Archive for the ‘Sardar Akhtar Songs’ Category
Sipaahi toone jeet liya maidaan
Posted on: February 27, 2022
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4972 | Post No. : | 16845 |
Today’s song is from the film Phir Milenge-1942.
The film was made by Minerva Movietone. In 1942, WWII was on its peak. Till that time, the Germans were on the attack, but from 1942 onwards, their decline had started and by 1945 end, both Japan and Germany had lost the war and surrendered to the Allies. However, the damage caused by the war situation continued for a few more years and like all other industries the film industry too took time to normalise its set up.
The war affected the film industry mainly in 3 ways. Firstly, the essential commodities like Petrol, Sugar etc went into shortage and the Government put several items under ” Rationing”. The list also included a shortage of Raw Film, the main requirement for making movies. Many restrictions like the length of the film etc were implemented. To rationalise and to take advantage of the powerful media like films, the Government gave additional raw film to producers on ‘ controlled rates ‘, provided they made a film with a story of helping the government war efforts. It was called a “propaganda” film.
Major film producers make a film or two such films to take advantage of the concession and allotment. During this period many such ‘ War effort’ films were made. Some examples are, Master Vinayak made ” Badi Maa”-1945 with Nurjahan and others ( including Lata and Asha). Acharya Atre’s Navyug films made the film ” Panna”-1944 with Jairaj and Geeta Nizami and film ” Phir Milenge”-1942 was made by Minerva Movietone.
The second impact of War, on the Indian Film Industry was that considerable clandestine Black Money entered the film making and many new, so called ‘Producers’, with bags of money were seen making films. Although more money became available to make more films, the directors had to entertain the whims of the producers about selection of actors or changes in the story. Many such producers started to ‘Direct’ the films. This lowered the quality of films, but brought in many new artistes and provided work to more people.
The third effect of the War was the most damaging. Since the new producers and directors did not have their own studios, they started alluring the studio employed artistes by giving more money per film. They hired studios for shooting films. This devastated the ” Studio Culture”, because artistes started “Freelancing”, without getting attached to a studio. This crumbled the studios on one hand and on the other hand the cost of engaging artistes escalated many folds. Before the war, films could be made in 75000 to 1 lakh rupees, now films needed 1 to 2 lakhs to make one film. It went on increasing and today, making a film in the 2020’s decade one needs atleast 40 to 50 crores per film.
Film Phir Milenge-42 had Sardar Akhtar, Sadiq Ali (later on called The Prince of Minerva), Meena, K N Singh, Menaka and a host of others. The film was directed by Sohrab Modi.
Sohrab Modi’s rise from a Stage Actor to a very popular and successful studio owner, actor-famous for his Dialogue Delivery of very long sentences, producer and director is very interesting. With small successes and big failures, he learned the art of giving what the audience liked in those days. However, one drawback of such people is that they can not and do not change as per the need of the times and become obsolete, ending their careers pathetically.
Famous for making large scale films, powerful dialogues and films with a lot of dramatics, Modi could not cope up with the changing tastes of the audience from the 30’s to the 60’s. The audience changed with 2 generations, but Sohrab Modi’s Minerva Movietone could not change their success formula which was not working now unlike earlier times ! May be he never wanted to change-due to self admiration or king size Ego !!
Minerva was the last big studio and film maker in the list of eminent studios established in the 30’s. When Minerva Movietone was established in 1936, there were already studios like Madon Theatres (est.1919), Imperial (1926), Ranjit Studio (1929), Prabhat (1929), Sagar Movietone (1929), New Theatres (1931), Wadia movietone (1931) and Bombay Talkies(1933). Therefore Minerva was the youngest studio. It is to its credit that it survived with dignity for a longer time-and actively too- than its predecessors and competitors, who perished, some tragically, from 1938 (Madon) to Ranjit (1963).
Sohrab Modi was a colossal personality. leela Chitnis,actress who had the experience in working for films made in different centers like Bombay, Poona, Kolhapur, madras, Calcutta,and Lahore writes in her Marathi autobiography ” चंदेरी दुनियेत “, about all major studios. About Minerva, she writes -“The atmosphere in Minerva was very playful, but once Sohrab Modi entered the premises, everyone used to be quiet and only did his work. He was a taskmaster and a great disciplinarian. he did not like people laughing or whiling their work time. it felt like a Jailor taking rounds in the jail. The atmosphere became suffocating sometimes. ”
I liked him and his films. However I always felt that Sohrab Modi was a polished, educated and a white collared version of Dara Singh. I liked his dialogue delivery style. Later I shifted my liking to Raajkumar ‘Jaani’.
In the cast we see a new name Eruch Tarapore. I was keen to know about this actor because of his strange name. It was a typical Parsee name. I searched quite a lot. Ultimately one day I accidentally came across a site about Parsee artistes. I forgot to note down the name and URL address of that site and till today I did not find it ever again. Anyway I found this information about Eruch Tarapore on this site.
Eruch Tarapore was a distant relative of Sohrab Modi and he worked only in Modi’s films. He worked in 16 films, right from Modi’s first film Hamlet-35 up to 1948. Eruch sang one song each in 3 films, Meetha zehar-38, Jailor-38 and Phir milenge-43. He died in 1948.
Today’s song is sung by Sardar Akhtar and chorus. The song was written by Pt. Sudarshan.
Song- Sipaahi toone jeet liya maidaan (Phir Milenge)(1942) Singer- Sardar Akhtar, Lyricist- Pt. Sudarshan, MD- Meer Saheb
Unknown male voice
Chorus
Lyrics
Sipaahi toone jeet liya maidaan
Sipaahi toone jeet liya maidaan
ladta chal tu
badhta chal tu
ladta chal tu
badhta chal tu
saath tere Bhagwaan
saath tere Bhagwaan
sipaahi toone
sipaahi toone
sipaahi toone
jeet liya maidaan
sipaahi toone jeet liya maidaan
?? bahaadur hai tu
?? bahaadur hai tu
ek ladaai jeet gaya
ek ladaai jeet gaya
jo kaala din aaya thha wo
jo kaala din aaya thha wo
hanste hanste beet gaya aa
hanste hanste beet gaya
dekh dekh kar himmat teri
dekh dekh kar himmat teri
duniya hai hairaan
duniya hai hairaan
sipaahi toone jeet liya maidaan
sipaahi toone jeet liya maidaan
kal wo din thha jab duniya ne
kal wo din thha jab duniya ne
dekhta thha laachaar tujhe
dekhta thha laachaar tujhe
aaj ladaai toone jeeti
aaj ladaai toone jeeti
aaj ?? hathiyaar tujhe
aaj ?? hathiyaar tujhe
kal duniya jai jai bolegi
kal duniya jai jai bolegi
hain sabhi ek zabaan
hain sabhi ek zabaan
sipaahi toone jeet liya maidaan
sipaahi toone jeet liya maidaan
sipaahi toone jeet liya maidaan
Kisi se preet na kariyo koye
Posted on: August 5, 2021
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws
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4766 | Post No. : | 16514 | Movie Count : |
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Today’s song is from the film Phir Milenge-1942, a film made by Minerva Movietone and directed by Sohrab Modi. All the 9 songs of the film were written by Pt. Sudarshan and were composed by the Music Director Mir Sahab. The cast of the film consisted of Sardar Akhtar, Sadiq Ali, Meena (Shorey), K.N.Singh, Eruch Tarapore, Manakabai, Ghulam Hussain, Saadat Ali and many others. For the 9 songs 7 singers were used.
Director of the film-Sohrab Modi was married to Mehtab- daughter of Marium, the divorced wife of a small time Nawab from Gujarat and the step sister of Zubeida (Alam Ara fame), Sultana and Shahzadi, daughters of Fatima- the extra-wife of the same Nawab. The Heroine of the film became the wife of Mehboob- the famous director and the owner of Mehboob studios.
It is a well known established fact that in the early years, many women artistes came from lower classes, singing families or Tawaifs and similar types. Most of these girls joined the film line in order to get a rich Seth ji or a suitable husband and spend the rest of the life respectfully. There are many examples of such ‘planned’ marriages in the early era. However, this process continued even in later times.
Film industry is one industry where men and women have to work together. Whether it is an Actor-director or Singer-Composer, for the sake of work they have to spend much time together. No wonder then that Cupid does his work overtime. Sometimes there is mutual attraction and at times there are one sided fires burning. In most cases the one sided fire is extinguished in a very painful way, like what P L Santoshi faced with actress Rehana or the slap Sanjiv Kumar got from actress Nutan.
There were cases when the love of Dilip kumar for Madhubala, died in the High court witness Box, when he gave evidence against her father in the ‘ Naya Daur‘ legal case. Dev Anand’s love with Suraiyya ended happily for Dev Anand with him marrying Kalpana Kartik, but Suraiyya stayed “Unmarried”, in his ” yaad”, throughout her life. Here the villain was her so-called ” Grandmother “, who actually was her own mother, as documented in the book “Stars from another sky” by Saadat Hasan Manto !
The successful 2-way traffic usually ended with a marriage. We can see marriages between producers and Actresses( Himanshu Rai-Devika rani and W Z Khan and actress Nina), directors and singers/actresses ( Nalini jaywant-Virendra Desai, Shaukat Hussain-Noorjehan, Geeta Dutt-Guru Dutt, Lalita Pawar-G.P.Pawar, Rattanbai-Hafiz Khan), Actors and Actresses ( Arun Ahuja-Nirmala devi, Snehprabha Pradhan-Kishore Sahu, Dev Anand-Kalpana Kartik, Dharmendra- Hema Malini, Rajesh Khanna-Dimple Kapadiya, Amitabh Bachchan-Jaya, Abhishek-Aishwarya, Kishore Kumar-Madhubala, Premnath-Bina Rai, Karan Dewan-Manju Desai, Marutirao Pehlwan-Tara Devi.)
There were some odd combinations like Satyendranath Athiah-Bhanu Athaiya (Lyricist-Costume designer),Lyricist-Singer (Amar Verma-Manik Verma), Singer-villain (Shakti Kapoor- Shivangi Kolhapure),Music teacher-student ( Roshan-Ira Moitra, Hemant Kumar-Bela Mukherjee, C.Ramchandra-‘Ben’ Ratan Thakur), and even a singer-Orchestra player (Vinita Amladi-Krishna Chakravarty) and lastly between singer-singers ( Jyoti-G M Durani, Gauhar Karnataki- Bal Gandharva). There were those pairs who were singers-actors ( Amirbai- Himalayawala, Rafiq Gazanavi- Anwari bai).
The interesting group, however, was that of Composer-Singers ( Sudhir Phadke-Lalita Deulkar, Asha Bhosle-R D Burman, Naashad-Premlata, Anil Biswas-Meena Kapoor, Pannalal Ghosh-Parul Ghosh, Khayyam-Jagjit Kaur, Ghulam Haider-Umrao Zia begum, Kamal Dasgupta-Firoza begum, Ninu Majumdar-Kaumudi Munshi).
Additionally, there were some high profile marriages too like, Kardar- Bahar, Mehboob khan-Sardar Akhtar, Sardar Chandulal Shah- Gohar Mamajiwala, Sohrab Modi- Mehtab, Homi Wadia- Fearless Nadia, Zubeida sr – Raja Dhanrajgir, S.D.Narang- Smriti Biswas etc. etc. Each of these marriages has an interesting story behind it. Please note that all these lists quoted in this post are only indicative and not exhaustive. Many more pairs have remained unmentioned.
One of the artistes in the cast of this film is Menaka. She was one of the ” Same Name Confusion” pair, which was operative in the same period, causing severe confusion in their filmographies. These two Menakas caused solid confusion as one of them had worked in films made at Bombay and Calcutta.
Menaka/Menakabai / Menakabai Shirodkar ( Bombay )
—————————————————-
Menaka was born in Lahore in or around 1910. She was from a professional singer family and got training in classical singing. The family was originally from Belgaum and her maiden name was Menaka Belgaonkar. Later she was married and became Menaka Shirodkar.
At the age of 23-24 she landed in Bombay to try her luck in films. In those days such girls from singing families used to get into films easily, due to their singing capability. She joined Minerva and sang in their films, starting with Pukar-39,in which she got only one song.
She was more interested in classical singing and hence concentrated on singing more than acting. However, she did act in 5 films, in which she also sang.
After her film Gul Bakavli-47 she devoted her full time to singing and holding jalsas. Soon she became a known figure in singing circles. After marriage she had two daughters. One of them, Shobha became a famous singer and was known as Shobha Gurtu.
After her singing was over Menakabai Shirodkar-as she came to be known later- retired and settled in Ponda,Goa.
She died on 23-12-2003 at the age of around 93 years.
Filmography-
——————–
.
| Title | Comments |
|---|---|
| Pukar-39 | 1 solo song |
| Paak Daman-40 | Acting and 3 solos+ 1 Duet |
| Main Haari-40 | 1 solo, 2 Duets |
| Bharosa-40 | Acting and 2 solos, 1 Duet |
| Sikandar-41 | 1 solo |
| Ulti Ganga-42 | 1 solo, 1 Trio |
| Phir milenge-42 | Acting and 3 solos |
| Prithwi Vallabh-43 | 2 solos, 2 Duets and 1 Trio |
| Bhakta Raidas-43 | Acting and 1 Duet as Menakabai |
| Dr. Kumar-44 | 1 solo |
| Gul Bakavali-47 | Acting and 4 solos, a Duet..all as Menakabai |
Sadiq Ali- the Hero of this film was known as ” Prince of Minerva”. Sadiq Ali, was born on 6-10-1911 at Jalandhar, Punjab. His 2 cousins- Wazir Ali and Nazir Ali were famous Indian cricketers. Sadiq Ali completed his Engineering degree and worked in M.E.S. at Kanpur (Military Engg. Services). Due to strong desire to work in films and dramas, he resigned from his job after 5 years and joined Agha Hashr’s Drama company. When the company was closed, he joined The Burma Imperial film company at Rangoon. After few small roles, he came down to Bombay.
After working in some smaller companies, he joined Minerva Movietone. Starting with khan Bahadur-37, he worked in Minerva’s Pukar-39, Sikandar-41, Phir Milenge-42, Prithwiraj Sanyogita-43, Parakh-44 (only directed by Modi) and Ek din ka sultan-45, also in Sandesa-39,Black out, Duniya tumhari hai, Phir milenge, Lieutenant, Ulti Ganga, Patharon ke saudagar,Jagbeeti,Nishana, Do Naina, Manjhdar, Mitti etc. In all he acted in 23 films. His last film was Ever Ready-46. After partition, he migrated to Pakistan.
First film in Pakistan was Judai (1950 Shaheena,Nazar and Zeenat). Other film was Shola (1952).
Sadiq Ali was a very successful and famous actor before partition and got the title of Prince of Minerva. He acted in many films in India, but in Pakistan, Sadiq Ali could not be successful as he was in India.
He was paralyzed in the 60’s and could be seen sitting with a Pan shop in Capitol Cinema lane, Karachi. Died on 12-7-1977 in Karachi. In his last days, he was seen begging on the road.
Today’s song, sung by Sardar Akhtar is not sung like a professional singer, though she was one of the famous singers of Hiramandi Bazar of Lahore. I wonder how and why she sang 92 songs in 27 films. I never liked her songs. I think even Naseem Bano sang better than her in ” zindagi ka saaz bhi kya saaz hai”.
With this song, the film ‘Phir Milenge’ makes its Debut on this Blog.
Song- Kisi se preet na kariyo koye (Phir Milenge)(1942) Singer- Sardar Akhtar, Lyricist- Pt. Sudarshan, MD- Meer Saheb
Lyrics
Kisi se preet na kariyo koye
Kisi se preet na kariyo koye
preet jagat ka sundar dhokha
preet jagat ka sundar dhokha
preet kiye dukh hoye
kisi se preet kiye dukh hoye
kisi se preet na kariyo koye
preet patang kare deepak se
preet patang kare deepak se
phir peechhe pachhtaaye
phir peechhe pachhtaaye
deepak preet ki reet na jaane
deepak preet ki reet na jaane
tan man det jaraaye
Kisi se preet na kariyo koye
preet kanwal se bhramar kare hai
baithhe uthh kar jaaye ae
preet kanwal se bhramar kare hai
baithhe uthh kar jaaye ae
saanjh samay jab sot kamal jab
saanjh samay jab sot kamal jab
bhanwra jaan ganwaaye
Kisi se preet na kariyo koye
?? se neh lagaaye
?? kar lehraaye
?? se neh lagaaye
?? kar lehraaye
jhoome jhoole sudh budh bhoole
jhoome jhoole sudh budh bhoole
?? haath ??
Kisi se preet na kariyo koye
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.
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4687 | Post No. : | 16371 | Movie Count : |
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‘Nai Roshni’ (1941) was produced by Mehboob Khan under the banner of National Studios and was jointly directed by Chimankant Gandhi and Lalit Mehta. The star cast included Sardar Akhtar, Harish, Husn Bano, Amar, Kanhaiyalal, Sunalini Devi, Sankata Prasad, Budho Advani, Agha, Baby Meena etc.
The director-pair of Chimankant Gandhi and Lalit Mehta had also directed ‘Aasra’ (1941) and Lala Ji’ (1941) – both under the banner of National Studios. Those days, under studio system, it was not uncommon to have two directors for films. It is possible that the original directors assigned for the films were unable to continue their assignments due to a variety of reasons. But when the same pair of directors is repeated in more than one film, it can be safely assumed that the pair has jointly directed the film. For example, Bakul Bhatt and Babubhai Mistri jointly directed two films – ‘Muqabala’ (1942) and ‘Mauj’ (1943). V G Damle and Sheikh Fattelal jointly directed 3 films – ‘Gopal Krishna’ (1938), ‘Sant Dnyaneshwar’ (1940) and ‘Sant Tukaram’ (1948).
There were a few cases where only one film was jointly directed by the pair of directors but not as a substitute for the original director. For example, Zia Sarhadi and Mahendra Thakore jointly directed ‘Postman/Abhilasha’ (1938), Virendra Desai and Mahendra Thakore did for ‘Sadhana’ (1939) and S U Sanny and M Sadiq for ‘Namaste’ (1943).
On checking the details of some of the films produced under the banners of Sagar Movietone and National Studios, I found that Chimankant Gandhi and Lalit Mehta had worked as Assistant/Chief Assistant Director to Mehboob Khan in some films beside also involved in the other areas of film productions since the early years of Sagar Movietone after the advent of sound films These two names are also mentioned in the book, ‘Sagar Movietone’ by Biren Kothari.
Both Chimankant Gandhi and Lalit Mehta were in the inner circle of friends of Mehboob Khan from his Sagar Movietone days. Chimankant Gandhi had started with Mehboob Khan as his Assistant Director from ‘Deccan Queen’ (1936). He continued his association with Mehboob Khan in the same capacity until Mehboob Khan’s last film, ‘Son Of India’ (1962). I have noticed that in the credit titles of the films, the name of Chimankant Gandhi appeared first and that too in bold/capital letters among Mehboob Khan’s 3-4 assistant directors. This shows how important Chimankant was for Mehboob Khan. Lalit Mehta worked as Production Controller and in other capacity with Mehboob Khan during his days in Sagar Movietone and National Studios until he independently directed ‘Amaanat’ (1943) and ‘Azaadi Ki Raah Par’ (1948). I could not trace Lalit Mehta’s filmy career after 1948.
‘Nai Roshni’ (1942), brings another long-term association of Mehboob Khan with Agha Jani Kashmiri, the story, screen-play and dialogues writer. Lucknow-born Agha Jani Kashmiri (1908-1998) had a very interesting journey to his filmy career. At the age of 24, he ran away from his home to Rangoon to become the lead actor in ‘Shaan-E-Subhaan’ (1933) opposite Sultana. After working in a few films at Kolkata, Agha Jani Kashmiri came to Mumbai some time during the second half of 1930s and joined Bombay Talkies. Himanshu Rai, the boss of Bombay Talkies, after knowing his literary background encouraged him to pursue the career in story, screen-play and dialogue writing. He got the first assignment as a screen-play writer for ‘Vachan’ (1938) which was a box office success. He had a small role in Bombay Talkies next film, ‘Bhabhi’ (1938).
In 1940, Agha Jani Kashmiri joined Mehboob’s National Studios and wrote story, screen-play and dialogues for ‘Aasra’ (1941) and ‘Nai Roshni’ (1941). With the closure of National Studios in 1942, Mehboob Khan set up his own production house, Mehboob Productions. The first film produced under the new banner was ‘Najma’ (1943) for which Agha Jani wrote story, screen-play and dialogues. The film was a box office success. Thereafter, Mehboob Khan and Agha Jani Kashmiri combination tasted high box office success in ‘Taqdeer’ (1943), ‘Humayun’ (1945), ‘Anmol Ghadi’ (1946) and ‘Anokhi Ada’ (1948). Agha Jani Kashmiri’s last film with Mehboob Khan was ‘Amar’ (1954).
During his filmy career, Agha Jani Kashmiri wrote story/scree-play/dialogues for over 50 films most of which were box office hits. It was an irony of fate that ‘Tohfa’ (1948), the only film which he produced, directed and wrote story, screen play and dialogues, failed miserably at the box office. But this failure did not dent his stature as a screen-play and dialogue writer. He continued to be active in the film industry until about mid-1970s when he and his wife migrated to Canada to joined his two sons who have settled there. Agha Jani Kashmiri died on March 27, 1998 in Toronto.
‘Nai Roshni’ (1941) was released in Mumbai on November 8, 1941 and a review of the film was published in January 1942 issue of ‘Filmindia’. Based on the review, a summarized version of the story is given below:
Bihari (Amar) is a bank manager and Indira (Sardar Akhtar) is his fashionable wife. Mohan (Kanhaiyalal) is a clerk in the same bank whose financial condition is poor. He has a demanding wife in Vijaya (Sunalini Devi). His daughter, Geeta (Husn Bano) is of a marriageable age. Master ji (Sankata Prasad)’s family stay in the neighborhood of Mohan who has a grown-up son, Madan (Harish), a music teacher. Geeta has joined Madan’s music class and both love each other. But the marriage will have to wait until the financial condition of her father, Mohan improves.
Bihari has a reputation of having affairs with girls. One day, when his wife is away, he brings a girl to his house but is caught red handed by his wife. In order to bring her husband to the senses, Indira hatches a plan in which she pretends to have an affair with Madan by joining his music class. Madan is unaware that Indira is the wife of bank manager, Bihari. The ‘affair’ comes to the notice of Bihari and he is determined to end his wife’s affair with Madan. However, when he is made to believe that Madan has been staying in his house with Indira, Bihari hatches a counter plan which results into some hilarious situations. The only way, Bihari can end his wife’s ‘affair’ is to get Madan married to Geeta which he succeeds. At the end, parents of Geeta and Madan are happy and Indira is happy that her husband has realised not to have his extra-marital relationship.
The film had 11 songs, all written by Dr. Safdar Aah Sitapuri and set to music by Anil Biswas. None of the videos of the songs was available on any video sharing platform. So, I have uploaded a song, ‘wo poochhten hain ae dil tu kiska hai shaidaayi’ which I am presenting here. The song is rendered by Harish and Sardar Akhtar. The audio quality of the song is not up to the mark as the background music sounds as loud as the song rendition. The reviewer of the film had criticised the sound recording of the film.
A feature of this song is that it has a long prelude music (103 seconds).
With this song, ‘Nai Roshni’ (1941) makes its debut on the Blog.
Audio Clip:
Song-Wo poochhte hain ae dil tu kiska hai shaidaayi (Nai Roshni)(1941) Singers-Harish, Sardar Akhtar, Lyrics-Safdar Aah Sitapuri, MD-Anil Biswas
Both
Lyrics
wo poochhten hain ae dil
tu kiska hai shaidaayi
wo poochhten hain ae dil
tu kiska hai shaidaayi
chup hoon to jiyoon kaise
boloon to hai ruswaayi
chup hoon to jiyoon kaise
boloon to hai rusawaayi
wo poochhten hain ae dil
tu kiska hai shaidaayi
wo poochhate hain ae dil
kyun aag uthaata hai
tu phool ke dhokhe mein
kyun aag uthaata hai
tu phool ke dhokhe mein
leti hai ?? aankhon ko kinaaraa ??
let hai ?? aankhon ko ??
wo kam hai jo kar guzre
deewaana wo deewaana
wo kam hai jo kar guzre
deewaana wo deewaana
jab zabt karaana thha
phir kyun kiya saudaayi
jab zabt karaana thha
phir kyun kiya saudaayi
wo poochhaten hain ae dil
tu kiska hai shaidaayi
wo poochhaten hain ae dil
tu kiska hai shaidaa..yi
Jhanan jhanan mori baaje paayaliyaa
Posted on: April 9, 2019
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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3917 | Post No. : | 14980 | Movie Count : |
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Today’s song is from film Poornima-38.
The film was made by Prakash Pictures- a joint venture of brothers, Shankar and Vijay Bhatt. The film was directed by Balwant Bhatt- not related to them but elder brother of another director Nanabhai Bhatt. In those days Marathi and Gujarati people were found in large numbers in the film industry. The simple reason was that Bombay was in Bombay Presidency and both Bombay(Maharashtra) and Gujarat were its part. Secondly, two two major requirements of films, namely Finance and Actors were available in abundance here. Gujarati people controlled the finance and Marathi people looked after the acting side.
However, for acting and for other branches of film making people from all over India flocked to Bombay, but money investment was done by the locals. If you see the cast of any film made in the early era, you would find names of Muslim girls in abundance. For example, just see the cast of today’s film only. It consists of Sardar Akhtar ( Sardar is a proper name and not a title), Shirin Bano, putli bai,Noorjehan, Tarabai, Nirasha etc. There was a reason for this too.
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,Tawayafs 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,Amir bai,Johrabai,Rattan bai etc etc.
Many young singing girls found 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 Housewife. Some girls got Husbands from Nawabs and the Royalties,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-Dir. in Prabhat Films.
Jaddanbai married a Medical student and a Jahagirdar-Uttamchand. Fatima bai(mother of Alam Ara fame Zubeida) married nawab of Sachin,Guajarat
Sultana married Yusuf laljee,Businessman and chief od Bombay Municiple corpn. Actress Sarojini(Roshan) married Nanubhai Vakil-producer/Dir (Their daughter was actress AZRA)
Actress Indurani (Ishrat)-sister of Sarojini- married Ramniklal Shah-Prod/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, film Zubeida 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-Shaukat hussain rizvi, Meenakumari, Sardar Akhtar, Snehprabha Pradhan, Anil Biswas, Lalita Deulkar etc.
In recent era instances were Waheeda Rehman, Kishore kumar, Asha Bhosle, Hemant kumar, Manik verma, Premlata, Geeta Dutt, Rishi kapoor, Rajesh khanna, Amitabh Bachhan and Abhishek Bachhan 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 Tawayaf 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-34 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 36, she worked in Top ka gola, Snehlata, Passing show and Azad veer. Khwab ki duniya, His Highness and Challenge from 37, State Express and Purnima in 38, 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.
The Heroine of this film was Sardar Akhtar. The life story of Sardar Akhtar- Heroine of this film- is very interesting. Sardar Akhtar was a Punjabi Muslim born in Lahore in 1915. Her mother was a famous singer on the infamous Hira Mandi Road of Lahore. Akhtar learned singing from her mother and also other ustads. Her younger sister Bahar Akhtar was beautiful and a good singer. These sisters were famous as Daaro and Baharo in Lahore. Bahar was hired by United Players Corpn. of Lahore , as a Heroine in their film ” Qatil Katar “. Producer A R Kardar was also its Hero. They fell in love. Bahar was under strict surveilance by her mother, but with the help of a friend, Kardar abducted her and they were married. When this news reached her mother, Akhtar and her mother made a Police complaint against kardar. Kardar and his unit members were arrested and kept in a lock up for few days for abducting a Minor girl. They were released when Bahar herself gave a statement in their favour. Kardar destroyed the negatives of his film to prevent Bahar from further acting in films.
After this episode Akhtar started working in dramas. She went to Calcutta and did a small role in film Dhoop Chaaon-35. From there she came to Bombay and joined Saroj Movietone. She did films like Eid ka chaand,Roop Basant and Naqsh e Sulemani and earned a good name. She acted in films of Minerva and Wadia-mostly stunt action films. Mehboob khan gave her a big role in film Aurat-40 and her image changed. She also did Mehboob’s film Roti, during which they got married on 25-4-1942. They did not have any issues but they adopted Saajid khan, child star of film Son of India-62. After Mehboob’s death in 1964 May, Akhtar lived alone, occasionally visiting Sajid khan, who had settled in USA.
Sardar Akhtar did 44 films. Her last film was Raahat-45. However, she did small roles in films Hulchal-71 and Bandhe Haath-74. Sardar Akhtar sang 92 songs in 27 films. Considering that she was not a regular or playback singer, her 92 songs were highly creditable. Not even 50% of her songs came on gramophone records. During one of her US visits, Sardar Akhtar died there on 2-10-1984. She was a devotee of sufi saint Ashraf khan, her co-star of many films including Roti-42.
The film had 15 songs sung by Sardar Akhtar, Shirin Bano, Ranjit and Shankar Rao Vyas himself. He was the film’s Music Director. This was his first film with Prakash Pictures. He went on working with them in many more films.
Prof. Shankarrao Vyas (1898-1956) was born in Kolhapur on 23-1-1898. His father Ganeshpant was a well known Keertankar and Puranik! So, he was brought up in the religious and musical environment. Unfortunately, Ganeshpant died when Shankar was seven years old. His paternal uncle brought him up for few years. His maternal uncle (Mama) noticed his inclination towards music and enrolled him in the ‘gurukul’ of Maharaj (Pandit) Vishnu Digambar Paluskar.
In those days, students had to sign a bond with the Gandharva Mahavidyalaya. Training period would last 8-10 years and the student would become all-rounder in every field related to music. Thus, Shankar Rao spent nine years in this gurukul, earned ‘Sangeet Pravin’ degree and gold medal for overall development. With the suggestion of guruji, he worked in Lahore vidyalaya for few years.
In 1931, he moved to Ahmadabad for establishing branch of Gandharva Mahavidyalaya. He was an expert not only in vocal music, but could play and repair many instruments including sitar, jaltarang and mendolin. He would conduct orchestra consisting of Indian and western instruments. He was also a very good composer and wrote several bandishes. He was the key person in planning music section of national (Rashtriya) schools: an idea originated by Gandhiji in Ahmadabad.
In 1935, he left Ahmadabad and settled in Bombay. He founded school for music education at Dadar, just outside the western railway station. ‘Vyas Sangeet Vidyalaya’. It is still functioning at this place. His brother Narayanrao Vyas and brother in law Vasantrao Rajopadhye also joined him in this noble cause. Around 1930/31, HMV Company invited both Vyas brothers for recordings and they cut over 200 songs (100 discs) until about 1938. He also cut few orchestral records under ‘Vyas Brothers’ banner playing pure classical ragas. These records were best sellers and company had printed their photographs on record catalogues.
This period was also the beginning of talkie films. Shankar Rao composed music for Hindi (35), Marathi (5), and Gujrathi (3) films from 1937-1955. His first film as a composer was ‘ His Highness’ -37 and the last was ‘ Baal Ramayan’ -released in 56. He also composed background music for fifteen films. Most of his films were based on religious or mythological themes. He also taught music to non-singing actors such as Sardar Akhtar and Shirin Bano. His most famous musical films were – Narsi Bhagat (1940), Bharat Bhet (1941), Ram Rajya (1943, in Hindi and Marathi). Saraswati Rane sung ‘Beena madhur madhur kachu bol’ in raga Bhimpalas in Hindi film ‘Ram Rajya’ and this song became popular throughout India. This was the only film that Gandhji watched in cinema hall and was much impressed with the music. Songs from Marathi version of ‘Ram Rajya’ viz. ‘Sujanho parisa ramkatha’ and ‘Ladkya raanila lagale dohale’ are shown on TV even today.
He was very busy in many fields as a composer, Principal of his music school, author of articles and bandishes, President of Gandharva Mahavidyalaya and founder editor of ‘Sangeet Kala Vihar’ magazine (founded in 1947) of Vidyalaya that is published even today. He passed away at Ahmadabad on 17-12- 1956. He has sung couple of abhangs of Saint Tukaram. These are available on HMV records. Record P 13454 published in 1931 has a sweet abhang – ‘Roopi guntale lochan, charani sthiravale mana’.
Film Poornima-38 was based on the popular famous novel Purnima-in Gujarati- by writer Ramanlal Vasantlal Desai. Let us now enjoy the first song of this film here. The film makes its debut on the Blog.
Song-Jhanan Jhanan mori baaje paayaliya (Poornima)(1938) Singer-Sardar Akhtar, Lyrics-Sampatlal Shrivastav Anuj, MD- Shankar Rao Vyas
Lyrics
Jhanan Jhanan mori baaje paayaliya
Jhanan Jhanan mori baaje paayaliya
baaje paayaliya
jaage saheliyaan
baaje paayaliya
jaage saheliyaan
Jhanan Jhanan mori baaje paayaliya
Jhanan Jhanan mori baaje paayaliya
baaje paayaliya
jaage saheliyaan
baaje paayaliya
jaage saheliyaan
Jhanan Jhanan mori baaje paayaliya
Jhanan Jhanan mori
saas nanadiya mori akeli
saas nanadiya mori akeli
piya milan kaise jaaoon akeli
piya milan kaise jaaoon akeli
daiyya dewarwa paas bithhaawe
daiyya dewarwa paas bithhaawe
Jhanan Jhanan mori baaje paayaliya
Jhanan Jhanan mori baaje paayaliya
baaje paayaliya
jaage saheliyaan
baaje paayaliya
jaage saheliyaan
Jhanan Jhanan mori baaje paayaliya
Jhanan Jhanan mori
jata joot ??
pati shesh chandr ??
lalaat ??
maal gale shesh ??
parvati pati shiva har har
parvati pati shiva har har
parvati pati shiva har har
Jhanan Jhanan mori baaje paayaliya
Jhanan Jhanan mori baaje paayaliya
saas nanadiya mori akeli
saas nanadiya mori akeli
piya milan kaise jaaun akeli
piya milan kaise jaaun akeli
daiyya dewarwa paas bithhaawe
daiyya dewarwa paas bithhaawe
Jhanan Jhanan mori baaje paayaliya
Jhanan Jhanan mori baaje
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 : | 3610 | Post No. : | 14396 |
Today’s song is from an unknown film Fashion-1943.
The film was made by Fazli brothers and was, naturally, directed by one of them- Hasnain Fazli. The music was composed by Shanti Kumar Desai and the Lyricist was Arzoo Lucknowi. The cast of the film was Sardar Akhtar, Chandramohan,Sabita Devi, Bhudo Advani, Nazir Kashmiri etc.
The producers Fazli brothers were the sons of Khan Bahadur S M Fazal Rabb of Beharaich- about 125 kms from Lucknow in U.P. The elder brother was Hasnain and the younger brother was Sibtain. Hasnain Fazli was born on 12-1-1912 in United Province (today’s U.P.). His family belonged to the noble Sayyads of Allahabad. Hasnain was a graduate of Allahabad University. Though his father was a Khan Bahadur, a Government Jahagirdar and lifetime Magistrate, Hasnain refused to do any service and did not complete his I.C.S. studies, as expected by the family.
He had a creative mind. He joined film line. He was very keen on making a film on Muslim Society. In those days it was considered outrageous to produce a film on Muslim society for fear of the ire of the fundamentalists. However Hasnain broke the barrier and the first Muslim Social film Qaidi-40 was produced and directed by him under the banner of Film Corporation of India, Calcutta. Very cleverly, the film was made at Calcutta, ( though the film depicted life in Lucknow ), and not at Bombay to avoid any disruption in the making of the film. The film was made so well that it was received very well by all strata of population, including the Muslims and became a hit film. After this Hasnain made more Muslim social films like Masoom-41, Chowranghee-42, Fashion-43 and Ismat-44. These films discussed Muslim family life and problems etc.
His first directorial film was at his 23rd year- Triya Charitra-35. Then came Sajiv Murti-35, in which the Handsome Vijay Kumar from Himachal Pradesh was the Hero. Fazli brothers also made Dil-46, Mehendi-47, Duniya-49 and Khoobsurat-52. Hasnain was so talented that he himself wrote the film stories, screenplays and dialogues usually.
After the Partition, Fazli brothers migrated to Pakistan. Sibtain remained in Pakistan and Hasnain returned to India to make 2 more films. Later Hasnain too relocated to Lahore and died there on 16-7-1957. His brother Sibtain ( 9-7-1914 to 25-7-1985) who had directed 3 films in India, made 4 films in Pakistan, including the most popular Urdu film of madam Nurjehan-Dupatta-52.
The life story of Sardar Akhtar- Heroine of this film- is very interesting. Sardar Akhtar was a Punjabi Muslim born in Lahore in 1915. Her mother was a famous singer on the infamous Hira Mandi Road of Lahore. Akhtar learned singing from her mother and also other ustads. Her younger sister Bahar Akhtar was beautiful and a good singer. These sisters were famous as Daaro and Baharo in Lahore. Bahar was hired by United Players Corpn. of Lahore , as a Heroine in their film ” Qaatil Kataar “. Producer A R Kardar was also its Hero. They fell in love. Bahar was under strict surveilance by her mother, but with the help of a friend, Kardar abducted her and they were married. When this news reached her mother, Akhtar and her mother made a Police complaint against Kardar. Kardar and his unit members were arrested and kept in a lock up for few days for abducting a Minor girl. They were released when Bahar herself gave a statement in their favour. Kardar destroyed the negatives of his film to prevent Bahar from further acting in films.
After this episode Akhtar started working in dramas. She went to Calcutta and did a small role in the film Dhoop Chaaon-35. From there she came to Bombay and joined Saroj Movietone. She did films like Eid ka Chaand, Roop Basant and Naqsh e Sulemani and earned a good name. She acted in films of Minerva and Wadia-mostly stunt action films. Mehboob Khan gave her a big role in the film Aurat-40 and her image changed. She also did Mehboob’s film Roti, during which they got married on 25-4-1942. They did not have any issues but they adopted Saajid Khan, child star of film Son of India-62. After Mehboob’s death in 1964 May, Akhtar lived alone, occasionally visiting Sajid Khan, who had settled in USA.
Sardar Akhtar did 44 films. Her last film was Raahat-45. However, she did small roles in films Hulchal-71 and Bandhe Haath-74.
Sardar Akhtar sang 92 songs in 27 films. Considering that she was not a regular or playback singer, her 92 songs were highly creditable. Not even 50% of her songs came on gramophone records. During one of her US visits, Sardar Akhtar died there on 2-10-1984. She was a devotee of sufi saint Ashraf Khan, her co-star of many films including Roti-42.
The Hero of the film Fashion-43 was Chandra Mohan. It was a proof of the secular nature of our film industry that a Kashmiri Brahmin actor was selected to act in a predominantly Muslim film. Chandramohan was one of the most Handsome actors Hindi films ever had. He was like Master Nissar. Both of them lived lives of Kings, but died like beggars !
Chandramohan Watal was born on 24-7-1906,to Kashmiri Bramhin parents,in Narsinghpore in the Central provinces,i.e. today’s M.P. area. By the time he was around 15,his parents died and he was looked after by his Guardians. When he could no longer tolerate the guardian’s torture,he ran away to Delhi. A friend helped him to get a job as a Cinema manager. After few sundry jobs,he settled in Mangal Distributors. They sent him to poona to finalise a deal for ‘Sairandhri” being produced by Shantaram. Shantaram,impressed with Chandramohan offered him film roles,but he refused. After some time,when Shantaram’s film Amrit manthan was on the floor,Baburao Pendharkar left the company on salary increment issue and Shantaram sent an offer to Chandramohan again. This time he accepted it and did the unforgettable role of Villain Rajguru in Amrit Manthan-34. After doing Amar jyoti and Vahan,Chandramohan had a tiff with Shantaram and he left Prabhat,joining Huns pictures for Jwala. With jwala’s debacle,he came to Bombay and joined Minerva for Pukar which proved to be a Hit film. Then came Geeta(HIndi/marathi),Roti and a string of Historical movies.
In all Chandramohan did 32 films. His last released film was Chocolate-50. He earned lakhs and spent millions on Races and drinks. he never came drunk on the sets. In his last days,he suffered from hallucinations and saw Durga mata blessing him. he used to say,” Laxmi left me but Durga came to me.”
His role of Shaheed-48,in his last phase was very impressive. His last days were spent in loneliness and poverty.When he died,his consort Sheila had no money,so Cine Artistes assn. did his last rites. He died on 2-4-1949.
The Music Director of this film was Shanti Kumar Desai, a very talented but unlucky composer who rarely got support from any famous banner. His music was enchanting and tunes were superb, but Lady Luck did not favour him.
He was born in Amreli, Saurashtra, Gujarat state on 3-3-1908. His family was in service as Royal Musicians, so he was exposed to music from childhood.He was an expert Harmonium player. To start his career, he came to Bombay and worked in H.M.V. as a Broadcaster. Here he came into contact with many composers and learnt how they operated and made tunes etc. He was already giving music to Dramas, but wanted to join Film line as M.D. He got his first film Navbharat ( Jawanmard0-1934. In those days Gujarati producers and directors used to prefer Gujarati MDs. Thus out of his 36 films, 18 were done with Gujarati Directors like Sohrab modi, Nanubhai Vakil, V.M.Vyas(4 films), Kanjibhai Rathod, Dhirubhai Desai etc. He also gave music to Gujarati films.
He gave music along with Madholal Master, Rafiq Ghaznavi, Pannalal Ghosh, Shyambabu Pathak etc. Famous singers like Rafi, Manna Dey, Zohrabai, Amirbai etc sang in his films during their early careers. Even kishore kumar’s early film Sati Vijay-48 had music by Shanti Kumar Desai. He gave music to films of early era actors like Prem Adib, Mehtab, Sitara Devi, Leela Chitnis, Jal Merchant, Ashraf Khan, Rajkumari, Mazhar khan, Shanta Hublikar, Jairaj, E Billimoria, Kumar, Sardar Akhtar, Chandramohan, Shobhana Samarth, Durga Khote, Shahu Modak and Sulochana.
From 1934 to 1948, he gave music to 35 films and in 1964 his one film was released. He composed about 300 songs. He never got films from top banners like Bombay Talkies, Prabhat, Sagar or Minerva, otherwise his career would have been different.
He died on 6-1-1986. Some of his better known films were Bholi Bhikaran-36, Punarjanma-38, Anjaam-40, Suhaagan-42, Naukar-43, Ek din ka sultan-45 and Lav Kush-51.
Film Fashion-43 was a very neatly made film. The film and its music become quite popular. The film got the ” Best film of the year” award from Film India. Hasnain was also declared “The Best Director of the year” by Film India. The story of the film was woven around the usual conflict between the Fashionable woman v/s traditional housewife. After the success of film Gunsundari from Ranjit, this type of story was made into films in many guises and various Titles. Film Gunsundari itself was remade in 1948 by Ratibhai Punatar- Nephew of Ranjit’s Sardar Chandulal Shah. Nirupa Roy did the main role in 1948 version, while the original 1934 film had Gauhar Mamajiwala as the Heroine.
Here is the song by Sardar Akhtar. When you hear the song, you will never feel that a non professional non playback singer is singing. The tune reminds us the famous song ” 15 August ka din hai hame pyara, azaad hua aaj ke din desh hamara” .
( Credits- Who’s who in Indian film industry-1946 edition, Cinerang by Isak Mujawar, Rahe na rahe hum by Shantaram Mankikar, Wiki, MuVyz, and my notes )
Song-Tum pyaare ho jab dil ko to ye ghar bhi hai pyaara (Fashion)(1943) Singer-Sardar Akhtar, Lyrics-Aarzoo Lucknowi, MD-Shanti Kumar Desai
Lyrics
tum pyaare ho jab dil ko
to ye ghar bhi hai pyaara
tum pyaare ho jab dil ko
to ye ghar bhi hai pyaara
tum pyaare ho jab dil ko
to ye ghar bhi hai pyaara
ye ghar bhi hai pyaara
ye ghar bhi hai pyaara
har cheez yahaan ki hai tasalli ka sahaara
har cheez yahaan ki hai tasalli ka sahaara
tum pyaare ho jab dil ko
tum pyaare ho jab dil ko
to ye ghar bhi hai pyaara
ye ghar bhi hai pyaara
ye ghar bhi hai pyaara
neend aankhon mein la rahi hai ye bujhti hui batti
neend aankhon mein la rahi hai ye bujhti hui batti
is dil ki ?? mein hai aaraam hamaara
aaraam hamaara
aaraam hamaara
is dil ki ?? mein hai aaraam hamaara
aaraam hamaara
aaraam hamaara
ulfat ho to is hans ke jode ki tarah ho
ulfat ho to is hans ke jode ki tarah ho
donon hain kisi ek ke jeene ka sahaara
donon hain kisi ek ke jeene ka sahaara
tum pyaare ho jab dil ko
to ye ghar bhi hai pyaara
ye ghar bhi hai pyaara
ye ghar bhi hai pyaara
yoon nal ki taraf dekh ke thhandi na hon aankhen
thhandi na hon aankhen
yoon nal ki taraf dekh ke thhandi na hon aankhen
thhandi na hon aankhen
paani na sahi phir bhi hai paani ka sahaara
paani na sahi phir bhi
paani na sahi phir bhi hai paani ka sahaara
tum pyaare ho jab dil ko
to ye ghar bhi hai pyaara
ye ghar bhi hai pyaara
ye ghar bhi hai pyaara
har cheez yahaan ki hai tasalli ka sahaara
har cheez yahaan ki hai tasalli ka sahaara
tum pyaare ho jab dil ko
to ye ghar bhi hai pyaara
ye ghar bhi hai pyaara
ye ghar bhi hai pyaara
Saaqi Ho, Sahn e Baag Ho
Posted on: May 31, 2018
- In: "saawan" song | Anil Biswas - Sardar Akhtar Duet | Anil Biswas Songs | Devnagri script lyrics by Sudhir | Duet | Feelings of heart | Guest posts | Lyrics contributed by readers | MD-Singer Song | Post by Sudhir | Saaqi - Maikhana Song | Sardar Akhtar Songs | Song of 1936 | Songs of 1930s (1931 to 1940) | Yearwise breakup of songs
- 2 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.
| 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
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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