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

Archive for the ‘Song of 1937’ Category


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 :

4825 Post No. : 16603

The human mind is constantly attracted by imaginary things.He would like to have supernatural powers and do things which he only dreams about. He knows he can not do so, so looks out for those who can do them. A normal person likes to see a man do super-human activity like fighting with hungry lions or teaching a lesson to Roadside Romeos or punishing wrong-doers etc. If possible he would like to do these things himself, but it is not possible for an ordinary man. If someone is thrashing a thief or stopping someone from troubling hapless women, the public gathers and cheers him. We have seen it many times.

Secrecy, Puzzles, riddles, Mystery and fantasy are the initiators of curiosity in Human Mind. The mind dreams of the things it wishes, but can not do and knows that it can not do. That is where the seeds of Action films and stunts are sown.

The film makers took advantage of this human nature and made films about supernatural heroes who rode Horses, fought 10 goons at a time, jumped into and out of fire with ease and generally staked their lives to save the poor and the weak in the society. The audience simply loved it and action films established themselves. There is nothing childish about it. These movies help the majority of moviegoers enjoy such superhuman acts vicariously.

When film making started in India, it was but natural, because of our heritage, that most initial films were mythological. With the beginning of silent films from Raja Harishchandra in 1913 to 1921 almost all films were Mythologicals.

The First off-beat film was ”England Returned or Bilet ferat” a Comedy film made by Indo British films, Calcutta, released on 2-2-1921.

The First fantasy film was ‘Princess Badar or The tale of Kamar-al-Zamin’ made in 1922 by Madan Theatres, Calcutta.

The First Costume film was ‘The song of the slave‘-1922,made by Photoplay Syndicate,Calcutta.

The First Crime film was ‘The Kala Naag or Triumph of Justice‘-1924, made by Kohinoor films,Bombay. The First detective film was ‘ Justice or Nyaya’-1925, made by Premier Photoplay, Poona.

And finally the First Action film was ”The choice of a Bride“-1929, made by Surya Film Company, Bangalore.

After this there were many Action films made in Silent movies till the last silent film in India-” Niyoti”-1934, made by Aurora Film Corporation, Calcutta, released on 15-9-1934.

( Thanks to Dr.R K Verma and his book “Silent Cinema”).

When the Talkie films started , here too Mythologicals led the list. However the First Action Film in Talkie was ” Dagabaz Aashiq”-1932, closely followed by another action film “Do Badmash” made by Imperial and Ranjit respectively.

After this there was no looking back. There was enough material available for Mythological, Historical, religious, social, fantasy and Costume films in India,with its rich Heritage, but for Action and Stunt film stories, movie makers looked to the west.

The legendary King Arthur, Robin Hood, William Tell, Zorro and Tarzan etc all became sources of inspiration for action and stunt films in India. Skillful adaptation and Indianization of western Heroes coupled with the fertile imagination of story writers in our studios provided enough fodder. It is through this that emerged the ideas of ‘Masked men’,’Hunterwali’ and various Baghis.

Out of these the Tarzan stories were more popular as they combined Mystery, jungles, superhuman powers and great strengths which tamed the wild animals. Countless films were made with Tarzan as the central character.

The original Tarzan story was written by Sir Edgar Rice Burrows and it was first published in 1912, followed by its 23 sequels. The story proved to be immensely popular. No wonder, then, that it attracted the Hollywood producers.

The First Silent film ” Tarzan of the Apes” was released in 1918 in which Tarzan’s role was done by Elmo Lincoln and Jane Porter was Enid Markey. From 1918 to 2008, Hollywood made 89 Tarzan Films.

The First Talkie film on Tarzan was ” Tarzan-The Ape Man ” in 1932. Johnny Weissmuller was doing Tarzan’s role and Maureen O’Sulivan was Jane in it.

Johnny was a German bred Romanian settled in America. He was an Olympic Swimming Champion with 5 Gold medals. The pair of Johnny and Maurine was very popular. Johnny Weissmuller did 12 films of Tarzan from 1932 to 1948. 6 films with Maureen, 2 without Jane and 4 with Brenda Joyce. After Johnny 5 Tarzan films were done by Lex Barker and 6 were done by Gordon Scot. After 1960, there were different Tarzan actors in every film.

The Chimpanzee “Cheetah” was there in films from 1932 to 1960, when he died.

In most films, the scripts were loyal to the novels. However, in the novel, Tarzan and Jane get married and they have a son too. But in films, they never got married and their son ” BOY ” was found and adopted by Jane.

Tarzan films attracted Indian film makers too.As far back as the first decade of Talkie films in India , an attempt was made to make films like Tarzan. The name was too obvious to be copied, so a new name was invented- ZAMBO. The adventurous producer Mohan Bhavnani always liked to do experiments and he made a film Zambo- The Ape man in 1937 (aka Sher E Jungle). It had almost a similar story like that of Tarzan but it was fully indianised. Obviously, this film became very successful, because Bhavnani made a sequel ” Zambo ka Beta ” in 1939.

In both the films the Hero was the same-Navin Yagnik. Navin was a well known stunt film actor who did social films also with the same ease. Navin was born in Calcutta on 3-10- 1912. His father was from U.P. and mother from Bengal. During school days, he was more interested in sports,dramas and oratory. He did not complete his Matriculation, but ran away to Bombay, to become an actor-against the wishes of his family.

He joined Sagar Films in 1930, as an Extra, without salary. After a few months he got Rs.35 pm, but no credited roles. After an year or so, he left Sagar and joined Mohan Bhavnani’s Ajanta Film company. He first worked in the film ‘ The Mill ‘-34. Unfortunately, this film was banned for 2 years. The film was based on a story by Munshi Premchand and depicted the poor conditions of mill workers in Bombay. The Mill Owners’ Association brought pressure on the Government and got the film banned. After 2 years, the film was released as ” Ghareeb Parivar”-36 aka ‘Daya ki Devi’. Two more films and Navin became Hero in the film ” Pyar ki maar”-35.

In her autobiography, actress Hansa Wadkar says,” My Hero in this film was one Navin Yagnik, a handsome boy from U.P. He was very shy and after the shootings, he would quietly sit in one corner reading something. He never joined our drink parties,nor did he participate in any other group activity. I was attracted towards him but he gave no response. He sent me an invitation card for his marriage, when it was fixed.”

He also worked in Minerva Movietone, Prakash pictures, Filmistan and other good banners. Some of his well known films were, Zambo-The ape Man-37, Meri Bhool-37, Divorce-38, Vaasanti-38, Son of Zambo-39, Main Haari-40, Jhoothi Sharm-40, Vasantsena-42, Raja Rani-42, School Master-43, Prithvi Vallabh-43, Chal chal re Naujawan-44 etc. His last recorded film was Bhagwat Mahima-55. In all, he worked in 30 films.

Navin Yagnik died on 28-10-1977.

Many films were made on Tarzan in India. Though there was a film ‘ Tarzan ki beti’ made by a Calcutta company in 1938, it was not actually a jungle film, belying its title. It took about 25-30 years to see a Hindi film of Tarzan. In the 60s there was a spate of Tarzan films. About 20+ films were made. Tarzan stories were more popular as they combined Mystery, jungles, superhuman powers and great strengths which tamed the wild animals. Countless films were made with Tarzan as the central character.

When the normal titles finished, the imaginative writers combined Tarzan with Aladdin, Delialah, Rocket, Gorilla, Mermaid, King Kong, Hercules, Cobra, Circus and even Fairyland. When this too was exhausted, they joined him with places like Delhi, spies like 303 etc. They gave Tarzan a Daughter also. When the Indianisation of Tarzan was complete, in came ZIMBO !

Whatever the title, the script ideas were more or less the same. It ensured that the Hero’s supernatural powers and strength was used and wild animals were shown in abundance.

There were also Toofani Tarzan (1937), Toofani Tarzan (1962), Tarzan Aur Gorilla (1963), Rocket Tarzan (1963),Tarzan Aur Jalpari (1964), Tarzan Captain Kishore (1964), Tarzan Comes To Delhi (1965),Tarzan And Circus (1965), Tarzan And King Kong (1965); Tarzan Aur Hercules (1966), Tarzan Ki Mehbooba (1966), Tarzan In Fairyland (1968), Tarzan 303 (1970),Tarzan Mera Saathi (1974), Tarzan (1985), Taarzan – The Wonder Car (2004).

Anyway we are talking about the film Zambo-The Ape man-1937 presently. The music was given by an extraordinarily talented artiste- Badri prasad. He was an actor, singer, Music Director, Producer, Director, Lyricist and a Choreographer in his last lap. I have yet to come across another artiste with so much talent. Additionally he was a Sanskrit pandit and wrote dramas for All India Radio also. We don’t find such people these days !

Film actor and a famous compere DAVID ABRAHAM CHEULKAR, popularly known only as David, made his Debut with this film. David Abraham Cheulkar (21-6-1909 to 2-1- 1981), popularly known as David, was a Jewish-Indian Hindi film actor and a member of Mumbai’s Marathi-speaking Bene Israel Jew community. In a career spanning four decades, he played mostly character roles, starting with the 1941 film Naya Sansar, and went on to act in over 110 films, including memorable films such as Gol Maal (1979), Baton Baton Mein (1979) and Boot Polish (1954), for which he was awarded the 1955 Filmfare Best Supporting Actor Award.

He never married. He died on 2-1- 1981 in Toronto, Ontario, Canada of a heart attack at the age of 73.
Today’s song is sung by Sarla devi. It is the second song from this film here.


Song- Hamri sudh budh kyon bisraayee (Zambo The Ape man)(1937) Singer- Sarla Devi, Lyricist- Pt. Badri Prasad, MD- Pt. Badri Prasad

Lyrics

Hamri sudh budh kyon bisraayee
Hamri sudh budh kyon bisraayee
hamre nainan mein nit aas lagi hai
nainan mein nit aas lagi hai
surat kyon hai chhupaayi
Hamri sudh budh kyon bisraayee
hamre kaate katat naahin
birha ki ratiyaan
kaate katat naahin
birha ki ratiyaan
tum bin saajan dhadkat chhatiya
neha lagaa ke
tumne saajan
neha lagaa ke
tumne saajan
birha ki aag lagaayi
hamri sudh budh kyon bisraayee
hamri sudh budh kyon bisraayee

raat andheri
baadal garje ae ae ae
megh chaaye rahe
bijli chamke

aawo ban mein chhupne waale
aawo ban mein chhupne waale
ab pad jaawo dikhaayee
hamri sudh budh kyon bisraayee
hamri sudh budh kyon bisraayee


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 :

4813 Post No. : 16583

Today’s song is from an 84 year old film- Duniya Na Mane-1937.

The film is considered as a Landmark film in India and a major milestone for its director V. Shantaram. The film was made by Prabhat Film Company of Poona. In those days Prabhat was considered as one of the leading film companies, which gave meaningful yet entertaining films. Many of its films were based on Social evils like Child marriages, Dowry, life of Prostitutes in society etc.

Shanta Apte, Heroine of today’s film had a role of a rebellious bride who is forced to marry an old widower with grown up children. In her personal life alsoshe was a rebellion. In the beginning of her career, her Mentor was her elder brother Baburao Apte, who not only looted her money but also had a daughter from her- as per many sources.Later on after her death, Nayana Apte- a Marathi stage and stage actress of B grade, had announced openly that she was the daughter of Shanta Apte. Very soon, in her career, Shanta Apte had thrown her brother out of her life.

Another example of her fiery nature is when Baburao Patel of Film India Magazine wrote an objectionable comment about her, she entered forcefully in his cabin, with a cane and beat him in presence of his staff. Next day, baburao patel wrote about it in his magazine ! Prabhat film company which had supported her by giving her roles in 6 films for the beginning of her career, tried to punish her by not allowing her to work outside Prabhat and they were not giving her any work here also. Shanta Apte sat for a ” Fast unto Death” near the gates of the company, giving interviews to newspapers and magazines, till the management bowed to her and released her from their contract !

Film Duniya na mane-37 was a very successful film. In those days, there was a healthy competition between Calcutta’s New Theatres and Poona’s Prabhat. Both were giving good, clean and successful films. But there was a difference. In that period films directed by P.C.Barua were quite popular. Unfortunately, most of his initial films were Tragedy films wherein the hero used to die at the end. Starting with Devdas-1935 films came with tragic ends. Though these films fared well at the Box office, V.Shantaram was of the view that these films were making young people pessimistic. To counter this trend, Shanataram coined a slogan ” Life is for Living” and his films ended with this type of message. ( In the next decade, something like this happened to Dilip Kumar, when in most of his films during the late 40’s to the mid 50’s His film hero died in the end. In this case the audience was not affected. Dilip kumar himself was depressed psychologically so much that he had to consult a Psychiatrist from London! ).

The cast of the film Duniya na maane-37 (Kunku in Marathi) was Shanta Apte, Keshavrao Datey, Shakuntala Paranjpye, Raja Nene, Vasanti, Parshuram etc etc.

I wish to draw your attention to one actress here and she is SHAKUNTALA PARANJPYE. Hardly anyone knows about this lady. She was one of the highly qualified actresses from a very prestigious lineage. She had achieved many laurels before joining films and after leaving films. She was an actress, author, Politician, Film, TV and stage actor, Radio artiste and a lady educated in the U.K. She had worked internationally. She is probably the only film artiste to get Padma Bhushan and her daughter too got Padma Bhushan later on. I know of only one more film artiste in the film industry, who had done work at the International level, was an author, actor, director, writer and lyricist…Dewan Sharar.

Let us take a look at the life story, in brief, of Shakunatala Paranjpye.

Shakuntalā Parānjpye (17 January 1906 – 3 May 2000) was a writer and a prominent social worker. She was a member of Maharashtra Legislative Council during 1958–64, and was a nominated member of Indian Rajya Sabha (Upper House of Parliament) during 1964–70. In 1991, the Government of India awarded her the Padma Bhushan title in recognition of her pioneering work in the field of family planning since 1938.

Shakuntala Paranjpye was the daughter of Sir R.P.Paranjpye the first Indian to be Senior Wrangler at the University of Cambridge, an educationist, and India’s High Commissioner to Australia during 1944–1947.
Shakuntala studied for the Mathematical Tripos at Newnham College, Cambridge. She graduated there in 1929. She received a Diploma in Education from London University the next year.

Shakuntala worked in the 1930s with the International Labour Organization in Geneva, Switzerland. In the same decade and in the 1940s,, she also acted in some Marathi and Hindi movies.

Shakuntala wrote many plays, sketches, and novels in Marathi. Some of her work was in English.

A Hindi children’s movie, Yeh Hai Chakkad Bakkad Bumbe Bo, which was based on a Marathi story by Shakuntala was released in 2003.

Shakuntala was married for a short time to a Russian painter, Youra Sleptzoff. She had a daughter, Sai Paranjpye, by him in 1938. Soon after Sai’s birth, she divorced Youra, and reared Sai in her own father’s household.
Sai Paranjpye is a noted Hindi movie director and screenwriter. She is known for her comedies and children’s movies. In 1991, the Government of India awarded her the Padma Bhushan title in recognition of her artistic talents.

She wrote many books. Some of them are….
1.Three years in Australia
2. Sense and Non sense
3. Kahi ambat kahi goad (Marathi)
4.Desh Videshichya Lok katha (Marathi)

She acted in 13 films- Sairandhri-33, Parth Kumar-34, Bhedi Rajkumar-34,Bhakta Prahlad-34, Typist Girl-35, Sone ka Shahar-35, Kali Waghan-35, Bahadur Beti-35, Duniya na maane-37, Sultana Chand Bibi-38, Jeevan Jyoti-38, Stree-38 and Paisa-41. She sang 9 songs in 4 films-Typist Girl,Sone ka shahar, Stree and Paisa.
Shanta Apte (23-11-1916 to 24-2-1964) worked in 22 films and she sang 84 songs in 20 films.She gave music to film-Main abla nahin hoon-1949.

The story of film duniya na mane-37 was……..

Neera [Marathi]/Nirmala [Hindi](Apte) is trapped into marrying the old widower Kakasaheb (Date). He is a progressive lawyer with a son and a daughter of Neera’s age. She refuses to consummate the union, claiming repeatedly that while suffering can be borne, injustice cannot. After facing many hurdles including an aunt (Vasishta), her mother-in-law, and a lascivious stepson Pandit[M]/Jugal[H] (Nene), her husband has a change of heart and magnanimously commits suicide, enjoining Neera to marry someone more suitable. The change occurs mainly through his widowed daughter Chitra[M]/Sushila[H] (Paranjpye, a noted social worker off screen) who provides a forcefully feminist movement in a speech to the young bride.

As many as six songs from “Duniya Na Maane”(1937) have been covered i the blog. Out of 12 songs in the movie, only seven songs are available.Here is the seventh song from “Duniya Na Maane”(1937). This song is sung by Vasanti. Munshi Aziz is the lyricist. Music is composed by Keshavrao Bhole.


Song-Bharat shobha mein hai sabse aala (Duniya Na Maane)(1937) Singer-Vasanti, Lyricist-Munshi Aziz, MD- Keshavrao Bhole

Lyrics

Bharat shobha mein hai sabse aala
har maheene mein rang niraala
Bharat shobha mein hai sabse aala
har maheene mein rang niraala
vasant mein rangraliyaan manaa ke
baishaakh bhi chala hanste hansaate
vasant mein rangraliyaan manaa ke
baishaakh bhi chala hanste hansaate
Bharat shobha mein hai sabse aala

har maheene mein rang niraala
ras bhara joban dharti pe jhoome
sooraj ?? se shobha ko choome
prem se kiran laga isi ne (?)
jeth ashaadh ke kitne maheene
bijli chamke baadal bhaage
dekh ke moran naachan laage
Bharat shobha mein hai sabse aala
har maheene mein rang niraala

saawan mein har mukh pe hansi thhi
Krishna janam ki man mein khushi thhi
?? ki paawan jhoola ke jhoola
baag hara bhara phoolon se phhoola
?? ki paawan jhoola ke jhoola
baag hara bhara phoolon se phhoola
Bharat shobha mein hai sabse aala aa aa aa
har maheene mein rang niraala
Bharat shobha mein hai sabse aala aa


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 :

4800 Post No. : 16564 Movie Count :

4511

Today’s song is from an old film – actually a very old film, which is 84 years old – Dhanwan-aka Mazdoor ki beti-1937.

The film was made under the banner of the Imperial Film Company, Bombay and was shot in its studio. It was directed by Premankur Atorthy and the Music was by Harshchandra Bali or H.C.Bali. The cast of the film was Rattanbai, Jamshed ji, Hafisji, W.M.Khan and others. This was the last film made by the Imperial Film Company.

From 1913 to around 1945 upwards, it was strictly a period of Studio Culture. Names of Heroes and Heroines were less important than the name of the studio making the film During the Silent film era films used to be made within a span of a month or even less than that.Most films were shot during day time in the studios where there used to be no roof to its 4 walls, because they needed Sunlight for shooting. An improvement on this was a Glass Ceiling in Imperial studio to filter the strong sunlight in summer.

Studios used to employ people needed to make films, like Actors-M and F, Directors, MDs, Lyricists, Writers, Cinematographers etc on monthly basis pay. For big studios, the Pay-roll lists would have artistes and others in hundreds. Ranjit studio boasted to have more than 900 people on its monthly Pay list at one time. The Government had opened a Ration shop inside the studio premises for their families. Bombay Talkies had made Entertainment and play areas (like Tennis, Badminton courts etc) for use by its employees. Every studio used to have a Canteen for the workers and the other people. Prabhat had appointed some Extra actresses, who used to sweep, do Housekeeping and cook for the studio staff as well as work in small roles in the films, whenever needed.

While there were 20 film companies in Calcutta, at the same time in Bombay there were 31 film companies with studios ( as on today, there are just 13 film studios which are given on rent for shootings). Over a period, the studio system ended, every artiste became a Freelancer and studios remained only for renting out for shootings to independent producers. Films stopped being sold on studio names and actors and directors became the attraction for the audiences to see the films.

Studio system was one of the biggest factors in the evolving and development of the Indian film industry. From this onwards, I plan to write on different well known studios, in my future posts, whenever possible. Today we will know more about the Imperial Film Company. Being the first to make a Talkie film in Hindi, it deserves this honour !

Ardeshir Irani (5-12-1886 to 14-10-1969) built the Imperial Studio of the Imperial Film company, near Kennedy Bridge in Nana Chowk, Bombay, in 1922. At the same time he built another studio, near Chowpatty for Sagar Movietone. All the studios used to be without a roof. These were the days of Silent films.Most Stunt films were shot outdoors but others like Mythologicals were shot in the studios. Films made here were released in Irani’s own Majestic Theatre.

India’s first Talkie film ” Alam Ara” was made in 1931. There was a Processing lab also in the premises. Imperial made some Marathi films also like ‘ Rukmini Haran’ and ‘ Devki’ etc. Till 1937, Imperial was a leading studio. In 1937, Imperial made India’s First indegenous Colour film “ Kisan Kanya”. Irani had not spared any effort to make it technically superb. Unfortunately this film flopped leaving a heavy loan on Irani’s head. He first sold Sagar Studio and then some more land also. In 1938, Ardeshir irani mortgaged Imperial Studio to Kapurchand Mehta against a big sum, but could never redeem it again. Mehta later changed its name to ” Jyoti Studio” and started renting it to other companies for shootings. Some land was sold to Motor garages. After the death of Ardeshir Irani, his legal heir Shapurji looks after whatever land and buildings are left over.

In 1925, Ardeshir Irani founded Imperial Films ( Imperial studio, Imperial Film Company and Imperial Films are all different – legally), where he made sixty-two films. By the age of forty, Irani was an established filmmaker of Indian cinema. Ardeshir Irani became the father of talkie films with the release of his sound feature film, Alam Ara on 14 March 1931. Many of the films he produced were later made into talkie films with the same cast and crew. He is also credited with making the first Indian English feature film, Noor Jahan (1931). He completed his hat-trick of earning fame when he made the first colour feature film of India, Kisan Kanya (1937). His contribution does not end only with giving voice to the silent cinema and colour to black-and-white films. He gave a new courageous outlook to filmmaking in India and provided such a wide range of choice for stories in films that till date, there are films being made which have a theme relating to one of the one hundred fifty-eight films made by Irani.

In 1933, Irani produced and directed the first Persian talkie, Dokhtar-e-Lor. The script was written by Abdolhossein Sepanta who also acted in the film along with members of the local Parsi community.

Irani’s Imperial Films introduced a number of new actors to Indian Cinema, including Prithviraj Kapoor and Mehboob Khan. He also interfered with the medium. He produced Kalidas in Tamil on the sets of Alam Ara, with songs in Telugu. Also, Irani visited London, England for fifteen days to study sound recording and recorded the sounds of Alam Ara on the basis of this knowledge. In the process, he created a whole new trend unknowingly. In those days, outdoor shootings were shot in sunlight with the help of reflectors. However, the outdoor undesirable sounds were disturbing him so greatly that he shot the entire sequence in the studio under heavy lights. Thus, he began the trend of shooting under artificial light.

Imperial Films Company Est: 1926. Successor to the Majestic and Royal Art Film companies set up by Ardeshir Irani as a diversification of his exhibition interests in partnership with Esoofally, Mohammed Ali and Dawoodji Rangwala. Organised as a vertically integrated combine with its own exhibition infrastructure. Started following the decline of Kohinoor, it continued many of the latter’s Mohanlal Dave-inspired genres, often with the same stars and film-makers. Imperial became closely associated with the costumed historical genre launched with Anarkali (1928), shot and released almost overnight in direct competition to Charu Roy’s The Loves of a Mughal Prince (1928).

Irani also rushed out Alam Ara (1931), released as India’s first full talkie narrowly beating Madan Theatres’ Shirin Farhad (1931). Imperial was the first studio to shoot scenes at night (in Khwab-e- Hasti, 1929) using incandescent lamps. It owned India’s top silent star, Sulochana, and promoted her along with Zubeida, Jilloo and, for a while, the young Prithviraj Kapoor. This was perhaps the first major instance of a deliberate manufacturing of a star-cult as a marketing strategy.

Top Imperial film-makers include R.S. Choudhury, B.P. Mishra and Mohan Bhavnani, whose film-making set the house style, as did Nandlal Jaswantlal’s sound films. A fair number of the studio’s talkies were remakes of its own silent hits with Sulochana (Anarkali, 1928 & 1935), Wildcat of Bombay (1927) became Bambai Ki Billi (1936), etc. It made films in at least nine languages: Hindi, Gujarati, Marathi, Tamil, Telugu, Burmese, Malay, Pushtu and Urdu. The first Iranian sound film, Dukhtar-e-Lur (aka Dokhtare Lor Ya Irane Diruz Va Emruz, 1932) was also made here. Kisan Kanya (1937) by Gidwani was India’s first indigenously manufactured colour film, made with the Cinecolour process. When it closed in 1938, its economic and generic inheritance was continued by Sagar Movietone.

Film Kisan Kanya-1937 was famous as the First indigenously made colour film of India, made by Ardeshir Irani’s company- Imperial Film Company. Film pioneer Irani was the first to make an International Co-Production, with Italy, film Nala Damayanti- a silent film of 1920. Secondly, he had the honour of making and releasing India’s First Talkie Film ” Alam Ara-1931″. And with the film Kisan Kanya, he achieved a Hat Trick of ‘ First in India’ credit in film making.

Ardeshir Irani was very keen to become the First to make a Talkie film of India. He knew that Madon Theatres of Calcutta too were busy in making their First Talkie film, with two popular stars of the day. Irani hastened the speed of his shootings and recordings. Lot of secrecy was maintained in filming the movie. From his secret sources in Calcutta, he was getting information on the progress of Madon Theatres’ film in making. He came to know that their film was to have about 20 songs in the film. Irani decided to limit the number of songs in his film to save on time. Now they would have only 7 songs. Thus they saved on many days of shootings and recordings. Thus, while Alam Ara was released on 14-3-1931, Madon could only release their First Talkie film “Shirin Farhad” on 30-5-1931, a cool two and a half months later !

Similarly, Irani studied why Prabhat’s first colour film ‘ Sairandhri-33″ failed technically and decided to do all technical processes in India, for his colour film Kisan Kanya-37. Thus his colour film came out much better than Prabhat’s film.”Irani perhaps was the world’s first multilingual film maker,having made forays into English, Bengali, Marathi, Tamil, Persian, Burmese, Indonesian and Pashto. He is credited with launching the Talkie era in countries like Burma, Indonesia and Iran. He made nearly 120 Talkies in a span of just 8 years. He was also the first to establish a colour laboratory imported from Hollywood.

Irani made one hundred fifty-eight films in a long and illustrious career of twenty-five years, between the First and Second World Wars. He made his last film, Pujari, in 1945, under the banner of Ardeshir M. Irani Productions ltd. The film was shot in Jyoti Studios, ironically ( it was his own Imperial studios earlier). Irani was not compelled to live like Dadasaheb Phalke for he realised that the war was a time not suitable for film business and therefore he suspended his film business during that time. He died on 14 October 1969 at the age of eighty-two, in Mumbai, Maharashtra.

Noted film director Mehboob Khan had a little story about his connection with Imperial Film company. After the successful film Ek hi Raasta-39, Mehboob started work on Alibaba. He had made the beginning of his film career by acting in the silent film on Alibaba, at the Imperial film company. He was one of the 40 thieves ! By now, due to his continuous success, Sagar Movietone had benefited much and he was highly respected in the company.

Besides Mehboob, Sagar Movietone had a team of other directors like C M Luhar, Sarvottam Badami, Hiren Bose, Ramchandra Thakur etc. They too were making films for Sagar. However, their films were not as successful as those by Mehboob. In addition, the onset of the Second World War had a negative impact on Sagar and it went into loss. Soon, the owners decided to close the company.

By this time, Mehboob was ready with all the arrangements to start the shooting of Alibaba. Closing down of Sagar was a shock to him. He approached Ardeshir Irani of Imperial and asked for permission to shoot his film there. Irani was very happy. The novice ‘ extra ‘ who had worked in his company-without pay for the first five months- had now become an acclaimed top class successful Director. Irani was proud of Mehboob. He gladly permitted him to shoot his entire film there. (Thanks to wikipedia, Encyclopedia of Indian Cinema, The formative phase of Indian Cinema-Ashok Raj in Hero-I ,article by D.B.Samant, Shirish Kanekar, Bhai Bhagat’s book ‘ Teen bhintinchi Duniya ‘ (तीन भिंतींची दुनिया ) and my own notes. )

One of the names in the cast is peculiar- Jamshed ji. His full name was Jamshed ji Bairam ji, Khan Saheb. In some films, he was credited as Khan saheb also. He was born in Bombay in 1889 as a typical Parsee. He was one of the oldest and most experienced actors having worked with several directors and over 25 years of acting.

He started with Silent films like Pyari Mamta, Madhuri, Sohni Mahiwal, pooran Bhagat, Gulshan E Arab, Hoor E Baghdad and Indira. His first talkie films were Daulat ka nasha-31 and Noorjahan-31. He acted in about 50 films. His last known film was Andaz-1949.

Jamshed ji, also gave music to 3 films- Naya Zamana-35, Zaate Shareef-36 and Jagat kesari-37.

With today’s song by Rattanbai, film dhanwan-37 makes its Debut on this Blog.


Song-Tum bhi kitne raseele (Dhanwaan)(1937) Singer- Ratanbai, Lyricist- Not known, MD- H C Bali

Lyrics

aa
haay aa aa haay
haay haay
haa aa aa haay haaay

tum bhi kitne ae ae raseele
haa aa aa aa aa
tum bhi kitne raseele
bane baabu raaja
bane baabu raaja
aa aa aa
tum bhi kitne raseele
haan aan aan aan
khade morey dwaare
haan aan aan aan
khade morey dwaare
bane baabu raaja
bane baabu raaja
aa aa aa
tum bhi kitne raseele
haan aan aan aan
malmal ka kurta
makhmal ki jaackit
haan haan
makhmal ki jaackit
haan
malmal ka kurta
makhmal ki jaackit
haan haan
makhmal ki jaackit
Lucknow ka palla pahne
han aan aan aan
Lucknow ka palla pahne
pahne baabu raaja
pahne baabu raaja
aa aa aaa
tum bhi kitne raseele

pahne baabu raaja
pahne baabu raaja
aa aa aa
tum bhi kitne raseele
haan aan aan aan
sone ka kangana
chaandi ki jhaanjhar
haan
chaandi ki jhaanjhar
haan aan aan
sone ka kangana
chaandi ki jhaanjhar
haan
chaandi ki jhaanjhar
laaye kahaan se gahne
haan
laaye kahaan se gahne
gahne baabu raaja
gahne baabu raaja
aan aan
tum bhi kitne raseele
haan aan aan aan
tum bhi kitne raseele


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 :

4786 Post No. : 16542 Movie Count :

4503

Today’s song is from the film Milaap-1937.

Consequent to this film, two more films were made with the same title – Milaap-1955 and Milaap-1972. Milaap-55 was the Debut film for Music Director N.Datta. There were some very good songs by Geeta Dutt and an excellent song by my favourite singer-Hemant Kumar…Ye baharon ka samaa…. Unfortunately this song was summarily removed from the film for whatever reasons best known to the producers. The lead pair was Dev Anand and Geeta Bali. Film Milaap-1972 was one of those ” also ran’ films, starring Shatrughna Sinha and Reena Roy. Music Director Brij Bhushan gave mediocre music- no memorable songs. It is difficult to assess today’s film on these lines, because only one song is available and we do not know anything else about this film. Writing on old films is like walking in the dark with a stick.As long as the stick does not touch anything, you do not know that there is something in your way.

The Indian film industry was worth 183 Billion rupees in the year 2020. However, it was below an expectation of 238 billion expected to grow at 11% over 2017 every year. Corona obviously played the villain.few people would know that the Hindi film industry had crossed the Hollywood business first time in the 60’s, but it went down again. however from 2007 onwards, we have always been ahead of american film industry turnover.

There is a major difference between Hollywood and Bollywood. There, a fixed amount every year is invested in documentation of the history of American Cinema, but in India, no such funds are allocated either by the industry or the Government. It is a very sorry state of affairs.

forget about the industry, even the common people are not aware of what old films are. When someone talks about old films, it is presumed that the talk is about old film songs. no one believes that there is much more beyond songs and music to old films. In this connection I would again quote what transpired between me and one of my old friends. he had settled down in the US for more than 30 years. Few years back, when he visited Bombay we met and this was the following discussion between us…

He – So, kya chal raha hai. You are retired now. How do you spend your time ?
Me – I write articles on old films.
he – OH,WOW ! Superb. Old films means old songs etc /
Me – Beyond that. About people working behind the camera, artistes, studios and such matters. I write specially on films from the 30’s to the 60’s.
He – Is it ? And so who reads them? I don’t think people are interested in such age-old matters.
Me – It is not true. There are many people who read these things.
He – So you must be making a lot of money.
Me – No. Money is not involved. It is all free. I do it for the love of old films.
He – Don’t waste your time on this Rubbish.

I got upset with his approach and I changed the topic. But I started thinking. As of today, the visitors to the Blog have grossed a figure of about 1,46,82,000 ( that’s close to 15 Million), which works out to about 3140 visitors per day on an average. Even if 10% of them read my articles, I have more than 9000 readers. I would be very happy with this. Forget my friend. There are always people who think differently. Their priorities in life never cross monetary boundaries. They miss out on Celestial pleasures one can have without money !

Coming back to film Milaap-1937, the film was made in Calcutta by Moti Mahal Theatres. It was directed by A.R.Kardar, who had come from Lahore, leaving his own production company and studio. from calcutta he shifted to Bombay and had his own bigger studio and company. This film’s music director was K.C.Dey ( he was the first blind MD. Later Ravindra Jain also was a blind MD). The Lyricist’s name is not known. The cast of the film was Prithviraj Kapoor, M.Ismail, Mazhar Khan, Yaqub,Bimla Kumari, Ram Pyari, Anis Khatun etc etc.

Actress Rampyari’s life story is interesting. Though from a singinging family(Tawaif) from Hyderabad, she was quite educated. Fluent in English and Urdu, besides Hindi and mother tongue Telugu, she used to reply in chaste English or Urdu to her fan’s letters. She is also one of the earliest film artistes who did programmes in other countries, in those days. Additionally, she became famous in Calcutta when there was a letter-war between her and the New Theatres. Local newspapers tastily published the correspondence. Let’s take a look at her Life.

Rampyari was from Low cast and profession, but was a highly polished and sophisticated actress in those days. Rampyari hailed from a Telugu family of highly skilled professional dancers and singers. She lived in Nagulchinta area of old Hyderabad city.

She was born on 27-8-1908. That year Hyderabad witnessed devastating floods.She was taught Urdu and English. Apart from her mother tongue Telugu she was also proficient in Marathi and Kannada. She was trained in Dancing and singing. In 1918, at the age of 10 years, she was taken to Madras by her aunt, who trained her in Bharatanatyam. After 4 years of rigorous training, she became the best dancer of Madras.

In 1926, a film producer from Kohinoor Film company, Bombay ,visiting Madras, saw her dancing and invited her to Bombay.It was the era of Silent movies. Her first film was Gunsundari, with Miss Gauhar and Raja Sandow. It was directed by Chandulal Shah and was released in 1927. Her supporting role as a dancer in the film was lauded by the audience. Next film Vile woman was also successful. She acted in more than 20 films as a Heroine and dancer and established her name as a seasoned actress of the 30s.

With the advent of Talkies, she easily switched over. She had no difficulty in delivering Urdu dialogues. In 1931, she acted in Paak Daman, Laila Majnu and Ghar ki laxmi, Gunsundari in 1934 and Azad Abla,Meethi Nazar and Hamlet in 1935.

Famous director Debki Bose from New Theatres, Calcutta invited her and signed up for ” Sunehra Sansar”-36 and Vidyapati-37, which was a mega hit. She had a big dispute with new Theatres and there was mudslinging through legal letters between her and the company, which called her ‘ a street singer ‘ who was helped by the company. She refuted their charges successfully. After this, she did few films in Calcutta with other companies. Her film Milap-37 was famous for being the first to show the prototype of a “vamp” in Indian Cinema. Rampyari was shown wearing “an off-shoulder dress” and using a cigarette-holder, with the intent of seducing the hero Prithwiraj Kapoor, the scene was later used by Raj Kapoor on Nadira in his film Shree 420 (1955) for the song “Mud Mud Ke Na Dekh”.

She toured the entire south India and gave dance performances in major cities. She became so famous that the Ceylon Labour Union invited her to Ceylon and presented her with Gold Mementos. She was greatly inspired by the acting of Sulochana aka Ruby Meyers and Miss Gauhar of Ranjit, with whom she acted in many films.

She shifted to Bombay permanently in the 30s. Her family also moved out of Hyderabad and came to Bombay. She had a large fan following in Hyderabad. She had a great fan mail too, which she replied in fluent Urdu and English. Later she got married and retired from films.

She acted in 30 films. Her last film was Dak bungla-47. She sang 14 songs in 8 films.

She died on 28-8-1970 at Bombay. There was no news in any paper.

Today’s song is sung by Akbar khan Peshawari. With this song, film Milaap-1937 will make its Debut on this Blog.


Song-Pila raha hai koi kuchh (Milaap)(1937) Singer- Akbar Khan Peshawari, Lyricist- Unknown, MD- K C Dey

Lyrics

aa aaa aa
Pila raha hai koi
kuchh lutf e mai
badha ke pila
aa aa aa aa
khuda ka waaste
saaqi ??
mila ke pilaa aa aa aa
pilaa saaqi ek ??
dheere dheere
chale jaane baaba
chale jaane baaba
?? dheere dheere

rahe ismein ??
?? yoon na thha ??
aa aa aa aa
rahe ismein ??
?? yoon na thha ??
aa aa aa
chala hai ?? dheere dheere
chala hai ?? dheere dheere

shab e gham meri ??
nabz ki chaal baaba
aa aa aa aa aa
shab e gham meri ??
nabz ki chaal baaba
aa aa aa aa
chale jaate koi
udhar dheere dheere
chale jaate koi
udhar dheere dheere

tahalta aa hua aa aa aa koi
aata hai maayoos
tahalta hua aa koi
aata hai maayoos
uthho sar se baandho
kafan dheere dheere
uthho sar se baandho
kafan dheere dheere


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 :

4771 Post No. : 16520 Movie Count :

4495

Today’s song is not only from an unknown and very obscure film, it is also a 84 year old film and the song too is that old. May be that is the reason why even its Lyricist, the Music Director, the Heroine and most of the cast members are all unknown. Maybe because it was made in Lahore, the local actors must have been taken in and so they are not much known or heard about. This is precisely the reason why I chose a song from this film. This gives me an opportunity to dig up information from various new sources, which may not be so common and available to most people. Even otherwise very few people take so much effort to get desired information. It took me several days to gather information about the MD, the Lyricist and the Heroine, but I am glad that at the end I have something to offer to our readers, which may be rare and difficult to find.

Film Prem Yatra-1937, the film in discussion, was made by New orient Films at Lahore. This social film was directed by Profulla Roy. Prafulla Roy ( Born on 1-1-1892 at Kushtia, Bengal) started his career in the silent era by directing 2 silent films. His first talkie film in Hindi was Ramayan-34, made by Bharat laxmi Pictures, Calcutta. Bharat Laxmi Pictures had Prafull Roy as its director for Bangla and Hindi films. Roy directed 12 films in Hindi. 9 out of them were made in Calcutta, 1 film in Lahore (Prem yatra-37) and 2 in Bombay (Mera Gaon-42 and Phulwari-51). Roy had also acted in 2 New Theatres films, namely Millionaire-36 and Mukti-37.

All the 10 songs of this film were written by Haqim Ahamed Shuja. Music Director was Q.S.Zahoor and the cast of the film was Umrazia Begum, Riyasat Wasti, Mirza Musharraf, Miya Lateef, Miss Billo, Mujammil Khurshid, Kamla, Miss MUbarak, Zia Miya, K.H.Rehman and Vidya Devi.

I had heard and read about Umrazia Begum that she was the wife of MD Ghulam Haider and that their one son had become Lt. General in the Pakistan Army. Beyond this, I had not thought much about her. When I decided to write on her song, I needed more information about her. There are 6 songs sung by Umrazia Begum on this Blog but I could not find her information in any post. The problem with the professional singers (read Tawaifs) is that their details are usually not available. Starting with their dates of Birth, education etc are not recorded anywhere. I found it extremely difficult to get some information about her. However, I searched and searched and finally in one of the discussions on RMIM, somewhere in 94-96, I got some information. So, here is what I have about her, for our readers first time…

Here is some information on Umrazia Begum.This may not be available elsewhere. A singing- star by the name of Umrao Zia Begum was the talk of the town of Lahore, in those exciting times. In fact, she was more renowned for her melodious voice than as a film actress. Further, she earned the title of ‘Bulbul Hazaar Dastaan’ from the music buffs.

Ghulam Haider composed music for Umrao Zia Begum and recorded songs and ghazals in her voice. Her name appeared on the gramophone records as well. Perhaps Umrao Zia Begum’s greatest achievement was the recitation of one of the most popular Naat ” Mera Salam Leja Woh Jan Lenge Sab Kuch “, composed by Ghulam Haider.

Ghulam Haider debuted as a music composer in a 1935 movie, ‘Swarg ki seedhi’, in which Umrao Zia Begum was also cast in a major role. ‘Swarg ki seedhi’ was released under the banner of National Modi Tone, Lahore and directed by AR Kardar. With the passage of time, Ghulam Haider and Umrao Zia Begum developed immense love and understanding for each other, which reached its peak during the movie shoot of ‘Swarg ki seedhi’. Ghulam Haider, who worked for Pancholi Art pictures at that time, soon married Umrao Zia Begum.

Umrazia Begum acted in 3 films namely, Swarg ki seedhi-1935, Din-O-Duniya-1936 and Prem Yatra-1937. She sang 11 songs in 5 Hindi films namely, Swarg ki Seedhi-35, Prem Yatra-37, Khazanchi-41, Himmat-41 and finally Khandan-42.

After marrying Ghulam Haider, Umrao Zia Begum said farewell to the show business. She was never seen again even in a public gathering. It seems to me that the aphorism below is meant for great people like Umrao Zia Begum. She was not only a great human but an affectionate mother who possessed enormous foresightedness as well. Nothing happens to anybody, which he is not fitted by nature to bear.

Ghulam Haider’s demise on 9th November 1953 happened to be a tremendous setback for his beloved wife, Umrao Zia Begum, who was much younger to her husband. However, she did not lose heart. Instead, she devoted herself wholeheartedly to the upbringing of her children.

She left no stone unturned to provide her children the best possible education available at the time. Consequently, all her children grew up and achieved name and fame in their respective fields.The younger son became Lt. General in the Pakistan Army before retirement. Most importantly, Umrao Zia Begum thanked God to see her relentless efforts come to fruition.

Years later, Umrao Zia Begum breathed her last in the ‘Stork House,’ Bahawalpur, which was the official residence of her younger son, who was the General Officer Commanding in Bahawalpur in those days. She was laid to rest in the Military Graveyard, Cavalry Ground, Lahore.

My second target was the MD Q.S.Zahoor. The name was quite elusive and no references were found anywhere. One day, I accidentally came across a comment on You Tube stating that he was the Ustad of few upcoming singers and I shifted my search towards classical singers. I also came to know that his real name was slightly different ( which actually misled me so far). In the end I found a Pakistani site thenews.com.pk, in which one music expert Shabaz Ali’s book “Sur Sansar’ was reviewed. In this book, I found some information about Zahoor. So, here we are –

Qazi Zahur Ul Haq was born in 1909 in Rewari, Ambala Division and got his initial education in music from Ragonath Rao Ji, who taught at the Shankar Gandharva Vidyalaya. Rao was the cousin of the famous Krishnarao Pandit. Qazi became associated with India Film Company in 1935, composed music for Prem Yatra, Josh-e-Inteqaam and Neem Shah Dakoo under the name of Q.S. Zahoor.( he may be claiming, but HFGK credits Hari Prasann Das as MD of Josh-e-inteqam-1935 and there is no trace of the third film Neem Shah Dakoo).

In 1942, he became the music director at the All India Radio, arranged an orchestra and made music for many programmes. When he migrated to Pakistan, he started a music academy, Radiant Classical Music Society, at his house in 1950. Among his shagirds have been sitarnawaz Naseeruddin, jaltarangnawaz Abdul Majeed. Qazi, neynawaz Taj Muhammed and Ustad Mehfooz Khokhar.

Later, he started a programme on radio for the purpose of educating listeners on music. This radio programme from Rawalpindi Station continued for about five years and was a source of knowledge to all those interested in music. He also did a programme on television with Abdul Qadir Piyarung, and in that, he sang 72 raags with their arohi, amrohi, vadi samvadi, kheyal bandishes — that is asthai and antara in accordance with the time of their performance.

Qazi Zahoor ul Haq also wrote two books on music, Rehnomai Mausiqi and Mualimul Naghmaat, both published by the Pakistan National Council of the Arts. The former was also translated by him into English with staff notation of hundred raags and a very informative and detailed note on the history and peculiarities of western and our music. But, it could not be published because there was no system to print the staff notation in the country. He could also not avail the offer from foreign embassies to have it printed abroad because he thought that the manuscript would get lost. He also taught music at the Pakistan National Council of the Arts for 10 years from 1979 to 1989.

He died on 4-2-1989.

I could not get any information on the film itself, except that the story and screenplay was also done by Hakeem Ahmed Shuja. With this song by Umrazia Begum, the film Prem Yatra makes its Debut on the Blog.


Song- Aayee badariya barsan ko (Prem Yatra)(1937) Singer- Umrazia Begum, Lyricist- Hakim Ahmed Shuja, MD- Q S Zahoor

Lyrics

Aayee badariya
Aayee badariya barsan ko
tarsat hai mann darshan ko
o o o o
ho o o o
saawan aaaaaya
baadar aaye
baadar aaye
mujh birhan ke pee na aaye
pee ki chinta man kalpaaye
pee ki chinta man kalpaaye
aag lage is barsan ko
aayi badariya

Aayee badariya barsan ko
tarsat hai mann darshan ko
??
??
?? mujh dukhiya ke phoote
jag mein bhaag sakhi ??
jag mein bhaag sakhi ??
?? man darshan se
Aayee badariya
Aayee badariya barsan ko
tarsat hai mann darshan ko o


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 :

4730 Post No. : 16449 Movie Count :

4466

In the early era of Talkie films, few film studios were famous and well established. Most of these were into making Silent films also. Studios like Prabhat, Imperial, Maadan, Sagar, Bharat, Ranjit, Krishna Tone, Saroj, Saraswati, Kamala Movietone and Ploayart Phototone (of Kardar) from Lahore were active in making Talkie films in the first few years. Studios like Elephanta Movietone- Punjab, Oriental pictures-Lahore, Sharda Movietone-Bombay, Eastern Films Ltd.- Hyderabad, Pioneer Films- Calcutta Ajanta Cinetone (Bhavnani) etc. jumped into the fray 2-3 years later and made Talkie films.

Over a period, studios having a strong and solid financial base and own studios sustained for longer periods and the smaller, occasional filmmakers disappeared. As the time went by, some more powerful and healthy film studios like Minerva(Sohrab Modi) and Bombay Talkies (Himanshu Rai and Devika Rani)entered the filmmaking and gave memorable quality films. After few years, ambitious and capable young people working in these studios separated and established their own studios like Mehboob Studios, Kardar Studios, Raj kamal Kala Mandir etc.

This went on expanding till the studio system crumbled in or around late 40’s and 50’s and Freelancing started. This escalated the cost of making films. Films which were made in 40-50 thousands in early 40’s, went up in Lakhs by late 50’s and then on in crores. Now a popular and successful Hero takes his fees in Crores. The cost of higher class cinema theatres’ tickets rose from 1 rupee to 400 rupees for reclining seats and a Blanket if you want to sleep there ! Only one thing remains same from early cinema theatres to today’s luxurious Multiplex theatres and that is BED BUGS !! They are still available free with every ticket !!!

Today’s song is from film Kokila-1937, made by Sagar Movietone. It will not be an exaggeration to say that the First Decade of Talkie films, i.e. 1931 to 1940 belonged to Sagar Movietone. They made 51 Hindi films in this period and many of these films became Hits and Popular . Films like –

1932 Zarina, Maya Bazar and Meerabai
1933 Mahabharat and Premi Paagal
1934 Grihalaxmi and Shehar ka Jaadu
1935 Dr. Madhurika, Al Hilaal, Vengeance is mine
1936 Man Mohan, Do Deewane and Village Girl
1937 Jagirdar, Kokila and Mahageet( playback started in Bombay from this film)
1938 Dynamite, Gramophone Singer, Hum Tum aur Woh ( first film with 3 Heroes) and 300 days and after
1939 Ek hi Rasta, Ladies Only and Service Ltd.
1940 Alibaba, Civil Marriage and Kumkum

These films were Hits or Popular.

Sagar also gave opportunities to youngsters to become big names later in life. Some examples are-

Actors Motilal, Surendra, Sheikh Mukhtar, Yaqub, Kumar, Sankata Prasad
Director Mehboob, Sarvottam Badami,Ramchandra Thakur, C M Luhar, Nanubhai Vakil, Ezra Mir and Kanjibhai Rathod (First Dalit director to get a chance)
MDs Anil Biswas, Pransukh Nayak, S P Rane, Anupam Ghatak
Actresses Bibbo, Sabita Devi, Maya Banerjee, Sitara Devi and Shobhana Samarth ( after her first film ‘ Nigahe Nafrat’-1935, she got a boost with 2 films here)

Surendra and Motilal were initiated in films by Sagar. The pair of Motilal and Sabita Devi was so popular that they paired in 8 successful films. It was also in Sagar that Mehboob, Anil Biswas and Faredoon Irani became thick friends.( it is another matter that AB and Mehboob split in 1940, never to come together again). They made 6 films together in Sagar.
Thus the contribution of Sagar Movietone in giving successful stars in all fields was ,if not better, but at least equal to Prabhat, Ranjit, Bombay Talkies and New Theatres.

Film Kokila -37 was directed by Sarvottam Badami and the music was by Anil Biswas. The cast included the popular pair of Motilal and Sabita Devi as well as Shobhana Samarth, Siddiqui, Maya Banerji, Sitara, Sankata prasad etc. This film was based on the popular noel of the same name, by R.V.Desai (20-5-1892 to 20-9-19540 a leading Gujarati novelist. Another film on his other novel Purnima was made by Prakash Pictures in 1938. The dialogues and songs were written by Siddiqui – who had also acted in this film. He was earlier in New Theatres having acted in films like Pooran Bhagat-32, Rajrani Meera-33 and Chandidas-34. The screenplay was by R.R. Gharekhan, who later changed his name to ‘ Gautam’. As per review of Baburao Patel in his magazine Film India, the film was not very good. however it did good business.

Today’s song is sung by Dattaram kadam- a name I heard first and last time here. Even in Marathi films, he is not mentioned anywhere. The song is good and the singer seems to be an expert. Maybe he was an actor singer on Marathi stage dramas. Anil Biswas was typically very fond of Chorus songs. Almost all of his films will have 1 or 2 Chorus songs. In this film also there are 2 Chorus songs. This film was released on 30-10-1937 in Roxy theatre, Bombay. With this song film Kokila-1937 makes its Debut on this Blog.

( information from the book ” Sagar Movietone” by Biren Kothari ji, ” तीन भिंतींची दुनिया ” by Bhai Bhagat, HFGK and my notes is used for this write up, with thanks.)


Song-Auron ka jag kya hai saadhu apni duniya paida kar (Kokila)(1937) Singer- Dattaram Kadam, Lyricist- Siddiqi, MD- Anil Biswas

Lyrics

Auron ka jag kya hai saadhu
apni duniya paida kar
Auron ka jag kya hai saadhu
apni duniya paida kar
aashaaon ki naao mein baithh ke
aashaaon ki naao mein baithh ke
naya kinaara paida kar
aashaaon ki naao mein baithh ke
naya kinaara paida kar
Auron ka jag kya hai saadhu
apni duniya paida kar
Auron ka jag kya hai saadhu
apni duniya paida kar

jeewan apna apne saare
jeewan apna apne saare
apna ho ??
jeewan apna apne saare
apna ho ??
apna mandir apna devta
apni pooja paida kar
apna mandir apna devta
apni pooja paida kar
Auron ka jag kya hai saadhu
apni duniya paida kar
Auron ka jag kya hai saadhu
apni duniya paida kar
aashaaon ki naao mein baithh ke
aashaaon ki naao mein baithh ke
naya kinaara paida kar
aashaaon ki naao mein baithh ke
naya kinaara paida kar
Auron ka jag kya hai saadhu
apni duniya paida kar
Auron ka jag kya hai saadhu
apni duniya paida kar


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

Blog Day :

4682 Post No. : 16364 Movie Count :

4443

Just because I like old films and claim to know about the old films more than others, I do not consider New films worthless. Since the beginning – first the stage dramas and then the films always reflected what the current social scenes, problems and the aspirations of the young generation of the times showed. Old time films, to start with, were mainly made on Mythological stories and Folk tales. Later the focus shifted to Social themes. Still later it was music and then it was comedy and entertainment.

If one studies the pattern of living standards, styles and the general pattern, in the early times, the society was religious minded. Their entertainment was listening and reading about folk tales. So films were made on these subjects. During the II World War period, the people had become aware of their social issues and problems ( like alcoholism, Bal-Vivah, Dowry etc0 and films on these issues were made. After the war and independence, people were exposed to and enjoyed music from the world over, they were relaxed, so musical films were made (The Golden Age of HFM ). And then with many other sources of entertainment like Television, videos, cable TV etc, films were made on comedy and entertainment of all types.

A lover of films – any subject, any language, I became a little uninterested in films from the 70’s onwards. Reasons were many-job, marriage, family raising etc. I was forced to see some films due to my wife’s insistence, but soon I made a deal with her and got freedom from seeing films. When needed, TV and VCR were always there. As far as I remember, I have not visited a Cinema Theatre to see a film in the last almost 35 years. I do not know what a Multiplex looks like from inside ! Not a matter of pride at all,nevertheless a reality.

Maybe due to age or whatever, I do not have the patience to sit at one place to watch a movie for 2 to 3 hours- even on a TV. However, I have seen many films on TV-by instalments, in the 70’s and 80’s. The last film I saw on TV must have been a few years ago, perhaps.

Irrespective of whether I like it or not, the new songs are heard by me unintentionally in functions, get-togethers and gatherings. I have no comments on today’s films/songs/music. As I said music and films are made to suit the current generation’s likings and I am certainly not young anymore ! Occasionally some good films made on National events or National Heroes do come. I see them in my style. I like their presentations. Fortunately, in such films, songs are nil or only on the backgrounds.

The other day, someone asked me what the difference between old time songs and today’s songs is. I think comparisons can be made only of ‘ Likes with the Likes’. There is almost nothing common in these two, so no comparison. If you insist, I would utter only one word – MELODY !

However, I end this topic here by repeating my favourite quote (made by me only)-” Not all that was made before the 70’s was good and not all that is made after the 70’s is bad”! Mind you, this is not a Compromise or a Truce, but a Fact !

Today’s film Challenge-1937 is an interesting film. No, I have not seen it, but whatever information is available in HFGK clearly makes it interesting. Firstly, it is mentioned as a Costume Drama. When you look at the banner,the director, the Md and the cast, you start thinking that it is a stunt/action film. In the cast, along with Jayant, Gulab, Rajkumari, Shirin, M.Ismail, Jahangir and Lallubhai, you also find 3 names Tiger (a Dog), Bahadur (a Horse) and Runnio (a Motorcycle). In the stunt films of Fearless Nadia, in the same period, there was another set of ‘ Non Human ” cast, namely Punjab ka Beta (Horse), Moti (Dog) and Rolls Royce kin Beti (a Car). Later on, when she shifted from Wadia Movietone to Basant pictures, she had Rajput(Horse), Tiger(Dog) and Austin ki Bachhi (a Car). She also used Runnio (M/C) in a few films.

Secondly, names of some characters in this film were funny – M.Ismail’s name was Choona, Lallubhai was Kathha and Shirin was Supari. (I wonder who was the Paan ?).

Today i will tell you about an interesting actor in the cast of this film – M.Ismail. Besides being a devoted Chela of A.R.Kardar, Ismail’s role in Kardar’s marriage was unimaginable. Read on….

M.Ismail was born on 14-5-1902 in a Jeweller family of Lahore. He was a very good designer and Calligrapher.

M. Ismail was a resident of the Inner Bhati Gate in Lahore. Well built and fair complexioned, Ismail had blue eyes, and was quite attractive. Mian Abdul Rasheed Kardar (the famous A. R. Kardar), also belonged to the same area in Lahore. M. Ismail used to work as a golden calligrapher, while Kardar was involved in sketching and illustration.

They went to Bombay in 1927, and according to Ismail, he and Kardar played Kaedo and side hero respectively, in Imperial Company’s Heer Ranjha. But conditions weren’t helpful, and the two young men had to return to Lahore. Fortunately, for them, during 1928, Premier Film Company started a film called Daughters of Today. Both Kardar and Ismail were inducted into the cast, but the film remained incomplete.

Later, Kardar learned production and became well known as a brilliant technician. Kardar established his own film making firm in 1930, called United Players Corporation, and cast Ismail in his early silent movies like Mysterious Eagle a. k. a Husn Ka Daku, which also had Kardar in a central role. Others in the cast were Gulzar Begum, Ghulam Qadir, Ahmed Deen and an American actress, Aeris Crawford. Ismail also acted in Kardar’s film, Safdar Jang, and both these early silent films were very successful. This led Kardar to cast him in Shepherd King (Gadarya) and Golden Dagger (Sunehri Khanjar). In those days, every film used to have an English title and an Urdu one.

Kardar’s marriage to Bahar has an interesting story, and M.Ismail has a role in it.

Sardar Akhtar and Bahar were sisters and were singers and dancers in Lahore’s famous Heera Mandi. They were known as Daari and Beharo. Bahar was very good looking. Kardar selected her as a Heroine for his film, opposite himself as a Hero and the shooting started. Kardar fell in love, but Bahar was guarded closely by her escorts and sister Sardar Akhtar. Kardar was wondering how to go about it. He opened his mind to friend M.Ismail, a 6 feet tall,and hefty friend. Ismail went to Bahar’s residence and lifted her on shoulders and brought her to Kardar. They hurriedly got married. Meanwhile Sardar Akhtar came to know this and made a Police complaint. The police came , arrested kardar and all shooting artistes. He spent 2 days in Police custody. Then it was Bahar herself who gave in writing that she was an adult and she married Kardar by her consent only. Kardar and others were released then. Few years later Sardar Akhtar married Mehboob Khan and Kardar became his Co-brother.

After Alam Ara opened the way for talkies, Ismail became even more popular. In Kardar’s Hoor e Punjab, an adaptation of Heer Ranjha, Ismailagain played Kaedo, the intriguing ice uncle of Heer, which he repeated yet again later, in film Heer Siyal, with his characteristic style. His other films in India include Alif Laila, Dekha Jaega, Mast Faqeer, Raja Gopi Chand, Prem Pujari, Watan Parast, Sohni Mahiwal, Laila Majnoon, Zamindar and others. In all he acted in 16 Talkie films. He even sang 7 songs in 3 films.

In 1948, M. Ismail came to Pakistan, and immediately got offers from seniors like Nazir, whose films, Pherey, Larey, Anokhi Dastan and Shehri Babu included him in their cast. His first film here was Hichkole-49. Observing his work, another promising and experienced director, Anwar Kamal Pasha offered him some good roles. His films, Ghulam, Gumnam, Qatil, Inteqam and others were the earliest hits of Pakistan. Luqman also cast him in Patan, and Mehbooba was another one that was appreciated.

Similarly Nazeer Ajmeri’s Qismat and Paigham, Munshi Dil’s Hasrat and Ishq e Laila and S. M. Dar’s Saltanat and Dulla Bhatti were also amongst his famous movies. His other films were Darwaza, Subah Kaheen Sham Kaheen, Patey Khan, Piya Milan Kee Aas, Jameela, Bara Aadmi, Zehr e Ishq and many others. M. Ismail was a charming person, with a rural simplicity and a very forgiving disposition. Endearingly called Bhaiyyaji in the industry, M. Ismail’s roles of good hearted, forgetful, careless and sometimes cynical man were the best that he did. But, in many films, he performed a perfect villainish role, including the earlier mentioned, Hoor e Punjab, which had a historic role of Kaedoo. This one was only bettered later, by that most sterling artiste, Ajmal, who made Kaedo legendary with his gestures in Khwaja Khurshid Anwar’s Heer Ranjha.

In Yamla Jat and Khazanchi, in India, he did very fine title roles, while K. Asif’s Phool portrayed him as an old hakeem from Turkey, which he did to perfection. As a villain in Indian film, Wamiq Azra, he presented an individual style, with his full facial expressions. By full facial expressions means that most artistes use the eyes and the forehead, but M. Ismail, with a tremendous mobility of his motor mouth, his sagging cheeks and his prominent and protruding jowls, used a tremendous expanse of his face, which aided him in doing old men’s roles very early in his career.

In those days, there was much importance of finding a characteristic face for films and not handsome or beautiful faces, which is the trend today. That was the reason that more such fine artistes were available to the screen. In Nazeer Ajmeri’s Qismat, he played a unique role of a man, who is too forgetful to even remember his own name. It was a most hilarious performance from a truly talented actor of his times. M. Ismail got a Presidential Award for this role in Qismat.

His last film in Pakistan was Maan jawani da-76- released after his death. He died on 22-11-1975 at Lahore. ( The article is based on information from Filmdom-1946, Cineplot, pakmag.com,muVyz, HFGK and my notes, with thanks to all).

The song I have selected from this film is a Parody of a popular and famous song from the film ” Manmohan-1936″. It was sung by Surendra and Bibbo. Speciality of this song was, after 4-5 lines by Surendra,Bibbo peeps from the door and asks ” kya main andar aa sakti hoon ? ” This variation in a song was a novelty in those days and it added to the popularity of the song further. Enjoy this parody song by Lallubhai and an unknown male. With this song film Challenge-37 makes its Debut on the Blog.


Song- Tumhi ne mujh ko maar khilaaya (Challenge)(1937) Singers- Lallubhai Nayak, Unknown male voice, Lyrics- Sampat lal shrivastav ‘Anuj’,
MD- Lallubhai Nayak

Lyrics

aa hahahahahaan
kyun bachchaa
ab tum kyon rone lage

arre kya bataaun bade bhai
tumne to mujhko aisa maar khilaaya
aa
aisa maar khilaaya
jiska bayaan nashr mein nahin
balke gaane mein sunaana padega

gaane mein
haan

achcha
sunaao

aa haa haa

unhoon
Tumhi ne mujh ko ho ho ho
arree mere bhai
hahahaha
maar khilaaya
ha ha ha
aa
tumhi ne mujh ko zahar pilaaya
aahahahnaha
sota huaa aa aa aa
ek saanp jagaaya
sota huaa aa
ek saanp jagaaya aa
sota huaa aa
ek saanp jagaaya
ahahaha
man ko jalaaya
tan pitvaaya
arre meri maar
hahahaha
man ko jalaaya
tan pitvaaya
tumhi ho poore ganvaar
saajan
tumhi ho poore ganvaar
saa aa aa aajan
tumhi ho poore ganvaar

jo chiraag lekar gahre gadhe mein gire
wo ganvaar nahin to aur kya

hahaaha

tumhi ho poore ganvaar o saajan
tumhi ho poore ganvaar
saa aa aajan
tumhi ho poore ganvaar

tumhi ne mujhko maar khilaaya
tumhi ne mujhko zahar pilaaya
tumhi ne mujhko maar khilaaya
tumhi ne mujhko zahar pilaaya
tumhi ne mujhko maar khilaaya
tumhi ne mujhko zahar pilaaya

aa ha ha h ah
tumhi ne mujhko
hahahahaha
hoho ho ho
aaaa
maar khilaaya
hahaah
arre mere baap

are kambakht
agar gaane mein hi sunaana thha
to koi ghazal , daadra , thumri mein sunaata
ye beqoofi ?? kyun pasand ki

arre bade bhai
arre bade abba
mohabbat ke rone mein isse badhkar aur kaun see
?? ho sakti hai
aa ha ha
chup kar baithh


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

4399 Post No. : 15776

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Blog 10-Year Challenge (2010-2020) – Song No.49
————————————————–

In my younger days, I remember to have watched Marathi film ‘Kunku’ (1937) on Bombay Doordarshan (now ‘Sahyadri’ Channel). At that time, I was not aware that ‘Duniya Na Maane’ (1937) was its Hindi version. Even it did not occur to me that the subject chosen for the film was very bold. I have no much recollections of the songs of the film but Shanta Apte’s performance has remained in my mind as it was quite different as compared with the theatrical acting by most of the actors of that time. Even her song renditions were looking natural as against the ‘fixed gaze’ style of song renditions witnessed in most of the films at that time.

After about 3 decades when I had watched the Hindi version on a video sharing platform, I still found that even in the present juncture, the subject handled in the film appears bold. I sometime feel that V Shantaram, the director, must be having a knack of convincing his other partners in Prabhat Films to agree to produce the film with a bold subject who may have thought that the film would receive the brickbats especially from the orthodox segment of the society after the release. That the film was a box office hit proves the capability of V Shantaram as a director for handling the bold subject in a way that convinced a large number of cine-goers about the evil of mismatched marriage

14-year old Nirmala (Shanta Apte) is married through a deciet by her uncle to a widower (Keshavrao Date), a lawyer, who is old enough to be her father. But she does not accept him to be her husband. While she takes care of the family as a housewife, she refuses to consummate the marriage by saying that while sufferings can be borne, injustice can not be tolerated. Over a period of time, her husband feels guilty and treat Nirmala as his daughter. He release her from the marriage but the conservative society does not accept this arrangement. In the end, the widower commits suicide with a note to Nirmala that she is free to remarry.

In selecting Shanta Apte in the role of Nirmala, V Shantaram must have observed her as a woman of substance who would perform her reel role of an enlightened woman who fights for her rights in a same way as she had done in her real life. In this film, there is a scene in which she gives a trashing with a cane to her college going step son for misbehaving with her as well as with his father and forces him to seek forgiveness from his father. I recall an instance when she had gone to ‘Filmindia’ office with a cane (or whip?) to trash Baburao Patel, the firebrand editor for writing some unpleasant comments about her acting. It was reported that to avoid trashing, Baburao Patel had to hide below his table.

10 years back, one song from the film ‘Duniya Naa Maane’ (1937) was posted on the Blog. So far, 5 songs from the film have been posted on the Blog details of which are as under:

Songs Name of the Film
ek thha raaja 03/08/2010
in the worlds broad field of battle 04/08/2010
man saaf tera hai ya nahin 12/11/2012
jai ambe gauri maiyya 09/10/2013
saawan jhoola jhool ke nikla 19/03/2014

I am presenting the 6th song, ‘samjha kya hai duniya daana’ from the film which is rendered by actor-singer, Shanta Apte. The song is written by Munshi Aziz which is set to music by Keshavrao Bhole. In this song, there is no musical interludes. I liked the way, Shanta Apte sang the line ‘kisi ki chup’ followed by a very brief pause and then continuing singing ‘walwala kisi kaa’.

One of the features of the film was that the music director, Keshavrao Bhole did not use orchestra for all its songs, Instead, he relied on using a couple of musical instruments. Two of its 12 songs (including the one under discussion) were sung by Shanta Apte by playing gramophone records.

Video Clip:

Audio Clip:

Song-Samjha kya hai duniya daana (Duniya Na Maane)(1937) Singer-Shanta Apte, Lyrics-Munshi Aziz, MD-Keshavrao Bhole

Lyrics

samjha…aa kya hai duniya….aa ….aa
aa aa aa aaa
aa aa aa
daana
yahaan pe aake har ek apni
yahaan pe aake har ek apni
niraali duniya bana raha hai
niraali duniya bana raha hai
deewaana daana zamaana kya kya
deewaana daana zamaana kya kya
hamein tamaashe dikha raha hai
hamein tamaashe dikha raha hai
kisi ki chup
walwala kisi kaa
chhuri kisi ki
gala kisi kaa
kisi ki chup
walwala kisi kaa
chhuri kisi ki
gala kisi kaa
bura kisi ka
bhala kisi kaa
bura kisi ka
bhala kisi kaa
dharam yahi kya sikha raha hai
dharam yahi kya sikha raha hai
sitam kaa sahna
sitam kaa sahna
har ek taakat
badhega dil aur badhegi himmat
sitam ka sahna
aa aa aa aa
sitam ka sahna
har ek taakat
badhega dil aur badhegi himmat
hai ye bhi ek zindagi ki daulat
hai ye bhi ek zindagi ki daulat
suno ye aaj suna raha hai
suno ye aaj suna raha hai


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

Blog Day :

4378 Post No. : 15723

Today’s song is from a very old – almost 83 year old – film, from the first decade of Talkie films – Khudai Khidmadgar-1937. The film was made by Bharat Lakshmi Pictures, Calcutta. It was directed by the all rounder Vithaldas Panchotia, who also did an important role in the film. Music was by Nagardas Nayak. All the 12 songs in the film were sung by 6 singers and songs were written by Arzoo lucknavi.

In the early years of Talkie films Arzoo Lucknavi was an important and well known personality in the Calcutta Film circle. Since 1932, he was under a contract with New Theatre, where he wrote stories, dialogues and songs for their Hindi films. Due to his contract, he could not officially use his own name as a Lyricist for this outside film, hence he gave the name of his son – Tanvir – as the Lyricist.

Aarzoo Lakhnavi was one of the most respected poets of his era. His father Mir Zakir Hussain Yas, who was a disciple of Jalal Lakhnavi and his elder brother Mir Yusuf Hussain Qayas, both were poets. Arzoo, who was born on 26-2-1893 as Mohammed Hussain, was brought up in a cultured and fairly well-off household. He did his early education at home. Later, he learnt Arabic and Persian from some famous scholars of Lucknow.

His career as a poet began with the composition of a Marsia at the age of twelve. As a poet, he wrote Ghazal, Najm, Marsia, Kaseeda, Nath, Rubai, Salaam, Masnavi, Geet etc. Guided by Jalaal Lucknavi, he soon became skilled in the art of poetry. After Jalal passed away, Aarzoo was accepted as his heir to guide his disciples.

He came to Calcutta in 1932 and joined The New Theatres to write songs and dialogues of Hindi films. His Hindi was simple. He used to use minimum Arabic or Urdu words in Hindi songs. In Calcutta, he started writing songs,stories and dialogues for Hindi films. After 21 films in Calcutta, he moved to Bombay in 1942, where he wrote lyrics and dialogues for 32 more (Total 53 films and 246 songs) films.

Later, he migrated to Karachi after partition and joined Radio Pakistan. However his songs continued in our Hindi films till 1967. Though he had also written plays and other forms of poetry, he rose to fame mainly because of his ghazals. Three collections of Aarzoo’s ghazals, viz., Fughan-e-Aarzoo, Jahan-e-Aarzoo and Nishan-e-Aarzoo have been popular with the Urdu readers.

In Pakistan he participated in the competition to write the National Anthem. His poem was rejected because it talked of Secularism, Equality and Humanity. Another poem having 99% Arabic words was selected. He died in Karachi on 17th April 1961.

When I had first read this film’s name some years ago,I was under the impression that this could be a film on some story connected with the Political organization, Khudai Khidmadgar, in the pre-independence era. It was originally an organisation started for the upliftment of Afghan people. The literal meaning of these words is ‘ God’s servant’. Later, it became a political movement under the leadership of Khan Abdul Gaffar Khan or Sarhad Gandhi. It was also called a “Red shirt” organisation.

During the mid 1930’s, the British Government was very strict, so obviously the film had nothing to do with politics. It was a plain simple Costume drama about a Saint like personality who helps people, thinking himself as ‘ God’s servant’. The film depicted how the cruel and unkind king changes, because of the teachings of this Saint.

The year 1937 was a year of Revolution for the newly started Talkie Film. Initially the films were mainly based on Folk tales, Parsi dramas and Mythological stories. 1937 was a year in which the Film industry was trying to drop its old skin and don a New Avtar. From this year, a variety of subjects were used to make films. If we briefly look at some path breaking, landmark films using Novel themes, we will understand how the film industry was attempting to change itself.

The newly established Minerva Movietone made a film on the importance and benefits of Celibacy in the film ‘Atma Tarang’.
Some artistes made their Debuts in 1937, like Ghulam Mohd.,MD for film Banke Sipahi, Comedian V H Desai in film Captain Kirti Kumar, Kishore Sahu in fil Jeevan prabhat, the eternal Mausi of Hindi films, Leela Mishra debuted in film Gangavataran. This was also a Debut film for Dadasaheb Phalke in making a Talkie film. David made his Debut in ‘Zambo-the ape man’.

Prakash films tried their hand at Stunt films with ‘ Challenge’ and ‘His Highness’, using Veterinary actors like Dogs, Horses and a Motorcycle. Prabhat’s iconic film ‘ Duniya Maane na’ shook All India audiences with its story. Shanta Apte sang an English song in it. Bombay Talkies made its first and last Mythological film ‘ Savitri ‘ with Ashok Kumar and Devika Rani.

Gangavataran was a film made by Dadasaheb Phalke. it was his First, the only and his last Talkie film too.

Imperial made India’s first indigenously made First colour film-Kisan Kanya. With this film, however, Master Nissar ended his ‘Hero’ ship as an actor.
Wadia Movietone made India’s first songless talkie film,’ Naujawan ‘, facing the ire of its audience for ‘cheating ‘ them !
‘Zambo – The Ape man ‘ became the first Tarzan type Indian talkie film, beginning a new Genre !
Maadan theatres Calcutta pulled its shutters down with their last Talkie film’ Zinda Bhoot ‘.

1937 was real path breaking for 2 solid reasons….One, for the first time, Playback singing started in a Bombay film with ‘Mahageet ‘. The song was sung by Anil Biswas, its MD and it was filmed on Hiren Bose, in the role of a beggar, near a crematorium (Smashan Bhoomi), as per book ‘ Music without Boundaries’ by Dr. Ashok Ranade,pp183-186.
Secondly,for the first time, in an Indian film successful special effects were used in film ” Khwaab ki Duniya ” -a film by Prakash Pictures, based on the popular novel “The Invisible Man” by H G Wells. A Hollywood film by the same name was made in 1933. The trick scenes in this indian film were as good as the Hollywood film. Credit goes to Babubhai Mistri for creating actions of an Invisible man , on the screen. He was nicknamed ” Kala Dhaga ” after this film.

Today’s film Khudai Khidmadgar-37 was made with all these path breaking film carnivals. The cast of the film was. Vithaldas Panchotiya, Khaleel Ahmed, Mazhar Khan, Dar kashmiri, Shyam Sundar, Radha Rani, Ram Pyari, Sarla Devi, Snehlata, Master Fid Hussain and others.

Just before the advent of Talkie films, Parsi theatre and other drama companies were the only Entertainment sources. Parsi Theatre was famous and most successful because it travelled all over India to perform. They used special reserved Trains to carry people and sets,drapery etc for their company from kashmir to kanyakumari and Gujarat to Rangoon. The success of Parsi Theatre was attributed to Pt. Narayan Prasad Betaab, Pt. Radheshyam Kathavachak, Agha Hashra Kashmiri and Master Fida Hussain – called the four Pillars of Dramas.

Our Sadanand Kamath ji has already written about Betaab, Kashmiri and Kathavachak. Today I will write on the remaining Pillar – Master Fida Hussain to complete the quartet.

Fida Hussain (11/03/1898 to 10-7-1999) was born in Moradabad (UP) in a conservative family. Right from childhood, Fida Hussain was fond of singing. It is quite likely that he got interested in singing because of the travelling theatres and nautanki groups that visited his town. Fida Hussain’s father and uncle did not like his interest in singing. Almost every day, the young Fida Hussain used to get beatings from his uncle for singing, though his father despite the dislike for the singing and music, spared him from beating.

But the more beatings he got, his fondness for singing increased. He also started watching the free shows of nautanki (folk theatre) which culminated into his love for the acting as well. This enraged his married elder brother who instigated his wife to do something to affect his voice. One day, she served him paan with vermilion powder which resulted in loss of his voice for nearly six months. After getting his voice back thanks to a visiting Sadhu who gave him some prescriptions, Fida Hussain started attending nautanki shows with a greater vigour than before.

In 1917, Fida Hussain joined a local drama club and got training for six months before being given a female role in the drama ‘Shahi Faqeer’. In this way, the path toward theatre opened for him. Soon, with the recommendation of his local drama club’s President, he went on to join the New Alfred Theatrical Company which was touring around Delhi for staging ‘Veer Abhimanyu’. In January 1918, Fida Hussain ran away from his home in Moradabad for Delhi leaving his newly married wife at home.

The New Alfred company never employed female actors. Hence the female roles were performed by the male actors like Master Nissar. Fida Hussain also got mostly the female roles in New Alfred.

Once when New Alfred was staging a show in Meerut, one of the boys from his neighbourhood recognised Fida Hussain and promptly reported the matter to his father. His father-in-law promptly lodged a complaint with police and an arrest warrant was issued. This entire episode is too big to cover here. The conclusion of this episode was Fida Hussain got a reprieve from his father, who allowed him reluctantly to continue with his passion after getting assurances from him that he would never indulge in intoxication (of any form), gambling, always keep high morality and keep in touch with his family by visiting his hometown.

With his domestic issues getting resolved amicably, Fida Hussain could now concentrate fully on theatres. His association with New Alfred continued until it closed down in 1930. His most popular dramas under New Alfred were ‘Parivartan’ (1922), ‘Veer Abhimanyu (c 1923), ‘Parambhakt Prahlad’ (c 1923), ‘Shri Krishna Avatar’ (1924-25), ‘Ishwar Bhakti’ (1928), ‘Laila Majnu’ (1930). Except for ‘Laila Majnu’, Fida Hussain played the female roles in all these plays.

In the 1930s and 1940s, Fida Hussain got associated with many theatre companies all over north, east and west India, the prominent being Alfred, Madan (pronounced as Maadon), Shah Jahan, Narsi, Mohan and finally taking up the reins of Moonlight Theatre owned by Marwadi brothers in Calcutta (now Kolkata). During this period, Fida Hussain worked in ‘Nal Damyanti’, ‘Yahudi Ki Ladki’, Khoobsoorat Balaa’, ‘Seeta Banvas’, ‘Chalta Purza’, ‘Bhakta Narsi Mehta’, ‘Bharat Milap’, ‘ Krishna Leela’ and many more.

In 1939, he donned the title role of Narsi Mehta in the play ‘Bhakt Narsi Mehta’. The play became a hugely popular hit and it played for over 1000 nights. Because of this, Fida Hussain was honoured with the title ‘Narsi’ which he proudly used as a suffix to his name as Fida Hussain ‘Narsi’.

With the advent of talkies, Fida Hussain, like many other artists from theatres, was associated with a few Hindi films during 1934-46 as an actor-singer. The first film he worked was ‘Ramayan’ (1934) followed by ‘Insaf Ki Tope’ (1934), ‘Kunwaari Ya Vidhwa’ (1935), ‘Diljaani’ (1935), ‘Dil Ki Pyaas’ (1935), ‘Daku Ka Ladka’ (1935), ‘Balidaan’ (1935), ‘Khudaai Kitmadgaar’ (1937), ‘Matwali Meera’ (1940), ‘Bambaiwaali’ (1941), ‘Arabian Nights’ (1946) and ‘Toote Sapne’ (1946, Unreleased).

Except for ‘Bambaiwaali’ (1941) which was produced in Bombay (Mumbai), rest of films in which Fida Hussain worked were produced in Calcutta (Kolkata) where he was associated with Moonlight Theatres. I find that barring one or two films, he had small roles in the rest of his films. It is quite possible that due to his immense popularity on stage as an actor-singer, the producers of the films may have taken him in their films to attract his large fans to watch the films. My guess is that Fida Hussain did not have much interest in working in films as his heart was with the theatre.

Fida Hussain continued his association with Moonlight Theatres, Calcutta (Kolkata) where he was the boss. The owners (4 Marwadi brothers) did not interfere in any aspects of the Moonlight Theatre so long as they earned profit from this venture. I am surprised as to how Fida Hussain could successfully compete with Hindi films and run the Moonlight Theatres profitably in the 1950s and 60s. In 1968 when Fida Hussain completed 50 years in Parsi Theatre, he decided to retire from the theatre activities and spend the rest of his life with his extended family in Moradabad. With his retirement, the Moonlight Theatre was closed and with this the glorious years of Parsi Theatre came to an end.

However, Fida Hussain remained busy during most of his post-retirement years. Being the only living legend of Parsi theatres, his knowledge about the old theatrical styles were utilised for those interested in theatre. He became a regular visiting faculty for the National School of Drama, New Delhi until the 90s. He also conducted workshops for students who were pursuing their interest in the theatre. He was often one of the invitees to symposiums and seminars on Indian theatres. In 1985, Fida Hussain received the Central Sangeet Natak Akademi Award in recognition of his contributions to Indian theatres. In 1978, he received the Uttar Pradesh Sangeet Natak Akademi Award for acting. Fida Hussain passed away on 10-7- 1999.

Fida Hussain may be one of the few theatre personalities who commanded not only the respect but also kept his reputation high even during his poet-retirement years. He was also one of a few artists who judiciously used his earnings to create a bright future for his two sons and two daughters. At the time of his death, Fida Hussain was the owner of two brassware business firms in Moradabad which were run by his two sons.

During his theatre days, Fida Hussain recorded more than 200 songs with HMV. However, his filmy songs are few (may be less than 20) and it seems some of them were not issued on gramophone records.

Harmandir Singh Hamraz ji , who compiled the Hindi film geet Kosh, told an anecdote about Fida Hussain. During the data collection work of his geet kosh, Hamraj got the address of Fida Hussain in Moradabad. He wrote him a letter, requesting for an appointment to collect some data. For many days there was no reply. Suddenly, one day in the morning, Hamraz was astonished to see Fida Hussain at his doorstep. Fida Hussain said, ” I got your letter, but I wanted to see who this person is, who wants to know about the matters of 50 years ago. So I came here.” Hamraz ji kept him in his house for a week or so and he also gave all possible valuable information to Harmandir Singh Ji. This story is told by Harmandir ji himself.

Today’s song is sung by Master Fida Hussain, who did the role of a General of Army in the film. This song was repeated 4 times in the film, as told by Fida Hussain himself.

( My thanks for information from book ” The stages of Life” by Kathryn Hansen, Listener’s Bulletins, book ” पूर्वसुरींचे सूर ” by Dr. Suresh Chandvankar, Flashback by Isak Mujawar and my own notes over the years)


Song-Khoti duniya badi Rangeeli dekh na dhokha khaana baaba (Khudaai Khidmatgaar)(1937) Singer- Master Fida Hussain, Lyricist-Arzoo Lucknowi, MD- Nagardas Nayak

Lyrics

Khoti duniya badi Rangeeli
dekh na dhokha khaana baaba
phool mein kaantaa chhupa hua hai
mumkin hai chubh jaana baaba

is jeene ka kaun bharosa
ye jeena kya jeena aa aa
chalti saans hawa ka jhonka
ye aana wo jaana baaba

na thhe jin zaalimon ke zulm se
aman o amaan baaqi
mite aise ke ab khud bhi nahin unka nishaan baaqi
sukh mein sukh hai
dukh mein dukh hai
jo dena so paana baaba

lamba rasta kos kade hain
aur akele jaana aa aa
khaai kuyen se se bachte rehna
samajh ke paaon badhaana baaba

jaane waale aake mein(?) rang e chaman dikhla gaye
chaar din mein chaal gul mahke
khile murjha gaye
do din ka hai hera phera
aaj aana kal jaana baaba
do din ka hai hera phera
aaj aana kal jaana baaba
khoti duniya badi rangeeli
dekh na dhokha khaana baaba
phool mein kaanta chhupa hua hai
mumkin hai chubh jaana baaba aa aa aa


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 :

4343 Post No. : 15646

—————————————————————————
Blog 10-Year Challenge (2010-2020) – Song No. 35
—————————————————————————

This date ten year ago, viz 8 June 2010 was a relatively prolific day by the then prevailing standards of the blog. As many as four songs were covered that day. Here are their details:

Song Movie title-Year Remarks
Nadi kinaare baithke aao Jaageerdaar (1937) 3 songs covered out of 10. The movie made its debut on this date.
Bhar bhar aayen ankhiyaan

Samrat Chandragupta (1958) The movie has been YIPPEED by now
Aapne yoon hi dillagi ki thi

Mehndi Lagi Mere Haath (1962) The movie has been YIPPEED by now
Aao jhoome gaayen

Paraaya Dhan(1971) The movie has been YIPPEED by now

One can see that four songs from four different decades were covered on 8 june 2010. It was my standard practice in the past to cover around six songs in a day, all belonging to different decades. This practice had become difficult to follow during the last months of 2009 and initial months of 2010 because of disruption due to my transfer. By June 2010, I was finally settled in Nagpur and I was trying to regain the glory days of the blog. And this date was the one when I perhaps decided to shift gears and press the accelerator.

It is to be noticed that the first song of the day was from the decade of 1930s. 1930s was the earliest decade of HFM. Songs of that decade were difficult to come by and so very few songs of that decade were covered by that time. Sudhir Jee has the details. According to him:

On 8th june 2010, the fiilm “Jaagirdaar” of 1937 had made its debut. It was the 690th day of the blog. “Jaagirdaar” was only the 11th film from the 1930s to appear on our blog. And the song was only the 19th song from that decade. Almost two years into this endeavor, and the blog had just scratched the surface of the decade of 1930s. Today that count stands at 210 films and 443 songs from the years 1931-1940. Just for additional information, the approximate total availability of the Hindi film songs of 1930s in public domain is in the range of around 1100.

So we have added considerably to the songs tally of 1930s in the blog and by now we have about 40 % of all available songs of 1930s in the blog.

Coming back to “Jaageerdaar”(1937), this movie was directed by Mehboob Khan for Sagar Film Company, Bombay. The movie had Surendra nath(B.A.L.L.B), Motilal, Bibbo, Maya Bannerjee, Ramchandra Marathe, Yaqoob, Pandey, Sankata, Ziya Sarhadi, Pesi Patel, Bhudho Advani, Mani, Jaaver Bhai Qaiser, Soli Kapadia, Miss Gulzar, Rajkumari etc in it.

The movie had ten songs in it. Three songs have been covered in the past. Here are the details of the three songs covered in the blog:-

S N Song Post number in blog Date of posting
1 Nadi kinaare baithke aao 2521 8-June-2010
2 Pujaari morey mandir mein aao 7951 22-April-2013
3 Baanke bihaari bhool na jaana 13656 14-October-2017

The movie made its debut on this date ten years ago. As “Blog ten year challenge”, here is another song from the movie. It is sung by Rajkumari. Zia Sarhadi is the lyricist. Music is composed by Anil Biswas.

Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of the song.

Lyrics of this song were sent to me by Prakashchandra.


Song-Auron ke kyun pag padta hai (Jaageerdaar)(1937) Singer-Rajkumari, Lyrics-Zia Sarhadi, MD-Anil Biswas

Lyrics (Provided by Prakashchandra)

auron ke kyun pag padta hai
auron ke kyun pag padta hai
aap lagaa de paa aaa aar
aap lagaa de paa aa aar
auron ke kyun pag padta hai
auron ke kyun pag padta hai
aap lagaa de paa aa aar
aap lagaa de paa aa aar

apni apni naiyyaa ke sab
apni apni naiyyaa ke sab
aap hain kewanhaa aa aar
aap hain kewanhaa aa aar
auron ke kyun pag padta hai
auron ke kyun pag padta hai
aap lagaa de paa aa aar
aap lagaa de paa aa aar

himmat haari sab kuchch haaraa aaa
himmat haari sab kuchch haaraa aaa
paayega jab tu na kinaaraa
paayega jab tu na kinaaraa
doob chukaa qismat ka taaraa
doob chukaa qismat ka taaraa
tujhse hai bezaa aa aar
tujhse hai bezaar
aan aan aan aan
apni apni naiyyaa ke sab
apni apni naiyyaa ke sab
aap hain kewanhaa aa aar
aap hain kewanhaa aa aar
auron ke kyun pag padta hai
auron ke kyun pag padta hai
aap lagaa de paa aa aar
aap lagaa de paa aa aar


What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over THIRTEEN years. This blog has over 16700 song posts by now.

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

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(© 2008 - 2022) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

Total number of songs posts discussed

16781

Number of movies covered in the blog

Movies with all their songs covered =1305
Total Number of movies covered=4565

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