Archive for the ‘Song of 1940’ Category
Ae ae ae ae jagmaali
Posted on: March 22, 2019
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog.This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
3899 | Post No. : | 14949 | Movie Count : |
4085 |
Today’s song is from an old, obscure film, Paak Daman-40.
The meaning of the word Paak Daman is Spotless Character. It has several other meanings depending on its usage. Generally this word is used to describe a woman of Chastest character and without any blemish.
Paak Daman was first made in 1931, the very first year of the Talkie films. Then it was made in 1940 and finally it was made in 1957. Paak Daman was a popular stage drama of early 1900’s. There were many versions of this story with minor variations,like names and place etc. The Parsi Urdu Theatre version was written by Agha Hashra Kashmiri, then famously known as ” Shakespeare of India”. The Parsi Gujarati plays were written by various authors. Syed Yawar Ali penned the script for the ” Moon Parsi Theatre”. The Alfred Drama Company had their own version of the story. In 1932, a film called ” Paak Daman Raqaasa aka Innocent Rakkasa or innocent Dancer or निर्दोष नर्तिका ” was made by Elephanta Movietone, Punjab. But I guess it was not one of these versions, just like the 1957 movie.
Paak Daman-1931 with Rampyari and Hyder Shah was based on a Gujarati play and Paak Daman-40 was written by Agha Hashra Kashmiri for the Urdu Parsi Theatre. This was a small budget movie, with not so popular star cast. It’s shoe-string budget did not allow any advertisements in Film India or other film magazines or papers or any other media like Hoardings in major towns. For all such low budget films the usual method of making advertisement was by distributing handbills from bullock carts ( छकडा ) with a one piece band consisting of ताशा or ढोल. The handbills would be printed in Urdu or local languages and distributed in predominantly Muslim majority area of the towns.
The film was produced by Stage Film Company and was directed by Rustom Modi. The film was censored on 20th October 1940 and released first in Lahore. Most of the film cast was drawn from Urdu Parsi Theatre to save money. Actors like Mohd. Ishaq (as Jaandaar, the King), Abu Baker(as drunkard), K.Pawar(as Bhangedi), Sonaba(as Afimi), Mehboob(as Baldy), Faqir Mohd(as Guardian) and Krishnabai as Dancer, were taken along with regular actors like Ghulam Mohammed(as Safadar Jung), Firoz Dastur(as Jameel). The female cast was Meera Devi(as Razia), Menaka Hyderabadi(as Sayeeda, the Heroine) and Leela Hyderabadi( as Nadira). These female actors were stage actresses from Urdu parsee Theatre in the 1930’s. They had played these roles so often on stage that all the dialogues were byheart to them. They had done small roles in films but went unnoticed,perhaps due to being uncredited.
The film was directed by Rustom Modi, who was the elder brother of Sohrab Modi. To understand the background of making of this film, we have to first take a look, in short, at the early build up of the careers of the Modi brothers.
Born on 2-11-1897, Sohrab Modi and his elder brother Rustom Modi spent their initial years in the Parsi community in Bombay, where their father was a Civil servant. The brothers were no good students in studies but were more interested in acting on stage. After their family shifted to Rampur in United Province (today’s Uttar Pradesh), when Sohrab was about 15 year or so, he used to read Urdu Books from library of Nawab of Rampur, with whom his father worked as a Superintendent. This made Sohrab an expert in Urdu Language and diction. Coupled with his love for sports and body building, he soon became an impressive young man.
As he was growing, his brother Rustom helped him and he started doing small roles in stage dramas. At one stage his roles in “Khoon ka khoon”and “Saeed E Hawas” won laurels from the audience. By then Rustom had started his own drama company “The Arya Subodh Natak Mandali”. In 1931, Talkie films started and people were attracted to them. Sensing a danger to drama companies, Rustom Modi established “Stage Film Company” and filmed their “Khoon ka khoon aka Hamlet” and ‘Saeed E Hawas” in 1935 and 1936 respectively. However since people had already seen these dramas, these 2 movies did not click to expectations.
Sohrab Modi realised that film making was a different game entirely. So, in 1936, the brothers started Minerva Movietone and a new film “Atma Tarang” was made. It was also received with a tepid response, with just 20 persons for the first show. Sohrab was disappointed, however, some critics appreciated his effort and encouraged him to go ahead. Soon he made successful films like Meetha Zahar-38, Divorce-38, Pukar-39 and Bharosa-40 and so on.
Rustom Modi, however, continued with his dramas and making films on dramas. On this background Rustom Modi made Paak Daman in 1940- again with his stage artistes. This time, there was a good response and the old timers enjoyed the film reminiscing what they had earlier seen as a Urdu Parsee Theatre drama.
The film had a second title of “Shaheed Naaz”. The story, dialogues, screenplay and Lyrics were by Agha Hasra Kashmiri. The music director K.M.Pawar, besides doing a small role in the film, also doubled as a Choreographer along with Master Chhota.
The story of the film was…..
The king Jahandaar was a Noble and honest ruler. He used to roam about in his kingdom in a Faqir’s disguise. In his absence, his close courtier Safdar jung used to look after the kingdom. Safdar was a cruel and immoral person. He had deserted his own wife Nadira, after fully enjoying her chastity.
A young man Jameel had used a girl Razia and abandoned her. She complained to Safdar Jung. Jameel was caught and sentenced to death. Jameel’s sister was Saeeda. Beautiful Saeeda goes to Safdar and begs for cancellation of death sentence. Safdar asks her to spend one night with him as a gift in return to this favour. He gives her time to think and come back.
While returning, Saeeda meets the Faqir( king in disguise), who enquires what is wrong. Saeeda tells him all. King is very angry. He discloses his identity to Saeeda and asks her to find and bring Nadira. The three of them hatch a plot.
Next day, Saeeda informs Safdar that she is ready to do as he wants, provided there is total darkness and no talk in that period. He gladly agrees. In the darkness of night Nadira replaces Saeeda and Safdar spends time with her, thinking that she is Saeeda.
Next day Nadira appears in Darbar and asks Safdar to take her back. The Faqir also reveals himself and Saeeda tells the truth of the night. Safdar is stunned. The king orders Safdar to take back Nadira and leave the court-if not he will be executed. Jameel is released but has to marry Razia.
Jameel’s role was done by Firoz Dastur, who started with films, but became a well known classical singer of India. Firoz Dastur or Feroze Dastur (30 September 1919 – 9 May 2008) was an eminent vocalist of Kirana Gharana and a film actor.
Dastur was part of Indian Film Industry in 1930s, acting in a few films by Wadia Movietone and other film banners. In 1933, when Wadia Movietone under JBH Wadia, released its first talkie film, he performed classical songs as child actor in film Lal-e-Yaman. But his first love was Indian Classical Music.
He was the disciple of Sawai Gandharva, whose other disciples were Bhimsen Joshi and Gangubai Hangal and a regular performer at Sawai Gandharva Music Festival for several years, well into his late 80s.
Dastur died on 9th May 2008 in Mumbai after a brief illness. He was 89.
He acted in 16 films- from Laal e yaman-33 to Gul e Bakavali-47. He sang 60 songs in 19 films. Last he sang in film Bhumika-77.
He also gave music to 2 films,composing 17 songs ( Sunehra Baal-38 and Gul e Bakavali-47)
Safdar’s role was done by Ghulam Mohammed. Ghulam Mohammad was a super star villain actor in the pre-partition films. He was a popular stage actor in the 1920s and appeared in movies mostly as villain actor in the 1930s/40s. His first big film was Madhuri in 1932 which was directed by R.S. Chodhary. He was in main role with actress Sulochana who was a Jewish artist and the first ever super star film heroine in the sub-continent. It was one of many famous productions by the leading Bombay based film company Imperial Film Co. and Ghulam Mohammad was an automatic choice for them. He was called Prince of Imperial Film Company and he was the first ever Muslim actor to buy a luxury car in the 1930s.
Ghulam Mohammad was an all round actor and appeared as hero, villain and supporting actor in more than 60 movies in the 1930s-40s. He played the main villain role in the first ever colored film Kissan Kanya from Bombay in 1937. He was in title role with Noorjahan in Lahore based Punjabi film Chodhary in 1941 and also in her first Hindi/Urdu film as heroine, Khandan in 1942, which was made in Lahore as well. He was also in the last big film before partition Jugnu (with Noorjahan and Dilip Kumar and Sulochana).
Ghulam Mohammad was almost in every second Pakistani film in the 1950s. He was born in 1900 in Lahore and died on March 10, 1961. He appeared in more than 500 stage dramas and fought as soldier in the WW1 in Baghdad, Iraq. He was best known as Chacha (Uncle) in film circles.
Today’s song is extremely rare song, says uploader- our own Sadanand ji Kamath. The song is based on Raagdari, which one, I could not identify as I am not an expert. Considering this is a recording done almost 80 years ago, it is still in good condition, except at few places. It is confirmed that the Lyrics were by Agha Hashra Kashmiri. The Music Director K.M.Pawar was employed in Rustom Modi’s stage film company.
( My thanks to ” Forgotten movies on Muslim Culture,1933-1947″ ,by Kamalakar ji Pasupuleti, “Stages of Life; Indian Theatre autographies ” by Kathryn Hansen, HFGK, MuVyz,www.pak.mag,Listener’s Bulletin and my notes).
The movie as well as the singer Kaka Ji make their debuts in the blog with this song.
Song-Ae ae ae ae jagmaali (Paak Daaman)(1940) Singers- Phiroz Dastur, Kaka ji, Lyrics- Agha Hashra Kashmiri, MD- K M Pawar
Lyrics
ae ae ae ae
ae ae ae ae jagmaali
ae ae ae ae
ae ae ae ae jagmaali
Phooli dali dali
Chhaayee nirali,
Rangwali laali
hariyaali
ae ae ae ae
ae ae jagmaali
ae ae ae ae jag
gun gaati bhaanti koyaliya kaali
gungaati bhaanti koyaliya kaali
Chhaayee niraali
Rangwaali laali
hariyaali
ae ae ae ae ae ae
jagmaali
ae ae ae ae
ae ae jagmaali
bhanwar papeeha mor uthh bhor
bhanwar papeeha mor uthh bhor
chaaron oar jape tero naam
chaaron oar jape tero naam
waari
kunjan kunjan mein
phoolan ke ban mein
kunjan kunjan mein
phoolan ke ban mein
acharaj man mein
hansat basat hai
acharaj man mein
hansat basat hai
chhav tori niraali
rangwaali laali
hariyaali
ae ae ae ae jagmaali
ae ae ae ae jagmaali
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 : | 3809 | Post No. : | 14805 |
I am presenting a non-filmi ghazal recorded sometime in the early 1940s which I had heard a few years back. But after a long gap, this ghazal resurfaced when I was looking for information on the music director Chitta Roy in the context of one of the songs, aayi jawaani aayi aayi composed by him. The ghazal is ‘gham-e-zindagi kaa yaa rab na milaa koi kinaaraa’ (1940) sung by Talat Mehmood. Chitta Roy composed the music for this ghazal. The shaayar of this ghazal has been mentioned as I A Minai or Idris A Minai, a name I heard for the first time.
Despite searching extensively on the internet, I could not get even the basic information about Idris A Minai. A Google search on him gave information mostly about Ameer Minai, a well-known classical Urdu poet of the 19th century whom the current generation of fans of ghazals identify with his popular ghazals like ‘sarakati jaaye re rukh se naqaab aahista aahsta’ and ‘jab se bulbul tu ne do tinke liye’. There was, however, one name ‘Khalid Minai’ which appeared on a Google search as a Facebook page. A surprise was in store for me when I opened the page. Khalid Minai was none other than Idris A Minai who had adopted ‘Khalid’ as his nom de plume. The Facebook page, started by his son on the occasion of his 100th birth anniversary has a detailed biography of Idris A Minai. I have majorly edited his biography from the Facebook page – Khalid Minai, to make it concise. The edited version follows as under:
Idris Ahmad ‘Khalid’ Minai (29/08/1916 – 08/02/2008) was the grandson of the great Urdu poet and scholar, Ameer Minai (1827 – 1900) and the son of Mohammad Ahmad Minai and Raees Fatima. He was born in the “Purani Khandsar” quarter of the State of Rampur, (now in Uttar Pradesh) where both Ameer Minai and his son Mohammad Ahmad Minai served as high officials of the State of Rampur. The family who had settled in Rampur since 1858, moved to Hyderabad (India) in 1937 shortly after the death of his father, Mohammad Ahmad Minai.
Idris Minai completed his BA from Allahabad University in 1937, and MA in Economics from Osmania University, Hyderabad, in 1940. After a stint as a journalist for the paper “Payaam”, edited by Qazi Abdul Ghaffar, Idris Minai joined the Hyderabad State Bank (now State Bank of Hyderabad) in 1941, serving as the branch chief in Aurangabad (now in Maharashtra).
After Partition, Idris Minai was the first of the seven Minai brothers to move to Pakistan in 1948. After working in the State Bank of Pakistan for 2 years, he moved to the then newly formed National Bank of Pakistan – Pakistan’s first official commercial bank. Over the next twenty years, he served the bank in various capacities – both in West and the then East Pakistan (now Bangla Desh). He retired from the National Bank of Pakistan as Deputy Managing Director in 1971.
Literature and poetry were a major part of the environment in which Idris Minai grew up. His grandfather, Ameer Minai, was regarded as one of the major poets in the history of Urdu literature, and had succeeded the great poet, Ghalib, as the poetic mentor of the Nawab of Rampur. His father, Mohammad Ahmad Minai, was also a prolific poet, though he gave up the pursuit later in life. It was, therefore, natural for him to express himself in poetry, and, following the common practice, he chose a nom de plume, ‘Khalid’ (meaning, ‘eternal’).
Most of his poetic training occurred informally through interaction with his peers and elders which included Jaleel Manakpuri, the famous Urdu poet and the student of Ameer Minai, Fani Badayuni, Jigar Muradabadi, Hasrat Mohani, Hairat Badayuni, and Qazi Abdul Ghaffar, who gave him his first job. He developed close personal friendships with poets such as Sikandar Ali Vajd, Mahirul Qadri, Saeed Shaheedi, and several others. A notable influence for him was his eldest brother, Ismail Ahmad “Tasneem” Minai, who was himself a distinguished poet and writer. He was also influenced by Allama Iqbal for his universal vision which went beyond the classical poetry.
One of Idris Minai’s early works is an ode on the River Ganga which he wrote based on his experience while he was staying in Allahabad for his graduation. A collection of Idris Minai’s works is in the preparatory stage. In addition to poetry, he also wrote Urdu prose pieces in a language that recalled Oscar Wilde in its stylish beauty
Throughout his active life, Idris Minai participated in literary activities, beginning with mushairas in Allahabad, Hyderabad, Bombay (Mumbai), and elsewhere. After moving to Pakistan, the Minai siblings organised regular poetic events in Karachi and Lahore featuring the leading poets of the time.
Idris Ahmad ‘Khalid’ Minai breathed his last on February 8, 2008 in Karachi.
The ghazal under discussion has two versions. Talat Mehmood sang the original version in 1940 as per the uploader of the video. I could not get information on the internet as to when the original record was released. If the uploader is correct, then this ghazal precedes Talat Mehmood’s first recorded song sab din ek samaan nahin thha (1941). Talat Mehmood re-recorded this ghazal in almost identical orchestration sometime in 1960. I have given videos of both the versions for comparison purpose. My preference is the original version because Talat Mehmood voice was fresh without much of quiver as against the 1960 version.
Audio Clip :
(Original recorded in 1940)
Audio Clip :
\
(Re-recorded in 1960)
Song-Gham e zindagi ka ya rab na milaa koi kinaara (Talat Mehmood NFS)(1940) Singer-Talat Mehmood, Lyrics-Idrees A Minai, MD-Chitta Roy
Lyrics (based on Original recording)
gham-e-zindagi kaa yaa rab
na milaa koi kinaaraa
gham-e-zindagi kaa yaa rab
na milaa koi kinaaraa
meri fikr-e-bekaraan ne
do jahaan ko chhaan maaraa
meri fikr-e-bekaraan ne
meri aarzoo ko bakhshi
teri har nazar ne rafat
meri aarzoo ko bakhshi
teri har nazar ne rafat
usse bekaraan karegaa
mere shauq kaa sharaaraa
usse bekaraan karegaa
main kabhi ravaan davaan thhaa
kahin dasht-e-bekhudi mein
kisi door ki sadaa ne
mujhe pyaar se pukaaraa
kisi door ki sadaa ne
meraa zarf ye ki lekar
gham-e-bekaraan main chup hoon
meraa zarf ye ki lekar
gham-e-bekaraan main chup hoon
na sukhan se raaz paidaa
na jabeen se aashkaaraa
gham-e-zindagi kaa yaa rab
na milaa koi kinaaraa
gham-e-zindagi ee ee ee ee eee
———————————–
Meaning of some Urdu words
Yaa rab= Oh God
Fikr-e-bekaraan= Limitless anxiety
Rafat= Elevation
Shararaa= Spark, Flash
Ravaan= Moving
Davaan= Running
Dasht-e-bekhudi= Wilderness of intoxication
Sadaa= Call
Zarf= Capability
Sukhan= Words, News
Jabeen= Forehead
Aashkaaraa= Clear, Visible
- In: Actor-Singer song | Devnagri script lyrics by Sudhir | Duet | Guest posts | Kantilal - Sitara Devi Duet | Kantilal Songs | Lyrics by Sudhir | Lyrics contributed by readers | philosophical song | Post by Arunkumar Deshmukh | Protest song | Sitara devi songs | Song of 1940 | Songs of 1930s (1931 to 1940) | Yearwise breakup of songs
- 5 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 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.
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Blog Day : |
3783 | Post No. : | 14764 | Movie Count : |
4037 |
Today’s song is from film ‘Holi’ (1940). It is written by DN Madhok and composed by Khemchand Prakash. This duet is sung by Sitara Devi and Kantilal.
When silent films started talking, it became imperative for the film makers to recruit only those artistes who could sing on screen. In this compulsion, most of the times, the composers had to compromise on the singing ability of the artistes, because for the artistes, acting was primary and singing was secondary. Barring the born, natural singers like Noorjehan, KL Saigal, Khursheed, Surendra and few others, the rest of the singers in the film industry were all ‘make do’ types. In the early era, till about the beginning of the 40’s decade, the music directors had a tough time getting songs sung by these so called ‘singers’. May be, that is the reason why we find that many composers also sang when the playback started.
Almost all the heroes and heroines (with the sole exception of Jairaj – who was an ‘Aurangzeb’ in music) willy-nilly sang even after the playback singing had firmly set in. Pure and exclusive singers like Lata, Asha, Geeta, Rafi, Mukesh and Talat started occupying their legitimate place in playback singing in films from the mid 1940s onward. At the same time, slowly and steadily singing by the actors and actresses diminished, and by the dawn of the 1950’s decade, playback singing was rooted firmly. In my opinion, this was also one of the major reasons of ‘Golden Period of Film Music’ blossoming from around 1947-48 onward. Due to the availability of playback singers, actors started acting wholeheartedly and composers got new energy and they concentrated on making good music rather than breaking their heads on teaching the ‘pseudo-singers’ how to sing their songs ! In one of the interviews, Naushad had expressed his relief from getting song sung by non-singers !!
Singers like Ishwarlal, Kantilal, AR Oza, Vatsala Kumthekar etc were part actors and part singers. Thus we find that very rarely any song sung by these part time singers became an evergreen song. I can, however, think of only one song- “Zindagi Ka Saaz Bhi Kya Saaz Hai, Baj Raha Hai Aur Be-awaaz Hai” by Naseem Bano in film ‘Pukar’ (1939). She had sung it well and the composer Meer Sahab too should get some credit for its composition. But such cases are rare. Mohd. Rafi’s case in this connection can be quoted. After the regular playback singers became composers’ first choice, one by one the ‘part time’ singers closed their shops ! See here how Rafi did it.
Mohd. Rafi, no doubt, was a versatile singer. Like Lata, when he came on the scene of playback singing – after considerable hard work and struggle, he replaced the old singers who sang in the films, one by one.
- Ashok kumar’s singing spree stopped when Rafi sang for him in film ‘Saajan’ (1947).
- Ishwarlal stopped singing when Rafi sang for him in film ‘Sharbati Aankhen’ (1945).
- Shahu Modak stopped after ‘Chakradhari’ (1954).
- WM Khan after ‘Aalam Ara’ (1956).
- Master Nissar after ‘Boot Polish’ (1954)
- GM Durrani after ‘Lal Pathar’ (1971)
- Karan Dewan after ‘Duniya’ (1949).
- Noor Mohammed Charlie after ‘Zameen Ke Taare’ (1960).
- Balak Ram after ‘Shri Ram Bharat Milan’ (1965).
- Moti Sagar after ‘Paak Daman’ (1957).
- Man Mohan Krishna after ‘Basant Bahar’ (1956).
Mohd. Rafi even sang for some composers who used to sing in films,
- SN Tripathi – ‘Pawanputra Hanuman’ (1957).
- Snehal Bhatkar – ‘Baawre Nain’ (1950) (he was doing a beggar’s role in this film)
- Sudhir Sen – ‘Saat Phere’ (1970).
By the way, Rafi was the only male playback singer who sang with all 3 major singer actresses
- Noorjehan – ‘Jugnu’ (1947).
- Khursheed – ‘Aage Badho’ (1947)
- Suraiya – they have sung together in 13 films
The female singer in today’s song is Sitara Devi (8-11-1920 to 25-11-2014), the well known Kathak dancer. Her life story is available freely on the internet. She was bestowed the title of ‘Nritya Samragni’ by Ravindranath Tagore, in 1936, when she was just 16 year old. Sitara is also famous for her multiple marriages. She was the one who refused to accept ‘Padma Bhushan’ honour, stating that she deserves nothing less than ‘Bharat Ratna’ alone ! She had taught Kathak Dance to younger actresses like Madhubala, Rekha, Mala Sinha and Kajol.
The male singer in today’s song is Kantilal. KANTILAL CHHAGANLAL PACHCHIGAR was born on 18-4-1907 in Surat, Gujarat. Due to inherent interest in music, after college education he came to Bombay to try film singing. His first film was ‘Bulbul e Paristan’ (1934) from Vishnu Cinetone. Kikubhai Yagnik was the MD. Kantilal sang 2 songs in it. In 1935, he acted, sang and gave music to ‘Preet Ki Reet’ (1935). He sang 6 songs. He also gave music in ‘Punjab Ka Sinh’ (1936) and also in ‘Gul Badan’ (1937). From 1937 to 1941, he was with Ranjit Movietone and acted and sang in 16 films. He sang 40 songs under Khemchand Prakash and Gyan Dutt.
Then came ‘Gazi Salahuddin’, ‘Kangan’, ‘Holiday In Bombay’ and ‘Kanchan’. Kantilal sang 60 songs in 24 films under 5 MDs. Some of his films were, ‘Toofaani Toli’, ‘Ban Ki Chidiya’, ‘Billi’, ‘Gorakh Aaya’, ‘Prithviputra’, ‘Adhoori Kahaani’, ‘Nadi Kinaare’, ‘Aaj Ka Hindusthan’, ‘Achhoot’, ‘Diwali’, ‘Holi’, ‘Musafir’, ‘Pardesi’, ‘Sasural’, ‘Shaadi’ etc.
In 1943, he married Ushaben and acted in Gujarati films and dramas. He passed away on 17-6-1971.
Khemchand Prakash (12-12-1907 to 10-8-1950) was a very talented composer, but unfortunately most of his career, he dealt with average singers. Whenever he got opportunity to make songs for real singers like Saigal (‘Tansen’ and ‘Bhanwara’), Khursheed, Kishore ( ‘Ziddi’ and ‘Muqaddar’), Lata (‘Mahal’) and Rajkumari, his songs became famous and very popular. Today’s song is sung by the so called part time singers, but they have tried their best in it.
With this song film ‘Holi’ (1940) makes its debut on the blog.
Song – Dhanwaalon Ki Duniya Hai Ye, Nirdhan Ke Bhagwaan (Holi) (1940) Singer – Kantilal, Sitara Devi, Lyrics – DN Madhok, Music – Khemchand Prakash
Kantilal + Sitara Devi
Lyrics (Provided by Sudhir)
dhanwaalon ki duniya hai ye
nirdhan ke bhagwan
dhanwaalon ki duniya hai ye
nirdhan ke bhagwan
nirdhan teri
nirdhan ka main
nirdhan teri
nirdhan ka main
ek anokhi shaan
ek anokhi shaan
do din ki ye mast jawaani
do din ki ye mast jawaani
do din ka ye roo..oop
ek mundere chaanv hai aayi
ek mundere dhoo..oop
bhole panchhi is pinjre ka
bhole panchhi is pinjre ka
jhootha tere maan
haa..aan
jhootha tere maan
haa..aan
dhanwaalon ki duniya hai ye
nirdhan ke bhagwan
ret ke mahal bana kar moorakh
ret ke mahal bana kar moorakh
in mein kiya baseraa. . .
ek fanaa ke jhonka aaya
kooch hua sab dera
ret ke mahal bana kar moorakh
ret ke mahal bana kar moorakh
in mein kiya baseraa. . .
ek fanaa ke jhonka aaya
kooch hua sab dera
jhootha jeevan ka iktaara
jhootha jeevan ka iktaara
jhoothi us ki taa..aan
dhanwaalon ki duniya hai ye
nirdhan ke bhagwan
dhanwaalon ki duniya hai ye
nirdhan ke bhagwan
———————————————————-
Hindi script lyrics (Provided by Sudhir)
———————————————————-
धनवालों की दुनिया है ये
निर्धन के भगवान
धनवालों की दुनिया है ये
निर्धन के भगवान
निर्धन तेरी
निर्धन का मैं
निर्धन तेरी
निर्धन का मैं
एक अनोखी शान
एक अनोखी शान
दो दिन की ये मस्त जवानी
दो दिन की ये मस्त जवानी
दो दिन का ये रू॰॰प
एक मुंडेरे छाँव है आई
एक मुंडेरे धू॰॰प
भोले पंछी इस पिंजरे का
भोले पंछी इस पिंजरे का
झूठा तेरे मान
हाँ॰॰आँ
झूठा तेरे मान
हाँ॰॰आँ
धनवालों की दुनिया है ये
निर्धन के भगवान
रेत के महल बना कर मूरख
रेत के महल बना कर मूरख
इन में किया बसेरा॰ ॰ ॰
एक फना का झोंका आया
कूच हुआ सब डेरा
रेत के महल बना कर मूरख
रेत के महल बना कर मूरख
इन में किया बसेरा॰ ॰ ॰
एक फना का झोंका आया
कूच हुआ सब डेरा
झूठा जीवन का इकतारा
झूठा जीवन का इकतारा
झूठी उसकी ता॰॰आन
धनवालों की दुनिया है ये
निर्धन के भगवान
धनवालों की दुनिया है ये
निर्धन के भगवान
Dil Ka Saaz Bajaaye Jaa
Posted on: November 17, 2018
- In: Actor-Singer song | Devnagri script lyrics by Sudhir | Duet | Feelings of heart | Guest posts | Love song | Lover's tête-à-tête | Lyrics by Sudhir | Lyrics contributed by readers | Post by Arunkumar Deshmukh | Song of 1940 | Songs of 1930s (1931 to 1940) | Surendra - Wahidan Bai Duet | Surendra songs | Yearwise breakup of songs
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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 : | 3774 | Post No. : | 14752 |
Today’s song is a very melodious duet by Surendra and Waheedan Bai, in film Alibaba-1940.
Alibaba’s story is from Arabian Nights stories and is one of the most popular stories around the world. No wonder, our film makers took up this story. Films with ‘Alibaba’ title were made in 1940, 1946 and 1976. Films with ‘Alibaba and 40 Thieves’ title were made in 1932, 54, 66, 80 and 2004. ‘Alibaba and Marjina’ was made in 1977. There may be some more which I have missed. Comparatively, more films were made on Alladin and his Magic Lamp. After all magic has its own attraction. Even in silent era films were made on these two characters.
After the successful film ‘Ek Hi Rasta’ (1939), Mehboob started work on ‘Alibaba’. He had made the beginning of his film career by acting in the silent film on Alibaba. He was one of the 40 thieves ! By now, due to his continuous success, Sagar Movietone had benefited much and he was highly respected in the company. Besides Mehboob, Sagar Movietone had a team of other directors like CM Luhar, Sarvottam Badami, Hiren Bose, Ramchandra Thakur etc. They too were making films for Sagar. However, their films were not as successful as those by Mehboob. In addition, the onset of Second World War had a negative impact on Sagar and it went into loss. Soon, the owners decided to close the company.
By this time, Mehboob was ready with all the arrangements to start the shooting of ‘Alibaba’. Closing down of Sagar was a shock to him. He approached Ardeshir Irani of Imperial and asked for permission to shoot his film there. Irani was very happy. The novice ‘extra’ who had worked in his company – without pay for first five months – had now become acclaimed top class successful Director. Irani was proud of Mehboob. He gladly permitted him to shoot his entire film there.
In the film ‘Alibaba’, Surendra was to do the double role of Alibaba and his son. Now, Mehboob needed two heroines. He selected Waheedan Bai and Sardar Akhtar. Akhtar was the youner sister of Bahar – wife of AR Kardar. In an article in Filmfare dated 16-8-1957, Mehboob wrote “the moment I saw Sardar Akhtar, I fell for her and knew that one day she will be my wife.” Sure enough, he married her later.
It was during the shooting of film ‘Aurat’ (1940), Mehboob was attracted towards Jyoti – sister of Waheedan Bai and one of the cast of Aurat – and he started spending time with her, having tea together, lunch together etc. Sardar Akhtar noticed this and played her cards well. She encouraged Jyoti to accept outside film offers lest she would be out of circulation. Then she poisoned Mehboob by telling him that Jyoti was not a good girl and that she was more interested in outside film roles. Consequently, Jyoti’s role in film ‘Aurat’ was reduced. By the time film ‘Aurat’ was completed, Akhtar had fully influenced Mehboob and then insisted on getting married. He too wanted it and they got married just before the film was released.
Mehboob had wanted to make ‘Alibaba’ in Hindi and Punjabi. Anil Biswas was his pet MD for so many films. He asked Anil da to do the music of Hindi and Punjabi versions. Anil da flatly refused saying that he did not know Punjabi. Even after lot of discussion, he was not ready. Mehboob left the matter as it is. After a week or so, there appeared a news in papers that “. . . Anil Biswas, a Bengali, gives music to Hindi films but can not give music to Punjabi films”. Someone showed this news to Anil Biswas. He was agitated and ran to Mehboob. Anil da said, “OK, I will give music in any language that you make films in. French, English, Arabic, Spanish – any language, but stop spoiling my reputation.” Mehboob just smiled and said, “Ja Bangali ja. Punjabi gaanon ko music de “. Anil Biswas sought assistance from a Punjabi technician Shahji, who helped him to understand the basic naunces of Punjabi music. The music he ended up composing for the Punjabi version was much better than the one given to Hindi version, according to Anil Biswas himself !
Basic Arabian Night story was adapted for Hindi by Dr. Safdar Aah and for Punjabi, it was Lala Yaqub. The Punjabi lyrics were by Shah Aziz. For film ‘Alibaba’, Mehboob had 4 assistant directors, Chimankant Gandhi, Jagdish Coopal (he also did a small role in the film), Narwekar and Gazi Banwali.
Mehboob Khan came up from a very poor family and he had to struggle hard to reach this stage. So he knew how it feels to miss opportunities to make it big. He himself had lost the opportunity to become a hero twice. First when he was almost selected for ‘Alam Ara’ (1931), vacating for Master Vithal and second time for film ‘Shehar Ka Jaadu’ (1934), this time making way for debutante Motilal.
Mehboob helped many actors to start their careers or do a memorable role first time, in his films, like Sitara Devi, Aruna, Surendra, Maya Banerjee, Arun Ahuja, Harish Taranath, Sheikh Mukhtar, Jyoti, Waheedan Bai, Sardar Akhtar, Veena and Nargis. Mehboob also gave Raj Kapoor his first big and famous film – ‘Andaz’ (1949).
Mehboob was very strict but also kind hearted when it came to remembering people who had helped him in some way. Much of the shooting of ‘Mother India’ (1957) was in rural area of Bilimora, Kolhapur and Nashik. In village Shiroli, near Kolhapur, when the shooting was going on, a major portion of the harvest in the field of a farmer was destroyed. Mehboob Khan met that farmer, apologized and paid fully for all damages. Not only that, when he learnt that the farmer and his family has never seen Bombay, he brought all of them to Bombay , at company’s expenses, and showed them around for a week. In addition, when film ‘Mother India’ was to be released in Rajaram Talkies in Kolhapur, Mehboob wrote to the distributor at Kolhapur to invite the farmer’s family as a special guest for the film premier !
Mehboob Khan’s life is nothing short of a film story. There are many things which have to be brought to people to focus on his qualities. An illiterate village boy touching the sky with hard work and determination is his life story.
Today’s song is very melodious and I liked it. I am sure you too will like it.
[Acknowledgement: Most part of the write up uses the information from the books, ‘Mehboob Khan’ by Shashikant Kinikar and ‘Cinemacha Cinema’ by Isak Mujawar).
Song – Dil Ka Saaz Bajaaye Jaa (Alibaba) (1940) Singer – Surendra, Waheedan Bai, Lyrics – Dr Aah Sitapuri, Music – Anil Biswas
Lyrics (Provided by Sudhir)
hmmmm mmmmm
aaaa aaaa
dil ka saaz bajaaye ja
aaaaaaa
dil ka saaz bajaaye ja
jis taar mein tere naghme hain
jis taar mein tere naghme hain
mizraab usi pe lagaaye ja
mizraab usi pe lagaaye ja
dil ka saaz bajaaye ja
aaaaaa
dil ka saaz bajaaye ja
ae. . . pyaare geet sunaaye ja
ae. . . pyaare geet sunaaye ja
baithi hoon ishq ke jhoole mein
baithi hoon ishq ke jhoole mein
main sadqe peeng badhaaye ja
main sadqe peeng badhaaye ja
ae. . . pyaare geet sunaaye ja
ae. . . pyaare geet sunaaye ja
ye beda paar lagaaye ja
ye beda paar lagaaye ja
dariya e mohabbat gehra hai
dariya e mohabbat gehra hai
haaaa aaa
dil ki naav chalaaye ja..aa..aa
dil ki naav chalaaye ja
har baar mujhe apnaaye ja
har baar mujhe apnaaye ja
ye mera tera farq mitey
ye mera tera farq mitey
tu dil mein yun hi samaaye ja
tu dil mein yun hi samaaye ja
ye mera tera farq mitey
ye mera tera farq mitey
tu dil mein yun hi samaaye ja
tu dil mein yun hi samaaye ja..aa..aa
———————————————————-
Hindi script lyrics (Provided by Sudhir)
———————————————————
हम्ममम मम्ममम
आsss आsss
दिल का साज बजाए जा
आsss
दिल का साज बजाए जा
जिस तार में तेरे नग़में हैं
जिस तार में तेरे नग़में हैं
मिज़राब उसी पे लगाए जा
मिज़राब उसी पे लगाए जा
दिल का साज बजाए जा
आsss
दिल का साज बजाए जा
ए॰॰॰ प्यारे गीत सुनाये जा
ए॰॰॰ प्यारे गीत सुनाये जा
बैठी हूँ इश्क़ के झूले में
बैठी हूँ इश्क़ के झूले में
मैं सदक़े पींग बढ़ाए जा
मैं सदक़े पींग बढ़ाए जा
ए॰॰॰ प्यारे गीत सुनाये जा
ए॰॰॰ प्यारे गीत सुनाये जा
ये बेड़ा पार लगाए जा
ये बेड़ा पार लगाए जा
दरिया ए मोहब्बत गहरा है
दरिया ए मोहब्बत गहरा है
हाsss आsss
दिल की नाव चलाये जा॰॰आ॰॰आ
दिल की नाव चलाये जा
हर बार मुझे अपनाए जा
हर बार मुझे अपनाए जा
ये मेरा तेरा फ़र्क मिटे
ये मेरा तेरा फ़र्क मिटे
तू दिल में यूं ही समाये जा
तू दिल में यूं ही समाये जा
ये मेरा तेरा फ़र्क मिटे
ये मेरा तेरा फ़र्क मिटे
तू दिल में यूं ही समाये जा
तू दिल में यूं ही समाये जा॰॰आ॰॰आ
- In: Ameerbai Karnataki songs | Amirbai Karnataki - NM Adhikari Duet | Aspirations of Love | Devnagri script lyrics by Sudhir | Duet | Feelings of heart | Guest posts | Love song | Lover's tête-à-tête | Lyrics by Sudhir | Lyrics contributed by readers | NM Adhikari Songs | Post by Arunkumar Deshmukh | Song of 1940 | Songs of 1930s (1931 to 1940) | Yearwise breakup of songs
- 9 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 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 : | 3693 | Post No. : | 14608 |
Today’s song is from a film ‘Ek Hi Bhool’ from 1940. It was a film made by Prakash Pictures and was directed by Vijay Bhatt. The lyricist was ‘Anuj’ and the music director was the favourite of Prakash – Shankar Rao Vyas. The film’s cast was Jairaj, Mehtab, Umakant, Amirbai, Prahlad Dutt, Baby Meena (Meena kumari) and also a Dog called Tiger. (I always wonder when people can see that it is a dog, then why the owners name it as Tiger to mislead others ?).
Many people know that actress Mehtab was Sohrab Modi’s wife, having married him against opposition from all, on 28th April 1946. But most people do not know her background. Mehtab was born on 28th April, 1918 in Bombay. Her father Siddee Ebrahim Khan was the Nawab of Sachin (Surat, Gujarat). Her parents named her as Najma. She was the step sister of actresses Zubeida (‘Alam Ara’ fame), Sultana and Shehzadi. She studied up to intermediate. She was fluent in Urdu, Gujrati, English and Marathi. When her father – the Nawab – gave talaaq to her mother, her mother took her to Bombay where her sautan, Fatima, another wife of the Nawab was promoting her 3 daughters to become actresses. Fatima gave her refuge, solace and a promise to promote Najma also as an actress. Her career started as child artist at the age of 12. She did 3 silent films, namely ‘Second Wife’ (1928), ‘Kamal e Shamsheer’ (1930) and ‘Sheroo Sainik’ (1931) – all produced by her mother. Her first talkie film as heroine was Indian Arts Production’s ‘Veer Kunal’ (1932) through which she got her screen name Mehtab. Ashraf Khan was the hero of that film. Subsequently, Chandulal Shah signed her for two films viz. ‘Bhola Shikar’ (1933) opposite E Billimoria and ‘Ranchandi’ (1934) opposite Navin Chandra. None of these films did well, so her mother formed a film company of her own. Meanwhile, Mehtab had got married, at the age of 14 years only and had got a son from that marriage, Ismail. However, no film was completed under their company and they faced heavy losses. Moreover, Mehtab’s marriage also didn’t work out and she took divorce and won the custody of her son.
She started doing films in any role, not only heroine’s. After doing 19 films, she got a call from Calcutta. In 1940, she was offered a film named ‘Qaidi’ (1940) made by Film Corporation of India. Though she was not the leading heroine of the film but her acting was praised all over. She did 3 films in Calcutta. After ‘Qaidi’, she did ‘Masoom’ (1941). The banner signed her again as the heroine for their next film ‘Chitralekha’ (1941) in which she created a sensation overnight by doing a bathing scene aesthetically, something shown for the very first time in a Hindi film. Around 1941 to 1943, Mehtab was among the most famous actresses of Hindi films. Her next three films ‘Sharda’ (1942), ‘Chauringhee’ (1942), and ‘Bhakt Kabeer’ (1942) also proved to be hits.
In 1944, Central Studio signed Mehtab for their film ‘Parakh’ (1944). Sohrab Modi was directing the film. At the time of signing the contract, Mehtab told Modi that she had heard that he only took his own close-ups in his films and ignored the others. He told her that he wasn’t acting in that film. Thereafter, Sohrab Modi again took Mehtab as heroine in his film ‘Ek Din Ka Sultan’ (1945) opposite Wasti under his own banner Minerva Movietone. Slowly, Sohrab Modi fell in love with her and proposed to her. Mehtab agreed only on the condition that she would not leave her son Ismail. Sohrab didn’t find any problem in that and they got married on the birthday of Mehtab, 28 April 1946. Sohrab Modi’s family didn’t approve as they were Parsi and Mehtab was Muslim. Sohrab never interfered in Mehtab’s career or religion. Mehtab had a son from Modi named Mehli who was brought up as Parsi. Modi sent both the sons abroad to study.
Mehtab did few films after marriage like ‘Behram Khan’ (1946), ‘Saathi’ (1946), ‘Shama’ (1946). Her last major film was ‘Jhansi Ki Rani’ (1953). She did a small role in film ‘Samay Bada Balwan’ (1969). Sohrab Modi was the producer, director and the hero of the film. It was Sohrab’s first colour film. She acted in total 40 films.
Sohrab Modi died on 28 January 1984 due to cancer of the bone marrow. Mehtab’s both sons were settled abroad, though she spent her life in Cuff Parade, Mumbai till her death. She died on 8-4-1997. She was buried at the Bada Qabrastan, Marine Lines, Mumbai.
Another name one can see in the cast is that of Prahlad Dutt. He was actually a foreign trained photographer and cameraman, and an expert in trick photography. He was working in Lahore in the early 1940s. Pancholi’s film ‘Shirin Farhad’ (1945) was getting ready and Prahlad Dutt was its director and trick scenes master. His work was applauded by everyone. The scene where Farhad digs out a canal from a big mountain single-handed, was done by Prahlad with astounding results. After the partition, he ran away from Lahore to Bombay. He soon got work here as his name was well known and famous.
He was working in Ranjit directing a film ‘Mitti Ke Khilaune’ (1948). It was in early 1948. Gandhiji was assassinated on 30th January. 4-5 days after that, Ranjit studio workers were shocked to find a police jeep entering the studio, in speed. Out jumped an inspector and asked, “Where is Prahlad Dutt?”. Ranjit Manager asked “Why?” the answer was “We have his arrest warrant in connection with Gandhi killing”. While the manager offered to call him here from another floor where he was shooting, the police ran towards that place. As soon as Prahlad saw the police, he started running, with police chasing him and shouting at him to stop. He tried to climb the wall and disappear, but the inspector warned him first and then shot him with his pistol in his thigh. He fell down. He was arrested and taken away.
He was charged with various crimes and a case was put on him. However, he was released unblemished after 4 months. Ranjit management helped him quite a lot in those days. Prahlad Dutt acted in only one film – ‘Ek Hi Bhool’. He directed 5 films in all – ‘Shirin Farhad’ (1945), ‘Piya Ghar Aa Jaa’ (1947), ‘Mitti Ke Khilaune’ (1948), ‘Nazaare’ (1949) and ‘Madhubala’ (1950).
One more name in the cast is that of Umakant (full name Umakant Desai). I am sure most people would not know anything about him.
People remember Dilip kumar for his double role in ‘Ram Aur Shyam’ (1967) and triple role in ‘Bairaag’ (1976). People also remember Sanjeev Kumar for his 9 roles in ‘Naya Din Nayi Raat’ (1974) or Kamal Hassan for his 10 roles in ‘Dashavtaar’ (2008), but hardly anyone knows that Umakant Desai was the FIRST actor to do 3 roles in film ‘Hukum Ka Ikka’ (1939) (as the rajkumar, as a madari and as a common man).
Umakant Desai was born in Sankheda, near Vadodara (Baroda), Gujarat on 13-6-1908. After matriculation, he came to Bombay and did a job in BB&CI Railways (Bombay,Baroda and Central India Railway), a private railway company of pre Independence period. He used to do roles in local dramas. One day director Chimanlal Desai saw him in a drama called ‘Jaya Aur Jayant’. He was so impressed with him, that he took him to act in Gujarat’s First Talkie ‘Narsi Mehta’ (1932). In this film Umakant did the role of Krishna.
So, the son of a landlord Himmatbhai Jagubhai Desai became a film actor. He joined Prakash Pictures on a salary of Rs 150/- pm, but when he left Prakash, he was drawing Rs 3,000/- pm. In 1934, he worked in Gujarati film ‘Sansaar Leela’. He sang 2 duets with Rajkumari in this film. The film was a hit and was remade in Hindi as ‘Nai Duniya’. He worked in ‘Bharat Milap’ (1942). His best remembered role was as Laxman in film ‘Ram Rajya’ (1943), which created several records, including that it was the first and the only film Mahatma Gandhi ever saw in his lifetime !
Umakant worked in 59 Hindi films and 15 Gujarati films. ‘Anmol Moti’ (1948) was his last film as a hero. Then he shifted to doing character roles. He had worked with Durga Khote, Shobhana Samarth, Pramila, Ratnamala, Ranjana, Sitara, Snehprabha Pradhan, Meena Kumari, Amita, Vijayanti Mala, Nalini Jaywant, Kamini Kaushal etc. For fluency in Hindi and Urdu, he had appointed a teacher also.
He worked in 26 films of Prakash, in which 8 films were directed by Vijay Bhatt. He mostly worked in mythological and social films. Some of his films were ‘Miss Mala’, ‘Chhote Babu’, ‘Station Master’, ‘Amar Asha’, ‘Poornima’, ‘Anmol Moti’, ‘Kavita’, ‘Hamara Ghar’ etc . He did Laxman’s role in 7 films.
Umakant’s son and daughter-in-law died a tragic death in a snow blizzard in USA in 1975. His wife Kaumudiben died in 2006 and Umakant died on 25-1-2007.
He was awarded Dadasaheb Phalke Academy Award in 2004.
While going through the title index by Harmandir ji for films from 1931 to 2012, I found that the word ‘EK’ is the most used word in Hindi film Titles. As many as 206 films are made, beginning with the word ‘EK’. Amongst these, there are 32 film titles starting with ‘Ek Aur ….’. Films with title ‘Ek Hi Bhool’ were made 3 times – 1940, 1981 and 2005.
Today’s song is sung by Amirbai Karnataki and NM Adhikari. I have not been able to get any information about this male singer. It seems this was the only film in which he sang. He sang 1 solo and 1 duet. With this song, the film ‘Ek Hi Bhool’ of 1940 and the singer NM Adhikari make their debut on our blog.
(Credits- Sapnon Ke Saudagar by Vithal Pandya, Harish Raghuwanshi, HFGK, MuVyz and my notes.)
Song – Main Phoolon Ki Sugandh Bankar Upvan Saara Mehkaaoon (Ek Hi Bhool) (1940) Singer – Amirbai Karnataki, NM Adhikari, Lyrics – Sampatlal Shrivastav ‘Anuj’, Music – Shankar Rao Vyas
Lyrics (Provided by Sudhir)
main phoolon ki
main phoolon ki
sugandh ban kar
upvan saara mehkaaun
main phoolon ki
sugandh ban kar
upvan saara mehkaaun
main phoolon ki
main bhaunra
main bhaunra ban kar
chupke se phoolon ka ras le jaaun
main bhaunra ban kar
chupke se phoolon ka ras le jaaun
main madmaati koel ban kar
birha ka geet sunaaun
main madmaati koel ban kar
birha ka geet sunaaun
main premi ke aansu ban kar
birha ki aag bhujaaun
main premi ke aansu ban kar
birha ki aag bhujaaun
aao hil mil
armaanon ki duniya nai basaayen
aao hil mil
armaanon ki duniya nai basaayen
is neeras jeevan
mein phir se
is neeras jeevan
mein phir se
hai nai umangen laayen
hai nai umangen laayen
———————————————————-
Hindi script lyrics (Provided by Sudhir)
———————————————————-
मैं फूलों की
मैं फूलों की
सुगंध बन कर
उपवन सारा महकाऊँ
मैं फूलों की
सुगंध बन कर
उपवन सारा महकाऊँ
मैं फूलों की
मैं भौंरा
मैं भौंरा बन कर
चुपके से फूलों का रस ले जाऊँ
मैं भौंरा बन कर
चुपके से फूलों का रस ले जाऊँ
मैं मदमाती कोयल बनकर
बिरहा का गीत सुनाऊँ
मैं मदमाती कोयल बनकर
बिरहा का गीत सुनाऊँ
मैं प्रेमी के आँसू बन कर
बिरहा की आग बुझाऊँ
मैं प्रेमी के आँसू बन कर
बिरहा की आग बुझाऊँ
आओ हिलमिल
अरमानों की दुनिया नई बसाएँ
आओ हिलमिल
अरमानों की दुनिया नई बसाएँ
इस नीरस जीवन
में फिर से
इस नीरस जीवन
में फिर से
है नई उमंगें लाएँ
है नई उमंगें लाएँ
Chahun oar chaandni chhitki hai
Posted on: August 6, 2018
- In: "chaayageet" song | Biography of actors | Biography of artists | Biography of singer | Feelings of heart | Guest posts | Post by Arunkumar Deshmukh | Rare song | Song of 1940 | Songs of 1930s (1931 to 1940) | Vatsala Kumthekar Solo Songs | Vatsala Kumthekar 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 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 : | 3671 | Post No. : | 14550 |
Today’s song is from Anuradha (1940). There were two more films made with the same title- one in 1960 and the other in 2014. Film Anuradha-1960 was the most well known film of these 3 films. The song of today is ” Chahun oar chaandni chitki hai.” It is written by Lajpat Rai and tuned by the veteran composer Badri Prasad. The song is sung by Vatsala Kumthekar.
Vatsala Kumthekar was one of those many aspirants, who dreamt of a bright career, plenty of money,name and fame and a happy retired life. To fulfil this dream, it was customary to go to Bombay and join films.
This is a Maya Nagari. Those who thought that all that glittered was Gold, suffered the bitter fruits of reality. In reality, Hindi film industry is a great leveller. This industry has taken some people from Rags to Riches and some others from Riches to Rags !
There are many cases where an artist reached a particular height of his career in professional life but when the end came, he died unsung, unknown and unatteneded. There are instances like Parveen Babi and Nalini Jayawant, whose death went unnoticed for days together and when news spread their bodies were beyond recognition. For many, the end was violent, like Sayeeda Khan, Director Brij and Shankar Dasgupta.
But the worst is when Death does not come fast and the last days are spent in penury, begging and in bedridden condition unattended.
Master Nissar, who once boasted of owning the only car in Bombay, other than the Bombay Governor, died in Kamathipura slums in Bombay penniless. His last rites were done by the Cine Artists Association.
The beautiful bubbly Meena Shorey died in Lahore in utter poverty and her last rites were done by charity. One time popular hero WASTI was found begging near Liberty Cinema in Bombay. Rattanbai, the famous singer was seen begging at Haji Ali Darga in Bombay. The wife of Khemchand Prakash also was found begging there by Naushad. Mohd.Rafi found Khan Mastana begging near a Dargah. Rajkumari, Vimmi, Bharat Bhushan, Master Bhagwan, Khan Mastana spent their last days very humiliated, in poverty and obscurity. We all know, by now, the sad story of Mubarak Begum living off the meagre earnings of her Auto-driver son, in a Bombay Zopadpatti, till her recent death.
The story of PARSHURAM, once a popular actor/singer of 1930s and 40s is very pathetic. Tabassum,who ran the record breaking TV program ‘Phool khile hain gaulshan Gulshan’, once stopped at a traffic signal. From her car,she saw a familiar face begging at every car. She immediately recognised Parshuram. She got down quickly,took him in her car to the TV studio. He was the same Parshuram who sang the famous song of Duniya na maane-1937 ‘Man saaf tera….’. He was cleaned, fed and robed in fresh clothes. Then she did his live interview on the TV and paid him Rs.1000/- on the spot. Later he got 1 or 2 film offers, but then he disappeared forever. He was a habitual drunkard. He was seen begging again. One day he died on footpath and was cremated by Municipality as an unclaimed body, before his relatives reached to claim the body.
Chandra Mohan, Shaikh Mukhtar, Cuckoo…………so many stories of sorrow and sad ends…….This is Bombay Film Industry-the Maya nagari.
Inspite of all this,still millions of people come to Mumbai with dreams in their eyes…..
Today we see the case of one such singer who scaled heights of popularity and then went to the Nadir from the Zenith….
VATSALA KUMTHEKAR was born in Bombay in 1909.Her family was a noted singers family from Goa. After schooling she got regular music training fro Ustad Barkat Ali,the elder brother of Bade Ghulam Ali Khan.She specialised in Thumaris.
Her beauty and sweet voice attracted many and she started holding Mehfils and Jalsas from 16-17 years onwards.her fame spread far and wide and she did programmes all over India. No wonder film companies ran after her.She started the career with Prabhat’s “WAHAN”-1937.
Then came Baanke Saanwariya, Madhu Bansari, Hurricane special, Jumbo ka beta, Aaj ki Duniya, Anuradha, Jai Swadesh, Aurat, Holiday in Bombay, Prabhat,Sangam,Lalaji,Aabroo, Jabaan, Aashirwad, Ishara and Rahat.
She was quite popular and many film personalities were keen to marry her. She got married in 1940, but her married life was bad. Her husband, Ibrahim Sheth, left her for another woman. After 3 years he returned to her. She readily accepted him and looked after him till he died. By now she had stopped getting films. After husband’s death, she almost became penniless and lost her mind. She shaved her head. She was seen roaming in Bombay like a mad woman and begging.
One day her dead body was found on Tardeo Bridge, Bombay. She was identified by some onlooker, but before the news reached the film industry, she was cremated by the Municipality as an unclaimed body.
Film Anuradha (1940) had a cast consisting of Maya Banerji, Trilok Kapoor, Jeevan, K N Singh, Vatsala, Shyamsundar, Anant Marathe , Agha etc.etc. Anant Marathe aka Anant kumar was the brother of actor and famous singer Ram Marathe. I was searching for his information for quite some time. My search ended when I found an article written by his son about his father.
Anant Marathe was born in 1936. In a career that spanned over 50 years, he was a witness to many changes and upheavals in the Hindi film industry. Born in Pune, in a family that was doing well for itself, he had three brothers and two sisters. Losing his father at the tender age of four, he was forced to give up education and begin work, to fend his family. In the process the family left Pune and came to Mumbai, the city that fed every soul.
The world of films, those days, was not an industry. It was just like a 9 to 5 job in an office. Anant Marathe, with his innocent looks, expressive eyes and inborn confidence, was chosen by Master Vinayak, to play a role as a child artiste in a hindi film, Chhayaa. In this film he played the role of a son, who for his own selfish means is used by his father, ( played by Late Shri Chandra Mohan).
The real breakthrough came when he was called for an audition at Prabhat Studios, the most distinguished film company of those days. This 1943-44 film was ‘ Ramshastri’, in which he was to play the part of Chhota (small) Ramshastri. Ramshastri Prabhune was the Supreme Judge of the Peshwa dynasty and known for his supreme judgement. Once he was selected for the role, his grooming as an actor really began. In the storyline, Chhota ramshastri was depicted as a boy who hates to study and loves to play whole day long. He would swim, roam about with his pet dog and enjoy life. For this role Anant marathe was made to learn swimming even though he was scared of water! He could not get along with the puppy dog, even though it was supposed be his pet. And to top it all, after shooting, the swimming and the sequences with the dog were edited from the film! The song, ‘Don ghadicha daav, yala jeevan aise naav” sung by him was very popular at that time. He received an award for his performance as Ramshastri from Bengal Film Journalists Association as the best supporting actor of the year. This film was screened in a number of National and International film festivals.
Film industry in South India was very active in early 50’s. Anant Marathe acted in a number of films produced by the South Indian film studios, namely AVM, Gemini studios etc. Shri Chettiar of AVM was planning a socio-mythological film on the life of a famous saint. The lead role was played Shahu Modak. The film in general was devotional and to bring in an interesting element, a comic character was created, in the form of the saint’s shishya ( pupil ). This role was offered to Anant Marathe and he displayed histrionics that astonished everybody on the sets.
The Director who groomed the great showman Raj Kapoor was Kidar Sharma and Anant Marathe had the privilege to work in one of his films, this time as a villain! The film was Hamaari Yaad Aayegi. This film also launched Tanuja, who would be known as a talented actress in the coming years. Anant Marathe played the role of a character called Pyarelaal, a very deceiving name for a villain! He is a suave character, moving about in the company of elite people but behind the cute face there is a monster of sorts, a wolf in sheep’s clothes. Anant Marathe, with his charming smile was very stunning, not only in his looks but in every move. Kidar Sharma was known to reward any actor who performed a great scene with a 4 anna coin, known as chavanni in those days. A chavvanni earned for a great shot was like an achievement. And Anant Marathe earned many, which he cherished till end.
His journey as an actor continued with great flourish. Since he could speak Marathi and Hindi fluently, he received offers from both Marathi and Hindi films. He was truly a bi-lingual actor.
Manoj Kumar was inspired by the life of Bhagat Singh, the great sikh patriot from Punjab and was planning a film on his life. Manoj Kumar and Prem Chopra were to play the roles of Bhagat Singh and Sukhdev respectively but casting for Raajguru, the third freedom fighter was still to be done, as Manoj Kumar wasn’t happy with the short-listed few, to play the role. Manoj Kumar heard about Anant Marathe, who had acted in many hindi and marathi films. Anant Marathe was asked to come over and meet Mnoj Kumar. One look at him and he had found his Raajguru! The experience of working in a truly patriotic film, that too with a thespian like Pran who played a cameo in Shaheed, was a very inspiring experience for him. Incidently Pran did not charge a single rupee for this role! Shaheed brought a wave of patriotism in the audience, they cheered and loved their heroes. The real mother of Bhagat Singh was felicitated at the premiere of this film at Delhi. She was moved by the performances of every actor in the film. What’s more, a special screening was arranged for the then Prime Minister of India, Late Shri Lal Bahadur Shastri, who praised the film and awarded certificates of honour to all the actors.
Anant Marathe acted in over 250 Hindi and Marathi films, out of which 71 films are Hindi. he also sang 5 songs in 5 Hindi films.When he made his foray in Hindi films, he was not very fluent in Hindi so he took lessons from a tutor who taught him the nuances of Hindi, thus improving the pronunciations so he could speak the language flawlessly. He also learnt English to give his persona the required sparkle, so important for a lead hero. He had to give up formal schooling due to circumstances that prevailed and may be he made up for it in this manner.
Some of the films he acted in are, Bhakta Bilwamangal (Durga Khote), Bhakta Gopalbhaiya (Amir Kanataki), Geeta (Chandra Mohan, Durga Khote), Gokul ( Kamla Kotnis, Sapru), Jivacha Sakha (Durga Khote, Sulochana), Malti Madhav (Durga khote, Baby Shakuntala), Nanda Kumar ((Durga Khote), Sant Janabai (Hirabai Badodekar), Seeta Swayamvar (Durga khote, Baby Shakuntala), Jawaee Majha Bhala, Choravar Mor, Bhintila Kaan Astaat, Shri Krishna Darshan ( (Durga khote, Usha Kiran), Sampoona Ramayan, Bharat Milaap and many more.
In “ Barkhaa”, he played the role of a doctor opposite Nanda. The song, “ Ek raat mein do-do chaand khile…” became an instant hit. “Bada bhai”, a film starring late Ajit, had him playing Ajit’s younger brother with Amita as the female lead. In “Sanskaar” also he played the lead role opposite Amita. He acted in some Gujrati films also.
In the early stages acting was like a job for him but soon it became a passion. All these years, while he worked in front of the camera as an actor, he learnt the finer details of film making, by observing, making mental notes. He had a flair for writing. In fact, he was a habitual diary writer. He wrote poems for small children and later they were published in the form of a book.
He had a good voice and was planning to be a singer but destiny had something else in store for him, a career in acting.
He wielded the megaphone in year 1974, for a marathi film named “Sonarana Tochala Kaan”, starring comedian and an intense actor Nilu Phule in lead role with Usha Chavan as the female lead. It was inspired by a Hollywood caper with famous comedian, Bob Hope in lead. The film was a huge success all over Maharashtra.
Soon he was set to direct a film in Hindi. After a detailed script was worked out by him, the producer backed out. Losing hope but not the spirit, he turned a new leaf and began work on his next project, once again in Marathi. The name of the film was “ Bijlee”, meaning lightning.
Rangat-Sangat Pratishthan, founded by the wife of late Shri Shahu Modak conferred the Manus puraskaar, an award on him for life-time achievement. The name for this award, for obvious reason is Manus (meaning human), a film by this name had Shahu Modak in a memorable role as a Havildaar.
Anant Marathe lived a content life. Having worked in films from the age of 8 took its toll on him and he passed away in 2002.
Film Anuradha-40 had 12 songs in it- all written by Lyricist Lajpat Rai. He seems to have written songs for only one more film, Deepak-40. The music was composed by Badri Prasad.This is the first song from this film here.I was pleasantly surprised when I listened to few songs from this film, because, contrary to Badri prasad’s earlier music and songs, these songs were sounding fresh. Looks like he was trying to be with the changing tastes of the audience. Sadly, he stopped giving music to films after just 3 more films-Vanmala-41, Madhusudan-41 and Zevar-42. He was, however, active as an actor and later as a choreographer for many years, till late 70s.
( Credits- HFGK, MuVyz, http://www.writewrong.wordpress.com, Isaq Mujavar’s books, Sun jaa dil ki dastaan by J V Kulkarni and my notes)
Song-Chahun oar chaandni chitki hai(Anuradha)(1940) Singer-Vatsala Kumthekar, Lyricist- Lajpat Rai, MD- Badri Prasad
Lyrics
chahun oar
chahun oar chaandni chitki hai
taaron ki basti basti hai
chahun oar chaandni chitki hai
taaron ki basti basti hai
main haay akeli
aa jaao
birha ki aag sulagti hai
chahun oar
chahun oar
ye mand mand vaayu ki lahren
sukh ke geet sunaati hain
ye mand mand vaayu ki lahren
sukh ke geet sunaati hain
chhed chhed man ke taaron ko
aise saaz bajaati hain
rom rom thhar thhar kaanpe ae ae ae
rom rom thhar thhar kaanpe
nanhi si jaan machalti hai
nanhi si jaan machalti hai
main haay akeli
aa jaao
birha ki aag nikalti hai
chahun oar
chahun oar
door door saagar ka paani
prem ka naad sunaata hai
door door saagar ka paani
prem ka naad sunaata hai
mast bana paagal sa doley
mast bana paagal sa doley
parvat se takraata hai
dol rahi hirday ki naiyya aa aa naiyya
dol rahi hirday ki naiyya
kaise paar utarte hain
kaise paar utarte hain
main haay akeli
aa jaao
birha ki aag sulagti hai
chahun oar
- In: Devnagri script lyrics by Sudhir | Duet | Feelings of heart | Guest posts | Leela Chitnis - Vasant Eric Duet | Leela Chitnis Song | Lyrics by Sudhir | Lyrics contributed by readers | Post by Arunkumar Deshmukh | Romantic song | Song of 1940 | Songs of 1930s (1931 to 1940) | Vasant Eric Song | Yearwise breakup of songs
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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 : | 3613 | Post No. : | 14407 |
Today’s song is from a relatively unknown film ‘Ghar Ki Rani’ (1940). The film makes its debut on the blog today.
Every person in this world likes to talk about himself. More so, if the person is from the film line and now retired. Some of them write their autobiography and some others get someone to write for them. Autobiographies (AB) are of two types. One in which the author talks about the times he spent in the studios, about the film, people connected with it, anecdotes and generally gives information about those times, in his book. Such ABs are considered the best from the point of view of Film History. Such ABs are less in number.
The other type of AB is, in which the author writes more about his personal life mainly, giving negligible space to other matters like film, people and related matters. Such authors are under the wrong impression that the world is dying to know about him and his life, while the facts remain that they had lives like majority of people in India working in films.
Overall, the statistics say that women wrote more ABs than the men. Among the many ABs are the ones by Durga Khote, Leela Chitnis, Shanta Apte, Shanta Hublikar, Kanan Devi, Hansa Wadkar (one of the very few in the world, on which a film was made – ‘Bhumika’ (1977), Sulochana Latkar, Jayashree Gadkar, Snehprabha Pradhan etc etc. Among the males, some ABs are those of Bimal Roy, Nabendu Ghosh (I found that most film male personalities in Bangla cinema wrote their ABs), Sachin Burman, Salil Chaudhari, Hemanta Kumar, Vithal Pandya, Ramchandra Thakur and C. Ramchandra. Bangla artists wrote in Bangla only. Some have been translated into English.
Among these ABs, I would rate Durga Khote, Sulochana and Kanan Devi and Vithal Pandya’s books as the best in the first category. The worst AB is that of C Ramchandra from the second category in my personal opinion.
When I write about a film or a song, I try to first read the related part from the AB of the concerned artiste, if any, so that my information becomes factual and reliable. In case of today Leela Chitnis was the heroine of film ‘Ghar Ki Rani’ and today’s song is also by her, so naturally, her AB came handy to me for additional information. It is a matter of coincidence that my previous article was from the film ‘Fashion’ (1943) and today’s film ‘Ghar Ki Rani’ (1940) – both had by chance a similar story in content. The difference is I had not seen ‘Fashion’, but I saw the Marathi version of ‘Ghar Ki Rani’.
Film ‘Ghar Ki Rani’ aka ‘The Better Half’ was a bilingual film, as per those day’s practice by producers of Maharashtra. The film was in Hindi and Marathi. In Marathi, the title was ‘Ardhangi’. It was made by Master Vinayak for his own Hans Pictures. Hans Pictures was in financial crisis during this period due to the failure of their ambitious film ‘Jwaala’ (1939), in which Chandramohan had acted in both versions, dubbing his own dialogues in Marathi himself, fluently.
When Master Vinayak had started Hans Pictures, the first film was ‘Chhaaya’ (1936). He had called Leela Chitnis to Kolhapur from Karachi to work in ‘Chhaaya’. Prior to that about a year or so earlier, Leela and Vinayak had been introduced in Poona. That time they had developed an attraction for each others, though Leela was already married and had 2 children. When they met again for film ‘Ghar Ki Rani’ at Poona, no such feeling had remained. That time Master Vinayak had married Susheela – sister of actress Indira Wadkar, and he too had 2 daughters by then. One of them was Baby Nanda. During the shooting of the film Leela fell from her cycle and had fractures. One month was lost in that.
Leela had just completed ‘Bandhan’ (1940) made by Bombay Talkies and ‘Jhoola’ (1941) was nowhere in sight. After completing this film in Poona, when she went back to Bombay, she learnt that Bombay Talkies owner Himanshu Rai was serious and in the hospital. Soon he died and the studio was divided into two groups. Work was to start for her next film ‘Jhoola’. In between this period, she went to Gwalior to meet her son who was studying there in a Public school. In this period, a sad but funny thing happened.
Some British soldiers caught and raped an young girl whose name was Leela Chitnis. The soldiers were arrested and the newspapers in Bombay announced that Leela Chitnis was raped by soldiers and that she is not well. Her mother telephoned her in Gwalior and started inquiring about her health in a serious tone. This was followed by her sister’s call who said that she is reaching next day to take care of her health. Leela Chitnis was confused. Not aware of the drama in Bombay, she did not know why suddenly her health was questioned. Next day her sister came and then everything was clarified. After she came back to Bombay she contacted the papers and clarified the matter.
The story and lyrics of the Marathi version of this film were written by Acharya PK Atre, but for Hindi version Pt Indra translated them. Today’s song is by Leela Chitnis and Master Eric. HFGK credits the song to Master Vinayak. However, in the addenda, an explanation is given with correct name. The fact is, Master Vinayak had a dental problem, due to which he could not sing well. All his songs in Marathi and Hindi films were sung by Master Eric. This is mentioned in several books.
Now, who was this Master Eric? His real name was Vasant Jadhav. He was born in 1907 into a Marathi Christian family of Kolhapur. Bhalji Pendharkar selected him for acting and singing in Shyam Cinetone’s film ‘Parth Kumar’ (1934) (Hindi / Marathi). His pet name was Eric, so he became Vasant Eric and later on due to his singing, he was called Master Vasant Eric. He joined Kolhapur Shalini Cinetone and worked with Master Vinayak. He also worked in films like ‘Aakashwani’ (1934) and ‘Honhaar’ (1936). He sang songs in films from 1937 onwards. In all the Marathi / Hindi films of Master Vinayak he sang for him.
Vasant Eric knew Ratanbai. She introduced him to Ardeshir Irani and he employed Eric in his music department, playing various instruments and singing whenever needed. He acted and sang in films made by Hans, Navyug and Prafull Films. In 1948, he gave music to a Marathi film. He was called by many MDs to play chord piano for their songs. The male voice in Lata’s First Hindi Playback song “Paa Laagu Kar Jori Re” is that of master Vasant Eric only.
His son Ravindra was an actor and daughter Hemlata Shankar (Jadhav) was a film dancer. His grandson Nitin Shanker is an arranger in Bollywood today. Master Vasant Eric died in 1982.
I have seen the film’s Marathi version, ‘Ardhangi’. The story of film ‘Ghar Ki Rani’ was-
Satyavan (Vinayak) is a University professor. Though he is highly educated, his wife Savitri (Meenakshi Shirodkar) is a simple housewife devoted to husband and his family. One day Satyavan’s colleague introduces his wife to Satyawan. Arundhati (Leela Chitnis) is a modern, educated, English speaking and cigarette smoking beautiful woman. Satyawan gets mad after her and takes every opportunity to meet and flatter her. In his mind he starts comparing Arundhati with his wife Savitri and feels ashamed of his wife. He feels Savitri is absolutely illiterate, old styled useless woman and avoids taking her with him anywhere.
He appoints a tutor to teach Savitri European manners and English speaking etc. It is difficult for Savitri, but for husband she does them and soon picks up, being intelligent woman. When Satyawan tries to impress Arundhati, she gives him freedom. Soon he comes very close to her to have an affair. However Arundhati humiliates him and makes him to all her domestic work. Then one day, she abandons Satyawan for the rich Zamindar Marotirao (Baburao Pendharkar).
Satyawan realises that he has been a fool to run after such a woman and returns happily to his wife Savitri, little knowing that it was Savitri who instigated Marotirao to go for Arundhati, to save her husband going away from her. Thus the Mahabharata story of Savitri who wins back her husband form Yama, comes to a close in Kalyug ! ( 655 )
Here is a rare song of Leela Chitnis and Master Vasant Eric from film ‘Ghar Ki Rani’. When you listen to Eric’s voice, you will realize the similarity of Master Vinayak’s and his voice.
Song – Aao Sainyaan Khul Kar Khelen Aaj Poonam Ki Raat Hai (Ghar Ki Rani) (1940) Singer – Leela Chitnis, Vasant Eric, Lyrics – [Unattributed], Music – Dada Chandekar
Lyrics (Provided by Sudhir)
aao sainyaan
khul kar khelen
aaj poonam ki raat hai
aao sainyaan
khul kar khelen
aaj poonam ki raat hai
chandramukhi ho
pehlu mein to
chandramukhi ho
pehlu mein to
khoob poonam ki raat hai
chanda chhin chhin mein chhip jaata
rajnion ka chumban le aata
phir hum par joban barsaata
aaj poonam ki raat hai
hoon hum
khoob poonam ki raat hai
tum dard badha ke
dil mein mujhe chhipa lo
praanon se praan
aahon se aah mila lo
main teri aankh mein
aansoon jal kar jhoomoon
jo girey aankh se
to gaalon ko choomoon
bhool jaaye duniya hum ko
hum duniya ko bhoolen
bhool jaaye duniya hum ko
hum duniya ko bhoolen
madhoshi ki godi mein
armaan banaayen ghoomen
aaj poonam ki raat hai
hoon hum
khoob poonam ki raat hai
aao sainyaan
khul kar khelen
aaj poonam ki raat hai
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
आओ सैंया
खुल कर खेलें
आज पूनम की रात है
आओ सैंया
खुल कर खेलें
आज पूनम की रात है
चन्द्रमुखी हो
पहलू में तो
चन्द्रमुखी हो
पहलू में तो
खूब पूनम की रात है
चंदा छिन्न छिन्न में छिप जाता
रजनीओं का चुम्बन ले आता
फिर हम पर जोबन बरसाता
आज पूनम की रात है
हूँ हुम
खूब पूनम की रात है
तुम दर्द बढ़ा के
दिल में मुझे छिपा लो
प्राणों से प्राण
आहों से आह मिला लो
मैं तेरी आँख में
आँसू जल कर झूमूँ
जो गिरे आँख से
तो गालों को चूमूँ
भूल जाये दुनिया हमको
हुम दुनिया को भूलें
भूल जाये दुनिया हमको
हुम दुनिया को भूलें
मदहोशी की गोदी में
अरमान बनाएँ घूमें
आज पूनम की रात है
हूँ हुम
खूब पूनम की रात है
आओ सैंया
खुल कर खेलें
आज पूनम की रात है
Gori. . . Laaj Ki Baat
Posted on: March 22, 2018
- In: "expectant mother" song | Devnagri script lyrics by Sudhir | Guest posts | Lyrics by Sudhir | Lyrics contributed by readers | Miss Leela Solo Songs | Miss Leela Songs | Motherhood song | Post by Arunkumar Deshmukh | Sahelis teasing a lady | Song of 1940 | Songs of 1930s (1931 to 1940) | Yearwise breakup of songs
- 6 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 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 : | 3534 | Post No. : | 14193 |
Today’s song is from the film ‘Alakh Niranjan’ (1940).
These days I am on a mission to collect and present valuable information on some less known actors and actresses, from the bygone era of the 30s and early 40s. Today also I will talk about a really forgotten actress of the silent era and the early Talkie films – LEELA CHANDRAGIRI or Miss Leela. Do not mix up this name with Leela Desai, Leela Sawant or Leela Mishra. All are different.
But before that, something about the film.The film’s name is ‘Alakh Niranjan’ aka ‘Gorakhnath’. We are all aware that “alakh niranjan” is the call given by the gossains (गोसाईं) (or followers) of Nath Sampradaay or the fakirs of Kabir Panth, when they visit a fixed number of households to ask for bhiksha (alms). When I was about 6 to 7 year old, during the visits to my Naani’s (maternal grandmother’s) home in a village, I used to hear this call from the gossain, who stood outside the door. Someone from the house used to give uncooked food material like rice, wheat or jowar. Even wheat atta was given. These gossains had a jholi (a spacious carrying bag made of cloth), having 4-5 compartments and they would expertly add the bhiksha to the appropriate compartment. They never took money. These people are also called by the name avadhoot (अवधूत) (a mystic or a saint who is beyond ego-consciousness, duality and common worldly concerns).
Alakh is a term used by Nath Sampradaay for The Creator. It signifies a nirgun (One that is beyond physical attributes) and nirakaar (One that is not bounded by form and shape) manifestation of the Supreme Power. The word alakh also means That which cannot be measured, or perceived by the physical sensory powers and intellect. Niranjan means spotless or pure. Primarily it is a call to identify the Nath Yogi. Niranjan is also another name for Lord Shiva.
A brief description of the Nath Sampradaay and about Gorakhnath. It is likely that some of our readers may not be familiar with the details behind these names. In the Hindu Sanaatan traditions the worship of Lord Shiva is called Shaivism and the worshippers and followers of Lord Shiva are called Shaivs. Nath Sampradaay is a sub tradition within Shaivism. The followers of this tradition consider Adinath or Lord Shiva as their first Lord. The word Nath implies Master. In this tradition, there is a lineage of nine Gurus or Teachers. The form of sadhna practiced by the followers of this tradition is called Hath Yog (हठ योग).
The first Guru in this lineage is Matsyendra Nath, who is better known as Machhindra Nath. The traditional history recounts that Matsyendra was born under an inauspicious star. This warranted his parents to throw the baby into the ocean. In the ocean the baby was swallowed by a large fish, and he lived and grew up inside the belly of the fish, for many years. The fish swam to the bottom of the ocean where Lord Shiva was imparting the secrets of yoga to Mata Parvati. Matsyendra overheard this discourse and learnt the secrets of yoga. He began to practice this yog sadhana inside the fish’s belly. After twelve years he finally emerged as an enlightened Siddha.
There is a list of Nine Nath Gurus, who are called Navnath. The first Nath Guru is Machhindra. The complete list is as follows
- Machhindranath
- Gorakhnath
- Jalandhar Nath
- Kanif Nath (Kanhoba)
- Gahini Nath
- Raja Bhartrihari Nath (Bharthari)
- Revan Sidha Nath
- Charpati Nath and
- Naag Nath.
The stories surrounding every Nath Guru, especially the earlier ones, are very exciting, thrilling and entertaining. One must read them from the original Nath Puraan or Nav Nath Pothi. I have read all of them. These stories are in no way less than any Arabian Night stories. Due to their entertainment value, several films in several languages have been made on the early Gurus like Machhindranath and Gorakhnath. Films on Machhindranath were made as ‘Maaya Machhindra’ in Hindi, in 1932, 1951, 1960 and 1975. Films on Gorakhnath as ‘Alakh Niranjan’, were made in 1940, 1950 and 1975. Films on Bharthari were made in 1932 and 1944. Films on other Naths were made as ‘Raja Gopichand’ in 1933, 1938 and 1950. Same way films on Naths in Telugu, Tamil, Gujarati and other languages were also made.
‘Alakh Niranjan’ is the story of Gorakhnath. The story of his birth is briefly given below.
The first Guru Machhindra Nath went to a house for bhiksha. The lady of the house, after giving him the bhiksha, asked him if he can bless her to bear a child, a wish that had remained unfulfilled thus far in her life. Guru Machhindra Nath dipped his hand in his jholi and took out some some vibhuti (ash). He gave it to her and asked her to partake it and that she will conceive a son. After he is gone, one of the neighbours tells the lady not to believe all this. The lady gets a doubt and throws the vibhuti on a pile of garbage.
Time passes. After 12 years, Machhindra Nath again comes to the lady and asks, how her son was. The lady, ashamed, tells him the truth. The Guru goes to the pile of garbage and gives a loud call, “My son, come here”. From the garbage rises a son of about 12 years. He is Gorak Nath. Machhindranath takes him away and gives him the deeksha (anointing him as his disciple) of Nath Sampradaay. ‘Go‘ means Earth and ‘rakh‘ means to protect. So Gorakh is one who is protected by Mother Earth.
The film (1940 version) was made by Arun Pictures and directed by Bhal G Pendharkar (Bhalchandra Gopal Pendharkar – 3-5-1897 to 28-11-1994). Born at Kolhapur, he was the son of King Shahu Maharaja’s court physician Dr. Gopal Pendharkar, and Radhabai. He was awarded Dadasaheb Phalke Award in 1991, when he was 94 year old already. More about this illustrious film director some other time. Let us now talk about the film’s heroine Miss Leela.
Leela Chandragiri was born in Chikodi, a town near Kolhapur, in a singing family. She learnt singing from a very young age. The talent hunters of Prabhat film company found her and she was brought to Kolhapur. She was beautiful, tall and wheat complexioned. She made her debut in V Shantaram’s silent film ‘Uday Kaal’ in 1930. She did the role of Bhawani Devi, who blesses Shivaji and gives him the Bhawani talwar (sword). Leela became famous by acting in the grand silent film ‘Chandrasena’ (1931) of Prabhat films.
Leela’s first talkie film was ‘Jalti Nishani’ (1932), a bilingual in Hindi and Marathi (as ‘Agni Kankan’). The hero in this film was Master Vinayak. Leela had no problem in delivering Hindi/Urdu dialogues as she was fluent in both languages. She became the heartthrob of the audiences. Being from a singing family and trained, singing came naturally to her. She sang her own songs starting from her first talkie film itself. In 1933, she appeared in ‘Maya Machhindra’ (1933), in which her hero was Master Vinayak again. They worked together again in a Marathi film ‘Sinhgad’. Prabhat’s first coloured film ‘Sairandhri’ (1933) also featured her in the main role. The film was processed in Germany.
After this, Prabhat Films shifted to Poona, but Leela chose to stay back in Kolhapur and decided to work with Bhalji Pendharkar. They became attracted to each others and got married. Leela already had two children, a son, Jaysingh and a daughter, Madhavi. Bhalji adopted both children and gave them father’s love. Even Bhalji had one son from his first marriage – Prabhakar. Later, when they built their own studio, it was given the name Jayprabha. It combined his two sons’ names – JAYsingh and PRABHAkar. Madhavi got married to the Marathi author Ranjit Desai. Madhavi also authored one book herself.
Miss Leela appeared in the following films –
- Jalti Nishani (1932)
- Maya Machhindra (1932)
- Sairandhri (1933)
- Akashwani (1934)
- Kaal Koot (1935)
- Kaliya Mardan (1935)
- Raja Gopichand (1938)
- Alakh Niranjan (1940)
- Maharathi Karna (1944)
- Swarna Bhoomi (1944)
- Valmiki (1946), and
- Chhatrapati Shivaji (1952).
She mostly worked in films directed or made by Bhalji Pendharkar only. During the riots in 1948 (on account of Gandhi ji’s assasination), their Jayprabha studio was burnt down, because Bhalji was a Brahmin. However, within few years he built it again. After Bhalji’s death the studio was purchased by Lata Mangeshkar.
During Miss Leela’s career, contemporary to her, there were 3 more actresses named Leela active in Hindi films. One was Leela Desai (daughter of a Gujarati father and a Bengali mother from Bihar. She was born in America.). The second was Leela Mishra – who became Leela mausi later on. The third one was Leela Sawant – essentially a stunt film actress who worked in master Bhagwan’s films.
The music of this film was by DP Korgaonkar aka K Datta (who is known for film ‘Badi Maa’ (1945) and songs of Noorjehan). The main role of Gorakhnath was done by B Nandrekar. Other actors were Chandrakant (father of well known Marathi/Hindi actor Vikram Gokhale), Raja Paranjape (who became a famous Marathi director in the 1950’s decade) and others. There were 8 songs in the film. 4 were sung by Miss Leela. Both the film as well as the singer Miss Leela are making their debut on the blog today.
[Author’s Note: Acknowledgements and thanks – The above write up refers to and has adapted material from ‘Beete Kal Ke Sitaare’ by Shri S Tamrakar, ‘Flashback’ by Isak Mujawar, Wikipedia, CITWF.com, MuVyz.com, Encyclopedia of Indian Cinema, HFGK and my own notes.]
[Ed Note 1 : As I was noting the lyrics of this delightful song, I also noted that in this song, a lady is being teased by her friends. The lady is in the family way, carrying a child, and the friends are singing a song about it. The words and the phrases, as presented are so playful, so endearing, and at the same time, modest and innocent. The friends are singing of the progressing months in pregnancy, and how the lady is blossoming. Then when the time comes, she gives birth to a child. I do not remember hearing any other such song in HFM; maybe I am not aware. I can recall some songs that are sung by the husband wife couple who are expecting a child. The manner in which a group of friends are teasing an expectant mother – I think I am hearing for the first time. The wording is just so wonderful.
nanadi ne kheencha palla
boli kahaan hai lalla
Nanadi, the younger sister in law of the lady; she playfully pulls at her bhabhi’s palla and asks – o tell me, where is the child. The imagery created by these words and these lines is so wonderful. I would request other readers and friends to comment if there are other similar instances in the world of Hindi film songs.]
[Ed Note 2 : I request help from other readers with keener ears to help with one word marked as ?? in the lyrics below.]
Song – Gori. . . Laaj Ki Baat (Alakh Niranjan) (1940) Singer – Miss Leela, Unidentified Female Voice 2, Unidentified Female Voice 2, Lyrics – Pandit Anand Kumar, Music – DP Korgaonkar
Chorus
Lyrics (Provided by Sudhir)
gori . . .
laaj ki baat
gori . . . laaj ki baat
gori . . . laaj ki ba..aat
gori . . . laaj ki baat
munh se boli na jaat
munh se boli na jaat
munh se keh baithe aaj
munh se keh baithe aaj
gori
sej kyon na jaaye
gori sej kyon na jaaye
gori sej kyon na jaaye
gori sej kyon na jaaye
nanadi ne kheencha palla
nanadi ne kheencha palla
boli kahaan hai lalla
boli kahaan hai lalla
kaun ghar maara dallaa
kaun ghar maara dallaa
phooli na samaaye gori
gori
phooli na samaaye gori
gori
peeli pad jaaye gori
gori
peeli pad jaaye gori
beeta chhatwa maas suhaagan
beeta chhatwa maas suhaagan
hansat saatwaan chala mudit mann
hansat saatwaan chala mudit mann
sakhi aathvaan jaate jaate
sakhi aathvaan jaate jaate
khile bageeche phool uthe tan
khile bageeche phool uthe tan
navaa bade bhaagon se aaye
navaa bade bhaagon se aaye
laal janmaaye gori
gori
laal janmaaye gori
pyaare.. laal ki baat
pyaare.. laal ki baat
pyaare.. laal ki baat
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
गोरी॰॰॰
लाज की बात
गोरी॰॰॰ लाज की बात
गोरी॰॰॰ लाज की बा॰॰आत
गोरी॰॰॰ लाज की बात
मुंह से बोली ना जात
मुंह से बोली ना जात
मुंह से कह बैठे आज
मुंह से कह बैठे आज
गोरी
सेज क्यों ना जाये
गोरी सेज क्यों ना जाये
गोरी सेज क्यों ना जाये
गोरी सेज क्यों ना जाये
ननदी ने खींचा पल्ला
ननदी ने खींचा पल्ला
बोली कहाँ है लल्ला
बोली कहाँ है लल्ला
कौन घर मारा दल्ला
कौन घर मारा दल्ला
फूली ना समाये गोरी
गोरी
फूली ना समाये गोरी
पीली पड़ जाये गोरी
गोरी
पीली पड़ जाये गोरी
गोरी
बीटा छटवां मास सुहागन
बीटा छटवां मास सुहागन
हंसत सातवाँ चला मुदित मन
हंसत सातवाँ चला मुदित मन
सखी आठवाँ जाते जाते
सखी आठवाँ जाते जाते
खिले बगीचे फूल उठे तन
खिले बगीचे फूल उठे तन
नवां बड़े भागों से आया
नवां बड़े भागों से आया
लाल जनमाए गोरी
गोरी
लाल जनमाए गोरी
प्यारे॰॰॰ लाल की बात
प्यारे॰॰॰ लाल की बात
प्यारे॰॰॰ लाल की बात
Deewaani tu kyaa jaane
Posted on: February 18, 2018
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 : | 3502 | Post No. : | 14068 |
I became aware of a Hindi film ‘called Virginia’ (1940) nearly 2 years back. My first impression was that the film may be based on some Hollywood movie. Google search for details of this film did not yield much as most of the results pertained to a few Hollywood films of the same name in or around that name. The film did not find mention in ‘Filmindia’ magazine pertaining to the years 1939-41. Later on, I did get some details about the film in ‘list of Bollywood movies of 1940’ on Wikipedia which described the film as an ‘action’ film directed by K M Multani with a star cast of Manjula, W M Khan, Rajkumari, Pratap and David. Khan Mastana was the music director.
A couple of days back, I came across a High Court Judgement dated March 25, 1942 concerning K M Multani vs. Paramount Talkies of India. Being a law student myself once upon a time, I am interested in reading the court judgements, especially of the court cases pertaining to per-independence days. In the judgement, I got to know some more details about the film ‘Virginia’ (1940) and some interesting twist.
‘Virginia’ (1940) was made under the banner of A E M Multani Productions. The star cast mentioned in the judgement included Manjula, Pratap, W M Khan, David, Jamila and thousands of others. The film story idea was conceived by K M Multani sometime towards the end of 1939. Shooting of the film commenced in April 1940 at Bharatiya Studio. On May 16, 1940, the title of the film ‘Virginia’ was registered with Sub-Registrar in Bombay (Mumbai). The film was completed in August 1940 and advertisement of the film commenced in a limited way in September 1940. Censor Certificate was obtained for the film in November 1940. The film was released in Bombay on March 16, 1941 in Minerva theatre. The film ran for two weeks. The film was to be released elsewhere in India.
K M Multani, the producer-director had decided to produce this film on a grand scale just to prove a point that Indian film industry can also make spectacular films on the scale of Hollywood. The idea was to get ‘ high-brow westernised Indians who patronised the foreign films exclusively, to see in Indian films something which they would not find in Hollywood films even’. The story revolved around an imaginary war between Greeks and Romans about 4000 BC. In the film, Virginia was the name of the heroine.
It so happened that Paramount Pictures also conceived a film with a similar title ‘Virginia’ (1941) in 1939 and in December 1939, the title of the film was registered in the USA. The shooting of the film commenced more or less at the same time in the USA as that of ‘Virginia’ (1940). The film was released in USA in February 1941 and in Calcutta and Mumbai in May 1941. It was a family drama set against the background of an estate in Virginia, one of the States in the USA. The theme of the film was contemporary.
When the Paramount Pictures’ film was released in Calcutta and Bombay in May 1941, K M Multani filed a suit in a Bombay court to restrain the exhibition of Paramount film ‘Virginia’ (1941) with the same name on the ground that it would result in misleading a section of the cinegoers. He also claimed the damages for loss of box office collections of his film due to ‘passing off’ ‘Virginia’ (1941) as ‘Virginia’ (1940).
The lower court dismissed the suit on the grounds that no one can claim the sole monopoly of the title ‘Virginia’ as it is a geographical name. There was no reason to believe that Paramount’s film could mislead the cinegoers as the film is in English and the Multani’s film is in Hindustani. Also the story of the both the films are quite different. Even the advertisements of both the films make it very clear that both these films are different in terms of the language, the star cast and the themes of the films. The other point was that both the films were conceptualised, shot and released almost contemporaneously without the knowledge of each other. So there was no mala fide intention.
K M Multani filed an appeal in Bombay High Court against the judgement of the lower court. The High Court upheld the judgment of the lower court and dismissed the appeal with costs. Those interested in reading the detailed judgements, both of the lower court and the High Court can read here.
I am not sure whether K M Multani got ‘Virginia’ (1940) released at other places in India. The fact that the film ran only for two weeks in one theatre in Bombay would indicate that the film was a box office failure. I find that, later K M Multani re-joined Minerva Movietone to direct ‘Vasiyat’ (1940) and there after ‘Ujaala’ (1942). His filmy career almost came to an end with his home production ‘Umang’ (1944). I came to know from the former ‘Filmfare’ editor, B K Karanjia’s book ‘Counting My Blessings’ that K M Multani became the founding editor of trade journal ‘ Film Age’ and retired from film industry to become an estate agent.
‘Virginia’ (1940) had 8 songs written by Ehsaan Rizvi which were set to music by Khan Mastana. None of the songs has yet been represented on the Blog. Today, I present the first song from the film ‘diwaani tu kyaa jaane’ to appear on the Blog. The name of the playback singer is not mentioned. There are two other songs in the film which were identified to be that of Miss Iqbal (or Iqbal Bibi) who has a high-pitched voice. As against this, the voice in the song under discussion is a soft one.
Since Manjula (Manju Diwan, wife of Karan Diwan) is in the cast of the film, I checked her voices in the songs from the films ‘Gaali’ (1944) and ‘Chaand’ (1944). I am convinced that the voice in the song under discussion is that of Manjula (Manju). At the time of making of the film, Manjula was 16 years old and the voice sounds like that of a teenager.
A feature of this song is that there is a long prelude music (0:33) followed by a long interlude (0:42) and the end music (0:20). As a result, the lyrics of the song has space in the disc for about 2:00 minutes.
Song-Deewaani tu kya jaane (Virginia)(1940) Singer-Manju Dewan, Lyrics-Ehsaan Rizvi MD-Khan Mastana
Lyrics
deewaani tu kyaa jaane
kaun mere ghar aataa hai
deewaani tu kyaa jaane
kaun mere ghar aataa hai
prem sandesha laata hai
prem sandesha laata hai
mere mann wo bhaata hai
mere mann wo bhaata hai
murjhaa chuki hai jo sakhi
dil ki kali khilegi
murjhaa chuki hai jo sakhi
dil ki kali khilegi
deewaani tu kyaa jaane
kaun mere ghar aataa hai
deewaani tu kyaa jaane
kaun mere ghar aataa hai
main kahoongi apni baat
wo sunenge saari raat
main kahoongi apni baat
wo sunenge saari raat
ab kyun
dil shor machaata hai
ab kyun
dil shor machaata hai
Mast pawan shaakhen lahraayen
Posted on: January 24, 2018
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 : | 3477 | Post No. : | 13968 |
The year 1940 can be regarded as a benchmark year for Hindi film industry to assess its progress in the talkie era as it marked about a decade since talkies came into being. Although studio systems (in which artists were on the payrolls of the studios) continued, slowly the star system was evolving in which the star actor commanded the salary acccording to his success rate in box office collections. During this period, actors with star values emerged. They commanded good salary from their respective studios to ward off poaching by the competing film production companies. Films with K L Saigal, Prithviraj Kapoor, Chandramohan, Surendra, Motilal, Ashok Kumar, Durga Khote, Madhuri, Sabita Devi, Kanan Devi, Shobhana Samarth, Leela Chitnis, Naseem Bano etc were expected to be box office hits.
If one goes by the estimates done by ‘Filmindia’ magazine of prominent stars’ salaries in the early 40s, most of these stars were getting a monthly salary ranging from Rs.3000-5000/- from their respective studios. (If we relate it to the cost of indexing to 2013, the amount is equivalent to about Rs.48000-80000/- per month). With the World War-II, the cost of production of films had shot up. There was an acute shortage of raw films. Many film production companies had reported to have bought raw films in the black market.
On the one hand, the cost of film production went up, with less purchasing power at the hands of cinegoers due to World War-II, perhaps they became choosy in watching films. Those days, publicity of films was mostly by words of mouth of the cinegoers. As a result, many Hindi films with star actors failed at the box office. For example, a few films listed below with star value released in 1940 failed at the box office:
1 .Bharosa (1940) – Chandramohan, Sardar Akhtar, Mazhar Khan
2. Deepak (1940) – Prithviraj Kapoor
3. Geeta (1940) – Chandramohan, Durga Khote
4. Main Haari (1940) – Naseem Bano
5. Sajni (1940) – Prithviraj Kapoor, Sabita Devi
‘Haar Jeet’ (1940) produced under the banner of New Theatres was one such film which failed at the box office in spite of having star value and a reputed banner. The film was directed by Amar Mullick. The star cast included Kanan Devi, Pahadi Sanyal, Nawab, Nemo, Nand Kishore, Meera Dutta, Pannalal etc. The film was based on a Bengali short story ‘Shubhojog’ written by Upendranath Ganguli.
The story of the film was as under:
It is the story of two theatrical companies competing with each other. Kamala (Kanan Devi) is the star actress of the Ruby Theatre. Narendra (Pahadi Sanyal) is the star actor of the Bina Theatre. Narendra leaves Bina Theatre and joins Ruby Theatre. Here he falls in love with Kamala. They get married in a rural setting among the peasantsand stay in the rural area. In keeping with the rural setting, Narendra forbids Kamala from acting in the theatres. However, she does not heed his advice and continues to acts in the plays of the Ruby Theatre. They are separated.
After staying among the peasants for some time, Narendra also re-joins Bina Theatre. While the Bina Theatre achieves success, Ruby Theatre goes bankrupt. This is regarded as the punishment for Kamala who has refused to be a dutiful housewife. At the end, Kamala and Narendra are united.[Based on the review of the film in ‘Filmindia’ magazine, November 1940 issue with some additional inputs from ‘Encyclopaedia of Indian Cinemas’].
The ‘Filmindia’ review has blamed inept direction and a weak story line for the failure of the film. I feel that the film’s ending is a reflection on the male dominated society of rural India in the early 20th century which one would often find in Hindi films of 1930s and 1940s.
‘Haar Jeet’ (1940) had 9 songs written by Arzoo Lucknowi and Kidar Sharma. However, individual accreditation to the song is not available. It may be noted that Kidar Sharma had left New Theatres in 1937 after the completion of the shooting of ‘Vidyapati’ (1937). So, I guess, his contribution as a lyricist, if any, may be only marginal and most of songs may have been written by Arzoo Lucknowi. Songs were set to music by R C Boral.
I am presenting the first song ‘mast pawan shaakhen lahraaye’ from the film ‘Haar Jeet’ (1940) which marks the debut for the film in the Blog. The song is sung by Kanan Devi and Pahari Sanyal. The main feature of the song is that it has a long musical prelude of 1:34 and thereafter there are no musical interludes. I guess, this song may have been the earliest one to have the longest duration of the musical prelude in any Hindi film song of that time. Perhaps this record was broken by this song which had a musical prelude of 1:50.
Song-Mast pawan shaankhen lahraayen (Haar Jeet)(1940) Singers-Kanan Devi, Pahadi Sanyal, MD-R C Boral
Both
Lyrics
mast pawan shaakhen lahraayen
ban ban mor papeehe gaayen
ae ae mast pawan shaakhen lahraayen
ban ban mor papeehe gaayen
ae ae mast pawan shaakhen lahrayen
phool
phool
phool phool par bhanwre jaayen
jaa kar
preet ke
geet sunaayen
phool phool par bhanwre jaayen
jaa kar preet ke geet sunaayen
jo hriday mein geet hai vyaakul
tu bhi usey sunaa sunaa
jo hriday mein geet hai vyaakul
tu bhi usey sunaa sunaa
gaa sajanwaa gaa
sajanwaa
gaa sajanwaa gaa
mast pawan shaakhen lahraayen
ban ban mor papeehe gaayen
ae ae mast pawan shaakhen
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