Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs

Archive for the ‘Subir Sen Songs’ Category


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.

Blog Day :

5055 Post No. : 16969

My first introduction to the voice of Singer Subir Sen was the song ‘manzil wohi hai pyaar ki raahi badal gaye’ from ‘Kathputli-1957’, and ‘dil mera ek aas ka panchhi’ from the movie ‘Aas Ka Panchhi-1961’.

I consider them as popular songs or songs that I remember most. But then, the total number of songs he sang in Hindi movies is also less than three figures viz. only twenty-eight. And the songs other than the two mentioned above seems to be very less heard or less popular except ‘main rangeela pyaar ka raahi’ from ‘Chhoti Bahan-1959’.

I often used to get confused between ‘Maaya-1960’ song ‘ae dil kahaan teri manzil’ and ‘ae dil ab kahin le jaa’ from ‘Bluff Master-1963’ as sung by Subir Sen which is actually sung by Dwijen Mukherjee and Hemant Kumar respectively. But that is how his voice sounds.

Later on, when I got associated with this blog, I shared a song ‘chandaa salone itnaa bataa de’ from the movie ‘Sati Renuka-1961’ which is a very nice duet of Subir Sen and Suman Kalyanpur. I like it very much. However, this song was also shared by Khyatiben, and her contribution got posted on the blog 😊.

I also liked his ‘hamen un raahon par chalnaa hai’ from the ‘1960’ movie ‘Maasoom’, which I came across during sharing a Sahir Ludhianvi song from the same movie.

A detailed post on Subir Sen and his songs is already on the blog which is written by our Respected Sadanand ji and readers can read it with the song ‘chaand taley jhoom jhoom’ from the movie ‘Jab Se Tumhen Dekha Hai-1963’. The twenty-eight songs sung by Subir Sen in Hindi movies have also been listed therein in this article.

Today we add one more song sung by Subir Sen on the blog. In fact, this song is lying with us since 2015. It is from the movie ‘Jaadui Angoothhi-1964’.

This movie was new to me when I came across it in ‘2014-2015’, and I liked almost all its songs which I then promptly sent to Atul ji.

‘Jaadui Angoothhi-1964’ alias ‘Magic Ring’ was directed by A.M. Khan for ‘A.M. Khan Productions, Bombay’. It had Chitra, Manhar Desai, Sheri, Krishnakumari, S.K. Shyam, Anil Kashmiri, Jilani, Uma Khosla, Violet, Ameerbai Karnataki, Sujata, Saroj, Sabina, Balwant Sharma, Kallan, Bagla, Chaman, Deva Kumari, Kanta Kumari and Polsan and others.

This movie had five songs composed by Suresh Kumar. Lyrics were written by Anjaan and Zafar Rahi.

Here is the list of songs in this movie :-

SNo Song Title Lyricist Singer/s Posted On
01 O sanan nanana hawaa lehraaye Anjaan Asha Bhonsle 08.09.2020
02 Kahaan nazar takraayi Zafar Rahi Mahendra Kapoor 09.01.2014
03 Zamaane ke hazaaron gham…Bujh gaya dil ka diyaa Zafar Rahi Subir Sen Being discussed today
04 Ude nainon se gulaal Anjaan Kamal Barot, Mahendra Kapoor
05 Dam bhar hai judaa, to haal hai ye… dil toot gaya to … Anjaan Not mentioned

(HFGK mentions Anjaan and Zafar Rahi for one song each on the movie details’ page of this movie and adds in ‘addenda’ it further mentions Zafar Rahi as lyricist for song number three. I guess that all other songs are written by Anjaan, so it makes three songs by Anjaan and two by Zafar Rahi).

Story and screenplay of this movie was written by Munshi Nayaab, and dialogues were written by A.K. Khan.
Editing of this movie was done by G.G. Patil and he was assisted by Rohi Das.

Asha Bhonsle, Mahendra Kapoor, Minoo Purshottam, Sulochana Chawhan, Subir Sen and Kamal Barot have given their voices to the songs in this movie.
As mentioned in the above table two songs from this movie have been posted on the blog.

Today’s song is sung by Subir Sen and on screen it is lip synced by Manhar Desai. Also seen in the picturization of this song, I guess, is Chitra the heroine of this movie and others.

Today’s song is a sad song. It is a nice song to listen to. Lyrics of the song can be considered as the star attraction in this song.

Let us enjoy today’s song …

Video

Audio

Song-Bujh gaya dil ka diya (Jaadui Angoothhi)(1964) Singer-Subir Sen, Lyrics-Zafar Raahi, MD-Suresh Kumar

Lyrics(According to video link)

Aa aa aa aa
Zamaane kar hazaaron o gham
Simat ke dil mein aaye hain
Kisi se dil lagaa kar
Ham badi mushkil mein aaye hain

Bujh gaya dil ka diya
To chaandni ko kya karoon
Lut gaya saaraa chaman to
Ik kali ko kya karoon
Bujh gaya dil ka diya

Jismein ho aansoo hi aansoo
Dukh jahaan ho beshumaar
Jismein ho aansoo hi aansoo
Dukh jahaan ho beshumaar
Jismein phoolon ko jalaane
Aaya karti ho bahaar
Mere maalik
Leke aisi zindagi ko Kya karoon
Kya karoon
Bujh gaya dil ka diya
To chaandni ko kya karoon
Lut gaya saaraa chaman to
Ik kali ko kya karoon oon
Bujh gaya dil ka diya

Kya pataa thha
Chaandni raaten dhuaan ban jaayengi
Kya pataa thha
Chaandni raaten dhuaan ban jaayengi
Bhoolnewaale ki yaaden
Dil ko yoon tadpaayegi
Bewafaa duniya ki is jhoothhi khushi ko
Kya karoon oon
Kya karoon
Bujh gaya dil ka diya
To chaandni ko kya karoon
Lut gaya saaraa chaman to
Ik kali ko kya karoon oon
Bujh gaya dil ka diya

Laut jaao ae bahaaron
Kyun jalaane aayi ho
Laut jaao ae bahaaron
Kyun jalaane aayi ho
Dil ke toote saaz par
Kyun gungunaane aayi ho
Gham ki shehnaai se nikli
Raagini ko kya karoon
Kya karoon
Bujh gaya dil ka diya
To chaandni ko kya karoon
Lut gaya saaraa chaman to
Ik kali ko kya karoon oon
Bujh gaya dil ka diya aa


This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4912 Post No. : 16730

Today, December 29, 2021 is the 6th Remembrance Day of Subir Sen, singer, actor and the music director in Hindi and Bangla films. The resemblance of his voice with that of Hemant Kumar seems to have influenced the music director, Shankar-Jaikishan to try him as a playback singer in Hindi films. Subir Sen sang just 28 songs in Hindi films in the span of around 12 years. Most of the songs he rendered became popular.

Subir Sen (24/07/1934 – 29/12/2015) was born in Assam and grew up in Guwahati where his father had a pharmacy business. He completed his matriculation from Guwahati. From the childhood, he was drawn towards music and this was the reason that made his father to shift to Kolkata after selling his pharmacy business. During his growing up days, he was highly influenced by the singing of Dhananjay Bhattacharya, Hemant Kumar and Talat Mehmood. When he started singing their songs in some programmes, the audience started appreciating his renditions. He felt that he can also sing like his favourite singers which made him to pursue the singing as a career.

Subir Sen enrolled himself in Marris College of Music (later renamed as Bhatkhande Music Institute), Lucknow. During the third year of his college, he received the first prize for singing a vilambit Khayal in raag Purvi. Later, he learnt Hindustani classical music from Acharya Chinmoy Lahiri, a vocalist in Hindustani classical music. On the advice of Acharya Chinmoy, Subir Sen learnt the Thumri singing from Usha Ranjan Mukherjee for over 2 years.

On an invitation from Guru Dutt, Subir Sen along with the music director, Sudhin Dasgupta shifted to Mumbai and became the part of the Guru Dutt’s Films for his film under production (probably for ‘Pyaasa’1957). However, though they were on the payroll of Guru Dutt Films, they never got opportunity to sing in his film. It is said that Guru Dutt sent Subir Sen to S D Burman for audition. He introduced himself as a singer who sang in the style of Hemant Kumar. S D Burman rejected him without taking his audition by asking him as to why he should use him when he can have the original voice of Hemant Kumar. (Source: Interview of Pandit Shiv Kumar Sharma on S D Burman).

While Sudhin Dasgupta returned to Kolkata, Subir Sen got an opportunity to sing for the first time in Hindi films under the baton of Shankar-Jaikishan who were impressed with the resemblance of his voice with that of Hemant Kumar. The first song he sang in Hindi film was manzil wohi hai pyaar ki raahi badal gaye in ‘Kathputli’ (1957) picturised on Balraj Sahni. The song became very popular and was one of the three songs from ‘Kathputli’ (1957) to figure in the top 32 songs of Binaca Geetmala for the year 1958. In 1959-60, Subir Sen sang six songs in six films with six music directors (including one under the baton of Hemant Kumar), all of which became popular.

Subir Sen again came into the attention when his song, dil mera ek aas ka panchhi picturised on Rajendra Kumar (who was nick named as ‘Jubilee Kumar’), became even more popular than his first song, ranking 5th among the top 32 Hindi film songs of Binaca Geetmala for the year 1961.

With the kind of the early successes, Subir Sen must have dreamt of a bright future for him as a playback singer in Hindi films. But his discography in the table given below reveals that his playback singing career in Hindi films did not reach to a level to make a living out of it. In most of the films, he got the opportunity to sing only one song.

No. Songs Name of the Film Co-singer Music Director
1 manzil wohi hai pyaar ki Kathputli (1957) Solo Shankar-Jaikishan
2 pyaar mein milna sanam Ardhaangini (1959) Lata Vasant Desai
3 main rangeela pyaar ka raahi Chhoti Bahen (1959) Lata Shankar-Jaikishan
4 gori tere natkhat nainaa Ham Bhi Insaan Hain (1959) Geeta Dutt Hemant Kumar
5 dil leke jaate ho kahaan O Tera Kya Kehna (1959) Kamal Barot Kalyanji Virji Shah
6 hamen in raahon pe chalna hai Maasoom (1960) Aarti Mukherjee Robin Banerjee
7 gar tum bura na maano Mehlon Ke Khwaab (1960) Asha Bhosle S Mohinder
8 dheere chalaao zaraa Aas Ka Panchhi (1961) Asha Bhosle Shankar-Jaikishan
9 dil mera ek aas ka panchhi Aas Ka Panchhi (1961) Solo Shankar-Jaikishan
10 bahaare luta ke nazaare dikha ke Anarbala (1961) Suman Kalyanpur Bulo C Rani
11 dekho na jaao ae jaaneman Boy Friend (1961) Solo Shankar-Jaikishan
12 sun le daastaan yoon na sata Passport (1961) Solo Kalyanji-Anandji
13 aa jaa re nain dwaare Roop Ki Rani Choron ka Raja (1961) Chorus Shankar-Jaikishan
14 chanda salone itna bata de Sati Renuka (1961) Suman Kalyanpur S L Merchant
15 kya kaha zara phir kaho Gangu (1962) Geeta Dutt Kalyanji-Anandji
16 kasam na lijiye kasam na dijiye Jaadoo Mahal (1962) Purnima Seth Bulo C Rani
17 Jeewan ki lambi raahon par Pick Pocket (1962) Mahendra Kapoor Sardar Malik
18 thaam mujhe gir na jaaun Raaz Ki Baat (1962 UR) Solo Robin Banerjee
19 chaand tale jhoom jhoom Jab Se Tumhen Dekha Hai (1963) Suman Kalyanpur Dattaram
20 gagan ke chanda na poochh hamse Apne Huye Paraaye (1964) Lata Shankar-Jaikishan
21 haath chod de mera bedardi Hukum Ka Ekka (1964) Aarti Mukherjee Robin Banerjee
22 bujh gaya dil ka diya Jaadui Anghooti (1964) Solo Suresh Kumar
23 ab to aisa lagta hai Roop Sundari (1964) Solo Sardar Malik
24 jaago anjaani raajdulaari Ek Soorat Do Dil (1968) Aarti Mukherjee Bijan Pal
25 aah dil mein hai Rani Chandravati (1968, UR) Solo S N Tripathi
26 Ye pukaar kiske liye Rani Chandravati (1968, UR) Suman Kalyanpur S N Tripathi
27 sedin dujone dulechhinu bone (Bangla) Anubhav (1971) Solo Rabindranath Tagore
28 koi mera ho gaya Midnight (1972) Solo Subir Sen

The initial euphoria Subir Sen created in Hindi film music due to the resemblance of his voice with that of Hemant Kumar may have becoming a stumbling block in his playback singing career. It would be a natural response from the music directors that they would rather work with Hemant Kumar who had already established himself as a playback singer than Subir Sen. Also, producers, directors, actors and the film financiers/distributors have their own preferences for playback singers among the established ones.

Ashutosh Banerjee, music director who had composed many Bangla films and non-film songs for Subir Sen was of the view that while in Mumbai, Subir Sen started listening to a lot of western music during which Jim Reeves and Nat King Cole became his favourite singers. From Jim Reeves, he picked up the tonal quality and from Nat King Cole the drama in singing. In his subsequent renditions, Subir Sen was influenced by the styles of these two American singers.

Some changes in Subir Sen’s rendition style are evident in his later songs. For instance, in ‘dheere chalo zara’ from ‘Aas Ka Panchhi’ (1961), one can feel some shades of Mukesh in the song. In ‘dekho na jaaneman’ which he sang for Shammi Kapoor in ‘Boy Friend’ (1961), his voice sounds somewhat different giving a feel of Manna Dey. I have listened to some of his Bangla non-film songs and I feel that he had adapted to a style of rendition to sound somewhat different from Hemant Kumar’s voice. For examples, ‘oy ujjwal din’ and ‘pagol hawa’ (a rehash of non-film Bangla song originally sung by Jatileshwar Mukherjee and ‘na jaane tum’ from ‘Chhoti Si Baat’, 1976).

With his playback singing career in Hindi films getting stangnated, Subir Sen returned to Kolkata sometime in early 1970s. He recorded hundreds of Bengali modern and Rabindra Sangeet numbers over three decades. He also acted along with Uttam Kumar in Bangla film, ‘Momer Alo’ (1964) and in Hindi film “Anubhav’ (1971).

Subir Sen and also Dwijen Mukherjee could not create a place for themselves in Hindi films mainly because they were born with their voice boxes almost similar to Hemant Kumar. And both of them were the contemporary of Hemant Kumar and in competition with him. Also, they came at a time when the troika of the main male playback singers – Mohammed Rafi, Mukesh, Talat Mehmood and later Kishore Kumar had already well-established in Hindi film industry.

On the occasion of the 6th Remembrance Day of Subir Sen, I am presenting ‘chaand tale jhoom jhoom tirak rahi hai’ rendered by him with Suman Kalyanpur for the film ‘Jab Se Tumhen Dekha Hai’ (1963). The song is written by Shailendra which is set to music by Dattaram.

With this song, all the six songs of ‘Jab Se Tumhen Dekha Hai’ have been covered in the Blog.

Acknowledgements:

1. Videos of interview of Subir Sen by Kolkata Gaan available on YouTube. Since the interview was conducted in Bengali, I requested Partha Chanda ji for the English translation which he promptly sent me with the links of a couple of Subir Sen’s Bangla songs. Thanks Partha Chanda ji.

2. Interview of Ashutosh Banerjee which appeared on The Times of India E-Paper, updated on 29/12/2015.

Audio Clip:

Song-Chaand taley jhoom jhoom (Jab Se Tumhen Dekha Hai)(1963) Singers-Suman Kalyanpur, Subir Sen, Lyrics-Shailendra, MD-Dattaram
Suman Kalyanpur + Subir Sen
Male chorus
Female chorus
All chorus

Lyrics

ha aa aa aa
ha aa aa aa
ha aa aa aa
ha

ho o o o
ho o o
o o o o

ha aa aa aa
ha aa aa aa
ha aa aa aa
ha

ho o o o
ho o o
o o o o

chaand tale jhoom jhoom
thirak rahi hai ghoongharwaaliyaan
mastiyon ki aaj dhoom
khushi baja rahi hai taaliyaan
haand tale jhoom jhoom
thirak rahi hai ghungharwaaliyaan
mastiyon ki aaj dhoom
khushi baja rahi hai taaliyaan

ho o o o
aa aa aa
o o o o
ho o o o
aa aa aa

ho o o o
aa aa aa aa
ho o o o
ho o o o
aa aa aa
o o o o

chori chori dil ko mere kaun gaya chhoo
aaj meri har nazar pe kis ki justujoo
aa aa aa
o o o o
aa aa aa
o o o o
bekaraar mera pyaar meri aarzoo
mere dil ko bhaa gayi hai aaj tu hi tu

haay main bhi aaj main nahi tu bhi nahin tu
hoy
chaand tale jhoom jhoom
thirak rahi hai ghungharwaaliyaan

mastiyon ki aaj dhoom
khushi baja rahi hai taaliyaan

ha aa aa aa
ha aa aa aa
ha aa aa aa
ha

ho o o o
o o o
o o o o

ha aa aa aa
ha aa aa aa
ha aa aa aa
ha

ho o o o
o o o
o o o

aaj itne paas hain jo kal thhe paraaye
saamne hai jo kabhi thhe khwaab mein aaye

la ra ra ra
la ra la ra li ra
la la la la
la ra la ra li ra
dekhti hai par nigaah sochti nahin
kya bharam kya hai sach ye jaanati nahi
o mere dil ki manzile hain bas yahin kahin
hoy
chaand tale jhoom jhoom
thirak rahi hai ghungharwaaliyaan

mastiyon ki aaj dhoom
khushi baja rahi hai taaliyaan
ho o o o
ha aa aa
o o o
ho o o o
ha aa aa
o o o

be-dhadak ye dil mein mere aa raha hai kaun
apni raah mujhko bhi bhula raha hai kaun
ha aa aa aa
ho o o o
ha aa aa aa
ho o o o
dheere dheere dil se dil mein la raha hai kaun
dekhiye to pyaar se bula raha hai kaun

o kya khabar ye mujhko aajma raha hai kaun
chaand tale jhoom jhoom
thirak rahi hain ghungharwaaliyaan
mastiyon ki aaj dhoom
khushi baja rahi hain taaliyaan

chaand tale jhoom jhoom
thirak rahi hai ghungharwaaliyaan
mastiyon ki aaj dhoom
khushi baja rahi hai taaliyaan


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.

Blog Day :

4476 Post No. : 15980

Today, October 19, 2020 is the 25th Remembrance Day of Baby Naaz, one of the super child artists of Hindi films who has enthralled the Hindi cinema buffs with her memorable roles. She was a destitute child in ‘Boot Polish’ (1954), the young Paro in ‘Devdas’ (1955), an orphan girl in ‘Do Phool’ (1958), a teenage daughter caught in the marital discord of her parents, Guru Dutt and Veena in ‘Kaagaz Ke Phool’ (1959) and many more roles.

Baby Naaz’s life from her childhood days to teenager has been traumatic and unhappy. Baby Naaz’s undated interview which appeared in ‘Stardust’ magazine sometime in mid-1970 is an indication of how a child has been exploited by her mother by pushing her into Hindi films as a child artist depriving her of schooling and a good childhood to make the family’s life comfortable. In today’s world, Baby Naaz’s case would come in the ambit of child abuse by her mother. From the age of 4, she has been the bread winner for her family when she started performing as a dancer on the road side stage shows. At the age of 8, she became a child artist in Hindi films which continued till her adulthood. In this process, Baby Naaz struggled with her 3-4 shifts of shooting a day depriving her of a normal childhood.

Based on Naaz’s interview mentioned above and also on Khalid Mohamed’s article in ‘The Daily Eyes’- July 8, 2020 and an article which appeared in December 29, 2017 issue of ‘Jansatta’, the life story of Naaz has been sumarised below:

Baby Naaz, (Real name: Salma Baig) was born in Mumbai on 20/08/1944 in a poor family. Her father, Mirza Dawood Baig was a story writer who was trying his luck to sell his stories for Hindi films but was unsuccessful. He remained unemployed beside being a sickly person. Baby Naaz’s mother was an ambitious lady who pushed Baby Naaz to Hindi films as a child artist so that with her income, she can run the house and have a comfortable life. Her father was against his daughter working in the film. But due to the extreme financial problem faced by the family, he reluctantly agreed to his friend, Lekhraj Bhakri’s request to let her do a childhood role of Suraiya in ‘Resham’ (1952). Salma Baig was given a screen name, ‘Baby Naaz’.

Due to her busy shooting schedules, Baby Naaz could not attend the school regularly for which she was rusticated. For the same reason, she had no time for enjoying her childhood. On the other hand, there was constant fights between her father and mother. Deprived of a normal childhood with love and affection from her parents, Baby Naaz twice attempted suicide by jumping into a well at the age of 10 but was saved by her maid servant.

When Naaz was 12, her parents separated and she started living with her mother. About 4 years later, her mother remarried to a film cameraman and shifted to her husband’s house. Slowly, she realised that she was the sole bread winner not only for her mother but also for her lover who had now become her step-father.

Baby Naaz came into limelight as a child artist in ‘Boot Polish’ (1954) in which she played the role of a destitute child along with Master Rattan. She enacted the emotional scenes as well as comedy acts very well. The film was shown in Cannes’ International Film Festival in 1955 where both Baby Naaz and Master Rattan were tied to receive the special commendations from the Jury. With this, Baby Naaz became the most sought-after child artist and worked in a spate of films during 1954-59. Around 1960 onwards, Naaz started getting roles as a major, mostly as a character actor though in a few films, she had also got the lead roles in ‘B’ grade films.

During the shooting of ‘Mera Ghar Mere Bachche’ (1960), Naaz became close to Subbiraj, a nephew of Prithviraj Kapoor. Both of them had the second lead roles and decided to convert their closeness into a marriage. However, families from both sides were against this marriage. Their courtship continued for 5 years. It was during the shooting of ‘Dekha Pyaar Tumhaara’ (1963), in which they were in the lead roles, they got married during the outdoor shooting of the film in Pratapgarh Fort. They returned to Mumbai as a married couple.

After the marriage, Naaz felt for the first time that she had got the love and affection which she had missed in her childhood. After the marriage, Naaz had to cut down her assignments in the films due to household responsibilities. In the 1970s, she started working with Kalyanji-Anandji for their musical programmes as a compere. In the 1980s, she almost stopped acting in the films as she had become a dubbing artist for some actresses from the south especially for Sridevi.

After a traumatic childhood and teens, Naaz was happy with her married life. When the time came for her to enjoy a life of contentment with her husband and two children, a tragedy struck in her life. In 1995, Naaz was diagnosed with cancer which was on a terminal stage. She breathed her last on October 19, 1995 when she was 51.

Baby Naaz worked in around 125 Hindi films during 1952-86 of which she worked as a child artist in about 50 films. In the 1960s, Naaz got opportunity to work as a lead/second lead actor in ‘Lambe Haath’ (1960), ‘Mera Ghar Mere Bachche’ (1960), ‘Gangu’ (1962), ‘Dekha Pyaar Tumhaara’ (1963), ‘Chaar Darvesh’ (1964), ‘Rocket Girl’ (1965) and Chhaila Babu’ (1967). However, these films did not do well at the box office.

After her marriage in 1963, Naaz restricted her film appearances by choosing the films in which the roles interested her. I find that post-marriage, most of the films in which she acted belonged to big banners and under good directors like M Sadiq in ‘Bahu Begum’ (1967), Sateyn Bose in ‘Raat Aur Din’ (1967), Lekh Tandon in ‘Jahaan Pyaar Miley’ (1969), Manmohan Desai in ‘Sachcha Jhootha’ (1970), Dulal Guha in ‘Dushman’ (1972). Hrishikesh Mukherjee in ‘Phir Kab Milogi’ (1974), Asit Sen in ‘Bairaag’ (1976), B R Chopra in ‘Karm’ (1977), Basu Chatterjee in ‘Sheesha’ (1986) etc.

On the occasion of the 25th Remembrance Day of Naaz, I present a song from ‘Gangu’ (1962) which was one of her films with a lead role for her. The film was directed by Promod Chakravarty. The song is ‘kya kaha zara phir kaho’ which is a duet sung by Subir Sen and Geeta Dutt. The song is written by Prem Dhawan is picturised on Chandrashekhar and Naaz which is set to music by Kalyanji-Anandji.

Video Clip:

Audio Clip:

Song-Kya kaha zara phir kaho (Gangu)(1962) Subir Sen, Geeta Dutt, Lyrics-Prem Dhawan, MD-Kalyanji Anandji

Lyrics

kya kaha zara phir kaho
aji kya kaha zara phir kaho
koi sun lega aji chup raho o
koi sun lega aji chup raho o

kya kaha zara phir kaho
koi sun lega aji chup raho
koi sun lega aji chup raho

tum na kaho to nigaahen kahengi
tumhaari ye bahki adaayen kahengi
tum na kaho to nigaahen kahengi
tumhaari ye bahki adaayen kahengi
youn na sataaya karo..o
koi sun lega aji chup raho o
koi sun lega aji chup raho o

kya kaha zara phir kaho
koi sun lega aji chup raho
koi sun lega aji chup raho

ki hai mohabbat to kaisa chhupaana
na ho jaaye dushman kahin ye zamaana
ki hai mohabbat to kaisa chhupaana
na ho jaaye dushman kahin ye zamaana
duniya se youn na daro..o
koi sun lega aji chup raho o
koi sun lega aji chup raho o

kya kaha zara phir kaho
aji kya kaha zara phir kaho
koi sun lega aji chup raho o
koi sun lega aji chup raho o


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.

Blog Day: 4330 Post No.: 15624

——————————–
Bangla Song in Hindi Films-2
———————————
‘Basu (Bhattacharya) used to be fired up by one-liners. He drew stories from one-line coming from his fertile mind’ thus said Rinki Roy Bhattacharya, daughter of Bimal Roy and the ex-wife of the late Basu Bhattacharya in an interview. After going through the interviews of Rinki Roy Bhattacharya and Gulzar who had been associated with Basu Bhattacharya, I have come with my own one-liner about Basu Bhattacharya. He made high quality films with low budget. His first film as a producer-director, ‘Uski Kahaani’ (1966) was made with a budget of Rs.one lakh only.

How did Basu Bhattacharya managed to produce and direct low budget films? Except the lead actors, he took his close friends as side actors, lyricists, music director and technicians with a tacit understanding that they will work within his low budget. And none of them seems to mind it as they kept their personal friendship above the professional relationship. He did not shoot the film in a studio but hired flats for shooting. For example, he majorly shot ‘Anubhav’ (1971) in Tanuja’s flat. ‘Aavishkar’ (1974) was majorly shot in his own flat at Khar.

Basu Bhattacharya (1934 -1997) was born in a priestly family in Kassim Bazar of Murshidabad district in West Bengal. From his teenage days, he was fond of watching films which led to his interest in film-related works. After watching Satyajit Ray’s ‘Aparajito’ (1956), he developed interest in film making. After the decline of New Theatres, some artists, technicians moved to Bombay (Mumbai) in early 1950s who were mostly accommodated either by Shashidhar Mukherjee of Filmistan or Bimal Roy. Basu Bhattacharya was so much influenced by Raj Kapoor’s films ‘Aawaara’ (1951) and ‘Shri 420’ (1956) that he came to Bombay (Mumbai) in 1956 with the sole intention of assisting Raj Kapoor. When his efforts to get entry into R K Studios failed, he joined Bimal Roy Productions as an Assistant to Bimal Roy for Madhumati (1958) and ‘Sujata’ (1959). He became the second unit Director for Bimal Roy’s film, ‘Parakh’ (1960).

During the making of ‘Parakh’ (1960), Basu Bhattacharya and Rinki Roy, Bimal Roy’s elder daughter developed liking for each other which was resented by her parents. After the completion of ‘Parakh’ (1960), Basu Bhattacharya left Bimal Roy Productions and became a free-lancer. Rinki Roy and Basu Bhattacharya got married in a court some time in 1963. Soon after the marriage, Basu Bhattachraya was entrusted with directing Shailendra’s maiden film, ‘Teesri Kasam’ (1966). With this film, Basu Bhattacharya got opportunity to direct Raj Kapoor to whom 10 years back, he was keen to assist him.

Basu Bhattacharya turned producer with the film ‘Uski Kahaani’ (1966) which he also directed. Thereafter, he concentrated his three films – a trilogy of marital discords in an urban setting – ‘Anubhav’ (1971), ‘Aavishkar’ (1974) and ‘Grih Pravesh’ (1979). All these films portray the struggle of the husband and wife to protect their marriage despite a third person entering into their married life. At the end, it is mutual realization that a happy home is the platform for a happy married life. In between, Basu Bhattacharya produced and directed ‘Tumhaara Kalloo’ (1975) which dealt with the importance of education in a village setting.

Basu Bhattacharya’s next film, ‘Anand Mahal’ (1977) was based on Badal Sarkar’s popular Bangla play, ‘Ballavpurer Roopkathaa’ which he produced and directed. The film was completed but remained unreleased. Dinesh Shankar Shailendra, younger son of the late Shailendra who was assisting Basu Bhattacharya in the film, very recently revealed on his facebook page that after editing work was over, Salil Chowdhury started composing background music. After completing the background music work, Salil Chowdhury told Basu Bhattacharya that it was a bad film which was shot like a play. He said that the release of the film would harm his reputation as a director. After listening to the flaws in the film in detail, Basu Bhattacharya accepted Salil Chowdhury’s advice and decided not to release the film.

During his life time, Basu Bhattacharya produced/directed around 15 films which included, in addition to those mentioned in the preceding paragraphs, ‘Daakoo’ (1975), ‘Sangat’ (1976), ‘Madhu Malti’ (1980), ‘Sparsh’ (1980), ‘Ek Saas Zindagi’ (1991) and ‘Aastha’ (1997) which was his last film. Although some of his films were critically acclaimed, almost all of his films did not fare well at the box office. His films, ‘Teesri Kasam’ (1966) and ‘Anubhav’ (1971) received National Awards for Best Film and the Second-Best Film respectively.

While Basu Bhattacharya produced three films on marital discord, his own married life with Rinki Roy Bhattacharya was in doldrum for domestic violence. There are details available in the interview of his ex-wife in the public domain. I feel that Basu Bhattacharya had split personalities – as a film director and as a husband.

Basu Bhattacharya left for the heavenly abode on 27/08/1997.

‘Anubhav’ (1971) was Basu Bhattacharya’s first film of the trilogy of marital discords. The film was made with the assistance of Film Corporation of India (now National Film Development Corporation). The cast included Sanjeev Kumar and Tanuja in lead roles as married couple with Dinesh Thakur as the third person and A K Hangal as the man servant in the household of the couple.

As per Rinki Roy Bhattacharya’s interview, the film started with Pran and Tanuja in the lead role. Some scenes were already shot with Pran. However, after watching the rushes of shots, Basu Bhattacharya decided that the role of an office going husband did not suit Pran. So, he was replaced with Sanjeev Kumar.

I had watched the film many years back (probably on TV) but I failed to recall sequential progression of the story of the film especially as to how the film ended. Recently, I watched the film with HD quality DVD on one of the video sharing platforms. Wow! What a film. After ‘Pyaasa’ (1957), I have immensely enjoyed watching this film in Black and White photography. I feel that the film would not have looked cinematically great if it was made in colour.

‘Anubhav’ (1971) is the story of Meeta (Tanuja), the lonely wife of the workaholic Amar (Sanjeev Kumar) who is the editor of a newspaper. There is not much time for Meeta for the companionship of her husband as he leaves for office early morning and returns late in the night fully exhausted. The one dialogue of Meeta in the film sums up her position in the house when she says to Amar that she felt as if she has been staying in a hotel with all the comforts but nothing for her to do.

She starts rediscovering herself. The first thing she does is that she removes all her servants except Hari (A K Hangal) so that she can keep herself busy with her household work. Now, she is the real in charge of her home. She is able to persuade Amar to spend more time in the house. He hosts parties in the house. Thus, Meeta is able to make him understand the joy of marital bliss.

When things were moving in the right direction for Amar and Meeta, one day, Shashi Bhushan (Dinesh Thakur) comes to meet Meeta without any prior intimation. He was Meeta’s first lover to whom she has forgotten after her marriage. In fact, he has come to get her recommendation for a job at Amar’s office where he has given an interview. He has no intention of reviving his love interest when Meeta seems to be very happy with her married life. She refuses to recommend his case by telling him that she does not interfere in Amar’s office matters. However, Shashi Bhushan does get a job at Amar’s office and in due course of time, he becomes his right- hand man.

When Amar comes to know about the past of Shashi being a lover of Meeta, his male ego creates a storm in their married life. Some time the discord in their married life is open in the presence of Shashi who often visits Amar in his house for office related work. At last, Amar in the fists of anger asks Shashi to resign from the job. But Shashi has already decided to leave the job when he comes to know that he has become the reason for marital discord between Amar and Meeta. When Amar reads the resignation letter of Shashi, he has change of heart. He rejects his resignation letter and ask him to continue the work.

After the resignation drama, there is an apt dialogue between Shashi and Amar. Shashi says ‘mujhe pataa nahin, beeta huwa kal aaj hamaare beech kaisa aa gaya.’ (I don’t know how our bygone days have come between us in our present-day life). To which Amar says ‘beeta huwa kal aaj hamaare beech tab hi aata hai jab hum aaj ko puri tarah se jee nahi paate’. (Bygone days between us comes only when we are not able to enjoy fully our present-day life). The film ends with a positive note clearing all the misunderstanding between Amar, Meeta and Shashi and Meeta giving news to Amar of her pregnancy.

The film has been nicely produced with excellence in almost all the major aspects of the film – direction, acting, dialogues, photography, music etc. The background music in the film has been innovatively done with signature tune of Aakashvani and songs being played in the radio etc. I could faintly hear a Bangla song and a Hindi film song, taash ke baawan patte as part of background music.

Another highlight of the film is the excellent picturization of 4 melodious songs set to music by Kanu Roy with a minimal orchestration. I liked the picturization of one of the film’s songs, meri jaan mujhe jaan na kaho. It is to the credit of Basu Bhattacharya that such a romantic song has been picturised just at one place – at one of the closed windows of the house with the background of heavy rains outside the house. With this song, he has proved that an intense romantic mood in the song can be picturised without going to outdoor shooting or even to Switzerland as Yash Chopra may have done with similar situation. And what a play of words by Gulzar! The words ‘jaan’ has been used both as ‘love’ as well as ‘life’.

All the 4 songs of ‘Anubhav’ (1971) have been covered in the Blog. But there is one more song, a Bangla song ‘sedin dujone dulechhinu bone’, a Tagore song which is rendered by and picturised on Subir Sen. The occasion is a party hosted by Amar in his house in which Subir Sen, (in the role of Subir Sen, the singer) is also invited. The lyrics and the tune are by Gurudev Rabindranath Tagore which he composed in 1922. In this song, no orchestration has been used except the harmonium.

I have taken the lyrics, Hindi poetic translation and English translation of the song from http://www.geetbatin.com. I was surprised to note that the Hindi poetic translation was composed in the same metre as Tagore Song. So one can sing Hindi translated song in the tune used for Bangla song.

S D Burman has used the tune of this Tagore song in naina deewaane ek nahin maane from the film ‘Afsar’ (1950).

Acknowledgements for the sources of information on Basu Bhattacharya: (1) Interview of Rinki Roy Bhattacharya by Sonal Pandya published in ‘Cinestan’, Feb 04, 2018 and (2) Interview of Gulzar published in a old issue of ‘Filmfare’, republished in https://tanqeed.com/

Video Clip:

Song-Sedin dujone dulechhinu bone (Anubhav)(1971) Singer-Subir Sen, Lyrics-Rabindranath Tagore, MD-Rabindranath Tagore

Lyrics (Sourced from http://www.geetbitan.com)
———————————–

sedin dujone dulechhinu bone
phulodore bandhaa jhulonaa
sei sritituku kobhu khone khone
jeno jaage mone bhulo na
bhulo na
bhulo na..aa
sedin dujone dulechhinu bone
phulodore baandhaa jhulonaa
se din baatase chhilo tumi jaano
aamari monero prolapo joraano,
se din baatase chhilo tumi jaano
aamari monero prolapo joraano,
aakashe aakashe aachhilo chhoraano
tomaro haasiro tulona
bhulo na
bhulo na
bhulo na
sedin dujone dulechhinu bone
phulodore baandhaa jhulonaa

jete jete paathe poornima raate
chaand uthechhilo gaagone
dekha hoyechhilo tomaate aamate
ki jaani ki mahalagone
ekhon aamar bela naahi aar….

Lines not covered in the song

bohibo ekaaki birohero bhaar –
Bnaadhinu je raakhi porane tomar se
raakhi khulo na khulo na

——————————–
Hindi Poetic Translation
(Sourced from http://www.geetbitan.com)
———————————–
वो दिन सुहाना-फुलडोर-बंधे
झूले थे हम वन में झूलना ॥
छोटी-मोटी वो यादें मन में जो जागे
पल वो हम कभी भूले-ना, भूलें-ना ॥

उस दिन हवा में, तुमने भी माना
पागल-वन मेरे, मन का सामाना ।
नीले नीले नभ ने, हरष छा जाता,
तेरे ही हँसी की तुलना ।
भूलो ना, भूलो ना, भूलो ना ॥

राह पे हमराही रात पूनम थी,
चांद चमका नभ में
न जाने वो कौन सी महालगन में
हम ओर तुम थे मिले

(जब) चांद चमकता नभ पे
अब वो बेला बीत चली
बार विरह के सहुं अकेले ।
जो राखी बांधे मैंने प्राण संग तेरे
वो राखी खुले ना, खुले ना, भुले ना ॥

——————————
English Translation (Sourced from http://www.geetbitan.com)
——————————

We had had a swing in the forest on the other day,
It was a swing adorned with garlands.
Wish we do not lose that tiny remembrance which looms about every now and then.

The air was filled with, you know, the meaningless words of my mind,
The sky (was) sprinkled with samples of your smile.
The moon was seen to rise in the sky on the full-moon day while strolling.
Just have no idea of the divine moment on which we had had met each other.

Now I have no time left, and will bear the feeling of solitude alone in myself-

(Please be kind enough) Not to shed the friendship band that (I had) tied with your soul.


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

3716 Post No. : 14647 Movie Count :

4001

Missing Films of 1960s – 78
– – – – – – – – – – – – – – –

And here is the 4001st film to find its place on our blog. Thanks Atul ji, for a very interesting sojourn through a tale of years and numbers. The tales, most surely, is not yet done with. So many more chapters are still to be written, and I am sure there is still a ton of surprises that are waiting in the shadows.

As the years progress, it is to be expected that the number of people interested in this music form will be lessening. Maybe so, but the experience so far has been that the interest in this music form continues to retain the attention of music lovers. Their numbers may be reducing through a natural process, but the music is continuously attracting new followers. Let me mention a few very interesting developments which are very recent.

When digital music arrived on the scene, it took the world by storm. Every creator of music, every producer of music items made a beeline for the CDs and the digitally converted and compressed formats. Everything that is anything in music, well almost, is now available in mp3 and other digital formats, with a greater ease of storage and sharing. However, the aficionado listeners, having spent a lot of time with digital music are probably beginning to miss the fidelity of the analog recordings – of the vinyl records and the coated plastic tapes. As we all know, digitization is basically a process to slice the stream of music into tiny packets and store them in digital formats. This slicing process (called sampling), however fine tuned and precise it may be, still leads to a loss of content. When the digital sampling happens, and packets are created, it does drop out minute fractions of audio stream in between the packets. The resulting output may get subjected to further such process, as folks try more digital processes to ‘clean’ the sound and to tweak the different frequency ranges to their personal preferences. Every time such a transformation process is applied to a stream of music, it loses some fraction of its original content. I have been part of listening sessions wherein the differences between the analog audio tracks and their digitally transformed versions, have been demonstrated. With some surprising differences.

In recent months and years, there has been a slowly progressing turnback towards the analog sound once again. In Europe, the music companies have started pressing vinyl records once again, and we are seeing more and more of them in the market. Even many latest Hindi films are releasing their music on LPs once again. Just go to music stores, and to the online stores, and today, you can buy a much larger selection of latest music on LPs than maybe 10 or 15 years ago.

In the US, there is a spurt in the demand of original music tracks on 78 rpm records, and their market is really going up. Although I have not yet heard about a return back to 78 rpm pressing factories. But who knows, the value economics may still turn the tide in that direction.

In India, besides the music of newer Hindi films coming on LPs, there is another move coming up, towards re-releasing the available earliest music of the 1900s to 1940s on LP records. One of the factors is that majority of the music of that period is now technically out of copyright ownership status and is in public domain. I am aware of at least on such enterprise who are working to bring back to life, the music of the likes of Gauhar Jaan and Janakibai, and release the available collections in LP format. I have a feeling this will trend is only going to grow over the years, and we should be seeing more players come into this market. There is a ton of non-film music that is still available in 78 rpm format that is waiting for a second life. Digital is all well, but listeners are now returning to the gramophone.

In an interesting conversation just last month, I got this surprise news that some music companies are working to bring back the cassette tape into the market once again. The purity and the fidelity of the sound is once again the driving force behind this renewal. Over the decades, the research on the different storage media and formats, has established that the original media formats continue to be the safest, the most reliable and the most enduring. The life span of celluloid and plastic tapes (audio and VHS) has proven to be longer lasting than CDs and hard disks. Of course the caveat is that they are stored in proper conditions. The well stored celluloid films from the late 1800s are still going strong, much better than the VHS tapes, and which in turn are proving to be much longer lasting than DVDs and hard disks.

I will turn this detour into the technical aspects of media storage, back to where I had started from. That there still are a ton of surprises that are probably waiting in the shadows. Let me bring up another very interesting aspect of this discussion – the collections that are sitting with private collectors. Yes, there are many a sizeable collections of records that are in the possession of private collectors. With the passing of years and the intervention of natural processes, a number of these collections are changing hands and getting redistributed. These collections, for decades, have been religiously guarded and kept ultra safe for private listening only. With passage of time and change of guard (ownership thru inheritance), and for lack of interest on the part of the inheritee, these collections are now seeing light of the day. Knowledgeable collectors are avidly pursuing such opportunities to take a pick of some very well preserved and very rare recordings. A very interesting aside here is that collectors in Pakistan are also in the fray, and they are making a good harvest. As per comments made in discussions in music collector circles, in good probability, there are more 78 rpm records now in Pakistan than here in India. And that is because the Pakistani collectors seem to be keeping much better tabs on such movements of private collections than their Indian counterparts.

My hope and my expectation is that in this process of collections changing hands and moving to different owners, we may see some more of unheard, unlisted and unexpected recordings come out into public domain.  Gosh, who knows what we may still encounter as the search brings up more and more hitherto unavailable items into the open.

Coming to the 4001st film – a very obscure and unfamiliar name – ‘Ek Surat Do Dil’ from 1968. Except for the listing in the Geet Kosh, I have no other information traceable, for this film. This is a film produced in Calcutta, under the banner of Kashi Alok Chitram. There is no information available about the actors or producer/director of this film. The Geet Kosh lists eight songs for this film. It appears as if only one record has surfaced in the public domain so far, and that seems to be the only source of information available. The names of the singers, songwriters and the music director seem to have been taken from the record label itself. The name of the music director is Bijan Pal. This name appears in the Geet Kosh only for this one film. And that’s it. Same is with the songwriter – Ramji Singh. A completely unfamiliar and obscure name, appearing in the Geet Kosh for this one solitary song.

Aha, the singer names are more familiar – Subir Sen and Aarti Mukherjee. The tune and the arrangement is very atypical. The sound makes one feel that this tune is heard somewhere before, but I cannot place anything specifically.

4001st film makes its debut here today. Let us take a quick look at the 1968 numbers. As per Geet Kosh, there are 72 films plus one Bhojpuri film. Of the 72 Hindi films, 66 films are already represented on our blog. This is the 67th film to come on board. That leaves 5 more to get – I think we will get to see at least a couple of more films from this year.

And yes, btw, 1968 is a very interesting and special year for our blog. Can you guess?  🙂

Song – Jaago Anjaani, Raajdulaari  (Ek Surat Do Dil) (1968) Singer – Subir Sen, Aarti Mukherjee, Lyrics – Ramji Singh, MD – Bijan Pal
Subir Sen – Aarti Mukherjee

Lyrics

jaago anjaani
raajdulaari
dhal gaya chanda
kati raat saari
jaago anjaani
raajdulaari
dhal gaya chanda
kati raat saari
jaago anjaani. . .

oi re..ae..ae..ae..ae

ye angdaai kehti kahaani
meri rag rag mein machle jawaani
har kali par bhanwar gungunaate
pyaar ki raagni hain sunaate
aa ja re meet mere
ban ke geet mere
kaisi hai ye beqaraari
aa ja re meet mere
ban ke geet mere
kaisi hai ye beqaraari
jaago anjaani
raajdulaari
dhal gaya chanda
kati raat saari
jaago anjaani
raajdulaari
dhal gaya chanda
kati raat saari
jaago anjaani. . .

ye hawa madbhari ye bahaaren
phool muska ke mujhko pukaaren
jhoomta hai nadi ka kinaara
haaye kaisa suhaana nazaara
na jaao door kahin
aa jaao paas yahin
royegi birhan tumhaari
na jaao door kahin
aa jaao paas yahin
royegi birhan tumhaari
jaago anjaani
raajdulaari
dhal gaya chanda
kati raat saari
jaago anjaani
raajdulaari
dhal gaya chanda
kati raat saari
jaago anjaani. . .

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————

जागो अनजानी
राजदुलारी
ढाल गया चंदा
कटी रात सारी
जागो अनजानी
राजदुलारी
ढाल गया चंदा
कटी रात सारी
जागो अनजानी॰ ॰ ॰

ओई रे॰॰ए॰॰ए॰॰ए॰॰ए

ये अंगड़ाई कहती कहानी
मेरी रग रग में मचले जवानी
हर काली पर भँवर गुनगुनाते
प्यार की रागनी हैं सुनाते
आ जा रे मीत मेरे
बन के गीत मेरे
कैसी है ये बेक़रारी
आ जा रे मीत मेरे
बन के गीत मेरे
कैसी है ये बेक़रारी
जागो अनजानी
राजदुलारी
ढल गया चंदा
कटी रात सारी
जागो अनजानी
राजदुलारी
ढल गया चंदा
कटी रात सारी
जागो अनजानी॰ ॰ ॰

ये हवा मदभरी ये बहारें
फूल मुस्का के मुझको पुकारें
झूमता है नदी का किनारा
हाय कैसा सुहाना नज़ारा
ना जाओ दूर कहीं
आ जाओ पास यहीं
रोएगी बिरहन तुम्हारी
ना जाओ दूर कहीं
आ जाओ पास यहीं
रोएगी बिरहन तुम्हारी
जागो अनजानी
राजदुलारी
ढल गया चंदा
कटी रात सारी
जागो अनजानी
राजदुलारी
ढल गया चंदा
कटी रात सारी
जागो अनजानी॰ ॰ ॰


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

A sad event that did not seem to gather much attention, occurred on Tuesday, 29th December, 2015. Legendary singer Subir Sen breathed his last in Calcutta (Kolkata). He was 81-years-old. The lovers of film music will remember him for his renditions in many Hindi and Bangla films.
Read more on this topic…


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Missing Films of 1960s – 8
– – – – – – – – – – – – – –

I am really incensed. Generally that does not happen easily, but today it has. Going thru the list of un-represented films from 1960s, the next target film for me was ‘Hawa Mahal’. I already looked for the 78 rpm records of this film, and have drawn a blank. From more than one source, I was informed that no records were manufactured for this film. Disappointing as this information was in itself, I was concerned, but not too much. Because I knew that I have this film with me on disk. So when the time came to prepare a post for the film ‘Hawa Mahal’, I took out video file of the film, with the intent of listening to the songs and to prepare a upload version of one of them.
Read more on this topic…


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.

“Roop Ki Raani Choron Ka Raja” (1961) was a Rahul Theatres Production. It was prooduced and directed by H S Rawail. The movie had Dev Anand, Waheeda Rehman, Jeevan, Sunder, Hira Lal, Randhir, Jagdish Raj, Rajindar Nath, Sahira, Sheela Kashmiri, Manorama, Indira Bansal, Gautam Mukerjee, Babu Rao Pehlwan, Soda Water, Prabhu Arora, Rirkoo, Jasbir Singh, Ravi Kant, Sadhu Singh, Raj Kumar, Ghosh, Guddu, Satish etc in it.
Read more on this topic…


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.

MEHLON KE KHWAAB (1960) was a romantic comedy film produced by Madhubala under the banner of Madhubala Pvt. Ltd. The film was directed by Muhafiz Hyder. The star cast included Madhubala, Pradeep Kumar, Kishore Kumar, Chanchal, Pran, K N Singh, Om Prakash, Praveen Paul, Rashid Khan, Sulochana Chaterjee, Cuckoo etc. The full film is available on the internet albeit with the average video quality.
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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.

“Sati Renuka” (1961) was directed by K S Prakash Rao for D R Films. The movie had G. Varlaxmi, Jamuna, Krishna Kumari etc in it.
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This blog discusses Bollywood songs of yesteryears. Every song has a brief description, followed by a video link, and complete lyrics of the song.

This is a labour of love, where “new” songs are added every day, and that has been the case for over THIRTEEN years. This blog has over 17000 song posts by now.

This blog is active and online for over 5000 days since its beginning on 19 july 2008.

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Movies with all their songs covered =1325
Total Number of movies covered=4609

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Active for more than 5000 days.

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