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 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
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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

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


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 :

4263 Post No. : 15488 Movie Count :

4269

Today’s song is from a very old film, Moti ka Haar-1937. The song is sung by Ashiq Hussain. The song begins with few sentences in English. The music is by Jaddanbai. The film was produced by Jaddanbai,under the banner of her own Sangeet Film Company, Bombay. It was directed also by Jaddanbai. Though she sang few songs in this film, she did not act in it. However, her daughter Baby Rani aka Fatima Rashid aka Nargis in adult life, acted in this film.Her son, Anwar Hussain also acted in this film. The other cast in the film was Mehtab, Ashiq Hussain, P L Santoshi, Mirza,Yusuf and many more.

Jaddanbai came from a Tawaif family. In the initial stage of the Indian films,whether silent or talkie,it was difficult to get girls from good families and background. Slowly this picture changed. When Talkie started many Tawaifs, singing girls and girls from such families joined films as they fulfilled the requirement of singing and looking good, in addition to their ease on Hindi/Urdu language.
At this time, slowly many educated and girls from high society as well as middle class families started joining films. So,to distinguish these women from each others, a system of nomenclature was followed.

All the Girls coming from Singing families and Tawaif background added the suffix “Bai” to their names, like Jaddanbai, Waheedan bai, Zohrabai,Amirbai etc. The Anglo-Indian and middle class girls took the prefix of ‘ Miss” like,Miss Moti,Miss Rose,MissTara,Miss ajmat,Miss Pearl etc.Those girls who were from high society were called Devi,like Sabita Devi,Kamla Devi,Renuka Devi etc. All Marathi actresses used their full names like Shanta Apte,Minaxi Shirodkar etc.

Another point, this nomenclature was only unofficial and traditional. So some Tawaif actresses took advantage of this to hide their roots.Like, Rampyari who was from a singing family of Hyderabad, sometimes called herself as Miss Rampyari.

Do you know the meaning of the word Kaneez ? Not many may be aware of it. To understand this word,we have to go back in History. There were 565 Princely states in India before Partition. Due to patronising of fine arts like music and dance by these Princes, a new class of Nautch Girls emerged in the 19th century. All Nautch Girls were not the same. Author Michael Kinnear, in his book “The Gramophone company’s first Indian Recordings 1899-1908 “, has explained the classification and Nomenclatures of these Nautch Girls. As per that, there were 4 types…

Lowest Class…..IV Name – Khanki Prostitutes/Sex workers
Class III Name – Kaneez Daasi or servant
Class II Name – Bai ji Singing/Dancing
Class I Name – Jaan Top class singers

They all were called collectively as Tawayafs. The readers will now understand the difference between Amirbai, Waheedanbai, Jaddanbai and Tamancha Jaan, Gauhar Jaan, Malika Jaan, Zohra Jaan etc etc. In the first decade of Talkie films, almost 90% actresses were from Tawayaf families. As the time went by, their percentage went reducing as girls from respectable families started opting for a film career.

Few of these Tawayaf actresses proved to be extraordinary and they set exemplary lifestyles. I would especially mention 4 names of such actresses, who were different from the rest and did an unexpectedly praiseworthy job. They are – Indurani, Mehtab, Gohar Mamajiwala and Jaddanbai. Indurani, was educated in a Convent school in initial years and understood the importance of education. She ensured high quality education to her children and after retirement from films, settled in US with her children. ” Knowledge is the greatest wealth” – her favourite life philosophy is engraved on her Grave stone in America.

Mehtab and Gohar Mamajiwala, both managed their husband’s cine studio companies with great efficiency. Both sacrificed their film careers to be with their husbands in thick and thin and ensured that they remained a great strength to their extended families. Both these women were highly respected in film industry.

The best among the four, however, was Jaddanbai. She was a multifaceted artiste. She was an excellent singer in her early career, where she was in great demand, receiving invitations from various princely states across the Indian subcontinent. In later life, she was a screen writer, Lyricist, Music Director, Actress, Director, producer and owner of a film production company. More than this, she had earned a high reputation in the film industry. She personally knew big guns like Mehboob, Karadar etc. Jaddanbai had undoubtedly earned a special status in the industry.

Her ability to settle complex personal and professional industry disputes, her generous open kitchen for co-workers, her penchant for colourful language and the high premium placed on her advise and recommendation made her a veritable institution in Indian film industry of her times.

Not only she wrote screenplays for all her films, she also helped her estranged son-Akhtar Hussain’s ” Nargis Art Films”, by writing screenplays for his films ” Anjuman-48″ and ” Darogaji-49″. Jaddanbai was proficient in Urdu, Hindi, Bengali, Persian, Arabic and English too. Jaddanbai’s films were made to boost good morals and promote Swadeshi values. Even her first film “Talash E Haq-35” was a story of a wayward actress Feroza, who had many lovers etc, but she finally goes for Search of Truth, denouncing all worldly matters in her life.
JADDANBAI was born in 1892. She was the love child of Motilal Nehru and her mother Daleepabai, who was a beautiful Tawaif. Daleepabai was originally from a Brahmin family,but was abducted and trained as a Tawaif. Jaddanbai was picked up from a mela of kothewalas, when she was only 5 yr. old and was trained as a Tawaif.

A close look at the special feature of Nose in Nargis,Indira Gandhi,Pt.Nehru,Rajiv Gandhi or Rahul Gandhi will confirm the similarity in the Nehru clan feature. Jaddanbai used to tie Rakhi also to Pt. Jawaharlal Nehru. ( from an article by Rajnikumar Pandya ji.)
Jaddanbai started learning music under the Ustad Moinuddin Khan, Barkat ali khan, Chhaddu khan and Laabh khan. For this she shifted to Calcutta in her teens only. Though she was born in Benaras, she grew up in Allahabad, the Nehru’s home town.

She started singing gazals and soon became so famous that she cut several Gramophone records. She was invited by many kings and states like, Rampur, Indore, Gwalior, Bikaner etc. She was very popular. A Lahore based film maker, Hakim Ram Pershad was also charmed by her singing and offered her a film role. At that time she was almost 40 year old, but she was not hired for her beauty but her singing. She did the role of Gopichand’s mother in this film. She was offered a role in film Raja Gopichand-1933, by Play Art Photo tone Co. of Lahore. She did that film and also did Insan ya shaitan, also in 1933, Sewa Sadan, Prem Pariksha and Naachwali, all in 1934 in Lahore and Karachi.

After these films, she decided that she had earned a lot so far and she wanted to enter the film business. She left the well earned fame and riches to relocate to Bombay to do a film career. Those days, Calcutta was for Bangla films, Lahore for Punjabi films and Madras for Tamil/Telugu films, so only Bombay catered to Urdu/ Hindi films. Naturally Jaddanbai’s choice became Bombay.

She started her own company – Sangeet Film Co. and produced ‘Talashe Huq’ in 1935, in which her daughter Baby Rani (later Nargis) made her debut. ( actually Baby Rani had also worked earlier in film Nachwali-34, but it was uncredited ). Jaddanbai was an actor,singer, director and she also gave music to few films. Thus she became the second female music Director(after Bibbo) in India.

As an actress her films were- Raja Gopichand-33, Insan ya shaitan-33, Sewa sadan-34, Prem Pariksha-34, Naachwali-34, Talash e huq-35, Hriday Manthan-36 and Madam Fashion-36.

She also Directed few films-Madame Fashion-36, Hriday Manthan-36, Moti ka Haar-37 and Jeewan Swapna-37.

As a Music Director,her films were-Talash e huq-35, Madame fashion-36, Hriday Manthan-36, Moti ka Haar-37 and Jeewan Swapna-37.
As a singer her famous songs were- pardesiya re jara-Naachwali-34
range mehfil na raha-Prem pariksha-34
Aaina rakh do -Sewa sadan-34
Dil me jabse kisi ka-Talash e huq-35
Khoone dil ka kahin-Hriday manthan-36 and
Ho pyala mad se bhara-Madam Fashion-36.

Her singing was very enchanting and even Saigal was her fan.

She had 3 husbands in three marriages and 1 child each from every one.

First she married Narottamdas Khatri,the financier of her first film.He converted to Islam and became Bachhi Babu to marry her. She got Akhtar Hussain from him.

Her second husband was Ustad Irshaad Meer Khan, from whom she got Anwar Hussain.
Her third husband was Mohan Babu. This Uttamchand Mohanchand Tyagi was an orthodox Mohyal Brahmin from Rawalpindi. He was going to London for studying Medicine. He heard Jaddanbai’s singing and fell for her. Against all resistence from his family, he converted to Islam, became Abdul Rashid and married her. She had at last found true love and till the end, they loved each others. He was known as Mohan Babu. He was handsome,rich and good natured. From him Jaddanbai got a girl child called Fatima Rashid or Baby Rani or NARGIS. It is believed that due to her love for Mohan Babu she adopted a Hindu name of Jaya Devi Tyagi also.
Her elder son Akhtar kept away from the family, became a Director, but later started his own business away from these people. Anwar Hussain and Nargis entered films.

Jaddanbai was very well read, cultured and a social person.

She died on 8-4-1949.

The hero of film Moti ka Haar-37 was Ashiq Hussain. Not much information is available on him, except that he hailed from U.P. and that he was educated up to Matriculation, in those days. He was one of the young and good looking heros of those days. He acted in 25 films, starting with Jaddanbai’s film Talash E Haq-35 and his last film was Utho Jaago-47 – a film produced by actress Shehzadi. After the film was complete, they got married and later migrated to Pakistan. There, Ashiq Hussain turned into a full time producer and made many films. Unfortunately no information about him in Pakistan is also available. Ashiq Hussain sang 32 songs in 13 films in India.

Today’s song is sung by Ashiq Hussain. The song has some English lines in prose, before the actual song starts. Surendra and Bibbo made this style famous, with their popular song “Tumhi ne mujh ko pyar Sikhaya’in film Manmohan-36, in which at the beginning, Bibbo asks ” क्या मैं अंदर आ सकती हूं ? ” This different style of song was liked by public and then some more songs with same style were brought in by other composers. May be this song too was an attempt in this direction. With this song, film Moti ka Haar makes its Debut on the Blog.

( I thank for information used in this article from writings of Jill Nelmes and Jule Seibo from book “Women Screen writers- An International Guide”‘, article by Debashri Mukherji, titled “Screen writing and Feminist Rewriting”, article by Michael Kinnear, site http://www.pak.mag.com, http://www.muVyz.com, Film Directory 1946 and my notes).


Song-Chot maar lyo ghoonghatwa ki oat janiya (Moti Ka Haar)(1937) Singer- Ashiq Ghulam Hussain, Lyricist- Jaddanbai, MD- Jaddan bai

Lyrics

aa aa aa aa
you told me
you told me
to come with your home
tomorrow morning
jab ham wahaan pe gaye to
cheez ka pata nahin mila
I am very much ?
I am very much ??
I love and I do for you

chot maar lyo
chot maar lyo
chot maar lyo
ghoonghatwaa ki oat janiyaa
ghoonghatwaa ki oat janiyaa
chot maar lo

chot maar lo
ghoonghatwaa ki oat janiyaa
o chot maar lo
ghoonghatwaa ki oat jainiyaa
chot maar lo

phooli hai bagiya
ghata lahraayi
sooni sejariya se tu naahin bhaawe
aa jaa sejariya ki oar janiyaa
haan aa jaa jhopadiya ki oar janiyaa
haan raaja jhopadiya ki oar janiyaa
chot maar lo
ghoonghatwaa ki oat janiyaa
chot maar lo

haan
?? joruen pyaari
main shauhar unka laadlaa aa aa
main shauhar unka laadlaa
aur ghar ka numberdaar
in sab joruan ke bech kar
main utaroon ganga paar
chot maar lyo ghoonghatwaa ki oat janiyaa
chot maar lyo


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 : 4213 Post No. : 15414

“Izzat”(1937) was directed by Franz Osten for Bombay Talkies. The movie had Devika Rani, Ashok Kumar, Kamta Prasad, Fateh Singh, M Nazir, Ahmad, Mumtaz Ali, K H Dharamsi, Vimla, P F Peethawala, N M Joshi, Ameer Ali, Suneeta Devi, Madhurika, Manohar Ghatwai, Chandraprabha etc in it.

The movie had six songs in it. Two of these soings have been covered in the past.

Here is the third song from “Izzat”(1937). This song is sung by Sunita Devi and Mumtaz Ali. J S Kashyap is the lyricist. Saraswati devi is the music director.

This song is picturised as a Radha Krishn expression of love song on Sunita Devi and Mumtaz Ali themselves.

With this song, Suneeta Devi makes her debut in the blog as a singer.


Song-Prem dor mein baandh hamen kit chale gaye giridhaari (Izzat)(1937) Singers- Sunita Devi, Mumtaz Ali, Lyrics-J S Kashyap, MD-Saraswati Devi

Lyrics

prem dor mein baandh humen
kit chale gaye giridhaari
chale gaye giridhaari
gaye kahaan kaho jaat bane
jag basi hai raadha pyaari
jag basi hai raadha pyari

baat banaawat laaj ni aave
kaise dheethh kanhaai
maanat jo saanchi kahoon sajni
tum bin kachhu na suhaai ee
tum bin kachhu na suhaai

chhadi kadamb ki chhainyya sainyya
rahi rahi raah nihaaroon
rahi rahi raah nihaaroon
aao sajaniya man mohaniya
kal kal baat guhaaroon
kal kal baat guhaaroon

saanwariya
saajaniya

balihaari
mam pyaari
giridhaari
chhavi nyaari
banwari
sheesh mukut kaanan bich kundal
murli kar sohe
murli kar sohe
sang raadhika subhag suhaani
jodi jag mohe
jodi jag mohe
raadhe
shyaam kanhaiya
raadha
sheesh mukut kaanan bich kundal
murli kar sohe ae ae
murli kar sohe ae ae
sang raadhika subhag suhaani
jodi jag mohe ae ae
jodi jag mohe ae
radhe
shyam
raadhe shyaam
raadhe shyam
raadhe shyam
raadhe shyaam
raadhe shyaaam


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.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 : 4200 Post No. : 15384

Today’s song is from the first decade of the talkie era and from one of the very popular Saigal films coming from New Theatres, Calcutta, ‘President’ (1937).

Ardeshir Irani of Imperial Film Co. won the race with Calcutta’s Madon Theatres and released the first talkie film of India – ‘Alam Ara’ (1931) and a revolution took place in the Indian Film Industry ! With just one shot, scores of Anglo-Indian actresses of the silent era became jobless, because they could not speak Hindi or sing a song. Smaller producers of silent films just shut their shops, because now, a single talkie film needed 4 times more investment compared to cheaper varieties of silent films produced earlier. The financial wizards understood the new opportunity of making money by investing in talkie film production. The number of staff of film companies increased and the big players with sound finances, became ready to grow bigger.

By 1934, the production of silent films ceased completely. Some of the noted film makers like V Shantaram, for example, who had shunned the talkie films initially as a temporary aberration, now took keen interest in making talkie films. They realised that talkie films could be an excellent vehicle for giving out social reform messages to the society. Initially, though the talkie films were made on folk tales, Parsi dramas and mythological stories, after 4-5 years the trend changed in its content and we can see a variety of genres in films then.

The playback was introduced in 1935 at Calcutta and in 1937 at Bombay – both by Bengali MDs. So, in 1937 films became mature. The other major highlights of 1937 were. . .
1.The first songless film – ‘Naujawan’ – was made by the Wadias
2. First English poem was used as a song in a Hindi film – which is available even today.
3. Younger MDs like Gobind Ram, Gyan Dutt, Ram Gopal Pande etc started their film careers.
4. Prabhat Films brought out their first film on social reforms – ‘Duniya Na Maane’. Same time New Theatres gave ‘Mukti’, ‘Ánath Ashram’ and ‘President’, on social issues.
5. First colour film – ‘Kisan Kanya’, indegenously shot and processed by Imperial, was released.

In 1937, a total of 176 films were made in India, out of which 102 were Hindi films. 14 films were made in Calcutta, 2 in Poona, 1 each in Kolhapur and Lahore and 83 films were made in Bombay alone, establishing itself as the undisputed Capital of Film Industry. In Bombay, the major players (film companies) made films in 1937 alone, thus – Prabhat-2, Ranjit-8, Sagar-6, Bombay Talkies-4, Minerva-2, Huns Pictures-3, Wadias-4, Prakash-3 and the maximum films were made by Imperial-9. The rest films were made by dozens of smaller production houses and individual producers under their banners. The major companies made 41 films, which was a major chunk of the 83 Bombay made films, in 1937.

Out of this, some notable films were – ‘Khwab Ki Duniya’ made by Prakash, was based on the famous novel and a subsequent Hollywood film ‘The Invisible Man’ (1933). The trick scenes were lapped up by the audiences. ‘Mahageet’ made by Sagar, heralded the playback singing in Bombay. ‘Savitri’ made by Bombay Talkies, was Ashok kumar’s first mythological film (he acted in another film ‘Úttara Abhimanyu’ (1946) later on). ‘Naujawan’ was Wadia’s first songless talkie film of India.

By 1937, the film music had also undergone total change. From stage drama style music, now MDs tried various other original melodies. Thus music became one of the major attractions of a film. Particularly some film songs are such that they occupy a special place in our heart. Many such songs of Hindi films are known to all of us and at some point of time we all had also got carried away with such songs. The other day, I was reading the book- “Golden period of film music 1931-1960” by film historian and writer Isak Mujawar ( चित्रपट संगीताचा सुवर्णकाळ १९३१-१९६०), in which he has related an anecdote…

When Producer Director Raj Khosla was a small boy, his father used to love Saigal songs. They had an ancient type of gramophone and his father would always play Saigal’s song “Ik Bungala Bane Nyaara” from film ‘President’-1937. It was his favourite song. Even Raj used to like this song. As he grew older he always used to remember his father and this song. In 1969, when he made film “Do Raaste”, he created a scene in it, in which Balraj Sahani – the eldest  of the three brothers in the film, always listens to this song on his gramophone. The same song is played in the film many times. In fact,the entire film story is built around that song.”
(free translation from Marathi).

When I read this, out of curiosity I opened my laptop and went to You Tube. I searched for the film ‘Do Raaste’ and watched it. Lo and behold ! The song indeed is played by Balraj Sahani and I too – along with Balraj Sahani – enjoyed the song again. Nowadays, we find in many films, old songs are played. Our own Sudhir ji is also running a series of such songs on this blog.

About a month back, I came across 2 song snippets, from film President-37, which I found were not covered in the Blog so far. The problem was, one song was of only 40 seconds and the other was of 50 seconds. Next day, I had urgent engagements till next 10 days, so I left the matter at that. However, when I became free, I sent those snippets to Atul ji and Sudhir ji. Sudhir ji informed me that the shorter song was opening part of the famous song “Ek Bangala Bane Nyaara” and was already covered in the blog. However the other 50 second snippet needed some work on it. Sudhir ji restored it by editing, cutting, joining and adding the missing song lines to it, etc. to make it a song of respectable duration of 2+ minutes. It included some dialogues also. He even uploaded it. I thank Sudhir ji for mending, amending and sending the song to me for presentation.

As per HFGK, there are 8 songs in film President. 6 songs are already discussed. In these posts, lot of information about the film and related matters has already been given , so there is nothing left to write about these matters. However, I have found that the synopsis of the film given by the Encyclopedia of Indian Cinema takes a different angle of the story than what is already given in the blog. So I am reproducing it here to know what it means. . .

A famous Saigal musical narrating a strange love story set against 1930s industrialisation and worker-management relations. The 16-year-old Prabhavati (Chandrabati Devi/Kamlesh Kumari) inherits a mill and turns it into an extremely profitable enterprise.

Prakash (Saigal) is a worker who designs a more efficient machine for the factory for which he first gets sacked and then is re-employed. He falls in love with Prabhavati’s sister Sheila (Leela Desai), who later makes way for Prabhavati who is also in love with Prakash.

Her withdrawal distresses Prakash, causing him to bully the workers who then go on strike. Prabhavati realises the problem and presumably commits suicide (she disappears into an office and locks the door) for the good of her sister and of the business. The hint is about her death.

The unmistakable thrust of the story is that the ‘personal’ (i.e. relations with women) should not be allowed to interfere in male pursuits like business or management, equated with social good. The film has Saigal’s classic number Ek bangla bane nyara. The plot echoes the Guru Dutt script for the unfinished Baharain Phir Bhi Ayengi.

Let us now listen to this reborn 7th song. Some dialogues come free with the song…


Song – Door. . . Bahut Door (President) (1937) Singer – Bikram Nahar, Lyricist – [Unattributed], MD – Pankaj Mullick
Leela Desai
Jagdish Sethi

Lyrics (Provided by Sudhir)

[jeejee
ae ree jeejee
toone jo kiya thheek kiya
tujhe ye sab kuchh chhod kar chala jaana hoga
door
bahut door
bahut door
]

door
bahut door
phir bhi tum itne nahin door
jitna aankhon se noor
phir bhi tum itne nahin door
jitna aankhon se noor

[damn it
daam aankhen
damn noor
]

ras bhari vaani se to
man ki kali
khil gayi
khil gayi
hic
theeeeeeee
kathor vachan
hic
sunte hi
murjhaayi
hic

[Vikram
ye bakwaas band karoge ya nahin]

[. . .]
[..clipped dialogues..]
[. . .]

[apne us rascal se keh dena ki
uski daal ab yahaan nahin galegi

Sheela darling us’se nafrat karti hai

Sheela dear. . .]

[tum isi laayak ho

raat khatm hone waali hai
jee bhar ke ro sako to ro lo
savere tak dil ki bhadaas nikal jaayegi
ghabraane ko koi baat nahin
]

mere nainan ke tat pe shnaan
birha ki kaali raat
karti hai jis bhaant(?)
ho jaati hai parbhaat
mere nainan ke tat pe shnaan
birha ki kaali raat
karti hai jis bhaant(?)
ho jaati hai parbhaat

haar mein hoti hai jeet
yahi ee
hai
preeet ki reeeet

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

[जीजी
ए री जीजी
तूने जो किया ठीक किया
तुझे ये सब छोड़ कर चला जाना होगा
दूर
बहुत दूर
बहुत दूर]

दूर
बहुत दूर
फिर भी तुम इतने नहीं दूर
जितना आँखों से नूर
फिर भी तुम इतने नहीं दूर
जितना आँखों से नूर

[डैम इट
डैम आँखें
डैम नूर]

रस भरी वाणी से तो
मन की काली
खिल गई
खिल गई
हिक
थी॰॰॰
कठोर वचन
हिक
सुनते ही
मुरझाई

[विक्रम
ये बकवास बंद करोगे या नहीं]

[. . .]
[..संवाद कट..]
[. . .}

[अपने उस रास्कल से कह देना कि
उसकी दाल अब यहाँ नहीं गलेगी

शीला डार्लिंग उससे नफरत करती है

शीला डियर ॰ ॰ ॰]

[तुम इसी लायक हो

रात खत्म होने वाली है
जी भर कर रो सको तो रो लो
सवेरे तक दिल कि भड़ास निकाल जाएगी
घबराने कि कोई बात नहीं]

मेरे नैनन के तट पे श्नान
बिरहा  कि काली रात
करती है जिस भाँत(?)
हो जाती है परभात
मेरे नैनन के तट पे श्नान
बिरहा  कि काली रात
करती है जिस भाँत(?)
हो जाती है परभात

हार में होती है जीत
यही॰॰॰
है
प्रीत कि रीत


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

Blog Day :

4120 Post No. : 15273 Movie Count :

4200

Today’s song is from a film belonging to the first decade of Talkie films in India- Khan Bahadur-1937.

The film was made by Minerva Movietone and it was directed by Sohrab Modi. B S Hoogan was the Music Director. The film cast included, Sohrab Modi, Prem Adib, Naseem Banu, Sheela, Shareefa, Eruch Tarapore, Sadiq Ali, S.Kapadiya and others.

Incidentally, Khan bahadur-37 was the Debut film for Prem Adib, as a Hero. In later years, he became famous in the role of Shri Ram, along with Shobhanaq Samarth in the role of Seeta, in films made by Prakash pictures. While he was in Minerva, a special teacher was appointed to teach him singing. It was here that he fell in love with actress Indurani and they had a Love child.

In this world, everyone makes a mistake. But those who learn from their mistakes and mend ways, have better chances of succeeding in achievement of their goals. Sohrab Modi was a person who had plenty of ambitions. He knew his own capabilities and understood the need to change with the changing times. Khan Bahadur -37 was his just second movie. The first movie,- Atma Tarang-37-, that he made with his newly established production company had taught him a bitter lesson. He learnt from it and mended his ways for his second venture. It is interesting to know how and why Sohrab Modi committed that mistake. For this, we will have to, once again, go through his revised early life, his entry into acting field and his film making activity.

Sohrab Merwanji Modi was born in a Parsi family on 2nd November, 1897. His parents were Parsi civil Servants. For few years he stayed in Parsi community in Bombay. Sohrab Modi’s childhood was spent with lot of activities. As he grew up, his more interest was in exercise and sports. Though in childhood many times he was severely sick and few times he was also hospitalized, due to which, he looked tall but he was thin. Later he was very active. In school he was an average student, he never got hooked to History subject. Many times teacher complained to his parents for his lagging behind in history subject. His parents turned all the stones to make him study but it all went in waste. Sohrab was good in sports and from childhood he was interested in exercise which helped him to develop his personality in stage acting. Later he shifted with his family to Rampur in Uttar Pradesh. At the age of 14 -15 his mind absorbed many interesting things in acting as he watched silent movies. Soon his mind got diverted toward stage acting.

At the age of 17 years, he worked as a travelling exhibitor in Gwalior. Elder brother Rustom Modi, along with his close friend Ittefaq, set up Arya Subodh Natak Mandali theatre group in 1923.

In start Sohrab Modi only acted as an extra or side role which was not that important. But Sohrab was looking for the opportunity where he could act as a leading actor. Very soon he got an opportunity and he broke the ice. Soon He earned the reputation as Shakespearean actor. Sohrab Modi’s elder brother Rustom helped him in stage acting and people really appreciated the Sohrab acting. Sohrab played Jahangir (Hamlet) opposite Naseem Bano (Ophelia) in Khoon ka Khoon, one of the biggest Urdu stage Hits of the 20s. As Sohrab was growing up, his personality kept developing. His personality suited the role of a king. His two plays ‘Khoon Ka Khoon’ and ‘Saed-E-havas’ added flying colors to his acting.

In 1931 Hindi movie ‘Alam Ara’ was released with sound. On one side ‘Alam Ara’ was a big leap for Hindi cinema. But on other hand introducing of sound in movies created very big crack in theatre business. People started getting interested in watching movies than watching theatre plays. To save theatre art, Modi brothers set up the Stage Film Company in 1935. From this year Sohrab Modi never looked back in acting career.

Sohrab modi talents soon reached the ears of ‘Dadasaheb Phalke’ ears. Though Sohrab Modi had worked in few silent movies before, but Dadasaheb Phalke never appreciated Sohrab Modi’s acting. One day Phalke Saab personally went to see Sohrab’s play ‘Alexander the great’.

Sohrab Modi is remembered fondly by the film buffs for his towering personality, solid voice and his forceful dialogue delivery. Actually, Modi was much more than that. He was the first and the only film maker who took up Historical subjects to make films that left a long lasting impression on the film goers. He loved to do the roles of Historical persons ( actual or mythical) and deliver long dialogues in his resonant voice, clear diction and superb voice modulation.

Sohrab Modi developed these qualities from his stage acting days. In his growing up age at Rampur, he had spent hours in the library of the local Nawab, where his father worked as a Superintendent. This gave him a command on Urdu language. Added to this was his brother Rustom’s drama company ” The Arya Subodh Natak Mandali” in which he acted. In 1935, the brothers set up the ” Stage Films ” to film the two dramas, namely Hamlet aka Khoon ka khoon-35 and Sayeed E Hawas-36, based on Shakespeare’s play King John, as movies. However, these movies did not do too well, as the audience had seen them on stage several times. But this failure didn’t stop Sohrab Modi in acting. Taking a clue from this, Modi decided to start a new company, Minerva Movietone to produce independent films on different stories of merit.

Minerva Movietone was started by Sohrab and brother Rustom Modi in 1936, when they realised that the stage dramas, filmed as Feature films did not get the public approval. Logo of his banner was the Lion. Does this personally symbolize Sohrab Modi personality? Production from Stage films- their first film production enterprise- was suspended till Minerva became successful. ” Aatma Tarang-37″ was the new company’s first film. C. Ramchandra was the Harmonium accompanist for M.D. Habib Khan and Bundu Khan. He also did a small role in Aatma Tarang and earlier Saeed E Havas-36. Minerva’s first film proved to be a let down.

Sohrab found that there were hardly 20 to 30 persons in the audience on the very First show. The film was based on the power of ‘ Bramhacharya’ (Celibacy). In those days, Sohrab was greatly influenced by the teachings of Ramkrishna Mission. Seeing the poor response, he was upset. Thoughts of quitting the film production line were crowding in his mind. Suddenly, he saw four men coming towards him. They came, confirmed that he was Sohrab modi and told him that his film was very good. They further advised him to keep making such good films and one day he will be on Top. Later on he learnt that these gentlemen were the Judges of Bombay High Court.

This gave lot of motivation to Modi. As such he was sure of his success in films, but now he learnt that he must make films on subjects of interest of the public and not his own philosophy, if he wants to succeed commercially. His second film was Khan Bahadur-37, based on the bravery and generosity of a Muslim king who became famous for his bravery. The English rulers gave him the title of Khan Bahadur. The film did a reasonable business.

This incident infused him with new hopes and enthusiasm. This changed his life. Initially he focused on making films on social evils like Drinking (Meetha Zehar-38), Husband-wife separation ( Divorce-38) and Incest ( Bharosa-40 ). Enthused with this experience, he made successful films and took his company to the Top. Renowned for big budget historical films, Minerva benefited from Modi family’s distribution interests in Gwalior, expanded by his third brother Keki Modi into western India. At one time he controlled a chain of 27 theatres in 10 cities. In 1952, they established India’s first Technicolour Laboratory.

As far as the title of the film is concerned, I was wondering as to what it meant. After a search on internet, this is what it means. Khan Bahadur – a compound of khan (leader) and Bahadur (Brave) – was a formal title of respect and honour, which was conferred exclusively on Muslim and other non-Hindu subjects of the British Indian Empire. It was a title one degree higher than the title of Khan Sahib.

The title was conferred along with a medal and a citation (or sanad) and the recipient was entitled to prefix the title to his name. The title was conferred on behalf of the British Indian Government by the Viceroy and Governor-General of India.
The title “Khan Bahadur” was originally conferred by the Mughal Empire on Muslim subjects in recognition of public services rendered and was adopted by the British Indian Empire for the same purpose and extended to cover other non-Hindu subjects of the Indian Empire. Hindu subjects of the British Indian Empire were conferred the title of “Rai Bahadur”.

The MD’s name is B S Hoogan. Frankly, how many of us have really heard this name ? May be, only a few. Till about 8 years ago, even I was not aware of this name. When I first came across this name B.S.Hoogan, in the list of Hindi composers,my first reaction was,what is this foreigner doing in Hindi Films ?

Further when I saw his name as MD in 10-15 films of the 30s, I became very curious and wanted to know more about him.As per my experience so far,I usually got information for any -or almost any-Film personality from my notes,Old cuttings,books,magazines,old articles etc ,or even from an obscure,less known Internet site,but in Hoogan’s case I always found myself at a dead end. There was simply NO information about him anywhere ! It was as if no one in India knew about him or as if he was from some alien planet.

I was perplexed.How can anybody from Film industry,with so many films to his credit,be such an unknown person ? This was a challenge and I decided ,come what may,to find out about this elusive,dodging and unreachable B.S.Hoogan,at any cost.

Almost one year passed and I found a ray of Hope.

I visited the Blog of Mr.Kamalakar Pasupuleti ji. He is a writer on old films, music and an avid collector of old songs,besides having been an active RMIM worker.He is also a mine of information. Incidentally,he too is from Hyderabad-just like me,and being in the same age group,we enjoy discussing matters relating to people and places in old Hyderabad of the 40s and 50s,when we were youngsters.Later on, he migrated to USA.

On his Blog, he had written about Hoogan. He had located the nephew of Hoogan, in India and contacted him.He got some information from him about Hoogan. Although the info was not exhaustive, it was a great find. Plus Kamalakarji himself had also written about Hoogan,from his interaction with people who had met Hoogan in Hyderabad. I wrote to kamalakar ji in USA and he very graciously gave me permission to use all that material for this article.

At this juncture, my luck suddenly decided to cooperate and I found some info about Hoogan in a book.I even found out that the same nephew of Hoogan had uploaded 4 songs of Hoogan,(2 from Parakh-37 and 2 from Meetha Zahar-38) on Hamara Forum.
B.S.Hoogan was not a foreigner,he was very much an Indian.His name was BALWANT SINGH HOOGAN. He was tall,wheat comlexioned and of medium build. He was born in 1901 at Firozpur, Punjab, where his family was settled. He was a Kashmiri Brahmin. According to C.Ramchandra also,he was originally from Kashmir.

Before becoming a music director he seems to have learnt classical music and western music.He played many western instruments.
In the days of silent films,orchestras used to play in the Theatres ,in front of or behind the screen.During the film also they played appropriate music pieces.It would add live pleasure with moving images. Hoogan learnt giving this music and conducting orchestra from his teacher,Mr.Victor Aimes,an Englishman,from the Albert Music Company. He learnt writing music in notations and conducting orchestra with a baton. He played his orchestra of 12 musicians.

Hoogan looked impressive with a Black Tailcoat,Bow-Tie and Grey Trousers,as described by a Hyderabad Nawab,who had been personally introduced to Hoogan in Hyderabad in 1930.

B.S.Hoogan started his career as MD with Ajanta Cinetone of Mohan Bhavnani.He gave music to Afzal,Maya jaal,Rangeela Rajput(all 1933)Dard e dil,Dukhtar e Hind,Mazdoor,Sair e Paristan,Vasavdatta(all1934),Pyar ki maar,Registan ki Rani,Sone ka shahar,sherdil Aurat(all 1935), Begunah,khan Bahadur,Parakh(all1937),Meetha Zahar,Vijay marg(all 1938) and Sansar Sagar-1939.

Total films-18. Songs composed- 231.

Music Director C.Ramchandra, in his Marathi autobiography ( माझ्या जीवनाची सरगम ), wrote about Hoogan. When CR was working in Minerva, Hoogan joined the company, in place of Habib Khan, the composer. He showed CR how the Desi Raag can be played on foreign musical instruments. He brought in many Goan orchestra players into the company. CR knew writing notations, Hoogan improved this. Hoogan liked CR very much. Hoogan would take CR with him to all big hotels of Bombay. Orchestras would be playing there. CR learned how those tunes could be indianised in his music here only.

Hoogan would make tunes and ask CR to write the notations. CR would hum those tunes and then improve the tunes. Hoogan would not know. Thus many of his tunes were used by Hoogan without knowing it. In the film Meetha Zahar-1938, Naushad was Hoogan’s assistant. Actors like Nissar, Bibbo, Sheila and Naseem Bano sang for him.

B.S.Hoogan died in Ferozpore in September 1938, at the age of 37 only.

Today’s song is a duet by Prem Adib and Naseem Banu. Incidentally, they were the cutest and most beautiful couple on screen in those days. Prem Adib was a Kashmiri Bramhin and Naseem had earned a title “Pari Chehra” (face of a Fairy) and truly so. However, both were singers by force. They were not singers but made to sing. Actually, that time Hero and Heroines had to sing their own songs ( exception- Jairaj. That was because everyone, including the MD and directors dreaded his terrible singing. He was probably the only Hero from the 30s and 40s, who never ever sang own songs !).

Prem Adib sang 26 songs in 9 films, from Industrial India-38 to Police-44. None of his songs became popular. Thank God, he was not asked to sing a song in the role of Shri Ram. Probably Prakash pictures were well aware that making him sing in Bharat Milap-42 or Ram Rajya-43 would surely kill the film ! Naseem was more dangerous than him in this matter. She actually sang 39 songs in 13 films – from Vaasanti-38 to Mulaqat-47. Luckily for her, one song – just only one song – from film Pukar-39 ( zindgi ka saaz bhi kya saaz hai, baj raha hai aur be aawaaz hai), sung by her had become popular in those days. However, for this song, in my opinion, the MD- Meer Saheb should get the credit for its tune.

The famous composer Naushad is on record for saying that he always rued that as a MD, he had to make non-singers to sing his songs…till full time playback singers like Rafi and Lata became available.

Anyway, today’s song- the duet- is reasonably good in tune and rendition. With this song, film Khan Bahadur-37 makes its Debut on this Blog.


Song- Pyaari pyaari aaj ulfat ki duniya nazar aave (Khan Bahadur)(1937) Singers- Prem Adib,Naseem Bano, MD- B S Hoogan
Both

Lyrics

pyaari pyaari aaj ulfat ki duniya nazar aave
man kare kaisa suhaave
pyaari pyaari aaj ulfat ki duniya nazar aave
man kare kaisa suhaave

Prem pawan se jiya lahraave
prem pawan se jiya lahraave
sudh budh man se sab bisraawe
sudh budh man se sab bisraawe

pyaari pyaari aaj ulfat ki duniya nazar aave
man kare kaisa suhaave

?man ??
har waqt se ban saj kar kaisa bhaawe
har baat se
har baat se
ban saj kar kaisa bhaawe

jaane ulfat phool khilaawe
jaane ulfat phool khilaawe
bhanwra khush khush geet sunaawe
bhanwra khush khush geet sunaawe

pyaari pyaari aaj ulfat ki duniya nazar aave
man kare kaisa suhaave
pyaari pyaari aaj ulfat ki duniya nazar aave
man kare kaisa suhaave
pyaari pyaari aaj ulfat ki duniya nazar aave
man kare kaisa suhaave

mast banaawe
jiyara lubhaave
ban ban phool na barsaawe
mast banaawe
jiyara lubhaave
ban ban phool na barsaawe
pyaar ki batiyaan
sab din ratiyaan
kaliyan ko apnaawe
pyaar ki batiyaan
sab din ratiyaan
kaliyan ko apnaawe

ae ae
preet ke ye sab khel hain nyaare
preet ke ye sab khel hain nyaare
nain samaaye
man ko lubhaaye
preet ki duniya basaaye
aa aa aa

nain samaawe
man ko lubhaawe
preet ki duniya basaaye
pyaari pyaari
aaj ulfat ki nazar aawe
man kare kaisa suhaawe
pyaari pyaari aa aa


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 : 3867 Post No. : 14884

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Blog 10-Year Challenge (2009-19) – Song No. 6
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When Atul ji introduced a new series, ‘Blog 10-Year Challenge (2009-19) on February 2, 2019 with a song intaha ho gayi intzaar ki, I was a bit skeptical about the availability of the songs for the series on a sustainable basis. After all, 10 year was a long period. I felt that most of the films for which the first song appeared 10 years back may have been already ‘yippied’. Also in respect of songs from the films released in the 1930s and 40s, most of the remaining songs of such films may not be available on-line. Nonetheless, the advantage of the new series is that the films and songs which have inadvertently gone out of our attention for a long time would come into our focus once again on a regular basis.

I had a quick browse through the songs covered in the Blog since its inception i.e., July 19, 2008 till March 31, 2009 with random checks for the rest of the months in 2009. The results gave me some hope that the captioned series can have songs for posting at least some days of the months. The reason is that during the early years of the Blog, most of the songs covered pertained to the films released in 1960s and 70s. There are some films of these years for which songs are available for posting in the Blog

I found that during July 19, 2008 to December 31, 2008, an overwhelming number of songs covered were of the films released in the 1960s and 70s with few songs from the 1950s and 1980s. However, the representation of songs from the films released in the 1930s and 40s were negligible. For instance, out of 475 songs covered during the period under reference, only 5 songs pertained to the films released in the 1940s – that too the late 1940s. Not a single songs of films released in the 1930s were covered during the period under reference.

These trends were, however, on the expected lines for two reasons. First, Atul ji, considering his age profile at the time of starting of the Blog, has virtually grown up in the midst of popular songs of the films of 1960s and 70s. Obviously, as a ‘start-up venture’ of his Blog, he would have been influenced by such songs. Secondly, and most importantly, even if he intended to cover the songs of the 1930s and 40s, I doubt whether these songs were available in good numbers on the video sharing platforms in 2008. Youtube was set up in 2005 as a video sharing platform. A random browsing of videos on YT gives me an impression that videos of Hindi film songs were uploaded in good numbers only from 2007 onward and the videos of old film songs (1930s and 40s) were getting uploaded mainly from 2009 onward. This trend has reflected in the Blog also. I have noted some of the popular singers of the 1930s and 40s who made debut in the Blog in 2009:

Singer Date of Debut on the Blog Song
K L Saigal 16/02/2009 Baalam aaye baso more mann mein
Zohrabai Ambalewaali 26/02/2009 Akhiyaan mila ke jiyaa bharmaa ke
Khursheed Bano 04/03/2009 morey baalpan ke saathi
Ameerbai Karnataki 08/04/2009 Gore gore o banke chhore
G M Durrani 25/04/2009 laara lappa laara lappa laai rakhdaa
Rajkumari Dubey 31/05/2009 Rasm e ulfat kisi soorat se
Kanan Devi 09/06/2009 duniya ye duniya toofaan mail
Pankaj Mullick 07/11/2009 Guzar gaya wo zamaaana kaisa kaisa

The songs covered in the Blog during the month of February 2009 continued to be on the expected lines. i.e., from the films released during 1960s and 70s. However, some significant additions were made during the month. On February 16, 2009, K L Saigal made a debut on the Blog with the song as mentioned in the table. With this song, for the first time since the inception of the Blog, a song from the film released in the 1930s – ‘Devdas’ (1935) also made the debut on the Blog. Thereafter, during the rest of the month with some spill-over to the succeeding month, one song of K L Saigal was covered almost on a daily basis for the next few days.

10 years ago on this date (Febraury 18, 2009), the Blog had covered 6 songs from films ‘Suraj’ (1966), ‘Hamraahi’ (1963), ‘Anaadi’ (1959), ‘Sangam’ (1964), ‘Sweekar Kiya Maine’ (1983) and ‘President’ (1937). Of these, the first four listed films have already been ‘yippied’. 3 songs of ‘Sweekar Kiya Maine’ (1983) are yet to be covered. In regard to ‘President’ (1937), 4 songs out of 7 songs have been covered in the Blog. One song ‘door bahut door phir bhi tum itne nahin door’ is a short song of about 40 seconds. Of the remaining two songs, ‘Maya rani ki nagri hai’ is not available on line to the best of my efforts. So that leaves only one song, which I intend to present today in this series.

‘President’ aka ‘Badi Bahen’ (1937) was produced under the banner of New Theatres (NT) and was directed by the Cinematographer and screen-play writer, Nitin Bose. The star cast included K L Saigal, Leela Desai, Kamlesh Kumari, Jagdish Sethi, Nawab Kashmiri, Bikram Kapoor, Dev Bala, Bikram Nahar etc. Probably, it was NT’s first attempt to make a film on the subject of industrialisation and the conflict between the management and the workers.

The gist of the story of the film based on the publicity material (song book) is as under:

A young Prabhavati (Kamlesh Kumari) becomes the President of the Prabhavati Cotton Mill Ltd due to the sudden and untimely death of her father. She is known to be strict disciplinarian with good workers rewarded and inefficient workers punished. With her hard work, she converts a small and modest organisation to a bigger establishment.

One day, Prakash (K L Saigal), an ordinary worker in the organisation points out to the President the faults in a machine which if not corrected can be dangerous to the workers. He takes liberty in advising the President that the machine designed by him takes care of faulty design. This is not liked by the President and Prakash is dismissed from the service.

Prakash needs to get some employment to take care of his widowed sister (Dev Bala) and her son. During one of his searches for employment, Prakash takes some rest near the Girls’ Hostel where he accidentally meets a beautiful girl, Sheila (Leela Desai) who is none other than the younger sister of Prabhavati, the President of the Mill. Both of them like each other.

In the meanwhile, a worker who has been employed in place of Prakash meets with an accident due to faulty machine. For the first time, Prabhavati, the President was thinking about Prakash and was wondering whether she had dismissed him wrongly. Dr Sethi (Jagdish Sethi), a friend, who secretly has a tender feeling for Prabhavati, advises her to approach Prakash for re-instatement. The President visits Prakash and appoints him as a Head of the Design Department.

Slowly, a love triangle is developing around Prakash. Sheila is already in love with Prakash and Prabhavati also develops a soft corner for Prakash. The sisters are unaware of this developments. What will be the outcome of the love triangle? The synopsis of the story ends as usual with suspense.

On the basis of the some snippets of the film available on-line and some guess work on my part, Sheila comes to know that Prabhavati also loves Prakash. Sheila respects her elder sister who has taken care not only of her but also of the Cotton Mill. Sheila’s attitude towards Prakash changes which he is not able to understand. He gets frustrated and this affects his relationship with co-workers. I have seen a film’s snippet in which the agitated workers revolts against Prakash and the work in the Mill has been affected. Prabhavati gets to know as to what is troubling Prakash. Probably, when she comes to know of the love triangle, Prabhavati locks herself in her office and collapses. Obviously, Prabhavati sacrifices her love in favour of her younger sister, Sheila.

Nitin Bose (26/04/1897 – 14/04/1986), the director of the film has been associated with NT since its inception in February 1931 as Chief Technical Adviser and the Head of Camera Department. His younger brother, Mukul Bose too joined NT as the Chief of Sound Recordings and was principally involved in introducing the playback singing system in both the Bengali and Hindi versions of ‘Bhagya Chakra/Dhoop Chaaon’ (1935). The box office successes of his directorial ventures like ‘Chandidas’ (1934), ‘Dhhop Chhaaon’ (1935), ‘President’ (1937), ‘Dhartimata’ (1938), ‘Dushman’ (1939) – all under NT banner made him one of the top directors of Hindi films.

Nitin Bose’s innings with NT ended when he had differences with B N Sircar, the boss of NT while shooting for ‘Kashinath’ (1943). He completed the film but did not return to NT thereafter but shifted Bombay (Mumbai). ‘Mujrim’ (1944) was his first film in Mumbai which he produced jointly with Vishnu Cinetone and directed it. The film did not fare well at the box office. Thereafter, he directed Filmistan’s ‘Mazdoor’ (1945), Bombay Talkies’s ‘ Milan’ (1946) in which he worked with Dilip Kumar for the first time. Some of the well known films which he directed included ‘Mashaal’ (1950). ‘Deedar’ (1951), ‘Waaris’ (1954) ‘Ganga-Jamuna’ (1961), ‘Nartaki’ (1963), ‘Dooj Ka Chaand’ (1964), ‘Hum Kahaan Jaa Rahen Hain’ (1966). ‘Saamanta’ (1972) was his last Hindi film as a director. In all, Nitin Bose directed 27 Hindi films between 1934 and 1972.

Although Nitin Bose spent nearly 3 decades in Mumbai as against about a decade in Calcutta (Kolkata), I personally feel that he received a much greater appreciation of his work as a Cinematographer, Writer and Director for films in NT than in Mumbai. The reason could be that in NT, directors had full freedom. If I go by what is stated in Kidar Sharma’s autobiography, B N Sircar did not interfere in the making of the film. As against this, ‘Ganga Jamuna’ (1961), which was one of his most successful films in Mumbai both in terms of critics’ reviews and the box office collections, it is alleged that Dilip Kumar, the producer of the film interfered in the direction of Nitin Bose. In his autobiography, Diip Kumar acknowledged that it was Nitin Bose in ‘Milan’ (1946) who thought him that emotions can be expressed by silence. Later, his style of dialogue delivery with pauses in between became his trade mark style.

Khwaja Ahmed Abbas, in his article, ‘Three Great Directors of India’ which appeared in June 1940 issue of ‘Filmindia’, had rated P C Barua, V Shantaram and Nitin Bose in that order as the greatest directors. Let us read below as to what K A Abbas had said about Nitin Bose and how effectively he used camera angles in ‘President’ (1937).

Nitin Bose is essentially a cameraman and his interest in a photo play is primarily pictorial. He also possesses a strong sense of drama and he can construct a vigorous scenario out of the slenderest story material. He rarely touches stories from well known classics and novels. He picks up an idea and a detailed script is written by him or some one else under his supervision. To him, the story of the author or the plot situations of the story is of no value unless they can be effectively expressed in photographic sense.

In the film ‘President’ (1937), the crazy camera angles in the opening scene create suspense. A meeting of the Board of Directors of the Mills is to start at 9.30 a.m. to be presided over by the President (who is the President?). The camera hitherto focused on the clock is suddenly swung to the door which opens and a woman (Kamlesh Kumari) walks in. If the director had tried any other way to shoot this scene, the realism would have been lost. But Nitin Bose, with the magic of his camera, makes the scene intensely dramatic. Towards the end of the film, in a climax situation wherein Kamlesh Kumari confines herself in a empty room (when she comes to know that her sister, Sheila is also in love with Prakash). In this situation, Nitin Bose created a terrific suspense by giving some crazy camera angles in quick succession of the empty room.

Nitin Bose received Dadasaheb Phalke Award in 1977 for his outstanding contributions to the film industry. Seven years later, his nephew, Satyajit Ray received the same award in 1984. It is said that during the making of Bombay Talkies’ ‘Mashaal’ (1950) and its Bengali version ‘Samar’ (1950) which were directed by Nitin Bose, Satyajit Ray was present on the sets assisting Nitin Bose (Source: ‘Satyajit’s Sansar’ by Partha Chatterjee). However, he had not been officially accredited in these films.

I now present the song ‘Chandramukhi ki shaadi ke gagan ne deep jalaaye’ from ‘President’ (1937). I have made the video out of mp3 clip of the song. It is basically a chorus song. The lyricist of the song is unattributed. There were two music directors for the film – R C Boral and Pankaj Mullick. This song is composed by Pankaj Mullick.

I liked this song for the interlude orchestrations. Probably, such orchestrations which sound like a symphony in Western classical music, have been used for the first time in Hindi film music. I will not be surprised if Francisco Casanovas, the Spanish musician who used to play western musical instruments and conduct the musical band in the Grand Hotel, Calcutta those days, had assisted Pankaj Mullick in the composition of interlude orchestrations. My guess is based on a non-filmy song, praan chaahe nain na chahe composed and sung by Pankaj Mullick around the same time for which Francisco Casanovas has been accredited for the orchestration of the song.

Enjoy this choir like song with unique orchestration.

Audio Clip:

Song-Chandramukhi ki shaadi mein (President)(1937)Singers- Unknown female voice-1, Unknown female voice-2, MD-Pankaj Mullick
Chorus

Lyrics

chandarmukhi ki shaadi mein
gagan ne deep jalaaye
charankamal waale mukh ki hansi
shaadi dikhti(?) jaaye
charankamal waale mukh ki hansi
shaadhi dikhti(?) jaaye”

kaali aaj (??) ban mein saji
bin phoolon ki maala pade
kaali aaj (??) ban mein saji
bin phoolon ki maala pade
basant ritu mein kahat chale
khilat phool sunhare
basant ritu mein kahat chale
khilat phool sunhare
jahaan jharnon ke chhalchhal kal par
jal pariyaan naachen gaayen
jahaan jharnon ke chhalchhal kal par
jal pariyaan naachen gaayen
jal pariyaan naachen gaayen

phool wahaan se laayen
tanik door sajaayen
phool wahaan se laayen
tanik door sajaayen
taaron ki duniya se
hum phool chun ke laayen
taaron ki duniya se
hum phool chun ke laayen
tan k?? komal haathhon mein
un phool ko chadhaayen
chandarmukhi ki shaadi mein
gagan ne deep jalaaye
charankamal waale mukh ki hansi
??nikhri jaaye

aaj nayi ek baat suno
mann naache
aaj nayi ek baat suno
mann naache
raja rani to ek singhaasan baithenge kaise
raja rani to ek singhaasan baithenge kaise

sinhaasan par raani
charnon mein raja baithe


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 :

3866 Post No. : 14883 Movie Count :

4071

Today’s song is an extremely rare song, to be presented here today. It is from film Shaadi ka Maamla-1937. It was produced by the ‘One Film’ banner of Lalitkaladarsh Movietone, Bombay and it was directed by Bhargavram Vithal aka Mama Varerkar- a heavyweight name in Marathi Literature. The song was written in Hindi by Pt. Dwijendra Sharma. We are unaware of who was the Music Director, but Cinestaan claims that Pt. Badriprasad Manik was the MD, though HFGK is silent on this issue. This rare song is sung by Bapurao Pendharkar, who was an actor, singer and producer on Marathi stage, in the early 1900’s.

Drama and stage work has a tradition of more than 150 years in Maharashtra. The stage gave many Gems in Music and Acting to Maharashtra. Natyageet from the sangeet Nataks became extremely popular. There is hardly any classical singer, in Maharashtra, who did not sing Natyageet. When the Talkie films started, the stage and dramas provided the biggest contribution to its Music. Almost all Music Directors of early cinema-Marathi or Gujarati- came with a history of working on stage. Govindrao Tembe, Master krishnarao Phulambrikar, Shankarrao Vyas, Keshavrao Bhole, B R Devdhar, Dada Chandekar, Mainkar, Sureshbabu Mane etc came to films from stage only.

There used to be Drama companies or Natya Mandalis, like Gandharva Sangeet mandali (of Balgandharva), Kirloskar Natak mandali (of Annasaheb Kirloskar), Balwant Natak mandali (of Master Dinanath Mangeshkar), Lalit kaladarsh ( of Keshavrao Bhosle) etc etc.

Initially, many film makers in the silent and early talkie looked upon the cinema as an extension of the stage or merely a different form of packaging the same basic product. This was clear when Sohrab Modi made his Talkie film ” Hamlet’-35 by shooting the actual drama on stage or film ” Indrasabha”-32 with 69 songs just like a drama. However, film makers like Baburao Painter understood the underlying difference in these two media and evolved a new Grammar for films. This was promptly followed by V.Shantaram, Master Vinayak and all others.

Among the Marathi Literary Giants, the first to get attracted to the new medium was B.V.aka Mama Varerkar. He formed a film company, ‘Deccan Picture corporation’, along with P.Teligiri to produce a silent film ” Poona Raided-1924″. He was disillusioned with the failure of the film and withdrew from films. After 12 years, he formed another company, with Bapurao Pendharkar- Lalit kaladarsh movietone and made, wrote and directed ‘ Vijayachi Lagne-36’ in Marathi and ‘ Shadi ka Mamla-37’ in Hindi. Other giants like M G Rangnekar, V S Khandekar, Acharya Atre and P L Deshpande also joined film making.

B V aka Mama Varerkar, director of film Shadi ka mamla-37, was born on 27-4-1883, at Chiplun in Ratnagiri district. His early education took place in Ratnagiri and he joined a medical course at the Civil Hospital. Here he met Dr. Kirtikar, who was a writer and had a big private library. Varerkar got interested in Literature, read lot many Marathi and Bangali books. Finally he left medical course and did a job in postal department from 1899 to 1919. He wrote several dramas, stories etc. His first drama ‘ Kunjvihari’ was staged in Bombay on 14-4-1908. The drama had Vishnupant Pagnis as a Gujarati Radha and sang Gujarati songs. The Gujarati people of Bombay crowded his shows in hundreds and Varerkar became famous. His next famous drama ‘ Haach mulacha Baap’ came on stage in 1916. Then there was no looking back. In all, he wrote 37 dramas, 6 dramalets,and 14 one act plays. He wrote from 1914 to 1960 continuously. He was awarded Padma Bhooshan, paid Rs. 1 lakh per year and also sent to Rajya Sabha as an M.P.. Mama Varerkar died in Delhi on 23-9-1964.

He wrote film stories, screenplays, dialogues and directed films in Marathi and Hindi. His Filmography is Poona raided,silent film-1924, Gori Bala-silent,-1930, Thaksen Rajputra in Marathi and Bhedi Rajkumar in Hindi,Talkie-1934, Vilasi Eshwar in Marathi and Nigahe Nafrat in Hindi-1935( debut film of Shobhana Samarth), Vijayachi lagne-36 in Marathi and Shadi ka Mamla-37 in Hindi, Savangadi in Marathi and Saathi in Hindi-38 ( Durga Khote and Mubarak produced it), Geeta in Marathi and Hindi-40 ( Chandramohan did the Hero’s role in Marathi also,speaking flawless Marathi) and Karasthan in Marathi-47.

Today’s film, Shadi ka mamla-37 was produced by Lalit Kaladarsh Movietone and was directed by Mama Varerkar. The film cast was Bapurao Pendharkar, Hansa Wadkar, Kesar Wadkar, Nalini Nagpurkar, Master Chhotu, Dajiba Parab, Antoba Kulkarni and others. Bapurao Pendharkar was a very popular actor singer on Marathi stage. He was owner of the famous drama company ‘ Lalit Kaladarsh ‘, which completed its Centenary in 2007-8 and is still owned by his family, remaining as a premier,respected drama company of repute in Maharashtra. The company at one time hired full special train to move from one city to other, with all its staff and props.

Bapurao Pendharkar ( Vyankatesh Balwant Pendharkar) was born on 10th December 1892 at Jamkhindi, a princely state in Karnataka.( This was the First princely state to join Independent India, on a call by Sardar Patel. Its only demand was to make it a District place !). he got his education in Poona. In 1915, while studying from his Matriculation, he left studies and joined ” Lalit Kaladarsh “- a drama company of repute, owned by keshvrao Bhosle.

Bapurao had no good looks, no height and no proper voice, but Bhosale took lot of efforts on him and made him a fine actor singer. From 1915 to 1920, Bapurao did only female roles on stage. Starting from Sharda, he did Bhamini, Manjiri, Kishori, Vasant sena and many other famous Heroines in marathi dramas in those days. Bapurao also played Organ on stage. In 1920 he became a Gandaband shagird of Ramkrishnabuwa Vaze, a big name in vocal music.

On 4th October 1921, Keshavrao Bhosale died and Bapurao became the owner of Lalit Kaladarsh. The company staged all dramas of Mama Varerkar and its name became famous.

His first natyageet record came out in 1922, through Rose and co. in Bombay. Upto 1936, his 70 records ( 140 songs) came on HMV (Red and Black labels), Zonofone (Green0, and The Twin (Yellow). In 1974 one LP having his 12 songs came out and in 1996, Audio tapes of his more songs were marketed. Many collectors have his songs. Even today’s rare song has been obtained from a collector. Keshavrao Bhole liked his singing very much and appreciated him in his writings and autobiography too.

In 1936, Bapurao, along with Mama Varerkar launched his film company-Lalit Kaladarsh Movietone and made two films. Vijayachi lagne in Marathi in 1936 and Shadi ka Mamla in Hindi in 1937. The film did not become much famous, but his songs became a rage in those days. Only 4 songs from his only Hindi film are available and they are collector’s delights. In 1926 he recorded a Bhavgeet ” Rajhans maza nijla” a popular song by Govindagraj aka Ram Ganesh Gadkari. Thus Bapurao became the First Bhavgeet singer of Maharashtra. Silver jubilee of Lalit Kaladarsh was celebrated in 1933 and Bapurao recieved many awards.

Bapurao Pendharkar died on 15th March 1937, at Gwalior. His illustrious son -actor and singer Bhalchandra Pendharkar took over the company at the age of 16 years. He did a superb job and took the company to greater heights in times to come.

The Heroine of this film-Shadi ka Mamla-37 was just about 14 year old girl, Hansa Wadkar. She was born Ratan Bhalachander Salgaokar, on 24 January 1923 at Dr. Bhalerao Hospital in Bombay, Maharashtra, India. Her father, Bhalchander Salgaokar, was the son and grandson of “kalavantins, courtesans renowned for their musical accomplishments”. Her mother, Saraswati, was the daughter of a Devdasi. Wadkar was the third of four children. The oldest sister and youngest brother died, leaving a second child, her brother Mohan and her. In her autobiography Wadkar mentions that her great grandmother, Baybai Salgaokar, called Jiji by the family, was a wealthy courtesan who was the influential figure in the family. Marriage in the courtesan community was a rarity and Wadkar’s grandfather Raghunath Salgaokar (Jiji’s son) was the first person in the family to marry.

Jiji divided the vast property she had and Wadkar’s father was given the house in Sawantwadi. The mother, father, brother and young Wadkar shifted there and she joined a Marathi medium school where she studied till class IV. She also studied vocal music under Bhagwatbuwa but was not interested in singing. The family returned to Bombay and Hansa attended an English medium school for two years at Aryan Education Society School. However, she had to leave school when the family faced financial problems. The father had turned into an alcoholic and there was no money coming in the house. The mother insisted that Mohan being a boy should continue his studies, hence it was left on Wadkar to find work.

The influence of films was present from an early time. Wadkar’s father had three sisters, Kesharbai, Indirabai and Sushilabai. Sushila was married to Master Vinayak, a renowned actor-director of the early era of Indian cinema. The elder sister as well as Indira Wadkar were acting in films and Indira was a classical singer as well. Indira acted in several films including Duniya Kya Hai (Resurrection) (1937) and in Vinayak’s production company “Hans Films” like Devata (1939) in Marathi. Indira used the surname Wadkar to avoid using the family name Salgaokar, for fear of reprisal from society against women acting in films. Her older aunt, Kesharbai, was working in a film made by M.G. Rangnekar and suggested that Wadkar work in films to sustain her family.

In 1936, Wadkar acted in her first role as a heroine in Bapubhai Pendharkar’s Vijayche Lagane. A bilingual, made in Marathi and Hindi (Shadi Ka Maamla), it was directed by Mama Warerkar. The film was produced by Pendharkar’s Lalit Kala Production, its “first and last” film, as Pendharkar died soon after. When her brother objected to the family name being used in films, her name was changed from Ratan to Hansa, and the surname Wadkar was borrowed from her actress aunt, Indira Wadkar. Her salary at that time was Rs. 250 per month. The film was a success at the box-office.

Wadkar worked in a few films after this for different companies, which remained incomplete. She then joined Golden Eagle Movietone and learned Hindi from a Hindi scholar appointed for her by the company. She became proficient in the language, working in several Hindi films at the time like Meena, Prem Patra, Zamana, and Raj Kumar with Chetan Anand.

Marrying in 1937, she had to return to films once again due to shortage of money. She acted in two stunt films of Bhagwan Palav, having joined Harishchandrarao’s company. The films were Bahadur Kisan, and Criminal which was released in 1939. In 1938, she was cast in Zamana directed by Ram Daryani, starring Padma Devi who had earlier acted in India cinema’s first indigenous colour film, Kisan Kanya. The other co-stars were Dar (Jeevan) Gulab, Ameena and Amirbai Karnataki.

She worked in films made by Bombay Talkies, Prabhat, National studios and other banners. In all she worked in 27 films. She sang 10 songs in 3 films also.

Jagannath Bandarkar was one of the sons of the neighbour at Sawantwadi. His family was deemed of a “lower caste” than the Wadkars. Being ten years older than Wadkar, her brother and other family members did not approve of her closeness to him. However, her mother would ask her to call him over for lunch or odd jobs. When the Wadkar’s shifted to Bombay, Bandarkar followed. Having failed at setting up a printing press, he started a theatre company called Dominic Union and got Wadkar to join it. When her mother accused her of having an affair with Bandarkar, it made her do what she was thought was an unfair accusation. She writes of assuming this defiant and oppositional attitude later on too, when wrongly accused. Soon she was three months pregnant at age fifteen and Bandarkar and Wadkar were married on 6 September 1937, at Kittebhandari Marriage Hall in Bombay. Though she had “dreamed of a family life”, she had to resume work as Bandarkar’s company was financially unstable. She also had a miscarriage at this time.

Rekha, their daughter was born following the completion of Wadkar’s film Mera Gaon(1942). Over time when her husband physically abused her over some imagined wrong-doing, she would go out and do it. She started drinking and describes one drinking session in her autobiography where she was unconscious of what took place. She found herself in a village where Joshi, one of the men she had been drinking with brought her as his third wife. She stayed virtually imprisoned there for three years, till she was able to smuggle a letter out to her husband. He arrived with the police, and took her to the magistrate’s office in the neighbouring town, where she had to testify. The magistrate sent Bandarkar to get a signature on a paper and then proceeded to rape Wadkar. Since she did not speak out about the incident, no action was taken.

She went on to perform several plays, where she met Rajan Jawale, an actor, with whom she formed a bond that lasted till her death. She maintained a good relationship with all the female workers. Some of them became good friends like Lalita Devulkar.

Hansa Wadkar died on 23 Aug 1971 in Bombay Maharashtra, India.

Have you seen the film ” Bhumika”-77 ? Smita Patil had acted in this film. The film had earned the patronage of both, the Critics and the general public. The film received many awards and accolades. This film was based on the Autobiography of Hansa Wadkar.

Since the days Talkie films started till today,only 2 films were made on the real lives of actresses. One was ” Bhumika’-77 and the other was ” Zubeida-2000″ based on the actual life of actress Zubeida ( jr. ).

Shyam Benegal made a film on her autobiography (Sangte Aika) -Bhumika-1977. Hansa’s role was done by Smita Patil and Bandarkar was Amol Palekar The film was very successful and won many awards.

Now let us listen to this rare song by Bapurao Pendharkar. With this song the film and the singer make their Debut on the Blog.

( My Thanks for information used from
Marathi Cinema in Retrospect-Sanjit Narwekar
Maharashtra-Birthplace of Indian Cinema- Isak Mujawar
Poorvausrinche soor (पूर्वसुरींचे सूर)- Dr. Suresh Chandwankar
lalitkaladarsh.com
bhalchandrapendharkar.com
wikivisually.com
Cinestan
MuVyz
HFGK.
Harish Raghuvanshi ji, Surat and
My notes )


Song-Aavo aavo aavo jee (Shaadi Ka Maamlaa)(1937) Singer- Bapu Pendharkar, Lyrics- Pt. Dwijendra Sharma, MD- Unknown

Lyrics

aavo aavo aavo jee
aavo jee
aavo aavo aavo jee
aavo jee
preetam pyaare more nagar maan (?)
preetam pyaare more nagar maan (?)
aavo aavo aavo jee
aavo jee
aavo aavo aavo jee
aavo jee
preetam pyaaaaare
aa aa aa
preetam pyaare more nagar maan (?)
preetam pyaaaare
aa aa aa
aa aa aa
aa aa aa
aa aa aa
aa aa aa
aa aa aa
aa aa aa
preetam pyaare more nagar maan (?)
preetam pyaaaare
preetam pyaare more nagar maan (?)
aavo aavo aavo jee
aavo jee
aavo aavo
man ki aaas
man ki aas ??
man ki aaaas
aa aa aa aa
aa aa aa
aa aa aa aa aa
aa aa aa
aa aa aa
aa aa aa
aa aa aa
aa aa aa
man ki aas
aa aa aa
man ki aas
aa aa aa
man ki aaaas
man ki aaaas
aa aa aa
aa aa aa aa aa
aa aaa aa aa
aa aa aa
man ki aas ??
aavo aavo aavo jee
aavo jee
aavo jee
aavo jee
aavo aavo aavo jee
aavo jee
preetam pyaare more nagar maa (?)
preetam pyaare
aa aa aa
preetam pyaaaare
preetam pyaare more ??
preetam pyaare more ??
aavo aavo aavo jee
aavo jee
aavo jee
aavo aavo aavo jee
aavo jee
aavo aavo aavo jee
aavo jee
preetam pyaare more ??
aavo aavo aavo jee
aavo jee
aavo aavo aavo jee


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 :

3799 Post No. : 14789 Movie Count :

4044

Today’s song is from a very old film of the early talkie cinema – ‘Khwab Ki Duniya’ (1937) aka ‘Dreamland’.

This was the first film directed by Vijay Bhatt, after he and his brother Shankar Bhatt established Prakash Pictures. In those days, the trend was to make films on mythology, folk tales or social issues. Instead, Prakash Pictures took up a totally new and untried topic like Science Fiction story to make a movie. Film ‘Khwab Ki Duniya’ was based on – or took inspiration from the Hollywood popular film, Universal Studio’s ‘The Invisible Man’ (1933). This film was a cinematic adaptation of the famous novel ‘The Invisible Man’ written by HG Wells in 1897.

Originally, this novel was published serially in the ‘Pearson’s Weekly’ in the early part of 1897. At the end of the year 1897, it was published as a novel and very soon it became a best seller. Translated in almost every language in the world, the novel attracted the film makers of the early era and a film was made in 1933. The film also became a hit and in subsequent years several adaptations and film versions in different languages came up. India too did not lag behind and the adventurous duo of brothers made a film on this story, adapting it to Indian context. Several films in many languages using this as a central theme and adapting the story in various ways, were made in India. Some names I remember off hand are ‘Mr X’ (1957), ‘Mr X’ (1938), ‘Mr X In Bombay’ (1964), ‘Mr X’ (2015), and ‘Mr India’ (1987).

Basic problem was how to show the ‘invisible‘ man. There was no special effect technique available in India till then, like in Hollywood. Vijay Bhatt had an assistant called Babubhai Mistri, who accepted the challenge and using a dim light, a black curtain and a black thread to move articles, he achieved the desired results. This made the film not only a hit and popular one, but also a unique one. Babubhai Mistri, thus, became the father of the trick scenes and special effects in India. In the process Babubhai also earned a moniker of ‘kaala dhaaga‘ (black thread) for rest of his life, in the film industry.

Babubhai Mistri was born on 5th September 1918 in Surat, Gujarat. His father – a building contractor, died suddenly when Babubhai was just 14 year old. Being the eldest he had to take care of his mother and 9 younger siblings. He came to Bombay, where his uncle was working for Krishna Cinetone. With his help, he became an assistant in Bharat Movietone. Starting from making posters and helping in set designing, he learnt from every department of film making.

When he learnt that Prakash Pictures faced a difficulty in special effects he volunteered and made history. Impressed with his skill, Wadia Movietone, famous for fantasy and stunt films, took him in for special effects. During his career, Babubhai not only gave special effects to more than 300 mythological, stunt and fantasy films, but also entered the field of direction. Wadia brothers gave him first opportunity to direct their film ‘Muqabala’ (1942), a Nadia film about twin sisters.

Along with co-director Batuk Bhai i.e. Nanabhai Bhatt, he experimented some new special effects. This film was first in India to use ‘split-screen method’ for double roles, where both sisters could cross each others, shake hands and talk together. Another feature for this film was the night club set, which, in case of a police raid, could be converted into respectable home – on screen for the audience to see. It simply mesmerised the people.

In 1942 Wadia Movietone broke up and Homi Wadia started Basant Pictures. Babubhai directed a film ‘Mauj’ (1943) for him too. He became a free lancer and he directed 48 Hindi films. His last film was ‘Hatim Tai’ (1990). He also directed one Telugu and nine Gujarati films. Many of his assistants became famous as trick masters and special effects experts.

After his retirement he suffered from cancer. His voice box was removed and he had to use an artificial devise for speaking. Tata Cancer Hospital made a film on his courage and will power to overcome cancer, to inspire other cancer patients.

Babubhai won many awards and rewards, for his work in films. He died on 20-12-2010, at the age of 92 years. (Thanks to ‘Beete Huey Din‘ blog for some information used here.)

Film ‘Khwab Ki Duniya’ had a cast of Jayant, Sardar Akhtar, Lallubhai, Umakant, Shirin Bano, Ismail, Jahoor, Madhav Marathe etc. In the early phase of film making, it was difficult to get good looking female actors from educated or respected families for working in films. That is because, it was considered a ‘below the dignity’ job. For silent films, many Anglo Indian and Jew girls became heroines because for them it was not a question of dignity and acting was considered like any other vocation.

Dadasaheb Phalke had described an incident. While making his first film (‘Raja Harishchandra’, 1913), he needed a female actor for Taramati’s role. He found it very difficult to get one. Those days, even in stage plays, the female roles were done by handsome (and sometimes, not so handsome also) males. But even they were not ready. He became desperate and went finally to red light area and talked to some prostitutes. Even they refused to do this ‘lowly’ job. Reluctantly, Dadasaheb settled for Salunke, a male impersonator to do this role.

As the talkie films started, the number of Anglo Indian girls rapidly went down as most of them did not know Hindi nor could they sing. Only a few hard working Anglo Indian girls survived and progressed from silent to talkie films, like Savita Devi (Iris Gasper – who learnt Hindi/Urdu and singing, with efforts), Sulochana (Ruby Myers), Indira Devi (Effie Hippolet), Lalita Devi (Bonnie Bird), Pramila (Esher Abrahams), Seeta Devi (Renee Smith), Madhuri (Beryl Classen), Manorama (Winnie Stewart) etc. Since singing was an important requisite, the field was now open to singing girls from kothas, tawaayafs and professional singers. Reasonably good looks and singing ability was what made them actresses. These girls, who came from kothas and professional singer families used the suffix ‘Bai’ to their names to differentiate their specialty. Thus you had Jaddan Bai, Amirbai, Johrabai, Rattan Bai etc.

Many young singing girls considered cinema as a place where they could get (catch ? ) a good husband from a better family background, earning respectability (forget religion). Many starlets married producers, directors, actors, singers and composers, left acting and settled as respectable housewives. Some girls got husbands from Nawabs and the Royalty, as they were patrons of arts. Many examples from early era can be cited in this connection like,

Gulab Bai alias Kamla Devi married S Fatelal – director in Prabhat Films.

Jaddan Bai married Uttamchand – a medical student and a jaagirdar.

Fatima Bai (mother of Zubeida, of Alam Ara fame) married Nawab of Sachin, Guajarat.

Sultana married Yusuf Laljee, businessman and chief of Bombay Municipal Corporation.

Actress Sarojini (Roshan) married Nanubhai Vakil – producer / director (their daughter was actress Azra).

Actress Indurani (Ishrat) – sister of Sarojini – married Ramniklal Shah – producer / director.

Actress Shirin Bai married Nanabhai Bhatt (their sons are Mahesh Bhatt and Mukesh Bhatt).

Actress Zubeida (of Alam Ara) married Raja Dhanrajgir of Hyderabad (Deccan).

The other actress Zubeida (on whose life, the film ‘Zubeida’ (2001) was made) married Maharaja Hanwant singh of Jodhpur.

etc.

This trend continued in the industry even after things changed and educated and respected family people entered the industry. Now, one could see marriages were taking place between people of film industry itself like Rattanbai and Director Hafiz, Jyoti and Durrani, Nalini Jaywant and Virendra Desai, Noorjahan and Shaukat Hussain Rizvi, Meena Kumari, Sardar Akhtar, Snehprabha Pradhan, Anil Biswas, Lalita Deulkar etc.

In recent era instances are Waheeda Rehman, Kishore Kumar, Asha Bhosle, Hemant Kumar, Manik Verma, Premlata, Geeta Dutt, Geeta Bali, Rishi Kapoor, Rajesh Khanna, Amitabh Bachchan and Abhishek Bachchan etc.

In the cast you find a name Shirin Bano. Yes, she too is one of the above listed artistes who joined films to get a suitable husband and lead a respectable and comfortable life. Shirin, Shirin Bai or Shirin Bano was from a tawaayaf mother from Lucknow. Her father was a Tamil Brahmin – Ram Seshadri Aiyar, who worked as an accountant with Kikubhai Desai (father of Manmohan Desai) in his distribution department. They were 5 sisters and 1 brother. Shirin joined films at an early age. Her first film was ‘Maharani’ (1934). The same year she worked in ‘Vehmi Duniya’, ‘Sewa Sadan’ and ‘Bala Joban’. In 1935 her films were ‘Shamsher e Arab’, ‘Pardesi Sainya’ and ‘Bambai Ki Sethani’. In 1936, she worked in ‘Tope Ka Gola’, ‘Snehlata’, ‘Passing Show’ and ‘Azaad Veer’. ‘Khwab Ki Duniya’, ‘His Highness’ and ‘Challenge’ are her films from 1937, ‘State Express’ and ‘Purnima’ in 1938, and ‘Leather Face’ and ‘Hero No. 1’ from 1939. Total 18 films only.

Her youngest sister Meher Bano also joined films with the name Purnima (she also married a producer / director Bhagwandas Varma). Shirin married producer / director Nanabhai Bhatt, who already had a wife and 9 children. They had 2 sons – Mahesh Bhatt and Mukesh Bhatt.

Very surprisingly, Prakash Pictures themselves brought out another film immediately in the next year i.e. 1938, titled ‘Mr. X’. I do not know if this film was based on the same theme. Today’s song is sung by Shirin Bano and Ranjit Roy. I could not get any information on singer Ranjit Roy, even from my Kolkata contacts. MuVyz says that he sang 23 songs in 10 films, from 1936 to 1946. With this song, the film makes its debut on the blog.

 


Song – Chhaai Aayi Saawan Ki Ghata  (Khwaab Ki Duniya) (1937) Singer – Shirin Bano, Ranjit Roy, Lyrics – Sampatlal Srivastav Anuj, Music – Lallubhai Nayak
Shirin Bano + Ranjit Roy

Lyrics (Provided by Sudhir)

chhaai aayi saawan ki ghata
chhaai aayi saawan ki ghata
baag mein boley papiha
baag mein boley papiha
pee..oo..u ka raag sunaave
pee..oo..u ka raag sunaave
chhaai aayi saawan ki ghata
chhaai aayi saawan ki ghata

mand sameer ki lehren aayin
hey. . .
mand sameer ki lehren aayin
mand sameer ki lehren aayin
hey. . .
mand sameer ki lehren aayin
lehren aayin
gaane lagi chidiya jee ki
gaane lagi chidiya jee ki
baadal se barsat hai paani
baadal se barsat hai paani
sab sarita jal bhar aayin
sab sarita jal bhar aayin

chhaai aayi saawan ki ghata. . .

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

छाई आई सावन की घटा
छाई आई सावन की घटा
बाग में बोले पपीहा
बाग में बोले पपीहा
पी॰॰ऊ॰॰ऊ का राग सुनावे
पी॰॰ऊ॰॰ऊ का राग सुनावे
छाई आई सावन की घाटा
छाई आई सावन की घाटा

मंद समीर की लहरें आयीं
हे॰॰॰
मंद समीर की लहरें आईं
मंद समीर की लहरें आईं
हे॰॰॰
मंद समीर की लहरें आयीं
लहरें आयीं
गाने लगा चिड़िया जी की
गाने लगा चिड़िया जी की
बादल से बरसत है पानी
बादल से बरसत है पानी
सब सरिता जल भर आईं
सब सरिता जल भर आईं

छाई आई सावन की घटा॰ ॰ ॰


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 TWELVE years. This blog has over 15900 song posts by now.

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

Important Announcement

(© 2008 - 2020) 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

15916

Number of movies covered in the blog

Movies with all their songs covered =1221
Total Number of movies covered =4362

Total visits so far

  • 13,830,704 hits

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Historical dates

Blog Start date: 19 july 2008

Active for more than 4000 days.

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