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.
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Blog Day : |
4570 | Post No. : | 16174 |
Today’s song is a rare song from a C grade Stunt film-Khooni Laash-43. This film was made by Amrit pictures. The name of Producer or the Director of this film is not mentioned in HFGK. This is one of the several problems of the C grade Stunt/ Action films, made on shoestring budgets. Most times the film booklet was not issued and in maximum cases the song records were also not issued commercially. In some films, selected songs are available on records. In the cast also only 4 names are given. The music director was K.Narayan Rao.
K. Narayan Rao is known to be a composer of C grade action/stunt films. No book or Encyclopedia gives information about his Bio data. All the information is available only via the HFGK only.
The first film of K Narayan Rao seems to be Madari Mohan-40, where he joined hands with another composer Prof. B R Deodhar. In 1943 he gave music to Pistolwali,Khazanchi Ka beta,Khooni Laash and Duniya Deewani.In 44,it was Lehri Cameraman and Qatil. In 46,he gave music to Royal mail, Khooni, Reporter, Maaf Kijiyega and Dhokebaaz. In 47-Extra Girl, Chabuk sawar and Sher E Bangal. In 48-Bahadur Naresh, Jungle Goddess, and white Face. 1949-Jagriti, Nakli Baap, Chunnu Munnu and Billi. 1950- Meri Asha and Meherbani. Then in 1959 came his last film with Lacchhiram- Hazar Pariyan. Thus he gave music to 25 films, but not even one film was a Hit, nor was any of his songs famous.
People like Narayan Rao reflect the kind of artistes that were used in C grade films. The audience of such films was typical. They were not worried about the film story or the songs. All that they looked for was sensational dangerous stunts, fighting, a little raw comedy and a reasonably good looking Heroine. With these basic requirements, stunt films did not need well known actors, MDs, Directors or story writers. These films touched the basal emotions of the audience which was generally the lower strata of the society, daily earners and uneducated lot.
Most of us like to see films, be it on a TV, in a cinema hall, or through DVD. Some like old films, some like new films.
Did you ever see films like, Khooni Khanzar, Dagabaj Doctor, Shaitaan ka paash, Char chakram, Daku Rani Talwarwali, Jaadu ka dandaa, Zinda Laash, Revolver Rani, Sindbad-Alladin-Alibaba, Flying man, Fighter Sheela, Khooni Darinda, Tarzan aur Jadugar, Tarzan aur Jadui Chiraag, Golden Gang, Murde ki jaan khatare mein,or Jadui putli ?
I bet none of these movie names have been even heard by you ever. These were all STUNT FILMS or in other words ‘C’ grade films.
In India I really wonder how the classification or Grading of films was done, or who was the person or the body authorised to do it. Censor Certificates do not label A B or C grades at all. Then how does this happen ?
My guess is that films are graded on 2 counts- One, The cost of production or Budget and the class of stars in it and Two, The class of people for whom the film is made or directed, like the Rich, middle and the Poor class. Whatever the basis, there is a very thin line between A and B grade films, while between these two and the C grade films, the line is very Bold and thick indeed !
Stunt films, Costume films, fantasy films and purely Religious films were normally treated as C grade films. These film did not carry any prestige, the actors working in them were exclusive to C grade films, the production values and the budget was quite low and most important, they were ALWAYS shown in theatres situated in older parts of the town, single screens, or only for Morning shows or in Theatres generally frequented by lower strata of society.
A person seeing/loving or craving for such films was generally considered a ‘Low’ creature and a person with ‘child brain’.
In India ,this was the fate of C grade films. Actually these films had everything that A and B grade films had, like, story, songs, dances, fights etc, but still, the treatment given to handling of the story etc in the films was very poor or lacking in expertise.
Stunts have improved, Technology has evolved but the participation of Zippy the Monkey, Tiger the Horse, Moti the Dog, parrots, snakes and khatara cars named Rolls Royce ki beti and Austin ki Bachhi is missing ! The contribution of Fearless Nadia in making Stunt films popular can not be denied, but then she had the backing of companies like Wadia Movietone, Basant Pictures, Ranjit, Sagar, National etc. When you read the stories of these films please don’t employ Logic or common sense to it.
This was a different world altogether. The set of actors was fixed, many times the composers were unheard of or they were known composers now in bad shape, the Directors were typical and the production houses were exclusive to churn out such films.
It is, nevertheless, a fact that many well known and famous actors and actresses of the 40s and 50s evolved from the stunt films of yore. Examples are Jairaj or Master Bhagwan.Can you believe that this roly-poly Bhagwan dada was a great body-builder when he started in stunt films in the late 20s and 30s ? Lalita Pawar(Amboo), Madhuri, Rampyari, Miss Moti, Sabita Devi, and Sulochana (Ruby Myers) are some female examples who graduated to Social films via Stunt films.
C grade films were those films which were made by not so famous banners, almost unknown actors directors and composers. Usually C grade films used to be action/stunt films, made on shoestring budgets, having a fixed storyline resembling Tarzan, Hercules or Hollywood action films of Robin Hood, with the background of a jungle, Tribal people, King-Queen-wicked Vazir and similar stories.
C grade films were always quickies, made on shoe-string budgets. During the late 30s and 40s, Master Bhagwan action films used to be completed in about Rs. 50,000 only- including studio rent, sets, artistes’ fees and other expenses. C grade films had a captive audience comprising factory workers, daily wagers, Low grade earners and students. However, such films used to rake in big profits to the film makers. Therefore, even top class banners sometimes made C grade films, to make up their losses in big film flops.
There were certain production houses specialised and thriving on such films, like Paramount films, Jagriti films, Mohan pictures, Wadia Movietone etc etc. The actors and actresses of such films were fixed. Since the studio system was in vogue, the film studios usually had their actors and directors fixed. Music directors were of no consequence, so anybody would do. Well known composers like C.Ramchandra used to take another name while composing music for C grade action films. Music assistants of famous composers used to give music to such films. Well known composers falling on bad days also gave music to such films. C grade films rarely made Commercial records for their film songs, so such songs are a real rarity even with big collectors.
Some common and regular names one found in Action/Stunt films are, Nadia, Boman Irani, Sayani, Bilimoria bros, Cooper sisters, Zohra Khatun, Ameena Khatun, Khatun Bai, Prakash, Adjania, Noorjehan (sr.), Moosa Pehelwan, Vasantrao Pehelwan, Baburao Pehelwan, Marutirao Pehelwan, Azim bhai, Basheer, Ali, Bachha, Chandra Rao, Harishchandra Rao, Shankar Rao, Master Bhagwan, Mirajkar, Jamshed, John Cavas, Lalita Pawar, Navin chandra…and many such names.
Barring a few names like Lalita Pawar, Bhagwan, Nadia etc, all the other action film actors remained unknown. No one knows anything about them.Actors like Baburao pehelwan, Marutirao Pehelwan ( He was the Hero in the First Gujarati Talkie film ‘ Narsi Mehta ‘), Chandra Rao, Sayani etc were quite famous in their times, but except their Filmography (thanks to HFGK), nothing more is known about them. All of them ended with only mere names !
Sometimes Gems were found in these C grade films. Remember the famous qawali- Hamen to loot liya mil ke husn walon ne- which had the honour of becoming the prestigious 5000th song in this Blog ? This was from a C grade film- AL HILAL-58
In my young age I was fond of stunt films and used to travel to theatres in Old city of Hyderabad, to watch films featuring Kamran (father of famous choreographer and Director Farah khan and Director, comedian, Anchor Sajid Khan), Naazi, Bhagwan and many such actors.” Adventures of captain marvel and Trip to the Moon” were my favourites from Hollywood’s Republic Serial productions.
In the 50s and 60s,some respectability to these stunt films was brought by actors like Mahipal, Ranjan, Dara Singh, Azad, Hemant Birje etc. The set of Heroines was also set to Mumtaz, Tabassum,Vijaya Chaudhary, Indira, Nishi etc. Mumtaz started with Stunts and graduated to greater heights and was counted in Top actresses of her days. Costume and Stunt films like Baaz, Insaniyat and Azaad etc were made respectable by the stars acting in them.Interestingly, some famous actresses like Meena Kumari, Shobhana Samarth,Nirupa Roy, etc had acted in stunt C grade films initially.
Over a period the picture changed and nowadays every alternate film has breath-taking stunts done by almost all top Heroes, thanks to SFX, of course !
I am not aware about the film’s story or other details. The cast shown in HFGK is Baburao (Pehalwan), Shanta Rin, E.Bilimoria and Ali. Obviously Eddie Bilimoria was the hero and Shanta Rin must have been the Heroine. Dinshaw and Eddie Billimoria were the brothers who were active from silent films upto films of 50’s decade through the Talkie era, but they always featured in C grade films and hence even their long careers did not make them big stars.
Today’s song from this film is sung by Naseem Akhtar. In fact this was her first hindi film in Bombay for which she sang songs. Naseem Akhtar ‘s father was a Sarangi player. They were originally from Kashmir. She was born in 1924. She started singing on Lahore Radio. Impressed with her singing style,composer pt. Amarnath gave her a break in Nishani-1942. Till then she used to sing at rich people’s functions and mehfils etc. after Nishani,she came to Bombay to sing for Khooni Laash-43.She never acted in any films.She sang in Bhai, Ek din ka Sultan, 40 karod, Flat no.9, Pehli nazar, Ratnavali, Dharma, Sanyasi, Wamiq Azra, Tadbir, Shahjehan, Nek Parveen, Safar, Keemat, Sohni Mahiwal, Bhanwar, Ek Roz, Doli, Parai aag etc. She sang for Naushad, Ghulam Mohd, Anil Biswas, Shyamsunder, Ghulam Hyder, Rafiq Gaznavi, Govind Ram, Sajjad Hussain, Firoze Nizami and C.Ramchandra.
She sang 72 songs in 40 films in India. She left for Pakistan after Partition and sang in a few films, but was not successful. She got married and settled as a housewife. It seems she died in Lahore on 11-5-2007 at the age of 87 years.
With this song, film Khooni Laash-1943 makes its Debut on this Blog.
Song- Loot liya loot liya nainan ne haay ree (Khooni Laash)(1943) Singer- Naseem Akhtar, Lyricist- Shevan Rizvi, MD- K Narayan Rao
Lyrics
Loot liya
Loot liya nainan ne
haaye ree
haaye ree
Loot liya
Loot liya nainan ne
haaye ree
haaye ree
nazar uthhaana halke se
haay
nazar uthhaana halke see
kaale gusuon ki ye zulfen
haaye
kaale gusuon ki ye zulfen
das liyo das liyo naagan ne
haay
das liyo das liyo naagan ne
haay naagan ne
haay
Loot liya
Loot liya nainan ne
haaye ree
haay ree
Loot liya
Loot liya nainan ne
haaye ree
haay ree
kahaan hai ??? raha aa aa aa
milte hi ??
?? nazar ka
aayi aawaaz lehron se
chalaa aaye ??
maar diya
maar diya
chitwan ne
haay
maar diya
maar diya
chitwan ne
haay chitwan ne
haaye
Loot liya
Loot liya nainan ne
nainan ne
haay ree
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.
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Blog Day : |
4559 | Post No. : | 16169 | Movie Count : |
4404 |
Today’s song is from the film Khush Naseeb-46. It was an ordinary social film made by Indra Movietone. Directed by V. panchotiya, the film had music by Anupam Ghatak and Pt. Lachhiram Tomar. We do not know who wrote the film’s 12 songs or even who sang these songs. Only few songs(actually only 2) are available on YouTube and the uploader ( Sadanand Kamath ji) has identified singers by voice, wherever possible. The limited cast mentioned in HFGK lists names as Padma Devi, Rukmini Devi, Anjali Roy, Bela Rani and V.Panchotiya. This too being incomplete, we do noit have any idea about its Hero or other artistes.
The year 1946 was an year which saw many changes in the film industry. The II world war had just ended. Rationing and control on many items had created Black marketing. This made many people Millionaires. The extra income started getting invested in Film making. The increased cost of Raw Films made filmmaking 7 to 8 times costlier. A film which was made in about 1 Lakh rupees in 1940, needed 8 Lakhs now. Studio system was waning and artiste rates increased in Lakhs instead of thousands.
In 1945, only 74 films were made. This number increased to 153 films in 1946. Further, in 1947, the film industry produced a record number of films – 181, but of course that was due to Partition. The quality of films was sacrificed at the cost of the quantity of films made in 1946. However, some quality films were made in 1946, indicating the changing face of filmmaking.
Film Dharati ke Lal-46 was made by IPTA people and it became the first film to be exhibited in Russia. Neecha Nagar-46 won the Grand Prix award in French Film Festival. Film Dr. Kotnis ki amar kahani-46 was dubbed in English as ‘ The journey of Dr. Kotnis’. It was shown in the USA and then in Venice Film Festival. Two musical films- Anmol Ghadi and Shahjahan were made in 1946.
Year 1946 also saw the Debut of several stars and artistes. In fact one can call 1946 as the ” Debut year” of Hindi film industry. See this….
Nirupa Roy debuted in film Amar Raaj-46
Geeta Bali debuted with a dance in film Badnaami-46
Geeta Roy sang her first film song in film Bhakta Prahlad-46
Balraj Sahni debuted in film Insaaf-46. It was a small role,though.
K A Abbas-Director, Pt.Ravi Shankar-MD, Balraj Sahni as Hero and Damayanti Sahni as Heroine made their Debut in film Dharati Ke Lal-46
Meena kapoor sang her first Hindi film song in film Eight Days-46
Sudhir Phadke debuted as MD in film Gokul-46
P L Santoshi as Director, Dev Anand, Rehman, Rehana and Kamla Kotnis debuted as actors in film Hum Ek Hai-46
Chitragupta did his first film as MD in Lady Robin Hood-46
Ram Ganguly became MD with film Maharana Pratap-46
Abhi Bhattacharya debuted in film Milan-46
Chetan Anand as Director, Uma Anand and Kamini kaushal as actresses debuted in film Neecha Nagar-46
Hansraj Behl debuted as MD with film Pujari-46
Madhubala(as Baby Mumtaz) sang her first song in film Pujari-46
Majrooh Sultanpuri wrote his first Hindi film song in film Shahjahan-46
S D Burman as MD and Kishore Kumar as an actor debuted with film Shikari-46
So, you will find the year 1946 was truly an year of change. The winds of Partition were already blowing and the second line of supplementary artistes was ready to replace the Migrators, after the Partition.
Film Khush Naseeb-46 was directed by V.Panchotiya. Vithaldas Panchotiya ( 15 th October 1906 to 2-10-1987 ). Except those readers, who have a knowledge of early era Hindi films, it is unlikely that other readers might have even heard this name. In the early era, when the studio system was firmly established, the artistes employed by the studio had no specific duties. Anybody and everybody had to do what was needed by the company. Due to this many capable artistes became all rounders in film making.
Vithaldas Panchotiya was certainly one such person. He has been a Producer, Director, story writer, dialogue writer, screenplay writer, lyricist, Singer, Music Director and God knows what else !
Born in October 1906 in Vadnagar in Gujarat, he followed his father’s footsteps. His father worked in stage dramas and toured with the drama company. From the age of 8 years Vithaldas started acting in dramas. Later he joined Calcutta’s Alfred Drama company, owned by Madon Theatres Limited. He worked on a salary of Rs. 35 pm. While working in dramas, he established his own Gujarat Film company and produced 12 silent films in 10 years. Vithaldas first acted in silent film ‘ Dhruv charitra’-1921. He learnt dance and music too. He acted , directed, sang songs and gave music also. He acted in Talkie film ” Muflis Ashiqe”-1932, claimed to be India’s first comedy film. He acted, sang and composed music for this film.
Being a staunch Gandhian, he used to participate in rallies etc. Some of his films were Hindustan-32, Insaf ki Tope-34, Gaibi Gola-35 ( he was the writer and the director too.He gave a break to Baby Noorjahan in this film.), Khudai Khidamadgar-37 aka Garib ki Tope, Takdir ki Tope-38 etc . As per one source, he acted in 35 films, directed 10 talkie films, sang 8 songs, gave music to 1 film and wrote Lyrics to 2 films. Additionally story, dialogues and screenplay writing were also done by him. Some of his films were, Shaikh chilli-37, Khush naseeb-46, Prabhu ki maya-55, Ghar ki numaish-49, Karmaveer-38, Raman-54, Jagriti-54, Hum sab chor hain-56, Basant 60, Bhagvat mahima etc.
I find it very difficult to know exactly how many films he did in various capacities in the 1930s, as there are conflicting claims by him and Master Fida Hussain. In a few cases the details in HFGK and what he claims, gets contradicted. Some of his films in the 40s are Ramanuj-43, Giribala-47, Grihalaxmi-48, Ghar ki Numaish-48 ( released only in 1962, with the title ‘ Jai ho muhabbat ki ‘ )
Thanks to information and statistical data provided by Shri Harish Raghuwanshi ji of Surat, we know that his Filmography consists of a total 11+ 26 films. The break up is-
11 silent films
25 Talkie films as Actor and 1 film as a writer only.
9 films as a Director
2 films as Lyricist and
2 films as Music Director
As per Muvyz data, he sang 37 songs in 8 films.
from 1951 to 1960, he did 13 films- mostly ( 9) for Filmistan. He directed 2 of them. After 1960 his work was reduced. The death of his 3 sons broke him emotionally. As a true Gandhian, it was his dream to make a film- Gandhi Sangram- on mahatma Gandhi. He had done all the spade work and the Muhurat of shooting was also done on 2-10-1987, The Government had promised finance. Even Rajiv Gandhi promised him that. However nothing came to him and he died on 30-10-1996, with his dream unfulfilled.
His daughter Shradha used to work in Gujarati films. She too died in a Train accident in 2000. Her daughter Deepshikha is an actress.
I do not know the story or any other details of this film. Here is the first song from film Khush Naseeb-46,sung by an unidentified male and Zeenat Begum. With this song film Khush Naseeb-46 makes its Debut on this Blog.
( some information for this post is taken from an article by prof. Surjit singh ji and some from Harish ji, book 100 years of Hindi films by Antarkar and my notes)
Song- Jeevan saathi mil jaaye to kali hriday ki khil jaaye (Khushnaseeb)(1946) Singers-Male voice, Zeenat Begam, Lyrics-Unknown, MD-Unknown
Lyrics
Jeevan saathi mil jaaye
to kali hriday ki khil jaaye
Jeevan saathi mil jaaye
jeevan safal banaa loon main
ik duniya
ik duniya nayi basaa loon main
kali hriday ki khil jaaye
jo jeevan saathi mil jaaye
kali hriday ki khil jaaye
jo jeevan saathi mil jaaye
o o
o o o o
o o o
jeevan saathhi dhoondhhne waale
apne man mein dekh
apne man mein dekh
kisko dhoondhh raha hai pagle
prem bhawan mein dekh pagle
prem bhawan mein dekh
beet gaya aa aa aa aa aa aa
beet gaya yug khojat khojat
beet gaya yug khojat khojat
mila na man ka meet
haan
mila na man ka meet
koi nahin
aisa saathhi
koi nahin
aisa saathhi
kare jagat mein preet
jis’se kare jagat mein preet
o o
o o o o
o o
mil jaayegaa
dhhoondhnewaale
mat gaa dukh ke geet
haan
mat gaa dukh ke geet
dhoondhh liyaa hai hamne bhi
par hui na ab tak jeet
par hui na ab tak jeet
jisko tumne dhoondhh liyaa hai
kya hai uska naam
haan aan
kya hai uska naam
kyun batlaa kar naam kisi ka
log kare badnaam
haan aan
log karen badnaam
tumko lage pasand
pasand usi ki
tumko lage pasand
jiska naam chhupaao o o
batlaa do
batlaa do mohe
batlaa do
batlaa do mohe
kaahe ko tadpaao
batlaa do
batlaa do mohe
kaahe ko tadpaao
keh doon
keh do
naa
maan jaao
na tarsaao
kah do
uska naam hai Tara
pyaara
chamke jo aakaash mein
Tara
This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4563 | Post No. : | 16160 |
“Ghar” (1945) was a Sunrise Production movie. It was directed by V M Vyas. The movie had Jamuna, Nawab, Molina, Yakub, Kalyani, Dulari, Iftikar, W. M. Khan, Mohan, Mirza Musharaff etc in it.
Three songs from this movie have been discussed in the past.
Here is the fourth song from “Ghar”(1945) to appear in the blog. This rare song is sung by Rajkumari. Roopbani is the lyricist. Music is composed by A R Qureshi.
Only the audio of this melancholic song is available. I request our knowledgeable readers to throw light on the picturisation of this song.
Song-Meri aankhon ke aansoo (Ghar)(1945) Singer-Rajkumari, Lyrics-Roopbani, MD-A R Qureshi
Lyrics
Meri aankhon ke aansoo
meri aankhon ke aansoo
aankhon mein hi so jaao
haan haan so jaao
meri aankhon ke aansoo
meri aankhon ke aansoo
aankhon mein hi so jaao
haan haan so jaao
duniyaa aa
duniya kahin badnaam na kar de
haan badnaam na kar de
meri aankhon ke aansoo
meri aankhon ke aansoo
aankhon mein hi so jaao
haan haan so jaao
vidhwa hai tu
tera ujda suhaag
vidhwa hai tu
tera ujda suhaag
tujhe hansna bhi paap
tujhe rona bhi paap
tujhe hansna bhi paap
tujhe rona bhi paap
aap na rowo
na hamko rulaao
na hamko rulaao
aap na rowo
na hamko rulaao
na hamko rulaao
meri aankhon ke aansoo
meri aankhon ke aansoo
aankhon mein hi so jaao
haan haan so jaao
poori ??
bani suhaagan
poori ??
bani suhaagan
ho gayi vidhwa
main abhaagan
choodiyaan tooti
aur kesar bikhra
choodiyaan tooti
aur kesar bikhra
meri aankhon ke aansoo
meri aankhon ke aansoo
aankhon mein hi so jaao
haan haan so jaao
koi nahin jo dewe dilaasa
koi nahin jo bandhaa de aasha
vidhwa vidhwa naam hai mera aa
aansoo peena kaam hai mera aa
dharti mujhe marne nahin deti
duniya mujhe jeene nahin deti
kaise kaatoon dukhiyaa jeewan
Bhagwaan mujhe batlaao
Bhagwaan mujhe batlaao o
meri aankhon ke aansoo
meri aankhon ke aansoo
aankhon mein hi so jaao
haan haan so jaao
O naina maanat naahin kehna
Posted on: January 3, 2021
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.
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Blog Day : |
4552 | Post No. : | 16139 |
Today’s song is from the film Chehra-1946. The film was so obscure that it had no face to recognise in the crowd of 153 Hindi films that were produced in 1946. The film was made by an unknown banner – ” Upright pictures, Bombay”. The director was Rajendra Sharma, for whom this was his First film as a Director. He went on to direct 4 more films namely, Jal Tarang-49, Ehsan-54, Dost-54 and Indra Leela-56, before disappearing from the arena of films. The Music Director was M.A.Mukhtar.
M.A.Mukhtar hailed from Punjab. He started his career by becoming assistant to MD Khurshid Anwar. Chehra was his First and the only independent film. There is a Mukesh solo also in this film -‘ O prani kya soche kya hoy’.
M.A.Mukhtar assisted Khurshid Anwar in PARWANA -47,the last film of K.L.Saigal.
Soon after, the communal riots started. Mukhtar wanted to bring his family from Punjab to safety in Bombay, but unfortunately he was killed in the riots in Jalandhar.
The cast consisted of Najma, Kamal Jamindar, Suraiya Zulfi, Mustafa, Jugal Kishore kaneez, Baby Anwari, Baldev Raj and others. These are veri insignificant names for Hindi films of those years. The Heroine was Najma. Her real name was Naseem. As there was already the popular actress Naseem Banu, She tookn the screen name of Najma. She was born on 12-8-1928 at lahore. Her father Abdul Rasheed was a respected businessman. She was very keen to join films. She was also very good looking.
In 1941, she signed a contract with Acharya Art productions and made a tame Debut in film Kunwara Baap-42. Her name was uncredited. Then came Uljhan-42, Gharonda aka Nai Zindagi-43 and Saudagar-44 (UR). She was cast as a Heroine opposite Suresh and Harish. Her some other films were Dr. Kumar-44, Piya Milan and Naseeb-45, Chehra-46, Haqdar-46, kasam-46 etc. Her last film in India was Parwana-47.
She married a Lahore distributor Mohd. Yasin and they migrated to Pakistan. After taking a few years for family raising, she joined films again as a supporting actress. She featured in 120 films in pakistan till 1987. Najma died 0n 7-1-1988 at Lahore, place of her Birth.
The curse of same name confusion has troubled Hindi films right from the 30s. Today we will talk about 4 different Suraiyas.
1. Suraiya Jamal Sheikh – Perhaps the most well-known of all Suraiyas, Suraiya Jamal Sheikh was one of the last ‘great’ singing-stars that dominated the Hindi film screen in 1930s and 1940s. Her acting style was a charming blend of dialogues and gestures, and was strongly reminiscent of the Muslim feudal era. She retired from films in the early 1960s, settling down to a solitary life in Mumbai before her death in 2004.
2. Suraiya Choudhary – Suraiya Choudhary was a supporting actress active in Hindi films from late 40s to early 50s and was active at the same time when singing-star Suraiya was playing the lead in films. Both Suraiyas were cast together in Jeet (1949). Other films to her credit include Sangeeta (1950), Sabz Baaz (1951), Azad Hindustani (1948) etc.
Suraiya choudhary also appeared with Suraiya-(Jamal Sheikh) in Wadia films Balam 1949, directed by Homi Wadia. Suraiya Choudhary worked with Geeta Bali in Dil Ki Duniya in 1949,directed by Mazhar khan.Suraiya Choudhary played as heroine in film Bombay-1949,opposite Uday kumar. Shakila also worked in this film.Suraiya Choudhary worked with Nargis in Chhoti Bhabhi,1950,directed by Shanti Kumar.
3. Suraiya (Begum) Multanikar – Suraiya Multanikar is a Saraiki folk-singer who also sang for few films including Gul Bakawali (1961) and Badnaam (1966). She was given the ‘Pride of Punjab’ Award recently in 2016 by Punjab Institute of Language, Art and Culture (PILAC).
4. The fourth one was called Suraiya Zulfi. The real name of Suraiya Zulfi was Jamila Begum. She was born on 11-4-1919 at Lahore. Her father was a Petition writer in the District Court. Her schooling was done in Foreman High school. After completing her Junior Cambridge examination, she was married to one Mr. A.Q.Qureshi. He was a Stenographer to Home Secretary, Punjab Government. He was a corrupt person and had a lot of money. Unfortunately, her marriage was short lived and soon they were divorced.
Suraiya’s elder sister Razia Begum was already working in films in Bombay. She was an actress and a singer. Suraiya went to Bombay to try her luck. She was very good looking. Suraiya’s first non credited Debut was in the film Kiski Biwi-1942. This role came to her because to get it, she became friendly with the director Mirza. Her second film was Dada Gunjal’s Mata-1942. With great maneuvering and efforts she convinced Director Essabhai to make her Heroine in film Khiladi-43. The film was delayed and released only in 1945. She started doing small roles in various films. She was variously billed as Suraiya, Suraiya Bano, Suraiya Begum and Suraiya Zulfi.
Her film Yateem-45 was a successful film. In 1946 she did some films like Chehera, Pandit ji, Rupa and some others. Her last acting film was Do naina-47. Along with sister Razia Begum, she started her own Production Unit called R.S.Production and made 2 films in 1947-Kango and Do Naina.
She had, meanwhile, married a wealthy merchant Ali Buksh. Just before the partition, she migrated to Pakistan alone. It seems her husband chose to stay in India only. She planned to build a studio in Lahore for making films. It is believed that while travelling from Karachi to Lahore, Suraiya Zulfi died in a plane crash on 27-12-1947.
( based on information from Filmdom-1946, some Pakistani sites, HFGK,Muslim Cinema by Isak Mujawar and my notes.)
The film Chehra-46, which was a Social film was released on 31-12-1947, more than an year after completion. It probably got stuck with censors first and later in the Partition chaos. Unfortunately, Suraiya Zulfi had died on 27-12-1947 in Lahore in a plane crash. As expected, the film was a flop and ran just one week in Swastik cinema, Bombay.
It is a mystery what makes a film successful. No one has the winning formula. The other day, I was reading the Thesis of Dr. Soumya Dutta of the US, titled “Film Genres’ ‘. It was sent to me by academia.edu, an American site for academicians. In this Thesis he has quoted about the famous theory of Seven Plots, floated by Christpher Booker thus……
” In 2004, a book called “Why we tell stories’, written by Christopher Booker was published. It is a book having more than 700 pages-728 pages to be exact. The book says “There are only 7 (Seven) basic plots in the whole world. They are recycled again and again in Novels, movies, Plays and Operas. These are
1.Overcoming the Monster
2.Rags to riches
3.The quest
4.Voyage and return
5.Rebirth
6.Comedy and
7.Tragedy “.
After this book was published, there was chaos and criticism started. ‘New York Times’ also jumped in. The author coolly replied to all points and stuck to his statements. ”
However, In India, no film is based on an exclusive Generic Story. It is always a clever mix of several Genres. For example, see this story of a Hindi film ” A poor boy and a rich girl fall in love.Boy goes to other countries and comes bag fabulously rich. The girl is kidnapped by a Monster. Boy searches for her, finds her and kills the Monster in a thrilling sword fighting. The couple unites. ” Clap, Clap, Clap !!!
Overall, the Indian movies are highly imaginative. In this field, the South beats all other film industries. # songs from this film are discussed earlier. Today’s song is the fourth one. It is a reasonably good song by Shamshad Begum. Enjoy….
Song-O naina maanat naahin kehna (Chehra)(1946) Singer- Shamshad Begum, Lyricist- I C Kapoor, MD-M A Mukhtar
Lyrics
o naina
o naina maanat naahin kehna
jab se tumko jaana re
jab se tumko jaana re
o naina maanat naahin kehna
jab se tumko jaana re
jab se tumko jaana re
o naina maanat naahin kehna
teri choron waali ghaaten
meri haule haule baaten
meri haule haule baaten
baaten yaad karo
baaten yaad karo
wo raaten
ab kyun hua begaana re
ab kyun hua begaana re
o naina maanat naahin kehna
jab se tumko jaana re
jab se tumko jaana re
o naina maanat naahin kehna
aaja karle
kar le manmaani balmaa
chaar dinon ki jawaani
aaja karle
kar le manmaani balmaa
chaar dinon ki jawaani
kal ki baat hai kisne jaani
kal ki baat hai kisne jaani
apna aaj zamaanaa re
apna aaj zamaanaa re
o naina maanat naahin kehna
jab se tumko jaana re
jab se tumko jaana re
o naina maanat naahin kehna
ye sab chaar dinon ke mele
ham tum phirte rahe hain akele
ye sab chaar dinon ke mele
ham tum phirte rahe hain akele
kuchh le le
aa kuchh de de
kuchh le le
aa kuchh de de
kal ka kaun thhikaana re
kal ka kaun thhikaana re
o naina maanat naahin kehna
jab se tumko jaana re
jab se tumko jaana re
o naina maanat naahin kehna
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Blog Day : |
4549 | Post No. : | 16132 |
“Ratn Manjari”(1955) as directed by G P Pawar for Chitra Bharati, Bombay. The movie had Shakila, Mahipal, Rehana, Sapru, Maruti, Moni Chatterjee, Roopmala etc in it.
The movie had five songs in it. One song has been covered in the past.
Here is the second song from “Ratn Manjari”(1955) to appear in the blog. The song is sung by Asha Bhonsle. B D Mishra is the lyricist. Music is composed by S N Tripathi.
Only the audio of this rare song is available. I request our knowledgeable readers to throw light on the picturisation of the song.
Song-Hamen kyun bhulaaya raaja hamen kyun rulaaya jee(Ratn Manjari)(1955) Singer-Asha Bhonsle, Lyrics-B D Mishra, MD-S N Tripathi
Lyrics
Hamen kyun bhulaaya raaja
hamen kyun rulaaya jee
dil ko churaa ke chale jaane waale
aaye thhe sukh leke
jaate ho dukh de ke
aaye thhe sukh leke
jaate ho dukh de ke
ro ro katenge din raat
ho o
ro ro katenge din raat
koi sahaara nahin
koi hamaara nahin
koi sahaara nahin
koi hamaara nahin
kaase kahoon main jee ki baat
ho o o
kaase kahoon main jee ki baat
kaahe bisraaya raaja aa
kaahe tadpaayaa jee
bainyya chhudaa ke chale jaane waale
bainyya chhudaa ke chale jaane waale
Hamen kyun bhulaaya raaja
hamen kyun rulaaya jee
dil ko churaa ke chale jaane waale
meri ho naiyya tumhi
mere khiwaiyya tumhi
meri ho naiyya tumhi
mere khiwaiyya tumhi
tumhi ho mere patwaar
ho o o
tumhi ho mere patwaar
beech bhanwar mein piya
kaahe kinaara kiya
beech bhanwar mein piya
kaahe kinaara kiya
doob rahi hoon manjhdhaar
ho o o oa
doob rahi hoon manjhdhaar
paar lagaaya nahin
hamen thhukraaya jee
naiyya dubaa ke chale jaane waalay
naiyya dubaa ke chale jaane waalay
Hamen kyun bhulaaya raaja
hamen kyun rulaaya jee
dil ko churaa ke chale jaane waale
- In: "chaayageet" song | expression of love | Feelings of heart | Lata solo | Lata song | Lyrics by Prakashchandra | Lyrics contributed by readers | Rare song | Series of articles | Songs of 1950s (1951 to 1960) | Songs of 1957 | Yearwise breakup of songs | Yearwise review of Lata Mangeshkar HF songs
- 1 Comment
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Blog Day : |
4525 | Post No. : | 16085 |
Yearwise discussion of Lata Mangeshkar songs in HFM: Part XI: Year 1957
———————————————————————————————————
In this episode, we discuss Lata Mangeshkar songs that she sang in Hindi movies released in 195. 1957 was well into the glden era of HFM. Many people believe that the decades of 1950s and 1960s were the golden era og HFM. That being the case, Lata Mangeshkar had become the strongest pillar of HFM background singing by that time.
1957 saw 113 Hindi movies getting released containing 896 songs. Lata Mangeshkar got to sing in 47 of these movies and she sang 160 songs in these movies. So Lata Mangeshkar’s voice was heard in 41 % of the movies released in 1957. Her voice was heard in 18 % of the songs appearing in the movies of 1957. .
Here are the details of songs sung by Lata Mangeshkar in Hindi movies released in 1957 :-
| S N | Movie | Music director | Lata song in the blog | Lata HFM songs recorded in the year | Lata solo songs | Male duet | Female duet | Other songs | Lyricists |
|---|---|---|---|---|---|---|---|---|---|
| 1 | Ab Dilli Door Nahin | Dattaram | 1 | 1 | 1 | 0 | 0 | 0 | Hasrat Jaipuri |
| 2 | Anjali | Jaidev | 2 | 2 | 2 | 0 | 0 | 0 | Nyay Sharma |
| 3 | Asha | C Ramchandra | 3 | 3 | 3 | 0 | 0 | 0 | Rajinder Krishan |
| 4 | Baarish | C Ramchandra | 4 | 4 | 2 | 2 | 0 | 0 | Rajinder Krishan |
| 5 | Bandi | Hemant Kumar | 1 | 1 | 1 | 0 | 0 | 0 | Prem Dhawan |
| 6 | Begunaah | Shankar Jaikishan | 3 | 3 | 2 | 1 | 0 | 0 | Hasrat Jaipuri (2) Shailendra (1) |
| 7 | Bhaabhi | Chitragupta | 5 | 5 | 3 | 2 | 0 | 0 | Rajinder Krishan |
| 8 | Champakali | Hemant Kumar | 7 | 7 | 4 | 3 | 0 | 0 | Rajinder Krishan |
| 9 | Changez Khan | Hansraj Bahl | 2 | 2 | 1 | 0 | 1 | 0 | Qamar Jalalabadi + Verma Malik (1) Saraswati Kumar Deepak (1) |
| 10 | Chhote Baabu | Madan Mohan | 4 | 4 | 2 | 2 | 0 | 0 | Indeewar (2) P L Santoshi (2) |
| 11 | Dekh Kabira Roya | Madan Mohan | 4 | 4 | 3 | 0 | 0 | 1 | Rajinder Krishan |
| 12 | Do Aankhen Baarah Haath | Vasant Desai | 5 | 5 | 5 | 0 | 0 | 0 | Bharat Vyas |
| 13 | Do Roti | Roshan | 5 | 5 | 4 | 1 | 0 | 0 | Khumar Barabankvi |
| 14 | Ek Gaaon Ki Kahaani | Salil Chaudhary | 4 | 4 | 2 | 2 | 0 | 0 | Shailendra |
| 15 | Ek Jhalak | Hemant Kumar | 0 | 1 | 1 | 0 | 0 | 0 | S H Bihari |
| 16 | Ek Saal | Ravi | 4 | 4 | 3 | 1 | 0 | 0 | Prem Dhawan (3) Ravi (1) |
| 17 | Fashion | Hemant Kumar | 3 | 3 | 0 | 1 | 1 | 1 | Bharat Vyas |
| 18 | Gateway of India | Madan Mohan | 4 | 4 | 2 | 1 | 0 | 1 | Rajinder Krishan |
| 19 | Hill Station | Hemant Kumar | 3 | 3 | 2 | 1 | 0 | 0 | S H Bihari |
| 20 | Jalti Nishaani | Anil Biswas | 4 | 6 | 4 | 2 | 0 | 0 | Qamar Jalalabadi |
| 21 | Janam Janam Ke Phere | S N Tripathi | 3 | 5 | 3 | 1 | 0 | 1 | Bharat Vyas |
| 22 | Jeewan Saathi | Bulo C Rani | 0 | 1 | 1 | 0 | 0 | 0 | Kumud Tripathi |
| 23 | Kathputli | Shankar Jaikishan | 7 | 7 | 6 | 1 | 0 | 0 | Shailendra (5) Hasrat Jaipuri (2) |
| 24 | Kitna Badal Gaya Insaan | Hemant Kumar | 1 | 2 | 2 | 0 | 0 | 0 | S H Bihari |
| 25 | Krishna Sudaama | Husnlal Bhagatram | 0 | 2 | 2 | 0 | 0 | 0 | Qamar Jalalabadi |
| 26 | Laal Batti | Salil Chaudhary | 1 | 1 | 1 | 0 | 0 | 0 | Majrooh Sultanpuri |
| 27 | Mirza Saahibaan | Sardul Kwatra | 0 | 1 | 1 | 0 | 0 | 0 | Verma Malik |
| 28 | Miss India | S D Burman | 4 | 4 | 3 | 1 | 0 | 0 | Rajinder Krishan |
| 29 | Miss Mary | Hemant Kumar | 6 | 6 | 3 | 2 | 1 | 0 | Rajinder Krishan |
| 30 | Mother India | Naushaad | 7 | 7 | 4 | 1 | 1 | 1 | Shakeel Badayuni |
| 31 | Musaafir | Salil Chaudhary | 3 | 3 | 1 | 2 | 0 | 0 | Shailendra |
| 32 | Naag Lok | Ramlal Heera Panna | 0 | 2 | 2 | 0 | 0 | 0 | Gopal Singh Nepali (1) Saraswati Kumar Deepak (1) |
| 33 | Nausherwaan e Adil | C Ramchandra | 5 | 5 | 3 | 2 | 0 | 0 | Parwez Shamshi |
| 34 | Naya Zamaana | Kanu Ghosh | 1 | 4 | 3 | 0 | 1 | 0 | Prem Dhawan (3) Bharat Vyas (1) |
| 35 | Neel Mani | Chitragupta | 0 | 4 | 4 | 0 | 0 | 0 | Gopal Singh Nepali (3) Bharat Vyas (1) |
| 36 | Paayal | Hemant Kumar | 4 | 7 | 3 | 3 | 1 | 0 | Rajinder Krishan |
| 37 | Pardesi | Anil Biswas | 1 | 1 | 1 | 0 | 0 | 0 | Prem Dhawan + Sardar Jafri |
| 38 | Paying Guest | S D Burman | 2 | 2 | 2 | 0 | 0 | 0 | Majrooh Sultanpuri |
| 39 | Raam Hanuman Yudhh | S N Tripathi | 4 | 5 | 4 | 1 | 0 | 0 | Shailendra |
| 40 | Raam Laxman | Avinash Vyas | 2 | 3 | 3 | 0 | 0 | 0 | Bharat Vyas |
| 41 | Saakshi Gopal | Chitragupta | 0 | 4 | 2 | 2 | 0 | 0 | Bharat Vyas |
| 42 | Samundar | Madan Mohan | 4 | 4 | 3 | 1 | 0 | 0 | Rajinder Krishan |
| 43 | Sant Raghu | Avinash Vyas | 1 | 1 | 0 | 1 | 0 | 0 | Bharat Vyas |
| 44 | Shaahi Baazaar | Dhaniram | 0 | 1 | 0 | 1 | 0 | 0 | Aziz Kashmiri |
| 45 | Shaarda | C Ramchandra | 2 | 2 | 1 | 0 | 1 | 0 | Rajinder Krishan |
| 46 | Sheroo | Madan Mohan | 1 | 1 | 1 | 0 | 0 | 0 | Kaif Irfani |
| 47 | Talaash | C Ramchandra | 2 | 4 | 4 | 0 | 0 | 0 | Rajinder Krishan |
| Total | 47 movies | 22 MDs | 129 | 160 | 110 | 38 | 7 | 5 | 23 lyricists |
Lata Mangeshkar tied up with music directors Dattaram, Kanu Ghosh and Ramlal Heerapanna for the first time in this year. Likewise she tied up with lyricists Nyay Sharma, Parwez Shamshi and Ali Sardar Jaffry for the first time in 1957.
Here is the summary of Lata Mangeshkar’s playback career in Hindi movies till end of 1957 :
| Year | Movie count | Lata song in the blog | Lata HFM songs recorded in the year | Lata solo songs | Male duet | Female duet | Other songs | Remarks |
|---|---|---|---|---|---|---|---|---|
| 1946 | 3 movies | 4 | 4 | 4 | 0 | 0 | 0 | |
| 1947 | 3 movies | 5 | 5 | 3 | 1 | 0 | 1 | |
| 1948 | 16 movies | 50 | 50 | 37 | 6 | 4 | 3 | |
| 1949 | 38 movies | 134 | 157 | 103 | 35 | 12 | 7 | |
| 1950 | 36 movies | 114 | 143 | 93 | 32 | 14 | 4 | |
| 1951 | 49 movies | 189 | 223 | 158 | 52 | 10 | 3 | |
| 1952 | 43 movies | 149 | 177 | 138 | 31 | 4 | 4 | |
| 1953 | 45 movies | 170 | 195 | 149 | 35 | 5 | 6 | |
| 1954 | 43 movies | 140 | 172 | 144 | 23 | 4 | 1 | |
| 1955 | 50 movies | 165 | 218 | 177 | 30 | 10 | 1 | |
| 1956 | 49 movies | 168 | 204 | 153 | 35 | 13 | 3 | |
| 1957 | 47 movies | 129 | 160 | 110 | 38 | 7 | 5 | |
| Total upto 1957 | 422 movies | 1407 | 1708 | 1269 | 318 | 83 | 38 |
By the end of 1957, Lata Mangeshkar had sung in 422 movies. In these movies, she had worked with 89 music directors and 85 lyricists.
Out of 47 movies of 1957, all Lata Mangeshkar songs have been covered in the blog in 31 movies. So we have only 16 movies of 1957 still available from where we can discuss Lata Mangeshkar songs.
Alphabetically the first such movie is “Ek Jhalak”(1957).
This movie was produced by Deep Khosla and Pradeep Kumar and directed by Kalidas for Deep and Pradeep Productions, Bombay. The movie had Vyjyantimala, Pradeep Kumar, Anita Guha, Rajendra Kumar, Pran, Mubarak, Lalita Pawar, Bipin Gupta, Randhir, Om Prakash, Hira Sawant, Rashid Khan, Tuntun, CV Rao, Patanjali, Gajendra, Amin, Fazal Khan, Saar, Deep Khosla etc in it.
The movie had nine songs in it. Seven songs have been covered in the past.
The movie had one Lata song and that was a solo song.
Here is that Laa Mangeshkar song from “Ek Jhalak”(1957). This rare song is penned by S H Bihari. Hemant Kuamr is the lyricist.
The song, which I heard for the first time just now, sounds like an archtypical chhaayaageet song, which is best heard late at night.
Only the audio of the song is availavle. I request our knowledgeable readers to throw light on the picturisation of this song.
Song-Ye hawa ye fizaa ye raat hai taaron bhari(Ek Jhalak)(1957) Singer-Lata, Lyrics-S H Bihari, MD-Hemant Kumar
Lyrics
aa aa aa
aa aa aa
aa aa aa
aa aa aa aa
ye hawa
ye fizaa
ye raat hai taaron bhari
aa bhi jaa
dilruba aarzu hai ye meri
ye hawa
ye fiza
ye raat hai taaron bhari
aa bhi jaa
dilruba aarzu hai ye meri
ye dil mera abhi to hai jawaan
ye pyaar ke zamaane phir kahaan
ye dil mera abhi to hai jawaan
ye pyaar ke zamaane phir kahaan
aa do kadam
mere sanam
paas hai manzil teri
aa bhi jaa
dilruba
aarzu hai ye meri
ae jaan e jaan
mujhe na ab sata
bahaar keh rahi hai muskura
sun le zara
kehna mera
hai iltiza ye meri
aa bhi ja
dilruba
aarzu hai ye meri
ye hawa ye
fiza
ye raat hai taaron bhari
aa bhi ja
dilruba
aarzu hai ye meri
Koi geet manohar nyaara
Posted on: December 6, 2020
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.
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Blog Day : |
4524 | Post No. : | 16083 |
Today’s song is from the film 300 Days and after-1938. This was a film made by Sagar Movietone. Based on an English film “A Billionaire’s story “, directed by the famous Haward Hawks. The film was adapted to indian conditions by Babubhai Mehta and the dialogues were written by Wazahat Mirza and Waqif. Music was by Anil Biswas and the 9 songs were written by Zia Sarhadi. Cinematographer was Faredoon Irani. The film was a comedy film directed by Sarvottam Badami. Later he further directed two more comedies – Aap ki Marzi and Ladies Only both in 1939.
Badami was a living example of the famous saying ” where you come from is immaterial. What is important is where you have reached. ” An ordinary Motor Machanic became a famous film director, Head of the Documentary section of Films Division and a management consultant for an Industrial House like the Kamanis in Bangalore. His life story is very inspiring indeed.( another Motor Mechanic became a famous writer and director-Gulzar).
Sarvottam Badami was born in 1910 at Channapatna in Karnataka,to a revenue officer working in Mysore. He passed his SSLC and worked as a garage mechanic and then a projectionist in Select Picture House, Bangalore, both of which were owned by Dr. Ambalal Patel. Patel moved to Bombay and financed Ardeshir Irani of Imperial Film Company, and Chimanlal Desai as a partner forming Sagar Movietone in 1930.
At the age of 19 years, Badami went to Bombay to study automobile engineering. He was asked by Ardeshir Irani who met him at a wedding to help out with the recording equipment he had purchased from abroad.
Badami helped in the sound recording department for the first Talkie in India, Ardeshir Irani’s Alam Ara (1931). Around that time a German director making the film Harishchandra left half-way and Badami offered to complete it, the co-director was Raja Chandrasekhar, although the co-director credit has also been cited as T. C. Vadivelu Naicker. The film turned out to be successful. He was contracted by Sagar Movietone (Sagar Film Company) to direct three films, two in Telugu and one in Tamil: Galava Rishi (Tamil), Rama Paduka Pattabhishekam and Shakuntala in Telugu. The success of these films established him as a director. His working team had people like the cinematographer Faredoon Irani, music director Anil Biswas and the Sagar Movietone favourites Sabita Devi and Motilal.
Initially, to avoid embarrassment to his family he requested not to be credited in the regional language films. He did not know Hindi but from 1932-1947, he worked for Sagar Movietone and also directed nearly 30 films in Hindi, for many others. His first Hindi film was Chandrahasa (1933) starring Noor Mohammed Charlie. He was paid Rs 2000 per film with the complete film being made within Rs 50,000. He worked with most of the top actors of the time like Motilal, Nargis, Ashok Kumar and Pahari Sanyal. He brought Mehboob Khan who was then doing roles as an extra out of obscurity and gave him the role of Sabita Devi’s father in the film Vengeance is mine(1935).
He made several films based on novels. Some of the writers whose work he used were K.M.Munshi, Sarat Chandra and Ramanlal Vasanthlal Desai. The film Aap ki Marzi (1939) was inspired by the Hollywood film Paradise for Three (1938). He became known for his satirical comedies and “socially relevant films”.His film Grihalaxmi (1934), which starred Jal Merchant and Sabita Devi had the woman getting into marriage only if her doctor husband agreed not to want children. The success of the film mitigated the enraged public reaction at the time.
He showed his understanding of media publicity required for films when in 1937, Badami resorted to woo audiences by announcing cash prizes of Rs.500, Rs.200 and Rs.100 for the best reviews of his newly released film Kulvadhu (1937). The promotional gambit worked sending audiences to the theatres. According to an interview, most of Badami’s films didn’t survive as the negatives were burnt to extract the silver from the silver nitrate.
After Aap ki Marzi-38, he followed his mentor, Dr. Patel and joined Sudama Pictures, when in 1939, Sagar Movietone merged into National Films. Badami
also worked in Famous Cine Laboratories, from 46 to 48.
Apparently, in 1948 Deputy Prime Minister Vallabh bhai Patel, who was then also in charge of the Information Ministry, on a visit to the Cine Laboratories Bombay, asked Badami to help set up a NewsReel and Documentary section. The Films Division was established in 1948. He became chief producer in the newsreel department and made several documentaries. He worked in the Films Division making documentaries from 1948-1952. After that he stopped making films and returned to Bangalore to retire as “I was a forgotten man in the feature film world”. He became an industrialist by starting a manufacturing business. Later he worked as a Consultant for Kamani Group of Industries also. He died in 2005 in Bangalore, Karnataka, India.
FILMOGRAPHY: 1932: Harishchandra; Galava Rishi; Paduka Pattabhishekham; Shakuntala; 1933: Chandrahasa; 1934: Grihalakshmi; 1935: Dr. Madhurika; Vengeance is Mine; 1936: Jeevan Lata; Grama Kanya; 1937: Kokila; Kulavadhu; 1938: Three Hundred Days and After; 1939: Aap Ki Marzi; Ladies Only; 1940: Chingari; Sajani; 1941: Holiday in Bombay; 1942: Khilona; 1943: Prarthana; 1944: Bhagya Lakshmi; 1945: Ramayani; 1946: Uttara Abhimanyu; 1947: Manmani; 1951: Vinoba Bhave (Doc);1952: Roof over the head
(Ack: Sapnon ke saudagar by Vithal Pandya, Sagar Movietone by Biren Kothari, HFGK, muVyz, Encyclopedia of Indian Cinema, and my notes)
The cast of the film was Sabita Devi, Bibbo, Motilal, Yakub, Sankata prasad and many more. Though Motilal was the Hero, his name came after two leading ladies as they were seniors and he was comparatively a junior actor. Sabita Devi was a beautiful Anglo Indian girl who joined films in the silent film era. When Talkie started, she too had a problem of Hindi speaking and singing, like all other non indian girls in films in those days. She was a determined lady and she , just like Ruby Meyers (sulochana), learnt Hindi to speak and did singing lessons too, by taking a one year’s gap in career.
The real name of Sabita Devi was IRINA GASPER. She was an Anglo-Indian, born in an affluent family of Calcutta, in 1914.
After completing education she wanted to join films, but her family objected. Without the family’s knowledge, she sent her resume and Photo to British Dominion Film Co., owned by Dhiren Ganguly in Calcutta. When they informed their consent the family resisted and kept her locked in the house. She fell ill and finally, the family conceded to her wish.
Her first Silent film was Flames of Flesh-1930. Then came Kanthahaar, A touch of Love, After the death, Aparadhi, Money makes what not and Bhagyalaxmi as silent films.
When the talkie came, she determinedly learnt Hindustani and Urdu and also Music.
Her first Talkie film was Radhakrishna-33, in which she sang 16 out of 23 songs in the film, but no records were made. Next was Ek din ka Badshah-33. She shifted to Bombay for better opportunities. In 1934,came Shahar ka Jaadu,with Motilal as a debut actor and this film was a Hit. Later she and Motilal became a popular pair.
She did many films. Her some films were-
300 days and after, Apki marzi, kokila, Kulvadhu, Amrapali, Ladies only, Chandragupta, Chingari, Dr.madhurika, grihalaxmi, holiday in bombay, Jeevan Lata, King for a day, Lagna bandhan, Manmaani, , Phantom Of the hills, Silver king, vengeance is mine, Village Girl etc etc. In all, she acted in 23 Talkie films and sang 15 recorded songs in 7 films.
She was a good Piano and Harmonium player. In later days in 1943 onwards, she stopped singing herself. Her last picture was Amrapali-45.
In 1946, she got married and left for England. She came back again only to die in Calcutta in 1965.
The other leading lady in the film was Bibbo, whose real name was Ishrat Sultana. Besides being an actress, she was also India’s First Woman Music Director.
Film 300 Days and after-38 was a popular film which was a comedy.
I started seeing films from almost the end of the 40’s decade. During that period, some films of the 30’s were still being shown in the Morning shows in specific theatres of Hyderabad. These theaters were known to show old films at concessional rates. The tickets started at 4 Annas, 6 annas, 8 annas and 12 annas for Balcony. So, it was affordable to me. The Morning shows used to be only on Fridays, Saturdays and Sundays at 11 a.m. Invariably, I used to miss school on saturdays and see different films on Saturday and Sundays regularly. As a habit, I used to note down the seen film’s details in a notebook. I remember having seen this film in Royal Talkies in Hyderabad. This way I was lucky to see some films from the 30’s. The story of this film was….
Sudhir (Motilal) is a bachelor billionaire,doing nothing and enjoying life to the fullest with wine, women and gambling. As a result, his health starts falling prematurely when he is just 25-26 yrs only.
one day he falls down and a Doctor is called. After many tests and inspection of everything his family doctor tells him that because of his wayward living and uncontrolled lifestyle he is suffering from many ailments.If he treats them now, he may get all those again and again. The only remedy is Sudhir should do hard manual work, exercises and lead a simple living, which,the doctor says, Sudhir will never be able to do.
Sudhir is angry. He challenges the doctor that he will leave all his wealth, go out in the world, do physical work and earn money for himself. The doctor takes a bet with him and the deal is Sudhir should go out for 300 days without using a single paisa from his existing wealth for himself. Sudhir is ready for this.
Next day Sudhir goes out with a few ordinary clothes, little money and a strong will to face the big bad world.
The film is full of funny situations when Motilal gets different jobs and does not know how to do them. First he tries to work as a Vegetable vendor, but he does not know the names of any vegetable.
He even takes some fruits as vegetables,to sell. Next he tries to work as an assistant in a Barber shop, where he shaves off half the mustache of a customer. He tries to work as a car driver and a Tram ticket collector also.
Finally, he joins as a worker in a Soap factory, where he has to drive sometimes Seth’s wife -Ramola devi(Bibbo), who tries to entice him. Sudhir starts liking a typist girl in the factory Sharada(Sabita Devi). Sharada teaches music to Ramola, wife of Seth Laxmi Das. Motilal takes her everyday to the tuition. They start loving each other. Motilal stays with a kind hearted Vegetable vendor woman as a tenant. She tends to him , feeds him well and takes his care as her son.
Suddenly the Factory must close down due to some loss. All workers are worried. Motilal secretly sends his own money to Sethji as an anonymous partner. The Factory is saved.
Now in this all jumble, 300 days come to an end. Surprisingly Motilal finds himself absolutely fit, healthy and understands the meaning of true life and Love.
He goes back to the doctor to claim his bet money, which he donates to a school.
Sudhir marries Sharada and brings the kind vegetable vendor lady as his family member to live with him for ever.
Today’s song is sung by Sabita Devi.
Song- Koi geet manohar nyaara (300 days and after)(1938) Singer- Sabita Devi, Lyricist- Zia Sarhadi, MD- Anil Biswas
Lyrics
Koi geet manohar nyaara
Koi geet manohar nyaara
nit gaaye saanjh ka taara
nit gaaye
nit gaaye saanjh ka taara
Koi geet manohar nyaara
Koi geet manohar nyaara
mera ghar ho nadi kinaare ae
mera ghar ho nadi kinaare
mera ghar ho nadi kinaare
jahaan pushp hon pyaare pyaare
mera ghar ho nadi kinaare
mera ghar ho nadi kinaare
jahaan pushp hon pyaare pyaare
rahoon ban mein saanjh sakhaare
rahoon ban mein saanjh sakhaare
sun geet manohar nyaara
sun geet manohar nyaara
nit gaaye saanjh ka taara
nit gaaye
nit gaaye
nit gaaye saanjh ka taara
Koi geet manohar nyaara
Koi geet manohar nyaara
Hai koi dil lene waala
Posted on: December 3, 2020
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.
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Blog Day : |
4521 | Post No. : | 16079 | Movie Count : |
4391 |
Today’s song is from a film which is 82 years old – Baazigar-38.
It was released just 2 years before I was born. The word Baazigar means a Juggler, Magician, an Illusionist – one who can create magic or one who has the capacity to do the unimaginable things. Perhaps, like a person who wins unexpectedly at the last minute after losing all the while, or one who turns the tables when no one expects him to do so. I have not seen this film, nor I know about its storyline, but my guess is, it must be a story of a person who was daring and changed the game in his favour when everyone thought that he would surely lose it.
There were 4 films called Baazi – made in 1951,1968,1984 and 1995 and then there were 4 films called Baazigar made in 1938, 1959, 1972 and 1993. There was even a film Baazigar-The Iron Man-2008, which was dubbed from a South Indian film.Today’s film Baazigar-38 was made by Ranjit Movietone. In the early era of the Talkie films, Ranjit was a respected big name. The spirit behind Ranjit Movietone was Chandulal Shah – who was a Baazigar himself in this film. An ordinary low level operator in the Cotton market built an empire in the film industry, like a true Baazigar, indeed !
Hindi film industry’s growth in the early years of 20s to 40s was contributed by 2 major communities. One of them was the Gujarati businessmen who immediately identified this business as the future gold mine. The other major community was the Local Marathi, who lent their brain and hard work to this industry. As the time went by, people from Punjab, U.P., Bengal and other states of India joined hands to help this industry to prosper. However, till the mid 50s it was the Gujarati Sethias who poured the finances. Financiers like Sampat Sheth, Gokuldas Pasta, Manik Sheth Patel, Chunilal Munim, Mangaldas Parekh, Abdulali Yusufali, Mohd. Ali Rangwala, Chimanlal Desai, Bhogilal Dave, Mayashanker Bhatt etc only supplied the money, but never dabbled in other departments nor did they learn anything about the film making, more than what was needed to get some profits.
One person, however, was different. CHANDULAL SHAH. He not only put crores of rupees in film making, but also learnt the technique and art of making films, direction, building organisations of producers, developing political connections and what not. He did everything that was needed to become a successful filmmaker and a leader in the industry. That is why Baburao Patel called him “Sardar”. Chandulal Shah made his company Ranjit Movietone, a force to reckon with.
Chandulal Shah belonged to Jamnagar-Gujrat. He was born on 13-4-1898. He was into the cotton trade and used to visit Bombay frequently. Later he started working in Bombay Stock Exchange. He used to visit the Laxmi films, nearby to watch shootings. On one occasion, the director of a silent film ” VIMLA “-1925 fell very sick and on the recommendation of a solicitor friend, Chandulal Shah got an opportunity to direct the balance film. Impressed by his work style he was offered 2 more films. He left the Stock Exchange job and took up the film line completely.
From Laxmi, he shifted to Kohinoor Film Company, where he met actress Gauhar Jan Mamajiwala, who became his mate for the next 50 years till he died. Gauhar used to feature in his films. With Gauhar, he did GUNSUNDARI in 1927 and in 1934 (silent and Talkie respectively).
This film was a tremendous hit and it helped them to establish their own film company, Ranjit Movies in 1929. In the next 3 year’s time they made 39 silent films. After the advent of Talkie, they changed the name of Ranjit to Ranjit Movietone. Chandulal liked to do things only kingsize. Thus he established Ranjit studios with 4 large sound stages. He also hired around 300 people in the beginning. They made ,on an average, 6 feature films every year. His studio was an assembly line production house. At a time at least 5 to 6 films were being made in his studios. He had a big army of famous Actors, Writers, technicians, directors, Music directors etc. on his payroll.
Actors like Gauhar jaan, Bilimoria, Nirupa Roy, Motilal, Madhuri, Khursheed, and K L Saigal, Music directors like Gyan Dutt, Bulo C Rani, Khemchand Prakash etc, Lyricists and writers like Kidar Sharma, Pradeep, Saadat Hasan Manto and many others were on his Payroll.
Chandulal was very proud of his empire and used to advertise ” There are more stars in Ranjit than in the sky “. At the peak time, there were about 700 people employed in Ranjit and the Government had opened a Ration shop in his studio premises for the workers’ benefit ! Khemchand Prakash did 20 films in Ranjit from 1940 to 1945, Gyan Dutt 25 films from 1937 to 1943 and Bulo C Rani did 20 films from 1943 to 1954 here.
From 1929 to 1963 Ranjit made Silent films-39, Tamil-1, Marathi-1 and Hindi Talkie films 120
Unfortunately due to a fire, except 7 talkie Hindi films, all other films were destroyed. Chandulal Shah was an active person. Besides filmmaking he took interest in many Cine Associations and also led delegations abroad. He was a keen Horse racer, better and a Gambler.
In 1944, in one day he lost ONE CRORE TWENTY FIVE LAKH rupees in cotton betting and that was the beginning of his downfall. He had to mortgage all his and Gauhar jaan’s properties, but it could not save Ranjit from ruins. He returned to Film Direction to make money and his First film after 14 years was PAAPI-1953. It had the hit pair of those times-Raj Kapoor and Nargis. For the First time Raj Kapoor did a double role, but the film flopped. Clearly the times were bad for Chandulal. All his kundali was topsy turvy !
He tried 3 more films, all failed. His last film was ‘Akeli mat jaiyo’-1963.A man who ruled an Empire started travelling in local trains and buses.
Chandulal Shah died on 25-11-1975.
The year 1938 was a year in which the film industry was trying to shed the “carried forward” load of the Silent era and make a new beginning towards a better future. Many new production houses, actors, directors and composers were in full steam and churned out films after films. major studios contributed heavily to the total films made that year. Ranjit made 5 films, New Theatres-4, Bombay Talkies-3, Mohan Pictures-6, Sagar Movietone-6, Minerva Movietone-4, Mohan Bhavnani-4, Prakash Pictures-4 etc.
In 1938, Master Bhagwan debuted as a Director with Bahadur kissan, Renuka Devi (Begum Khursheed Mirza) debuted as an actress with Bhabhi, Meenakshi Shirodkar debuted in film Bramhachari, Lalita Pawar produced a film Duniya kya hai. Surprisingly, all these 3 Heroines were married at the time of their Debut. There was a variety in film subjects – comedy, suspense, crime, social, mythological, social evils, stunts, adventure, historical, musical and various other Genres were tried in films. If one goes through the films made this year, it indicates the way the film industry was growing in its initial years.
Baazigar-38 a Costume Drama by Ranjit was directed by Manibhai Vyas- who started his career from the Silent era and became an independent Talkie director with Dukhiyari-1937. He directed 26 Talkie films. His last film was Bajrang Bali-1976. The cast of the film was Khatun, Trilok Kapoor, N M Charlie, Ila Devi, Anis, Suresh etc.etc. All the 13 songs of the film were written by P L Santoshi and Gyan Dutt provided the music.
Iladevi was a new name. Even after efforts, no information was available to me about her. From the question-answer column of the magazine Film India, I learnt that Ila Devi’s original film name was Miss Ilmas. I do not know in which religion or community, this name is used.After making her debut in Hindi films in ‘ Nishan -E- Jung ‘-1937, she changed her name to Ila Devi and acted in 6 more films. Four films in 1938 (Billi, Bazigar, Rikshawala and Gorakh Aaya) and two films in 1939 (Adhuri Kahani and Kahan hai teri manzil). After this her name is not found in any films, when I checked.
This change of name, after using one name in a film, is not unique, though,this seems to be the First such instance. I know, off hand, at least two more such instances in Film industry. Actress Ameeta (Tumsa nahi dekha fame) had used name Jaijaiwanti in her first film Thokar-1953 ( her second film kaafila -52 was released first as Ameeta,however), but she changed it to her name Ameeta from next film onwards. ( her real name was Qamar Sultana). The second example is actress Zeb Rehman who was known first as Preetibala, then she changed her name to Zeb Rehman.
There is another name ‘ Khatun ‘ in the cast. Miss Khatun Bano was born and brought up in a poor Muslim family of Lahore. As per the family tradition, she learnt dancing and singing. Once, when she was performing on stage in Lahore, the Talent hunter of Sagar movietone spotted her and she was offered a role in a Talkie film- which was a novelty in 1931. Her first film was Abul Hasan-31. Then came Subhadra haran-32, Meerabai-32, Maya Bazar-32 etc etc. In all, she acted in 59 films, till her last film Ibrat-60. She also sang 25 songs in 12 films.
Today’s song is sung by Rajkumari Dubey and Noor Mohd. Charlie, as per the uploader’s information on the You Tube. With this song film Baazigar-38 makes its Debut on this Blog.
Song-Hai koi dil lene waala (Baazigar)(1938) Singers- Rajkumari Dubey, Charlie, Lyricist-P L Santoshi, MD- Gyan Dutt
Lyrics
Haan aan aan aan aan
hai koi dil lene waala
le lo jee
lo lo dil mol
haan aan aan aan aan
hai koi dil lene waala
le lo jee
lo lo dil mol
haan aan aan aan
kya tum dil bechti ho
haan
mera dil hai itna bhola
chot lage sah jaaye
mera dil hai itna bhola
chot lage sah jaaye
mera dil hai itna komal
dhoop lage murjhaaye
mera dil hai itna komal
dhoop lage murjhaaye
le lo jee
le lo dil mol
le lo jee
le lo dil mol
haan aan aan aan aan
hai koi dil lene waala
le lo jee
lo lo dil moi
haan aan aan aan aan
aise bhole komal dil ko
dil mein band rakhoonga
aise bhole komal dil ko
dil mein band rakhoonga
chot na lagne doongaa sajni
dhoop na lagne doongaa aa
chot na lagne doongaa sajni
dhoop na lagne doongaa
kya keemat hai bol
kya keemat hai bol
dil ka sauda dil se baalam
dil de de
dil le le
dil ka sauda dil se baalam
dil de de
dil le le
dil hai ye anmol ol
dil hai ye anmol ol
haa aan aan aan aan
hai koi dil lene waala
le lo jee
lo lo dil moi
haan aan aan aan aan
Ae mere swapan ke waasi
Posted on: November 26, 2020
This article is written by Arunkumar Deshmukh, a fellow enthusaist of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4514 | Post No. : | 16066 |
Today’s song is from the film Kurukshetra-45. This was a film made by Unity Productions, Calcutta. The film was directed by Rameshwar Sharma. This is an unknown name. I could only find that he had directed only 3 films…Bhakta Kabir-1942, Kurukshetra-45 and Vaasana-52. All these films were made by Unity productions, so maybe he was from Calcutta. The Lyricist was Jameel Mazhari – another new name. He seems to have written songs for only this film. The Music Director was Pandit Ganapat Rao.
I tried hery hard to get some information about this MD, but to no avail. However, what I know about him is….Pt.Ganapatrao Gurav,the Music director of this movie was basically a Classical singer and was the first batch disciple of Ustad Karim Khan,the founder of Kirana Gharana. He was a Court Musician in the state of Jamkhandi, Karnataka. He hailed from Ratnagiri dist.of Maharashtra and was a respected figure in classical circles.
However,like some other classical singers of his time,he too ventured in Film music and gave music to Kurukshetra and Bebus(1950) featuring Bharat Bhushan and Poornima.
He returned to classical singing and today his Grandson Pt .Kaibalyanath is an accomplished singer awarded A grade by AIR and Doordarshan,in addition to many awards. There is an annual Pt.Ganapatrao memorial festival conducted by India Habitat Centre also.
The cast of the film was K L Saigal, Nawab kashmiri, Shyamlo, Udwadiya, Radharani, Agha Mehmood kashmiri, Tara, Kamal kant etc.etc. There were 14 songs in the film. Four songs-all sung by Saigal are already on the Blog. Today’s song will be the fifth song here.
The Film indicates 2 names, which are cases of ” Same Name Confusion”. Radha Rani and Kalyani – singer of today’s song. There were 2 singer actresses by the name of Radha Rani. One was from Bombay and the other was from Calcutta. Today’s Radha Rani is Calcuttewali.
This Radha Rani was born in 1903 at Jiaganj, Murshidabad in West Bengal. She was from a rich Marwadi family settled in Bengal for many generations. Her Bangla was very good. After the demise of her father, her mother established a Gopal ji Mandir at her residence.
Listening to kirtans from in house offerings and also from visitors, she developed a liking for devotional songs. She was trained by Keertania Harimakhan Das and then Manju Ustad. She was trained in Thumris and Ghazals by Ustad Dabeer Khan. She stayed in Behrampur to learn music.
She started giving performances. In one such performance, the Zamindar of Jiaganj, Surendranath Singh heard her. Impressed with her, he brought her to Calcutta and she was exposed to theatre ,Radio and films. Her first silent film was Sreekant-30. Then she acted in several silent films like in which she worked with Debki Bose, Sabita devi, Dhiren Ganguly etc etc. She cut several private records for Hindustan Records company. She sang pala Keertan songs which became very popular.
New Theatres took her in ‘ Yahudi ki Ladki ‘-33. Subsequently she also acted in film ‘ Kashinath-43’ from New Theatres. She acted in only films made in Calcutta and by Calcutta companies. She did many Bangla films.
Radha Rani also gave playback in 4 Hindi films,namely- Mukti-37, Nartaki-40, Aandhi-40 and Irada-44. She worked in Hindi films till only 1947. How long she worked in Bangla films, I do not know. This Radha Rani expired on 22-8-1997 at Calcutta, at the ripe age of 94 years.
Filmography in Hindi- Silent films like Srikant-30, Flames of Flesh-30, Panchsaar-30, After the Death-31, Money makes what not-31 etc Talkie Films- Yahudi ki ladki-33, Daku ka Ladka-35, Daksha Yagnya-35, Kadkati Bijli-36, Khudai Khidamatgar-37, karmaveer-38, Kashinath-43, Shri Ramanuj-43, Kurukshetra-45, Baap-46 and Aisa Kyun-47.
The other Same Name Confusion name is that of singer Kalyani. There were 2 singer actresses with the same name Kalyani. One was mainly active in Bombay films and the other was active in Calcutta films. Since this is the first time, I give notes on both the artistes.
Kalyani Bai (1920-2009) (real name – Zarina) was an actor-singer who was trained in classical singing. She sang khayal, thumri and ghazals for All India Radio and recorded such genre of songs for HMV. This led her to a filmy career in Calcutta in 1934 as an actor-singer. After some struggle, she was employed with New Theatres and she acted in films like ‘Anaath Ashram’ (1937), ‘Mukti’ (1937), and ‘President’ (1937) in which she also sang some songs for herself.
In 1937, Kalyani Bai left New Theatres and joined Ranjit Movietone in Bombay (Mumbai). Her first film with Ranjit Movietone was ‘Toofaani Toli’ (1937). In the 40s, she appeared to have become a free-lancer, although I find that she worked in more films directed by VM Vyas of Sunrise Films than other banners. She was one of the singers in the famous All-Women qawwali in the film Zeenat-1945. Her last film as an actor-singer was ‘Ghar’ (1945). However, she lent her voice for other actresses in films released during 1947-54. She also acted in small roles in a few films of the 1970s and probably early 80s. She later married Seth Chirauddin Bakar. She had 2 sons and a daughter from him. She retired and settled in Bombay. She died on 1-10-2009.
Kalyani Das was a playback singer who started her career in Hindi films from Calcutta with PC Barua’s ‘Jawaab’ (1942) and ended her playback singing career in Hindi films with ‘Iran Ki Ek Raat’ (1949). She also sang for a few films made in Bombay. To the best of my knowledge, she did not act in any films.
It is not so difficult to segregate ‘Kalyanis’ as both of them worked in Calcutta at different times. Kalyani Bai worked in films produced in Calcutta up to 1937 whereas Kalyani Das commenced her playback singing career from Calcutta from 1942 onward. She mostly worked for music director Kamal Dasgupta (8 out of 11 Hindi films in which she was playback singer). She sang 37 songs in 11 films….Jawab-42, meghdoot-45, Kurukshetra-45, Zameen Aasmaan-46, Prem ki Duniya-46, Bindiya-46, Manmaani-47, Giribala-47, Faisla-47, Swayamsidha-49 and Iran ki ek raat-49.
Films made with the name ” Kurukshetra ” were many, made in different languages. As per the CITWF (complete index to world films) data, such films were made in 1933, 1945, 1977, 1983, 1987, 1988, 2000 and 2008. The oldest Kurukshetra was produced by Chhatrapati Cine Co. Kolhapur , Directed by Sardar Balasaheb Yadav, Music by Bhurji khan Saheb and the cast included Balasaheb Yadav, Madhavrao, Joshi, Nandrekar, Hansa, Padma etc. It was a Mythological movie
Film Kurukshetra-45 was released on 17-5-1946 in New West End theatre, Bombay, where it ran only for 4 weeks. According to the review in magazine ‘ Film India’ of July 1946, the film was not liked by the audience. As usual the editor criticised the director and the story/dialogue writer-Kamalkant Varma. This Sharma-Varma pair spoiled the film, as per the review. It was, however, all praise for Saigal and the Music Director. Personally, I was not much impressed with any song of this film, but still, I find today’s song much better in tune, music and the rendition by Kalyani Das.
Song-Ae mere swapan ke vaasi (Kurukshetra)(1945) Singer- Kalyani Das, Lyricist-Jamil Mazhari, MD- Pt. Ganpatrao (Gurav)
Lyrics
Ae mere swapan ke vaasi
Ae mere swapan ke vaasi
aa jaa
aa jaa
aa jaa
aa jaa
aa jaa
aa jaa aa aa aa aa
ae mere swapan ke waasi
ae mere swapan ke waasi
aa jaa
aa jaa
aa jaa
bhhenee bhheenee basant ritu mein aen
bhhenee bhheenee basant ritu mein
?? ka tyohaar manaa jaa
aa aa aa
madhur madhur sangeet bhari ??
madhur madhur sangeet bhari ??
hriday patal par chhaa jaa
hriday patal par chhaa jaa
ae mere swapan ke waasi
ae mere swapan ke waasi
aa jaa
aa jaa
aa jaa
aa jaa aa aa aa aa
ae mere swapan ke waasi
ae mere swapan ke waasi
aa jaa
aa jaa
aa jaa
dukh ke saagar ka ??jaa
ankhiyaan tarse
daras dikhaa jaa
baaghon mein bhanwre goonj rahe
kaliyon ka munh choom rahe
tu bhi mukh dikhlaa jaa aa aa
ae mere swapan ke waasi
ae mere swapan ke waasi
aa jaaaa
- In: "Ganga" song | "Jamuna" song | Artist century song in blog | Calling the beloved | Century songs for the blog | Dance song | Duet | Geeta Dutt songs | Rare song | Shamshad Begam -Geeta Dutt duet | Shamshad Begam songs | Songs of 1940s (1941 to 1950) | Songs of 1950 | Yearwise breakup of songs
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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.
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Blog Day : |
4511 | Post No. : | 16060 |
Today (23 november 2020) is the 90th birth anniversary of Geeta Dutt (23 November 1930- 20 July 1972). I was aware of this fact yesterday itself, seeing that I had received several contributions for the occasion. Moreover, this date, which happens to be a monday, is also a day when I present my weekly series of Lata Mangeshkar songs sung in a particular calender year- a very research heavy project. So, my hands were full on sunday (22 november) preparing for all these articles to be published on 23 november 2020.
By late night on 22 november 2020, I had four articles ready, one for Lata Mangeshkar and three for Geeta Dutt, to be published on the morning of 23 november 2020. I had plans to post another article on Geeta Dutt (this one), as that article was going to be a special article on the occasion of Geeta Dutt’s birth anniversary.
I was not the only one who was busy on sunday. It turns out that our own Gajendra Khanna was also busy. A big Geeta Dutt fan and the administrator of Geeta Dutt site geetadutt.com, Gajendra Khanna had prepared a one hour long programme on the occasion and had left a link of the programme on our whatsapp group. I listened to this programme in the morning. As is his wont, Gajendra Khanna’s programme was extremely well researched and contained new, eye opening informations. It was through this programme that I realised that Geeta Dutt (nee Roy) had not made her debut in Hindi movies in 1946, but it was in 1945 in “Aadhaar”(1945). HFGK contains very sketchy information on this movie and mentions name of movie characters as singers. “Aadhaar” (1945) is her first Hindi movie as a playback singer. I notice that a song Aayi balloon waali aayi re in Geeta Dutt’s voice (alongwith S N Tripathi) is actually posted in the blog with correct attribution. That was thanks to information provide by geetadutt.com, ofcourse. HFGK mentions this song as sung by Shehzaadi. Shehzaadi could well be the name of the character who lip syncs this song in the movie.
This programme also contains some other interesting information about Geeta Dutt. For instance, she has sung over 90 songs in Gujarati. She has also sung in Bangla (her mother tongue), Marathi, Punjabi etc. What is very special is the fact that she sounds a natural in all these languages. For instance, Gajendra Khanna finds her Punjabi diction impeccable in her Punjabi language song that he played in his programme.
It is unfortunate that her married life turned out to be disastrous and such a god given singing talent like hers, that should have blossomed, instead got withered and finally got cut short prematurely, because of the after effects of her unhappy marriage with Guru Dutt.
Despite all the circumstances that impeded her after her marriage, Geeta Dutt has still left us with more than a thousand songs to savour. The blog has 899 songs so far and this article is being written to mark the 900th song of Geeta Dutt in the blog. I was wondering what song to showcase as her 900th song in the blog. Most of her well known songs, including iconic songs are already showcased in the blog. Many of the songs not yet covered either did not fit the bill, or their audio quality was not upto the mark, or the genre of the song did not suit the occasion.
I covered a song that I thought was a nice discovery. But a few hours later it was pointed out that the song was already covered in the past.
So it was back to the drawing board.
Now I have picked another special song. This song is from an obscure movie called “Putli”(1950). “Putli”(1950) was produced and directed by Wali Sahab for Punjab Film Corporation, Bombay. The movie had Mumtaz Shanti ,Pran, Yaqoob, Husn Banu, Srinath, Majnu, Prem Dhawan, Ramesh Thakur, Sheela Naik etc in it.
The movie had eleven songs in it. Four songs have been covered in the past. HFGK mentions singers only for three songs. The singers mentioned for these songs are Meena Kapoor for all three songs and a male voice in one of these three songs. There is no mention of singers for remaining eight songs.
What is special about this song is that HFGK is silent about the singers of this song. On listening to the song, it is clear that the song contains the voices of Geeta Dutt and Shamshad Begam. So this song is a “new” discovery as a Geeta Dutt song as well as a Shamshad Begam song.
Uploader of the audio of the song mentions Harikrishn as the lyricist and Aziz Hindi as the music director. While the music director matches with the entry of HFGK, the lyricist does not as HFGK is silent about the lyricist. HFGK Wali Sahab and Abid Gulrej are mentioned as the two lyricists. I think that the uploader of this song has more information about this song as he may have taken this information from the record label.
With this song, Geeta Dutt now has exactly 900 songs in the blog as a playback singer. It is befitting that she should reach this mark on the occasion of her 90th birth anniversary today. What a delightful song to bring up this occasion.
As a great coincidence, this song is the 700th song for Shamshad Begam in the blog and she too completes her century with this song.
PS-Sadanand Kamath Jee has located the video of the song. He identifies the two female dancers as Sheela Naik (lip syncing in Geeta Dutt’s voice) and Cuckkoo (lip syncing in Shamshad Begam’s voice).
Audio
Video
Song-Kabhi ganga ke paar kabhi jamuna kinaar (Putli)(1950) Singers-Geeta Dutt, Shamshad Begam, Lyrics-Harikrishn, MD-Aziz Hindi
Both
Lyrics
kabhi ganga ke paar
kabhi jamuna kinaar
chale aana
main tera intezaar karoongi
ho chale aana
main tera intezaar karoongi
ho naina chaar karoongi
tohe pyaar karoongi
hoy naina chaar karoongi
tohe pyaar karoongi
chale aana
oye bhool na jaanaa
main tera intezaar karoongi
ho chale aana
main tera intezaar karoongi
kabhi ganga ke paar
kabhi jamuna kinaar
chale aana
main tera intezaar karoongi
ho chale aana
main tera intezar karoongi
ooo tu jo dil dega balma
main jaan de doongi
haaye main jaan de doongi
aur main hans hans kar
aur main hans hans kar donon jahaan de doongi
aur main hans hans kar donon jahaan de doongi
o o o
tu jo dil dega balma
main jaan de doongi
aur main hans hans kar donon jahaan de doongi
jaan de kar bhi
jaan de kar bhi tera deedaar karoongi
jaan de kar bhi tera deedaar karoongi
chale aana
main tera intezaar karoongi
ho chale aana main tera intezaar karoongi
kabhi ganga ke paar
kabhi jamuna kinaar
chale aana
main tera intezaar karoongi
ho chale aana main tera intezaar karoongi
lalalaa lalla lalla la
lalalaa lalla lalla la
lalalaa lalla lalla la
lalalaa lalla lalla la
mere angna mein
haaye mere angna mein saavan ke mele piya
aa aa aa aa
mere angna mein saavan ke mele piya
aa aa
kaise dekhoon akele akele piya
haaye
akele piya
tum jo aao
tum jo aao main saula-singaar karoongi
tum jo aao main saul-singaar karoongi
chale aana main tera intezaar karoongi
ho chale aana main tera intezaar karoongi
kabhi ganga ke paar
kabhi jamuna kinaar
chale aana
main tera intezaar karoongi
ho chale aana
main tera intezaar karoongi
gehri gehri nadiya hai
gehri gehri nadiya aur door kinaara re
door kinaara
gehri gehri nadiya aur door kinaara re
door kinaara
tere bina koi nahin apna sahaara re
haaye apna sahaara
apni naiyya ko
apni naiyya ko nadiya ke paar karoongi
apni naiyya ko nadiya ke paar karoongi
chale aana main tera intezaar karoongi
ho chale aana main tera intezaar karoongi
kabhi ganga ke paar
kabhi jamuna kinaar
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