Archive for the ‘sad song’ Category
Hansi Le Ke Aaye The, Ro Kar Chale
Posted on: August 3, 2017
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 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.
In my previous article on the song “Kat Gayi Waadon Mein“, I have talked about Mulkhraj Bhakri, writer, producer and lyricist from the Lahore film industry, who became one of the many victims of the country’s partition in 1947 . In Bombay (Mumbai), due to his hard work, he regained his position in the Hindi film industry. In this article, I propose to talk about one more victim of partition who was born with a silver spoon in a Gujarati family settled in Karachi and actively connected with the Lahore film industry in the 1940s. I am not talking about Dalsukh M Pancholi but director, Ravindra Dave who happened to be his nephew. Let me unfold Ravindra Dave’s story.
Ravindra Dave (also known as Ravin Dave, Ravinder Dave) was born on April 16, 1919 at Karachi in an affluent family. His father Seth Ratilal Dave had a flourishing business of film distribution for North Indian territories. Later, it became a well-known film distribution company, Empire Talkie Distributors, which specialised in importing American films for distribution in Northern India. This was the first film distribution company which undertook to distribute India’s first talkie ‘Alam Ara’ (1931) in Northern India. (I have found in some references on the internet which say that Pancholi’s were also connected with Empire Film Distribution).
Ravindra’s heart was already in the film distribution work and wanted to be like his father. So he left school half way and joined his father’s company. His first assignment was to get the distribution of Prabhat’s films. He successfully concluded distribution deals for ‘Mahatma’ (1935), ‘Amar Jyoti’ (1936), and ‘Duniya Na Maane’ (1937).
With the success of the film distribution work, Ravindra became interested in film making. He persuaded his uncle Dalsukh Pancholi to make him Production Manager for his film ‘Chaudhary’ (1941). In his next film ‘Poonji’ (1943), Pancholi gave him the chance to co-direct the film along with Vishnu Pancholi. With his talent firmly established in film making, Pancholi gave him the assignment of writing the script for ‘Dhamki’ (1943) and directing it.
When Ravindra Dave was directing Pancholi’s next film, ‘Patjhad’ (1948), the partition happened and the communal riots that broke out in Lahore made him and Pancholis to come to Bombay with the completed reels of the film which was later released in 1948 after completion of the film in Bombay (Mumbai). For both Pancholis and Ravindra Dave, it was like starting their filmy career afresh.
As I had mentioned in my last article, Mulkhraj Bhakri was also a victim of partition and had come to Bombay (Mumbai) after the partition along with his brothers. He became the rallying point for displaced film artists and technicians from Lahore. Bhakri who was the ‘de facto’ producer of the film ‘Chunariya’ gave Ravindra Dave his first assignment in post-partition India to direct the film. Next, Dave got Prakash Pictures’ ‘Saawan Baadhon’ (1949) to direct.
With the business acumenship which was in his blood, Dave produced his first film ‘Chakori’ (1949) which was directed by his brother, Ramnarayan Dave. In the meanwhile, his uncle Dalsukh Pancholi who was producing his first film ‘Meena Baazar’ (1950) in post-partition India, assigned the film to Ravindra Dave to direct it.
During his Hindi film career, Ravindra Dave directed about 30 films between 1943 and 1969 which include ‘Nagina’ (1951), ‘Moti Mahal’ (1952), ‘Bhai Saheb’ (1954), ‘Shikar’ (1955), ‘Chaar Minaar’ (1956), ‘Agra Road’ (1957), ‘Post Box 999’ (1958), ‘Guest House’ (1959), ‘Girls’ Hostel’ (1962), ‘Punar Milan’ (1964),‘Dulha Dulhan’ (1964), and Raaz’ (1967). The last Hindi film which he directed was ‘Road to Sikkim’ (1969). Most of the Hindi films which he directed were those where either Dalsukh Pancholi or Mulkhraj Bhakri was the producer / writer / lyricist etc.
From 1970 onward, Ravindra Dave got himself completely associated with Gujarati films with his debut film ‘Jesal Toral’ (1971) which was his home production. The film was made in Eastman colour and was one of the biggest hits in Gujarati cinema. Thereafter, he was exclusively with the Gujarati films directing 20-25 films until 1985.
Ravindra Dave breathed his last on July 21, 1992.
‘Chunariya’ (1948) was a box office hit film which helped the career revival of some of the displaced persons from the Lahore film industry. The film was produced under the banner of Kuldeep Pictures of Kuldeep Sehgal from Lahore who seems to me to be more a financier than the producer of the film. It was directed by Ravindra Dave. The story, dialogues, screen-play and lyrics were written by Mulkhraj Bhakri, and the production controller was his brother Lekhraj Bhakri, both from Lahore.
For music director Hansraj Bahl, the success of the film was a blessing after continuous flops of his prior 4 to 5 films. The success of the film ensured that he was kept busy in his work for the next 5 years which became the busiest period of his career. Mohammed Rafi and Lata Mangeshkar who were yet to firmly establish themselves as playback singers, gave one of their best renditions of 1940s in this film with their hit solo songs, “Sab Kuchh Lutaayaa Hum Ne Aa Kar Teri Gali Mein” and “Dil e Naashaad Ko Jeene Ki Hasrat Ho Gayi Tum Se“, respectively.
‘Chunariya’ had 10 songs out of which 6 songs have already been covered in the Blog. Here is the 7th song “Hansi Le Ke Aaye Thhe Ro Kar Chale’ sung by SD Batish. The song is written by Mulkhraj Bhakri.
[Note: The above bio-sketch on the early life of Ravindra Dave is based on a short article written by character actor Janki Dass which appeared in May 1949 issue of ‘Sound’ magazine.]
Song – Hansi Le Ke Aaye The, Ro Kar Chale (Chunariya) (1947) Singer – SD Batish, Lyrics – Mulkhraj Bhakri, MD – Hansraj Behl
Lyrics
hansi le ke aaye thhe
ro kar chale
hum ashkon se daaman
bhigo kar chale
hum ashkon se daaman
bhigo kar chale
hansi le ke aaye thhe
ro kar chale
hum ashkon se daaman
bhigo kar chale ae
hum ashkon se daaman
bhigo kar chale
huyi duniya meri andher hai
huyi duniya meri andher hai
ho ye kismet meri ka koi khel hai
huyi duniya meri andher hai
huyi duniya meri andher hai
muqaddar ki kha kar thokar chale ae
hansi le ke aaye thhe
ro kar chale
hum ashkon se daaman
bhigo kar chale
kiya kis liye hamko qadamon se door
kiya kis liye hamko qadamon se door
o bataayaa to hotaa hamaara qasoor
kiya kis liye hamko qadamon se door
kiya kis liye hamko qadamon se door
chalen hain magar tere ho kar chale ae
hansi leke aaye thhe
ro kar chale
hum ashkon se daaman
bhigo kar chale
tamannaayen dil ki..ee
to dil mein rahi hain. . .
meri hasraten. . .
ban ke aansoo baheen hain
milaa thha jo mushkil se
kho kar chale
hansi le ke aaye thhe
ro kar chale
hum ashkon se daaman
bhigo kar chale ae. . .
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
हंसी ले के आए थे
रो कर चले
हम अशकों से दामन
भिगो कर चले
हम अशकों से दामन
भिगो कर चले
हंसी ले के आए थे
रो कर चले
हम अशकों से दामन
भिगो कर चले
हम अशकों से दामन
भिगो कर चले
हुई मेरी दुनिया मेरी अंधेर है
हुई मेरी दुनिया मेरी अंधेर है
हो ये किस्मत मेरी का कोई खेल है
हुई मेरी दुनिया मेरी अंधेर है
हुई मेरी दुनिया मेरी अंधेर है
मुकद्दर की खा कर ठोकर चले
हंसी ले के आए थे
रो कर चले
हम अशकों से दामन
भिगो कर चले
किया किस लिए हमको कदमों से दूर
किया किस लिए हमको कदमों से दूर
ओ बताया तो होता हमारा कसूर
किया किस लिए हमको कदमों से दूर
किया किस लिए हमको कदमों से दूर
चलें हैं मगर तेरे हो कर चले
हंसी ले के आए थे
रो कर चले
हम अशकों से दामन
भिगो कर चले
तमन्नाएँ दिल की॰॰ई
तो दिल में रही हैं॰॰॰
मेरी हसरतें॰॰॰
बन के आंसू बही हैं
मिला था जो मुश्किल से
खो कर चले
हंसी ले के आए थे
रो कर चले
हम अशकों से दामन
भिगो कर चले॰॰॰
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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.
Remembering Geeta Dutt.
She passed away 45 years ago on 20th July in 1972, brining to close a tumultuous and tragic life, all of 41 years. A voice that held so much promise, and yes, she gave too, so many wonderful gems to remember her by. Just going by the numbers – the decade of 1950s carries close to 850 songs sung by her. And then, in the 1960s, she has recorded less than hundred. And the majority of them belonging to the first half of the decade.
Emotional stability and personal circumstances have such big impact on the performance and output of an artist. It is difficult, and even unfair, to comment on a artist’s portfolio of work, trying to juxtapose it against the personal ups and downs. But in some cases, it stands out quite starkly. The 1950s were the heydays for Geeta Rai, later to be Geeta Dutt, when she married Guru Dutt in 1953. But then, subsequently, a film maker’s life became an impediment in the relationship. Both spouses are artists and creators par excellence, and based on what is written about them, also very sensitive individuals. Thankfully, both are non-compete. And yet, the personal affairs, and the airing of these personal matters in public and media, took a heavy toll of personal energy and emotions, impairing to an extent, their abilities to perform.
In early 1960s, we see a slowdown in Geeta’s output. And then, the tragedy strikes – come 1964 and Guru Dutt is no more. The devastation that descends on Geeta is visible simply from the quantum of her artistic output. Especially in the latter half of 1960s, the songs by her are reduced to a trickle, with just a handful being recorded each year.
The decade turns into 1970s. Just one released film ‘Anubhav’ (1971) with a set of three superb renditions. For a moment, the media, the industry watchers and the listeners, are all agog. The expectations rise once again; here a comeback seems to be in the offing. But then a more tragic news follows almost immediately. She herself is gone; just in 1971 itself. A brilliant blaze that is gone in a flash. The world would no more hear any new songs in her voice. And the songs of ‘Anubhav’ – three recordings that are so full of life, are so reminiscent of the Geeta of 1950s – these become her swansong, so unfortunately. Speculations is all that remains.
For today’s remembrance I am able to pull out this touchingly poignant rendition from one of her very early films, not easily remembered and not easily available. The year is 1947. The industry and the listening public has already stood up to the vibrant sounds of ‘Do Bhai’ that have been rendered under the baton of SD Burman. In the same year, the film ‘Jadui Ratan’ was released. And this new voice of a young girl of 16 is taken up by Chitragupt, another relatively newcomer in the industry, for this film. The film is produced under the banner of Kismet Pictures, Bombay, and is directed by Natwar Shyam. Chitragupt had young Geeta Roy sing two duets and one solo song in this film.
I am presenting today the solo song – “Rut Badal Gayi, Wo Taraana Badal Gaya”. Geet Kosh lists two songwriters for this film namely Behzaad and Kamlakant. However, the assignment of specific songs to individual songwriters has not been made.
A tender and touching melody from seventy years ago, sung by a young girl of 16 at the time of recording. Listen to this beautiful rendition, and marvel at the emotive potential this voice carried, at that young an age.
Song – Wo Rut Badal Gayi Wo Taraana Badal Gaya (Jadui Ratan) (1947) Singer – Geeta Roy, Lyrics -[Unattributed], MD – Chitragupt
Lyrics
wo rut badal gayi
wo taraana badal gaya
tum kya gaye
ke hum se zamaana badal gaya
wo rut badal gayi
wo taraana badal gaya
tum kya gaye
ke hum se zamaana badal gaya
ye keh ke phir guzar gayi
fasl e bahaar bhi
phoolon mein tha jo apna thikaana badal gaya
tum kya gaye
ke hum se zamaana badal gaya
main kis tareh sunaaun
tumhen dastaan e dil
main kis tareh sunaaun
tumhen dastaan e dil
aankhon mein ashq aaye
fasaana badal gaya
tum kya gaye
ke hum se zamaana badal gaya
kumhla chuke hain phool
sitaare udaas hain
kumhla chuke hain phool
sitaare udaas hain
ab intezaar ka bhi
zamaana badal gaya
tum kya gaye
ke hum se zamaana badal gaya
wo rut badal gayi
wo taraana badal gaya
tum kya gaye
ke hum se zamaana badal gaya
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
वो रुत बादल गयी
वो तराना बादल गया
तुम क्या गए
के हमसे ज़माना बादल गया
वो रुत बादल गयी
वो तराना बादल गया
तुम क्या गए
के हमसे ज़माना बादल गया
ये कह के फिर गुज़र गयी
फस्ले बहार भी
फूलों में था जो
अपना ठिकाना बादल गया
तुम क्या गए
के हमसे ज़माना बादल गया
मैं किस तरह सुनाऊँ
तुम्हें दास्तान ए दिल
मैं किस तरह सुनाऊँ
तुम्हें दास्तान ए दिल
आँखों में अश्क आए
फसाना बादल गया
तुम क्या गए
के हमसे ज़माना बादल गया
कुम्हला चुके हैं फूल
सितारे उदास हैं
कुम्हला चुके हैं फूल
सितारे उदास हैं
अब इंतज़ार का भी
ज़माना बादल गया
वो रुत बादल गयी
वो तराना बादल गया
तुम क्या गए
के हमसे ज़माना बादल गया
Dil Liya Gham Diya Kya Kiya
Posted on: July 15, 2017
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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.
Missing Films of 1960s – 33
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Unbelievable – that this song is still waiting to be posted.
This gem of a song, a forgotten favorite from the radio listening days. Such a lovely and soulful song, a wondrous melody that enhances the poignancy of the emotions contained within the words. And the words – what an ocean of feelings has been captured and bundled, just within the three phrases of the first line itself,
dil liya. . . gham diya. . . kya kiya. . .
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Roney Se Nahin Fursat Jisko
Posted on: June 26, 2017
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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 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.
At the time of the release of National Studios’ film ‘Roti’ (1942) in August 1942, the production house was sold to KM Modi, a prominent film exhibitors of that time who had no interest in producing films. At that time, three films of National Studios were under the advance stage of completion. ‘Jawaani’ (1942) was one among the three films, other two films being ‘Lala ji’ (1942) and ‘Apna Paraaya’ (1942). Anil Biswas was the music directors for all the three films.
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Guzra Hua Ulfat Ka Zamaana
Posted on: June 21, 2017
- In: Biography of artists | Biography of lyricist | Devnagri script lyrics by Sudhir | Feelings of heart | Guest posts | Lata solo | Lata song | Lyrics contributed by readers | Missing the loved ones | Post by Sadanand Kamath | sad song | Songs of 1950s (1951 to 1960) | Songs of 1954 | Vagaries Of Love | Yearwise breakup of songs
- 22 Comments
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 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.
This post is 501st post by Sadanand Ji. Due to a tagging error, we all missed the event of 500th post by him (his previous post).
In the early part of the golden era of Hindi film music, there were many films which were box office disasters. These films got released but vanished from the theatres quickly. These films also got ‘erased’ from the memories of the film audience of that time except those who had interest in Hindi film history. Some of such obscure films had the treasures of melodious songs.
If I confine myself to the first half of 1950, I get quite a good numbers such obscure films having melodious songs. Some of such films were ‘Adaa’ (1951, Madan Mohan), ‘Malati Madhav’ (1951, Sudhir Phadke), ‘Ghunghroo’ (1952, C Ramchandra), ‘Nirmohi’ (1952, Madan Mohan), ‘Raag Rang’ (1952, Roshan), ‘Baaghi’ (1953, Madan Mohan), ‘Fareb’ (1953, Anil Biswas), ‘Jhaanjhar’ (1953, C Ramchandra), ‘Chor Baazar’ (1954, Sardar Malik), ‘Naaz’ (1954, Anil Biswas), ‘Rishta’ (1954, K Datta), ‘Garam Coat’ (1955, Amarnath Chawla), ‘Madhur Milan’ (1955, Bulo C Rani) etc. The list is not exhaustive.
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Mann Ko Kaise Behlaayen
Posted on: June 18, 2017
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 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.
Before the partition in 1947, two of the well-known and successful Lahore-based producers-directors were Dalsukh M Pancholi of Pancholi Art Pictures and Roop K Shorey of Shorey Pictures. After the partition, both of them had to shift to Bombay (Mumbai), having lost their assets including the studios which were burnt down during the communal riots. It took some time for both of them to re-organise their film production companies in Bombay. Roop K Shorey released his first post-partition film, ‘Ek Thhi Ladki’ (1949) under a new banner, Shorey Films. Dalsukh M Pancholi took one more year to release his first post-partition film ‘Meena Baazar’ (1950) under a new banner, Pancholi Productions.
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This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
“Nisbat”(1949) was directed by S Shamsuddin for Hindustan Art Productions, Bombay. This social movie had Yakoob, Munawwar Sultana, Mirza Musharraf, S Mazhar, Baby Zubeida, H Prakash, Sofia, Jillo etc in it.
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- 4 Comments
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.
The first time I saw this film, it was on Doordarshan, and the only song that I could appreciate (given my age) was “Bibi Mendaki Ri Tu To Paani Mein Ki Raani”. Rest of the film, its emotional and familial nuances were all lost on me. Those were the days, when watching television was a privilege bestowed upon oneself by a friendly neighbor. One would go to watch television at a neighbor’s home, or hang on to the windows, if entry was not permitted. And so, the opportunity that one gets to watch a movie was in itself a treat, and an accomplishment. And one always wanted to make the most of such opportunities. Getting bored was not only not an option, but it was a thought furthest from the mind. I have this placement in front of a TV screen, and I will watch it for as long as I am allowed, whatever may be the content. The serious stuff was mostly OHT (Overhead Transmission), and the mind would remember and register the fun parts like Balraj Sahni having poori and lassi at a halwai shop in the morning before reaching his office, or singing this above mentioned song with his children on the Sunday when he is at home. But as far as watching time is concerned, it was to be religiously spent, to watch the entire film, whether I could make out more of it or not.
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Shamma Bujhne Ko Chali
Posted on: April 16, 2017
- In: "Broken heart" song | "Sacrificing in love" song | "weepy" song | Background song | Devnagri script lyrics by Sudhir | Feelings of heart | Guest posts | Lyrics contributed by readers | Melancholic song | Post by Sudhir | Rafi solo | Rafi songs | sad song | Shama Parwana song | Songs of 1960s (1961 to 1970) | Songs of 1964 | Yearwise breakup of songs
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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.
Mohammed Rafi – ‘अ’ से ‘ह’ तक (From ‘अ’ to ‘ह’) – 35
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‘श’
“शम्मा बुझने को चली”
Of the many colors of Rafi Sb’s voice, probably the most touching, and the most impressive is his interpretation of the emotions of sadness. Maybe, it be so that the “. . . sweetest songs are the ones that tell of the saddest thoughts” (from the poetry of Percy Shelley, that inspired the iconic song of ‘Patita’ (1953) – “Hain Sab Se Madhur Wo Geet Jinhen Hum Dard Ke Sur Mein Gaate Hain”). And maybe, that the genuineness and honesty of expressions that go together with the unfeigned and substantive voice of Rafi Sb, it simply makes us feel the true depth of this ‘sweetness’ – a sweetness that touches a very familiar, a very dear chord within.
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