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

Archive for the ‘Thanking the Almighty’ Category


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 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 : 3982 Post No. : 15069

In some cases, it is the voice – some people will impress you, attract you with their voice. Girish Karnad’s voice has one of the most relaxing sound quality that I have heard. And his presence, his demeanor, his being in a scene, on screen or on stage, always had the same expression of comfort and relaxation as his voice. Seeing him, listening to him, one could never imagine if this person could be moved to a hasty or an impatient action.

He passed away, the day before. The news said that he was 82. I was surprised, it couldn’t be. Over the years since I had first seen him live in a drama in Delhi – almost a millennium ago, and then through films and media images, he always seemed to be the same, never changing, nor ageing. Be it the memories and images from the 60s, 70s, or even recent. He always appeared to be the same.

So when I read this one line in a media news item, I was very taken aback. Sure, I had not seen him active for the past few years, but the thought process probably had never projected far enough to make believe that he was past his 80th. In fact, as I reviewed his filmography in preparation for this article, I find that 5 of his upcoming films are slated for released through the rest of 2019.

Mid 1960s to 70s was an era for the theatre in India. One sees an upsurge in the quality of drama, the subject matter handling by the playwrights and the abilities of the dramatists. If it was Badal Sircar in Bangla (east), it was Vijay Tendulkar in Matathi (west); if it was Mohan Rakesh in Hindi (north), it was Girish Karnad in Kannada (south). These playwrights brought in some very incisive, some very timeless creations, that brought a completely fresh air, breaking new grounds in understanding the human psyche – how the humans interact, with each other and within themselves, how the social influences mould the individual behaviors, and in reverse, how the human expressions manipulate the social conduct. And together, how they shape the movement of history.

Girish K broke out a very crisp and a surprisingly innovative line of enquiry, with his very first play – ‘Yayati’. Most of the readers will be familiar with this episode from the epic, Mahabharat. Yayati is a king in the lineage of the Chandravansh, the lineage of Chandra, the Moon God. He is portrayed as an irresponsible king, consumed by his obsession with young age and the pleasures to be derived from it. He is afraid of getting old. His wife is Devyani, daughter of Rishi Shukracharya. Sharmishtha is the name of one of the ladies in waiting of Devyani. Actually a princess herself from another kingdom, Sharmishtha becomes a bounden server to Devyani due to certain events. As the events unfold furhter, Yayati has an extra marital affair with Sharmishtha, who bears three sons for him. Devyani too has three children, one daughter and two sons. Devyani complains to her father, who is the purohit (high priest) of the demon clan. Incensed by the behavior of his son-in-law, he curses him to a premature and a prolonged old age.

Yayati is shattered. He goes to Shukracharya, begs for forgiveness and removal of the curse. Shukracharaya tells him that his curse cannot be reversed, but it can be transferred to a person willing to take on such a curse. Yayati is overjoyed, but the joy is short-lived as he finds out that no one is ready to accept his curse. Finally, one of his sons, Puru, agrees to take on the curse of his father, wanting to bring peace to his father. Yayati enjoys another one thousand years of youth, donated by his son Puru.

This is a well known tale, and it has its own share of interpretations, analysis and philosophical discourse in literary critique over the ages. Girish K stepped in and asked a question that was never asked for many a millennia. What about Chitralekha?

It is not clear whether this character by this name exists in the annals of Mahabharat. Girish K is alluding to, and enquiring about Puru’s wife. A man goes ahead and takes on the curse of old age for a thousand years. There is name and fame, for this sacrifice. But no one ever asked, what about his wife? What happened to her life and her time, and whether and how did she endure this abnormally changed circumstance foisted upon her. With certain modifications to the original plot, Girish K is the first scholar to ask this question.

This play came about during Girish K’s journey to England by ship in 1960. The version of Mahabharat by C Rajagopalachari was published in 1951. This version of the epic influenced Girish K, and he went on to create two great plays based on themes from this epic. By his own account, ‘Yayati’ came so naturally to him, almost as if someone was dictating and he was just transcribing. The writing of this play was completed on this sea voyage of three weeks. He was traveling to London, having been awarded the Rhodes Scholarship at the Oxford University. During his stay and studies, he completed a triple MA, simultaneously in philosophy, politics and economics. The second play, that was born out of the influence of Mahabharat, sat in his mind for almost three decades, and then was born as ‘Fire and Rain’, which was staged first time in 1995.

His other most celebrated theatrical creation is another view into the history of India. Titled ‘Tuglaq’, this play took the theatre world, the audiences and the socio-political commentators by storm when it was first staged in 1966. In 1972, this play was enacted by the National School of Drama, directed by Ebrahim Elkazi, and presented on the ramparts of the Old Fort (Purana Qila) in Delhi. Using the ruins of the Old Fort as the backdrop, the play was enacted, to a very critical acclaim. Personally, that was my first introduction to Girish K. Quite enchanted by the theatre scene in Delhi, I have seen this enactment of the play while I still was in school.

The play covers the last 5 years of the reign of Mohammed Bin Tuglaq. The protagonist, is portrayed as having great ideas and a grand vision, but his reign was an abject failure. He started his rule with great ideals of a unified India, but his kingdom degenerated into anarchy. His proclamation to move his capital from Delhi to Daulatabad, resulted in a massive exodus that brought misery and sorrow to a huge population. This was seen by the commentators as an allegory to the Partition of the country in 1947, and mass movement of people from both sides of the border.

In his later discussions, Girish K has revealed that the play was not originally written with an intent to comment on the then current political scenario in the country. Writing about the commentary on his play, Girish K has stated – “I did not consciously write about the Nehru era, I am always flattered when people tell me that it was about the Nehru era and equally applies to development of politics since then. But, I think, that is a compliment that any playwright would be thrilled to get, but it was not intended to be a contemporary play about a contemporary situation.”

Girish K started his theatre career in Madras, with a drama group called the Madras Players. Starting with ‘Yayati’ we see the development of a multi-faceted career that has lasted for almost six decades – author, teacher, playwright, director, stage actor, film actor, director of FTII Pune, chairman of the Sangeet Natak Academy – there is so much in his career to write and tell about.

His association with the cinema begins with ‘Samskaara’ (1970) and ‘Vamsh Vriksh’ (1972), both in Kannada, and both well recognized and well awarded films. Girish K was also the co-director of ‘Vamsh Vriksh’. The storylines for both films are a very strong statement on the evolving nature of human relationships, as each individual passes through his or her own pleasures, travails, dreams and anguish. The stories tell of compelling human emotions that drive human beings, to behave in manners that are quite out of the ordinary expectations. In ‘Samskaara’, Praneshcharaya (role played by Girish K), a devout Brahmin, is so convinced of moksha being the ultimate goal of life, and being so focused to achieve it, marries an invalid, so he can remain a celibate all his life. His antithesis is life is Narayanappa, a Brahmin who has given up the traditions – he eats meat and lives with Chandri, a lady of lower standing in the society. As the events unfold, Narayanappa passes away. His final rites become a controversy – a non-Brahmin cannot perform his rites, and no Brahmin in the village is ready to perform the rites for one who has fallen from the tradition. In the midst of all this, Praneshcharya one night wakes up in the lap of Chandri. Unable to reconcile with his own actions, he leaves the village in despair. Chandri secretly performs the last rites of Narayanappa and leaves the village too. In the last scene, Praneshcharya is seen returning to the village. Did he confess and atone for his actions? – the question remains unanswered.

‘Vamsh Vriskh’ is a complex narrative of the progression in a family, the interrelationships, the hidden connects and the invisible knowns. The protagonist, Srinivasa Shrotri, goes through many a tribulation in life, and tries to keep his mental peace intact. Having lost or settled all his affairs, he finally renounces householder’s life to become a sanyaasi.

In 1974, Girish K appeared in a children’s film ‘Jaadu Ka Shankh’. Not much more information about this film is locatable.

In the next three years, we see Girish K in three films that are outstanding statements of the new-wave cinema. In 1975, we see him in ‘Nishaant’ as the timid but principled schoolmaster, whose wife is abducted by the brothers of the landlord. The film has a kind of idealist ending, with the schoolmaster fatally attacking the landlord during a religious celebration and the entire village rising up against the landlord and lynching him and his entire family. In 1976 came ‘Manthan’ – the story of the white revolution in India. Girish K has played the role of Dr Rao, a chemist assigned in the rural areas, to help villagers determine the quality of their milk and to help free them from the clutches of the milk contractors by establishing co-operative societies. In 1977, we see Girish K in ‘Swami’, assaying the role of Ghamshyam, an upright and principled eldest son in the family, after passing away of his father, handling the family matters and his own personal life very maturely and with wisdom, in the presence of a hostile step mother.

In the next four decades , Girish K has appeared in almost 100 films, in Hindi, Kannada, Telugu, Tamil, Malyalam and Assamese. I remember seeing him in ‘Man Pasand’ (1980), playing the role of Kashinath, a close friend of Pratap, the protagonist (role played by Dev Anand). Later, I have seen him in ‘Aasha’ (1980), ‘Ek Baar Chale Aao’ (1983), ‘Tarang’ (1984), till the waning interest in newer films kept me away. Ah yes, he was part of the dear ‘Malgudi Days’ series on the television, playing the role of Swami’s father. In his other directorial outings, he has directed ‘Godhuli’ (1977) and ‘Utsav’ (1984), films that have earned a lot of critical acclaim. He has also made a number of documentaries, like one on the Kannada poet DR Bendre (1972), ‘Kanaka-Purandara’ (English, 1988) on two medieval Bhakti poets of Karnataka, Kanaka Das and Purandara Das, and ‘The Lamp in the Niche’ (English, 1989) on Sufism and the Bhakti movement in India. Many of his films and documentaries have won several national and international awards.

Girish K’s accomplishment as an actor is simply his complete comfort with being the character he is playing. Watching him on the screen, one has this confidence that he knows all the ins and outs of the character he plays, and that in some incarnation he has lived that role himself. The authenticity of portrayal is simply magnificent.

In 1985, he appeared in the role of Pandit Shiv Shankar Shastri in the film ‘Sur Sangam’. The film, and his portrayal of the senior patriarchic exponent of classical music, are my all time favorite. I have written about this film in an earlier article with the song “Aaye Sur Ke Panchhi Aaye”. The film revolves around classical music and the story of Pt Shiv Shankar Shastri, one of the greatest living exponents of this art form. The story line brings in Tulsi (role played by Jayaprada), who is musically inclined and who reveres Shastri ji. The turn of events brings a certain unexplainable element – Tulsi is sexually assaulted, and the man responsible also throws down the portrait of Shastri ji. In a fit of violent anger, Tulsi slays the man with a shard of glass from broken portrait, runs off into the night, and boards a train departing from the local station. As destiny would have it, she barges into a first class coupe whose sole occupant is Shastri ji, who is traveling for participating in an out of town program. The two travel together, and return. Tulsi starts living in the same house as Shastri ji. He is a widower and has a girl child. Slowly, Tulsi becomes a part of the household. Being inclined for classical music, she also starts to practice while staying at Shastri ji’s home. One night, there is a special celebration at the temple of Lord Shiv. Shastri ji is to perform. Tulsi accompanies him, as usual. With the performance about to begin, Shastri ji motions Tulsi to pick up and play the taanpura in accompaniment. At this, all his participating disciples become incensed and leave the stage one by one. Tulsi rushes back home (and then leaves the household for good), the audience leaves and Shastri ji is the sole person left in the temple. In the absence of any accompaniment and musical support, he resolves to make his musical presentation regardless, to the Lord. And he presents this song, alone in a deserted temple, to Lord Shiv.

I picked this song specially, to highlight one aspect of Girish K’s artistic expressions, which was probably hidden until then. An accomplished performer, he has performed the dance steps as part of this song. Every review of the film at that time, commented on the dancer in Girish K. He revealed in an interview that he had taken on special dance training to prepare for this song. You can see the performance for yourself. It is no less than an accomplished and well trained dancer, presenting these steps in unison with the music.

This one song, in my humble opinion, is the best artistic performance that I have seen from Girish K. See the manner in which he starts his dialogue with the Lord. His singing, his facial expressions, his gestures and movements, all coalesce into a fluid expression of a conversation with Lord Shiv. No one else is present so this is a very private conversation, in which Shastri ji is telling the Lord to listen to His own sound coming from inside him. This entire clip is a one wonderful performance by Girish K that probably has not been surpassed.

It is a sad goodbye that we bid today. The person, the artist, and a scholar – it is truly a great loss to the cultural landscape of this sub continent that may never be made up.

One commentator has written about Girish K’s creations, that “. . . Girish Karnad allowed his characters to ask the questions, to struggle with the inconclusive, and hence his stories truly never ended.” Yes, that is the legacy of this multi-faceted artist – his creations, his stories, his characters – all still have a lot be explored for. That “struggle with the inconclusive” is so appropriate a passage dealing with the complex realities and relationships in the course of a human life. His stories have not really ended. And neither has his legacy.

Girish K – Rest in Peace. . . Enduring Peace

 

Song – Hey Shiv Shankar, Hey Karunakar  (Sur Sangam) (1985) Singer – Rajan-Sajan Misra, Lyrics – Vasant Dev, MD – Laxmikant Pyaarelal

Lyrics (Provided by Prakashchandra)

hey..ey..ey shiv shankar
hey..ey..ey karunakar
parmanand maheshwar

hey shiv shankar
hey karunakar
hey shiv shankar
hey karunakar
parmanand maheshwar
mere bheetar tum gaate ho
mere bheetar tum gaate ho
sun lo tum apna ye swar
hey shiv shankar
hey karunakar
parmanand maheshwar

maun gaan ka dhyaan jamaaya
maun gaan ka dhyaan jamaaya
yog raag ko hi maana
tum hi baney ho taan praan ki
tum hi baney ho taan praan ki
mere tan mann ko paawan kar
hey shiv shankar
hey karunakar
parmanand maheshwar

rudra been jhankar tumhaari
rudra been jhankar tumhaari
shudra janon se rahi ansuni
dhanya tumhi ho jaavo sureshwar
dhanya tumhi ho jaavo sureshwar
apne mukh se sun apna swar
hey shiv shankar
hey karunakar
parmanand maheshwar [

nabh chaaya ghan ghor bijuriya damke jhamke
adharon ki muskaan tumhaari cham cham chamke
aaaa aaaaa aaaaa aaaaaa aaaaaa
ghir ghir aaye megh bhayankar garaj garajte
goonja nupur naad tumhaara thirak thirkate
jhuk gaya matha ki tum ne haan kaha jis pal umapati
sheesh ki ganga dharaa par utar aayi chhal-chhalaati
ga ga re ni re ga ma
dha ni re ga re sa
geet ki har lehar par tum jhoom kar naacho nateshwar
aaj is anand varsha mein nahaao tum maheshwar
aaa aaaaaa aaaaaaj is anand varsha mein
nahaa..aavoo tum maheshwar
shiv shankar
maheshwar
shiv shankar
aaaa aaaaa aaaaaaa

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

हे॰॰ए॰॰ए शिव शंकर
हे॰॰ए॰॰ए करुणाकर
परमानन्द महेश्वर

हे शिव शंकर
हे करुणाकर
हे शिव शंकर
हे करुणाकर
परमानन्द महेश्वर
मेरे भीतर तुम गाते हो
मेरे भीतर तुम गाते हो
सुन लो तुम अपना ये स्वर
हे शिव शंकर
हे करुणाकर
परमानन्द महेश्वर

मौन गान का ध्यान जमाया
मौन गान का ध्यान जमाया
योग राग को ही माना
तुम ही बने हो तान प्राण की
तुम ही बने हो तान प्राण की
मेरे तन मन को पावन कर
हे शिव शंकर
हे करुणाकर
परमानन्द महेश्वर

रुद्र बीन झंकार तुम्हारी
रुद्र बीन झंकार तुम्हारी
शूद्र जनों से रही अनसुनी
धन्य तुम्हीं हो जावो सुरेश्वर
धन्य तुम्हीं हो जावो सुरेश्वर
अपने मुख से सुन अपना स्वर
हे शिव शंकर
हे करुणाकर
परमानन्द महेश्वर

घन छाया घनघोर बिजुरिया दमके झमके
अधरों की मुस्कान तुम्हारी चम चम चमके
आsss आssss आssss आsssss आsssss
घिर घिर आए मेघ भयंकर गरज गरजते
गूँजा नूपुर नाद तुम्हारा थिरक थिरकते
झुक गया माथा कि तुमने हाँ कहा जिस पल उमापति
शीश कि गंगा धरा पर उतार आई छल-छलाती
ग ग रे नि रे ग म
ध नि रे ग रे स
गीत की हर लहर पर तुम झूम कर नाचो नटेश्वर
आज इस आनंद वर्षा में नहाओ तुम महेश्वर
आ आ आ॰॰आज इस आनंद वर्षा में
नहा॰॰आवो तुम महेश्वर
शिव शंकर
महेश्वर
शिव शंकर
आsss आssss आssssss

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

Blog Day : 3537 Post No. : 14203

Today’s song is from the film ‘Captain Kirti Kumar’ (1937). The song is sung by a child star of yore – Ram Marathe.

Do you ever wonder, what happens to child stars when they grow up or what must be adult actors doing when they stop getting roles or get retired ? In the early years of films, anyone looking good and was a tolerably good singer could become actor or an actress. Education was not necessary. Working in films was not considered good those days. So, those who joined film line, in their early years, had no other skill or education. The payments were dismal, there was no guarantee of continuation and temptations were too many.

As a result, many of the first generation of actors, singers and others in the film world, ended up in poverty, loneliness and met a sad end. Many such heart breaking stories are well known. However, not all ended up like this. There were cases, where the artist left the film industry even when they were getting ample work, changed their course of life and achieved greater success or happiness.

The child stars were of two types. One type  who had no relatives or a godfather to help them when they passed the age of being a child actor. Such actors got lost in the merciless world of film industry and ended up doing work as a junior artist or an extra or at the most doing character roles. Examples are Junior Mehmood and Jagdeep etc. The other type was, who had someone in their family or a close relative well established in the film world. When they crossed their child actor age, they got into adult roles easily. Many of them became top class heroes and heroines. Some examples are Madhubala, Meena Kumari, Shashi Kapoor and many other Kapoors, Nargis, etc.

Of course, there were exceptions. I know of at least two examples of successful and in demand child stars – with a godfather, who left the film industry midway to pursue their ambition in some other fields. One case is that of Shashi Kapoor senior. Starting as a child star from 1944 he did child roles in 21 films up to 1955. Then he left films, completed his graduation and post graduation in science, and worked as a lecturer in Bombay. Then he went to USA to do his PhD in Maths. He worked in an American university as a Professor of Maths for 30 years. What a life, indeed !

The second case is of child actor Ramchandra (Ram) Marathe. He was born on 23-10-1924 in Poona and studied in Bhave school up to 10th class. He and his brother (Anant Marathe aka Anant kumar) worked in films as child actors, due to family conditions. They started work from 1936 onwards. Ram Marathe had an edge over his brother, in that he could sing too. Starting with ‘Shahu Chor’ in 1936, he worked in Sagar movietone (6 films), Ranjit (3 films) and Prabhat (2 films), in addition to other companies like Prakash, Mohan Pictures, Imperial etc. He acted as a child star in 16 films and sang 11 songs in 6 films. After this Ram left films and started training in classical music – his liking. Here is a short bio of Ram Marathe, adapted from meetkalakar.com,

Ramchandra Purshottam Marathe was born on 23rd October, 1924. He began his early career as an actor singer in films produced by the Prabhat company. His formal training in music assumed a definite direction when he came under the tutelage of Master Krishnarao (Phulambrikar). Later, he trained under accomplished musicians such as Mirashibuwa of Gwalior and Vamanrao Sadolikar of Atrauli-Jaipur. His quest for widening his musical horizons culminated in a long-lasting discipleship (15 years) under Jagannathbuwa Purohit (‘Gunidas’). As a consequence of his broad training and background, Rambhau’s music integrated the best of Gwalior, Agra and Jaipur styles. Rambhau was a stalwart in the field of Marathi natyasangeet. He was also known as a composer. Among his pupils is Ulhas Kashalkar.

Pt. Ram Marathe had performed in all the prestigious musical festivals at various places like Jalandhar, Patna, Lahore, Delhi, Gwalior, Calcutta, Banaras, Amritsar and almost all over the Maharashtra. His contribution to Indian classical music was recognized with several Awards for his unique and successful performances.  He was ‘A Top Grade’ Hindustani classical artist of All India Radio.

Since he had undergone a proper Tabla training, he had a great command on taal and layakari. He had special command on rare – Anvat Raags and Jod Raags and he was highly recognized for his clear and fast tankriyas and also for purity of Raags. He always used to enrich his audience with various semi-classical forms like khayal, tarana, tappa, natyasangeet, thumri, dadra and bhajans in his concerts. Unlike the present classical singers, his concerts used to last more than 5 hours with powerful intensity and stamina.

He started his stage career under the perusal of Natvarya Shri Ganapatrao Bodas in 1950 as a leading character in old classical musical dramas like Saubhadra, Sanshaya Kallol, Swayamvar, Ekach Pyaala, Maan Apmaan etc. with veteran actors and actresses such as Balgandharva, Hirabai Badodekar, Vinayakbuwa Patwardhan, Nanasaheb Phatak etc. Despite of his busy schedule in concerts, he performed in 22 old and new Sangeet Natak with more than 5000 stage shows. This is purely out of his dedication and commitment towards Sangeet Rangbhoomi.

He composed music for more than 10 dramas such as – Mandarmala, Suvarntula, Megh Malhaar, Tansen, Baiju etc. and acted in them as the leading charter role.

His disciples includes many (more than 50) eminent classical singers like Pt. Ulhas Kashalkar, Sudhir Datar, Ram Pratham, Vishwanath Kanhere, Vishwanath Bagul, Yogini Joglekar, Shashikant Oak, Madhuwanti Dandekar, Sanjay Marathe and Mukund Marathe etc. who have got training from him under the traditional Gurukul way of learning.

Maharashtra Government honoured him with the ‘Sangeet Bhushan’ degree in 1961.  In 1981, he again got recognition from the Government of Maharashtra, for successful completion and continuous 30 years of career in Marathi Sangeet Rangbhoomi. He was also bestowed the honoured title of ‘Sangeet Chudamani’ by Jagadguru Shankaracharya of Puri.

He was appointed by AIR, New Delhi on Northern (Hindustani) Music Audition Board Committee. He was also on the Advisory Board of Nagpur University and other universities in India. He has more than 100 gramophone records and a number of CDs and LPs to his credit and composed more than 50 bandish in various Raags.

Ram Marathe died on 4-10-1989.

The film ‘Captain Kirti Kumar’ had a cast consisting of Motilal, Bibbo, Yaqub, Sankatha Prasad, Pandey, Bhudo Advani and VH Desai. Comedian VH Desai made his debut with this film. He was a famous and extremely popular comedian from late 30s to 40s. He was a law graduate from Baroda, but instead of pursuing a career in courts, he opted for films. His style was typical-fast delivery of dialogues. He was very poor in remembering dialogues and required many retakes. As per Ashok Kumar, in ‘Kangan’ (1939), a Bombay Talkies film, he took as many as 75 retakes. The German director Franz Osten was so furious that he told Desai “If you were not so popular a comedian in India, I would have thrown you out long back”.

Starting with Sagar Movietone, he appeared in ‘Captain Kirti Kumar’, ‘Bhabhi’ and ‘Navjeevan’, and then joined Bombay Talkies, appearing in ‘Jhoola’, ‘Kangan’, ‘Naya Sansaar’, ‘Kismet’ etc. He acted in initial films of Filmistan, from where he was taken by PL Santoshi for ‘Shehnai’ and ‘Khidki’. Later he also appeared in ‘Shaheed’ (1948) and ‘Andaz’ (1949). In ‘Andaz’ he did the funny role of DDT – Prof. Devdas Dharamdas Trivedi. The role was specially written for him. Desai died of heart attack in 1949.

Another regular actor of Sagar Movietone was Sankatha Prasad. He was the elder brother of the more famous character actor Kanhaiyalal (who was initially only a lyricist). Sankatha Prasad was born in UP in February 1903. He came to Bombay and started working in films in 1929. From the beginning of his career, he was a regular actor in the silent and talkie films of Sagar Movietone, and also of National Studios and Amar Pictures. Sankatha Prasad worked as a character actor for his entire career. He featured in all the three talkie films of Sagar in 1931. His first talkie film was ‘Veer Abhimanyu’ (1931) and the last film was ‘Do Mastaane’ (1958). In all, he worked in 65 films.

The film’s director, Chimanlal Muljibhoy Luhar (1901 to 1948 ) was a graduate in chemistry. He was a noted author and critic with various journals in the early 1920’s. He joined Kohinoor as a lab assitant, but soon learnt photography and became an expert cameraman. He shot about 20 films with Krishna Cinetone, and then joined Sharda Pictures. Later, he joined Sagar as a Director from 1934 to 1940. He also worked with Prakash Pictures from 1941 to 1946. He directed 15 films including film ‘Talaash e Haq’ (1936), in which Baby Rashida made her debut. She later became famous as Nargis.

The film has 10 songs, composed by A Bhasker Rao. This was his only film as an MD. He was a writer (‘Aadmi’, 1939) and assistant director (‘Padosi’, 1941) in Prabhat. Hailing from south Karnataka, Amembal Bhasker Rao’s elder brother A Sunder Rao was an expert Harmonium player.  His younger brother A Dinkar Rao aka D Amel, was with AIR as a Musician for 40 years. A Bhasker Rao was a tabla player and a disciple of Master Krishna Rao Phulambrikar.

With this song, the film ‘Captain Kirti Kumar’ makes its debut on our blog today.

[Author’s Note: Acknowledgements and thanks – The above write up refers to and has adapted material from ‘Sagar Movietone’ by Shri Biren Kothari ji, ‘Eena Meena Deeka’ by Sanjit Narwekar, books written by Isak Mujawar, MuVyz.com, HFGK and my own notes.]


Song – Jagat Mein Dhoom Hai Teri (Captain Kirti Kumar) (1937) Singer – Ram Marathe, Lyrics – [Unattributed], Music – A Bhaskar Rao

Lyrics (Provided by Sudhir)

jagat mein dhoom hai teri
daya ki wo mere bhagwan
sunaa deta hoon sun le ??
daya ki wo mere bhagwan
sunaa deta hoon sun le ??
daya ki wo mere bhagwan

bura hoon ya bhala hoon
jo bhi hoon tera pujaari hoon
bura hoon ya bhala hoon
jo bhi hoon. . .

. . . bhala hoon
jo bhi hoon tera pujaari hoon
suna deta hoon main gham ki
kahaani wo mere bhagwan
jagat mein dhoom hai teri
daya ki wo mere bhagwan

wo raja hi nahin
sab bekason ka aasra bhi hai
wo raja hi nahin
sab bekason ka aasra bhi hai
unhin ke dam se hai mera
?? wo mere bhagwan
unhin ke dam se hai mera
?? wo mere bhagwan
jagat mein dhoom hai teri
daya ki o mere bhagwan

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

जगत में धूम है तेरी
दया की वो मेरे भगवन्
सुना देता हूँ सुन ले ??
दया की वो मेरे भगवन्
सुना देता हूँ सुन ले ??
दया की वो मेरे भगवन्

बुरा हूँ या भला हूँ
जो भी हूँ तेरा पुजारी हूँ
बुरा हूँ या भला हूँ
जो भी हूँ॰ ॰ ॰

॰ ॰ ॰ भला हूँ
जो भी हूँ तेरा पुजारी हूँ
सुना देता हूँ मैं ग़म की
कहानी वो मेरे भगवन्
जगत में धूम है तेरी
दया की वो मेरे भगवन्

वो राजा ही नहीं
सब बेकसों का आसरा भी है
वो राजा ही नहीं
सब बेकसों का आसरा भी है
उन्हीं के दम से है मेरा
?? वो मेरे भगवन्
उन्हीं के दम से है मेरा
?? वो मेरे भगवन्
जगत में धूम है तेरी
दया की वो मेरे भगवन्


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.

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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 ELEVEN years. This blog has over 15100 song posts by now.

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