Archive for the ‘Song of 1936’ 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.
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Today’s song is from a very old film Gol Nishan aka Mark of Zero – 1936. It is sung by Gauhar Karnataki.
The title of this film resembles the Hollywood silent film of the 1920 namely, “The Mark of Zorro” and a Talkie film bearing the same title made in 1940 again. Douglas Fairbanks was the hero in the silent film and Tyrone Power in the talkie film. The Hindi film Gol Nishan aka Mark of Zero was obviously inspired by the 1920 film of Zorro – the swashbuckling swordsman. The character of Zorro was the creation of the author Johnston McCulley in his 1919 story ” The curse of Capistrano”. I have seen films of Zorro during my younger age and I remember that Zorro used to leave a mark of Z with his sword, wherever he went.
The full story of our Hindi film Gol Nishan is not known to us as it is not available anywhere. But I had found a 4-5 lines synopsis of its story a long time ago. I do not remember the source, but I found a note in my old diary.
According to it, this was a story of an adventurous Rajkumari of a kingdom, where her father was dethroned by his evil Vizier and was jailed. She was carried by her mother who went underground for safety. The grown up Rajkumari turns up into a swashbuckling swordswoman and punishes the Vavir’s armymen who torture the common citizen to get money. She leaves her mark of a Circle or Zero everytime she clashes with the army men. She falls in love with a brave handsome young man and together they win back the kingdom etc. etc. Whatever 2-3 photos I have seen of this film on the internet show a sword wielding young and hooded Rajkumari (Gauhar Karnataki), which corroborates with the story of the film I had written down.
Actually, this was a pattern of most Costume dramas of Stunt/Action films in the 1930’s and 1940’s decade. The entry of Fearless Nadia as a saviour of the common citizen, through her first film ” Hunterwali”-1935 set a pattern of such stunt films. Film Gol Nishan seems to be the first ‘True Copy’ of that film from Wadia movietone.
The film was made by navbharat Movietone and was directed by stunt film expert M.Udwadia. He was initially working with Wadia Movietone but later became an independent director. he directed only 8 films-all stunts- like, Shahu Chor-1936, Mard ka Bachha-1936, Gol Nishan-1936, Chabuk Swar-1937, Royal Commander01938, Watan ke liye-1939, Pyara Watan-1943 and Double Face-1946.
For the role of the Hero, Handsome veteran of silent stunt films- Navinchandra was brought in. Navinchandraa’s full name was Navinchandra N. Joshi. He was born in 1907 at Jambusar and belonged to a Gujarati Bramhin family. When he was studying Intermediate, his dream was to do M.Sc. and become a Professor. He was very much interested in body building and was a weight lifter.He was expert in Long jump, High jump and Malkhamb too, along with yoga asanas. This made his body solid. Fair and handsome physique was noticed by one of the seniors in his Gym and he was taken to Bombay to meet produced director Indulal Yagnik. He offered him a Hero’s role in a stunt film. Thus Navin entered the film line with first silent stunt movie ” The fall of Pawagarh”-1928. It was produced by Indulal Yagnik and directed by Nagendra Mujumdar. His first Heroine was Iris Crawford. He worked in more than 20 silent films and was famous as the Hero of Stunt and action films.
His first Talkie film was Kala Pahad-1933 in which his Heroine was Gauhar Karnataki ( sister of Amirbai karnataki and wife of Marathi stage artiste Bal Gandharv). The film was made by Sharda Movietone and directed by Baburao Apte (brother of actress Shanta Apte). Navinchandra acted in 33 talkie films, mostly stunt and action films. When the attraction of stunt films waned, he stopped getting roles, because stunt films were not being made now on roll. His last film was Jadui Putli-1946.
His age also caught up with him and he stopped getting films. He started doing small uncredited roles like an extra. The last information about him was when he was working as a Production manager in Imperial Film company, where now the studio was rented to other producers for shooting their films, by Irani’s heirs. One peculiar thing about Navinchandra was that except for the film’s required costume, he was always seen in Dhoti and Kurta only.
The heroine of the film Gol Nishan was Gauhar karnataki- sister of the famous actress singer Amirbai karnataki. Though they were sisters, their professional jealousy was well known which kept them always divided. Tabla player Hussain khan,living in a small town Belagi,near Hubli,had 6 daughters. The first was Allamma(Ahilya),then Amirbai,next was Gauhar(Born in 1908),then a series of badi Munni,Chhoti Munni and Nanhi Munni. Son was Dastgir. Being from a singing family,Amirbai and gauhar(Gauramma) worked in a drama company called Vanivilas Natak mandali. Since Hubli,Dharwad,Belgaum came under Bombay Presidency and also near Sangli/Miraj and Kolhapur,the sisters were experts in Marathi too.
Brother Dastgir went on to study B.Sc and did a job in AIR,Belgaum. From the beginning only,Amirbai and Gauhar did not get on well with each other.May be professional jealousy.Gauhar got classical music training from a blind teacher NIlkanth panchakshari Buwa. Great classical singer Mallikarjuna Mansur’s brother Basavanna wrote songs for Gauhar and also accompanied her on Harmonium.
Marathi singer actor Chaphekar took the sisters to Bombay for working in films.Gauhar and Chaphekar stayed as companions in Bombay for a few years. Meanwhile Gauhar got a daughter Ashamma. Her father’s name is not known.Ashamma remained with Gauhar till her death.
Gauhar started acting in Marathi and Hindi films. She acted,sang and also composed her own songs,but no records were brought out. Gauhar was mesmerised by the famous Marathi singer actor BAL GANDHARVA. She first met him in 1937,in actor Himalayawala’s flat(Amirbai karnataki’s cruel Husband). It is widely believed that Gauhar used Black magic to attract Bal Gandharva to her. As expected he fell in her love and Gauhar joined his Balgandharva Natak Mandali in 1938. After her arrival into the Mandali,all senior artistes left the company as they were afraid of Gauhar’s black magic. From 1938,Gauhar remained with Balgandharva till she died in 1964. Balgandharva’s wife died in grief in 1940 and Gauhar married Balgandharva in 1951.
She acted in films like Raas vilas-32,Kala pahad and Sohni Mahiwal-33,Kala vagh and Shak karta Shivaji(M)-34,Pyar ki Maar-35,Bansuriwala,Gol Nishan and Graduate-36,kala Bhoot and Chabuk swar-37,Vijay Danka-38,Hawaii khatola and swadesh sewa-46. chabuk swar-37 was a stunt film a-la Fearless Nadiya style wherein she did some stunts and fencing too. (Thanks to lifekidhun,warren sanders,wiki and HFGK for some information used above.)
Gauhar is mentioned as Gauhar karnataki or Gauhar from Bijapur in the HFGK. She must have sung atleast 100 songs but since there were no records,there is no information.As her many films were C grade,no records were issued even for them. However she has sung many Marathi natyageet and Bhajans.
There can not be any comparison with her sister Amirbai since Amirbai was in a higher league and her records were also made. She had many composers and singers to sing along with.
The story and the 12 songs of the film were by Dr. Dhaniram Prem. Gol Nishan was his last film, before he returned to England to continue his practice there. Dr. Dhaniram Prem – a Medical Doctor, who came into films like a Meteor for a few years in the 30’s period. Dr. DHANIRAM “Prem” (Born 26 September 1904 – Died 10 November 1979) Lyricist, Story and Dialogue Writer in Hindi Films, an extraordinary person, was born on 26-9-1904 at Dariyapur, Aligarh, UP. He completed his MBBS from Bombay and then he went to the UK for further studies under assistance from a charitable institution.
He came back, started his practice and repaid all loans first. From childhood he was fond of writing. He wrote several books and articles in National papers. From 1932 to 1936 he wrote Stories, dialogues and Lyrics for 16 films. In the first 2 years he wrote for only Ranjit studio films. Later he was a freelancer and wrote for others too. Gol Nishan aka Mark of Zoro-36 was the last film for which he wrote the Story and some songs..
He wrote songs for films…1932-Bhutiya mahal, Kala Pahad, Do Badmash. 1933- Pardesi pritam, Bhola Shikar, Bhool Bhulaiya. 1934- Veerangana panna, Mera Imaan, Kala Wagh, Indira M.A. 1935- Rangbhoomi, Preet ki reet, madan Manjiri, Aparadhi and Aladdin II. 1936- Gol Nishan
Then he went to the UK and practiced there, engaging himself in social causes. He was highly respected by the British. In 1964 he declared that he would contest the U.K. Prime Minister elections. A special pediatric ward was named after him in his honour while he was alive. He got several awards in U.K. for his excellent work. The Indian government gave him Padmashree.
On 29-10-1979 he came to India and stayed in Delhi, but in two day’s time he met with a scooter accident and he died on 10-11-1979. His specialty was that in every film lyric, he used the word ‘Prem’ as a signature word. This trait was picked up later by some more Lyricists in Hindi films. ( Thanks to information from Listeners’ Bulletin No. 145 of July 2010).
The HFGK does not mention any name as MD of this film. Today’s song is a typical drama type song, so common in films of early era films. I find many Marathi Natyageets of this type in old stage dramas.
Song-Do din ka baasa jag mein hai chain se guzar le(Gol Nishaan)(1936) Singer- Gauhar Karnataki, Lyricist- Dhaniram Prem, MD- Unknown
Lyrics
Do din ka baasa jag mein hai
chain se guzar le
haa aa aa
chain se guzar le
jab tak umar hai baaqi
jee bhar ke aish kar le ae ae ae
jee bhar ke aish kar le
jab tak hai waqt tera
hans bol khel khaa le
duniya ki nematon ka
kucchh faaydaa uthhaa le
tu jod jod maaya
oonche qile banaaa le
unmein sabhi padenge
bas doosron ke taale
wo din kab aata jag mein hai
chain se guzar le
kya saath apne laaaaya
duniya mein aane waala
kya saath apne laaaaya
duniya mein aane waala
jaayega tu yahaan se
kafani badan pe daale
kafani badan pe daale
jee khol ke jahaan ke
gaafil maje udaa le
do din ke chain ki
bansi zara bajaa le
do din ka baasa jag mein hai
chain se guzar le
jab tak umar hai baaqi
jee bhar ke aish kar le
jee bhar ke aish kar le
jee bhar ke aish
do din ka baasa jag mein hai
chain se guzar le
ae ae
chain se guzar le ae ae
chain se guzar le
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Songs from Artiste Name Films….Second Season….No. 7
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Today’s song is from the film Manmohan-1936. This was a film made by Sagar Movietone in Bombay. The film’s cast consisted of Singer Actor Surendra, Bibbo, Yaqub, Ashalata,Bhudo Advani, Zia Sarhadi and many others. You will be surprised if I tell you that this film would not have been made if K L Saigal was not acting in films of New Theatres in Calcutta ! Strange, but true ! Let us see how….
K L Saigal was discovered by New Theatres and he entered into a contract with them. His first 3 films were most ordinary and non significant, all flops actually – Zinda Laash, Subah ka sitara and Mohabbat ke aansoo, all made in 1932. Next year he made 2 films – Yahoodi ki beti and Pooran Bhagat, made in 1933. In his 5th film-Pooran Bhagat- his 4 songs from this film became famous to some extent. However he had not acted in that film, but only the songs were filmed on him. In the subsequent year, his first famous and popular film-Chandidas-1934 came out with a Hit song ” Prem nagar me basaungi main ghar” along with Uma Shashi. But in this film he was overshadowed with senior actors like Uma Shashi etc.
Saigal caught the nation’s attention in real sense in his 10th film – ” Devdas “-1935 and there was no looking back after this film. He soon became the Trump Card for New Theatres and film after films, his name and fame became known everywhere. The audience and the younger generation at that time had become mad for Saigal’s songs and films. It was a Gold-mine for new Theatres.
This gave jitters to the Bombay film industry and every studio started a ‘Look-Out’ for a new actor-singer to counter Saigal’s and new Theatre’s domination over India.
Surendranath Sharma, B.A., LL.B was discovered by Lala Alopi Prasad, a Delhi distributor of Sagar Movietone films. He had seen and heard Surendra’s singing. He convinced Surendranath to join films and sent him to Sagar movietone in Bombay. Authorities in Sagar were simply ecstatic seeing this young, handsome and highly educated singer from a respectable family. He was soon contracted and handed over to Sagar’s young, enterprising director Mehboob Khan, who not only groomed him, renamed him as only Surendra, but also made him a Hero in film Deccan Queen-1936. In this film he sang a song ” Birha ki aag lagi more man mein “, which was a parody of Saigal’s famous song ” Baalam aay baso mere man mein ” from the film Devdas-1935. All this confirmed the claim of Sagar Movietone that Surendra was Bombay’s answer to Calcutta’s Saigal !
The very next film of Surendra was based on the same story as ‘ Devdas ‘. It was written by Zia Sarhadi. It was titled “Manmohan “, in which the protagonist loses his beloved to another person and takes to drinking and takes his own life. Thus, the film ” Manmohan”-1936 was made because Saigal was popular in Calcutta ! Q.E.D. !!
Film Manmohan also became a Hit film. The handsome Surendra and the beautiful Bibbo enhanced the appeal and very good songs added to its popularity. The most popular song of this film ” Tumhi ne mujh ko prem sikhaya ” is already discussed on this Blog, on 21-3-2014. Today’s song will be the second song from this film,after 7 years. Like that song, today’s song is also sung by Surendra and Bibbo. However, that was a happy song and this is a sad song.
The film revolves around two childhood friends, Vimala (Bibbo), and Ashok (Surendra), who loves her but loses her to another, finally taking to drinking.
Ashok (Surendra) is an artist in love with Vimala (Bibbo). On learning that she is to marry Jagdish (Yakub) he is devastated and paints her portraits which become popular. He starts drinking and finds comfort with another woman. Soon his family wealth starts dwindling. Vimala, who is married by now, tries to help him with her husband’s efforts. However, Ashok misunderstands the overture, leading to tragedy for him.
The music composition was by Ashok Ghosh, with assistance from a then “young arranger”, Anil Biswas. The lyrics were written by a then “small-time” actor Zia Sarhadi. The film’s soundtrack became its “highlight” with “chart-busting” music. Surendra was brought in as a singer actor to counter New Theatres K. L. Saigal. The duet by Surendra and Bibbo “Tumhi Ne Mujhko Prem Sikhaya” is considered a hit song and remains popular. The songs from this film made Surendra a popular singing star.
The star of today’s post is singer actor MANMOHAN KRISHNA – a senior actor who mostly did Character roles. His personality was not exactly suitable to a standard Hero in those times, he would have got lead roles in many films of today, because the definition of a Hero is changed now. He was an excellent actor. Since he could sing well, he sang a few songs in films, which became quite popular. Additionally, some popular songs were filmed on him after he stopped singing himself. He had not acted in the film Manmohan-1936 because he came to films in 1937, though he sang as a playback singer in 1946 itself.
MANMOHAN KRISHNA was born on 11-8-1908, at Lahore in Punjab. He was a very studious person and always stood first in school. He completed his M.Sc. in Physics and started working as a Physics lecturer in a Lahore college. He was very fond of singing and also sang on Lahore Radio.
Once when V. Shantaram visited Lahore, he heard Manmohan’s singing on stage and was impressed. Shantaram offered him the lead role in his forthcoming film, “Matwala Shair Ramjoshi”-1947, In this film Manmohan sang 6 solos and 3 duets with Zohrabai Ambalewali. However, his first song as a playback singer was in Shantaram’s film, ” Jeewan Yatra”-1946, under Vasant Desai’s baton.
In his career of more than 40 years, he acted in 183 films and directed 1 film – Noorie-1979. He also sang 24 songs in 8 films, namely Jeewan Yatra-46, Matwala Shayar Ramjoshi-47, Andhon ki duniya-47, Apna Desh-49, Afsar-50, Aaram-51, Railway Platform-55 and Shehar aur Sapna-1963. During his stay in Bombay, he anchored a Radio show ” Cadbury’s Phulwari” in the 50’s.
Manmohan Krishna was connected with Indian Peoples Theatre i.e. IPTA and acted in few of their dramas. Being an educated person, he was impressed with Nehruvian Secularism. He worked in films like Shehar aur Sapna by K. A.Abbas as well as the first Indo-Soviet film Pardesi-1957. He also got the Film Fare award for playing the role of Abdul Chacha in the film Dhool ka Phool-64. The song in this film ” Tu Hindu banega na Musalman banega ” filmed on him, became very popular.
Being a member of the intelligentia, he could not sell himself nor mix up into the Hindi filmi world fully. He always fought against injustice. He established ‘ Yuvak Biradari ‘ for young Indians, which became a big organisation in due course.
He was a favourite of the Chopra Brothers and acted in most films made by them. Some of his famous films were Deewar, Trishul, Humraaz, Insaaf ka Tarazu, Joshila, Kanoon, Kala Pathar, Dhool ka phool, Waqt, Naya Daur etc. etc. He also worked in 12 Punjabi films. He was prominently spotted in any role due to his thick bushy eyebrows.
In Hindi films, he rarely got a hero’s role, barring few films, because of his ordinary look. He had no looks required for a Hero’s role in a commercial film, in those days. He was of course an excellent Character Artiste. Due to his nature, he kept away from Filmi parties and groupism. He had no real friends in the film industry. Manmohan krishna did not keep good health in his last few years and died at the age of 82 years, in Lokmanya Tilak Hospital, Bombay, on 3-11-1990.
( Based on some information from wiki, ‘Beete kal ke sitare’ by Shriram Tamrakar,muVyz, HFGK, some information from the book “Sagar Movietone” by Biren Kothari ji and my notes. Thanks to all.)
Song- Kisne jahaan mein sukh dekha hai(Manmohan)(1936) Singers-Surendra, Bibbo, Lyricist- Zia Sarhadi, MD- Ashok Ghosh
Both
Lyrics
aa aa aa
aa aa ke chaman ko ujaad denaa
aa aa aa
aa aa aa aa
meri khili huyi kaliyon ko ?? lena hai
kisne jahaan mein sukh dekhaa aa
kisne jahaan mein sukh dekhaa aa
kise jeewan mein gham ne jalaaya nahin
kise jeewan mein gham ne jalaaya nahin
kise jeewan mein gham ne jalaaya nahin
kise ne prem ki bansi ee ee bajaa ke ae
loot liya aa aa
aaa aa aa aa
aa aa aa aa aa
bahaaron ke ?? ki duniya dikhaa ke loot liya
prem bina is des mein saajan
prem bina is des mein saajan
koi dukhiyon ke man ka ujaalaa nahin
koi dukhiyon ke man ka ujaalaa nahin
koi dukhiyon ke man ka ujaalaa nahin
kisne jahaan mein sukh dekha hai
kisne jahaan mein sukh dekha hai
kise jeewan mein gham ne jalaaya nahin
kise jeewan mein gham ne jalaaya nahin
Nis din Shyam Shyam japati
Posted on: July 5, 2021
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws
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Blog Day : |
4735 | Post No. : | 16456 | Movie Count : |
4469 |
Today’s song is from the film Lagna Bandhan-1936. The film was made by Sagar Film company. The director was K.P. aka Kaliprasad Ghosh- who was a master in directing Silent Films. Film Shehar ka Jaadu-1934 was his Debut film for a Talkie version of films. After this film he directed one more film for Sagar, Lagna Bandhan-36 and then he left for Bengal.
His most important contribution to Hindi films of Bombay was that he convinced Motilal to join films, when he had come to the studio, with a friend, only to watch the shooting of a film. Ghosh spotted Motilal, who had a very impressive personality, and talked him into joining the films. K.P.Ghosh was also a writer. This film’s story, dialogues and Screenplay was done by him only. We do not know who was the Lyricist of the 8 songs of this film. The Music Director was Pransukh Nayak, an old timer expert in music for stage dramas in Gujarati. He started giving music to Hindi Talkie films with Sati Sone-1932. He composed 293 songs in 26 films. His last film as a Composer was film Kulvadhu-1937 from Sagar film company.
In those days, there was a Studio system, in which various artistes in different departments of filmmaking used to be paid servants of a studio. For composing music to Hindi films, the first composer in Sagar was S.P.Rane- a Marathi Manoos from Baroda, Gujarat. He gave music to almost 15 films here. Then came Pransukh Nayak. He gave music to 10 films. He was followed by Anil Biswas, who gave music to 12 films of Sagar and 2 films of National, before joining Bombay Talkies.
The film was released on 18-11-1936 in Roxy Cinema, Bombay. The cast of the film was Sabita Devi, Motilal, Azuri, Sankatha Prasad, Aruna Devi, Leelavati, Bhudo Advani, Ansari and many others. Though the film was labeled as ” Social” in HFGK, looking at the story, one finds that it was a costume drama spinning a story of King, Queen and the wicked Vazir etc stuff, combined with a love story. Such stories originated from the fertile imaginations of the Story Departments or the story writers. The story of the film as per the booklet is….
Yudhajit (Sankata Prasad) is the outlawed brother of the king of Udaynagar. Before he left the palace, he had stolen the elder of the Twin sons of the king to be killed for revenge. However, looking at the sweet baby, he decides to bring up the boy to be used for revenge afterwards. He grows up into a handsome Indrajeet (Motilal). His brother Shatrujit-in the Royal palace- falls prey to a dancer-Najma (Azuri) and becomes a drunkard.
Rajnagar princess Chandra (Sabita Devi) is due to marry drunkard Shatrujit. To avoid this she tries to escape from the palace guised as a Dasi-Nanda. Meanwhile Indrajeet is sent there to kidnap the princes, before marriage. They meet accidentally and fall in love wishfully. After singing a few love duets in a few days, Indrajeet returns empty handed. Yudhjeet plans that Inderjeet takes the place of Shatrujeet at the time of marriage. Reluctantly he agrees.
On the day of marriage, in any case, Shatrujeet is so drunk that he is not in a state to stand for marriage. The Dewan (Ansari) finds Indrajeet who, being a Twin, looks similar. He is caught and produced for marriage as Shtrujeet. The marriage takes place. Both the Groom and Bride see each other and are very happy. However soon the reality is declared. There is a fight in the armies of Yudhajeet and the King, in which Yudhajeet dies. Before dying he reveals the secret of the brothers to the king and others ( audience, anyway knows this before them !). All is well that has already ended well !
The film had the popular pair of Sabita Devi and Motilal. They acted as Lead Pair in 8 films of Sagar and 2 films of Sudama films of Sarvottam Badami, who had directed the pair in 5 films earlier in Sagar.
The real name of Sabita Devi was IRINA MAUDE GASPER. She was an Anglo-Indian, born in an affluent family of Calcutta, on 20-7-1914.
After completing education she wanted to join films, but her family objected. Without the 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 wish.
Her first Silent 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 talkie came, she determinedly learnt Hindustani and Urdu and also Music.
She’s stated to have influenced P. C. Barua, who had joined the Board Of the British Dominion Film Company and acted in a few silent films, to start his own company. According to sources, “He was inspired to become independent”. After his return to Calcutta from Paris, Barua set up the Barua Film Unit. The first film under this banner was Aparadhi (1931), directed by Debaki Bose, with Sabita cast as the heroine. The film went on to become a “critical success”.
Her first Talkie film was Radhakrishna-33, in which she sang 16 out of 23 songs in the film, but no records were made. Next was Ek din ka Badshah-33. She shifted to Bombay for better opportunities. In 1934,came Shahar ka Jaadu,with Motilal as a debut actor and this film was a Hit. Later she and Motilal became a popular pair.
Sabita Devi and Motilal’s first movie as a pair in the famous Sagar Movietone, the movie Lure of the City (aka Shaher ka Jadoo) released on 29 th September 1934 at the Imperial Cinema Bombay. This movie was directed by Kaliprasad Ghosh and music was composed by K.C.Dey (the blind singer). Cast : Sabita Devi, Motilal, M.Kumar, K.C.Dey and Kamalabai.
This was the sound debut of Kaliprasad Ghosh at Sagar after a few successful movies directed in the silent era. Mehboob Khan was earlier selected for the lead role and was later replaced by Motilal. This was actor Motilal’s debut film and Motilal – Sabita made the best couple of the Sagar Film Company since then in many other movies under the banner of the Sagar such as, Silver King (1935), Dr Madhurika (1935), Lagna Bandhan (1936), Jeevan Lata (1939), Kulvadhu (1937), Kokila (1937), three hundred days and after (1938) and later in Films Ap Ki Marzi (1939) and Prarthana (1944).
She did many films. Her some films were- 300 days and after, Apki marzi, kokila, Kulvadhu, Amrapali, Ladies only, Chandragupta, Chingari, Dr.madhurika, grihalaxmi, holiday in bombay, Jeevan Lata, King for a day, Lagna bandhan, Manmaani, , Phantom Of the hills, Silver king, vengeance is mine, Village Girl etc etc. In all, she acted in 23 Talkie films and sang 15 recorded songs in 7 films. She was a good Piano and Harmonium player.In later days in 1943 onwards, she stopped singing herself. Her last picture was Amrapali-45.
She was one of the earliest female artists to write about film acting as a decent profession for ladies from respectable families. In a letter to the Filmland English weekly, November 1931 issue, titled “Why Shouldn’t Respectable Ladies Join the Films”, she countered claims of immorality and low moral standards of producers and directors, raised by an anonymous actress in the September 1931 issue, “Should Respectable Ladies Join Films”. She stated that “the attitude a man takes towards a woman is governed by the latter’s own integrity, by her actions, words and manner”. She went on to state that people had a “mid-victorian conception” of women on stage and that “A Lady Artiste” was perhaps herself to blame for any unwanted advances.
She was the highest paid actress of the 1930s and the magnet of attracting audiences for the movies made by the Sagar Movietone. Lure of the City (1933), Phantom of the Hills (1934), Educated Wife (1934), Vengeance Is Mine (1934), Silver King (1935), Dr Madhurika or Modern Wife (1935),Lagna Bandhan or Forbidden Bride (1936), Village Girl (1936), The Creeper of Life or Jivan Lata (1936), Kokila (1937), Kulavadhu (1937), Three-hundred Days and After (1938), Ladies Only (1938) are the hit movies she made under the banner of the Sagar Movietone in most opposite Motilal. Sabita- Motilal became a finest and most romantic couple in mid 1930 s . In 1939 she started working in Sudama Pictures and produced movies Aap Ki Marzi (1939), Chingari (1940), Sajni (1940),and Holiday in Bombay (1941). Thereafter she did lead roles in Fashion (1943) , Prarthana (1943) and Amrapali (1945).
In 1946, she got married and left for England. She came back again only to die in Calcutta on 11-3-1965.
With today’s song, film Lagna Bandhan-1936 will make its Debut on this Blog.
Song-Nis din Shyam Shyam japati (Lagna Bandhan)(1936) Singer- Sabita devi, Lyricist- Not known, MD- Pransukh Nayak
Lyrics
Nis din Shyam Shyam Japati
main apne piyaa par jaan maan shaan arpan karti
Nis din Shyam Shyam Japati
main apne piyaa par jaan maan shaan arpan karti
Nis din Shyam Shyam Japati
prem nadi hriday uchhalti
prem nadi hriday uchhalti
hansti khelti ramti
hansti khelti
Nis din Shyam Shyam Japati
main apne piyaa par jaan maan shaan arpan karti
Nis din Shyam Shyam Japati
kaisi sooratiyaa pyaari
main hoon bani matwaari
more jiya ko laga ?? chaab nyaari
man tadpat larjat(?) waari
jaaun waari o bihari
piya charan pe tan man harti
Nis din Shyam Shyam Japati
main apne piyaa par jaan maan shaan arpan karti
Nis din Shyam Shyam Japati
main apne piyaa par jaan maan shaan arpan karti
Nis din Shyam Shyam Japati
Rah rah uthhti tees hriday mein
Posted on: July 3, 2021
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws
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4733 | Post No. : | 16453 | Movie Count : |
4467 |
Today’s song is from the film Maa-1936. As per the Title index book, there were 5 films having this same title and one was incomplete in the 60’s. In addition there were 23 other films with titles having Maa in them like, Maa qasam etc.
Among this series, today’s film Maa 1936 seems to be the first one. The film was made under the banner of Prafulla Pictures, floated by Producer-Director Prafulla Ghosh. Possibly, this was the only Hindi film of this banner. The MD was S.P.Rane, who was a ‘Marathi Manus’ grown up in Gujarat. The lyricist was B.N.Gupta and the cast was Zubeida, Jal Merchant, Kanan Bala, Master Brijmohan, Manorama and others.
The actress Manorama in this film was a Bengali Jew, whose real name was Winnie Stewart. This Manorama was obviously different from the comic Manorama of Hindi films of the 40s to the 90s. This later manorama was famous for her role of Chachi in the film Seeta aur Geeta-1972. The Manorama of film Maa was acting in silent films.She acted in 15 silent films and then 19 Talkie films. She acted in many Hindi films made in Calcutta like Anath Ashram-37, Dushman-38, Kapal Kundala-39, Zindagi-40, Kashinath-43, Hospital-43, Hamrahi-44, Tum aur Main-46, Suleh etc. Her last film was in 1952- Chhoti Maa .
Director Prafulla Ghosh was directing films since the Silent era. After the Talkie started, he first directed the First Talkie film made by Sagar Movietone-Veer Abhimanyu-1931. He went on to direct 3 more films for Sagar- Abul Hasan-31, Romantic Prince-31 and Subhadra haran-32. In 3 of these 4 films the lead pair was Zubeida and Jal Merchant. Ghosh then went to Calcutta and directed Chaar darvesh-33 and hari Bhakti-34. He came to Bombay and started his own banner Prafulla Pictures and made today’s film Maa-1936. There is non information about him after this. Maybe he went back to Calcutta and did work in Bengali. We do not know.
In the early years of Talkie films, Parsis made substantial contributions in many departments of filmmaking. In acting, Sohrab Modi, Eddi Billimoria, Dinshaw Billimoria, Jal Khambata and Jal Merchant were famous. Jal Merchant was a typical Parsi born and brought up in the Parsi Colony area in Bombay. Though his family had a business, he did not join it as he was keen to make a career in films. Bombay being the centre of filmmaking he had plenty of chances. He did not have a masculine, wide chested body, but he compensated with his superb acting skills. He could also sing in his soft voice.
It was a colorful stellar team that Jal Merchant formed with Zubaida in the early talkies. But it was in mythological roles, and not romantic parts, that they first won the hearts of cinegoers. The first picture that made them a rage everywhere was Sagar’s “Veer Abhimanyu,” in which Jal played Abhimanyu to Zubaida’s Uttara. In the next one- Subhadra Haran-32, Jal was Arjun, Abhimanyu’s father, while Zubaida played Subhadra.
Like Zubaida, Jal Merchant joined films in the “silent days”. It was a change of medium for him, for he had been playing female roles on the Gujarati stage! His performance as the heroine of “Shankit Hriday,” a Gujarati play, proved a hit, and Nagendra Majumdar, who directed the play, induced him to switch over to screen acting. Jal joined the Imperial Film Company, and among his early films the most notable was “Vasant Bengali,” a social picture directed by R.S. Chowdhury. In those days, the screen hero generally had more brawn than brains, but the lead player of “Vasant Bengali” was called upon to show more intelligence than physical prowess. Jal did just that – and won instant fame.
After the advent of sound, Jal’s first four films for Sagar were mythologicals – “Veer Abhimanyu-1931,” Subhadra Haran-1932,” “Pandav Kaurav-1933” and “Mahabharat-1933”. For close-ups of these pictures, Jal used to wear trousers and only the upper part of his body was made up for his role. But in one close-up his pants were also visible! The shot was cut on the first day of screening in Bombay.
Gifted with a fine voice, he also delighted cinegoers with his singing. He sang 33 songs in 7 films-Meerabai-32, Pandav Kaurav-33, Mahabharat-33, Grihalaxmi-34, Aaj kal-34, Sone ka Shahar-35 and Toofan Express-1938.
In “Zarina,” written and directed by Ezra Mir, he was the tongawallah who falls in love with a dancing girl at a carnival. This poignant romantic tragedy won plaudits for both Jal and Zubaida. It was their last picture together for Sagar. Zubaida left Sagar and Sabita Devi took her place. Sabita and Kumar were the first stars imported from Calcutta. Sabita co-starred with Jal in “Phantom of the Hills,” directed by Ezra Mir, in which he played a dashing Pathan riding a white charger. In “Educated Wife” (Grihalaxmi), directed by Sarvottam Badami, he played a modern educated youth. In this role the versatile Jal revealed a genial personality. Sabita was again his co-star.
Jal and Zubaida played stellar roles together once again in “Aaj Kal,” directed by R.S. Chowdhury. This was the last important picture for both stars. Jal acted in about n15 Silent films and 29 Talkie films. His first Talkie film was Veer Abhimanyu-1931 and his last Talkie film was Armaan 1953.
Jal Merchant, who already had a family flourishing business, retired from the screen. Later, he started to live a quiet life in Bandra. Jal was an excellent shikari in his younger days. His screen associates also remember his soft voice, gentle manners and sensitive, handsome face. His pairing with Zubeida and Sabita Devi was very popular. He had all the gentle Parsee manners and was a popular co-star for the heroines.
I have read somewhere that Jal Merchant died in 1963 in Bombay. He was unmarried till the end, like many Parsis. ( information from an article by V.P.Sathe in Screen, ‘Screenplay’ by Isak Mujawar, HFGK, muVyz and my notes have been used in this post, with thanks.)
The Heroine for film Maa-36 was Zubeida Sr, who had acted in India’s first Talkie film-Alam Ara-1931, made by Imperial film co. She also acted in the first talkie film made by Sagar nMovietone- Veer Abhimanyu-1931. One of the 4 wives of Nawab Siddi Ibrahim Muhammad Yakut Khan of the state of Sachien,Gujarat, was Fatima Begum. She was in films, even before marriage. There is however no proof of their marriage. From the Nawab, She had three daughters, namely Sultana, Shahzadi and Zubeida. All daughters and the mother were into films.
When the girls became of age, Fatima used to make them dance in the film theatres between the change of reels- which was to entertain the audience. The beautiful eldest daughter Sultana and playful sister Shahzadi were already working in films. When Fatima and the Nawab had some differences, Fatima took her daughters and came to Bombay to work on her own.
Fatima was the First woman to establish Fatima Film co, Bombay, to produce and Direct Bulbul-E-Paristan-1926. All the 4 women acted in it. Fatima then formed Victoria Fatima Film Co. in 1928 and produced 7 silent films-Chandravali,Heer Ranjha both in 1928 and Kanak Tara, Milan Dinar, Goddess of Love, Shakuntala and Wonderful Prince all in 1929. Her company was closed in 1930.
Sultana, the eldest daughter, known as The sultry Sultana;, was famous for doing sexy roles. She came into limelight when she filed a case against Yassir Hussain Lalji, son of the chief of Bombay Municipality, in 1931, claiming to be his wife and demanding a sum of Rs. 5 lakhs in those days !
The second daughter known as Lovable Shahzadi also acted in films.
The third Zubeida, was born in 1911 and acted in silent film Veer Abhimanyu, but debuted as a Heroine in Gul Bakavali-1922. She acted in 36 silent films and then she became the Heroine of India’s first Talkie AALAM ARA-1931. In this film she sang one song also.
In 1935, she converted to Hinduism and married Raja Dhanrajgir Narsing Girji Gyan Bahadur, a very rich Jagirdaar from Hyderabad state. She stopped working in films, after 21 films, in 1935.
She lived peacefully with her husband in Bombay. In 1982, one of her legs was amputated due to severe Diabetes and she spent her remaining life in a wheelchair, yet till her end on 20-9- 1988, she used to look very beautiful and gracious.
Please note there was another actress named Zubeida, who appeared only after Zubeida Sr. retired in 1935. Zubeida Jr. was the inspiration for the film Zubeida-2001. These two are different. Do not get confused.
With today’s song, the film Maa-1936 will make its Debut on this Blog.
Song- Rah rah uthhti tees hriday mein (Maa)(1936) Singer- Kanan Bala, Lyricist- B N Gupta, MD- S P Rane
Lyrics
Rah rah
uthhti tee ee ee ees
hriday mein aen
aen aen
aen aen aen aen aen
Rah rah uthhti teees
hriday mein
Rah rah uthhti teees
hriday mein
?? ka man mere man mein
Rah rah uthhti teees
hriday mein
?? ka man mere man mein
Rah rah uthhti teees
hriday mein
paa gayi wo sab is jeevan mein
paa gayi wo sab is jeevan mein
aa aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa aa
aaa
aa aa
aa aa aa aa aa
paa gayi wo sab is jeevan mein
nahin kisi par trish(??) hai
phir kyun
nahin kisi par trish(??) hai
phir kyun
Rah rah uthhti teees
hriday mein
Rah rah uthhti teees
hriday mein
?? ka man mere man mein
Rah rah uthhti
Rah rah uthhti
Rah rah uthhti teeeees
Re mann kaahe soch kare
Posted on: November 15, 2020
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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4503 | Post No. : | 16041 |
Today’s song is from an early era film- Jeewan Naiya-1936.
The film was produced by Bombay Talkies. This was their just the second full length Talkie film, since the company was started. How Bombay Talkies was conceived, established and became one of the India’s top film studios has been told several times- here and on the Internet. They were pioneers and pall bearers of making films on social evils of Indian society, led by their senior in this field – Prabhat Film Co., which was started a few years earlier.
Himanshu Rai the owner of BT (Bombay Talkies), was born in an illustrious Bengali family in 1892.After graduation, he was sent to England to practice Law. But once he landed in London, he became a participant in London’s Theatre scenes. Devika Rani- the grand niece of Rabindranath Tagore and daughter of Col. M N Chaudhary was born at Waltair (now Vishakhapatanam) in 1908. At the age of 16, she sailed for England on a scholarship from Royal Academy of Dramatic Arts and also R.A. of Music-both at London. Rai was introduced to her at a party, He offered her a job of designing Costumes for his films. After 3 years, they got married.
They came back to India and in 1934, Bombay Talkies was established. In 1935, its first Talkie film ” Jawani ki Hawa “-35 was made with Devika Rani and the handsome Najmul Hasan, as the lead pair. During this film, they fell in love. The shooting of the next film started. The film was ” Jeewan Naiya-36′. About 40 % shooting was done and suddenly, the lead pair of Devika Rani and Najmul hasan eloped to Calcutta. BT was shattered. Shashadhar Mukherji rushed to Calcutta and met Devika Rani in Grand Hotel. he managed to convince her to return to Bombay. At this time, she is said to have made a partnership deal with Rai for BT as the price to return. They both came back….without Najmul Hasan !
Actually, Himanshu Rai was already married once to an Austrian girl. They had a son also. He was 16 years older than Devika Rani, but still he married her, considering the benefits his film company would have if a ‘ Home Heroine” was available. He was highly business minded and Devika Rani knew this. She understood that situation and wanted her price to come back to Himanshu Rai’s professional married life. Her shrewdness came out in open after Rai’s death in 1940 and when she handled BT affairs dictatorially.
As a replacement to hero Najmul Hasan, Ashok Kumar was selected. In his screen test the cinematographer Joseph Virsinghe approved him but director Franz Osten had objections. Despite that he was selected by Himanshu Rai. He also changed Kumudlal Ganguly’s name to only ASHOK KUMAR. 4 films – Jeevan Naiya, Achhoot kanya, Izzat and Janmabhoomi were planned for next one year, roughly one film every 3 months. The staff of Bombay Talkies was unhappy with Devika Rani after what she did to Himanshu Rai, but Shashadhar mukherji took a meeting and tried to convince the staff. This had a reverse effect. Devika Rani thought that he instigated the staff against her and their relations soured. This ultimately resulted in Shashadhar and few others leaving BT and starting Filmistan in 1942.
There is another story of the entry of Ashok kumar into the film……Najmul Hussian played the lead role opposite Devika Rani when shooting began. Rani developed a strong crush on her hero, and on a break during the shoot, she ran away with him. The producer Himansu Rai, was Rani’s husband, and he was up in arms at this situation. However, Rani returned to him soon after, but he was in no mood to work with Hussain again. As the film was already half done, this presented a problem. One of his colleagues suggested that he finish the film by casting his laboratory assistant, whose side profile matched that of Najmul Hussain’s, and use creative lighting and shadows for the rest of the scenes so that the audience is not aware of the ‘switch’. This idea clicked with Rai and he successfully completed the film with the new hero. That lucky lab assistant was Ashok Kumar, and thus began his acting career. (Thanks to IMDB)
This was the background of the film Jeewan Naiya-1936. The story was written by Niranjan pal. The story was
“Lata (Devika Rani), daughter of a dancing girl, is brought up by social worker Mathuradas (Prasad) and is engaged to marry the rich Ranjit (Ashok Kumar) when the villain Chand (S.N. Tripathi) arrives to blackmail her with her undisclosed ancestry. Lata is forced to disclose the truth to Ranjit and the assembled wedding guests. Ranjit disowns her but they are reunited when Ranjit, blinded by an explosion, is nursed back to health by a devoted woman who turns out to be his wife. ”
(Thanks to IMDB) .
The film’s dialogues were by J S Casshyap, production incharge was N R Acharya and the film was directed by a German-without knowing Hindi- Franz Osten.
Very few people know that Indian Cinema had a little known connection with the rise of Hitler in Germany in 1932-33. A group of men , engaged in Cinema in Germany, flocked to India in the 30’s and played a vital role in Indian Cinema and the arts of that time. After Hitler took over Germany in 1933, the German Cine Studio’s glory days were over and they were turned into Nazi Propaganda Machines !
It was at this time that several of its men ( mostly persecuted Jews) left the studio and some arrived in India, and contributed to Indian cinema’s formative years.
The foremost among them is Frantz Osten, a German whom Himanshu Rai and Devika Rani met at the UFA when they went to train there (they worked with Lang and Marlene Dietrich). Osten had already been directing films for the couple since 1925, when he made Light of Asia for them from Germany.
In 1934, he came to India and the next year, after Rai founded Bombay Talkies ‘ the legendary film studio in Malad that now lies in ruins,’ Osten directed its first film, ‘ Jawani ki Hawa’-1935.
He went on to direct the famous Devika Rani-Ashok Kumar starrer, Achhut Kanya, without much knowledge of Hindi. The film, which featured the song “Main ban ke chiriya”, was shot by Cinematographer Joseph Wirsching; the sets were designed by Karl von Spreti, the laboratory was headed by Zolle, and the sound recordist was Len Heartley. This was Osten’s team of UFA ex-members who worked for Rai’s state-of-the-art studio.
Osten and his fellow Germans directed 16 films for Rai. It was a remarkable feat for people who knew little Hindi, mistaking the word “bulbul” once, for a pair of bulls.
“It’s not clear if they had anything to do with the Nazi ideology, either way,” said film historian Amrit Gangar.
“If they did, it did not show in their films. But there were two other people who almost certainly migrated to India because of the persecution of Jews.”
Franz Osten(23-12-1876 to 2-12-1956) Hindi director, was born in Munich as Franz Ostermayer, the elder brother of successful producer Peter Ostermayer. They set up a travelling cinema, Original Physograph (1907) and founded Munchner Kunstfilm (1909) after Osten had been making shorts for Pathé, Gaumont and Eclair. Their first feature: Die Wahrheit (1910). Osten’s début as director: Erna Valeska (1911). War correspondent in 1915. Joined Peter’s company Emelka (later Bavaria Film) in 1918. Made Der Ochsenkrieg (1920) with young cameraman Frank Planer of later Hollywood fame, one of Osten’s several contributions to a budding genre that after WW2 became known as the Heimatfilm. In fact, the Ostermayr/Osten brothers claimed to be the originators of the genre.
When Himansu Rai and Emelka made a deal to produce Prem Sanyas aka Light of Asia, Osten was assigned to direct. Continued directing Rai’s productions, often shooting in India as well as in Europe, in addition to directing for numerous companies in Berlin. Moved with cameraman Josef Wirsching and set designer Karl von Spreti to India to work at Himansu Rai’s Bombay Talkies (1934).
While in Bombay, became a member of the Nazi Party (1936). He was interned by the British at the outbreak of WW2 while shooting his last film there, Kangan. Released and allowed to return to Germany (1940). Employed by Bavaria Film until 1945, for casting and setting up its film archive. In addition to Indian films, directed 33 silent features and 10 sound films.
After WW2 became manager of a Bavarian spa. His Indian films, following UFA tradition, were huge Orientalist spectacles with elephants, camels and expansive vistas often shot in deep focus. Effective authorship shared by producer Rai and scenarist Niranjan Pal. Adopted European conventions to introduce main actors, e.g. backlit mid-shots in soft focus gradually becoming more contrasted; also used mobile outdoor shots as in the railway-crossing sequence of Achhut Kanya. Strongly influenced younger Bombay Talkies film-makers Amiya Chakrabarty and Gyan Mukherjee, though they used his techniques for very different purposes.
Filmography-1925: Prem Sanyas, 1928: Shiraz, 1929: Prapancha Pash, 1935: Jawani Ki Hawa, 1936: Achhut Kanya, Janmabhoomi, Jeevan Naiya, Mamata, Miya Bibi, 1937: Izzat, Jeevan Prabhat, Prem Kahani, Savitri, 1938: Bhabhi, Nirmala, Vachan, 1939: Durga, Kangan, Navjeevan.
Who was Najmul Hasan and what happened to him later ? Najmul Hasan was born on 5-9-1910, into a noble family of Lucknow. He was tall and very handsome and was bitten by the urge to act in the films. He left his Law studies and headed for Bombay. He met Sarojini Naidu, who was a family friend. She recommended his name to Himanshu Rai Strongly. His Screen test was taken in which he passed. Though at first sight, Himanshu Rai was not impressed with his manner of behaviour, he still selected him for the First film of Bombay Talkies, opposite Devika Rani in Jawani ki Hawa-1935.
During Jawani ki Hawa-35- which was loosely based on Agatha Christie’s “Murder On The Orient Express”, published in 1934 only- Devika Rani fell in love with Najmul Hasan and they decided to elope. Their second film- Jeewan Naiyya-36 was on floor and the love birds flew to Calcutta. There was a great commotion in Bombay Talkies. Shashdhar Mukherji the production manager was close to his Bengali Boss Himanshu Roy. Mukherjee traced the couple to Calcutta, met Devika Rani and convinced her to return to Himanshu. Devika Rani returned, Himanshu Roy pardoned her, but not Najmul Hasan.
Najmul Hasan did not come back to Bombay. He joined New Theatres in Calcutta and did films like Anath Ashram-37,Dushman-38,Kapal kundala-39,Jawani ki Reet-39 and Nartaki-40. Even in Calcutta, Najmul Hassan had a rocking affair with superstar Jahan Ara Kajjan. After doing film Meenakshi-42, Najmul Hasan decided to migrate to Pakistan in 1947. In Pakistan he did some films like Eid-1951, Ashiyana, Doctor, Mirza Jatt, Taxi Driver and Heer Ranjha etc.
Najmul Hasan, a very bitter man for the treatment he received in Pakistan, died in 1980 in Pakistan.
Today’s song is sung by Chandraprabha. With this song she makes her debut on this Blog as a singer. This is a typical song of the 30’s, fully impacted with Parsi Theatre music.
(information for this post has been taken from thebigindianpicture.com, Bombay Talkies-an article by Ambarish Mishra, indiancine.ma and my notes. Thanks to all.)
Song-Re mann kaahe soch kare (Jeewan Naiyya)(1936) Singer- Chandraprabha, Lyricist- J S Casshyap, MD- Saraswati Devi
Lyrics
Re mann kaahe soch kare ae
Re mann kaahe soch kare ae
ye jeewan hai
hansne ke jiye
ye jeewan hai
hansne ke jiye
re man kaahe
soch kare
hari shyam ghata
ke aanchal se
?? mukhda
?? hai
??
?? ghadiyaan
dil se gham ko
?? jaati hai
dukh jaata hai
sukh aata hai
kat’te hain din hanste hanste
re man kaahe soch kare ae
re man kaahe
re man kaahe soch kare ae
ye jeewan hai hanse ke liye
re man kaahe
re man kaahe
re man kaahe
Tum tulsi maata pyaari
Posted on: October 19, 2020
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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4476 | Post No. : | 15978 |
Today’s song is from the film Village Girl aka Gram Kanya-1936.
Nine years later, Ramnik Productions made another film with the same title in 1945 with the famous singer Noorjehan singing under the baton of Melody maker music director Shyamsundar. So, when the name Village Girl is mentioned, one’s mind thinks only of the 1945 film of Noorjehan- Village Girl aka Gaon ki Gori-45.
The 1936 film was made by Sagar Movietone. Though Sagar made Talkie films right from the first year of the Talkie era-1931, their films did not make much mark in the film world, till Motilal and Sabita Devi pair came on the scene in 1934 end with ” Shehar ka jaadu”. The new pair clicked famously and Sagar became a name to reckon with. This successful pair did 8 films together for Sagar.
During this period actor singer Surendra came on the scene with his film ” Deccan Queen”-1936, with Aruna Devi. The two Heros then worked with different Heroines of Sagar company. While Motilal worked with Shobhana Samarth, Bibbo, Maya Banerjee and Rose, Sabita Devi worked with Kumar and Surendra. Both Motilal and Surendra came together in the film Jagirdar-36. For the young pair of Surendra and Sabita Devi, film Village Girl was the first film together. They did only one more film together- For Ladies Only-39. Both the films were directed by Sarvottam Badami.
S.Badami is an example of what the Cinema industry is. For some, it is a ditch which destroys the entrant and for a few lucky ones it plays ” Philosopher’s Stone (Paras)”, which turns their lives into Gold. He is one of the two examples, where an ordinary Motor Mechanic makes it as a famous member of the cinema industry. Besides Badami, the other such example is Poet-Director Gulzar (Sampooran Singh Kalra), who was also a Motor Mechanic.
Sarvottam Badami was born in 1910 at Channapatna in Karnataka,to a revenue officer working in Mysore. He passed his SSLC and worked as a garage mechanic and then a projectionist in Select Picture House, Bangalore, both of which were owned by Dr. Ambalal Patel. Patel moved to Bombay and financed Ardeshir Irani of Imperial Film Company, and Chimanlal Desai as a partner forming Sagar Movietone in 1930.
At the age of 19 years, Badami went to Bombay to study automobile engineering. He was asked by Ardeshir Irani who met him at a wedding to help out with the recording equipment he had purchased from abroad.
Badami helped in the sound recording department for the first Talkie in India, Ardeshir Irani’s Alam Ara (1931). Around that time a German director making the film Harishchandra left half-way and Badami offered to complete it, the co-director was Raja Chandrasekhar, although the co-director credit has also been cited as T. C. Vadivelu Naicker. The film turned out to be successful. He was contracted by Sagar Movietone (Sagar Film Company) to direct three films, two in Telugu and one in Tamil: Galava Rishi (Tamil), Rama Paduka Pattabhishekam and Shakuntala in Telugu. The success of these films established him as a director. His working team had people like the cinematographer Faredoon Irani, music director Anil Biswas and the Sagar Movietone favourites Sabita Devi and Motilal.
Initially, to avoid embarrassment to his family he requested not to be credited in the regional language films. He did not know Hindi but from 1932-1947, he worked for Sagar Movietone and also directed nearly 30 films in Hindi, for many others. His first Hindi film was Chandrahasa (1933) starring Noor Mohammed Charlie. He was paid Rs 2000 per film with the complete film being made within Rs 50,000. He worked with most of the top actors of the time like Motilal, Nargis, Ashok Kumar and Pahari Sanyal. He brought Mehboob Khan who was then doing roles as an extra out of obscurity and gave him the role of Sabita Devi’s father in the film Vengeance is mine(1935).
He made several films based on novels. Some of the writers whose work he used were K.M.Munshi, Sarat Chandra and Ramanlal Vasanthlal Desai. The film Aap ki Marzi (1939) was inspired by the Hollywood film Paradise for Three (1938). He became known for his satirical comedies and “socially relevant films”.His film Grihalaxmi (1934), which starred Jal Merchant and Sabita Devi had the woman getting into marriage only if her doctor husband agreed not to want children. The success of the film mitigated the enraged public reaction at the time.
He showed his understanding of media publicity required for films when in 1937, Badami resorted to woo audiences by announcing cash prizes of Rs.500, Rs.200 and Rs.100 for the best reviews of his newly released film Kulvadhu (1937). The promotional gambit worked sending audiences to the theatres. According to an interview, most of Badami’s films didn’t survive as the negatives were burnt to extract the silver from the silver nitrate.
After Aap ki Marzi-38, he followed his mentor, Dr. Patel and joined Sudama Pictures, when in 1939, Sagar Movietone merged into National Films. Badami
also worked in Famous Cine Laboratories, from 46 to 48.
Apparently, in 1948 Deputy Prime Minister Vallabh bhai Patel, who was then also in charge of the Information Ministry, on a visit to the Cine Laboratories Bombay, asked Badami to help set up a Newsreel and Documentary section. The Films Division was established in 1948. He became chief producer in the newsreel department and made several documentaries. He worked in the Films Division making documentaries from 1948-1952. After that he stopped making films and returned to Bangalore to retire as “I was a forgotten man in the feature film world”. He became an industrialist by starting a manufacturing business. Later he worked as a Consultant for Kamani Group of Industries also. He died in 2005 in Bangalore, Karnataka, India.
FILMOGRAPHY: 1932: Harishchandra; Galava Rishi; Paduka Pattabhishekham; Shakuntala; 1933: Chandrahasa; 1934: Grihalakshmi; 1935: Dr. Madhurika; Vengeance is Mine; 1936: Jeevan Lata; Grama Kanya; 1937: Kokila; Kulavadhu; 1938: Three Hundred Days and After; 1939: Aap Ki Marzi; Ladies Only; 1940: Chingari; Sajani; 1941: Holiday in Bombay; 1942: Khilona; 1943: Prarthana; 1944: Bhagya Lakshmi; 1945: Ramayani; 1946: Uttara Abhimanyu; 1947: Manmani; 1951: Vinoba Bhave (Doc);1952: Roof over the head
(Ack: Sapnon ke saudagar by Vithal Pandya, Sagar Movietone by Biren Kothari, HFGK, muVyz, Encyclopedia of Indian Cinema, and my notes)
The cast of the film was Sabita Devi, Surendra, Yakub, Aruna, Kayam Ali, Sankatha Prasad and many others. The film’s story was written by Dr. Jayant Shyama. The story is about a young man Kumar (Surendra) who loves Vilasini (Aruna), but has to marry Bansari (Sabita Devi) due to family obligations. The film shows the complications in their lives.
Kumar’s father (Sankatha Prasad) has taken a loan from sheth Dinanath (Kayam Ali) for Kumar’s education, on condition of Kumar’s marriage to his daughter Bansuri. Unknown to this precondition, Kumar falls in love and impregnates Vilasini. Due to parental obligations, Kumar is forced to marry Bansuri and abandon Vilasini. As the days pass by, Kumar’s father gets killed accidentally by Kumar himself. Vilasini tries to take the blame on herself. In the court the truth comes out and Bansuri comes to know about her love and pregnancy from Kumar. Bansuri frees Kumar from her bond and the lovers unite.
Now we come to the Music riddles of this film. The film, as mentioned in the book “Sagar Movietone” by Shri Biren Kothari ji gives the name of Bhaskar Rao as its Music Director and also for film ‘ Captain Kirti Kumar-37’. Who is this Bhaskar Rao ? A. Bhaskar Rao was a writer ( Aadmi-39) and asstt. Director(Padosi-41) in Prabhat. Hailing from south Karnataka, Amembal Bhasker Rao’s elder brother A.Sunder Rao was an expert Harmonium player. His younger brother A. Dinkar Rao aka D. Amel, was with A.I.R. as a Musician for 40 years. A.Bhasker Rao was a Tabla player and a disciple of Master krisna Rao Phulambrikar.
However, HFGK gives the name of MD as only ” Rao”. The uploader of the song claims that the MD is Shankar Rao Khatu. Dr. Ashok Ranade, in his book “Music beyond Boundaries”, on page 342, mentions the name as Shankar Rao Khatu. I wrote to Shri Girdharilal Vishwakarma ji, who says it is Shankar rao khatu. Now, this Khatu was a famous Bhajan singer. He had dabbled in films too by acting in film Vasant Sena-34, sang a song in film ” Khwabon ki duniya-37″ and gave music to film Sagar kanya-36. In all these films his name appears as Shankar Rao Khatu and nowhere as only “Rao”. I feel this confirms that Rao does not mean Shankar Rao Khatu. In western India like Maharashtra and Gujarat, people from Karnatak or southern states are referred to only as Rao. All these pointers take me to feel that the MD is A.Bhaskar Rao. Moreover, for two successive Sagar films he was the MD.
PS-Shri Biren Kothari has subsequently clarified that the music director was Shankar Rao Khatu.
There is confusion about the singer also. HFGK lists the singer as Rajkumari. When I listened to the other songs of Rajkumari from the same film, I felt that this voice was different. Isuru kariyawasam, the Sinhalese expert on old Hindi films commented on YT that the singer is Sabita Devi. The uploader, Shalin Bhatt agrees to some extent about voice but insists on the name of Rajkumari. Girdharilalji claims it to be Rajkumari Calcuttewali ! I feel it is unlikely because Pullobai did not sing in any film outside Calcutta or films made by other than Calcutta producers. So I have gone the safe way by saying that Rajkumari is the singer of this song.
I request experts to opine. I am not a voice expert.
Song-Tum Tulsi maata pyaari (Village Girl)(1936) Singer-Rajkumari, Lyricist- Unknown, MD- Shankar Rao Khatu
Lyrics
Tulsi maata pyaari
tum Tulsi Maata pyaari
tum Tulsi Maata pyaari
sati ho dukh nivaari
tum devi sankathaari
sati ho dukh nivaari
tum devi sankathaari
sabke rog taaro tum
sabke rog taaro tum
jeewan nav ka taaro
sabke rog taaro tum
sabke rog taaro tum
jeewan nav ka taaro
Tulsi mata pyaari
tum Tulsi Mata pyaari
mahima sabne maani
mahima sabne maani
murli waala gun gaaya
mahima sabne maani
haan aan aan aan aan aan aan
mahima sabne maani
murli waala gun gaaya
murli waala gun gaaya
murli waala gun gaaya
poojan ko aayi daasi
poojan ko aayi daasi
vinti karat tori main
vinti karat tori main
vinti karat tori main
Tulsi maata pyaari
tum Tulsi Maata pyaari
sati ho dukh nivaari
tum devi sankathaari
sab ke rog taaro tum
sab ke rog taaro tum
sab ke rog taaro tum
jeewan nav ka taaro
jeewan nav ka taaro
Tulsi maata pyaari
tum Tulsi Mata pyaari
Bhool jaa
Posted on: July 19, 2020
This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4384 | Post No. : | 15736 |
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Blog 10-Year Challenge (2010-2020) – Song No. 41
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Today 19th July 2020 is the thirteenth birthday of this blog. I wish Atul ji, Sudhir ji, our seniors and all team members on the blog a very happy birthday of the blog today and my greetings and best wishes to all on this occasion.
Ten years ago, on this day i.e. on 19.07.2010, four songs were posted on the blog. And they were posted in a pattern which I liked when I became a member of the blog and also this was a regular pattern in those years i.e. 2012 to 2014 (I think).
In this pattern, songs were discussed in chronological order. The early morning post cover a song from the early years of Hindi cinema (for example from 1930 to 1950 or 1960). As the day wore on, songs from later years would be covered. The last song of the day would be a song from recent years say 1970 or around seventies-eighties.
(I had mentioned about this ‘pattern’ in a discussion on the ‘WhatsApp group’ of Atulites or may be on the blog 🙂 )
The four songs represented on the blog on 19.07.2010 were as given below;
| Song | Movie title-Year | Remarks |
|---|---|---|
| Aaj hamen ban behad bhaataa | AmarJyoti-1936 | 06 songs posted |
| Sataayegaa kise tu aasmaan jab ham nahin honge | Sheesham-1952 | 07 songs posted |
| Main rickshaw waalaa | Chhoti Behen-1959 | All songs covered |
| Aayegaa koyi hamraaz mere pyaar kaa | Phoolon Ki Sej-1964 | 05 songs posted |
Today’s song is from the movie ‘Amar Jyoti-1936’.
I had originally planned to discuss a different song for today’s special occasion. When I checked the songs for ‘blog ten-year challenge’ today,I realised that as many as three movies were eligible for this challenge. I decided to present a song from the oldest eligible movie, preferring to enjoy the writeup of others for the ‘newer’ songs.
‘Amar Jyoti-1936’ was directed by V. Shantaram for ‘Prabhat Chitra’, Poona. It had Durga Khote, Shanta Apte, Vasanti, Karunadevi, Chandramohan, B. Nandrekar, Gajendra, K. Narayan Kale, S. Kulkarni, Vasant Desai and other.
As per HFGK Vol-1 (1931-1940) this movie had eleven songs, all written by Pt Narottam Vyas and music was composed by Master Krishnarao.
Our respected Arun ji has provided the details of his movie while discussing the song –Karte rehnaa mismaar duniya zulm o jafaa ki on the blog.
Following six songs from “Amar Jyoti-1936” have been posted on the blog so far;
| Song | Posted On |
|---|---|
| Aaj hamen ban behad bhaataa | 19.07.2010 |
| Suno suno ban ke praani | 29.06.2012 |
| <a href=”https://atulsongaday.me/2012/09/22/jeet-jyot-tez-chamak-raha-hai/”Jeet jyot tez chamak rahaa hai | 22.09.2012 |
| Ab maine jaanaa hai | 12.10.2012 |
| Karte rehnaa mismaar duniya zulm o jafaa ki | 08.09.2017 |
| Ankhiyan ke tum tare pyaare | 23.09.2018 |
Today’s song, the seventh song from this movie, is sung by Vasant Desai.
As mentioned above lyrics are by Pt Narottam Vyas and music is composed by Master Krishnarao.
Lyrics of this song were sent by Prakashchandra.
Today we start the day on the blog with a song from the same movie with which the day started ten years ago. Maybe we will follow the same chronological order while covering the songs of the day. 🙂 except for the movie already ‘Yippeeee’ed’ on the blog, of course 🙂 .
Let us enjoy this song and also wish our blog a very happy birthday….
nihaan hai nigaahon mein ae
tasveer teri
jidhar dekhtaa hoon
udhar tu hi tu hai …
Song-Bhool jaa (Amar Jyoti)(1936) Singer-Vasant Desai, Lyrics-Pt Narottam Vyas, MD-Master Krishnarao
Lyrics (Provided by Prakashchandra)
bhool jaa aa
bhool jaa aa
bhoolaaun kaise
bhoolnaa muhaal
bhoolnaa muhaal
muhaal
bhoolnaa muhaal
bhulaa do mujhe
garche ye kehti tu hai
bhulaa do mujhe
garche ye kehti tu hai
bhulaa doongaa kaise ae
meri hasti tu hai aye
meri hasti tu hai aye
meri hasti tu hai
nihaan hai nigaahon mein
nihaan hai nigaahon mein ae
tasveer teri ee ee
jidhar dekhtaa hoon
udhar tu hi tu hai
udhar tu hi tu hai
udhar tu hi tu hai
bhool jaa aa
bhool jaa aa
bhulaaun kaise
bhoolnaa muhaal
bhoolnaa muhaal
muhaal
bhoolnaa muhaal
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Devnagri Script lyrics (Provided by Avinash Scrapwala)
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भूल जा आ
भूल जा आ
भुलाऊं कैसे
भूलना मुहाल
भूलना मुहाल
मुहाल
भूलना मुहाल
भुला दो मुझे
गरचे ये कहती तू है
भुला दो मुझे
गरचे ये कहती तू है
भुला दूंगा कैसे ए
मेरी हस्ती तू है अय अय
मेरी हस्ती तू है अय अय
मेरी हस्ती तू है
निहाँ है निगाहों में
निहाँ है निगाहों में ए
तस्वीर तेरी ई ई
जिधर देखता हूँ
उधर तू ही तू है
उधर तू ही तू है
उधर तू ही तू है
भूल जा आ
भूल जा आ
भुलाऊं कैसे
भूलना मुहाल
भूलना मुहाल
मुहाल
भूलना मुहाल
Aaye sajni shubh din aaye
Posted on: November 16, 2019
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 4138 | Post No. : | 15298 |
Today’s song is from film Manzil-1936.
The film was made by Calcutta’s New Theatres. It was directed by P C Barua – who also acted in the film. P C Barua (24-10-1903 to 29-11-1951) had acted in 8 Hindi films and directed 14 films in Hindi. In film Jawab-42, he even sang one song. The lyricists for this film were Arzoo Lucknowi and A H Shor. The music was composed by R C Boral, duly assisted by Pankaj Mullick. Though there were 9 songs in the film, it seems only 4 songs were issued on commercial records. 2 songs are already discussed and today’s song will be the 3rd song from Manzil-36. The cast of the film was Jamuna, Molina Devi, P C Barua, Prithvirasj Kapoor, Nimo, K C Dey, Harimati, Sitara, Shor etc.etc.
In the first decade of Talkie films, films made by New Theatres, Calcutta were more popular than Hindi films made in Bombay. There were 3 reasons. One- Bangla films were strong on story content. Two- music was appealing – especially of Saigal films and three- their distribution network was very wide and strong, thereby reaching a larger audience. It covered, South, West, North, in addition to East and Burma.
The story content was strong, because almost every film was based on famous Bangla novels. This ensured that the audience was familiar with the theme and now they wanted to see and hear the characters from the book. Film makers from Bengal were all well educated and rarely resorted to made up stories. They invariably made films on famous novels. Films from Bombay were made either from folk tales, Parsi-Gujarati- Marathi stage dramas or on stories cooked up by the so called ” story Departments” of the studios.
While there were films based on stories by authors from many languages, the most such films were based on works from Bengal.The reasons were simple. The film makers from and in Bengal were educated and secondly,those film makers who shifted from Calcutta to Bombay, followed the same pattern. Thus many films were made on novels from Bengal. One name stands out ,whose works outnumber all other authors on whose novels Hindi films were made and that name is SARAT CHANDRA CHATTOPADHYAYA (Chatterjee)-1876-1938.
Other famous authors like Bankimchandra Chatterjee etc. were also used, but to my knowledge, more films were based on Sarat Babu’s novels. Except perhaps Devdas, his novels generally were spun around misunderstandings between Lovers,friends, relatives etc. and ended with happy events. These were entertaining, surely.
Some of his novels on which films were made are…
1. Devdas…1935,55,2002 and 2009. 16 films in 7 languages
2. Parineeta…1953 and 2005
3. Swami…1977(H) and 2008(B) (Antaratma)
4. Apne paraye…1980 (Nishkriti)
5. Chhoti Bahu…71 and 84 (Bindur Chhele)
6. Iti Shrikant…2004 (Shrikant)
7. Khushboo…54 and 75 (Pandit Mashai)
8. Majhli Didi…67 (Mejdidi)
9. Manzil…36 (Grihdaah)
10. Biraj Bahu…54 (Biraj Bahu)
11. Mana Desam…49 NTR’s Debut…Telugu (Vipradas)
12. Vagdanam-61 Telugu (Datta)
( This list is only indicative and not exhaustive)
Today we will listen to a song from film MANZIL-1936, produced by New Theatres, Calcutta. This film is based on Sarat’s “GRIH DAAH” (The inflammed Home).
The novel Grih Daah was first serialised in Bangla paper ‘Bharatbarsha’ in 1919. The novel was published on 20-3-1920 in Calcutta. The central theme of the novel was the conflict between the Bramho Samaj and the Traditionalists in those days.
To understand this theme one must know the background. In the late 19th century BRAMHO SAMAJ was established in Bengal by those Bramhins/ Bhadraloks who thought that it was now time for the Renaisance of the Bramhins who were stuck in the age old outdated customs and rituals. But there was a large group who strongly believed in Traditional ways, values and the customs. In the end of 19th century and the begining of 20th century this battle between these two groups became fierce. Bramhos wanted to be upto date with modern times.
Saratchandra belonged to the Tradionalists. Most of his novels advocated this. Ofcourse,his novels had captivating situations, literary values and very firm and strong Heroines which made his novels very popular. His stories were mostly woman-centric.
One point I must admire in Bengali film makers and that is that they were very loyal and true to the storylines on which the films were made. There was neither compromise nor ” Cinematic liberties” taken at all.
Manzil-36 was a story of this conflict.
MAHIM (Pramathesh Barua) is a poor but educated young man. His friend Suresh (Prithviraj Kapoor) is a rich playboy. ACHALA ( Jamuna ) is brought up in a modern Bramho family, who has the liberty to choose her own life partner. Both Suresh and Mahim love Achala. She chooses Mahim, impressed with his intellectual power and education, though she is also impressed with the riches of Suresh. After marriage, both move to another town. In a short time Achala gets disillusioned about Mahim, due to his poverty. She remembers Suresh. Once Mahim gets this doubt and they fight. Their relations become strained. Mahim falls ill seriously. Meanwhile Suresh arrives in that town and meets Achala. While treating and nursing Mahim, Achala is in two minds.
One day she elopes with Suresh, but in a month’s time she realises her blunder. She sees the playboy ways of Suresh and realises that he is not loving her truly. With remorse, she shows the courage to return to her husband Mahim. He also,with great magnanimity,forgives her and accepts her. Thus the traditional principals have won over the modern outlook.
The cast of this film includes Jamuna and Molina Devi, about whom, not much information was available here. Jamuna’s name is a ” same name confusion” case. I know atleast 3 Jamunas, who worked in Hindi films. Luckily, they all operated in almost different time periods, still Internet makes lot of mistakes in their Filmographies.
Jamuna ( 10-10-1919 to 24-11-2005) was the fourth of the six daughters of Puran Gupta, a resident of a village near Agra, India. Each of the sisters was named after an Indian river like Ganga, Jamuna, Bhagirathi etc. As destiny would have it, Jamuna came to reside in Calcutta, a leading film producing city in India. Originally from Gauripur of Assam’s Goalpara district (undivided), Jamuna was married to the legendary actor director Pramathesh Barua, or P.C. Barua, who died in 1951. She began her acting career in her husband’s famous production Devdas in 1936 and was the film’s lead character Parvati or Paro. She went on to make a number of memorable movies in Assamese, Bengali and Hindi, notably Amiri, Mukti, Adhikar and Sesh Uttar. She stopped acting after Barua died.
Jamuna made her film debut in the 1930s and played a small role in Mohabbat Ki Kasauti (1934), Hindi version of Rooplekha (Bengali), directed by P.C. Barua. A romance started although Barua, hailing from the native Indian state of Gauripur, Assam, was already twice married. As the actress, who was to play Parbati in Barua’s next venture Devdas (1935) reported inability to attend the studio on the very first day of shooting, Jamuna was called from Barua’s residence (she was living with him by then) and was asked to get down to work straight away without any preparation whatsoever. Thus she came to be the first Parbati of Indian talkies- Miss Light had played the role in the silent version of the enormously popular Sarat Chandra novel. Aishwarya Rai happens to the last so far and Devdas has been made and re-made a number of times. Jamuna played the same role in the Hindi version also and was accepted in this very first proper exposure as an actress in her own right.
She continued to act in Barua’s films like Grihadaha (1936), Maya (1936), Adhikar (1939), Uttarayan (1941), Shesh Uttar (1942), Chander Kalanka (1944) and the respective Hindi versions of each film. Barua had left the prestigious New Theatres in 1940 and was directing as well as producing his films. Thereafter she acted in a number of Barua directed Hindi movies like Amiree, Pehchan and Iran Ki Ek Raat. These films however did not add to the prestige of either to Barua or to Jamuna. Jamuna also acted outside Barua direction in three Bengali films Debar (1943) and Nilanguriya (1943) where she proved herself without Barua’s influence. Her last film Malancha (1953) was also outside Barua’s direction. She also starred in its Hindi version Phulwari (1953).
Barua’s death in 1951 when he was only 48 changed Jamuna’s life altogether. She had three sons by Barua, Deb Kumar, Rajat and Prasun. They were all minors at the time and the Gauripur estate refused to take any of their responsibilities. She had to wage a legal battle with the powerful and influential royal family to get her and her children’s dues and recognition. Time settled the matters and she was allowed ownership of the house with its vast adjoining land and also an allowance. Jamuna spent the rest of her life after Barua as a housewife, busy in bringing up her minor sons. She had to complete the unfinished film Malancha of course but bid adieu to the film industry soon after. Later in her life she did attend a number of functions to celebrate the centennial year of husband P.C. Barua and received felicitations from the Government of India and the state Government of Assam as the first Parbati of Indian talkies.
Her last days were not very comfortable and she was bedridden for more than six months prior to her death. She is survived by her three sons and their families and a host of relatives. According to her family members, she had been ill for some time, and the cause of death was illness related to old age. She died at her residence in South Kolkata. She had acted in 13 Hindi films. Her last film was Phulwari-51.
Molina being an uncommon name there was no other actress of this name. Molina Devi was born in 1917. She received training in acting from Aparesh Mukherjee, and made her debut, at the age of 8, in a silent movie. She was acknowledged as one of the leading actresses of the Bengali stage, with her professional career spanning more than three decades.
In 1924, she debuted in a silent film while at the age of 8 and thereafter worked as dancer mainly in the mythological and historical plays. She performed some memorable roles in Bengali as well as Hindi films. She got a break through in Puran Bhagat and, Molina played the title role in the movie, Rani Rasmani. She took various roles, even vamps in her early career such as in Pramathesh Barua’s Rajat Jayanti in 1939. She also directed a Kolkata based theatre troupe, M. G. Enterprises.
Molina worked in Rangana theatre as chief artist. She performed as a singer on radio and contributed for formation of Mahila Silpi Mahal, a welfare association for female artists of Bengal. Molina Devi’s high creative excellence had found expression in such diverse media as the stage, the film and the radio. As a founder of the M. G. Enterprise, now in its twenty-third year, she had been responsible for the success of such well-known plays as ‘Thakur Sri Sri’, ‘Rani Rasmoni’, ‘Jagatbandhu’ and ‘Bholagiri’.
She had been honoured and decorated by many eminent organisations and learned bodies. For her eminence in the field of Drama and her contribution to its enrichment , Molina Devi received the Sangeet Natak Akademi Award for Acting.
Her first husband was Jolu Boral and the second husband was actor Gurudas Banerjee.
Molina died on 13 August 1977 in Kolkata. She acted in 22 Hindi films. Her first Hindi film was Raaj Rani Meera-33 and last film was Babla-53. She also sang 11 songs in 4 Hindi films.
The singer of today’s song, Harimati Dua was one of the three singers of the First playbback song in Hindi Film History recorded for film Dhoop Chhaon-1935, along with Parul Ghosh and Suprova Sarkar.
She acted in 2 films and sang 9 songs in few films like, Manzil, Dhoop chhaaon, Maya, Ananth Ashram and Khudai khidmatgar.
Song-Aaye sajni shubh din aaye sab ki bigdi Raam banaaye (Manzil)(1936) Singer- Harimati, Lyrics- Aarzoo Lucknowi, MD- R C Boral
Lyrics
Aaye sajni
shubh din aaye
Aaye sajni
shubh din aaye
sab ki bigdi raam banaaye
sab ki bigdi raam banaaye
dekh dekh ke man lalchaaye
dekh dekh ke man lalchaaye
aankh mili
dil bhi mil jaaye
aankh mili
dil bhi mil jaaye
moh ka rasiya ras barsaaye
moh ka rasiya ras barsaaye
jalti agni maar bujhaaye
jalti agni maar bujhaaye
Aaye sajni
shubh din aaye
Aaye sajni
shubh din aaye
sab ki bigdi raam banaaye
sab ki bigdi raam banaaye
?? nahin hansi ye ro dena
?? to nahin hansi ye ro dena
na apni na wo kahin aap hi se ro dena
na apni na wo kahin aap hi se ro dena
sadabahaar bane ye tumhaara raaj suhaag
sadabahaar bane ye tumhaara raaj suhaag
jo sukh dukhon se mila hai
wo phir na kho dena
jo sukh dukhon se mila hai
wo phir na kho dena
ye rog wo hai jo dil ?? ke jaan leta hai
ye rog wo hai jo dil ?? ke jaan leta hai
usi ki jeet hai jo haar maan leta hai
usi ki jeet hai jo haar maan leta hai
Aaye sajni
shubh din aaaaaaaye
Ham ban gaye sab bade doctor
Posted on: May 23, 2019
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Today’s song is from a very old film-Do Deewane-1936. The film was made by Sagar Movietone. It was directed by Chimanlal Luhar and the music was by Pransukh Nayak.
The film was a Comedy film. Originally made in Gujarati as ” Be kharab jan “, it was based on a play written by the famous Literary figure of Gujarat- Kanhaiyalal Munshi ( 30-12-1887 to 8-2-1971 ). He was an activist in Independence struggle, a Politician ( Home Minister and Governor), a writer and an educationist (founded Bharatiya Vidya Bhavan). Munshi had dabbled in film industry and many Gujarati and Hindi films were made on his plays and stories in almost every decade.
All the 11 songs of the film were written by the famous Gujarati poet ” Raskavi ” Raghunath Bramhabhatt. He was born on 13-12-1892. He was a famous Gujarati poet and also a popular playwright. He was aptly called ‘Rasakavi’ or ‘Poet of rasa’. He began his career by writing erotic poems that became very popular. His plays mainly tackled mythological and historical subjects, such as Buddhadev i.e. ‘The God Buddha’, Sringi rishi i.e. ‘Mountain Sage’, Ajatsatru, Saraswatichandra, Sneh mudra i.e. ‘Ring of Affection’. He followed Sanskrit dramaturgy i.e. a novelty when Shakespearean adaptations ruled the Gujarati stage. His adaptations of Nanalal Kavi’s verse plays and Govardhanram’s novel, Saraswatichandra, were highly appreciated by audiences. He is accepted in literary circles as a major dramatist, a rare recognition for a writer of the old professional theatre. His autobiography Smaran manjari i.e. ‘Cluster of Memories’ in 1955 traces the history of Gujarati theatre over three decades beginning from 1910.
Darpana’s productions of his play Kalyan rajya i.e. ‘Benevolent Kingdom’ in 1962 points to his ability to attract the experimental theatre.Raghunath Brahmbhatt died on 11-7-1983. He wrote lyrics for just 6 Hindi films- Do deewane-36, Baaraat-42, Mera Gaon-42, Ashirwad-43, Bhakta Bilwamangal-48 and Roop sundari-49.
The film cast was Motilal, Shobhana Samarth, Yakub, Aruna Devi, Sankata Prasad, Bhudo Advani and others. The name of Aruna Devi may be a new one for many. She started acting in films with film Village Girl-36. The same year, she also acted in Mard ka Bachha, Lagna Bandhan,Do Deewane and Deccan Queen ( she did a double role in this film. She also sang 2 songs in this film.) and in 1938 she acted in her last film Asha-38. After this she got married to a businessman Mr. Nanavati and settled in England- ending her very short career as an actress.
Do Deewane was the first film in which Motilal and Shobhana Samarth acted together. In later life, however, besides acting, they lived a life together also in real life. The film was directed by Chimanblal Luhar.
The Director CHIMANLAL MULJIBHOY LUHAR ( 1901-1948) was a Chemistry graduate from Bombay University. He started writing as a critic and author in journals like Beesvin sadee, Navchetan and Bombay Chronicle. He joined film line as a lab Assistant in Kohinoor studios in early 20s. Soon he became a noted cameraman for several documentaries, with K.D.Brothers, Bombay,under a British cameraman of Prince of Wales’ official entourage. After a brief stint at Rajkot with Saurashtra Films and a longer one at Krishna Films-where he shot 20 films, he joined Sharada Studios with ‘Dagabaz Duniya-1926 and several stunt films by Master Vithal. He turned a producer for a few stunt films. Later he was a partner in Sharda films and a Director with Sagar Movietone(1934-1940). From 1941 to 46 he worked for Prakash Pictures. He directed Sassi Punnu-32,Silver King-35 Talash-E-haq (first film of Nargis, made by Jaddanbai)-35, Do deewane, Kharab Jaan, Capt. Kirtikumar, Dynamite, Kaun kisika, Sewa Samaj, Saubhagya, Darshan, Station master, School Master, Uss paar and Bindiya. He died at the young age of 47 years,in 1948. He had established his own production outfit ‘Sun Art Pictures’ in 1943, but he made only 3 films with it -School Master-43, Uss Paar-44 and Bindiya-46, before he died, after a prolonged illness.
FILMOGRAPHY: 1932: Sassi Punnu; 1935: Silver King; Talash-e-Haq; 1936: Do Diwane/Be Kharab Jan; 1937: Captain Kirti Kumar; 1938: Dynamite; 1939: Kaun Kisika; Seva Samaj; 1940: Saubhagya; 1941: Darshan; 1942: Station Master; 1943: School Master; 1944: Us Paar; 1946: Bindiya.
Film Do Deewane took a satirical look at the practice in society, the character of a father, forcing his daughter into a marriage for monetary incentive, was at the heart of this film. The daughter runs away from home and meets a lot of people. In his original stage drama, Munshi had brought different people speaking in different languages- creating kind of a humour, however in the Hindi film version it was only Hindi language spoken by different people…still creating laughs by their grammar and pronunciation.
While doing the shooting, Motilal was quite hesitant and shy in love scenes. There was a scene in which he was supposed to take the Heroine in his arms. But even after trying several times Motilal could not do it. Fed up of waiting for long, it was Shobhana who jerked him towards her and embraced him ! Imagine who must have blushed in this scene !!
In another scene, Shobhana is sitting on a swing. Motilal had to come from behind and push the swing to frighten her.While doing the rehearsal of this scene, Motilal gave a hard push to the swing to look realistic. As a result Shobhana not only fell off the swing but promptly became unconscious also. It was then that Motilal came to know that she was pregnant. Later on 4-6-1936, Shobhana gave birth to Nutan !
The story of the film was the usual conflict between Generation thinkings and values. Since the time unknown, newer Generations have always felt that the older people were not keeping up with current times. This was so 100 years ago and is very much true even today. The film which was made about 80 years ago tried to discuss this conflict, cinematically. Millionaire Ramdas wants to marry his daughter as per his choice. Not agreeing to this daughter Miss Rambha (Shobhana Samarth) runs away from home and in her quest of peace, meets Dr. Mohanlal (Motilal). They fall in love. At the end it is revealed that Mohanlal was the original choice of her father. So, all is well.
The film had subplots to create comic situations. However, as per the review of the film posted in Film India magazine, the comedy did not induce most people in the audience to laugh and acting of most actors was mediocre. The technical side was much appreciated. Anyway, Baburao Patel of Film India magazine rarely appreciated or had good words for any film, so nothing new in this review also.
There were 11 songs in the film. The composer was Pransukh Nayak, who started his career with film Sati Sone-33 and ended with film Kulvadhu-37, giving music to 27 films in between this period and composed 293 songs.
In Sagar Movietone, many actors, actresses, directors and technicians got first opportunity or got opportunity to develop their existing careers. The Regular artistes of Sagar Movietone were called ” The Jewels of Sagar “. They included Motilal, Surendra, Kumar, Charlie, Yakub, Bhudo Advani, Sh. Mukhtar, Kanhaiyalal, Sankata Prasad, V H Desai, Sabita Devi, Bibbo, Waheedan Bai, Jyoti, Maya Banerjee, Nalini Jaywant, Ezra Mir, Ramchandra Thakur, mehboob, Sarvottam Badami, Zia Sarhadi, Faredoon Irani, Kaushik Dholabhai and Anil Biswas.
Today’s song is a fun song. From the lyrics, it sounds like a group of freshly graduated Doctors. The song has many medical terms and mentions of Medical instruments etc. This is a Chorus song. With this song, film Do Deewane makes its Debut on the Blog.
( I am thankful to the book ” Sagar Movietone”, by Biren kothari ji for information used herein.)
Song-Hum ban gaye sab bade doctor (Do Deewaane)(1936) Singer- Chorus, Lyricist- Raghunath Bramhabhatt, MD- Pransukh Nayak
Lyrics
Hum ban gaye sab bade doctor
physician aur Surgeon
patient hamaara dilbar
chaaku hamaara nashtar
Hum ban gaye sab bade doctor
physician aur Surgeon
patient hamaara dilbar
chaaku hamaara nashtar
koi nine pills aur powder
koi nine pills aur powder
koi nine pills aur powder
koi nine pills aur powder
tonic lotion aur tincture
tonic lotion aur tincture
tonic lotion aur tincture
tonic lotion aur tincture
patient hamaara ho mister(?)
patient hamaara ho mister(?)
phir mauj kare kheese bhar kar
phir mauj kare kheese bhar kar
bane hunarwar chale akadkar
badhe position ghar ghar
bane hunarwar chale akadkar
badhe position ghar ghar
MBBS
FS(?)
ab kaun hai hamse badhkar
ab kaun hai hamse badhkar
ham ban gaye sab bade doctor
physician aur Surgeon
patient hamaara dilbar
chaaku hamaara nashtar
ham ban gaye sab bade doctor
physician aur Surgeon
patient hamaara dilbar
chaaku hamaara nashtar
koi nine pills aur powder
koi nine pills aur powder
koi nine pills aur powder
koi nine pills aur powder
tonic lotion aur tincture
tonic lotion aur tincture
tonic lotion aur tincture
tonic lotion aur tincture
patient hamaara ho mister(?)
patient hamaara ho mister(?)
phir mauj kare kheese bhar kar
phir mauj kare kheese bhar kar
bane hunarwar chale akadkar
badhe position ghar ghar
bane hunarwar chale akadkar
badhe position ghar ghar
MBBS
FS
ab kaun hai hamse badhkar
ab kaun hai hamse badhkar
ham ban gaye sab bade doctor
physician aur Surgeon
patient hamaara dilbar
chaaku hamaara nashtar
ham ban gaye sab bade doctor
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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