Archive for the ‘Song of 1935’ Category
Prem ban ko main bhaagee gayee
Posted on: December 31, 2022
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Today’s song is 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
Na chhedo mohe ro doongi piyarwaa
Posted on: August 21, 2021
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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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4782 | Post No. : | 16535 | Movie Count : |
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Today’s song is from a film which is 86 years old- Pardesi Sainya-1935.
When I choose a film song for a post, there is always a thought behind it. Sometimes the cast consists of some actor who spilled over from the silent era and is on the verge of ending his career now. Sometimes the Director or the Music Director is absolutely unknown or a first timer on our Blog. Such and similar matters arouse my interest and I start gathering information about these people. Many times, I am the first person to write about that actor or director etc.
Not many people understand the importance of these things but from a Historical point of view, it is very important. Sometimes information of just one paragraph also has to be culled from half a dozen sources. perseverance and consistency are required to get such information. Even today’s film is one such film where some revealing names are there.
Film Pardesi Sainya alias My Darling aka Chaand ka Tukda-1935 was made by Gandharva Cinetone. In those days two names for a film was a common matter, but here there are 3 names. This was a company owned and floated by Baburao patel, before he started his famous Film Magazi8ne-” Film India”. Patel began this banner in the Silent Era and his first Directorial venture was a Silent film-” Kismat”-1931…the year India had entered the Talkie Era. His first Talkie film was Mahananda-33. Then came maharani-34, Bala Joban-34 and last in the first segment was Pardesi Sainya-35. The banner had a second segment after 9 years, with films Draupadi-44 and Gwalan-46, both to promote Susheela Rani- a Konkani good looking singer/dancer and a journalist of sorts. She failed in films, but joined Film India magazine as a Sub Editor, only to become a Sub-kuchh by marrying Baburao Patel !
The music was composed by one Dinkar Rao Amembal – a name hardly anybody has heard. Not only now but even in those days. later on he became famous is another thing. His elder brother A.Sunder Rao was a good Harmonium player and younger brother A Bhaskar Rao was already in the film line as a composer.
Collecting information about Dinkar Rao has been a tiring job and I had to take extra efforts.Finally I collated information on Dinkar Rao from several sources. I present here today, for the first time-as far as I know, information on Dinkarrao Amembal On any Blog discussing old films and music.
DINKAR RAO AMEMBAL AKA D’ AMEL…….Dinkar Rao was born on 24-9-1909 in Guwahati (Assam) in a CXhitrapur Saraswat Bramhin family of South Canara. The family was known as a Music loving family. He studied upto Matriculation in Ganapati High School at Mangalore. After that his family shifted to Bombay.
Dinkar was never trained in classical music by any expert. He had a sweet voice and he was self taught. He started his B.Sc. studies in Fergusson College, Poona. In the final year, he left studies and returned to Bombay. He joined Indian States Broadcasting company ( a precursor to All India Radio), as a singer and instrument player on contract basis in 1927. He was a Harmonium expert like his elder brother A.Sunder Rao- who had a Music career in south India. Dinkar Rao had master Krishnarao Phulambrikar as his Idol. After 1947, when Harmonium was banned in India by the Congress Government, he learnt Flute and Violin. He became an expert in Brass Flute.
In 1935, he started V.U.B. Orchestra. He used his name as D’Amel and broadcast several self made musical melodies on Radio. After establishment of All India Radio, his orchestra was taken over and became Akashvani Orchestra. In 1935, Dinkar Rao entered the film line.
As a Music Director he gave music to 3 films independently. They were Rangeela Nawab-35. In this film he did a small role and sang one song also. Then came Pardesi Sainya-35 and Bombshell-35, which he also directed. After 12 years, he gave music to film Beete Din along with another composer M.Rauf Osmania. His younger brother A.Bhaskar Rao was already a Music Director in Hindi films.
In 1936. Dinkar Rao was appointed Programme Director in the newly formed All India Radio, Bombay station, wherein he served till 1967. As a Director he worked with Shridhar parsekar, Alla Rakha Khan, Master Ibrahim etc etc. He was famous for creatively introducing several new popular musical programmes. While in All India Radio, he worked closely with the German Jew Walter Kauffmann, who is credited to be the inventor of the famous A.I.R. Signature tune, which is played before a Station starts on All India Radio.
He worked with many poets of Marathi and presented their songs. He served A.I.R. for 35 years including his earlier services. He was awarded by Music Research Academy of Calcutta. he was a devotee of Sufi Saint Ashraf Khan (this Sufi Saint was a Hindi film actor and singer. He had also been a popular actor on Gujarati stage dramas).
In later years Dinkar Rao became totally deaf in one year’s time. He died suddenly on 6-2-1990 at Bombay. ( I thank parrikar.org, kamath.com, Prakash Burde and Madhav Imarte for the above information.)
The cast of the film was Mubarak, Padma Devi, Shirin bano,Azurie, Raja pandit, Kamal Bhivandkar, Vaskar, nandu khote and many others. Actress padma devi was from Bengal and a spill over from the Silent Era into the Talkie films. She had a special relationship with Baburao patel. She used to move around in his magazine office at will in later times. When Susheela Ranitook over as a Sub Editor of the magazine initially and then as the ‘ Sub Kuchh’ of Patel, she cleverly cut off the association of padma Devi and baburao patel to have total control.
Raja pandit was an actor and a singer. His first film was Sati mahananda, then came Maharani-34, bala joban-34, Bhikaran-35 and Pardesi Sainya-35-his last film in Hindi. he sang songs in every film. After this he turned to marathi films and became a producer/Director. Kamal Bhivandkar did a child role in this film. She was about 12 years of age. She became friendly with Raja Pandit. Kamal became a popular big Heroine, with a new name Ratnamala and acted in big banner films in Hindi. Raja pandit and Ratnamala got married when she was hardly 16 year old. She continued to be a successful actress inb Hindi and later in Marathi films. Raja Pandit was a failed producer/director. After a few years they separated. They had a son-Jay Kumar, who died young, in an accident.
Shirin bano was the eldest sister of actress Poornima (Meher Bano). She acted in 18 films and then got married to director Nanabhai Bhatt. Mahest Bhatt and Mukesh Bhatt are their sons. Nandu Khote was the father of Shubha khote- the bubbly actress of the 50’s and 60’s, in Hindi and Marathi films.
I have written short notes on these actors because their full details would have made this post unwieldy and very long, which normally readers avoid to read. I also dislike long posts. While there is no rule on the ideal length of a post, I try to remain within an average of 40 to 50 lines or near to it.
No information on the storyline or other details of this film. Today’s song is a duet of Shirin Bano and Raja Pandit. The Lyricist is not mentioned in HFGK, but the MD was Dinkar Rao Amembal.
With this song the film Pardesi Sainya-35 and the Music Director Dinkar Rao Amembal make their Debut on this Blog.
Song-Na chhedo mohe ro doongi Piyarwa (Pardesi Sainyya)(1935) Singers- Shirin Bano, Raja Pandit, Lyricist- Unknown, MD- Dinkar Rao Amembal
Lyrics
Na chhedo mohe
ro doongi
piyarwa
Na chhedo mohe
ro doongi
piyarwa
Na chhedo mohe
ro doongi
piyarwa
Na chhedo mohe
ro doongi
piyarwa
apni garaj kahat lahal
hamri baari munh phulaat
apni garaj kahat lahal
hamri baari munh phulaat
apni garaj kahat lahal
hamri baari munh phulaat
Na chhedo mohe
ro doongi
piyarwa
Na chhedo mohe
ro doongi
piyarwa
Na chhedo mohe
ro doongi
piyarwa
Na chhedo mohe
ro doongi
aisa baanka naujawaan
kya hai koi doosra
aisa baanka naujawaan
kya hai koi doosra
aisa baanka naujawaan
kya hai koi doosra
mastaana deewaana
parwaana meri jaan
mastaana deewaana
parwaana meri jaan
mastaana deewaana
parwaana meri jaan
chhatiya dikhat
daani doobat
balma kaahe hansat jaat
chhatiya dikhat
daani doobat
balma kaahe hansat jaat
chhatiya dikhat
daani doobat
balma kaahe hansat jaat
na chhedo mohe
ro doongi
piyarwa
na chhedo mohe
ro doongi
piyarwa
na chhedo mohe
ro doongi
piyarwa
na chhedo mohe
ro doongi
piyarwa
Apni garaj kahat lahal
hamri baari munh phulaat
Apni garaj kahat lahal
hamri baari munh phulaat
Apni garaj kahat lahal
hamri baari munh phulaat
na chhedo mohe
ro doongi
piyarwa
na chhedo mohe
ro doongi
piyarwa
na chhedo mohe
ro doongi
piyarwa
na chhedo mohe
ro doongi
Hamaari kahi maano baabujee
Posted on: May 20, 2021
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4689 | Post No. : | 16373 | Movie Count : |
4447 |
Imagine you are driving a car and your family is with you. You are about to visit an unknown place for the first time. You are going as per the guidelines given by your friend. Suddenly you come across a board in the middle of the road saying ” ROAD CLOSED”. You look left and right for a diversion – none exists. You turn around, stop near a small roadside shop and enquire. He does not know any other route.
Same feeling comes to me when I come across a film in HFGK, about which there is no information available anywhere. There are 2 types of ” Road Closed ” in HFGK films. The first type is where you find only the Title of the film printed. Nothing else. In every year’s list, one can find at least 8 to 10 such films. For example, for the year 1935, there are 10 such films, on whom no information, except their Title is given.( Today’s song is from a 1935 film)
The second type of ” Road Closed ” film is where the film has information on its director, the cast,songs and the banner . In many cases MD’s or the Lyricist’s name are missing. In the early era films, upto 1938-39, there were many films where song details like singer’s name or the MD/Lyricist’s name is not given, as no Gramophone records were issued in those days, except a few films. Except for the information given in the HFGK, nothing more is known about the films – story, screenplay or dialogue writer or cinematographer etc. are not known. In the case of 1935, for example, a total 152 Hindi films were made in this year. More than 100 films from this fall under the Type 2 of ” Road Closed”. This means that other than what is given in HFGK, nothing else is known about these films.
So what do we do about such films where you can’t write about anything else except the cast or the director/MD/Lyricist ? There are few sources like books, old film magazines, Newspaper cuttings, research papers etc. Stubborn films do not appear even in these too !. But yes, there is one more way to get information. If you catch hold of a cast member of that film, you can expect some information.. Here, the problem is, for films before the 50’s, a cast member is difficult to find. And even if you find, due to age his memory may fail him. Harmandir Singh Hamraz ji wrote in Listeners’ Bulletin that when he used to meet old time actors, singers, MDs etc, in many cases it was Hamraz ji who would provide the information to him about his films ! Many of them did not remember much about their own films, due to old age.
One can get the information about an artiste from his/her living close relatives – like son, daughter or other relatives. This was the way I collected information by interviewing close relatives, like about Bhudo Advani from his son, Parshuram from his daughter, Mirza Musharraf from his Daughter/ Son in law, Latika from her daughter, Indurani from her Son-Salim Shah, Sailesh Mukherjee from his Daughter in law, Shankar Vazre from his Grandson etc etc.
today’s song is from the film Bharat ki Beti-1935. Made by Eastern Arts, Bombay, the film was directed by Premankur Atorthy – a solid pillar of New Theatres, Calcutta, in its early period. His name is not much known to the younger generation. Premankur Atorthy (1 January 1890 – 13 October 1964) was a novelist, journalist, and film director, born in Faridpur. He was involved in Hindi and Bengali cinema.
Atorthy’s initial schooling started at Brahmo School, Kolkata. He then studied variously at Duff School, Keshab Academy, City School and Brahma Boys Boarding and Day School, which were then under the University of Calcutta. His father, Mahesh Chandra Atorthy, was a propagator and writer of the Brahma Samaj.
Atorthy was imaginative and fond of adventure from boyhood. Failing to do well in his studies, he ran away to Bombay. At Bombay he learnt to play the sitar under Ustad Karamatullah. Returning to Kolkata, he started working at a sports goods shop in Chowringee. Subsequently, he worked for the Baikali, Yadughar, Hindustan, bharatvarsha, Sangkalpa, Nachghar and bharati.
He was a noted novelist and playwright, author of many books including compilations of short stories, essays (e.g. on silent film, cf. Atorthy, 1990) and plays. Best- known literary work: Mahasthavir Jatak (1944), a fictional autobiography in four volumes noted for its irreverent portrayal of Calcutta’s early 20th-century élites. Among his other novels are Anarkali (1925), Bajikar (1922), Achalpather Jatri (1923), Chasir Meye (1924), Dui Ratri (1927) and Takht Taus. Associated with literary journal Bharati; edited Nachghar, one of the first performing arts journals to take film seriously, with Hemendra Kumar Roy and film- maker Pashupati Chatterjee.
Founded Betar Jagat, the journal of the AIR, Calcutta (1929). Started as scenarist and actor, using the pseudonym Krishna Haldar, at Indian Kinema Arts (Punarjanma, 1927; Chasher Meye, 1931). Remade Punarjanma in 1932. Joined B.N. Sircar’s International Filmcraft as writer and assistant to Prafulla Roy (Chasher Meye is based on Atorthy’s novel and script). Also scripted Nitin Bose’s Buker Bojha (1930).
Premankur entered the cinema world with a role in the Bangla film Punarjanma. First directed film, Dena Paona, was New Theatres’ first talkie, made in direct competition with Madan Theatres’ Jamai Sasthi (1931). Made several Urdu films as part of New Theatres’ effort to enter the North Indian market, including the classic film of Agha Hashar Kashmiri’s play Misar Kumari to Yahudi Ki Ladki (1933). His film versions of literary classics, e.g. from Saratchandra Chattopadhyay (Dena Paona), Rabindranath Tagore (Chirakumar Sabha) and Bankimchandra Chattopadhyay (Kapal Kundala), established the élite literary film genre intended to distinguish New Theatres’ films from routine stage adaptations and remained important signifiers of high art in Bengali cinema. First Bengali film-maker to work in Western India, e.g. for Kolhapur Cinetone (1935) and for Imperial (1936). Credited with the supervision of H.K. Shivdasani’s Yasmin (1935), made by the Krishna Studio.
As an actor – Punarjanma-27,Chaser Meye-31 and Punarjanma-32. As a Director – Subah ka sitara-32, Punarjanma-32, Zinda Laash-32, Mohabbat ke aansoo-32, Kapal kundala-33, Yahudi ki Ladki-33, Bharat ki Beti-35, Karvaan E Hayaat-35, Bhikaran-35, Sarla-36, Hind Mahila-36, Dhanwaan-37 and Dulhan-38 (only Hindi films.). As a writer, he wrote stories, screenplay and dialogues of the films Bhikaran-35 and Sarla-36.
Music was by Ustad Jhande Khan (9 songs) and Anil Biswas (3 songs), who also looked after the film’s background music. While we know that today’s song is sung by Rattanbai, we do not know who the Lyricist was. The cast of the film was Rattanbai, Gul Hamid, Hari Shivdasani, Dadabhai Sarkari, Yasmin, Amirbai Karnataki, Sarojini, Kamala etc.etc.
Sadanand Kamath ji not only uploaded this song for me, but also expertly identified the singer and then sent me a few advertisements of this film for getting some idea about the film. From these I can surmise that the film was about a spirited young girl (Bharat ki Beti), who stands by truth and protects her father who has refused doing illegal acts as wanted by some criminals and has become their target. She seems to have sacrificed her love and risked her own life to protect the family honour. The Hero of the film was Gul Hamid – a name hardly familiar to our readers because his career span was very short and he died just one year after this film.
Gul Hamid or Gul Hamid Khan (born 25-5- 1905) was a Hindi film actor. He started his acting career in silent films and later played leading roles in talkies. He had many honors to his credit. He acted in Heer Ranjha, the first film produced in Punjabi and in Seeta, a talkie that won an honorary diploma in the 1934 Venice Film Festival and that was also the first Indian film shown at an International film festival. Hamid also wrote the script, acted in, and directed the film Khyber Pass (1936 film). Hamid died of Hodgkin’s Disease in 1936.
Gul Hamid was born in Pirpiai, a village near the Kabul River in the North West Frontier Province of British India (now in Pakistan). His father was Saif Ullah Khan. Gul Hamid Khan had three brothers named Abdul Hameed Khan, Gul Jamal Khan and Sayed Jamal Khan. Gul Hamid Khan was married to Patience Cooper(later Sabira Begum) from 1930–1936, one of the first early silent movie actors.
Gul Hamid, a handsome young man from Peshawar, became an all-India celebrity when A.R.Kardar cast him in his hit movie. It is said that the movie industry never again saw an actor with Gul Hamid’s looks”. He made his film debut with Sarfarosh alias Brave Hearts in 1930, which was a silent movie made in Lahore & directed by A. R. Kardar. In 1931, his films Aatishe Ishq and Wandering Dancer were released.
Gul Hamid also had the honour of working in the first ever Punjabi feature film Heer Ranjha released in 1932. This film was made in Lahore and directed by A.R.Kardar.
In 1933, his film Yahudi Ki Ladki was released based on Agha Hashar Kashmiri’s play Yahudi ki ladki.
Gul Hamid’s film Seeta, produced by East India Film Company & directed by Debaki Bose was the first talkie shown in an international film festival when it was shown in 1934 at the Venice Film Festival, where it won an honorary diploma. His other films released in 1934 were Chandar Gupt, Mumtaz Begum, Sultana and Night Bird.
1935 was the rich year of Gul Hamid’s career as many of his films were released in it. In Karwan-E-Hayat (a 1935 adventure film) and Bharat Ki Beti (1935), his heroine was Rattan Bai. His other notable talkies (films) in 1935 were Soteli Maa, Badruhi, Saleema and Murderer. Yasmin was also released the same year in which his name was Behram.
Only three films are present on the record to be released in 1936 i.e., Sunehra Sansar, Baghi Sipahi and Khyber Pass.
Khyber Pass was the film in which he not only acted but also wrote its script and directed it.
He worked with his wife, Patience Cooper, in three films i.e., Baghi Sipahi, Murderer (1935) and Khyber Pass. After starting his film career from Lahore, he moved to Calcutta where he worked in more than a dozen of silent films and talkies. Some of his films were made in Bombay too. In all, he acted in 17 Talkie films.
He died in 1936 due to cancerous throat ailment.(Hodgekin’s Disease).
Today’s song is quite melodious. This rare song was given to me by my friend shri Abhay Jain (US), whom I thank heartily. With this song, the film Bharat ki Beti-35 makes its Debut on this Blog.
Song- Hamaari kahi maano baabuji (Bharat Ki Beti)(1935) Singer-Ratan Bai, MD-Ustad Jhande Khan
Lyrics
aa haan haan re
haan aa aa aan re
hamaari kahi maano baabujee
hamaari kahi maano baabujee
hamaari kahi maano baabujee
suno baabujee
Dehli se ?? bulaayo
suno baabujee
Dehli se ?? bulaayo
na ??
haan haan na ?? aaiho
?? baabujee
hamaari kahi maano baabujee ee
hamaari kahi maano baabujee
naqaab chehre se khursheed jab uthhaata hai
naqaab chehre se khursheed jab uthhaata hai
?? harek ko ?? kaar se lagaata hai
haan
?? harek ko ?? kaar se lagaata hai
koi haram ko koi maikade ko jaata hai
koi haram ko koi maikade ko jaata hai
koi talaash e maishat mein dil ganwaata hai
koi talaash e maishat mein dil ganwaata hai
jo mai na poochha ke ae dil tu kidhar jaata hai
jo mai na poochha ke ae dil tu kidhar jaata hai
to bhar ke aankhon mein aansoo
ye keh sunaata hai
to bhar ke aankhon mein aansoo
ye keh sunaata hai
suno baabujee
Dehli se ?? wo laayo
suno baabujee
Dehli se ?? wo laayo na
na badri
haan haan
na badri
aaiho na badri se ??
baabujee
hamaari kahi maano baabujee
suno baabujee
kholo na jangla kevadiya
suno baabujee
kholo na jangla kevadiya
chundar mohi
haan haan
chundar mohi
aaiho
chundar mohi bheege
baabujee
hamaari kahi maano baabujee
Shehron Mein Wo Baat Kahaan
Posted on: April 11, 2020
- In: Chorus song | Devnagri script lyrics by Sudhir | Free Spirit Song | fun timepass song | Guest posts | joie de vivre | K L Saigal Film songs | Lyrics contributed by readers | Miss Molina Song | Pahadi Sanyal Song | Post by Sudhir | Rare song | Song of 1935 | Songs of 1930s (1931 to 1940) | Yearwise breakup of songs
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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.
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Blog Day : |
4285 | Post No. : | 15533 |
Divinity remembered today. Divinity – as in the voice of the divine – KL Saigal.
A hundred and sixteen years ago, this day, 11th April in 1904, was born a child who would be a legend within his own lifetime, short as it was, and forever be one. The legend continues to sustain more than a hundred years hence. The sound of the songs rendered by him continue to enchant generation after generation of listeners whose constancy of devotion has not, cannot be influenced by the superfluity of singing voices that have also performed since then. Saigal is Saigal, in his own might, in his own dimension – a voice that has not been matched in its depth, in its sentimental expression, and the effect it has on the minds and hearts of the listeners.
In his obituary, Baburao Patel, the publisher of the iconic ‘Film India’, wrote thus, and I quote a small portion of it,
For a week, after the daily papers flashed the news of Saigal’s death, riots, politics and Pakistan went out of the news and Hindus, the Muslims, the Christians, the Jews, the touchables and the untouchables – one and all reverently discussed the sad and sudden death of Kundan Lal Saigal, the greatest singer the Indian screen has ever produced in its long history of misadventures.
People didn’t merely love Saigal. They revered his glorious voice and called it divine. In his death died the music of millions of souls and it was no wonder to find every person, with a musical ear, a mourner with millions of music lovers all over the country.
Trains, buses, trams, taxis, streets, theatres, parks, race-courses – wherever one happened to be it was the dead Saigal that lived again in the memory of his affectionate fans. Men and women, boys and girls, the young and the old, the rich and the poor – one and all told one another what a great singer Saigal had been an each according to the mould of his mind quoted a different song the greatest memory of the dead artists.
Saigal was the one single person who had given the screen music a rare emotion that soothed the aching souls of people in the travails of modern life.
Millions wept with him when in ‘Devdas’, his unforgettable song ‘Dukh ke din ab beetat nahin’ came from the screen with its agonizing melody and yet in its very agony gave to the millions a rare soothe, for, in Saigal’s rare voice there was pathos and joy, pain and pleasure, a stab and a soothe all at once, wedded to an incomparable melody never before heard on the screen anywhere in the world. Saigal was easily the world’s most emotional male singer.
The one phrase I may take a liberty to add to in this scintillating praise written by Baburao Patel – that it was not only “. . . an incomparable melody never before heard on the screen. . .”, but also “not ever since. . .”.
Back in June of 2017, when I had introduced the song “Nidniya Mori Bairan Oye Hoye Re”, from the film ‘Karwaan e Hayaat’, (then newly traced film from 1935), I had summarized the story line of the film as follows.
Watching this clip, this film, seems like a journey through time, a journey to another dimension, another world – world that I had not seen ever before. The story of the film is about Parvez, a prince who has a lively and romantic outlook in life. The queen mother arranges for a betrothal for her son, and the prince, fearing the bonds of a matrimonial household and no romance, disappears from the palace and joins a band of gypsies, disguised as one himself, and changes the name to Naazu. This secret is known only to his very close friend and sidekick, Suhail (role played by Bikram Kapoor). There is another side of the story unfolding. The Emir of Tikkim, an adjoining kingdom (role played by Nawab) also fancies the same princess, with whom the queen mother has arranged the alliance for Parvez. He has the princess kidnapped, and as destiny would have it, hides her in the very same camp of gypsies. Parvez encounters the princess in the gypsy camp, and they fall in love. Parvez, who is prone to playful antics and pulling legs of others, does not disclose his true identity, and continues to romance the willing princess. Other complications intervene. The Wazir (prime minister) of the state, traces Parvez to the gypsy camp. The Emir of Tikkim comes to the camp with his soldiers to claim his kidnapped bounty. And Zarina, a beautiful gypsy girl at the camp (role played by Ratan Bai) falls in love with Parvez. All the circumstances rolled together, make for a real fun movie, which is a treat to watch. And the premium icing on the cake of course is KL Saigal, and the songs which were not released on gramophone records.
I bring on board today, another lost song from this film, which was not released in gramophone record. It is another wonderful group song that is presented in the ambiance of the gypsy camp that has been infiltrated by Parvez, masquerading as a commoner. On screen, we see the inimitable Saigal, performing this joie de vivre song of free spirit in the company of the band of gypsies who have arrived to set up another temporary camp in their nomadic travels across the land. Accompanying him on screen are Miss Molina, in the role of Sonia, a gypsy girl, and Pahadi Sanyal in the role of Rahat, a young gypsy man. There is a host of other members of the gypsy clan that join in chorus. In a brief scene, we also see Nemo, in the role of the old gypsy witch, sitting with young girls and reading their palms.
The song tells of the comparison between their life in the forest, and the life of the cities – “Shehron Mein Wo Baat Kahaan Jo Jungle Jungle Aawat Hai”. Listen, view and enjoy this rare original clip from the film, that has been restored to public domain recently.
KL Saigal – the magic continues, the legend sustains.
Song – Shehron Mein Wo Baat Kahaan (Karwaan e Hayaat) (1935) Singer – KL Saigal, Molina, Pahadi Sanyal, Lyrics – Hakim Ahmed Shuja Pasha, MD – Mihir Kiran Bhattacharya
Chorus
Lyrics
shehron maa wo baat kahaan jo
jungle jungle aawat hai jo
jungle jungle aawat hai
shehron maa wo baat kahaan jo
jungle jungle aawat hai jo
jungle jungle aawat hai
shehron maa wo baat kahaan jo
baandhe paanv maa painjaniya jab
bhor suhaani aawat hai
baandhe paanv maa painjaniya jab
bhor suhaani aawat hai
har ek chidiya apna gaana
komal sur maa sunaavat hai
har ek chidiya apna gaana
komal sur maa sunaavat hai
mehakat aavat purvaiya
ya mast suhaagan aavat hai
mehakat aavat purvaiya
ya mast suhaagan aavat hai
shehron maa wo baat kahaan jo
jungle jungle aawat hai jo
jungle jungle aawat hai
shehron maa wo baat kahaan jo
pachham maa jab suraj sunehri
kiran jaa ke chhipaawat hai
pachham maa jab suraj sunehri
kiran jaa ke chhipaawat hai
saanjh chadariya kaari odhe
saanjh chadariya kaari odhe
dheere dheere aawat hai
aawat hai
shor macha hai jungle maa ke
raat suhaani aawat hai
shor macha hai jungle maa ke
raat suhaani aawat hai
shehron maa wo baat kahaan jo
jungle jungle aawat hai jo
jungle jungle aawat hai
shehron maa wo baat kahaan jo
prem ki bansi rain hamaari
chaaron oar nachaavat hai
prem ki bansi rain hamaari
chaaron oar nachaava hai
chaand aur taaran ke akaash pe
sunder phool khilaawat hai
toot giri jo koi kali wo
toot giri jo koi kali wo
jugnu ban ke aawat hai
shehron maa wo baat kahaan jo
jungle jungle aawat hai jo
jungle jungle aawat hai
shehron maa wo baat kahaan jo
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
शहरों मा वो बात कहाँ जो
जंगल जंगल आवत है जो
जंगल जंगल आवत है
शहरों मा वो बात कहाँ जो
जंगल जंगल आवत है जो
जंगल जंगल आवत है
शहरों मा वो बात कहाँ जो
बांधे पाँव में पैंजनीया जब
भोर सुहानी आवत है
बांधे पाँव में पैंजनीया जब
भोर सुहानी आवत है
हर एक चिड़िया अपना गाना
कोमल सुर में सुनावत है
हर एक चिड़िया अपना गाना
कोमल सुर में सुनावत है
महकत आवत पुरवैया
या मस्त सुहागन आवत है
महकत आवत पुरवैया
या मस्त सुहागन आवत है
शहरों मा वो बात कहाँ जो
जंगल जंगल आवत है जो
जंगल जंगल आवत है
शहरों मा वो बात कहाँ जो
पच्छम मा जब सूरज सुनहरी
किरण जा के छिपावत है
पच्छम मा जब सूरज सुनहरी
किरण जा के छिपावत है
साँझ चदरिया कारी ओढ़े
साँझ चदरिया कारी ओढ़े
धीरे धीरे आवत है
आवत है
शोर मचा है जंगल मा के
रात सुहानी आवत है
शोर मचा है जंगल मा के
रात सुहानी आवत है
शहरों मा वो बात कहाँ जो
जंगल जंगल आवत है जो
जंगल जंगल आवत है
शहरों मा वो बात कहाँ जो
प्रेम की बंसी रैन हमारी
चारों ओर नचावत है
प्रेम की बंसी रैन हमारी
चारों ओर नचावत है
चाँद और तारन के आकाश पे
सुंदर फूल खिलावत है
टूट गिरी जो कोई काली वो
टूट गिरी जो कोई काली वो
जुगनू बन के आवत है
शहरों मा वो बात कहाँ जो
जंगल जंगल आवत है जो
जंगल जंगल आवत है
शहरों मा वो बात कहाँ जो
This article is written by Arunkumar Deshmukh, a fellow enthusaist 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 : | 4240 | Post No. : | 15453 |
Today’s song is from the early era of Talkie films. The film is Desh Deepak-1935. The film was made by Wadia Movietone – the pioneers and Flag bearers of Stunt and Costume films. The film was directed by J B H Wadia, the elder brother of the owners. The screenplay, story and Lyrics were by Joseph David and the music was given by Master Mohammed. The cast included Master Mohammed, Shareefa, Iqbal, Sayani Atish, Sardar Mansoor, Husn Bano, Nadia, Boman Shroff, John Cavas, Jaidev(composer), Jijibhai and many more.
When the Talkie films started, the audience was awestruck and went to the theatres to see and enjoy, whatever the producers served them on the screen. Initially, the films were mostly Mythological and Costume dramas, but in due course, the film makers realised that making a stunt film was much more profitable than a Costume drama. Stunt films could be made in Rs. 30-50 thousand, whereas for other films, the investment was more. Further religious films catered to only a particular religion, i.e. Muslim and Christian audience would not see a Mythological film and Hindu and Christians will not see a Muslim religious film. But stunt films were for all and sundry. There was no restriction.
Due to all this, the pioneers of stunt/action films decided to concentrate on this Genre only. Wadia Movietone was the leading film maker of these C grade films. Other companies who made such films were, Imperial, Ranjit, Sharda, krishna, Saraswati, Saroj, Sagar, Bharat Royal, Ajanta, Madan etc. in 1933 Wadias entered with force in this market, and followed by others, in just 3 years i.e. from 1933 to 1935, a total of 138 films of Stunt/Action, Costume, Arabian Night stories and magic based Imaginary films ( all C grade) were made. Significantly, out of these 138 films, as many as 42 films were Stunt and Action films. This was mainly because of Wadia Movietone. They introduced Fearless Nadia in Hunterwali-35 and virtually ignited the flame of Stunt/Action films from 1935 to 1950. Thus the decade of 40s could be called “Stunt Film Decade” with 210 such films from 1941 to 1950.
Wadia Movietone was a noted Indian film production company and studio, based in Mumbai, established in 1933 by Wadia brothers J. B. H. Wadia and Homi Wadia. It was most known for stunt, fantasy and mythological films, including Hunterwali (1935).
Wadia brothers belonged to a Parsi family, and their ancestors came from the ship building Wadia family (Wadia Group), originally from Surat, which also built the British wartime ship HMS Trincomalee (1817). Their ancestors moved to Bombay in the 18th century. It was co-established in 1933, by producer and screenwriter J. B. H. Wadia, his younger brother director Homi Wadia, film distributor Manchersha B. Billimoria, and brothers Burjor and Nadirsha Tata.
However, the Tata brothers left the partnership within three years. The company then continued production of film, documentaries and newsreels from its studios near Lowjee Castle, Mumbai, the Wadia family mansion, owned by their great-grandfather Lovji Nusserwanjee Wadia, a noted shipbuilder, who founded the Wadia Group in 1736. The company even had its logo as a ship, honouring their family legacy. They company made Hunterwali (1935) starring Fearless Nadia, Boman Shroff and John Cawas, which became a surprise hit and its first big success. Thereafter, they made several films based on the Arabian Nights.
However, by the end the 1930s, the genre of stunt, fantasy and mythology films which dominated the early films, was beginning to fail and the company ran into heavy losses, after they invested into ambitious projects which flopped. The last film made by the company was Raj Nartaki (1941) under the direction of Madhu Bose. Thereafter, the studio premises were up for sale; V. Shantaram bought the studio in 1942 and established Rajkamal Kalamandir on the premises. Homi Wadia, who worked as a director the company, went on to establish Basant Pictures in the same year, though initially as a film production house. Subsequently, he established a film studio under the same banner in 1947, which functioned till 1981.
Riyad Vinci Wadia, grandson of J.B.H. Wadia inherited the studio in 1990. He is most known for his film, Bomgay (1996) and a documentary on Nadia, Fearless: The Hunterwali Story. He died in 2003.
In the early phase of Cinema, till about the end of 40s, the Studio system was in vogue. Initially, all studios employed their own staff and the films were sold on the name of the studios, e.g. Prabhat, Wadias, Ranjit, Sagar, New Theatres etc etc. Over the years slowly the ‘ Free Lance ‘ system set in and major stars operated independently. All studios tried to have the best, among their staff. Successful artistes had great demands. Even the story writers and screenplay writers were important. one such person was Joseph David (Penkar), from Imperial film co., who ,later on , joined Wadias. He was a Jew. The contribution of Jew Community to Hindi cinema in different fields like, acting, Direction, Cinematography, etc was noteworthy from the beginning of Talkie films.
Among the earliest script writers for the silent films was a Bene Israel Jew, Joseph David Penkar- (जोसेफ डेव्हिड पेणकर) (1872-1942), a theatre manager of the third decade of the twentieth century, who was also the author of plays in Marathi and Urdu. Today, three of his plays – Queen Esther, The Maccabeen Warriors and Prince Ansalom – are archived in Israel.
He wrote the story, screenplay and some of the music of Alam Ara (1931), the first full length talkie of Indian cinema. Alam Ara betrays the influences of Hebrew, Hindi and English stories. In one scene, the wicked queen imprisons a young man who fails to respond to her advances, like the Biblical story of Joseph and Potiphar’s wife. And the sub-plot of a lover couple separated, reminds of Rama and Sita from the great Hindu epic Ramayana, with perhaps a touch of Shakespeare’s Romeo and Juliet.
Joseph David was born in the Marathi speaking Penkar (पेणकर ) clan of Bene Israel Jews in the Dongri-Umarkhadi area of Bombay in 1872.
Although David did not receive much of schooling, he acquired fluency in Hebrew, English, Hindi, Urdu, Marathi and many other Indian languages. Driven by his passion for English plays, David joined the Parsi Theatrical Company as a stagehand. He was given small improvisational parts as an actor. But, with his talent for music composition and way with words, he soon found himself working as a playwright.
He made a breakthrough when he wrote the screenplay for India’s first talkie, Alam Ara, which was released on 14th March 1931. The film was a huge success. Tickets were sold for twenty times the admission rate as crowds thronged to see the first talkie venture of Indian cinema. After Alam Ara, he joined its production house, the Imperial Film Company, as a playwright and also got involved with film-producing, directing and music composing. Other screenplays followed: Sati Sone (1932); Lal-e-Yaman (1933), to which he also composed the scores; and Desh Deepak (1935). Joseph David died in 1942.
He gave music to 3 films,composing 40 songs…Laal E Yaman-33, Vaman Avtar-34 and Bagh E Misr-34. He also wrote 110 songs in 11 films, from Mahabharat-33 to Pahadi Kanya-36.
Film Desh Deepak-35 had music by Master Mohammed- who also acted in this film. Master Mohammed started his career as an actor and composer in Krishnatone’s ” Harishchandra”-1931-one of the earliest Talkie film in the first year itself. He composed 20 songs in ” Seeta swayamvar”-1933. Same year he acted and composed music to India’s First Talkie Fantasy film “Lal E Yaman”-33. He used to sing songs in his films. He was MD of many films of Fearless Nadia, from her First big film ” Hunterwali ” -1935 to ” Sher E Baghdad”-46. He gave music to 24 films, composing 217 songs and sang 41 songs in 18 films. He also acted in 23 films.
His specialty was patriotic songs in his films. Some of his famous songs were, Hum watan ke-jai Bharat-36 and Zanda uncha rahe hamara-Lutaru Lalna-38. Another song from his film, ‘Jagat ka sapna” was based on Hindu-Muslim Unity. In his every film, there used to be a patriotic song.
His last film as an actor was ” Flying Prince “-1946.
His last film as a composer was Sati Seeta-46.
I have not seen this film, but I got its story, with thanks, from a Blog, exclusive for such film discussions – http://www.pedrotheapebomb.wordpress.com. One special point about this film. This film has the famous composer Jaidev, acting in it as a child artiste. Jaidev had run away from home to Bombay and did few films before returning to home, according to his biography.
The story is…
A kingdom loses its king and there is a mad scramble to take power which would otherwise go to the child prince (Master Jaidev), who is now in hiding. Meanwhile a young woman (Sharifa) is selected to run the country.
To keep the woman in power, her elder sister (Iqbal) joins forces with the General (Sayani Atish) who, unbeknownst to anyone, desires the kingdom for himself. But the woman’s husband (Sardar Mansoor), a patriot, will not divulge the whereabouts of the prince, who is safely hidden away with a high priest (Master Mohammad) and his family, so the general puts him in jail.
The General’s daughter, a pacifist, wins over one of her father’s officers (S.L. Puri) in hopes that he will help avert an all out war, but the General, feeling betrayed, demands his execution. The daughter then meets two entertainers (Nadia and Parsi Charlie) and they try to release the patriot and two other rebels (Boman Shroff and John Cawas), who are imprisoned with him, and together they hope to stop the execution of the young officer.
When she comes to realize the General’s true plans, the elder sister turns against him and goes back to help her husband…but then, the younger sister and her army set out to crush the rebellion once and for all.
One song from this film is already posted here. So, this is the second song, sung by Husn Bano and S L Puri.
Song-Naseeba mera chamka jo sabak loon tumse (Desh Deepak)(1935) Singers-Husn Bano, S L Puri, Lyrics-Joseph David, MD-Master Mohammad
Both
Lyrics
sipahsaalar Feroz
Kya
insaan ka khoon bahaana
ye sab aapka ka kaam hai
?? jo maalik tumhaare haathon
khuda ke bandon ka khoon bahaate hain
wo sirf apna matlab nikaalte hain
sipahsaalaar
watan kaum aur mazhab ke liye
jung karna jitna achcha hai
usse behtar insaani hamdardi mein koshish karna behtar hai
shahzaadi saahibaa
to aaj se mujhe apna shaagird banaa lo
naseeba mera chamka
jo sabak loon tumse jaana ka
mujhe tum hi se haasil ho
tajarbaa aah re duniya ka
mujhe tum hi se haasil ho
tajarbaa aah re duniya ka
yahi laajim hai insaan ko
yahi laajim hai insaan ko
bane hamdard insaan ka
bada ye ??
bane hamdard insaan ka
museebat dil ko ??
aisa aaj na hona
koi maatamzada mile jaaye
jinse ??baan hona
koi aur raah gum kar de
aisa rehnuma hona
?? har ??khuda marha??
?? hona
har baar ?? marha??
kis tarah hona
yahi laajim hai insaan ko
yahi laajim hai insaan ko
bane hamraaz insaan ka
badhaaye ?? aisa ko
bane ?? ka
badhaaye ?? aisa wo
bane hamsa ?? ka
- In: "Raunchy" song | 15K Song Milestone Celebration Posts | Devnagri script lyrics by Sudhir | Enticement Song | Feelings of heart | Guest posts | Lyrics by Sudhir | Lyrics contributed by readers | Post by Arunkumar Deshmukh | Song of 1935 | Songs of 1930s (1931 to 1940) | Yearwise breakup of songs
- 23 Comments
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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3928 | Post No. : | 14999 | Movie Count : |
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Atul Song-A-Day 15K Song Milestone Celebrations – 9
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The other day, I read one quote, ‘My grand kids believe, I am the oldest thing in the world. And after spending 2 to 3 hours with them, I believe it too !”
I liked it very much and I immediately copy-pasted it in several WA groups where I am a member-including a group of Atulites.
For most people, after a certain age and after retirement, spending time is a big problem. Especially for those, who have no hobby, reading habits or a friend circle of same age group. This was never a problem for me, not because of anything written above. I retired in 1998, i.e. about 21 years ago. After doing a roaring consultancy for 5 years, I got fed up and left everything completely.
For next few years, I traveled quite a lot, with my wife. After that I settled to a steady, disciplined life. I revived my old love – love of old films and music. After a gap of almost 50 years, I remembered my diaries, which I had written after seeing every film till about 1960 or so. I opened those boxes and to my horror found that due to humidity in Bombay, white ants had attacked the diaries. I could, however, salvage majority of them – though in torn and faded conditions. . . but still worth their weight in gold !
By then, I had crossed 70 years of age. I learned operating the computer and smart phones etc., from my grand children and started surfing. One day I struck gold. I came across THIS BLOG. I was impressed with the Blog and enjoyed old songs whenever posted on it. After about 2 years of only commenting and sharing information on the Blog, Atul ji motivated me to write a post here. My first post was the song “Surya Wahi Chandra Wahi“, from the film ‘Savitri’ (1937) and it came up on 1st October 2012. The rest is history, as they say.
This Blog changed my life totally. It provided a purpose of life to me. Through posting articles here, I reinforced my belief that “Sharing knowledge increases your knowledge”. Along with the Blog I too grew up and earned a name for myself in the social media. Like the Blog, I too celebrated my Milestones of 100, 500, and 700 articles. . . – and the ride continues. . . 🙂
This Blog has given me new friends. Normally, it is difficult to cultivate new friends in old age, but contrary to this, I got very good friends, though none from my age group. Still, they accepted me heartily. Thank you Atulites. The Blog occupies a vital position in our lives now. Every Blog event is shared and celebrated. In this journey, few friends were left behind and some new ones came in, but the Band Wagon marches on… on… on and on…
The Blog is approaching one of the most important Milestones in recent times – achieving a record of 15000 songs, posted with full and correct lyrics, videos as well as lot of information woven around the songs, by Atul ji and his team of contributors. I feel proud that even my ‘Two Cents’ are there in this milestone. This Blog is unique, ATUL ji is an excellent leader and all contributors to posts, lyrics, comments, videos etc deserve CONGRATULATIONS !
True to my reputation, I have selected a song from an old film – in fact a film belonging to the first 5 years of talkie era – ‘Divine Sacrifice’ aka ‘Kimti Kurbani’ from 1935. The song, written by an unknown lyricist, is sung by Rajkumari Dubey and the music is given by Master Motilal Nayak.
During the early phase of the talkie films, most music directors came with either stage or classical background. The film people never crossed borders initially – at least for the first few years. Those who worked in Bombay remained here and those who worked in Calcutta stayed put there only. Motilal Nayak was one such MD, who gave music only to films made in Calcutta.
Calcutta’s New Theatres was like a family. It ran on systems. It became a way of life for people working in it. Since its establishment in 1930, competition increased consistently, in the number of film producing companies in Calcutta. By 1938, there were many Production houses in Calcutta alone. Some of them were- Arora Film Co., Shri Bharat Laxmi Pictures, Chitramandir, RBS Productions, Dev-Dutt Films, East India Film Co., Indu Movietone, Kali Films, Kamala Talkies, Madan Theatres, New Popular Pictures, Moti Mahal Theatres, Murli Pictures, Quality Pictures, Radha Film Co., Sonoray Picture Syndicate, Sunrise Film Co., M & SFD Company, and Tollywood Studio. (Interesting point here – Bombay film industry came to be known as Bollywood decades after this Calcutta studio – Tollywood – which continues till today for Bangla film industry). Only few of these were regular film production houses with own facilities. Most others were formed to produce occasional films, using facilities at the regular production studios.
Motilal Nayak gave music to only handful films – ‘Aankh Ka Tara’ – (1932, Madan Theatres), ‘Kanya Vikray’ – (1934, Pioneer Films), ‘Divine Sacrifice’ – (1935, M&SD Films), ‘Asmat Ka Moti’ – (1935, Pioneer), Noor E Wahadat’ – (1936, East India Film Co), ‘Bandit Of The Air’ – (1936, Modern India Talkies; this was also the debut and the only film where KN Singh was the hero). All these films were made at Calcutta only.
The cast of ‘Divine Sacrifice’ was Khalil, Miss Rose, Laxmi, Abbas Ali, Sheela, Amir Ali, Agha Jaani, Rajkumari etc.
Master Khalil Ahmed (variously mentioned as Khalil, Master Khalil, and Khalil Ahmed) was the first ever star of the silent era as well as talkie films from 1920 to 1940s. Born in 1903, he became a hero in Kohinoor’s ‘Gul E Bakavali’ (1924), opposite Zubeida. He was the first handsome and macho hero of those times. He acted with all top heroines of his time. Some of his 30 silent films are, ‘Kaala Naag’, ‘Kulin Kanta’, ‘Lanka Ni Laadi’, ‘Cinema Queen’ etc.
He featured in his first talkie film, ‘Draupadi’ (1931), made by Imperial, opposite Ermeline. Then came ‘Daulat Ka Nasha’ (1931), ‘Bharati Mata’ (1932), ‘Niti Vijay’ (1932), ‘Do Rangi Duniya’ (1933) and ‘Saubhagya Sundari’ (1933). In 1934 Khalil went to Calcutta on the invitation of East India Films. His first film in Calcutta was ‘Kismet Ki Kasauti’ (1934). Then he joined Tollywood Studio (Madon Theatres). Here his first film was ‘Gaibi Gola’ (1935), in which Baby Noorjehan made her debut as a child star.
He was in great demand in Bombay also, so Khalil started doing films in Calcutta and Bombay, by frequently travelling between the two cities. This caused a lot of stress on him, but he always kept his commitments. During this period, he also got married and got children. He settled in Calcutta and traveled often to Bombay to do films there.
Khalil did different roles, including Hindu Gods. He never changed his name. In those days very few Muslim actors kept their real names. Incidentally, during his peak time, there were two more artists named Khalil. One was Khalil Aftab, who was a lyricist and he acted in film ‘Dard E Dil’ (1934) and ‘The Mill’ (1934). This latter film was banned and was released later in 1936 as ‘Ghareeb Parwar’. The other actor was Khalil Khan, who had acted in film ‘Deepak Mahal’ (1940). In all, Khalil acted in 27 talkie films. He died quite young, on 28-11-1941, at Calcutta. Too much travelling and stress must have taken its toll on him. He was only 38 year old. He left behind one wife with 5 children.
Khalil did 13 films in Calcutta – ‘Kismet Ki Kasauti (1934), ‘Gaibi Gola’ (1935), ‘Miss Manorama’ (1935), ‘Jawaani Ka Nasha’ (1935), ‘Divine Sacrifice’ (1935), ‘Raj Dulari (1936), ‘Bulbul e Iran’ (1936), ‘Parivartan’ (1936), ‘Adarsh Mahila’ (1937), ‘Aflatoon’ (1937), ‘Karmaveer’ (1938), ‘Abla Ki Shakti’ (1941) and ‘Merchant Of Venice’ (1941).
In Bombay, he did 14 films – ‘Draupadi’ (1931), Daulat Ka Nash’ (1931), ‘Bharati Mata’ (1932), ‘Niti Vijay’ (1932), ‘Do Rangi Duniya’ (1933), ‘Saubhagya Sundari’ (1933), ‘Typist Girl’ (1935), ‘Shaitan Ka Paash’ (1936), ‘Khudai Khidmatgaar’ (1937), ‘Kiski Pyaari’ (1937), ‘Hamara Desh’ (1940), ‘Pyaar’ (1940), ‘Waayda’ (1940) and ‘Taj Mahal’ (1941).
Khalil acted with most of the leading heroines of his time like, Noorjehan (Sr), Jilloo (Zulekha Ibrahim – she was known by Jilloo Bai in her later career), Kajjan (6 films), Mushtari (3 films; she died too young, in her teens only), Miss Rose (2 films), Violet Cooper (2 films), Radha Rani, Ram Pyari, Begum Akhtar (she was then known as Akhtari Faizabadi), Sulochana, Ameena, Leela Desai, Indurani, Gulab, Ermeline and Sheela etc. Khalil was very good natured and a popular actor among his co stars and producers.
A Muslim by birth, he performed are variety of roles in films. His initial acting phase included roles of Shri Krishna and Shri Ram. Disenchanted by the communal riots during those times, he gave a speech in the Indian Motion Picture Congress, on 4th May 1939. Baburao Patel’s Film India published this extract from his speech-
“I have played Hindu Gods in films. I worked under Hindu producers only. I am disturbed by these riots. I am popular among Hindus and Muslims. We are the devotees of Art and Art has no religion.”
Indian Film Industry is perhaps the only industry which is truly a secular one, since its inception. Master Khalil Ahmed was an example of that.
The film was directed by BN Rao. His original name was Balkrishna Narayanan Nair. He was born in 1909 at Tellicherry in Kerala. His family shifted to Bombay because his father got a job in Bombay. By that time it was schooling age for Rao. One kind neighbor – a Marathi individual – helped him to get admission in a nearby school. While filling up the form the Marathi friend wrote his name as BN Rao. For this friend, every south Indian name must end with Rao only! And this name stuck to him till the end.
BN Rao directed only 2 Hindi films – ‘Veer Kumari’ and ‘Divine Sacrifice’ both in 1935. Later he became a very famous and successful Tamil and Telugu director, especially with Gemini Studios and SS Vasan. His best film was ‘Bal Nagamma’ (1942) – which he only completed, when the original director Pullayya pulled out halfway. However, the credits show Pullayya’s name as director. Hindi film ‘Bahut Din Huye’ (1954) was a remake of this film. He had also written the screenplay of film ‘Chandralekha’ (1948). ‘Encyclopedia of Indian Cinema’ by Rajadhyaksha says this about BN Rao,
B.N.Rao – (b. 1909) Tamil director and actor born in Tellicherry, Kerala. Also worked in Hindi and in Telugu. Started acting at Imperial (1926); assisted R.S. Choudhury and the cameramen Adi and Rustom Irani. Went to East India Co. (1933) and later to Madan in Calcutta, where he débuted as director with Hindi films. In 1937, moved to the Central Studios in Coimbatore; then to Gemini in Madras (1940) where he directed what is taken to be the studio’s début feature, ‘Madanakamarajan’. Established himself as a successful director in the late 40s; then left to work for Shaws Malay Film Prod. (1953-6) making films starring P Ramlee, and for Cathay Keris Film Studio (1957-64) in Singapore, directing e.g. Maria Menado, Nordin Ahmad and Latifah Omar. Returned to India for one more feature and retired in Madras.
Today’s song is the only song of this film available. With this song, the film makes its debut on the Blog. Remember, this is a song almost 85 year old.
Once again, I CONGRATULATE Atul ji, Sudhir ji and all others for reaching the milestone of 15000 songs ! Jai Ho !!
Song – Kyon Na Looten Mazey Wasl e Yaar Ke (Divine Sacrifice) (1935) Singer – Rajkumari, Lyrics – Unattributed, MD – Master Motilal Nayak
Lyrics
kyon na looten mazey wasl e yaar ke
haan
kyon na looten mazey wasl e yaar ke
beete jaate hain ye din bahaar ke
haan
beete jaate hain ye din bahaar ke
ke hazaaron ki tabiyat machal jaayegi
dil laakhon ke ?? chheen kar jaayegi
jab wo niklegi seena ubhaar ke
haan
jab wo niklegi seena ubhaar ke
haan
jab wo niklegi seena ubhaar ke
haan
jab wo niklegi seena ubhaar ke
haan
kyon na looten mazey wasl e yaar ke
paan kha kar labon ko bachaane lagey
haan
aaaa aaaaa aaaaaaaaaa
aaaa aaaaaaaaa aaaaaaaaa
paan kha kar labon ko bachaane lagey
wo to hans hans ke naaz dikhaane lagey
jis mein gul ?? ?? anaar ke
haan
jis mein gul ?? ?? anaar ke
kyon na looten mazey wasl e yaar ke
haan
kyon na looten mazey wasl e . . .
teri aankhon ne to jaani ghazab kar diya
baaton baaton mein mera dil kyon le liya
khoob maari kataari sambhaar ke
haan
khoob maari kataari sambhaar ke
kyon na looten mazey wasl e yaar ke
haan
kyon na looten mazey wasl e yaa . . .
———————————————————-
Hindi script lyrics (Provided by Sudhir Kapur)
———————————————————-
क्यों ना लूटें मज़े वस्ल ए यार के
हाँ
क्यों ना लूटें मज़े वस्ल ए यार के
बीते जाते हैं ये दिन बहार के
हाँ
बीते जाते हैं ये दिन बहार के
के हजारों के तबीयत मचल जाएगी
दिल लाखों के ?? छीन कर जाएगी
जब वो निकलेगी सीना उभार के
हाँ
जब वो निकलेगी सीना उभार के
हाँ
जब वो निकलेगी सीना उभार के
हाँ
जब वो निकलेगी सीना उभार के
हाँ
क्यों ना लूटें मज़े वस्ल ए यार के
पान खा कर लबों को बचाने लगे
हाँ
आsss आssss आsssssss
आssss आssss आssssssssss आsssssss
पान खा कर लबों को बचाने लगे
वो तो हस हस के नाज़ दिखाने लगे
जिस में गुल ?? ?? अनार के
हाँ
जिस में गुल ?? ?? अनार के
क्यों ना लूटें मज़े वस्ल ए ॰ ॰ ॰
तेरी आँखों ने तो जानी ग़ज़ब कर दिया
बातों बातों में मेरा दिल क्यों ले लिया
खूब मारी कटारी संभार के
हाँ
खूब मारी कटारी संभार के
हाँ
क्यों ना लूटें मज़े वस्ल ए या॰ ॰ ॰
Tan prem ki raakh lagaa kar ke
Posted on: January 31, 2018
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.
| Blog Day : | 3484 | Post No. : | 13994 |
Today’s song is from film Azaadi-35.
It is always a pleasure for me to write on films and songs of the 1930s and the 1940s. It is a different world altogether and traversing on the path of these decades is easy, for there is no crowd here. Not many writers are interested in discussing songs from the 1930s in details.
There are several reasons for this. First and foremost is lack of information. Considering what our love for recording history of old films and the artistes is, one has to be lucky to a great extent to have enough material to write about, in the first place. Secondly, most artistes of the 1930s and early 1940s were the lot carried forward or brought forward from the Silent Era. By the end of the first 10 years, most of these brought forward artistes went into oblivion and new force of artistes entered the film industry.
Most artistes of 1930s seem to be faceless, with only names to go by. No details, no biographies and no other informations are available for them. A select few, however, were well known with their details available, as they continued deep into the 1940s and some even into the 1950s. No information is available for most leading artistes and character artistes of 1930s. For example, artistes like, S.M.Hadi, Miss Khatoon, Miss Ameena, Kashinath, Tara, Armelin, Nayampally, Rampyari, Master Mohd., Shanta kumari, Shantarin, Vimla, Shareefa, Prabha shankar, Zebunnisa, Sultana, Shehzadi, Zillobai, Mushtari,Khalil, Jamshed ji, Chandrarao, Iqbal, Miss Kamla, Sorabji kerawala, Laxmi, Anwari, Shankarrao Bhosle, Shankarrao Vazare, Nimbalkar, Miss Leela, Madhav Kale, Jal Merchant, Sayani, Keki Adjania, Bhagwandas, Panna, Alaknanda, Hafiz, Sunalini,Sushila, Vasantrao Pehelwan, Marutirao Pehelwan, Zohra, M.Ismail…….the list is too long.
There are hundreds of such names about whom absolutely no information is available. This makes writing on old films/artistes a huge problem for students of film history ,like me. We have to be constantly on our toes to look for such information. Sometimes, Lady Luck blesses us and we come across heaps of information about an obscure name and our joy knows no bounds.
Something like this happened with me sometime back. I stumbled on an article in ” The Tribune” dated 26-5-2001, titled ” The Himachali who shone in Bollywood “, written by Ms. Anjali Mahajan. As soon as I started reading it, I realised that I was onto a discovery ! The article was based on an interview of Ms. Bimla, daughter of yesteryear actor-Hero Vijay kumar Pandit-whose song we are going to discuss today. I was not only overjoyed, but also I thanked my good luck. So, here is the information I gathered from this article as well as some other sources and HFGK of course.
As we all know, our Hindi film industry is full of Same Name Confusions. I know at least two more Vijay Kumars who acted in Hindi films. One of them was Johnny Walker’s brother, who was Hero in few films like Wanted-61 etc.
Vijay Kumar Pandit was born on 10-3-1905 in Shageen village in Shimla. His father, Kanshiram, was a rich and prominent person in the village. Brilliant Vijay Kumar matriculated from Shimla and did F.A. from Mahindra College, Patiala. While in school and college he was doing stage dramas. He did a role in Agha Hashra Kashmiri’s play “Asir-E-Hind”. He graduated from S.D.College, Lahore in 1930 and passed his M.A. M.O.L. from Lahore only in 1932.
Handsome Vijay Kumar joined as A.D.C. to Maharaja of Patiala. His love for acting continued and in one drama, even the Music Director/Singer S.D.Batish acted with him. Based on his recommendation, Vijay Kumar got Hero’s role in Premier Film Co.’s silent film,”Dukhtar-E-Zamana”. At Patiala, Vijay Kumar got married to Miss Tara, who was the sister-in-law (saali) of the maharaja of Patiala.
Then he moved to Bombay to enter films. His first film was Shakti Cinetone’s “Sajeev Moorti”-35, in which he was paired with Ashalata ( Mehrunnisa Bhagat-first wife of Anil Biswas). His wife Tara also acted in this film for the only time in her life. Then came film ‘Azaadi-35’ from same company. In this film he not only acted, he also wrote the script and gave Music. His next film was Mohan Bhavnani’s comedy film, “Shaadi ki Raat”-35, in which he was paired with actress Shareefa.
After this he moved to Calcutta, on the invitation of East India Film Co. for their film, “Sunehra Sansar”-36. Along with him Rampyari, Kamla Jharia and Menaka also acted i it. For this film, he wrote all its Lyrics also. Impressed with his performance, New Theatres called him for film, “Abhagin”-38, opposite Molina Devi and menaka.
Vijay Kumar returned to Bombay and acted in his last film,”Asha”-38, made by Film corporation of India. His Heroine was Kamlesh Kumari. After this film, he got intimation from Shimla about the illness of his father and he returned to Shimla to look after him. After doing 6 films as a Hero, due to the protracted illness of his father, Vijay Kumar could not return to Films ever. His father died in 1947 and all the responsibility of ancestral property fell on him.
All India Radio, Shimla invited him to work for them. He wrote and directed several dramas for Radio. Same time he acted in stage dramas in Gaiety Theatre of Shimla. According to his daughter, Raj Kapoor had invited him to work in the film Jaagte Raho, but he could not go. He stayed at Shimla till his death in 1977.
I was lucky to get information on this unknown hero, but there are hundreds of artistes without any face or information- only names.
Somehow,I seem to be lucky that some people from faraway countries contacted me and I got clues to get in touch with relatives of yesteryear actors, like Bhudo Advani, Indurani, Parshuram, Latika, Mirza Musharraf and few more. Recently, a gentleman from Dubai contacted me saying that he was the grandson of an obscure hero of over 20 films of 1930s and 1940s. I am in the process of meeting the son of that actor soon. So hopefully, we will know about yet one more old time actor and his career, sometime in coming months.
Today’s song is sung by Vijay Kumar. HFGK does not mention names of singers, Lyricist or the Composer of this film. However, this is one of the 6 songs Vijay Kumar sang for his films, since there was no Playback system in force that time. He sang a song even in New Theatre’s film Abhagin-38.
The uploader of this song on You Tube claims that the music is given by Mushtaq Hussain, HFGK thinks the composer may be Master Chhaila and the daughter of Vijay Kumar claims that HE was the Music Director for this film. Only Time will tell the truth.
Let us enjoy the song. With this song film Azaadi – 1935 makes its Debut on this Blog.
Song-Tan prem ki raakh laga kar ke (Aazaadi)(1935) Singer-Vijay Kumar Pandit
Lyrics
tan prem ki raakh lagaa kar ke
tan prem ki raakh lagaa kar ke
sukh prem ki dhooni ramaayenge
phir prem ki maala phira kar ke
phir prem ki maala phira kar ke
mukh prem ka ??? chadhaayenge
prem hi saadhan
prem hi poojan
prem hi saadhan
prem
prem hi saadhan
prem hi poojan
prem se hi hai safal ye jeewan
prem mein hai (?) jagat mein
prem ki bansi bajaayenge
prem ki bansi bajaayenge
prem pujaari prem mandir mein
prem pujaari prem mandir mein
prem pujaari prem mandir mein
prem ke pushp chadhaayenge
prem ke pushp chadhaayenge
prem hi prem hai saare jagat mein
prem hi prem hai saare jagat mein
prem hi prem hi prem
prem hi prem hi prem
- In: Actor-Singer song | Devnagri script lyrics by Sudhir | Duet | Feelings of heart | Guest posts | K L Saigal Film songs | Love song | Lyrics contributed by readers | Post by Sudhir | Rare song | Song of 1935 | Songs of 1930s (1931 to 1940) | Vagaries Of Love | Yearwise breakup of songs
- 15 Comments
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3471 | Post No. : | 13935 |
Today is an important day, maybe one of the most important day in the annals of Hindi film music. Today, 18th January, is the day the legendary Saigal Sb completed his mortal journey and departed from this world. After so much that has been written about him, any more contributions would simply be repetitions. But then, no matter how much we may write about him and his singing, it will never ever be able to express the complete emotions about him, and his voice. For one cannot fathom in words and language, that which is a gift of divine.
Ah yes, we can add something to the celebrity eminence of this occasion and this celebration. Readers and regulars are aware that the erstwhile considered lost film ‘Kaarwaan e Hayaat’ of 1935 vintage, has been traced and is now available. Today, I bring one more gem of an unheard song, for the listening pleasure of the multitude fans and lovers of Saigal Sb’s voice.
This song is a duet that Saigal Sb sings in accompaniment with Rajkumari. It is important to highlight that this Rajkumari is not the singer Rajkumari that most music lovers are familiar with. This is the actress-singer Rajkumari, who is also known by the name Rajkumari Kalkatta. (राजकुमारी कलकत्ता). In this film, she plays the role of the Shahzaadi – the Princess of Vijaypore. And yes, she is singing for herself in this song. The playback singing had not yet been implemented, and all songs were recorded live in the voices of the actors themselves.
To set the context of this song, let me add a brief of the storyline of the film.
Parvez (role played by KL Saigal) is the prince and heir apparent to the throne in his kingdom. However, he is less interested in the throne and becoming a king. He fancies an independent life and is seeking love, which is not a feasible thing to accomplish within the constraints of the palace life. And then the Queen Mother (role played by Shyama Zutshi) announces his betrothal with the Princess of Vijaypore. Considering this to be a setback to his life and dreams, Parvez quietly leaves the palace and goes incognito. He dresses up as a ‘banjaara’, changes his name to Naaju, and joins a band of travelling gypsies, in an effort to escape a marriage and a king’s life that he is not interested in. This secret is known only to his closest friend and sidekick, Suhail (role played by Bikram Kapoor), who is the son of the state’s prime minister (role played by Hamid).
To project a picture of normalcy, the palace keeps this news under the folds, that the prince has disappeared. As part of the matchmaking process, the Princess is supposed to visit the palace. The Queen Mother is unable to postpone this occasion. Efforts are being made to trace the Prince, and the Princess is given a go ahead to visit the palace per the agreed upon schedule.
But there is mishap waiting to happen. The Emir of Tikkim, another neighboring state, also wants to marry the same Princess. He has the Princess kidnapped as she is traveling to the palace. However, the fate intervenes in an interesting manner. The Emir has planned to hide in a safe place, within a group of people where no one would suspect. As fate would have it, he brings the Princess to the same band of gypsies, where Parvez is also hiding, masquerading as Naaju.
This congruency of fate puts Naaju (alias Parvez) and the Princess in each other’s company, and they fall in love. However, the secret identity of Naaju is not revealed to the Princess (till the end of the film). She believes she is in love with a handsome gypsy who sings very well.
In this clip, the amorous overtures of this pair of love birds are continuing. They are at the gypsy camp. The Princess had heard the singing of Naaju. She falls in love with this voice, and calls for him to visit her. That is when this song happens.
This song is a set of four couplets of a ghazal. Both the Princess and Naaju, are expressing how the love for the other in their hearts is giving them sleepless nights and aches in the heart. The exchange progresses somewhat as follows,
ab kaise chhupaaun main dil ki baat
kaati tadap kar saari raat
Pray tell me how
I am not able to contain within
The matter of heart that so engage me
I am having sleepless nights
I spent time writhing with pain in my heart
ulfat mein teri kitna roya
bin saawan aayi barsaat
I am faring no better, o dear one
My eyes are weeping
Being separated from my love
It is as if the monsoon rains
Have descended into my eyes
When it is not even season for rain
kisi ke ek hi naghme ne ashkbaar kiya
sukoon e qalb liya gham se hum-kanaar kiya
It is just one song that I heard
That has made me shed tears (of longing)
My peace and tranquility has been removed
And am now connected with sorrows (of separation)
na taab e zabt hai mujhko na taaqat e fariyaad
khizaan ne gulshan e hasti ko be-bahaar kiya
My sense of restraint and my composure is lost
I have lost my power to even make an entreaty
The autumn has descended
Upon the garden of my being
And has made it bereft of spring
Let us listen to this rare treat of Saigal Sb’s voice. A song that has so far been considered lost, is now being shared for the pleasure of all music lovers.
[Ed Note: At the end of the clip, it appears as if the song is abruptly cut off, and possibly it is not complete. However, I have checked with the copy of the film booklet, which has so graciously been shared with me by Harmandir Singh ji ‘Hamraaz’. On referring to this booklet for checking the completeness of the lyrics, it is determined that this song is complete, with just a tiny blip at the end.]
Song – Ab Kaise Chhupaaun Main Dil Ki Baat (Kaarwaan e Hayaat) (1935) Singer – Rajkumari, KL Saigal, Lyrics – [Unattributed], MD – Mihir Kiran Bhattacharya
Lyrics
ab kaise chhupaaun main dil ki baat
ab kaise chhupaaun main dil ki baat
kaati tadap kar saari raat
kaati tadap kar saari raat
ab kaise chhupaaun main
ulfat mein teri kitna roya
ulfat mein teri kitna roya
bin saawan aayi barsaat
aaa aaa aaa
bin saawan aayi barsaat
ab kaise chhupaaun main dil ki baat
kisi ke ek hi naghme ne ashkbaar kiya
kisi ke ek hi naghme ne ashkbaar kiya
sukoon e qalb liya gham se hum-kanaar kiya
sukoon e qalb liya gham se hum-kanaar kiya
na taab e zabt hai
mujhko na taaqat e fariyaad
na taab e zabt rahi
mujhko na taaqat e fariyaad
khizaan ne gulshan e hasti ko be-bahaar kiya
khizaan ne gulshan e hasti ko be-bahaar kiya
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
अब कैसे छुपाऊँ मैं दिल की बात
अब कैसे छुपाऊँ मैं दिल की बात
काटी तड़प कर सारी रात
काटी तड़प कर सारी रात
अब कैसे छुपाऊँ मैं
उल्फ़त में तेरी कितना रोया
उल्फ़त में तेरी कितना रोया
बिन सावन आई बरसात
आ आ आ
बिन सावन आई बरसात
अब कैसे छुपाऊँ मैं दिल की बात
किसी के एक ही नग़मे ने अश्कबार किया
किसी के एक ही नग़मे ने अश्कबार किया
सुकूने क़ल्ब लिया ग़म से हम-किनार किया
सुकूने क़ल्ब लिया ग़म से हम-किनार किया
ना ताब ए ज़ब्त रही मुझको
ना ताक़त ए फरियाद
ना ताब ए ज़ब्त रही मुझको
ना ताक़त ए फरियाद
ख़िज़ाँ ने गुलशन ए हस्ती को बे-बहार किया
ख़िज़ाँ ने गुलशन ए हस्ती को बे-बहार किया
Nindiya Mori Bairan Oye Hoye Re
Posted on: June 2, 2017
- In: Blog century song | Century songs for the blog | Chorus song | Devnagri script lyrics by Sudhir | fun timepass song | Guest posts | joie de vivre | K L Saigal Film songs | Lyrics contributed by readers | Post by Sudhir | Rare song | Song of 1935 | Songs of 1930s (1931 to 1940) | Yearwise breakup of songs
- 19 Comments
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
A century post – and a discovery of monumental proportions. Things cannot get more rare, and better, than this.
We are at a century marker with this post – 13,300 – thirteen thousand three hundred to be exact. Atul ji and I exchanged some thoughts on whether to hold back this important discovery for a bigger, more major milestone up ahead. But then we decided that the wait of some more months will be too much. Let us introduce this discovery at 13,300 itself, and then we will have a few more opportunities to bring on other parts, other songs of this discovery.
Read more on this topic…
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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