Archive for the ‘Shamshad Begam solo’ Category
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4708 | Post No. : | 16413 |
In the initial years of sound films, some of the story, screen-play, dialogue and song writers came with literary background who had been well-known in the literary circle due to their published works. Gaurishankar Lal ‘Akhtar’, ‘Narayan Prasad ‘Betab’, Munshi Premchand, Amritlal Nagar, Dr. Safdar Aah Sitapuri, Krishan Chander, Dewan Sharar, Pandit Mukhram Sharma, Pandit Anand Kumar were some of such writers who started their association with Hindi films in the 1930s and 40s. Vrajendra Gaur, writer, poet and journalist was one among them.
Vrajendra Gaur had a long inning of 35 years in Hindi film industry as a screen-play/dialogue writer and the lyricist, aggregating around 70 films. A good number of photos I have browsed through on the google images, gives me an impression that Vrajnedra Gaur had friendly relationship with almost all the stalwarts of Hindi film industry during 1950-1980. In Bollywood, to have a successful career, one requires building up friendly relationship with those who matters in the film industry apart from the talent. It appears that this combination was a success formula for Vrajendra Gaur in his filmy career.
Etawah-born and Lucknow-settled Vrajendra Gaur (01/04/1924 – 07/08/1980) had already published his novels like ‘Sindoor Ki Laaj’, ‘Aadhi Raat Ka Sooraj’ ‘Jaagte Raho’ and ‘Manzil’. His other novels, ‘Kalkatte Ka Qatl-E-Aam’ and ‘Parole Par’ were banned by the British government for creating anti-British sentiment. He joined Hindi film industry in 1945 not on his own volition but on an invitation from Motilal after he heard his radio play, ‘Dhai Lakh’ on All India Radio. Motilal was so impressed with his presentation on AIR that he entrusted Vrajendra Gaur to write screen-play and dialogue for Motilal-Shanta Apte film, ‘Saawan’ (1945).
After writing lyrics for the films like ‘Ratnavali’ (1945), ‘Panihaari’ (1946), ‘Mangalsutra’ (1947), ‘Gunjan’ (1948), Vrajendra Gaur was disillusioned by the way the Hindi film industry works. He went back to Lucknow and worked in different capacity including editing some Hindi periodicals.
It was in 1950 when Bombay Talkies invited him to write dialogues for their film ‘Sangram’ (1950) with Ashok Kumar and Nalini Jaywant in the lead role. The box office success of this film not only helped Bombay Talkies financially, it also gave a lease of life for the filmy career of Vrajendra Gaur who also wrote songs for the film. ‘Parineeta’ (1953) was his next major box office success film as a dialogue writer in which Ashok Kumar was the producer-actor.
Vrajendra Gaur‘ first and the only film which he directed was ‘Kasturi’ (1954) for which he also wrote dialogues and songs. In an article published in silhouette magazine, it was mentioned that during the making of ‘Kasturi’ (1954), Vrajendra Gaur was to direct ‘Bahu’ (1955). However, his contractual obligations as a director for ‘Kasturi’ (1954) under which he could not take up direction in any other film until ‘Kasturi’ 1954) was released, came in his way. So, Shakti Samanta got the opportunity to direct his debut film ‘Bahu’ (1955) as director. Vrajendra Gaur did get to write the dialogues for the film. This opened up Vrajendra Gaur’s long association with Shakti Samanta in many films as dialogue writers such as ‘Howrah Bridge (1958), Insaan Jaag Utha’ (1959) ‘Singapore’ (1960), ‘Jalli Note’ (1960), ‘China Town (1962), ‘Saawan Ki Ghata’ (1966), ‘Kati Patang’ (1970), Jaane Anjaane’ (1971), ‘Anuraag’ (1972), ‘Charitreheen’(1974), ‘The Great Gambler’ (1979) etc.
It would also appear that Vrajendra Gaur had a close rapport with Dev Anand if one goes by the number of films, he wrote story/screenplay/dialogues in which Dev Anand was the lead actor. ), ‘Baarish’ (1957), ‘Jalli Notes’ (1960), ‘Manzil’ (1960), ‘Sarhad’ (1960), ‘ Baat Ek Raat Ki’ (1962 ‘Teen Devian’ (1965), ‘Pyaar Mohabbat’ (1966), ‘Duniya’ (1968), ‘Mahal’ (1970), ‘Warrant’ (1975) were some of the films he was associated with Dev Anand. From a photograph I saw on the net of the Udaipur location shooting, it appears that Vrajendra Gaur was initially associated with ‘Guide’ (1965). Chetan Anand, who was to direct the film, had to leave the assignment when he got approval for his film ‘Haqeeqat’ (1964). Probably, when Vijay Anand took over as a director, he started with a clean slate by writing afresh, the screen-play and dialogues for ‘Guide’ (1965).
Other successful films for which Vrajendra Gaur wrote dialogues were ‘Saraswatichandra’ (1968), ‘Sharmeelee’ (1971), Geet Gaata Chal’ (1975), ‘Dulhan Wahi Jo Piya Man Bhaaye’ (1977), ‘Akhiyon Ke Jharokhon Se’ (1978) etc.
[Note: Some of the information about early life of Vrajendra Gaur mentioned in the article are gathered from the Facebook page, ‘Vrajendra Gaur’.]
Vrajendra Gaur’s stature as a dialogue writer has been so impressive that his contribution as a lyricist seems to have remained in the sideline. He had to write songs during the early phase of his career as at that time his assignments as a dialogue writer were few. After going through some of the songs among 60 odd songs he wrote for a dozen films, mainly during 1945-55, I feel that his literary bend of mind is reflected in some of the songs. A few examples:
| Song | Movie (Year) |
|---|---|
| nain baan se karke ghaayal | ‘Ratnavali’ (1945) |
| kiska saath nibhaaun | ‘Gunjan’ (1948) |
| wo unka muskuraanaa sharmaanaa chaley jaana | ‘Sangram’ (1950) |
| kabhi inko chaahen kabhi unko | ‘Zalzala’ (1952) |
| wo meri taraf yoon chale aa rahe hain | ‘Kaafila’ (1952) |
| main to haar gayi mann | ‘Kasturi’ (1954) |
Incidentally, lyricist Yogesh is the first cousin of Vrajendra Gaur.
To highlight Vrajendra Gaur also as a lyricist, I am presenting the only song he wrote for the film ‘Muqaddar’ (1950) out of 9 songs. The song is ‘tum mere paas raho mujhse kuchh baat kaho’ which is rendered by Shamshad Begum. During the making of the film, Khemchand Prakash, the music director for the film died. The songs were completed by his music assistant, Bhola Shreshta. The song is, therefore, accredited to Khemchand Prakash/Bhola Shreshta as the music directors.
A highlight of this song is that each antara of the song has been set in slightly different tune and pitch.
Audio Clip:
Song-Tum mere paas raho mujhse kuchh baat kaho (Muqaddar)(1950) Singer-Shamshad Begam, Lyrics-Vrajendra Gaur, MD-Khemchand Prakash
Lyrics
meri duniya mein bahaaren hain
chaman aabaad hai
roothh jaaoge jo tum
to zindagi barbaad hai
tum mere paas raho
mujhse kuchh baat kaho
tum mere paas raho
mujhse kuchh baat kaho
ho ho ho…o
o o o o
maine tumko jo kabhi pyaar kiya dil se kiya
maine tumko jo kabhi pyaar kiya dil se kiya
tumne badle mein mujhe dard diya dil na diya
meri ulfat mein sitam dhha ke mujhe loot liya
loot liya aa
tum mere paas raho
mujhse kuchh baat kaho
ho ho ho…o
o o o o
bewafa bhool na jaana meri aahon ko kabhi
bewafa bhool na jaana meri aahon ko kabhi
mere liye tum jo nahin haay to phir to kuchh bhi nahi
mere liye tum jo nahin haay to phir to kuchh bhi nahi
mere sapnon ko sawera dikha ke loot liya
loot liya aa
tum mere paas raho
mujhse kuchh baat kaho
ho ho ho…o
o o o o
tumne samjha hi nahin meri mohabbat ko kabhi
tumne samjha hi nahin meri mohabbat ko kabhi
agar jo hukm ho to jaan bhi de doon abhi
agar jo hukm ho to jaan bhi de doon abhi
mujhe ulfat ka tamaasha bana ke loot liya
loot liya aa
tum mere paas raho
mujhse kuchh baat kaho
ho ho ho…o
o o o o o
ho ho ho…o
o o o o o
o o o
Dar dar ki thokaren hain
Posted on: June 3, 2021
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 : |
4703 | Post No. : | 16407 |
“Ghar Ki Izzat”(1948) was produced and directed by Ram Daryani for Murli Movietone Bombay. The movie had Mumtaz Shanti, Dilip Kumar, Manorama, Jeevan, Dixit, Suleman, Gulab, Gope etc in it. The movie had 12 songs in it. Eight songs have been covered in the past.
Here is the ninth song from “Ghar Ki Izzat”(1948) to appear in the blog. The song is sung by Shamshad Begam. I C Kapur is the lyricist. Music is composed by Pt Govindram.
The song is picturised on Mumtaz Shanti. Lyrics of the song were sent to me by Prakashchandra.
Song-Dar dar ki thokaren hain (Ghar Ki Izzat)(1948) Singer-Shamshad Begam, Lyrics-I C Kapur, MD-Pt Govindram
Lyrics(Provided by Prakashchandra)
dar dar ki ee thokarein hain
dar dar ki ee thokarein hain
dushman meraa jahaan hai ae
dar dar ki ee thokarein hain
dushman meraa jahaan hai ae
phootaa naseeb lekar
jaanaa mujhe kahaan hai ae
phootaa naseeb lekar
jaanaa mujhe kahaan hai ae ae
dar dar ki thokrein hain
bhatkaa huaa hai raahee
hain paaon dagmagaatey ae ae
bhatkaa huaa hai raahee
hain paaon dagmagaatey ae ae
manzil kaa kya thhikaanaa aan aa
rastaa hai na nishaan hai ae ae
manzil kaa kya thhikaanaa aan aa aa
rastaa hai na nishaan hai ae
dar dar ki ee thokarein hain
dushman mera jahaan hai ae
dar dar ki ee thokrein hain
shikwaa kisi se kyaa ho
jab apne huye paraaye
shikwaa kisi se kyaa ho o
jab apne huye ae paraaye aey
na zindagi hai saathi
naa maut meharbaan hai
na zindagi hai saathi ee
na maut meharbaan hai ae
dar dar ki thokarein hain
dushman meraa jahaan hai ae
dar dar ki thokarein hain
- In: Bird songs | Devnagri script lyrics by Sudhir | expression of love | Feelings of heart | Guest posts | Happy song | joie de vivre | Love song | Lyrics by Prakashchandra | Lyrics contributed by readers | Papeeha songs | Post by Sudhir | Shamshad Begam solo | Shamshad Begam songs | Simply joy | Songs of 1940s (1941 to 1950) | Yearwise breakup of songs
- 4 Comments
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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: |
4700 | Post No. : | 16400 |
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This Week, That Year – 7
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30May – 05Jun, 2011
Celebrations today – the first item of order. Yes, the two numbers above are telling a telling tale (pardon the pun please). I have been on board now, well, it seems all my life now. Yes, so many years ago. And as we continue this relentless beat forward, I continue to keep marveling – at the fact that the blog seems to have gotten a life of its own and the bandwagon continues to chug along merrily.
It is stated often – the destination is not of any import. It is the journey that has to be enjoyed. And as this blog keeps growing from height to height and going from strength to strength, these minor milestones and even the major milestones have really become a matter of routine. Ok yes – another century, well, this number of days, well, this average of songs per day, well. . . As I said, just a matter of routine that these stations come and go past quickly.
Ah but the journey – that is where the real joy is emerging. Yes, we had those days when 5,000th and 10,000th songs were such a big deal and Atulites of all shades were pinned to the emails and whatsapp chats as if the World Cup finals were on and both Gavaskar and Tendulkar were on crease, going full blast. I am sure the regulars have those days cemented into memory. The heady heights that we used to cheer and celebrate about.
I do not mean to say that we do not or will not continue to celebrate the milestones. But the drummer’s beat has changed somewhat. The magic of the daily routine is just unbelievable. There is such a serene comfort in the incessant regularity. A trust, a confidence, just like the Sun rising every day (well, some rare days may have clouds also). But then the Sun is there, and will appear in all its glory tomorrow morning again.
I know that most bandwagoneers will agree with me – the blog has become a foundational regularity in life, and whether or not I will open the browser early morning, I know that a new post will be there.
A new post, a new song – another gem to ruminate on today, from the ocean that is the Hindi film song. With the incessant dipping into this ocean every day, and the incessant pulling up of pearls and gems of the first water – one starts to believe. Starts to believe that there is a blessing that has descended on this concept, and the upon the fortunate ones who are connected with it, making our own, and many other lives meaningful.
The heart brims over, the mind stalls, the words slow down – enough been said, and yet, more than that enough still remains to be said. I had come across a quote from Rumi couple of days back – “The closer I get, the more I see how far I am”.
And the bandwagon chugs along. . .
4,700 days, 16,400 posts. And you must consider, the number of songs contained therein are much more – on account of multi part and multi version songs. By my tally of data that we are maintaining, the song count stands today, with this post – 17,010.
And there is still an ocean awaiting us. . .
Ok so, the week that was 30th May to 5th June in 2011 – the summer of 2011. Goodness, one of the slowest weeks I have written about in this series so far. Three dot days, four active days, and a total of 13 posts published. Atul ji, where were you located in the summer of 2011?
Let’s do the numbers first. A total of 13 posts and 12 films are showcased. One film ‘Mirza Ghalib’ (1954) comes in with two posts.
We had 4 debut films this week. No films got yippeee’d during the week. Of the 12 films that got featured, 7 films have since been yippeee’d. If we factor in the possibly untraceable songs, then we have two more films being Yippeee’d conditionally. Hmm, that is a very good %. Only three films out of the 12 posted, are still showing the pending status.
Looking at the distribution by decades, we have the following data,
1930s 1
1940s 5
1950s 6
1970s 1
Majority focus is on the Godlen Era.
No milestones got breached this week.
Here is the week’s data in table form.
| Blog Ten Year Challenge (2011-2021) Series | |||||||||
| Sl.No. | Movie Name | Year | HFGK NoS | ASAD NoS | Possible UT | Deb/Yip | Milestone | Film Status | Pending |
| 30-May-11 | |||||||||
| [No Posts] | |||||||||
| 31-May-11 | |||||||||
| 1 | Tansen | 1943 | 13 | 13 | Yippeee’d | ||||
| 2 | Meena Baazaar | 1950 | 12 | 12 | Yippeee’d | ||||
| 3 | Do Phool | 1958 | 9 | 9 | Yippeee’d | ||||
| 1-Jun-11 | |||||||||
| 1 | Bhakt Soordas | 1942 | 15 | 14 | 1 | Yc | 1 UT | ||
| 2 | Bholi | 1949 | 10 | 3 | D | Pending | 7 | ||
| 3 | Hyderabad Ki Naazneen | 1952 | 6 | 7 | Yippeee’d | ||||
| 2-Jun-11 | |||||||||
| 1 | Zameen Ke Taare | 1960 | 8 | 3 | D | Pending | 5 | ||
| 2 | Mirza Ghalib | 1954 | 11 | 12 | Yippeee’d | ||||
| 3 | Chor Baazaar | 1954 | 6 | 6 | Yippeee’d | ||||
| 4 | Aakhri Sajdaa | 1977 | 5 | 5 | Yippeee’d | ||||
| 3-Jun-11 | |||||||||
| 1 | Pooran Bhagat | 1933 | 20 | 6 | D | Pending | 14 | ||
| 2 | Mirza Ghalib | 1954 | 11 | 12 | Yippeee’d | ||||
| 3 | Bhanwraa | 1944 | 11 | 10 | 1 | D | Yc | 1 UT | |
| 4-Jun-11 | |||||||||
| [No Posts] | |||||||||
| 5-Jun-11 | |||||||||
| [No Posts] | |||||||||
After a no show on 30th May, the next day (31st May) has three films that featured on the blog – ‘Tansen’ (1943), ‘Meena Bazaar’ (1950) and ‘Do Phool’ of 1958. All three films have been Yippeee’d. And that actually posed a problem for me.
On 1st June, again three posts and three films – ‘Bhakt Soordas’ (1942), ‘Bholi’ (1949) and ‘Hyderabad Ki Naazneen’ (1952). ‘Bhakt Soordas’ is now already at the conditional Yippeee status. One song of this film, “Manuva Krishan Naam Rate Jaa.” is not traceable. No record was cut, and since the film is not available as yet, no way to say whether and how this song was presented in the film.
‘Hyderabad Ki Naazneen’ is Yippeee’d. And then ‘Bholi’ from 1949 still has many songs to go.
The problem that I mentioned in the 2nd previous paragraph, is that I do not have an available film from 31st May, to select a song for the post. And so I had to resort to pick a song from 1st June, and that to from, film ‘Bholi’, the only film from that date still having pending status.
On 2nd June, four films were added. ‘Mirza Ghalib’ (1954), ‘Chor Bazaar’ (1954) and ‘Aakhiri Sajda’ from 1977 have already been Yippeee’d. The film ‘Zameen Ke Taare’ still remains pending.
‘Mirza Ghalib’ also featued in the post list on 3rd June. Two more films came up that day – ‘Pooran Bhagat’ (1933) and ‘Bhanwra'(1944). ‘Mirza Ghalib’ being Yippeee’d already, ‘Bhanwara’ entered the conditional Yippeee status, since all songs of this film are posted, except for one, the song being ” Yeh Dua Maango Haseenon Aashikon Ka Dum Rahe” is still to be traced. That leaves behind ‘Pooran Bhagat’ from 1933 which still has a lot of songs still awaiting to be posted.
The song that I have selected from ‘Bholi’ for this post here today, is a gem of a rendition by Shamshad Begum. This song is vintage Shamshad. One can clearly hear the ‘khanak’ in the voice, as she goes on to present a song of first realization of love. The words are very craftily woven by Ishwar Chandra Kapoor and the music is by Pt. Gobind Ram. A beautiful creation by any standards.
‘Bholi’ is produced under the banner of Murli Movietone, Bombay, and is directed by Ram Daryani. The star cast is listed as Geeta Bali, Prem Adeeb, Shashikala, Jeevan, Gulab, Khatoon, Nazeera, Sheila, Ishu, Gope, and Nawab. There are 10 songs listed, all from the pen of Ishwar Chandra Kapoor with music by Pt Gobind Ram.
Ok so, I have not used this word so far in the article.
But yes, Congratulations – very much in order.
Congratulations to us all.
Song – Piya Piya Tu Bol Papiha, Din Phaagun Ke Aaye (Bholi) (1949) Singer – Shamshad Begum, Lyrics – Ishwar Chandra Kapoor, MD – Gobind Ram
Lyrics (Provided by Prakash ji)
piya piya tu bol papiha
din phagun ke aaye
jiya mera dola jaaye
piya piya tu bol papiha
din phagun ke aaye
jiya mera dola jaaye
ek daal pe khila hai genda
dooje daal chameli
koyal ban kar baag mein aayi
dulhan nai naveli
ek daal pe khila hai genda
dooje daal chameli
koyal ban kar baag mein aayi
dulhan nai naveli
phoolon ke kaanon mein apne dil ki baat sunaaye
jiya mera dola jaaye
phoolon ke kaanon mein apne dil ki baat sunaaye
jiya mera dola jaaye
piya piya tu bol papiha
din phagun ke aaye
jiya mera dola jaaye
aaj kisi ne chhed diye hain
man veena ke taar
aaj kisi ne chhed diye hain
man veena ke taar
do matwaare nainanwa mein
naach raha hai pyaar
haan haan
naach raha hai pyaar
aankhen dil se ye kehti hain
hans hans kar lut jaaye
aankhen dil se ye kehti hain
hans hans kar lut jaaye
piya piya tu bol papiha
din phagun ke aaye
jiya mera dola jaaye
piya piya tu bol papiha
din phagun ke aaye
jiya mera dola jaaye
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Hindi script lyrics (Provided by Sudhir Kapur)
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पिया पिया तू बोल पपीहा
दिन फागुन के आए
जिया मेरा डोला जाये
पिया पिया तू बोल पपीहा
दिन फागुन के आए
जिया मेरा डोला जाये
एक डाल पे खिला है गेंदा
दूजे दाल चमेली
कोयल बन कर बाग में आई
दुल्हन नई नवेली
एक डाल पे खिला है गेंदा
दूजे दाल चमेली
कोयल बन कर बाग में आई
दुल्हन नई नवेली
फूलों के कानों में अपने दिल की बात सुनाये
जिया मेरा डोला जाये
फूलों के कानों में अपने दिल की बात सुनाये
जिया मेरा डोला जाये
पिया पिया तू बोल पपीहा
दिन फागुन के आए
जिया मेरा डोला जाये
आज किसी ने छेड़ दिये हैं
मन वीणा के तार
आज किसी ने छेड़ दिये हैं
मन वीणा के तार
दो मतवाले नैननवा में
नाच रहा है प्यार
हाँ हाँ
नाच रहा है प्यार
आँखें दिल से ये कहती हैं
हंस हंस कर लुट जाये
पिया पिया तू बोल पपीहा
दिन फागुन के आए
जिया मेरा डोला जाये
पिया पिया तू बोल पपीहा
दिन फागुन के आए
जिया मेरा डोला जाये
Ham aazaad hon jahaan
Posted on: May 31, 2021
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 : |
4700 | Post No. : | 16397 |
“Hatim Tai”(1956) was produced and directed by Homi Wadia for Basant Pictures, Bombay. This movie had Shakila, Jairaj, Meenaxi, Naina, Krishna Kumari, Kamal, Menaka,
S.N.Tripathi, B.M.Vyas, Sheikh, Vasantrao Pahlwan, Qamar,Dalpat, W.M.Khan, Shree Bhagwan, Habib Sandow, Nagpal, Sardar Mansoor, Master Pakoo, Abdullah, Kusum, Poonam, Vitha, Pushpa, Manda, Chanda, Shukla, Chand, Geeta, Priscilla, Ranibala, Triza, Natalie, Sunila,Sumitra, Bismillah, M.K.Hasan, Mithoo Miya, Aga Shapoor, Korega, Julian, Yadav, Kalla, Rajkumar, Rattan, Aflatoon, Sukumar etc in it.
The movie had nine songs in it. Six songs have been covered in the past.
Here is the seventh song from “Hatim Tai”(1956) to appear in the blog. This song is sung by Shamshad Begam and chorus. B D Mishra is the lyricist. Music is composed by S N Tripathi.
The song is picturised on a very young and exotic looking Helen, with other female dancers.
Lyrics of this song were sent to me by Prakashchandra.
Video link:
Song-Ham aazaad hon jahaan dil mein pyaar ho jawaan (Hatim Tai)(1956) Singer-Shamshad Begam, Lyrics-B D Mishra, MD-S N Tripathi
Female chorus
Lyrics(Provided by Prakashchandra)
hhaahhaa haaa
hhaahhaa haaa
hhaahhaa haaa
haaa aaaaa aaaa aaaa
haaa aaaaa aaaa aaa
haaa aaaaa aaaa haa aaaa aaaa
hhaa aaa haaa haaa
hum aazaad hon jahaan
dil mein pyaar ho jawaan
ho bahaar ka samaa
zindagi hai waheen
hum aazaad hon jahaan
dil mein pyaar ho jawaan
ho bahaar ka samaa
zindagi hai waheen
rahen milke wahaan hum jahaan gham na ho
rahen milke wahaan hum jahaan gham na ho
mil gayee jo khushi woh kabhi kam na ho
mil gayee jo khushi woh kabhi kam na ho
ek nayaa aashiyaan hum banaayein wahaan
mastiyaan ho jahaan zindagi hai waheen
hum aazaad hon jahaan dil mein pyaar ho jawaan
ho bahaar ka samaa zindagi hai waheen
o khudaa kar reham
teri duniyaa mein hum
sah rahey hain sitam
mushqilon mein hai jaan
zor chaltaa naheen
gham ye taltaa naheen
dum nikaltaa nahin
haaye jaayein kahaan
o khudaa aa aaa aa aaa
ho khudaa aaa aaa
o khudaa aa aa aaa
o khudaaa aaaaaaa
This article is written by Avinash Scrapwala, 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 : |
4662 | Post No. : | 16332 |
#The Decade of Seventies – 1971 – 1980 #
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# Bhoole-Bisre Geet # 133 # Remembering Shamshad Begam#
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Shamshad Begam sings for Mehmood 😊
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Today 23rd April’2021 is the eighth remembrance anniversary (14th April 1919 – 23rd April-2013) of yesteryears’ singer Shamshad Begam. One who Naushad always mentioned as ‘a perfect Hindustani voice’.
On this occasion here is a song from the 1971 movie ‘Johar Mehmood In Hong Kong’. I had watched this movie in my childhood with my Uncle and have mentioned it in my earlier post on the blog.
Few songs like ‘jalti hai duniya jalti rahe’, ‘aayo aayo nau-raatri tyohaar’ have always been in my memory since my childhood. Also, the today’s song is one special song which I have never forgotten because on screen it is performed by a ‘beautiful female artist’ (in disguise though 😊)
I often break up in humming this today’s song whenever I am in ‘ Mehmood – mood’ 😊.
It is surprising that today’s song has been missing from the ‘blog’ till now.
Let us have a brief about the movie, before we enjoy the today’s ‘entertaining song’ …
“Johar Mehmood in Hongkong” (1971) was produced by Madan Chopra and K.Z. Sheth. It was directed by S.A. Akbar and was presented by M.O. Bawazir for Mahesh Ashish. The movie had I.S. Johar, Mehmood, Sonia Sahni, Aruna Irani, Tiwari, Kamal Kapoor, Tuntun, Manorama, Madhumati, Haroon, and Pran. Agha, Mukri, Jr. Mehmood, Polson, Shaikh, B.B. Bhalla, Raj Kishore, Khairati, Murad appear as Guest Artistes in this movie.
This movie was written by I.S. Johar who also wrote the screenplay and dialogues for this movie. Vithal Bankar was the editor for this movie.
This movie was passed by Censor Board on 04.01.1971. And thus, this movie has already completed its FIFTY years since its release. I am sure many of us might have fond memories and nostalgia of watching this movie and might be remembering its songs too.
Music for this movie was composed by Kalyanji-Anandji who were assisted by Babla and where Parte was the arranger and Frank Fernand the Conductor.
There were Six songs in this movie penned by Qamar Jalalabadi (four songs) and two songs are jointly credited to Qamar Jalalabadi and Indeevar (as per HFGK).
Asha Bhonsle, Mohd Rafi, Mukesh, Shamshad Begam, Manna Dey and Usha Timothi gave their voices to the songs in this movie. As per HFGK Lakshmi Shankar, Usha Khanna and Usha Mangeshkar’s voice has been in one song each, however their names are not mentioned in the titles of this movie (available on YT).
So far three songs from this movie have been posted on the blog. Today’s song is the third song from this movie to appear on the blog.
Today’s song is the fourth song of this movie to appear on the blog.
| SNo | Song Title | Singer/s | Posted On |
|---|---|---|---|
| 01 | Tumhaare dil ko ulfat ka | Laxmi Shankar, Usha Timothy, chorus | 29.12.2012 |
| 02 | Nathaniyaa haale to badaa mazaa hoye | Shamshad Begam | Being discussed today |
| 03 | Jalti hai duniyaa jalti rahe | Mukesh, Usha Khanna, chorus | 30.06.2012 |
| 04 | Ham to tere hai deewaane | Mohd Rafi, Manna Dey | |
| 05 | Laagaa laagaa jhulaniyaa ka dhakka | Asha Bhonsle, Usha Mangeshkar | |
| 06 | Aayo aayo nau-raatri tyohaar | Mohd Rafi, Mukesh, Chorus | 10.10.2018 |
Let us now enjoy today’s song which is performed on screen by Mehmood and we can also see I.S. Johar in the picturisation of the song. Watching this song one can easily guess what Mehmood (in female role) is trying to and what ‘her’ objective i. 😊
Audio
(audio)
Video
Song-Nathhaniyaa haale to bada mazaa hoye (Johar Mehmood in Hongkong)(1971) Singer-Shamshad Begam, Lyrics-Qamar Jalalabadi, MD-Kalyanji Anandji
Lyrics
aa aa aa aa aa
ye kaun aaj aaya
andhere andhere
udhar bhi lootere ae
idhar bhi hunh hunh lootere ae
aa aa aa pataa ye chalegaa aa
savere savere ae
khuley bhaag kiske
wari tere ke mere ae
nathhaniyaa haale to
badaa mazaa hoye
nathaniyaa
haaye nathaniyaa
wari nathaniyaa haale to
badaa mazaa hoye
nathaniyaa haale to
badaa mazaa hoye ae
lakhpati dulhe ki main
lakhpati dulhaniyaa
lakhpati dulhaniyaa
aur bhi sajaa lo wadi
gehnon se sajaniyaa
gehnon se sajaniyaa
baandhu kamriyaa pe
haaye
baandhu kamriyaa pe
heerey ki kardhaniyaa
kamariyaa aa
wadi suddenly
kamariyaa chaale to
badaa mazaa hoye
kamariyaa chaale to
badaa mazaa hoye ae
achchhaa huaa dafaa huaa
mora pehlaa sainyyaa
mora pehlaa sainyyaa
nahin to tu kaise letaa
gori ki balaiyyaan
gori ki balaiyyaan
dekh tujhe naachoon main to
haaye
dekh tujhe naachoon main to
chhummak chhummak sainyyaa
painjaniyaa aa
painjaniyaa haale to
badaa mazaa hoye
nathhaniyaa haale to badaa
mazaa hoye ae
maar diya haaye maine
aankhon ke salaam se
aankhon ke salaam se
aisaa diya jaam maine
gaye piyaa kaam se
gaye wadi kaam se
dagmagaaye ladkhadaaye
dagmagaaye ladkhadaaye
pehle hi jaam se
gardaniyaa aa ooh
gardaniyaa haale to badaa mazaa hoye
gardaniyaa haale to badaa mazaa hoye
kisiko na mili na aisi
naachti lugaai re
naachti lugaai re
dil mera saaf loota
toone o harjaayee re
toone o harjaayee re
tujhe bhi dikhaaye koyi
haaye
tujhe bhi dikhaaye koyi
haath ki safaayi re
daaku pe daakaa aa
daaku pe daakaa daale to
badaa mazaa hoye
daaku pe daakaa daale to
badaa mazaa hoye ae
Nathhaniya haale to
badaa mazaa hoye ae
nathhaniyaa haale to
badaa mazaa hoye 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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Blog Day : |
4592 | Post No. : | 16216 | Movie Count : |
4414 |
Today’s song is from a very rare film-Zanjeer-47. The name of the film immediately reminds us about the same name film of 1973, which catapulted Amitabh Bachhan to dizzying heights thereafter ! However, this film of 1947 was probably made to facilitate Black money into white. Since a lot of Black money generated during the war years had flowed into film financing, this was a regular practice of such producers.
The director of this film was Kishore Sharma, for whom it was just his second movie as a Director. He directed only 5 films – Dr. Kumar-44, Zanjeer-47, Middle fail-48, Biwi-50 and Shisham-52. For the film’s Music Director Krishna Dayal, it was his First film as a Composer. He went on to give music to only 4 more films, namely Lekh-49,Bawra-50, Malika Saloini-53 ( a song ” wo aaye hai, dil ko karar aa gaya” by Sulochana kadam is an Evergreen song !) and Vijaygarh-54.
The cast of this film was Begum Para, Balwant Singh, Jagdish Sethi, K.N.Singh, Gope, Latika and others. Other than this, no information about this film is available anywhere.
Such experiences are not new to me. Since the day I started writing on old films, its music and the people connected with it, I have encountered dead ends many times. In the HFGK, one finds several films, whose only Titles are printed. No other details whatsoever. For example, film Tera Sahara-49, Shabash-49, Sansari-49, Ram pratigya-49, Payal-48, Gumrah-48, Zalim-47, Woh Dono-47, Prem ki Duniya-46, Kismet ka Dhani-46, Khiladi 45 etc. etc. In every year, few such films can be found. Their presence in the HFGK means they were Censored, but no other information.
This is one problem. Another problem is that the general public does not realise the importance of recording or documenting history of films and that we do our bit towards contributing to these collective efforts. Actually, this is a different world altogether. The world of old films and the people writing on them. In the first place, the definition of ” Old Film” is different to different people, depending on their age. Just see this…
| For people between 20-30 | films of 70s are Old Films |
| For people between 30-40 | films of 60s are Old Films |
| For people between 40-50 | films of 50s are Old Films |
| For people between 50-60 | films of 40s are Old Films |
| For people between 60-80+ | films of 30s are Old Films |
When I tell someone that I write on old films,depending on his age he decides my work area. If he is say, 35 year old, he will think I write on films of the 60s era. So on and so forth.
Third problem is people don’t understand that we do this labour of love for self satisfaction, that we don’t earn anything from this and that many times spend a lot on computers and books etc. Some time back, one of my old friends, who has been happily settled in the USA for the last 40 years, came to India and we met one day at my place. After the usual casual talk, he asked me how do I spend my time, now that I am retired and do no job. He knew that after my wife’s demise, I lived alone for the last 7 years. Here is our conversation….
Friend – So Arun, how do you spend your time ?
Me – I write on old films and my articles are published on the internet.
Friend – Oh, I see. You mean you write on films like Awara and Paying Guest etc ?
Me – Sometimes, but mainly I write on films of the 30s and the 40s.
Friend – Do you earn enough in this ?
Me – Oh, no. I don’t get any money. I do it free and for my pleasure.
Friend – And who reads them ? Why do you waste your time like this ? Forget this crap. If you want you can work from Home and earn plenty.
Me – No. I enjoy doing this. There are millions of people all over the world who read such articles.
Friend – You are a big Fool ! I can understand if you wrote on current films. Some people will read at least, but films of the 30s and 40s ! Oh my God !! You are a gone case !!!
That night I added this to my prayers… God, please pardon my friend. He did not understand what he was speaking !
Whatever is said by whosoever, as long as people like Atul ji are there, we will continue contributing to the preservation of old film documentation.
There are many artistes who contributed to the glory of old films to a great extent, unknown or less known. Not much is written about them and their true life stories are never available in books, magazines or such other chronicles. They appear, shine for a while in their own way and fade away.
Actress Latika was one such actress. She was neither very beautiful like Madhubala, nor had histrionic talents like Meena Kumari, but she had her own way of performance. Sometime in the year 2014, I came across the daughter of Latika, when she commented on my post in this Blog. I followed her up and she kindly sent me a mail describing the life story of Latika, who had settled in England that time. I do not know her present status as there is no reply from her daughter to my mails.
In the year 2014, I got in touch with Ms. Sindy Bell, daughter of Latika and a resident of London, U.K. Sindy was kind enough to provide me with a brief note on her Biography. Latika had acted only in 13 films from 1944 to 1948.( Dr.Kumar-44, Parakh-44, Laat Saheb-46, Inaam-46, Saathi-46, Chalte Chalte-47, Jungle mein mangal-47, Zanjeer-47, Jugnu-47, Shanti-47, Bahadur Jeevan-48 and Gopinath-48 ).
” Latika was born 13th October, 1924 in Darjeeling. Her Tibetan name was Hungu-Lamou. Her mother was Tibetan. Her father was an Australian who adopted Buddhism, living in India as a race horse trainer for the Maharajas. He died when Latika was still very young leaving her with a newly born brother. As a child, Latika was sent to the Kalimpong girl’s orphanage also called ‘The Homes’ for her education by her mother and new step-father until she was 16. Her mother had four more children, her half-brothers and sisters.
The Homes (one for girls, one for boys) were founded by a Scottish missionary, so as a child, Latika was christened Agnes and this is the name she uses in England. Her mother was Buddhist, her step-father, an Anglo-Indian by the name of Webber, was a Protestant but Buddhism was the prevalent faith among her surrounding family of aunties and uncles in Darjeeling.
Latika’s step-father was an engineer who built bridges and due to his work, when she was a teenager, they moved to Mumbai. It was there that Latika made friends with a neighbour who was a kathak dancer and actress. She was invited to visit the Minerva film studios and was there spotted by the director Sohrab Modi and offered the opportunity to act. This was where she was given the stage name Latika, which she is still called by friends and family in India to this day.
In those days, all the scripts were in Urdu which she read beautifully and also learnt kathak dancing. I’m sure you already know the 12 films Latika acted in from the mid 1940’s to early 1950’s, in particular the film Gopinath with Raj Kapoor (1948), where she played the ‘femme fatale’ and her lovely dance sequence in Jugnu (1947).
Latika had always had a respect and interest in holy writings. It was during this period that she met a Jehovah’s Witness who was able to explain the bible, not as a church book, but as holy writings, it’s answers to the ‘big’ questions we all ask and it’s promised blessings. It satisfied all of Latika’s questions about life, so she became a Jehovah’s Witness.
It was while as an actress she met and eventually became friends with Gope at the studios. To this day, Latika says he was the kindest, most compassionate man she ever met. They married and, at Gope’s request, Latika retired from the film industry.
Latika did introduce Gope to the bible. He would read by himself (or as my mother would say, ‘exclaim in delight!’), passages from it, early mornings on the verandah before work. She said he was particularly taken with the accounts of Jesus and how tenderly he treated people. To her surprise, of his own volition, he too became a Jehovah’s Witness.
Gope had a large house in Juhu which also came to house all Latika’s family. When we saw it, it had become a hotel but I’m not sure what has happened to it now.
Before Gope’s death, they had two sons, Gope Jr, and Lalith. When Gope suddenly and unexpectedly died, when the boys were three and five, mum decided to join her siblings who had earlier migrated to the UK. I came from her second marriage.
Latika is still alive and very well and living in the UK. She is in her 90th year, still beautiful. My niece’s second name is Latika and Gope Jr’s two sons bear the (second) name of Gope also. Latika has a big family with grand-children and great grand-children, all from Gope’s lineage. ”
Let us now listen to this song sung by Shamshad Begum and Chorus. With this song, film Zanjeer-47 makes its Debut on this Blog.
Song-Dekho ji aaya khushi ka zamaana chale na jaana (Zanjeer)(1947) Singer- Shamshad begum, Lyrics-Unknown, MD-Krishn Dayal
chorus
Lyrics
Dekho ji aaya khushi ka zamaana
chale na jaana
ho chale na jaana
dekho jee aaya khushi ka zamaana
dekho jee aaya khushi ka zamaana
chale na jaana
o jee o jee
o jee o jee
o jee o jee
o jee o jee
o jee o jee
jungle mein mangal manaane ke din hain
jungle mein
haan haan ji jungle mein
jungle mein mangal manaane ke din hain
baaghon mein
haan haan jee baaghon mein jhoola jhulaane ke din hain
?? jhoola jhulaana
chale na jaana
o chale na jaana
dekho jee aaya khushi ka zamaana
chale na jaana
o jee o jee
o jee o jee
o jee o jee
o jee o jee
o jee o jee
o oar
kaale kaale baadal chahoon oar chhaaye
o o
kaale kaale baadal chahoon oar chhaaye
dekho jee manzil ?? le ke aaye
dekho jee manzil ?? le ke aaye
dekho jee karlo haan haan jee mauj kar lo
dekho jee karlo haan haan jee mauj kar lo
mauj karne ka hai ye zamaana
chale na jaana
o chale na jaana
dekho jee aaya khushi ka zamaana
chale na jaana
o jee o jee
o jee o jee
o jee o jee
o jee o jee
o jee o jee
O naina maanat naahin kehna
Posted on: January 3, 2021
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 : |
4552 | Post No. : | 16139 |
Today’s song is from the film Chehra-1946. The film was so obscure that it had no face to recognise in the crowd of 153 Hindi films that were produced in 1946. The film was made by an unknown banner – ” Upright pictures, Bombay”. The director was Rajendra Sharma, for whom this was his First film as a Director. He went on to direct 4 more films namely, Jal Tarang-49, Ehsan-54, Dost-54 and Indra Leela-56, before disappearing from the arena of films. The Music Director was M.A.Mukhtar.
M.A.Mukhtar hailed from Punjab. He started his career by becoming assistant to MD Khurshid Anwar. Chehra was his First and the only independent film. There is a Mukesh solo also in this film -‘ O prani kya soche kya hoy’.
M.A.Mukhtar assisted Khurshid Anwar in PARWANA -47,the last film of K.L.Saigal.
Soon after, the communal riots started. Mukhtar wanted to bring his family from Punjab to safety in Bombay, but unfortunately he was killed in the riots in Jalandhar.
The cast consisted of Najma, Kamal Jamindar, Suraiya Zulfi, Mustafa, Jugal Kishore kaneez, Baby Anwari, Baldev Raj and others. These are veri insignificant names for Hindi films of those years. The Heroine was Najma. Her real name was Naseem. As there was already the popular actress Naseem Banu, She tookn the screen name of Najma. She was born on 12-8-1928 at lahore. Her father Abdul Rasheed was a respected businessman. She was very keen to join films. She was also very good looking.
In 1941, she signed a contract with Acharya Art productions and made a tame Debut in film Kunwara Baap-42. Her name was uncredited. Then came Uljhan-42, Gharonda aka Nai Zindagi-43 and Saudagar-44 (UR). She was cast as a Heroine opposite Suresh and Harish. Her some other films were Dr. Kumar-44, Piya Milan and Naseeb-45, Chehra-46, Haqdar-46, kasam-46 etc. Her last film in India was Parwana-47.
She married a Lahore distributor Mohd. Yasin and they migrated to Pakistan. After taking a few years for family raising, she joined films again as a supporting actress. She featured in 120 films in pakistan till 1987. Najma died 0n 7-1-1988 at Lahore, place of her Birth.
The curse of same name confusion has troubled Hindi films right from the 30s. Today we will talk about 4 different Suraiyas.
1. Suraiya Jamal Sheikh – Perhaps the most well-known of all Suraiyas, Suraiya Jamal Sheikh was one of the last ‘great’ singing-stars that dominated the Hindi film screen in 1930s and 1940s. Her acting style was a charming blend of dialogues and gestures, and was strongly reminiscent of the Muslim feudal era. She retired from films in the early 1960s, settling down to a solitary life in Mumbai before her death in 2004.
2. Suraiya Choudhary – Suraiya Choudhary was a supporting actress active in Hindi films from late 40s to early 50s and was active at the same time when singing-star Suraiya was playing the lead in films. Both Suraiyas were cast together in Jeet (1949). Other films to her credit include Sangeeta (1950), Sabz Baaz (1951), Azad Hindustani (1948) etc.
Suraiya choudhary also appeared with Suraiya-(Jamal Sheikh) in Wadia films Balam 1949, directed by Homi Wadia. Suraiya Choudhary worked with Geeta Bali in Dil Ki Duniya in 1949,directed by Mazhar khan.Suraiya Choudhary played as heroine in film Bombay-1949,opposite Uday kumar. Shakila also worked in this film.Suraiya Choudhary worked with Nargis in Chhoti Bhabhi,1950,directed by Shanti Kumar.
3. Suraiya (Begum) Multanikar – Suraiya Multanikar is a Saraiki folk-singer who also sang for few films including Gul Bakawali (1961) and Badnaam (1966). She was given the ‘Pride of Punjab’ Award recently in 2016 by Punjab Institute of Language, Art and Culture (PILAC).
4. The fourth one was called Suraiya Zulfi. The real name of Suraiya Zulfi was Jamila Begum. She was born on 11-4-1919 at Lahore. Her father was a Petition writer in the District Court. Her schooling was done in Foreman High school. After completing her Junior Cambridge examination, she was married to one Mr. A.Q.Qureshi. He was a Stenographer to Home Secretary, Punjab Government. He was a corrupt person and had a lot of money. Unfortunately, her marriage was short lived and soon they were divorced.
Suraiya’s elder sister Razia Begum was already working in films in Bombay. She was an actress and a singer. Suraiya went to Bombay to try her luck. She was very good looking. Suraiya’s first non credited Debut was in the film Kiski Biwi-1942. This role came to her because to get it, she became friendly with the director Mirza. Her second film was Dada Gunjal’s Mata-1942. With great maneuvering and efforts she convinced Director Essabhai to make her Heroine in film Khiladi-43. The film was delayed and released only in 1945. She started doing small roles in various films. She was variously billed as Suraiya, Suraiya Bano, Suraiya Begum and Suraiya Zulfi.
Her film Yateem-45 was a successful film. In 1946 she did some films like Chehera, Pandit ji, Rupa and some others. Her last acting film was Do naina-47. Along with sister Razia Begum, she started her own Production Unit called R.S.Production and made 2 films in 1947-Kango and Do Naina.
She had, meanwhile, married a wealthy merchant Ali Buksh. Just before the partition, she migrated to Pakistan alone. It seems her husband chose to stay in India only. She planned to build a studio in Lahore for making films. It is believed that while travelling from Karachi to Lahore, Suraiya Zulfi died in a plane crash on 27-12-1947.
( based on information from Filmdom-1946, some Pakistani sites, HFGK,Muslim Cinema by Isak Mujawar and my notes.)
The film Chehra-46, which was a Social film was released on 31-12-1947, more than an year after completion. It probably got stuck with censors first and later in the Partition chaos. Unfortunately, Suraiya Zulfi had died on 27-12-1947 in Lahore in a plane crash. As expected, the film was a flop and ran just one week in Swastik cinema, Bombay.
It is a mystery what makes a film successful. No one has the winning formula. The other day, I was reading the Thesis of Dr. Soumya Dutta of the US, titled “Film Genres’ ‘. It was sent to me by academia.edu, an American site for academicians. In this Thesis he has quoted about the famous theory of Seven Plots, floated by Christpher Booker thus……
” In 2004, a book called “Why we tell stories’, written by Christopher Booker was published. It is a book having more than 700 pages-728 pages to be exact. The book says “There are only 7 (Seven) basic plots in the whole world. They are recycled again and again in Novels, movies, Plays and Operas. These are
1.Overcoming the Monster
2.Rags to riches
3.The quest
4.Voyage and return
5.Rebirth
6.Comedy and
7.Tragedy “.
After this book was published, there was chaos and criticism started. ‘New York Times’ also jumped in. The author coolly replied to all points and stuck to his statements. ”
However, In India, no film is based on an exclusive Generic Story. It is always a clever mix of several Genres. For example, see this story of a Hindi film ” A poor boy and a rich girl fall in love.Boy goes to other countries and comes bag fabulously rich. The girl is kidnapped by a Monster. Boy searches for her, finds her and kills the Monster in a thrilling sword fighting. The couple unites. ” Clap, Clap, Clap !!!
Overall, the Indian movies are highly imaginative. In this field, the South beats all other film industries. # songs from this film are discussed earlier. Today’s song is the fourth one. It is a reasonably good song by Shamshad Begum. Enjoy….
Song-O naina maanat naahin kehna (Chehra)(1946) Singer- Shamshad Begum, Lyricist- I C Kapoor, MD-M A Mukhtar
Lyrics
o naina
o naina maanat naahin kehna
jab se tumko jaana re
jab se tumko jaana re
o naina maanat naahin kehna
jab se tumko jaana re
jab se tumko jaana re
o naina maanat naahin kehna
teri choron waali ghaaten
meri haule haule baaten
meri haule haule baaten
baaten yaad karo
baaten yaad karo
wo raaten
ab kyun hua begaana re
ab kyun hua begaana re
o naina maanat naahin kehna
jab se tumko jaana re
jab se tumko jaana re
o naina maanat naahin kehna
aaja karle
kar le manmaani balmaa
chaar dinon ki jawaani
aaja karle
kar le manmaani balmaa
chaar dinon ki jawaani
kal ki baat hai kisne jaani
kal ki baat hai kisne jaani
apna aaj zamaanaa re
apna aaj zamaanaa re
o naina maanat naahin kehna
jab se tumko jaana re
jab se tumko jaana re
o naina maanat naahin kehna
ye sab chaar dinon ke mele
ham tum phirte rahe hain akele
ye sab chaar dinon ke mele
ham tum phirte rahe hain akele
kuchh le le
aa kuchh de de
kuchh le le
aa kuchh de de
kal ka kaun thhikaana re
kal ka kaun thhikaana re
o naina maanat naahin kehna
jab se tumko jaana re
jab se tumko jaana re
o naina maanat naahin kehna
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 : |
4547 | Post No. : | 16124 |
“Lachak”(1951) as produced by Shreeram Vohra and directed by M I Dharmsi for Shrre Films, Bombay. This “social” movie had Geta Bali, Amarnath, Kuldeep Kaur, Agha, Paro, Nayantara, B M Vyas, Ramkumar, Shanti Sharma, Rukhsana, Zareena, Cecil, Ram Singh, Anand, Sheikh etc in it.
The movie had nine songs in it. To songs have been covered so far.
Here is the third song from “Lackah”(1951) to appear in the blog. THe song is sung by Shamshad Begam and chorus. Balkrishn Vohra is the lyricist. Music is composed by Moti Ram.
Only the audio of the song is available. I request our knoledgeable readers to thro light on the picturisation of this song.
Song-Ho thhanda thhandaa paani nadiya mein behta jaaye (Lachak)(1951) Singer-Shamshad Begam, Lyrics-Balkrishn Vohra, MD-Pt Motiram
Chorus
Lyrics
Ho thhanda thhanda
ho thhanda thhanda
ho thhandaa thhandaa paani
nadiya mein behta jaaye
haaye nadiya mein behta jaaye
ye prem ki aag mere dil mein lagaaye
ye duniya deewaani kare apni manmaani
ho o apni manmaani
ye duniya deewaani kare apni manmaani
ho o apni manmaani
darr lagta hai mujhko
kahin doobe na jawaani
ho o doobe na jawaani
darr lagta hai
darr lagta hai mujhko
kahin doobe na jawaani
ho o doobe na jawaani
chhoti si ye baat
chhoti si ye baat
mujhe kaun bataaye
ho o
chhoti si ye baat
mujhe kaun bataaye
ye prem ki aag mere dil mein lagaaye
hoy thhandaa thhandaa paani
hoy thhandaa thhandaa paani
hoy thhandaa thhandaa
hoy thhandaa thhandaa paani
nadiya mein behtaa jaaye
haaye nadiya mein behtaa jaaye
ye prem ki aag mere dil mein lagaaye
o mere banmaali
phool khile daali daali
ho o khile daali daali
o mere banmaali
phool khile daali daali
ho o khile daali daali
mere man ki muraad
aaj jaaye nahin khaali
ho o jaaye nahin khaali
mere man ki muraad
aaj jaaye nahin khaali
ho o jaaye nahin khaali
dil ki lagi
dil ki lagi ko ab kaun bujhaaye
o o
dil ki lagi ko ab kaun bujhaaye
ye prem ki aag mere dil mein lagaaye
hoy thhandaa thhandaa paani
hoy thhandaa thhandaa paani
hoy thhandaa thhandaa
hoy thhandaa thhandaa paani
nadiya mein behtaa jaaye
haaye nadiya mein behtaa jaaye
ye prem ki aag mere dil mein lagaaye
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 : |
4508 | Post No. : | 16051 |
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Blog 10-Year Challenge (2010-2020) – Song No. 93
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I notice that only 198 articles were posted in the blog during the first four months of the year 2010. Still, by the end of end of October 2010, the blog had already added just over one thousand posts during the year 2010 ! That was because the blog had picked up pace from July to September 2010, when 481 posts were published in these three months !
November 2010 was a slow month for the blog, when songs were covered at a rate of less than four songs a day. This day ten years ago (viz 20 November 2010), only two songs were covered. Here are the details:-
| Song | Movie title-Year | Remarks |
|---|---|---|
| Ek Shamaa do parwaane mile… yahi zindagi ki reet | Shabistan-1951 | All songs covered on the blog |
| Tera mera mera tera ho gaya pyaar | Sindbad The Sailor-1952 | 4 of 8 songs posted |
So, ‘Sindbad The Sailor-1952’ is the only movie eligible to be covered in the Blog Ten Year Challenge series today (20 November 2020).
‘Sindbad The Sailor-1952’ was produced by Balwant Bhatt and directed by Nanabhai Bhatt for Deepak Pictures, Bombay. The movie had Naseem aka Naseem Banu, Nirupa Roy, Ranjan, Yashodhra Katju, Bhagwan, Jayant,Samson, Pran, Asim, Douglas, Gulam Rasool, Shahpur, Lalita Rao,Urmila, Shakila, Kammo etc in it.
The movie had eight songs in it. Four songs have been covered so far. Here are the deatails of these four songs :-
| Song | Posted On |
|---|---|
| Adaa se jhoomte huye | 26.03.2009 |
| Tera mera mera tera ho gaya pyaar | 20.11.2020 |
| Jis roz se hamne tera deedaar kiya | 24.07.2015 |
| Dharti aazaad hai aasmaan aazaad | 21.01.2017 |
As blog ten year challenge, here is a song from ‘Sindbad The Sailor-1952’. This song is sung by Shamshad Begam. Anjum Jaipuri is the lyricist. Music is composed by Chitragupta.
The song is lip synced by Naseem Bano. Nirupa Roy is also visible in the picturisation.
Lyrics of the song were sent by Prakashchandra. BTYC details were provided by Avinash Scrapwala.
Audio
Video
Song-Dil ka afsaana kahega jal ke parwaana (Sindbad the Sailor)(1952) Singer-Shamshad Begam, Lyrics-Anjum Jaipuri, MD-Chitragupta
Lyrics (Provided by Prakashchandra)
ye aansoon oo
muskuraate hain
zamaane ki ee ee
zafaa`on par r r
mohabbat karne waaley
jaan dete hain aen
wafaa`on par…r
dil ka afsaana kahega jal ke parwaanaa
kahega jal ke parwanaa
ho nahin sakte kabhi ham
unse begaana
kahega jal ke parwanaa
dil ka afsaana kahega jal ke parwaanaa
kahega jal ke parwanaa
dil bahot naazuk hai lekin
gham se takraayenge ham
dil bahot naazuk hai lekin
gham se takraayenge ham
yaad mein teri bhulaa denge zamaane ke sitam
toot saktaa hi nahin een een een een een
toot saktaa hi nahin ulfat ka paimaanaa
kahega jal ke parwanaa
dil ka afsaana kahega jal ke parwaanaa
kahega jal ke parwanaa
dar pe tere ae zamaane
ishq jhuk saktaa nahin
dar pe tere ae zamaane
ishq jhuk saktaa nahin
qaid mein rehtaa hai kab
aazaad parwaanaa kahin
ham nahin honge tere ae ae ae an
ham nahin honge tere teeron ka nazraanaa
kahega jal ke parwanaa
dil ka afsaana kahega jal ke parwaanaa
kahega jal ke parwaanaa
Moorakh baithha aaj ki soche
Posted on: October 31, 2020
This article is written by nahm, 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: |
4488 | Post No. : | 16011 |
31/10/2020 – Remembrance day of S D Burman
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Sab kahan kuchh laala-o-gul mein numaayan ho gayin
Khaak mein kya sooratien hongi jo pinhaan ho gayin
Yesterday I was at the farewell function for officers retiring in my office. Many people were there, and the officers were felicitated with customary shawl and coconut, bouquet and token gifts etc. All attendees were wearing masks and photos were clicked. While all this was going on, there flashed the second line of the above sha’ir by Ghalib. With a change of one word, the sha’ir perfectly suits the situation, as is:
Sab kahan kuchh laala-o-gul mein numaayan ho gayin
“Mask” mein kya sooratien hongi jo pinhaan ho gayin
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We commemorated 114th birth anniversary of the Dada Burman or Burman Da, as he was affectionately called by colleagues and friends, senior and juniors alike, a month ago. Now it is his 45th death anniversary today. He formed an immortal dynasty with son R. D. Burman, which is unparalleled. As a father, he is bound to have a bigger hand in forming RDB, the musical phenomena than vice versa.
I have been a die-hard fan of S. D. Burman’s songs, whether they are by Mohammed Rafi, Kishore Kumar, Mukesh, Talat Mehmood, Lata Mangeshkar or Asha Bhosle. I want to list my favourite by each of these singers, here it is:
| Singer | Song |
|---|---|
| Kishore Kumar | Dil aaj shaayar hai |
| Mukesh | Chal ri sani ab kya soche |
| Talat Mehmood | Jalte hain jiske liye |
| Lata Mangeshkar | Ab to hai tum se |
| Asha Bhonsle | O panchhi pyaare saanh sakhaare |
| Geeta Dutt | Waqt ne kiya kya haseen sitam |
| Hemant Kumar | Jaane wo kaise log the inke |
(Not including the favourite Rafi songs and duets, saving it for another post)
A few trivia found on the net about the song of “Pyaasa” listed above:
• Jane Woh Kaise Log The Jinke Pyar Ko Pyar Mila – The tune of the line “Humne to jab kaliyan maangi” in this song may have been S.D. Burman’s adaptation of the line “Punjab Sindh Gujarat Maratha” from the Indian national anthem composed by Rabindranath Tagore.
• Jane Woh Kaise Log The Jinke Pyar Ko Pyar Mila – This was the only song in the film in which the voice of a male singer other than Mohammed Rafi was used. S.D. Burman’s decision to use Hemant Kumar for this song may have been to fulfill a promise he had made to the singer to give him at least one song a year – a promise Hemant Kumar himself reminded the composer of. Additionally, the fact that the song was influenced by Rabindra Sangeet may have swung the decision in favour of Hemant Kumar, a seasoned practitioner of this form of music.
I cannot talk about S. D.Burman and not rewind immortal songs of Abhiman, Guide, Tere ghar Ke saamne, Sujata, Bandini, Bambai ka babu, Pyasa, Kaaghaz ke Phool, Sharmilee, Paying guest, kaala bazaar, Kaala Pani, Jewel thief, Prem Pujari, Gambler, Talaash, Sharmilee etc.
The total songs composed by S. D. Burman are 666 in 87 movies. Out of these 666 songs which must include non-film songs too, 637 are already posted in the blog. This tally must exclude the songs composed for Bengali/Assamese and Oriya films. 23 songs sung by S. D.Burman are posted in the blog, so they may include some Bengali songs too. With less than 30 songs to complete the tally, it was bound to be a tough task to find a song to post. Still I did find a 50’s song, a solo by Shamshad Begum from the film “Chaalis Baba ek chor”. Lyricist is Pyarelal Santoshi. Eight songs from this film are posted out of 12 songs. I have only the audio of the song, which appears with to be in two parts and it is mentioned as two separate songs elsewhere. So there may not be 12 songs in this film.
The song itself appears like a kid is singing this song, with family members. Trying to make light of the financial problems, the singers all are enjoying making fun of their own situation. This is a feat, not easy to achieve, however worse or bad are the times.
Myswar is mentioning 4 solos by Shamshad Begum. One of those songs is titled “doodhwala bhaiyya aaya maange rupaiyya”, this seems to go with the theme of this current song which refers to sethani(land lord), dhobi, darzi etc. so dhoodwala coming and asking for his money is in same vein. Some links on youtube are giving name “darji hai kapda chor”. But I couldn’t find the “doodhwala bhaiyya” song, and it is not part of the links that I heard of the current song.
Shamshad Begum, is one of the most prolific playback singers of her generation. As per the stats page, she has sung 1273 songs in her career, 695 of which are posted in the blog.
Song-Moorakh baithha aaj ki soche (Chaalis Baba ek Chor)(1954) Singer-Shamshad Begam, Lyrics-P L Santoshi, MD-S D Burman
Chorus
Unknown male voice
Lyrics
Ae ji moorakh baithhaa aa
aaj ki soche
aur kal ki soche siyaa..aanaa
kaal ke pankh pasaare dekho
udtaa aa aaa
jaaye zamaana aa
ae ji hafton se
ae ji maheenon se
ae ji barson se
apni ye gaadi rahi chal
aaj nahin kal baba
aaj nahin kal
baba aaj nahin kal
baba aaj nahi kal
shor machaati wo aayi sethhaani
naam hai baby
baby ee
haan haan baby raani
bigdi deewaani
budhiya naani
kehne lagi ee
kehne lagi ee
de do kiraaya yaa
jaao nikal
ham ne kahaa
aaj nahin kal baby
aaj nahin kal
uss ne kahaa aaj
nahin kal
aaj nahin kal
baby aaj nahin kal
baby aaj nahin kal
baby aaj nahin kal
ae ae ae
chor chor chor chor
darji hai kapda chor
hamaara darji hai kapda
chor chor chor chor
darji hai kapda chor
hamaara darji hai kapda chor
dil ka chhotaa
neeyat ka khotaa
kapda diya thha knicker banaane
laaya banaa ke langotaa
ultaa machaave shor
machaave shor
o kapda
chor chor chor chor
darji hai kapda chor
hamaara darji hai kapda
chor chor chor chor
dhobiye ne dhobi dhobi
dho dho dho
dho dho dho
dhote to ho betaaj (?)
ae ji dhobi ke jhoote thaathh
ghar mein
tooti taati khaat
tooti taati
tooti taati
tooti taati khaat
bichha kar
soye puraana taat
gadhe par
baitthaa jaave ghaat
gadhe par
gadhe par
gadhe par
dhobi ke dekho thhaath
kisi ki pant
kisi ka coat
pehan kar bana
governer laat
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