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

Archive for the ‘Sulochana Kadam songs’ Category


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

Blog Day :

4795 Post No. : 16555

Today’s song is from the film Actor-1951.

Four songs of this film are already discussed here, however I liked this funny song, so I selected this song for today’s post. The film made under the banner of Sarosh Pictures, Bombay was produced by H.M.Kerawala and Bhojani. The film was directed by Ramjibhai Arya. He came to Talkie films from silent films. After working as an assistant to a few directors he first directed film Hind ke laal-40, then came Manthan-41, Jungle ki Pukar-46, Bhedi Dushman-46, Sher-E-Bengal-47 and his last film was Actor 51.

The music was by Aziz Khan and Ibrahim. In my last post, I had given Asha Bhosle’s song from the film ‘ Andhon ki Duniya’-1947 as an example how the film industry history adapts itself to make corrections in its earlier information. By sheer coincidence, even in this post also a film industry history adaptation example is present.

Ibrahim, the joint MD in this film as well as two other films- Utho Jaago-1947 and Bachelor Husband-1950 was considered to be the brother of Ghulam Mohd. MD. This Ibrahim worked as assistant to Naushad for a long time, after Ghulam Mohd. expired. For many years these 3 films were credited to his name. Even author Pankaj Raag, in his book ” Dhunon ki Yatra’ Mentioned the same thing.

However while working on the book on the Clarinet Expert Master Ibrahim, Dr. Surjit Singh ji had interviewed Iqbal Ajmeri-Master Ibrahim’s son, who had confirmed that the MD for these 3 films was Master Ibrahim and not Ibrahim, brother of Ghulam Mohd. After reading this in that book, just to confirm this, I wrote to shri Harmandir Hamraaz ji about my doubt. He promptly replied that he too had met and interviewed Iqbal Ajmeri- who was an expert in Music history of the Hindi films, had also confirmed that these films had music by Master Ibrahim only. Thus, one more correction in the history pages !

A lot has been written about Aziz khan on this Blog, by me as well as Sadanand Kamath ji, so I will not go into that again here. Instead, here is a note on Master Ibrahim, the expert Clarinet player who was the joint MD for today’s film.

Film critics and those who wrote in glossy magazines ignored stunt and action films, but a certain portion of the Indian audience was a firm supporter of such films. Master Vithal, Master Bhagwan, Baburao pehelwan, John Cavas, kamran etc were their Heroes. Usually the Music Directors and Directors of these films were unknown and those available on minimum fees were always hired.

The Music Director of this type of film was also one such person – Master Ibrahim, who did only 2 films as independent MD. He, however, gave music, along with Aziz Khan to film “ Utho Jaago-1947″, Bachelor Husband-1950 with Sarswati Devi and film Actor-1951, with Aziz Hindi. In the 50s and the 60s decade, there used to be a programme on Radio Ceylon, titled “Saaz aur Awaz”, at 7 am everyday. In this programme, film songs on different Musical Instruments were played-like Van Shipley on Guitar, Bismilla Khan on Shehnayi,Master Ibrahim on Clarinet. After this programme, there was ” Ek hi filmon ke geet” and at 7.30 the evergreen “Purane filmon ke geet” was scheduled.

For many years, I used to wonder as to who this Master Ibrahim was. I had read about Van Shipley and others, but information on Master Ibrahim was not seen anywhere. Finally, when my friend Javed Hamid ji from Delhi, sent me his book copies, published in Hindi, I found an article on Ibrahim, in one of his books,” Hindi cinema ke sadabahar Sangeetkar “.

His name was Ibrahim Rehmat Ali ( or E.R.Ali or Master Ajmeri, on some Record labels). He was born in 1915 at Ajmer and by his 11th year itself, he achieved expertise in playing a difficult musical instrument like Clarinet. he also learnt classical music from Banne khan, Jere khan and Dinkar Rao. From 1934 to 1936, he worked in Ranjit Movietone’s Music department. Then he joined All India Radio, for the next 6 years. In 1942, he joined H.M.V. and served there for the next 25 years.

In these 25 years, Master Ibrahim played his Clarinet in more than 6000 songs, recorded at HMV. He was also the Pioneer in presenting film songs on Musical Instruments. Even during his service. A.I.R. Bombay used to arrange his Clarinet Mehfil every month. He used to present different Ragas on Clarinet as per time of the day or night.

He gave music to only two films. Both were C grade,in the 40s decade. These films were Parbat Ki Rani-1948 and Bigde Dil-1949. He worked as assistant to many Music Directors like Ghulam Hyder, V K Naidu, Shyam Sundar, Fateh Ali Khan, Gulshan Sufi and Firoz Nizami.

He played not just the Clarinet, but also played the Xylophone, Vibraphone, Alto saxophone, Supranophone and a few others. After his film songs on Clarinet became popular, different artistes like Van Shipley on Hawaiian Guitar, Enoch Daniels, Goodi Seervai, Hazara Singhand Sunil Ganguly on Piano Accordion and Brian Silas on Piano also became famous and popular, with their performances.

Master Ibrahim died on 20th September 1980, due to a Heart attack. The work of preserving his music on CDs started by HMV from 2015 and so far 4 CDs are published. His contribution in songs of films like Mughal E Azam, C.I.D., Mere Mehboob, Basant Bahar, Madhumati, Maya, Goonj uthi Shehnai etc is remembered even today. Every year Radio Ceylon pays tributes to him on his death anniversary on 20th September by playing only his records.

He had 3 sons, who all are in the Music industry. They are experts in Vibraphones. Its use is very frequent in films nowadays.

Recently, Dr.Surjit Singh ji has published an exclusive book on Master ibrahim.

( I thank Javed Hamid ji for his article in his book ” Hindi Cinema ke Sadabahar Sangeetkar” हिंदी सिनेमा के सदाबहार संगीतकार ).

The cast of the film Actor-51 was Ramola, Bhagwan, Indumati, Sundar, Murad,Sulochana Cuckoo and many others. It is a notable coincidence that in 1951, in just One year alone, there were 3 films with almost the same story and Bhagwan was the Hero in all 3 films – Actor-51, Damad-51 and Albela-51. The basic story was that a poor man, without any help, tries to become a Singer or an Actor and how Luck helps him to become a famous artiste.

Film Daamaad was censored on 8-2-51, film Actor was censored on 1-5-51 and Albela was censored on 13-12-51 and released immediately on the next day i.e. 14-12-51. Earlier it was felt by me that film Actor was a failed copy of film Albela. That was before I got the HFGK. Now I know that I was wrong in my assumption. The fact is actually different. Both C Ramchandra and Raj kapoor were after Bhagwan to start a Social film, instead of making only stunt/action films. After working in these two films, Bhagwan became aware that this story was a winning one, if made into film wisely and if C Ramchandra gives his best music.

Bhagwan started making a draft and writing the story of Albela. Due to his image of a stunt film maker, no mainstream Heroine was ready to work in his film and he could not afford their fees also. He thought of Geeta Bali. When he narrated the story to her, smart as she was, she understood its potential to become a Hit film, and she agreed to work in Albela as a Heroine. The rest, as they say, is History !

The Lyricist of all the 10 songs was Nazim Panipati, who was the brother of Wali Saheb, a producer and Director of the 40’s. Wali Saheb was the husband of actress Mumtaz Shanti. They both migrated to Pakistan, but Nazim Panipati stayed in India. In the cast one name Indumati is there. This is a less known name for most readers, I feel. INDUMATI LELE (Born 18 December 1927 – Died 11 September 2013), forgotten Yesteryears Indian Theatre and Film Actress turned Folk Artiste.

Indumati and Kumudini Lele who were once famous as ‘Lele Sisters’ in Hindi and Marathi Theatre and Cinema fields, have been forgotten today. Indumati Lele, died at the age of 86, when she was still working as an examiner for the television program ‘Dum Damadam’.

Kumud and Indumati, were both known as ‘Lele Sisters” in the fifties. Both of them originally hailed from Ujjain in Madhya Pradesh. Their father Girdhar Lele was in Government job as Director of Agriculture, at Indore. From an early age, the two sisters loved acting and dancing. Both were involved in dance and dance related activities in their school. Prithviraj Kapoor saw the two at one of the school events and talked to their father and brought them straight to Mumbai. For the next two years, both sisters worked as artists in Prithviraj Kapoor’s ‘Prithvi Theatres” until the company closed. They played different roles in several of his Plays and had the fortune of touring India all along with Prithviraj Kapoor.

While Kumudini acted in Bimal Roy’s ‘Parivar’, ‘Bandini’ etc. and in few Marathi films like ‘Ram Ram Pauna’ etc., Indumati Lele acted in Prithviraj Kapoor’s Shakuntala’ and other plays. She also acted in some films while working in ‘Prithvi Theaters’, like Mazdoor-45, ‘Shehnai’ (1947), ‘Aag’ (1948), ‘Sunahare Din’ (1949), ‘Gauna’ (1950), Actor-(1951), ‘Chaudhwin ka Chand’ (1960), ‘Budtameez’ (1966), ‘Man Mandir’ (1971), to name a few. In Raj Kapoor’s ‘Aag’ (1948), she acted as his mother. She also appeared in two English films, ‘Householder’ with Leela Naidu and ‘Shakespearewallah” both with Shashi Kapoor.

Today’s song is a good one, sung by Sulochana Kadam and Chorus.


Song-Kalkatte se aaya jahaaz haay sakhi mere balam nahin aaye re (Actor)(1951) Singer- Sulochana Kadam, Lyricist- Nazim Panipati, MD- Aziz Hindi and Ibrahim
Chorus

Lyrics

kalkatte se
ae ji
kalkatte se aaya jahaaz
sakhi mere
haay sakhi mere balam nahin aaye re
ho kalkatte se aaya jahaaz
sakhi mere
haaye sakhi mere balam nahin aaye re
ho kalkatte se aaya jahaaz

sabke balam aaye
mere na aaye
mere na aaye
ek ek se poochha sakhi
koi na bataaye
koi na bataaye
? ho ae ji
? ho mere mijaaz(?)
sakhi mere
haaye sakhi mere balam nahin aaye re
ho kalkatte se aaya jahaaz

baalam jo aate to laate wo mundri
laate wo mundri
baalam jo aate to laate wo mundri
laate wo mundri
aur saath laate wo resham ki chundri
haaye resham ki chundri
mujhe sakhiyon mein
ae ji mujhe sakhiyon mein aati hai laaj
sakhi mere
haay sakhi mere balam nahin aaye re
ho kalkatte se aaya jahaaz

kahaan chhod aaye ho mere sanam ko
mere sanam ko
o o o
kahaan chhod aaye ho mere sanam ko
mere sanam ko
o o o
kaise bhulaaungi kaise bhulaaaungi
main unke gham ko
haaye main unke gham ko
mere dil pe hai
ae ji mere dil pe hai beeta hai aaj
sakhi mere
haay sakhi mere balam nahin aaye re
ho kalkatte se
ae ji kalkatte se aaya jahaaz


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 :

4781 Post No. : 16534

“Chhoti Duniya”(1953) was produced by D M Sheth and directed by Uday Kumar for Meera Productions, Bombay. This movie had Uday Kumar, Leela Kumari, Shiela Naik, Nannu, Ranjeet, Ashwin Roy, B Lalwani, Moolji Khushal, Babu, Chandar etc in it.

This little known movie had seven songs in it. Two songs have been covered in the past.

Here is the third song from “Chhoti Duniya”(1953) to appear in the blog. This is a mlncholic song which is sung by Sulochana Kadam. Bekal is the lyricist. Music is cmposed by Rajhans Kataria.

Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of this song.

This song is the 500th song from movies of 1953 to be covered in the blog.


Song-Sau baar mile mil kar bichhde (Chhoti Duniya) (1953) Singer-Sulochana Kadam, Lyrics-Bekal, MD-Rajhans Kataria

Lyrics

sau baar miley mil kar bichhde
sau baar miley mil kar bichhde
main dil ki lagi ko bujha na saki
main dil ki lagi ko bujha na saki
har baar sunaana ji chaaha
har baar sunaana ji chaaha
par dil ka haal suna na saki
par dil ka haal suna na saki
sau baar miley

teri yaad mein aahen bhar bhar ke
aur duniya se bhi dar dar ke
teri yaad mein aahen bhar bhar ke
aur duniya se bhi dar dar ke
kayi haar piroye tere liye
kayi haar piroye tere liye
main ek tujhe pahna na saki
main ek tujhe pahna na saki
sau baar miley

dil prem ki aag se jalta gaya
mere pyaar ka paudha phalta gaya
dil prem ki aag se jalta gaya
mere pyaar ka paudha phalta gaya
phaldaar hua to ae kismat
phaldaar hua to ae kismat
main uska bhi phal kha na saki
main uska bhi phal kha na saki
sau baar miley

wo bichhad gaye mujhse mil ke
armaan tadapte hain dil ke
wo bichhad gaye mujhse mil ke
armaan tadapte hain dil ke
main ujdi hui haay
main ujdi hui tere kadmo mein
ik chhoti si duniya bana na saki
ik chhoti si duniya bana na saki
sau baar miley mil kar bichhde
main dil ki lagi ko bujha na saki
main dil ki lagi ko bujha na saki
sau baar miley


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

Blog Day :

4769 Post No. : 16518

Today’s song is from an obscure film-Paaro-1947. It was made by Navyug Film co. One of the partners of this film company was Marathi’s famous writer, novelist and journalist Acharya Atre. By coincidence, the name of the Music Director of film Paaro-47 was Rasheed Atre. He, of course, was Muslim and Acharya Atre was a Hindu Bramhin.

The film was directed by one Shorey Daulatlavi, who was originally a Cinematographer with Minerva Movietone. His first film as a Director was Pathron ke saudagar-44, made by Minerva Movietone. Sohrab Modi was not known for recognising talents of his staff and encouraging them or rewarding them. He must have secured the services of Daulatlavi as a director for a negligible fee. Fed up with his attitude, Dalatlavi left Minerva and joined Navyug. Here he directed 3 more films namely, Din Raat-45, Paaro-47 and Sajan ka ghar-48. After this film, his name became traceless. Possibly he took up cinematography again.

Music Director Rasheed Atre was one of the 10 MDs I wrote about in my series ” Gems from the Migrators” in November 2014, about 7 years ago, on this Blog. This was about MDs, who started their careers in India and migrated to Pakistan after Partition. Many Muslim artistes had migrated to Pakistan. Let us take a look at the scenario of those times.

In undivided India, Lahore (then in the Punjab) was important as a showbiz centre. It had an established film-making centre. The first Talkie film ever to be made in a Lahore studio was Heer Ranjha-1932 and thereafter many Urdu and Punjabi films were produced from Lahore every year. The partition of India into two independent states – India and Pakistan, caused irreparable damage to film production in Lahore. Most of Lahore’s film producers were Hindus and as the city fell on the side of the Islamic state of Pakistan, they migrated to India. This deprived Lollywood, as Lahore is referred to in film circles, of much needed investment and expertise in film production and distribution.

LAHORE, an important city in the undivided Punjab in the pre-independence days was one of the major Film making Centres in India. Talented actors and musicians from all Punjab and Sindh area tried their luck in the Cine Industry at Lahore. Nevertheless, the biggest centre of film production was Bombay and it was every aspiring artiste’s dream to go to Bombay and shine there.

The film activity at Lahore increased considerably in the early 40s in terms of film production and Music. Those days many actors and musicians shifted their base to Bombay from there. The list of such people is very long, but it will suffice to mention some well known names-
Noorjehan, Pran, Saigal, Prithwiraj Kapoor and his sons, Shyam, Dilip Kumar, Surinder, Karan Dewan, Dev Anand, Balraj Sahni, Singer Khursheed, Mumtaz Shanti, Veena, Begum Para, Meena Shorey, Suraiya, Manorama, Kamini Kaushal, Shyama(Khursheed Akhtar), A R Kardar, M Sadiq, Suresh(Nazim Ahmed), Amar, Chetan Anand, Zande Khan, Ghulam Hyder, Pt.Amarnath and his brothers Husnlal-Bhagatram, Hansraj Behl, S.Mohinder, Firoz Nizami, Khursheed Anwar, Khayyam, Vinod, Shyamsunder, Kidar Sharma, Krishna Chander, O P Dutta, Saadat Hasan Manto, Qamar Jalalabadi, D N Madhok, Tanvir Naqvi, Prem Dhawan etc etc. Many of the actors and producers used to shuttle between Lahore and Bombay for their work.

And when the PARTITION took place in 1947, in the communal frenzy, polarisation of artistes took place. Some Hindus shifted to Bombay and Some Muslims left for Lahore.

At the actual time of Partition some artists were in Lahore for film work. They were B R Chopra, Ramanand Sagar, I S Johar, Gulshan Rai, Omprakash, Jeevan, O P Nayyar, Rajinder Singh Bedi, Naqsh Lyallpuri, Surinder and Prakash Kaur Manorama and Pushpa Huns. They all left Lahore hurriedly and reached Bombay Safely.

Same way many artists from Bombay left for Lahore and ALL of them reached safely. some of the Directors who migrated to Pakistan were-

Syed Shaukat Hussain Rizvi, S M Yousuf, Najam Naqvi, Munshi Dil, Nakshab Jarachavi, M Sadiq, Zia Sarhadi, Sibtain Fazli(of Fazli Brothers), S T Zaidi , Zahoor Raja, Wali saheb, A R Kardar,Nazir,W Z Ahmed,Masood Pervez, Shareef Nayyar,Luqmaan,Dawood Chaand,Rakhan,Nusrat Mansoori,M H Qasim,Roop K Shorey,Butt Kasher,Barkat Mehra and Manto.

Some of the Actors/actresses were- Nazeer, Sadiq Ali, Masood, Sudhir, Santosh, Ratan Kumar, Najmul Hussain, Suresh and Nasir khan(both came back to India later), Sh.Mukhtar, M.Ismail, Ajmal, Gulam Mohd, Kumar, Ghori, Majeed, Shahnawaz, Himalayawala, Shyam Kumar, Allauddin, Shah Shikarpuri, Charlie, Nazar Faizi Noorjehan, Meena Shorey, Khursheed, Zeenat Begum, Asha Posley, Najma, Kalawati, Rehana, Swarnalata, Ragini, Bibbo, Renuka Devi, Geeta Nizami, Maya Devi etc.
Some from the music field were- Khursheed Anwar, Inayat Hussain, Rafiq gaznavi, G A Chisti, Ghulam Hyder, Firoz Nizami, Nissar Bazmi, Nashaad, Tufail Faruqi, Tanvir Naqvi, Faiyaz Hasmi, Iqbal Bano, Premlata,Khursheed,Zeenat Begum,Shevan Rizvi,Rasheed Atre,Fateh Ali khan,Babul etc.

With so many people migrating to Pakistan at a time and given the condition of the Pakistan Film Industry then, it is a moot question, whether all these migrants could get work there and shine ?

(Notes- 1.All lists are only indicative and not exhaustive

2.Migrants means between 1947 to 1970 period.)

After partition,this turmoil subsided after a short period in India and it was business was as usual here, while in Lahore, Pakistan had to build up from scratch, but the Film Industry there too stabilised in a few years’ time. The base of Film industry in Pakistan was built by people who migrated from India. Migration from India to Pakistan continued till about 1970 for the pre-partition artistes. In fact till about 1965 there was an exchange of artistes from both sides to work in other countries, but after the 65 war, this working stopped completely.

Music Directors who left India after Partition had done a very good job here. Composers like Nissar Bazmi, Rasheed Atre and Feroz Nizami became exceptionally successful in Pakistan, but Nashad, Rafiq Ghaznavi and others were not successful to that extent. Khursheed Anwar, a very highly respected composer here remained a father figure even in Pakistan.

I always wondered, how some composers, who were found mediocre here, without much spark, giving music only to B and C grade films, became extremely popular and successful in Pakistan, winning accolades ? examples are is Nisar Bazmi, Rasheed Atre etc.. To understand this strange phenomena, one must consider the state of affairs in Pakistan Film Industry for 5-6 years post Partition. Here is a part of an article on this issue that I found on a Pakistani site, filmbirth.com

” Pakistan has been a part of India up until 1947. Up to that point Lahore was one of the thriving cinema producing centers in India. The first film made in a Lahore studio was “Delhi Express” (1935) and Urdu and Punjabi films were to follow. The partition of India into two independent states – India and Pakistan, caused the demise of the Lahore film industry. Most Hindu filmmakers in Pakistan fled the region when the Islamic Pakistani government became independent. Without the Indian funding and production facilities, the migration of many renowned filmmakers and stars and a lack of proper distribution channels, Lahore (Lollywood) soon became less than a footnote in the regional cinematic landscape.

Fortunately, the outflow from Lahore was accompanied by an inflow into the city. Affected by the same political change, a number of talented Muslims who have established themselves in Bombay’s (now Mumbai) film circles, moved back to Lahore. Prominent among them were film producer Syed Shaukat Hussain Rizvi, his wife actress and singer Noor Jehan, actress Swarn Lata, actor Nazeer, director W. Z. Ahmad, director Luqman, director Sabtain Fazli, music director Feroze Nizami and music director Khwaja Khursheed Anwar. These creative artists laid the foundation of the Pakistani film industry. They were also responsible for producing some of the best films ever made in Lollywood.

The creative energy of Lahore’s film people began to express itself as soon as the partition frenzy subsided. Lollywood became alive again and Teri Yaad was the first film released after partition. Featuring Nasir Khan, brother of film icon Dileep Kumar and Asha Posle, it was released at Lahore Parbhat Cinema on Sept 2, 1948. Its producer was a Hindu named Diwan Sardari Lal, Daud Chand was the director while Nath was the music director. The following year, Anis Productions released a Punjabi film Pheray. Featuring Nazeer (who was also its director) and Swarn Lata, the film proved to be a success and became the first Pakistani film to complete a 25-week run at cinema houses. Another important film was Naubahar Films’ Do Ansoo which was released in 1950. Produced by Sheikh Latif and directed by Anwar Kamal Pasha, it won popularity and became first Urdu film to complete its silver jubilee. “

Due to a shortage of composers, all were welcomed with open arms. Those who had talents did extremely well here. Unfortunately the second generation of composers of calibre were not prepared and once these migrants disappeared from the scene,the musical fields of Pakistan dried up. According to an article on Wiki, there are 7 ages in Pakistan Film music –

S No Phase Period
1 Independence and growth 1947-1958
2 The Golden Age of Pak Film Music 1959-77
3 The age of Disaster (Onslought of VCR and brain Drain to Bangladesh) 1977-88
4 Politics,Islamisation and downfall 1979-87
5 Collapse 1988-2002
6 Decline 2002-2009
7 New wave and Hopes 2010 onwards

Anyway, Nisar Bazmi and Rasheed Atre prospered during the Golden Age period and got all the benefits.

Composer RASHEED ABDUL ATRE was born in Amritsar on 15-2- 1919. His father Khushi Mohammed was a well known musician and singer. Rasheed learnt music from Ustad Khan saheb Ashfaq Hussain. Then he went to Calcutta and worked under R.C.Boral. During his stay in Calcutta he is presumed to have composed songs for films “Pardanasheen”-1942 and “Mamta”-1942, under the name R.A.Atra. After coming back to Bombay he joined Jhande Khan and Gobindram in composing songs for “Pagli”-43. He was assistant to composer Amir ali in “Panna”-44. With Pt.Amarnath,he composed songs for “Shirin Farhad”-45. Then came Room No.9-46,Nateeja-47,Paro-47 and Shikayat-48. From 43 to 48 he gave music to 6(confirmed) films. Not much, but then he did not get much time either.

Nateeja was a Muslim social made by Bombay Talkies and he was specially called for it. Nateeja music was his best in India and all its songs became very popular. for Room No 9-46,he worked in Navyug Chitrapat co. where one of the owners was P K Atre, a noted Marathi writer and Dramatist. P K Atre was ,of course, a Hindu,but it was a coincidence.

After Partition Atre went to Pakistan. He first served Radio Pakistan, Rawalpindi and then at Lahore. He prospered in Pakistan and gave music in 54 Urdu and Punjabi films. He was awarded the coveted Nigar Award 3 times in a row. The famous Marching song of Pakistan ” Allah o Akbar ” was composed by Rasheed Atre. The first Pakistani film for which Rasheed Attre lent his music was director Masood Pervez’s Beli (1950).

Three years after Beli, Rasheed was in-charge of music for director Nazir Ahmed Khan’s Punjabi film, Shehri Babu (1953), whose evergreen songs still are popular in Pakistan . Attre’s music for director W.Z. Ahmed’s 1954 family-friendly film Roohi (1954) was a huge success.

Rasheed Attre’s music is all very praise-worthy in director Nazir Ahmed Khan’s film Khatoon, which was popular for its thumri. Attre’s composition exhibits an astonishing range and power in director Anwar Kamal Pasha’s superhit film Sarfarosh (1956). In 1956, Rasheed was also given the responsibility of composing songs for director Anwar Kamal Pasha’s golden jubilee punjabi film Chann Mahi (1956) (lyrics: Tufail Hoshiarpuri, starring: Bahar, Aslam Pervaiz). Attre was, indeed, a powerhouse of a musician and a case in point is director W.Z. Ahmed’s all-time favorite film, Waada (1957), which happened to be a movie from a more idealistic time. At the height of his fame, Attre came up with his magical composition for film director Anwar Kamal Pasha’s semi- historical movie, Anarkali (1958). To be precise, it was a joint venture of 2 film music composers Rasheed Attre and Master Inayat Hussain.

Rasheed Attre passed away on December 18, 1967, at the age of 48.

Today’s song is sung by Sulochana Kadam and M.Aslam. There is also a solo by M.Aslam of the same song in the film.


Song- Zakhmi ko naya zakhm lagaata hai zamaana (Paaro)(1947)Singers- Sulochana Kadam, M Aslam, Lyricist- Not known, MD- Rasheed Atre
Both

Lyrics

Zakhmi ko naya zakhm lagaata hai zamaana
Zakhmi ko naya zakhm lagaata hai zamaana
har tarah gareebon ko sataata hai zamaana
har tarah gareebon ko sataata hai zamaana
Zakhmi ko naya zakhm lagaata hai zamaana

kya hamne zamaane mein bigaaa hai kisi ka
kya hamne zamaane mein bigaaa hai kisi ka
kyun hamko nigaahon se giraata hai zamaana
Zakhmi ko naya zakhm lagaata hai zamaana

tadbeer kisi kee ee ee ee ee
tadbeer kisi ke ke
muhabbat mein hansenge
tadbeer to ki thhi ki
muhabbat mein hansenge
taqdeer to roti hai
rulaata hai zamaana
Zakhmi ko naya zakhm lagaata hai zamaana

muflis ki tamanna kabhi
poori nahin hoti
poori nahin hoti
muflis ki tamanna kabhi
poori nahin hoti
poori nahin hoti
?? har naaz uthhaata hai zamaaana
Zakhmi ko naya zakhm lagaata hai zamaana

jiska nahin ee eeduniya mein koi
ee ee ee ee ee ee ee ee
uska khuda hai
uska khuda hai

jiska nahin duniya mein koi
uska khuda hai
jiska nahin duniya mein koi
uska khuda hai
ye baat magar bhoolta jaata hai zamaana
Zakhmi ko naya zakhm lagaata hai zamaana
har tarah gareebon ko sataata hai zamaana
Zakhmi ko naya zakhm lagaata hai zamaana


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 :

4659 Post No. : 16328

“Bhaagyawaan”(1953) was produced by Mahipatre Shah and Anoopchand Shah and directed by Datta Dharmadhikari for Roopkamal Chitra, Bombay. The movie had Nirupa Ror, Raja Nene, Radhakishan, Yashodhara Katju, Ratan Kumar, Qamar, Baby Mala, Alhad, Balraj, Shakuntala etc in it.

THis “social” movie had five songs in it. Two songs have been covered in the past.

Here is the third song from “Bhaagyawaan”(1953) to appear in the blog. This song is sung by Sulochana Kadam and Madhubala Jhavery. Saraswati Kumar Deepak is the lyricist. Music is composed by Avinash Vyas.

Only the audio of the song is available. My guess is that Nirupa Ray has played the Bhabhi in this movie and lip synced in Madhubala Jhavery’s voice in this song. I request our knowledgeable readers to throw light on the picturisation of the song.


Song-Meri bhaabhi ne bheja sandesa (Bhaagyawaan)(1953) Singers-Sulochana Kadam, Madhubala Jhavery, Lyrics-Saraswati Kumar Deepak, MD-Avinash Vyas

Lyrics

meri bhaabhi ne bheja sandesa
jiya jhoom jhoom jhoom kar gaaye
kaun duniya mein hoga mujh jaisa
jiya room jhoom kar gaaye
jiya rom jhoom kar gaaye

meri bhaabhi kitni achchi
kitna laad ladaati
paas nahin hoti hai mere
mujhko nahin rulaati
meri bhaabhi ka
o meri bhaabhi ka, pyaar ye hai kaisa
nahin meri samajh mein aaye
meri bhaabhi ne bheja sandesa
jiya room jhoom kar gaaye
jiya room jhoom kar gaaye

bhagwaa aa aa aa aan
bhagwaan bhed ye kaisa
nahin meri samajh mein aaye
ek hi dharti
ek hi ambar
ek hi jeev banaaye
ek abhaaga ek saubhaaga
ek hi seep ke moti
ek daal ke do phoolon ko, duniya kahaan pe roki
ek koi maathe par rakhta, ek koi thhukraaye
nahin meri samajh me aaye
bhagwaa aa aa aa aa aa aan

mujhe bulaayegi meri bhaabhi
degi doodh katore
degi doodh katore
mujhe sulayegi meri bhaabhi
suna suna kar lori,
suna suna kar lori
bhaag ki toone khoob banaai dori
kahin hansaaye kahin rulaaye
baat na jaaye todi
bhookha nanha munna kaise
apna man bahlaaye
pankh nahin hai jo ud jaati
devar mujhe bulaaye
mera devar mujhe bulaaye


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 :

4621 Post No. : 16267

‘Baabu Ji’ (1950) was directed by Bhagwan for Uday Productions, Bombay.  It had Bhagwan, Leela Gupte, Baburao, Usha Shukla, Vasant Rao, Azeem, Jani, Mirajkar, Zafar, Vitthalrao, Dhondu, Anmanta, Swami and others.

This movie has nine songs, all written by Ehsaan Rizvi and composed by music director P Ramakant. Going by the style of composition, it has been commented that the music is composed by C Ramchandra himself, under the name of P Ramakant. I request our more knowledgeable readers to be please comment on this observation.

HFGK Vol-II (1941-1950) lists the songs of this movie as given below; (in order of their appearing on this movie (Babooji-1950) page in HFGK)

Sl No

Song Title Singer/s

Posted On

01

Saawanwa umdaa aaye ho Sulochana Kadam Being presented today

02

Baat meri maan lo ji, baat meri maan lo Sulochana Kadam,

Anna Saheb

03

Milne nahin paate hain naina lachaaye huye Sulochana Kadam

04

Zaraa sunte jaana ho do dilon ka afsaanaa Sulochana Kadam,

Anna Saheb

23.08.2013

05

Nazar se nazar lad gayi Sulochana Kadam 12.09.2018

06

Rewdiyaan hain rewdiyaan Sulochana Kadam,

Anna Saheb

07

Kyun pareshaan huye, Sulochana Kadam

08

Jo bigad gayi wo qismat hoon Sulochana Kadam 22.11.2017

09

Gorey gorey mukh se jo ghoonghat hataawjo Anna Saheb

As we can see above this movie had made its debut on the blog in 2013 and since then only three songs from the movie have been posted so far. As I was noting the song-list I realized that the voice of Sulochana Kadam is appearing in all songs of this movie, but it is not the case as the last song is a solo in the voice of Anna Saheb. And this is the only male solo in this movie.

Today 13th March 2021 is the eighty-eighth birth anniversary of Sulochana Kadam (born 1933) who later became Sulochana Chavan.  Her singing of many famous and popular ‘lavanis’ in Marathi brought her the honour as ‘Laavni-samradhni’ in Marathi music.

On this occasion here is the song from ‘Baabu Ji’ which is lying with us since August’2013.

Actually, during 2013 – 2015 when I was staying in Kachchh, I had shared some of her songs on the blog. And I had enjoyed listening many of her songs from Hindi movies of that era. The today’s song is also a song which I like very much. One other song “Kyun Preshaan Huye” from this movie is also pending with the editors since then. Let us see when it appears 😊 on the blog.

Let us now listen to the today’s song and wish ‘a very happy birthday’ to Sulochana ji on her birth anniversary today and also wishing her a healthy and peaceful life ahead. . .

Saawanwa Umdaa Aaye Ho

Song – Saawanva Umda Aaye Ho (Baabu Ji) (1950) Singer – Sulochana Kadam, Lyrics – Ehsaan Rizvi, MD – P Ramakant

Lyrics

saawanwa umda aaye ho
saawanwa umda aaye
barkhaa rim jhim jal barsaaye
mann mein aag lagaaye ho
saawanwa umda aaye
saawanwa umdaa aaye ho
saawanwa umdaa aaye

geet ke ras mein mann dooba hai
pyaar ke ras mein naina aa
yaad ke ras mein din dooba hai
birha ke ras mein rainaa
dhyan tera aa jaaye jo
bijli ye jo lehraaye
saawanwa umda aaye
saawanwa umda aaye ho
saawanwa umda aaye

tere sundar roop se akhiyaan
hate nahin hataaye
tujhko sabse nazar bachakar
koi dekhe jaaye
chupke chupke mann veena bhi
pyaar ke geet sunaaye ho
saawanwa umda aaye
saawanwa umda aaye ho
saawanwa umda aaye

kali kali par bhanwaraa doley ae ae ae
koyal shor mahcaaye
pihu pihu kare papiha aa aa
piya ki yaad dilaaye
sab ke mann se taan nikalti
mere mann se haaye
saawanwa umda aaye

saawanwa umda aaye ho
saawanwa umda aaye
barkhaa rim jhim jal barsaaye
mann mein aag lagaaye ho
saawanwa umda aaye

————————————————–
Devnagri Script lyrics (Provided by Sudhir)
————————————————–

सावनवा उमड़ा आए हो
सावनवा उमड़ा आए
बरखा रिमझिम जल बरसाए
मन में आग लगाए हो
सावनवा उमड़ा आए
सावनवा उमड़ा आए हो
सावनवा उमड़ा आए

गीत के रस में मन डूबा है
प्यार के रस में नैना॰ ॰ ॰
याद के रस में दिन डूबा है
बिरह के रस में रैना
ध्यान तेरा आ जाये जो
बिजली ये जो लहराए
सावनवा उमड़ा आए
सावनवा उमड़ा आए हो
सावनवा उमड़ा आए

तेरे सुंदर रूप से अखियाँ
हटे नहीं हटाये
तुझको सबसे नज़र बचाकर
कोई देखे जाये
चुपके चुपके मन वीणा भी
प्यार के गीत सुनाए हो
सावनवा उमड़ा आए
सावनवा उमड़ा आए हो
सावनवा उमड़ा आए

कली कली पर भँवरा डोले॰ ॰ ॰
कोयल शोर मचाये
पीहू पीहू करे पपीहा॰ ॰ ॰
पिया की याद दिलाये
सबके मन से तान निकलती
मेरे मन से हाए
सावनवा उमड़ा आए

सावनवा उमड़ा आए हो
सावनवा उमड़ा आए
बरखा रिमझिम जल बरसाए
मन में आग लगाए हो
सावनवा उमड़ा आए

 


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 :

4493 Post No. : 16020

Today’s song is from the ‘1956’ movie ‘Naqaab Posh’. Another movie from the decade of ‘fifties’ or ‘1951-1960’ where only one song of the same movie has been posted earlier and in this case the first song of this movie ‘Naqaab Posh-1956’ was posted on 28.11.2013.

An interesting song ‘ae mere majnu’, an obscure gem of song was posted by our respected Arun Kumar ji with interesting details about the movie and the story of this movie. I am not going to reproduce the story here in this write-up and would rather request readers to visit the post mentioned above.

‘Naqaabposh-1956’ was directed by Ram Pahwa for ‘Kaizer Films, Bombay’.

It was produced by N. Buli.

It had Chitra, Manhar Desai, Kum Kum, Maya Das, Kamal, Leela Mishra, R.P. Kapoor, Bhudo Advani, Fazlu, Black & White, Aziz, Haafiz Kardar, Master Qadir, Baby Tuntun, Anwar Hussain, S. Nazeer, Maruti, Gope and others.

This movie had eights songs written by Raja Mehdi Ali Khan, Maayil Lakhnavi, Hasrat Jaipuri, and Muneer Arzoo Qazmi.
Two music directors viz. Dhoomi Khan and Ramlal composed the music for this movie.

The singers who gave their voices to the songs in this movie were Shamshad Begam, Asha Bhonsle, Madhubala Zaveri, Sulochana Kadam, Talat Mahmood, Balbir and Bande Hasan.

This movie was passed by Censor Board on 14.12.1956.

As mentioned above, one song from this movie sung by Shamshad Begam and G.M. Durrani have been posted earlier on the blog.

Today’s lovely song is in the voice of Sulochana Kadam and it is composed by Dhoomi Khan.

Lyrics are by Maayil Lakhnavi.

I came across this song long back when I had shared some beautiful songs sung by Sulochana Kadam and Zohrabai Ambalewali on the blog i.e. way back in 2013-2014.

Let us now enjoy today’s song and revisit this movie after a long gap of almost seven years. 😊


Song-Nigaahon se samjho dil aane ki baaten (Naqaabposh)(1956) Singer-Sulochana Kadam, Lyrics-Maayil Lucknoi, MD-Dhoomi Khan

Lyrics

Nigaahon se
Nigaahon se Samjho dil aane ki baatein
Nigaahon se samjho dil aane ki baatein
Nahin hai ye sunne sunaane ki baatein
Nahin hai ye sunne sunaane ki baatein
Nigaahon se ae

Tera muskuraa kar wo munh pher lena
Tera muskuraa kar wo munh pher lena
Yahi to hain bas dil lubhaane ki baatein
Yahi to hain bas dil lubhaane ki baatein
Nahin hai ye sunne sunaane ki baatein
Nahin hai ye sunne sunaane ki baatein
Nigaahon se ae

Mohabbat ki furqat ko(?) khaamoshiyon se
Mohabbat ki furqat ko(?) khaamoshiyon se
Khuli ja rahi hai chhupaane ki baatein
Khuli ja rahi hai chhupaane ki baatein
Nahin hai ye sunne sunaane ki baatein
Nahin hai ye sunne sunaane ki baatein
Nigaahon se ae

Mohabbat ki duniya naa bhoolegi hargiz
Mohabbat ki duniya naa bhulegi hargiz
Hamaari tumhaari zamaane ki baatein
Hamaari tumhaari zamaane ki baatein
Nigaahon se
Nigaahon se Samjho dil aane ki baatein
Nigaahon se samjho dil aane ki baatein
Nahin hai ye sunne sunaane ki baatein
Nahin hai ye sunne sunaane ki baatein
Nigaahon se ae ae ae

————————————————
Devnagri Script lyrics (Provided by Avinash Scrapwala)
————————————————-
निगाहों से
निगाहों से समझो दिल आने की बातें
निगाहों से समझो दिल आने की बातें
नहीं है ये सुनने सुनाने की बातें
नहीं है ये सुनने सुनाने की बातें
निगाहों से ए

तेरा मुस्कुरा कर वो मुंह फेर लेना
तेरा मुस्कुरा कर वो मुंह फेर लेना
यही तो हैं बस दिल लुभाने की बातें
यही तो हैं बस दिल लुभाने की बातें
नहीं है ये सुनने सुनाने की बातें
नहीं है ये सुनने सुनाने की बातें
निगाहों से ए

मोहब्बत की फुरक़त को खामोशियों से
मोहब्बत की फुरक़त को खामोशियों से
खुली जा रही हैं छुपाने की बातें
खुली जा रही है छुपाने की बातें
नहीं है ये सुनने सुनाने की बातें
नहीं है ये सुनने सुनाने की बातें
निगाहों से ए

मोहब्बत की दुनिया ना भूलेगी हरगिज़
मोहब्बत की दुनिया ना भूलेगी हरगिज़
हमारी तुम्हारी ज़माने की बातें
हमारी तुम्हारी ज़माने की बातें
निगाहों से
निगाहों से समझो दिल आने की बातें
निगाहों से समझो दिल आने की बातें
नहीं है ये सुनने सुनाने की बातें
नहीं है ये सुनने सुनाने की बातें
निगाहों से ए ए ए


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

Blog Day :

4450 Post No. : 15909

Today’s song is a comedy song from a Costume/Action film “Jungle ka Jawahar”-52. The film was a production from Basant Pictures, owned by producer/Director Homi Wadia. In 1942, brothers JBH Wadia and Homi Wadia separated from each other on a very important point. The elder brother JBH Wadia was of the opinion that the life of the action-stunt films is a short one. He firmly believed that the market for action films will dry up within the next 10-15 years, hence the company should change over to Social films.

The younger brother Homi Wadia differed and wanted to continue with stunt films. He separated and established his own Basant Pictures. Most stunt actors joined his group – especially Fearless Nadia. Besides the Human artistes, Homi Wadia also replaced Animals used in stunt films. In Wadia films there was a Horse named ‘Punjab ka Beta’, a dog named ‘Tiger’, and a Motor car called ‘Rolls Royce ki Beti’. Basant Pictures brought a Horse named ‘Rajput’, dog called ‘Moti’, and a Motor Car called ‘Austin ki Bachhi’. In addition they also acquired a Motorcycle named ‘Runnio’.

The history of stunt action films is as old as the Silent film history. Silent films were essentially a Visual medium, as there was no sound. What could be achieved by dialogues had to be conveyed only with the visuals, hence there was not much scope for emotional films. In the initial stages of silent films, the audience was mainly of the middle and lower class of the society. Impressing and attracting them was easy with action films. That’s how the majority of silent films consisted of action or stunt scenes.

After the advent of Talkie films, the trend of stunt films continued and also became money spinners. Those days stunt films did not need any well known or famous actors or beautiful heroines. These films were made with minimum budgets. Master Bhagwan used to make a stunt film in just 60 to 70 thousand Rupees, covering all expenses. The Wadia, Mohan, Imperial or Ranjit action films cost a little more as they were more elaborate with some story and known actors.

There were specialist actors like Baburao Pehelwan, Vasantrao Pehelwan, Fearless Nadia, Prakash, Boman Shroff, Billimoria brothers, John Cawas and few others who were fixed stars of stunt films. In those days “SPL FX” techniques were not there and all the stunts were actually done by the actors themselves.

Veeru Devgan – yesteryear Fight Master, has written an article on “Stunts and Actions” in the “Encyclopedia of Hindi Cinema”. He says in it,

“It was from film Aan-52 that professionals were employed for the first time. Azeembhai handled the Horses and Douglas took care of the fights and fencing….
“Evolution of action hero began with “Phool aur Pathar”-66, when Dharmendra bared his chest for the first time….
“Stunts in Hindi cinema started taking centre stage in the late 60s and early 70s…..
“What is creditable is that most of today’s actors are ready to do all the action scenes themselves “.

These days, no film is complete without “SPL FX”. What we miss now is the Human involvement in film stunts !

The cast of today’s film was Fearless Nadia, John Cawas, Goldstein, Dalpat, Leela kumari, Rajani, Shyamsundar, Raja Sandow etc. This film is remarkable for 2 reasons. First is – for its Music Director, Madholal Damodar Master, this was his last film as MD. He retired from films, but excelled in another field with International fame, after retirement. More of it later in this post.

Secondly, one of the names in the film cast today was Raja Sandow. He indeed was in the film and film credits, though he had died on 25-11-1943 only ! Surprised ? Not only this film, but a total of 5 Hindi films and over a dozen Tamil films featured Raja Sandow in their films till 1960 ! This is because this legend of stunt films was so popular that his film shots were used again in different films for over a decade as a member of film cast. This must be unique in the world.

Raja Sandow (born P. K. Nagalingam) was an Indian film actor, film director and producer. He began his career as an actor in silent films and later became a prominent actor and director in Tamil and Hindi films of the 1930s. He is considered to be one of the pioneers of early Indian cinema.

Raja Sandow was born in Pudukottai, Tamil Nadu. He was trained as a gymnast and started his film career as a stunt actor in S.N. Patankar’s National Film Company at Bombay. He was given the name “Raja Sandow” because of his physique (after strongman Eugen Sandow). His first lead role was in Patankar’s Bhaktha Bhodhana (1922), for which he was paid Rs. 101 as salary. A passionate gymnast, he started his career as a stunt actor in S.N. Patankar’s National Film (1922). Top star at Kohinoor and its associate LAxmi Pics. (1922-8) under Manilal Joshi (Mojili Mumbai), R.S. Choudhury and Homi Master. Achieved fame when he formed a trio with director Chandulal Shah and heroine Gohar starting Jagdish Film with them (1928) and its successor, Ranjit Film (1929-36). Sandow’s star image in reformist melodramas, playing complex psychological characters opposite Gohar, was launched with Gunsundari and extended in several classic ‘negative’ roles in Shah-Gohar sound films, e.g. Desh Dasi, Prabhu Ka Pyara and Barrister’s Wife. Other noted roles include Indira MA where he plays Kishore.

He became famous by starring in silent films like Veer Bhemsen (1923), The Telephone Girl (1926). After acting in a few silent films he also worked as a director in Ranjit Studios for a monthly salary. His first film as director was Sneh Jyoti (1928).
Returning to Tamil Nadu, he directed and acted in a number of silent films for R. Padmanaban’s Associate Film Company. Many of his silent films had reformist social themes like Peyum pennum (1930), Nandhanar (1930), Anadhai Penn (1931), Pride of Hindustan (1931) and sathi usha sundari (1931). After talking films were introduced with Alam Ara in 1931, he went back to Bombay and starred in many Hindi and Tamil talkies. He was often paired with the actresses Gohar and Sulochana (Ruby Myers). Between 1932–35, he acted in many socially themed Hindi films like Shyam sundar (1932), Devaki (1934) and Indira MA (1935). In 1935, he was commissioned to direct his first Tamil film Menaka and returned to Madras. He continued directing and acting in films till his death in 1943. Vasantha Sena(1936), Chalak Chor (1936), Chandrakanta (1936), Vishnuleela (1938), Thiruneelakantar (1939) and Choodamani (1941) were some of the films he directed and starred in during that period. The last film he worked in was Sivakavi (1943). Sandow suffered a heart attack and died at Coimbatore on 25 November 1943. He was survived by his wife Leelabai and one Son.

As far as films are concerned, he acted in 58 Silent films, 16 Hindi Talkie films and also directed 2 Hindi Talkie films.

Sandow was the first Tamil film director to adopt the practice of using names of actors in film titles. He was the first to introduce intimate kissing scenes and dancers in revealing costumes to the then conservative Tamil film industry. He was also the first director and producer to move Tamil cinema from remaking mythological stories and into making social themed films. He even advertised his films as “Don’t miss to see your own picture”. Sandow was also the first director to use Tamil literary works for film by directing Anadhai penn in 1931 based on Vai. Mu. Kothainayagi Ammal’s novel of the same name.

Writing about Sandow, film historian Theodore Baskaran says: “As a director, actor, scriptwriter and producer, his contribution to Tamil cinema is significant. Many of the stars of the Forties and Fifties have worked with him. He was very competent at coaching actors and maintained complete control over his films. He was a martinet on the sets and was often compared to a ringmaster in a circus. In his films, the emphasis shifted from songs to the spoken word.”

Film historian Randor Guy has also described him as a tough task master: “Raja Sandow was a tough and no-nonsense guy who would not hesitate to shout at and slap his crew and cast including women! Regretfully there are no such directors these days!.”

The Tamil Nadu Government has instituted an annual award in his name called Raja Sandow memorial Award, given for outstanding services to Tamil Cinema. A Postage stamp had been issued in recognition of his contributions to Indian cinema.

Filmography-Talkie films in Hindi…Pardesi preetam-33, Noor e imaan-33, Toofani Taruni-34, Partha Kumar-34, kashmeera-34, Indira M.A.-34, Gunsundari-34, Ratan Manjiri-35, Raat ki rani-35, Desh Dasi-35, College girl-35, Barrister’s wife-35, Prabhu ka pyara-36, Matlabi Duniya-36, Dil ka Daku-36 and Chalaak Chor-36. He directed Raat ki rani-35 and Chalaak Chor-36.

An extraordinary point. Raja Sandow was so popular during the Silent era and early Talkie period, that even after his death in 1943 at Coimbatore, his film shots and leftover films were used in 5 Hindi films till 1953-that is till 10 years after his death. Even his name appeared in the film cast and credits !. I feel this is an exclusive honour, which I have never heard in case of any other actor. The films using his shots in them were Dhoomketu-49, Alladin and Wonderful lamp-52, Jungle ka Jawahar-52, Nav Durga-53 and Husn ka chor-53. This information is given in The Encyclopedia of Indian Cinema.

(Thanks for information from wiki, The Encyclopedia of Indian Cinema, Atit ke sitare by Nand kishore, muVyz, HFGK and my notes).

The name Madholal Master must be unknown to the newer crop of Music lovers, because he retired from film music in 1952- much before most readers were even born. The story of Madhulal Master is as strange as his death. On the morning of 19th June 1990, The Times of India, Bombay flashed a news…” The old time Music Director and a Director of Indian Institute of Puppetry, shri Madholal Damodar Master is found murdered in his Shivaji Park home.”

Born on 21-6-1903, Madholal joined the film industry to become a Comedian, but he was first made a sound recordist assistant, then an assistant MD for two films and finally independent MD for Krishna Tone Film Company for their film, ‘ Navchetan’-32. In the next 21 years he gave music to 34 Hindi films, few Gujarati films and some documentaries, composing 267 Hindi songs. Unable to cope up with the changed pattern of Music and public taste, he retired from this profession after his last film- Jungle ka Jawahir-52. After this he pursued his hobby of Puppet making and soon developed a flourishing business. Internationally well known, he was the only Indian member honoured by the International Puppetiers’ Organization. Very few people know that it was his JOKER PUPPET which was used by Raj Kapoor in his ambitious film MERA NAAM JOKER-1970.

He was invited as a special guest for the release ceremony for the HFGK-Vol I, on 8-10-1988, after Harmandir ji meticulously made special efforts to locate him in Bombay. He was overwhelmed with this gesture. Madholal ji showed a Catalogue to Harmandir ji, in which Madholal ji had recorded information about all songs composed by him with details of every film that he did in his career. Harmandir ji was wonder struck with his systematic records. In the ceremony, senior artistes like Naushad, Sitara Devi, Rajkumari ji etc all touched his feet with respect. He regaled the audience with his humorous talk for an hour. He had spent 38 years before this in anonymity. It is very sad that his life ended in such a tragic way. ( His murderer was never found out, nor was the motive known and the case file was closed.)

Here is today’s duet from the film “Jungle ka Jawahar”-52. It is shot on Rajni and actor singer Shyamsundar. Enjoy….


Song- Pyaare Pappu Gore Gappu paas tu mere aa (Jungle Ka Jawaahar)(1952)Singers- Sulochana Kadam, Shyamsundar, Lyricist- Saraswati Kumar Deepak, MD- Madholal Damodar Master

Lyrics (Provided by Avinash Scrapwala)

pyaare pappu gore gappu
pass tu mere aa
o ri kallo jhapak jhallo
chhod de mujhko ja

pyaare pappu gore gappu
pass tu mere aa
o ri kallo jhapak jhalo
chhod de mujhko ja

adiyal tattu mere mitthu
meethe bol suna
ulti sulti khoti khoti
baaten nahin bana

adiyal tattu mere mitthu
meethe bol suna
ulti sulti khoti khoti
baaten nahin bana
bhaiya bhaiya bhaiya
bhaiya aurat ki ye jaat
iski koi na samjhe baat
karti baaton ki barsat
chaahe din ho chaahe raat
maare ghodi ban ke laat

kahoon main mutalle chhod de muhalla
kahoon main nithhalli chhod mera palla
kahoon main mutalle chhod de muhalla
kahoon main nithalli chhod mera palla
main jungle ki sherni
tu shahar ka pilla
khaati gaajar mooli tu
main khaata rasgulla
main khata rasgulla
bhaiya bhaiya bhaiya
bhaiya aurat ki ye jaat
iski koi na samjhe baat
karti baaton ki barsat
chaahe din ho chaahe raat
maare ghodi ban ke laat

ja ja ja na phira dimaag mera
ho ho ho dekha bada rubaab tera
are ja ja ja na phira dimaag mera
ho ho ho dekha bada rubab mera
mujhe jaan le,
nahin
kahaa maan le
nahin nahin
mujhe jaan le
kaha maan le
o tauba hai ??
mujhko nahi sata
bhaiya bhaiya bhaiya
bhaiya aurat ki ye jaat
iski koi na samjhe baat
karti baaton ki barsat
chaahe din ho chaahe raat
maare ghodi ban ke laat

pyare pappu gore gappu
pass tu mere aa
o ri kallo jhapk jhalo
chhod de mujhko ja

adiyal tattu mere mitthu
meethe bol suna
ulti sulti khoti khoti
baaten nahin bana
bhaiya bhaiya bhaiya
bhaiya aurat ki ye jaat
iski koi na samjhe baat
karti baaton ki barsat
chaahe din ho chaahe raat
maare ghodi ban ke laat


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?:

4449 Post No. : 15906

————————————————-
Blog ten year challenge (2010-2020)- Song Number 84
————————————————–

This day ten years ago (viz 22 september 2020) was another normal day for the blog, when six songs from six different movies were discussed. First post of the day appeared at 7:29 AM and the final post at 9:12 AM.

Here are the details:-

Song Movie title-Year Remarks
Raaton ki neend chheen lee aankhon ke intezaar ne Shokhiyaan-1951 All Songs covered
Teri kaafir nigaah kar gayi dil ko tabaah Miss Coca Cola-1955 All Songs covered
Yaad karoon tori batiyaan Mr Lambu-1956 All Songs covered
Tum aur ham bhool ke gham Fashion-1957 06 songs posted
Mujhe gale se lagaa lo bahut udaas hoon main Aaj Aur Kal-1963 All Songs covered
Jidhar dekhoon teri tasweer nazar aati hai Mahaan-1983 01 song posted

One can see from the above that four out of six movies whose songs were covered ten years ago have been YIPPEED by now,

“Fashion”(1957) was one of the two as yet unYIPPEED movies.

“Fashion”(1957) was directed by Lekhraj Bhakri for Kuldip Pictures production, Bombay. The movie had Pradeep Kumar, Mala Sinha, Chandrashekhar, Manoj Kumar, Jabeen Jaleel,Sunder, Jabeen Jalil, Jagdish Sethi, Kammo, Leela Misra etc in it.

The movie had eight songs in it. six songs have been covered in the past. Here are the details :-

Song Posted On
Bahaaron se poochho ・laakh sambhaala magar kho gaya 23.09.2009
Tum aur ham bhool ke gham 22.09.2010
Madbhari hain pyaar ki palkein 05.08.2012
Dharti ki goad mein aasmaan ke chhaaon mein 19.07.2016
Honthon pe tera naam 17.10.2016
Maati ko lajaanaa naa 16.07.2019

It turns out that the last two songs of the movie were multiple version songs. The first part was a multilingual song sung by Sulochana Kadam and Mubarak Begam. The second part in Hindi was sung by Asha Bhonsle. Bharat Vyas was the lyricist. Music was composed by Hemant Kumar.

Part I is listed in HFGK as “Bindu baashi daao more haath, aaj nishi bazaari” which are in Bangla. This song is available as Bharat Ke Lok Geet. This fact is also mentioned in HFGK Part III footnote at page no.349 movie no.697.

On listening to the song, the Bangla portion is not to be found. Marathi, Gujarati, Marwadi and Punjabi portions can be heard. So it appears that the Bangla portion has got omitted for some reason.

Lyrics of this song and other BTYC details were sent to me by Avinash Scrapwala.

Lyrics of the first part (the multilingual one) as noted leaves a lot to be desired mainly because of lack of familiarity with the languages. I request our knowledgeable readers familiar with these languages to help fill in and suggest additions/ corrections in the lyrics.

With these songs, all the eight songs of “Fashion”(1957) get covered and the movie joins the list of movies that have been YIPPEED in the blog.

Moreover, Hemant Kumar now has 300 songs in the blog as a music director.

(Part-I)

Song-(Part I)Regional language folk song (Fashion)(1957) Singers-Sulochana Kadam, Mubarak Begam, Lyrics-Bharat Vyas, MD-Hemant Kumar
Song-(Part II)
Song-Naya naya fashion naya hai zamaana (Fashion)(1957) Singer-Asha Bhonsle, Lyrics-Bharat Vyas, MD-Hemant Kumar
Chorus

Lyrics (Provided by Avinash Scrapwala)

—————————————————–
Part I (Regional language song- Marathi/ Gujarati/ Marwadi/ Punjabi)
—————————————————-

sundaraa mhane dilbaraa aa
sundaraa mhane dilbaraa aa
raaj ambiraa
hasuni maj bola ji ee ee
ye kalaa
?
kuthoon tum aalaa ji
baai ga
ji ji ji ji
baai ga
ji ji ji ji
sundaraa mhane dilbaraa aa
sundaraa mhane dilbaraa aa
raaj ambiraa
hasuni maj bola ji ee ee
ye kalaa
?
kuthoon tum aalaa ji
baai ga
ji ji ji ji
baai ga
ji ji ji ji

ke garbo ghoome re gabbar ne gokh
ke garbo jaage re chaachar chowk
ke taaliyo
thaatar titar
thaatar titar vaage
ke garbo ghume re gabbar ne gokh
ke garbo jaage re chachar chowk
ke taaliyo
thaatar titar
thaatar titar vaage
ke garbo ghume re gabbar ne gokh

aaj mhane
aaj mhane jewar
?
aaj mhane jewar ??
mhaane bikaaneri
mhaane jodhaaneri
mhaane udiyaapur ni
chundadiyaa silaa di he maa
?
aaj mhane jewar ??

main heer teri
tu mera ve raajhnaa
main teri tu mera
ke teri meri ik jindadi ee bhai
ke teri meri ik jindadi ee bhai
ke saara jag vair pai gayaa
hadaa
ke ??
main heer teri
tu mera ve raajhnaa
main teri tu mera
ke teri meri ik jindadi ee bhai
ke teri meri ik jindadi ee bhai
ke saara jag vair pai gayaa
hadaa
ke ??

—————————
(Part-II)
—————————
nayaa nayaa fashion
nayaa hai zamaanaa aa
nayaa nayaa fashion
nayaa hai zamaanaa aa

badal do rang
badal do dhang
badal do rang
badal do dhang
badal do baahar bheetar
aagey peechhe
sab kuchh taanaa baanaa
bhes puraanaa aa
nayaa nayaa fashion
nayaa hai zamaanaa aa
badal do rang
badal do dhang
badal do baahar bheetar
aagey peechhe
sab kuchh taanaa baanaa
bhes puraanaa aa

nayaa nayaa fashion
nayaa hai zamaanaa aa

ek baat kahoon akkal ki
mat baat karo kal ki
kal ki duniyaa
sun meri muniyaa
aaj pad gayi halki ee ee
aaj pad gayi halki ee
ek baat kahoon akkal ki
mat baat karo kal ki
kal ki duniyaa
sun meri muniyaa
aaj pad gayi halki ee ee

baal kataa lo o
husn badhaa lo o
baal kataa lo
husn badhaa lo

badal do chaal
badal do dhaal
badal do
uttar dakshin
purab paschim
sab kuchh chhod ke taana
kahe zamaanaa aa
nayaa nayaa fashion
nayaa hai zamaanaa aa
badal do rang
badal do dhang
badal do baahar bheetar
aagey peechhe
sab kuchh taanaa baanaa
bhes puraanaa aa

nayaa nayaa fashion
nayaa hai zamaanaa aa

kapdon ka kharch bachaa lo
mat husn pe pardaa daalo
ghoonghat ke pat khol ke
jhatpat
chaar chaand chamkaa lo o
chaar chaand chamkaa lo
kapdon ka kharch bachaa lo
mat husn pe pardaa daalo o
ghoonghat ke pat khol ke
jhatpat
chaar chaand chamkaa lo o

duniyaa bhaage ae
badh gayi aage
duniyaa bhaage
badh gayi aage

badal do ?
badal do ?
badal do motor gaadi
tram ki sawaari
ud kar jaanaa
raah takta(?) hai zamaanaa aa
nayaa nayaa fashion
nayaa hai zamaanaa aa
badal do rang
badal do dhang
badal do baahar bheetar
aagey peechhe
sab kuchh taanaa baanaa
bhes puraanaa aa ・


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.

Blog Day :

4430 Post No. : 15857

Today’s song is from the film Actor-51. This was a film by Sarosh Pictures, directed by Ramjibhai Arya. It was produced by H M Kerawala and Bhojani. The music was by 2 MDs- Aziz Hindi and Ibrahim, both small time composers. The 10 songs of the film were written by Nazim Panipati (8 songs) and Shewan Rizvi (2 Songs).

I can understand two composers working together on one song in the film…like Aziz and Ibrahim composed four songs together, in today’s film , but I was surprised to find that even Lyrics are written jointly by two lyricists in some films ( not in today’s film). I have always wondered how two different poets can write one song together. But in Hindi films this was not a rarity. Actually, a few years back, thinking that this phenomenon was worth discussing, I started finding out such songs from the HFGK. After getting names of films where more than one lyricist have jointly written songs, like Chandrtalekha-48, Anyaya-49, Sheesh Mahal-50 Hum Log-51, Buzdil-51, Footpath-53, Chandni Chowk-54, Dhobi Doctor-54, Darbar-55, Miss Bombay-57, Changez Khan-57, pardesi-57…I stopped my search. I realised that this happened in many films and it was not a novelty. I cancelled my idea of discussing this matter in my posts.

Connected to these issues is another problem with stories of films like Actor -51. There are many cases in Hindi films, where remakes of earlier films on the same stories are made. As far as Folklore like Laila Majnu or Shirin Farhad or stories from Ramayan and Mahabharat, one can surely understand, but it is very strange why people want to make films on the same stories.

In some cases, in addition to the same stories, even the film titles are the same. The case of actress Sulochana-Ruby Meyers, is unique. She featured in 7 such films where the Titles and stories were the same. Sulochana acted in Anarkali-28, Anarkali-35 and Anarkali-53. She also acted in Madhuri-28 and Madhuri-32. She also acted in Indira B.A.-29 and Indira M.A.-34. Then there was Gunsundari-27 and Gunsundari-48, with different heroines. All these films had the same Titles and same stories.

Then there are other films which have same stories, but different Titles. Some of such films are Panghat-43 and Chitchor-76, Mala-41 and Amar-54 (MD was Naushad for both films and Jayant did the same role in both films), Grihasthi-48 and Ghar Basa ke dekho-63, Malkin-53 and Biradari-66, Aurat-40 and Mother India-57(Kanhaiyalal did the same role in both films) etc etc. There are 100s of such remakes, but I have yet to see a film which mentions it in their credits. One can not forget films like Do dooni char-68 and Angoor-82. Here the first hindi film Do dooni char was a remake of Bangla film of 1963 ” Bhrantibilas”, which was based on the novel of the same name by Ishwarchandra Vidyasagar who had taken inspiration from Shakespeare’s play ” Comedy of Errors”- which was an adptation of a play by Plautus ” Menaechmi”. Hope this was atleast the original story !

It is a notable coincidence that in 1951, in just One year alone, there were 3 films with almost same story and Bhagwan was the Hero in all 3 films – Actor-51, Daamaad-51 and Albela-51. The basic story was that a poor man, without any help, tries to become a Singer or an Actor and how Luck helps him to become a famous artiste.

Film Daamaad was censored on 8-2-51, film Actor was censored on 1-5-51 and Albela was censored on 13-12-51 and released immediately on next day i.e. 14-12-51. Earlier it was felt by me that film Actor was a failed copy of film Albela. That was before I got the HFGK. Now I know that I was wrong in my assumption. The fact is actually different. Both C Ramchandra and Raj Kapoor were after Bhagwan to start a Social film, instead of making only stunt/action films. After working in these two films, Bhagwan became aware that this story was a winning one, if made into film wisely and if C Ramchandra gives his best music.

Bhagwan started making a draft and writing the story of Albela. Due to his image of a stunt film maker, no main stream Heroine was ready to work in his film and he would not afford their fees also. He thought of Geeta Bali. When he narrated the story to her, smart as she was, she understood its potential to become a Hit film, and she agreed to work in Albela as a Heroine. The rest, as they say, is History !

The director of film Actor-51 was Ramjibhai Arya, who came to Talkie films from silent films. After working as an assistant to few directors he first directed film Hind ke laal-40, then came Manthan-41, Jungle ki Pukar-46, Bhedi Dushman-46, Sher-E-Bengal-47 and his last film was Actor 51.

Ibrahim- one of the MD duo of this film was the brother of MD Ghulam Mohd. He was an excellent Harmonium player. He gave music to only 3 films-two with Aziz Hindi…Utho Jaago-47, Bachelor Husband-50 (with Sarswati Devi) and Actor-51. After this film, Ibrahim joined Naushad as his assistant and was with him for many years. He should not be mistaken with Master Ibrahim- the great Clarinet player. He too gave music to 2 Hindi films, namely Parbat ki Rani-48 and Bigde dil-49. Such names cause ‘Same name Confusion’. Fortunately none of them was a famous one.

In Hindi films, there were two names of Composers – Aziz Khan and Aziz Hindi. Many people thought that these were two separate persons, but the fact is they are the names taken by One composer only. Some time ago, our friend Shri Sadanand ji Kamath had dug out some important and revealing and authentic information from an Internet site of Parvez khan-the International Sitarist, son of Aziz Khan.

” Ustaad Waheed Khan was a well known and respected player of Sitar and Surbahar. His place in the Etawah Gharana was high up. He had 3 sons. Bande Hassan,Hafiz khan and Aziz Khan. Waheed khan was very keen that his sons should continue his profession,earn a name and shine in classical music of Etawah Gharana. He thought working for music in films was below their dignity and a shame. Bande Hassan specialised in vocal music and became a famous qawali exponent. Second son Hafiz khan,after initial training in classical music turned to film singing,without his father’s knowledge. Not only that,he also accepted the pen name of Mastana-awarded by composer Meer Sahib- to hide his identity from his father. The third son Aziz Khan also went the film way,using the name Aziz Hindi sometimes.

Though Aziz Khan did not continue his family profession,he ensured that his son Pervez took the training and became an International Sitarist,settling in the USA. Even son of Pervez- Shakir became a famous Sitarist. he continues the Etawah gharana tradition now. ”

A senior RMIM member Mr. Jayraman reported in 2008 that he had traced, found and met the only son of Hafiz khan Mastana,in Mahim,Mumbai. His name was Zaheer aka Alla Rakha. The son confirmed all the above facts and also that Aziz Khan was Aziz Hindi.

Though this fact was confirmed, books like ‘ Dhunon ki yatra’ (Pankaj Raag) mentioned Aziz Khan and Aziz Hindi as two different persons.As the book was published in 2006, he can not be blamed for this,however. But since it is mentioned in a book , for many readers this wrong information is ‘authentic’ and this is quoted by many in their writings. This is because the findings of Mr. Jayaraman did not get enough publicity widely.

In addition to this revelation,one more sort of Revelation has been made by Aziz Khan’s grandson-Shakir Khan-International Sitar player himself, on his own site http://www.shakirkhan.in . According to him,Aziz Khan gave music to 4 films, along with Khayyam. Those films are Heer Ranjha-48, Parda-49, Beevi-50 and pyar ki Baten-51. As per HFGK, Aziz Khan’s name is mentioned only for Heer Ranjha-48 and Beevi-50,while there is no mention of his name in the other two films. It is also interesting to note that singer Hafeez Khan Mastana was the elder brother of composer Aziz khan. To fulfil his father’s wishes, if not him,at least his son Shahid Parvez should become an Etawah Gharana Sitar expert, Aziz Khan left the film world after 1958 and devoted himself to train and teach his son. Thus Shahid Parvez became an International Sitarist.

Aziz Khan gave music to these film-sometimes as Aziz Hindi and with other composers in few films-
Flying Prince-46, Pandit ji-46, Intezar ke baad-47, Utho Jaago-47, Parivartan-49, Roomal-49, Shoharat-49, Putli-50, Beewi-50, Actor-51, Zamane ki hawa-52,Dhoop Chhaon-54, Danka-54 and Chalta Purja-58.

Today’s song is a comedy song and is sung by Sulochana Kadam and Yeshwant Bhatt. Actually most songs of this film are good songs.


Song- Main to beti Thaanedar ki re tu beta chapraasi ka re (Actor)(1951) Singers- Sulochana Kadam, Yeshwant Bhatt, Lyricis-Najim Panipati, MD-Aziz Hindi

Lyrics

main to beti thaanedar ki re
tu beta chapraasi ka re
to phir kya baat bane ae ae
to phir kya baat bane
main to beti thaanedar ki re
tu beta chapraasi ka re
to phir kya baat bane ae ae
to phir kya baat bane
tu bhaabhi mere maamu ki re
main maamu teri maasi ka re
to phir kya baat bane ae
to phir kya baat bane

mohe lahnga la de saatan ka saatan ka saatan ka
mat laana kabhi kaatan ka kaatan ka kaatan ka
tu lahnga maange saatan ka
ho jo saatan ka aahe ji saatan ka
munh dekho jaise kaatan ka
munh dekho jaise kaatan ka

munh dekh zara apna
ki jaise tabla ho miraasi ka
to phir kya baat bane ae
to phir kya baat bane
main to beti thaanedar ki re
tu beta chapraasi ka re
to phir kya baat bane ae ae
to phir kya baat bane

toone rogi kar diya sainya aa aa aa
toone rogi kar diya sainya aa aa aa
kapde dho dho thhak gayin bainya
kapde dho dho thhak gayin bainya
washing ka bill de nahin sakta aa aa
I am sorry
washing ka bill de nahi sakta aa
tees rupaye hai meri tankha
meri tankha
o jee tees rupye hai meri tankha
meri tankha

abhi chhod ke tujhko pakdoongi main
haath kisi madraasi ka
kya baat bane ae ae
to phir kya baat bane

main to beti thaanedar ki re
tu beta chapraasi ka re
to phir kya baat bane ae ae
to phir kya baat bane
main to beti thaanedar ki re
tu beta chapraasi ka re
to phir kya baat bane ae ae
to phir kya baat bane
tu to bhaabhi mere mamu ki re
main maamu teri maasi ka re
to phir kya baat bane
to phir kya baat bane


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 :

4372 Post No. : 15708

“Jungle Ka Jawaahar” (1952) was a Basant Pictures production movie. It was directed by Homi Wadia. The movie had John Cawas, Nadia, Dalpat, Goldstein, Shapur, Agha, Abdulla etc in it.

The movie had five songs in it. One song has been covered in the past.

Today is the 102nd birth anniversary of Saraswati Kumar Deepak (7 july 1918-8 july 1986). While searching the dates of his anniversaries, I drew a blank on google. So it turns out that the anniversary page of this blog is perehaps one of the very few places online where these dates are available.

On this occasion, here is a song from “Jungle Ka Jawaahar”(1952). This song is sung by Shyam Sundar (singer) and Sulochana Kadam. Saraswati Kumar Deepak is the lyricist. Music is composed by Madholal Damodar Master.

The song picturised as a Tarzan and Jane kind of picturisation. My guess is that the actors are the famous John Cawas and Nadia. I request our knowledgeable readers to help identify them.

The lyrics are cute. The city slicker gentleman wants to introduce the lady to the charms of Big cities like Bombay and Delhi, but the lady, comfortable is jungle, wants none of that.

Lyrics of this song were sent to me by Avinash Scrapwala.

Video

Song-Shrimati shrimati aao aao (Jungle Ka Jawaahar)(1952) Singers-Shyam Sundar, Sulochana Kadam, Lyrics-Saraswati Kumar Deepak, MD-Madholal Damodar Master

Lyrics (Provided by Avinash Scrapwala)

O o
shrimati
shrimati
Aao aao aao
Aao o
O na na na na
Na main aaun

Tu aa aa aa
aa aa aa aa

Nayi duniya dikhaaun
Na na na na main aaun
Nayi duniya dikhaaun
Na na na na main aaun
Albeli dikhlaaun main
Chamak damak
Nayi duniya ki
Ja ja
Albeli dikhlaaun main
Chamak damak
Nayi duniya ki
Sun meri pyaari baat
Na na na na
Sharmeeli chal tu saath
Chhod de jungle ka mangal
Badhaa de
Badhaa de apna haath
Na na na na
Haan haan haan haan
Haa

Main tere haath na aaun
Pedon mein
Pedon mein ja chhip jaaun
Main tere haath na aaun
Pedon mein ja chhip jaaun

Sharmeeli dikhlaaun main
Tadak bhadak nayi duniya ki
o meri pyaari ??
sharmeeli chal tu saath
Chhod de jungle ka mangal
Badhaa de apna haath
Na na na
Na na na
na na na na

Aa jungle ki billi
Billi?
Aa jungle ki billi
Tujhe dikhaaun dilli
Dilli se bambai le jaaun
Motor mein juhu dikhlaaun
Na na na na
Na na na na
Na main aaun

Aa jungle ki billi
Tujhe dikhaaun dilli
Dilli se bambai le jaaun
Motor mein juhu dikhlaaun
Halwa khilaaun
Laddoo khilaaun
Chaupaati ki chaat khilaaun
Halwa khilaaun
Laddoo khilaaun
Chaupaati ki chaat khilaaun

Is jungle ko chhod ke
Chau

Chaupaati
Chaupaati na aaun
Haan main chaupaati na aaun

Bambai le jaaun
Raani banaaun
Na na na na na
Achhi achhi film dikhaaun
Achhi achhi film dikhaaun
La la laa
Oon oon oon
Jo kal ??
Sheesh mahal ??
Jo kal??
Sheesh mahal ??
Mila pardesi mehmaan
Ab to kehna mera maan
Jo kal ??
Sheesh mahal ??
Mila pardesi mehmaan
Ab to kehna mera maan
O Na na na
Haan haan haan haan

Nayi duniya dikhaaun
Na na na na main aaun
Albeli dikhlaaun main
Chamak damak
Nayi duniya ki
Sun meri pyaari baat
Pyaari baat
Sharmeeli chal tu saath
Chal tu saath
Chhod de jungle ka mangal
Badhaa de apna haath
Badhaa de apna haath
Badhaa de apna haath
Teri meri Jodi niraali hai
Matwaali hai
Nakhrewaali hai
Teri meri Jodi niraali hai
Ma ma ma ma matwaali hai
Nakhre nakhre nakhre nakhrewaali hai
Nakhre
Nakhre
Nakhre
Nakhrewaali hai
Teri meri Jodi niraali hai


What is this blog all about

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 16500 song posts by now.

This blog is active and online for over 4000 days since its beginning on 19 july 2008.

Important Announcement

(© 2008 - 2021) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

Total number of songs posts discussed

16569

Number of movies covered in the blog

Movies with all their songs covered =1280
Total Number of movies covered=4510

Total visits so far

  • 14,734,284 hits

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Historical dates

Blog Start date: 19 july 2008

Active for more than 4000 days.

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