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.
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5768 | Post No. : | 18293 |
Today’s song is from the film Kundan-1955.
The film was made by Minerva Movietone, produced and directed by Sohrab Modi. I liked Sohrab Modi very much. Not only because he could deliver long dialogues forcefully, but because his life story was very inspiring. In India there were few other filmmakers and directors who handled topics normally considered Taboo by others and some filmmakers who never hesitated to make films on unusual themes, when the trend was to make entertaining, musical and romantic films. Sohrab Modi was perhaps the only filmmaker who made films to expose the social ills through the cinematic medium from his first film.
When he started his film career, he faltered, he failed but he learnt lessons, improved on his filmmaking presentation and used his own strengths. He chose stories which will appeal to Indian audiences and topics which were important to the majority of people. While doing this, he had to be tough and a disciplinarian, at times even dictatorial but he was always target oriented.
When his first film, from his own banner Minerva Movietone, flopped miserably, with only about 20-30 people in the audience on the first shown of film ” Atma Tarang”-1937, he was, like any other normal person, so much dejected that he thought of quitting films. But then the encouraging comments by a group of 4 people in that audience gave him a lot of motivation and subsequently he made history in filmmaking in India.
Like a true Parsee, he sometimes behaved in a way difficult to understand for a common person. Those who worked with him in his initial career- like Music Director C.Ramchandra had written a lot about him and expressed how and why he not only adored him but also considered him as one who helped him in his career building. The life story of Sohrab Modi is full of ups and downs, but there were more ups than downs.
Sohrab Merwanji Modi was born in a Parsi family on 2nd November, 1897. His parents were Parsi civil Servants. For a few years he stayed in the Parsi community in Bombay. Sohrab Modi’s childhood was spent with a lot of activities. As he grew up, his more interest was in exercise and sports. Though in childhood many times he was severely sick and a few times he was also hospitalized. Due to which he looked tall but he was thin. But later he was very active. In school he was an average student, he never got hooked on History. Many times a teacher complained to his parents for his lagging behind in history subjects. His parents turned all the stones to make him study but it all went in waste. But Sohrab was good at sports and from childhood he was interested in exercise which helped him to develop his personality in stage acting. Later he shifted with his family to Rampur in Uttar Pradesh. At the age of 14 -15 his mind absorbed many interesting things in acting as he watched silent movies. Soon his mind got diverted toward stage acting.
At the age of 17 years, he worked as a travelling exhibitor in Gwalior. Elder brother Rustom Modi, along with his close friend Ittefaq, set up Arya Subodh Natak Mandali theatre group in 1923.
In the beginning, Sohrab Modi only acted as an extra or side role which was not that important. But Sohrab was looking for the opportunity where he could act as a leading actor. Very soon he got an opportunity and he broke the ice. Soon He earned the reputation as a Shakespearean actor. Sohrab Modi’s elder brother Rustom helped him in stage acting and people really appreciated the Sohrab acting. Sohrab played Jehangir (Hamlet) opposite Naseem Bano (Ophelia) in Khoon ka Khoon, one of the biggest Urdu stage Hits of the 20s. As Sohrab was growing up, his personality kept developing. His personality suited the role of a king. His two plays ‘Khoon Ka Khoon’ and ‘Saed-E-havas’ added flying colors to his acting.
In 1931 Hindi movie ‘Alam Ara’ was released with sound. On one hand, ‘Alam Ara’ was a big leap for Bollywood. But on the other hand, the introduction of sound in movies created a very big crack in the theatre business. People started getting interested in watching movies rather than watching theatre plays. To save theatre art, the Modi brothers set up the Stage Film Company in 1935. From this year Sohrab Modi never looked back in acting career.
Sohrab Modi’s talents soon reached the ears of ‘Dadasaheb Phalke’. Though Sohrab Modi had worked in a few silent movies before, Dadasaheb Phalke never appreciated Sohrab Modi’s acting. One day Phalke Saab personally went to see Sohrab’s play ‘Alexander the Great’.
Sohrab Modi is remembered fondly by the film buffs for his towering personality, solid voice and his forceful dialogue delivery. Actually, Modi was much more than that. He was the first and the only film maker who took up Historical subjects to make films that left a long lasting impression on the film goers. He loved to do the roles of Historical persons ( actual or mythical) and deliver long dialogues in his resonant voice, clear diction and superb voice modulation.
Sohrab Modi developed these qualities from his stage acting days. In his growing up age at Rampur, he had spent hours in the library of the local Nawab, where his father worked as a Superintendent. This gave him a command on Urdu language. Added to this was his brother Rustom’s drama company ” The Arya Subodh Natak Mandali” in which he acted. In 1935, the brothers set up the ” Stage Films ” to film the two dramas, namely Hamlet aka Khoon ka khoon-35 and Sayeed E Hawas-36, based on Shakespeare’s play King John, as movies. However, these movies did not do too well, as the audience had seen them on stage several times. But this failure didn’t stop Sohrab Modi from acting. Taking a clue from this, Modi decided to start a new company, Minerva Movietone to produce independent films on different stories of merit.
Minerva Movietone was started by Sohrab and brother Rustom Modi in 1936, when they realised that the stage dramas, filmed as Feature films, did not get the public approval. Logo of his banner was the Lion. Does this personally symbolize Sohrab Modi personality? Production from Stage films- their first film production enterprise- was suspended till Minerva became successful. ” Aatma Tarang-37″ was the new company’s first film. C. Ramchandra was the Harmonium accompanist for M.D. Habib Khan and Bundu Khan. He also did a small role in Aatma Tarang and earlier Saeed E Havas-36. Minerva’s first film proved to be a let down.
Sohrab found that there were hardly 20 to 30 persons in the audience on the very First show. The film was based on the power of ‘ Bramhacharya’ (Celibacy). In those days, Sohrab was greatly influenced by the teachings of Ramakrishna Mission. Seeing the poor response, he was upset. Thoughts of quitting the film production line were crowding in his mind. Suddenly, he saw four men coming towards him. They came, confirmed that he was Sohrab modi and told him that his film was very good. They further advised him to keep making such good films and one day he will be on Top. Later on he learnt that these gentlemen were the Judges of Bombay High Court.
This gave a lot of motivation to Modi. It also boosted his self confidence. As such he was sure of his success in films, but now he knew that he must make films on subjects of interest of the public and not his own philosophy, if he wants to succeed commercially. His second film was Khan Bahadur-37, based on the bravery and generosity of a Muslim king who became famous for his bravery. The English rulers gave him the title of Khan Bahadur. The film did a reasonable business.
This incident infused him with new hopes and enthusiasm. This changed his life. Initially he focused on making films on social evils like Drinking (Meetha Zehar-38), Husband-wife separation ( Divorce-38) and Incest ( Bharosa-40 ). Enthused with this experience, he made successful films and took his company to the Top. Renowned for big budget historical films, Minerva benefited from the Modi family’s distribution interests in Gwalior, expanded by his third brother Keki Modi into western India. At one time he controlled a chain of 27 theatres in 10 cities. In 1952, they established India’s first Technicolour Laboratory.
In 1944, Central Studio signed Mehtab for their film “Parakh”. Sohrab Modi was directing the film. At the time of signing the contract, Mehtab told Modi that she had heard that he only took his own close-ups in his films and ignored the others. He told her that he wasn’t acting in that film. Thereafter, Sohrab Modi again took Mehtab as heroine in his film “Ek Din Ka Sultan” opposite Wasti under his own banner Minerva Movietone. Slowly, Sohrab Modi fell in love with her and proposed to her. Mehtab agreed only on the condition that she would not leave her son Ismail. Sohrab didn’t find any problem in that and they got married on the birthday of Mehtab, 28 April 1946. Sohrab Modi’s family didn’t approve as they were Parsi and Mehtab was Muslim. Sohrab never interfered in Mehtab’s career or religion. Mehtab had a son from Modi named Mehli who was brought up as Parsi. Modi sent both the sons abroad to study.
Mehtab did few films after marriage like “Behram Khan” (1946), “Saathi” (1946), Shama (1946). Her last major film was “Jhansi Ki Rani” (1953). (She did a small role in the film Samay Bada Balwan-69.) Sohrab Modi was the producer, director and the hero of the film. It was Sohrab’s first colour film. She acted in a total of 40 films. Sohrab Modi acted in 32 films. First was Hamlet-35 and the last was Razia Sultan–83.He directed 27 films. First was Hamlet-35 and the last was Meena Kumari ki Amar Kahani-81.
Sohrab Modi died on 28 January 1984 due to cancer of the bone marrow. Mehtab’s both sons were settled abroad, though she spent her life in Cuffe Parade, Mumbai till her death. She died on 8-4-1997. ( I thank Upperstall for some information used herein, book ‘ Hero ‘ Vol 1 by Ashok Raj and my notes.)
Film Kundan was the first film made by Sohrab Modi, after his ambitious film ” Jhansi ki Rani”-1953 failed at the Box office. The first Technicolor film made in India was his dream project and he had expected much from it. Unfortunately it did not fulfil his dream. But he did not give up. He came out of it and made 5 films in subsequent 4 years continuously. The story of film Kundan-1955 was based on the famous novel ” Les Miserables’ by the French author Victor Hugo, published first in 1862. The Indianised story of this film was…..
The film starts with Kundan (Sohrab Modi) stealing a loaf of bread from a kitchen and running home with it to feed his young niece Radha, and ailing mother. He is arrested, and in court he says that he had tried to find work, begged, and in the end was forced to steal. The judge sentences him to two years in prison. His niece visits him in jail telling him of his mother’s death. Kundan bends the iron rods and escapes, but is caught. He is imprisoned for a further five years for trying to escape. The second time he tries to do so, he gets an additional seven years. Kundan spends a total of fourteen years in prison doing hard labour. Radha (Nimmi) is married to Gopal (Pran) and they have a baby girl Uma. Gopal, who is in bad company, and a crook get her to part with all her jewellery and he disappears with it. Radha and her baby find refuge with a tea-stall owner (Om Prakash) and his wife (Manorama), who employ her to work for them for minimal wages. Kundan, on release from jail, sets out to find Radha. He has been told by the jail authorities, including Inspector Sher Singh (Ulhas), a devout policeman, to keep them informed about his whereabouts and to present himself regularly at the police station. When he returns to his locality, he is unable to find Radha, and the neighbours drive him away, calling him a dacoit.
Kundan, on being turned away by everyone, finally finds a saviour in Gurudev (Murad), a priest, who helps him find himself and introduces him to making pottery and earning money. Kundan does well for himself and meets up with Radha and Uma. Radha dies from an illness and Kundan brings up Uma. Inspector Sher Singh meanwhile, is after him all the time. A grown up Uma (Nimmi) meets Amrit (Sunil Dutt), a freedom fighter involved in the Quit India Movement against the British. Amrit and Uma fall in love, but Amrit has the police after him. In a fight between the revolutionaries and the police, Sher Singh is imprisoned by them, but subsequently let free by Kundan. Amrit gets injured and Singh tries to arrest him. Kundan knocks the policeman down and escapes through a drainage pipe with Amrit. When the Inspector comes looking for them again, there is a confrontation between Kundan and the Inspector while Amrit lies wounded. Kundan tells Sher Singh that he will give himself up to the police if he allows Amrit to get treatment. Sher Singh agrees to let Amrit’s wounds be treated and waits as the doctor attends him. When Amrit recovers, Kundan goes down to find a note written by the Inspector, in which he states that he’s letting two people wanted by the police go free, hence his only salvation for not doing his duty is to kill himself. Kundan manages to see the Inspector jumping into the river. Amrit and Uma are reunited with a repentant Gopal asking Kundan’s forgiveness.
Today’s song is the last and final song from this film, making it an YIPPEED film.
Song-Matwaale o matwaale nainon ke teer khaa le (Kundan)(1955) Singers-Shamshad Begam, Lata, Lyrics-Shakeel Badayuni, MD-Ghulam Mohammad
Chorus
Matwaale o matwaale
nainon ke teer kha le
matwaale o matwaale
nainon ke teer kha le
dil mein dard basa le ae
dil mein dard basa le ae
matwaale o matwaale
nainon ke teer kha le
dil mein dard basa le ae
dil mein dard basa le ae
duniya hai aani jaani
chhode jaa koi nishaani
ho o o o o
duniya hai aani jaani
chhode jaa koi nishaani
ulfat mein choor ho jaa
har gham se door ho jaa
hans le aur hansa le ae
hans le aur hansa le ae
matwaale o matwaale
nainon ke teer kha le
dil mein dard basa le ae
dil mein dard basa le ae
aa aa aa aa aa
kisi ke dil pe nigaahon ke teer chalte hain
aen aen aen aen aen
mere jahaan mein
aahon ke teer chalte hain
ho o o o
daulat ke sab hain bhookhe
bekas ko koi na poochhe
bekas ko koi na poochhe
ho o o o
daulat ke sab hain bhookhe
bekas ko koi na poochhe
bekas ko koi na poochhe
duniya hai paagal saari
soorat hai sabki pyaari
duniya hai paagal saari
soorat hai sabki pyaari
dil ke rang hain kaale ae
dil ke rang hain kaale ae
matwaale o matwaale
nainon ke teer kha le
matwaale o matwaale
nainon ke teer kha le
dil mein dard basa le ae
dil mein dard basa le ae
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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5761 | Post No. : | 18286 |
Today’s song is from a well known film of 1952-Bewafa.
The film was not famous for its story, but because two big stars – Raj Kapoor and Ashok Kumar – were acting together in it. Raj Kapoor was young and only three years old in films, with 20 films, whereas Ashok Kumar was a senior actor with 16 years’ experience and 41 films under his belt. Raj was already shining as an actor and a Director Of 3 successful films. Ashok Kumar had done a variety of films and even now, at the age of 41 years, he was still in much demand as a Hero.
Naturally people expected a solid treat to enjoy in this film. In addition, the Heroine was Nargis – a mere 23 years old, good looking actress with already 41 films (including child roles) behind her, at just 23 years’ age. So, you can’t blame the audience for expecting an entertaining film. Some of the film’s songs recorded before its censoring (9-12-1952) had already become popular. So, when the film was released and people went to see it, they were simply thrilled. But ALAS ! When they came out, they were quiet and silent. The film had failed !!
Film Bewafa-52 was an eminently flop film of RK-Nargis. They worked in 17 films together, including both versions of Jagte Raho. This film had come at such a time when there was a wave ( or a fashion ? ) of Tragedy films. Saigal films had given a respectable status to Tragic films ( and songs) and actors like Dilip Kumar took them to greater heights. After a few initial films, Dilip Kumar started dying in films. He had started his career with “jwaar Bhaata”-44, in which Agha was the Hero and Dilip played a side role. In later years the roles were reversed and Agha became a comedian and played side roles in films when Dilip was the Hero.
Starting with Jugnu-47, Dilip, habitually died in films like Nadiya ke paar-48, Mela-48, Shaheed-48 and Andaz-49. Then again he ‘died’ in Devdas-55 and Musafir-57. He became famous as a Tragedy King, but a wrong message went to producers/directors that if the Hero dies, the film becomes a hit. This started a ‘killing spree’. Probably this was taken too seriously by Director M L Anand in film Bewafa-52 and he ensured that all the three main characters of the film die one after another ! Perhaps this was too much for the audience to take and they too killed the film turning it into a grand flop !!
The cast of the film Bewafa was Raj Kapoor, Nargis and Ashok Kumar with many others in smaller roles. The film revolves around these three characters only. The film was produced by Nargis herself, under the banner of her company ‘The art centre-Bombay’. The entire film was filmed in RK studio. The songs were written by Sarshar Sailani and Shams Azimabadi. The Music Director was A R Qureshi aka Alla Rakha, the famous Tabla Maestro and father of Tabla wizard Zakir Hussain. There were 9 songs in the film. Today’s song is the 9th song to be discussed here. The story of the film was-
RUPA’S(Nargis) life began in a Chawl. She led a miserable existence with her uncle who was a drunkard, who ill treated and tortured her. RAJ (Raj Kapoor), her neighbour, had always a playful attitude towards Rupa. He even sympathised with her pitiful state and preferred only to help her, which she used to accept, though reluctantly. One day she was forced to leave the chawl and wanted to put an end to her life but Fate had decreed otherwise. She met Ashok ( Ashok Kumar), a poor and unsuccessful artist who lived in a humble room in the neighbourhood. Ashok, with a connoisseur’s eye, thought Rupa an ideal model for his paintings. This proved true. Ashok and Rupa became rich overnight. Rupa forgot her miserable past and was happy in her present rich environment with Ashok.
At this juncture Raj arrives on the scene-a completely changed Raj dressed like a gentleman with aristocratic behaviour and habits. Rupa was very pleased to meet Raj after such a lapse of time. She introduced Raj to Ashok-who though had not met each other before but had heard of each other. Ashok was not well impressed with Raj nor Raj with the former. Raj’s intimacy with Rupa grew more and more every time they met. Ashok did not approve of this association as he thought that Raj was not good enough for Rupa and that he was more after her money. Raj on the contrary gave all the assurances to Rupa that he only cared for her and nothing else mattered to him in the world. All these developed into a conflict and misunderstanding amongst the three Rupa, Raj and Ashok.
Actually Raj was a gambler and owed large amounts to creditors,who were after him for money. He only pretended to love Rupa. He wanted her money and not her love. She could not understand this. Ashok tried to tell her to keep away from Raj, as he understood his intentions. One day after an argument with Ashok over Raj, she leaves her house and goes to Raj. They stay in a hotel. Raj’s creditors are after him to get money from Rupa. He steals her bag and starts running.
People think he is a thief and follow him. His creditors think he is running away with the booty and they fire at him. Meanwhile Rupa follows Raj. She is completely disillusioned to see her love being so bewafa and greedy. Raj dies of bullet injuries. Rupa returns to Ashok, but Ashok too takes poison and dies as he had loved her. Seeing this Rupa collapses and dies. Seeing all this the audience also faints ! After some time they get up and go home silently !!
Today’s song is sung by Shamshad Begum and Chorus. It is a Dance/song video. This song was written by Sarshar Sailani.
Sarshar Sailani (12 March 1914 – 10 April 1969) was a lyricist, Story, Dialogue writer, Screenplay Writer, who was not much educated (not a graduate), but was a school teacher, used to participate in Mushairas. Motiram liked his shayari. When Motiram started his First film “Arsi” (1947), he invited Sailani to write story, song and dialogues for this film. Some songs became popular & Sailani jumped into the film line.
Sarshar Sailani was born on 12 March 1914 in Ludhiana, in Punjab. He was yet another Hindu writer, who took a Muslim name. His real name was Bhim Sen.
The film “Arsi” was made by Jeevan Pictures, Lahore. It was directed by Daud Chaand. All the 11 songs were written by Sarshar Sailani. This was his first film as a Lyricist. The owner of Jeevan Pictures, was Motiram Jain and he was a lover of Shayari and poetry. Interestingly, Sarshar Sailani acted only in one film & that is Arsi (1947).
Music directors Lachhiram called Sarshar Sailani for his next film Mohini (1947) & Shyamsunder called for Ek Roz (1947). Along with director Daud Chaand, Sailani also shifted to Bombay. However, after the Partition, Daud returned to Lahore but Sailani remained in India. He wrote lyrics in many movies, generally he got only low budget films, but he worked with some quality composers.
In all, he wrote 150 songs in 32 films. From 1960 onwards, after the film ‘ Bade ghar ki bahu’, he stopped songwriting and took up only story, dialogue writing, in which he did many good films. some of such films were Bewafa,Baaz,Barsat ki raat,Unpadh,Aayi milan ki bela,Aapki parchhaiyan,Ganga ki laharen, Majboor, Aaye din bahaar ke, Aman, Devar, Gunahon ka devta, kanyadaan,Aya saawan jhoom ke, Anjana etc.etc. His last film as a dialogue writer was Maa aur Mamta-70.
Sarshar Sailani worked with music directors like Pandit Amarnath, Anil Biswas, Pandit Govind Ram, Husnlal Bhagatram, Lachhiram, Hansraj Bahl, Roshan, Ghulam Haider, A. R. Qureshi, Chitragupt, Sardul Kwatra & Jaidev. Sarshar Sailani died on 10 April 1969 in Mumbai.
The Music Director was A.R.Qureshi. Ustad Allah Rakha, born as Allah Rakha Khan Qureshi, was born in Jammu and Kashmir on 29-4-1919. He was an Indian tabla player who popularised the art of tabla playing all over the world. Allah Rakha was born to a soldier, who later returned from the army and worked as a farmer after that to earn his bread and butter. Being the eldest of seven sons, his father did not expect him to learn music and opposed his idea of learning classical music.
Ustad Allah Rakha, as a young boy of 12 years, found the instrument fascinating while visiting his uncle in Gurdaspur. His inclination towards Indian classical music and the Performing Arts made him run away to Lahore for further learning, as he found little scope of learning the art-form in his home-town. Allah Rakha studied at the Punjab school of classical music (gharana) where he became a student of Ustad Mian Khadarbaksh Pakhawaji (Mian Quader Bakshi). He was trained to be a singer under Ustad Ashiq Hussain.
Allah Rakha was also associated with theater as he lived in Pathankot for sometime and worked for a theater company. In 1930, Allah Rakha worked at radio station in Lahore. According to reports, he moved to Delhi after six years, in 1936, to work with All India Radio. In 1940, he moved to Bombay and worked with Pandit Ravi Shankar and again on All India Radio. He was the station’s first ever tabla solo player then.
After which he even composed music for 42 Hindi films from 1943 to 1958. His first film as a MD was Mahasati Anusuya-43 and the last released film was Idd ka chaand-64. He even sang 14 songs in 7 films between 1942 to 1949.He worked mostly in films made by Hind Pictures, Magnet films, Sunrise films and Mohan studios of Dave brothers. Barring 1 or 2 films like “Bewafa”-52, he got only C grade stunt films or Muslim ibadat films. He gave music in 3 Punjabi Films Madari -1950,Fumman-1951, Jagga-1964. He gave BG music in PYar Ki Baatein 1951. He acted in Aabida- 1947. Uma Devi (Tuntun) first sang in Wamiq Azra-46 under MD A R Qureshi.
Ustad Allah Rakha had married twice. He was first married to Bavi Begum and had three sons, Zakir Hussain, Fazal Qureshi and Taufiq Qureshi and two daughters Khurshid Aulia née Qureshi and Razia. Razia served him in his later years and was like a constant companion to her father. She died after a routine cataract surgery and Allah Rakha could not cope with the shock of her death and immediately slipped into a coma and passed away within 24 hours on 3-2-2000. Zakir Hussain is one of the most renowned tabla players of India.
Allah Rakha’s son Zakir Hussain grew up to be another legend in the country. Zakir Hussain has also been honoured with the Padma Shri in 1988 and the Padma Bhushan in 2002, by the Government of India. The honour that was bestowed upon his father by the Sangeet Natak Akademi came to him as well in 1990. Hussain has been working in films and on albums in India as well as abroad. Hussain owes his career to his father, who had made sure that he remained focused on this art-form.
Ustad Allah Rakha had established the Alla Rakha Institute of Music in Bombay in 1986 and imparted his knowledge of the instrument to all his disciples in the institute. Allah Rakha and sitar maestro Pandit Ravi Shankar brought classical Hindustani music to Western audiences as well. He was honoured with the Padma Shri Award by the Government of India in 1977 for his contributions to elevate the reach of tabla playing as an art form across the globe. Later on, Sangeet Natak Akademi also honoured him.
Ustad Allah Rakha and sitar maestro Pandit Ravi Shankar brought classical Hindustani music to Western audiences as well. Their partnership reached legendary heights with performances at the Monterey Pop Festival in 1967 and the Woodstock Festival in 1969. The two performed together in many festivals and elevated the respect and popularity of tabla playing as an art form. Other than Pandit Ravi Shankar, he also worked with renowned Kathak dancers like Sitara Devi and Birju Maharaj.
Ustad Allah Rakha found fans not only in India but abroad as well. Reportedly, American percussionist, the Grateful Dead’s Mickey Hart, was his huge fan. Hart always tried to learn from him even from single visits that Ustad used to make to his country. Hart was also quoted saying, “Alla Rakha is the Einstein, the Picasso; he is the highest form of rhythmic development on this planet.”
Other than the Grateful Dead drummer, Mickey Hart, Ustad Allah Rakha inspired George Harrison from The Beatles as well. Both of them performed together for a Concert for Bangladesh in 1971. Mickey Hart also collaborated with him for Rolling Thunder in 1972. The picture we have here is of Hell’s Angels member Terry The Tramp with tabla player Ustad Alla Rakha as they were set to perform together at the Monterey International Pop Festival, June 17th, 1967. He had collaborated with many prominent rock groups.
While Ustad used to generally team up with Pandit Ravi Shankar for his performances, he once collaborated with jazz drummer Buddy Rich for an album, Rich à la Rakha in 1968. Some of his greatest works have been in the form of albums Improvisations, West Meets East, Album 3 (with Ravi Shankar, Yehudi Menuhin, Jean Pierre Rampel, Martine Gelliot), Angel (1976), Master Drummers with Zakir Hussain (1991), Tabla Duet, Chhanda Dhara (1994), Ultimate in Taal-vidya, Magnasound/OMI (1996).
With today’s song, all songs of the film Bewafa-1952 are covered and it becomes a YIPPEE film.
Song- O taana dere na taana taana der na(Bewafa)(1952) Singer- Shamshad Begum, Lyricist-Sarshar Sailani, MD- A.R.Qureshi
Chorus
Lyrics
oye taana
der na taana
taana der na
taana der na taana
taana der na
mere dil mein aa jaana
gaana pyaar ka gaana
mere dil mein aa jaana
gaana pyaar ka gaana
taana der na taana
taana der na
taana der na taana
taana der na
oy haiyya appa
aare happa
haiyya happa
o haiyya happa
aare happa
haiyya happa
o taana der na taana
taana der na
taana der na taana
taana der na
bulbul jaise phoolon mein kho jaata hai
bulbul jaise phoolon mein kho jaata hai
bhanwra jaise kaliyon ka ho jaata hai
bhanwra jaise kaliyon ka ho jaata hai
tum bhi mere ho jaana
tum bhi mere ho jaana
gaana pyaar ka gaanaa
o taana der na taana
taana der na
taana der na taana
taana der na
oy haiyya happa
aare happa
haiyya happa
o haiyya happa
aare happa
haiyya happa
o taana der na taana
taana der na
taana der na taana
taana der na
khushiyon ka hai mela dil ki basti mein
khushiyon ka hai mela dil ki basti mein
aao hum bhi mil ke naachen masti mein
aao hum bhi mil ke naachen masti mein
bhar ke dil ka paimaana
bhar ke dil ka paimaana
gaayen pyaar ka gaanaa
taana der na taana
taana der na
taana der na taana
taana der na
oy haiyya happa
aare happa
haiyya happa
o haiyya happa
aare happa
haiyya happa
o taana der na taana
taana der na
taana der na taana
taana der na
mere dil mein aa jaana
gaana pyaar ka gaana
mere dil mein aa jaana
gaana pyaar ka gaana
taana der na taana
taana der na
taana der na taana
taana der na
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5760 | Post No. : | 18285 |
Today’s song is a video song of a dance number from the film Alibaba aur 40 chor-1954.
The names Alibaba, Aladdin and Sindbad immediately revive the memories of childhood. Readers in the age group of 65+ will surely drift into Nostalgia. These are some of the popular stories from the ‘Arabian Nights’, one of the Bestsellers of the world. There is hardly any language with a script, which has not translated these stories into their literature. Out of the 1001 stories of the Arabian Nights, the other popular stories were that of Hatimtai and Gul-E-Bakavali.
Several generations grew up reading, enjoying and dreaming about these stories in their school days, all over the world. (I can not vouch for the recent generation, however). Owning these books was a treasure. No wonder filmmakers from all over the world made films on these stories and raked a lot of money. Places like Basra, tatar and Baghdad etc. became known in every country. Grandfathers all over the world made their grandchildren go to sleep while telling them these stories.
India was also not far behind other countries and many films were made on these stories. Not only this, the story departments of studios had such fertile imaginations that they created sons and daughters to all these heroes, which were not in the original stories. Thus, a variety with sureshot masala was added to such films.
It started with silent films. Films on Alibaba were made in 1927 (2), Aladdin- 1927 (20, 1928 and 1930, Sindbad in 1930 (2). After Talkie films started, films were made on Alibaba in 1940, 1946, 1976, Alibaba and 40 thieves in 1932, 1954 (2), 1966, 1977,1980 and 2004. Films on Aladdin in 1933, 1935, 1945, 2009, On Aladdin and magic lamp in 1938, 1952 (2), 1958, 1966,1978, 1982 (20. Films on Aladdin ka Beta in 1939 and 1955, Aladdin and Laila in 1941 and 1957 and Aladdin ki Beti in 1949. On Sindbad in 1946 (20, 1952 (2), 1965 and 2000. As a Bonus Sindbad ki Beti-19658 was also made. The top was, the film Sindbad- Alibaba and Aladdin-1965, sort of ALL IN ONE !
Film Alibaba and 40 Thieves-1954 was made by Basant Pictures and it was directed by its owner Homi Wadia. The music was by the pair of S.N.Tripathi and Chitragupt. In his initial days, Chitragupt had been Tripathi’s assistant for a few years. He has also sung some songs under his baton. This film was first censored on 10-3-1954 as a B & W film. However, its colour version was again censored on 22-11-1956.
A Tamil remake of this film was made in 1956 by Basant pictures with local stars. S. Dakshinmoorthy had done the music orchestration of the Tamil songs which had used all tunes from its Hindi original. The cast of the Hindi film was Shakeela, Mahipal, B.M. Vyas, S.N.Tripathi, Maruti, Sharda Deulkar, Shalini, Ismail, Dalpat, Azeem, Sardar Mansoor and many more. The original story as appeared in “The Arabian Nights’ was adapted by J.B.H.Wadia, by changing its last part of events. His name is given as the Story Writer in the film credits. Finally, the story of the film was like this……..
Alibaba (Mahipal) lives in the city of Dil Pazir. His dancer friend Marjina (Shakila) notices that he pays great attention to his sister Salma (Shalini), after his elder brother Qasim (S.N.Tripathi) has usurped all his ancestral property. His friend Abboo (Maruti) loves Sitara (Sharda Deulkar), Salma’s companion.
When Alibaba goes to the jungle for wood cutting, he accidentally sees the dacoit Abu Hasan (B.M.Vyas) and notes the password to get into his cave of treasure. In the night, Alibaba quietly opens the cave door with the password and collects a lot of wealth and becomes rich. The cunning wife of his brother comes to know and gets him arrested. Margina cleverly gets Alibaba out of jail and they run away with Salma and Abboo.
Qasim goes into the cave, collects wealth but at the time of leaving forgets the password and is stuck inside. Abu Hasan comes and kills Qasim, severing his head from body. Alibaba sees this in his next visit to the cave and brings the dead body parts to his house. Marjina brings a blindfolded tailor who sews the body with the head. This news reached Abu Hasan. To corner and kill Alibaba, he visits his house as a Saudagar along with his 40 thieves hidden in sacks. Marjina recognises him and with the help of Sitara and Abboo, they throw all sacks in a deep valley killing all thieves. Then Marjina tries to kill Abu Hasan, but he tricks her and runs away with her to the hideout. In the climax, Alibaba rescues Marjina, kills Abu Hasan and in the end all is well.
There were -for the first and last time- two Melody makers were the music Directors. Tripathi was an old horse in such types of films. He was a favourite of Wadia Brothers, who made most of these films. Tripathi had a studied knowledge of Arabian style music. Both MDs presented a bouquet of 8 lovely songs in this film. In the starcast, you will find the name Sharda. She was Sharda Deulkar, younger sister of singer lalita Deulkar, who was Sudhir Phadke’s wife. Shakila and Mahipal looked like they were born to act in such films only. Barring a few social films, Shakila was mainly seen in Costume and action films. Having worked with A class actor Dev Anand in film C.I.D.-1956 also did not help her much.
Mahipal or Mahipal Singh or Mahipal Bhandari (24 November 1919 – 15 May 2005) was a film actor who worked in Hindi cinema mostly in stunt films like Parasmani, Zabak, Cobra Girl, Jantar Mantar, Arabian nights themed movies such as Alibaba, Aladdin And The Wonderful Lamp, Roop Lekha, Sunehari Nagin, and Hindu mythological movies like Sampoorna Ramayan, Ganesh Mahima, Veer Bhimsen, Jai Santoshi Maa. He is known for playing the iconic role of Lord Vishnu, and his two avatars, Lord Rama and Lord Krishna in lot of various puranic, Ramayana, Mahabharata, Bhagavata Purana based movies, besides playing Tulsidas and Abhimanyu, and is also best known as the lead in V. Shantaram’s Navrang (1959), and the songs “Tu Chhupi Hai Kahan Me Tadapta Yahan” and “Aadha Hai Chandrama Raat Aadhi”. He acted in several well-known films of the 1950s and 1960s including V. Shantaram’s Navrang (1959) and Babubhai Mistry’s Parasmani (1963).
He was born on 24-11-1919 in Jodhpur, Rajasthan, where after his schooling, he graduated in literature from Jaswant Government College Jodhpur. Thereafter, he worked in the theatre before migrating to Mumbai in the early 1940s.
He made his film debut in the 1942 film Nazrana. However, the film didn’t work, thereafter he wrote lyrics for four films. He went on to work with directors such as Sohrab Modi and later with the Wadia Brothers, Homi Wadia and J. B. H. Wadia, however, it was his work with V. Shantaram that got him lasting acclaim. He worked in several mythological and historical films with actresses such as Nirupa Roy, Mala Sinha and even Meena Kumari.
Mahipal was never counted as an A category actor and so, leading actresses who started their careers with Mahipal in the lead were ashamed of revealing or accepting this fact. For example, In all her interviews, Mala Sinha always quoted “Rangeen Raten”-56 with Shammi Kapoor as her first film in Bombay. She was ashamed of revealing that in the film Riyasat-55, her Hero was Mahipal. She always hid this fact. Similarly, A grade Heroine Meena Kumari also had done several Mythological and costume films before Baiju Bawra took her high up and above other Heroines. Films like Shri Ganesh Mahima-50, Laxmi Narayan-51, Hanuman Paataal vijay-51 and Alladin aur Jadui Chirag-52 had Mahipal as her Hero. In her later years, she always hid her earlier film Heroes.
He also did a series of fantasy films based on Arabian Nights, including Alibaba and 40 Thieves (1954), Jennie (1953) ,Aladdin Aur Jadui Chirag (1952) and Alibaba ka Beta (1955), which gave him popularity even in the Gulf countries. Later in his career, he switched to character roles, and appeared in films such as Jai Santoshi Maa (1975), a 1970s hit.
He wrote 13 songs in 4 films,namely Mali-44, Aap ki Sewa mein-47 (Lata Mangeshkar’s first playback song was written by Mahipal in this film), Mere Laal-48 and Adalat-48. Mahipal acted in 131 Hindi films. He had also worked in Marathi, Rajasthani and Assamese films. His first film was Nazrana-42 and the last film was Amar Jyoti-84….a career spanning 42 years. He worked with Shakila in 18 films, with Anita Guha in 11 films,With Shyama in 6 films, and in 4 films with Nirupa Roy. He worked with Meena Kumari in 4 films. He is the only actor in Mythological films who sang a song on screen in the role of Shri Ram, in the film Hanuman Pataal Vijay-1951.
He died in Mumbai of cardiac arrest, at the age of 86. He was survived by his wife Akkal Kunwar and daughters Sushila Jain and Nirmala Oswal. (Thanks to book Inhe na Bhulana by Harish Raghuwanshi ji and my notes).
Today’s song is the YIPPEE song, as all songs of this film get covered here with this song. Enjoy….
Song- Zara nazren mila lo muskura lo dil sambhaalo(Alibaba Aur Chaalis Chor)(1954) Singer- Shamshad Begam, Lyricist-Raja Mehdi Ali Khan, MD-S.N.Tripathi and Chitragupt
Chorus
Lyrics
?? ??
o o o o
zara nazren mila lo
muskura lo dil sambhaalo
zara nazren mila lo
muskura lo dil sambhaalo
meri sachchi mohabbat aazma lo naaz waalon
meri sachchi mohabbat aazma lo naaz waalon
ye raaten pyaaree pyaaree
nazar ki beqaraari
ye raaten pyaaree pyaaree
ye raaten pyaaree pyaaree
nazar ki beqaraari
gire kadmon pe jo sadmon se to humko uthha lo
gire kadmon pe jo sadmon se to humko uthha lo
zara nazren mila lo muskura lo dil sambhaalo
meri sachchi mohabbat aazma lo naaz waalon
meri sachchi mohabbat aazma lo naaz waalon
?? ??
uthhi kaali ghataayen
tadapti hain adaayen
uthhi kaali ghataayen
uthhi kaali ghataayen
tadapti hain adaayen
badi mushkil mein hai ye dil
ise apna bana lo
badi mushkil me hai ye dil
ise apna bana lo
zara nazren mila lo muskura lo dil sambhaalo
meri sachchi mohabbat aazma lo naaz waalon
meri sachi mahobat aazma lo naaz waalon
?? ??
zara nazren mila lo muskura lo dil sambhaalo
meri sachchi mohabbat aazma lo naaz waalon
meri sachchi mohabbat aazma lo naaz waalon
?? ??
Jawaanee kaa zamaanaa come
Posted on: April 10, 2024
This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5745 | Post No. : | 18267 |
“Daada”(1949) was produced by Sheikh Mukhtar and directed by Harish for Omar Khayyam Films Limited, Bombay. The movie had Sheikh Mukhtar, Shyam, Munawwar Sultana, Begam Para, Mukri, Muraad, Ansari, Pratima devi, Maya Bannerjee, Cuckkoo, Shamshad Khan, Neela devi, Suraiyya Sultana etc in it.
“Daada”(1949) had ten songs in it that were penned by four different lyricists and sung by four singers. Nine songs from the movie have been covered so far.
Here are the details of the songs covered so far:-
| SNo in Blog | Song Title | Singer/s | Lyrics | Posted On | Remarks |
|---|---|---|---|---|---|
| 4585 | Chal chal chameli baag mein | Shamshad Begam, G M Durrani | Shewan Rizvi | 8 September 2011 | |
| 8444 | Main boloon piya piya | Surinder Kaur, Mukesh | Shewan Rizvi | 1 August 2013 | |
| 8448 | Tera kisi se pyaar thhaa | Mukesh, Suriinder Kaur | Shewan Rizvi | 2 August 2013 | |
| 8857 | Saari duniya four twenty | Mukesh, Surinder Kaur | Shewan Rizvi | 20 October 2013 | Post by Sudhir jee |
| 8906 | Badi zulmi tamanna hai dil mein | Shamshad Begam,Mukesh | Majrooh Sultanpuri | 30 October 2013 | Post by Sudhir Jee |
| 11593 | Ae chaand tere saath to rehte hain sitaare | Surinder Kaur | Rafi Ajmeri | 25 November 2015 | |
| 13630 | Aa jaao phir zara meri bigdi ko banaane | Shamshad Begam, Surinder Kaur | Majrooh Sultanpuri | 4 October 2017 | |
| 13644 | Le duniya teri chhod chale | Shamshad Begam | Shewan Rizvi | 10 October 2017 | |
| 13815 | Saath mere hain saanwariya | Shamshad Begam | Hussain Hyderabadi | 16 December 2017 |
Here is the tenth and final song from the movie to appear in the blog. HFGK describes it as sung by Shamshad Begam and chorus. But the song has another female voice and a male voice. The female voice sounds like Surinder Kaur (who has sung other songs in the movie). I have not been able to identify the male voice though it sounds like Rafi to me. But then Rafi did not sing any songs in this movie.. This is the only song of the movie whose lyricist is not known.
I request our knowledgeable readers to throw light on the identity of the singers as well as that of the lyricist, and also picturisation.
The song is a fun playful song. I have not been able to get many words in the song to my satisfaction. I request our readers with keener ears to help fill in the blanks/ suggest corrections wherever applicable.
With this song, all the ten songs of “Daada”(1949) have been covered in the blog. The movioe thus joins the list of movies that have been YIPPEED in the blog.
Song-Jawaani ka zamaana come come dear(Daada)(1949) Singers-Surinder Kaur, Shamshad Begam, Unknown male voice, Lyrics-Unknown, MD-Nashaad
Lyrics
jawaani ka zamaana come
jawaani ka zamaana come
come come come
dear come come
chalo khelen kabaddi ham
ham
chalo khelen kabaddi ham
come come come
dear come come
kabaddi ham
kabaddi ham
kabaddi ee
jawaanee se ??
chali jaati hai jo pal pal
chali jaati hai jo pal pal
jab jab hook uthhti hai
phir chham chham se ?? hai
kahin ?? kahin madhyam
kahin ?? kahin madhyam
come come come
dear come come
chalo khelen kabaddi ham
ham
chalo khelen kabaddi ham
come come come
dear come come
chal beta aamchoo
aamchoo aamchoo
kaala badaamcoo
chhua chhui
chhua chhui
chhua chhui
hoy
chhua chhui
chhua chhui
chhua chhui
titititi thai taam titaam taam titaam thhai thai
o o
chhum chhum kartee aaun
main aaun
o o
?? kar dil le jaaun
le jaaun
aur haath kabhi na aaun
sajaniya
??
are bam chiki chiki bam
bam chiki chiki
bam chiki chiki
bam chiki
hoye
hoye
chhua chhui
chhua chhui
chhua chhui
hoy
hhua chhui
chhua chhui
chhua chhui
titititi taam titaam taam titaam thhai thai
rang laal ghodi
lagaam ??
rang laal ghodi
lagaam ??
?? zyaada
to chaal dikhaaye ghodee
o daudee daudee daudee
o duggi duggi dugg
o daudee daudee
?? ghodee
?? daudee
?? ghodee
?? daudee
teree meree jodee
??
aamchoo aamchoo
kaalaa badaam choo
chhua chhui
chhua chhui
chhua chhui
hoy
hhua chhui
chhua chhui
chhua chhui
aa aa aa aaa
chhua chhui
chhua chhui
chhua chhui
hoy
chhua chhui
chhua chhui
chhua chhui
Aap kyun kyun aap kyun aayenge
Posted on: March 25, 2024
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5729 | Post No. : | 18249 |
Today’s song is from the First film of Nargis as a Heroine – Taqdeer-1943.
1943 was an year in which the II world war was in full swing. Both sides were almost equal. The effects of the war on India were… it faced the infamous Bengal Famine, caused by the war profiteering. Controls on film production were tightened by the Government. I.P.T.A. became operative with its first staged p0lay ‘ Nibanna’. Film Kismet became one of the biggests Hits ever. V.Shantaram’s Rajkamal Kalamandir debuted with Shakuntala, as did Mehboob with his film Najma. Government made showing of Newsreel before any film mandatory. Film Raj Nartaki’s english version The Court Dancer was exhibited in the USA, first time for an Indian film.
1943 produced 105 Hindi films, the highest number during the war years, 1939 to 1945. Many landmark and musical films appeared in this year giving a respite to the war torn audience of Indian Cinema. Let us take a look at some of these films.
Film Bhaichara had music by the only other “Sursagar” musician – Himangshu Dutt ( the more well known being the singer Jagmohan Sursagar).
C.Ramchandra had his first musical hit with film Bhakta Raj, made by Jayant Desai productions.
Film Gauri from Ranjit became Monica Desai’s first Hindi film in Bombay. It was a very successful film with songs by Khemchand Prakash, based on Bangla Folk tunes.
Kanan Devi gave some sweet songs in the film Hospital, under Kamal Dasgupta’s baton.
Bombay Talkies film Hamari Baat was the last film in which Devika Rani acted. Anil Biswas was the composer.
Music Director Khurshid Anwar brought Gauhar Sultana from Lucknow to sing some songs in the film Ishara. Naushad'[s musical film Kanoon had some good Suraiya and Shyam duets.
Film Kashinath was Nitin Bose’s last film in New Theatres, after he developed differences with B.N.Sircar.
Anil Biswas gave his career best musical Hit film ” Kismet”- the longest running film from Bombay Talkies.
Nurjehan’s musical film Nadaan was popular with songs from composer K.Datta. Director Mehboob made his first film Najma, under his own banner Mehboob productions.
Yet one more musical from Naushad- film Namaste.
At last a musical hit for composer S.N.Tripathi- Panghat from prakash Pictures. Rajkumari Shukla sang her only Hindi song in this film;. (the film was remade as Chitchor-1976).
Film Paraya Dhan had music by Bengal’s famous musician Gyan Prakash Ghosh. Deena Pathak sang her only 2 songs in this film as Deena Sanghavi.
Ghulam Haider makes merry again with Shamshad hit songs in film Poonji from Pancholi, Lahore.
One more superhit film – Ram Rajya from Prakash Pictures had very good songs from composer Shankar Rao Vyas. Saraswati Rane gave 2 melodious songs. Yashwant Joshi and Yashwant Nikam sang the famous song ” Bharat ki ek Sannari ki katha”. Ram Rajya had also a distinction as the only Hindi film that was seen by Mahatma Gandhi, on 2-6-1944.
( before this Gandhi had seen ” Mission to Moscow-43′ an English film, in Wardha, according to The Hindu (Kathmandu Ed.) dt.8-2-2010). The film had early songs by Manna Dey also.
Naushad in full swing with his third Musical Sanjog, where Suraiya gave playback to Mehtab, the Heroine.
Vasant Desai gave excellent songs in the hit film Shakuntala by V.Shantaram.
Kanoon- another hit from Naushad.
Mera Khwab- MD Ghulam Mohammed’s Debut film
Najma- Mehboob Khan’s first film, on Muslim society.
Nurse- Gyan Dutt gave an excellent song of Rajkumari-‘ Vo gaye nahin’.
Prithvi Vallabh- A big budget costume drama made by Minerva, based on the story of K.M.Munshi. It had songs by Minakshi Shirodkar.
Tansen- Saigal’s first film in Bombay. Khurshid matches him song by song.
Taqdeer- Nargis aka Baby Fatima debuted as an adult. However her name comes third in the credits, after Motilal and Chandramohan.
In the beginning of 1943, when Mehboob Khan was in a hurry to give finishing touches to the first film of his own Mehboob productions- Najma, Jaddanbai came to see him. She was very friendly with Mehboob. The purpose of her visit was to request Mehboob to make a film with her daughter Nargis (Baby Fatima/Baby Rani) as a Heroine. Mehboob was sceptical as Nargis was only 14 year old and it would be like buying a lottery ticket, if he made a film with her. Jaddanbai was very persuasive and she even offered to partly finance the film. She was sure that with Mehboob launching her daughter she would have a bright future. Finally Mehboob agreed.
Nargis was called in and Mehboob talked to her alone. She was confused and afraid to become a Heroine. Mehboob convinced her saying that he would lose a lot of money if she refused. Nargis agreed after this.
Film Taqdeer-1943 was a Mehboob Production film,directed by Mehboob, Music by R.Gaznavi,and Lyrics by Mahrul Kadri.There is one song in the film written by Agha M.Shirazi(who also acted in the film) and one song by Anjum Pilibhiti also.There were 10 songs in the film, 2 chorus songs,4 solos of Shamshad begum and 4 duets of Shamshad and Motilal.
The cast of the film was Chandramohan, Motilal, Nargis, Jilloobai, Kayam Ali, Ansari, Shirazi, Laddan etc. The Story was by Ghulam Mohd. and screenplay and dialogues were by Agha Jaani Kashmiri.
It was a lightweight comedy about Justice Gangaprasad(Chandramohan) and a Theatre owner Seth Badriprasad(NM Charlie),who lose their daughter and son in Kumbh Mela( This is where this trend started for future films,especially Manmohan Desai type films) respectively. The children are found but exchanged and Gangaprasad brings up Baby(Motilal) as a rich playboy and Badriprasad raises Salma(Nargis) as a dancer in his Theatre.They fall in love,causing a problem of class Difference.This is revealed when their identities are revealed. Funny thing is Gangaprasad’s wife(Jilloo bai) raises Motilal thinking that he is a Girl.The scene when it is revealed that he is a Boy,is very hilarious.
There is a song in the film,’Meri Mata Bharat Mata’,in which Nargis is shown holding a sickle and a cloth bundle, with waving fields behind her. This reminds us of her role and posters of ‘Mother India’-1957(also a Mehboob production.)
Here are some Titbits….
Baby Fatima (Nargis) was only 14 when she became Heroine of this film.
When Mrs. Mehboob was doing her makeup and wrapping her up in a Saree, she was mugging up the dialogues.
She was also very happy, when told that all her songs will be sung by Shamshad begum.
She had to wear high heels to match the height of her first hero,Motilal.
Taqdeer was a Hit film.
In the history of Hindi Cinema, Mehboob Khan’s name would be written prominently as one of the great directors, who rose from scratch to a height attained by few other directors.
Born as Ramzan Khan in 1907 in Bilimora, Gujarat, Mehboob was from a Gujarati Muslim family. He never got a formal education in his young age, but he was keen on two things-5 times Namaz and seeing films. His father being in Police Department, films were free for him. One day he ran away to Bombay to become an actor. However his father found him out and brought him back. He was immediately married off, with a belief that he would improve.
Two years after marriage and one child, he ran to Bombay again and worked in Imperial film co. as an extra for Rs.30 pm. This too after he worked without any pay for 5 months due to the mistake of the clerk ! He worked in crowd scenes and sundry roles-without a dialogue, of course, starting as one of the 40 thieves of Alibaba. He worked in several films uncredited. His first, big and credited role came in the film “Shirin Khushru”-1929.
In 1927, after the Talkie film “The Jazz Singer” was shown in US, the world started making Talkie films. India too jumped into the bandwagon. In 1931, Imperial-competing with Madon Theatres of Calcutta- wanted to make a Talkie and started work fast. Mehboob Khan was almost finalised as the Hero. Even his costumes were made ready, but he was destined for something different, and Master Vithal was made the Hero of India’s first Talkie. Ardeshir Irani’s safety valve of minimizing the risk of the first venture by selecting the existing popular Hero, scuttled Mehboob’s dream. Somehow Mehboob was unlucky on quite a few occasions in his bid to become a Hero in films. First, he missed his chance in Torney’s silent film, when E.Bilimoria became the Hero, secondly he was replaced by Master Vithal as a Hero in India’s first talkie “Alam Ara’-1931 and lastly he was replaced by newcomer Motilal in ‘Shahar ka jaadu’ as a Hero. Mehboob understood that he was not made out to be an actor.
Meanwhile, Imperial started a new company,’Sagar Movietone’, along with Dr. Patel and Chiman Desai. Some artistes and techies were shifted to Sagar-including Mehboob- from Imperial. Mehboob continued to work in 12 silent films. Here, he met Faredoon Irani, Cinematographer and they became thick friends. Irani was with Mehboob till the end.
During this period, Mehboob wrote a film story and convinced the owners to allow him to direct this film. Owners were hesitant, naturally, to allow this young extra actor to direct a film. Lastly a deal was struck, that Mehboob and Faredoon should be allowed to shoot one reel film. If they like it, continue or else, scrap it and recover money from these two chaps. After one reel shooting the owners realised that they had struck Gold in the process and Mehboob completed his first Directorial venture ” Al Hilaal “-35. The film was a great success and Mehboob ‘chal pada’. Mehboob went on to direct 7 more films for Sagar. All his films were successful.
From film Jageerdar-37 Mehboob and Anil Biswas pair teamed up for 8 films-till Roti-42.
When Mehboob was making arrangements for his next film, Alibaba, the sudden news that Sagar is closing down hit them. Mehboob Khan contacted Imperial to allow him to shoot for his film in their studio, which Ardeshir gladly permitted. The film shooting proceeded til Sagar became National studios. Mehboob made 3 important films of his career in National studio, namely Aurat-40, Behan-41 and Roti-42.
When National studio also closed down all workers came on road. However, Mehboob decided to start his own company. One Mr. Lalaji of Manoranjan Distributors of Delhi promised capital. National studio was renamed as Central studio by the owner, K.K.Modi-elder brother of Sohrab Modi. He allowed Mehboob to use the studio till his own studio came up. Mehboob took a place nearby to start his office. In this period there was a rift between Mehboob and Anil Biswas and they separated for ever-albeit bitterly.
Mehboob wanted a Logo for Mehboob Productions. He selected a sher written by Agha Jani kashmiri for film “Al Hilal”….” Muddai lakh bura chahe to kya hota hai, vahi hota hai jo manjur e Khuda hota hai”. It was recorded in the voice of Rafiq Ghaznavi with appropriate prelude music and sound of lightening and clouds. He also took Sickle and Hammer for the Logo, and clarified that because he respected workers and certainly he was not a communist.
His first film Najma-43 ( his daughter’s name was Najma), with Ashok Kumar and Veena was a Hit film. It was followed by Taqdeer-43, Humayun-45,Anmol Ghadi-46, Elaan-47, Anokhi Ada-48, Andaaz-49, Aan-52, Amar-54 and his Magnum Opus Mother India-57. After the high of Mother India, Mehboob aimed to fly even higher with Son of India (1962) but the film was a total misfire and, in fact, his weakest film.
Mehboob was not an ordinary film maker. Though he was uneducated, he was a Genius with socialist beliefs. Even his Banner showed Sickle and hammer Being a Socialist and sold on Nehruvian philosophy, his popular films had a common theme- ”The oppressed poor V/s The oppressor Rich”. In films like Aurat, Roti, Aan and Mother India etc one can see this theme clearly. He made blistering attacks on Capitalists and their lust for money. In films like Andaz, however,he supported traditionalism, rejecting Platonic relationships.
In films like ” Elaan”-1947, he dared to challenge the existing shortcomings in Muslim society. He took a look at Indian Muslims from inside. Sometimes the film went into forbidden areas when he suggested Koranic reforms as the way out of the ills of Muslims, like illiteracy and backward thinking. This invoked anger from the Fundamentalists and the film was banned for 3 months, but he re-released the film without any changes or revisions.
The urbane director K.A. Abbas once referred to Khan Mehboob as the “great rustic” of Hindi cinema. Indeed, a certain mythology developed around Mehboob—that of the man with popular roots. This image owed much to stories about his origins (the small-town boy who worked his way up through the Bombay studios), and to certain films which dwelt on the travails of the poor and the destitute, such as Aurat (Woman) and Roti (Bread). In fact, however, Mehboob’s output as director was quite varied. After he founded his own company, Mehboob Productions, in 1943, he made historical works (Humayun) and fantasy spectaculars (Aan/Pride). Even films such as Anmol Ghadi (Priceless Watch) and Anokhi Ada (A Special Charm), which appeared to address the class divide, were variations of the triangular love story, the favoured convention of the Hindi cinema.
In these films social representation becomes incidental to the basic plot because the narrative spaces of a simple rural life or of urban destitution are constructed in an idealised rather than in a realistic way. The lighting style of such scenes show them as composed of smooth studio surfaces, and there is an indifference to the more squalid details of characterisation. The emphasis lies in the fullness of melodramatic sentiments—of loss and of romantic longing—which occasion the use of lushly orchestrated songs. All this is a pleasurable closing off of the cinema and its audience from social references, a tendency in Mehboob’s work best represented by his venture into the swashbuckling colour film Aan. Elements of this romantic mode are observable even in Mehboob’s “social” films. In Aurat and its later colour version, Mother India , rural life is often conveyed as a series of spectacularly choreographed scenes of harvesting, festivals, and the romantic engagement of its characters. Andaz (Style) , on the other hand, invites the audience to soak in the luxuries of the modern, upper-class settings in which its characters live.
In this sense, Mehboob was not simply a popularly rooted “rustic” artist, but engaged in creations of high artifice and escapism. However, these elements were often integrated with quite powerful constructions of meaning. Aurat , for example, achieves an almost anthropological view of gender roles. This is accomplished not by the accuracy of its observations about rural life, but by using the grim struggles of rural life as a way of drawing out the role performed by Indian women. This provides the basis for the film’s main interest, the melodrama of the unrelieved suffering of a woman (Sardar Akhtar) on behalf of her sons (Surendra and Yakub). The subsequent version of this film, Mother India , is an interesting contrast. The focus is still on the suffering of the mother (Nargis); but this capacity to suffer is transformed into a distinctly mythical power which moves beyond her immediate family to inspire the whole village community. In both films the woman is the bearer of a patriarchal inheritance for her son, but Mother India may have represented a new, mythicised role model for women, one whose power often co-exists uneasily with its conservative functions.
Perhaps most interesting is Andaz, a drama, at least implicitly, of illicit desire. The story is about Nina (Nargis) who, while faithful to her absent fiancé (Raj Kapoor), relates vivaciously to an attractive young man (Dilip Kumar). The heroine is shown to be a naive innocent who cannot perceive that relaxed social relations between men and women can lead to misunderstanding, and this generates the tragic events that follow. Yet the narration moves beyond, or perhaps deeper into, its own fascination with the settings and mores of its upper class characters, introducing an interesting, fantastical ambiguity. Nina’s denials that she is attracted to a man other than her husband are put into doubt for the audience through scenes depicting the hallucinations and dreams that assail the heroine. In this way the “rustic” Mehboob was surprisingly well equipped to convey certain strikingly modern problems of sexuality and desire.
Mehboob had been neglecting health in spite of suffering Heart attacks. In May 1964, he suffered another attack but survived. His financiers were after him for repayment and he was worried. He called Rajendra Kumar and asked for a loan of 4 lakh rupees against his studio to be made in his name. Rajendra Kumar refused to take the studio and promised to give him the amount next day at 11 am, without any mortgage. In the evening, news of Nehru’s heart attack came. Mehboob became restless. Soon the death news came and Mehboob became grief stricken. Akhtar gave him sleeping pills, but he had to be admitted to Nanavati Hospital. He too died at 2 am on 28th May 1964. At the time of his death, Mehboob Khan was harbouring ambitions to make a film on the life of Habba Khatoon, the 16th century poetess-queen of Kashmir.
Mehboob Khan directed 8 films for Sagar, 3 films for National and 11 films for Mehboob productions.( based on information from Upperstall, “Mehboob Khan” by Shashikant Kinikar and my notes).
Today’s song is a video song in which you can see a young Nargis and Motilal. The song is sung by Shamshad begum and Motilal. Enjoy….
Song-Aap kyun kyun aap kyun aayenge (Taqdeer)(1943)Singers- Shamshad Begum, Motilal, Lyricist- Mahrul Qadri, MD- Rafiq Ghaznavi
Lyrics
aap kyun kyun aap kyun aayenge
aap kyun kyun aap kyun aayenge
meri aankhon mein ab tak wohi khwaab hai
meri aankhon mein ab tak wohi khwaab hai
dil usi roz se mera betaab hai
dil usi roz se mera betaab hai
kya ye barkha ke din
hmm hmm hmm
kya ye barkha ke din bhi guzar jayenge ae ae
aap kyun kyun aap kyun aayenge
aap kyun kyun aap kyun aayenge
dil ki majbooriyaan rang laane lagin
hichkiyaan yaad ban ban ke aane lagin
dil ki majbooriyaan rang laane lagin
hichkiyaan yaad ban ban ke aane lagin
dekho dekho
haan dekho dekho
dekho dekho ke hum aap hi aa gaye
tumne chaaha to phir roz hi aayenge
tumne chaaha to phir roz hi aayenge
aap kyun kyun aap kyun aayenge
aap kyun kyun aap kyun aayenge
hai ye sapna
hai ye sapna ke sach-much tum aaye yahaan
aan aan
hai ye sapna ke sach-much tum aaye yahaan
aan aan
dil ki aankhon se dekho ke hoon main kahaan
dil ki aankhon se dekho ke hoon main kahaan
mil na jaaye kahin
hmm hmm hmm hmm
mil na jaaye kahin ye zameen aasmaan
aan aan
tum kahaan main kahaan
tum kahaan main kahaan
aap kyun kyun aap kyun aayenge
aap kyun kyun aap kyun aayenge
aap kyun
This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5707 | Post No. : | 18225 |
“Khyber” (1954) was produced and directed by Kamal Kapoor for Kapil Pictures, Bombay. The movie had Kamal Kapoor and Nigar Sultana in lead roles. The movie also had Naaz, Tiwari, Niranjan Sharma, BM Vyas, Chaman Puri, Nand Kishore, Dev Raj, Rajan Kapoor, Dichhoo Kumar (Jr.), Roop Kumar, Baby Ratan, Chiman Lal, Charanjit Kumar, Indu Pal etc in it.
“Khyber” (1954) had eight songs in it. Four songs have been covered in the blog.
Here is the fifth song from “Khyber” (1954) to appear in the blog. The song is sung by Shamshad Begam and chorus. Asad Bhopali is the lyricist. Music is composed by Hansraj Bahl.
Only the audio of this song is available. The song appears to be a dance song. I request our knowledgeable readers to throw light on the movie as well as on the picturisation of this song.
Song-Jung bhee hai pyaar bhee hai zindagee (Khyber)(1954) Singer-Shamshad Begam, Lyrics-Asad Bhopali, MD-Hansraj Bahl
Chorus
Lyrics
hoye
jung bhi hai pyaar bhi hai zindagee
hoy hoy
jung bhi hai pyaar bhi hai zindagee
hoy laale
jung bhi hai pyaar bhi hai zindagee
hoy zindagee
saaz bhi talwaar bhi hai zindagee
hoy hoy saaz bhi talwaar bhi hai zindagee
hoy laale
saaz bhi talwaar bhi hai zindagee
hoy zindagee
hoy
jung bhi hai pyaar bhi hai zindagee
hoye ae
jung ho ya aa aa pyaar ho sab dil se hai
jung ho ya pyaar ho
sab dil se hai
jeet ho ya aa haar ho sab dil se hai
jeet ho ya haar ho
sab dil se hai
ho o o
jeet bhi hai haar bhi hai zindagee
zindagee
jung bhi hai pyaar bhi hai zindagee
hoy hoy
saaz bhi talwaar bhi zindagee
hoye
pyaar hi kya aa aa jismein kabhi jung na ho
pyaar hi kya jismein kabhi jung na ho
jung hi kya aa aa dil mein jab umang na ho
jung hi kya dil mein jab umang na ho
ho o ?? bhi jhankaar bhi hai zindagee
Zindagee
jung bhi hai pyaar bhi hai zindagee
hoy hoy saaz bhi hai talwaar bhi zindagee
hoye
pyaar bhare ae geet sada gaaye ja
pyaar bhare geet sada gaaye ja
gaaye ja bal khaaye ja lehraaye ja
gaaye ja bal khaaye ja lehraaye ja
ho o o
maut bhi hathiyaar(?) bhi hai zindagee
zindagee
jung bhi hai pyaar bhi hai zindagee
hoy hoy
saaz bhi talwaar bhi hai zindagee
hoy laale
jung bhi hai pyaar bhi hai zindagee
hoy hoy
saaz bhi talwaar bhi hai zindagee
This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5689 | Post No. : | 18206 |
“Chamkee”(1952) was produced by Maganlal G Desai and directed by JK Nanda for National Film Circuit, Bombay. The movie had Ragini, Shekhar, Roopmala, Ulhas, Murad, Mira Mishra, Cuckoo, Jeevan, Nana Palsikar, Mumtaz, Uma Dutt, Khairaati, Brij Saarah, Iqbal, Pannu etc. in it.
“Chamkee”(1952) had nine songs in it. Eight songs have been covered in the past.
Here are the details of the songs covered so far:-
| SNo in Blog | Song Title | Singer/s | Lyrics | Posted On | Remarks |
|---|---|---|---|---|---|
| 8242 | Ye baat kitni sach hai | Lata Mangeshkar | Kavi Pradeep | 27 June 2013 | Post by Sudhir Jee |
| 8248 | Kaise zaalim se pad gaya paala re | Mukesh | Kavi Pradeep | 28 June 2013 | |
| 8958 | Bada mazedaar hota pyaar babu pehli nazar ka | Shamshad Begam | Kavi Pradeep | 8 November 2013 | Post by Sudhir Jee |
| 10789 | Pyaar ko mat kaho koi pyaar | Lata Mangeshkar | Kavi Pradeep | 30 January 2015 | Post by Sudhir Jee |
| 12978 | Main to jungle ki chanchal hiraniya | Geeta Dutt | Kavi Pradeep | 28 February 2017 | Post by Arunkumar Deshmukh Jee |
| 13581 | Nahin maaloom ki piya jabse miley tum | Geeta Dutt | Kavi Pradeep | 13 September 2017 | Post by Arunkumar Deshmukh Jee |
| 14325 | O baaboo main tujhpe jawaani lutaane aayee | Lata | Kavi Pradeep | 4 May 2018 | |
| 17875 | Balam mera baankaa ho mere dil pe daal gaya daakaa | Shamshad Begam | Kavi Pradeep | 28 June 2023 |
It is observed that all the songs in the movie were solo songs. There was one male solo song sung by Mukesh. Remaining songs were female solo songs that were sung by Lata Mangeshkar, Shamshad Begam and Geeta Dutt.
Only audio of the songs are available. So it is difficult to guess how and on whom these songs were picturised.
Here is the ninth and final song from the movie. This song is sung by Shamshad Begam. Kavi Pradeep is the lyricist. Music is composed by Manna Dey.
Only audio of the songs of this movie, including this song are available. So it is difficult to guess how and on whom this song was picturised. From the sounds of it, this song could be a nautanki dance song picturised on Cuckoo or Roopmala. I request our knowledgeable readers to throw light on the movie as well as on the picturisation of this song.
With this song, all the songs of “Chamkee”(1952) are covered in the blog. This movie thus joins the list of movies that have been YIPPEED in the blog.
Song-Mohe bichhua ke dank jaisa laage jawaanee mein akelaapan(Chamkee)(1952) Singer-Shamshad Begam, Lyrics-Kavi Pradeep, MD-Manna Dey
Lyrics
O o o o
o o o o
mohe bichhua ke dank jaisa laage
jawaanee mein akelaapan
mohe bichhua ke dank jaisa laage
jawaanee mein akelaapan
ye akelaapan
ye akelaapan
ye akelaapan
haaye mohe bichhua ke dank jaisa laage
jawaanee mein akelaapan
ho mohe bichhua ke dank jaisa laage
jawaanee mein akelaapan
dekhte hee dekhte
kyaa haalat meree huyee
jaise jaise badhhee umariyaa
chubhhne laagee sui
dekhte hee dekhte
kyaa haalat meree huyee
jaise jaise badhhee umariyaa
chubhhne laagee sui
uyi
Raam jee kaisee uljhan
haaye mohe bichhua
haay re mohe bichhua ke dank jaisa laage
jawaanee mein akelaapan
ho mohe bichhua ke dank jaisa laage
jawaanee mein akelaapan
ek din mere aur duniya ke beech mein
chalne waalee hai talwaar jee
ek din mere aur duniya ke beech mein
chalne waalee hai talwaar jee ee ee
jidhar jidhar main jaaun
udhar mere peechhe jawaanon ki qataar jee
saaraa zamaane meree oar aise taake
saaraa zamaane meree oar aise taake
jaise ho koi dushman
haaye mohe bichhua
haay re mohe bichhua ke dank jaisa laage
jawaanee mein akelaapan
ho mohe bichhua ke dank jaisa laage
jawaanee mein akelaapan
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5679 | Post No. : | 18192 |
Today’s song is from the Mythological film – Mohini-1957.
During the decade of the 1950s, maximum religious, Bhakti pradhan and Mythological films were made. Among them, most had roots in some or the other Puranas, Ramayan or mahabharat, but there were also films having the tag of ‘ Mythological’ film, which had absolutely no connection whatsoever, known or unknown, to any of the mythological stories. I have read all 18 Puranas, Ramayan and Mahabharat. I do not claim to know each and everything from there, but even in the film booklet no mention is made of the source of the story. Film Mohini is one such film. With 100s of Gods and 1000s of stories, it is easy to make up a story resembling any genuine story. Looks like that, like Arabian Night stories, here too adulteration has entered ! A simple trick of adding a lot of magic scenes can enable a story to become a Mythological or Arabian Night story !
Let us take a look at the story of the film Mohini-1957. Actually, the name Mohini misled me to enter the theatre thinking it was a story of Mohini-Bhasmasur, from the Shiv Puran.
Raja Ugrasen goes for hunting and ends up getting into the web of a sorceress Sundari whom he brings to his palace to marry. She is gracefully accepted by the existing Maharani who is pregnant with a child, who,it is predicted, will be a mighty emperor. Sundari is jealous and instigates the king to have her killed. The killers take maharani to the jungle, take out her eyes as a proof and leave her alive. She is found and nursed by a Bhil king. She delivers a baby boy. She works as a maid. The boy grows to be Vikram, now 18 years old and raring to take king’s revenge.
Meanwhile, Princess Sugunavati is kidnapped and the king announces 1/2 kingdom and the princess to the finder. Pratap,a friend of Vikram makes a magic flying horse,on which Vikram goes and finds the princess. The king is happy and makes him the Senapati. Sundari recognises him and plans to kill him, but the princes who is in his love foils the plan and saves Vikram. Together, Vikram and Princess expose Sundari to the King. King is angry and executes Sundari. The Maharani is called back with honour and needless to mention that Vikram and princess get married.
From the story itself, it is clear that no God is involved and that the film’s category is misleading. It should have been either ‘Imaginary’ (काल्पनिक ) or ‘Costume’ film. The film was produced by Ramesh Vyas, directed by Ramanlal Desai and the MD was N.Datta. The cast of the film was Shahu Modak, Nirupa Roy, Shakila, Rajkumar, Roopkumar, Rooplaxmi, krishna kumari, Yeshwant dave, H.Prakash etc. There were 2 Child artistes – Raj Kumar and Roop Kumar. This Roop Kumar was none other than the famous and cute Daisy Irani.
Daisy Irani was a Parsee. her parents were from the middle class, but her mother Peri Irani was highly money minded. They were 5 siblings – Menaka, Bunny, Sarosh, Daisy and Honey Irani. Bunny irani was living with his aunt from his childhood as she had no issues. The mother wanted to make money and hence she employed all the 4 children into films as child actors, not caring for their education or future. Thus, not only their childhood was spent under the arc lights but they did not get any formal education. A teacher used to teach them whenever they were available. However they never developed interest in learning. When their child actor stage ended, they could not do anything else.
Menaka Irani was married to Kamran Khan, a stunt actor who turned to direction and later on to production, leading to becoming an alcoholic when he failed everywhere. To run the family, a one time heroine, Menaka had to work as a Housekeeping staff in Hotel Sea Rock in Mumbai. Her children Farah khan and sajid Khan joined film line and became reasonably successful.Farah was Choreographer and then a director.
Daisy Irani became a chain smoker. After her husband K.K.Shukla died in 1993, her children were small. She became a film story writer lkike her husband. Honey Irani married Javed Akhtar, who divorced her to marry Shabana Azmi. Honey had to stay in just one room provided by Menaka, her sister, with her 2 children Zoya Akhtar and Farhan Akhtar. Sarosh, after doing child roles, studied upto tenth class and joine his brother Bunny’s construction business. When that colapsed, both started looking after their Irani Hotel and bakery B.Merwan in Bombay.
This is how the lives of most child actors were spoiled by their greedy parents. Most child actors did not succeed as adult actors. Take the case of popular child actor Junior mehmood, who died of Cancer, recently in a very pitiable condition. The other child actor in the film – Rajkumar was a little better, but he too suffered when child roles ended and when he was not getting adult roles.
There were 5 Rajkumar s in the industry at the same time. The first was Kannada Hero Dr. Rajkumar. However, he never worked in any Hindi film, so no confusion about him.The second was the famous Dialogue master Raaj Kumar ‘Jaani’. Third was Rajkumar Gupta ( from Ranchi), who was the main character in popular film Jagriti-54. He never worked again in any film. Fourth was Raj(u) Kumar, a junior artist, who did minor roles- mostly uncredited-in films like Shri 420-55, Jagte Raho-56. Dilli ka Thug-58, Aaj aur kal-63, Ziddi-64 etc etc..The fifth was this Rajkumar, who mostly worked in Religious and Mythological films. His name was Rajkumar Khatri.
Rajkumar khatri was born on 24-11-1938 at Lahore. His real name was Rajendra kumar S. Khatri. He started as a child artiste in films like Janmashtami-50, Jai Mahakali-51 and Insaan-52. His first film as an adult was Shuk Rambha-53, in which he played the role of young Shukdev. He was a fine actor, not extraordinary, but there was something special about his screen presence. Apart from his boyish looks, he had an unspoken charm and emanated an inherent goodness. In his second film “Tulsidas”-54 he played the role of Shri Ram. He was hardly 15-16 year old then. This must be the youngest and most boyish looking Shri Ram ever seen on the screen !
Rajkumar Khatri acted in 61 films, mostly Religious and Mythological films (47 to be precise). Not that he did not work in any social films, but such films were less. He was seen in films like Sautela Bhai-62, Nai umer ki nai fasal-65 etc etc. Due to his young looks, boyish face and innocent looks, he was generally given roles of younger brother. As Laxman, he acted in 7 films. His last film was probably Chintamanee Surdas-87.
His selected Filmography was
Janmashtami-(1950), Jai Mahakali-(1951), Shuk Rambha (1953), Tulsidas (1954), Prabhu Ki Maya (1955), Sant Tukaram (1955), Ayodhyapati (1956), Amar Singh Rathod (1957), Mohini (1957), Neel Mani (1957), Maya Bazaar (1958), Samrat Prithviraj Chauhan (1959), Maya Machhindra (1960), Jai Chitod (1961), Sampoorna Ramayan (1961), Sautela Bhai (1962), Dooj Ka Chand (1964), Goswami Tulsidas (1964, Awadhi), Mahabharat (1965), Nai Umar Ki Nai Fasal (1965), Shree Ram Bharat Milap (1965), Badrinath Yatra (1967), Ram Bhakt Hanuman (1969), Sati Sulochana (1969), Bhagwan Parshuram (1970), Veer Ghatotkach (1970), Brahma Vishnu Mahesh (1971), Hanuman Vijay (1974), Maya Machhindra (1975), Har Har Gange (1979), Mahabali Hanuman (1981), Sant Gyaneshwar (1982), Sati Naag Kanya (1983), Chintamanee Surdas (1988).
In the mid 80s, when film offers became scarce, he joined Prakash Mehra as an assistant. He used to live in Chembur. He was known as Chhota Rajkumar in the industry. He worked with Prakash Mehra for a long time, as Assistant Director and as also his P.A. Reportedly, he died in September 2014. No further information on him was available. (Thanks to maitrimanthan.com for some information and my own notes.)
Today’s song is sung by Shamshad Begum. Enjoy….
Song- Mere dil ka sajanva ilaaj keejiye (Mohini)(1957) Singer- Shamshad Begum, Lyricist-Raja Mehdi Ali Khan, MD- N Datta
Lyrics
Mere dil ka haaye
uyi mere dil ka
sajanva ilaaj keejiye
chaahe barson chaahe kal
chaahe aaj keejiye
mere dil ka haaye
uyi mere dil ka
ho o o
o o o
mere dil pe mohobbat ki bijlee giree
main deewaanee tere peechhe peechhe phiree
mere dil pe mohobbat ki bijlee giree
main deewaanee tere peechhe peechhe phiree
hum pe thhodee meharbaanee maharaj keejiye
mere dil ka sajanwa ilaaj keejiye
chaahe barson chaahe kal
chaahe aaj keejiye
mere dil ka haaye
uyi mere dil ka
ho o o
o o o
kaise kaise ishaare ye ankhiyaan karen
mujhe badnaam galiyon mein sakhiyaan karen
kaise kaise ishaare ye ankhiyaan karen
mujhe badnaam galiyon mein sakhiyaan karen
hum pe hansta hai zamaanaa
zara laaj keejiye
mere dil ka sajanwa ilaaj keejiye
chaahe barson chaahe kal
chaahe aaj keejiye
mere dil ka haaye
uyi mere dil ka
ho o o
o o o
meree nazron se bach ke kahaan jaaoge
wahin aa jaaungee main jahaan jaaoge
meree nazron se bach ke kahaan jaaoge
wahin aa jaaungee main jahaan jaaoge
meree aankhon mein samaa ke na mijaaz keejiye
mere dil ka sajanwa ilaaj keejiye
chaahe barson chaahe kal
chaahe aaj keejiye
mere dil ka haaye
uyi mere dil ka
- In: "Moonch/mustache song | "Nok-Jhonk" song | Body part song | Devnagri script lyrics by Sudhir | Duet | Guest posts | Lyrics contributed by readers | Post by Arunkumar Deshmukh | qawwali | Rafi songs | Shamshad Begam Rafi duet | Shamshad Begam songs | Songs of 1960s (1961 to 1970) | Songs of 1962 | Yearwise breakup of songs | Zulf song
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This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5665 | Post No. : | 18168 |
Today’s song is from the film ‘Baghdad Ki Raaten’ (1962).
The film is labelled as ‘kalpanik‘, (काल्पनिक) meaning based on an imaginary story. I would have loved to meet the writer of this story, who had such fantastic imagination, but the film mentioned that the story was by the ‘Story Department ‘ of the banner/studio. That explains ! It is not possible to imagine such stories by one single person. The Arabian Night stories were supposed to be told by Scheherazade-wife of the King Shehriar of Persia- to her husband at the rate of one story a night for continuously 1001 nights, to avoid her death. I am sure even she would gladly embrace death after hearing the ‘Arabian Stories’ made by the imaginative story departments of Indian films ! In this one department, we easily defeat the rest of the world’s filmmakers !!
‘Raat’ is yet another favourite word of our filmmakers. A cursory look at the Film Title Index, one finds that there were 21 films made with titles starting with the word Raat. And then there were films with the word Raat, placed in the title elsewhere too like ‘Ek Raat’ (4 films), ‘Barsaat Ki Raat’ (4 films). I found even a ‘Meethi Meethi Raat’ (1991). Further titles were found like ‘Ek Aadhi Raat (2005), ‘Aadhi Raat’ (2 films), ‘Aadhi Raat Ke Baad’ (1965) etc. Then I found ‘Milan Ki Raat’ (1967). With curiosity, I proceeded to try to find ‘Honeymoon Ki Raat, but instead I found ‘Ek Raat Shaitaan Ke Saath’ (2004) and I hurriedly wound up my research !
The decade of the 60’s, though a part of the ‘Golden Period’ to some extent, suffered much due to conditions prevailing in the country. If you take a look at the number of films made from 1961 to 1970, you will find the number had come down substantially, compared to earlier or later decades. See this – 924 films in 1930-40, 1191 films in 1940-50, 1125 in 1950-60, 942 in 1960-70, 1243 in 1970-80, 1668 in 1980-90, 1713 in 1990-2000 and 2352 in 2000-2010.
The reasons for this low number in 60-70 period were many. Major reason was escalation in the cost of film production. The cost had gone up substantially compared to the period 1931 to 1960, in terms of payments to the actors, directors and the music directors, raw film was costlier and other reasons. Attraction of making color films was very expensive. By the end of the 60’s, color films occupied about 70 % of the films produced.
War with China in 1962, war with Pakistan in 1965, death of Nehru ji in 1964, Shastri ji in 1966 and a severe drought condition in the North and East India were reasons which disturbed the national economy. In 1960 itself, to help the Film Industry, the Film Finance Corporation was established, which gave loans for film production at only 5 to 6 % interest rates. Due to this the ‘New Wave Cinema’ had a boost, affecting mainstream films. With all this the number of films made dwindled. However, by the end of the decade i.e. by 1970 the Hindi films once again crossed the figure of 100’s mark (102 films), never to fall again below 100 ! In fact, after the year 2000, the number has always been above 200 films !!
Film ‘Baghdad Ki Raaten’ (1962) was directed by Nanabhai Bhatt, a veteran of such films. The music was by D Dilip alias Dilip Dholakia. He used several names like Dilip, Dilip Rai, Dilip Kumar, in addition to D Dilip and Dilip Dholakia. Contribution of Gujarat to the film industry is tremendous right from the beginning of the moving pictures era. The important fact is, this contribution was all pervading, i.e. in all departments of film making from production to distribution and in the music field it was in the form of singers and composers. Producers like Dalsukh Pancholi and Chandulal Shah, directors like Desai and Doshi, actors like Sanjeev Kumar and Nirupa Roy, MDs like Pransukh Nayak and Madholal Master right up to Kalyan ji Anand ji….the list will be endless !
However, in the music field, not all those who came from Gujarat were as famous or lucky as some others. Composers like Avinash Vyas, Ninu Mujumdar, Ajit Merchant – despite the quantity and the quality, never got counted among the ‘Top Of the Line’ composers. Another name of such a composer is that of DILIP DHOLAKIYA.
Dilipbhai, as he was popularly called, was born on 15-10-1921 at Junagadh in Gujarat. He took classical music training from well known Gurus and also completed BA degree with Sanskrit and Gujrati Literature as main subjects. From 1942 to 1944 he even worked in govt. office, but his intense desire for music made him leave the job and seek opportunities. He sang on All India Radio for 5 Rs. a song basis. He developed friendship with Snehal Bhatkar who was working in HMV that time, and cut a record of two songs. He sang along with Saigal in a chorus for ‘Bhanwaraa’ (1944). Later Shantikumar Desai and Ratan Lal gave him songs in ‘Kismatwala’ and later Chitragupta also gave him songs in ‘Sakshi Gopal’, ‘Mahasati Savitri’, ‘Naya Raasta’ etc.
In 1947, he was selected by Feroze Nizami to sing the famous song, “Yahan Badla Wafaa Ka” from ‘Jugnu’ (1947). Few rehearsals also took place. Due to the turmoil of independence activity in 1947, Mohd. Rafi was stuck in Jalandhar, Punjab. Just one day prior to the recording, Mohd. Rafi came to Bombay. Feroze Nizami gave the song to Rafi, which made lot of good to him. This was the first indication to Dilip Bhai that Luck was not with him.
Basically, he worked as assistant to SN Tripathi and Chitragupta from 1951 to 1972 and later from 1972,as arranger for Laxmikant Pyarelal up to 1988.
While not so successful in Hindi, he was quite popular in Gujrati as a singer and composer. His song “Taari Aankhni Afeeni” from the film ‘Divadandi’ (1950), under Ajit Merchant’s baton is hugely popular even today.
His first independent film in Hindi, as composer was ‘Baghdad Ki Raaten’ (1956), but the film got released only in 1962 ! In all he gave music to 8 Hindi films, ‘Bhakti Mahima’, ‘Saugandh’, ‘Teen Ustaad’, ‘Private Secretary’, ‘Dagabaaz’, ‘Veer Ghatotkach’ and ‘Mata Vaishno Devi’. The song “Miley Nain, Miley Chain” from ‘Private Secretary’ by Lata, became quite popular in those days. He used several names like, Dilip, Dilip D, Dilip Rai and Dilip Kumar for his songs and music.
He gave music to 11 Gujarati films from 1963 to 1984. There is not much information available about Dilip Bhai on the internet or in books. However the following is the summary of his life, from a website ‘Deshgujarat’ with thanks to them-
- Gujarati film ‘Divadandi’ was released in year 1950. Though the film was not a superhit, its one song written by Venibhai Purohit, composed by Ajit Merchent and sung by Dilip Dholakia is superhit even today. The song is: “Taari Aankhni Afeeni”. Initially people misunderstood that this song was sung by Mukeshji.
- His father used to play flute while his grandfather Manishankar used to sing kirtan and bhajan in Swaminarayan Mandir.
- Shri Dholakia came to Mumbai in 1942 and passed BA.
- He worked in Bombay government’s Home department for two years as clerk in the Accountant General’s office. While his office was located on first floor, the third floor in same building was occupied by All India Radio.
- Born in 15 October 1921 in Junagadh, Shri Dilipbhai received education in Bahadurkhanji high school and Bahauddin College.
- His father’s name was Bhogilal.
- He loved songs on classical base.
- In 1944, musician Khemchand Prakash’s brother Ratanlal gave him chance to sing in ‘Kismatwala’ film. His songs were “Gori Chalo Na Seena Ubhar Ke” and ‘Dekho Hamse Na Aankhen Ladaaya Karo”.
- In 1946 he sang a song “Dukh Ki Is Nagri Mein Baba Koi Na Poochhe Baat” in film ‘Laaj’ under Ramchandra Pal’s music composition arrangement.
- He sang Saigal’s 1944 song of film ‘Bhanwara’ s song Thukra rahi hai duniya in chorus. He was introducted to musician Snehal Bhatkar in HMV studio with whose help a record of two songs ‘Bhint Fadi Ne Piplo Ugyo’, and ‘Aadha Tel Aur Aadhaa Paani’ was made. In this record Dilip Bhai was singer and Venibhai Purohit was lyricist.
- In 1948 Avinash Vyas gave chance to Dilip Bhai for two duet songs in film ‘Sati Son’. A name on record printed was Dilip Kumar. When Dilip Dholakia started his career as musician, he choose D Dilip as his identity. In 1960 he gave music in ‘Bhakta Mahima’ directed by K. Shankar under this new name.
- From 1951 he became assistant of musician Chitragupt and worked with him till 1972. In this course the films that were worked out were ‘Insaaf’, ‘Kismat’, ‘Zindagi Ke Mele’, ‘Bhabhi’ (“Chal Ud Ja Re Panchhi Ki Ab Ye Desh Huva Begana“, and “Chali Chali Re Patang Meri Chali Re“), ‘Kali Topi Lal Rumal’ (“Laagi Chhoote Na Ab To Sanam“, “Daga Daga Vai Vai“, “Diwaana Admi Ko Banaati Hain Rotiyan‘) etc.
- Moreover he worked as assistant of SN Tripathi. The tasks was assistant were very technical, such as writing notations, editing, providing creative inputs while composition of new creations.
- Dilip Bhai composed 16 songs in ‘Bhakti Mahima’, that were sung by Lata ji, Usha ji, Manna Dey, Suman Kalyanpur, S Janki. In 1961 he gave music in ‘Saugandh’ film in which Jaimini Ganeshan (father of famous actress Rekha) ans Anjali Devi acted. One song of this film “Apne Liye Jiye To Zamaane Me Kya Jiye” was sung by Rafi ji, and “Chali Hawaayen Matwaari” was sung by Lata and Talat ji. He also composed six songs in Nanabhai Bhatt directed film ‘Teen Ustad’.
- In 1962 he gave music in film ‘Baghdad Ki Raaten. While two songs of this film were sung by Geeta Dutt, one was by Shamshad Begam-Rafi. Dilip Bhai’s favorite writer for songs in those days was Prem Dhavan.
- Dilip Bhai had Manna Dey and Rafi ji singing his song of film ‘Private Secretary’. The song was “Pyaar Ka Maara Hoon Main Julie“. After this he gave music in film ‘Dagaabaaz’ in 1970 with name of Dilip Roy. In this film one song was sung by Mukesh ji. One song sung by Mahendra Kapoor, “Chaand Bhi Sitaare Bhi Hain Bazm Mein” was written by Kaifi Azmi. Dilip Bhai gave music of ‘Vir Ghatotkach’ and ‘Mata Vaishnavi Devi’ with name as ‘Dilip Roy’.
- Thus Dilipbhai gave music in eight Hindi films.
- He started giving music in Gujarati films from 1963 in film ‘Satyavan Savitri’. He has given music in 11 Gujaati films. Some famous songs from these films are: “Milan Na Deepak Sau” (‘Mota Ghar Ni Dheekri’), “Maane Andhara Bolave”, and “Paglu Paglama Atvanu”, “Sathiya Puravo Dwaare”, “Dhanna Dhatudi Patudi”, “Bole Milan No Mor” etc.
- He joined with Lakshmikant Pyarelal as assistant in 1972 and worked on this position for next 16 years.
- Dilip Bhai’s last recording happened on 15 February 1988.
Dilip Dholakiya passed away on 2-1-2011.
The cast of the film was Shakila, Mahipal, Ratnamala, Ishwarlal, Leela Mishra, Neeru (Shanta kumari Jr., debuted in film ‘Adhikar’ (1954)), Master Bhagwan, Abu Hasan and others. The film had another name Abu Hasan and the coincidence was that a small time actor Abu Hasan acted in this film and his name was credited also. The story of this film is given here (please do not chuckle while reading it).
When king Harun Al Rashid was ruling there lived a rich merchant Abu Hasan with his mother and sister Zarina. He had founded a group of friends of his age to spend good times, having parties etc. After few years he stopped the parties as his mother advised. King’s son Prince Gul loved Abu hasan’s sister Zarina, but he met her as a gardener’s son – Jaffer.
The king’s Vazir wanted to become the king. He arrested the king. His Prince did not know this, he thought the king has gone on shikar. The Vazir also arrested Abu Hasan and the Prince Gul and left them in front of hungry lions. However the lions kept their heads on Abu Hasan’s feet but did not eat them, because Hasan had provided them food for many years.
Seeing this, the Vazir was enraged and wanted to kill both, but Hasan’s friend group had come there with weapons and they attacked the Vazir. In the ensuing fight Vazir was killed. Abu Hasan, the king and Prince Gul were released. Gul married Zarina, Abu hasan married his love, court dancer Haseena and the king was reinstated. Abu Hasan was appointed Vazir now. Clap, Clap. The End !
Today’s song is a duet of Rafi and Shamshad Begum. Enjoy….
Song- Zulfon waalon se na bhool ke bhi pyaar keejiye (Baghdad Ki Raaten)(1962) Singers- Rafi, Shamshad Begum, Lyricist-Prem Dhawan, MD- Dilip Dholakiya
Female chorus
Male chorus
Lyrics
zulfon waalon se
na bhool ke bhi pyaar keejiye jee
zulfon waalon se
hoye moonchhon waalon pe
oye moonchhon waalon pe
kabhi na aitbaar keejiye jee
moonchhon waalon pe
moonchhon waalon pe
kabhi na aitbaar keejiye jee
muchho walo pe
zulfon waalon se
na bhool ke bhi pyaar keejiye jee
zulfon waalon se
o peechhe peechhe aayenge maare maare aap hi
o peechhe peechhe aayenge maare maare aap hi
naak ragdenge dar pe humaare aap hi
dar pe humaare aap hi
dar pe humaare aap hi
bheekh maangen to bhi
ae jee bheekh maangen to bhi
jootiyaan nisaar keejiye jee
moonchhon waalon pe
moonchhon waalon pe
kabhi na aitbaar keejiye jee
moonchhon waalon pe
kiske dum se haseenon ki ye aan baan hai
kiske dum se haseenon ki ye aan baan hai
moonchhon waalon ka in pe to ehsaan hai
inpe to ehsaan hai
inpe to ehsaan hai
arre karke ehsaan
dekh liya
karke ehsaan gaaliyaan hazaar leejiye jee
zulfon waalon se
zulfon waalon se
na bhool ke bhi pyaar keejiye jee
zulfon waalon se
ho jab se duniya bani hai
bas takraar hai yahi
ho jab se duniya bani hai
bas takraar hai yahi
hum to kahte hain yaaron ke pyaar hai yahi
ajee haan pyaar hai yahi
are haan pyar hai yahi
gar ye pyar hai to
haaye haaye haaye
arre arre arrey
gar ye pyaar hai to
tauba hazaar keejiye
zulfon waalon se
moonchhon waalon se
zulfon waalon se
na bhool ke bhi pyaar keejiye ji
zulfon waalon se
moonchhon waalon pe
kabhi na aitbaar keejiye jee
moonchhon waalon pe
——————————————
Hindi script lyrics (Provided by Sudhir)
——————————————
ज़ुल्फों वालों से ना भूल के भी प्यार कीजिये जी
ज़ुल्फों वालों से
ओए मूञ्छों वालों पे
ओए मूञ्छों वालों पे
कभी ना एतबार कीजिये जी
मूञ्छों वालों पे
मूञ्छों वालों पे
कभी ना एतबार मूञ्छों वालों पेकीजिये जी
मूञ्छों वालों पे
ज़ुल्फों वालों से ना भूल के भी प्यार कीजिये
ज़ुल्फों वालों से
ओय पीछे पीछे आएंगे मारे मारे आप ही
ओय पीछे पीछे आएंगे मारे मारे आप ही
नाक रगड़ेंगे दर पे हमारे आप ही
दर पे हमारे आप ही
दर पे हमारे आप ही
भीख मांगें तो भी
ए जी भीख मांगें तो भी
जूतियाँ निसार कीजिये जी
मूञ्छों वालों पे
मूञ्छों वालों पे
मूञ्छों वालों पे कभी ना एतबार कीजिये जी
मूञ्छों वालों पे
किसके दम से हसीनों की ये आन बान है
किसके दम से हसीनों की ये आन बान है
मूञ्छों वालों का इन पे तो एहसान है
इन पे तो एहसान है
इन पे तो एहसान है
अरे करके एहसान
देख लिया
करके एहसान गालियां हज़ार लीजिये जी
ज़ुल्फों वालों से
ज़ुल्फों वालों से ना भूल के भी प्यार कीजिये
ज़ुल्फों वालों से
हो जबसे दुनिया बनी है
बस तकरार है यही
हो जबसे दुनिया बनी है
बस तकरार है यही
हम तो कहते हैं यारो के प्यार है यही
अजी हाँ प्यार है यही
अरे हाँ प्यार है यही
गर ये प्यार है तो
हाय हाय हाय
अरे अरे अरे
गर ये प्यार है तो
तौबा हज़ार कीजिये
ज़ुल्फों वालों से
मूञ्छों वालों पे
ज़ुल्फों वालों से ना भूल के भी प्यार कीजिये जी
ज़ुल्फों वालों से
मूञ्छों वालों पे कभी ना एतबार कीजिये जी
मूञ्छों वालों पे
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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