Archive for the ‘Song of 1940’ Category
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Today’s song is from a C grade stunt film – Diamond Queen-1940. The film was made by Wadia Movietone, who specialised in and thrived on such action films. This was the 10th film of Homi Wadia as a Director.
Homi Wadia (8-1-1908 to 9-1-1996) directed 35 films. His first film as a director was Veer Bharat 1934 and last film was Adventures of Alladin-79. The first film of Fearless Nadia, Hunterwali-35 was directed by him. He later married Nadia, in their later life.
Wadias were always famous for their stunt and action films. Once they got Fearless Nadia as a star, they became monopolist of Stunt films. It is said that Nasir Hussain and Manmohan Desai had only ONE story and they made a dozen films on that one story only. What was astonishing was most of these films became Hits and popular too. No one complained about the stories. Actually, one can safely say that this had started much earlier and the Pioneer in this was Wadia Movietone. Their story department had no work. They made films on just ONE story. The skeleton story was – a cruel king or a cruel Prime Minister, punished by a masked ” Do Gooder” – a friend of the poor and the oppressed janata and lot of daredevil stunts on Horse, Lion, Elephant, Tiger, on moving carriages, with cars and Motor Cycles etc. This was more than enough masala to make a Wadia stunt film of Nadia !
Like good businessmen, Wadias never depended only on Nadia, but kept a back up of stunt actresses in reserve. These were used alternatively to make films. The stock consisted of Radha Rani, Sona Chatterjee, Miss Gulshan, Husn Banu and Noorjehan Sr. to name a few. Likewise in males too they had Jal khambata, jal Merchant, John Cavas, Prakash, Billimoria brothers-Eddie and Dinshaw, Boman Sroff etc to act in their films whenever needed.
Similarly, they had a battery of side actors, villains and comedians, who invariably featured in almost all movies of Wadia. Some of them were Atish Sayani, Minoo Cooper, Sardar Mansoor, Dalpat, Bismilla, Master Chhotu, Manchi Thooti, Master Chhotu, Basheer, Jamshed ji etc. Master Mohammed was an actor, singer and Music Director in many films.
Besides Wadias, there were others like Ramniklal Shah, Nanabhai Bhatt, Harishchandra Rao, Chandra Rao,Imperial and many smaller film makers, who also made stunt films. Thus in totality and in comparative number, there was a sizable group of artistes specialised in action films. By middle of the 40’s, Master Bhagwan entered this Genre, with his Jagriti Films and contributed substantially. Almost all of Bhagwan’s films had only ONE story – a rich seth, a villain extorting money from him, seth employing 2 youths as his bodyguards (Bhagwan and Baburao Pehelwan), who fall in love with seth ji’s daughter and her maid and also destroy the villain.
Coming to today’s movie Diamond Queen-40, it was directed by Homi Wadia. The cast was Nadia, John Cavas, Radha Rani, Sardar Mansoor, Sayani Atish, Minu the Mystique, Boman Shroff, Dalpat etc etc. The 5 songs were written by Munshi Shyam and Music Director was Madhulal Damodar Master.
The name Madhulal Master must be unknown to the newer crop of Music lovers, because he retired from film music in 1952- much before most readers were even born. The story of Madhulal Master is as strange as his death. On the morning of 19th June 1990, The Times of India, Bombay flashed a news…” The old time Music Director and a Director of Indian Institute of Puppetry, shri Madhulal Damodar Master is found murdered in his Shivaji Park home.”
Born on 21-6-1903, Madhulal joined the film industry to become a Comedian, but he was first made a sound recordist assistant, then an assistant MD for two films and finally independent MD for Krishna Tone Film Company for their film, ‘ Navchetan’-32. In the next 21 years he gave music to 34 Hindi films, few Gujarati films and some documentaries, composing 267 Hindi songs. Unable to cope up with the changed pattern of Music and public taste, he retired from this profession after his last film- Jungle ka Jawahir-52. After this he pursued his hobby of Puppet making and soon developed a flourishing business. Internationlly well known, he was the only Indian member honoured by the International Puppetiers’ Organization. Very few people know that it was his JOKER PUPPET which was used by Raj Kapoor in his ambitious film MERA NAAM JOKER-1970.
He was invited as a special guest for the release ceremony for the HFGK-Vol I, on 8-10-1988, after Harmandir ji meticulously made special efforts to locate him in Bombay. He was overwhelmed with this gesture. Madhulal ji showed a Catalogue to Harmandir ji, in which Madhulal ji had recorded information about all songs composed by him with details of the every film that he did in his career. Harmandir ji was wonder struck with his systematic records. In the ceremony, senior artistes like Naushad, Sitara Devi, Rajkumari ji etc all touched his feet with respect. He regaled the audience with his humorous talk for an hour. He had spent 38 years before this in anonymity. It is very sad that his life ended in such a tragic way. ( His murderer was never found out, nor was the motive known and the case was filed.)
One of the actors in the cast was Sayani Atish. He was a regular Villain in Wadia films. Sayani Aatish – his real name was Sayani Abdul Hamid Ahmed. He was born in Bombay. He had a ancestral Timber business, but his intense desire to work in films brought him to this profession in 1925. He started working in Silent stunt films as a villain.By the time Talkie films came, he had perfected his style. He joined Wadia Movietone. His first Talkie film was “Laal-E-Yaman”-33. After this he did 18 films.His last film was Mere Sajan-41. He was considered an outstanding villain of films.He was a writer and composer too.
One more actor was Boman Shroff. Boman Shroff was born in Kalyan-Bombay. He joined films in 1922. After doing many silent films, he joined Wadia Movietone. His first Talkie film was “Laal E Yaman-33”. He was known as a Dare Devil stuntman and master of make up.His role was usually of a comedian. His best performance was in Toofani tarzan-37. He worked in 17 films. His last film as an actor was Stunt King-44. Boman Shroff also directed two films- Toofani tirandaz-47 and Sher Dil-54.
The story of film Diamond Queen-40, as I found on Wiki is this….
Diamond Queen is a 1940 Hindi action adventure comedy film. It was directed by Homi Wadia and produced by Wadia Movietone. It starred Fearless Nadia, John Cawas, Radha Rani, Sayani Atish, Sardar Mansur, Dalpat, Kunjru, and Boman Shroff. This film was the seventh in the Diamond thriller series with the first being Veer Bharat in 1934, directed by Homi Wadia under the production of J. B. H. Wadia. It is cited as one of the best films produced by the Wadia brothers. The film’s success saw Homi Wadia becoming a producer by which he was able to obtain raw stock for his films due to the rationing of two films per producer during the Second World War.
The film is set in Diamond Town where Madhurika returns following five years of studies in Bombay. She is the Bambaiwali the townspeople have been waiting to see. She returns to her town wearing western clothes and looking fit and to her father’s query she replies that she’s been working out in the Bombay gymnasiums. The town is reeling under the brutal atrocities of the mustachioed bushy eye-browed villain, Kedarnath (Sayani Atish) who has usurped the Prince’s place while he is away. Kedarnath had been given charge by authorities to weed out corruption but is instead heavily into corruption, taxing people and outrages against women. He also has an enemy in the dacoit Diler as he cheated Diler’s father many years ago. Diler was the sole survivor in his family when Kedarnath burnt his family home. He had been given a dying oath by his father to take revenge against Kedarnath. Madhurika joins up with the dacoit Diler and manages to deliver the town from the evil Kedarnath. She advocates for women’s literacy and independence and uses dialogues like: ‘If the nation is to be freed, the women have to be free first.’
Today’s song is sung by Radha Rani and Sardar Mansoor, with Chorus. Singer Radha Rani is one of the ” Same Name Confusion” actresses, about whom I have written here earlier, so I am not repeating. With this song, film Diamond Queen-1940 makes its Debut here.
Song-Kariye kasrat ka prachaar jai bajrang pukaaro (Diamond Queen)(1940) Singers – Radharani, Sardar Mansoor, Lyricist – Munshi Shyam, MD – Madholal Damodar Master
Chorus
Sardar Mansoor + Chorus
Lyrics
khabardaar
maaro
Kariye kasrat ka prachaar
jai bajrang pukaaro
Kariye kasrat ka prachaar
jai bajrang pukaaro
kasarat hai jeevan ka saar
jai bajrang pukaaro
kasarat hai jeevan ka saar
jai bajrang pukaaro
Kariye kasrat ka prachar
jai bajrang pukaaro
himmat na hargiz haaro
kasarat kar tan man waaro
balwaan bano balwaan bano
balwaan bano ab pyaaron
jai bajrang pukaaro
hoy
jai bajrang pukaaro
ek do teen chaar paanch chhe saat aathh
??
badhho rukho jhuko uthho
Kariye kasrat ka prachaar
jai bajrang pukaaro
kasarat ka shauk badhaao
?? maan padhaao
shakti ka
shakti ka
shakti ka prashn banaao
jai bajrang pukaaro
hoy
jai bajrang pukaaro
ek do teen chaar paanch chhe saat aathh
desh ki shobha jo balidaan
jo nirbal hai wo ??
desh ki shobha jo balidaan
jo nirbal hai wo ??
phir yahaan aa gaye
kya karoon
?? mujhe pahle hi yahaan ghaseet laate hain
geet khatm ho jaane do
phir tumhaari khabar leti hoon main
shukriya
aap to hamesha hi hamaari khabar leti rahti hain
dhanwaan se achche nirdhan
dhanwaan se achche nirdhan
ye jeewan
ye jeewan
ye jeewan safal banaao
jai bajrang pukaaro
hey
jai bajrang pukaaro
kariye kasarat ka prachaar
jai bajrang pukaaro
Wo man nagari mein aayenge
Posted on: January 16, 2020
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me.This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Today’s song is a very rare song from an obscure and unheard of film – Anjaam-1940. Films with the title Anjaam were made in 1940, 1952, 1968, 1978, 1986 and 1993. Today’s film was the first and then in every decade one film was made on this title. First I thought that this title wins the highest number, but NO. The honour of ‘same title maximum films made’ goes to INSAAF, which was made 7 times !
It gives me a pleasure to write about rare, obscure old films. Mainly because, it is a challenge to gather or literally excavate information from various different sources about the film, director, MD, the actors or the singers. Many times, some names are so obscure that it takes several days or even months to get the information. While reading an article, the readers rarely realise the hard work that has gone into the presentation. Not all information is available on beck and call. Sometimes a windfall comes with plenty of information from unexpected sources, but that is rare. Many times days and months are blank. I call this as a challenge.
Film Anjaam-40, made by Vishnu Cinetone- owned by Dhirubhai Desai, was a Costume drama. The music for the film was by Shanti kumar Desai and the cast was Anil kumar, Meher Sultana, Yeshwant Dave, Rajkumari, Samson, Bulbule, Fazlu etc. All the songs were written by Munshi Qabil. The film was directed by Kanjibhai Rathod.
The name Kanjibhai Rathod will not ring any bells in the ears of any reader. That is because, this was his last film as a director. Since his directorial career ended 80 years ago, it is unlikely that any reader has even heard his name. I had come across this name earlier, but there was no opportunity to write on any song from his films. So, when I finally got hold of this rare song, I knew this was my last chance to write about him as this was his last film as a director. Of course, he was very much in the film industry for another 20 odd years, but as a Production manager.
After I got this song, it took me almost one month to collect enough information about Kanjibhai Rathod. I had to literally dig out information from quite old articles. I knew if at all his bio is available, it had to be in Gujarati alone. So I scanned Gujarati articles. Harish Raghuwanshi ji also helped me in this and also provided his own Gujarati article on Kanjibhai Rathod.
In the Hollywood filmdom, in the early years, Blacks were not given any jobs. Over a period, this changed and Blacks became a part of film industry. Similarly, in early years, in Indian film world, backwards and Dalits were not preferred except for menial jobs. However, it is to the credit of the Gujarati filmdom that they encouraged Kanjibhai Rathod and gave him opportunities to showcase his skills as an actor and a very successful silent film director. Kanjibhai Rathod was a Dalit.
Kanjibhai Rathod from Maroli village in south Gujarat, was considered the first successful commercial director in Indian cinema. His rise to fame was in an era when most people stayed away from films, due to a peculiar stigma attached to the filmdom.
Not much is known about Rathod’s personal life. Film historian Virchand Dharamsey writes, “Kanjibhai was coming from a Dalit family and he can be considered the first successful professional director of India.”
Rathod began as a still photographer with the Oriental Film Company, owned by a U.S. trained film maker Sachet Singh,in Baroda. His experience earned him a job in Kohinoor Film Company and its owner Dwarkadas Sampat made him a director. Till then he worked as an actor in many silent films. In film Narsi Bhagat, he did the Hero’s role.
Rathod’s ‘Bhakta Vidur’ released in 1921, was perhaps the first criticism of the British colonialism in a popular feature film.
This mythological allegory directly alluded to political issues, particularly the controversy over the Rowlatt Act.
An adaptation from a section of the Mahabharata, this film showed the British as the Kauravas and its protagonist Vidur as Gandhi. Sampat himself played the role donning the Gandhi cap and khadi shirt. The film raised a storm – while a big hit in Bombay, it was banned by the British in Karachi and Madras, write historians.
Rathod was the first film-maker to direct a crime thriller in 1920s on contemporary events. His Kala Naag (1924) was based on famous double murder case in Bombay. Rathod introduced Zubaida to film industry with his Gulbakavali.
By the time he left for Saurashtra Film Company in Rajkot in 1924, Rathod had enough work on his name. At the launch of Krishna Film Company, he returned to Mumbai in 1931, the year of first talkies.
Dharamsey writes in his ‘Light of Asia: Indian Silent Cinema 1912–1934’ that Rathod directed five talkies out of 17 made in 1931. The films were, Chintamani, Ghar ki Laxmi, Harischandra, Laila Majnu and Paak Daaman, all for Krishna Movietone. He remained active in the industry even in 1940s, but he was not as successful directing talkies.
In the early film making, the contribution of Gujarati men is substantial. Out of the 1313 silent films made during 1913 to 1934, more than half were made by Gujarati producers. Companies like Sagar, Kohinoor, Shrikrishna, Sharda etc at Bombay and Elphinston Film co. at Calcutta were owned by Gujaratis. They not only did business, but also made many Gujarati and Non Gujarati artistes. Gujarati writers always provided story lines.
From 1921 to 1924, Kanjibhai Rathore directed 31 silent films for Kohinoor Film Co. For Shrikrishna film Co. of Maneklal Patel, he directed 21 silent films. For some time he did work for Saurashtra Film co. at Rajkot also.
Kanjibhai directed total 59 silent films and 16 Hindi Talkie films and 1 Gujarati Talkie film . A grand total of 76 films in all. Quite a substantial number. Kanjibhai Rathod was much ahead of times. In one silent film-Sati Anusuya-1921, an actress, Sakeena, was shown fully naked. During silent film era major actors like Raja Sandow, Jaleel, Fatima Begum, Ermelin, Gohar, Putlibai, Gulab, Rampyari etc worked for him. In Talkie era, actors like Sardar Akhtar, Prem Adib, Charlie, Navinchandra, Azuri, Marutirao pehelwan etc acted in his films.
Kanjibhai joined as Production Manager in Chandrakala Pictures of Dhirubhai Desai, after retiring from direction. Dhirubhai remade several of Kanjibhai silent films as Talkie films, like Bolti Bulbul-42, Devkanya-46, Bhakta Prahlad-46 etc. Kanjibhai had 2 wives. He wedded Kanta Ben in a traditional way and he wed Ganga Ben in Arya Samaj style. Ganga Ben gave him a son, Suresh. unfortunately, he died at the age of just 16 years. Then Kanjibhai retired and lived in village Ponsara in Gujarat. He died peacefully on 31-12-1970. Thus ended a superb career.
Film Anjaam’s hero was Anil kumar. Actor Anil Kumar (Sardar Gul) was born in 1915 at Calcutta.His father had a fruit business. They were from Peshawar (just like Dilip Kumar). He was not much educated but could speak Hindi, Urdu and English fluently. Once he went to Bombay to meet a friend. There he met an old acquaintance, who took him to Sohrab Modi.
The good looking Sardar Gul was liked by Modi and he offered him the lead role in his film ‘ Saed E Havas’-36. Sardar Gul was given a screen name of Chandra Kumar. The film was based on a translation of William Shakespeare’s drama- King John, by Agha Hashra Kashmiri in 1907. Sardar Gul was to get Rs. 200 for this work. The film was a flop and Sohrab Modi refused to pay him more that Rs 50. Annoyed, he left Bombay and returned to Calcutta.
However he came back in 1938 and did his first film with a new screen name Anil Kumar. The film was Talwar ka Dhani-38. Soon he was well known and acted in 10 films in next 3 years. As the decade of the 40s saw many new actors, producers and directors, he was reduced to Character roles and side roles. By 1950, he was almost like an extra. He did work in many films, but only few films credited him, as his roles were negligible. We find his name in just 30 films, where he was credited, the last such film being Tarzan and Deliailah-64.
The side hero in this film was Yeshwant Dave. It was not uncommon during the days of early cinema for people to hang around studios and filming locations in the hopes of being discovered. One such intrepid soul was Yeshwant Dave (or Yashwant Dave), who was at Kohinoor Studios observing a picture being made by producer J.B.H. Wadia. The handsome and athletic Yeshwant cornered Wadia, insisting that he would make a fine hero for an action film.
Wadia agreed to test Yeshwant by having him jump from the roof of one set piece to another. He did so successfully, and J.B.H. decided to cast him in a film that he was to direct for Young United Players, the 1931 silent THUNDERBOLT (aka DILER DAKU) featuring Mumtaz as the heroine.
Yashwant was again directed by Wadia in TOOFAN MAIL (1932) and there after became a sought after action star appearing in the stunt films of other directors like Aspi, Dhirubhai Desai, Nari Ghadiali, Chunilal Parekh, and Harshadrai Mehta. Some of his films include BHARAT VEER (1932), JADUI JUNG (1934), BOMBSHELL (1935), VASANTBENGALI (1937), FLYING RANEE (1939), MAGIC CITY (1940), TORPEDO (1941), ROYAL MAIL (1946), and KAUN PARDESI (1947).
Growing out of the stunt hero persona, he turned to character parts and made infrequent onscreen appearances throughout the 1950s, including in SHEIKH CHILLI and MAKKHEE CHOOS both released in 1956 and starring comedian Bhagwan. What became of Yeshwant Dave afterwards is anybody’s guess, as the once popular action star faded into obscurity and, sadly, is barely remembered today.
Today’s song is sung by Meher Sultana and chorus. Not much information is available on Meher Sultana. From HFGK, we find that she featured in 19 films as an actress and sang 6 songs in 3 films also. Her songs in this film were her last songs. Her first film as an actress was Bhool ka Bhog-1935 and last film was O Jaanewale-1948. Today’s song, though 80 year old is of good quality and pleasantly sung in tune, to listen to. Enjoy…
( Information for this article is culled from 2 Gujarati articles of Shri Urvish Kothari ji, a Gujarati article by Harish Raghuwanshi ji, wiki, Filmdom-1946, cinemajadu.com. muVyz.com and Encyclopedia of Indian Cinema. My thanks to all.)
Song- Wo man nagari mein aayenge (Anjaam)(1940) Singer-Meher Sultana, Lyricist-Munshi Qabil, MD- Shanti Kumar
Lyrics
Wo man nagari mein aayenge
man nagri mein aayenge
hans hans ke bhaag jagaayenge
hans hans ke bhaag jagaayenge
wo man nagari mein
man nagari mein
man nagari mein aayenge
main dulhan ban sharmaaungi
main dulhan ban sharmaaungi
munh pher pher ithhlaaungi
munh pher pher ithhlaaungi
aur darshan ko tarsaaungi
aur darshan ko tarsaaungi
wo ghoonghat aap uthaayenge
wo ghoonghat aap uthaayenge
Mohan ki murali baajegi
Mohan ki murali
Mohan ki murali baajegi
chhum chhum chhum Raadha naachegi
chhum chhum chhum Raadha naachegi
mridang jhaanjh bajaayenge
mridang jhaanjh bajaayenge
madhuwan mein raas rachaayenge
madhuwan mein raas rachaayenge
wo man nagari mein
man nagari mein
man nagari mein aayenge
hans hans ke bhaag jagaayenge
hans hans ke bhaag jagaayenge
wo man nagari mein aayenge
wo man nagari mein aayenge
Prem nagariya jaayenge hum
Posted on: May 19, 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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3957 | Post No. : | 15033 | Movie Count : |
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Today’s song is from the film Jadu Nagari-1940.
In last 2-3 years, I find that a lot many collectors are uploading songs from films of the 30s and also rare songs. The HFM History students- like me- are highly indebted to them for their generosity.
Like in any other fields, here too some disturbing events take place. Some collectors upload incomplete songs, thinking that this will protect their monopoly. I feel this is very unfair. No one forces them to upload songs. If they do so on their own, why not complete songs ? Anyway, it is their thinking and choice. Fortunately, true connoisseurs, like Shalin Bhatt ji are highly dependable and his songs are not only complete and rare but he also adds some information to it. Many times the viewers’ comments on the song also gives important information pieces. May God increase his tribe !
Film Jadu nagari-40 was based on an imaginary story, like many such films. These films had writers, who flew the kites of their imagination, sometimes in a very comic way. For example, turning Humans into Animals or showing talking animals, birds and even Snakes. Of course since the film had Jadu in its title iteslf, all these things were within expectations only. Actually these things made the films very interesting and watchable. ALAS ! The era of such C grade films is gone for ever !
I selected a song from this film, because I found some unusual and rare points here, worth talking about.
Firstly, the film is directed by Baburao Apte ( variously spelt as Baburao, Bapurao or S R Apte), who was the elder brother of actress Shanta Apte. He had started his acting career from the silent era. He acted in 8 silent films. Starting with film Shyamsunder-32, he acted in his first Talkie film, as Radha’s husband- where Radha was his own younger sister, Shanta Apte. In all, he acted in 16 Talkie films, his last film being “Main abla nahin hoon”-49 directed by Shanta Apte herself. He had a very minor role in it-courtesy his sister. He also directed 8 Talkie films from Kala Pahad-33 to Jadu Nagari-40. yes, today’s film was his last film as a director.
And yes, he was the same person, who brought his own younger sister of 9 years to act in films. He would put a condition in the contract that no other actor will touch her while shooting. If she had a wife’s role, he would do the husband’s role. Fortunately for cine goers, as Shanta Apte grew up as a rebel, she defied this rule and Baburao started his acting and direction separately. He got married and lived separately.
Shanta Apte- though unmarried till end- had a daughter-Nayana Apte. However this news of her daughter was kept a secret. When Shanta Apte died on 28-2-1964, ten years later Nayana declared that she was Shanta Apte’s daughter. Film Historian Isak Mujawar, in one of his books, has said that Nayana was Shanta’s daughter from brother Baburao Apte only. Such matters have no credible proofs anytime. By the way, Nayana Apte became a popular actress on Marathi Stage and in Marathi Cinema. Obviously Baburao Apte was very creative indeed !
Secondly, in this film Rajkumari Calcuttewali (real name Pullo Bai) had acted and also sang 5 songs. Though HFGK is silent about which Rajkumari it was in this film, the noted Music Historian and collector Girdharilal Vishwakarma ji has confirmed this. Also the song’s uploader Shalin Bhatt ji also mentions Rajkumari Calcuttewali. Though she acted and sang only in films made at Calcutta, two films ‘Gorakh aaya’-38 and ‘Jadu Nagari’-40 indicate her participation.Later she married one Seth Motilal from Calcutta and left films.
Thirdly, Music Director in later times-Jimmy aka James Singh- sang a duet in this film with Rajkumari Calcuttewali. Composer Jimmy aka James Singh- is one of those little known composers who never got fame or name in spite of their Talents. His real name was JAMES SINGH. He was a Christian Punjabi from Ludhiana. He was educated in Delhi.He started his career in Hindi films as a singer in Chorus. He sang 7 songs in 6 films (Imandar-39, Baghi-39, Pyar-40, Anjaam-40, Jadoo Nagri-40, and Maaya Nagri-44).
He could play many western instruments, especially all types of Guitars.When he failed as a singer, he became assistant to many composers. Finally.he got his chance to compose few songs for film ‘Muqaddar-50’, though with Khemchand Prakash and Bhola Shreshtha. He composed 2 duets of Asha and Kishore. The credit of composing the First ” Yodelling ” song of Kishore kumar goes to Jimmy. Kishore ‘yodelled ‘ first time in this film.
Jimmy then gave music to 14 more films like, Shrimatiji-52, Smuggler-59, Awara Shehzadi-56, Sher e Baghdad-57, Nek khatoon-59, Pathan-62, Miss chaalbaz-61, Tarzan and Gorilla-63, Duniya hai dilwalon ki-66, Pyar ki Baazi-67, Tarzan in fairy land-68, Aakhir-84, Khoon aur sazaa-86 and his last film, Sachhi Ibadat-1987. Inspite of giving sweet and melodious songs of a variety,Jimmy never came up to A class. He always remained a composer for C grade films. Anyway, as long as Kishore’s yodelling is heard,Jimmy’s name will be remembered.
However, in this film Jimmy was not the MD. It was yet another little known MD- Shanti kumar Desai, a very talented but unlucky composer who rarely got support from any famous banner. His music was enchanting and tunes were superb, but Lady Luck did not favour him.
He was born in Amreli,Saurashtra, Gujarat state on 3-3-1908. His family was in service as Royal Musicians, so he was exposed to music from childhood.He was an expert Harmonium player. To start his career, he came to Bombay and worked in H.M.V. as a Broadcaster. Here he came into contact with many composers and learnt how they operated and made tunes etc. He was already giving music to Dramas, but wanted to join Film line as M.D. He got his first film Navbharat ( Jawanmard)-1934. In those days Gujarati producers and directors used to prefer Gujarati MDs. Thus out of his 36 films, 18 were done with Gujarati Directors like Sohrab modi, Nanubhai Vakil, V.M.Vyas(4 films), Kanjibhai Rathod, Dhirubhai Desai etc. He also gave music to Gujarati films.
He gave music along with Madholal Master,Rafiq Ghaznavi, Pannalal Ghosh, Shyambabu Pthak etc. Famous singers like Rafi, Manna Dey, Zohrabai, Amirbai etc sang in his films during their early careers. Even kishore kumar’s early film Sati Vijay-48 had music by Shanti kumar Desai. He gave music to films of early era actors like Prem Adib, Mehtab, Sitara Devi, Leela Chitnis, Jal Merchant, Ashraf Khan, Rajkumari, Mazhar khan, Shanta Hublikar, Jairaj, E Billimoria, Kumar, Sardar Akhtar, Chandramohan, Shobhana Samarth, Durga Khote, Shahu Modak and Sulochana.
From 1934 to 1948, he gave music to 35 films and in 1964 his one film was released. He composed about 300 songs. He never got films from top banners like Bombay Talkies,Prabhat, Sagar or Minerva, otherwise his career would have been different.
He died on 6-1-1986. Some of his better known films were Bholi bhikaran-36, Punarjanma-38, Anjaam-40, Suhaagan-42, Naukar-43, Ek din ka sultan-45 and Lav Kush-51.
The Hero of this stunt film was the Stunt King Yeshwant Dave…..ever heard his name ? Not a great chance, I know.
It was not uncommon during the days of early cinema for people to hang around studios and filming locations in the hopes of being discovered. One such intrepid soul was Yeshwant Dave (or Yashwant Dave), who was at Kohinoor Studios observing a picture being made by producer J.B.H. Wadia. The handsome and athletic Yeshwant cornered Wadia, insisting that he would make a fine hero for an action film.
Wadia agreed to test Yeshwant by having him jump from the roof of one set piece to another. He did so successfully, and J.B.H. decided to cast him in a film that he was to direct for Young United Players, the 1931 silent Thunderbolt (aka Diler Daaku) featuring Mumtaz as the heroine.
Yashwant was again directed by Wadia in Toofaan Mail (1932) and thereafter became a sought after action star appearing in the stunt films of other directors like Aspi, Dhirubhai Desai, Nari Ghadiali, Chunilal Parekh, and Harshadrai Mehta. Some of his films include Bharat Veer (1932), Jaadui Jung (1934), Bombshell (1935), Vasant Bengali (1937), Flying Ranee (1939), Magic City (Jaadoo Nagri) (1940), Torpedo (1941), Royal Mail (1946), and Kaun Pardesi (1947).
Growing out of the stunt hero persona, he turned to character parts and made infrequent onscreen appearances throughout the 1950s, including in Seikh Chilli and Makkhee Choos both released in 1956 and starring comedian Bhagwan. What became of Yeshwant Dave afterwards is anybody’s guess, as the once popular action star faded into obscurity and, sadly, is barely remembered today.
Today’s song is a duet sung by Rajkumari Calcuttewali and James Singh. There were 9 songs in the film. With this song, film Jadu Nagari-40 makes its Debut on this Blog.
(Thanks to cinemajadu.com, activeindiatv.com, Cinerang by Isak Mujawar, Harish Raghuwanshi ji of Surat and my notes for information used herein.)
Song-Prem nagariya jaayenge hum(Jaadoonagri)(1940) Singers- Rajkumari Calcuttewali, James Singh (aka Jimmy), Lyricist- Munshi Kabil Amritsari, MD- Shanti Kumar Desai
Both
Lyrics
Prem nagariya jaayenge hum
Prem nagariya jaayenge hum
Prem nagariya jaayenge
dharti pe swarg basaayenge
dharti pe swarg basaayenge
Prem nagariya jaayenge
Prem nagar ki har galiyan mein
Prem nagar ki har galiyan mein
prem bageech banaayenge
prem bageech banaayenge
prem panchhi ban kunj kunj mein
prem geet nit gaayenge
prem panchhi ban kunj kunj mein
prem geet nit gaayenge hum
prem nagariya jaayenge
kal kal karti prem sarit mein
prem mast ho ??aayenge
kal kal karti prem sarit mein
prem mast ho ??aayenge
prem sudha ras pi pi kar
tan man ka taap mitaayenge
prem sudha ras pi pi kar
tan man ka taap mitaayenge
prem nagariya jaayenge
ek pran ham do tan ho kar
phir bhi to bisraayenge
haan
ek pran ham do tan ho kar
phir bhi to bisraayenge
haan
prem devta ke kunjan mein
prem devta ke kunjan mein
jeewan sakal bitaayenge hum
jeewan sakal bitaayenge hum
prem nagariya jaayenge
Duniya rain basera musaafir
Posted on: April 3, 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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3911 | Post No. : | 14969 | Movie Count : |
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Today’s song is from an obscure film Vaseeyat-1940.
Though this film was made by Minerva Movietone, neither it was directed by Sohrab Modi nor he had acted in it. The film was directed by K.M.Multani, who also wrote the screenplay for this film. Multani had directed his first film also from Minerva only-Vaasanti-38 – a social film. This too was without Sohrab Modi in any capacity. Multani further directed 3 more films, Virginia-40, Ujala-42 and Umang-44.
Minerva Movietone was started by Sohrab and brother Rustom Modi, when they realised that the stage dramas, filmed as Feature films did not get the public approval. Consequently production from Stage films- their first film production enterprise- was suspended till Minerva became successful. ” Aatma Tarang-38″ was the new company’s first film. C. Ramchandra was the Harmonium accompanist for M.D. Habib Khan and Bundu Khan. He also did a small role in Aatma Tarang and earlier Saeed E Havas-36. Minerva’s first film proved to be a let down.
Sohrab found that there were hardly 20 to 30 persons in the audience on the very First show. The film was based on the power of ‘ Bramhacharya’ (Celibacy). In those days, Sohrab was greatly influenced by the teachings of Ramkrishna Mission. Seeing the poor response, he was upset. Thoughts of quitting the film production line were crowding in his mind. Suddenly, he saw four men coming towards him. They came, confirmed that he was Sohrab modi and told him that his film was very good. They further advised him to keep making such good films and one day he will be on Top. Later on he learnt that these gentlemen were the Judges of Bombay High Court.
Enthused with this experience, he made successful films and took his company to the Top. Renowned for big budget historical films, Minerva benefited from Modi family’s distribution interests in Gwalior, expanded by his third brother Keki Modi into western India. At one time he controlled a chain of 27 theatres in 10 cities. In 1952, they established India’s first Technicolour Laboratory.
Film Vaseeyat40 had music by khan Mastana, who was essentially a singer. The lyrics were by Abdul Baqi. The cast of the film consisted of Sheela, gajanan jahagirdar, Eruch Tarapore, Sunalini Devi, Shobha, Kamini and many others. There were 6 songs sung by Sheela, Pramila and Khan Mastana himself.
Sheela was the Heroine of this film. SHEELA(real name-Roshan Ara) was born on 13-3-1925 at Sholapur-Maharashtra.Her father was Station Master at Sholapur Rly.Stn. Once Sohrab Modi had come to Sholapur with his Drama company.He went to the station to do reservations and saw Sheela.They got to know each others and he proposed to give her roles in his films.Thus Sheela came to Bombay in 1936 and Joined Minerva Movietone as a singer/actress.
Her first film was Khan Bahadur-37,ih which she sang and acted.Then came Jailor-38 in which she sang 4 solo songs under MD Mir Sahib.Then Divorce and Meetha Zahar came.
She became famous only after her songs in Pukar-39.Bharosa,Wasiyat and Sikander also gave her name and fame.In Sikander she had 6 songs out of total 7 songs. The famous song ‘ zindagi hai pyar se’ also had her voice in the chorus. She was Heroine in film ‘ Vaseeyat’-40
Ulti Ganga, Bhakta Raidas, Prithvi Vallabh,and Patharon ka Saudagar were all Minerva films.
She had also done films elsewhere- Alladin and wonderful lamp,college Girl,gaibi Gola,jahan ara,keemti qurbani,Sansar naiya,Shaitan ka pash etc.
After 1943,she almost stopped working.Only in Beete Din-47 and lastly in Billi-49 she sang songs., which was a stunt film of Nadia and Cavas.
She had married the actor Rama Shukla, in 1947. He was a Kanauji Brahmin and they had terrible opposition to their marriage. The marriage was by Registration. Only 4 friends were present in the marriage. They had one son and one daughter. Rama Shukla died by Heart attack in the 50s.
Her voice had a peculiar mixture of Muslim style of Amirbai karnataki and Marathi slant od Shanta Apte.
There is an anecdote with one of her songs. When film Pukar was in the making, C.Ramchandra was working as an assistant to MD Meer Saheb. He has mentioned in his autobiography also that in the absence of Meer saheb, he used to insert his tunes to songs as Meer saheb’s. This was known to many, except, may be, Meer saheb himself. One of the very popular songs sung by Sheela ” Tum bin hamri kaun khabar le ‘ was actually composed by C.Ramchandra. This is supposed to be CR’s first composed song. The credit ,of course, went to Meer Saheb.
Another uncommon name in the cast is Sunalini Devi. Sunalini Devi, the actress, was born on 1-1-1896 in Hyderabad Deccan. Her father, Aghornath Chatopadhyay-a Bengali settled in Hyderabad – was a Sanskrit scholar, was proficient in 27 languages and was the first Indian to get the D.Sc. honour. Sunalini was the elder sister of Sarojini, who became Sarojini Naidu after her marriage, and Harindranath Chatopadhyaya-renowned poet.
Sunalini learnt Music and Dance from her third year of age itself. Due to her sweet voice, she was called ‘ Kokila ‘. It is to be noted that her younger sister Saojini Naidu was called ‘ Nightingale of India’ ! It is unfortunate that the film industry did not use Sunalini’s music skill in her films and she sang just one song in her career in film ‘ Raja Rani-42’.
Sunalini started acting in stage dramas from 1918. Her first movie was ” Light of Asia”-released initially in Germany and Poland in 1925. It’s restored version was released on 5th July 2001, in India. This film was made by Himanshu Rai. The film was shot in Lahore. It was a silent film on Gautama the Buddha. Her first Talkie film was ‘ veer Kunal-32’. She acted in 56 films. Mostly she was known for motherly roles only. She had, like her more eminent sister, married a south Indian- Mr.A.S.Rajan, a writer from Madras.
Some of her more known films are, Aurat,Lalaji, Inkaar, Nai roshni, Talaash, Bairam khan, Tamasha, Dilruba, Malhar etc etc. She retired from films in 1956.
Then there is Eruch Tarapore. Eruch Tarapore was a distant relative of Sohrab Modi and he worked only in Modi’s films. He worked in 16 films, right from Modi’s first film Hamlet-35 up to 1948. Eruch sang one song each in 3 films, Meetha zehar-38, Jailor-38 and Phir milenge-43. He died in 1948.
I have no details of the storyline of film Vaseeyat-40. However, I faintly remember having read somewhere that the story was about a rich person, who dies without a will. There is lot of confusion, but finally the will is found etc.
With today’s song, film Vaseeyat-40 makes its Debut on the Blog.
Song- Duniya rain basera Musafir duniya rain basera hai (Vaseeyat)(1940) Singer- Sheela, Lyrics- Abdul Baqi, Music- Khan Mastana
Lyrics
Duniya rain basera musaafir
Duniya rain basera hai ae
Duniya rain basera hai
Duniya rain basera musaafir
Duniya rain basera hai ae
Duniya rain basera hai
saari duniya jaag uthhi tu
saari duniya jaag uthhi tu
lambi taane sowe
lambi taane sowe
jo jowe so paawe musaafir
jo jowe so paawe musaafir
jo sowe so khowe
jo sowe so khowe
door hai manzil neend ke maare
?? jaag ??
duniya rain basera hai
duniya rain basera musaafir
duniya rain basera hai ae
duniya rain basera hai
duniya kya hai paap ki nagri
duniya kya hai paap ki nagri
is se man na lagaana
is se man na lagaana
kadam kadam pe ?? base hain
kadam kadam pe ?? base hain
soch ke pair uthhaana
soch ke pair uthhaana
moh lobh mein pyaar ke ??
aane ?? hai
duniya rain basera hai
duniya rain basera musaafir
duniya rain basera hai ae
duniya rain basera hai
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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3899 | Post No. : | 14949 | Movie Count : |
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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
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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.
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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
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