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

Archive for the ‘Vagaries Of Love’ 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 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. : 14642

Ek kissa hai, Radha ka. There is a tale, of a girl named Radha. She was in her teens, ‘kamsin’ as they say in parlance – young and innocent in years; sporting dark tresses that reached her knees; her supremely fair and flawless skin as if made from milk; her eyes – bright, with a depth enough for a smitten heart to drown itself. She would come to the terrace to hang out the laundry for drying. Iqbal, smitten as he was with the beauty of this young lady, would wait everyday to fill his heart with her moving images. The fascination, the infatuation remained as it is, unexpressed – for he could never muster up enough courage to say or do anything to express his feelings. Fears and apprehensions of many kinds held him back. Radha, remained a puppy love dream – forever. But is sure did make a poet out of that obsessed heart that could not express itself to its beloved.

He penned the following lines, as his initiation into the world of verse writing,

खेंचते हैं अपनी जानिब यार ये गेसू मुझे
आ रही है हर तरफ से प्यार की खुशबू मुझे
एक राधा से हुई है जब से मेरी दोस्ती
सारी दुनिया कह रही है आजकल हिन्दू मुझे

These tresses of my beloved, beckon me
The fragrance of love is diffused all around me
Since my heart has made a friend named radha
All the world is calling me a hindu these days

By his own admission, he would never have taken to pen and paper, if by some God sent blessing, this infatuation would have ripened into a reciprocated affair, and if the two would have been betrothed. The world of letters, and the world of cinema would have been robbed of one of the best romantic poets of the Golden Era of the Hindi film music.

Iqbal Hussain, born on 15th April, 1927 in Jaipur, grew up to be known by his pen name more than anything else – Hasrat. And the city of his origin came in to complete his identity recognition – Jaipuri.

He passed away this day (17th September) in 1999 after a scintillating career of almost five decades as a songwriter. The unsuccessful saga of his first love was in any case immortalized. The famous aria venerating the identity of the romantic messaging device called the ‘प्रेम पत्र’ (love letter), was originally written for his Radha, of the terrace visits. The song it became is – “Ye Mera Prem Patra Padh Kar” (film ‘Sangam, 1964).

It is a temptation to revisit all the great poetry he has written, that has become popular and enduring. But then even this one night, sleepless per force, would be inadequate to do justice. But in any case, that sampling may just be a reprise for all the dear melodies that I am sure all readers and lovers of this music, have stored away in their memories.

And so I just introduce this one song today. This wonderful melody, for the longest of the time, I was under the impression that this one is already posted here. But today I discovered that it is still in waiting. The film is ‘Badnaam’ from 1952. The music director is Basant Prakash (brother of Khemchand Prakash). The baritone rich singing voice is that of Shankar Dasgupta. The verses, of course, are from the pen of Hasrat Jaipuri.

The first sub line of this poem imitates the well known starting words of the famous she’er – “Ye Ishq Nahin Asaan, Bas Itna Samajh Lijey. . .” from a ghazal by the maestro Jigar Moradabadi. But after that it goes on to take a powerful identity of its own with lines like “. . .zakhmon mein chhupa lena, tasveer e mohabbat ko. . .” and “. . .khud lut ke sikha dena, duniya ko wafa karna. . .”.

An immense ghazal – words, composition, rendition – all are superlative. With memories of Hasrat Sb, enjoy this wonderful creation.

[Author’s Note: The episode of the poet’s first love is adapted from the definitive article on Hasrat Jaipuri, from the book ‘Hindi Filmon Ke Geetkar’ by Anil Bhargav.]

Song – Ye Ishq Nahin Aasaan, Kaanton Pe Jiya Karna (Badnaam) (1952) Singer – Shankar Dasgupta, Lyrics – Hasrat Jaipuri, MD – Basant Prakash

Lyrics

ye ishq nahin aasaan
kaanton pe
kaanton pe jiya karna
kaanton pe jiya karna

ye ishq nahin aasaan
kaanton pe jiya karna
kaanton pe jiya karna
ashqon ka zehar hardam
khush ho ke piya karna
kaanton pe jiya karna

kehte hain jise ulfat
ye khel hai sholon ka
kehte hain jise ulfat
ye khel hai sholon ka
chupchaap hi jal jaana
hargiz na gila karna
kaanton pe jiya karna

zakhmon mein chhupa lena
tasveer e mohabbat ko
tasveer e mohabbat ko
zakhmon mein chhupa lena
tasveer e mohabbat ko
tasveer e mohabbat ko
khud lut ke sikha dena
duniya ko wafa karna
kaanton pe jiya karna

aise to kai toofaan
raahon mein sataayenge
aise to kai toofaan
raahon mein sataayenge
ghabra ken a darr jaana
manzil pe badha karna
kaanton pe jiya karna
ye ishq nahin aasaan
kaanton pe jiya karna
kaanton pe jiya karna

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

ये इश्क़ नहीं आसान
काँटों पे
काँटों पे जिया करना
काँटों पे जिया करना

ये इश्क़ नहीं आसान
काँटों पे जिया करना
काँटों पे जिया करना
अशकों का ज़हर हरदम
खुश हो के पिया करना
काँटों पे जिया करना

कहते हैं जिसे उलफत
ये खेल है शोलों का
कहते हैं जिसे उलफत
ये खेल है शोलों का
चुपचाप ही जल जाना
हरगिज़ ना गिला करना
काँटों पे जिया करना

ज़ख़्मों में छुपा लेना
तस्वीर ए मोहब्बत को
तस्वीर ए मोहब्बत को
ज़ख़्मों में छुपा लेना
तस्वीर ए मोहब्बत को
तस्वीर ए मोहब्बत को
खुद लुट के सीखा देना
दुनिया को वफा करना
काँटों पे जिया करना

ऐसे तो कई तूफान
राहों में सताएंगे
ऐसे तो कई तूफान
राहों में सताएंगे
घबरा के न डर जाना
मंज़िल पे बढ़ा करना
काँटों पे जिया करना
ये इश्क़ नहीं आसान
काँटों पे जिया करना
काँटों पे जिया करना

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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 : 3689 Post No. : 14596

Today’s song is from film ‘Divorce’ (1938) – aka ‘Talaaq’. The song is sung by Sheela, lyricist was Pt. Anand Kumar and the MD was Meer Saheb (assisted by Ramchandra Chitalkar). The cast of the film was Naseem Bano, Gajanan Jagirdar, Prem Adib, Sheela, Vimla, Navin Yagnik, Khan Mastana etc. The film was made by Minerva Movietone and directed by Sohrab Modi. Divorce was one of the 3 films Modi made based on social problems. First film was ‘Meetha Zafar’ on alcohol habit, ‘Divorce’ was on separation of a couple and ‘Bharosa’ was on a very taboo and sensitive issue like incest.

One name in the cast is of Gajanan Jagirdar. We all know the famous actor and director Gajanan Jagirdar (real surname Jahagirdar. B 2-4-1907 D- 13-8-1988), but few know that he was branded ‘unlucky’. ‘Padosi’ (1941) was Jagirdar’s first film with Prabhat film company. By the time the film was complete Shantaram and his some friends left Prabhat making it crippled. Second time Jagirdar worked in  film ‘Ramshastri’ (1944) for Prabhat, the important partner Vishnupant Damle died and Prabhat almost collapsed. The third time Jagirdar worked for Prabhat in film ‘Lokmanya Tilak’, the company was auctioned and closed down for ever ! When Jagirdar worked in “Shahir Parshuram”of Mangal pictures, the company went bankrupt and closed down. In 1953, top production company Alhad Chitra employed Jagirdar for a bilingual film, ‘Mahatma’ (1953), not only the film flopped, it drowned the company and the Producer Datta Dharmadhikari came on the road. For survival he started a roadside kitchen !

Jagirdar started as a freelancer in the industry, in the film studios of Prabhat Films and Minerva Movietone and later acted and directed in a number of films post his accidental debut ‘Jalti Nishani’  in 1932.  He was hand-picked by V Shantaram to act in ‘Jalti Nishani’ when actor DD Mane wasn’t able to say the Urdu dialogues onscreen properly. And even though he was only 25, he enacted the part of a 75-year-old with aplomb.

Jagirdar began acting on the stage as a young child. As he grew older, he formed Arun Players, a theatre group which enacted plays like Harindranath Chattopadhyay’s ‘Returned from Abroad’ to Anton Chekhov’s ‘The Cherry Orchard’.

Not bound to any one studio, he worked as a freelancer for most of the major films studios of the time — from Prabhat Films to Minerva Movietone. At Prabhat, he began with writing the  English inter titles for films. He also taught the Prabhat artistes Urdu dialogue delivery. He assisted Bhalji Pendharkar for a bit and directed a few films like ‘Begunaah’ (1937) for Master Vinayak’s banner Hans Pictures. Later, he moved on to work as a scenarist (screenwriter) for Minerva Movietone’s ‘Meetha Zahar’ (1938) and ‘Divorce’ (1938). He also worked with filmmaker PK Atre, both as actor and director in a few films.

For V Shantaram’s last film with Prabhat Films, the famed director took up the issue of communal tension in the country. Jagirdar played the Muslim character Mirza, while Mazhar Khan played the Hindu character, Thakur in the bilingual. ‘Padosi’ was a critical and commercial hit at the time.

‘Ramshastri’ (1944) was a landmark bilingual film on Peshwa Madhavrao’s chief justice and one of the last classics produced by Prabhat Films. The film went through three directors — Raja Nene, Vishram Bedekar shot portions of the film before Gajanan Jagirdar, who was playing the lead character Ramshastri Prabhune, took over to finish it. It is said that V Shantaram also directed parts of it.

In Asit Sen’s ‘Apradhi Kaun’ (1957), Jagirdar played double role as two brothers Shrinath and Dinanath. It was a fantastic opportunity for the actor. As the wealthy Shrinath who has   inherited all of the ancestral property, Jagirdar was cool and composed. Meanwhile, as the down-on-his-luck brother Dinanath, Jagirdar transformed himself and his body to differentiate the two. Jagirdar acted in 147 films, directed 17 films and wrote 13 songs in film ‘Sant Tulsidas’ (1934).

Prior to his career in films, Jagirdar was also a teacher and later also taught acting. He became the first principal of the Film and Television Institute of India (FTII) in 1960, but resigned after a year.

He wrote two autobiographies that were published in 1971 and 1986. Additionally, he also wrote a book on acting which explored the Konstantin Stanislavsky’s method to the craft.

The film’s songs were written by Pt. Anand kumar. He was born in Delhi in 1907. He was a producer, director, writer and lyricist. From childhood, he was not interested in studies in English medium. He was taught Urdu, Hindi and Sanskrit by his poor Brahmin Shastri father. When he was 15 year old, he entered a business. He was always discontented. He wanted to become an actor, but family resisted. He tried fasting and even suicide. Then he stole some money and ran to Bombay. He could not get into any studio and after money finished, he returned to Delhi, only to take more money and run to Bombay again. Even after this failure, he went back to Delhi and started writing stories.

His first book ‘Mera Haq’ became a hot seller and he started earning money. He was invited by film people and he went to Bombay nth time. He wrote stories, dialogues and Lyrics of scores of films and earned name and money. He produced a film ‘Zameen’ (1943), under his own banner Anand Brothers. He directed 5 films,including a hit marathi film, ‘Gora Kumbhar’ (1942). Some of his films as a Lyricist were ‘Suvarn Mandir’ (1934), ‘Katle Aam’ (1935), ‘Pratibha’ (1937) ‘Divorce’ (1938), ‘Saathi’ (1938), ‘Alakh Niranjan’ (1940), ‘Punarmilan’ (1940), ‘Charnon Ki Daasi’ (1941), ‘Raja Rani’ (1942) etc. As a writer some films were, ‘Divorce’ (1938), ‘Honhaar’ (1936), ‘Saathi’ (1938), ‘Vasantsena’ (1942), ‘Rang Mahal’ (1948) etc.

Today’s song is sung by Sheela.  Sheela (real name – Roshan Ara) was born on 13-3-1925 at Sholapur-Maharashtra. Her father was Station Master at Sholapur Railway Station.

Once Sohrab Modi had come to Sholapur with his drama company. He went to the station to do reservations and saw Sheela. They got to know each other and he proposed to give her roles in his films. Thus Sheela came to Bombay in 1936 and Joined Minerva Movietone as a singer/actress.

Her first film was ‘Khan Bahadur’ (1937), in which she sang and acted. Then came ‘Jailor’ (1938) in which she sang 4 solo songs under MD Mir Sahib. Then ‘Divorce’ and ‘Meetha Zahar’ came.

She became famous only after her songs in ‘Pukar’ (1939). ‘Bharosa’, ‘Wasiyat’ and ‘Sikander’ also gave her name and fame. In ‘Sikander’ she had 6 songs out of total 7 songs. The famous song “Zindagi Hai Pyaar Se” also has her voice in the chorus. She was heroine in film ‘Wasiyat’ (1940).

‘Ulti Ganga’, ‘Bhakta Raidas’, ‘Prithvi Vallabh’, and ‘Patharon Ka Saudagar’ were all Minerva films. She had also done films elsewhere – ‘Alladin and Wonderful Lamp’, ‘College Girl’, ‘Gaibi Gola’, ‘Jahan Ara’, ‘Keemti Qurbani’, ‘Sansar Naiya’, ‘Shaitan Ka Paash’ etc. After 1943, she almost stopped working. Only in ‘Beete Din’ (1947) and lastly in ‘Billi’ (1949)’ sang songs, which was a stunt film of Nadia and Cavas.

She had married the actor Rama Shukla, in 1947. He was a Kanauji Brahmin and the families had terrible opposition to their marriage. The marriage was by Registration. Only 4 friends were present in the marriage. They had one son and one daughter. Rama Shukla died by heart attack in the 50s.

Her voice had a peculiar mixture of muslim style of Amirbai Karnataki and Marathi slant of Shanta Apte.

There is an anecdote with one of her songs. When film ‘Pukar’ was in the making, C Ramchandra was working as an assistant to MD Meer Saheb. He has mentioned in his autobiography also that in the absence of Meer saheb, he used to insert his tunes to songs as Meer Saheb’s. This was known to many, except, may be, Meer Saheb himself. One of the very popular songs sung by Sheela “Tum Bin Hamri Kaun Khabar Le” was actually composed by C Ramchandra. This is supposed to be CR’s first composed song. The credit, of course, went to Meer Saheb.

The song is very sweet and is sung also nicely.

(Credits- Swaron ki Yatra, Cinerang by Mujawar, Film Directory, Hindi Film Singers by Prof Yadav, HFGK, MuVyz and my notes.)


Song – Wo Aayen Na Aayen Yahaan Sajni (Divorce) (1938) Singer – Sheela, Lyrics – Anand Kumar, Music – Meer Saheb

Lyrics (Provided by Sudhir)

wo aayen na aayen yahaan sajni
wo aayen na aayen yahaan sajni
ghar hum ko aaj sajaana hai
ghar hum ko aaj sajaana hai

wo dekhen na dekhen hamen un ko
wo dekhen na dekhen hamen un ko
dil apna aaj dikhana hai
dil apna aaj dikhana hai
wo aayen na aayen yahaan sajni
wo aayen na aayen yahaan sajni
ghar hum ko aaj sajaana hai
ghar hum ko aaj sajaana hai

chaahe tum to kahaani bahut hi padhi
chaahe tum to kahaani bahut hi padhi
hamen apne haal sunaana hai
hamen apne haal sunaana hai

un ko apni kehte kehte
un ko apni kehte kehte
un ke dar par mit jaana hai
un ke dar par mit jaana hai

is raah ki khaaq mili jo hamen
is raah ki khaaq mili jo hamen
un ke kadmon ka thikaana hai
un ke kadmon ka thikaana hai
wo aayen na aayen yahaan sajni
wo aayen na aayen yahaan sajni
ghar hum ko aaj sajaana hai
ghar hum ko aaj sajaana hai
wo aayen na aayen yahaan sajni. . .

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

वो आयें ना आयें यहाँ सजनी
वो आयें ना आयें यहाँ सजनी
घर हमको आज सजाना है
घर हमको आज सजाना है

वो देखें ना देखें हमें उनको
वो देखें ना देखें हमें उनको
दिल अपना आज दिखाना है
दिल अपना आज दिखाना है
वो आयें ना आयें यहाँ सजनी
वो आयें ना आयें यहाँ सजनी
घर हमको आज सजाना है
घर हमको आज सजाना है

चाहे तुम तो कहानी बहुत ही पढ़ी
चाहे तुम तो कहानी बहुत ही पढ़ी
हमें अपना हाल सुनाना है
हमें अपना हाल सुनाना है

उनको अपनी कहते कहते
उनको अपनी कहते कहते
उनके दर पर मिट जाना है
उनके दर पर मिट जाना है

इस राह की खाक़ मिली जो हमें
इस राह की खाक़ मिली जो हमें
उनके कदमों का ठिकाना है
उनके कदमों का ठिकाना है
वो आयें ना आयें यहाँ सजनी
वो आयें ना आयें यहाँ सजनी
घर हमको आज सजाना है
घर हमको आज सजाना है
वो आयें ना आयें यहाँ सजनी॰ ॰ ॰


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

Blog Day : 3688 Post No. : 14595

In the sphere of Parsi Theatres, there were many artists who had contributed in the growth of Indian theatres. But there were few personalities and artists associated with Parsi Theatres whose contributions led to its strong foundation. Some theatre scholars whose specialisation is in South Asian theatres, regard Agha Hashr Kashmiri (Writer-Director), Pandit Narayan Prasad ‘Betab’ (Writer-Director), Radheshyam Katha Vachak (Writer-Director), Master Fida Hussain (Actor-Singer) and Jaishankar Bhojak, popularly known as Jaishankar Sundari (Actor-Singer) as the pioneers in developing the Parsi Theatres.

I have already covered in our blog, the life sketches of Pandit Narayan Prasad ‘Betaab’ in the post, “Abroo Ki Kamaanon Mein”, of Agha Hashr Kashmiri in “Yaad Mein Teri Jahaan Ko Bhoolta Jaata Hoon Main”  and Pandit Radhe Shyam Katha Vachak in “Ye Suna Hai Maine Jaadu Hai”.  In this article, I am presenting a brief biography of the fourth artist, Master Fida Hussain, the actor-singer.

Before I embark upon covering Fida Hussain’s biography, I wish to share with the readers that his biography was an oral history of his association of 50 years with Parsi Theatres as told to Pratibha Agrawal, a theatre scholar and connected with the Natya Shodh Sansthan, Calcutta (Kolkata). The oral history she collected from Fida Hussain during their sitting of 15 days was published verbatim in Hindi in 1986 with comments from her. There is no sequencing of the events spread over 50 years of his theatre days.

The English translation of his biography ‘Parsi Theatre Main 50 Varsh’ (1986) was published as one of the chapters in a book ‘Stages of Life’ (2011) by Kathryn Hansen, a leading scholar of South Asian theatre history. What I have done is more like an abstract writing of the biography sourced from this book with my comments wherever necessary. There are many interesting trivia and anecdotes revealed by Fida Hussain during his oral submission which I have avoided in my write-up to make the presentation of the biography as short as possible.

Fida Hussain (11/03/1899 -1999) was born in Muradabad (UP) in an conservative family.  Right from childhood, Fida Hussain was fond of singing. It is quite likely that he got interested in singing because of the travelling theatres and nautanki groups that visited his town. Fida Hussain’s father and uncle did not like his interest in singing.  Almost every day, the young Fida Hussain used to get beatings from his uncle for singing, though his father despite the dislike for the singing and music, spared him from beating.

But the more beatings he got, his fondness for singing increased. He also started watching the free shows of nautanki (folk theatre) which culminated into his love for the acting as well. This enraged his married elder brother who instigated his wife to do something to affect his voice. One day, she served him paan with vermilion powder which resulted in loss of his voice for nearly six months. After getting his voice back thanks to a visiting Sadhu who gave him some prescriptions, Fida Hussain started attending nautanki shows with a greater vigour than before.

In 1917, Fida Hussain joined a local drama club and got training for six months before being given a female role in the drama ‘Shahi Faqeer’. In this way, the path toward theatre opened for him. Soon, with the recommendation of his local drama club’s President, he went on to join the New Alfred Theatrical Company which was touring around Delhi for staging ‘Veer Abhimanyu’. In January 1918, Fida Hussain ran away from his home in Muradabad for Delhi leaving his newly married wife at home.

The New Alfred company never employed female actors. Hence the female roles were performed by the male actors like Master Nissar. Fida Hussain also got mostly the female roles in New Alfred.

Once when New Alfred was staging a show in Meerut, one of the boys from his neighbourhood recognised Fida Hussain and promptly reported the matter to his father. His father-in-law promptly lodged a complaint with police and an arrest warrant was issued. This entire episode is too big to cover here. The conclusion of this episode was Fida Hussain got a reprieve from his father, who allowed him reluctantly to continue with his passion after getting assurances from him that he would never indulge in intoxication (of any form), gambling, always keep high morality and keep in touch with his family by visiting his home town.

With his domestic issues getting resolved amicably, Fida Hussain could now concentrate fully on theatres. His association with New Alfred continued until it closed down in 1930. His most popular dramas under New Alfred were ‘Parivartan’ (1922), ‘Veer Abhimanyu (c 1923), ‘Parambhakt Prahlad’ (c 1923), ‘Shri Krishna Avatar’ (1924-25), ‘Ishwar Bhakti’ (1928), ‘Laila Majnu’ (1930). Except for ‘Laila Majnu’, Fida Hussain played the female roles in all these plays.

In the 1930s and 1940s, Fida Hussain got associated with many theatre companies all over north, east and west India, the prominent being Alfred, Madan (pronounced as Maadon), Sahajahan, Narsi, Mohan  and finally taking up the reins of Moonlight Theatre owned by Marwadi brothers in Calcutta (now Kolkata). During this period, Fida Hussain worked in ‘Nal Damyanti’, ‘Yahudi Ki Ladki’, Khoobsoorat Balaa’, ‘Seeta Banvas’, ‘Chalta Purza’, ‘Bhakta Narsi Mehta’, ‘Bharat Milap’, ‘ Krishna Leela’ and many more.

In 1939, he donned the title role of Narsi Mehta in the play ‘Bhakt Narsi Mehta’. The play became a hugely popular hit and it played for over 1000 nights. Because of this, Fida Hussain was honoured with the title ‘Narsi’ which he proudly used as suffix to his name as  Fida Hussain ‘Narsi’.

With the advent of talkies, Fida Hussain, like many other artists from theatres, was associated with a few Hindi films during 1934-46 as an actor-singer. The first film he worked was ‘Ramayan’ (1934) followed by ‘Insaf Ki Tope’ (1934), ‘Kunwaari Ya Vidhwa’ (1935), ‘Diljaani’ (1935), ‘Dil Ki Pyaas’ (1935), ‘Daku Ka Ladka’ (1935), ‘Balidaan’ (1935), ‘Khudaai Kitmadgaar’ (1937), ‘Matwali Meera’ (1940), ‘Bambaiwaali’ (1941), ‘Arabian Nights’ (1946) and ‘Toote Sapne’ (1946, Unreleased).

Except for ‘Bambaiwaali’ (1941) which was produced in Bombay (Mumbai), rest of films in which Fida Hussain worked were produced in Calcutta (Kolkata) where he was associated with Moonlight Theatres. I find that barring one or two films, he had small roles in rest of his films. It is quite possible that due to his immense popularity on stage as an actor-singer, the producers of the films may have taken him in their films to attract his large fans to watch the films. My guess is that Fida Hussain did not have much interest for working in films as his heart was with the theatre.

Fida Hussain continued his association with Moonlight Theatres, Calcutta (Kolkata) where he was the boss. The owners (4 Marwadi brothers) did not interfere in any aspects of the Moonlight Theatre so long as they earned profit from this venture. I am surprised as to how Fida Hussain could successfully compete with Hindi films and ran the Moonlight Theatres profitably in the 1950s and 60s. In 1968 when Fida Hussain completed 50 years in Parsi Theatre, he decided to retire from the theatre activities and spend rest of his life with his extended family in Muradabad. With his retirement, the Moonlight Theatre was closed and with this the glorious years of Parsi Theatre came to an end.

However, Fida Hussain remained busy during most of his post-retirement years. Being the only living legend of Parsi theatres, his knowledge about the old theatrical styles were utilised for those interested in theatre. He became a regular visiting faculty for the National School of Drama, New Delhi until 90s. He also conducted workshops for students who were pursuing their interest in the theatre. He was often one of the invitees on symposium and seminars on Indian theatres. In 1985, Fida Hussain received the Central Sangeet Natak Akademi Award in recognition of his contributions to Indian theatres. In 1978,  he had received the Uttar Pradesh Sangeet Natak Akademi Award for acting.  Fida Hussain passed away in the year 1999.

Fida Hussain may be one of the few theatre personalities who commanded not only the respect but also kept his reputation high even during his poet-retirement years. He was also one of a few artists who judiciously used his earnings to create a bright future for his two sons and two daughters. At the time of his death, Fida Hussain was the owner of two brassware business firms in Muradabad which were run by his two sons.

During his theatre days, Fida Hussain recorded more than 200 songs with HMV. However, his filmy songs are few (may be less than 20) and it seems some of them were not issued on gramophone records. Very recently, I could get hold of his two songs from the film ‘Bambaiwaali’ (1941) which I have uploaded on the video sharing platform.

I am presenting here one of the songs. “Janaab e Naaseh Samajhte Hain Hum’ from ‘Bambaiwaali’ (1941) sung by Master Fida Hussain. There were 7 songs in the film, all written by Wahid Qureshi which were set to music by Madhulal Damodar Master.

‘Bambaiwaali’ (1941) was produced under the banner of Wadia Moveitone and was directed by Homi Wadia. The star cast included Nadia, John Cawas, Radha Rani, Sardar Mansoor, Boman Shroff, Dalpat, Fatima, Minoo Cooper, Nazira, Mithu Miyan, Gunboat (Dog) etc. The story of the film in short is as under:

A village is being exploited by a capitalist racketeer. The villagers are being convinced to sell their land to the capitalist. Everything seems to be going smooth for the capitalist until Nadia (Bambaiwaali) who returns to her village after completing her education in Bombay (Mumbai). She opposes selling land to the capitalist for which the women folks of the village support Nadia. Now the conflict turns between the greedy men of the village and their women folks who love their land more than the money.

Nadia with her two henchmen, a dog and even a rickety motor car became the part of thrilling and sometime hilarious situations to catch the racketeers. Women are trained to use laathis for self-defence. With this, Nadia establishes that village women have equal say in decision making. Capitalist’s game plan is defeated. (Source: Filmindia, September 1941).

Anyway, there is a subtle message in the film story about women’s emancipation in the guise of a wholesale entertainment.

Master Fida Hussain had a very deep voice probably due to his loud singing on the stage in the absence of microphone those days.  This is reflected in his singing the filmy songs including the one under discussion. In this song, his singing style is a fusion of ghazal, qawwali and classic style of singing of 1930s.

With this song, ‘Bambaiwaali’ (1941) makes a debut in the Blog.

=================
Translation by Sudhir

janaab e naaseh samahjte hain hum
wo sangdil hain jafaa karenge

o learned advisors (please know)
that am aware they have hearts of stone
and will betray the trust in love
[naaseh = learned person, advisor;
sangdil = one with a heart of stone;
jafaa = betrayal of trust]

mithaa hi denge jahaan se hamko
aur iss se badkar wo kya karenge

they may destroy us
and banish us from this world of living
but alas, that is the utmost
that they can achieve

apni ye zulfen balaa karenge
apni ye zeben ada karenge
magar haseenon se ye to poochho
jo hum na honge to kya karenge

they may arrange their tresses
to afflict disaster on our hearts
they may present their graces and beauty
but hey, ask of these enchanting ladies
what use is this beauty and charm
if we are not there (to appreciate)
[balaa (बला) = calamity, adversity;
zeb (ज़ेब) = grace, beauty]

nazar alahda hai har bashar ki
khuda kasam hai apni
jo humko dete hain bad’duaaen
hum unke haq mein duaa karenge

every person has a different perspective
in the name of Allah, the Almighty
those who may curse us
we still will seek blessings for them
[alahda = different, separate;
bashar = person, individual;
duaa = blessing;
bad’duaa = curse]

Song – Janaabe Naaseh Samajhte Hain Hum (Bambaiwaali) (1941) Singer – Master Fida Hussain, Lyrics – Wahid Qureshi, MD – Madhulal Damodar Master

Lyrics

aaaa aa aa
aa aaaaa aaaaaaa
aaaa aaa aa aa

janaab e naaseh..ae
samahjte hain hum
janaa..aab e naaseh..ae
samahjte hain hum
wo sangdil hain jafaa karenge
wo sangdil hain jafaa karenge
mitaa hi denge..ae
jahaan se hamko
mitaa hi denge..ae
jahaan se hamko
aur iss se badkar wo kya karenge
aur iss se badkar wo kya karenge..ae
wo kya karenge
wo kya karenge
aur iss se badkar wo kya karenge..ae

apni ye zulfen balaa..aa..aa karenge
apni ye zeben ada karenge
magar haseenon se ye to poochho
aaaa aa
magar haseenon se ye to poochho
jo hum na honge to kya karenge
jo hum na honge to kya karenge
 
aa aa aa aaa
nazar alahda
hai har bashar ki..ee..ee
nazar alahda
haan nazar alahda..aa
haan nazar alahda
haan nazar alahda
aa aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa
nazar alahda hai har bashar ki..ee
khuda
khuda aa aa aa
kasam hai apni
jo humko dete hain 
bad’duaaen
jo humko dete hain bad’duaaen
hum unke haq mein duaa karenge
hum unke haq mein duaa karenge..ae
janaab e naaseh samahjte hain hum
wo sangdil hain jafaa karenge
wo sangdil hain jafaa karenge

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

आsss आ आ
आ आssss आssssss
आsss आss आ आ

जनाब ए नासेह॰॰
समझते हैं हम
जना॰॰आब ए नासेह॰॰ए
समझते हैं हम
वो संगदिल हैं जफा करेंगे
वो संगदिल हैं जफा करेंगे
मिटा ही देंगे॰॰ए
जहां से हमको
मिटा ही देंगे॰॰ए
जहां से हमको
और इस से बढ़ कर वो क्या करेंगे
और इस से बढ़ कर वो क्या करेंगे॰॰ए
वो क्या करेंगे
वो क्या करेंगे
और इस से बढ़ कर वो क्या करेंगे॰॰ए

अपनी ये ज़ुल्फें बला॰॰आ॰॰आ करेंगे
अपनी ये ज़ेबें अदा करेंगे
मगर हसीनों से ये तो पूछो
आss आ
मगर हसीनों से ये तो पूछो
जो हम ना होंगें तो क्या करेंगे
जो हम ना होंगें तो क्या करेंगे

आ आ आ आss
नज़र अल्हैदा
है हर बशर की॰॰ई॰॰ई
नज़र अल्हैदा
हाँ नज़र अल्हैदा॰॰आ
हाँ नज़र अल्हैदा
हाँ नज़र अल्हैदा
आ आ आ आ
आ आ आ आ
आ आ आ आ
आ आ आ
नज़र अल्हैदा है हर बशर की॰॰ई
खुदा
खुदा॰॰आ॰॰आ
कसम है अपनी
जो हमको देते हैं
बद्दुआयें
जो हमको देते हैं बद्दुआयें
हम उनके हक़ में दुआ करेंगे
हम उनके हक़ में दुआ करेंगे॰॰ए

जनाब ए नासेह समझते हैं हम
वो संगदिल हैं जफा करेंगे
वो संगदिल हैं जफा करेंगे


This article is written by Gajendra Khanna, 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 : 3650 Post No. : 14493

ASAD 10th Anniversary Celebrations – 7
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Time has the notorious habit of sometimes standing still and at other times simply flying by. It is a really momentous occasion that our beloved blog is completing one decade! Sometimes feels like just yesterday when one ended up on the blog in search of a song. The hard work and dedication put in by Atul ji with able support by Sudhir ji and our other atulites has probably been unparalleled in music related documentation and archiving. Many long forgotten songs and artists have been granted a new audience thanks to this wonderful blog of ours. The hard work being done is really appreciable and every bit of the applause that can be given is too small compared to the single minded effort being put into making the blog even better day by day.

For a blog that started with a Song a Day promise has regularly seen many more than one posts per day. Hardly any week goes by when something really new to us doesn’t turn up here! Its an awe inspiring journey which we are all glad to be part of in our own small ways. Salutes to the captain of the ship, Atul ji for all that you have done. You’re an inspiration to all of us and your passion indeed ignites that fire in all the others as well.

Contributors from India and abroad have made it all the more richer. Things can only get better and its heartening to see the blog crossing one milestone after other. The blog is more than just a blog and indeed is part of our lives everyday! Atul ji deserves at least a Padma Shri for this humongous dedicated and continuous effort!! In spite of packed days at work and transfers now and then, this karwaan has continued. Wish it many more decades of joy and enlightenment. Thanks a lot Atul ji and all other friends for making this happen!  I am blessed to have met you all and found lifelong friends in you. Praying for many more decades of happiness and togetherness!

For today’s post I have chosen a song which I adore. I discovered it when the movie was released. Though the movie didn’t get much adulation at the box office, its music was quite appreciated. The sentiment is a bit like mine for our unique blog whose parallel cannot be there. The artist who features in all the song’s credits is versatile and talented like our friends here. It’s a real pity that we have not seen him getting more opportunities in Hindi films in spite of the stellar contribution in the form of this film’s music. This artist is the composer, singer and the lyricist of this song. Quite an all rounder! Let me discuss a bit about his musical journey so far.

The artist I am talking about is called Rabbi Shergill. Rabbi was born in 1973 at Delhi. He was named as Gurpreet Singh Shergill but is popularly known by his stage name of ‘Rabbi Shergill’. His father was a Sikh preacher and his mother was a school principal who also wrote poetry in Punjabi. He has four sisters, one of whom, Gagan Gill is a Hindi poet. After completing his graduation from Delhi University, he formed a band called ‘Kaffir’ for some time. After that wrapped up, He also composed for some jingles for companies like Yamaha RX-T motorcycles and Times FM. He worked with Sony Music and Tehelka for sometime. He made his debut with the popular self-titled album Rabbi. Thanks to word of mouth its popularity soared particularly that of “Bulla Ki Jaana” written by Baba Bulle Shah whose video was shown on TV request programmes a lot. The album also had “Heer” written by the great Waris Shah and “Ishtehaar” written by the famous Punjabi  poet Shiv Kumar Batalvi. The other songs of the album were written by Rabbi himself. I still remember the CD which had all the lyrics and their meaning written on it.

This CD album sparked the craze for more Punjabi folk songs, other than just bhangra. The style has been called Folk Rock or Sufi Rock thanks to the influences on his music. His songs have since been known for their emotive content and meaningful words with spiritual leaning often taking from our sufi, folk and poetic traditions. As an India Today interview by Smita Mishra sums it, “He has not only revived the poetry of brilliant poets of yesteryears, but has also contributed as a literary genius in creating lyrics that are sublime expressions of deep thought and spiritualism.” The same year, he sang a song “Laundiya Ke Pallu Mein” for the movie ‘Waisa Bhi Hota Hai Part-II” but it was not noticed, while its other songs “Allah Ke Bande” (first song of Kailash Kher) and “Sajna Aa Bhi Ja” by Shibani Kashyap rising the charts. He also wrote and sang a song “Aa Yaaran” for the album ‘Let’s Enjoy’ (2004) which had music by Midival Punditz and Ashvin Mani Sharma.

In 2007, he also composed for the movie ‘Delhi Heights’, of which I’ll talk later (from which today’s song is taken). In October 2008, Shergill released his second album ‘Avengi Ja Nahin’ under the label of Yashraj Music. The album contains nine songs and deals with issues like communal violence, social responsibility and the need for “collective morality”The song “Pagdi Sambhal Jatta” from it was well received, which talked of history and heritage. He also appeared in MTV Unplugged (India) in 2011.

He lent his voice to Yash Chopra’s 2012 romantic film ‘Jab Tak Hai Jaan’ singing the leading number “Chhalla” composed by AR Rahman with lyrics penned by Gulzar. In March 2012, he released his third album ‘Rabbi III’. Ganga was the song whose video was released and appreciated by some.  In 2013, AR Rahman sang a duet “Tu Mun Shudi” with him for his movie ‘Raanjhana’ whose lyrics were written by Irshad Kaamil.

Some of these later works have not been very popular and sadly, we are not seeing much of Rabbi Shergill since a few years. He does have a YouTube channel but its not very active (In last 3-4 years only one or two songs are released on it). In 2013, on it he had released his single “Tun Milen – The Ghost of LSD” whose chorus is adapted from the poem ‘Tur Giaa Koi Dil Ch Lae Ke Saadgi’ by the troubled Punjabi poet Late Lal Singh Dil which was also released on his own O3 Records.

In 2007, Rabbi made his debut with the movie ‘Delhii Heights’ for which he wrote the lyrics and composed the music along with singing in 3 of its 6 songs. This film was made under the banner of Sivaji Productions. Old timers will be familiar with this banner thanks to its founder and famous actor Sivaji Ganesan. It is known majorly for its Tamil films but it had produced Hindi films also. Its first Hindi film was ‘Amardeep’ in 1958 and their other movie was ‘Raakhi’ in 1962.

Sivaji Productions is now being managed by the late actor’s son Prabhu Ganesan (from his wife Kamala). Prabhu Ganesan is also a well known actor in Tamil films. He had made his debut in a supporting role in ‘Sangili’ (1982) which was a Tamil remake of movie ‘Kaalicharan’ where his father reprised the famous double role of Shatrughan Sinha.  Newer audiences may be remembering Prabhu’s roles in ‘Vasool Raja MBBS’ (Tamil remake of Munna Bhai MBBS), ‘Billa’ and ‘Chandramukhi’ (which was also produced by him) among other movies. He is of course also famous for being in a live in relationship and then being married briefly to superstar actress Kushboo. His son Vikram Prabhu is also an actor in Tamil films who got critical acclaim with his debut movie ‘Kumki’ in 2012.

‘Delhii Heights’ is set in Delhi. It is written-directed by Anand Kumar for whom this was the first movie too just like Rabbi. It features Jimmy Shergill, Neha Dhupia, Om Puri, Rohit Roy, Simone Singh, Vivek Shauq and Kamini Khanna. Madhavan made a guest appearance in the movie. Screenplay-dialogue by Sanyukta Chawla, cinematography by Aatish Parmar, art by Sonal, editing by Shrikar Prasad, costumes by Hari Nakai and Varun Bahl, choreography by Remo D’Souza and stunts by Action Prakash are the other credits. The plot of the film is as follows,

Delhii Heights is a high-rise apartment building in Delhi, where Abi (Jimmy Shergill) and his wife (Neha Dhupia) live – a married couple who work for rival companies. It’s about how their professional lives affect their personal lives. In the same building, there lives Timmy Kohli (Om Puri), a fun loving Sikh, with his wife Ruby (Kamini Khanna) and two daughters, Sweety (Sakshi Gulati) and (Shaina Ahluwalia). Then there is Bobby (Rohit Roy) and his wife Saima (Simone Singh). Bobby is a compulsive flirt and his wife knows about it. How things take place and how their lives change is to be seen.

Then there is Lucky (Vivek Shauq), a cricket bookie, a hilarious character in itself. Also, there is a group of four boys living in the same complex, three of whom are identified as Mohit Sehgal, Anuj Sachdeva and Kinshuk Mahajan. They keep running after girls and pulling each other’s legs. How the lives of these residents at Delhii Heights play out is what the film is about.

The director who himself is from Delhi tried to bring out the Delhi vibe in the movie. In spite of a good cast, it could not attract enough audience and was unfortunately a financial disaster because of which its music did not get the attention it deserved. With the song chosen for today, Delhii Heights makes its debut on the blog.

The song from the film which I present today is “Tere Bin Saanu Sohneya Koi Hor Nahiyon Labna”. It’s a very sweet ballad sung, written and composed by Rabbi Shergill. With this song Rabbi makes his debut as a lyricist, singer and composer on the blog. The song is very sweet and romantic which touches your heartstrings. Portions of it make one really emotional (as we are on this momentous occasion) and the deep meaning can make one speechless. It reminds one of loves lost but still cherished. It is capable of bringing tears to eyes effortlessly giving a bitter-sweet feeling where one is overwhelmed by the love but also thankful for it. It’s a perfect ode to love that can be found in life rarely and is very soothing in a way as well. The choice of words is very apt and beautiful. Rabbi must know what love is and lucky is the one who has the kind of love described in the song.

Its written in Punjabi and thus, it becomes the first Punjabi song from a Hindi film on the blog (earlier we had three shabads/bhajans on the blog which are not from Hindi films). I thought it would be apt to also put the Gurmukhi lyrics with this post too and this makes it the first Gurmukhi lyrics to be posted on the blog. I acknowledge the help received from Surjit Singh ji of the GeetSangeet Facebook Group who helped me with some of the spellings and words. With the Devanagari lyrics, this is probably the first trilingual lyrics on the blog too.

For the help of non-native Punjabi speakers I am adding the meanings of the wonderful lyrics below with the Punjabi transliteration and translation in English,

 

tere bin saanu sohneya Other than you my (beautiful) love
koi hor nahiyon labna I will not find anyone else
jo deve rooh nu sakoon Who will give peace to my inner soul
chuke jo nakhra mera Who will indulge me
ve main saare ghoom ke vekheya I have gone and seen it all
amreeka, roos, malaysia America, russia and malaysia
na kitthe vi koi fark si There wasn’t any difference anywhere
har kise di koi shart si Everyone had some conditions for me
koi mangda mera si sama Some wanted my time
koi honda surat te fida Some were fascinated by my face
koi mangda meri si wafa Some wanted my fidelity (sincerity)
na mangda koi meriyaan balaaan No one wanted my demons (ills)
tere bin hor na kise mangni meriyaan balaan No one else other than you wanted my demons (ills)
tere bin hor na kisekarni dhoop vich chhaan No one other than you will give me shade in the scorching sun
jiven rukeya si tu zara The way you had slightly paused (stopped a bit)
nahiyon balna main saari umar I cannot burn like that (inside) all my life
jiven aakheya si akhaan chura The way you had said without meeting my eye
“rovenga sanu yaad kar” You will cry when you remember me
asi hass paye haasa ajeeb I had laughed in a strange way
par tu nahi si hasseya But you had not laughed
dil vich tere jo raaz si The secret which was in your heart
mainu tu kyon nahi dasseya Why didn’t you tell it to me
tere bin saanu ahe raaz kise ho rnahiyon dasna Other than you who can tell me that secret
tere bin peed da ilaaj kis vaid kolon labna Without you which druid will find the cure for this pain of mine
mileya si aj mainu I had found today
tera ik patra A note of yours
likheya si jis ‘te tu On which you had written
sher warey (waris) shah da A couplet originally written by waris shah
parh ke si osnu hanju ik duleya After reading it a teardrop fell from my eyes
akhan ‘ch band si ai raaz ajj khulia It was revealed that it was hiding in my eyes all this while
ki tere bin ai mere hanju kise hor nahiyo choomna That no one else other than you will kiss away my tears
ki tere bin ai mere hanju mitti vich rulna That without you these teardrops of mine will only end up falling on earth and getting lost in it

 

The lyrics on first look seem so romantic. However, I read somewhere that Rabbi had written the song remembering his father which gives a whole new meaning to the song.

The song is primarily picturised on Jimmy Shergill and Neha Dhupia. One also gets a view of some sights of Delhi in the song as well! It’s a pity the industry hasn’t used his skills much. His songs have deep layers of meaning compared to some other prolific contributors of Hindi Cinema.


Song – Tere Bin Saanu Sohneya Koi Hor Nahiyon Labna (Delhi Heights) (2007) Singers – Rabbi Shergill, Lyrics – Rabbi Shergill, MD – Rabbi Shergill

Lyrics

tere bin saanu sohneya
koi hor nahiyon labna

jo deve  rooh nu sakoon
chuke jo nakhra mera
tere bin saanu sohneya
koi hor nahiyon labna

jo deve  rooh nu sakoon
chuke jo nakhra mera

ve main saare ghoom ke vekheya
amreeka, roos, malaysia
na kitthe vi koi farq si
har kise di koi shart si
koi mangda mera si sama
koi honda surat te fida
koi mangda meri si wafa
na mangda koi meriyaan balaan
tere bin hor na kise
mangni meriyaan balaan

tere bin hor na kise
karni dhoop vich chhan

tere bin saanu sohneya
koi hor nahiyon labna

jo deve  rooh nu sakoon
chuke jo nakhra mera

jiven rukeya si tu zara                                  
nahiyon balna main saari umar
jiven aakheya si ankhaan chura
“rovenga sanu yaad kar”
asi hass paye haasa ajeeb
par tu nahin si hasseya
dil vich tere jo raaz si
mainu tu kyon nahi dasseya
tere bin saanu ahe raaz
kise hor nahiyon dasna

tere bin peed da ilaaj
kis vaid kolon labna

tere bin saanu sohneya
koi hor nahiyon labna

jo deve  rooh nu sakoon
chuke jo nakhra mera

mileya si aj mainu
tera ik patra
likheya si jis ‘te

tu sher waarey (waris) shah da
parh ke si os nuh
hanju ik duleya

akhan ‘ch band si
ai raaz ajj khulia

ki tere bin ai mere hanju
kise hor nahiyo choomna

ki tere bin ai mere hanju
mitti vich rulna

tere bin saanu sohneya
koi hor nahiyon labna

jo deve  rooh nu sakoon
chuke jo nakhra mera
tere bin saanu sohneya
koi hor nahiyon labna
jo deve  rooh nu sakoon
chuke jo nakhra mera
tere bin saanu sohneya
koi hor nahiyon labna
jo deve rooh nu sakoon
chuke jo nakhra mera. . .
tere bin saanu sohneya
koi hor nahiyon labna
jo deve rooh nu sakoon
chuke jo nakhra mera

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

तेरे बिन सानूँ सोहणेया
कोई होर नहियों लबणा
जो देवे रुह नूँ सकून
चुके जो नख़रा मेरा
तेरे बिन सानूँ सोहणेया
कोई होर नहियों लबणा
जो देवे रुह नूँ सकून
चुके जो नख़रा मेरा

वे मैं सारे घुम के वेखेया
अमरीका, रूस, मलेशिया
न किथे वी कोई फर्क सी
हर किसे दी कोई शर्त सी
कोई मंगदा मेरा सी समा
कोई होंदा सूरत ते फिदा
कोई मंगदा मेरी सी वफ़ा
न मंगदा कोई मेरियाँ बलाँ
तेरे बिन होर न किसे
मंगनी मेरियाँ बलाँ
तेरे बिन होर ना किसे
करनी धुप विच छाँ

तेरे बिन सानूँ सोहणेया
कोई होर नहियों लबणा
जो देवे रुह नूँ सकून
चुके जो नख़रा मेरा

जिवें रुकेया सी तूं ज़रा
नहियों बलणा मैं सारी उमर
जिवें आखिया सी अंखियाँ चुरा
“रोवेंगा सानूँ याद कर”
असि हास पये हासा अजीब
पर तूं नहीं सी हसेया
दिल विच तेरे जो राज़ सी
मैंनूं तूं क्यों नहीं दसेया
तेरे बिन सानूं एह राज़
किसे होर नहियों दसणा
तेरे बिन पीड़ दा इलाज
किस वैध कोलों लबणा

तेरे बिन सानूँ सोहणेया
कोई होर नहियों लबणा
जो देवे रुह नूँ सकून
चुके जो नख़रा मेरा

मिलेया सी अज मैंनूं
तेरा इक पत्रा
लिखेया सी जिस ते तूं
शेर वारे (वारिस) शाह दा
पढ़ के सी ओसनूं
हंजू इक डुलेया
अंखांच बंद सी
ए राज़ अज खुलेया
कि तेरे बिन ए मेरे हंजू
किसे होर नहियों  चूमणा
कि तेरे बिन ए मेरे हंजू
मिट्टी विच रुलणा

तेरे बिन सानूँ सोहणेया
कोई होर नहियों लबणा
जो देवे रुह नूँ सकून
चुके जो नख़रा मेरा
तेरे बिन सानूँ सोहणेया
कोई होर नहियों लबणा
जो देवे रुह नूँ सकून
चुके जो नख़रा मेरा
तेरे बिन सानूँ सोहणेया
कोई होर नहियों लबणा
जो देवे रुह नूँ सकून
चुके जो नख़रा मेरा॰ ॰ ॰
तेरे बिन सानूँ सोहणेया
कोई होर नहियों लबणा
जो देवे रुह नूँ सकून
चुके जो नख़रा मेरा

———————————————————
Gurmukhi script lyrics (Provided by Gajendra)
———————————————————

ਤੇਰੇ ਬਿਨ ਸਾਨੂੰ ਸੋਹਣਿਆਂ ਕੋਈ ਹੋਰ ਨਹੀਓਂ ਲਭਣਾ
ਜੋ ਦੇ ਫਿਰ ਰੂਹਾਂ ਨੂੰ ਸਕੂਨ
ਚੁਕੇ ਜੋ ਨਖਰਾ ਮੇਰਾ
ਤੇਰੇ ਬਿਨ ਸਾਨੂੰ ਸੋਹਣਿਆਂ ਕੋਈ ਹੋਰ ਨਹੀਓਂ ਲਭਣਾ
ਜੋ ਦੇ ਫਿਰ ਰੂਹਾਂ ਨੂੰ ਸਕੂਨ
ਚੁਕੇ ਜੋ ਨਖਰਾ ਮੇਰਾ

ਵੇ ਮੈਂ ਸਾਰੇ ਘੁੰਮ ਕੇ ਵੇਖਿਆ
ਅਮਰੀਕਾ ਰੂਸ ਮਲੇਸ਼ਿਆ
ਨਾ ਕਿਥੇ ਵੀ ਕੋਈ ਫ਼ਰਕ ਸੀ
ਹਰ ਕਿਸੇ ਦੀ ਕੋਈ ਸ਼ਰਤ ਸੀ
ਕੋਈ ਮੰਗਦਾ ਮੇਰਾ ਸੀ ਸਮਾਂ
ਕੋਈ ਹੋਂਦਾ ਸੂਰਤ ਤੇ ਫ਼ਿਦਾ
ਕੋਈ ਮੰਗਦਾ ਮੇਰੀ ਸੀ ਵਫ਼ਾ
ਨਾ ਮੰਗਦਾ ਕੋਈ ਮੇਰੀਆਂ ਬਲਾ
ਤੇਰੇ ਬਿਨ ਹੋਰ ਨਾ ਕਿਸੇ ਮੰਗਨੀ ਮੇਰੀਆਂ ਬਲਾ
ਤੇਰੇ ਬਿਨ ਹੋਰ ਨਾ ਕਿਸੇ ਕਰਨੀ ਧੁੱਪ ਵਿੱਚ ਛਾਂ

ਤੇਰੇ ਬਿਨ ਸਾਨੂੰ ਸੋਹਣਿਆਂ ਕੋਈ ਹੋਰ ਨਹੀਓਂ ਲਭਣਾ
ਜੋ ਦੇ ਫਿਰ ਰੂਹਾਂ ਨੂੰ ਸਕੂਨ
ਚੁਕੇ ਜੋ ਨਖਰਾ ਮੇਰਾ

ਜਿਵੇਂ ਰੁਕਿਆ ਸੀ ਤੂੰ ਜ਼ਰਾ
ਨਹੀਓਂ ਬਲਣਾ ਮੈਂ ਸਾਰੀ ਉਮਰ
ਜਿਵੇਂ ਆਖਿਆ ਸੀ ਅਖਾਂ ਚੁਰਾ
“ਰੋਵੇਂਗਾਸਾਨੂੰ ਯਾਦ ਕਰ”
ਹਸਿਆ ਸੀ ਮੈਂ ਹਾਸਾ ਅਜੀਬ
ਪਰਤੂੰ ਨਹੀਂ ਸੀਹਸਿਆ
ਦਿੱਲ ਵਿੱਚ ਤੇਰੇ ਜੋ ਰਾਜ਼ ਸੀ
ਮੇਨੂੰ ਤੂੰ ਕਿਉਂ ਨਹੀਂ ਦਸਿਆ
ਤੇਰੇ ਬਿਨ ਸਾਨੂੰਇਹ ਰਾਜ਼
ਕਿਸੇ ਹੋਰ ਨਹੀਓਂ ਦਸਣਾ
ਤੇਰੇ ਬਿਨ ਪੀੜ ਦਾ ਇਲਾਜ ਕਿਸਵੈਦ ਕੋਲੋਂ ਲਭਣਾ

ਤੇਰੇ ਬਿਨ ਸਾਨੂੰ ਸੋਹਣਿਆਂ ਕੋਈ ਹੋਰ ਨਹੀਓਂ ਲਭਣਾ
ਜੋ ਦੇ ਫਿਰ ਰੂਹਾਂ ਨੂੰ ਸਕੂਨ
ਚੁਕੇ ਜੋ ਨਖਰਾ ਮੇਰਾ

ਮਿਲਿਆ ਸੀਅੱਜ ਮੇਨੂੰ
ਤੇਰਾਇਕ ਪੱਤਰਾ ਲਿਖਿਆ ਸੀ ਜਿਸ ਤੇ
ਤੂੰ ਸ਼ੈਅਰ ਵਾਰੇ (ਵਾਰਿਸ) ਸ਼ਾਹ ਦਾ
ਪੜ ਕੇ ਸੀ ਉਸਨੂੰਹੰਝੂ ਇਕ ਡੂਲਿਆ
ਅੱਖਾਂ ਚ ਬੰਦ ਸੀ ਇਹ ਰਾਜ਼ ਅੱਜ ਖੁਲਿਆ
ਕਿ ਤੇਰੇ ਬਿਨ ਇਹ ਮੇਰੇ ਹੰਝੂ ਕਿਸੇ ਹੋਰ ਨਹੀਓਂ ਚੁਮਣਾ
ਕਿ ਤੇਰੇ ਬਿਨ ਇਹ ਮੇਰੇ ਹੰਝੂ ਮਿੱਟੀਵਿੱਚ ਰੁਲਣਾ

ਤੇਰੇ ਬਿਨ ਸਾਨੂੰ ਸੋਹਣਿਆਂ ਕੋਈ ਹੋਰ ਨਹੀਓਂ ਲਭਣਾ
ਜੋ ਦੇ ਫਿਰ ਰੂਹਾਂ ਨੂੰ ਸਕੂਨ
ਚੁਕੇ ਜੋ ਨਖਰਾ ਮੇਰਾ
ਤੇਰੇ ਬਿਨ ਸਾਨੂੰ ਸੋਹਣਿਆਂ ਕੋਈ ਹੋਰ ਨਹੀਓਂ ਲਭਣਾ
ਜੋ ਦੇ ਫਿਰ ਰੂਹਾਂ ਨੂੰ ਸਕੂਨ
ਚੁਕੇ ਜੋ ਨਖਰਾ ਮੇਰਾ
ਤੇਰੇ ਬਿਨ ਸਾਨੂੰ ਸੋਹਣਿਆਂ ਕੋਈ ਹੋਰ ਨਹੀਓਂ ਲਭਣਾ
ਜੋ ਦੇ ਫਿਰ ਰੂਹਾਂ ਨੂੰ ਸਕੂਨ
ਚੁਕੇ ਜੋ ਨਖਰਾ ਮੇਰਾ
ਤੇਰੇ ਬਿਨ ਸਾਨੂੰ ਸੋਹਣਿਆਂ ਕੋਈ ਹੋਰ ਨਹੀਓਂ ਲਭਣਾ
ਜੋ ਦੇ ਫਿਰ ਰੂਹਾਂ ਨੂੰ ਸਕੂਨ
ਚੁਕੇ ਜੋ ਨਖਰਾ ਮੇਰਾ
ਤੇਰੇ ਬਿਨ ਸਾਨੂੰ ਸੋਹਣਿਆਂ ਕੋਈ ਹੋਰ ਨਹੀਓਂ ਲਭਣਾ
ਜੋ ਦੇ ਫਿਰ ਰੂਹਾਂ ਨੂੰ ਸਕੂਨ
ਚੁਕੇ ਜੋ ਨਖਰਾ ਮੇਰਾ


This article is written by K Satish Shenoy, 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 : 3648 Post No. : 14486

ASAD 10th Anniversary Celebrations – 4
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Atulites are on a joyous milestone moment, this July 2018, with ASAD completing an admirable journey through 10 years. Thanks to Atul Ji for initiating the journey and being the rock solid foundation and also thanks to contributing writers and innumerable die hard followers.

In every such moment, one looks back with nostalgia, counting occasions that brought joy of revisiting nearly forgotten songs, or joy of finding wonderful gems never heard before, or joy of knowing more about the talented personalities in the field of Hindi cinema and its music. I am no exception. l will be failing if I don’t participate in the celebrations.

I wondered what song I can present to mark the occasion. After sifting through still uncovered songs (a daunting task), I stumbled on this song narrating a nostalgic journey of Sri Krishna to Gokul where he spent his joyous growing years. The journey is a mix of joy and some sadness. What better way to celebrate than presenting a ‘divine’ song from an excellent artiste singing for an award winning movie starring an award winning actress.

The song presented is sung by Shrimati Shubha Mudgal, who makes her first appearance on our blog today. A brief introduction to her

Shubha Mudgal started performing as a Hindustani classical singer in the 1980’s. Hailing from Allahabad, she moved to Delhi for academic studies but continued her interest and training in Indian Classical music. In the 1990s, she started experimenting with other forms of music, including pop and fusion varieties.  Khayal and Thumri are her favourites.

She has won many awards which include National Film award for music direction for non feature film ‘Amrit Beej’, Gold Plaque Award for Special Achievement in Music, at the 34th Chicago International Film Festival, and Padmashri title in 2000.

The song of this post is from the movie ‘Raincoat’ (2004). I would consider ‘Raincoat’ fit be included in the list of best of Indian Cinema. The film won the National film award for best Hindi feature film and was nominated for the Crystal Globe for Best Feature Film at the Karlovy Vary International film festival. The leading lady Aishwarya Rai also won the Zee Cine Award for Critics’ Choice as Best Actress and was nominated for the Filmfare Best Actress Award.  ‘Raincoat’ can easily be Aishwarya Rai’s best performance, that too in a unglamorous role

The story line of the film is as follows,

The film tells the story of two lovers (played by Ajay Devgan and Aishwarya Rai), once engaged but separated by destiny before tying the knot. Ajay later faces financial difficulties. Ajay travels to Kolkata to meet his friends seeking help, and also calls on Aishwarya, during a rainy evening. Aishwarta  is also leading a pathetic life. In this meeting, both of them initially pretend to lead a happy and prosperous life. However, as the encounter progresses and by the time the film comes to a close, each one secretly finds out the truth of the unenviable and miserable lives both of them were leading, post separation.

Ajay before departing leaves whatever he borrowed from friends to meet his own financial difficulties,  under Aishwarya’s bed with a letter.

Later, when he reaches home, in the pocket of his raincoat, he finds a pair of gold bangles and a piece of jewellery that belonged to Aishwarya, along with a letter. She had actually read a letter, written to a friend, that was inside his rain coat revealing his woes.

The film is an adaptation of the famous short story by O’Henry, titled ’The Gift of the Magi’. It is directed by Late Rituparno Ghosh. The lyrics of this song are also credited to him, though I feel it could be from an already existing source. The music is credited to Debajyoti Mishra.

I interpret, this is an allegorical poem, comparing Ajay’s journey to meet his former beloved, with the story of Krishna, now the King of Mathura, returning to Gokul, to meet Radha. But there is a contrast – Ajay’s journey is all melancholic.

This mellifluous ‘divine’ song is raised a notch above when the chorus joins. Recalling the plot, every time I hear this song my eyes go moist.

(Video)

(Audio)

Song – Mathura Nagarapati Kaahe Tum Gokul Jao (Raincoat) (2004) Singer – Shubha Mudgal, Lyrics – Rituparno Ghosh, MD – Debjyoti Mishra
Chorus

Lyrics (based on audio version)

subah subah
suba..a..ah subah

subah subah ka khayal aaj
subah subah ka khayal aaj
vapas gokul chal mathura raj
mathura nagarapati kaahe tum gokul ja..aa..ao
manohar vesh chhod nandraj
sar se utaar ke sundar taj
raj dand chhod bhoomi par waaj
phir kaahe bansuri bajaao
mathura nagarapati kaahe tum gokul jaao
mathura nagarapati kaahe tum gokul jaao

kaun sa anokha geet gaahe pik kool
raj paat jaise aaj bhaye dhool
kaun sa anokha geet gaahe pik kool
birahan laagi phir hriday akool
raaj kaaj mann na lagaao
raaj kaaj mann na lagaao
mathura nagarapati kaahe tum gokul jaao
mathura nagarapati kaahe tum gokul jaao
jaao. . .

pur naari saari vyaakul nayan
kusum sajja laage kantak shayan
pur naari asari vyaakul nayan
raat bhar madhav jaagat bechain
kaahe aadhi rat sarathi bulaao
mathura nagarapati kaahe tum gokul jaao
mathura nagarapati kaahe tum gokul jaao

dheere dheere pahunchat jamuna ke teer
sunsaan panghat mridul sameer
dheere dheere pahunchat jamuna ke teer
khan khan madhav birah madeer
usey kaahe bhool na paao
mathura nagarapati kaahe tum gokul jaao
mathura nagarapati kaahe tum gokul jaao

tumhri piriya ab poori gharwaali
dudh navan ghivu din bhar khaali
tumhri radha ab poori gharwali
dudh navan ghivu din bhar khaali
birah ke aansoo kab ke
ho..oo kab ke ponchh daali
phir kaahe dard jagao
mathura nagarapati kaahe tum gokul jaao
mathura nagarapati kaahe tum gokul jaao
mathura nagarapati kaahe tum gokul jaao

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

सुबह सुबह
सुब॰॰ह सुबह

सुबह सुबह का ख्याल आज
सुबह सुबह का ख्याल आज
वापस गोकुल चल मथुरा राज
मथुरा नगरपति काहे तुम गोकुल जा॰॰आ॰॰ओ
मनोहर वेश छोड़ नंदरज
सर से उतार के सुंदर ताज
राज दंड छोड़ भूमि पर वाज
फिर काहे बांसुरी बजाओ
मथुरा नगरपति काहे तुम गोकुल जाओ
मथुरा नगरपति काहे तुम गोकुल जाओ

कौन सा अनोखा गीत गाये पिक कूल
राज पाट जैसे आज भए धूल
कौन सा अनोखा गीत गाये पिक कूल
बिरहन लागि फिर हृदय अकूल
राज काज मन ना लगाओ
राज काज मन ना लगाओ
मथुरा नगरपति काहे तुम गोकुल जाओ
मथुरा नगरपति काहे तुम गोकुल जाओ
जाओ॰॰॰

पुर नारी सारी व्याकुल नयन
कुसुम सज्जा लागे कंटक शयन
पुर नारी सारी व्याकुल नयन
रात भर माधव जागत बेचैन
काहे आधी रात सारथी बुलाओ
मथुरा नगरपति काहे तुम गोकुल जाओ
मथुरा नगरपति काहे तुम गोकुल जाओ

धीरे धीरे पहुंचत जमुना के तीर
सुनसान पनघट मृदुल समीर
धीरे धीरे पहुंचत जमुना के तीर
खन खन माधव बिरह मदीर
उसे काहे भूल ना पाओ
मथुरा नगरपति काहे तुम गोकुल जाओ
मथुरा नगरपति काहे तुम गोकुल जाओ

तुमरी पिरिया अब पूरी घरवाली
दूध नवन घीवू दिन भर खाली
तुमरी राधा अब पूरी घरवाली
दूध नवन घीवू दिन भर खाली
बिरह के आँसू कब के
हो॰॰ओ कब के पोंछ डाली
फिर काहे दर्द जगाओ
मथुरा नगरपति काहे तुम गोकुल जाओ
मथुरा नगरपति काहे तुम गोकुल जाओ
मथुरा नगरपति काहे तुम गोकुल जाओ


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 : 3642 Post No. : 14470

Today’s song is from an almost unknown film ‘Haqdaar’ (1946).

There were two more films with the same title, made in 1964 and 1981. The love of Hindi films for identical titles is well known. In silent films, the situation was different. There used to be one name for Censor Certificate and then in every linguistic state the film would have one local name for the film, to attract local audience. In talkie films, this facility was absent, as everywhere, the film name is the same.

Thus, we find that there was/is ‘Same Name Confusion’ even in film titles. But of course, the system of mentioning the year, made them different, like ‘Haqdaar’ (1946), ‘Haqdaar’ (1964) or ‘Haqdaar’ (1981) etc. Here again confusion was whether the year of Censor Certificate should be mentioned or the year of film’s release. Standard documents, like HFGK, give only the year of Censor Certificate, irrespective of the film’s release year. Regular users of HFGK know this very well. Usually most films are released quickly and very few take time to get released.

Shri Harmandir Singh Hamraaz ji has published a Film Index for films made between 1931 to 2012. I went through this list to find out about the same name titles. Films made 2 times and 3 times are many and beyond count. However, on counting detailed way, I found 80 film titles repeated 4 times, 23 films repeated 5 times and 5 films repeated 6 times. Above all, there is ONE film whose title is repeated 7 times. The name is ‘Insaaf’. It was made at regular intervals – almost every decade. It was made in 1937, 1946, 1956, 1866, 1973, 1987 and 1997! The person who had registered the name first, must have earned a lot!

‘Haqdaar’ of 1946 was directed by Rafiq Rizvi, who had worked as assistant to AR Kardar. He was brother of lyricist Ehsan Rizvi. His first film as an independent director was ‘Waida’ (1940). Then came ‘Awaaz’ (1942), ‘Koshish’ (1943), ‘Haqdaar'(1946), ‘Alladin Ka Beta’ (1955) and lastly ‘Kaarvan’ (1956). Thereafter he migrated to Pakistan.

The Music Director was Mohd Shafi (25-12-1925 to 30-4-1980).  He was one of those talented artists of Hindi Film Music who was only used by others and never got enough credit for his work. He is honoured as the ‘The Original Arranger’ in the industry. He was an excellent sitar player. He started with Imperial Film company, where he played Bulbul Tarang. In 1937 he went to Calcutta, joined New Theatres and played Sitar in films ‘Kapaal Kundala’ (1939) and ‘Aandhi’ (1940), as an assistant to Pankaj Mullick and KC Dey. He played sitar in the film ‘Ujaala’ (1942). In this film, the hero – Prithviraj Kapoor played the role of a sitar player, hence the expertise of Shafi was fully utilised in this film.

Starting with film ‘Haqdaar’, he gave music to 19 Hindi films and 2 Marathi films. He worked with Naushad, as his assistant and arranger, for 14 years. He was considered a ‘Daada’ in background music. He gave background music to about 70 films (for Naushad and others). For ‘Mughal e Azam’ (1960), K Asif used to send his personal car to fetch him to studio. It was Shafi who gave the first break to Suman Hemmadi (Kalyanpur) in ‘Mangu’ (1954).

Shafi had bought his first car when he was just 15 year old. He had a posh flat in Shivaji Park area of Dadar in Bombay. In the end , everything was gone.He had helped the families of Shakeel Badayuni and Ghulam Mohammed after their deaths. However in his last difficult days, except Rafi, no one came for his help. In the final few months, his memory had gone. His begum ruefully said,” Good that he does not remember anything. All took his advantage and gave him nothing. There were more things to forget than to remember!”

It is said that the entire music of ‘Sohni Mahiwal’ (1958) was done by him. Naushad was sick during this period and did not attend even one recording. “Do Hanson Ka Joda” and “Dhundho Dhundho Re Saajna” from ‘Gunga Jamuna’ (1961) were his creations. He used to give tunes to many composers too – whoever asked for help.

The cast of film ‘Haqdaar’ was Harish, Najma, H Prakash, Amirbai Karnataki, Kalyani, Azad etc.

Harish was also known as Tara Harish. Tara Harish – this name is quite misleading. At first glance, it looks lie a woman’s name. On second thoughts, one feels it must be a pair of persons like Krishnan Panju or Aruna Vikas. But this is name of a single person, who was an actor, producer, director and a singer too!

Born on 23-10-1916 at Delhi, his real name was Tarachand Harish Mathur. He was distantly related to Motilal and Mukesh. His father died when he was just 3 year old. He was brought up by his brothers and uncle. He graduated in 1937. After trying and failing in a second hand car business, he decided to enter film world and joined Sagar Movietone, where Motilal was getting established. His first foray into films was in film ‘300 Days And After’. In this film he was uncredited. However he got roles in other films like ‘Postman’, ‘Ladies Only’, ‘Service Limited’, ‘Hum,Tum Aur Woh’, ‘Ek Hi Raasta’, ‘Civil Marriage’, ‘Aurat’, ‘Nai Roshni’, ‘Vijay’, ‘Haqdaar etc. He used to sing also in the films. As a hero his last film was ‘Amaanat’ (1943).

Harish took up direction with film ‘Beda Paar’ (1944), a C grade stunt film, but soon he directed many social films also. In his career he directed 21 films. Some of his films are ‘Toote Taare’ (1948), ‘Ustad Pedro’ (1951), ‘Malhaar’ (1951) (originally Harish was to be the hero, but he gave chance to Arjun), ‘Daku Ki Ladki’ (1954), ‘Laalten’ (1956), Kaali Topi Laal Roomaal’ (1959), ‘Do Ustad’ (1959), ‘Burma Road’ (1962). His last film was ‘Awaara Abdulla’ (1963).  Harish acted in 21 films. He sang 39 songs in 16 films (stats by MuVyz). He established his own production company – Omar Khayyam Films. When he was directing film ‘Ustad Pedro’ (1951), he changed the name of actress Nargis Rabadi to Shammi, since another more famous actress of same name was already working in films.

Tara Harish died sometime in 1970.

The heroine Najma was born at Lahore in 1928. Her father was a businessman. Her real name was Naseem. Since there was already one famous actress Naseem, she changed her name. She first worked in ‘Kunwaara baap’ (1942) and ‘Uljhan’ (1942) Then came ‘Nai Zindagi’ (1943), ‘Dr Kumar’ (1944), ‘Piya Milan’ (1945) and last film ‘Naseeb’ (1945). Then she got married and left films.

There was an actor Azaad in this film. His real name was Mohd Hanif. He was born in November 1916 at Delhi in a wealthy family. His father was an electrical engineer and a political leader. His elder brother was in the British Army. Hanif started motor vehicles business in Delhi. He got married also. Due to his desire to act in films, he came to Bombay. His acting career started with ‘Himalaya Ki Beti’ (1938). During this film he got to know Kalyani Bai, the singer actress. Soon they got married. While she did well in films, he was struggling in his career, without credit. In film ‘Haqdaar’ (1946), he was credited with his filmi name Azaad. Frustrated, he left films and went back to Delhi to restart his motor vehicles business. Kalyani brought him back and together they started their own production company – Azad Pictures. However, soon after partition, he and his family migrated to Pakistan. Kalyani stayed back.

There were two Kalyanis and there is always a confusion.

Kalyani Bai (1920-2009) (real name – Zarina) was an actor-singer who was trained in classical singing. She sang khayal, thumri and ghazals for All India Radio and recorded such genre of songs for HMV. This led her to a filmy career in Calcutta in 1934 as an actor-singer. After some struggle, she was employed with New Theatres and she acted in films like ‘Anaath Ashram’ (1937), ‘Mukti’ (1937), and ‘President’ (1937) in which she also sang some songs for herself.

In 1937, Kalyani Bai left New Theatres and joined Ranjit Movietone in Bombay (Mumbai). Her first film with Ranjit Movietone was ‘Toofaani Toli’ (1937). In the 40s, she appeared to have become a free-lancer, although I find that she worked in more films directed by VM Vyas of Sunrise Films than other banners. Her last film as an actor-singer was ‘Ghar’ (1945). However, she lent her voice for other actresses in films released during 1947-54. She also acted in small roles in a few films of 1970s and probably early 80s. She later married Seth Chirauddin Bakar. She had 2 sons and a daughter from him. She retired and settled in Bombay.

Kalyani Das was a playback singer who started her career in Hindi films from Calcutta with PC Barua’s ‘Jawaab’ (1942) and ended her playback singing career in Hindi films with ‘Iran Ki Ek Raat’ (1949). She also sang for a few films made in Bombay. To the best of my knowledge, she did not act in any films.

It is not so difficult to segregate ‘Kalyanis’ as both of them worked in Calcutta at different time. Kalyani Bai worked in films produced in Calcutta up to 1937 whereas Kalyani Das commenced her playback singing career from Calcutta from 1942 onward. She mostly worked for music director Kamal Dasgupta (8 out of 11 Hindi films in which she was playback singer).

‘Haqdaar’ had 9 songs. I have heard some more songs also, but as today’s song is somewhat comical, I have selected this. Name of the singer is not mentioned.

[Auth Notes: Credits – ‘Hindi Film Singers’ by Prof Yadav, Harish Raghuwanshi ji, Film Directory, MuVyz, HFGK, Film Index, Swaron Ki Yatra, Beete Kal Ke Sitaare, RMIM and my notes.]

 

Song – Haaye Khujlaane Laga Phir Mera Sar, Baap Re Baap (Haqdaar) (1946) Singer – [Unattributed], Lyrics – CM Hunar, Music – Mohammed Shafi

Lyrics (Provided by Sudhir)

haaye khujlaane laga phir mera sar baap re baap
haaye khujlaane laga phir mera sar baap re baap

haaye khujlaane laga
phir mera sar baap re baap
khair ab aati nahin
apni nazar baap re baap
hai chhuri haath mein
zaalim ke udhar baap re baap
dil dhadakta hai mera
darr se idhar baap re baap
jaan ab jaa ke bachaaun main kidhar baap re baap

haan
kya meri tarah se
hota hai yun sab ka haal
kya mohabbat mein utarti hai yun hi sab ki khaal
jootian dene ki hai jis tarah rasm e susraal
haa..aaan
kya nasibon mein hai..ai..ai..ai
us shauk ke ye hi janjaal
haan..aan
kya yun hi khijte hain sab shaam o sehar baap re baap
kya yun hi khijte hain sab shaam o sehar baap re baap
kya yun hi khijte hain sab shaam o sehar baap re baap
kya yun hi khijte hain sab shaam o sehar baap re baap

haan
ishq ka bhoot mere
sar pe subh o shaam rahe
mar ke bhi mujhko na ik roz se araam rahe
ae..ae
tarq e majnoon ka mere saamne nakaam rahe
ae..ae
pehla number hi..ee..ee
mahobbat mera naam rahe
paida naalon mein ho kuchh aisa asar baap re baap
paida naalon mein ho kuchh aisa asar baap re baap
paida naalon mein ho kuchh
paida naalon mein ho kuchh aisa asar baap re baap
aisa asar baap re baap
paida naalon mein ho kuchh aisa asar baap re baap

haaye khujlaane laga phir mera sar baap re baa..aap

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

हाय खुजलाने लगा फिर मेरा सर बाप रे बाप
हाय खुजलाने लगा फिर मेरा सर बाप रे बाप

हाय खुजलाने लगा
फिर मेरा सर बाप रे बाप
खैर अब आती नहीं
अपनी नज़र बाप रे बाप
है छुरी हाथ में
ज़ालिम के उधर बाप रे बाप
दिल धड़कता है मेरा
डर से इधर बाप रे बाप
जान अब जा के बचाऊँ मैं किधर बाप रे बाप

हाँ
क्या मेरी तरह से
होता है यूंहीं सब का हाल
क्या मोहब्बत में उतरती है यूंही सब की खाल
जूतियाँ देने की है जिस तरह रस्म ए सुसराल
हाँ॰॰आं
क्या नसीबों में है॰॰ऐ॰॰ऐ॰॰ऐ
उस शौक के ये ही जंजा;
हाँ॰॰आं
क्या यूंही खिजते हैं सब शाम ओ सहर बाप रे बाप
क्या यूंही खिजते हैं सब शाम ओ सहर बाप रे बाप
क्या यूंही खिजते हैं सब शाम ओ सहर बाप रे बाप
क्या यूंही खिजते हैं सब शाम ओ सहर बाप रे बाप

हाँ
इश्क़ का भूत मेरे
सर पे सुबहो शाम रहे
मर के भी मुझको ना इक रोज़ से आराम रहे
ए॰॰ए
तर्क ए मजनूँ का मेरे सामने नाकाम रहे
ए॰॰ए
पहला नम्बर ही॰॰ई॰॰ई
महोब्बत में मेरा नाम रहे
पैदा नालों में हो कुछ ऐसा असर बाप रे बाप
पैदा नालों में हो कुछ ऐसा असर बाप रे बाप
पैदा नालों में हो कुछ
पैदा नालों में हो कुछ ऐसा असर बाप रे बाप
ऐसा असर बाप रे बाप
पैदा नालों में हो कुछ ऐसा असर बाप रे बाप

हाय खुजलाने लगा फिर मेरा सर बाप रे बा॰॰आप


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

Blog Day : 3616 Post No. : 14416

Missing Films of 1960s – 74
– – – – – – – – – – – – – – –

In 1940, a film by the name ‘Thief Of Tatar’ was released. Then in 1955 came another film titled ‘Tatar Ka Chor’. And after another 13 years, in 1968, came the film ‘Tatar Ki Haseena’. Just like the ‘Alibaba’ of Arbian Nights and the ‘Thief Of Baghdad’, the Tatar subject also seemed to hold a special interest for Hindi film makers for some time.

The name Tatar applies to an ethnic community of people, originating from the mountains of Mongolia. Originally, these people formed nomadic tribes that moved westward from the Mongol region and over the centuries, spread out all the way to Central Asia and Eastern Europe. The name Tatar first appeared in the 5th century AD. Tatars are essentially different from Mongols; however historically, they have moved together across the Asian continent. The Tatar tribes accompanied Genghis Khan on his conquest of the central and south Asian territories. They mingled with the tribes of the Central Asia and the Turkish people. For a period of history they formed kingdoms and empires in the regions that are now known as the Central Asian republics. In fact, there continues to be a Republic of Tatarstan as part of the current Russian Federation. Currently, about 6.5 million people spreading from Mongolia, China and Siberia in the east, all the way to Poland and Slovakia in the west, claim Tatar roots and ethnicity.

Just like Genghis Khan, Taimur and Halaku (grandson of Genghis Khan) – the Mongol kings and warriors who became legends that have fascinated the historians and the literati, the stories of the Tatar tribes have held the same romanticism and their legends, tales and histories abound in the Central Asia. And thus, the interest of Hindi film makers and the production of films listed above.

Today, I introduce the 1968 film ‘Tatar Ki Haseena’ on our blog. The film is a costume drama produced under the banner of Daluat Productions and is directed by Aslam Allahbaadi. The cast of actors is listed as Nalini Chonkar, Shah Agha, Sherry, Murad, Preetam, Radhika, Heera Sawant, Jeevankala, Madhumati, Kumud Tripathi, Sadiq, Maqbool, Prince Arjun, Babu Rajpal, Siddi Baba, Anil, Vijay, Meena, Sarosh, Kiran, Raju, and Santosh etc.

The Geet Kosh lists 6 songs for this film, five of which are written by Aslam Allahbaadi and one by M Yusuf. Music direction is by S Kishan. It seems that this probably is the solitary film that Aslam Allahbaadi wrote for. Another name, simply as Aslam appears in the Geet Kosh listings but whether it is the same as the lyricist of this film, is not known definitely. S Kishan as a music director is known to the readers of this blog. He has about a dozen films to his credit in the 1960s and 70s, including four which remained unreleased. Four of his films are already represented on our blog.

Today’s selection from this film is rendered by Suman Kalyanpur. The music is a reminder of the Middle Eastern melodies. The song is an assertion of love. The protagonist, a lady, is addressing her lover, telling about the feelings of her heart – that she would readily give up her life even for him, that she is restrained and helpless and is seeking solace in his benefaction.

Only the audio of this song is available. I request other readers and friends who may have seen this film in its time, to kindly add more information about this film and this song.

‘Tatar Ki Haseena’ makes a debut on our blog today, with this song. Listen to this poignant rendition, and enjoy.

Song – Ho Gayi Tum Se Mohabbat Jaan Bhi Qurbaan Hai  (Tataar Ki Haseena) (1968) Singer – Suman Kalyanpur, Lyrics – Aslam Allahbaadi, MD – S Kishan
Suman Kalyanpur + Chorus
Chorus

Lyrics

ho gayi tum se mohabbat jaan bhi qurbaan hai
tu mera mehboob hai
tu hi mera imaan hai
ho gayi tum se mohabbat jaan bhi qurbaan hai
jaan bhi qurbaan hai

dil ke haathon aaj main majboor hoon
paas reh kar bhi main tujh se door hoon
dil ke haathon aaj main majboor hoon
aaa aaa aaaa aaa
paas reh kar bhi main tujh se door hoon
aaa aaa aaaa aaa
ishq mein mar mar ke jeena aashiqon ki shaan hai
tu mera mehboob hai
tu hi mera imaan hai
ho gayi tum se mohabbat jaan bhi qurbaan hai
jaan bhi qurbaan hai

aap ki nazr e inaayat mujh pe gar ho jaayegi
zindagi araam se meri basar ho jaayegi
aap ki nazr e inaayat mujh pe gar ho jaayegi
zindagi araam se meri basar ho jaayegi
dil mein mere bas yahi ik aakhiri armaan hai
ho gayi tum se mohabbat jaan bhi qurbaan hai
jaan bhi qurbaan hai

dil dhadakta hai mera bas aap ke aa jaane se
dil dhadakta hai mera
shamma bhi jal jaati hai parwaane ke jal jaane se
shamma bhi jal jaati hai
dil dhadakta hai mera bas aap ke aa jaane se
shamma bhi jal jaati hai parwaane ke jal jaane se
bewafaa tujh par nichhaawar aaj meri jaan hai
tu mera mehboob hai
tu hi mera imaan hai
ho gayi tum se mohabbat jaan bhi qurbaan hai

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
हो गई तुमसे मोहब्बत जान भी क़ुरबान है
तू मेरा महबूब है
तू ही मेरा ईमान है
हो गई तुमसे मोहब्बत जान भी क़ुरबान है
जान भी क़ुरबान है

दिल के हाथों आज मैं मजबूर हूँ
पास रह कर भी मैं तुझसे दूर हूँ
दिल के हाथों आज मैं मजबूर हूँ
आ आ आ आ
पास रह कर भी मैं तुझसे दूर हूँ
आ आ आ आ
इश्क़ में मर मर के जीना आशिक़ों की शान है
तू मेरा महबूब है
तू ही मेरा ईमान है
हो गई तुमसे मोहब्बत जान भी क़ुरबान है
जान भी क़ुरबान है

आप की नज़र ए इनायत मुझ पे अगर हो जाएगी
ज़िंदगी आराम से मेरी बसर हो जाएगी
आप की नज़र ए इनायत मुझ पे अगर हो जाएगी
ज़िंदगी आराम से मेरी बसर हो जाएगी
दिल में मेरे बस यही इक आखिरी अरमान है
हो गई तुमसे मोहब्बत जान भी क़ुरबान है
जान भी क़ुरबान है

दिल धड़कता है मेरा बस आप के आ जाने से
दिल धड़कता है मेरा
शम्मा भी जल जाती है परवाने के जल जाने से
शम्मा भी जल जाती है
दिल धड़कता है मेरा बस आप के आ जाने से
शम्मा भी जल जाती है परवाने के जल जाने से
बेवफा तुझ पर निछावर आज मेरी जान है
तू मेरा महबूब है
तू ही मेरा ईमान है
हो गई तुमसे मोहब्बत जान भी क़ुरबान है


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 : 3589 Post No. : 14342

Hullo Atuldom

Back to writing after a gap of 3 weeks. Lovely three weeks. Spent among the hills of North- East India and South India. Must thank my nephew for insisting that I accompany them. If the Himalayas and its snow-clad peaks are a heavenly sight so are the mountain ranges of the Nilgiris in the south – the common feature being acres of tea gardens. For the second weekend outing to the Nilgiris, I hold my son and niece responsible.

Trust humans to spoil a good thing. Where there was a lot of discipline among the locals at both places; tourists have ruined Ooty as much as say Lonavla, Khandala or Mahabaleshwar in Maharashtra. Thankfully Sikkim has not faced much tourist onslaught and so is much cleaner. The air in these hill stations are so pollution free one doesn’t feel like returning to pavilion and the reality of daily routine. I am sure our Sadanand ji will be nodding in agreement being an avid traveller and having visited many such pristine locations. Hope I am right?

More about my travels some other time, I will get straight to the topic of this post.

This post is to wish the lady with the dazzling smile a very happy birthday. Unbelievable that she turned 51 yesterday. The dancer who out-dances her co-star without meaning to and effortlessly at that. But she is not all song and dance only; she is great in exhibiting all emotions with her eyes, face and voice. Just like the heroines of yesteryear, specially Madhubala, with whom she used to be constantly compared. Yes yes. I am speaking of Madhuri Dixit (now Nene). Having made her debut in movies through the 1984 Rajshri Productions ‘Abodh’ and tasting success with ‘Tezaab’, ‘Ram Lakhan’, ‘Tridev’, etc. she made a place for herself among the top-ranked heroines of Bollywood. Her teaming with Anil Kapoor, Sunny Deol, Sanjay Dutt, Govinda, Jackie Shroff (all the reigning stars of that period) was well received by the audiences. In the later half of the 90s she also teamed successfully with the 3Khans. She was lucky to have roles written specially for her as in Prakash Jha’s ‘Mrityudand’ and MF Hussain’s ‘Gaja Gamini’.

As much as I love Madhuri and her movies with their songs and dances, there are some songs of her’s which I don’t approve of. For example, her song in the movie ‘Anjaam’ – “Athraa Baras Ki Kunwaari Kali Thi. . . Choodi Tooti Chane Ke Khet Mein” or the song from ‘Khalnayak’ – “Choli Ke Peeche Kya Hai”; and then there is ‘Mera Piya Ghar Aaya O Ram ji” in ‘Yaarana’ or even “Dhak Dhak Karne Laga” from ‘Beta’. All these songs and some more of that type, which made Madhuri Dixit a dancing-star, are full of double meanings and were lapped up by the public. But there also is a greater number of Madhuri songs which are just as popular and have more ‘decent’ lyrics. For example, “Didi Tera Devar Deewana”, and her songs from ‘Devadas’, ‘Saajan’, ‘Sangeet’ etc. (no, I am not going to list her filmography here 🙂 ). The song with this post is one such song.

It is from Rajkumar Santoshi’s 2000 release ‘Pukaar’ (making a debut on the blog).  The main cast of this film is Madhuri with Anil Kapoor and Namrata Shirodkar and a supporting cast of Om Puri, Kulbhushan Kharbanda, Rohini Hattangadi, KD Chandran, Neeraj Vora, Danny and Prabhu Deva (just for a song). It is a well-made film based on espionage in the army and had a love triangle added for spice which gives the central characters a lot of scope to showcase their ‘sacrificing attitudes’. The songs are penned by Javed Akhtar and AR Rehman is the composer. This song is sung by Shankar Mahadevan and Kavita Krishnamurty. It is a stage show to celebrate some event in the army cantonment. The song shows Madhuri decently matching steps to Prabhu Deva’s vigorous dance. Anil Kapoor, Namrata and the other members of the cast are in the audience which join in towards the song’s climax.

Wish you a very Happy Birthday Madhuri!

Song – Que Sera Sera Sera, Jo Bhi Ho So Ho (Pukaar) (2000) Singer – Shanker Mahadevan, Kavita Krishnamurthy, Lyrics – Javed Akhtar, Kaly, MD – AR Rehman
Female Chorus
Male Chorus
All Chorus

Lyrics

naujawaano
baat maano
kabhi kisi se
na pyaar karna
naujawaano
baat maano
kabhi kisi se
na pyaar karna
hey que sera sera sera
jo bhi ho so ho
hamein pyaar ka ho aasra
phir chaahe jo ho
hey que sera sera sera
jo bhi ho so ho
hamein pyaar ka ho aasra
phir chaahe jo ho

pyaar zindagi
pyaar har khushi
pyaar jisne paaya hai,
wahi dil phool jaisa khila
pyaar galti hai
pyaar dhokha hai
pyaar dhalti chhaaya hai,
dekho phir na karna gila
oo oo
pyaar zindagi
pyaar har khushi
pyaar jisne paaya hai,
wahi dil phool jaisa khila
pyaar galti hai
pyaar dhokha hai
pyaar dhalti chhaaya hai,
dekho phir na karna gila
pyaar hi dhadakano ki kahaani hai,
pyaar hai haseen daastaan
pyaar ashqon ki deta nishaani hai,
pyaar mein hai chain kahaan
pyar ki baat jisne na maani hai
uski na to zameen hai na hai aasmaan
naujawaano
baat maano
kabhi kisi se
na pyaar karna
hey que sera sera sera
jo bhi ho so ho
hamein pyaar ka ho aasra
phir chaahe jo ho
hey que sera sera sera
jo bhi ho so ho
hamein pyaar ka ho aasra
phir chaahe jo ho

pyaar jaise hai purab-pashchim
pyaar hai uttar-dakkhin,
yahaan hai pyaar hi har disha
pyaar rog hai
pyaar dard hai
pyaar tode dil ek din
ye hi hai pyaar ka silsila
oo oo
pyaar jaise hai purab-pashchim
pyaar hai uttar-dakkhin,
yahaan hai pyaar hi har disha
pyaar rog hai
pyaar dard hai
pyaar tode dil ek din
ye hi hai pyaar ka silsila
pyaar se hi to rangeen jeevan hai
pyaar se hi dil hai jawaan
pyaar kaanto ka jaise koi ban hai
pyaar se hi gam ka samaan
pyaar se jaane kyon tum ko uljhan hai
pyaar to saari duniya pe hai meharbaan
naujawaano
baat maano
naujawaano

hey que sera sera sera
jo bhi ho so ho
hamein pyaar ka ho aasra
phir chaahe jo ho
hey que sera sera sera
jo bhi ho so ho
hamein pyaar ka ho aasra
phir chaahe jo ho

na na na na naujawaano
na na na na
na na na na
na na na na
na na na na
naujawaano
na na na na
na na na na
na na na na
na na na na
na na na na
na na na na
na na na na

hey que sera sera sera
jo bhi ho so ho
hamein pyaar ka ho aasra
phir chaahe jo ho

hamein pyaar ka ho aasra
phir chaahe jo ho
hey que sera sera sera
jo bhi ho so ho
hamein pyaar ka ho aasra
phir chaahe jo ho
hey que sera sera sera
jo bhi ho so ho
hamein pyaar ka ho aasra
phir chaahe jo ho

pyaar pyaar pyaar pyaar pyaar pyaar

ok ok ok ok. . .

pyaar pyaar pyaar pyaar pyaar pyaar

hamein pyaar ka ho aasra
phir chaahe jo ho
hamein pyaar ka ho aasra
phir chaahe jo ho

hey que sera sera sera
jo bhi ho so ho
hamein pyaar ka ho aasra
phir chaahe jo ho
phir chaahe jo ho
phir chaahe jo ho
phir chaahe jo ho


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 : 3569 Post No. : 14306

#the Decade of Seventies – 1971 – 1980 #
————————————————————
# Bhoole-Bisre Geet # 66# Singer – Mukesh
———————————————–——————–

Just few days back I came across this song that I am presenting today. After listening to it I was feeling like maybe I had heard it on ‘radio’ many many years back. When I listened to it once I just kept listening to it again and again and with every new day this song is growing on me, on and on. The song is from the 1978 movie ‘Pal Do Pal Ka Saath’ and it is sung by Mukesh ji.

‘Pal Do Pal Ka Saath’ was directed by BR Ishara for Kaveri Films, Bombay. The cast of actors includes Shekhar Kapoor, Rama Vij, Shamli (New Discovery), Asit Sen, Paintal, Johny Whisky, Aarti, Tiger, Mishri Lal, Mohammad Ali, Amal Sen, Narayan Gwalani, Hameed, Sitaram, Jasbir, Prakash Joshi, Vijay Nangia, Bhaiyalal Sharma, Kashi Prasad Chaurasia and others.

This movie has four songs penned by Naqsh Lyallpuri, Yogesh, Balkavi Bairagi and Dev Kohli. Music for this movie is composed by Shyam Saagar. One song from this movie had been posted on the blog earlier in 2014 i.e. four years back and it was introduced by Sudhir ji – ‘Chupke Se Peechhe Se Aa Ke’ sung by Rafi Saab and lyrics of this song are by Dev Kohli.

As mentioned by Sudhir ji in his post this movie seems to be an ‘obscure movie’ though it contains ‘gems of songs’ (‘veritable gems’ as Sudhir ji has mentioned in his post) as we can say for the earlier song and the today’s song after listening to them. I don’t remember to have heard about this movie earlier and not gone through its information before. It was only after listening to the today’s song that I searched for its details in HFGK Vol V and also read the earlier post on the blog. This movie was passed by censor board on 07.04.1978.

Almost forty years have passed since the movie and its music had been created, however listening to its songs revives the memories of the music of those years and Mukesh ji’s singing of the many other songs for Yogesh ji. Yes, today’s song is penned by Yogesh.

Since the movie was an obscure movie I think its songs were also forgotten easily. I am not able to locate online, the other two songs of this film. As per Geet Kosh, these are solo songs in the voices of Asha Bhosle and Manna Dey. We have to search for them and need to bring them here for our listening pleasure. Till then let us listen to this wonderful composition of Shyam Saagar and savour the magic Yogesh ji’s words and Mukesh ji’s singing…

Only the audio of this song is available as of now. I would request knowledgeable readers to throw more light on this movie and its songs please.

Song – Anuraagi Mann Sab Kuchh Seh Le (Pal Do Pal Ka Saath) (1978) Singer – Mukesh, Lyrics – Yogesh, MD – Shyam Saagar

Lyrics

anuraagi mann sab kuchh sah le
anuraagi mann sab kuchh sah le
har uljhan mein
hans ke tu rah le
anuraagi mann sab kuchh sah le

ik sang tera
parichay gehra
janam janam ka ye naata re
ik sudh kho kar
besudh ho kar
geet tumhaare hi gaata re
do chehron ka tu ik darpan
anuraagi mann sab kuchh sah le

mita’ti nahin hai prem ki rekha
toofaanon ke bhi aane se
tripti adhoori
rah jaati hai
saagar ko bhi
paa jaane se
ho na ho poora tera samarpan
anuraagi mann . . .
har uljhan mein
hans ke tu rah le
anuraagi mann sab kuchh sah le

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

अनुरागी मन सब कुछ सह ले
अनुरागी मन सब कुछ सह ले
हर उलझन में
हंस के तू रह ले
अनुरागी मन सब कुछ सह ल

इक संग तेरा
परिचय गहरा
जनम जनम का ये नाता रे
इक सुध खो कर
बेसुध हो कर
गीत तुम्हारे ही गाता रे
दो चेहरों का तू इक दर्पण
अनुरागी मन सब कुछ सह ले

मिटती नहीं है प्रेम कि रेखा आ
तूफानों के भी आने से
तृप्ति अधूरी
रह जाती है
सागर को भी
पा जाने से
हो न हो पूरा तेरा समर्पण
अनुरागी मन. . .
हर उलझन में
हंस के तू रह ले
अनुरागी मन सब कुछ सह ले


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 : 3521 Post No. : 14140

Today’s song is from the 1946 film ‘Alibaba’.

The story of ‘Alibaba And The 40 Thieves‘ has been entertaining the masses of the world since the 18th century. It is a part of the ‘ Arabian Nights’ stories. These stories have been the basis of films in almost every language in every country of the world, including China. But for a few large scale films, most such films fall under stunt / action / costume films or in short C grade films.

Most of us like to watch films, be it on a TV, in a cinema hall, or through DVD. Some like old films and some like new films. Did you ever see films like, ‘Khooni Khanjar’, ‘Daghabaaz Doctor’, ‘Shaitaan Ka Paash’, ‘Chaar Chakram’, ‘Daaku Rani Talwaarwaali’, ‘Jaadu Ka Danda’, ‘Zinda Laash’, ‘Revolver Rani’, ‘Sindbad-Alibaba-Alladin’, ‘Flying Man’, ‘Fighter Sheela’, ‘Khooni Darinda’, ‘Tarzan Aur Jadugar’, ‘Tarzan Aur Jaadui Chiraag’, ‘Golden Gang’, ‘Murde Ki Jaan Khatre Mein’, or ‘Jaadui Putli’ ? I bet you may not have even heard most of these movie names. These are all stunt films or in other words ‘C’ grade films.

In India I really wonder how the classification or grading of films is done, or who is the person or the body authorised to do it. Because Censor Certificates do not label A B or C grades at all. Then how does this happen ?

My guess is that films are graded on two counts – one, the cost of production or budget and the class of stars in it and two, the class of people for whom the film is made or directed, like the rich, middle and the poor class. Whatever the basis, there is a very thin line between A and B grade films, while there is a big gulf between these two and the C grade films.

Stunt films, costume dramas, fantasy films and purely religious films are normally treated as C grade films. These film do not carry any prestige, the actors working in them are exclusive to C grade films, the production values and the budget is quite low and most important, they are ALWAYS shown in theatres situated in older parts of the town, single screens, or only for morning shows or in theatres generally frequented by lower strata of society.

In India, this is the fate of C grade films. Actually these films have everything that A and B grade films have, like story, songs, dances, fights etc., but still,the treatment given to handling of the story etc. in the films is very poor or lacking in expertise. This is a different world altogether. The set of actors is fixed, many times the composers are unheard of or they are known composers now in bad shape, the directors are typical and the production houses are exclusive to churn out such films.

It is, nevertheless, a fact that many well known and famous actors and actresses of the 40s and 50s evolved from the stunt films of yore. Examples are Jairaj and Master Bhagwan. Can you believe that this roly-poly Bhagwan Dada was a great body-builder when he started his career in stunt films in the late 1920s and 1930s ? Lalita Pawar (Amboo), Madhuri, Rampyari, Miss Moti, Sabita Devi and Sulochna (Ruby Myers) are some female examples who graduated to social films via stunt films.

Sometimes gems are found in these C grade films. Remember the famous qawwaali- Hamen To Loot Liya Mil Ke Husnwaalon Ne– which had the honour of becoming the prestigious 5000th song in this Blog ? This was from a C grade film from 1958 – ‘Al Hilal’.

In my younger days I was fond of stunt films and used to travel to theatres in old city of Hyderabad, to watch films featuring Kamran (father of famous choreographer and Director Farah Khan and director, comedian, anchor Sajid Khan), Naazi, Bhagwan and many such actors. ‘Adventures Of Captain Marvel’ (1941) and ‘Trip To Moon’ (1902) were my favourites from Hollywood’s Republic serial productions.
[Ed Note: In the early part of the twentieth century, Republic Studios was one of the main production houses in Hollywood, along with Universal, Columbia and Mascot etc. Serial productions were two reel short films, that were produced as a series – either as a comic serial (e.g. ‘The Three Stooges’ etc.) or as an action serial (e.g. ‘The Adventures Of Fu Manchu’ and ‘Commando Cody: Sky Marshals Of The Universe’ etc.)]

Today’s song under discussion is from a C grade film, ‘Alibaba’ made in 1946. Not much information is available on this film. Such C grade films generally go unnoticed. We only know that this film was made by Mohan Pictures of Ramniklal Shah (husband of actress Indurani), who was well known for making such low budget stunt films. The director of this film was his Co- Brother (साडू)- Nanubhai Vakil (husband of actress of Sarojini who was sister of Indurani and mother of actress Azra). The music was by Damodar Sharma and Ram Gopal. In the cast, only 3 names are mentioned in HFGK – namely Shanta Patel, Prakash and NA Ansari.

Recently, we learnt about a stunt film Hero-Shankar Rao Vazare. Today we will know more about another stunt actor Prakash. During the decade of 1940s, he performed in many action and stunt films.

The real name of actor Prakash was Hashmat Ullah Khan. He was born in 1914 at Gwalior, where his father was a businessman. The family was originally a Punjabi Muslim family. Hashmat studied somehow up to inter arts and left the college. He was an overactive child, interested in acting in films. Hashmat ran away to Bombay and worked in Sagar Movietone. He got a small uncredited role in film ‘Village Girl’ (1936). Not satisfied with this, he travelled to Calcutta.

In Calcutta, Hashmat worked in 3 films – Taqdeer Ka Teer’ aka ‘Prem Lakshya’ (1936), ‘Bandit Of The Air’ aka ‘Hawai Daaku’ (1936) (the first film of KN Singh as a hero; Mazhar Khan was the villain here) and ‘Dangerous Woman’ aka ‘Khatarnak Aurat’ (1938). He also got a miniscule role in New Theatre’s film ‘Abhaagin’ (1938).  Not getting what he aspired, Hashmat shifted to Delhi and worked in All India Radio as a singer. True to his nature within two years he left this job and landed in Bombay again.

It is reported that he was very arrogant, untrustworthy and a cheat of first rate; also seemingly that he was quarrelsome, a liar and short tempered. Perhaps his experiences taught him a lesson and he decided to change himself and concentrate on work seriously. This did good to him in his life. In his second stint in Bombay, first he worked in ‘Gharib Ki Ladki’ (1940), but the film got delayed and was released in 1941 only. Meanwhile he did ‘Rani Saheba’ (1940) and ‘Pyaar’ (1940) also. This time his career took a good turn. Till film ‘Gharib Ki Ladki’, he used his name Hashmat for credits, but after that he took a new name Prakash and used it till the end of his career.

A changed actor Prakash became acceptable to the industry and more assignments came his way. In all Prakash did 5 films as Hashmat and 38 films as Prakash. However, he got only action, stunt and C grade films. Once director WZ Ahmed met him and Prakash went to Shalimar Pictures in Poona to do 3 films for them, namely ‘Ek Raat’, ‘Prem Sangeet’ and ‘Mann Ki Jeet’. He was also a favourite of Master Bhagwan and appeared in many of his stunt films. The year 1946 proved to be the best year for Prakash, because he did 14 films in 1946.

After Partition he migrated to Pakistan and did few films there. He came back to India and did 3 films in the 1960s. His last film was ‘Suhaag Raat’ (1968). There is no information about him after that. May be he went back to Pakistan or died, we do not know.

The composer of today’s song – Damodar Sharma, was a name attached to stunt films of Paramount, Liberty, Ramnik Productions, Mohan Pictures etc. Starting in 1934, Damodar Sharma gave music to 41 films till 1948. After that he stopped getting films and for survival, he became assistant to composer AR Qureshi (29-4-1919 to 3-2-2000) till 1964.

Today’s song tune has been inspired (read copied) by the famous all women qawwaali – “Aahen Na Bhari, Shiqwe Na Kiye” from the film ‘Zeenat’ (1945). The tune is very similar. For this reason only this song is very melodious and worth listening to. This song is very rare.

With this post, the 1946 film ‘Alibaba’ makes its debut on our blog today.

[Author’s Note: Acknowledgments – Information for this article is taken, with thanks, from Harish Raghuwanshi ji, All India Film Directory, Who’s Who in Indian Film Industry, HFGK, MuVyz and my own notes.]



Song – Aansoo Na Girey Naale Na Kiye (Alibaba) (1946) Singer – [Unattributed], Lyrics – [Unattributed], Music – Damodar Sharma

Lyrics (Provided by Sudhir)

aansoo na girey naale na kiye
ghabra ke kaleja thaam liya
aansoo na girey naale na kiye
ghabra ke kaleja thaam liya
ghabra ke kaleja thaam liya

aansoo na girey
naale na kiye
aansoo na girey naale na kiye
ghabra ke kaleja thaam liya
ghabra ke kaleja thaam liya
ghabra ke kaleja thaam liya
toofaan sa uth’ta tha dil mein
ey..ey..ey
aaa aaa aaaaaa
aaa aaa aaa
toofaan sa uth’ta tha dil mein
par kuchh na zabaan se kaam liya
par kuchh na zabaan haan haan
par kuchh na zabaan se kaam liya
hum apni kahaani bhool gaye
jab tera kisi ne naam liya
hum apni kahaani bhool gaye
jab tera kisi ne naam liya
aansoo na girey naale na kiye
ghabra ke kaleja thaam liya

dil ke dukhde
gham ke kisse
ey..ey..ey
aaa aaa aaaaaa
aaa aaa aaa
dil ke dukhde gham ke kisse
ya hum samjhen ya wo samjhen
ya hum samjhen ya aaa haaan
ya hum samjhen ya wo samjhen..en..en
aaa aaa aaaaaa
aaa aaa aaa
majboor e mohabbat  ke dar se
alfaaz se hum azaad huye
alfaaz se hum haan haan
alfaaz se hum azaad huye
nazron ne sunaaye afsaane
aankhon se zubaan ka kaam liya
nazron ne sunaaye afsaane
aankhon se zubaan ka kaam liya
aansoo na girey naale na kiye
ghabra ke kaleja thaam liya
ghabra ke kaleja thaam liya
ghabra ke kaleja thaam liya

ab dekhne se kya hota hai
dekha karey duniya saahil se
aaa aaa aaaaaa
aaa aaa aaa
toofaan chade ab ya utrey
jo doobne waale the doobey
jo doobne waale haan haan
jo doobne waale ho ho
jo doobne waale the doobey
kashti ka sahaara jaane de
toofaan ka daaman thaam liya
kashti ka sahaara jaane de
toofaan ka daaman thaam liya
aansoo na girey naale na kiye
ghabra ke kaleja thaam liya
ghabra ke kaleja thaam liya
ghabra ke kaleja thaam liya

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
आँसू ना गिरे नाले ना किए
घबरा के कलेजा थाम लिया
आँसू ना गिरे नाले ना किए
घबरा के कलेजा थाम लिया
घबरा के कलेजा थाम लिया

आँसू ना गिरे
नाले ना किए
आँसू ना गिरे नाले ना किए
घबरा के कलेजा थाम लिया
घबरा के कलेजा थाम लिया
घबरा के कलेजा थाम लिया
तूफान सा उठता था दिल में॰॰ऐ॰॰ऐ॰॰ऐ
आss आss आsssss
आss आss आss
तूफान सा उठता था दिल में
पर कुछ ना ज़ुबान से काम लिया
पर कुछ ना ज़ुबान से हाँ हाँ
पर कुछ ना ज़ुबान से काम लिया
हम अपनी कहानी भूल गए
जब तेरा किसी ने नाम लिया
हम अपनी कहानी भूल गए
जब तेरा किसी ने नाम लिया
आँसू ना गिरे नाले ना किए
घबरा के कलेजा थाम लिया

दिल के टुकड़े
ग़म के किस्से॰॰ऐ॰॰ऐ॰॰ऐ
आss आss आsssss
आss आss आss
दिल के टुकड़े ग़म के किस्से
या हम समझें या वो समझें
या हम समझें या आं हाँ
या हम समझें या वो समझें॰॰ऐ॰॰ऐ॰॰ऐ
आss आss आsssss
आss आss आss
मजबूर ए मोहब्बत के दर से
अलफाज से हम आज़ाद हुये
अलफाज से हम हाँ हाँ
अलफाज से हम आज़ाद हुये
नज़रों ने सुनाये अफसाने
आँखों से ज़ुबान का काम लिया
नज़रों ने सुनाये अफसाने
आँखों से ज़ुबान का काम लिया
आँसू ना गिरे नाले ना किए
घबरा के कलेजा थाम लिया
घबरा के कलेजा थाम लिया
घबरा के कलेजा थाम लिया

अब देखने से क्या होता है
देखा करे दुनिया साहिल से
आss आss आsssss
आss आss आss
तूफान चढ़े अब या उतरे
जो डूबने वाले थे डूबे
जो डूबने वाले हाँ हाँ
जो डूबने वाले हो हो
जो डूबने वाले थे डूबे
कश्ती का सहारा जाने दे
तूफान का दामन थाम लिया
कश्ती का सहारा जाने दे
तूफान का दामन थाम लिया
आँसू ना गिरे नाले ना किए
घबरा के कलेजा थाम लिया
घबरा के कलेजा थाम लिया
घबरा के कलेजा थाम लिया


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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

14648

Number of movies covered in the blog

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

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