Archive for the ‘S D Batish songs’ Category
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5420 | Post No. : | 17777 |
Today’s song is from an old film Charnon ki Dasi – 1941.
This was a bilingual film, in Hindi and Marathi (as पायाची दासी ). It was made by Atre Pictures, Bombay. The producer was the owner of the banner itself – Acharya Pralhad Keshav Atre. The film was directed by Gajanan Jahagirdar, who also played an important role in the film. The Lyricist was Pt. Anand Kumar and the Music Director was Annasaheb Mainkar. The cast included Master Avinash, Vanmala, Durga khote, Gajanan Jahagirdar, Kusum deshpande, Kelkar, Prem Anand (brother of the lyricist), Ramesh and many others.
The system of making Bilinguals first started in Bombay on a big scale. The First ever Marathi talkie film ” अयोध्येचा राजा ” – 1932 was also made as ‘ Ayodhya ka Raja ‘ in Hindi at the same time. It was made by Prabhat films and directed by V.Shantaram. (Although Shantaram directed the first Marathi Talkie, it is interesting to know that initially, along with others, he was against the Talkie films. He was of the opinion that Talkie films were a seasonal fad and would vanish soon ! ).
Consequent to this first Talkie in Marathi made in Hindi too, many Marathi films were made bilingual and these were very popular. Meanwhile, Calcutta’s New Theatres too decided to go for Bilinguals and made almost all of their Hit and popular films in Bangla and Hindi. Thank God for that. Because of that, the All India audience could enjoy Saigal’s films and songs. This went on till late 40’s and became an inspiration for S.S.Vasan in Madras. He made his Tamil film “Chandralekha ” in 1948 in Hindi also. Of course he did it on a mammoth scale, making more than 600 prints of the Hindi film for an All India simultaneous release on 9-4-1948. Other producers saw this and were keen on making not just Bilingual, but films in Madras were being made in Tamil, Telugu, Kannada, Malayalam, Sinhali and Hindi at the same time.
Consequently Maharashtra and Calcutta stopped making Bilinguals as their own regional cinema became more profitable and big business. However from the South this continues still and that too on a massive scale. Nowadays the trend is to make Remakes rather than bilinguals.
Coming back to today’s film. This film was made in the times when not many educated people were keen to join the film industry, though in the 1940s such artistes, writers, directors etc. started coming into the industry. For this reason the advertisement of today’s film-Charnon ki Dasi-1941 was done with a mention of the qualification of its artistes, like Vanmala B.A;B.T, Gajanan Jahagirdar B.A. and Kusum Deshpande B.A. etc.
The Lyricist Pt. Anand kumar was a successful author. The suffix of Pt. was used to be put before the author’s name just to match the suffix “Munshi” put to Muslim authors’ names. Pt.Anand kumar was born in Delhi on 4-9- 1907. He was a producer, director, writer and Lyricist. From childhood, he was not interested in studies in English medium. He was taught Urdu, Hindi and Sanskrit by his poor Brahmin Shastri father.
When he was 15 year old, he entered a business. He was always discontented. He wanted to become an actor, but family resisted. He tried fasting and even suicide. Then he stole some money and ran to Bombay. He could not get into any studio and after money finished, he returned to Delhi, only to take more money and run to Bombay again. Even after this failure, he went back to Delhi and started writing stories.
His first book ‘ Mera Huq ‘ became a hot seller and he started earning money. He was invited by film people and he went to Bombay nth time. He wrote stories, dialogues and Lyrics of scores of films and earned name and money. He produced the film ‘Zameen’-43, under his own banner Anand Brothers. He directed 5 films,including a Hit Marathi film, Gora Kumbhar-42. Some of his films as a Lyricist were Suvarn Mandir-34,Katle aam-35, Pratibha-37, Divorce-38, Saathi-38, Alakh Niranjan-40, Punarmilan-40, Charnon ki Dasi-41, Raja Rani-42 etc. As a writer some films were, Divorce-38, Honhaar-36, Saathi-38, Vasant sena-42, Rang mahal-48 etc etc.
Music Director Annasaheb Mainkar is not a name known to the younger generation. He was one of the old style composers, depending on the ‘Natyageet” tunes and classical music. His real name was Shankar Vinayak Mainkar. He was born in Sangli state in Maharashtra, in 1904. His father was a well known Advocate and a political leader. He was fond of music and had gifted an Organ to Shankar to inculcate the musical interests. Surely, he not only picked up the organ but when he joined a Drama Company, after his Matriculation, he also achieved expertise in playing Sitar, Sarod, Sarangi, Been, Dilruba and Harmonium etc. With all this he formed his own Music Group.
He was trained in classical music at Poona,Baroda,Indore, Mysore and Lucknow. Before joining the filmline, he had cut many discs of his songs. His first film was in Marathi in 1932.
His first Hindi film was AWARA SHEHZADA-1933. Incidentally, this was also India’s first Hindi Talkie film having a double role. Shahu Modak had done the roles of a Rajkumar and a commoner Bholaram in it. It was also the first film of Master Vithal as a Director. He himself was the first to do a double role in a silent film in 1928.
Annasaheb worked for Saraswati cinetone, Imperial, Venus, Huns, Atre and Sunrise films. He was the favourite MD for Master Vinayak. He gave music to 21 Hindi films, composing 187 songs. His singers were,Master Vinayak, Vanmala, Shahu Modak, Shanta Hublikar, Kalyanibai, Sarla Devi, Vatsala Kumathekar etc. His last film was Ashirwad-1943. He died young at 41 in 1944 due to severe Diabetes. He was fondly called Annasaheb. In the Hindi film industry, there were 3 MDs called Annasaheb…. Mainkar as stated herein, Datta Korgaonkar aka K.Datta and C.Ramchandra aka Ramchandra Narhari Chitalkar.
The story of the film was a typical Marathi reform social film consisting of the age-old friction of ”Saas-Bahu“. Durga Khote was the evil mother in law, who tortures the educated daughter in law-Vidya (Vanmala), with husband Murari (Avinash) protesting meekly. After the interval and towards the last part, the husband decides to be tough with his mother and the shocked saas surrenders and makes the Bahu head of the affairs. However, true to the middle class philosophy, the good Bahu returns the honour to the Saas and requests her to continue as family head ( minus the torture part, obviously), gives a very big speech and all is well in the end. The spice was added by the widowed Nanad- Champa (Kusum Deshpande). Gajanan Jahagirdar played Anokheram, the village scoundrel flirt, who is duly punished by the bahu, in the end.
Today’s song is only the second song from this film, coming to you after the film’s first song 5 years ago ! Enjoy….
Song – Dekho re logon chor churaaye liye jaaye hai (Charnon Ki Daasi)(1941) Singer- S.D.Batish, Lyricist- Pt. Anand Kumar, MD- Annasaheb Mainkar
Lyrics
Haan dekho re logon
o o o o o
dekho re logon
haan haan dekho re logon
haan haan dekho re logon
chor churaaye liye jaaye hai
dekho re logon
chor churaaye liye jaaye hai
baandh boondh sat sheel(??) ki gathdi
chala musaafir ghar se ae ae
bhoola bhatka bacha akela
gaya kaafila taj ke
saanjh huyi
aur ghana andhera aa aa
saanjh huyi
aur ghana andhera aa
hua beech jungle ke
hua beech jungle ke
saanjh huyi
aur ghana andhera aa aa
hua beech jungle ke
hua beech jungle ke
haath liye
maaya kee jeewat
aaya chor nikal ke ae
dekho re logon
haan haan dekho re logon
haan haan dekho re logon
chhaliya ??
dekho chhaliya ??
liye jaaye hai
dekho re logon
haan haan dekho re logon
haan haan dekho re logon
chor churaaye liye jaaye hai
dekho re logon o o o o
dekho re logon
haan haan dekho re logon
haan haan dekho re logon
chor churaaye liye jaaye hai
dhyaan kee jeewat
dhyaan ki aasha
apne haathhon kar le ae ae ae
dheer ka dhan
santosh ki poonji
vipda mein sang dhar le ae ae
aankh khol kar r re a a aha
aankh khol kar chor ?? mein
aap ise samajh len
jab jungle ke chauraahe mein ae a ae ae
jab jungle ke cchun le
maarag ?? jin logon (?)
haan haan
maarag jin logon
haan haan
maarag jin logon ??
?? ki jalna paaye hai
dekho re logon
haan haan dekho re logon
haan haan dekho re logon
chor churaaye liye jaaye hai
dekho re logon o o o o o o
dekho re logon
haan haan dekho re logon
haan haan dekho re logon
chor churaaye
dekho chor churaaye liye jaaye hai
Gora na pade ajee kaala na pade
Posted on: March 29, 2023
This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5367 | Post No. : | 17603 | Movie Count : |
4733 |
#the Decade of Fifties –1951 – 1960 #
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#Debutant movie-Zaalim Teraa Jawaab Nahin-1960 #
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In this post we launch a movie from the year ‘1960’ on the blog. This movie is titled as ‘Zaalim Teraa Jawaab Nahin’.
This movie seems to be an obscure movie of its time and also I guess that the songs of this movie were not available on internet earlier. The couple of songs from this movie I came across have been uploaded only recently. I would like to thank the up-loader for providing the songs of this movie on ‘YouTube’.
“Zaalim Teraa Jawaab Nahin-1960” was directed by Ramanlal Desai for ‘R.D. Productions’. It was produced by G. C. Trivedi. This movie had Chitra, Azad, Agha, Vasantrao Pahalwan, Nazar, Saroj, Ramlal, Shyam Lal and others.
As per information about this movie provided in HFGK Vol-III (1951-1960), this movie was passed by Censor Board on 28.07.1960. So that is almost sixty-three years ago 🙂
“Zaalim Teraa Jawaab Nahin-1960” has seven songs in it which were composed to by S.D. Batish.
Three lyricist viz. Aziz Siddiqui (one song), Fareed Tonki (three songs) and Shadab (three songs) shared the writing of these seven songs for this movie.
| SNo | Song Title | Lyricist | Singer/s |
|---|---|---|---|
| 01 | Jab usko dekha… uthha ye shor ki zaalim tera jawaab nahin | Shadab | Sudha Malhotra, chorus |
| 02 | Suno ji mohe dar laage chalo haule haule | Fareed Tonki | Sudha Malhotra |
| 03 | Mere dildaar wai wai, hai tumse pyaar wai wai | Aziz Siddiqui | Not known |
| 04 | Goraa naa pade kaala naa pade | Fareed Tonki | Sudha Malhotra, S.D. Batish |
| 05 | Apne man ka raaja hoon main naam hain mera agha | Shadab | Not known |
| 06 | Aaj mere yaar ki tedhhi tedhhi chaal hai | Shadab | Not known |
| 07 | Maalik tere bandon ne kyon aisi khataa ki hai | Fareed Tonki | S.D. Batish |
(It can be seen from the above table that the singer’s names for three songs have not been provided with the details in HFGK or they are not known as of now.)
Today we listen to a song sung by Sudha Malhotra and S.D. Batish from this movie. This is a ‘nok-jhonk’ type song.
Lyrics are by Fareed Tonki and music is composed by S.D. Batish.
Let us now enjoy this song and welcome this movie ‘Zaalim Teraa Jawaab Nahin-1960’ on the blog…
Only audio of the song is available.
Song-Gora na pade ajee kaala na pade (Zaalim Tera Jawaab Nahin)(1960) Singers-S D Batish, Sudha Malhotra, Lyrics-Farid Tonki, MD-S D Batish
Both
Lyrics
goraa naa pade ae
aji ee kaala naa pade
ulfat mein koyi dilwaalaa naa pade ae
aurat ki qismat mein
kaalaa naa pade ae
tum jaise mardon se paala naa pade ae
haaye goraa naa pade
aji kaala naa pade
ulfat mein koyi
dilwaalaa naa pade ae
bachnaa luteri hai
har ek chhori
ae dil naa lut jaaye
teri tijori
haaye
ae dil naa lut jaaye
teri tijori
dar hai ke
dar hai ke
tujhmein deewaalaa na pade
ulfat mein koyi dilwaala na pade
haaye goraa naa pade ae
aji ee kaala naa pade ae
arey tum jaise mardon se
paala naa pade ae
jhoothhi muhabbat jataate
hain jhhoothhe
taubaa meri inse qismat naa phoote
aji taubaa meri inse qismat naa phoote
aaloo ke ae
aji aaloo ke chhakar mein
khaala naa pade
tum jaise mardon se
paala naa pade ae
dilwaale inko naa apnaa banaayein
ham to yahi maangte hain duaayein
haaye ham to yahi maangte hain duaayein
peechhe koyi
haaye peechhe koyi
saali saalaa naa pade ae
ulfat mein koyi dilwaalaa naa pade ae
goraa naa pade
aji ee kaala naa pade
arey kya
tum jaise mardon se
paala naa pade ae
dekho hawaldaar ji
ye na maane
chori nahin kii
jo le jaayein thhaane
arey baap re baap
bhaago kahin kuchh
ghotaalaa naa pade ae
peechhe hamaare policewaalaa naa pade ae
ulfat mein koyi dilwaalaa naa pade ae
arey jaa
tum jaise mardon se
paala naa pade ae
ho ho o o o o o o
ho ho ho ho ho
ho ho o o o o
hoye hoye
hoye
hoye hoye hoye
hoye
hurrrrrrrrrrrrrr ah
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5334 | Post No. : | 17491 |
Today’s song is a duet from the film Chor-1950. For reasons unknown, the name of this film in HFGK is written as Chore, whereas everywhere else, including in Hindi in HFGK itself it is mentioned as Chor only !
The film was directed by Anand Prasad Kapoor (32 films as a director and 2 films as an actor) and the film had music from Pt. Govind Ram. Before we move further, I have a query – do you know which actor in Hindi films had his real name as Indriya Daman (इंद्रिय दमन ) ? I know it is a difficult question and 99% readers will not be able to give the right answer.
It was almost a custom in Hindi films, until recently, to have a ” Filmi” name instead of having the real name. There were many reasons for this, like hiding odd names, religion, caste, language or mostly to avoid having a very common name. Sometimes existing names in the industry also forced the artiste to have a pseudonym. For example, most people know that Meenakumari’s real name was Mehjabin. Do you know there was another actress with the same real name Mehjabin…who ? Ok, who were the well known film artistes having the real names like – Kalyan kumar, Shashikala, Gopal Bedi, Padmavati, Nargis jahangir, Susheela Pawar, Badshah Begum, Roshan Ara, Zulfiqar Ali, Sunita Kulkarni, Khurshid Mirza, Sahebjan, Syed jafri, Vijaya Deshmukh, Yasmin Joseph, Krishna Sarin or Vishwanath ?
There are more than 100 odd names like this, but these names are enough to prove my point. All right, here are the answers…. Real name and Filmi name…
Mehjabin-Jabeen, Kalyan Kumar-Anup kumar, Shashikala-Minakshi Seshadri, Gopal Bedi- Ranjit, Padmavati-Mamta kulkarni, Nargis Jahangir- Shammi aunty, Susheela Pawar- Vanmala, Badshah Begum-Shakeela, Roshan ara- Husn Bano/ Naseem Bano/ Sarojini, Zulfiqar Ali- Feroz Khan, Sunita Kulkarni- Kajal Kiron, Khurshid Mirza- Renuka Devi, Sahebjan- Sulochana Latkar, Syed Jafri- Jagdeep, Vijaya Deshmukh- Sandhya, Yasmin Joseph-Mandakini, Krishna Sarin- Bina Rai and Vishwanath- Nana Patekar.
Now coming to the original first question – Who was Indriya Daman ? He was none other than actor Shekhar- Hero of today’s film, Chor-1950. He was born on 8-10-1923,at Dehradun. He did his schooling in Meerut and Graduated from Agra university. Then he worked as an Announcer in All India Radio,Delhi. He came to Bombay with a desire to act in films. He got the Hero’s role in Devendra Goel’s first production,” Aankhen”-1950,opposite his own dreamgirl Nalini Jaywant. Composer Madan Mohan also made his debut with Aankhen-50. In Spite of 3 debutants,the film became a Hit. The 5′ 8” tall,fair and handsome Shekhar became a star overnight.
Shekhar became very famous when he sang ‘ Tujhe kya sunaun main dilruba ‘ from film Aakhri daon-58 ( melody made by Madan Mohan and inspired by Sajjad Husain’s ‘ye hawa ye raat ye chandni’ from film Sangdil, in Talat’s voice). Shekhar was a very lucky person.In one of the interviews he gave in 1956,he himself has recounted incidents where his luck helped him. This interview can be read on Cineplot. After leaving films,Shekhar looked after his production and Distribution business,expanding it further. Shahid Latif was his close friend and when Shahid made his first film Darwaza-54,he gave the distribution rights for Delhi and U.P. of this film to his friend Shekhar. Thus started his business even while he was still acting. Shekhar acted in about 35 films.
Shekhar’s career as an actor was cut short abruptly,because he decided to become Film producer.He produced Chhote Babu-57,Aakhri Dao-58 & Bank Manager-59.The last one was a total wash out. Not heeding to it, he started” Pyas”,with Phani Mazumdar as director & N.Dutta as M D. Bina Rai was signed as heroine against himself. To arrange finance he accepted C grade films, such as Dilli Ka Dada with Sheikh Mukhtar & Hum Matwale Naujawan, both 62 movies. Soon he was out of the job & worst, his film remained stalled, due to financial crunch. Shekhar completed the film with great difficulty.The film was ultimately released in 1968, with a new title “Apna Ghar Apni Kahani”. As anticipated,the film attracted no audience,due to its dated look & long forgotten, middle aged lead pair. Financially ruined, Shekhar migrated to Canada. He expired there, a long time back.
The music director of this film was Pt. Govind Ram, who was one of the most respected persons in the film industry. C.Ramchandra was very much impressed with his music and work method. Lata Mangeshkar also respected him calling him ” Master ji”. However none of her songs composed by Govind Ram became famous or a hit song. It is very sad that his date of birth or even the date of death is not known.
In the pre-partition period of Hindi films, there were many schools of music directors, many times on a regional basis, but some were just unique. The Punjabi school of film composing was a very important and innovative school among these. This school gained popularity in the 1940s, which also resulted in the immense popularity of Punjabi folk music. Ghulam Haider was considered to be the most important of these, but equally great were Pandit Amarnath , Shyam Sundar , Husnlal – Bhagatram , G. A. Chishti , and Pandit Gobindram .
Pandit Gobindram Ji ( born in 1912) was a trained musician from Lahore, and was equally popular in both Hindi and Punjabi films. Unlike other music directors of the Punjabi school, music composed by him did not typically reflect native Punjabi trends, but instead lay firmly in the category of mainstream 1940s’ music. One could very well say that he played a crucial part in shaping the music of the 1940s. His music is truly melodious and varied, with a unique combination of highly expressive tunes, yet very fun and foot tapping and rhythmically catchy. He is one of the music directors who used a very large number of singers, only second to Gyan Dutt, one of his worthy contemporaries. He excelled equally in composing happy, sad, romantic, serious, comical, classical, just any kind of songs. It is a pity that he has never received the attention that he deserved.
Among his landmarks are the introduction of enormous contributions to making Shamshad Begum and Zohrabai the top singers in Hindi films. He recorded the maximum number of Hindi film songs with Shamshad Begum – 86 songs in 19 films. He was also one of the foremost music directors to encourage and bring forward great veteran Rafi , and also introduced great singer Zeenat Begum to films. He has 32 films to his credit and each one had equally superb music. He composed 302 songs.
Some of his films were Himmat-41,Sahara-43, Pagli-43, Aabroo-43, Naseeb-45, Laila Majnu-45, Sassi Punnu-46, Chalis Karod-46, Ghar ki izzat-49, Nisbat-49, Bholi-49, Raj mukut-50, Chore-50, Sarkar-51 and his last film Naqab-55. Most popular singers of that period have graced his songs. His use of light music, Ghazals, Thumris and various popular music forms in films, provide a ready insight into the uniqueness of 1940s music, and with a slightly unique flavour of both his compositions as well as a tiny tinge of Punjabi style.
Pandit Gobindram Ji started his career with Jeevan Jyoti (1937), but his first Hindi film in the 1940s was Himmat (1941). Today, it is remembered for being the second ever Hindi film of veteran singer Shamshad Begum Ji, where she beautifully sang the traditional Dadra ‘Inhin Logon Ne Le Leena Dupatta Mora’ , in her young, sweet but powerful voice. The famous song with the same lyrics in Pakeezah (1972) is largely a copy of this song. This was the first song composed by Gobindram that helped him gain recognition. Other songs from this film included a beautiful duet by Ghulam Haider and Umraozia Begum , ‘Main Hoon Rani Ek Sunehri Nagri Ki’.
His last film was Naqaab-55. Gobindram worked with more than 30 lyricists during his career. With 56 songs in 8 films, his collaboration was the highest with Ishwar Chandra Kapoor. Some of the other prominent lyricists he worked with include Bharat Vyas , Ram Murti Chaturvedi , Ramesh Gupta , and Qamar Jalalabadi . (adapted from an article by Vidur Sury, with thanks).
Let us now listen to the duet sung by Shamshad Begum and S.D.Batish.
Song- Tere gaaon mein sajan mora dil na lagey (Chor)(1950) Singers- Shamshad begum, S D Batish, Lyricist- Harish Bharadwaj, MD- Pt. Gobind Ram
Lyrics
ho tere gaanv mein
ho tere gaanv mein
tere gaanv mein sajan mora dil na lage re
mohe dilli shahar dikhla de balamwa
jamuna snaan kara de
ho kyun gaanv se
ho kyun gaanv se
kyun gaanv se roothh gayi hai sajaniya
itna to mohe batla de sajaniya
manwa ki baat bata de
dilli shahar mein hai ik bajariya
bikti hai wahaan pe dhaani chunariya
ho o more balma
ho more balma hoy
dillil shahar mein hai ik bajariya
bikti hai wahaan pe dhaani chunariya
dilli ki odhni odha de saanwariya
chaandni chowk dikhla de balamwa
jamuma snaan kara de
main waari jaaun
jamuma snaan kara de
apne gaanv ki kheti baadi
kaise chhod ke jaaun main pyaari
ho o mori janiya
ho mori janiya
apne gaanv ki kheti baadi
kaise chhod ke jaaun main pyaari
kaise chalegi pet ki gaadi
itna tu mohe batla de sajaniya
itna to mohe batla de sajaniya
manwa ki baat bata de
dilli shahar mein bade bade chaudhary
bade bade chaudhary
dilli shahar mein
bade bade chaudhary
unke wahaan tum kariyo naukari
kariyo naukari
milegi tankhva mauj karenge
laal quile ki sair karenge
milegi tankhva mauj karenge
laal quile ki sair karenge
maanegi na tu badi hathheeli
maanegi na tu badi hathheeli
baandh le gathhdi meri chameli
waah re balam to pe waari waari jaaun
rabdi parathe tujh ko khilaaun
zara jaldi se ticket kata de
ho zara jaldi se ticket kata de sajanwa
dilli shahar dikhla de balamwa
jamuma snaan kara de
main waari jaaun
jamuma snaan kara de
ho tere gaanv mein
ho tere gaanv mein
tere gaanv mein sajan mora dil na lage re
mohe dilli shahar dikhla de balamwa
jamuna snaan kara de
main waari jaaun
jamuna snaan kara de
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5332 | Post No. : | 17482 |
Today’s song is a duet from the film Chupke Chupke-1948.
The film, made by the Rajeshwari Films, was directed by two persons – Baij Sharma and K.C.Verma.
When I selected a song from this film for presentation, I was happily reminded of the film of the same name – Chupke Chupke made in 1975, directed by Hrishikesh Mukherjee. That was one of the comedies I truly enjoyed. Both Amitabh and Dharmendra had a terrific sense of timing and comedy, which was at its best in this entertaining film. Besides this fact, seeing the names of today’s film directors- Baij Sharma and K.C.Verma, I was reminded of a pair of MDs who operated in the same time period of the late 40’s, namely Sharma ji and Verma ji (they were Khayyam and Rehman Verma, assistants of Music Director G.A.Chishti for films Yeh hai zindagi-47 and Jhoothi Kasmen-48, at Calcutta).
Director K.C. Verma was basically a Music Director and he gave music to films like Bolti Bulbul-42, Aawaz-42, Bhakta Prahlad-46, Soorat 47 and Bhole Piya-49. Chupke Chupke was the only film he ever directed. I wonder what bit him so hard as to try his hand at film direction ? Director Baij Sharma acted in 3 films- Shukriya-44, Ragini-45 and Namaste ji-1965. His first film as a director was Chupke Chupke-48. He also directed films like Amar kahani-49, Nirmohi-52 and Kanchan-55.
The cast of the film was Zareena, Shanti Kumar, Nirmala Devi, Vilayat Begum, Vishal and few others. Out of these names, I knew only Nirmala Devi, but somehow I thought I knew Zareena too. I spent one day restlessly trying very hard to recollect where I had read the name Zareena. Surely it could not be Zareena Wahab- the actress of films Chitchor -75 and Gharonda-77 etc. Then suddenly I remembered about this Zareena !
Zareena was the daughter of actor, singer and MD Rafiq Ghaznavi and actress Anwari Bai. Zareena wanted to act in films, so she accepted the film Chupke Chupke, which was started in early 1946, but due to various reasons,including financial, got delayed and finally completed and censore3d only in 1948. Meanwhile, Zareena got an offer from A.R.Kardar for a role. She changed her name to Nasreen and acted in Shahjehan-1946 as well as Daud Chand’s film Ek Roz-1947. During this period, her mother Anwari Bai was divorced by her father. Anwari then married Jugal Kishore Mehra (Raj Kapoor’s Mama), who converted to Islam and became Ahmed Salman. He later became the Chief Director of Pakistan Radio also.
He adopted Nasreen and got her married to Agha Liaqat Gul Tajik, a Diamond merchant from London (Diamond merchants were called ‘Agha’) and she left films to become a total housewife. Years later, Nasreen Agha’s daughter Salma Agha became a famous singing star in India and Pakistan. (information collated from various sources including an article by Anis Shakur, Lahore).
Though HFGK gives a list of songs and the record numbers, it is silent about the singers and lyricists of individual songs. I got the singers’ names from the song uploader on YouTube. The Music Director for this film was S.D.Batish who was the cousin of Pt. Amarnath, Bhagatram and Husnlal Batish. He sang 115 songs in 70 films and gave music to 20 films composing 154 songs from 1948 to 1960. He is one of the few Musicians who did a lot to promote Indian music in the UK and the USA.
I have a lot of respect for S D Batish, who did a marvelous job of promoting Indian Music in the UK and USA. He is one of those rare people who left the film world, but continued serving the Indian Music, by turning a corner in Life. Such people are few in this world. The monumental work he did for Indian Music in foreign lands is unparalleled. An important point is that he did not do this service to Music for his personal gains. For his sustenance,he had opened a Restaurant in Santa Cruz,California,which was providing him enough for a comfortable living in the USA.
Born December 14, 1914, in Patiala, India, Shiv Dayal Batish abandoned a career in the nascent telephone industry to study devotional song, folk drama, and Indian classical music under his guru Hakim Chandan Ram Charan. In 1934, he relocated to Bombay to try his hand at acting, but roles proved scarce and he returned to Patiala two years later, renewing his focus on music. By 1936 Batish was regularly appearing on All India Radio and recording his first sessions for His Master’s Voice. The film industry nevertheless retained its allure for him, and in 1939 he returned to Bombay, working for a spell under broadcasting legend Z.A. Bokhari. After earning his first film work as an assistant musical director in 1942, Batish later graduated to full-fledged Bollywood musical director, in the years to follow working with playback singer greats including Asha Bhosle, Lata Mangeshkar, and Mohammed Rafi.
Batish also moonlighted as a playback singer in 70 films, singing 115 songs, among them 1944’s Daasi and 1948’s Barsaat ki Raat, before relocating to Britain in 1964. After accepting a position with the BBC Immigration Unit, Batish became a regular in British radio and television, most notably composing “Nai Zindagi Naya Jivan,” the theme song to the Beeb’s classic South Asian series Apna Hi Ghar Samajhiye (“Make Yourself at Home”). He also returned to his roots as a live musician, performing Indian folk and classical music on the vichitra veena, a long-necked fretless flute. In 1965 Batish was summoned by percussionist Keshav Sathe to record the Indian-inspired incidental music for the Beatles’ second feature film, Help! — the experience also proved the beginning of his lifelong friendship with Beatle George Harrison, who later hired Batish to teach his then-wife Patti Boyd the stringed dilruba.
In 1969 Batish assembled wife Shanta Devi, daughter Vijay Laxmi and sons Ashwin Kumar and Ravi Kumar to record North Indian Folk and Classical Music, which for decades remained the lone Indian release to appear on the seminal folk label Topic Records. A year later, the family emigrated to the U.S., settling in northern California and founding a restaurant, the Santa Cruz-based Krishna Café. Although the restaurant business remained Batish’s primary focus for the remainder of his life, he continued playing live and also cut the occasional LP, most notably 1980s Raga Todi, 1985’s Om Shanti Meditation on Dilruba and 1997’s The 72 Carnatic Melakhartas.
He founded “Batish Institute of Music and Fine arts” in California and wrote about 12 books on Indian Classical music,like Ragopaedia,Raga Channels,Rasik Raga lakshan Manjiri etc. He had also founded Batish Recording Co.
He died at age 91 on July 29, 2006.
From the memoirs of his son Ashwin……
Born in Patiala, Batish showed promise early. As the story goes, when he was as young as seven, he was regaling audiences and receiving praise from the likes of Hari Singh, the Maharaja of Kashmir. Encouraged by the plaudits perhaps, he forayed into Bombay to forge an acting career. His attempt wasn’t quite successful, though, and he returned to Patiala to study music with Pandit Chandan Ram Charan.
His guru, quite taken by Batish’s sense of rhythm and memory, gave him the moniker Rasik, which Batish adopted as a pseudonym on some compositions crafted later in California. By 1936, he was an artiste with the All India Radio and recording for the label EMI as Master Ramesh – a name he acquired while singing covers of songs rendered by popular singers, especially KL Saigal.
As always, fortune seemed to smile on him. His singing on AIR drew the attention of an older cousin, Pandit Amarnath, who was an accomplished musician in the Punjabi film industry in Lahore. Amarnath gave Batish the opportunity to sing a song – Pagdi Sambhal Jatta – he had composed for the film Gawandi (1942). The song became a hit, making Batish popular. But, all told, the experience was bittersweet. Ashwin says his father did not relish acting in the movie: the frequent takes, the blinding light from mirrors used as reflectors unnerved him.
As Amarnath’s assistant, Batish learned various aspects of music direction: rehearsing with singers, synchronizing instruments and working with an orchestra. These learnings opened yet another opportunity for him. He was invited to Bombay by the Marathi writer and film impresario Keshav Prahlad Atre (Acharya Atre) to compose music for the film Paayaachi Daasi. But, in the end, credit was given to Annasaheb Mainkar.
After the Partition in 1947, the year Amarnath died, Batish moved back to Bombay, this time not to try his luck as an actor, but as a singer and composer. Several prominent music directors of the day employed him for their movies – Anil Biswas for Laadli, Husnlal-Bhagatram for Sawan Bhado, Hamari Manzil, and Surajmukhi; Ghulam Mohammad for Kundan; Roshan for Barsat ki Raat and Taksal; and Madan Mohan for Ada and Railway Platform. Some of his more notable songs were sung with Geeta Dutt in films he provided music himself, such as Betaab and Bahu Beti. He was associated with films in Hindi and gave music to 20 films, composing 154 songs, as S.D.Batish,Master Ramesh and Nirmal Kumar. Some of his songs were famous.
Batish, whose musical oeuvre has been described as an “amalgam of classical music and Punjabi folk and popular styles” composed for 20 films, including Har Jeet, Tipu Sultan and Toofan. For two films, he composed under the name Nirmal Kumar – a moniker that Lata Mangeshkar had given him for luck, according to Ashwin.
By this time, Batish had grown disenchanted with the Hindi film world. Ashwin recalls that his father needed a steady income to sustain his young family, but payments were erratic and delayed. Irked by this, Batish worked for a while to set up an artistes’ union to give them a platform to air their grievances and demands. Then the family decided to go to England.
On October 10, 1965, the series Apna Hi Ghar Samajhiye premiered on BBC1 television and radio. Presented in Hindustani, Urdu and English, its theme music was composed by the multi-faceted Pandit Shiv Dayal Batish, who had already won considerable renown as singer and music composer in the Hindi film world. The series aimed to reach the new immigrant from South Asia: it offered advice on matters like housing, insurance, migration and education, interspersed with music from the subcontinent, especially film music.
SD Batish, as he was better known, was also a recent arrival to England. As his son, the musician Ashwin Batish recounted, he had reached London earlier that year on a “near relative visa” following his older daughter Surendra’s admission to a course in ophthalmology. Word of his arrival spread among fellow musicians such as Keshav Sathe, who worked in the Indian High Commission and moonlighted as a tabla player, and Batish soon became part of the BBC’s outreach programmes.
A multi-instrumentalist, who was proficient at the sitar, tabla and vichitra veena, Batish featured regularly at music festivals across Britain. At one of these, the Cardiff Music Festival, his playing impressed the British parliamentarian and activist Fenner Brockway. Brockway helped Batish secure permanent residency status, Ashwin says. Not long after, Batish’s family joined him from Bombay. It was a decision, Ashwin says, that balanced his mother Shanta Devi’s practicality with his father’s musical dreams.
Shanta Devi, like Batish early in his career, had been an artist with the All India Radio at one time. To raise money for the air tickets, the family sold its land in Bombay’s Santa Cruz neighborhood – now worth a fortune, Ashwin says. Its new home was on Birchington Road, a residential area in London’s West Hampstead.
A few weeks later, as Batish recalled, came Sathe’s memorable call inviting him to make up the quartet of Indian musicians assembled to provide accompaniment for the Beatles’ album Help!. The others in the quartet were Sathe on tabla, Diwan Motihar on sitar and Qasim (known just by his first name) on flute.
A kinship must have formed during those musical sessions, for Batish’s association with George Harrison did not end there. Months later, Batish was engaged to teach Harrison’s wife, Pattie Boyd, the dilruba, a stringed instrument that later featured on the Beatles’ Sgt. Pepper’s Lonely Hearts Club Band album (1967).
Around 1970, the Batish family moved again, this time to Santa Cruz in California. The emigration was not altogether impulsive. Batish had been teaching a short-term course at the University of Santa Cruz, where his colleague, the mathematician Ralph Abraham, had been taking tabla lessons from him. Abraham suggested the Batish family move to the US and the family agreed. As a family, Ashwin quipped, they were as much “move-icians” as musicians.
The move to the US, as with the one to England, was a family decision. Shanta Devi’s initiative led to the Batish India House (at first called the Sri Krishna Café), a restaurant on Santa Cruz’s Mission Street that served Indian food while music was played by members of the Batish family. “I would serve food and then jump on stage to play music,” remembered Ashwin, who like his father plays several instruments, including the sitar and tabla.
The restaurant was featured often in the local paper, The Santa Cruz Sentinel, and ran till 1985, before music became the all-absorbing act, and SD Batish embarked on the “project of a lifetime”. His wish to collate, annotate, and set in writing every known detail of the Hindustani (the Ragopedia compendia) and Carnatic musical systems coincided with Ashwin’s discovery of Gopher, an early internet protocol that enabled files to be recorded, uploaded and distributed easily. It was a project envisioned after their visits to the library of the University of Berkeley yielded barely a few books on Indian music, and mostly on the Carnatic tradition. What was an inspiration for Batish to explain every raga became a boon not merely for music aficionados but also for his students who were familiar only with English.
The family set up the Batish Institute of Music and Fine Arts in 1976. It was the third of its kind to come up in California after the Ali Akbar Khan College of Music and the Music Circle, which was set up by Harihar Rao, a long-time associate of Ravi Shankar.
Besides being a recording studio, the Batish Institute continues to offer classes and texts, including several hundreds of Batish’s compositions (his raga lakshan geet set in the Hindustani classical system), and his derivative ragas based on the 72 melakartas of the Carnatic tradition. He regularly performed with his children, Ashwin and daughter Meena, and lived long enough to see his grandchildren, Keshav and Mohini, grow into musicians.
In my memory,the image of S D Batish is etched as a person with a large Fur Cap. Such a type of cap was worn by Shaikh Abdulla and his son Farooq Abdulla. I saw V.Shantaram too wearing that type of cap. Later his son followed by wearing the same ( I mean similar type) Fur cap like father, as if it was a family tradition ! Of late,I have seen the famous film Historian Shri Nalin ji Shah with this cap. When I had met him a few years back,he had jokingly said that this cap is his Trademark !
S D Batish was the cousin brother of Pt. Amarnath and brothers Husnlal-Bhagatram,all bore the same surname – Batish.( Thanks to obituary and bio by Jason Ankeny, an article by Anu kumar in scroll.in dated 24-6-2021, an article by his son Ashwin, along with muVyz, HFGK, Wiki and my notes. All excerpts are adapted ).
Today’s song is a duet sung by S.D.Batish and Nazira Begam.
Song- Aakar hum Pachhtaaye chalo chalen chalo chalen(Chupke Chupke)(1948) Singers- Nazira Begam, S.D.Batish, Lyricist- Not known, MD- S D Batish
Both
Lyrics
aakar hum pachtaaye manwa
chalo chale, chalo chale
aakar hum pachtaye manwa
chalo chalen, chalo chale
ab kyun der lagaye manawa
chalo chalen, chalo chalen
ab kyun der lagaye manwa
chalo chalen, chalo chalen
pyaar unka pehchan liya
pyaar unka pehchan liya
aaj se humne hai jaan liya
aaj se hamne hai jaan liya
ham nahin unko bhaaye ae manwa
hum nahin unko bhaaye
ab kyu der lagaye manwa
chalo chalen chalo chalen
kya samjhenge kya jaanenge
kyunke hum bhi na manenge
kya samjhenge kya janenge
kyunki hum bhi na maanenge
koi laakh manaaye manwa
chalo chalen, chalo chalen
chalo chalen hum sang tumhaare
chalo chalen hum sang tumhaare
prem nagar ko prem sahaare
prem nagar ko prem sahaare
prem ki jyot jagaayen
prem ki jyot jagaayen
ab kyun der lagaaye manwa
chalo chalen chalo chalen
chalo chalen chalo chalen
duniya ko bhoolen
sukh aakash pe jhula jhoolen
sukh aakash pe jhula jhoolen
tan naache man gaaye
tan nzache man gaqye
ab kyun der lagqaye manwa
chalo chalen chalo chalen
Hari Om Tatsat
Posted on: May 18, 2022
This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5052 | Post No. : | 16965 |
Today’s song is from the movie ‘Amar Kirtan-1954’.
The song is ‘Hari Om Tatsat’ sung by Geeta Dutt. I had come across this song in 2014 and had noted it then. However so far it remained to be posted on the blog.
When I had shared this song (lyrics only) earlier in ‘2014’ I was not equipped with HFGK Vol-III (1951-1960). Now, when I was preparing this write-up to present this song, I check the HFGK Vol-III for more information of this movie and the list of its other songs.
I find that there is a ‘part-2’ of this song sung by S.D. Batish and Asha Bhonsle as mentioned in HFGK. However, when I looked for the link of this song I do not find it except that I find a link where both the female & male versions are combined together.
When I listened to it I noted that the male version abruptly ends at one place though after two stanzas (the second one being incomplete). (So we don’t know if this song was in a male and female version or a female and a duet version).
On this combined link of this song we can read a comment from the ‘YouTube’ account ‘Ragmala’. ‘Ragmala’ is the official channel of Batish family.
The comment on this song link says that the tempo of recording in this song is faster and it should be on lower tempo. After reading this comment we can conclude (?), that this song should be a male-female version only. And there is no duet version of this song. The comment doesn’t mention anything about the complete song in it.
“Amar Kirtan-1954” was directed by K.C. Pandit for ‘Punjab Film Corporation, Bombay’.
It had Asha Mathur, Shahu Modak, Jayant, Naaz, Rajendra, Sita Bose, S. Prakash, Prem Kumar, Sitaram, Maya Das, Heera Sawant, Kumkum, Lalan, Bansari, Chand Burq, and others. Kumari Amita Devi, Kamal Mehra, and Madan Puri make a guest appearance in this movie.
This movie was passed by Censor Board on 27.07.1954.
This movie had eleven songs (including two two-part songs) all written by Wali Sahab.
Music for this movie was composed by S.D. Batish.
Here is the list of songs of this movie:-
| SNo | Song Title | Singer/s | Posted On |
|---|---|---|---|
| 01 | Jai gurudeva, jai gurudeva, yug yug yug… | S.D. Batish, Others | |
| 02 | Hari om tatsat, hari om tatsat…(part-1) | Geeta Dutt | |
| 03 | Jaat paat aur oonch neech ko…(part-a) | S.D. Batish, Asha Bhonsle | |
| 04 | Thaare gail chaloon re saanwariya | Asha Bhonsle | 21.04.2017 |
| 05 | Prabhu mori pariksha naahi karo | S.D. Batish | |
| 06 | Morey ghar shyam ghataa nahin barsi | Geeta Dutt | |
| 07 | Bhool gaya … panchhi bhool gaya path | S.D. Batish | 26.08.2017 |
| 08 | Main to hoon bhagton ka das | S.D. Batish | |
| 09 | Hari om tatsat, hari om tatsat (part-2) | S.D. Batish, Asha Bhonsle | |
| 10 | Jin dhyayo shyam, tin paayo shyam (part-b) | Asha Bhonsle | |
| 11 | Nirdhan ki dasha | S.D. Batish |
From the above table we can see that, so far, only two songs from this movie ‘Amar Kirtan-1954’ have been posted earlier in ‘2017’ on the blog.
Today’s song is a ‘two-part’ song as mentioned above.
I would request knowledgeable readers to throw more light on this movie and its songs. I would also request readers to provide link of this song in the voice of S.D. Batish if they came across it or are already aware of it.
Let us listen to the today’s song now…
Geeta Dutt version
S D Batish version
Song-Hari Om Tatsat (Amar Keertan)(1954) Singer-Geeta Dutt/ S D Batish, Lyrics-Wali Sahab, MD-S D Batish
Lyrics
————————-
Geeta Dutt version
————————
Hmm mm mm hmm hmm
Hmm hmm hmm
mm mm hmm hmm
hmm mm hmm hmm
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Mahaa mantra hai ye
Tu isko japaa kar
Maha mantra hai ye
Tu isko japaa kar
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om
Mahaa neech ban kar
Mahaakal ban kar
Diye dukh jo Raavan ne
Chandaal ban kar
Diye dukh jo Raavan ne chandaal bankar
To ye mantra kaam aa gaya dhaal bankar
To ye mantra kaam aa gaya dhaal bankar
Hari Om tatsat
Hari Om tatsat
Mahaa mantra hai ye
Mahaa mantra hai ye
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om
Dushaasan ne jab haath saari pe daala
Dropadi ke pat ko sabhaa me uchhaala
Dropadi ke pat ko sabhaa me uchhaala
To is mantra ne uske sankat ko taala
To is mantra ne uske sankat ko taala
Hari Om tatsat
Hari Om tatsat
Mahaa mantra hai ye
Mahaa mantra hai ye
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om
—————————-
S.D. Batish version
—————————-
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Mahaa mantra hai ye
Tu isko japaa kar
Maha mantra hai ye
Tu isko japaa kar
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om
Koi kasht sansaar mein tujhko ghere
Nazar aayen chaaron taraf hi andhere
Nazar aayen chaaron taraf hi andhere
Nazar aayen chaaron taraf hi andhere
To uthhkar Japaa kar
Savere savere
To uthhkar Japaa kar
Savere savere
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Mahaa mantra hai ye
Mahaa mantra hai ye
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om
Ubalte huye tel mein
Jabke phenka
To nirdosh prahlad kaise bachaa thha
To nirdosh prahlad kaise bachaa thha
Yahi shabd thhe us ghadi Uske munh par
Yahi shabd thhe us ghadi uske munh par
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.
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Blog Day : |
4802 | Post No. : | 16568 |
Today’s song is from the film Ladli-1949. This was one of the popular films of MD Anil Biswas in those times. He was still in his prime, but on the downward curve past his prime. By mid 50’s, films came at a snail’s pace to him and then in a few years he left Mumbai, shifted to New Delhi and his life took a 90 degree turn, personally and professionally.
Anil Biswas,the Bhishma Pitamaha of HFM, was a respected person in the industry.He started from the mid 30s and for the next 25 years or so,he created many everlasting gems in film songs. In Bombay, Playback was first started by him in the film Mahageet-1937. By the mid 50s his magic started waning and by 1960, he was almost gone from the industry. Initially he did 10-11 films with Sagar, then with Mehboob for National studios and then in Bombay talkies- where his name became immortal with the film Kismet-1943.
He married Ashalata in 1936. Along with her he started variety pictures and they produced films like Laadli-49,Laajawab-50 Badi bahu-51, Hamdard-53 and Bajuband-54. ( a less known fact is-Anil da had made a Guest appearance in the film Hamdard-53 as a barber.) He also acted in the film Mehman-53 (produced by Ashalata),as a Pujari and a song was shot on him.In both cases he did not get any payments. As a Producer he lost heavily, because Ashalata usurped all the money. Frustrated, he gave up everything and separated from her in 1954. By now, sweet links were established with singer Meena Kapoor-25 years younger to him, since 1948 itself. They got married with each other on 19-3-1957. The death of Brother in law and close friend Pannalal Ghosh in 1960 and younger brother Sunil in 1961 as well as his eldest son- Pradeep,broke his heart. He left Bombay and joined A.I.R. at Delhi on 1-3-1963,where he worked upto 27-6-1975. Later he was a consultant for Nehru University for a few years.
However,hardly anything is known about his eldest son Pradeep,anywhere. Here is some information,hitherto not known much,brought specially for our readers.
Pradeep was a very bright student and always topped in school and college. He passed his entrance exam and the interview,with flying colours for entry to NDA college at Poona,to join armed forces. He excelled even in NDA training.Not only was he very popular there but sang well too. He participated in the music Festival of Khadakwasla NDA and sang 3 songs,winning all prizes. He was also a NDA Topper.
Shri Gopinath Talwalkar,an A.I.R. Programmer at Delhi,used to interview the Toppers of NDA every year. That year Pradeep was the Topper, so he was interviewed. Though the interview was in Hindi, after the recording,Pradeep asked Talwalkar,in pure Marathi,whether his interview had been good. Talwalkar was shocked. Pradeep then explained that he was Anil Biswas’s son and he had learnt Marathi from his actress mother Ashalata. Pradeep knew Hindi,Marathi,English and Gujarati languages.
After completing his NDA training,he was posted as Flight cadet at Jodhpur. He was further promoted and became Pilot Officer in 1957. During one Training flight some altitude problems occurred and his plane crashed at Begumpet Airport, Hyderabad, killing Pradeep instantly. This happened in 1961.
This was also the time of crisis for Anil da. He was struggling to survive. Films were not coming to him. Since he married Meena Kapoor, Lata Mangeshkar-a fast close friend of Ashalata , had gone against him and Meena’s singing career was suppressed. He had already lost Pannalal Ghosh and Sunil-his brother and now Pradeep’s death devastated him and he was literally forced to seek employment with Delhi A.I.R., when the opportunity came. After retirement, till his death on 31-5-2003, he spent his life in total anonymity and recluse. So sad for a composer, who was once a fountain of enthusiasm and who was considered Mentor by leading contemporary composers like C.Ramchandra.
By 1949, the Indian film industry had reasonably stabilised having gone through the rigours of the war period and total shake up of the industry due to the Partition blues. 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 hear. The sale of records registered a Record of Sales 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 film.
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 CR is my favourite composer, during the period 47 to 49, it was all the way Naushad who 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 double, compared to C R, percentage wise. Naushad had 8 Hits from his 9 films in the period 1947 to 1949. For the same period, CR had only 4 Hits in his 18 films.
The year 1949 had absolutely 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 a few other landmarks in Hindi film industry.
Today’s song is an excellent song but rarely heard and not so popular for reasons difficult to fathom. It’s singer was Shiv Dayal aka S.D. Batish. I have a lot of respect for S D Batish,who did a marvellous job of promoting Indian Music in the UK and USA. He is one of those rare people who left the film world, but continued serving the Music,by turning a corner in Life. Such people are few in this world. The monumental work he did for Indian Music in foreign lands is unparalleled. An important point is that he did not do this service to Music for his personal gains. For his sustenance,he had opened a Restaurant in Santa Cruz,California,which was providing him enough for a comfortable living in the USA.
Born December 14, 1914, in Patiala, India, Shiv Dayal Batish abandoned a career in the nascent telephone industry to study devotional song, folk drama, and Indian classical music under his guru Hakim Chandan Ram Charan. In 1934, he relocated to Bombay to try his hand at acting, but roles proved scarce and he returned to Patiala two years later, renewing his focus on music. By 1936 Batish was regularly appearing on All India Radio and recording his first sessions for His Master’s Voice. The film industry nevertheless retained its allure for him, and in 1939 he returned to Bombay, working for a spell under broadcasting legend Z.A. Bokhari. After earning his first film work as an assistant musical director in 1942, Batish later graduated to full-fledged Bollywood musical director, in the years to follow working with playback singer greats including Asha Bhosle, Lata Mangeshkar, and Mohammed Rafi.
Batish also moonlighted as a playback singer in 70 films, singing 115 songs, among them 1944’s Daasi and 1948’s Barsaat ki Raat, before relocating to Britain in 1964. After accepting a position with the BBC Immigration Unit, Batish became a regular in British radio and television, most notably composing “Nai Zindagi Naya Jivan,” the theme song to the Beeb’s classic South Asian series Apna Hi Ghar Samajhiye (“Make Yourself at Home”). He also returned to his roots as a live musician, performing Indian folk and classical music on the vichitra veena, a long-necked fretless flute. In 1965 Batish was summoned by percussionist Keshav Sathe to record the Indian-inspired incidental music for the Beatles’ second feature film, Help! — the experience also proved the beginning of his lifelong friendship with Beatle George Harrison, who later hired Batish to teach his then-wife Patti Boyd the stringed dilruba.
In 1969 Batish assembled wife Shanta Devi, daughter Vijay Laxmi and sons Ashwin Kumar and Ravi Kumar to record North Indian Folk and Classical Music, which for decades remained the lone Indian release to appear on the seminal folk label Topic Records. A year later, the family emigrated to the U.S., settling in northern California and founding a restaurant, the Santa Cruz-based Krishna Café. Although the restaurant business remained Batish’s primary focus for the remainder of his life, he continued playing live and also cut the occasional LP, most notably 1980s Raga Todi, 1985’s Om Shanti Meditation on Dilruba and 1997’s The 72 Carnatic Melakhartas.
He founded “Batish Institute of Music and Fine arts” in California and wrote about 12 books on Indian Classical music,like Ragopaedia,Raga Channels,Rasik Raga lakshan Manjiri etc. He had also founded Batish Recording Co.
He died at age 91 on July 29, 2006.
His singing on AIR drew the attention of an older cousin, Pandit Amarnath, who was an accomplished musician in the Punjabi film industry in Lahore. Amarnath gave Batish the opportunity to sing a song – Pagdi Sambhal Jatta – he had composed for the film Gawandi (1942). The song became a hit, making Batish popular. But, all told, the experience was bittersweet. Ashwin says his father did not relish acting in the movie: the frequent takes, the blinding light from mirrors used as reflectors unnerved him.
As Amarnath’s assistant, Batish learned various aspects of music direction: rehearsing with singers, synchronising instruments and working with an orchestra. These learnings opened yet another opportunity for him. He was invited to Bombay by the Marathi writer and film impresario Keshav Prahlad Atre (Acharya Atre) to compose music for the film Paayaachi Daasi. But, in the end, credit was given to Annasaheb Mainkar.
After the Partition in 1947, the year Amarnath died, Batish moved back to Bombay, this time not to try his luck as an actor, but as a singer and composer. Several prominent music directors of the day employed him for their movies – Anil Biswas for Laadli, Husnlal-Bhagatram for Sawan Bhado, Hamari Manzil, and Surajmukhi; Ghulam Mohammad for Kundan; Roshan for Barsat ki Raat and Taksal; and Madan Mohan for Ada and Railway Platform. Some of his more notable songs were sung with Geeta Dutt in films he provided music himself, such as Betaab and Bahu Beti. He was associated with films in Hindi and gave music to 20 films, composing 154 songs, as S.D.Batish,Master Ramesh and Nirmal Kumar. Some of his songs were famous.
Batish, whose musical oeuvre has been described as an “amalgam of classical music and Punjabi folk and popular styles” composed for 20 films, including Har Jeet, Tipu Sultan and Toofan. For two films, he composed under the name Nirmal Kumar – a moniker that Lata Mangeshkar had given him for luck, according to Ashwin.
By this time, Batish had grown disenchanted with the Hindi film world. Ashwin recalls that his father needed a steady income to sustain his young family, but payments were erratic and delayed. Irked by this, Batish worked for a while to set up an artistes’ union to give them a platform to air their grievances and demands. Then the family decided to go to England.
Shanta Devi, like Batish early in his career, had been an artist with the All India Radio at one time. To raise money for the air tickets, the family sold its land in Bombay’s Santa Cruz neighbourhood – now worth a fortune, Ashwin says. Its new home was on Birchington Road, a residential area in London’s West Hampstead.
The move to the US, as with the one to England, was a family decision. Shanta Devi’s initiative led to the Batish India House (at first called the Sri Krishna Café), a restaurant on Santa Cruz’s Mission Street that served Indian food while music was played by members of the Batish family. “I would serve food and then jump on stage to play music,” remembered Ashwin, who like his father plays several instruments, including the sitar and tabla.
The restaurant was featured often in the local paper, The Santa Cruz Sentinel, and ran till 1985, before music became the all-absorbing act, and SD Batish embarked on the “project of a lifetime”. His wish to collate, annotate, and set in writing every known detail of the Hindustani (the Ragopedia compendia) and Carnatic musical systems coincided with Ashwin’s discovery of Gopher, an early internet protocol that enabled files to be recorded, uploaded and distributed easily. It was a project envisioned after their visits to the library of the University of Berkeley yielded barely a few books on Indian music, and mostly on the Carnatic tradition. What was an inspiration for Batish to explain every raga became a boon not merely for music aficionados but also for his students who were familiar only with English.
He regularly performed with his children, Ashwin and daughter Meena, and lived long enough to see his grandchildren, Keshav and Mohini, grow into musicians. ( Thanks to obituary and bio byJason Ankeny and an article by Anu kumar in scroll.in dated 24-6-2021, along with muVyz, HFGK, Wiki and my notes. All excerpts are adapted ).
Today’s song is the 8th song from this film to be posted here. I like this song very much, I hope you too will like it.
Song- Kisi rangeen duniya mein na kya kya zindagi dekhi (Laadli)(1949) singer-S D Batish, Lyrics-Chandrashekhar Pandey, MD-Anil Biswas
Lyrics
kisi rangeen duniya mein
na kya kya zindagi dekhi
rulaa de gham ko bhi ek baar
aisi zindagi dekhi
kisi rangeen duniya mein
na roti pet ko
kapde na tan ko
ghar na rahne ko
na roti pet ko
kapde na tan ko
ghar na rahne ko
magar kehlaate hain insaan
aisi zindagi dekhi
rulaa de gham ko bhi ek baar
luti duniya kisi ki
ee ee ee ee ee ee
luti duniya kisi ki
par wo sotey bhool kar rona
kafan laaun kahaan se haaaaye
kafan laaun kahaan se haaye
aisi zindagi dekhi
rulaa de gham ko bhi ek baar
umar baali phati dhoti
idhar kheenche udhar kheenche
umar baali phati dhoti
idhar kheenche udhar kheenche
jawaani bhookh donon se
sataayi zindagi dekhi
rulaa de gham ko bhi ek baar
Tadapte bhookh se bachche
padi beemaar hai beevi
Tadapte bhookh se bachche
padi beemaar hai beevi
padi beemaar hai beevi
na kuchh paayaa aa aa
na kuchh paaya
to rassi se
lalakti zindagi dekhi
kisi rangeen duniya mein
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4506 | Post No. : | 16047 |
Today’s song is from the film Kaise Kahoon-1945.
To start with, Bombay was the first film making centre followed closely by Calcutta. Slowly, some other centres like Madras, Coimbatore, Poona, Bangalore etc. as occasional film centres also developed. In 1924,i.e. 11 years after the first silent feature film was released in Bombay, Lahore made its first silent film-“The daughters of Today”. It was made and released in Lahore. This film was made by Mr. G K Mehta, a former officer of North Western Railways, who had imported a Camera from London. A R Kardar, who was making posters for foreign film productions and who was a qualified well known Calligrapher, assisted Mehta. Kardar and his friend Ismail both also acted in that film.
In 1928, Kardar, with no other work on hand, decided to start a film making studio and a production company called ” United Players Corporation” to make films. He made 12 silent films in Lahore, thus bringing Lahore’s name on the map of film centres in India. Therefore, Kardar can be called the architect of Lahore film industry, in a sense. Slowly Talkie films were planned in Lahore. Dalsukh Pancholiestablished his studio. The making of films like Khazanchi, Khandan and Zamindar firmly established Lahore as a Film making centre. Many films like Poonji, Daasi etc were made there. Punjabi aspirants in various fields like acting, direction, music, singing, cinematography etc found Lahore convenient to start careers, rather than going to Bombay all the way.
Film Kaise Kahoon – 45 was made by Pancholi Art Studio, Lahore which had earned All India fame with its highly successful films. As per Baburao Patel’s review in Film India magazine January 1945, the film’s story was by Dalsukh pancholi himself. He had also written the story for another hit film Daasi-44 earlier. Patel said in his review that ” Pancholi stole ideas from foreign films “. Whether True or not, the treatment Pancholi’s films gave to the stories was certainly loved by the audience all over India, so there was no problem. The film was directed by foreign trained Moti B Gidwani, who directed 17 films in his career. It is interesting to know, however, that his first film as a director, ” Midnight Girl -29″ was a resounding flop and it caused the film maker company- Maharashtra Film company of Kolhapur to close down. It also caused a group of 5 people to leave the company earlier and start their own Prabhat Film Company, at Kolhapur.
Cast of the film was Ragini, Najmul Hasan, Akhtar, Jagirdar, Durga Mota etc. Ragini was famous and popular. She was one of the two actresses of Hindi films, who had Brown eyes, the other being Vanmala. The hero Najmul Hasan was a compromise actor, who had become infamous due to his elopement with Devika Rani of Bombay Talkies. She returned to her husband and he was left high and dry ! Baburao Patel described him as ” an overfed Owl ” !
One name in the cast is that of Durga Mota. His real name was Durgaprasad. Due to his heavy build he was nicknamed Mota(fat). He was a permanent member of Pancholi films as a comedian. It is very sad that his career ended in a gruesome way. In 1947, after Partition, there was an exodus of millions from Lahore to India. Durgaprasad also wanted to shift to Delhi. He went to Lahore station to catch the train. Suddenly, a frenzied mob of rioters invaded Lahore station and they started killing all the passengers waiting to go to India. People started running to save life. Due to his fatness, Durgaprasad could not move faster and was caught by the mob, who cut him in pieces on the Lahore Railway station platform itself.
The film was released on 16-11-45 ( 75 years ago to the date, almost), in Imperial Cinema, Bombay. The story of the film, as adapted from the Film India magazine review by our Sadanand kamath ji, was – A doctor (Gajanan Jagirdar) has a son and two grown up daughters – Geeta (Ragini) and Basanti (Baby Akhtar). The son who was in Burma is expected to return home, However, he is accidentally killed by Pradeep (Najam ul Hasan) without knowing the identity of the deceased. As it often happens in Hindi films, coincidentally, Pradeep lands in a doctor’s house for an overnight stay. He falls in love with Geeta instantaneously. The overnight guest becomes a permanent attachment. Basanti, the younger sister of Geeta, is also happy about her sister’s love for Pradeep.
As usual in Hindi films, when the love reaches a finale, a villain, a zamindar (probably Ajmal) steps in the picture. He comes to know about the accidental death of the doctor’s son and the killer who is none other than Pradeep. After a lot of suspicions and misunderstanding, the things get cleared and Pradeep gets his fiancee Geeta.
The music of film kaise Kahoon-45 was by a veteran Pt. Amarnath Batish. I am purposely calling him Batish, because there was another MD with the same name of Pt. Amarnath Chawla. They were obviously different, but were a case of ” Same Name Confusion” because both never wrote their full names. In this matter Marathi actresses never became a case of SNC, because they all used their surnames, like Shanta Apte and Shanta Hublikar, Nalini Tarkhad and Nalini Jaywant, Leela Chitnis and Leela Chandragiri etc. etc. This made matters clear and easy to identify.
In 1931 the first Talkie film was released. There were seven songs in this film. With this film, along with the existing Film Industry an additional Music Industry also came into existence. The early film makers understood the importance of music in India. Music, Instrumental or Vocal had secured the Royal Patronage from the kings and Nawabs. For the common people Gramophone records were providing musical entertainment. Occasional open air dramas and music concerts too were popular. By the 30’s decade the NFS (Non Film Songs) became a craze and several popular singers churned out their records.
Music became an integral part of Hindi films. Famous filmmakers like Prabhat, Ranjit, New Theatres, Madon Theatres, Bombay Talkies, Saraswati Cinetone etc. also helped in promoting film music. Initially Film music was greatly influenced by Parsi Theatre, and Marathi and Gujarati Natya Geets as well as Folk songs. This was successfully changed by Ghulam Haider with Punjabi Music in Lahore and Naushad with UP folk music in Bombay. Pt. Amarnath and his younger brother pair of Husnlal-Bhagatram carried forward the Punjabi music.
Amarnath Batish was born in 1912 in Jalandhar. He started his career as an actor and singer on stage dramas. He was a good Harmonium and Tabla player. He started his career with HMV as an Orchestra Director, in Delhi. Master Madan, the child Prodigy recorded few Punjabi songs under his baton.
It was natural that Amarnath joined Films. His first film was Roop K Shorey’s Nishani-1942. Pandit ji had discovered Naseem Akhtar. She and Shamshad begum sang songs for him. In the same year, his first Punjabi film Govandi-42 was released. His new find Zeenat Begum sang in it. Even Amarnath sang a song ” Pagadi utaar jatta” along with S D Batish and chorus in it. However, the British government banned this Patriotic song. The film was a hit film. Film Daasi-44 was his most popular film. All songs became hits. He did a film Irada-44, in Calcutta in which he introduced Hemant Kumar in Hindi films.
Simultaneously, he was giving music to Punjabi films too like Koel-44 and Gul Baloch-45.During the 40s decade Pt. Amarnath was the most busy composer, with a line up like- Nishani-42, Paapi-43, Irada-44, Daasi-44, Panchhi-44, Shirin Farhad-45, Ragini-45, Kaise Kahoon-45, Dhamkee-45, Sham Savera-46, Shalimar-46, Shehar se door-46, Jhumke-46, Aai Bahar-46, pagdandi-47, Mirza Saheban-47, Roop Rekha-48 and Ek Teri Nishani-49.
He gave music to 18 Hindi films, composing 152 songs in all. Due to his success, he started taking drinks, which became his nemesis. At the time of film Pagdandi-47, after a few songs, he was replaced by Khurshid Anwar. Even in his last two films Roop Rekha-48 and Ek teri nishani-49 after a few songs, he was replaced by other MDs. Film Patjhad, which he had signed, was given to Ghulam Haider.
During the making of the film Mirza Sahiban-47, Pt. Amarnath died at the age of just 35 years, on 20-2-1947. The balance songs were done by Husnlal Bhagatram.
(Adapted with thanks, from Film Sangeetkar by Prof. Yadav, an article by Sharad Dutt in milleniumpost.in, Dhunon ki yatra by P.Raag, HFGK, muVyz and my notes).
So far, 2 songs of this film were discussed. Today’s song is the third song here. I would say, songs of this film do not conform to the fame of Pt. Amarnath for giving melodious songs. But then, every song of every film can not be of the same quality.
Song-Gori gaagar ki Ganga udhhaar diye jaa (Kaise Kahoon)(1945) Singers- S D Batish, Shamshad Begum, Lyricist- Sharma, MD- Pt. Amarnath
Chorus
Lyrics
Gori ee
gaagar ki Ganga udhhaar diye jaa
udhhaar diye jaa
tujhe ganga kasam
o tujhe Ganga kasam
haan
dil waalon ke dil ka vyopaar kiye jaa
vyopaar kiye jaa
tujhe ganga kasam
o tujhe Ganga kasam
gori ee
gaagar ki ganga
wo bageeche mein dekho
wo gaagar pade
wo bageeche mein dekho
wo gaagar pade
nahin hoti hai
?? mein pade
babu dil mein hi
o babu dil mein hi
dil ka vyopaar kiye jaa
gori
gaagar ki Ganga udhhaar diye jaa
udhhaar diye jaa
tujhe ganga kasam
o tujhe
o tujhe
o tujhe
ganga kasam
baabu
dil mein hi Ganga utaar kiye jaa
utaar kiye jaa
tujhe ganga kasam
o tujhe Ganga kasam
Gori ee
gaagar ki ganga
Gori har roz tumse to kehna nahin
Gori har roz tumse to kehna nahin
sada gaagar ki ganga mein behna nahin
sada roop jawaani mein rehna nahin
rehna nahin
aji din hain tere
upkaar kiye jaa aa
baabu u
dil mein hi dil ka vyopaar kiye jaa
vyopaar kiye jaa
tujhe ganga kasam
o tujhe
o tujhe
o tujhe
ganga kasam
o gori ee
gaagar ki ganga
baabu baala jobanwa hai
pyaar kiye jaa
pyaar kiye jaa
baabu baala jobanwa hai
pyaar kiye jaa
pyaar kiye jaa
kachchi kaliyaan hain
kachchi kaliyaan hain
tan man nisaar kiye jaa
nisaar kiye jaa
phool ban’ne talak
intzaar kiye jaa
gori ee ee
gaagar ki ganga udhhaar kiye jaa
udhaar diye jaa
tujhe ganga kasam
o tujhe
o tujhe
baabu
dil mein hi dil ka vyopaar kiye jaa
vyopaar kiye jaa
tujhe ganga kasam
o tujhe
ganga kasam
o gori ee
gaagar ki ganga
Binti karat hoon main tori maa
Posted on: September 2, 2020
This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4429 | Post No. : | 15855 |
“Betaab”(1952) was produced and directed by Harbans for Susheel Pictures, Bombay. The movie had Ashok Kumar, Naseem, Motilal, Kamal Kumar, Murad, Mirza Musharraf, Tiwari, Kamal, Nazeer Kashmiri, Agha Mirza, Afghan Sandow, S Kamal, Parvati devi, Meera Aarti etc.
“Betaab”(1952) had thirteen songs in it. Two songs have been covered so far.
Here is the third song from the movie. This song is sung by S D Batish. Bharat Vyas is the lyricist. Music is composed by S D Batish.
Going by the mukhda “binti karat hoon main tori maa” and going by the fact that it is penned by Bharat Vyas, some people may belieb=ve that it is a bhajan. Not al all. This song is a comedy song where a person is requesting his mother to get him married as soon as possible. He has no demands, no bars, no qualifications in mind for the prospective bride. The most openminded bridegroom ever !
The hilarious lyrics contains words that are considered politically incorrect now a adys but they raised no eyebrows those days. In any case it is a comedy song and it should be treated as such.
Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of this fun song.
Song-Binti karat hoon main tori maa (Betaab)(1952) Singer-S D Batish, Lyrics-Bharat Vyas, MD-S D Batish
Lyrics
binti suno o o o o
mori
maa
maa
binti karat hoon main tori maa
binti karat hoon
binti karat hoon
binti karat hoon main tori maa
tu shaadi kara de
shaadi kara de
shaadi kara de mori ma
agle phaagan tak jo mujhko
nahin milegi biwi
to saanch kahoon bhagwaan kasam
mujhe ho jaayegi t b
chaahe kaani ho
ya andhi ho
wo looli ho
ya langdi ho
chaahe goongi ho ya bahri ho
chaahe goongi ho ya bahri ho
wo kaali ho ya gori ma
tu shaadi kara de
shaadi kara de
shaadi kara de
mori shaadi shaadi shaadi
mori shaadi shadi shadi
mori shaadi shadi shadi
o mori shaadi shaadi shaadi
mori shaadi shaadi shaadi
mori shaadi shaadi shaadi
shaadi
jaat paat ki fikar na karna
jo kuchh bhi ho naam
des bides kahin ki bhi ho
humen byaah te kaam
punjaaban ho
bangaalan ho
gujaraatan ho
maarwaadan ho
madraasan ho
maaraathan ho
madraasan ho
maaraathan ho
wo kahin ki bhi ho chhori ma
tu shaadi kara de shaadi kara de
shaadi kara de
mori shaadi shaadi shaadi
mori shaadi shadi shadi
mori shaadi shadi shadi
o mori shaadi shaadi shaadi
mori shaadi shaadi shaadi
mori shaadi shaadi shaadi
shaadi
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 : | 4141 | Post No. : | 15303 |
Today’s song is from film Arsi-1947.
Till recently, I was wondering, what was the meaning of this Title word Arsi. I could not find the meaning anywhere and finally I left my attempts. Then one day, I read the review of this film, in the June 1948 issue of Film India and I got a new piece of wisdom that Arsi was a name of the girl in the film. It was for the first time that I learnt that a name such as Arsi could be a girl’s name in India. Out of curiosity, I checked the 3 ” Boys and Girls Names ” books that I have in my collection, but in none of the books this name was found. At last, I decided to surrender to Guru Google ji, and to my surprise, I learnt that the word means ” Mirror ” !
The film Arsi was made by Jeevan Pictures, Lahore. It was directed by Daud Chaand. All the 11 songs were written by Sarashar Sailani. This was his first film as a Lyricist. The owner of Jeevan Pictures, was Motiram Jain and he was a lover of Shayari and poetry. Sarashar Sailani, who was not much educated (not a graduate), but was a school teacher, used to participate in Mushayras. Motiram liked his shayari. When Motiram started his First film Arsi-47, he invited Sailani to write story, song and dialogues for this film. Some songs became popular and Sailani jumped into film line.
Lachhiram called him for his next film Mohini-47 and Shyamsunder called him for Ek Roz-47. Along with director Daud Chaand, Sailani also shifted to Bombay. However, after the Partition, Daud returned to Lahore but Sailani remained in India. He wrote lyrics. generally he got only low budget films, but he worked with some quality composers like Pt. Amarnath, Husnlal-Bhagatram, Roshan, Chitragupta, Jaidev, A R Qureshi, Hansraj Behl etc.
In all, he wrote 150 songs in 32 films. From 1960 onwards, after film ‘ Bade ghar ki bahu’, he stopped song writing and took up only story, dialogue writing, in which he did many good films. Sarshar Sailani died on 10-4-1969.
In film Arsi-47, there were 2 MDs – Lachhiram Tamar and Shyamsunder. Although HFGK is silent on crediting MDs for any song, those who uploaded the songs on YT have indicated MD names as given on the records. Much is written about Shyamsunder, but not much is available on Lachhiram. Last year, in one of posts, I have given information about Lachhiram Tamar already.
The film’s director was Daud Chaand. Dawood Chand was a prominent film director of 1930’s & 1940’s of Indian cinema. He directed Veer Kaisri (1938), Joshe-e-Islam (1939), Sipahee (1941), Jangee jawan (1943), Paraey Bas main (1946), Aaarsee and Aik roze (1947) and Papeeha Re-48 in India.
In Paksitan he was director of first ever released Pakistan film Tairi Yad (1948). Some of his others films were Hichkoley, Mundri (1949), Sassi (1954), Bulbul (1955), Mirza Sahebaan and Hatim (1956), Muraad (1957), Aalam ara (1959), Sapairan (1961), Khaiber Pass and Ghazala (1963), Reshma (1970), and Bahadra (1973).RAZA MIR (Producer/Director)
He acted in Indian film Shaher say door (1946) but in Pakistan he chose other profession. He was Pakistan’s First film Teri yaad’s (1948) cinematographer and director. He also directed some other films like Baiti (1964), Lakhon main aik (1967), Aaasra and Aneela (1969), Parai aag (1971), Naag muni, Vicharya saathi (1973), Professor and Arzoo (1975) Sohni mahiinwal (1976) and Dil keey daagh (1978). Asif Raza Mir film hero of late 1970’s and early 1980’s and a good TV artist is his son. He died on 24-5-1975 at Lahore, Pakistan.
The cast of the film was Meena (Shorey), Al Nasir, Ajmal, Asha Posley, Zahoor Shah, Bheemsain, Ramlal, Pran, Cuckoo etc etc. When I had first come across the name Asha Posley, in my younger days, I was a bit amused, because the name sounded almost like Asha Bhosle ! When I started writing about old films, I realised that her real name was something else and this was a name acquired by her.
Asha Posley was born Sabira Begum in Patiala, Punjab, British India in 1927. She was given the film name Asha Posley by the renowned music director Ghulam Haider. She made her film debut in a Lahore-made Punjabi film Gawandi (1942) as a supporting actress.Later she played just a few female lead roles in some films starting with film Champa (1945) and then Kamli (1946) in British India. Her films in India were Champa-45, Paraye Bas mein-46, Kamla-46, Badnaami-46, Aai Bahar-46, Pagdandi-47, Ek Roz-47, Arsi-47, Sassi-48 (un released), Roop Rekha-48, Papeeha Re-48 and Barsat ki ek raat-48. She also sang 5 songs in 3 films.
After independence of Pakistan in 1947, her whole family migrated to Lahore, Pakistan including her music director father Inayat Ali Nath and her 2 sisters- actress Rani Kiran and Kausar Perveen who later gained fame in Pakistan as a film playback singer. Her father was the music director for the first-ever released film in Pakistan- Teri Yaad (1948) and Asha Posley played the female lead role in the film opposite Nasir Khan who was a brother of famous Indian actor Dilip Kumar.
Later she was mostly cast in supporting roles opposite comedian actors Nazar and Asif Jah in films both in Urdu and Punjabi languages. She acted in 129 films in total in her career spanning over 4 decades (1942-1986). Her last film was Insaf (1986). She also appeared on Stage, TV and Radio and she was also a part-time singer. Asha Posley was awarded a Special Award for Excellence in 30 years of acting by the prestigious Nigar Awards organization in Pakistan in 1982.
Asha Poslay died on March 26, 1998 at Lahore.
Asha Posley’s case is a sad one. The way Pak film industry treated her in her last days, is no different than what Indian film industry did in the past. She and her family spent hard days and she died in poverty. Only the other day, I came across an article written by film journalist of Pakistan- Navaid Rasheed in The Dawn.com in April 2001. In it, he wrote about her house…..” The humble abode is enveloped in depressive atmosphere. The rooms are in ramshackle condition. The main door leads to a very small room which is without a roof. If it was bigger in size, it would be called a courtyard. Things are helter skelter all over the place. Can somebody imagine that this is a place where a glamorous diva lived not too long ago.
Yes, this place was the last abode of Pakistan film industry’s first heroine Asha Posley who died three years ago. Ever since then the family has been living in a dilapidated state. Not that the things were any better when the actress was alive, in fact she herself was dependent on her brother whose house this is. But at least she was there for them, her being there was enough for them.”
Asha Posley was a very attractive, frank, ever smiling and popular actress in Pakistan. Asha Posley was undoubtedly one of the most modern, bold and flamboyant heroine of the local cinema. Those well-arched eye-brows, deep almond-shaped set of eyes, high cheek bones, the square jaw, the curly jet black locks and the mischievous smile is hard to forget. For a woman who once charmed the cinegoers for so long did not have enough money to make her ends meet at her retirement. Such a sad ending is not what she deserved. But that is exactly what happened.
Ever since Asha Posley was forced to sit home by the ruthless film industry that gave her no work for long, there was not a single day when she didn’t wait to be offered even a small role from the industry. When no one came from the industry to help her, she looked towards the public sector. She requested time and again for help but in vain. Such a talented actress of calibre was fast diminishing into oblivion but no one was bothered to save her. So finally she died unsung in March, 1998. Still no one was effected.
Teri Yaad was the first Pakistani film to be released in 1948 and Asha’s hero in it was Dilip Kumar’s brother Nasir Khan. It was directed by Dawood Chand. Asha Posley belonged to Patiala (India) and was born in 1927. She worked in Radio Pakistan as Riffat Aisha and was in possession of a good voice. Before partition she worked for the first time in Kamli (1946) which was not too successful but owing to her looks, her spicy sense of humour and bold style of conversation, she became pretty famous in film circles.
After partition she also worked in films like Ghalat Fehmi, Shahida and Bulbulall of which proved to be failures. However, when she opted to play a vamp in Sassi, it proved to be very successful. Hence onwards began a long journey of vampish roles for Asha. Her occasional pairing with comedian Nazar in certain films too won accolades for her as a comedy star. One of her memorable films as a vamp was Intezaar featuring Noor Jehan and Santosh Kumar
in the lead. Kismet and Dulla Bhatti were other successful ventures where she put in memorable performances. Her dances too were the main highlight of these films.
Asha’s younger sister Rani Kiran was also a film heroine while another of her sister Kausar Parveen was a famous playback singer of the 50s who died very young. Rani Kiran is still alive but leading a pathetic life.
Asha’s famous films include Toofaan, Mukhra, Hatim, Ashiana, Hum Aik Hein, Khizaan kei Baad, Son of Ali Baba, Mehandi, Pasbaan and others. She made occasional appearances on various television shows where she reminisced her past glory and mentioned for support too. But apparently nothing happened. Nobody could improve her state of affairs, but at least someone can still help her sister Rani Kiran and save her from going the Asha Posley way, out of this world.
This was the fate of discarded artistes…be it Pakistan or India. We can quote many such cases from our own court yards. Thank God, these days the situation is much much better and no such cases are to be seen since few years. Hope this is so even in Pakistan.
Film Arsi-47 was released on 10-4-1948 at Majestic Cinema in Bombay. The screenplay was by M R Bhakhri. Film India magazine June 48 issue featured a review of this film. As usual Baburao Patel had nothing good to say about the story, acting or even the Music. He surely sympathised with the Director, who could not do much with the weak story. The story,in short, as given in the review (minus criticism) is …
Ramesh (Al Nasir) is the son of the village Zamindar. He loves Arsi (Meena), daughter of Bansi, a poor farmer. Unfortunately, the Zamindar himself wants to marry Arsi. When this proposal is declined, Bansi, with his daughter and young son is driven out of the village. Soon after, Bansi dies and Arsi has to sell a Gold Frame, gifted by Ramesh. However, she is accused of stealing it from the Zamindar’s house and is sentenced to 14 years of Jail term.
Her brother grows up. The Brother Mohan (Ajmal) loves and marries dancer Sharada (Asha Posley). The Zamindar dies. After 14 years, Arsi is released. She is employed as a Maid by Ramesh and later they marry also. The End !!! (Thank God !)
The story is too simple and predictable. No wonder Film India criticised it. Today’s song is a duet by S D Batish and Zeenat Begum. One more interesting Trivia. Sarashar Sailani had also acted in this film, but under the name Bheemsain. This was the only film he ever acted in a film.
Song- Duniya chhoote par na chhoote teri gali ka phera (Aarsi)(1947) Singers- S D Batish, Zeenat Begum, Lyrics- Sarshar Sailani, MD- Lachhiram Tamar
Lyrics
Duniya chhoote
ho
Duniya chhoote par na chhoote teri gali ka phera
ho teri gali ka phera
Duniya chhoote
ho
Duniya chhoote par na chhoote teri gali ka phera
ho teri gali ka phera
gali ka phera kaise chhoote
prem ka bandhan kaise toote
gali ka phera kaise chhoote
prem ka bandhan kaise toote
kaise chhodoon kaise chhoote
teri gali ka phera re
haay teri gali ka phera re
Duniya chhoote
ho
Duniya chhoote par na chhoote teri gali ka phera
ho teri gali ka phera
nain milaa ke
mast banaa ke
nain milaa ke
mast banaa ke
jee bharma ke loot liya
haaye loot liya
nain milaa ke
mast banaa ke
jee bharma ke loot liya
haaye loot liya
loot liya sajni ke man ko
loot liya sajni ke man ko
saajan bada lutera re
haaye saajan bada lutera re
Duniya chhoote
ho
Duniya chhoote par na chhoote teri gali ka phera
ho teri gali ka phera
kaise jaadoo daala dil par
teri mast nigaahon ne
kaise jaadoo daala dil par
teri mast nigaahon ne
duniya chhod ke aan lagaaya
duniya chhod ke aan lagaaya
teri gali mein dera re
haaye teri gali mein dera re
Duniya chhoote
ho
Duniya chhoote par na chhoote teri gali ka phera
ho teri gali ka phera
naav bhanwar mein chhod na dena
preet ke matwaare rasiya
naav bhanwar mein chhod na dena
preet ke matwaare rasiya
preet laga ke tod na dena
preet laga ke tod na dena
naazuk hai dil mera re
haaye naazuk hai dil mera re
Duniya chhoote
ho
Duniya chhoote par na chhoote teri gali ka phera
ho teri gali ka phera
chun chun kankar mahal basaaya
log kahen ghar mera aa re
na ghar tera na ghar mera aa aa
chidiya rain basera aa aa aa
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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