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 meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

5361 Post No. : 17582

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Blog 10-Year Challenge (2013-2023) – Song No.54
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On this date ten years ago (23 March 2013), five songs from five different movies were covered in the blog. Here are the details:-

Post No Song Title Name of the movie Remarks
7738 Maan na kar ab sajni Aandhi (1940) 3 songs covered out of 12 by now
7739 Rotee aankhon mein teri yaad liye jaati hoon Nargis (1946) Movie YIPPEED by now
7740 Shaam huyi o panchhi aa Maa Baap(1944) 8 songs covered out of 9 by now
7741 Sach sach sach o dear sach sach Bewaqoof(1960) Movie YIPPEED by now
7742 Mere dil se aa ke lipat gayee Neela Aakash (1965) Movie YIPPEED by now

We observe that three movies (out of five) whose songs were covered on this date ten years ago (on 23 march 2013) have since been YIPPEED. That leaves us with two unYIPPEED movies that are eligible for Blog Ten Year Challenge today (23 March 2023).

“Aandhi”(1940) is one of the two movies. This movie was directed by Dinesh Ranjan Das for New Theatres, Calcutta. The movie had Pankaj Mullick, Molina, Khrushid Muzammil, Srilekha, Kumari Manjari, K.C.Dey, Nemo, Roopkumari, Shaam Laahaa, J.L.Vaid, Siraaj etc in it.

“Aandhi”(1940) had 12 songs in it. # songs have been covered by now.

Here is the fourth song from the movie to appear in the blog. The song is sung by Pankaj Mullick and Radharani. Rashid Gorakhpuri is the lyricist. Music is composed by K C Dey.

Only audio of the song is available. Pankaj Mullick acted in the movie so it is clear that he sang for himself in the movie. Radharani may have given playback for the leading lady (Molina ?). I request our knowledgeable readers to throw light on the picturisation of the song.

Lyrics of the song were sent to me by Prakashchandra.

audio link:

Song-Prem baansuriya bajaao saajan (Aandhi)(1940) Singers-Pankaj Mullick, Radharani, Lyrics-Rashid Gorakhpuri, MD-K C Dey

Lyrics(Provided by Prakashchandra)

prem bansuriyaa bajaao saajan
prem bansuriyaa bajaao oo
prem ki aag lagee hai man mein
prem ki aag lagee hai man mein
aur isey lehkaao
aur isey lehkaao saajan
prem bansuriyaa baajaao saajan ….nnn

muskaaye sangeet nain mein
barse amrit ras jeevan mein
muskaaye sangeet nayan mein
barse amrit ras jeevan mein
prem kaa aisaa raag sunaao o o
prem kaa aisaa raag sunaao saajan …nnn
prem bansuriyaa bajaao saajan…nnn

jiskee dhun par
jiskee dhun par jeevan naachey
thhumak thhumak man ghoonghar baaje
jiskee dhun par jeevan naachey
thhumak thhumak man ghoonghar baaje
sur kee aisee baan chalaao
sur kee aisee baan chalaao
saajan prem bansuriyaa bajaao
prem bansuriyaa bajaao oo

man kaa manhar raag sunaakar
jeevan ko sangeet banaa kar
prem dev ban jaao o

man kaa manhar raag sunaa kar
jeevan ko sangeet banaa kar
man kaa man har raag sunaa kar
jeevan ko sangeet banaa kar
prem dev ban jaaoo saajan
prem bansuriyaa bajaao o
prem ki aag lagee hai man mein aen
prem ki aag lagee hai man mein
aur isey lehkaao saajan
prem bansuriyaa bajaao saajan…nnn


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

5340 Post No. : 17511

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Blog 10-Year Challenge (2013-2023) – Song No. 31
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On this date ten years back viz on 2 March 2013, four songs from four different movies (plus one NFS) were covered in the blog. Here are the details:-

Blog post number Song Movie (Year) Remarks
7585 Aseer e gham ka bhala phir kahaan thhikaana thha Kamla Jharia NFS(1934)
7586 O paagal premi Saudaamini (1950) 7 songs covered out of 9 by now
7587 Main hoon kali matwaali Panghat(1943) 6 songs covered out of 12 by now
7588 Mausam hai bada mastaana Tarzan aur Hercules(1966) One song covered out of 5 by now
7588 Ae chaand ki zebaayi Chhoti Si Mulaaqaat (1967) Movie YIPPEED by now

We can see that one NFS and four film songs (from four different movies) were covered on this date ten years ago (on 2 March 2013). One movie (out of four) whose songs were covered on that day has since been YIPPEED in the blog. So three of those movies are eligible for Blog Ten Year Challenge today (2 March 2023).

Come to think of it, why NFS should be left out from BTYC. Why we cannot post another NFS from the same artist as Blog Ten Year Challenge ? Sure we can.

So, here is a Kamla Jharia NFS as Blog Ten Year Challenge. Kamla Jharia was a legendary NFS singer of her era. One of her most well known NFS is not yet covered in the blog.

Here is that NFS-“Jalwa numa wo shokh jo pesh e nazar na ho”. It is a superb ghazal with wonderful lyrics. I am unable to find out who is the lyricist and music director of this ghazal. I request our knowledgeable readers to help identify them. I am unable to get a few words right in the lyrics. I request our knowledgeable readers to fill in with the correct words as applicable.


Song-Jalwa numa wo shokh jo pesh e nazar na ho (Kamla Jharia NFS)(1934) Singer-Kamla Jharia, MD-Zameeruddin Khan

Lyrics

aa aa aa aa aa
aa aa aa
aa aa aa aa
aa aa
jalwa numa wo shokh jo
pesh e nazar na ho o o
jalwa numa wo shokh jo
pesh e nazar na ho o o
ye chum beqaraar dil na ho
muztar jigar na ho
aa aa
chum (?) beqaraar dil na ho
muztar jigar na ho o o
aaye na chain unko bhi
ae ishq to sahi ee
aaye na chain unko bhi
ae ishq to sahi ee
ye ke kya ke is tarah
ba idhar wo udhar na ho o
ye ke kya ke is tarah
ba idhar wo udhar na ho o
jalwa numa wo shokh jo

har waqt aaina hai wo hai
dekh bhaal hai
ae ae ae ae
har waqt aaina hai wo hai
dekh bhaal hai
ae ae ae ae
aa aa
magroor is kadar bhi koi
husn par na ho o
ae magroor is kadar bhi koi
husn par na ho o
aa aa
jalwa numa wo shokh jo
pesh e nazar na ho o o
khanjar to baandhte ho mere
imtehaan ko o
khanjar to baadhte ho mere
imtehaan ko o
ye itna rahe khayaal
ke duhri kamar na ho
aa aa
ye itna rahe khayaal
ke duhri kamar na ho
aa jalwa numa wo shokh jo
pesh e nazar


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

5307 Post No. : 17392 Movie Count :

4685

The Indian film industry has been absorbing and giving opportunities to all people in India, irrespective of their Caste, Culture, Language, Religion or Province. Maharashtra being ” The birthplace of Indian Film industry” (not my words, but a title of the English book by Isaq Mujavar), initially the film industry had a sizable majority of Marathi and Gujarati people. The Marathis had the talent and the Gujaratis had the money power. After some time, slowly people from all regions, religions and provinces joined the industry. By the time of the First talkie film came, the first film “Alam Ara”-1931 virtually reflected the representations of the variety of people operating in the film industry.

The producer director was a Parsee, the Hero was Marathi, the Heroine was a Muslim, the dialogue writer was a Jew and the cast included Punjabis, marathi, Hindu, Muslim and parsees. It even included an Afghani Muslim, who sang the first ever Hindi film song in the film. Indian films were made to entertain Indian people. No wonder along with Hindu Mythological films, many films with Muslim history and background were also made. Folk stories and Costume dramas were also popular. from 1931 itself, films with social content were made.

Majority films were based on Mythology, Romance, Folk stories, Costume films etc. Many films with Muslim backgrounds were made, but they were mostly on Mughal kings or Arabian Night stories. It is to be noted that the entire Hierarchy of Mughal Emperors has been the subject matter of Hindi films. Films were made on Taimur, Babar, Humayun, Akbar, Jehangir, Shajehan, Aurangjeb and even Bahadur Shah Zafar. Comparatively muslim social films were less in the early era. The first ever known Muslim social film was Rashida-1935. There was no systematic effort to make Muslim Social films.

It is popularly believed that it was Mehboob Khan who made the first ever muslim social film, when he made the film ” Najma”-1943. It was his first film after he established his own Mehboob production and his studio. The film had prominent stars like Ashok kumar, veena, Sitara devi, Kumar and others. But this is not true. The honour of making a series of Muslim Social films must go to the Fazli brothers. Who were they ?

Today’s song is from the film Qaidi-1940. The film was produced by Fazli brothers, known to make films on Muslim background only.

The producers, Fazli brothers, were the sons of Khan Bahadur S M Fazal Rabb of Bahraich- about 125 kms from Lucknow in U.P. The elder brother was Hasnain and the younger brother was Sibtain ( born on 9-7-1916). Hasnain Fazli was born on 12-1-1912 in the United Province (today’s U.P.). Their family belonged to the noble Sayyads of Allahabad. Hasnain was a graduate of Allahabad University. Though his father was a Khan Bahadur, a Government Jahagirdar and lifetime Magistrate, Hasnain refused to do any service and did not complete his I.C.S. studies, as expected by the family.

He had a creative mind. He joined the film line. He was very keen on making a film on Muslim Society. In those days it was considered outrageous to produce a film on Muslim society for fear of the ire of the fundamentalists. However Hasnain broke the barrier and the first Muslim Social film Qaidi-40 was produced and directed by him under the banner of Film Corporation of India, Calcutta. Very cleverly, the film was made at Calcutta, ( though the film depicted life in Lucknow ), and not at Bombay to avoid any disruption in the making of the film. The film was made so well that it was received very well by all strata of the population, including the Muslims and became a hit film. After this Hasnain made more Muslim social films like Masoom-41, Chowringhee-42, Fashion-43 and Ismat-44. These films discussed Muslim family life and problems etc.

His first directorial film was in his 23rd year- Triya Charitra-35. Then came Sajiv Murti-35, in which Handsome Vijay Kumar from Himachal Pradesh was the Hero. Fazli brothers also made Dil-46, Mehendi-47, Duniya-49 and Khoobsurat-52. Hasnain was so talented that he himself wrote the film stories, screenplays and dialogues usually. Sibtain Fazli directed 3 films-Chowringhee-42, Ismat-44 and Mehendi-47.

After the Partition, Fazli brothers migrated to Pakistan. Sibtain remained in Pakistan and Hasnain returned to India to make 2 more films. Later Hasnain too relocated to Lahore and died there on 16-7-1957. His brother Sibtain ( 9-7-1916 to 25-7-1985) who had directed 3 films in India, made 4 films in Pakistan, including the most popular Urdu film of Madam Noor Jehan – Dupatta-52.

Film Qaidi was a Muslim Social film made by Film Corporation of India, Calcutta, to avoid disturbance by Muslim fundamentalists in Bombay. It was directed by Hasnain fazli, the elder brother. The cast of the film was Ramola, Mehtab, Nandrekar, Monica desai, Wasti, Leela Mishra Madhuri and others. Songs were written by Arazu lucknowi and the Music Director was Bhishmadev Chatterjee.

Prof. Acharya Bhishma Dev Chatterji. He was born on 8-11-1909 in Hooghly, West Bengal. He studied upto M.A. in English. He became a Teacher and taught English in a college. Few years after learning Music from stalwarts of Bengal, he left the job of teacher and joined Megaphone Record Company as a Composer. He used to meet Kidar Sharma in the Recording studio.

Taking permission from his company, he became a Music Director for his First film – Dil hi to hai aka Aulad-1939, made by the Film Corporation of India, Calcutta. He composed some Ghazals, which Ramola and Ramdulari sang. After this film, Bhishma Dev gave music to 3 more Hindi films – The Rise-1939, Qaidi-1940 and Hamara Hindustan-1940. All films made by Film Corporation of India and in Calcutta. This was the end of his Hindi film music .

Bhishma Dev was highly respected in Bengal for his knowledge of Classical Music. Even S D Burman learnt music from him. His nature was saintly. He cut many records on Dhrupad sangeet. I am not aware of his contribution to Bangla films.

Suddenly, one day, he left his job, work, music, family, everything and he became a Sanyasi. He remained so till he died on 8-8-1977.

The story of the film Qaidi-1940 was…..

There was a poor family of a Mother (Leela Mishra), Son Aziz (Nandrekar) and small sister Chanda (Madhuri). Aziz is B.A. but does not have a job. In frustration of not getting any job or a loan, he murders a rich man. His younger brother dies for lack of buying medicines. Aziz is arrested and jailed for 10 years. His mother and sister become beggars.

In the prison, Aziz assaults the jailor and runs away. To hide from the Police, he enters a rich man’s house and due to mental strain falls unconscious. The daughter of the rich man is Salma (Ramola). She nurses him. The rich man is a Dacoit. With his help, Aziz also becomes a dacoit and murder. Salma loves him. Laila (Mehtab), a dancer also loves him but not as a passion.

Police track Azizx. When they shoot at Aziz, Laila takes the shot on her and before dying in the arms of Aziz, reveals that she is Chanda, his sister and their mother has also died. She dies. Aziz tries to run away into a Mosque, but the Police fire on him and he dies in the Mosque.

Now let us listen to the song from the film Qaidi-1940. The singer is not known. This rare record was uploaded by Syed Zafar Shah, a close friend of our Sudhir ji.

( some of the information about the film Qaidi-1940 is taken, with thanks, from the book ” Forgotten movies on Muslim Culture” by P. Kamlakar ji).


Song- Musafir kahaan hai tera des(Qaidi)(1940) Singer- Not known, Lyricist-Arzu Lucknowi, MD- Prof. Bhishmadev Chatterjee

Lyrics

Musaafir kahaan hai tera des
Musaafir kahaan hai tera des
ranj mein hani hani hani hani hanki
tang gali se
ranj mein hanki
tang gali se
bhog(??) badalkar bhes
dil ka sheesha naazuk sheesha
dil ka sheesha naazuk sheesha
kahin laage na thhes
kahin laage na thhes
Musaafir kahaan hai tera des
Musaafir kahaan hai tera des

ranj mein hanki
tang gali se
ranj mein hanki
tang gali se
bhog(??) badalkar bhes
dil ka sheesha naazuk sheesha
dil ka sheesha naazuk sheesha
kahin laage na thhes
kahin laage na thhes
Musaafir kahaan hai tera des
Musaafir kahaan hai tera des


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

5279 Post No. : 17293

Today’s song is a rare song from an obscure film – Jeevan Natak-1935.

During the silent film era, there was no sound in the film and hence no dialogues. This was compensated by showing dialogue strips on the screen. Initially scenes and the dialogue srips were shown alternatively i.e. after the actor says something, the next scene was only his dialogue srip. Later on ,however, simultaneously showing of the dialogue strip started. In any case this prevented continuation of the story and importance of the dialogue. This also made the filmmakers make silent films action oriented, rather than using dialogues. 90 % silent films were action/stunt films or costume films.

When the Talkie film started, the filmmakers were rather perplexed as to what sort of Talkie films would be successful. In absence of previous data, it was a big challenge. Most filmmakers stuck to Mythologicals, Folk stories and social themes to be on the safe side. An analysis of films made in the first 3 years of Talkie films, underlines how the kind of films were decided.

The Talkie films can be broadly categorised into following Genres….
1. Mythologicals
2. Religious
3. Folklore stories
4. Social themes
5. Historicals
6. Costume films
7. Stunt/action
8. Imaginary
9. Comedy
10. Musicals etc.
Now, let us see what type of films were made in the first 3 years, i.e. 1931, 1932 and 1933 to understand how the filmmakers gave their preferences to different types of films.

Year total films made Mythologicals Social Folklore Imaginary Costumes all others
1931 24 5 (21%) 6 (25%) 6 (25%) 5 (21%) 2 (8%)
1932 62 14 (22.5%) 15 (24%) 3 (5%) 7 (11%) 9 (14.5%) 14 (22.5%)
1933 76 18 (24%) 17 (22%) 6 (8%) 8 (10.5%) 17 (22%) 10 (13.5%)

The above rough statistics prove how Mythologicals, Social, Costume and Imaginary story films evolved as popular genres. In all this process, the filmmakers played very safe and used as far as possible, only known stories – with minor variations done as ‘ cinematic liberties. because of all this, most filmmakers did not try any offbeat of different stories. However, even in this period some producers did try to make films with offbeat stories – like the film ” Awara Shahzada’-1933, with a story of Look-alikes. A very young Shahu modak played The Prince and Pauper’s roles. As the years passed by, adventurous filmmakers came up with offbeat stories.

Worth mentioning is Prabhat’s film “Wahan”-1937 used a story about another Planet. Then there was a film by Prakash films – “khwab ki duniya”-1937, based on the novel “The invisible man” by H.G.Wells. (later on there were more films like Mr. X-1957, Mr. X in Bombay-1964 and Mr. India-1987, on the same story). Yet another film was “Duniya kya hai”-1938 based on Leo Tolstoy’s novel ‘Resurrection’. In 1941 came film ” Bahen” by National studios, which was on suggestive incest. But by and large, such offbeat stories were rare in Hindi films till recent times.

All this is discussed here, because today’s song is from the film “Jeevan Natak”-1935, which too had an offbeat story. It was about the memories of an earlier birth. The main role of the protagonist was done wonderfully by Durga Khote. The story of this film, in short, was….

The plot is set in two historical epochs, 1735 and 1935. The spirited Miss Queen (Khote), performing in a period play, recalls a previous incarnation when she was the actual person she is now acting on the stage. She inherited the throne because the state of Ranigarh had no constitutional heirs and her horoscope was deemed auspicious. Instead of being merely a figurehead, she opposes the corrupt minster Jairaj and army commander Mubarak (Pahelwan), she makes sure the royal court is accessible to the suffering people.

The film was made by Debki Bose productions and was also directed by Debki Bose. Debaki Kumar Bose,Bengali and Hindi director was born in Akalpoush, Burdwan Dist., West Bengal on 25-11-1898.He was the Son of a noted solicitor, Madhusudhan Bose. Influenced by Sisir Bhaduri, his teacher at Bidyasagar College, Calcutta (1920), he left university to join the non-co- operation movement of Calcutta Congress (1920). He was caught and jailed. After coming out,his father threw him out. He started selling ‘Gamachhas’ on the road. He started and Edited journal, Shakti, from Burdwan (1927-8). One day he was seen and hired by Dhiren Ganguly as actor and scenarist for Dinesh Ranjan Dass’ Kamonar Aagun (1930), Devotee of Vaishnava evangelical movement. He joined British Dominion Films (1927) as scenarist, then director.
He became friendly with the Cinematographer Krishna Gopal, with whom he went to Lucknow where they made a film ” A shadow of dead”. The film flopped and Debki returned to Calcutta, but Krishna Gopal was held hostage by the producers till he paid their investment. Debki took a loan from P C Barua and paid that amount to get Krishna Gopal released.

He joined P.C. Barua’s Barua Pics (1930), then entered New Theatres (1932-4) together with Barua, directing the studio’s first hit, Chandidas, after 7 consecutive flops by New Theatres.. This was the First film in India,with Background music. Its cinematic validation of a major stage genre – the quasi-legendary biographical – helped lessen Bengali cinema’s dependence on the Calcutta Theatres for its themes as well as its literary, musical and acting talent. Early work known mainly for his free and inventive approach to established genres, esp. the mythological and the Saint film, creating a Bengali quality cinema (e.g. Aparadhi and Chandidas). He was the one who promoted film music as a mix of Rabindra sangeet and Indian Classical music. It helped New Theatres to make its film songs popular all over India.

He also made Pooran Bhagat-1933. Handsome actor Mijjan (Syed Hasan Ali Zaidi) was the Hero. When the film was ready and about to be released,communal riots started in Calcutta,between Hindu and Muslims. After the peace returned,New Theatres was worried about Mijjan’s name in this Mythological film. Debaki kumar Bose,who hailed from a rich Zamindar family,told Mijjan “dont worry. From today I give you half of my name-Kumar.” Mijjan’s name became Kumar and he went on to become a big actor. After this,Debaki Bose himself never used the suffix Kumar to his name,in his life.

He made Rajrani Meera in 1933. During this film making he had a quarrel with director Nitin Bose and he decided to leave New Theatres.

After this he Went to East India Film (1934-6) where he made the lyrical Seeta which launched Prithviraj Kapoor and Durga Khote as a star duo. Seeta became the First Indian film to be sent to the International film festival at Venice. Here the film won a Diploma too and thus Debaki Bose was the first Indian artiste to win an International award for his film. He then Returned to New Theatres (1937-41), on invitation of B N Sarkar, making the classic Bidyapati.

In 1942 he left Calcutta and came to Bombay. His first film here as a Director was Circo’s Apna Ghar, made also in Marathi as ‘ आपले घर ‘. This also he directed.

His independent Debaki Bose Prod. (1935) with stars from the Hindi and Marathi cinemas paved the way for other Calcutta cine artistes after the decline of New Theatres in the early 40s. Made Arghya, a documentary on the caste system, based on four narrative poems by Tagore to celebrate the centenary of his birth. Debaki Bose was not just a director,but he was an actor (3 films),a producer (1 film) and also a writer (14 films). He was given the Sangeet Natak Academy award in 1957 and a Padmashree in 1958. He was India’s star director.

He died on 17-11-1971 at Calcutta. In his career of 31 years he made 50 films,in Bangla,Hindi,Marathi,Tamil and English.

FILMOGRAPHY: 1930: Kamaner Aagun (only act); Panchasar (also act); 1931: Aparadhi; Shadows of the Dead; 1932: Nishir Dak (all St); Chandidas; 1933: Puran Bhakt; Meerabai/Rajrani? Meera; Dulari Bibi; 1934: Seeta; 1935: Inquilab; Jeevan Natak; 1936: Sonar Sansar/Sunehra? Sansar; 1937: Bidyapati/Vidyapati?; 1939: Sapurey/ Sapera; 1940: Nartaki; Abhinav; 1942: Apna Ghar/Aple Ghar; 1943: Shri Ramanuja; 1945: Meghdoot; Swarg Se Sundar Desh Hamara; 1946: Krishna Leela; 1947: Chandrasekhar; 1948: Sir Shankarnath; 1949: Kavi; 1951:Ratnadeep/Ratnadeepam; 1953: Pathik; 1954: Kavi; Bhagwan Shri Krishna Chaitanya; 1955: Bhalobasha; 1956: Chirakumar Sabha; Nabajanma; 1958: Sonar Kathi; 1959: Sagar Sangamey; 1961: Arghya (adapted from Encyclopedia of Indian Cinema,with thanks)

Let us now listen to this rare song, sung by Rampyari. Enjoy….


Song-Prem ban ko main bhaagee gayee (Jeewan Naatak)(1935) Singer- Miss Rampyari, Lyricist- Pt. Narottam Vyas, MD- H.C.Bali

Lyrics

Prem ban ko main bhaagi gayi
Prem ban ko main bhaagi gayi
lene sundar prem ke phool
Prem ban ko main bhaagi gayi
Prem ban ko main bhaagi gayi
lene sundar prem ke phool
Prem ban ko main bhaagi gayi

sookh gaya ban
phool jhhad padey ae
sookh gaya ban
phool jhhad padey ae
?? haath mein mere phool
?? haath mein mere phool
?? haath mein mere phool
Prem ban ko main bhaagi gayi
Prem ban ko main bhaagi gayi

aaj dard zor kar hai koi
leenhi maine jo hi kataar
yoon ??
haath kat gaya
baaki raha phool ka phool
baaki raha phool ka phool
baaki raha phool ka phool
Prem ban ko main bhaagi gayi
Prem ban ko main bhaagi gayi
Prem ban ko main bhaagi gayi


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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

5247 Post No. : 17248

He was only 48 years old when he passed away in 1951. One of the pioneering luminaries of cinema in Bengal, as it was emerging in the 1920s and 30s, he was a multi skilled cinema person who was an actor, a producer, director, script writer, cinematographer, film editor, make-up specialist, lighting specialist – yes, quite a portfolio of skills.

Remembering Pramthesh Chandra Barua, on his remembrance day today. He passed away this day, in 1951.

Born on 24th October, 1903, he was the son of the royal family of Gauripur (in Assam). His school and college education happened in Calcutta. He got married at the age of 18, while still at college. Later in life, he would be married again twice. His third wife was actress Jamuna, who appeared opposite him in the Bengali version of ‘Devdas’ (1935) produced at New Theatres.

His introduction to the world of cinema was quite accidental. While at Shantiniketan, he got introduced to Dhirendranath Ganguly, who then introduced him to the fledgling films industry in Bengal. In 1926, he joined the film company British Dominion Films. His screen appearances start from 1929, as he appeared in ‘Panchashar’ (debut film) directed by Debaki Bose, and ‘Takay Ki Na Hay’ directed by Dhirendranath Ganguly.

His urge was to have his own studio and produce his own films. The opportunity came in 1930, when he had to travel to England for medical treatment. He obtained a letter of introduction from Gurudev Rabindranath Tagore for French film maker M Rogers. After his treatment in London, he met M Rogers in Paris, and learnt the skills of cinematography from him.  He also visited the Fox Studio and Elstree Studios in London and learned the techniques of lighting and scenario composition.

He returned to Calcutta (now Kolkata) with a load of camera and lighting equipment and set up the Barua Studio and Barua Film Unit. In 1931 he produced his first film ‘Apradhi’ which was directed by Debaki Bose. He played the lead role in this film. The film ‘Apradhi’ is a path breaking film for Indian cinema, from a technology perspective. This is the first film that was shot under artificial lighting. Prior to this experiment, the films were always shot using natural lighting. The use of artificial lighting also brought in the need to change the method of make-up of actors. It is notable that in the experimentation on lighting and make-up techniques, Barua wasted almost 50,000 feet of stock footage, and that in an era when raw stock was difficult to obtain, and was costly. But the film production brought in significant changes to the film making techniques and the technical know-how for film directors and cinematographers.

In 1932, he produced ‘Nisher Dak’ and ‘Ekada’. The latter was directed by Sushit Mazumdar, with story by Barua himself. He also appeared in the role of a villain in the film ‘Bhagyalaxmi’ produced by Indian Cinema Arts and directed by Kali Prasad Ghosh.

In 1932, he produced his first talkie film – ‘Bengal-1983’. It was a brave attempt by the young film maker to tackle a futuristic subject. The film was inaugurated by Gurudev Rabindranath Tagore. But the film turned out to be a commercial disaster, and Barua was forced to close down his studio due to financial difficulties.

In 1933, BN Sircar invited Barua to join New Theaters. With the skills at hand, and the encouraging environment at New Theatres, Barua excelled in his film making. New Theaters brought him to the zenith in his career as a film maker. His first directorial venture was ‘Rooplekha’ released in 1934. He played the lead role opposite to Uma Shashi. With this film, Barua introduced another new technique for the first time in Indian cinema – use of flashback for storytelling.

Then in 1935 came ‘Devdas’. Barua directed all the versions – the Hindi, Bangla and Assamese, and played the lead role in the Bangla version. Critically acclaimed, Barua’s portrayal of the tragic hero was so lively that it made him a legend. He was all but 32 years old at that juncture.

‘Devdas’ was an instant commercial success. It is hailed as the first social film to enjoy success and popularity as never before. From a technical perspective also, the film is rated very high – for the use of multiple techniques – close up, montage, wipe, dissolve, fade-in fad-out etc. The film also uses flashback and introduced a new technique – ‘intercut telepathy shot’.

In 1936 he directed ‘Manzil’ and in 1937 came ‘Mukti’. Both films were bold and much ahead of their times in terms of the subject matter. Taking off from ‘Devdas’, Barua explores the human relations and love triangles which are extremely poignant and thought provoking. The film ‘Mukti’ is notable in that it is a pioneering effort of outdoor shooting. A major part of the film is shot in the scenic outdoors of Assam. It took almost two decades for the rest of industry to become seriously interested in using outdoor shooting for storytelling.

In 1937, he directed ‘Rajat Jayanti’ which turned out to be a roaring riot of laughter. Considered as the first serious attempt at a full length comedy feature, this film was commercially and critically a success. In the same year, he also directed ‘Adhikar’, which is another path breaking film in that questioned the divisions in society and overtly advocated class struggle.

Bimal Roy and Phani Majumdar started their film careers working under Barua at New Theaters.

In 1940, after directing ‘Zindagi’ starring KL Saigal (coming together once again after ‘Devdas’ of 1935), Barua moved from New Theaters and started work once again as an independent and freelancer. Except for one or two, there are no notable films that came from his work in this period post New Theaters. One needs to mention ‘Shap Mukti’ (1940), which he directed for Krishna Movietone, ‘Jawaab’ (1942) which he directed for MP Productions, and ‘Shesh Uttar’ (1942) produced and directed by himself. It appears that Barua and New Theaters was the magic mix, which faded away when he moved out of New Theaters.

In this phase, he took to drinking heavily, and his health began to deteriorate. He passed away in 1951, on this date.

The song I present today is presumably not released on 78 rpm records. I present an edited clip extracted from the video of the film. Unfortunately, the first line of this rendition is not available in the original film clip that I have. On screen, this is actually a two part song that is listed as separate songs in the Geet Kosh. This song itself is a very thoughtful construction. The hero (Prashant, role played by Barua) is in a phase of depression. His earlier marriage with Chitra (role played by Kanan Devi) is a failed venture and post divorce he moves to rural Assam, where he stays in a local inn managed by Pahari (role played by Nawab), and his wife Jharna (role played by Menaka Devi). The couple takes to this depressed young man very kindly. Pahari and Prashant become very good friends.

A passage is shown where Prashant is off in the woods, and in his melancholic despair is singing two couplets from the original ghazal by Mirza Ghalib – ‘Koi Ummeed Bar Nahin Aati’. Incidentally Jharna is also close by, having come to fetch water from the river. She hears him sing these depressing lines, and then she responds with the second part of this song which is an effort to inspire and encourage the young man.

The notable thing is how the director has constructed this scenario. He takes two couplets from a famous ghazal of a legendary poet, and then attempts to juxtapose that against a positive and encouraging thought that answers to the points of despair raised in the original lines. The response is written by Aarzoo Lakhnavi, and is indeed a masterpiece in itself, as it tries to confront Mirza Ghalib, by showing the other side of the picture.

The music is composed by Pankaj Mullick. There is no mention about the identity of the singing voices. And I have indicated that as such below. Are these the voices of the on screen actors themselves? I do not know, and do not want to make an uninformed guess. I request our more knowledgeable readers to please help to identify and confirm the singing voices in this song.

Remembering PC Barua. An attempt to keep alive the memories of this multi skilled pioneer film maker, whose many path breaking contributions have enriched the film making technology and techniques. May these memories be sustained for the future generations.

Song – Koi Ummeed Bar Nahin Aati (Mukti) (1937) Singer – Unidentified Male Voice, Unidentified Female Voice, Lyrics – Ghalib, Aarzoo Lakhnavi, MD – Pankaj Mullick

Lyrics

[koi ummeed bar nahin aati]
koi surat nazar nahin aati
nahi aati

hum wahaan hain
jahaan se hum ko bhi
kuchh hamaari khabar nahin aati
marte hain aarzoo mein marne ki
maut aati hai
par nahin aati
nahin.. aati

hai gila kis ka
koi ummeed bar aa jaayegi
parde aankhon se utha
surat nazar aa jaayegi
parde aankhon se utha
surat nazar aa jaayegi

rakh tu be-aasi pe baaki
aas ka bhi silsila
tu kisi aalam mein bhi hoga
khabar aa jaayegi
tu kisi aalam mein bhi hoga
khabar aa jaayegi

hai museebat ki bhi ek hadd
is se ghabraana hi kya
ghabraana hi kya
maut ki to kya khabar
raahat magar aa jayegi
maut ki to kya khabar
raahat magar aa jayegi

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

[कोई उम्मीद बर नहीं आती]
कोई सूरत नज़र नहीं आती
नहीं आती

हम वहाँ हैं
जहां से हम को भी
कुछ हमारी खबर नहीं आती
मरते हैं आरज़ू में मरने की
मौत आती है
पर नहीं आती
नहीं॰॰ आती

है गिला किसका
कोई उम्मीद बर आ जाएगी
पर्दे आँखों से उठा
सूरत नज़र आ जाएगी
पर्दे आँखों से उठा
सूरत नज़र आ जाएगी

रख तू बे-आसी पे बाकी
आस का भी सिलसिला
तू किसी आलम में भी होगा
खबर आ जाएगी
तू किसी आलम में भी होगा
खबर आ जाएगी

है मुसीबत की भी इक हद
इस से घबराना ही क्या
घबराना ही क्या
मौत की तो क्या खबर
राहत मगर आ जाएगी
मौत की तो क्या खबर
राहत मगर आ जाएगी


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

5207 Post No. : 17192

———————————————–—————————————
Blog 10-Year Challenge (2012-2022) – Song No. 116
————————————————————————————–

Ten years back on this date viz on 20th October 2012, two songs from two different movies were covered on the blog. Here are the details:-

Blog post number Song Movie (Year) Remarks
6874 Parmukh bani tu Kamla Madhuri (1932) 4 songs covered out of 16 by now
6875 Naachat jhoomat jaayen Gopal Krishna(1938) 2 songs covered out of 14 by now

We can observe that this date ten years ago (20 October 2012) was a lean day when only two songs from two different movies were covered. Both these movies are still unyippeed in the blog. So technically both these movies are eligible for Blog Ten Year Challenge today (20 october 2022).

“Gopal Krishna”(1938) which is one of two movies, was directed by V Damle and S Fattelal for Prabhat Films company. The movie had Ram Marathe(as Krishna), Shanta Apte(as Radha), Shankar (as Anay), Parashram (as Mansukh), Karuna Devi (as Yashodha), Manji Rao(as Nand), Ulhas (as Keshi), Prahlad(as Kansa), Kaushal etc in it.

“Gopal Krishna”(1938) had 14 songs in it. Two songs have been covered so far.

Here is the third song from “Gopal Krishna”(1938) to appear in the blog. The song is sung by Shanta Apte. The song is picturised on her alongwith Ram Marathe and Parashram.

Pt Anuj was the lyricist. Music was composed by Master Krishna Rao.

Lyrics of the song and other details were sent by Prakashchandra.

Video link


Audio link:

Song-Bachpan ka yaad aaya (Gopal Krishna)(1938) Singer-Shanta Apte, Lyrics-Pt Anuj, MD-Master Krishna Rao

Lyrics(Provided by Prakashchandra)

haan haan haan haaan
haan aaan aaa haan aaan aaa aan aaa
bachpan ka yaad aayaa aaa
bachpan ka yaad aayaa aaa
bhoolaa huaa zamaanaa aan aan
bhoolaa huaa zamanaa aan aan
aaa aaan aaa aaa
gaatey thhe jab bhi milkar
haan aan aaan
gaatey thhe jab bhi milkar
sukh chain ka taraanaa
haan aan haan aaan
sukh chain ka taraanaa

jeevan kaa hai ae tu saahil
jeevan kaa hai ae tu saahil
hai dhanya bhaag meraa
hai ae dhanya bhaag meraa aaa aa
ab ek baar mohan
mohan
ab ek baar mohan
mohan
mohan mohan
ab ek baar mohan
murli..eee zaraa bajaanaa aan aaaan
aaa aaan aaa aaa
murli..eee zaraa bajaanaa
haan aa aaan
murli..eee zaraa bajaanaa aan
bajaanaa aaa
bajaanaaa aa aa
bajaanaa
murlee zaraa bajaanaa aan aa aa

gopon kaa hai tu pyaaraaa aa
gopon kaa hai tu pyaaraaa aa
gopon hai tu pyaaraaa aa
go jan ka hai sahaaraa aa aa aaa
hhaa aaa aaaa aaahhaaa aaa aaaa
godhan ka hai sahaara aaaa aaaa
godhan ka hai sahaara aaaa
nutan diye ki jyoti ee
nutan diye ki jyoti ee
mere liye jaagaanaaa aan aan aa aaa aa aaa
aan aa aaaa aaa
mere liye jagaanaa aa
haan aan aa aaan aaa
mere liye jagaanaa aa aaa


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

5200 Post No. : 17182

———————————————–—————————————
Blog 10-Year Challenge (2012-2022) – Song No. 112
————————————————————————————–

Ten years back on this date viz on 13th October 2012, four songs from four different movies were covered on the blog. Here are the details:-

Blog post number Song Movie (Year) Remarks
6847 Barkha ki raat aayi manwaa Adhikaar(1938) 4 songs covered out of 7 by now
6848 Nazron ki duniya aabaad kar de Najma (1943) Movie YIPPEED by now
6849 Mohe le chal balam mele mein Laal Haweli(1944) 10 songs covered out of 11 by now
6850 Babu samjho ishaare horn pukaare Chalti Ka Naam Gaadi(1958) Movie YIPPEED by now

One can notie that two movies (out of four) whose songs were covered on this date ten years ago (13 october 2012) have since been YIPPEED. That leaves us with two movies whose songs are still available to be covered as Blog Ten Year Challenge today (13 october 2022).

“Adhikaar”(1938) is one of the two movies that is eligible for Blog Ten Year Challenge today (13 october 2022).

“Adhikaar”(1938) was directed by P C Barua for New Theatres, Calcutta. The movie had Jamuna, Menaka (devi) , Barua, Pahadi Sanyal, Pankaj Mallik, Jagadish Sethi, Rajalakshmi, Bikram Kapoor, Ramkumari, Montu Mukherjee,Ushabati etc in it.

The movie had seven songs in it. Four songs have been covered so far.

Here is the fifth song from “Adhikaar”(1938) to appear in the blog. The song is sung by Pahadi Sanyal. Timir Baran is the music director. HFGK is silent about the lyricist of the song.

Only audio of the song is available. But it is clear that the song was picturised on Pahadi Sanyal himself.

Lyrics of the song were sent to me by Prakashchandra.

audio link:

Song-Is jeewan ki phulwaari mein sada magan rehna (Adhikaar)(1938) Singer-Pahadi Sanyal, MD-Timir Baran

Lyrics

is jeevan kee phulwaari mein sadaa magan rehnaa aa
is jeevan kee phulwaari mein sadaa magan rehnaa aa
aashaa ke phool chunaa karnaa aa
aashaa ke phool chunaa karnaa aa aa
kaantaa dukh ka chubhey hansnaa
sadaa magan rehnaaa aa aaa
is jeevan kee phulwaari mein sadaa magan rehnaa aan aaa

is zindagi kee shaakh mein aen
gul bhee hain aen aen
khaar bhee ee
zindagi kee shaakh mein aen
gul bhee hain aen aen
khaar bhee eee
aati hai ae
is chaman mein
khizaan bhee ee
bahaar bhee
aati hai ae
is chaman mein
khizaan bhee ee
bahaar bhee

chandra hansey jab gul kumhlaaye
ghoonghat khol kalee muskaaye
chandra hansey jab gul kumhlaaye
ghoonghat khol kalee muskaaye
din dhalkar jab ??? rachaaye
banke suhaagan aaye rainaa
sadaa magan rehnaa aan aaa
is jeevan kee phulwaari mein sadaa magan rehnaa aan aa

shabnam ki tarahaa aa
kis liye aey ae ae
ae shamaa aa aa roti hai ae
shukr hai ke raat dhal gayee ee ee ee
shukr hai ke raat dhal gayee ee ee ee
ab subaho o o o hoti hai
khulee shamaa kyun ghabraati hai
dukh ki raat se bhay khaati hai
khulee samaa kyun ghabraati hai
dukh ki raat se bhay khaati hai
dukh ki raat hi dikhlaati hai
dukh ki raat hee dikhlaati hai
sukh aanand ka sundar sapnaa aa aa aa
sadaa magan rehnaa aa aa
is jeevan kee phulwaari mein sadaa magan rehnaa


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

5186 Post No. : 17165 Movie Count :

4623

Today’s song is from the film Nadi Kinare-1939. The film was released in Pathe Theatre of Bombay on 10-11-1939.

The year 1939 was a landmark year in the history of the world.

The year was 1939 and the British Government had declared war against Germany and Japan, as soon as the WW II began. All countries ruled by Britain were – willingly or unwillingly, drawn into the war efforts and its effects. The war began in the month of September and soon various restrictions came into operation – like rationing, blackouts, shortages etc. The film industry which was still under its development stage suffered. It also realised the importance of remaining united as one industry. However, all that came after 1 or 2 years. In 1939 there was not much effect seen on the film industry.

The industry had its own problems. In spite of the playback system in operation, their problem was that because there was no technique of recording from the film negative yet, the singers had to sing twice. Once for the actual film shooting of the song, and later, with the same set of orchestra, for commercial records. Sometimes, the original singer was not available due to any reason, some other singer had to sing for commercial records. Thus we have many such examples, where the singer in the film song and the record is different. However, this problem continued only till mid 50’s when the Tape and the required technique became available. With just one time recording, the film and commercial recording were taken care of.

Khemchand Prakash. K.Datta (Datta Koregaonkar), Rafiq Ghaznavi and Anupam Ghatak made their Debut as Music Directors. Kavi Pradeep wrote his first film song for film Kangan. In 1939, 2 most Unusual songs were presented, for the first time ( and this record is not yet broken even after more than 80 years.). One was a Multi-Lingual song from film Aadmi-39, a film by Prabhat….Kis liye kal ki baat. This song was in Hindi, Urdu, Punjabi, Gujarati, Bangla, Tamil and Telugu. ( In its Marathi film version-” माणूस “, this song was only in one language-Marathi.) Different Lyricists and MDs were used for each language. The song became very popular.

Second unusual song was from film ‘ Ghareeb ka Laal’-1939. The song lyrics had the names of 32 artistes, operating in Hindi films that time. Top Heroes and Heroines were mentioned in this song. The beginning of the song was ” Tuze Bibbo kahoon ya Sulochana, Uma shashi kahoon ki Jamuna “. This song was sung by the comedian Mirza Musharraf. In later years many songs with film artistes’ names came but none had so many names. Thus this record is still unbroken, in case of both songs.

Besides these songs, let us quickly take a look at some films of 1939….

Aadmi – Prabhat’s hit film, a remake of the Marathi film ” माणूस “. It had some good songs by Shanta Hublikar, Sundarabai Jadhav and Ram Marathe.

Adhuri Kahani – a trend of Tragedy films set by the effect of film ‘Devdas’. All the 3 main characters of this film commit suicide in the end.

Badi Didi – A New Theatres film.

Brandy ki Botal – Master Vinayak’s comedy remake of Marathi film ‘ ब्रॅंडीची बाटली ‘.

Dil hi to hai – Debut of Kidar Sharma as a Director and Ramola as a Heroine in a Hindi film.

Dushman – New Theatres’ film of Saigal, with only his 4 songs.

Ek hi Raasta – Sagar presents first film with 3 Heroes in one film.

Ghazi Salauddin – Debut of Khemchand Prakash as M.D.

Hukum ka Ikka – First film with a Triple role by Umakant Desai ( who later specialised as Lakshman in 7 films, including Ramrajya-43).

Imaandaar – Debut of actress Shamim Akhtar.

India in Africa – This was the First Hindi film to be shot abroad (in Africa). The Hero B. Nandrekar had also gone to Africa for its shooting. Naaz-54 was not the first such film, though HFGK mentions it so.( Ref – pp 69, Maharashtra-The Birthplace of Indian cinema by Isak Mujawar)

Kangan – First of the 4 Hit films of Ashok Kumar and Leela Chitnis, made by Bombay Talkies. Kavi Pradeep’s Debut as a Lyricist in this film.

Kapal kundala – New Theatres. Pankaj Mullick’s hit song ‘ Piya milan ko jaana ‘.

Leather Face – Debut of Meena Kumari as a child artiste.

Navjeevan – Debut of Hansa Wadkar as a Heroine- Bombay Talkies film.

Pukar – Hit film from Minerva Movietone. Naseem Bano sings ” Zindagi ka saaz bhi kya saaz hai….”

Indian filmmakers had practiced 4 ways of getting stories for their films, since the beginning of Talkie films.

1. Copy from older films
2. copy from other languages or remake them
3. use stories from Foreign films – especially Hollywood and
4. make a mixture of all this and make a film.

Hundreds of films were made on the stories of Alibaba. Alauddin, Sindbad, Thief of Baghdad, Hatimtai, Gul E Bakavali and other stories from the Arabian Nights. Hollywood films made on famous novels or dramas were another source of inspiration. When the Talkie films started, the first such film was made in 1933 itself titled- “Awara Shehzada “, with Shahu Modak as its Hero.This was the first Hindi film based on the famous novel of Mark Twain- The Prince and the Pauper, published in 1881. Films on this ” Look alike” theme were made in Hollywood as early as 1915 and 1920 This theme was used abundently in Hindi films like Ram aur Shyam, Don, Seeta aur Geeta, Kanoon and many more films. The list will be too long.

In 1937 a film ” Duniya kya Hai” was made by Lalita Pawar, based on Count Leo Tolstoy’s famous novel ” Resurrection”, published in 1899. The Hindi film was inspired by the Hollywood film ” We live again” made on this novel. In 1938, prakash pictures made ” Khwaab ki Duniya “. It was inspired by the popular Hollywood film ” The Invisible man”-1933, which was based on the famous novel of same name, by H.G.Wells in 1897. Subsequently many films like Mr. X, Mr. India etc were made in Hindi on this theme.

These are few examples to prove the point. There are umpteen number of such films. Sometimes the story departments of the film strudios play a clever game. They mix up the stories of 2-3 Hollywood films and make a Hindi film. Today’s film ” Nadi Kinare”-1939 was also made based on few scenes and themes from 3 Hollywood films, namely ” The king and the chorus girl”-1937, ” Bluebeard’s eighth wife “-1937 and ” The rage of Paris “-1938.

The film was directed by Manibhai Vyas (27-4-1920 to 14-11-1993). he directed 20 films from Dukhiyari-1937 to Shrikrishna Bhakti-1973. The MD was Gyan Dutt and the cast was Kumar, Sitara Devi,Indubala, Ram Marathe, Kantilal and others.There were 13 songs in the film sung by Indubala, Sitara Devi,Kantilal,Kalyani and Gyan Dutt himself. Lyrics were by P.L.Santoshi and D.N.Madhok.

Actor/singer Ram Marathe had done a child role in this film He is one of those child actors who left film world at the right time and pursued his hobby of classical singing. Consequently he bacame a big name in Classical Music all over India. His case reminds me of anothe child actor-n Shashi kapur Sr, who was much in demand as a child actor during the period 1944 to 1955. he did 21 films as a child actor. Then he left films, completed his M.Sc. and Ph.D. He went to USA and became a Professor of Maths in Michigan University in USA.

Actually many child actors like Baby naaz, M.Kabir, Sarosh Irani, Master Romi etc reached an age when they were neither child nor an adult. They stopped getting any roles and had to leave films. Child actor Ramchandra ( Ram) Marathe was born on 23-10-1924 in Poona and studied in Bhave school up to 10th.He and his brother ( Anant Marathe aka Anant kumar) worked in films as child actors, due to family conditions. They started work from 1936 onwards. Ram Marathe had an edge over his brother,in that he could sing too. Starting with Shahu Chor in 1936, he worked in Sagar movietone (6 films), Ranjit (3 films) and Prabhat (2 films), in addition to other companies like prakash, Mohan Pictures, Imperial etc. he acted as a child star in 16 films. he sang 11 songs in 6 films. After this Ram left films and started training in classical music-his liking. Here is a short bio of Ram Marathe, adapted from meetkalakar.com….

Ramchandra Purshottam Marathe (1924-1989) began his early career as an actor and singer in films produced by the Prabhat company. His formal training in music assumed a definite direction when he came under the tutelage of Master Krishnarao (Phulambrikar). Later, he trained under accomplished musicians such as Mirashibuwa of Gwalior and Vamanrao Sadolikar of Atrauli-Jaipur. His quest for widening his musical horizons culminated in a long-lasting discipleship (15 years) under Jagannathbuwa Purohit (“Gunidas”). As a consequence of his broad training and background, Rambhau’s music integrated the best of Gwalior, Agra and Jaipur styles. Rambhau was a stalwart in the field of Marathi Natya Sangeet. He was also known as a composer. Among his pupils is Ulhas Kashalkar.

Pt.Ram Marathe had performed in all the prestigious musical festivals at various places like Jalandhar, Patna, Lahore, Delhi, Gwalior, Calcutta, Banaras,Amritsar and almost all over Maharashtra. His contribution to Indian classical music was recognized with several Awards for his unique and successful performances. He was “A-top grade” Hindustani Classical Artist of All India Radio.

Since he had undergone proper Tabla training, he had a great command on Taal and Layakari. He had special command on Rare–Anvat Ragas & Jod Ragas and he was highly recognized for his clear and fast tankriyas and also for Purity of Ragas. He always used to enrich his audience with various semi-classical forms like Khayal, Tarana, Tappa, Natyasangeet, Thumri, Dadra & Bhajans in his concerts. Unlike the present classical singers, his concerts used to last more than 5 hours with the powerful intensity and stamina.

He started his stage career under the perusal of Natvarya Shri Ganpatrao Bodas in 1950 as a leading character in old classical musical dramas like Saubhadra, Sanshaykallol, Swayamvar, Ekach Pyala, Manapman etc. with veteran actor and actress such as Balgandharva, Hirabai Badodekar, Vinayakbuwa Patwardhan, Nanasaheb Phatak etc. Despite his busy schedule in concerts, he performed in 22 old & new Sangeet Natak with more than 5000 stage shows. This is purely out of his dedication and commitment towards Sangeet Rangbhoomi.

Composed music for more than 10 dramas such as – Mandarmala, Suvarna Tula, Meghmalhar, Tansen, Baiju etc. and acted in the play as a leading character role.

His disciples include many eminent classical singers like Pt. Ulhas Kashalkar, Sudhir Datar, Ram Pratham, Vishwanath Kanhere, Vishwanath Bagul, Yogini Joglekar, Shashikant Oak, Madhuwanti Dandekar, Sanjay Marathe & Mukund Marathe etc. (more than 50) and have got the training from him under the traditional Gurukul way of learning.

Maharashtra Government honoured the “Sangeet Bhushan” degree in 1961.
• Recognition by Government of Maharashtra in 1981 for successful completion and continuous 30 years of career in Marathi Sangeet Rangbhumi.

• Honoured “Sangeet Chudamani Degree” by Jagadguru Shankaracharya of Puri.

Appointed by AIR, New Delhi on the Northern (Hindustani) Music Audition Board Committee. Also Advisory Nagpur and other Universities in India.
More than 100 Records and number of CDs and LPs to his credit and composed more than 50 Bandish in various Ragas.
Ram Marathe died on 4-10-1989.

Today’s duet song is sung by Sitara Devi and Kantilal (18-4-1907 to 17-6-1971). Kantilal acted in 31 films and sang 59 songs in 24 films.


Song- Duniya Deewaani duniya deewaani (Nadi Kinaare)(1939) Singers- Sitara Devi, Kantilal, Lyricist- Not known, MD- Gyan Dutt
chorus

Lyrics

Duniya deewaani
duniya deewaani
duniya deewani
duniya deewaani
duniya deewani

koi kahe haaye jigar
koi kahe dil
koi kahe haaye jigar
koi kahe dil
koi kahe chori chori
aake sajan mil
koi kahe chori chori
aake sajan mil
duniya deewaani
duniya deewaani
duniya deewaani
duniya deewaani
duniya deewaani

koi kahe dil na mila
aankh mila le
koi kahe dil na mila
aankh mila le
aankh mila le
koi kahe aankhon ke parde mein chhipa le
koi kahe aankhon ke parde mein chhipa le
duniya deewaani
duniya deewaani
duniya deewaani
duniya deewaani
duniya deewaani

le ke dil aaya hoon main yahaan
koi khareede
le ke dil aaya hoon main yahaan
koi khareede
koi khereede
hai koi dil waala jo
dil deke ye dil le
hai koi dil waala jo
dil deke ye dil le
duniya deewaani

duniya deewaani
duniya deewaani
duniya deewaani
duniya deewaani

loot le joban ke maze
duniya hai phaani
loot le joban ke maze
duniya hai phaani
duniya hai phaani
dam bhar mein guzar jaayenga
ye khwaab e jawaani
dam bhar mein guzar jaayenga
ye khwaab e jawaani
duniya deewani
duniya deewaani
duniya deewaani
duniya deewaani
duniya deewaani

le ke dil aaya hoon main yahaan
koi khareede
le ke dil aaya hoon main yahaan koi khareede
koi khereede

haaye
hai koi dil waala jo
dil deke ye dil le
hai koi dil waala jo
dil deke ye dil le
duniya deewaani
duniya deewaani
duniya deewaani
duniya deewaani
duniya deewaani


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

5182 Post No. : 17158

Today’s song is from the film Aap ki Marzi-1939. This film was made by Sudama productions, Bombay, founded by Dr. Ambadas patel, after Sagar Movietone merged with National Studios. This comedy social film was directed by Sarvottam Badami and the music was given by Gyan Dutt. The cast of the film was Sabita Devi, Motilala, Vasanti , mazhar, Khursheed, Sunalini devi, K.N.Singh, jagdish Sethi and others. Lyricists were P.L.Santoshi and S.P.Kalla Film Aap ki Marzi aka As you please-1939 was based on the hit Hollywood film” Paradise for 3 “-1938.

” FATE ” is a phenomenon which no one has understood so far and no one will ever know how it works.It makes the Rich a poor one and a Pauper may become a millionaire. Fate takes you through unknown destinations and you can niot guess where it will take you. There is no better example of this FATE, other than the life story of this film’s director.

The changes in the career of Sarvottam Badami took place are simply unimaginable. His life started as an ordinary Motor Garage mechanic.Fate made him a Film projectionist, an Automobile Engineer, a Sound Recording Engineer, a Film director of Tamil, Telugu and Hindi films, Film Division producer, An industrialist and finally a management Consultant ! Can you beat it ?

Sarvottam Badami was born in 1910 at Channapatna in Karnataka,to a revenue officer working in Mysore. He passed his SSLC and worked as a garage mechanic and then a projectionist in Select Picture House, Bangalore, both of which were owned by Dr. Ambalal Patel. Patel moved to Bombay and financed Ardeshir Irani of Imperial Film Company, and Chimanlal Desai as a partner, forming Sagar Movietone in 1930.
At the age of 19 years, Badami went to Bombay to study automobile engineering. He was asked by Ardeshir Irani who met him at a wedding to help out with the recording equipment he had purchased from abroad.

Badami helped in the sound recording department for the first Talkie in India, Ardeshir Irani’s Alam Ara (1931). Around that time a German director making the film Harishchandra left half-way and Badami offered to complete it, the co-director was Raja Chandrasekhar, although the co-director credit has also been cited as T. C. Vadivelu Naicker. The film turned out to be successful. He was contracted by Sagar Movietone (Sagar Film Company) to direct three films, two in Telugu and one in Tamil: Galava Rishi (Tamil), Rama Paduka Pattabhishekam and Shakuntala in Telugu. The success of these films established him as a director. His working team had people like the cinematographer Faredoon Irani, music director Anil Biswas and the Sagar Movietone favourites Sabita Devi and Motilal.

Initially, to avoid embarrassment to his family he requested not to be credited in the regional language films. He did not know Hindi but from 1932-1947, he worked for Sagar Movietone and also directed nearly 30 films in Hindi, for many others. His first Hindi film was Chandrahasa (1933) starring Noor Mohammed Charlie. He was paid Rs 2000 per film with the complete film being made within Rs 50,000. He worked with most of the top actors of the time like Motilal, Nargis, Ashok Kumar and Pahari Sanyal. He brought Mehboob Khan who was then doing roles as an extra out of obscurity and gave him the role of Sabita Devi’s father in the film Vengeance is mine(1935).

He made several films based on novels. Some of the writers whose work he used were K.M.Munshi, Sarat Chandra and Ramanlal Vasanthlal Desai. The film Aap ki Marzi (1939) was inspired by the Hollywood film Paradise for Three (1938). He became known for his satirical comedies and “socially relevant films”.His film Grihalaxmi (1934), which starred Jal Merchant and Sabita Devi, had the woman getting into marriage only if her doctor husband agreed not to want children. The success of the film mitigated the enraged public reaction at the time.

He showed his understanding of media publicity required for films when in 1937, Badami resorted to woo audiences by announcing cash prizes of Rs.500, Rs.200 and Rs.100 for the best reviews of his newly released film Kulvadhu (1937). The promotional gambit worked sending audiences to the theatres. According to an interview, most of Badami’s films didn’t survive as the negatives were burnt to extract the silver from the silver nitrate.

After Aap ki Marzi-38, he followed his mentor, Dr. Patel and joined Sudama Pictures, when in 1939, Sagar Movietone merged into National Films. Badami also worked in Famous Cine Laboratories, from 46 to 48.

Apparently, in 1948 Deputy Prime Minister Vallabh Bhai Patel, who was then also in charge of the Information Ministry, on a visit to the Cine Laboratories Bombay, asked Badami to help set up a NewsReel and Documentary section. The Films Division was established in 1948. He became chief producer in the newsreel department and made several documentaries. He worked in the Films Division making documentaries from 1948-1952. After that he stopped making films and returned to Bangalore to retire as “I was a forgotten man in the feature film world”. He became an industrialist by starting a manufacturing business. Later he worked as a Consultant for Kamani Group of Industries also. He died in 2005 in Bangalore, Karnataka, India.

FILMOGRAPHY: 1932: Harishchandra; Galava Rishi; Paduka Pattabhishekham; Shakuntala; 1933: Chandrahasa; 1934: Grihalakshmi; 1935: Dr. Madhurika; Vengeance is Mine; 1936: Jeevan Lata; Grama Kanya; 1937: Kokila; Kulavadhu; 1938: Three Hundred Days and After; 1939: Aap Ki Marzi; Ladies Only; 1940: Chingari; Sajani; 1941: Holiday in Bombay; 1942: Khilona; 1943: Prarthana; 1944: Bhagya Lakshmi; 1945: Ramayani; 1946: Uttara Abhimanyu; 1947: Manmani; 1951: Vinoba Bhave (Doc);1952: Roof over the head

(Ack: Sapnon ke saudagar by Vithal Pandya, Sagar Movietone by Biren Kothari, HFGK, muVyz, Encyclopedia of Indian Cinema, and my notes)

Film industry is one place where the most unimaginable things happen. Here are some examples – A young man working as a laboratory Technician overnight becomes, albeit reluctantly, an actor and later on a famous Hero in Hindi films (Ashok Kumar), A Choreographer becomes a very famous and successful Director and actor (Guru Dutt), A Clerk in Government Rationing office touches the sky and becomes a heart throb Cinema Hero (Dev Anand), A Bus Conductor is turned into a famous cult Hero of South (Rajnikant), A simple young man goes to meet his actor brother in a studio and is mistaken for his brother and made a hero in 40 Hindi films(D.Billimoria), a clueless scholarly young man standing in a bus queue in Madras is picked up as a hero and works in about 55 hindi films (Ranjan). These are some examples of how, when Lady Luck smiles on a person, his life changes !

Here is one case. The case of the suave, handsome actor MOTILAL who had absolutely no dream of becoming a film hero ! Born in Shimla on 4 December 1910, Motilal Rajwansh came from a distinguished family. His father was a renowned educationist, who died when Motilal was one year old. He was brought up by his uncle who was a well-known civil surgeon in Uttar Pradesh. At first, Moti was sent to an English school at Shimla and later, in Uttar Pradesh (UP). Thereafter, he shifted to Delhi where he continued with school and college.

After leaving college, Motilal came to Bombay to join the Navy, but he fell ill and could not appear for the test. Fate had other choices charted out for him. One day, he went to see a film shoot at Sagar Studios, where director K. P. Ghosh was shooting. Motilal, even then, was quite the man about the town and he caught Ghosh’s eye. Motilal described this event in his inimitable style,in one of his interviews….” The director Ghosh Babu looked towards me and said,” please come here”. I first thought he was calling someone standing behind me. I looked back and moved to one side. Nobody came forward, but Ghosh Babu came to me and pointed his finger at me and said, ” Yes, I am talking to you. Please come here” I went with him .” In 1934 (aged 24), he was offered the hero’s role in Shaher Ka Jadoo -1934 by the Sagar Film Company. Sabita Devi and Motilal’s first movie as a pair in the famous Sagar Movietone, the movie Lure of the City (aka Shaher ka Jadoo) released on 29 th September 1934 at the Imperial Cinema Bombay.

Mehboob Khan was earlier selected for the lead role and was later replaced by Motilal. This was actor Motilal’s debut film and Motilal – Sabita made the best pair in the Sagar Film Company. They acted together in many other movies under the banner of the Sagar like, Silver King -1935, Dr Madhurika -1935, Lagna Bandhan -1936, Jeevan Lata -1939, Kulvadhu -1937, Kokila -1937, Three hundred days and after -1938 and later in Sudhama Films in Ap Ki Marzi -1939 and Minerva’s Prarthana -1944. He worked with Mehboob Khan in Jagirdar -1937 and Hum Tum Aur Woh -1938 under the Sagar Movietone banner, in Taqdeer -1943 for Mehboob Productions, and Kidar Sharma’s Armaan -1942 and Kaliyan -1944. He also acted in S. S. Vasan’s film Paigham -1959 (Gemini Studios), and Raj Kapoor’s Jagte Raho -1956. In 1965, he also acted in the Bhojpuri film Solaho Singar Kare Dulhaniya.

Perhaps the role for which he received the most critical appreciation was that of the gentleman crook in S. S. Vasan’s adaptation of R K Narayan’s book Mr Sampat -1952. He is most remembered for his role as “Chunni Babu” in Bimal Roy’s Devdas -1955, for which he won his first Filmfare Best Supporting Actor Award. Actor Naseeruddin Shah once described him as one of three all-time best actors of Hindi cinema, others being Balraj Sahni and Yakub.

Motilal was very suave and polished, and moved in high society, though towards the end of his life he was in financial difficulty. Although a thorough gentleman, he enjoyed gambling and races, and died almost penniless on 17th June 1965.

Motilal was an excellent Pilot and owned a small aircraft. He rarely travelled by train and always liked to fly. His family life was happy. His wife was a doctor.

He was in a relationship for several years with the actress Nadira. He was later involved with actress Shobhna Samarth after she separated from her husband, and he played Samarth’s real-life daughter Nutan’s father in Hamari Beti, Shobhana’s launch movie for Nutan. He also played her guardian in Anari, though this time the role had a villainous touch to it.

Motilal and Ashok Kumar were popular stars at the same time. Ashok Kumar was employed by Bombay Talkies and Motilal was employed by Ranjit. It is said that Sardar Chandulal paid Rs. One lakh to Motilal in those days. Motilal was a gambler. Once Chandulal Shah paid his debt of 75000 rupees which Motilal had lost in gambling, just to keep Motilal with Ranjit ! It is surprising that Ashok Kumar never worked with Motilal’s Heroines-Shobhana Samarth or Khursheed and Motilal never worked with Ashok Kumar’s heroines- Devika Rani or Leela Chitnis !

Actor Chandra Mohan treated Motilal as his son. During the last days of Chandra mohan, once Motilal had gone to meet him. Chandra Mohan was drinking from a costly forein Whisky bottle, but he did not offer it to Motilal. Motilal was feeling bad and then Chandra Mohan said, ” I know you must be feeling bad that I am not offering you this Whisky, but trust me it is not whisky- I am drinking Bewada (country liquor) from this bottle and I don’t want my son to drink this dirty stuff ! ”

Motilal was the winner of Filmfare Best Supporting Actor Award for Devdas -1955 and Parakh -1960. He is credited with being among Hindi cinema’s first natural actors.

He also directed the film Chhoti Chhoti Baatein -1965, but died before its release. At the 13th National Film Awards, it won the award for Certificate of Merit for the Third Best Feature Film and he posthumously won the Certificate of Merit for the Best Story Writer. ( adapted some information from Vithal Pandya’s book-Asli Nakli Chehere, wiki, Star portraits, nett4you, the book Sagar Movietone, and Shirish Kanekar’s book- Yaadon ki Baaraat, with thanks and my notes.)


Song- Gauven charaa ke Baanke Bihaari apne ghar nahin aate thhe (Aap Ki Marzi)(1939) Singers- Khursheed Bano, Gyan Dutt, Lyricist- P L Santoshi, MD- Gyan Dutt
Both

Lyrics

gauven charaa ke
baanke bihaari
apne ghar nahin aate thhe ae
gauven charaa ke baanke bihari
apne ghar nahin aate thhe
phir jaa ke kahaan kho jaate thhe
phir jaa ke kahaan ko jaate thhe ae

gauven charaa ke baanke bihaari
apne ghar nahin aate thhe ae
gauven charaa ke baanke bihari
apne ghar nahin aate thhe

saath chhodkar gwaal baal sang
kunjon mein chhup jaate thhe
saath chhodkar gwaal baal sang
kunjon mein chhup jaate thhe
phir jaise hi ghar aate thhe
wo thappad maa ka khaate thhe
phir jaise hi ghar aate thhe
wo thappad maa ka khaate thhe

bansi baja ke Raadha ko wo
chupke chupke bulaate thhe
haan
bansi baja ke Raadha ko wo
chupke chupke bulaate thhe

sun bansi ki taan niraali
aji Raadha
aji Raadha
ho matwaali
sun bansi ki taan niraali
aji Raadha
aji Raadha
ho matwaali
donon raas rachaate thhe
kuchh hanste thhe kuchh gaate thhe
donon raas rachaate thhe
kuch hanste thhe kuchh gaate thhe
wo apna jee bahlaate thhe
wo apna jee bahlaate thhe
gauven charaa ke baanke bihaari
apne ghar nahin aate thhe
gauven charaa ke baanke bihaari
apne ghar nahin aate thhe


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

5169 Post No. : 17138

“Kangan”(1939) was produced by Sasadhar Mukherjee,Himanshu Rai and Devika Rani and directed by Franz Osten for Bombay Talkies, Bombay. The movie had Leelal Chitnis, Ashok Kumar, V.H.Desai, P.F.Pithawala, Mubarak, Saroj Borkar, Narendranath Tuli, Karuna devi,Ishrat, Nana Palsikar, Arun Kumar, Pratima, Ranibala,Sarla Kumara, Balwant Singh etc in it.

The movie had 12 songs in it. six songs have been covered so far.

Here is the seventh song from “Kangan”(1939) to appear in the blog. The song is sung by Leela Chitnis. Narottam Vyas is the lyricist. Saraswati devi is the music director.

Only the audio of the song is available. it is clear that the song was picturised on Leela Chitnis herself.

Lyrics of the song were sent to me by Prakashchandra.

audio link:

Song-Jogan bhatak rahi hai ban ban (Kangan)(1939) Singer-Leela Chitnis, Lyrics-Pt Narottam Vyas, MD-Saraswati devi

Lyrics(Provided by Prakashchandra)

Jogan
bhatak
rahee ee hai
ban ban
vaa ko o o
paaney ae ae
jaa ko o
denaa aa aa
thhaa aa aa rey ae ae
tan man
jogan
bhatak
rahee ee hai ban ban
jogan
bhatak
rahee hai ban ban

vaa ko o o paaney aey ae ae
jaa ko denaa thhaa aa rey ae ae tan man
jogan bhatak rahee hai ban ban

saawan kee aadhee ee barsaatein aen
paavas ki andhiyaaree raatein aen
raah na paate aey ae ae
dhoondhti phiratee ee ee
raah na paate aey ae
dhoondhti phiratee ee
jo ?? ee woh o o hai ae na mero dhan
jogan bhatak rahee hai ae ae ban ban
jogan bhatak rahee hai ae ae ban ban


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 over FOURTEEN years. This blog has over 17500 song posts by now.

This blog is active and online for over 5000 days since its beginning on 19 july 2008.

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Total number of songs posts discussed

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Movies with all their songs covered =1356
Total Number of movies covered=4710

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