Archive for the ‘stage dance’ Category
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
6426 | Post No. : | 19944 |
Today’s song is from a Remake film from the South- Sansar-1951.
The film was made by S.S.Vasan for his own banner Gemini Pictures, Madras. It was also directed by him. There were 3 MDs – M.D.Parthasarathy, E. Shankar Sastri and B.S.Kalla. All the songs were composed jointly by Shankar and Kalla. As per Vasan’s system, Parthasarathy was in the team as a Supervisor.
The cast was a mixed one. The leading pair Pushpavalli and M.K.Radha and majority of other artists were from the original south film. A few artists were from Hindi films like Gulab, Mohana Cabral, Meera, Agha , David, Casshyap and Anil Kumar were taken to give the film a Hindi touch.
Till 1947, Hindi films were made mostly in Bombay, Lahore, Calcutta, Kolhapur and Poona. Most studios were located in these cities.South Indian language films were made mainly in Madras and Bangla films were made in Calcutta and Dhaka. The Partition in 1947 changed the picture completely.Wholesale polarisation took place.Producers of Hindi films had to flee from Lahore,leaving everything behind them and some artistes from Bombay left for Pakistan.Thus,after Partition,the exclusive centre for production of Hindi films was only Bombay.By 1950 things settled in India and Pakistan Film Industry.
Telugu film producers shifted to Hyderabad,Kannada films to Bangalore and Malayalam to Kerala. Madras,however,still made films other than Tamil,like Telugu Hindi etc.But now it was only Remakes of successful Tamil films or dubbed films.The 50s saw many Hindi films dubbed from southern languages(Read Tamil/Telugu).Initially,they were Mythological,Fantasy or costume films.In the 60s,however, even social films were remade.
Film production in Madras is very methodical and professional.They make films as per plans and in planned time. For this reason,in the 60s to 80s many Hindi film actors volunteered to to make films in south.The producers in south too had their favourites.In the Music area,there were,Ravi,C.Ramchandra or Madan Mohan,for lyrics and story,Rajinder krishna and Pradeep,and preferred actors were Jeetendra,Rajendrakumar,Sunil Dutt and Mehmood.
Though Polarisation took place in film production,the attraction to come to Bombay and work here continued.Artistes from various centres still came to Bombay.
The biggest contribution came from Bengal,in music,direction and acting areas.Artistes from South tried their hand with Hindi films,either by Remade or dubbed films.Thus the greatest south actors like Sivaji Ganeshan, Gemini Ganeshan, M G Ramchandran,N T Rama Rao,A.Nageshwar Rao,Jailalita,Janaki,Susheela, Bhanumathi, Prem Nazir of the older gen and Rajanikanth,Kamal Hasan and Chiranjeevi from the next Gen were seen in Hindi films. Only Dr.Rajkumar,the Kannada Superstar never worked in Hindi films.In fact,except for just 1 Telugu film, Sri Kalahasti Mahatmyam-1954, Dr.Rajkumar never worked in any other language film.
In the music department also,many composers like K.Narayan rao, S.Rajeshwar rao,C R Subramanyam,E Shankar, R Sudershanam,Ramesh Naidu,Adi Narayanrao,Vishwanath-Rammurthy,Lingappa etc worked in Hindi films. There was one name from South,which was so famous,but it is surprising that he too gave music to Hindi Films.His name was Ghantasala.
The major difficulty for southern artists was speaking in Hindi. Due to this, they hesitated to work in Hindi films and instead, preferred dubbing their hit films in Hindi, released them on All India basis and hoped for becoming famous. Initially, in the period of the 50’s and 60’s decades, there was a spate of dubbed films, as well as some remade films in Hindi. Later on and now of course only hit films are remade in Hindi. The count of dubbed films has gone down considerably. These days, I find that even hit films of Hindi are also remade in southern languages.
Since the times when the adventurous S.S.Vasan-Producer, Director and Owner of Gemini Studios, made his film ” Chandralekha”- in Hindi in 1948 on a mammoth scale (with over 600 prints of the Hindi version for simultaneous release on All India basis on 24th December 1948), the Southern film industry woke up. After the film Chandralekha was successful, Vasan started making remakes of his Tamil hit films in Hindi one after another. When other filmmakers of the South saw Vasan busy doing this and visiting his bank very often with several bags full of money to deposit, they too joined the bandwagon !
Thus, the entire decades of the 50’s and the 60’s saw many films from South, in the form of Remakes of Southern Hit films, Dubbed or shot at Madras for the All India audience of Hindi films. After Vasan’s Gemini, A.V.Meiyyappan’s AVM, Nagi Reddy’s Vauhini Studios and L.V.Prasad’s Prasad productions gave many films, made with all Southern, all Bombay or a mixed cast of actors. Many major Heroes of South secretly nurtured a desire to shine in the Hindi belt. They joined this race. Actors like M.G.Ramchandran (MGR), N.T.Tama Rao (NTR), A.Nageshwar Rao (ANR), Sivaji Ganesan, Gemini Ganesan etc., actresses like Bhanumathy, Jayalalitha, Jamuna etc and character artistes like Relang, S.V.Ranga Rao etc appeared in Hindi films. ( A very loooong list of such remakes and dubbed films is available on IMDB ). Even today many Southern Hit films are remade or dubbed in Hindi and the addition is, many Hindi Hits are also remade in Southern languages. The West Bengal Film Industry which actually led this trend in the 30’s and the 40’s has fallen way behind now.
There is a very good and detailed article “The harsh reality of remake Culture….” written by Gaurang Chauhan. Interested readers can read it for information on http://www.mensxp.com
for an interesting history and its effects.
In 1950, L.V.Prasad produced and directed a film in Telugu- “Sansaram”-50. It became a popular and a hit film. S.S.Vasan, who was always on the lookout for good films, showed this film to his Studio staff in their Preview Theatre. The film made everyone weep in plenty. The story and songs were too good. Vasan immediately bought the remake rights of this film for Tamil and Hindi remakes.
As an experiment, Vasan kept the lead pair of Pushpvalli and M.K.Radha even for the Hindi version. He wanted to make these actors popular in Hindi also.( of course it never happened ). For all other roles there were hindi actors like Mohana, Meera, Agha, David, J.S.Kashyap etc etc. Among the actors we find even B.S.Kalla’s name. He was one of the Music Directors of this film. The main music director was E.Sankar Sastry. The music was supervised by D.Parthasarathi, who was a senior Music Director in the Gemini family. The tunes of all songs were kept the same in Tamil and Hindi versions.
As expected, the Tamil version became a hit film and the songs were also liked by the audience. The famous south Indian singer A.M.Raja made his debut with this film in Tamil. All his songs were sung by Talat Mehmood in the Hindi remake. One song ” Amma Roti de, baba roti de ” became very popular in all three versions. However, there was a lot of criticism in the Tamil media about this song. The critics claimed that no self respecting mother would ever send her children begging on the streets ( see the story ). This song in the Hindi version also became the most popular beggar song. Usually, Beggar songs are by male singers.
This Beggar song trend actually started from the film Pooran Bhakta-1933, in which the blind singer K.C.Dey had sung 2 Beggar songs- ‘ kya karan hai rone ka ‘ and ‘ Jao jao aye mere sadho raho guru ke sang ‘. The film Sansar Beggar song ‘ Amma Roti de ‘ was probably the first beggar song sung by a female ! This song did not create any ripples in the Hindi belt areas-unlike Tamil media. I guess the audience had accepted that anything can happen in melodramatic south films !
The female lead actress Pushpavalli was the second wife of actor Gemini Ganesan. Hindi famous actress Rekha is her daughter. Male lead actor M.K.Radha was a good actor. (there was another actor in Tamil M.R.Radha, who shot to fame when he fired at MGR and then tried to commit suicide ).
Though by 1951, Lata Mangeshkar had established herself as the Top leading female singer, she had never sung for a South film. ‘ Sansar’-51 was the first film in which Lata sang for a South film. She sang not 1 or 2 but 7 songs- 4 solos and 3 duets/with chorus.
The Music Director was E.Sankar Sastry along with B.S.Kalla. They composed jointly. This was his second Hindi film in Gemini. S.S.Vasan had a habit that in all Hindi remakes, he would appoint senior Music Director from Gemini, D.Parthasarathy, as a supervising Music Director on the team of other Music Directors. The composing and orchestration etc was done by the team. Parthsarathi would only help and supervise their work. here is some information on Emani Sankar Sastry, one of the MDs…
Emani Sankar Sastry was a very famous and renowned Veena player of International recognition. Born on 23-9-1922 in a small village of Andhra, he hailed from a family of celebrated classical musicians. He was trained in traditional Veena by several experts. He did independent concerts all over India.
He joined Gemini Studios in 1948 and stayed for 10 years as MD. During this period he was involved in the Music Direction of Hindi films like Mangala, Sansar, Bahut din huye, Mr. Sampat, Krishna Kanhaiya and Do Dulhe, as well as the English version of Chandralekha-48.
He joined A.I.R Madras in 1959 and rose to become Director and Chief Producer of Music. He won several awards including Academy award, Kala Parishad Award and Padma Shri. He played Veena in the Rome Festival and at UNESCO in New York. E.Sankar Sastry died in 1987.
Here is the story of ‘Sansar’-51, in short-
A struggling clerk lives with his wife and two children. Their blissful life is threatened with the arrival of his scheming mother and sister. A short time later, the clerk disappears, abandoning his family, and his brother comes to their rescue.
Exploiting the fragile situation, mischief makers suggest an immoral relationship between the clerk’s brother and wife. Frustrated, the clerk’s wife sends her two children to beg on the streets.
Several years later, the elder of the two children, now working in a mill, meets a bearded beggar who, unknown to him, is actually his father. He obtains his father a job in the mill, and the family later reunites.
Here is a song from this film,sung by V.Sarla, Geeta Roy and chorus. Enjoy….
Song- Hamee ne muhabbat kee duniya basaayee (Sansaar)(1951) Singers-Singers- V.Sarla, Geeta Roy, Lyricist- Pt. Indra, MDs- M.D.Partasarathi, B.S.Kalla and E.Sankar Sastry
Lyrics
Hamee ne muhabbat kee duniya basaayee
hamee ne nigaahon kee mehfil sajaayee
koi ban gaya saathhe(?)
koi ban gaya mastaana
koi ban gayee Shyama
koi ban gaya parwaana
judaa thhee jabaanen
sadaayen(??) aayeen
aa aa aaa
aa aa aa
hamee ne muhabbat kee duniya banaayee
kawan jaane hridayam
kawan jaane hridayam
mam punah kaamo
divapi raatravapi
?? tapati
bali yashwayi ee ee ee ee
pritam manoratha yaa
angaani
sabati(??) sangaatri
madan swaam?? maam
punardahatyev ??
?? shasaankam
??
kumudwati
diwasah
aa aa aa
aa aa aa
aa aa
aa aa aa
aa aa aa
aa aa aa
aa aa aa
aa aa aa
aa aa
aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa aa
mere Saleem se ae ae ae
mera salaam keh dena aa aa aa
gayee Anar tumhaaree
payaam keh dena aa
gayee Anar tumhaaree
payaam keh dena
????? koyee ee
?? naam ka dil ka
aa aa aa
nazar jhukaa ke hamaara hee naam keh dena aa
nazar jhukaa ke hamaara hee naam keh dena aa
gayee Anar tumhaaree
payaam keh dena
dupatta na suhaaye mora jiya ghabraaye
dupatta na suhaaye mora jiya ghabraaye
ajee phool see jawaanee meree
dhoop se kumhlaaye
mora rang murjhaaye
o raaja mora rang ud jaaye
dupatta na suhaaye mora jiya ghabraaye
aankhon ke kamre mein aa kar
chhup jaao
chhup jaao meree ranee
aankhon ke
aa aa aa
aankhon ke kamre mein aa kar
chhup jaao meree ranee
lage na nazar kisee paapee kee
aa aa aa
lage na nazar kisee paapee kee
taaza rahe jawaanee
haaye taaza rahe jawaanee
jawaanee hee(??) sataaye
bachpan yaad aaye
o raaja main to mar gayee haaye
dupatta na suhaaye mora jiya ghabraaye
dupatta na suhaaye mora jiya ghabraaye
o jiyaa ghabraaye
??
?? dee ?? daa
?? dee ?? daa
?? lohree da
?? lohree da
hoye
hoye
gal sun raaja ??
mukhda na mere ko mod paindya
mukhda na mere ko mod paapiyaan
mukhda na mere ko mo o od
boliyaan maaran apne paraaye ae ae ae
main nibhaavaan tod paapiyaan
gal sun oye
??? ??
oy ??
hoy
hoy
This article is written by Satyajit Rajurkar, 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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6416 | Post No. : | 19913 |
Kamsune/Unsune songs of Asha Bhosle – 90
The next song in my Asha Bhosle song series is a fast paced song “Main Haseen Hoon Main Jawan Hoon” from “Rickshawala” (1973). The song is written by Anand Bakshi and composed by Rahul Dev Burman.
In my earlier post, I mentioned that “Rickshawala” (1973) was cleared by the Censor Board on 24/08/1973. The movie starred Randhir Kapoor, Neetu Singh, Pran, Mohan Choti, Anwar Hussain, Ranjeet, Sujit Kumar, Sunder, Mohan Choti, Ashoo and Mala Sinha in a Special Appearance.
Read more on this topic…
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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6414 | Post No. : | 19904 |
Today’s song is a 2-part Triade from the film Panghat-1943.
From their initial C grade stunt /costume films, Prakash Pictures of Vijay and Shankar Bhatt turned to Mythological films after the mammoth success of Bharat Milap-1942 and occasionally made a few social films too. In the end Prakash made exclusively social films only till closing down the studio in 1971. In their busy times in the first half of the 1940s, they made today’s film as a quicky.The entire film was shot in 45 days. This was possible as they had taken mostly B grade artists who had plenty of free time for shootings.
Film Panghat-1943 was directed by K.J.Parmar and Mahesh Chander- both Cinematographers with Prakash Pictures.The music was by S.N.Tripathi, favourite of Prakash Pictures. The Lyricists were Pt. Indra and Ramesh Gupta. The cast included Ratnamala, Umakant, Susheel Kumar, Alaknanda, Jeevan, Leela pawar, Rajkumari Shukla, Baby Tara and many others.
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Samjho zara kehtee hai kya
Posted on: February 3, 2026
This article is written by Peevesie’s mom, 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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6409 | Post No. : | 19885 |
Hullo Atuldom
Shatranj (meaning Chess) is a 1969 released, spy thriller film co-produced and directed by S. S. Vasan (in his final directorial venture.) N.N. Sippy was the co-producer. It starred Rajendra Kumar and Waheeda Rehman in the lead, with Mehmood, Madan Puri, Shashikala, Helen, Achala Sachdev, Manmohan Krishna and Agha in pivotal roles.
Read more on this topic…
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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6404 | Post No. : | 19866 |
“Kalpana”(1960) was produced by Ashok Kumar and Ganesh and directed by Rakhan for Ashok Pictures Private Limited, Bombay. This social movie had Ashok Kumar, Padmini, Ragini, S Nazir, Sunder, Balam, Pachhi, Achala Sachdev, Sarita Devi, Baby Farida, Rani Kumar, Harbans, Amrit, Khatana, Iftekhar, Brahm Bhardwaj, Keshav, Ibne Hasan, Shakil Nomani etc in it.
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O Mrignainee Madhubainee Menaka
Posted on: January 26, 2026
- In: Duet | Geeta Dutt solo | Geeta Dutt songs | Guest posts | Multi part song | Post by Sadanand Kamath | Seduction song | Shamshad Begam songs | Shamshad Begam-Talat Mehmood duet | Songs of 1950s (1951 to 1960) | Songs of 1952 | stage dance | Talat Mehmood songs | Yearwise breakup of songs
- 4 Comments
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
6401 | Post No. : | 19856 |
Mr. Sampat (1952) was produced and directed by S S Vasan under the banner of Gemini Pictures. The film starred Motilal, Padmini, Vanaja, Sundari Bai, Swaraj, Agha, Kanhaiyalal, Badriprasad, Kailash Nath, Ramamurthy, J S Casshyap, B S Kalla etc. The film was adapted from R K Narayan’s novel, ‘Mr. Sampat – Printer of Malgudi’ (1949). It is a satirical film. This was Padmini’s first Hindi film in a lead role while Motilal was in the title role of Mr. Sampat. The film was first made in Tamil in 1948 but R K Narayan made some revision in the story based on which the Hindi version was made.
I have already given the story of the film in some detail while covering one of the film’s songs, laila laila pukaaroon main ban mein. So, I will cover here only the gist of the story which is as under:
Mr. Sampat, (Motilal) sustains himself by coning the people through presenting himself in immaculate western attires with his smooth and humourous talks. He has the power to convince his potential targets with his believable schemes. One of his potential targets is Malini (Padmini), a stage artist who has a good fan base. Simultaneously, he has one more target, Seth Makhanlal Gheewala (Kanhaiyalal) who is standing for a municipal election. Sampat uses Malini in the guise of an interview for a newspaper and brings her at Gheewala’s tea party for her. Because of Malini’s fan base, Gheewala wins the municipal election thus creating a confidence in the ability of Sampat.
With this success, Sampat spells out a scheme, both for Malini and Gheewala to start a bank by offering the customers a high interest rates on deposits. The new bank thrives in its business and attract huge deposits. Raj Mohan (Kailash Nath) from a former royal family member has put a large chunk of deposits in the banks because he has developed infatuation with Malini. For Sampat, things are working nicely as per his plans and he has now improved his status. One day, Malini rejects Raj Mohan’s advances which angers him. He immediately withdraws his entire deposits from the bank. Soon the bank collapses and the entire investments made by Malini and Gheewala are lost. Creditors are queuing up and to meet their demand, Malini’s house is under auction. Knowing that he has nothing to gain now, Sampat leaves them after pocketing Malini’s theatre collections and moves on to select his next potential target for coning. And this time, he has been seen as a godman giving an impressive lecture to his followers.
The film was under production before India became a republic in 1952 and before the first general election took place. So, there was no major corruption and fraudsters cases at the time of making the film. The Haridas Mundra case and much later, Natwarlal’s coning instances came to light only sometime in mid-1950s though he was involved in theft and cheatings during the British Rule. Hence, it is to the credit of story writer, R K Narayan that he could foresee such scenarios which became realities in India in the later years. The film is still relevant and it is for the reason that film is enjoyable to watch even after seven decades from its release. Despite the role of Sampat having some negative shades, Motilal in the title role, has given an excellent performance and has been successful in creating an impression on the audience of his likeable character mainly because of his natural acting.
The film had 13 songs written by Pandit Indra (10) and others (3) which were set to music by Balkrishna Kalla and E Shankar Shastri. All are the stage songs. Surprisingly, not a single song was picturised on Motilal.
Five songs have been represented on the Blog. I present the 6th song, ‘o mrignaini madhubani……o bairaagi banwaasi’ which is tandem song rendered by Talat Mehmood, Shamshad Begum and Geeta Dutt. The soundtrack of the song in the film appears as a continuous song. Due to technical reasons, this song on gramophone records have been released in two parts. Geeta Dutt parts of the song is composed in Baul style, a type of kirtan song, which has been prevalent in Bengal.
This tandem song is a part of the mythological story of Menaka and sage Vishwamitra being staged in a theatre. In the first part of the song, Menaka (Padmini) is directed by Lord Indra () to entice sage Vishwamitra (Ramamurthy) who is on a deep meditation to attain the highest status of a Brahmarishi which can dethrone Lord Indra in heaven. In the second part of the song, Menaka goes from heaven to earth and starts singing and dancing. Towards the end of the song, Menaka is successful in breaking sage Vishwamitra’s meditation and he gets attracted to Menaka.
Incidentally, HFGK shows the song under discussion as two different songs because it has been issued on 78 RPM gramophone records with two different matrix numbers. In the film, it is a continuous but tandem song. Since the theme of both the songs is a part of the same story with continuity in stage performance, I felt that both the songs should form a part of the single post for the better understanding of the context of the song.
Video Clip (Part-1):
Video Clip (Part-2):
Audio Clip (Part-1):
Audio Clip (Part-2):
Song-O mrignainee madhubainee Menaka (Mr Sampat)(1952) Singers-Talat Mehmood, Shamshad Begum/ Geeta Dutt, Lyricist-Pt Indra Chandra, MD-B S Kalla
Chorus
Lyrics:
————————-
Part-1 (Based on Video Clip)
————————–
Devendra dev ki jai jai jai
?? kee jai jai jai
Gajpati Narendra kee jai jai jai
Gajpati Mahendra kee jai
Mahendra kee jai
Mahendra Kee jai
[Dialogues]
o o
mrignaini madhubaini Menaka
tum ho kahaan
tum ho kahaan
swaami ee
o o o o
haazir hoon main naath yahaan
haazir hoon main naath yahaan
haazir hoon main naath yahaan
o o o
mrignaini madhubaini Menaka
tum jaao
tum jaao
o o o
o o
meree laaj aabroo
ab to tumheen bachaao
salonee jaao
tum jaao
ab tajo shok tum swaami naath hamaare
ab tajo shok tum swaami naath hamaare
naath hamaare
sab bade bade brahmchaaree mujhse haare
mujhse haare
main jaaun
main jaaun aur suljhaaoon sabhee samasya
taphaaree kee kar aaoon
bhang tapasyaa
bhang tapasyaa…..aa
————————-
Part-2 (Based on Audio Clip)
————————–
o o o
bairaagee banwaasee..ee
o o o
bairaagee banwaasee ee
charnon kee daasee
darash ko pyaasee
bairaagee banwaasee
o o o
bairaagee banwaasee ee
ab nain khol kar dekh re
ab nain khol kar
ab nain khol kar dekh
dwaar tere chhaayee pooranmaasee
o bairaagee banwaasee
main daaroongee galbaiyaan
tod de maala
main daaroongee galbaiyaan
tod de maala
main apnaa hriday bichhaaoon
phenk mrigchhaala
dho daal bhaal ke bhabhoot
bhagwa taj de
?? ang ang ras bhar le
dho daal bhaal ke bhabhoot
bhagwa taj de
?? ang ang ras bhar le
preet mohse kar le
preet mohse kar le
preet mohse kar le
chhod udaasee
preet mohse kar le
chhod udaasee
o banwaasee
o banwaasee
o banwaasee
This article is written by Peevesie’s mom, 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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6391 | Post No. : | 19827 |
Hullo Atuldom
This post is thanks to the reminder that came from an Atulite (on Whatsapp), that today would have been the 100th birthday of Omkar Prasad Nayyar better known as O.P.Nayyar to the film- music- loving public.
O.P. Nayyar was born in Lahore, which is now in Pakistan, on 16th January 1926 as one among four sons. According to information on the internet, all his brothers are doctors. He was married to Saroj Nayyar who was a stage dancer when she met OPN who was at that time a singer at Lahore Radio Station. The Nayyars are parents to three daughters and a son. One of his granddaughters or grand niece, Niharica Raizada an actress, was born in Luxembourg, was seen in the Rohit Shetty directed ‘Sooryavanshi’ in 2021 & ‘Total Dhamaal’ (2018) a Inder Kumar directed film.
O P Nayyar was active in the film world from 1949 when he gave the background score for ‘Kaneez’. Dalsukh Pancholi’s ‘Aasman’ (1952) was his first as music director. ‘Zid’ (1994) directed by Esmayeel Shroff was the last film with OPN’s music.
In between 1952 & 1994 (almost 42 years) OPN’s music was heard in 73 Hindi movies (according to this post by Atulji.
That post also gives the number of O.P. Nayyar songs yet to be posted as 97. Since then (2018) we have added 37 more songs i.e. around 60 filmy songs are yet to be posted.
Read more on this topic…
This article is written by Peevesie’s mom, 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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6388 | Post No. : | 19814 |
Hullo Atuldom
Back after a year of inactivity. My last post was on 27th December 2025. Since then the calendar has changed and we are into 2026- a New Year. Even if the gap has been of only a few days, it feels like I have been away forever- feels like an Year of Inactivity. 🙂
“Inspector” (1956) was a film that had 9 songs with the song ‘dil chhed koi aisa naghma’ having two versions – in Hemant Kumar’s & Lata Mangeshkar’s voices. The following songs of the film are present on the blog:-
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- In: Amit Kumar songs | Amit Kumar-Shailendra Singh duet | Dance song | Duet | Guest posts | One singer singing for several actors | Post by Avinash Scrapwala | Shailendra Singh songs | Songs of 1980s (1981 to 1990) | Songs of 1983 | stage dance | Theme song | Title song | Yearwise breakup of songs
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This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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#the Decade of Eighties – 1981 – 1990 #
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This song is from the 1983 movie ‘Beqaraar-1983’.
I have presented two songs from this movie in the past. This movie ‘Beqaraar-1983’ was directed by V.B. Rajendra Prasad for ‘Jagpati Art Pictures, Madras’. V.B. Rajendra Prasad was also the producer of this movie. He also wrote the screenplay of this movie. The cast of this movie has Ashok Kumar, Sanjay Dutt, Mohnish Behl, Padmini Kolhapure, Supriya Pathak, Om Shivpuri, Satyen Kappu, Asrani, Mohan Choti, Tez Sapru, Chand Usmani, Poornima, Dulari, Seema, and Yasmeen Khan, Sangeeta Behl, Tulsi Devi, Kirti Singh, Aslam Farshauri, Manmood Khan, Master Manoj, Master Dambu and others.
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Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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