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 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.

PRATIMA (1945) was produced under the banner of Bombay Talkies and it was directed by Jairaj. Dilip Kumar and Swarnlata were in the lead roles with Jyoti, Shah Nawaz, P F Peetahwala, Mumtaz Ali, Mukri etc in supporting roles. It was the second film for Dilip Kumar. Among the films in which Dilip Kumar acted in the 1940s, ‘Pratima’ (1945) may well be his least known film. I was surprised to note that not much information about the film was available on ‘Filmindia’ magzines of 1945 issues. The film had not fared well at the box office.

‘Pratima’ (1945) was produced in the midst of a turmoil in Bombay Talkies in the wake of the exodus of many of its stalwarts like Shashdhar Mukherjee, Ashok Kumar, Gyan Mukherjee, Savak Vacha etc in 1944 to form Filmistan. The films produced under the new management in Bombay Talkies – ‘Chaar Aankhen’ (1944) and ‘Jwaar Bhata’ (1944) had flopped. On top of it, Dilip Kumar did not make a good impression both on the audience as well as on the critics as an actor.

Both Dilip Kumar and Mridula made their debut in Bombay Talkies ‘Jwaar Bhata’ (1944). After the film’s release, most of the Bombay Talkies staff had more favourable impression about Mridula than Dilip Kumar as actors. They expected a brighter future for Mridula’s rather that for Dilip Kumar. However, Devika Rani decided to give another chance for Dilip Kumar in ‘Pratima’ (1945) which was incidentally the last film produced under her reign in Bombay Talkies. As things turned out later, Dilip Kumar has become one of the legendary actors of Hindi film industry while Mridula was relegated to doing subsidiary roles.

As I said earlier, ‘Pratima’ (1945) did not get much coverage in ‘Filmindia’ magazines of that period nor was the film reviewed. Luckily, I got a gist of the story line of the film in a book ‘Hero’ – Vol-1’ written by Ashok Raj on the internet.

Rajan (Dilip Kumar) is a persuasive lover entangled in a suspense plot. He is in love with a poor girl Pratima (Swarnlata) who has been brought up by Pravasi (Pithawala), a curio dealer. Pravasi was once a dread dacoit. However, Rajan’s family wishes him to marry the wealthy Lal Sahab’s spoilt daughter (probably, Jyoti).

In the backyard of Lal Sahab’s mansion, there is a female statue named as Pratima. The very mention of that statue makes Lal Sahab shiver and starts looking at a picture of his country house, hanging on the wall. In the meanwhile, Rajan has turned desperate for Pratima, the poor girl and starts worshiping Pratima, the statue. He does some restoration work of the statue and makes it as a shrine in the village. The shrine is guarded by a woman who is suffering from dementia.

At last, the mystery of the statue is solved. The demented woman is Pratima’s mother and the real owner of the estate which Lal Sahab has grabbed it by killing her husband in the country house. Pravasi had saved Pratima from the evil Lal Sahab. Her mother had installed the statue of her long lost daughter to remind the people about the misdeeds of Lal Sahab.

I can visualise a happy ending for the film. It is a win-win situation for both the hero and his parents. Hero gets the heroine. His parents should have no objection for the marriage as it turns out that the heroine is from a wealthy family.

The film had 7 songs written by Pandit Narendra Sharma which were set to music by Arun Kumar Mukherjee. Three songs from the film are available on YT. But I am presenting the rare song ‘aata labhon pe naam tera baar baar kyun’ which is the first one to appear on the Blog. I have uploaded the video of the song few hours back on YT.

Some internet sites credit the singer to be Parul Ghosh. However, I felt that the voice is not of Parul Ghosh. The voice was more like that of actor-singer Jyoti. I checked HFGK with Mr Bharat Upadhyay who confirmed that although the name against the song was printed as Parul Ghosh, in the correction list, the song has been accredited to Jyoti who acts in the film. So it turned out to be an actor-singer song.

With this song, ‘Pratima’ (1945) makes its debut in the Blog.


Song-Aata labon pe naam tera baar baar kyun (Pratima)(1945) Singer-Jyoti, Lyrics-Narendra Sharma, MD-Arun Kumar Mukherji

Lyrics

aata labon pe naam tera
baar baar kyun
aata labon pe naam tera
baar baar kyun
hai roz subah shaam
tera intezaar kyun
hai roz subah shaam
tera intezaar kyun

naazuk teri nigaah
bade naajon ki pali ee ee
naazuk teri nigaah
bade naajon ki pali ee ee
aisi bhali nigaah teri
ka shikaar kyun(?)??
aisi bhali nigaah teri
ka shikaar kyun(??)
hai roz subah shaam
tera intezaar kyun

mere kareeb aa
aa aa aa
mere kareeb aa aa aa
tum mere
aur bhi kareeb
kuchh aur bhi kareeb
do dil na mil sakey
to huyi
aankhen chaar kyun
do dil na mil sakey
to huyi
aankhen chaar kyun
hai roz subah shaam
tera intezaar kyun
aata labon pe naam teraa
baar baar kyun


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.

Many aspirants, dreaming of becoming actor, singer, lyricist, music director etc. have been attracted towards Bollywood right from the time that sound films came into existence in 1931. However, a significantly large numbers of such aspirants do not get a chance to prove their perceived talents. Some of them who get chances in Bollywood are mainly those who have their relatives or friends to recommend them to producers/directors. But there is no guarantee that they would be successful and would establish themselves in the Hindi film industry. Many of them had to either leave the film industry or look for some other vocations in the film industry which were not of their choices.

Take, for example, the case of Jaidev, the music director. In 1933, he ran away from home in Ludhiana and landed in Bombay (Mumbai) to become an actor. He did some small roles in films like ‘Hunterwaali’ (1935), ‘Miss Frontier Mail’ (1936), ‘Desh Deepak’ (1937) etc. But he did not get any important acting roles as an actor during those 4 years. However, due to family problems, Jaidev had to return to his home in Ludhiana. He made his second attempt to try his luck in Bollywood, but this time, as a music director. During the break from Bollywood, he got trained in Hindustani classical music under the tutelage of Ustad Ali Akbar Khan. So circumstances made him to give up his dream of becoming an actor in Bollywood and instead chose to be a music director.

The case of Raj Khosla is somewhat unique. The ace director who is remembered for his films like ‘CID’ (1956), ‘Kaala Paani’ (1958), ‘Bambai Ka Babu’ (1960), Wo Kaun Thhi’ (1964), ‘Mera Saaya’ (1966), ‘Do Raaste’ (1969), ‘Mera Gaon Mera Desh’ (1971), ‘Main Tulsi Tere Angan Ki’ (1978), ‘Dostana’ (1980) etc had landed in Bombay from Ludhiana in 1946 to become a playback singer. He was trained in Hindustani classical music and worked with All India Radio in its music department for a short period. He got his first chance in playback singing in ‘Bhool Bhulaiyya’ (1949). His second and probably the last song as a playback singer was rail mein jiya mora sananan hoye re in ‘Aankhen’ (1950) under the baton of Madan Mohan. Interestingly, Raj Khosla worked as an assistant to Madan Mohan for this film.

What was the reason for Raj Khosla to abandon his dream of becoming a playback singer? A chance meeting with Dev Anand changed the course of his filmy career. Dev Anand felt that he had better talent as a director. He put Raj Khosla under Guru Dutt as Assistant Director for ‘Baazi’ (1951) which was produced by Navketan. The film became a grand hit. Raj Khosla also assisted Guru Dutt in ‘Jaal’ (1952).

Raj Khosla’s work as an Assistant Director in these two films in which Dev Anand was in the lead roles must have impressed him. He promoted him to direct ‘Milaap’ (1955), his debut film as a director. N Datta who had assisted S D Burman in ‘Jaal’ (1952) also got his first chance as a full-fledged music director for this film. I have seen the film on YT long back and I enjoyed it both in terms of the treatment of the story as well as the songs. But the film did not fare well at the box office.

The failure of the film at the box office did not deter Dev Anand and Guru Dutt in giving the responsibility of directing latter’s film ‘CID’ (1956). The film was a huge box office success. Raj Khosla had made his presence felt in Bollywood. The rest is history. The assessment of Dev Anand about Raj Khosla’s talent as a director came out to be correct. But in the process, Raj Khosla’s playback singing career was shelved.

In my view, directors who are musically inclined are in a better position to make picturisation of song sequences more interesting for the movie watchers. Raj Kapoor, Guru Dutt, Raj Khosla and Vijay Anand are some such eamples of directors who were musically inclined. I regard them as the top directors whose style of song picturisation is something that I look forward to while watching the videos of songs in their movies.

Sometimes, directors’ knowledge of the film music can cause them to interfere in the work of music directors. Raj Khosla was no exception if I go by a couple of the interviews of music directors. O P Nayyar, who had worked with Raj Khosla in ‘CID’ (1956), was on record saying that when Raj Khosla tried to impose his composition in some songs of ‘Ek Musafir Ek Hasina’ (1962), he threatened to walk out of the film. Shashdhar Mukherjee, the producer of the film had to intervene in the matter. The outcome was that both Raj Khosla and O P Nayyar did not work together in films thereafter. Madan Mohan and Raj Khosla also did not work together after ‘Chiraag’ (1969), though according to Sanjeev Kohli, Madan Mohan’s son, Raj Khosla and Madan Mohan remained good friends till the last.

Raj Khosla had also rendered one version song ‘toote na dil toote na’ from ‘Andaz’ (1949) originally sung by Mukesh for the film. I have heard this song on Radio Ceylon but I could not find it on YT. Although his voice was nowhere near to the voice of Mukesh, but his rendition was flawless.

As I said earlier, Raj Khosla rendered his first playback song for BHOOL BHULAIYYA (1949). The film was produced by Ranjit Movietone and it was directed by Taimur Behram Shaw. The star cast included Agha, Zeb Qureshi, Bhudo Advani, Pesi Patel, Maruti Rao, Anwari etc. From the star cast, the film appears to be a B grade production. Not much is known about the genre or the story of the film.

The film had 10 songs written by B R Sharma (7), Pandit Indra (2) and Rajendra Krishan (1) which were set to music by Bulo C Rani. One song from the film has been covered in the Blog. I am presenting the second song ‘madhur suron mein suno jhamela’ from the film which is the first ever song rendered by Raj Khosla for a film. The song was penned by B R Sharma.

This is a rare song in the sense that it was not available on YT until I made the video of the song from mp3 clip and uploaded the same on YT few months back.

Enjoy this rare fun song from a rare voice.


Song-Madhur suron mein suno jhamela (Bhool Bhulaiyya)(1949) Singer-Raj Khosla, Lyrics-Butaram Sharma, MD-Bulo C Rani

Lyrics

madhur suron mein suno jhamela
madhur suron mein suno jhamela
ek thhaa majnu
ek thhi laila aa
madhur suron mein suno jhamela
ek thhaa majnu
ek thhi laila aa

hil mil ke donon ne
aisa pyaar ka naatak khela
pagdi ban gayi daak kaa thhela
pagdi ban gayi daak kaa thhela
thhela aa
ek thhaa majnu
ek thhi laila aa
madhur suron mein suno jhamela
ek thhaa majnu
ek thhi laila aa

pagdi ke baahar ki makhmal
andar thhi khatmal ki mehfil
ik khatmal ne aag laga dee ee
kaat ke aisi break laga dee
ruk gaya pyaar kaa thhelaa
thhelaa
thhelaa
madhur suron mein suno jhamela
ek thhaa majnu
ek thhi lailaa aaaa

beech bhanwar mein chhod ke naiyya
aap to chhup gaye khatmal bhaiyya
sang liya laala ko apne
toot gaye sab pyaar ke sapne
rah gaya majnu akela
akela
akela
madhur suron mein suno jhamela
ek thhaa majnu
ek thhi lailaa….aaa


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.

I had never thought highly of producer-director Kishore Sahu until I read an article written in August 1942 issue of ‘Filmindia’ by Hyacinth (a pseudo name for Susheela Rani Patel) a few months back. Until then, I had come across his name as the director of ‘Dil Apna Aur Preet Paraayi’ (1960) which I had seen in the theatre. Then, I was also aware of him of his association with ‘Kaalighata’ (1951) and ‘Mayur Pankh’ (1954). But in all these films, Kishore Sahu was not in my radar as my attention was more on Shankar-Jaikishan for their melodious songs in these movies.

I had no idea how Kishore Sahu looked like until I saw ‘Poonam Ki Raat’ (1965) in which he had the role of a doctor. After that I saw him in ‘Guide’ (1965) in the role of Marco. In both these films, he did not impress me either with his personality or with his acting. Even in the song picturisation of phoolon ka taaron ka sabka kehna hai, his acting during lip syncing one line ‘daady ko mummy ko…..sung by R D Burman was pedestrian.

But the article referred to above, read with many tit bits and news snippets appearing on the various issues of ‘Filmindia’ magazines about his films, revealed that in the 1940s, he had directed many successful films. Even as an actor, he had a good fan following if I go by readers' mail in the Filmindia magazines. The fact that Sardar Vallabhbhai Patel attended the premier of the film ‘Veer Kunal’ (1945), produced and directed by Kishore Sahu would testify to the fact that he had a charming and pleasing personality in his younger days.

Kishore Sahu (22/11/1915 – 22/08/1980) was born in Durg in a wealthy family. His grandfather was the Diwan (Prime Minister) of Raja of the State of Raigarh and Rajnandgaon (now in Chhattisgarh). After completion of high school, Kishore Sahu completed graduation from Morris College, Nagpur in 1936. He was a brilliant student and was the Secretary of his college’s English Literary Society. He also edited the College magazine and took part in college dramas.

His father was keen to send him abroad for higher studies to become a barrister. But the young Kishore was attracted towards film industry and he was keen to become an actor. After knowing the intense desire of Kishore Sahu to become an actor, his father encouraged him in his pursuit. In 1937, Kishore Sahu came to Bombay (Mumbai) and met Himanshu Rai, the founder of Bombay Talkies. After his interview, Kishore Sahu was selected for the lead role opposite Devika Rani for the film ‘Jeewan Prabhat’ (1937). The film was commercially successful. However, in the review of the film in ‘Filmindia’ magazine, Kishore Sahu was pronounced as “another misfit as an actor. He is a big disappointment. He is worse than Ashok Kumar”.

Kishore Sahu’s entrepreneurial ambition made him to leave Bombay Talkies and float a film production company called ‘India Artists Ltd’ for which he was the Managing Director. ‘Bahurani’ (1940) was the first film produced under this banner in which he acted in the lead role opposite Rose. The film was commercially successful. However, during the making of the film, Kishore Sahu had differences with one of the largest contributors of finance for the banner. After the release of the film, Kishore Sahu resigned from the company and returned to Bombay Talkies to take the lead role in the film ‘Punar Milan’ (1940) opposite Snehprabha Pradhan. The film was a runaway hit.

During the making of ‘Punar Milan’ (1940), Kishore Sahu fell in love with Snehprabha Pradhan. They got married on September 13, 1940. However, in less than six months of their marriage, they separated leading to divorce sometime in 1942. The separation in less than six months of the marriage affected Kishore Sahu to such an extent that he left Bombay and stayed for months in his native town and Nagpur.

After recovering from the shock of separation, Kishore Sahu returned to Bombay with a story of ‘Kunwaara Baap’ (1942) which was his debut film as a director. He was also the lead actor opposite Protima Dasgupta. The film was a light social comedy. The box office success of this film encouraged him to direct two more social comedy films – ‘Raja’ (1943) and ‘Sharaarat’ (1944) in which he was again paired with Protima Dasgupta. While ‘Raja’ (1943) was a commercial success, ‘Sharaarat’ (1944) did not fare well at the box office.

Kishore Sahu’s next film belonged to the historical genre in which he was not so far been involved as an actor and director. The success of ‘Veer Kunal’ (1945) took him to a greater height. In the same year, he bought Hindustan Chitra Production from Chinubhai Madhavlal. So he had now his own film production company. However, his next three films – ‘Sindoor’ (1947), ‘Saajan’ (1947) and ‘Nadiya Ke Paar’ (1948) which he directed, were produced by Filmistan. With these films, Kishore Sahu scored a hat trick of box office hits followed by his home production ‘Saawan Aaya Re’ (1949) in which he was in the lead role and the director.

In the 1950s, Kishore Sahu seems to have lost his ‘golden touch’ in most of the films which he produced and/or directed. The one film during this period which was critically acclaimed and also fared well at the box office was ‘Dil Apna Aur Preet Paraayi’ (1960) which he directed. In the 1960s, ‘Grahasti’ (1963) directed by him for the Gemini was a box office success. His home production ‘Poonam Ki Raat’ (1965) did not create ripples at the box office.

To launch his daughter Naina Sahu as heroine, Kishore Sahu produced and directed ‘Hare Kaanch Ki Choodiyaan’ (1967) which was a box office failure. He made one more attempt to promote his daughter by producing and directing ‘Pushpanjali’ (1970) which also failed at the box office. The last film which Kishore Sahu produced and directed was ‘Dhuen Ki Lakeer’ (1974) which sealed his fateas producer and director. His last film as an actor was ‘Vakil Babu’ (1982) which was released after his sudden death in Bangkok on 22nd August 1980.

Apart from acting and directing films, Kishore Sahu was known for his short stories which he used to contribute to Hindi journals. Most of the short stories were written during his early days in the film industry. In 1942, he published his select collection of short stories in a book ‘Tes Ke Phool’ in Hindi.

RAJA (1943) was the second of his trilogy of light social comedy films, the other two films being ‘Kunwaara Baap’ (1942) and ‘Sharaarat’ (1944) in which Kishore Sahu acted in the lead roles and also directed the films. In these three films, his leading lady was Protima Dasgupta.

The film had 8 songs written by Rammurti Chaturvedi (4), Amritlal Nagar (1) and Bhagwati Charan Verma (2). Lyricist for the remaining one song is not known. All the songs were set to music by Khan Mastana. As far as I know, this was the only film in which Bhagwati Charan Verma, a well-known Hindi novelist and the poet was associated as lyricist. In fact, one of the twosongs credited to him in the film, namely ‘hum deewaanon ki kya hasti' was written by him as a poem in 1928:

Hum deewaanon ki kya hasti
Hai aaj yahaan kal wahaan
Masti kaa aalam saath chala chale
Hum dhool udaate jahaan chale

I wanted to present this song sung by Kishore Sahu. Unfortunately, this song is not available on the internet. In fact, none of the 8 songs were available on YT until one song ‘niraali duniya hamaari’ was uploaded by me on YT about a month back which I am presenting for this post. The song is sung by Kishore Sahu and Protima Dasgupta on the words of Rammurthi Chaturvedi.

Enjoy this rare song in the voice of the lead actors.

With this song, ‘Raja’ (1943) makes its debut on the Blog.


Song-Niraali duniya hamaari (Raja)(1943) Singers-Kishore Sahu, Protima Dasgupta, Lyrics-Rammurty Chaturvedi, MD-Khan Mastana
Both

Lyrics

niraali duniya hamaari
niraali duniya hamaari
niraali duniya hamaari
niraali duniya hamaari
niraali duniya hamaari
niraali duniya hamaari

yahaan mahlon ki tarah
dard bhare geet nahin
yahaan mahlon ki tarah
dard bhare geet nahin
yahaan hain meet sabhi
haar nahin jeet nahin
yahaan hain meet sabhi
haar nahin jeet nahin

yahaan hai preet nahin
khoon si seenchi huyi kyaari
yahaan hai preet nahin
khoon si seenchi huyi kyaari
niraali duniya hamaari
niraali duniya hamaari
niraali duniya hamaari
niraali duniya hamaari

wahaan hai bair
yahaan madhur milan
madhur milan

wahaan hai bair
yahaan madhur milan
madhur milan

yahaan hai preet
wahaan jee ki jalan
yahaan hai preet
wahaan jee ki jalan
yahaan sukh dukh ke phool khilte hain
milte kahin daari
yahaan sukh dukh ke phool khilte hain
milte kahin daari

haan haan
milte kahin daari
haan haan

milte kahin daari
haan haan
milte kahin daari
niraali duniya hamaari
niraali duniya hamaari
niraali duniya hamaari
niraali duniya hamaari


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.

“Chor”(1950) was directed by Anand Prasad Kapoor for Singh Arts Production, Bombay. The movie had Krishnakant, Cuckoo, Sona Chatterji, Meera Misra, Sankatha Prasad, Alkarani, Baby Asha, Shyama, Shanti Madhok, Shukla, David junior, Dixit, Kochar, Shekhar, Arora, Sachin Ghosh etc in it.

This movie had ten forgotten songs in it. Two of these songs have been discussed in the blog.

Here is the third obscure song from “Chor”(1950) to appear in the blog. This song is sung by Amirbai Karnataki and Hamida Bano. Bharat Vyas is the lyricist. Music is composed by Pt Govindram.

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


Song-Dil mein hamaare rehte ho phir bhi nazron se door kyun (Chor)(1950) Singers-Amirbai Karnataki, Hamida Bano, Lyrics-Bharat Vyas, MD-Pt Govindram
Both

Lyrics

dil mein hamaare rehte ho
phir bhi nazron se door kyun
phir bhi nazron se door kyun
dil mein hamaare rehte ho
phir bhi nazron se door kyun
phir bhi nazron se door kyun

chaar dinon ki is duniya mein
itna tumhen guroor kyun
aeji itna tumhen guroor kyun
dil mein hamaare rehte ho
phir bhi nazron se door kyun
phir bhi nazron se door kyun

hamne tumko kiya ishaara
kyun hamse sharma gaye
kyun hamse sharma gaye
hamne tumko kiya ishaara
kyun hamse sharma gaye
kyun hamse sharma gaye
gore gore mukhde par
zulfon ke baadal chhaa gaye
zulfon ke baadal chhaa gaye
phir bhi nazron se karte ho
ghaayal hamen huzoor kyun
ghaayal hamen huzoor kyun
dil mein hamaare rehte ho
phir bhi nazron se door kyun
phir bhi nazron se door kyun

jis din se toone harzaai
ham se naata tod diya
ham se naata tod diya
hamne bhi us din se haaye
dil ka lagaana chhod diya
haay dil ka lagaana chhod diya
dil waalon ko dil dena hai
duniya ka dastoor kyun
duniya ka dastoor kyun
dil mein hamaare rehte ho
phir bhi nazron se door kyun
phir bhi nazron se door kyun

lab pe thhandi thhandi aahen
aankh mein aansoo rehte hain
aeji aankh mein aansoo rehte hain
yaad teri seene mein lagaaye
ro ro ham ye kehte hain
haaye
kisi ne pyaar ka sheesha
kar diya chaknaachoor kyun
kar diya chaknaachoor kyun
dil mein hamaare rehte ho
phir bhi nazron se door kyun
phir bhi nazron se door kyun


This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular 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.

During the early days of sound films in 1931, Calcutta (Kolkata) film centre had actresses like Patience Cooper, Jahanara Kajjan, Violet Cooper, Anwari, Sabita Devi (real name: Iris Maude Gasper), Kanan Devi, Radharani etc. Most of them had graduated from the silent films. Those days, in the absence of playback singing system, actresses had to sing their own songs in the films. So, those with good voices also got chance to act in the films made especially in the 30s. Begum Akhtar, Mukhtar Begum, Indubala, Kamala Jharia etc are few names that come to my mind. Ratan Bai was also one of those who joined the bandwagon of actresses in Calcutta in 1932 as an actor-singer. Incidentally, this Ratan Bai (Begg) was a different actor and as such she should not to be confused with Ratan Bai (Shilotri), the mother of Shobhna Samarth.
Read more on this topic…


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.

“Bolti Bulbul”(1942) aka “Shaahi Fakeer” was directed by Dhirubhai Desai for Vishnu Cinetone, Bombay. This fantassy movie had Anil Kumar, zebunnisa, Mehar Sultana, sardar Mansoor, Nawaz, Mumtaz, S Nazir, Samson, Ali, Mirajkar, Shahzaadi, Alaknanda etc in it.
Read more on this topic…


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.

“Banwaasi”(1948) was produced by V Shantaram and directed by Chandrashekhar for Rajkamal, Bombay. The movie had Shobha Rani, Sushant, Gulab, Mahipal, Gyani, Madgulkar, Vishwas, Uma Banerji, Amar Sharma, Abhyankar, Maruti etc in it.
Read more on this topic…


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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.

Today’s song is from the film Sheesh Mahal-1950. It was a Minerva Movietone production directed by Sohrab Modi. Vasant Desai was the music director. There were nine songs in the film, which were penned by four Lyricists.
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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.

“Mere Laal”(1948) was directed by Bal Gajbhar for Maharashtra Chitravani, Bombay. This obscure movie had Hansa, Pratima Devi, Chandrakant, Ram Upadhyay, Bhimrao Kale, shanta Thakur, Jog, Baby Devi, Ram karnik, Manohar, Ram Raje etc in it.
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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.

Recently, I had the occasion to read an essay titled The Magical World of Bombay Talkies, written by Professor Lalit Joshi. The paper has been written in the context of making of the cultural space for the nation in waiting and the role of the Bombay Talkies Ltd. (BT) in the evolution of Bombay film industry. The essay sets out the growth of BT since its inception in 1934 until it closed down in 1954.
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(© 2008 - 2017) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

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 more than eight years. This blog has over 12800 song posts by now.

This blog is active and online for over 3000 days since its beginning on 19 july 2008.

Total number of songs posts discussed

12827

Number of movies covered in the blog

Movies with all their songs covered =868 Total Number of movies covered =3600

Total visits so far

  • 8,867,467 hits

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Blog Start date: 19 july 2008 Active for 3000 days.
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