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

Archive for the ‘Sandhya Mukherji Songs’ Category


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 :

4123 Post No. : 15277 Movie Count :

4202

For the general Hindi film audience, Suchitra Sen (real name: Roma Dasgupta) is synonymous with her lead roles in ‘Bambai Ka Babu’ (1960) with Dev Anand, ‘Mamta’ (1966) with Ashok Kumar and ‘Aandhi’ (1975) with Sanjeev Kumar. The second category of audience with academic interest in Hindi films will add four more of her Hindi films – ‘Devdas’ (1955) in the role of Paro with Dilip Kumar, ‘Musafir’ (1957) with Shekhar, ‘Champakali’ (1957) with Bharat Bhushan and ‘Sarhad’ (1960) with Dev Anand. Those in the latter category of Hindi film buffs would also know that Suchitra Sen worked in many Bengali films and the Bengali film audience loved to watch their favourite on-screen couple, Suchitra Sen and Uttam Kumar.

I was in the second category insofar as Suchitra Sen was concerned until recently. But in my quest to get a few rare Hindi film songs in Bengali films made me to watch some of the popular and critically acclaimed Bengali films of the golden era (1950-75). In this process, I came to know about the important contributions made by Suchitra Sen and Uttam Kumar among others in reviving the Bengali film industry after the decline of big film productions banners like New Theatres, M P Productions (of P C Barua) and the collapse of the studio system.

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 the very few close confidants of Suchitra Sen until her death, I have given below some interesting aspects of her filmy career based on these readings:

1. Suchitra Sen (06/04/1931 – 17/01/2014) migrated from then East Bengal (now Bangla Desh) to Kolkata with her family in 1947. She joined film industry in 1952 when she was already married to Dibanath Sen, a Marine Engineer and the son of an Industrialist in 1947 at the age of 16.

2. She acted in her fist film ‘Shesh Kothay’ (1952, Bangla) which was never released. Her first officially released film was ‘Saat Number Kayedi’ (1953, Bangla)

3. Her second released film was ‘Sharey Chauttor’ (1953, Bangla), a light comedy film which was also her first film with matinee idol, Uttam Kumar, then nick named in the Tollygunj studio circle as a ‘flop hero’ because all the films he worked during 1948-52 were box office failures. With this film, Uttam Kumar made an impressive turnaround in his filmy career with Suchitra Sen. From this film onward, Bengali filmy audience adored them as the most iconic romantic pair in the Bengali films.

4. During her filmy career (1953-78), Suchitra Sen worked in 61 films (including 7 Hindi films) out of which she paired with Uttam Kumar in as many as 30 films. Almost all of their films were box office hits.

5. When Suchitra Sen was 39, she lost her husband, Dibanath Sen in 1970 while he was on a visit to USA. However, she kept her shooting schedules, more or less, as planned to avoid financial losses to the producers.

6. A glance through her filmography and brief story lines of most of her films gives an impression that Suchitra Sen had handled her filmy career, especially from 1960, onward very professionally. She appears to be selective in accepting the films. Most of her films have a strong story-line and she had almost equal footage in films along with lead actors. In this process, she had ensured that she had ample scope for portraying her characters in the films and was not over-exposed to her audience.

7. Suchitra Sen declined the offer of Satyajit Ray’s film because he had put a condition that she had to give bulk dates for shooting and during the making of the film, she should not work in any other films. Satyajit Ray decided to abandon the film rather than taking any other female actress. She had also declined the offer of Raj Kapoor to work in one of his films (My wild guess is that it was for ‘Sangam’ (1964) because he had also made an offer to Uttam Kumar for a role in his film ‘Sangam’ (1964) which he had also declined. The role went to Rajendra Kumar.)

8. Suchitra Sen was the first Bengali film actress to get the best actress award in any International Film Festival for her role in Bangla film ‘Saptapadi’ (1961) in Moscow International Film Festival, 1963.

9. After the box office failure of her last film ‘Pranay Pasha’ (1978), Suchitra Sen retired from the film industry at the age of 47. It was first thought that she had timed her retirement at the peak of her career. 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 with close circles of family and a few friends.

During her last 35 years, Suchitra Sen completely avoided public exposure. Even during the death of Uttam Kumar in 1980, she visited his house after mid-night to offer her condolence. It is believed that she had decline to accept Dadasaheb Phalke Award in 2005 mainly to avoid the public appearance. In 2012, Government of West Bengal gave her ‘Banga Bibushan Award’ but she did not attend the function. Moon Moon Sen, her daughter accepted the Award on her behalf.

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. As per her wish, her body was put in the casket with tinted glasses and was cremated as the earliest (in about 5 hours from the time of her death). So even in death, she ensured her privacy.

Dilip Kumar who had worked with Suchitra Sen in her first Hindi film ‘Devdas’ (1955) in the role of Paro, paid tributes to her upon her death in January 2014 which are reproduced below:

Suchitra had peerless, expressive eyes. She conveyed volumes with a single look. During an intense scene in Devdas, I had to look straight into her eyes and convey romance filled with pathos. She reacted uniquely, looking with equal intensity at me and doing a slight lip movement which was excellent. Bimal da complimented her after that shot and so did I.

Professional to the core, Suchitra maintained a distance from film folk and never opened up unless she was comfortable with the person she was interacting with. She preferred to work in silence. But she never disrespected anyone. As an artiste, she gave full respect to even a spot boy.

Her Hindi had a Bengali accent but it sounded sweet. She could give five modulations to a single dialogue. After Devdas, we worked in Musafir in 1957, but we were not paired together. I will never forget the serenity she lent to the bhajan, ‘man re hari naam karna’ by Lata Mangeshkar.

We shared a great work rapport, but I must confess, her pairing with Uttam Kumar was the greatest. Suchitra was unparalleled in ‘Saat Paake Bandha’, ‘Uttar Phalguni’ and ‘Deep Jwele Jai’. An actress of international calibre, her looks were simply haunting. [Source: The Times of India, updated version dated 17/01/2017].

Many of Suchitra Sen’s Bangla films were not only box office hits, some of them 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.

I am presenting a Hindi song ‘zindagi ki ye bhool thhi’ from the film ‘Uttar Phalguni’ (1963, Bangla) sung by Sandhya Mukherjee. The name of the lyricist is not known. The song was set to music by Robin Chatterjee.

Suchitra Sen had a double role – both mother and daughter in this film which was produced by Uttam Kumar. But he did not act in this film. Suchitra Sen later did the same double role in the Hindi version ‘Mamta’ (1966).

Unfortunately, the video clip of the song is not available. In fact, I did not find the song in the DVD of the film. Since Sandhya Mukherjee had sung for Suchitra Sen in this film, I guess, the song was picturized on Suchitra Sen. The wordings of the song give me an impression of a mujra song, the similar situational song in Hindi version of the film could be rahte thhe kabhi jinke dil mein.

Audio Clip:

Song-Zindagi ki ye bhool thhi (Uttar Phalguni)(Bangla)(1963) Singer-Sandhaya Mukherjee, MD-Robin Chatterji

Lyrics

aa aa aa aa aaa
aa aa aa aa aaa
aa aa aa aa aaa
aa aa aa aa aaa
zindagi ki ye bhool thhi
pyaar kisi se ho gaya
zindagi ki ye bhool thhi
mohabbat ki thandi chhaon mein
naadaan dil thha so gaya
zindagi ki ye bhool thhi

kaisi ye dillagi huyi
dil nahin akthiyaar mein
kaisi ye dillagi huyi
dil nahin akthiyaar mein
gumnaam ek sandesha hai
koyal ki har pukaar mein
gumnaam ek sandesha hai
koyal ki har pukaar mein
lut gayi main to jeete jee
haay kisi ke pyaar mein
phool dikha ke dhool mein
kaanta koi chubho gaya
zindagi ki ye bhool thhi

meri nasheeli aankh mein ae
meri nashee….li aankh mein
tasveer kiski bas gayi
tasveer kiski bas gayi
khel samajh ke prem ke
jaal mein main to phans gayi
lut gayi dil ki har khushi
lut gayi dil ki har khushi
hansne ko main taras gayi
saahil pe la ke naav ko
saahil pe la ke naav ko
mallah khud dubo gaya
zindagi ki ye bhool thhi
pyaar kisi se ho gaya
zindagi ki ye bhool thhi


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 :

4095 Post No. : 15241

Today, 4th October, is the 88th birthday of Sandhya Mukherjee. The grand old dame is one of the premier playback singers in Bangla cinema. In Hindi films, her contribution is limited to about 30 songs. Her involvement in Hindi films starts with the 1948 film ‘Jhoothi Kasmen’, and her singing assignments are spread over a decade and a half, till the mid 1960s.

A chance encounter with this song prompted the preparation of this post. I came across this song just a few hours ago, and listening to it was love at first hear. Such a lovely melody and arrangement, and such wonderful rendition, this song belongs to that category of unknown and hidden gems, which surprise the listener with their simplicity and beauty. I have listened to it many times since I discovered it earlier in the evening, and I do not seem to be getting enough of it.

The film is ‘Ratnadeep’ from 1952. The film is produced and directed by the legendary Debaki Kumar Bose, for the banner of Chitramaya, Calcutta. The cast of actors is listed as Anuva Gupta, Manju Dey, Molina Devi, Chhaya Devi, Tangamani, Harini, Bakul Ghosh, Abhi Bhattacharya, Pahadi Sanyal, Niteesh Mukherji, Tulsi Chakravarty, Kamal Mishra, Raj Kumar Soni, Sudheer  Chakraborty, Gokul Mukherji, and Gauri Shankar. The film is based on the Bangla novel of the same name, written by Prabhat Kumar Mukherjee.

Eight songs are listed for this film. The music director is Robin Chatterji. Two of the songs are traditional bhajans originally composed by Meerbai and Vidyapati. The remaining six songs have been written by the songwriters Pandit Madhur and Mahendra Pran. However, the lyricist for each individual song is not specifically identified.

We wish Sandhya ji a very happy 88th birthday. May she be blessed with many more years of good health and happiness.

Song – Raat Ne Aa Ke Din Ko Chooma, Saanjh Suhaani Aayi  (Ratnadeep) (1952) Singers – Sandhya Mukherji, Lyrics – [Unattributed], MD – Robin Chatterji

Lyrics

raat ne aa ke
din ko chooma
saanjh suhaani aayi aayi
saanjh suhaani aayi
saanjh suhaani aayi manwa doley
raat ne aa ke
din ko chooma
saanjh suhaani aayi

chanda karey ishaare
koi mujhe pukaare
chanda karey ishaare
kya jaanun main aaj bhala kyon
mann hi mann sharmaai
saanjh suhaani aayi aayi

baalapan ke sapne jaage
jaagi mast jawaani
haaye jaagi mast jawaani
duniya ki har ?? suhaani
?? ban karv itraai
tum ban jaao main o saajan
aawo main tum ban jaaun
ye madmaati saanjh salona
ye madmaati saanjh salona
salona sandesa laai
saanjh suhaani aayi aayi

aankhon se tum dil mein aaye
phir bhi rahe kyon praaye
phir bhi rahe kyon praaye
itna to batla do kyon tum
aaj baney harjaai
saanjh suhaani aayi aayi
saanjh suhaani aayi aayi
saanjh suhaani aayi aayi

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

रात ने आ के
दिन को चूमा
साँझ सुहानी आई आई
साँझ सुहानी आई
साँझ सुहानी आई मनवा डोले
रात ने आ के
दिन को चूमा
साँझ सुहानी आई

चंदा करे इशारे
कोई मुझे पुकारे
चंदा करे इशारे
क्या जानूँ मैं आज भला क्यों
मन ही मन शरमाई
साँझ सुहानी आई आई

बालपन के सपने जागे
जागी मस्त जवानी
हाए जागी मस्त जवानी
दुनिया की हर ?? सुहानी
?? बन कर इतराई
तुम बन जाओ मैं ओ साजन
आवो मैं तुम बन जाऊँ
ये मदमाती साँझ सलोना
ये मदमाती साँझ सलोना
सलोना सँदेसा लाई
साँझ सुहानी आई आई

आँखों से तुम दिल में आए
फिर भी रहे क्यों पराये
फिर भी रहे क्यों पराये
इतना तो बतला दो क्यों तुम
आज बने हरजाई
साँझ सुहानी आई आई
साँझ सुहानी आई आई
साँझ सुहानी आई आई

 


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 : 3730 Post No. : 14673

The palat side of today’s song, was posted – goodness, four years ago.  And Sandhya ji is now completing 87 years today, and stepping into her 88th. Abundant greetings to Sandhya Mukherji – we wish for her good health and comfort, and that we may get many more such opportunities to greet her.

Four years back, I had posted the lovely, lively “O Re Jeene Waale, Hans Le Gaa Le Dhoom Mach Le” – one of her very few non film songs recorded in Hindi. From the same gramophone record (GE 24065 – Columbia), I present today, the song from the other side. A more poignant song, a sad song of separation – this song is no less iconic. As I tried to search for more, I drew a blank (so far).  It seems that this gramophone record and these two songs may well be the only two non-film Hindi songs that have been recorded by Sandhya ji.

For a brief bio sketch of this artist, I request readers to go back to the song referred above, and view that article.

She worked at New Theatres from 1948 to 1950, and sang under the music direction of RC Boral. She came to Bombay in 1950 – ‘Sazaa’ (1951) was her debut in the Bombay industry, after which she recorded songs for another eight films. And then, in 1956 she decided to return to Calcutta, after having recorded “Maine Jo Li Angdaai. . .” under the music direction of Salil Da, for the film ‘Jaagte Raho’ (1956). After that, she stayed only in Calcutta, and recorded a few songs for a handful of Hindi films.

Today’s song is penned by Prem Dhawan and is set to music by Kanu Ghosh. The melancholia of this song is such a surprising antipode of the song “O Re Jeene Waale. . .”. Listen and enjoy.

Once again, greetings to Sandya ji, and best wishes for a healthy and comfortable years ahead.


Song – Tum Gaye Lut Gaya Pyaar Ka Ye Jahaan (Sandhya Mukherji NFS)(1950) Singer – Sandhya Mukherji, Lyrics – Prem Dhawan, MD – Kanu Ghosh

Lyrics

tum gaye
lut gaya
pyaar ka
ye jahaan
na rahi
wo khushi
na rahe
armaan

tum gaye
lut gaya
pyaar ka
ye jahaan
na rahi
wo khushi
na rahe
armaan

meri aankhon ki tum
roshni le gaye
meri aankhon ki tum
roshni le gaye
mere hothon ki tum
sab hansi le gaye
ab meri zindagi
zindagi hai kahaan

wo bahaaren gayin
wo nazaare gaye
wo bahaaren gayin
wo nazaare gaye
meri raaton se wo
chaand taare gaye
na meri hai zameen
na mera aasmaan

tum gaye
lut gaya
pyaar ka
ye jahaan
na rahi
wo khushi
na rahe
armaan
——————————————–
Hindi script lyrics (Provided by Sudhir)
———————————————

तुम गए
लुट गया
प्यार का
ये जहां
ना रही
वो खुशी
ना रहे
अरमां

तुम गए
लुट गया
प्यार का
ये जहां
ना रही
वो खुशी
ना रहे
अरमां

मेरी आँखों की तुम
रोशनी ले गए
मेरी आँखों की तुम
रोशनी ले गए
मेरे होठों की तुम
सब हंसी ले गए
अब मेरी ज़िंदगी
ज़िंदगी है कहाँ

वो बहारें गईं
वो नज़ारे गए
वो बहारें गईं
वो नज़ारे गए
मेरी रातों से वो
चाँद तारे गए
ना मेरी है ज़मीं
ना मेरा आसमां

तुम गए
लुट गया
प्यार का
ये जहां
ना रही
वो खुशी
ना रहे
अरमां


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.

Blog Day : 3507 Post No. : 14092

Today’s song is from film ‘Pehla Aadmi’ from 1950.

India became an independent nation on 15th August, 1947. It saw the end of about 100 years of protest, riots, mutinies and revolutionary attacks on the British Raj, who had ruled us for so many years – 190 years, to be exact. That is after Robert Clive won the battle of Plassey in 1757. Besides political upheaval, independence had different impact on different people in India.

Firstly, those millions of freedom fighters who were busy 24 x 7, shouting, protesting and marching against the British, suddenly had no work no do. They faced a big void in their life. Those students who had left their education half way to join the freedom struggle found that they were nowhere now. No education, no jobs and no activity. This led to finding ways of making quick money – like black marketing, political exploitation of the society to make quick bucks, illegal activities etc.

Secondly, the writers and authors who were suppressed and prohibited from writing anti-British articles or even patriotic songs and dramas, found that they now could do so, but there were no takers. The relevance of such writings was lost because India was independent now.

Thirdly, the film makers, who could not express their patriotic urges through films were now free to make such films. There was no need to be symbolic now. Direct expressions were now allowed without restraint.

Even in the patriotism or the independence struggle, there were two divisions. One, which followed the footsteps and teaching of Ahimsa by Mahatma Gandhi and two, was the revolutionary explosive type who believed in bloodshed, punishment and overthrowing the rulers by weapons. For making a film the Gandhi ji’s way was too mild, without any drama, suspense or heroism. So it was the revolutionary way to independence struggle which was opted by film makers. There were many films about freedom struggle – Bhagat Singh and Netaji Subhash Chandra Bose, but very few on Gandhi ji’s teachings like ‘The Last Message’, ‘Ahimsa Path’ (both 1949) and some docu-films.

On the other hand, some films were made about the freedom struggle of revolutionaries like, ‘Azaadi Ki Raah Par’, ‘Desh Seva’, ‘Hua Savera’, ‘Refugee’, ‘Shaheed’, ‘Soldier’s Dream’ (all in 1948); ‘Apna Desh’, ‘Matrubhoomi’ (both in 1949); ‘Hindustan Hamara’, ‘Kashmir Hamara Hai’, ‘Pehla Aadmi’, ‘Samadhi’, (all in 1950); ‘Andolan’ (1951), ‘Anand Matth’ (1952) etc. As the euphoria diminished, such patriotic films too were made infrequently.

The life and times of Netaji Subhash Chandra Bose has always fascinated every Indian. Despite the step motherly treatment and a total neglect many times by the Congress Party, Netaji occupies the number one position as a revolutionary, who had a clear goal, organisational skill, leadership qualities and a well cut out plan to achieve independence. But for the support of Congress leaders of the times, he sure would have achieved his target. Most Indians believe this even today. So, no wonder film makers made films on Netaji in every Indian language.

Calcutta’s New Theatres too did not lag behind and they made a film on the life and times of Netaji. The title of this film ‘Pehla Aadmi’ is very intriguing. To know the background of how this title was selected, let us go back a little and peep into history which few Indians know.

Subhash Chandra Bose as the Supreme Commander of Azad Hind Fauj (aka Indian National Army – INA) adopted in 1943, a variant of Purna Swaraj flag that included the words ‘AZAD’ on the saffron band on top, ‘HIND’ on the bottom green band and in the centre white band a ‘Springing Tiger’ in lieu of Gandhi ji’s ‘Charkha’, symbolising INA’s strength and their indomitable will to fight.

The Indian National Army was born during World War II. Originally, it was founded by Captain Mohan Singh in Singapore in September 1942 with Indian prisoners-of-war (POWs) held by the Japanese army in the Far East. This was with the support of the Indian Independence League, headed by expatriate nationalist leader Rash Behari Bose. However, the first INA was disbanded almost immediately in December 1942 after disagreements between Hikari Kikan and Mohan Singh, who came to believe that the Japanese High Command was using the INA as a mere pawn and propaganda tool. [Ed Note: The Hikari Kikan was the Japanese liaison office responsible for Japanese relations with the INA and the Azad Hind Government in exile.]

However, the idea of a liberation army was revived with the arrival of Subhas Chandra Bose in the Far East in 1943. In July, at a meeting in Singapore, Rash Behari Bose handed over control of the organization to Subhas Chandra Bose. Bose was able to reorganize the fledgling army and gained massive support among the expatriate Indian population in South East Asia, who supported the INA both financially, as well as by enlisting with the INA. At the peak of its activities, INA consisted of about 85,000 troops, including a separate women’s unit, the Rani of Jhansi Regiment, headed by Capt. Lakshmi Swaminathan (aka Capt. Lakshmi Sehgal). Under the leadership of Subhash Bose, this rejuvenated INA fought along with the Imperial Japanese Army against the British and Commonwealth forces in the campaigns in Burma, Assam, Imphal and Kohima, and later, against the successful Burma Campaign of the Allies. The INA stormed and captured the Andaman Islands, and had reached within shouting distance of Chittagong, when the Japanese army surrendered after the atomic bomb attacks on Hiroshima and Nagasaki.

Moirang in Manipur was the headquarters of INA. Colonel Shaukat Malik  hoisted the Tricolour for the first time on Indian soil on 19 March 1944, in Moirang with the help of Manipuris like Shri Mairembam Koireng Singh and others who were members of the INA. It is on this historical episode that Bimal Roy made the film ‘Pehla Aadmi’ in 1950.

The star cast of the film is Balraj Vij, Smriti Biswas, Pahadi Sanyal, Ashita Bose, Paul Mahendra, Zahar Roy, Heeralal, Asit Sen, Bela Bose etc.

Smriti Biswas, a protestant Bangla Christian was born in Calcutta on 17-2-1932. She studied in a Missionary girls’ school. Her father and mother both were Headmaster and Headmistress in other schools. Smriti had a liking for acting. When she was just 12 year old, she acted in film ‘Hamraahi’ (1945) and ‘Dwand’ (Bangla). When this was became at her home, she was put in another school. Later, the family shifted to Lahore. There Smriti acted in film ‘Ragni’ (1945), opposite Pran and also some other films.

After Partition, the family came to Delhi. Smriti met actor / producer / director Dr. SD Narang. He cast her in the film ‘Ek Aurat’ (1948) and Bangla film ‘Chinni Putul’, which became a hit. In 1951, Smriti shifted base to Bombay. According to her interviews, before coming to Bombay she had acted in 26 films. However no details are available for this. In 1953 she acted in ‘Shamsheer’ and also as a heroine opposite to Dev Anand in ‘Hum Safar’.

Though she was a star in Calcutta and Lahore, in Bombay she mostly got roles as a vamp or other supporting roles. She claims to have worked in 90 films. Some of her well known films are, ‘Dilli Ka Thug’, ‘Baap Re Baap’, ‘Bhaagam Bhag’, ‘Sailaab’, ‘Jaagte Raho’, ‘Aab e Hayaat’, ‘Hamdard’, ‘Teen Batti Chaar Raasta, ‘Abhimaan’, ‘Daaka’ etc .

Smriti was proficient in English, riding, swimming and cooking. She could play sitar, harmonium and guitar. She was very jolly like a tomboy. Smriti got married to Dr. SD Narang in 1960 and left films for ever. She gave birth to 2 sons. After the death of Dr. Narang in 1986, she gave her bungalow for development to a builder, who cheated her and she became homeless. She changed 28 houses in Bombay. She also lost her houses in Delhi and Mahabaleshwar due to crooked relatives. Finally, poor Smriti shifted to Nashik and has lived in a 500 sq.feet flat. Till last year she was in Nashik.

The story of ‘Pehla Aadmi’ was written by actor Nazir Hussain (ex INA), the lyrics were by Prakash (ex INA), and the music was by RC Boral. The film was directed by Bimal Roy, assisted by Hrishikesh Mukherjee. This was Bimal Roy’s last film with New Theatres. When he came to Bombay for the premier of the film, he met Hiten Chaudhari, who had worked in NT earlier. He was the first to leave NT and join Bombay Talkies in Bombay. Hiten took Bimal Roy to Bombay Talkies where he was offered the director’s position for the upcoming film ‘Maa’ (1952). Bimal Roy accepted it and settled in Bombay thereafter.

The story of ‘Pehla Aadmi’ is summarized below.

Vijay Kumar and Chaudhari are thick friends, living in Rangoon, Burma. They have a son Kumar and daughter Lata. The children fall in love when young, and decide to get married, with elders’ consent. The year is 1943. Netaji Subhash Chandra Bose arrives in Singapore and tours Far Eastern areas. He invites the youngsters to join his INA to serve the motherland.

Kumar decides to join INA and promises Lata that they will get married after the war is over.  Before going, Kumar’s father gives him a sword to use in the war. Kumar, after his training is over, is sent to the war front. During a battle, his leader is shot. Before dying he gives Indian flag to Kumar and asks him to hoist it after victory.

The battle is won by Kumar’s unit and Kumar proudly unfurls the Indian Flag first time on a liberated Indian town. He becomes the ‘Pehla Aadmi’ to do so. Unfortunately, after hoisting the flag Kumar is shot dead. His body is brought to Rangoon for last rites. Lata is weeping. Kumar’s collegue in the war tells Lata to fulfil Kumar’s job in liberating the country. Lata too joins INA. (No.650)

The film has 11 songs, as listed in the Geet Kosh. Today’s song is the second song on the blog. It is sung by Aparesh Lahiri and Sandhya Mukherjee. Aparesh Lahiri is the father of the jewellery laden music director Bhappi Lahiri. The video shows Balraj Vij and Smriti Biswas.

[Author’s Note: Acknowledgements and thanks to lallantop.com, mukundsathe.com, Harish Raghuvanshi ji, Wikipedia, HFGK and my notes.]

 


Song – Hum Chale Nai Duniya Rachne (Pehla Aadmi) (1950) Singer – Aparesh Lahiri, Sandhya Mukherjee, Lyrics – Prakash BA, Music – RC Boral

Lyrics (Provided by Sudhir)

hum chale
hum chale
hum chale nai duniya rachne
hum chale naya itihas liye
hum chale nai duniya rachne
hum chale naya itihas liye

wo raat andheri barkha ki
olay barse chamke bijli
wo raat andheri barkha ki
olay barse chamke bijli
par thaan liya jab mann me to
hum jaan pe apni khel chale

tum badho
tum badho
tum badho goliyaan phool banen
kante bhi tujhko dhool banen
tum badho goliyaan phool banen
kante bhi tujhko dhool banen
o janewale ja tu ja
bhagwan tumhara bhala kare
o janewale ja tu ja
bhagwan tumhara bhala kare
hum chale nai duniya rachne
hum chale naya itihas liye
hum chale nai duniya rachne
hum chale naya itihas liye

suraj pashchim mein ug aaye
ya chaand sitaare mit jaayen
suraj pashchim mein ug aaye
ya chaand sitaare mit jaayen
main asha deep
main asha deep jalaaye teri raah takun
tu aan miley
main asha deep jalaaye teri raah takun
tu aan miley

jaayenge
jaayenge
jaayenge ab hum tum mil kar
lo prem milan ke din aaye
hum chale
ha ha ha
hum chale

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

हम चले
हम चले
हम चले नई दुनिया रचने
हम चले नया इतिहास लिए
हम चले नई दुनिया रचने
हम चले नया इतिहास लिए

वो रात अंधेरी बरखा की
ओले बरसें चमके बिजली
वो रात अंधेरी बरखा की
ओले बरसें चमके बिजली

तुम बढ़ो
तुम बढ़ो
तुम बढ़ो गोलियां फूल बनें
कांटे भी तुझको धूल बनें
तुम बढ़ो गोलियां फूल बनें
कांटे भी तुझको धूल बनें
ओ जाने वाले जा तू जा
भगवान तुम्हारा भला करे
ओ जाने वाले जा तू जा
भगवान तुम्हारा भला करे

हम चले नई दुनिया रचने
हम चले नया इतिहास लिए
हम चले नई दुनिया रचने
हम चले नया इतिहास लिए

सूरज पश्चिम में उग आए
या चाँद सितारे मिट जाएँ
सूरज पश्चिम में उग आए
या चाँद सितारे मिट जाएँ
मैं आशा दीप
मैं आशा दीप जलाए तेरी राह तकूँ
तू आन मिले
मैं आशा दीप जलाए तेरी राह तकूँ
तू आन मिले

जाएंगे
जाएंगे
जाएंगे अब हम तुम मिल कर
लो प्रेम मिलन के दिन आए
हम चले
हा हा हा
हम चले


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.

“Pahla Aadmi”(1950) was a “historical” movie which was directed by Bimal Roy for New Theatres, Calcutta. The movie had Smriti Biswas, Balraj Vij, Pahadi Sanyal, Ashita Bose, Pal Mahendra, Zahar Roy, Vijay Kumar, Heeralal, Asit sen, Bhoopendra Kapoor, Bela Bose, Puttan, Pt Natwar, Chandtara, Maya 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.

“Izzat” (1952) not to be confused with “Apni Izzat”(1952) was directed by Taimur Behram Shah for Taimur Art Productions, Bombay. The movie had Nirupa Roy, Amarnath, Agha, Jeevan, Manorama, Rajni, Veera, Pesi Patel, Nazira, Baby Kalpana etc. in it.
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 ELEVEN years. This blog has more than 15300 song posts by now.

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