Archive for the ‘Wedding song’ Category
Saawan ki aayi bahaar re
Posted on: December 6, 2020
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4524 | Post No. : | 16084 |
Sometime in September 2019, there was an article written by Khalid Mohammed in ‘Mumbai Mirror’ which highlighted the plight of 92 years old music director and musicologist, Vanraj Bhatia. He was penniless and was struggling to meet his daily requirements including his medical expenses. He was mostly bedridden. He had not done his medical check-up for a long time due to paucity of money. To meet his daily expenses, he had started selling his old antique utensils which he had collected over a period of time.
We have heard this type of situation faced by some Hindi film artists earlier also. For instance, film artists like Chandramohan, Master Nissar, Khan Mastana, G M Durrani, Rajkumari Dubey, Sridhar Parsekar, Master Bhagwan, Parshuram, Cuckoo, Bharat Bhushan, Vimi, A K Hangal, Raj Kiran, Satish Kaul etc have gone through such abject poverty. But what is shocking is that in the 21st Century, even a person of the caliber of Vanraj Bhatia has to go through the vagaries of adverse financial conditions. And his precaurious conditions have remained unknown to most of his associates who had worked with him in the past. It was only when journalist, Editor and film director, Khalid Mohammed visited his house, the conditions of the recipient of the Lili Boulanger Memorial Fund Award (1957), National Film Award (1988) for the best music director, Sangeet Natak Akademi Award(1989) and Padma Shri Award (2012) became known.
Fortunately, within 48 hours from the article appearing in ‘Mumbai Mirror’, followed by breaking this news on social media, some of his old friends and admirers promptly raised funds for him. The Indian Performing Right Society (IPRS) chairman, Javed Akhtar also arranged to hand over a cheque to him within a couple of days of breaking the news. During the making of ‘Sardari Begum’ (1996), Vanraj Bhatia has a fight with Javed Akhtar in regard to a song for which Vanraj wanted the lyrics first and Javed Akhtar wanted the tune first. But this incidence did not affect Javed Akhtar in taking a prompt initiative in IPRS for the financial aid to this talented and intellectual musicologist.
Within a week from this news break, Dilip Tahil to whom Vanraj Bhatia gave his first break as a singer in a play, announced a book project on the life of Vanraj Bhatia which will be written by Khalid Mohammed. Amir Khan came forward to sponsor the book. Now, this is an interesting development as I feel that this is in recognition of the immense contributions Vanraj Bhatia has made in the Indian music scene which need to be brought to the notice of people in general and music admirers in particular. Many people may not be aware of his name even though some of his Hindi film songs may be known to them.
I have gone through his interviews in magazines/newspapers/digital newspapers and also on Rajya Sabha TV. Based on these interviews, I am confident that the proposed book on Vanraj Bhatia would not only turn out to be interesting one but would also generate royalty for him. He is not only an unique music director, he also seems to be an independent minded person if I read him correctly.
Vanraj Bhatia (B.31/05/1927) was born in Mumbai in a middle-class family who had shifted to Mumbai from Kutch during the period of boom in textile mills giving opportunity for business in cloth. His father was a cloth merchant. The young Vanraj was enrolled in New Era High School which was set up in 1930. The school also provided some vocational courses in addition to normal syllabus. Vanraj took the vocational course in Hindustani classical music and stood first in every year in the class.
After completion of his high school, Vanraj was enrolled in Elphinstone College with Sanskrit as an additional subject. Knowing his proficiency in Sanskrit, Vanraj’s professor was keen that he chose Sanskrit for his M.A. However, after graduation, Vanraj completed his M.A. in English literature in 1949.
During his teenage days, he had developed an interest in Western classical music. Under Dr. Manek Bhagat, he learned piano and studied the Western classical music for 4 years mastering all the works of Beethoven and Mozart. He wanted to pursue the further study in the Western classical music by going abroad. But his father was not able to financially support him. His close relatives were strongly opposed to his making music as a profession. which was seen by then in low esteem.
Finally, he got permission from his father with a condition that he would support his study abroad only for six months. Fortunately, Vanraj got scholarship to study at the Royal Academy of Music in London for 1951-54. After graduating with a gold medal in 1954, Vanraj got Rockefeller Scholarship for five years from 1954 to 1958 at Conservatoire de Paris.
The first advertising jingle Vanraj composed after returning to India in 1959 was for Shakti Mills which was produced by Durga Khote. The financial condition of Vanraj’s family was not good. He required some steady income to support the family. He took up the assignment in Delhi University as Reader in Western Musicology in 1960. He did not enjoy the work as there was no creativity. In 1964, he resigned from his post in Delhi University and returned to Mumbai to work as a full-time composer for advertising films. He did many advertising jingles which included his popular advertising jingles for Liril soap and Garden Vareli saaris.
During this period, Vanraj came into contact with Shyam Benegal who was also in the field of making advertising films. Vanraj worked for Shyam Benegal for the first time for his advertising film on Finlay Mills for which Vanraj composed advertising jingles. Both of them worked together in many advertising and documentary films. When Shyam Benegal ventured into making his first feature film ‘Ankur’ (1974), he assigned the background music to Vanraj Bhatia (it was a song-less film).
Vanraj Bhatia composed his first filmy songs in Shyam Benegal’s ‘Nishaant’ (1975). His next film. ‘Manthan’ (1976) had only one song, mero gaam kaatha paarey rendered by Preeti Sagar who used to sing for him for his advertising jingles. The song became very popular in which he experimented mixing of various dialects due to which people from Gujarat, Madhya Pradesh and Uttar Pradesh identified themselves with the song. Vanraj Bhatia became the regular collaborator with Shyam Benegal for 16 films until 2000 after which he virtually retired from the films as he had developed other interests in music.
According to Shyam Benegal, he and Vanraj Bhatia often fought during the sessions of song compositions. But at the end, the result was excellent. He created the perfect balance of Hindustani classical music and Western classical music. In an interview, Vanraj Bhatia had said that during his teenage days, he was influenced by the song compositions of R C Boral and Pankaj Mullick. According to him, they were the only music directors at that time who knew the use of harmony in their melodies through orchestration.
There is no indication in any of his interviews as to why he avoided the mainstream Hindi films or it was other way round. But he did take few mainstream Hindi films for background music such as ‘Ajooba’ (1991), ‘Beta’ (1992), ‘Damini’ (1993), ‘Ghatak’ (1996), ‘Pardes’ (1997), ‘Chinagate’ (1998) etc. The work of background music in these films gave him the opportunity and the satisfaction to showcase his talent in Western music.
Vanraj Bhatia, by and large confined himself to music direction of the parallel cinemas. In addition to working with Shyam Benegal, he has also worked with other directors of parallel cinemas such as Aparna Sen (‘36 Chowringhee Lane’, 1981), Kundan Shah (‘Jaane Bhi Do Yaaro’, 1983), Saeed Akhtar Mirza (‘Mohan Joshi Haazir Ho’, 1984), Prakash Jha (‘Hip Hip Hurray’, 1984)), Ashok Tyagi (‘Shurkhiyaan’, 1985), Govind Nihalani (‘Tamas’, 1987) etc.
In a career spanning over 5 decades, Vanraj Bhatia made significant contributions to music across all forms. He started with advertisement jingles which numbered over 6000. He had also provided music to over 50 documentaries. He has been the music director about 35 films. He has also composed music for about a dozen classical TV serials like ‘Khandaan’ (1985), ‘Yatra’ (1986), ‘Bharat Ek Khoj’ (1988), ‘Wagle Ki Duniya (1988) etc. He composed music for many plays – both Hindi and English. He has made a mark in Western classical music by cutting about a dozen each of albums on his solo piano and chamber music. He composed the spiritual music albums like ‘Indian Meditation Music’ (1999), ‘Anant’ (2001), ‘The Bhagavad Gita’ (2002), ‘The Spirit of Upanishads’ (2007) etc.
One of Vanraj Bhatia’s musical work which was very close to his heart was producing an opera, ‘Agni-Varsha’ in English, based on Girish Karnad’s Kannada play ‘Agni Mattu Male’ (1995). The first two acts were staged in Mumbai in 2017. Later, one lady, Judith Kellock did two performances in New York. The opera received good response. He was working on the third act of the opera which appears to be ready. Unfortunately, due to his medical condition, the work has remained to be staged.
Unfortunately, most people are unaware of Vanraj Bhatia’s contributions in the field of music probably because he was not associated with mainstream Hindi films.
For Vanraj Bhatia, ‘Junoon’ (1978) was his first high budget film produced by Shashi Kapoor and directed by Shyam Benegal. The high budget of the film allowed him to engage the top playback singers, Mohammed Rafi and Asha Bhosle for the first time for him besides the luxury of having a higher number of musicians than what he normally uses in low budget films. The film had 4 songs written by Amir Khusro, Jigar Muradabadi, Yogesh Praveen and 16th Century English poet, Christopher Marlowe (for English song). One song has been covered on the Blog.
I am presenting the 2nd song, a kajri, ‘saawan ki aayi bahaar re’ written by Yogesh Praveen and set to music by Vanraj Bhatia. The record version has 4 stanzas with orchestration, rendered by Asha Bhosle. The sound track version in the film has first, second and fourth stanzas of which first two stanzas are sung by Varsha Bhosle (Asha Bhosle’s daughter) without orchestration. Varsha Bhosle’s part of the song is picturised on Dipti Naval while Nafisa Ali is helping her in swinging. Jennifer Kapoor and Sushma Seth are sitting on the ground. The second stanza is again repeated by Asha Bhosle in the film in a different situation. She also sings the 4th stanza in another situation.
Although it is a ‘saawan’ song, it is also presented as ‘pre-marriage’ song in the second stanza and ‘separation’ song in the 4th stanza in the film. The 3rd stanza has not been included in the filmy version.
Acknowledgements of sources for the article:
Table border=”1″>
Audio Clip:
Video Clip:
Song-Saawan ki aayi bahaar re (Junoon)(1978) Singer-Asha Bhonsle, Lyrics-Yogesh Praveen, MD-Vanraj Bhatia
Lyrics (Based on Audio Clip)
ghir aayi kaari ghata matwaari
ghir aayi kaari ghata matwaari
saawan ki aayi bahaa aar re
saawan ki aayi bahaa aar re
bela chameli ki kaliyaan chatak gayin
bela chameli ki kaliyaan chatak gayin
mahkat ban ki bayaa aar re
mahkat ban ki bayaa aar re
saawan ki aayi bahaar re
saawan ki aayi bahaar re
khil gaye hatheli pe mehandi ke boote
khil gaye hatheli pe mehandi ke boote
lachkat jhoolan ki daal re
dhaani chunar morey sar pe na thahare
dhaani chunar morey sar pe na thahare
choodiyaan karen jhankaa aar re
choodiyaan karen jhankaa aar re
saawan ki aayi bahaar re
saawan ki aayi bahaar re
baadal beech bijuriya chamke ae
baadal beech bijuriya chamke
dhoondoon mein balma ke baakh(?) re
aadhi rain jab boley papeeha
aadhi rain jab boley papeeha
jiyara pe lagte kataar re
jiyara pe lagte kataar re
saawan ki aayi bahaar re
saawan ki aayi bahaar re
angana mein bheeji atariya pe bheeji
angana mein bheeji atariya pe bheeji
bheeji sajanwa ki sej re
bheej gayi mori haay kori chunariya
bheej gayi mori haay kori chunariya
rimjhim ras ki phuhaa aar re
rimjhim ras ki phuhaa aar re
saawan ki aayi bahaar re
saawan ki aayi bahaar re
saawan ki aayi bahaar re
Shaadi mubaarak bole shehnaayi
Posted on: November 13, 2020
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4501 | Post No. : | 16038 | Movie Count : |
4386 |
I am not well-informed about Hindi films of 1980s and beyond, except about those that I have watched in the theatres or on Video sharing platforms. Between the late 1960s and early 1970s, I used to watch almost one film every week either on Saturdays or Sundays. My ‘over-exposure’ to films, mostly masala films, during this period created an aversion in me that discuraged me from watch theese films in the later years. Probably the theory of diminishing marginal utility was being applied to me. Over a period of time, my quota of watching films came down from once a week to 2-3 films a year which is still in force. Because of this, I have missed many entertaining and a few quality films released especially in 80s and 90s.
It may sound strange but until yesterday, I was not aware that there was a film titled ‘Swati’ (1986). I do not recall having heard about this film from any one of my relatives and friends who have interest in Hindi films. What attracted me to know more about this film was that first, it was a film from a well-known banner, Prasad Productions. Secondly, its ensemble of star cast included Shashi Kapoor, Sharmila Tagore, Meenakshi Seshadri, Madhuri Dixit, Vinod Mehra, Sarika, Akbar Khan among others. I was not aware that Meenakshi Seshadri and Madhuri Dixit had worked together in a film. I came to know later that both of them had earlier worked together in ‘Aawaara Baap’ (1985).
From the synopsis of the film’s story, it appeared that Shashi Kapoor and Sharmila Tagore worked in this film in the role of an elderly couple. The combination of the actors under a well-known film production banner motivated me to watch the film, the DVD of which was available on-line. The film was a remake of a Telugu film of the same title which was released in 1984 and became the box office hit. The film was also remade in Kannada as ‘Usha’ (1986). The story of the film is as under:
Dr. Rajendra (Shashi Kapoor) is a doctor who runs a nursing home. Sharda (Sharmila Tagore) works as a nurse with Rajendra. An event in her life has happened which has forced her to live a life in anonymity and as a single mother (I will not go into the details). She has a grown up daughter, Swati (Meenakshi Seshadri). She is under the impression that her father has deserted her mother which had made her a feminist and outspoken. She hates hypocrisies and prejudices which dominate our society.
During one of her argumentative encounters with a group of males, Swati meets Ram Mohan (Akbar Khan) who is associated with some leftist group and always seen with writing slogans on the walls. After the initial hate relations with Ram Mohan, Swati falls in love with him. Dr. Rajendra has been a widower with a grown-up daughter, Anandi (Madhuri Dixit), a tomboyish type girl. She is in love with Kapil (Raja Bundela) simply because her idol is cricketer, Kapil Dev. She is also fond of asking her father as well Kapil puzzles to solve.
Swati thinks that after her marriage with Ram Mohan, her mother will be left alone. She needs a companion. Swati knows that her mother and Dr Rajendra like each other but due to societal constraints, both can not think of upgrading their fondness into a life partnership. Swati persuades her mother and Dr Rajendra to get married. His daughter, Anandi is happy that she would get a mother. The marriage takes place and Swati and her mother shift to Dr. Rajendra’s house. Things are now well settled. Both Swati and Anandi gel very well too. Anandi’s marriage with Kapil is also fixed.
One day, Swati finds an old man lying on the road unconscious. She takes him to Dr. Rajendra’s nursing home. The patient come into consciousness and tells his life story to Swati. It becomes apparent that he is Satya Prakash, Sharda’s fiancé and Swati’s real father. If the real story comes into light, it may affect the marriage of Anandi with Kapil. It is also likely to affect the relations of Rajendra and Sharda. But Swati steers the unforeseen problem taking into the confidence Rajendra after revealing him the real story and taking a promise from him that he would not reveal his patient’s identity to her mother. Satya Prakash knows that he has no chance of survival. His wish is to see Sharda for the last time.
On the day of marriage of Anandi with Kapil, Both Rajendra and Swati arrange to bring Satya Prakash to the marriage venue. He gets to see Sharda during the marriage ceremony from a balcony. After the kanyadan ceremony is over, Satya Prakash is happy to see Sharda. With happiness displayed over his face, Satya Prakash dies.
I found the film in keeping with tradition of Prasad Productions which is known for producing films in the genre of family drama. In the standard of 1980s, the story of the film is bold and broad-minded. From the title of the film, it is apparent that it is Meenakshi Seshadri’s film. I have not seen any film of Meenakshi Seshadri. So, it is the first time I am watching her performance in this film which is outstanding. She has displayed all the moods of her character in the film – from a hard-core feminist, a kind hearted daughter for her mother as well for those affected by the prejudice towards them in the society. Her best scene is the poignant moments in the film when she has to solve the issues arising out of a sudden appearance of real father. Madhuri Dikshit as a step sister of Meenakshi Seshadri has a light comical role which she performs very well. She has a lively presence in the film. Shashi Kapoor and Sharmila Tagore in the role of elderly couple look elegant. Dialogues by Rahi Masoom Reza is catchy.
Despite having good share of melodramatic contents, the film is not a tear-jerker. I found the film absorbing.
‘Swati’ (1986) had 5 songs none of which has been represented in the Blog. I present the first song from the film ‘shaadi mubaarak bole shehnaayi’ to appear on the Blog. The song is sung by Anuradha Paudwal and Alka Yagnik. The words are that of Anand Bakshi which are set to music by Laxmikant-Pyarelal. It is a marriage song picturised on Meenakshi Seshadri and Madhuri Dixit on the occasion of the marriage of their parents Sharmila Tagore and Shashi Kapoor.
With this, ’Swati’ (1986) makes its debut on the Blog.
Video Clip:
Song-Shaadi mubaarak bole shehnaayi (Swati)(1986) Singers-Anuradha Paudwal, Alka Yagnik, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal
Both
Lyrics
shaadi ke din mummy daddy sun lo baat hamaari
ek dooje ke aaj huye tum chhod ke duniya saari
samjhe
shaadi mubaarak bole shehnaayi
o bole shehnaayi
badhaayi badhaayi badhaayi
shaadi mubaarak bole shehnaayi
badhaayi badhaayi badhaayi
dulhe ka sehra
dulhan ki doli
gaaye pawan purwaayi ee
badhaayi badhaayi badhaayi
shaadi mubaarak bole shehnaayi
badhaayi badhaayi badhaayi
ye baat hai yaad rakhne waali
ye shaadi sab shaadiyon se niraali
ye baat hai yaad rakhne waali
ye shaadi sab shaadiyon se niraali
jannat mein jode bante hain sabke
ye jodi humne banaayi ee
banaayi banaayi banaayi
shaadi mubaarak bole shehnaayi
badhaayi badhaayi badhaayi
aapas mein tum na
takraar karna
ik doosre se bahut pyaar karna
aapas mein tum na
takraar karna
ik doosre se bahut pyaar karna
koi na maane
koi na jaane
tum aise karna ladaayi
ladaayi ladaayi ladaayi
shaadi mubaarak bole shehnaayi
badhaayi badhaayi badhaayi
jeete raho tum
hanste raho tum
doodho nahaao phoolo phalo tum
jeete raho tum
hanste raho tum
doodho nahaao phoolo phalo tum
dil se dua lab pe aayi
badhaayi badhaayi badhaayi
shaadi mubarak bole shehnaayi
o bole shehnaayi
badhaayi badhaayi badhaayi
dulhe ka sehra
dulhan ki doli
gaaye pawan purwaayi ee
badhaayi badhaayi badhaayi
shaadi mubaarak bole shehnaayi
badhaayi badhaayi badhaayi
badhaayi badhaayi badhaayi
badhaayi badhaayi badhaayi
Chhoone na doongi main haath re
Posted on: November 4, 2020
This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4492 | Post No. : | 16019 |
Today (4 November 2020) is the 91st birth anniversary of Jaikishan Dayabhai Panchal (4 November 1929 – 12 September 1971), one half of the legendary Shankar Jaikishan musical duo. The golden era of HFM started in 1949. Shankar Jaikishan were there right from the beginning. They ruled the roost in HFM for two decades. After that, the duo got separated in unfortunate circumstances, with the untimely death of Jaikishan at the the age of just 41. It is unbelievable but true that he had started at the age of 19 and he had achieved so much by the time he was 41 that the body of his work has gone on the become some of the best and immortal music that the golden era of HFM had given us.
After the demise of Jaikishan, Shankar continued giving music with the same brandname of Shankar Jaikishan. But the music created without Jaikishan was not the same.
Here is the full filmography of Shankar Jaikishan as music directors in Hindi movies :-
| Movie name | Year | Songs covered in the blog | Songs in the movie | |
|---|---|---|---|---|
| Barsaat | 1949 | 11 | 11 | |
| Aawaara | 1951 | 11 | 11 | |
| Baadal | 1951 | 8 | 8 | |
| Kaali Ghata | 1951 | 6 | 6 | |
| Nageena | 1951 | 8 | 8 | |
| Daag | 1952 | 9 | 9 | |
| Parbat | 1952 | 7 | 7 | |
| Poonam | 1952 | 8 | 8 | |
| Aah | 1953 | 9 | 9 | |
| Aas | 1953 | 7 | 7 | |
| Aurat | 1953 | 9 | 9 | |
| Boot Polish | 1953 | 7 | 7 | |
| Naya Ghar | 1953 | 7 | 7 | |
| Patita | 1953 | 6 | 6 | |
| Shikast | 1953 | 11 | 11 | |
| Baadshah | 1954 | 8 | 8 | |
| Mayurpankh | 1954 | 6 | 6 | |
| Pooja | 1954 | 9 | 9 | |
| Seema | 1955 | 8 | 8 | |
| Shri 420 | 1955 | 8 | 8 | |
| Basant Bahaar | 1956 | 9 | 9 | |
| Chori Chori | 1956 | 9 | 9 | |
| Halaaku | 1956 | 8 | 8 | |
| Kismat Ka Khel | 1956 | 7 | 7 | |
| New Delhi | 1956 | 9 | 9 | |
| Patraani | 1956 | 9 | 10 | |
| Raajhath | 1956 | 11 | 11 | |
| Begunaah | 1957 | 6 | 6 | |
| Kathputli | 1957 | 7 | 7 | |
| Baaghi Sipaahi | 1958 | 8 | 8 | |
| Yahudi | 1958 | 7 | 7 | |
| Anaadi | 1959 | 7 | 7 | |
| Chhoti Behan | 1959 | 9 | 9 | |
| Kanhaiyya | 1959 | 8 | 8 | |
| Love Marriage | 1959 | 8 | 8 | |
| Main Nashe Mein Hoon | 1959 | 9 | 9 | |
| Sharaarat | 1959 | 9 | 9 | |
| Ujaala | 1959 | 8 | 8 | |
| College Girl | 1960 | 7 | 7 | |
| Dil Apna Aur Preet Paraayi | 1960 | 7 | 7 | |
| Ek Phool Chaar Kaante | 1960 | 9 | 9 | |
| Jis Desh Mein Ganga Behti Hai | 1960 | 11 | 11 | |
| Singapore | 1960 | 8 | 8 | |
| Aas Ka Panchhi | 1961 | 7 | 7 | |
| Boyfriend | 1961 | 7 | 7 | |
| Jab Pyaar Kisi Se Hota Hai | 1961 | 9 | 9 | |
| Junglee | 1961 | 7 | 7 | |
| Krorepati | 1961 | 9 | 9 | |
| Roop Ki Raani Choron Ka Raaja | 1961 | 9 | 9 | |
| Sasuraal | 1961 | 8 | 8 | |
| Aashiq | 1962 | 8 | 8 | |
| Asli Naqli | 1962 | 7 | 7 | |
| Dil Tera Deewaana | 1962 | 7 | 7 | |
| Hariyaali Aur Raasta | 1962 | 9 | 9 | |
| Professor | 1962 | 6 | 6 | |
| Rangoli | 1962 | 9 | 9 | |
| Dil Ek Mandir | 1963 | 7 | 7 | |
| Ek Dil Sau Afsaane | 1963 | 7 | 7 | |
| Hamraahi | 1963 | 8 | 8 | |
| Aayi Milan Ki Bela | 1964 | 7 | 7 | |
| Apne Huye Paraaye | 1964 | 7 | 7 | |
| April Fool | 1964 | 7 | 7 | |
| Beti Bete | 1964 | 9 | 9 | |
| Rajkumar | 1964 | 7 | 7 | |
| Saanjh Aur Sawera | 1964 | 7 | 7 | |
| Sangam | 1964 | 8 | 8 | |
| Zindagi | 1964 | 11 | 12 | |
| Aarzoo | 1965 | 7 | 7 | |
| Gumnaam | 1965 | 8 | 8 | |
| Jaanwar | 1965 | 7 | 7 | |
| Amrapaali | 1966 | 5 | 5 | |
| Badtameez | 1966 | 7 | 7 | |
| Gaban | 1966 | 7 | 7 | |
| Love in Tokyo | 1966 | 8 | 8 | |
| Pyaar Mohabbat | 1966 | 9 | 9 | |
| Suraj | 1966 | 7 | 7 | |
| Teesri Kasam | 1966 | 12 | 12 | |
| Aman | 1967 | 7 | 7 | |
| An Evening in Paris | 1967 | 9 | 9 | |
| Around the World | 1967 | 9 | 9 | |
| Chhoti Si Mulaaqaat | 1967 | 7 | 7 | |
| Deewaana | 1967 | 9 | 9 | |
| Gunaahon Ka Devta | 1967 | 6 | 7 | |
| Hare Kaanch Ki Choodiyaan | 1967 | 6 | 6 | |
| Laat Saahab | 1967 | 6 | 6 | |
| Raat Aur Din | 1967 | 9 | 9 | |
| Brahmchaari | 1968 | 7 | 7 | |
| Duniya | 1968 | 6 | 6 | |
| Jhuk Gaya Aasmaan | 1968 | 7 | 7 | |
| Kanyaadaan | 1968 | 7 | 7 | |
| Mere Huzoor | 1968 | 7 | 7 | |
| Sapnon Ka Saudaagar | 1968 | 6 | 6 | |
| Shikaar | 1968 | 6 | 6 | |
| Kahin Aur Chal | 1968 | 6 | 6 | |
| Bhai Bahan | 1969 | 2 | 7 | |
| Chanda Aur Bijli | 1969 | 3 | 6 | |
| Jahaan Pyaar Miley | 1969 | 6 | 6 | |
| Prince | 1969 | 7 | 7 | |
| Pyaar Hi Pyaar | 1969 | 4 | 6 | |
| Sachchaai | 1969 | 6 | 6 | |
| Shatranj | 1969 | 4 | 8 | |
| Tumse Achcha Kaun Hai | 1969 | 7 | 7 | |
| Umang | 1969 | 6 | 6 | |
| Yakeen | 1969 | 5 | 5 | |
| Bhai Bhai | 1970 | 3 | 6 | |
| Bombay Talkie | 1970 | 1 | 4 | |
| Dharti | 1970 | 7 | 7 | |
| Mera Naam Joker | 1970 | 12 | 12 | |
| Pagla Kahin Ka | 1970 | 6 | 6 | |
| Pehchaan | 1970 | 8 | 8 | |
| Tum Haseen Main Jawaan | 1970 | 4 | 6 | |
| Albelaa | 1970 | 5 | 5 | |
| Andaaz | 1971 | 8 | 8 | |
| Balidaan | 1971 | 3 | 6 | |
| Duniyaa Kyaa Jaane | 1971 | 1 | 7 | |
| Ek Naari Ek Brahmchaari | 1971 | 2 | 5 | |
| Elaan | 1971 | 3 | 5 | |
| Jaane Anjaane | 1971 | 7 | 7 | |
| Jwaala | 1970 | 1 | 8 | |
| Jawaan Mohabbat | 1971 | 8 | 8 | |
| Kal Aaj Aur Kal | 1971 | 4 | 6 | |
| Main Sundar Hoon | 1971 | 6 | 6 | |
| Naadaan | 1971 | 6 | 6 | |
| Parde Ke Peeche | 1971 | 2 | 6 | |
| Patanga | 1971 | 8 | 8 | |
| Preetam | 1971 | 6 | 6 | |
| Seema | 1971 | 5 | 6 | |
| Yaar Mera | 1971 | 2 | 5 | |
| Aan Baan | 1972 | 6 | 6 | |
| Aankhon Aankhon mein | 1972 | 6 | 6 | |
| Bandagi | 1972 | 2 | 6 | |
| Beimaan | 1972 | 3 | 7 | |
| Dil Daulat Duniya | 1972 | 4 | 5 | |
| Jungle Mein Mangal | 1972 | 3 | 7 | |
| Laal Pathar | 1972 | 6 | 7 | |
| Naina | 1972 | 5 | 7 | |
| Rivaaz | 1972 | 2 | 6 | |
| Aaj Ki Taaja Khabar | 1973 | 1 | 5 | |
| Archana | 1973 | 1 | 6 | |
| Chori Chori | 1973 | 1 | 6 | |
| Daaman Aur Aag | 1973 | 1 | 5 | |
| Door Nahin Manzil | 1973 | 3 | 5 | |
| Pyaar Ka Rishta | 1973 | 5 | ||
| Chhote Sarkaar | 1974 | 4 | 4 | |
| International Crook | 1974 | 6 | ||
| Insaaniyat | 1974 | 1 | 3 | |
| Reshan Ki Dori | 1974 | 3 | 6 | |
| Tarzan Mera Saathi | 1974 | 2 | ||
| Vachan | 1974 | 6 | 6 | |
| Do Jhooth | 1975 | 2 | 6 | |
| Neelma | 1975 | 3 | ||
| Saazish | 1975 | 5 | ||
| Sanyaasi | 1975 | 5 | 9 | |
| Dhoop Chhaaon | 1977 | 2 | 5 | |
| Duniyadaari | 1977 | 2 | 6 | |
| Mera Vachan Geeta Ki Kasam | 1977 | 1 | 5 | |
| Mehfil | 1978 | 2 | 5 | |
| Atmaaraam | 1979 | 2 | 5 | |
| Ganga Aur Geeta | 1979 | 4 | ||
| Salaam Memsaab | 1979 | 1 | 7 | |
| The Gold Medal | 1979 | 6 | ||
| Garam Khoon | 1980 | 3 | 5 | |
| Chorni | 1981 | 1 | 6 | |
| Naari | 1981 | 6 | ||
| Eent Ka Jawaab Patthar | 1982 | 6 | ||
| Film Hi Film | 1983 | 3 | ||
| Paapi Pet Ka Sawaal Hai | 1984 | 7 | ||
| Inteqaam Ki Aag | 1986 | 4 | ||
| Kaanch Ki Deewaar | 1986 | 7 | ||
| Gori | 1991 | 7 | ||
| Love in Bombay | 2013 | 1 | 6 | |
| 985 | 1200 |
Overall, Shankar Jaikishan composed about 1200 songs in all. 985 of these songs, including bulk of their golden era compositions from 1949 till early 1970s are already covered in the blog. The gave music in 169 movies. 112 of these movies have already been YIPPEED in the blog.
As a tribute of Jaikishan, here is a song from “Zindagi”(1964). It is one of the few unYIPPEED movies of Shankar Jaikishan from the golden era. This movie was directed by Ramanand Sagar for Gemini , Madras. This “social” movie had Vyjyanti Mala, Rajendra Kumar, Raj Kumar, Mehmood, Jayant, Jeewan, Kanhaiyalal, Dhumal, Hiralal, Master Shahid, Prithviraj Kapoor, Helen, Leela Chitnis, Mumtaz Begam, Pushpawalli etc in it.
The movie had twelve songs in it. Eleven of these songs have been covered in the past. Here is the twelfth and final song from the movie.
This song is sung by Lata and Asha Bhonsle. Hasrat Jaipuri is the lyricist.
The song is picturised as a synchronised mujra dance song at a wedding reception. I am unable to identify the two female dancers. I request our knowledgeable readers to help identify them.
The picturised version is partial. The audio version is longer. Still, the picturised version has a stanza that is not there in the audio version.
With this song, all the twelve songs from “Zindagi”(1964) are covered in the blog and the movie joins the list of movies that have been YIPPEED in the blog.
Video
Audio
Song-Chhoone na doongi main haath re (Zindagi)(1964) Singers-Lata, Asha Bhonsle, Lyrics-Hasrat Jaipuri, MD-Shankar Jaikishan
Lyrics
chhoone na doongi main haath re
najariyon se dil bhar doongi
chhoone na doongi main haath re
najariyon se dil bhar doongi
baithhi rahoongi saari raat re
najariyon se dil bhar doongi
baithhi rahoongi saari raat re
najariyon se dil bhar doongi
main tumhaari hoon
mujhe paas bulaa kar dekho
meri raahon mein zara khud ko mitaa kar dekho
apne daaman pe koi aanch na aane doongi
chaahe har din mujhe pehlu mein bithhaa kar dekho
aa aa aa aa
aa aa aa aa
aa aa aa aa
aa aa
aage badhe na koi baat re
najariyon se dil bhar doongi
chhoone na doongi main haath re
najariyon se dil bhar doongi
baithhi rahoongi saari raat re
najariyon se dil bhar doongi
meri mehfil mein ye mat aane chale aate hain
chhod(?) kar shamma ko parwaane chale aate hain
main wo baazi hoon jise koi na jeeta ab tak
khelne phir bhi ye deewaane chale aate hain
aa aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa aa
khaayenge ye sab maat re
najariyon se dil bhar doongi
chhoone na doongi main haath re
najariyon se dil bhar doongi
baithhi rahoongi saari raat re
najariyon se dil bhar doongi
dil ki hasrat na kabhi dil se nikalne doongi
pyaar kaa koi bhi jaadu ko na chalne dungi
ishq ki aag badi tez hai humne maanaa
dil ke moti ko main hargiz na pighalne doongi
aa aa aa aa
aa aa aa aa
hoti rahegi mulaakaat re
najariyoo se dil bhar doongi
chhoone na doongi main haath re
najariyon se dil bhar doongi
baithi rahoongi saari raat re
najariyo se dil bhar doongi
Sasuraal mein hogi tu akeli
Posted on: September 16, 2020
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog.This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4443 | Post No. : | 15891 |
In my last post on the Blog, I had written about Mohana Cabral, the dancer who had ruled Hindi film industry during 1949-55. After writing this post, I thought that I should do, more or less, a similar exercise on another well- known dancer who was one of the much sought-after dancers during 1955-60, now almost forgotten. She had worked in the films of big banners like R.K. Films, Navketan Films Guru Dutt Films, Filmistan etc. The dancer is Sheila Vaz. And what a coincidence! Both Mohana and Sheila Vaz had Goan background. When Mohana ‘vacated her seat’ from Hindi films in 1955, Sheila Vaz stepped in to fill the vacant seat in 1955.
While Mohana came from theatre background and became dancer in Hindi films, Sheila Vaz came from a dancing background having learnt dancing, especially folk dancing during her teenage days in Mumbai. But unlike Mohana, Sheila Vaz had tough competitions from reigning dancers like Cuckoo, Roopmala and the emerging dancers like Helen, Kumkum, Minoo Mumtaz etc. But Sheila Vaz created a niche for herself among her contemporary dancers in Hindi films. Like Mohana who bid adieu to Hindi films in 1955 after her marriage, Sheila Vaz too left Hindi films in 1960 after her marriage and remained in Mumbai as a housewife keeping aloof from the Hindi film industry.
I could not get much information about Sheila Vaz on the internet or articles in the newspapers/film magazines as to her background, upbringing and as to how she got associated with Hindi films. Some bare information about Sheila was available in an article ‘Dances with Sheila’ written by Karan Bali which appeared in upperstall.com. The article was based on an interview of Sheila Vaz conducted by him in 2009. Since he had interviewed her for his project on the golden age of Hindi cinema, he shared only some background information and her dance songs in the article.
Sheila Vaz’s family hailed from Goa. She was born on October 18, 1934 in Dadar, Mumbai. Her schooling was completed in Mumbai. Simultaneously, she learnt dances especially Indian folk dances. Initially, she had to face some resistance from the family who were against her joining films but eventually she got permission to dance in Hindi films. She began her filmy career with Kishore Sahu’s ‘Mayur Pankh’ (1954) as dancer though Kidar Sharma’s ‘Gunaah’ (1953) was released first. [According to me, she seems to have acted as a chorus dancer in Kidar Sharma’s ‘Shokhiyaan’ (1951) followed by a full-pledged dancer in ‘Maa’ (1952)]. In the interview, Sheila Vaz had said that she was extremely fortunate enough to have worked with legends like Kidar Sharma, Raj Kapoor and Guru Dutt. Her active years in Hindi film industry was during 1955-60. She got married sometime in 1960 after which she quit her filmy career. After marriage, she became Rama Lakhanpal.
Since Sheila Vaz could neither read or understand Hindi, she was given the songs in Roman script and explained their meaning so that she would know what expressions to give. One of many interesting anecdotes revealed during the interview was the shooting of the song ‘leke pehla pehla pyaar’ from CID, which was choreographed by Zohra Sehgal. The song was shot at Worli Sea face and was completed in two days.
I have been working on the filmography of Sheila Vaz and on the songs picturised on her in Hindi films. But I found collating her filmography somewhat a hard task. The reasons were that in some films, she was not accredited. And if accredited, her name appeared as ‘Sheila Vaz’, ‘Sheela Vaz’. ‘Shela Vaz’, ‘Shila Vaz’ or simply ‘Sheela’. In this context, Sudhir ji helped me by sending a list of her films by culling out information from HFGK which has listed 61 films between 1955 to 1961. I compared the HFGK list with my list which I had compiled from checking on the internet with different spellings of Sheila Vaz and also from our Blog which has tagged her songs under the category ‘Sheila Vaz Dance Songs’. With these, my revised list merging with HFGK list provided by Sudhir ji came to a whooping 70 films in about 6 years of her Hindi film career.
Year-wise details of Sheila Vaz’s 70 films are as under:
1952 (1): Maa
1954 (1): Mayur Pankh
1955 (4): House No.44, Sardaar, Shree 420, Tees Maar Khan.
1956 (8): Anokha Jungle, Basre Ki Hoor, CID, Durgesh Nandini, Jallad, Kaarwaan. Patraani, Shatranj.
1957 (23): Abhimaan, Agra Road, Bade Sarkaar, Bansari Bala, Begunaah, Ek Saal, Hill Station, Johny Walker, Maya Nagri, Mirza Sahibaan, Miss India, Mr. X, Nausehrwaan-e-Adil, Pawan Putra Hanuman, Ram Hanuman Yudha, Sant Raghu, Sati Pareeksha, Shaahi Baazar, Sharada, Silver King, Tumsa Nahi Dekha, Ustaad, Yahudi Ki Ladki.
1958 (9):Chaubees Ghante, Hathkadi, Light House, Mr. Qartoon MA, Paravrish, Raj Sinhaasan, Sawera, Solva Saal, Taqdeer.
1959 (11): Bus Conductor, Chaand, Chhoti Bahen, Guesh House, Jagga Daaku, Jaagir, Kaagaz Ke Phool, Madaari, Madhu, Naya Sansaar, Samraat Prithviraj Chauhan.
1960 (8): Bade Ghar Ki Bahu, Bahaana, Duniya Jhukti Hai, Kala Aadmi, Laal Quila, Manzil, Miyan Biwi Razi, Superman.
1961 (5): Batwaara, Chhote Nawab, Modern Girl, Ramlila, Ramu Dada.
Our Blog have listed 33 songs picturised on Sheila Vaz under the category Sheila Vaz dance songs for which video clips are available to watch. There would have been more of her dance songs if the VCDs/DVDs of her other films were available on video sharing platforms. I have listed some of her popular dance songs with links below:
sach keh den gar bura na maano – ‘Maa’ (1952)
tandaana tandaana tandaana – ‘Mayur Pankh’ (1954)
ramaiyya vastavaiyya – ‘Shree 420’ (1955)
leke pahla pahla pyaar – ‘CID’ (1956)
thandi thandi hawa pooche unka pataa – ‘Johny Walker’ (1957)
jaane kaisa jaadoo kiya re – ‘Parvarish’ (1958)
akeli mujhe chhod na jaana – Madaari’ (1959)
suna hai jab se mausam hai pyaar ke kaabil – ‘Ramu Dada’ (1960)
With 70 films to her credit in a short filmy career of 6 years, Sheila Vaz was in great demand for her dance songs. I have watched almost all of her dance songs for which video clips are available. One thing comes out clearly from her dance songs is that she has an electrifying presence in almost all her dance songs. For example, in dil ka haal sune dilwaala, though Sheila Vaz presence in the song is less than one minute out of 5 minutes of song, when she dances with Raj Kapoor, the attention of the audience would be more on her rather than on Raj Kapoor. Similarly, in the song, thandi thandi hawa pooche unka pataa, in my view, Sheila Vaz outperformed Shyama. When the old timers listen to the songs like leke pahla pahla pyaar, they are likely to remember more of Sheila Vaz though Dev Anand and Shakila were also present in the song sequence.
On the basis of my searches, I think only 3 dance songs of Sheila Vaz for which video clips are available are remained to be covered in the Blog. Of the three songs, I present one of her dance songs, ‘sasuraal mein hogi tu akeli’ from the film, ‘Mirza Saahibaan’ (1957). The song is sung by Shamshad Begum and picturised on Sheila Vaz. The song is written by Verma Malik which is set to music by Sardul Singh Kwatra. The audio clip has a shorter version of the song without the second stanza of the video clip.
This song ia probably based on a Punjabi traditional pre-wedding song. And what a guidance to the ‘would be bride’ from her friends!
ban jayiyo na saas ki cheli
saheli zara dat ke rahiyo
Enjoy the dance song.
Video Clip (Longer)
Audio Clip:
Song-Sasuraal mein hogi tu akeli (Mirza Saahibaan)(1957) Singer-Shamshad Begam, Lyrics-Verma Malik, MD-Sardul Kwatra
Chorus
Lyrics(Based on Video Clip)
akadi to akadi leke aaya kakdi
gupchup khaane laga saari
Razia Saeeda aur Fatima ko chhod kar
aayi hai Julekha sarkaari
sasuraal mein tu hogi akeli
saheli zara dat ke rahiyo
teri ulfat hai nayi naveli
saheli zara dat ke rahiyo
sasuraal mein tu hogi akeli
saheli zara dat ke rahiyo
teri ulfat hai nayi naveli
saheli zara dat ke rahiyo
ban jayiyo na
ho ban jayiyo na saas ki cheli
saheli zara dat ke rahiyo
teri ulfat hai nayi naveli
saheli zara dat ke rahiyo
har raat nayi
har baat nayi
har raat nayi ji har baat nayi
ik baat mein sau sau baat nayi ji
ik baat mein sau sau baat nayi
wo raat bhi hogi paheli
haay
wo raat bhi hogi paheli
saheli zara dat ke rahiyo
teri ulfat hai nayi naveli
saheli zara dat ke rahiyo
dildaar mila
tujhe pyaar mila
dildaar mila ji tujhe pyaar mila
gharbaar mila sansaar mila ji
gharbaar mila sansaar mila
mili balam ki oonchi haveli
haay mili balam ki oonchi haveli
saheli zara dat ke rahiyo
teri ulfat hai nayi naveli
saheli zara dat ke rahiyo
phoolon mein pali
naazuk si kali
phoolon mein pali naazuk si kali
lekar khushiyaan ban thhan ke chali ji
lekar khushiyaan ban thhan ke chali
maa baap ko chhod akeli
haay maa baap ko chhod akeli
saheli zara dat ke rahiyo
teri ulfat hai nayi naveli
saheli zara dat ke rahiyo
ban jayiyo na saas ki cheli
saheli zara dat ke rahiyo
teri ulfat hai nayi naveli
saheli zara dat ke rahiyo
This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4421 | Post No. : | 15833 |
—————————————————
Blog 10-Year Challenge (2010-2020) – Song No.58
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25 August 2010 saw this musical wagon chugging along nicely, with its customary six songs in a day getting posted. The first post of the day appeared at 7:40 while the sixth and final post appeared at at 8:14 AM. Six posts within 34 minutes !
Here are the details of the six songs, that appeared in the blog on 25 August 2010:-
| Blog Post number | Song | Movie | Year | Remarks |
|---|---|---|---|---|
| 2840 | Aadhi tum khaa lo aadhi ham khaa len | Fifty Fifty | 1956 | 6 songs out of 8 covered |
| 2841 | Aaja ke intezaar mein | Halaaku | 1956 | YIPPEED (all 8 songs covered) |
| 2842 | Ye jo muhabbat hai ye unka hai kaam | Kati Patang | 1970 | YIPPEED (all 7 songs covered) |
| 2843 | Main jatt yamla paglaa deewaanaa (Pratigyaa) | Pratigyaa | 1975 | Movie made its debut. 2 songs out of 4 covered |
| 2844 | Ankhiyon mein chhote chhote sapne sajaay ke (Naukar) | Naukar | 1979 | Made its debutwith this . 2 songs out of 5 covered so far |
| 2845 | Meri qismat mein tu nahin shaayad | Prem Rog | 1982 | Movie made its debut 3 sons covered out of 6 |
Only two of these six movies have been YIPPEED. So, today four movies are eligible to be covered under Blog ten year challenge.
Three out of these four movies made their debuts in the blog on this day ten years ago.
“Prem Rog”(1982), which made its debut on 25 august 2010 saw two more songs from the movie getting covered later.
Here are the details of these three songs from “Prem Rog”(1982):-
| Song | Date posted | Remarks |
|---|---|---|
| Meri qismat mein tu nahin shaayad | 2 August 2010 | Debut of the movie in the blog |
| Ye pyaar thhaa ya kuchh aur thhaa | 2 June 2012 | |
| Muhabbat hai kyaa cheez hamko bataao | 20 May 2013 |
As blog ten year challenge today, I had some superb songs to chose from. I have gone with this Lata Mangeshkar solo. I have vaguely listened to this song, but when I went through the lyrics of the song, I realised what superb lyrics this song has. It must be one of the best lyrics that Santosh Anand has penned in his HFM career. Music is composed by Laxmikant Pyarelal.
The song is lip synced on screen by Padmini Kolhapure. One can also see Nanda, Sushma Seth, Kiran Vairale, Rishi Kapoor and Bindu in the picturisation.
Lyrics of this song were sent to me by Prakashchandra.
audio link:
video link:
Song-Ye galiyaan ye chaubaara yahaan aana na dobaara (Prem Rog)(1982) Singer-Lata, Lyrics-Santosh Anand, MD-Laxmikant Pyarelal
Lyrics ( audio link) (Provided by Prakashchandra)
ye galiyaan ye chaubaaraa
yahaan aanaa na dobaara
ye galiyaan ye chaubaaraa
yahaan aanaa na dobaara
ab hum to bhaye ae pardesi
ke tera yahaan koi nahin..een
ke tera yahaan koi nahin
le ja rang birangi yaadein
hansne rone ki buniyaadein
ab hum to bhaye ae pardesi
ke tera yahaan koi nahin..een
ke tera yahaan
koyee..ee nahin
meri haathon mein bhari bhari choodiyaan..aaan
mujhe bhaa gayeen hari hari choodiyaan aan
dekh milti hain teri meri choodiyaaan..aaan
tere jaisi saheli meri choodiyaan
tooney peessee woh mehandi rang laayee
meri gori hatheli rachaa..aaayee
teri aankh kyun laadho bhar aayee
tere ghar bhi bajegi shehnaayi
saawan mein baadal se kehna
pardes mein hai meri behna
ab hum to bhaye pardesi
ke tera yahaan koi nahin..een
ke tera yahaan koi naheen
aa Maaye aen
mil lein galey ae
chaley hum
sasuraal chaley
tere aangan mein ae ae apnaa
bas bachpan chhod chale
kal bhi sooraj niklega
kal bhi panchhi gaayenge
sab tujhko dikhaayi denge
par hum na nazar aayenge
aanchal mein sanjo lena hamko
sapnon mein bulaa lena hamko
ab hum to bhaye ae pardesi
ke tera yahaan koi nahin..een
ke tera yahaan koi naheen
dekh tu na..aa hamein aen bhulaanaa
maanaa door hamein hai jaanaa
meri allhhad si athkheliyaan
sada palkon beech basaanaa
jab bajne lagey baajey gaajey
jag lagne lagey khaali khaali
uss dum tu itna samajhna
meri doli…ee
utthhi hai phoolon waali..eee..eee
thhodey din ke ye naate the
kabhi hanste the gaate the
ab hum to bhaye ae pardesi
ke tera yahaan koi naheen
ke tera yahaan
koi naheen
ye galiyaan ye chaubaaraa
yahaan aanaa na dobaara
ab hum to bhaye ae pardesi ..ee
ke tera yahaan koi naheen..een
ke tera yahaan ko..o oyi nahin
Sehre mein dulha hoga
Posted on: June 27, 2020
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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day: |
4362 | Post No. : | 15687 |
Hullo Atuldom
27th June- birth anniversary of our beloved Panchamda a.k.a RD Burman. We have many posts on this blog which gives us details of his birth, his lineage, and many many other trivia connected with how he got the nickname “Pancham”.
So without wasting time or as some people would like to say ‘zyaada footage khaaye bagair’ I will come straight to today’s song. It is from the 1989 released, Vidhu Vinod Chopra written-produced & directed “Parinda”. It had Madhuri Dixit, Jackie Shroff, Anil Kapoor, and Nana Patekar in a rather grey role. Anupam Kher was there in a special appearance.
Anil Kapoor and Jackie Shroff played brothers. Anupam Kher played Anil Kapoor’s friend and Madhuri’s brother. Jackie Shroff works for the underworld chieftain Anna (Nana Patekar). Anil Kapoor returns from studying abroad and meets his childhood friend Anupam Kher who has become a police officer. He also witnesses his friend being shot down by the underworld and decides to avenge his death.
The movie is interspersed with the tender love and camaraderie that is shared between the brothers and their dreams of having a family complete with wife children etc. Today’s song is when the brothers are thinking of the impending marriage of Anil Kapoor with Madhuri.
“Parinda” had seven songs which were written by Khurshid Hallauri of which one is there on the blog, posted on 15th of May 2015. (It has a sad version which was posted in the comments by Prakashchandraji) There was also a comment there by Prakashchandraji:- “And Who is Khursheed Hallauri ??, the lyricist, Any one who has information about him, Please share with us.” This question still remains.
This movie was planned by Vinod Chopra after his low-budget suspense thriller “Khamosh” failed to find a distributor for theatrical release. “Parinda” received critical acclaim when released. It also won two National awards and five Filmfare awards. It was also selected to represent India at the Oscars that year.
I chose this particular song as it talks of a marriage and we have an active follower of this blog celebrating his anniversary today. He is a big fan of Pancham and his music so I hope he and his life-partner (also known as Satulite in Atuldom) like this song.
Thank You Panchamda for leaving us this fun song.
Audio
Video
Song-Sehre mein dulha hoga (Parinda)(1989) Singers-Shailendra Singh, Suresh Wadkar, Lyrics-Khursheed Halluri, MD-R D Burman
Both
Lyrics
sehre mein dulha hoga,
ghoonghat mein dulhan hogi
haan sehre mein dulha hoga,
ghoongat mein dulhan hogi
masti mein naachenge yaar
ke ghar mein baaja bajega
sehre mein dulha hoga
ghoongat mein dulhan hogi
sehre mein dulha hoga,
ghoonghat mein dulhan hogi
masti mein naachenge yaar
ke ghar mein baaja bajega
ho o aayega jab din woh khushi ka
hosh rahega kisko kisika
hoo ghar aayegi bhaiyya ki dulhan
jhoom uthhega yeh ghar aangan
hey raat suhaani hogi,
chadhhti jawaani hogi
duniya deewaani hogi,
saath me rani hogi
karke sola singaar
ke ghar me baaja bajega
haan sehre mein dulha hoga,
ghoongat mein dulhan hogi
sehre mein dulha hoga,
he ghoongat mein dulhan hogi
masti mein naachenge yaar
ke ghar me baja bajega
poore honge armaan dil ke
honge khush dulhan se mil ke
pyaar se hongi pyaari baatein,
katt jaayengi pal mein raatein
haan saanson mein hogi jwaala
chaabhi hogi na hoga taala
saali hogi na saala,
saala hoga na saali
aaya hai tere dar pe sawaali
shirdiwaale sai baba
shirdiwaale sai baba
aaya hai tere dar pe sawaali
no no no bhaiyya
sawaali nahin saali saali
saali hogi na saala,
chaabi hoga na taala
saali hogi na saala,
chaabi hoga na taala
donon karenge pyaar
ke ghar mein baaja bajega
haan sehre mein dulha hoga,
ghoonghat mein dulhan hogi
sehre mein dulha hoga,
ghoonghat mein dulhan hogi
masti mein naachenge yaar
ke ghar mein baaja bajega
armaanon ki bagiya khilegi,
bhaiyya ko mere dulhan milegi
o o behne lagegi prem ki dhaara
paawan hoga jeewan saara
hoga jo poora saal
godi mein hoga laal
hoga jo poora saal
godi mein hoga laal
haan duniya dekhegi mera kamaal
ho chhorra ganga kinaare waalaa
ho chhorra ganga kinaare waalaa
o khaike paan banaaras waalaa
khuli jaaye band akal kaa taalaa
phir to aisa kare kamaal
seedhi karde sabki chaal
arre arre arre
chaal nahin gadhe
saal saal
hoga jo poora saal
godi mein hoga laal
hoga jo poora saal
godi mein hoga laal
chhota sukhi parivaar
ke ghar mein baaja bajega
sehre mein dulha hoga
ghoonghat mein dulhan hogi
sehre mein dulha hoga
ghoonghat mein dulhan hogi
masti mein naachenge yaar
ke ghar mein baaja bajega
haan baaja bajega
ha ha
arre baaja bajega
baaja bajega
This article is written by Arunkumar Deshmukh, a fellow enthusaist of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4347 | Post No. : | 15657 | Movie Count : |
4312 |
Today’s song is from the film “Uljhan” (1942). This was the first of the three same title films. The second came in 1975 and the third was in year 2000. This was the second film by Acharya Art Productions, floated by director N R Acharya. This was after he left Bombay Talkies, to chart out his own path, without either following the splinter group led by S Mukherjee or remaining with the rest of Bombay Talkies staff.
Probably, he thought that with Gyan Mukherjee in Filmistan and Amiya Chakrawarty and Najam Naqvi in Bombay Talkies, he had dim chances of progressing further. Like the splinter group, Acharya too had his own followers, like Anjali Devi and Ramchandra Pal, who stayed with Acharya. In later years, Anjali Devi became Mrs. Acharya too. Obviously, she had her own private agenda in following Acharya.
This film was directed by Acharya himself and the music for the 10 songs written by Lyricist Kailash Matwala, was composed by Ramchandra Pal. The cast of the film was Sardar Akhtar, Mazhar Khan, Krishnakant, Anjali Devi, Amrutlal, Rajkumari Shukla and others.
You find a name Amritlal/Amrutlal in the cast. He was an old time actor, from the beginning of Talkie films. Sometimes he was cast even as Master Amrutlal, because he sang songs too. He was basically a comedian and was known as Chaman in the film line. There is hardly any information-practically Nil- about him available anywhere, like many of the old time artistes. What we know about him is from HFGK alone. He acted in some 20 Talkie films, starting with Vikram Charitra-1932 to film Roop Nagar-1947. There are 23 songs in 10 films on his name also. He stopped singing from the film Pagli Duniya-44. Looks like his old style singing was no more appreciated.
Here too, we find that the Same Name Confusion has played a game. There was an All India famous literature giant Amrutlal Nagar. In spite of his colossal writing work, he spent 7 years of his illustrious career, from 1940 to 1947, in film line. During this period, he wrote 33 songs in 4 films…Sangam-41,Kisi se na kehna-42, Kunwara Baap-42 and Raja-43. Amritlal Nagar ( 17-8-1916 to 23-2-1990) was an extraordinary person. He handled almost every department of Literature-except perhaps Poetry and Autobiography. Short stories, Novels, dramas,travelogues and Lyrics etc etc were written by him During 1940 to 1947 period, he was in the film industry. He wrote stories, s/p, dialogues of as many as 20 films in Bombay , Kolhapur and Madras. He dubbed M.S.Subbulakshmi’s Tamil film ‘ Meerabai’ into Hindi. He also worked to translate Russian films like Zoya and Bukhara into Hindi. He won innumerable awards, including Padma Bhushan and Sahitya academy award. He was one of the very rare Hindi Literature stalwarts to work in the film industry for such a sustained period.
Unfortunately, there is the usual mix up in the filmography of these two wholly different personalities. Added to this confusion, there was also the singer Amrutlal Oza. Novelist Amrutlal Nagar never acted and never sang a song. Amrutlal Oza began his singing career with Film Pujari-1946. Actor singer Amrutlal had stopped singing from 1944 itself. Still, many sites and Blogs and writers get confused and mix up every Amrutlal’s filmography for acting and singing.
In one of my recent posts, I had mentioned that in the early era of Talkie films, the low caste and Tawaif girls joined films so that they could get married to some rich, successful person and lead a respectful life of a housewife. Amongst such girls, few were really capable and helped their partners in conducting their business – like Gauhar Mamajiwala of Ranjit or Mehtab of Minerva. Sardar Akhtar, who was the Heroine of today’s film-Uljhan-42 was also one such capable woman, who married Mehboob Khan and shared his work. How they got married was quite Cinematic too….
The life story of Sardar Akhtar is very interesting. Sardar Akhtar was a Punjabi Muslim born in Lahore in 1915. Her mother was a famous singer on the infamous Hira Mandi Road of Lahore. Akhtar learned singing from her mother and also other ustads. Her younger sister Bahar Akhtar was beautiful and a good singer. These sisters were famous as Daaro and Baharo in Lahore. Bahar was hired by United Players Corpn. of Lahore , as a Heroine in their film ” Qatil Katar “. Producer A R Kardar was also its Hero. They fell in love. Bahar was under strict surveillance by her mother, but with the help of a friend, Kardar abducted her and they were married. When this news reached her mother, Akhtar and her mother made a Police complaint against kardar. Kardar and his unit members were arrested and kept in a lock up for a few days for abducting a Minor girl. They were released when Bahar herself gave a statement in their favour. Kardar destroyed the negatives of his film to prevent Bahar from further acting in films.
After this episode Akhtar started working in dramas. She went to Calcutta and did a small role in the film Dhoop Chhaon-35. From there she came to Bombay and joined Saroj Movietone. She did films like Eid ka chaand,Roop Basant and Naqsh e Sulemani and earned a good name. She acted in films of Minerva and Wadia-mostly stunt action films. Mehboob needed two Heroines for his film Alibaba.. He selected Waheedan Bai and Sardar Akhtar. Akhtar was the younger sister of Bahar-wife of A.R.Kardar. In an article in Filmfare dated 16-8-1957,Mehboob wrote ” the moment I saw Sardar Akhtar, I fell for her and knew that one day she will be my wife.” Sure enough, he married her later.
Mehboob khan gave her a big role in the film Aurat-40 and her image changed. She also did Mehboob’s film Roti, during which they got married on 25-4-1942.. It was during the shooting of film Aurat, Mehboob was attracted towards Jyoti- sister of Waheedan Bai and one of the cast of Aurat- and he started spending time with her, having Tea together, Lunch together etc. Sardar Akhtar noticed this and played her cards well. She encouraged Jyoti to accept outside film offers lest she would be out of circulation. Then she poisoned Mehboob by telling him that Jyoti was not a good girl and that she was more interested in outside film roles. Consequently, Jyoti’s role in the film Aurat was reduced. By the time the film Aurat was completed, Akhtar had fully influenced Mehboob and then insisted on getting married. He too wanted it and they got married just before the film was released.
They did not have any issues but they adopted Saajid khan, child star of film Son of India-62. After Mehboob’s death in 1964 May, Akhtar lived alone, occasionally visiting Sajid khan, who had settled in the USA.
Sardar Akhtar did 44 films. Her last film was Raahat-45. However, she did small roles in films Hulchal-71 and Bandhe Haath-74. Sardar Akhtar sang 92 songs in 27 films. Considering that she was not a regular or playback singer, her 92 songs were highly creditable. Not even 50% of her songs came on gramophone records. During one of her US visits, Sardar Akhtar died there on 2-10-1984. She was a devotee of sufi saint Ashraf khan, her co-star of many films including Roti-42.
Film Historian and author Shri Rajnikumar Pandya ji had interviewed N R Acharya (Nrusinh Prasad Acharya). According to him the film Uljhan-42 was totally based on a Gujarati novel- MALELA JEEV (Souls of oneness), written by Pannalal Patel.
Today’s song is sung by an unidentified female with chorus. It is a good song. With this song, film Uljhan-42 makes it’s Debut on the Blog.
(information used in this post is culled, with thanks,from various sources like ‘Sapnon ke Saudagar’ by Vithal Pandya, Kamlakar P.’s Blog, wiki, Filmdom-1946, ‘Mehboob Khan’ by S.Kinikar and my notes).
Song – Arrey samdhi to darjin ka yaar lagan ke kapde bane (Uljhan)(1942) Singers- Chorus song, Lyricist- Kailash Matwala, MD- Ramchandra Pal
Lyrics
Arrey samdhi to darjin ka yaar
lagan ke kapde bane
Arrey samdhi to darjin ka yaar
lagan ke kapde bane
arre samdhin ne paaala sunaar
arre samdhin ne paaala sunaar
naye naye gahne bane
aha naye naye gahne bane
Arrey samdhi to darjin ka yaar
lagan ke kapde bane
Arrey samdhi to darjin ka yaar
lagan ke kapde bane
kahaan bhaage ye ?? sawaar
kahaan bhaage ye ?? sawaar
bade tum chhaila bane
bade tum chhaila bane
Rupa maaregi jhaadu ki maar
haan haan
Rupa maaregi jhaadu ki maar
haan haan khasam ka yoonhi(??) bane
haan haan khasam ka yoonhi(??) bane
Arrey samdhi to darjin ka yaar
lagan ke kapde bane
Arrey samdhi to darjin ka yaar
lagan ke kapde bane
ek dikhaawan ?? jaan
apni maa ke phhodo kaan
ek dikhaawan ?? jaan
apni maa ke phhodo kaan
Rupa jab bhi gaali dewe
budhiya teri sun na lewe
Rupa jab bhi gaali dewe
budhiya teri sun na lewe
arre sun to sahi o ganwaar
arre sun to sahi o ganwaar
kahaan yoon chalte bane
kahaan yoon chalte bane
bhauji se kahe ??
bhauji se kahe ??
bhaiyya tera jaaye sad
bhaiyya tera jaaye sad
bahan bhare teri kuyen se paani
bahan bhare teri kuyen se paani
Rupa meri ban patraani
Rupa meri ban patraani
maare gin gin ke hunter hazaar
maare gin gin ke hunter hazaar
na unse rote bane
haan haan
na unse rote bane
Arrey samdhi to darjin ka yaar
lagan ke kapde bane
Arrey samdhi to darjin ka yaar
lagan ke kapde bane
- In: Bhupinder Singh songs | Blog ten year challenge (2010-2020) | Calling the beloved | Devnagri script lyrics by Avinash Scrapwala | Duet | Feelings of heart | Guest posts | Lata song | Lata-Bhupinder Singh | love spurned | Lover's Complaint | Lyrics contributed by readers | Missing the loved ones | Post by Avinash Scrapwala | sad song | Songs of 1970s (1971 to 1980) | Songs of 1978 | Wedding Night Song | Yearwise breakup of songs
- Leave a Comment
This article is written by Avinash Scrapwala, a fellow enthusaist of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 4258 | Post No. : | 15480 |
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Blog 10-Year Challenge (2010-2020) – Song No. 11
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‘Satyam Shivam Sundaram’ (1978) was directed by Raj Kapoor for his home production RK Films, Bombay. He dedicated this movie to his beloved friend singer Mukeshchandra whom we fondly know as Mukesh.
The cast of the film includes Kanhaiyalal, AK Hangal, David, Hari Shivdasani, Leela Chitnis, Sheetal, Baby Padmini, Baby Komal, Tun Tun, Vishwa Mehra, Mansaram, Pardesi, Shriram Shastry, Nandini, Mona, Seema, Mani, Yasmin, Bina, Subroto Mahapatra and Javed Khan.
The story of this movie was written by Jainendra Jain. Radhu Karmakar was the Director of Photography. Raj Kapoor who produced and directed this movie was also the editor of this movie.
HFGK lists nine songs and one dialogue track released on records of this movie. The total nine songs are including of their parts and the title song is mentioned to be in four parts. There are two more songs (the ‘aarti’ and ‘shlokas’ with the titles, and ‘’Yashomati maiyya se boley…’) in the movie having two parts. Narendra Sharma, Anand Bakshi and Vithhal Bhai Patel wrote the songs for this movie. Music for this movie was composed by Laxmikant-Pyarelal. Lata Mangeshkar, Manna Dey, Bhupinder, Mukesh, and Nitin Mukesh who debuted as a singer in this movie had given their voices to the songs in this movie.
This movie was passed by Censor Board on 22.03.1978 with restricted viewing certificate.
Three songs from ‘Satyam Shivam Sundaram-1978’ posted on the blog earlier are as follows;
| Song | Posted On |
| Yashomati maiyya se boley Nandlala | 07.09. 2008 |
| Satyam Shivam Sundaram | 15.03.2010 |
| Suni jo unke aane ki aahat … | 11.02.2020 |
I watched this movie much later in nineties (I think so). However, I remember, in my childhood, the two songs from this movie were very much popular viz. the title song “Satyam Shivam Sundaram“and “Yashomati maiyya se boley Nandlala” as they were frequently played on loud speakers and radio. The title song was also the most favorite number of almost all ‘orchestras’ which used to play it during ‘Ganesh Festival’ or other festival programs. However, I didn’t like both these songs then.
Rather I very much like the song “Chanchal Sheetal Nirmal Komal” and the song being presented today, maybe I heard them on radio during those years. Later on, when I bought the album of this movie (an audio cassette in late eighties) the song “Suni Jo Unke Aane Ki Aahat” also become my favorite song from this movie with all other songs.
When I checked the ‘annual Binaca Geetmala’ for the year ‘1978’ I found ‘Yashomati maiyya se…’ (as expected), at number seven and the song was, surprisingly for me, not the title song of the movie but it was “Chanchal Sheetal Nirmal Komal” ranking at number twenty-four of the list.
Well coming back to the ‘Blog ten-year challenge’ today we have two songs posted on this day ten years back as follows;
| Song | Movie title-Year | Remarks |
| Satyam Shivam Sundaram | Satyam Shivam Sundaram (1978) | 03 of 09 songs posted |
| Hai isi mein pyaar ki aabroo | Anpadh (1962) | All Songs posted on the
Blog |
As one of the movies i.e. ‘Anpadh’ (1962) is already ‘Yippeeee éd’ on the blog we have ‘Satyam Shivam Sundaram’ to be represented with a song on the blog today. The song I have selected today was noted long time back and was pending for posting. It is sung by Lata Mangeshkar and Bhupendra. I like this song very much and particularly for those few lines sung by Bhupendra Singh which makes this song very very special of course with great singing by Lata Mangeshkar and so greatly composed by Laxmikant-Pyarelal to the beautiful lyrics by Vithhal Bhai Patel.
Let us enjoy this wonderful song now …
(Note: – In the movie, this song appears in two parts. The video of the second part is not available now however full audio of this song is available).
Video (Partial)
Audio (Complete)
Song – Sainyaan Nikas Gaye Main Naa Ladi Thi (Satyam Shivam Sundaram)(1978) Singers – Lata Mangeshkar, Bhupendra, Lyrics – Vithalbhai Patel, MD – Laxmikant Pyarelal
Lyrics (Based on audio link)
rangmahal ke dus darwaaze
rangmahal ke..ae dus darwaaze
naa jaane kaun si khidki khuli thhi
sainyya nikas gaye
main naa ladi thhi
sainyya nikas gaye
main naa ladi thhi
sar ko jhukaaye..ae main to
chupke khadi thhi
sainyya nikas gaye
main naa ladi thhi
sainyya nikas gaye..ae
main naa ladi thhi
piyaa..aa..aa
kaun gali gaye shyaam
piyaa..aa..aa
kaun gali gaye shyaam
mori sudh naa leenhi haaye raam
piyaa..aa..aa
kaun gali gaye shyaam
ang mere gehne
pyaasi umariyaa
ang mere gehne
pyaasi umariyaa
jogan ho gayee
main bin sanwariyaa
haathon mein mere ae
mehndi rachi thhi
mehndi mein mere
ansuwan ki ladi thhi
sainyya nikas gaye
main naa ladi thhi
sainyya nikas gaye
main naa ladi thhi
aa aa aa
aa aa aa
chhod piyaa ghar
nehar jaaoon
chhod piyaa ghar
nehar jaaoon
kaun dehri
ab sees jhukaaoon
kar singaar main
dulhan bani thhi
aisi dulhan se
kunwaari bhali thi
sainyya nikas gaye
main naa ladi thhi
sainyya nikas gaye
main naa ladi thhi
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Devnagri Script lyrics (Provided by Avinash Scrapwala)
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रंगमहल के दस दरवाज़े
रंगमहल के ए दस दरवाज़े
ना जाने कौन सी खिड़की खुली थी ई
सैंय्या निकस गए
मैं ना लड़ी थी
सैंय्या निकस गए
मैं ना लड़ी थी
सर को झुकाए॰॰ए मैं तो
चुपके खड़ी थी
सैंय्या निकस गए
मैं ना लड़ी थी
सैंय्या निकस गए॰॰ए
मैं ना लड़ी थी
पिया॰॰आ॰॰आ
कौन गली गए श्याम
पिया॰॰आ॰॰आ
कौन गली गए श्याम
मोरी सुध ना लीन्ही हाए राम
पिया॰॰आ॰॰आ
कौन गली गए श्याम
अंग मेरे गहने
प्यासी उमरिया
अंग मेरे गहने
प्यासी उमरिया
जोगन हो गयी
मैं बिन सांवरिया
हाथों में मेरे॰॰ए
मेहंदी रची थी
मेहंदी में मेरे
अंसुवन कि लड़ी थी
सैंय्या निकस गए
मैं ना लड़ी थी
सैंय्या निकस गए
मैं ना लड़ी थी
आ आ आ
आ आ आ
छोड़ पिया घर
नैहर जाऊं
छोड़ पिया घर
नैहर जाऊं
कौन देहरी
अब सीस झुकाऊँ
कर सिंगार मैं
दुल्हन बनी ई थी
ऐसी दुल्हन से
कुंवारी भली थी
सैंय्या निकस गए
मैं ना लड़ी थी
सैंय्या निकस गए
मैं ना लड़ी थी
This article is written by Arunkumar Deshmukh, a fellow enthusaist of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4238 | Post No. : | 15450 | Movie Count : |
4256 |
Today’s song is from the film Jhankar-42. The song is sung by Rajkumari and chorus. It is a traditional song written by Amir Khusro.
This film was a special film for many people. The Music Director of this film was Bashir Dehlavi who started his career as a Music Director with this film. The film was the first film made by the banner-Silver films, Bombay. The director was S. Khalil making his debut with this film. The cast of the film was Chandra Mohan, Pramila, M.Kumar, Azuri, Shehzadi, Gope, Altaf, Ghulam Mohammed, Chandra kumar and many others.
The cast of the film displays names of artistes who had almost passed their best years. Most actors were from the 1930s and now they tended to do side roles since lead roles were not coming that frequently. Due to excess alcohol, the handsome fine actor Chandramohan was on his way to self destruction. By 1949, his condition was worsoned irreversibly and he died of Liver Cirrhosis. Ghulam Mohammed, once a Hero, was reduced to character roles and after Partition he migrated to Pakistan.
Pramila did only one more film Beqasur-50 and retired from films. In 1942, she did 4 films. The last 1942 film she did was her husband’s film Jhankar-42. Kumar shifted his focus to producing and directing films and finally he too migrated to Pakistan. He continued acting in Pakistan films. Altaf was the husband of actress Khurshid jr. (elder sister of Meena kumari), who was getting edged out slowly as an actress. Actress Shehzadi Jr. also migrated to Pakistan after failing as a Producer (Utho Jaago-47). Gope’s and her last film as a leading pair was Hanso hanso aye duniyawalon, also in 1942. After this film, Gope became a Comedian for full time.
With such cast and debutante director and music director, the new company tried to make a Comedy film. I have not seen this film and I could not find its story or review anywhere on internet or in Film India magazine. However, from the film’s advertisements in the magazine and the news bits in it, I find that the film was not very successful, but must have given enough boost for the producers to go ahead and make 6 more films in next 8 years.
One of the owners of this banner- Silver Films – was actor M. Kumar, who was a successful artiste in the 30s and 40s, having worked with many prestigious banners. KUMAR was born in the prestigious family of Syed s of Lucknow-UP in India, on 23-9-1906. His real name was SYED HASSAN ALI ZAIDI. His family used to call him MIJJAN Miyan.
He was a handsome and tall person. He was keen on joining cinema, so he came to Calcutta and joined New Theatres. After doing side roles in Subah ka Sitara-32 and Zinda Lash-32, he was hero in PURAN BHAGAT in 1933. Even Saigal was also in the film.The film was about to be released and suddenly communal riots broke out in Calcutta.The new Theatre management found it difficult to announce a Muslim name of the hero of PURAN BHAGAT, in the tense atmosphere of Calcutta.The director of the film was Kumar Debaki Bose,a person from a Royal family. He took a decision and told Mijjan,” from today, I am giving you a part of my name. You will become KUMAR now.” This solved the film release problem and thus his name became KUMAR, then onwards. Truly enough, Debki Bose, thereafter never used his name Kumar again in his life !
After doing Yahudi ki Larki, Kumar came to Bombay. First he worked in Sagar ( 3 films) , Imperial (2 films)and then joined Ranjit Studios.
He married another actress PRAMILA , who was actually a Jew, Esther Williams. Pramila was later India’s FIRST Miss India in 1947. They got a son and a daughter Naqi Jehan (who too became a Miss India in 1967, exactly 20 tears after her mother.) Naqi acted opposite Rajesh Khanna in Akhari Khat, as a Heroine. Later she married into the business family of Kamdar of Bombay and became Mrs.Nandini Kamdar. Kumar had 3 sons from his earlier marriage. His first wife and children shifted to Pakistan after the Partition.
Kumar did many films in Ranjit, but in 1942, he was removed from Ranjit. At the same time, his friend, CHANDRAMOHAN also left Minerva Movietone (reason-despite PUKAR-39 being a blockbuster, his salary was not increased inspite of a promise by Sohrab Modi).They both decided to launch own company and on 16-3-1942, SILVER FILM CO. was launched. Its first film was Jhankaar-42. They produced Bhalai-43, Bade Nawab Saab-44, Devar-46, Naseeb-45, Dhun-53 and Bahana-60. Kumar acted in these films. He also directed Dhun and Bahana.
He produced and directed Aap-Beeti-1948 under his own company, Kumar Studios.Then under Shama Productions, he made Nahle pe dehla, Dhoom Dham and Dilbar. Later in life he made Badal aur Bijlee and Jungle King under Artists United films. Kumar worked in 73 films as an actor from 1932 to 1963.
From Najma in 1943, Kumar did only character roles in films like Bhishm Pratigya, Dayara, Mahal, Shri 420, Khiladi, Maalik, Baiju Bawra, Yahudi ki Ladki. His memorable role was in Mughal e Azam, that of the sculptor and a famous song-‘Aye mohabbat zindabad’ was shot on him. His last film was Raat aur Din (released in 1967)
In 1963, Kumar migrated to Pakistan, and started to work in Pakistani films without any delay. His son, S. A. Hafiz, who made Tauba, later became one of the best and well known directors of the country. Later he settled in USA. Kamal and Zeba played the lead in Tauba, which became a grand success. Kumar worked in 22 Pakistani films, including Head Constable, Azad, Shabnam, Naela, Saiqa, Sajda (his own film), Hum Dono, Nadya Ke Paar, Ik Musaflr Ik Hasina, Baalam etc. He gave one Superhit and three Hit films in Pakistan. Interestingly, he continued to act in the name of Kumar only, without using his original Muslim name there. Kumar died on 4-6-1982.
Film Jhankar-42 director S.Khalil directed only 7 films – jhankar-42, Nai Zindagi-43, Bhai Jaan-45, Shahkar-47, Sartaj-50, Gunehgar-53 and Benazir-64.
There is one more name ” Chandra Kumar” in the cast. Hardly, anyone will know who this actor was. He was none other than actor Anil Kumar (real name- Sardar Gul), who actually started his career with Minerva Movietone with its first film ” Said-E-Havas”-36, with the name Chandrakumar. After that he took the name Anil Kumar, but in this film he acted with this name, surprisingly. May be in few other films too he used this name.
Actor Anil Kumar (Sardar Gul) was born in 1915 at Calcutta. His father had a fruit business. They were from Peshawar (just like Dilip Kumar). He was not much educated but could speak Hindi, Urdu and English fluently. Once he went to Bombay to meet a friend. There he met an old acquaintance, who took him to Sohrab Modi.
The good looking Sardar Gul was liked by Modi and he offered him the lead role in his film ‘ Saed E Havas’-36. Sardar Gul was given a screen name of Chandra Kumar. The film was based on a translation of William Shakespeare’s drama- King John, by Agha Hashra Kashmiri in 1907. Sardar Gul was to get Rs. 200 for this work. The film was a flop and Sohrab Modi refused to pay him more than Rs 50. Annoyed, he left Bombay and returned to Calcutta.
However he came back in 1938 and did his first film with a new screen name Anil Kumar. The film was Talwar ka Dhani-38. Soon he was well known and acted in 10 films in next 3 years. As the decade of the 40s saw many new actors, producers and directors, he was reduced to Character roles and side roles. By 1950, he was almost like an extra. He did work in many films, but only few films credited him, as his roles were negligible. We find his name in just 30 films, where he was credited, the last such film being Tarzan and Deliailah-64.
Today’s song is sung by Rajkumari and chorus. The MD Bashir Dehlavi started his career with this film and gave music to 6 more films. His last film was Hawai Khatola-46. The song is a traditional one, written by Amir Khusro (1253 – 1325). This song is used in many films. some films are Heer Ranjha-48, Suhag Raast-48, Nadir Shah-68, Maang bharo Sajna-80 and Umrao Jaan-81 etc. Amir Khusro’s some other songs in films are Chhap tilak sab chhini re in Main Tulsi tere aangan ki- 78 and Rain suhag ki jaagi in Junoon-78.
Let us now enjoy this traditional song. With this song, Film Jhankar-42 makes its Debut here.
Song-Kaahe ko byaahi bidesh re lakhi baabul morey (Jhankaar)(1942) Singer-Rajkumari Dubey, lyrics-Amir Khusro, MD-Basheer Dehalvi
Lyrics
Kaahe ko byaahi bides re lakhi baabul morey
Kaahe ko byaahi bides re lakhi baabul morey
Kaahe ko byaahi bides re lakhi baabul morey
gudiya khilaune maine taak mein chhode
gudiya khilaune maine taak mein chhode
chhoda saheliyon ka saath re
lakhi Baabul more
chhoda saheliyon ka saath re
lakhi Baabul more
Kaahe ko byaahi bides re lakhi baabul morey
sona bhi deenha baabul rupa bhi deenha
sona bhi deenha aa aa aa aa aa aa
sona bhi deenha baabul rupa bhi deenha
deenha ratan jadaau re
lakhi baabul more
deenha ratan jadaau re
lakhi baabul more
Kaahe ko byaahi bides re lakhi baabul morey
itna dihin baabul ???
itna dihin baabul ???
saas nanand bole bol re lakhi baabul morey
saas nanand bole bol re lakhi baabul morey
Kaahe ko byaahi bides re lakhi baabul morey
aam tale se dola jo niksa
aam tale se ae ae ae
aam tale se dola jo niksa
koyal sabad sunaaye re lakhi baabul morey
koyal sabad sunaaye re lakhi baabul morey
Kaahe ko byaahi bides re lakhi baabul morey
tu kya boley meri kaali koyaliya
tu kya boley meri kaali koyaliya
chhoda baabul ka des re lakhi baabul morey
chhoda baabul ka des re lakhi baabul morey
Kaahe ko byaahi bides re lakhi baabul morey
Kaahe ko byaahi bides
Phoolon se meri sej sajaao
Posted on: January 10, 2020
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| Blog Day : | 4193 | Post No. : | 15376 |
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Blog 10-Year Challenge (2010-2020) – Song No. 2
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“Laal Patthar” (1971) was produced by FC Mehra and directed by Sushir Majumdar. The movie had Raaj Kumar, Vinod Mehra, Hema Malini, Raakhee, Ajit, Asit Sen, Paintal etc in it.
The movie had seven songs in it. Five songs have been covered in the past.
Here is the sixth song from the movie. It is sung by Asha Bhonsle. Neeraj is the lyricist. Music is composed by Shankar Jaikishan.
The song is picturised on Raakhee, with Hema Malini also listening to the song from her room.
[Ed Note: (Update) This song is being included in the Blog 10-Year Challenge (2010-2020). Its 10-year date is actually 11 Jan, but it got posted on 10th.]
Audio
Video
Singer-Phoolon se meri sej sajaao (Laal Patthar)(1971) Singer-Asha Bhonsle, Lyrics-Neeraj, MD-Shankar Jaikishan
Lyrics
phoolon se meri sej sajaa do
aaj main loongi janam dobaara
chanda ki bindiya
taaron ke kangan
sapnon ke laao haar
saanson mein meri kesar mahke
angon mein jhoome bahaar
aisa karo singar sakhi ri
sudh budh bhhoole shyaam hamaara
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