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

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.

Today’s song is from film ‘Geeta’ (1940), which makes a debut on our Blog. The song is sung by Baby Suman, who too makes a debut here. The lyricist is SK Kalla and the composer is DP Korgaonkar aka K Datta.

When silent films started in India, the types of films that were made were fixed. It started with Mythological stories and ended with Parsee folk fantasy or action films. Slowly and steadily, as the film industry got stabilized with firm studio culture, producers started handling different themes like Historical, Religious, Social etc. Major film companies like Prabhat, Ranjit, Bombay Talkies and New Theatres tried to focus on social issues and social reforms like alcoholism, widow marriage, dowry, untouchability etc. in the films. Till about late 1930s, crime stories did not find patronage from the film makers.

In 1940, the first film to stress and emphasize the bad effects of crime and gambling, through a crime story mixed with social theme was made. This was Circo Productions’ film ‘Geeta’. It was the first ever film, which used the formula “Crime does not pay”. It was the first film in which one actor had done a double role of father and son. It was the first film, in which there was a tussle between a criminal brother and a brother who was on the side of the law. This was also the first film in which the mother testifies in the court against her criminal son, to punish him. This was the first film, in which Durga Khote started acting Mother’s role, bringing her career as a heroine to a close.

This was the beginning of a New Era, but the unsuspecting film industry did not recognise it. In the subsequent years and decades, the principle of “Crime does not pay” was used in several films – like ‘Kismet’ (1943) and ‘Sangram’ (1950). Even the remakes of ‘Geeta’ were made in the 1950s and the 1970s. The theme was used in a number of films.

Till the 40s, double role in films was rare and still a novelty. Actually, the first double role in a Talkie film was in ‘Aawara Shehzada’ (1933). This film was based on the popular Mark Twain novel of 1881 – The Prince and the Pauper. Surprisingly, the first film on this novel was made in India. Hollywood followed much later with Warner Brothers’ film of the same name in 1937. Instead of double role of one actor , they used two actors who were twins- Billy and Bobby Mauch for the two roles. In Hindi ‘Awara Shehzada’, the double role was done by Shahu Modak and the film was directed by Master Vithal, India’s first hero of the talkie films. Later, ‘Raja Aur Rank’ (1968), featuring Mahesh Kumar was made based on this story.

In film ‘Geeta’, Chandramohan was the hero and had done the father and son double role. This was a bilingual film in Hindi and Marathi, and in both versions, Chandramohan was the Hero. Earlier, V Shantaram had given a break to Chandramohan in his film ‘Amrit Manthan’ (1934), which also was a bilingual film in Hindi and Marathi. Chandramohan being a Kashmiri and not knowing Marathi, in the Marathi version, his role of Rajguru was done by Keshavrao Datey.

However. soon Chandramohan picked up fluent Marathi and acted in the bilingual films of Hindi and Marathi like, ‘Jwaala’ (1938), ‘Geeta’ (1940) and ‘Apna Ghar’ (1942). He became the first hindi actor to do roles in Marathi films.

The one line story of the film is “If father is a criminal and influences his son, so too becomes criminal”. In other words ‘parvarish’ or bringing up is important. Chandramohan’s brother’s role in the film was done by Trilok Kapoor. Trilok Kapoor became favourite ‘Mahadev’ of India after his film ‘Har Har Mahadev’ (1950) became a hit all over the country. His role in ‘Geeta’ was that of a sincere and law abiding Public Prosecutor, who in the final scene asks for death sentence for his criminal brother! Shades of this in ‘Deewar’ (1975) – the mother too joins the good brother, becoming a witness against the criminal son.

Durga Khote had done the roles of wife and mother in this film. This was the end of her career as a heroine and start of her character roles, ending her 8 years of being a heroine. Young Chandramohan’s role was done by Anant Marathe. He became an all India famous classical singer in later period. Vatsala Kumthekar played the role of a Kothewali (which she was actually, before joining films). She was Sundari – the prostitute friend of young Mohan. Her younger sister – Lata’s role was done by Ashalata (Mehrunnisa Moosa Bhagat in reality). In real life, she was wife of the composer Anil Biswas in this period.

The real sister of Vatsala Kumthekar was also in this film, but she played a different role in the film. She might be about 12 year old that time. She was Baby Suman. She was also a good singer, being from a singers’ family. She has sung few songs in this film. In absence of information about songs in HFGK, we do not know, which song was sung by whom. From the information I secured, she had sung atleast 2 songs in the film. One was solo (today’s song) and one as a duet with Harish. This Baby Suman was very beautiful. When she grew up and was about 19-20 year old, she was infatuated with composer C Ramchandra. As per CR’s autobiography, once she fell very sick with high fever and started taking CR’s name in stupor. Her sister Vatsala came running to CR telling him that Baby Suman was in deep love with him and was taking his name in high fever stupor. CR suspected this as a trap and refused to get involved telling the fact that he was recently married to his lady love Ratan Thakur (aka Ben) and that he loved his wife. Vatsala was very angry and left cursing him. Later, it seems Suman got married to some rich person and left film line.

In a way film ‘Geeta’ was a landmark film, because it opened up a new genre of crime films mixed with social themes. This was soon followed by film ‘Kismet’ (1943) and later by film ‘Sangram’ (1950). Minoo Katrak was a famous sound recordist in later years of the 60s and 70s. At this time he was a writer and had written the story for this film. Screenplay and direction was by Parshwanath Altekar. This may be a new name to most readers. Here is his brief bio sketch adapted from the book ‘The Encyclopedia of Indian Cinema’….

 

Parshwanath Yeshwant Altekar (1897-1957) – Mainly Marathi director born in Kharepatan, Ratnagiri. Also worked in Hindi, Tamil and Kannada cinema. Educated in Kolhapur and obtained arts degree from Wellington College in Sangli. Studied law in Bombay but turned to the theatre, acting in the first play he directed, ‘Rajsanyas’, in 1922. Marathi writer Mama Warerkar influenced Altekar’s theatrical work as well as his shift to films, later providing songs and dialogues for the director’s ‘Geeta’. Film début in Joshi’s ‘Prithvi Vallabh’.

The following year (1925) he joined the United Pics. Syndicate where he played a series of major roles in Maratha historicals: Hansaji in ​Sarpotdar’s Chandrarao More and the title role in Chhatrapati Sambhaji (Altekar later remade the film in Marathi with Master Vithal). Acted in and was associated with the making of Sarpotdar’s seminal realist experiment Maharachi Por (1925), conjoining film, journalism and the avant garde theatre movement, a mix that later culminated in the work of the Natyamanwantar group. Also played the role of Prithviraj in Deccan’s Prabhavati. Joined the ​Pendharkar brothers’ Vande Mataram Films, acting in and, according to some sources, helping to direct their controversial Vande Mataram Ashram. Turned director at United Pics with the mythological ‘Jugari Dharma’, also playing the role of Bhim.

In 1928, he went to Imperial Films, making four films, e.g. ‘Jagadguru Shrimad Shankaracharya’, which featured his future theatre associate K. Narayan Kale as actor, and ‘Gori Bala’, scripted by Warerkar. Worked for Torney’s Saraswati Cinetone (1933) while continuing his work in the theatre with Radio Stars and the Natyamanwantar group. Directed the first Kannada sound feature, ​Bhakta Dhruva, from a Ratnavali Theatre play. After a stint at Master Vinayak’s Huns Pics (e.g. the Khandekar script ‘Sukhacha Shodh’) and CIRCO Films (‘Geeta’, featuring Chandramohan in a double role; ​Mahatma Vidur with Vishnupant Pagnis and Durga Khote), he became an independent producer with his own Natraj Cinetone partnered by Durga Khote, Govindrao Tembe, Mubarak et al., making the important Tembe-Khote musical ‘Savangad’i. Made three Tamil films (‘Parvati Kalyanam’, ‘Pati Bhakti’, ‘Bhishma Pratigna’, all 1936).

Started a theatre training school (1938) and soon stopped making films, devoting his energies to theatre work. His films often continued his experiments with naturalist theatre for Natyamanwantar, Radio Stars and his repertory National Theatre Academy, for which he wrote several essays on the theory of stage performance in the Marathi journal Yashwant (e.g. Rangabhoomichi Avashyakta Kay in December 1942; Udyacha Nat and Udyachi Rangabhoomi in November 1943).

FILMOGRAPHY (* only act/ also act): 1924: Prithvi Vallabh*; 1925: Maharachi Por*; Chandrarao More*; Chhatrapati Sambhaji*; Kangal Qaidi*; Mulraj Solanki*; Prabhavati*; Saurashtra Veer*; 1926: Vande Mataram Ashram*; 1927: Jugari Dharma;1928 : Jagadguru Shrimad Shankaracharya; 1929: Vasal Ni Raat; Gori Bala; 1931: Janma Haq (all St); 1934: Bhakta Dhruva; Vasavadatta; Chhatrapati Sambhaji; 1936: Parvati Kalyanam; Pati Bhakti; Bhishma Pratigna; 1937: Begunah*; 1938: Savangadi/ Saathi; 1939: Sukhacha Shodh/Mera? Haq; 1940: Geeta; 1943: Mahatma Vidur; 1952: Chhatrapati Shivaji*; 1953: Maisaheb*.

Film ‘Geeta’ was remade as ‘Ustad’ in 1957 and again as ‘Karmayogi’ in 1978. In ‘Ustad’ (1957), Ashok kumar did the father-son double role and in ‘Karmayogi’ (1978), Raajkumar did it. I saw film ‘Geeta’ in 1960, when it came to a Hyderabad Theatre for a morning show. Even then it ran for 20 days, everyday at 11 am show. The story of film ‘Geeta’, in brief, is…

Shankar (Chandramohan) and Durga (Durga Khote) are poor but a happy family with son Mohan. Durga is very religious and follows the guidelines of Bhagwad Geeta. Shankar is a practical man. Fed up with poverty and the treatment of society to poor people, Shankar angrily leaves house, taking Mohan with him. Durga is pregnant with another child due anytime. After few days, she delivers a son – Kumar.

While Shankar becomes a crook and makes Mohan also a crook, Durga brings up Kumar as a pious, law abiding person as per the teachings of Bhagvad Geeta. Kumar becomes a lawyer and then the public prosecutor. Meanwhile Shankar is arrested for a murder and sentenced with death penalty. The day he is hanged, Mohan takes over his criminal empire. Mohan also has a friend who is a nautch girl – Sundari (Vatsala Kumthekar). He goes on getting spoiled more and more. One day he too is arrested for murder and a case stands in the court.

His own younger brother is against him now as a public prosecutor. Durga meets Mohan in jail. Now Mohan repents, but it is too late. Durga also testifies against her son Mohan. Due to the skill of Kumar, Mohan is given death sentence. Good wins over evil. Crime does not pay is proved. (634)

The film has 10 songs, but none is available on You Tube. Our own Sudhir ji came to my help and made today’s song available from his collection. Thank you, Sudhir ji. Listen to this song in the voice of Baby Suman. . .


Song – Sunder Saaree Phoolon Waali (Geeta) (1940) Singer – Baby Suman, Lyrics – SK Kalla, MD – DP Korgaonkar (aka K Datta)

Lyrics

sunder saari phoolon waali

sunder saari phoolon waali
lata odh kar ho matwaali
lata odh kar ho matwaali
sunder saari phoolon waali
sunder saari phoolon waali
lata odh kar ho matwaali
lata odh kar ho matwaali

ban jaaun main
radha rani
ban jaaun main
radha rani
baandh ke saaree
ghunghat waali
baandh ke saaree
ghunghat waali
ban jaaun main
radha rani
ban jaaun main
radha rani
baandh ke saaree
ghunghat waali
baandh ke saaree
ghunghat waali

hari hari har daali
hari hari har daali
maala albeli pehne waali
hari hari har daali
maala albeli pehne waali
sunder saari phoolon waali
sunder saari phoolon waali

sunder saari phoolon waali
sunder saari phoolon waali
lata odh kar ho matwaali
lata odh kar ho matwaali
sunder saari phoolon waali
sunder saari phoolon waali

ha ha ha haa haa haa
ha ha ha haa haa haa
ha ha ha haa haa haa

sunder saari phoolon waali
lata odh kar ho matwaali
sunder saari. . .

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

सुंदर साड़ी फूलों वाली

सुंदर साड़ी फूलों वाली
लता ओढ़ कर हो मतवाली
लता ओढ़ कर हो मतवाली

बन जाऊँ मैं
राधा रानी
बन जाऊँ मैं
राधा रानी
बांध के साड़ी
घूँघट वाली
बांध के साड़ी
घूँघट वाली
बन जाऊँ मैं
राधा रानी
बन जाऊँ मैं
राधा रानी
बांध के साड़ी
घूँघट वाली
बांध के साड़ी
घूँघट वाली

हरी हरी हर डाली
हरी हरी हर डाली
माला अलबेली पहने वाली
हरी हरी हर डाली
माला अलबेली पहने वाली

सुंदर साड़ी फूलों वाली
सुंदर साड़ी फूलों वाली
लता ओढ़ कर हो मतवाली
लता ओढ़ कर हो मतवाली
सुंदर साड़ी फूलों वाली
सुंदर साड़ी फूलों वाली

हा हा हा हाss हाss हाss
हा हा हा हाss हाss हाss
हा हा हा हाss हाss हाss

सुंदर साड़ी फूलों वाली
लता ओढ़ कर हो मतवाली
सुंदर साड़ी॰ ॰ ॰

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

Who was the first female music director in Hindi film Industry? The answer to this question has changed thrice during the last few years.

It was believed that Saraswati Devi (real name: Khorshed Minocher-Homji) was the first female music director who composed songs for ‘Jawaani Ki Hawa’ (1935), produced under the banner of Bombay Talkies. Subsequently, it was established that Jaddanbai, who composed the songs for ‘Talaash-e-Haq’ (1935) was the first female music director, her film having been released earlier than ‘Jawaani Ki Hawa’. It will be interesting to know as to which of the songs from these two films were recorded first on the respective film’s sound track.

The latest is that the first female music director of Hindi films was Ishrat Sultana who composed songs for the film ‘Adal-e-Jahangir (1934). In the absence of any proper documentation of the history of Hindi films, it is quite possible that some other name for the first female music director may prop up in future especially when it is a well-known fact that for many films of 1931-32, names of the music directors are unknown as of now.

Ishrat Sultana, the first female music director of Hindi films, was none other than Bibbo, her better known name as the popular actor-singer of 1930s and 40s. Probably, her transition from music director to actor-singer was demand-driven. During the initial period of the talkies, good female singers were in great demand from the studios as actor-singer. Bibbo was a trained singer. Her mother Hafeezan Bai was a singer and a courtesan in Delhi. With a photogenic face and the good singing ability, she was soon employed by Ajanta Cinetone as actor-singer with her first film ‘Rangeela Rajput’ (1933).

After working for 8 films of Ajanta Cinetone during 1933-36, Bibbo joined Sagar Movietone to act in ‘Manmohan’ (1936) which was supposed to be its answer to New Theatres’s ‘Devdas’ (1935). For this purpose, director Mehboob Khan had taken Surendra as actor-singer who was groomed as ‘Bombay Saigal’. The film became a hit and the lead pair of Surendra-Bibbo became popular. They worked together in as many as 7 films of which 5 films were regarded as box office hits. Some of her other films with Surendra under Sagar Movietone were ‘Jaagirdaar’ (1937), ‘Gramophone Singer’ (1938), ‘Dynamite’ (1938), ‘Seva Samaaj’ (1939), ‘Ladies Only’ (1939) etc.

By 1939, Bibbo had become one of the top actor-singers and her popularity had reached the zenith. Her popularity can be judged by the fact that in the film ‘Gharib Ke Laal’ (1939), there is a song which starts with her name amongst the names of many actors of that time. The song is “Tujhe Bibbo Kahun Ke Sulochana” sung as a duet in accompaniment with Mirza Musharraf.

After the closure of Sagar Movietone in 1939, Bibbo became a free-lancer during which she did ‘Sneh Bandhan’ (1940), ‘Laxmi’ (1940), ‘Sohag’ (1940) and ‘Akela’ (1941) etc. There was a gap in her filmy career during 1941-44.
It is said that towards of the end of 1930s, Bibbo got married to S Khalil, her co-actor during her stint with Ajanta Cinetone who also directed ‘Adal-e-Jahangir’ (1934) in which she composed songs under the name of Ishrat Sultana. They shifted their base to Lahore. They jointly produced ‘Qazzak Ki Ladki’ (1937) in which she composed songs along with Dr Samad. However, the film failed miserably and Bibbo had to came back to Bombay.

Her second stint in the film industry during 1944-47 was not as rosy as the first one. She mostly got the side roles in films such as ‘Pehli Nazar’ (1945) and ‘Sassi Punnu’ (1946). ‘Pehla Pyaar’ (1947) was her last film in India after which she migrated to Pakistan where she continued to work in films getting character roles till 1966. Bibbo died on May 25, 1972 in Karachi.

‘Dynamite’ (alias name ‘Kis Ke Saajan’) (1938) was one of the films under the banner of Sagar Movietone in which Bibbo is paired with Surendra. The film was directed by Chimanlal Luhar. Others actors listed in the star cast of the film are Maya Bannerji, Yakub, Sankatha Prasad, Budho Advani, Jamu Patel, Qaiyam Ali, Pessi Patel etc. The film belongs to mystery/suspense genre. I have no idea about the story of the film. Going by a few photographs of the scenes from the film, it appears that Surendra had some sort of camouflage roles – one with Bibbo and another with Maya Bannerji.

The film had 7 songs written by Pandit Indra (6) and Zia Sarhadi (1) which were set to music by Anil Biswas. Here is the first song “Kaliyaan Raseeli Saiyaan Bhanwraa Ganwaar Hai’ sung by Bibbo and Surendra. The song is written by Pandit Indra.

I heard this song for the first time a few days back and liked it immensely. Going by the implicit meaning of the lyrics, Anil Biswas has given a soft touch to the composition of the song which have been rendered in line with its softness.

With this song, ‘Dynamite’ alias ‘Kis Ke Saajan’ (1938) makes its debut on our blog.


Song – Kaliyaan Raseeli Piya Bhanwra Ganwaar Hai (Dynamite) (1938) Singer – Bibbo, Surendra, Lyrics – Pandit Indra, MD – Anil Biswas
Bibbo + Surendra

Lyrics

kaliyaan raseeli saiyaan
bhanwraa ganwaar hai
kaliyaan raseeli saiyaan
bhanwraa ganwaar hai
kehti hain kaliyaan dekh deewaane
kehti hain kaliyaan dekh deewaane
do din dheeraj dhar mastaane
do din dheeraj dhar mastaane
hota huwa ye singaar hai
hota huwa ye singaar hai
bhanwraa ganwaar hai
kaliyaan raseeli saiyaan
bhanwraa ganwaar hai

jeewan mein ras dhaar bahegi
jeewan mein ras dhaar bahegi
pyaar bhari taqraar rahegi
pyaar bhari taqraar rahegi
swarg yahi sansaar hai
swarg yahi sansaar hai
bhanwraa ganwaar hai
kaliyaan raseeli saiyaan
bhanwraa ganwaar hai

chaatak pyaasa nadi kinaare
chaatak pyaasa nadi kinaare
rooth gayen hain bhaagya hamaare
rooth gayen hain bhaagya hamaare
dil ke ab armaan pukaare
dil ke ab armaan pukaare
toota huwa ye sitaar hai
toota huwa ye sitaar hai
bhanwraa ganwaar hai
kaliyaan raseeli saiyaan
bhanwraa ganwaar hai
———————————-
Hindi script lyrics (Provided by Sudhir)
———————————–

कलियाँ रसीली सैंय्या
भँवरा गंवार है
कलियाँ रसीली सैंय्या
भँवरा गंवार है
कहती हैं कलियाँ देख दीवाने
कहती हैं कलियाँ देख दीवाने
दो दिन धीरज धर मस्ताने
दो दिन धीरज धर मस्ताने
होता हुआ ये सिंगार है
होता हुआ ये सिंगार है
भँवरा गंवार है
कलियाँ रसीली सैंय्या
भँवरा गंवार है

जीवन में रस धार बहेगी
जीवन में रस धार बहेगी
प्यार भरी तकरार रहेगी
प्यार भरी तकरार रहेगी
स्वर्ग यही संसार है
स्वर्ग यही संसार है
भँवरा गंवार है
कलियाँ रसीली सैंय्या
भँवरा गंवार है

चातक प्यासा नदी किनारे
चातक प्यासा नदी किनारे
रूठ गए हैं भाग्य हमारे
रूठ गए हैं भाग्य हमारे
दिल के अब अरमान पुकारे
दिल के अब अरमान पुकारे
टूटा हुआ ये सितार है
टूटा हुआ ये सितार है
भँवरा गंवार है
कलियाँ रसीली सैंय्या
भँवरा गंवार है


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

In my last two articles, I had discussed about the films of Mehboob Khan (as a producer as well as director) in combination with music director Anil Biswas. In the process of collecting information about the works of Mehboob Khan-Anil Biswas combination, I came across another unique association of Mehboob Khan with cinematographer, Faredoon A Irani. The uniqueness of this association is that all the films which were directed by Mehboob Khan (23 films during 1935-62) had Faredoon Irani as cinematographer.

Faredoon A Irani started his career with the Imperial Films of Ardeshir Irani as an apprentice. After the formation of Sagar Films (later renamed as Sagar Movietone) in 1929 as a subsidiary of Imperial Films, Faredoon Irani along with Mehboob Khan joined the Sagar Films. After the advent of talkies, Faredoon Irani got a chance to work independently as a cinematographer in Hindi film, ‘Bulbul-E-Bagdad’ (1932). The film was appreciated for its photography. At that time. Mehboob Khan was assisting in script writing for some of the initial talkies of Sagar Films besides doing small roles in the films.

Mehboob Khan got his first chance to direct ‘Al Hilal/Judgement of Allah (1935). For his directorial debut film, he chose Faredoon Irani as cinematographer. The association continued uninterrupted until Mehboob Khan’s last film ‘Son of India’ (1962). Faredoon Irani got the first opportunity as cinematographer of India’s first Technicolor film, Aan’ (1952) produced and directed by Mehboob Khan. He got his first Filmfare Award for the Best Cinematography for Mehboob’s ‘Mother India’ (1957).

EK HI RAASTA/THE ONLY WAY (1939) was one of the films from the stable of Sagar Movietone in which the troika of Mehboob Khan-Faredoon Irani-Anil Biswas were associated. The star cast included Sheikh Mukhtar, Arun Ahuja, Anuradha, Harish, Kanhaiyalal, Banbasi, Jyoti, Mohan, Jagdish Rai, Wasker, Ghani etc. It was a debut films for Sheikh Mukhtar, Arun Ahuja and Anuradha (real name, Khursheed). The short synopsis of the story of the film available on Wikipedia and Imdb is as under:

Raja (Arun Ahuja) an orphan, Mangoo (Sheikh Mukhtar), a pickpocket and Vithal (Harish), a taxi driver are friends in a city. Mala (Anuradha) and her father (Ghani) arrive from their village to the same city and stay in the area where three friends stay.

One day, Mala is kidnapped by Banke (Kanhaiyalal) and is sold to a wealthy man. Mala’s father accuses Mangoo of theft and in a fit of anger Mangoo kills him. In the meanwhile, Mala manages to escape from the clutches of wealthy man and take refuge in Raja’s house. Over a period of time, both fall in love. Mala’s step mother does not like Mala staying with Raja. She arranges of marriage Mala her villainous cousin which is rejected by Mala. She continues to stay with Raja.

World War II has started. All the three friends enlist as soldiers. After sometime, all the three friends return from the war. During this period, one of the friends kills a rapist. He is tried in the court and is convicted for the murder.

From the short snippet of the story, two observations may be made. First, probably, this may be the first film which has brought out the concept of live-in relationship. Mala has a step mother. But she prefers to stay with Raja even though they are not husband and wife. Second, the story writer has brought out the differential standard of law for treatment of killing an enemy on the war front vis-à-vis killing an enemy of the society, that is the rapist for which one of the friends get convicted.

The film had 12 songs, none of which has been presented in the Blog. I am presenting the first song ‘chhalke ras ki gagariya bhaari main matwaari panihaari’ sung by Wahidan Bai and Anil Biswas. The song is written by Pandit Indra. I am not sure whether Wahidan Bai had sung the song on herself or gave the playback. I do not find her name in the actor’s list for the film.

One of the features of the song is that Anil Biswas has introduced some innovative orchestration. During the antara part of the song between the verses ‘kyun jhooti baat banaaye’ and ‘ab kaun tumhen samjhaaye’ there is some novelty in the short musical interlude.

With this song, EK HI RAASTA/THE ONLY WAY (1939) makes its debut in the Blog.


Song-Chhalke ras ki gagariya bhaari (Ek Hi Raastaa)(1939) Singers-Wahidan Bai, Anil Biswas, Lyrics-Pt Indra Chandra, MD-Anil Biswas

Lyrics

chhalke ras ki gagariya bhaari ee
main matwaari panihaari
chhalke ras ki gagariya bhaari ee
main matwaari panihaari
mohe bhool gaye banwaari ee ee
mohe bhool gaye banwaari
kunjan mein kunjbihaari
kunjan mein kunjbihaari
main matwaari panihaari
chhalke ras ki gagariya bhaari ee
main

hai bhara huwa dil sajni
hai bhara huwa dil sajani
kyun jhoothhi baat banaaye
kyun jhoothhi baat banaaye

ab kaun tumhen samjhaaye
ab kaun tumhen samjhaaye
tore gaal laaj se laal
bhaal par bindiya muskaaye
tore gaal laaj se laal
bhaal par bindiya muskaaye

baalam tori nazar na lag jaaye ae
baalam tori nazar na lag jaaye

bholi
ras gholi pyaari
bholi
ras gholi

main matwaari panihaari
chhalke ras ki gagariya bhaari ee
main matwaari panihaari
chhalke ras ki gagariya bhaari ee
main matwaari panihaari
mohe bhool gaye banwaari ee ee
mohe bhool gaye banwaari
kunjan mein kunjbihaari
kunjan mein kunjbihaari
main matwaari panihaari
chhalke ras ki gagariya bhaari ee
main matwaari panihaari


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

A century post – and a discovery of monumental proportions. Things cannot get more rare, and better, than this.

We are at a century marker with this post – 13,300 – thirteen thousand three hundred to be exact. Atul ji and I exchanged some thoughts on whether to hold back this important discovery for a bigger, more major milestone up ahead. But then we decided that the wait of some more months will be too much. Let us introduce this discovery at 13,300 itself, and then we will have a few more opportunities to bring on other parts, other songs of this discovery.

Saigal – the divine, the inimitable, the ultimate zenith of the singing voices. He came on right in the beginning of the age of talking cinema in India, and departed all too soon. This year, it is seventy years that he left this mortal existence. And to wit – no other singer since then, has ever been able to match his singing abilities, nor has been able to achieve the quality and the depth / breadth of renditions. Saigal – is Saigal. He is a class unto himself, with none other besides him.

He appeared in 36 full length feature films (28 Hindi + 7 Bangla + 1 Tamil). The stature of his persona, and the standing of the production houses, has ensured that majority of the body of his work is available today in public domain. There are a few films in the period 1932 to 1935 – namely ‘Mohabbat Ke Aansoo’ (1932), ‘Subah Ka Sitaara’ (1932), ‘Zinda Laash’ (1932), ‘Daaku Mansoor’ (1934), ‘Rooplekha’ (1934), ‘Pooran Bhagat’ (1933), ‘Raajrani Meera’ (1933), ‘Yahudi Ki Ladki’ (1933), and ‘Kaarwaan e Hayaat’ (1935), which seem to have been lost forever. Of these nine films the first five have been erased, with even no music / songs / records traceable. A few songs of the remaining four films is the priceless legacy that has survived to attest a substantive existence of these films.

Part of that history changes today. One of the above listed films is getting introduced back into the public domain. ‘Kaarwaan e Hayaat’, so far thought to be lost forever, has been traced, and after a pursuit of more than two years, yours truly has been able to acquire a complete video copy of this film. The saga of these two years is nothing more remarkable than a persuasion, a waiting game, negotiations, and allowing time for a decision to precipitate.

Watching this clip, this film, seems like a journey through time, a journey to another dimension, another world – world that I had not seen ever before. The story of the film is about Parvez, a prince who has a lively and romantic outlook in life. The queen mother arranges for a betrothal for her son, and the prince, fearing the bonds of a matrimonial household and no romance, disappears from the palace and joins a band of gypsies, disguised as one himself, and changes the name to Naazu. This secret is known only to his very close friend and sidekick, Suhail (role played by Bikram Kapoor). There is another side of the story unfolding. The Emir of Tikkim, an adjoining kingdom (role played by Nawab) also fancies the same princess, with whom the queen mother has arranged the alliance for Parvez. He has the princess kidnapped, and as destiny would have it, hides her in the very same camp of gypsies. Parvez encounters the princess in the gypsy camp, and they fall in love. Parvez, who is prone to playful antics and pulling legs of others, does not disclose his true identity, and continues to romance the willing princess. Other complications intervene. The Wazir (prime minister) of the state, traces Parvez to the gypsy camp. The Emir of Tikkim comes to the camp with his soldiers to claim his kidnapped bounty. And Zarina, a beautiful gypsy girl at the camp (role played by Ratan Bai) falls in love with Parvez. All the circumstances rolled together, make for a real fun movie, which is a treat to watch. And the premium icing on the cake of course is KL Saigal, and the songs which were not released on gramophone records.

I introduce one such song from the film today. This is a gypsy revelry song that is being sung at the gypsy camp. The night is falling, and the singing and dancing members of the camp are saying that sleep is the furthest from the eyes – it is a time for joy, and singing, and dancing – Oye Hoye Re. We can see Parvez, dressed as a commoner, sitting with gypsies, and singing along with them. In between, as the dancing members increase, he will get up and join the dancers. Around the start of clip, we can see one male singer enter the frame from the right, walks across the frame, and when he passes by Parvez (or Naazu), he pinches his nose in a friendly gesture. This is Raahat, one of the lead gypsies in the camp (role played by Pahadi Sanyal). Along with him, we see a lady who joins the singing and dancing and accompanies Raahat in the dancing sequence, is Sonia (role played by Molina). In the beginning of this clip, and then once again later in the clip, we see a bored looking person, busy beating mosquitoes, as he waits, guarding the horses. This is Suhail, the sidekick friend of Parvez. Then, in the dancing sequence, we see a heavy set old lady enter the frame from the left. She has a bent back, and pock marked face. She is the old woman of the gypsy camp, who has a finger in everything that goes on in the camp. The surprising twist here is that the role is played by none other than Nemo, a male actor – folks will remember him as the rich Seth Sonachand Dharmanand in the film ‘Shri 420’ (1955). More of the story in some subsequent posts.

So flows the Pageant of Life (Kaarwaan e Hayaat), describing a small sequence of events in the lives of a few characters on the stage of this world. This film is great entertainment stuff.

Produced by New Theatres, the direction of the film is credited to Premankur Atorthy and another gentleman named Hem Chandra Chunder. As I searched for more information, I came across a very interesting item – that this film was produced at the Lahore centre of New Theatres. Now this is definitely news to me, that New Theatres produced films in Lahore. When I view the credits, I see a thank you note for the Nawab of Bahawalpur for using his armed forces for some of the scenes in the film. Now the erstwhile Bahawalpur state now forms a part of what currently is Pakistan. This lends credence to info that this film could have been produced at the Lahore center. Harmandir ji (of Geet Kosh) has confirmed that New Theatres did have a distribution office in Lahore, and it is possible that this film was shot in that location.

The music is credited to Mihir Bhattacharjee. There is some discussion around this credit, since surprisingly, the available gramophone records of this film carry the name Timir Baran as the music director. This shall need a separate discussion with inputs from some stalwart historians. The name of the song writer is not specifically mentioned, but other sources identify the name as Ahmad Shuja Pasha. This name appears in the credits of the film as the dialogue writer.

This is primarily a chorus song, within which we can surmise certain individual voices (of KL Saigal, Pahadi Sanyal and Molina) as they sing some individual lines, while the chorus of other singers continues.

A century marker that records a remarkable find. Welcome to the world of ‘Kaarwaan e Hayaat’.

Song – Nindiya Mori Bairan Oye Hoye Re (Karwaan e Hayaat) (1935) Singer – Molina, Pahadi Sanyal, KL Saigal,  Lyrics – Hakim Ahmed Shuja Pasha, MD – Mihir Kiran Bhattacharya
Chorus

Lyrics

oye hoye re
oye hoye re
oye hoye oye hoye oye hoye re
oye hoye oye hoye oye hoye re
oye hoye re
nindiya mori bairan
oye hoye re
nindiya mori bairan
oye hoye re
oye hoye re
oye hoye re
oye hoye oye hoye oye hoye re
oye hoye oye hoye oye hoye re
oye hoye re
oye hoye re
nindiya mori bairan
oye hoye re
nindiya mori bairan
oye hoye re

saanjh bhaye diya baati ki beriya
saanjh bhaye diya baati ki beriya
oye hoye re
oye hoye re
piya aawan ki beriya
oye hoye re
piya aawan ki beriya
oye hoye re
nindiya mori bairan
oye hoye re

aadhi raat papaihaa boley
aadhi raat papaihaa boley
oye hoye re
oye hoye re
galey laagan ki beriya
oye hoye re
galey laagan ki beriya
oye hoye re
nindiya mori bairan
oye hoye re

hovat bhor koyaliya boley
hovat bhor koyaliya boley
oye hoye re
oye hoye re
bichhuan ki hai beriya
oye hoye re
bichhuan ki hai beriya
oye hoye re
nindiya mori bairan
oye hoye re
oye hoye oye hoye oye hoye re
oye hoye re
oye hoye re
nindiya . . .

saanjh bhaye diya baati ki beriya
saanjh bhaye diya baati ki beriya
oye hoye re
oye hoye re
piya aawan ki beriya
oye hoye re
nindiya mori bairan
oye hoye re

aadhi raat papaihaa boley
aadhi raat papaihaa boley
oye hoye re
oye hoye re
galey laagan ki beriya
oye hoye re
nindiya mori bairan
oye hoye re

hovat bhor koyaliya boley
hovat bhor koyaliya boley
oye hoye re
oye hoye re
bichhuan ki hai beriya
oye hoye re
nindiya mori bairan
oye hoye re
nindiya mori bairan
oye hoye re

oye hoye oye hoye oye hoye re
oye hoye oye hoye oye hoye re

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
ओए होए रे
ओए होए रे
ओए होए ओए होए ओए होए रे
ओए होए ओए होए ओए होए रे
ओए होए रे
नींदिया मोरी बैरन
ओए होए रे
नींदिया मोरी बैरन
ओए होए रे
ओए होए रे
ओए होए रे
ओए होए ओए होए ओए होए रे
ओए होए ओए होए ओए होए रे
ओए होए रे
ओए होए रे
नींदिया मोरी बैरन
ओए होए रे
नींदिया मोरी बैरन
ओए होए रे

साँझ भए दिया बाती की बेरिया
साँझ भए दिया बाती की बेरिया
ओए होए रे
ओए होए रे
पिया आवन की बेरिया
ओए होए रे
पिया आवन की बेरिया
ओए होए रे
नींदिया मोरी बैरन
ओए होए रे

आधी रात पपैयाह बोले
आधी रात पपैयाह बोले
ओए होए रे
ओए होए रे
गले लागन की बेरिया
ओए होए रे
गले लागन की बेरिया
ओए होए रे
नींदिया मोरी बैरन
ओए होए रे

होवत भोर कोयलिया बोले
होवत भोर कोयलिया बोले
ओए होए रे
ओए होए रे
बिछुयन की है बेरिया
ओए होए रे
बिछुयन की है बेरिया
ओए होए रे
नींदिया मोरी बैरन
ओए होए रे
ओए होए ओए होए ओए होए रे
ओए होए रे
ओए होए रे
नींदिया॰ ॰ ॰

साँझ भए दिया बाती की बेरिया
साँझ भए दिया बाती की बेरिया
ओए होए रे
ओए होए रे
पिया आवन की बेरिया
ओए होए रे
नींदिया मोरी बैरन
ओए होए रे

आधी रात पपैयाह बोले
आधी रात पपैयाह बोले
ओए होए रे
ओए होए रे
गले लागन की बेरिया
ओए होए रे
नींदिया मोरी बैरन
ओए होए रे

होवत भोर कोयलिया बोले
होवत भोर कोयलिया बोले
ओए होए रे
ओए होए रे
बिछुयन की है बेरिया
ओए होए रे
नींदिया मोरी बैरन
ओए होए रे
नींदिया मोरी बैरन
ओए होए रे

ओए होए ओए होए ओए होए रे
ओए होए ओए होए ओए होए रे



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

 

Wadia Brothers’s (JBH Wadia and Homi Wadia) last silent film was ‘Toofan Mail’ (1932) which was released after sound films came into being.  As far as I know, the first sound film with a prestigious train name was also ‘Toofan Mail’ (1934) produced under the banner of Ranjit Movietone. This was probably the first action-adventure-stunt film with a title of the film after a prestigious train which became a huge box office success.
Read more on this topic…


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

It is a well-known fact that when sound films came into being in 1931, majority of the films which were produced, especially in the 1930s, belonged to the genres of action, adventure, costume drama, mythology, fantasy, folk legend etc. There were few takers for films containing social, family drama and romantic themes. In a way, this was the legacy from silent films. Those who produced and directed silent films may have thought it prudent to try more or less the same genres in sound films to begin with.
Read more on this topic…


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.

Today’s song will take us back to the earliest decade of Hindi Films. This famous song is from the film Bandhan-1940, made by Bombay Talkies. The song is in 3 parts. It is composed by Ramchandra Pal, who was the joint MD with Saraswati Devi for this film. All the songs of this film were written by Kavi Pradeep.
Read more on this topic…


This article is written by Mahesh Mamadapur, 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.

Welcome to all readers to the 126th century on the blog. Yes, we now have 12,600 songs on board with this post.

It’s now customary to have a special post or a song on such occasions. The last one saw a bundle of century celebrations in a single post. This time however it will be different in the sense that the highlight will be on the song itself and its historic importance rather than other aspects.
Read more on this topic…


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

I came to know about a film made in 1940 with a title ‘Intezaar’ through Filmindia magazine. Later, it was given a new title ‘Sneh Bandhan’ (1940) and was released with the same name. I did not evince much interest in knowing about the film until I came across the mp3 clip of a beautifully worded song from the film.
Read more on this topic…


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

SUHAAG (1940) was produced under the banner of CIRCO Productions and it was directed by Balwant Bhatt. The star cast included M Kumar, Bibbo, Mazhar Khan, Ashalata, S Nazir, Ghulam Rasool, P R Joshi, Mehdi Raza etc. The story of the film as culled out from a review which appeared in July 1940 issue of ‘Filmindia’ magazine is as under:
Read more on this topic…


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What is this blog all about

This blog discusses Bollywood songs of yesteryears. Every song has a brief description, followed by a video link, and complete lyrics of the song.

This is a labour of love, where "new" songs are added every day, and that has been the case for more than eight years. This blog has over 13300 song posts by now.

This blog is active and online for over 3200 days since its beginning on 19 july 2008.

Total number of songs posts discussed

13351

Number of movies covered in the blog

Movies with all their songs covered =1012
Total Number of movies covered =3703

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Blog Start date: 19 july 2008 Active for 3000 days.
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