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

Archive for the ‘Theme song’ Category


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 : 3714 Post No. : 14643

Today I present a really wonderful song of Jagmohan Sursagar, Anima Dasgupta and Munir Alam from film Subah Shaam-1944. The music of this film was by Subal Dasgupta, younger brother of the more famous composer kamal Dasgupta. The film was made and directed by P.C. Barua for Indrapuri Studios, Calcutta. The songs of this film were written by Faiyaz Hashmi and Munir Lucknowi ( different from the singer Munir Alam). The cast of the film was Pramathesh barua, jamuna, Purnima ( she was different from Purnima of
Bombay ), Indu Mukherji, Munir, Devbala, Tulsi Chakravarti etc etc.

Director P.C. aka Pramathesh Barua was born on 24-10-1903. A well educated and foreign trained prince from a Royal family came into the films only by chance. He established his own studio and made films. Impressed by his style and work, B.N.Sircar of New Theatres offered him a job in his company. Barua joined and made such films in New Theatres that the studio became famous all over India. His greatest contribution was his first film here, ” Devdas”-34 in Bangla. he did the main role and brought in a comparatively new actress jamuna for the role of Parvati aka Paro. With the fantastic success of Bangla version, Barua made its Hindi version in 1936, with K L Saigal as the Hero. This was mor successful than the Bangla version and became an iconic film for ever as a reference point. Then an Assamese version was also made in 1937.

With a very eventful, successful and satisfying stint in New Theatres, Barua developed serious differences with the owner-B.N.Sircar, who was known to be a disciplinarian who held the Institution ( of New Theatres) in place. New Theatres, in the 30s , was full of Titans having a larger than life images and it was inevitable that there would be clashes amongst the artistes and the owner. Like true Bengalis, they all had king size Egos and over estimated self respects.

The first crack came in 1933 when Nitin Bose and Debaki Bose clashed, resulting in Debaki Bose’s temporary exit. In the line was Barua, who had a grudge that he was not given as many films as his peers Nitin Bose and Hemchander Chunder got . The rift between Barua and Sircar was obviously born out of deep differences, because after Barua left, B N Sircar had said- “He was a remarkably innovative director who seemed to improve after every film. As an actor, he forged a style that was distinctively his own uniquely. But as a Man…..well,I would rather not discuss it”.

However, it was known to both of them and all others connected with NT, that both these Giants had tremendous love and respect for each others. In 1951, when Barua lay dying on his bed, he instructed that his body be taken past the house of B N Sircar, where he was lying sick on bed. When Barua’s funeral convoy reached Sircar’s house, the ailing Sircar hobbled painfully to the window of his elegant Elgin Road Residence, as the prince of Players paused beneath the window for a while and then proceeded. It was a poignant moment- an act symbolic of a reference point established a long time ago in a business which was notorious for callous and impermanent relationships !

After Barua Nitin Bose left, then kanan Bala and few more. Only pankaj Mullick, though hurt by New Theatre’s neglect, stuck till the end. P.C.Barua died on 29-11-1951. He acted in 8 Hindi films( Manzil-36, Mukti-37, Adhikar-38, Jawab-42, Ranee-43, Subah Shaam-44, Amiree-45 and Pehchan-46). He directed 14 frilms and sang 1 song in film Jawab-42.

Barua’s third wife Jamuna (10-10-1919 to 24-11-2005) was the fourth of the six daughters of Puran Gupta, a resident of a village near Agra, India. Each of the sisters was named after an Indian river like Ganga, Jamuna, Bhagirathi etc. As destiny would have it, Jamuna came to reside in Calcutta, a leading film producing city in India. Originally from Gauripur of Assam’s Goalp ara district (undivided), Jamuna was married to the legendary actor director Pramathesh Barua, or P.C. Barua, who died in 1950. She began her acting career in her husband’s famous production Devdas in 1936 and was the film’s lead character Parvati or Paro. She went on to make a number of memorable movies in Assamese, Bangla and Hindi, notably Amiri, Mukti, Adhikar and Sesh Uttar. She stopped acting after Barua died

In the thirties and played a small role in Mohabbat ki Kasauti(1934), Hindi version of Rooplekha (Bengali) directed by P.C. Barua. A romance started although Barua, hailing from the native Indian state of Gauripur, Assam, was already twice married. As the actress, who was to play Parbati in Barua’s next venture Devdas (1935) reported inability to attend the studio on the very first day of shooting, Jamuna was called from Barua’s residence (she was living with him by then) and was asked to get down to work straight away without any preparation whatsoever.

Thus she came to be the first Parbati of Indian talkies- Miss Light had played the role in the silent version of the enormously popular Sarat Chandra novel. Aishwarya Rai happens to the last so far and Devdas has been made and re-made a number of times. Jamuna played the same role in the Hindi version also and was accepted in this very first proper exposure as an actress in her own right. She continued to act in Barua’s films like Grihadaha (1936), Maya (1936), Adhikar (1939), Uttarayan (1941), Shesh Uttar (1942), Chander Kalanka (1944) and the respective Hindi versions of each film.

Barua had left the prestigious New Theatres in 1940 and was directing as well as producing his films. Thereafter she acted in a number of Barua directed Hindi movies like Amiree, Pehchan and Iran Ki Ek Raat. These films however did not add to the prestige of either to Barua or to Jamuna. Jamuna also acted outside Barua direction in three Bengali films Debar (1943) and Nilanguriya (1943) where she proved herself without Barua’s influence. Her last film Malancha (1953) was also outside Barua’s direction. She also starred in its Hindi version Phulwari (1953).

Barua’s death in 1951 when he was only 48 changed Jamuna’s life altogether. She had three sons by Barua, Deb Kumar, Rajat and Prasun. They were all minors at the time and the Gauripur estate refused to take any of their responsibilities. She had to wage a legal battle with the powerful and influential royal family to get her and her children’s dues and recognition. Time settled the matters and she was allowed ownership of the house with its vast adjoining land and also an allowance. Jamuna spent the rest of her life after Barua as a housewife, busy in bringing up her minor sons. She had to complete the unfinished film Malancha of course but said good bye to the world soon after. Later in her life she did attend a number of functions to celebrate the centennial year of husband P.C. Barua and received felicitations on behalf of the Government of India and the state Government of Assam as the first Parbati of Indian talkies.

Her last days were not very comfortable and she was bedridden for more than six months prior to her death. She is survived by her three sons and their families and a host of relatives.. According to her family members, she had been ill for some time, and the cause of death was illness related to old age. She died at her residence in south Kolkata.

In Hindi, we have seen few Brother composer pairs like Husnlal Bhagatram, kalyan ji -Anand ji, Anand- milind etc etc. I can not think of any such pair whose brothers individually very famous as composers, except perhaps Pt. Amarnath and Husnlal – Bhagatram, but here too no two brothers were famous individually. There were some other brothers like Timir Baran and Mihir kiran and Kamal Dasgupta and Subal Dasgupta. Neither Timir-Mihir nor Kamal-Subal worked as a pair and individually only one became famous in Hindi films. Mihir kiran gave music to only 1 film- Kaarvan e hayat-35 and Subal Dasgupta gave music to only 2 films Subah Shaam and Arzoo both in 1944.

Kamal Dasgupta ( 28-7-1912 to 20-7-1974) gave music to 17 Hindi films from Jawab-42 to Phulwari-51. Subal gave music to only 2 films as mentioned. He was, however, a prolific composer in Bangla films and NFS. The credit for composing music for Talat Mehmood’s First recorded NFS, ” sab din ek samaan nahi tha” goes to Subal Dasgupta. Some sites and You Tube erroneously mention kamal Dasgupta’s name as its composer , but it is wrong. I quote here an excerpt from the book ” Talat Mehmood-The Velvet touch” a biography by Manek Premchand,

“His first recording happened in September 1941, the song being Sab din ek samaan naheen tha, Ban jaoonga kya se kya main, iska to kuchh dhyaan naheen tha, written by Fayyaz Hashmi and composed by Subal Dasgupta. Present at this recording was the great singer-composer-actor Pankaj Mullick, who patted the young émigré for a job well done. In Calcutta, the young man started learning Bengali. After six recordings for HMV in Calcutta, Talat returned in 1942 to complete his studies at Marris and in the next couple of years, he heard a lot of Gangubai Hangal, Fayyaz Khan and Roshanara Begum. ” pp 13

Not much information is available on Subal in books or on the net. Even Dr. J.P.Guha has no information on him. Here is something from a Bangladeshi site.

Subal Dasgupta was born at Kalia (Narail) of the old Jessore district in Bangladesh. His parents shifted to Calcutta long before the partition of 1947. His eldest brother professor Bimal Dasgupta was a gifted musician, while his elder brother Kamal Dasgupta also emerged as one of the most successful music directors of his time. His sisters Sudhira, Indira, Basanti—–all were talented singers in their own rights. All of them had recorded songs under HMV banner. He belonged to an immensely accomplished musical family. At a very tender age Subal Dasgupta took lessons in classical music from Ustad Zamiruddin Khan, a renowned maestro of Kheyal and Thumri. It was here, that he met Kazi Nazrul Islam, the great poet , who also started taking classical vocal lessons from the same master. The meeting between the two, later turned out to be of historic significance.

When I first heard this song, I liked it very much. I am sure you too will love it. The singers are Jagmohan Sursagar, Anima Dasgupta and Munir Alam. These names are not mentioned in HFGK, but the stalwarts of RMIM, in their discussion have confirmed these names in the late 90s. Though the YT video mentions Hemant kumar, his voice is not there.

( Credits- RMIM forum, Talat Mehmood Biography, scroll.in, wiki, nazrul.com.bd, Sharmishtha Gooptu’s article ”The Glory that was” and my notes )


Song-Kuchh haseen hai subaho shaam (Subah Shaam)(1944) Singers-Anima Desgupta, Jagmohan Sursagar, Munir Alam, MD-Subal Dasgupta

Lyrics

Kuchh haseen hai subaho shaam
kuchh ghami hai subaho shaam
zindagi ke do hain naam
zindagi hai subaho shaam
Kuchh haseen hai subaho shaam
kuchh ghami hai subaho shaam
zindagi ke do hain naam
zindagi hai subaho shaam
Kuchh haseen hai subaho shaam

aish o raahaten bhi hain
dukh museebaten bhi hain
aish o raahaten bhi hain
dukh museebaten bhi hain
?? bhi hain
gham ki shaanaten bhi hain
gardish e jahaan mein
dillagi hai subaho shaam
Kuchh haseen hai subaho shaam
kuchh ghami hai subaho shaam
zindagi ke do hain naam
zindagi hai subaho shaam
Kuchh haseen hai subaho shaam

maut bhi hai yaas bhi
din ke baad raat bhi
maut bhi hai yaas bhi
din ke baad raat bhi
apni apni ?? hai
aadmi ke saath hai
apni apni ?? hai
aadmi ke saath hai
raushani ke saath saath
?? hai subaho shaam
Kuchh haseen hai subaho shaam
kuchh ghami hai subaho shaam
zindagi ke do hain naam
zindagi hai subaho shaam
Kuchh haseen hai subaho shaam

chaand mein chakor mein
jungalon ke mor mein
chaand mein chakor mein
jungalon ke mor mein
papeehe ke shor mein
papeehe ke shor mein
gulshanon ki ?? mein
bulbulon ki bekhudi(?)
keh rahi hai subaho shaam
Kuchh haseen hai subaho shaam
kuchh ghami hai subaho shaam
zindagi ke do hain naam
zindagi hai subaho shaam
Kuchh haseen hai subaho shaam

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This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3713 Post No. : 14641

Today (17 september 2018) is the 19th rememberance day of Hasrat Jaipuri (15 April 1922 – 17 September 1999). Hasrat Jaipuri (and also Shailendra and Shankar Jaikishan) made his debut with “Barsaat”(1949). What a sensational debut it was for this musical team. This team of lyricists and music director lasted for nearly two decades and the team was broken, first by the death of Shailendra and then by the death of Jaikishan. Also, Raj Kapoor, after the box office failure of “Mera Naam Joker”(1970) dropped his entire music team and signed up an entirely new team, beginning with “Bobby”(1973).

Hasrat Jaipuri’s best work was indeed with Shankar Jaikishan. Two of his songs, both composed by Shankar Jaikishan, won him filmfare best lyricist award for “Bahaaron phool barsaao”(Suraj)(1966) and “Zindagi ek safar hai suhaana”(Andaaz)(1971).

Most of Hasrat Jaipuri’s major songs have already been covered in the blog. He penned a little over 1000 songs in HFM. This blog has 645 of his songs so far.

As a tribute to Hasrat Jaipuri, here is a song from “Sher Dil”(1965). This movie was directed by Chaand for Pinky Films, Bombay. This “Costume” movie had Dara Singh, Parveen Chaudhary, Jayant, Padma Chauhan, Uma Dutt, Shakeela Bano Bhopali, Bhagwan, Hari Malik, Sunanda, Majnu, Ridku, Nazeer Kashmiri, Amir Ali etc in it.

This song, the title song of the movie, is the second song from the movie to appear in the blog. The song is sung by Manna Dey and chorus. Hasrat Jaipuri is the lyricist. Music is composed by C Ramchandra.

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


Song-Main hoon sherdil (Sher Dil)(1965) Singer-Manna Dey, Lyrics-Hasrat Jaipuri, MD-C Ramchandra
Chorus

Lyrics

main hoon sher dil
main hoon sher dil
main hoon sher dil
main hoon sher dil
chaand se bhi door
mere pyaar ki manzil
main hoon sher dil
main hoon sher dil
aa hahahaahahaha
aa ha ha
lalalalala
lalalala
main hoon sher dil
main hoon sher dil

main watan ka pyaar hoon
pyaar ki bahaar hoon
dushmanon ke waaste
teer hoon talwaar hoon
gham ki nadiyon mein hoon
aas ka saahil
main hoon sher dil
main hoon sher dil
aa hahahaahaha
aa ha ha
lalalalalala
lalalala
main hoon sher dil
main hoon sher dil

aasra gareeb ka
hoon dhani naseeb ka
aasra gareeb ka
hoon dhani naseeb ka

khaaq mein milaaun main
hausla raqeeb ka
aaye mere saamne
koi bhi qaatil
main hoon sher dil
main hoon sher dil
aa hahahaahaha
aa ha ha
lalalalala
lalalala
main hoon sher dil
main hoon sher dil

aman ka sipaahi hoon
pyaar ka main raahi hoon
zaalimon ke waaste
zulm hoon tabaahi hoon
dharam hai insaaniyat
pyaar ka bismil
main hoon sher dil
main hoon sher dil
aa hahahaha
aahahaha
lalalalalaala
main hoon sher dil
main hoon sher dil
main hoon sher dil
main hoon sher dil


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 : 3696 Post No. : 14613

Today’s song is from film Shakuntala-43. It was the first film made by V.Shantaram, in his newly established own studio Rajkamal Kalamandir Ltd. This name was made by combining the first few letters of his parents- RAJaram and KAMALabai Vankudre. The studio was set up in 1942 and the first film was made almost immediately with Shantaram’s second wife, Jayashree as the Heroine opposite Chandramohan- the (actually) Blue Eyed boy of Shantaram.

The year 1942 was an eventful and Milestone year for Hindi film industry.

It was in 1942 that a splinter group from Bombay Talkies, led by S Mukherjee, separated and established their own Filmistan Studio.
Abdul Rasheed Kardar started his own Kardar Studios, after working for many famous film makers of Bombay and Calcutta.
Leaving Prabhat Films, with select associates like brother V.Awadhoot (cinematographer), Vasant Desai and few others, Shantaram started his own studio-Rajkamal Kalamandir.

Mehboob Khan left National studios( earlier Sagar movietone) and established his own Mehboob Studios, with the famous Sicle and Hammer on its Logo.

Homi Wadia left Wadia Movietone ,along with fearless Nadia, and started his own Basant pictures.

Begum Akhtar made her rare appearance in film Roti-42.

Muqabala-42 was the ffirst film with many Trick scenes and double role of Fearless Nadia,speaking shudh Hindi in one character and donning Saree with bangles, kumkum etc.

Bharat Milap was the first film in which Prem Adib and Shobhana Samarth played the roles of Ram and Seeta. Later they created history with film Ramrajya-43 in the same roles.

Madhubala debuted as Baby Mumtaz in Basant-42.

This splurge of activities in 1942 and its roll over effect flooded the next year 1943 with ” ek se badhkar ek ” films from the new establishments, competing with the established ones. Films like Aabroo from Hind Pictures of Nazeer Ahmed, Adab Arz by Amar pictures of Virendra Desai (ex Sagar), Kanan Devi’s Hospital, Hamari Baat and Kismat from Bombay Talkies, Kanoon and Namaste by Kardar, Hunterwali ki beti and Mouj from Basant pictures, Andhera, Bansari, Gauri and Nurse from Ranjit, First film Najma by Mehboob studios, Panghat and Ramrajya by Prakash, Poonji from Pancholi of Lahore,Prithvi wallabh by Minerva and the biggest grosser Shakuntala from Rajkamal made the year 1943 a memorable year indeed. In addition other films from Circo, Mohan, Murali and many other production houses too joined in.
Out of all this, Shakuntala ran for 104 weeks and it was the First film shown in USA also. The success reassured Shantaram about his decision to go alone. He started with new vigour.

film Shakuntala had a cast of Jayashree ( Shantaram’s second wife), Chandramohan,Kumar Ganesh, Ratan Piya, Nana Palshikar, Shantarin etc etc. The songs were written by Dewan Sharar and Ratan Piya. The music was given by Vasant Desai. This was his first film with Shantaram. He went on to give music to several films from Rajkamal, like Parbat pe apna dera-44, Dr. Kotnis ki amar kahani-46, Matwala Shayar Ram Joshi-47 ( Amar Bhoopali-50, Marathi), Dahej-50, Surang-53, J.J.Payal Baje-55, Do ankhe bara haath-57 and Ladki Sahyadri ki-66.

Sharar had adapted the story from the original ” अभिज्ञान शाकुंतल by Mahakavi Kalidas ” written in the 3rd century. He wrote the story, dialogues and Lyrics also. This was Sharar’s first film with Shantaram . Their association continued for some more films like, Parbat pe apna dera-44, Dr. Kotnis ki amar kahani-46, Apna Desh-49, Teen batti char Raasta-53 and J.J. Payal baje-55.

Dewan Sharar also acted in 8 films and wrote 62 songs in 12 films.

Hindi film industry has seen uneducated, educated and talented artistes in various fields like acting, direction,production, cinematography, story and dialogue writing, Lyricists,composers etc etc. It has also seen successful artistes leaving films and shining somewhere else on their merits like, Shashi kapoor-sr, S D Batish, Lyricist Moti,B.A. etc etc. However , there is only one example where the artiste had an extraordinary success in totally unrelated fields, was a distinguished author and an acknowledged scholar BEFORE joining the film industry . He is Dewan Sharar. Not much has been written about him so far. Here is something about him.

Dewan was not his first name. It was a Title used as a prefix. He came from a family which had served as Dewans in many states traditionally in few generations. His name was Atmanand Sharar. He was born (1899-1969) in Multan in erstwhile Punjab. From 1929 to 1942, he travelled in many countries. He is credited with editing the Magazine, ” Shabistan “, the first Urdu cinema paper in India. He worked as a Publicist for the League of Nations in Geneva, Switzerland. He edited a leading weekly ” Great Britain and the East ” for 3 years He regularly contributed to British and American press. He was the first Indian whose 4 plays were broadcast over BBC. From 1937 to 1940, he was in charge of the cataloguing of Urdu books and Manuscripts in India House at London. He published many books like’ Indian Folklore’, ‘ In the garden of Peacocks’, ‘ East meets West’ and ‘ Gong of Shiva’. The last one was translated in many languages of Europe. Hindi film ‘ Ishara’-43 was based on this novel. He also wrote the story of Himanshu Roy’s film ” Karma”-33- first English film by an Indian. The film credits start with his name First.

This is what South Asian Cinema Faculty of U.K.said about him, “Film and stage actor, writer of English novels, short stories, stage and radio plays, “Eastern Adviser” to British-Gaumont films in London and Urdu poet. He also contributed prominently to Indian cinema as a producer, character actor and a story and dialogue writer. Born in Multan, Dewan Atmanand Sharar (1899-1969) came from a family that had served as Dewans or Ministers in Indian princely states. After graduating from Punjab’s prestigious Government College, Lahore, he established an impressive repertory company in 1919 and presented several Hindustani plays and mushairas in various urban centres. In 1929, he set up a film-producing and distribution company and began to edit Shabistan,reputedly the first Urdu cinema paper in India.
In 1933, Dewan Sharar moved to London for the completion and launch of Himansu Rai’s Indo-British film, Karma (1933) ofwhich he was the storywriter. It was completed in England by Indian & British Film Productions with J.L. Freer Hunt as the director and Thorold Dickinson as editor. Sharar also produced and acted in Nagin ki Rani, the Hindustani version of Karma. While in London, many of his English short stories on Indian life appeared in mainstream newspapers in the UK and overseas. A major London publishing firm, George G. Harrap & Co., published two of his English works: The Gong of Shiva(1935) and Hindu Fairy Tales(1936). His short stories were also published as part of an anthology which included contributions from other famous contemporary writers. He also contributed a number of English radio plays for the BBC.

After returning to India in 1939 just before World War II, he worked for All India Radio Bombay and Delhi. He then joined filmmaker, V. Shantaram and adapted Kalidasa’s Sanskrit classic, Shakuntala for the silver screen in Hindustani. The film was a runaway success and the Sharar-Shantaram combine lasted over a decade winning laurels for both Sharar and Shantaram’s banner, Rajkamal.

In 1943, Ishaara (1943), a film based on Sharar’s English novel The Gong of Shiva catapulted actor Prithviraj Kapoor to stardom. Besides becoming an important pillar of popular Indian cinema, he also started Dewan Sharar Publications in 1963. His descendants include famous Bombay-based Indian film actor Akash Khurana and Nagpur-based businessman turned playwright and theatre actor Vikash Khurana. ”

The other Lyricist of film Shankuntala-43 was a poet with a very romantic name-Ratan Piya. He was born on 5-3-1904 at Lucknow. His father Pt. Madan Mohan was secretary to Motilal Nehru. His father was a theatre lover and so started his own Theatre company at Allahabad. Ratan, after his matriculation started working in it. He was trained to write songs for its dramas. Their company was patronised by the Viceroy, who paid Rs. 20 p.m. as his Patronage !

Ratan debuted as a Lyricist in film Pakke Badmash-1939. For this film, he even wrote an English song. His films were Zaban-43, Mali-44, Umang-44 Nai Baat-47 and Batohi-48. For sustenance, he even acted in few films like, Shakuntala-43, Umang-44, Meena-44, Mahakavi Kalidas-44, Panna Dai-45, Khush Raho-49, Janam Patrika-49 and Begunah-49. After this ratan Piya returned to Allahabad to look after their Theatre when his father died.

Today’s song is sung by Vasant Desai himself. He gave music to 46 films. He acted in 4 films. He sang 13 songs in 9 films. He was often called for giving Background music to films. He gave Background music to 99 films.

( credits- http://www.sacf.co.uk, stagecrafttheatre.com, film directory-48, HFGK, MuVyz, and my notes )


Song-Chali apne ghar ko Shakuntala (Shakuntala)(1943) Singer-Vasant Desai, Lyrics-Dewan Sharar, MD-Vasant Desai

Lyrics

is bargad ko abmain tumhaare palle daal chali
par bahan
hamen kiske palle daal chali ho

hamen kiske palle mein daalegi
sakhi laadli
tu chali
chali
hamen kyon thhi ye ghadi dekhni
chhuta chhutpane ka jo naata thha
chali
chali aashram se shakuntala
chali aashram se shakuntala

??priya
priyamvada
?? mat
chhodo
shakuntala ko dheeraj do

madan
mere nanhe
ab main tujhse juda ho rahi hoon
ghabra nahin
baba teri paalna karenge

gurubaba
apne pyaaron ko vida karne jal tak hi aana thheek hota hai
ab ye jheel ka kinaara aa gaya
hamen aagya de kar
aap aashram ko laut jaayiye

kya
aap sab yahin se laut jaayenge

main tum sabko phir kab dekhoongi

baba se kab miloongi
baba
tapasya seap waise hi duble ho rahe hain
mere jaane se aur dukhi na hona
baba
mere baba

jo hansaati thhi
usey do diye
jise paaya thha
usey kho diye
gale mil ke rona judaai ka
pita putri ki hai yahi vidha
chali

beti
samay ho gaya

chali apne ghar ko shakuntala
ye safar tera path yatra
tujhe chhaaon achchi ghani miley
miley tujh ko chaman khile khile
tujhe peene ko miley ganga jal
path yatra teri ho sufal
chali


This article is written by Raja, 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 : 3669 Post No. : 14546

Less than a week ago, we remembered our beloved Rafisaab on his death anniversary.
Today happens to the birth anniversary of another of our beloved legends, Kishore Kumar (popularly referred to as Kishoreda). So we very fondly remember him today and pay tribute to him.

Both Rafisaab and Kishoreda died when just in their 50s – both of them could have easily gone for many more years. But life and death matters are not in our hands – we can only thank them for what they have given us, the legacy they have left behind for generations to relish.

As with Rafisaab, I have written a lot about Kishoreda already on this blog. I am extremely fond of him – as I have said many times, it is never a competition for me between artistes. This isn’t an Olympics event where if one has to get gold, the other can at best aspire for silver.

I remember a poll in the late 70s, where people had to vote on who was the better singer, Kishoreda or Rafisaab. I don’t remember who came up with the poll but those were times when Kishoreda was the reigning star. He himself felt so embarrassed by this poll that he conveyed his unhappiness at it and it ended.

Professional rivalry apart, Kishoreda and Rafisaab had great respect for each other and were actually very good friends. Amit Kumar, Kishoreda’s son, has narrated stories about their friendship. So all this petty thinking is in the minds of people and not those who are the topic of discussion.

Personally, I have always stayed away from discussions trying to pull down one artiste to make the other look better. Thankfully, the world of music is like an ocean – it has room for everyone to contribute to, and partake of, its treasures.

Amongst the artistes, sure, there might be competition to be better than the other – and that’s not necessarily a bad thing. It only makes one strive to be better.

I remember Laxmikant-Pyarelal saying that if RD Burman came out with a hit album, L-P wanted to do better with their next. And RD had the same competitive spirit. But it was never malicious, or to run down the other.

As music lovers, we benefit from this – we get the best of all worlds.

Now let me talk a little bit more about Kishoreda since this post is a tribute to him.

Where do I start?

With his singing of course.

I am fond of Kishore Kumar the actor too. I’ve seen many of his comedy films of the 50s and 60s.

I am also much-impressed by Kishore Kumar, the producer/director. Contrary to his image of being more of a prankster and comedian, his films Door Gagan Ki Chhaon Mein (1964) and Door Ka Raahi (1971) are thought-provoking, sensitive, films with depth. I would recommend them to anyone who wants to see a different side of Kishore Kumar.

I am also impressed by Kishore Kumar the composer. He composed almost entirely only for his own films – and did a wonderful job at it.

Considering he was also the writer for his own films, it gives us an idea of what a brilliant all-rounder he was. It is hard enough to do one job, but to do so many so effortlessly requires genius.

And Kishoreda definitely qualifies for this. Much like Sir Gary Sobers, former West Indian cricketer, who, as an all-rounder, could do practically anything on a cricket field.

And yet, despite all this, what Kishoreda will be best-remembered for, and what he absolutely excelled in, was as a singer.

Which is why I would like to discuss more about his singing now.

I’ve said this many times before – I grew up with Kishoreda all around me. Those were the early 70s – and Kishoreda was everywhere. You had to live in that time to realize how much he dominated that period. Or, if you want evidence, just check Binaca Geet Mala lists and you will know.

I don’t need any such evidence – I know that every single day Kishoreda dominated song programmes on radio that were based on the latest Hindi film songs. The female voice might have been largely split between Lata Mangeshkar and Asha Bhosle, but the male voice was Kishore, Kishore and Kishore.

It was often for Rajesh Khanna, but even when it wasn’t, it was Kishore. It could be Kishore for Shashi Kapoor (Sharmilee) or for Dharmendra (Blackmail) or for Jeetendra (Parichay) or Dev Anand (Gambler) but it was Kishore all the way.

Occasionally there’d be a male voice of a “new” song that was not Kishore. That song often stood out as an exception. It could be Rafisaab or Mukesh or Manna Dey. But it was always the exception, not the norm.

So THIS was the environment in which I grew up. My school classmates used to sing a lot of songs – they were invariably Kishore songs. In particular, I remember songs like “o mere dil ke chain” (which was my favourite at one time), “chalte chalte”, “o maajhi re” and “zindagi ke safar mein guzar jaate hain”.

But of course there were many more.

My own favourite would keep changing. I had this concept of a favourite song which I’d sing non-stop (driving others crazy) till another favourite took over.

I remember it was at one time “ye shaam mastaani”, then “sama hai suhaana suhaana”, then “jaane ja dhoondhta phir raha” took over, to be displaced by “o mere dil ke chain” (this was favourite for a very long time) and then “tere bina zindagi se koi” took over. There might have been others too, I can’t remember now. In between, there were umpteen songs that I’d sing while taking a break from my favourite. 🙂 Obviously, all to myself only – which is why I am still alive. 🙂

This post is already getting a bit long but I’ll mention one anecdote from school days. I was in 8th Standard. In those days, we’d often ask our teachers for a “free period” – sometimes a teacher would be nice enough to oblige. Boys would then go up to the front of the class and sing songs.

Once our English teacher gave us a “free period”. The best singer in the class, by name Prasad, went up to sing. Suddenly he announced “I’ll sing this song because it is Raja’s favourite”. Now I was quite a favourite of my teacher, maybe because I was reasonably good in English. She immediately looked at me – I am pretty sure she expected an “English” song. Maybe Carpenters or Rolling Stones, or Beatles, or some such group. She probably had that idea about me.

Prasad started singing “o mere dil ke chain”.

I could see the look on my teacher’s face. It was like she had been hit by a brick. A Hindi song? That too a film song? That too, a romantic song? Bhajan hota to phir bhi chal jaata. I turned red, and immediately averted my eyes, looking down throughout, hoping the earth would just open up and swallow me. I was sitting in the front row, right in front of her, so there was no place to hide. Prasad must have sung very well – he always did – but I couldn’t listen to one word. I was too busy lost in my own “misery” to pay attention to anything else.

Somehow I managed to survive – though I think my teacher never quite saw me the same way again. 🙂 Prasad has a lot to answer for. 🙂

Today, this anecdote suddenly came to mind as I was writing this post. Wonderful memories – of Kishore Kumar songs, enjoyed with my classmates in school.

The point is to emphasise how much of an influence Kishore Kumar had on me at that time. Rafisaab came into my life much later.

By the time the 1980s came along I could not keep track of the latest songs. Partly because I got busy, partly because I didn’t like where music was headed. (“Angrezi mein kehte hain” and “shaayad meri shaadi ka khayaal”, you know I’m looking at you :-)).
Anyway, it wasn’t Kishore’s fault. His voice was always a delight to listen to.

Now onto the song for today.

This is a song I’d never heard before till Avinashji brought it to my attention a few weeks ago. I’d never even heard of the film.

The original idea was to possibly post it as Kishoreda’s 1100th song on this blog, but since another song took that place, we are posting this as his birthday song. The lyrics are, as usual, by Avinashji.

The song is “geeton mein mere” from Geet Ganga (1982). The film itself makes its debut on this blog today.

It is a pleasant song which grows on me the more I listen to it. I have already listened to it quite a few times.

The lyrics, referring to songs flowing like the Ganga, have a nice feel to them. Anjaan, the lyricist, being a native of Varanasi, had his own style of lyrics, often bringing a Bhojpuri feel to them. And this song referring to the Ganga is in the tradition of other songs written by him which also refer to it – “Ganga kinaare waala”, “maano to main Ganga maa hoon”, “Ganga mein dooba” for example.

The song is picturised on Arun Govil, and as he “sings”, the words resonate with me.

jhoom ke aise ae
geet sunaaun
nafrat mein bhi preet jagaaun
dushman ko bhi meet banaaun
jo dil chhu le ae
geet wo gaaun
swarg utaaraa
saat suron mein bahe re jag saara

Lovely lines – and it is wonderful to listen to Kishore Kumar singing them. Indeed “jo dil chhu le, geet wo gaaun” suits him – he sang many songs that touched our heart.

I hope you like the song too.

On this note, I will end this post as it has already become somewhat long.

All I will say is, Kishore Kumar will always remain in our hearts as a very special person – one of a kind.

Thank you for everything, Kishoreda.

Patt I

Part II

Song-Geeton mein mere Ganga ki dhaara(Geet Ganga)(1982) Singer-Kishore Kumar, Lyrics-Anjaan, Md-Sapan Jagmohan
Kishore Kumar + Chorus

Lyrics
——————————–
Part I
——————————-

Geeton mein mere ae
ho o o o o o o
Geeton mein mere
Gangaa ki dhaaraa
saat suron mein bahe re jag saara
saat suron mein bahe re jag saara
geeton mein mere
gangaa ki dhaaraa
saat suron mein bahe re jag saara
saat suron mein bahe re jag saara

bol bol mein ae ae ae
bol bol mein
Gangaa boley
Chhand chhand mein dhun
Kal kal ki
Prem bhare geeton mein mere
Paawantaa hai Gangaa jal ki
Dukh ki lehar mein aen
Ho o o o o o o o
Dukh ki lehar mein
Sukh ka kinaaraa
saat suron mein bahe re jag saara
saat suron mein bahe re jag saara

jhoom ke aise ae
ho o o o
jhoom ke aise
geet sunaaun
nafrat mein bhi preet jagaaun
dushman ko bhi meet banaaun
jo dil chhoo le
geet wo gaaun
geeton mein maine ae ae
ho o o o
geeton mein maine
swarg utaaraa
saat suron mein bahe re jag saara
saat suron mein bahe re jag saara

har pal Gangaa aa
ho o o o o o o
har pal Gangaa ke gun gaaun
nagar dagar mein
alakh jagaaun
paap hare lehren Gangaa ki
main dil ke dukh dard bhulaaun
Gangaa tat ka aa
Ho o o o o o
Gangaa tat ka
Main banjaaraa
saat suron mein bahe re jag saara
saat suron mein bahe re jag saara
geeton mein mere
gangaa ki dhaaraa
saat suron mein bahe re jag saara
saat suron mein bahe re jag saara

——————————————-
Part II
——————————————-
Geeton mein mere ae
ho o o o o o o
Geeton mein mere
Gangaa ki dhaaraa aa
saat suron mein bahe re jag saara aa
saat suron mein bahe re jag saara aa

geeton mein mere
gangaa ki dhaaraa aa
saat suron mein bahe re jag saara
saat suron mein bahe re jag saara

Jab Gangaa ka naam pukaaraa
doob ke tar gayaa ye jag saaraa
saans saans Shankar ki pooja
har swar mein hari om ka naaraa
mujh ko to mere ae
ho o o o o o o o
mujh ko to mere
geeton ne taaraa
saat suron mein bahe re jag saara
saat suron mein bahe re jag saara

har pal Gangaa aa
ho o o ho o o o
har pal Gangaa ke gun gaaun
nagar dagar mein
alakh jagaaun
paap hare lehren Gangaa ki
main dil ke dukh dard bhulaaun
Gangaa tat ka aa
Ho o o o o o o o
Gangaa tat ka
Main banjaaraa
saat suron mein bahe re jag saara
saat suron mein bahe re jag saara
geeton mein mere
gangaa ki dhaaraa
saat suron mein bahe re jag saara
saat suron mein bahe re jag saara

—————————————————–
Devnagri Script lyrics(Provided by Avinash Scrapwala)
——————————————————

गीतों में मेरे ए
हो ओ ओ ओ ओ ओ ओ
गीतों में मेरे
गंगा कि धारा आ
सात सुरों में बहे रे जग सारा आ
सात सुरों में बहे रे जग सारा आ

गीतों में मेरे
गंगा कि धारा आ
सात सुरों में बहे रे जग सारा
सात सुरों में बहे रे जग सारा

बोल बोल में ए ए ए
बोल बोल में ए
गंगा बोले ए
छंद छंद में धून कल कल कि
प्रेम भरे गीतों में मेरे
पावनता है गंगा जल कि
दुःख कि लहर में
हो ओ ओ ओ ओ ओ ओ ओ
दुःख कि लहर में
सुख का किनारा
सात सुरों में बहे रे जग सारा
सात सुरों में बहे रे जग सारा

झूम के ऐसे ए
हो ओ ओ ओ ओ ओ ओ
झूम के ऐसे ए
गीत सुनाऊं
नफरत में भी प्रीत जगाऊं
दुश्मन को भी मीत बनाऊं
जो दिल छू ले ए
गीत वो गाऊं
गीतों में मैंने ए
हो ओ ओ ओ ओ ओ ओ ओ
गीतों में मैंने ए
स्वर्ग उतारा
सात सुरों में बहे रे जग सारा
सात सुरों में बहे रे जग सारा

हर पल गंगा आ
हो ओ ओ ओ ओ ओ
हर पल गंगा के गुण गाऊं
नगर नगर में
अलख जगाऊं
पाप हरे लहरें गंगा कि
मैं दिल के दुःख दर्द भूलाऊं
गंगा तट का
हो ओ ओ ओ ओ ओ ओ ओ
गंगा तट का
मैं बंजारा
सात सुरों में बहे रे जग सारा
सात सुरों में बहे रे जग सारा
गीतों में मेरे

गीतों में मेरे ए
हो ओ ओ ओ ओ ओ ओ
गीतों में मेरे
गंगा कि धारा आ
सात सुरों में बहे रे जग सारा आ
सात सुरों में बहे रे जग सारा आ
गीतों में मेरे
गंगा कि धारा आ
सात सुरों में बहे रे जग सारा
सात सुरों में बहे रे जग सारा

जब गंगा का नाम पुकारा
डूब के टार गया ये जग सारा
सांस सांस शंकर कि पूजा
हर स्वर में हरी ॐ का नारा आ
मुझको को तो मेरे ए
हो ओ ओ ओ ओ ओ ओ ओ
मुझ को तो मेरे
गीतों ने तारा
सात सुरों में बहे रे जग सारा
सात सुरों में बहे रे जग सारा

हर पल गंगा आ
हो ओ ओ ओ ओ ओ
हर पल गंगा के गुण गाऊं
नगर नगर में
अलख जगाऊं
पाप हरे लहरें गंगा कि
मैं दिल के दुःख दर्द भूलाऊं
गंगा तट का
हो ओ ओ ओ ओ ओ ओ ओ
गंगा तट का
मैं बंजारा
सात सुरों में बहे रे जग सारा
सात सुरों में बहे रे जग सारा
गीतों में मेरे
गंगा कि धारा आ
सात सुरों में बहे रे जग सारा
सात सुरों में बहे रे जग सारा


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 : 3661 Post No. : 14529

From the title of the film, it looks like a Historical film. However, genuine Historical films are rare in our country. Historical titles are used to actually showcase a Love story. It is generally a song, dance, love, sacrifice film, culminating into a Tragic or a happy ending. Films which are true to its historical content have hardly been made here. Of course, we can not blame the producers or the film makers. They make what sells !

We come to the old question, whether the reel life depicts the real life or real life copies the reel life ? This is a question similar to another age old question, What came first-the egg or the Hen ? Looking around today at the younger generation, I feel that nowadays the real life is following-nay, copying the reel life very much. Earlier, it was only following the fashion shown in the films-like dress or ornaments etc- by the audience, but now the lingo,dress,morals,methods and philosophy of the films are being followed blatantly. Some may feel that being an old person, I may be feeling that way, but what I read in papers, see on TV, and experience on the social media, it is exactly what I have said and felt. Today’s generation is frighteningly influenced by films and TV. So be it. The main point of contention was that real or realistic historical films are very rare.

Many film makers ( like Shantaram or Mehboob) took the risk of making films on social evils, but no one dared to make a historical film with pure historical content. The reason may be that the public emotions about history are stronger than social reforms and ithere is a great risk of inviting violent troubles from those who think otherwise !

I have not seen the film, Shahenshah Akbar-43, but obviously, it was a ” run of the mill” film, since there are no reports of it being a ‘different’ film. 1943 was an year in which Milestone films like Kismat and Ram Rajya were released. The Indian audience was savouring its music and contents. Shantaram’s Rajkamal Chitramandir released its First film ” Shakuntala “. K L Saigal’s film ” Tansen ” had mesmerised Indians. Nargis appeared first time as a Heroine in ” Taqdeer “, opposite Motilal. The Calcutta giant New Theatres released 3 Hindi films, Jawab, Kashinath and Hospital in 1943. Other big studios like Bombay Talkies, Prabhat, Ranjit, Prakash, Circo, Kardar productions, Mehboob studios, Sunrise, basant Pictures, Navyug, Mohan Pictures, Minerva, Amar pictures and many others with B and C grade films were active in 1943. Naushad with 3 films and C Ramchandra with 5 films were competing with each others in 1943.In all this competition, Shahenshah Akbar was lost, inspite of having an impressive star cast of Kumar, Vanmala.Rampyari, Husn Bano, K N Singh, Prakash, Azuri, Bikram Kapoor, Leela mishra etc etc.

Vanmala was one of those actresses, who not only came from a very respectable Royal family, but was also a highly educated person. In those days, these two things were valued highly. Veteran Marathi and Hindi actress Vanamala will always be associated with her roles in the landmark films, Sikandar (1941) opposite Prithviraj Kapoor and in particular the title role in Shyamchi Aai (1953), the first film ever to win the Best Film Award when the National Awards were instituted for Indian Cinema in 1954.

Vanamala was born Susheela Devi Pawar on 23-5- 1915. Her father Lt.Col. Rao Bahadur Bapu Rao Pawar was a Minister in Gwalior state. Vanmala grew up in the Royal palace with Princess Kamla Devi. Vanmala graduated from Agra University in 1935 and did her B.T. from Bombay University in 1937.

She began her career in the late 1930s following her graduation and having become a teacher in Pune’s Camp Education Society. Vanamala entered films at a time when it was considered taboo for women from respectable families to work in films though women like Devika Rani and Durga Khote had started working in films by then. It was V.Shantaram who encouraged her to come into the film industry as an actress. Her first film was a Marathi film ” Lapandav”. Pricipal Acharya Atre became very friendly with her and brought her to Hindi films. Vanmala had unusual Brown eyes. Hindi film industry had only two actresses with Brown eyes. One was Vanmala and the other was Ragini, who migrated to Pakistan, after partition.

Vanamala acted in both Hindi and Marathi Cinema. Among her Hindi films, Vanamala will always be best remembered for Sohrab Modi’s historical Sikandar and Sharbati Ankhen (1945), directed by Ramchandra Thakur for Wadia Movietone. In the former she played Alexander the Great’s love interest, a Persian woman, Rukhsana, who fearing for Alexander’s life extracts a promise from Porus that he will not harm Sikandar. Vanamala made a major impact in her role, her beauty coupled with her light-coloured lively eyes taking the audiences breath away. The film itself was a spectacle – its lavish mounting, huge sets and production values equalling the best of Hollywood then particularly its rousing and spectacular battle scenes. It was rated by a British writer as, “…well up to the standard of that old masterpiece The Birth of a Nation.”

In Sharbati Ankhen, her Brown eyes were again used to mesmerising effect, the film so aptly titled one feels, after her! The film has some of the earliest songs sung by Mohammed Rafi in his career includingPyaar Karna hi Padega and Bahut Mukhtasar Hai Humari Kahani. The music for the film was done by Feroz Nizami who went on to compose unforgettable music in a hat-trick of films with the great Noor Jehan (Jugnu (1947) in India and Chan Wey (Punjabi) (1951) and Dopatta (1952) in Pakistan).

However, the one role that undoubtedly immortalized Vanamala forever was the title role in the National Award winning Marathi film, Shyam chi Aai-1953, directed by PK Atre. The film, regarded as a cult classic today, is based on one of the most influential Marathi novels of the 20th century (1935), a fictionalised account of the childhood years of Sane Guruji (1899 – 1950). A nationalist influenced by Vinoba Bhave and especially Gandhiji, he was imprisoned repeatedly for his work among the peasantry and participation in the Quit India agitations. His book Shyamchi Aai, written in jail, has 45 episodes in which Shyam, a youth living in poverty in Konkan, recalls the teachings of his mother, a devoutly religious person with an earthy and practical philosophy. The hit film has remained a generic landmark in Marathi Cinema and especially so for Vanamala’s maternal prototype. Actor Madhav Vaze, who played the role of her son Shyam in Shyamchi Aai, recalls Vanamala as a woman of few words. “Her actions spoke for her. She was well-educated and a cultured woman who belonged to a noble family from Gwalior,” he said.

Some other films that Vanamala acted in include Payachi Dasi (Marathi)/ Charnon ki Dasi (Hindi) (1941), Vasantasena (1942), Dil ki Baat (1944), Hatim Tai (1947), Beete Din (1947) and Shree Ram Bharat Milap (1965). In all, she did 25 Hindi films. She sang 24 songs in 5 films in her career. For some time she was a partner in Atre pictures also. She produced film Bramhan Kanya aka Khandani-1947.

The supposedly demure Vanamala was a staunch nationalist and was deeply involved in the freedom movement along with stalwarts like Aruna Asaf Ali and Achyut Patwardhan. She was deeply involved in several social causes and was a member of the Chhatrapati Shivaji National Memorial Committee. She also ran a school to train children in traditional Indian arts and culture, The Haridas Kala Sansthan.

Vanamala who had been suffering from cancer, passed away in Gwalior on May 29, 2007.

Her Hero in this film was actor Kumar. KUMAR was born in the prestigious family of Syed s of Lucknow-UP in India,in 1912. His real name was SYED HASSAN ALI ZAIDI. His family used to call him MIJJAN Miyan.

He was a handsome and tall person. He was keen on joining cinema,so he came to Calcutta and joined New Theatres. After doing side roles in Subah ka Tara and Zinda lash,he was hero in PURAN BHAGAT in 1933.Even Saigal was also in the film.The film was about to be released and suddenly communal riots broke out in Calcutta.The new Theatre management found it difficult to announce a muslim name of the hero of PURAN BHAGAT,in the tense atmosphere of Calcutta.The director of the film was kumar Debaki Bose,a person from a Royal family.He took a dicision and told Mijjan,” from today,I am giving you a part of my name. You will become KUMAR now.”This solved the film release problem and thus his name became KUMAR, from then onwards. Truly enough,Debki Bose, thereafter never used his name Kumar again in his life !

After doing Yahudi ki Larki, Watan, Suhag, Shehar ka Jaadu and Maa ka Pyar, Kumar came to Bombay and joined Ranjit Studios. In 1939, he married another actress PRAMILA (who was actually a Jew, Esther Williams. Pramila was later India’s FIRST Miss India in 1947).They got a daughter Naqi Jehan(who too became a Miss India in 1967, exactly 20 years after her mother. Naqi acted opposite Rajesh Khanna in Akhari Khat – 66,as a Heroine. Later she married into the business family of Kamdar of Bombay and became Mrs.Nandini Kamdar, by converting to Hinduism.)

Kumar did many films in Ranjit,but in 1942,he was removed from Ranjit.At the same time,his friend,CHANDRAMOHAN also left Minerva Movietone( reason-despite PUKAR-39 being a blockbuster,his salary was not increased inspite of a promise by Sohrab modi).They both decided to lauch own company and on 16-3-1942,SILVER FILM CO. was launched.Its first film was Jhankaar.They produced Bhalai,Bade Nawab Saab,Devar,Naseeb,Dhun and Bahana.Kumar acted in these films.he also directed Dhun and Bahana.

He produced and directed Aap-Beeti-1948 under his company,Kumar Studios.Then under Shama prodn. he made Nahle pe dehla,Dhoom Dham and Dilbar.
later in life he made badal aur bijlee and jungle king under Artists United films.

From Najma in 1943,Kumar did only character roles in films like Bhishm Pratigya, Dayara, Mahal, Shri 420, khiladi, Maalik, Baiju Bawra, Yahudi ki Ladki. His memorable role was in Mughal e Azam, that of the sculptor and the famous song-‘Aye mohabbat zindabad’ was shot on him.

His last film was Raat aur Din – 67.

Then he decided to migrate to Pakistan. In Pak also he worked in few films and died in 1982.His sons are active in Pak film industry.

Rampyari was from Low cast and profession, but was a highly polished and sophisticated actress in those days. Rampyari hailed from a Telugu family of highly skilled professional dancers and singers. She lived in Nagulchinta area of old Hyderabad city.

She was born in 1908 December. That year Hyderabad witnessed devastating floods.She was taught Urdu and English. Apart from her mother tongue Telugu she was also proficient in Marathi and Kannada. She was trained in Dancing and singing. In 1918, at the age of 10 years, she was taken to Madras by her aunt, who trained her in Bharat Natyam. After 4 years of rigorous training, she became the best dancer of Madras.

In 1926, a film producer from Kohinoor Film company, Bombay ,visiting Madras, saw her dancing and invited her to Bombay.It was the era of Silent movies. Her first film was Gunsundari, with Miss Gauhar and Raja Sandow. It was directed by Chandulal Shah and was released in 1927. Her supporting role as a dancer in the film was lauded by the audience. Next film Vile woman was also successful. She acted in more than 20 films as a Heroine and dancer and established her name as a seasoned actress of the 30s.

With advent of Talkies, she easily switched over. She had no difficulty in delivering Urdu dialogues. In 1931, she acted in Paak Daman, Laila Majnu and Ghar ki laxmi, Gunsundari in 1934 and Azad Abla,Meethi Nazar and Hamlet in 1935.

Famous director Debki Bose from New Theatres, Calcutta invited her and signed up for ” Sunehra Sansaar”-36 and Vidyapati-37, which was a mega hit. After this, she did few films in Calcutta with other companies. Her film Milap-37 was famous for being the first to show the prototype of a “vamp” in Indian Cinema. Rampyari was shown wearing “an off-shoulder dress” and using a cigarette-holder, with the intent of seducing the hero Prithwiraj Kapoor, the scene was later used by Raj Kapoor on Nadira in his film Shree 420 (1955) for the song “Mud Mud Ke Na Dekh”.

She toured the entire south India and gave dance performances in major cities. She became so famous that the Ceylon Labour Union invited her to Ceylon and presented her with Gold Mementos. She was greatly inspired by the acting of Sulochana aka Ruby Meyers and Miss Gauhar of ranjit, with whom she acted in many films.

She shifted to Bombay permanently in the 30s. Her family also moved out of Hyderabad and came to Bombay. She had a large fan following in Hyderabad. She had a great fan mail too, which she replied in fluent Urdu and English. later she got married and retired from films.

She acted in 30 films. Her last film was Dak bungla-47. She sang 14 songs in 8 films.

The music of this film was by Ustad Jhande khan. The film had 14 songs and there were 4 Lyricists. Today’s song is written by Dewan Sharar, who also wrote the story, screenplay and dialogues of this film. This song is by a chorus, though individual voices can be heard, but not identified. HFGK is also silent about singers of all songs. The film makes a Debut in the blog with this song.

( Credits- The music and arts of Hyderabad Deccan, Upperstall, beetehuedin.com and my notes)


Song-Akbar mahabali ki jai ho (Shahanshah Akbar)(1943) Singer-Unknown female voice, unknown male voice, Lyrics-Dewan Sharar, MD-Jhande Khan
Chorus

Lyrics

Akbar mahabali ki jai ho
Akbar mahabali ki jai ho
Bharat chhatrapati ki jai ho
Bharat chhatrapati ki jai ho
Akbar mahabali ki jai ho
Akbar mahabali ki

karm hamaare nek
karm hamaare nek
mile hain
karm hamaare nek
karm hamaare nek
huye hain Hindu Muslim ek
Hindu Muslim ek
huye hain Hindu Muslim ek
Hindu Muslim ek
huye hain

Akbar mahabali ki jai ho
Akbar mahabali ki jai ho
Akbar mahabali ki jai ho
Akbar mahabali ki

Hindu dharam ka sooraj ??
Muslim ka hai chaand sitaara
Hindu dharam ka sooraj ??
Muslim ka hai chaand sitaara
apne
apni pasand ke donon nishaan hai
?? hai
apni pasand ke donon nishaan hai
?? hai

Akbar mahabali ki jai ho
Akbar mahabali ki jai ho
Akbar mahabali ki jai ho
Akbar mahabali ki

Akbar mahabali ki jai ho
Akbar mahabali ki

Hindu dharam ka sooraj ??
Muslim ka hai chaand sitaara
Hindu dharam ka sooraj ??
Muslim ka hai chaand sitaara
apne
apni pasand ke donon nishaan hai
?? hai
apni pasand ke donon nishaan
?? hai

Akbar mahabali ki jai ho
Akbar mahabali ki jai ho
Akbar mahabali ki jai ho
Akbar mahabali ki jai


This article is written by Peevesie’s mom, a fellow enthusiast of Hindi movie music and a contributor to this blog.This article is meant to be posted in atulsongaday.me. If this article appears in 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 : 3660 Post No. : 14528

Hullo Atulites

The dust is yet to settle on the excitement of the 10th year celebration of the blog, a few more posts are awaited. Meantime something more awe-inspiring has occurred.

Our dear Shri. Arunkumar Deshmukh (also known as in-house encyclopaedia) in collaboration with Prof. Surjit Singh has come out with a book titled “Forgotten Artists of Early cinema and The Same Name Confusion”. The book has a foreword by Shri. Sanjit Narwekar. The book (in guruji’s words) is “the result of my work over the last so many years and is based primarily on my articles posted on our blog and elsewhere-duly abridged and edited to suit a book.” (I have copied this quote from the mail he has sent to all of us viz: his fellow-atulites) Hats-off to you Sirji, guruji. And to think that this is his passion from the late 40s – seeing movies. His habit of making notes about every film he saw in notebooks (I have seen a few notebooks). Post 2011 he made baby-steps into Cyber world, discovered this amazing blog, made his first comments and on encouragement from our ring-leader Atulji posted articles on films ranging from the 30s to 2018 using the notes he has made over the years. Era-no-bar as far as Guruji is concerned, the only qualification needed he should fall in love with the song. (Most of what I have written are quotes and utterances by guruji in many of his posts and the occasional conversation I have had with him over the years. I am sorry for any misquotes.)

Today is Kargil-Divas when the nation thanks and pays homage to the men-in-uniform who fought the enemy in in-hospitable conditions of the Siachen Glacier in 1999 and regained control of territory that was intruded.

In the month of May I had a holiday in the North-east region of the Himalayas. We visited Nathu-La Pass and a temple dedicated to Baba Harbhajan Singh. It is a known fact that Nathu-La Pass is a strategically important location for the Indian army on the Indo- China border and only a few visitors per day are given permission to visit the place. But the little known mandir is what fascinated me. It is not a mandir to a religious head but a Samadhi to a Captain of 18 Rajput Regiment who is revered as the “Hero of Nathu-La”. He joined the Indian Army as a soldier at 19 and was posted in various regiments before being posted to the 18 Rajput in Nathu-La, East Sikkim at the time of his untimely death.

We heard and read different versions of his heroism. One story said that he fell into a gorge or nullah as he was escorting a Mule- column from Tuku-La to Dongchi-La, his body was swept away and recovered about 2-miles away. He is said to have appeared in the dreams of his fellow-soldiers and asked them to build the samadhi. Another story says that the soldiers posted in and around Nathu-La and its inhospitable environment are protected by the spirit of Baba (captain) Harbhajan Singh. Whatever be the story/ legend one thing is for sure- the Indian Armed forces should be saluted for the kind of service that they do selflessly, day-in and day-out year after year. And without an iota of complaint about the working conditions – be it the deserts of Rajasthan or the glaciers of the Himalayas. I have visited both the terrains and my respect for the Forces has only increased.

On the occasion of Kargil Divas we should have a song dedicated to the forces and the hard training that they undergo so that they can protect us. For this I am revisiting the 2004 Farhan Akhtar directed Lakshya which starred Hrithik Roshan and Preity Zinta with Amitabh Bachchan and a host of other actors. This is a song sung by Shankar Mahadevan written by Javed Akhtar and Shankar- Ehsaan-Loy are the music directors. The song is shot mostly on location at the Indian Military Academy in Dehradun. The song closes with the gentlemen cadets finishing their training and stepping on a mat which says “Antim Pag”.

This year (2018) was a proud year for my best-friend-forever when her elder son joined the ranks of military men, graduating into a gentleman officer from IMA Dehradun, following the footsteps of his Grandfather and Father. Feel proud to be a associated with that family.

Just a coincidence -Guruji has also reached a “Lakshya”

Video

Audio

Song-Haan yahi rasta hai tera toone ab jaana hai (Lakshya)(2004) Singer-Shankar Mahadevan, Lyrics-Jawed Akhtar, MD-Shankar Ehsan Loy
Chorus

Lyrics (based on audio)

haan yahi rasta hai tera
toone abb jaana hai
haan yahi sapna hai tera
toone pehchaana hai

haan yahi rasta hai tera
toone abb jaana hai
haan yahi sapna hai tera
toone pehchaana hai
tujhe abb yeh dikhaana hai
roke tujh ko aandhiyaan
ya zameen aur aasmaan
paayega jo lakshya hai tera
lakshya toh
har haal mein paana hai
oooo
oooo
oooo
oooo
oooo
oooo

mushqil koi aa jaye toh
parbat koi takraaye toh
taakat koi dikhlaaye toh
toofaan koi mandlaaye toh
mushqil koi aa jaye toh
parbat koi takraaye toh
barse chaahe ambar se aag
lipte chaahe pairon se naag
barse chaahe ambar se aag
lipte chaahe pairon se naag

paayega jo lakshya hai tera
lakshya toh har hal mein paana hai

himmat se jo koi chale
dharti hiley kadmon taley
kya dooriyaan kya faasle
manzil lage aake galey
himmat se jo koi chaley
dharti hiley kadmon taley
tu chal yoonhi abb subah-o-shaam,
rukna jhukna nahin tera kaam
tu chal yoonhi abb subah-o-shaam,
rukna jhukna nahin tera kaam

paayega jo lakshya hai tera
lakshya toh har haal mein paana hai
oooo
oooo
oooo
oooo
oooo
oooo

haan yahi rasta hai tera
toone abb jaana hai
haan yahi sapna hai tera
toone pehchaana hai
tujhe abb yeh dikhaana hai
oooo
oooo
oooo
oooo
oooo
oooo


This article is written by Avinash Scrapwala, 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 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 : 3624 Post No. : 14445

Greetings to dear Atul ji, and best wishes for many many happy returns of today.

The 1977 film ‘Chhaila Baabu’ is joining the ‘Yippeee Club’ of movies or ‘movies having all their songs covered’ on the blog. Indeed, a long wait for me and particularly for this song which was the first that I shared when I was still only a ‘year-old’ contributor on the blog. Other songs of this movie which I shared later were lucky and got posted before the today’s song. This song is the one which I cannot forget since my childhood, may be because this being a ‘mother-son’ song. I must be 9-10 years old when I had watched this movie with my parents in my childhood.

The part-I of this song and even the part-II is on screen performed by Achala Sachdev whom we mainly remember for playing a mother or thereafter grandmother in Yash Raj films. When I glance through the list of the films she acted in I realized that I have watched many of them but cannot recollect now.

Also I found that not much information is available about her on the domain (except there is page on wiki about her) and mainly other articles which were posted after she passed away on 30.12.2012 , and about how she was ignored by the film personalities in her last days. May be our seniors can do a detailed post on her with one of the songs performed by her on screen. Or maybe it is there and I am not aware, if so, please forgive me.

As I am not aware of her initial films and whether she got a lead role or second lead and if at all there are any songs which she performed on screen, except the another one, that I know, is from the 1970 film ‘Heer Ranjha’, where all the Bhabhi’s dance on their devar’s (Rajkumar’s) marriage preparations – ‘Naache Ang Ve . . .’ a beautiful composition by Madan Mohan ji.

Achala Sachdev was born in Peshawar (now in Pakistan) on 3rd May 1920. She acted in over 130 films (as per info on wiki). She began her filmi career with ‘Fashionable Wife’ in 1938 and ‘Na Tum Jaano na Ham’ (2002) was her last film. She died on April 30, 2012 at Pune. She was 91 then.

The move ‘Chhaila Babu’ was Produced by Shomu Mukherjee and Directed by Joy Mukherjee. It was a ‘suspense thriller’. It had Rajesh Khanna in title role of ‘Chhaila Babu’, accompanied by Zeenat Aman, Asrani, Ranjeet, Padma Khanna, Achala Sachdev, Macmohan, P Jairaj, Ravindra Kapoor and Om Shivpuri. Since in my earlier write ups about the songs of this movie I have already mentioned about the details of this movie and my nostalgia associated with its’ songs, and so I will not repeat it here.

But something that I would like to mention here is about Joy Mukherjee as a ‘director’ of this movie. Earlier I had read about his directing the movie ‘Humsaaya’ (1968), but I had forgotten about it. Though I must mention here that I had watched many of Joy Mukherjee’s movie in my teen years when I was studying in 11th -12th. And I liked all his movies very much and have watched them repeatedly; especially ‘Shagird’ (1967), ‘Phir Wohi Dil Laaya Hoon’ (1963), ‘Door Ki Aawaaz’ (1964), and ‘Love In Tokyo’ (1966). In those days i.e. 1983-85, old movie were still being screened in theatres sometime in four shows or noon shows only and they used to run packed houses. Specially in the city of Akola (Maharashtra) (CP & Berar circuit for movies) many old movies used to run packed houses and I watched many old movies during those years there. ‘Ziddi’ (1964) I think I watched on Doordarshan.

I got the VCD of ‘Ek Baar Muskuraa Do’ (1972) just four-five years back from an ‘online’ store. Then I had also watched ‘Love in Shimla’ (1960) during my school days during the weekly screening of movie in our ‘colony recreation club’. And its song Alif Zabar Aa Alif Zer Ae Alif Pesh O ’ has been in my memory since then. I do not remember correctly now if I had watched his ‘Ek Musaafir Ek Haseena’ (1962), but since I have the cassette of this movie, as I like the songs of this movie very much, and maybe I had watched some of its songs on TV, it also remains one of my favorites.

Coming to the songs of his movies – which was another main factor for me to watch his movies repeatedly. Our in house Encyclopedia Shri Arun ji had already done a detailed post on Joy Mukherjee here , while presenting a song from his movie ‘Love In Bombay’ (2013(1971)). This was Joy’s third directorial venture after ‘Humsaaya’ & ‘Chhaila Babu’.

HFGK Vol V mentions that today’s song in three parts and it noted down the first part as a ‘happy version’, whereas from the song one can guess and take it as a ‘sad song’ or ‘missing the beloved song. The first part in its picturization shows the mother (Achala Sachdev) remembering the ‘happy memories’ while singing this song searching for her lost son (Rajesh Khanna). And the in the second part while only the ‘mukhda’ of the first version is repeated only, the third part is in the voice of Kishore Kumar and starts with different lines. However, since HFGK mention this song in three version it was required to watch this movie again and clear the confusion.
[Ed Note: In this presentation, the parts 2 and 3, as mentioned in HFGK, are together presented as part II, as per the video clips.]

When Atul ji was in a ‘Yippeeee’ mode again during the first four months of this year I had sent him reminder for this song and also with a request to throw light on this song if possible. Finally, a week before I watched this movie online (most uncomfortable way to watch a movie for me, but then … we have to 😊).

The 1st part of the song is where the mother, Achala Sachdev is searching for her son, who ‘bachpan mein bichhad gaya’. It includes flashback of the mother-child playing – ‘happy memories’ included 😊. Now when this child grows up as Rajesh Khanna, he remembers this song and use to sing it on the ‘mouth organ’ gifted to him by his mother on his birthday. The second part of Lata for this song is only a repeat of first few lines of the earlier part 1 of this song. And the third part is the Kishore Kumar version of this song, in which the mother-son get re-united.

The earlier songs from the movie are posted on our blog, as per the details given below;

Song Title Post Date
 Yaar dildaar tujhe kaisa chaahiye  08.12.2008
 Kal raat sadak par ik ladki  29.12.2014
 Hamko nikaaloge ghar se sajan pachhtaaoge  04.02.2015
 Main Baaboo Chhailaa  29.12.2017

Let us now listen and enjoy the today’s song. . . “Chhaila Mera Chhaila”.

 

Part I (Lata Solo)

Part II (Lata – Kishore Duet)

Song – Chhaila Mera Chhaila (Chhaila Babu) (1977) Singer – Lata Mangeshkar, Kishore Kumar, Lyrics – Anand Bakshi, MD – Laxmikant Pyaarelal

Lyrics

Part I

chhaila mera chhaila
chhaila mera chhaila
maa ko badaa sataaye
aangan mein chhup jaaye
kho jaaye to kya ho mere raam

chhaila mera chhaila
maa ko badaa sataaye
aangan mein chhup jaaye
kho jaaye to kya ho mere raam
chhaila mera chhaila

shaam savere mere naina
dhoondhte rahe
kahaan hai kahaan hai
kahaan hai kahaan hai
sabse poochhte rahe
kahaan hai kahaan hai
sabse poochhte rahe
aa ke peechhe
aankhen meeche
aanchal kheenche mera ghanshyam
chhaila mera chhaila
chhaila mera chhaila

deewaani huyi main aisa laage
laage re mohe
jisko dekhoon chhaila jaisa laage re mohe
jisko dekhoon chhaila jaisa laage re mohe
bichhda hai jo
mil jaaye to
vyaakul mann ko aa jaaye aaraam
chhaila mera chhaila
chhaila mera chhaila
maa ko badaa sataaye
aangan mein chhup jaaye
kho jaaye to kya ho mere raam
chhaila mera chhaila
chhaila mera chhaila
chhaila mera chhaila

Part II

chhaila mera chhaila
chhaila mera chhaila
chhaila mera chhaila
chhaila mera chhaila
mera chhaila
mera chhaila
chhaila
chhaila
chhaila

naa ro maa naa ro
sun li hain maine
teri pukaar
teri pukaar
aaj mila hai
waapas maa bete ko
khoya pyaar
khoya pyaar
duniya saari
tujhse haari
maa tu jeeti ye jeewan sangraam
chhaila tera chhaila
chhaila tera chhaila

chhaila tera chhaila
chhaila tera chhaila

jee chaahe main
tere charnon mein
sar rakh ke roun
sar rakh ke roun
aa jaaye waapas
bachpan main teri
god mein soun
god mein soun
phir na kabhi main tujhko sataaun
tujhe manaaun
maa tujhko parnaam

chhaila tera chhaila
chhaila tera chhaila
chhaila tera chhaila
chhaila tera chhaila
chhaila tera chhaila
chhaila tera chhaila

———————————————————
Hindi script lyrics (Provided by Avinash Scrapwala)
———————————————————

भाग १

छैला मेरा छैला
छैला मेरा छैला
माँ को बड़ा सताए
आँगन में छुप जाए
खो जाए तो क्या हो मेरे राम

छैला मेरा छैला
छैला मेरा छैला
माँ को बड़ा सताए
आँगन में छुप जाए
खो जाए तो क्या हो मेरे राम

शाम सवेरे मेरे नैना
ढूढ़ते रहे
कहाँ है कहाँ है
कहाँ है कहाँ है
सबसे पूछते रहे
कहाँ है कहाँ है
सबसे पूछते रहे
आ के पीछे
आँखें मिचे
आँचल खींचे
मेरा घनश्याम
छैला मेरा छैला
छैला मेरा छैला

दीवानी हुई मैं ऐसा लागे
लागे रे मोहे
जिसको देखूं छैला जैसा लागे रे मोहे
जिसको देखूं छैला जैसा लागे रे मोहे
बिछड़ा है जो
मिल जाए तो
व्याकुल मन को आ जाए आराम
छैला मेरा छैला
छैला मेरा छैला
माँ को बड़ा सताए
आँगन में छुप जाए
खो जाए तो क्या हो मेरे राम

छैला मेरा छैला
छैला मेरा छैला
छैला मेरा छैला

भाग २

छैला मेरा छैला
छैला मेरा छैला
छैला मेरा छैला
छैला मेरा छैला
मेरा छैला
मेरा छैला
छैला
छैला
छैला

ना रो माँ ना रो
सुन ली हैं मैंने तेरी पुकार
तेरी पुकार
आज मिला है
वापस माँ बेटे को
खोया प्यार
खोया प्यार
दुनिया सारी
तुझसे हारी
माँ तू जीती ये जीवन संग्राम
छैला तेरा छैला
छैला तेरा छैला

छैला तेरा छैला
छैला तेरा छैला

जी चाहे मैं
तेरे चरणों में
सर रख के रोऊँ
सर रख के रोऊँ
आ जाए वापस
बचपन मैं तेरी
गोद में सोऊं
गोद में सोऊं
फिर न कभी मैं तुझको सताऊं
तुझे मनाऊं
माँ तुझको प्रणाम
छैला तेरा छैला
छैला तेरा छैला
छैला तेरा छैला
छैला तेरा छैला
छैला तेरा छैला
छैला तेरा छैला


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 : 3621 Post No. : 14433

The Golden era of HFM was well and truly over after 1980s, with Disco “music” sounding the death knell of HFM as we knew till then. In these “music”, lyrics were all but dispensed with.

HFM continued to have a few nice songs even during the “disco” era. There were still some artists who refused to compromise with quality and refused to stoop to the new low that was set as the new standards of HFM post 1980.

“Saagar”(1985) was one such movie whose music felt like a breath of fresh air during that era. This movie had come from the stables of a well known and well respected production house, one that had given us “Sholay”(1975).

“Saagar”(1985) was Produced by G P Sippy and directed by Ramesh Sippy. The movie had Rishi Kapoor, Kamal Haasan, Dimple Kapadia, Saeed Jaffrey, Shafi Inamdaar, Nadira, A K Hangal, Madhur Jaffrey, Satish Kaushik, Goga Kapoor, Kiran Vairale, Lilliput, Shobha Khote, Sudhir Pandey, Sharat Saxena, Mushtaq Merchant, Jairaj etc in it.

The movie had seven songs in it. Three of these songs have been covered in the past.

Here is the fourth song from “Saagar”(1985) to appear in the blog. This song is sung by Kishore Kumar. Jawed Akhtar, who wrote the script of “Sholay”(1975) alongwith Salim Khan as Salim Jawed, had turned a lyricist by then. “Saagar”(1975) was one of the first (if not the first) movies where he penned lyrics.

R D Burman composed the music.

The song is picturised as a club song where Rishi Kapoor, holding a guitar, is seen lip syncing this song. The song is addressed to his long separated flame (played by Dimple Kapadia). Rishi Kapoor and Dimple Kapadia had last actded together in “Bobby”(1973) which was the launch vehcle for Rishi Kapoor as well as Dimple Kapadia. while Rishi Kapoor successfully got launched and established, Dimple Kapadia, in a surprise movie married Rajesh Khanna and vanished from films. It was more than one decade later that she was persuaded to make comeback to movies. She made quite a stunning comback in movie like “Aitbaar”(1985) and “Saagar”(1985).

Music of these movies were quie stunning and played stellar roles in the box office success of these movies.

The song under discussion is one such song. It remains a timeless classic to this day.


Song-Ho chehra hai ya chaand khila hai (Saagar)(1985) Singer-Kishore Kumar, Lyrics-Jawed Akhtar, MD-R D Burman
Chorus

Lyrics

ho chehra hai yaa chaand khila hai
zulf ghaneri shaam hai kya
saagar jaisi aankhon waali
ye to bata tera naam hai kya
chehra hai yaa chaand khila hai
zulf ghaneri shaam hai kya
saagar jaisi aankhon waali
ye to bata tera naam hai kya

arre tu kya jaane teri khaatir
kitna hai betaab ye dil
tu kya jaane dekh rahaa hai
kaise kaise khwaab ye dil
dil kehtaa hai tu hai yahaan
to jaataa lamhaa thham jaaye
waqt ka dariyaa behte behte
is manzar mein jam jaaye
toone deewaanaa dil ko banaayaa
is dil par ilzaam hai kya
saagar jaisi aankhon waali
ye to bata tera naam hai kya

ho aaj mai tujhase door sahi
aur tu mujhse anjaan sahi
tera saath nahin paaun to
khair tera aramaan sahi

lalalalala
lalalalala
lalalalala
lalalalala
lalalalalala
lalalalalaa
laalaalaa

ho ye armaan ho
shor nahin ho
khaamoshi ke mele hon
is duniya mein koi nahin ho
ham donon hi akele hon
tere sapne dekh rahaa hoon
aur meraa ab kaam hai kya
saagar jaisi aankhon waali
ye to bataa tera naam hai kya
chehra hai yaa chaand khila hai
zulf ghaneri shaam hai kya
saagar jaisi aankhon waali
ye to bata tera naam hai kya


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 : 3621 Post No. : 14431

“Pyaase Nain”(1954) was produced by K P Shahani and directed by S Ram for Tekchand Talkies, Bombay. This “social” movie had Nimmi, Rehman, Gope, Shyama, Vikram Kapoor,mAnwari Begam, Mumtaz, Parvati, Mirza, Baby Feroza, Shamim etc in it.

The movie had eight songs in it that were penned by three lyricists and composed by two music directors.

One song has been covered in the past.

Here is the second song from “Pyaase Nain”(1954) to appear in the blog. This song is sung by Meena Kapoor. Wahiq Qureshi is the lyricist. Music is composed by S K Pal.

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


Song-Pyaase nainon ki pyaas bujha de (Pyaase Nain)(1954) Singer-Meena Kapoor, Lyrics-Wahid Qureshi, MD-S K Pal

Lyrics

pyaase nainon ki pyaas bujha de
bichhad gaye hain jo
bichhad gaye jo
unko mila de
unko mila de

apna sahaara koi nahin hai
jag mein hamaara koi nahin hai
jiska kinaara koi nahin hai ae
koi nahin hai
us dariya se paar lagaa de
unko mila de

honthon par hai thhandi aahen
dekh dekh kar thhaki nigaahen
kho gayi sab jeewan ki raahen
aasha ka koi deep jala de
unko mila de
pyaase nainon ki pyaas bujha de
bichhad gaye jo
bichhad gaye jo
unko mila de
unko mila de

din raat yoon jo dukh main paaun
darr hai ke tujhko bhool na jaaun
dukh paa kar bhi main muskaaun
main muskaaun
aisi koi raah bata de
unko mila de
pyaase nainon ki pyaas bujha le
bichhad gaye hain jo
bichhad gaye jo
unko mila de
unko mila de


This article is written by Peevesie’s mom, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 : 3620 Post No. : 14427

16th June is the birthday of the disco dancer who had to struggle a lot in his career initially. But then “sabr’ ka phal meetha hota hai” and his stars changed after the success of B. Subhash’s “Disco Dancer” in 1982.

We are today wishing Gourang Chakraborty a.k.a Mithun Chakravarty on his 68th birthday.

He was a graduate from FTII and was the national award winner for his debut movie “Mrigaya” (1976) which was a Mrinal Sen direction. Then followed a spate of successful and semi-successful movies “Suraksha”, “Wardat”, “Wanted”, “Pyar Jhukta Nahi”, “Prem Vivah” etc. The last 2 named showcased him in characters that were diametrically opposite to what he played in the action-packed “Suraksha”, “Wardat” (a sequel to Suraksha) & “Wanted”. All these movies made him dear to those producers who couldn’t afford big stars like Amitabh Bachchan etc., as most of his successful movies were low-budget films to start off but in raked in the moolah at the Box-Office and that is what matters in the final analysis. The success of “Disco Dancer” went on to endorse his style of acting and dancing and youngsters copy his style to this day. He must have done close to 100 movies in the 90s itself in spite of it being the period when the Khans were on their upward movement. The turn of the millennium saw him in supporting roles that were comic, villainous, benevolent etc.

Rohit Shetty’s “Golmaal 3” had him re-visiting his “Disco Dancer” where he danced the song that made him popular. It was re-recorded and reshot with a few changes- the original was a stage song; this one was in a discotheque. And after the song we have a typical Indian film scene where the heroines’ rich father asks him to forget the girl in exchange for money & the self-respecting (swabhimaani) hero refuses to take the money. All-in-all a hilarious tribute to everything that Bollywood and Indian movies showcase.

Todays’ song from “Disco Dancer” is sung by Vijay Benedict written by Anjaan and music is by Bappi Lahiri. Kamal and Suresh Bhatt were the choreographers for the movie. People say that this song changed Bappida’s fortunes. Also though there are many who will cry that this movie and its songs changed the face of Bollywood music. But I will not get into that debate here. Let us all just say Happy birthday Mithunda. 🙂


Song-I am a disco dancer (Disco Dancer)(1982) singer-Vijay Benedict, Lyrics-Anjaan, MD-Bappi Lahiri

Lyrics

Wow!!
Will you sing with me?
yeaa

Say d
D
Say I
I
Say s
S
C
C
O
O
Disco
Disco
Disco
Disco
yeaa

I am a disco dancer
I am a disco dancer
I am a disco dancer
zindagi mera gaana
main isi ka deewaana
toh jhoomo toh naacho
aao mere saath nacho gaao
I am a disco dancer,
hey I am a disco dancer
hey I am a disco dancer

Doston
meri yeh zindagi
geeton ki amaanat hai
Main isi liye paida hua hoon
ye log kehte hain
main tab bhi gaata thha
jab bol paata nahin thha
ye paanv mere toh
tab bhi thhirakte thhe
jab chalna aata nahi tha
naghmon ki masti hai
meri jawaani mein
hai dance mere lahoo ki rawaani mein
ha ha ha ha ha
ooo
yahaan meri haar
oooo
yahaan meri jeet
ooo
yahi mere geet
toh jhoomo
toh naacho
aao mere saath naacho gaao
I am a disco dancer
I am a disco dancer
I am a disco dancer

d se kya hota hai
darling
aaha
deewana
aaha
disco
aaha
d se hota hai dance
i se hota hai item
s se hota hai singer
c se hota hai chorus
o se orchestra

o beautiful
whats your name?
Nisha
Tumhe maloom hai jawaani kya hoti hai
Mmm nahin maaloomhahahaha

jawaani ek lehar hai,
jawaani ek nasha hai
jawaani jis pe aata hai,
woh hi jaane ye kya hai
do din ki hasti mein
sadiyon ki masti hai
bindaas bawari jawaani,
dil pyase milte hain
aise jawaani mein
jaise mile aag paani
is umr mein kyun na,
manmaani kar jaayen
masti ki raahon mein,
had se guzar jaye
ha ha ha ha ha
o ho ho
jahaan mile pyaar
o ho ho
wahi mere yaar
o ho ho
ho jaaye nisaar
to jhoomo
to naacho
oo mere saath nacho gaao
I am a disco dancer
I am a disco dancer
I am a disco dancer
zindagi mera gaana
lalalala
main isi ka deewaana
lalalalala
to jhoomo
to naacho
aao mere saath naacho gaao
I am a disco dancer
I am a disco dancer
yea
I am a disco dancer

disco dancer
disco dancer
disco dancer
disco dancer

disco dancer
disco dancer
disco dancer
disco dancer
disco dancer
disco dancer
disco dancer
disco dancer
hey


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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 TEN years. This blog has over 14600 song posts by now.

This blog is active and online for over 3700 days since its beginning on 19 july 2008.

Total number of songs posts discussed

14650

Number of movies covered in the blog

Movies with all their songs covered =1147
Total Number of movies covered =4002

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