Archive for the ‘Songs of 1940s (1941 to 1950)’ Category
Mere ghoonghat mein do nain
Posted on: November 20, 2018
This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3777 | Post No. : | 14755 |
“Anmol Ratan”(1950) was directed by M Sadiq for Jaimini Dewan Productions, Bombay. The movie had Meena (Shorey ?), Karan Dewan, Gope, Gulab, Madan Puri, Nirmala ec in it. The movie had eleven songs in it. As many as ten songs have been covered in the past.
Here are the details of the ten songs from the movie that are already covered:-
|
Song Title |
Post No. |
Post Date |
| Laakhon mein ek hamaare sainyya laakhon mein ek | 3652 | 14-Mar-11 |
| Jab kisi ke rukh pe zulfen | 5519 | 24-Feb-12 |
| Taare wohi hain chaand wohi hai | 6090 | 17-Jun-12 |
| Yaad aane waale phir yaad aa rahe hain | 7573 | 28-Feb-13 |
| Dard mila hai tere pyaar ki nishaani | 7711 | 19-Mar-13 |
| Morey dwaar khule hain | 7750 | 25-Mar-13 |
| Shiqwa tere main gaaun | 8333 | 12-Jul-13 |
| Sajan aaye aadhi raat | 12408 | 28-Sep-16 |
| Kaale kaale baadalon mein paani | 13884 | 7-Jan-18 |
| Koi kah de balamwa se ut nahin jaaye | 14743 | 12-Nov-18 |
Here is the eleventh and final song from “Anmol Ratan”(1950) to appear in the blog. This song is sung by Lata. D N Madhok is the lyricist. Music is composed by Vinod.
Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of the song.
With this song, “Anmol Ratan”(1950) joins the list of movies that have all their songs covered in the blog.
Song-Mere ghoonghat mein do nain pukaaren piya piya din rain (Anmol Ratan)(1950) Singer-Lata, Lyrics-D N Madhok, MD-Vinod
Lyrics
mere ghoonghat mein do nain
pukaaren piya piya din rain
ho mere ghoonghat mein do nain
pukaaren piya piya din rain
ho o o
bedardi aaja re
bedardi aaja re
naina dete duhaai
duhaai re ae
naina dete duhaai
mere ghoonghat mein do nain
pukaaren piya piya din rain
raat pade sab jag soye
birhan ko neend na aaye
raat pade sab jag soye
birhan ko neend na aaye
taaron ki jhurmath mein aen aen chanda hansi udaaye
taaron ki jhurmath mein aen aen chanda hansi udaaye
o o
door desh ke vaasi tohe zara laaj na aayi
laaj na aayi re
naina dete duhaai
mere ghoonghat mein do nain
pukaaren piya piya din rain
ho o o
bedardi aaja re
bedardi aaja re
naina dete duhaai
duhaai re
naina dete duhaai
aa main tere dil mein bhar doon apne dil ki haaye
aa main tere dil mein bhar doon apne dil ki haaye
phir tu jaan sakega aa aa
kya hai peer paraayi
phir tu jaan sakega aa aa
kya hai peer paraayi
o o
bedardi ke pyaar mein
maine yoonhi umar ganwaai
umar ganwaai re ae
naina dete duhaai
mere ghoonghat mein do nain
pukaaren piya piya din rain
ho o o
bedardi aaja re
bedardi aaja re
naina dete duhaai
duhaai re
naina dete duhaai
Dil ke geet gaayenge
Posted on: November 14, 2018
This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3771 | Post No. : | 14746 |
“Anjna”(1948) was directed by Sam Popat for Alka Pictures, Bombay. The movie had Bharat Bhushan, Shalini, Neelam, Baazid,D. C. Dutt, S. K. Prem, Uma Dutt, Ratan Gaurang, Bismilla, Rosie vairale etc in it.
etc in it.
The movie had eight songs in it. One song is covered in the past.
Here is the second song from “Anjna”(1948). This song is sung by Geeta Dutt. Lyrics are penned by Vishwamitra Adil. Music is composed by D C Dutt.
Only the audio of this song is available. I request our knowledgeable readers to throw light on this movie as well as on the picturisation of this song.
Song-Dil ke geet gaayenge (Anjna)(1948) Singer-Geeta Dutt, Lyrics-Vishwamitra Adil, MD-D C Dutt
Lyrics
dil ke geet gaayenge
mil ke geet gaayenge
aaja dil milaayenge
mil ke geet gaayenge
dil ke geet gaayenge
preet lagaai hai jab tune
aaja preet nibhaayen baalma
aaja preet nibhaayen
preet lagai hai jab toone
aaja preet nibhaye balma
aaja preet nibhaayen
tu veena ban geet banu main
dono ghul mil jaye
o bedardi aaja
aaja dil milayenge
mil ke geet gaayenge
dil ke geet gaayenge
tera jeewan mera jeewan main teri tu mera
tera jeewan mera jeewan main teri tu mera
do din ka hai mela phir to uth jaayega dera
bedardi aaja
aaja dil milaayenge
milke geet gaayenge
dil ke geet gaayenge
jhilmil chamke aas ke tare
virah rain daraye
balma virah rain daraaye
jhilmil chamke aas ke taare
virah rain daraaye
baalma virah rain daraaye
yaad teri ek zehree naagin ban kar dasti jaaye
haaye re haaye bedardi aaja
aaja dil milaayenge
milke geet gaayenge
dil ke geet gaayenge
laane par majboor hoon main
tu jaane par majboor
laane par majboor hoon main
tu jaane par majboor
main to tujhse door nahin hoon
tu kyun mujhse door
bedardi aaja aaja dil milaayenge
milke geet gaayenge
dil ke geet gaayenge
Teri gali mein aaya saudaagar
Posted on: November 13, 2018
- In: Actor-Singer song | Biography of Actor-Singer | Biography of artists | Devnagri script lyrics by Sudhir | Guest posts | Lyrics contributed by readers | Post by Arunkumar Deshmukh | Rare song | Song Based on Folk Music | Songs of 1940s (1941 to 1950) | Songs of 1941 | Yearwise breakup of songs
- 6 Comments
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
|
Blog Day : |
3770 | Post No. : | 14745 | Movie Count : |
4031 |
With today’s song, I am introducing not only a Debuting film, but also a great stage actor singer of the Marathi Theatre of yore. The film is Charnon ki daasi-1941 and the singer is Master Avinash.
In the early era of the Hindi films, there were many local artistes, as Bombay was the centre of not only Films but also of Industries, which made it a land of opportunities. Initially the 1930’s film music was, as we all know, greatly influenced by Marathi Natya Sangeet, Hindi classical music and Parsee/Gujarati stage songs. There were musical stalwarts like Annasaheb Mainkar, Master Krishnarao Phulambrikar, Madholal Master, Pransukh Nayak, S.P.Rane, Hari Prasanna Das, Lallubhai Nayak, Brijlal Varma, Nagardas Nayak, Govindrao Tembe, Keshavrao Bhole, Prof. B.R.Deodhar, Dada Chandekar etc etc.
Most of them came to films after working for stage dramas and hence their music was sounding same, whoever was the Music Director. Similarly, singers, who sang on the stage too tried their hand at the film music. However, most such singers failed to impress and their careers did not last long.
Those who are conversant with Marathi Natya Sangeet must be aware of the contributions made by musicians like Deenanath Mangeshkar and Bal Gandharva. The Mangeshkar legacy goes on and on even today. Ganpatrao Laxmanrao Mohite aka Master Avinash was also a tall figure in Natya Sangeet. Master Avinash (1909-2009) was trained in music by Deenanath Mangeshkar and was trained in acting by Chintamanrao Kolhatkar- a great Marathi stage actor.
Avinash was one of those, who were with Balwant Sangeet Mandali, since its inception in 1918. This drama company was established by Master Deenanath Mangeshkar along with Chintamanrao Kolhatkar and Krishnarao Kolhapure. From the beginning, Avinash used to do female roles and his name was taken along with Bal Gandharva, in this respect. Due to his singing skill, he was quite a popular actor on the stage. Several of his Natya Geet records came into market and sold very well.
Master Avinash was simply ” Ganu Mama ” to Mangeshkar family. Though the patriarch of the M-family expired in 1942, Avinash survived almost 70 years (67 to be exact) after him. They were very close, hence a respected person for the M-family. He could, till his end, tell them his experiences with Deenanath and many others of that era. He taught some songs to baby Lata, when she was so small. Surprisingly, till he died in 2009, at the age of 101, his memory and health was very good.
He acted in most dramas written by Acharya Atre (P.K.Atre of Navyug Films and Atre Pictures) as well as all his Marathi films. However, Avinash worked only in one Hindi film-Charnon ki Daasi-41, which was a remake of Marathi film, Paayachi Daasi. By the time he appeared in this film in 1941, his singing and acting style was becoming outdated, for the Hindi audience. New styles of Music and young new actors had entered Hindi films. In any case, he was very successful on Marathi stage, so he did not bother to work in Hindi films.
As per an article on him, in The Times of India of 16-5-2002, he was a good cricketer, a wrestler, actor, singer and Music Director. Daily exercises must have kept him going healthy till the last. He remembered many anecdotes of old times, actors and especially of Deenanath Mangeshkar. He had a good collection of old photos and cuttings to show to the TOI reporter, who took his interview. In most Marathi films, he worked as a Hero opposite Vanmala. In film Charnon ki Daasi also they are the lead pair. Acharya Atre gave him the name Avinash for the stage. His popularity made his name a rage and many new born children were given his name in those years.
Film Charnon ki Daasi was written by P.K.Atre. It was directed by Gajanan Jahagirdar and was produced by Atre Pictures. The Music Director was Annasaheb Mainkar ( there were 3 Annasahebs in Hindi film Music. One was Mainkar, second was Datta Korgaonkar and third was C.Ramchandra. All were called Annasaheb) and the lyricist was Pt. Anand Kumar. The cast was Durga Khote, Vanmala, Gajanan Jahagirdar, Master Avinash, Kusum Deshpande, Nazeer Bedi, Ramesh, Sudhir and many others.
It was a typical Marathi reform social consisting of the age old friction of ” Saas-Bahu “. Durga Khote was the evil mother in law, who tortures the educated daughter in law-Vidya (Vanmala), with husband Murari (Avinash) protesting meekly. After the interval and towards the last part, the husband decides to be tough with his mother and the shocked saas surrenders and makes the Bahu head of the affairs. However, true to the middle class philosophy, the good Bahu returns the honour to the Saas and requests her to continue as family head ( minus the torture part, obviously), gives a very big speech and all is well in the end. The spice was added by the widowed Nanad- Champa (Kusum Deshpande). Gajanan Jahagirdar played Anokheram, the village scoundrel flirt, who is duly punished by the bahu, in the end.
In the advertisement of the film, the educational achievements of Vanmala-B.A., B.T. and Gajanan Jahagirdar- B.A. and Kusum Deshpande- B.A. was mentioned boldly and prominently.
Acharya Atre aka Pralhad Keshav Atre ( 13-8-1898 to 13-6-1969) was a Marathi-Hindi director and controversial literary figure in post-WW1 Maharashtra. Educated at the universities of Bombay and London; he studied experimental psychology under Cyril Burt and taught at Harrow before returning to India.
Owner-editor of populist down-market ” Maratha” newspaper; he was one-time Congress Party MLA. Later he became anti congress. He was Author of 22 plays, 13 short-story collections, four books of poetry and a 4-volume autobiography (Atre, 1965-7).
He was Teacher and producer of several school textbooks, often calling himself Principal Atre in his film credits. Aggressive polemicist remembered for famous literary battles with N.S. Phadke and Mama Warerkar.
He owned Chitramandir Studio/Atre Pictures (1940), the Atre Printing Press (1944) and Atre Arts (1968). He started his Film career by adapting his own short stories for Master Vinayak (Brahmachari, 1938; Brandichi Batli, 1939). He became a leading independent scenarist (e.g. Raja Rani, 1942) and pioneered the entry of new literary modes emerging from non-fictional prose into post-Independence Marathi film. His chosen genre was political satire, usually directed against the realist conventions of pre-WW1 social reform novels with their caste biases and Anglophilia.
However, his best-known film as director was the bitter-sweet melodrama Shyamchi Aai. Wrote plays in many genres: thrillers (To Mee Navhech), tragedies (rewriting the reformist Sangeet Natak playwright Ram Ganesh Gadkari and his own Udyacha Sansar) and satire. Noted scripts: Dharmaveer, Premveer, Begunah (all 1937), Ardhangi/ Ghar Ki Rani, Lapandav (both 1940). Preferred to hire directors rather than to direct. Produced and wrote his own movies, often starring actress Vanmala, through his Atre Pics, founded in 1940.
Gajanan Jahgirdar (2-4-1907 to 13-8-1988) the director of this film was the first Director of FTII in 1960. He is probably the only person in India at least, who has written 2 autobiographies-in 1971 and in 1986. He worked in 147 films and directed 17 films. He also wrote some songs in film Sant Tulsidas-1934.
Let us now listen to the first song of Master Avinash here. He makes his Debut and with this song, the film also makes its Debut.
Song-Teri gali mein aaya saudaagar (Charnon Ki Daasi)(1941) Singer-Master Avinash, Lyrics-Pt Anand Kumar, MD-Annasahab Mainkar
Lyrics
teri gali mein aaya saudaagar
kar le jawaani ka mol
kar le jawaani ka mol
meri sajni
kar le jawaani ka mol
meri sajni
kar le jawaani ka mol
teri zulfen rahin hain machal
tae ne keenhe hain naagan ke bal
tere abroo ne talwar taani hai amdaar
naina rahe munh se bol
tere naina rahe munh se bol
meri sajni
kar le jawaani ka mol
meri sajni
kar le jawaani ka mol
gori
teri gali mein aaya saudaagar
kar le jawaani ka mol
kar le jawaani ka mol
meri sajni
kar le jawaani ka mol
meri sajni
kar le jawaani ka mol
teri bindi pe daali nazar
goya sooraj raha ho nikhar
tere surme ki dhaar
phooti chhaathi ke paar
gayi chitwan kaleje ko chhod
gayi chitwan kaleje ko chhod
meri sajni
kar le jawaani ka mol
meri sajni
kar le jawaani ka mol
gori
teri gali mein aaya saudaagar
kar le jawaani ka mol
kar le jawaani ka mol
meri sajni
kar le jawaani ka mol
meri sajni
kar le jawaani ka mol
tere gaalon ke donon ghadhe
tere gaalon ke donon ghadhe
hain khumaari mein lab tak bhare
hain khumaari mein lab tak bhare
tere honthon ki thirkan
gaalon ki ubhran
thhodi ka til hai amol
teri thhodi ka til hai amol
meri sajni
kar le jawaani ka mol
meri sajni
kar le jawaani ka mol
gori
teri gali mein aaya saudaagar
kar le jawaani ka mol
kar le jawaani ka mol
meri sajni
kar le jawaani ka mol
meri sajni
kar le jawaani ka mol
———————————————————
Hindi script lyrics (Provided by Sudhir Kapur)
———————————————————
तेरी गली में आया सौदागर
करले जवानी का मोल
करले जवानी का मोल
मेरी सजनी
करले जवानी का मोल
मेरी सजनी
करले जवानी का मोल
तेरी ज़ुल्फें रहीं हैं मचल
तैने कीन्हे हैं नागन के बल
तेरे अबरू ने तलवार तानी है अमदार
नैना रह मुंह से बोल
तेरे नैना रह मुंह से बोल
मेरी सजनी
करले जवानी का मोल
मेरी सजनी
करले जवानी का मोल
गोरी
तेरी गली में आया सौदागर
करले जवानी का मोल
करले जवानी का मोल
मेरी सजनी
करले जवानी का मोल
मेरी सजनी
करले जवानी का मोल
तेरी बिंदी पे डाली नज़र
गोया सूरज रहा हो निखर
तेरे सुरमे की धार
फूटी छाती के पार
गई चितवन कलेजे को छोल
गई चितवन कलेजे को छोल
मेरी सजनी
करले जवानी का मोल
मेरी सजनी
करले जवानी का मोल
गोरी
तेरी गली में आया सौदागर
करले जवानी का मोल
करले जवानी का मोल
मेरी सजनी
करले जवानी का मोल
मेरी सजनी
करले जवानी का मोल
तेरे गालों के दोनों घड़े
तेरे गालों के दोनों घड़े
हैं खुमारी में लब तक भरे
हैं खुमारी में लब तक भरे
तेरे होठों की थिरकन
गालों की उभरन
ठोड़ी का तिल है अमोल
तेरी ठोड़ी का तिल है अमोल
मेरी सजनी
करले जवानी का मोल
मेरी सजनी
करले जवानी का मोल
गोरी
तेरी गली में आया सौदागर
करले जवानी का मोल
करले जवानी का मोल
मेरी सजनी
करले जवानी का मोल
मेरी सजनी
करले जवानी का मोल
Le chal ri saagar paar
Posted on: November 13, 2018
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
|
Blog Day : |
3770 | Post No. : | 14744 | Movie Count : |
4030 |
Kikubhai Desai who was the producer-director of many successful stunt films during 1930s and early 40s, may not be known to most of the present generation movie buff or even immediate preceding generation. However, if it is revealed that he was the father of Manmohan Desai, the producer-director of many block buster films during 1960s through 1980s, some of the movie enthusiastic especially the movie fans of Manmohan Desai, may develop interest in knowing Kikubhai Desai.
I first came to know about Kikubhai Desai in one of the old issues of ‘Filmindia’ magazine about 5 years back as a producer/director of a stunt film( I have forgotten the name of the movie). While covering rare songs from films of 1930s and 40s during 2015, I came across the information that Kikubhai Desai was the father of Subhash and Manmohan Desai ! This revelation generated interest in me to know about him in detail. In my article posted in the Blog about 2 years back, I had made a brief mention about the filmy career of Kikubhai Desai. Thereafter, I lost track and did not pursue the subject further.
Recently, while flipping through the pages of January 1942 issue if ‘Filmindia’ magazine, I came across a small news about the sudden death of Kikubhai Desai on November 26, 1941 when he was giving finishing touches to his comedy film ‘Sheikh Chilli’ (1942). This reminded me of my unfinished work to get Kikubhai Desai’s life profile and his filmy career more vigorously than before.
Kikubhai B. Desai (1902-26/11/1941) was born in Sandalpur (now in Navsari district of Gujarat) in an Anavil Brahmin family. Not much is known about his educational background. In 1925, Kikubhai Desai joined as Manager in Jupiter Film Company which was soon taken over by Nanubhai Desai, (father of actress Bindu), one of the two founders of Sharda Pictures, the other being Bhogilal Dave.
However, Nanubhai Desai retired from the partnership in Sharda Pictures and decided to join hands with Ardeshir Irani to set up Sagar Films (Later renamed as Sagar Movietone). Due to some last minute disagreement, Nanubhai Desai withdrew from Sagar Films before it was set up and started Saroj Pictures (later renamed as Saroj Movietone in 1931). He made Kikubhai to handle the film distribution in Punjab and Bangalore branches for Saroj Pictures.
In 1929, Kikubhai visited Bangalore (Bengaluru) and met Haribhai Desai, the proprietor of Surya Film Company who was also his relative. At that time, Surya Films was making its first silent film ‘Raj Hriday’. Haribhai told him that if he has come to enjoy only the colourful world of film industry, he would be sent back home. If he was prepared to work hard and learn the nuances of the film making, he will put him in production department. So Kikubhai started his work from the production department.
When ‘Raj Hriday’ was completed, Kikubhai Desai was made in charge of publicity department. Although compared to production department, publicity department was not a high profile work at that time. Kikubhai felt that he would miss working among the hero-heroines of the films with lot of activities and fun on the set. However, in the absence of any other work opportunity, he reluctantly accepted the change of work. Kikubhai tried new way of publicity for ‘Raj Hriday’ (1929). He got printed a large quantity of attractive pamphlets of the films and got them dropped from the plane in Mumbai. Such publicity was done for the first time. Kikubhai’s novelty in the publicity of the film impressed Haribhai so much that he made him Manager of his Bombay (Mumbai) distribution office.
In Mumbai, Kikubhai’s novel way of publicity of ‘Raj Hriday’ had a positive impact on the film which became a hit. Producers from other banners started giving him contract for the publicity of their films. He did this work for about 2 years during which time he had earned sufficient income to establish his own film production company, Paramount Films and the Paramount Studio at Andheri East in 1931. The banner produced its first silent film, ‘Fauladi Pahelwan’ (1931). Jayant Desai directed the film with Chandrarao Kadam and Miss Nirmala in the lead. In all, Kikubhai produced 8 silent films during 1931-33.
‘Husn Ka Ghulam’ (1933) was Paramount’s first talkie film made under the banner of Saroj Movietone. Thereafter, he produced on an average 3 films every year. None of the online sources give complete list of the filmography of Kikubhai Desai. Manmohan Desai had once mentioned, among other things, that his father had produced/directed 31 talkies during 1931-41. With this vital information, I set upon preparing the filmography of Kikubhai Desai. It was not an easy task to prepare an exhaustive list of films produced by Kikubhai Desai. Sometime his name was mentioned as K B Desai or K Desai. He had also produced films under the banners of India Liberty Films/ Great India Films in addition to his main banner, Paramount Films. I had to rely on the posters/advertisements of the films for confirmations.
Following is the list of films produced by him some of which he directed:
| Sr. No. | Name of the film | Director | Banner |
|---|---|---|---|
| 01 | Husn Ka Ghulam (1933) | J P Advani | Paramount/Saroj |
| 02 | Baghdad Ka Chor (1934) | D N Madhok | Paramount |
| 03 | Hoor-E-Baghdad (1934) | R N Vaidya | Paramount |
| 04 | Chalta Purza (1934) | R N Vaidya | Paramount |
| 05 | Khooni Khanjar (1935) | R N Vaidya /Kikubhai Desai | Paramount |
| 06 | Jaadui Danda (1935) | Dwarka Khosla | Paramount |
| 07 | Tufaani Tamancha (1935) | R N Vaidya | Paramount |
| 08 | Burkhawaali (1936) | Kikubhai Desai | India Liberty |
| 09 | Laal Panja (1936) | Kikubhai Desai | Paramount |
| 10 | Farz-E-Ada(1936) | A M Khan | India Liberty |
| 11 | Bansari Baala (1936) | A M Khan | India Liberty |
| 12 | Guru Ghantal (1937) | Kikubhai Desai | India Liberty |
| 13 | Kaala Bhoot (1937) | A M Khan | India Liberty |
| 14 | Taranhaar (1937) | Kikubhai Desai | India Liberty |
| 15 | Sinhaldweep Ki Sundari (1937) | Kikubhai Desai | Indis Liberty |
| 16 | Alladdin aur Jaadui Chiraag (1938) | Nanubhai Vakil | India Liberty |
| 17 | Baanke Saanwaria (1938) | Nanubhai Vakil | India Liberty |
| 18 | Madhraat Ka Mehmaan (1938) | Kikubhai Desai | India Liberty |
| 19 | Madhu Bansari (1939) | Kikubhai Desai | Paramount |
| 20 | Sunehri Toli/Golden Gang (1939) | Kikubhai Desai | Paramount |
| 21 | Sansar Naiyya (1939) | Nanubhai Vakil | Paramount |
| 22 | Reshmi Saari (1940) | G P Pawar | Paramount |
| 23 | Golibaar (1940) | Nanubhai Vakil | Paramount |
| 24 | Sneh Bandhan (1940) | J P Advani | Great India |
| 25 | Aflatoon Aurat/ Amazon (1940) | Kikubhai Desai | Paramount |
| 26 | Akela (1941) | Pessi Karani | Great India |
| 27 | Mere Raja (1941) | T S Mani | Paramount |
| 28 | Circus Ki Sundari/Circus Queen (1941) | Balwant Bhatt | Paramount |
| 29 | Sheikh Chilli (1942) | Kikubhai Desai | Paramount |
This list has been vetted by Harish Raghuvanshi ji, the Film Historian who added 4 films to this list making it 29 out of 31 mentioned by Manmohan Desai. The remaining 2 films may be the ones which were under production at the time of Kikubhai Desai’s death in 26/11/1941. Incidentally, for ‘Dashavatar’ (1951) produced under the banner of J K Films and directed by Jayant Desai, the name of Kikubhai Desai has been mentioned as producer. This may be one of the two unfinished films of Kikubhai Desai which may have been taken over by J K Films with new cast and crew.
From the titles of the films listed above, it is clear that Kikubhai Desai specialised in producing mainly stunt films. He seems to have shifted to producing romantic/social films like ‘Sneh Bandhan’ (1940), ‘Akela’ (1941) and a comedy film ‘Sheikh Chilli’ (1942).
I have noted from the star cast of the films produced under the banners of Paramount Films, India Liberty Films and Great India Films that Gohar Karnataki, Miss Pokhraj, Miss Moti, Shiraz, Gulab, Shankar Vazare, Navinchandra, Dalpat, Sardar Mansoor etc were the main actors. Damodar Sharma was the music director for as many as 23 films out of 29 films listed above.
As mentioned earlier, during the final touches to the film ‘Sheikh Chilli’ (1942) which was produced and directed by Kikubhai Desai, he collapsed and died of rupture in appendix on November 26, 1941 at the age of 39.
The sudden death of Kikubhai Desai created a void in his film production companies, Paramount Films and India Liberty Films/Great India Films. At the time of his death, besides ‘Sheikh Chilli’ (1942) which was at the editing stage, two more films were under initial stages of productions. All the works came to a standstill. His two sons, Subhash Desai and Manmohan Desai and a daughter were minors. With heavy liabilities and debts, Kikubhai’s wife decided to sell their big bungalow in Varsova with a fleet of cars and other assets of the film production companies except the Paramount Studio at Andheri (now Filmalaya Studio). She leased the Paramount Studio to Shiraz Ali Hakim on a monthly rental of Rs.500/- for the sustenance of the family. After selling the bungalow, the entire family shifted to Khetwadi in South Mumbai.
‘Circus Ki Sundari’ aka ‘Circus Queen’ (1941) was released on November 28, 1941 (2 days after the sudden death of Kikubhai Desai, the producer of the film) in Mumbai at Super Talkies. The film was directed by Balwant Bhatt. The star cast included Miss Moti, Jal Merchant, Gulab, S L Puri, Bose, Dhulia, A. Karim, Agha, Rekha etc.
The film was shot inside a real circus with its complete paraphernalia of artists and the wild animals. Probably, it was for the first time in India that a film was shot in the actual lions and tigers cages of a circus. Miss Moti must be a courageous girl do the shooting in the midst of lions and tigers. The story of the film runs more or less on the same lines which has been used in many stunt films of that time.
There is a weak King (S L Puri) who has a popular younger brother-prince named Pratap (Jal Merchant). There is a good prime minister and a wicked woman called Shyama Devi (Gulab) who lives with the King. Lastly, there is a gang of ruffians to complete the ingredients for a stunt film.
A circus is camped in the King’s capital in which an artist named Sundari (Miss Moti) acts with wild animals including lions and tigers. King is impressed with Sundari and wants her to be his mistress. He assigns this task to his henchmen. It so happens that Prince Pratap, King’s brother accidentally meets Sundari and they fall in love.
Now comes a third angle in the guise of Shyamla Devi who though lives with the King but likes to flirt with Prince Pratap. She hatches a plot to overthrow the King but on each occasion, the wise prime minister frustrates her efforts. So it is a three-way war for the supremacy – the King and his henchmen for bringing Sundari for him, Prince Pratap and Sundari to turn their love into a marriage and Shymala Devi and her ruffians to overthrow the King. All the three groups work simultaneously to achieve their respective goals. The end result is that Shyamla Devi dies in a large pot of burning oil. prince Pratap gets Sundari with the blessings of the King. The prime minister becomes victorious. [Paraphrased from the review of the film published in January 1942 issue of ‘Film India’ magazine].
The film had 10 songs which were written by P L Santoshi and A Karim. But the division of the songs between the two lyricists is not known. All the songs were set to music by Khan Mastana.
I present the first among 10 songs ‘le chal ri saagar par naiyya’ from the film ‘Circus Ki Sundari’ (1941). The song is sung by actor-singer Miss Moti.
With this song, ‘Circus Ki Sundari/Circus Queen’ (1941) makes a debut in the Blog.
Acknowledgements:
———————–
1. I am grateful to Harish Raghuvanshi ji for providing me with the material on the early life and filmy career of Kikubhai Desai. He also sent me the scanned copies of the 3 pages from the Gujarati book ‘Sapna Na Saudagar’ written by Vitthal Pandya. He also helped me in updating the list of talky films produced/directed by Kikubhai Desai.
2. ‘Manmohan Desai’s Enchantment of the Mind’ by Connie Haham. Some pages were available online through Google Books in which Manmohan Desai talked about his father and their early days in Khetwadi (South Mumbai).
3. ‘The Advent of Sound in Indian Cinema’ by Virchand Dharamsey – published in the ‘Journal of the Moving Image’ as a research article (Pages 22 to 49).
Audio Clip:
Song-Le chal ri saagar paar (Circus Queen)(1941) Singer-Miss Moti, MD-Khan Mastana
Lyrics
le chal ri saagar paar
naiyya
le chal ri saagar paar
saagar paar sunhari duniya
saagar paar sunhari duniya
rehti sada bahaar
roop jawaani raaja raani
roop jawaani raaja raani
mil gaayen malhaar
mil gaayen malhaar
naiyya
le chal re saagar paar
chalna haule haule
naiyya
chalna haule haule
beech bhanwar na dole
chalna haule haule
naiyya
chalna haule haule
beech bhanwar na dole
sang na khewanhaar
sang na khewanhaar
le chal ri saagar paar
naiyya
le chal ri saagar paar
naiyaa
le chal ri saagar paar
This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3769 | Post No. : | 14743 |
“Anmol Ratan”(1950) was directed by M Sadiq for Jaimini Dewan Productions, Bombay. The movie had Meena (Shorey ?), Karan Dewan, Gope, Gulab, Madan Puri, Nirmala etc in it. The movie had eleven songs in it. Nine of these songs have been covered in the past.
Here is the tenth song from “Anmol Ratan”(1950) to appear in the blog. This song is sung by Nirmala devi. D N Madhok is the lyricist. Music is composed by Vinod.
Only the audio of the song is available. Nirmala devi(mother of Govinda) appeared in the movie so it can be assumed that the song was picturised on her. Moreover, the lyrics suggest that it was a mujra song. So it is a mujra song picturised on Nirmala devi
Song-Koi kah do balamwa se ut nahin jaaye(Anmol Ratan)(1950) Singer-Nirmala devi, Lyrics-D N Madhok, MD-Vinod
Lyrics
koi kah do balmva se ut nahin jaaye
koi kah do balmva se ut nahin jaaye
jit jaayike more tan aag lagaaye
jit jaayike haan jit jaayike
ho jit jaayike
more tan aag lagaaye
koi kah do balmva se ut nahin jaaye
koi kah do
daaman mere mein daal na duniya ki daulaten aen
haan
de daulaten unhen
jo inhen pa ke khush rahen
apni to maang ek hai
bolo to hum kahen
maangoon main sainya ji ka pyaar mil jaaye haaye
maangoon main sainya ji ka pyaar mil jaaye
koi kah do balmva se ut nahin jaaye
koi kah do balmva se ut nahin jaaye
jit jaayike more tan aag lagaaye
jit jaayike haan jit jaayike
ho jit jaayike
more tan aag lagaaye
koi kah do balmva se ut nahin jaaye
koi kah do
meri bala se abr ho saawan ki jhadi ho o o
haan aan
shabnam ke motiyon mein kali jhoom rahi ho
meri nazar ke saamne nazaara wahi ho
naynon mein nayna daal piya muskaaye haaye
nayno mein nayna daal piya muskaaye
koi kah do balmva se ut nahin jaaye
koi kah do balmva se ut nahin jaaye
koi kah do
Sundar sundar taaron
Posted on: November 11, 2018
This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
|
Blog Day : |
3768 | Post No. : | 14742 | Movie Count : |
4029 |
“Director”(1947) was a “social” movie which was directed by S Shafaqat, M A for Dawn Films, Punjab. This by now obscure movie had Salim, Raza, Zeb Qureshi, Zahoor, Aarif, Mohini Das, Iqbal Sheikh, Hafeez etc in it.
This rare movie had nine rare songs in it. It is known that the movie had two lyricists (Tufail Hoshiyarpuri, Aziz Kashmiri) and two music directors (Fateh ali Khan and Pt Lachchiram). HFGK is silent about the singers of the song.
Mr Girdharilal Vishwakarma, a renowned record collector, has recently uploaded a song from this movie. According to him, this song is sung by Zeenat Begam and it is composed by Fateh Ali Khan. The lyricist is not known.
I have not been able to get one (may be more) word right in the lyrics. I request our readers with keener ears to help fill in the blanks/ suggest corrections as applicable.
With this song, “Director”(1947) makes its debut in the blog.
Song-Sundar sundar taaron (Director)(1947) Singer-Zeenat Begum, MD-Fateh Ali Khan
Lyrics
Sundar sundar taaron
Sundar sundar taaron o o
Sundar sundar taaron
Sundar sundar taaron
meethhe meethhe geet suna kar
kirnon ka sangeet suna kar
meethhe meethhe geet suna kar
kirnon ka sangeet suna kar
birhan ke ae ae ae ae
birhan ke dukhiyaare man par
agni baan na maaro o o o
Sundar sundar taaron o o
Sundar sundar taaron
Sundar sundar taaron
tum aakaash
tum aakaash ke rahne waale
tum aakaash ke rahne waale
sukh saagar mein bahne waale
sukh saagar mein bahne waale
mere beete huye sapnon ka
mere beete huye sapnon ka
ab tum roop na dhaaro o o
Sundar sundar taaron o o
Sundar sundar taaron
Sundar sundar taaron
?? tumhaara saath tumhaare
rehta hai din raat
?? tumhaara saath tumhaare
rehta hai din raat
?? hamaara kabhi na poochhe
aa kar man ki baat
?? hamaara kabhi na poochhe
aa kar man ki baat
apni raah sidhaaro o o
Sundar sundar taaron o o
Sundar sundar taaron
Phir aayi hai deewaali
Posted on: November 7, 2018
This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3764 | Post No. : | 14737 |
Today (7 november 2018) is Deewaali, the festival of lights. It is the biggest festival in India, and it has kept on becoming bigger and bigger with time.
For the blog, it happens to be our eleventh Deewaali. Unblievable but true that this blog has lasted this long and has in fact gone on to evolve and progress as well.
We have discussed all the well known Deewaali festival songs during the previous ten occasions. The aricles accompanying these songs may have covered the festival from several angles. Some articles have dscussed the history of the festival, while others may have touched its financial worth.
In my discussion the last year, I had opined that our worship of Goddess Laxmi can succeed only if we have worshipped Goddess Saraswarti and Lord Viswwakarma, whose festivals come earlier in the year. By worship, I meant not the symbolic worship but following the spirit behind the worship.
For instance, worshipping Goddess Saraswati means acquiring quality education and skills, and business knowhow, while worshipping Lord Vishwakarma means putting all that acquired education, skill and knowedge to use into providing quality goods and services that can be traded. These commercial activities bring you money, viz Laxmi, and that too without necessarily worshippng her symbolically during Deewaali festival. Look at the prosperous nations of the West and far east. They worship Goddess Saraswati the right way (stressing on high quality education) and worship Lord Vishwakarma (creating vast industrial infrastructure). Little wonder then that they are blessed by Goddess Laxmi throughout the year, and not just on the occasion of Deewaali.
A good number of Indians on the other hand are scarcely blessed by Goddess Laxmi, and I have already given the reasons above. Most Indians do not invest on acquiring useful skills because that is hard work. Indians somehow try to avoid working hard and hope to move ahead through short cut methods. When it comes to dealing with other humans, these short cut methods are bribes, sycophancy, sifaarish and other forms of corruption, which may bring “results” for the individuals but in the long run it proves counterproductive for society and the nation as a whole. No country in the world has ever progressed to become a prosperous nation by adopting short cup methods. I have been doing a lot of studies off late on the topic of economy where I have looked at the nations that were poor like India in the past but have now become prosperous. They have done so by adopting the right policies, which involved quality education, healthcare etc, adopting business friendly policies and enforcement of discipline and rule of law.
India is on the right track I feel, but the number of people blessed by Goddess Laxmi in India can increase only if we sincerely and seriously worship Goddess Laxmi and Lord Vishwakarma as the advanced Western and Far Eastern countries do. India does not have much time left to squander. India has another one decade or so to get its act together. If Indians can ensure quality education and have skilled employable manpawer and the right infrastructure and policies during the next one decade then Goddess Laxmi will begin to favour Indians like she favours the West and Far East nations. The vast manpower (then the biggest in the world, overtaking China), if educated and trained properly would be an asset for the nation. India cannot afford to fail here because failure means this vast population, if not employable, would then become a burden on the nation.
How to harness manpower for national development is a vast subject and I will cover it in some future date. Right now, people are in festival mood and most of them have more immediate pressing issues to worry about rather than long term issues like progress of the nation.:)
One important immediate issue that people worry about on the eve of Deewaali is- will I get leave to go home. 🙂 If somehow he/she manages to get leave, then the next worry is- trains are going crowded, how will I be able to reach home for festival. Indians, as is their wont, cannot help but look for short cuts here too. Ticket is wait listed. No problem. I will do something. So, a few days ago, I find an unsolicited whatsapp good morning message on my official mobile number. A few hours later, the person comes to the point. My son is employed in Mumbai. He has to come home to me for deewaali. He is wait listed. Here are the details. My take- I do not even know, who is this person, moreover, I am not based at Mumbai.Train is from A to B. I am based at C. This stranger wants me to go out of my way and help him. I am a soft hearted man by default, so I decide to help. I give the details to a staff of mine to be sent to concerned person in Mumbai, while telling him that I do not know who this person is. My staff is of the view that this person, going by his location must have obtained this number from the kid of my predecessor, who stays in this location B. OK, let us help him even if he is a stranger to me. So the requisition for emergency quota goes to Mumbai. On the date of journey, Mumbai office honours the request and allots a berth against emergency quota to the person. So this person is able to go to his parents during festival. Happy ending. Claps.
What about me and my family ? No such luck. I am based in eastern UP. My wife is a state government employee in MP. MP is going to assembly polls later in the month. Model code of conduct is in force in MP. So state government employees will not be given leave from now till the elections are over. So, unlike previous years, my wife and daughter will not join me for Deewaali at my place. First time ever for me to be away from my family during Deewaali. It happens. Elections are important. Country’s fate hinges on them. My wife often nags me to try and get myself posted in MP. Easier said than done, I tell myself sotto voce. Moreover, I feel that I am making a real contribution in the development of this place. It may look idealistic, but I feel that the nation will develop only if the backward areas of the nation, viz UP and Bihar develop. It is the duty of all people, including those from outside UP and Bihar, to help in the cause. I sincerely and seriously believe that I am adding my mite in this important work of nation building. I keep all these idealistic thoughts to myself of course. I do not think my wife will understand these sentiments. 🙂
Since all low hanging fruits, viz popular Deewaali songs, have already been plucked on past occasions, we are left with Deewaali songs that are obscure ones.
Here is an extremely obscure Deewaali song. It became available on YT when our own My Saradand Kamath uploaded it sometime back. The song is from “Badi Baat” (1944).
“Badi Baat” (1944) was produced and directed by Mazhar Khan for Mazhar Arts, Bombay. The movie had Swarnlata, Ulhas, Yakub, Mazhar Khan, Moti, Gulab, Khaleel, Madhusudan, Lalita, Mishra, Saguna, Ram Marathe, Baby Roshan, Chandra etc in it.
There were nine songs in this movie. Two songs from the movie has been discussed in the past.
Only The name of Kusum Mantri is mentioned in HFGK though the song seems to have at least another female voice, plus chorus. Swami Ramanand is the lyricist. Music is composed by Feroz Nizami.
Only the audio of this melancholic song is available. I request our knowledgeable readers to throw light on the movie as well as on the picturisation of this song.
I may have been unable to get a few words right in the lyrics. I request our readers with keener ears to help fill in the blanks/ suggest corrections as applicable.
I take this opportunity wish everyone a very happy, prosperous and safe deewaali.
Song-Phir aayi hai deewaali (Badi Baat)(1944) Singer-Kusum Mantri, Lyrics-Swami Ramanand, MD-Feroz Nizami
Lyrics
Phir aayi
Phir aayi
Phir aayi hai deewaali
deewaali
deewaali
deewaali
deewaali
Phir aayi hai deewaali
khushi se naach rahe hain naina
deep jale har oar
khushi se naach rahe hain naina
deep jale har oar
kaisi sundar rain hai pyaari
kaisi sundar rain hai pyaari
ho na iski bhor
kabhi bhi
ho na iski bhor
laut ke waapas na jaayen
ye ?? bulaane waali
ye ?? bulaane waali
ye ?? bulaane waali
Phir aayi hai deewaali
deewaali
deewaali
deewaali
deewaali
phir aayi hai deewaali
dil ke sainyyaan ghar mein naahin
dil ka manwa dole
dil ke sainyyaan ghar mein naahin
dil ka manwa dole
jaise khewaiyya ke bin naiyya
jaise khewaiyya ke bin naiyya
khaati hai hichkole
jaise khewaiyya ke bin naiyya
jaise khewaiyya ke bin naiyya
khaati hai hichkole
jin ke sainyyan ghar mein hain
wo chaal chale matwaali
jin ke sainyyan ghar mein hain
wo chaal chale matwaali
wo chaal chale matwaali
wo chaal chale matwaali
phir aayi hai deewaali
deewaali
deewaali
deewaali
deewaali
phir aayi hai deewaali
khushi se naach rahe hain naina
deep jale har oar
jaise sundar rain hai pyaari
ho na iski bhor kabhi bhi
ho na iski bhor
laut ke waapas na jaaye ye
raat(?) bulaane waali
ye raat(?) bulaane waali
ye raat(?) bulaane waali
phir aayi hai deewaali
deewaali
deewaali
phir aayi hai deewaali
This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3762 | Post No. : | 14735 |
“Jwaar Bhaata”(1944) was directed by Amiya Chakravarty for Bombay Talkies. The movie had Mridula, Shamim, Agha Jaan, Dilip Kumar, P F Pithawala, K N Singh, Mumtaz Ali, Arun Kumar, Vikram Kapoor, Jagannath Arora,Naseem Lodhi, C J Pandey, Khaleel etc in it. The movie is today remembered as the debut movie of Dilip Kumar.
The movie had ten songs in it. For some reason I thought that this movie was already YIPPEED. My be I confused it with some other movie. Only three songs from the movie have been discussed so far.
Here is the fourth song from “Jwaar Bhaata”(1944) to appear in the blog. This song is a calling the beloved song which is sung by Parul Ghosh. Pt Narendra Sharma is the lyricist. Music is composed by Anil Biswas.
Only the audio of this song is available. I request our knowledgeable readers to throw light on the picturisation of this song.
Some words in the lyrics are not clear. I request our readers with keener ears to help fill in the blanks/ suggest corrections as applicable.
Song-More aangan mein chhitki chaandni (Jwaar Bhaata)(1944) Singer-Parul Ghosh, Lyrics-Narendra Sharma, MD-Anil Biswas
Lyrics
More aangan mein chhitki chaandni
haan chaandni
ghar aaja sajan
More aangan mein chhitki chaandni
haan chaandni
ghar aaja sajan
chhedi koyal ne
chhedi koyal ne preet ki raagini
meethhi raagini
chhedi koyal ne preet ki raagini
meethhi raagini
ghar aaja sajan
More aangan mein chhitki chaandni
haan chaandni
ghar aaja sajan
More aangan mein chhitki chaandni
chanda more ang jalaaye ae
chanda more ang jalaaye
preet ki jwaala
preet ki jwaala
?? ??
chanda more ang jalaaye
kumhlaaye ho kumhlaaye ae
kumhlaaye piya bin shaalini(?)
haan shaalini(?)
ghar aaja sajan
More aangan mein chhitki chaandni
haan chaandni
ghar aaja sajan
More aangan mein chhitki chaandni
kheli sajan sang neend nigodi
kheli
haa haa
kheli sajan sang neend nigodi
tadpat nikle man ki ??
??
sajan sang neend nigodi
ho o o o o
main bani teri bairaagini
bairaagini ee
More aangan mein chhitki chaandni
haan chaandni
ghar aaja sajan
More aangan mein chhitki chaandni ee ee ee
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