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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 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 : 3831 Post No. : 14839

Today’s song is from a film Jagriti-1949. This film was made by Veerendra Chitra. The director was Manohar Ghatwai. Music was by K. Narayan Rao and the Lyricist was Indeevar. The cast of the film was Ravikant, Mohana Cabral, Omkar Devaskar, Lalita Rao, Leela, Jal khambata, chemist etc etc.

From the list of 7000 odd actors who worked in Hindi films, during the period 1931 to 2000, if you divide them into grade A, B and C class artistes, you will find that about 350 (5%) actors may come in A grade-i.e. Hero/Heroines- about 1000 (15%) may come in B grade- support actors/ character artistes- and the balalnce 5600 (80%) may fall in C grade- smaller roles. It is true that not all those who join films will shine but the small time actors, who thronged the film cities like Bombay had their own dreams.Most had their dreams shattered and they had to settle for whatever was served to them.

The Mayanagari, sometimes showed its Maya. It picked up unsuspecting souls and bestowed upon them the fame and a name as Leading actors, singers, Directors ,Lyricists or whatever in films. Thus, a scholarly young man, standing in a bus queue in Madras is picked up and made a Hero of more than 40 films as ” Ranjan”. It also made an onlooker of shooting from the crowds of a studio, the famous and rich Hero of more than 50 films as ” Motilal”. An ordinary Motor Mechanic becomes a well known film Director in various languages and is called ” Sarvottam Badami’. A poor motor mechanic working is a garage becomes All India famous poet-Lyricist and Producer Director called ” Gulzar.” The same Maya made a casual singer in Hindu Colony,Dadar in Bombay a famous playback singer of repute, when her singing is heard by a passing Music Director Hanuman prasad, just by chance. She was known as ” Geeta Dutt”. There are many such examples.

There are many such number of ” Accidental Stars’, but the same Maya also scuttled the Golden chances of capable aspiring small timers to become big stars. Atleast two glaring examples are known. one is very well known to many, but the other is hardly known to anyone. Mehboob Khan was almost selected as Hero of India’s First Talkie film ” Aalam Ara”-31. Even suitable costumes for him were also made ready, but then Maya played the trick and his name was pushed back, in favour of the more famous Master Vithal, to cover up the possible risk of the failure of the First talkie, which was an experiment. Nevertheless Mehboob Khan became a significantly notable producer, director and studio owner of India.

The other case how Maya scuttled the chances of fame, name and career of a small time actor who was on the verge of becoming a big star, is not known to most people. Now, take a look at the cast of today’s film ‘ Jagriti’-49, as mentioned above, in the first paragraph of this post. Do you find a name Omkar Devaskar ? Well, this is his story….

Omkar Devaskar was born in 1911 in MP (Central provinces then). After his schooling, he ran away to Bombay to seek employment and got a job as an ‘ Assistant’ in Imperial Film company. His job was to do any work given to him. The salary was Rs.20 pm. When he saw the film shootings, he had an urge to act in films. One day, he asked Ardeshir sheth about it and he started getting uncredited small roles in silent films.

Imperial company decided to make a Talkie First time in India,mainly because of Dadasaheb Torne (Ramchandra Gopal Torne). It was he who prompted Irani to be the first in India to make a Talkie. Torne was his Manager for both Jyoti studio and Imperial Film Company. Torne was also an agent for Cinema Equipment imported from England and Germany. Torne imported Sound recording equipment and the company sent a German Engineer to explain and teach the technique to Indian technicians.

They first wanted to test the sound recording machine by recording and filming a song. Who would sing ? No one was ready to become the sacrificial goat. Irani saw Omkar and asked him to sing before the machine. A terrified Omkar lamely protested, but he had no choice. Ultimately he was ‘ made up’ and the recording and filming started. Omkar sang a Thumri, ‘ Pyare Rasia Bihari’. Everybody present, including Irani, were stunned with the sweet voice and the ease of his singing style. It came off extremely well. About 500 feet film was shot flawlessly. Irani was so much impressed, that he toyed with the idea of giving Omkar the first song in film Aalam Ara. Maya swiftly went to into action. Unfortunately the recording was not saved, otherwise it would have been the first film song to be filmed and Omkar the First ever singer actor to do so. But Alas ! This is called the stroke of misfortune ! Destiny had slated this honour for W.M.Khan.

Missing this chance, anyway, Omkar became an actor and singer. His first talkie film was Imperial’s ” Sati Anusuya “-33. He a sang 3 songs in film ” Noor E Imaan “-33, besides acting in it. Omkar acted in about 30 films in all. His last film was perhaps, Rangeeli-52. He sang 14 songs in 6 films. His last song came in today’s film Jagriti-49. Omkar was a regular actor in many Marathi films too.

Today’s song is sung by Freni Shroff and Yeshwant Bhatt. No information whatsoever is found about this singer Freni. A cursory look at HFGK indicates that possibly she sang only in this film.

YASHWANT BHATT was son of shri Nageshwar Bhatt. He was born at Madhavpur in Gujarat. Since his father was a singer of Haveli Sangeet, Yashwant started singing quite early. His first guru was Kashigar and later on it was Padubhai who actually developed Yashwant as a singer. He always gave credit to his guru Padubhai. Yashwant’s voice was very soft and sweet. It was ideal for singing emotional songs and Bhajans. He was an extremely good natured and helpful person. Soon his name became known for his sweet Bhajans.

He was ambitious to become a Play back singer in Hindi films. He came to Bombay at the age of 20 years. First he got opportunity to sing in chorus in the Circo production film songs. In 1941,he sang Bhajans on Mumbai Radio. Side by side he sang in Hindi films. In all he sang about 25 songs in 13 Hindi films. The films were Khooni Laash-43, Katil-44, Black and white-44, Royal Mail-46, Dhokhebaaz-46, Namak-47, Kismetwali-47, White face-48, Billi-49, Jiyo Raja-49, Jagriti-49, Veer Ghatotkach-49 and Actor -51.

Out of these 13 films, 9 films had music by K. Narayan Rao. Yashwant was his pet singer. Narayan Rao was mainly a composer for C grade and stunt films. His films never became famous, consequently Yashwant too was neglected and never came into limelight. Actually, with other composers, Yashwant had done duets with Naseem, Uma Devi, Sulochana Kadam, Kusum Mantri, Husn Bano, Leela Mehta, Sheela, Rohini Rai, Putlibai, Freni Shroff etc, but in spite of his sweet voice and good singing, he remained neglected by major composers. As a result he could not achieve much success in Hindi films.

This was compensated to a great extent by his Bhajan singing. He lost his father and had to return to Madhavpur. One Mr. Gijubhai was Assistant station Director of Rajkot Radio station. He invited Yashwant to sing bhajans on Rajkot radio. Soon his Bhajans became a rage and he became a very popular Prabhatiya singer. He mainly sang poems of Ganga Sati,Paan bhai and Narsi Mehta etc. He spent a long time singing bhajans. He was made an A class singer on Radio. His name was taken along with famous singers of Gujarat ,like Mohanlal Rayani, Kannubhai Barot, Dula Bhagat etc etc. Due to his good nature he got many friends here. One of them was Ratubhai Adani.

He also sang some songs in Gujarati films. Due to his hectic schedules, he neglected his health and contracted T.B. But he continued his work. when his condition became bad his friend Shri Ratubhai Adani admitted him to Keshod T.B.Hospital.

Yashwant Bhatt died of severe T.B. The news of his death on 27-10-1977 was a shock to his friends, relatives and Bhajan lovers of Gujarat.

His younger brother Harish Bhatt, who was an ardent fan of Saigal also tried to sing in Hindi films. I could trace only one of his songs in the film Kinara-1949. Yashwant Bhatt’s children also carried forward his singing legacy.

There were 9 songs in film Jagriti-49. One song is already discussed. There were all unknown singers like Omkar Devaskar, Lalita Rao, Sanjeevani Pai and Freni Shroff. only Yeshwant Bhatt was a known name. The song is better than average.

( I have used information from Music beyond boundaries by Ashok Ranade and Marathi Cinema in Retrospect by Sanjit Narwekar, MuVyz,HFGK and my own notes, for this write up.)


Song- Nayi nayi pehchaan re (Jaagriti)(1949) Singers- Freni Shroff, Yeshwant Bhatt, Lyrics-Indeewar, MD-K Narayan Rao
Both

Lyrics

ee ee ee
nayi nayi pehchaan re
nayi nayi pehchaan
ee ee ee
nayi nayi pehchaan re
nayi nayi pehchaan

jaan liya aankhon ne tumko
o o
o o o o
jaan liya aankhon ne tumko
dil hai abhi anjaaan
dil hai abhi anjaan
ee ee ee
nayi nayi pehchaan re
nayi nayi pehchaan
ee ee ee
nayi nayi pehchaan re
nayi nayi pehchaan

sama gaye nainon mein naina aa
nigaahon se mil gayin nigaahen aen
sama gaye nainon mein naina aa
nigaahon se mil gayin nigaahen
jaise milti hain do nadiya
jaise milti hain do nadiya
jaise milti hain do raahen
jaise milti hain do raahen

aen aen
aane lage armaan dilon mein
ban kar ke mehmaan
ee ee ee
nayi nayi pehchaan re ae
nayi nayi pehchaan

prem ke path mein bichhe huye hain aen
phool kahin pe
kahin pe kaanten ae

prem ke path pe bichhe huye hain
phool kahi pe
kahin pe kaante

dhoondh lo aisa jiwan sathi
dhoondh lo aisa

jiwan sathi
jo dukh kaate sukh ko baante
jo dukh kaate sukh ko baante

haan aan aan
preet nibhaana bada kathhin hai
hota na aasaan
ee ee ee
nayi nayi pehchaan re
nayi nayi pehchaan

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This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 : 3830 Post No. : 14837

Mohammed Rafi – Duets – ‘अ’  से  ‘ह’ तक  (From ‘अ’ to ‘ह’) – 31
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –

‘व’ – वो तो चुटकी में दिल लेके चलते हुये ॰ ॰ ॰

– – – –

याद ना जाये, बीते दिनों की. . .

So difficult it is to forget, the days that have gone by. Yes, you voice remains with us to be heard, just as a consolation.

– – – –

In a departure from the pattern in this series so far, today I am presenting an all male duet. As I was searching for a song starting with ‘व’, I came across this very interesting song from the 1950 film ‘Shaadi Ki Raat’. This one is a male-male duet in which Rafi Sb’s voice is accompanied by that of Raja Gul. And this made me think. I checked back on the songs posted so far in this series, only to find that I have only been posting male-female duets. Then, as I scanned the list of songs, I came across so many male-male duets. And I was asking myself – does that mean another series? I don’t know. Let’s wait and see.

This film has 12 songs listed as per HFGK, eight of which are penned by Sarshaar Sailaani, with other songwriters identified as Firoz, Surjeet and Nazim Panipati having contributed one song each. One song is unattributed as far as songwriter is concerned. Music is by Pt Gobind Ram. Two songs of this film are already showcased on our blog. Today’s song is from the pen of Sarshaar Sailaani.

The film is a social drama produced under the banner of Prakash Pictures and is directed by Yashwant Pethkar. List of actors is given as Geeta Bali, Rehman, Vijaylakshmi, Leela Mishra, Jankidas, Ansari, Shanta Kunwar, Baby Durga, Anwari Bai, and Arun. Given this list of actors, it may be surmised that this song would have been picturized on Rehman and another male actor. Names that figure are Jankidas, Ansari (could that be NA Ansari??), and Arun (possibly Arun Ahuja??), but I am not ready to hazard a guess. I would request other knowledgeable readers and friends to please add more information about this song and the film, if available.

The song tells of a young heart, that has recently been stolen by a femme fatale. The pilferage seemed to have happened in a jiffy, and the aggrieved party, whose heart is stolen, was just left surprised. A fun song in which one friend is describing this episode to another, and the other also joins in and tries to give some worldly advise. But alas, the laments of woe do not cease as the robbed victim continues to bemoan

wo to chutki mein dil le ke chalte huye
reh gaye hum yahan haath malte huye

Song – Wo To Chutki Mein Dil Le Ke Chalte Huye  (Shaadi Ki Raat) (1950) Singer – Mohammed Rafi, Raja Gul, Lyrics – Sarshaar Sailaani, MD – Pt Gobind Ram
Mohammed Rafi + Raja Gul

Lyrics 

wo to chutki mein dil le ke chalte huye
haaye chalte huye
wo to chutki mein dil le ke chalte huye
haaye chalte huye

wo to chutki..ee mein dil le ke
chalte huye..ae
aur reh gaye hum yahaan
reh gaye
hum yahan
haath malte huye
haath malte huye
wo to chutki mein dil le ke chalte huye
haaye chalte huye

wo hamen
aur hum
un ko takte rahe
aankh milti rahi dil dhadakte rahe
aankh milti rahi dil dhadakte rahe
aur paanv sambhale na
paa..aanv
sambhale na zaalim phisalte huye
haan phisalte huye
wo to chutki mein dil le ke chalte huye
haaye chalte huye

ik balaa ho gai
dillagi aap ki
aur baaz aaya main
tauba
tauba mere baap ki..ee..ee
aur raat kat’ti hai
kat’ti hai naa
arey par kaise
kaise
raat kat’ti hai karwat badalte huye
haan badalte huye
raat kat’ti hai karwat badalte huye..ae..ae
haaye raat kat’ti hai karwat badalte huye
lekin wo to
o wo to chutki mein dil le ke chalte huye
haaye chalte huye
wo to chutki mein dil le ke chalte huye
haaye chalte huye

dekho bhai
jaate jaate
mohabbat ka rang jaayega
aate aate
tabiyat ko chain aayega
aur bhai der lagti hai
haan
der lagti hai dil ko sambhalte huye
haan sambhalte huye
wo to chutki mein dil le ke chalte huye
haaye chalte huye

haa..aaye
kyon kya hua
haa..aan
ishq ne jis musibat mein daala hamen
us musibat se padta na paala hamen
arre bhai soch lete
kya soch lete
soch lete jo ghar se nikalte huye
haan nikalte huye
soch lete jo ghar se nikalte huye
haan nikalte huye
wo to chutki mein dil le ke chalte huye
haaye chalte huye. . .

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

वो तो चुटकी में दिल लेके चलते हुये
हाए चलते हुये
वो तो चुटकी में दिल लेके चलते हुये
हाए चलते हुये

वो तो चुटकी॰॰ई में दिल लेके
चलते हुये॰॰ए
और रह गए हम यहाँ
रह गए
हम यहाँ
हाथ मलते हुये
हाथ मलते हुये
वो तो चुटकी में दिल लेके चलते हुये
हाए चलते हुये

वो हमें
और हम
उनको ताकते रहे
आँख मिलती रही दिल धड़कते रहे
आँख मिलती रही दिल धड़कते रहे
और पाँव संभले ना
पा॰॰आँव
संभले ना
ज़ालिम फिसलते हुये
हाँ फिसलते हुये
वो तो चुटकी में दिल लेके चलते हुये
हाए चलते हुये

इक बला हो गई
दिल्लगी आपकी
और बाज़ आया मैं
तौबा
तौबा मेरे बाप की॰॰ई॰॰ई
और रात कटती है
कटती है ना
अरे पर कैसे
कैसे
रात कटती है करवट बदलते हुये
हाँ बदलते हुये
लेकिन वो तो
ओ वो तो चुटकी में दिल लेके चलते हुये
हाए चलते हुये
वो तो चुटकी में दिल लेके चलते हुये
हाए चलते हुये

देखो भाई
जाते जाते
मोहब्बत का रंग जाएगा
आते आते
तबीयत को चैन आएगा
और भाई देर लगती है
हाँ
देर लगती है दिल को संभलते हुये
हाँ संभलते हुये
वो तो चुटकी में दिल लेके चलते हुये
हाए चलते हुये

हाए॰॰
क्यों क्या हुआ
हाँ॰॰
इश्क़ ने जिस मुसीबत में डाला हमें
उस मुसीबत से पड़ता ना पाला हमें
अरे भाई सोच लेते
क्या सोच लेते
सोच लेते जो घर से निकलते हुये
हाँ निकलते हुये
सोच लेते जो घर से निकलते हुये
हाँ निकलते हुये
वो तो चुटकी में दिल लेके चलते हुये
हाए चलते हुये॰ ॰


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 : 3830 Post No. : 14836

“Safar”(1946) was directed by B Mitra for Filmistan Limited, Bombay. This “social” movie had Shobha, Kanu Roy, V H Desai, S L Puri, Rajendra, Chandrika, Harun, Mumtaz Banu, Satyanarayan etc in it.

The movie had ten songs in it. Seven of these songs have been covered in the past.

Today is the 101st birth anniversary of C Ramchandra (12 january 1918- 5 January 1982)
Here is the eighth song from “Safar”(1946) to appear in the blog. This song is sung by Shamshad Begam and C Ramchandra. Gopal Singh Nepali is the lyricist. Music is composed by C Ramchandra.

Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of the song.

I have not been able to get a few words righ in the lyrics of the song. I request our readers with keener ears tohelp fill in the blanks/ suggest corrections as applicable.


Song-Kabhi chupke se ratiyaa mein aaiho raaja jee (Safar)(1946) Singers- Shamshad Begam, C Ramchandra, Lyrics-G S Nepali, MD- C Ramchandra

kabhi chupke se aaiho
kabhi chupke se aaiho
kabhi chupke se ratiyaa mein aaiho raaja jee
kabhi chupke se ratiyaa mein aaiho raaja jee
aaiho raaja jee
phir na jaiho raaja jee
aaiho raaja jee
phir na jaiho raaja jee
kabhi chupke se ratiyaa mein aaiho raaja jee

baadal aayen ghir ghir jaayen
wo din mein bijli kadkaayen
baadal aayen ghir ghir jaayen
wo din mein bijli kadkaayen
raaja mere mauj udaayen
ham to ro ro bain ganwaayen
din bhar na chain paayen
aise kab tak karejwa dukhaiho raaja jee
aise kab tak karejwa dukhaiho raaja jee

oonchi ataari meri
sooni phulwaari meri
duniya hai nyaari meri
aaja ?? teri
raaja kariyo na deri
oonchi ataari meri
sooni phulwaari meri
duniya hai nyaari meri
aaja ?? teri
raaja kariyo na deri
aaiho aaiho
?? raaja jee
aaiho aaiho
?? raaja jee

chaandni raat mein
sirhaane chaand ho

chaandni raat mein
sirhaane chaand ho
phoolon ki sej pe
tu mere saathh ho
galey mein haathh ho
aankhon aankhon mein baat ho

zara dheere se batti bujhaiho raaja jee
zara dheere se batti bujhaiho raaja jee


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 : 3829 Post No. : 14834

Today’s song is from the film Nai Duniya-42. The film was made by Circo productions of Chimanlal Trivedi and was directed by A R Kardar, with music by Naushad Ali.

Naushad was my favourite composer. Having come up from scratch to the zenith of popularity and fame, he had put in lot of hard work in early days of his career. Naushad may or may not be the best Composer the HFM ever had, but he certainly was a good example of Rags to Riches story of Filmy Duniya. He rose from the footpath and became one of the most successful composers ever in Hindi Films. Added to this was his good nature, Lucknowi Tahzib and hard work. This made him a man with least enemies ( competitors-yes, but enemies-No ) and on whose name alone films were sold during his peak period.

Naushad was the only composer on whom 6 Documentaries were made. A student Ms.Mala Sinha secured her Ph.D., making Naushad as a subject of her research. Starting with Rs.40 a month, Naushad was the First to demand and get Rs.ONE LAKH per film and was also the first composer to build his own Bungalow in a posh locality of Bombay with a Music room for doing rehearsals.

When he was on the Top, a trailer of film “Dastaan”-1950 featured Naushad on the screen showing crowds shouting ” 40 karod mein ek hi Naushad “. Such was his saleability that A R Kardar, who had always used Naushad for his own gains, was forced to make Naushad his partner in producing films under their banner ” Musical Pictures .

Naushad was undoubtedly the most successful composer HFM ever had. Out of the 65 films that he did in Hindi, 50% had celebrated jubilees. This is a record unmatched so far. His tally was 3 Diamond Jubilees ( Rattan, Baiju Bawra and Mughal-e-Azam ), 6 Golden Jubilees ( Mela, Andaz, Deedar, Aan, Mother India and Gunga Jamuna ) and 23 Silver Jubilees (Station master, Sharda, Namaste, Sanjog, Pehle aap, Kanoon, Keemat, Sanyasi, Anmol Ghadi, Shahjehan, Natak, Dard, Anokhi Ada, Dillagi, Dulari, Babul, Dastaan, Jadoo, Diwana, Udan Khatola, Kohinoor, Mere Mehboob and Ram aur Shyam ).

Naushad was the First winner of Filmfare Award in 1954 for a song in Baiju Bawra. The Award Ceremony was held in Broadway Theatre, Bombay. Ironically, it was bang opposite this Theatre that Naushad had spent his struggling days and Nights on the Footpath ! Naushad recieved several cherished Awards like Dadasaheb Phalke Award, Padma Bhushan, Lata Mangeshkar award, Maharashtra Bhooshan award, Sahitya and Natak Academy award, Saraswati Award, the IFJ and BFJ awards and scores of other awards.

His first 4 films ( Premnagar-40, Kanchan-41, Mala-41 and Darshan-41), however, were with unimpressive music. From the film Sharda-42, his Luck started changing and then there was no looking back at all for the next 25 successive years. This is exceptional talent and unbelievable Luck.

I see 2 reasons which made him successful. One was his hard work. He never ever compromised on rehearsals and however big the singer was (read Lata) he/she had to come to his Music room for rehearsals on a song for at least 7 to 8 days. He never recorded a song unless he was satisfied fully. Secondly, Naushad had tremendous faith and liking for Indian Classical music, which he used extensively in his songs. Almost all his songs had a classical base and he proved that classical music can be made entertaining for the masses, who could not make a difference between 2 Ragas, but would like his simple and hummable tunes. Very rarely his songs were difficult to hum or sing in the bathroom. He always selected singers based on their suitability for the songs.

After a draught of success, Naushad entered the year 1942. Nai Duniya was his 5th and final film before he began his Success Marathon of jubilees. Out of the 3 films in 1942, his other two films Sharda and Station Master celebrated Silver jubilees. It was only this film-Nai Duniya-which did not celebrate a Jubilee, but this film was no less important and it was a Milestone in the history of HFM.

It was in this film that noted actress singer Suraiyya sang her First recorded film song,as Baby Suraiya ( Boot karoon main polish). I have been seeing that there is a lot of confusion about the Debut song of Suraiya as a playback artiste.

Some people claim that the song ‘ Boot karun mai polish’ from film Nai Duniya-1942 is her first song as a Playback singer and some people claim that the song ‘ Panchhi jaa peechhe raha hai bachpan mera’ from film Sharda-1942 is her debut song as a playback singer.
Naushad himself,in one of the interviews , had said that the Nai Duniya song was her first recorded song as a playback singer.
However, Naushad saab is only partly correct. No doubt this song was recorded earlier ( No. N-26055) and the Sharda song was recorded later (No. N-26099).

Both the films were censored in 1942 only. However film Sharda was released first on 23-1-1943 at Minerva Talkies in Bombay, whereas Nai Duniya was released only on 24-4-1944 at Majestic Talkies in Bombay.

Therefore, the Debut song of Suraiya, as a Playback singer is undoubtedly the Sharda song,namely ‘ Panchhi jaa,peechhe raha”.
Only when a song is released on screen , it is called a Debut song, irrespective of when it was recorded.
The dictionary meaning of “to Debut” is- to perform in public for the first time. Since Sharda song was shown to public first, it becomes Suraiya’s Debut song as a Playback singer.

The song from Nai Duniya-“Boot karoon main polish” at best can be called as “the first recorded song for playback”. The Debut song ‘Panchhi jaa peechhe raha’ was posted by Atul ji on 21-2-2011 here.
( Release dates received with thanks from shri Harish Raghuwanshi ji)

This was also the first movie in which Kardar and Naushad came together. Kardar,in fact, was so much impressed with Naushad’s work style, that he decided to employ Naushad, in Kardar Productions ( which he was about to start soon), as a paid composer for Rs. 500 pm. Naushad,on his part, was very happy that he got into a job, which would ensure a sure income every month.

Later this pair gave film after films successfully. Naushad worked with Kardar for 14 films, excluding films made under the banner of Musical Pictures-in which Naushad was an equal partner with Kardar. Nai Duniya was a Circo production ( Cine Industries Recording Company, owned by Chimanlal Trivedi) and Kardar was only a Film Director for this company. Soon this Circo came up for sale. Kardar bought it to start his production company. He also established a studio in the premises. Kardar made a contract with Naushad for 5 years,but he was allowed to work outside,though the first priority would be Kardar films. Even otherwise also,Naushad restricted his films to 2 to 3 per year,as his style of working needed a long time for rehearsals.

Naushad became a household name all over India after Rattan-44 However he worked in 4 films that year (Rattan,Geet,Jeevan and Pehle Aap.) Similarly in 1949 also he did 4 films (Dillagi, Andaz,Chandni Raat and Dulari). He did only one film each in a few years like for instance- in 1940-Premnagar, 45-Sanyasi, 53-Udan Khatola, 57-Mother India, 58-Sohni Mahiwal, 61-Ganga Jamuna, 62-Son of India, 63-Mere Mehboob , 64- Leader and in 70- Ganwaar.

Nai Duniya-42 was the First ever film produced by Naushad. Later,of course, he made few more films,though he was never at ease as a Producer. For Nai Duniya-42, singer G M Durrani was his chief Musical Assistant. The film cast was Shobhana Samarth,Mazhar Khan, Jairaj, Wasti, Azurie, Jeevan, Ram Awtar etc. Not many readers may know much about old actor Mazhar Khan ( there was another Mazhar Khan in 70s/80s). He was one of the most versatile actors who shifted from Hero’s roles to character roles easily. In Hindi films, the name Khan has always been present in plenty. From Wazir Mohd.Khan of Alam Ara-1931 to Shahrukh Khan of today, there were more than 50 Khans acting in Hindi films.

Mazhar Khan was born in 1907 in the princely state of Dhar in M.P. After Matriculation, he joined Police force due to his build and height, but soon he was fed up and resigned. He straightaway headed for Bombay looking for work in films. Director Durga Prasad Mishra took him in Imperial studio and he did about 19 Silent films starting with Challenge-1929. When Talkie films started, he went to Calcutta, joined New Theatres and worked with K L Saigal in ‘Subah ka Sitara’-1932. For East India Film co.,he did ‘ Ek din ka Baadshah-33’and Raat ka raja-34 in which he did 8 roles in the film. After a few more films, he returned to Bombay and worked in Ranjit and Minerva Movitone films. His career best role came in 1941 in Shantaram’s Padosi, in which he did the famous role of Hindu Friend Thakur, while Gajanan Jagirdar did the role of his Muslim friend. In the prevailing tense communal atmosphere in the country those days,this film was hailed as a milestone depicting life long friendship of a Hindu and a Muslim.

In 1942, he turned Director and did Meri Duniya-42, Yaad-42, Badi Baat-44, Pehli Nazar-45, Dil ki Duniya-49 etc. His noteworthy films were Noorjehan-32, Bharosa-40, Padosi-41 and Ulzan-42. This role was that of a Blind singer-like K C Dey. His last film was Usha Kiran-52. He died on 24-9-1950, before its release.

When you hear today’s song, first time after 1940,you will find that there is melody and Taal in this song. As if there was a transformation, from 1942 onwards, Naushad’s music underwent a sea change. No wonder,in those days people found these songs had easy tunes and a certain melody in them. Naushad’s journey towards success and popularity began with 1942 films.

Film Nai Duniya had 11 songs. 8 songs are already discussed here. Today’s song is the 9th song. This film had 3 songs exclusively by chorus. This was something most unlike Naushad’s style seen in later years. Naushad would have songs sung by 2-3 or even 4 singers( as in Mother India-57) at a time ,but at no time were there any chorus songs in his films exclusively. May be in this film he tried to emulate Anil Biswas who had a penchant for chorus songs in his films. In one of my earlier posts, I have discussed about the chorus songs of Anil Biswas. After this film,something happened to Naushad and suddenly from his next film Sharda-42, he started giving Hit films. These are some of the unexplained wonders of Hindi films. Here is the song….


Song-Bolo chhoom chhananan chhananan chhai (Nai Duniya)(1942) Singer-Male Voice 1, Male Voice 2, Male Voice 3, Male Voice 4, Male Voice 5, Lyrics-A Shah Aziz, MD-Naushad
Chorus

Lyrics

bolo chhoom chhananananana chhai
bolo chhoom chhananananana chhai
chhachhachhai chhachhachhai chhachhachhai
chhachhachhai chhachhachhai chhachhachhai
chhai
hamen bhaabhi ji aa ko mil gayi chhachhachhai
hamen bhaabhi ji aa ko mil gayi chhachhachhai
bolo chhoom chhananananana chhai
bolo chhoom chhananananana chhai

ab aayegi roz mithhaai re sajanwa
aayegi roz mithhaai
hum khaayenge prem se bhaai
hum khaayenge prem se bhaai
kaho maine ye kaisi baat kahi
kaho maine ye kaisi baat kahi
o bolo chhoom chhananananana chhai
chhachhachhai chhachhachhai chhachhachhai
chhai
hamen bhaabhi ji aa ko mil gayi chhachhachhai
bolo chhoom chhananananana chhai

bhabhi apni chhe sudar naari
ji waa waah
bhabhi apni chhe sundar naari
teri soorat chhe ghani pyaari
teri soorat chhe ghani pyaari
ta’ta thai ta’ta thhai ta’ta’ta’ta’ta’ta’thai
ta’ta thai ta’ta thhai ta’ta’ta’ta’ta’ta’thai
bolo chhoom chhananananana chhai
chhachhachhai chhachhachhai chhachhachhai
chhai
hamen bhaabhi ji aa ko mil gayi
bolo chhoom chhananananana chhai

jab petha patise aayenga
o dear jab petha patise aayenga
well hum bhi to khoob khaayenga
well hum bhi to khoob khaayenga
haa haha haaha haha hahahai
haa haha haaha haha hahahai
bolo chhoom chhananananana chhai
chhachhachhai chhachhachhai chhachhachhai
chhai
hamen bhaabhi ji aa ko mil gayi
bolo chhoom chhananananana chhai

garma garam jalebiyaan makhaane ni je bindiye
garam jalebiyaan makhaane
asi khaawaange hun rabb jaane
asi khaawaange hun rabb jaane
agey mildi si saanu roti bai
agey mildi si saanu roti bai
bolo chhoom chhananananana chhai
chhachhachhai chhachhachhai chhachhachhai
chhai
hamen bhaabhi ji aa ko mil gayi
bolo chhoom chhananananana chhai

o bhai achha achha hai ye mera baani bakhaana
bhai achha achha hai ye mera baani
bhabhi mila hai ati lasaani
bhabhi mila hai ati lasaani
puiyo puiyo
khaana puiyo
khaana puiyo
khaana pui
puiyo puiyo
khaana puiyo
khaana puiyo
khaana pui
bolo chhoom chhanananana chhai
chhachhachhai chhachhachhai chhachhachhai
chhai
hamen bhaabhi ji aa ko mil gayi chhachhachhai
hamen bhaabhi ji aa ko mil gayi chhachhachhai
bolo chhoom chhananananana chhai
bolo chhoom chhananananana chhaee..ee. . .

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

बोलो छूम छ न न न न न छई
बोलो छूम छ न न न न न छई
छ छ छई छ छ छई छ छ छई
छ छ छई छ छ छई छ छ छई
छई
हमें भाभी जी आ को मिल गई छ छ छई
हमें भाभी जी आ को मिल गई छ छ छई
बोलो छूम छ न न न न न छई
बोलो छूम छ न न न न न छई

अब आएगी रोज़ मिठाई रे सजनवा
आएगी रोज़ मिठाई
हम खाएँगे प्रेम से भाई
हम खाएँगे प्रेम से भाई
कहो मैंने ये कैसी बात कही
कहो मैंने ये कैसी बात कही
ओ बोलो छूम छ न न न न न छई
छ छ छई छ छ छई छ छ छई
छई
हमें भाभी जी आ को मिल गई छ छ छई
बोलो छूम छ न न न न न छई

भाभी अपनी छे सुंदर नारी जी वाह वाह
भाभी अपनी छे सुंदर नारी
तेरी सूरत छे घणी प्यारी
तेरी सूरत छे घणी प्यारी
त त थई त त थई त त त त त त थई
त त थई त त थई त त त त त त थई
बोलो छूम छ न न न न न छई
छ छ छई छ छ छई छ छ छई
छई
हमें भाभी जी आ को मिल गई छ छ छई
बोलो छूम छ न न न न न छई

जब पेठा पतीसे आएंगा
ओ डीयर जब पेठा पतीसे आएंगा
वैल हम भी तो खूब खाएंगा
वैल हम भी तो खूब खाएंगा
हा ह ह हा ह ह ह ह ह हई
हा ह ह हा ह ह ह ह ह हई
बोलो छूम छ न न न न न छई
छ छ छई छ छ छई छ छ छई
छई
हमें भाभी जी आ को मिल गई छ छ छई
बोलो छूम छ न न न न न छई

गरमा गरम जलेबियाँ मखाने नि जे बिंदिए
गरम जलेबियाँ मखाने
असी खवाङ्गे हूण रब्ब जाने
असी खवाङ्गे हूण रब्ब जाने
अग्गे मिल्दी सी सानु रोटी बई
अग्गे मिल्दी सी सानु रोटी बई
बोलो छूम छ न न न न न छई
छ छ छई छ छ छई छ छ छई
छई
हमें भाभी जी आ को मिल गई छ छ छई
बोलो छूम छ न न न न न छई

आ भाई अच्छा अच्छा है ये मेरा बाणी बखाना
भाई अच्छा अच्छा है ये मेरा बाणी
भाभी मिला है अति लासानी
भाभी मिला है अति लासानी
पुईओ पुईओ
खाना पुईओ
खाना पुईओ
खाना पुई
पुईओ पुईओ
खाना पुईओ
खाना पुईओ
खाना पुई
बोलो छूम छ न न न न न छई
छ छ छई छ छ छई छ छ छई
छई
हमें भाभी जी आ को मिल गई छ छ छई
हमें भाभी जी आ को मिल गई छ छ छई
बोलो छूम छ न न न न न छई
बोलो छूम छ न न न न न छई॰॰ई॰ ॰ ॰



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 : 3824 Post No. : 14827

“Manzoor”(1949) was directed by Subodh Mitra for New Theatres, Bombay. The movie had Asit Baran, Bharati, Chhabi Biswas, Chandrawati, Bhupendra Kapoor, Latika, Aditya Ghosh, Asita Bose, Tulsi Chakravarty, Manorama, Jharna, Master Khurshid, Ram Pyari, RP Kapoor, Prem Kumari, Shaukat Shah etc in it.

The movie had six songs in it. Three of them have been covered in the past.

Here is the fourth song from “Manzoor”(1949) to appear in the blog. This song is sung by Ila Ghosh. Pt Bhushan is the lyricist. Music is composed by Pankaj Mullick.

Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of the song.

I have not been able to get one (may be more than one ) word right in the lyrics. I request our readers with keener ears to help fill in the blanks/ suggest corrections as applicable.


Song-Wo din na rahe raaten na rahin (Manzoor)(1949) Singer-Ila Ghosh, Lyrics-Pt Bhushan, MD-Pankaj Mullick

Lyrics

Wo din na rahe ae ae
raaten na rahin
apne bigde begaane
sab sukh ke saathi chhoot gaye
dukh aaya hamen manaane ae ae
armaanon ki ik bagiya thhi ee
armaanon ki ik bagiya thhi
har daal pe sukh ka jhoola thha
har kali madhur muskaati thhi
har phool khushi se phoola thha
ik halki ee ee ee
ik aisi ulti hawa chali
toote sab sapne suhaane
apne bhi huye begaane

aasha thhi
aasha thhi jeewaan saagar se
munh maange moti paayenge
dil dil ii bhaasha samjhega
nainon ko nain lubhaayenge
ab dil ki ee ee
ab dil ki ye dukh bhari kahaani gaaun
?? jise sunaaun
apne bhi huye begaane


This article is written by Bharat Upadhyay, 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 : 3823 Post No. : 14826

Today, Jaunuary 5th is 37th death anniversary of our dear Chitalkar Ramchandra. How can we miss our Anna Saheb today from our musical Blog, ASAD?

So here is a song from 1949 film “Namoona”, sung by the undisputed Gaan Saraswati, Hema Hardikar.

A social film produced by M & T Films, Bombay, (for those who wonder at this name, a little info that the city Mumbai was called ‘Bombaay’ then.) and directed by Heera Singh, the cast included Kamini Kaushal, Dev Aanand, Kishore Sahu, Leela Chitnis, Cuckoo Moray, Gulab, Pratima Devi, Madan Puri, Heera Sinha, Shyama, Shanti Madhok, Sanyal, Narmada Shankar, S Bose, Niranjan, CP Dixit, CL Shah, Gopal Sharma, Madan Shetty, BN Avasthi, Swartha, Malhotra and others.

There were six Lyricist viz, PL Santoshi, Nakhshab, A Shah Shikarpuri, Gulshan Jalalabadi and Raja Mehdi Ali Khan. Music was set by our Anna Saheb Chitalkar Ramchandra. There were nine songs, 4 Hemaji’s solos one duet of Hema-Rafi and 4 songs by Shamshad Begum. Six songs are already present in our Blog.

On the occasion of 37th remembrance anniversary of C Ramachandra, I have selected a pathos filled song of my liking which is a rare song with GOOD taste. The song is ‘mujh ko sazaayen deke kisi ke gunaah ki’ from Namoona 1949. The song is sung by Hema. The lyrics are penned by Raja Mehdi Ali Khan. The composition is melodious.

Editor note-Those who wonder who Hema Hardikar is, that is the original name of Lata Mangeshkar. 🙂

Video (First stanza incomplete)

Audio (Last stanza missing)

Song-Mujhko sazaayen de ke kisi ke gunaah ki (Namoona)(1949) Singer-Lata, Lyrics-Raja Mehdi Ali Khan, MD-C Ramchandra

Lyrics (Provided by Sadanand Kamath)

Mujhko sazaayen de ke kisi ke gunaah ki ee
bhagwaan toone kyun
bhagwaan toone kyun
meri duniya tabaah ki
Mujhko sazaayen de ke kisi ke gunaah ki ee
bhagwaan toone kyun
bhagwaan toone kyun
meri duniya tabaah ki
mujhko sazaayen de ke

nanhe se ek dil ko diye toone gham pe gham
nanhe se ek dil ko diye toone gham pe gham
is zindagi ki raah mein ab thhak gaye kadam
main dhool bhi na ban saki preetam ke raah ki ee
bhagwaan toone kyun
bhagwaan toone kyun
meri duniya tabaah ki
mujhko sazaayen de ke

ab kya kahoon ke dard se main choor choor hoon
ab kya kahoon ke dard se main choor choor hoon
mujhko in aansuon ki kasam bekusoor hoon
tujhko pukaare bebasi meri nigaah ki
bhagwaan toone kyun
bhagwaan toone kyun
meri duniya tabaah ki ee
mujhko sazaayen de ke

duniya mein ab mere liye koi khushi nahin
duniya mein ab mere liye koi khushi nahin
jeene ko jee rahi hoon magar zindagi nahin
ab maut se karoongi main soorat nibaahti(?)
bhagwaan toone kyun
bhagwaan toone kyun
meri duniya tabaah ki
mujhko sazaayen de 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 : 3822 Post No. : 14821

Today’s song is from film Wafa-50. The film was made by Good luck Pictures and directed by the veteran expert J.P. Advani. For this film, there were two Music Directors- Vinod and Bulo C Rani. For 11 songs, there were 4 Lyricists. Today’s song is written by Aziz Kashmiri, sung by Shamshad Begum and composed by Vinod. The cast of the film was Karan Dewan, Nimmi, Bipin Gupta, Shyama, Bimla, Anwari, Gope, Yaqub, Cuckoo etc etc. One of the most often seen in films of the 50s but least written about artiste was Bipin Gupta.

Bipin Gupta was born in a Bengali family on 27th August 1905 in Meerut, the 5th child of his parents- Trailokya Nath Gupta and Khemankari Devi.They later moved to Barrackpore. He attended the Chinsura Training School and the Barrackpore Government High School. He was married to Annapurna Devi.

Gupta’s first Bengali film was Chokher Bali directed by Sotu Sen in 1938. Throughout his career he had worked on almost 300 films ( Bangla and Hindi), though only played the hero once, in the film Noori-1934. It was produced by Durga International Films, Calcutta. His Heroine was Sheela Devi. It was a flop movie.

He started working in Radio in 1934 and by 1936 he became a professional stage artist. He stayed for 30 years in Bombay to establish himself in Bollywood. His first film Shri Ramanuj came in 1943 at Calcutta. His last film was in 1979 at Bombay.

In 1964 he produced the film Daal Me Kala, directed by Satyen Bose and starring Nimmi, Kishore Kumar and Abhi Bhattacharya.The film took almost 4 years to make. Bipin Gupta worked in 128 Hindi films. He did 60 films in a period of 10 years-between 1950 and 1960, which is a very high average of one film every 2 months for 10 years !

He generally did the roles of Zamindar, teacher, father, Grandfather etc. All character roles. His voice was very good. Once, in Madras,while shooting for film “Teen Bahuraniya” at Gemini Studios, Prithviraj Kapoor lost his voice, for some time. Bipin Gupta dubbed all his film dialogues.

He died on 8th September 1981 in Calcutta. His son married Kajri- the daughter of Sailesh Mukherjee, actor,singer and composer. She too was an actress.

In Hindi films, for the first 10-15 years of the Talkie era, there were no separate dancers. The Heroines were expected to sing as well as dance, if need be. Somehow, dance was not an essential part of cinema ( except Mythological to some extent), till Azuri and Cuckoo came on the Horizon. It was almost from the mid 40s, the dancers became prominent and dance sequence became a Must in all films.Even in social films, the dance situations were created to include a dance. In crime stories, a Moll was usually a dancer. Azuri was perhaps the lone exclusive female dancer in films of the late 30s. By mid 40s, came Cuckoo and by mid 50s, it was Helen all the way for the next 20 years or so.

Cuckoo Moray, (4th February 1928 – 30th September 1981) was an Anglo-Indian dancer and actress. Cuckoo was the queen of film dancing in Hindi cinema of the 1940s and 1950s. Though unfamiliar in name, she was known as the “rubber girl” of Hindi cinema and her talent made cabaret dancing a must in the Bollywood films during the 1940s and 1950s. She could acrobatically bend her body at great length.

Cuckoo started appearing in films from mid forties. She was seen as a background dancer in film Meghdoot-45. Cuckoo made her screen debut in the film Arab Ka Sitara in 1946. Soon after, in Sona Chandi-46, directors and greater audiences noticed her dancing abilities for the first time. One of her dances in film Parwana-47 with suggestive lyrics to the song was considered vulgar enough to get banned from the film. Then, the turning point in Cuckoo’s career was in Mehboob Khan’s films. Her dance number in his film Anokhi Ada (1948) established her as the lead dancer of the era and in Andaz(1949), a romantic drama starring Nargis, Dilip Kumar, and Raj Kapoor, gave the dancer an opportunity to display her acting skills. In Mehboob Khan’s 1952 technicolor film Aan, which was her first colour film, she had a brief cameo in a dance sequence. She only appeared in 2 colour films in her career- Aan & Mayurpankh. She would charge Rs 6,000 for a dance number, an enviable fee in the 50s.

Usually she is credited with bringing into films 2 Anglo Indian brothers Tony (Krishna kumar) and Robert (Surya kumar). However, Azuri later claimed that it was she who brought them into films from an orphanage and trained them. Dancers first, both became Choreographers of repute later.

Cuckoo remained the best dancer in Hindi films until dancers such as Helen and Vyjayanthimala came into the industry. Cuckoo was a family friend of the Anglo-Burmese dancer and actress Helen. She was also known for helping unknown actors get their break in Bollywood, such as Pran in Ziddi. Cuckoo had introduced a 13-year-old Helen into films as a chorus dancer in films such as Shabistan and Awaara (both 1951). Cuckoo and Helen most notably appeared in song and dance sequences together, such as in Chalti Ka Naam Gaadi(1958) and Yahudi (1958). Her last film appearance was in Mujhe Jeene Do in 1963 after which, she had disappeared from the film industry. She was a Heroine in film Sona Chandi-46, under the name Kishori, but due to her faulty Hindi and pronunciation, she could not continue as a Heroine. She appeared in 155 films and and 67 songs were shot on her.

Cuckoo, the legendary cabaret queen of the Bollywood was one of those film stars who lived ostentatiously, spent extravagantly and died broke and penniless. Her three cars (one for her use, one for taking her dogs for a drive, and the other often used to summon protégée Helen to play with her sister), her flats and whatever jewellery she had, were all taken away because the dancer had evaded income tax. She would charge Rs 6,000 for a dance number, an enviable fee in the ’50s. Cuckoo died of cancer at the age of 52; during her last days she could barely afford to buy painkillers. “She never thought of security, of tomorrow,” Helen recalls. “But what a tremendous lady she was! There wasn’t even a tear in her eye, even when the roles stopped, when the money disappeared. Instead she’d joke about her plight. Some actors did help but it was too late, much too late.”

Cuckoo died on 30 September 1981 due to cancer at the age of 53. She was forgotten and unattended by the film industry at the time of her death. (adapted from wiki,MuVyz, book ‘Edwina’ and cineplot).

I started seeing films since my early childhood in the late 40s. I was lucky enough to see many films of the 30’s too, in their second or third runs. By the early 50s, most films from the 30s were gone but almost all films of the 40s were still available.

English, Hindi, Marathi, Telugu or Kannada- language was no bar as far as watching movies of these languages was concerned . Those were the days when 78 RPM records used to be played by Hotels on gramophone. This helped me to hear the latest songs. In the 1960s Posh hotels had Juke Box. Soon it became common and Juke Boxes were seen everywhere. You needed just a coin of 4 Annas to listen to your desired song on it. Usually 4 songs in a row were lined up and they could all be listed to by putting 4 coins in it.

I liked Shamshad Begum songs from the beginning. Uneducated but immensely talented Shamshad was the reigning queen of the HFM in the 40s and till about ’55. Her seniors and co-singers bowed out, but she continued-first with C. Ramchandra, then with Naushad and later with O P Nayyar. Her Luck began to run out in 1950s and all the composers who previously supported her left her and started using the rising singing stars. From 1949 onwards, C Ramchandra was totally devoted to Lata, Naushad too had realised that the new crop of Heroines wanted only Lata and so he quietly went for her and O P Nayyar-when he found a soulmate in Asha, he simply forgot Shamshad and Geeta. So much for the “professional” composers !

In my opinion, two things went against Shamshad. One, in the early phase of Hindi cinema, the story lines of the films used to be very strong. Consequently, songs were inserted considering the need of the plot and to enhance the value of music in the film. As a result, songs were given to side Hero/heroines, special dancers or character roles. Naturally Shamshad sang for artistes other than the Heroines. The singing Heroines sang their own songs. If an analysis is done, it will be seen that till about early 50s, 70% songs in a film were sung by artistes other than the Lead pairs.

It was only after the new crop of Hero/Heroines came and when they realised ( particularly Dev Anand, for example) that songs can help them become popular, they started demanding more songs on them in the films. Slowly,the ratio reversed and after 1955-56, 80% of songs were picturised on the Lead pairs and the rest-if any-on others. Thus singers like Shamshad, who sang for all and sundry found her singing opportunities dwindling. In those days, Lata, very cleverly, chose to sing only for the Heroines and according to her, for all ‘others ‘ there were Asha, Geeta and Shamshad. This badly affected Shamshad’s career.

Secondly, when Lata came on the scene, the older generation female singers like Ameerbai, Zohrabai etc were already on the wane. Only Geeta and Shamshad were left. Geeta got all songs of Guru Dutt films. Additionally,the Bengali lobby of Burman, Hemant, Salil and A Biswas was in her support. Shamshad had no one to back her up. It was Naushad, who first indicated that he had tilted towards Lata, when Lata sang all songs of Andaz-49 for the heroines and Shamshad sang only for Cuckoo. Next was C Ramchandra, when he fired Shamshad in front of the orchestra players when she could not sing to his satisfaction. She was so much hurt that she closed her song book and walked out. Normally, C Ramchandra would have apologised soon after, but this time nothing like this happened and Shamshad understood that everything was finished. ( Shamshad, however,in a later day interview denied that anything like this had happened). In case of O P Nayyar, in one of the interviews he gave in 2003 to Dr. Mandar, he admitted that “his lead singer” in those days prevented “others” from singing for him.

Shamshad being too gentle and straightforward gave up the fight too meekly, in my opinion. Even her last attempt to remain in Limelight with a ‘Shamshad Stage Show’, did not bear any fruits as she did not do any follow up after that, due to her self respect.

In my opinion, Shamshad could have continued for another 8 to 10 years easily if only she had fought it out, but it was not to be and a vibrant, youthful, solid voice disappeared from the musical scene. I feel that it was not she but millions of music lovers who were the losers because of her ouster from the music scene.

Today’s Shamshad song is one of my most favourite songs. I was actually pleasantly surprised to note that this song was yet to be discussed here. Out of the 100 odd select Shamshad songs in my collection, this song is within the first top 10 songs in my Play list.Great composer Vinod and great singer Shamshad- this sangam providing such a Gem is no wonder. I am sure, you too will fall in love with this song the moment you listen to it. Enjoy….


Song-M m m m m main teri hoon (Wafa)(1950) Singer-Shamshad Begam, Lyrics-Aziz Kashmiri, MD-Vinod

Lyrics

m m m m m m m main teri hoon
m m m main teri hoon
teri hoon o raaja
m m m m m
m m m m m m m main teri hoon
teri hoon ho raaja
m m m m m main teri hoon

kaali kaali ghat khule nainon ke pat
hatt
kaali kaali ghat
khule nainon ke pat
haathon mein haath hua tera mera saath
haathon mein haath hua tera mera saath
m m m m m main teri hoon
teri hoon ho raaja
m m m m m main teri hoon

chori chori aa
mere man mein sama
o raaja
chori chori aa
mere man mein sama
tera mera pyaar hua raaja pahli baar
tera mera pyaar hua raaja pahli baar
m m m m m main teri hoon
teri hoon ho raaja
m m m m m main teri hoon

papeeha bole pee
raaja dhadke mera jee
o papeeha bole pee
raaja dhadke mera jee
ambuwa ki daali pe koyal bole yoon
ambuwa ki daali pe koyal bole yoon
kya
m m m m m main teri hoon
m m m m m main teri hoon
teri hoon ho raaja
m m m m m main teri hoon


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

Blog Day : 3821 Post No. : 14820

Nautanki (Indian Opera or Ballad) is one of the major forms of Hindi theatre which has been in vogue for over 200 years as a popular form of entertainment in the rural and semi-urban area in some parts of North India. It is believed that Nautanki originated around the present day Mathura-Vrindavan-Hathras regions in Uttar Pradesh in the forms of Raas leela, Swaang etc. Over a period of time, it become popular in Braj speaking areas such as eastern Rajasthan (Khayal, similar to Nautanki) and Northern Madhya Pradesh which are closed to the border of the western Uttar Pradesh. Later its influence got extended in the Awadh region of Uttar Pradesh and some parts of Bihar.

Initially, nautankis were staged in Brajbhasha. Later the writers used the hybrid of Hindi, Urdu and local dialects in keeping with the changing taste of the audience who were now exposed to Hindi films.

The stories for the Nautanki have come from mythology (example: Harishchandra-Taramati), history (Amar Singh Rathod), folklore (Laila-Majnu, Puranmal), romance (Pak Mohabbat), noble bandits (Sultana Daaku) and the contemporary social and political issues. The stories are depicted in both the dialogues and singing. There are two main style of Nautanki. Hathrasi style gives more preference to singing in opera style with melodic exchanges between the actors on the stage. The Kanpuri style has a mix of dialogues and fast-paced singing. Probably, Kanpuri style was influenced by the touring Parsee Theatres’ plays.

The lyrics and the tunes of the songs in Nautanki are mostly traditional having been passed on orally from one generation to the next. However, newly composed songs are also included keeping with the stories used in the Nautanki. The main musical instruments used in the traditional Nautanki were Nagada, Dholak and Harmonium. The sounding of Nagada was intimations to the people that a nautanki mandali had come to perform in the village. But by the end of 1950s, additional musical instruments like Sarangi, Clarinet etc were introduced. The modern Nautanki theatres uses Keyboards, Drums and even Guitar in keeping with the music trends.

People would be attracted to watch the nautanki if the actors had powerful voice (there was no mike those days)- both for singing and dialogues and their effective interpretations of the lyrics of the songs through the facial expressions, the hand gestures and the dances. A couple of traditional folk songs are sung by the singers-dancers in between the acts as fillers to keep the audience’s interest intact during the nautanki shows.

Nautanki had been the male-dominated form of theatre when it had bloomed in the early 20th century. But one personality who has changed this tradition in early 1930s was Gulab Bai who became the first female artist to join the male-dominated Nautanki theatre. There are more ‘firsts’ to her credit. She was the first female who owned a successful Nautanki Mandali called Great Gulab Theatre Company’. She was the first recipient among the Nautanki artists to get Sangeet Natak Akadamy Award (1985) and ‘Padma Shri’ Award from Government of India (1990). Gulab Bai is a story of a girl born in extreme poverty who rose to the status of a nationally honoured nautanki artist. Yet she died sad and disappointed as the form of nautanki which she had actively nurtured had almost vanished in front of her own eyes.

Gulab Bai (C.1920 – 13/07/1996) was born in Balpurva village in the present day Kannauj district in Uttar Pradesh. She was the eldest among the 12 siblings. Her father’s was a wanderer who would go to forest for hunting and bring home small games like rabbit and birds. He also indulged in petty pilfering like stealing from agricultural fields. Her family belonged to Bedia community where the girls were bread earners by way of street performance as singers and the entertainers to the wealthy traders and businessmen. The Bedia men-folk seldom worked. Naturally, Gulab Bai’s father encouraged her to sing and dance to add to his income. She had inclination to learn singing and dancing from her childhood as she had been brought up among the other female members of her extended family who were performing artists.

A chanced visit to a nearby town called Makanpur with her father for the Annual Urs of Madar Shah, a Sufi saint, changed the outlook of Gulab Bai to become something greater than the street singer. During the Urs, one of the visiting Nautanki Mandalis called Tirmohan Lal’s Nautanki Theatre was staging ‘Harishchandra-Taramati’. Gulab Bai watched the nautanki and was impressed by the musical presentation with actors singing and dancing. She told her father that she would be interested in joining the nautanki theatre. Those days, both male and female roles in the nautanki were enacted by males only. There was no way that Gulab Bai would be taken in any nautanki mandalis. Nonetheless, her father took Gulab Bai to Tirmohan Lal, the owner of the Nautanki.

Tirmohan Lal, first refused to take Gulab Bai as in male-dominated nautanki theatres, females had no place. However, later he relented on the conditions that Gulab Bai would be paid only for her upkeep and she would have to travel to Kanpur where they had programmes lined up for a long duration. So this was the start of Gulab Bai’s first exposure to nautanki theatre. Her father or brother accompanied Gulab Bai to Kanpur.

Initially, Tirmohan Lal gave her job of singing dadras, rasiyas and lavanis in-between the nautanki acts and scenes as fillers (something, I guess, akin to ‘item number songs’ in Hindi films). Her songs were applauded by the audience which made Tirmohan Lal to consider her for higher roles in the nautanki. Her days were spent in learning the finer nuances of nautanki music from Tirmohan Lal. She also received the training from Mohammed Khan of Hathras who was well-versed in Hindustani classical raags and nautanki music. Thus she was groomed for taking subsidiary roles in the nautanki which she did admirably.

Over a period of time, with her natural flavour for singing and dancing and the audience’s favourable response, Tirmohan Lal gave her the lead roles of Taramati in ‘Harishchandra-Taramati’, Rani Haadi in ‘Amar Singh Rathod’, Laila in ‘Laila Majnu’, Shirin in ‘Shirin-Farhad’ etc. Her tremendous success and popularity among the nautanki audience motivated other female artists to join the other nautanki theatres most of whom were from the extended family of Gulab Bai.

By early 1940s, Gulab Bai had become the topmost nautanki artists with her monthly salary rising to Rs.2000/-. Tirmohan Lal’s Nautanki Theatre had become one of the topmost nautanki theatres due mainly to the popularity of Gulab Bai. A few of the competing nautanki theatres tried to lure Gulab Bai to join them at a higher salary. But she declined the offer as her loyalty was with Tirmohan Lal. On his part, Tirmohan Lal also raised her salary in keeping with her earning capacity for his nautanki theatre.

Sometime in 1954, Gulab Bai was need of some money urgently to meet the medical expenses for one of her younger sisters who had accidentally fallen from the staircase of her haveli. Gulab Bai was in Kanpur for that night’s nautanki show. Gulab Bai requested Timohan Lal for a day’s leave and Rs.100 for the medical treatment which he refused both. This attitude of Tirmohan Lal for whom she had worked for nearly 2 decades, made Gulab Bai upset. She left Tirmohan Lal’s nautanki, arranged money from her colleagues to attend to her sister’s medical treatment. After this incidence, Gulab Bai did not perform for Tirmohan’s nautanki.

In 1955, Gulab Bai formed her own nautanki theatre called the Great Gulab Theatre Company. Her 3 younger sisters and Raja, the hero from Tirmohan Lal’s nautanki joined her. In all her nautankis, Gulab Bai continued to be the heroin while Raja acted opposite her mostly in lead roles. During this period, Raja amd Gulab Bai started living together as husband-wife though they never legally married. He was the second ‘husband’ for her, as she had separated from the first sometime in the late 1940s. In a short time, Great Gulab Theatre became an established name churning show after show based on the popular stories in the various places. At one point of time, the Great Gulab Theatre had 120 artists on its role.

Towards, the end of 1970s, the fortune of Great Gulab Theatre Company was on the decline so also of others due to declining patronage of audience. With the advent of TV, VCDs and VCRs, the new generation of audience had different expectation from the Nautankis akin to what was churned out in Bollywood films. The Government had imposed entertainment tax on Nautanki shows. At the same time, Gulab Bai was in no mood to compromise on the production value of her Nautankis.

Gulab Bai must have sung hundreds of songs during her active career in the nautanki theatres. Unfortunately, very few songs have been released on the gramophone records. So far, 16 songs have been listed as being released on 78 RPM gramophone records. Her two most popular dadras, ‘nadi naare na jaao Shyam paiyyan padoon’ and ‘moko peehar mein mat chhed baalam’ were recorded and released in the late 1940s by HMV on 78 RPM gramophone record. These dadras were often played on wedding functions. Later, she also sang these on All India Radio.

Interestingly, these two dadras were used in Sunil Dutt’s film, ‘Mujhe Jeene Do’ (1963) sung by Asha Bhonsle. These songs became more popular than the original ones sung by Gulab Bai since early 1930s due to film’s pan India reach. Lawyers of Kanpur approached her to file a case against the producer of the film for using her songs without acknowledgement and compensation. She reprimanded the lawyers by saying that these were songs from the Braj. Women of Braj had been singing these songs for ages with their dholaks. There is nothing to write or compose. These are folk songs.

I guess, the issue of copyrights which was all over the newspaper must have given an opportunity for HMV to make money by bringing out Gulab Bai’s recorded songs in public by way of a LP. In 1969, HMV released 12 songs on LP. Probably, this was a better way of earning her dues by way of royalties than fighting a case in the court.

After Gulab Bai was awarded Sangeet Natak Akadamy Award in 1985, Government began inviting her company to perform on some state functions. Even though such invitations came in few and far between, Gulab Bai preferred state patronage as it was hassle free. She received a lump sum payment without the tension of a box office failure. Also there was no pressure from the audience for the cheap entertainment. Hereafter, her company reduced the public performances and did only the commissioned performances.

Gulab Bai breathed her last on July 13, 1996 after a short illness. She left behind her two sons one of which worked with SBI as an Officer. Her two daughters, Asha and Madhu are educated and married. They are traditional Nautanki artists.

During her active days in nautanki theatres, Gulab Bai had trained many artists so as to ensure that the folk theatres strive and there is continuity in the keeping alive the tradition. One of her wishes was that the Government should set up a Nautanki Academy in Kanpur to keep alive the folk tradition of nautanki by enrolling young people as nautanki artists. Unfortunately, her suggestion was never considered. She rued this just a few days before her death in a TV interview by way of couplet from Jigar Muradabadi which she told her daughter to sing.

<em.‘yahaan insaaf kis se maangne aaye ho ‘Jigar’
chalo yahaan se ye andhon ki rajdhaani hai

I was toying with the idea of selecting one of her 12 non-film songs in the LP for presenting along with this write-up. While looking for the video clip of the song on YT, I accidentally came across a video clip of a film song ‘Dilli se mol dupatta manga do’ sung by Gulab Bai in an obscure film ‘Diwanji’ (1950). So here is that song. While the lyricist is unattributed, the nautanki type song is set to music by Sushant Bannerjee.

To the best of my knowledge, this was the only song which Gulab Bai sang for a Hindi film.
Acknowledgements:
1. Gulab Bai : The Queen of Nautanki Theatre by Deepti Priya Mehrotra (2006).
2. Nautanki – Folk Theatre: A Study of Women Performers And Audiences in Mathura, UP by Vyomika Sharma-Bhardwaj (2013).
3. ‘Ek Thhi Gulab Bai’ – TV documentary by Krishna Raghava (1996).

Audio Clip :

Song-Dilli se mol dupatta manga do (Divanji)(1950) Singer-Gulab Bai, MD-Sushant Bannerji

Lyrics

Dilli se mol dupatta manga do
manga do sainyyaa
Dilli se mol dupatta manga do
manga do sainyyaa
laakhon kahi is ne ek na maani
laakhon kahi is ne ek na maani
kaise chhipaaun mein uthhti jawaani
uthhti jawaani
kaise chhipaaun mein uthati jawaani
uthati jawaani
ab koi reet bataa do
bataa do
Dilli se mol dupatta manga do
manga do sainyyan

Dhaake ki malmal ho rang ho dhaaani
Dhaake ki malmal ho rang ho dhaani
cham cham chamkegi mori jawaani
cham cham chamkegi mori jawaani
uspe gota kinaari lagaa do
do
uspe gota kinaari lagaa do
aur malmal manga do
malmal manga do
malmal manga do
malmal manga do
Dilli se mol dupatta manga do
manga do sainyyaa
Dilli se mol dupatta manga do
manga do sainyyaa

pahan dupatta ?? raani banoongi
raani banoongi
pahan dupatta ?? raani banoongi
raani banoongi
apne dewariya se binti karoongi
apni dewariya se binti karoongi
kya
sainyyan se
haan
sainyyan se mohe milaa do
do o
sainyyan se mohe milaa do
aur malmal manga do
malmal manga do
malmal manga do
malmal manga do
Dilli se mol dupatta manga do
manga do sainyyaa
Dilli se mol dupatta manga do
manga do sainyyaa


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 :

3810 Post No. : 14806 Movie Count :

4049

My first article was posted on this Blog on 1-10-2012. Before that, for almost an year and a half, I used to post my comments on the songs posted on the Blog. In those comments, I used to give information about not only the songs, but also about the film, the cast, story. MD, Lyricist and in general any matter connected with the film or the song. For example, while commenting on a song from film Chandralekha-48, I had mentioned how Vasan made more than 100 prints of the film for its All India release and how the famous ‘ Nagara’ dance was choreographed etc etc.

Other readers gave me lot of support by liking and appreciating my informative comments. This and Atul ji encouraged me and I started writing posts on the Blog with great enthusiasm. I have always believed that Knowledge increases by sharing and indeed it did. Within a week’s time I brought up my first series on ” Less Known Singers”. Looking at the welcome it received from people in the Blog and the visitors, I continuously ran as many as 26 series of songs on selected themes.

Some themes were my favourites, like ‘ Flavour of the 30’s ‘, ‘ The vibrant 40’s ‘, ‘ Vintage Naushad “, ‘ Bhajan Mala ‘, ‘Gems from the Migrators’, and ” songs from the Artiste name films”.

One of the series was ” The Great souls of India”, which ran from 1-11-2013 to 15-11-2013, covering 10 songs. In this series I had selected songs from films on Sant Kabir, Sant Tulsidas, Sant Surdas, Sant Tukaram, Sant Dnyaneshwar, Bhakt Dhruv, Bhakt Prahlad, Narsi Bhagat, Sri Chaitanya Mahaprabhu and Jagadguru Shankaracharya.

That time I regretted that I could only include 10 ‘ Great souls ‘ in the series, when another 8 to 10 were left out. I felt particularly sad that Sant Meerabai was left out. I am making amends to that lapse now. DER AAYE DURUST AAYE. It is never too late to repair the damage. So, today’s song is from a film ” Meerabai”-47. There was yet another film ” Meera’ in 1947. Two songs from that film were already discussed here, therefore I have selected this film, which makes a Debut here.

There was one thing common in these two films on Meerabai. Both films had songs predominantly sung by just One Singer. In the film ‘Meera’-47, 17 songs out of the 18 songs were sung by its Heroine M.S.Subbulakshmi. In the film ‘ Meerabai’-47, all the 13 songs were sung by Sitarabai Kanpuri. While Meera was originally a Tamil film of 1945, dubbed in Hindi in 1947, Meerabai was a fresh film made in Hindi only. In Meera, it was a feast and delight to listen to M.S. in Hindi. Her conspicuous Hindi pronunciations were never a barrier in savouring her divine rendering. Most bhajans in her film had the traditional tunes, but in film Meerabai, the MD S.K.Pal had tried newer tunes to these Bhajans. To his credit, I must say that his attempts were praiseworthy. Just listen to today’s song and you will agree with me.

Mirabai was a great saint and a devotee of Sri Krishna. Despite facing criticism and hostility from her own family, she lived an exemplary saintly life and composed many devotional bhajans. Historical information about the life of Mirabai is a matter of some scholarly debate. The oldest biographical account was Priyadas’s commentary in Nabhadas’ Sri Bhaktammal in 1712. Nevertheless, there are many oral histories, which give an insight into this unique poet and saint of India.

Mira was born around the start of the 16th Century in the Chaukari village in Merta, Rajasthan. Her father was Ratan Singh a descendant of Rao Rathor, the founder of Jodhpur. When Mirabai was only three years old, a wandering Sadhu came to her family’s home and gave a doll of Sri Krishna to her father. Her father saw this as a special blessing but was initially unwilling to give it to his daughter, because he felt she would not appreciate it. However, Mira had, at first sight, become deeply enamoured with this depiction of Lord Krishna. She refused to eat until the doll of Sri Krishna was given to her. To Mira, this figure of Sri Krishna embodied his living presence. She resolved to make Krishna her lifelong friend, lover, and husband. Throughout her turbulent life, she never wavered from her youthful commitment.
On one occasion, when Mira was still young, she saw a wedding procession going down the street. Turning to her mother, she asked in innocence, “Who will be my husband?” Her mother replied, half in jest, half in seriousness. “You already have your husband, Sri Krishna.” Mira’s mother was supportive of her daughter’s blossoming religious tendencies, but she passed away when Meera was only young.

At an early age, Mira’s father arranged for her to be married to Prince Bhoj Raj, who was the eldest son of Rana Sanga of Chittor. They were an influential Hindu family and the marriage significantly elevated Mira’s social position. However, Mira was not enamoured of the luxuries of the palace. She served her husband dutifully, but in the evening she would spend her time in devotion and singing to her beloved Sri Krishna. While singing devotional bhajans, she would frequently lose awareness of the world, entering into states of ecstasy and trance.

Her new family did not approve of her piety and devotion to Krishna. To make things worse, Mira refused to worship their family deity Durga. She said she had already committed herself to Sri Krishna. Her family became increasingly disproving of her actions, but the fame and saintly reputation of Mirabai spread throughout the region. Often she would spend time discussing spiritual issues with Sadhus, and people would join in the singing of her bhajans. However, this just made her family even more jealous. Mira’s sister-in-law Udabai started to spread false gossip and defamatory remarks about Mirabai. She said Mira was entertaining men in her room. Her husband, believing these stories to be true, tore into her room with sword in hand. However, he saw Mira only playing with a doll. No man was there at all. Throughout these hysterical slanders, Mirabai remained unmoved by both the criticism and praise of the world.

After this experience, her family continued to torture her. They restricted her movements and sought to make her life as uncomfortable as possible. In the face of all these trials and tribulations, she remained detached from her physical suffering. There was nothing that could disturb her inner connection to Giridhara (epithet of Sri Krishna as young cowherd boy). It is said that twice her family tried to kill her, once through a venomous snake and once through poisonous drink. On both occasions, it is said Mirabai, protected by the Grace of Sri Krishna, came to no ill harm.

However, the relentless torments and hostility interfered with her life of devotion and contemplation on Krishna. She sought the advice of learned men and saints. They advised her to leave the palace and return to Brindaban. Secretly, with some followers, she slipped out of the palace and escaped to the holy city of Brindaban. In Brindaban Mirabai was free to worship Giridhara to her heart’s content. She would spend her time in singing bhajans and in ecstatic communion with Krishna. Like a true Bhakti, she worshipped God wholeheartedly. The riches of the world offered no attraction to Mirabai; her only satisfaction came from her single-minded devotion to Sri Krishna. Her soul was ever yearning for Krishna. She considered herself to be a Gopi of Vrindaban, mad only with pure love for Sri Krishna.Her devotion and spiritual magnetism were infectious.

Even learned Sadhus would come to her for inspiration. There is a story of one respected Spiritual Master, who refused to speak to Mirabai because she was a woman. Mirabai replied there was only one real man in Brindaban, Sri Krishna; everyone else was a Gopi of Krishna. On hearing this, the spiritual Master accepted the wisdom of Mirabai and agreed to talk to her. Later, Mirabai would become his student.

Much of what we know about Mirabai comes from her poetry. Her poetry expresses the longing and seeking of her soul for union with Sri Krishna. At times, she expresses the pain of separation and at other times the ecstasy of divine union. Her devotional poems were designed to be sung as bhajans, and many are still sung today.

Mirabai was a devotee of the highest order. She was immune to the criticism and suffering of the world. She was born a princess but forsook the pleasures of a palace for begging on the streets of Brindaban. She lived during a time of war and spiritual decline, but her life offered a shining example of the purest devotion. Many were inspired by her infectious devotion and spontaneous love for Sri Krishna. Mirabai showed how a seeker could attain union with God, only through love. Her only message was that Krishna was her all.

It is said in her death she melted into the heart of Krishna. Tradition relates how one day she was singing in a temple when Sri Krishna appeared in his subtle form. Sri Krishna was so pleased with his dearest devotee that he opened up his heart centre, and Mirabai entered leaving her body while in the highest state of Krishna consciousness. (free adaptation from biographyonline.net, with thanks)

Film Meerabai-47 was made by Shalimar Pictures, Poona. Its direcor was W.Z.Ahmed. Lyrics were by Meerabai and MD was Suryakant aka S.K.Pal ( he was the nephew of another MD Ramchandra Pal of Bombay Talkies). The cast of the film consisted of Neena, Masood Pervez, Neelam, Tiwari, Shyama (Dulari), Ramavtar, Noorjehan sr. etc etc.

There is a general and wrong feeling among some movie buffs in India that, artistes who opted to migrate to Pakistan after partition had failed there and died in penury and misery. While some such cases indeed were there unfortunately, but not ALL had failed. On the contrary, I feel most of the Directors, Music composers and Heros succeeded in Pakistan. This was because they were all ready made available to Pakistan industry. Many of them like Khursheed Anwar, Inayat Hussain or G.A.Chisti were regarded as pioneers of Pak film industry. Same case with directors like Dawood Chand, M Sadiq, Shaukat Husaain Rizvi etc who became pillars of Pak film industry. unfortunately, once the crop of artistes who migrated from India ended their careers, their film industry had a premature death. This was because, there was no second line of artistes to take over.

The Hero of the film Meerabai-47, Masood Pervez was also one such migrant who succeeded in Pakistan. He was born in 1918 in Amritsar, Punjab, India. He passed his M.Sc. and joined films. His first film as a Hero was Punjabi film ” Mangati “-42, which became a Golden Jubilee film. He further worked in film Gulami-45 and Meerabai-47. After Partition, he went to Pakistan.

His first film as a Director in Pakistan was ‘ Beli’-50 It had a moderate success. His big breakthrough came with film ‘ Intezar ‘-56, which was a colossal hit. He directed 23 films between 1950 and 1982. he is considered to be one of the pioneers of Pak films. He directed 3 Folk stories Mirza Jat-67, Heer Ranjha-70 and again Mirza Jat-82, all very successful. he died on 11-3-2001 in Lahore. He was the nephew of Saadat Hassan Manto.

Film Meerabai-47 had 13 songs, most of them quite good. The original Meera Bhajans were translated in plain Hindi by Pt. Bharat Vyas. With this song the film makes its Debut on this Blog.


Song-Mhaane chaakar raakho jee (Meera Bai)(1947) Singer-Sitarabai Kanpuri, Lyrics-Meera bai, MD-S K Pal

Lyrics

mhaane chaakar raakho ji ee
chaakar raakho ji
sanwariyaa aa
mhaane chaakar raakho ji
mhaane chaakar raakho ji ee
chaakar raakho ji
saanwariyaa
mhaane chaakar raakho ji

chaakar rah toon baag lagaa doon
nis-din darshan paa toon
brindaawan ki kunj-galin mein
brindaawan ki kunj-galin mein
teri leelaa gaa toon
teri leelaa gaa toon

maane chaakar raakho ji
chaakar raakho ji
saanwariyaa
mhaane chaakar raakho ji

unche unche mahal banaaun
jis bich raakhoon baari
saanwariyaa ke darshan paaun
saanwariyaa ke darshan paaun
jaaun tan man vaari
jaaun tan man vaari

mhaane chaakar raakho ji
chaakar raakho ji
saanwariyaa
mhaane chaakar raakho ji

jogi aayaa jog karan koon
jogi aayaa jog karan koon
tap karne sanyaasi
hari-bhajan ko saadhu aayaa
bindraaban ke waasi
kaahe neer jhare nainan se
kaahe neer jhare nainan se
dheer dharo ji meeraa
aadhi raat prabhu darshan de hai
aadhi raat prabhu darshan de hai
prem nadi ke teeraa aa
prem nadi ke teeraa

mhaane chaakar raakho ji
chaakar raakho ji
saanwariyaa
mhaane chaakar raakho ji


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 : 3808 Post No. : 14804

Today’s song is from film Chand sitare-48. Chand, Chandni, Tare and Sitare are the favourite words of film makers to use in the film titles.As many as 40+ film titles contain these words. The song is sung by Shamshad and chorus, composed by MD-Premnath and written by Lyricist I.C.Kapoor.

My Primary education was in Urdu language. Hyderabad being a Muslim state, learning Urdu had a definite advantage, but there were schools in English, Marathi, Telugu, Kannada and even Hindi mediums as well in Hyderabad and the treatment to all other languages than Urdu, was equal by the Nizam Government. This was because Hyderabad was a Trilingual state, consisting of 8 Telugu speaking Districts, 5 Marathi speaking Districts and 3 Kannada speaking districts, plus the rulers were Urdu speakers. From 5th standard I changed to Marathi Medium and continued till end of schooling. English, Marathi and Hindi were my favourite subjects, but Maths and Geography were my sworn enemies.

Maths particularly, first confused me and then irritated me. I failed to understand a sum like ” If 5 people build a Wall 5 feet X 5 feet in 5 days, how many days 25 people will take to build the same wall. Now, if the wall was already built by 5 people, why should anyone build it again ?

Similarly, A, B and C were hated by me. Sums like ” If A borrows 500 Rupees from B at the rate of 5% interest per month and B borrows 400 rupees from C at the rate of 2% interest per month, what would be A’s loss and B’s profit. I failed to understand, why should A borrow money from B, when C was offering loan at lower rates in the first place ?

Geography was another headache. Size and population of countries, Longitudes and Latitudes, Capitals and Currency of Nations, temperatures in Tundra and Siberia and rainfall in Cherapunjee, were beyond my comprehension. However, in Geography, there used to be some chapters in Astronomy also. I liked them very much. Different Planets ,The Milky Way and Comets fascinated me.

Especially Comets aroused my curiosities no end. I learnt that Comets were Heavenly Bodies, made up of Gases and space debris, which appeared suddenly in the sky, seen for a while and then disappeared. Some Comets created panic by crossing Earth’s passage and such Comets would be featuring in newspapers and on TVs.

Comets are like those friends who walk with us for few years and disappear from this world. Comets are like those personalities who shine for a while and then disappear for ever. In Hindi Music too, there were extraordinarily Talented people, who worked for a short period and then were gone for ever, just like Comets.

Master Madan is a good example in this context. In a short life, he sang immortal Gazals like, ” Yun na rah rah kar hamein tarsaiye” and ” Hairat se tak raha hai “. He was born on 28-12-1927 in Jallunder Dist. and died on 5-6-1942. In a singing career of just 3-4 years he became immortal. He left behind him 3 Bhajans, 3 Gazals and 2 Punjabi song records. He left this world, after shining just like a Comet.

Then there is C. Arjun who composed an eternal song like ” Paas baitho tabiyat bahal jayegi,maut ayee to tal jayegi ” and disappeared like a Comet. There are many such examples in the history of HFM.

In the arena of HFM, there were several such Comets- which came, shone for a while and disappeared. They were small and big Comets. May be good or ordinary too. We do not know. There were few composers who did just 2 or 3 films and some did 15 to 20 films. Still this number was not enough for their hidden talents to showcase. Some names come to mind offhand like Daan singh, Dilip Dholakia, Jamal sen, Chand Pardesi, Sardar Malik, Sailesh Mukherji, Vasant kumar Naidu etc.

One such Comet was Music Director Premnath (Wadhva). Composer Premnath is an ideal case for ” Same Name Confusions’. Since his name coincides with the more well known actor Premnath,operating almost in the same period,people misunderstood that Actor Premnath and composer Premnath were the same persons. Surprisingly,actor Premnath was a good singer himself and had been trained by professional Ustads for classical music,but he could never fulfill his desire of becoming a singer and became an actor instead. However he did a film song,which was posted on this blog by our Sudhir ji,some years back-if I remember right. But the fact remains that both persons were different.

PREMNATH the Music Director was born on 5-7-1918 in Gujranwala,Punjab. He learnt music from experts in Amritsar,Multan and Lahore.He acted in films like Shahr-e-khamoshi and also sang in Sohni Mahiwal-1938.
After marriage,he moved to Bombay. His first film as a Music Director was Rangbhoomi-1946.In this film ,a novice Mohd. Rafi sang many songs for him.His other films were Dehati-47,Chandrahas-47,Sagar’s Pehla pyar-47. He then produced a film ” Chand sitare”-48 under the banner of Ravindra Art productions. Mukesh,Lata and Geeta Roy sang in it. In film ‘Alakh Niranjan’-50,he used Mohd. Faruqi,Sulochana Kadam and Rajkumari.
Premnath gave music to many films of Super pictures of Aspy Irani like bade bhaiya-51 and Maya Machhindra-51,in which surendra, Geeta, Rafi and Shamshad sang. His another film ‘Qatil Kaun’ in late 50s was not released. For this film,Rafi, Asha, Manna Dey, Mubarak Begum and Shamshad had given songs.
His films diminished. Sati vaishalini-59, Main hoon jaadugar-65, Tarzan in Fairyland-68 and Gyani ji-77 were his last films. He composed 99 songs in all.
After he stopped work as MD,he devoted his time for the welfare of Cine Artists as a trade union leader. As a Secretary,he served the music Directors’ Assn. for 30 years.
He died on 27-4-1993 at the age of 75 years.

Film Chand sitare’s star cast was Jeevan, Manorama, Rajan Haksar, Niranjan Sharma, Anita, Satish, Leela etc. In Hindi films two actresses were known as ” Aunty’. One was actress Shammi and the other was ” Manorama aunty “. Both actresses were Heroines in their early career for few films, but soon accepted character roles. Both were seniors and highly respected in the industry.

During the course of last 80 odd years, thousands of actors came to work in films. Most of them wanted to become Hero or Heroine, but all could not make it. What does it take to become a Hero in a film ? ( Talking only for the period 1931 to 1970 please). Is it good looks ? Then how come Shaikh Mukhtar became a Hero ? or Ranjan ? High education ? Then how come Master Bhagwan became a Hero ? A God Father ? Then how come Motilal or Surendra became Heros ? For girls too same logic applies. In the early era, most Heroines were uneducated, like Meena Shorey, for example- who could not even sign her name. All were not Handsome or beautiful. I sincerely feel, it is neither Talent nor the good looks, it is nothing but the Luck Factor, which helps in making a career in films. This explains why good looking, educated 1 or 2 film’s Heros could not sustain themselves for long. Same way, good looking girls like Vijayalaxmi, Bimla kumari, krishnakumari, Tabassum, Yashodhara katju, Shubha Khote, Shashikala etc could not continue beyond 3-4 films as Heroines.

In the 40’s era, Manorama was one such actress. She had good education, beautiful Punjabi looks, fine acting, but she could not go beyond 3 films as Heroine and to contend with side and character roles in all her career. Manorama was born in Lahore on 16-8-1920,as Irene Issac Daniels, from Punjabi father and Irish mother. She took good looks from the father. While a student, she did some child roles in films from 1926 to 1936 and as an adult, she debuted in Pancholi’s Khazanchi-41 ( when Khazanchi was remade in 1958, she was the only actor who featured in this version also. Some other such examples were Kanhaiyalal acting in film Aurat-40 and Mother India-57 and Jayant in film Mala-41 and its remake Amar-54.Naushad was the same MD for both Mala and Amar.) She then acted in Himmat-41, Khandan-42, Zamindar-42, Poonji-43, Panchhi-44, Patwari-45 in Lahore. Here only she did Heroine’s roles in Khamosh Nigahen, Rehana and Shalimar- all in 1946. After partition, she migrated to India, but she got only side and character roles.

Meanwhile, in 1947, she got married to Rajan Haksar. After coming to India, shortly, their marriage broke. She had one daughter-Roopa from this marriage. Roopa tried her luck in films in 1970, without much success. Then she got married and settled.

Manorama grew in weight. Now she got comic or vamp roles. She did films like Ghar ki izzat, Johari, Hanste aansoo, Ek phool do mali, Shor, karvaan etc etc. In all she acted in 161 films. Her last film was Water-2005. She died on 15-2-2008. She perhaps, had the longest career among actresses-from 1926 to 2005, that is a cool 80 years ! Manorama was a highly respected person in the industry. Neetu singh, Madhuri Dixit, Ram Mohan, Ekta kapoor and others were her fans. Her famous films were Jhanak Jhanak….,Half Ticket, Budtameez,and Seeta aur Geeta.

Film Chand sitare-48 had 8 songs. 7 songs have featured already on this Blog and today’s song is the last song of the film. So, with this song, film Chand sitare-48 joins the list of films who have all songs covered. My thanks to Sudhir ji for providing and uploading the full version of this song from his collection.


Song-Phir chaayi hain kaali ghataayen pardes na jaa (Chaand Sitaare)(1948) Singer-Shamshad Begam, Lyrics-Ishwar Chand Kapoor, MD-Premnath
Chorus

Lyrics

phir chhaayin hain kaali ghataayen
pardes na jaa
lo aayin hain mast hawaayen
pardes na jaa

mere sapnon ki duniya basa ke
yoon jaao na ankhiyaan churaa ke
ankhiyaan churaa ke
mere sapnon ki duniya basa ke
yoon jaao na ankhiyaan churaa ke
ankhiyaan churaa ke
hamen aisi adaayen na bhaayen
pardes na jaa
lo aayi hain mast
lo aayi hain mast hawaayen
pardes na jaa

dekho dekho
kisi ne li angdaayi
dekho dekho
kisi ne li angdaayi
haule haule
jawaani kehne aayi
haule haule
jawaani kehne aayi
haaye naa jaa
suhaani raaten bolein
ke jiya mera doley
naina moti ro len
haaye na jaa
suhaani raaten bolein
ke jiya mera doley
naina moti ro len
mere lab pe hai ye hi sadaayen
pardes na jaa
lo aayi hain mast
lo aayin hain mast hawaayen
pardes na jaa

o jee nainon se behta hai paani
raaja do din ki hai zindagaani
zindagaani
o jee nainon se behta hai paani
raaja do din ki hai zindagaani
zindagaani
ab aa jaa
kaleja munh ko aaye
bin tere raha na jaaye
ab aa jaa
kaleja munh ko aaye
bin tere raha na jaaye
ham raah pe akhiyaan bichhaayen
pardes na jaa
lo aaye hai mast
lo aayi hai mast hawaayen
pardes na jaa
phir chhaayin hain kaali ghataayen
pardes na jaa

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

फिर छाईं हैं काली घटाएँ
परदेस ना जा
लो आईं हैं मस्त हवाएँ
परदेस ना जा
मेरे सपनों की दुनिया बसा के
यूं जाओ ना अखियाँ चुरा के
अखियाँ चुरा के
मेरे सपनों की दुनिया बसा के
यूं जाओ ना अखियाँ चुरा के
अखियाँ चुरा के
हमें ऐसी अदायें ना भायें
परदेस ना जा
लो आईं हैं मस्त
लो आईं हैं मस्त हवाएँ
परदेस ना जा

देखो देखो
किसी ने ली अंगड़ाई
देखो देखो
किसी ने ली अंगड़ाई
हौले हौले
जवानी कहने आई
हौले हौले
जवानी कहने आई
हाए ना जा
सुहानी रातें बोलें
के जिया मेरा डोले
नैना मोती रो लें
हाए ना जा
सुहानी रातें बोलें
के जिया मेरा डोले
नैना मोती रो लें
मेरे लब पे हैं ये ही सदाएं
परदेस ना जा
लो आईं हैं मस्त
लो आईं हैं मस्त हवाएँ
परदेस ना जा

ओ जी नैनों से बहता है पानी
राजा दो दिन की ज़िंदगानी
ज़िंदगानी
ओ जी नैनों से बहता है पानी
राजा दो दिन की ज़िंदगानी
ज़िंदगानी
अब आ जा
कलेजा मुंह को आए
बिन तेरे रहा ना जाये
अब आ जा
कलेजा मुंह को आए
बिन तेरे रहा ना जाये
हम राह पे अखियाँ बिछाएं
परदेस ना जा
लो आईं हैं मस्त
लो आईं हैं मस्त हवाएँ
परदेस ना जा
फिर छाईं हैं काली घटाएँ
परदेस ना जा


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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 TEN years. This blog has over 14800 song posts by now.

This blog is active and online for over 3800 days since its beginning on 19 july 2008.

Total number of songs posts discussed

14840

Number of movies covered in the blog

Movies with all their songs covered =1158
Total Number of movies covered =4057

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