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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 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 :

3899 Post No. : 14949 Movie Count :

4085

Today’s song is from an old, obscure film, Paak Daman-40.

The meaning of the word Paak Daman is Spotless Character. It has several other meanings depending on its usage. Generally this word is used to describe a woman of Chastest character and without any blemish.

Paak Daman was first made in 1931, the very first year of the Talkie films. Then it was made in 1940 and finally it was made in 1957. Paak Daman was a popular stage drama of early 1900’s. There were many versions of this story with minor variations,like names and place etc. The Parsi Urdu Theatre version was written by Agha Hashra Kashmiri, then famously known as ” Shakespeare of India”. The Parsi Gujarati plays were written by various authors. Syed Yawar Ali penned the script for the ” Moon Parsi Theatre”. The Alfred Drama Company had their own version of the story. In 1932, a film called ” Paak Daman Raqaasa aka Innocent Rakkasa or innocent Dancer or निर्दोष नर्तिका ” was made by Elephanta Movietone, Punjab. But I guess it was not one of these versions, just like the 1957 movie.

Paak Daman-1931 with Rampyari and Hyder Shah was based on a Gujarati play and Paak Daman-40 was written by Agha Hashra Kashmiri for the Urdu Parsi Theatre. This was a small budget movie, with not so popular star cast. It’s shoe-string budget did not allow any advertisements in Film India or other film magazines or papers or any other media like Hoardings in major towns. For all such low budget films the usual method of making advertisement was by distributing handbills from bullock carts ( छकडा ) with a one piece band consisting of ताशा or ढोल. The handbills would be printed in Urdu or local languages and distributed in predominantly Muslim majority area of the towns.

The film was produced by Stage Film Company and was directed by Rustom Modi. The film was censored on 20th October 1940 and released first in Lahore. Most of the film cast was drawn from Urdu Parsi Theatre to save money. Actors like Mohd. Ishaq (as Jaandaar, the King), Abu Baker(as drunkard), K.Pawar(as Bhangedi), Sonaba(as Afimi), Mehboob(as Baldy), Faqir Mohd(as Guardian) and Krishnabai as Dancer, were taken along with regular actors like Ghulam Mohammed(as Safadar Jung), Firoz Dastur(as Jameel). The female cast was Meera Devi(as Razia), Menaka Hyderabadi(as Sayeeda, the Heroine) and Leela Hyderabadi( as Nadira). These female actors were stage actresses from Urdu parsee Theatre in the 1930’s. They had played these roles so often on stage that all the dialogues were byheart to them. They had done small roles in films but went unnoticed,perhaps due to being uncredited.

The film was directed by Rustom Modi, who was the elder brother of Sohrab Modi. To understand the background of making of this film, we have to first take a look, in short, at the early build up of the careers of the Modi brothers.

Born on 2-11-1897, Sohrab Modi and his elder brother Rustom Modi spent their initial years in the Parsi community in Bombay, where their father was a Civil servant. The brothers were no good students in studies but were more interested in acting on stage. After their family shifted to Rampur in United Province (today’s Uttar Pradesh), when Sohrab was about 15 year or so, he used to read Urdu Books from library of Nawab of Rampur, with whom his father worked as a Superintendent. This made Sohrab an expert in Urdu Language and diction. Coupled with his love for sports and body building, he soon became an impressive young man.

As he was growing, his brother Rustom helped him and he started doing small roles in stage dramas. At one stage his roles in “Khoon ka khoon”and “Saeed E Hawas” won laurels from the audience. By then Rustom had started his own drama company “The Arya Subodh Natak Mandali”. In 1931, Talkie films started and people were attracted to them. Sensing a danger to drama companies, Rustom Modi established “Stage Film Company” and filmed their “Khoon ka khoon aka Hamlet” and ‘Saeed E Hawas” in 1935 and 1936 respectively. However since people had already seen these dramas, these 2 movies did not click to expectations.

Sohrab Modi realised that film making was a different game entirely. So, in 1936, the brothers started Minerva Movietone and a new film “Atma Tarang” was made. It was also received with a tepid response, with just 20 persons for the first show. Sohrab was disappointed, however, some critics appreciated his effort and encouraged him to go ahead. Soon he made successful films like Meetha Zahar-38, Divorce-38, Pukar-39 and Bharosa-40 and so on.

Rustom Modi, however, continued with his dramas and making films on dramas. On this background Rustom Modi made Paak Daman in 1940- again with his stage artistes. This time, there was a good response and the old timers enjoyed the film reminiscing what they had earlier seen as a Urdu Parsee Theatre drama.

The film had a second title of “Shaheed Naaz”. The story, dialogues, screenplay and Lyrics were by Agha Hasra Kashmiri. The music director K.M.Pawar, besides doing a small role in the film, also doubled as a Choreographer along with Master Chhota.

The story of the film was…..

The king Jahandaar was a Noble and honest ruler. He used to roam about in his kingdom in a Faqir’s disguise. In his absence, his close courtier Safdar jung used to look after the kingdom. Safdar was a cruel and immoral person. He had deserted his own wife Nadira, after fully enjoying her chastity.

A young man Jameel had used a girl Razia and abandoned her. She complained to Safdar Jung. Jameel was caught and sentenced to death. Jameel’s sister was Saeeda. Beautiful Saeeda goes to Safdar and begs for cancellation of death sentence. Safdar asks her to spend one night with him as a gift in return to this favour. He gives her time to think and come back.

While returning, Saeeda meets the Faqir( king in disguise), who enquires what is wrong. Saeeda tells him all. King is very angry. He discloses his identity to Saeeda and asks her to find and bring Nadira. The three of them hatch a plot.

Next day, Saeeda informs Safdar that she is ready to do as he wants, provided there is total darkness and no talk in that period. He gladly agrees. In the darkness of night Nadira replaces Saeeda and Safdar spends time with her, thinking that she is Saeeda.
Next day Nadira appears in Darbar and asks Safdar to take her back. The Faqir also reveals himself and Saeeda tells the truth of the night. Safdar is stunned. The king orders Safdar to take back Nadira and leave the court-if not he will be executed. Jameel is released but has to marry Razia.

Jameel’s role was done by Firoz Dastur, who started with films, but became a well known classical singer of India. Firoz Dastur or Feroze Dastur (30 September 1919 – 9 May 2008) was an eminent vocalist of Kirana Gharana and a film actor.
Dastur was part of Indian Film Industry in 1930s, acting in a few films by Wadia Movietone and other film banners. In 1933, when Wadia Movietone under JBH Wadia, released its first talkie film, he performed classical songs as child actor in film Lal-e-Yaman. But his first love was Indian Classical Music.
He was the disciple of Sawai Gandharva, whose other disciples were Bhimsen Joshi and Gangubai Hangal and a regular performer at Sawai Gandharva Music Festival for several years, well into his late 80s.
Dastur died on 9th May 2008 in Mumbai after a brief illness. He was 89.

He acted in 16 films- from Laal e yaman-33 to Gul e Bakavali-47. He sang 60 songs in 19 films. Last he sang in film Bhumika-77.

He also gave music to 2 films,composing 17 songs ( Sunehra Baal-38 and Gul e Bakavali-47)

Safdar’s role was done by Ghulam Mohammed. 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. Chodhary. He was in main role with actress Sulochana 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 buy a luxury car in the 1930s.

Ghulam Mohammad was an all round actor and appeared as hero, villain and supporting actor in more than 60 movies in the 1930s-40s. He played the main villain role in the first ever colored film Kissan Kanya from Bombay in 1937. He was in title role with Noorjahan in Lahore based Punjabi film Chodhary 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).

Ghulam Mohammad was almost in every second Pakistani film in the 1950s. He was born in 1900 in Lahore and died on March 10, 1961. He appeared in more than 500 stage dramas and fought as soldier in the WW1 in Baghdad, Iraq. He was best known as Chacha (Uncle) in film circles.

Today’s song is extremely rare song, says uploader- our own Sadanand ji Kamath. The song is based on Raagdari, which one, I could not identify as I am not an expert. Considering this is a recording done almost 80 years ago, it is still in good condition, except at few places. It is confirmed that the Lyrics were by Agha Hashra Kashmiri. The Music Director K.M.Pawar was employed in Rustom Modi’s stage film company.

( My thanks to ” Forgotten movies on Muslim Culture,1933-1947″ ,by Kamalakar ji Pasupuleti, “Stages of Life; Indian Theatre autographies ” by Kathryn Hansen, HFGK, MuVyz,www.pak.mag,Listener’s Bulletin and my notes).

The movie as well as the singer Kaka Ji make their debuts in the blog with this song.


Song-Ae ae ae ae jagmaali (Paak Daaman)(1940) Singers- Phiroz Dastur, Kaka ji, Lyrics- Agha Hashra Kashmiri, MD- K M Pawar

Lyrics

ae ae ae ae
ae ae ae ae jagmaali
ae ae ae ae
ae ae ae ae jagmaali
Phooli dali dali
Chhaayee nirali,
Rangwali laali
hariyaali
ae ae ae ae
ae ae jagmaali
ae ae ae ae jag
gun gaati bhaanti koyaliya kaali
gungaati bhaanti koyaliya kaali
Chhaayee niraali
Rangwaali laali
hariyaali
ae ae ae ae ae ae
jagmaali
ae ae ae ae
ae ae jagmaali

bhanwar papeeha mor uthh bhor
bhanwar papeeha mor uthh bhor
chaaron oar jape tero naam
chaaron oar jape tero naam
waari
kunjan kunjan mein
phoolan ke ban mein
kunjan kunjan mein
phoolan ke ban mein
acharaj man mein
hansat basat hai
acharaj man mein
hansat basat hai
chhav tori niraali
rangwaali laali
hariyaali
ae ae ae ae jagmaali
ae ae ae ae jagmaali

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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 : 3898 Post No. : 14945

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Blog ten year challenge (2009-2019)- Song number 20
——————————————————–

Today (21 march 2019) is the festival of Holi. Indian festivals are based on Indian festivals and so they fall on different days in different years vis a vis Gregorian Calender). For instance, ten years ago in 2009, Holi festival had taken place on 11 march.

It is not possible to have Ten year challenge for Holi festival songs, because first, the festival falls on different days in different years of Gregorian calender (as discussed above). Secondly, one movie normally has only one Holi song. I have yet to come across a movie that has two separate Holi songs.

This article is not a Holi song, but it is a “Blog Ten Year Challenge” song nevertheless. And it is a very special song as we will come to know soon enough.

Seven songs from seven different movies were covered in the blog on 21 march 2009. Out of these movies, “Dhoop Chhaaon”(1935), “Acchut Kanya”(1936), “Aag”(1948) , Anaadi”(1959) and “Kaaliya”(1981) have been YIPPEED by now. So that leaves only two movies viz “Jantar Mantar”(1964) and “Chaandni”(1989) that are eligible for blog ten year challenge today (21 march 2009).

The movie “Jantar Mantar”(1964) was directed by Radhakant for Omkar enterprises, Bombay. This “kalpnik” movie, which basically means a C grade movie, had Mahipal, Vijaya Chaudhary, Ulhas, Sherri, Jeewankala, Babu Raje, Mridula, Qamar, Ghanshyam, Ajeet Kumar, Dubey, Kesri, Saiyyad, Rajmala, Madhumati etc in it.

The movie has six songs. One song from this movie has been covered in the past. And that one song was discussed exactly ten years ago on 21 march 2009. One song covered in 21 march 2009 and then no khoj khabar of this movie for full one decade. Bahut naainsaafi hai !

That one song from this movie was a Rafi-Suman Kalyanpur duet. The second song from this movie, which is being discussed today after exactly ten years is a Rafi-Suman Kalyanpur duet as well. And this is no ordinary Rafi-Suman Kalyanpur duet. This song, a rare song, is the one hundredth Rafi-Suman Kalyanpur duet in the blog.

With this song, Rafi-Suman Kalyanpur become the seventh singing duo to have a century of their duet songs in the blog. Here are the details of these singing duos:

singing duo Number of duet songs in the blog
Rafi-Asha Bhonsle 518
Rafi-Lata 335
Kishore Kumar-Asha Bhonsle 219
Kishore Kumar-Lata 193
Mukesh-Lata 139
Rafi-Geeta Dutt 107
Rafi-Suman Kalyanpur 100

The song is penned by Hasrat Jaipuri. Music is composed by Sardar Malik. This song is picturised on Mahipal and Vijaya Chaudhary. Incidentally, a song of Anu Malik, Sardar Malik’s son and Hasrat Jaipur I’d nephew was covered in the blog earlier today.


Song-Jaadu dekhe tone dekhe (Jantar Mantar)(1964) Singers-Rafi, Suman Kalyanpur, Lyrics-Hasrat Jaipuri, MD-Sardar Malik
Both

Lyrics

jaadu dekhe tone dekhe
dekhe sab jantar
bigdi baat bana dete hain
pyaar ke do mantar
main hoon pyaasi prem deewaani
aisi baat na kar
main hoon teri tu hai mera
manchaahe dilbar

main door kahin jaaun
aakaash ke taaron mein
ulfat ko nibhaaungi
toofaan ke dhaaron mein
toofaan ke dhaaron mein
hum donon ki ek lagan hai
dil mein dil ka ghar
main hoon teri tu hai mera
manchaahe dilbar

jaadu dekhe tone dekhe
dekhe sab jantar
bigdi baat bana dete hain
pyaar ke do mantar

ye pyaas to saagar hai
main doob ke jaata hoon
tere hi ujaalon se
har cheez ko paata hoon
har cheez ko paata hoon
lab par tera naam suhaana
duniya ka kya darr
bigdi baat bana dete hain
pyaar ke do mantar
jaadu dekhe tone dekhe
dekhe sab jantar
bigdi baat bana dete hain
pyaar ke do mantar

kyun dekhoon kisi ko main
tum meri mohabbat ho
jeewan ka sahaara ho
aankhon ki ibaadat ho
aankhon ki ibaadat ho
koi na samjhe dil aurat ka
hota hai mandir
main hoon teri tu hai mera
manchaahe dilbar

jaadu dekhe tone dekhe
dekhe sab jantar
bigdi baat bana dete hain
pyaar ke do mantar


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 :

3896 Post No. : 14937 Movie Count :

4079

Today’s song is from the film Jungle mein Mangal-47. This was a stunt C grade movie made by Harishchandra Pictures. The film was directed by Baburao Badodekar- a name I heard for the first time. No wonder, because in those days, when stunt films were made by the dozen an year and at a cost of Rs. 30 to 40 thousand, getting quality directors for them was not possible. A seasoned Cameraman or an actor from even stage drama used to double as director of such movies for about 1 or 2 thousand rupees per film. The song writers used to get 10 to 15 rupees per song and unknown composers used to get lured by the prospect of seeing his name in the booklet, name in the film credits and about 2 or 3 thousand rupees per film.

Munshi Shyam was the Lyricist for this movie. Initially, I used to laugh at such hybrid names, but as the time went by I realised that the poets thought differently about their Takallus (pen name), probably considering it as an exclusive identity. Many Lyricists flaunted their hometown name with their Pen names- like Sahir Ludhiyanvi (Abdul Hai), Majrooh Sultanpuri (Asrar Hasan Khan), Arzoo Lucknowi (Syed Anwar Hussain), Anjum Jaipuri (Osman Khan Rehmani) etc etc.

This film’s music was by Nandram Omkar ji. he was the exclusive composer of Harishchandra Pictures and gave music to only 5 of their films, namely, Jungle mein Mangal, Barrister and Azad Jeevan-all of 1947, Sone ki Chidiya and Bahadur Jeevan of 1948. No other information about him as to where from he came or where to he went , is available. From the name, he seems to be a Rajasthani person. The cast of the film was Harishchandra Rao, Latika, Dalpat, Munshi Shyam, Balram etc etc.

After I started writing posts on old film songs, my outlook to the life changed completely. This world was something new for me. I was able to use whatever knowledge I had gathered over my past life span. Of course my diaries, which I was habituated to maintain after seeing every film seen, came very handy. Everything was going smoothly and one day something happened.

I was the Chairman of our Housing Society for over 10 years. Our recent Treasurer in our society was one Mr. Ramesh Advani. After we worked together for few years, one day he casually said that he was the son of Bhudo Advani-the yesteryear comedian. i was stunned. Even in my dreams I had not imagined that I would some day be in close contact with some actor’s close relative. I was excited and told him that I want to interview him, so that first hand information about his father can be put on Internet. He agreed and called his elder sister also and one full day I talked to them, making notes and selecting old photographs from their albums.

Soon the interview was posted on http://www.memsaabstory.com, a Blog site belonging to an American enthusiast and a lover of Hindi old films. The response was beyond my expectation. After this I became alert and grabbed all opportunities to interview close relatives of old actors. Without going into details of every instance, I can only say that I could interview daughter of Parshuram, son in law of Mirza Musharraf, grandson of early era stunt star Shankarrao Vazare, Son of Heroine Indurani, daughter of yesteryear Heroine Latika- among the few I have contacted and collected first hand information about the artistes concerned.

Ms. Cindy Bell, daughter of actress Latika (Heroine of today’s film also) reacted to one of my posts on this Blog, in which I had said that Latika was a Jew. Cindy wrote in her comment that Latika was not Jew etc. I got in touch with her- first by E mail and then by Phone ( she is in London). She sent Latika’s detailed information to me from London, where Latika was living in 2014, with her sons and daughter.

In the year 2014, I got in touch with Ms. Sindy Bell, daughter of Latika and a resident of London, U.K. Sindy was kind enough to provide me a brief note on her Biography. Latika had acted only in 13 films from 1944 to 1948.

” Latika was born 13th October, 1924 in Darjeeling. Her Tibetan name was Hungu-Lamou. Her mother was Tibetan. Her father was an Australian who adopted Buddhism, living in India as a race horse trainer for the Maharajas. He died when Latika was still very young leaving her with a newly born brother. As a child, Latika was sent to the Kalimpong girl’s orphanage also called ‘The Homes’ for her education by her mother and new step-father until she was 16. Her mother had four more children, her half-brothers and sisters.

The Homes (one for girls, one for boys) were founded by a Scottish missionary, so as a child, Latika was christened Agnes and this is the name she uses in England. Her mother was Buddhist, her step-father, an Anglo-Indian by the name of Webber, was a Protestant but Buddhism was the prevalent faith among her surrounding family of aunties and uncles in Darjeeling.

Latika’s step-father was an engineer who built bridges and due to his work, when she was a teenager, they moved to Mumbai. It was there that Latika made friends with a neighbour who was a kathak dancer and actress. She was invited to visit the Minerva film studios and was there spotted by the director Sohrab Modi and offered the opportunity to act. This was where she was given the stage name Latika, which she is still called by friends and family in India to this day.

In those days, all the scripts were in Urdu which she read beautifully and also learnt kathak dancing. I’m sure you already know the 12 films Latika acted in from the mid 1940’s to early 1950’s, in particular the film Gopinath with Raj Kapoor (1948), where she played the ‘femme fatale’ and her lovely dance sequence in Jugnu (1947).

Latika had always had a respect and interest in holy writings. It was during this period that she met a Jehovah’s Witness who was able to explain the bible, not as a church book, but as holy writings, it’s answers to the ‘big’ questions we all ask and it’s promised blessings. It satisfied all of Latika’s questions about life, so she became a Jehovah’s Witness.

It was while as an actress she met and eventually became friends with Gope at the studios. To this day, Latika says he was the kindest, most compassionate man she ever met. They married and, at Gope’s request, Latika retired from the film industry.

Latika did introduce Gope to the bible. He would read by himself (or as my mother would say, ‘exclaim in delight!’), passages from it, early mornings on the verandah before work. She said he was particularly taken with the accounts of Jesus and how tenderly he treated people. To her surprise, of his own volition, he too become a Jehovah’s Witness.

Gope had a large house in Juhu which also came to house all Latika’s family. When we saw it, it had became a hotel but I’m not sure what has happened to it now.

Before Gope’s death, they had two sons, Gope Jr, and Lalith. When Gope suddenly and unexpectedly died, when the boys were three and five, mum decided to join her siblings who had earlier migrated to the UK. I came from her second marriage.

Latika is still alive and very well and living in the UK. She is in her 90th year, still beautiful. My niece’s second name is Latika and Gope Jr’s two sons bear the (second) name of Gope also. Latika has a big family with grand-children and great grand-children, all from Gope’s lineage. ”

Harishchandrarao and Chandrarao Kadam- this brother pair of actor-producer-director was famous in the circle of stunt film crowds, both onscreen and off screen.

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

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

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

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

In the cast one finds the name Dalpat. Not much information was available about him. Here is what I found on Fb group ‘Vo din yaad karo’. This is written by shri M N Sardana ji. Thank you, sir for this bit of information.

Dalpat (Joshi) was also stunt artist . A tall, sophisticated and suave person mostly appeared in negative roles . Dalpat was a part of Wadia’s unit since its inception and played the role of villain in the stunt movies ,which used to have Fearless Nadia and John Cawas or occasionally some other hero, apt in performing stunts .

Owing to the unprecedented popularity of Miss Nadia , other film makers also cast her along with Mr John Cawas and Mr Dalpat in their similar type of stunt movies for which she was known . After her era was over ,Basant Pictures concentrated their energy in making Mythological and Arabian Night movies ,in which Dalpat Saab always had a role . Later in 50s, studio system came to an end and actors and technicians who learned their art from their benevolent master Homi Wadia , looked for assignment from other producers.

One may call it as destiny or lack of initiative on the part of Mr Dalpat Ram , he was offered only costume /stunt/religious movies by outside producers . Mr Dalpat ,who did a stint of production controller for few movies, was reverentially called Dalpat Kaka owing to his age ,seniority and status by film folks. Dalpat acted in 121 films, from Hoor e Baghdad-34 to Toofani Takkar-78.

Today’s song is one of the more rare songs, according to its up loader- our own Sadanand Kamath ji. He says, none of the songs from any of the films of Nandram Omkar ji are available on You Tube. So, this happens to be the first and the only song available on You Tube today. Thanks, Sadanand ji. This song is sung by an unknown Male singer with chorus. With this song, the film and the MD make their debut on the Blog.


Song-Roz kunwaa khoden bhai roz piyen paani(Jungle Mein Mangal)(1947) Singer-Unknown male singer, Lyrics-Munshi Shyam, MD- Nandram Omkar ji
Chorus

Lyrics

ho ho
he he he
he he he

Roz kunwaa khoden bhai
Roz kunwaa khoden
roz piyen paani
ye hai ghareebon ki zindgaani
ye hai ghareebon ki zindgaani
Roz kunwaa khoden bhai
Roz kunwaa khoden
roz piyen paani
ye hai ghareebon ki zindgaani
ye hai ghareebon ki zindgaani

he he
he he he
he he
he he he
he
he
he he
he he

sukh mein khushi hai
na dukh mein hai ranzo gham
sukh mein khushi hai
na dukh mein hai ranzo gham

sukh mein khushi hai
na dukh mein hai ranzo gham
sukh mein khushi hai
na dukh mein hai ranzo gham

is jag mein yoon hi bita dete hain ham
is jag mein yoon hi bita dete hain ham
is jag mein yoon hi bita dete hain ham
apna ladakpan budhaapa jawaani
ye hai ghareebon ki zindgaani
apna ladakpan budhaapa jawaani
ye hai ghareebon ki zindgaani
ye hai ghareebon ki zindgaani

Roz kunwaa khoden bhai
Roz kunwaa khoden
roz piyen paani
ye hai ghareebon ki zindgaani
ye hai ghareebon ki zindgaani

he he he he
he he he he
he he he he
he he he he
hey
he he
he he
he he
he he

dharti se ham nikaalen paani aur daana
dharti se ham nikaalen paani aur daana
dharti se ham nikaalen paani aur daana
dharti se ham nikaalen paani aur daana
haan is par bhi roothha hai hamse zamaana
is par bhi roothha hai hamse zamaana
haan is par bhi roothha hai hamse zamaana
isne hamaari kadar hi na jaani
ye hai ghareebon ki zindgaani
isne hamaari kadar hi na jaani
ye hai ghareebon ki zindgaani
ye hai ghareebon ki zindgaani

Roz kunwaa khoden bhai
Roz kunwaa khoden
roz piyen paani
ye hai ghareebon ki zindgaani
ye hai ghareebon ki zindgaani

hup ho ho
hup ho ho
hoy hoy
ho
ho ho ho
ho ho ho
ho ho
ho ho
ho ho ho
ho ho ho
ho ho


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 : 3894 Post No. : 14934

“Aarambh”(1976) was directed by Gyan Kumar for Prerna Pictures, Calcutta. This obscure social movie had Rakesh Pandey, Rama Vij, Kishore Kapoor, Bipin Gupta, Rohin Kumar, Kalyan Chatterji, Chandrakala, M L Daga, Trilochan Jha, Nanu, B P Tiwari, Madan Sudan, Ravi Yagnik, Surendra Gupta, Tej Bahadur, C R Tenani, Naval Joshi, Akhtar, Gayatri Mukherji, Laxmi Chaaya etc with Master Piyush (new discovery) and Pallavi Mehta (guest role) etc in it.

This movie had four songs in it. Three of these songs have been covered in the past.
Here are the details of the songs from the movie that have been covered so far:-

Song Title

Post No.

Post Date

Sabhi sukh door se guzren 5199 26-Dec-2011
Waadiyon mein kho jaayen ham tum 7542 22-Feb-2013
Tumhaare bina o sajna adhoori hoon main 14690 12-Oct-2018

Here is the fourth and final song from “Aarambh”(1976) to appear in the blog. The song is sung by Aarti Mukherji. Shri Shalabh is the lyricist. Music is composed by Anand Shankar.

Only the audio of the song is available. Assuing that Rama Vij was the leading lady of the movie, my guess is that this song was picturised on her (playing a wronged lady) standing near a piano (being played by the hero) where she is blessing the hero despite being wronged. 🙂

Nevertheless, I request our knowledgeable readers to throw light on the picturisation of this song.

I have not been able to get one word right in the lyrics. I request our readers with keener ears to help fill in the blanks/ suggest corrections as applicable.

With this song, all the songs in the movie are now covered and “Aarambh”(1976) joins the list of movies that are YIPPIED in the blog. This movie becomes the 150th movie starting with the letter “A” that has been YIPPIED in the blog. 🙂


Song-Khush rahe tu ke khushi ki shama jalti rahe (Aarambh)(1976) Singer-Aarti Mukherji, Lyrics-Shri Shalabh, MD-Anand Shankar

Lyrics

khush rahe tu ke khushi ki shama jalti rahe ae
khush rahe tu ke khushi ki shama jalti rahe
zindagi pyaar ke saanche mein sada dhalti rahe ae
khush rahe tu ke khushi ki shama jalti rahe

manzilen khud hi miley raah se teri aakar
manzilen khud hi miley raah se teri aakar
tere jazbaat e tamanna ki raushni paa kar
teri azmat mein
azmat mein
nihaan rasme wafa milti rahe ae
khush rahe tu ke khushi ki shama jalti rahe ae
khush rahe
khush rahe ae
khush rahe tu

zindagi phoolon bhari geeton bhari ho teri ee
zindagi phoolon bhari geeton bhari ho teri
bas yahi ek dua tere liye hai meri
tere gulshan mein kali kali
khwaabon mein pali khilti rahe ae
khush rahe tu ke khushi ki shama jalti rahe
zindagi pyaar ke saanche mein sada dhalti rahe ae
khush rahe tu ke khushi ki shama jalti rahe ae
khush rahe tu
khush rahe ae
khush rahe tu


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 : 3894 Post No. : 14930

“Jail Yatra”(1947) was produced and directed by Gajanan Jageerdaar for Jaageerdaar productions, Bombay. This “Social” movie had Gajanan Jageerdaar, Kamini Kaushal, Raj Kapoor, Harish, Bikram Kapoor, Badri Prasad, Sunalini Devi, Dixit, Ramlal, Hemavati, Pratima Devi , Sagar, Munawwar Khan, Rammurty, Satyanarayan, Ramlal, Shamlal etc in it.

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

Here is the third song from “Jail Yatra”(1947) to appear in the blog. This song is sung by Ninu Majumdar and Meena Kapoor. Sajjan is the lyricist. Music is composed by Ninu Majumdar.

Only the audio of the song is available. From the sounds of it, the song appears to be a dance song. Gajanan Jageerdaar , the hero of the movie, most probably lip synced in Ninu Majumdar’s voice. I am less sure about the lady lip syncing in Meena Kapoor’s voice. I request our knowledgeable readers to throw light on the picturisation of this song.


Song-O gori kahaan chali us paar (Jail Yaatra)(1947) Singers-Ninu Majumdar, Meena Kapoor, Lyrics-Sajjan, MD-Ninu Majumdar

Lyrics

o gori kahaan chali us paar
o gori kahaan chali us paar
chhod ke gaanvon ki bahaar
arri sun
mor bole ho
aeji mor bole
mor bole mor bole ho

rasiya jaaungi us paar
bulaate hain jagmag baazaar
rasiya jaaungi us paar
bulaate hain jagmag baazaar
man hamaar dole ho
man hamaar dole ho

gori rum jhum rum jhum baaje
saawan ki bauchhaar
gori rum jhum rum jhum baaje
saawan ki bauchhaar
rasiya chhoom chhananchhan baaje
rasiya chhoom chhananchhan baaje
paayal ki jhankaar
rasiya chhoom chhananchhan baaje
paayal ki jhankaar

hamaara hara bhara hai gaanv
hamaara hara bhara hai gaanv
aam ki thhandi thhandi chhaanv
arri sun mor bole ho
aeji more bole
mor bole mor bole ho


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 :

3888 Post No. : 14919 Movie Count :

4074

Today (11 march 2019) finds myself out of my comfort zone, viz outside my base and away from the familiar routine. Today I am in Lucknow and I will be here for three days.

I thought that it is a capital city and so I would be blessed with good internet connection, namely high speed internet and wi fi, but that is not the case. So I am dependent on my dongle and I am thankful that at least this is working, even if slowly. I hope to at least ensure that my days here are not dot days as far as the blog is concerned.

Here is a song from “Dhanyawad”(1948). This remonstrating with the Almighty genre of song is sung by Meena Kapoor. Lyrics are by Sajjan (the character artist). Music is composed by A R Qureshy.

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

With this song, “Dhanyawad”(1948) makes its debut in the blog.


Song-Main roti hoon tum hans rahe ho krishn muraari(Dhanywaad)(1948) Singer-Meena Kapoor, Lyrics-Sajjan, MD-A R Qureshi

Lyrics

Main roti hoon tum hans rahe ho
krishn muraari
krishn muraari
Main roti hoon tum hans rahe ho
krishn muraari
krishn muraari
mitti mein mili jaati yahaan
duniya hamaari
krishn muraari
mitti mein mili jaati yahaan
duniya hamaari
krishn muraari

jholi meri khaali hai
aankhon mein andhera
jholi meri khaali hai
aankhon mein andhera
jab roothh gaye tum hi to phir
kaun hai mera
jab roothh gaye tum hi to phir
kaun hai mera
majhdhaar ki naiyya ko hai bas
aas tumhaari
aas tumhaari
aas tumhaari
Main roti hoon tum hans rahe ho
krishn muraari
krishn muraari
mitti mein mili jaati yahaan
duniya hamaari
krishn muraari

bhagwaan ho patthar na bano
ab na sataao
bhagwaan ho patthar na bano
ab na sataao
duniya basaane waale
meri bigdi banaao
duniya basaane waale
meri bigdi banaao
ro ro ke mari jaati hai
ye daasi tumhaari
krishn muraari
krishn muraari


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 : 3885 Post No. : 14912

Today’s song is a rare song( difficult to get) from film Bhanwara-44, starring K L Saigal.

I have been writing on old films and its music since more than 6 years now, but I have never written on any song of a film featuring Saigal and his songs. I had never planned it that way. Actually, I am also a fan of Saigal. Probably it so happened that I found that there were “better’ people to write on Saigal and I coolly left it at that. Our Sudhir ji has done great justice to Saigal songs- film and Non film- with his detailed and emotional articles. These were lapped up by our readers and praise was heaped on every article of his on this topic. Comments on those songs are a testimony to this.

Now there are no Saigal songs left in any film uncovered nor are there any of his popular films without full coverage of all songs. However, few films have few other non K L Saigal songs still to be covered. Today’s song is one such song. This song is a rare song, opines Sadanand ji – the uploader of this song.

K L Saigal (11-4-1904 to 18-1-1947) started his film career with Muhabbat ke aansoo-32 and ended it with Parwana-1947. Most of his career was pursued in Calcutta, primarily with New Theatres and at the end of his life, he did 7 films in Bombay. 2 films each had music by Khemchand Prakash and Lal Mohammed, and 1 film each by Gyan Dutt, Naushad and Khursheed Anwar.

Film Bhanwara-44 was a quickie made by Ranjit within a span of just 9 days, using up the balance period days of Saigal’s contract with Ranjit. The film was directed by his old friend Kidar Sharma. The film had music by Khemchand Prakash. The songs were written by Kidar Sharma, Swami Ramanand and Pt. Indra. The cast of the film was Saigal, Arun Ahuja, Kamla Chatterjee, Monica Desai, lala Yaqub, Brijmala, Kesari etc etc.

Arun Ahuja was a favourite of Sagar, Mehboob and Ranjit. His real name was Gulshan Singh Ahuja-born on 26-1-1918. He was a science graduate from Lahore in 1937. Director Mehboob was interviewing candidates for his new film. From among the shortlisted 100 candidates, Mehboob was impressed with the personality of Arun Ahuja and he was selected to be one of the Heros in film Ek hi Rasta-1939, made by Mehboob for Sagar Movietone. In this film Arun even sang a duet with Maya Banerjee. The film was so successful that Arun became a Hit Hero overnight. Next came Civil marriage-40, Bhole Bhale-40 and his life’s best film Aurat-40

In 1942, while doing film Savera with a new comer Nirmala, he fell in her love and they got married. Arun went on doing roles in about 30 films in his career till his last film Aulad-54. He had produced a film, which was a total flop. He had heavy loss and had to sell off his Bungalow in Bombay and go to a chawl in far off suburb-Virar to live in a rented flat. Arun had 3 daughters and 2 sons- actor/producer Kirti kumar and superstar Govinda. To maintain family, his wife acted and sang in stage shows till her last. Arun Ahuja died on 4-7-1998.

Film Bhanwara had a one film old Heroine Monica Desai- who was called from Calcutta by Kidar Sharma. He knew her well earlier,from Calcutta.
Monica Desai was a famous Indian actress during 1930’s and 40’s. She was the daughter of Dr. Umedram Lalbhai Desai and Satyabhama Devi, a well-known musician of the early 20th Century. Her father was a Gujarati, and her mother hailed from Bihar. Her father who was a reputed Doctor of that period died in the year 1930.
Monica Desai first worked for Bangla movie ‘Nimai Sanyasi’ which released in the year 1940. She was an actress who represented the era of upcoming character actresses like Leela Mishra, Ram Dulari, who made debut along with her and later ruled the Indian screen.

Monica Desai acted under the direction of Phani Majumdar and Kidar Nath Sharma. She did not concentrate much on acting as she got married to Phani Majumdar, a pioneering Indian film director, who worked in Hindi cinema. Phani Majumdar is known for Meena Kumari’s classic film ‘Aarti’ (1962), and ‘Oonche Log’ (1965). Monica Desai had a sister named Leela Desai, who was a renowned actress in Hindi and Bengali cinema. Leela Desai has even acted in the film ‘Kapal Kundala’ (1939) directed by Phani Majumdar. After completion of the venture, Phani Majumdar married Monica Desai.

Monica acted with Prithviraj Kapoor in her career, in film Gauri. ‘Gauri’ was an Indian Bollywood film that was the seventh highest grossing Indian film of 1943 and this established Monica Desai as an actress. Later, she featured in a film ‘Devdasi’ as a heroine that was also top seven grossing film at the Indian box office in 1945. She appeared in the film ‘ Chitralekha’ which was the second-highest grossing Indian film of 1941, in this movie, she portrayed the character of Yasodhara.

This film also was a debut film for actor Bharat Bhushan, who later achieved fame with ‘Baiju Bawra’ (1952). Monica Desai had also acted with a legendary actor and singer K. L Saigal.

Monica worked in only 9 Hindi films- Qaidi-40, Chitralekha-41, Bhakta Surdas-42, Gauri-43, Bhanwara-44, Lakharani-45, Devdasi-45, Rangeen Zamana-48 and Vikram Shashikala-49.

The screenplay and direction of Bhanwara-44 was by Kidar Sharma. This was a social comedy film. Saigal was never known for comedy acts. In fact, it was a new experience for him, since this was only a comedy dominated love story without any sad songs-hallmark of Saigal’s popular songs,done by him so far.

Saigal shifted to Bombay in December-1941 for two reasons. One- Ranjit had offered him a very lucrative offer ( One lakh per movie, according to one source) and secondly most of his friends like Prithviraj kapoor, K N Singh, Kidar Sharma etc had shifted to Bombay. Further, the atmosphere in New Theatres was nowadays polluted and vitiated with Ego clashes, financial difficulties and new entrants to replace the vacancies. Saigal was uncomfortable with all this.

In Bombay, Saigal met all his old friends and he had a gala time with them. In 1944 itself he went back to Calcutta to complete film ‘My Sister’. Then again he went in 1945 to do film ‘Kurukshetra’. This was perhaps his last visit, as he became very busy in 45 and 46 in Bombay. In early 1947, in his visit to his hometown, Saigal breathed his last, luckily amidst his family members.

Bhanwara-44 was a story of two friends- Pancham (Saigal) and Rikhab (Arunkumar Ahuja), who come to Bombay in search of employment. The chawl where they stay,in single room tenements, has a pair of sisters, Indu(Monica) and Bindu(Kamla Chaterji). Indu happens to work as a teacher in the same place where Pancham is working as a Music and singing teacher. They fall in love. His friend Rikhab loves Bindu but is too shy to express his love. In this, he is assisted by his neighbour friend Pehelwan (Lala Yaqub). With his help, Rikhab develops a great body and finally wooes his ladylove. At the end, both the couples unite happily. The film was full of comic sequences, particularly with Arun Ahuja and Bindu. All in all, it was a hilarious movie.

The film had 11 songs. 7 songs are already discussed here. The remaining songs are difficult to get as they are not uploaded on the Net yet, Record collectors, of course, have them. Today’s song is also one such rare song. It is a duet of Amirbai and Arunkumar Mukherjee.

This song can be considered an example of an unusual coincidence. It is like Shyamkumar singing for Shyam in Dillagi. This song is an example of an even rare coincidence. This song finds one Arunkumar (Mukherjee) singing for another Arunkumar (Ahuja)…..and a third Arunkumar
(Deshmukh) writing about it !


Song- Mann ki baazi haar chuke to preet ki baazi jeet (Bhanwra)(1944) Singers- Amirbai Karnataki, Arun Kumar Mukherji, Lyrics- Kidar Sharma, MD- Khemchand Prakash
Both

Lyrics

Mann ki baazi haar chuke to
preet ki baazi jeet
Mann ki baazi haar chuke to
preet ki baazi jeet
jeet mein haar
haar mein jeet
jeet mein haar
haar mein jeet
ye preet ki ulti reet
preet ki ulti reet
saajan ki har baat niraali
ee ee
ee ee

saajan ki har baat niraali
ee ee
ee ee

chitwan ki
ee ee
chitwan ki har aas niraali
ee ee

ee ee
ee ee

chitwan ki
ee ee
chitwan ki har aas niraali
ee ee

ee ee
ee ee

khel raha hai aankh michauli
aankh michauli
michauli
michauli
aankh michauli
michauli
michauli
khel raha hai aankh michauli
man se man ka meet
jeet mein haar
haar mein jeet
jeet mein haar
haar mein jeet
ye preet ki ulti reet
preet ki ulti reet

phir aayin ghanghor ghataayen
aen aen
phir aayin ghanghor ghataayen
aen aen
mor papeehe shor machaayen
ae ae ae ae
mor papeehe
mor papeehe
mor papeehe
shor machaayen
phooli nahin samaati kaliyaan
sun bhanwron ke geet
phooli nahin samaati kaliyaan
sun bhanwron ke geet

jeet mein haar
haar mein jeet
jeet mein haar
haar mein jeet
ye preet ki ulti reet
preet ki ulti reet

man ki baaazi ee


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 : 3882 Post No. : 14906

“Roomaal”(1949) was directed by Ramchandra Thakur for Varuna Films, Bombay. This “social”movie had Nargis, Rahman, Jeewan, Indu, Jairaj, Badri Prasad, Majnoo, Jillobai, Cuckkoo, Ramesh Thakur, Urwashi, Jankidas, Deepak, Pitu, Boy Ratan, Azim, Shamu, Mukesh, Sohanlal, Ahmad etc in it.

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

Here is the sixth song from “Roomaal”(1949) to appear in the blog. This song is sung by Meena Kapoor. Nazim Panipati is the lyricist. The movie had two music directors in it, viz Hansraj Bahl and Aziz Khan, but the distribution of songs among them is not known. There have been indirect ways to verify thouh that some songs were composed by Hansraj Bahl. Seeing that another Hansraj Bahl song (thus indirectly identified) had lyics by Nazim Panipati, my guess is that this song with lyrics by Nazm Panipati could be a Hansraj Bahl composition as well.

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


Song-Wo ankhiyaan mila kar chale gaye (Roomaal)(1949) Singer-Meena Kapoor, Lyrics-Nazim Panipati, MD-Hansraj Bahl

Lyrics

wo ankhiyaan milaa kar
wo ankhiyaan milaa kar chale gaye
main rah gayi ankhiyaan malti re
main rah gayi ankhiyaan malti re
wo ankhiyaan milaa kar chale gaye
main rah gayi ankhiyaan malti re
main rah gayi ankhiyaan malti re

kyun dukhiyaa dil ko tod gaye
hamen kiske sahaare chhod gaye
hamen kiske sahaare chhod gaye
kyun dukhiyaa dil ko tod gaye
hamen kiske sahaare chhod gaye
hamen kiske sahaare chhod gaye
wo aag lagaa kar
wo aag lagaa kar chale gaye
main rah gayi aag mein jalti re
main rah gayi aag mein jalti re
wo ankhiyaan milaa kar chale gaye
main rah gayi ankhiyaan malti re
main rah gayi ankhiyaan malti re

wo chale gaye
wo chale gaye aur wahin hoon main
hoon aise jaisi nahin hoon main
hoon aise jaisi nahin hoon main
wo chale gaye aur wahin hun main
hoon aise jaisi nahin hoon main
wo paas bulaa kar
wo paas bulaa kar chale gaye
kyaa ho gayi mose galti re
kyaa ho gayi mose galti re
wo ankhiyaan milaa kar
wo ankhiyaan milaa kar chale gaye
main rah gayi ankhiyaan malti re
main rah gayi ankhiyaan malti re


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 : 3880 Post No. : 14903

Today is 3 march 2019. No, I am not going to discuss a “blog ten year challenge” song today. This article covers a far bigger time span, namely 50 years. It was on this day 50 years ago, viz on 3 march 1969 that the first Rajdhani Express train left Howrah for New Delhi. This train had made its inaugural run from New Delhi on 1 march 1969 and had arrived Howrah on 2 march 1969. Its maiden journey from Howrah to New Delhi was on 3 march 1969, viz 50 years ago.

50 years ago, the highest speed of Indian Railways trains used to be 96 kmph. This train became the first Indian train to break the 100 kmph barrier. Its maximum speed was 120 kmph.

Just like there is considerable opposition today to the introduction of bullet trains in India, there was stiff resistance against the introduction to this train. The top man in Indian Railways, viz the Chairman Railway Board himself was against the introduction of this train.

When this train began its run on 3 march 1969, Rail Minister Ram Subhag Singh was available on platform to flag it off. This train took 17 hours to reach its destination which was a seven hour improvement over the fastest train on this route.

This train was an exclusive train meant to run faster and and its onboard service was meant to be upscale. It was an all airconditioned train. It was only the second airconditioned train in India till then. The first train was one that was simply called Air Conditioned express.

The sleeper class fare from Howrah to New Delhi was Rs 290, which was one month’s salary for an average Indian. No wonder then that there was considerable resentment and opposition among people as well as politicians when this train was introduced.

The train stopped only in three stations those days, viz at Gomoh, Mughalsarai and Kanpur. Today it stops at eight stations. The train then had nine coaches, some were sleeper coaches and others were chair cars. Today there are 20 coaches.

The ticket of this train was also special. It was like an airlines ticket, namely folio type, that has photo of Qutub Minar and Howrah Bridge on its two sides.

The ticket price included price for meals. This train was the first that had a pantry car. The quality of food was quite upmarket those days, five star stuff.

With time, Rajdhani trains have changed. Those were the days of Diesel locomotives and vacuum brake coaches. They were later replaced by Electric locomotive and air brake coaches. Now ICF design coaches have been replaced by LHB design coaches.

The second Rajdhani that was introduced was between New Delhi and Bombay Central. Gradually Rajdhani trains were introduced in ten routes between New Delhi and various state capitals.

I have no idea when I first travelled by Rajdhani express. It must have been in 1990s I think, when I was posted in Andhra Pradesh. Personally I used to feel a bit overwhelmed at the prospect of travelling by this train those days. The reason could be that I was rather junior and I felt that I did not belong to this train. On the other hand, I wondered how other railway men, who I felt belonged even less there would travel in this train with confidence as if then owned it. 🙂

The first time I travelled in Rajdhani with family was in 2001 from New Delhi to Guwahati. My three year old daughter would look forward for the meals and demand some more “utterly butterly butter”. 🙂

It is not as if I have travelled a lot on Rajdhani with my family. The second and till now the last occasion when the three of us travelled by Rajdhani express was in 2016 by New Delhi Mumbai Central Rajdhani express when we went to Mumbai to admit my daughter to a medical college there.

It must be said that New Delhi -Mumbai Rajdhani is quite a useful train between the two places, Most of the journey is at night time and one reaches the destination in the morning. If one gets accomodation in this train then it is a more comfortable and convenient means to travel between the two places than travelling by plane.

My daughter and wife have travelled alone by Rajdhani quite a few times. When I was posted at Bareilly, my daughter would visit me by first reaching New Delhi by Mumbai Central Rajdhani and would then board New Delhi Dibrugarh Rajdhani that stopped at Bareilly.

In 1969, Rajdhani trains introduced speed upto 120 kmph in Indian trains. Now 50 years later, the fastest Indian Railways train are still only 160 kmph. I dream of a day when India will have a network of bullet train lines and public would be able to reach 1500 km in 5 hours. If that happens then it would be a big transformation in India. We have already seen communication revolution in Indiawhere everyone has access to phone and so one can share information easily and in real time. I dream of seeing a similar transport revolution in India. That would transform Indian economy. I am cautiously optimistic that India will have a fe bullet trains by 2030. People would be ready to use it on a big way because India by that time would be nearly a $ 10 trillions economy with per capita nominal GDP of around $7000/-, a three fold increase in per capita income of Indians and they would be able to afford bullet train tickets and many more such services.

On this occasion, here is a rail song from a time when no one even thought of Rajdhani trains, forget bullet trains. This rail train is from “Zabaan”(1943).

“Zabaan”(1943) was produced and directed by Jayant Desai for Jayant Desai productions, Bombay. This “social” movie had Ishwar lal, Kaushalya, Mubarak, Diit, Vatsala Kumthekar, Bhagwandas, Kantilal etc in it.

The movie had twelve songs in it. All of them were actor-singer songs, viz the songs were sung by the actors themselves.

Here is this rail song from “Zabaan”(1943). It is sung by Ishwar Lal. Mahir Ul Qadri is the lyricist. Music is composed by C Ramchsndra.

Only the audio of the song is available, but it is clear from the lyics that it is a rail song. It would have been nice to be able to watch the picturisation of this song, but I doubt that the video of this song is available. So we only have the audio of the song with us to savour.

On the occasion of Rajdhani trains turning 50 years old, here is this 75 year old rail song to celebrate the occasion.


Song-Piya des hai jaana (Zabaan)(1943) Singer-Ishwar Lal, Lyrics-Mahir ul Qadri, MD-C Ramchandra

Lyrics

piya des hai jaana
piya des hai jaana
aa ha ha ha
aise mein mohabbat ka koi jaam pilaana
aise mein mohabbat ka koi jaam pilaana
piya des hai jaana

gaate huye khambhe
hanste huye paudhe
gaate huye khambhe
hanste huye paudhe
chalte huye raste
chalte huye raste
kahte hain ye mujhse ke
piya des hai jaana
kahte hain ye mujhse ke
piya des hai jaana
piya des hai jaana
piya des hai jaana
aa ha ha ha
aise mein mohabbat ka koi jaam pilaana
piya des hai jaana

lohe ki ye patri
chalti hui dharti
lohe ki ye patri
chalti hui dharti
dee rail ne seeti
aawaaz ye aayi ke
piya des hai jaana
piya des hai jaana
aa ha ha ha
aise mein mohabbat ka koi jaam pilaana
piya des hai jaana

ummeed ko lekar
aate hain tere ghar
umeed ko lekar
aate hain tere ghar
hai dil ki zabaan par
hai dil ki zabaan par
piya des hai jaana
piya des hai jaana
piya des hai jaana
aa ha ha ha
aise mein mohabbat ka koi jaam pilaana
aise mein mohabbat ka koi jaam pilaana
piya des hai jaana

———————————————————
Hindi Script Lyrics (Provided by Avinash Scrapwala)
———————————————————

पिया देस है जाना
पिया देस है जाना
आ हा हा हा
ऐसे में मोहब्बत का कोई जाम पिलाना
ऐसे में मोहब्बत का कोई जाम पिलाना
पिया देस है जाना

गाते हुए खम्भे
हँसते हुए पौधे
गाते हुए खम्भे
हँसते हुए पौधे
चलते हुए रस्ते
चलते हुए रस्ते
कहते हैं ये मुझसे के
पिया देस है जाना
कहते हैं ये मुझसे के
पिया देस है जाना
पिया देस है जाना
पिया देस है जाना
आ हा हा हा
ऐसे में मोहब्बत का कोई जाम पिलाना
पिया देस है जाना

लोहे की ये पटरी
चलती हुई धरती
लोहे की ये पटरी
चलती हुई धरती
दी रेल ने सीटी
आवाज़ ये आई के
पिया देस है जाना
पिया देस है जाना
आ हा हा हा
ऐसे में मोहब्बत का कोई जाम पिलाना
पिया देस है जाना

उम्मीद को लेकर
आते हैं तेरे घर
उम्मीद को लेकर
आते हैं तेरे घर
है दिल की ज़बान पर
है दिल की ज़बान पर
पिया देस है जाना
पिया देस है जाना
पिया देस है जाना
आ हा हा हा
ऐसे में मोहब्बत का कोई जाम पिलाना
ऐसे में मोहब्बत का कोई जाम पिलाना
पिया देस है जाना


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 : 3872 Post No. : 14890

Today’s song is from the film Toote Khilaune-54. It is produced by N.Mehta, directed by Nanabhai Bhatt and the music Director is my favourite – Chitragupt. The cast of the film was Shekhar, Purnima, Gulab, Ranjeet Kumari, Master Romi, Babu Raje, a dog called Ginger and Guest artiste Asha Mathur.

This was a typical family film, involving a too much interfering Mother in law, a foster son and a loving step mother. The decade of the 50s was a period when the film makers were trying their best to give something to everyone. Films of almost all Genres were made in this decade. This decade was a Bridge Period between the old style music and the film making and the New Age films and the Music.

Sadly, the melody in Music had died a slow death, along with the phased exit of composers of the 40s and the 50s. Though emergence of New Age music makers kept the country on par with the changing world tastes, the Music, in particular, suffered the demise of melody and sweetness in film music. Earlier too,songs were inspired by foreign tunes, but the new age music based on foreign tunes was more noisy and instrument dominant, rather than the melody of tunes and singing styles. The 1959 film ‘ Dil deke dekho’ heralded loudly the coming of new age music from then on.

One can not blame the music makers alone, because not only the tastes of audience were changing, but also a whole new generation of producers, directors, actors, singers and composers was replacing the older one step by step. No change takes place overnight. One always gets the warning signals well in advance. Change is inevitable. Either accept change or perish !

Music composers from the 40s and 50s did survive in the 60’s decade, but they were relegated to B and C grade films. Very few composers remained A grade even in 60 or the early 70s. Ultimately, they had to give way to new music. This change was seen as the ” end of the Golden Period” of film music.

Cases like that of Chitragupta and others of his ilk were different. They operated long time but never became A grade. However, it was to their credit that even then, they composed melodious songs which delighted lovers of good music. That is why I like Chitragupt songs. Pick them up from any film and you will not be disappointed as far as melody and good tunes are concerned.

Songs of Toote Khilaune-54 are no exception. Songs were very sweet. There were 8 songs (this was another change that took place in the 50s onwards. Now films had songs less than 10 on average- unlike 10 to 15 songs in 40s and 15 to 20 songs in the 30s). 3 songs are already discussed here. Today’s song is 4th song. This is a duet sung by Chitragupt and Shamshad Begum.

From the cast, I have written about Shekhar and Purnima in my earlier posts. The 3 odd names appearing in the cast are Gulab, Ranjeet kumari and Asha Mathur. Ranjeet kumari’s name was Ranjit kaur. She was a sikh from Punjab. She acted in only 8 films, from Matwali Meera-40 to her last film Toote Khilaune-54. She got married to actor Ramsingh and moved with him to his village in U.P. to become and remain a housewife till her last day.

One of the few educated actresses of her times, Asha Mathur (Sohan Singh in real life) studied up to B.A. Both Asha Mathur and Bina Roy were introduced by Kishore Sahu in Kali Ghata (1951). While Bina Roy was relatively more successful among the two and did some memorable movies including Anarkali (1953) and Taj Mahal (1963), Asha Mathur was relegated to obscure mythical and costume films including Alif Laila (1953), Rajyogi Bharthari (1954), Malka-E-Alam Noorjehan (1954), Amar Kirtan (1954) etc because of her lackluster performances. Her most memorable role was in Poonam (1952), as a suffering wife of Ashok Kumar. She married famous director of her times Mohan Sehgal and left films. She acted only in 18 films. Her last film was Taqdeer-58.

Asha Mathur is a forgotten name today except for the few popular songs picturized on her – Humsai na poocho koi pyra kiya hai (Kali Ghata, 1951) and Baanki adayein dekh na ji dekh na(Amanat, 1955).

One of the beauties of old films was Gulab. The First actress form Kashmir to work as a Heroine in Hindi films was GULAB. Her real name was Saraswati Devi. She was born on 10-6-1908 at Jammu. She joined Krishna Film Company in 1924. Her first silent film’Krishna kumar’ came in 1925. She worked in 60 silent films. Her last silent film was ‘Dagabaz Dushman’-32, made by east India Film co.Bombay.

Her first Talkie film was Suryakumari-33, made by Vishnu Cinetone. It was directed by Dhirubhai Desai. She sang one song ‘more preetam jab ghar aaye’ composed bu Kikubhai Yagnik. Then came Baburao Patel’s ‘Bala Joban’-34, Sewa Sadan-34 and Nai Duniya-34 ( Debut film of Rajkumari and Jayant). In this film Gulab sang 2 songs.

Gulab was very beautiful and quite popular in film industry. Some of her films were Bambai ki sethani-35, Challenge-37, Bharosa-40, Pyas-41, Ek Raat-42, Station master-42, Gaali-44, Rattan-44, Mann ki jeet-44, Mirza Sahibaan-47, Lahore-49, Badi Behan-49, stage-51, Post Box 999-58, Chhabili-60 etc etc. She acted in 160 films. Her last film seems to be Haqeeqat-64. She also sang 22 songs in 11 films.

The story of film Toote Khilaune-54 , as found on Cineplot, is…..Pragati Pictures’ “Toote Khilone,” premiered at the Roxy Theatre on March 19th, 1954 is pro­duced by N. Mehta and directed by Nanabhai Bhatt and it is a very good film based on a story-idea whose truth and simplicity invest it with an irresistible appeal.
The deeply moving and very human story, sensitively enacted by Shekhar, Purnima, Asha Mathur and little Romi, tells of a little child and his bewildered sorrow in the midst of do­mestic troubles.

Written by Akhtar Mirza, the story centers on a young married couple and their little son who dotes on his mother’s cousin, Sheela. When the mother dies of cancer, Sheela stays on to look after the little boy and eventually marries his father.

Trouble arrives in the shape of Sheela’s mother who moves into the happy household and builds up in her daughter a resentment against the child. The poisonous insinuations of the older woman turn Sheela into a confused and bitter foster-mother, but kindness and love triumph when the heart-broken child runs away. The film reaches a cleverly presented climax in which Sheela and her husband find the child safe and all three happily return home.

Playing his role with restraint and sym­pathy is Shekhar who puts over a fine perform­ance as the boy’s father. His portrayal of a man who marries a second time so that his child may have a mother is quite flawless.

As the young wife, Purnima is superb. Hers is a natural and convincing performance, done with a fine understanding of the role.

A superb performance comes from Romi, as the little boy caught up in a web of circumst­ances he cannot understand. He is utterly lov­able and, together with the wonderful canine star, Ginger, he walks away with the picture’s honors.

Gulab turns in another one of her brilliant cameos as the interfering mother-in-law, and Asha Mathur gives an appealing and warm in­terpretation of the tragic role of Shekhar’s wife.

The fine supporting cast is headed by Ranjit Kumari and Babu Raje who provide the comedy relief as the kind, devoted servants.

Gay and appealing dances punctuate the story, and the songs, with the music composed by Chitragupta, are melodious.

“Toote Khilone” is a charming film, well directed and acted, with polished production values and excellent sets, decor and photogra­phy.

Let us now enjoy the melodious duet of Chitragupt and Shamshad Begum from film Toote Khilaune-54.

( Thanks to Cineplot, directory of Films-1948 and my notes)


Song- Tere pyar mein huye badnaam hum, lote ki kasam, thali ki kasam (Toote Khilaune)(1954) Singers- Chitragupta, Shamshad Begum, Lyricist- Raja Mehdi Ali Khan, MD- Chitragupta
Both

Lyrics

Tere pyaar mein huye badnam hum
lote ki kasam, thaali ki kasam
lote ki kasam, thaali ki kasam
bhoole ghar ke sab kaam hum
aaloo ki kasam gobhi ki kasam
aaloo ki kasam gobhi ki kasam

Tere pyaar mein huye badnaam hum
lote ki kasam, thaali ki kasam
bhoole ghar ke sab kaam hum
aaloo ki kasam gobhi ki kasam

din raat muhabbat mein teri
choolhe ki tarah hum jalte rahe
haaye jalte rahe
din raat muhabbat mein teri
choolhe ki tarah hum jalte rahe
haaye jalte rahe
hum dil ki kadhaahi mein baalam
tere pyaar ke bhajiye talte rahe
hum dil ki kadhaahi mein baalam
tere pyaar ke bhajiye talte rahe

choolhe ki tarah hum jalte rahe
jalte rahe subaho shaam hum
koyle ki kasam lakdi ki kasam
koyle ki kasam lakdi ki kasam
tere pyaar mein huye badnaam hum
lote ki kasam thhaali ki kasam

bhoole ghar ke sab kaam hum
aaloo ki kasam gobhi ki kasam

nainon ki rakaabi mein rakh ke
hum pyaar ki barfi laa na sake
haaye laa na sake
nainon ki rakaabi mein rakh ke
hum pyaar ki barfi laa na sake
haaye laa na sake

tera jalwa meethha halwa hai
jee bhar ke ise hum khaa na sake
o tera jalwa meethha halwa hai
jee bhar ke ise hum khaa na sake
jee bhar ke ise hum khaa na sake
tum piste aur baadaam hum
pede ki kasam barfi ki kasam
pede ki kasam barfi ki kasam

Tere pyaar mein huye badnam hum
lote ki kasam, thaali ki kasam
lote ki kasam, thaali ki kasam
bhoole ghar ke sab kaam hum
aaloo ki kasam gobhi ki kasam
aaloo ki kasam gobhi ki kasam


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

This is a labour of love, where “new” songs are added every day, and that has been the case for over TEN years. This blog has over 14900 song posts by now.

This blog is active and online for over 3800 days since its beginning on 19 july 2008.

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