Archive for the ‘Songs of 1930s (1931 to 1940)’ Category
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
Chhalke ras ki gagariya bhaari
Posted on: June 7, 2017
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
Nindiya Mori Bairan Oye Hoye Re
Posted on: June 2, 2017
- In: Blog century song | Century songs for the blog | Chorus song | Devnagri script lyrics by Sudhir | fun timepass song | Guest posts | joie de vivre | K L Saigal Film songs | Lyrics contributed by readers | Post by Sudhir | Rare song | Song of 1935 | Songs of 1930s (1931 to 1940) | Yearwise breakup of songs
- 17 Comments
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
Karega Har Ek Qadr Jaani Tumhaari
Posted on: March 12, 2017
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.
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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.
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Gokul nagri jaanaa
Posted on: November 21, 2016
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.
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Abroo ki kamaanon mein
Posted on: November 19, 2016
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.
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