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

Archive for the ‘Song of 1939’ Category


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

Blog Day :

3926 Post No. : 14994 Movie Count :

4103

Today’s song is from an old film of the first decade of the Talkie films-Mera Haq aka In search of happiness-39.

When New Theatres in Calcutta started making Talkie films, very soon their Bi-lingual films became very popular. There were quite a few reasons like, good actors, good songs and good distribution network pan India. However, I think, the most important reason of their success was that their films were primarily based on well known novels, dramas and stories. B N Sircar had understood that if the story is strong, the efforts of the Director and Composers will surely make the film a successful one.

The intelligent and business minded film makers of Bombay soon understood this and films on world famous novels, as well as popular Indian stories were made in Bombay too ! Soon, it was clear that more than being honest to the original story, the makers of Bombay were concentrating on commercial successes even at the cost of compromising the written script.

This, I feel was the basic difference between the mindset of the West and East parts of India. Learned, studious and highly principled Bengalese stuck religiously to the original stories, while in Bombay, Saraswati started working for Laksmi ! As the times went by and the Bengal empire of New Theatres crumbled, the importance of solid, strong story base for a film remained only a dream for Bombay. Still, Bangla Directors who came to Bombay in search for greener pasteurs, believed strongly and stuck to strong story base. This was generally the scenario till mid 50’s, after which everyone became commercial and story lines became secondary, optional and manipulable devices.

In the early era of the Talkie, Bilingual films in Bombay (Marathi and Hindi) was a common thing. Most films made in Kolhapur and Poona were also made in Hindi simultaneously. Many talented writers from Marathi literary field, like Hari narayan Apte, mama Varerkar, Ga. Di. Madgulkar, V S Khandekar, N S Phadke and Acharya Atre were connected with film industry. Baburao Painter, Master Vinayak, V Shantaram etc made best use of their talents in writing film stories.

Today’s film Mera Haq-39 was made by Huns Pictures of Master Vinayak. This film was based on a story of V S Khandekar (later on he became the first writer in Marathi to get the Sahitya Academi Award also). The film was made in Marathi and Hindi. The Marathi title of the film was ” Sukhacha Shodh” and the other title of Mera Haq was its translation ” In search of Happiness “. The Marathi story and dialogues were translated into Hindi by Pt. Anand kumar.

Like Pt. Mukhram Sharma of Prabhat films, Anand Kumar was also belonged to a Hindi speaking state, but both had mastered Marathi. I do not know if Pt. Anand kumar also married a Marathi actress like Mukhram Sharma who had married actress Shanta Muzumdar. Pt.Anand kumar was born in Delhi in 1907. He was a producer, director, writer and Lyricist. From childhood, he was not interested in studies in English medium. He was taught Urdu, Hindi and Sanskrit by his poor Brahmin Shastri father. When he was 15 year old, he entered a business. He was always discontented. He wanted to become an actor, but family resisted. He tried fasting and even suicide. Then he stole some money and ran to Bombay. He could not get into any studio and after money finished, he returned to Delhi, only to take more money and run to Bombay again. Even after this failure, he went back to Delhi and started writing stories.
His first book ‘ Mera Huq ‘ became a hot seller and he started earning money. He was invited by film people and he went to Bombay nth time. He wrote stories, dialogues and Lyrics of scores of films and earned name and money. He produced a film ‘Zameen’-43, under his own banner Anand Brothers. He directed 5 films,including a Hit marathi film, Gora Kumbhar-42. Some of his films as a Lyricist were Suvarn Mandir-34,Katle aam-35, Pratibha-37, Divorce-38, Saathi-38, Alakh Niranjan-40, Punarmilan-40, Charnon ki Dasi-41, Raja Rani-42 etc. As a writer some films were, Divorce-38, Honhaar-36, Saathi-38, Vasant sena-42, Rang mahal-48 etc etc.

Film Mera haq-39 was directed by an exceptionally talented director Parshwanath Alatekar. This name too must be unknown to most people. Altekar (1897-1957) was from Khare Patan in Ratnagiri, the coastal Konkan area of Maharashtra. He was educated in Kolhapur and graduated from Sangli. He abandoned Law studies to direct a drama in 1922. Basically a drama enthusiast, Altekar entered film world in Marathi and directed many films in silent era. He joined hands with Sarpotdar, Master Vithal and Pendharkar brothers. In 1928, he made 4 films for Imperial film co, then for Saraswati Cinetone, Master Vinayak and Circo films. He made few Tamil and Kannada films too.

He floated his own company Natraj Cinetone and made Hindi/Marathi film Saathi/Savangadi in 1938 with Durga Khote and Mubarak. Meanwhile he worked for his pet drama group Natya Manwantar. Alatekar died on 22-11-1957 at Bombay. he directed 13 films including silent and Tamil/Kannada films. His Hindi films were Vasavdatta-34, Saathi-38, Mera Haque-39, Geeta 40 and Mahatma Vidur-43.

The lead actor in film Mera haq-39 was Baburao Pendharkar. Baburao Pendharkar(1896-1967) was a Pioneer Marathi actor and producer born in Kolhapur. Actor-manager of Maharashtra Film (1919); then a manager in Prabhat (1929); manager and main star at Kolhapur Cinetone (1933) and for several years associated with Master Vinayak at Huns Pics (1936) and Navyug Chitrapat; then producer with Navhans (1943). Best-known work after the mid-40s was with V. Shantaram at Rajkamal Kalamandir, including the classic role of the Chinese general in Dr Kotnis Ki Amar Kahani, and with his brother, the director Bhalji Pendharkar. Noted actor as a villain in mythologicals (e.g. in Shantaram’s Ayodhyecha Raja/Ayodhya Ka Raja, Kans in Vasant Joglekar’s Nand Kishore, and Keechaka in Pethkar’s Keechaka Vadha) and for character roles in socials by Atre (the crotchety grandfather in Shyamchi Aai; the title role of Mahatma Phule). Directed Prabhat’s only major Tamil film, Seeta Kalyanam, a landmark in Tamil cinema. Also a noted stage actor. His autobiography (1961/1983) is also an important record of Marathi film history. From Jalti Nishani-1932 to Amrapali-1966, he worked in 69 films in all.

The story of Mera haq was written by V S Khandekar and it depicted the importance of a joint family, role of the elders in controlling the wayward new generation. The story was…

Anand (Baburao Pendharkar) is a Professor in a college and married to Manik (Vimal Sardesai), who is all the time busy in doing social work and who, in the process, does not justify being a housewife, or a daughter in law or even a wife.
One day, Anand meets Miss Chanchal (Usha Mantri- one of the most beautiful actresses of those times), when he goes to meet a friend at Sahyadri Cinetone. Chanchal catches him in her net perfectly and he becomes mad after her.
When Anand’s life is mess with all this, he chances upon meeting Usha (Meenakshi Shirodkar), a poor little widow- whom Anand has saved from committing a suicide.

When Usha learns all the story from Anand, she goes and talks to Anand’s parents and Grandfather, in a village and brings them to live with Anand and Manik. Together they hatch a plan to repair the situation. They announce that Anand will marry Usha and bring her as his second wife as he is not getting any happiness from Manik. When Manik comes to know this, she gets panicky and mends her ways, leaving all social work and tries to be an ideal wife. Anand’s friend Chanchal also deserts him when she learns about his second marriage.

When all the matters settle down satisfactorily, Anand and Usha, in presence of elders of the family disclose the truth that they are not marrying each others and it was planned to show Manik where the real happiness lies.

In this case, the film’s Marathi version came out first and the Hindi version was released on 15-9-1939 at Majestic Cinema in Bombay, well after the Marathi film was released.

The lead actress Vimal Sardesai hailed from Konkan are and started her film career as baby Vimal. She acted in only 7 Hindi films. Her first film was Saathi-38. This was the Hindi version of Marathi film Savangadi-38, starring Durga khote and Mubarak Merchant. her second film was mera haq-39. It was her first film as a Heroine. This too was a Hindi version of Marathi film ‘ Sukhacha Shodh”. Then came Narsi Bhjagat-40 made by Prakash pictures, Alakh Niranjan-40 was a Hindi version of Marathi film Gorakhnath-40, Apna Ghar-42 was a Hindi version of Marathi film Aaple Ghar-40- directed by Debki Bose, his first film in Bombay, Wadia’s Shobha-42 and her last film was Mahatma Vidur-43, a Hindi version of Marathi film of the same name. This was also the last film of Parshwanath Altekar the director.
After this film Vimal Sardesai was traceless. Probably she got married and left films.

Today’s song is a female duet of Vimal Sardesai and Meenakshi Shirodkar. With this song, film mera haq-39 and singer Vimal Sardesai make their debut on this Blog.

(My thanks to ” Marathi Cinema in Retrospect”-Sanjit Narvekar, ” Maharashtra- Birthplace of Indian Film Industry”- Isak Mujawar, Encyclop. of Indian Cinema by Ashish Rajadhyaksha, Filmdom-46 and my notes, for information used herein.)


Song-Kheloongi kheloongi main aankh michauli kheloongi (Mera Haq)(1939) Singers- Meenakshi Shirodkar, Vimal Sardesai (Baby Vimal), Lyrics- Pt Anand kumar, MD-K Datta
Both

Lyrics

kheloongi
kheloongi
main aankh michauli kheloongi
kheloongi
kheloongi
main aankh michauli kheloongi
main jhooloongi
main jhooloongi
kheloongi
kheloongi
main aankh michauli kheloongi

main chaand talak chal jaaoonga
main kunj taley chhip jaaoonga

main jhooloongi
main jhooloongi
main aankh meench kar chhipti hoon
main tan ankhiyon se takti hoon
takne ka badla le loongi
kheloongi
kheloongi
main aankh michauli kheloongi

main chhip jaaoon
jaa chhip jaa
main aa jaaoon
tu thham jaa

khushboo ban kar phoolon mein chhip
phoolon mein chhip
phoolon mein chhip
khushboo ban kar phoolon mein chhip
ya roop badal rangon mein chhip
belon mein chhip
kaliyon mein chhip
seene mein chhip
ya dil mein chhip
belon mein chhip
kaliyon mein chhip
seene mein chhip
ya dil mein chhip

main jhooloongi
main jhooloongi
main jhooloongi
main jhooloongi
kheloongi
kheloongi
main aankh michauli kheloongi

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

3921 Post No. : 14984 Movie Count :

4098

Wadia Movietone has been known for producing films in the genres mainly of stunts, actions, fantasies and costumes. The banner was set up in 1933 by Wadia Brothers – J B H Wadia (1901-1986) and Homi Wadia (1911-2004). ‘Laal-E-Yaman’ (1933) was its first sound film produced under the banner and directed by J B H Wadia which became a box office success. With this film, the name of Fearless Nadia who had a small role in this film and Wadia Movietone became inseparable in the 1930s and 40s.

From the list of films produced under the banner of Wadia Movietone, mainly during 1930s and 40s, one can categorise the films as ‘Rail Films’, ‘Jungle Films’, ‘Arabian Nights Films’ etc.

Wadia Brothers were pioneer in producing films based on the railway themes. Their first ‘rail’ film was ‘Toofaan Mail’ (1932- Silent) which became box office success. In the talkies’ rail films, ‘Miss Frontier Mail’ (1936), ‘Flying Ranee’ (1939), ‘Punjab Mail’ (1939), ‘Return of Toofaan Mail’ (1942) etc were produced by Wadia Movietone. They were also pioneer in ‘Jungle’ films such as ‘Toofaani Tarzan’ (1937), ‘Jungle King’ (1939), ‘Jungle Princess’ (1942) etc.

As far as I know, Wadia Movietone produced the first Hindi film ‘Naujawaan’ (1937) without having any songs. It was an action-oriented film. But the film had to be withdrawn from a Delhi theatre when riots broke out. The audience screamed that Wadias had cheated them as they felt that a film was incomplete without songs. The film flopped at the box office.

Wadia brothers had been raised in westernized culture. Hollywood films were their role models. But sometime in the mid-1930s, J B H Wadia, the elder brother and the main brain behind Wadia Movietone was attracted towards ongoing nationalist movements. He got associated with Indian National Congress. With this association, he felt that it was his duty to produce the socially relevant films with some social messages for the masses. A few of his subsequent stunt films conveyed social messages like women’s emancipation, evils of caste system, need for education etc. For instance, in ‘Hurricane Hansa’ (1937) it has been shown as to how a ‘harijan’ girl Hansa transforms into ‘hurricane’ Hansa to take revenge on those who had destroyed her family.

The year 1938 played a definitive role in the life of J B H Wadia as he came into contact with Manabendra Nath Roy (M N Roy) one of the founders of the Communist Party of India. Later, he left his Marxist ideology and adopted the philosophy of Radical Humanism. Both were briefly associated with Indian National Congress but left Congress in 1938 to form a new party called Radical Democratic Party of India. His friendship with M N Roy remained intact until the latter’s death in 1954. Many years after his death, J B H Wadia wrote a memoirs of his years with M N Roy and got it publish as a book – M N Roy, The Man: An Incomplete Royana (1983).

This association had a far reaching impact on J B H Wadia in terms of film productions in Wadia Movietone. He started spending more time in his political activities than in Wadia Movietone. Most of the films were either directed by his younger brother, Homi Wadia or other directors. He just wanted to ensure that the films’ screen-plays and dialogues cover some social themes more than the stunts. He had also become the conscious of the Hindustani classical music.

As contributions towards socially and culturally responsible film-maker, he started making short films like Netaji Subhash Chandra Bose’s speech at a Congress Committee meetings, on classical musicians like Mallika Pukhraj, Kumar Gandharva, Feroze Dastoor, (some of them are available on YT). These short films were given to exhibitors free of charges to be shown before the feature films of Wadia Movietone were screened.

Around the same time, J B H Wadia seems to have felt that having established successfully Wadia Movietone, he was looking for some kind of establishing his intellectual credibility as a producer-director of repute ( I guess, JBH Wadia may have been influenced by the name and fame which his compatriot directors like V Shantaram and P C Barua had earned in the Hindi film industry). With this background, he took upon himself an ambitious project ‘Raj Nartaki’ (1941) which was to be produced in three languages – Hindi, English (Court Dancer) and Bengali.

‘Raj Nartaki’ (1941) was a prestigious project for J B H Wadia. Wadia Movietone spend a lot of money on the elaborate and expensive sets. Top stars like Prithiviraj Kapoor and Sadhana Bose were part of the film’s cast. While the film established J B H Wadia as an intellectual film maker, the film in all the three languages together could barely recover the cost of productions. In a way, it can be said that the film was a final straw in a already stained relationship between the partners of Wadia Movietone which was running into the losses.

In any partnership firm, when chips are down, the disagreements between partners come to the fore. Homi Wadia, 10 year younger to his elder brother, J B H Wadia was so far been a junior partner. With losses mounting due to some films not faring well at the box office, the differences between the Wadia Brothers came into forefront. While J B H Wadia wanted to make films in the social genre, Homi Wadia and another partner, Billimoria wanted to make box office hit films irrespective of genres. The irreconcilable differences between the brothers led to the split with Homi Wadia going separate to set up his own Basant Pictures and Basant Studio. As a part of dissolution of partnership and settlements, Wadia Movietone had to sell its studio located at Parel to V Shantaram which was renamed as Rajkamal Studio.

After the split, Homi Wadia slicked to producing stunts films at a shoe-sting budget such as ‘Hunterwali Ki Beti’ (1943), ‘Sher-e-Baghdad’ (1946), Flying Prince’ (1946), ‘Stunt Queen’ (1947, and ’11 o Clock’ (1948) with Nadia and John Cawas as main actors. Despite the split, Homi Wadia and J B H Wadia jointly produced about 16 films during 1950-70, the latter now being a junior partner.

‘Kahaan Hai Manzil Teri’ (1939) was one of those ‘out-of-the-box’ films from Wadia Movietone which was directed by S M Yousuf. The star cast included Ila Devi, Harishchandra Rao, Radharani, Shah Nawaz, Urmila, Master Chhotu, Nazira, Agha, Dalpat, Sayani Aatish etc.

A summarized version of the story of the film given in the review of the film published in December 1939 issue of ‘Filmindia’ magazine is set out below:

The story goes back to old times when sacrificing of a virgin at the altar of god to please him was practiced. In a Santhal village, the annual sacrifice of a virgin is under preparation with the high priest of the temple supervising the event. In reality, the high priest, Balraj (Shah Nawaz) has arranged to keep unscrupulously these virgins in a hidden room as unwilling victims of his lust.

Paras (Harishchandra Rao) protests against this rituals and this time it is his sister’s turn for the sacrifice. His resistance to the ritual earns the wrath of the high priest. Paras escapes from the village with the help of Godavari (Radharani) who is the daughter of Balraj. She is also in unrequited love with Paras.

Paras goes to the capital of an Aryan king, Satluj who is determined to root out the primitive practice of sacrificing of virgins. In the kingdom, Paras becomes affectionate of Princess Ragini (Ila Devi). Paras reciprocates her affection. But he has little time for love as his aim is to avenge the death of his father and the ‘sacrifice’ of his sister.

In the Aryan capital, Naru, the prime minister of the kingdom is planning to overthrow the king with the help of Balraj for realization of his own ambitions. The king is killed. Princess Ragini is kidnapped and handed over to Balraj for ‘sacrifice’. Paras goes to save Princess Ragini from this trap. Once again, it is Godavari who helps him at the cost of sacrificing her life at the hands of her own father.

At last, Paras becomes successful in exposing Balraj as scoundrel under the grabs of religious activities and the superstitions. Santhals and Aryans are united in a bond of brotherhood. Paras wins the hands of Princes Ragini.

One can guess from the story of the film as to how J B H Wadia has been influenced by the M N Roy’s ideology of Radical Humanism which worked for the eradication of social evils, women’s emancipation, education etc.

The film had four songs – all written by Wahid Qureshi who also wrote the story and dialogue for the film. Songs were set to music by Madhavlal Damodar Master.

Here is the first song – a title song – ‘kahaan hai manzil teri musaafir’ from the film to appear on the Blog. The song is sung by Ila Devi and Chorus.

Acknowledgement: In writing this article, especially for the period during which J B H Wadia’s political association, his passion for humanist ideology, his yearning for name and fame as an intellectual producer-director, I have been greatly benefited by a scholarly article by Rosie Thomas on Nadia and Wadia Brothers which appeared in a book ‘Bollyworld: Popular Indian Cinema Through A Transitional Lens (2005) – Edited by Raminder Kaur and Ajay J Sinha.

Audio Clip:

Song-Kahaan hai manzil teri (Kahaan hai Manzil teri)(1939) Singers-Ila Devi, Unknown male voice, Lyrics-Wahid Qureshi, MD-Madholal Damodar Master
Chorus
Ila devi + chorus

Lyrics

kahaan hai manzil teri
kahaan hai manzil teri
kahaan hai manzil teri musaafir
kahaan hai manzil teri ee

bhor bhayi sab panchhi jaage
bhor bhayi sab panchhi jaage
apne apne kaam ko bhaage
apne apne kaam ko bhaage
tu bhi chala chal aage aage
raste ko mat bhool

kahaan hai manzil teri

chalne hi kaa naam hai manzil
chalne hi kaa naam hai manzil
chalne se mat ho tu gaafil
sone se kya hogaa haasil
sone se kya hogaa haasil
apne mann se poochh musaafir
apne mann se poo….chh

chalna teri reet puraani
chalna teri reet puraani
sunn dariya se apni kahaani
jeewan tera behta paani

chalne ko mat bhool musaafir
chalne o mat bhoo……ol

kahaan hai manzil teeeeeri eeeee


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 :

3848 Post No. : 14857 Movie Count :

4064

Today’s song is from an obscure film- Sansaar Naiya-1939. This film was made jointly by Paramount and liberty pictures, Bombay. Actually, both these film companies made only and mainly Action/Stunt and Costume films. Since this was a ‘Social’ film, may be they had to support each others as they were presumably not used to handling such ‘offbeat’ film, from what they were accustomed to produce !

Though the film was classified as Social, the cast of the film contained predominantly seen stunt film actors only. They were Navinchandra, Sarojini, Noorjehan(sr), Basheer, Dhulia, Mirajkar, Mansoor, Kanta Kumari and others of the same ilk. There is also one name ” Puri” in the cast. He seems to be S.L.Puri, who was a singer also. In this film he has 4 solo and 3 duets with Sarojini. This could be the reason why he was in this action film.

For many readers, the name Sarojini may be an unknown name. This is exactly and what generally happens, when siblings are working in Films at the same time. Yes, Sarojini was the elder sister of the more famous actress Indurani. Both were stunt film actresses and worked in around 15+ films only. In reality, it was because of Sarojini that Indurani was dragged into films. Sarojini did more number of quality films than Indurani and also acted in more social films than Indurani. Her career period was longer than Indurani and her daughter Azra became a Heroine in Hindi films.

In spite of all these ‘better’ things, Sarojini’s younger sister Indurani hogged all the limelight. Articles were written on her and even an independent book was published on Indurani in USA. No one wrote on Sarojini exclusively. She appears in Indurani’s book and also is mentioned in Azra’s interview on beetehuedin.com

This type of fate is experienced by few more siblings in Hindi film industry. here are some examples, which I remember off hand…. Every movie buff knows the stingy Kanhiyalal, made famous by his roles of greedy merchants, sahukars (moneylenders) and a comic villain. He became more famous after film ” Mother India-57 “, though he did the same role in the original film ” Aurat”-40. But how many readers know that his elder brother was Sankata Prasad , an actor who was a regular in Sagar Movietone films, and later in more that 65 films ? Actually Sankata Prasad was responsible to bring his brother Kanhaiyalal (Chaturvedi) in the film world.

The eldest son of Jaddan bai, Akhtar Hussain, a very talented actor and director fell back on fame and publicity compared to younger brother Anwar Hussain. I am not comparing him with his sister Nargis.

Among the Travancore sisters, Raagini and Padmini shone here, but Lalitha did not shine in Hindi films. Nasir Khan lived all his life as brother of Dilip Kumar and had not many famous films to his credit. Some more such cases are, Laxmi Roy (younger sister of Geeta Roy), Laxmi Kumthekar (younger sister of Vatsala Kumthekar ), Compser Basant Prakash ( brother of Khemchand Prakash) and many more.

This is what I call as Luck. I agree that Talent is an individual gift and not a family or a traditional handout, but when all things are equal, one sibling lagging behind due to external factors, is purely a matter of Luck.

Actress Sarojini- real name Roshan Jehan and pet name Rani- was born in Delhi to Parents Sheikh Imamuddin and Munawwar Jehan, in 1920. Both sisters were put in a mission school of Daryaganj, Delhi. In those days, children were not allowed to see films, but Sarojini was interested in films and used to read film magazines, unknown to family. She was bold enough to send a letter to an actress of Saraswati Cinetone, Poona. In few days, she received a reply with that actress’ photo. The company asked her to send her photo. Sarojini managed to get a photo and send it across. Soon the company wrote to her that she will be appointed as an actress for Rs. 300 p.m.. Those days, this amount was a windfall.

When her father came to know all this he first gave a sound thrashing to her. Then he started thinking. Due to gambling and addiction, he had lost his business and they were in financial distress. He thought of earning some money by employing his daughters as actresses. He took Sarojini and a very reluctant Indurani to Poona. That time Sarojini was in English 8th std and Indu was in 9th std. At Poona, both got job as actresses at Rs. 300 each, as promised. Plus arrangements for their training in acting, singing and dancing was also arranged. Their father took Rs. 1000/- as advance, gave them some money and returned to Delhi. He sent their grandmother as their guardian.

Sarojini, being the elder, started working in the films immediately with film Deewani-1934. Then came Shri Satyanarayan-35. After closure of Saraswati cinetone, they came to Bombay and stayed in Hindu colony, Dadar. For some time they were engaged by Minerva Movietone for Rs. 450 pm, but when Ramniklal Shah offered them Rs. 500, they joined his company, Mohan pictures. While Indurani worked with Ramniklal, Sarojini worked with Nanubhai Vakil. Eventually, Indu married Ramnik Shah and Sarojini married Nanubhai Vakil in 1943.

Sarojini worked in 17 films in all- Deewani-34, Shri Satyanarayan-35, Bharat ki beti-35, Sundari-36, Son of Alladin -39, Sansar naiya-39, Madhu Bansari-39, Sanskaar-40, Jadui kangan-40, Hatimtai ki beti-40, Deepak Mahal-40, Taj mahal-41, Jadui bandhan-41, Farmaan-42, Naya Zamana-43, Son of Hatimtai-45 and her last film Cicus King-46. The sisters worked together in 3 films, Hatimtai ki beti and Jadui kangan of 1940 and Tajmahal-1941.

Sarojini had 2 daughters. The elder one Azra became a Heroine of many Hindi films. She married and retired. She stays in Bandra, Mumbai. The younger one Rehana, worked for an Airline, retired, widowed and stays in USA. Sarojini died in 1993. Her husband died in 1980.

Film Sansar Naiya was directed by Nanubhai vakil and MD was Damodar Sharma. All songs were written by Pt. Anuj (Sampatlal Shrivastav).

The Hero of this film was Navinchandra.

Navinchandraa’s full name was Navinchandra N. Joshi. He was born in 1907 at Jambusar and belonged to a Gujarati Bramhin family. When he was studying Intermidiate, his dream was to do M.Sc. and become a Professor. He was very much interested in body building and was a weight lifter.He was expert in Long jump, High jump and Malkhamb too, along with yogasanas. This made his body solid. Fair and handsome physique was noticed by one of the seniors in his Gym and he was taken to Bombay to meet produced director Indulal Yagnik. He offered him a Hero’s role in a stunt film. Thus Navin entered the film line with first silent stunt movie “The fall of Pawagarh”-1928. It was produced by Indulal Yagnik and directed by Nagendra Mujumdar. His first Heroine was Iris Crawford. He worked in more than 20 silent films and was famous as the Hero of Stunt and action films.

His first Talkie film was Kala Pahad-1933 in which his Heroine was Gauhar Karnataki ( sister of Amirbai karnataki and wife of Marathi stage artiste Bal Gandharv). The film was made by Sharda Movietone and directed by Baburao Apte (brother of actress Shanta Apte). Navinchandra acted in 33 talkie films, mostly stunt and action films. When the attraction of stunt films waned, he stopped getting roles, because stunt films were not being made now on roll. His last film was Jadui Putli-1946.

His age also caught up with him and he stopped getting films. He started doing small uncredited roles like an extra. The last information about him was when he was working as a Production manager in Imperial Film company, where now the studio was rented to other producers for shooting their films, by Irani’s heirs. One peculiar thing about Navinchandra was that except for the film’s required costume, he was always seen in Dhoti and Kurta only.

Today’s song is a rare song. The film had 11 songs (4 duets and 4 solos of Puri and 3 solos of Sarojini) The tune and style of the song is typical of the 30s period and quite a slow one, with long music prelude. With this song, film Sansar naiya-39 and singer Sarojini will make their Debut on the Blog.

( Thanks to shri Harish Raghuwanshi ji, Sadanand Kamath ji, ‘Asli Naqli chehere’ by Vithal Pandya, ‘ Silent cinema’ by Dr. Varma, MuVyz, HFGK and my notes, for information used hereabove.)


Song-Ritu basant ki aayi pyaari (Sansaar Naiyya)(1939) Singers- Sarojini, S L Puri, Lyrics- Pandit Anuj, MD- Damodar Sharma
Both

Lyrics

ritu basant ki aayi pyaari
ritu basant ki aayi pyaari
kaisi phool rahi phulwaari
kaisi phool rahi phulwaari
ritu basant ki aayi pyaari
ritu basant ki aayi pyaari

shaakhon pe baagh ke jhoolo
shaakhon pe baagh ke jhoolo
bulbul ban gulon ko chhoo lo
bulbul ban gulon ko chhoo lo

titli ban ke phool phool mein
titli ban ke phool phool mein
jaaun waari waari
jaaun waari waari
ritu basant ki aayi pyaari
ritu basant ki aayi pyaari
kaisi phool rahi phulwaari
kaisi phool rahi phulwaari
ritu basant ki aayi pyaari
ritu basant ki aayi pyaari

bhanwra ban ke main ud jaaun
bhanwra ban ke main ud jaaun
kali kali ka ras le aaun
kali kali ka ras le aaun

kunj kunj mein prem ki beena
kunj kunj mein prem ki beena
bajwaaun(?) sukh gori
bajwaaun(?) sukh gori
ritu basant ki aayi pyaari
ritu basant ki aayi pyaari ee


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 : 3788 Post No. : 14772

SONGS FROM ARTISTE NAME FILMS….Song No. 11
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Today’s song is from the film Sitara-1939.

About 4 years ago, I had run a series of songs from films with Artiste’s names. I had discussed songs from films like, Madhubala-50, Nargis-46, Veena-48, Usha kiran-52, Renuka-47, Madhuri-32, Hurricane Hansa-37, Zubeida-2000, Kamla-46 and Aasha-38 ( A to Z ). When the series ended discussing 10 songs, I found that I had few more songs from similar titled films like, Nirmala-38, Sitara-39, Vasanti-38, Poornima-38, Meenakshi-42 and Durga-39. Today’s song is from this collection.

Film Sitara was made and directed by Ezra Mir, under his own banner, Everest pictures Corporation. The music was by Rafiq Ghaznavi for songs written by Munshi Dil. The cast of the film was Ratanbai, Khursheed, Nazeer, Mubarak, K N Singh, Sunalini Devi, Violet Cooer, Mirza musharraf and many others. There was, however, no artiste of name Sitara in it.

Senior readers in the bracket of 55 to 75 years of age would recollect the Indian Documentaries made by Ezra Mir, shown before almost every film in the theatres. Indian News Reel and these documentaries on various subjects were actually used as a facility to enter the theatre late and still catch the whole movie from the beginning. These documentaries were made mostly by Ezra Mir and the voice over used to be that of Pratap Sharma usually. ( his younger brother Mahesh Sharma was my good friend in those days).

Ezra Mir was one of the rare persons who worked in the famous Hollywood studios for a considerable time, before he came to India and got involved in making films here. He was also a rare person who, despite being in great demand in the commercial cinema, chose to join a Government organisation and did a monumental significant work for the future generations. For a long time, I was thinking him to be a Muslim man, but at a much later date, I came to know that he was a Jew person.

Ezra Mir ( real name Edwyn Meyers) was born on 26-10-1902 at Calcutta. After completing his education, he joined Madon Theatres in 1921. In 1923, he left for Europe and America to work in film industry. After doing bit roles in Rudolph Valentino’s films in Long Island, New York and working for First National Biograph Studios, he joined the Universal studios as a ” Film Cutter ” and later as a Scenario writer. By his diligent and hard work he became the chief of story Department in United Artistes. In 1929, he wrote and directed a film ‘ Simbolisque ‘, which created a sensation in the film circle there.

With the advent of the Talkie, he came back to India , joined Imperial Film co. and made film Noorjehan-31 in Hindi and English. In 32-33, he joined Sagar movietone and directed Zarina-32, Pagal premee-33 and Farzand e Hind-34. Then Ezra went to Calcutta. After doing some films he came back and made documentaries on second world war. In 1940, he was appointed by the Govt. on Film Advisory Board. In 1942, when V.Shantaram left as its head, he became the head. From 1942 to 1946, he made 170 documentaries.

In 1951 he joined Films Division and in 1956, became its President. In his tenure here, he made 400 documentaries. In 1970 he got ‘ Padmashri ‘. Ezra Mir died on 7-3-1993. His Filmography is Noorjehan-31, Zarine-32, Pagal premi-33, Farzand e Hind-34, Mera Pyara and Rasheeda-35,Jeevan Sangram, Parivartan,Rajdulari and Shaitan ka pash-36, Rikshawala-38,Sitara-39, Beete din-47, pamposh-54 and Raju aur gangaram-64.

The Music Director of film Sitara-39 was Rafiq Ghaznavi, who was a multi faceted artiste. He acted in 18 films, directed 1 film, sang 30 songs in 15 films and gave music to 22 films and composed 191 songs, according to MuVyz.com.

Private life of a celebrity has always been a matter of curiosity for the common man and if the celebrity is from the show world like films ,then there are all attempts to dig out the ‘ behind the scene’ stories about the famous people.

In the early era, the female artistes were from the courtesan or the singing families. Most males too were not much educated. Thus there were many cases of illicit relationships and children out of wed locks. For the rich producers, having an ‘extra facility’ was a matter of a few thousands. In those days the social medias and the film magazines were not common, hence such matters hardly came into the open. The insiders, however, knew many stories. Few personalities like actor Shyam, Rafiq Ghaznavi, Prem Adeeb,C.Ramchandra were some of the artistes who were claimed to be involved in ‘ extra-curricular activities ‘. So were some Producers and Directors.

When careers are on the rise,talents are bright and the work is extraordinary, it hardly matters what the artistes do in their private lives. People are happy with their work. Yesteryear Actor,Singer and Music Director RAFIQ GHAZANAVI was one such person.

Rafiq was a singer from his school days and he became famous by the time he completed his Matriculation. He had learnt music from a blind expert. He was called by H.M.V. to Lucknow and several records were made of his songs. He completed his graduation. He was an expert in Hindi, Urdu, English, Punjabi, Pushtu and Afghan Persian languages fluently. He was a voracious reader of English books. He edited a magazine “Raavee”. His stage shows were always housefull. He was honoured by the American Art Society with a Gold Medal. He was famous in the art circles of Lahore.

His first film as a composer was ” Pavitra Ganga”-1932. Then came Prithviraj Sanyogita-33 and Deewaani-34 etc. He was a good friend of producer Director Mehboob Khan. The voice accompanying the Mehboob Productions Logo is that of Rafiq Ghazanavi, “Muddai lakh bura chaahe to kya hota hai, wohi hota hai jo manzoor-e-Khuda hota hai”. The famous Logo consisted of a Hammer and Sickle, indicating the socialistic inclination of Mehboob Khan, who was a great follower of Pandit Nehru’s idealogy. When 14 year old Nargis was offered the heroine’s role in Mehboob’s ” Taqdeer ” the music was entrusted to Rafiq Ghaznavi. Shamshad Begum was brought from Lahore specially to sing her first songs in Bombay for “Taqdeer” and Rafiq Ghaznavi was directing her songs.

Famous writer Saadat Hasan Manto, in his book “Stars from another sky “, had devoted a full chapter to Rafiq. Manto, in his inimitable style has described all his ‘extra ‘ activities in details,as he was an observer for most of them. Rafiq was tall and handsome and had the magical quality to attract women. Wine and women were his weaknesses. But there was much more to Rafiq than only running after lowly women. He was never a one woman man. He had married 3 sisters, one after another, but never remained faithful to any one of them. As far as his music was concerned, he was very strict and never mixed these two things. He always tried to give his best in every film. Here is a short Bio from a Pakistani source-pakfilms.net, some years ago.

Born to an enlightened family in 1907, in Rawalpindi, Rafiq Ghaznavi was full of life since his earliest days. He passed his childhood amidst scenic, natural beauty, surrounded by mountains, valleys and lakes.

After receiving his matriculation examination degree, Rafiq Ghaznavi moved to Lahore. In Lahore, he completed his intermediate examination from Islamia College, Lahore. Then he graduated from the Punjab University.

During those days if a handsome, enthusiastic young man was endowed with acting talents, he was more inclined towards the glamorous movie business. Rafiq Ghaznavi was no exception. Let us go seventy-five years back in time and see how movies were made in that time period.

Those were the days of silent movies. Though the vocal film ‘Alam Ara’ was released in 1931, still silent movies were in vogue for quite sometime, just like black and white movies continued to flood the market after the advent of color movies.

Visionary movie director, Mian A.R. Kardar, is considered the discoverer or ‘Columbus’ of the Lahore film industry. Moved by Rafiq Ghaznavi’s powerful voice and good looks, Kardar signed him as hero for his silent movie, ‘Brave heart’, while the latter was studying in college.

Thus, Rafiq Ghaznavi debuted in the film ‘Brave heart’ in 1931 at the age of twenty-four. Soon Rafiq Ghaznavi began to outlive his town and his time while his companions were thinking what to make of their lives.

Director A.R. Kardar, on the other hand, made his first talking film, ‘Hoor Punjab’ in 1932. Later, he changed its name to ‘Heer Ranjha’ and it was released under the banner of Play art photo tone.

Handsome, as Rafiq Ghaznavi was, Kardar picked him up for the romantic lead role of ‘Ranjha.’ While actress Anwari played the lead romantic role of ‘Heer Seyaal’. Additionally, Rafiq Ghaznavi composed music and lent his impressive voice to all the songs. Hence, he was the hero-composer-singer in the film ‘Heer Ranjha.’ Since all the songs were pictured on him he was also the singing star.

After working in ‘Heer Ranjha’, Rafiq Ghaznavi migrated to Bombay and worked diligently for the Bombay film industry. Rafiq was a multi talented man. He acted in 18 films. He directed 1 film-Prem pujari-35. He sang 30 songs in 15 films and he gave music to 22 films, composing 191 songs. (all statistics from MuVyz.com)

Dwelling on his personal life, Rafiq Ghaznavi married film actress Zehra and had a daughter, Shahina, from her. Shahina grew up and made her mark as an actress in movies like ‘Beli’, ‘Nigar’, ‘Aankh ka nasha’, ‘Bharosa’, and ‘Intiqaam.’

Rafiq Ghaznavi also had a son, Murad, from his first wife, Zehra. In due course of time, Rafiq Ghaznavi divorced Zehra. She married director A.M. Mirza and was known as Zehra Mirza.

Actress Anwari was the second wife of Rafiq Ghaznavi with whom he had a daughter, Zarina Agha. Later, Zarina changed her name to Nasreen and worked in director A.R. Kardar’s movie, ‘Shah Jehan’ and Daud Chand’s movie, ‘Aik Roaz.’
After Rafiq left Anwaribai, she married Jugal Kishore Mehra ( Raj kapoor’s Mama), who converted to Islam and became Ahmed Salman. He was also the director of Radio Pakistan. He adopted Nasreen and got her married to Agha Liyaqat Gul Tajik. He settled in London doing Diamond business.

Further, Nasreen Agha’s daughter, Salma Agha, achieved great name and fame as a singing star.

Actress Anuradha, whose real name was Khursheed Akhtar, was the third wife of Rafiq Ghaznavi, with whom he had a son, Ayaz Mehmood. Furthermore, one of Rafiq Ghaznavi’s daughter married popular writer-director, Zia Sarhadi. Zia Sarhadi’s two sons, Khayam Sarhadi and Bilal Sarhadi attained fame in show business.

Interestingly enough, all three wives of Rafiq Ghaznavi were real sisters and they hailed from Amritsar.

Rafiq Ghaznavi, who was such a charismatic figure, a talented composer of the highest grade and a visionary, passed away on 2-3-1974, in Karachi, at the age of sixty-seven.

Today’s song is sung by Rafiq himself. In those days, films used to have many songs. Even this film had 13 songs. There were 5 singers who sang these songs. I first heard few songs of this film and I selected this song as it is better than the other songs.


Song- Main sadke tere nigaahe muhabbat (Sitaara)(1939) Singer- Rafiq Ghaznavi, Lyrics- Munshi Dil, MD- Rafiq Ghaznavi

Lyrics

main sadqe tere ae
nigaahe mohabbat
main sadqe tere ae
nigaahe mohabbat

banaaya mujhe baa
banaaya mujhe baa
banaaya mujhe baa
aadshaah e muhabbat
haaye
main sadqe tere ae
nigaahe mohabbat
main sadqe tere ae
nigaahe mohabbat

taaron ki hansi hai meri
taaron ki hansi hai meri
kaliyon ki khushi hai meri
kaliyon ki khushi hai meri
phoolon ki pari hai meri
phoolon ki pari hai meri
ye jungle hai aaraamgaah e muhabbat
ye jungle hai aaraamgaah e muhabbat
haaye
main sadqe tere ae
nigaahe mohabbat
main sadqe tere ae
nigaahe mohabbat

banaaya mujhe baa
banaaya mujhe baa
banaaya mujhe baa
aadshaah e muhabbat
main sadqe tere ae
nigaahe mohabbat
main sadqe tere ae
nigaahe mohabbat


This article is written by Mahesh Mamadapur, 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 : 3647 Post No. : 14481

ASAD 10th Anniversary Celebrations – 3
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A journey of a thousand miles begins with a single step.
– Lao Tzu

main akela hi chala tha janib e manzil magar
log saath aate gaye aur karwaan banta gaya
– Majhrooh Sultanpuri

On 19 July 2008, a single step was taken by our Atul ji, the day on which the first song was posted on the blog. It was followed by yet another Roshan number the next day and the journey continues to this date and beyond, much akin to the above sh’er by Majhrooh Saab.

Looking back at the last decade, there is a deep sense of excitement and contention amongst all readers and especially the important contributors. However what is equally true is that the responsibilities and the hope of tracing and introducing obscure songs has only increased. This hope itself is the proof of the immense popularity that the blog enjoys all over the world.  I am sure the blog has become a one-stop destination for all readers in search for old Hindi songs and the correct and reliable information that it serves and continues to provide. About 4000 movies and nearly 15,000 songs covered, the blog has a visitors hits number of more than 10.5 million. Mind-blogging numbers indeed and one can only feel proud of being a part of this great musical extravaganza.

Since it is a special occasion of a decade of the blog’s existence, I suppose, I am at liberty to write a few words about my association with it.

Old Hindi Film songs were a common feature in my house, especially with SLBC and its special program ‘purani filmon ka sangeet’, which is played to this day and to which I am addicted to this day (ask our whatsapp group 🙂 ). With the advent of internet facility, the hobby of listening and gathering information naturally started dominating the searches. And, for people with music interest this blog was a no-escape and also a welcome addiction.

In the initial days, I just tried to absorb and admire the contents. It was not long that the longing to be a part of the blog started to grow. A few comments and corrections here and there started. Seeing that a lot of songs known to self were yet to be represented, I toyed with the idea of sending the lyrics. I ended up sending lyrics for 3-4 songs, but the greed to get more involved did not stop.

It was then that I starting writing posts. After a few posts and with the ideas and plots for writing posts difficult to come by, I started a mini-series on Mukesh and his composers. There is a small contribution of self in this series with 14 posts and 04 posts in another series titled Mukesh and his co-singers. Apart from the posts on Mukesh, I feel proud to have written about Rafi saab, Talat saab and Lata Mangeshkar. There are individual posts on Shamshad Begum, Uma Devi, etc. I have also written about Ghulam Mohammed and Shankar Jaikishan whose compositions, I enjoy immensely.

Of the 30 odd posts, “Sab Thhaath Pada Reh Jaavegaa” has had a great influence on me and especially the verses.

jo paaya hai wo baant ke kha
kangaal na kar kangaal na ho o
jo sab ka haal kiya toone
ek roz wo tera haal na ho o

is haath se de us haath se le
ho jaave sukhi ye jag saara

There was time when some songs of Mukesh were not to my liking. This view is particularly for a few songs at the fag end of his career wherein you find him singing all types of songs without the Midas touch of late 1940’s and 1950’s. Not having understood the lyrics properly, I had counted the above song also in that category. However, while writing the post and especially after Sudhir ji’s English translation, the song seems to be nothing short of philosophy of life that one must follow.

And then, “Lo Mil Gayi Degree Pyaar Ki” had its own story before it was put up as a post. A virtual Kishore Kumar solo was converted into a Mukesh post just because he had two words in the song. It was the last song of Mukesh-Roshan to be introduced to the blog and there was no way, I could lose the opportunity. Many eminent personalities were contacted who held different views on how Mukesh could fit in as he was not part of the movie etc.

Lastly, “Gokul Nagri Jaana” remains the oldest song sung by Mukesh on the blog. I have special memories of writing this post, as I was aware that I had touched upon a gold mine of 06 special songs of his career. Two of them remain untraced to date, but then there have been many surprises on this blog and I am sure all six will be accounted for.

The past year has been hectic for me from job and work point of view. However, with this post, I have barely managed to avoid the guilt of not having contributed for an entire year. I expect saner time allotment for this hobby again.

Coming back to the blog, I consider the following to be a few unique and unparalleled aspects about it.

  • Accuracy and authenticity of the contents
  • Complete and correct lyrics
  • Responsible, authoritative and sound contributors
  • The classification and arrangement of songs under various heads
  • Easy accessibility of information on Hindi songs
  • Common platform for like-minded Hindi songs enthusiasts
  • Due recognition and importance accorded to various artists
  • Accurate statistics of songs and artists contribution.

There could more important USP’s of the blog; however, the following two aspects are also quite important.

  • Opportunity for contributors to pen their thoughts on the blog
  • A unique friendship circle amongst the regulars

I think every reader and especially the contributors can never thank Atul ji and Sudhir ji enough, to acknowledge and appreciate the opportunity given to us to pen down our thoughts and represent songs on the blog. This is a very selfless and noble deed of Atul ji. Like-minded people met online on this blog and started a very special and unique circle, with quite a few sessions, visits etc. A whatsapp group is also formed with a few of the regulars and is more active than the blog itself now. 🙂

For me personally, the opportunity to interact with Mr. Harish Raghuwanshi ji was a great personal fulfilment. He has always helped me with my lists in the posts and also with information which would have been nearly impossible to trace elsewhere. Similarly, being in touch with eminent film historians and authors and knowledgeable personalities such as Shri Arun Kumarji, Harmandir Singh ji and many others has added new dimensions to our lives. In a fast moving world with technological advances, catching up with matters of yesteryears is so soothing and heart fulfilling. When we talk of ‘good old days’, here is a platform that binds us together.

Coming back to the series on Mukesh, a sort of regret that will always remain with me is not having a post on the collaboration of Mukesh with composer Anil Biswas. People fond of Hindi music need no explanation to elaborate the influence of Anil Da and stepping stone in Mukesh’s singing career with reference to “Dil Jaltaa Hai To Jalne De”Of the 22 odd songs that Mukesh sang for Anil Da, all have been covered on the blog. Not to give a sense of false hope, I would like to clarify that the song that I am presenting here today has nothing to do with Mukesh.

Instead, I would like to write on Anil Biswas.

What can one write about the ‘Bhishm Pitamah’ of Hindi film music that has not been written earlier. A pioneer of playback singing in India and the composer who gave the initial breaks to singers like Parul Ghosh, Meena Kapoor, Mukesh, Talat Mahmood, Sudha Malhotra etc. He is credited with coaching Lata Mangeshkar with breath control techniques during recording of songs. Begum Akhtar’s timeless classics in the film ‘Roti’ (1942) were scored by him. Mukesh, Talat Mahmood, Suraiya et al have sung several of their classic songs under his composition. Lata having sung under various composers has a lot of numbers under his composition too and these songs will always remain on a higher plane. The fame achieved by the songs in ‘Kismet’ (1943) will be discussed and mentioned for a very long time.

There is enough material on the net on Anil Biswas, his life in Mumbai and Delhi, the many pioneering aspects of his compositions, how the mighty composers of later-years were his assistants earlier etc. And then there is also a detailed wikipage dedicated to him. However, I would like to draw the attention of readers to AK ji’s blog songsofyore.com.

Seventh of July, last week was the birth anniversary of Anil Da. Four years back, 2014 was his centenary year and the AK ji’s blog has a wide range of tributes and had dedicated an entire year on Anil Biswas starting with his daughter’s introductory post which one can find here. The eighth and last post on this special series can be found here.

The last post referred above also contains in its first paragraph links to the other six posts on Anil Biswas posted in his centenary year. I think die-hard fans of Anil Da can look no further than these posts to enjoy the complete range of his compositions for various artists and well himself.

Yes, he did sing for himself and I present here one such song composed and also sung by him.

I have no words to express my happiness in writing this post and introducing the song composed as well as sung by Anil Biswas to the blog. The immense gratitude to Atul ji and Sudhir ji for giving me yet another opportunity to write goes without saying.

This solo song is from the film ‘Ek Hi Raasta’ (1939). Only one of the potential twelve songs in the film has been posted on the blog so far and this is only the second song from the film to be posted.

To conclude the post, I once again congratulate Atul ji and Sudhir ji on this stupendous achievement of one decade of existence of the blog. There is a long way to go and many more milestones to be achieved. As we complete one decade of existence and march into the second, then to silver jubilee and beyond, the journey itself has become the destination for Atulites.

Long live the music of vintage and golden era, long live the passion of Atulites and long live the longevity of the blog. 🙂


Song – Bhai Hum Pardesi Log Hamen Kaun Jaane  (Ek Hi Raasta) (1939) Singer – Anil Biswas, Lyrics – Pt Indra Chandra, MD – Anil Biswas

Lyrics

bhai hum pardesi log
hamen kaun jaane
o bhai hum pardesi log
hamen kaun jaane
na koi apna na koi apni..ee..ee
sabhi paraaye log
na koi apna na koi apni
sabhi paraye log
hamen kaun pehchane re  
bhai hum pardesi log
hamen kaun pehchane re
bhai hum pardesi log  
hamen kaun jaane
 
khud hi rijhaaen khud man jaaen
chaahe ramaaye jog
khud hi rijhaaen khud man jaaen
chaahe ramaaye jog
chaahe bane diwaane re bhai
chaahe bane diwaane re bhai
hum pardesi log  
hamen kaun jaane
 
sab se milte phir bhi akele..ey..ey
sab se milte phir bhi akele..ey..ey
apne dil ka rog  
apne dil ka rog
koi kya jaane re bhai
koi kya jaane re  
bhai hum pardesi log  
hamen kaun jaane
o bhai hum pardesi log
hamen kaun jaane  
na koi apna na koi apni
sabhi paraaye log
na koi apna na koi apni
sabhi paraaye log
hamen kaun pehchane re
bhai hum pardesi log
hamen kaun pehchaane re
bhai hum pardesi log
hamen kaun jaane
o bhai hum pardesi lo..o..ogg

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

भई हम परदेसी लोग
हमें कौन जाने
ओ भई हम परदेसी लोग
हमें कौन जाने
ना कोई अपना ना कोई अपनी॰॰ई॰॰ई
सभी पराये लोग
ना कोई अपना ना कोई अपनी
सभी पराये लोग
हमें कौन पहचाने रे
भई हम परदेसी लोग
हमें कौन पहचाने रे
भई हम परदेसी लोग
हमें कौन जाने

खुद ही रिझाएँ खुद मन जाएँ
चाहे रमाएं जोग
खुद ही रिझाएँ खुद मन जाएँ
चाहे रमाएं जोग
चाहे बने दीवाने रे भाई
चाहे बने दीवाने रे भाई
हम परदेसी लोग
हमें कौन जाने

सबसे मिलते फिर भी अकेले॰॰ए॰॰ए
सबसे मिलते फिर भी अकेले॰॰ए॰॰ए
अपने दिल का रोग
अपने दिल का रोग
कोई क्या जाने रे भाई
कोई क्या जाने रे
भई हम परदेसी लोग
हमें कौन जाने
ओ भई हम परदेसी लोग
हमें कौन जाने
ना कोई अपना ना कोई अपनी
सभी पराये लोग
ना कोई अपना ना कोई अपनी
सभी पराये लोग
हमें कौन पहचाने रे
भई हम परदेसी लोग
हमें कौन पहचाने रे
भई हम परदेसी लोग
हमें कौन जाने
ओ भई हम परदेसी लो॰॰ओ॰॰ओग


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 : 3527 Post No. : 14168

Today’s song is from film ‘Adhoori Kahani’ (1939).

This film is made by Ranjit Movietone of Sardar Chandulal Shah. A lot has already been written about him, Gauhar Mamajiwala and Ranjit Studios, so I am skipping that part. In the late 30s and early 40s, i.e. from about 1937 to 1947, Hindi film industry was making films emphasizing social reforms, society needs, peaceful coexistence of different religions and also raising a voice against the sinful customs prevalent then in Indians, all over the country. Some of the topics were, child marriages, marriages between the very young and the old, dowry demands, disowning parents, gambling, criminal activities etc.

Major film companies like Ranjit, Bombay Talkies, New Theatres, Prabhat Films etc. were the torch bearers in this campaign. After the country’s Independence and by the end of the 40’s decade, the taste of the audience started changing rapidly and within a short period the type of films produced took a 180 degrees’ turn. Now the films handled comedy, crime stories, modern love stories and in general, light entertainment became the sole purpose of seeing a film.Thus the role of films as a ‘reformer or a ‘teacher/preacher’ ended and films handling such themes got a poor response from the same audience.

Of course, 1939 was the initiation period for such a change. The first generation actors, directors and composers were still on the top and the film stories too were made in preaching style. The music was quite slow and influenced by stage/dramas/classical songs. Ranjit Movietone used to produce films like a factory. At any given time at least 2 to 3 film shootings were going on different floors. In its production life, Ranjit produced 175 films, including films in Marathi and Tamil. However, Calcutta’s New Theatres made 177 films, holding the Indian Record (perhaps the world record too).

Somehow, I feel that due to Saigal’s films, notably ‘Devdas’ (1935), the film makers of the late 30s were inclined to show death of the lead player of their films. If not, there was a kind of a tinge of sadism in some of the films made during this period. For example, I can quote Minerva’s ‘Jailor’ (1938) and ‘Main Haari’ (1940), ‘Adhoori Kahaani’ (1939), Kardar’s ‘Paagal’ (1940) and ‘Pooja’ (1940), Prabhat’s ‘Aadmi’ (1939), New Theatre’s ‘Badi Didi’ (1939) and ‘Dushman’ (1939), Sagar Movietone’s ‘Ek Hi Rasta’ (1939), Mehboob’s ‘Aurat’ (1940), Circo’s ‘Geeta’ (1940), New Theatres ‘Nartaki’ (1940), Mehboob’s ‘Behan’ (1941) and few other films. In all these and such films there was a serious theme – tragedy, sadism, psychotic behaviour, perversion and similar not so good emotions.

It was the pure and innocent love stories of Devika Rani and Ashok Kumar that gave relief to the audience. No wonder, a naive and extremely visible awkward Ashok kumar became popular on this background, as a help to him. By the mid 1940’s and end of the decade, the total trend of film stories had taken a drastic turn, as mentioned earlier.

Film ‘Adhoori Kahaani’ was one of those dark story films, where three main characters commit suicide in the film. The film was directed by Chaturbhuj Doshi, and the music was provided by Gyan Dutt, a paid employee of Ranjit. The cast of the film was Durga Khote, Prithviraj Kapoor, Rose, K Datey, Ila Devi, Ishwarlal, Yaqub, Khatoon, Mirza Musharraf, Meera etc etc.

The name ‘Meera’ is one of those which cause ‘Same Name Confusion’. Luckily, the other Meera (Mishra) started her acting career only in 1946, when this Meera was in the last phase of her career. Still many sites, books and writers mix up their filmography. Meera was an Anglo-Indian girl in Hindi films. During the silent film era a lot many European and Anglo-Indian girls acted in films. Few of them continued even after Talkie films started and very few like Sulochana and Sabita Devi etc. became successful even in the films for a considerable time. Some of these girls were, Ruby Meyers – Sulochana, Iris Gasper – Sabita Devi, Susan Soloman – Firoza begum (not the singer), Effie Hippolet – Indira Devi, Bonnie Bird – Lalita Devi, Esther Abraham – Pramila, Renee Smith – Sita Devi, Berryl Classen – Madhuri, Winnie Stewert – Manorama Senior, Erine Issac Daniels – Manorama Junior, Florence Ezekiel – Nadira, Sophie Abraham – Romilla, Rose Musleah – Rose, Lilian Ezra – Lilian, Mercia Soloman – Vimla, Rachel Sofaer – Arti Devi, Rachel Cohen – Ramola Devi, Patience Cooper, Violet Cooper, Ermelin – Sudhabala etc.

Meera’s real name was Muriel Alexander. She was born on 10-11-1919. She was from a respectable family. Her father was Superintendent – Local Audit in AG’s office. Brother E. Alexander was a national level cricketer. She passed her Inter-science exam from Benaras Hindu University. It was through one Mr. Seal, who was a manager in Adarsh Chitra, that she got her first break in film ‘Dhuwaandhaar’ (1935). It is not known if she sang any song in that film, as no records are available. My guess is that, besides acting, she must have sung few songs in that film. [Author’s Note: ‘Dhuwaandhaar’ was also the debut film for Leela Chitnis.]

Her name first appears as an actress and singer in film ‘Bhabhi’ (1938), in which she sang 3 solo songs. From 1935 to 1938, she must have sung many songs, but singers names are not mentioned in the available information on the available gramophone records. Thus many singers’ credit during this period have been lost. After ‘Bhabhi’, her name appears in ‘Nirmala’ and ‘Vachan’ (both from 1938) in which she sang 1 solo and 3 duets. She acted and sang songs in films of Ranjit, Prakash and Minerva Movietone films. [Author’s Note: Amirbai Karnataki also suffered due to this missing singer’s information situation.]

As per information available Meera acted in ‘Dolti Naiya’ (1934), ‘Dhuwandhar’ (1935), ‘Bhabhi’ (1938), ‘Wahaan’ (1938), ‘Adhoori Kahaani’ (1939), ‘Taatar Ka Chor’ (1940), ‘Paak Daaman’ (1940), ‘Chingaari’ (1940), ‘Armaan’ (1942), ‘Meri Duniya’ (1942), ‘Mauj’ (1943), ‘Krishna Bhakt Bodana’ (1944), ‘Ji Haan’ (1945), ‘Sham Savera’ (1946), ‘Ye Hai Duniya’ (1948) and ‘Sansaar’ (1951). In the film ‘Nirmala’ she only sang.

Another name in the cast is that of Ishwarlal.  Ishwarlal was born on 9-10-1911 at Ghanghaniya, Kathewar, Gujrat, as Ishwarlal Hariprasad Doshi. He belonged to a Jain family. After matriculation, he came to Bombay to act in films. Ishwarlal was very handsome. He got a job in Ranjit Studios. His first film was ‘Bhootiya Mahal’ (1932). Then came ‘Chaar Chakram’, also 1932.

He started acting and singing in films. Initially he sang only duets. Meanwhile, with ‘Jwalaamukhi’ (1936), he became a hero. He sang many songs in Ranjit Films, but the records are not available. Those days, not all songs of the film were recorded for commercial purpose. In ‘Billi’ (1938), he sang a duet with Sunita Devi. In ‘Aaj Ka Hindustan’ (1940), he sang two solos. In ‘Ummeed’ (1941), he had a duet with Noorjahan. In ‘Pyaas’ (1941), he sang with S Pradhan. In 1942, got two solo songs and two duets to sing in ‘Fariyaad’ under the baton of Khemchand Prakash. In ‘Zabaan’, under C Ramchandra, he sang 7 songs.

Some of his films were-

Diwali, Dheeraj, Chandni, Bhola Shikar, Nadira, Sitamgarh, Veer Babruwahan, Barrister’s Wife, College Kanya, Desh Dasi, Keemti Aansoo, Dil Ka Daaku, Jwaalamukhi, Sajni, Dil Farosh, Adhoori Kahaani, Thokar, Holi, Pyar, Bansari, Lalkar, Chirag, Us paar.

In 1945, he was the hero opposite to Noorjehan in ‘Badi Maa’, but he had no songs. In fact his last songs were in ‘Us Paar’ (1944). Then he did character roles in Subhadra, Mahasati Tulsi Vrinda, Sanskar, Naulakha Haar, Khuda Ka Banda etc.

His last film was ‘Meri Soorat Teri Aankhen’ in 1963.

He was married to a loyal wife Kamalabai. Due to excessive smoking he contracted lung diseases and died on 22-1-1969 in Bombay.

‘Adhoori Kahaani’ was a modernisation fable based on a story by famous Gujarati writer Gunwant Rai Acharya. screenplay, dialogues and lyrics were by JS Kashyap, Cinematography was by LN Varma and the music was composed by Gyan Dutt. The film was hailed as one of the best by Director Chaturbhuj Doshi.

The film’s story is. . .

The educated and liberal thinking Harbala (Durga Khote) is married to Seth Gopaldas (Keshav Rao Datey), a rich zamindar. He is a highly conservative type of husband with old time thinking. He neither approves nor likes the modern ways of his wife Harbala and tries to criticise and oppress her at every small thing. They have two children- Somnath (Prithviraj Kapoor) and Neelam (Rose). Gopaldas always accuses Harbala that she is spoiling the children and not treating them with discipline.

Fed up with this torture, harassment and his authoritarian traditionalism, Harbala commits suicide. Both children feel guilty. Hatred towards father drives them to commit suicide after their mother.

Having lost all family, Seth Gopaldas repents, but it is too late. The film ends with a hope that in the future, a less oppressive society will emerge. For now, the story is unfinished tale or Adhoori Kahani. (652)

 

The film had 12 songs of which nine are written by Kashyap, 2 songs by Mrs. Bhagyavati Ramya and one song by PL Santoshi. With this song, the film ‘Adhoori Kahani’ makes its debut on the Blog.

 


Song – So Ja Lalna So Ja (Adhoori Kahaani) (1939) Singer – Miss Meera, Lyrics – JS Kashyap ‘Natwaan’, Music – Gyan Dutt

Lyrics (Provided by Sudhir)

so ja lalna so jaa
so ja lalna so jaa
maa ki godi
maa ki godi hai tera ghar
jeevan se tu aaya thak kar
so ja lalna so jaa
maa ki godi
maa ki godi hai tera ghar
jeevan se tu aaya thak kar
so ja lalna so jaa

is gulshan mein haar nahin hai
swarg hai ye sansaar nahin hai
is gulshan mein haar nahin hai
swarg hai ye sansaar nahin hai
so jaa
lalna
so jaa

aao godi
tumhen sula doon
meethi meethi (?? ??) doon
aankhon mein jal dhaara baha kar
tan man ka sab taap bujha doon
aankhon mein jal dhaara baha kar
tan man ka sab taap bujha doon
jeevan ka santaap mita doon
so jaa
lalna
so jaa

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

सो जा ललना सो जा
सो जा ललना सो जा
माँ की गोदी
माँ की गोदी है तेरा घर
जीवन से तू आया थक कर
सो जा ललना सो जा
माँ की गोदी
माँ की गोदी है तेरा घर
जीवन से तू आया थक कर
सो जा ललना सो जा

इस गुलशन में हार नहीं है
स्वर्ग है ये संसार नहीं है
इस गुलशन में हार नहीं है
स्वर्ग है ये संसार नहीं है
सो जा
ललना
सो जा

आओ गोदी
तुम्हें सुला दूँ
मीठी मीठी (?? ??) दूँ
आँखों में जल धारा बहा कर
तन मन का सब ताप बुझा दूँ
आँखों में जल धारा बहा कर
तन मन का सब ताप बुझा दूँ
जीवन का संताप मिटा दूँ
सो जा
ललना
सो जा


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 : 3491 Post No. : 14023

There was a time when the films made in Hindi could be classified easily as A grade, B grade and C grade films. A grade films were those made by big and famous banners with top class actors and leading music directors. B grade films were those made with second rung of actors, director and music directors. C grade films were those films which were made by not so famous banners, almost unknown actors directors and composers. Usually C grade films used to be action/stunt films, made on shoestring budgets, having a fixed story line resembling Tarzan, Hercules or Hollywood action films of Robin Hood, with the background of a jungle, tribe people, king-queen-wicked wazir and similar stories.

C grade films were always quickies, made on  shoe-string budgets. During the late 1930s and 40s, Master Bhagwan action films used to be completed in about Rs. 50,000 only – including studio rent, sets, artist fees and other expenses. C grade films had a captive audience comprising of factory workers, daily wagers, low income earners and students. However, such films used to rake in big profits to the film makers. Therefore, even top class banners sometimes made C grade films, to make up their losses in big film flops.

There were certain production houses which specialized and thrived on such films – like Paramount Films, Jagriti Films, Mohan Pictures, Wadia Movietone etc. Since studio system was in vogue, the film studios usually had fixed actors and directors in their employment. Music directors were of no consequence, so anybody would do. Well known composers like C Ramchandra used to take another name while composing music for C grade action films. Music assistants of famous composers used to give music to such films. Well known composers fallen on bad days also gave music to such films. C grade films rarely released commercial gramophone records for their film songs, so such songs are a real rarity even with big collectors.

Some common and regular names one finds in such grade C action/stunt films are Nadia, Boman Irani, Sayani, Bilimoria brothers, Cooper sisters, Zohra Khatoon, Ameena Khatoon, Khatoon Bai, Prakash, Adjania, Noorjehan (sr.), Moosa Pehelwan, Vasantrao Pehelwan, Baburao Pehelwan, Marutirao Pehelwan, Azim Bhai, Basheer, Ali, Bachha, Chandra Rao, Harishchandra Rao, Shankar Rao, Master Bhagwan, Mirajkar, Jamshed, John Cawas, Lalita Pawar, Navin Chandra. . . and many more such names.

Barring a few names like Lalita Pawar, Bhagwan, Nadia etc, all the other action film actors remained relatively less known. No one knows anything about them. Actors like Baburao Pehelwan, Marutirao Pehelwan (he was the hero in the first Gujarati talkie film ‘Narsi Mehta’), Chandra Rao, Sayani etc. were quite famous in their times, but except their Filmography (thanks to HFGK), nothing more is known about them. All of them ended only with mere names !

Today, I am writing about one such action film hero of 7 silent and 12 talkie films of the 1930s and 40s, whom I stumbled upon recently. His name is so obscure and unknown that even I was stunned, but he has acted with heroines like Rajkumari (Dubey), Sarojini, Vatsala Kumthekar, Gauhar Karnataki and had acted in films made by well known production houses like Paramount and Mohan Pictures.

On 2nd January 2015, I got a message on my Facebook page from an unknown person called ‘Tejas Vazare’. Since I try to avoid unknown people as my Fb friends, I ignored that message. Three years later, this January, I saw the message again. This time it attracted my attention by what he wrote. He mentioned that his grandfather was a Hindi film hero of the 1930s and 40s. Out of curiosity, I wrote to him asking him to sent information about himself and his grandfather. He informed me that Master Shankar Rao Vazare was a hero in few films in 1930s and 40s. This was a name new to me. He also sent me film posters, photos, newspaper articles etc. about him. On reading all this, I strongly felt that here was a man who needs to be brought before today’s world. We exchanged lot many mails. I checked all film names with my books and prepared a list of films having evidence.

Tejas and me have planned to meet in March, in Bombay. May be his father (son of Shankar Rao) and aunt (daughter of Shankar Rao) will accompany him. That time I will complete my interview with them and prepare a detailed article with photos, posters etc for publishing on line. But till then, I wish to present his short biography on this blog first. This blog has the right to have such things first here before anywhere else. I owe it this much. So, here we go.

Master Shankar Rao Vazare was born on 1-1-1916 in the Bhabhanagar area of Nashik (Maharashtra), in a peasant family. His father Trimbak Rao Vazare was the Patil of Nashik. (Patil used to be the overall head of the village / town) and his uncle was the chairman of the Municipality. Shankar Rao was very keen on films. Dadasaheb Phalke was also from Nashik. Taking inspiration from him, Shankar Rao developed attraction for films. He used to see English films in the tent theatre of Nashik.

He reached Bombay. He was very handsome, tall and had a good physique. He got roles in the silent films made by Mahavir Photoplays. From 1929 to 1931, he worked in 7 silent films. There could be more also, but initially he was uncredited. Problem with the silent films was that they generally had 2 or 3 titles and alias names. Additionally as per the local language the title used to change also. So, it is very difficult to trace silent films by titles in the various lists published.

The list of his silent films that has been identified so far is –  ‘Father’s Love’ (1929), ‘Ideal Woman’ (1930), ‘Prince Of The People’ (1930), ‘Avarice’ (1930), ‘Niradhar Niru’ (1931), ‘Jungle Ka Jawan’ (1931) and ‘Saroj Kumari’ (1931).

His first talkie film was ‘Toofani Tamancha’ aka ‘Hands Up’ (1935), made by Paramount Film company. In this film, his heroine was Gul Bano. He acted in 7 films made by Paramount Film Co., 3 by India Liberty Co., and 1 each made by Mohan Pictures and Allied Films. Here is the list of his talkie films,

 

Film Title Year Production Company Director

Heroine / Co worker

1. Toofani Tamancha
aka Hands Up
1935 Paramount RN Vaidya Gul Bano / Miss Pukhraj
2. Farz e Adaa
aka Loyalty
1936 Indian Liberty AM Khan Shehzadi (sister of Zubeida (of Alam Aara)) / Vidya
3. Bansari Balaa
aka Fairy Of The Flute
1936 Paramount AM Khan Gauhar Karnataki / Kamla
4. Burkhawali
aka Bombay Mail
1936 Indian Liberty (Unknown) Gauhar Karnataki / Miss Pearl
5. Madhraat Ka Mehmaan
aka Midnight Man
1938 Indian Liberty Kikubhai Desai Miss Moti / Miss Pokhraj
6. Jungle Ka Jawan 1938 Mohan Pictures Chunilal Parekh Rajkumari / Kamla
7. Madhu Bansari 1939 Paramount Nanubhai Vakil Sarojini (sister of Indurani, mother of Azra, wife of Nanubhai Vakil) / Vatsala Kumthekar
8 Son of Alladin
aka Alladin ka Beta
1939 Paramount Nanubhai Vakil Sarojini / Ranibala
9. Reshami Saari 1939 Paramount GP Pawar (husband of Lalita Pawar) Kanta Kumari / Miss Moti
10. Aflatoon Aurat
aka Veerangana
aka Amazon
1940 Paramount Kikubhai Desai Miss Moti / Kanta Kumari
11. Mere Raja 1941 Paramount TS Mani Miss Moti / Kanta Kumari
12. Jungle Ki Pukar
aka Call Of The Jungle
1946 Allied Films Ramji Arya Ameena Khatoon / Usha

After 1941, he found it difficult to get films. He returned to his hometown Nashik to look after his family, farming and also started a business dealing in cucles. In 1946, he got his last film and after that, he again returned to Nashik. Master Shankar Rao Vazare died on 21-1-1949, at a very young age of only 33 years.

Shankar Rao Vazare was the favourite hero of director Kikubhai Desai (father of Manmohan Desai) for silent and talkie films. Fearless Nadia, Ashok Kumar and Kishore Kumar were his fans. Ashok Kumar used to like seeing his films. In one interview, Kishore Kumar has said – “Despite being a hero, my brother Ashok Kumar never did a fight scene on the screen. I considered Master Shankar Vazare a better hero than him ! ”

His hometown Nashik was very proud of him. During the centenary celebrations of Nashik Municipality, they published his photo and a short Biography in their souvenir. There were articles and photos published in local newspapers. His wife expired about 4 years ago and his sons continue to live in Nashik. They are proud of him.

To get a song from his films was a great problem since nothing is available on YouTube. I sent out request letters to some famous record collectors and our own Sudhir ji. All collectors replied negatively, but only Sudhir ji had just one song from the film ‘Madhu Bansari’ (1939). He sent me the song promptly. Thank you Sudhir ji for your kind help. On finding this song, Tejas Vazare and his family were overjoyed and have thanked our Sudhir ji wholeheartedly.

This song is sung by Vatsala Kumthekar, under the baton of Damodar Sharma. The film was directed by Nanubhai Vakil. The cast of the film was Master Vazare, Sarojini (sister of actress Indurani, mother of actress Azra and wife of Nanubhai Vakil ), Vatsala Kumthekar, Ganpat, Basheer, Ali etc. There were 14 songs in the film.

Acknowledgements :

–  Inputs from Tejas Vazare (grandson of Master Shankar Rao Vazare)
–  Article in newspaper ‘Lokmat’
–  Centenary book of Nashik Municipality
–  Advertisements in Times of India and Film India magazine
–  HFGK compiled by Shri Harmandir Singh ‘Hamraaz’
–  ‘Silent Filmography’ by Dr RK Verma
–  Sudhir ji
–  And my notes 🙂


Song – Rang Rasiya Aao Re (Madhu Bansari) (1939) Singer – Vatsala Kumethkar, Lyrics – [Unattributed], Music – Damodar Sharma

Lyrics (Provided by Sudhir)

rang rasiya..aa..aa
aawo re
rang rasiya..aa..aa
aawo re
jeevan ki
prem jyot ko jagaawo
rang rasiya..aa..aa
aawo re
rang rasiya..aa..aa
aawo re
jeevan ki
prem jyot ko jagaawo
rang rasiya..aa..aa
aawo re
rang rasiya..aa..aa
aawo re

lagan lagi tumhre sang pyaa..aa..aa..re
aaa aaa aaaaa aaaaa
aaa aaaa aaaa aaaaa
aaaaaa aaaaaa aaaa aaaa
aaaa aaaa
aaaaaa aaaaaaaa
lagan lagi tumhre sang pyaa..aa..aa..re..e..e
oo oo aa..aa..aa
lagan lagi tumhre sang pyaare
lagan lagi tumhre sang pyaa..aare..e..e
oo oo oo
aa aa aaaaaaa aaaaa
aaa aaa aaaa aaa aa
lagan lagi tumhre sang pyaare
mann mein bas ke tum kahaan sidhaare
mann mein bas ke tum kahaan sidhaare
aawo
aawo preetam pyaare
aawo
aawo preetam pyaare

rang rasiya
rang rasiya aawo re
rang rasiya aawo re
jeevan ki prem jyot kojagaawo
rang rasiya. . .

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
रंग रसिया॰॰आ॰॰आ
आवो रे
रंग रसिया॰॰आ॰॰आ
आवो रे
जीवन की
प्रेम ज्योत को जगावों
रंग रसिया॰॰आ॰॰आ
आवो रे
रंग रसिया॰॰आ॰॰आ
आवो रे
जीवन की
प्रेम ज्योत को जगावों
रंग रसिया॰॰आ॰॰आ
आवो रे
रंग रसिया॰॰आ॰॰आ
आवो रे

लगन लगी तुम्हरे संग प्या॰॰आ॰॰आ॰॰रे
आss आss आssss आssss
आs आss आss आssss
आssssss आsssss आsss आsss
आsss आsss
आsssss आsssssssss
लगन लगी तुम्हरे संग प्या॰॰आ॰॰आ॰॰रे॰॰ए॰॰ए
ओ ओ आ॰॰आ॰॰आ
लगन लगी तुम्हरे संग प्यारे
लगन लगी तुम्हरे संग प्या॰॰आरे॰॰ए॰॰ए
ओ ओ ओ
आ आ आssssss आssss
आs आs आsss आss आs
लगन लगी तुम्हरे संग प्यारे
मन में बस के तुम कहाँ सिधारे
मन में बस के तुम कहाँ सिधारे
आवो
आवो प्रीतम प्यारे
आवो
आवो प्रीतम प्यारे

रंग रसिया
रंग रसिया आवो रे
रंग रसिया आवो रे
जीवन की प्रेम ज्योत को जगावों
रंग रसिया॰ ॰ ॰


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

Blog Day : 3488 Post No. : 14009

In the early 1970s in Mumbai, it was quite common to see Pathan moneylenders standing outside the gates of the factories, mills, railway workshops and even some of the Government offices. Pathan moneylenders used to lend money at high interest rates, mostly to workers and subordinate staff who were in perpetual need of money. I had frequently watched them standing outside the main gate of my office, normally in pair, during the first week of every month. Their operations were always discreet without inviting any attention from the passers-by except that their distinct dress and caps would identify them to be the Pathans.

I had got the first hand information on the modus operandi of the Pathan moneylenders from one of my subordinate staff who was perpetually indebted to them. On the salary day, they would be present at the gate at the start of the office, at lunch time and the office closing time. If a borrower is not able to pay the monthly interest/principal amount, he would try to avoid the Pathans by not going out of the office during lunch time, would leave the office well before the closing time or leave late. But the network of the Pathans was so large that they would eventually catch the defaulters and get at least the interest amount by their discreet strong arm methods.

Their other occupation, that I have seen during my early years in the office, was selling dry fruits on the footpath. The Pathan would generally come around lunch time to sell the dry fruits near the gates of the office. He would continuously give high pitch commentaries describing the  quality of dry fruits and revealing the benefits of consuming dry fruits. Some passers-by would stand and watch the proceedings. Amongst these bystanders I suspected that a few of Pathans’ cronies would have themselves bought few items of dry fruits to create an aura of the demand for his dry fruits.

When the things which I described above became common, the Hindi films took cognizance of such activities which normally culminate into fun songs. For example, note the second stanza of the immortal song Din Hai Suhaana Aaj Pahli Taarikh Hai in which lalaji (generally refers to money lending Pathans) is waiting for his client to repay his loan:

kis ne pukaara ruk gaya baabu
lalaji ki jaan aaj aaya hai kaabu
o paisa zara laana
laana laana
o paisa zara laana
aaj pahli taarikh hai
khush hai zamaana aaj pahli taarikh hai

Similarly, in the song Mera Naam Abdul Rehman, Pistaawala Main Hoon Pathan from ‘Bhai Bhai’ (1956), the second stanza of the song has the following lines:

leo ji bhai saab hamaara pistaa bahut achhaa
leo ji mem saab hamaara pistaa nahi kachchaa
leo ji saab log khaayegaa aap ka baal bachchaa
khaa ke dekho very very good mera charoli baadaam pista

Very recently, I came across a similarly worded stanza in sales pitch song from the 1939 film ‘Hero No. 1’. The song is ‘Leu Ji Memsaab Hamaara Pista Bahut Achhaa’. The song is sung by actor-singer  Shyam Sundar (Sr.) on the words of Pandit Anuj, is set to music by Lallubhai Nayak. The actor-singer Shyam Sundar is not to be confused with the music director Shyam Sundar. As per his filmography, Shyam Sundar (Sr.) started his career as actor with ‘Sakhi Lutera’ (1934). He worked in over 30 films – overwhelmingly during 1930s and 40s. He has sung about 20 songs on himself in the films. It is apparent that his voice is feminist. Had I not seen his videos of the songs from ‘Hunterwali Ki Beti’ (1943), I would have assumed him to be a female singer.

So the inspiration for the second stanza of the song from ‘Bhai Bhai’ (1956) referred to above was the song under discussion which came out 15 years earlier of ‘Bhai Bhai’ (1956). I guess, Pandit Anuj may have got the inspiration for the lyrics by actually observing a Pathan selling dry fruits with his sales pitch.

‘Hero No.1’ was produced by Vijay Bhatt under the banner of Prakash Pictures and was directed by Balwant Bhatt. This action film had the cast of Jayant, Gulab, Umakant, Shirin, Lallubhai Nayak, Faizi, Munshi Khanjar, Bholaram, Ranjit, Shyam Sundar etc. There were 7 songs in the film.

With this song, the film ‘Hero No.1 (1939) makes a debut in the Blog.

[Ed Note: ‘Charoli’ is also a dry fruit. It is known by other names as ‘chironji’ or ‘chirongi’. Its English name is almondette.]


Song – Leu Ji Memsaab Hamaara Pista Bahut Achha (Hero No. 1) (1939) Singer – Shyam Sundar (Sr), Lyrics – Pandit Anuj (aka Sampatlal Shrivastav Anuj), MD – Lallubhai Nayak
Unidentified Female Voice

Lyrics

leuji memsaab
hamaara pistaa bahut achhaa
leuji saab log
hamaara pistaa nahi kachchaa
leuji memsaab
khaayega aap ka baal bachchaa
kha ke dekho very very good
meraa charoli badaam pistaa
 
banaa chatpata aalishaan
boodha kha ke hoye jawaan
banaa chatpata aalishaan
boodha kha ke hoye jawaan
khaanewaale kaa gaal hota laal. . . fauran
khaanewaale kaa gaal hota laal. . . fauran
leuji memsaab
hamaara pistaa bahut achhaa
leuji saab log
hamaara pistaa nahi kachchaa
leuji memsaab
khhaayega aap kaa baal bachchaa
khaa ke dekho very very good
mera charoli badaam pistaa
 
majedaar meri kismiss
majedaar meri kismiss
boodhi khaa ke ho jaaye miss
boodhi khaa ke ho jaaye miss
chintayen hoti dismiss. . . fauran
chintayen hoti dismiss. . . fauran

ae chokra
jara uppar aao

aaya memsaab

leuji memsaab
hamaara pista bahut achhaa
leuji saab log
hamaara pista nahi kachchaa
leuji memsaab
khaayega aap kaa baal bachchaa
khaa ke dekho very very good
mera charoli badaam pistaa

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
लेउ जी मेमसाब
हमारा पिस्ता बहॉत आच्छा
लेउ जी साब लोग
हमारा पिस्ता नाहीं काच्चा
लेउ जी मेमसाब
खाएगा आपका बाल बच्चा
खा के देखो वेरी वेरी गुड
मेरा चारोली बादाम पिस्ता

बना चटपटा आलीशान
बूढ़ा खा के होए जवान
बना चटपटा आलीशान
बूढ़ा खा के होए जवान
खानेवाले के गाल होता लाल॰॰॰ फौरन
खानेवाले के गाल होता लाल॰॰॰ फौरन
लेउ जी मेमसाब
हमारा पिस्ता बहॉत आच्छा
लेउ जी साब लोग
हमारा पिस्ता नाहीं काच्चा
लेउ जी मेमसाब
खाएगा आपका बाल बच्चा
खा के देखो वेरी वेरी गुड
मेरा चारोली बादाम पिस्ता

मजेदार मेरा किस्समिस्स
मजेदार मेरा किस्समिस्स
बूढ़ी खा के हो जाये मिस्स
बूढ़ी खा के हो जाये मिस्स
चिंताएँ होतीं डिस्समिस्स॰॰॰ फौरन
चिंताएँ होतीं डिस्समिस्स॰॰॰ फौरन

ए छोकरा
जरा ऊपर आओ

आया मेमसाब

लेउ जी मेमसाब
हमारा पिस्ता बहॉत आच्छा
लेउ जी साब लोग
हमारा पिस्ता नाहीं काच्चा
लेउ जी मेमसाब
खाएगा आपका बाल बच्चा
खा के देखो वेरी वेरी गुड
मेरा चारोली बादाम पिस्ता


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

Saga Of Sleepless Nights – 2
– – – – – – – – – – – – – – –

koi chupke se aa ke
sapne sulaa ke
mujhko jagaa ke boley
ke main aa raha hoon. . .

Our dear departed President had once made a statement that has now become a quotable quote, appearing in many PR campaigns and posters. He had said, “Dream is not that which you see while sleeping, it is something that does not let you sleep”.
Read more on this topic…


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

‘Ladies Only’ (1939) was produced under the banner of Sagar Movietone and it was directed by Sarvottam Badami. The star cast included Surendra, Bibbo, Sabita Devi, Prabha, Harish, Budho Advani, Sunalini Devi, Kaushalya etc. The film was released on 16th February 1939 and Moraraji Desai, the Revenue Minister of the then Bombay State was the chief guest.
Read more on this topic…


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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 ELEVEN years. This blog has over 15200 song posts by now.

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