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

Archive for the ‘Song of 1940’ Category


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

Blog Day :

4694 Post No. : 16380 Movie Count :

4451

‘Sajni’ (1940) was produced under the banner of Sudama Productions and was directed by Sarvottam Badami. The cast included Prithviraj Kapoor, Sabita Devi, Snehprabha Pradhan, Noor Jahan (Sr.), Tarabai, Ghory, Kesri, Dixit, Shakir etc. The story and dialogues for of the film were written by Zia Sarhadi. P L Santoshi, Pandit Indra and Zia Sarhadi wrote the songs which were set to music by Gyan Dutt.

From the cast and crew, Sabita Devi, Sarvottam Badami and Zia Sarhadi belonged to Sagar Movietone while Noor Jahan (Sr.), Kesari, Dixit, lyricists P L Santoshi, Pandit Indra and music director Gyan Dutt among others belonged to Ranjit Movietone. The advertisement of the film shows that the film was produced at Ranjit Studio. Why did the amalgam of artists from two competitive banners of film productions happened? The answer is in the genesis of Sudama Productions, the banner under which ‘Sajni’ (1940) was produced.

Sometime in the middle of 1939, Sagar Movietone of Chimanlal Desai faced the financial crunch to such an extent that to come out of it, the banner was required to be merged with General Pictures of Fazalbhoy to make a new entity, National Studios. Offers were given to the existing staff of Sagar Movietone to join National Studios. While most of the artists and crew members joined National Studios, Sarvottam Badami and Sabita Devi decided to join as stake holders in the newly set up film production company, Sudama Productions floated by Dr. Ambalal Patel in which Ranjit Movietone had a stake in it. The films produced under this banner used facilities available in Ranjit Studio and their artists/crew members. Incidentally, Dr Ambalal Patel was a ex-partner in Sagar Movietone.

Sarvottam Badami, the director of the film was a product of Sagar Movietone for whom he directed 10 Hindi films during 1933-39. Except for his first Hindi film, ‘Chandrahaas’ (1933), Sabita Devi acted in remaining of his 9 films as a lead actress. Under the banner of Sudama Productions, Sarvottam Badami directed 4 films – ‘Meri Marzi’ (1939), ‘Chingari’ (1940), ‘Sajni’ (1940) and ‘Holiday in Bombay’ (1941). In all these films, Sabita Devi was in the lead role.

‘Sajni’ (1940) was released on August 17, 1940. The film’s review was published in September 1940 issue of ‘Filmindia’. The reviewer had criticised the film for poor story and direction. The role of Sabita Devi as an uneducated village girl in the film was not in keeping with her image in the Hindi films as a sophisticated girl. The story of the film as per the review is summarized below:

The village’s wealthy money-lender’s son, Nanda (Prithviraj Kapoor) is in love with a peasant girl, Rupa (Sabita Devi). Nanda wish to get married to Rupa but his father is not in favour of his son’s marriage with Rupa due to the financial status of the girl’s family. Nanda is forced to marry Radha (Snehprabha Pradhan) whose father has given a good amount of dowry. To add to the misery of Rupa, her father dies.

Radha soon comes to know that Nanda was in love with Rupa and he still loved her even after the marriage. When Rupa comes know about this, she prevails upon Nanda to forget about her and to strengthen the marriage with Radha for the sake of the society. With Rupa’s blessing, Nanda agrees to her advice. Rupa sacrfices her love for Nanda to make his married life happy.

The main theme of the film’s story may appear familiar to those who has watched films of 1950s and 60s in which inequalities in the societal status make the hero/heroine a doomed lover. In the film under discussion, Sabita Devi is a doomed lover because of her background as a poor peasant girl. Due the unprecedented success of ‘Devdas’ (1935), films with a story of a doomed lover were in vogue especially during 40s through 60s. ‘Deedar’ (1951) and ‘Do Badan’ (1966) are examples among other films.

‘Sajni’ (1940) had 9 songs of which 7 songs were written by P L Santoshi and one each by Pandit Indra and Zia Sarhadi. Since none of the songs were available on any video sharing platform, I have recently uploaded a song ‘deepak ki baatee priyatam main deepak ki baatee’ which I am presenting here. The song is rendered by Snehprabha Pradhan and is set to music by Gyan Dutt.

The song reflects the state of the mind of Radha (Snehprabha Pradhan) married to Nanda (Prithviraj Kapoor). Thier married life is unsettled when she becomes aware that Nanda is still in love with Rupa (Sabita Devi).

With this song, ‘Sajni’ (1940) makes its debut on the Blog.

Audio Clip:

Song-Deepak ki baati priyatam(Sajni)(1940) Singer-Snehprabha Pradhan, Lyrics-P L Santoshi, MD-Gyan Dutt

Lyrics

deepak ki baatee ee
priyatam
main deepak ki baatee
mai….n
deepak ki baatee
priyatam
main deepak ki baatee
pal pal chhin chhin jalti jaatee mai…n
deepak ki baatee ee
priyatam
main deepak ki baatee
pal pal chhin chhin jalti jaatee mai…n
deepak ki baatee
priyatam
main deepak ki baatee

meri raam kahaani sun kar
jal marta parwaana
kahe jaata hai
dheere se wo…o
behta jaa raha ?? jaana
phir bhi jal ki pyaasi
phir bhi jal ki pyaasi
main deepak ki baatee
main deepak ki baatee
mai….n
deepak ki baatee
priyatam
main deepak ki baatee

andhiyaare mein andhiyaare ka
andhiyaare mein andhiyaare ka
rahta ek sahaara
mere andhiyaare jeewan mein
wohi ek hamaara
jab tak hai wo
tab tak hoon main
jab tak hai wo
tab tak hoon main
wo jaata main bujh jaati
wo jaata main bujh jaati
main deepak ki baatee
mai….n
deepak ki baatee ee
priyatam
main deepak ki baatee


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 :

4691 Post No. : 16375 Movie Count :

4448

‘Bahurani’ (1940) was produced by Kishore Sahu under the banner of the then newly set up, India Artists Ltd. The star cast included Kishore Sahu and Rose in the lead roles with Anuradha, Mubarak, Pratima Devi, Masood, Nana Palsikar etc in the supporting role. The film had its mahurat shot taken in January 1940 under the direction of Mubarak. In February 1940, R S Junnarkar was assigned the direction of the film along with Mubarak. So, it was their joint directorial venture. For Mubarak, it was his maiden attempt as a director which happened to be his last film as a director. R S Junnarkar was a screen-play and dialogue writer for Huns Pictures of Master Vinayak. It was also his first Hindi film as a director.

The film was expected to be released in April 1940. However, it was finally released on June 20, 1940. The film’s premier was held in Excelsior theatre and Dada Saheb Phalke, the father of the Indian film industry was the guest of honour among many big wigs of Hindi film industry who attended the premier.

Kishore Sahu started his filmy career as a lead actor in Bombay Talkies ‘Jeevan Prabhat’ (1937) which was a box office success. Probably, his entrepreneurial ambition made him to leave Bombay Talkies and float a film production company. In his ambition, Seth Ramnath Daga, a Bikaner based multi-millionaire, supported him with the finance required for such a venture. It was the brain child of Seth Ramnath Daga to set up a film production company called ‘India Artists Ltd’ for which he appointed Kishore Sahu as the Managing Director. He was assisted by Seth Ramnath Daga’s educated son, Dwarkadas Daga.

‘Bahurani’ (1940) was the first film produced under India Artists Ltd. The vision of the banner was to make socially relevant films. During the making of the film, Kishore Sahu had creative differences with Seth Ramnath Daga, the main financial supporter of the banner. After the release of “Bahurani’ (1940), Kishore Sahu resigned from the company and returned to Bombay Talkies to take the lead role in the film ‘Punar Milan’ (1940) opposite Snehprabha Pradhan. It took another 4 years for Kishore Sahu to float his own film production banner, Hindustan Chitra under which he produced and directed ‘Sharaarat’ (1944) and many more films thereafter.

The story of ‘Bahurani’ (1940) was adapted from a Hindi novel ‘Mimansa’ (1937) written by Hindi laureate, Anuplal Mandal who is regarded as ‘Premchand of Bihar’. The screen-play and dialogues were written by another Hindi laureate, Amritlal Nagar. The film was reviewed in ‘Filmindia’ magazine and for a change, the reviewer had praised the film for its story, screen play/dialogues and the performances of the main actors viz, Kishore Sahu, Rose and Anuradha (real name: Khursheed). Based on the review of the film. I have summarized the story as under:

Vijay (Kishore Sahu), a young landlord meets Aruna (Anuradha), a poor village girl born out of wedlock, during a village wedding. He likes Aruna and visits in her house where her mother is seriously ill. She takes a promise from Vijay that he would take care of Aruna if she did not survive. The mother soon dies. As promised, Vijay brings Aruna to his house and is treated as a child of the family by Didi (Pratima Devi) the elder widowed sister of Vijay. Diwanji (Mubarak), the trusted servant of the family is aware of Aruna’s background. But he keeps quite about it.

Soon, Vijay goes to the city for completing his education. He meets Mallika Rai (Rose), a sophisticated girl in the college. Vijay finds her on the same wave length as his in his idealistic approach. After completion of his education, Vijay returns home and finds Aruna now grown up and charming. Vijay falls in love with her and proposes her for the marriage. After overcoming a minor resistance from the family, Vijay and Aruna get married. The couple respects each other and Didi loves Aruna like her own daughter. The life goes on very well. But behind her happiness, there is a lurking fear in Aruna’s mind as to what will happen if Vijay and Didi comes to know about her background of a girl born out of wedlock.

In the meanwhile, Didi leaves for few days to visit her relatives. Vijay is busy with his involvement in the village upliftment activities and to support his growing activities, he calls Mallika to join him. She is given accommodation in Vijay’s house. Both Mallika and Aruna likes each other, Mallika likes Aruna for her simplicity and Aruna likes Mallika for her woman supportive views. Most of the day, Vijay is in the company of Mallika in the village upliftment activities and in course of time, both become close to each other. Aruna is aware of their closeness but pretends to both as if she is not aware of their relationship.

Under these circumstances, Lallan (Masood), the younger brother of Vijay returns home after completing his education. He gets to know the stigma attached to Aruna and tries to blackmail her to satisfy his lust. The stress of ‘affair’ of her husband with Mallika and the blackmailing by Lallan affects her health and she becomes bedridden. How, Vijay and Aurna comes out of the difficult situations and find a solution to a happy ending for everyone is not revealed in the film review.

I was interested to know as to how the story end to the satisfaction of all the main characters. Fortunately, the novel ‘Mimansa’ is available to read on-line in Hindi. I read the entire novel (203 pages). It is really a moving story in a realistic setting. At the end, the main character in the story – Vijay, Aruna, Mallika, Didi will surely get sympathy from the readers. Incidentally, the film has used the same names for the characters as in the novel.

The film has followed more or less the same story as depicted in the novel up to the entry of Lallan who has been shown as a villain in the film. To some extent, Mallika has also some shade of villain, being the ‘other woman’ in the life of Vijay. However, in the novel, no character has been depicted as villain.

Both Aruna and Mallika have cordial relations though some mild arguments do take place between them. But the respect for each other overwhelms such ‘noise’ in their relationship. Again, Aruna and Lallan have good relations. The only villainous streak in him is that he reveals to Didi the background of Aruna which makes her, in turn, to reveal the secret to Vijay. The novel makes the society at large as the main villain for the likes of Aruna.

The end is somewhat dramatic to the relief of Aruna. Didi has already written a letter to Vijay about the background of Aruna which makes Aruna jittery. To add to her misery, Vijay has become close to Mallika. The intense stress in her life makes Aruna ill. Vijay arranges the best doctors and medicines. But she is not recovering from her illness. The servants tell Vijay that bahurani is not taking medicines and is not allowing doctors to check her. Both Vijay and Mallika think that Aruna has no will to survive from her illness.

Both Mallika and Vijay visit Aruna separately to make her understand to take medicines. During the conversations, Mallika realises that Aruna’s love for Vijay is undiminishing despite their affair. The greatness of Aruna is that she is not blaming either Mallika or Vijay for what is happening to her life. With a lot of deliberations, Mallika decides that it is better to detatch herself from Vijay. She leaves Vijay’s house without informing anyone and goes back to her city. Before leaving, she writes a letter address to Vijay to take care of Aruna and suggests him to take Aruna for a long outing for a change.

The story in the novel ends with Vijay and Aruna travelling to Puri. While in the train, Aruna hands over a letter written by Didi revealing the stigma attached to her. Vijay reads it and tears off the letter by telling Aruna that he was already made aware of her background by Diwanji when he proposed her for the marriage. It was his conscious decidion to marry her and he was capable of facing the repurcussion even now. But nothing will break their union.

The film had 9 songs written by J S Cashyap and Azad. However, individual credit to the songs is not available. All the songs were set to music by Rafique Ghaznavi. I am presenting the film’s first song, ‘zara muskura kar milaao nazar hi’ to appear on the Blog. HFGK mentions Zohra as the singer of the song. The voice in the song does not sound like that of Zohrabai Ambalewaali.

In the 1930s, there was an actor-singer called Miss Zohra Jaan who was a star in her own right. She had two sisters – Mushtari Bai who was also an actor-singer in early 1930s. Unfortunately, she died in her teenage in 1934. The other sister was Khursheed (known as Anuradha in Hindi films). Shri Arunkumar Deshmukh has painstakingly collated the rare information on ‘Zohra Sisters’ and has covered in an article, mere baba ne baat meri maan li.

Rafique Ghaznavi, the music director of the film was married to Zohra Jaan in the 30s. After divorcing her in early 1940s, he married her sister Khursheed (Anuradha). Since Anuradha is in the film under discussion, it further strengthens my belief that the singer of the song is Zohra Jaan.

The song is written in Ghazal style, fit for a mujra. Towards the end of the song, there is a long music suggestive of a mujra dance, It is quite possible that the song may have been picturised on Zohra Jaan herself who was also a good mujra dancer though her name does not appear in the credit. But there are cases where some of the actor-singers appeared in the films uncredited.

With this song, ‘Bahurani’ (1940) makes its debut on the Blog.

Audio Clip:

Song-Zara muskura kar milaao nazar hi(Bahurani)(1940) Singer-Zohra Jaan, MD-Rafiq Ghaznavi

Lyrics

haan aa aa
zara muskura kar milaao nazar hi
zara muskura kar milaao nazar hi
meri jaan ham bhi
aa aa aaa aa
aa aaa aa aa
meri jaan ham bhi khade hain idhar hi
meri jaan ham bhi khade hain idhar hi

na jaao jagaao o o aa aa
na phir phir ke dekho o o o
mujhe chhod do haan aan aan aan
mujhe chhod do bas mere haal par hi
mujhe chhod do bas mere haal par hi

sambhal kar meri jaan aa aa aa aaa aa
na khanjar uthhaana aa aa aa aa aa aa
kahin bal na khaa jaaye aa aa aa aa aa
kahin bal na khaa jaaye teri kamar hi
kahin bal na khaa jaaye teri kamar hi
shab-e-hijr kaa aa aa aa aaa
fasl ki chabri()?? ee ee ee ee ee
ke haan haan mein naa naa
haan aan aan aan aan
ke haan haan mein naa naa rahi raat bhar hi
ke haan haan mein naa naa rahi raat bhar hi


This article is written by Avinash Scrapwala, 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 :

4619 Post No. : 16263

All but one song of “Nartaki”(1940) are already covered in the blog. Here are the details of the songs (in the order in which they are listed in HFGK Vol-I ):-(1931-1940)

Song Posted On
Madbhari rut jawaan hai 21.09.2011
Ye kaun aaj aayaa sawere sawere 15.03.2011
Aankh moond kar dhyaan 10.06.2011
Teri dayaa se ae daayee 12.10.2011
Kaun tujhe samjhaaye 09.04.2020
Prem ka naataa chhootaa 09.04.2010
Rat Shiv naam ki maalaa, is naam se jag ujiyaalaa Being posted today

Kaun tujhe samjhaaye*

(*HFGK mentions this song ‘kaun tujhe samjhaaye moorakh’ as multiple version song sung by Roopkumari (first version) and Pankaj Mallick and chorus (second version), however as noted in the post for this song above the female version of this song is not there in the movie. However, this song ‘kaun tujhe samjhaaye moorakh’ appears in two parts and since both the parts of this song are covered, we can conclude that seven songs of this movie are already covered on the blog.

Instead, one song is played in the beginning of the movie i.e. ‘hey chandrachood madanaantak shoolpaney’ , but not included in HFGK in ‘Nartaki-1940’, but this song features in ‘Yatrik-1952’ (refer my comments on this song on the blog).

Yes, this song is played in the movie Nartaki-1940 (at 4:17 to 05:36).
(Sung by Pankaj Mallick and chorus I guess). However, in the list of songs of this movie-‘Nartaki-1940’ in HFGK Vol -1 (1931-40) it is not mentioned.

During the preparation of my post with a song from the movie ‘Nartaki-1940’ I first noted down the list of songs of this movie already posted on the blog. And, after that I watched this movie, so when I came across this song in the movie, I immediately remembered this post by Deshmukh Sir on the blog, so I looked for this song on the blog. (Because I thought if the link of this post was missing, as I had forgotten that this song-post was for the movie ‘Yaatrik-1952’.

Today’s song is the only remaining song from this movie. With this song, all the songs of “Nartaki”(1940) have been covered and this movie thus gets YIPPEED in the blog.

let us enjoy this song titled “rat shiv naam ki maala” today on the occasion of Mahashivtarri.

I have not been able to note correct words at many places. I would request our readers with keener ears to kindly help and provide correct words please.

Audio

Video

Song-Rat Shiv naam ki maala (Nartaki)(1940) Singer-Chorus, Lyrics-Aarzoo Lucknowi, MD-Pankaj Mullick

Lyrics

rat shiv naam ki maala aa
rat shiv naam ki maala aa
rat shiv naam ki maala aa
rat shiv naam ki maala aa
aa aa aa rat shiv naam ki maala aa
rat shiv naam ki maala aa
is naam se jag ujiyaalaa aa
rat shiv naam ki maala aa
rat shiv naam ki maala aa
jagat sundartaa(?) baaki leelaa
jagat sundartaa (?) baaki leelaa
wohi soch ?
suraj chamkeelaa aa
wohi rang jo ?
patta bootaa phool rangeelaa
chamak rahaa hariyaala
rat shiv naam ki maala aa
rat shiv naam ki maala aa

har har panchhi jag par doley
hari hari daal pe har har boley
har har boley ae
har har boley ae
har har panchhi jag par doley
hari hari daal pe har har boley
?
aa aa aa
?
? amras ras gholey
ras gholey ae
?
?
jhoom chaley ae
jhoom chaley ae
jhoom chaley matwaalaa aa aa
rat shiv naam ki maala aa
rat shiv naam ki maala aa
is naam se jag ujiyaalaa aa
rat shiv naam ki maala aa
rat shiv naam ki maala aa

rat shiv naam ki maala aa
rat shiv naam ki maala aa
rat shiv naam ki maala aa
rat shiv naam ki maala aa
rat shiv naam ki maala aa
rat shiv naam ki maala aa
rat shiv naam ki maala aa
rat shiv naam ki maala aa
rat shiv naam ki maala aa
rat shiv naam ki maala aa
rat shiv naam ki maala aa
rat shiv naam ki maala aa
rat shiv naam ki maala aa
rat shiv naam ki maala aa …


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

Blog Day :

4615 Post No. : 16248

It is an unintended coincidence that my next post after film Suhagi-48 is on a song from film Suhag-1940. The titles have some resemblance but they are far different in content and presentation.

The year 1940 was the end of the first decade of Talkie films. From 1931 to 1939 most of the film music was made and sung by people who were experts in Classical Music. Classical music has never been the area of common people. It was born in Temples and nurtured in the Darbars of Kings and Nawabs. When film music relied heavily on classical mode, it became an imposition on the masses. Luckily, from the last 2 years of the 30’s, film music started changing and the emphasis shifted to traditional and Folk tunes over the classical.

1940 saw the emergence of Naushad with his first film “Prem Nagar”, as an independent Music Director. He is the one who advocated the combination of classical with Folk music and this was accepted by other Music Directors. More people now turned to film songs.Music Directors like Naushad, Anil Biswas, C Ramchandra, Saraswati Devi, Gyan Dutt, Pankaj Mullick and their followers in the later part of the 40’s changed film music upside down.

National Studios emerged from the merger of Sagar Movietone and Mehboob gave his blockbuster milestone film ” Aurat”. Himanshu Rai died untimely and the reigns of Bombay Talkies came into the hands of Devika Rani. Ranjit brought more popular films from its factory. Though there were signs of slow death, New Theaters still continued with musical films. Prabhat brought its third successive Saint film ‘ Sant Gyaneshwar”. Wadias looked after their Stunt films with fearless Nadia and John Cavas.

In the south, S S Vasan started his Gemini Studios. Master Vinayak and P K Atre started Navyug Films. In August 1940, there was a big fire in New Theatres leading to heavy losses. The use of Harmonium was banned on A.I.R. Due to War Times, Raw Film controls were given to Film Advisory Board. It also gave rise to Black Marketing of Raw film, in addition to already existing Rationing, and a new class of rich investors emerged in film industry shaking its established Studio Systems and Culture.

The year 1940 made only 86 Hindi films, less than 100 for the third consecutive year in a row. Let us take a look at some important films of 1940.

New Theatres film Aandhi had good music and songs.
Bombay Talkies continued with Ashok kumar and Leela Chitnis with film Azaad, but it was not as popular as Jhoola, Kangan and Bandhan.
A dubbed forein film -“Azadi E Watan” was the only Hindi film for which Malika Pukhraj had sung 2 songs.
Ranjit’s Achhut tackled a social evil, with good songs composed by Gyan Dutt.
A Stunt film of Shankar Vazare ” Aflatoon Aurat” had an English song in it.
Sagar’s last film ” Alibaba” by mehboob was released. “Aurat” a Landmark film by Mehboob for national Studios was the origin of its remake ” Mother India’57’.
Film ‘ Bharosa’ by minerva was based on an Incest story.
Sirco’s offering ‘ Geeta’ had a crime story, with double roles of Chandramohan and Durga Khote.
Prakash Pictures film ‘Narsi Mehta’ had Sant Tukaram fame Vishnupant Pagnis and some good bhajans.
Film Usha Haran saw the Debut of Sitara Devi.
Film Zindagi from New Theatres had very good songs by Saigal.

Today’s film Suhag-40 was made by CIRCO productions. Let us know something about this film company and its owner…

Chimanlal Trivedi, was one of the major film makers of the 30s and the 40s decade. He was more a Producer businessman than a Director. While he directed hardly 7 films, he produced close to 50 films- all having A grade actors, directors and composers !

Born on 19-3-1909 at a village near Anand in Gujarat he was from a Brahmin family. He did his schooling in Ahmedabad and technical graduation from Baroda. Being an expert in weaving, he took up a job as a weaving Master in Calcutta. Fond of writing, he started writing Dramas, which were staged in Bengal and Gujarat. He was attracted towards Cinema and tried some work in New Theatres. Knowing that the real playing field is Bombay he reached there. He wrote the story of film Chevrolet-36 and Danger Signal-37 for Mohan pictures.

He established his own production company CIRCO (Cine Industries Recording COmpany) in 1937. By 1943, he had made 12 films. He preferred not to direct his films, but appointed directors like Mohan Sinha for Laxmi-40, Anuradha-40 and Vanmala-41, Balwant Bhatt for Suhag-40 and Madhusudan-41, A R Kardar for Swami-41 and Nai Duniya-42 and Debki Bose for Apna Ghar-42.

He had the art of getting the most popular stars for his films like, Prithviraj kapoor, Chandramohan, Durga Khote,Mazhar khan, Bibbo,Surendra, Jairaj, Sitara, Jeevan, Yaqub, Shobhana Samarth, Prem Adeeb, Vishnupant Pagnis,Leela Desai, Pahadi Sanyal, Shanta Apte and many others. Even big directors like Debki Bose,Nitin Bose, Kardar,Mohan Sinha, Sarvottam Badami, Nandlal Jaswantlal,Profull Roy, Sudhir Sen, R S Caudhari, Phani mujumdar, Balwant Bhatt etc. worked for him. From Prabhat he brought Shanta Apte for Rs.1000 pm, and also Chandramohan, Pagnis and Mazhar khan. His friend Chandulal Shah followed his way and brought K L Saigal from New Theatres !

C L Trivedi was an expert in gathering funds for his films. After CIRCO at Parel, he started Laxmi Productions at Andheri, in 1942. He made mera Gaon,Sharafat,Bhagya Laxmi,Kadambari,Tamanna,Inkaar,Mohabbat,Miss Devi etc. In 1951, it was Supreme Pictures, Trivedi Productions was in 1952, Kala Kendra in 1953 and with Chitra Bharati in 1954, he made 13 films upto 1961. Top Composers like Timir Baran,Ashok Ghosh,Rafiq Gaznavi,K C Dey,Saraswati Devi,Husnlal-Bhagatram and Naushad gave music to his films.

Film Suhag was directed by Balwant Bhatt- elder brother of Nanabhai Bhatt. Its cast was Kumar, Bibbo, Mazhar, Ashalata, S Nazir etc. The music was by Timir Baran.

Timir Baran Bhatacharya belonged to a family of Sanskrit Scholars. He was born on 10-7- 1904. He learned Sarod playing initially from Radhika Prasad Goswami and then remained a student of Ustad Allauddin Khan ( who also taught internationally famous Ravi Shankar). He toured Europe and the USA after joining Uday Shankar’s Dance Troupe in 1930. He had an unrivalled reputation as a composer of dance music of that period. He was a symbol of passionate rendering. Worked in Madhu Bose’s Calcutta Art Players 1934 and visited Java and Bali.

On joining the New Theatres, he composed music for “Devdas” in 1935-“Balam Aao Baso Morey Mann Mein”. Other important films include “Pujaran” 1936 (“Jo Beet Chuki so Beet Chuki Ab Us Ki Yad Sataye Keun”) produced by International Film Craft and “Adhikar” 1938 of New Theatres. His other Hindi films are Sagar’s “Kumkum, The Dancer”(1940), Circo’s “Laxmi” (1940) and “Raj Nartaki” (1941). Subsequently he joined All India Radio and conducted music for Tagore’s non-violence poetry in 1947. Later he composed music for Uma Production’s “Samapti” in 1949.

He then shifted to Bombay and worked at Sagar and Wadia studios. He directed music for films “Badbaan”(with S.K.Pal in 1954) at Bombay, Anokhi *(with Hasan Latif Lalik) at Karachi-Pakistan (1955- with songs of Zubeida Khanum filmed on Sheela Ramani), Fankar (W.Pakistan – 1956) and “Jog Biyog” (Bengali – East Pakistan – 1970). His earlier Bengali films included Bijoya 1935, Uttarayan 1941, Bondita 1945, Bicahrak 1959,Thana Theke Aschi 1965, Diba Ratrik Kabya 1970 and Dak Diyajai 1978.

Afterwards he devoted himself to the music faculty of Tagore’s Shanti Niketan at Calcutta. He left for the heavenly abode on 29-3-1987.

Today’s song is sung by Bibbo. Listen to the voice which was very famous and popular in the 1930’s .


Song-Aao hum donon khelen nit naye niraale khel (Suhaag)(1940) Singer – Bibbo, Lyricist – Not specified, MD- Timir Baran

Lyrics

Aao
hum donon khelen
Aao
hum donon khelen
nit naye niraale khel
nit naye niraale khel
Aao
hum donon khelen
Aao
hum donon khelen
prem ke jitne khel jagat mein
prem ke jitne khel jagat mein
unmein sukh ka mel
unmein sukh ka mel
Aao
hum donon khelen
Aao
hum donon khelen

Chhota sa ek mahal banaayen
aur phir usko khoob sajaayen
Chhota sa ek mahal banaayen
aur phir usko khoob sajaayen
main phoolon ki sej bichhaa kar
main phoolon ki sej bichhaa kar
uspar tumhen baithhaaun
uspar tumhen baithhaaun
phoole yoon hriday mein apne
phoole yoon hriday mein apne
aashaaon ki bel
aashaaon ki bel
Aao
hum donon khelen
Aao
hum donon khelen


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

Blog Day :

4373 Post No. : 15711 Movie Count :

4330

Today’s song is from a film of early cinema-Bharosa-1940. There was a film of the same name- Bharosa in 1963, but the stories were entirely different. That film was more popular for Mehmood-Shubha Khote’s side story. Today’s film Bharosa-40 was made by Minerva Movietone. It was quite a serious film with an unusual, daring story for its time. The history of making this film is very interesting.

Sohrab Modi, in his earlier career used to work as an actor in his elder Brother’s – Rustom’s- ” Arya Subodh Natak Mandali “. After the Talkie films started, they felt it to be a threat to their stage dramas and decided to make Talkie films. ” Stage film company” was established in 1935 and to play safe, they decided to film their most popular drama ‘ Hamlet aka Khoon ka Khoon’ and market it, followed by their next best hit drama ‘Saeed E Havas aka King John’. Accordingly both were filmed and released as Talkie films. Unfortunately, their hopes were belied. Most people, having seen these dramas, did not see the films. The Modi brothers realised that making a Talkie film was a different ball game altogether !

They floated Minerva Movietone and produced the film ‘ Atma Tarang-37’. Those days Modi was influenced by Ramkrishna Mission teachings. Bachelor Modi used a story of ‘Celibacy’ (ब्रह्मचर्य ). In the period of 1935 to 1940, many Romantic films by Bombay Talkies and others were attracting the audience. People expressed their displeasure by not coming to this film. Consequently, this first film of Minerva Movietone also flopped. Luckily another film “Khan Bahadur’ was also made at the same time and this clicked.

Sohrab Modi understood and decided to make films on social issues, like Prabhat and New Theatres. Accordingly, he first made ‘Meetha Zaher’-38 on the evil of drinking alcohol, ‘ Jailor-38’ on illicit passion and ‘Divorce-38’ on separation after marriage. After a breather – Pukar-39 – he ended his quartet of reform Films with ‘Bharosa-40’. This film handled a very unusual subject like ” unintended Incest ” .(In 1941, film Bahen also touched on this topic subtly). According to the comments in magazine Film India,of those times,this film was not as successful as expected. Possibly due to the background of a more successful film ‘Pukar’, only the earlier year. Chandra Mohan was a common actor in both films, naturally his roles were compared by all.

The film was directed by Modi and the music was composed by G P Kapoor, who was a director (Nazrana-42), Singer and MD for 5 films, including Bharosa-40. Film’s story, screenplay, dialogues and songs were written by L C Bismil. The cast of the film was Chandra Mohan, Sardar Akhtar, Mazhar khan, Maya Devi, Sheela, Naval, Eruch Tarapore, Gulab, Menaka, Ram Apte and others. The film was released on 15th August 1940 at Minerva Theatre, Bombay. The story of the film Bharosa-40 was…..Gyan(Mazhar khan) and Rasik(Chandra Mohan) are good friends. When Gyan has to go to Africa, he leaves his wife-Shobha(Sardar Akhtar) with Rasik and his wife Rambha(Maya Devi). Rasik has always liked Shobha secretly and he develops intimacy with her. When Rambha goes to Maika, these two come together and Shobha gets pregnant. She delivers a daughter-Indira(Sheela).

As Indira and Madan(Naval)-Rasik’s son, grow together, they fall in love. Meanwhile Shobha dies and Gyan decides to marry Indira and Madan, though, knowing the secret, Rasik resists this marriage. But Gyan has his way and the marriage takes place. Rasik feels remorseful and reveals the truth to the newly married couple, who are actually Brother and Sister. Both commit suicide.

In the issue of Film India of September 1940, Baburao patel appreciated the direction of Sohrab Modi and called this film a better film than Pukar-39. The name of Maya Devi is not known much. Maya Devi was from Bombay and started her career from silent films in 1928 with Anarkali by imperial. Her first Talkie film was Kunwari ya widhva-35. Her real name was Leela. She became a favourite of Bombay Talkies and she did 6 films with them in 37 and 38. In all she did 5 silent films and 31 Talkie films till 1949. Her last film in India was Raaz-49. She got married with a Muslim and then migrated to Pakistan, where she did 19 films and then retired in 1964. Her first film in Pakistan was Phere-1949. She died in Lahore on 1-2-67. She did films in Gujarati and Punjabi also.

Another new name is Eruch Tarapore. He 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.

Sohrab Modi was a very strict person and when he entered the studio, there used to be total silence.C Ramchandra had spent the first 3 years of his career in Minerva and learnt the basics of composing music, under different MDs employed by Minerva. In due course, he became a big name and very successful. He described one memory associated with Minerva and Modi to film historian Isak Mujawar thus…

When Sohrab Modi sent a call to him to come for composing songs for one of his films, C Ramchandra remembered all this. While in Minerva, he knew Modi as a strict disciplinarian and a kind soul. In the subsequent period, C Ramchandra was impressed with the extraordinary success of Minerva movies like Pukar-39, Sikander-41 and Prithwi Vallabh-43. Afterall, his and Minerva’s careers had started together only ! Though he had become a famous and successful Music Director now with films like Shehnai, Saajan, Nadiya ke paar and Khidki etc amongst his 30 odd films, he went to meet Modi.

There was a tremendous change in circumstances when he left Minerva in 1938. When Minerva requested him to work for them in 1948, he had become so big that he could have easily refused to work for them, but he was not ungrateful. C Ramchandra has described this meeting to one of his friends, Isak Mujawar thus…

” When I entered the office of Minerva, after 10 years, I realised that while I had grown in my stature, Minerva had lost some of its sheen and its place among the top studios. Whatever I had learned while working here had made my foundation so strong that I could never repay Minerva’s debt fully. As I entered, I saw the same tall, well built Sohrab Modi and by his side Mehtab was sitting next to him. As soon as I crossed the door, both of them stood up. I was embarrassed. I went ahead and touched his feet. He murmured something and hugged me. I did Namaste to Mehtab ji. Modi talked briefly about his film and their expectations about the music. Then with a little hesitation, he asked me for my fees. I smiled and said, “Give me just One Rupee, sir. That’s my fees for Minerva”. However, they did not agree and a nominal token fee was fixed. I signed the contract “.

Those were the days when artistes gratefully acknowledged the help they received in their early careers !

Today’s song is sung by Menakabai. This is a Same name Confusion case. There were two Menakas. One singing this song was from Bombay.

Menaka/Menakabai / Menakabai Shirodkar ( Bombay )
—————————————————-
Menaka was born in Lahore in or around 1910. She was from a professional singer family and got training in classical singing. The family was originally from Belgaon and her maiden name was Menaka Belgaonkar. Later she was married and became Menaka Shirodkar.

At the age of 23-24 she landed in Bombay to try her luck in films. In those days such girls from singing families used to get into films easily, due to their singing capability. She joined Minerva and sang in their films, starting with Pukar-39,in which she got only one song.
She was more interested in classical singing and hence concentrated on singing more than acting. However, she did act in 5 films, in which she also sang.

After her film Gul Bakavli-47 she devoted her full time in singing and holding jalsas. Soon she became a known figure in singing circles. After marriage she got two daughters. One of them Shobha became a famous singer and was known as Shobha Gurtu.

After her singing was over Menakabai Shirodkar-as she came to be known later- retired and settled in Ponda,Goa.

She died on 23-12-2003 at the age of around 93 years.

Filmography-
——————–

Title Comments
Pukar-39 1 solo song
Paak Daman-40 Acting and 3 solos+ 1 Duet
Main Haari-40 1 solo, 2 Duets
Bharosa-40 Acting and 2 solos, 1 Duet
Sikandar-41 1 solo
Ulti Ganga-42 1 solo, 1 Trio
Phir milenge-42 Acting and 3 solos
Prithwi Vallabh-43 2 solos, 2 Duets and 1 Trio
Bhakta Raidas-43 Acting and 1 Duet as Menakabai
Dr. Kumar-44 1 solo
Gul Bakavali-47 Acting and 4 solos, a Duet..all as Menakabai

With today’s song film Bharosa-1940 makes its Debut on this Blog.


Song-Naach rahi hai Maaya Maaya (Bharosa)(1940) Singer- Menaka Bai (Bombaywali), Lyricist-Lalchand Bismil Peshawari, MD- G P Kapoor

Lyrics

Naach rahi hai Maaya Maaya
Naach rahi hai Maaya Maaya
Naach rahi hai Maaya
Naach rahi hai Maaya Maaya
Naach rahi hai Maaya
ma ga re sa re sa ma ga pa ma ga
ma ga dha ni
dha pa dha ni dha pa sa
sa re sa
da ni dha
??la sabke saath milaaya
??la sabke saath milaaya
n n n n n n n n
naach rahi hai Maaya Maaya
naach rahi hai Maaya

Baaj rahi hai anvat(?) veena
naach rahi hai ?? Maaya
Baaj rahi hai anvat(?) veena
naach rahi hai ?? Maaya

saat suran mein ?? bandhe(?) hain
saat suran mein ?? bandhe(?) hain
?? apna rang jamaaya
apna apna rang jamaaya
n n n n n n n n
naach rahi hai Maaya Maaya
naach rahi hai Maaya

Maaya
naache
Maaya
dekhe
Maaya ne hai swaang banaaya
Maaya ne hai swaang banaaya
ajab khilaadi hai ye maaya
ajab khilaadi hai ye maaya
jisne ye adbhut khel rachaaya
jisne ye adbhut khel rachaaya
n n n n n n n n
naach rahi hai Maaya Maaya
naach rahi hai Maaya


This article is written by Avinash Scrapwala, 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 :

4283 Post No. : 15530

—————————————————————————
Blog 10-Year Challenge (2010-2020) – Song No. 19
—————————————————————————

Regulars on the blog would be surprised to see my post covering a song from the forties or rather from the decade of ‘thirties’-1931-40.

My forte is the movies from the ‘seventies’. But, yes, I have from time to time shared songs from movies before the years of ‘seventies’ too.
As a music lover, I love the songs from the ‘golden period’ or ‘pre-golden period’ of Hindi cinema. I have a great admiration for the stalwarts of that era and a great fascination of the movies and songs of that era.

During my childhood days, I got to watch many movies of the ‘black & white’ era e.g. ‘Dillagi-1949’, ‘Dard-1947’, ‘Dulaari-1949’ etc. during the regular weekly screening of movies at our colony recreation club.

I don’t think I have ever watched a movie from the decade of 1931-1940. So, when I noticed this movie ‘Nartaki-1940’ falling under ‘blog ten year challenge’ of today 09.04.2020 I browsed its pending songs, and when I found that a song from the great Pankaj Mallick is pending to be posted, it was enough reason for me to share this song.

A few years back I got to watch a documentary on ‘New Theatres’ on ‘Doordarshan’ and I got to watch it more than once. The great Pankaj Mallick and songs sung by him have special place in my heart so I am more than happy to share this song here today.

HFGK Vol 1 1931-1940 mentioned this song in two versions (i.e. Male version and Female Version by Roop Kumari). The audio/video links of the song available were only for the male version sung by Pankaj Mallick or some mentioned them as Pankaj Mallick and chorus.

As the movie was available online, I decided to watch this movie. For me this is the oldest movie I have watched till date. And, for me, the current ‘situation’ makes it a special occasion and a very ‘special movie’ to watch and to remember as a ‘memory of these days’.

(Imagine what record I have created for me :). I have watched a movie released twenty-eight before I was born and I have watched a movie seventy-nine years after it was released. 🙂 (This movie was passed by the then Bengal Board of Censors on 18.12.1940).

After watching this movie, I can say that there is no female version sung by Roop Kumari for today’s song as mentioned in HFGK. (And I think this needs to be corrected in HFGK).

Coming back to the movies represented ten years back on this day we have the following songs represented on the blog on 09.04.2010 including a song from this movie ‘Nartaki-1940’;

Song Movie title-Year Remarks
Dene waala jab bhi detaa … Funtoosh-1956 All songs covered (08)
Dil mein hamaare kaun samaayaa… Adhikaar-1954 All songs covered (08)
Beqaraar hai koi Shama Parwaana-1954 All songs covered (11)
Prem ka naataa chhootaa Nartaki-1940 05 of 08 songs covered

So far, following songs from “Nartaki-1940” have been covered on the blog;

Song Posted On
Prem ka naataa chhootaa 09.04.2010
Madbhari rut jawaan hai 21.09.2011
Ye kaun aaj aayaa sawere sawere 15.03.2011
Aankh moond kar dhyaan 10.06.2011
Teri dayaa se ae daayee 12.10.2011

let us now enjoy this song for today …

(video) (Part-1)

Video (Part II)


Audio (Record version)

Song-Kaun tujhe samjhaaye (Nartaki)(1940) Singer-Pankaj Mullick, Lyrics-AArzoo Lucknow, MD-Pankaj Mullick

Lyrics
——————————-
Video (Part I)
——————————-

kaun tujhe samjhaaye moorakh
kaun tujhe samjhaaye
kaun tujhe samjhaaye moorakh
kaun tujhe samjhaaye

prem parikshaa(?)
ulte seedhe donon baan chalaaye
ae ae
bhed chhipaaye
marey ghut ghut ke
kahe to maaraa jaaye ae
bhed chhipaaye
marey ghut ghut ke
kahe to maaraa jaaye ae
moorakh
kaun tujhe samjhaaye
kaun tujhe samjhaaye moorakh
kaun tujhe samjhaaye

(conversation between the actor & actress, not included)

kaun tujhe samjhaaye moorakh
kaun tujhe samjhaaye
kaun tujhe samjhaaye moorakh
kaun tujhe samjhaaye

prem juaa aur laabh ki aasha
jo hai ye bhi jaaye ae ae ae
prem juaa aur laabh ki aasha
jo hai ye bhi jaaye ae ae ae
man maujan ki ulti Gangaa
jeeta daanv haraaye
moorakh
kaun tujhe samjhaaye ae

(song continues in the background as the actor & actress are shown walking together)

kaun tujhe samjhaaye moorakh
kaun tujhe samjhaaye
apni chaal badalnaa maanjhi
ee ee ee ee
apni chaal badalnaa maanjhi
mauj bhanwar naa sataaye
swarg ghaat ko jaati naiyya
narak pahunch na jaaye ae
swarg ghaat ko jaati naiyya
narak pahunch na jaaye
moorakh
kaun tujhe samjhaaye ae

———————————
Video (Part II)
———————————-

kaun tujhe samjhaaye moorakh
kaun tujhe samjhaaye ae
kaun tujhe samjhaaye moorakh
kaun tujhe samjhaaye ae
prem juaa aur laabh ki aasha aa
jo hai ye bhi jaaye ae ae ae
prem juaa aur laabh ki aasha
jo hai ye bhi jaaye ae
man maujan ki ulti Gangaa
jeeta daanv haraaye
moorakh
kaun tujhe samjhaaye ae

(dialogues, not included)

apni chaal badalnaa maanjhi
ee ee ee ee
apni chaal badalnaa maanjhi
mauj bhanwar naa sataaye ae
swarg ghaat ko jaati naiyya
narak pahunch na jaaye ae ae …

—————————————————-
(chorus) (record version)
—————————————————–
kaun tujhe samjhaaye moorakh
kaun tujhe samjhaaye
kaun tujhe samjhaaye moorakh
kaun tujhe samjhaaye
prem juaa aur laabh ki aasha
jo hai ye bhi jaaye ae ae ae
prem juaa aur laabh ki aasha
jo hai ye bhi jaaye ae ae ae
man maujan ki ulti Gangaa
jeeta daanv haraaye
moorakh
kaun tujhe samjhaaye ae

prem parikshaa (?)
ulte seedhe donon baan chalaaye
ae ae
prem parikshaa(?)
ulte seedhe donon baan chalaaye
ae ae
bhed chhipaaye
marey ghut ghut ke
kahe to maaraa jaaye ae
bhed chhipaaye
marey ghut ghut ke
kahe to maaraa jaaye ae
moorakh
kaun tujhe samjhaaye

apni chaal badalnaa maanjhi
ee ee ee ee ee ee ee ee
apni chaal badalnaa maanjhe
mauj(?) bhanwar naa sataaye
swarg ghaat ko jaati naiyya
narak pahunch na jaaye ae
swarg ghaat ko jaati naiyya
narak pahunch na jaaye ae
moorakh
kaun tujhe samjhaaye ae
kaun tujhe samjhaaye moorakh
kaun tujhe samjhaaye


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

Blog Day :

4221 Post No. : 15423 Movie Count :

4250

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


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

Blog Day :

4214 Post No. : 14415 Movie Count :

4247

Today’s song is from film Sant Dnyaneshwar-40. This film was made by Prabhat Film company,Poona.

In the early era of Talkie phase, many film companies were active like, Sagar, Ranjit, Imperial, Saraswati, Maharashtra, Krishna, East India, Madan, Wadia etc, but only New Theatres of Calcutta and Prabhat of Poona stood out for their excellence and social awareness.

Prabhat had 5 founding directors and each one had his own special department, e.g., Fattelal was an expert in Costume and Set Erection. Among these five, initially only Shantaram was active in film direction.He had started directing silent films since the time he was with Baburao Painter’s Maharashtra Film company, from where all the partners of Prabhat also had come.

When the Talkie started, Prabhat also jumped into the fray, but their first Talkie was made in 1932 and not in 1931, like all other major film companies, who vied with each others to become the historical “First Talkie Maker”. One wonders why companies like New Theatres, Calcutta and Prabhat, Poona did not take initiative in making the first ever Hindi Talkie film. The reason is, Prabhat was not yet a big company in 1931 and it needed finance to buy the sound equipment which was not possible in 1931.

As far as New Theatres is concerned, they did make a Talkie film in 1931, but not in Hindi. They made it in Bangla. Hindi was not their priority then ( or even later, for that matter). Bangla was their forte and main market. In fact NT released its first Bangla Talkie short film “Jamai Shashti”, in Crown Cinema Hall of Calcutta, on 11-4-1931 and its first Bangla full length feature film “Dena Paona”, in Chitra Cinema Hall in Calcutta on 30-12-1931.

Incidentally, it is interesting to know who all made their Hindi Talkie films in 1931. In all 24 Hindi Talkie films were made in 1931. The number of films made by every film maker, in 1931 is as following…

Madan Theatres, Calcutta 7 films
Imperial Film Company, Bombay 5 films
Krishna Movietone, Bombay 5 Films
Sagar Movietone, Bombay 3 Films
Ranjit Movietone,Bombay 1 Film
Bharat Movietone, Bombay 1 Film
Saroj Movietone, Bombay 1 Film
Indian Art production, Bombay 1 Film
Total 24 Films

The first Talkie film of Prabhat came in 1932. It was a Bilingual. In Marathi, it was called “Ayodhyecha Raja” (अयोध्येचा राजा ), and in Hindi it was titled “Ayodhya ka Raja”. The film depicted Raja Harishchandra’s story. The director was V. Shantaram. One after another, Shantaram directed 7 films in 4 years till Amar Jyoti-1936. Most films became popular and brought good revenues and profits. The name of Prabhat and Shantaram was now famous all over India.

This was not digested by few directors of Prabhat. They felt that their work was equally responsible for company’s success, but Shantaram hogged all publicity for himself. Slowly, but steadily the the discontent spread. Shantaram came to know about it. To set the matters right, he insisted that the next Marathi film “Sant Tukaram” be directed by Damle and Fattelal. It took place that way. At every stage, Shantaram helped them sincerely. He wanted them to understand that he was not selfish. Film Sant Tukaram-36 had a phenomenal success, even internationally. After this, Shantaram’s 2 big films “Duniya na maane”-37 and “Aadmi”-39 came and again he was applauded.

The duo of Damle and Fattelal decided to direct another Saint film – this time in both Marathi and Hindi. The film was “Sant Dnyaneshwar”-40. Earlier, Sant Tukaram-36 was made without any miracles or trick scenes. This time, it was planned to include some miracles/trick scenes in this film. Like in the earlier venture, this time also, Shantaram offered all possible help, to stress team spirit.

1940 was a period, when Dalits had no entry in any Temple and lot many agitations for it were held in India against this wrong tradition. Shantaram suggested the name of actor Shahu Modak for the main role of Dnyaneshwar. The reason was Sant Dnyaneshwar was a Bramhin saint. ( out of the 100 odd saints of Maharashtra during the Bhakti Movement period, only Sant Ramdas – Shivaji’s Guru – and Sant Dnyaneshwar were Bramhins. All the rest were from lower castes.) Shahu modak was not only a Dalit but also a converted Christian. So, Prabhat would act in consonance with their policy of social reforms, through films. By making a Dalit do the role of a Bramhin Saint, the right message would have gone to the society. His idea was unanimously accepted.

Shahu Modak had started his career by doing Krishna’s role in film Shyamsunder-1932, made by Saraswati Cinetone, Poona. His face, diction and acting was perfect for this role. In 1933, when film Pooran Bhagat was made by NT in Calcutta, in wake of the communal riots ongoing there that time, to avoid public displeasure, the Muslim Hero of the film Syed Ali Hasan Zaidi (aka Mijjan) was made to change his name to Kumar. In 1934, film Waman Awatar had a Parsee actor Phiroz Dastoor as a Hero. He also faced such problems and the film had to be withdrawn in some areas. However, in case of Shahu Modak, his name was sounding Hindu. So, no problem was foreseen.

Shahu had earlier worked in 2 Prabhat films, namely Mera Ladka-38 and Aadmi-39. For Aadmi, he had to increase his weight by bodybuilding, as the role was of a Policeman. But now for Sant Dnyaneshwar, he had to reduce his weight, for most of the film appearance, he had to be open chested only. In this film there is a character – Narmada ( Sumati Gupte Joglekar’s debut role). She was supposed to love Dnyaneshwar, but never expresses her love since childhood. Though Damle-Fattelal were the directors, V. Shantaram had also shot some scenes in which her mute love and respect for Dnyaneshwar is shown artistically.

There is a scene in the film where sage Changdev (Ganapatrao Tambat) comes to meet Dnyaneshwar. He always wears live snakes and moves around on a Tiger. For his scenes, live snakes, without teeth and poison sacs were worn over neck, by the actor. ( one by one many others too tried snakes around their necks, for curiosity and fun, in the studio). For the Tiger ride, a trained Circus Tiger was brought and the shot was taken, under the watchful eyes of its trainer. Just before the scene started, the tiger gave away a terribly loud roar. Changdev and his disciples got so scared that one of his disciples fell unconscious and had to be hospitalised !

Today’s song is sung by Vasant Desai for himself on the screen, in the role of a bullock cart driving farmer. It was known that the song and the composition was done by Desai himself, though the MD was Keshavrao Bhole. Desai was assigned by Shantaram to assist Bhole in composing and as an arranger. Desai assisted Bhole in few other films as well, but Bhole never spoke a single word of appreciation for Vasant Desai. Desai’s life was like that only.

Vasant Desai ( 9-6-1912 to 22-12-1975 ) was an incredibly talented man who never got his due.

That greatness has no correlation with commercial success, is best personified in the life and works of Hindi film music director Vasant Desai. Well versed in every department of film making, Desai’s talent was a blessing to the music world. Though critics may credit Naushad as a composer steeped in classical traditions, Vasant Desai was equally, if not more, proficient in making tunes based on complex ragas. Sadly, despite his prowess, this simple man whose birth anniversary was in 2012, had not been given his due by the film industry befitting his stature and contribution to its music.

Veteran Marathi film music director and Desai’s creative mentor Keshavrao Bhosle in his memoirs “Maazzhe Sangeet” (माझे संगीत ) applauds Desai for many such firsts as well as introduction of echo in sound recording in India with Zohra Bai’s song “Jo Dard Ban Ke” from “Parbat Pe Apne Dera”. Hear Rafi’s immortal “Kahdo Koi Na Kare Yahan Pyaar” and you realise how echo was not a tool for experimentation for Desai but a magnificent instrument of creative ability.

Though Lata Mangeshkar doesn’t acknowledge any of Desai’s creations in her top 20 personal favourites nor praises his vast repertoire, it is a fact that some of her finest renditions were under Desai. Allegedly, Lata had a grouse against him for promoting other singers, especially Vani Jairam, and hence ignores his contribution in her career even when most of her songs under Desai’s baton have been unsurpassed till this day. Go down the memory lane and you can’t ignore sublime creations like “Jo Tum Todo Piya” (“Jhanak Jhanak Payal Baaje”), “Tere Sur aur Mere Geet” (“Goonj Uthi Shehnai”), “Main Gaon Tu Chup Hoja” (“Do Aankhen Barah Haath”), “Piya Te Kahan” (“Toofan aur Diya”) or “Ik Tha Bachpan” (“Aashirwad”). Even though Desai made her “Ae Malik Tere Bande Hum” (“Do Aankhen Barah Haath”) into a memorable secular prayer, Lata hardly ever commends the composition. May be she is unhappy that Desai created an equally powerful bhajan “Humko Man Ki Shakti Dena” into a nationwide school prayer through Vani’s vocals.

His proficiency was the reason why he was greatly admired by maestros like Bismillah Khan (who made the shehnai famous with his recitals in “Goonj Uthi Shehnai”, Amir Khan, Bhimsen Joshi, and M. S. Subbulakshmi even got a song composed from Desai for her recital at the UNO headquarters. It was Desai’s virtuosity that made Dada Muni (Ashok Kumar) render an all-time favourite children’s song “Rail Gadi” (“Aashirwad”) with minimum instrumentals. Nowadays when Cannes Film Festival is a place of photo opportunity rather than exploration of artistry, it is overwhelming to know that decades ago Desai’s versatility made “Amar Bhoopali” the only Indian film to win a Grand Prix award for original musical score at Cannes! Obviously, lyricist Gulzar isn’t wrong to hail Desai as a “music composer extraordinaire” especially when he catapulted his “Bole Re Papiha” to Himalyan heights of popularity.

Born in a wealthy family in Sonwad village in Maharashtra, Desai joined the famous Prabhat Film Company at Kolhapur at its inception. Apart from performing several minor chores, he also acted, sang and sometimes composed songs in Prabhat’s films like “Dharmatma” and “Sant Dnyaneshwar” but once he had mastered the craft of music composition, he stuck to it. Devoted to V. Shantaram from his Prabhat days, Desai went along with the maestro when he broke away from Prabhat to form his own Rajkamal Studios. Scoring music for a majority of Shantaram’s films, Vasant’s career suffered a major blow when their relations soured in the late 1950s. Yet it is to his credit that even though they split after recording of “Aadha Hai Chandrama” (later re-done by C. Ramchandra), he never ever spoke ill about “Anna” till his dying day.

Film director Vikas Desai says, “even family members never came to know the reasons for leaving Shantaram though he went back to score the background music of ‘Geet Gaya Patharon Ne’ on Anna’s request”.

Going through his long and enviable list of songs would be difficult but suffice to say that his memorable songs are valuable gems of musical heritage. And though the patriotic Vasant Desai may have remained unsung for his cinematic as well as academic contribution to school music curriculum, his songs regale listeners with their inherent melodic fragrance.

In his initial stage of career, he had acted in 4 films like, Dharmatma-35, Amar Jyoti-36, Wahan-37 and Sant Dnyaneshwar-40. He even sang 12 songs in films like Amrit Manthan-34, Dharmatma-35, Amar Jyoti-36, Wahan-37, Sant Dnyaneshwar-40, Sant Sakhu-41, Shakuntala-43 and Parbat pe apna dera-44. In all, Vasant Desai gave music to 50 films, composing 382 songs. His first film was Shobha-42 and Last released film was Shaque-76. (some information in the article adapted from Wiki and The Hindu).

With this song, film Sant Dnyaneshwar-40 makes its Debut here. The song tune is catchy and it is sung in a haunting way. Enjoy….

( I thank Isak Mujawar’s “Santpatanchi Santwani” (संतपटांची संतवाणी ), Shantaram Ahavle’s autobiography, Wiki and Shantaram’s “Shantarama”, along with Encyclopedia of Indian Cinema, for information used herein. I also thank Sadanand Kamath ji for uploading this song on my request, promptly).


Song-Sabse pyaare hain duniya mein khet hamaare (Sant Dnyaneshwar)(1940) Singer-Vasant Desai, Lyrics-Pt Mukhram Sharma, MD-Keshavrao Bhole

Lyrics

Sabse pyaare hain duniya mein khet hamaare
sare aam
jape raam
jahaan saanjh sakhaare
jahaan saanjh sakhaare
Sabse pyaare hain duniya mein khet hamaare
sare aam
jape raam
jahaan saanjh sakhaare
shyaam dhan ?? aaye
Shyaam dhan ?? aaye
gwaal baal sang laaye
gwaal baal sang laaye
baajen mridang
chang shor machaawe
baajen mridang
chang shor machaawe
Sabse pyaare hain duniya mein khet hamaare
sare aaaam
jape raaam
sada raam hari re
rimjhim rim pyaar jhare
rimjhim rim pyaar jhare
dharti ka hiya bhare
hey ae ae ae
dharti ka hiya bhare
har man mein sukh ka mor jhoom raha re
Lachhmi saj saaj harey
Lachhmi saj saaj harey
Motin ka daan karey
Motin ka daan karey
ghar ghar mein daulat ka dher laga re ae
ghar ghar mein daulat ka dher laga re
Sabse pyaare hain duniya mein khet hamaare
Sabse pyaare hain duniya mein khet hamaare ae
sare aam
jape raam
sada raam hari re
sada raam hari re

aao chalo jaayen wahaan
aao chalo jaayen wahaan
machi huyi loot jahaan
machi huyi loot jahaan
kheton mein gokul ka rang jama re
chalo chalo chalo
gokul ka rang jama re
chalo chalo chalo chalo
gokul ka hai rang jama re
chalo chalo chalo chalo
gokul ka hai rang jama re
rang jama re ae ae


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

Blog Day :

4199 Post No. : 15382 Movie Count :

4241

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


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

Blog Day :

3957 Post No. : 15033 Movie Count :

4121

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


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This blog discusses Bollywood songs of yesteryears. Every song has a brief description, followed by a video link, and complete lyrics of the song.

This is a labour of love, where “new” songs are added every day, and that has been the case for over TWELVE years. This blog has over 16400 song posts by now.

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