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

Archive for the ‘Songs of 1940s (1941 to 1950)’ Category


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 :

5091 Post No. : 17017

Today’s song is from ‘Hamraaz’, an unreleased film from the 1940s. This movie is listed in HFGK Vol-II (1941-1950) on page number 607 – Appendix-1, movie number 1214. This movie is mentioned as presented by Rahnuma Pictures. No information is available about the cast, and director etc. of this movie.

There are eight songs listed for this movie. Music director’s name is mentioned as Shankar Lal. Lyricist names are mentioned as Shyam Hindi and Kamran Momin. Shyam Hindi is credited with five songs, and Kamran Momin is credited with two songs. The lyricist’s name for one song is not mentioned. This is the song we are going to listen today.

Few songs from this movie are available online in audio format, Thanks to the music lovers who have uploaded them on YouTube. This song is uploaded by Shalin Bhatt, a name that many readers will be familiar with.

The song presented today is a duet, in the voices of KS Raagi and Razia Begum.

The list of songs in this movie, as per the Geet Kosh, is given below.

Sl. No.

Song Title Lyricist Singer

Posted On

01

Ga Re Manwaa Gaa Shyam Hindi

02

Ghoonghat Mein Sharmaaye Dulhaniya Kamran Momin

03

Baat Kuchh Aisi Wah Hamse Kah Gaye Shyam Hindi

04

Cham Cham Chamken Taare Shyam Hindi

05

In Do Matwaale Nainon Mein KS Raagi,

Razia Begum

Being presented today

06

Aabaad Hai Saraa Jahaan Shyam Hindi

07

Khushi Chaaron Taraf Chhaayi Shyam Hindi

08

Aa Jaa Papeehe Geet Sunaa De Kamran Momin Geeta Dutt 23.11.2020

As we can see from the above table, only one song from this movie has been posted so far and that was on 23.11.2020.

Today’s song is a beautiful romantic song. I would request knowledgeable readers to throw more light on this movie and its songs.

Let us now enjoy the today’s song …

Song – In Do Matwaale Nainon Mein Saagar Chhalke (Hamraaz) (UR) (1940s) Singers – KS Raagi, Razia Begum, Lyrics – Unattributed, MD – Shankar Lal
KS Ragi + Razia Begum

Lyrics

in do matwaale nainon mein
saagar chhalken
in do matwaale nainon mein
saagar chhalken ae
neechi nazarein
laambi palkein
neechi nazarein
laambi palkein
in do matwaale nainon mein
matwaale nainon mein
in do matwaale nainon mein
saagar chhalken
in do matwaale nainon mein
saagar chhalken ae

ithhlaayi muskaayi kaliyaan
muskaayen ithhlaayen
aise jaise sundar naaren
apne se sharmaayen
aise jaise sundar naaren
apne se sharmaayen
ghabraake bal khaayen

in do matwaale nainon mein
saagar chhalken ae
in do matwaale nainon mein
saagar chhalken ae

honth hain tere amrit pyaale
meri pyaas bujhaa de ae
honth hain tere amrit pyaale
meri pyaas bujhaa de
pal bhar ko muskaade
muskaade ae ae
pal bhar ko muskaade
muskaade
sapnon mein kho jaaun mujhko
aisa geet sunaa de
aisa geet sunaa de
sapnon mein kho jaaun mujhko
aisa geet sunaa de
asia geet sunaa de
pal bhar ko muskaade
haan
pal bhar ko muskaade

in do matwaale nainon mein
saagar chhalken
in do matwaale nainon mein
saagar chhalken ae

neechi nazarein
laambi palkein
neechi nazarein
laambi palkein
in do matwaale nainon mein
matwaale nainon mein
in do matwaale nainon mein
saagar chhalken ae ae
in do matwaale nainon mein
saagar chhalken ae

————————————————
Hindi Script Lyrics (Provided by Sudhir Kapur)
————————————————

इन दो मतवाले नैनों में
सागर छ्लकें
इन दो मतवाले नैनों में
सागर छ्लकें
नीची नज़रें
लाम्बी पलकें
नीची नज़रें
लाम्बी पलकें
इन दो मतवाले नैनों में
मतवाले नैनों में
इन दो मतवाले नैनों में
सागर छ्लकें
इन दो मतवाले नैनों में
सागर छ्लकें

इठलाई मुस्काई कलियाँ
मुस्काएं इठलाएँ
ऐसे जैसे सुन्दर नारें
अपने से शर्माएं
ऐसे जैसे सुन्दर नारें
अपने से शर्माएं
घबरा के बलखाएं

इन दो मतवाले नैनों में
सागर छ्लकें
इन दो मतवाले नैनों में
सागर छ्लकें

होंठ हैं तेरे अमृत प्याले
मेरी प्यास बुझा दे
होंठ हैं तेरे अमृत प्याले
मेरी प्यास बुझा दे
पल भर को मुस्का दे
मुस्का दे
पल भर को मुस्का दे
मुस्का दे
सपनों में खो जाऊँ
मुझको ऐसा गीत सुना दे
ऐसा गीत सुना दे
सपनों में खो जाऊँ
मुझको ऐसा गीत सुना दे
ऐसा गीत सुना दे
पल भर को मुस्का दे
हाँ
मुस्का दे

इन दो मतवाले नैनों में
सागर छ्लकें
इन दो मतवाले नैनों में
सागर छ्लकें

नीची नज़रें
लाम्बी पलकें
नीची नज़रें
लाम्बी पलकें
इन दो मतवाले नैनों में
मतवाले नैनों में

इन दो मतवाले नैनों में
सागर छ्लकें
इन दो मतवाले नैनों में
सागर छ्लकें


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 :

5078 Post No. : 17001

———————————————–—————————————
Blog 10-Year Challenge (2012-2022) – Song No. 52
————————————————————————————–

This date (13 June) ten years ago (2012) saw five songs from five different movies getting covered in the blog.

Here are the details:-

Blog post number Song Movie (Year) Remarks
6072 Jab ankhiyaan pehli baar milin Paraaye Bas Mein(1946) 3 songs covered out of 7 by now
6073 Chanda taley muskuraaye jawaaniyaan Chandi Rani (1953) 1 song covered out of 9 by now
6074 Ganga ki reti pe bangla chhawaayi de Mirza Ghalib (1954) Movie YIPPEED by now
6075 Aankhon mein teri yaad liye jaa reha hoon main Hamaari Yaad Aayegi(1961) Movie YIPPEED by now
6076 Subah hoti hai shaam hoti hai Aplam Chaplam (1961) 3 songs covered out of by now

We can see from the table that two movies out of five whose songs were covered ten years ago on this date have since been YIPPEED in the blog. That leaves us with three movies that are eligible for Blog Ten Year Challenge today (13 June 2022).

“Paraaye Bas Mein”(1946) is one of the three eligible movies. This movie was directed by by Dawood Chand for India United Pictures, Lahore. The movie had Pran, Asha Posley, Ramlal, Zubeida, Zahoor Shaah, Ghulam Khadir, Maala, Deepak, Wazir Begum, Nazar etc in it.

“Paraaye Bas Mein”(1946) had 7 songs in it. Three songs have been covered so far.

Here is the fourth song from “Paraaye Bas Mein”(1946) to appear in the blog. The song is sung by Zeenat Begam. Though HFGK is silent about the music director and lyricist, the music sounds typical of Vinod (who was one of the two music diretors of the movie, other being Niaz Hussain Shami. The movie had two lyricists as well, namely Aziz Kashmiri and Tufail Hoshiarpuri. It is easy to guess that Aziz Kashmiri , a regular collaborator of Vinod has to be the lyricist. Our regular Mr Sadanand Kamath also feels the same about the music director and lyricist of this song.

Only the audio of the song is available. My uess is that the song was picturised on Asha Posley, the heroine of the movie. Nevertheless, I request our knowledgeable readers to throw light on the picturisation of the song.

Lyrics of the song were sent to me by Prakashchandra.


Song-Mere dil pe lagegi chot na karna khot raseele baalam (Paraaye Bas Mein)(1946) Singer-Zeenat Begum, Lyrics-Aziz Kashmiri, MD-Vinod

Lyrics(Provided by Prakashchandra)

mere dil pe lagegi chot
na karnaa khot raseeley baalam
ho o o raseeley baalam
mere dil pe
mere dil pe
mere dil pe lagegi chot
na karnaa khot raseeley baalam
ho o o raseeley baalam

main kyaa jaanoon pyaar ki rasmein
main kyaa jaanoon pyaar ki rasmein
haan..aaa…aaaa…aaan
main majboor paraaye bas mein
haan..aaa…aaaan
main majboor paraaye bas mein
main kaisey baat chhipaaoon
kaho kit jaaoon raseeley baalam
ho o ho raseeley baalam
mere dil pe
mere dil pe
mere dil pe lagegi chot
na karnaa honthh raseeley baalam
ho o o raseeley baalam

ho o oo o
nain milaakar ye sukh paayaa…aaa
ho o oo nain milaakar ye sukh paayaa aa
sukh ka saans kabhi na aayaa…aaa…aa aa
sukh ka saans kabhi na aayaa..aa
main chupke chupke roun
jawaani khoun raseeley baalam
ho o ho raseeley baalam
mere dil pe
mere dil pe
mere dil pe lagegi chot
na karnaa khot raseeley baalam
ho o o raseeley baalam


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 :

5077 Post No. : 16999

Today’s song is from the film Gaali-1944.

When I saw the title of this film, I was stunned. I could not ever imagine that such a movie title could be given. I was wondering as to what must be there in the movie- a Gaali competition between 2 groups or is it about a person who can not speak a single sentence without including a gaali in it ? I could not fathom a reason for titling a film like this. Later in the early 50’s, I got a chance to see this film and I was totally and completely disappointed. Even after seeing the film I did not get answers to my original question. The story of the film was meaningless indeed.

After about 25 to 30 years, I was shocked to see the trend of titling the films with sophisticated gaalis like Besharam, Bundalbaz, Beimaan, Bewafa, Bewaqoof etc etc. Such changes are not new to the film industry.

The film Gaali was produced by Chiman bhai Desai under the banner of N.R.Desai Productions, Bombay, and the film was directed by R.S.Chaudhari – a veteran spill over from Silent film era. The name of R S Chaudhari may not be known to the newer generation, but he was considered ” Guru” by stalwarts like Mehboob Khan and Kardar. Like many oldies, Chaudhari was also a multifaceted person and used to write stories for films. You will be surprised to know about his contribution in writing stories of successful films like Roti, Rattan, Baiju Bawra etc.

R S aka Rama Shankar Chaudhari was a great name in the silent era and early Talkie period. Veterans like Mehboob and Kardar treated him like their teacher.

He was born on 8-6-1903 in Banares-U.P. in a middle class family which gave importance to education.After his graduation , he came to Bombay and did another graduation in Arts from J.J. school of Arts, in 1922. He then entered the film line as Art Director and Designer of publicity Pamphlets. he did remarkable covers for the Gujarati Film Journal ” Mauj majah”. He assisted director Manilal Joshi at Laxmi Film co. He started directing silent films with his first film at Laxmi – “Neera “-1926. It was the famous actor Raja Sandow’s spectacular costume film. The film became a Hit wherever it was shown.

He directed 15 silent films at Imperial film co. and Sagar Films. He made several Classics in Historical genres like Anarkali-1928, starring Sulochana (Ruby Meyers). This popular Hit silent film was remade as Talkie in 1935 again with the same cast and chaudhari as a director. Sulochana also acted in Anarkali-1953, thus creating a record of the same actress acting in 3 films of same title and story.

His other historical films were Shirin Khushru and Shaan e Hind, often using the legendary epics as a Nationalist allegory. His films usually featured Sulochana and Zubeida, the two popular and costly Heroines of that era.

His first talkie film was Madhuri-1932, featuring Sulochana. In all, he directed 14 Talkie films – madhuri-32, Sulochana-33, Piya Pyare-34, Aaj kal-34, Anarkali-35, Shaan e Hind-36, Hamari betiyan-36, kal ki Baat-37, Rifle Girl-38, Such hai-39, Aankh Micholi-42, Gaali-44, Magadh Raj-46 and Jaaliyanwala Bagh ki jyoti-53.

he was a very good story and screenplay writer.many of his film had his stories. he wrote stories for films like Neera-26 and Khud ki shaan-31 in silent film era and for Talkie films Hamari betiyan-36, Such hai-39, Roti-42, Adab Arz-43, Gaali-44, Laal haveli-44, Rattan-44, Aan-52, Baiju Bawra-52, Insan aur shaitan-70 and international crook-74. he also scripted Kardar’s pehle aap-44 and mehboob’s Son of india-62 and many films of Ravindra Dave.

In the last phase of life, Chaudhari lived a lonely life in penury. He travelled only by bus. He breathed his last on 22-8-1972 in Bombay.

for 12 songs of the film there were 5 lyricists and 2 Music directors- Pt. Hanuman Prasad and Sajjad Hussain. Sajjad was actually his assistant, but he composed 2 songs and was given equal status as joint MD. The cast of the film was Karan Dewan, Nirmala, Manju, Yakub, Kanhaiyalal, Sunalini Devi, Zillo bai, Gulab and many others. Today’s song is sung by Manju. She was one of those unfortunate actresses/singers, whose careers were curtailed by workless contracts with the studios and then due to marriages.

Manju’s father Gangaram Jadhav was a famous Marathi drama actor in his times in ‘Anand Vilas natak mandali’ at nagpur. He had 4 children, 2 sons and 2 daughters- Vijaylaxmi, Manjula, Trimbak and Balakram. They never went to school but were taught at home only.When Gangaram got a job in prabhat film co. they shifted to poona. Manjula started learning classical music from keshavrao bhole of Prabhat.

When Manjula got a singing role in film Aadmi-1939 as a child artiste, her name was changed to Manju. She sang songs in both versions-Hindi and Marathi. Next she acted in the film Sant Gyaneshwar-40. She acted and sang in Nai kahani-43. She sang songs in films Chaand and Ramshastri-44.

Due to a legal contract with Prabhat, she was not able to work in other films though she was in good demand outside, but Prabhat refused to allow her. However, producer Chimanbhai Desai got permission and she worked and sang in the film Gaali-44 She got an acting and singing role in the film Rattan-44. The film and the songs became hits. offers started pouring in but meanwhile she got married to karan Dewan. Her in-laws did not allow her to act in films. She had to bid goodbye to films.

After Karan Dewan’s death her connection with films ended finally. She has 2 sons and 5 daughters. She stayed with her sons in Bombay and Sharjah. (Thanks to blog beetehuedin for information.)

The film GAALI-1944 was available till at least 1950,around which time I must have seen it. The film story was….

Gaali was a film with a strange story of a young blind widow,who thinks that her husband comes and talks to her.
Mangala (Nirmala) loses her husband soon after marriage and she also becomes blind,without any medical reason. She stays with her Father in law Jagat narayan Chakravarti who also has an unmarried daughter lali (Manju Dewan). One day he meets Tilak,son of a zamindar from a nearby village. He wants Tilak(Karan Dewan) to marry his daughter Lali,but surprisingly,Tilak starts getting attracted to Mangala. She also talks to him and imagines it as if her husband is talking to her.
This is made use of by a village ruffian and people attack Jagat’s house demanding that the friendship of Tilak and Mangla be stopped. In the melee,jagat gets killed. At the same time Mangala and Tilak are in a Temple getting intimate. Suddenly her eyesight comes back and she realises the truth that it is not her husband.

Finally,Tilak marries Lali and Mangala becomes a Sadhwi in a temple for the rest of her life.

I do not remember the songs of this film, but most songs were shot on Lali(Manju).

This was ,according to me, a hopeless film.


Song- Holi main kheloongi un sang dat ke (Gaali)(1944) Singer- Manju, Lyricist- Sugun Piya, MD- Pt. Hanuman Prasad

Lyrics

Holi main kheloongi un sang dat ke
Holi main kheloongi un sang dat ke
ratiyaa jo aaye
ratiyaa jo aaye
ab ke palat ke
ab ke palat ke
Holi main kheloongi un sang dat ke
Holi main kheloongi un sang dat ke

dekho ?? aisa ??
dekho ?? aisa ??
?? ke ?? ke nainan phatke (?)
?? ke ?? ke nainan phatke(?)
Holi main kheloongi un sang dat ke

babu jo mohse ra ra karenge
to gaali main doongi ghoonghatwa palat ke
to gaali main doongi ghoonghatwa palat ke
Holi main kheloongi un sang dat ke
Holi main kheloongi un sang dat ke
Holi main kheloongi
un sang
dat ke


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 :

5074 Post No. : 16995

Today’s song is from the film Phool-1945.

The film was directed by K.Asif. I think there will not be a single person in India where Hindi is understood and spoken, who has either not seen or has not heard about the film and k.Asif, its maker. Though Asif was only its director, the film was his dream for 15 years and he had spent the best years of his life dreaming, shaping, planning and making this film.

K.Asif was a Dream merchant. He never bothered about people around him. He lived in his own world. His ideas were big, dreams were big and even his loans were big. But most important was his self confidence was King sized and he knew he could do what he dreamt ! Once upon a time a boy working in the Costume section of Atre pictures, sewing dresses on the sewing machines, lived life royally. He thought big – in Lakhs. His first condition to talk to a Financer was ” No Budget”. A millionaire like Shiraz Hakeem poured lakhs only on his words alone !

When Mughal E Azam ( called MEA,henceforth) began initially, there was Chandramohan as Saleem, Madhubala as Anarkali and Sapru as Akbar. After Chandramohan died and Shiraz-his financer migrated to pakistan, Asif waited patiently, but he did not leave his dream. Taking new actors and MD (Naushad instead of Anil Biswas), he did complete his dream project. On 5 th August 1960, MEA was released in 100 theatres all over india at a time. After Chandralekha-1948, it happened only now. Thousands of posters were painted by G.Kamble for this film. Asif bought all colours and all Brushes from the market and for the next few days the Bombay markets were dry !

Meanwhile Asif made a normal film ” Phool”-1945, with 14 Top stars of those times. The giant Drum Dance (नगारा नृत्य ) was the first ever in this film. Chandralekha – 1948 famous for it came second. But it became more famous. In 1951, he made the film Hulchul,but it was not directed by him, only produced by his own company K.Asif productions.His film Love and God remained incomplete with 75 % shooting done. He used to announce big budget films like, Ramayan, Mahabharat, Tajmahal, but none of them even started. Film janwar having Dilip Kumar and Suraiya and Sasta Khoon Mehanga Pani remained incomplete. With all this K.Asif was called ” Movie Mughal” , only due to Mughal E Azam !

In personal life also he lived as he wished. He first married Sitara Devi ( she was living as a consort with his Mama), then one of his cousins in his village. During the making of MEA, he married Nigar Sultana. (Sitara, in one interview had said ” I recommended Nigar’s name for MEA. She came back as my Sautan” ) and lastly he married Akhtar – sister of Dilip Kumar. Dilip never pardoned him for doing this. He died too early or we would have seen more adventures from him.

Asif was born Asif Karim in Etawah, Uttar Pradesh, on 14-6-1922 to Parents Dr. Fazal Karim and Bibi Ghulam Fatima- sister of versatile Actor/Director/Producer Nazir Ahmed Khan. Asif was the youngest of his siblings with Sikander Begum being the Eldest and Masood Karim, the first Muslim President of Sindh Club second in line. Asif Karim went to Bombay to his uncle (Mama) Nazir Ahmed Khan and later took the name K. Asif.
Nazir, in order to help him, opened a Tailor’s shop for him in Bombay, but he was not made to become a Tailor. He had big dreams of making a big film as a Director. Meanwhile, he eloped with Sitara Devi, the mistress of Nazir. However, Nazir traced them to Delhi and they came back to Bombay, as husband and wife.

His directorial debut, Phool (1945), did very well at the box-office. In 1944, Asif planned to make a film called Mughal-e-Azam based on the life and times of Mughal Emperor Akbar the Great’s court dancer, based on a Urdu novel ‘Anarkali’ written by Syed Imtiaz Ali Taj, with Chandramohan in the male lead and the then upcoming actress Nargis in the female lead. However, in 1946, before the production of the film could begin, the male lead, Chandramohan, died. At that time, Asif temporarily shelved the film until further notice. He produced the film Hulchul and released it in 1951.
At that time, Asif recast Mughal-e-Azam with Dilip Kumar in the male lead and Madhubala in the female lead and began the production of the film in the same year. In 1960, after twelve years in production, Mughal-e-Azam was released and became a huge hit at packed cinema houses across India.

After the release and success of Mughal-e-Azam, Asif planned yet another motion picture called Love and God, his first directorial venture to be made completely in color, and began production. The film was to star Guru Dutt in the male lead and Nimmi in the female lead. However, in 1964, when lead actor Guru Dutt died, shooting came to a halt. Asif recast Sanjeev Kumar in the male lead and resumed production of the film. During the production of the film, K. Asif died on 9 March 1971 at the age of 48 and the film was abandoned. In 1986, Asif’s widow, Akhtar Asif, released the film in an incomplete form.

He directed 2 films- Phool-1945 and Mughal E Azam-1960. His third film ” Love and God” was half made. He produced Hulchul-1951 and Mughal E Azam-1960. He also wrote the screenplay of Mughal E Azam-60. One film “Sasta khoon mehnga pani-86” was never completed.

He won the Best Director, Best film and President’s Silver medal for Mughal E Azam-1960.

K.Asif was a person who understood the value of a talented person and he honoured them always. There is a story about Asif, Dilip kumar and Sajjad Hussain.

This is a story of 1951.

SANGDIL was being made.shooting had stopped before next shot and all the artists were chitchatting.Dilip kumar was humming a tune Sajjad has made for a song of Sangdil.Suddenly Dilip stopped.turned to Sajjad,who was sitting nearby and said,”If you make this tune this way,I tell you,it will become a much better song.” And he hummed some tune.

There was pindrop silence because everyone knew what Sajjad was !
Sajjad got up,went to Dilip Kumar and tapping his chest said acidly,”this is the last time you are saying any such thing to me,remember.Main itnaa bhi nahi giraa hoon abhi,jo tum se salaah loon.'( I have not yet reached such low level as to take improvement suggestions from you )

The atmosphere became tense.Dilip was insulted in front of everybody.This was not digested by him.He went to K.Asif later.Hulchul,produced by Asif had music by Sajjad.Asif was Dilip’s friend and Dilip wanted Asif to throw away Sajjad from Hulchul.Dilip was the Hero of Hulchal also.Asif listened to Dilip coolly and then said,”Sajjad did the right thing.He has not done anything wrong.Why did you poke your nose in his work ? Does he ever tell you how to act ? Acting is your field,Music is his,so never do it again.”
For once Dilip had met his match !

Few years back I had read a book” Rahen na rahen hum” by Shantaram Mankikar.I had made some notes from this book. One of the notes is about Jamal Sen and K.Asif.

When K. Asif announced Sasta Khoon Mehnga Paani, which had a Rajasthani backdrop, he-asked Jamal Sen to be an advisor to bring authenticity to Naushad’s compositions. But luck once again played truant with him and the project never saw the light of the day.
Jamal Sen knew Producer Director K.Asif for many years.Once they met somewhere and Asif took Jamal to the sets of Mughal-E Azam. There a dance sequence was to be shot and Gopikrishna was rehearsing the steps. Jamal saw everything but did not comment anything. As Asif knew him well, he suspected something and asked Jamal what was wrong. Jamal told him that the sets are absolutely appropriate but the dance steps and the ‘Bol’ were not commensurate with the period when Akbar was reigning. Asif asked him then and there to make new Dance steps,prepare the ‘Bol’ and make music for that sequence.
Jamal Sen did that and Asif was more than happy.
However that piece of Dance and music was not used by Naushad in the film.

Then there is the story how K.Asif got Bade Ghulam Ali khan to sing a song for his dream film Mughal E Azam-1960.

For the song ‘Prem Jogan Ban Ke’, director K Asif expressed the desire of having legendary classical singer Ustad Bade Ghulam Ali Khan as the playback singer. Music director Naushad told K Asif that the singer doesn’t sing for films. Yet, K Asif took a chance.

He and Naushad met Ustad Bade Ghulam Ali Khan at the latter’s residence. K Asif told him that he’ll pay him whatever that he asks for. Ustad Bade Ghulam Ali Khan quoted Rs. 25,000, which was an insane amount of money in those days to be paid to a singer. As per some reports, singers were barely paid around Rs. 500-1000 per song at that time. Yet, K Asif, without hesitation, agreed and even paid him an advance of Rs. 10,000 on the spot.

Ustad Bade Ghulam Ali Khan then turned up on the day of recording at Mehboob Studio. The singer threw a fit when he saw that there was no gadda, chaddar or takiyas laid out for him. Immediately, K Asif gave the studio the setup of a baithak.Ustad Bade Ghulam Ali Khan then began the recording. K Asif didn’t seem impressed with his rendition. He told the singer that his rendition was a bit too heavy and doesn’t go with the song’s soft, romantic mood. An angry Ustad Bade Ghulam Ali Khan stormed out of the studio and said that he’ll return only when he had seen the scene on which the song will be played.

K Asif had not shot the said scene till then. With no other option, he quickly filmed the sequence of his lead actors Dilip Kumar as Salim and Madhubala as Anarkali romancing each other in the palace garden. The filmmaker then quickly edited, cut a print and screened it for the singer. According to Naushad, Ustad Bade Ghulam Ali Khan saw the whole scene in silence. At the end, he nodded in approval and remarked that both Salim and Anarkali look ‘khoobsurat’! He then recorded the song as per the scene’s mood and K Asif’s guidance. He gave three more takes too. Each time he sang, the scene was played in front of him. When Ustad Bade Ghulam Ali Khan was leaving, he asked K Asif to use whichever version he liked and to make sure it sounded good!

Today’s song from Phool-1945 is a chorus song. It is a rare song given to me by friend Abhay jain-USA and uploaded by our own Sadanand Ji-India ! Thanks to both.

(I have used information from book Ye un dinon ki baat hai by Yasir Abbasi, Rahen na rahen hum by Shantaram Mankikar, Yaadon ki baaraat by Shirish Kanekar , wiki, HFGK, muVyz and my notes)


Song-Ae bahaaduron ae Mujaahidon (Phool)(1945) Singers- Chorus, Lyricist- Not known, MD- Ghulam Haider

strong>Lyrics

Ae bahaaduron
ae mujaahidon
Ae bahaaduron
ae mujaahidon
badhe chalo badhe chalo
aage badhe chalo
badhe chalo badhe chalo
aage badhe chalo

khuda tumhaare sar pe hai
khudi tumhaare paanv mein
badhe chalo kadam uthaaye
rahamaton ki chhaaon mein
Ae bahaaduron
ae mujaahidon
badhe chalo badhe chalo
aage badhe chalo
badhe chalo badhe chalo
aage badhe chalo

?? hai maut se
?? dil jawaan
buland aaj jinke dam se
hai hilaal e nishaaniyaan
?? aaj is tarah
dushmanon ke darmiyaan
?? bastiyaan
yahi madad ka waqt hai
yahi hai waqt e imtehaan
ye hai waqt e imtehaan
Ae bahaaduron
ae mujaahidon
badhe chalo badhe chalo
aage badhe chalo
badhe chalo badhe chalo
aage badhe chalo

?? jawaan ho
abhi tum imtihaan do
?? mulk o kaum par
kaul do zabaan do
Himalay ki chotiyon pe
chadh ke tum azaan do
azaan do
tumhaare zor ki gawaah
karbala ki khaak hai
?? aasmaan tak
abhi tumhaari dhaak hai
tumhaari jeet har tarah
?? ki jaaan do
jiyo to ??
maro to tum shaheed ho
shaheed ho
maro to tum shaheed ho o o o


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 :

5073 Post No. : 16994

“Romeo And Juliet-1947” was directed by Akhtar Hussaain for ‘Nargis Art Concern, Bombay’ (home production of actress Nargis). It had Nargis, Sapru, Anwar Hussain, Sunalini Devi, Nisar, John Cavas, Hameed Murad, Nazir Kashmiri, Violet, Pushpa, Abdul Rasheed, Amanullah and others.

This movie had eight songs as listed below;

S.No. Song Title Lyricist Singer Posted On
01 Mast jawaani aayi mast jawaani aayi Majrooh Sultanpuri Zohrabai Ambalewali 28.12.2020
02 Mausam ye suhaanaa, ahaa ahaa Manohar Khanna Zohrabai Ambalewali 26.07.2017
03 Tumhe sitaaron ne be-akhtiyaar dekha Akhtar Shirani G.M. Durrani 21.09.2014
04 Koyi dil mein samaaya jaaye Manohar Khanna Zohrabai Ambalewali
05 Kisko khabar thi, dil ki ye duniya Manohar Khanna
06 Kya bataayen ishq zaalim Jigar Moradabadi Zohrabai Ambalewali
07 Wo yaad aa rahen hai, laaye unhe kahaan se Majrooh Sultanpuri G.M.Durrani
08 Donon jahaan teri muhabbat mein haar ke Faiz Ahmed Faiz Khayyam, Zohrabai Ambalewali 12.08.2014

We can see from above that four songs of this movie have been posted on the blog so far.

This movie had made its debut on the blog on 12.08.2014 with a song sung by Khayyam Saab and Zohrabai Ambalewali.
The second song from this movie followed immediately in next month and it was posted on 21.09.2014 which was sung by G.M. Durrani.
Thereafter it was a gap of almost three years after which the third song from this movie was posted on 26.07.2017. This song was a solo song sung by Zohrabai Ambalewali.

The fourth song from this movie again took more than three years to appear on the blog, and it was posted on 28.12.2020. This song again was a solo sung by Zohrabai Ambalewali.

Out of the eight songs, Manohar Khanna is the lyricist for three songs. Two songs are written by Majrooh Sultanpuri, and the remaining three songs are written by Akhtar Shirani, Jigar Moradabadi and Faiz Ahmed Faiz – one song each.

Incidentally, the four songs that are already coveredon the blog are written by four different lyricists viz. Majrooh Sultanpuri, Manohar Khanna, Akhtar Shirani and Faiz Ahmed Faiz.
That leaves us four songs from the movie that yet to be posted. They are written by Majrooh Sultanpuri (one song), Manohar Khanna (two songs) and Jigar Moradabadi (one song).

Here I am presenting the fifth song from this movie. It is a solo song sung by Zohrabai Ambalewali. Jigar Moradabadi is the lyricist.

Jigar Moradabadi (born on 06.04.1890 and passed away on 09.09.1960) was a prominent Urdu Poet of yesteryears.

Here is a brief information about his biography written by our respected Shri. Sadanand ji in his post ‘sharma gaye lajaa gaye daaman chhudaa gaye’ (I am reproducing the same here so that readers can also read it here).

“Jigar Muradabadi (06/04/1890 – 09/09/1960) has been often called as ‘shaayar of beauty and love’. Jigar confined his poetry mostly covering his admiration for beauty, love, and emotions. It is said that his poetry has some influence of Daagh Dehlvi and Momin Khan Momin.
I have read through almost all of his ghazals that are available online and in Hindi (or Roman Hindi). There are no philosophical or spiritual tones in almost all of his ghazals. Likewise, I have not come across any poetry depicting the situations during the British rules though he had spent much of his life under British rule. Even if such poems do exist, perhaps they have not been well publicised. After independence also, his poetry did not venture much into the socio-economic situations in the country which had been the main plank of Urdu poets associated with PWA.

Jigar says :

Unka jo farz hai wo ahl-e-siyasat jaane
Mera paighaam mohabbat hai jahaan tak pahunche
[What is their duties only politician would know.
I give the message of love wherever it reaches]

As in the case of some Urdu poets like Majaaz Lucknawi, Jigar’s ghazals are a sort of his own autobiography. From 1920 to 1938, his life was captivated by alcohol and the beauty. Married at an early age, he had numerous love affairs, all of which turned out to be failures. These are all reflected in his ghazals. But unlike Majaaz who rued his failed love affairs in his poetry, Jigar can find joy even in his unfulfilled love because, for him, the experience of love itself is a joy.
It has been stated that he had a huge fan following encompassing both the elites and the masses. The respect he got cut across the religious lines. It is said that participation of Jigar Muradabadi was a sure success of a mushaira due to his poetry and the melodious renditions.
Jigar did not formally become guide to the budding young Urdu poets of his time. But he was a source of inspirations and mentors for poets like Behzad Lucknawi, Majrooh Sultanpuri, Shakeel Badayuni, Khumar Barabankvi etc.”

Today’s song is a melancholic song.

Let us now listen to today’s song…


Song-Kya bataayein ishq zaalim kya qayaamat dhhaaye hai(Romeo Aur Juliet)(1947) Singer-Zohrabai Ambalewaali, Lyrics-Jigar Moradabadi, MD-Husnlal Bhagatram

Lyrics

Kya bataayein
Kya bataayein ae
Ishq zaalim
Kya qayaamat dhhaaye hai
Yoon samajh lo jaise dil
Seene se niklaa jaaye hai

Jab nahin tumko tasavvur bhi
Tumhaara kya garoor
Jab nahin tumko tasavvur bhi
Tumhaara kya garoor
Is se bhi keh do ke
Ye taqleef kyun farmaaye hai ae
Is se bhi keh do ke
Ye taqleef kyun farmaaye hai

Kis taraf jaaun
Kidhar dekhoon
Kise aawaaz doon
Kis taraf jaaun
Kidhar dekhoon
Kise aawaaz doon
Ae huzoome naamuraadi
jee bahot ghabraaye hain ae
Ae huzoome naamuraadi
jee bahot ghabraaye hai
Kya bataayein ae
Ishq zaalim
Kya qayaamat dhhaaye hai


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 :

5069 Post No. : 16987

Today’s song is from the film ‘Mala The Mighty’ (1948).

When I had first heard the name of this film, I wondered how ‘Mala’- a girl can be mighty ? I could never imagine that Mala could be a male’s name too. It was only after I grew up and toured the Eastern India (read W.B.) for official work, I came across this strange phenomenon – where, what is considered as an exclusive feminine name in the rest of India, could be a male’s name too ! Names like Mrinal, Vimal, Kamal, Jyoti, Mridul, Daya, Champavati, Devki, Dwaraka, Hiran etc. India truely is unique !

Film ‘Mala The Mighty’ was described as a costume drama, but clearly it was a C grade jungle film. The film’s other name was also ‘Sher-e-Jungle’. The film was produced by Basant Pictures of Homi Wadia. Homi was the younger brother of JBH Wadia and they were joint owners of Wadia Movietone, which was famous for making action/stunt films in the 30’s and the 40’s. The arrival of Fearless Nadia into Wadia Movietone strengthened its fortunes, The younger brother Homi Wadia fell in love with Nadia. he wanted to marry her, but his mother was against it. Therefore, only after his mother’s death, Homi married the then 51 year old Nadia and she became NADIA WADIA !

In 1942 there was a dispute between the brothers. The elder JBH Wadiawanted to make social and other genre films, while Homi wanted to continue with action/stunt films. He felt the financial risks were much less in action films and as such they already had a very good team of actors. In the end Homi Wadia formed his own Basant Pictures. The whole team led by Nadia joined Homi’s production house. Wadia Movietone had the non-human participants for stunt films, like the horse -Punjab Ka Beta, a Dog – Tiger and a Motor car – Rolls Royce Ki Beti. Homi Wadia made a new team with the Horse – Rajpoot, Dog – Moti, Motor Car – Austin Ki Bachhi and in addition they had a motorcycle – Runnio.

Home Wadia had the winning lead pair of Nadia and John Cawas for stunt films. By 1948, Nadia had reached the midpoint of her career. From 1933, in 15 years’ time she had done 28 action/stunt films. She slowed down and in the next 11 years she did 15 films only. Homi was always on the lookout for an actress who would take over from Nadia. First he got actress Radha Rani who did only 7 films for him and left. Then he found actress Leela- about whom no information is available. There was a time when several Leelas were acting in Hindi films – like Leela Chitnis, Leela Desai, Leela Chandragiri, Leela Gupte, Leela Pawar, Leela Sawant, Singer Leela Mehta and later on Leela Naidu. Out of these Leela Pawar, Leela Sawant and Leela Gupte were acting in stunt films of mainly Master Bhagwan. But Wadia’s Leela was not known. Anyway, she did only a few films, got married and left films.

Cast of the film was John Cawas, Leela, Dalpat, Azim, Shri Bhagwan, Shyamsunder, Waman Talpade and a few others. The film was also directed by John Cawas. A physical culturist, John Cawas was born in 1910 in Jubbulpore, Madhya Pradesh state. Athletic, handsome,  and with an impressive physique (he won the 1930 All-India Bodybuilding Championship), John was a natural choice for the action flicks that had become so popular in the 1930s.

Hailing from a Parsi family he appeared as an extra in Wadia Movietone’s ‘Noor-e-Yaman’ (1935) which led to supporting roles in that company’s films ‘Desh Deepak’ (1935), ‘Hunterwali’ (1935) and ‘Miss Frontier Mail’ (1936), all featuring stunt queen Fearless Nadia, who he would continue to work with in countless other films.

He quickly graduated to lead roles in pictures like ‘Toofani Tarzan’ (1937), ‘Diamond Queen’ (1940), ‘Stunt King’ (1944), ‘Black and White’ (1944), ‘Atom Bomb’ (1947), ‘Maya Mahal’ (1949), ‘Jungle Ka Jaadu’ (1955), ‘Magic in Baghdad’ (1956), ‘Diler Daku’ (1957), and ‘Circus Queen’ (1959). He acted in 40 films, out of which he worked in 26 films with Fearless Nadia. He also directed 3 films – ‘Mala The Mighty’ (1948), ‘Baghdad Ka Jaadu’ (1956) and ‘Zimbo Ka Beta’ (1966).

Not content with just acting, he also kept busy as an assistant director, director, and writer on numerous films, the bulk of which were produced by JBH and Homi Wadia. Wadias gave him a flat in their office building to live – free for life. John Cawas never married, and after retiring from films, he continued on as caretaker of the Wadia film offices until his death on October 4, 1993.

Another cast member was Azeem – who later on became well known as a Fight Composer in Hindi films. Azim Bhai (real name: Saiyad Azim Jafri) was one of the leading action directors in Hindi films. After a stint in the army he headed off to Bombay in 1934 and found work as stunt man at Eastern Art Film Company where he was put under contract and he worked on most of the company’s films like ‘Sher Ka Panja’ (1934) ‘Bal Hatya’ (1935), ‘Dharam Ki Devi’ (1935), and ‘Prem Raatri’ (1936).

When Eastern Art Film went out of business, Azim moved over to Saroj Company then found work at Paramount Film Company, Imperial Film, and Wadia Movietone where he worked both as a stunt man and as an actor. Afterwards, he joined Master Bhagwan’s team and acted in many action/stunt films.

By the end of the 1940s, he became a Fight Master independently. Azim became well known for his swordsmanship and he often worked alongside fellow stunt coordinator Master Douglas and two were tasked with training Dilip Kumar and Prem Nath in that sport for the film ‘Aan’ (1953). Azim has also trained many action directors and stunt persons including Ghani, Ravi Khan, Dawood (aka Hercules), Veeru Ustad, and Mansoor.

Azim Bhai coordinated the stunts on a number of fantasy films including ‘King Kong’ (1963), ‘Jadugar Daku’ (1962), ‘Parasmani’ (1963), ‘Sunehri Nagin’ (1964), ‘Hercules’ (1964), and ‘Aaya Toofan’ (1964), the spy films ‘Spy In Rome’ (1968) and ‘Kismat’ (1969), as well as the horror flicks ‘Bees Saal Pehle’ (1972) and ‘Ab Kya Hoga’ (1977).

He died on 23-10-1984.

There was another Fight Composer with a similar name – S Azimbhai (Sheikh Azim), who was much junior and he operated from 1954 to 1999. He is not to be confused with the senior one.

The third interesting name in the cast is of Dalpat – a sure name in action films. Dalpat (Joshi) was a stunt artiste. A tall, sophisticated and suave person mostly appeared in negative roles . Dalpat  was a part of Wadia’s unit since its inception and played the role of villain in the stunt movies ,which used to have Fearless Nadia and John Cawas or occasionally some other hero, apt in performing stunts.

Owing to the unprecedented popularity of Miss Nadia, other filmmakers also cast her along with John Cawas and Dalpat in their similar type of stunt movies for which she was known. After her era was over, Basant Pictures concentrated their energy in making mythological and Arabian Night movies, in which Dalpat always had a role. Later in the 50s, the studio system came to an end and actors and technicians who learned their art from their benevolent master Homi Wadia, looked for assignments from other producers.

One may call it destiny or lack of initiative on the part of Dalpat. He was offered only costume/stunt/religious movies by outside producers.  Dalpat, who did a stint as production controller for a few movies, was reverentially called Dalpat Kaka owing to his age, seniority and status by film folks. Age did not affect his appearance and he looked as suave as he was many decades earlier. He started his career by acting first in ‘Hoor e Baghdad’ (1934). He worked in 120 films. His last film was ‘Toofaani Takkar’ (1978).

I had seen the film ‘Mala The Mighty’, in its second or maybe the third run in the early 50s. The film was a rehash of the frequently used, but tested formula of Tarzan – slightly modified. Such stories never stopped entertaining people. In any case who wanted the story? They all wanted the stunts, animals, fights and dances.

The story of the film is,

Mohanlal (Azim) is a rich businessman. Once while on a trip in a ship, on a bad stormy night, the ship is wrecked. He survives but his wife dies, and his 2 daughters are missing. After 15 years he decides to search for his daughters in the jungles of Kaliyana, bordering the sea, hoping that they might have been washed ashore.

With him is Chimanlal (Shri Bhagwan) who was to marry one of the daughters, and a friend Professor Tatto (Shyamsunder). On the border of the jungle they employ Ali Bux (Kareem), a guide and his friend Trivedi, who is actually a gold digger looking for the golden treasure of tribal queen Sheen. On their way they are attacked by tribals but there comes Mala The Mighty (John Cawas) who saves them with his army of elephants. Mala is the legendary king of the jungle who fights lions, tgers and kills crocodiles etc. He takes the party to his tree top house and they find Leela (Leela) a 17 year old beauty living as his companion.

Trivedi is captured by the tribals. He strikes a deal with Sheen, the queen (Leela – in double role), to capture Mala, whom Sheen loves, in exchange for the gold treasure. Mala gets captured and is brought to the tribal chief Rajan (Waman Talpade) who wants to kill him. Meanwhile Leela comes there with the party to rescue Mala. Mohan Lal recognises both girls as his long lost daughters. Rajan tries to kill Mala, but Sheen saves him and gets killed. The animal friends of Mala arrive and the tribals run away. Leela hugs her father but refuses to go with him, choosing to remain with Mala The Mighty.

Today’s song is sung by the film’s young and upcoming composer Chitragupta Shrivastav, M.A. Lyricist was Shyam Hindi.
The End !


Song – Teri Manzil Door Musafir (Mala The Mighty) (1948) Singer – Chitragupt, Lyricist – Shyam Hindi, MD – Chitragupt
Chorus

Lyrics (Provided by Sudhir)

aaaa aaaa aaa aaaa
aaaa aaaa aaa aaaa

aaaa aaaa aaa aaaa
aaaa aaaa aaa aaaa

aaaa aaaa aaa aaaa
aaaa aaaa aaa aaaa

oo oo oo
teri manzil door musafir
teri manzil door musafir
chalte jaana
chalte jaana
(aaaa aaaa aaa aaaa)
chalte jaana
(aaaa aaaa aaa aaaa)
chalte jaana

teri manzil door musafir
chalte jaana
chalte jaana
(aaaa aaaa aaa aaaa)
chalte jaana
(aaaa aaaa aaa aaaa)
chalte jaana

subah hai chalna shaam hai chalna
subah hai chalna shaam hai chalna
zindagi ka naam hai chalna
zindagi ka naam hai chalna
duniya ki har cheez hai chalti
har ek shay ka kaam hai chalna
aa jaati hai manzil chaahe
aa jaati hai manzil chaahe
kitni bhi ho door
kitni bhi ho door musafir
chalte jaana
(aaaa aaaa aaa aaaa)
chalte jaana
chalte jaana
(aaaa aaaa aaa aaaa)
chalte jaana

lobhi jeevan aisa panchhi
lobhi jeevan aisa panchhi
paap ki bole bhasha
(aaaa aaaa aaa aaaa)
(aaaa aaaa aaa aaaa)
paap ki bole bhasha
is ke dono pankh anokhe
asha aur niraasha
asha aur niraasha
lobh ka ant hai jaan gawaana
lobh ka ant hai jaan gawaana
lobh se bhago door
lobh se bhago door musafir
chalte jaana
(aaaa aaaa aaa aaaa)
chalte jaana
chalte jaana
(aaaa aaaa aaa aaaa)
chalte jaana

teri manzil door musafir
chalte jaana
(aaaa aaaa aaa aaaa)
chalte jaana
(aaaa aaaa aaa aaaa)
chalte jaana
chalte jaana

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

आ आ आ आ
आ आ आ आ

आ आ आ आ
आ आ आ आ

आ आ आ आ
आ आ आ आ

ओ ओ ओ
तेरी मंज़िल दूर मुसाफिर
तेरी मंज़िल दूर मुसाफिर
चलते जाना
चलते जाना
(आ आ आ आ)
चलते जाना
(आ आ आ आ)
चलते जाना

तेरी मंज़िल दूर मुसाफिर
चलते जाना
चलते जाना
(आ आ आ आ)
चलते जाना
(आ आ आ आ)
चलते जाना

सुबह है चलना शाम है चलना
सुबह है चलना शाम है चलना
ज़िंदगी का नाम है चलना
ज़िंदगी का नाम है चलना
दुनिया की हर चीज़ है चलती
हर इक शै का काम है चलना
आ जाती है मंज़िल चाहे
आ जाती है मंज़िल चाहे
कितनी भी हो दूर
कितनी भी हो दूर मुसाफिर
चलते जाना
(आ आ आ आ)
चलते जाना
चलते जाना
(आ आ आ आ)
चलते जाना

लोभी जीवन ऐसा पंछी
लोभी जीवन ऐसा पंछी
पाप की बोले भाषा
(आ आ आ आ)
(आ आ आ आ)
पाप की बोले भाषा
इसके दोनों पंख अनोखे
आशा और निराशा
आशा और निराशा
लोभ का अन्त है जान गवाना
लोभ का अन्त है जान गवाना
लोभ से भागो दूर
लोभ से भागो दूर मुसाफिर
चलते जाना
(आ आ आ आ)
चलते जाना
चलते जाना
(आ आ आ आ)
चलते जाना

तेरी मंज़िल दूर मुसाफिर
चलते जाना
(आ आ आ आ)
चलते जाना
चलते जाना
(आ आ आ आ)
चलते जाना


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 :

5067 Post No. : 16982

Today’s song is from the film Refugee-1948. This film was made by Harishchandra Pictures and it was directed by Tara Harish. Lyricist was Pt. Phani and the music director was Ajit Merchant. The cast consisted of Urmila, Harishchandra rao kadam,Hamid (actor Ajit), Majnu (Harold Lewis), Dalpat Joshi, Sulochana Kadam and others.

This was a film depicting the life story of a Hindu refugee from Lahore, who comes to Bombay and his love story. Though Harischandra rao Kadam was basically an action/stunt film actor and director, this was his first and last attempt of making a social film. The film was not successful and Kadam went back to his comfort zone of stunt/action films. This Kadam was the one who gave the first opportunity of directing a film to Master Bhagwan and also to C Ramchandra as a Music Director of a Hindi film for the first time. That film was Sukhi Jeevan-1942.

1948 was an year in which, after the turmoil caused by the Partition, the film industry was trying to come back on track. While the year 1947 saw the highest number of films made-181 films, the Indian film industry did not suffer so much, even after the exodus of film artistes,,because the sheer number of majority in the films was Hindus.Additionally, the vacancies were immediately filled by the II line of artistes in every department, waiting for their turns. Thus 1948 made a respectable number of films- 149, indicating the inherent strength of the film industry.

Partition did some damage to India, but as there was a second line waiting to take over, the impact was negligible. However, Pakistan had to build a new film industry with the help of the migrant artistes in almost all departments of filmmaking. Once this generation ended their career, unfortunately there was not much of a second line to take over in Pakistan.

Here is an excerpt from a book “The Travels of Bollywood Cinema ” by Anjali Geeta Roy, in this connection…….

” The rioting of 1947 set in motion irreversible, irrevocable migration. B R. Chopra and I S Johar were planning films in a big way for Lahore but had to run for their lives. Ramanand Sagar left in July, as did Gulshan Rai. Character actor Om Prakash (of Fateh Din fame, an all-time favourite skit relayed for years by Radio Lahore), comedian-bad man Jeevan and many others also left Lahore for Bombay. O P Nayyar recorded his immortal song Preetam Aan Milo/ Dukhia Jiya Bullai, Aan Milo at the His Master’s Voice studio in Lahore. He left Lahore only in 1948 when it became clear that people with the wrong religion were not going to return to their homes on either side of the Punjab. Writer Rajinder Singh Bedi escaped, sitting on top of a railway carriage carrying loads of Hindus and Sikhs out of Lahore. Song-writer Naqsh Lyallpuri began his literary career in Lahore as a journalist but had to leave in 1947. Punjabi singers Surinder Kaur and Prakash Kaur, and Pushpa Hans also left Lahore.

Migration in the other direction also took place. Nazir and his wife Swarnlata, Noorjahan and her husband Shaukat Husain Rizvi, character actor Alauddin and many others headed for Lahore. Manto came in January 1948, music directors Ghulam Haider and Khurshid Anwar followed some years later and director M. Sadiq probably in 1969 or 1970. Meena Shori, Khurshid and Mumtaz Shanti also immigrated to Lahore. Some Pakistani actors in Lahore continued to use Hindu filmic names. Santosh Kumar (Musa Raza) and Sudhir (Shah Zaman), the two most famous heroes of the 1950s and 60s represented such practice. On both sides, initially considerable goodwill existed between the two film communities.

Some families were divided. Thus for example, while Nazir shifted to Lahore, his nephew K. Asif stayed on in Bombay. Kardar stayed on but his brother Nusrat Kardar and son Rauf Kardar returned to Lahore. While Suraiya, her mother and grandmother settled in Bombay, many of her other relatives shifted to Lahore. Rafi stayed on to reign supreme in Bombay while his parents and siblings were in Lahore.

There were some cross-religion marriages that created peculiar challenges. Raj Kapoor’s maama (maternal uncle) Mr Mehra married a Muslim, converted to Islam and stayed in Lahore. A unique case of reverse migration took place as well: poet Sahir Ludhianvi (Abdul Hai) left Lahore for India.”

Following Partition in 1947, A. R. Kardar and his co-brother Mehboob Khan both left for Pakistan. However, according to Bunny Reuben, as quoted by Mihir Bose, they returned to India, but no reason was given for their return. Journalist and author of several books, Ambarish Mishra writes, ” when I asked Kardar about his Pakistan visit, he told me that after the Partition, Mehboob immediately went to Pakistan. He was disturbed with the news of Hindu-Muslim conflicts in Bombay Film Industry. It was said that Hindus will not allow Muslims in the film industry – which was totally wrong and only a rumour. He wanted to get an idea about his future in this new country. He was keen on settling there. After a month or so, I went there. Being from Lahore, I understood that the film conditions were not conducive for our growth there, as nothing was in order. Everything was in a mess there. I convinced Mehboob somehow and we both came back for good. I told him, as long as Nehru was there, they had no problems in India.” By coincidence, Nehru died and the next day Mehboob also died !

Film Refugee-48 is also an example of how the film industry reacted to the partition Blues. For the Music Director Ajit Merchant, this was his first film as an independent MD. Earlier he was working as an assistant to Ashok Ghosh and Anil Biswas. For actor Ajit (credited as Hamid), this was just his second film in a side role. Later he became the hero in the film Janampatri-1949. Singer Sulochana kadam (later Sulochana Chavan) acted for the first time. She acted in one more film and then settled as only a singer.

After Partition, 10 to 20 million people became refugees on both sides, with at least 10 million people losing their lives. This was easily the largest Refugee crisis in the world. India was the only country which has faced Refugee problem several times in recent history. In 1937, Burma was separated. First ruled by Japan and then the Thais. Finally the British ruled it and Burma was free on 4-1-1948. Every time lakhs of refugees came to India. At Least 2 names can be quoted- Helen and V.K.Naidu, MD, who were Burma refugees. Ceylon’s independence in 1948 gave us refugees. Bangladesh refugees still give us trouble though Bangladesh was formed in 1971. Pondicherry in 1954 and Goa was liberated in 1961, without much refugee crowds, which were manageable.

The film’s Heroine Urmila is a name having Same Name Confusion. Urmila Sr.and Urmila Bhatt are two Urmilas. This film’s Urmila …You will find the name Urmila- in some films she is named as Urmila Devi, and Urmila Gupta also. She was not a very good looking actress, but she compensated for it with her good acting. Urmila Gupta was born on 31-3- 1921 at Panja Sahib, Rawalpindi district of United Punjab. Her father, who was a Civil Contractor, died when she was only 5 year old. She did not get much education but could read and write as well as talk fluently, Urdu, Hindi and English.

She started her career with a small uncredited role in the film Mirza Sahiban-33. She was the younger sister of Mirza in this film. After some more small roles, she got her major role in the film Aansuon ki Duniya-36. After this, she did not look back and did Punjab Lancers-37, Talwar ka Dhani-38, Kahan hai manzil Teri-39, Hurricane special-39, Flying Ranee-39, Desh Bhakt-40, Sasural-41, Sajjan-41, Mere Sajan-41, Naari-42, Das Baje-42, Call of youth-42, Badal -42, Apna Paraya-42, Tamasha-42, Kirti-42, Salma-43, Bansari-43, Refugee-48 etc etc. Urmila got married to Vinod Talwar, a businessman and stopped working in films, for some time, maybe for raising a family. She resumed working in films and acted in another 20 odd films till 1952. She had sung 12 songs. In all, she worked in about 55 films.

Now something about the Producer, actor of this film, Hero of many stunt films, was Harishchandra Rao (Kadam). He was born in Bhuj, Gujarat on 11-8-1910. He did early schooling in Bhuj, but his family shifted to Karachi, due to financial debacle. He did Cycle repairing work and completed his matriculation by the age of 18 years. He joined a Touring film company. Once, while in Bombay he was watching the film shooting in the Paramount company. Suddenly, the director offered him a role in the film. Thus he entered the films. From 1932 he did few silent films.

He joined Shankar Bhatt’s Prakash Pictures and worked in their first Talkie, ” Bambai ki Mohini “- 1934. He was with Prakash, upto 1939, doing stunt films inside and outside also. He did some films for Wadia too, in between. Finally he started his own company, ” Harishchandra Productions “. He continued to work as an actor, director and producer. He sang a few songs also.

Some of his films were Daulat, Naujawan, Rangila mazdoor, Rangila jeevan, Sukhi jeevan, Lehri jawan, Inaam, Sone ki chidiya, Refugee, Durban, Laat sahib, Tamasha etc etc He worked in about 42 films.

His brother Chandrarao Kadam was also a stunt actor. He was known as Stunt King. He had his Chandrarao Films. He acted, directed and produced films. The brothers were friendly with Master Bhagwan and gave him preference in their films, till Bhagwan started his own company- Jagriti films. Later on Chandrarao floated his own Chandivali Studio in Bombay suburb, which is still actively run by his progeny.

Today’s song is a qawali, sung by Ram kamlani and chorus. Though the uploader of this song claims that Mukesh is also one of the singers, I did not find this song in the Mukesh Geet Kosh. The singer obviously must be one from the chorus itself.


Song- Hamen ghar sanam ke to jaana manaa hai 9Refujee Singers- Ram Kamlani, Lyricist- Pt. Phani, MD- Ajit Merchant
Chorus

Lyrics

hamen ghar sanam ke to jaana manaa hai
hamen ghar sanam ke to jaana manaa
miley raah mein to bulaana manaa hai
miley raah mein to bulaana manaa hai
hamen ghar sanam ke to jaana manaa hai

arre haaye ulfat jataayen to kaise
arre haaye ulfat jataayen to kaise
usey daagh dil ke dikhaayen to kaise
zabaan par muhabbat ka laana manaa hai
zabaan par muhabbat ka laana manaa hai
hamen ghar sanam ke to jaana manaa hai
hamen ghar sanam ke to jaana manaa hai
miley raah mein to bulaana manaa hai

arre bulaaana manaa hai jee
bulaana manaa hai
hamen ghar sanam ke to jaana manaa hai
hamen ghar sanam ke to jaana manaa hai

muhobbat ka naatak
kabhi hum jo khelen aen aen
mohobbat ka naatak
kabhi hum jo khelen
ke ghar saamne
uske ghar ke jo le len
museebat hai phir bhi
ke gaana manaa hai
museebat hai phir bhi
ke gaana manaa hai

agar geet gaa kar rijhaaya bhi usko o o o
agar geet gaakar rijhaaya bhi usko o o
bahut gidgidaakar
manaaya bhi usko
to wo baat dil ki
jataana manaa hai
to wo baat dil ki
jataana manaa hai
hamen ghar sanam ke to jaana manaa hai
hamen ghar sanam ke to jaana manaa hai
miley raah mein to bulaana manaa hai

haay haay bulaana mana hai jee
bulaaana manaa hai
hamen ghar sanam ke to jaana manaa hai
hamen ghar sanam ke to jaana manaa hai


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 :

5065 Post No. : 16980

Today’s song is from the film ‘Daasi’ (1944).

The film was made by Pradhan Pictures, Lahore, and was directed by Hiren Bose. The music was by Pt. Amarnath Batish (to avoid ‘same name confusion‘ the other Music Director Pt. Amarnath Chawla, I am mentioning their surnames also). Funniest thing is Pradhan Pictures was owned by Sanjay Pradhan – a person from Orissa, Director hiren Bose was from Bengal and Pt. Amarnath, MD was from Punjab. They all came together in the most popular and beautiful city of those times ‘Lahore’, to make a film which became a hit, mostly because of its music.

In the pre-partition period, there were 3 film centers: Bombay, Calcutta and Lahore. Though comparatively Lahore was the youngest center, having made its first silent film only in 1924, experts across the border and in India claim that Lahore had the potential of becoming, if not bigger, but as big a center as Bombay ! In that era Lahore did make a lot of contribution in the field of acting, direction and music. Several experts have written long articles on Lahore’s standing in Hindi and Punjabi film making.

Next to Mumbai and Calcutta, Lahore was the largest movie making center in India. In fact the best known industry in Lahore was the movie industry. Film industry in Lahore is now called Lollywood. It is a mixture of Lahore and Hollywood. During the twenties and thirties, a lot of movies were made in Lollywood, based on the ones made in Hollywood. There was even a big movie studio, named United People’s on Ravi Road. Besides two big studios, Pancholi Arts and Shourie Pictures, that boasted of many super-hit movies, there were a large number of smaller units, which too had quite a few hit films to their credit.

Dalsukh Pancholi, a film tycoon from Lahore (born in Karachi) and the founder of Pancholi Studios of Lahore, studied script writing and cinematography from New York, and played an important part in the careers of stars such as Noor Jehan, Ramola, Om Prakash, music composers Ghulam Haider and OP Nayyar. His first film was ‘Gul-e-Bakawli’ (1938) starring Noor Jehan. Ghulam Haider’s “Shaala Jawaania”  was an instant rage. Pancholi’s film ‘Khazanchi’ (1941) was one of the longest running movies of its time.

Master Ghulam Haider, a phenomenal music director from Lahore, was the man who gave Lata Mangeshkar the break of her career in the movie ‘Majboor’ (1948). Mohd Rafi’s debut also happened to occur in Lahore, at the hands of music director Shyaam Sunder in Pancholi’s  film ‘Gul Baloch’. Many of the mainstream stars started their career in movies that were made in Lahore, and later moved to Mumbai where they became some of the biggest stars of Indian cinema.

Many high profile Indian actors and singers lived in the Walled City in the 1940s and Lakshmi Chowk was where the film fraternity got together in tongas decorated with maroon flowers, foot bells and lamps on the side. By the evening, Lakshmi would be full of tongas, with film stars, top film directors and producers thronging tea houses and discussing filmy affairs. Pran, Om Parkash and Al Nasir, another Lahori film hero, would spend their evenings chatting and playing billiards.

Pran, who mostly played the role of a villain in films, lived in Qilla Gujjar Singh. He was a skilled photographer and took photographs of famous artistes. One day – while standing at a pan shop in Lakshmi Chowk – he met Wali, a leading film director of the time. Wali asked Pran if he was interested in acting and Pran said yes. Wali wrote the address of Pancholi Studios  on the back of a cigarette pack and asked Pran to see one of his friends there. Pran started his film career with ‘Chaudhry’ and later appeared as a hero in ‘Khaandaan’ (1942), a film by Shaukat Hussain Rizvi. The heroine was melody queen Noor Jahan. Later Pran established his career in Lahore as a villain in Punjabi films. Pran migrated to Bombay in 1947.

BR Chopra was born in Lahore. He studied journalism, directed/produced plays, and worked as a film critic in Lahore. Yash Chopra, his younger brother was born in Lahore as well, later he joined his brother in Bombay to start their own production house. BR Chopra was working on his first film ‘Chandni Chowk’ when the partition riots began. And K Asif, the man who made the epic masterpiece ‘Mughal-e-Azam’ (1960), also hailed from Lahore. Om Parkash was also one of the great names of Bombay. He lived at Matti Chowk, Lohari Gate and always rented out a decorated tonga to take him from Matti Chowk to Lakshmi Chowk every day. Om Parkash did many small and large roles in films made in Lahore and also migrated to India in 1947.

Balraj Sahni also lived at Matti Chowk and was the secretary general of the All India Communist Party. He studied at Government College. Sahni also acted in pre-Partition films in Lahore. Dev Anand lived in Lohari Gate, but later moved to Bhaati Gate. He also studied at Government College. Dev Anand participated actively in politics in Lahore. His brother Chetan Anand was a famous film director in Lahore and was considered quite influential in film studios when it came to casting and other affairs. Meena Shorey was one of the leading female actors of her times. She lived in Bhaati Gate and married Roop K Shorey, the owner of Shorey Film Studio (now Shah Noor Studio). She acted in several pre-partition films made in Lahore and migrated to India in 1947.

Lahore was considered the ‘launchpad’ for famous singers and musicians. KL Saigal, the legendary singer,  acquired fame in Lahore then later moved to Calcutta. and then to Mumbai. The subcontinent’s  greatest playback singer Muhammad Rafi lived in Bhaati Gate. He was from a family of barbers and ran his own barbershop. Rafi had a beautiful voice and most of his customers would often ask him to sing for them while they got their hair cut or got a shave. A man from the film industry introduced Rafi to film director of ‘Gul Baloch’ who gave Rafi the opportunity to sing three songs. The film proved a launching point for Rafi’s film career in Lahore and by the time he migrated to India in the 40s  he was an accomplished singer.

Khurshid Begum was an outstanding singer from Lahore who too moved to India for better opportunities. She also lived in Bhaati Gate. She sang several famous songs for various Indian films, including  great songs  with singer KL Saigal.  Hritik Roshan’s grandpa Roshan (Roshan Lal Nagrath), the famous music director, was from  Lahore. He was given a chance as an assistant by another Lahori musician, Khwaja Khurshid Anwar (who was in Bombay at the time).  Khayyam the music composer of ‘Umrao-Jaan’ fame started his career in Lahore.

Roshan Ara Begum from Lahore was acclaimed the best interpreter of Kirana Gharana Sytle of Khayal singing in the subcontinent. Composer OP Nayyar, Ustad Fateh Ali, Bade Ghulam Ali (the only film he ever sang for was  ‘Mughal-e-Azam’), all are from Lahore. Other famous musicians from Lahore who migrated later to Mumbai include Pandit Amarnath, Shyam Sunder, Gobind Ram, Lachhi Ram and Dhani Ram. More recently  Lahore has given India  Nusrat Fateh Ali, Sabri Brothers, Adnan Sami, Reshma, Mehdi Hassan, Abida Parveen, Tassawar Khanum, Atif Aslam, Ghulam Ali, Rahat Fateh Ali, Shafqat Amanat Ali – their talent truly saturates Bollywood.

Sajjad Zaheer (father of Nadira Babbar), Jaan Nisar Akhtar (father of lyricist Javed and grandfather of actor/director Farhan and director Zoya), Kaifi Azmi (father of Shabana Azmi), Majrooh Sultanpuri and so many others have a deep link to that city. Sahir Ludhianvi (Abdul Hayee) started his career in Lahore as a lyricist/poet, and later went on to become one of the biggest lyricists in Bollywood. Tanveer Naqvi was a noted lyricist of his times. He lived in the Faqirkhana Museum inside Bhaati Gate. He wrote ‘Awaz De Kahaan Hai’ and ‘Jaan-e-Baharan, Rashk-e-Chaman’.

It was Lahore that encouraged women to throng the theaters for the first time where the Wednesday matinees were reserved for women in special  ‘Ladies Only’ shows in all theaters at half the normal rates. Lahore’s love for Bollywood movies continues till date where while the Pakistani films have vanished from the cinema, the screening of Bollywood movies is again in full swing after a setback when  Indian films were banned for sometime to help indigenous industry to pick up. Almost every cinema hall in the city including those located in Northern Lahore and Walled City known for showing Punjabi movies, has switched over to either Indian or English films.

The film ‘Daasi’ had in its cast Ragini, Najamul Hasan, Om Prakash, Kalavati, Pran Sikand, Khairati etc. Ragini was touted as one of the most beautiful actresses of that time. She was called Aahoo Chashm, like Naseem Banu was called Pari Chehra. In Indian cinema there were only 3 actresses with brown eyes. one was Ragini, second was Kamla Kotnis (first heroine of Dev Anand in 1946) and third was Vanmala.

Najamul Hasan was very handsome . If only he had not eloped with Devika Rani in 1936, possibly he would have ruled Indian cinema. Bombay had banned him, Calcutta had not much to offer and in Lahore he got only side roles. His last days were very bad in Pakistan.

Only Ragini and Pt. Amarnath were the winners in the success of the film ‘Daasi’. Pt Amarnath was born in Jalandhar in 1912. Pandit ji started his career as singer, actor in the stage plays in his home town of Jalandhar. He also recorded private songs, ghazals, thumri, gurbani, classical and semi-classical in the voice of child prodigy Master Madan in the 30s. Master Madan only recorded eight compositions in his life of only fourteen years under the baton of Pandit Amarnath – “Bagaan Wich Peengan Paiyaan”, “Raavi De Parle Kandey”, “Man Ki Man Hi Mahi Rahi”, “Chetna he ko chet le”, “Mori Binti Mano Kanha Re” and “Gori Gori Baiyaan”. This was confirmed by Khayyam Sb.

Pandit Amarnath made his debut in 1942 with Roop K Shorey’s film ‘Nishani’.  Pandit Amarnath’s most successful film was ‘Daasi’, starring Ragini, Najam and Gyani. Zeenat Begum sang her scintillating numbers, “Ho Rasiya Kabhi Le Chal Tu Jamuna Ke Paar”, “Subah Hui Aur Panchi Jaage” and “Wo Din Yaad Karo”. The chart buster of the film was “Raaten Na Rahin Wo Na Rahe Din Wo Hamaare”. After the release of ‘Daasi’, Pandit ji came to be known as Pandit Amarnath of Daasi fame.

Pandit Amarnath’s music was a mix of Punjabi folk, Mehfil Sangeet of classical shades and village music which can be seen in his compositions. In 1944, Pandit ji went to Calcutta to give music for Indrapuri studio’s ‘Iraada’.  Upcoming singer Hemant Kumar recorded his  song, “Phir Mohabbat Ke Payam Aane Lagey” under his guidance. Another popular composition of Pandit ji for the movie was “Araam Se Jo Raatein Kaatey Wo Ashq Bahaana Kya Jaane”. Pandit Amarnath was the most revered composer of the 1940s. He gave several evergreen numbers in that decade.

Pandit ji was in so much demand that he started getting offers from Bombay, Poona as well as Calcutta. When he got an offer from Prabhat to do music for their film ‘Chand’, he declined the offer and suggested that instead they should take his assistants Husanlal and Bhagatram. Prabhat honoured Pandit ji’s request and agreed. This was the beginning of India’s first popular musical duo.

Simultaneously, he was giving music to Punjabi films too like “Koel” (1944) and “Gul Baloch” (1945).During the 40s decade Pt. Amarnath was the most busy composer, with a line up like ‘Nishani’ (1942), ‘Paapi’ (1943), ‘Iraada” (1944), ‘Daasi’ (1944), ‘Panchhi’ (1944), ‘Shirin Farhad’ (1945), ‘Ragini’ (1945), ‘Kaise Kahoon’ (1945), ‘Dhamkee’ (1945), ‘Sham Savera’ (1946), ‘Shalimar’ (1946), ‘Shehar Se Door’ (1946), ‘Jhumke’ (1946), ‘Aai Bahar’ (1946), ‘Pagdandi’ (1947), ‘Mirza Sahiban’ (1947), ‘Roop Rekha’ (1948) and ‘Ek Teri Nishani’ (1949).

He gave music to 18 Hindi films, composing 152 songs in all. Due to his success, he started drinking, which became his nemesis. At the time of film ‘Pagdandi’ (1947), after few songs, he was replaced by Khurshid Anwar. Even in his last two films ‘Roop Rekha’ (1948) and ‘Ek Teri Nishani’ (1949) after few songs, he was replaced by other MDs. Film ‘Patjhad’, which he had signed, was given to Ghulam Haider.

After the grand success of ‘Jhumke’, he also fell into the same trap which affected his health badly. He had a few films in his hand at this stage as well, even his most successful film ‘Mirza Sahiban’ starring Malika e Tarannum was made at this stage. He had composed several evergreen numbers for this film. It’s super hit was “Haaye Re Ud Ud Jaaye Mora Reshmi Duppata”. He had signed up for the film ‘Patjhad’ for Pancholi Picture but after his untimely death, Ghulam Haidar and SD Batish were signed up instead.

Similarly, Pandit ji was replaced by Khurshid Anwar in ‘Pagdandi’. In the film ‘Roop Rekha’ (1948) Pandit ji had recorded a song, “Bol Bol Mein Umda Hai Toofan”. He had also recorded a few compositions for “Ek Teri Nishani” – “Aa Gai Zaalim Jawani Aa Gai” and “Ek Dekha Khwwab Suhana”. Asha Bhosle sang for the first time for Pandit ji in the song, “Teri Kaafir Jawaani Ko Jawaani Kaun Kehta Hai”. The film was later completed by Sardul Kawatra and was released in 1949.

During the making of film ‘Mirza Saahiban’, Pt. Amarnath died at the age of just 35 years, on 20-2-1947. The balance songs were done by Husnlal Bhagatram.

His untimely death was a great loss to the music industry and especially to the Punjab School of Music, robbing us of many great hits.

Today’s song is the 7th song from ‘Daasi’ to appear here. The song is extremely melodious and is sung by Zeenat Begum with her sweet voice. You will certainly enjoy it….

(The article is based on adapted information from an article on creative.sulekha, from Film Sangeetkar by Prof. Yadav, an article by Sharad Dutt in millenimpost.in, Dhunon Ki Yatra by Pankaj Raag, HFGK, muVyz and my notes ).


Song – Raaten Na Rahin Wo Na Rahe Din Wo Hamaare (Daasi) (1944) Singer – Zeenat Begum, Lyricist – DN Madhok, MD – Pt Amarnath Batish

Lyrics (Provided by Sudhir)

raaten na rahin wo
na rahe din wo hamaare
raaten na rahin wo
na rahe din wo hamaare
tum hi bata do ke jiyen kis ke sahaare

aa jaao tadpata hai jiyaa dard ke maare
aa jaao tadpata hai jiyaa dard ke maare
dum ghut ke marey jaate hain armaan bechaare
ab tum hi bata do ke jiyen kis ke sahaare
raaten na rahin wo

koi to unhen jaa ke ye paighaam mera de
koi to unhen jaa ke ye paighaam mera de
ik rota hua dil tumhen din raat pukaare
ab tum hi bata do ke jiyen kis ke sahaare

raaten na rahin wo
na rahe din wo hamaare
tum hi bata do ke jiyen kis ke sahaare
raaten na rahin wo

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

रातें ना रहीं वो
ना रहे दिन वो हमारे
रातें ना रहीं वो
ना रहे दिन वो हमारे
तुम ही बता दो के जीएं किस के सहारे

आ जाओ तड़पता है जिया दर्द के मारे
आ जाओ तड़पता है जिया दर्द के मारे
दम घुट के मरे जाते हैं अरमान बेचारे
अब तुम ही बता दो के जीएं किस के सहारे

कोई तो उन्हें जा के ये पैगाम मेरा दे
कोई तो उन्हें जा के ये पैगाम मेरा दे
इक रोता हु दिल तुम्हें दिन रात पुकारे

रातें ना रहीं वो
ना रहे दिन वो हमारे
तुम ही बता दो के जीएं किस के सहारे
रातें ना रहीं वो


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 :

5061 Post No. : 16975

Today’s song is from the film Mulaqat-1947.

The film was made by Taj mahal pictures.It’s all 11 songs were written by Munshi Dil Lucknowi and the film was directed by the Lyricist himself. Actually, ” Munshi ” means a Clerk, a writer, a literary assistant or a Language Teacher. How this Munshi directed the movie is a wonder. But then in the Hindi film industry, you find many such odd, unimaginable things. This was not his first directorial venture. He had already tried his hand at film-“Abla ki Shakti’-1940 and after this film, he again directed a film “Do Bhai”-1954. As a Lyricst, he write 126 songs in 16 film which included films like Iqrar-42,Naqgad narayan-43 ( a remake of Marathi film ” पैसा बोलतो आहे”), Sohni Mahiwal-46 and Laila-54. After this he migrated to Pakistan.

In Hindi, films are repeated in different ways like….

1. Same Titles – Commonest type, but not necessary that the film content will be the same. Hundreds of titles are repeated from Twice to more than 5 times. The maximum repetitions’ honour goes to the title ” INSAF “. Films with this title were made as many as 7 times. Funnily, there was at least one “Insaf” movie in each decade for 70 continuous
years ! They were made in 1937, 1946,1956, 1966,1973, 1987 and 1997. What Luck !

2. Same story – Different Titles…like Actor, Damaad and Albela – all made in 1951. Aurat teri yehi kahani-1954 and Aurat Teri kahani-1988. Many others.

3.Remakes….a) Hindi to Hindi – Aurat and Mother India, Abodh and Uphaar, Panghat-Chitchor and Main Prem ki diwani hoon, Hamare Tumhare and Khatta Meetha, Mala and Amar, Grihasthi and Ghar Basake dekho, Malkin and Biradari etc.

b) Other languages to Hindi like Marathi, Bangla, Tamil, Telugu etc. Chandralekha, Bahar, Ladki, Many films from New Theatres, Calcutta.

c) Dubbed films like Jaisimha to Jaisingh. Many films fall in this category nowadays, especially from the south.

There are many such remakes and the lists would be too long. This only proves that a popular theme/story is worth remaking a film. Why does this happen? Are there a shortage of stories ?
In 2004, a book called “Why we tell stories’, written by Christopher Booker was published. It is a book having more than 700 pages-728 pages to be exact. The book says “There are only 7 (Seven) basic plots in the whole world. They are recycled again and again in Novels, movies, Plays and Operas. These are
1.Overcoming the Monster
2.Rags to riches
3.The quest
4.Voyage and return
5.Rebirth or identical persons.
6.Comedy and
7.Tragedy .

After this book was published, there was chaos and criticism started. ‘New York Times’ also jumped in. The author coolly replied to all points and stuck to his statements. If we look at Hindi films, I personally feel that what the author has said is true in our case. Only thing is that our film stories are always a clever mixture of all or some of the above themes.

Today’s movie Mulaqat-47 was also a repeat title film. Films on this title were made in 1947, 1993 and 2002. This was a film with Muslim social background. The cast of the film was Naseem Banu, Prem Adib, Rama Shukla, Mumtaz Ali, Majid, Najma, Shah Nawaz and many others. The story of the film was –

Nasir (Prem Adib) is a school teacher. He and Saeeda fall in love and think of getting married. Saeeda loses her father and orphan Saeeda has to live with her Uncle and Aunt, who ill-treat her. fed up os this treatment she wants to commit suicide under a train, but is saved by a passing by Nawab Saheb (Shah Nawaz). He takes her home and decides to keep her there with them. He has a daughter who is Nasir’s student. Through her, the lovers come together again and decide to get married soon.
Meanwhile Mukarram (Rama Shukla), the vagabond son of the Nawab returns home. promising to mend his ways, he stays there. Now he too wants to marry Saeeda. The Nawab asks her. Under the burden of his help, she can not say ‘No’. The marriage is fixed.
Just one day prior to marriage, the town Police come and arrest Mukarram for a murder, which he had committed and take him away. The nawab is heartbroken. His daughter tells him about Nasi and Saeeda’s love affair. Nawab immediately calls Nasir and arranges his marriage with Saeeda. The End.

Shahnawaz Khan, known only as Shahnawaz, was born on 18-9-1906 in Hyderabad Deccan. His father was a Major in Hyderabad’s Nizam Army. During his school education, he used to act in dramas. After Matriculation, he joined the Govt. Service in Hyderabad state. He was, however, keen on joining films and dramas. After 5 years, he left the job and started a Motor car business. In that connection, he would visit Bombay often and try his luck at different studios. Finally, his efforts bore fruit and he got a Villain’s role in film Bharat ka laal-36, in which he was listed as S.Nawaz. It was a stunt film made by the Kadam brothers (Harischandra rao and Chandra rao Kadam), with Master Bhagwan as the Hero.

After this, he never went back to Hyderabad. Then came his films Daulat-37, Toofani khazana-37, Rangila Mazdoor-38, Jungle king-39, Sardar 40 etc etc. In 1940, he joined Bombay Talkies and worked in films. He was apparently in Devika Rani’s camp. He was seen in Punarmilan-40,Bandhan-40, Jhoola-41, Naya Sansar-41, Kismet – 43 and Hamari Baat-43.He also worked in Masterji-43, Police,Parakh and Anban-44, Zeenat, Bhaijan and Humayun-45 and few more films. In all, he did 35 films in India. In 1948, Shahnawaz migrated to Pakistan. He was welcomed there. He did 41 films in Pakistan (32 Urdu and 9 Punjabi). Some of his films were quite famous, like Aansoo-50, Sassi-54, Ayyaz-60 etc.

Shahnawaz died in Karachi on 18-6-1971. His last released film was Nek Parween-75.

There are two small actors. Here is some information about them, since they migrated to Pakistan after this film.

Majid’s name was Abdul Majid Syed. He was born at Farrukhabad in U.P. in 1915. His father was an Overseer. After matric in 1929, he started his business of Leather in Akola, Maharashtra. in 1935, actor, director and producer Nazeer of Hind pictures, introduced him to S.K.Daryani and he got a small role in Sher ka Panja-36 and Sangdil samaj-36. However, from film Bulldog-37, he got side roles and lead roles in films like Gentleman daku-37, insaaf-37, Rajkumari-38, Masterman-38, Zamana-38, Mud-40, Saubhagya-40, Swami-41, Swaminath-42, he also acted in more films like Najma-43, Babar-44 and Zeenat-45.

In all he did over 100 films till 1947. After Partition, he migrated to Pakistan with Nazeer and Swarnalata. In Pakistan he did just 7 films. He died on 24-9-1959.

Najma was born at Lahore on 1-12-1928. Her father was a businessman. Her real name was Naseem. Since there was already one famous actress Naseem, she changed her name. She first worked in ‘Kunwaara baap’ (1942) and ‘Uljhan’ (1942) Then came ‘Nai Zindagi’ (1943), ‘Dr Kumar’ (1944), ‘Piya Milan’ (1945)’ ‘Naseeb’ (1945) and Mulaqat-1947. Then she got married, left films and migrated to Pakistan.

Today’s song is a duet by Arunkumar Mukherjee and Binapani Mukherjee. The music was by Khemchand Prakash. Enjoy….


Song- Kaale kaale baadal mein gora gora chaand (Mulaaqaat)(1947) Singers- Binapani Mukherjee, Arunkumar Mukherjee, Lyricist- Munshi Dil Lucknowi, MD- Khemchand Prakash
Both

Lyrics

Kaale kaale baadal mein
Kaale kaale baadal mein
Kaale kaale baadal mein
gora gora chaand
jalwa dikhaa kar chala bhi gaya
haay
jalwa dikhaa kar chala bhi gaya
haay chala bhi gaya
ho chala bhi gaya

Kaale kaale baadal mein
gora gora chaand
jalwa dikhaa kar chala bhi gaya
haay
jalwa dikhaa kar chala bhi gaya
haay chala bhi gaya
ho chala bhi gaya

kuchh ro bhi gaya
kuchh gaa bhi gaya

kuchh ro bhi gaya
kuchh gaa bhi gaya
koi bijli giraa kar chala bhi gaya
haan koi bijli giraa kar chala bhi gaya
haay chala bhi gaya
ho chala bhi gaya

aaya thha koi ee ee ee ee
aaya thha koi
?????? liye huye
fariyaad lab par
aankhon mein
toofaan liye huye
mehfil ko phoonk dene ka
saamaan liye huye
apni mehfil ko

apni mehfil ko
apni mehfil to
gaati ki gaati rahi

apni mehfil to
gaati ki gaati rahi

koi aansoo bahaa kar chala bhi gaya
haan koi dukhda sunaa kar chala bhi gaya
haay chala bhi gaya
ho chala bhi gaya
Kaale kaale baadal mein
gora gora chaand
jalwa dikhaa kar chala bhi gaya
haay chala bhi gaya


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 :

5057 Post No. : 16971

I often wonder if is it possible to go through and listen to all the songs that have already been posted on the blog? And, can I recall each of them when somebody asks me or refer to a film’s name and pose a question about its music director, lyricists or other artists or the star-cast of the movie?

I don’t know about others but for me it seems to be an impossible task as of now. Even though I am browsing the blog every now and then each day, still there are many many movies and their songs I have to go through. And when we found a missing gem of song that has not been posted on the blog, we are surprised to note that.

Today’s song is such a song, which according to me should have been posted on the blog long back. (But then I would not have got this chance of putting my thoughts here 🙂 ).

All this would not have been possible without the ‘Geet Kosh’ and ‘links’ of these songs. For this we have to thank all who have created the ‘Geet Kosh’ and also those enthusiasts who have uploaded and made these songs available online.

Today’s song is from the ‘1950’ movie ‘Sartaaj’. This seems to be a lesser known movie of its time.

“Sartaaj-1950” was directed by S. Khalil for ‘Umar Khayyam Films, Bombay’. It had Munawwar Sultana, Motilal, Manorama, Ansari, Mirza Musharraf, Shyama, Kuckkoo, Ratanbai and others.

This movie has nine songs as mentioned in HFGK Vol-II (1941-1950).

Three lyricists were used for these nine songs, where Majrooh Sultanpuri wrote six songs, Shewan Rizvi wrote two songs and Partav Lakhanavi wrote one song in this movie.

Music for this movie was composed by Husnlal-Bhagtram.

Here is the list of songs in this movie and their status on the blog:-

SNo Song Title Singer/s Posted On
01 Saajan umariya baali ho Zohrabai , chorus 23.08.2014
02 Jab teri gali mein ham aaye Lata, Shamshad, chorus 08.02.2018
03 Kal raat padosi kehta tha ye baat Shamshad, Rajagul
04 Koyi samjhega kya, sun to lena tha tumko Lata Mangeshkar
05 Jhel kar toofan bhi… toote dil ka aasraa ban jaayiye Lata Mangeshkar
06 Manwa mein pyaar doley saara sansaar doley Zohrabai, Mukesh 16.09.2011
07 Mazaa mila hai jise dil mera dukhaan mein Lata, Shamshad, chorus
08 Jo dil hi todna tha, kyon diya phir aasraa tumne Lata, Mukesh 19.10.2011
09 Rahe khush teri duniya… jigar ke tukde kiye huye… Lata Mangeshkar Being presented today

We can see from the above table that four songs from this movie have been posted on the blog.

Today’s song is sung by Lata Mangeshkar. Majrooh Sultanpuri is the lyricist..

Music is composed by Husnalal-Bhagatram. ( After listening to today’s song the tune sounds familiar, but I am not able to recall the song that this song reminds me of.).

Only the audio of this song is available. I would request knowledgeable readers to throw more light on this song.

Last but not the least, a big thanks to our regular reader Mr Deepak Patwardhan who had send reminder of this beautiful song that was missing from the blog till now.

Let us listen to the song now …


Song-Jigar ke tukte kiye huye (Sartaaj)(1950) Singer-Lata, Lyrics-Majrooh Sultanpuri, MD-Husnlal Bhagatram

Lyrics

rahe khush teri duniya
chain miltaa hai kahaan hamko o o o
chaley ham to wahaan
le jaaye ab
kismat jahaan hamko o

jigar ke tukde kiye huye
ham khoon e tamanna piye huye
jigar ke tukde kiye huye
ham khoon e tamanna piye huye
aaye thhe lekar hansi labon par
jaate hain aansoo liye huye
aaye thhe lekar hansi labon par
jaate hain aansso liye huye ae

unse chhudaakar mitaa diya
bedard zamaane ye kya kiya aa aa
unse chhudaakar mitaa diya
bedard zamaane ye kya kiya aa
ye kya kiya
kisko khabar thhi
wohi nazar thhi
jin ko sahaara diye huye
kisko khabar thhi
wohi nazar thhi
jin ko sahaara diye huye
aaye thhe lekar hansi labon par
jaate hai aansso liye huye

saath ho tere
hansi khushi
ae roothhnewaale duaa yahi ee ee
saath ho tere
hansi khushi
ae roothhnewaale duaa yahi ee
duaa yahi
haaye chaley ham
leke tera gham
teri tamanna kiye huye
haaye chaley ham
leke tera gham
teri tamanna kiye huye
aaye thhe lekar hansi labon par
jaate hain aansso liye huye ae
jigar ke tukde kiye huye
ham khoon e tamanna piye huye ae


What is this blog all about

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 THIRTEEN years. This blog has over 17000 song posts by now.

This blog is active and online for over 5000 days since its beginning on 19 july 2008.

Important Announcement

(© 2008 - 2022) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

Total number of songs posts discussed

17014

Number of movies covered in the blog

Movies with all their songs covered =1325
Total Number of movies covered=4609

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