Advertisements

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

Archive for the ‘Sardar Akhtar Songs’ Category


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

Blog Day :

3917 Post No. : 14980 Movie Count :

4096

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

Advertisements

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


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


Advertisements

Important Announcement

(© 2008 - 2019) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over ELEVEN years. This blog has more than 15300 song posts by now.

This blog is active and online for over 4000 days since its beginning on 19 july 2008.

Total number of songs posts discussed

15301

Number of movies covered in the blog

Movies with all their songs covered =1180
Total Number of movies covered =4215

Total visits so far

  • 12,592,458 hits

Enter your email address to subscribe to this blog and receive notifications of new posts by email.

Join 1,796 other followers

Bookmark

Bookmark and Share

Category of songs

Current Visitors

Archives

Stumble

visitors whereabouts

blogcatalog

Music Blogs - BlogCatalog Blog Directory

blogadda

Historical dates

Blog Start date: 19 july 2008

Active for more than 4000 days.

Advertisements
%d bloggers like this: