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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 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

———————————————–
Blog 10-Year Challenge (2009-19) – Song No. 13
————————————————

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

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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॰ ॰ ॰


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3664 Post No. : 14533

“Saalgirah”(1946) was directed by K S Daryani for Krishin Movietone, Bombay. This “social” movie had Snehprabha Pradhan, Jairaj < Bibbo, Gope, Majid, Tarabai, Chandrkala, Kumar, Pramila etc in it.

The movie had eleven rare songs in it. One song has been covered in the past.

Here is the second song from "Saalgirah"(1946) to appear in the blog. The song is sung by Snehprabha Pradhan. Wali Sahab is the lyricist. Music is composed by Bulo C Rani.

Only the audio of the song is available. It is clear that the song was picturised on Snehprabha Pradhan herself who was the leading lady in the movie.


Song-Saawan ki badariya roti hai badariya (Saalgirah)(1946) Singer-Snehprabha Pradhan, Lyrics-Wali Sahab, MD-Bulo C Rani

Lyrics

Saawan ki badariya
roti hai badariya
Saawan ki badariya
roti hai badariya
aur poochh rahi hai
mere saajan ki khabariya
aur poochh rahi hai
mere saajan ki khabariya
Saawan ki badariya
roti hai badariya

ashqon ki kahaani
unhen main kaise sunaaun
ashqon ki kahaani
unhen main kaise sunaaun
wo door hain majboor hain
kya unko bataaun
wo door hain majboor hain
kya unko bataaun
rone se bhi darti hoon
ke kah degi najariya
rone se bhi darti hoon
ke kah degi najariya
saawan ki badariya
roti hai badariya

likkha hai mere bhaag mein
din raat tarasna
likkha hai mere bhaag mein
din raat tarasna
o kaali ghata
ab tu kahin aur barasna
o kaali ghata
ab tu kahin aur barasna
kis munh se kahoon
haaye ke sooni hai sajariya
kis munh se kahoon
haaye ke sooni hai sajariya
saawan ki badariya
roti hai badariya


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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3604 Post No. : 14384

Today is the fifteenth remembrance day for Anil Biswas, one of the pioneering music directors of film industry in India. He passed away on 31st May in New Delhi, in the year 2003. With his active years in the film industry (from 1935 to 1965) behind him, he had moved to Delhi by mid 1960s. Thereafter, he worked with the All India Radio in New Delhi, and was also associated with JNU (Jawaharlal Nehru University).

As I am checking his filmography and the list of songs, as per the Geet Kosh, I come across a very interesting statistic. As per Geet Kosh, during his active years in the film industry from 1935 to 1965, he composed music for 82 films, of which three are unreleased films with songs available. The total of songs in these films comes to around 715.

Then I counted his body of work in the first six years of his career in films, i.e. from 1935 to 1940. Amazing to find out that in these first six years he has composed music for 25 films, logging in approximately 220 songs. This works out to be a tad over 30%, both in terms of number of films and total no. of songs composed. So in the first six years of his career (which is 20% of his career), he had already accomplished 30% of all the work that he would do for Hindi films. And now to the sad part of these numbers. Of these 220 songs, more than half i.e. 137 were not even released on gramophone records (as per Geet Kosh listings). Of the remaining shortlisted songs, just about 80 to 85 songs are available in public domain. This last number is as per my knowledge of available songs within the known circle of collectors – this number could be more.

A large part of this work from those six earliest years remains unknown and unheard – a sad commentary on the state of affairs of archiving and preservation efforts in the industry.

In remembrance of this doyen of music directors, I present this rare song today, which has an important distinction. As per the Geet Kosh listings, this most likely the earliest song that he has sung, under his own music direction, that is available. The Geet Kosh lists one earlier solo credited to him as a singer, for the film ‘Dharam Ki Devi’ of 1935, which was probably never released on gramophone record. This song from the 1936 film ‘Piya Ki Jogan’ apparently is his earliest recorded song that is available in public domain. It is a duet in which the accompanying voice is of Sardar Akhtar.

The film ‘Piya Ki Jogan’ was produced under the banner of Golden Eagle Movietone, which, very interestingly, is listed as being based in Sindh. The region of Sindh could mean Karachi, but I am not sure about it. The film was directed by Heeren Bose. The cast of actors is listed as Sardar Akhtar, Pramod Chandra, Krishna Kumari, Merwan Irani, D Manik, Ashalata, Vasu HK, Sheila, Agha Jaan, Bannerjee, Niranjan Singh, Mehar Banu, and Anil Biswas himself. Now this throws up interesting question whether Anil Da is singing for himself on screen. The year is 1936, and the playback mechanism is just beginning to get a foothold in the industry. He could be singing for himself, since he is listed as an actor. Or he could be singing for someone else – being the last name in the listing generally implies a role with less importance. Once again, I cannot be sure.

Another interesting tidbit here. The cast of actors also contains the name Ashalata. This could well be the first film that they worked on together. I request other knowledgeable readers and friends to please comment on this observation.

The lyricist credits are listed as Munshi Zahiruddin, Niranjan Singh, and Meerabai (one of the songs in the film is a bhajan credited to her). The uploader of this song on YT, Shri Shalin Bhatt, identifies Munshi Zahiruddin as the writer of this song.

The song itself does not have too many wordy lines. There are passages of laughter and pauses. The song appears to be an exchange between a lady and a gentleman, having some good time together. I request other knowledgeable readers and friends to kindly add more information about this film and this song, if available.

With this rare and uniquely important song, the blog pays its homage to Anil Da, on this anniversary of his passing away.

[Auth Note: Some translations,
“sahn e baag” = open space, compound containing a garden
“abr e bahaar” = clouds of spring; or clouds of good season
“baadaah e khvaar” = one who drinks liquor]

[Ed Note: The song is uploaded on YT by Shalin Bhatt ji.]

Song – Saaqi Ho, Sahn e Baag Ho  (Piya Ki Jogan) (1936) Singer – Anil Biswas, Sardar Akhtar, Lyrics – Munshi Zahiruddin, MD – Anil Biswas

Lyrics

haa haa haa haa
haa haa haa haa
he he he

saaqi ho
sahn e baag ho
abr e bahaar ho
saaqi ho
sahn e baag ho
abr e bahaar ho
oo ho

pehlu mein tum hamaare
ae sanam
baadah e khvaar
saaqi ho
sahn e baag ho
abr e bahaar ho
saaqi ho
sahn e baag ho
abr e bahaar ho
oo ho

haa haa haa
haa haa haa

bas
itna hi
. . .
aur kuchh
. . .
ab suno

saawan ka ho mahina
din ho jalaa hua
saawan ka ho mahina
din ho jalaa hua
nanhi nanhi boondon ki barsi phuaar ho
nanhi nanhi boondon ki barsi phuaar ho

haa haa haa
haa haa haa
haa haa haa
haa haa haa
haa haa haa
haa haa haa

jhoola padaa hua ho
kisi shah e mahal mein

jhoola padaa hua ho
kisi shah e mahal mein

ik din(?) se khush gul koi gaata malhaar ho
ik din(?) se khush gul koi gaata malhaar ho

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

साक़ी हो
सहन ए बाग हो
अब्र ए बहार हो
साक़ी हो
सहन ए बाग हो
अब्र ए बहार हो
ओ हो

पहलू में तुम हमारे
ए सनम
बाद ए खार हो
साक़ी हो
सहन ए बाग हो
अब्र ए बहार हो
साक़ी हो
सहन ए बाग हो
अब्र ए बहार हो
ओ हो

हा हा हा हा
हा हा हा हा

बस
इतना ही
॰ ॰ ॰
और कुछ
॰ ॰ ॰
अब सुनो

सावन का हो महिना
दिन हो जला हुआ
सावन का हो महिना
दिन हो जला हुआ
नन्ही नन्ही बूंदों की बरसी फुहार हो
नन्ही नन्ही बूंदों की बरसी फुहार हो

हा हा हा हा
हा हा हा हा
हा हा हा हा
हा हा हा हा
हा हा हा हा
हा हा हा हा

झूला पड़ा हुआ हो
किसी शाह ए महल में

झूला पड़ा हुआ हो
किसी शाह ए महल में

इक दिन(?) से खुश गुल कोई गाता मल्हार हो
इक दिन(?) से खुश गुल कोई गाता मल्हार हो


This article is written by Peevesie’s mom , 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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3570 Post No. : 14307

Hullo to all in Atuldom

My post today (27 april 2018) should be read after reading what our dear Rajaji wrote last year in this post of his. In there he has poured a lot of love for the handsome actor- producer- (and lastly) a politician. He has spoken for all the fans of Vinod Khanna.

It is simply unbelievable that a year has passed since this most charming actor passed away. I remember how shocked I was on reading the news on our WhatsApp group that day. The news must have broken on the news channels about noon, around the time when Vividh Bharati – All India Radio’s commercial channel- starts their farmaishie filmy gaane etc. I used to have this habit of listening to this programme, with headphones on, as I commute around (I have stopped it since). Now that day, I was most happy with the content of the programme as every single song was from a Vinod Khanna movie and all of which I simply love. It occurred to me that those songs were being played as a tribute to the departed artist, only when I read all the WA messages on returning home. It was very very saddening. But then life is like that, and apparently Vinod was ill for sometime before his death. And as Rajaji has mentioned in his post last year, there were photographs being shared on social media of a rather sick Vinod, but I always thought that must be a look for some forthcoming movie. But that was not how it was to be.

I cannot forget the look on his face when he is listening to the recorded message from his wife. And then the pain on discovering that his wife has been unfaithful- in Gulzar’s song less wonder “Achanak”. Can remember how he smartly outwits Jeetendra’s father as villain in “Anokhi Ada”. Thinking of him singing “nainon mein darpan hain darpan mein koi dekoon jise subaha shaam” with Saira Banu on a cycle in “Aarop”.

After having made his debut in 1968 through Sunil Dutt’s “Man Ka Meet” and doing roles of secondary characters as Manoj Kumar’s friend in “Purab Aur Paschim”; Shammi Kapoor’s younger brother who loses track of ‘good and bad’ in “Jaan Pehchaan”; an inspector out to nab the smuggler (Rajesh Khanna) in “Sachha Jhootha”; and a few villainous characters we saw him as a confused educated unemployed man in “Mere Apne” which was followed by “Achanak” and a small blink and miss role in “Parichay”- all of which were made by Gulzar. No mention of Vinod Khanna is complete without thinking of the “Jabbar Singh” he played in “Mera Gaon Mera Desh”- he was unforgettable, he is unforgettable, we can’t forget him.

How can we forget him- when the radio plays “priye praneshwari” or “koi hota jisko apna” or “bambai se aaya mera dost” or “ruk jaana nahin tu kahi haarke” or “darbaar mein uparwaale ke” or “bhaagi re bhaagi re brijbala kanha ne pakda rang dala” or “lagi aaj saawan ki phir who jagi hai” and all the other famous and not so famous songs featuring him.

Though his pairing with Amitabh was always enjoyed we cannot forget that he paired well with Feroz Khan, Shatrughan Sinha, Vinod Mehra, Rajesh Khanna, Dharmendra, Jeetendra, Sunil Dutt etc. As I was writing this post I wondered if he has never worked with Sanjeev Kumar and I saw that among yesterday’s posts is a song from “Chowkidaar” which had Sanjeev Kumar and VK is also there. The later year heroes Govinda, Salman Khan, Shahrukh Khan etc also co-starred with him playing an elder brother or father figure to them. He has done more than two movies each with most of the heroines of his era; be it Leena Chandavarkar, Bharati, Saira Banu, Zeenat Aman, Hema Malini, Rakhee, Parveen Babi, Reena Roy, Shaban Azmi, Rekha, Yogita Bali etc. and in his second innings Dimple Kapadia, Meenakshi, Madhuri, Madhavi, Jaya Prada, Sridevi etc. God, he had a good career and we were well entertained by him.

“Kudrat” was one of the movies where he co-starred Rajesh Khanna and Hema Malini. It also had Raaj Kumar and Priya Rajvansh in important roles. It was directed by Chetan Anand and had rebirth as its theme. It had great songs written by Majrooh Sultanpuri and Qateel Shifai and R D Burman was the music director. The song with this post is written by Majrooh and sung by Suresh Wadkar and Asha Bhonsle. It is a typical pahadi folk song performed by local dancers and as is the norm in Indian films the stars in the audience are drawn in to dance and shake a hip or leg with the performers. So, we can see Vinod Khanna starting the dance and trying to drag Hema Malini into it. This is followed by Aruna Irani (who plays the missing link between the two births of the main characters) Rajesh Khanna and Priya joining in. The song is meant to transport Hema into memories of her past birth and give her hints of link between Madho and Paro, Vinod catches Hema staring at Rajesh Khanna. And from here the story moves towards what the purpose of the movie is – getting justice for Madho and Paro (Rajesh and Hema) for the crime done to them by Raaj Kumar, father of Priya in this movie.

Thinking of the handsome Vinod Khanna today.


Song-Saawan nahin bhaadon nahin (Kudrat)(1981) Singers-Suresh Wadkar, Asha Bhonsle, Lyrics-Majrooh Sultanpuri, MD-R D Burman
Male chorus
Female chorus
All Chorus

Lyrics

taakita dhim takita dhim
taakita dhim dhim dhim dhim
taakita dhim takita dhim
taakita dhim dhim dhim dhim

ho o o
saawan nahin bhaado nahi
saawan nahin bhaado nahin
o bindiya waali bata aa
bin baadal bijli kidhar chamki
o bin baadal bijli kidhar chamki
dhim taakita dhim takita dhim
taakita dhim dhim dhim dhim

Ha aa
taakita dhim takita dhim
taakita dhim dhim dhim dhim

Ha aa
toone abhi dekha hai kya
toone abhi dekha hai kya
pagle nazar toh uthha aaa
bin baadal bijli idhar chamki
ho oo bin badal bijli idhar chamki

dhim taakita dhim takita dhim
taakita dhim dhim dhim dhim
dhim taakita dhim takita dhim
taakita dhim dhim dhim dhim

ho oohoo ohoooo
dhim taakita dhim takita dhim (oh ho ho ho hoho)
taakita dhim dhim dhim dhim (ho ho hoho)
dhim taakita dhim takita dhim (oh ho ho ho ho)
taakita dhim dhim dhim dhim

arey sun kar ke mele ki dhoom
hum aaye hain tumhre gaanv
sunkar ke mele ki dhoom
hum aaye hain tumhre gaanv

haan gori sambhaalo humein
kar do chunariya ki chaanv
gori sambhaalo humein
kar do chunariya ki chhaanv

arrey dil pe kahin gir na pade
dil pe kahin gir na pade
dhadke hamaara jiya aaa
bin baadal bijli kidhar chamki
o bin baadal bijli kidhar chamki

dikhti nahin sar pe dhoop
saawan ke andhe ho kya ha ha

dikhti nahin sar pe dhoop
saawan ke andhe ho kya

arre bijli kahaan baaware
gora badan hai mera ha aa

arey bijli kahaan baaware
gora badan hai mera

arey thoda sa main balkha gayi
thoda sa main bal kha gayi
toh jhooma mera jhumka
ho bin baadal bijli idhar chamki
ho ooo

ho bin badal bijli idhar chamki
oo saawan nahin bhaado nahi
saawan nahin arey bhaado nahin
o bindiya waali bata aa
bin baadal bijli kidhar chamki
o bin baadal bijli
idhar chamki
oo bin badal bijli
kidhar chamki


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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Today’s song is from a comparatively new film ‘Lagaan’ (2001). The song,written by Javed Akhtar and composed by AR Rahman, is sung by 5 singers, viz. Alka Yagnik, Shaan, Shankar Mahadevan, Sukhwinder Singh and Udit Narayan. Why do I feel some readers are smiling after reading my above sentence calling ‘Lagaan’ as a new film ? As compared to what my forte has been so far (old films from 1930s to 1970), ‘Lagaan’ IS a comparatively new film. . . at least for me !

I have always believed that there are no boundaries for good films and good music. Fortunately, even today, we still get occasional good films. Of course everybody’s views may be different on this issue. I found that today, the films have better technical values, a bigger canvas and they try to cater to the Indian as well as non Indian audience, since nowadays most big budget films are shown outside India, where they are in big demand.

I am a great fan of Aamir Khan – the Actor. As a person, I don’t like his views, quotes and antics, but I respect his dedication to the roles he does in his films. Despite so many years, he has retained his quality of acting, involvement and his urge to excel and be a different actor. That is why, probably, he chooses to do fewer films than his other contemporaries. May be he believes that “Quantity is always at the cost of quality” !

When Ashutosh Govarikar, the director of ‘Lagaan’, first wrote the film script of ‘Lagaan’, he had decided that only Aamir khan is fit to do the role of Bhuvan. However, after hearing the script, Aamir Khan flatly refused to do the film. He told Ashutosh, “You have broken every rule of Hindi film making in this script (there are 5 such rules). There is a great risk in the film. Dont count me in this “.

Undeterred, Ashutosh made another draft, along with some dialogues. It took him one year. Then he contacted Aamir again, “I have a fresh script”. Aamir was ready to listen, but he asked “I hope it is not the same one having cricket and lagaan ?”  Ashutosh confirmed it was the same. Aamir said, “Then I don’t want to waste 3 hours of mine and yours. Forget it.” When Ashutosh insisted as a friend, Aamir gave him time. . . after one month.

After hearing the revised script, Aamir seemed excited and said, “Yes, I will do this film.”  Then the question came about producer. They went to many producers, but none was ready to do this film. One producer suggested, “In the end show that Bhuvan stabs Captain Russel with a stump, after the match.”  Ashutosh left his place without even responding. Finally they decided that the film has to be produced by Aamir himself. Aamir floated a company – Aamir Khan Productions Pvt Ltd. He and Mansoor Khan produced the film. This was probably the first time when a production company was formed for a script. Normally first the company is formed and the script comes later.

Some critics tried to claim that the ‘Lagaan’ theme is a copy or inspired from ‘Naya Daur’ (1957). Like Shankar in ‘Naya Daur’, Bhuvan also accepts the challenge inspite of villagers’ opposition. Like Rajni,  Gauri supports Bhuvan. Ajit, the one sided lover of Rajni, becomes hero’s enemy in ‘Naya Daur’. In ‘Lagaan’, Yashpal Sharma (Lakha) loves Gauri and becomes Bhuvan’s enemy etc. They showed the film to BR Chopra. He was terribly impressed and immediately wrote a letter to them. He said “In ‘Naya Daur’ the theme was ‘Man v/s Machine’. In your film the theme is ‘Man v/s the Oppressor”. It is totally different, no similarity at all. It is an independent excellent story.”

Ashutosh was very clear in his approach. The film was NOT on cricket. It was on an unjustified taxation and the villagers’ fight against it. ‘Fight for survival’ was the principle here. Villagers were unhappy as there were no rains and then this double Lagaan (taxation) came. The film showed how people get ready to fight the injustice. Even in the advertisements of the film, cricket was never mentioned initially.

The film created records in India as well as abroad. Whenever the film was shown in any International Film Festival and to the Oscar dignitaries, distributors used to throng for rights. The film was dubbed in French and Italian. It became the first Hindi film to be shown in Sweden, Finland and Brazil. The population in those countries did not even know what was the game of cricket. What appealed to them was the villager’s fight against injustice. In few countries just before the film. the general rules of cricket were shown to the audience.

The cast of the film is Aamir Khan, Gracy Singh, Suhasini Mulay, Kulbhushan Kharbanda, Raghuveer Yadav, Rachel Shelley, Paul Blackthorne etc. Before the film was released anywhere, it was first shown to people of Bhuj, where it was shot, as per Aamir’s promise. It was released in United Kingdom, China, Italy, France, USA, Germany, Japan, Malaysia, Hong kong, the middle east and many other countries. In India, it was released on 15-6-2001, along with its premiere in UK. With a budget of Rs 250 million, it grossed 700  million rupees in its first week itself.

I liked this movie very much, like many other Aamir Khan films. I am not giving its story which is too well known. it was given by our own Nahm ji when she discussed its first song on this blog some time back. By coincidence, Peevesie’s Dad ji posted the second song of this film, coinciding with our young member and his daughter Peevesie’s birthday on Saturday, the 23rd December. Today’s song is the 3rd song from the film. The film has 7 songs and one dance instrumental piece. All songs are written by Javed Akhtar and composed by AR Rahman.

The situation of this song, which is a song from film’s opening scenes, is that villagers are worried as there are no rains for a long time. Suddenly, dark black clouds gather over the skies, making them feel that rains will come anytime now. They start celebrations and sing this song. But Alas ! the black clouds disappear as suddenly as they had come and gloom spreads over the village again. Just watch the feelings on the faces of the villagers before and after the cloud entry and exit. Enjoyable song. . . and the film !

(Note: Thanks to an adapted article by late Abhijit Desai about ‘Lagaan’. )

 


Song – Ghanan Ghanan Ghir Ghir Aaye Badra (Lagaan) (2001) Singers – Alka Yagnik, Shaan, Shankar Mahadevan, Sukhvinder Singh, Udit Narayan, Lyrics – Javed Akhtar, MD – AR Rahman
Male Chorus
Female Chorus
All Chorus

Lyrics 

ghan ghanan ghanan
ghan ghanan ghanan

ghan ghanan ghanan
ghan ghanan ghanan

ghan ghanan ghanan
ghan ghanan ghanan

ghan ghanan ghanan
ghan ghanan ghanan

ghan ghanan ghanan
ghan ghanan ghanan

ghan ghanan ghanan

ghan ghanan ghanan ghir ghir aaye badraa
ghan ghanghor kaare chhaaye badraa
dhamak dhamak goonje badraa ke danke
chamak chamak dekho bijuriya chamke
mann dhadkaaye badarwaa
mann dhadkaaye badarwaa
mann
mann dhadkaaye badarwaa. . .

kaale megha kaale megha
paani to barsaao
kaale megha kaale megha
paani to barsaao
bijuri ki talwaar nahin
boondon ke baan chalaao

megha chhaaye
barkhaa laaye
ghir ghir aaye
ghir ke aaye..ey..ey..ey..ey. . .
kahin mann machal machal
na yun chal sambhal sambhal
gaye din badal
tu ghar se nikal
barasne waala hai amrit jal..ll..ll. . .
duvidha ke din beet gaye
bhaiyyaa malhaar sunaao

ghanan ghanan ghir ghir aaye badraa
ghan ghanghor kaare chhaaye badraa
dhamak dhamak goonje badraa ke danke
chamak chamak dekho bijuriya chamke
mann dhadkaaye badarwaa
mann dhadkaaye badarwaa
mann
mann dhadkaaye badarwaa. . .

ras agar barsega
kaun phir tarsega
koyaliya gaayegi baithi munderon par
jo panchhi gaayenge
naye din aayenge
ujaale muskura denge andheron par
prem ki barkha mein
bheege bheege tan mann
dharti pe dekhenge paani ka darpan
jaiyo tum jahaan jahaan
dekhiyo wahaan wahaan
yehi ik samaa
ke dharti yahaan
ho pehne saat rangon ki chunariyaa..aa..aa. . .

ghanan ghanan ghir ghir aaye badraa
ghan ghanghor kaare chhaaye badraa
dhamak dhamak goonje badraa ke danke
chamak chamak dekho bijuriya chamke
mann dhadkaaye badarwaa
mann dhadkaaye badarwaa
mann
mann dhadkaaye badarwaa. . .

pedon par jhoole daalo
aur oonchi paing badhaao
kaale megha kaale megha
paani to barsaao
kaale megha kaale megha
paani to barsaao
bijuri ki talwaar nahin
boondon ke baan chalaao

hey..ey.ey hey ey
hmm hmm hmm hmm
hmm hmm hmm hmm
ho oo oo oo ooooo

aai hai rut matwaali
bichhaane hariyaali
ye apne sang mein laayi hai saawan ko
ye bijuri ki paayal
ye baadal ka aanchal
sajaane laayi hai dharti ki dulhan ko
daali daali pehnegi phoolon ke kangan
sukh ab barsega aangan aangan..nn..nn
khilegi ab kali kali
hansegi ab gali gali
hawa jo chali
to rut lagi bhali
jalaa de jo tan mann wo dhoop dhali

ghanan ghanan ghan
ghanan ghanan ghan

kaale megha kaale megha
paani to barsaao
paani to barsaao
bijuri ki talwaar nahin
boondon ke baan chalaao
boondon ke baan chalaao
ghanan ghanan ghir ghir aaye badraa
ghan ghanghor kaare chhaaye badraa
dhamak dhamak goonje badraa ke danke
chamak chamak dekho. . .

ghanan ghanan ghan
ghanan ghanan ghan

ghanan ghanan ghan
ghanan ghanan ghan

ghanan ghanan ghan
ghanan ghanan ghan

ghanan ghanan ghan
ghanan ghanan ghan

ghanan ghanan ghan
ghanan ghanan ghan

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

घन घनन घनन
घन घनन घनन

घन घनन घनन
घन घनन घनन

घन घनन घनन
घन घनन घनन

घन घनन घनन
घन घनन घनन

घन घनन घनन
घन घनन घनन

घन घनन घनन

घन घनन घनन घिर घिर आए बदरा
घन घनघोर कारे छाए बदरा
धमक धमक गूँजे बदरा के डंके
चमक चमक देखो बिजुरिया चमके
मन धड़काये बदरवा
मन धड़काये बदरवा
मन
मन धड़काये बदरवा॰॰॰

काले मेघा काले मेघा
पानी तो बरसाओ
काले मेघा काले मेघा
पानी तो बरसाओ
बिजुरी की तलवार नहीं
बूंदों के बाण चलाओ

मेघा छाए
बरखा लाये
घिर घिर आए
घिर के आये॰॰ए॰॰ए॰॰ए॰॰ए॰॰॰
कहीं मन मचल मचल
ना यूं चल संभल संभल
गए दिन बदल
तू घर से निकल
बरसने वाला है अमृत जल॰॰ल्ल॰॰ल्ल॰॰॰
दुविधा के दिन बीत गए
भईय्या मल्हार सुनाओ

घनन घनन घिर घिर आए बदरा
घन घनघोर कारे छाए बदरा
धमक धमक गूँजे बदरा के डंके
चमक चमक देखो बिजुरिया चमके
मन धड़काये बदरवा
मन धड़काये बदरवा
मन
मन धड़काये बदरवा॰॰॰

रस अगर बरसेगा
कौन फिर तरसेगा
कोयलिया गाएगी बैठी मुँडेरों पर
जो पंछी गाएँगे
नए दिन आएंगे
उजाले मुस्कुरा देंगे अँधेरों पर
प्रेम की बरखा में
भीगे भीगे तन मन
धरती पे देखेंगे पानी का दर्पण
जइयो तुम जहां जहां
देखियों वहाँ वहाँ
यही इक समा
के धरती यहाँ
हो पहने सात रंगों की चुनरिया॰॰आ॰॰आ॰॰॰

घनन घनन घिर घिर आए बदरा
घन घनघोर कारे छाए बदरा
धमक धमक गूँजे बदरा के डंके
चमक चमक देखो बिजुरिया चमके
मन धड़काये बदरवा
मन धड़काये बदरवा
मन
मन धड़काये बदरवा॰॰॰

पेड़ों पर झूले डालो
और ऊंची पेंग बढ़ाओ
काले मेघा काले मेघा
पानी तो बरसाओ
काले मेघा काले मेघा
पानी तो बरसाओ
बिजुरी की तलवार नहीं
बूंदों के बाण चलाओ

हे॰॰ए॰॰ए हे ए
हम्मम हम्मम हम्मम हम्मम
हम्मम हम्मम हम्मम हम्मम
हो ओ ओ ओ ओsss

आई है रूत मतवाली
बिछाने हरियाली
ये अपने संग में लाई है सावन को
ये बिजुरी की पायल
ये बादल का आँचल
सजाने लाई है धरती की दुल्हन को
डाली डाली पहनेगी फूलों के कंगन
सुख अब बरसेगा आँगन आँगन॰॰न्न॰॰न्न
खिलगे अब कली कली
हँसेगी अब गली गली
हवा जो चली
तो रुत लगी भली
जला दे जो तन मन वो धूप ढली

घन घनन घनन
घन घनन घनन

काले मेघा काले मेघा
पानी तो बरसाओ
पानी तो बरसाओ
बिजुरी की तलवार नहीं
बूंदों के बाण चलाओ
बूंदों के बाण चलाओ
घनन घनन घिर घिर आए बदरा
घन घनघोर कारे छाए बदरा
धमक धमक गूँजे बदरा के डंके
चमक चमक देखो॰ ॰ ॰

घन घनन घनन
घन घनन घनन

घन घनन घनन
घन घनन घनन

घन घनन घनन
घन घनन घनन

घन घनन घनन
घन घनन घनन

घन घनन घनन
घन घनन घनन


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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing law.

Today’s song is from a rare and less known film ‘Lakharani’ from 1945.

Although this was a film made by the great Prabhat Film Company of Poona, unlike earlier Prabhat films this movie never became famous or a landmark film. The reasons were many. The main reason was that it was was made in the period when the company had become very weak after V Shantaram left Prabhat Studios along with some of his chosen people from various departments. Secondly, the storyline of this film was far away from the type of films Prabhat had made in the past. True to its tradition, however, the film had a central theme of “open entry for all castes into Hindu temples“. But it was told through a story of tribal folks and allied jungle people, with whom probably, the audience could not  identify themselves.

Thirdly, the songs and music of this film was below average. The music director, Master Krishnarao Phulambrikar (1891-1974) had a reputation of being an Orthodox Sangeet Natak classicist. His songs never became popular except perhaps the multi-language song of Shanta Hublikar in the film ‘Aadmi’ (1939) (‘Manoos’ in Marathi). Even his contemporary Keshvrao Bhole gave more popular songs. His only film giving good music was Rajkamal’s ‘Mali’ (1944), wherein he himself was the hero opposite Ameerbai Karnataki.

The film was directed by Vishram Bedekar – more famous as a playwright and a script writer. His scripts used to be quite complex. He wrote the story of ‘Lakharani’, in addition to directing it. Vishram Bedekar (b. 1906), Marathi and Hindi film director, best known as a writer, was born in Amravati, Eastern Maharashtra. He started his career with the Sangeet Natak company Balwant Sangeet Mandali as a playwright-lyricist. From there, he moved to film-making when the theatre group expanded its box-office draw by producing ‘Krishnarjun Yuddha’, starring the group’s writer-actor Chintamanrao Kolhatkar. Unlike other films produced by Sangeet Natak companies (e.g. Lalitkaladarsh), the film succeeded commercially and he co-directed three more with the group’s owner-producer Vamanrao N Bhatt. He scripted the mythological ‘Pundalik’ (1936) and, according to his autobiography, he also co-directed the film with VN Bhatt.

He briefly studied film-making in the UK in 1938. In that same year, he published his first novel, ‘Ranangan’  on his return to India. He joined Prabhat Studios briefly to write Shantaram’s ‘Shejari’ / ‘Padosi’ (1941). In 1944, he returned to the studio to script ‘Ramshastri’, a re-edited version of which, credited to him, was later released as a children’s film entitled ‘Ramshastri Ka Nyay’. In 1945, he directed ‘Lakharani’ which incidentally is Guru Dutt’s début film. He went on to make classic melodramas for Baburao Pendharkar’s New Huns, Baburao Pai’s Famous Pics and Minerva Movietone. He wrote the script for Shantaram’s ‘Amar Bhoopali’ (1951). Later he directed the early productions of Ramsay Brothers, viz. ‘Rustom Sohrab’ (1963) and ‘Ek Nannhi Munni Ladki Thi’ (1970).

Vishram Bedekar worked in modernist frame defined by K Narayan Kale’s generation and GB Shaw. Most of his literary and film works recast stereotypes of pre-WW I Marathi social reform novels into the declamatory style of prose melodrama with increasingly complex storylines. As a playwright, his works include ‘Brahmakumari’, ‘Vaje Paool Apule’ and ‘Tilak Ani Agarkar’ (1980). In 1985, he published his autobiography – ‘Ek Jhaad Ani Don Pakshi’.
(Note: The above bio sketch of Vishram Bedekar is adapted from Encyclopedia of Indian Cinema.)

‘Lakharani’ is important for one reason – Guru Dutt made his acting debut with this film. Guru Dutt (9-7-1925 to 10-10-1964) did the role of Lachman, brother of the heroine Lakharani, in this film. After doing a basic course in dancing from the dance academy of the famous dancer Uday Shanker, in Almora, he joined Prabhat Studios as a choreographer. However, in his first film he was only an actor and an assistant director to Vishram Bedekar. In his second film ‘ Hum Ek Hain’ (1946), he worked as the choreographer and as an assistant to PL Santoshi, the debutant director of the film. Later he was assistant director to Anadinath Bannerjee for the film ‘Mohan’ (1947), to Amiya Chakravarty for the film ‘Girls School’ (1949) and to Gyan Mukherjee for the film ‘Sangram’ (1950). His first stint as an independent director came with iconic film ‘Baazi’ (1951).

Another actor Ramsingh had a major role in the film ‘Lakharani’. Earlier he had done a small role in the film ‘Ramshastri’ (1944). Ramsingh’s name is not very famous or well known, but in his times, he appeared as a hero and also in villain’s role in many films. Information about him was not available anywhere on the internet till today. For the first time, this information is appearing here today. His entry in films and his life story makes a very interesting read.

During the 1942 ‘Quit India’ movement, there was a riot in Allahabad. Police opened fire and along with several other people, Secretary of All University Students Union also was killed. Fearing a backlash from college students, the Government closed down all colleges and vacated the hostels. As a result of this, two persons became homeless. One was Ramchandra Thakur – later to become famous as Kavi Pradeep; and the other was Ramsingh – who became an actor.

After the riots, instead of informing his family about his welfare, Ramsingh left for Bombay and then went on to Poona, to become an actor. He was tall, fair and handsome. V Shantaram hired him as an assistant in the studio. Because he never returned home, his family thought that he must have been killed in the riots and grieved.

One day one of the villagers came to their house and told excitedly, that he had seen a Hindi film and in that film, an actor looked exactly like Ramsingh. The family went to the town and saw the film. Lo and behold ! there he was. Looking just like Ramsingh. Anxiously a group of elders reached Prabhat Studio in Poona and enquired. The officials brought them face to face with their own son – Ramsingh !! Everyone was happy. It seems he did not contact his household just to avoid the police investigations, as he too was an active participant in the agitation.

Ramsingh was born into a rich zamindar family of village Ishanpur in Pratapgarh (UP), in 1920. After graduating, while still doing his MA, he joined films. His first film was ‘Ramshastri’ (1944), then came ‘Chand’ (1944), ‘Lakhrani’ (1945) and ‘Hum Ek Hain (1946) – all Prabhat films. While with Prabhat Studios, he became friendly with Dev Anand and Guru Dutt. In his later years, they would give him a role in almost every film they made.

In his other films, Ramsingh worked with heroine Ranjit Kumari (real name Ranjit Kaur), to whom he got married later on. He was already married while in school and also had 3 children from his first wife. From the second marriage he got 4 children.

Ramsingh played hero, villain and character roles in 69 films. Some of his notable films, besides the four films from Prabhat Studios are, ‘Gaon’ (1947), ‘Shaheed’ (1948), ‘Khidki’ (1949), ‘Aparadhi’ (1950) – he was the hero, opposite to Madhubala, ‘Sargam’ (1950), ‘Sangram’ (1950), ‘Shrimati ji’ (1952),  ‘Jaal’ (1952), ‘Baaz’ (1953) etc. In the latter part of his career, he only got insignificant roles in B and C grade films and mythologicals. His last films were ‘Sati Sulochana’ (1969), ‘Veer Chhatrasaal’ (1971) and ‘Mere Bhaiya’ (1972); the last two being released after he retired from films.

When film ‘Jaal’ (1952) was imported into West Pakistan (on the East Pakistan quota), the Pak film industry started an agitation against Indian films, demanding a total ban on Indian films in Pakistan, as they believed the Indian films were killing their business. Leader of this agitation was WZ Ahmed, once a successful director/producer in India (from the erstwhile Shalimar Films of Poona and the mentor and husband of actress Neena). Consequently, Indian films were banned in Pakistan, at a later stage.

Ramsingh returned to his native place with Ranjit Kumari and children in 1970 and started doing agriculture. The then UP Chief Minister HN Bahuguna was his classmate and a very good friend. Ramsingh approached him. To help him, Bahuguna established the UP Film Corporation and made Ramsingh its chairman. However, due to political turmoil in the country, Bahuguna left congress and joined the off shoot party Congress For Democracy, against Indira Gandhi. As a result the film corporation was wound up and Ramsingh returned to the agriculture business again. He started drinking heavily, against medical advise and died in 1984, in his village.
(Note: The above bio sketch of Ramsingh is adapted with thanks, from Javed Hamid’s forthcoming book ‘हिन्दी सिनेमा के कुछ जाने अंजाने फनकार’.)

The spelling of film title – ‘Lakharani’, was an enigma. In many places, including the Encyclopedia of Indian Cinema, the film is spelt as LAKHRANI, while the HFGK says LAKHARANI. To get the correct information, I wrote to Shri Harmandir Singh ji. He promptly sent me a copy of the film booklet and confirmed that the correct name is LAKHARANI only. Thanks, Hamraz ji. The cast of the film is Durga Khote, Monica Desai, Azuri, Sapru, Ramsingh, Guru Dutt, etc. The story of this film is,

Bichwa (Durga Khote) is the queen of a devout untouchable community, which is not permitted to enter any temple. Her daughter Lakharani marries the prince from a community of atheists and hence is excommunicated by her own tribe.The devout group has their devotion tested by economic setbacks and a major conflict erupts between them and the atheists’ community. But God materialises on earth, thus solving the problems of belief and its attendant conflicts. Untouchability is abolished and they all can enter temples and worship also.

The film has 6 songs. Though the record numbers are given by HFGK, the name of singers is not mentioned for any song. The lyricist is Qamar Jalaalabaadi and the composer is Master Krishnarao Phulambrikar. No songs were found on the net or the You Tube, so I turned to our in-house collector, Sudhir ji. He promptly informed me that he has 4 songs of this film. On my request he not only sent me 2 songs, but also uploaded today’s song on my request. Thank you Sudhir ji, you are a great help indeed.

Lakharani makes her debut on this Blog today. Enjoy its first ever song. . .

(Ed Note: The title line of this song is modified, after listening to the song. In the Geet Kosh, this song corresponds to the song at sl. no. 6, which is listed as “Ab Moti Giraane Lagi Saawan Ki Ghataayen”. After listening to the song, it is observed that the refrain “Ik Gori Ki Aankhon Se. . .” is repeated after each antaraa, and is the more appropriate title line for the song.)


Song – Ik Gori Ki Aankhon Se Mujhe Pyaar Hua Hai (Lakharani) (1945) Singer -Unidentified Male Voice, Unidentified Female Voice, Lyrics – Qamar Jalaalabaadi, MD – Master Krishna Rao
Unidentified Male + Female Voices
Female Chorus

Lyrics 

ab moti giraane lagi saawan ki ghataayen
bagiya mein bikharne lagi bulbul ki sadaayen

ha ha ha haha

khilne ke liye phool bhi taiyaar hua hai
khilne ke liye phool bhi taiyaar hua hai
mujhe pyaar hua hai
mujhe pyaar hua hai

ik gori ki aankhon se mujhe pyaar hua hai
mujhe pyaar hua hai
sunder meri aashaon ka sansaar hua hai
mujhe pyaar hua hai

o koel duniya ko sunaao ye fasaana
o panchhio gaao meri duniya ko jagaana
o panchhio gaao meri duniya ko jagaana
ab haath pakad haath se iqraar hua hai
mujhe pyaar hua hai
ik gori ki aankhon se mujhe pyaar hua hai
mujhe pyaar hua hai

o gori ki paayal zara jhankaar suna de
ye bhed mere dil ka zamaane ko bataa de..ey..ey
abaad mere phoolon ka sansaar hua hai
mujhe pyaar hua hai
ik gori ki aankhon se mujhe pyaar hua hai
mujhe pyaar hua hai

o nadiya ke lehro ye kinaare ko bata do
toofaan ki maujon ko mera haal suna do..oo..oo
do lehron mein mil jaane ka iqraar hua hai
mujhe pyaar hua hai
ik gori ki aankhon se mujhe pyaar hua hai
mujhe pyaar hua hai

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

अब मोती गिराने लगीं सावन की घटाएँ
बगिया में बिखरने लगीं बुलबुल की सदाएं

हा हा हाहा

खिलने के लिए फूल भी तैयार हुआ है
खिलने के लिए फूल भी तैयार हुआ है
मुझे प्यार हुआ है
मुझे प्यार हुआ है

इक गोरी की आँखों से मुझे प्यार हुआ है
मुझे प्यार हुआ है
सुंदर मेरी आशाओं का संसार हुआ है
मुझे प्यार हुआ है

ओ कोयल दुनिया को सुनाओ ये फसाना
ओ पंछीओ गाओ मेरी दुनिया को जगाना
ओ पंछीओ गाओ मेरी दुनिया को जगाना
अब हाथ पकड़ हाथ से इक़रार हुआ है
मुझे प्यार हुआ है
इक गोरी की आँखों से मुझे प्यार हुआ है
मुझे प्यार हुआ है

ओ गोरी की पायल ज़रा झंकार सुना दे
ये भेद मेरे दिल का ज़माने को सुना दे॰॰ए॰॰ए
आबाद मेरे फूलों का संसार हुआ है
मुझे प्यार हुआ है
इक गोरी की आँखों से मुझे प्यार हुआ है
मुझे प्यार हुआ है

ओ नदिया की लहरों ये किनारे को बता दो
तूफान की मौजों को मेरा हाल सुना दो॰॰ओ॰॰ओ
दो लहरों में मिल जाने का इक़रार हुआ है
मुझे प्यार हुआ है
इक गोरी की आँखों से मुझे प्यार हुआ है
मुझे प्यार हुआ है


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Today (28 september 2017) is the birth anniversary of one and only Lata Mangeshkar. People may have wondered why there was a lull in the blog today. These days we have just a couple of posts daily with some rare days when we manage to crank up the rate to day four of five songs a day.
Read more on this topic…


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

“Gauhar” (1953) was directed by F H Hasan for All Indian Pictures production, Bombay. The movie had Bina Rai, Rehman, Agha, Vijaylaxmi, Chaman Puri, Charlie, Cuckoo etc in it.
Read more on this topic…


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

“Missing the beloved” cum “separation” song form quite important genre of songs in Hindi movies. This blog has close to three hundred songs that fall under this category of “missing the beloved”.
Read more on this topic…


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

This is a labour of love, where “new” songs are added every day, and that has been the case for over TEN years. This blog has over 15000 song posts by now.

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