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

Archive for the ‘Song of 1936’ Category


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 : 3719 Post No. : 14653

When ‘Bawarchi ‘ was released in 1972, I had seen it on the big screen in the theatre with family. In this film, Hrishikesh Mukherji has woven a remarkable story of a joint family and their interesting interactions. The head of the family (a widower), his three sons, two daughters in law, third son still a bachelor, and three children. The roles of the two daughters in law were played by Durga Khote and Usha Kiran. Being quite un-exposed to cinema otherwise (it was school years for me) I was quite unfamiliar with these two ladies when I saw this film for the first time.

I was later to recall these two senior actresses, when I would get to see their earlier, older films. The first such re-introduction was when I saw ‘Mughal-e-Azam’ (1960) on TV for the first time. Then I came to recognize Durga Khote in her role as Jodha Bai, and connected her with her role in ‘Baawarchi’. The two films had a difference of 12 years, and decidedly, she is looking much younger and sweeter in her role as Badi Maa in ‘Baawarchi’, compared to her royal appearance as the empress of India and wife of Emperor Akbar. One scene (from ‘Baawarchi’) that really amazed me and mesmerized me, is the family song situation from an early morning impromptu get together of the family members – “Bhor Aayee Gaya Andhiyaara”. During the course of this song, the two supposedly middle aged daughters in law perform the rapid pace thaap steps dance to the rapid taal – “dhiga tum naa naa naa naa naa” being rendered by the family help Raghu (role played by Rajesh Khanna). It was a real wonder to see the two ladies perform that sequence. A quick check reminded me that Durga Khote was, goodness, 67 years of age, when she performed in ‘Bawarchi’.

Remembering Durga Khote on the anniversary of her passing away (22nd September).

The first and the top most lady luminary of the Hindi cinema, Durga Khote was born on 14th January, 1905, in a well­ known family of Bombay. The family hailed from Goa and spoke Konkani at home. Her mother’s name was Manjulabai. Her father, Pandurang Shamrao Laud, was a famous lawyer and her brother was also a well known barrister. The young Vita Laud (her maiden before marriage) was educated, like her siblings, at Cathedral High School and St. Xavier’s College from where she did her B.A. While still in college, she was married into the Khote family, graduated and settled down with her husband. By the age of 26, she was a widowed mother of two sons – Bakul and Harin.

Into this scenario, and a life of a very traditional family, plopped in something utterly new – the world of cinema. Durga Khote wanted to work to support her children. In doing so, she became a pioneer of sorts. It was a time when the film industry was regarded as the preserve of the base and the bawdy. Also, most of the female characters were played by men at the time.

It all came about through her sister Shalini, also married and having amongst her circle of friends, a gentleman by the name JBH Wadia. At the time JBH was working with Mohan Bhavnani as the latter’s assistant. The talkies had just made their appearance on the silver screen. Bhavnani who had just made a picture, wanted to give it the box office appeal of a “talkie” ending. The picture starred Mrs. Bhavnani and her husband was  looking out for a girl who would feature with his wife in the climax scenes of the film. Approached by JBH, Shalini refused. But knowing Durga as a person who would try anything once, she recommended her. Durga was ready to have a go at the part, accepted the role and went off to the studios the same day. Mr. Bhavnani’s heterogeneous production was soon completed, printed and made ready for release.

The film flopped. And for the beautiful young housewife and mother there followed a period of embarrassment at being connected with a filmy disaster. The film was ‘Farebi Jaal’ (also titled as ‘Trapped’ in English). “That is just how I felt when I saw it. It was a terrible film,” Durga Khote recalls in an earlier interview. She goes on to say that, “. . . my position was more than awkward. I had suddenly achieved a fair measure of notoriety. I just couldn’t walk around in Girgaum without people pointing at me.”

Looking back on it she laughed at the by-gone crisis. Through all this turmoil and unease there was one solid consolation: both the Laud and the Khote families were far too intelligent and sophisticated to be worried by the affair. On the contrary “My families stood up for me” declared Durga Khote with a proud smile of affection.

Amongst those who saw the film ‘Trapped’, was the then up and coming producer and director V Shantaram. After seeing her performance, he offered her the female lead role of Taramati in the bilingual film ‘Ayodhyache Raaja’ – ‘Ayodhya Ka Raja’ (1932). Durga Khote saw in it an opportunity to vindicate herself. Once again encouraged by the families, she accepted the role and played it beautifully. The film was not only good but a big hit, in both the Hindi and Marathi versions.

V Shantaram simultaneously cast her also in ‘Maya Machhindra’ (again 1932). This was a also a smash hit. These two top successful films established her straight off as a top star. Following came a number of films that won her acclaim from the public and from the film industry. After the two fabulous successes in 1932, what followed is no less dazzling a repertoire of well known films and famous roles.

In 1933, she appeared opposite to Prithviraj Kapoor in the New Theatres Production from Calcutta – ‘Raajrani Meera’. This year also saw her play the lead role opposite to a very young and handsome new entrant into the industry – P Jairaj, in the film ‘Patit Paavan’ (Pratima Phototone, Bombay).

1934, and she is paired opposite to Prithviraj once again in ‘Seeta’, from East India Film Company in Calcutta.

1935, another production from New Theatres – ‘After The Earthquake’, as the female lead opposite to Syed Mohammed Nawab. And once again, paired with Jairaj in ‘Jeevan Natak’ – a Debaki Bose Production in Bombay.

In 1936 came one of her many superlative roles on the screen – ‘Amar Jyoti’ from the production house of Prabhat, with co stars Chandramohan, Vasanti and B Nandrekar.

She played the lead role in ‘Pratibha’ in 1937, opposite to Master Shyam; film by Shalini Cinetone.

1938, and she appeared in two films – ‘Nand Kumar’ (Jaishree Films), working with Govindrao Tembe and ‘Saathi’ from Natraj Films, paired with Mubarak – another popular hero of that era.

1939 saw her appearing with Prithviraj once again in the Ranjeet Studios production – ‘Adhoori Kahaani’.

In 1940 it is Chandramohan and the film is ‘Geeta’ from Circo Productions. Also in 1940 came the famous and popular hit film, ‘Narsi Bhagat’ working with Vishnupant Pagnis.

1941 and it is ‘Charnon Ki Daasi’ from Atre Pictures, paired with Gajanan Jagirdar.

In 1942, she appeared in 2 films, ‘Bharat Milap’ of Prakash Pictures, with co stars Prem Adeeb, Shahu Modak and Shobhana Samarth; and in ‘Vijay’ from National Studios, opposite to Harish.

1943 turned out to be a blockbuster year for her, appearing in the lead role in six films. She was seen in ‘Qurbani’ opposite to Ishwar Lal, ‘Mahasati Anusuya’ with Shahu Modak, E Billimoria and Shobhana Samarth; ‘Mahatama Vidur’ with Vishnupant Pagnis; ‘Tasveer’ – paired with the young newcomer Motilal; and ‘Zameen’, paired with Biswas. The listing for 1943 is complete only when we talk about the mega film from Minerva Movietone – ‘Prithvi Vallabh’ in which she is paired with Sohrab Modi.

In 1944, it is ‘Maharathi Karn’ paired with Prithviraj Kapoor once again, and ‘Dil Ki Baat’ a romantic social, working opposite to Ishwar Lal.

In 1945, it is ‘Lakahrani’ from Prabhat, working opposite to Sapru; ‘Panna Dai’ working with Chandramohan and Mubarak; and ‘Veer Kunal’ with Mubarak, Kishore Sahu and Shobhana Samarth.

In 1945, we also see a major qualitative shift in her career. She stepped away from lead roles and very gracefully migrated towards support roles as a character artist. ‘Village Girl’ was probably the first such film, in which she does not play the lead role. But her films and her roles continue to be significant and powerful.  She had already stated to play non-romantic lead roles in films like ‘Charnon Ki Daasi’ (1941) and ‘Bharat Milap’ (1942). Her filmography beyond 1945 speaks volumes of her prowess as an actress, and her ability to command the scenes, and the films. Moving to character roles, her assignments continue to increase, and she continued to be a busy and an in demand artist for another almost four decades. During her career, she has appeared in more than 200 films.

A special mentions needs to be made of the 1953 film ‘Chacha Chaudhry’ – a comedienne performance which took the industry and the public by storm. The brilliant timing of her expression, gestures, movement and dialogue combined to make that role such a scintillating comedy portrayal that she all but stole the picture from the consummate actor Raja Paranjpe – who doubled as director and lead player – and Dhumal. The three of them made it a slick, hilarious romp.

Durga Khote’s portrayals have been sensitive and consummate. Notable mentions must be made of some of her performances;

as Queen Kaikeyi in the 1942 film ‘Bharat Milap, jealously coveting the throne for her own son – her personification of the grasping queen made one understand if not quite condone the old king’s doting weakness;

as Shachi Devi, mother of Chaitanuya Mahaprabu in the 1953 biopic ‘Shri Chaitanya Mahaprabhu’ – a heart-rending performance of a mother torn between her love for her son and the gratification she feels in his single-minded devotion to God, and her heartbreak for his bewildered, forsaken girl-bride, and her gradual resignation, made for a portrayal which was a gem of histrionic art;

as Jodha Bai, the empress of India, wife of Akbar – once again called upon to make a dreadful choice of loyalties, torn between the warring father and son – at first unable to invoke the blessings for her husband leaving for the battlefield, with the certainty of the fear that her son will be killed, and then when Akbar challenges her by attempting to erase the sindoor from her forehead, very sternly and studiously she performs the pooja giving the due honor to her suhaag even in the face of an eventuality of possibly losing her only child.

These and many other such power packed performances have made Durga Khote the dame thespian of the Indian cinema. She was honored with the Padam Shri award in 1968 and the coveted Dada Saheb Phalke Award in 1983.

In 1950, Durga Khote naturally gravitated towards the stage and she joined the Marathi Sahitya Sangh, starting her long association with the theatre also. She kept busy acting in, producing and directing plays. She also founded Durga Khote Productions which produced short films – advertising, documentary, educational and industrial.

She continued to be active both in films and in theatre till the mid 1980s. After that, she moved into semi-retirement. She passed away this day, in 1991, in Bombay.

The film ‘Amar Jyoti’ has been acclaimed as a film much, much ahead of its time, both in terms of handling of the subject matter as well as in terms of technical finesse and special effects. The film represented India in the Venice film festival in 1937 and won praises and accolades as one of the best three films at the festival.

The film deals with the theme of suppression and negation of the role of the woman in the society, and one lady’s rebellion against it. As a subject, this was a daring endeavor by V Shantaram, given the prevalent sentiments in the society of that era. Nevertheless, this film was much acclaimed and became very popular at the box office too. Since the story revolves around pirates, scenes related to sailing ships and ships in conflict, it was a major accomplishment for the director, to be able to create the necessary environment within the studio, and film all the naval scenes using advanced special effects techniques, within the confines of the studio itself.

The film pertains to an undefined historical period. A queen (role played by Karuna Devi) and her cruel minister Durjay (role played by Chandramohan) are challenged by a woman turning a pirate and terrorizing the coastal provinces of the kingdom. This woman, Saudamini (role played by Durga Khote), has been much wronged by her husband. But when she pleads for justice from the royal court, Durjay decrees that a husband was the complete master of his wife, whom he could ill-treat, use as a chattel or dispose of as a slave. She is denied custody of her son by the queen, after she refuses to return to her matrimonial home. This greatly enrages Saudamini and drives her to revolt and seek revenge. She takes on the mantle of a male role and gets into a commanding position, as the captain of a pirate ship. She is assisted by her associate, Rekha (role played by Vasanti).

Durjay is captured and is kept as a prisoner with one of his legs cut off, to make him realize the eternally enslaved condition of women. Her next big catch is the princess Nandini (role played by Shanta Apte), the queen’s daughter. In her relationship with the princess, Saudamini plays an even bigger game by converting the princess to her creed of female emancipation, which considers love and marriage as a bondage. The princess suppresses her feelings for a shepherd boy, Sudhir (role played by B Nandrekar), whom she had met during her days in the pirate’s den. Unknown to even Saudamini, this shepherd boy is actually her own son, who was separated from her years ago.

In the continued sequence of events, Durjaya escapes with the help of Sudhir and returns to arrest Saudamini. Saudamini is captured, but the others, along with Nandini and Rekha, escape. It is finally revealed that Sudhir is Saudamini’s long-lost son. Nandini and Sudhir are married and Rekha carries forward Saudamini’s legacy.

Shantaram has used the symbol of the lamp and the flame very effectively. He deployed many other techniques that were considered path-breaking at that time. The film’s real success is in bringing out the inner conflicts of women, who may become male-like rebels, at the cost of suppressing their natural urges as wife or mother. In one of the most moving scenes in the film, we see Saudamini secretly fondling the tiny garments of her son, who has been separated from her.

In this song, we see this brief interlude, as Saudamini is remembering her child. The brief song is written by Pt Narottam Vyas, and the music is composed by Master Krishna Rao Phumblikar. The playback singing voice is that of Vasanti.

Remembering and honoring the enduring legacy of this fine actress – Durga Khote.

[Author’s Note: Acknowledgements – This article has adapted material from online sources viz., Cineplot and Wikipedia. Filmography details have been prepared using the Geet Kosh voumes 1 and 2.]

Song – Ankhiyan Ke Tum Taare Pyaare (Amar Jyoti) (1936) Singer – Vasanti, Lyrics – Pt Narottam Vyas, MD – Master Krishna Rao
Durga Khote

Lyrics

akhiyan ke tum taare pyaare
chhod mohey mat jaa re
ab mat jaa re

akhiyan ke tum taare pyaare
chhod mohey mat jaa re
ab mat jaa re

[sudhir. . .]
[main teri maa. . .]

akhiyan ke tum taare pyaare
chhod mohey mat jaa re
ab mat jaa re

aansoo nainan mein se

aansoo nainan mein se
aansoo nainan mein se
kaahu tohey pukaarun
kaahu tohey pukaarun
waaroon sukh dukh saare
waaroon sukh dukh saare
waaroon sukh dukh saare

akhiyan ke tum taare pyaare
chhod mohey mat jaa re
ab mat jaa re

[ab mat jaa re]

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

अखियन के तुम तारे प्यारे
छोड़ मोहे मत जा रे
अब मत जा रे

अखियन के तुम तारे प्यारे
छोड़ मोहे मत जा रे
अब मत जा रे

[सुधीर॰ ॰ ॰]
[मैं तेरी माँ॰ ॰ ॰]

अखियन के तुम तारे प्यारे
छोड़ मोहे मत जा रे
अब मत जा रे

आँसू नैनन में से

आँसू नैनन में से
आँसू नैनन में से
काहू तोहे पुकारूँ
काहू तोहे पुकारूँ
वारूँ सुख दुख सारे
वारूँ सुख दुख सारे
वारूँ सुख दुख सारे

अखियन के तुम तारे प्यारे
छोड़ मोहे मत जा रे
अब मत जा रे

[अब मत जा रे]

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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 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 : 3700 Post No. : 14620

HFM Songs Statistics by Year – 5
————————————————–
Year 1936
—————–

Aha, the delay in posting caught the celebration. Today we are onto the 3700th day of this blog’s existence. Just having crossed the ten year mark recently, here is one more celebration today – 37th century of number of days of this blog. Congratulations and congratulations to all. 🙂

Coming back to this series after a haitus of, oh my goodness, almost three years. I can’t believe that the last episode of this series was published way back on 25th November, 2015. Wo. . .

OK, getting back into gear again. The year in 1936. It has been five years since the films found their voice.  And twenty five years since the moving pictures made their first entry into India. Ah yes, 1936 – we are now on to the silver jubilee year of motion pictures in India.

These were the heady and formative years of the talkie cinema in India. After cautious and suspicious view of the fate of the Hindi film songs in their first two years, i.e. 1931 and 1932, the film producers started to take initiative and ventured out to start recording more and more songs on gramophone records. The propensity of the viewing public to appreciate the film music enough, to start singing these songs in real life, and also an expressed demand to listen to these songs once again – these two factors led the producers to start delivering the film song on gramophone records. Of course, the additional revenue stream was a prime attraction for them. But as a result, what got initiated is an inadvertent effort to preserve this music. The numbers may not have been much, but it was a great beginning. 1934 and 1935 saw more and more of film songs getting published on shellac records.

This had a significant transformative impact on the Hindi film music. The industry was coming to realize the importance and the impact of the film song and music. And hence, we progressively see a greater effort being devoted to the music and song department. In the mid 1930s, we see two very significant directions in which the music progressed. The first was the simplification of the music itself. Coming in from the theatre mode and into the cinema, the music was very strongly rooted in the classical mold. However, as we see the rise of the Hindi film song, and its popularity amongst the viewing, and also, listening public, we see a basic transformation in the music itself – a move towards simplifying the music, and making it more accessible to as well as acceptable by the general public. Music started being recognized as something not just to be listened to and appreciated in ‘mehfils’ and ‘gaayans’ by a select coterie of connoisseurs. That the music would be popular with and will be appreciated by the general public, was a recognition with the coming of the Hindi film song. And so, the composers and music directors started to simplify the music such that it would make inroads into the hearts of the general public, and on to the lips from the hearts.

In many film and music reviews that we read from yesteryears, we find a phrase or its variation – “फलां फिल्म के गाने गली गली में सुने जाने लगे” – “the songs of such-and-such film could be heard in every street and alley”. That, I think, is the success of the composers to bring the music from its pure classical plane to a level where it would appeal to the person on the road. No, I am not at all saying that the music was made pedestrian. It was actually a very qualitative change in creating this music. It became what was later to be termed as ‘सुगम संगीत’- music for easy listening. And of course, it won a million hearts, and continues to capture the fancy of oncoming generations. Just the fact that the music from those decades still has an attraction to hold a person’s interest and appreciation – tells us volumes about the effort the song creators put into this endeavor, to ensure that the listening public would be smitten. And smitten we are – even to this day and this era.

The second aspect was a dictate of the technology. The accepted standard of the 78 rpm record could hold approximated three and a half minutes of recording. As more and more producers and production houses made decisions to release their music on records, this duration (or in some cases, its multiple) became an accepted length of the film song. And so, the challenge that the song creators had was to express what had to be expressed, convey what had to be conveyed, and meet a standard of longevity and retention in memory in just three and a half minutes. And the measure of their success – I am sure beyond their own wildest dreams – is that their creations continue to be loved and revered even after close to a century later. They were the wizards that created this lasting magic settled into the hearts of innumerable listeners.

The era of the song artists – song writers, composers and singers – getting established as institutions, was still some years off. But we do see the rise of the singer-actor icon – KL Saigal, who had already made his singing debut back in 1932. ‘Devdas’ had already happened in the previous year (1935). That iconic film once and forever transformed the image of the romantic hero, that lasts to this day. And it was the first film of its kind in which the music and songs played such a significant role in a romantic relationship. Still continuing to work at New Theatres in Calcutta (now Kolkata), the star of Saigal was rising as the first song artist being recognized as an institution.

The voice of Saigal Sb appeared in two movies this year – ‘Pujaarin’ (MD – Timir Baran) and ‘Krorepati’ (MD – Pankaj Mullick), both from New Theatres. Besides these two, New Theatres had two more releases – ‘Manzil’ and ‘Maaya’ (MDs – Pankaj Mullick and RC Boral).

Bombay Talkies released the iconic ‘Achoot Kanya’ with music by Saraswati Devi. The song “Main Ban Ki Chidiya. . .” was that type of song that was heard in “गली गली”. But wait, before we talk about this film, we must talk about another film (released somewhat earlier in the year, also by Bombay Talkie) – ‘Jeevan Naiya’. This latter film was the debut film of an unwilling actor – Ashok Kumar. Working as a lab technician in Bombay Talkies, this young man was forced into acting roles, but then he took to this career like fish to water. And he sang – in his debut film – a song to be remembered forever – “Koi Humdum Na Raha, Koi Sahaara Na Raha”. And very interestingly, the later to be renowned SN Tripathi, made his debut as a singer in this film under the baton of Saraswati Devi.

V Shantaram and Prabhat Studios released ‘Amar Jyoti’ this year. A film that told the story of Saudamini, a female pirate captain – was decades ahead of its times, in the manner in which it dealt with the subject matter and the technological aspects. The film represented India at the Venice Film Festival that year. Prabaht and V Shantaram released another film this year, which added a new term to the Indian cinematic reporting – ‘golden jubilee’. ‘Sant Tukaram’ goes on record as the first Indian film to play continuously for more than 50 weeks. The popularity of this film is legendary. There are stories about people and groups of people who would travel tens or hundreds of miles from their villages, sometimes on foot, to go see this film in the nearest town with a cinema. It is reported that ordinary people would say prayers and offer flowers to the posters of this film depicting Vishnupant Pagnis in the title role. Also sent to the Venice Film Festival, this film was applauded as one the best three films of the year, at the festival.

Singer actor Surendra Nath made his debut this year in the film ‘Deccan Queen’. His rendition of “Yaad Na Kar Dil e Hajeen Bhooli Hui Kahaaniyaan…” is a song that has lasted in history. Music directors Dhamman Khan, SN Tripathi and Ashok Ghosh made their entry into film music direction this year.

This was a time when the literary writers started gravitating towards cinema. Scholarly and established poets and authors like Zia Sarhadi, Asghar Husain ‘Shor’, Aarzoo Lakhnawi made their debuts in songwriting in Hindi films. Jaddanbai, who had made her debut as a music director in the previous year (1935) made her entry in the realm of song writing, when she penned the songs for ‘Madam Fashion’ this year.

Other important films of this year are

  • ‘Sunehra Sansaar’ from East India Company, directed by Debaki Bose
  • ‘Deccan Queen’ and ‘Manmohan’ from Sagar Movietone, both directed by Mehboob
  • ‘Jai Bharat’ from Wadia Movietone starring Sardar Mansoor and Husn Bano
  • ‘Passing Show’ from Prakash Films starring Jayant and Padma Devi
  • ‘Saeed e Hawas’ from Minerva Movietone directed by Sohrab Modi
  • ‘Maa’, produced and directed by Prafulla Ghosh; the song “Vande Maatram” appeared for the first time in cinema
  • ‘Gareeb Parwar’ or ‘Daya Ki Devi’ was finally allowed to be released this year. Originally made as ‘The Mill’ in 1934 by Ajanta Movietone, Bombay, this film was banned for public release by the British govt, as it was critical of the foreign rule under strong pressure from the powerful Mill Owners Association. This is one the first film that is based on a literary work by the famous Hindi author, Munshi Premchand.
    [Ed Note: The above corrections are based on inputs from dear Arun ji. Please see the comments below.]

A very interesting aside related to music. Wadia Movietone started a very refreshing endeavour. They started making short films on the famous and important classical music stalwarts. These films were shown without any extra charge, prior to the main feature. In that age and time, this was a great service that was rendered by the house of Wadia, both towards cinema and classical music.

Another interesting aside. We see a couple of instances where an earlier very popular film song had been copied. The first instance is the song “Birha Ki Aag Lagi Morey Mann Mein”, sung by Surendra under the baton of Pransukh Nayak. This song was an imitation of the famous “Baalam Aaye Baso Morey Mann Mein” sung by Saigal Sb for ‘Devdas’ in the previous year. Then again, we hear this song in the film ‘Miss Frontier Mail’ – “Gaawo Gaawo Ae Mere Sadhu Sabhi Bhulaawo Gham” – presented as a parody of the famous KC Dey rendition of ‘Jaao Jaao Ae Mere Saadhu Raho Guru Ke Sang”. Possibly the very first parody song of another film song in Hindi cinema.

Other snippets, ‘Seeta Vivaah’ was released as the first film in Oriya. The film ‘Shokh Dilruba’ gained a dubious distinction – with 150 kissing scenes. And IMPPA (Indian Motion Picture Producers Association) was established.

Now for some numbers for this year. As per the Geet Kosh, number of Hindi films that were censored and released is 134. From the available data and song lists, a total of 1,212 songs were created for these films. Once again, as per the information available in Geet Kosh, 136 songs from 34 of these films have been traced as having been published on gramophone records.

  1. Achhoot Kanya
  2. Amar Jyoti
  3. Amar Prem
  4. Baaghi Sipahi
  5. Bhakt Cheta
  6. Chhaaya
  7. Deccan Queen
  8. Do Deewaane
  9. Faulaadi Mukka
  10. Gol Nishan
  11. Jai Bharat
  12. Janambhoomi
  13. Jeevan Lata
  14. Jeevan Naiya
  15. Khyber Pass
  16. Krorepati
  17. Lagna Bandhan
  18. Maa
  19. Maa Ki Mamta
  20. Maaya
  21. Manmohan
  22. Manzil
  23. Miss Frontier Mail
  24. Naseeb Ka Chakkar
  25. Pahaadi Kanya
  26. Piya Ki Jogan
  27. Prem Ki Aag
  28. Pujaarin
  29. Rajput Ramani
  30. Romantic India
  31. Snehlata
  32. Sunehra Sansaar
  33. Tope Ka Gola
  34. Village Girl

In addition to the above films, based on information exchanged between the circle of collectors of this music, we have songs available from 9 more films. These are,

  1. Kimiagar
  2. Sipahsalaar
  3. Struggle
  4. Aakhri Galti
  5. Aseer e Hawas
  6. Bandits of the Air
  7. Gunehgaar
  8. Laylo Nihaar
  9. Noor e Wahdut

The song being presented with this post is from the 1936 film ‘Bandit Of The Air’ aka ‘Hawaai Daaku’.

This film has an important distinction – that it is the only one film of actor KN Singh, in which he appeared as the hero opposite to Ram Pyaari. On 1st September, just three days ago, was the birth anniversary of this ‘baddie’ cum character actor in Hindi films, with a long innings of over five decades, with more than 250 appearances on the silver screen to his credit.

A top hat, thick and bushy eyebrows – raised in a sinister question, a smoking pipe, and large menacing eyes – a hallmark appearance of this villain that lasted through many decades. His entry into the screen frame always prepared the viewers that someone is going to be bashed, or something evil is going to happen. In an interview, KN Singh recalls the following incident. AR Kardar’s ‘Baaghbaan’ (1938) had been released and KN Singh’s role as a villain had impressed one and all. KN Singh was now working on the sets of a film titled ‘Kaun Kisi Ka’ (1939). Yakub, who was then working with Sagar Movietone and was also a known villain actor, happened to come by to the same studio. Seeing KN Singh, he greeted him as “Hello King”. KN Singh responded to his greeting and said that his name is ‘Singh’ and not ‘King’. Yakub replied, “हम तो तुम्हें किंग ही कहेंगे। हम तो बस यही कहने आए हैं कि हमने अब विलेन का काम करना छोड़ देना है। अब तो गोप के साथ कामेडी किया करेंगे। क्योंकि तुम्हारी तरह हम चल नहीं सकते। तुम्हारे चल के आने में ऐसा लगता है के मुसीबत आ रही है।” (“I will call you as King only. I just came by to say that I am now giving up playing villain roles, and will join Gope and do comedy. Because I can’t even walk like you. When you walk into a scene, it seems as if some calamity is arriving”).

KN Singh was the eldest of five siblings, children of Chandi Prasad Singh, a well known advocate in Dehradun. When he was born on 1st September, 1909, his parents first named him ‘Niranjan’. Then, Chandi Prasad’s guru ji came home to bless the child, and he said – “Krishn has come to your home”. So then the complete name of child became Krishn Niranjan Singh – later to be abbreviated as KN Singh. He studied at La Martenier and Cambridge Schools in Dehradun. His father wanted to send him to London to study law, because he wanted his son to follow in his footsteps. But then a certain event happened that changed the course of life for KN Singh. A murder case came to his father. The accused was a well known rich man of Dehradun. It was a crime of passion, and a lady had been put to death. Chandi Prasad Singh was successful in getting the accused acquitted, by producing some fake train tickets to establish that the accused was not in Dehradun when the crime was committed. This falsification effected KN Singh so much that he prayed his father to relieve him of the promise of becoming a lawyer, because he would never be a party to such lying and deceit. There was a falling out and he left home and Dehradun.

With a friend he travelled to Lahore, and then to Gujranwala. There he setup a cloth printing workshop, that put prints on khadi cloth. The work was good and he soon set up another print workshop in Lahore. Then, in collaboration with another friend, he established a coaching school for students in Roorkee – K&D Tutorial Institute. In 1930, he was asked to return to Dehradun, and his parents got him married. This first marriage did not last long, as his wife unfortunately passed away in 1932. KN Singh stayed on in Dehradun.

In 1935, he went to Calcutta to visit his sister, who had shifted to Calcutta after her marriage. Now, in Dehradun, KN Singh was friends with Nityanand Khanna, a person who turns out to be a cousin of Prithviraj Kapoor. This was the time that Prithviraj was working with New Theatres in Calcutta. So KN Singh met Prithviraj and they became good friends. At Prithviraj’s residence, one day KN Singh happened to meet Debaki Bose. Debaki Bose suggested to him to become an actor. KN Singh, at first, tried to let it go as an exchange in lighter mood. He returned to Dehradun. But that suggestion kept sitting as a worm at the back of his mind. Sure enough, after a short while, he was back in Calcutta. With the help of Prithviraj, Debaki Bose cast him in the role of a doctor in the film ‘Sunehra Sansaar’ (1936). The film journey of KN Singh had started.

Very soon, the word got around the Calcutta film circles about this handsome young man from Dehradun, who could speak Urdu very well. Modern India Talkies were looking for a new face to be the hero in their next venture – ‘Bandit Of The Air’ aka ‘Hawaai Daaku’. With the promise that he would not be required to sing or jump around the trees, KN Singh agreed to take on that role. That film was also released in 1936. Meanwhile New Theatres again offered him a role in their film ‘Anaath Ashram’ (1937). This role was once again a villain’s role. Next came ‘Vidyapati’ and then ‘Milap’, both in 1937. Incidentally, ‘Milap’ was a production from Moti Mahal Theatres in Calcutta, and was produced and directed by AR Kardar himself.

His second marriage happened in 1937. He merrily describes the episode. The shooting for ‘Vidyapati’ was in progress, and he was summoned to Dehradun for getting married. In the midst of the shooting schedule, he asked for a two days reprieve, went home, got married and promptly returned to the studios, as the sets were still in place and some scenes were waiting for his return. With good humor he explains, there is a scene in the film in which he is shown about to enter the royal court of Prithviraj Kapoor. After this scene is shot, he takes leave to go home for his marriage. Then returns after two days and completes the rest of the shot of the royal court. As he explains, just before entering the ‘darbaar’  he is an unmarried person, but in the very next scene as he is inside the ‘darbaar’ and present in front of Prithviraj Kapoor, he is a married man. None in the industry would have had such a swift wedding affair, he laughs.

His presence in the film industry was being noticed seriously. AR Kardar invited him to come over to Bombay, and take on the villain’s role in his upcoming ‘Baagbaan’ (1938). After the release and success of ‘Baagbaan’ – there really was no looking back. The film went on to celebrate a golden jubilee, and KN Singh was typecast as a villain forever.

After KN Singh moved to Bombay in 1938, slowly the exodus started from Calcutta in general, and New Theatres in particular. Majority of the film artists and film music makers also migrated slowly to Bombay. Impacted by the great famine in Bengal, the closing years of the world war II, contributed to a general slowdown of the economy, and the film industry in Calcutta.

After coming to Bombay, KN Singh settled into his career as a villain cum character actor in the Bombay world of cinema. After the golden jubilee success of ‘Baaghbaan’, Ezra Mir cast him in ‘Sitaara’ (1939). Arriving in Bombay, he worked himself into the top bracket of the highest paid character actors in the industry. And with the coming of most of his old friends from Calcutta, he felt quite at home now in his flourishing career.

In Calcutta, while at New Theatres, KN Singh also became very good friends with KL Saigal. In an interview he once refreshed his old memories of the days when most of the cream of Bombay industry used to stay within a 20 to 30 minutes walking distance from each other in Central Bombay. The camaraderie within this group consisting of Prithviraj Kapoor, Shyam, Om Prakash, KN Singh, Bhagwan, Jairaj, Nargis, Kidar Sharma, KL Saigal, Madan Puri, Jagdish Sethi, Manmohan Krishan, PN Arora, Robin Chatterjee, Sitara Devi, Jayant, Anil Biswas, Dronacharya, Manna Dey, Phani Mazumdar, Brijrani, Dwarka Khosla, PN Khanna (these are the names he himself has mentioned in the interview) was of a very fond friendship. There would be frequent get-togethers and picnics, and friends would drop in unannounced, into each other homes, as well as at work in studios. He cites specifically the scene from ‘Awaara’ (1951), which is the final confrontation between Raj Kapoor and KN Singh, and in which the latter dies at the end of the scene. KN Singh is brandishing a knife, and it is supposed to fall out of his hands and come in Raj Kapoor’s possession. While the action steps were being discussed, Bhagwan Dada dropped in unannounced into the studio. Having been a stunt master earlier, he got involved into the discussion, and suggested how the scene should be executed. Raj Kapoor took that suggestion very sportingly and the scene was shot as suggested by Bhagwan Dada.

Another interesting anecdote he tells is about the film ‘Ishaara’ (1943). The lead pair was Prithviraj and Suraiya, and KN Singh was playing the role of the hero’s father. Now Prithviraj was three years elder to KN Singh. So, says KN Singh, that he formally asked for permission from Prithviraj to take on that role, because in this role he would be scolding and berating his elder cast member. The times, yes, they were different in that era.

Close to end of 1946, an ailing KL Saigal left Bombay for the last time, proceeding to his hometown Jalandhar for treatment and recuperation. He was not destined to return. It is significantly noted in many articles and information pieces – there were only two people to see him off a the Bombay station – one was his driver and the second person was KN Singh. The film ‘Parwaana’ (1947) was still under production and both Saigal Sb and KN Singh were working in it. Providentially, KN Singh is the last person of the film industry who would see Saigal Sb alive.

KN Singh’s inning in the film industry lasted well into the early nineties, a great run of more than five and half decades. The last released movie in which he appears is most likely, ‘Ajooba’ from 1991. He has worked with most actors – starting with Mazhar Khan, Prithviraj and KL Saigal, all the way upto Dharmendra, Amitabh, Rajesh Khanna, Jeetendra and Shashi Kapoor. In his later years he was troubled with failing eyesight, and was quite a bit on his own, alone and forgotten. Most of his old friends were gone by then. He passed away on 31st January, 2000.

A gentleman villain, as opposed to the angry gangster boss, his enduring image is that of a white collared villain, dressed in a fine suit and bow tie, smoking a pipe, with a menacing glance and a calm cold delivery. He was a stickler for discipline and punctuality. It is said in the industry that in his later years, like 1970s and 1980s, producers would cast him in cameo roles, just so that other members of the cast would come to the studio on time, knowing that KN Singh is also part of the team.

Time to come to the song – 🙂 . This song is the only song that is traceable in public domain, for the film ‘Bandit Of The Air’ – ‘Hawaai Daku’; the only one film in which KN Singh made an appearance as a hero, on the promise that he will not be required to sing or dance. 🙂

This film was produced under the banner of Modern India Talkies, Calcutta, and was directed by AR Chaudhry. The story of the film was written by AR Chaudhry himself. The star cast listed for this film is Ram Pyari, KN Singh, Mazhar Khan, Hashmat, Manzari, Adhar Singh, Tila Mohammad, OP Sharma, MC Kazi, Faiz Mohammad, Bachu, Poornima, Pratibha, and Master Vilayatu.

For this film, 11 songs are listed in the Geet Kosh. Music director is Motilal Nayak. The names of songwriters and singers are not identified. I request other knowledgeable readers and friends to please add more information about this song and this film.

A rare song that was created more than eight decades ago. It has been uploaded by Shalin Bhatt ji.
Listen and enjoy.

[Ed Note: This rather longish article which has been in preparation for many months now. KN Singh’s birth anniversary drove it to completion. 🙂 I have adapted material from the following sources for this article.

  • Articles on KN Singh – three print articles provided by dear friend Shri Harish Raghuvanshi ji, from Filmfare, Jansatta, and one more publication.
  • ‘Hindi Cinema – Sadi Ka Safar’ (Hindi Cinema – Journey of a Hundred Years); written by Shri Anil Bhargav
  • ‘Seventy Five Years of Indian Cinema’; by Shri Feroze Rangoonwala
  • ‘Hindi Film Sangeet – 75 Varshon Ka Safar’ (Hindi Film Music – Journey of 75 Years); written by Shri Anil Bhargav
  • Information on songs availability, supplied by Shri Girdhari Lal ji Vshwakarma, (Jodhpur) and Zafar Bhai (Delhi).
  • Hindi Film Geet Kosh Vol. 1 (1931-1940); compiled and annotated by Shri Harmandir Singh ‘Hamraaz’

]


Song – Sona Lene Piya Gaye Soona Kar Gaye Des (Bandits Of The Air) (1936) Singer – [Unknown Female Voice] , Lyrics – [Unattributed] , MD – Motilal Nayak

Lyrics

sona laane piya gaye
soona kar gaye des
sona laane piya gaye
soona kar gaye des
sona mila na piya miley
sona mila na piya miley
roopa bhayo kes
sona laane piya gaye
soona kar gaye des

main birhan ab kab tak tadpoon
tooti mann ki aas
praan pakheru kaise udd kar
pahunchen pee ke paas
pahunchen pee ke paas
loot liya mujhe is maaya ne
haaye badal ke bhes
sona laane piya gaye
soona kar gaye des

aankh se aansoo hardam barsen
jaise ho barsaat
kathin hui hai mujh birhan par
dukh ki kaali raat
koi sunaa de unko jaa kar
koi sunaa de unko jaa kar
mera ye sandes
soona kar gaye des

hardam naina neer bahaayen
dil se nikle haaye
praan sahejun piyu ko apne (??)
mann mein rahun chhupaaye
mann mein rahun chhupaaye
un bin tadpun main dukhiyari
lagi hai mann ko thes
un bin tadpun main dukhiyari
lagi hai mann ko thes
sona laane piya gaye
soona kar gaye des
soona kar gaye des

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

सोना लाने पिया गए
सूना कर गए देस
सोना लेने पिया गए
सूना कर गए देस
सोना मिला न पिया मिले
सोना मिला न पिया मिले
रूपा भयो केस
सोना लेने पिया गए
सूना कर गए देस

मैं बिरहन अब कब तक तड़पूँ
टूटी मन की आस
प्राण पखेरू कैसे उड़ कर
पहुँचें पी के पास
पहुँचें पी के पास
लूट लिया मुझे इस माया ने
हाए बदल के भेस
सोना लेने पिया गए
सूना कर गए देस

आँख से आँसू हरदम बरसें
जैसे हो बरसात
कठिन हुई है मुझ बिरहन पर
दुख की काली रात
कोई सुना दे उनको जाकर
कोई सुना दे उनको जाकर
मेरा ये सन्देस
सूना कर गए देस

हरदम नैना नीर बहाएँ
दिल से निकले हाए
प्राण सहेजूँ पिया को अपने (??)
मन में रहूँ छुपाए
मन में रहूँ छुपाए
उन बिन तड़पूँ मैं दुखियारी
लागि मन को ठेस
उन बिन तड़पूँ मैं दुखियारी
लागि मन को ठेस
सोना लेने पिया गए
सूना कर गए देस
सूना कर गए देस


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 : 3619 Post No. : 14422

Today’s song is from a really unknown and unheard of film of the early era – ‘Fauladi Mukka’ (1936).

So far 3 films with this title are made in Hindi. The other two films were made in 1965 and 1985. The 1965 movie was a regular C grade action stunt movie of actor Aazad and the 1985 movie was a Tamil film dubbed in Hindi. It starred Rajinikant. I call him a sophisticated stunt actor, although he is known to have worked in serious social films too. But generally, in the world beyond Tamilnadu, Rajinikant is equivalent to unimaginable, logic-basher, nature-defying stunts which make you not only wonder but also bring you a smile.

It is a wonder that such an actor is treated like a God in south. But then, South has always been like that. Adoring the actors beyond acceptable norms, deifying them and even building temples for them. Once when I was travelling in Tamilnadu, I had seen a Temple for actress Khushboo (it was promptly destroyed by the same fans, when Khushboo made some sensible, practical and logical remarks during an AIDS awareness campaign). Now I hear there is a Temple for actress Namitha !

Forget about actors, but some typical film titles shout loudly about it being patently a stunt film. Can you ever imagine that films like Khooni Darinda, Khoon Ki Pyaasi Daayan, Khooni Jaadugar, Guru Ghantal, Atom Bomb, Bhedi Bungla, Khooni Laash, Madame Zapata, Daryayi Lutera and similar scary but funny title film, being a social meaningful film, showing a dedicated wife, dutiful son and disciplined children serving their grandparents?

The fun is, there is a fixed set of producers, directors and actors in an action film. Moreover, such films used to be shown in some obscure, dilapidated, old cinema houses. When I was young, I remember having seen stunt films in theatres of old city part of Hyderabad, having names like Taj, Delite and Moosa. Yes, a theatre on the banks of river Moosa was named as Moosa Theatre !

Ok, Ok, to make the matter short and sweet, today’s film too was a C grade stunt/action film, made by Wadia Movietone famous for such films. Low Budgets-No Publicity-Big Profits. This sure shot formula of Wadia Movietone prompted them to promote a foreign, daring girl, who was ready to any stunts in films. She overtook all the then prevailing stunt kings like Baburao Pehelwan, Kamran, Dalpat, Prakash and the likes of them and in a flash became famous as Fearless Nadia.

So, again coming to the point, ‘Fauladi Mukka’ was also a stunt film featuring well known action artists like Harishchandra Rao, Husn Banu, Sayani Atish, Dalpatram, Master Chhotu, Shahjehan etc. The MD was the usual stunt film specialist Master Mohammad. The leading lady Husn Banu’s story is very interesting.

Her mother Sharifa was an actress in the 20s and the 30s. She hailed from the Central Provinces and joined the Corinthian Theatre company of Calcutta, in which the famous Urdu writer Agha Hasra Kashmiri was also working. She and Agha fell in love. However during one performing tour, the Maharaja of Charkhari in Central Province, fell for Shareefa. He followed the drama company to Calcutta and bought the already debt ridden Corinthian Theatre company for Rs. 40 Lakhs. This included the entire property and the services of Agha and Shareefa too. Soon they resigned and Shareefa started acting in films.

A Parsi magician named Minoo Kooper (the actor singer Minu Cooper, the mystique, of Bombay was a different person) came to Calcutta to give performances. Shareefa was attracted to him and they both left on a tour of Far East. She went as his helper and a consort. For a year they stayed together. When Shareefa became pregnant, Minoo left them in Singapore and returned to India.

Roshan Ara aka  Husn Banu was born in Singapore on 8-2-1919. She was very beautiful. She started her career in Calcutta (just like her mother), by working in New Theatre’s film ‘Daaku Mansoor’ (1934). After this film, Shareefa brought her to Bombay and she started getting roles in Wadia films. She was working  only in C grade stunt action films. After 1940, she got 2 social films made by Bharat Laxmi films and in 1941 again 1 film each from Bhavnani productions and National studios. However she got only small or side roles.

In 1941, When she was selected for Ranjit’s film ‘Dhandora’ as a Heroine, this was a new experience for her as she had never worked in a social or a comedy movie as the lead actress. All her experience was for stunt films only. Husn Bano acted in 53 films and sang 44 songs in 16 films. She had married Wadia’s director Aspi Irani. Husn Bano worked in films till 1977; her last film was ‘Akhari Sajda and then she retired. She had a big house ‘Shareefa Manzil’ in Dadar, Bombay. On 23-11-1986, her husband Aspi Irani left home for work and he simply disappeared. He was never found and was declared as a “Missing Person” by the police.

Husn Banu was beautiful. She was featured in Lux Soap advertisement in the early 1940s. Leela Chitnis was the first to feature in this ad during early 1940. After that Azuri, Bharati Devi, Manorama, Ratanbai, Shobhana Samarth, Mumtaz Shanti, Neena, Sadhona Bose and Maya Banerjee have also featured in these ads.

Hero of this stunt film was Harishchandra Rao (Kadam). He was born in Bhuj, Gujarat on 11-8-1910. He did his early schooling in Bhuj, but his family shifted to Karachi, due to financial debacle. He did cycle repairing work and completed his matriculation by age of 18 years. He joined a touring film company. Once, while in Bombay he was watching the film shooting in Paramount company. Suddenly, the director offered him a role in the film. Thus he entered the films. from 1932 he did few silent films.

He joined Shankar Bhatt’s Prakash Pictures and worked in their first Talkie, ‘Bambai Ki Mohini’ (1934). He was with Prakash, upto 1939, doing stunt films inside and outside also. He did some films for Wadia too, in between. Finally he started his own company – Harishchandra Productions. He continued to work as actor, director and producer. He sang few songs also.

Some of his films were ‘Daulat’ (1937), ‘Naujawan’ (1937), ‘Rangila Mazdoor’ (1938), ‘Rangila Jawaan’ (1940), ‘Sukhi Jeevan’ (1942), ‘Lehri Jawaan’ (1935), ‘Inaam’, ‘Sone Ki Chidiya’ (1934), ‘Durbaan’ (1946), ‘Laat Sahib’ (1946), ‘Tamaasha’ (1942) etc. He worked in about 42 films.

His brother Chandrarao Kadam was also a stunt actor. He was known as Stunt King. He had his own company – Chandrarao Films. He acted, directed and produced films. The brothers were friendly with Master Bhagwan and gave him preference in their films, till Bhagwan started his own company- Jagriti films. Later on Chandrarao floated his own Chandivali Studio in Bombay suburb, which is still actively run by his progeny.

The film ‘Fauladi Mukka’ had only 5 songs. Listen to today’s song. There are some dialogues in the beginning. If you recollect, there was a famous song by Surendra and Bibbo, from film Manmohan-36, which had a prose line by Bibbo- क्या मै अंदर आ सकती हुं ?. This made the song very popular. In today’s song also similar lines are there and these songs were recorded earlier than Manmohan-36, as per record numbers.  may be this song perhaps had been an inspiration for the ‘Manmohan’ song. Just a thought !

The film and singer Harishchandra Rao make their debut on the blog today.

( Credits- Stages of Life-Indian Theatre Autobiographies by Kathryn Hansen, All India Film Directory (1946), HFGK, MuVyz, www.chiloka.com, Isak Mujawar, Vithal Pandya and my notes.)

 


Song – Prem Mandir Mein Manmurakh Yeh Har Ki Kundi Khole (Faulaadi Mukka) (1936) Singer – Husn Bano, Harishchandra Rao, Lyrics – Munshi Gyan, Music – Master Mohammed
Unidentified Male Voice

Lyrics (Provided by Sudhir)

prem,
aaj ka lesson to khatm hua
aur is ke baad

behan,
prem ki pariksha to kar li
ab prem pariksha bhi kar lo

chandrakanta,
tumhaare bhai chhotu ne vaakai ek mushkil sawaal hamaare saamne pesh kar diya hai

haan,
sawaal, ye aisa sawaal
jiska jawaab siwaye zindagi ki sunehri kitaab ke aur kahin nahin mil sakta

o ho
aap (??) bhi hain
bhala bataaiye aap ki kitaab e zindagi
prem ke baare mein kya kehti hai

prem mandar mein
mann murakh ye har ki kundi khole
prem mandar mein
mann murakh ye har ki kundi khole
kaa..aath ki bansi
prem raag mein
har dam tu ru boley
kaa..aath ki bansi
prem raag mein
har dam tu ru boley

prem ki duniya kitni badi hai

ek hi bindu prem ki duniya
ek hi bindu prem ki duniya
saagar laakh samaate hain
saagar laakh samaate
prem naiya mein
prem nagar se
prem ke moti doley
prem naiya mein
prem nagar se
prem ke moti doley

aur prem ki shakti

prem nagar mein
mann mastaana
amrit ka deewaana
prem nagar mein
mann mastaana
amrit ka deewaana
vi..eesh ka pyaala
le kar paagal
amrat amrat boley
vi..eesh ka pyaala
le kar paagal
amrat amrat boley

prem mandar mein
mann murakh ye har ki kundi khole

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

प्रेम
आज का लेस्सन तो खत्म हुआ
और इस के बाद

बहन
प्रेम की परीक्षा तो कर ली
अब प्रेम परीक्षा भी कर लो

चंद्रकांता
तुम्हारे भाई छोटू ने वाकई एक मुश्किल
सवाल हमारे सामने पेश कर दिया है

हाँ
सवाल, ये ऐसा सवाल
जिसका जवाब सिवाय ज़िंदगी की सुनहरी
किताब के और कहीं नहीं मिल सकता

ओ हो
आप (??) भी हैं
भला बताइयेआप की किताब ए ज़िंदगी
प्रेम के बारे में क्या कहती है

प्रेम मंदर में
मन मूरख ये हर की कुंडी खोले
प्रेम मंदर में
मन मूरख ये हर की कुंडी खोले
का॰॰आठ की बंसी
प्रेम राग में
हर डैम तू रु बोले
का॰॰आठ की बंसी
प्रेम राग में
हर डैम तू रु बोले

प्रेम की दुनिया कितनी बड़ी है

एक ही बिन्दु प्रेम की दुनिया
एक ही बिन्दु प्रेम की दुनिया
सागर लाख समाते हैं
सागर लाख समाते
प्रेम नैया में
प्रेम नगर से
प्रेम के मोती डोले
प्रेम नैया में
प्रेम नगर से
प्रेम के मोती डोले

और प्रेम की शक्ति

प्रेम नगर में
मन मस्ताना
अमरत का दीवाना
प्रेम नगर में
मन मस्ताना
अमरत का दीवाना
वी॰॰ईष का प्याला
ले कर पागल
अमरत अमरत बोले
वी॰॰ईष का प्याला
ले कर पागल
अमरत अमरत बोले

प्रेम मंदर में
मन मूरख ये हर की कुंडी खोले


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 : 3604 Post No. : 14384

Today is the fifteenth remembrance day for Anil Biswas, one of the pioneering music directors of film industry in India. He passed away on 31st May in New Delhi, in the year 2003. With his active years in the film industry (from 1935 to 1965) behind him, he had moved to Delhi by mid 1960s. Thereafter, he worked with the All India Radio in New Delhi, and was also associated with JNU (Jawaharlal Nehru University).

As I am checking his filmography and the list of songs, as per the Geet Kosh, I come across a very interesting statistic. As per Geet Kosh, during his active years in the film industry from 1935 to 1965, he composed music for 82 films, of which three are unreleased films with songs available. The total of songs in these films comes to around 715.

Then I counted his body of work in the first six years of his career in films, i.e. from 1935 to 1940. Amazing to find out that in these first six years he has composed music for 25 films, logging in approximately 220 songs. This works out to be a tad over 30%, both in terms of number of films and total no. of songs composed. So in the first six years of his career (which is 20% of his career), he had already accomplished 30% of all the work that he would do for Hindi films. And now to the sad part of these numbers. Of these 220 songs, more than half i.e. 137 were not even released on gramophone records (as per Geet Kosh listings). Of the remaining shortlisted songs, just about 80 to 85 songs are available in public domain. This last number is as per my knowledge of available songs within the known circle of collectors – this number could be more.

A large part of this work from those six earliest years remains unknown and unheard – a sad commentary on the state of affairs of archiving and preservation efforts in the industry.

In remembrance of this doyen of music directors, I present this rare song today, which has an important distinction. As per the Geet Kosh listings, this most likely the earliest song that he has sung, under his own music direction, that is available. The Geet Kosh lists one earlier solo credited to him as a singer, for the film ‘Dharam Ki Devi’ of 1935, which was probably never released on gramophone record. This song from the 1936 film ‘Piya Ki Jogan’ apparently is his earliest recorded song that is available in public domain. It is a duet in which the accompanying voice is of Sardar Akhtar.

The film ‘Piya Ki Jogan’ was produced under the banner of Golden Eagle Movietone, which, very interestingly, is listed as being based in Sindh. The region of Sindh could mean Karachi, but I am not sure about it. The film was directed by Heeren Bose. The cast of actors is listed as Sardar Akhtar, Pramod Chandra, Krishna Kumari, Merwan Irani, D Manik, Ashalata, Vasu HK, Sheila, Agha Jaan, Bannerjee, Niranjan Singh, Mehar Banu, and Anil Biswas himself. Now this throws up interesting question whether Anil Da is singing for himself on screen. The year is 1936, and the playback mechanism is just beginning to get a foothold in the industry. He could be singing for himself, since he is listed as an actor. Or he could be singing for someone else – being the last name in the listing generally implies a role with less importance. Once again, I cannot be sure.

Another interesting tidbit here. The cast of actors also contains the name Ashalata. This could well be the first film that they worked on together. I request other knowledgeable readers and friends to please comment on this observation.

The lyricist credits are listed as Munshi Zahiruddin, Niranjan Singh, and Meerabai (one of the songs in the film is a bhajan credited to her). The uploader of this song on YT, Shri Shalin Bhatt, identifies Munshi Zahiruddin as the writer of this song.

The song itself does not have too many wordy lines. There are passages of laughter and pauses. The song appears to be an exchange between a lady and a gentleman, having some good time together. I request other knowledgeable readers and friends to kindly add more information about this film and this song, if available.

With this rare and uniquely important song, the blog pays its homage to Anil Da, on this anniversary of his passing away.

[Auth Note: Some translations,
“sahn e baag” = open space, compound containing a garden
“abr e bahaar” = clouds of spring; or clouds of good season
“baadaah e khvaar” = one who drinks liquor]

[Ed Note: The song is uploaded on YT by Shalin Bhatt ji.]

Song – Saaqi Ho, Sahn e Baag Ho  (Piya Ki Jogan) (1936) Singer – Anil Biswas, Sardar Akhtar, Lyrics – Munshi Zahiruddin, MD – Anil Biswas

Lyrics

haa haa haa haa
haa haa haa haa
he he he

saaqi ho
sahn e baag ho
abr e bahaar ho
saaqi ho
sahn e baag ho
abr e bahaar ho
oo ho

pehlu mein tum hamaare
ae sanam
baadah e khvaar
saaqi ho
sahn e baag ho
abr e bahaar ho
saaqi ho
sahn e baag ho
abr e bahaar ho
oo ho

haa haa haa
haa haa haa

bas
itna hi
. . .
aur kuchh
. . .
ab suno

saawan ka ho mahina
din ho jalaa hua
saawan ka ho mahina
din ho jalaa hua
nanhi nanhi boondon ki barsi phuaar ho
nanhi nanhi boondon ki barsi phuaar ho

haa haa haa
haa haa haa
haa haa haa
haa haa haa
haa haa haa
haa haa haa

jhoola padaa hua ho
kisi shah e mahal mein

jhoola padaa hua ho
kisi shah e mahal mein

ik din(?) se khush gul koi gaata malhaar ho
ik din(?) se khush gul koi gaata malhaar ho

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

साक़ी हो
सहन ए बाग हो
अब्र ए बहार हो
साक़ी हो
सहन ए बाग हो
अब्र ए बहार हो
ओ हो

पहलू में तुम हमारे
ए सनम
बाद ए खार हो
साक़ी हो
सहन ए बाग हो
अब्र ए बहार हो
साक़ी हो
सहन ए बाग हो
अब्र ए बहार हो
ओ हो

हा हा हा हा
हा हा हा हा

बस
इतना ही
॰ ॰ ॰
और कुछ
॰ ॰ ॰
अब सुनो

सावन का हो महिना
दिन हो जला हुआ
सावन का हो महिना
दिन हो जला हुआ
नन्ही नन्ही बूंदों की बरसी फुहार हो
नन्ही नन्ही बूंदों की बरसी फुहार हो

हा हा हा हा
हा हा हा हा
हा हा हा हा
हा हा हा हा
हा हा हा हा
हा हा हा हा

झूला पड़ा हुआ हो
किसी शाह ए महल में

झूला पड़ा हुआ हो
किसी शाह ए महल में

इक दिन(?) से खुश गुल कोई गाता मल्हार हो
इक दिन(?) से खुश गुल कोई गाता मल्हार हो


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 : 3502 Post No. : 14069

“Miss Frontier Mail”(1936) was produced under the banner of Wadia Movietone and was directed by Homi Wadia. The star cast included Fearless Nadia, Sardar Mansur, John Cawas, Sayani Atish, Jaal Khambata. Gulshan,  Jaidev, Master Mohammed, Meenu Cooper, Bashir Qawwal, Munchi Thoothi etc.

Mr Sadanand Kamath, our beloved inhouse HFM researcher has given some interesting information about this movie. He informs that the movie was originally named “Frontier Mail”. Frontier mail which used to run between Bombay and Peshawar was the most prestigious train of BBCI Railways. The promotional posters of the movie carried the picture of a train crash. BBCI offcials took exception to that. In order not to displease the BBCI officials, The movie makers changed the name of the movie to “Miss Frontier Mail” and carried the disclaimer that the movie was about the adventures of a lady and had nothing to do with the train.

The story of the movie, as reconted by Mr Sadanand Kamath is as following:-

The Deputy Station Master at a railway station is murdered by a masked man. He escapes from the scene just before the Station Master Maganlal (Master Mohammed) arrives. Maganlal touches the knife which has been used by the masked man to kill the deputy. The police arrest Maganlal for the murder. His daughter Savita (Nadia) and son Jayant (Jaidev) is informed by their uncle, Shyamlal (Sayani Atish) about the news of their father’s arrest.

Savita is fond of hunting, playing tennis and racing fast cars while Jayant is an amateur film maker. Soon Jayant and his friend (Munchi Thoothi) get involved in the villain’s evil design and manage to film the mask man’s gang readying to blow up a bridge. The masked man dynamites the bridge as he has been contracted to do so by a man who wants to promote his airline business. However, Shyamlal tries to implicates Sunder (Sardar Mansur), son of a railway official, for the crime.

There is also a gangster’s moll, Gulab (Gulshan) who is romantically linked first with Shyamlal and then with Kishore (John Cawas), one of the gang members of the masked man. Both Gulab and Kishore are reformed and they side with Savita and her brother, Jayant in hunting down the masked man.

Sunder has a soft corner for  Savita and rushes to help her in dealing with rail gangs and murders. He and Savita are involved in several chases culminating in a fight scene on top of a speeding train where Savita fights the gang alongside Sundar on her bare hands successfully. At last, the identity of the masked man is revealed. He is none other other than Savita’s uncle Shyamlal. Ultimately, Shyamlal is killed by the police while he is trying to escape in a plane.

This movie had four songs in it. Three of these songs have been covered in the blog in the past. Here are their details:-

Song Title

Post No.

Post Date

Gaawo gaawo ae mere saadhu 6147 29-Jun-12
Bhar bhar ke jaam pila de 10977 26-Mar-15
Karega har ek qadr jaani tumhaari 13032 12-Mar-17

Here is the fourth and final song from the movie to appear in the blog. This song is sung by Meenu Cooper, credited as Meenu the mystic. Lyricist is not known. Music is composed by Master Mohammad.

All the four songs in the movie, including the one under discussion were picturised on the same set. The song is a light hearted song where the artist talks about his experiences of betting on horses in the race course.

I have failed to get many words right in the lyrics. I request our readers with keener ears to help fill in the blanks/ suggest corrections as applicable.

With this song, “Miss Frontier Mail”(1936) joins the list of movies that have all their songs covered in the blog.


Song-Favourite main ghode khela (Miss Frontier Mail)(1936) Singer-Meenu the Mystic, MD-Master Mohammad
Chorus

Lyrics

Favourite main ghode khela
arabi weller sab purzor
Favourite main ghode khela
arabi weller sab purzor
?? pe jocky jaawe
?? pe jocky ??
Favourite main ghode khela
arabi weller sab purzor
Favourite main ghode khela
arabi weller sab purzor
hahahaha

seep mein moti bhi
meri kismat se niklega koi ??
seep mein moti bhi hai ??
meri kismat se niklega koi ??
sab ko ??? lagaao
??? hi lagaao

arre ?? tak main pahunch jaaunga
?? tak main pahunch jaaunga
joda badal ke
joda badal ke
Favourite main ghode khela
arabi weller sab purzor
Favourite main ghode khela
arabi weller sab purzor
first class se first class tak
ghoda aaya shor
arre ?? se first class tak ghoda aaya shor
jocky ne jab side dabaayi
jocky ne jab side dabaayi
nikla number four
jocky ne jo side dabaayi
nikla number four
jab ?? pe jaa ke dekha
ye kismat ka andher
jab ?? pe jaa ke dekha
ye kismat ka andhera
ghoda mera thha nowhere


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 : 3501 Post No. : 14066

Todays song is from an old film of the 30s – ‘Sunehara Sansar- from 1936.

Songs from films made in the 30s are difficult to find.If you find a song of a film of your choice, you are a lucky person. Sometimes, as a fluke, such songs are encountered and your day is made. Luckily, there are collectors from India and Pakistan, who collect songs from various sources and upload them on You Tube for the benefit of music lovers and history students. Since no collector ever discloses his sources, it is difficult to know from where the song has been taken. Actually it hardly matters as long as it is not used for commercial purpose. Such 70-80 year old songs are no one’s personal property in any case, once they are on public domain. The uploaders are also aware of it.

We are thankful to many uploaders like Shri Girdharilal Vishwakarma ji of Jodhpur, Shalin Bhat ji in the US, Javed Rsjs ji and many more such kind and helpful souls who serve the interest of Film music history, by making old rare songs available to music lovers and writers. Our own Sudhir ji, Atul ji and Sadanand ji too upload such rare songs. God Bless Them all. Today’s song is uploaded by Shalin Bhat ji.

The song is from a film made by East India Film Co. of Calcutta. In those days, the name Calcutta was synonymous with New Theatres, in the film world. New Theatres is a Golden Chapter in the Indian Film History. Established by BN Sircar in 1930, NT was not just a commercial entity, but an institution which strengthened the foundation of film making in India. Sircar established systems and discipline in film shootings. He was an engineer from London. Son of a very famous and rich Advocate General of Bengal, Sircar was a soft spoken but a firm personality. Being rich himself, he had no problem in building a well equipped company, without making a compromise on quality – both in in terms of machinery and people.

Most other studio owners like V Shantaram, Mehboob, Chandulal Shah, Sohrab Modi, SS Wassan, Guru Dutt, Raj Kapoor etc. took over as company’s film director, but not Sircar. He had a strong line up of capable directors like PC Barua, Hem Chander, Debaki Bose, Nitin Bose, Premankur Attorthy, Phani Mujumdar etc. He never ever interfered with directors choices of actors or work. Remaining in the background, he ensured shootings as per schedule.

NT 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 18 Production houses in Calcutta alone. They were – Arora Film Co., Shri Bharat Laxmi Pictures, Chitramandir RBS Prodn, Dev-Dutt films, East India Film Co., Indua Movietone, Kali Films, Kamala Talkies, Maadan Theatres, New Popular Pictures, Moti Mahal Theatres, Murli Pictures, Quality Pictures, Radha Film Co., Sonoray Picture Syndicate, Sunrise Film Co., and Tollywood Studio. Interesting point is, Bombay film industry came to be known as Bollywood many decades after this Calcutta studio – Tollywood – which continues till today for Bangla Film industry.

After 1939, the second world war created problems for NT. On one hand raw film shortage and  severe competition and on the other hand ego clashes of the stalwarts and exodus from the company plagued NT. PC Barua was the first to leave,in 1940, to restart his own studio. One by one people started leaving. From 1942 to 1947, many important actors, directors and technicians left NT and went to Bombay. During its existence, NT created an all time record as a company. It had produced  177 films as against the nearest competitor – Ranjit Studios of Bombay, with 175 films (as per Cine Advance issue dated 5th Dec 1980).

During the Golden period of NT, Debaki Bose made a Bangla film ‘Sonar Sansaar’ in 1936. The same was also made in Hindi as ‘Sunehra Sansaar’. During the period 1934 to 1936, Debaki Bose worked for East India Film Co. His film, ‘Seeta’ (1934) won the Honorary Diploma in Venice Film Festival and his last film there was ‘Sunehra Sansaar’ (1936). After this Debaki Bose (who gave the name ‘Kumar’ to actor Syed Ali Hasan Zaidi of film ‘Puran Bhagat’ (1933) returned to NT for the period from 1937 to 1941. He then left NT to start his own production company.

The East India Film Company was based in Calcutta, Bengal Presidency, Bitish India. It was the first Indian film company to screen a movie at an international Film Festival. Started in 1932 in Calcutta, by RL Khemka, it went on to be a pioneer in producing films across several regional film industries, including Bengali, Hindi, Urdu, Telugu, and Tamil in the decade after its founding; till then, production companies were restricted regionally.

The company was formed in 1932 by RL Khemka, a local Marwari businessman in Bengal after acquiring the RCA Photophone studio, its location recording equipment, and its Mitchell cameras. In 1933, East India Film Company’s first Bengali film production, ‘Jamuna Puline’ was released. The director was Priyanath Ganguli, who had joined here after leaving Maadan Theatres. Riding on its success, the company became the first Bengali studio to venture into not just Hindi films, but also various films in South Indian languages. East India Film Company was soon producing a dozen movie releases per year, including several hits like ‘Savitri’ (Telugu) and ‘Ramayan’ (Tamil).

The East India Film Company’s ‘Seeta’, made by Debaki Bose, was the first talkie shown in an international film festival. It was shown in 1934 at the Venice Film Festival where it won an Honorary Diploma. Subsequently, Bose also made his noted film, ‘Sonar Sansaar’ (Hindi: ‘Sunhera Sansaar’) in 1936 under the East India Film Company banner.

Shot in Calcutta on a lavish budget of Rs.75,000, East India Film Company’s ‘Savitri’ in Telugu was a huge hit. Based on a popular stage play by Mylavaram Bala Bharathi Samajam, the film was directed by debutant C Pulliah and starred stage stalwarts Vemuri Gaggiah and Dasari Ramthilakam as Yama and Savitri, respectively. Like ‘Seeta’, this film was also shown in Venice Film Festival, where it too won an Honorary Diploma.

Film ‘Sunehra Sansaar’ had 21 songs, all written by its hero – Vijay Kumar, BA. [Author Notr: I have written about him in my post “Tan Prem Ki Raakh Lagaa Kar Ke“on 31-1-2018). The cast of the film was Vijay Kumar, Rampyari, Menaka Devi (her first film in Calcutta), Kamla Jharia, Azuri, Mazhar Khan, Gul Hamid, KN Singh (his debut film) and others.

Like several common feminine names in those days – Zebunnisa, Zubeida, Khursheed, Zohra, Amirbai, Gauhar, Radharani, Menaka, Noorjehan, Yasmin, Vimala etc, there were common male names too. One of them was Hamid. It was prefixed and suffixed by Gul, Ali, Syed etc. For example, actor Ajit’s real name was Hamid Ali and actor singer Shyam Kumar was Syed Gul Hamid Ali. I remember, once when I wrote about Shyam Kumar and his real name, our Sudhir ji had queried if he and the actor Gul Hamid were same. I had informed him that they were different.

Today we will know more about this actor Gul Hamid, who acted in many films in the 30s and died very young at 31 years only. He was a handsome young man from Peshawar. 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. 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. 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). 

Gul Hamid was born in 1905 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 Sabra Begum) from 1930–1936, one of the first early silent movie actresses.

He became an all-India celebrity when AR 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 and directed by AR 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 AR Kardar. In 1933, his film Yahudi Ki Ladki was released based on Agha Hashar Kashmiri‘s stage play by the same name. His other films released in 1934 were ChandraguptMumtaz BegumSultana and Night Bird.

1935 was the richest year of Gul Hamid’s career as many of his films were released in it. In Bharat Ki Beti (1935), his heroine was Rattan Bai.  His other notable talkie films in 1935 were Sauteli BadruhiSaleema  and  MurdererYasmin was also released the same year in which his name was Behram. As per records, only three films were released in 1936 i.e. ‘Sunehra Sansaar’, 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. He died  in 1936 due to a throat ailment.(Hodgekin’s Disease).

The story of film Sunehara Sansar-36, as outlined in Encyclopedia of Indian Cinema, is as follows,

This is a parable about human suffering and capitalist enterprise. The village headman has the bandits attack house of Ramesh to settle an old dispute. His wife Roma is kidnapped and infant son is abandoned in a forest. Years later, Roma works as a nurse to a kind millionaire and her son Raghunath lives with other unemployed youths, in a nearby house. They all dream about starting a Soap Factory. The father has become a beggar in that town only. No one is aware about others. Changed circumstances bring the family together and the kind millionaire helps to set up the Soap Factory.

Today’s song is composed by KC Dey, but the singer is not known. I presume it is Vijay kumar only. So, here is a song from an 80+ year old film. Surprisingly, the song is clear.

[Auhtor’s Note: Acknowledgements and thanks to Indian Cinematograph Year Book – 1938, Encyclopedia of Indian Cinema, Muvyz, HFGK, Wikipedia, IPFS.com, Pakfilms.com, book by Ambarish Mishra and my notes.]


Song – Sukh Anand Aur Prem Ki Khaatir (Sunehra Sansaar) (1936) Singer – [Unattributed], Lyrics – Vijay Kumar BA, Music – KC Dey

Lyrics (Provided by Sudhir)

sukh anand aur prem ki khaatir
sukh anand aur prem ki khaatir
bana ye soney ka sansaar
bana ye soney ka sansaar
is mein dhan dualat joban hai
hai. . .
is mein dhan dualat joban hai
jeevan saathi hai pyaari naar
sukh anand aur prem ki khaatir
sukh anand aur prem ki khaatir
bana ye soney ka sansaar
bana ye soney ka sansaar

putra hai aankhon ka taara
jis se chamke jagmag parivar
aish ke jhoole jhoolo nis din
prem se looto mauj bahaar
putra hai aankhon ka taara
jis se chamke jagmag parivar
aish ke jhoole jhoolo nis din
prem se looto mauj bahaar
saathi ishwar gun gaawo
saathi ishwar gun gaawo
saathi ishwar gun gaawo
jis ne racha sunder sansaar

sukh anand aur prem ki khaatir
sukh anand aur prem ki khaatir
bana ye soney ka sansaar
bana ye soney ka sansaar
is mein dhan dualat joban hai
hai. . .
is mein dhan dualat joban hai
jeevan saathi hai pyaari naar
sukh anand aur prem ki khaatir
sukh anand aur prem ki khaatir
bana ye soney ka sansaar
bana ye soney ka sansaar

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
सुख आनंद और प्रेम की खातिर
सुख आनंद और प्रेम की खातिर
बना ये सोने का संसार
बना ये सोने का संसार
इस में धन दौलत जोबन है
है॰ ॰ ॰
इस में धन दौलत जोबन है
जीवन साथी है प्यारी नार
सुख आनंद और प्रेम की खातिर
सुख आनंद और प्रेम की खातिर
बना ये सोने का संसार
बना ये सोने का संसार

पुत्र है आँखों का तारा
जिससे चमके जगमग परिवार
ऐश के झूले झूलो निस दिन
प्रेम से लूटो मौज बहार
पुत्र है आँखों का तारा
जिससे चमके जगमग परिवार
ऐश के झूले झूलो निस दिन
प्रेम से लूटो मौज बहार
साथी इशवर गुण गावो
साथी इशवर गुण गावो
साथी इशवर गुण गावो
जिसने रचा सुंदर संसार

सुख आनंद और प्रेम की खातिर
सुख आनंद और प्रेम की खातिर
बना ये सोने का संसार
बना ये सोने का संसार
इस में धन दौलत जोबन है
है॰ ॰ ॰
इस में धन दौलत जोबन है
जीवन साथी है प्यारी नार
सुख आनंद और प्रेम की खातिर
सुख आनंद और प्रेम की खातिर
बना ये सोने का संसार
बना ये सोने का संसार


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

Today’s song is from the landmark film ‘Amar Jyoti’ (1936), made by the Prabhat Film company, Poona. It was directed by V Shantaram. It was photographed by his elder brother V Avadhoot and the music was by Master Krishnarao Phulambrikar. All the songs were written by Pandit Narottam Vyas. Today’s song is sung by Vasanti and chorus. The song is also used as a background song few times in the movie since it conveys the essence of the film’s theme- fight against injustice.
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This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

 

Wadia Brothers’s (JBH Wadia and Homi Wadia) last silent film was ‘Toofan Mail’ (1932) which was released after sound films came into being.  As far as I know, the first sound film with a prestigious train name was also ‘Toofan Mail’ (1934) produced under the banner of Ranjit Movietone. This was probably the first action-adventure-stunt film with a title of the film after a prestigious train which became a huge box office success.
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This article is written by 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.

The Wonderful Sounds of 1930s – 6
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Listening to songs like this one, there are mixed feelings in the heart.  There is a pleasant joyous feeling that such wonderful sounds from almost eight decades ago, are available  and we can hear and enjoy them.  There is also a regretful irritation, almost bordering on frustration as to why more such songs are not available.  Why is it that all one can search and explore, and just one song is available from this film, and from many others.  And for many more, even one song is not traceable.
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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 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.

The Wonderful Sounds of 1930s – 5
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What to write about the voice for which no information is apparently traceable.  Many artists of the 1930s have become obscure.  The Indian cinema industry is notorious for ignoring its own history and roots.  There have been no industry supported or sponsored programs or efforts aimed as compiling and collating the history of its own.

Akbar Khan Durrani Peshawari – a voice that appears to be a trained classical singer, has no traceable information available, other than of course the listings in the Geet Kosh, that identify maybe about 5 songs sung by him. Searching on the YouTube, one can locate maybe about four or five of his songs, all of which are not identified in the Geet Kosh.  There are two songs from the film ‘Sultaana’ (1934), which are available in his voice.  Both are wonderful gems – “Kitaab e Dard mein Likha Mere Gham Ka Fasaana Hai” and “Mushkil Kushaa Hai Naam Tera”.  On the blog, we have one more song in his voice already posted; the film is ‘Postman’ (1938) and the song “Hauslaa Aashiq Ko Chaahiye Dil Ko Lagaane Ke Liye“.
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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 TEN years. This blog has over 14700 song posts by now.

This blog is active and online for over 3700 days since its beginning on 19 july 2008.

Total number of songs posts discussed

14741

Number of movies covered in the blog

Movies with all their songs covered =1150
Total Number of movies covered =4028

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