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

Archive for the ‘Song of 1935’ Category


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 :

3928 Post No. : 14999 Movie Count :

4106

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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॰ ॰ ॰

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

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


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


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 : 3462 Post No. : 13893

Going back happily to my favourite decade of the 30’s, here is a song from film ‘Dr. Madhurika’ (1935).

This film was made by Sagar Movietone. 1935 was a period of the early talkie films and the film business was slowly developing into an industry. In the 2-3 years, prior to the advent of sound, the news was already in the air about the silent films soon to start talking and singing on the screen.

This prompted enterprising entrepreneurs to jump onto the film making wagon and establish their set ups as film producing units. The start of Prabhat Film company in Kolhapur in 1929, the beginning of Ranjit Movietone in 1929 and Sagar Movietone in 1931 was a result of this. That way Kohinoor, Imperial, New Theatres, Maharashtra Film Co. and many others were already in this business. Bombay Talkies started in 1934.

All these production companies needed people. Actors, directors, cameramen, musicians, writers and other technicians were needed. In the initial stage of the Indian films,whether silent or talkie,it was difficult to get girls from good families and background. Slowly this picture changed. When talkies started, many tawaifs – singing girls and girls from such families joined films as they fulfilled the requirement of singing and looking good, in addition to their ease on Hindi/Urdu language. At this time slowly many educated and girls from high society as well as middle class families started joining films. So,to distinguish these women from each others, a system of nomenclature was followed. All the girls coming from ‘singing’ families and tawaif background added the suffix ‘Bai’ to their names, like Jaddanbai, Waheedan bai, Zohrabai, Amirbai etc. The Anglo-Indian and middle class girls took the prefix of ‘ Miss’ like, Miss Moti, Miss Rose, Miss Tara, Miss Ajmat, Miss Pearl etc.Those girls who were from high society were called Devi, like Sabita Devi, Padma Devi, Renuka Devi etc. All Marathi actresses used their full names like Shanta Apte, Minaxi Shirodkar, Leela Chitnis, Snehprabha Praadhan, Durga Khote etc.

The studios, on their part, tried to develop their own staff by recruiting talented artistes. Each studio had their own set of artistes. Sagar Movietone developed and promoted their actors like Motilal, NM Charlie, Kumar, Yaqub, Bhudo Advani, Sheikh Mukhtar, Surendra, VH Desai, Kanhaiyalal etc., actresses like Bibbo, Waheedan Bai, Jyoti, Nalini Jaywant, Maya Banerjee, Sabita Devi etc., directors like Ezra Mir, Mehboob, Sarvottam Badami, Zia Sarhadi, Ramchandra Thakur etc., and cinematographer – Faredoon Irani, music director – Anil Biswas. They were all referred to as ‘Jewels of Sagar’.

The film ‘Dr. Madhurika’ had Motilal and Sabita Devi as its lead pair and it was directed by Sarvottam Badami. A director of Hindi, Telugu and Tamil films, Sarvottam Badami was born in Channapatna, Karnataka. He was the son of a revenue officer in Mysore. As a young man, he worked as motor mechanic and handyman in a garage owned by Ambalal Patel. (Even Gulzar was a motor mechanic before entering films). Later he worked as a projector operator at Patel’s Select Pictures cinema in Bangalore.

When Patel partnered with Ardeshir Irani and Chimanlal Desai in launching Sagar Movietone (1930), Badami, as the only available South Indian in the Bombay studio, was allowed to finish ‘Harishchandra’ and ‘Galava Rishi’ and went on to direct the Telugu ‘Paduka Pattabhishekham’. He made several social films at Sagar, usually starring Sabita Devi, including some of novelist KM Munshi’s best-known scripts, e.g. ‘Dr. Madhurika’, ‘Vengeance is Mine’ (1935). He also adapted Hollywood films, e.g. ‘Aap Ki Marzi’ (1939), based on E. Buzzell’s ‘Paradise For Three’ (1938). He followed his mentor, Patel, to Sudama Pics. in 1939 when Sagar merged to become National Films. He worked in Famous Cine Labs (1946-48). He then moved to Films Divisiion (1948-52) as the Chief Producer (Newsreel), and made documentaries. He left Films Division in 1954 and became an industrialist based in Bangalore; and an adviser to the Kamani industrial group.

Filmography:
1932 – ‘Harishchandra’; ‘Galava Rishi’; ‘Paduka Pattabhishekham’; ‘Shakuntala’
1933 – ‘Chandrahasa’
1934 – ‘Grihalakshmi’
1935 – ‘Dr. Madhurika’; ‘Vengeance is Mine’;
1936 – ‘Jeevan Lata’; ‘Gram Kanya’;
1937 – ‘Kokila’; ‘Kulvadhu’;
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 – ‘Manmaani’;
1951 – ‘Vinoba Bhave’ (Doc);
1952 – ‘Roof Over The Head’

[Ed Note: The above bio-sketch is adapted from Encyclopedia of Indian Cinema.]

Sagar Movietone produced many social films. These films had a soft message that morality is a commitment to society, but these films were disguised as ‘reformist’ films. ‘Dr. Madhurika’ was written as a script by Kanhaiyalal Maneklal Munshi (K.M.Munshi). It was one of his rare original scripts. Later it was adapted into a drama in 1936. Though the story was admired, it was criticised by some feminists of those days, who understood the disguise of reformation. The story of film Dr. Madurika is,

Dr. Madhurika (Sabita Devi) is a modern woman dedicated to her profession. She marries Narendra (Motilal) on conditions that 1. He forgets the idea of having children because she advocates birth control to limit population control of the country and 2. He does not interfere with her profession or her choice of friends and their meetings.

While following profession, she neglects her home and also provokes husband’s jealousy by being very friendly with a very smart colleague, Dr. Gaurish (Pesi Patel). Narendra is very jealous. By coincidence, he meets the wife of Dr. Gaurish and learns that she too is sad because of husband’s neglect and resents his friendship with Dr. Madhurika. Narendra starts meeting her often and they become friendly. Meanwhile Narendra also helps a poor and needy good looking girl Indu (Padma Shaligram), who reciprocates with gratitude and meets him often.

Dr. Madhurika is now jealous of Narendra’s attention to these two women. She realises that this is all due to her neglect towards Narendra. She decides to become a dutifully domesticated traditional housewife and all ends well. (647).

The film was yet another feather in the success of Sabita Devi. The real name of Sabita Devi was Irina Gasper. She was an Anglo-Indian, born in an affluent family of Calcutta, in 1914.

After completing education she wanted to join films, but her family objected. Without family’s knowledge, she sent her resume and photo to British Dominion Film Co., owned by Dhiren Ganguly in Calcutta. When they informed their consent the family resisted and kept her locked in the house. She fell ill and finally, the family conceded to her wishes.

Her first film was ‘Flames of Flesh’ (1930). Then came ‘Kanthahaar’, ‘A touch of Love’, ‘After the Death’, ‘Aparadhi’, ‘Money Makes What Not’ and ‘Bhagyalaxmi’ as silent films.

When the talkies came, she determinedly learnt Hindustani and Urdu and also music. She was a good piano and harmonium player. Her first talkie film was ‘Radha Krishna’ in 1933. In this film she sang 16 out of 23 songs in the film. In 1934, came ‘Shahar Ka Jaadu’, opposite to Motilal as a debut actor. The film was a hit. Later she and Motilal became a popular  pair.

Later she joined East India Co. and did many films with them. In later days i.e. 1943 onward, she stopped singing herself. Her last pictures were ‘Amrapali’ (1945) and ‘Manmaani’ (1947). In 1946, she got married and left for England. She returned to Calcutta in 1965, and passed away the same year.

A list of her films – ‘Radha Krishna’, ‘King For A Day’, ‘Shehar Ka Jaadu’, ‘Phantom Of The Hills’, ‘Grihlaxmi’, ‘Chandragupta’, ‘Vengence Is Mine’, ‘Silver King’, ‘Dr. Madhurika’, ‘Village Girl’, ‘Lagna Bandhan’, ‘Jeevan Lata’, ‘Kulvadhu’, ‘Kokila’, ‘300 Days And After’, ‘Ladies Only’, ‘Aap Ki Marzi’, ‘Sajni’, ‘Chingari’, ‘Holiday In Bombay’, ‘Prarthana’, ‘Fashion’, ‘Amrapali’ and ‘Manmaani’.

The film has 9 songs, all written by Prof. Waqif and tuned by music director Pransukh M Nayak. Nayak came to Sagar from Imperial. Starting with ‘Madhuri’ (1932), he composed music for almost 25 films. The songs of ‘Deccan Queen’ (1936) composed by him and sung by Surendra (debut film), were very popular and famous.

With this song, the film ‘Dr. Madhurika’ makes its debut on our blog. The film’s songs are not available on You Tube. I got this song from the collection of Shri Girdharilal Vishwakarma ji. It is hosted on Dr. Surjit Singh ji’s site. Thanks to them both.


Song – Mori Pyaari Pyaari Gaiya Aur Doodh Ki Tu Dilvaiya (Dr Madhurika) (1935) Singers – Sabita Devi, Lyrics – Prof Waqif, MD – Pransukh M Naayak

Lyrics (Provided by Sudhir)

mori pyaari pyaari gaiya
mori pyaari pyaari gaiya
aur doodh ki tu dilvaiya
dilvaiya
pyaari gaiya
aur doodh ki tu dilvaiya
pyaari gaiya
mori pyaari pyaari gaiya

aa chal tujhko chai pilaaun
bhookhi ho to cake khilaaun
laadli aai meri gaiya
meri gaiya
pyaari gaiya
laadli aai meri gaiya
meri gaiya
pyaari gaiya
aur doodh ki tu dilvaiya
aur doodh ki tu dilvaiya
dilvaiya
pyaari gaiya
mori pyaari pyaari gaiya

aa chal tujhko saadi (??) banwaaun
patli chonch ka boot dilaawun
tujh par bal bal jaiya
bal jaiya
pyaari gaiya
tujh par bal bal jaiya
bal jaiya
pyaari gaiya
aur doodh ki tu dilvaiya
aur doodh ki tu dilvaiya
dilvaiya
pyaari gaiya
mori pyaari pyaari gaiya

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

मोरी प्यारी प्यारी गईय्या
मोरी प्यारी प्यारी गईय्या
और दूध की तू दिलवइय्या
दिलवइय्या
प्यारी गईय्या
और दूध की तू दिलवइय्या
प्यारी गईय्या
मोरी प्यारी प्यारी गईय्या

आ चल तुझको चाय पिलाऊँ
भूखी हो तो केक खिलाऊँ
लाड़ली आई मेरी गईय्या
मेरी गईय्या
प्यारी गईय्या
लाड़ली आई मेरी गईय्या
मेरी गईय्या
प्यारी गईय्या
और दूध की तू दिलवइय्या
और दूध की तू दिलवइय्या
दिलवइय्या
प्यारी गईय्या
मोरी प्यारी प्यारी गईय्या

आ चल तुझको सादी (??) बनावूँ
पतली चोंच का बूट दिलावूँ
तुझ पर बल बल जईय्या
बल जईय्या
प्यारी गईय्या
तुझ पर बल बल जईय्या
बल जईय्या
प्यारी गईय्या
और दूध की तू दिलवइय्या
और दूध की तू दिलवइय्या
दिलवइय्या
प्यारी गईय्या
मोरी प्यारी प्यारी गईय्या


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…


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

DIL KI PYAAS (1935) was produced under the banner of Bharat Lakshmi Pictures and it was directed by J J Madan and Sorabji Karewala. The star cast included Jahanara Kajjan, Patient Cooper, Mukhtar Begum, Fida Hussain, Surajram, Violet Cooper, Gama etc.
Read more on this topic…


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

I had no idea about this film KAARWAAN-E-HUSN (1935), a name that I heard for the first time. Even the name of the singer, Miss Noor Jahan was new for me. The film was produced under the banner of Kanwal Movietone and was directed by Choudhary M Raffi. The star cast included S.Nazir, Shahzadi, M. Ansari, S M Hadi, Zohrajaan, Miss Noor Jahan, Agha etc.
Read more on this topic…


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.

WE, THE PEOPLE OF INDIA, having solemnly resolved to constitute India into a SOVEREIGN SOCIALIST SECULAR DEMOCRATIC REPUBLIC and to secure to all its citizens:

JUSTICE, social, economic and political;

LIBERTY of thought, expression, belief, faith and worship;

EQUALITY of status and of opportunity; and to promote among them all

FRATERNITY assuring the dignity of the individual and the unity and integrity of the Nation;

IN OUR CONSTITUENT ASSEMBLY this twenty-sixth day of November, 1949, do HEREBY ADOPT, ENACT AND GIVE TO OURSELVES THIS CONSTITUTION.

Greetings to all on the 67th Republic day of our country.
Read more on this topic…


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.

“Hind Kesari”(1935) was directed by Homi Wadia. The movie had Husn Banu, Sardar Mansoor, Gulshan, Jal Khambatta, Tarapore, Master Mohammed etc in it.
Read more on this topic…


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.

“Bombay Mail”(1935) was directed by R P Bhatt for Prakash Pictures, Bombay. The movie had Panna, Rajkumari, Jayant, Lallubhai, Ismail, Raja Babu, S Nazir, Umakant etc in it.
Read more on this topic…


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What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over ELEVEN years. This blog has over 15200 song posts by now.

This blog is active and online for over 4000 days since its beginning on 19 july 2008.

Total number of songs posts discussed

15221

Number of movies covered in the blog

Movies with all their songs covered =1178
Total Number of movies covered =4183

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