Archive for the ‘Song of 1938’ Category
Ghar apna ye kursee apnee
Posted on: April 4, 2024
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5739 | Post No. : | 18261 |
Today’s song is from a film which is almost 90 years old – 300 Days and after-1938.
1938 was an interesting year in the early life of the Talkie films. The film making studios had firm footing with a studio system and they tried a variety of subjects in their films. In the 88 Hindi films produced in 1938, one finds almost every Genre of film subjects, except perhaps the usual Folk stories and Historical themes. Comedy, Tragedy, Fiction, Jungle stories, Costume, Socials, Musicals, Mythologicals, you name it and you had it. Content and technical expertise had improved as films on famous novels were made.
Well known studios like Imperial, Sagar, New Theatres, Prabhat, Ranjit, Bombay Talkies, Praksh, Vishnu Cinetone, Huns Pictures, Wadia Movietone, Saroj Movietone etc. were very active bringing out 3 to 4 films each. Huns and Prabhat continued bilingual films in Hindi and Marathi, while New Theatres made Hindi and Bangla films. Many new actors debuted. Many new actors matured and the old scrap from silent films slowly disappeared giving way to new entrants. The Imperial film company, which had the honour of making India’s first Hindi Talkie film – Alam Ara in 1931, downed its shutters in 1938. The last remaining Southern language without a talkie, Malayalam, produced its First Talkie film BALAN in 1938. Film Industry celebrated its Silver Jubilee -from 1913 to 1938 and several programmes were held all over India.
Let us take a look at some of the films of 1938….
ABHAGIN – Debut film of actor Chaman Puri (eldest brother of Madan puri and Amrish Puri).
ADHIKAR – Music Director Timir Baran Bhattacharya. After Independence, he was invited to West Pakistan and East Pakistan to give music to their films. Film Adhikar was on the importance of how bringing up makes a person.
BAGHBAAN – Debut film of Ram Avtar.
BAHADUR KISAN – First directorial venture of Master Bhagwan. During this film’s making he developed a lasting friendship with C.Ramchandra, who assisted Meer Sahab, the M.D.
BHABHI – Renuka Devi’s second film and first with Jairaj.
BILLI – Based on P.G.Wodehouse novel ” Damsel in Distress.”
BHAMHACHARI – Debut film of Minakshi Shirodkar. She appeared in a swimming suit, first time in Hindi films. It created a sensation.
DHARATIMATA – Complete film was shot outdoors. Saigal and Pankaj Mullick created havoc with this musical film. The song ” Duniya rang rangeeli baba’ is still popular.
DIVORCE – Minerva’s film on Husband – Wife relations.
DUNIYA KYA HAI – Lalita Pawar’s production. Based on Tolstoy’s ” Resurrection”.
GRAMOPHONE SINGER – Sagar’s musical with Bibbo and Surendra. Zohrabai sings first time for Anil Biswas.
GOPAL KRISHNA – Hit film from Prabhat. Trick scenes were superb.Ram Marathe as Krishna,lifting Govardhan Parvat on a finger produced clapping from audience for several minutes.
HIMALAY KI BETI – Bhavnani production with Enakshi Rama Rau-his wife.
JAILOR – Minerva’s film on a Psycho-Neurotic person. Remade in the 50’s again.
MERA LADKA – Story of an unwed mother. Marathi and Hindi versions from Prabhat.
MR. X – Stunt film with Rattanbai , from Prakash.
NIRMALA – Bombay talkies. Devika rani- Ashok kumar. After this film, the Germans In Bombay talkies, including director Franz Osten were arrested by the British as Nazis and jailed in Igatpuri during the Second World War.
PROF. WAMAN, M.Sc. – Ranjit presents a Sci Fi fiction film about travels into the future.
SAATHI – Durga Khote and Mubarak produced in Hindi and Marathi (as Sawangadi).
STREET SINGER – Saigal’s musical feast from New Theatres.
VASANT BENGALI – Last film from Imperial film co., after 109 Silent films and 52 Talkie films in several languages. Just one year ago, i.e. in 1937 Madon Theatres of Calcutta- once a giant in film production, had closed down with their last film ‘Zinda Laash’.
Today’s film 300 DAYS AND AFTER – 1938 is one film, which I had seen in Hyderabad, may be somewhere in 1949 or 1950 or so, or may be a little later-not very sure.
This film was based on or in today’s language ”inspired” by MGM’s ” A Billionaire’s story” in which Edward Arnold and Mary Nash had acted under the Direction of the legendary Howard Hawks.
This was the first comedy film of Sarvottam Badami, the director.
Badami was born in Bangalore and worked as a Car mechanic ,though he was attracted towards films. He was called to Bombay to organise and help in the sound recording of a Tamil film from Sagar Movietone. Seeing his interest in films and the knowledge of languages, he was offered the chance to complete the direction of a half made Tamil film. He grabbed the opportunity and succeeded. His first few Hindi films were social like Chandrahas, Grihlaxmi and Dr.Madhurika.
“300 days and after” was his first comedy film. When he did a good job of it he got Aap ki Marzi-1939 and Ladies Only-39. After this film Badami left Sagar and started his own Sudama films and went back to social films again.
The film 300 days and after was from Sagar Movietone. The cast of this film was Motilal, Sabita Devi, Miss Bibbo, Yakub, Sankata Prasad(elder brother of character artist Kanhaiyalal), Pesi Patel etc.
Sudhir (Motilal) is a bachelor billionaire, doing nothing and enjoying life to the fullest with wine, women and gambling. As a result, his health starts falling prematurely when he is just 25-26 yrs only.
One day he falls down and a Doctor is called. After many tests and inspection of everything his family doctor tells him that because of his wayward living and uncontrolled lifestyle he is suffering from many ailments. If he treats them now, he may get all those again and again. The only remedy is Sudhir should do hard manual work, exercises and lead a simple living, which, the doctor says, Sudhir will never be able to do.
Sudhir is angry. He challenges the doctor that he will leave all his wealth, go out in the world, do physical work and earn money for himself. The doctor takes a bet with him and the deal is Sudhir should go out for 300 days without using a single paisa from his existing wealth for himself. Sudhir is ready for this.
Next day Sudhir goes out with few ordinary clothes, little money and a strong will to face the big bad world.
The film is full of funny situations when Motilal gets different jobs and does not know how to do them. First he tries to work as a Vegetable vendor, but he does not know the names of any vegetables.
He even takes some fruits as vegetables to sell. Next he tries to work as an assistant in a Barber shop, where he shaves off half of a customer. He tries to work as a car driver and a Tram ticket collector also.
Finally, he joins as a worker in a Soap factory, where he has to sometimes drive Seth’s wife -Ramola devi(Bibbo), who tries to entice him. Sudhir starts liking a typist girl in the factory Sharada(Sabita Devi). Sharada teaches music to Ramola, wife of Seth Laxmi Das. Motilal takes her everyday to the tuition. They start loving each other. Motilal stays with a kind hearted Vegetable vendor woman as a tenant. She tends to him , feeds him well and takes his care as her son.
Suddenly the Factory must close down due to some loss. All workers are worried. Motilal secretly sends his own money to Sethji as an anonymous partner. The Factory is saved.
Now in this jumble, 300 days come to an end. Surprisingly Motilal finds himself absolutely fit, healthy and understands the meaning of true life and Love. He goes back to the doctor to claim his bet money, which he donates to a school.
Sudhir marries Sharada and brings the kind vegetable vendor lady as his family member to live with him forever.
Motilal was one of my favourite actors. He was what I call “The accidental actor”. The story goes that Motilal came to Bombay to appear for a test to join the Navy, but he fell sick and missed it. After recovery, he went to see a film shooting and was spotted from the crowd by the director, who offered him a role in a film. Thus started his film career. He is also one of the rare actors, who started career as a Hero directly, without any struggle.
There are few more such “accident” stories for actors, actresses, directors and even singers. Some of them are….
Ashok Kumar was a lab technician in Bombay Talkies, where his sister’s husband, Shashadhar mukherjee was already working. When Devika Rani eloped with the handsome Hero najamul hasan, Ashok kumar was selected as his replacement as a hero.
Actor Ranjan was picked from a Bus queue in Madras by a producer and director and offered him a film role. Similar stories are for Pran, E.Billimoria, Nirupa Roy and Geeta Dutt. In the case of Nirupa Roy her husband had approached a studio to get a film role, but instead of him, his companion wife Kokila was offered a film role. Her name was changed to Nirupa Roy. Without getting any film roles, her husband changed his name to Kamal Roy himself !
Motilal was one of the 3 Natural actors of Hindi films. The others were Ashok Kumar and Sanjeev Kumar.
Born in Shimla on 4 December 1910, Motilal Rajwansh came from a distinguished family. His father was a renowned educationist, who died when Motilal was one year old. He was brought up by his uncle who was a well-known civil surgeon in Uttar Pradesh. At first, Moti was sent to an English school at Shimla and later, in Uttar Pradesh (UP). Thereafter, he shifted to Delhi where he continued with school and college.
After leaving college, Motilal came to Bombay to join the Navy, but he fell ill and could not appear for the test. Fate had other choices charted out for him. One day, he went to see a film shoot at Sagar Studios, where director K. P. Ghosh was shooting. Motilal, even then, was quite the man about the town and he caught Ghosh’s eye. Motilal described this event in his inimitable style,in one of his interviews….” The director Ghosh Babu looked towards me and said,” please come here”. I first thought he was calling someone standing behind me. I looked back and moved to one side. Nobody came forward, but Ghosh Babu came to me and pointed his finger at me and said, ” Yes, I am talking to you. Please come here.” I went with him .” In 1934 (aged 24), he was offered the hero’s role in Shaher Ka Jadoo -1934 by the Sagar Film Company. Sabita Devi and Motilal’s first movie as a pair in the famous Sagar Movietone, the movie Lure of the City (aka Shaher ka Jadoo) released on 29 th September 1934 at the Imperial Cinema, Bombay.
Mehboob Khan was earlier selected for the lead role and was later replaced by Motilal. This was actor Motilal’s debut film and Motilal – Sabita made the best pair in the Sagar Film Company. They acted together in many other movies under the banner of the Sagar like, Silver King -1935, Dr Madhurika -1935, Lagna Bandhan -1936, Jeevan Lata -1939, Kulvadhu -1937, Kokila -1937, Three hundred days and after -1938 and later at Sudama Films in Ap Ki Marzi -1939 and Minerva’s Prarthana -1944. He worked with Mehboob Khan in Jagirdar -1937 and Hum Tum Aur Woh -1938 under the Sagar Movietone banner, in Taqdeer -1943 for Mehboob Productions, and Kidar Sharma’s Armaan -1942 and Kaliyan -1944. He also acted in S. S. Vasan’s film Paigham -1959 (Gemini Studios), and Raj Kapoor’s Jagte Raho -1956. In 1965, he also acted in the Bhojpuri film Solaho Singar Kare Dulhaniya.
Perhaps the role for which he received the most critical appreciation was that of the gentleman crook in S. S. Vasan’s adaptation of R K Narayan’s book Mr Sampat -1952. He is most remembered for his role as “Chunni Babu” in Bimal Roy’s Devdas -1955, for which he won his first Filmfare Best Supporting Actor Award. Actor Naseeruddin Shah once described him as one of three all-time best actors of Hindi cinema, others being Balraj Sahni and Yakub.
Motilal was very suave and polished, and moved in high society, though towards the end of his life he was in financial difficulty. Although a thorough gentleman, he enjoyed gambling and races, and died almost penniless on 17th June 1965.
Motilal was an excellent Pilot and owned a small aircraft. He rarely travelled by train and always liked to fly. His family life was happy. His wife was a doctor.
He was in a relationship for several years with the actress Nadira. He was later involved with actress Shobhna Samarth after she separated from her husband, and he played Samarth’s real-life daughter Nutan’s father in Hamari Beti, Shobhana’s launch movie for Nutan. He also played her guardian in Anari, though this time the role had a villainous touch to it.
Motilal and Ashok Kumar were popular stars at the same time. Ashok Kumar was employed by Bombay Talkies and Motilal was employed by Ranjit. It is said that Sardar Chandulal paid Rs. One lakh to Motilal in those days. Motilal was a gambler. Once Chandulal Shah paid his debt of 75000 rupees which Motilal had lost in gambling, just to keep Motilal with Ranjit ! It is surprising that Ashok Kumar never worked with Motilal’s Heroines-Shobhana Samarth or Khursheed and Motilal never worked with Ashok Kumar’s heroines- Devika Rani or Leela Chitnis !
Actor Chandra Mohan treated Motilal as his son. During the last days of Chandra mohan, once Motilal had gone to meet him. Chandra Mohan was drinking from a costly foreign Whisky bottle, but he did not offer it to Motilal. Motilal was feeling bad and then Chandra Mohan said, “I know you must be feeling bad that I am not offering you this Whisky, but trust me it is not whisky- I am drinking Bewada (country liquor) from this bottle and I don’t want my son to drink this dirty stuff ! ”
Motilal was the winner of Filmfare Best Supporting Actor Award for Devdas -1955 and Parakh -1960. He is credited with being among Hindi cinema’s first natural actors.
He also directed the film Chhoti Chhoti Baatein -1965, but died before its release. At the 13th National Film Awards, it won the award for Certificate of Merit for the Third Best Feature Film and he posthumously won the Certificate of Merit for the Best Story Writer. ( adapted from some information from Vithal Pandya’s book-Asli Nakli Chehere, wiki, Star portraits, nett4you, the book Sagar Movietone, and Shirish Kanekar’s book- Yaadon ki Baaraat, with thanks and my notes.)
Today’s song is a very rare song. I thank shri Syed Zafar Shah, for making this song available to me from his huge record collection. Initially I had requested him for this song in July 2023. That time he was shifting his collection from one godown to another one. He promised me that after all the rearrangements he will give me the song. It took him more than 6 months, but he remembered it and he on his own informed me after uploading this song for my use. He is a very kind soul and one of the rare breeds who selflessly makes rare songs available to music lovers freely. Thanks a Million, Zafar ji.
The song is typically sounding like the 1930’s decade but is sung nicely by Motilal, with good music from Anil Biswas. Enjoy….
Song- Ghar apna ye kursi apni apna sab saamaan (300 days and after)(1938) Singer- Motilal, Lyricist- Zia Sarhadi, MD- Anil Biswas
Lyrics
Ghar apna ye kursi apni
apna sab saamaan
haan
ghar apna ye kursi apni
apna sab saamaan
tu meri aur main tera mehmaan
main tera aur tu meri mehmaan
tu mera
main teri
main tera
tu meri
mehmaan
ha hahahaha
ghar apna ye kursi apni
apna sab saamaan
ghar apna ye kursi apni
saara saamaan hamaara hai
aao baithho
karen ham aap ki sewaa
aao
baithho
karen ham aap ki sewaa
kursi khaao
table khaao
kursi khaao
table khaao
ghar ke ham maalik hain
ghar ke ham maalik hain
hamen jaanat hai darbaan
hamen jaanat hai darbaan
haan aan aan
ghar apna ye kursi apni
apna sab saamaan
ghar apna ye kursi apni
apna sab saamaan
Chalo sipaahi karen safaai
Posted on: December 5, 2023
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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5618 | Post No. : | 18098 |
Today’s song is from a very old film-Bramhachari-1938.
When this film was released in 1938, it created a sensation, because the film’s debutante Heroine, Meenakshi Shirodkar had sung a song in a swimming pool donning only a one piece Swimsuit ! 85 years ago it was a very very daring and shameful act which would ‘ spoil the young and the innocent ‘ children. The Traditional puritan society could not tolerate it. The film was made in Marathi and Hindi. When the Marathi version was released in Maharashtra, the ‘Sanatani’ section of the society of Poona protested by having an agitation in front of the theatre. Long articles criticizing this appeared in local papers and some people even threatened to go to the court, if these scenes were not removed from the film immediately. Conversely, these scenes also attracted huge crowds who enjoyed such scenes on the screen for the first time in a Marathi film !
The film was made by Master Vinayak, under his own banner Huns Pictures, Bombay. It was directed by Vinayak himself and he also did the lead role in it. Before releasing the film, the team had expected an adverse reaction from the Puritans, but they were ready for it. To understand this situation, one must first understand the conditions prevailing in the decade of the 1930’s and the overcoming of the film industry over it.
The 1930s saw the emergence of the Talkie in its beginning only with Aalam Ara-1931. Things were new and in a constant state of flux, and lots of experiments and innovations were tried out throughout the decade. The two major centres of Hindi film production, Calcutta and Bombay began to attract aspirants from all over who thronged to these places to try their luck in this new form of entertainment.
Although the era of Silent Films had plenty of Anglo-Indian Heroines and uneducated but handsome Heroes, the Talkie required knowledge of Hindi/Urdu, a flair for singing and and good looks with acting ability. This gave opportunity for educated Indian men and women in the film industry.
While Calcutta made Bilingual films in Hindi and Bangla, Bombay was replete with films in Hindi/Marathi and occasional Hindi/Gujarati films.
Doors were opened to learned Dramatists, writers, poets, classical singers and stage actors. Bombay films initially had a Parsi/Gujarati theatre influence, but soon the powerful Marathi Theatre took over. Many production houses like Kolhapur Cinetone, Huns pictures, Prabhat films, Saraswati cinetone, Sagar movietone, Ranjit Studios, Paramount, Sharada, Bombay Talkies, Imperial, Bharat, Vishnu etc made films in Hindi/Marathi using mythological themes.
It was Navyug/Atre films, Huns pictures of Vinayak, Prabhat of Shantaram, Bombay Talkies, Saraswati and Kolhapur cinetones etc which dared to handle different topics for their films. Social, cultural and comedy films soon became very popular. As such in the 30s and 40s, India was undergoing an upheaval of values coupled with reforms in social, political and cultural fields, and it all showed in the films of that period. Films made on social evils like, child marriage, Dowry, untouchability, alcoholism, prostitution, education and health problems were met with extraordinary reception from the public. Huns pictures of Vinayak handled these topics with comedy.
P.K.Atre (Acharya Pralhad Keshav Atre), a noted novelist, dramatist, poet, educationist, editor of newspaper etc, of Maharashtra in those days, joined hands with Director/producer master Vinayak and this duo made memorable films like Dharmaveer, Premveer, Bramhachaari, Brandi ki Bottle ,using satire of Atre and comedy of Vinayak. In Dharmaveer, they tackled problems of fake Religious Babas, In Premveer-love struck collegians, in Bramhachari-the pseudo Deshbhakts and foolish sadhus, babas and impractical celibacy rules. All such films were liked by the audience.
Noticing that the ‘Reform’ films of Prabhat were becoming Hits, Minerva and Bombay Talkies also followed suit. Minerva made films on social ills like Alcoholism, falsehood of Celibacy, Divorce and even Incest ! Bombay Talkies went the Socialistic ways. Films were made by them on Untouchability (Achhut kanya)and similar Moralistic topics.
The cast of the film Bramhachari-1938 was master Vinayak, Minakshi Shirodkar, D.S.Salvi, Jog, Damuanna Malavankar and many others. Minakshi Shirodkar was one of those rare actresses who were already married before coming into films. I find that on the internet several sites say that Minakshi was Vinayak’s wife and Baby Nanda was their daughter, which is totally wrong. Master Vinayak was married to Susheelabai (Wadkar), who was the paternal aunt of Hansa Wadkar, the actress. Their daughter was Baby Nanda.
One of the names in the cast of this film is D.S.Salvi, who later on became a very popular and famous actor in Marathi films. Let us know more about him….Dinkar Shivram Salvi (04 December 1904 – 29 October 1980) better known as screen name “Dada Salvi”, was an actor of the silent & talkie era of Indian Cinema. He was a part of the first Indian talkie film “Alam Ara” (1931). He has acted in 20 silent movies. He has worked in Hindi & Marathi movies.
Dinkar Shivram Salvi aka Dada Salvi was born on 04 December 1904 in a village Phansob in Ratnagiri, Bombay Presidency undivided India, now in Maharashtra. After completing his education, he joined the Police Department. During service period, he was taking part in plays. Shri Tipnis, a well known play master saw Salvi and advised to come to Bombay. Acting in plays became a part of his life, so he decided & he left the job and came to Bombay.
In Bombay, Tipnis introduced Salvi to K. B. Athawale, working as manager, actor, director in Excelsior Film Company owned by Seth Wazeer Aziz. The company was searching for talented actors and Athwale offered Salvi to join Excelsior Film Company on a monthly salary of ₹. 25. Salvi accepted the job & joined Excelsior Film Company.
Salvi’s first silent film was “Khoon-e-Nahaq” (1928) and became very popular. Looking to his potential in acting, The Imperial Film Company offered Dalvi work with higher monthly pay. After joining Imperial Film Company, Salvi acted in 20 silent films like Madanmanjri, Indira BA, Bhola Shikar, Cinema Girl, Hamara Hindustan, Raat Ki Baat, Khuda Ki Shan and many more. It is said, while working with Imperial Film Company, Salvi fell in love with his co-actress Sakhubai & later they married. Probably it was the first love Marriage of the first Maharashtrian acting couple of Hindi Films.
Salvi has worked with Jayant Desai in the film Poladi Pahelwan – Iron Man (1931) for Paramount Films. He also acted in Marathi films like Aut Ghatkecha Raja, Bhakta Prahlad, Chatrapati Sambhaji, Thaksen Rajputra under Dadasaheb Torne of Saraswati Cinetone. Salvi’s role in “Chatrapati Sambhaji ” as Sambhaji’s evil advisor ‘Kalusha Kabji’ won him great acclaim. Impressed with the acting of Salvi as “Kalusha Kabji”, Huns Pictures, Kolhapur, invited him to join them on a three figure salary. Salvi left Imperial and joined Huns.
“Premveer” (1937) was Salvi’s first film with Huns Pictures. This was a turning point in his career where he came to be associated with Master Vinayak & Marathi Films. Their team led to many wonderful performances. He was then seen mostly in Marathi Films with an occasional Hindi film. In Brahmchari, Salvi played role of a father of the heroin. Salvi acted in Marathi films like Savangadi, Brandi Chi Batli, Devta and many more.
Later Huns Pictures changed to Navyug Chitrapat and made Amrut (1941). Salvi then worked in many Hindi and Marathi films with Master Vinayak, V. Shantaram. After 1947, Dada Salvi mainly worked in Marathi films. Dada Salvi died on 29 October 1980 in Poona (Pune), Maharashtra.
Bramhachari-1938 was the story of a simple young man Kanhaiyya( Master Vinayak-he was Audumbar in Marathi version), who gets unduly sold on the foolish idea of a Lifelong celibacy( Aajanma Bramhacharya), espoused by a fake Acharya Chandiram(played by Damuanna Malvankar-Marathi’s leading comedy Hero. His daughter Bharati later married Hridaynath Mangeshkar)-who himself indulges in illicit relations and also by the speeches of a pseudo leader-Deshbhakta Jata shanker(played by Javdekar)-who himself indulges in hoarding, bribes and Black marketing.
One day Kishori(Meenakshi Shirodkar), the naughty young daughter of a Forest officer(V.G.Jog) visits the Ashram, along with her father. Here Kanhaiya is doing all odd jobs for the Acharya,like sweeping, washing etc. She falls in his love and tries to entice him with a seductive swim suit and a song in the swimming pool.
Over a period,with the help of Kishori, Kanhaiya realises his folly and exposes the fraud of Acharya Chandiram and politician Jata shankar, who are arrested by the Police.
Today’s song is a Chorus song. In the film this is a very comic scene. While doing ‘safai’, the hero is only looking for the heroine all the time. The film is available on YT.
Song- Chalo sipaahi karen safaai (Brahmchaari)(1938) Singers- Chorus song, Lyricist- Pandit Indra, MD- Dada Chandekar
Lyrics
Chalo sipaahi karen safaai
haathh dharen jhaadoo
Chalo sipaahi karen safaai
haathh dharen jhaadoo
jahaan kahin ho kooda kachraa
jahaan kahin ho kooda kachraa
wahin pade jhaadoo
wahin pade jhaadoo
subah saanjh karti iski poojaa
saanjh karti iski poojaa
mrignayani ko hi(?)
mrignayani ko hi(?)
isko salayu(??) karte
saare salaami bharte
isko salayu(??) karte
saare salaami bharte
charkhe ki dhhaani jhaadoo
charkhe ki dhhaani jhaadoo
Chalo sipaahi karen safaai
haathh dharen jhaadoo
jahaan kahin ho kooda kachraa
wahin pade jhaadoo
Chalo sipaahi
Chalo sipaahi
Chalo sipaahi
karen safaai
haathh dharen jhaadoo
haathh dharen jhaadoo
haathh dharen jhaadoo
haathh dharen jhaadoo oo oo
This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5375 | Post No. : | 17628 |
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Blog 10-Year Challenge (2013-2023) – Song No.63
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On this date ten years ago (6 April 2013), eight songs from eight different movies were covered in the blog. Here are the details:-
| Post No | Song Title | Name of the movie | Remarks |
|---|---|---|---|
| 7831 | Ek nek tabeeyat raaja thha | Abhagin (1938) | 5 songs covered out of 11 by now |
| 7832 | Naiyya dheere dheere jaana | Chitralekha (1941) | 4 songs covered out of 10 by now |
| 7833 | Sochta kya hai sudarshan ke chalaane waale | Neelkamal(1947) | Movie YIPPEED by now |
| 7834 | Ho tere bin meri zindagi kis kaam ki | Suhaag Raat (1948) | movie YIPPEED by now |
| 7835 | Nahin boloon nahin boloon | Tamaasha(1952) | 7 songs covered out of 8 by now |
| 7836 | Torey naina raseelry kateeley haay raam | Hamdard (1953) | Movie YIPPEED by now |
| 7836 | Jhoomo re jhoomne ke din aaye | Fashionable Wife (1959) | 4 songs covered out of 10 by now |
We observe that four movies (out of eight) whose songs were covered on this date ten years ago (on 6 April 2013) have since been YIPPEED in the blog. That leaves us with four unYIPPEED movies that are eligible for Blog Ten Year Challenge today (6 april 2023).
“Abhaagin”(1938) is the oldest of the four BTYC eligible movies. This movie was directed by Prafull Roy for New Theatres, Calcutta. the movie had Molina, Vijay Kumar, Prithviraj, Devbala,Neemo,Bikram Kapoor, Menaka, Kamal Jharia, Chaman Puri, Trilok Kapoor etc in it.
“Abhaagin”(1938) had 11 songs in it. Five songs have been covered so far.
Here is the sixth song from the movie to appear in the blog. The song is sung by Molina devi. Lyricist is not known. Music is composed by R C Boral.
Only audio is available. The audio quality is very poor. Prakashchandra, who has sent me the lyrics of this song has done a great job deciphering large number of mostly undecipherable words. There are still some gaps where the song skips or the sounds are far too unclear. I request our readers with keener ears to help fill in the blanks and/or suggest corrections in the lyrics wherever applicable.
Seeing that Molina devi was the leading lady in the movie, it is clear that the song was picturised on herself.
Song-Nainan ke ansuwan se birhan aag bujha le man kee (Abhaagin)(1938) Singer-Molina Devi, MD-R C Boral
Lyrics(Provided by Prakashchandra)
nainan aa
ke aey ae ae
ansuwan se ae birahan
aag bujhaa aa ley ae
man kee eeee ee eee
nainan ke ae ansuwan se ae
birahan aag bujhaa ley ae
man kee eeee eee ee
sochaa thaa aa aa dukhdey ae
nibtaayen ae ae
unn se miley ae ae
ro o roke sunaayein aen
sochaa thaa aa dukhdey ae
nibhtaayen ae ae
unn se miley ae ae
ro o roke sunaayein
aaj woh aas bhee toot gayee ab
man mein rah gayee man kee ee ee eee
ee eee eeee
nainan ke ae ansuwan se ae birahan
aag bujhaa le man kee eeee
roopnagar ???? koyaliyaa aaa
birahaa agnee ?? mein aen jal mar jaaye
????
roopnagar ?? sukh saad?/?? ?? koyaliyaa aaa
birahaa agnee ??? mein aen jal mar jaaye
thodey/??? tehro o
roley na dukhdaa aaa
thode/??? tehro o
roley na dukhdaa aa aaa
man mein rah gayee man kee ee ee eee
nainan aa ke ae ansuwan se ae birahan
aag bujhaa le ae man kee eeee
ee eeeee eeee
nainan ke ae ansuwan se ae ae birahan
Sukh chain ke din sab beet gaye
Posted on: April 18, 2022
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 : | 5022 | Post No. : | 16930 | Movie Count : | 4596 |
Today’s song is from an obscure old film – Chhote Sarkar-1938.
My today’s post is No.32 of this year i.e. 2022. Since 1st January 2022, the pattern of my poists seems to have changed perceptibly. Earlier I was known for writing on films of the 30’s and the 40’s on priority, but this year, till my last post (31 posts), I have written only 3 posts on films of the 30’s, only 11 posts on films of the 40’s but 17 posts on films of the 50’s. Come to think of it, there is no intentional shift in my policy or any purpose in doing so, but it looks like it is happening inadvertently. My today’s post will be only the 4th post on a film of the 30’s this year.
Do I have an inclination towards antique films ? YES is the answer. I like to bring the unknown, the less known and the not so famous artistes of the early era to light, to bring the pillars of the film industry in Limelight, so that the younger generation knows about them and becomes aware of the difficult times through which the stalwarts carried our film industry towards today’s Glory !
While doing so, I had to do the hard yards to dig information about these forgotten artistes, contact several Historians, buy and read many books, spend hours on the Internet and collect and record the information. I was singularly Lucky to get a suitable platform to showcase my results, in the form of Atul ji’s Blog. Atul ji’s help in publishing my posts untiringly has helped not only me but the Blog has also now become a storehouse of Credible, Reliable Information on the old timers in the film world, for the use of future students of film history. Thanks a million, Atul ji.
During the writing of my posts here since 2012 till date, I have noticed one thing. I am not sure of anyone else, other than Atul ji, who has also noticed it. I observed that in the early times of this Blog from 2008, the number of visitors kept on increasing and many of the visitors took pleasure in putting in their comments on almost every post. Comments on popular film songs were naturally more, but later readers also commented on other posts, about the artistes, songs, film making, their experiences and provided additional information. Therefore, visiting the Blog was a pleasure not only to enjoy the songs posted, but also to read different comments from the readers.
I remember there were several readers from abroad who used to write comments. There were comments from readers from Singapore, Fiji, Malaysia, Australia, Newzealand, Africa, European countries, UK, USA, Dubai, Pakistan and also from several cities of India like Lucknow, Delhi, Calcutta, Bombay, Pune,Andhra, Madras, Gujarat, Maharashtra, Kerala – in fact from all nooks and corners of India and the world. Many of them were quite knowledgeable too.
Unfortunately, from somewhere from 2016-17 onwards I saw a steady drop in the number of comments from readers. Notably comments from readers from abroad diminished considerably and as of today, their number is almost nil. What could be the reason for this change ? One guess is that the older generation which commented is now too old and hence not active. The other guess could be that initially, as the Blog was new, most songs posted were the popular and well known ones, which the readers knew well, but slowly that stock, naturally, thinned out and unknown and unheard new but old songs were being discussed, which were not known to many present readers to comment upon.
The second guess seems to be more convincing. Nowadays younger contributors are posting songs from the 70’s, 80’s and the 90’s and comments are trickling from equally younger readers, though not so many as in the past. I believe the trend of appreciation, encouraging and commenting changes with the change of Readers’ Profiles.
Today’s film Chhote Sarkar-1938 was made by Sundar Movietone (never heard of it). It was directed by Homi Master. He was one of the directors of the First Generation of Hindi films of the early era, who was a spillover from the Silent Film Era. Since his career as a Director ended in 1946, there is no chance that the younger generation readers would know about him, so here is some information on him.
Homi Master (1900–1949) was an actor-director of early Indian cinema. His work extended from the silent era to the talkie era and up to his death. He produced his best films for Kohinoor Film Company and he has been referred to as “silent cinema’s most successful film-maker”.
He acted as Duryodhan in the then-controversial film Bhakta Vidur (1921), as hero in Kala Naag and Kulin Kanta. Some of his important films were Bismi Sadi, Manorama, Do Ghadi Ki Mauj (1935), Samaj Ki Bhool (1934) and Gul Sanobar (1934). He was active from 1921 to 1949 and made over seventy-eight films. His later films in Gujarati and Hindi were termed as B movies. He died in 1949.
At the age of thirteen, Master joined a famous Parsi theatre group called Bilwala. He soon became a popular stage actor, with his performance in Pakzaad Parveen being appreciated. Following a brief stint at the Phalke Film company, he joined Kohinoor Film Company working initially as an actor. He went on to direct films for them starting with Bismi Sadi.
Homi Master acted in three films before getting a chance to direct. The three films, Bhakta Vidur (1921) (in the role of Duryodhan), Ajamil (1922) and Vratasur Vadha (1923), were directed by Kanjibhai Rathod. He played the lead role in Kala Naag, a film he helped co-direct with Rathod in 1924. A crime drama, it was the first “recorded example” using real-life characters and was based on the Champsi-Haridas Murder case in Bombay.
In 1924, Master started his career as a director with Dwarka Sampat’s Kohinoor Film Company. His first film for Kohinoor was Bismi Sadi, starring Raja Sandow, Miss Moti and Noor Mohammed Charlie. The film was about a hawker who becomes a mill-owner and goes on to exploit the people working under him. Manorama (1924) was based on the famous Gujarati romantic poet Kalapi’s autobiographical poem “Hridaya Triputi”. The film was made in the fantasy genre and broke “all records” when it ran for fourteen weeks.
Other significant films at this time were The Telephone Girl (1926), also called Telephone Ni Taruni, produced by Kohinoor, and starring Ruby Myers, Gohar and Raja Sandow. Educated Wife or Bhaneli Bhamini (1927), was another Kohinoor film with Gohar, Vaidya and Raja Sandow. They were social films that were successful at the box office.
Gul Sanobar (1928) was a fantasy production from Kohinoor Film Company, based on Persian fairy tale romances, and directed by Master. It starred the then-popular star Khalil with Miss Yakbal. The film was later remade in 1934, with the same name, directed by Master and produced by Imperial Film Company. The cast included stars of the time like Sulochana (Ruby Myers), D. Billimoria and Zubeida.
His 1934 film Samaj Ki Bhool, was a social film promoting a widow’s right to remarry. It starred Jamshedji, Lalita Pawar, Jilloobai, Dulari and Rafiq Ghaznavi, with music composed by Pransukh Nayak.
In 1935, he directed three films Do Ghadi Ki Mauj a social film produced by Imperial, starring Ruby Myers and D. Billimoria; Ghar Jamai, a social comedy, a Hindi/Gujarati bilingual, produced by Premier Films with story by Mohanlal G. Dave. (A story about a “resident son-in-law” that became a “major success” at the box office). The third film, Naya Zamana was again produced by Premier Films and starred Heera and Ghulam Mohammed with music by Khansaheb.
It was said that Master was sent abroad to Europe to market Phalke’s films . He teamed successfully with scenarist Mohan lal Dave and cameraman D.D.Dabke with actress Gohar to make many popular films. Gohar called him the most dramatic director , better than Mohan Bhavnani or even Chandulal Shah. His first Talkie film was Saubhagya Sundari-1933 and the last was Chamkati Bijli-1946.
He continued to direct films making ‘B’ class films and some in the Gujarati language. According to the Encyclopedia of Indian Cinema, he worked as a production manager at Kardar Studios towards the end of his career. He died in 1949. ( based on The Encyclopedia of Indian Cinema, wiki, Film world-1946 and my notes).
The cast of the film was Jal Merchant, Leela Chitnis, Panna, Heera, Meher Bano, Raj kumari etc. Jal Merchant was a typical Parsi born on 15-1-1920 and brought up in the Parsi Colony area in Bombay. Though his family had a business, he did not join it as he was keen to make a career in films. Bombay being the centre of filmmaking he had plenty of chances. He did not have a masculine, wide chested body, but he compensated with his superb acting skills. He could also sing in his soft voice.
It was a colorful stellar team that Jal Merchant formed with Zubaida in the early talkies. But it was in mythological roles, and not romantic parts, that they first won the hearts of cinegoers. The first picture that made them a rage everywhere was Sagar’s “Veer Abhimanyu,” in which Jal played Abhimanyu to Zubaida’s Uttara. In the next one- Subhadra Haran-32, Jal was Arjun, Abhimanyu’s father, while Zubaida played Subhadra.
Like Zubaida, Jal Merchant joined films in the “silent days”. It was a change of medium for him, for he had been playing female roles on the Gujarati stage! His performance as the heroine of “Shankit Hriday,” a Gujarati play, proved a hit, and Nagendra Majumdar, who directed the play, induced him to switch over to screen acting. Jal joined the Imperial Film Company, and among his early films the most notable was “Vasant Bengali,” a social picture directed by R.S. Chowdhury. In those days, the screen hero generally had more brawn than brains, but the lead player of “Vasant Bengali” was called upon to show more intelligence than physical prowess. Jal did just that – and won instant fame.
After the advent of sound, Jal’s first four films for Sagar were mythologicals – “Veer Abhimanyu-1931,” Subhadra Haran-1932,” “Pandav Kaurav-1933” and “Mahabharat-1933”. For close-ups of these pictures, Jal used to wear trousers and only the upper part of his body was made up for his role. But in one close-up his pants were also visible! The shot was cut on the first day of screening in Bombay.
Gifted with a fine voice, he also delighted cinegoers with his singing. He sang 33 songs in 7 films-Meerabai-32, Pandav Kaurav-33, Mahabharat-33, Grihalaxmi-34, Aaj kal-34, Sone ka Shahar-35 and Toofan Express-1938.
In “Zarina,” written and directed by Ezra Mir, he was the tongawallah who falls in love with a dancing girl at a carnival. This poignant romantic tragedy won plaudits for both Jal and Zubaida. It was their last picture together for Sagar. Zubaida left Sagar and Sabita Devi took her place. Sabita and Kumar were the first stars imported from Calcutta. Sabita co-starred with Jal in “Phantom of the Hills,” directed by Ezra Mir, in which he played a dashing Pathan riding a white charger. In “Educated Wife” (Grihalaxmi), directed by Sarvottam Badami, he played a modern educated youth. In this role the versatile Jal revealed a genial personality. Sabita was again his co-star.
Jal and Zubaida played stellar roles together once again in “Aaj Kal,” directed by R.S. Chowdhury. This was the last important picture for both stars. Jal acted in about n15 Silent films and 29 Talkie films. His first Talkie film was Veer Abhimanyu-1931 and his last Talkie film was Armaan 1953.
Jal Merchant, who already had a family flourishing business, retired from the screen. Later, he started to live a quiet life in Bandra. Jal was an excellent shikari in his younger days. His screen associates also remember his soft voice, gentle manners and sensitive, handsome face. His pairing with Zubeida and Sabita Devi was very popular. He had all the gentle Parsee manners and was a popular co-star for the heroines.
I have read somewhere that Jal Merchant died in 1963 in Bombay. He was unmarried till the end, like many Parsis. ( information from an article by V.P.Sathe in Screen, ‘Screenplay’ by Isak Mujawar, HFGK, muVyz and my notes have been used in this post, with thanks.)
With today’s song by Rajkumari, film Chhote Sarkar-1938 makes its Debut on this Blog.
Song- Sukh chain ke din sab beet gaye (Chhote Sarkaar)(1938) Singer- Rajkumari, Lyricist- Pandit Amar, MD- Shanti Kumar Desai
Lyrics
Sukh chain ke din
sab beet gaye
dukh rain andheri chhaayee hai
sukh chain ke din
sab beet gaye
dukh rain andheri chhaayee hai
koi sang na saathi saath sakhi
koi sang na saathi saath sakhi
sapna sa ?? mein aayi
sapna sa ?? mein aayi
Sukh chain ke din
sab beet gaye
dukh rain andheri chhaayee hai
jhoothha prem ye jhoothhi aashaa
jhoothha prem ye jhoothhi aashaa
jhoothhi kaaya
jhoothhi maaya
jhoothhi kaaya
jhoothhi maaya
jhoothhe jag mein
???
jhoothhe jag mein
???
jhoothhi preet lagaayi hai
jhoothhi preet lagaayi hai
Sukh chain ke din
sab beet gaye
dukh rain andheri chhaayee hai
Main tere gale ki maala
Posted on: April 12, 2022
- In: Actor-Singer song | Bibbo Songs | Devnagri script lyrics by Sudhir | Duet | expression of love | Feelings of heart | Guest posts | Love song | Lyrics contributed by readers | Post by Arunkumar Deshmukh | Song of 1938 | Songs of 1930s (1931 to 1940) | Surendra - Bibbo Duet | Surendra songs | Yearwise breakup of songs
- 2 Comments
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5016 | Post No. : | 16922 |
Today’s song is from an early talkie film ‘Gramophone Singer’ (1938).
The film was made by Sagar Movietone. It was directed by Ramchandra Thakur and Virendra Desai (owner Chimanlal Desai’s son and the first husband of Nalini Jayawant). The 15 songs of the film were written by Zia Sarhadi – who rose to great heights in the Indian film industry, but was humiliated, suspected and ill-treated in Pakistan. His end in Spain too was pathetic. Music Director for this film was Anil Biswas. The cast of the film was Surendra, Bibbo, Prabha, Bhudo Advani, Kanhaiyalal, Sankatha Oprasad, Gulzar and many others.
It is interesting to know the story of how Sagar Movietone came into being. Ardeshir Irani, the owner of Imperial Film Co. and the maker of India’s First Talkie film ‘Alam Ara’ (1931), was keen to get the famous and popular star of the films in those days – Master Vithal, into his stable. That time Vithal was with Sharada Film Company. He was unhappy there, because despite every film being a hit, his salary was never increased in spite of his request. To get Master Vithal with whatever means, Irani floated Sagar Movietone in 1929, so that his name was not involved in luring another company’s artistes. After an interesting episode of action in the High Court, Master Vithal joined Imperial through Sagar Movietone.
Once he got master Vithal, Irani lost interest in Sagar Movietone and he sold it to Dr. Ambalal Patel and Chimanlal Desai – his distributors from Bangalore to whom he owed money. After Irani separated, the company was wholly owned by Desai and Patel. Later Patel too left and Chimanlal became the sole owner of Sagar Movietone.
In those days, Sagar had a good collection of actors, actresses, directors and MDs on its payroll. Sagar went on to make several Hit films from 1931 onward. In 1934, Motilal joined the company and in 1935, the singing actor Surendra came. Sagar was on a victory roll and it became one of the major film making companies in India. In the form of Surendra, Sagar got an actor/singer, who would compete with KL Saigal of New Theaters, Calcutta as the “Bombay’s answer to Saigal” !
Surendra, however, was an educated (BA, LLB), intelligent person and he understood that Saigal was in a different league altogether. Instead of copying his style, Surendra cultivated his own identity. Sagar, however, ensured that the competition between the two got the desired reckoning and this showed in their pattern of films. As against ‘Devdas’ (1935), Sagar released ‘Manmohan’ (1936)’. After ‘President’ (1937) came ‘Jagirdar’ (1937) and after ‘Street Singer’ (1938) Sagar released ‘Gramophone Singer’ (1938). Nevertheless all these films became successful.
In the Hindi film industry, we read frequently about famous stars, actors/actresses of the early era who ended their last days in penury, illness, loneliness and misery. Many had to beg on roads for a living. Some of these cases are tear jerking too. However, even in those days there were some wise artistes who planned their afterlife thoughtfully and retired gracefully spending the rest of their life happily. Some names like SD Batish, Laxmi Shankar, Ranjan, Shashi Kapoor Sr., Mukund Roy Trivedi-MD, Durga Khote etc. come to mind in this connection. Actor Surendra too falls in this category. Before he retired from films, he established an advertising firm and made short films (Durga Khote also did the same). His sons expanded the business successfully.
‘Gramophone Singer’ was the debut film for both the directors, who bloomed in their careers later. Actress Prabha started with Sagar from this film onward. Kanhaiyalal became a regular actor with this film – instead of a Lyricist. Zohrabai Ambalawali sang her first song under the baton of Music Director Anil Biswas, in this film.
Surendra and Bibbo acted together in 6 films of Sagar Movietone. Their first film was ‘Manmohan’ (1936), in which their duet song “Tumhin Ne Mujh Ko Prem Sikhaaya” became a Hit in those days. Then came ‘Jagirdar’ in 1937 and ‘Dynamite’ in 1938. Like Motilal and Sabita Devi (* films), this pair too proved to be a ‘Hit Jodi‘. However, at the time of planning for the film ‘Gramophone Singer’, Surendra and Bibbo had some dispute and they were not on speaking terms. They even avoided each other. This problem was tactfully solved by director Ramchandra Thakur, who diplomatically lied to both separately that the other one was keen to work with her/him. Like true professionals both agreed and the film got through. Not only this, but they even worked in another 2 more films also !
The film is a story of a love triangle and Prabha did the role of Surendra’s wife in this film. Prabha is not known to most people. Let us know more about Prabha.
Prabha Rajpal was from a respectable Hindu family of Punjab. She was born on 6-6-1915 at Ludhiana. Her father was a high ranking government officer based at Lahore. All her education was done in Lahore. She was fluent in Urdu, Hindi, Punjabi and English.
Right from childhood, she was keen on working in films. Belonging to an orthodox family, there was opposition, but despite all this she entered films and her first film was ‘Jung Bahadur’ (aka ‘Dare Devil’) in 1935. After doing some films like ‘Dilawar’ (1936), ‘Awakening’ (1936), she left the Bhavnani camp and worked in Minerva’s film ‘Atma Tarang’ (1937) as the heroine opposite Sohrab Modi. She was very beautiful. Then she joined Sagar and worked in films like ‘Gramophone Singer’ (1938), ‘Ladies Only’ (1939), ‘Civil Marriage’ (1940). Later she became a freelancer.
In all she worked in 36 films in her career. She got married to Virender Ahuja, a cinematographer, and settled down after the film ‘Veerangana’ (1947). When her husband was one of the producers, she worked in the film ‘Shrimati ji’ (1952) and then retired from films. She died on 12-3-1975.
‘Gramophone Singer’ was a reasonably successful movie. Its lyricist was Zia Sarhadi. It had 15 songs, but only 4 Records having 8 songs came into the market.
The story of the film is….
Sundardas (Surendra) was a successful gramophone singer and lived in a town near Bombay. He was happily married to Mohini (Prabha) and had a baby boy also.The family was a picture of happiness, but….
Tilottama (Ishrat Sultana or Bibbo) was a famous singer of international reputation. She conducted foreign tours also. She lived in a luxurious flat in Bombay. She had heard the songs of Sunder and loved his voice. She was waiting to meet him.
Sunder had to visit Bombay often for song recordings etc. He was very friendly with Ghosh Babu (Bhudo Advani), owner of a Gramophone company. Rana ji (Kayam Ali) was a regular customer of Ghosh Babu. Once in a party given by Ghosh, Rana ji introduces Sunder to Tilottama. In the first meeting itself she fell in Sunder’s love. He too was impressed with her. Slowly their meetings increased and soon they were in deep love, Sunder forgetting about wife and child. Once they decide to go to Rampur – a resort. Here poor Mohini waits for Sunder for many days. The child falls ill too. Finally, Mohini decides to visit Bombay. There she learns everything about Sunder’s affair. She meets Madan (Sankatha Prasad), a singing partner of Tilottama, and a silent deep lover of hers too. They go to Rampur, but the pair is missing.
In the climax scene, Tilottama and Sunder are about to get married, when Mohini, her sick child and Madan reach the spot. Seeing his wife and ailing child, Sunder realizes his folly and returns to Mohini. Madan wins over Tilottama and the end is at Tilottama’s wedding party thrown by Ghosh Babu.
Today’s song is sung by Surendra and Bibbo.
Song- Main tere gale ki maala (The Gramophone Singer)(1938) Singers- Surendra, Bibbo, Lyricist- Zia Sarhadi, MD- Anil Biswas
Both
Lyrics
main tere gale ki maala
main tere gale ki maala
main tere gale ki maala
main tere gale ki maala
main tere gale ki maala
main tere gale ki maala
tu saagar main sarita
tu saagar main sarita
tu kavi main kavita
tu saagar main sarita
tu kavi main kavita
tu meri nazar ki jwaala
tu meri najar ki jwaala
main tere gale ki maala
tu meri najar ki jwaala
main tere gale ki maala
main tere gale ki maala
main tere gale ki maala
main tere gale ki mala
main tere gale ki mala
deepak bankar aag jala de
deepak bankar aag jala de
aag laga de aag laga de
aag laga de aag laga de
deepak ban sansaar jala de
deepak ban sansaar jala de
hans ab hans chal prem sikha de
hans ab hans chal prem sikha de
prem sikha de gwaala
tu prem sikha le gwaala
main tere gale ki maala
main tere gale ki maala
main tere gale ki maala
main tere gale ki maala
main tere gale ki maala
main tere gale ki maala
————————————————
Hindi script lyrics (Provided by Sudhir Kapur)
————————————————
मैं तेरे गले की माला
मैं तेरे गले की माला
मैं तेरे गले की माला
मैं तेरे गले की माला
मैं तेरे गले की माला
मैं तेरे गले की माला
तू सागर मैं सरिता
तू सागर मैं सरिता
तू कवि मैं कविता
तू सागर मैं सरिता
तू कवि मैं कविता
तू मेरी नज़र की ज्वाला
तू मेरी नज़र की ज्वाला
मैं तेरे गले की माला
तू मेरी नज़र की ज्वाला
मैं तेरे गले की माला
मैं तेरे गले की माला
मैं तेरे गले की माला
मैं तेरे गले की माला
मैं तेरे गले की माला
दीपक बनकर आग जला दे
दीपक बनकर आग जला दे
आग लगा दे आग लगा दे
आग लगा दे आग लगा दे
दीपक बन संसार जला दे
दीपक बन संसार जला दे
हंस अब हंस चल प्रेम सिखा दे
हंस अब हंस चल प्रेम सिखा दे
प्रेम सिखा दे ग्वाला
तू प्रेम सिखा दे ग्वाला
मैं तेरे गले की माला
मैं तेरे गले की माला
मैं तेरे गले की माला
मैं तेरे गले की माला
मैं तेरे गले की माला
मैं तेरे गले की माला
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4850 | Post No. : | 16640 |
Today’s song is from the film Mera Ladka-1938. This was a film made by Prabhat Film Company, which was one of the most popular banners in India those days. Prabhat was the company which made the First Talkie ” अयोध्येचा राजा ” in Marathi (Ayodhya ka Raja in Hindi) in 1932. During the period of 1932 to 1944, Prabhat gave excellent films having reformative and educational content for the society of those days, combined with entertainment. Their peak came when films like Sant Tukaramin Marathi-1936 Duniya na maane-1937 and Aadmi-1939 became milestones in Indian film history. The person who took Prabhat to its peak was V. Shantaram, as a Director.
Shantaram was like a Jauhari (Jeweller) who identified the true value of people. His selection of actors for specific roles was nothing but amazing. Durga Khote, Pagnis, Shanta Apte, Shahu Modak, Shanta Hublikar, Vasant desai etc were his selections.
Whatever one may say, but it is a fact that Prabhat lost its sheen, lustre, name and fame after Shantaram’s exit from it. Envy of the partners and a faulty, unjust rule of the company (No Partner of the company should get involved in any actress. Should this happen, he has to leave the company) forced him to quit prabhat. Shantaram became its victim when he fell for actress Jayashree. Earlier , Keshavrao Dhaiber had to leave Prabhat when he married company’s Heroine Nalini Tarkhud. Surprisingly S. Fattelal-another partner cum Director survived from this rule, though he had married Prabhat’s silent film heroine Kamala Devi alias Gulabbai ( one seen with Tutari in Prabhat’s famous Logo). This was because the controversial rule came into being only after his marriage with Gulab bai !
Shantaram had selected Shanta Hublikar for the lead role, opposite Shahu Modak in the bilingual Mera Ladka i.e. माझा मुलगा in Marathi. her performance impressed Shantaram so much that she and Shahu Modak were selected for his next epoch making film Aadmi-1939 (माणूस in Marathi).
The Film Industry had artistes of all types, religions, regions and from different backgrounds. In the early era, most artistes were uneducated. This state remained so till the 4o’s, after which most artistes joining the film industry were educated and from good families. In those early years, there was no investment awareness, investment opportunities or avenues and the artistes led an uninhabited life – living for the moment. This finally led to many old time artisted dying in penury, poverty and with health issues with no one to look after them.
Most of us know about the sad ends of artistes like Parshuram, Vatsala Kumthekar, Rattanbai, Wasti, Sadiq Ali, Master Nissar, Master Shiraz, Meena Shorey and many others. Some of them had to beg on the road and their last rites had to be done by charity collections.
There were four educated lead actresses in the industry at almost the same times. Their careers spanned from the 30’s to the 70’s. They were Durga Khote, leela Chitnis, Shanta Apte and Shanta Hublikar. Shanta Apte and Shanta Hublikar stopped their work by the 50’s, while Durga Khote and Leela Chitnis continued till the 70’s. Let us see how they ended their lives.
Durga Khote remained the luckiest. She had money and recognition till the end but no one to look after her. She lost her sons prematurely and her daughter in law did a second marriage with a Parsee actor. She died a lonely death.
Leela Chitnis married many times, including a Muslim person, in search of happiness, but she never got it. In her last days, she went to USA to live with her sons, but they put her in an old age home. She lost health, suffered memory loss, Alzheimer and finally died all alone in the old age home. No one came even after her death. Only money was sent for cremation.
Shanta Apte remained without marriage till end but had a Live-In relationship with Bombay’s leading Gynaecologist Dr. Shirodkar for many years. She did have a daughter, without marriage and through a reported incestuous relationship-a forced one- from her own brother, but she never stayed with the daughter.
Shanta Hublikar married a businessman after films. The husband wound up his business and lived off her money. Her son and daughter in law kept her in a third rate old age home, from where some reporters rescued her. After her story was published help poured in and she spent her last days in a better old age home. She published her autobiography also in this period. She died unsung, unattended. Her death news flashed after a week or so.
Shanta Hublikar was born on 14-4-1914 at village Athergunchi, near Hubli. She was one among three sisters. The eldest was Neelamma, the second was Shanta, but her name was Rajamma( she was called only Raju) and the youngest was Sharada. She was fluent in Marathi and Kannad and could sing very well. When she was about 18-20 years she went to Kolhapur, which was an active centre of Film making. Her first film was Bhedi Rajkumar aka Thaksen Rajputra-1934. her role was a minor one.
Her first major role was in the film Kanhopatra-37(Marathi). She was picked up by Prabhat stalwarts for their film Mera Ladka (Majha Mulga in Marathi)-38. Her acting and songs impressed V. Shantaram.
Shantaram was planning a path breaking film Maanus (Marathi-Aadmi in Hindi) in those days and was in the process of finalising the cast. Vasant Desai who was Shantaram’s chela in those days was aspiring to become a Music Director. He started his career as an actor in small roles and he sang songs too. He had very high hopes that Shantaram will do something for him. One day Shantaram called him and said,” I am planning a new film. You will be the Hero and Shanta Apte will be the Heroine.” Vasant was very happy. His auditions were good.
Meanwhile “Mera Ladka” became quite popular and its songs particularly,”dekhoon kab tak baat( Paahu re kiti waat-Marathi)” by Shanta bai and composed by Keshavrao Bhole was a great Hit. Impressed with her effortless acting and natural singing style, Shantaram changed his mind and decided to cast Shanta Hublikar and Shahu Modak as the lead pair for Aadmi.
Shantaram called Vasant Desai and told him,” Be ready for a shock. I have decided to make Shanta Hublikar and Shahu Modak as the Hero and Heroine of my new film. You will have to wait. But your time will come ” Vasant Desai was heart broken. With Shantaram’s permission he composed music for Shobha and Aaankh ki sharm in 1942 and Mauj in 1943. He had worked as an assistant to Tembe, Krishnarao Bhole and Mainkar. he had acted and sang in Amar Jyoti. His time came when Shantaram gave him SHAKUNTALA-1943 as its Music Director.
Meanwhile Shanta Hublikar fully justified her selection for Aadmi-39. Her songs and acting became hits. Her multilingual song “ab kis liye kal ki baat” in Hindi, Punjabi, Gujarati, Tamil, Telugu and Bengali became a landmark song in Hindi films forever.
Shanta did not do many films. She did a few Marathi, Kannada and Hindi films- Thoratanchi Kamala and Pahila Palna in Marathi, Jeevan naatak in Kannada and Prabhat, Ghar ki Laaj, Maalan, Kulkalank and Jeewan Chhaya in Hindi.
After that Shanta married a rich businessman from Poona-Bapusaheb Geete, proprietor of Deccan Cloth Emporium in Poona. She did try a comeback in 1958 with Filmistan’s ‘Saubhagyawati Bhava and Ghar Grihasthi but that was the end. She then retired from films.
Shanta Hublikar died on 17-7-1992 at Poona.
The film Mera Ladka-38 was directed by Keshav Narayan Kale. He was born on 24-2-1904 in Maharashtra. After his formal education he became a radical Journalist and to give expression to his ideology joined films, as an actor,Director and writer. He acted in major films like Amar Jyoti, Dharmatma, Parakh for which he wrote the story and screenplay also.He acted in 13 films, Directed 7 films and wrote for 3 films, starting with Prabhat’s Wahan, which he also directed. His last film was Didi-1959. He died on 20-2-1974 at Bombay.
I saw MERA LADKA-1938 sometime in the fag end of the 40s, in a Prabhat Film Festival, at Hyderabad. The story was an offbeat one, not the usual love-story. The cast was Shanta Hublikar,Shahu Modak, Ulhas, Vasantrao Thengdi, Balakram, Master Chhotu, Vatsalabai Joshi etc.
Diwakar (Shahu Modak) is a young man full of new ideas, has hot blood and a rebellious thinking. He is a radical Journalist having his Printing press and editing a Newspaper. He has a rich girl Nalini (Shanta Hublikar) as his girlfriend. She sympathises with him but does not share his radicalism. His middle class father does not like all this. He wants Diwakar to do a 9 to 5 job like any other person.
His father expresses his displeasure to the cunning and scheming political friend of Diwakar, Vithal Rao (Vansant Rao Thengdi), who takes advantage of the situation. He arranges a strike in the press and when it closes down, takes over it.The father is happy, but Diwakar does not yield. Instead of doing a 9-5 job, he decides to contest against Vithal Rao in the Municipal election.
Nalini also contests. First she joins the group of Vithalrao to know his tactics and then shifts to Diwakar’s camp. She even campaigns for Diwakar.In the elections, Nalini wins, Diwakar loses,but he gives a speech, claiming a Moral Victory for him,as Vithal rao is defeated.
Film director Kale, being a radical journalist himself before entering films ,got so much involved in the film that after the film, he actually wrote a long essay ” Mera Ladka-Some Musings” in a local newspaper in 1939 ! (In Marathi it was titled ‘ Majha mulga chya Nimittane…)
Excellent performances by Shanta and Shahu Modak earned them the coveted roles in Aadmi(Manoos in Marathi)-1939, which happens to be a Milestone film in India.
The music Director was Keshavrao Bhole. Here is the second song from this film in the blog….
Song- Kaisa jaadu daala toone jaan-e-jaan (Mera Ladka)(1938) Singer- Shanta Hublikar, Lyricist-Pt. Anuj (S.L.Shrivastav), MD- Keshavrao Bhole
Lyrics
Apne dil ki baaten
maine tumhen hai sunaani
apne dil ki baaten
maine tumhen hai sunaani
shabo roz furkat mein rahoon
main pareshaan
shabo roz furkat mein rahoon
main pareshaan
Kaisa jaadu daala toone jaan-e-jaan
Kaisa jaadu daala toone jaan-e-jaan
naalon se mere jo uthha hai ye dhuaan
haan
naalon se mere jo uthha hai ye dhuaan
Kaisa jaadu daala toone jaan-e-jaan
chaahe mujhe thhukra do yaa
hiya mein basa lo
chaahe mujhe thhukra do yaa
hiya mein basa lo
haal dard e dil ka main karoon kaise bayaan
haal dard e dil ka main karoon kaise bayaan
kaisa jaadoo daala toone jaane jaan-e-jaan
raah e muhabbat se peechhe kadam na hataaoon
raah e muhabbat se peechhe kadam na hataaoon
tu bhi raaz e dil wo pyaar(?) kar de ??
tu bhi raaz e dil wo pyaar(?) kar le ??
Kaisa jaadu daala toone jaan-e-jaan
Kaisa jaadu daala toone jaan-e-jaan
haan
jaane jaan
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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