Archive for the ‘Songs of 1930s (1931 to 1940)’ Category
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Today’s song is not only unique and rare,but it is also one of the few real early songs of the Talkie Films. It is from film Vikram Charitra aka Rajkumar Thaksen – 1933. Thanks to Mr. Shalin Bhatt, who has uploaded this rare Gem, sung by Gauhar Karnataki.
When you see the title of the film, one feels that it is about King Vikramaditya, but when you see the other title Rajkumar Thaksen, you know that this is something else. When Talkie films started, it had profound influence of stage dramas, because that was the only accepted form of entertainment in India, till films arrived…Silent or Talkie. Parsee, Gujarati and Marathi theatre stories, Natya Sangeet and the artificial way of stage acting were things followed in early films,cent percent. Fairy tales, folk tales, Panchatantra stories and Traditional Grand ma stories started appearing as films, after some time.
When I first bought the 5 volume set of HFGK, I started going through the films of 1930s. I read this film title and I suddenly remembered the story of Raja Vikram and Rajkumar Thaksen I had read, when I was about 10-12 years young. That was one of my favourite stories and I felt it was a good competition to Arabian Night stories of Alibaba, Alladin or Sindbad. The Thaksen story had Indian background and felt closer to heart.
However, during the growing years, the tastes changed and the Thaksen story went into the background. Now, when I decided to write on this film song, I tried to recollect the story, but could not recall it fully or cohesively. Despite searching on the net for several days, the story eluded me. Suddenly, one day I bumped into a children’s story book ” Raja Vikram and Rajkumar Thaksen”. I simply can not put into words, how much joy I got after reading this story all over again !
The story of King Vikram, his queen Shashikala and Rajkumar Thaksen was first filmed in 1929, as Prince Thaksen, by Aryan Film company, Poona, in which the role of Thaksen was done by the handsome Nandram Pehelwan. This was a Silent film. In the Talkie era, the first film on Thaksen was this- Vikram Charitra-1933 by Sharda Movietone. In 1933 itself a sequel to this film was made as ” Rambha raniaka Stree Charitra” made by same company, with the same cast and team as Vikram Charitra. This was followed by another film ” Bhedi Rajkumar aka The Mysterious Prince aka Rajkumar Thaksen” in 1934, by Saraswati Cinetone, Poona belonging to R G Torney. After a gap, ” Vikram Shashikala ” was made in 1949, by Chitravani productions, Bombay featuring Master Vithal as Thaksen.
In short, film makers were attracted towards the story of Thaksen. What is this story all about. The story, in short, is thus described in the book….
Raja Vikram of Avanti Nagari was having 7 queens, but he loved queen Shashikala most and used to take her on tours with him. This made the other queens jealous and they conspired to teach her a lesson. When the king came to them, they unanimously complained against Shashikala that she criticised the king on his back. This enraged the king and he deserted Shashikala. She was kept far away in a fortress, surrounded by a water trench all around, with only one entrance. The queen was pregnant, but the king was not aware of it.
In due course, Shashikala gave birth to a handsome prince, who was named Raj Ratan. The king was duly informed, but he never came to see his son. As the Prince grew, he became an expert in the Bird’s and Animal’s languages. He also learnt how to disguise skilfully. Once he tricked even his mother and mother lovingly called him Thaksen ( one who cheats). This name became his name for all purposes.
One day Thaksen came to know about what Raja Vikram did to his mother and he prepared to take revenge. Despite mother’s request, he started for the capital.
To cut the story short, how he reaches the king, teaches him a lesson, saves the king from foreign aggression, how he falls in love with Rambha Rani etc has to be read from the original book itself. It is full of adventures, magic and stories of Thaksen’s valour. In the end, all is well and Shashikala is honourably recalled to the Capital by Vikram etc etc.
The film was made by Sharda Movietone and was directed by Harshadrai Sakerlal Mehta. The cast of the film consisted of Baburao Apte (as Vikram) and Madhav Kale (as Thaksen), along with Gauhar Karnataki, Dulari, Shivrani etc etc. Baburao Apte is the same as elder brother of actress Shanta Apte-about whom I wrote just last month. We do not know the names of the Lyricist or the Music Director, as HFGK is silent on these.
It is a well known established fact that in the early years, women artistes came from lower classes, singing families or Tawayafs and similar types. Most of these girls joined the film line in order to get a a rich Seth ji or a suitable husband and spend the rest of the life respectfully. There are many examples of such ‘ planned’ marriages in the early era. However, this process continued even in later times.
Film industry is one industry where men and women have to work together. Whether it is Actor-director or Singer-Composer, for the sake of work they have to spend much time together. No wonder then that Cupid does his work overtime. Sometimes there are mutual attraction and at times there are one sided fires burning. In most cases the one sided fire is extinguished in a very painful way, like what P L Santoshi faced with actress Rehana or the slap Sanjiv Kumar got from actress Nutan.
There were cases when love of Dilip kumar for Madhubala, died in the High court witness Box, when he gave evidence against her father in the ‘ Naya Daur ‘ legal case. Dev Anand’s love with Suraiyya ended happily for Dev Anand with him marrying Kalpana Kartik, but Suraiyya stayed “Unmarried”, in his ” yaad”, throughout her life. Here the villain was her so called ” Grand mother “, who actually was her own mother, as documented in the book “Stars from another sky” by Saadat Hasan Manto !
The successful 2-way traffic usually ended with a marriage. We can see marriages between producers and Actresses( Himanshu Rai-Devika rani and W Z Khan and actress Nina), directors and singers/actresses ( Nalini jaywant-Virendra Desai, Shaukat Hussain-Noorjehan, Geeta Dutt-Guru Dutt, Lalita Pawar-G.P.Pawar, Rattanbai-Hafiz Khan), Actors and Actresses ( Arun Ahuja-Nirmala devi, Snehprabha Pradhan-Kishore Sahu, Dev Anand-Kalpana Kartik, Dharmendra- Hema Malini, Rajesh Khanna-Dimple Kapadiya, Amitabh Bachchan-Jaya, Abhishek-Aishwarya, Kishore Kumar-Madhubala, Premnath-Bina Rai, Karan Dewan-Manju Desai, Marutirao Pehlwan-Tara Devi.)
There were some odd combinations like Satyendranath Athiah-Bhanu Athaiya (Lyricist-Costume designer),Lyricist-Singer (Amar Verma-Manik Verma), Singer-villain (Shakti Kapoor- Shivangi Kolhapure),Music teacher-student ( Roshan-Ira Moitra, Hemant Kumar-Bela Mukherjee, C.Ramchandra-‘Ben’ Ratan Thakur), and even a singer-Orchestra player (Vinita Amladi-Krishna Chakravarty) and lastly between singer-singers ( Jyoti-G M Durani, Gauhar Karnataki- Bal Gandharva). There were those pairs who were singers-actors ( Amirbai- Himalayawala,Rafiq Gazanavi- Anwari bai).
The interesting group, however,was that of Composer-Singers ( Sudhir Phadke-Lalita Deulkar, Asha Bhosle-R D Burman, Naashad-Premlata, Anil Biswas-Meena Kapoor, Pannalal Ghosh-Parul Ghosh, Khayyam-Jagjit Kaur, Ghulam Haider-Umrao Zia begum, Kamal Dasgupta-Firoza begum, Ninu Majumdar-Kaumudi Munshi).
The Heroine of today’s film- Gauhar karnataki was also one such artiste who did a ‘planned’ marriage. Her life story is interesting. Tabla player Hussain khan,living in a small town Belagi,near Hubli,had 6 daughters. The first was Allamma(Ahilya),then Amirbai,next was Gauhar(Born in 1908),then a series of badi Munni,Chhoti Munni and Nanhi Munni. Son was Dastgir.
Being from a singing family,Amirbai and Gauhar(Gauramma) worked in a drama company called Vanivilas Natak mandali. Since Hubli, Dharwad, Belgaum came under Bombay Presidency and also near Sangli/Miraj and Kolhapur, the sisters were experts in Marathi too.
Brother Dastgir went on to study B.Sc and did a job in AIR, Belgaum. From the beginning only, Amirbai and Gauhar did not get on well with each other. May be professional jealousy. Gauhar got classical music training from a blind teacher NIlkanth Panchakshari Buwa. Great classical singer Mallikarjuna Mansur’s brother Basavanna wrote songs for Gauhar and also accompanied her on Harmonium.
Marathi singer actor Chaphekar took the sisters to Bombay for working in films. Gauhar and Chaphekar stayed as companions in Bombay for few years. Meanwhile Gauhar got a daughter Ashamma. Her father’s name is not known. Ashamma remained with Gauhar till her death.
Gauhar started acting in Marathi and Hindi films. She acted,sang and also composed her own songs,but no records were brought out.
Gauhar was mesmerised by the famous Marathi singer actor BAL GANDHARVA. She first met him in 1937,in actor Himalayawala’s flat(Amirbai karnataki’s cruel Husband). It is widely believed that Gauhar used Black magic to attract Bal Gandharva to her. As expected he fell in her love and Gauhar joined his Balgandharva Natak Mandali in 1938. After her arrival into the Mandali, all senior artistes left the company as they were afraid of Gauhar’s black magic.
From 1938, Gauhar remained with Balgandharva till she died in 1964. Balgandharva’s wife died in grief in 1940 and Gauhar married Balgandharva in 1951.
She acted in films like Raas vilas-32,Kala pahad and Sohni mahiwal-33,Kala vagh and Shak karta Shivaji(M)-34,Pyar ki Maar-35,Bansriwala,Gol Nishan and Graduate-36,kala Bhoot and Chabuk swar-37,Vijay Danka-38,hawai khatola and swadesh sewa-46. chabuk swar-37 was a stunt film a-la Fearless Nadiya style wherein she did some stunts and fencing too. (Thanks to lifekidhun,warren senders,wiki and HFGK for some information used above.)
Gauhar is mentioned as Gauhar karnataki or Gauhar from Bijapur in the HFGK. She must have sung at least 100 songs but since there were no records, there is no information.As her many films were C grade, no records were issued even for them. However she has sung many Marathi natyageet and Bhajans.
There can not be any comparison with her sister Amirbai since Amirbai was in a higher league and her records were also made. She had many composers and singers to sing along.
Film Vikram Charitra-33 was written by C M Luhar, who became a well known director later on. There were 15 songs in the film. This song was recorded by Gauhar Karnataki in June 1934, according to the uploader. Since hardly any records of Gauhar Karnataki are available, this song becomes a rare song. let us enjoy this 85 year old recorded song. With this song, film Vikram Charitra-33 makes its Debut on the Blog.
Song-Raaja ke chaman se laayi manke ki maala (Vikram Charitra)(1933) Singer- Gauhar Karnataki, Lyrics- Not Known, MD- Not known
Lyrics
Raaja ke chaman se laayi
Raaja ke chaman se laayi
Manke ki maala
Raaja ke chaman se laayi
Raaja ke chaman se laayi
Manke ki maala
joohi manke ki maala
joohi manke ki maala
joohi manke ki maala
joohi manke ki maala
joohi manke ki maala
Raaja ke chaman se laayi
Raaja ke chaman se laayi
Raaja ke chaman se laayi
manke ki maala
aa aa aa
aa aa aa
aa aa aa
aa aa aa
aa aa aa
aa aa aa
manke ki maala
joohi manke ki maala
joohi manke ki maala
Raaja ke chaman se laayi
Raaja ke chaman se
hamaara kaam hai
sabhi ne ??
sabhi ne ??
sabhi ne ??
sabhi ne ??
??
aa aa aa
jaise nihaar ??
jaise nihaar ??
jaise nihaar ??
jaise nihaar ??
manke ki maala
joohi manke ki maala
joohi manke ki maala
joohi manke ki maala
Raaja ke chaman se laayi
Raaja ke chaman se laayi
Raaja ke chaman se laayi
manke ki maala
Raaja ke chaman se laayi
manke ki maala
joohi manke ki maala
Raaja ki
Kaase main kahoon piya hiya ki baat
Posted on: May 31, 2019
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.
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3969 | Post No. : | 15053 | Movie Count : |
4130 |
Today’s song is from a film of the first decade of the Talkie, ” Yangrilla “-1938. The song is sung by Sarla. No information is available about this singer. The cast of the film was Enakshi Rama Rau, Nayampalli, David, Gyani, Saalu, Shareefa, S L Puri, Fatty Prasad and few others.
It is generally said that in the early era, most actors and actresses came from poor families and most artistes had no or had negligible education. While it is true to a great extent, it is not 100% true. It is not that even in this period, there were no educated persons in the film industry. Right from the beginning of the Silent era to Talkie film era up to the end of the 40s decade, there were actors, actresses, directors,producers and musicians who were quite educated. Some of them had even been trained in western countries.
Take the case of Himanshu Rai and Devika Rani and their team of writer like Niranjan Pal, from the silent era. They were all highly educated and from rich. cultured families. Niranjan Pal was the son of the Freedom fighter Bipin chnadra Pal. B.N.Sircar is another example. Director Nanubhai Vakil was actually an advocate with B.A. LL.B degree. Surendra was BA, LL.B. Motilal was a graduate, so were Ramchandra Thakur, Nandlal Jaswantlal, Jayant Desai, Jairaj, Umakant Desai. Ashok kumar, Dev Anand and his 2 brothers etc.
Among actresses, Leela Chitnis, Shanta Apte, Durga Khote, Renuka Devi were graduates. Vanmala was BA,BT. Kamini Kaushal was BA. The point here is, there were educated and people with respectable family background were also a part of film industry. But of course, initially their number was smaller compared to others who were either illiterate or less educated. For example, the beautiful Meena Shorey and Sitara Kanpuri could not even sign- leave alone reading and writing !. That is why, they were cheated in their contracts by Sohrab Modi and W.Z.Ahmed ( of Shalimar Pictures and husband of actress Neena).
In today’s film, Yangrilla-38, the Hero, Heroine and the Director were all highly educated. The Heroine, Enakshi Rama Rao was the daughter of an ICS officer of Madras Presidency. She came to England for her graduation. After graduation, she took part in some stage dramas, where she got introduced to Niranjan Pal and Himanshu Rai. When Himanshu Rai decided to make a silent film on Tajmahal story, he asked Niranjan Pal to write the film story. Sita Devi aka Renee Smith was selected for the Vamp’s role and Enakshi was selected for the main role of Selima ( who was later named Mumtaj Mahal by Prince Khurram- who was later known as Shahjehan.). The film was named Shiraz.
Enakshi is a very unusual name. Comparatively, Meenakshi is a well known name. Meenakshi means ” one with eyes like Fish “. Enakshi means ” one with the eyes of Doe or Deer”. In other words, Enakshi means Mrignayani. Except name of this actress, I have never ever come across this name (Enakshi) in my life elsewhere !
Her work in film Shiraz was applauded in England, Germany and India. When she returned to India, She met Bhavnani, who made a silent film Vasantsena-31, with her in the lead role. More than as an actress of Silent and Talkie films, Enakshi’s name was known in Elite circles for different achievements, after she stopped working in films.
Not many of us know that Meenakshi Bhavnani ( Enakshi Rama Rao before her marriage ) has done an enormous service to expose Indian dances and Designs to West. No lesser is her contribution to expose Kashmir Crafts and Designs ( Fabric , Wood and Papier Mache ) to west. An American Tourist told in Kerala recently about her detailed work on Kashmir Designs ( shawls , Jackets ).This side of Meenakshi’s personality and work is in addition to her contribution as a Dancer, photographer and actress .Two scholarly Books written by Meenakshi Bhavnani were also published. Both the books are preserved in American Museum of Natural History.These are ..
(1) Folk And Tribal Designs of India
(2) The Dance of India: The Origin and History Foundation, Art and Science of the Dance in India .
This exceptionally talented woman stayed in Kashmir for sometime in 1950 and met cross section of people connected with Arts and Crafts . She had been a visitor thereafter as well . She also visited Leh and kargil for her Book. During this period she also clicked some photographs in Kashmir portraying its rich culture and scenic beauty.She also shot a Documentary “ VALEY OF KASHMIR “ during this period..
Meenakshi was an active member of the Crafts Council of India, which was founded in 1964 to support artisans and keep their crafts relevant and marketable amid rapidly changing economies at home and abroad.
The Photographs clicked by her have also appeared in National Geographic Magazine especially her series.
And in her book on folk dances of India , Meenakshi covers all forms of Kashmirian folk dances .
Enakshi married film maker Mohan Bhavnani ( 1903-1962 ) who was trained in Germany and Hollywood. She was a dancer , Actor , Photographer and writer on Arts , Crafts and culture. From 1929 to 1938, She acted in six films as a leading lady . Out of these six films five ( Vasantsena-31 , Trapped-31 ,Jagaran-36 , Himalaya ki Beti-38 and Yangrilla-38 ) were directed by her husband Mohan Bhavnani . Only Shiraz ( 1929 Produced by Himanshu Roy ) was directed by Franz Osten .
Producer Director Mohan Bhavnani was a learned and illustrious person. This is what the Encyclopedia of Indian Cinema says about him-
Mohan Dayaram Bhavnani (1903-62)
Hindi director born in Hyderabad, Sindh. Studied at College of Technology, Manchester (1921-4), then studied film-making in Germany at UFA (1924). Contracted to Kohinoor (1925- 6) where his Sulochana films were the earliest efforts in the Indian cinema to create a Hollywood-type movie star, e.g. Cinema Ni Rani where she plays a famous actress with whom the painter hero falls in love, or Wildcat of Bombay where she played multiple roles. Joined Imperial (1927-9), where he made Khwab-e-Hasti, adapted from the novel Dreamland (later also adapted by N. Taurog’s Strike me Pink, 1936). Scripted by A.S. Desai, this film is not to be confused with Kashmiri’s play of the same title. Vasantsena was the first Kannada intertitled film. Became independent producer with Indian Art Prod. (1931-2). Returned to Germany to study sound film technique. Started Ajanta Cinetone (1933-4) and his own Bhavnani Prod. (1935-48). Sound de´but was a flop, but it introduced Durga Khote. Hired Premchand to script Mazdoor, representing the author’s only direct encounter with film, following it with the unemployment melodrama Jagran. Produced and directed the first full-length colour film shot on 16mm Kodachrome and blown up to 35mm, Ajit. Joined Films Division and became its first Chief Producer (1948-55). In 1958 Bhavnani followed up an invitation from Zhou En-Lai to make a documentary on China and travelled extensively throughout the country shooting with cameramen Kishore Rege and S.K. Kulkarni. His wife Enakshi Rama Rao, who acted in Vasantsena, had earlier played the lead in Shiraz (1928) and became a noted dancer and author of the book The Dance of India (1965).
FILMOGRAPHY: 1925: Cinema Ni Rani; Matri Prem; Veer Bala; Seth Sagalsha; 1 9 2 6 : Pagal Premi; Diwan Bhamasha; Mena Kumari; Ra Kawat; Samrat Shiladitya; Bhamto Bhoot; 1 9 2 7 : Naseeb Ni Lili; Daya Ni Devi; Trust Your Wife; Wildcat of Bombay; Gamdeni Gori; 1929: Hawai Swar; Khwab-e- Hasti; Mysore, Gem City of India (Doc); Khedda (Doc); 1 9 3 0 : Vasantsena (all St); 1 9 3 1 : Shakuntala; Farebi Jaal; Lafanga Langoor (Sh); 1 932: Veer Kunal; 1 933: Afzal; Rangila Rajput; 1 9 3 4 : Dard-e-Dil; Mazdoor; Sair-e-Paristan; 1935: Jung Bahadur; Navjeevan; Shadi Ki Raat; 1936: Dilawar; Garib Parwar; Jagran; Wrestling (Doc); 1 9 3 7 : Zambo the Ape Man; 1 9 3 8 : Double Cross; Himalay Ki Beti; Yangrilla; 1 9 3 9 : Zambo Ka Beta; 1940: Jhoothi Sharm; PremNagar?; 1945: Biswi Sadi; 1 946: Rang Bhoomi; 1 948: Ajit; 1 9 4 9 : Vale of Kashmir (Doc); 1 9 5 0 : The Private Life of a Silkworm (Doc); 1 9 5 1 : Lest We Forget (Doc); 1 9 5 2 : Kumaon Hills (Doc); 1 9 5 3 : Folk Dances of India (Doc); Republic Day Record (Doc); 1 9 5 5 : Republic Day 1955 (Doc); 1 956: Operation Khedda (Doc); 1 957: The Himalayan Tapestry (Doc ).
Like the Heroine, the name of the film was also strange. I tried very hard to find out what the word Yangrilla meant, but I could not get it. Finally, undaunted, I started going through the list of books on line. Lo and behold ! I bumped into a book with a title ” Rilla of the Inglewood ” written by Lucy Maud Montgomary, published in 1921. Some part of the book was available for reading online and while reading it, I found that ” Yangrilla ” in Swahili language meant a Hunter. Not going into the book and its boring story, I was glad that at last I decoded the word Yangrilla…a Hunter. Considering that the film ‘ Yangrilla’-38 was a Costume drama, I can guess that this film’s story must have been connected with hunting, Jungle and such other interesting and thrilling matters. Film Yangrilla-38 was financed by Ramnarayan Dubey, who in later years swallowed Bombay Talkies with its Land and started an Industrial complex on its land with about 250 to 300 manufacturing units. Recently his grandson was in news for announcing revival of Bombay Talkies !
The Hero of this film was Nayampalli. S.B. Nayampally (or Nayampalli) was working at the firm of Killick, Nixon and Company, in Bombay when he was discovered by film director P.Y. Altekar at a gym where Nayampally regularly exercised. Altekar felt that Nayampally very much resembled the famous French boxer Georges Carpenter and would be perfect for the stunt films that had become popular at the time. At Altekar’s urging, Nayampally joined Imperial Studios and was quickly cast in his first film, Wedding Night(1929), opposite the popular actress Jilloo. When he arrived at Imperial to begin his first day of filming he was amused to find that the building now used for the studio had formerly housed the school he’d attended as a child.“Wedding Night was a stunt film of the Robin Hood type,” Nayampally explained in a 1964 interview. “It had a little more of a plot to it than many films of the same class. My next film, Hell’s Paradise (1929), I remember for three reasons. One, it was based on a real-life episode involving an Indian prince and a foreign girl, described as an adventuress. Two, Mama Warerekar, the noted writer, did the story. Three, the film had a kissing scene, probably the first ever in an Indian film.”
Nayampalli was cast in Imperial’s Noorjehan (1931), which was initially to be a silent picture, but because of the success of their film Alam Ara (1931), which was India’s first talkie, the studio decided to make Noorjehan partly with sound. Nayampally was not originally cast in Noorjehan, but a chance meeting with the film’s director, Ezra Mir, got him the role of Prince Salim in the film.Nayampally then played Karna in Imperial’s next sound film, the mythological Draupadi (1931), but the actor considered his best mythological role to be that of the wily Shakuni in Mahatma Vidur (1943), a part that was appreciated by critics and the public, alike.
As sound films came in, silent actors were being discarded in favor of those with stage backgrounds and could not sing, so Nayampalli joined the Grant Anderson Theatrical Company which specialized in Shakespearean plays. After gaining some experience he tried to rejoin films, but without much luck. His previous roles had been leads, so he decided if he wanted to work regularly, maybe he should take a different approach and he offered himself up for character parts.His break came in the role of a hunchback in love with the heroine in Ezra Mir’s Zarina which starred Jal Merchant and Zubeida. The dentures he wore for the role were created specially by a dentist named Jimmy Gheista who had trained abroad with the dentist who had made similar dentures for Lon Chaney.
Nayampally had learned early on how to apply make-up for his roles and, in fact, he became so good at it he eventually came to specialize in horror make-up, which earned him the nickname “The Indian Lon Chaney.” Indeed, Chaney, Erich von Stroheim, Emil Jannings, and John Barrymore were the actors that Nayampally most tried to emulate. Boris Karloff was another of his role models. He was able to put his make-up expertise to good use for the film Sair-e-Paristan (1934), where he was a vampire-like devil, and in Zingaro(1935), in which he played a monster created by a mad scientist, and then as a the hairy “missing link” in Zambo (1937) and its sequel Zambo Ka Beta (1938). For Kalkoot (1935) he created a make-up to resemble the wrinkled effect that Karloff had used in The Mummy(1932).
Nayampally continued working in films throughout the 1940s and 50s, particularly in mythologicals and costume pictures including Raj Nartaki (1941), Nagad Narayan (1943), Vishwas 1943), Taramati(1945), Urvashi (1946), Jhansi-Ki-Rani (1953), Durgesh Nandini (1956), Basant Bahar (1956) and Shiv Parvati (1962) His last credited film appearance was in 1970’s Priya.
After the career in films ended, he started making Documentaries. He made about 35 documentaries. He won ‘Silver Dolphin’ award for his documentary in the International Film Festival at Teheran in 1970. He died on 7-5-1994, in Mumbai.
Pt. Badri Prasad was the Music Director of film Yangrilla-38. He used 6 different singers for 11 songs in the film. Besides issuing records for its songs, the producer also floated 2 records of ‘ Bhavnani Productions orchestra ‘.
The uploader of today’s song, our own Sadanand ji Kamath has certified this song to be ” rarest amongst the rare ” songs. With this song, film Yangrilla-38 makes its Debut on the Blog.
Song- Kaase main kahoon piya hiya ki baat(Yaangrilla)(1938) Singer- Sarla Devi, Lyrics- Unknown, MD- Pt. Badri Prasad
Lyrics
Kaase main kahoon
piya hiya ki baat
Kaase main kahoon
Kaase main kahoon
piya hiya ki baat
Kaase main kahoon
Kaase main kahoon
piya hiya ki baat
Kaase main kahoon
piya hiya ki
kaun sunega prem kahaani
kaun sunega prem kahaani
aur usey phir meri zabaani
aur usey phir meri zabaani
yah duniya to preet ki bairan hai
Kaase main kahoon
piya hiya ki baat
kaase main kahoon
is duniya ke rahne waale
is duniya ke rahne waale
kapti paapi man ke kaale
kapti paapi man ke kaale
paap(?) hi inka ghar(?) aur joban hai
Kaase main kahoon
piya hiya ki baat
kaase main kahoon
kaase main kahoon
kaase main kahoon
Ham ban gaye sab bade doctor
Posted on: May 23, 2019
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
3961 | Post No. : | 15039 | Movie Count : |
4124 |
Today’s song is from a very old film-Do Deewane-1936. The film was made by Sagar Movietone. It was directed by Chimanlal Luhar and the music was by Pransukh Nayak.
The film was a Comedy film. Originally made in Gujarati as ” Be kharab jan “, it was based on a play written by the famous Literary figure of Gujarat- Kanhaiyalal Munshi ( 30-12-1887 to 8-2-1971 ). He was an activist in Independence struggle, a Politician ( Home Minister and Governor), a writer and an educationist (founded Bharatiya Vidya Bhavan). Munshi had dabbled in film industry and many Gujarati and Hindi films were made on his plays and stories in almost every decade.
All the 11 songs of the film were written by the famous Gujarati poet ” Raskavi ” Raghunath Bramhabhatt. He was born on 13-12-1892. He was a famous Gujarati poet and also a popular playwright. He was aptly called ‘Rasakavi’ or ‘Poet of rasa’. He began his career by writing erotic poems that became very popular. His plays mainly tackled mythological and historical subjects, such as Buddhadev i.e. ‘The God Buddha’, Sringi rishi i.e. ‘Mountain Sage’, Ajatsatru, Saraswatichandra, Sneh mudra i.e. ‘Ring of Affection’. He followed Sanskrit dramaturgy i.e. a novelty when Shakespearean adaptations ruled the Gujarati stage. His adaptations of Nanalal Kavi’s verse plays and Govardhanram’s novel, Saraswatichandra, were highly appreciated by audiences. He is accepted in literary circles as a major dramatist, a rare recognition for a writer of the old professional theatre. His autobiography Smaran manjari i.e. ‘Cluster of Memories’ in 1955 traces the history of Gujarati theatre over three decades beginning from 1910.
Darpana’s productions of his play Kalyan rajya i.e. ‘Benevolent Kingdom’ in 1962 points to his ability to attract the experimental theatre.Raghunath Brahmbhatt died on 11-7-1983. He wrote lyrics for just 6 Hindi films- Do deewane-36, Baaraat-42, Mera Gaon-42, Ashirwad-43, Bhakta Bilwamangal-48 and Roop sundari-49.
The film cast was Motilal, Shobhana Samarth, Yakub, Aruna Devi, Sankata Prasad, Bhudo Advani and others. The name of Aruna Devi may be a new one for many. She started acting in films with film Village Girl-36. The same year, she also acted in Mard ka Bachha, Lagna Bandhan,Do Deewane and Deccan Queen ( she did a double role in this film. She also sang 2 songs in this film.) and in 1938 she acted in her last film Asha-38. After this she got married to a businessman Mr. Nanavati and settled in England- ending her very short career as an actress.
Do Deewane was the first film in which Motilal and Shobhana Samarth acted together. In later life, however, besides acting, they lived a life together also in real life. The film was directed by Chimanblal Luhar.
The Director CHIMANLAL MULJIBHOY LUHAR ( 1901-1948) was a Chemistry graduate from Bombay University. He started writing as a critic and author in journals like Beesvin sadee, Navchetan and Bombay Chronicle. He joined film line as a lab Assistant in Kohinoor studios in early 20s. Soon he became a noted cameraman for several documentaries, with K.D.Brothers, Bombay,under a British cameraman of Prince of Wales’ official entourage. After a brief stint at Rajkot with Saurashtra Films and a longer one at Krishna Films-where he shot 20 films, he joined Sharada Studios with ‘Dagabaz Duniya-1926 and several stunt films by Master Vithal. He turned a producer for a few stunt films. Later he was a partner in Sharda films and a Director with Sagar Movietone(1934-1940). From 1941 to 46 he worked for Prakash Pictures. He directed Sassi Punnu-32,Silver King-35 Talash-E-haq (first film of Nargis, made by Jaddanbai)-35, Do deewane, Kharab Jaan, Capt. Kirtikumar, Dynamite, Kaun kisika, Sewa Samaj, Saubhagya, Darshan, Station master, School Master, Uss paar and Bindiya. He died at the young age of 47 years,in 1948. He had established his own production outfit ‘Sun Art Pictures’ in 1943, but he made only 3 films with it -School Master-43, Uss Paar-44 and Bindiya-46, before he died, after a prolonged illness.
FILMOGRAPHY: 1932: Sassi Punnu; 1935: Silver King; Talash-e-Haq; 1936: Do Diwane/Be Kharab Jan; 1937: Captain Kirti Kumar; 1938: Dynamite; 1939: Kaun Kisika; Seva Samaj; 1940: Saubhagya; 1941: Darshan; 1942: Station Master; 1943: School Master; 1944: Us Paar; 1946: Bindiya.
Film Do Deewane took a satirical look at the practice in society, the character of a father, forcing his daughter into a marriage for monetary incentive, was at the heart of this film. The daughter runs away from home and meets a lot of people. In his original stage drama, Munshi had brought different people speaking in different languages- creating kind of a humour, however in the Hindi film version it was only Hindi language spoken by different people…still creating laughs by their grammar and pronunciation.
While doing the shooting, Motilal was quite hesitant and shy in love scenes. There was a scene in which he was supposed to take the Heroine in his arms. But even after trying several times Motilal could not do it. Fed up of waiting for long, it was Shobhana who jerked him towards her and embraced him ! Imagine who must have blushed in this scene !!
In another scene, Shobhana is sitting on a swing. Motilal had to come from behind and push the swing to frighten her.While doing the rehearsal of this scene, Motilal gave a hard push to the swing to look realistic. As a result Shobhana not only fell off the swing but promptly became unconscious also. It was then that Motilal came to know that she was pregnant. Later on 4-6-1936, Shobhana gave birth to Nutan !
The story of the film was the usual conflict between Generation thinkings and values. Since the time unknown, newer Generations have always felt that the older people were not keeping up with current times. This was so 100 years ago and is very much true even today. The film which was made about 80 years ago tried to discuss this conflict, cinematically. Millionaire Ramdas wants to marry his daughter as per his choice. Not agreeing to this daughter Miss Rambha (Shobhana Samarth) runs away from home and in her quest of peace, meets Dr. Mohanlal (Motilal). They fall in love. At the end it is revealed that Mohanlal was the original choice of her father. So, all is well.
The film had subplots to create comic situations. However, as per the review of the film posted in Film India magazine, the comedy did not induce most people in the audience to laugh and acting of most actors was mediocre. The technical side was much appreciated. Anyway, Baburao Patel of Film India magazine rarely appreciated or had good words for any film, so nothing new in this review also.
There were 11 songs in the film. The composer was Pransukh Nayak, who started his career with film Sati Sone-33 and ended with film Kulvadhu-37, giving music to 27 films in between this period and composed 293 songs.
In Sagar Movietone, many actors, actresses, directors and technicians got first opportunity or got opportunity to develop their existing careers. The Regular artistes of Sagar Movietone were called ” The Jewels of Sagar “. They included Motilal, Surendra, Kumar, Charlie, Yakub, Bhudo Advani, Sh. Mukhtar, Kanhaiyalal, Sankata Prasad, V H Desai, Sabita Devi, Bibbo, Waheedan Bai, Jyoti, Maya Banerjee, Nalini Jaywant, Ezra Mir, Ramchandra Thakur, mehboob, Sarvottam Badami, Zia Sarhadi, Faredoon Irani, Kaushik Dholabhai and Anil Biswas.
Today’s song is a fun song. From the lyrics, it sounds like a group of freshly graduated Doctors. The song has many medical terms and mentions of Medical instruments etc. This is a Chorus song. With this song, film Do Deewane makes its Debut on the Blog.
( I am thankful to the book ” Sagar Movietone”, by Biren kothari ji for information used herein.)
Song-Hum ban gaye sab bade doctor (Do Deewaane)(1936) Singer- Chorus, Lyricist- Raghunath Bramhabhatt, MD- Pransukh Nayak
Lyrics
Hum ban gaye sab bade doctor
physician aur Surgeon
patient hamaara dilbar
chaaku hamaara nashtar
Hum ban gaye sab bade doctor
physician aur Surgeon
patient hamaara dilbar
chaaku hamaara nashtar
koi nine pills aur powder
koi nine pills aur powder
koi nine pills aur powder
koi nine pills aur powder
tonic lotion aur tincture
tonic lotion aur tincture
tonic lotion aur tincture
tonic lotion aur tincture
patient hamaara ho mister(?)
patient hamaara ho mister(?)
phir mauj kare kheese bhar kar
phir mauj kare kheese bhar kar
bane hunarwar chale akadkar
badhe position ghar ghar
bane hunarwar chale akadkar
badhe position ghar ghar
MBBS
FS(?)
ab kaun hai hamse badhkar
ab kaun hai hamse badhkar
ham ban gaye sab bade doctor
physician aur Surgeon
patient hamaara dilbar
chaaku hamaara nashtar
ham ban gaye sab bade doctor
physician aur Surgeon
patient hamaara dilbar
chaaku hamaara nashtar
koi nine pills aur powder
koi nine pills aur powder
koi nine pills aur powder
koi nine pills aur powder
tonic lotion aur tincture
tonic lotion aur tincture
tonic lotion aur tincture
tonic lotion aur tincture
patient hamaara ho mister(?)
patient hamaara ho mister(?)
phir mauj kare kheese bhar kar
phir mauj kare kheese bhar kar
bane hunarwar chale akadkar
badhe position ghar ghar
bane hunarwar chale akadkar
badhe position ghar ghar
MBBS
FS
ab kaun hai hamse badhkar
ab kaun hai hamse badhkar
ham ban gaye sab bade doctor
physician aur Surgeon
patient hamaara dilbar
chaaku hamaara nashtar
ham ban gaye sab bade doctor
Prem nagariya jaayenge hum
Posted on: May 19, 2019
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Today’s song is from the film Jadu Nagari-1940.
In last 2-3 years, I find that a lot many collectors are uploading songs from films of the 30s and also rare songs. The HFM History students- like me- are highly indebted to them for their generosity.
Like in any other fields, here too some disturbing events take place. Some collectors upload incomplete songs, thinking that this will protect their monopoly. I feel this is very unfair. No one forces them to upload songs. If they do so on their own, why not complete songs ? Anyway, it is their thinking and choice. Fortunately, true connoisseurs, like Shalin Bhatt ji are highly dependable and his songs are not only complete and rare but he also adds some information to it. Many times the viewers’ comments on the song also gives important information pieces. May God increase his tribe !
Film Jadu nagari-40 was based on an imaginary story, like many such films. These films had writers, who flew the kites of their imagination, sometimes in a very comic way. For example, turning Humans into Animals or showing talking animals, birds and even Snakes. Of course since the film had Jadu in its title iteslf, all these things were within expectations only. Actually these things made the films very interesting and watchable. ALAS ! The era of such C grade films is gone for ever !
I selected a song from this film, because I found some unusual and rare points here, worth talking about.
Firstly, the film is directed by Baburao Apte ( variously spelt as Baburao, Bapurao or S R Apte), who was the elder brother of actress Shanta Apte. He had started his acting career from the silent era. He acted in 8 silent films. Starting with film Shyamsunder-32, he acted in his first Talkie film, as Radha’s husband- where Radha was his own younger sister, Shanta Apte. In all, he acted in 16 Talkie films, his last film being “Main abla nahin hoon”-49 directed by Shanta Apte herself. He had a very minor role in it-courtesy his sister. He also directed 8 Talkie films from Kala Pahad-33 to Jadu Nagari-40. yes, today’s film was his last film as a director.
And yes, he was the same person, who brought his own younger sister of 9 years to act in films. He would put a condition in the contract that no other actor will touch her while shooting. If she had a wife’s role, he would do the husband’s role. Fortunately for cine goers, as Shanta Apte grew up as a rebel, she defied this rule and Baburao started his acting and direction separately. He got married and lived separately.
Shanta Apte- though unmarried till end- had a daughter-Nayana Apte. However this news of her daughter was kept a secret. When Shanta Apte died on 28-2-1964, ten years later Nayana declared that she was Shanta Apte’s daughter. Film Historian Isak Mujawar, in one of his books, has said that Nayana was Shanta’s daughter from brother Baburao Apte only. Such matters have no credible proofs anytime. By the way, Nayana Apte became a popular actress on Marathi Stage and in Marathi Cinema. Obviously Baburao Apte was very creative indeed !
Secondly, in this film Rajkumari Calcuttewali (real name Pullo Bai) had acted and also sang 5 songs. Though HFGK is silent about which Rajkumari it was in this film, the noted Music Historian and collector Girdharilal Vishwakarma ji has confirmed this. Also the song’s uploader Shalin Bhatt ji also mentions Rajkumari Calcuttewali. Though she acted and sang only in films made at Calcutta, two films ‘Gorakh aaya’-38 and ‘Jadu Nagari’-40 indicate her participation.Later she married one Seth Motilal from Calcutta and left films.
Thirdly, Music Director in later times-Jimmy aka James Singh- sang a duet in this film with Rajkumari Calcuttewali. Composer Jimmy aka James Singh- is one of those little known composers who never got fame or name in spite of their Talents. His real name was JAMES SINGH. He was a Christian Punjabi from Ludhiana. He was educated in Delhi.He started his career in Hindi films as a singer in Chorus. He sang 7 songs in 6 films (Imandar-39, Baghi-39, Pyar-40, Anjaam-40, Jadoo Nagri-40, and Maaya Nagri-44).
He could play many western instruments, especially all types of Guitars.When he failed as a singer, he became assistant to many composers. Finally.he got his chance to compose few songs for film ‘Muqaddar-50’, though with Khemchand Prakash and Bhola Shreshtha. He composed 2 duets of Asha and Kishore. The credit of composing the First ” Yodelling ” song of Kishore kumar goes to Jimmy. Kishore ‘yodelled ‘ first time in this film.
Jimmy then gave music to 14 more films like, Shrimatiji-52, Smuggler-59, Awara Shehzadi-56, Sher e Baghdad-57, Nek khatoon-59, Pathan-62, Miss chaalbaz-61, Tarzan and Gorilla-63, Duniya hai dilwalon ki-66, Pyar ki Baazi-67, Tarzan in fairy land-68, Aakhir-84, Khoon aur sazaa-86 and his last film, Sachhi Ibadat-1987. Inspite of giving sweet and melodious songs of a variety,Jimmy never came up to A class. He always remained a composer for C grade films. Anyway, as long as Kishore’s yodelling is heard,Jimmy’s name will be remembered.
However, in this film Jimmy was not the MD. It was yet another little known MD- Shanti kumar Desai, a very talented but unlucky composer who rarely got support from any famous banner. His music was enchanting and tunes were superb, but Lady Luck did not favour him.
He was born in Amreli,Saurashtra, Gujarat state on 3-3-1908. His family was in service as Royal Musicians, so he was exposed to music from childhood.He was an expert Harmonium player. To start his career, he came to Bombay and worked in H.M.V. as a Broadcaster. Here he came into contact with many composers and learnt how they operated and made tunes etc. He was already giving music to Dramas, but wanted to join Film line as M.D. He got his first film Navbharat ( Jawanmard)-1934. In those days Gujarati producers and directors used to prefer Gujarati MDs. Thus out of his 36 films, 18 were done with Gujarati Directors like Sohrab modi, Nanubhai Vakil, V.M.Vyas(4 films), Kanjibhai Rathod, Dhirubhai Desai etc. He also gave music to Gujarati films.
He gave music along with Madholal Master,Rafiq Ghaznavi, Pannalal Ghosh, Shyambabu Pthak etc. Famous singers like Rafi, Manna Dey, Zohrabai, Amirbai etc sang in his films during their early careers. Even kishore kumar’s early film Sati Vijay-48 had music by Shanti kumar Desai. He gave music to films of early era actors like Prem Adib, Mehtab, Sitara Devi, Leela Chitnis, Jal Merchant, Ashraf Khan, Rajkumari, Mazhar khan, Shanta Hublikar, Jairaj, E Billimoria, Kumar, Sardar Akhtar, Chandramohan, Shobhana Samarth, Durga Khote, Shahu Modak and Sulochana.
From 1934 to 1948, he gave music to 35 films and in 1964 his one film was released. He composed about 300 songs. He never got films from top banners like Bombay Talkies,Prabhat, Sagar or Minerva, otherwise his career would have been different.
He died on 6-1-1986. Some of his better known films were Bholi bhikaran-36, Punarjanma-38, Anjaam-40, Suhaagan-42, Naukar-43, Ek din ka sultan-45 and Lav Kush-51.
The Hero of this stunt film was the Stunt King Yeshwant Dave…..ever heard his name ? Not a great chance, I know.
It was not uncommon during the days of early cinema for people to hang around studios and filming locations in the hopes of being discovered. One such intrepid soul was Yeshwant Dave (or Yashwant Dave), who was at Kohinoor Studios observing a picture being made by producer J.B.H. Wadia. The handsome and athletic Yeshwant cornered Wadia, insisting that he would make a fine hero for an action film.
Wadia agreed to test Yeshwant by having him jump from the roof of one set piece to another. He did so successfully, and J.B.H. decided to cast him in a film that he was to direct for Young United Players, the 1931 silent Thunderbolt (aka Diler Daaku) featuring Mumtaz as the heroine.
Yashwant was again directed by Wadia in Toofaan Mail (1932) and thereafter became a sought after action star appearing in the stunt films of other directors like Aspi, Dhirubhai Desai, Nari Ghadiali, Chunilal Parekh, and Harshadrai Mehta. Some of his films include Bharat Veer (1932), Jaadui Jung (1934), Bombshell (1935), Vasant Bengali (1937), Flying Ranee (1939), Magic City (Jaadoo Nagri) (1940), Torpedo (1941), Royal Mail (1946), and Kaun Pardesi (1947).
Growing out of the stunt hero persona, he turned to character parts and made infrequent onscreen appearances throughout the 1950s, including in Seikh Chilli and Makkhee Choos both released in 1956 and starring comedian Bhagwan. What became of Yeshwant Dave afterwards is anybody’s guess, as the once popular action star faded into obscurity and, sadly, is barely remembered today.
Today’s song is a duet sung by Rajkumari Calcuttewali and James Singh. There were 9 songs in the film. With this song, film Jadu Nagari-40 makes its Debut on this Blog.
(Thanks to cinemajadu.com, activeindiatv.com, Cinerang by Isak Mujawar, Harish Raghuwanshi ji of Surat and my notes for information used herein.)
Song-Prem nagariya jaayenge hum(Jaadoonagri)(1940) Singers- Rajkumari Calcuttewali, James Singh (aka Jimmy), Lyricist- Munshi Kabil Amritsari, MD- Shanti Kumar Desai
Both
Lyrics
Prem nagariya jaayenge hum
Prem nagariya jaayenge hum
Prem nagariya jaayenge
dharti pe swarg basaayenge
dharti pe swarg basaayenge
Prem nagariya jaayenge
Prem nagar ki har galiyan mein
Prem nagar ki har galiyan mein
prem bageech banaayenge
prem bageech banaayenge
prem panchhi ban kunj kunj mein
prem geet nit gaayenge
prem panchhi ban kunj kunj mein
prem geet nit gaayenge hum
prem nagariya jaayenge
kal kal karti prem sarit mein
prem mast ho ??aayenge
kal kal karti prem sarit mein
prem mast ho ??aayenge
prem sudha ras pi pi kar
tan man ka taap mitaayenge
prem sudha ras pi pi kar
tan man ka taap mitaayenge
prem nagariya jaayenge
ek pran ham do tan ho kar
phir bhi to bisraayenge
haan
ek pran ham do tan ho kar
phir bhi to bisraayenge
haan
prem devta ke kunjan mein
prem devta ke kunjan mein
jeewan sakal bitaayenge hum
jeewan sakal bitaayenge hum
prem nagariya jaayenge
Nirmala Kumari ban ki raani
Posted on: May 8, 2019
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog.This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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3946 | Post No. : | 15021 | Movie Count : |
4117 |
Today’s song is from a very old and obscure film, hardly noticed or heard by anyone- Ban ki Chidiya-1938. The film was from Ranjit, directed by Jayant Desai and had a very famous and popular star cast like, Madhuri, E. Bilimoria, Ishwarlal, Charlie, Ghori, Kesari, Ram Apte etc etc. The cast consisted of of the popular stars of those days, still, neither they could make it a popular film nor it provided anything to remember it for.
When I looked at the star cast carefully, I realised that it consisted of 2 actors who had their brothers also working as actors, in the same period. In the early era, when getting good actors/actresses itself was a challenge, every successful artiste used to call his/her sibling or a relative into cinema. This phenomenon was seen more among the female artistes. Though not equal, the males too joined this trend. So you will see that most artistes, directors, producers or actors in the early era were someway related to each others.
The females were ahead in this, simply because the actresses mostly came from singing families-Tawayafs- and these girls were keen to join films with an ulterior motive of catching a moneyed ” seth ji ” as a “Husband”, so that they could live a respectable and comfortable family life.
Thus the very first Talkie ” Alam Ara “-31 had a Heroine Zubeida, whose 2 sisters-Sultana and Shehzadi- were already Heroines in films. There were many such sister pairs in cinema like Amirbai and Gauharbai Karnataki, Violet and Patience Cooper, Pramila and Romilla, Kusum and Ranjana, Purnima and Shirin, Indurani and Sarojini, Leela Desai and Monica Desai, Shamim and Naseem Jr., etc etc. I have quoted names of only Heroines. There could be siblings working as character artistes, which, as on today, I have no information about.
Among the male brothers, off hand, I remember only 2 pairs. Bilimoria brothers in the 30s and Dilip kumar and Nasir khan in 40s and 50s. There were some other pairs of brothers in the same period, but they were not Heros in Hindi films. Names of some pairs are Ram Apte and Anant Apte aka Bajarbattu, Ram Marathe and Anant Marathe aka Anant kumar- hero in few films, and Sankata prasad and Kanhaiyalal (Chaturvedi).
D-Dinshaw and E-Eddie Bilimoria brothers were heros at the same time. How E.Bilimoria became a Hero is a very funny incidence and I think it is unique in the annals of any language Film History how a Mistaken identity can make someone a Hero ! Now read this…
In the early era of the Talkie films the Bilimoria brothers were very famous. First it was D (Dinshaw) and then came E (Eddie) Bilimoria.
Eddie was born at Bilimora,in Gujarat, in 1900. At the age of just 13 years he ran away from house to Kirkee (near Poona), to his uncle, to become a Fireman in Railways. Here, he became a Door keeper in a Cinema house and also learnt operating the film projector. Due to ill health, he was brought to Bombay.
One day he went to Imperial Studio to meet his brother Dinshaw. Mistaking him to be Dinshaw, make up was done to him and he played a role in film ‘Punjab Mail’. Then onwards he started working regularly in films. As a Hero his first silent film was ‘Raj Ramani’. He worked as Hero in 7 Imperial films and 10 films of Ranjit Studio. His Heroines were Putli, Shanta, Sultana. Madhuri, Padma, Panna and others.
When Talkie films started he was Hero in 32 films made by Ranjit, opposite Gauhar, Shanta, Kamla, Mehtab, Madhuri and Sitara etc. He worked in 15 films opposite Madhuri only. Fencing, shooting and horse riding were his specialties as a stunt Hero. He was the First in India to wear Cowboy dress in stunt films.
Char chakram-32, Miss 1933-33, and Nadira-34 were his Hit films. In film ‘ Sipahi ki sajni’-36, he jumped into Sea from a flying plane, without duplicate. Daredevil stunts were his hallmark. There were hundreds of stitches on his body.
After 1939 he stopped getting Hero roles, so he did other character roles. After 1953, he was reduced to only an Extra. He did acting till 1973 and then took up a job in a Fridge and AC shop. He stayed in a flat in Kemps corner in Bombay. His last days were not very happy. E.Bilimoria died on 18-2-1981 at Bombay.
He acted in 73 Talkie films, directed 1 film ( sone ki chidiya-48) and also sang 4 songs in 4 films. His first film was Radha Rani-32 and last was Honeymoon-73.
Eddie’s favourite Heroine Madhuri was in this film with him. Most actors, when they retire, they keep away from limelight-some willingly and most others automatically by the film industry. If an actor is not seen or heard for more than 10 or 20 years, normally it is presumed that he/she must have expired. However, if some artiste is suddenly brought into limelight after a gap of 50 years after he/she is retired, what will you say ? See what happened here….
Place- Shanmukhanand Hall,Mumbai
Date 7-2-1999
Time- 7 p.m.
Programme- Felicitation to ‘ Stars from the Silent Era’
Organisers- ” Amrut” and ” Cine Society of Bombay ”
The entire hall was overcrowded. Not only all the seats were occupied,but people were standing wherever possible. Everybody wanted to see the Two STARS on the stage-Jairaj and Madhuri. Both were in their late 80s,but looked radiant and smiling. For Madhuri it was a surprise,that the organisers found her out after living in oblivion for over 50 years. She was simply overwhelmed with the people’s affection and love. For Jairaj,these things were not new. He has been around all the time.
Madhuri and Jairaj were a Popular pair in Silent film era. They worked as a lead pair in 3 films,one each in 1930-Rasili Rani,1931-Warrior from the wild and 1932-My Hero. They came together after almost 70 years,on this stage.
Like many others,Madhuri too was an Anglo Indian. Her name was Beryl Claessen. She was born on 3-11-1913 at Delhi. Her father was a big officer in Government. Her initial schooling took place in Nainital. She learnt music too,because she wanted to become a Music Teacher. However that she never became,but on a visit to Bombay she was picked up by producer Indulal Yagnik and she started acting in silent films.
Many Heroines in those days were Anglo-Indians,Europeans or Jew girls. Since silent films did not require speaking Hindi or Urdu ( or any language,for that matter),these girls were preferred,as Indian audience loved their fair colour (Gori Mem). Additionally,these girls did not hesitate to give intimate scenes like kissing or doing stunts themselves. Most girls knew Horse riding,fencing and fighting.
In 1928,there was a Silent film Madhuri,but actress Sulochana(Ruby Myers) did this role and in 1932 there was a Talkie film Madhuri,in which also Sulochana only did the role. When Talkie films era began most of the Anglo Indian girls became jobless,since they could not speak Hindi/Urdu nor could they sing a song-the two requirements for actresses in Talkie films. However,few intelligent and professional actresses learnt Hindi/Urdu language speaking. Madhuri and Sabita Devi (Irene Gasper) were two such clever girls who achieved proficiency in these matters.
Madhuri was very beautiful. After doing 17 silent films,she made her debut in Talike films with ‘ Pardesi Preetam’-1933. Jaswantlal Nandlal directed his first film here. Her Hero was Raja Sandow. She did many films for Ranjit under the direction of Jayant Desai. From 1933 to 1942,she acted in 26 films. They were (not in order) Kashmeera,Mitti ka Putla,Noor e watan,Secretary,Lehri lala,Rangeela Raja,Sitamgarh,Prithviputra,Thokar,Raj Ramni,Diwali,Matlabi Duniya,Toofani Toli,Shama parwana,College Girl,Nadira,Veer babruvahan,Zamin ka chaand,Ban ki chidia,Toofan Mail,mehmanSasural,shadi and Ikrar. By the way, Iqrar – 42 was Madhuri’s last film.
In 1941,Madhuri got married and retired from Film line. After this she simply disappeared for next 50 years without a trace,till the organisers of above programme located her.
Today’s song is a funny one. From the lyrics, it looks as if it is addressed to a she monkey, which is obviously a pet monkey. The singers-both Ram Apte or E Bilimoria were not regular singers at all. Ram had sung just 4 songs in 3 films between his 25 films as a Child artiste during the period of 1933 to 1938. From the style of singing itself, one can make out a casual singer.
With this song, the film Ban ki Chidiya-38 and both the singers Ram Apte and E Bilimoria make their Debut on this Blog.
( My thanks to ‘ Inhe na bhulana ‘ by Harish Raghuwanshi ji, Beete kal ke sitare by Shriram Tamrakar, Screenplay by Isak Mujawar and my notes, for information used herein.)
Song-Nirmala kumari ban ki raani (Ban Ki Chidiya)(1938) Singers-Ram Apte, E Bilimoriya, Lyrics-Aarzoo Lucknowi, MD-Gyan Dutt
Lyrics
Nirmala kumari
Ban ki rani
bolo bolo
kook kook kook
Pratap
is bandariya ka naam kya hai
shrimati nirmala kumaari
ahahahahaha
Nirmala kumari
teri bahan ki tarah ladti jhagadti bahut hai
tumhaara kutta bhi to kam nahin
tumhaari tarah bhaun bhaun karta rahta hai
haha
dekh(?) ye bata
teri bahan haar gayi
dekho
wo tumhaarakutta bhaaga
neeroo
neeroo
idhar aao
Nirmala kumari
ban ki raani
bolo bolo
kook kook kook
nirmala kumari
ban ki raani
bolo bolo
kook kook kook
khel mere
?? khel mere ??
?? naach dikhaana
?? naach dikhaana
haan yaar bol bam bhola
haan yaar bol bam bhola
kya
hahahahaha
hohohohoho
ahahahahaha
ohohohoho
Nirmala kumari
ban ki raani
bolo bolo
kook kook kook
Nirmala kumari
ban ki raani
bolo bolo
chaal teri matwaali
gaalon pe tere laali
chaal teri matwaali
gaalon pe tere laali
bolo mahaaraani bolo
bolo mahaaraani bolo
hook hook hook hook kar
hook hook hook hook kar
nirmala kumari
ban ki raani
bolo bolo
kook kook kook
nirmala kumari
ban ki raani
hahahaaha
bolo bolo
hahahaha
Nain mohan prem bhare jaadoo najariya
Posted on: May 4, 2019
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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3942 | Post No. : | 15018 | Movie Count : |
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Today’s song is from a very old film Meetha Zahar-1938.
The title of the film is funny. Normally, we equate Poison taste with Bitterness, though, no one actually knows how poisons taste. There is a story about it, which I read in my childhood. Long time ago, a King was curious to know how the poison tasted. He asked many people but no one was able to give a satisfactory answer. His Prime Minister suggested a plan. He would give poison to a convict of death and ask him to write the taste of poison on a paper. If he writes it, he would be pardoned and a poison antidote will be given to him immediately.
Accordingly, a death convict was provided poison, paper and a pen. After drinking the poison, the convict started writing, but the strong poison killed him instantly and all that he could write was the letter ‘ S ‘ only. Now the question remained if the taste was Sweet, Sour or Salted ? However, Minerva Movietone had decided that the taste was sweet and hence the title of the film was Meetha Zahar !
After suffering initial failures with his first few films like Hamlet-35, Saeed E Hawas-36 and Atma Tarang-37, Sohrab Modi decided to make films on the social evils prevalent for a long time. Other big studios like Prabhat, Bombay Talkies and New Theatres were doing this already and they were making money. Modi decided to make films on separation in Marriage (Divorce aka Talaq-38), Alcoholism (Meetha Zahar-38), Illicit passion (Jailor-38) and Incest (Bharosa-40).
This stance changed the picture. His Historical film ” Pukar’-39 was a grand success, which brought him not only name and fame but also lot of money. Along with him, the Heroine of the film-Naseem Bano also benefitted greatly. After pukar-39, Naseem bano left Minerva. Naseem was launched by Sohrab Modi as a Heroine way back in Hamlet-35.
Naseem was born on July 4, 1916 in Delhi as Roshan Ara Begum, to courtesan-singer Shamshad Begum, better known as ‘Chhamiya’ and rich Nawab, Abdul Waheed Khan. She did her schooling at Queen Mary’s High School there with her mother harboring ambitions to make her a doctor. However, being a big fan of the movies and actress Sulochana in particular, after a family visit to Bombay, now Mumbai, in the 1930s, Naseem decided to make the movies her career. It was not easy. She had to fight hard with her mother to get her way, including it is said staging a successful hunger strike along with many tears!
Much of Naseem’s early work came at Minerva Movietone, owned by the great Sohrab Modi. He introduced Naseem in his adaptation of Hamlet, Khoon Ka Khoon (1935). Sadly for Naseem, the film flopped at the box-office. She then appeared in a series of films, mostly socials for Minerva including Divorce (1938), Meetha Zahar (1938) and Vasanti (1938)before hitting the big time with Modi’s epic historical drama, Pukar (1939). Pukar was a landmark film for Modi and its lead cast that included Chandramohan, Sardar Akhtar, besides Naseem. The film, in particular, makes splendid use of Naseem’s regal bearing casting her as Jehangir’s wife, the Empress Noor Jehan. It remains her most most well-known performance and one where she sang her own songs as well.
Following the success of Pukar, Naseem and Modi parted ways, and based on her strong impact as the Mughal Empress, Naseem signed two films with a rival studio to again play famous queens Cleopatra and Mumtaz Mahal respectively. Both films, however, failed to take off. But by now she had several well-known admirers including the son of the Nizam of Hyderabad. In this period Naseem also met childhood acquaintance Mohammed Ehsan who had returned from abroad armed with a agree in Industrial Chemistry. He launched a production house, Taj Mahal Pictures with the film Ujala (1942)starring Naseem and Prithviraj Kapoor. Through the course of the film and thereafter, Ehsan and Naseem fell in love and got married. Naseem then moved to Delhi along with Ehsan. The couple had two children, daughter Saira Banu, who also went on to become an actress and a son, Sultan Ahmed. For a while it looked like Naseem had bid adieu to films.
However, S Mukherji, who worked at Filmistan, convinced Naseem to come back and star opposite Ashok Kumar for Filmistan’s maiden production, Chal Chal Re Naujavan (1944). Though the build up for the film was huge, it only did moderate business at the box-office. More importantly though, Naseem was now back in the film industry for good. Ehsan and Naseem restarted Taj Mahal Pictures which would produce films starring Naseem. Some films produced by the banner include Begum (1945), Mulaqat (1947), and Chandni Raat (1949), the last also directed by Ehsan. Two of Naseem’s best performances came in Mehboob’s Anokhi Ada (1948) and Sohrab Modi’s Sheesh Mahal (1950), re-uniting her with Modi after more than a decade.
Naseem’s last lot of films include the swashbuckler Shabistan (1951), during whose filming leading man Shyam lost his life, Ajeeb Ladki (1952), Betaab (1952), which was her last film of note as a leading lady, and the stunt films, Sinbad The Sailor (1952) and Baghi (1953). Thereafter, she was seen in Sohrab Modi’sNausherwan-e-Adil (1957), where she impressively played the Empress of Iran.
By the time she completed Ajeeb Ladki, Naseem’s marriage to him was on its last legs. Ehsan migrated to Pakistan on his own taking with him all the negatives and prints of the films produced by Taj Mahal Pictures. He had these films screened there, making her an extremely popular actress across the border as well. Naseem then moved to England for a while as she sent her children to a day school there to give them the best of education. But finding England cold and aloof, the family finally returned to India.
Once her daughter, Saira Banu, entered films, Naseem, who ironically was dead against her joining the movie industry, designed clothes for her including some trendsetting beautiful embroidered saris in Aayi Milan Ki Bela (1964). And though well in her 40s by now, Naseem continued to get acting offers but refused them all. Naseem Banu passed away in Mumbai on June 18, 2002.
Like Naseem Bano, Modi was instrumental in helping and promoting the careers of many others like, Kamaal Amrohi, Chandramohan, Prithviraj Kapoor, Mehtab and many other smaller artistes like Sadiq Ali, Zillo bai, Eruch Tarapore, Sheela, Meena (Shorey), Al Nasir etc . Sadiq Ali was not only a regular, but was Modi’s favourite actor.
Sadiq Ali, was born on 6-10-1911 at Jullundhar, Punjab. His 2 cousins- Wazir Ali and Nazir Ali were famous Indian cricketers. Sadiq Ali completed his Engineering degree and worked in M.E.S. at Kanpur (Military Engg. Services). Due to strong desire to work in films and dramas, he resigned from his job after 5 years and joined Agha Hashr’s Drama company. When the company was closed, he joined The Burma Imperial film company at Rangoon. After few small roles, he came down to Bombay.
After working in some smaller companies, he joined Minerva Movietone. Starting with khan Bahadur-37, he worked in Minerva’s Pukar-39, Sikandar-41, Phir Milenge-42, Prithwiraj Sanyogita-43, Parakh-44 (only directed by Modi) and Ek din ka sultan-45, also in Sandesa-39,Black out, Duniya tumhari hai, Phir milenge, Ulti Ganga, Patharon ke saudagar,Jagbeeti,Nishana, Do Naina, Manjhdar, Mitti etc. In all he acted in 23 films. His last film was Ever Ready-46. After partition, he migrated to Pakistan.
First film in Pakistan Judai (1950 Shaheena,Nazar and Zeenat). Other film Shola (1952).
Sadiq Ali was a very successful and famous actor before partition and got the title of Prince of Minerva. He acted in many films in India, but in Pakistan,
Sadiq Ali could not be successful as he was in India. He was paralyzed in 60’s and could be seen sitting with Pan shop in Capitol Cinema lane, Karachi. Died on 12-7-1977 in Karachi. In his last days, he was seen begging on road.
Film Meetha Zahar was directed by Sohrab Modi. Screen play was by Gajanan Jagirdar. Munshi Irshad Ahmed wrote all the 9 songs of the film, which were composed by B.S.Hoogan, the MD.
When I first came across this name B.S.Hoogan, in the list of Hindi composers,my first reaction was,what is this foreigner doing in Hindi Films ?
Further when I saw his name as MD in 10-15 films of the 30s,I became very curious and wanted to know more about him.As per my experience so far,I usually got information for any -or almost any-Film personality from my notes,Old cuttings,books,magazines,old articles etc ,or even from an obscure,less known Internet site,but in Hoogan’s case I always found myself at a dead end. There was simply NO information about him anywhere ! It was as if no one in India knew about him or as if he was from some alien planet.
I was perplexed.How can anybody from Film industry,with so many films to his credit,be such an unknown person ? This was a challenge and I decided ,come what may,to find out about this elusive,dodging and unreachable B.S.Hoogan,at any cost.
Almost one year passed and I found a ray of Hope.
I visited the Blog of Mr.Kamalakar Pasupuleti ji. He is a writer on old films,music and an avid collector of old songs,besides having been an active RMIM worker.He is also a mine of information. Incidentally,he too is from Hyderabad-just like me,and being in the same age group,we enjoy discussing matters relating to people and places in old Hyderabad of the 40s and 50s,when we were youngsters.Later on, he has migrated to USA.
On his Blog, he had written about Hoogan. He had located the nephew of Hoogan, in India and contacted him.He got some information from him about Hoogan. Although the info was not exhaustive, it was a great find. Plus Kamalakarji himself had also written about Hoogan,from his interaction with people who had met Hoogan in Hyderabad. I wrote to kamalakar ji in USA and he very graciously gave me permission to use all that material for this article.
At this juncture, my luck suddenly decided to cooperate and I found some info about Hoogan in a book.I even found out that the same nephew of Hoogan had uploaded 4 songs of Hoogan,(2 from Parakh-37 and 2 from Meetha Zahar-38) on Hamara Forum.
B.S.Hoogan was not a foreigner,he was very much an Indian.His name was BALWANT SINGH HOOGAN. He was tall,wheat comlexioned and of medium build. He was born in 1901 at Firozpur, Punjab, where his family was settled. He was a Kashmiri Brahmin. According to C.Ramchandra also,he was originally from Kashmir.
Before becoming a music director he seems to have learnt classical music and western music.He played many western instruments.
In the days of silent films,orchestras used to play in the Theatres ,in front of or behind the screen.During the film also they played appropriate music pieces.It would add live pleasure with moving images. Hoogan learnt giving this music and conducting orchestra from his teacher,Mr.Victor Aimes,an Englishman,from the Albert Music Company. He learnt writing music in notations and conducting orchestra with a baton. He played his orchestra of 12 musicians.
Hoogan looked impressive with a Black Tailcoat,Bow-Tie and Grey Trousers,as described by a Hyderabad Nawab,who had been personally introduced to Hoogan in Hyderabad in 1930.
B.S.Hoogan started his career as MD with Ajanta Cinetone of Mohan Bhavnani.He gave music to Afzal,Maya jaal,Rangeela Rajput(all 1933)Dard e dil,Dukhtar e Hind,Mazdoor,Sair e Paristan,Vasavdatta(all1934),Pyar ki maar,Registan ki Rani,Sone ka shahar,sherdil Aurat(all 1935), Begunah,khan Bahadur,Parakh(all1937),Meetha Zahar,Vijay marg(all 1938) and Sansar Sagar-1939.
Total films-18. Songs composed- 231.
Music Director C.Ramchandra,in his Marathi autobiography, wrote about Hoogan. When CR was working in Minerva, Hoogan joined the company, in place of Habib Khan, the composer. He showed CR how the Desi Raag can be played on foreign musical instruments. He brought in many Goanese orchestra players into the company. CR knew writing notations, Hoogan improved this. Hoogan liked CR very much. Hoogan would take CR with him to all big hotels of Bombay. Orchestras would be playing there. CR learned how those tunes could be indianised in his music here only.
Hoogan would make tunes and ask CR to write the notations. CR would hum those tunes and then improve the tunes. Hoogan would not know. Thus many of his tunes were used by Hoogan without knowing it.In the film Meetha Zahar-1938,Naushad was Hoogan’s assistant. Actors like Nissar,Bibbo,Sheila and Naseem Bano sang for him.
B.S.Hoogan died in Ferozpore in September 1938, at the age of 37 only.
Today’s song is sung by one Shanta Dutt. This name is new to me and despite my efforts, I could not get any information about her. As per HFGK she seems to have acted in Divorce-38, Vaasanti-38 and Juari-39 and she sang one song each in film Divorce-38 and film Meetha Zahar-38. To this extent this is a rare song. With this song, film Meetha Zahar-38 and singer Shanta Dutt make their Debut on this Blog.
(I sincerely thank Shri kamalakar ji and shri Sukesh Hoogan ji (the nephew), for providing the above information about B.S.Hoogan. Some information is adapted from Upperstall.com and pakmag.com )
Song-Nain Mohan prem bhare jaadu najariya(Meethha Zahar)(1938) Singer- Shanta Dutt, Lyrics- Munshi Irshad Ahmed, MD- B S Hoogan
Lyrics
Nain Mohan prem bhare
Nain Mohan prem bhare
jaadu najariya
jaadu najariya
Nain Mohan prem bhare
Nain Mohan prem bhare
jaadu najariya
jaadu najariya
din mein aaj nain baandh chale
jigar pe aane lagi
prem ka dariya(?)
prem ka dariya(?)
Nain Mohan prem bhare
Nain Mohan prem bhare
jaadu najariya
jaadu najariya
mujhe jo aap charan haath lage
jigar jigar se mile
najar najar se mile
??ar ?? ar se mile
Go??har go??ar se mile
main aur aap hon ek dor bandhe
main aur aap hon ek dor bandhe
gale ka haar banen
aao sanwariya
aao sanwariya
Nain Mohan prem bhare
Nain Mohan prem bhare
jaadu najariya
jaadu najariya
mil ke saath sajan aao chalen
mil ke saath sajan aao chalen
prem ke oar chalen
prem ke chhor chalen
prem ke daur chalen
prem ke shor chalen
na koi ??air rahe
chain karen
na koi ??air rahe
chain karen
main aur aap hon
prem dagariya
prem dagariya
Nain Mohan prem bhare
Nain Mohan prem bhare
jaadu najariya
jaadu najariya
Wo din gaye hamaare
Posted on: April 28, 2019
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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3936 | Post No. : | 15011 | Movie Count : |
4113 |
Today’s song is from a film Gorakh Aaya-1938. The title of the film looks rather odd. Who is Gorakh ? May be a question in many readers’ minds. Let me explain that Gorakh is a short form of Gorakhnath- who was one of the early Navnaths, from Nath Sampraday. Have I made it more complicated ? So, let us first understand what it all means…
A brief description of the Nath Sampradaay. It is likely that some of our readers may not be familiar with the details behind these names. In the Hindu Sanaatan traditions the worship of Lord Shiva is called Shaivism and the worshippers and followers of Lord Shiva are called Shaivs. Nath Sampradaay is a sub tradition within Shaivism. The followers of this tradition consider Adinath or Lord Shiva as their first Lord. The word Nath implies Master. In this tradition, there is a lineage of nine Gurus or Teachers. The form of sadhna practiced by the followers of this tradition is called Hath Yog (हठ योग).
The first Guru in this lineage is Matsyendra Nath, who is better known as Machhindra Nath (मच्छिंद्रनाथ). The traditional history recounts that Matsyendra was born under an inauspicious star. This warranted his parents to throw the baby into the ocean. In the ocean the baby was swallowed by a large fish, and he lived and grew up inside the belly of the fish, for many years. The fish swam to the bottom of the ocean where Lord Shiva was imparting the secrets of yoga to Mata Parvati. Matsyendra overheard this discourse and learnt the secrets of yoga. He began to practice this yog sadhana inside the fish’s belly. After twelve years he finally emerged as an enlightened Siddha.
The second Guru is Gorakh. The story of Gorakhnath birth is- The first Guru Machhindra Nath went to a house for Bhiksha. The lady of the house, after serving him the Bhiksha, asked him if he can help her in any way to get a long desired child. Guru Machhindra Nath dipped his hand in his Zoli and took some some Vibhuti (ash) He gave it her and asked her to eat it and she will conceive a son. After he is gone , one of the neighbours of that lady tells her not to believe all this. The lady gets a doubt and throws the Vibhuti on a pile of garbage.
Time passes on. After 12 years, Machhindra Nath again comes to the lady and asks, how her son was. The lady, ashamed, tells him the truth. The Guru goes to the Garbage and gives a loud call, ” My son, come here “. From the garbage rises a son of about 12 years. He is Gorak Nath. Machhindranath takes him away with him and gives him the Deeksha (ceremony of bestowing the discipleship) of Nath Sampraday. Go means Earth and Rakh means to protect. So Gorakh is one who is protected by Mother Earth.
There is a list of Nine Nath Gurus, who are called Navnath. The first Nath Guru is Machhindra. The complete list is as follows
Machhindranath ( मच्छिंद्रनाथ )
Gorakhnath ( गोरखनाथ )
Jalandhar Nath ( जालंदरनाथ )
Kanif Nath (Kanhoba) ( कानिफनाथ )
Gahini Nath ( गहिनीनाथ )
Raja Bhartrihari Nath (Bharthari) ( भरथरी )
Revan Sidha Nath (रेवानसिधानाथ )
Charpati Nath and ( चर्पतीनाथ )
Naag Nath. ( नागनाथ )
The stories surrounding every Nath Guru, especially the earlier ones, are very exciting, thrilling and entertaining. One must read them from the original Nath Puraan or Nav Nath Pothi. I have read all of them. These stories are in no way less than any Arabian Night stories. Due to their entertainment value, several films in several languages have been made on the early Gurus like Machhindranath and Gorakhnath. Films on Machhindranath were made as ‘Maaya Machhindra’ in Hindi, in 1932, 1951, 1960 and 1975. Films on Gorakhnath as ‘Alakh Niranjan’, were made in 1940, 1950 and 1975. Films on Bharthari were made in 1932 and 1944. Films on other Naths were made as ‘Raja Gopichand’ in 1933, 1938 and 1950. Same way films on Naths in Telugu, Tamil, Gujarati and other languages were also made. There could be some more films also on this subject.
The story of this film is quite interesting. The film was made by Ranjit Movietone. Screenplay was by Gunwantrai Acharya and dialogues and lyrics were by P L Santoshi. Cinematography was by Krishna Gopal and Music was composed by Gyan Dutt. The film was directed by Chaturbhuj Doshi- who made his debut as a film Director.
Chaturbhuj Doshi (1894–1969) was a Hindi and Gujarati writer-director of Indian cinema. He was one of the top Gujarati screenplay writers, who helped script stories for the Punatar productions. He is stated to be one of the leading figures who launched the Gujarati film industry with work on notable films like Gunsundari (1948) and Nanand Bhojai (1948). He was “well known” for his family socials and had become “a celebrity in his own right”. He made a name for himself as a journalist initially and was referred to as the “famous journalist” & publicist by Baburao Patel, editor of Filmindia.
His debut film as a director was Gorakh Aya (1938), produced by Ranjit Movietone, though he joined Ranjit in 1929, as a scriptwriter. In 1938, he directed another film for Ranjit, a social comedy, The Secretary, and both films were box-office successes for Doshi. His forte was socials, regularly adapting stories and novels for films. He worked initially on comedies like Secretary and Musafir (1940), but then “shifted to more significant films”.
Early life and career – Chaturbhuj Anandji Doshi was born in 1894 in Kathiawad, Gujarat, British India. He was educated at the University of Bombay, after graduation he started work as a journalist for a daily, Hindustan (1926), working for editor Indulal Yagnik. His entry into films was working as a scenarist in the silent era for directors like Jayant Desai, Nandlal Jaswantlal & Nanubhai Vakil. He joined Ranjit Movietone in 1929, and wrote stories and screenplay for several of Ranjit films.
Film Gorakh Aya (Gorakh has come) in 1938, was the first film directed by Doshi. It was produced by Ranjit Movietone with screenplay by Gunvantrai Acharya & dialog-ues by P. L. Santoshi. The music, termed “good” was composed by Gyan Dutt. The Secretary (1938), was a “riotous comedy”, starring Madhuri, Trilok Kapoor. Charlie. The music was composed by Gyan Dutt, became a regular in most of the films directed by Doshi. Musafir in 1940 was a comedy costu-me drama, which had Charlie playing a prince.
Bhakta Surdas, a devotional film directed by Doshi in 1942, is stated to be the “most famous” of the several versions made. It starred K. L. Saigal and Khursheed “the singing idol(s) of millions”, winning “unprecedented popularity” everywhere.
Maheman (1942) starred Madhuri, Ishwarlal, Shamim and Mubarak. Music director Bulo C. Rani had come to Bombay in 1942, and joined Ranjit Studios assisting Khemchand Prakash in music direction.
Doshi helped enormously in the development of the Gujarati cinema. During 1948-49 he directed three successful Gujarati films which “brought immense success to the industry”. The success of the Gujarati film Kariyavar in 1948, directed by Chaturbhuj Doshi from a story by Shaida, called Vanzari Vaav, helped establish the Gujarati film industry along with other films like Vadilo Ne Vanke (1948) by Ram chandra Thakur and Gadono Bel (1950) by Ratibhai Punatar. His next Gujarati film was Jesal Toral (1948) based on folk-lore, which proved a big box-office success. In 1949, Doshi directed another Gujarati film, Vevishal, an adaptation of Meghani’s novel of the same name.
He also wrote stories, and one of his stories Pati Bhakti was used in the Tamil film En Kanawar (1948) produced by Ajit Pictures, which starred the Veena maestro, Sundaram Balachander, who was also the debut director and music composer for the film. In all he directed 24 Hindi films. His last Hindi film was Sanskar-1958. He had also written few songs in film Maya Bazar-32.
Chaturbhuj Doshi died on 21 January 1969 in Bombay, Maharashtra, India. Filmography-1932: Narasinh Mehta (Writer), 1934: Sitamgarh (Writer), 1938: Gorakh Aya, Secretary, 1939: Adhuri Kahani, 1940: Musafir, 1941:Pardesi, Sasural, 1942: Bhakta Surdas, Dhiraj, Mehmaan, 1943: Chhoti Maa, Shankar Parvati (Director, Writer), 1944: Bhartrahari, 1945:Murti, 1946: Phulwari, 1947: Bela, Kaun Hamara, 1948: Jesal Toral, Kariyavar (Director, Writer), Sati Sone, 1949: Bhakta Puran, Vevishal, 1950: Akhand Saubhagya, Kisi Ki Yaad, Ramtaram, 1954: Aurat Teri Yahi Kahani, 1956: Aabroo, Dashera, Dassehra, 1957: Khuda Ka Banda, Shesh Naag, 1958: Sanskar, 1960: Mehndi Rang Lagyo (Writer, Lyricist).
The film had a cast consisting of Mazhar Khan, Trilok Kapoor, Rajkumari and Kalyani in lead roles, Ila devi as the Egyptian queen, Ram Apte, Sarla, Bhagwandas etc etc. Rajkumari Dubey made her debut in this movie as a playback singer. Till then she had only sung for herself.
The story of the film was…..
Machhindranath (Mazhar Khan) observes uncivil excesses in temples. Disgusted he leaves for Himalayas for Meditation. After 7 long years, he comes back with a conclusion that Women are the cause of all problems in this world.
Meanwhile the Egyptian queen (Ila Devi) plans to raid India and camps on the banks of the river Indus. A Rishi kanya (Kalyani) builds an army of women. Machhindranath also builds an all men army and defeats the invader.One day Tilottama-the head of women’s army (Rajkumari) and Machhindranath meet and they fall in love. He gets totally immersed in her love magic and forgets his duty also, spending life with Tilottama.
His disciple Gorakhnath(Trilok Kapoor) gets worried. He enters the women’s army camp stealthily, reaches Machhindranath and shouts in his ears “Utho Machhinder, Gorakh Aaya’. After few days’reminders, Machhindranath realises his folly. They both escape the women’s camp and continue their duties deligently as before.
This film was released on 30th July 1938 at West End Theatre in Bombay, Baburao Patel, in his magazine Film India, has praised the direction of Chaturbhuj Doshi. As a publicity gimmick, the opening day’s all shows were kept only for women. This helped greatly and in no time the film became popular and a Box Office success.
One of the singer actors was Ram Apte- the child artiste, who was no more like a child. Even Film India criticised him as a child artiste. Ram Apte had been working as a child actor from Vishwa Mohini-1933. Till 1938, he worked in 25 films in child roles. he also sang 4 songs in 3 films. After Gorakh Aaya-38, he gave up working as child artiste.
As I have not seen this film, I do not know on whom this song is filmed, but from the lyrics, it sounds as if it is between two friends. With this song, film “Gorakh Aaya”(1938) makes its Debut on the Blog.
Song-Wo din gaye hamaare (Gorakh Aaya)(1938) Singers- Rajkumari Dubey, Miss Kalyani, Lyrics- P L Santoshi, MD- Gyan Dutt
Lyrics
wo o o din gaye hamaare
wo o din gaye hamaare
wo din gaye hamaare
wo din gaye hamaare
main thhi chhail chhabeeli raadha
wo thhe mohan pyaare
main thhi chhail chhabeeli raadha
wo thhe mohan pyaare
khel rahe thhe swapn lok mein
aasha nadi kinaare
khel rahe thhe swapn lok mein
aasha nadi kinaare
wo din gaye hamaare
wo din gaye hamaare
wo din gaye hamaare
wo din gaye hamaare
wo din gaye hamaare
wo din gaye hamaare
prem ki jyot jaga jaa dete (?)
man mein preetam pyaare re
prem ki jyot jaga jaa dete(?)
man mein preetam pyaare
man mein preetam pyaare
pyaare
pyaare
ye din pyaare pyaare
ye din pyaare pyaare
main ban jaaun raseeli raadha
tum ban jaao kunj bihaari
main ban jaaun raseeli raadha
tum ban jaao kunj bihaari
dekh hamaari leela nyaari
hansen gagan mein taare
hansen gagan mein taare
taare
ye din pyaare pyaare
ye din pyaare pyaare
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Today’s song is from a film called Vachan-38. Films with the same title-Vachan were made in 1938, 1955, 1974 and 1996. Today’s film Vachan was produced by Bombay Talkies.
In the early era of Talkie films, Bombay Talkies had created great curiosity when it was established in the year 1934, mainly for 3 reasons. First reason was that both Himanshu Rai and Devika Rani, a highly educated, foreign returned couple, hailing from prestigious families, was behind Bombay Talkies. Secondly, It was the first ever film company established as a Registered company with Bombay Stock Exchange, with the most respected and very highly placed personalities of Bombay on its Board of Directors. They were Sir F.E.Dinshaw, Sir Chunilal Mehta, Sir Chimanlal Setalwad, Sir Phiroz Sethna, Sir Cawsaji Jehangir and Sir Richard Temple. Thirdly, there was a German Film Director Franz Osten and his team of Technicians consisting of Cinematographer Joseph Wirsching, Set Designer Karl Von Sreti, Sound Recordist Len Hartley and Lab Technician Wilhelm Zolle, to work in Bombay Talkies.
Germany had a very good name in India during the olden days i.e. during the early part of the last century. I remember my Grandfather ( who expired in 1975 at the age of 91 years) always praising Germany for so many things. In India,all things German were considered the Best- even better than the Vilayati or the British things !
Very few people know that Indian Cinema had a little known connection with the rise of Hitler in Germany in 1932-33. A group of men , engaged in Cinema in Germany, flocked to India in the 30’s and played a vital role in Indian Cinema and the arts of that times. After Hitler took over Germany in 1933, the German Cine Studio’s glory days were over and they were turned into Nazi Propaganda Machines !
It was at this time that several of its men left the studio and arrived in India, and contributed to Indian cinema’s formative years.
The foremost among them is Frantz Osten, a German whom Himanshu Rai and Devika Rani met at the UFA when they went to train there (they worked with Lang and Marlene Dietrich). Osten had already been directing films for the couple since 1925, when he made Light of Asia for them from Germany.
In 1934, he came to India and the next year, after Rai founded Bombay Talkies ‘ the legendary film studio in Malad that now lies in ruins ‘ Osten directed its first film.
He went on to direct the famous Devika Rani-Ashok Kumar starrer, Achhyut Kanya, without much knowledge of Hindi. The film, which featured the song “Main ban ke chiriya”, was shot by Joseph Wirsching; the sets were designed by Karl von Spreti and the laboratory was headed by Zolle, Osten’s team of UFA ex-members who worked for Rai’s state-of-the-art studio.
Osten and his fellow Germans directed 16 films for Rai. It was a remarkable feat for people who knew little Hindi ‘ mistaking the word “bulbul” once for a pair of bulls.
“It’s not clear if they had anything to do with the Nazi ideology, either way,” said film historian Amrit Gangar.
“If they did, it did not show in their films. But there were two other people who almost certainly migrated to India because of the persecution of Jews.”
Franz Osten(23-12-1876-2-12-1956) Hindi director, born in Munich as Franz Ostermayer, the elder brother of successful producer Peter Ostermayer. They set up a travelling cinema, Original Physograph (1907) and founded Munchner Kunstfilm (1909) after Osten had been making shorts for Pathé, Gaumont and Eclair. Their first feature: Die Wahrheit (1910). Osten’s début as director: Erna Valeska (1911). War correspondent in 1915. Joined Peter’s company Emelka (later Bavaria Film) in 1918. Made Der Ochsenkrieg (1920) with young cameraman Frank Planer of later Hollywood fame, one of Osten’s several contributions to a budding genre that after WW2 became known as the Heimatfilm. In fact, the Ostermayr/Osten brothers claimed to be the originators of the genre.
When Himansu Rai and Emelka made a deal to produce Prem Sanyas aka Light of Asia, Osten was assigned to direct. Continued directing Rai’s productions, often shooting in India as well as in Europe, in addition to directing for numerous companies in Berlin. Moved with cameraman Josef Wirsching and set designer Karl von Spreti to India to work at Himansu Rai’s Bombay Talkies (1934).
While in Bombay, became a member of the Nazi Party (1936). Interned by the British at the outbreak of WW2 while shooting his last film there, Kangan. Released and allowed to return to Germany (1940). Employed by Bavaria Film until 1945, for casting and setting up its film archive. In addition to Indian films, directed 33 silent features and 10 sound films.
After WW2 became manager of a Bavarian spa. His Indian films, following UFA tradition, were huge Orientalist spectacles with elephants, camels and expansive vistas often shot in deep focus. Effective authorship shared by producer Rai and scenarist Niranjan Pal. Adopted European conventions to introduce main actors, e.g. backlit mid-shots in soft focus gradually becoming more contrasted; also used mobile outdoor shots as in the railway-crossing sequence of Achhut Kanya. Strongly influenced younger Bombay Talkies film-makers Amiya Chakrabarty and Gyan Mukherjee, though they used his techniques for very different purposes.
Filmography-1925: Prem Sanyas, 1928: Shiraz, 1929: Prapancha Pash, 1935: Jawani Ki Hawa, 1936: Achhut Kanya, Janmabhoomi, Jeevan Naiya, Mamata, Miya Bibi, 1937: Izzat, Jeevan Prabhat, Prem Kahani, Savitri, 1938: Bhabhi, Nirmala, Vachan, 1939: Durga, Kangan, Navjeevan .
Film Vachan was a costume drama, first such film for Ashok Kumar. Some actors form an image in our mind. We accepted Ashok kumar as a simple hearted lover boy in early films like Jeevan Naiya, and Achhut kanya etc. Even his shaky songs became popular, because in those days all these social films with a cause were novelties. Most of the 7 films he did with Devika Rani were successful, but this film has to be rated a little on the lower side of the list. I have not seen the film, nor have I got any inkling about its story line, but from the comments in Film India Magazine of those days, it looks like a film of moderate success. It was released on 19-8-1938, at Roxy cinema, Bombay.
The cast of the film consisted of Devika Rani, Ashok kumar, meera, Mumtaz Ali, peethawala, Kamatha Prasad, Maya Devi, Pratima, Balwant Singh etc etc.
The name MEERA is one of those which cause ‘ Same Name Confusion’. Luckily, the other Meera (Mishra) started acting only in 1946, when this Meera was in the last phase of her career. Still many sites, books and writers mix up their filmography. Meera was an Anglo-Indian girl in Hindi films. During the silent film era a lot many European and Anglo-Indian girls acted in films. Few of them continued even after Talkie films started and very few like Sulochana and Sabita Devi etc. became successful even in the films for a considerable time.Some of these girls were, Ruby Meyers-Sulochana, Iris Gasper-Sabita Devi, Susan Soloman-Firoza begum ( not the singer), Effie Hippolet-Indira Devi, Bonnie Bird-Lalita Devi, Esther Abraham-Pramila, Renee Smith- Sita Devi, Berryl Classen-Madhuri, Winnie Stewert-Manorama Senior, Erine Issac Daniels-Manorama Junior, Florence Ezekiel-Nadira, Sophie Abraham-Romilla, Rose Musleah-Rose, Lilian Ezra-Lilian, Mercia Soloman-Vimla, Rachel Sofaer-Arti Devi, Rachel Cohen-Ramola Devi, Patience cooper, Violet Cooper, Ermelin-Sudhabala etc etc.
Meera’s real name was Muriel Alexander. She was born on 10-11-1919. She was from a respectable family. Her father was Superintendent-local Audit in AG’s office.Brother E. Alexander was an All India level cricketer. She passed her Inter science exam from Benaras Hindu University. It was through one Mr. Seal,who was a manager in Adarsh Chitra,she got her first break in film Dhuwandhar-1935. This was the Debut film of Leela Chitnis also. It is not known if she sang any song in that film,as no records are available.
My guess is that,besides acting,she must have sung few songs in that film.
Her name first appears as an actress and singer in film Bhabhi-38,in which she sang 3 solo songs. from 1935 to 1938,she must have sung many songs,but singers names are not mentioned. thus many singers’ credit must have been lost in those years.Same case was with Amirbai karnataki also. After Bhabhi,her name appears in Nirmala-38 and vachan-38 in which she sang 1 solo and 3 duets. She acted and sang songs in films of Ranjit,Prakash and Minerva Movietone films.
As per information available Meera acted in Dolti Naiya-34, Dhuwandhar-35, Bhabhi-38, Vachan-38, Adhoori Kahani-39, Tatar ka chor-40, Paak Daaman-40, Chingari-40, Armaan-42, Meri Duniya-42, Mauj-43, Krishna bhakta Bodana-44, Ji haan-45, Sham Savera-46, Ye hai Duniya-48 and Sansar-51. She only sang in Nirmala-38.
Another interesting name in the cast is Maya Devi. Maya Devi was from Bombay and started her career from silent films in 1928 with Anarkali by imperial. Her first Talkie film was Kunwari ya widhva-35. Her real name was Leela. She became a favourite of Bombay Talkies and she did 6 films with them in 37 and 38. In all she did 5 silent films and 31 Talkie films till 1949. her last film in India was Raaz-49. She got married with a Muslim and then migrated to Pakistan, where she did 19 films and then retired in 1964. Her first film in Pakistan was Phere-1949.She died in Lahore on 1-2-67. She did films in Gujarati and Punjabi also.
Today’s song is a song sung by Devika Rani, Meera, Lalita and Vimla. I do not know who these Lalita and Vimla were. This seems to be a friendly song of 4 of the sahelis, with dialogues in the beginning and the end of the song. With this song, film Vachan-38 makes its debut.
(For this post, I have used information from ” Walter Kaufmann in India 1934-1946″ by Amrit Gangar, The Big Indian Picture- Bombay Talkies-By Ambarish Roy Chaudhari, indiancine.ma, with thanks and my notes.)
Song-Naval Naveli Nyaari hum Kunwari baari(Vachan)(1938) Singers-Devika Rani, Miss Meera, Lalita, Vimla, Lyrics – J S Kashyap, MD- Saraswati Devi
Lyrics
hahahahaha
Malti
abhi aur khelenge
nahin Shama
ab ghar chalna chaahiye
bahut der ho gayi
kyon
darti hai
kahin pati mahashay khabar na len
hahaha
kyun nahin
pati ki dulaari hai na
hahahahaha
hum kunwaariyon ko koi fikr nahin
nahin nahin nahin nahin
hazaar baar nahin
hahahahaha
Naval Naveli Nyaari
hum Kunwari baari
Naval Naveli Nyaari
hum Kunwari baari
dosh nahin kuchh
hosh nahin kuchh
saral sahaj matwaari
dosh nahin kuchh
hosh nahin kuchh
saral sahaj matwaari
hum Kunwari baari
Naval Naveli Nyaari
hum Kunwari baari
khuli hawa mein nav kali ?? phoolen
khuli hawa mein nav kali ?? phoolen
pawan jhakoron mein madmaati jhoolen
pawan jhakoron mein madmaati jhoolen
tan man apna jeewan apna
tan man apna jeewan apna
ham ban ki chidiyaa
haan tum ??
maina
maina
maina
hahahaha
suna
jee
suna
aur guna bhi
aap ne abhi suna hi suna hai
guna nahin
hahahahah
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Today’s song is from a film of the first decade of the Talkie films- Rikshawala aka Bhola Raja-1938.
In India, documentation of old films, songs, actors and other artistes of the film industry, is extremely poor. The major part of the responsibility being with the Government, it was all the more in poor condition For Historical data maintenance work, dedicated people are required to do the proper caring. In Govt. offices, this was expecting too much. Thus occasional fires engulfing heritage films, books, documentaries etc and frequent theft or loss of books and other materials from the archives was not surprising.
Of course, everything and all the time, it was not that there were no good peoplein Govt. Agencies. It is because if such rare good and capable people only, we have today, whatever is available in the Govt. archives. The common feeling in India is that Govt. should look after everything under the Sun. Have the people no responsibility or accountability towards preservation of Heritage ? Go to any Heritage Temple, building or structure, you will invariably find that Lovers have carved their names on stones and walls, as if the world was eager to know ! So much for public awareness !! I feel, these things have to be taught from primary school level onwards only. We have failed miserably to inculcate National pride, Nationalism and Patriotism in our newer generations, from their childhood. These things have only remained to symbolically unfurl Flags and sing National Anthem on Independence Day !
Luckily, as far as Film history is concerned,there are some people who, on their own, try to preserve old film data and other related matters to the best of their capabilities. Record collectors, song collectors, old film magazine collectors, films and books collectors, poster collectors and those who open up their valuable collections to the general public free of charge are worthy of appreciation. They are doing a great service to preservation of history.
Apart from these, those who upload old and rare song videos on You Tube or other social medias, for use of anybody and everybody are also doing yeoman’s service to hindi film music. It is another thing that some selfish uploaders upload incomplete songs,but there are good people like Shalin Bhatt, Alaknanda, Girdharilal Wishwakarma ji, Sadanand Kamath ji,our own Sudhir ji, Atul ji, Javed bhai etc who upload not only complete but also rare songs on Internet. My sincere thanks to these Noble Souls.
In addition there are some less known Blogs who do a great job in this field. Most people are totally unaware of one such Blog run by an American-Mike Barnum ji. On his Blog Mike has written on atleast 100+ only C grade action and stunt films alone. He has made classification by different Generes also, like Jungle films, Mystery films, Murder films, Horror films etc etc. There are Photos, posters, cast details, film stories and short Bios of unknown C grade artistes. Once you go to his Blog, you get lost for a long time. It is a great work, involving a neglected Genre of Hindi films, which was once upon a time, a very popular film variety for certain audiences. I thank him profusely for this service. thanks, Mike Barnum ji.
Why I am writing all this is, most people are unaware of these things and they must know the good work done by these people also. Many times I use song videos uploaded by Shalin ji Bhatt. They are clean, clear, full and rare most times. Thanks, Shalin ji.
Today’s film, churned out from the Ranjit factory was not a stunt film, but a social film. The Music Director was Gyan Dutt. The lyrics were by the young Pyarelal Santoshi, who became very famous writer and a director later on. The cast consisted of Mazhar Khan, Ila Devi, Wasti, Indubala, Charlie, Dikshit and Ghori, Waheedan Bai, Tara bai etc. The film was directed by Ezra Mir.
Some of the Senior readers, in the bracket of 55 to 75 years of age would recollect the Indian Documentaries made by Ezra Mir, shown before almost every film in the theatres. Indian News Reel and these documentaries on various subjects were actually used as a facility to enter the theatre late and still catch the whole movie from the beginning. These documentaries were made mostly by Ezra Mir and the voice over used to be that of Pratap Sharma usually. ( his younger brother Mahesh Sharma was my good friend in those days).
Ezra Mir was one of the rare persons who worked in the famous Hollywood studios for a considerable time, before he came to India and got involved in making films here. He was also a rare person who, despite being in great demand in the commercial cinema, chose to join a Government organisation and did a monumental significant work for the future generations. For a long time, I was thinking him to be a Muslim man, but at a much later date, I came to know that he was a Jew person.
Ezra Mir ( real name Edwyn Meyers) was born on 26-10-1902 at Calcutta. After completing his education, he joined Madon Theatres in 1921. In 1923, he left for Europe and America to work in film industry. After doing bit roles in Rudolph Valentino’s films in Long Island, New York and working for First National Biograph Studios, he joined the Universal studios as a ” Film Cutter ” and later as a Scenario writer. By his diligent and hard work he became the chief of story Department in United Artistes. In 1929, he wrote and directed a film ‘ Simbolisque ‘, which created a sensation in the film circle there.
With the advent of the Talkie, he came back to India , joined Imperial Film co. and made film Noorjehan-31 in Hindi and English. In 32-33, he joined Sagar movietone and directed Zarina-32, Pagal premee-33 and Farzand e Hind-34. Then Ezra went to Calcutta. After doing some films he came back and made documentaries on second world war. In 1940, he was appointed by the Govt. on Film Advisory Board. In 1942, when V.Shantaram left as its head, he became the head. From 1942 to 1946, he made 170 documentaries.
In 1951 he joined Films Division and in 1956, became its President. In his tenure here, he made 400 documentaries. In 1970 he got ‘ Padmashri ‘. Ezra Mir died on 7-3-1993. His Filmography is Noorjehan-31, Zarine-32, Pagal premi-33, Farzand e Hind-34, Mera Pyara and Rasheeda-35,Jeevan Sangram, Parivartan,Rajdulari and Shaitan ka pash-36, Rikshawala-38,Sitara-39, Beete din-47, pamposh-54 and Raju aur gangaram-64.
Another interesting artiste in this film was Indubala. Indubala’s mother was Rajabala, who along with sister Matibala and brother Tinkary worked in Motilal Bose’s The Great Bengal Circus, also known as Bose’s Circus or Professor Bose’s Circus. Harimati was the eldest sister of Rajabala and had a different life. Rajabala performed mainly as a trapeze artiste and got married to Motilal Bose at a temple in Ujjain, India. At the time he was then in his forties while Rajabala was still a teenager. The marriage was never accepted as legal by Motilal’s family. Motilal Bose’s first wife was Mrs. Annadamohini Devi.
Indubala was born in Novenber, 1899 at Amritsar, where the circus party had gone for performance. Indu was born premature and Dr. Bidhumukhi Basu was taken to Amritsar from Calcutta to attend to Rajabala. Such was the affection and concern of the husband for his young wife. Motilal’s interest in Rajabala dwindled later, supposedly because Rajabala showed no interest in going back to the circus after Indu’s birth and soon she was left to fend for herself. She came to Calcutta with her daughter and was given shelter by a Jiban Krishna Ghosh, who remained loyal to her till his death and also played a major role in establishing Indubala in her life as a performer. Once in Calcutta, Rajabala trained herself as a singer and Indubala’s first training in music was from her mother. The initial plan was to train Indu as a nurse and she was admitted as a trainee in a hospital in the Pataldanga locality of Calcutta. Indu did not take fancy in the job and ran away from the hospital, much to the disappointment of her mother, who never wanted her only daughter to be forced into a life of indignity.
After this incident Indubala’s musical training started. Although her father ignored wife Rajabala completely, he remained fond of his daughter and kept in touch with her and often invited her to his ancestral home where he lived during his brief visits to Calcutta and sent her a monthly pocket money of Rupees twenty till his death. Indubala’s first performance was at a gathering of distinguished guests where her mother was the chief entertainer. Each one of the guests appreciated Indu’s singing and thus began her formal training from Gouri Shankar Mishraji. Indu was only about twelve then. This also marked the entry of Indubala into the red light world. Amongst her trainers were Kali Prasad Mishra, Elaahi Bux and Miss Gauhar Jaan. Apart from music, Miss Gauhar Jaan, credited as Prima Donna of India, Indu also learned etiquette from the elder artiste and developed a close friendship with her. This association provided Indu with valuable musical knowledge and experience.
In later years she took training from Girin Chakraborty, Kamal Dasgupta, Subal Dasgupta, Jamiruddin Khan and Kazi Nazrul Islam. In time she came to be one of the major exponents of Nazrul songs and her songs along with those of Miss Angurbala and Kamala Jharia are still referred to for authenticity of lyrics and tunes of Nazrul songs. In 1916, Indubala recorded her first songs. She was brought into the record circle by Bhagabati Charan Bhattacharya and Mr. Manindra Nath Ghosh, alias Mantababu, himself a gramophone singer of repute. The first songs published as record were Asha Phuraye Gelo, Sindhu Khambaj and Aar Mukhey Boley Ki Hobey, Kedara. The record number was P 4306. In the beginning she did not take any money from the Gramophone Company and as such was credited in the records as Miss Indubala (Amateur). She was not the first amateur artiste of the company but enjoyed the privilege of announcing her name at the end of each song saying “My name is Indubala”. The amateur status continued for a fairly long period. Later on she received Rupees two hundred per record and also received a royalty of five per cent over the sales. Her first songs of Nazrul on the disc were “Cheyona Sunayana” and “Rumjhum Rumjhum Ke Eley Nupur Paye”. The record number was P 11661. To Indubala also goes the credit of being the first Bengali artiste to record Hindustani songs for the Gramophone Company. For the Indian State Broadcasting Center, later named All India Radio, Indubala first sang on the second day of the radio company’s broadcasting in 1927 in Calcutta and went on singing in this medium for nearly fifty years. Over the radio, Indubala sang not only from Calcutta but from several other stations by special invitation all over India. Apart from discs and the radio, Indubala was well established by the thirties in cultural functions all over India. Frequent invitations used to come from Shahjahanpur, Pakur, Madras, Bangalore, Palanpur, Nagpur, Hyderabad, Oudh, Trivandrum, Vizagapattam, Ajmer, Qoembatore, Dacca and several other places.
In 1936 she was appointed court musician to His Highness, The Maharajah of Mysore. She received a monthly salary of Rupees two hundred and fifty and this continued till the time when the native princes faced withdrawal of privy purse. In all Indubala had recorded some two hundred and eighty songs, including about two hundred forty basic songs, the rest being from films. Indubala’s first stage appearance was in The Rambagan Female Kali Theatre, established by her mother Rajabala in 1922. Both mother and daughter took part in the plays and Indubala appeared in about twelve plays in this short-lived company which lasted for only two years and in 1924 she joined Calcutta’s most prestigious stage, The Star Theatre. She continued to appear on the stage mainly in singing roles and her songs were a major attraction in each of the plays. By rotation she acted in all the public theaters of Calcutta and even took part in the Hindi Parsee Theatre in 1945 and 1946, the plays being Ghar Ki Laaj and Jasoos. Her last appearance in the public stage was in the play Prithviraj in the role of Mehga at Star Theatre in 1950. Thereafter she worked in call shows till almost 1958.
Jamuna Puliney (1933) has been credited as her first film. This is probably because this was her first film contract although Ankh Ka Tara (1932) released before Jamuna Puliney. In all she acted in about forty eight films in Bengali, Hindi, Urdu, Punjabi, Tamil languages. In most of them, she had songs as a major attraction or else did comic roles as in Bengali Indira (1937) and Hindi Deewali (1940) to name a few. She did the role of Dhai Ma in both the versions of Swamsidhha (1947). Thereafter she was not seen on the screen. As a playback singer she lent her voice in films like Alibaba (1937), Chandragupt (1934) in Hindi, Ab E Hayat (1933) in Urdu and Dil Ki Pyaas (1935) also in Urdu. She did not act in these four films. Indubala did not receive any major award apart from the Gold Disc given on behalf of His Master’s Voice. The government of India never considered her name for any award. The Sangeet Natak Academy however honoured her with a lifetime achievement award in 1975. The government of West Bengal, India however did arrange for a pension for which a lot of running about had to be done.
In personal life, Indubala was most humble and polite and bold in her behavior and was never ashamed to admit or discuss her origin. Even when established as a major singing artiste with an all India fame, she refused to move out to a respectable place leaving her residence in Rambagan, a notorious red light area of Calcutta. Indubala was got herself involved in voluntary work for the uplift of fallen women and worked actively for their rights in society through various organizations, which were patronized by top political leaders of the time. She had some interesting hobbies like writing poetry and collecting perfumes.
Even at old age all the empty perfume bottles were kept within her view. She was fond of jewellery too and had a great collection, either purchased or gifted by admirers. These valuables vanished when she was too unwell to keep track of them. Her contemporary artiste Miss Angurbala was a close friend with whom she confided and shared the joys and sorrows of life and this friendship lasted till the very end. Indubala adopted a nephew of her mother’s friend Jiban Krishna Ghosh. The boy’s name was Pranab Ghosh. This foster son did not look after her mother very much when in old age Indubala suffered from conditions like cataract and then paralytic stokes. It was Dr. Badan Sengupta who made necessary arrangement for her treatment She could not afford nursing homes and therefore was treated at state government hospitals in all occasions of illness.
The end came on the thirtieth day of November, 1984 after a prolonged illness during which again Dr. Badhan Sengupta looked after her as his own mother. Perhaps by coincidence her friend Angurbala died the same year.
I have not seen this film, nor have I got any idea about its storyline. 90% of Ranjit films were destroyed in a fire so there is no chance of seeing this film anymore. From the lyrics of the song, it seems to be a comedy song.
“Rickshaawaala” aka “Bhola Raja” (1938) makes its debut with this song.
( some information for this post has been used with thanks from an article by Dr. J.P.Guha in an adapted form, Filmdom-46, Bengali Cinema by B.C.Roy and my notes)
Song-Khatmal Ram ji Khatmal Ram ji tumko sau sau baar salaam (Rickshaawaala)(1938) Singer- Indubala, Lyrics- P L Santoshi, MD- Gyan Dutt
Lyrics
Khatmal Ram ji
Khatmal Ram
tumko sau sau baar salaam
Khatmal Ram ji
Khatmal Ram
tumko sau sau baar salaam
sone waale madhur neend mein
jab khurraate bharte
aa aa
sone waale madhur neend mein
jab khurraate bharte
aa aa aa aa
aa aa aa aa
aa aa aa aa
sone waale madhur neend mein
jab khurraate bharte
lekar apni baaki toli
lekar apni baaki toli
tum ?? karte
Khatmal Ram ji
Khatmal Ram
tumko sau sau baar salaam
pahle pahar mein
bhogi jaage
dooje pahar mein rogi
hey ae
teeje pahar mein
???khu jaage
chauthe pahar mein jogi
aa aa aa
aa aa aa
aa aa aa
aa aa
apna apna kaam bhool kar
jo hain chup so jaate
aa aa aa
apna apna kaam bhool kar
jo hain chup so jaate
ang ang ek tedhi(?) kar ke
ang ang ek tedhi(?) kar ke
aake unhen jagaate
Khatmal Ram ji
Khatmal Ram
tumko sau sau baar salaaaam
- In: "Raunchy" song | 15K Song Milestone Celebration Posts | Devnagri script lyrics by Sudhir | Enticement Song | Feelings of heart | Guest posts | Lyrics by Sudhir | Lyrics contributed by readers | Post by Arunkumar Deshmukh | Song of 1935 | Songs of 1930s (1931 to 1940) | Yearwise breakup of songs
- 23 Comments
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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3928 | Post No. : | 14999 | Movie Count : |
4106 |
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Atul Song-A-Day 15K Song Milestone Celebrations – 9
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The other day, I read one quote, ‘My grand kids believe, I am the oldest thing in the world. And after spending 2 to 3 hours with them, I believe it too !”
I liked it very much and I immediately copy-pasted it in several WA groups where I am a member-including a group of Atulites.
For most people, after a certain age and after retirement, spending time is a big problem. Especially for those, who have no hobby, reading habits or a friend circle of same age group. This was never a problem for me, not because of anything written above. I retired in 1998, i.e. about 21 years ago. After doing a roaring consultancy for 5 years, I got fed up and left everything completely.
For next few years, I traveled quite a lot, with my wife. After that I settled to a steady, disciplined life. I revived my old love – love of old films and music. After a gap of almost 50 years, I remembered my diaries, which I had written after seeing every film till about 1960 or so. I opened those boxes and to my horror found that due to humidity in Bombay, white ants had attacked the diaries. I could, however, salvage majority of them – though in torn and faded conditions. . . but still worth their weight in gold !
By then, I had crossed 70 years of age. I learned operating the computer and smart phones etc., from my grand children and started surfing. One day I struck gold. I came across THIS BLOG. I was impressed with the Blog and enjoyed old songs whenever posted on it. After about 2 years of only commenting and sharing information on the Blog, Atul ji motivated me to write a post here. My first post was the song “Surya Wahi Chandra Wahi“, from the film ‘Savitri’ (1937) and it came up on 1st October 2012. The rest is history, as they say.
This Blog changed my life totally. It provided a purpose of life to me. Through posting articles here, I reinforced my belief that “Sharing knowledge increases your knowledge”. Along with the Blog I too grew up and earned a name for myself in the social media. Like the Blog, I too celebrated my Milestones of 100, 500, and 700 articles. . . – and the ride continues. . . 🙂
This Blog has given me new friends. Normally, it is difficult to cultivate new friends in old age, but contrary to this, I got very good friends, though none from my age group. Still, they accepted me heartily. Thank you Atulites. The Blog occupies a vital position in our lives now. Every Blog event is shared and celebrated. In this journey, few friends were left behind and some new ones came in, but the Band Wagon marches on… on… on and on…
The Blog is approaching one of the most important Milestones in recent times – achieving a record of 15000 songs, posted with full and correct lyrics, videos as well as lot of information woven around the songs, by Atul ji and his team of contributors. I feel proud that even my ‘Two Cents’ are there in this milestone. This Blog is unique, ATUL ji is an excellent leader and all contributors to posts, lyrics, comments, videos etc deserve CONGRATULATIONS !
True to my reputation, I have selected a song from an old film – in fact a film belonging to the first 5 years of talkie era – ‘Divine Sacrifice’ aka ‘Kimti Kurbani’ from 1935. The song, written by an unknown lyricist, is sung by Rajkumari Dubey and the music is given by Master Motilal Nayak.
During the early phase of the talkie films, most music directors came with either stage or classical background. The film people never crossed borders initially – at least for the first few years. Those who worked in Bombay remained here and those who worked in Calcutta stayed put there only. Motilal Nayak was one such MD, who gave music only to films made in Calcutta.
Calcutta’s New Theatres was like a family. It ran on systems. It became a way of life for people working in it. Since its establishment in 1930, competition increased consistently, in the number of film producing companies in Calcutta. By 1938, there were many Production houses in Calcutta alone. Some of them were- Arora Film Co., Shri Bharat Laxmi Pictures, Chitramandir, RBS Productions, Dev-Dutt Films, East India Film Co., Indu Movietone, Kali Films, Kamala Talkies, Madan Theatres, New Popular Pictures, Moti Mahal Theatres, Murli Pictures, Quality Pictures, Radha Film Co., Sonoray Picture Syndicate, Sunrise Film Co., M & SFD Company, and Tollywood Studio. (Interesting point here – Bombay film industry came to be known as Bollywood decades after this Calcutta studio – Tollywood – which continues till today for Bangla film industry). Only few of these were regular film production houses with own facilities. Most others were formed to produce occasional films, using facilities at the regular production studios.
Motilal Nayak gave music to only handful films – ‘Aankh Ka Tara’ – (1932, Madan Theatres), ‘Kanya Vikray’ – (1934, Pioneer Films), ‘Divine Sacrifice’ – (1935, M&SD Films), ‘Asmat Ka Moti’ – (1935, Pioneer), Noor E Wahadat’ – (1936, East India Film Co), ‘Bandit Of The Air’ – (1936, Modern India Talkies; this was also the debut and the only film where KN Singh was the hero). All these films were made at Calcutta only.
The cast of ‘Divine Sacrifice’ was Khalil, Miss Rose, Laxmi, Abbas Ali, Sheela, Amir Ali, Agha Jaani, Rajkumari etc.
Master Khalil Ahmed (variously mentioned as Khalil, Master Khalil, and Khalil Ahmed) was the first ever star of the silent era as well as talkie films from 1920 to 1940s. Born in 1903, he became a hero in Kohinoor’s ‘Gul E Bakavali’ (1924), opposite Zubeida. He was the first handsome and macho hero of those times. He acted with all top heroines of his time. Some of his 30 silent films are, ‘Kaala Naag’, ‘Kulin Kanta’, ‘Lanka Ni Laadi’, ‘Cinema Queen’ etc.
He featured in his first talkie film, ‘Draupadi’ (1931), made by Imperial, opposite Ermeline. Then came ‘Daulat Ka Nasha’ (1931), ‘Bharati Mata’ (1932), ‘Niti Vijay’ (1932), ‘Do Rangi Duniya’ (1933) and ‘Saubhagya Sundari’ (1933). In 1934 Khalil went to Calcutta on the invitation of East India Films. His first film in Calcutta was ‘Kismet Ki Kasauti’ (1934). Then he joined Tollywood Studio (Madon Theatres). Here his first film was ‘Gaibi Gola’ (1935), in which Baby Noorjehan made her debut as a child star.
He was in great demand in Bombay also, so Khalil started doing films in Calcutta and Bombay, by frequently travelling between the two cities. This caused a lot of stress on him, but he always kept his commitments. During this period, he also got married and got children. He settled in Calcutta and traveled often to Bombay to do films there.
Khalil did different roles, including Hindu Gods. He never changed his name. In those days very few Muslim actors kept their real names. Incidentally, during his peak time, there were two more artists named Khalil. One was Khalil Aftab, who was a lyricist and he acted in film ‘Dard E Dil’ (1934) and ‘The Mill’ (1934). This latter film was banned and was released later in 1936 as ‘Ghareeb Parwar’. The other actor was Khalil Khan, who had acted in film ‘Deepak Mahal’ (1940). In all, Khalil acted in 27 talkie films. He died quite young, on 28-11-1941, at Calcutta. Too much travelling and stress must have taken its toll on him. He was only 38 year old. He left behind one wife with 5 children.
Khalil did 13 films in Calcutta – ‘Kismet Ki Kasauti (1934), ‘Gaibi Gola’ (1935), ‘Miss Manorama’ (1935), ‘Jawaani Ka Nasha’ (1935), ‘Divine Sacrifice’ (1935), ‘Raj Dulari (1936), ‘Bulbul e Iran’ (1936), ‘Parivartan’ (1936), ‘Adarsh Mahila’ (1937), ‘Aflatoon’ (1937), ‘Karmaveer’ (1938), ‘Abla Ki Shakti’ (1941) and ‘Merchant Of Venice’ (1941).
In Bombay, he did 14 films – ‘Draupadi’ (1931), Daulat Ka Nash’ (1931), ‘Bharati Mata’ (1932), ‘Niti Vijay’ (1932), ‘Do Rangi Duniya’ (1933), ‘Saubhagya Sundari’ (1933), ‘Typist Girl’ (1935), ‘Shaitan Ka Paash’ (1936), ‘Khudai Khidmatgaar’ (1937), ‘Kiski Pyaari’ (1937), ‘Hamara Desh’ (1940), ‘Pyaar’ (1940), ‘Waayda’ (1940) and ‘Taj Mahal’ (1941).
Khalil acted with most of the leading heroines of his time like, Noorjehan (Sr), Jilloo (Zulekha Ibrahim – she was known by Jilloo Bai in her later career), Kajjan (6 films), Mushtari (3 films; she died too young, in her teens only), Miss Rose (2 films), Violet Cooper (2 films), Radha Rani, Ram Pyari, Begum Akhtar (she was then known as Akhtari Faizabadi), Sulochana, Ameena, Leela Desai, Indurani, Gulab, Ermeline and Sheela etc. Khalil was very good natured and a popular actor among his co stars and producers.
A Muslim by birth, he performed are variety of roles in films. His initial acting phase included roles of Shri Krishna and Shri Ram. Disenchanted by the communal riots during those times, he gave a speech in the Indian Motion Picture Congress, on 4th May 1939. Baburao Patel’s Film India published this extract from his speech-
“I have played Hindu Gods in films. I worked under Hindu producers only. I am disturbed by these riots. I am popular among Hindus and Muslims. We are the devotees of Art and Art has no religion.”
Indian Film Industry is perhaps the only industry which is truly a secular one, since its inception. Master Khalil Ahmed was an example of that.
The film was directed by BN Rao. His original name was Balkrishna Narayanan Nair. He was born in 1909 at Tellicherry in Kerala. His family shifted to Bombay because his father got a job in Bombay. By that time it was schooling age for Rao. One kind neighbor – a Marathi individual – helped him to get admission in a nearby school. While filling up the form the Marathi friend wrote his name as BN Rao. For this friend, every south Indian name must end with Rao only! And this name stuck to him till the end.
BN Rao directed only 2 Hindi films – ‘Veer Kumari’ and ‘Divine Sacrifice’ both in 1935. Later he became a very famous and successful Tamil and Telugu director, especially with Gemini Studios and SS Vasan. His best film was ‘Bal Nagamma’ (1942) – which he only completed, when the original director Pullayya pulled out halfway. However, the credits show Pullayya’s name as director. Hindi film ‘Bahut Din Huye’ (1954) was a remake of this film. He had also written the screenplay of film ‘Chandralekha’ (1948). ‘Encyclopedia of Indian Cinema’ by Rajadhyaksha says this about BN Rao,
B.N.Rao – (b. 1909) Tamil director and actor born in Tellicherry, Kerala. Also worked in Hindi and in Telugu. Started acting at Imperial (1926); assisted R.S. Choudhury and the cameramen Adi and Rustom Irani. Went to East India Co. (1933) and later to Madan in Calcutta, where he débuted as director with Hindi films. In 1937, moved to the Central Studios in Coimbatore; then to Gemini in Madras (1940) where he directed what is taken to be the studio’s début feature, ‘Madanakamarajan’. Established himself as a successful director in the late 40s; then left to work for Shaws Malay Film Prod. (1953-6) making films starring P Ramlee, and for Cathay Keris Film Studio (1957-64) in Singapore, directing e.g. Maria Menado, Nordin Ahmad and Latifah Omar. Returned to India for one more feature and retired in Madras.
Today’s song is the only song of this film available. With this song, the film makes its debut on the Blog. Remember, this is a song almost 85 year old.
Once again, I CONGRATULATE Atul ji, Sudhir ji and all others for reaching the milestone of 15000 songs ! Jai Ho !!
Song – Kyon Na Looten Mazey Wasl e Yaar Ke (Divine Sacrifice) (1935) Singer – Rajkumari, Lyrics – Unattributed, MD – Master Motilal Nayak
Lyrics
kyon na looten mazey wasl e yaar ke
haan
kyon na looten mazey wasl e yaar ke
beete jaate hain ye din bahaar ke
haan
beete jaate hain ye din bahaar ke
ke hazaaron ki tabiyat machal jaayegi
dil laakhon ke ?? chheen kar jaayegi
jab wo niklegi seena ubhaar ke
haan
jab wo niklegi seena ubhaar ke
haan
jab wo niklegi seena ubhaar ke
haan
jab wo niklegi seena ubhaar ke
haan
kyon na looten mazey wasl e yaar ke
paan kha kar labon ko bachaane lagey
haan
aaaa aaaaa aaaaaaaaaa
aaaa aaaaaaaaa aaaaaaaaa
paan kha kar labon ko bachaane lagey
wo to hans hans ke naaz dikhaane lagey
jis mein gul ?? ?? anaar ke
haan
jis mein gul ?? ?? anaar ke
kyon na looten mazey wasl e yaar ke
haan
kyon na looten mazey wasl e . . .
teri aankhon ne to jaani ghazab kar diya
baaton baaton mein mera dil kyon le liya
khoob maari kataari sambhaar ke
haan
khoob maari kataari sambhaar ke
kyon na looten mazey wasl e yaar ke
haan
kyon na looten mazey wasl e yaa . . .
———————————————————-
Hindi script lyrics (Provided by Sudhir Kapur)
———————————————————-
क्यों ना लूटें मज़े वस्ल ए यार के
हाँ
क्यों ना लूटें मज़े वस्ल ए यार के
बीते जाते हैं ये दिन बहार के
हाँ
बीते जाते हैं ये दिन बहार के
के हजारों के तबीयत मचल जाएगी
दिल लाखों के ?? छीन कर जाएगी
जब वो निकलेगी सीना उभार के
हाँ
जब वो निकलेगी सीना उभार के
हाँ
जब वो निकलेगी सीना उभार के
हाँ
जब वो निकलेगी सीना उभार के
हाँ
क्यों ना लूटें मज़े वस्ल ए यार के
पान खा कर लबों को बचाने लगे
हाँ
आsss आssss आsssssss
आssss आssss आssssssssss आsssssss
पान खा कर लबों को बचाने लगे
वो तो हस हस के नाज़ दिखाने लगे
जिस में गुल ?? ?? अनार के
हाँ
जिस में गुल ?? ?? अनार के
क्यों ना लूटें मज़े वस्ल ए ॰ ॰ ॰
तेरी आँखों ने तो जानी ग़ज़ब कर दिया
बातों बातों में मेरा दिल क्यों ले लिया
खूब मारी कटारी संभार के
हाँ
खूब मारी कटारी संभार के
हाँ
क्यों ना लूटें मज़े वस्ल ए या॰ ॰ ॰
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