Archive for the ‘Shankar Dasgupta songs’ Category
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Blog Day : |
5103 | Post No. : | 17040 |
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Blog 10-Year Challenge (2012-2022) – Song No. 66
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This date ten years ago (viz 8 July 2012) saw six songs from six different movies getting covered in the blog. Here are the details:-
| Blog post number | Song | Movie (Year) | Remarks |
|---|---|---|---|
| 6195 | Koi din zindagi ke gungunaakar hi bitaata hai | Gunjan(1948) | 4 songs covered out of 9 |
| 6196 | Zara sun lo ham apne pyaar ka afsaana kehte hain | Baazaar(1949) | 15 songs covered out of 16 |
| 6197 | Mohabbat karne waalon ka yahi anjaam hota hai | Aankhen (1950) | Movie YIPPEED by now |
| 6198 | Tera khayaal dil se mitaaya nahin abhi | Doraaha(1952) | 5 songs covered out of 8 |
| 6199 | Murga murgi pyaar se dekhen | Do Kaliyaan(1968) | Movie YIPPEED by now |
| 6200 | Ye wahi geet hai jisko maine | Maan Jaayiye(1972) | Movie YIPPEED by now |
We can observe that three movies (out of six) whose songs were covered on this date ten years ago have since been YIPPEED. That leaves us with three movies that are eligible for Blog Ten Year Challenge today.
“Doraaha”(1952) is one of the eligible movies.
“Doraaha”(1952) was directed by Bal chhabda for Progressive Pictures Bombay. The movie had Nalini Jayawant, Shekhar, K.N.Singh, Murad, Agha, Sethi, Prothima devi, Kamal, Dewan Sharar, Leela Mishra, Romesh Sinha, Seemah, D.D.Luthra, Kusum, Bhagwandas, Kiran etc in it.
“Doraaha”(1952) had eight songs in it. Five songs have been covered so far.
Here is the sixth song from “Doraaha”(1952) to appear in the blog.
The song is sung by Shankar Dasgupta. Prem Dhawan is the lyricist. Music is composed by Anil Biswas.
Only audio of the song is available. Considering that this song is a hero stuff song, my guess is that this song was picturised on Shekhar. 🙂 Nevertheless, I request our knowledgeable readers to throw light on the picturisation of the song.
Lyrics of the song and other details were sent to me by Prakashchandra.
Song-Toot gayi patwaar naiyya kaun lagaawe paar (Doraaha)(1952) Singer-Shankar Dasgupta, Lyrics-Prem Dhawan, MD-Anil Biswas
Lyrics(Provided by Prakashchandra)
Toot gayi Patwaa aar
naiya
kaun lagaawe paar
naiyya kaun lagaawey paa..aar
kaun lagaawey paar naiyyaa..aaa
kaun lagaawey paar…aar
toot gayi patwaa aaa aar
naiyyaa
kaun lagaawey paar
naiyyaa..aaa
kaun lagaawey paar
aayi gham ki kaali raatein
kahoon kis se dil ki baatein aen
aayi gham ki kaali raatein
kahoon kis se dil ki baatein aen
mera bichhad gayaa
dildaar rey aey
bichhad gayaa dildaa..aar
bichhad gayaa dildaa..aar rey
haayye lut gayaa meraa pyaa..aar
naiyyaa
kaun lagaawey paa..aar
toot gayi patwaa..aaa…aar
naiyyaa
kaun lagaawey paar
naiyyaa..aaa
kaun lagaawey paar
woh saaree khushiyaan le le
ek dard saa dil mein de dey ae ae
woh saaree khushiyaan le le
ek dard saa dil mein de dey ae ae
ab dil ko nahin qaraar rey ae ae
dil ko nahin qaraa..aar
dil ko nahin qaraa..aar rey
haayye lut gayaa meraa pyaar
naiyyaa
kaun lagaawey paa..aa..aaar
toot gayi patwaa..aaa…aar
naiyyaa
kaun lagaawey paar
naiyyaa..aaa
kaun lagaawey paar
Dheere dheere dil mein samaa
Posted on: December 28, 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 : |
4911 | Post No. : | 16727 |
“Husn Ka Chor”(1953) was produced by Homi Wadia and directed by JBH Wadia for Basant Pictures, Bombay. The movie had Usha Kiran, Mahipal, Brij Mohan Vyas, Azeem Dalpat, Sardar Mansoor, Agha Shapoor, Bismilla etc in it.
The movie had seven songs in it. Six songs have been covered in the past. Here are the details of the songs that have been covered so far :-
| Blog post number | Song | Date of post | Singer (s) |
|---|---|---|---|
| 3472 | Sangdil zamaane mujhe kyun rulaataa hai | 31 January 2011 | Sandhya Mukherjee |
| 4782 | Dil lagaane waale aapse hazaaron hain | 11 October 2011 | Sandhya Mukherjee, Rafi |
| 4895 | O jaane waale kisi ka salaam letaa jaa | 27 October 2011 | Sandhya Mukherjee |
| 15931 | Ho gaya tere majnu ko ishq ka bukhaar | 29 September 2020 | Rafi, Asha Bhonsle, Unknown male voice |
| 16088 | Duniya mein hain bande pyaare daulat ke | 10 December 2020 | Rafi |
| 16713 | O duniya banaane waale bataa anjaam hamaara kya hoga | 23 December 2021 | Geeta Dutt |
Here is the seventh and final song from “Husn Ka Chor”(1953). The song is sung by Shankar Dasgupta and Sandhya Mukherjee. Raja Mehdi Ali Khan is the lyricist. Music is composed by Bulo C Rani.
Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of the song.
With this song, all the seven songs of “Husn Ka Chor”(1953) have been covered in the blog. “Husn Ka Chor”(1953) thus joins the list of movies that have been YIPPEED in the blog.
Song-Dheere dheere dil mein samaa (Husn Ka Chor)(1953) Singers-Shankar Dasgupta, Sandhya Mukherjee, Lyrics-Raja Mehdi Ali Khan, MD-Bulo C Rani
Both
Lyrics(Provided by Prakashchandra)
dheere dheere dil mein samaa aa aa
dheere dheere dil mein sama aa
dil ki dhadkan ye keh rahi hai
dil ki dhadkan ye keh rahi hai ae ae
chupke chupke aankhen mila aa
dil ki dhadkan ye keh rahi hai ae
dil ki dhadkan ye keh rahi hai ae ae
dheere dheere dil mein sama aa
ek ishaara kar do to la doon
ek ishaara kar do to la doon
aasmaan ke ye sitaare
aasmaan ke ye sitaare
kaho to chun chun ke ulfat ki kaliyaan
kaho to chun chun ke ulfat ki kaliyaan
haar pahna doon galey tumhaare
haar pahna doon galey tumhaare ae ae ae
thhodi thhodi ulfat jata aa aa
thhodi thhodi ulfat jata aa
dil ki dhadkan ye kah rahi hai
dil ki dhadkan ye kah rahi hai ae ae
chupke chupke aankhen mila aa aa
dheere dheere dil mein sama aa
haatho mein jo haath liya hai ae
haathon mein jo haath liya hai
dekho chhoot na jaaaaye
dekho chhoot na jaaaaye
bada hi naazuk dil ka sheesha aa
bada hi naazuk dil ka sheesha
dekho toot na jaaaaye
aisi baaten lab pe na la aa aa
aisi baaten lab pe na la aa
dil ki dhadkan ye kah rahi hai ae
dil ki dhadkan ye kah rahi hai ae ae
chupke chupke aankhen mila aa aa
dheere dheere
dheere dheere dil me sama aa aa
dheere dheere dil mein sama
- In: "Moonch"/Mustache song | "Nok-Jhonk" song | Anil Biswas Songs | Body part song | Guest posts | Meena Kapoor songs | Post by Arunkumar Deshmukh | Shamshad Begam songs | Shankar Dasgupta songs | Song sung by three or more singers | Songs of 1950s (1951 to 1960) | Songs of 1952 | Yearwise breakup of songs
- 3 Comments
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 : |
4725 | Post No. : | 16437 |
Today’s song is from the film Do Raaha-1952, about which not much is known- except whatever is given in the HFGK.The film was made under the banner of ‘Progressive Pictures,Bombay’. It was directed by Bal Chhabra and was produced by his elder brother Sujit Chhabra under their own banner. The cast of the film was Nalini Jayawant, Shekhar, K N Singh, Agha, Dewan Sharara, Jagdish Sethi and many more. The 8 songs of this film were written by Prem Dhawan-6 songs and one each by Sahir Ludhianvi and Josh Malihabadi. It seems, there was one more song ” Sab paise ki hai maya” sung by Shankar Dasgupta, S D Batish and Prem Dhawan. The song was also recorded but not included in the film. The music was by Anil Biswas.
Like the film title ‘Do Raaha’, Anil Biswas was also almost at a Do Raaha point in his life. He was a disturbed person. His relations with wife Ashalata were worsening by the day. At the same time his closeness to Meena Kapoor was increasing. Out of his total 90 films in his career, 60 films were over and he was looking at the last 1/3 part of his career with a pessimistic view. After this film, he gave music to 29 more films, but his old magic seemed to be deserted him on the way somewhere. Only the films Fareb-53, Pardesi-57, Char dil char rahen-59 and Sautela Bhai-62 had songs having his faint old stamp.
Anil Biswas, the Bhishma Pitamaha of HFM, was a respected person in the industry. He started from the mid 30s and for the next 25 years or so, he created many everlasting gems in film songs. In Bombay,the Playback system was first started by him in the film Mahageet-1937. By the mid 50s his magic started waning and by 1960, he was almost gone from the industry.
Initially he did 10-11 films with Sagar, then with Mehboob for National studios and then in Bombay talkies- where his name became immortal with the film Kismet-1943.
He married Ashalata in 1936. Along with her he started variety pictures and they produced films like Laadli-49,Laajawab-50;Badi bahu-51,Hamdard-53 and Bajuband-54. ( a less known fact is-Anil da had made a Guest appearance in film Hamdard-53 as a barber. He also acted in the film Mehman-53 (produced by Ashalata),as a Pujari and a song was shot on him.In both cases he did not get any payments. As a Producer he lost heavily, because Ashalata usurped all the money. Frustrated, he gave up everything and separated from her in 1954.
To sustain life, he bought a Truck and did a business of transportation. In addition he also took the contract for a canteen in Mehboob Studios. He failed in both ventures. By now, his relations with Ashalata were soured and sweet links were established with singer Meena Kapoor-25 years younger to him, since 1948 itself. They got married with each other on 19-3-1957. The death of Brother in law and close friend Pannalal Ghosh in 1960 and younger brother Sunil in 1961 as well as his eldest son, broke his heart. He left Bombay and joined A.I.R. at Delhi on 1-3-1963, where he worked upto 27-6-1975. Later he was a consultant for Nehru University for a few years.
Like many filmi couples, Anil da’s married life was also a failure. In Bombay,he used to stay in a huge bungalow,called ” Asha-Pradeep “, on Vincent Road. From Ashalata,he got 3 sons-Pradeep, Amit and Utpal and 1 daughter-Shikha. His son Utpal formed a pair as Amar-Utpal and gave music to few films. The other son Amit established the First Digital Recording Studio in Bombay. Daughter Shikha too got married and settled.
However, hardly anything is known about his eldest son Pradeep, anywhere. Here is some information, hitherto not known much, brought specially for our readers.
Pradeep was a very bright student and always topped in school and college. He passed his entrance exam and the interview, with flying colours for entry to NDA college at Poona, to join armed forces. He excelled even in NDA training. Not only was he very popular there but sang well too. He participated in the music Festival of Khadakwasla NDA and sang 3 songs, winning all prizes. He was also an NDA Topper.
Shri Gopinath Talwalkar, an A.I.R. Programmer at Delhi, used to interview the Toppers of NDA every year. That year Pradeep was the Topper, so he was interviewed. Though the interview was in Hindi, after the recording, Pradeep asked Talwalkar, in pure Marathi, whether his interview had been good. Talwalkar was shocked. Pradeep then explained that he was Anil Biswas’s son and he had learnt Marathi from his actress mother Ashalata. Pradeep knew Hindi, Marathi, English and Gujarati languages.
After completing his NDA training, he was posted as Flight cadet at Jodhpur. He was further promoted and became Pilot Officer in 1957. During one Training flight some altitude problems occurred and his plane crashed at Begumpet Airport, Hyderabad, killing Pradeep instantly. This happened in 1961.
This was also the time of crisis for Anil da. He was struggling to survive. Films were not coming to him. Since he married Meena Kapoor, Lata Mangeshkar-a fast close friend of Ashalata , had gone against him and Meena’s singing career was suppressed. He had already lost Pannalal Ghosh and Sunil-his brother, and now Pradeep’s death devastated him and he was literally forced to seek employment with Delhi A.I.R., when the opportunity came. After retirement, till his death on 31-5-2003, he spent his life in total anonymity as a recluse. So sad for a composer, who was once a fountain of enthusiasm and who was considered Mentor by leading contemporary composers like C.Ramchandra.
Here is an interesting incident about the film Girls School-1949, between C Ramchandra, Anil Biswas and Lata Mangeshkar. This film was produced by Kavi Pradeep under the banner of Lokmanya Productions, Bombay. This was a company floated by him and Amiya Chakrawarty-director of this film. To understand the complexities of Girls school, we must go back a little. In 1942, Anil Biswas was invited by Ranjit @ 1500 pm and by Bombay Talkies @ 2500 pm. As National studio was winding up, Anil Biswas wanted to make a change anyway, but due to the contract of national he could not join Bombay Talkies openly. He ,however , gave music to film Basant-42 and the name of his brother in Law, Pannalal Ghosh was used as its MD.
Finally when Anil Biswas joined Bombay Talkies, there were already 2 groups there. One was led by Devika Rani and Amiya Chakraborty and the other was led by S. Mukherjee along with Ashok kumar, Gyan Mukherjee, Pradeep etc- a total of 15 artistes. Anil Biswas was invited by Devika Rani and that too at 2500 pm, when Pradeep was getting 1500 pm. This irritated Pradeep no end and he started troubling and finding faults with Anil Biswas. However Anil Biswas gave excellent music to film Kismet and then everyone was happy as the film celebrated jubilees everywhere.
With this background, Anil Biswas joined Girls school as a MD, mainly due to Amiya who knew his calibre. Kavi Pradeep being a producer and a Lyricist started interfering with Anil Bswas’s work and criticising him at every opportunity. Anil Biswas was fed up. He had already recorded 3 songs and a solo by Lata , “tum hi kaho, mera man udas kyun na rahe” was to be recorded. Anil Biswas had taken C Ramchandra as his assistant for this film. Though C Ramchandra was already a popular and well known composer himself, still due to sheer respect for Anil Biswas, he had accepted to be his assistant here. When the tune for Lata’s solo was made, Pradeep passed caustic remarks about it being not so good. There was an altercation between Anil Biswas and Pradeep and Biswas quit then and there and went away.
Automatically, C Ramchandra had to take over as MD for the balance songs. Pradeep was very happy. Next day recording of Lata’s solo song took place under the supervision of C Ramchandra, as planned. Later when Lata came to know that Anil Biswas had left and C Ramchandra had replaced him,she was very angry and said that she would not have recorded the song had she known about AB’s exit. She objected to CR’s taking over and complained to the Artistes association too. (Remember, at that time Lata and CR’s relations had not formed yet, Lata was still with Husnlal.)
Later on in 1954, when O P Nayyar replaced Roshan for Mehbooba-54, Lata took up the issue with the MDs’ association. Anil Biswas was the chairman that time and OPN was boycotted. That time Lata quoted the film Girls school incident to prove that she is “highly Principled” !
Anyway, this was how C Ramchandra became the next MD of Girls school-49, with 4 duets of Shamshad and 1 solo for Lalita Deulkar. All the 4 duets of this pair are very interesting. However, with all this jhamelas, film Girls school-49 was a total Flop. Pradeep lost heavily and closed the production company forthwith, after just one film.
Today’s song is a very good song and I was surprised to see that it was not yet posted here. Actually, there may still be some more such Gems, waiting to be discovered. This song is sung by Anil Biswas, Meena Kapoor, Shankar Dasgupta and Shamshad. I liked this song. You too will like it.
(Information used in this article is from books Sagar Movietone, Journey down melody lane, Ritu aaye Ritu jaaye, my notes and Marathi book Anil Biswas, with thanks).
Song-Arre na jaane kya samjhen ye moonchhon waale moonchhon waale (Doraha)(1952) Singers- Shankar Das Gupta,Shamshad Begam, Meena Kapoor, Anil Biswas, Lyricist- Prem Dhavan, MD- Anil Biswas
Female chorus
Male chorus
Lyrics
ae jee bach ke chalna aa
paaon mein moch aa na jaaye
ae kamar naazuk kahin bal kha na jaaye
are na jaane kya samjhe ye
moonchho waale
moonchhon waale
khud ko shaane khuda samjhen ye
moonchhon waale
moonchhon waale
ye baanki tagdi moonchho waale
ye ulti seedhhi moonchho waale
ye bin moonchho ke moonchho waale
khud ko shaane khuda samjhen ye
moonchho waale
moonchho waale
degree lene aaye thhe
mister magar
pad gayi jaane kahaan
unki nazar
ishq ke college mein aise
kho gaye
ho o o
ho o o
B A hote hote Majnoo ho gaye
aur humko bhi Laila samjhe
ye moonchho waale
moonchho waale
aur humko bhi Laila samjhe
ye moonchho waale
moonchho waale
ye chhoti chhoti moonchhon waale
ye moti moti moonchhon waale
ye bin moonchhon ke moonchhon waale
khud ko shaane khuda samjhen ye
moonchho waale
moonchho waale
saara din to jootiyaan chatkaayen hum
aur tab kahin ye chaar paise paayen hum
aeji laaye saadi
laayen powder surkhiyaan aan
o o o o
o o o o
tum udaao aur kamaate jaayen hum
arre phir bhi naaz dikhaayen haay
zulfon waale
zulfon waale
o phir bhi naaz dikhaayen haay
zulfon waale
zulfon waale
hoy naagan ban das jaayen haay
zulfon waale
zulfon waale
ho naagan ban das jaayen
ho das jaayen
ho das jaayen
haay
naagan ban das jaayen haay
zulfon waale
zulfon waale
ek din mister zara
ghar bhi raho
aur aane jaane waalon se parda karo
maanjo bartan
jhaadoo do
paani bharo
o o o o
o o o
jis tarah marte hain hum
tum bhi maro
phir dekhen khud ko kya samjhen
ye moonchhon waale
moonchhon waale
phir dekhen khud ko kya samjhen
ye moonchhon waale
moonchhon waale
ye Hitler jaisi moonchhon waale
ye machchar jaisi moonchhon waale
ye bin moonchhon ke moonchhon waale
khud ko shaane khuda samjhen ye
moonchho waale
moonchho waale
humko na jaane kya samjhen
ye moonchhon waale
moonchhon waale
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 : |
4081 | Post No. : | 15220 |
Today’s song is from film Raami Dhoban-53. It is sung by Geeta Dutt, Shankar Dasgupta and chorus. The lyrics are by Ram Murthy Chaturvedi and the music was by a relatively less known composer, Hiren Bose. The film was made by Navkala Niketan-of Ramesh Vyas, the Producer. The film was directed by Hiren Bose.
It is very rare to see both the director of the film and its composer being the same. There are cases, when Producer/Director or Director/Lyricist or even Director/main actor being one and the same, but director and composer combination is not that common. In the 50’s decade, S N Tripathi, music director was a multi-faceted artiste. He was an actor, composer, director and a singer too. He had acted in 83 films,sang 13 songs in 7 films, directed 18 films and gave music to 107 films- composing 863 songs in all. He was the MD in all the 18 films, which he had directed- from Ram Hanuman Yuddha-57 to Sant Gyaneshwar-81.
Till S N Tripathi achieved this feat, Hiren Bose was considered a marvel. He acted in 6 films, directed 15 films, gave music to 3 films and wrote story and screen play in 2 films. I had first written on him 7 years ago. After that more details became available, hence here is his detailed information…
Born in Calcutta on 26-9-1903, Hiren completed his college education and learnt classical music & Rabindra sangeet to such proficiency that soon he earned titles of “Vidya Bhushan” and “Sangeet Ratna “. He wrote in Bengali papers and for Bangla films too.
In the years 1928 to 1932,Hiren had joined HMV as a Music Director. Here he became a close friend of Kazi Nazrul Islam and Dhiren das. Both kazi and Hiren wrote lyrics for songs in HMV .
Around 1929,a new , young and attractive singer came to HMV. Her name was KANAN BALA. She came for recording songs. Soon the handsome Hiren cast his spell on Kanan and she started considering him as her mentor in HMV. They were a quartet of friends, Kanan, Hiren, Kazi and Dhiren. In HMV Kanan recorded many songs set to tune or written by Hiren Bose.
In 1932,this team left HMV,on the issue of Royalty and joined the newly formed Megaphone Recording company. Here too after 2 years, this team left Megaphone and joined Columbia recording company. By 1934, Hiren wrote in his autobiography- JATI SMAR (My memories)-later that he had lost interest in Kananbala.
Hiren’s eyes were now set on a bigger Horizon -BOMBAY. He knew that remaining in Calcutta may not be suitable for him. Meanwhile he had met another struggler, ANIL BISWAS. Hiren advised him to go to Bombay for brighter future and also promised him all his help. Although,by then ANIL BISWAS was comfortably placed in Calcutta, he left for Bombay as per Hiren’s advise. Hiren Bose was a highly respected name in musical circles of Calcutta.
Hiren started working in Bombay. His fame as a versatile film person had already reached Bombay and he had no difficulty in getting work there. Hiren directed Dharam ki Devi-35,followed by Piya ki Jogan-36 and then Mahageet 1937. As per his promise he gave a chance to Anil Biswas to give music,independently to DHARAM KI DEVI-1935. As such earlier he had composed a song in Bharat ki Beti-35- “Tere poojan ko Bhagwan” sung by Rattan bai. But then he had shared the Music direction with Zande Khan. That song had become quite popular then.
Hiren Bose was very fond of acting in films and he also acted in MAHAGEET-1937. It was in this film that Anil Biswas FIRST introduced playback singing in a Bombay film. (In Calcutta R C Boral had started playback in 1935 itself). The FIRST ever Playback song in this film was ” Jeevan hai ek kahani,Duniya bhi hai ek kahani ” . It was sung by Anil Biswas and was filmed on Hiren Bose on the screen.Thus Hiren Bose’s name became a Historical name in Bombay film industry. This was how, Anil Biswas repaid the debt of Hiren Bose,in helping him to get established in Bombay Music field.
(Ref- ‘The early composers- Music beyond Boundaries by Dr. Ashok Ranade pp 183-186).
After Mahageet, Hiren Bose got an offer from Madras to direct a Telugu film- Bhakt Jaydev-1938,which he did successfully.
Hiren Bose kept on shuttling between Bombay and Calcutta,doing some films here and some there.He also acted in some Bangla films during that period. He was so versatile in many departments that he did acting, directing, lyrics, singing,and composing. His complete Filmography is not available but some details are available.
As a Director 15 films are to his credit-
Chup-31
Mahua-34
Dharm ki Devi-35
Piya ki Jogan-36
mahageet-37
Bhakta jaidev-38
India in Afica-39
Amar Geeti-40
Kabi Joydeb-41
Daasi-44
Banjarey-48
Sree Tulsidas-50
Ghungroo-52
Raami Dhoban-53
Ektara-57
He acted in
Rishir prem-31
Chup-31
Udayer pathe-44
Towards the Light-44
Sesh Raksha-44
Mahageet-37
As a writer-
Meerabai (s/Play and story)-32
Rajrani Meera(story)-33
As a composer
India in Africa-39
Kabi Joydeb-41
Raami Dhoban-53
After directing his last film Ektara in 1957, Hiren Bose lived a retired life. His last few years were mostly unhealthy and he spent time writing lyrics for geets in Bangla which were usually sung by Hemant Kumar, Kanan Bala and Suprova Sarkar.
Hiren Bose died on 18-6-1987 and one of the most versatile, multifaceted and multilingual artist disappeared for ever….
Film Raami Dhoban-53 was a version of the original film on this story- Chandidas, first made in 1932, with Durgadas Bannerjee and Uma Shashi, in Bangla language. This was a first Hit film for New Theatres. The music was by R C Boral. After 2 years, when Saigal came on the film horizon of India, the film was remade with him in the lead, in Hindi, in 1934. This was New Theatre’s first Hindi Hit film. This remake also gave a motion to the ‘Bilingual’ trend, set earlier by Prabhat film company, with its ” Ayodhyecha Raja” in Marathi and ” Ayodhya ka Raja” in Hindi in 1932 itself. This commercially viable and profitable trend continued, both at Bombay and Calcutta, for the next more than 20 years.
These days, there are not just Bilingual, but Multilingual remakes. But the difference is, today a Hit and Successful film in one language made elsewhere, is remade with same story, but different actors and locations. Earlier, on the same set and same time, two language films used to be shot with almost the same cast and location. Even the producer and director used to be the same for both the languages.
The Bangla film Chandidas-32 was directed by Debki Bose and the cinematographer was Nitin Bose. Later, Nitin Bose directed the Hindi remake in 1934 and it was a bigger hit than the Bangla version. This was, of course, because of the wider market for the Hindi version. I am not aware of any other film on this story made in any language in India.
It was almost after 20 years that a new film in Hindi was made on this story of Bangla Vaishnavite saint of the 15th Century. This time the lead was done by yet another Bangla actor Abhi Bhattacharya. The cast of the film Raami Dhoban-53 was Kamini Kaushal, Abhi Bhattacharya, Tiwari, Sankata Prasad, Sona Chatterji, Uma Devi, Prem Adib as a Guest artiste and many others.
Some actors are identified with an immortal character they played on the silver screen, e.g. Prem Adib as Shri Ram, V.Shantaram as Dr.Kotnis, Dev Anand in Guide, Guru Dutt in Pyaasaa, Meena Shorey as the Lara Lappa Girl etc. In my mind, the image of Abhi Bhattacharya is etched as the ideal Teacher in film Jagriti-1954. His face was such that it can not be imagined as a lover boy or a jumping jack running around trees with the Heroines. In film Jagriti, he fitted absolutely in the role of an ideal teacher. He did many types of roles in films, but his image for ever, was clubbed with Jagriti-54.
Abhi Bhattacharya ( 20/11/1922-11/9/1993) had a handsome and impressive personality. Belonging to the Bimal Roy camp,he debuted in 1947 with film Naukadubi from Bombay Talkies- a Bengali dominated production house. Some of his other notable films were Yatrik-52, Jagriti-54, Biraj Bahu-54, Anuradha-60, Aradhana-69, Seeta aur Geeta-72 etc etc. He worked with stalwarts like Bimal Roy, Satyen Bose, Nitin Bose,Guru Dutt, Ritwik Ghatak etc. In the later part of career he worked as Lord Vishnu and lord Shrikrishna in many Mythological films. He wrote one book too,”Destiny with Dadaji”. He acted in 166 films. His last film was ‘Professor ki padosan’-93. He died on 11-9-1993.
The story of the love between Chandidas and Raami was not an ordinary one. The other day I found this story on speakingtree.in, on the internet. Here it is….
Chandidas was the son of a Brahman priest. He was very handsome, charming and of a quiet countenance, but was forever lost in some world of his own. His father, tired of him, died, and Chandidas was forced to succeed him as the purohit of the local temple of a goddess.
Chandidas’ heart was never into these frivolities. He was devoted to Lord Krishna immensely. Then, one day, as he was sitting silently on the banks of the river in their village, his heart filled with sadness and disillusionment at the world. Legend has it that the Devi of the temple of their village appeared there, and told him that he would become a great poet and philosopher.
Then, when he was returning, he beheld a washerwoman washing clothes. When she got up, the two looked at each other, and it was love at first sight.
Chandidas thought that Rami, the washerwoman, was divinely beautiful. She was the source of strength and courage to him, just as Radha had been for Krishna. And this marked the beginning of Chandidas’ poetry.
Chandidas’s brother, who was ashamed of Chandidas because of his romantic involvement with the low-caste Rami, forced him to take part in a shudhikaran ceremony and purge himself of the sin of Rami’s touch. But just at that moment, Rami came, weeping and struggling as guards stopped her. ‘Chandithakur, would you leave me forever for society? Do I have just this much value for you?’
Chandidas was put in a dilemma. Here was the woman he loved like no one else, who always stood by him when people turned on him. And on the other side, the society his father had structured, and the people who revered his family, still stuck in social conventions and stupid rites and traditions.
Chandidas made his decision on the spot. He walked towards Rami, took her hand, and led her away from the village forever. They stopped at the house of Ganesha the singer, where Chandidas and Rami spent the rest of their lives singing hymns for Krishna and Radha.
Chandidas and Rami’s love cannot be described in words. It is a love which transcends all barriers, shatters all conventions, and ends in purity and total abandonment of the world – a spiritual domain. If it has to be compared to someone, then the love of Radha and Krishna stands apt. Like Radha, Rami was beautiful like none. Like Krishna, Chandidas was charming and handsome, but considered only Rami as the star in the soulless sky of his life. But there’s a crucial difference.
Radha and Krishna were separated by society’s cruel hands. Krishna, heeding social conventions, went on and married 8 principal wives and 16000 other women, while Radha was left waiting for him. While Chandidas and Rami, realizing that these norms were but binding cords on their necks, let go of everything and led their lives in perfect freedom and love.
However, the main emotion in both tales is true love, transcendental and all-encompassing. Love which has no trace of any animosity, expectations or jealousy, but is the very nature of the soul. It is this love, this inherent nature we all must strive to realize, and we’ll soon realize the difference this brings in our lives. Maybe, we would one day stare in the face of God!
Today’s song is the 6th song from this film to be discussed here. There were 14 songs in all, a large number indeed, considering that the average of songs in the 50s had come down to almost 6 to 7 songs per film. The song is very melodious. One finds lot of similarity between songs of Hiren Bose and Anil Biswas….may be because both used the folk tunes of Bengal in their music.
Song-Sun sun Dhobiya kahe re dhobaniya (Raami Dhoban)(1953) Singers -Shankar Daasgupta, Geeta Dutt, Lyricist- Ram Murthy Chaturvedi, MD- Hiren Bose
Female chorus
Male chorus
All chorus
Lyrics
chham chham chham chham chham
hey
chham chham chham chham chham
hey
chham chham chham chham chham
siya ram siya ram
ram ram siya ram
ram ram ram ram ram ram
sun sun dhobiya kahe re dhobaniya
sun sun dhobiyaa kahe re dhobaniya
chham chham chham chham chham
duniyaa gol hai
ghoom ghoom kar milte baarambaar
duniyaa gol hai
ghoom ghoom kar milte baarambaar
to phir hil mil kyun na karen
kyun na karen hum pyaar
to phir hil mil kyun na karen
kyun na karen hum pyaar
duniya gol hai
chham chham chham chham
siya ram siya ram
ram ram siya ram
ram ram ram ram ram ram
sun sun dhobiya kahe re dhobaniya
sun sun dhobiyaa kahe re dhobaniya
aa ha ha ha
a aa aa aa
lahron se milke khele machhariya
sajna se mil khele(?) mori najariya
lahron se milke khele machhariya
sajna se mil khele(?) mori najariya
bhaag tore jaage o mori sajni
bhaag tore jaage o mori sajni
bhaag tore jaage hamra balamva ganwaar
haay ram hamara balamava ganwaar
duniyaa gol hai
ghoom ghoom kar milte baarambaar
duniyaa gol hai
chham chham chham chham chham
hey
chham chham chham chham chham
hey
chham chham chham chham
duniyaa gol hai
ghoom ghoom kar milte baarambaar
duniyaa gol hai
ghoom ghoom kar milte baarambaar
to phir hil mil kyun na karen
kyun na karen hum pyaar
to phir hil mil kyun na karen
kyun na karen hum pyaar
duniya gol hai
chham chham chham chham chham
siya ram siya ram
ram ram siya ram
ram ram ram ram ram ram
sun sun dhobiya kahe re dhobaniya
sun sun dhobiya kahe re dhobaniya
kaanha se raadha mile chori chori
waise to bhi(?) mile chhaila se gori
kaanha se raadha mile chori chori
waise to bhi(?) mile chhaila se gori
bhola balmava hamaar o re piya
bhola balamva hamaar
chhup chhup ke khele shikaar
chhup chhup ke khele shikaar
to phir hil mil kyun na karen kyun na karen hum pyaar
to phir hil mil kyun na karen kyun na karen hum pyaar
duniya gol hai
duniya gol hai
chham chham chham chham chham
hey
chham chham chham chham chham
hey
chham chham chham chham chham
This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3763 | Post No. : | 14736 |
“Doraaha”(1952) was a “social” movie which was produced by Surjeet Chhabra and directed by Bal Chhaabra for Progressive Pictures, Bombay. The movie had Nalini Jaiwant, Shekhar, Dewan Sharar, Jagdeesh Sethi, Agha, Kamal, K N Singh, Protima Devi, Murad, Leela Mishra, Romesh Sinha, D D Luthra, Kusum, Bhagwandas, Kiran etc in it.
The movie had eight songs in it that were penned by three lyricists and sung by six singers.
Three songs have been covered in the past.
Here is the fourth song from “Doraaha”(1952) to appear in the blog. This song is a duet which is sung by Meena Kapoor and Shankar Dasgupta. Prem Dhawan is the lyricist. Music is composed by Anil Biswas.
Only the audio of this song is available. I request our knowledgeable readers to throw light on the picturisation of this delightful expression of love song.
Song-Tera mera mera tera pyaar ho gaya (Doraaha)(1952) Singers-Meena Kapoor, Shankar Das Gupta, Lyrics-Prem Dhawan, MD-Anil Biswas
Both
Lyrics
ho o o
o o o
Tera mera
mera tera
pyaar ho gaya
pyaar ho gaya
Tera mera pyaar ho gaya aa
Tera mera
mera tera
pyaar ho gaya
pyaar ho gaya
tera mera pyaar ho gaya
aayi chhup ke milan ki raaten
aayi chhup ke milan ki raaten
huyi dil se nazar se baaten
huyi dil se nazar se baaten
ho o o
o o o
Tera mera mera tera pyaar ho gaya
pyaar ho gaya
Tera mera pyaar ho gaya aa
Tera mera mera tera pyaar ho gaya
mera dil na raha mere bas mein
mera dil na raha mere bas mein
ik peer uthhi
ik peer uthhi
ik peer uthhi nas nas mein re
ik peer uthhi nas nas mein
ho o o
o o o
Tera mera
mera tera
pyaar ho gaya
pyaar ho gaya
Tera mera pyaar ho gaya aa
Tera mera mera tera pyaar ho gaya
tere naina jaadoo kar gaye tere naina
tere naina jaadoo kar gaye
ye do naina tere
ye do naina tere
ham ek nazar mein mar gaye re
ham ek nazar mein mar gaye
o o o
o o o
Tera mera
mera tera
pyaar ho gaya
pyaar ho gaya
Tera mera pyaar ho gaya aa
Tera mera mera tera pyaar ho gaya
mera dil hai amaanat teri
mera dil hai amaanat teri
tere bas mein piya
tere bas mein piya
tere bas mein jaan ab meri
tere bas mein jaan ab meri
o o o
o o o
Tera mera
mera tera
pyaar ho gaya
pyaar ho gaya
Tera mera pyaar ho gaya aa
Tera mera mera tera pyaar ho gaya
pyaar ho gaya
Tera mera pyaar ho gaya aa
- In: Devnagri script lyrics by Sudhir | Feelings of heart | Guest posts | Lover's Complaint | Lyrics contributed by readers | Pathos | Poignant Song | Post by Sudhir | sad song | Shankar Dasgupta solo songs | Shankar Dasgupta songs | Songs of 1950s (1951 to 1960) | Songs of 1952 | Vagaries Of Love | 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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3713 | Post No. : | 14642 |
Ek kissa hai, Radha ka. There is a tale, of a girl named Radha. She was in her teens, ‘kamsin’ as they say in parlance – young and innocent in years; sporting dark tresses that reached her knees; her supremely fair and flawless skin as if made from milk; her eyes – bright, with a depth enough for a smitten heart to drown itself. She would come to the terrace to hang out the laundry for drying. Iqbal, smitten as he was with the beauty of this young lady, would wait everyday to fill his heart with her moving images. The fascination, the infatuation remained as it is, unexpressed – for he could never muster up enough courage to say or do anything to express his feelings. Fears and apprehensions of many kinds held him back. Radha, remained a puppy love dream – forever. But is sure did make a poet out of that obsessed heart that could not express itself to its beloved.
He penned the following lines, as his initiation into the world of verse writing,
खेंचते हैं अपनी जानिब यार ये गेसू मुझे
आ रही है हर तरफ से प्यार की खुशबू मुझे
एक राधा से हुई है जब से मेरी दोस्ती
सारी दुनिया कह रही है आजकल हिन्दू मुझे
These tresses of my beloved, beckon me
The fragrance of love is diffused all around me
Since my heart has made a friend named radha
All the world is calling me a hindu these days
By his own admission, he would never have taken to pen and paper, if by some God sent blessing, this infatuation would have ripened into a reciprocated affair, and if the two would have been betrothed. The world of letters, and the world of cinema would have been robbed of one of the best romantic poets of the Golden Era of the Hindi film music.
Iqbal Hussain, born on 15th April, 1927 in Jaipur, grew up to be known by his pen name more than anything else – Hasrat. And the city of his origin came in to complete his identity recognition – Jaipuri.
He passed away this day (17th September) in 1999 after a scintillating career of almost five decades as a songwriter. The unsuccessful saga of his first love was in any case immortalized. The famous aria venerating the identity of the romantic messaging device called the ‘प्रेम पत्र’ (love letter), was originally written for his Radha, of the terrace visits. The song it became is – “Ye Mera Prem Patra Padh Kar” (film ‘Sangam, 1964).
It is a temptation to revisit all the great poetry he has written, that has become popular and enduring. But then even this one night, sleepless per force, would be inadequate to do justice. But in any case, that sampling may just be a reprise for all the dear melodies that I am sure all readers and lovers of this music, have stored away in their memories.
And so I just introduce this one song today. This wonderful melody, for the longest of the time, I was under the impression that this one is already posted here. But today I discovered that it is still in waiting. The film is ‘Badnaam’ from 1952. The music director is Basant Prakash (brother of Khemchand Prakash). The baritone rich singing voice is that of Shankar Dasgupta. The verses, of course, are from the pen of Hasrat Jaipuri.
The first sub line of this poem imitates the well known starting words of the famous she’er – “Ye Ishq Nahin Asaan, Bas Itna Samajh Lijey. . .” from a ghazal by the maestro Jigar Moradabadi. But after that it goes on to take a powerful identity of its own with lines like “. . .zakhmon mein chhupa lena, tasveer e mohabbat ko. . .” and “. . .khud lut ke sikha dena, duniya ko wafa karna. . .”.
An immense ghazal – words, composition, rendition – all are superlative. With memories of Hasrat Sb, enjoy this wonderful creation.
[Author’s Note: The episode of the poet’s first love is adapted from the definitive article on Hasrat Jaipuri, from the book ‘Hindi Filmon Ke Geetkar’ by Anil Bhargav.]
Audio
Song – Ye Ishq Nahin Aasaan, Kaanton Pe Jiya Karna (Badnaam) (1952) Singer – Shankar Dasgupta, Lyrics – Hasrat Jaipuri, MD – Basant Prakash
Lyrics
ye ishq nahin aasaan
kaanton pe
kaanton pe jiya karna
kaanton pe jiya karna
ye ishq nahin aasaan
kaanton pe jiya karna
kaanton pe jiya karna
ashqon ka zehar hardam
khush ho ke piya karna
kaanton pe jiya karna
kehte hain jise ulfat
ye khel hai sholon ka
kehte hain jise ulfat
ye khel hai sholon ka
chupchaap hi jal jaana
hargiz na gila karna
kaanton pe jiya karna
zakhmon mein chhupa lena
tasveer e mohabbat ko
tasveer e mohabbat ko
zakhmon mein chhupa lena
tasveer e mohabbat ko
tasveer e mohabbat ko
khud lut ke sikha dena
duniya ko wafa karna
kaanton pe jiya karna
aise to kai toofaan
raahon mein sataayenge
aise to kai toofaan
raahon mein sataayenge
ghabra ken a darr jaana
manzil pe badha karna
kaanton pe jiya karna
ye ishq nahin aasaan
kaanton pe jiya karna
kaanton pe jiya karna
———————————-
Hindi script lyrics (Provided by Sudhir)
———————————–
ये इश्क़ नहीं आसान
काँटों पे
काँटों पे जिया करना
काँटों पे जिया करना
ये इश्क़ नहीं आसान
काँटों पे जिया करना
काँटों पे जिया करना
अशकों का ज़हर हरदम
खुश हो के पिया करना
काँटों पे जिया करना
कहते हैं जिसे उलफत
ये खेल है शोलों का
कहते हैं जिसे उलफत
ये खेल है शोलों का
चुपचाप ही जल जाना
हरगिज़ ना गिला करना
काँटों पे जिया करना
ज़ख़्मों में छुपा लेना
तस्वीर ए मोहब्बत को
तस्वीर ए मोहब्बत को
ज़ख़्मों में छुपा लेना
तस्वीर ए मोहब्बत को
तस्वीर ए मोहब्बत को
खुद लुट के सीखा देना
दुनिया को वफा करना
काँटों पे जिया करना
ऐसे तो कई तूफान
राहों में सताएंगे
ऐसे तो कई तूफान
राहों में सताएंगे
घबरा के न डर जाना
मंज़िल पे बढ़ा करना
काँटों पे जिया करना
ये इश्क़ नहीं आसान
काँटों पे जिया करना
काँटों पे जिया करना
This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3602 | Post No. : | 14375 |
“Sheeshe Ki Deewaar”(1954) was produced by Khwaja Ahmad Abbas and directed by Manmohan Sabir for Manmohan Films, Bombay. This movie had Veena, Pran, Veera, Manmohan Krishn, Shammi, Cuckkoo, Rashid, Shaukat Hashmi, Rajan, Sulochana etc in it.
This movie had six songs in it.
Two songs from the movie have been covered in the past.
Here is the third song from “Sheeshe Ki Deewaar”(1954) to appear in the blog. This song is sung by Geeta Dutt, Yashodhara and Shankar Dasgupta. Manmohan Sabir is the lyricist. Music is composed by Shankar Dasgupta.
Only the audio of this song is available. I request our knowledgeable readers to throw light on the movie as well as on the picturisation of this song.
(Audio video not available on Youtube – This is another site audio mp3 song)
Audio – Mp3 Link
Click Here – Ae Dil e Beqaraar Tu Aur Na Beqaraar Kar.mp3
Ae dil e beqaraar tu aur na beqaraar kar (Sheeshe Ki Deewaar)(1954) Singers-Geeta Dutt, Yashodhara , Shankar Dasgupta, Lyrics-Manmohan Sabir, MD-Shankar Dasgupta
Lyrics
ae dil e beqaraar tu aur na beqaraar kar
jo na tumhaare ho sake
unka na intzaar kar
ae dile beqarar tu aur na beqaraar kar
jo na tumhaare ho sake
unka na intezaar kar
ae dil e beqaraar tu
teri bahaare lut gayin
tera nishaan mit gaya
teri bahaaren lut gayin
tera nishan mit gaya
ab dile daag dar ko aur na sogwaar kar
ae dile bekrar tu aur na bekaraar kar
jo na tumhaare ho sake
unka na intezaar kar
ae dile bekraar tu
apna banaa ke chal diye
sab kuchh bhula ke chal diye
chal diye
apna banaa ke chal diye
sab kuchh bhula ke chal diye
chal diye
ae mere naamuraad dil
phir bhi tu unko pyaar kar
ae dil e beqaraar tu aur na beqaraar kar
jo na tumhaare ho sake
unka na intezaar kar
ae dil e beqaraar tu
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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