Archive for the ‘Songs of 1940s (1941 to 1950)’ Category
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
|
Blog Day : |
6440 | Post No. : | 19987 |
Today’s song is from a special film Lakharani-1945.
The film was produced by Prabhat film Company, Poona. It was a Costume film, directed by Vishram Bedekar. The film had music by Master Krishna Rao Phulambrikar – an All India famous classical singer of his times. The 6 songs of this film were written by Qamar Jalalabadi aka Omprakash Bhandari. The cast of the film included Durga khote, Monica Desai ( younger sister of actress Leela Desai and wife of director Phani Mujumdar), Azurie, Sapru, Guru Dutt, Ram Singh, Urmila and many others.
Read more on this topic…
Aaj mera man doley re
Posted on: March 5, 2026
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 : |
6439 | Post No. : | 19986 |
Today’s song is from a social film Chand Tara-1945.
1945 was the year when the devastating II World War ended and the film industry heaved a sigh of relief. Many irksome regulations were relaxed. There was no force now to make Propaganda films for war, no shortage of Raw Film and plenty of Finance available through black money, generated during the war times. However, the year saw only 73 Hindi films made.
One of the most successful and famous film directors of Hindi films- Bimal Roy had a beginning in 1945. He was the director of the Bangla film “Udayer Pathe”, based on the story by Jyotirmoy Roy. It was remade in Hindi as ” Humrahi”. Both versions became Hit films. Thus a cameraman and editor Bimal Roy emerged as a big name in Hindi films. He got this opportunity as New theatres, Calcutta had dried up with its ace and famous directors, who left the company and had marched towards Bombay, even when NT was downhill. This film was also noteworthy because Tagore’s “Jana Gana Mana” was used in the film Humrahi-1945, which later on became India’s National Anthem (though it was written by Tagore to please and welcome King George V, on his visit to India in 1911).
Read more on this topic…
Jhoole mein laal jhulaave re
Posted on: March 3, 2026
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 : |
6437 | Post No. : | 19980 |
Today’s song is from a re-made costume film from the South – Nishan-1949.
Besides being a Musical films’ year, 1949 was also an year when the South Indian filmmakers, especially S.S.Vasan, became active after the film Chandralekha-1948 became a successful one and brought in huge profits. It became an attraction for the filmmakers in the South. They understood that the Hindi film market was many times bigger than the Southern film market and that it was possible to capture a part of it with their south made Hindi films.
Initially, in the early era, Bombay was the biggest centre for film making. When the Talkie films started, other smaller centres in those times, like Lahore and the South, woke up. For Lahore, language was not a problem and so there was a traffic between Lahore and Bombay film people for work and technology. Thus few centres for film production prospered in Lahore-like Pancholi and Shorey etc.
Read more on this topic…
Dupatta Mora Aaj Hi Rang Dijo
Posted on: March 2, 2026
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 : |
6436 | Post No. : | 19979 |
Mohd Rafi – A Journey Divine – 1
(1944-46)
किसी ने कभी पानी से पूछा — पानी रे पानी तेरा रंग कैसा
तो जवाब जो पानी ने दिया — जिसमें मिला दो लगे उस जैसा
Someone once asked water, “Water, water, what color is yours?” The answer water gave was, “My color will resemble whatever I am mixed with.” This isn’t a quality, a skill, an art, or anything significant. It’s the very nature of water, a gift from God, bestowed upon water. When God created water in the universe, He granted it an inexhaustible treasure: despite being colorless, it possesses the unique ability to manifest every other color. Perhaps with a similar thought in mind, God brought to this earth an individual whose voice was so gifted with the ability to become the voice of any and every personality, every character. He shaped that individual’s personality with such natural simplicity that it could provide a voice for everyone behind the scenes, yet its own existence remained completely inconspicuous. This individual’s voice might be in the background, but listeners might not even be aware of its presence. Over time, this voice would linger behind hundreds of characters. Only those who knew would know what it was.
A miracle was happening. A few fortunate people of an era know this creature of God as Mohammed Rafi. The writer put these words to paper for this very voice – “Water, water, what color are you?” “My color resembles whatever I am mixed with.” It sounds like that. We do not deny the talent of any other singer. Everyone has their own unique qualities. But yes, it can certainly be said that if the playback is of Kishore, Hemant, Mukesh, or Talat, the image of that singer immediately emerges in the listener’s mind. But if the playback is of Rafi Saab, the listener’s attention is not drawn to that. The audience naturally finds this voice indistinguishable from the voice of the actor on screen. And the mind does not even think that this voice belongs to anyone else. This extraordinary aptitude is present in Rafi Saab’s voice. I am talking about the present, because Rafi Saab’s voice is with us and will always be, as long as there are listeners of film music. Rafi Saab never imitated or mimicked the character’s voice. He naturally adapted his voice to the character’s personality. In his three and a half decades of singing, Rafi Saab never refused to provide playback for any actor, no matter how new or unfamiliar they were. Yes, he would interview every new actor he had to record for, for a minute or two, and then simply sing for them. The analogy of water is absolutely apt and apt for Rafi Saab. Humble, modest, graceful, unpretentious—these are all very apt adjectives for him. He had no ego at all. And perhaps that’s what led to his dexterity. Rafi Saab’s humility was a unique phenomenon in the film industry. And because of this, the respect and status he received is unparalleled.
There is an incident, I won’t mention the name of the person involved. When this person had just arrived in Bombay, Rafi Saab offered him a place to stay on the terrace of his house. Shortly after, the person and his wife started some baseless disputes, leveling accusations against Rafi Saab and his family, and even filed a police report against him. When others in the industry learned of this incident, no one believed the complainant. Instead, the person himself was boycotted to such an extent that he left Bombay shortly after.
As a child, young Rafi received Kundan Lal Saigal’s blessings on the stage of a musical extravaganza in Lahore. The year was 1937, and he was just 13 years old. Then, in 1941, he joined the Lahore All India Radio station. That same year, composer Shyam Sunder had him record a song, which was included in the Punjabi film ‘Gul Baloch’, released in 1944. Both the film and the song are no longer available. Later, in an interview, Rafi Saab described this song and also sang the opening lines.
In 1944, Rafi Saab moved to Bombay with his elder brother. He recorded three songs for the film ‘Pehle Aap’, released that year. The music director was Naushad Saab. Building on this beginning, he gradually received invitations from other composers and film producers. In 1945, his voice was used by Firoz Nizami, Pandit Govind Ram, Hari Prasanna Das, Shyam Sunder, Mir Saab, and AR Qureshi for 11 songs in seven films. Rafi Saab sang his first solo song in the film ‘Sharbati Aankhen’, released that year. Rafi Saab had a strong desire to sing with Saigal Saab. Naushad Saab gave him this opportunity in the 1946 film ‘Shahjahan’ in which he sang two lines at the end of Saigal Saab’s song “Roohi Roohi Roohi Mere Sapno Ki Rani” He himself appeared on screen in this song. In addition, Rafi saab appeared in two more films during the same period. One was 1945’s ‘Laila Majnu’ and the other was 1947’s ‘Jugnu’.
In the 1930s and 1940s, most artists recorded their own songs. The playback system was introduced in films in 1935. This made it possible for actors to perform songs in the voices of other singers. And under this new system, a new category of playback singers emerged. Actor-singers such as Surendra, Ashok Kumar, Bibbo, Devika Rani, Khursheed, Kanan Devi, Leela Chitnis, Suraiya, and Motilal emerged. And as playback singers, Zohra Bai, Rajkumari, Amir Bai, Shamshad Begum, GM Durrani, Khan Mastana, Firoz Dastur, SD Batish, and others became famous.
By 1945, a crop of singers with wonderful voices emerged, who sustained long careers in the industry. These include all the important names of the Golden Era of Hindi films – Lata, Geeta Dutt, Asha Bhosle, Manna Dey, Hemant Kumar, Talat Mehmood, Kishore Kumar, Mukesh, and many more. And in this list, among the male voices, the name at the top of the list is Mohammed Rafi.
When we analyze and collate the data for singers using Geet Kosh and other sources, a striking result emerges. Based on recorded songs, Rafi Saab’s name is at the forefront in every year and every decade from 1944 to 1970. And not only ahead, Rafi Saab leads other male singers by a wide margin. The number of songs sung by Rafi Saab is as follows:
1944-50 – 376
1951-55 – 535
1956-60 – 999
1961-65 – 935
1966-70 – 789
1971-75 – 499
1976-80 – 538
1981+ – 187
The trend of leading has been consistent from 1944 to 1970. Only Kishore Kumar surpassed Rafi Saab in the 1970s. Between 1971 and 1980, Kishore Kumar’s songs appear on the list, with 1,150 songs sung by him. Rafi Saab’s songs appear on the list, with 900 songs sung by him. I would like to clarify one thing. This calculation is not exact. But a key pattern emerges.
In this thirty-five-year journey, there is hardly a music director who has not recorded songs in Rafi Saab’s voice. In all these years, Rafi Saab never argued over how much he would be paid or which actor would be filmed on his songs. There are countless instances where the producer or composer did not have the budget to have Rafi Saab record, and yet Rafi Saab recorded for them, either without charge or for a token one rupee.
Amazing, yes, but true. Nothing in the world can take place of water.
Welcome to this series on Rafi Sb in which I am attempting to follow his musical journey from 1944 to 1980, with one post for every year of this saga. With today’s post, I cover the period from 1944 to 1946. A limitation for me, since all the known and available songs of 1944 and 1945 are already posted on the blog and I start this series with this wonderful duet from the 1946 film ‘Maansarovar’.
In 1944 – As mentioned earlier, Rafi Sb’s first recording of a film song is with music director Shyam Sunder. The song “Soniye Ni, Heeriye Ni” was recorded in 1941, and eventually used in the Punjabi film of 1944 – ‘Gul Baloch’. Also, in 1944, in Hindi films, he recorded three songs for the film ‘Pehle Aap’, with music director Naushad Sb. Two of these songs are male duets with Shaam Kumar, and the third is a group song that includes Rafi Sb’s voice.
In 1945 – As per the data that is available thus far, Rafi Sb recorded 11 songs for 7 films. Of these eleven songs, 5 are solo songs and the remaining are duets or group songs. He recorded his first solo song for the film ‘Sharbati Aankhen’.
Begum – with MD HP Das; 1 song, duet with Mohantara Talpade
Hamaara Sansaar – with MD Pt Gobindram; 2 songs, one solo and one duet with Zohrabai Ambalewali
Kul Kalank – with MD AR Qureshi; 1 song, duet with Amirbai Karnataki
Laila Majnu – with MD Pt Gobindram; 2 songs, one duet with Khan Mastana, and one with SD Batish
Sharbati Aankhen – with MD Feroze Nizami; 3 songs, which are all solo
Village Girl (Gaon Ki Gori) – with MD Shyam Sunder; 1 song, duet with GM Durrani
Zeenat – with MD Hafeez Khan; 1 song, solo
In 1946 – the list of known songs is given in the table below. A total of 35 songs, of which 16 are solo songs, and 19 are duets.
| Amar Raaj | Mai Jab Chhedun Prem Tarana Naache Mere | Mohd Rafi, Mohantara | Firoz Nizami | Pandit Fani |
| Amar Raaj | Praan Tyaag Kar Tune Deewani | Mohd Rafi | Firoz Nizami | Pandit Fani |
| Amar Raaj | Todo Todo Dil Ke Taar | Mohd Rafi | Firoz Nizami | Ishwar Chandra |
| Anmol Ghadi | Tera Khilona Toota Balak | Mohd Rafi | Naushad Ali | Tanveer Naqvi |
| Arab Ka Sitara | Macha Di Dhoom Duniya Mein Islaam Ke Deewanon Ne | Mohd Rafi, Ameer Bai Karnataki | S Qureshi | Shevan Rizvi |
| Arab Ka Sitara | Milta Hai Kya Namaaz Mein Sajde Mein | Mohd Rafi | S Qureshi | Shevan Rizvi |
| Arab Ka Sitara | Roshan Sa Ek Sitaara Islaam Hai Hamara | Mohd Rafi, Ameer Bai Karnataki | S Qureshi | Shevan Rizvi |
| Bachchon Ka Khel | Tum Kalpana Karo Naveen Kalpana Karo | Mohd Rafi | C Ramachandra | Magan |
| Ghoonghat | Bahut Mayus Ho Kar Koocha E Qatil Se Hum | Mohd Rafi | Shankar Rao Vyas | Ramesh Gupta |
| Ghoonghat | Naino Se Mad Madira Pilaakar Tumne Humen Deewana | Mohd Rafi, Nirmala Arun | Shankar Rao Vyas | Ramesh Gupta |
| Hawaai Khatola | Meri Bigdi Huee Qismat.. Honton Ki Hansi Kya | Mohd Rafi | Basheer Dehalvi | Qaiser Sabaai |
| Insaaf | Roookhi Sookhi Main Khaa Lun Paas Bulaalo More Raja | Mohd Rafi, Hameeda Baanu | S P Daas | D N Madhok |
| Mansarovar | Badhe Chalo Badhe Chalo Bahaduron Badhe | Mohd Rafi | S N Tripathi | – |
| Mansarovar | Jai Hind-4 Ye Hind Ki Kahaniyan | Mohd Rafi, Geeta Dutt | S N Tripathi | S K Deepak |
| Mansarovar | Dupatta Mora Aaj Hi Rang Diji | Mohd Rafi, Mohantara | S N Tripathi | IC Kapoor |
| Mera Geet | Aapas Ke Jhagadon Ne Dekho Bharat Ko Barbad | Mohd Rafi | Shankar Rao Vyas | Ramesh Gupta |
| Mera Geet | Jaake Pardes Piya Bhoola Na Jaana | Mohd Rafi | Shankar Rao Vyas | Ramesh Gupta |
| Mera Geet | Mera Swapn Bada Suhaana | Mohd Rafi | Shankar Rao Vyas | Ramesh Gupta |
| Rang Bhoomi | Aag Lagi Tan Man Dhan Sab Mein Narak Bhayo Sansaar | Mohd Rafi, Shamshad Begum | Prem Nath | Aarzu Lakhnavi |
| Rang Bhoomi | Jo Aage Badhe Us Ko Peechhe Hata De | Mohd Rafi, Shamshad Begum | Prem Nath | Pt Faani |
| Rang Bhoomi | Khud Samajh Lo To Iletaja Kya Hai | Mohd Rafi, Shamshad Begum | Prem Nath | Aarzu Lakhnavi |
| Rang Bhoomi | Soo E Manzil Badhaae Chala Chal | Mohd Rafi | Prem Nath | Pandit Fani |
| Raseeli | Dil Mujhko Jalaata Hai Main Dil Ko Jalaati Hun | Mohd Rafi, Shamshad Begum | Hanuman Prasad | Hanumaan Prasad |
| Raseeli | Yun Nayan Kyun Sharma Gaye Kuchh To Kaho | Mohd Rafi, Shamshad Begum | Hanuman Prasad | Gaafil Harnaalvi |
| Room No 9 | Rahe To Kaise Rahe Dil Ke Ikhtyaar | Mohd Rafi | Rashid Atre | Nakshab Jarachavi |
| Roopa | Baala Jobanva Sambhaala Na Jaaye | Mohd Rafi, Shamshad Begum | Pt Govind Ram | Ram Murty |
| Roopa | Watan Ki Amanat Meri Zindgi Hai | Mohd Rafi, Shamshad Begum | Pt Govind Ram | I C Kapoor |
| Saal Girah | Jaao Jaao Na Blungi Main Accha Ji Hato Hato | Mohd Rafi, Kumudini Deekshit | Bulo C Rani | Vali Saahab |
| Safar | Ab Wo Hamaare Ho Gaye | Mohd Rafi | C Ramachandra | Gopal Singh Nepali |
| Safar | Kehke Bhi Na Aaye Tum | Mohd Rafi | C Ramachandra | Gopal Singh Nepali |
| Sassi Punnu | Aashiqon Ka Kafila Ye Aashiqon Ka Kafila | Mohd Rafi, G M Durrani | Pt Govind Ram | I C Kapoor |
| Shahjahan | Mere Sapno Ki Rani Roohi, Roohi, Roohi, Roohi | Mohd Rafi, K L Saigal | Naushad Ali | Majrooh Sultanpuri |
| Sona Chandi | Ab Ke Bhagwan Daya Karenge | Mohd Rafi, Shamshad Begum | Tufail Farookhi | Wali Saahab |
| Sona Chandi | Baithe Hain Tere Dar Par Kuchh Karke Uthenge | Mohd Rafi, Shamshad Begum | Tufail Farookhi | Wali Saahab |
| Sona Chandi | Daata Jee Tera Bhed Na Paaya | Mohd Rafi | Tufail Farookhi | Shamim Jaipuri |
In the subsequent episodes of this series, I shall be tracking Rafi Sb’s career on a year by year basis.
Today’s song is a duet from the film ‘Maansarovar’. The lyrics are by Ishwar Chandra Kapoor and the music is by SN Tripathi. The accompanying voice is that of Mohantara Talpade. An interesting exchange between a young belle and a rangrez – to whom she has come to get her dupatta dyed. The rangrez is promising fantastic results, but is asking for munh maangi charge. Whereas the young lady is promising one anna, or two anna, but not more. Interesting conversation between the two. Listen and enjoy.
Song – Dupatta Mora Aaj Hi Rang Dijo (Maansarovar) (1946) Singer – Mohantara Talpade, Mohammed Rafi, Lyrics – Ishwar Chandra Kapoor, MD – SN Tripathi
Lyrics
dupatta mora aaj hi rang dijo
dupatta mora aaj hi rang dijo
suno ji is pe halka gulaabi rang dijo
suno ji is pe halka gulaabi rang dijo
ikanni doongi
haan duanni doongi
dupatta mora
haan
dupatta mora
haan haan
dupatta mora aaj hi rang dijo
rupaye gaj ki malmal hai ye
rupaye gaj ki malmal hai ye dhabba naa lag jaaye
rupaye gaj ki malmal hai ye dhabba naa lag jaaye
hans na dekhen sakhiyaan mora sundar roop lajaayen
hans na dekhen sakhiyaan mora sundar roop lajaayen
ikanni doongi
haan duanni doongi
chaandi ki hai malmal teri soney ka ye paani
chaandi ki hai mal mal teri soney ka ye paani
kapde par yun rang chadhega jaise chadhe jawaani
kapde par yun rang chadhega jaise chadhe jawaani
haan jaise chadhe jawaani
lekin is ke badle mujhko jo maangoon so dijo
lekin is ke badle mujhko jo maangoon so dijo
ikanni doongi
haan duanni doongi
jaise gaalon ki laali hai waisa karna rang
jaise gaalon ki laali hai waisa karna rang
beech bazaar mein odh ke niklun duniya hove dang
beech bazaar mein odh ke niklun duniya hove dang
aisa rang chadhe to mujhse jee chaahe wo lijo
aisa rang chadhe to mujhse jee chaahe wo lijo
duniya lalchaai nazron se dekhe or tihaari
duniya lalchaai nazron se dekhe or tihaari
dil waale dil thaam ke baithe chalti tez kataari
dil waale dil thaam ke baithe
dil waale dil thaam ke baithe chalti tez kataari
ek nazar mein duniya bhar ka dil chaahe le lijo
ek nazar mein duniya bhar ka dil chaahe le lijo
ikanni doongi
haan duanni doongi
dupatta mora
haan
dupatta mora
haan haan
dupatta mora aaj hi rang dijo
——————————————
Hindi script lyrics (Provided by Sudhir)
——————————————
दुपट्टा मोरा आज ही रंग दीजो
दुपट्टा मोरा आज ही रंग दीजो
सुनो जी इस पे हल्का गुलाबी रंग दीजो
सुनो जी इस पे हल्का गुलाबी रंग दीजो
इकन्नी दूँगी
हाँ दुअन्नी दूँगी
दुपट्टा मोरा
हाँ
दुपट्टा मोरा
हाँ हाँ
दुपट्टा मोरा आज ही रंग दीजो
रुपये गज की मलमल है ये धब्बा ना लग जाए
रुपये गज की मलमल है ये धब्बा ना लग जाए
हंस न देखें सखियाँ मोरा सुन्दर रूप लजायें
हंस न देखें सखियाँ मोरा सुन्दर रूप लजायें
इकन्नी दूँगी
हाँ दुअन्नी दूँगी
चांदी की है मलमल तेरी सोने का ये पानी
चांदी की है मलमल तेरी सोने का ये पानी
कपड़े पर यूं रंग चढ़ेगा जैसे चढ़े जवानी
कपड़े पर यूं रंग चढ़ेगा जैसे चढ़े जवानी
हाँ जैसे चढ़े जवानी
लेकिन इसके बदले मुझको जो माँगूँ सो दीजो
लेकिन इसके बदले मुझको जो माँगूँ सो दीजो
इकन्नी दूँगी
हाँ दुअन्नी दूँगी
जैसे गालों की लाली है वैसा करना रंग
जैसे गालों की लाली है वैसा करना रंग
बीच बाज़ार में ओढ़ के निकलूँ दुनिया होवे दंग
बीच बाज़ार में ओढ़ के निकलूँ दुनिया होवे दंग
ऐसा रंग चढ़े तो मुझसे जी चाहे वो लीजो
ऐसा रंग चढ़े तो मुझसे जी चाहे वो लीजो
दुनिया ललचाई नज़रों से देखे ओर तिहारी
दुनिया ललचाई नज़रों से देखे ओर तिहारी
दिलवाले दिल थाम के बैठे चलती तेज़ कटारी
दिलवाले दिल थाम के बैठे
दिलवाले दिल थाम के बैठे चलती तेज़ कटारी
एक नज़र में दुनिया भर का दिल चाहे ले लीजो
एक नज़र में दुनिया भर का दिल चाहे ले लीजो
इकन्नी दूँगी
हाँ दुअन्नी दूँगी
दुपट्टा मोरा
हाँ
दुपट्टा मोरा
हाँ हाँ
दुपट्टा मोरा आज ही रंग दीजो
Bhaabhee ke nakhre bade
Posted on: February 27, 2026
- In: "Bhabhi" song | "Nok-Jhonk" song | "teasing" song | Bhaabhi-Nanad song | Duet | Guest posts | Khursheed Bano songs | Khursheed Bano-Snehprabha Pradhan duet | Nanad-Bhaabhi song | Post by Arunkumar Deshmukh | Snehprabha Pradhan Songs | Songs of 1940s (1941 to 1950) | Songs of 1941 | Yearwise breakup of songs
- Leave a Comment
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 : |
6433 | Post No. : | 19969 |
Today’s song is from a social film – Pardesi-1941.
It was a Ranjit Movietone presentation. Directed by Chaturbhuj Doshi, its music was provided by Khemchand Prakash. Film’s 15 songs were written by D.N.Madhok and Pyarelal Santoshi. The cast included Motilal, Khursheed, Snehprabha, E. Billimoria, Durgesh (Debut of actress Anjali Devi-Bombaywali- in her real name), Kantilal, Bhagwandas etc.
Read more on this topic…
Main to gaaoongee
Posted on: February 26, 2026
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 : |
6432 | Post No. : | 19965 |
Today’s song is from a Costume imaginary film Gul Bakawali-1947.
The year 1947 is a reminder not only for the Independence of India, but also for the upheaval that took place in the film industry that time. More than in any other industry in India, Muslims were plentiful, working in different sections and departments of the Hindi film industry. Majority of them migrated to the newly formed Muslim Nation of Pakistan. This did create a lot of disturbance in the film industry. Right from the beginning of 1947, there were signs that soon the British would leave India – after dividing it into two Nations, India and Pakistan. When the month and date became known for the Partition, there was a great hurry among the filmmakers to complete their projects on hand and in process, compromising many factors like quality of the film, number of songs and such other things.
Read more on this topic…
- In: Ameerbai Karnataki songs | Amirbai Karnataki-Feroz Nizami duet | Duet | expression of love | Feelings of heart | Feroz Nizami song as a singer | Guest posts | Lyrics by Prakashchandra | Lyrics contributed by readers | Post by Avinash Scrapwala | Songs of 1940s (1941 to 1950) | Songs of 1947 | Yearwise breakup of songs
- 1 Comment
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 : |
6428 | Post No. : | 19953 |
#the Decade of Forties – 1941 – 1950 #
—————————————————————
The song in this post is from the movie ‘Rangeen Kahaani-1947’. This “social” movie was directed by Anjum Hussaini for ‘New Roshan Art Productions, Bombay’. The cast of this movie had Surekha, S. Irshad, Dulari, Agha Mirza, Sayyad Ahmed, Bibi Jaan, Khursheed Parvez, P.D. Lal, Maqbool, M.K. Hasan, Ghulam Mohiddin, Sarita, Faiyyaz Begam, Mehrunnisa, Azim Hyderabadi, Mahshar Shirazi and others.
Read more on this topic…
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 : |
6421 | Post No. : | 19928 |
Today’s song is a popular historical song from the film Hindustan Hamara-1950.
The film was made by Paul Zils Productions, Bombay and was directed by the owner of the banner, Paul Zils- a German. The Music Director was Vasant Desai. The film cast included the top stars of those times- Prithvuraj, Dev Anand, Jairaj, Durga Khote, Nalini Jaywant, Surendra, Wasti, K.N.Singh, Dewan Sharar, Prembath, Shambhu Mitra, Tripti Mitra, Yashodhara Katju and many others.
Read more on this topic…
Chaley aao dheerey dheerey
Posted on: February 13, 2026
- In: Calling the beloved | Duet | expression of love | Feelings of heart | Missing the beloved | Rajkumari song | Rare song | Song with incomplete details on HFGK | Songs of 1940s (1941 to 1950) | Songs of 1947 | Songs with missing details in HFGK | Songs with missing details on HFGK | Yearwise breakup of songs
- 1 Comment
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 : |
6419 | Post No. : | 19921 |
“Samaaj Ko Badal Daalo”(1947) was directed by Vijay Bhatt for Prakash Pictures, Bombay. The movie had Arun Ahuja, Mridula,Yakub,Umakant, Leela Pawar, Bikram Kapoor etc in it. This social reform movie dealt with the topic of mismatched marriages.
Read more on this topic…
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
Recent comments