Archive for the ‘Sitara devi songs’ Category
Goree goree gawaalan kee chhoree
Posted on: January 14, 2024
This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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5658 | Post No. : | 18159 |
“Pooja” (1940) was directed by AR Kardar for National Studios, Bombay. The movie had Sardar Akhtar, Zahoor Raja, Sitara Devi, Jyoti, Satish, Sunalini Devi, Ameer Bano, Bhudo Advani, Baby Meena, etc in it.
The film had 11 songs in it. One song has been covered in the past.
Here is the second song from the movie to appear in the blog. The song is sung by Sitaara Devi. Shaatir Ghaznavi is the lyricist. Music is composed by Anil Biswas.
Only audio of the song is available. Seeing that Sitaara Devi acted in the movie, it is clear the song was picturised on Sitaara Devi herself.
Song-Gori gori gawaalan ki chhori (Pooja)(1940) Singer-Sitara Devi, Lyrics-Shatir Ghaznavi, MD-Anil Biswas
Lyrics
gori gori gawaalan ki chhori
gori gori gawaalan ki chhori
sarson ke kheton mein wo o o o
sarson ke kheton mein wo o o o
o o o
raah takat hai moree ee
gori gori gawaalan ki chhori
gori gori gawaalan ki chhori
gali chalat mohe paas bulaaye
o bulaaye
gali chalat mohe paas bulaaye
paas bulaaye
hans muskaaye
gali chalat mohe paas bulaaye
paas bulaaye
hans muskaaye
hans muskaaye
baat banaaye
hans muskaaye
muskaaye
hans muskaaye
baat banaaye
baat banaaye
o banaaye
baat banaaye
kare thhathhoree ee ee
baat banaaye
kare thhathhoree ee ee
gori gori gawaalan ki chhori
gori gori gawaalan ki chhori
sarson ke kheton mein wo o o o
sarson ke kheton mein wo o o o
o o
raah takat hai moree ee
gori gori gawaalan ki chhori
gori gori gawaalan ki chhori
——————————————
Hindi script lyrics (Provided by Sudhir)
——————————————
गोरी गोरी ग्वालन की छोरी
गोरी गोरी ग्वालन की छोरी
सरसों के खेतों में वो॰ ॰ ॰
सरसों के खेतों में वो॰ ॰ ॰
ओ ओ ओ
राह तकती है मोरी॰ ॰ ॰
गोरी गोरी ग्वालन की छोरी
गोरी गोरी ग्वालन की छोरी
गली चलत मोहे पास बुलाये
ओ बुलाये
गली चलत मोहे
पास बुलाये
हंस मुसकाए
गली चलत मोहे
पास बुलाये
हंस मुसकाए
हंस मुसकाए
बात बनाए
बात बनाए
ओ बनाए
बात बनाए
करे ठठोरी॰ ॰ ॰
बात बनाए
करे ठठोरी॰ ॰ ॰
गोरी गोरी ग्वालन की छोरी
गोरी गोरी ग्वालन की छोरी
सरसों के खेतों में वो॰ ॰ ॰
सरसों के खेतों में वो॰ ॰ ॰
ओ ओ
राह तकती है मोरी॰ ॰ ॰
गोरी गोरी ग्वालन की छोरी
गोरी गोरी ग्वालन की छोरी
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 : |
5537 | Post No. : | 17995 |
Today’s song is from the film Aaj ka Hindustan-1940.
The second world war had already begun in 1939 and the British Government had promulgated many restrictions on the Indian people like rationing of food items. rationing of petrol and other essential items. As far as the Film industry was concerned, the Raw Film used to be imported as it was not yet made in India. The Government started a quota system for the filmmakers, based on a formula of films made in an year on average and many related parameters. This created problems for individual filmmakers who made films at random and had no studio of their own.
All this had social repercussions and gave scope and rise to Black Marketing of almost everything. Cost of living went up and suddenly the number of films made crashed to a low level of only 86 films in the year of 1940. It took some time for the filmmakers to reschedule their policies. The studio system actually became stronger as artistes preferred to stick to their studios to ensure their sustenance.
From the time when the films started being made in 1913 in India, there came some Milestones years which responded to the changes in the industry. The following were the years when industry had to remodel itself as required.
1931 – Sound entry in films. This encouraged more filmmakers who understood the bright future for the films.
1940 – After a decade of experience, the industry did away with the old dramatic acting style and stage music to songs. Fresh and new composers brought in a variety from different states of India.
1942 – The next younger generation started their own studios making the system strong. More talents were employed.
1946/47 – There was an overhauling of the industry, when a sizable number of film people migrated to Pakistan. This brought in new talents, new blood and ideas to fill the gap. The beginning of “The Golden Era” started.
1950 – After the first 20 years of filmmaking the industry shed its old look and adapted to needs of changing times, tried to be with the world outside India, in music and production with modern equipment. Fall of Calcutta as a Hindi film centre.
Now let us take a closer look at the year 1940……
The year 1940 was the end of the first decade of Talkie films. From 1931 to 1939 most of the film music was made and sung by people who were experts in Classical Music. Classical music has never been the area of common people. It was born in Temples and nurtured in the Darbars of Kings and Nawabs. When film music relied heavily on classical mode, it became an imposition on the masses. Luckily, from the last 2 years of the 30’s, film music started changing and the emphasis shifted to traditional and Folk tunes over the classical.
1940 saw the emergence of Naushad with his first film ‘ Prem Nagar”, as an independent MD. He is the one who advocated the combination of classical with Folk music and this was accepted by other MDs. More people now turned to film songs.MDs like Naushad, Anil Biswas, C Ramchandra, Saraswati Devi, Gyan Dutt, Pankaj Mullick and their followers in the later part of the 40’s changed film music upside down.
National Studios emerged from the merger of Sagar Movietone and Mehboob gave his blockbuster milestone film ” Aurat”. Himanshu Rai died untimely and the reigns of Bombay Talkies came into the hands of Devika Rani. Ranjit brought more popular films from its factory. Though there were signs of slow death, New Theaters still continued with musical films. Prabhat brought its third successive Saint film ‘ Sant Gyaneshwar”. Wadias looked after their Stunt films with fearless Nadia and John Cavas.
In the south, SS Vasan started his Gemini Studios. Master Vinayak and P K Atre started Navyug Films. In August 1940, there was a big fire in New Theatres leading to heavy losses. The use of Harmonium was banned on A.I.R. Due to War Times, Raw Film controls were given to the Film Advisory Board. It also gave rise to Black Marketing of Raw film, in addition to already existing Rationing, and a new class of rich investors emerged in the film industry shaking its established Studio Systems and Culture.
The year 1940 made only 86 Hindi films, less than 100 for the consecutive third year in a row. Let us take a look at some important films of 1940.
New Theatres film Aandhi had good music and songs.
Bombay Talkies continued with Ashok Kumar and Leela Chitnis with the film Azaad, but it was not as popular as Jhoola, Kangan and Bandhan.
A dubbed foreign film -“Azadi E Watan” was the only Hindi film for which Malika Pukhraj had sung 2 songs.
Ranjit’s Achhut tackled a social evil, with good songs composed by Gyan Dutt.
A Stunt film of Shankar Vazare ” Aflatoon Aurat” had an English song in it.
Sagar’s last film ” Alibaba” by Mehboob was released. “Aurat” , a Landmark film by Mehboob for National Studios was the origin of its remake ” Mother India” 57’.
Film ‘Bharosa’ by Minerva was based on an Incest story.
Sirco’s offering ‘Geeta’ had a crime story, with double roles of Chandramohan and Durga Khote.
Prakash Pictures film ‘Narsi Mehta’ had Sant Tukaram fame Vishnupant Pagnis and some good bhajans.
Film Usha Haran saw the Debut of Sitara Devi.
Film Zindagi from New Theatres had very good songs by Saigal.
In addition to restrictions, the British Government also needed people’s support for their war efforts. For this they started ” War propaganda films”. Those producers who made films showing war propaganda in favour of the British, were to get extra ‘Raw film quota’. Many producers opted for this and made films by adding some scenes/dialogues/songs to this effect. Films like Panna-1944 and Badi Maa-1945 are some examples. Actress Geeta Nizami even got a reward from the British Government of Rs. 9000 for her acting in Panna-44 and an extra quota for the producers.
Today’s film Aaj ka Hindustan-1940 may also be one such film. I have no idea about its storyline, but looking at its songs like ” Charkha chalao Behno”, it gives an idea about its being a Propaganda film. Made by Ranjit Movietone it was directed by Jayant Desai and the MD was Khemchand Prakash. Lyricist was D.N.Madhok. The cast consisted of Rose, Prithviraj,Ishwarlal, Charlie, Dikshit, Yaqub, Sitara, Tarabai (sister of Sitara and mother of dancer Gopi krishna), kalyani bai etc etc.
Madhok was an interesting personality in the Hindi film industry. It was D N Madhok who was responsible for recommending Naushad to Manibhai Vyas and Naushad got his first film Kanchan as an MD. He started work and composed one song also. But the orchestra players rebelled against Naushad. They could not tolerate that one of them became a composer and started ordering them. Due to their constant non cooperation,Naushad left the film and it went to Gyan Dutt,who not only retained Naushad’s composition but also gave him the credit as MD for that song. The song was ‘ bata do koi kaun gali gaye shyam’ by Leela Chitnis in the film Kanchan which was released only in 1941. After this Madhok took Naushad to Mohan Bhavnani and he got his first film ‘Premnagar-40′ as MD.
The role of Madhok in the early success of Naushad was vital.Apart from helping Naushad to get established,he worked with Naushad in 11 films out of Naushad’s first 14 films,till Rattan 44. D N Madhok was born on 5-9- 1902. He wrote songs,stories,screenplays and dialogues from 1937 to 1969 a span of 32 years.His famous films were,Bhakta Surdas,Tansen and Rattan. Madhok wrote 882 songs in 119 films. He died on 9-7- 1982 in Hyderabad.
He acted in the film Radhe Shyam-1932. He directed 16 films- from Khubsurat Bala-1933 to Naata-1955. He had sung 1 song in his first film Radhe Shyam-1933. He gave music to the film Radhe Shyam-1933.
Though Madhok was prolific and influential,his reputation in the industry was not good. Besides having all types of bad habits, he was often accused of stealing composers’ tunes and selling them to others. In fact he provided Lyrics and tunes as a package, hence he was popular among some composers. In fact Khwaja Khursheed Anwar a highly respected composer of those days is on record, in an interview ( available on Dr. Surjit Singh ji’s website) to prove how Madhok stole his tunes and sold them to others.
There is an anecdote about how Sajjad Hussain snubbed Madhok in this connection. Sajjad was officially the only composer originally for the film ‘Gaali-44’.
Madhok was one of the many lyricists of this film. One day Madhok came to Sajjad with a ready-made tune and Lyrics for the song ‘ ab aaja dil na lage ‘. Self-respected Sajjad was so enraged that he told Madhok, ” Miyan hum Naushad nahin hai. Humen Tarje banani aati hai “. The final result was Sajjad lost the film and it went to Hanuman Prasad. Madhok was vindictive too.
Let us now enjoy today’s duet sung by Sitara and Ishwarlal……
Song- Dagaa dai ke chale gaye ho baalam (Aaj Ka Hindustan)(1940) Singers-Sitara, Ishwarlal, Lyricist- D.N.Madhok
MD-Khemchand Prakash
Unknown male voice
Chorus
Sitara + Ishwarlal+ Chorus
Lyrics
dagaa dai ke chale gaye ho baalam
jamuna ke pul paar
dagaa dai ke chale gaye ho baalam
jamuna ke us paar
ghar aaja nanad ke bhaiyya
ghar aaja nanad ke bhaiyya
ho ghar aaja nanad ke bhaiyya
tere jhoothhe bhaye ikraar
ghar aaja nanad ke bhaiyiya
tere jhoothhe bhaye ikraar
tohe raam duhaayi
hoy
tohe raam duhaayi
hoy
tohe raam duhaayi
koi pee ki nagariya bataaye de
koi pee ki nagariya bataaye de
mohe sainyya ke photu mangaaye de
mohe sainyya ke photu mangaaye de
ho nanadiya
ho nanadiya karo ikraar
haan jamuna ke pul paar
ho nanadiya karo ikraar
haan jamuna ke pul paar
tohe raam duhaayi
hoy
tohe raam duhaayi
hoy
tohe raam duhaayi
aa aa aa aa aa
aa aa aa aa
aa aa aa
dhaan pake ae ae ae
ae ae ae
hey ae ae ae
he he
aur nimbua paake
he he he he
dhaan pake aur
nimbua paake
dhaan pake aur
nimbua paake
dekho sajanwa aake
dekho sajanwa aake
bisar gaye kheton kee duniya
bisar gaye kheton kee duniya
sautan ke ghar jaake baalam
sautan ke ghar jaake baalam
aake balamwaa lo ye bakhaar
jamuna ke pul paar
aake balamwaa lo ye bakhaar
jamuna ke pul paar
tohe raam duhaayi
hoy
tohe raam duhaayi
hoy
tohe raam duhaayi
ghar aaja nanad ke bhaiyya
ghar aaja nanad ke bhaiyya
ho ghar aaja nanad ke bhaiyya
tere jhoothhe bhaye ikraar
ghar aaja nanad ke bhayiya
tere jhoothe bhaye ikraar
dagaa dai ke chale gaye ho baalam
jamuna ke pul paar
dagaa dai ke chale gaye ho baalam
jamuna ke pul paar
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 : |
5262 | Post No. : | 17268 |
Today’s song is a female-female duet from the film Swami-1941.
1941 was the beginning of a new decade. After the Talkie film’s entry, this was the second decade. There were many changes taking place continuously in the film making and so it was interesting to know how the year 1941 fared. The 30s and the 40s mostly differed in film music and story contents. The new blood composers like Anil Biswas, C Ramchandra, Naushad, Ghulam Haider, K Datta, Hansraj Behl, Bulo C Rani, Gyan Dutt and many more replaced the Parsi, Marathi and Gujarati drama music to more acceptable lilting songs. Many musical films were made and some everlasting songs were composed by these people.
At the end of the 1940s, one more major change in the film industry took place due to Partition. More about it in the coming times. Let us see some important films which were worth a second look in 1941….
JBH Wadia produced the First Sindhi film ‘Ekta’ in 1940 and released it in 1941. His film Court Dancer-1941 (Raj Nartaki in Hindi and Bangla) was also in English.
Asra- Debut of actor director N A Ansari.
Behan- Mehboob directed this film having an incest suggestive story.
Chandan- Debut of S N Tripathi as an MD
Chitralekha- First big success of Kidar Sharma. Mehtab’s bath scene caused a ripple.
Dhandhora- Actor comedian Charlie directed the only film.
Doctor- Pankaj Mullick gave excellent songs. First popular song with Hoof beats-‘ Chale pawan ki chaal ‘.
Jhoola- One of the most successful films like Kangan and Bandhan, starring Ashok kunmar and Leela Chitnis.
Kanchan- First composed song of Naushad-” Bata do koi”
Khazanchi- A milestone in musical revolution with Punjabi Theka, by Ghulam Haider. Debut of Shamshad Begum in Hindi films.
Lagan- Saigal, as usual, gives good songs.
Mala- was remade as ‘ Amar-55’ with music again by Naushad only.
Naya Sansar- Story of Newspaper world. A novelty. Ashok Kumar’s famous cigarette smoking in films started from this film, solving his problem of ‘ what to do with the hands during acting’ !
Nirdosh- Mukesh sings his first film song.
Padosi- Last film of V Shantaram before leaving Prabhat. A Landmark film. ” Kaisa chhaya hai ujala” is a popular chorus song.
Pardesi- Debut of actress Anjali Devi (not the southwali) with real name ‘Durgesh’.
Radhika- Debut of Nalini Jaywant.
Raj Nartaki- Ambitious Wadia film in English , Bangla and Hindi. Released in the USA by Columbia Pictures of Hollywood.
Sangam- Amritlal Nagar’s first film as a writer. He did 18 films as writer and Lyricist.
Sikandar- A Magnum-Opus from Minerva. Chorus song- ” Zindagi hai pyar se” is very popular.
Taj mahal- Debut of Baby Suraiya as an actress.
Sasural and Ummeed were 2 films in which Noorjehan senior acted and sang. However these films are usually wrongly included in the filmography of Malika E Tarannum Noor jehan. She entered Hindi films only with the film Khandan-1942 at Lahore.
With a backdrop of such films and music in 1941, no wonder film Swami-41 was not shining. It was an average film There was neither anything special in its story nor its music. This resulted in an average response at the Box office. As such the music director and most of the cast was in the fading phase. This affected the producer of the film Chimanlal Trivedi – owner of the banner CIRCO Productions. Soon he closed it down and started his new company ‘ Laxmi Productions’. Trivedi was an interesting person.
Chiman Lal Trivedi, was one of the major filmmakers of the 30s and the 40s decade. He was more a Producer businessman than a Director. While he directed hardly 7 films, he produced close to 50 films- all having A grade actors, directors and composers !
Born on 19-3-1909 at a village near Anand in Gujarat he was from a Brahmin family. He did his schooling in Ahmedabad and technical graduation from Baroda. Being an expert in weaving, he took up a job as a weaving Master in Calcutta. Fond of writing, he started writing Dramas, which were staged in Bengal and Gujarat. He was attracted towards Cinema and tried some work in New Theatres. Knowing that the real playing field is Bombay he reached there. He wrote stories for the film Chevrolet-36 and Danger Signal-37 for Mohan pictures.
He established his own production company CIRCO (Cine Industries Recording Company) in 1937. By 1943, he had made 12 films. He preferred not to direct his films, but appointed directors like Mohan Sinha for Laxmi-40, Anuradha-40 and Vanmala-41, Balwant Bhatt for Suhag-40 and Madhusudan-41, A R Kardar for Swami-41 and Nai Duniya-42 and Debki Bose for Apna Ghar-42.
He had the art of getting the most popular stars for his films like, Prithviraj kapoor, Chandramohan, Durga Khote,Mazhar khan, Bibbo,Surendra, Jairaj, Sitara, Jeevan, Yaqub, Shobhana Samarth, Prem Adeeb, Vishnupant Pagnis,Leela Desai, Pahadi Sanyal, Shanta Apte and many others. Even big directors like Debki Bose,Nitin Bose, Kardar,Mohan Sinha, Sarvottam Badami, Nandlal Jaswantlal,Profull Roy, Sudhir Sen, R S Chaudhary, Phani mujumdar, Balwant Bhatt etc. worked for him. From Prabhat he brought Shanta Apte for Rs.1000 pm, and also Chandramohan, Pagnis and Mazhar khan. His friend Chandulal Shah followed his way and brought K L Saigal from New Theatres !
C L Trivedi was an expert in gathering funds for his films. After CIRCO at Parel, he started Laxmi Productions at Andheri, in 1942. He made mera Gaon,Sharafat,Bhagya Laxmi,Kadambari,Tamanna,Inkaar,Mohabbat, Miss Devi etc. In 1951, it was Supreme Pictures, Trivedi Productions was in 1952, Kala Kendra in 1953 and with Chitra Bharati in 1954, he made 13 films upto 1961. Top Composers like Timir Baran,Ashok Ghosh,Rafiq Gaznavi,K C Dey,Saraswati Devi,Husnlal-Bhagatram and Naushad gave music to his films.
In the end, he turned to Stage and started Abhinay Bharati. He staged many dramas in Bombay and Gujarat. Chimanlal always went for big names. He had close relations with Nehru, Menon, Morarji Desai, and other National leaders. His wife Kantaben was a Leader herself. Chimanlal Trivedi died on 25-11-1973. His wife, 3 sons and a daughter settled in the USA.
It may be a coincidence, but Gujarati businessmen like Chimanlal Trivedi, Chimanlal Desai,Chimanlal Luhar, Chaturbhuj Doshi, Chimankant Desai, Chunibhai Desai and Chandulal Shah made sizable contribution to Hindi cinema in the first 20 years of the Talkie era. All names started with CH ( ? ) !
(Thanks to Harish Raghuwanshi ji for his book ” बॉलिवूडमा गुजरातीयो ” in Gujarati.)
The cast of the film Swami-41 was Sitara, Jairaj, Jeevan, Yaqub, Majid, Badri Prasad, Rajkumari, Radha Rani, S.Nazir, Ram Avtar and others. The lesser known names were Majid and Ram Avtar.
Majid’s name was Abdul Majid Syed. He was born at Farrukhabad in U.P. in 1915. His father was an Overseer. After matric in 1929, he started his business of Leather in Akola, Maharashtra. in 1935, actor, director and producer Nazeer of Hind pictures, introduced him to S.K.Daryani and he got a small role in Sher ka Panja-36 and Sangdil samaj-36. However, from film Bulldog-37, he got side roles and lead roles in films like Gentleman daku-37, insaaf-37, Rajkumari-38, Masterman-38, Zamana-38, Mud-40, Saubhagya-40, Swami-41, Swaminath-42, he also acted in more films like Najma-43, Babar-44 and Zeenat-45.
In all he did over 100 films till 1947. After Partition, he migrated to Pakistan with Nazeer and Swarnalata. In Pakistan he did just 7 films. He died on 24-9-1959.
Now about Ram Avtar- my favourite comedian. Ram Avtar Pandey was born on 11-11-1911, at Rampur-UP,. He started his filmi career in 1938 with character roles. In the early 50s, he switched to comedy, when he gained weight and a pot belly.
Ram Avtar was a fixture in many Nasir Hussain films. His roles in Badi Behan-49, Nagin-54, Hum sub chor hain-56, Tumsa nahin dekha-57, jab pyar kisi se hota hai-61, Phir vohi dil laya hoon-63, Teesri Manzil-67, Yaadon ki Baraat etc are memorable. I like his role in film Teesri Manzil-1967. His last film was Prem Geet-1981. His last released film, however, was Love and God-1986. He acted in 133 Hindi films. He died on 23-12-2011 at Mumbai.
Today’s female duet is sung by Rajkumari and Sitara. In this films they sang 2 such duets. Before or after this, they never sang together again. Rafiq Ghaznavi’s music still followed the 30’s music pattern only, which had already been discarded by people in the 40’s.
Song-Man mein samaaye piya man mein samaaye (Swaami)(1941) Singers- Rajkumari, Sitara, Lyricist- Shatir Ghaznavi, MD- Rafiq Ghaznavi
Lyrics
hoy
hoy
man mein samaaye piya
man mein samaaye piya
man mein samaaye
hoy
man mein samaaye piya
man mein samaaye
nainan mein aaye gori
nainan mein aaye gori
jeewan mein chhaaye
nainan mein aaye gori
jeewan mein chhaaye
man mein samaaye piya
man mein samaaye piya
man mein samaaye
hoy
man mein samaaye piya
man mein samaaye
oonchi aatariya pe kaagarwa bole
haaye
oonchi aatariya pe kaagarwa bole
man ki talaiyya mein aa ?? dole
man ki talaiyya mein aa ?? dole
nainan mein jhoole balam
nainan mein jhoole balam
??
nainan mein jhoole balam
??
man mein samaaye piya
man mein samaaye piya
man mein samaaye
hoy
man mein samaaye piya
man mein samaaye
hoy
hoy
man mein samaaye piya
man mein samaaye piya
man mein samaaye
ho
man mein samaaye piya
man mein samaaye
sainyya ke aangna mein balam ke dere
ho
sainyya ke aangna mein balam ke dere
sau sau bahaane se panghat pe chhede
sau sau bahaane se panghat pe chhede
baanke sipahiya tohe raste mein ghere
baanke sipahiya tohe raste mein ghere
naina churaaye gori
naina churaaye gori
man mein lajaaye
naina churaaye gori
man mein lajaaye
man mein samaaye piya
man mein samaaye piya
man mein samaaye
ho
man mein samaye piya
man mein saamaye
nainan mein aaye gori
nainan mein aaye gori
jeewan pe chhaaye
nainan mein aaye gori
jeewan pe chhaaye
man mein samaaye piya
man mein samaaye piya
man mein samaaye
ho
man mein samaaye piya
man mein samaaye
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 : |
5186 | Post No. : | 17165 | Movie Count : |
4623 |
Today’s song is from the film Nadi Kinare-1939. The film was released in Pathe Theatre of Bombay on 10-11-1939.
The year 1939 was a landmark year in the history of the world.
The year was 1939 and the British Government had declared war against Germany and Japan, as soon as the WW II began. All countries ruled by Britain were – willingly or unwillingly, drawn into the war efforts and its effects. The war began in the month of September and soon various restrictions came into operation – like rationing, blackouts, shortages etc. The film industry which was still under its development stage suffered. It also realised the importance of remaining united as one industry. However, all that came after 1 or 2 years. In 1939 there was not much effect seen on the film industry.
The industry had its own problems. In spite of the playback system in operation, their problem was that because there was no technique of recording from the film negative yet, the singers had to sing twice. Once for the actual film shooting of the song, and later, with the same set of orchestra, for commercial records. Sometimes, the original singer was not available due to any reason, some other singer had to sing for commercial records. Thus we have many such examples, where the singer in the film song and the record is different. However, this problem continued only till mid 50’s when the Tape and the required technique became available. With just one time recording, the film and commercial recording were taken care of.
Khemchand Prakash. K.Datta (Datta Koregaonkar), Rafiq Ghaznavi and Anupam Ghatak made their Debut as Music Directors. Kavi Pradeep wrote his first film song for film Kangan. In 1939, 2 most Unusual songs were presented, for the first time ( and this record is not yet broken even after more than 80 years.). One was a Multi-Lingual song from film Aadmi-39, a film by Prabhat….Kis liye kal ki baat. This song was in Hindi, Urdu, Punjabi, Gujarati, Bangla, Tamil and Telugu. ( In its Marathi film version-” माणूस “, this song was only in one language-Marathi.) Different Lyricists and MDs were used for each language. The song became very popular.
Second unusual song was from film ‘ Ghareeb ka Laal’-1939. The song lyrics had the names of 32 artistes, operating in Hindi films that time. Top Heroes and Heroines were mentioned in this song. The beginning of the song was ” Tuze Bibbo kahoon ya Sulochana, Uma shashi kahoon ki Jamuna “. This song was sung by the comedian Mirza Musharraf. In later years many songs with film artistes’ names came but none had so many names. Thus this record is still unbroken, in case of both songs.
Besides these songs, let us quickly take a look at some films of 1939….
Aadmi – Prabhat’s hit film, a remake of the Marathi film ” माणूस “. It had some good songs by Shanta Hublikar, Sundarabai Jadhav and Ram Marathe.
Adhuri Kahani – a trend of Tragedy films set by the effect of film ‘Devdas’. All the 3 main characters of this film commit suicide in the end.
Badi Didi – A New Theatres film.
Brandy ki Botal – Master Vinayak’s comedy remake of Marathi film ‘ ब्रॅंडीची बाटली ‘.
Dil hi to hai – Debut of Kidar Sharma as a Director and Ramola as a Heroine in a Hindi film.
Dushman – New Theatres’ film of Saigal, with only his 4 songs.
Ek hi Raasta – Sagar presents first film with 3 Heroes in one film.
Ghazi Salauddin – Debut of Khemchand Prakash as M.D.
Hukum ka Ikka – First film with a Triple role by Umakant Desai ( who later specialised as Lakshman in 7 films, including Ramrajya-43).
Imaandaar – Debut of actress Shamim Akhtar.
India in Africa – This was the First Hindi film to be shot abroad (in Africa). The Hero B. Nandrekar had also gone to Africa for its shooting. Naaz-54 was not the first such film, though HFGK mentions it so.( Ref – pp 69, Maharashtra-The Birthplace of Indian cinema by Isak Mujawar)
Kangan – First of the 4 Hit films of Ashok Kumar and Leela Chitnis, made by Bombay Talkies. Kavi Pradeep’s Debut as a Lyricist in this film.
Kapal kundala – New Theatres. Pankaj Mullick’s hit song ‘ Piya milan ko jaana ‘.
Leather Face – Debut of Meena Kumari as a child artiste.
Navjeevan – Debut of Hansa Wadkar as a Heroine- Bombay Talkies film.
Pukar – Hit film from Minerva Movietone. Naseem Bano sings ” Zindagi ka saaz bhi kya saaz hai….”
Indian filmmakers had practiced 4 ways of getting stories for their films, since the beginning of Talkie films.
1. Copy from older films
2. copy from other languages or remake them
3. use stories from Foreign films – especially Hollywood and
4. make a mixture of all this and make a film.
Hundreds of films were made on the stories of Alibaba. Alauddin, Sindbad, Thief of Baghdad, Hatimtai, Gul E Bakavali and other stories from the Arabian Nights. Hollywood films made on famous novels or dramas were another source of inspiration. When the Talkie films started, the first such film was made in 1933 itself titled- “Awara Shehzada “, with Shahu Modak as its Hero.This was the first Hindi film based on the famous novel of Mark Twain- The Prince and the Pauper, published in 1881. Films on this ” Look alike” theme were made in Hollywood as early as 1915 and 1920 This theme was used abundently in Hindi films like Ram aur Shyam, Don, Seeta aur Geeta, Kanoon and many more films. The list will be too long.
In 1937 a film ” Duniya kya Hai” was made by Lalita Pawar, based on Count Leo Tolstoy’s famous novel ” Resurrection”, published in 1899. The Hindi film was inspired by the Hollywood film ” We live again” made on this novel. In 1938, prakash pictures made ” Khwaab ki Duniya “. It was inspired by the popular Hollywood film ” The Invisible man”-1933, which was based on the famous novel of same name, by H.G.Wells in 1897. Subsequently many films like Mr. X, Mr. India etc were made in Hindi on this theme.
These are few examples to prove the point. There are umpteen number of such films. Sometimes the story departments of the film strudios play a clever game. They mix up the stories of 2-3 Hollywood films and make a Hindi film. Today’s film ” Nadi Kinare”-1939 was also made based on few scenes and themes from 3 Hollywood films, namely ” The king and the chorus girl”-1937, ” Bluebeard’s eighth wife “-1937 and ” The rage of Paris “-1938.
The film was directed by Manibhai Vyas (27-4-1920 to 14-11-1993). he directed 20 films from Dukhiyari-1937 to Shrikrishna Bhakti-1973. The MD was Gyan Dutt and the cast was Kumar, Sitara Devi,Indubala, Ram Marathe, Kantilal and others.There were 13 songs in the film sung by Indubala, Sitara Devi,Kantilal,Kalyani and Gyan Dutt himself. Lyrics were by P.L.Santoshi and D.N.Madhok.
Actor/singer Ram Marathe had done a child role in this film He is one of those child actors who left film world at the right time and pursued his hobby of classical singing. Consequently he bacame a big name in Classical Music all over India. His case reminds me of anothe child actor-n Shashi kapur Sr, who was much in demand as a child actor during the period 1944 to 1955. he did 21 films as a child actor. Then he left films, completed his M.Sc. and Ph.D. He went to USA and became a Professor of Maths in Michigan University in USA.
Actually many child actors like Baby naaz, M.Kabir, Sarosh Irani, Master Romi etc reached an age when they were neither child nor an adult. They stopped getting any roles and had to leave films. Child actor Ramchandra ( Ram) Marathe was born on 23-10-1924 in Poona and studied in Bhave school up to 10th.He and his brother ( Anant Marathe aka Anant kumar) worked in films as child actors, due to family conditions. They started work from 1936 onwards. Ram Marathe had an edge over his brother,in that he could sing too. Starting with Shahu Chor in 1936, he worked in Sagar movietone (6 films), Ranjit (3 films) and Prabhat (2 films), in addition to other companies like prakash, Mohan Pictures, Imperial etc. he acted as a child star in 16 films. he sang 11 songs in 6 films. After this Ram left films and started training in classical music-his liking. Here is a short bio of Ram Marathe, adapted from meetkalakar.com….
Ramchandra Purshottam Marathe (1924-1989) began his early career as an actor and singer in films produced by the Prabhat company. His formal training in music assumed a definite direction when he came under the tutelage of Master Krishnarao (Phulambrikar). Later, he trained under accomplished musicians such as Mirashibuwa of Gwalior and Vamanrao Sadolikar of Atrauli-Jaipur. His quest for widening his musical horizons culminated in a long-lasting discipleship (15 years) under Jagannathbuwa Purohit (“Gunidas”). As a consequence of his broad training and background, Rambhau’s music integrated the best of Gwalior, Agra and Jaipur styles. Rambhau was a stalwart in the field of Marathi Natya Sangeet. He was also known as a composer. Among his pupils is Ulhas Kashalkar.
Pt.Ram Marathe had performed in all the prestigious musical festivals at various places like Jalandhar, Patna, Lahore, Delhi, Gwalior, Calcutta, Banaras,Amritsar and almost all over Maharashtra. His contribution to Indian classical music was recognized with several Awards for his unique and successful performances. He was “A-top grade” Hindustani Classical Artist of All India Radio.
Since he had undergone proper Tabla training, he had a great command on Taal and Layakari. He had special command on Rare–Anvat Ragas & Jod Ragas and he was highly recognized for his clear and fast tankriyas and also for Purity of Ragas. He always used to enrich his audience with various semi-classical forms like Khayal, Tarana, Tappa, Natyasangeet, Thumri, Dadra & Bhajans in his concerts. Unlike the present classical singers, his concerts used to last more than 5 hours with the powerful intensity and stamina.
He started his stage career under the perusal of Natvarya Shri Ganpatrao Bodas in 1950 as a leading character in old classical musical dramas like Saubhadra, Sanshaykallol, Swayamvar, Ekach Pyala, Manapman etc. with veteran actor and actress such as Balgandharva, Hirabai Badodekar, Vinayakbuwa Patwardhan, Nanasaheb Phatak etc. Despite his busy schedule in concerts, he performed in 22 old & new Sangeet Natak with more than 5000 stage shows. This is purely out of his dedication and commitment towards Sangeet Rangbhoomi.
Composed music for more than 10 dramas such as – Mandarmala, Suvarna Tula, Meghmalhar, Tansen, Baiju etc. and acted in the play as a leading character role.
His disciples include many eminent classical singers like Pt. Ulhas Kashalkar, Sudhir Datar, Ram Pratham, Vishwanath Kanhere, Vishwanath Bagul, Yogini Joglekar, Shashikant Oak, Madhuwanti Dandekar, Sanjay Marathe & Mukund Marathe etc. (more than 50) and have got the training from him under the traditional Gurukul way of learning.
Maharashtra Government honoured the “Sangeet Bhushan” degree in 1961.
• Recognition by Government of Maharashtra in 1981 for successful completion and continuous 30 years of career in Marathi Sangeet Rangbhumi.
• Honoured “Sangeet Chudamani Degree” by Jagadguru Shankaracharya of Puri.
Appointed by AIR, New Delhi on the Northern (Hindustani) Music Audition Board Committee. Also Advisory Nagpur and other Universities in India.
More than 100 Records and number of CDs and LPs to his credit and composed more than 50 Bandish in various Ragas.
Ram Marathe died on 4-10-1989.
Today’s duet song is sung by Sitara Devi and Kantilal (18-4-1907 to 17-6-1971). Kantilal acted in 31 films and sang 59 songs in 24 films.
Song- Duniya Deewaani duniya deewaani (Nadi Kinaare)(1939) Singers- Sitara Devi, Kantilal, Lyricist- Not known, MD- Gyan Dutt
chorus
Lyrics
Duniya deewaani
duniya deewaani
duniya deewani
duniya deewaani
duniya deewani
koi kahe haaye jigar
koi kahe dil
koi kahe haaye jigar
koi kahe dil
koi kahe chori chori
aake sajan mil
koi kahe chori chori
aake sajan mil
duniya deewaani
duniya deewaani
duniya deewaani
duniya deewaani
duniya deewaani
koi kahe dil na mila
aankh mila le
koi kahe dil na mila
aankh mila le
aankh mila le
koi kahe aankhon ke parde mein chhipa le
koi kahe aankhon ke parde mein chhipa le
duniya deewaani
duniya deewaani
duniya deewaani
duniya deewaani
duniya deewaani
le ke dil aaya hoon main yahaan
koi khareede
le ke dil aaya hoon main yahaan
koi khareede
koi khereede
hai koi dil waala jo
dil deke ye dil le
hai koi dil waala jo
dil deke ye dil le
duniya deewaani
duniya deewaani
duniya deewaani
duniya deewaani
duniya deewaani
loot le joban ke maze
duniya hai phaani
loot le joban ke maze
duniya hai phaani
duniya hai phaani
dam bhar mein guzar jaayenga
ye khwaab e jawaani
dam bhar mein guzar jaayenga
ye khwaab e jawaani
duniya deewani
duniya deewaani
duniya deewaani
duniya deewaani
duniya deewaani
le ke dil aaya hoon main yahaan
koi khareede
le ke dil aaya hoon main yahaan koi khareede
koi khereede
haaye
hai koi dil waala jo
dil deke ye dil le
hai koi dil waala jo
dil deke ye dil le
duniya deewaani
duniya deewaani
duniya deewaani
duniya deewaani
duniya deewaani
Aao mil jul ke
Posted on: March 23, 2020
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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Today’s song is from an old film Baghbaan-1938. There was one more film Baghbaan made in 2003, but the story was different. One film having similarity in name was film Baadbaan made in 1954. This too was a different one.
Baghbaan-38 was the first film of A R Kardar as a Director in Bombay, after his very successful foray in to the Calcutta Film world. This film was made by General Films, Bombay.The music was by Mushtaq Hussain, who had a young, ambitious and talented assistant for this film, whose name was Naushad. Yes, he is the same Naushad, who paired with Kardar in later years and gave us unforgettable music from many films.
The name of Music Director Mushtaq Hussain may not be known to today’s music lovers. Mushtaq was famous as a Classical singer and was called a Ustaad. He started giving music to films in 1933. His first film was Aurat ka pyar-33. He gave music to few films only, like Sauteli Maa-35, Balaa ki raat-36, Jaljalaa-36, Bhedi Trishul-38, Baghbaan-38, Pati patni-37, Kanyadaan-40, Baadal-42, Chhed chhad-43, Do or die-44, Daasi ya Maa-46 and his last film was Bombay- 49. After this, perhaps he realised that the public taste was changing and he left films. During the period of 1938, Naushad worked as his assistant in his struggle days and learnt few things.
The cast of the film was Bimla Kumari, B.Nandrekar ( one of the most handsome actors of Hindi films ), Sitara Devi, Yasmin, Putlibai, Ashraf Khan, Lala Yakub, K N Singh, R Wasti and many others. The 11 songs of the film were written by Hafiz Jallundhari and Mirza Musharraf, who wrote with a Pen name of Mirza Shauq. He had also acted in this film as a comedian. His typical style of mixing Urdu dialogues with English words was very popular in those days. Comedian of the 70s-Ram Avtar made his Debut with this film.
The film was a roaring success and brought many lucrative directorial offers to kardar from big banners like Ranjit and Circo etc. This also gave Kardar a confidence that he can himself own and start a studio and production company in Bombay. He had his pioneering small production company in Lahore, but that was for Silent films. Making Talkie films in Bombay was entirely different.
!942 was an year in which many ambitious and talented artistes established their own companies. There was Mehboob Khan, V.Shantaram, Homi Wadia, and the splinter group from Bombay Talkies also established Filmistan company. Abdul Rashid Kardar too plunged into the flowing river and established his own Kardar Studios. His first film was Sharda-42, which released on 23-1-1943. It was a Hit film. That way, Kardar’s life was full of adventures.
Abdul Rashid Kardar (1904–1989), often abbreviated as A.R. Kardar, was an actor and film director/film producer. He is credited as establishing the film industry in the Bhati Gate locality of Lahore, British India (now in Pakistan).
Kardar was born on 11-10-1904 at Lahore in a rich family. He was provided with all facilities and put into a very good school. Kardar was more interested in bunking school and seeing films and dramas than his studies. As a result he failed in his Matriculation examination. By the time he was 18 year old, he came to Bombay in 1922 to join films. He met director Homi Master in Kohinoor film company. With his good looks and good manners, he was employed as an extra, but there was no work. he used to visit the sets where shootings were taking place in the studio. One day the Cameraman Narayan Devre found him meddling in the shoot and he asked the owner Dwarkadas Sampat to throw him out of the company.
Dejected, he returned to Lahore and studied Calligraphy and Painting, in which he soon gained excellence. Kardar started as an arts scholar and a calligraphist making posters for foreign film productions and writing for newspapers of the early 1920s. His work would often lead him to meet filmmakers around India.
In 1924, the first silent film, The Daughters of Today was made and released in Lahore at a time when the city only had nine operational cinema houses. Most of the films shown in theatres in Lahore were either made in Bombay or Calcutta, besides ones made in Hollywood or London. The Daughters of Today was the brain-child of G.K. Mehta, a former officer with the North-Western Railway, who had imported a camera into the country for this very project from London. He asked Kardar to assist him as an assistant director on the project and ended up giving Kardar his début role in his film as an actor. Muhammad Ismail, his friend and fellow calligraphist, accompanied Kardar in the making of the film.
In 1928, with no work left after their maiden venture, Kardar and friend M. Ismail sold their belongings to set up a studio and production company under the name of United Players Corporation, the foundation stone for the film industry in Lahore. After scouting for locations, they settled for their offices to be established at Ravi Road. Although, the dim-lit area presented with much difficulties after the studios were established. Shootings were only possible in the day-light but nevertheless the area had some very important landmarks like the Ravi Forest and the tombs of Mughal emperor Jahangir and his wife Nur Jahan.
It is reported that the team working at the studios would commute on tangas and even lost equipment once while travelling on the bumpy roads on the horse-drawn carriage.However basic and crude their working conditions, Kardar believed in his work and in 1930 he produced the first film under the studio’s banner.
With this film, Husn Ka Daku a.k.a. Mysterious Eagle, Kardar made his first directorial début. He also cast himself as an actor in the male lead opposite Gulzar Begum with Ismail in a supporting role. The film featured an American actor, Iris Crawford, as well. The film had mild success at theatres but prominently established Lahore as a functioning film industry. Kardar vowed on not acting in any other film and instead focusing on direction.
Immediately afterwards the studio released the film Sarfarosh aka Brave Heart, with Gul Hamid playing the lead role with more or less the same cast as in the previous film. This production proved equally appealing but was able to stir noise about this industry in film production circles throughout India. Kardar made 12 silent films at Lahore.
When the Talkie era started, he closed down making silent films and produced his first Talkie film ” Heer Ranjha” in 1932 , with Rafiq Ghaznavi and Miss Anwari in the lead. Ghaznavi was the MD also. The film was a big flop.
Kardar shifted to Calcutta after this; and joined the East India Film Company, where he made about seven films for them. He acted in a costume drama-Aab E Hayat-33, as a Hero. Later he directed 6 films for this company. Almost all films were successful. After the company closed down in 1937 he moved to Bombay and joined Film City (in Tardeo) where he made one film Baaghban-38, for General Films, Bombay. It won the Gohar Gold Medal starring Bimla Kumari, B. Nandrekar and Sitara Devi.
Subsequently he joined Ranjeet Movietone towards the end of 1937 and made only three movies with them. He also made film Pooja-40 for National Studios. From here he moved to Circo Productions Ltd., and made 2 films for them .But just one year later, in 1942, when Circo Productions Ltd. went into liquidation, Kardar bought out the company and started Kardar Productions. In the same compound, he also started Kardar Studios and started making movies under the Kardar Productions banner from 1942 onwards. His first film was Sharda-42, which released on 23-1-1943. Kardar Studios was one of the best equipped studios in those days and also the first to have air-conditioned make up rooms.
In 1946, Kardar gave a commercially successful film with K. L. Saigal and composer Naushad, Shahjehan (1946).Claimed as a “masterpiece”- the film songs became all hits.
Following Partition in 1947, A. R. Kardar and his co-brother Mehboob Khan both left for Pakistan. However, according to Bunny Reuben, as quoted by Mihir Bose, they returned to India, but no reason was given for their return. In this connection Journalist and author of several books, Ambarish Mishra writes, ” when I asked Kardar about his Pakistan visit, he told me that after the Partition, Mehboob immediately went to Pakistan. He was disturbed with the news of Hindu-Muslim conflicts in Bombay Film Industry. It was said that Hindus will not allow Muslims in film industry – which was totally wrong and only a rumour. He wanted to take an idea about his future in this new country. He was keen on settling there. After a month or so, I went there. Being from Lahore, I understood that the film conditions were not conducive for our growth there, as nothing was in order. Everything was in a mess there. I convinced Mehboob somehow and we both came back for good. I told him, as long as Nehru was there, they had no problems in India.” By coincidence, Nehru died and next day Mehboob also died !
Kardar went back to film making and directed Dard (1947), which starred Suraiya and had music by Naushad. Dillagi (1949), a romantic tragedy, was a commercial success at the box-office. Inspired by Wuthering Heights (1939), Kardar later used the plot in Dil Diya Dard Liya (1966). Dillagi’s music by Naushad became extremely popular, especially Suraiya’s song “Tu Mera Chand”. Dulari (1949) had equally popular music, with a memorable Mohammed Rafi song “Suhani Raat Dhal Chuki”.
Dastan (1950) a tragic melodrama, was inspired from the film Enchantment, and was cited as “one of the biggest commercial hits”. Jadoo (1951) and Deewana (1952) marked the parting of ways between Kardar and Naushad. Dil-E-Nadaan (1953) had popular music by Ghulam Mohammed. He made three more films before starting Dil Diya Dard Liya (1966), which again had music by Naushad. Kardar’s last film was Mere Sartaj (1975)
He introduced many artists to the Hindi film industry who went on to become renowned in their own right, such as Naushad, Majrooh Sultanpuri, Suraiya. The legendary singer Mohammad Rafi got his first hit from the song, ‘Suhani raat dhal chuki’ – from Kardar’s film Dulari. He also started the Kardar-Kolynos Contest, to find new talent and through this contest he discovered and introduced to the industry, Chand Usmani and Mahendra Kapoor.
kardar was popularly called as Miyan ji. He directed in all 37 films in his career. He had acted in one film Aab E Hayat-1933.
Mehboob Khan’s wife Sardar Akhtar was the sister of Bahar, Kardar’s wife. Kardar was the step-brother of Pakistan’s famous cricketer A. H. Kardar (Abdul Hafeez Kardar). Kardar’s marriage to Bahar has an interesting story.
Sardar Akhtar and Bahar were sisters and were singers and dancers in Lahore’s famous Heera Mandi. They were known as Daari and Beharo. Bahar was very good looking. Kardar selected her as a Heroine for his film, opposite himself as a Hero and the shooting started. Kardar fell in her love, but Bahar was guarded closely by her escorts and sister Sardar Akhtar. Kardar was wondering how to go about. He opened his mind to friend M.Ismail. a 6 feet tall,and hefty friend. Ismail went to Bahar’s residence and lifted her on shoulders and brought her to Kardar. They hurriedly got married. Meanwhile Sardar Akhtar came to know this and made a Police complaint. The police came , arrested kardar and all shooting artistes. He spent 2 days in Police custody. Then it was Bahar herself who gave in writing that she was an adult and she married Kardar by her consent only. Kardar and others were released then. Few years later Sardar Akhtar married Mehboob Khan and Kardar became his Co-brother.
Kardar, who lived in Marine Drive, died at the age of 85 years, on 22 November 1989, in Mumbai, Maharashtra.
Kardar supported and helped composer Naushad in his struggling times. Naushad was in a contract with Kardar studio, even when he had become famous, but he never left Kardar on his own. Kardar also took advantage of Naushad. Kardar also helped directors S U Sunny and M Sadiq. Sunny was working as a gatekeeper in Maadan Theatres of Calcutta. That time Kardar took him as an assistant. M.Sadiq’s father was a Tailor and he was looking after Kardar Studio’s costume department. He requested that his son may be taken by Kardar. kardar took him also. Both were initially paid Rs. 300/-. Slowly it became Rs.3000/- and then they learnt the art of direction and became independent.
Film Baghbaan (Gardener, Maali) was slated to be released on 16-7-1938, but just one week prior to its release date , Prabhat Film Company filed a case against film’s hero B Nandrekar and applied for a stay on film’s release. B Nandrekar aka Baba Saheb Nandrekar had acted in Prabhat’s famous film “Sant Tukaram-36″ (Marathi Version. Its Hindi version came only in 1948). That time Prabhat had signed a 3 year contract with him. But after Tukaram, Nandrekar was not given any film, so he acted in film Baghbaan. The case came up in the court on 13-7-1938. His advocates were Jinnah and Setalwad. He won the case and the court refused to give a stay. The case was summarily dismissed. The film released and became a Hit film. Nandrekar was a very popular actor. The chappals he used in film Baghbaan became famous as ” Nandrekar Chappals” and sold hundreds in market.
The story of film Baghbaan -38 was…..
SARUP (Nandrekar) is a disciple of Sadhu Bhagat Ram(Ashraf Khan). One day the Sadhu starts singing a devotional love song, but Sarup, without understanding its real meaning gets lost in thoughts of love. Seeing his condition, the Sadhu sends him to a janmashtami fair. In the fair also Sarup walks thinking about love, not knowing where he is going or what he is doing. The police suspect him, arrest him and he is sent to jail.
In the jail, Sarup is given the gardener’s job at the Superintendent’s bungalow. In one jail riot, he is injured. Seeing this,Durga ( Bimla Kumari),the jail Superintendent’s daughter, along with her friend Shanta(Sitara Devi) takes Sarup inside the house and Dr. Hansraj, father of Shanta is called. On arrival Dr. Hansraj suspects that Sarup is his long lost son, feared drowned, after marriage to Durga. Since then Durga is treated as a widow, but no one knows this. Durga takes care of Sarup, who is now a free man also. Slowly they develop love. The parents of Durga want to remarry Durga to somebody now. Ranjit (Yakub),a spent young man, wants to marry Durga. he spreads the news that Durga is a widow, so that no one will marry her.
As expected his marriage is fixed with Durga, much to the ire of his earlier lover kammo (Yasmin). Durga asks Sarup to go back. Sarup comes to Sadhu Bhagat Ram and tells everything. The Sadhu reveals that actually Sarup is Durga’s long last Husband and son of Dr. Hansraj.
They hurry up to Durga’s house, where the marriage ceremony has started. The Sadhu enters the mandap and utters Bollywood’s famous Dialogue- ” Yeh shaadi nahin ho sakti “. There is a great commotion. Then the Sadhu explains that Sarup is the long lost husband of Durga. As a proof, he produces the locket which Sarup had in his childhood.
Suddenly Kammo enters the mandap and shoots at Ranjit, killing him. She then kills herself also.
The long lost Husband and wife reunite and all are happy !
Today’s song is the 3rd song from this film to appear on this Blog. It is sung by Sitara Devi and Bimla Kumari.
(For this article, information has been culled from ” Music and arts in Hyderabad Deccan”-Kamlakar pasupuleti, ” Ateet ke Sitare’-Nand kishore, “सुंदर ती दुसरी दुनिया ” – Ambarish Mishra, ” Asli nakli chehere’ – Vithal Pandya, wiki, muVyz, HFGK, Film India-Sept-40 issue and my notes. Thanks to all)
Song-Aao mil jul ke (Baaghbaan)(1938) Singers-Sitara Devi, Bimla Kumari, Lyricist- Not mentioned in HFGK, MD- Mushtaq Hussain (Asst-Naushad )
Lyrics
Aao gale mil ke
Aao gale mil ke
jhoolen
padat phuhaar sajani ee ee
ae aao mil jul ke
aao mil jul ke
lotten fasle bahaar sajani ee ee
ae aao mil jul ke ae
aao mil jul ke
rut barsaat ki
rut barsaat ki re
rut barsaat ki
aayi ?? malhaar sajani
ae ae
kaali kaali badali ye
kaali kaali badali
chaaayi man mein ?? sajani
piya bina naahin re
piya bina naahin
?? zulfon ka ?? sajani
ae ae
piyaa binaa naahin te
piyaa bina naahin
jiya lalchaave
jiya lalchaave ae
jiya lalchaave ae
jiya lalchaave ae
jiya lalchaave
ke jiya lalchaave
?? charan piya sajani
ae ae
jiya lalchaave te
jiya lalchaave
man mandir mein ae
man mandir mein ae
man mandir mein ae
man mandir mein ae
man mandir mein
ke man mandir mein
aao karo upkaar sajani
ae ae
aao gale mil ke
aao gale mil ke
jhoole padat phuhaar sajani
ae ae
aao mil jul ke te
aao mil jul ke
looten fasl e bahaar sajani
ae ae
aao mil jul ke
aao mil jul ke
- In: Actor-Singer song | Devnagri script lyrics by Sudhir | Duet | Guest posts | Kantilal - Sitara Devi Duet | Kantilal Songs | Lyrics by Sudhir | Lyrics contributed by readers | philosophical song | Post by Arunkumar Deshmukh | Protest song | Sitara devi songs | Song of 1940 | Songs of 1930s (1931 to 1940) | Yearwise breakup of songs
- 5 Comments
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 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.
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Blog Day : |
3783 | Post No. : | 14764 | Movie Count : |
4037 |
Today’s song is from film ‘Holi’ (1940). It is written by DN Madhok and composed by Khemchand Prakash. This duet is sung by Sitara Devi and Kantilal.
When silent films started talking, it became imperative for the film makers to recruit only those artistes who could sing on screen. In this compulsion, most of the times, the composers had to compromise on the singing ability of the artistes, because for the artistes, acting was primary and singing was secondary. Barring the born, natural singers like Noorjehan, KL Saigal, Khursheed, Surendra and few others, the rest of the singers in the film industry were all ‘make do’ types. In the early era, till about the beginning of the 40’s decade, the music directors had a tough time getting songs sung by these so called ‘singers’. May be, that is the reason why we find that many composers also sang when the playback started.
Almost all the heroes and heroines (with the sole exception of Jairaj – who was an ‘Aurangzeb’ in music) willy-nilly sang even after the playback singing had firmly set in. Pure and exclusive singers like Lata, Asha, Geeta, Rafi, Mukesh and Talat started occupying their legitimate place in playback singing in films from the mid 1940s onward. At the same time, slowly and steadily singing by the actors and actresses diminished, and by the dawn of the 1950’s decade, playback singing was rooted firmly. In my opinion, this was also one of the major reasons of ‘Golden Period of Film Music’ blossoming from around 1947-48 onward. Due to the availability of playback singers, actors started acting wholeheartedly and composers got new energy and they concentrated on making good music rather than breaking their heads on teaching the ‘pseudo-singers’ how to sing their songs ! In one of the interviews, Naushad had expressed his relief from getting song sung by non-singers !!
Singers like Ishwarlal, Kantilal, AR Oza, Vatsala Kumthekar etc were part actors and part singers. Thus we find that very rarely any song sung by these part time singers became an evergreen song. I can, however, think of only one song- “Zindagi Ka Saaz Bhi Kya Saaz Hai, Baj Raha Hai Aur Be-awaaz Hai” by Naseem Bano in film ‘Pukar’ (1939). She had sung it well and the composer Meer Sahab too should get some credit for its composition. But such cases are rare. Mohd. Rafi’s case in this connection can be quoted. After the regular playback singers became composers’ first choice, one by one the ‘part time’ singers closed their shops ! See here how Rafi did it.
Mohd. Rafi, no doubt, was a versatile singer. Like Lata, when he came on the scene of playback singing – after considerable hard work and struggle, he replaced the old singers who sang in the films, one by one.
- Ashok kumar’s singing spree stopped when Rafi sang for him in film ‘Saajan’ (1947).
- Ishwarlal stopped singing when Rafi sang for him in film ‘Sharbati Aankhen’ (1945).
- Shahu Modak stopped after ‘Chakradhari’ (1954).
- WM Khan after ‘Aalam Ara’ (1956).
- Master Nissar after ‘Boot Polish’ (1954)
- GM Durrani after ‘Lal Pathar’ (1971)
- Karan Dewan after ‘Duniya’ (1949).
- Noor Mohammed Charlie after ‘Zameen Ke Taare’ (1960).
- Balak Ram after ‘Shri Ram Bharat Milan’ (1965).
- Moti Sagar after ‘Paak Daman’ (1957).
- Man Mohan Krishna after ‘Basant Bahar’ (1956).
Mohd. Rafi even sang for some composers who used to sing in films,
- SN Tripathi – ‘Pawanputra Hanuman’ (1957).
- Snehal Bhatkar – ‘Baawre Nain’ (1950) (he was doing a beggar’s role in this film)
- Sudhir Sen – ‘Saat Phere’ (1970).
By the way, Rafi was the only male playback singer who sang with all 3 major singer actresses
- Noorjehan – ‘Jugnu’ (1947).
- Khursheed – ‘Aage Badho’ (1947)
- Suraiya – they have sung together in 13 films
The female singer in today’s song is Sitara Devi (8-11-1920 to 25-11-2014), the well known Kathak dancer. Her life story is available freely on the internet. She was bestowed the title of ‘Nritya Samragni’ by Ravindranath Tagore, in 1936, when she was just 16 year old. Sitara is also famous for her multiple marriages. She was the one who refused to accept ‘Padma Bhushan’ honour, stating that she deserves nothing less than ‘Bharat Ratna’ alone ! She had taught Kathak Dance to younger actresses like Madhubala, Rekha, Mala Sinha and Kajol.
The male singer in today’s song is Kantilal. KANTILAL CHHAGANLAL PACHCHIGAR was born on 18-4-1907 in Surat, Gujarat. Due to inherent interest in music, after college education he came to Bombay to try film singing. His first film was ‘Bulbul e Paristan’ (1934) from Vishnu Cinetone. Kikubhai Yagnik was the MD. Kantilal sang 2 songs in it. In 1935, he acted, sang and gave music to ‘Preet Ki Reet’ (1935). He sang 6 songs. He also gave music in ‘Punjab Ka Sinh’ (1936) and also in ‘Gul Badan’ (1937). From 1937 to 1941, he was with Ranjit Movietone and acted and sang in 16 films. He sang 40 songs under Khemchand Prakash and Gyan Dutt.
Then came ‘Gazi Salahuddin’, ‘Kangan’, ‘Holiday In Bombay’ and ‘Kanchan’. Kantilal sang 60 songs in 24 films under 5 MDs. Some of his films were, ‘Toofaani Toli’, ‘Ban Ki Chidiya’, ‘Billi’, ‘Gorakh Aaya’, ‘Prithviputra’, ‘Adhoori Kahaani’, ‘Nadi Kinaare’, ‘Aaj Ka Hindusthan’, ‘Achhoot’, ‘Diwali’, ‘Holi’, ‘Musafir’, ‘Pardesi’, ‘Sasural’, ‘Shaadi’ etc.
In 1943, he married Ushaben and acted in Gujarati films and dramas. He passed away on 17-6-1971.
Khemchand Prakash (12-12-1907 to 10-8-1950) was a very talented composer, but unfortunately most of his career, he dealt with average singers. Whenever he got opportunity to make songs for real singers like Saigal (‘Tansen’ and ‘Bhanwara’), Khursheed, Kishore ( ‘Ziddi’ and ‘Muqaddar’), Lata (‘Mahal’) and Rajkumari, his songs became famous and very popular. Today’s song is sung by the so called part time singers, but they have tried their best in it.
With this song film ‘Holi’ (1940) makes its debut on the blog.
Song – Dhanwaalon Ki Duniya Hai Ye, Nirdhan Ke Bhagwaan (Holi) (1940) Singer – Kantilal, Sitara Devi, Lyrics – DN Madhok, Music – Khemchand Prakash
Kantilal + Sitara Devi
Lyrics (Provided by Sudhir)
dhanwaalon ki duniya hai ye
nirdhan ke bhagwan
dhanwaalon ki duniya hai ye
nirdhan ke bhagwan
nirdhan teri
nirdhan ka main
nirdhan teri
nirdhan ka main
ek anokhi shaan
ek anokhi shaan
do din ki ye mast jawaani
do din ki ye mast jawaani
do din ka ye roo..oop
ek mundere chaanv hai aayi
ek mundere dhoo..oop
bhole panchhi is pinjre ka
bhole panchhi is pinjre ka
jhootha tere maan
haa..aan
jhootha tere maan
haa..aan
dhanwaalon ki duniya hai ye
nirdhan ke bhagwan
ret ke mahal bana kar moorakh
ret ke mahal bana kar moorakh
in mein kiya baseraa. . .
ek fanaa ke jhonka aaya
kooch hua sab dera
ret ke mahal bana kar moorakh
ret ke mahal bana kar moorakh
in mein kiya baseraa. . .
ek fanaa ke jhonka aaya
kooch hua sab dera
jhootha jeevan ka iktaara
jhootha jeevan ka iktaara
jhoothi us ki taa..aan
dhanwaalon ki duniya hai ye
nirdhan ke bhagwan
dhanwaalon ki duniya hai ye
nirdhan ke bhagwan
———————————————————-
Hindi script lyrics (Provided by Sudhir)
———————————————————-
धनवालों की दुनिया है ये
निर्धन के भगवान
धनवालों की दुनिया है ये
निर्धन के भगवान
निर्धन तेरी
निर्धन का मैं
निर्धन तेरी
निर्धन का मैं
एक अनोखी शान
एक अनोखी शान
दो दिन की ये मस्त जवानी
दो दिन की ये मस्त जवानी
दो दिन का ये रू॰॰प
एक मुंडेरे छाँव है आई
एक मुंडेरे धू॰॰प
भोले पंछी इस पिंजरे का
भोले पंछी इस पिंजरे का
झूठा तेरे मान
हाँ॰॰आँ
झूठा तेरे मान
हाँ॰॰आँ
धनवालों की दुनिया है ये
निर्धन के भगवान
रेत के महल बना कर मूरख
रेत के महल बना कर मूरख
इन में किया बसेरा॰ ॰ ॰
एक फना का झोंका आया
कूच हुआ सब डेरा
रेत के महल बना कर मूरख
रेत के महल बना कर मूरख
इन में किया बसेरा॰ ॰ ॰
एक फना का झोंका आया
कूच हुआ सब डेरा
झूठा जीवन का इकतारा
झूठा जीवन का इकतारा
झूठी उसकी ता॰॰आन
धनवालों की दुनिया है ये
निर्धन के भगवान
धनवालों की दुनिया है ये
निर्धन के भगवान
Kyun hamne diya dil
Posted on: August 11, 2018
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 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 : | 3676 | Post No. : | 14564 |
Today’s song is from film Watan-1938.
This was a film made by Sagar Movietone. Those days, Sagar was a powerful film making company. They had the best of directors, big stars and MDs. Directors like Mehboob. Sarvottam Badami, Chimanlal Luhar, Ramchandra Thakur, Zia Sarhadi, Ezra Mir ( real name Edwyn Meyers), Virendra Desai,Nanubhai Vakil etc gave famous and popular films. However, not all films made by Sagar were High Class. Film ” Watan” was also one such film, which probably worked as a ‘ filler ‘ for Sagar. 1937 and 1938 were the Golden years for Sagar, in which the company gave popular films like Jagirdar-37, Mahageet-37, Gramophone singer-38 and 300 days and after-38.
Film Watan-38 had a cast of Kumar, Bibbo, Sitara Devi,Maya Banerjee, Yakub and other regulars of Sagar. The film also included Ram Marathe ( credited as Ramchandra), who became a very famous classical singer in later years. The film was directed by Mehboob and the music was by Anil Biswas. Initially Sagar had their favourite MD, S.P.Rane, who was a Maharashtrian from Gujarat. Out of Sagar’s first 18 films, Rane was MD for 15 films. Anil Biswas was associated with Sagar from film Manmohan-36, as an assistant to Ashok Ghosh. Independently, his first film was Jagirdar-37. Later he gave music to 11 more films of Sagar and 2 films of National Studios. he and director mehboob Khan teamed up in 6 films and were very good fiends-till a misunderstanding cropped up, after Sagar merged into National Studios. After this they never worked as a Team.( In 1956, Anil Biswas gave music to film Paisa hi Paisa, made by Mehboob Productions . However, the film’s director was Mehrish- who had insisted for Anil Biswas- and not Mehboob. During the film’s making, Mehboob avoided meeting AB and even left on foreign tour without meeting him even once ! ).
The Hero of the film Watan-38 was Kumar. Actually his real name was Syed Hasan Ali Zaidi. The change of his name to Kumar was part of an interesting story. Anyway, one can easily say that Kumar was the pre-cursor to the unlimited crop of various Kumars that we saw in the decades of 50s onwards.
In Hindi film industry, changing the name of the artiste was nothing new. One thing is sure. This trend of changing names was started by Kumar only. Many actresses changed their names after coming in films. Some did it because they wanted to hide their religion and some did it as there were artistes with the same name already in films. For example, Shyama. There were already 2-3 Khurshids in the films and her real name was Khurshid, so she changed it. Similarly, Meena Shorey’s name was also Khurshid. Some of the actresses who changed their names were, Jyoti, Renuka Devi, Purnima, Meena kumari, Madhubala, Rattanbai, Madhuri, Pramila, Sabita Devi, Bimla kumari, Indira Devi, Latika, Seeta Devi, Manorama, Nadira, Meera etc etc.
In case of male actors, the name changing percentage was mush less. Few cases like Ashok kumar, Kishore kumar,Ranjan,Dilip kumar,Manhar Desai and some more can be counted. Male name changing was seen in as late period as the 80s and 90s too. Cases in point are Rajesh khanna, Akshay kumar etc etc.
Actor KUMAR was born in the prestigious family of Syed s of Lucknow-UP in India,on 23-9-1903.His real name was SYED HASSAN ALI ZAIDI.
His family used to call him MIJJAN Miyan.
He was a handsome and tall person.He was keen on joining cinema,so he came to Calcutta and joined New Theatres. After doing side roles in Subah ka Tara and Zinda lash,he was hero in PURAN BHAGAT in 1933.Even Saigal was also in the film.The film was about to be released and suddenly communal riots broke out in Calcutta.The new Theatre management found it difficult to announce a muslim name of the hero of PURAN BHAGAT,in the tense atmosphere of Calcutta.The director of the film was kumar Debaki Bose,a person from a Royal family.He took a dicision and told Mijjan,” from today,I am giving you a part of my name.You will become KUMAR now.”This solved the film release problem and thus his name became KUMAR,then onwards.Truly enough,Debki Bose,thereafter, never used his name Kumar again in his life !
After doing Yahudi ki Larki,Kumar came to Bombay. First he worked in Sagar ( 5 films) , Imperial (2 films)and then joined Ranjit Studios.
In 1939,he married another actress PRAMILA ,who was actually a Jew, Esther williams. Pramila was later India’s FIRST Miss India in 1947.They got a son and a daughter Naqi Jehan(who too became a Miss India in 1967,exactly 20 tears after her mother. Naqi acted opposite Rajesh Khanna in Akhari Khat,as a Heroine.Later she married into the business family of Kamdar of Bombay and became mrs.Nandini Kamdar. Kumar had 3 sons from his earlier marriage.
Kumar did many films in Ranjit,but in 1942,he was removed from Ranjit.At the same time,his friend,CHANDRAMOHAN also left Minerva Movietone( reason-despite PUKAR-39 being a blockbuster,his salary was not increased inspite of a promise by Sohrab modi).They both decided to lauch own company and on 16-3-1942,SILVER FILM CO. was launched.Its first film was Jhankaar.They produced Bhalai,Bade Nawab Saab,Devar,Naseeb,Dhun and Bahana.Kumar acted in these films.he also directed Dhun and Bahana.
He produced and directed Aap-Beeti-1948 under his company,Kumar Studios.Then under Shama prodn. he made Nahle pe dehla,Dhoom Dham and Dilbar.
later in life he made badal aur bijlee and jungle king under Artists United films. Kumar worked in 73 films as an actor from 1932 to 1963.
From Najma in 1943,Kumar did only character roles in films like bhishm pratigya,Dayara,mahal,Shri 420,khiladi,Maalik,Baiju Bawra,yahudi ki ladki. His memorable role was in Mughal e Azam,that of the sculptor and a famous song-‘Aye mohabbat zindabad’ was shot on him. His last film was Raat aur Din (released in 1967)
In 1963, Kumar migrated to Pakistan, and started to work in Pakistani films without any delay. His son, S. A. Hafiz, who made Tauba, later became one of the best and well known directors of the country. Later he settled in USA. Kamal and Zeba played the lead in Tauba, which became a grand success. Kumar worked in quite a few Pakistani films, including Head Constable, Azad, Shabnam, Naela, Saiqa, Sajda (his own film), Hum Dono, Nadya Ke Paar, Ik Musaflr Ik Hasina, Baalam etc. Kumar died in 1982.
Film Watan-38 was directed by Mehboob Khan. He directed 8 films for Sagar and 1 (Aurat) for National Studios. This film, with a Muslim cultural backdrop, was released on the day of Eid. The film was dominated by grand sets and costumes. The story was usual. Conflict between Kazak and Tatar communities, lasted many generations. The film was a complete entertainment package, consisting of Dances, songs, war scenes, Enemity, Revenge, overwhelming costumes and love scenes, in a proportionate manner.
The music was composed by A.Biswas. All songs were written by Wajahat Mirza. Today’s song, ” Kyun hum ne diya dil ” by Sitara Devi was the most popular song of the film. There were total 10 songs. One of the songs-a duet by Anil Biswas and Bibbo was based on the tune made by kazi nazrul Islam ( Nazrul Geeti).
Today’s song is extremely enchanting and I would list it as the best song of Sitara Devi ( she sang 100 songs in 33 films). It truly sounds as a sad and remorseful song. The words of the song remind me of a duet by Surendra and Shamshad begum ” Kyun unhe dil diya” from film Anokhi Ada-48, composed by Naushad.
Song-Kyun hamne diya dil (Watan)(1938) Singer-Sitaara Devi, Lyrics-Wajahat Mirza, MD-Anil Biswas
Lyrics
Kyun ham ne diya dil
thha kiska ishaara
Kyun ham ne diya dil
thha kiska ishaara
aur kis ne kaha thha
ham tumse kahen kya
aur kis ne kaha thha
ham tumse kahen kya
Kyun ham ne diya dil
tha kiska ishaara
Kyun ham ne diya dil
wo khwaabon mein aana
dil mera churaana
wo khwaabon mein aana
dil mera churaana
aur deke ye jaana
aur deke ye jaana
kyun kaisa liya dil
aur keh ke ye jaana
kyun kaisa liya dil
kyun hamne diya dil
aankhon ka ishaara
kyun hamne diya dil
parwaana na aata
kyun shola jalaata
parwaana na aata
kyun shola jalaata
kabhi ishq bulaata(?)
kabhi ishq bulaata(?)
kaahe ko diya dil
ab ishq bulaata
kaahe ko diya dil
donon ne diya dil
aashiq(?) ka ishaara
kyun hamne diya dil
Dukh dard ke maare hain
Posted on: October 8, 2017
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.
“Aabroo”(1943) was directed by Nazeer for Hind Pictures, Bombay. The movie had Sitara Devi, Yakoob, Nazeer, Jagdish, Masood, Shakir, Vatsala Kumthekar, Laddan, Chanda Bai, Janardan Sharma etc in it.
Read more on this topic…
Main ek anokhi daali
Posted on: January 5, 2017
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 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.
During the last 15 months or so, I have been concentrating mainly on rare songs from films of 1940s in my articles for the Blog. During this period, I came across some playback singers, music directors and lyricists who were unknown to me. I also got to know about some of the not so famous film production banners. Similarly, I got the opportunity to gather some information on film directors of 1930s and 40s such as Debaki Bose, P C Barua, V Shantaram, A R Kardar, Kishore Sahu, Mehboob Khan, Kidar Sharma etc.
Read more on this topic…
Jal ja jal ja patange
Posted on: November 16, 2016
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.
“Najma”(1943) was produced and directed by Mehboob Khan for Mehboob Productions,Bombay. The movie had Ashok Kumar and Veena in lead roles supported by Sitara, Kumar, Yaakoob, Majid, Rajkumari Shukla, Murad, Laddan etc.
Read more on this topic…
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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