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

Blog Day :

4754 Post No. : 16493 Movie Count :

4481

Today’s song is from an unknown film Maaf Kijiyega-1946. HFGK mentions ” Social Film” as its Genre, but none of the factors of this film support this claim. The director was Nari Ghadiyali – who was a specialist for action/stunt films. MD was K.Narayan rao, famous only for stunt films. The cast of the film also consisted of regular actors for stunt films, like Prakash(real name Hashmat ullah khan), Shanta Patel (a regular in Master Bhagwan’s stunt films), Dalpat (popular as Dalpat Kaka), Bibi, Chandrika etc etc. The songs were written by an unknown lyricst- Mustapha and were sung by ordinary singers-not any famous one. I wonder how such a combination can be suitable for a ” Social’ film ?

This Blog started in 2008 and I joined it as a commentor sometime in 2010. I don’t remember exactly when. Nowadays, whenever I have free time and nothing else to do, I visit the early pages of the Blog and see the songs and more importantly – the comments. In those early years and till about 2018 or so, there used to be a lot of comments by readers. I found that readers were from various other countries, but surprisingly, their knowledge about old films, songs and its artistes was quite noteworthy.

As the years passed by, the foreign readers’ number dwindled slowly, but readers from India increased in the comment section. One logical reason was that the readers from other countries were probably from the older generation, settled abroad. Hence as the time passed on slowly their activities must have got reduced. Some of the younger commentors from other countries, too, stopped their comments. They are, however, active on FaceBook. People like Lalitha ji, memsaab ji, Pamir Harvey, Santosh oza, Shekhar Gupta etc. stopped commenting. One name remains with the Blog consistently from Day-1 till today (albeit now occasionally) and that is Raja Swaminathan ji – whether he is in India or in Holland.

I encountered some funny incidents involving comments on the Blog. I remember one. In those days, except the Admins perhaps, no one else knew who ” Peevesie’s Mom” was in reality.
I was also active on FaceBook. One day a lady visitor to my Fb page – Nalini Krishnan – asked me on Fb, ” are you the same Arunkumar Deshmukh, who comments on atulsongaday?”
She was shocked to read my reply, ” yes, Peevesie’s Mom ji”. Possibly shocked, she asked me how I knew her name. It was actually very easy. Before replying her, I visited her Fb page and I found that she is Vaidehi’s mother. After reading a few more posts , it was easy to make 2 + 2 !

Another incident was comments by one ” IDL Man”. From his comments, I knew he was from Australia. There was another reader called ” BOODHEMIYAN “. He was from Dubai. One day ‘ IDL Man’ posted the following comment, on 12-6-2011….

1 | I.D.L.Man
June 12, 2011 at 2:22 pm

0 0 Rate This
Atul Bhai,

WHY YOUR BLOG IS THE BEST IN THE WORLD

I am also a deewana of old film music like you all.Having lot of spare time now,I surf the Internet.I realised that there are many Indian and Foregn persons equally interested/obsessed with old film charms.Many of them run their own blogs on old films/music.I decided to find out and visit every blog on the Internet.
I visited exactly 102 such blogs run by Indian and foreigners.Surprisingly,foreigners were more consistent than Indians.
i found that almost 85 % blogs are left unattended,halfway or no posting for the last few years.One more interesting point is many ladies are also running such blogs,of course under Pseudonyms.They are more consistent than men and get a good following too !
After a lot of screening,I shortlisted 7 blogs: 4 in wordpress and 3 independents.Two blogs are run by ladies,one each Indian and foreigner.
Finally,I came to a conclusion that your blog ATULSONGADAY WORDPRESS.COM is THE BEST,because:

1)You are a very honest person ,without any airs, when you present songs
2)your deep love of music and hard work is consistent and it shows.
3)you are very systematic and you think of your readers while making songs available to them in an easy way.
4)your earnestness and humble knowledge(without a show off) is appreciated and liked by your readers(apparent from the responses)
5)you are not biased or partial in selecting or writing about songs
6)your goodwill has attracted like minded supporters who help you by providing information on films, songs, singers, composers etc. Notable among them, as I found in last 6 months are–
a) Mr.Sudhir Kapoor-writes very good and simple articles, full of information about songs and personalities.
b) Mr,Nahm-always provides you with correct lyrics, titbits and useful information, besides suggesting songs.
3) Mr. Arunkumar Deshmkuh-I have no words for him. He seems to know all the old movies, anecdotes and details. His information is unique(Not on net anywhere).May be, as he knows so many languages, he might be getting it from books/articles in various languages. He is a storehouse of information.
4)Mr. Prakash chandra- very good suggestions of songs
5)Lalitha ji / Raja ji – They are not only your admirers but also supporters. Raja ji’s support is important as he himself is a blogger plus many more things.

Note; The second place is shared by MEMSAABSTORY AND DUSTEDOFF.

Atul Bhai,
please accept my congratulations and good wishes for the future.

-I.D.L.Man

Atul ji, myself and Sudhir ji replied to him in normal way, but ‘Boodhemiyan” wrote thus….

5 | Boodhemiyan
June 14, 2011 at 5:47 pm

0 0 Rate This
IDL Man Bhai,

Wah, wah ! Kya baat hai !! Mashallah !!!

kya khoob kahi toone
hamare dil ki baat
Atul jaisa Sangeet Premi
sadaa rahe sab ke saath !

To which the ‘ IDL Man’ replied this way….

6 | IDL Man
June 15, 2011 at 7:41 pm

0 0 Rate This
Boodhemiyan Bhai,
Humne to bayan ki hai
jo haqeeqat hai,
hum kya karen
gar kisi ko gila hai

Gulab to Gulab hota hai
chahe use kuchch bhi kahe
hum subki duwayen hai
Blog-e-Atul salaamat rahe.

-IDL Man

In another an year or so, both these readers stopped commenting and disappeared for ever. I contacted the Grandson of actor/singer Parshuram, when he commented from New Zealand, on one of my posts. Similarly, actress Latika’s daughter from London commented and I got in touch with her.

There were days when lot of comments used to be made by the readers. In the last 2-3 years, the comments from the readers have dropped down considerably and noticeably. Difficult to know the reason.

However, since about a month or so I find that once again comments from new readers have increased Hope it keeps growing. Comments play an important role in a Blog. It gives readers’ reactions, additional information, encourages the authors of the post and generally works as a motivation.

Today’s song is sung by Kaushalya. Kaushalya was born at Lucknow in 1929. She was the daughter of the famous dancer Lachhoo Maharaj and actress Daya Devi. Being brought up in the house of dancer and actor, Kaushalya picked up Dance, Music and acting very early. She appeared as a child artiste in films from 1936, when she was just 7 year old. She worked in 11 films as a child artiste. After film Devbala-38, she did roles in Bhole bhale and Uski Tamanna-both in 1939, made by Sagar Movietone. She even sang in both films.

Then came films like Darshan and Ghar ki laaj, both 1941, and Baraat, Bharat milap, Station master and Swapna, all 42. The work poured on her till 1946, when she got married to a boy from Calcutta, when she had gone there for doing films. After marriage she found it difficult to work in films, but continued for some more films, till her last film Ek Do Teen-1953.

In all Kaushalya acted in 27 films and sang more than 100 songs in about 35 films, in her short career time. As a Heroine she had worked with Prithviraj Kapoor, Ulhas, Kumar, Ishwarlal etc.

With this song, film Maaf Kijiyega -1946 makes its Debut on this Blog.


Song- Joban roop bahaar Rasiya Kar lo chup ke pyaar (Maaf Keejiyegaa)(1946) Singer- Kaushalya, Lyricist-Mustapha Usman, MD- K Narayan Rao

Lyrics

Joban roop bahaar
Rasiya Kar lo chup ke pyaar
Rasiya Kar lo chup ke pyaar

din nahin ye phir se aaye
ankhiyaan hon jab chaar
Rasiya kar lo
haan kar lo
haan kar lo
chup ke pyaar
chupke chupke pyaar
rasiya karlo chupke pyaar
pyaar
chupke chupke pyaar

preet jawaani hai matwaali
matwaali ho
matwaali ho
preet jawaani hai matwaali
chhalak rahi joban ki pyaali
deewaanon ki mehfil mein hai joban ki pukaar
ankhiyaan hon jab chaar
kar lo chupke pyaar
chupke chupke pyaar
rasiya karlo chupke pyaar
pyaar
chupke chupke pyaar

duniya hai dilwaalon ki
ye mehfil hai matwaalon ki
dil ka sauda kar ke jaaye
ankhiyan ke do dwaar
ankhiyaan hon jab chaar
kar lo chupke pyaar
chupke chupke pyaar
rasiya karlo chupke pyaar
pyaar
chupke chupke pyaar


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

Blog Day :

4737 Post No. : 16459 Movie Count :

4471

Today’s song is from an unknown film-Lottery-1949. The title of the film is very apt to remind us how success in the film line is often nothing but winning a lottery in your name ! What led to the success of a film was one thing that no one could fathom so far. In my opinion excellent acting, solid story, superb music and a balanced combination of comedy and other emotions are generally behind the success of a film. When one analyses hit films, then at least 2 or 3 factors as I mentioned earlier would be found in them.

1949 was the best year in the Golden Era of HFM. There were so many films offering evergreen, out of this world songs, that the audience did not know which film to see and which song to listen to. The sale of records set new records in 1949. 157 films were made in 1949. Barring the figure of 181 films in 1947 ( we know the reasons), 1949 produced the maximum films from 1931 to 1984 – a period of 50++ years. What’s more, almost every alternate film gave superb songs. Nearly every Music Director of Hindi films was present in 1949, with his films.

This was also a transition period, when older composers were giving way to newer ones. Additionally, the competition between Naushad and C Ramchandra for the Number One position was at its peak. Though C Ramchandra is my favourite composer, it was Naushad all the way during the period from 1947 to 1949, and he was was the undisputed Numero Uno as far as quality and number of hit films were concerned.

In this period Naushad’s strike rate of Hit films was more than that of C Ramchandra. Naushad had 8 Hits from his 9 films in the period 1947 to 1949. For the same period, C Ramchandra had only 4 Hits in his 18 films.

The year 1949 had absolute heavenly showers of Musical Films. Some of such films were Andaz, Badi Behan, Barsaat, Bazaar, Dulari, Jeet, Apna Desh, Chandni Raat, Chaar Din, Sunehre Din, Shayar, Dillagi, Ek thi ladki, Kaneez, Laadli, Lahore, Mahal, Namoona, Patanga etc etc. The year 1949 also witnessed the introduction of A and U Censor certificates, the establishment of Films Division, the start of Navketan productions of Anand brothers and few other landmarks in the Hindi film industry.

The Film Lottery-49 had none of these factors. I do not know the film’s story. The film was made in Calcutta by Bengal National studios, owned by S.D.Narang- the producer. The Director was one G. Singh who had earlier directed one more film – Barsat ki ek raat-1948. Similarly the Music Director- Harbaksh Singh had only 3 films to his credit. Film Ek Aurat-48, Lottery-49 and Nai Bhabhi-50. All films were made in Calcutta only and by S.D.Narang’s banner. After Narang shifted his base to Bombay, possibly, his team was left behind only.

The cast of the film was Kaushalya, Sunder, Ameena khatun, K.Nanda, Cuckoo etc. There were two lyricists – B.M.Sharma (6 songs) and Charandas (3 songs). Not many of the younger generation readers would know that the comedian Sunder, who they saw in several films of 50 to 70 period, was in fact a Hero and a singer in his hey days !

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

Sunder Singh aka Sunder was born in Sialkot, Punjab on 10th August 1916. His father was working in Madon Theatres, Calcutta. Sunder also started working there. Initially, for a long period,he did Girl’s roles. Once his work was seen by H.S.Rawail (Director in later life). He was quite impressed. Later Rawail started working with R.N.Vaidya as his assistant in direction.Meanwhile Sunder started working in Talkie films. His first film,where he was credited, was ” Na honewali baat”-38. Before that, Rawail and Vaidya were preparing to make the film Banke Sipahi-37.Rawail recommended Sunder and Vaidya gave him an uncredited small role in that film.

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

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

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

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

The Heroine of the film – Kaushalya too is not very well known. She was born at Lucknow in 1929. She was the daughter of the famous dancer Lachhoo Maharaj and actress Daya Devi. Being brought up in the house of dancer and actor, Kaushalya picked up Dance, Music and acting very early. She appeared as a child artiste in films from 1936, when she was just 7 year old. She worked in 11 films as a child artiste. After film Devbala-38, she did roles in Bhole bhale and Uski Tamanna-both in 1939, made by Sagar Movietone. She even sang in both films.

Then came films like Darshan and Ghar ki laaj, both 1941, and Baraat, Bharat milap, Station master and Swapna, all 42. The work poured on her till 1946, when she got married to a boy from Calcutta, when she had gone there for doing films. After marriage she found it difficult to work in films, but continued for some more films, till her last film Ek Do Teen-1953.

In all Kaushalya acted in 27 films and sang more than 100 songs in about 35 films, in her short career time. As a Heroine she had worked with Prithviraj Kapoor, Ulhas, Kumar, Ishwarlal etc.

Today’s song is sung by Kaushalya and Jagmohan Sursagar. With this song film Lottery-49 makes its Debut in this Blog. This rare song was provided by Abhay Jain ji (USA) and was uploaded kindly for me, by our own Sadanand Kamath ji. I thank both.


Song- Morey dil ki nagariya mein aaya hai chor raaja (Lottery)(1949) Singers- Kaushalya, Jagmohan Sursagar, Lyricist- Charandas, MD- Harbaksh Singh
Both

Lyrics

Morey dil ki nagariya mein aaya hai chor raaja
jaldi policewaa bulaaye le
ho raaja
jaldi policewaa bulaaye le
gori mukhda dikhaao
aji ghoonghat hataao zara
nainon se naina milaay le
ho gori
nainon se naina milaay le

mori dhhadke hai chhatiyaa
aur phhadke hai ankhiyaa
o jee choli mein jiyara
dhhak dhhak hoye hai
mori dhhadke hai chhatiyaa
aur phhadke hai ankhiyaa
o jee choli mein jiyara
dhhak dhhak hoye hai
o tohe Bambai le jaaun
bori bandar dikhaaun
jahaan raat din engine ki chhat chhat hoye hai
jahaan raat din engine ki chhat chhat hoye hai

mori bainyya na pakad
mohe jaana apne ghar
kaise boloon main
laaj mohe aaye hai
haaye Raam
nainon se naina milaay le
more dil ki nagariya mein aaya hai chor raaja
jaldi policewaa bulaaye le
ho gori
nainon se naina milaay le
ho o
ho o
nadiya kinaare gori
mori atariyaa
bhari(?) pahariya mein aana na bhoolnaa

ho o
ho o
aaungi raaja
na bhoolooongi vaada(?)
aasha ki dori se jhooloongi jhoolna
aana chupke se raani
more dil ki kahaani
koi aake na dil ko churaay le

o raaja
jaldi policewaa bulaaye le
more dil ki
nagariya mein aaya hai

chor raaja
jaldi policewaa bulaaye le
ho gori
nainon se naina milaay le


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

Blog Day :

4730 Post No. : 16449 Movie Count :

4466

In the early era of Talkie films, few film studios were famous and well established. Most of these were into making Silent films also. Studios like Prabhat, Imperial, Maadan, Sagar, Bharat, Ranjit, Krishna Tone, Saroj, Saraswati, Kamala Movietone and Ploayart Phototone (of Kardar) from Lahore were active in making Talkie films in the first few years. Studios like Elephanta Movietone- Punjab, Oriental pictures-Lahore, Sharda Movietone-Bombay, Eastern Films Ltd.- Hyderabad, Pioneer Films- Calcutta Ajanta Cinetone (Bhavnani) etc. jumped into the fray 2-3 years later and made Talkie films.

Over a period, studios having a strong and solid financial base and own studios sustained for longer periods and the smaller, occasional filmmakers disappeared. As the time went by, some more powerful and healthy film studios like Minerva(Sohrab Modi) and Bombay Talkies (Himanshu Rai and Devika Rani)entered the filmmaking and gave memorable quality films. After few years, ambitious and capable young people working in these studios separated and established their own studios like Mehboob Studios, Kardar Studios, Raj kamal Kala Mandir etc.

This went on expanding till the studio system crumbled in or around late 40’s and 50’s and Freelancing started. This escalated the cost of making films. Films which were made in 40-50 thousands in early 40’s, went up in Lakhs by late 50’s and then on in crores. Now a popular and successful Hero takes his fees in Crores. The cost of higher class cinema theatres’ tickets rose from 1 rupee to 400 rupees for reclining seats and a Blanket if you want to sleep there ! Only one thing remains same from early cinema theatres to today’s luxurious Multiplex theatres and that is BED BUGS !! They are still available free with every ticket !!!

Today’s song is from film Kokila-1937, made by Sagar Movietone. It will not be an exaggeration to say that the First Decade of Talkie films, i.e. 1931 to 1940 belonged to Sagar Movietone. They made 51 Hindi films in this period and many of these films became Hits and Popular . Films like –

1932 Zarina, Maya Bazar and Meerabai
1933 Mahabharat and Premi Paagal
1934 Grihalaxmi and Shehar ka Jaadu
1935 Dr. Madhurika, Al Hilaal, Vengeance is mine
1936 Man Mohan, Do Deewane and Village Girl
1937 Jagirdar, Kokila and Mahageet( playback started in Bombay from this film)
1938 Dynamite, Gramophone Singer, Hum Tum aur Woh ( first film with 3 Heroes) and 300 days and after
1939 Ek hi Rasta, Ladies Only and Service Ltd.
1940 Alibaba, Civil Marriage and Kumkum

These films were Hits or Popular.

Sagar also gave opportunities to youngsters to become big names later in life. Some examples are-

Actors Motilal, Surendra, Sheikh Mukhtar, Yaqub, Kumar, Sankata Prasad
Director Mehboob, Sarvottam Badami,Ramchandra Thakur, C M Luhar, Nanubhai Vakil, Ezra Mir and Kanjibhai Rathod (First Dalit director to get a chance)
MDs Anil Biswas, Pransukh Nayak, S P Rane, Anupam Ghatak
Actresses Bibbo, Sabita Devi, Maya Banerjee, Sitara Devi and Shobhana Samarth ( after her first film ‘ Nigahe Nafrat’-1935, she got a boost with 2 films here)

Surendra and Motilal were initiated in films by Sagar. The pair of Motilal and Sabita Devi was so popular that they paired in 8 successful films. It was also in Sagar that Mehboob, Anil Biswas and Faredoon Irani became thick friends.( it is another matter that AB and Mehboob split in 1940, never to come together again). They made 6 films together in Sagar.
Thus the contribution of Sagar Movietone in giving successful stars in all fields was ,if not better, but at least equal to Prabhat, Ranjit, Bombay Talkies and New Theatres.

Film Kokila -37 was directed by Sarvottam Badami and the music was by Anil Biswas. The cast included the popular pair of Motilal and Sabita Devi as well as Shobhana Samarth, Siddiqui, Maya Banerji, Sitara, Sankata prasad etc. This film was based on the popular noel of the same name, by R.V.Desai (20-5-1892 to 20-9-19540 a leading Gujarati novelist. Another film on his other novel Purnima was made by Prakash Pictures in 1938. The dialogues and songs were written by Siddiqui – who had also acted in this film. He was earlier in New Theatres having acted in films like Pooran Bhagat-32, Rajrani Meera-33 and Chandidas-34. The screenplay was by R.R. Gharekhan, who later changed his name to ‘ Gautam’. As per review of Baburao Patel in his magazine Film India, the film was not very good. however it did good business.

Today’s song is sung by Dattaram kadam- a name I heard first and last time here. Even in Marathi films, he is not mentioned anywhere. The song is good and the singer seems to be an expert. Maybe he was an actor singer on Marathi stage dramas. Anil Biswas was typically very fond of Chorus songs. Almost all of his films will have 1 or 2 Chorus songs. In this film also there are 2 Chorus songs. This film was released on 30-10-1937 in Roxy theatre, Bombay. With this song film Kokila-1937 makes its Debut on this Blog.

( information from the book ” Sagar Movietone” by Biren Kothari ji, ” तीन भिंतींची दुनिया ” by Bhai Bhagat, HFGK and my notes is used for this write up, with thanks.)


Song-Auron ka jag kya hai saadhu apni duniya paida kar (Kokila)(1937) Singer- Dattaram Kadam, Lyricist- Siddiqi, MD- Anil Biswas

Lyrics

Auron ka jag kya hai saadhu
apni duniya paida kar
Auron ka jag kya hai saadhu
apni duniya paida kar
aashaaon ki naao mein baithh ke
aashaaon ki naao mein baithh ke
naya kinaara paida kar
aashaaon ki naao mein baithh ke
naya kinaara paida kar
Auron ka jag kya hai saadhu
apni duniya paida kar
Auron ka jag kya hai saadhu
apni duniya paida kar

jeewan apna apne saare
jeewan apna apne saare
apna ho ??
jeewan apna apne saare
apna ho ??
apna mandir apna devta
apni pooja paida kar
apna mandir apna devta
apni pooja paida kar
Auron ka jag kya hai saadhu
apni duniya paida kar
Auron ka jag kya hai saadhu
apni duniya paida kar
aashaaon ki naao mein baithh ke
aashaaon ki naao mein baithh ke
naya kinaara paida kar
aashaaon ki naao mein baithh ke
naya kinaara paida kar
Auron ka jag kya hai saadhu
apni duniya paida kar
Auron ka jag kya hai saadhu
apni duniya paida kar


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

Blog Day :

4717 Post No. : 16425 Movie Count :

4462

Today’s song is from a film called Daughters of India-1939. The film was made by Super Pictures, Bombay. It was directed by V M Vyas and the Music Director was Pt. Ram Gopal Pandey. Twelve songs of this film were written by Munshi A. Shah ‘Aziz’. The cast of the film was Khursheed, Ashiq Hussain,Radha Devi, Vimla Devi, Shah Ali, Leela etc.etc.

Film’s Hero Ashiq Hussain hailed from U.P. He was a Handsome person. He could act and also sing reasonably well. He was selected by Jaddanbai as a side Hero in her first film “Talash E Haq”-1935, wherein, her own daughter Nargis also made a Debut as a Child Artiste with the name Baby Rani. Jaddanbai was in the female lead opposite Yaqub, who also hailed from a Tawayef family. Ashiq hussain acted in all the 5 films made by jaddanbai, namely Madame fashion-36, Hriday manthan-36, Moti ka Haar and Jeevan Swapna-37- all directed by her. Ashiq hussain acted in 25 films. His last film was ‘ Utho Jaago”-1947, in which he was cast opposite actress Shahzadi. She was also the producer of the film. After the film was released, Ashiq Hussain married Shahzadi and they both migrated to Pakistan.

I do not know what was the story of the film Daughters of india-39. I had seen an advertisement of this film in Film India magazine, wherein they said ” after Mother India-38, another social film “. However I found that both films were made by different banners and different Directors too. The Music Director was the same.

I have heard 3 songs from the film Daughters of india-39 and frankly I was disillusioned. The songs are so drab and have almost the same style and same tune-with slight variation. I also happened to listen to some songs from other films of Ram Gopal pandey, like Kisan kanya-37 and mother india. They are so unmusical. No wonder Ram Gopal got only C grade action and stunt films.

Music Director Ram Gopal Pande was variously credited as R G Pande, Ram Gopal, Ram Gopal Pandey etc. He hailed from U.P. After trying to become a singer unsuccessfully, he became assistant to many well known composers and learned the methods.

His first break came in 1936 with ‘ Matwali Jogan’ aka A girl from Lahore. Then he was called by the Imperial film company for its first colour film Kisan Kanya-37. Master Nisar and Padma Devi’s songs became popular, so he was given two more films- Mere Laal-37 and Vasant Bangalee-38.

Then came Mother india-38, Actress kyon bani-39, Flying Rani-39, Perfect man-38, Daughters of India-39 and Chalti Duniya-40. He was then connected with Mohan Pictures. He did other movies like Tatar ka chor-40, Deepak Mahal-40, Captain Kishore-40, Jadui Bandhan-41, Shahzadi-41, Bulbul E Baghdad-41, Bandukwali-44, Hoor E Jungle-46, Baghdad ka Chor-46, Arab ka chand-46, Ali Baba-46.

His last film seems to be Angoorbala-47. He was left behind as his music was stage and drama type only. He did not change the style either. In all he gave music to 22 films and composed 203 songs. None of his songs are remembered today. No other information is available on him.

Even the director of this film was V M Vyas who specialised in films of low budgets and C grade films generally. Vishnukumar Maganlal Vyas was born on 4-11-1905 in Ahmedabad. He started his career in 1927 as a Cinematographer. His company, Sunrise films, was started in 1941. He produced and directed 30 Hindi ( 3 Silent and 27 Talkie films) and many Gujarati films . He died on 24-1-1962 at Bombay. Vyas was a very hardworking person and a man of ‘ never say die ‘ spirit. He was disciplined and did not tolerate any nonsense. He was also known as a very miser. Being a Vaishnav, his stars would get only vegetarian food during shootings. If they wanted Non Veg food, they had to pay for it.

His first Talkie film was Saubhagya Lakshmi-34 and the last was Naag Devta-81.

Famous writer Manto has described in his book an incident about Noorjehan and V.M.Vyas.

At the time of film Naukar-43, the pair of Shaukat Hussain and Nur jehan troubled Vyas to no end. Not attending the shoots on time, asking for extra money on some pretext or the other and in general giving trouble and mental torture to Vyas were common. Not only this, additionally Nur jehan and Shaukat used to take interesting property materials from the sets to their house-like furniture, decorative vase, cupboards etc. Vyas kept quiet till the film was complete.

Once the film was completed and released, he registered an F.I.R against both of them for stealing studio equipment. To utter dishonour of Noor jehan, a police raid was made on her residence and all the furniture, tables, decorative pieces etc. , which she had taken from the sets were confiscated and the court fined her also.

Thus Vyas did not keep quiet when it was his turn and taught a lesson to Noor jehan and Shaukat Hussain, for troubling him.

After listening to songs of early era films made in Bombay, no wonder the film songs from Calcutta films became more popular. It must have been a breath of fresh air to the audience.

This song was given to me by Shri Abhay Jain jee (US) and it was uploaded by Sadanand Kamath jee for me. I thank both.
With this song, the film Daughters of India-39 makes its debut on the Blog.


Song-Tum ho sajni meri tamanna(Daughters of India)(1939) Singers- Ashiq Hussain, Khursheed Bano, Lyricist-Munshi A Shah ‘ Aziz’, MD- Pandit Ram Gopal Pandey
Both

Lyrics

Tum ho o sajni meri tamanna
sajni ee meri tamanna
tum ho saajan mera sahaara
tum ho saajan mera sahaara

aao nayi ek duniya basaa kar
aao nayi ek duniya basaa kar
us mein prem ka baag lagaayen
hum roothhen aen
tum hamko manaao

tum roothho ham tumko manaayen
tum roothho ham tumko manaayen

jahaan sadiyaan haan jahaan sadiyaan
jahaan sadiyaan
jahaan sadiyaan khil khil jaati hon
jahaan prem ki neenden aati hon
haan

jahaan koyal boley koo koo koo
jahaan ?? boley choon choon choon
prem badariya chhaayi ho sajni ee
barse amrit dhaara aa aa
prem badariya chhaayi ho sajni ee
barse amrit dhaara aa
tum ho
tum ho
tum ho o o


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

Blog Day :

4706 Post No. : 16410

After about 8 transfers in different states on promotions, I was promoted further and brought to our Head office in Bombay ( it had yet to become Mumbai). I settled down here for good. The year was 1983. While going to the office everyday, I used to see a beautiful Housing society at the corner of Versova Road and Juhu Road junction. The society’s name was ” Karachi Residents’ society-No.4″. I was very curious about this name. On one Sunday, while returning from a friend’s house, I stopped my car near this society, I saw a middle-aged person coming out of the gate. I stopped him and enquired. From what he told me, I gathered that this was a society of those people who lived in Karachi, before the Partition. He further enlightened me that there were 5 such societies in Bombay and there was also a “Lahore Residents’ Society ” which too had 5 numbers. People who fled from Karachi and Lahore at the time of Partition still loved their original abode !

Later I read somewhere that there was a Bombay Residents’ Society in Karachi also ! So the attachments were on both sides !! Partition not only divided the Country in 1947 but also affected the Film industry badly on both sides. Few days ago I was reading a book “Mourning the Nation – Indian cinema in the wake of Partition” written by Bhaskar Sarkar. Then I remembered those societies. Today, those society buildings have been pulled down and new buildings have come up, with different new names. However, a closer look shows older names mentioned in small letters in brackets on the new name boards.

According to the book, Indian film industry lost some Gems, but Pakistan was not in a position to do justice to these Gems, as their film industry was in doldrums. Everything had to be started all over again. Till that time the artistes had to wait. Problem in India was the void created by the exit of artistes, but this was easily done by a strong reserve available, waiting in the wings for opportunities. This was the second line. The problem in Pakistan was having to establish the infrastructure itself plus financers for the film production, since the economy was yet to develop.

In undivided India, Lahore (then in the Punjab) was important as a showbiz centre. It was an established film-making centre. The first Talkie film ever to be made in a Lahore studio was Heer Ranjha-1932 and thereafter many Urdu and Punjabi films were produced from Lahore every year. The partition of India into two independent states – India and Pakistan, caused irreparable damage to film production in Lahore. Most of Lahore’s film producers were Hindus and as the city fell on the side of the Islamic state of Pakistan, they migrated to India. This deprived Lollywood, as Lahore is referred to in film circles, of much needed investment and expertise in film production and distribution. Many talented actors and musicians from Punjab and Sindh area tried their luck in the Cine Industry at Lahore. Nevertheless, the biggest centre of film production was Bombay and it was every aspiring artiste’s dream to go to Bombay and shine there.

The film activity at Lahore increased considerably in the early 40s in terms of film production and Music. Those days many actors and musicians shifted their base to Bombay from Lahore, Calcutta and other places too.

The list of such people is very long, but it will suffice to mention some well known names-
Noorjehan, Pran, Saigal, Prithwiraj Kapoor, Shyam, Dilip Kumar, Surinder, Karan Dewan, Dev Anand, Balraj Sahni, Singer Khursheed, Mumtaz Shanti, Veena, Begum Para, Meena Shorey, Suraiya, Manorama, Kamini Kaushal, Shyama(Khursheed Akhtar), A R Kardar, M Sadiq, Suresh(Nazim Ahmed), Amar, Chetan Anand, Zande Khan, Ghulam Hyder, Pt.Amarnath and his brothers Husnlal-Bhagatram, Hansraj Behl, S.Mohinder, Firoz Nizami, Khursheed Anwar, Khayyam, Vinod, Shyamsunder, Kidar Sharma, Krishna Chander, O P Dutta, Saadat Hasan Manto, Qamar Jalalabadi, D N Madhok, Tanvir Naqvi, Prem Dhawan etc etc. Many of the actors and producers used to shuttle between Lahore and Bombay for their work.

And when the PARTITION took place in 1947, in the communal frenzy, polarisation of artistes took place. Some Hindus shifted to Bombay and Some Muslims left for Lahore.

At the actual time of Partition some Indian artists were in Lahore for film work. They were B R Chopra, Ramanand Sagar, I S Johar, Gulshan Rai, Omprakash, Jeevan, O P Nayyar, Rajinder Singh Bedi, Naqsh Lyallpuri, Surinder and Prakash Kaur Manorama and Pushpa Huns. They all left Lahore hurriedly and reached Bombay Safely.

However this journey was not so safe for one actor-Comedian Durga Prasad, known as Durga Mota. He was very fat. In the melee, he reached the Lahore station and somehow entered the Train to Bombay. Suddenly a group of mad rioters entered the Lahore station and started killing the travellers. Most people ran helter skelter, but due to his heavy body, Durga Mota could not run and was cut into pieces on the Lahore station platform itself !

Same way many artists from Bombay left for Lahore and ALL of them reached safely. some of the Directors who migrated to Pakistan were-

Syed Shaukat Hussain Rizvi, S M Yousuf, Najam Naqvi, Munshi Dil, Nakshab Jarachavi, M Sadiq, Zia Sarhadi, Sibtain Fazli(of Fazli Brothers), S T Zaidi , Zahoor Raja, Wali saheb, A R Kardar,Nazir,W Z Ahmed,Masood Pervez, Shareef Nayyar,Luqmaan, Dawood Chaand, Rakhan, Nusrat Mansoori, M H Qasim, Roop K Shorey, Butt Kasher, Barkat Mehra and Manto.

Some of the Actors/actresses were- Nazeer, Sadiq Ali, Masood, Sudhir, Santosh, Ratan Kumar, Najmul Hussain, Suresh and Nasir khan(both came back to India later), Sh.Mukhtar, M.Ismail, Ajmal, Gulam Mohd, Kumar, Ghori, Majeed, Shahnawaz, Himalayawala, Shyam Kumar, Allauddin, Shah Shikarpuri, Charlie, Nazar Faizi Noorjehan, Meena Shorey, Khursheed, Zeenat Begum, Asha Posley, Najma, Kalawati, Rehana, Swarnalata, Ragini, Bibbo, Renuka Devi, Geeta Nizami, Maya Devi etc.

Some from the music field were- Khursheed Anwar, Inayat Hussain, Rafiq gaznavi, G A Chisti, Ghulam Hyder, Firoz Nizami, Nissar Bazmi, Nashaad, Tufail Faruqi, Tanvir Naqvi, Faiyaz Hasmi, Iqbal Bano, Premlata,Khursheed,Zeenat Begum,Shevan Rizvi,Rasheed Atre,Fateh Ali khan,Babul etc.

With so many people migrating to Pakistan at a time and given the condition of the Pakistan Film Industry then, it is a moot question, whether all these migrants could get work there and shine ?

There were 2 types of people who migrated-

1. Those who had achieved their peaks already in India and
2. Those who had just started their careers.

Obviously the second group, at least some of them, could do well there eventually.

Some of the successful migrants there were- Noor jahan, Khursheed Anwar, G A Chisti, Nissar Bazmi, Firoz Nizami, Najam Naqvi, Nakshab Jarachavi, Sibtain Fazli, Wali Saheb,Manto, Rashid Atre, Sudhir, Santosh, Asha Posley, Shameem, Najma, Yasmeen, Ragini, Zahoor Shah, Shaikh Iqbal, Himalayawala, Nazar, Rafiq Gaznavi, Tanvir Naqvi, Iqbal Bano etc.

The unfortunate ones were-some of them- Meena Shorey, Ratan Kumar, M Sadiq, Charlie, Ghori, Kumar, Shaikh Mukhtar, Najmul Hussain, Neena, Kalavati, Maya devi, Gulam Hyder, Nashaad, Premlata etc.

Almost all the artists who shifted to Bombay prior to Partition did very well here.

(Notes- 1.All lists are only indicative and not exhaustive
2.Migrants means between 1947 to 1970 period.)

About two years ago, there was a fruitful discussion on my Facebook page about Partition effects on Film industry in India and Pakistan. Many senior experts (from US and UK too !) participated and some more new information came out of this discussion…..

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

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

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

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

Luckily,except for few like Noorjehan, Khursheed Anwar and some others, the well established Muslim artistes like Rafi, Talat, Shamshad, Naushad and hundreds of others chose to remain in India. They prospered here and became popular in Pakistan as well.

After partition,this turmoil subsided after a short period in India and it was business as usual here, while in Lahore, Pakistan had to build up from scratch, but the Film Industry there too stabilised in a few years’ time. The base of Film industry in Pakistan was built by people who migrated from India. Migration from India to Pakistan continued till about 1970 for the pre-partition artistes. In fact till about 1965 there was an exchange of artistes from both sides to work in other countries, but after the 65 war, this working stopped almost completely.

Music Directors who left India after Partition had done a very good job here. Composers like Nissar Bazmi and Feroz Nizami became exceptionally successful in Pakistan, but Nashad, Rafiq Ghaznavi and others were not successful to that extent. Khursheed Anwar, a very highly respected composer here remained a father figure even in Pakistan.

Partition did a lot of damage to both countries and the film industry. With so many artistes leaving at a time surely affected the filmdom, but it also opened up new avenues for new singers and new blood composers.

Despite all this in the Partition year – 1947 saw making of a Record number of films in India – 181 (this record remained till 1985). Of course most films were made in a hurry to complete before the deadline of August-1947. Still, even in these circumstances also some very good, meaningful, milestone and musical films were made in 1947, like… Aaj aur Kal (the first Sci Fi film), Bhakta Dhruv, Dard, Do Bhai, Elan, Jugnu, Leela, Meera, Meerabai, Mirza Sahiban, Natak, Parwana, Shehnai, Sindoor etc.etc.

Today’s song is from one of the unknown films of 1947 – Bela. The only noteworthy point about this film was, it was the first ever film of Zohrabai, where she sang all the 10 songs of the film. The other film surpassing this record was film Meerabai – 47, where Sitara Kanpuri sang all the 13 songs of the film. However even this record was broken in 1947 itself when M. S. Subbulakshmi sang all 17 songs of her film Meera-1947. As far as I remember this record is yet unbeaten.

Bela-47 was made by Ranjit Cinetone. It was directed by Chaturbhuj Doshi and the MD was Bulo C Rani. The film had 10 songs. 9 songs are already discussed. Today’s song is the last 10th song and the film says YIPPEE. I was given this song by Abhay Jain ji of US, but it was a slightly short one. Sadanand Kamath ji found another version song which was longer and uploaded it for me. I thank both of them.


Song- Peepal ke patve se chikni meri gori re (Bela)(1947) Singers- A R Oza, Zohrabai Ambalewaali, Lyricist- D N Madhok, MD- Bulo C Rani

Lyrics

peepal ke patve se chikni meri gori re
chanda se pyaara mera baalmaa ho
chanda se pyaara mera baalmaa ho

peepal ke patve se chikni meri gori re
chanda se pyaara mera baalmaa ho
chanda se pyaara mera baalmaa ho

torey nainon mein chhoti si duniya basaayi hai
gham e aasha umang sang naachne ko aayi hai
torey nainon mein chhoti si duniya basaayi hai
gham e aasha umang sang naachne ko aayi hai
meri umang meri chhoti si gori re
mera sahaara mera baalmaa ho
meri umang meri chhoti si gori re
mera sahaara mera baalmaa ho
chanda se pyaara mera baalmaa ho

peepal ke patve se chikni meri gori re
chanda se pyaara mera baalmaa ho
chanda se pyaara mera baalmaa ho

pyaar ke phool mein balma kaante lage hain
lag na jaaye
pyaar ke phool mein balma kaante lage hain
lag na jaaye
dekho ulfat ke pehloo mein furkat chhupi hai
wo din na aayen
dekho ulfat ke pehloo mein furkat chhupi hai
wo din na aayen
kehti rahoon
kit dhoondhoon kit jaaun re
kehti rahoon
kit dhoondhoon kit jaaun re
mera to haal mere baalmaa ho
chanda se pyaara mera baalmaa ho

peepal ke patve se chikni meri gori re
chanda se pyaara mera baalmaa ho
chanda se pyaara mera baalmaa ho


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 :

4699 Post No. : 16391 Movie Count :

4454

Today’s song is from an unknown film – Daawat aka invitation-1943.This film falls under the II category of ” Road Closed” movies – which means, except for the information given in HFGK, no other information about the film is available anywhere, as on today. What do we do then ? Nothing. Just try to know more about whatever is available.

The film was made by Eastern Pictures, Bombay. It was directed by M.Nazir, who apparently directed only this film. However, he acted in 15 films, from Zingaro-35 to Mala-41. I found one more name, Nazir Ajmeri (5 films) as a director. Obviously he must be a different person. There were 8 songs in the film, written by lyricist Tanvir Naqvi. He was one of those people who first migrated to Pakistan after partition and then came back to India to get some work and then went back again to Pakistan for good.

Tanvir Naqvi ( real name- Syed Khursheed Ali ) was born on 16th February 1919, at Lahore. His father was a Jahagirdar and elder brother was ADC to a Nawab. Tanvir went to Persia, along with father, where he was educated in Urdu and Persian. From the age of 14 years, he started writing poetry and participated in various Mushairas. He published a book ” Suhane Sapne ‘ of his poetry. By chance, A R Kardar read it and called Tanvir to Bombay to write for his film ‘ Swami’-41 made by CIRCO.

In his next film, Nai Duniya-42, Suraiya sang his song as her First song. His films Anmol Ghadi-46 and Jugnu-47 became hits and all his songs were appreciated much. He had earned a good name. However, after the film Parda-49, he migrated to Pakistan. In 1954, K.Asif invited him to India to write songs for his film ‘Mughal E Azam’, but by that time, Naushad had built his own team and he declined to take Tanvir Naqvi. From 1954 to 1959, Tanvir did many films. He also joined S.Mohinder and wrote songs for his 7 films.

In 1959, Tanvir Naqvi shifted again to Pakistan, but this time for good. There also he wrote for many films,like Koel, Jhoomar, Salma, Gulfam,Elaan etc etc. He also wrote for Punjabi films. He had married Idaan- elder sister of actress singer Nurjehan. However,since he had no children from her, he married again and had 2 children. He died in Lahore on 1-11-1972. In India, he wrote 224 songs for 48 films. Some of his songs are popular even today.

The Music Director of this obscure film was equally obscure – Vasant Kumar Naidu. There were a number of people who came to Bombay to try their luck in films. They had hopes, skill and a will to do hard work. Such people came to Bombay from all over India. Naidu came all the way from Burma-via Madras. All could not succeed. Those with strong Luck got some God Fathers and some could get opportunities which they turned into solid performance, but some could not get any of these and remained unknown. There are strange cases where Luck just came near but eluded them leaving them empty handed.

Vasant Naidu was not only one such person, who could not become a big name, but he was also one about whom hardly any information was available anywhere. In the case of music director Vasant Kumar Naidu, no information is available in any book or on the internet. Only Pankaj Raag wrote about his films and songs in his book ‘Dhunon Ki Yatra’. This too is based on HFGK only. Luckily Ms. Sai Lakshmi and Mr. Krishna Kumar Naidu, niece and nephew of Vasant Kumar Naidu visited this Blog and left some comments on an article . I picked up this slender lead and wrote to both of them. It is to their credit that both responded promptly . They tried to provide song and film information from different sites, which I already knew. After exchanging a few mails, they sent me a newspaper cutting, announcing the passing away of Vasant Kumar Naidu, along with his photo and a copy of his death certificate. Krishna Kumar ji also gave me some information about his family. I can understand their limitations. Naidu ji died in 1951. At that time these two were very young and now there may not be any other elder who may provide information about this artist.

Anyway, earlier I had zero information, now at least I have some information about him, plus his filmography as per the HFGK. I sincerely thank Ms. Sai Lakshmi ji and Shri Krishna Kumar Naidu ji for their help.

Vasant Kumar was born on 5-6-1915. His family had settled in Burma like thousands of other South Indian families. When Burma was struggling for independence, in the 1930s, most Indians left Burma and came to India. Many went to Calcutta and many went to South India. Many families walked for around 6 months from Burma to India. Mr.Vasant Kumar’s family was one amongst them. They walked from Rangoon to Madras. The family settled in Madras for some years.

Vasant Kumar had come alone to Bombay earlier in search of a career in music. He was an instrumentalist and could play any string instruments and also harmonium. He was also very much interested in reading different languages. There were many books that he read. He was also very keen on dressing up and had several suits in those days. He joined the industry and started growing as a Music Director. He then called his mother and other siblings to live with him in Mumbai along with his eldest brother’s widow and her son. He had 4 brothers. His eldest brother expired in Madras itself. Vasant Kumar was the second eldest. He had two younger brothers as well. They all lived on Peddar Road initially. Later, he left his Peddar Road flat and moved to Parel.

Vasant Kumar thereafter lived in Parel until his passing away on 16-10-1951.

Vasant Kumar got married in Madras. This marriage was arranged by his mother. Eventually his other brothers also got married. All three brothers and their wives stayed under the same roof in Parel in a joint family which was headed and supported monetarily by Vasant Kumar ji. His younger brother, the late Mr. Pandurang Naidu was also working towards a career in music. He became a musician (played banjo and mandolin). Vasant Kumar ji taught several string instruments to his brother, Pandurang ji. His youngest brother, the late Mr. Sreenivasn Naidu, became a composer at a later stage of his life for the Indian Railways Music Academy (Central Railway Cultural Academy).

Vasant Kumar is survived by his only daughter, Mrs. Pramila Naidu, who is now a widow. She lives in Pune with her grown up children. Pramila ji was around 5 years old when her father passed away. She has vague memories of her father. It is sad to see her struggling now financially. She continues to give tuition at the age of 70 to make her living. She lawfully owns 3 flats in Parel, Mumbai but the 3rd generation of the family has occupied these flats and are not willing to vacate. This property is now worth in crores. The cousins of Pramila ji have gotten together and have filed a lawsuit against these 3rd generation greedy family members. The lawsuit has been going on now for the past 3 years.

When luck is not in your favour, any amount of hard work, efforts or support from influential persons does not work. This is amply proved by what happened in Naidu’s case. Naidu, before starting as an independent composer and even later, for some time, was an assistant to Anil Biswas. To help Naidu establish, Anilda sometimes used to put a word to known people for him as M.D.

Anilda knew Harishchandra Rao kadam very well. When he decided to become a Producer and make a film “Sukhi Jeevan”, Anilda met him and took a promise from him to make Naidu the MD for that film.

Harishchandra Rao wanted Master Bhagwan as the film’s Director. Bhagwan agreed but put a condition that C.Ramchandra be made the MD for this film. Rao told him about Anilda and the promise given for Naidu. Bhagwan refused his film if C.Ramchandra was not made MD. To solve this problem, Anilda was called and after discussing with all, he withdrew his demand for Naidu. Thus Naidu lost and C.Ramchandra got his first Hindi film ” Sukhi Jeevan”-42 , to start his career ! ( from the book ” Ek Albela” by Isak Mujawar).

Vasant Kumar started his career in 1939 by giving music to films ‘Thunder’ and ‘Pakke Badmash’. Till 1947, he composed music for 22 films, as per the HFGK. He sang 1 song as a duet with Khan Mastana for the film ‘Mere Sajan’ (1941). He has composed 160 songs in these 22 films. His filmography, as per the Geet Kosh, is ‘Thunder’ (1939), ‘Pakke Badmash’ (1939), ‘Rangeela Jawaan’ (1940), ‘Jung-e-Azadi’ (1940), ‘Desh Bhakt’ (1940), ‘Suhaana Geet’ (1941), ‘Meri Khwaish’ (1941), ‘Mere Saajan’ (1941), ‘Lehri Jawaan’ (1941), ‘Lala ji’ (1942), ‘Call Of Youth’ (1942), ‘Maata’ (1942), ‘Watan Ki Pukaar’ (1943), ‘Nai Zindagi’ (1943), ‘Mohabbat Ki Jeet (1943), ‘Daawat’ (1943), ‘Circus Girl’ (1943), ‘Bhaagta Bhoot’ (1943), ‘Beda Paar’ (1944), ‘Shaahi Khazaana’ (1946), ‘Chamkati Bijli’ (1946) and ‘Toote Dil’ (1947).

Unfortunately, Vasant Kumar got mostly B and C stunt and action films for composing the music. Big banners like National Studios gave him an opportunity with the film ‘Lala ji’ (1942), in which he got many songs sung by Anil Biswas, Kusum Mantri, and Vatsala Kumthekar. However such films came to him only as an exception, therefore his exposure to audiences was limited and his name did not gain any fame. Actually, many big, well known and popular singers have sung for him.

However, without a mentor, God Father or the support of a big banner, it became impossible for Vasant Kumar to grow further. During the transition period of 1947-48, when many composers migrated to Pakistan, the existing big composers made their positions solid. Thus smaller composers never got any opportunity to benefit from the void created by the exit of composers. This was the case of many small-time composers like him.

Today’s song is a duet by Rajkumari and G M Durrani. This rare song comes from Shri Abhay Jain ji (US) and was uploaded by Sadanand Kamath ji for me. Thanks to both. With this song, film Daawat-43 makes its Debut on this Blog.


Song- Nain se nain milaaye aao (Daawat)(1943) Singers- G M durrani, Rajkumari, Lyricist- Tanveer Naqvi, MD- Vasant Kumar Naidu
Both

Lyrics

Nain se nain milaaye aao
Nain se nain milaaye aao
Man ko man se taulen aen aen
Man ko man se taulen

nindiya ban kar do nainon mein
sapnon ke pat kholen aen aen
nindiya ban kar do nainon mein
sapnon ke pat kholen

nain se nain milaaye aao
Man ko man se taulen aen aen
Man ko man se taulen

main raat gaye ka sapna
main raat gaye ka sapna
main saanjh bhaye ki dhool
saanjh bhaye ki dhool
main pawan ki sheetal ??
main pawan ki sheetal ??

main bhor bhaye ka roop
main bhor bhaye ka roop
ye bhed kabhi na kholen aen
bhed kabhi na kholen
Man ko man se taulen aen aen
Man ko man se taulen

main kali banoon bagiyaa mein chatkoon
kunj kunj mehkaaun
main kali banoon bagiyaa mein chatkoon
kunj kunj mehkaaun

main bhannwra ban kar it ut doolon
door door ho aaun
door door ho aaun
aur munh se kuchh na bolen
aur munh se kuchh na bolen
Man ko man se taulen aen aen
Man ko man se taulen


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 :

4697 Post No. : 16387 Movie Count :

4453

When I was about 15 year old, I saw Dev Anand for the first time. Not on screen, but in person. I had gone to my Uncle, who was an assistant Police Commissioner in Bombay that time. Through his contacts, we attended a shooting of Dev’s film. After this I saw Ashok kumar, Dilip Kumar, Raj Kapoor and many other actors and actresses in person at various times. Though I did not speak to any cine artiste in those times, I have seen them with my own eyes. So, I had access to their first hand information, their films, songs, music etc. All the material was available in film magazines, newspapers and also in books. If I had wanted to write about them at that time, all the material was available – all credible,genuine and full of facts which could be corroborated or checked with them or with persons close to them……

CUT to old times, like the 30’s and the 40’s….

I was not living in those times and it is almost impossible to find a cine artiste alive who worked in films of the 30’s or 40’s. So today, if I want to write about those artistes,films,
music, songs etc of the bygone era, what should I do ? To get the right, genuine and credible information, I must depend on historical documents like books, newspaper cuttings, old film magazines or collect information from the sons/daughters or near relatives of old time artistes.

None of today’s old film writers were living in those times, and they have to depend on materials listed above. Due to the advent of and easy availability of the Internet, many sites and Blogs are available. Some of these sites proclaim themselves as a store-house of information on old films and music. At one time I had found and listed some 110 such sites. The problem with these sites is that they hardly give any information other than what is given in the HFGK. There are many authors who consider themselves as Experts and have brought out books on old films and artistes. Such books are available in almost all languages.

While some books genuinely provide research based credible information (it shows in their writings itself) on old films, many books churn out recycled half-true information collected from Internet sites. I have a collection of many books in many languages, but barring few books most others are of no use. Sites like IMDB, Wikipedia, Gomollo etc are not trustworthy. The reason is, Wikipedia is a site where anyone can upload, update, add or delete information. Unfortunately many enthusiastic new and fresh entrants of old films, present their data on Wikipedia.

I quote an example. The actress-singer Nirmala Devi (mother of actor Govinda) was born in a Hindu family in Banares. Someone changed this on Wikipedia and added that ‘ she was a Muslim and her name was xxx’. Dr. Surjit Singh ji immediately corrected this matter and wrote about her parents and that she was a Hindu. This was published. After some days, this was again changed to Muslim. This alternately went on for some time. Now imagine a New enthusiast of old films getting wrong information or getting confused with information from Wikipedia, this way.

IMDB is notoriously famous for mixing up information and filmography of artistes, who are members of ” Same -Name -Confusion” group. Any number of letters for correction are neither replied nor information corrected on IMDB. Thus bad quality information is passed on to seekers. In this respect Cineplot and muVyz are much better. They take immediate action to rectify mistakes, if you write to them with correct information with proof.

There was a film ” Bramhachari “-1938, in which Master Vinayak and Minakshi Shirodkar were the lead pair. Internet site Gomollo gives the name of Minakshi Seshadri as its Heroine in 1938 ! When Shamshad Begum aka Chhamia, mother of actress Naseem Bano died, one site declared that singer Shamshad Begum had died in 1998 ( she actually died in 2013). Both these examples are still on the sites, if anyone wants to check both sites.

Therefore, my advice to people who are eager to write about old films is to be careful and to corroborate your information with other sources or books or an expert to confirm that you have the right information. When film titles are repeated many times in different years, mistakes about the cast etc becomes common. Films with the title ” Insaf” were made 7 times from the 30’s to the 90’s !

Finally, a point. Like any History, old film history also gets updated as and when new documentary evidence becomes available. So what was written earlier, with good faith, becomes wrong ! I have experienced this. Some of my comments in 2011 and 2012, on this Blog, have been rendered wrong, because new information became available. Some examples are 1. Singer of song ” Dilli se aaya bhai Tingu” (film Ek thi ladki-49), 2. Singers of ” Bharat ki ek sannari ki” (film Ramrajya-1943), 3. Child actor Rajkumar Khatri (film Sautela Bhai-62) etc.etc.

Today’s song is from the film Dhiraj-1942. It’s cast consists of names like Sitara, Noorjehan, Khatoon, Rajkumari and Ibrahim – who are all members of “Same Name Confusion.” There were 2 Sitaras, 3 Noorjehans, 2 Khatoons, 4 Rajkumaris and 2 Ibrahims. Now if someone wants to write about one of these artistes, he will have to be very specific and careful.

The song is sung by Gyan Dutt, MD of the film himself. Gyan Dutt composed 604 songs in 58 films as MD, he sang 15 songs in 9 films and he wrote song lyrics of 13 songs in 3 films. With today’s song, film Dhiraj-42 makes its Debut on this Blog. This rare song was given to me by shri Abhay Jain ji and it was uploaded by Sadanand Kamath ji. Thanks to both.


Song- Tu kaisa hai Bhagwaan (Dhiraj)(1942)Singer-Gyan Dutt, Lurics-Pt Indra, MD-Gyan Dutt

Lyrics

Tu kaisa hai Bhagwaan
Tu kaisa hai Bhagwaan
teri kya hai jaan pehchaan
Tu kaisa hai Bhagwaan
teri kya hai jaan pehchaan
Tu kaisa hai Bhagwaan

kabhi kabhi meri aah sune tu
kabhi na sune pukaaar
kabhi kabhi meri aah sune tu
kabhi na sune pukaaar
kahin band darwaaze tere
kahin khule hain dwaar
kahin band darwaaze tere
kahin khule hain dwaar
tera kya hai naam nishaan
Tu kaisa hai Bhagwaan
teri kya hai jaan pehchaan
Tu kaisa hai Bhagwaan

bade aadmi gulaab jal se
tere paanv dhulaaye
bade aadmi gulaab jal se
tere paanv dhulaaye
ham to baarah maas aapse (?)
ganga jal bhar paaye
ham to baarah maas aapse(?)
ganga jal bhar paaye
kyun phir bhi maan gumaan
Tu kaisa hai Bhagwaan
teri kya hai jaan pehchaan
Tu kaisa hai Bhagwaan
teri kya hai jaan pehchaan
Tu kaisa hai Bhagwaan


This article is written by Sudhir, 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.

This is the 1400th post by Sudhir.

Blog Day :

4693 Post No. : 16378

 

The Many Colors of Love #31 – Love Divine
– – – – – – – – – – – – – – – – – – – – – – –

And so wrote the scribe

खाक को बुत, और बुत को देवता करता है
इन्तहा ये है के बंदे को खुदा करता है इश्क़

Khaak Ko But, Aur But Ko Devta Karta Hai
Inteha Ye Hai Ke Bande Ko Khuda Karta Hai Ishq

Such a profound statement with a hugely significant implication – words are written by Sahir. Whether you read them in the flow of the entire set of lyrics, or just these two phrases, the import of these words cannot be diminished. And a more grand effect is achieved in rendition. Roshan Sb has put this to a melody that one cannot pulls oneself away from the flow, as line after line is being rendered by Rafi Sb. And finally, the effect of the rendition itself, as the continuous flow of singing gains momentum, the crescendo is rising, and Rafi Sb takes these two line progressively higher from octave to octave – to the most important message in this entire qawwali – “बंदे को खुदा करता है इश्क़ ” – “That Love Elevates Man to the Degrees of God”. This phrase is the ultimate climax – in all aspects – the rising crescendo of the music, the heightening pitch of the singer’s voice, the increasingly fervent clapping of the accompaniment singers, and the magnificent declaration about Love and God – all converging on the heights wherefrom one cannot go any further. For the message delivered is the ultimate statement to be made in this creation, in this existence – that Love Elevates.

All faiths, all beliefs, all creeds – have one thing in common. They all acknowledge something superior, a higher power that be – because none can otherwise explain the existence of these universes and the presence of the self on this planet. It is Voltaire who has said – “If God did not exist, it would be necessary to invent Him”. Yes, there is so much that we do not understand and so much that cannot be explained by the intellect, that finally even the non-believers cannot extract themselves out of the argument to explain existence.

Where is the story of creation? Every creed has its own, and in every such story there is a higher power that be, which is acknowledged as the authority responsible. The Humans being a visibly cognizant entity (चेतन) in this creation which is so manifestly non-cognizant (जड़) – this question indeed arises in the curious awareness of the self – why am I here? And the answer given by every system of belief is a variation of – “Man Must Return to His Maker”.
I remember another famous qawwali –

रस्ते अलग अलग हैं ठिकाना तो एक है
मंज़िल हरेक शख्स को पाना तो एक है

Raste Alag Alag Hain Thikaana To Ek Hai
Manzil Har Ek Shakhs Ko Paana To Ek Hai

“That paths may be many, yet the destination is the same.”
“And to the Divine must we return”

Theological systems have a life and existence of their own. Most people will follow one or the other that already exists. Once in a while, in a millennium, will come a person or a thought that will bring forth a new theology. Over the ages and across the history of mankind, one after another, newer and different belief systems have appeared, and each has its own existence, its own history, its thoughts, teachers and following.

And then, there is love. No, not as simply as it is just said. An emotional enigma, an anonymous obscurity, supposedly an inscrutable element that forms a significant constituent of what this larger conundrum of ‘creation’ is. An element yes, the basic, most primeval foundational piece. Tagore, in all his wisdom, was moved to write thus – “Love is an enduring mystery because it has nothing else to explain it“.

We can write and express it in a multitude ways, and indeed that has been done across the history. And yet, it remains universally undefined, and there always is yet another expression that attempts to. Through the history of mankind, this attempt has been made many millions of times. And as many millions of times poets, philosophers, lovers, thinkers, believers, and yes, the disbelievers too, have talked about it. And yet, in every age, in every culture, in every generation, every individual mind still continues to ask this question. The same minds continue to discover new definitions and new flavors. Adam and Eve wondered about it, as they looked upon the tree of the forbidden fruit. Brahma, the creator of the universe, was so enamored by his own creation of the feminine form, that he forsook his lotus seat as the creator God, and ran after Her. Lord Shiva was so captivated with the Mohini incarnation of Lord Vishnu, that he too left his abode in Kailash, and in pursuit of that vision. The renowned Sufi poet, Rumi thus wrote “Love is the astrolabe of God’s mysteries”.

Some say God is Love. Some others say Love is the link from Man to God. Yet others say Man who has realized Love, has realized God. Philosophers have written that Love is the basis of this Creation. Others have surmised that Love is the sustenance of this Creation. Another thought is that Love is the path to God. Such a multitude of concepts, ideologies and aesthetics thinkers have thought about and postulated. Some others say Love is an axiom. In the process of philosophical or logical differentiation, an axiom is a self evident truth that stands by itself. It cannot be further simplified or partitioned, or be established from more basic and elemental concepts. An axiom always just is. I recall the cover page of one of the most popular worldwide English editions of the Bible. The cover page simply says “The Greatest Is Love”. No other words, not even the word ‘Bible’ is printed on the cover page. It simply says “The Greatest Is Love“, and that’s it.

This is surely an axiom. A summary outcome of years and aeons of distillation of the human thought that has examined the emotions and expressions to bare bones, and then from the remnants of all that is stirred in the crucibles of the collective human psyche comes this extraction so short, so sweet and so sublime. And from this emerge some very stunning implications, the most significant of them being that Love is greater than God. And suddenly one has to pause, pull the brakes on this whirling carousel of thoughts and expressions and stare in wonder and amazement at this startling conclusion – “The Greatest Is Love, Even Greater Than God Himself”.

There is this play of Love that permeates every thought, every event, every concept, and everything that populates this universe at the physical as well as the non physical and the metaphysical levels of existence. The cycles of existence of the universe – the cause, the sustenance and the eventual assimilation – each one of these is an act of love. The cause of creation occurs when the alone Supreme Soul has a desire to share. That sharing is an expression of Love. The sustenance of the universe is the desire to maintain and keep well the creation – once again it is an act of Love. And the eventual assimilation – no, not the destruction, but more a dissolution of this game of universe, and the assimilation of all the souls back into the primal super soul. Once again, an act of love – an embrace that outweighs any level of proximity – the ultimate sharing of love. The ultimate conversation of love is the tête-à-tête of the souls – as they say, Soulmates. In our bhakti discourses, it is the ‘आत्म निवेदनम्’ (‘atma nivedanam’), the ultimate propinquity of love, the highest stage of meeting of the souls.

Love and God – the ultimate triumphs of realization in this mystery of existence, the magnum opus of individual endeavor and accomplishments. After propounding all the values of human existence, and teaching about all the good and bad in life, every faith, every religion finally talks about Love, about Love and God, about Love Divine, about the Divinity of Love.

This Divine Love is expressed and manifest in countless episodes that are scattered across the length and breadth of the scriptures of our Sanatan Dharm. In the Varaha Avatar – manifestation of Vishnu in the form of a tusked Boar, Vishnu battles with Hiranyaksh and vanquishes him. Then he dives into the waters of the Cosmic Ocean, into which Hiranyaksh had hidden Bhoodevi (Goddess Earth). He picks Her up on his tusks, and brings her out of the waters of the netherworld. In this episode there are brief shlokas wherein Vishnu in the form of Varaha tells Bhoodevi – “My Dear, it has been such a long time that you have cuddled as such in my arms, and I have carried you”.

During the episode of Sagar Manthan, Goddess Lakshmi appears as one of the outcomes of the churning of the Cosmic Ocean. There is an argument as to who would she belong to. Short of a battle, good sense prevails and all agree that Lakshmi should herself select her consort. And Lakshmi puts the flower garland on Vishnu.

In this same episode, Vishnu also appears as Mohini, the incarnation as a beautiful woman. And Shiva who is also present, is so enamored by Her beauty that He immediately has a charming attraction for Her and pursues Her. This affiliation recurs many more times as different episodes are narrated in different books.

When Vishnu appears in the avatar of Narsimhadev, and vanquishes Hiranyakashipu, His demeanor is so frightful, and He is so angry even as the inanimate body of Hiranyakashipu is lying in his lap, that none of the Gods and Sages present have the courage to approach Him. Not even Sage Narad who has the liberty to approach Vishnu whenever and wherever. Not even Goddess Lakshmi, His wife. Then Brahma and Narad request the child Prahlad to approach Narsimhadev. With his childlike innocence, Prahlad presents himself to the infuriated and ferocious half lion manifestation. And lo, in a moment, the anger of Narsimhadev evaporates and is immediately replaced by effusive love for his Bhakt.

Episodes and encounters of love are numerously present in the narration of Vishnu’s avatars as Ram and Krishna. The beauty of Ram is so divine that numerous Sages and village belles express their desire to serve Him as His wife. He declines, for in this avatar as Ram, He has a vow to be the husband of just one, and that is Seeta. But then He gives a boon to all such seekers that in his future incarnation as Krishna, He would accept their desires and betroth them. Therein lies the reason behind the Sixteen Thousand One Hundred and Eight wives of Krishna, as well as the occurrence of the phenomenal and Divine Raas Leela.

In the pageantry of the Sanatan Dharm theology, two entities are identified as beyond creation. They are Shiva and Vishnu. These are the only two for whom no stories of origin can be found, no details of parentage have ever been documented. In every episode, in every tale, the description of their physical appearance is always the same. There is no ageing across time. There is no dissolution at the time of Pralaya or Maha Pralaya. On the occasion of Maha Pralaya even Brahma completes his existence of 100 years (Brahma years, vastly different from the concept of earth years) and dissolves back, awaiting the next cycle of creation.

Vishnu and Shiva exist beyond the time and space, beyond the nothing and anything of this created universe. Their abodes are beyond time and they remain even when everything else disappears at the end of creation. It is nearly impossible for the human mind to even imagine what would be beyond the infinity of time and space as we comprehend it. In a manner of speaking, They represent the two basic forces, the two fundamental concepts that are the source of everything of any kind of nature that is, was, or will be, but They Themselves are apart from this creation. It is interesting to note that this concept of two basic forces pervades many other civilizations and many other theologies. The philosophies of further east have this representation as Yin and Yang, the two fundamental forces that are the basis of all creation. The Buddhist philosophy has the concept of Purush and Prakriti, and that everything else exists or is created through the interactions of these two. Even the scientists pursuing research on the theories of Modern Physics are making efforts towards what they call as the Grand Unified Theory of Physics, in which they propose that there exist only two basic forces in this physical universe and everything else in this visible measurable universe can be computed and extracted from the interplay of the equations of these two basic forces.

The scriptures of Sanatan Dharm abound with narrations of many flavors which describe the interplay between these two fundamental identities, and everything else that comes from them. There are narrations where Parvati, the Consort of Lord Shiva is represented as an incarnation of Vishnu. Then we have other narration where Radha ji is represented as an incarnation of Shiva.

The Ardhnaarishvar manifestation of Shiva, in which the left side of His being transforms into the female form, and He is blessed with being male and female form together in one presence. As per the narrations, Shiva got so smitten with the beauty of Mohini swaroop of Vishnu, that he continuously meditated on that beautiful form. As a result He earned the boon from Vishnu that Mohini would co-exist in the same physical body with Him. That is how the Ardhnaarishvar manifestation of Shiva came about.

Narrations abound in our scriptures of the purity of relationships of Love between Radha and Krishna, between Seeta and Ram, between Parvati and Shiva. However, in the most basic terms, it is all the interplay of the two basic forces of Vishnu and Shiva. And now I will touch upon one more aspect of Divine Love – the Love of Gopis of Vrindavan for the Child Krishna.

I have mentioned little earlier in this article, about the rationale behind the episode of Raas Lila during the appearance of Krishna on this earth, about the boon many learned Sages and women folk of villages received from Ram, when they approached Him with their desires to serve Him as His wives. Close to the end of Dwaapar Yug, when Krishna appeared on this land, these blessed souls all incarnated in Brij as Gopis, the milkmaids. The propensity of their earlier attraction to Ram, transformed in this life into an attachment of devotion to Child Krishna.

There are numerous narrations from many scriptures about the pastimes of Krishna in Gokul, Nandgaon and Vrindavan. Many of these episodes, including the Divine Raas Leela, are played out as interactions between Gopis and Child Krishna. The tales are endless. About Gopis craving for a view of Krishna, His pranks to trouble them as they go about their daily chores, about stealing butter and curd from their homes, about breaking the earthen pots (matkis) containing milk and butter, about the Gopis making Krishna dance just for getting some buttermilk and curd from them, even getting His face embellished with bits of cow dung to get more butter from them, and many many more.

There is a very interesting thread that weaves through all these episodes and pastimes, all the way up to the Raas Leela. And that thread is the flute that Krishna always carries with him, no matter what. This flute, made from a small stick of bamboo, is inseparable from Krishna. It is his eternal partner during the manifestation of all his pastimes while in Brij.

Krishna’s flute playing is remarkably Divine. At will, He can call for all the cows, or all the peacocks, or all the monkeys, or all his playmates and friends. And yes, when He plays the flute for that purpose, it is also to call all the Gopis. The ones so beckoned, are mesmerized by the music of the flute and as if a piece of iron is pulled by a magnet, so will the called ones respond to the call of the flute and in a trance just come to Him.

Gopis are attracted by His flute playing. Their attachment and their affectionate loyalty to Child Krishna is such that they would immediately give up whatever it is that they are doing, answer this call of devotion and converge wherever Krishna is. But when the music is over and the spell dissipates, they are also upset and annoyed that He has such power over them, that He will call them over whenever. There are small episodes of narration of such quarrels between Gopis and Krishna, and also complaints by Gopis to Yashoda.

Taking this narration further, we are also told that the Gopis are also cross with the flute itself. Just a small piece of bamboo and it has such a mesmerizing power over them. They even complain to the flute itself. Sometimes they slyly steal the flute and hide it. Then the little Kanhaiya is distraught, and he pleads with the Gopis to return it. There are some very beautiful bhajans and descriptions that depict this back and forth exchange between Kanha and the Gopis. And then, another step, the Gopis will go to Nand Baba’s home and lodge complaints with Yashoda. This exchange to is covered in many bhajans and episodes that are cute and heartening.

So what or Who is this flute? Some readers may know. Yes, as per narration given in some scriptures, this flute is none other than an incarnation of Shiva Himself. All I can say is that these matters are of the Divine, and are beyond our logic and comprehension. They need to be read and heard in wonder, and then to savor the multitude of sentimental flavors that are enmeshed in all this Grand Design. The more that we think and say about it, the more there remains to be thought and said about it.

The bhajan being introduced today is bringing up yet another flavor of the scores of sentiments that make up this wondrous pageantry. Gopis are even envious of the flute. And they begrudge it, that it always remains close to Kanha, and He so lovingly takes care of it, and He carries it everywhere with Him, even when He is asleep, it is with Him, and then He touches it by His lips, and creates the magic that disturbs their peace and comfort. After all the jealous complaints, they eventually end up praising the fortune of the flute. And they ask of it in wonder – Oh so what all penance and self-flagellation has it gone through, to be rewarded such a position of eminence, with the One that they all adore and covet.  And the words are

ए री बांस की बांसुरिया, तूने कौन कौन तप किन्हो री

Ae Ri Baans Ki Baansuria, Tu Ne Kaun Kaun Tap Kino Ri

Translations

bansi
bansi naam hai, kaahu dhareo sareer
taan taan ki dor su, khinchat hai mann mein

ari kshama kar muraliyaa, padi hain tere paayen
aur sukhi sun hot hain, maha dukhi hum hain

O Eminent Flute
Your name is ‘bansi
O why did you have to exist
With the power of the tones that emanate from you
The insides of our heart are pulled and wrenched

O please, please forgive us,
We fall at your feet in reverence
Others who may listen, may get pleasure from this music
But us. . . ?
Your sound makes us so unhappy and disturbed

 

tu hai brij ki muraliyaa
hum hain brij ki naar
teen lok mein gaayi’e
bansi aur brij naar

O Eminent Flute of Brij
You are the One who is so dear to Him
And we are the simple milkmaids of Brij
May these stories be sung in the three worlds
The tales of the flute and the milkmaids

There is a small personal incident associated with this bhajan that I would like to share. A senior patriarch (not in this world now) in the extended family was a very spiritual and learned person and I have had the good fortune of sitting and listening from him one on one, many times. Once I took this bhajan with me to play it for him. He had never heard this one before. As the play reached the second stanza and the words came “bansi aur brij naar “, he uttered the words “Jai Ho” three times, and I looked at him and his eyes were streaming. A little later I asked him about it, and he replied – “Bansi Aur Brij Naar – there is nothing higher than this in Krishna Bhakti”.

This is a non film bhajan that was recorded way back in 1961. That is all the information that I have been able to gather. No names are listed for the songwriter and the composer of this bhajan. The 78 rpm record is Columbia label GE 39008.

I have heard this song from the days of radio listening while still at school. But now this bhajan seems to have been forgotten by the radio waves. I tried searching for this on line and was really amazed to locate pages where netizens are waiting for this song to be located and uploaded.

A very rare song now, uploaded today. Listen to this baritone sound of CH Atma’s voice from sixty years ago.

[Author’s Note: This series – ‘The Many Colors of Love’ got initiated 20th May, 2013, eight years and 4 days ago. It continued on through 2013, 14 and 15, and 29 episodes were published, the 29th coming online on 9th March, 2015. And then there was complete silence on this topic. Six years – that is too long a gap by any standards. There was a rare blip in 2019 when the 30th episode of this series got published on 20th March, 2019. However, that post, although very much within the theme of this series, came about more towards getting the songs of film ‘Bobby’ completed and getting that film Yippeee’d. And then again, another long silence.

Readers and friends have probably come to the conclusion that the series was more or less complete. But the truth is far from that. In the sequence in which I had laid out the ‘Colors of Love’, after having done the 29th episode, the next topic I come to on the list is ‘Love Divine’. Telling you all the truth, it is this topic that tied up my grey cells in a bind and dried up the juices of creativity. Whenever I used to think to start writing this episode, my mind would just sputter and stop working, not knowing where to make a start. The article that you are reading today is probably the 4th revamped and revised version that I have attempted over the years. And another truth from the heart, I am still not fully satisfied with what I have written. There are many branch avenues that I wanted to explore and write about, but all are not coming together at once. And of course, the length of the article itself has become somewhat daunting.

The series still has three or four more songs to go, more like closing remarks on the ‘Colors of Love’. But yes, this post is the one that has taken the most energy. In a way I am glad that I am finally ahead of this milestone. But as I said before, getting this version of this episode completed still leaves me with a discontentment – that there is more to it. Well, maybe some other posts and other songs that may help fill the gaps within my mind, in the days to come.

So yes, we move forward, and hopefully conclude soon the list of flavors that I had originally planned.]

 

Song – Ae Ri Baans Ki Baansuriya (NFS – CH Atma) (1961) Singer – CH Atma, Lyrics – [Unattributed], MD – [Unattributed]

Lyrics

ae ri baans ki bansuriyaa

ae ri baans ki bansuriyaa
tu ne kaun kaun tap kino ri
tu ne kaun kaun tap kino ri
ae ri baans ki bansuriyaa
tu ne kaun kaun tap kino ri
tu ne kaun kaun tap kino ri

bansi
bansi naam hai
kaahu dhareo sareer
taan taan ki dor su
khinchat hai mann mein
ari kshama kar muraliyaa
padi hain tere paayen
aur sukhi sun hot hain
maha dukhi hum hain
tu ne kaun kaun tap kino ri
tu ne kaun kaun tap kino ri

ae ri baans ki bansuriyaa

tu ne kaun kaun tap kino ri
tu ne kaun kaun tap kino ri

tu hai brij ki muraliyaa
hum hain brij ki naar
teen lok mein gaayi’e
bansi aur brij naar
tu ne kaun kaun tap kino ri
tu ne kaun kaun tap kino ri

ae ri baans ki bansuriyaa

tu ne kaun kaun tap kino ri
tu ne kaun kaun tap kino ri

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

ए री बांस की बांसुरिया

ए री बांस की बांसुरिया
तूने कौन कौन तप किनो री
तूने कौन कौन तप किनो री
अए री बांस की बांसुरिया
तूने कौन कौन तप किनो री
तूने कौन कौन तप किनो री

बंसी
बंसी नाम है
काहू धरेयो सरीर
तान तान की डोर सूं
खींचत है मन में
अरी क्षमा कर मुरलिया
पड़ी हैं तेरे पाएँ
और सुखी सुन होत हैं
महा दुखी हम हा॰॰एं
तूने कौन कौन तप किनो री
तूने कौन कौन तप किनो री

ए री बांस की बांसुरिया
तूने कौन कौन तप किनो री
तूने कौन कौन तप किनो री

तू है ब्रिज की मुरलिया
हम हैं ब्रिज की नार
तीन लोक में गाइए
बंसी और ब्रिज नार
तूने कौन कौन तप किनो री
तूने कौन कौन तप किनो री

ए री बांस की बांसुरिया
तूने कौन कौन तप किनो री
तूने कौन कौन तप किनो री


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

Blog Day :

4691 Post No. : 16375 Movie Count :

4448

‘Bahurani’ (1940) was produced by Kishore Sahu under the banner of the then newly set up, India Artists Ltd. The star cast included Kishore Sahu and Rose in the lead roles with Anuradha, Mubarak, Pratima Devi, Masood, Nana Palsikar etc in the supporting role. The film had its mahurat shot taken in January 1940 under the direction of Mubarak. In February 1940, R S Junnarkar was assigned the direction of the film along with Mubarak. So, it was their joint directorial venture. For Mubarak, it was his maiden attempt as a director which happened to be his last film as a director. R S Junnarkar was a screen-play and dialogue writer for Huns Pictures of Master Vinayak. It was also his first Hindi film as a director.

The film was expected to be released in April 1940. However, it was finally released on June 20, 1940. The film’s premier was held in Excelsior theatre and Dada Saheb Phalke, the father of the Indian film industry was the guest of honour among many big wigs of Hindi film industry who attended the premier.

Kishore Sahu started his filmy career as a lead actor in Bombay Talkies ‘Jeevan Prabhat’ (1937) which was a box office success. Probably, his entrepreneurial ambition made him to leave Bombay Talkies and float a film production company. In his ambition, Seth Ramnath Daga, a Bikaner based multi-millionaire, supported him with the finance required for such a venture. It was the brain child of Seth Ramnath Daga to set up a film production company called ‘India Artists Ltd’ for which he appointed Kishore Sahu as the Managing Director. He was assisted by Seth Ramnath Daga’s educated son, Dwarkadas Daga.

‘Bahurani’ (1940) was the first film produced under India Artists Ltd. The vision of the banner was to make socially relevant films. During the making of the film, Kishore Sahu had creative differences with Seth Ramnath Daga, the main financial supporter of the banner. After the release of “Bahurani’ (1940), Kishore Sahu resigned from the company and returned to Bombay Talkies to take the lead role in the film ‘Punar Milan’ (1940) opposite Snehprabha Pradhan. It took another 4 years for Kishore Sahu to float his own film production banner, Hindustan Chitra under which he produced and directed ‘Sharaarat’ (1944) and many more films thereafter.

The story of ‘Bahurani’ (1940) was adapted from a Hindi novel ‘Mimansa’ (1937) written by Hindi laureate, Anuplal Mandal who is regarded as ‘Premchand of Bihar’. The screen-play and dialogues were written by another Hindi laureate, Amritlal Nagar. The film was reviewed in ‘Filmindia’ magazine and for a change, the reviewer had praised the film for its story, screen play/dialogues and the performances of the main actors viz, Kishore Sahu, Rose and Anuradha (real name: Khursheed). Based on the review of the film. I have summarized the story as under:

Vijay (Kishore Sahu), a young landlord meets Aruna (Anuradha), a poor village girl born out of wedlock, during a village wedding. He likes Aruna and visits in her house where her mother is seriously ill. She takes a promise from Vijay that he would take care of Aruna if she did not survive. The mother soon dies. As promised, Vijay brings Aruna to his house and is treated as a child of the family by Didi (Pratima Devi) the elder widowed sister of Vijay. Diwanji (Mubarak), the trusted servant of the family is aware of Aruna’s background. But he keeps quite about it.

Soon, Vijay goes to the city for completing his education. He meets Mallika Rai (Rose), a sophisticated girl in the college. Vijay finds her on the same wave length as his in his idealistic approach. After completion of his education, Vijay returns home and finds Aruna now grown up and charming. Vijay falls in love with her and proposes her for the marriage. After overcoming a minor resistance from the family, Vijay and Aruna get married. The couple respects each other and Didi loves Aruna like her own daughter. The life goes on very well. But behind her happiness, there is a lurking fear in Aruna’s mind as to what will happen if Vijay and Didi comes to know about her background of a girl born out of wedlock.

In the meanwhile, Didi leaves for few days to visit her relatives. Vijay is busy with his involvement in the village upliftment activities and to support his growing activities, he calls Mallika to join him. She is given accommodation in Vijay’s house. Both Mallika and Aruna likes each other, Mallika likes Aruna for her simplicity and Aruna likes Mallika for her woman supportive views. Most of the day, Vijay is in the company of Mallika in the village upliftment activities and in course of time, both become close to each other. Aruna is aware of their closeness but pretends to both as if she is not aware of their relationship.

Under these circumstances, Lallan (Masood), the younger brother of Vijay returns home after completing his education. He gets to know the stigma attached to Aruna and tries to blackmail her to satisfy his lust. The stress of ‘affair’ of her husband with Mallika and the blackmailing by Lallan affects her health and she becomes bedridden. How, Vijay and Aurna comes out of the difficult situations and find a solution to a happy ending for everyone is not revealed in the film review.

I was interested to know as to how the story end to the satisfaction of all the main characters. Fortunately, the novel ‘Mimansa’ is available to read on-line in Hindi. I read the entire novel (203 pages). It is really a moving story in a realistic setting. At the end, the main character in the story – Vijay, Aruna, Mallika, Didi will surely get sympathy from the readers. Incidentally, the film has used the same names for the characters as in the novel.

The film has followed more or less the same story as depicted in the novel up to the entry of Lallan who has been shown as a villain in the film. To some extent, Mallika has also some shade of villain, being the ‘other woman’ in the life of Vijay. However, in the novel, no character has been depicted as villain.

Both Aruna and Mallika have cordial relations though some mild arguments do take place between them. But the respect for each other overwhelms such ‘noise’ in their relationship. Again, Aruna and Lallan have good relations. The only villainous streak in him is that he reveals to Didi the background of Aruna which makes her, in turn, to reveal the secret to Vijay. The novel makes the society at large as the main villain for the likes of Aruna.

The end is somewhat dramatic to the relief of Aruna. Didi has already written a letter to Vijay about the background of Aruna which makes Aruna jittery. To add to her misery, Vijay has become close to Mallika. The intense stress in her life makes Aruna ill. Vijay arranges the best doctors and medicines. But she is not recovering from her illness. The servants tell Vijay that bahurani is not taking medicines and is not allowing doctors to check her. Both Vijay and Mallika think that Aruna has no will to survive from her illness.

Both Mallika and Vijay visit Aruna separately to make her understand to take medicines. During the conversations, Mallika realises that Aruna’s love for Vijay is undiminishing despite their affair. The greatness of Aruna is that she is not blaming either Mallika or Vijay for what is happening to her life. With a lot of deliberations, Mallika decides that it is better to detatch herself from Vijay. She leaves Vijay’s house without informing anyone and goes back to her city. Before leaving, she writes a letter address to Vijay to take care of Aruna and suggests him to take Aruna for a long outing for a change.

The story in the novel ends with Vijay and Aruna travelling to Puri. While in the train, Aruna hands over a letter written by Didi revealing the stigma attached to her. Vijay reads it and tears off the letter by telling Aruna that he was already made aware of her background by Diwanji when he proposed her for the marriage. It was his conscious decidion to marry her and he was capable of facing the repurcussion even now. But nothing will break their union.

The film had 9 songs written by J S Cashyap and Azad. However, individual credit to the songs is not available. All the songs were set to music by Rafique Ghaznavi. I am presenting the film’s first song, ‘zara muskura kar milaao nazar hi’ to appear on the Blog. HFGK mentions Zohra as the singer of the song. The voice in the song does not sound like that of Zohrabai Ambalewaali.

In the 1930s, there was an actor-singer called Miss Zohra Jaan who was a star in her own right. She had two sisters – Mushtari Bai who was also an actor-singer in early 1930s. Unfortunately, she died in her teenage in 1934. The other sister was Khursheed (known as Anuradha in Hindi films). Shri Arunkumar Deshmukh has painstakingly collated the rare information on ‘Zohra Sisters’ and has covered in an article, mere baba ne baat meri maan li.

Rafique Ghaznavi, the music director of the film was married to Zohra Jaan in the 30s. After divorcing her in early 1940s, he married her sister Khursheed (Anuradha). Since Anuradha is in the film under discussion, it further strengthens my belief that the singer of the song is Zohra Jaan.

The song is written in Ghazal style, fit for a mujra. Towards the end of the song, there is a long music suggestive of a mujra dance, It is quite possible that the song may have been picturised on Zohra Jaan herself who was also a good mujra dancer though her name does not appear in the credit. But there are cases where some of the actor-singers appeared in the films uncredited.

With this song, ‘Bahurani’ (1940) makes its debut on the Blog.

Audio Clip:

Song-Zara muskura kar milaao nazar hi(Bahurani)(1940) Singer-Zohra Jaan, MD-Rafiq Ghaznavi

Lyrics

haan aa aa
zara muskura kar milaao nazar hi
zara muskura kar milaao nazar hi
meri jaan ham bhi
aa aa aaa aa
aa aaa aa aa
meri jaan ham bhi khade hain idhar hi
meri jaan ham bhi khade hain idhar hi

na jaao jagaao o o aa aa
na phir phir ke dekho o o o
mujhe chhod do haan aan aan aan
mujhe chhod do bas mere haal par hi
mujhe chhod do bas mere haal par hi

sambhal kar meri jaan aa aa aa aaa aa
na khanjar uthhaana aa aa aa aa aa aa
kahin bal na khaa jaaye aa aa aa aa aa
kahin bal na khaa jaaye teri kamar hi
kahin bal na khaa jaaye teri kamar hi
shab-e-hijr kaa aa aa aa aaa
fasl ki chabri()?? ee ee ee ee ee
ke haan haan mein naa naa
haan aan aan aan aan
ke haan haan mein naa naa rahi raat bhar hi
ke haan haan mein naa naa rahi raat bhar hi


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

Blog Day :

4687 Post No. : 16371 Movie Count :

4446

‘Nai Roshni’ (1941) was produced by Mehboob Khan under the banner of National Studios and was jointly directed by Chimankant Gandhi and Lalit Mehta. The star cast included Sardar Akhtar, Harish, Husn Bano, Amar, Kanhaiyalal, Sunalini Devi, Sankata Prasad, Budho Advani, Agha, Baby Meena etc.

The director-pair of Chimankant Gandhi and Lalit Mehta had also directed ‘Aasra’ (1941) and Lala Ji’ (1941) – both under the banner of National Studios. Those days, under studio system, it was not uncommon to have two directors for films. It is possible that the original directors assigned for the films were unable to continue their assignments due to a variety of reasons. But when the same pair of directors is repeated in more than one film, it can be safely assumed that the pair has jointly directed the film. For example, Bakul Bhatt and Babubhai Mistri jointly directed two films – ‘Muqabala’ (1942) and ‘Mauj’ (1943). V G Damle and Sheikh Fattelal jointly directed 3 films – ‘Gopal Krishna’ (1938), ‘Sant Dnyaneshwar’ (1940) and ‘Sant Tukaram’ (1948).

There were a few cases where only one film was jointly directed by the pair of directors but not as a substitute for the original director. For example, Zia Sarhadi and Mahendra Thakore jointly directed ‘Postman/Abhilasha’ (1938), Virendra Desai and Mahendra Thakore did for ‘Sadhana’ (1939) and S U Sanny and M Sadiq for ‘Namaste’ (1943).

On checking the details of some of the films produced under the banners of Sagar Movietone and National Studios, I found that Chimankant Gandhi and Lalit Mehta had worked as Assistant/Chief Assistant Director to Mehboob Khan in some films beside also involved in the other areas of film productions since the early years of Sagar Movietone after the advent of sound films These two names are also mentioned in the book, ‘Sagar Movietone’ by Biren Kothari.

Both Chimankant Gandhi and Lalit Mehta were in the inner circle of friends of Mehboob Khan from his Sagar Movietone days. Chimankant Gandhi had started with Mehboob Khan as his Assistant Director from ‘Deccan Queen’ (1936). He continued his association with Mehboob Khan in the same capacity until Mehboob Khan’s last film, ‘Son Of India’ (1962). I have noticed that in the credit titles of the films, the name of Chimankant Gandhi appeared first and that too in bold/capital letters among Mehboob Khan’s 3-4 assistant directors. This shows how important Chimankant was for Mehboob Khan. Lalit Mehta worked as Production Controller and in other capacity with Mehboob Khan during his days in Sagar Movietone and National Studios until he independently directed ‘Amaanat’ (1943) and ‘Azaadi Ki Raah Par’ (1948). I could not trace Lalit Mehta’s filmy career after 1948.

‘Nai Roshni’ (1942), brings another long-term association of Mehboob Khan with Agha Jani Kashmiri, the story, screen-play and dialogues writer. Lucknow-born Agha Jani Kashmiri (1908-1998) had a very interesting journey to his filmy career. At the age of 24, he ran away from his home to Rangoon to become the lead actor in ‘Shaan-E-Subhaan’ (1933) opposite Sultana. After working in a few films at Kolkata, Agha Jani Kashmiri came to Mumbai some time during the second half of 1930s and joined Bombay Talkies. Himanshu Rai, the boss of Bombay Talkies, after knowing his literary background encouraged him to pursue the career in story, screen-play and dialogue writing. He got the first assignment as a screen-play writer for ‘Vachan’ (1938) which was a box office success. He had a small role in Bombay Talkies next film, ‘Bhabhi’ (1938).

In 1940, Agha Jani Kashmiri joined Mehboob’s National Studios and wrote story, screen-play and dialogues for ‘Aasra’ (1941) and ‘Nai Roshni’ (1941). With the closure of National Studios in 1942, Mehboob Khan set up his own production house, Mehboob Productions. The first film produced under the new banner was ‘Najma’ (1943) for which Agha Jani wrote story, screen-play and dialogues. The film was a box office success. Thereafter, Mehboob Khan and Agha Jani Kashmiri combination tasted high box office success in ‘Taqdeer’ (1943), ‘Humayun’ (1945), ‘Anmol Ghadi’ (1946) and ‘Anokhi Ada’ (1948). Agha Jani Kashmiri’s last film with Mehboob Khan was ‘Amar’ (1954).

During his filmy career, Agha Jani Kashmiri wrote story/scree-play/dialogues for over 50 films most of which were box office hits. It was an irony of fate that ‘Tohfa’ (1948), the only film which he produced, directed and wrote story, screen play and dialogues, failed miserably at the box office. But this failure did not dent his stature as a screen-play and dialogue writer. He continued to be active in the film industry until about mid-1970s when he and his wife migrated to Canada to joined his two sons who have settled there. Agha Jani Kashmiri died on March 27, 1998 in Toronto.

‘Nai Roshni’ (1941) was released in Mumbai on November 8, 1941 and a review of the film was published in January 1942 issue of ‘Filmindia’. Based on the review, a summarized version of the story is given below:

Bihari (Amar) is a bank manager and Indira (Sardar Akhtar) is his fashionable wife. Mohan (Kanhaiyalal) is a clerk in the same bank whose financial condition is poor. He has a demanding wife in Vijaya (Sunalini Devi). His daughter, Geeta (Husn Bano) is of a marriageable age. Master ji (Sankata Prasad)’s family stay in the neighborhood of Mohan who has a grown-up son, Madan (Harish), a music teacher. Geeta has joined Madan’s music class and both love each other. But the marriage will have to wait until the financial condition of her father, Mohan improves.

Bihari has a reputation of having affairs with girls. One day, when his wife is away, he brings a girl to his house but is caught red handed by his wife. In order to bring her husband to the senses, Indira hatches a plan in which she pretends to have an affair with Madan by joining his music class. Madan is unaware that Indira is the wife of bank manager, Bihari. The ‘affair’ comes to the notice of Bihari and he is determined to end his wife’s affair with Madan. However, when he is made to believe that Madan has been staying in his house with Indira, Bihari hatches a counter plan which results into some hilarious situations. The only way, Bihari can end his wife’s ‘affair’ is to get Madan married to Geeta which he succeeds. At the end, parents of Geeta and Madan are happy and Indira is happy that her husband has realised not to have his extra-marital relationship.

The film had 11 songs, all written by Dr. Safdar Aah Sitapuri and set to music by Anil Biswas. None of the videos of the songs was available on any video sharing platform. So, I have uploaded a song, ‘wo poochhten hain ae dil tu kiska hai shaidaayi’ which I am presenting here. The song is rendered by Harish and Sardar Akhtar. The audio quality of the song is not up to the mark as the background music sounds as loud as the song rendition. The reviewer of the film had criticised the sound recording of the film.

A feature of this song is that it has a long prelude music (103 seconds).

With this song, ‘Nai Roshni’ (1941) makes its debut on the Blog.

Audio Clip:

Song-Wo poochhte hain ae dil tu kiska hai shaidaayi (Nai Roshni)(1941) Singers-Harish, Sardar Akhtar, Lyrics-Safdar Aah Sitapuri, MD-Anil Biswas
Both

Lyrics

wo poochhten hain ae dil
tu kiska hai shaidaayi
wo poochhten hain ae dil
tu kiska hai shaidaayi

chup hoon to jiyoon kaise
boloon to hai ruswaayi
chup hoon to jiyoon kaise
boloon to hai rusawaayi

wo poochhten hain ae dil
tu kiska hai shaidaayi
wo poochhate hain ae dil

kyun aag uthaata hai
tu phool ke dhokhe mein
kyun aag uthaata hai
tu phool ke dhokhe mein

leti hai ?? aankhon ko kinaaraa ??
let hai ?? aankhon ko ??
wo kam hai jo kar guzre
deewaana wo deewaana
wo kam hai jo kar guzre
deewaana wo deewaana

jab zabt karaana thha
phir kyun kiya saudaayi
jab zabt karaana thha
phir kyun kiya saudaayi

wo poochhaten hain ae dil
tu kiska hai shaidaayi
wo poochhaten hain ae dil
tu kiska hai shaidaa..yi


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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 THIRTEEN years. This blog has over 16500 song posts by now.

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

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