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

Archive for the ‘Shamshad Begam 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 : 4073 Post No. : 15210

Today’s song is from a devotional,mythological film – Nav Durga-1953. Nav Durga does not mean New Durga here, but ‘Nav’ stands for nine. This film is about the nine forms of Devi Durga and how it saved its Bhakt from annihilation.

The film was produced by Homi Wadia’s Basant Pictures. It was directed by the great Editor and special effect-Trick scene expert Babubhai Mistri. Babubhai Mistri (5-9-1918 to 20-12-2010), in the beginning, was an assistant with Prakash pictures.Prakash was making a film “Khwabon ki Duniya”- 37, based on the famous novel “The Invisible Man” by H.G.Wells,1897.The shooting started but the basic problem was how to show the ‘invisible‘ man. There was no special effect technique available in India till then, like in Hollywood. Vijay Bhatt had an assistant called Babubhai Mistri, who accepted the challenge and using a dim light, a black curtain and a black thread to move articles, he achieved the desired results. This made the film not only a hit and popular one, but also a unique one. Babubhai Mistri, thus, became the father of the trick scenes and special effects in India. In the process, Babubhai also earned a nickname of ‘kaala dhaaga‘ (black thread) for rest of his life, in the film industry.

Babubhai directed 49 Hindi films-mostly B and C grade Mythologicals, Costume, and Historical films. He also directed 1 Telugu and 9 Gujarati films. His first film as a director was Muqabala-42. Surprisingly he started off with a social film, but there was a valid reason. The initial Poster Painter had developed into a skilled Editor and trick scene expert, by his own hard work,encouraged by the Wadia brothers. The film was an unusual film of a story of twin sisters. Wadias wanted Babubhai to do something which will make the film stand out from all other such films.

Directed by Babubhai Mistry, it was the last movie of Fearless Nadia for Wadia Movietone. She had a double role of twin sisters: good Madhuri and bad Rita.

Rita is kidnapped by the villain and made into a Night club singer,while Rai Bahadur brings up good Madhuri.
Nadia was appreciated much for the performance contrast for both roles.
This film was First in India to use Split-screen method for double roles,where both sisters could cross each others,shake hands and talk together.The other attraction was the Night club set,which,in case of police Raid,could be converted into a respected residence in few minutes.It was a great fun to watch these two things.

A happy ending picture, but to see and hear the laboured Hindi dialogues of Madhuri (good Nadia) was another treat.

The cast of the film Nav Durga-53 consisted of Usha Kiran, Mahipal, S N Tripathi, Sulochana Chatterji, Amarnath, Agha Shapur, Raja Sandow and many more. Usually, there are more characters in a Mythological film and hence their credit list is very long. In this list, the name of Raja Sandow appears. I am sure, this is not that Raja Sandow, who was famous as a silent film Hero and who acted in many Talkie films too. He died in 1942 itself. Obviously, this must be some other Raja, trying to cause “Same name confusion” without success,though.

However, one name in the cast – Amarnath- is worth a re-look. Amarnath (Bharadwaj) is one of the “same name confusions” victims. There were two Pt. Amarnath Music Directors, 1 actor Amar, 1 actor Amarnath and 1 actor/Director (K.) Amarnath.

This Amarnath was born in Hafizabad, in Gujaranwala district of Punjab (Now in Pakistan) in 1922. He started acting in 1939 with Kidar Sharma’s “Dil hi to hai”. Graduating from doing small roles he was made the Leading Man in Dalsukh Pancholi’s film “Patjhad”, started in 1947 opposite Meena (Shorey). Pancholi had to flee Lahore due to Partition riots, but he carried the negatives of Patjhad. Though the film was censored in India in 1948, it seems it was never released.
Amarnath (Bharadwaj) starred as Hero in many other films,like Naghma E Sehra-45, Papiha re-48, Barsat ki ek raat-48, Swayam sidha-49, Nai Bhabhi-50, Kamal ke phool-50, Sheesh Mahal-50, Jalte Deep-50, Johri-51, Nai zindagi-51 , Nirmohi-52, Nirmal-52, Bahu Beti-53, Nav Durga-53, Toofan-54 etc. Then he switched over to side roles. In all, he worked in 81 films (CITWF data). His last film was Kaun ho tum-70.

In India, there is no dearth of festivals. In fact, India can be called a Nation of Festivals. With scores of religions in India and every religion having its own Festivals, one can imagine the number of Festivals. Not every festival is celebrated all over the country, but even the major 7 religions have their own festivals. Hinduism being the largest religion (80% as per 2011 Census), almost every month has , if not a major, but minor festival in some or the other region of India.

The period of October to January is called a Festival season, as many major festivals like Dashehara, Diwali, Christmas and Sankranti fall in this period. Vijaya Dashami or Dashehra or Dasara is due in next month, so is Diwali too. Dashehra is celebrated also as a Durga Puja Festival enthusiastically, in the Eastern part of the country mainly, but all over India, Durga Puja is done.

Film Nav Durga-53 was about the powers of Maha Shakti Durga Mata. Durga is believed to have 9 forms. Navdurga, Nine forms of Durga, are nine manifestations of the goddess Durga in Hinduism, especially worshiped during the festival of Navratri where each of the nine manifested forms are venerated respectively for each night. In short, they are…

1. Shail Putri – Daughter of Himalayas

2. Bramhacharini – Daksh Kanya Sati-before marriage

3. Chandraghanta – After marriage to Shiv, adorned his forehead as Half Moon

4. Kushmanda – Living in the Sun

5. Skandmata – Mother of war lord Kartikey

6. Katyayani – Daughter of sage Katyayan, destroyed Mahishasur

7. Kaalratri – Most ferocious and fiercest, destroyer of Asurs Shumbh/ Nishumbh

8. Mahagauri – Goddess of purity and cleanliness and

9. Siddhidatri – Adi Parashakti, appears from Siva’s left side

The story of Nav Durga-53 was- Suryawarcha is punished by Indra dev for his arrogance and is sent to mrityulok(Earth),when he is about to get married to Vishala.On Visahala’s request Vishnu assures that he will come back to swarga again,but she must prey to Maa Durga.
Maurvi d/o asur Mur wants to take revenge on Krishna for killing her father.She marries Ghatotkach s/o Bhima.They get a son Barbarik(Suryavarch),whom Murvi takes to Navdurga at Guptakshetra Sangam and prays.
Barbarik gets a boon of invincibility except for an Avtar of Vishnu.He goes to Pandavas and challenges them,knowing that Krishna will also come there.In the war,Krishna severs his head with Sudarshan Chakra.Mata Durga appears and takes Suryavarcha to heaven where his consort Vishala is still waiting with a Garland.

Today’s song is very sweet, melodious and a lilting song. I feel this tune is inspired by a similar sounding song, ” Hum tum yeh bahar, dekho rang laya pyar, barsaat ke mahine mein” – a duet of Rafi and Lata, composed by Ghulam Mohd,MD, for film Ambar-52.

(Thanks to Harish Raghuwanshi ji for Amarnath information and blog beetehuedin.com for Babubhai information, used herein.)


Song-Ek teer chalaa ke gori bijli giraa ke (Nav Durga)(1953) Singers-Chitragupta, Shamshad Begam, Lyrics-Ramesh Chandra Pandey, MD-S N Tripathi

Lyrics

ek teer chalaa ke
gori bijli giraa ke
mohe chhod ke akeli kahaan jaaye re
o tere sath na rahoongi
koi baat na karoongi
kaahe baat baat mein mohe sataaye re
mohe sataaye re

o ek teer chalaa ke
gori bijli giraa ke
mohe chhodke akeli kahaan jaaye re
o tere saath na rahoongi
koi baat na karoongi
kaahe baat baat mein mohe sataaye re
mohe sataaye re

dekho ji dekho ji dekho dekho ji
kya
mera naram kaleja toot jaayega
bhala hoga mera peechha chhoot jaayega
hoye chhoot jaayega

o mera naram kaleja toot jaayega
o bhala hoga
mera peechha chhoot jaayega
hoye chhoot jayega

ari sun to
aise baalam ko sataana nahin accha ji
o sote sher ko jagaana nahin accha ji
sher
arre ja
teri mendhak ki chaal hai
bakre ki khaal hai
teri kya mazaal hai
tu banega sher

ari meri baat maan gori mujhe pehchaan
kaahe jhoothmooth rang tu jamaaye re
o tere saath na rahoongi
koi baat na karoongi
kaahe baat baat mein mohe sataaye re
mohe sataaye re

suno ji suno ji suno suno ji
tu kaun hai
ye poochhne main aayi hoon

o tere baap ka hone waala jamaai hoon
ho jamaai hoon
tu kaun hai
ye poochhne main aayi hoon

tere baap ka hone waala jamaai hoon
ho jamaai hoon
arre ja
chal hat teri baat mein jamaal hai
badi door abhi teri sasuraal hai

accha dekhta hoon gori aaj teri seenajori
tu kab tak akad nibhaaye re
o tere saath na rahoongi
koi baat na karoongi
kaahe baat baat mein mohe sataaye re
mohe sataaye re

nahin maanengi
un hoon
nahin maanengi
un hoon
nahin maanegi
to main bhi mar jaaunga
accha hoga
din raat bhoot banke sataaunga
o din raat bhoot banke sataaunga
sataaunga sataaunga
mere bina ek din tera jeena hai kathin
tu pal bhar chain na paaye re
o tere saath na rahoongi
koi baat na karoongi
kaahe baat baat mein mohe sataaye re
mohe sataaye re

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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 : 4062 Post No. : 15195

“Jal Tarang”(1949) was directed by Rajendra Sharma for Kuldeep Pictures Limited, Bombay. This “social” movie had Geeta Baali, Rehman, Ram Singh, Rajan Haksar, Ramesh Thakur, Shashikala, Kesari, Pesi Patel, Shyama, Sevak, Uma Dutt, Tiger (dog) etc in it.

The ovie had nine songs in it that were penned by six lyricists. Four of these songs have been covered in the past.

Here is the fifth song from “Jal Tarang”(1949) to appear in the blog. The song is a sung by Rafi and Shamshad Begam for most part and then one unknown male voice sings a line in the last stanza. So, what was sounding like a duet becomes a non duet. I request our knowledgeable readers to help identify this unknown male voice. My guess is that it could be Husnlal or Bhagatram, one of the music director duo.

Pt Sudarshan is the lyricist. This was the only song penned by him in this movie. Music is composed by Husnlal Bhagatram.

Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of this song.


Song-Musaafir sada geet gaaye chala chal (Jal Tarang)(1949) Singers-Rafi, Shamshad Begam, Unknown male voice, Lyrics-Pt Sudarshan, MD-Husnlal Bhagatram
Both

Lyrics

musaafir sada geet gaaye chala chal
gaaye chala chal
gaaye chala chal

chala chal
chala chal
safar ki kahaani sunaaye chala chal
sunaaye chala chal
sunaaye chala chal

chala chal
chala chal

kahin ban ke rahmat ka baadal baras ja aa aa
kahin ban ke rahmat ka baadal baras jaa
kahin dil pe bijli giraaye chala chal
kahin dil pe bijli giraaye chala chal
giraaye chalaa chal
musaafir sada geet gaaye chala chal
gaaye chala chal
gaaye chala chal

chala chal
chala chal

rukaawat ke patthar hataaye chala chal l
rukaawat ke patthar
hataaye chala chal
dhuyen aasmaan ke udaaye chala chal
dhuyen aasmaan ke udaaye chalaa chal
udaaye chala chal
musaafir sada geet gaaye chala chal
gaaye chala chal
gaaye chala chal

chala chal
chala chal

tu duniya mein apna sabhi kuchh luta kar r
tu duniya mein apna sabhi kuchh lutaa kar
tu duniya ko apna banaaye chala chal
tu duniya ko apna banaaye chala chal
banaaye chala chal
musaafir sada geet gaaye chala chal
gaaye chala chal
gaaye chala chal

chala chal
chala chal

suna kar hamen chaar sukh dukh ki baaten
suna kar hamen chaar sukh dukh ki baaten
rulaaye chala chal hansaaye chala chal
rulaaye chala chal
hansaaye chalaa chal
hansaaye chala chal
musaafir sada geet gaaye chala chal
gaaye chala chal
gaaye chala chal

chala chal
chala chal


This article is written by Mahesh Mamadapur, 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 : 4057 Post No. : 15189

Mukesh and his co-singers – 5
————————————————

We remember Mukesh on his remembrance day today (22 July 1923 – 27 August 1976).

Needless to say, the post had to be special. But, when a singer has almost 80% of songs considered as hits and most of these songs already represented on the blog, what can be more special. Well, a few hitherto songs of Mukesh continue to be discovered with a great deal of exhilaration to his fans and old hfm lovers in general. I assume that the present song will make this post special.

It is well known that Mukesh has nil to very few duets with singers like Noorjahan, Amirbai Karnataki, Jagit Kaur, Khursheed, Parul Ghosh etc. With singers like Hamida Banu, Suraiya, Rajkumari, Surinder Kaur, Sitara Kanpuri etc, the numbers are again quite few. He does have sizable numbers with Lata, Asha, Suman Kalayanpur, Geeta Dutt etc.

A very interesting companion in singing in this discussion will be off course the versatile Shamshad Begum. I had almost taken it for granted that all songs of hers with Mukesh have been covered on the blog. But then one thing led to another and resulted in this post of which I am extremely happy. Not one but two duets have been discovered in the last few weeks. Before I proceed with revealing the songs, it is pertinent to mention the traceability aspects of these duets.

We go back to Sadanand ji posting the Mukesh number for MGR in the comments section. I decided to take up Dhaniram’s collaboration with Mukesh and as usual sent the query to Shri Harish Raghuvanshi ji (of Surat) enquiring if it was the sole song under the composer.

Harish ji did confirm the singularity of the case, but added a priceless info that there is a duet in Shole (1953) in which Mukesh has a duet with Shamshad Begum. He further stated that very few music lovers are aware of this duet. The context being Dhaniram being the other composer apart from Naresh Bhattacharya to have scored music for the film. When I searched for this duet on the internet, I came across a Hemant Kumar solo and his duet with Shamshad Begum. Not losing hope, I was lucky enough to find the full movie on youtube. I first decided to go through the credit titles if I could trace Mukesh.

The film titles are shown on a railway track with very poor background and the moving train literally pushing the titles out of the screen. With great difficulty, I saw all the titles and there appears no mention of any of the playback singers in the film. Here, I would seek more knowledgeable reader’s kind explanation as to why many of the old films never bothered to credit playback singers in the titles. I suppose this trend continued even in the sixties for quite a few films.

The print of the film is extremely poor in both voice and picturization. The saving grace being something is available to run through. In spite the bad print and poor audio what stands out is the impeccable grace and beauty of Bina Rai and the ever energetic and melodious voice of Shamshad Begum. Coming back to the bad print of the film Shole (1953), I decided to run the film arbitrarily at short intervals. Then for one of the duets with a rather long prelude, I could hear sound bites very familiar to me. Yes, it is undoubtedly Mukesh.

I was so excited that I noted the time at which this duet starts and closed the film. I went to the other room in my house where my wife was busy with our daughter in her studies. They had a cursory look at my face and instantly both asked what I was so delighted about. I told them about the discovery and they again became engrossed with the studies knowing very well that this guy has no better work to do. My daughter likes a few songs of Raj Kapoor sung by Mukesh and wife likes a few of his duets and solos, but they are never into these statistics and other aspects of old hfm songs as I am. Anyways, I was back to the same link and juncture and again savored what I was listening for the very first time; an unheard duet of Mukesh. Only the first couple of lines of the mukhda are sung by Mukesh and then Shamshad Begum takes over for the rest of the duet. Its an extremely melodious duet to listen.

Now coming to another strange feature, I found four different versions of this song. The below table is self-explanatory and I have provided links for each of the versions.

Version Singers YouTube link
Film Soundtrack Mukesh, Shamshad Begum https://youtu.be/G8gkPL4qc8o
Hemant Kumar https://youtu.be/mmoh60LfIsc
78 rpm record Hemant Kumar https://youtu.be/OuvVFrcTYuU
Hemant Kumar, Shamshad Begum https://youtu.be/zlzgIDgky7g
Full movie SHOLE (1953) https://youtu.be/W6ubiNUgZuQ

Now, if the film had Mukesh and the 78 rpm version songs had Hemant Kumar, it would have been quite understandable. But, Hemant Kumar having sung the film version of the solo makes the case quite intriguing. Did Mukesh walk out of the film after singing the duet? We may never know. What we do know is that during this period he was working in various departments such as acting, composing, producing etc. and these experiments costing him dearly in terms of getting offers to give playback arguably for the rest of his singing career.

Also, during late forties and early fifties, the void created by the passing away of KL Saigal in early 1947 was yet to be filled. Good friends Mukesh and Talat Mahmood were vying to fill the gap and they both failed. One can now say with much conviction that the void created by KL Saigal will remain till the end of days.

Coming back to the versions, both the film soundtracks have poor audio and the 78 rpm ones have better audio quality. For some reason, I personally feel the duet of the film soundtrack is the best amongst the four if a better copy is available to listen. The momentary pause that Shamshad Begum has in the film soundtrack is more appealing than in the version song. Now one may ask, pause is a pause and how it can be differentiated. Well, crazy music lovers have additional senses to assimilate such nuances in music. Long live such craziness. 🙂

Now we come to the important discussion on the combo of Shamshad Begum and Mukesh. Forget writing in detail about their association, the very mention of the two names together excites me to no end.  Mukesh and Shamshad Begum, two different styles, but when it came to duets the styles glued to form some glorious duets in the annals of HFM. At many places on the net it is mentioned that the singers have altogether 22-24 duets. I am happy to list 29 and here is the carcanet of the jewels.

A cursory glace at the table reveals that they have actively sung most of their 29 duets during a period of only for 4 years of their career. This aspect has much to be pondered about.

S. No Name of song Movie (year) Music Director Lyricist
1 kya jaadu hai tere paas piyaa Chehra (1946) M A Mukhtar I C Kapoor
2 O dil ko hasaane wale Shatranj (1946) Madhav Lal and Baldev Nayak G S Madhup
3 lut gayi laajo beech Chheen Le Aazaadi (1947) Hansraj Behl Pt Indra Chandra
4 Moti chugne gayi re hansi Chheen Le Aazaadi (1947) Hansraj Behl Pt Indra Chandra
5 aagre se odhni manga de Laakhon Mein Ek (1947) Hansraj Behl Pt Indra Chandra
6 raat ko ji haay raat ko ji  Aag (1948) Ram Ganguly Majrooh Sultanpuri
7 kaise bataaun unse Anjuman (1948) Bulo C Rani Majrooh Sultanpuri
8 kabhi dil dil se takraataa  Anokhi Ada (1948) Naushad Shakeel Badayuni
9 Bhool gaye kyun deke Anokhi Ada (1948) Naushad Shakeel Badayuni
10 Tere naaz uthhane ko jee Grihasthhi (1948) Ghulam Mohammad Shakeel Badayuni
11 aayi saawan ritu aayi Mela (1948) Naushad Shakeel Badayuni
12 dharti ko aakaash pukaare Mela (1948) Naushad Shakeel Badayuni
13 main bhanwara tu hai phool Mela (1948) Naushad Shakeel Badayuni
14 mera dil todne waale Mela (1948) Naushad Shakeel Badayuni
15 O janewale humko bhool na O Jaanewaale (1948) Ali Hussain Moradabadi
16 sajanwaa prem kahaani O Jaanewaale (1948) Ali Hussain Moradabadi
17 ho badi zulmi tamanna hai Dada (1949) Naashad Majrooh Sultanpuri
18 pyaar mein tumne dhokhaa Shabnam (1949) S D Burman Qamar Jalalabadi
19 tu mahal mein rehni waali Shabnam (1949) S D Burman Qamar Jalalabadi
20 tumhaare liye huye badnaam Shabnam (1949) S D Burman Qamar Jalalabadi
21 maine dekhi jag ki reet (Happy and Sad versions) Sunhere Din (1949) Gyan Dutt D N Madhok
22 hamse nain milaana BA paas Aankhen (1950) Madan Mohan Raja Mehdi Ali Khan
23 Jaao sidhaaro hey raadha Aarzoo (1950) Anil Biswas Majrooh Sultanpuri
24 ho kaale kaale baadal Apni Chhaaya (1950) Hanuman Prasad P L Santoshi
25 kehne waale kehte hain Bijli (1950) Khemchand Prakash Bharat Vyas
26 hato hato ji aati hain ham Dilruba (1950) Gyan Dutt S H Bihari
27 mohabbat karne waalon se Hanste Aansoo (1950) Ghulam Mohammad Shewan Rizvi
28 duniya ne chede kahaniyaan Ek Thha Raja (1951) C R Subbaraman Pt Sudarshan
29 Aye dil tu kahin le chal (multiple versions)

 

Shole (1953)

 

Naresh Bhattacharya

 

Kamil Rashid

Before I proceed to write on the above duets please note that song no 23 has SD Batish, 26 has Geeta Roy, Pramodini Desai and 27 has Rafi saab singing along with Mukesh and Shamshad Begum in the respective songs.

It would not be an exaggeration to state that Mukesh and Shamshad were pioneers in playback singing. I know it is more often used for Shamshad’s career, but let us not forget that Mukesh too started giving playback as early as 1944 with ‘Uss Paar’. Why ‘Uss Paar’ and not ‘Moorti’ or ‘Pheli Nazar’? Well, that could take another detailed post. 🙂

In the above list song number 1, 3, 4 and 5 are regular features on Radio Ceylon and are played to this day. 6 was of course the directorial debut of Raj Kapoor, with Ram Ganguly’s haunting scores – the songs of the film remain popular to this day. The next film of RK, as we are well aware, had a change in composers. Shamshad Begum had a cabaret solo in ‘Awara’ and a couple of not so popular songs for SJ thereafter.

10 by one of my favourite composers Ghulam Mohammed is a rare treat to hear. I only wish Mukesh has sung more songs for him.

8, 9 and 11 to 14 need no description and arguably are the best-known duets of the combo; the magician of these two films being none other than the great Naushad.

‘Shabnam’ under SD Burman had 3 duets of the combo with Mukesh giving playback for thespian Dilip Kumar. Needless to say, the songs of this film were a huge rage during those days.

21 under Gyan Dutt is an absolute masterpiece. The debut movie of Madan Mohan had the combo singing a comical duet at 22.

The other songs may not be very well known, but as I have said earlier it is the combination of the singers that make the duets lively and a pleasure to listen.

Quite a few of these duets have been covered by our Sudhir ji in his series on Mukesh wherein he covered the rare and difficult to trace songs at the beginning of Mukesh’s career. Again, as I have written earlier, in spite of the best efforts of Sudhir ji having covered all the songs of Mukesh till 1950, welcome discoveries continue to be uncovered and 2 is such an example. Sudhir ji has shared the audio with me and it will be posted on the blog in the very near future. 🙂

29 and probably the last duet of the combo is covered in this post and I have already written about the many facets of this song. In fact Sudhir ji has sent queries and sought clarifications from his collector friends to understand the existence of the multiple versions of this song in the film.

‘Shole’ (1953) was directed by BR Chopra for Hira Films. The movie had Ashok Kumar, Bina Rai, Purnima, Jeevan, Mohana, Manmohan Krishna, Mirza Musharaf, Romi, Naaz, Uma Dutt etc in it. The movie had two music directors viz Dhaniram and Naresh Bhattacharya. The present song is composed by the latter. The lyrics of this multiple version song are credited to Kamil Rashid.

The lyrics of the Hemant Kumar solo version are slightly different in the 78 rpm vs the soundtrack versions, but giving due credit to Hamant Da, I herewith, for obvious reasons, present the lyrics of only the film soundtrack version of Mukesh and Shamshad Begum

I thank Harish ji for all the help rendered in making this elusive duet of Mukesh appear on the blog. I also thank Sudhir ji and Atul ji for giving me yet another opportunity to present this post.

Lastly, on his remembrance day, I pay humble tributes to Mukesh whose mellifluous voice continues to regale listeners the world over.

Song – Ae Dil Tu Kahin Le Chal  (Shole) (1953) Singer – Mukesh, Shamshad Begum, Lyrics – Kaamil Rashid, MD – Naresh Bhattacharya

Lyrics

ae dil
ae dil
tu kahin
le chal
le chal

ae dil tu kahin le chal
le chal
le chal

ae dil tu kahin le chal
le chal
le chal

aa aa aa aa

ye door ki manzil se mujhe
kis ne pukara hai
bhatke hue raahi ko
yeh kis ka ishaara hai
aashaon ke sagar ka
shayaad wo kinara hai
aashaon ke sagar ka
shayaad wo kinara hae
ae dil wahin le chal
wahin le chal
wahin le chal

ae dil tu kahin le chal
tu kahin le chal
kahin le chal
kahin le chal

jahaan ishq ke hothon par
fariyaad na ho koi
majboor na ho koi
naashad na ho koi
taqdeer ki thokar se
barbaad na ho koi
barbaad na ho koi
ae dil wahin le chal
wahin le chal
wahin le chal

ae dil tu kahin le chal
tu kahin le chal
kahin le chal
kahin le chal

do dil jo judaa kar de
wo raat na aati ho
hothon pe shikaayat ki
koi baat na aati ho
jahaan gham ki ghata le kar
barsaat na aati ho
barsaat na aati ho
ae dil wahin le chal
wahin le chal
wahin le chal

ae dil tu kahin le chal
tu kahin le chal
kahin le chal
kahin le chal

le chal
le chal
le chal
le chal
le chal

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

ए दिल
ए दिल
तू कहीं
ले चल
ले चल

ए दिल तू कहीं ले चल
ले चल
ले चल

ए दिल तू कहीं ले चल
ले चल
ले चल

आ आ आ आ

ये दूर की मंज़िल से मुझे
किसने पुकारा है’
भटके हुये राही को
ये किसका इशारा है
आशाओं के सागर का
शायद वो किनारा है
आशाओं के सागर का
शायद वो किनारा है
ए दिल वहीं ले चल
वहीं ले चल
वहीं ले चल

ए दिल तू कहीं ले चल
तू कहीं ले चल
कहीं ले चल
कहीं ले चल

जहां इश्क़ के होठों पर
फरियाद ना हो कोई
मजबूर ना हो कोई
नाशाद ना हो कोई
तक़दीर की ठोकर से
बर्बाद ना हो कोई
बर्बाद ना हो कोई
ए दिल वहीं ले चल
वहीं ले चल
वहीं ले चल

ए दिल तू कहीं ले चल
तू कहीं ले चल
कहीं ले चल
कहीं ले चल

दो दिल को जुदा कर दे
वो रात ना आती हो
होठों पे शिकायत की
कोई बात ना आती हो
जहां ग़म की घटा ले कर
बरसात ना आती हो
बरसात ना आती हो
ए दिल वहीं ले चल
वहीं ले चल
वहीं ले चल

ए दिल तू कहीं ले चल
तू कहीं ले चल
कहीं ले चल
कहीं ले चल

ले चल
ले चल
ले चल
ले चल
ले चल


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 : 4051 Post No. : 15180

Today’s song is from film Raj Mukut-50.

From the title itself one would know what type of film this could be. In our childhood we were fond of, first listening and then reading stories of Raja-Rani. As we grow older, this liking seems to have ended,but it is not so, in reality. Every adult has a child in him and the love for the Raja Rani stories is hiding behind the facade of other serious life matters of the adult age.

Precisely, this liking was identified by B and C grade action and costume filmmakers and films on Kings, Queens, the evil Vazier or the Army Chief, plus or minus the evil Magician were made. From the point of business, it was wise to make such films, because its Producers never suffered loss, where as failure of an A grade film invariably ruined the producer.

The simple reason was, the production cost, distribution cost, actors’ payments etc were very low and the income was very good. May be that was the reason, that even the big banners also sometimes or the other had made costume films about Kings and Queens etc.

Going by the film title list made by Hamraz ji, I found at least 43 films starting with Raaj – like Raaj Mukut, Raaj Tarang, Raaj Ratan, Raaj Nandini etc etc. There were 32 films having titles starting with Raja, like Raja Gopichand, Raja Harishchandra, Raja Vikram etc etc. Movie titles with Rani prefix were just 11 (Gender Bias ?).

Coming to the story of Raaj Mukut-50, it is no different than hundreds of its ilk. I wonder why are there story shortages in films ? Why do films have similar stories ? In the 40’s decade ,Master Bhagwan used just one story to make 11 action films. In later times, it was Nasir Hussain, who – starting with Tumsa Nahin Dekha-57 – used only one skeleton story for most of his films and what’s more surprising is that his most film were Hits.

While thinking about it, I found that, in 2004, a book called “Why we tell stories”, written by Christopher Booker was published. It is a book having 728 pages to be exact. The book says “There are only 7 (Seven) basic plots in the whole world. They are recycled again and again in Novels, movies, Plays and Operas. These are
1.Overcoming the Monster
2.Rags to riches
3.The quest
4.Voyage and return
5.Rebirth
6.Comedy and
7.Tragedy “.

After this book was published, there was a chaos and criticism started. ‘New York Times’ also jumped in. The author coolly replied to all points and stuck to his statements. If we look at Hindi films, I personally feel that what the author has said is true in our case. Only thing is that our film stories are always a clever mixture of all or some of the above points.

If we take a look at the cast of the film Raaj Mukut-50, we find some heavyweights like Veena, Jairaj, Nimmi, Sapru, Gulab, Janakidas, Baby Tabassum etc. The decade of the 50s started with the decline of old stalwarts of 30s and 40s, because of the rise of new generation of actors, actresses, directors, MDs and almost all departments of film making. Nimmi was a ‘ Black Sheep’ in this cast because she was from the newer generation rising star.May be she did this film to get well entrenched in the film industry. Moreover the banner was good and the other actors were well known too. Director Nanubhai Vakil was an expert veteran in costume and action film direction. The music was given by Gobindram, a respected name in the musical circles.

Baby Tabassum had debuted with film Nargis-46 ( released in 47). Tabassum – real name Kiran Bala Sachdev was born in 1944 in Mumbai to Ayodhyanath Sachdev, an Indian freedom fighter, and Asghari Begum, freedom fighter, journalist and an author. Her father named her Tabassum, keeping her mother’s religious sentiments in mind, while her mother kept her name Kiran Bala, keeping her father’s religious sentiments in mind. Her official name as per pre-marriage documents was Kiran Bala Sachdev.

Tabassum made her film debut as a child actor with Nargis (1947) followed by Mera Suhaag (1947), Manjhdhar (1947) and Bari Behen (1949). Later in Deedar (1951), directed by Nitin Bose, she played the childhood role of Nargis; the hit song Bachpan Ke Din Bhula Na Dena sung by Lata Mangeshkar and Shamshad Begum was picturised on her. Also, in the next year, she appeared in another important film Baiju Bawra (1952) directed by Vijay Bhatt, where she appeared in the childhood role of Meena Kumari. After a gap, she reentered films in adult roles, working as a character actress.

She hosted the first talk show of Indian television, Phool Khile Hain Gulshan Gulshan, which ran for 21 years from 1972 to 1993. Produced by Doordarshan Kendra Mumbai, it was based on interviews of film celebrities and became immensely popular. This also led to a career as stage compere. She was also the editor of Grihalaxmi, a Hindi women’s magazine for 15 years and wrote many joke books.

In 1985, she directed, produced and wrote her first film, Tum Par Hum Qurban. In 2006, she returned to television, as an actress in Pyaar Ke Do Naam: Ek Raadha, Ek Shyaam, produced by Rajshri Productions. She became a judge in a reality stand-up comedy show Ladies Special (2009) on Zee TV.

She continued to work as an interviewer for television and is currently doing a TV show on TV Asia USA and Canada titled Abhi Toh Main Jawaan Hoon based on the Golden Era of Hindi Cinema. Currently, she has launched her own channel on YouTube, titled “Tabassum Talkies” which consists of nostalgic talks, interviews of celebrities, shayaris, jokes and more.

She is married to Vijay Govil, elder brother of TV actor Arun Govil. Their son Hoshang Govil had brief career as a lead in three films Tum Par Hum Qurbaan (1985), which was produced and directed by Tabassum in which she introduced Johnny Lever for the first time on screen as a comedian. Kartoot (1987) and Ajeeb Dastaan Hai Yeah (1996) produced by Zee TV and directed by J Om Prakash (grandfather of Hritik Roshan). In 2009, her granddaughter Khushi (daughter of Hoshang) made her film debut with Hum Phir Mile Na Mile. ( courtesy- Wikipedia).

Tabassum is an actress of a kind who was an All rounder-not in body shape-(that she is in now!), who is the only one having succeeded in 5 different mediums of entertainment. Films,TV,Radio,Print Media and Stage. Here is a small note about her,as it appears on her Facebook page-

“Tabassum ,during her years as child star ,was dubbed by her fans ,the movie -industry and the media as “THE SHIRLY TEMPLE OF INDIA”.

FILMS

She made her debut at the age of two and half years, in 1946, in her first film –Famous Pictures “Nargis’.This film was produced by Baburao Pai ,directed by D.D.Kashyap ….“Nargis” starred the legendary Nargisji herself with Rehman ,Shahnawaz ,Alka ,Achrekar and BABY TABASSUM.

In a short span of about six years Tabassum chalked up a record of child artist roles in more than thirty films ,and she’s working in films even today with a total of more than 100 films to her credit.

TELEVISION

Tabassum was the first to start the movie- oriented T.V. series on Doordarshan (India’s Government owned Television channel) which started on October 2nd, 1972. On October 8th 1972 , she launched her famous series of film-personality interviews. The first person to be interviewed in these series , titled “PHOOL KHILE HAIN GULSHAN GULSHAN” was a veteran music director Naushad.

This programme ran continuously on Doordarshan for 21 years ..

Various cultural organizations ,audiences ,and the media in general even the then INFORMATION AND BROADCASTING MINISTER Mr. V.P.Sathe have dubbed Tabassum as THE T.V. QUEEN OF INDIA .

RADIO

Tabassum started on radio in 1946 with children programmes and did many other programmes regularly on All India Radio.
For 15 years from 1970 to 1985 Tabassum ran a regular radio programme of jokes on the commercial services of Radio Ceylon.The same programme was later switched also to Vividh Bharti where continued for many years. She is still doing programmes regularly on Vividh Bharti.

She was conferred the award of “JOKES QUEEN OF INDIA”.

AUTHORSHIP AND JOURNALISM

Tabassum has been writing Urdu poetry , jokes ,short stories since her childhood which were being regularly published in Urdu and Hindi magazines ,newspapers ,etc.

During her more than sixty four years long career in show business ,Tabassum has also written seven books of Jokes ,Poetry ,and Urdu shayris ,the first of which was published at the age of 17 years when she had just passed her matriculation examination. She did her B.A. in Urdu from Aligarh University.

For the past many years Tabassum has fitted also journalism into her over crowded schedule when she took over as editor of the large circulation of a Woman’s magazine GRIHA LAKSHMI which is published monthly from New Delhi since last 17 years.

STAGE

As Baby Tabassum , Filmland’s original child-star the Shirley Temple of India ,began to appear on stage shows since the tender age of three to four years.Over three decades ago she launched her own stage show unit named “TABASSUM HIT PARADE’.This stage entertainment unit has over the past three decades performed variety entertainment shows all over India and in almost every country of the world from U.S.A.and Canada to the United Kingdom and Europe ,the Middle east and Gulf countries to South-east Asia ,Singapore and the far east in Hong Kong ,China ,Taiwan and Japan.

Now she is busy in promoting a stage programme titled “Tabassum Bhajan Sandhya” in India and abroad as spiritual entertainment.

On May 8th 1995 various well known cultural organizations of India celebrated TABASSUM’S HALF CENTURY IN FILM INDUSTRY AND SHOW BUSINESS AND WAS LARGELY ATTENDED BY FILM AND OWN MEDIA PERSONALITIES INCLUDING THE PRESS. ”

Film Raaj Mukut-50 story was about a Prince who is more interested in doing social service for the poor and down trodden ( and a love affair with the Village Mukhiya’s daughter) than getting crowned legitimately. So he disappears and goes to a village, to do what he always wanted to do, but could not do so far.

He learns that his younger brother, crowned after the deliberate false rumour of the prince- was perpetrating tyranny on kingdom’s people and also arrested his own parents and jailed them. His blood boils and he enters the capital incognito, along with his girlfriend and others. There is a fighting and the younger brother is killed. The King and Queen are released. The prince becomes the King and his girlfriend becomes his Queen. Clap, Clap !

The film had 11 songs. 4 songs are already discussed. Today’s song is the 5th song. It is sung by Shamshad Begum, Amirbai, Rafi and another unknown male voice. Incidentally, Gobind Ram had a special affinity for Shamshad Begum. He gave music to 32 films and composed 302 songs. Out of these, he composed as many as 86 songs in 19 films for Shamshad Begum. I believe, he may be the music director who has most songs for Shamshad Begum- atleast percentage wise (28.4 %).


Song- Dil hai lagane ke liye (Raj Mukut)(1950) Singers- Amirbai Karnataki, Shamshad Begam, Rafi, Lyrics-Bharat Vyas, MD- Pt Gobind Ram
Amirbai Karnataki + Shamshad Begam
Rafi + Unknown male voice

Lyrics

dil hai lagaane ke liye
ise laga lo yahin kahin
aji ise laga lo yahin kahin

nahin nahin jee nahin nahin
nahin nahin jee nahin nahin

dil hai lagane ke liye
ise laga lo yahin kahin
aji ise laga lo yahin kahin

nahin nahin jee nahin nahin
nahin nahin jee nahin nahin

chaar dinon ki hai ye jawaani
chaar dinon ka khel
aji chaar dinon ka khel
chaar dinon ki hai ye jawaani
chaar dinon ka khel
khatkhat karti chali jaa rahi
jeewan ki ye rail
suno jee
jeewan ki ye rail
mauj manaa lo phir nahin kehna
haan
mauj manaa lo phir nahin kehna
dil ki baaten dil mein rahin
is dil ko laga lo yahin kahin

nahin nahin jee nahin nahin
nahin nahin jee nahin nahin

dil hai lagaane ke liye
ise laga lo yahin kahin
aji ise laga lo yahin kahin

jaante hain haal hum
majnu dil e barbaad ka
haan aan aan aan
haan aan
jaante hain haal hum
majnu dil e barbaad ka
aur ishq mein anjaam dekho
kya hua farhaad ka

aur ye barbaadi ka rasta hai
is par chalna nahin nahin
hoy ye barbaadi ka rasta hai
is par chalna nahin nahin

is dil ko lagaa lo yahin kahin
nahin nahin jee nahin nahin
nahin nahin jee nahin nahin

dil hai lagaane ke liye
ise laga lo yahin kahin
aji ise laga lo yahin kahin

honthon par hai naam tumhaara
soorat dil mein basi huyi
aeji soorat dil mein basi huyi
honthon par hai naam tumhaara
soorat dil mein basi huyi
tum chaaho na chaaho
ham hain prem jaal mein phansi huyi
ham prem jaal mein phansi huyi
duniya mein badnaam huyi hain
haay
duniya mein badnaam huyi hain
kya kya baaten hamne sahin
is dil ko laga lo yahin kahin

nahin nahin jee nahin nahin
nahin nahin jee nahin nahin

dil hai lagaane ke liye
ise laga lo yahin kahin
aji ise laga lo yahin kahin


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 : 4022 Post No. : 15134

Today’s song is from film Nakhre-51. It is sung by Devendra Mohan, Shamshad Begum and chorus. This is a foot tapping song, reminding of a Vinod or O P Nayyar song.The tune of this song resembles a more well known song of later period,but I am unable to identify it. This is a second successive song I am discussing, after song from “Hawai Khatola”-46 which also had a similar tune to some other song.

I have come across umpteen number of songs from Hindi films which have similar tunes-in part or the whole song. I am not talking of Parody songs, because Parody songs obviously use a popular tune to make fun of it,with different but funny lyrics. Here the intention is to make a comedy song.

I am talking of those ‘inspired ‘ songs, which are composed intentionally and can be called a copy song. I remember I had written an article ” Ek dil do jaane- Ek tune do gaane “, in March 2013 on a friend’s Blog called Harveypam’s blog. In that article,I had given 20 songs as examples in which tunes were copied from other Hindi songs. Our Raja ji, Ava Suri ji and our regular commentator Partha Chanda ji were regular readers and had put their comments on my article that time. Other readers had put examples of another 50-60 songs which had similar tunes.

This phenomenon of copying can be found in Hindi films since Talkie films started.Initially,the whole song used to be repeated in another film,by other composers. Later on they settled on copying only the tunes,perhaps !

After 1950 onwards, copying a tune became a frequent practice. SD Burman’s song from film ‘ Naujawan’-51 ( Thandi hawaen,lahara ke aayen) was copied 6 more times in different songs in different films. ( the original song itself was ‘inspired’ by ” C’est La Vie” by Charles Boyer from film “Algiers”-1938 ). A well known case is of Madan Mohan copying the tune of Sajjad Husain’s Sangdil-51 song” Ye hawa ye raat ye chaandni”, for his song from ” Aakhri Daon”-58-” tuze kya sunaun main dilruba”. Famous Music Critic Girija Rajendran had openly proved how all songs of film ” Mera naam Joker”-70 were copies from earlier film songs. For example, the Title song “Kehta hai Joker, saara zamana” was copied from ” apni nazar se unki nazar tak” a song from film Hum Log-51.( See, I can write on Poetry side also !!!)

This is a vast subject and a whole book can be written on it. So far only Hindi songs inspired by other Hindi songs has been discussed. If you see songs from Bangla and other languages, then you may have to write 3 books ! Does it mean that there is no originality in Hindi film songs ? No, there ARE original tunes and songs in Hindi films. To conclude this topic,I quote a few lines from the interview of Music Director Nashad, published in Film Fare of 5th August 1955, where he has spoken about inspired songs……

” Although no one says it to my face, I know that there is a section in the film industry who decry my music as “a re-hash of familiar tunes.”
This amounts to a charge of plagiarism.

I have no defense, no apology, to offer, except to say that, if am a plagiarist, I am one unconsciously.
With only seven main notes, six ragas, thirty-six raginis and seventy-two sub-raginis, every “new” musical composition is bound to sound familiar in places.
Try to hum any popular film composition of today and then cast back your mind. Make a careful search for a parallel and you will easily find one in some celebrated songs of yesterday….”

This sounds like an excuse to me. What is to Nashad is same to other MDs too, then how come others are not blamed for plagiarism? Let us leave it at that only.

Film Nakhre-51 was directed by Surya Kumar. Yes, he is the same famous Dance Master/ Choreographer of many hit films of 50s and 60s. Suryakumar and Krishna kumar were brothers. Both were Choreographers. The story of Dance Director brothers Krishna kumar and Surya kumar is very interesting.

Anthony (Tony) Lazarus was born in 1918 and his younger brother Robert Lazarus was born on 14-12-1924. They lost the parents and were raised in an orphanage, from where , the famous film dancer Azurie picked them and trained till they became good dancers. Tony became Krishnakumar and Robert took the name Suryakumar. Krishna Kumar started acting and doing choreography in films of late 40s and early 50s. In every film of Mehboob and Kardar, he was present. Soon he became famous. However, he also developed some enemies. Krishnakumar was murdered by his enemies on 7-7-1951. The culprits were never captured.

It is believed that it was Krishna Kumar, who taught Master Bhagwan his famous Dance steps (later copied by Amitabh Bachhan also), making his film ‘Albela’ a block buster. In one of the famous songs in Albela, you can see Krishnakumar’s photo kept on a table, as a tribute to him.

Robert aka Suryakumar started his film career as asstt. in a sound department in Saigal’s last film,’Parwana’-1947. During this period,yesteryear actress/Dancer Azurie trained him and krishnakumar in Dancing. In those days the term ‘Choreographer was not used. They were simply called ‘Dance masters’ or ‘Dance Directors’.

Actress Azurie had a German father and an Indian mother. She is considered as the pioneer in Film dancing in India. She was so famous in films,that Cuckoo modelled herself on her dancing skills and succeeded. Azurie(1907-1998) trained Suryakumar in dancing.

Suryakumar then assisted madame Simka(a disciple of Uday Shankar),in film “Awaara”-1951,when he first directed Helen who was in the chorus of Dancing girls that time. Suryakumar later directed Helen in 31 films.Their last film together was Bombay 405 Miles-1980. Suryakumar was also very friendly with dancer Edwina. He visited her London home many times, after she settled after marriage in London.

Surya Kumar himself also trained Suryanarayana, Oscar and many others. After 1970, Heroines themselves became dancing girls and the roles of Dance masters reduced considerably. Posh Choreographers came on the scene.

Surya Kumar had a penchant for acting. He would himself appear in most of his dances in films. During our college days, it was our pastime to search for him in Helen dances. Surya kumar acted in 7 films, in small roles – Singar-49, Naya Raasta-53, Shesh Naag-57, Bus Conductor-59, Aankh Michauli-62, Har Har Mahadev-74 and Shravankumar-88. Surya Kumar also directed 4 films – Kamal-49, Nakhre-51, Laadla-54 and Saazish-59.

He then worked as a Production assistant and as an editor too,before retiring. His last days were spent in poverty and he died on 19-8-1987 in Bombay.

Normally, choreographers, cinematographers, editors,arrangers,dress designers,art directors etc (artists behind the curtains) are the most neglected people and no one writes about them,so not is much known also about them. It was very difficult to gather information on Surya kumar.

Let us now listen to today’s song. If any reader can identify similar tune song from other films,kindly inform us in the comments column.

(Information for this post was collated, culled and edited from books- ‘Edwina’ by Surjit Singh ji, Flash back by Isak Mujawar, several Facebook group pages and especially ‘Dances on the footpath’ by Richard S, Minai’s cinema nritya gharana and my notes)


Song- Chal meri chhallo chhamaak chham chham(Nakhre)(1951) Singers- Shamshad Begam, Devendra Mohan, Lyrics-Bharat Vyas, MD-Hansraj Bahl
Chorus

Lyrics

titi taam titi taam titi taam tam tam
chal meri chhalo chhamaak chham chham
titi taam titi taam tam tam tam
chal meri chhalo chhamak chham
titi taam titi taam titi taam tam tam
chal meri chhalo chhamaak chham chham
manzil apni door hai
kahin nikal na jaaye dum

ek taraf hai saari duniya
ek taraf meri chhalo chhalo chhalo
ek taraf hai saari duniya
ek taraf meri chhalo
moch na aa jaaye kamar mein
dheere dheere challo
chhallo
dheere dheere chhallo

kero maama haaye raama kero mama haaye raama
hatto sainya chhado bainya
tum ko hai meri kasam
titi taam titi taam titi taam tam tam
chal meri chhalo chhamak chham chham
titi taam titi taam tam tam tam
chal meri chhalo chhamak chham

tu hai meri kaakdi aur main tero tarbooz
main tero tarbooz
tu hai mhaari jaatni aur main thaaro rangroot
pahan ke aaya dheela suit
paavon mein lambe lambe boot

abe tu aadmi hai ya bhoot
duniya tumko
duniya tumko
teer kahe talwaar kahe bandook kahe
main kehta hoon atom bomb
bomb bomb bomb

titi taam titi taam titi taam tam tam
chal meri chhalo chhamak chham chham
titi tam titi tam tam tam tam
chal meri chhalo chhamak chham

aankhen teri gol button si
humko laage pyaari
haaye hum ko laage pyaari
naak tumhaari tote jaisi
mudi hui matwaari
aye haaye mudi hui matwaari
duniya tumko
duniya tumko
veer kahe
balwaan kahe pahalwaan kahe
main kahti hoon choohe ki doomm
dum dum dum
titi tam titi tam titi tam tam tam
chal meri chhalo chhamak chham chham
titi tam titi tam tam tam tam
chal meri chhalo chhamak chham
titi tam titi tam titi tam tam tam
chal meri chhalo chhamak chham chham
manzil apni door hai
kahin nikal na jaaye dum
dum dum dum dum


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 :

3989 Post No. : 15080

Today’s song is from a less known film – ‘Zindagi ke Mele’ (1956). The reason for selecting this song is that it is a duet of Shamshad and Rafi and is composed by my favourite composer Chitragupt – The King of Melody. For this film, his assistant was Dilip Dholakiya.

This was the last film of producer-director KB Lall (1911 – 25.8.1975). The other films he directed were, ‘Lal Haveli’ (1944), ‘Samrat Ashok’ (1947), ‘Lal Dupatta’ (1948), ‘Hanste Aansoo’ (1950) and ‘Angaarey’ (1954).

The cast of this film consisted of Chitra, Jagirdar, Dulari, Chandrashekhar, KN Singh, Kum Kum, Rashid Khan, Jankidas and many others. There were 3 lyricists – Manohar Khanna (father of music director Usha Khanna), Shevan Rizvi and Tanvir Naqvi. Today’s duet is written by Manohar Khanna.

The title of the film ‘Zindagi Ke Mele’ is actually very apt for the film industry. Film Industry is the only association of people which is truly secular from the beginning. Like a mela has all types of people, the film industry too has people from all over India, males and females and even a transgender. All religions merge into One Community – Community of Artistes, in this industry.

The film industry worked like a magnet, from the day it started. People of all religions, regions and colours joined here. Some made their mark, others just came, survived and left. The magnetism of film industry attracted people from all walks of life – doctors, engineers, architects, dentists, teachers, police officers, military persons etc. – all came here to try their Luck. One such person was music director Chitragupt Shrivastav, double MA, lecturer in a Patna College. It is worthwhile to take a  look at his life story again here.

Chitragupt was born on 16-11-1917 at village Karmaini in Gopalganj district of Bihar. He was brought up and educated in Bihar. He was perhaps the most educated composer of his times. He had done double MA in Economics and Journalism from Patna University and also taught for few years. He came to Bombay in 1945 and  having learnt classical music wanted to become a composer. He started as an assistant to SN Tripathi. His first break came in 1946 with ‘Lady Robinhood’, with the help of its director Ramnik Vaidya. Initially he got only stunt and devotional films to do. In 1952, film ‘Sindbad The Sailor’ songs became famous. In 1955, Dada Burman recommended him to AVM for ‘Shiv Bhakta’. This was a landmark film for Chitragupta, because he used Lata for the first time. Later Lata and Chitragupt had very good relations, till the end.

Actually Chitragupt should be counted as No 1 composer who gave very melodious songs to Lata, but this is forgotten because like Madan Mohan, Roshan, S-J, C. Ramchandra or SD Burman, he never got big banner films (at least not very often), which became a reason to discuss only their Lata songs frequently. Chitragupt always got only B and C grade films, which were not famous, but he was in no way less capable of composing good tunes for Lata.

Chitragupt was a very homely family man with a middle class mentality. He had a fun group comprising of  Lata, Usha, Meena, Dilip Dholakiya, Prem Dhawan and Chitragupt. They used to have lot of fun at the home of Chitragupt. Lata liked their food very much. Chitragupt Shrivastav was a Kayastha (‘Lalaji’ as they are called in Bihar ) and their non veg food was excellent.

In the late 1980s, I came in personal contact with Chitragupt, when my close friend’s daughter married his elder son. When Chitragupt learned that I liked ‘sattu ki poori‘ (a Bihari veg dish) very much, he called me to his house and we ate sattu puris and aaloo sabji, to our heart’s content !

His house in Prabhat building on Khar Road, Bombay had a music room on the ground floor, where he composed most of his tunes during 1959 to 1990. During the early 1960s up to 1965, he was so busy with work that – according to his son Anand – at one time 4 lyricists were writing lyrics in his home, Anand Bakshi in the garden, Majrooh in a room, Rajendra Krishna in the music room and Prem Dhawan under a palm tree and Chitragupt would visit one by one to see their progress !!

Chitragupt was such a simple person that when S-J demanded 5 Lakhs per film, he hesitated to ask for 50000 !

He remained a typical gentleman till the end. He was expert in using Bihari folk tunes in his songs. He became the MD of the first Bhojpuri film ‘Ganga Maiyya Tohe Piyari Chadhaibo’ (1962). His main singers remained Lata, Rafi and Mukesh.

As far as singing songs is concerned, it was his hobby. He had sung 29 songs in 16 films in his career. Most songs were for SN Tripathi, who was his guru in film music. He gave music to 149 Hindi films, composing 1036 songs-  from ‘Lady Robinhood’ (1946) to ‘Shiv Ganga’ (1987).

He suffered a heart attack in 1968 and a paralytic stroke in 1974. He died on the 14th of January 1991. His children, Anand and Milind (who can forget their song from QSQT, “Papa Kahate hai Bada Naam Karega” which launched Amir Khan into incredible stardom!), the composer duo have also made an impact on the film world.

One can understand that people in India, with whatever vocation they followed, were attracted to film industry. But even a person with exceptional achievements at international levels, one who represented India 3 times in international games and established records –  he too? Yes, surprisingly one gentleman of this description and calibre, was keen to join films. His name was JANKIDAS MEHRA.

Jankidas was born on 14th June 1916. He completed his MA from Punjab University. He was an athlete and a cycling champion. By the age of 22 years, he represented India in 3 international meets and in 1938 had established a record for 1/2 mile race. He was the first and the only Indian to win the British Empire Games Distinction Medal.

Jankidas was also an author. He wrote and published books like, ‘Mahatma Gandhi In His Own Words’, ‘Extinction of Tasmanian Race’, ‘From Brothel To Victory Stand’, and ‘My Sports Ventures’. He was described as “. . . a rare combination of student, sportsman, idealist, aristocrat and democrat” by Australia’s leading weekly ‘Smith Weekly’, dated 22nd January 1938!

Jankidas was keen to join film industry. His first role was in Pancholi’s ‘Khazanchi’ (1941). On coming to Bombay, he found that his high qualifications and achievements were deterrents for most illiterate producers, to get him roles. Frustrated, he told a lie to a producer that he was illiterate and he got a role in film ‘Her Highness’ (1946), but he was not credited. Disgusted on some friend’s advice, he contacted V Shantaram. Here he got a role in film ‘Jeevan Yatra’ (1946) and ‘Dr. Kotnis Ki Amar Kahani’ (1946).

Jankidas went on to do 344 films in his career of 60 years. In the later stage of his career he became India’s first ‘Production Designer’. (Nowadays, this is a very important post in the industry). Jankidas always remembered what his dear friend Dalsukh Pancholi told him, just minutes before his death, he had said, “Jankidas, never put your children in film industry”. Pancholi died on his shoulders in the car itself.

Jankidas expired on 18th June 2003.

Another interesting, but less known actor in this film was Rashid Khan. Senior readers will surely remember this thin, short but talented actor. I always remember his comic role in film ‘Ek Phool Chaar Kaante’ (1960) (by the way, there came a movie ‘Ek Phool Teen Kaante’ in 1997!).

Born on 5-7-1915 at Baroda, Rashid Khan, a Sulemani Muslim, studied upto BA, LLB and came to Bombay to become either an advocate or an actor. Instead he joined All India Radio as an announcer. Balraj Sahni was after him that he should act in their drama, but he initially refused and then joined them. Balraj gave him a break in the film ‘Dharti Ke Laal (1946). Then came ‘Hasrat’ (1946), ‘Gudiya’ (1947), ‘Aaj Aur Kal’ (1947), ‘Anjuman’ (1948), ‘Aarzoo’ (1950), ‘Afsar’ (1950) etc. He acted in total 95 films.

He was a fixture in Navketan films, Guru dutt films and Hrishikesh Mukherjee films. He was loved by all directors and actors. Being a Gujarati, initially he had a problem with Urdu, which he learnt quickly and mastered it.

In 1953, he married one Suraiya. His son Fazal is a photographer and daughter Heena married into Fida Hussain family.

Rashid Khan rarely got long and big roles, but he made his small roles also memorable. He was not typecast. He did roles as villain, comedian and character artiste as father, brother or friend of the hero. While shooting at Famous studio, on 7-11-1972, he got massive heart attack and died while working (just like Gope). (Thanks to Harish Raghuwanshi ji for info on Rashid Khan)

So, here is the duet of Rafi and Shamshad Begum from film ‘Zindagi Ke Mele’ (1956), composed by the King of Melody – Chitragupt.

 

Song – Tu Meri Heroine Main Tera Hero (Zindagi Ke Mele) (1956) Singer – Mohammed Rafi, Shamshad Begum, Lyrics – Manohar Khanna, MD – Chitragupt

Lyrics

tu. . . . . .
meri heroinnn. . .

tu meri heroine
main tera hero
dil hai tumhaara
chaahe kaato chaahe cheero
tu meri heroinnn. . .

main teri heroinnn. . .
main teri heroine
tu mera hero
oyy dil hai tumhaara
chaahe kaato chaahe cheero
ae ji main teri heroinnn. . .

zulfon mein teri
dil mera atka
pyaar ka kaanta
mere dil mein hai khatka
zulfon mein teri
dil mera atka
pyaar ka kaanta
mere dil mein hai khatka
tadpun main tere liye
pal pal chhinn chinn
tadpun main tere liye
pal pal chhinn chinnn
main teri heroinnn. . .
main teri heroine
tu mera hero
arrey tumse kya darr hai
mere hero number zero
ae ji main teri heroinnn. . .

ho oo oo oo oo
holi diwali beeti
beeti hai eid bhi
tu ne na bheji raja
dil ki raseed bhi
tu ne na bheji raja
dil ki raseed raja
dil ki raseed bhi
pyaar ki duniya meri
sooni hai tere bin
pyaar ki duniya meri
sooni hai tere bin
main teri heroinnn. . .
main teri heroine
tu mera hero
tum se kya darr hai
mere hero number zero
haa haa haa
main teri heroinnn. . .

kirkit kabaddi tujhe
haaki khilaaungi
baaksing bataaungi
main kushti sikhaaungi
din mein dikhaaun pyaare taare tujhe gin gin
in mein dikhaaun pyaare taare tujhe gin gin

main teri heroinnn. . .
main teri heroine
tu mera hero
haaaye dil hai tumhaara
chaahe kaato chaahe cheero
hoy main teri heroinnn. . .

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

तू॰ ॰ ॰ ॰ ॰
मेरी हीरोइन॰॰न॰॰

तू मेरी हीरोइन
मैं तेरा हीरो
दिल है तुम्हारा
चाहे काटो चाहे चीरो
तू मेरी हीरोइन॰ ॰ ॰

मैं तेरी हीरोइन॰ ॰ ॰
मैं तेरी हीरोइन
तू मेरा हीरो
ओय दिल है तुम्हारा
चाहे काटो चाहे चीरो
ए जी मैं तेरी हीरोइन॰ ॰ ॰

ज़ुल्फों में तेरी
दिल मेरा अटका
प्यार का काँटा
मेरे दिल में खटका
ज़ुल्फों में तेरी
दिल मेरा अटका
प्यार का काँटा
मेरे दिल में खटका
तड़पूँ मैं तेरे लिए
पल पला छिन्न छिन्न
मैं तेरी हीरोइन॰ ॰ ॰
मैं तेरी हीरोइन
तू मेरा हीरो
अरे तुमसे क्या डर है
मेरे हीरो नंबर ज़ीरो
ए जी मैं तेरी हीरोइन॰ ॰ ॰

हो ओ ओ ओ ओ
होली दिवाली बीती
बीती है ईद भ
होली दिवाली बीती
बीती है ईद भ
तूने ना भेजी राजा
दिल की रसीद भी
तूने ना भेजी राजा
दिल की रसीद राजा
दिल की रसीद भी
प्यार की दुनिया मेरी
सूनी है तेरे बिन
प्यार की दुनिया मेरी
सूनी है तेरे बिन
मैं तेरी हीरोइन॰ ॰ ॰
मैं तेरी हीरोइन
तू मेरा हीरो
तुमसे क्या डर है
मेरे हीरो नंबर ज़ीरो
हा हा हा
होय मैं तेरी हीरोइन॰ ॰ ॰

किरकिट कबड्डी तुझे
हाकी खिलाऊँगी
बाक्सिंग बताऊँगी
मैं कुश्ती सिखाऊँगी
दिन में दिखाऊँ प्यारे तारे तुझे गिन गिन
दिन में दिखाऊँ प्यारे तारे तुझे गिन गिन

मैं तेरी हीरोइन॰ ॰ ॰
मैं तेरी हीरोइन
तू मेरा हीरो
हाय दिल है तुम्हारा
चाहे काटो चाहे चीरो
होय मैं तेरी हीरोइन॰ ॰ ॰


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 : 3976 Post No. : 15062

“Madmast” (1953) was directed by Jagdish Pant for Sweet Pictures. The movie had Ansari, Nirupa Roy, Shashikala, Shakeela, Sapru, Mukri etc in it.

This was a B grade movie which has been forgotten with time.

The movie had eleven songs in it. Two songs from this movie have been discussed in the past.

Here is the third song from the movie to appear in the blog.

This song is sung by Shamshad Begam and S D Batish. J C Pant is the lyricist. Music is composed by V Balsara.

Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of this song.


Song0-Main laal paan ki begam (Madmast)(1953) Singers-Shamshad Begam, S D Batish, Lyrics-J C Pant, MD-V Balsara

Lyrics

main laal paan ki begum hoon
main laal paan ki begum
begum begum begum hoon
main laal paan ki begum
main baadshaah hoon kaale kaa
main baadshaah hoon kaale ka
main baadshah hoon
hoon oon oon oon
kaale ka ji kaale ka
main baadshah hoon kaale ka

din raat karoon main tujhe pyaar
kuchh nagdi aur thhoda udhaar
phir kyun na tujhe ho itbaar
ik chat pat
ik chat pat
ik chat pat garam masaale ka
ik chat pat garam masaale ka
ik chat pat garam masaale ka
aa aa aa aa
kaale ka ji kaale ka
main baadshaah hoon kaale ka

begum to ab bhi hai begum
shaahon ki shaahi hui khatam
le jaao ye tooti tam tam m
kya kaam
kya kaam
kya kaam hai gadbad jhaale ka
kya kaam hai gadbad jhaale ka
kya kaam hai gadbad jhaale ka \
aa aa aa aa
kaale ka ji kaale ka
main baadshaah hoon kaale ka

main kahta hoon le lo kishmis
chup be kya bakta hai english
daudo logon daudo logon daudo logon daudo
daudo logon daudo logon daudo logon daudo
rararararara

?????
dil loot liya dilwaale ka
dil loot liya dilwaale ka
dilwaale ka
dilwaale ka
dilwaale ka
dilwaale ka
kaale ka ji kaale ka
main baadshaah hoon kaale ka
kaale ka ji kaale ka
main baadshaah hoon kaale ka

laal paan ki laal paan ki laal paan ki begum
laal paan ki laal paan ki laal paan ki begum
begum begum begum hoon main
begum begum begum begum
laa paan ki
laal paan ki be…gam


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 : 3960 Post No. : 15038

“Jallaad”(1956) was produced and directed by J B Lulla for Filmdom, Bombay. This B grade movie had Munawwar Sultana, Veena, Nasir, Tiwari, S Nazeer, Heera Sawant, Dabboo, Nagpal, Dhanraj, Sheila Vaz, Gope etc in it.

This fantasy movie had seven songs in it that were penned by four lyricists.

One song from the movie has been covered in the past.

Here is the second song from “Jallaad”(1956) to appear in the blog. This song is sung by Shamshad Begam. Khumar Barabankwi is the lyricist. Music is composed by Naashaad.

Only the audio of this song is available. I request our knowledgeable readers to throw light on the picturisation of this melancholic song.


Song-Duniya banaane waale utar aasmaan se(Jallaad)(1956) Singer-Shamshad Begam, Lyrics-Khumar Barabankwi, MD-Naashaad

Lyrics

?? ek tamaashaaayi ee ee ee
?? ke nigehbaan
duniya mein khilaunon ki tarah aa
bikte hain insaan

duniya banaane waale ae
duniya banaane waale
utar aasmaan se
apna jahaan badal le
hamaare jahaan se ae
duniya banaane waale

do chaar din ke waaste ae ae ae
do chaar din ke waaste
duniya mein aa ke dekh
zulmo sitam hamaari tarah
khud uthhaa ke dekh
jo kuchh guzar rahi hai
kahe(?) ik zabaan pe
duniya banaane waale

mar mar ke zinda rahna aa aa
mar mar ke zinda rahna
koi dillagi nahin
shaayad teri nigaah mein ham
aadmi nahin
shiqwa nikal na jaaye
kahin ab zabaan se ae
duniya banaane waale
utar aasmaan se
apna jahaan badal le
hamaare jahaan se ae
duniya banaane waale


This article is written by Mahesh Mamadapur, 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 : 3922 Post No. : 14987

Shamshad Begum, a name too familiar to music lovers of the golden era was born on this day 100 years ago (on 14 april 1919). Her voice, much distinct from all others had that metallic as well as melodious touch which brought her fame from all over the country.

April 14 did ring a bell, but I was not very much aware that it was her birth centenary this year. A comment from one of the regulars Partha Chanda ji on the anniversary pages was enough for me to get this post going.

As I have said earlier, the expectations of music lovers from this blog continues to grow. Music lovers are aware that probably nothing new may be written about such great artists, but they know that this is one of the few places on the internet, where legends are often celebrated and discussed. Apart from hearing these golden compositions and voices, reading about other people’s views and appreciations especially of our favourites has become an enthusiastic habit.

Since, I got to get this post really fast, I would only like to restrict my views on a composer collaboration of Shamshad Begum, which I have no hesitation in considering as the best. Shamshad Begum sang many songs for almost all the composers of her era. Her singing to a few of such composers made her songs ever more popular. So popular that to this day some of these songs are re-mixed and enjoyed by a different class of people. However, it’s my personal opinion that the very songs which made her more popular with these composers were responsible for her fading away from the playback scene. It’s because she sort of got trapped with these special group songs and the more serious songs meant for the lead actresses went to Lata. I would love to write more elaborately on this subject and my views on it some other time.

Avid music lovers can easily understand which composers I am referring to in the above para, but in this post I would like to talk about her playback for composer Naushad Ali.

I mean no discredit to other great composers like Anil Biswas, Ghulam Haider and Ghulam Mohammed etc. for whom Shamshad Begum sang some really good songs.

Naushad saab, created gold with every singer who sang for him and Shamshad Begum was no exception. Shahjehan, Dard, Anokhi Ada, Mela, Andaz, Chandni Raat, Dulari, Babul, Deedar, Jadoo, etc. stand tall in some of the best creations of Naushad’s career. And, Shamshad Begum was associated in a big way in the songs of all these films.

AK ji’s blog has very elaborate post on her songs with Naushad. Yours truly, in fact has the first comment on the post.
Talking about a few of these films, Shahjehan, the first film of the combo had very interesting numbers by Shamshad Begum. Dard was always a Suraiya, Munawar Sultana film, but Shamshad Begum carves a special place for herself with two great songs. Ye afsana nahi zaalim mere dil ki haqeeqat hai is my all time personal favourite.

Mela and Anokhi Ada will always remain special to me for the Mukesh connection. Just listen to Shamshad Begum singing …..ooooooo……. in Mohan ki muraliya baaje from Mela. I think the rendering cannot be appreciated with mere words. The effortless and elegant way with which the solo is sung makes me dumbstruck to this day.

I have fond memories of songs from Chandni Raat. During the good old cassette era, my parents and obviously I had not heard songs from this film quite too often. On a visit to Bombay, I had carried back this cassette. On playing at home, the songs from the film and especially the wonderful duets with Rafi saab became instant craze and are heard to this day.

Babul, Deedar etc, will also be remembered for the contrasting voices of Lata-Shamshad in duet songs and elegant composition by Naushad saab.
It would not be out of place or wrong to say that she was sort of side-casted in favour of Lata, but even in the latter films of Naushad whenever she rendered the odd songs or supported in duets, the class and elegance remained.

Writing about her last days in her singing career will yield nothing. The metallic and melodious voice with crystal clear diction will remain ringing in our ears for decades to come.

On her birth centenary, I pay my humble tributes to Shamshad Begum and would like to represent a song from Aadmi (1957)


Song-Chhup chhup ke re chupke chupke yaad aayi (Aadmi)(1957) Singer-Shamshad Begam, Lyrics-Sartaj Rahmani, MD-Ramnath
Chorus

Lyrics

Chhup chhup ke re chupke chupke
chhup chhup ke re chupke chupke
yaad aayi
chhup chhup ke re chupke chupke
yaad aayi

haay dil dhadka
aankh lajaai
aayi re
aayi re
aaaayi
yaad aayi
chhup chhup ke re chupke chupke
chhup chhup ke re chupke chupke
yaad aayi

aankhon mein pyaar liye
aaye sanwariya
aaye sanwariya ji
aaye sanwariya

loot ke chale gaye
man ki nagariya
man ki nagariya
ho man ki nagariya

kaisa ye dhokha khaaya
lut gayi raam duhaai
lut gayi raam duhaai
lut gayi raam duhaai

ho o o o
chhup chhup ke re chupke chupke
chhup ke re chupke chupke
yaad aayi
chhup chhup ke re chupke chupke
yaad aayi

marzi tumhaari piya
aao na aao
aao na aao ji
aao na aao

dil ko sambhaaloon kaise
ye to bataao
ye to bataao ji
ye to bataao

kaise wo aag bujhaaoon
tumne jo aag lagaayi
tumne jo aag lagaayi
tumne jo aag lagaayi

ho o o o
chhup chhup ke re chupke chupke
chhup chhup ke re chupke chupke
yaad aayi
chhup chhup ke re chupke chupke
yaad aayi

kaise kahoon sakhiyon se
dil pe tera raaz hai
dil pe tera raaz hai ji
dil pe tera raaz hai

jhuki jhuki ankhiyon mein
duniya ki laaj hai
duniya ki laaj hai ho
duniya ki laaj hai

bedardi tu na aaya
ho gayi preet paraayi
ho gayi preet paraayi
ho gayi preet paraayi

ho o o o
chhup chhup ke re chupke chupke
chhup chhup ke re chupke chupke
yaad aayi
chhup chhup ke re chupke chupke
yaad aayi

haay dil dhadka
aankh lajaai
aayi re
aayi re
aaayi
yaad aayi
chhup chhup ke re chupke chupke
chhup chhup ke re chupke chupke
yaad aayi
chhup chhup ke re chupke chupke
chhup chhup ke re chupke chupke


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 : 3913 Post No. : 14973

Today’s song is from the film Dekho ji-47.

The film was made by Punjab Film Corporation and was produced and directed by its owner Wali Sahab. He also wrote the lyrics. The music was by Tufail Faruqi and his assistant Sabir Hussain ( 5 and 6 songs credited respectively).

This was one of the films of 1947, from which almost everyone- the cast, producer, director, lyricist, composers etc etc all migrated to Pakistan after Partition- some immediately and few after some time. This was of course not unusual. As the year 1947 began, news was circulating about the partition. Like many other industries, Film industry was also worried. There was an air of uncertainty. Who will stay and who will migrate was hotly debated in the privacy of homes, studios and clubs. People looked at each others with suspicion. Muslims were worried about their safety in India, in spite of the assurances by Gandhi and Nehru.

Crores of rupees were invested in films. After the second world war started in 1939, lot of Black money was generated and much of it came to Film industry. Investors, Financiers and producers were worried about half made films. Everybody seemed to be in a hurry to finish his assignment on hand. Due to this the quantity of films increased,sadly at the cost of quality. 1947 saw a record number of films made in 1947- 181 Hindi films, the highest ever since films were made. It took another 40 years to break this record in 1988, when 185 films were made.

Almost 75 to 80 % films of 1947 were obscure and forgotten within a short time. Films like Aisa Kyun, Atom Bomb, Barrister, Beete Din, Chalte chalte, Chandrahaas, Dehati, Daulat Ke Liye, Extra Girl, Farz, Gaurav, Gudiya, Heera, Janata, Jhalak, Khandaani, Lalat, Manmani, mere Bhagwan, Mohan, Nai Baat, Pehla Pyar, Paro, Riwaz, Shabari, Shahkaar, Tohfa, Toote Dil, Veerangana are some of the films made in 1947. How many of us even know about them ? Actually, some of these were films in which well known and major stars of the times had acted. For example, Mohan had Dev Anand as Hero, Lalat was the debut film of Usha Kiran (as Usha Marathe), Prem Adib and Vanmala had acted in Chandrahaas etc etc.

Not that ALL films were bad. Certainly some famous and excellent films providing some Milestones of Hindi cinema were also made in 1947, like Aapki Sewa Mein (First playback song of Lata M), Bela (all 10 songs by Zohrabai Ambalawali), Dard (Debut song of Umadevi), Elaan (a bold Muslim social film by Mehboob Khan), Jugnu (the only film of Dilip kumar and Noorjehan), Meera (all 18 songs by MS Subbulaxmi), Mirza Sahibaan (last film of Noorjehan in India), Neel Kamal ( debut of Raj kapoor and Madhubala as lead pair), Parwana (Last film of KL Saigal), Shadi Se Pehle ( first duet of Rafi and Lata) and Shehnai (epoch making music by C Ramchandra).

Nevertheless partition did have an impact on the Film industry, due to the migration of artistes from both countries. LAHORE an important city in the undivided Punjab in the pre-independence days was one of the major Film making Centres in India. Talented actors and musicians from all Punjab and Sindh area tried their luck in the Cine Industry at Lahore. Nevertheless, the biggest centre of film production was Bombay and it was every aspiring artiste’s dream to go to Bombay and shine there. The film activity at Lahore increased considerably in the early 40s in terms of film production and Music. Those days Lahore was called ” a supply source” for Bombay, as many actors and musicians shifted their base to Bombay from there.

In the communal frenzy, polarisation of artistes took place. Hindus shifted to Bombay and Muslims left for Lahore. But there were some reverse migrations also in this period. One example each is of Sahir Ludhiyanvi who migrated to India, and Deebo Bhattacharya from Calcutta migrated to Karachi and prospered in Pakistan as a successful music director.

Some of the families got divided, like Mehboob Khan opted to remain in India, but his brother MR Khan remained in Pakistan and worked as a well known producer. Juhi Chawla’s grandfather JC Anand and uncle Satish Anand stayed in Lahore. Consequently they became the pioneers of Pakistan Film Industry. After the divorce Rafi’s first wife also migrated to Pakistan with her children.

At the actual time of Partition some artists were in Lahore for film work. They were BR Chopra, Ramanand Sagar, IS Johar, Gulshan Rai, Omprakash, Jeevan, OP Nayyar, Rajinder Singh Bedi, Naqsh Lyallpuri, Surinder and Prakash Kaur and Pushpa Hans. They all left Lahore hurriedly and reached Bombay safely.

However this journey was not so safe for one actor – comedian Durga Prasad, known as Durga Mota. He was very fat. In the melee, he reached the Lahore station and somehow boarded the train to Bombay. Suddenly a group of mad rioters entered the Lahore station and started killing the travelers. Most people ran helter skelter, but due to his heavy body, Durga Mota could not run and was cut into pieces on the Lahore station platform itself !

Same way many artistes from Bombay left for Lahore and ALL of them reached safely.

With so many people migrating to Pakistan at a time and the condition of Pakistan Film Industry then, it is a moot question, whether all these migrants could get work there and shine ?

There were 2 types of people who migrated-

1. Those who had achieved their peaks already in India and

2. Those who had just started their careers.

Obviously the second group, at least some of them, could do well there eventually.

Some of the successful migrants there were – Noor jahan, Khursheed Anwar, GA Chisti, Nissar Bazmi, Firoz Nizami, Najam Naqvi, Nakshab Jarachavi, Sibtain Fazli, Wali Saheb, Manto, Rashid Atre, Sudhir, Santosh, Asha Posley, Shameem, Najma, Yasmeen, Ragini, Zahoor Shah, Shaikh Iqbal, Himalaywala, Nazar, Rafiq Gaznavi, Tanvir Naqvi, Iqbal Bano etc.

Some of the unfortunate ones were – Meena Shorey, Ratan Kumar, M Sadiq, Charlie, Ghori, Kumar, Sheikh Mukhtar, Najmul Hussain, Neena, Kalavati, Maya Devi, Ghulam Hyder, Nashaad, Premlata etc.

Almost all the artists who shifted to Bombay prior to Partition did very well here.

There was a second wave of Migration in the 50s, during which many artistes like Veera, Rattan Kumar, Rehana, Mumtaz Shanti, Meena Shorey, Wali Sahib, K Anwar etc migrated to Pakistan.

Partition did some damage to India, but as there was a second line waiting to take over, the impact was negligible. However, Pakistan had to build a new film industry with the help of the migrant artistes in almost all departments of film making. Once this generation ended their career,unfortunately there was not much of a second line to take over in Pakistan.

Like many top class composers who migrated to Pakistan, there were some small time or recently started composers who also left, like Inaayat Hussain (only 1 Punjabi film Kamli), Fateh Ali Khan (2 films- Aaina-44 and Director-47), Tufail Farooqi (2 films-Sona Chandi-46 and Dekho Ji-47). Inayat Hussain of course became a Legend in Pakistan.

Today we will talk about TUFAIL FAROOQI.

Tufail was born in Taran Taaran, Amritsar, Punjab, in 1918. After taking musical lessons from Ustad Abdul Waheed Khan for several years, he joined All India Radio, Lahore. He also worked with many composers. Finally, he got his first film, ‘Sona Chaandi‘-46. Out of 12 songs of the film, he composed 10 songs and 2 were composed by DC Dutt. In this film Tufail gave opportunity to a young but promising new comer, who was struggling to get established as a playback singer – Mohammed Rafi. Rafi got 4 songs in this film and he was overjoyed at this break.

Later Tufail gave music to his second film- ‘Dekho Ji’-47. Here too he composed 6 songs and the other 6 were composed by composer Sabir Hussain. Actually, Sabir Hussain was his assistant and just to encourage him, Tufail credited these songs to him.

After partition, Tufail migrated to Pakistan, along with family and Sabir Hussain in tow, but had to struggle hard there too. His first film was ‘Barkha’ in 1953. Tufail gave music to 37 films, mostly Punjabi films and less Urdu. His film, ‘Bahadur Kissan’ -1970 had a song- ”Mera sona des kissan da”, sung by singer Masood Rana. This tune was a blatant direct copy of the song ”Ye desh hai veer jawanon ka” from ‘Naya Daur’-57. The Pakistani song became a tremendous hit, not only with the Punjab farmers but also was played on Radio and TV often.

Tufail Farooqi’s sister was Master Ghulam Haider’s first wife (Umrao Zia Begum was his second wife), from whom he got a son-Saleem Haider. Later Saleem joined Pakistan Army and rose upto the rank of Lt. General. He retired in 2000.

Tufail worked till early 80s. He had married the famous Pak singer Pappu Pukhraj in 1953. He passed away in Lahore on 25-3-1988.

Film ‘Dekho Ji’s cast was Mumtaz Shanti, Anjum, A Shah, Khatoon, Haroon, Afzal, Dilshad, Mintobai, Gulnar etc. Anjum was the hero in this film. From his photos in Film India issues of 1946, he looked to be a very handsome young man. He was also seen in 2 more films-‘Bichhade Balam’ and ‘Rehnuma’, both of 1948. After this, I guess, he migrated to Pakistan like many other artistes, because now his name appears in many films made in Pakistan, during the period 50s to the 80s. Some of his films made there are, ‘Waada’-57, ‘Nai Ladki’-58, ‘Beqasoor’-69, ‘Shami’-89 etc.

Another actor in the cast, who was quite a popular comedian those days was A Shah aka Aziz Shah. He was born in 1910, at Sialkot. He did not have much schooling, except primary education at Lyallpore and at Islamia High School, Lahore. Due to his rich and sweet voice, he used to recite Holy Quran, on farmaish. He wrote poetry also.

He joined Saroj Movietone in 1930, under Mohan Bhavnani as an artiste at Rs.40 p.m. He acted in ‘Shakuntala’-31 and ‘Gul Bakavli’-32. He had to take a 2 year break, due to an illness. Back in Bombay, he worked in film ‘Fidai Tohid’-34 as a hero. He gave music to film ‘Gunehgar’-36. He wrote dialogues for ‘Mother India’-38 and ‘Daughters of India’-39. His first comic role was in Ranjit’s ‘Mirza Sahiban’-35. He became famous with his role in Punjabi film ‘Kurmai’-41.

His best role came in ‘Sharada’-42, as Munshi Udharchand Shikarpuri. This was repeated by him in film ‘Keemat’-46. Some of his 11 films were, ‘Dhandora’-41, ‘Armaan’-42, ‘Sukh Dukh’-42, ‘Kanoon’-43, ‘Sanjog’-43, ‘Geet’-44 and ‘Ek Din Ka Sultan’-45. After 1947, he stopped acting and wrote lyrics in films like ‘Raat Ki Rani’-49, ‘Namoona’-49 and ‘Ek Teri Nishani’-49. After this he possibly migrated to Pakistan and we have no further information about him anymore. Baburao Patel of Film India magazine was his fan.

I have no idea whatsoever about the story line of this film. From the various photographs and comments in Film India 1946 issues, the film seemed to be interesting and entertaining with dance, drama and songs. It seems the film was completed in record time, but it was not released in 1947 for sure. Actually, most of the 1947 censored movies got released in 1948, due to the disturbed political atmosphere in the country in 1947.

Here is a very melodious song from this film, sung by Shamshad Begum.


Song-Baalam Pardesia Saajan Pardesia (Dekho Jee)(1947) Singer- Shamshad Begum, Lyrics- Wali sahab, MD-Tufail Farooqui

Lyrics

baalam pardesia
saajan pardesia
kaali ghataayen ghir ghir aayin
ghir aayin
duhaayi re
duhaayi re
baalam pardesia
saajan pardesia

jhool rahi jhoola
saajan sang sajni ee
jhool rahi jhoola
saajan sang sajni
aur main akeli
jaloon bin agni
aur main akeli
jaloon bin agni
haaye raam
kaun sautan man bhaayi re
duhaayi re
duhaayi re
baalam pardesia
saajan pardesia

chhod gaye jab se
baalam harjaai re
chhod gaye jab se
baalam harjaai re
nainon mein tab se hi
nindiya na aayi re
nainon mein tab se hi
nindiya na aayi re
ansuwan se ho gayi
sagaai re
duhaayi re
duhaayi re
baalam pardesia
saajan pardesia

poochh rahi tum se
kadamb ki chhaiyyaan
poochh rahi tum se
kadamb ki chhaiyyaan
akeli ko chhod ke
kahaan gaye sainyya
akeli ko chhod ke
kahaan gaye sainyya
teri khabariya na aayi re
duhaayi re
duhaayi re
baalam pardesia
saajan pardesia aa aa

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

बालम परदेसिया
साजन परदेसिया
काली घटाएँ घिर घिर आईं
घिर आईं
दुहाई रे
दुहाई रे
बालम परदेसिया
साजन परदेसिया

झूल रही झूला
साजन संग सजनी
झूल रही झूला
साजन संग सजनी
और मैं अकेली
जलूँ बिन अग्नि
और मैं अकेली
जलूँ बिन अग्नि
हाए राम
कौन सौतन मन भाई रे
दुहाई रे
दुहाई रे
बालम परदेसिया
साजन परदेसिया

छोड़ गए जब से
बालम हरजाई रे
छोड़ गए जब से
बालम हरजाई रे
नैनों में तब से ही
नींदिया ना आई रे
नैनों में तब से ही
नींदिया ना आई रे
अंसुवन से हो गई सगाई रे
दुहाई रे
दुहाई रे
बालम परदेसिया
साजन परदेसिया

पूछ रहीं तुमसे
कदम्ब की छईंयां
पूछ रहीं तुमसे
कदम्ब की छईंयां
अकेली को छोड़ के
कहाँ गए सैंयां
अकेली को छोड़ के
कहाँ गए सैंयां
तेरी खबरिया ना आई रे
दुहाई रे
दुहाई रे
बालम परदेसिया
साजन परदेसिया


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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 over 15200 song posts by now.

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

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