Archive for the ‘Shamshad Begam solo’ Category
This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day: | 4329 | Post No.: | 15621 |
“Idgaah” is a timeless classic penned by Munshi Premchand (31 july 1880-8 october 1936). This is the story of Hamid, a seven year old boy whose parents are no longer alive and he is brought up by his grandmother. On the festival day of Eid, he goes to Eid mela with his friends. While other kids buy themselves candies and toysHamid, thinking of his grandmother, buys a pair of tongs to help her make rotis, since she burns her hands trying to cook them bare-handed.
This moving tale was written by Munshi Premchand during his stay at Gorakhpur between 1916 to 1921, though the story itself could be published in 1933. The story, like many stories of Premchand, became a classic. It is a story that people, including children, can easily identify with. This story was there in my Hindi text book (class 7, I think). This story continues to be there in Indian school text books. I gather that even other regional language text books in India include this story.
TV serials came to India in 1980s, Premchand’s stories were telecast on Doordarshan in 1990s in a series called “Tehreer- Munshi Premchand Ki”.
This story too was telecast as part of this series.
The place in Gorakhpur where Munshi Premchand used to stay is today known as Premchand Park. In its rear is a famous Mazaar called Mubarak Khan Shaheed ki mazaar. There is an idgaah in front of this mazaar. Munshi Premchand used to be a regular visitor to this mazaar and he used to spend hours there.
A mela is held near this Idgaah during Eid. Munshi Premchand got the idea for his story of “Idgaah” from this particular idgaah located near his residence.
This time, there is a lockout due to coronavirus, not just in Gorakhpur, but also in India and for that matter in the entire world. It is also quite a coincidence that a similar pandemic of Spanish flue had take place in India (including Gorakhpur) from 1918 to 1919 when Munshi Premchand was in Gorakhpur. Some parts of Gorakhpur (namely Railway area called kawwaabaagh) was quarantined during those days when one person was infected with Spanish flu.
This time there will be social distancing in this famous idgaah and very few people will attend the namaaz during Eid. And there will be no mela this time.
Here is a song from Shamshad Begam on the occasion. It is a non film devotional song. One could imagine Hamid’s daadi singing this naat to her grandson on this occasion.
I have not been able to get a few words right in the lyrics. I request our knowledgeable readers to help fill in the blanks / suggest corrections as applicable.
I am not aware about the details of this song vis a vis lyricist and music director etc. I request our knowledgeable readers to fill in the details of this song.
On this occasion, I extend greetings of Eid Mubaarak to one and all. On this occasion, Let us savour this divine devotional song is the voice of Shamshad Begam.
Song-Ramzaan ka maheena bada barkaton ka hai (Shamshad Begam NFS)(1960) Singer-Shamshad Begam
Lyrics
paighaam mominon ke liye ae ae
paighaam mominon ke liye rahmaton ka hai
Ramzaan ka maheena bada barkaton ka hai
Ramzaan ka maheena bada barkaton ka hai
Jisko namaaz e roze ka armaan ho gaya
us par khudaay e paak meharbaan ho gaya
Ramzaan aaya qaid mein shaitaan aa gaya
naazil isi maheene se Quraan ho gaya
zyaada azeez rakhte thhe Ramzaan ko rasool
hoti hai is maheene mein har ik dua qubool
Ramzaan ka maheena bada barkaton ka hai
paighaam mominon ke liye rahmaton ka hai
utre hain is maheene mein taurait aur zaboor
naazil hui hai Issa pe injeel bhi zaroor
khwaab e gumaan hain is mein shab e qadr ka zahoor
momin ne is maheene mein paaya khuda ka noor
waajib hai har ameer pe Sadqaa adaa kare
daaman gul e ummeed se mohtaaj ka bhare
Ramzaan ka maheena bada barkaton ka hai
paighaam mominon ke liye rahmaton ka hai
is maah mein hi paida huye ghause nek naam
Ramzaan ka kiya hai unhone ye ehteraam
hargiz piya na doodh kabhi din mein maa salaam
bachpan mein hi huzoor ne roze rakhe tamaam
roza nazar ka noor hai dil ki ummeed hai
Ramzaan mominon ke liye goyaa eid hai
Ramzaan ka maheena bada barkaton ka hai
paighaam mominon ke liye rahmaton ka hai
Ramzaan ka maheena bada barkaton ka hai
har rozaadaar hashr ke din muskuraayega
deedaar e haq jamaal nabi ka wo paayega
dozakh ki aag se usey roza bachaayegaa
rahmat usey nawaazegi jannat mein jaayega
jo rozaadaar hai yahaan wo kaamyaab hai
iftaar bhi karaane ka behad sawaab hai
Ramzaan ka maheena bada barkaton ka hai
paighaam mominon ke liye rahmaton ka hai
karta hai roza deen mein duniya mein sarfaraaz
hai humpe farz roza rakhen aur padhen namaaz
har waqt nek kaam karen ban ke paakbaaz
har ghamzada ko kar den museebat se beniyaaz
majboor aur ghareebon ki khidmat kiya karen
jitni bhi ho khuda ki ibaadat kiya karen
Ramzaan ka maheena bada barkaton ka hai
paighaam mominon ke liye rahmaton ka hai
insaan nekiyon mein hamesha laga rahe
daaman gunaah o jurm se hardam bacha rahe
jaari dilon mein har ghadi hamd-o-sanaa rahe
har waqt lab pe zikr e habeeb e khuda rahe
Ramzaan rahmaton ka maheena hai mominon
Allah tak pahunchne ka zeena hai mominon
Ramzaan ka maheena bada barkaton ka hai
paighaam mominon ke liye rahmaton ka hai
Ramzaan ka maheena bada barkaton ka hai
This article is written by Arunkumar Deshmukh, a fellow enthusaist 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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4321 | Post No. : | 15608 |
Today’s song is from an obscure film Hamara Sansar-45. It was a film made by Prakash Pictures, whose 2 Mythological films – Bharat Milap-42 and Ram Rajya-43, had become super duper hit films of that era. This branded Prakash Pictures as experts in Mythological films. Film Hamara Sansar-45 had actually followed another social film Police 44, but both films failed to continue the Hit parade of the two earlier successes. Prakash never wanted to be stamped or labelled as a film company of any particular Genre, so they decided to continue making social films, till they made the 3rd of the ” Shri Ram” series film few years later. They made film Raam Baan-48, with the same lead pair, but this film failed miserably due to various reasons.
Film Hamara Sansar-45 was directed by Dr. Shanti Kumar – not to be confused with Music Director Shanti Kumar Desai. In spite of several attempts, I could not get any information on this director since about 8 years. Film’s music was given by Pt. Gobind Ram, who was one of the major composers from among the Punjabi school of film composers in the 40s. His songs did not have exactly the Punjabi rhythm, but the style was exclusively Punjabi. His songs were sweet to ears. The cast of the film was Jeevan, Ranjana, Sumati Gupte, Jilloo, Umakant, Rajkumari Shukla, Susheel Kumar and many more.
When the film industry started growing, in the initial stage there were very few film making centres. By 1931, they were Calcutta, Bombay, Madras, Lahore and Kolhapur. It was but natural that in Calcutta, most artistes and technicians were Bengali. Nearby states like Assam, Dhaka,Orissa and Bihar also supplied manpower. Similarly in Madras, Tamilians, Andhrites, Kannada and Malayalam people were more in the industry. In Lahore, Muslims, Punjabis and Sindhis worked in films there.
In Bombay, two communities – Marathi and Gujarati played prominent roles in this growing industry. Bombay being the ‘ Mayanagari’ which provided work to everybody and anybody, who was ready to do work, no wonder people from every corner of India gathered here. Take the case of India’s first Talkie film Aalam Ara-1931. The producer and the screenplay writer-Ardeshir Irani, as well as the Music Director Phirozshah Mistry were Parsees, Dialogue writer Joseph David Penkar was a Bene Israeli Jew from Coastal area of Konkan, Hero Master Vithal was from Kolhapur of Maharashtra, Heroine Zubeida was from Gujarat, Jilloo was a tawayaf from Delhi, Prithviraj Kapoor was from Peshawar, W M Khan was from Western Frontier area, Jagdish Sethi was from Punjab, Elizer was from Tamilnadu, L V Prasad was from Andhra and Omkar Devaskar was from Madhya Pradesh.
However, the financial strings of film industry were in the hands of Gujarati people (including Parsees) and the actual work of acting, direction, music, singing, make up, costume and other technical aspects were done mostly by Marathi people. As the times moved on, the regional film centres anf films became stronger enough to provide opportunities to artistes etc and Marathi, South and others’ participation in Bombay became thinner. However, on and off Marathi artistes kept on coming to Hindi films in various departments-mainly acting and music. One such artiste was Sumati Gupte, about whom, hardly any information is available in English or Hindi books or on internet sites. For the first time, here are her details, for our readers.
Sumati Gupte was born on 11-5-1918 in a small town, Vai, in Satara District of Maharashtra. However, her education took place in Baroda, Gujarat, from where she completed her graduation and obtained B.A. degree. She was keen to work in films.
She joined Prabhat Film company to work in its Bilingual film Sant Dnyaaneshwar-40. The film was released on 21-5-1940 in Central cinema, Bombay. It became a hit film. She sang 2 songs also in this film. She started getting film offers in Marathi. She acted in several films like Thoratanchi kamala, Navardeo and Chimukala Sansar. The last film was directed by a young man-Vasant Joglekar. They fell in love and soon got married in 1943. Sumati became Sumati Gupte Joglekar. In due course, the couple had 3 daughters- Meera, Chanda and Madhushri.
Sumati acted in many Marathi films, but at the same time she also acted in Hindi films. She acted in Sant Dnyaneshwar-40, Sharbati Aankhen-45, Hamara Sansar-45, Santan-46, Veer Ghatotkach-49, Nand Kishore-51, Shiv leela-52, Samaj-54, mausi-58, Kareegar-58, Keechak Vadh-59, Waqt-65, Pariwar-68, Adhikar-71, jalte Badan-73, Paise ki Gudiya-74, Sajjo Rani-76 and Aadmi Sadak ka-77.
Sumati also sang 4 songs-2 each- in film Sant Dnyaneshwar-40 and Panghat-43. Vasant Joglekar’s family had very close relationship with actor Ashok kumar. Joglekar produced 10 films and directed 20 films. In most of them, Ashok kumar had acted. When film Kareegar-58 was to be made, Ashok kumar had already 30 films on hand, but he agreed to work in his film. Ashok kumar always took only 50% fees in his films. His only condition used to be that Sumati Gupte should bring lunch box of her cooked food on the sets. He was very fond of her cooking. No wonder, Sumati was a CKP by birth-a fish eater and Bangali babu liked Fish dishes very much !
Besides films, Sumati loved to work in Marathi stage dramas. She worked in many famous and popular dramas. The drama advertisements used to highlight her name, to attract the audience. Sumati got many awards like Rasrang magazine’s Phalke award, V. Shantaram award and Chitrabhushan, Life time achievement award from Maharashtra Govt.
Her husband Vasant Joglekar died in 1993.They had tried to promote their elder daughter Meera in Hindi films. She acted opposite Joy Mukherjee in film “Ek Kali Muskayi”-68. Neither she nor the film succeeded. She left films and got married to Ajit Gulabchand, a famous businessman of Mumbai. However, after few years, they divorced and she married Achyut Vaze, a stage Producer.
Sumati Gupte Joglekar died on 31-10-2009. After her death, their was a court dispute about her estate. Meera’s sister Chanda filed a case in court against her, but Meera won the case and the estate, in crores, was evenly divided between 3 sisters.
There was another Marathi actress in this film – Ranjana. The Heroine of this film was Ranjana. Now, hardly anyone knows about this actress who had worked as a Heroine with Dilip Kumar also in his early career. One can not get any information about her in any book or on the internet. Here is some information about her.
Ranjana’s real name was Ratan Shantaram Deshpande. She was born in Nagpur on 20-10-1927. While studying in St. Ursula High School, she learnt dancing and music from well known ustads. After passing her 6th standard examination, she came to Bombay to her elder sister, Kusum Deshpande, who was already working as actress with Minerva Movietone films. Kusum married Vasant Thengadi, a handsome actor in Hindi films of those times.
Kusum arranged for specialised dancing for Ratan in the holidays. later Ratan was taken to Vijay Bhatt of Prakash pictures for an interview. She was immediately selected and got a role in the famous film Ramrajya-1943. In this film she was Chitralekha, Sita’s sakhi. Vijay Bhatt also changed her name to Ranjana. She was on pay roles of prakash for Rs. 2000 pm. She acted in films like police-44, Vikramaditya-45 and Hamara Sansar-45. Next films were Nai Maa-46 and Zamin Asman-46.
Ranjana was called by Bombay Talkies to do Heroine’s role opposite Dilip kumar in film Milan-46. This film was based on Bangla film Nauka Doobi written by Tagore. She did the role of Hem Nalini in this film’s Hindi version. The same role was done by Meera Sircar in the Bangla film Nauka Doobi.
After this film, Ranjana was in great demand, but she wanted to quit films and get married to live a simple life. She married a young and handsome writer Arvind Shukla. But after few months he fell sick and there was no income. So, she had to continue working in films till 1975. She also worked in many Marathi films. In all, she worked in about 35 films or so. Ranjana worked with many big stars of her times like, Prem Adeeb, Prithviraj Kapoor, Jairaj, Dilip kumar, Jeevan, Umakant etc etc
It is interesting to note that her sister and her brother in law acted with her in few films. Some such films were Zamin Asman-46 and Shadi se pehle-47. In film Saajan ka Ghar-48 all three had worked together.
We have many families like this in Hindi films. I remember Zubeida and her mother and sisters, Sitara Devi and her 2 sisters, Nargis,her mother and brothers, Kapoor family, Dilip kumar, his brother and sister in law, many film couples and families of several film people are examples. Ranjana was perhaps one early example.
Thank God this Ranjana was not around when yet another Ranjana came to Hindi films. She was Ranjana Deshmukh, niece of actress Sandhya(nee Vijaya Deshmukh). This Ranjana, however , worked mainly in Marathi films and did only 6 Hindi films starting with the Rajkamal Pictures’film “Ladki Sahyadri ki”-66. She was just 11 year old then.Her other films were Chaani-77, Jai Mahakali-79, Navratri-83, Jhanjhar-86 and lastly Upraant-87. Unfortunately, she first met with a car accident and then died of Heart attack at the age of just 44 years or so, on 3-3-2000.
The film’s Music Director Gobind Ram was a good composer, but he never got enough fame in the industry. There is a very good, but very long article on him in apnaarchieve.com, written by Vidur Suri. Here is an adapted short version for our readers.
In the pre-partition period of Hindi films, there were many schools of music directors, many times on a regional basis, but some were just unique. The Punjabi school of film composing was a very important and innovative school among these. This school gained popularity in the 1940s, which also resulted in the immense popularity of Punjabi folk music. Ghulam Haider was considered to be the most important of these, but equally great were Pandit Amarnath , Shyam Sundar , Husnlal – Bhagatram , G. A. Chishti , and Pandit Gobindram .
Pandit Gobindram Ji was a trained musician from Lahore, and was equally popular in both Hindi and Punjabi films. Unlike other music directors of the Punjabi school, music composed by him did not typically reflect native Punjabi trends, but instead lay firmly in the category of mainstream 1940s’ music. One could very well say that he played a crucial part in shaping the music of the 1940s. His music is truly melodious and varied, with a unique combination of highly expressive tunes, yet very fun and foot tapping and rhythmically catchy. He is one of the music directors who used a very large number of singers, only second to Gyan Dutt, one of his worthy contemporaries. He excelled equally in composing happy, sad, romantic, serious, comical, classical, just any kind of songs. It is a pity that he has never received the attention that he deserved.
Among his landmarks are the introduction of and enormous contribution to making Shamshad Begum and Zohrabai the top singers in Hindi films. He recorded the maximum number of Hindi film songs with Shamshad Begum – 86 songs in 19 films. He was also one of the foremost music directors to encourage and bring forward great veteran Rafi , and also introduced great singer Zeenat Begum to films. He has about 30 films to his credit and each one had equally superb music. Most popular singers of that period have graced his songs. His use of light music, Ghazals, Thumris and various popular music forms in films, provide a ready insight into the uniqueness of 1940s music, and with a slightly unique flavour of both his compositions as well as a tiny tinge of Punjabi style.
Pandit Gobindram Ji started his career with Jeevan Jyoti (1937), but his first Hindi film in the 1940s was Himmat (1941). Today, it is remembered for being the second ever Hindi film of veteran singer Shamshad Begum Ji, where she beautifully sang the traditional Dadra ‘Inhin Logon Ne Le Leena Dupatta Mora’ , in her young, sweet but powerful voice. The famous song with the same lyrics in Pakeezah (1972) is largely a copy of this song. This was the first song composed by Gobindram that helped him gain recognition. Other songs from this film included a beautiful duet by Ghulam Haider and Umraozia Begum , ‘Main Hoon Rani Ek Sunehri Nagri Ki’.
His last film was Naqaab-55. Gobindram worked with more than 30 lyricists during his career. With 56 songs in 8 films, his collaboration was the highest with Ishwar Chandra Kapoor. Some of the other prominent lyricists he worked with include Bharat Vyas , Ram Murti Chaturvedi , Ramesh Gupta , and Qamar Jalalabadi . (adapted from an article by Vidur Sury, with thanks).
Today’s song is sung by Shamshad Begum. It is 4th song from this film to be posted on this Blog.
Song-Ham kis’se karen shiqwa rona hai muqaddar mein (Hamaara Sansaar)(1945) Singer-Shamshad Begam, Lyrics-Ramesh Gupta, MD-Pt Govindram
Lyrics
hum kis’se karen shiqwa
rona hai muqaddar mein
hum kis’se karen shiqwa
rona hai muqaddar mein
kashti bahi jaati hai
toofaanon ke manjar mein
kashti bahi jaati hai
toofaanon ke manjar mein
hum kis’se karen shikwa
rona hai muqaddar mein
har taraf mere chhaayi hai
gham ki ghata kali
har taraf mere chhaayi hai
gham ki ghat kali
armaanon bhari duniya
kismat ne mita daali
armaanon bhari duniya
kismat ne mita daali
dil toot gaya mera
bas ek hi thokar mein
gulzaar e chaman n n n n n
ab to
ujda nazar aata hai
hai ae ae ae
gulzaar e chaman n n n
ab to
ujda nazar aata hai
ummeedon ke nakshe par
parda nazar aata hai
ummeedon ke nakshe par
parda nazar aata hai
mallaah bhi kehta hai
toofaan hai samandar mein
mallaah bhi kehta hai
toofaan hai samandar mein
kashti bahi jaati hai
toofaanon ke manjar mein
hum kis’se karen shiqwa
rona hai muqaddar mein
Sapnon Mein Koi Aaya
Posted on: April 14, 2020
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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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Saga Of Sleepless Nights – 7
– – – – – – – – – – – – – – –
kal raat sapne mein aaye thhey tum
mere mehboob mere mehboob
Sound of a temple bell – that is how the renowned music director OP Nayyar once described the voice of Shamshad Begum. The clear sound of the tinkle, the chime and the ringing – the quality of sound that can maybe best described with the word ‘खनकती हुई’ – I could not locate a commensurate word in English. I am sure friends and readers who have heard her songs will easily relate with what I am getting at.
Remembering Shamshad Begum today on the 101st anniversary of her birth. She was born in 1919, this day, just one day after Baisakhi, and the horrific massacre at Jalianwaala Bagh in the nearby city of Amritsar. She was born into a traditional and conservative family of limited means. One of the eight children in the family, her father was a mechanic with limited income and a large family to feed.
Shamshad was not formally trained in singing or music. She had a natural flair for it. When she was five, her singing came to the attention of her teachers at primary school. The principal of the school was so impressed, she asked her to lead the daily morning prayers. By the time she was 10, she began singing at religious functions and at family functions and marriage events. One of her father’s brother, Ameer Khan, was interested in listening to music, especially ghazals and qawwaalis. In 1931, when she was twelve, he secretly took her to the offices of Jenophone Music Company. He personally knew the resident music director incharge – Ghulam Haider. At the initial audition, the young Shamshad sang a ghazal of Bahadur Shah Zafar – “Mera Yaar Mujhe Miley Agar”. Duly and thoroughly impressed, Ghulam Haider Sb immediately offered a contract to record some songs and ghazals for the Jenophone label. Her father was quite upset when he discovered this subterfuge, but Ameer Khan Sb convinced him to give permission. Her father finally agreed, albeit on one condition – that she would not be photographed, and that she would sing from behind the burqa. For the next 5 to 6 years, Shamshad made a very large number of recordings, all under the baton of Ghulam Haider Sb. Her recordings became very popular with the listening public.
Her next major break came in 1937, when she came on to the rolls of the recently organized institution of All India Radio. Earlier known as the Indian State Broadcasting Service, this was renamed as All India Radio in 1936. Shamshad started to make singing appearances at the Lahore and Peshawar stations. While at the AIR, her singing caught attention of sarangi maestro and musician Hussain Bakshwale Saheb. She accepted him as her guru, and he imparted to her training in classical music.
Her popularity grew well enough to catch the attention of Dalsukh Pancholi, owner of the Pancholi Art Films in Lahore. He was starting work on ‘Yamla Jatt’, the first Punjabi film. The film became the launch vehicle for many – Pran as actor, Ghulam Haider as film music director, Shamshad Begum as a playback singer, and of course, the formal organization of the Punjabi film industry in the north.
A side anecdote here that was new for me also. Pancholi Sb wanted her to act in the film also. She agreed, gave the screen test, and was selected for some role. However, when this information reached her father, he put his foot down and threaten to even stop her singing career. Young Shamshad relented, and gave up the idea of becoming an actress. Her father reinforced his edict that she would not allow herself to be photographed, a promise that she dutifully kept all her life. Her photo images are so rare, and earlier I used to wonder why.
‘Yamla Jatt’ became a musical hit, especially the songs “Cheechi Wich Pa ke Chhalla”, “Mera Haal Vekh Ke” and “Kankaan Diyaan Faslaan”. The next film by Pancholi – ‘Chaudhry Saab’ was also a big hit. Ghulam Haider and Shamshad Begum became established names in the fledgling Punjabi film industry. The next step was only logical. Pancholi Sb went on to produce Hindi films – ‘Khazaanchi’ (1941), ‘Khandaan’ (1942), ‘Zameendaar’ (1942), ‘Poonji’ (1943), ‘Dhamki’ (1945), ‘Kaise Kahoon’ (1945), ‘Shirin Farhad’ (1945) and ‘Patjhad’ (1948). In 1947-48, he shifted based from Lahore to Bombay (now Mumbai).
Ah yes, an important interlude from her life – her marriage. At the age of 13, in 1932, the young lass got friendly with Ganpat Lal, a little older boy in her neighborhood. The alliance was bound to create huge friction, being an inter-religion choice. The families from both sides were dead against this relationship. But the young lovers stuck to their stand, and they got married in 1934. They were outcast from their families for some time, but slowly the relations were established again. The couple had one daughter, she is named Usha. She got married to Lt Col Yogesh Ratra of the Indian Army. Sh Ganpat Lal passed away unexpectedly in 1955. He had been a great supporter and a driving force in managing her career. After his passing away, although she continued to be active, but she became more and more reclusive. In her later years, she stayed with her daughter and her family.
Today’s song is from the 1945 film ‘Ratnavali’. The film is produced under the banner of Amar Pictures, Bombay and is directed by Surendra Desai. The star cast of the film is listed as Surendra, Ratanmala, Usha Mantri, Maya Bannerji, KN Singh, Nand Kishore, Leela Mishra, Ansari, Jani Babu, and S Nazeer.
There are eight songs listed for this film in the Geet Kosh. The songs are written by three songwriters – Brajendra Gaud, Ishwar Chandra Kapoor, and Ram Murti Chaturvedi. Today’s song is from the pen of Ram Murty Chaturvedi. The music is by Pt Gobind Ram.
This song is another one in the series of the sleepless nights saga.
kal raat sapne mein aaye thhey tum
mere mehboob mere mehboob
The lady is telling her saheli about the dream that came to her when she was trying to sleep a night. And in the dream, her beau had visited, keeping her company and keeping her awake, as she swung in his arms.
Again, sundry outcomes of a young heart being in love. When this emotion comes to reside in the heart, then the eagerness and the longing to meet, to see and to be able to touch is so intense within, that the mind plays out these emotions in the dreamland of sleep. The waking hours are full of conscious thoughts of the beloved, and the night hours of sleep are full of his dreams. The mind is not able to make up its mind 🙂 whether it is a dream in sleep or is it a lively thought of wakeful eyes. Be in love, and you will grasp. And I am quite sure, all of us have been through such a life. And some may still be living it.
Enjoy this lovely song of a restless and sleepless heart.
And remembering Shamshad Begum as the singer with this ‘खनकती हुई आवाज़’. Thank you ji, for all the wonderful music and the songs.
Song – Sapnon Mein Koi Aaya (Ratnavali) (1945) Singers – Shamshad Begum, Lyrics – Rammurty Chaturvedi, MD – Gobind Ram
Lyrics
sapnon mein koi ayaa
sapnon mein koi ayaa
sajaniya..aa sapnon mein koi ayaa
sapnon mein koi ayaa
sajaniya..aa sapnon mein koi ayaa
naach rahi thi madhur chaandni
gaate gaate prem raagini
naach rahi thi madhur chaandni
gaate gaate prem raagini
neend bhari akhiyan mein meri
aa ke koi samaaya
aa haa haa haa
aa ke koi samaaya
sapnon mein koi ayaa
sapnon mein koi ayaa
sajaniya..aa sapnon mein koi ayaa
jab un ki bahiyan mein jhooli
tan man ki sab sudh budh bhooli
jab un ki bahiyan mein jhooli
tan man ki sab sudh budh bhooli
ik pal ke is madhur milan ne
ik pal ke is madhur milan ne
pagli hamen banaaya
aa haa haa haa
pagli hamen banaaya
sapnon mein koi ayaa
sapnon mein koi ayaa
sajaniya..aa sapnon mein koi ayaa
naach rahi thi madhur chaandni
gaate gaate prem raagini
neend bhari akhiyan mein meri
aa ke koi samaaya
aa haa haa haa
aa ke koi samaaya
sapnon mein koi ayaa
sapnon mein koi ayaa
sajaniya..aa sapnon mein koi ayaa
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
सपनों में कोई आया
सपनों में कोई आया
सजनीया॰॰आ सपनों में कोई आया
सपनों में कोई आया
सजनीया॰॰आ सपनों में कोई आया
नाच रही थी मधुर चाँदनी
गाते गाते प्रेम रागिनी
नाच रही थी मधुर चाँदनी
गाते गाते प्रेम रागिनी
नींद भरी अखीयन में मेरी
आ के कोई समाया
आ हा हा हा
आ के कोई समाया
सपनों में कोई आया
सपनों में कोई आया
सजनीया॰॰आ सपनों में कोई आया
जब उनकी बइय्यन में झूली
तन मन की सब सुध बुध भूली
जब उनकी बइय्यन में झूली
तन मन की सब सुध बुध भूली
इक पल के इस मधुर मिलन ने
इक पल के इस मधुर मिलन ने
पगली हमें बनाया
आ हा हा हा
पगली हमें बनाया
सपनों में कोई आया
सपनों में कोई आया
सजनीया॰॰आ सपनों में कोई आया
नाच रही थी मधुर चाँदनी
गाते गाते प्रेम रागिनी
नींद भरी अखीयन में मेरी
आ के कोई समाया
आ हा हा हा
आ के कोई समाया
सपनों में कोई आया
सपनों में कोई आया
सजनीया॰॰आ सपनों में कोई आया
- In: "neend na aaye" song | Calling the beloved | Devnagri script lyrics by Sudhir | Feelings of heart | Guest posts | Lover's Complaint | Lyrics contributed by readers | Missing the loved ones | Post by Sudhir | Shamshad Begam solo | Shamshad Begam songs | Songs of 1940s (1941 to 1950) | Songs of 1946 | Yearwise breakup of songs
- 1 Comment
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
|
Blog Day : |
4279 | Post No. : | 15519 |
Saga Of Sleepless Nights – 6
– – – – – – – – – – – – – – –
un aankhon mein neend kahaan
jin aankhon se preetam door base
The contest between a heart in love and the nights of loneliness is as ancient as the written word itself. Poets of yore, across the ages, and to the present times, have all written about the tribulations of the nights of loneliness. Time does pass at its own pace, but for a lonely heart pining for love, it is as if the time has come to a standstill.
The acute anxiety of the empty moments wherein apparently nothing is happening, is something that cannot be explained in words. It is a sensation that has to be experienced, to get the true flavor of the feelings that are ensconced in the words ‘hijr’ (“हिज्र”) and ‘firaaq’ (“फ़िराक़”) – the feelings of separation, the feelings of being incomplete, the feelings of anticipation, waiting, the feelings of incessant yearning that seems to rend the heart asunder.
Philosophers and poets have ruminated over this experience, and have recommended certain pursuits. There is that famous rhyme that talks about counting green bottles standing on a wall. It is based on the children’s counting nursery rhyme – “Ten Bottles on the Wall”. Folks who cannot sleep are recommended to start from, well, maybe a thousand bottles, keep knocking them down one at a time, and keep a count of the bottles left on the wall. Starting from thousand, this process is bound to get drowsy some way through getting to the target of downing all the thousand bottles from the wall.
The other, of course is counting sheep, jumping over a fence. So just keep a count of the imaginary sheep that are jumping over the make believe fence, and continue counting till the senses give way.
The more esoteric recommendation from the poets, especially for forlorn lovers longing for their mate, is to count the stars. Now this remedy may not work in urban habitats in current times – in best of times with normal pollution levels, about a score stars maybe visible. So this poetic bulwark of heartening proportions does not work in a city like Delhi. Ah yes, but in locales where the skies are clear, this assignment can be undertaken in real earnest. On a clear moonless night, the sky looks so crowded with stars, that the mission of counting stars can be a humbling task. And very well suited for the lonely hearts stricken with the malady of separation and longing.
The beauty of the poet’s mind is simply fantastic and out of this world. It goes even beyond this imagination of being assigned the task of counting the stars. Let me borrow some lines from my own article that I wrote for the song “Aaj Unke Paay e Naaz Pe Sajdaa Karenge Hum”. The lyrics of this song dwells on this task of ‘अख्तर शुमारी’ – the act of counting stars (‘अख्तर’) in the sky. The relevant portion of the lyrics goes like this,
maana shab e firaaq bhi
hoti hai is liye
har nabz e gham isi ke
sahaare guzar sakey
naqaam e ishq hijr mein
taare gina karey
hum intehaa e shauq ki
hadd se guzar gaye
lo aaj hum ne saare
sitaare bhi gin liye
ab ae shab e firaaq bataa
kya karenge hum
And I quote from my write up,
The poet has surpassed many superlatives to weave the fabric of words that makes up this song. Let me give you an example. It is quite a traditional concept in poetry, that a lonely lover in the long nights of wait and anticipation, is advised to count the stars in the sky – a metaphor that implies that neither the stars in the sky will ever be counted, and nor the wait for the beloved ever end. This refrain is encountered often in romantic poetry. But the poet of this song does one better, and goes a step beyond. He says that all the stars are now counted, and so tell me o night of long wait what should I do.
lo aaj hum ne saare sitaare bhi gin liye
ab ae shab-e-firaaq bataa kya karenge hum
A superlative expression that rises to defeat even the task of counting the stars. And poses the question, that in my crazed passion, I have even gone ahead and actually counted all the stars, so tell me what should I do now.
The poet’s imagination is endless, and so this discussion can, and will be continued elsewhere. For now, I present this oh so wonderful song rendered so lovingly by Shamshad Begum, that tells about the nights of loneliness and longing. The film is ‘Sona Chaandi’ from 1946. The lyrics are written by Wali Sahab and the music is composed by Tufail Farooqui.
The film is produced under the banner of New Bombay Theatre, Bombay and is directed by RD Pareenja. The star cast is listed as Chandni, Suresh, Kishori, Saroj Borkar, Kamla, Ghulam Rasool, Amrit Lal, Radha Kishan amongst others. There is a total of 12 songs in this film penned by three songwriters – Wali Sahab, Shamim and Khawar Zamaan. This song is written by Wali Sahab.
So let’s listen to this heartwarming winner in the ‘खनकती हुई’ voice of Shamshad Begum. The protagonist is blaming her beau for her sleeplessness – “तेरे बिना नींद ना आई रे”.
Song – Baalam Harjaai Re, Tere Bina Neend Na Aayi Re (Sona Chaandi) (1946) Singers – Shamshad Begum, Lyrics – Wali Sahab, MD – Tufail Farooqui
Lyrics
baalam harjaai re
baalam harjaai re
tere bina neend na aayi re
neend na aayi re
o neend na aayi re
baalam harjaai re
tere bina neend na aayi re
neend na aayi re
o neend na aayi re
baalam harjaai re
bhool gaye baalam nibhaane ki rasmen
bhool gaye baalam nibhaane ki rasmen
nindiya ne kha leen na aane ki kasmen
nindiya ne kha leen na aane ki kasmen
nainon mein ratiyaan
nainon mein ratiyaan ganvaai re
tere bina neend na aayi re
neend na aayi re
ho neend na aayi re
baalam harjaai re
baalam harjaai re
mukh se na bolun
pyaare mukh se na bolun
pyaare
roye roye jaaun main
dil ki kahaani
dil ki kahaani najar se sunaaun main
dil ki kahaani najar se sunaaun main
nainon mein
nainon mein ghat ghir ke aai re. . .
nainon mein ghat ghir ke aai re
tere bina neend na aayi re
neend na aayi re
ho neend na aayi re. . .
baalam harjaai re
baalam harjaai re. . .
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
बालम हरजाई रे
बालम हरजाई रे
तेरे बिना नींद ना आई रे
नींद ना आई रे
ओ नींद ना आई रे
बालम हरजाई रे
तेरे बिना नींद ना आई रे
नींद ना आई रे
ओ नींद ना आई रे
बालम हरजाई रे
भूल गए बालम निभाने की रस्में
भूल गए बालम निभाने की रस्में
नींदिया ने खा लीं ना आने की कसमें
नींदिया ने खा लीं ना आने की कसमें
नैनों में रतियाँ
नैनों में रतियाँ गँवाई रे
तेरे बिना नींद ना आई रे
नींद ना आई रे
हो नींद ना आई रे
बालम हरजाई रे
बालम हरजाई रे
मुख से ना बोलूँ
प्यारे मुख से ना बोलूँ
प्यारे
रोये रोये जाऊँ मैं
दिल की कहानी
दिल की कहानी नजर से सुनाऊँ मैं
दिल की कहानी नजर से सुनाऊँ मैं
नैनों में
नैनों में घट घिर के आई रे
नैनों में घट घिर के आई रे
तेरे बिना नींद ना आई रे
नींद ना आई रे
हो नींद ना आई रे॰ ॰ ॰
बालम हरजाई रे
बालम हरजाई रे॰ ॰ ॰
Chhup chhup ke re chupke chupke
Posted on: April 14, 2019
This article is written by Mahesh Mamadapur, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3922 | Post No. : | 14987 |
Shamshad Begum, a name too familiar to music lovers of the golden era was born on this day 100 years ago (on 14 april 1919). Her voice, much distinct from all others had that metallic as well as melodious touch which brought her fame from all over the country.
April 14 did ring a bell, but I was not very much aware that it was her birth centenary this year. A comment from one of the regulars Partha Chanda ji on the anniversary pages was enough for me to get this post going.
As I have said earlier, the expectations of music lovers from this blog continues to grow. Music lovers are aware that probably nothing new may be written about such great artists, but they know that this is one of the few places on the internet, where legends are often celebrated and discussed. Apart from hearing these golden compositions and voices, reading about other people’s views and appreciations especially of our favourites has become an enthusiastic habit.
Since, I got to get this post really fast, I would only like to restrict my views on a composer collaboration of Shamshad Begum, which I have no hesitation in considering as the best. Shamshad Begum sang many songs for almost all the composers of her era. Her singing to a few of such composers made her songs ever more popular. So popular that to this day some of these songs are re-mixed and enjoyed by a different class of people. However, it’s my personal opinion that the very songs which made her more popular with these composers were responsible for her fading away from the playback scene. It’s because she sort of got trapped with these special group songs and the more serious songs meant for the lead actresses went to Lata. I would love to write more elaborately on this subject and my views on it some other time.
Avid music lovers can easily understand which composers I am referring to in the above para, but in this post I would like to talk about her playback for composer Naushad Ali.
I mean no discredit to other great composers like Anil Biswas, Ghulam Haider and Ghulam Mohammed etc. for whom Shamshad Begum sang some really good songs.
Naushad saab, created gold with every singer who sang for him and Shamshad Begum was no exception. Shahjehan, Dard, Anokhi Ada, Mela, Andaz, Chandni Raat, Dulari, Babul, Deedar, Jadoo, etc. stand tall in some of the best creations of Naushad’s career. And, Shamshad Begum was associated in a big way in the songs of all these films.
AK ji’s blog has very elaborate post on her songs with Naushad. Yours truly, in fact has the first comment on the post.
Talking about a few of these films, Shahjehan, the first film of the combo had very interesting numbers by Shamshad Begum. Dard was always a Suraiya, Munawar Sultana film, but Shamshad Begum carves a special place for herself with two great songs. Ye afsana nahi zaalim mere dil ki haqeeqat hai is my all time personal favourite.
Mela and Anokhi Ada will always remain special to me for the Mukesh connection. Just listen to Shamshad Begum singing …..ooooooo……. in Mohan ki muraliya baaje from Mela. I think the rendering cannot be appreciated with mere words. The effortless and elegant way with which the solo is sung makes me dumbstruck to this day.
I have fond memories of songs from Chandni Raat. During the good old cassette era, my parents and obviously I had not heard songs from this film quite too often. On a visit to Bombay, I had carried back this cassette. On playing at home, the songs from the film and especially the wonderful duets with Rafi saab became instant craze and are heard to this day.
Babul, Deedar etc, will also be remembered for the contrasting voices of Lata-Shamshad in duet songs and elegant composition by Naushad saab.
It would not be out of place or wrong to say that she was sort of side-casted in favour of Lata, but even in the latter films of Naushad whenever she rendered the odd songs or supported in duets, the class and elegance remained.
Writing about her last days in her singing career will yield nothing. The metallic and melodious voice with crystal clear diction will remain ringing in our ears for decades to come.
On her birth centenary, I pay my humble tributes to Shamshad Begum and would like to represent a song from Aadmi (1957)
Song-Chhup chhup ke re chupke chupke yaad aayi (Aadmi)(1957) Singer-Shamshad Begam, Lyrics-Sartaj Rahmani, MD-Ramnath
Chorus
Lyrics
Chhup chhup ke re chupke chupke
chhup chhup ke re chupke chupke
yaad aayi
chhup chhup ke re chupke chupke
yaad aayi
haay dil dhadka
aankh lajaai
aayi re
aayi re
aaaayi
yaad aayi
chhup chhup ke re chupke chupke
chhup chhup ke re chupke chupke
yaad aayi
aankhon mein pyaar liye
aaye sanwariya
aaye sanwariya ji
aaye sanwariya
loot ke chale gaye
man ki nagariya
man ki nagariya
ho man ki nagariya
kaisa ye dhokha khaaya
lut gayi raam duhaai
lut gayi raam duhaai
lut gayi raam duhaai
ho o o o
chhup chhup ke re chupke chupke
chhup ke re chupke chupke
yaad aayi
chhup chhup ke re chupke chupke
yaad aayi
marzi tumhaari piya
aao na aao
aao na aao ji
aao na aao
dil ko sambhaaloon kaise
ye to bataao
ye to bataao ji
ye to bataao
kaise wo aag bujhaaoon
tumne jo aag lagaayi
tumne jo aag lagaayi
tumne jo aag lagaayi
ho o o o
chhup chhup ke re chupke chupke
chhup chhup ke re chupke chupke
yaad aayi
chhup chhup ke re chupke chupke
yaad aayi
kaise kahoon sakhiyon se
dil pe tera raaz hai
dil pe tera raaz hai ji
dil pe tera raaz hai
jhuki jhuki ankhiyon mein
duniya ki laaj hai
duniya ki laaj hai ho
duniya ki laaj hai
bedardi tu na aaya
ho gayi preet paraayi
ho gayi preet paraayi
ho gayi preet paraayi
ho o o o
chhup chhup ke re chupke chupke
chhup chhup ke re chupke chupke
yaad aayi
chhup chhup ke re chupke chupke
yaad aayi
haay dil dhadka
aankh lajaai
aayi re
aayi re
aaayi
yaad aayi
chhup chhup ke re chupke chupke
chhup chhup ke re chupke chupke
yaad aayi
chhup chhup ke re chupke chupke
chhup chhup ke re chupke chupke
Baalam Pardesia Saajan Pardesia
Posted on: April 5, 2019
- In: Devnagri script lyrics by Sudhir | expression of love | Feelings of heart | Guest posts | Lyrics contributed by readers | Missing the loved ones | Post by Arunkumar Deshmukh | Rare song | sad song | Separation song | Shamshad Begam solo | Shamshad Begam songs | Songs of 1940s (1941 to 1950) | Songs of 1947 | Yearwise breakup of songs
- Leave a Comment
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3913 | Post No. : | 14973 |
Today’s song is from the film Dekho ji-47.
The film was made by Punjab Film Corporation and was produced and directed by its owner Wali Sahab. He also wrote the lyrics. The music was by Tufail Faruqi and his assistant Sabir Hussain ( 5 and 6 songs credited respectively).
This was one of the films of 1947, from which almost everyone- the cast, producer, director, lyricist, composers etc etc all migrated to Pakistan after Partition- some immediately and few after some time. This was of course not unusual. As the year 1947 began, news was circulating about the partition. Like many other industries, Film industry was also worried. There was an air of uncertainty. Who will stay and who will migrate was hotly debated in the privacy of homes, studios and clubs. People looked at each others with suspicion. Muslims were worried about their safety in India, in spite of the assurances by Gandhi and Nehru.
Crores of rupees were invested in films. After the second world war started in 1939, lot of Black money was generated and much of it came to Film industry. Investors, Financiers and producers were worried about half made films. Everybody seemed to be in a hurry to finish his assignment on hand. Due to this the quantity of films increased,sadly at the cost of quality. 1947 saw a record number of films made in 1947- 181 Hindi films, the highest ever since films were made. It took another 40 years to break this record in 1988, when 185 films were made.
Almost 75 to 80 % films of 1947 were obscure and forgotten within a short time. Films like Aisa Kyun, Atom Bomb, Barrister, Beete Din, Chalte chalte, Chandrahaas, Dehati, Daulat Ke Liye, Extra Girl, Farz, Gaurav, Gudiya, Heera, Janata, Jhalak, Khandaani, Lalat, Manmani, mere Bhagwan, Mohan, Nai Baat, Pehla Pyar, Paro, Riwaz, Shabari, Shahkaar, Tohfa, Toote Dil, Veerangana are some of the films made in 1947. How many of us even know about them ? Actually, some of these were films in which well known and major stars of the times had acted. For example, Mohan had Dev Anand as Hero, Lalat was the debut film of Usha Kiran (as Usha Marathe), Prem Adib and Vanmala had acted in Chandrahaas etc etc.
Not that ALL films were bad. Certainly some famous and excellent films providing some Milestones of Hindi cinema were also made in 1947, like Aapki Sewa Mein (First playback song of Lata M), Bela (all 10 songs by Zohrabai Ambalawali), Dard (Debut song of Umadevi), Elaan (a bold Muslim social film by Mehboob Khan), Jugnu (the only film of Dilip kumar and Noorjehan), Meera (all 18 songs by MS Subbulaxmi), Mirza Sahibaan (last film of Noorjehan in India), Neel Kamal ( debut of Raj kapoor and Madhubala as lead pair), Parwana (Last film of KL Saigal), Shadi Se Pehle ( first duet of Rafi and Lata) and Shehnai (epoch making music by C Ramchandra).
Nevertheless partition did have an impact on the Film industry, due to the migration of artistes from both countries. LAHORE an important city in the undivided Punjab in the pre-independence days was one of the major Film making Centres in India. Talented actors and musicians from all Punjab and Sindh area tried their luck in the Cine Industry at Lahore. Nevertheless, the biggest centre of film production was Bombay and it was every aspiring artiste’s dream to go to Bombay and shine there. The film activity at Lahore increased considerably in the early 40s in terms of film production and Music. Those days Lahore was called ” a supply source” for Bombay, as many actors and musicians shifted their base to Bombay from there.
In the communal frenzy, polarisation of artistes took place. Hindus shifted to Bombay and Muslims left for Lahore. But there were some reverse migrations also in this period. One example each is of Sahir Ludhiyanvi who migrated to India, and Deebo Bhattacharya from Calcutta migrated to Karachi and prospered in Pakistan as a successful music director.
Some of the families got divided, like Mehboob Khan opted to remain in India, but his brother MR Khan remained in Pakistan and worked as a well known producer. Juhi Chawla’s grandfather JC Anand and uncle Satish Anand stayed in Lahore. Consequently they became the pioneers of Pakistan Film Industry. After the divorce Rafi’s first wife also migrated to Pakistan with her children.
At the actual time of Partition some artists were in Lahore for film work. They were BR Chopra, Ramanand Sagar, IS Johar, Gulshan Rai, Omprakash, Jeevan, OP Nayyar, Rajinder Singh Bedi, Naqsh Lyallpuri, Surinder and Prakash Kaur and Pushpa Hans. They all left Lahore hurriedly and reached Bombay safely.
However this journey was not so safe for one actor – comedian Durga Prasad, known as Durga Mota. He was very fat. In the melee, he reached the Lahore station and somehow boarded the train to Bombay. Suddenly a group of mad rioters entered the Lahore station and started killing the travelers. Most people ran helter skelter, but due to his heavy body, Durga Mota could not run and was cut into pieces on the Lahore station platform itself !
Same way many artistes from Bombay left for Lahore and ALL of them reached safely.
With so many people migrating to Pakistan at a time and the condition of Pakistan Film Industry then, it is a moot question, whether all these migrants could get work there and shine ?
There were 2 types of people who migrated-
1. Those who had achieved their peaks already in India and
2. Those who had just started their careers.
Obviously the second group, at least some of them, could do well there eventually.
Some of the successful migrants there were – Noor jahan, Khursheed Anwar, GA Chisti, Nissar Bazmi, Firoz Nizami, Najam Naqvi, Nakshab Jarachavi, Sibtain Fazli, Wali Saheb, Manto, Rashid Atre, Sudhir, Santosh, Asha Posley, Shameem, Najma, Yasmeen, Ragini, Zahoor Shah, Shaikh Iqbal, Himalaywala, Nazar, Rafiq Gaznavi, Tanvir Naqvi, Iqbal Bano etc.
Some of the unfortunate ones were – Meena Shorey, Ratan Kumar, M Sadiq, Charlie, Ghori, Kumar, Sheikh Mukhtar, Najmul Hussain, Neena, Kalavati, Maya Devi, Ghulam Hyder, Nashaad, Premlata etc.
Almost all the artists who shifted to Bombay prior to Partition did very well here.
There was a second wave of Migration in the 50s, during which many artistes like Veera, Rattan Kumar, Rehana, Mumtaz Shanti, Meena Shorey, Wali Sahib, K Anwar etc migrated to Pakistan.
Partition did some damage to India, but as there was a second line waiting to take over, the impact was negligible. However, Pakistan had to build a new film industry with the help of the migrant artistes in almost all departments of film making. Once this generation ended their career,unfortunately there was not much of a second line to take over in Pakistan.
Like many top class composers who migrated to Pakistan, there were some small time or recently started composers who also left, like Inaayat Hussain (only 1 Punjabi film Kamli), Fateh Ali Khan (2 films- Aaina-44 and Director-47), Tufail Farooqi (2 films-Sona Chandi-46 and Dekho Ji-47). Inayat Hussain of course became a Legend in Pakistan.
Today we will talk about TUFAIL FAROOQI.
Tufail was born in Taran Taaran, Amritsar, Punjab, in 1918. After taking musical lessons from Ustad Abdul Waheed Khan for several years, he joined All India Radio, Lahore. He also worked with many composers. Finally, he got his first film, ‘Sona Chaandi‘-46. Out of 12 songs of the film, he composed 10 songs and 2 were composed by DC Dutt. In this film Tufail gave opportunity to a young but promising new comer, who was struggling to get established as a playback singer – Mohammed Rafi. Rafi got 4 songs in this film and he was overjoyed at this break.
Later Tufail gave music to his second film- ‘Dekho Ji’-47. Here too he composed 6 songs and the other 6 were composed by composer Sabir Hussain. Actually, Sabir Hussain was his assistant and just to encourage him, Tufail credited these songs to him.
After partition, Tufail migrated to Pakistan, along with family and Sabir Hussain in tow, but had to struggle hard there too. His first film was ‘Barkha’ in 1953. Tufail gave music to 37 films, mostly Punjabi films and less Urdu. His film, ‘Bahadur Kissan’ -1970 had a song- ”Mera sona des kissan da”, sung by singer Masood Rana. This tune was a blatant direct copy of the song ”Ye desh hai veer jawanon ka” from ‘Naya Daur’-57. The Pakistani song became a tremendous hit, not only with the Punjab farmers but also was played on Radio and TV often.
Tufail Farooqi’s sister was Master Ghulam Haider’s first wife (Umrao Zia Begum was his second wife), from whom he got a son-Saleem Haider. Later Saleem joined Pakistan Army and rose upto the rank of Lt. General. He retired in 2000.
Tufail worked till early 80s. He had married the famous Pak singer Pappu Pukhraj in 1953. He passed away in Lahore on 25-3-1988.
Film ‘Dekho Ji’s cast was Mumtaz Shanti, Anjum, A Shah, Khatoon, Haroon, Afzal, Dilshad, Mintobai, Gulnar etc. Anjum was the hero in this film. From his photos in Film India issues of 1946, he looked to be a very handsome young man. He was also seen in 2 more films-‘Bichhade Balam’ and ‘Rehnuma’, both of 1948. After this, I guess, he migrated to Pakistan like many other artistes, because now his name appears in many films made in Pakistan, during the period 50s to the 80s. Some of his films made there are, ‘Waada’-57, ‘Nai Ladki’-58, ‘Beqasoor’-69, ‘Shami’-89 etc.
Another actor in the cast, who was quite a popular comedian those days was A Shah aka Aziz Shah. He was born in 1910, at Sialkot. He did not have much schooling, except primary education at Lyallpore and at Islamia High School, Lahore. Due to his rich and sweet voice, he used to recite Holy Quran, on farmaish. He wrote poetry also.
He joined Saroj Movietone in 1930, under Mohan Bhavnani as an artiste at Rs.40 p.m. He acted in ‘Shakuntala’-31 and ‘Gul Bakavli’-32. He had to take a 2 year break, due to an illness. Back in Bombay, he worked in film ‘Fidai Tohid’-34 as a hero. He gave music to film ‘Gunehgar’-36. He wrote dialogues for ‘Mother India’-38 and ‘Daughters of India’-39. His first comic role was in Ranjit’s ‘Mirza Sahiban’-35. He became famous with his role in Punjabi film ‘Kurmai’-41.
His best role came in ‘Sharada’-42, as Munshi Udharchand Shikarpuri. This was repeated by him in film ‘Keemat’-46. Some of his 11 films were, ‘Dhandora’-41, ‘Armaan’-42, ‘Sukh Dukh’-42, ‘Kanoon’-43, ‘Sanjog’-43, ‘Geet’-44 and ‘Ek Din Ka Sultan’-45. After 1947, he stopped acting and wrote lyrics in films like ‘Raat Ki Rani’-49, ‘Namoona’-49 and ‘Ek Teri Nishani’-49. After this he possibly migrated to Pakistan and we have no further information about him anymore. Baburao Patel of Film India magazine was his fan.
I have no idea whatsoever about the story line of this film. From the various photographs and comments in Film India 1946 issues, the film seemed to be interesting and entertaining with dance, drama and songs. It seems the film was completed in record time, but it was not released in 1947 for sure. Actually, most of the 1947 censored movies got released in 1948, due to the disturbed political atmosphere in the country in 1947.
Here is a very melodious song from this film, sung by Shamshad Begum.
Song-Baalam Pardesia Saajan Pardesia (Dekho Jee)(1947) Singer- Shamshad Begum, Lyrics- Wali sahab, MD-Tufail Farooqui
Lyrics
baalam pardesia
saajan pardesia
kaali ghataayen ghir ghir aayin
ghir aayin
duhaayi re
duhaayi re
baalam pardesia
saajan pardesia
jhool rahi jhoola
saajan sang sajni ee
jhool rahi jhoola
saajan sang sajni
aur main akeli
jaloon bin agni
aur main akeli
jaloon bin agni
haaye raam
kaun sautan man bhaayi re
duhaayi re
duhaayi re
baalam pardesia
saajan pardesia
chhod gaye jab se
baalam harjaai re
chhod gaye jab se
baalam harjaai re
nainon mein tab se hi
nindiya na aayi re
nainon mein tab se hi
nindiya na aayi re
ansuwan se ho gayi
sagaai re
duhaayi re
duhaayi re
baalam pardesia
saajan pardesia
poochh rahi tum se
kadamb ki chhaiyyaan
poochh rahi tum se
kadamb ki chhaiyyaan
akeli ko chhod ke
kahaan gaye sainyya
akeli ko chhod ke
kahaan gaye sainyya
teri khabariya na aayi re
duhaayi re
duhaayi re
baalam pardesia
saajan pardesia aa aa
———————————————————-
Hindi script lyrics (Provided by Sudhir)
———————————————————-
बालम परदेसिया
साजन परदेसिया
काली घटाएँ घिर घिर आईं
घिर आईं
दुहाई रे
दुहाई रे
बालम परदेसिया
साजन परदेसिया
झूल रही झूला
साजन संग सजनी
झूल रही झूला
साजन संग सजनी
और मैं अकेली
जलूँ बिन अग्नि
और मैं अकेली
जलूँ बिन अग्नि
हाए राम
कौन सौतन मन भाई रे
दुहाई रे
दुहाई रे
बालम परदेसिया
साजन परदेसिया
छोड़ गए जब से
बालम हरजाई रे
छोड़ गए जब से
बालम हरजाई रे
नैनों में तब से ही
नींदिया ना आई रे
नैनों में तब से ही
नींदिया ना आई रे
अंसुवन से हो गई सगाई रे
दुहाई रे
दुहाई रे
बालम परदेसिया
साजन परदेसिया
पूछ रहीं तुमसे
कदम्ब की छईंयां
पूछ रहीं तुमसे
कदम्ब की छईंयां
अकेली को छोड़ के
कहाँ गए सैंयां
अकेली को छोड़ के
कहाँ गए सैंयां
तेरी खबरिया ना आई रे
दुहाई रे
दुहाई रे
बालम परदेसिया
साजन परदेसिया
M m m m m main teri hoon
Posted on: January 4, 2019
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3822 | Post No. : | 14821 |
Today’s song is from film Wafa-50. The film was made by Good luck Pictures and directed by the veteran expert J.P. Advani. For this film, there were two Music Directors- Vinod and Bulo C Rani. For 11 songs, there were 4 Lyricists. Today’s song is written by Aziz Kashmiri, sung by Shamshad Begum and composed by Vinod. The cast of the film was Karan Dewan, Nimmi, Bipin Gupta, Shyama, Bimla, Anwari, Gope, Yaqub, Cuckoo etc etc. One of the most often seen in films of the 50s but least written about artiste was Bipin Gupta.
Bipin Gupta was born in a Bengali family on 27th August 1905 in Meerut, the 5th child of his parents- Trailokya Nath Gupta and Khemankari Devi.They later moved to Barrackpore. He attended the Chinsura Training School and the Barrackpore Government High School. He was married to Annapurna Devi.
Gupta’s first Bengali film was Chokher Bali directed by Sotu Sen in 1938. Throughout his career he had worked on almost 300 films ( Bangla and Hindi), though only played the hero once, in the film Noori-1934. It was produced by Durga International Films, Calcutta. His Heroine was Sheela Devi. It was a flop movie.
He started working in Radio in 1934 and by 1936 he became a professional stage artist. He stayed for 30 years in Bombay to establish himself in Bollywood. His first film Shri Ramanuj came in 1943 at Calcutta. His last film was in 1979 at Bombay.
In 1964 he produced the film Daal Me Kala, directed by Satyen Bose and starring Nimmi, Kishore Kumar and Abhi Bhattacharya.The film took almost 4 years to make. Bipin Gupta worked in 128 Hindi films. He did 60 films in a period of 10 years-between 1950 and 1960, which is a very high average of one film every 2 months for 10 years !
He generally did the roles of Zamindar, teacher, father, Grandfather etc. All character roles. His voice was very good. Once, in Madras,while shooting for film “Teen Bahuraniya” at Gemini Studios, Prithviraj Kapoor lost his voice, for some time. Bipin Gupta dubbed all his film dialogues.
He died on 8th September 1981 in Calcutta. His son married Kajri- the daughter of Sailesh Mukherjee, actor,singer and composer. She too was an actress.
In Hindi films, for the first 10-15 years of the Talkie era, there were no separate dancers. The Heroines were expected to sing as well as dance, if need be. Somehow, dance was not an essential part of cinema ( except Mythological to some extent), till Azuri and Cuckoo came on the Horizon. It was almost from the mid 40s, the dancers became prominent and dance sequence became a Must in all films.Even in social films, the dance situations were created to include a dance. In crime stories, a Moll was usually a dancer. Azuri was perhaps the lone exclusive female dancer in films of the late 30s. By mid 40s, came Cuckoo and by mid 50s, it was Helen all the way for the next 20 years or so.
Cuckoo Moray, (4th February 1928 – 30th September 1981) was an Anglo-Indian dancer and actress. Cuckoo was the queen of film dancing in Hindi cinema of the 1940s and 1950s. Though unfamiliar in name, she was known as the “rubber girl” of Hindi cinema and her talent made cabaret dancing a must in the Bollywood films during the 1940s and 1950s. She could acrobatically bend her body at great length.
Cuckoo started appearing in films from mid forties. She was seen as a background dancer in film Meghdoot-45. Cuckoo made her screen debut in the film Arab Ka Sitara in 1946. Soon after, in Sona Chandi-46, directors and greater audiences noticed her dancing abilities for the first time. One of her dances in film Parwana-47 with suggestive lyrics to the song was considered vulgar enough to get banned from the film. Then, the turning point in Cuckoo’s career was in Mehboob Khan’s films. Her dance number in his film Anokhi Ada (1948) established her as the lead dancer of the era and in Andaz(1949), a romantic drama starring Nargis, Dilip Kumar, and Raj Kapoor, gave the dancer an opportunity to display her acting skills. In Mehboob Khan’s 1952 technicolor film Aan, which was her first colour film, she had a brief cameo in a dance sequence. She only appeared in 2 colour films in her career- Aan & Mayurpankh. She would charge Rs 6,000 for a dance number, an enviable fee in the 50s.
Usually she is credited with bringing into films 2 Anglo Indian brothers Tony (Krishna kumar) and Robert (Surya kumar). However, Azuri later claimed that it was she who brought them into films from an orphanage and trained them. Dancers first, both became Choreographers of repute later.
Cuckoo remained the best dancer in Hindi films until dancers such as Helen and Vyjayanthimala came into the industry. Cuckoo was a family friend of the Anglo-Burmese dancer and actress Helen. She was also known for helping unknown actors get their break in Bollywood, such as Pran in Ziddi. Cuckoo had introduced a 13-year-old Helen into films as a chorus dancer in films such as Shabistan and Awaara (both 1951). Cuckoo and Helen most notably appeared in song and dance sequences together, such as in Chalti Ka Naam Gaadi(1958) and Yahudi (1958). Her last film appearance was in Mujhe Jeene Do in 1963 after which, she had disappeared from the film industry. She was a Heroine in film Sona Chandi-46, under the name Kishori, but due to her faulty Hindi and pronunciation, she could not continue as a Heroine. She appeared in 155 films and and 67 songs were shot on her.
Cuckoo, the legendary cabaret queen of the Bollywood was one of those film stars who lived ostentatiously, spent extravagantly and died broke and penniless. Her three cars (one for her use, one for taking her dogs for a drive, and the other often used to summon protégée Helen to play with her sister), her flats and whatever jewellery she had, were all taken away because the dancer had evaded income tax. She would charge Rs 6,000 for a dance number, an enviable fee in the ’50s. Cuckoo died of cancer at the age of 52; during her last days she could barely afford to buy painkillers. “She never thought of security, of tomorrow,” Helen recalls. “But what a tremendous lady she was! There wasn’t even a tear in her eye, even when the roles stopped, when the money disappeared. Instead she’d joke about her plight. Some actors did help but it was too late, much too late.”
Cuckoo died on 30 September 1981 due to cancer at the age of 53. She was forgotten and unattended by the film industry at the time of her death. (adapted from wiki,MuVyz, book ‘Edwina’ and cineplot).
I started seeing films since my early childhood in the late 40s. I was lucky enough to see many films of the 30’s too, in their second or third runs. By the early 50s, most films from the 30s were gone but almost all films of the 40s were still available.
English, Hindi, Marathi, Telugu or Kannada- language was no bar as far as watching movies of these languages was concerned . Those were the days when 78 RPM records used to be played by Hotels on gramophone. This helped me to hear the latest songs. In the 1960s Posh hotels had Juke Box. Soon it became common and Juke Boxes were seen everywhere. You needed just a coin of 4 Annas to listen to your desired song on it. Usually 4 songs in a row were lined up and they could all be listed to by putting 4 coins in it.
I liked Shamshad Begum songs from the beginning. Uneducated but immensely talented Shamshad was the reigning queen of the HFM in the 40s and till about ’55. Her seniors and co-singers bowed out, but she continued-first with C. Ramchandra, then with Naushad and later with O P Nayyar. Her Luck began to run out in 1950s and all the composers who previously supported her left her and started using the rising singing stars. From 1949 onwards, C Ramchandra was totally devoted to Lata, Naushad too had realised that the new crop of Heroines wanted only Lata and so he quietly went for her and O P Nayyar-when he found a soulmate in Asha, he simply forgot Shamshad and Geeta. So much for the “professional” composers !
In my opinion, two things went against Shamshad. One, in the early phase of Hindi cinema, the story lines of the films used to be very strong. Consequently, songs were inserted considering the need of the plot and to enhance the value of music in the film. As a result, songs were given to side Hero/heroines, special dancers or character roles. Naturally Shamshad sang for artistes other than the Heroines. The singing Heroines sang their own songs. If an analysis is done, it will be seen that till about early 50s, 70% songs in a film were sung by artistes other than the Lead pairs.
It was only after the new crop of Hero/Heroines came and when they realised ( particularly Dev Anand, for example) that songs can help them become popular, they started demanding more songs on them in the films. Slowly,the ratio reversed and after 1955-56, 80% of songs were picturised on the Lead pairs and the rest-if any-on others. Thus singers like Shamshad, who sang for all and sundry found her singing opportunities dwindling. In those days, Lata, very cleverly, chose to sing only for the Heroines and according to her, for all ‘others ‘ there were Asha, Geeta and Shamshad. This badly affected Shamshad’s career.
Secondly, when Lata came on the scene, the older generation female singers like Ameerbai, Zohrabai etc were already on the wane. Only Geeta and Shamshad were left. Geeta got all songs of Guru Dutt films. Additionally,the Bengali lobby of Burman, Hemant, Salil and A Biswas was in her support. Shamshad had no one to back her up. It was Naushad, who first indicated that he had tilted towards Lata, when Lata sang all songs of Andaz-49 for the heroines and Shamshad sang only for Cuckoo. Next was C Ramchandra, when he fired Shamshad in front of the orchestra players when she could not sing to his satisfaction. She was so much hurt that she closed her song book and walked out. Normally, C Ramchandra would have apologised soon after, but this time nothing like this happened and Shamshad understood that everything was finished. ( Shamshad, however,in a later day interview denied that anything like this had happened). In case of O P Nayyar, in one of the interviews he gave in 2003 to Dr. Mandar, he admitted that “his lead singer” in those days prevented “others” from singing for him.
Shamshad being too gentle and straightforward gave up the fight too meekly, in my opinion. Even her last attempt to remain in Limelight with a ‘Shamshad Stage Show’, did not bear any fruits as she did not do any follow up after that, due to her self respect.
In my opinion, Shamshad could have continued for another 8 to 10 years easily if only she had fought it out, but it was not to be and a vibrant, youthful, solid voice disappeared from the musical scene. I feel that it was not she but millions of music lovers who were the losers because of her ouster from the music scene.
Today’s Shamshad song is one of my most favourite songs. I was actually pleasantly surprised to note that this song was yet to be discussed here. Out of the 100 odd select Shamshad songs in my collection, this song is within the first top 10 songs in my Play list.Great composer Vinod and great singer Shamshad- this sangam providing such a Gem is no wonder. I am sure, you too will fall in love with this song the moment you listen to it. Enjoy….
Song-M m m m m main teri hoon (Wafa)(1950) Singer-Shamshad Begam, Lyrics-Aziz Kashmiri, MD-Vinod
Lyrics
m m m m m m m main teri hoon
m m m main teri hoon
teri hoon o raaja
m m m m m
m m m m m m m main teri hoon
teri hoon ho raaja
m m m m m main teri hoon
kaali kaali ghat khule nainon ke pat
hatt
kaali kaali ghat
khule nainon ke pat
haathon mein haath hua tera mera saath
haathon mein haath hua tera mera saath
m m m m m main teri hoon
teri hoon ho raaja
m m m m m main teri hoon
chori chori aa
mere man mein sama
o raaja
chori chori aa
mere man mein sama
tera mera pyaar hua raaja pahli baar
tera mera pyaar hua raaja pahli baar
m m m m m main teri hoon
teri hoon ho raaja
m m m m m main teri hoon
papeeha bole pee
raaja dhadke mera jee
o papeeha bole pee
raaja dhadke mera jee
ambuwa ki daali pe koyal bole yoon
ambuwa ki daali pe koyal bole yoon
kya
m m m m m main teri hoon
m m m m m main teri hoon
teri hoon ho raaja
m m m m m main teri hoon
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