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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 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.

Today’s song is from the film Jagirdar-1937. The film was made by Sagar Movietone.

In the first decade after the Talkie Era started, Sagar Movietone was one of the major film making companies in Bombay. The Desai family, along with Dr. Ambalal Patel, were originally in Film Distribution business, but decided to enter the actual film production. Sagar Film Company, which had produced 12 silent films, was converted to Sagar Movietone in 1931, after Desai and Patel joined it.

The personal involvement, unstinted finance availability and the growing demand for quality Talkie films and Music helped Sagar to soon become a great place to work with. On their part the Desai family got almost every eligible member of their family to share the responsibility to run this successful company. With their clean reputation and a professional approach with a personal touch to treat its employees, Sagar Movietone attracted the best available talent in the industry.

Sagar had the Top class Heroes and actors with them, like Surendra ( who was initially projected as an answer to K L Saigal of Calcutta), Motilal, Kumar, Shaikh mukhtar, N M Charlie, Yaqub, Bhudo Advani, Kanhaiyalal, V H Desai etc, heroines like, Sabita Devi, Nalini Jaywant, Jyoti, Waheedan bai, Bibbo and Maya Banerjee, Directors like Mehboob, Ezra Mir, Sarvottam Badami ( he was an ordinary Motor mechanic in Bangalore. He also directed Tamil and Telugu films for Sagar later), Ramchandra Thakur and Zia Sarhadi, Cinematographer Faredoon Irani, Sound recordist Kaushik Dholakia and above all Music Director Anil Biswas. All these star artistes grew initially in Sagar. They were the “Jewels of Sagar “.

While doing shootings, the atmosphere on the sets used to be very informal. For film kulwadhu-37, the Heroine Sabita Devi had to wear a Gujarati style Saree, which she did not know how to. She directly went to the owner’s house and learnt it from his wife Nanda Gauri.

Sagar had invented a novel method of promoting films. After film Kulwadhu-37 was released, a contest for readers of the Film India magazine was arranged, asking few questions about the impact of the film on the society. There was a good response from viewers/readers, one of whom also won a cash prize of Rs. 250 ( a princely sum in those days).

Based on this experience, even for film Jagirdar-37, a feedback contest from the audience was thrown open via Film India magazine , announcing total prizes worth about a Thousand rupees or so. Additionally, a half page advertisement in Times Of India was given. Only one sentence was printed in the centre of the advertisement keeping the rest area vacant. The sentence written by Baburao Patel was ” The most kissable Mischief of the year- Maya Banerjee in film Jagirdar, Directed by Mehboob Khan “. This gimmick generated enormous curiosity among the public and increased the multiple visits of the audience to the film.

Film Jagirdar was a tremendous success commercially. The cast included Surendra and Motilal, along with Bibbo and Maya Banerjee. The credit of Multiple Hero Films goes to Sagar. Not only this film, but later on in 1939, they cast 3 Heroes and 3 Heroines in film ” Ek Hi Rasta ‘- 39. In film Jagirdar Surendra and Motilal- though contemporaries- played the roles of Father and Son !

There was an interesting anecdote about Jagirdar shooting. In one scene, Motilal is shown becoming sentimental while remembering his mother. By chance, same morning Motilal had received a telegram informing him that his mother was very ill. While doing this scene Motilal just broke down and wept. Mehboob Khan stopped the shooting. It resumed after Motilal was pacified by all others.

Sagar movietone produced a total of 66 Talkie films from 1931 to 1940. The break up is 52- Hindi, 5- Tamil, 4 – Gujarati, 3 – Telugu, 1-Bengali and 1- Punjabi. Surprisingly, Sagar did not make any Marathi film or a Bilingual film to compete with Prabhat films !

The film was directed by Mehboob Khan with music by Anil Biswas. During their tenure in Sagar both, Mehboob and Anil Biswas became thick friends, but this friendship broke in 1940 when Anil Biswas accepted an offer from Bombay Talkies and left alone. Mehboob Khan felt let down since Anil Biswas had not even informed him before leaving. Due to this they never worked together again in their life.

( article uses information from the book “Sagar movietone” by shri Biren Kothari ji and Ency. of Indian Cinema by Ashish and Paul, with thanks )

The story of film Jagirdar-37….

Surendra is a Jagirdar. he loves Neela (Bibbo). They secretly marry and get a child also. In one sea voyage ship wreck, Surendra is believed to have died. Now the child is called illegitimate. Neela is about to commit suicide, but a poor farmer Shripati (Pandey) saves her and also marries her. The child grows as Ramesh (Motilal). he is in love with Sheela(Maya Banerjee).

Surendra survives and comes back. He has a big fight with Shripati over Neela. Ramesh opposes Surendra. Few days later Shripati is murdered and Surendra is suspected for this. When the gangster Narayanlal(Yaqub) comes in the picture, the father and son fight him together and the killer of Shripati is arrested.

All is well that ends well.

Film Jagirdar has 10 songs. 2 songs, including the most popular song of the film-” Nadi kinare, baith ke aao” (Motilal and Maya Banerjee) are already discussed by Atul ji. Today’s song will be the third song. The Mukhda is “baanke Bihaari bhool na jaana “. Many people may not know the meaning of the word Banke Bihari. It has no connection with Bihar. It is one of the names of Lord Shri Krishna. Banke means bent. The statue of Krishna is usually bent at 3 places-Hands folded for Flute, waist folded and leg folded while standing. Bihari means Supreme Enjoyer. In this song, the girl is calling her lover- Krishna, in short. Enjoy the song now…..


Song-Baanke bihaari bhool na jaana (Jaageerdaar)(1937) Singers- Maya Bannerji, Motilal
Lyrics- Pt Indra Chandra, MD- Anil Biswas
Both

Lyrics

baanke bihaari
bhool na jaana
baanke bihaari
bhool na jaana
praan pyaari preet nibhaana
praan pyaari preet nibhaana

baanke bihaari
bhool na jaana
baanke bihaari
bhool na jaana

nasha mere nainon mein chhaaya
nasha mere nainon mein chhaaya

kahaan se nasha baby ye aaya
kahaan se nasha baby ye aaya
joban ki madira dhal dhal ke
joban ki madira

joban ki madira dhal dhal ke
joban ki madira
nain katore tore chhalke
nain katore

tore chhalke
nain katore tore chhalke
joban ki madira dhal dhal ke
joban ki madira

tu u u u
deeeewaaana
tu deewaaana

na ka ta na
na ka ta na
baanke bihaari
bhool na jaana
baanke bihaari
bhool na jaana
praan pyaari preet nibhaana
praan pyaari preet nibhaana

baanke bihaari
bhool na jaana
baanke bihaari
bhool na jaana

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

Toady’s song is from film ‘Achhoot’ (1940),sung by composer Gyan Dutt and singer actress Vasanti.

The second world war started from 1939, but its effects started being felt in India after 1940 only. The Government became alert and sensitive. Lots of restrictions were put on Imports and Exports. All exports to Germany and Japan were banned. Foreign travel came under Government microscope. Imports were restricted to only essential goods. Raw film stock came under Government control (and naturally became available freely in black market at exorbitant price). Taking advantage of the situation, Government declared that those film production houses who help Government in its war efforts, by making films with pro Govt. themes, would get raw film on priority.

Most production studios made films with Patriotic themes accordingly, spicing it with pro Govt dialogues to claim favours. Mahatma Gandhi ji too upped his efforts to Govt. in distress as much as possible by undertaking different Satyagrahas like the Salt Satyagraha, Burning of Foreign goods, Quit India Movement etc. At the same time Gandhiji took up movement against social evils to attract public support to his main cause.

One of the social evils, Gandhiji took up was entry of harijans in Hindu temples. He did satyagraha in Kerala, Nashik, Banares and some other places. Hindi film industry was alive to what was happening in the country and films on untouchability were made by big studios. Bombay Talkies produced ‘Achhoot Kanya’ in 1936 followed by Ranjit Movietone with their film ‘Achhoot ‘ in 1940. While ‘Achhoot Kanya’ had a sad ending, film ‘Achhoot’ had a happy ending.

Hindi film industry’s growth in the early years from 1920s to 1940s was contributed to by 2 major communities. One of them was the Gujarati businessmen who immediately identified this business as the future gold mine. The other major community was the local Marathi, who lent their brain and hard work to this industry. As the time went by, people from Punjab, UP, Bengal and other states of India joined hands to help this industry to prosper. However, till the mid 1950s it was the Gujarati Sethias who poured the finances. Financiers like Sampat Sheth, Gokuldas Pasta, Manik Sheth Patel, Chunilal Munim, Mangaldas Parekh, Abdulali Yusufali, Mohd Ali Rangwala, Chimanlal Desai, Bhogilal Dave, Mayashanker Bhatt etc. only supplied the money, but never dabbled in other departments nor did they learn anything about the film making, more than what was needed to get some profits.

One person, however, was different. CHANDULAL SHAH. He not only put crores of rupees in film making, but also learnt the technique and art of making films, direction, building organisations of producers, develop political connections and what not. He did everything that was needed to become a successful film maker and a leader in the industry. That is why Baburao Patel called him “Sardar”. Chandulal Shah made his company Ranjit Movietone, a force to recon with.

Chandulal Shah  belonged to Jamnagar-Gujrat. He was born on 13-4-1898. He was into the cotton trade and used to visit Bombay frequently. Later he started working in Bombay Stock Exchange. He used to visit the Laxmi Film Studios nearby to watch shootings.

On one occasion, the director of a silent film ‘Vimla’ (1925) fell very sick and on the recommendation of a solicitor friend, Chandulal Shah got an opportunity to to direct the remaining portion of the film. Impressed by his work style he was offered 2 more films. He left the Stock Exchange job and took up film line completely.

From Laxmi, he shifted to Kohinoor Film Company, where he met actress Gauhar Jaan Mamajiwala, who became his mate for the next 50 years till he died. Gauhar used to feature in his films. With Gauhar, he did ‘Gunsundari’ in 1927 and in 1934 (silent and talkie respectively).

This film was a tremendous hit and it helped them to establish their own film company, Ranjit Movies in 1929. In next 3 year’s time they made 39 silent films. After the advent of Talkie, they changed the name of Ranjit to Ranjit Movietone. Chandulal liked to do things only kingsize. Thus he established Ranjit studios with 4 large sound stages. He also hired around 300 people in the beginning. On average, they made 6 feature films every year. His studio was an assembly line production house. At any given time at least 5 to 6 films were being made in his studios. He had a big army of famous actors, writers, technicians, directors, music directors etc. on his payroll.

Actors like Gauhar Jaan, Bilimoria, Nirupa Roy, Motilal, Madhuri, Khursheed, and KL Saigal; music directors like Gyan Butt, Bulo C Rani, Khemchand Prakash etc.; lyricist and writers like Kidar Sharma, Pradeep, Saadat Hasan Manto and many others were on his payroll.

Chandulal was very proud of his empire and used to advertise “There are more stars in Ranjit than in the Heavens”. At the peak time,there were about 700 people employed in Ranjit and Government had opened a ration shop in the studio premises for the workers’ benefit ! Khemchand Prakash did 20 films in Ranjit, Gyan Dutt 15 films and Bulo C Rani did 10 films here.

From 1929 to 1963 Ranjit made 31 silent films, 120 Hindi talkie films, 1 Tamil and 1 Marathi film. Unfortunately, due to a major fire in the early 1950s, except 7 talkie Hindi films, all other films were destroyed without leaving any backup for them.

Chandulal Shah was an active person. Besides film making he took interest in many Cine Associations and also led delegations abroad. He was a keen gambler and a better, especially in horse racing and stock market. In 1944, in a single day he lost one crore twenty five lakh rupees in cotton betting and that was the beginning of his downfall. He had to mortgage all his and Gauhar Jaan’s properties, but it could not save Ranjit Studios from ruins. He returned to film direction to make money and his first film after a gap of 14 years was ‘Paapi’ (1953). It had the hit pair of those times – Raj kapoor and Nargis. For the first time Raj Kapoor did a double role. But the film flopped. Clearly the times were bad for Chandulal. All his kundali was topsy turvy ! He tried 3 more films, all failed. His last film was ‘Akeli Mat Jaiyo’ (1963). A man who once ruled an empire started travelling in local trains and bus.

Chandulal Shah died on 25-11-1975.

Gauhar Abdul Qayoum Mamajiwala was born on 19-11-1910 at Lahore in a family of Bohra Muslims of Saurashtra in Gujarat. Her family shifted to Bombay. She was beautiful, well educated, soft spoken and liked to read books. Soon she became proficient in Hindi, Urdu, English, Gujarati and Marathi. When her father’s business crashed and they had financial crisis, Homi Master, one of the family friends suggested that she work in films. Homi was a director in Kohinoor studios. She joined films at the age of 15 years and her first film (silent) ‘Fortune And Fools’ aka ‘Baap Ki Kamaai’ (1925) was a hit film. She had a two year contract with Kohinoor. Many of her films were hits.

Chandulal Shah, who was also directing films for Kohinoor, was attracted by her performance and gave her a role in ‘Typist Girl’ (1927), in which Sulochana (Ruby Myers) was the heroine. Thus started their partnership. Soon after the contract was over, a few people viz. Gauhar, Chandulal, Jagdish Pasta, hero Rajah Sandow and cameraman P Naik left Kohinoor and established Shree Sound studio producing films under the banner of Jagdish Films. Here they made 10 popular films and in 1929 separated to form their own Ranjit Studios.

Their first Silent film for Ranjit (shot in Krishna Studios) was ‘Pati Patni’. Very soon Ranjit had their own four shooting stages and well equipped studios. Ranjit’s first Talkie was ‘Devi Devyani’ (1931) in which Gauhar acted opposite Bhagwandas as the hero. Ranjit Studio became very big and films were made at the rate of one film every 16-20 days. They employed the best talent of the industry and Chandulal seemed to convert anything into gold, whatever he touched!

Gauhar was the partner, manager, producer and star actress of Ranjit. She maintained very good relations with her collegues and would use the common make up room with all other artists. She did 28 silent and 19 talkie films in her career. Her last film was ‘Achhut’ (1940), directed by Chandulal and the hero was Motilal. Chandulal Shah also stopped directing films for the next 14 years. Gauhar now only looked after the studios and Chandulal Shah. Though she was with Chandulal for 48 years, they never married. Actually, Chandulal was already married and had a son Naveen. His family stayed with him in Bombay, but Gauhar never objected to that. In 1944, Chandulal lost 1.25 crores in cotton trading in a single day and their fortunes changed. Everything, including their properties had to be mortgaged and sold later. Even in this crisis, Gauhar did not leave him and stayed attached till Chandulal Shah died in 1975.

Gauhar led the same cultured life away from the bustle of the film world from which she retired. She read a great deal, from philosophy to fiction, enjoyed historical novels and was an ardent moviegoer. She had a polished command of English, Urdu, Hindi, Gujarati and Marathi, and she enjoyed seeing foreign and Indian films. Her favorite foreign stars were Audrey Hepburn, Norma She­arer, Rita Hayworth, Frederick March and Clark Gable. Among Indian artistes she had a liking for Meena Kumari, Raakhee, Jaya Bhaduri, Sharmila Tagore, Sanjeev Kumar, Ami­tabh Bachchan and Rajesh Khanna. Her list of favorite directors in­cluded Cecil B de Mille, Samuel ‘Billy’ Wilder, William Wyler from Hollywood and amongst the Indian directors – Chandulal Shah, Hrishikesh Mukherjee, V Shanta­ram, Yash Chopra and Gulzar.

Gohar Mamajiwala died on 28-9-1985.

‘Achhoot’ aka ‘The Untouchable’  is directed by Chandulal Shah. He too had decided to quit direction and also active participation in film making. He was keen to concentrate on other activities like organisational responsibilities, cotton trade and his favourite addiction – betting. The film was promoted as a Nationalist film addressing Gandhi ji’s campaign against untouchability. The film was endorsed by Mahatma Gaqndhi and Sardar Patel, even before it was made. The cast of the film ‘Achhoot’ was Motilal, Gauhar, Sitara, Vasanti, Charlie, Dixit, Mazhar, Yaqub etc. Gauhar quit acting after this film, though she was still good looking. However, she wanted to concentrate on the management of Ranjit empire. The film’s story was….

In Shanti Nagar, Laxmi (Vasanti) lives with her parents. They are all untouchables. When there is a water shortage, the villagers prevent the family from taking water from  the only well, which is reserved for the upper castes. Disgusted and frustrated, Laxmi’s father embraces Christianity. Laxmi is adopted by a rich businessman, who takes her to city and gives her education. She (Gauhar) becomes modern and acceptable in high society. She is very friendly with the daughter of the businessman – Savita (Sitara). Problem arises when both girls fall in love with the same boy. To find a solution, the businessman sends Laxmi back to her village. She returns and meets her childhood saheli (Rajkumari) and boyfriend Ramu (Motilal). They are agitating for equal rights for harijans. Laxmi jumps into this and fights for harijans entry into village temple. There is a riot in which Ramu dies.

Villagers repent after Laxmi delivers a touching speech and as a redemption for their blunder, villagers open the doors of the Temple for Harijans. Laxmi wins the battle.(644)

This film has 9 songs. One song is already discussed and this is the second song. It is a good Bhajan. . .

 


Song – Deen Dukhi Ko Daan Diya To Kya Mila, Hari Ram Mila (Achhoot) (1940) Singer – Gyan Dutt, Vasanti, Lyrics – PL Santoshi, MD – Gyan Dutt
Gyan Dutt + Vasanti

Lyrics 

ram mila hari ram mila
ram mila hari ram mila
ram mila hari ram mila

deen dukhi ko daan diya to
kya mila
deen dukhi ko daan diya to
kya mila
hari ram mila hari ram mila
hari ram mila hari ram mila

bhookhe ko jo ann diya to
kya mila
bhookhe ko jo ann diya to
kya mila
hari ram mila hari ram mila
hari ram mila hari ram mila

bure ka badla bhala diya to
kya mila
bure ka badla bhala diya to
kya mila
hari ram mila hari ram mila
hari ram mila hari ram mila

hari ram mila hari ram mila
hari ram mila hari ram mila

hari ram mila to kya mila
is daas ko bhagwan mila
hari ram mila to kya mila
is daas ko bhagwan mila
is daas ko bhagwan mila
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
राम मिला हरी राम मिला
राम मिला हरी राम मिला
राम मिला हरी राम मिला

दीन दुखी को दान दिया तो
क्या मिला
दीन दुखी को दान दिया तो
क्या मिला
हरी राम मिला हरी राम मिला
हरी राम मिला हरी राम मिला

भूखे को जो अन्न दिया तो
क्या मिला
भूखे को जो अन्न दिया तो
क्या मिला
हरी राम मिला हरी राम मिला
हरी राम मिला हरी राम मिला

बुरे का बदला भला दिया तो
क्या मिला
बुरे का बदला भला दिया तो
क्या मिला
हरी राम मिला हरी राम मिला
हरी राम मिला हरी राम मिला

हरी राम मिला हरी राम मिला
हरी राम मिला हरी राम मिला

हरी राम मिला तो क्या मिला
इस दास को भगवान मिला
हरी राम मिला तो क्या मिला
इस दास को भगवान मिला
इस दास को भगवान मिला


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.

Saga Of Sleepless Nights – 2
– – – – – – – – – – – – – – –

koi chupke se aa ke
sapne sulaa ke
mujhko jagaa ke boley
ke main aa raha hoon. . .

Our dear departed President had once made a statement that has now become a quotable quote, appearing in many PR campaigns and posters. He had said, “Dream is not that which you see while sleeping, it is something that does not let you sleep”.
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 is from the landmark film ‘Amar Jyoti’ (1936), made by the Prabhat Film company, Poona. It was directed by V Shantaram. It was photographed by his elder brother V Avadhoot and the music was by Master Krishnarao Phulambrikar. All the songs were written by Pandit Narottam Vyas. Today’s song is sung by Vasanti and chorus. The song is also used as a background song few times in the movie since it conveys the essence of the film’s theme- fight against injustice.
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.

This article is his 600th writeup in the blog.

Today’s song is from film Aandhi-40. The film was directed by Dinesh Ranjan Roy, music was by K.C.Dey and this song is sung by Pankaj Mallik and Radha Rani.

There is a reason why I selected this song. I wanted a song sung by Radha Rani, so that I get an opportunity to settle the issue of multiple Radha Ranis. ” Same name confusion ” is very common in the world of Hindi cinema. Luckily, the confusion existed only between 1931 and 1960. There are many many cases of same name Directors, Music Directors, Singers and Actors. Information on all names is extremely difficult to come by. Still I managed to write on 15 pairs of Same name Artistes in 3 articles and tried to clarify the confusions.
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.

Wandering into the world of movies of 1930s and 40s gives me immense pleasure. Digging for difficult to find information about old films, directors, music directors, singers or actors is an interesting challenge for me.While on a chase for such information, I frequently come to dead ends and then have to seek another road to gaining knowledge. It is very sad that in our country, documentation about films of 1930s and 40s is very poor.
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.

‘Ladies Only’ (1939) was produced under the banner of Sagar Movietone and it was directed by Sarvottam Badami. The star cast included Surendra, Bibbo, Sabita Devi, Prabha, Harish, Budho Advani, Sunalini Devi, Kaushalya etc. The film was released on 16th February 1939 and Moraraji Desai, the Revenue Minister of the then Bombay State was the chief guest.
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 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.
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.

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.
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.

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.
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 nine years. This blog has over 13800 song posts by now.

This blog is active and online for over 3400 days since its beginning on 19 july 2008.

Total number of songs posts discussed

13801

Number of movies covered in the blog

Movies with all their songs covered =1031
Total Number of movies covered =3766

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Blog Start date: 19 july 2008

Active for more than 3250 days.

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