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

Archive for the ‘“saawan” song’ Category


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

Blog Day :

4621 Post No. : 16267

‘Baabu Ji’ (1950) was directed by Bhagwan for Uday Productions, Bombay.  It had Bhagwan, Leela Gupte, Baburao, Usha Shukla, Vasant Rao, Azeem, Jani, Mirajkar, Zafar, Vitthalrao, Dhondu, Anmanta, Swami and others.

This movie has nine songs, all written by Ehsaan Rizvi and composed by music director P Ramakant. Going by the style of composition, it has been commented that the music is composed by C Ramchandra himself, under the name of P Ramakant. I request our more knowledgeable readers to be please comment on this observation.

HFGK Vol-II (1941-1950) lists the songs of this movie as given below; (in order of their appearing on this movie (Babooji-1950) page in HFGK)

Sl No

Song Title Singer/s

Posted On

01

Saawanwa umdaa aaye ho Sulochana Kadam Being presented today

02

Baat meri maan lo ji, baat meri maan lo Sulochana Kadam,

Anna Saheb

03

Milne nahin paate hain naina lachaaye huye Sulochana Kadam

04

Zaraa sunte jaana ho do dilon ka afsaanaa Sulochana Kadam,

Anna Saheb

23.08.2013

05

Nazar se nazar lad gayi Sulochana Kadam 12.09.2018

06

Rewdiyaan hain rewdiyaan Sulochana Kadam,

Anna Saheb

07

Kyun pareshaan huye, Sulochana Kadam

08

Jo bigad gayi wo qismat hoon Sulochana Kadam 22.11.2017

09

Gorey gorey mukh se jo ghoonghat hataawjo Anna Saheb

As we can see above this movie had made its debut on the blog in 2013 and since then only three songs from the movie have been posted so far. As I was noting the song-list I realized that the voice of Sulochana Kadam is appearing in all songs of this movie, but it is not the case as the last song is a solo in the voice of Anna Saheb. And this is the only male solo in this movie.

Today 13th March 2021 is the eighty-eighth birth anniversary of Sulochana Kadam (born 1933) who later became Sulochana Chavan.  Her singing of many famous and popular ‘lavanis’ in Marathi brought her the honour as ‘Laavni-samradhni’ in Marathi music.

On this occasion here is the song from ‘Baabu Ji’ which is lying with us since August’2013.

Actually, during 2013 – 2015 when I was staying in Kachchh, I had shared some of her songs on the blog. And I had enjoyed listening many of her songs from Hindi movies of that era. The today’s song is also a song which I like very much. One other song “Kyun Preshaan Huye” from this movie is also pending with the editors since then. Let us see when it appears 😊 on the blog.

Let us now listen to the today’s song and wish ‘a very happy birthday’ to Sulochana ji on her birth anniversary today and also wishing her a healthy and peaceful life ahead. . .

Saawanwa Umdaa Aaye Ho

Song – Saawanva Umda Aaye Ho (Baabu Ji) (1950) Singer – Sulochana Kadam, Lyrics – Ehsaan Rizvi, MD – P Ramakant

Lyrics

saawanwa umda aaye ho
saawanwa umda aaye
barkhaa rim jhim jal barsaaye
mann mein aag lagaaye ho
saawanwa umda aaye
saawanwa umdaa aaye ho
saawanwa umdaa aaye

geet ke ras mein mann dooba hai
pyaar ke ras mein naina aa
yaad ke ras mein din dooba hai
birha ke ras mein rainaa
dhyan tera aa jaaye jo
bijli ye jo lehraaye
saawanwa umda aaye
saawanwa umda aaye ho
saawanwa umda aaye

tere sundar roop se akhiyaan
hate nahin hataaye
tujhko sabse nazar bachakar
koi dekhe jaaye
chupke chupke mann veena bhi
pyaar ke geet sunaaye ho
saawanwa umda aaye
saawanwa umda aaye ho
saawanwa umda aaye

kali kali par bhanwaraa doley ae ae ae
koyal shor mahcaaye
pihu pihu kare papiha aa aa
piya ki yaad dilaaye
sab ke mann se taan nikalti
mere mann se haaye
saawanwa umda aaye

saawanwa umda aaye ho
saawanwa umda aaye
barkhaa rim jhim jal barsaaye
mann mein aag lagaaye ho
saawanwa umda aaye

————————————————–
Devnagri Script lyrics (Provided by Sudhir)
————————————————–

सावनवा उमड़ा आए हो
सावनवा उमड़ा आए
बरखा रिमझिम जल बरसाए
मन में आग लगाए हो
सावनवा उमड़ा आए
सावनवा उमड़ा आए हो
सावनवा उमड़ा आए

गीत के रस में मन डूबा है
प्यार के रस में नैना॰ ॰ ॰
याद के रस में दिन डूबा है
बिरह के रस में रैना
ध्यान तेरा आ जाये जो
बिजली ये जो लहराए
सावनवा उमड़ा आए
सावनवा उमड़ा आए हो
सावनवा उमड़ा आए

तेरे सुंदर रूप से अखियाँ
हटे नहीं हटाये
तुझको सबसे नज़र बचाकर
कोई देखे जाये
चुपके चुपके मन वीणा भी
प्यार के गीत सुनाए हो
सावनवा उमड़ा आए
सावनवा उमड़ा आए हो
सावनवा उमड़ा आए

कली कली पर भँवरा डोले॰ ॰ ॰
कोयल शोर मचाये
पीहू पीहू करे पपीहा॰ ॰ ॰
पिया की याद दिलाये
सबके मन से तान निकलती
मेरे मन से हाए
सावनवा उमड़ा आए

सावनवा उमड़ा आए हो
सावनवा उमड़ा आए
बरखा रिमझिम जल बरसाए
मन में आग लगाए हो
सावनवा उमड़ा आए

 


This article is written by Peevesie’s mom, 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 :

4577 Post No. : 16186

Hullo Atuldom

“Khoon Ka Badla Khoon” (1978) had songs by the hit team of S.H. Bihari- O.P.Nayyar; the team that gave us “kajra mohabbatwala”, “haule haule chalo more saajna”, taarif karoon kya uski”, “bahut shukriya badi meherbaani” and many more such hits in the ’60s.

“KKBK” had Vani Jairam, Pushpa Pagdhare, Uttara Kelkar, Mohd. Rafi for playback singers. It was directed by K. Parvez a.k.a Kalpataru and produced by Ratan Mohan. It had seven or eight songs of which the blog has only one song.

The cast included Bindu, Asha Sachdev, Mahendra Sandhu, Vinod Khanna, Ajit, Jayshree T., Padma Khanna, Iftekar, Imtiaz Khan, Sudhir etc. Seeing that the movie had so many actresses who could dance, makes it clear why OPN used three different female playback singers.

“KKBK” seems to be one of the movies where Asha Sachdev must have been the main female protagonist or to put it simple -the heroine. Also the poster of the movie suggests that Vinod Khanna may have been paired with Bindu
Here is the next song from ‘KKBK’ on the occasion of Omkar Prasad Nayyar’s 14th remembrance day. It is sung by Vani Jairam. It was and is frequently heard on radio. Vani Jairam had four solos in the movie of which this is the most popular. I found a very short video which suggests that Asha Sachdev is out to woo Mahedra Sandhu who seems to be some kind of under-cover officer. Also the video shows Ajit giving instructions to his ‘No 9’ etc as was the norm in all movies featuring Ajit in that period of time.

The poster that is accompanying the longer version of the song, as is available on youtube shows a rather smart and handsome Vinod Khanna, trying to shoot some one even as he is on the run.
The brief synopsis of the film that is available on IMDB.com says this: The story-line of the film revolves around a Crime Branch’s Officer and a courageous girl from another agency, they are appointed to catch a criminal gang who leaves a trade mark at their every crime scene.

So, that means it was a run-of-the-mill masala thriller that should have been entertaining for the masses. I would love to know how it fared at the box-office.
This is song number 184 of S.H. Bihari and 484 of O P Nayyar who should be thanked for the legacy that is there for us to enjoy

Video (shorter)

Audio (Full)

Song-Zulf lehraayi yo saawan ka maheena aa gaya (Khoon Ka Badla Khoon)(1978) Singer-Vani Jairam, Lyrics-S H Bihari, MD-O P Nayyar

Lyrics(Provided by Prakashchandra)

zulf lehrayi toh
zulf lehraayi toh
saawan ka maheena aa gaya aa
zulf lehraayi toh
aasmaan par haaye ae
aasmaan par baadalon ko
paseena aa gaya
haaye
zulf lehraayi toh
zulf lehraayi toh
saawan ka maheena aa gaya aa
zulf lehrayi toh

haaye re meri shokh jawaani
meheke jaise raat ki raani
dil mein pyaar ke sapne sajakar
log maren jab meri adaa par
dil mein pyaar ke sapne sajakar
log maren jab meri adaa par
haaye
mujhko bhi jeena aa gaya
zulf lehraayi toh
zulf lehraayi toh
saawan ka maheena aa gaya aa
zulf lehraayi toh
aasmaan par haaye ae
aasmaan par baadalon ko paseena aa gaya
haaye
zulf lehraayi toh
zulf lehraayi toh saawan ka maheena aa gaya aa
zulf lehraayi toh

main kya janoon ooon
rang badalna
pi ke behakna aa aa
jhoom ke chalna
yaaron ne aankhon se pilaayi
banke pawan main bhi lehraayi
yaaron ne aankhon se pilaayi
banke pawan main bhi lehraayi
mujhko bhi peena aa gaya
zulf lehraayi toh
zulf lehraayi toh
saawan ka maheena aa gaya aa
zulf lehraayi toh
aasmaan par haaye ae
aasmaan par baadalon ko paseena aa gaya
haaye
zulf lehraayi toh
zulf lehraayi toh saawan ka maheena aa gaya aa
zulf lehraayi toh


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 :

4524 Post No. : 16084

Sometime in September 2019, there was an article written by Khalid Mohammed in ‘Mumbai Mirror’ which highlighted the plight of 92 years old music director and musicologist, Vanraj Bhatia. He was penniless and was struggling to meet his daily requirements including his medical expenses. He was mostly bedridden. He had not done his medical check-up for a long time due to paucity of money. To meet his daily expenses, he had started selling his old antique utensils which he had collected over a period of time.

We have heard this type of situation faced by some Hindi film artists earlier also. For instance, film artists like Chandramohan, Master Nissar, Khan Mastana, G M Durrani, Rajkumari Dubey, Sridhar Parsekar, Master Bhagwan, Parshuram, Cuckoo, Bharat Bhushan, Vimi, A K Hangal, Raj Kiran, Satish Kaul etc have gone through such abject poverty. But what is shocking is that in the 21st Century, even a person of the caliber of Vanraj Bhatia has to go through the vagaries of adverse financial conditions. And his precaurious conditions have remained unknown to most of his associates who had worked with him in the past. It was only when journalist, Editor and film director, Khalid Mohammed visited his house, the conditions of the recipient of the Lili Boulanger Memorial Fund Award (1957), National Film Award (1988) for the best music director, Sangeet Natak Akademi Award(1989) and Padma Shri Award (2012) became known.

Fortunately, within 48 hours from the article appearing in ‘Mumbai Mirror’, followed by breaking this news on social media, some of his old friends and admirers promptly raised funds for him. The Indian Performing Right Society (IPRS) chairman, Javed Akhtar also arranged to hand over a cheque to him within a couple of days of breaking the news. During the making of ‘Sardari Begum’ (1996), Vanraj Bhatia has a fight with Javed Akhtar in regard to a song for which Vanraj wanted the lyrics first and Javed Akhtar wanted the tune first. But this incidence did not affect Javed Akhtar in taking a prompt initiative in IPRS for the financial aid to this talented and intellectual musicologist.

Within a week from this news break, Dilip Tahil to whom Vanraj Bhatia gave his first break as a singer in a play, announced a book project on the life of Vanraj Bhatia which will be written by Khalid Mohammed. Amir Khan came forward to sponsor the book. Now, this is an interesting development as I feel that this is in recognition of the immense contributions Vanraj Bhatia has made in the Indian music scene which need to be brought to the notice of people in general and music admirers in particular. Many people may not be aware of his name even though some of his Hindi film songs may be known to them.

I have gone through his interviews in magazines/newspapers/digital newspapers and also on Rajya Sabha TV. Based on these interviews, I am confident that the proposed book on Vanraj Bhatia would not only turn out to be interesting one but would also generate royalty for him. He is not only an unique music director, he also seems to be an independent minded person if I read him correctly.

Vanraj Bhatia (B.31/05/1927) was born in Mumbai in a middle-class family who had shifted to Mumbai from Kutch during the period of boom in textile mills giving opportunity for business in cloth. His father was a cloth merchant. The young Vanraj was enrolled in New Era High School which was set up in 1930. The school also provided some vocational courses in addition to normal syllabus. Vanraj took the vocational course in Hindustani classical music and stood first in every year in the class.

After completion of his high school, Vanraj was enrolled in Elphinstone College with Sanskrit as an additional subject. Knowing his proficiency in Sanskrit, Vanraj’s professor was keen that he chose Sanskrit for his M.A. However, after graduation, Vanraj completed his M.A. in English literature in 1949.

During his teenage days, he had developed an interest in Western classical music. Under Dr. Manek Bhagat, he learned piano and studied the Western classical music for 4 years mastering all the works of Beethoven and Mozart. He wanted to pursue the further study in the Western classical music by going abroad. But his father was not able to financially support him. His close relatives were strongly opposed to his making music as a profession. which was seen by then in low esteem.

Finally, he got permission from his father with a condition that he would support his study abroad only for six months. Fortunately, Vanraj got scholarship to study at the Royal Academy of Music in London for 1951-54. After graduating with a gold medal in 1954, Vanraj got Rockefeller Scholarship for five years from 1954 to 1958 at Conservatoire de Paris.

The first advertising jingle Vanraj composed after returning to India in 1959 was for Shakti Mills which was produced by Durga Khote. The financial condition of Vanraj’s family was not good. He required some steady income to support the family. He took up the assignment in Delhi University as Reader in Western Musicology in 1960. He did not enjoy the work as there was no creativity. In 1964, he resigned from his post in Delhi University and returned to Mumbai to work as a full-time composer for advertising films. He did many advertising jingles which included his popular advertising jingles for Liril soap and Garden Vareli saaris.

During this period, Vanraj came into contact with Shyam Benegal who was also in the field of making advertising films. Vanraj worked for Shyam Benegal for the first time for his advertising film on Finlay Mills for which Vanraj composed advertising jingles. Both of them worked together in many advertising and documentary films. When Shyam Benegal ventured into making his first feature film ‘Ankur’ (1974), he assigned the background music to Vanraj Bhatia (it was a song-less film).

Vanraj Bhatia composed his first filmy songs in Shyam Benegal’s ‘Nishaant’ (1975). His next film. ‘Manthan’ (1976) had only one song, mero gaam kaatha paarey rendered by Preeti Sagar who used to sing for him for his advertising jingles. The song became very popular in which he experimented mixing of various dialects due to which people from Gujarat, Madhya Pradesh and Uttar Pradesh identified themselves with the song. Vanraj Bhatia became the regular collaborator with Shyam Benegal for 16 films until 2000 after which he virtually retired from the films as he had developed other interests in music.

According to Shyam Benegal, he and Vanraj Bhatia often fought during the sessions of song compositions. But at the end, the result was excellent. He created the perfect balance of Hindustani classical music and Western classical music. In an interview, Vanraj Bhatia had said that during his teenage days, he was influenced by the song compositions of R C Boral and Pankaj Mullick. According to him, they were the only music directors at that time who knew the use of harmony in their melodies through orchestration.

There is no indication in any of his interviews as to why he avoided the mainstream Hindi films or it was other way round. But he did take few mainstream Hindi films for background music such as ‘Ajooba’ (1991), ‘Beta’ (1992), ‘Damini’ (1993), ‘Ghatak’ (1996), ‘Pardes’ (1997), ‘Chinagate’ (1998) etc. The work of background music in these films gave him the opportunity and the satisfaction to showcase his talent in Western music.

Vanraj Bhatia, by and large confined himself to music direction of the parallel cinemas. In addition to working with Shyam Benegal, he has also worked with other directors of parallel cinemas such as Aparna Sen (‘36 Chowringhee Lane’, 1981), Kundan Shah (‘Jaane Bhi Do Yaaro’, 1983), Saeed Akhtar Mirza (‘Mohan Joshi Haazir Ho’, 1984), Prakash Jha (‘Hip Hip Hurray’, 1984)), Ashok Tyagi (‘Shurkhiyaan’, 1985), Govind Nihalani (‘Tamas’, 1987) etc.

In a career spanning over 5 decades, Vanraj Bhatia made significant contributions to music across all forms. He started with advertisement jingles which numbered over 6000. He had also provided music to over 50 documentaries. He has been the music director about 35 films. He has also composed music for about a dozen classical TV serials like ‘Khandaan’ (1985), ‘Yatra’ (1986), ‘Bharat Ek Khoj’ (1988), ‘Wagle Ki Duniya (1988) etc. He composed music for many plays – both Hindi and English. He has made a mark in Western classical music by cutting about a dozen each of albums on his solo piano and chamber music. He composed the spiritual music albums like ‘Indian Meditation Music’ (1999), ‘Anant’ (2001), ‘The Bhagavad Gita’ (2002), ‘The Spirit of Upanishads’ (2007) etc.

One of Vanraj Bhatia’s musical work which was very close to his heart was producing an opera, ‘Agni-Varsha’ in English, based on Girish Karnad’s Kannada play ‘Agni Mattu Male’ (1995). The first two acts were staged in Mumbai in 2017. Later, one lady, Judith Kellock did two performances in New York. The opera received good response. He was working on the third act of the opera which appears to be ready. Unfortunately, due to his medical condition, the work has remained to be staged.

Unfortunately, most people are unaware of Vanraj Bhatia’s contributions in the field of music probably because he was not associated with mainstream Hindi films.

For Vanraj Bhatia, ‘Junoon’ (1978) was his first high budget film produced by Shashi Kapoor and directed by Shyam Benegal. The high budget of the film allowed him to engage the top playback singers, Mohammed Rafi and Asha Bhosle for the first time for him besides the luxury of having a higher number of musicians than what he normally uses in low budget films. The film had 4 songs written by Amir Khusro, Jigar Muradabadi, Yogesh Praveen and 16th Century English poet, Christopher Marlowe (for English song). One song has been covered on the Blog.

I am presenting the 2nd song, a kajri, ‘saawan ki aayi bahaar re’ written by Yogesh Praveen and set to music by Vanraj Bhatia. The record version has 4 stanzas with orchestration, rendered by Asha Bhosle. The sound track version in the film has first, second and fourth stanzas of which first two stanzas are sung by Varsha Bhosle (Asha Bhosle’s daughter) without orchestration. Varsha Bhosle’s part of the song is picturised on Dipti Naval while Nafisa Ali is helping her in swinging. Jennifer Kapoor and Sushma Seth are sitting on the ground. The second stanza is again repeated by Asha Bhosle in the film in a different situation. She also sings the 4th stanza in another situation.

Although it is a ‘saawan’ song, it is also presented as ‘pre-marriage’ song in the second stanza and ‘separation’ song in the 4th stanza in the film. The 3rd stanza has not been included in the filmy version.

Acknowledgements of sources for the article:

Table border=”1″>
1. Interview of Vanraj Bhatia in ‘Serenade’ Magazine – March 22, 2017. 2. Interview of Vanraj Bhatia by Greg Booth in digital newspaper, scroll.in – March,1 2017. 3. Interview of Vanraj Bhatia on Rajya Sabha TV. 4. ‘Vanraj Bhatia – Thank you for the Music’ by Narendra Kusnur – Mint – April 26, 2014.

Audio Clip:

Video Clip:

Song-Saawan ki aayi bahaar re (Junoon)(1978) Singer-Asha Bhonsle, Lyrics-Yogesh Praveen, MD-Vanraj Bhatia

Lyrics (Based on Audio Clip)

ghir aayi kaari ghata matwaari
ghir aayi kaari ghata matwaari
saawan ki aayi bahaa aar re
saawan ki aayi bahaa aar re
bela chameli ki kaliyaan chatak gayin
bela chameli ki kaliyaan chatak gayin
mahkat ban ki bayaa aar re
mahkat ban ki bayaa aar re
saawan ki aayi bahaar re
saawan ki aayi bahaar re

khil gaye hatheli pe mehandi ke boote
khil gaye hatheli pe mehandi ke boote
lachkat jhoolan ki daal re
dhaani chunar morey sar pe na thahare
dhaani chunar morey sar pe na thahare
choodiyaan karen jhankaa aar re
choodiyaan karen jhankaa aar re
saawan ki aayi bahaar re
saawan ki aayi bahaar re

baadal beech bijuriya chamke ae
baadal beech bijuriya chamke
dhoondoon mein balma ke baakh(?) re
aadhi rain jab boley papeeha
aadhi rain jab boley papeeha
jiyara pe lagte kataar re
jiyara pe lagte kataar re
saawan ki aayi bahaar re
saawan ki aayi bahaar re

angana mein bheeji atariya pe bheeji
angana mein bheeji atariya pe bheeji
bheeji sajanwa ki sej re
bheej gayi mori haay kori chunariya
bheej gayi mori haay kori chunariya
rimjhim ras ki phuhaa aar re
rimjhim ras ki phuhaa aar re
saawan ki aayi bahaar re
saawan ki aayi bahaar re
saawan ki aayi bahaar re


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 :

4504 Post No. : 16044

Today, November 16th 2020 is the 53rd Remembrance Day of the music director, Roshan Lal Nagrath (14/07/1917 – 16/11/1967). In 1951, he had composed teri duniya mein dil lagta nahi waapas bula le for ‘Baawre Nain’ (1951).The Almighty seemed to have taken his composition seriously and snatched him away from us early at the age of 50.

Most of Roshan’s song compositions were like poems woven in Hindustani classical music. This was but natural because firstly, he was trained in Hindustani classical music in Marris College of Music (now Bhatkhande Music Institute) in Lucknow in the 1930s. During the same period, he had also learnt Sarod from Ustad Allauddin Khan and later learnt Dilruba/Esraj on his own. Secondly, he worked with illustrious lyricists who were also poets, like Kidar Sharma, Shailendra, Sahir Ludhianvi, Majrooh Sultanpuri, Shakeel Badayuni, Neeraj, Bharat Vyas, Kavi Pradeep etc.

In 1940, Roshan joined All India Radio (AIR), Delhi as a musician where he came into contact with Khurshid Anwar who had joined AIR as Music Programme Producer in 1939. Roshan worked in AIR for about 8 years during which he got the rich experience as a musician for all types of semi-classical music like thumris, dadras, ghazals, qawwalis and also the folk songs. During his stint in AIR, Roshan got married to Ira Moitra who was a regular singer at AIR, Delhi.

In 1948, Roshan decided to shift to Mumbai to try a career in Hindi film industry as a music director. Due to his wife Ira Roshan’s acquaintance with Anil Biswas, Roshan got the first-hand exposure of composing songs for films from Anil Biswas by attending his song recordings. During this period, he also worked with his erstwhile AIR colleague, music director Khurshid Anwar as his music assistant for ‘Singaar’ (1949). After this assignment, it was struggling days for him as he did not have any assignment.

Roshan met Kidar Sharma, producer-director, who had already announced his film, ‘Neki Aur Badi’ (1949) with Snehal Bhatkar as the music director. He found Roshan to be musically talented person. Knowing that Roshan was going through hard days, Kidar Sharma decided to entrust the work of music direction to him with the consent of Snehal Bhatkar. [Incidentally, for ‘Gunaah’ (1953), after one song, Kidar Sharma had replaced Roshan with his consent and entrusted the music direction to Snehal Bhatkar]. Unfortunately, ‘Neki Aur Badi’ (1949) badly flopped at the box office. Roshan was devasted and went into depression. Again, Kidar Sharma came to his rescue and entrusted him the music direction of his next film ‘Baawre Nain’ (1950).

The box office success of ‘Baawre Nain’ (1950) with almost all the 9 songs in the film becoming popular, established Roshan as a successful music director. This success was followed by ‘Ham Log’ (1951), ‘Malhar’ (1951), ‘Anhonee’ (1952), ‘Naubahaar’ (1952), Chaandni Chowk’ (1954) etc. Roshan did not have a good success in the second half of 1950s as a result of which he had taken some ‘B’ grade films’ assignments. In the 1960s, like ‘Baawre Nain’ (1950), Roshan started with ‘Barsaat Ki Raat’ (1960) which become one of the biggest block busters of 1960 with all its songs becoming popular.

Career-wise, 1960s were the best period for Roshan. He had a spate of musical successes in ‘Aarati’ (1962), ‘Taj Mahal’ (1963), ‘Dil Hi To Hai’ (1963), ‘Chitralekha’ (1964), ‘Dooj Ka Chaand’ (1964), ‘Bheegi Raat’ (1965), ‘Mamta’ (1966), ‘Bahu Begum’ (1967), ‘Anokhi Raat’ (1967) etc.

Mukesh was a friend of Roshan during their Delhi days in the early 40s. With Raj Kapoor in ‘Baawre Nain’ (1950), Mukesh was the obvious choice to sing for Raj Kapoor under his music direction. One can say that it was with Mukesh Roshan started his musical success in ‘Baawre Nain’, ‘Malhaar’ (1951) and ‘Hum Log’ (1951). Incidentally, when Mukesh produced his first film ‘Malhaar’ (1951), he entrusted the music direction to his friend Roshan.

Following the contractual obligation for Mukesh under which he could not sing songs for any other films during the making of ‘Maashooka’ (1953) in which he was the lead actor, Roshan’s collaboration with Mohammed Rafi among other male playback singers began to a greater extent than the earlier period. During 1953-56, Mukesh was concentrating mainly in his acting career and so was Talat Mehmood. This gave Rafi an opportunity to consolidate his collaboration with other music directors. In due course of time, Rafi’s collaboration with Roshan rose to such an extent that post 1954, Rafi became the main male playback singer for Roshan and sang most of the songs for Roshan among the male playback singers. . Among the female playback singers, obviousely, Lata Mangeshkar was Roshan’s main singer followed by Asha Bhosle.

Interestingly, Roshan’s musical career really took off with his association with Mukesh in Baawre Nain’ (1950) and ended with Mukesh in Roshan’s last film, ‘Anokhi Raat’ (1968).

The discussion on Roshan would remain incomplete without discussing his role in making the filmy qawwalis popular. If Madan Mohan was regarded as the king in the musical compositions of ghazals, Roshan was the king of the musical compositions of qawwalis. In ‘Chaandni Chowk’ (1954), Roshan composed his first qawaali – an all ladies qawwali ‘har baat puchhiye ye haqeeqat na puchhiye’. But his most popular qawwalis came from the pen of Sahir Ludhainvi in ‘Baabar’ (1960), Barsaat Ki Raat’ (1960), ‘Dil Hi To Hai’ (1963), ‘Taj Mahal’ (1963) and ‘Bahu Begum’ (1967).

The piece de resistance among the filmy qawwalis both for Roshan and Sahir Ludhianvi is the immortal na to kaarwaan ki talash hai ……ye ishq ishq hai from ‘Barsaat Ki Raat’ (1960). This is an unique qawwali. To the best of my knowledge, it is Hindi’s films’ longest qawwali (12minutes). It is the only filmy qawwali in which apart from Urdu/Persian/Hindi words, 4 lines in Punjabi and few words in Brijbhasha have been used. It is the only filmy qawwali in which an extensive definition of ‘ishq’ has been outlined to include not only the Sufiyana tradition of love towards God but also the spiritual love of Radha-Krishna, Meerabai, Seeta and Ram, Lord Buddha, Masiha among others. This type of qawwalis can only happen in India beacuse of its composite culture. Both Roshan and Sahir Ludhianvi had spent their formative stages of life in the neighbourhood of muslims and Hindu/Sikhs, respectively.

For Roshan, it was a challenging work to sustain the audience and listeners’ interest in 12-minute qawwali especially at a time when people had no patience to listen to even 3-minute songs in the theatres. It was the ingenuity of Roshan that he composed the qawwali, dividing in three broad segments with varying melodies and rhythms and ending with fast tempo and crescendo. It is also a qawwali in which five playback singers lent their voices – Manna Dey, S D Batish, Asha Bhosle, Sudha Malhotra and Mohammed Rafi.

During his filmy career (1949-1967), Roshan composed around 435 songs in 58 films of which the Blog has covered 347 songs as of date.

On the occasion of the 53rd Remembrance Day of Roshan, I am presenting a melodious song, ‘chheen liya beimaan mera dil’ from ‘Zindagi Aur Hum’ (1962). The song is sung by Lata Mangeshkar and is picturised on Nalini Jaywant. The words are of Pandit Shivkumar which have been set to music by Roshan. Apparently, the tune of the song is inspired from Roshan’s own song, saari saari raat teri yaad sataaye.

Video link:

Audio link:

Song-Chheen liya re beimaan mera dil (Zindagi Aur Hum)(1962) Singer-Lata, Lyrics-Pt Shivkumar, MD-Roshan

Lyrics

chheen liya re beimaan mera dil
chheen liya re beimaan mera dil
toot na jaaye kahin
toot na jaaye ae
toot na jaaye beimaan mera dil
chheen liya re beimaan

sona na maanga roopa na manga
nahin maanga dhan dhaan ho o
jaadu ki joro baandhi najariya
kar diye bekal praan ho o
kar diye bekal praan
chheen liya aa
chheen liya re beimaan mera dil
chheen liya re beimaan mera dil

champa na maanga
chameli na maangi
na rang ras ki khaan ho o
tere ishaare pe bagiya ki bagiya
kar deti kurbaan ho o
kar deti kurbaan
chheen liya aa
chheen liya re beimaan mera dil
chheen liya re beimaan mera dil

naam na jaanoon
gaam na jaanoon
na pehli pehchaan ho o
kaise tikaa loon kaise nikaaloon
shaam ka tu mehmaan ho o
shaam ka tu mehmaan
chheen liya aa
chheen liya re beimaan mera dil
chheen liya re beimaan mera dil
toot na jaaye kahin
toot na jaaye ae
toot na jaaye beimaan mera dil


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 article is the 15900th song post for the blog

Blog Day :

4447 Post No. : 15900

So we reach another blog century with this post. This century materializes in 39 days, which appears like a fast century vis a vis the previous eleven centuries that took an average of 61 days each. These eleven centuries were took nearly two years (from August 2018 till July 2020). If we look at the rate of centuries ten years ago, then we had achieved a blog century on 20 september 2010 as well. That was the 30th century for the blog and that had been achieved in 17 days flat !. Eleven centuries (viz 20th century to 30th century were achieved at an average rate of 33 days per century.

The quickest rate of centuries were achieved during 2011 and 2012. Calendar year of 2012 saw 21 blog centuries, a record not surpassed since ! These 21 centuries were achieved at an average rate of one century every 18th day !

When I try to think about the by now barely believable rate of posts and centuries in the past, I can pinpoint a few reasons. And I also learn a few lessons from them.

Ten years ago, I was ten years younger. at that stage in my life, I was perhaps at the most productive and creative stage of my life. My enery level and motivation level were on a different plane. I also realise that my eyesight was still good and I did not need glasses to read fine prints. It was sometime in 2011 that I began to realise that my eyesight was going downhill. That is when I needed glasses for the first time. With that being the case, it was no longer possible for me to pore over the computer screen with the same comfort as before. This may be one reason why I hav slowed down. I need to take breaks from computer for the sake of my eyes, which was not the case prior to 2011.

Secondly, at that stage, I found it easy to wake up early in the morning and staying up late as well. My wife complained that I was neglecting my health by not getting enough sleep. Her constant nagging has finally had its effect on me. For the last two years, I no longer wake up at 5 AM in the morning and finish off six or seven posts for the day in three hours.

25 september 2011 was a crazy day when as many as 13 writeups were posted. First post appeared at 8:10 PM and the last post at 23:59 PM ! It means that I devoted the entire day at the computer doing nothing but posting articles all th time ! The same feat was repeated on 6 september 2012. The first post of the day appeared at 7:32 AM. The thirteenth and final post of the day appeared at 23:47 PM and that marked the 66th blog century for the blog !

Those were crazy days for the blog! The concepts of movies making their debuts, moving getting YIPPEED in the blog etc were not known. I did not have access to HFGK, so I was blissfully unaware if all the songs of a movie were covered in the blog. Unburdened by all these considerations, and helped by the fact that most well known songs of well known movies were still up for grabs, we had no problem finding sngs to discuss. All those songs, not yet dscovered were like low hanging fruits that were easy to pluck. We have dealt with all those low handing fruits and now we are dealing with songs that were relatively less popular and lesser known. I was gifted HFGK on july 2014 by our two Maharathi contributors Mr Arunkumar Deshmukh and Sudhir Jee, on the occasion of the blog completing 10000th post. By that time, we were also on to concepts like individual artists centuries, blog contributors centuries etc. We had also evolved the concept of YIPPEE thanks to the ever enthusiastic Pradeep Raghunathan. All these factors meant that we had to do more research that before to locate specific songs that met specific requirements.

These days we are not able to score our centuries at Sehwag like rate (16-17 days) but even scoring centuries at test match rate is not bad. What matters is that the musical juggesrnaut keeps moving and does not remain stand still. We have managed to remain free of a DOT day in the blog for this entire calendar year 2020. There were three DOT days in 2019, 7 in 2018 and ZERO in 2017. So we have ben like a non stop musical bandwagon for the last four years with hardly any stoppages. And let us hope that it continues that way.

Another thing where we had managed to staay true to form is in the selection of our Century songs. We manage to come up with special songs for such special occasions. Seeing that we have had 158 Blog centuries so far, we have discussed 158 special songs on these occasions. 158 is not a small number by any stretch of imagination. One would need more than 8 hours to listen to these special songs !

The 15900th song of the blog is a special song as well. It is special because

(i) it is a rare and obscure song
(ii) the singer is also obscure, though she comes from a well known musical family
(iii) The song is one that has been reused in at least two movies, both obscure.

The song is from “Bhed”(1950). This movie was produced by Amba Cinetone(Jal K Baliwala Productions Bombay). That is all that HFGK contains for this movie. HFGK tells us that this movie had at least nine songs in it, may be more. Mukul Roy (brother of Geeta Roy, later Geeta Dutt) was the music director.

Three songs from this movie have been discussed so far. All these three songs were sung by Geeta Dutt.

Here is another song from “Bhed”(1950). Is it sung by Geeta Dutt ? No, it is sung by Lakshmi Roy, sister of Geeta Dutt. Geeta Dutt is a legendary singer in HFM, but her sister Lakshmi Roy has sung very few songs in HFM. Most of her songs are duets with other singers. This song is an axception. It is a solo song.

This song is penned by Madhukar Rajasthani.

I made another interesting discovery. Five songs from “Bhed” (1953) were later reused in “Do Bahaadur”(1953). Unlike “Bhed”(1950), details of starcast of “Do Bahaadur”(1953) is known. “Do Bahaadur”(1953) was produced by Nari Cawasji and drected by Baburao Pahalwan for Baghdad Pictures under supervision of Shantaram Athwale. The movie had John Cawas, Shanta Patel, Rohini, Dalpat, Goldstein, Rajni, Chitalkar, Dilawar, Baby Balo, Aziz Premi, Madhu Apte, Ali, Baburao Pahalwan etc in it.

This movie too had music by Mukul Roy. The movie had six songs in it. Five of these songs were same as those of “Bhed”(1950). the sixth song was taken from “Ustaad Pedro”(1951).

Such cut and paste job for music did not help the cause of “Do Bahaadur”(1953). For that matter even “Bhed”(1950) is a rare and forgotten movie.

Coming to Lakshmi Roy, she married producer director Pramod Chakraborty. Unlike her unfortunate sister Geeta, she enjoyed a long and happy married life.

As the 15900th song of the blog, here is this rare and special song from “Bhed”(1950).

A blog century on 20 september 2010 and a blog century on 20 september 2020 as well. So we have mnaged to achieve a different kind of “Blog Ten Year Challenge” today with this post. 🙂

As we can see, we are now just one more century away from the magic 16000 mark. Here is hoping that we will not just reach that landmark but also reach many distant landmarks in future. I take this opportunity to thank one and all for their continued support and encouragement.


Song-Ritu Pyar karan ki aayi (Bhed) (1950)/(Do Bahaadur)(1953) Singer-Laxmi Roy, Lyrics-Madhukar Rajasthani, MD-Mukul Roy

Lyrics

Ritu Pyaar karan ki aayi
jawaani
saawan ban ke chhaayee
saawan ban ke chhaayee
Ritu Pyaar karan ki aayi
jawaani
saawan ban ke chhaayee
saawan ban ke chhaayee
mastiyaan le le kar angdaayi
mastiyaan le le kar angdaayi
kahi haan aayi haan aayi
saawan ban ke chhaayee
Ritu Pyaar karan ki aayi
jawaani
saawan ban ke chhaayee
saawan ban ke chhaayee

chhaayee huyi khushrang(?) ghataayen
chhaayee huyi khushrang(?) ghataayen
naach rahi hain mast hawaayen
naach rahi hain mast hawaayen
koyal ne kook
koyal ne kook lagaayee
papeeha preetam ka saudaayee
kahen haan aayi haan aayi
Ritu Pyaar karan ki aayi
jawaani
saawan ban ke chhaayee
saawan ban ke chhaayee

shama se kehta hai parwaana
shama se kehta hai parwaana
bulb(?) se hai gul suhaana
bulb(?) se hai gul suhaana
bhanwron se hai kaliyaan kehtin
chanda se kahen chakori
kya
kahen haan aayi haan aayi
kahen haan aayi haan aayi
Rut pyaar karan ki aayi
jawaani
saawan ban ke chhaayee
saawan ban ke chhaayee
rut pyaar karan ki aayi
jawaani
saawan ban ke chhaayee
saawan ban ke chhaayee


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

Blog Day :

4340 Post No. : 15641

Sai Paranjpye has so far directed 8 feature films in Hindi. She has written story and script for all these films. Each of these films has some interesting background as to what prompted her to make those films. In this article, I am covering her film ‘Saaz’ (1997) which was produced by Amit Khanna under the banner ‘Pulse Films’ of the Plus Channel of which he was the managing director during 1989-2000.

Sometime in 1995-96, Plus Channel decided to produce some ‘middle-of-the-road’ films. Directors like Shyam Bengal, Basu Chatterjee, Sudhir Mishra, Aruna Raje, Gautam Ghosh and Sai Paranjpye were enlisted to direct  such genre of films which resulted in the release of films, ‘Sardari Begum’ (1996), ‘Gudgudee’ (1997), ‘Is Raat Ki Subah Nahi’ (1996), ‘Bhairavi’ (1996), ‘Gudia’ (1997) and ‘Saaz’ (1997), respectively.

Shabana Azmi had worked with Sai Paranjpye in ‘Sparsh’ (1980) and ‘Disha’ (1990). As per Sai Paranjpye’s Marathi book, ‘Sai – Maaza Kalapravaas’ (2016), one day Shabana came to her with a proposal on behalf of Plus Channel to direct a film with a woman-oriented story in which she would like to work. Sai Paranjpye accepted the proposal. The subject of sibling rivalry in the professional fields had attracted Sai Paranjpye but she had not thought of making a film on the subject. With this proposal, she thought as to why not make a film on sibling rivalry.

We are aware that there have been many instances of sibling rivalries – be in epics, history, business, media, industrial houses etc in India where there was thin line of difference between the professional and personal rivalries. According to Sai Paranjapye, sibling rivalry of Lata Mangeshkar and Asha Bhosle is unique in the sense that their personal relationship by and large has remained intact over the years in the midst of their professional rivalry. And Sai Paranjpye wanted to bring this uniqueness in the film.

When Sai Paranjpye worked on the script of the film, she realised that the film was leaning towards making of a biopic on Asha Bhosle. She felt uncomfortable to make a film on such a script involving the personal lives of the siblings. Furthermore, she has no acquaintance with both the sisters.  The idea of making a film depicting Asha Bhosle was, therefore, dropped. However, in the revised script, the main theme of two playback singing sisters were kept in mind with some twists in the stories just to segregate her story from the real life story of Lata and Asha Bhosle. However, a couple of events which actually happened during the lives of  Asha Bhosle and Lata Mangeshkar were incorporated as they were in the public domain, written by those who had witness those events.

The star cast of ‘Saaz’ (1997) included Shabana Azmi, Aruna Irani, Parikshit Sahani, Raghuveer Yadav, Ayesha Dharker, Zakir Hussain, Amar Talwar, Brijbhushan Sahani, Bhupen Hazarika etc. The story, script and dialogues were written by Sai Paranjpye who also directed the film. The film was mostly shot around Mumbai. Some last part of the film were shot in Seychelles.

The film was certified by the Censor Board on 31-12-1996. But film failed to get release in theaters. The reason is stated to be the ban put by the Theater Owners Association on the exhibition of films produced by Plus Films due to the non-payment of arrears of rent from Plus Channel to some theater owners. I am not aware whether the film was released in the theater after this ban. Probably, the film got released later on TV.  It was only after reading some parts of the script of the film published verbatim in Sai Paranjpye’s Marathi book referred to above that made me to watch the film. I am pleasantly surprised to note that she has handled the theme of sibling rivalry of playback singing sisters very delicately and objectively. There are some poignant moments between the two sisters which are very heart-touching.

The film’s story has been told in a flash-back mode during Bansi’s (Shabana Azmi)’s sessions with a psychiatrist played by Parikshit Sahani. She needed this treatment as she has lost the will to sing after the death of Hemang Desai (Zakir Hussain) with whom she was in love and would have married him. In all her sessions, Bansi reveals events from her childhood to playback singing career as to how she was always played second fiddle to her elder sister. How she broke the relationship with her didi for 10 years due to snatching of her chance to sing on India’s Independence Day at Delhi. But after the sudden death of her elder sister, Bansi feels guilty of depriving  her elder sister of spending time with her daughter.  Towards the end of the film, Bansi gets a good news that her daughter has won the award as a promising playback singer. This pleasant news makes Bansi to sing live in front of the audience in Seychelles. The tape of her singing is sent to psychiatrist who comes at the airport to receive her and announces that she does not need any more treatment. So his relationship with Bansi as a doctor and a patient is over. Instead, he wants now to be her friend. The films end with both them walking together out of the airport.

In my view, this film is not one of the best among the films Sai Paranjpye has directed. Probably, in trying to make the film different from that of the sibling rivalry of Lata and Asha Bhosle, too many characters were introduced. As a result, about last one hour of film does appear some disconnect from the first part of the film which has some brilliant stamp of Sai Paranjpye. However, I feel that she has succeeded in creating sympathy of the audience for the younger sister without their malice towards the elder one.

In keeping with the subject of the story, ‘Saaz’ (1997) has as many as 11 songs (including a multiple version song). Songs are written by Javed Akhtar which have been set to music by 4 music directors – Ustad Zakir Hussain, Bhupen Hazarika, Raj Kamal and Yashwant Deo. The reason given by Sai Paranjpye for multiple music directors is that since sisters are playback singers working with different music directors, the songs in the film should reflect the different style of music direction. Two of the music directors, Ustad Zakir Hussain and Bhupen Hazarika also acted as music directors in the film.

Out of the 11 songs of the film, 3 songs have been covered in the Blog, all by Peevesie’s Mom. I am presenting the 4th song from the film which is a multiple version song. The song is “Baadal Ghumad Badh Aaye”. The male version of the song is sung by Suresh Wadkar and Kavita Krishnamurthy sings the female version. Both the versions of the song are set to music by Yashwant Deo in Raag Megh-Malhar. In the credit titles of the film, only Javed Akhtar’s name appears as a lyricist. But in reality, both the versions of the song have been written by Sai Paranjpye. There is an anecdote as to why Sai Paranjpye had to write the lyrics of the song as revealed by her in her Marathi book referred to above.

Javed Akhtar has written all the songs except the one under discussion which was last to be written. Despite repeated reminder, Javed Akhtar could not write the song. Yashwant Deo who was to set the song to music had booked the recording room and taken the dates of Suresh Wadkar and Kavita Krishnamurthy. All the musicians were also booked for the date of recording. Now only two days had left for the recording of the song but both the version of song’s lyrics was not yet ready. Just one day before the song recording date, it came to light that Javed Akhtar has gone to Khandala with a film producer. The cancellation of recording of the song would have entailed a huge loss and also the shooting schedules would have been affected entailing further loss.

Yashwant Deo mentioned to Sai Paranjpye that even if he gets the song in the morning of the song recording date, he can manage somehow to complete the rehearsals and record the song at the appointed time at noon. Sai Paranjpye came home at night and completed the lyrics of two versions of the song, foregoing her sleep. In the morning, she handed over the lyrics to Yashwant Deo and recording of the songs took place as schedule.

On return from Khandala on the next day, Javed Akhtar was shocked to learn that the songs have already been recorded. He got annoyed on Sai Paranjpye.  After 3-4 days, an executive from Plus Films came to her asking for her lyrics which Javed Akhtar wanted to read. He took lyrics to Javed Akhtar. There was no further development which meant that Javed Akhtar had no issue with the lyrics. On this issue, Shabana Azmi remained neutral.

Javed Akhtar won the National Film Award for the best lyrics in ‘Saaz’ (1997).

It is not an easy task for a novice to write lyrics based on Hindustani classical raags. The choice of words shows that Sai Paranjpye has hold over Sanskritised Hindi. For the first time, I have heard the word kanakalankrit bhor (dawn of golden colour). While the male version of the song is reflective of the onset of the rains, the female version of the song signals the end of the rains and the sun is shining giving a dawn of hope. This is symbolic for the resurgence of playback singing career of Bansi (Shabana Azmi) after she lost her will to sing.

Suresh Wadkar version of the song is pictuirsed on Raghuveer Yadhav who has played the role of a father of singing sisters, Mansi and Bansi. The picturization of the song is based on a true story in the life of Dinanath Mangeshkar who had gone to the house of Vishram Bedekar (Marathi and Hindi film director) in the midnight, drenched under heavy rains to borrow money to quench his thirst for alcohol. Bedekar taunted him by saying that it did not behove well for such a great artist to beg for money. Dinanath Mangeshkar retorted by impromptu singing a bandish in Raag Megh-Malhar and after completing the bandish, he took money from Bedekar as a present for his rendering.

Enjoy both the version of the songs in the backdrop of the approaching monsoon season.

Video (Suresh Wadkar Version)

Audio (Suresh Wadkar Version)

Video (Kavita Krishnamurthy Version)

Audio (Kavita Krishnamurthy Version)

Song – Baa..dal Ghumadh Badh Aaye (Saaz) (1997) Singer – Suresh Wadkar, Kavita Krishnamurthy, Lyrics – Sai Paranjpye, MD – Yashwant Deo

Lyrics

Suresh Wadkar Version

baa…dal ghumad baddh aaye

baa…dal ghumad baddh aaye..e
kaali ghata ghanghor gagan mein
kaali ghata ghanghor
baa…dal ghumad baddh aaye
baa…dal ghumad baddh aaye
kaali ghata ghanghor gagan mein
kaali ghata ghanghor gagan mein
andhiyaara chahun o..or
andhiyaara chahun o..or
ghan barsat utpaat pralay kaa
pyaasa kyon manmo..or
pyaasa kyon manmo..o..or
baa…dal ghumad baddh aaye
baa…dal ghumad baddh aaye..e
 
kaali ghata ghanghor gagan mein
kaali ghata ghanghor
ghanghor
ghanghor
ghanghor
kaali ghata ghanghor gagan mein
andhiyaara chahun o..or
ghan barsat utpaat pralay kaa
ghan barsat utpaa..aa..aa..t
aa aaa aa aaa aa
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa 
ghan barsat utpaat pralay kaa
pyaasa kyon manmo..or
pyaasa kyon manmo..or
baa…dal ghumad baddh aaye
baa…dal ghumad baddh
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
baa..dal ghumad
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
baa..dal ghumad
baa..dal ghumad
baa…dal ghumad baddh aa..aa..aa..ye

Kavita Krishnamurthy Version

baa..dal ghumad baddh aaye
baa..dal ghumad baddh aaye
kaali ghata ghanghor gagan mein
kaali ghata ghanghor gagan mein
andhiyaara chahun o..or
ghan barsat utpaat pralay ka
pyaasa kyon manmo..or
pyaasa kyon manmo..or
baadal baras ab maun bhaye
baadal baras ab maun bhaye
 
ravi ujjwal prajawalit gagan mein
prajawalit gagan mein
gagan mein
gagan mein
gagan mein
ravi ujjwal prajawalit gagan mein
kanakaalankrut bho..or
jai mangal jai ghosh gagan kaa
jai ghosh gagan kaa..aa..aa
aaaaaaaaaaaaaa
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
jai mangal jai ghosh gagan kaa
shubh utsav chahun o..or
shubh utsav chahun o..or
baa..dal baras ab maun bhaye
baa..dal baras
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
baadal baras ab maun bhaye..ae
aa aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa aa
baadal baras
baadal baras
baadal baras ab maun bha..ye..ye


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

Blog Day :

4280 Post No. : 15522 Movie Count :

4278

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Hindi Songs in Bangla Films – 23
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Today morning, I saw a message in my mail box from Sudhir ji in which he gave me a link of a Hindi song from a Bangla film which I have not covered so far in the series ‘Hindi songs from Bangla Films’. I took the note of the song and told him that I will write an article covering the song in the coming days. In the afternoon, I got another message from Sudhir ji on whatsapp with an urgent note that today is the birth anniversary of Suchitra Sen and I should write an article on the occasion covering the song referred to by him which is picturised on Suchitra Sen.

Suchitra Sen has been one of my favourite actresses since I saw her performance in ‘Aandhi’ (1975). After watching her performances in many Bangla films in the recent period, my admiration for her as a performing artist has grown. So, it is an opportunity for me to write  a tribute to her on behalf of our blog on the  occasion of  her 89th birth anniversary today, April 6th.

Most of the Hindi film audience may not be much familiar with Suchitra Sen as she had acted in only 7 Hindi films.  Her Hindi films were ‘Devdas’ (1955) in the role of Paro with Dilip Kumar, ‘Musafir’ (1957) with Shekhar, ‘Champakali’ (1957) with Bharat Bhushan,  ‘Sarhad’ (1960) and ‘Bambai Ka Babu’ (1960) with Dev Anand, ‘Mamta’ (1966) with Ashok Kumar / Dharmendra and ‘Aandhi’ (1975) with Sanjeev Kumar. It was the latter two films which made her well-known amongst Hindi film audiences of that time. Unfortunately, there was no occasion for further opportunity to work in Hindi films as she took voluntary retirement 1978 from the film industry.

Suchitra Sen (06/04/1931 – 17/01/2014) whose real name was Roma Dasgupta. She was born in Sen Bangabaari village in Pabna district in East Bengal (now Bangla Desh). The family migrated to Calcutta (now Kolkata) during the partition in 1947. At the age of 16, she got married to Dibanath Sen, a marine engineer and a son of an industrialist. She joined Bangla film industry in 1952 with the support from her father-in-law and her husband who financed her initial films.

Suchitra Sen’s first film was ‘Shesh Kothay’ (1952) which was never released. Her first officially released film was ‘Saat Number Kayedi’ (1953) in which her lead actor was Uttam Kumar who had been then labelled as a ‘flop hero’ due to films in which he worked in 1948-52 flopped at the box office. It was a coincidence that his first film with Suchitra Sen became a box office hit. Since then, the Suchitra Sen-Uttam Kumar pair worked in about 30 films. Almost all of which became box office hits.

During her filmy career (1952-78), Suchitra Sen worked in about 60 films (including 7 Hindi films). I have seen some of her Bangla films which gives me an impression that she was selective, especially from 1960 onwards, in choosing the films with good story line in which she as a heroine got more or less equal footages with the hero of her films. A few of films of her during this period were with woman-oriented stories.

Among the Bangla films I watched, Suchitra Sen gave excellent performances in ‘Saat Pake Bandha’, ‘Uttar Phalguni’ and ‘Deep Jwele Jai’. I feel that she reserved her best for these three films. These films were critically acclaimed and were remade in Hindi like ‘Mamta’ (1966) from ’Uttar Phalguni’ (1963), ‘Kora Kaagaz’ (1974) from ‘Saat Paake Bandha’ (1963), ‘Khamoshi’ (1966) from ‘Deep Jwele Jaai’ (1959) etc

Apart from her good performances and box office success records as an actor, Suchitra Sen’s professional approach to her career must have made the film producers to give her preference while choosing  the heroine. For instance, she refused the role in one of Satyajit Ray’s film because he wanted her to give bulk dates for shooting which would have affected the producers of her other films.

Sometime in 1970, Suchitra Sen lost her husband while on a visit to the USA. One of her close confidants was of the view that though she did not cancel any schedule of shooting at that time, her husband’s death was the beginning of her moving towards a secluded life. The failure of her film ‘Pranay Pasha’ (1978), made her to retire from the film industry at the age of 47. However, over a period of time, it became evident that with retirement from the films, she had also shunned public life. She spent her last 35 years in her house as recluse, confining herself within a close circle of family and a few friends. During this period, she did not attend any public functions. She refused Dada Saheb Phalke Award in 2005 just to avoid going to Delhi and the public glare.

Suchitra Sen suffered from lung infections for which she was admitted in a Kolkata hospital sometime in December 2013. She had almost recovered from her ailment but on January 17, 2014, she got a cardiac arrest which took her life.

[Note: Some of the information on Suchitra Sen is based on a number of articles available on-line including some from Gopal Krishna Roy, a film journalist with United News of India who remained one of a very few  close confidants of  Suchitra Sen until her death].

On the occasion of Suchitra Sen’s  birth anniversary, here is a very popular Meera bhajan “Barse Badariya Saawan Ki’ which is sung by Geeta Dutt for the Bangla film ‘Grihaprabesh’ (1954). The song is picturised on Suchitra Sen and a girl whom I am not able to recognise.  The song is intercepted after the mukhda with Bangla dialogues between Suchitra Sen and  Uttam Kumar who joins them. After the end of the dialogue, the song is resumed with Uttam Kumar playing tabla.

As per www.geetadutt.com , the other voice in the bhajan in the mukhda part is that of Krishna Banerjee who lip sync for the girl. Mukul Roy is the music director.

In the audio version of the song uploaded by SAREGAMA, the song starts after the dialogues in the sound track version of the song. The lyrics are based on the video version of the song.

This popular Meera bhajan has been rendered by many singers including Lata Mangeshkar, Suman Kalyanpur, Sudha Malhotra and other Hindustani classical singers. Geeta Dutt adds one more variation to this bhajan and I like it. Suchitra Sen lends serenity to the bhajan.

Video

Audio

Song – Barse Badariya Saawan Ki (Grihaprabesh) (1954) Singer – Geeta Dutt, Krishna Bannerjee, Lyrics – Meerabai, MD – Mukul Roy

Lyrics

barse badariya saawan ki

barse badariya saawan ki
saawan ki man bhaavan ki
saawan ki man bhaavan ki
barse badariya saawan ki
barse badariya saawan ki
barse badariya saawan ki

saawan ki man bhaavan ki
saawan ki man bhaavan ki

[dialogues]

saawan mein umagyo mero manwa
saawan mein umagyo mere manwa
bhanak suni hari aawan ki
bhanak suni hari aawan ki

umad ghumad chahun disi se aayo
umad ghumad chahun disi se aayo
damini damake jhar laawan ki
damini damake jhar laawan ki
barse badariya saawan ki
barse badariya saawan ki

nanhi nanhi boondan meha barse
nanhi nanhi boondan meha barse
sheetal pawan suhaavan ki
sheetal pawan suhaavan ki

meera ke prabhu girdhar naagar
meera ke prabhu girdhar naagar
aanand mangal gaawan ki
aanand mangal gaawan ki

barse badariya saawan ki
barse badariya saawan ki
saawan ki man bhaavan ki
saawan ki man bhaavan ki
barse badariya saawan ki
barse badariya saawan ki

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Hindi script lyrics (Provided by Sudhir)
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बरसे बदरिया सावन की

बरसे बदरिया सावन की
सावन की मन भावन की
सावन की मन भावन की
बरसे बदरिया सावन की
बरसे बदरिया सावन की
बरसे बदरिया सावन की

सावन की मन भावन की
सावन की मन भावन की

[संवाद]

सावन में उमगयो मेरो मनवा
सावन में उमगयो मेरो मनवा
भनक सुनी हरी आवन की
भनक सुनी हरी आवन की

उमड़ घुमड़ चहुं दिश से आयो
उमड़ घुमड़ चहुं दिश से आयो
दामिनी दमके झर लावन की
दामिनी दमके झर लावन की
बरसे बदरिया सावन की
बरसे बदरिया सावन की

नन्ही नन्ही बूंदन मेहा बरसे
नन्ही नन्ही बूंदन मेहा बरसे
शीतल पवन सुहावन की
शीतल पवन सुहावन की

मीरा के प्रभु गिरिधर नागर
मीरा के प्रभु गिरिधर नागर
आनंद मंगल गावन की
आनंद मंगल गावन की

बरसे बदरिया सावन की
बरसे बदरिया सावन की
सावन की मन भावन की
सावन की मन भावन की
बरसे बदरिया सावन की
बरसे बदरिया सावन की


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 : 4182 Post No. : 15361

Today’s song is from film Ranee-43. The film was made by Barua Productions, floated by producer, director, actor and singer, P C Barua, before he had joined New Theatres. He joined NT on the invitation of B N Sircar, though he had his own production outfit and studio. In fact, he wanted a merger of his company with NT, but Sircar declined and offered Barua a paid job at NT, on monthly basis.

While in NT, Barua gave hit films, one after another like, Rooplekha-34, Devdas-35, Maya-36, Manzil-36, Mukti-37, Adhikar-38 and Zindagi-40. During the making of film Zindagi, differences between him and Sircar thickened. The reason was Barua felt, he was not given as many films to make as Nitin Bose and Harischandra Chunder got. Ego of both the giants persisted and culminated in their separation.

In the History of Hindi Cinema,till the Golden 50s started,Bengal had a dominating position in films and music. Its meaningful,entertaining films and the Film and the Non Film music ruled the roost, from the early 30s. In this conquest of the East,the Lion’s share was that of NEW THEATRES-set up and owned by B N Sircar. New Theatres was not just a production company,but it was an Institution and a school for developing artistes in the 30s and the 40s.

Out of these 20 years,I would say the first almost 10 years was the Peak Golden Period for NT. 1940, being one of the best years for NT, also was the beginning of its end, with the First major shock, when P C or Pramathesh Barua left NT because of differences with B N Sircar. In the period of 1940 to 1950, one by one many people left NT. Most went to Bombay, in search of greener pastures.

There were 3 reasons. One, during the period 1946 and 1947, production at NT was almost Nil ( 1946-due to communal riots in Bengal and 1947- due to Partition blues), but NT had to pay salaries of their employees. In peak years, their salary bill alone amounted to about 45000 rupees every month. Secondly, one of their main markets for Bangla and Hindi films-East Bengal, had become another country-East Pakistan and they lost this market. Thirdly, the New Government imposed a heavy ‘Excess profit ‘Tax ‘ on successful companies like NT. This damaged them financially very much. Added to this,of course, B N Sircar failed to hold people together due to Ego problems, recognitions etc etc.

By 1950,according to Dilip Sircar-son of B N Sircar,” many people left, Finance was in disarray and we had many court cases slapped on us.” The result- B N Sircar closed the shop ! In 1954,NT was handed over to Arora Film company. Then in 1955, Deluxe Films took them over. In January-56, the company closed down officially and in August 56,a Receiver was appointed by the High Court. New Theatres went into Liquidation in March-62 and a Glorious Chapter came to a close for ever !

Even in the tumultuous and troubled final years,few Loyal artistes did not leave NT. Pankaj Mullick was one of them,who stayed with B N Sircar till the last,despite differences with him.Many others like Kidar Sharma, Kanan Devi, Uma Shashi, PC Barua, Nitin Bose, Debk Bose,Phani Muzumdar, Nabendu Ghosh, Bimal Roy, K N Singh, Prithviraj Kapoor, Kumar etc and above all, K L Saigal- the pride possession of NT, left, at different times. Most came down to Bombay.

But, you will notice that actors from this lot who came from Calcutta to Bombay, were all Non-Bangla people. From the very beginning, actors from Bengal or South, rarely came to make their acting careers. Those who came at all, majority of them were actresses, who were ready to learn Hindi to continue here or they had Non-Bangla backgrounds. For example- actress Smriti Biswas, though a Bengalee, grew up and started acting in Lahore.

There were 3 reasons why actors did not come to Bombay from Bengal or South…
1.Difficulty and reluctance in picking up Hindi language and coping up with Bombay culture.
2. King size Regional Pride and
3. Their own areas became big production centres and scope was available on familiar grounds.

Artistes from other disciplines like Direction, Music, Singing, Editing, Cinematography etc came here and prospered, but not actors, worth mentioning.

Film Ranee-43 was made as a Bilingual film in Bangla ( Chandaar Kalank) and Hindi. The MD was Kamal Dasgupta, Lyricist was Pt. Madhur and the cast was Jahar Ganguly, Kalavati, P C Barua, Jamuna, Patience Cooper, Vikram Kapoor (father of Meena Kapoor-singer and wife of Anil Biswas) and others. When I first heard this name “Jahar”, I was shocked, but then realised that this was a Bangla name. Obviously, its meaning must be something else,other than ” Poison”. I started searching on Google and at one place found that Jahar in Bangla means ” Gift of God “. My Bangali friend in Mumbai says it means ” Gem “.

Jahar Ganguly (October 1904 – 1969) was a Bengali film actor and theater personality. He received Best actor award in 6th Annual Bengal Film Journalists’ Association Awards in 1943 for his performance in Bandi.
Ganguly was born in undivided 24 Parganas Dist, British India. He worked in number of Bengali and Hindi films in 40s and 50s as a supporting actor in comedy counterparts to the dramatic lead. He got break through in Dena Paona directed by Premankur Atorthy. Ganguly acted under Satyajit Ray’s direction in Parash Pathar and Chiriyakhana. He also performed as stage actor until the 1960.

Information on actress Patience Cooper has not yet been given on our Blog. She was one of the 7 sisters, out of whom 3 sisters-Patience, Violet and Pearl worked in Hindi and Bangla films. Patience Cooper (1905–1993) was an Anglo-Indian from Calcutta. Cooper had a successful career in both silent and sound films. She was one of the early superstars of Bollywood. Cooper is credited with the first Female double roles of Indian cinema—as twin sisters in Patni Pratap and as mother and daughter in Kashmiri Sundari, even though earlier in 1917, actor Anna Salunke had played roles of both the male lead character Ram and the female lead character Seeta in the film Lanka Dahan.

Cooper began her career as a dancer in Brandmann’s Musical Comedy, a Eurasian troupe. She later joined Jamshedji Framji Madan’s Corinithian Stage Company as an actress. Cooper first made an impact with Nala Damayanti (1920). The film starred Keki Adajania as Nala and Cooper as Damayanti. The film was a big budget Madan Theatre production and was directed by Eugenio de Liguoro, known in Italy for his Orientalist spectacles like Fascino d’Oro (1919). Nala Damayanti was famous for its special effects at the time — Narada’s ascent of Mount Meru to heaven, the transformations of four gods into impersonations of Nala, the transformation of Kali into a serpent among others.
Her next film was Vishnu Avtar, released in 1921. De Liguoro also directed Dhruva Chartitra (1921), a mythological based on the legend of Dhruva whose quest for eternal knowledge and salvation was rewarded when he became the brightest star in the heavens, the pole star also known as Dhruvatara. The film was made as a bid for an international breakthrough for Madan Theatres and featured many Europeans in the cast along with Cooper who played the female lead, Suniti.

One of Cooper’s biggest successes was Pati Bhakti (1922). Cooper played Leelavati in the film, directed by the great JJ Madan himself, advocating that women should be devoted to their husband. The film is regarded as her greatest film and was also involved in a small controversy as in Madras, the censor demanded that a dance number be removed on the grounds of obscenity.

Cooper also played perhaps the first ever double roles in Hindi films — Patni Pratap (1923), where she played two sisters and Kashmiri Sundari (1924), where she played mother and daughter.

Cooper did films right through to the mid-1930s. One of her last major films was Zehari Saap (1933). The film was a typical Cooper vehicle about a medieval chieftain’s revolt against the good Nawab Bakar Malik. The nawab’s outlaw son vows revenge and finally all’s well that ends well. The dramatic conflict in the film sees the chieftain wanting to marry the princess, whom he had raised as his own daughter.

Cooper acted in over 40 films until she retired after performing in her last films, Iraada-44 and Khan Bahadur-46. Cooper was often cast in the role of a sexually troubled but innocent woman, always at the centre of moral dilemmas, often caused by the men in her lives.

A major aspect of Cooper’s star image was the successful achievement of the ‘Hollywood look’ in spite of different light and technical conditions. Her distinctively Anglo-Indian features, like dark eyes, sharp features, ebony hair and light skin tone, allowed technicians to experiment with the imported technique of eye-level lighting and achieve an appearance similar to Hollywood stars of the silent era.

The low number of women, especially Hindus, in the film industry during the 1920s (due to conservative attitudes) meant Anglo-Indian actresses like Cooper, were in demand. Her appearance in a string of successful films has led her to being called the first ever female Indian film star.

It is generally supposed Cooper married Mirza Ahmad Ispahani Saheb (MAH Ispahani), a well-known Indian businessman. In 1947, they migrated to Pakistan. Actually she was married to MAH Ispahani at the age of 21 and divorced soon after. She then married Gul Hamid Khan, one of the first early silent movie actors. He died six years later from Hodgkin’s Disease. She remained friends with MAH Ispahani till the end of her life. Cooper changed her name to Sabra Begum and lived the last of her days with her two adopted daughters Zeenat and Haleema in Karachi, Pakistan. Her foster daughter Syeda Nafees Rizvi lives in Houston, Texas, USA. She fostered and/or adopted 17 children during her lifetime. Cooper died in 1993. (adapted from wiki and upperstall, with thanks.)

After Partition in 1947, it did not take long for things to become normal in the Indian film industry. This was mainly because ready replacements were available in plenty to fill the vacancies caused by migration. As far as producers and financiers were concerned, almost all producers and film makers had arrived here from Lahore. It was actually Lahore which felt the absence of Film makers. Pakistan film Industry was somehow managed well by the experienced people who went from India and Pakistan enjoyed a ” GOLDEN AGE OF FILMS AND MUSIC ” from 1959 to 1977. Once the old generation retired, there was no second line to take over from them.

The film industry in Pakistan was never an organised one. Moreover the often changing Goverments did not bother to do anything to protect, sustain, help or develop the infrastructure of Film industry. Unlike India, there was neither a Films Division, nor was there anything like Film and Television Institute to build local artistes in different fields.

By 2010,the film industry in Pakistan was in such a poor shape that, against India’s film production of 13526 films in 2011, Pakistan had produced only 7 films in that year !

While Indian films were distributed in over 90 countries, there was no International market for Pakistan films.

All studios in Pakistan were in ruins and Theatres had been demolished.

Can you believe, In the entire Islamabad city, there is ONLY ONE Theatre-a multiplex of 4 screens ! (info from-Filmistan-Javed Shaikh 0n pk.politics.in dated 10-4-2014 )

We have heard songs composed by the Music Directors who migrated to Pakistan,i.e. West Pakistan. Today we will listen to a film song composed by a famous and talented composer of Hindi/Bangla films, who migrated to East Pakistan (now Bangladesh). His name is KAMAL PRASANNA DASGUPTA or simply, Kamal Dasgupta ( 28-7-1912 to 20-7-1974.)

It is a moot point whether Kamal should be called a Film composer or a NFS composer in Hindi and Bangla. He can be called the Originator or the Pioneer, who established NFS during the period from 1935 to 1955. It was he who introduced the word ” Hindustani Song” for NFS on the 78 RPM records.

He gave music in 16 Hindi films like Jawab, Hospital, Rani, Meghdoot, Arabian Nights, Bindiya, Krishna Leela, Pehchan, Zameen Aasmaan, Faisla, Giribala, Manmaani, Chandrashekhar, Vijay yatra, Iran ki ek raat and Fulwari. However, except for Jawab and Hospital his songs did not become very popular. Kanan Devi became a National name after she sang “Ye duniya Toofan mail” in Jawab-42. He also gave music in 22 Bangla films.

He was not in good terms with his wife, Firoza Begum. In his final days, he contracted T.B. Finally he said Good-Bye to this world on 20-7-1974. The originator and populariser of NFS in India and a maker of memorable songs like “Toofan mail” left us forever-unsung !

Today’s song is the second song from this film. The story of this film was provided earlier by Sadanand Kamath ji, with the first song, so I am not repeating it here. The duet is sung by Anima Dasgupta (nee Sengupta…wife of Subal Dasgupta, MD) and an unidentified male. I liked this song .I hope you too will like it.


Song-Saawan ne boondan ki jhaalar daali (Raanee)(1943) Singers- Kamal Dasgupta, Anima Dasgupta, Lyricist- Pt. Madhur, MD- Kamal Dasgupta

Lyrics

Saawan ne boondan ki jhaalar daali
Sawan ne boondan ki jhalar daali
boondan ki jhaalar daali re ae
boondan ki jhaalar daali
Saawan ne boondan ki jhaalar daali
daali ee
boondan ki jhaalar daali
jhaank jhaank kar dil ki duniya
dekh raha hoon aaj
armaanon ke sar pe rakkha hai khushiyon ka taaj
chhupi huyi hai iske andar
chhupi huyi hai iske andar
jeewan ki hariyaali ee
Saawan ne boondan ki jhaalar daali

<em.Saawan ne boondan ki jhaalar daali
arre papaiyya
zara bataa aa
kyun piyoo piyoo raha pukaar
kyun piyoo piyoo raha pukaar
gulshan mein kyun aayi
kyun aayi hai
saj dhaj kar nayi bahaar
sada ye saawan ki kyun aaye
man ko harne waali
Saawan ne boondan ki jhaalar daali
ye jhaalar nahin hai
ye maikhaana
jiski boonden hain masti ka paimaana
pee pee kar dekho jhoom rahi hai
pee pee kar dekho jhoom rahi hai
aur ghata ye kaali kaali ee ee
Saawan ne boondan ki jhaalar daali
Saawan ne boondan ki jhaalar daali


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.

Blog Day : 3886 Post No. : 14916

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Blog 10-Year Challenge (2009-19) – Song No. 13
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When the blog’s train reached 9th March of 2009, ten years ago, one of the songs posted that day was from the 1980 film ‘Thodi Si Bewafaai’.  Till that point, it was the third song posted for this film. Today, after a gap of 10 years, the fourth song of this film finds its place here.  Wow, ten years it took – and none of us thought of looking at this film again during these years.

The film has 6 songs in all. As I checked out the remaining three songs, and I played this one, I simply could not go ahead to listen to the other two remaining. I just continued to play this one over and over again. What a lovely creation this one – a brief description of the season of rains – ‘saawan’. One of thos songs which one is surprised that it has been overlooked .

The words are from the pen of Gulzar. As soon as one hears the line “Kaanch Ki Boonden Barsen Jaise” – it is Gulzar’s name that comes to mind, as the writer of this song. And the music by Khayyaam Sb – simply superb and marvelously simple. The singing voice is that of Asha Bhosle. The three contributions have come together so beautifully to create this lovely song of rain.

‘Thodi Si Bewafaai’ is produced under the banner of Konark Combine International and is directed by Ismail Shroff.  The film boasts about an all star cast that includes Rajesh Khanna, Shabana Azmi, Padmini Kolhapure, Sushant Ray, Shriram Lagoo, Deven Verma, Dr. Maya Alagh, AK Hangal, Jalal Agha, Shashi Kiran, Urmila Bhatt, Gayatri, Gauri Khurana, Preeti Ganguly, Deena Pathak, Leela Mishra, Viju Khote, Madhu Malhotra, Lalita Kumari, Murad, Dharamveer, Moolchand, Ram Avtar, Manmauji, Sundar Taneja, Kishore, and Jameel.

A lovely ‘saawan’ song – and it is time it came on board. 🙂

 

Song – Barse Fuhaar, Barse Fuhaar, Kaanch Ki Boonden Barsen Jaise  (Thodi Si Bewafai) (1980) Singer – Asha Bhosle, Lyrics – Gulzar, MD – Khayyaam

Lyrics (Provided by Prakashchandra)

barse phuhaar
barse phuhaar
kaanch ki boonden barsen jaise
barse phuhaar
barse phuhaar
kaanch ki boonden barsen jaise
barse phuhaar
barse phuhaar

heeron ke haar pehne phuhaar
phoole re
heeron ke haar pehne phuhaar
phoole re
resham ke taar le ke bahaar
jhoole re
koi agar jo aaye nazar
to kehna re kehna re kehna
barse phuhaar
barse phuhaar
kaanch ki boonden barsen jaise
barse phuhaar
barse phuhaar

baaji hai paaj thandi hawaa je
saawan ki
baaji hai paaj thandi hawaa je
saawan ki
agni laga ke gili ghata je
saawan ki
koi agar jo aaye nazar
to kehna re kehna re kehna
barse phuhaar
barse phuhaar
kaanch ki boonden barsen jaise
barse phuhaar
barse phuhaar

meetha sa shor dil se wo chor
aata hai
meetha sa shor dil se wo chor
aata hai
kehte hain log saawan mein mor
aata hai
koi agar jo aaye nazar
to kehna re kehna re kehna
barse phuhaar
barse phuhaar
kaanch ki boonden barsen jaise
barse phuhaar
barse phuhaar

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

बरसे फुहार
बरसे फुहार
काँच की बूंदें बरसें जैसे
बरसे फुहार
बरसे फुहार
काँच की बूंदें बरसें जैसे
बरसे फुहार
बरसे फुहार

हीरों का हार पहने फुहार
फूले रे
हीरों का हार पहने फुहार
फूले रे
रेशम का तार ले के बहार
झूले रे
कोई अगर जो आए नज़र
तो कहना रे कहना
बरसे फुहार
बरसे फुहार
काँच की बूंदें बरसें जैसे
बरसे फुहार
बरसे फुहार

बाजी है पाज ठंडी हवा जे
सावन की
बाजी है पाज ठंडी हवा जे
सावन की
अग्नि लगा के गीली घाटा जे
सावन की
कोई अगर जो आए नज़र
तो कहना रे कहना
बरसे फुहार
बरसे फुहार
काँच की बूंदें बरसें जैसे
बरसे फुहार
बरसे फुहार

मीठा सा शोर दिल से वो चोर
आता है
मीठा सा शोर दिल से वो चोर
आता है
कहते हैं लोग सावन में मोर
आता है
कोई अगर जो आए नज़र
तो कहना रे कहना
बरसे फुहार
बरसे फुहार
काँच की बूंदें बरसें जैसे
बरसे फुहार
बरसे फुहार


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 :

3799 Post No. : 14789 Movie Count :

4044

Today’s song is from a very old film of the early talkie cinema – ‘Khwab Ki Duniya’ (1937) aka ‘Dreamland’.

This was the first film directed by Vijay Bhatt, after he and his brother Shankar Bhatt established Prakash Pictures. In those days, the trend was to make films on mythology, folk tales or social issues. Instead, Prakash Pictures took up a totally new and untried topic like Science Fiction story to make a movie. Film ‘Khwab Ki Duniya’ was based on – or took inspiration from the Hollywood popular film, Universal Studio’s ‘The Invisible Man’ (1933). This film was a cinematic adaptation of the famous novel ‘The Invisible Man’ written by HG Wells in 1897.

Originally, this novel was published serially in the ‘Pearson’s Weekly’ in the early part of 1897. At the end of the year 1897, it was published as a novel and very soon it became a best seller. Translated in almost every language in the world, the novel attracted the film makers of the early era and a film was made in 1933. The film also became a hit and in subsequent years several adaptations and film versions in different languages came up. India too did not lag behind and the adventurous duo of brothers made a film on this story, adapting it to Indian context. Several films in many languages using this as a central theme and adapting the story in various ways, were made in India. Some names I remember off hand are ‘Mr X’ (1957), ‘Mr X’ (1938), ‘Mr X In Bombay’ (1964), ‘Mr X’ (2015), and ‘Mr India’ (1987).

Basic problem was how to show the ‘invisible‘ man. There was no special effect technique available in India till then, like in Hollywood. Vijay Bhatt had an assistant called Babubhai Mistri, who accepted the challenge and using a dim light, a black curtain and a black thread to move articles, he achieved the desired results. This made the film not only a hit and popular one, but also a unique one. Babubhai Mistri, thus, became the father of the trick scenes and special effects in India. In the process Babubhai also earned a moniker of ‘kaala dhaaga‘ (black thread) for rest of his life, in the film industry.

Babubhai Mistri was born on 5th September 1918 in Surat, Gujarat. His father – a building contractor, died suddenly when Babubhai was just 14 year old. Being the eldest he had to take care of his mother and 9 younger siblings. He came to Bombay, where his uncle was working for Krishna Cinetone. With his help, he became an assistant in Bharat Movietone. Starting from making posters and helping in set designing, he learnt from every department of film making.

When he learnt that Prakash Pictures faced a difficulty in special effects he volunteered and made history. Impressed with his skill, Wadia Movietone, famous for fantasy and stunt films, took him in for special effects. During his career, Babubhai not only gave special effects to more than 300 mythological, stunt and fantasy films, but also entered the field of direction. Wadia brothers gave him first opportunity to direct their film ‘Muqabala’ (1942), a Nadia film about twin sisters.

Along with co-director Batuk Bhai i.e. Nanabhai Bhatt, he experimented some new special effects. This film was first in India to use ‘split-screen method’ for double roles, where both sisters could cross each others, shake hands and talk together. Another feature for this film was the night club set, which, in case of a police raid, could be converted into respectable home – on screen for the audience to see. It simply mesmerised the people.

In 1942 Wadia Movietone broke up and Homi Wadia started Basant Pictures. Babubhai directed a film ‘Mauj’ (1943) for him too. He became a free lancer and he directed 48 Hindi films. His last film was ‘Hatim Tai’ (1990). He also directed one Telugu and nine Gujarati films. Many of his assistants became famous as trick masters and special effects experts.

After his retirement he suffered from cancer. His voice box was removed and he had to use an artificial devise for speaking. Tata Cancer Hospital made a film on his courage and will power to overcome cancer, to inspire other cancer patients.

Babubhai won many awards and rewards, for his work in films. He died on 20-12-2010, at the age of 92 years. (Thanks to ‘Beete Huey Din‘ blog for some information used here.)

Film ‘Khwab Ki Duniya’ had a cast of Jayant, Sardar Akhtar, Lallubhai, Umakant, Shirin Bano, Ismail, Jahoor, Madhav Marathe etc. In the early phase of film making, it was difficult to get good looking female actors from educated or respected families for working in films. That is because, it was considered a ‘below the dignity’ job. For silent films, many Anglo Indian and Jew girls became heroines because for them it was not a question of dignity and acting was considered like any other vocation.

Dadasaheb Phalke had described an incident. While making his first film (‘Raja Harishchandra’, 1913), he needed a female actor for Taramati’s role. He found it very difficult to get one. Those days, even in stage plays, the female roles were done by handsome (and sometimes, not so handsome also) males. But even they were not ready. He became desperate and went finally to red light area and talked to some prostitutes. Even they refused to do this ‘lowly’ job. Reluctantly, Dadasaheb settled for Salunke, a male impersonator to do this role.

As the talkie films started, the number of Anglo Indian girls rapidly went down as most of them did not know Hindi nor could they sing. Only a few hard working Anglo Indian girls survived and progressed from silent to talkie films, like Savita Devi (Iris Gasper – who learnt Hindi/Urdu and singing, with efforts), Sulochana (Ruby Myers), Indira Devi (Effie Hippolet), Lalita Devi (Bonnie Bird), Pramila (Esher Abrahams), Seeta Devi (Renee Smith), Madhuri (Beryl Classen), Manorama (Winnie Stewart) etc. Since singing was an important requisite, the field was now open to singing girls from kothas, tawaayafs and professional singers. Reasonably good looks and singing ability was what made them actresses. These girls, who came from kothas and professional singer families used the suffix ‘Bai’ to their names to differentiate their specialty. Thus you had Jaddan Bai, Amirbai, Johrabai, Rattan Bai etc.

Many young singing girls considered cinema as a place where they could get (catch ? ) a good husband from a better family background, earning respectability (forget religion). Many starlets married producers, directors, actors, singers and composers, left acting and settled as respectable housewives. Some girls got husbands from Nawabs and the Royalty, as they were patrons of arts. Many examples from early era can be cited in this connection like,

Gulab Bai alias Kamla Devi married S Fatelal – director in Prabhat Films.

Jaddan Bai married Uttamchand – a medical student and a jaagirdar.

Fatima Bai (mother of Zubeida, of Alam Ara fame) married Nawab of Sachin, Guajarat.

Sultana married Yusuf Laljee, businessman and chief of Bombay Municipal Corporation.

Actress Sarojini (Roshan) married Nanubhai Vakil – producer / director (their daughter was actress Azra).

Actress Indurani (Ishrat) – sister of Sarojini – married Ramniklal Shah – producer / director.

Actress Shirin Bai married Nanabhai Bhatt (their sons are Mahesh Bhatt and Mukesh Bhatt).

Actress Zubeida (of Alam Ara) married Raja Dhanrajgir of Hyderabad (Deccan).

The other actress Zubeida (on whose life, the film ‘Zubeida’ (2001) was made) married Maharaja Hanwant singh of Jodhpur.

etc.

This trend continued in the industry even after things changed and educated and respected family people entered the industry. Now, one could see marriages were taking place between people of film industry itself like Rattanbai and Director Hafiz, Jyoti and Durrani, Nalini Jaywant and Virendra Desai, Noorjahan and Shaukat Hussain Rizvi, Meena Kumari, Sardar Akhtar, Snehprabha Pradhan, Anil Biswas, Lalita Deulkar etc.

In recent era instances are Waheeda Rehman, Kishore Kumar, Asha Bhosle, Hemant Kumar, Manik Verma, Premlata, Geeta Dutt, Geeta Bali, Rishi Kapoor, Rajesh Khanna, Amitabh Bachchan and Abhishek Bachchan etc.

In the cast you find a name Shirin Bano. Yes, she too is one of the above listed artistes who joined films to get a suitable husband and lead a respectable and comfortable life. Shirin, Shirin Bai or Shirin Bano was from a tawaayaf mother from Lucknow. Her father was a Tamil Brahmin – Ram Seshadri Aiyar, who worked as an accountant with Kikubhai Desai (father of Manmohan Desai) in his distribution department. They were 5 sisters and 1 brother. Shirin joined films at an early age. Her first film was ‘Maharani’ (1934). The same year she worked in ‘Vehmi Duniya’, ‘Sewa Sadan’ and ‘Bala Joban’. In 1935 her films were ‘Shamsher e Arab’, ‘Pardesi Sainya’ and ‘Bambai Ki Sethani’. In 1936, she worked in ‘Tope Ka Gola’, ‘Snehlata’, ‘Passing Show’ and ‘Azaad Veer’. ‘Khwab Ki Duniya’, ‘His Highness’ and ‘Challenge’ are her films from 1937, ‘State Express’ and ‘Purnima’ in 1938, and ‘Leather Face’ and ‘Hero No. 1’ from 1939. Total 18 films only.

Her youngest sister Meher Bano also joined films with the name Purnima (she also married a producer / director Bhagwandas Varma). Shirin married producer / director Nanabhai Bhatt, who already had a wife and 9 children. They had 2 sons – Mahesh Bhatt and Mukesh Bhatt.

Very surprisingly, Prakash Pictures themselves brought out another film immediately in the next year i.e. 1938, titled ‘Mr. X’. I do not know if this film was based on the same theme. Today’s song is sung by Shirin Bano and Ranjit Roy. I could not get any information on singer Ranjit Roy, even from my Kolkata contacts. MuVyz says that he sang 23 songs in 10 films, from 1936 to 1946. With this song, the film makes its debut on the blog.

 


Song – Chhaai Aayi Saawan Ki Ghata  (Khwaab Ki Duniya) (1937) Singer – Shirin Bano, Ranjit Roy, Lyrics – Sampatlal Srivastav Anuj, Music – Lallubhai Nayak
Shirin Bano + Ranjit Roy

Lyrics (Provided by Sudhir)

chhaai aayi saawan ki ghata
chhaai aayi saawan ki ghata
baag mein boley papiha
baag mein boley papiha
pee..oo..u ka raag sunaave
pee..oo..u ka raag sunaave
chhaai aayi saawan ki ghata
chhaai aayi saawan ki ghata

mand sameer ki lehren aayin
hey. . .
mand sameer ki lehren aayin
mand sameer ki lehren aayin
hey. . .
mand sameer ki lehren aayin
lehren aayin
gaane lagi chidiya jee ki
gaane lagi chidiya jee ki
baadal se barsat hai paani
baadal se barsat hai paani
sab sarita jal bhar aayin
sab sarita jal bhar aayin

chhaai aayi saawan ki ghata. . .

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

छाई आई सावन की घटा
छाई आई सावन की घटा
बाग में बोले पपीहा
बाग में बोले पपीहा
पी॰॰ऊ॰॰ऊ का राग सुनावे
पी॰॰ऊ॰॰ऊ का राग सुनावे
छाई आई सावन की घाटा
छाई आई सावन की घाटा

मंद समीर की लहरें आयीं
हे॰॰॰
मंद समीर की लहरें आईं
मंद समीर की लहरें आईं
हे॰॰॰
मंद समीर की लहरें आयीं
लहरें आयीं
गाने लगा चिड़िया जी की
गाने लगा चिड़िया जी की
बादल से बरसत है पानी
बादल से बरसत है पानी
सब सरिता जल भर आईं
सब सरिता जल भर आईं

छाई आई सावन की घटा॰ ॰ ॰


What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over TWELVE years. This blog has over 16300 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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