused to pay him more that Rs 50. Annoyed, he left Bombay and returned to Calcutta.

However he came back in 1938 and did his first film with a new screen name Anil Kumar. The film was Talwar ka Dhani-38. Soon he was well known and acted in 10 films in next 3 years. As the decade of the 40s saw many new actors, producers and directors, he was reduced to Character roles and side roles. By 1950, he was almost like an extra. He did work in many films, but only few films credited him, as his roles were negligible. We find his name in just 30 films, where he was credited, the last such film being Tarzan and Deliailah-64.

The Heroine of this film was Putli or Putlibai. She was from a Bohra Muslim family of Delhi – originally from Kutch, Gujarat. She started her career by acting in stage dramas, duly shifting to Silent films. She did 23 silent films. She was the mother of Gauhar Mamajiwala- wife of Sardar Chandulal Shah. She entered Talkie films and did 26 films. Some of her films were, Raj Tarang-35, Matwali Jogan, Jungle ka Jawan-38, Farzand E Watan-39, Civil marriage-40, Mere Saajan-41, Inkaar-43, Reporter-46 etc. Her last film was Chunnu Munnu-49.

As I have stated many times, it is very difficult to get information about old time artistes and it entails lot of hard work. From the HFGK, we can get their Filmography easily.

In the cast, you will find a 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 it with her good acting. Urmila Gupta was born in 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 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 film Aasuon 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 etc etc. Urmila got married to Vinod Talwar, a businessman and stopped working in films, for some time, may be 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.

Today’s song is a rare song and it appears on You Tube for the first time,kindly uploaded by our Sadanand Kamath ji. I thank him for this. With this song both, singer Meher Sultana and the film Talwar ka Dhani-38 will make a Debut on the Blog. The Lyricist, Pt. Gauri Shankar Lal ‘ Akhtar’ was a well known writer in Hindi and Urdu. Some of his Urdu books are available.

(some information used in this post is courtesy Isuru Udayanga Kariyavasam, Sri Lanka- presently in UK, and from the All India film Directory-46, Statistics are from MuVyz and CITWF. My notes are also used herein).


Song- Chakho prem ka maakhan aay (Talwaar Ka Dhani)(1938) Singer- Meher Sultana, Lyricist- Pt. Gauri Shankar Lal ‘Akhtar’ , MD- Kikubhai Yagnik

Lyrics

??
Chakho prem ka makhan aay
prem prem chhalkaay
maakhan sundar
prem bhi sundar
maakhan sundar
prem bhi sundar
man sundar tarsaaye

sundar man ??
mohan sundar aa man mandir
mohan sundar aa man mandir
?? ter suna
bhavsaagar se tar jaa
chakho prem ka maakhan aay
prem prem chhalkaaye

daras dikha ke
?? chura ke
daras dikha ke
?? chura ke
aaye aaye phir jaaye
aaye aaye phir jaaye
natkhat natwar neha lagaa ke
natkhat natwar neha lagaa ke
darshan ko tarsaaye
sakhi kaun un ko samjhaaye
chakho prem ka maakhan aay
prem prem chhalkaaye
chhalkaaye


This article is written by Avinash Scrapwala, 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 :

4034 Post No. : 15158 Movie Count :

4163

#the Decade of Seventies – 1971 – 1980 #
————————————————————
# Bhoole-Bisre Geet # 85 #Remembering Kishore Kumar on his birth anniversary#
——————————————

Today 4th August (2019) (4 August 1929 – 13 October 1987) is the 90th birth anniversary of the ‘Versatile Genius’ Kishore Kumar or Abhas Kumar Ganguly or as he always liked to introduce himself as – Kishore Kumar Khandwewaala.

I have mentioned in my earlier posts that I cannot forget Khandwa when I am writing about Kishore Kumar. The place has been associated with his name forever and I have fond memories of visiting Khandwa, his ‘Gouri-Kunj’ and his memorial there on Indore road, when I was at Nagpur from 2015-2017.

For today’s post I am not going to discuss more about ‘Khandwa’ or ‘Gouri-Kunj’, but the song I am going to present today has a ‘Khandwa connection’ because I came across this song during my visit to Khandwa in ‘2015’ when I was preparing a post with a Kishore Kumar song 🙂

This being a song from the seventies I thought I would share it on the blog someday.
When I listen to this song first time (a lesser heard one), I had feeling of hearing it years back, may be on radio. This is a song from the 1971 movie – ‘Jai Baangala Desh’. Both the song and the movie name were new for me except the information about this movie and its song mentioned in HFGK Vol V which I was possessing.

I would request knowledgeable readers to throw more light on this movie and about its songs.

‘Jai Bangalaa Desh-1971’ was directed by I.S. Johar.

He also wrote the story of this movie and was also the producer of this movie.

The cast of this movie includes I.S. Johar, Ambika Johar, Rajeev Johar, Kaveri Choudhary (Bangladesh), S.N.Bannerjee, Ram Kamlani, Nazeer Kashmiri, Madhumati, Lakshmi Chhaya, Shefali, Pal Sharma, Bhagwan, Dilip Dutt, Polson, Jery, Tuntun, Ramesh Johar, Anand Vij, Satyadeep, Ratan Kashmiri, Master Alankar, Baby Tabassum, Ranger(Dog) and Radha in guest appearance and others.

This movie had total eight sound tracks including title music, theme music and one Dog chase music released on the records of this movie.

The remaining five songs were composed by Kalyanji-Anandji, while three lyricists namely Indeewar wrote three songs, Qamar Jalalabadi and Farooq Qaiser penned one song each.

Asha Bhonsle, Kishore Kumar, Lata Mangeshkar, Mahendra Kapoor and Sushma Shreshtha had given their voices to the songs in this movie.

Today’s song is sung by Kishore Kumar (the only song he had in this movie) and composed by Kalyanji-Anandji.
Lyrics are by Indeewar.

(This song plays in the background, and I am unable to identify the actor and other supporting actors shown in the picturization of this song. I would request knowledgeable readers to help in identifying of the actors please.)

On ‘friendship day’ today and paying our tributes to Kishore Kumar, I selected this song sung by Kishore Kumar, which is giving a message of ‘humanity’ and ‘brotherhood’ among the many other songs which I had thought I can share on this occasion today.
Moreover, I personally think that ‘music’ is the best friend making friends all over and bringing people together cutting across the barriers of caste, creed, race and religion all over the world.

So far, on the blog we have 1149 songs of Kishore Kumar posted out of the total 2709 songs (our statistics). And that means we still have a long way to go getting may of the Kishore Kumar songs on the blog. And day to day while listening the radio I am coming across many of his beautiful songs of ‘many moods’ from the eighties which we have to bring here on the blog.

Let us now listen and enjoy today’s song…

With this today’s song the movie ‘Jai Baangla Desh-1971’ is makes a debut on the blog!!!

(Note: – HFGK Vol V mentions that this movie was revised and passed with a new title of ‘Aage Badho’ in 1971 (13.09.1972). The first version of this movie ‘Jai Baangla Desh-1971’ was passed by Censor Board on 26.10.1971).

Video

Audio

Song-Main hoon ek roop anek (Jai Baangladesh)(1971) Singer-Kishore Kumar, Lyrics-indeewar, MD-Kalyanji Anandji
Chorus

Lyrics(Based on audio link)
—————
dialogues
————–
(first male voice, second male voice, third male voice)

(Kahaan hai Allaah
Allaah hota to mujhe is tarah andhaa
Kar diyaa jaata?
Main desh ke liye lad rahaa hoon,
Anaathon, vidhwaaon ke lad rahaa hoon

Allaah apne bandon ka imtihaan leta hai
Allaah ka naam lo,
Thheek ho jaaoge!

Main Allaah ka naam kabhi nahin loonga!!

Naa lete huye bhi tumne Allaah ka naam le liya hai
ab uski rehmat ka karishmaa dekho!!

Masjid mein main hi Khuda hoon,
Girijon mein main hi Isaa,
Mahaveer, Budhh hoon main hi,
Mandir mein main hi moorat,
Jab jaisi jahaan zaroorat,
Waisi hi meri soorat…
)

Ho badhte hai jab jab paap dharti par
Paap mitaane aata hoon
Badhte hai jab jab paap dharti par
Paap mitaane aata hoon
Ek hoon main par
Naye naye roopon mein aata jaata hoon
Main hoon ek
Roop anek
Main hoon ek
Roop anek

Ban ke Kanhaiyya bansi bajaiyya
Prem ka raaz dikhaaya hai
Ban ke Budhh kabhi shuddh kiya man
Jag ko tyaag sikhaaya hai
Kabhi Mohammad ban ke basaaya
Makka aur madeene ko o
Isaa ban ke chhalni kiya
Maine kabhi apne seene ko
Naanak ban ke
Kabhi gyaan ke deep jalaane aata hoon
Ek hoon main par
Naye naye roopon mein aata jaata hoon
Main hoon ek
Roop anek
Main hoon ek
Roop anek

Kabhi Quraan
To Kabhi Bible
Kabhi Ved kabhi Geeta hoon
Kabhi hoon Mariam
Kabhi Yashoda
Kabhi Fateema
Seeta hoon
Mere naam ki de ke duhaayi
Jo logon ko ladaate hain
Wo hain bande dharm ke andhe
Wo na kabhi mujhe paate hain
Aata nahin ladaane ko main
Mel karaane aata hoon
Ek hoon main par
Naye naye roopon mein aata jaata hoon
Main hoon ek
Roop anek
Main hoon ek
Roop anek

Ho badhte hai jab jab paap dharti par
Paap mitaane aata hoon
Ek hoon main par
Naye naye roopon mein aata jaata hoon
Main hoon ek
Roop anek
Main hoon ek
Roop anek
Main hoon ek
Roop anek
Main hoon ek
Roop anek

———————————-
Devnagri Script lyrics (Provided by Avinash Scrapwala)
———————————-
हो बढतें है जब जब पाप धरती पर
पाप मिटाने आता हूँ
बढतें है जब जब पाप धरती पर
पाप मिटाने आता हूँ
एक हूँ मैं पर
नए नए रूपों में आता जाता हूँ
मैं हूँ एक
रूप अनेक
मैं हूँ एक
रूप अनेक

बन के कन्हैय्या बंसी बजैय्या
प्रेम का राज़ दिखाया है
बन के बुद्ध कभी शुद्ध किया मन
जग को त्याग सिखाया है
कभी मोहम्मद बन के बसाया
मक्का और मदीने को ओ
इसा बन के छलनी किया
मैंने कभी अपने सीने को
नानक बन के
कभी ज्ञान के दीप जलाने आता हूँ
एक हूँ मैं पर
नए नए रूपों में आता जाता हूँ
मैं हूँ एक
रूप अनेक
मैं हूँ एक
रूप अनेक

कभी कुरान
तो कभी बाइबल
कभी वेद कभी गीता हूँ
कभी हूँ मरियम
कभी यशोदा
कभी फातीमा
सीता हूँ
मेरे नाम की दे के दुहाई
जो लोगों को लड़ाते हैं
वो है बन्दे धर्म के अंधे
वो ना कभी मुझे पाते हैं
आता नहीं लड़ाने को मैं
मेल कराने आता हूँ
एक हूँ मैं पर
नए नए रूपों में आता जाता हूँ
मैं हूँ एक
रूप अनेक
मैं हूँ एक
रूप अनेक

हो बढतें है जब जब पाप धरती पर
पाप मिटाने आता हूँ
एक हूँ मैं पर
नए नए रूपों में आता जाता हूँ
मैं हूँ एक
रूप अनेक
मैं हूँ एक
रूप अनेक
मैं हूँ एक
रूप अनेक
मैं हूँ एक
रूप अनेक


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(© 2008 - 2019) 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.

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 ELEVEN years. This blog has over 15200 song posts by now.

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

Total number of songs posts discussed

15221

Number of movies covered in the blog

Movies with all their songs covered =1178
Total Number of movies covered =4183

Total visits so far

  • 12,249,518 hits

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Historical dates

Blog Start date: 19 july 2008

Active for more than 4000 days.

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