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.
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Blog Day : |
5764 | Post No. : | 18289 |
Today’s song is from the film Ek Roz-1947.
How many readers will know that a record number of films were made in 1947 in Hindi till then ? 181 Films ! It took another almost 40 years to cross this number. In the year 1985, the number of films made was 185.
Why was it that in 1947 alone such a high number of Hindi films were made ? The answer is – Partition of India in 1947 and the subsequent migration of Muslim film artistes to the newly created nation on the basis of Religion – Pakistan. Partition of India was the biggest blow to India, which had remained One Nation for thousands of years, despite having many religions thriving in it. Anyway, that is not the topic here.
Once the date for Partition was announced on 3rd June 1947, after Lord Mountbatten took charge as the Viceroy of India on 24-3-1947 the entire country was shaken. In the film industry actors, directros, MDs and the technical staff, who wanted to migrate started finishing their assignments here. The financers wanted to finish their films before Partition. All this led to a flurry of activities in 1947 and more and more films were completed hurriedly. Thus the record number of films was achieved in 1947. All this at the cost of quality of course. Most or rather many films made in 1947 remained obscure, unheard of and many flopped due to poor quality. Actually only few films were released in 1947, because many films were released in 1948 and 1949, with some films being released in Pakistan too.
Did you ever hear about films Amar Asha, Angoorbala, Attention, Barrister, But Tarash, Chalte Chalte, Chandrahas, Dagabaz Dost, Dehati,Ek kadam,Gaurav,Giribala, Heera, Intezar ke baad, Jhalak,Jurmana, Khaufnak aankhen, Lalaat, Mangalsutra, Moti, Sewa gram, Stage girl, Tohfa or Utho jago ? Of course not all films were below standards. Some of the landmark films were also made in 1947, like Shehnai, Mirza Sahiban, Jugnu, Saajan, Naatak, Meera, Elan,Aap ki sewa mein, Dard, Do Bhai, Neel Kamal or Parwana etc. However by and large the picture was like this only.
Film Ek Roz was a film about twin sisters. Twins are a very popular subject in Hindi films, especially the Twins separated in childhood. Innumerable films are made in almost all languages in India. These ‘ Lost and Found’ stories are very popular. The first Talkie film on twins was ” Awara Shehzada” made in 1933. Young Shahu Modak had done the roles of a Prince and a ZPauper. This was also Master Vithal’s first film as a director. Another notable twin sister story was in the film ‘Muqabala’-1942, in which Fearless Nadia did the role of twin sisters. By the way, she did these roles in which one sister was shown as a typical Indian home-made, obedient and sanskari girl. It was great fun to see Nadia in a Saree, trying very hard to mouth pure Hindi dialogues and dressed as an Indian girl, with Teeka, bangles and pleated hair etc ! One more old film having separated twins was “Chandralekha”-1948, featuring actor Ranjan. Then came a deluge of such films like Ram aur Shyam, seeta aur Geeta, Chaalbaz etc. Man Mohan Desai added fuel to this fire successfully !
Film Ek Roz-1947 was directed by Daud Chand. His name is not known to most people, as his work in India was much less than what he achieved in Pakistan. This was his last film in India,m though one of his earlier delayed films Papiha Re was released only in 1948. Dawood Chand was a prominent film director of 1930’s & 1940’s of Indian cinema. He directed Veer Kesari (1938), Joshe-e-Islam (1939), Sipahee (1941), Jangee jawan (1943), Paraey Bas main (1946), Aaarsee and Aik roze (1947) and Papiha Re-48.
In Pakistan he was director of the first ever released Pakistani film Teri Yaad (1948). Some of his others films were Hichkoley, Mundri (1949), Sassi (1954), Bulbul (1955), Mirza Sahebaan and Hatim (1956), Muraad (1957), Aalam ara (1959), Sapairan (1961), Khyber Pass and Ghazala (1963), Reshma (1970), and Bahadra (1973).RAZA MIR (Producer/Director).
He acted in Indian film Shaher say door (1946) but in Pakistan he chose another profession. He was first Pakistani film Teri yaad’s cinematographer and director of super hit films Lakho mai aik. He also directed some other films like Baiti (1964), Lakhon main aik (1967), Aaasra and Aneela (1969), Parai aag (1971), Naag muni, Vicharya saathi (1973), Professor and Arzoo (1975) Sohni mahiwal (1976) and Dil keey daagh (1978). Asif Raza Mir, film hero of late 1970’s and early 1980’s and a good TV artist is his son. He died on 24-5-1975 at Lahore, Pakistan.
The cast of the film was Al Nasir, Nasreen ( she was the daughter of Rafiq Ghaznavi and actress Anwari. Her name was Zareena Agha, but she worked in the films Shahjehan 1946 and Ek Roz-1947 as Nasreen. Then she settled in London with her husband. Singer actress Salma Agha was her daughter), Asha Posley, Ajmal, Zubeida (jr.) and many others.
There were many actresses with the name Asha. Like the most famous Asha Parekh, not so famous Asha Mathur or Asha Sachdev and in the early era, there was Ashalata ( wife of Anil Biswas), and Marathi actress Asha Wabgaonkar too did few Hindi films. Have you heard of Asha Bhosle ? What a stupid question ! Of course you have heard her name, but she is a singer. OK, then, have you heard the name of ASHA POSLEY who worked in the film Ek Roz-1947 ?
No. I am not joking. There WAS an actress by this name ASHA POSLEY, in the 40s in India and in the period 50s to 80s in Pakistan. Her name has become immortal in the history of Pakistani Films, as the First Heroine of Pakistani film ” Teri Yaad”-1948.
She was born as Sabira Begum on 31-5-1927 at Patiala, Punjab. Her father MD Inayat Ali Nath was working with HMV at Delhi. Sabira was formally trained by experts in music and singing. When her father shifted to Lahore, she was offered a contract by Roop K Shorey, who made films in Lahore those days. It was the popular Composer Ghulam Haider who gave her the screen name of ASHA POSLEY.
Her first film was Punjabi film Govandi-1942 which launched the handsome Hero Shyam. Her role in the film was a minor one. She started as a supporting actress. She got a major role in the film Champa-1945 and her first film as a Heroine was Kamli-46-a Punjabi film. Then came Badnami-46,in which Geeta Bali had a small role. Her other Indian films were Paraye bas mein-46. In the film Arsi-47,her hero was Pran and Meena Shorey had also acted in it. Kamla-46, Aai Bahar-46, Pagdandi-47, Ek Roz-47,Barsaat ki ek raat-48, Papeeha Re-48 and Roop Rekha-48. She worked in 11 Hindi films and sang 1 song in the film Pagdandi-47.
After Partition, she opted for Pakistan and migrated along with her father. The Lahore film industry was in a disarray, because most producers, financiers and leading artistes had shifted to India. However a Hindu producer named Dewan Sardari Lall had stayed back in Lahore and he started a new film in Independent Pakistan ” Teri Yaad “. There were 2 other films under production at the same time. Actually, the first film of Pakistan was Director Luqmaan’s ” Shahida “,which had started shooting immediately after Partition, but it got delayed and finally was released only in 1949. The second film was ” Jihad ” by Zahoor Raja, which too got stuck and was released only in 1950.
Thus the actual Third film, “Teri Yaad ” starring Nasir Khan ( brother of actor Dilip Kumar, who migrated to Pakistan with high hopes but had to return to India as there was no work and also due to ” other ” reasons) and Asha Posley in the lead was completed by Dewan Pictures and became the FIRST released Pakistani Film in 1948 itself. It was released in Prabhat Theatre in Lahore, on the day of EID-7-8-1948. The film was directed by Dawood Chaand and music was by Inayat Ali Nath (father of the Heroine Asha Posley). She sang 4 songs in it. The film was a resounding FLOP.
Asha Posley did Heroine’s role only in 4 Pakistani films and then she turned to supporting, comedy and vamp roles. She acted in 129 films, 76 Urdu and 53 Punjabi films. Her last film was Insaaf-1986. She acted in films, on stage, on TV and also sang on Radio. Famous Pak singer Kausar Parveen, actress Rani Kiran and TV actress Najma Begum were her sisters. Like many migrated artistes, even Asha Posley spent her last days in penury and anonymity. She died on 26-3-1998 at Lahore.
With today’s song, the film Ek Roz-1947 becomes YIPPEED, with all its songs covered here.
Song- Eid aa gayi khushi ka zamaana liye huye(Ek Roz)(1947) Singers- Naseem Akhtar, Dilshad begum, Lyricist- Sarshar Sailani, MD- Shyam Sunder
Lyrics
Eid aa gayi
khushi ka zamaana liye huye
saathh apne rahmaton ka khazaana liye huye
Eid aa gayi
khushi ka zamaana liye huye
gulzaar e aarzu mein
har ik phool khil gaya
wo mil gaye to phir hamen
kya kya na mil gayaa
wo mil gaye to phir hamen
kya kya na mil gayaa
aaye hain wo
khushee ka khazaana liye huye
saathh apne rahmaton ka khazaana liye huye
Eid aa gayi
khushi ka zamaana liye huye
aayee hai Eid
gham ka zamaanaa liye huye
saathh apne bekasi ka fasaana liye huye
ae mere chaand
aa ke mere
dam mein dam nahin
ae mere chaand
aa ke mere
dam mein dam nahin
tere baghair Eid muharram se kam nahin
pehloo mein dil hai
gham ka khazaanaa liye huye
aayee hai Eid
gham ka zamaanaa liye huye
mastee
mastee hamaare dil pe
mastee hamaare dil pe
ghata ban ke chhaa gayee
fasl e bahaar
baagh e tamanna mein aa gayee ee ee
fasl e bahaar
baagh e tamanna mein aa gayee ee ee
bulbul hai mast
lab pe taraana liye huye
saath apne rahmaton ka khazaana liye huye
Eid aa gayee
Eid aa gayi
khushi ka zamaana liye huye
saathh apne rahmaton ka khazaana liye huye
Eid aa gayi
khushi ka zamaana liye huye
ye subah e Eid mere liye
gham ki shaam hai
ye subah e Eid mere liye
gham ki shaam hai
duniya ko hai khushee
mujhe rone se kaam hai
baithhee hoon dard e dil ka fasaanaa liye huye
aayee hai Eid
gham ka zamaanaa liye huye ae
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.
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Blog Day : |
5758 | Post No. : | 18283 |
Today’s song is from the film Romeo and Juliet-1947, which the HFGK mentioned as ” शास्त्रीय संगीत प्रधान ” (Classical music based) film. However, hearing songs from this film, I wondered why this film was labelled so. After hearing today’s song, you may also wonder likewise, I am sure.
This was a film made by Nargis Art Concern. It was directed by Akhtar Hussain, with music by Husnlal- Bhagatram. The cast of the film was Nargis, Sapru, Anwar hussain, Nissar, John Cavas, Hamid Ali Murad, Violet Cooper and others. This film was unique in many ways. Firstly, it was based on the famous English play ” Romeo and Juliet”, written by William Shakespeare and staged for the first time in 1597. Important point is that the story was attributed to Shakespeare in the film’s credits, posters and the booklet. Secondly, this was the only Hindi film made on this famous tragic Love-story. And the most important point is that this film was made by Jaddan Bai. This was the only film in which all her 3 children were involved. All the children had different fathers but one common mother- Jaddan Bai.
Jaddanbai had 3 husbands and 1 child each from every one.
First she married Narottamdas Khatri,the financer of her first film.He converted to Islam and became Bachhi Babu to marry her.She got Akhtar Hussain from him.
Her second husband was Ustad Irshaad Meer Khan,from whom she got Anwar Hussain.
Her third husband was Mohan Babu. This Uttamchand Mohanchand was an orthodox Mohyal Brahmin from Rawalpindi.He was going to London for studying Medicine.He heard Jaddanbai’s singing and fell for her.Against all resistance from his family,he converted to Islam,became Abdul Rashid and married her.They had atlast found true love and till the end,they loved each others.He was known as Mohan Babu.He was handsome,rich and good natured.From him Jaddanbai got a girl child called Fatima Rashid or Baby Rani or NARGIS.
Her elder son Akhtar kept away from the family,became a Director,but later started his own business away from these people.Anwar Hussain and Nargis entered films.
Jaddanbai was very well read,cultured and a social person.
Romeo Juliet and Laila Majnu were famous Love-stories, but they were not from India. India also had its own folk tales of love from different states. India is a unique country in the world. ” Vividhata mein ekta” (विविधता में एकता ). A country which has 28 states and 9 UTs, 22 languages mentioned in its Constitution, 30 languages spoken by 30 lakh people each, 122 languages spoken by more than 10000 people each and 1652 languages spoken in all the country. So many religions are living amicably for thousands of years and still the country is ONE unit, when the Nation needs it. Disproving all the Pundits of the world saying that India will break into pieces after independence, we are stronger and more developed by the day. So, what is the secret ?
The secret is its Culture, which keeps all faiths and languages bound together. In India, Culture is greater than and a bigger influence than individual religions. The flexibility, adaptability and readiness to make changes by the majority section, is the secret. This makes India the biggest Democracy in the world today. The entire world looks up to us as a final Saviour. Culture and Folklore have bound Indians together. In every state there are its own Folk tales, Folk Dances and Folk Music. Still, some common Folklore is all over the country. Though every region has its own Folklores, Lovers’ Folk lore from Punjab and Sind have been traditionally well known throughout India, e.g. Heer-Ranjha or Sohni-Mahiwal etc etc. Our films have a great contribution in keeping the country United and Together,despite calamities and aggressions. Some of the Folk tales of Love from Punjab and Sindh became well known due to films made on them.
There are 9 Tragic Love stories from Punjab and Sindh,in which both the lovers die without getting united. These 9 Love stories are-
Mirza-Sahiban
Heer – Ranjha
Sassi-Punnu
Momal-Rano
Umar-marvi
Sohni-Mahiwal
Lila-Chanesar
Noorie-Tamchi
Dhaj-Rorkumar (Unlike most pairs,in Mirza Sahiban,the Male name comes First !)
Indian film producers have helped spread these Immortal Love stories by making movies on them,as under-
Heer-Ranjha… Films made in 1931,32,48, 1970 and 1992
Mirza-Sahiban… In 1933,35,47 and 1957
Sassi-Punnu… In 1932,33 and 1946
Sohni-Mahiwal…In 1933,46,58 and 1984
Umar-Marvi…in 1942
Noorie-Tamchi…In 1934
There is one folk tale of love from Gujarat, but it is claimed by Rajasthan and Chhattisgarh, with their versions. It is the story of Dhola- Maru. A film on them was made in 1956.
Anyway, the film Romeo and Juliet is not available and is considered lost. Only HFGK has some details. From the bits of information, it seems this film was very true to the original story of Shakespeare.
In the cast, we find some odd names like Master Nissar, who was a famous actor since the silent and early Talkie era. John Cavas, an actor from the stable of Wadia Movietone and one who was generally seen only in stunt and action films. Then there was Violet Cooper, yet another old time actress. Her two sisters (out of total 7 sisters) were also actresses. They were Patience Cooper and Pearl Cooper. The film’s Hero was Sapru aka D.K.Sapru aka Daya Kishen Sapru. Let’s know more about him….
This young boy had come all the way from Jalandhar to Prabhat Studios Poona, in 1942, for an interview. . Shantaram , Babu Rao Patel and Sheikh Fatehlal were the partners of Prabhat Studios at that point of time.
Looking at his face and after the usual introduction ,V Shantaram signed the actual blue eyed handsome Daya kishen Sapru aka Sapru, for a role in his next movie RAM SHASTRI-44. Meanwhile, Shantaram and others left Prabhat and the film was directed by Gajanan Jahagirdar. The character of a Peshwa played by him was well noticed and the movie turned out a big hit. He was signed as lead hero by the Company on a monthly salary of Rs 3000/-, one of the highest ever, paid to any hero during those days . It was a hefty sum that enabled him to live a princely life during those days . He did films Chand-44 and Lakharani-45 for Prabhat. It was somewhere around 1945-46.
Films started pouring in later. He acted in Romeo and Juliet ( opposite Nargis). Nargis’s Mother Jaddan Bai was all praise for Sapru. The film was produced by Nargis’s brother Akhtar Hussain . ) ,Jhansi Ki Rani ,Kalapaani , Hum Hindustani , Sahib Bibi Aur Ghulam, Mujhe Jeene Do , Leader and Shaheed. Who does not remember his role as Majhale Sarkar ( Chaudhary ) in Sahib Bibi Aur Ghulam. Again as Zamindar in Mujhe Jeene Do , he became quite popular. We saw him in some wonderful roles in Naya Daur, Prem Pujari, Jewel Thief, Krodhi , Kudrat ,Dharm Veer, Dream Girl, Zanjeer , Pakeezah and many more such films .It was a period when story writers would create a character for him in the story or script. He was seen either as a Zamindaar or a Police commissioner or a Judge in most of his later films .(Murad was another actor fit for similar roles)
In Total, he must have acted in more than 200 films and out of which he played the lead role in more than 50 films. He also played lead roles in some Gujarati and Punjabi films.
Saprus are Sarswat Brahmins from Kashmir known as Kashmiri Pandits who belong to DIPAT SAMAN AUPAMANYAVA Gotra or the lineage of an Aryan Rishi. This clan of kashmiri Pandits actually belong to village SAPREIN in present day Kulgam district of Kashmir and could be safely called as aboriginal Kashmiris. Some other prominent Saprus are Sir Tej Bahadur Sapru , Jagdish Narayan Sapru ( Prominent Businessman of the country ) Sahaj Ram Sapru Revenue collector during the rule of Afghan Governor Azim Khan ( 1809-1819 ) and Dr Allama Iqbal Urdu poet and Islamic scholar ( He too belonged to a sapru family from kulgam that had converted to Islam )
Daya kishen Sapru belonged to a well off family from Kashmir and his father was employed in Maharaja’s Treasury . That made the family move to Jammu and Lahore during winters. Daya Krishen was born at Jammu on 16-3-1916 and had his early education at Jammu and Lahore .Fluent in Punjabi, he was also proficient in Hindi, Urdu and English .From his childhood days, he would love music and singing. He could easily play on his Harmonium.
Before moving to PUNE , D K as he was known amongst his numerous friends lived at Jalandhar cantt for some time where he took up the job of a contractor. He had four brothers and two sisters and D K happened to be the fourth child in this joint family.
D K Sapru met Marathi actress and IPTA activist Hemvati and they fell in love. They married in 1948. Hemvati was a noted Marathi actress who also worked at PRITHVI Theatres. She acted in SANGRAM with Ashok Kumar and Nalini Jaywant in lead roles. She had also worked with Dev Anand in MOHAN ,Mubarak and Renuka in Ghar Ghar Ki Kahaani and Raj Kapoor in Jail Yatra. (It was rumoured that Raj Kapoor wanted to marry her). A play named Deewar had Hemvati and Raj kapoor in lead roles and the play became quite popular on stage during those days.
After marriage, Hemvati played the role of a caring wife and an affectionate mother in her family. After marriage, she possibly acted only in one movie PATIT PAVAN a home production of Sapru family.
Sapru children are also in films. To quote their elder daughter REEMA is a well known script writer while second daughter PREETI is a successful Punjabi actress while their son Tej is a noted film and TV actor. The brother and sisters are closely attached to each other. They too live by the family values that they inherited from their father.
D K Sapru also acquired good and working knowledge of Homeopathy and was seen reading Homeopathic books quite often during his spare time. He then started practicing this school of medicine and would treat everybody without any charge, often Buying medicines and distributing them free.
Sapru also committed a folly of producing films. One can say that he was misguided by some selfish friends .Though he had learnt some lessons from his first home production Patit pavan, a movie that earned him a few thousands only yet he took up another production project “Bahadur Shah Zafar” and brought in a large star cast that included Sudesh Kumar, Chand Usmani, Shyama, Rehman, Jeevan, Ulhaas ( M N Kaul ) and Nirupa Roy. He pooled in all his resources and raised loans for the project mortgaging his spacious new Bungalow. The movie did not sell on Box office. That landed the family in great trouble. The house had to be sold to repay debts .
Sapru turned diabetic during his later life. In Spite of his failing health he decided to make a last attempt to produce another film JEEVAN CHALNE KA NAAM. By Now Reema was a trained screenplay / script writer. She wrote the script and the family signed Sanjeev Kumar, Rekha, Shashi Kapoor. DK fell ill suddenly and had to be hospitalized for about a year. The project was abandoned. D K was also operated upon for a malignant growth in his shoulder and finally died of a heart attack at a young age of 63 years on 20-10- 1979. His favourite child Reema was already married at that time. And by then he had also turned into a grandfather .
Today’s song is the last and final song of this film, making it a YIPPEED film.
Song- Kisko khabar thhi dil ki ye duniya (Romeo and Juliet)(1947) Singer- Not known, Lyricist- Manohar Khanna, MD- Husnlal-Bhagatram
Lyrics
kisko khabar thhi
dil ki ye duniya
apne hi haathon barbaad hogi
kisko khabar thhi
dil ki ye duniya
apne hi haathon barbaad hogi
bijli giregi yoon hasraton pe
??zindagaanee naashaad hogee
kisko khabar thhee
o o o o
maaloom kya thha aa aa
o o o
maaloom kya thhaa
milte hi nazren
chhaayegi harsu
gham ki ghataayen
chhaayegi harsu gham ki ghataayen
saaj ae tamanna hoga shikasta
naghmon se paida fariyaad hogi
saaj ae tamanna hoga shikasta
naghmon se paida fariyaad hogi
kisko khabar thhi
dil ki ye duniya
apne hi haathhon barbaad hogi
kisso khabar thhi
dil thhak gaya hai barq e alam(?) se
dil thhak gaya hai barq e alam(?) se
har saans hai kyon gham ki kahaani
har saans hai kyon gham ki kahaani
ujdi hui hai dil ki ye basti
allaah kaise aabaad hogi
ujdi hui hai dil ki ye basti
allaah kaise aabaad hogi
kisko khabar thhi
dil ki ye duniya
apne hi haathon barbaad hogi
kisko khabar thhi
Jawaanee kaa zamaanaa come
Posted on: April 10, 2024
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.
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Blog Day : |
5745 | Post No. : | 18267 |
“Daada”(1949) was produced by Sheikh Mukhtar and directed by Harish for Omar Khayyam Films Limited, Bombay. The movie had Sheikh Mukhtar, Shyam, Munawwar Sultana, Begam Para, Mukri, Muraad, Ansari, Pratima devi, Maya Bannerjee, Cuckkoo, Shamshad Khan, Neela devi, Suraiyya Sultana etc in it.
“Daada”(1949) had ten songs in it that were penned by four different lyricists and sung by four singers. Nine songs from the movie have been covered so far.
Here are the details of the songs covered so far:-
| SNo in Blog | Song Title | Singer/s | Lyrics | Posted On | Remarks |
|---|---|---|---|---|---|
| 4585 | Chal chal chameli baag mein | Shamshad Begam, G M Durrani | Shewan Rizvi | 8 September 2011 | |
| 8444 | Main boloon piya piya | Surinder Kaur, Mukesh | Shewan Rizvi | 1 August 2013 | |
| 8448 | Tera kisi se pyaar thhaa | Mukesh, Suriinder Kaur | Shewan Rizvi | 2 August 2013 | |
| 8857 | Saari duniya four twenty | Mukesh, Surinder Kaur | Shewan Rizvi | 20 October 2013 | Post by Sudhir jee |
| 8906 | Badi zulmi tamanna hai dil mein | Shamshad Begam,Mukesh | Majrooh Sultanpuri | 30 October 2013 | Post by Sudhir Jee |
| 11593 | Ae chaand tere saath to rehte hain sitaare | Surinder Kaur | Rafi Ajmeri | 25 November 2015 | |
| 13630 | Aa jaao phir zara meri bigdi ko banaane | Shamshad Begam, Surinder Kaur | Majrooh Sultanpuri | 4 October 2017 | |
| 13644 | Le duniya teri chhod chale | Shamshad Begam | Shewan Rizvi | 10 October 2017 | |
| 13815 | Saath mere hain saanwariya | Shamshad Begam | Hussain Hyderabadi | 16 December 2017 |
Here is the tenth and final song from the movie to appear in the blog. HFGK describes it as sung by Shamshad Begam and chorus. But the song has another female voice and a male voice. The female voice sounds like Surinder Kaur (who has sung other songs in the movie). I have not been able to identify the male voice though it sounds like Rafi to me. But then Rafi did not sing any songs in this movie.. This is the only song of the movie whose lyricist is not known.
I request our knowledgeable readers to throw light on the identity of the singers as well as that of the lyricist, and also picturisation.
The song is a fun playful song. I have not been able to get many words in the song to my satisfaction. I request our readers with keener ears to help fill in the blanks/ suggest corrections wherever applicable.
With this song, all the ten songs of “Daada”(1949) have been covered in the blog. The movioe thus joins the list of movies that have been YIPPEED in the blog.
Song-Jawaani ka zamaana come come dear(Daada)(1949) Singers-Surinder Kaur, Shamshad Begam, Unknown male voice, Lyrics-Unknown, MD-Nashaad
Lyrics
jawaani ka zamaana come
jawaani ka zamaana come
come come come
dear come come
chalo khelen kabaddi ham
ham
chalo khelen kabaddi ham
come come come
dear come come
kabaddi ham
kabaddi ham
kabaddi ee
jawaanee se ??
chali jaati hai jo pal pal
chali jaati hai jo pal pal
jab jab hook uthhti hai
phir chham chham se ?? hai
kahin ?? kahin madhyam
kahin ?? kahin madhyam
come come come
dear come come
chalo khelen kabaddi ham
ham
chalo khelen kabaddi ham
come come come
dear come come
chal beta aamchoo
aamchoo aamchoo
kaala badaamcoo
chhua chhui
chhua chhui
chhua chhui
hoy
chhua chhui
chhua chhui
chhua chhui
titititi thai taam titaam taam titaam thhai thai
o o
chhum chhum kartee aaun
main aaun
o o
?? kar dil le jaaun
le jaaun
aur haath kabhi na aaun
sajaniya
??
are bam chiki chiki bam
bam chiki chiki
bam chiki chiki
bam chiki
hoye
hoye
chhua chhui
chhua chhui
chhua chhui
hoy
hhua chhui
chhua chhui
chhua chhui
titititi taam titaam taam titaam thhai thai
rang laal ghodi
lagaam ??
rang laal ghodi
lagaam ??
?? zyaada
to chaal dikhaaye ghodee
o daudee daudee daudee
o duggi duggi dugg
o daudee daudee
?? ghodee
?? daudee
?? ghodee
?? daudee
teree meree jodee
??
aamchoo aamchoo
kaalaa badaam choo
chhua chhui
chhua chhui
chhua chhui
hoy
hhua chhui
chhua chhui
chhua chhui
aa aa aa aaa
chhua chhui
chhua chhui
chhua chhui
hoy
chhua chhui
chhua chhui
chhua chhui
Agar dil kisi per lutaayaa na hotaa
Posted on: April 8, 2024
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.
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Blog Day : |
5743 | Post No. : | 18265 |
Today’s song is from the film Gauna-1950. Out of 7 songs of this film, 6 are already discussed here. This is the last and the final song to make the film YIPPEED !
The film was made by Jagat Pictures. It was directed by Amiya Chakravarti. Music was by Husnlal-Bhagatram for the songs written by Qamar Jalalabadi. The cast of the film was Usha Kiran, Anup Kumar, Poornima, S.Nazir, Kesari, Wasti, Indumati etc.
Change of name is not a novelty in Film industry. Many Muslim actors such as Kumar, and actresses such as Meena Kumari, took Hindu names to appeal to a bigger audience. But there are cases where Hindus took Muslim names. One such person was Qamar Jalalabadi – Lyricist of this film. Om Prakash Bhandari (9 March 1917 – 9 January 2003), better known as Qamar Jalalabadi, was a poet and lyricist. He composed the title track of the popular television serial Vikram Aur Betaal.
He was born as Om Prakash Bhandari in a Punjabi family on 9 March 1917 in Jalalabad, a village near Beas in Amritsar district, Punjab, India. Right from the age of seven, he started writing poetry in Urdu. There was no encouragement from home, but a wandering poet named Amar Chand Amar met him in his hometown and encouraged him to write, recognising his immense talent and potential. He also gave him the pen name of Qamar which means moon, and Jalalabadi was added for his native town. It was the general trend in those days for writers to name themselves after the towns they hailed from. After completing his matriculation from Amritsar, he embarked on his journalistic career journey by writing for Lahore-based newspapers like Daily Milap, Daily Pratap, Nirala, Star Sahakar etc.
Attracted by the promise of a career in the film industry, Qamar Jalalabadi came to Pune in the early 1940s. In 1942, he wrote lyrics for his first film Zamindar which was a Pancholi Pictures production and the songs of this film were very well received, especially the song sung by Shamshad Begum “Duniya Mein Garibon Ko Aaram Nahi Milta”, which also had a line or two written by writer and poet Behzad Lucknawi.
Subsequently, Jalalabadi relocated to Bombay, and worked there as a lyricist for nearly four decades. His songs were sung by many notable singers including S. D. Batish, Noor Jehan, G. M. Durrani, Zeenat Begum, Manju, Amirbai Karnataki, Mohammad Rafi, Talat Mahmood, Geeta Dutt, Suraiya, Mukesh, Manna Dey, Asha Bhosle, Kishore Kumar and Lata Mangeshkar. He worked with many popular composers including S. D. Burman and Sardar Malik.
As a lyricist, Qamar Jalalabadi was very versatile. On one hand he wrote mesmeric duets like “Sun Meri Sawari Mujhko Kahin Tum Bhool Na Jaana…” sung by Lata Mangeshkar and Mohammed Rafi (film: Aansoo 1953) and on the other hand he penned comic relief songs like “Khush Hai Zamana Aaj Pehli Tarikh Hai” endured with full throttle gusto by Kishore Kumar (film: Pehli Tarikh-1954). This song became very popular and was played on Radio Ceylon on the first of every month for decades, and it probably continues like this.
The film Howrah Bridge (1958) skyrocketed his career as lyricist to unprecedented heights. Songs like “Mera Naam Chin Chin Chu” (Geeta Dutt) and “Aaiye Meherbaan, Baithiye Jaanejaan….” (Asha Bhosle) became highly popular.
In his long career span he worked for several film companies like Prabhat Film Company, Pancholi Pictures, Filmistan Ltd., Famous Pictures, Minerva Movietone, Prakash Pictures, Wadia Films Ltd., Filmkar Ltd., Sippy Films, N.C. Sippy Films, Shri Shakti Films, Mitra Productions and many more.
He was one of the founder members of prestigious organisations like Film Writers Association & IPRS in Mumbai. The music composers he worked with were: Ghulam Haider, G. Damle, Pandit Amarnath, Khemchand Prakash, Husnlal Bhagatram, S.D. Burman, Anil Biswas, Shyam Sunder, Sajjad Hussain, C. Ramchandra, Madan Mohan, Sudhir Phadke, S.D. Batish, Sardar Malik, Ravi, Avinash Vyas and in the latter phase of his career with O. P. Nayyar, Kalyanji-Anandji, Sonik–Omi, Uttam Singh and Laxmikant–Pyarelal as well. Qamar Jalalabadi wrote song lyrics for 155 films and wrote a total of 709 songs in his long career. He was a poet (shayar) and participated in several mushairas all over India.
In his personal life, Jalalabadi was a highly religious person and he chanted excerpts from the Bhagavad Gita, the Koran as well as the Bible. He was deeply into transcendental meditation, and was mostly embedded in his writing for most part of the day. He once gifted a bungalow in Khar, Mumbai to one of his married sisters to save her from a difficult marriage, and shifted to simpler accommodation in Juhu with his own family. He and his wife Leelawati had seven children.
He had several friends and hundreds of fans whom he called his “pankhe”. His fan mail came in various languages; Hindi, English, Urdu and many regional languages as well. He replied to all his fan mail and judiciously sent an autographed photo as well. ( adapted from the book Filmi Geetkar, wiki, muVys and my notes).
The Heroine’s real name was Usha Marathe. She had debuted in the film ‘Lalaat’-1947 with this name. However, director Amiya Chakravarti, who had a ” Special’ bond with Usha, changed her name to Usha Kiran. The Hero Anup Kumar was actually Kalyan Kumar and actress Poornima was in reality Meher Bano. The film’s story and screenplay was by Ali Sagheer Usmani and Devi Sharan. Dialogues were by Vrajendra Gaud.
Ego Clashes and professional jealousies were quite common in older days when the Studio system was firmly saddled in the industry. Sometimes it even destroyed the studio like what happened in Calcutta’s New Theatres. B.N.Sircar and P.C.Barua spite forced Barua to quit. Later Sircar and Nitin Bose ego clash took New Theatres to its downfall and the exit of not only Nitin Bose but also Prithviraj kapoor, K.N.Singh, Kidar Sharma, K.L.Saigal and many others.
Same thing happened in Prabhat film company, where clashes of Shantaram with other directors prompted him to quit, with his group. Amiya Chakravarti came over to Bombay and, being a Bengali, joined Bombay Talkies owned by Bengalees, first as a Tutor for Bangla for the children of Niranjan Pal. Niranjan Pal had spent all his life in the UK and came to India with friend Himanshu Rai ( within a few years they fought bitterly and separated). Amiya first started as a Canteen Manager and then worked as assistant to Himanshu Rai. After Himanshu Rai’s death, there were two groups. Amiya joined Devika Rani’s group,being her favourite. She gave him the reward by allowing him to direct the film Anjaan-41, a Devika-Ashok Kumar love story.
Though, for director Naqvi’s film Punarmilan, Amiya and Gyan Mukherji wrote the screenplay together, they were never comfortable with each other. After the split in Bombay talkies,when Gyan Mukherjee went with the opposition group, their competition increased since now both were directors. When the other group started work on Kismet, with Anil Biswas as MD, Amiya also started Basant, with the same Heroine- Mumtaz Shanti- and Anil Biswas incognito with Pannalal Ghosh as a Front.
Even after Bombay talkies closed down, their competition continued. When Amiya did Baadal-51, on the same story, Gyan Mukherjee made the film Shamsheer-53 ( originally this film was made by Sargam films, but Bombay Talkies purchased its rights and released it.) Further in 1957, both started a film each with the same Heroine-Vyjayantimala. Amiya did Kathputli-57, but he died before this film was completed and Nitin Bose completed the remaining film. Similarly Gyan mukherjee started the film Sitaron se aagey, but he too died before the film was completed. After some time Satyen Bose was commissioned to complete the film, thus delaying its release in 1958. Their competition ended only after their deaths !
Husnlal-Bhagatram was one of the most popular composer pairs of their times. They started in 1944 with Chand. Their peak was achieved in 1949 and their magic ended with the sixth decade. They gave music to 49 films and most films’ music became popular. Although Bhagatram was the Elder of the two brothers, their name was famous as Husnlal – Bhagatram. During the peak of their career, the handsome,good looking Husnlal’s name was linked to the upcoming singer of those days-Lata Mangeshkar. This episode is described by C. Ramchandra in his autobiography in Marathi.
Elder brother Bhagatram had given music to 9 films in 1939 and 1940, independently, under the name Bhagatram Batish, but the brothers prospered only after Husnlal joined his brother and they gave music as Husnlal-Bhagatram.
Pandit Husn Lal was born in Kahma Village, district Jalandhar, Punjab, on 8-4-1920. He was initiated into music by his father, the Late Devi Chand and elder brother Pandit Amar Nath, (the famous music composer of the ‘40s). Later he became the disciple of Sangeet Maha Mahopadhyaya Pandit Dilip Chandra Vedi Ji.
Pandit Husn Lal’s first passion was playing the violin, and he learned further under Ustad Bashir Khan. Pandit Husn Lal was a performer par excellence in Khyal, Thumri, Dadra, Gazal, and Bhajan. He had a voice range of three octaves and was an accomplished master of complicated patterns of Taans, like his Guru Vedi Ji.
Pandit Husn Lal was an accomplished Violinist, a renowned Classical singer and an ace Music Director. He, along with his elder brother Bhagat Ram (an ace harmonium player, born in 1914), were the first prolific Hindi film music directors to work as a duo and went by the name of “HusnLal-Bhagat Ram”. The beauty and command over the violin can be seen in different compositions of the duo’s songs in films. They popularized Punjabi folk music as an art form, with a range of music that has a rare lilt and rhythm, yet soulful and poignant, thus becoming the most sought after composers. Their first hit was a film named Chand, after which they never looked back. They gave super hit melodies for more than 80 Hindi films. One point to be noted is that most of his films celebrated their Golden Jubilee with a credit to the music compositions and songs.
Their film Badi Behan (1949) was a classic in the history of Indian cine music. Besides the most popular song, ‘Chup chup kharay ho…‘ there are other seven numbers which gave the audiences the pleasure of music as an art form – ‘Wo pass rahein, ya door rahein‘, ‘Tum mujhko bhool jao, ab hum na mil sakeinge‘, ‘Likhnein waley ney likh dee meri taqdeer mein barbaadi likhnein waley ney‘ and ‘Bigree bananey wale, bigree banaa dey‘ (Suraiya) and ‘Muhabbat ke dhoke mein koi naa akey‘ (Mohammed Rafi).
In ‘Chaley janaa nahin‘ and ‘Jo dil mein khushi ban kar ayey‘ Lata Mangeshkar was perhaps at her best and there could not have been a better return gift to the composer Husan Lal on her 20th birthday (Lata Mangeshkar was born in 1929). The utterance coming straight from the singer’s heart, at times makes the listener cry, as a spontaneous outcome of eternal pleasure. The quality of a diamond cutter in master violinist Husan Lal can be visualized through these two immortal melodies of Lata Mangeshkar. The Punjabi style dholak played by their musician, Shanker (of Shanker-Jaikishan fame) was again a notable landmark!
The song “Suno Suno Aye Duniya Walo Bapu Ki Yeh Amar Kahani”, sung by Mohammed Rafi, was a milestone in the history of music. This song was composed by the duo within a record time of just 24 hours; soon after the demise of Mahatma Gandhi, the Father of the Nation. More than a million copies of a set of two 78 rpm discs of this recording were sold, within one month.
Husn Lal-Bhagat Ram worked with famous playback singers like Ameerbai Karnataki, Suraiyya, Shamshad Begum, Zohrabai Ambala, Lata Mangeshkar, Geeta Dutt, Suman Kalyanpur, and Kishore Kumar, Mohammed Rafi, amongst others. He also composed and played alongside Pandit Ravi Shankar and Pandit Jasraj.
Pandit Husn Lal performed as a violinist on All India Radio and at other renowned music festivals and concerts and taught music to his music-loving disciples. In the late 60s,this pair parted company with each other. Husnlal’s father in law was an influential person. With his help,Husnlal settled in Delhi and started teaching music to aspirants.
One day morning, while on a morning walk, he fell dead in a garden. Someone recognised him and informed his family. The day was 28-12-1968.
Bhagatram too spent his last days in pathetic condition,working for other composers.one day in 1973,he died in Bombay. His son Ashok,who uses the surname Sharma, is an artiste with Doordarshan. ( I had the opportunity to speak to Shri Ashok Sharma ji, about his father,a few months back).
Bhagatram was the elder brother, Husnlal was the younger brother. Have you anytime wondered why the younger brother’s name comes first in this pair ?
Normally, when a pair of brothers is referred, it is the elder brother’s name that comes first. For example, Ram-Laxman or Balram – Srikrishna or even Kalyanji – Anand ji, Jatin-Lalit or Anand-Milind. For many years, this matter was bothering me, but I could not find any justification for this unusual way of pairing. I was sure that there must be some story behind this.
The Blog “Songs of yore” published the second part of Husnlal-Bhagatram post on 11-8-2017, based on the interview of Dinesh Prabhakar, son of Husnlal and Ms. Nirmala Devi, wife of Husnlal. During her talk, Nirmala Devi explained the reasons for calling the pair as Husnlal-Bhagatram, in spite of Bhagatram being the elder one and more experienced of the two. Bhagatram had already given music, individually to 9 films, in the late 30s and early 40s, before the pair was formed. Her statement answered my long awaited query about the unusual name of the pair. Here is the related portion of her interview….
” The 90-year old Shrimati Nirmala Devi is an amazing lady. She still has a razor-sharp memory and superb knowledge of music and music personalities of that era. She gave me a lot of interesting information, not available elsewhere – for example, the reason why the younger brother Husnlal’s name comes first in the duo’s name. Her talk also revealed that other family commitments, too, in Delhi were contributory factors for their decline in the film music.
Shrimati Nirmala Devi speaks about her husband (late) Pt Husnlal….
“DD Kashyap, who was directing Chaand (1944) for Prabhat Films, wanted to engage Pt Amarnath based in Lahore, who was a towering figure in music. As he was heavily preoccupied, he strongly recommended his younger brother Pt Husnlal who was staying with him and assisting him in Lahore-based films of Pancholi and others, assuring Kashyap that Pt Husnlal was no less talented than him. Pt Amarnath was like a father-figure to his younger brothers, especially to Pt Husnlal. A music session was organized to demonstrate Pt Husnlal’s talent. Kashyap was highly impressed. When it was time for Pt Husnlal to proceed for Poona/Bombay, Pt Amarnath, out of concern for his kid-brother, suggested to Kashyap to also engage Pt Bhagatram with him. Kashyap expressed difficulty in arranging the payment for two as the contract was already made out. Pt Amarnath assured him that he should not bother about increasing the fee, but the two brothers must work together. Thus it was that Bhagatram got appended to Husnlal, forming the duo HB. ” Another reason why the younger brother’s name preceded the elder brother was simply the aesthetics – Husnlal-Bhagatram sounding better than the other way around. (Thanks to Blog “songs of yore” for this information.)
Today’s song is sung by Lata Mangeshkar. With this song the film gets YIPPEED, with all its songs covered on this Blog.
Song-Agar dil kisi per lutaaya na hota (Gauna)(1950) Singer- Lata, Lyricist-Qamar Jalalabadi, MD- Husnlal Bhagatram
Lyrics
hum jaisa kaun hoga zamaane mein badnaseeb
manzil se door ho gaye manzil ke saamne
agar dil kisi par lutaaya na hota
agar dil kisi par lutaaya na hota
agar dil kisi par
to ashqon ka dariya bahaaya na hota
agar dil kisi par lutaaya na hota
agar dil kisi par
jo maaloom hota ki hoga andhera
ki hoga andhera
jo maaloom hota ki hoga andhera
ki hoga andhera
charaag-e-mohabbat jalaaya na hota
charaag-e-mohabbat jalaaya na hota
agar dil kisi par
o duniya ke maalik
judaa thha jo karna
judaa thaa jo karna
o duniya ke maalik
judaa thha jo karna
judaa thha jo karna
to achcha thha unse milaaya na hota
to achcha thha unse milaaya na hota
agar dil kisi par
to ashqon ka dariya bahaaya na hota
agar dil kisi par lutaaya na hota
agar dil kisi par
Dheerey dheerey haank re gaadee
Posted on: April 7, 2024
- In: "Dheere dheere" song | Asha Bhonsle songs | Bullock cart song | Duet | Guest posts | Lyrics by Prakashchandra | Lyrics contributed by readers | Post by Arunkumar Deshmukh | Songs of 1940s (1941 to 1950) | Songs of 1950 | Surinder Kaur songs | Surinder Kaur-Asha Bhonsle duet | Yearwise breakup of songs
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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.
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Blog Day : |
5742 | Post No. : | 18264 |
Today’s song is from a ‘not so well known’ film Sabak-1950. Out of 10 songs of this film, 9 are already discussed here. This is the last and final song for YIPPEE.
The sudden demise of Saigal in the early part of 1947 and the stir created by India’s Independence in the latter half of 1947 sent shock waves to the film industry. The exodus of Muslim artistes from India to the newly created nation Pakistan created a void in the industry. The Indian film industry had always been a dynamic one, because it was never tied to any particular style or system. As per need it had always moulded itself to newer environments and adapted to changes – be it style of acting or drama-classical type of songs. Due to its secular nature and readiness to assimilate newer styles and music, the Indian film industry continued to prosper.
From 1947 to 1950 was a period to shed the carried forward outdated music and imbibe new popular music from all over the world. The void in the stock of actors, Lyricists and Composers was almost immediately filled up by the waiting second line trained artistes in every field. In these 3 years new Music directors like Shankar Jaikishen, S.D.Burman, Roshan, Madan Mohan, Khayyam’s entry brought a new breeze of music. New lyricists like Shailendra, Hasrat, Shakeel, Majrooh, Rajendra Krishna, Sahir, Indivar etc pumped in fresh sounding songs and Rafi, Mukesh, Kishore, Talat, Manna Dey etc sang with fresh gusto and the public became ecstatic.
The year 1950 was full of films trying to reestablish Indian traditions and values through its family and social films and the stress on the popular mythologicals and stunt films continued, along with fresh lilting music to cheer up. D.C.Dutt, Ninu Mujumdar, Sardul Kwatra, S.Mohinder, O.P.Nayyar, Ram ganguli etc were new MDs to add to the melody of the old stalwarts like Naushad, C.Ramchandra, Husnlal-Bhagatram, Hansraj Behl, Vasant Desai etc.
Let us take a look at some important films of 1950, out of the total 113 Hindi films made in this year….
AFSAR – Based on the famous ” Inspector General” by Gogol. Suraiya regaled with her songs.
AANKHEN – Debut of Madan Mohan. Odd singers like Raj Khosla and Madan Mohan sang in it. Some songs of Meena Kapoor and Mukesh were hits.
AARZOO – Dilip Kumar- Kamini Kaushal love story on silver screen (and also off screen).
BABUL – The love tragedy of Dilip-Nargis.Excellent songs by Naushad.
BAWRE NAIN – First musical hit of Roshan. A Tragedy film.
DAASAAN – Yet another Tragedy, laced with good songs by Naushad.
JOGAN – Bulo. C. Rani’s best music.
SAMADHI – With the background of Netaji, a story of two brothers. Song ‘ Gore gore, o baanke chhore’ became a Hit.
SARGAM – Another filmistan musical. C.Ramchandra gave excellent songs on classical music, Rock and Roll, African Folk song and even an Arabic music song. All in one film.
GAUNA – Usha Marathe renamed Usha Kiran by Amiya Chakravarti. Anup kumar was the hero.
HAMARI BETI – Nutan launched at 14 years of age. Mother Shobhana Samarth debuted as a Director.
MASHAL – Based on Bankim Chandra’s novel ‘Rajani’. Manna Dey sang one of his best songs ‘ Upar gagan vishaal’.
MUQADDAR – Kishore acted and sang songs.
HAR HAR MAHADEV – Nirupa Roy and Trilok Kapoor made this Mythological, a great Hit. ( they went on to act in 7 more films together). Songs were popular too.
In addition a few films from Madras also enriched Hindi cinema in 1950.
Today’s film Sabak-1950 was neither a Hit film nor its songs became popular. But I can vouch for the fact that this film had very good songs.
SABAK(1950), produced and directed by M.Sadiq under the banner of Sadiq Productions, had music by A.R.Qureshi (the famous Tabla nawaz Allarakha and father of the famous Tabla player Zakir Hussain) with songs by D.N.Madhok.
The cast was Karan Dewan, Munawwar Sultana, Omprakash, Jahgirdar, Abbas, Jillo, Kumar, Cuckoo etc.
The story was interesting.
Thakur(Jagirdar) is a rich person,owner of 10 villages and 10000 bighas of land. Badrikaka (Omprakash) is a poor cultivator, who is Thakur’s enemy. But Thakur’s son Manohar (karan Dewan) is in love with Lajwanti (Munawwar Sultana), daughter of Badri kaka. Both parents warn their children. When Lajo does not stop, Badrikaka takes her to Thakur and demands that both be married. He is insulted and thrown out. Next day, Badri’s Mango grove is destroyed and burnt. He wants to leave the town, but in the fields, he finds a pot of Gold and papers which prove that Thakur is a cheat and all his property belongs to Badrikaka.
Now the situation is reversed. Thakur is poor and Badri is rich, so are their children. The film details how everybody learns the importance of love more than money. It is a SABAK (Lesson) to all.
The director of this film was M.Sadiq, who had ups and downs in his career, but he succeeded, both in India and later on in Pakistan, where he migrated in 1970. He was born in Lahore on 10-3-1910 and died in Lahore on 3-10-1971.
Sadiq was a Cinematographer, writer, s/p and dialogue writer, producer and director-all in one. Kardar knew Sadiq from 1932. M.Sadiq’s father was a Tailor and he was looking after the Kardar Studio’s costume department. He requested that his son may be taken by Kardar. Kardar took him also When he first directed the First Talkie from Lahore ” Heer Ranjha”-1932, its story and screenplay was by Sadiq. He started his career with Thokar-39 as a writer. Around 1940, he shifted to Bombay along with his mentor A.R.Kardar, actor Suresh ( Nazim Ahmed), actor Amar and a few others. While working as Kardar’s assistant, slowly he developed into a Director who directed about 27 films.He directed films like- Namaste, Rattan, Anmol Ratan, Saiyan, Shabab, Musafirkhana, Chhoo mantar, Chaudhavin ka chaand, Tajmahal and Bahu Begum for which he also wrote story and dialogues.
After Khota Paisa-58 Sadiq fell on bad times. He had no films on hand.That was the period when Guru Dutt was also in problems of debts. He wanted to make a film but did not want to direct it. That time Johny Walker suggested the name of M.Sadiq,whose first movie Namastey & another movie Sanjog,both produced by A R Kardar,were released in 1943 & were big hits.His Rattan,released in 1944 ,broke the records all over, in box office sweep. Poonam, Shabab,Anmol Rattan, Pardes, Jawani Ki Hawa, Anjan, were few of his famous movies. The prolific director,however, was now passing through a lean phase & of late he had made light comedies,like Chhoo Mantar, Duniya Rang Rangeeli, Khota Paisa, Musafir Khana etc.
M.Sadiq was brought in & he made the movie at break neck speed & released in 1960. Film Chaudhvin ka Chand needed a director who was fully equipped with muslim background and observation of even small presentations of voice, etiquettes, religion etc. It is all that M Sadiq performed but we must keep in mind Guru Dutt was behind the screen, though uncredited but he had the lion share to beautify the film. The movie proved to be the biggest hit and earned a lot more than other movies made by Gurudutt.M.Sadiq proved to be the saviour for Gurudutt. Gurudutt,not only came out of the cesspool of debt ,but earned enough money to plan his next movie.
The movie proved to be lucky for the good Samaritan M.Sadiq also who was recognized as a specialist of the movies having Muslim background.He got big movies Taj Mahal,Noor Jahan & Bahu Begum (1967),to direct.
Riding on the peak of popularity, after Bahu Begum, Sadiq Sahab left India & migrated to Pakistan. In 1971,there under his own banner he decided to produce Baharo Phool Barsao & for the music & songs he signed Nashad & Shewan Rizvi,respectively. Both had already migrated to Pakistan from India. He started shooting at Lahore Studio. But a calamity struck & Sadiq Sahab passed away after a brief illness on 03-10-1971. The movie was completed by Hasan Tariq & was released in 1972. The movie opened to full houses & celebrated Golden Jubilee at many places in Pakistan. Even in the re-run the movie was a jubilee hit.
M.Sadiq was destined to die at his birth place Lahore.
Today’s song is the last and final song of this film. The film will be YIPPEED with this song. It is a duet by Asha Bhosle and Surinder Kaur. Enjoy….
Song- Dheere dheere haank re gaadi(Sabak)(1950) Singers-Surinder Kaur,Asha Bhosle, Lyricist- D.N.Madhok, MD- A.R.Qureshi
Lyrics(Provided by Prakashchandra)
din gayaa aa aaa aa
shaam aayee eee eee
lekar aayee taaron ke paighaam
ke jaago dil waalon o oo
dilon ki dhadkan par ulfat
ulfat waalon
dheerey dheere haank rey gaadi
dheerey ae dheere haank rey
dheerey dheere haank rey gaadi
dheerey ae dheere haank rey ae
tik na sakengey morey
nain unn raahon pe ae
tik na sakengey morey
nain unn raahon pe aey ae
jaan dil dekar dil liyaa thhaa hamne
pyaar ka saudaa kiyaa thhaa hamne
dheerey dheere haank rey ae ae
dheerey dheere hank rey gaadi..ee..eee
meri raam kahaanee
ambuwaa ke ped sunaayen suntey jaanaa
meri raam kahaanee
ambuwaa ke ped sunaayen suntey jaanaa
jhoom rahaa hai mere saamney
woh samaa suhaanaa
jhoom rahaa hai mere saamney
woh samaa suhaanaa
ang ang ne thirakna seekhaa thhaa
mere dil ne dhadknaa aan aaa
o mere dil ne dhadknaa seekhaa thhaa
dheerey dheere haank rey ae ae
dheerey dheere haank rey gaadi
dheerey ae dheerey haank rey ae
tik na sakengey morey
nain unn raahon pe ae
dheerey dheere haank rey gaadi..ee ee eee
raftaar teri hai ae ae
tez badee o gaadi waaley ae ae
raftaar teri hai ae
tez badee o gaadi waaley ae ae
aisey mein kaisey koyi
meethhi meethhi yaad sambhaaley
aisey mein kaisey koyi
meethhi meethhi yaad sambhaaley ae
peechhey reh gaye khet suhaaney
gaaye jahaan aan aaa
o gaaye jahaan mil milke gaaney
dheerey dheere haank rey aey ae ae
dheerey dheere haank rey gaadi
dheerey ae dheere haank rey
tik na sakengey morey
nain unn raahon pe ae ae
dheerey dheere haank rey gaadi..ee
Ro na munna pyaare
Posted on: April 1, 2024
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.
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Blog Day : |
5736 | Post No. : | 18258 |
“Apraadhi”(1949) was produced by S Fattelal and directed by Yashwant Pethekar for Prabhat Film Company. The movie had Ram Singh, Madhubala, Pran, Leela Pande, Gauri, Uma Dutt, Gangubai, Madhu Apte etc in it.
This movie, which had a very young Madhubala in lead role, had seven songs in it. Six songs have been covered in the blog so far.
Here are the details of the songs covered so far:-
| SNo in Blog | Song Title | Singer/s | Lyrics | Posted On | Remarks |
|---|---|---|---|---|---|
| 7324 | Pyaar karne waalon ke liye hai duniya | Sitaara Kanpuri | Amar Verma | 5 January 2013 | |
| 8411 | Jaan pehchaan na saaheb salaam na | Sitaara Kanpuri | Amar Verma | 25 July 2013 | |
| 9395 | Dil ro raha hai | Sitaara Kanpuri | Amar Verma | 3 February 2014 | |
| 12260 | Zindagaani ka mazaa shaadi mein hai Multiple version song | G M Durrani | Amar Verma | 25 July 2016 | Multiple version song |
| 18213 | Mera dil churaanewaale dekho pyaar nibhaanaa | Sitaara Kanpuri | Amar Verma | 20 February 2024 | Post by Arunkumar Deshmukh jee |
Here is the seventh and final song from “Apraadhi”(1949) to appear in the blog. This song is sung by Sitara Kanpuri. Amar Verma is the lyricist. Music is composed by Sudhir Phadke.
The song is picturised as a mother child song. Madhubala born of 14 february 1933 was just 16 years of age in 1949 when this movie was released. She was not even an adult by that time. Madhubala perhaps played the role of mother for the first and last time in this movie.
With this song, all the songs of “Apraadhi”(1949) are covered in the blog. The movie thus joins the list of movies that have been YIPPEED in the blog.
Song-Ro na munna pyaare (Apraadhi)(1949) Singer-Sitara Kanpuri, Lyrics-Amar Verma, MD-Sudhir Phadke
Lyrics
ro na munna pyaare
ro na munna pyaare
ro na munna pyaare
ro na munna pyaare
kyun tere naina bhar aaye
kya baabu ki yaad sataaye
yaad sataaye
kyun tere naina bhar aaye
kya baabu ki yaad sataaye
yaad sataaye
tu hi zara muska re
tu hi zara muska re
zara muska re
ro na munna pyaare
ro na munna pyaare
ro na munna pyaare
jab teri ankhiyaan muskaatin
jab teri ankhiyaan muskaatin
mujhko unki yaad rulaati
yaad rulaati
tu na mujhe rula re
tu na mujhe rula re
na rula re
ro na munna pyaare
ro na munna pyaare
ro na munna pyaare
godi bhari hai ae ae
dil hai khaali
dil hai khaali
godi bhari hai ae ae
dil hai khaali
dil hai khaali
phool khila hai ae ae
aaya na maali
aaya na maali
phool khila hai ae ae
aaya na maali
aaya na maali
tuhi jaake bula re
tuhi jaake bula re
jaake bula re
ro na munna pyaare
ro na munna pyaare
ro na munna pyaare
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.
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Blog Day : |
5733 | Post No. : | 18255 |
Today’s song is from the film Hospital-1943.
The film was directed by Sunil Mujumdar. Music was by Kamal Dasgupta, who was one of the pioneers in making NFS popular all over India through many singers from Bengal. The cast of the film was Kanan Devi, Agindra Chaudhari, Heeralal, Tulsi Chakraborti, Poornima, Manorama and many others.
When we talk of Calcutta or films made in Bengal, we generally think of New Theatres only. You will be surprised that there were at least 20+ film companies and studios, before and after New Theater started and some of them even made Hindi films too. Since the beginning of British Rule in India, Calcutta was the Capital of India. In the year 1911, the British shifted the Capital to Delhi. Till then Calcutta had a mixed population. people from all parts of India lived there. However business minded and hard working Gujarati and marwadi communities ruled the business of all types, including the film industry in Calcutta, much before the establishment of New Theatres. Sharmishtha Gooptu, the well known film historian has written this about the beginning of film business in Calcutta….
” Marwari and Gujrati businessmen had been quick to appreciate the scope for profit in the fast-growing cinema industry. One of the first to invest in the industry was Lalji Haridas, a businessman from Kathiawar, who founded M/S Lalji Hemraj Haridas in Calcutta, a firm dealing in piece goods. In 1918 he secured the Bengal agency for the Kohinoor Film Company of Bombay, and became an agent for Sharda Pictures in 1926. In 1930 he was managing Jupiter Cinema in Calcutta. With the advent of the talkies, he secured the distributing rights of, among others, Bombay’s Wadia Movietone, Paramount Film Company, and Shree Vishnu Cinetone. In 1936/37, Haridas managed the Bharat Laxmi Theatre in Calcutta. By 1937-38, he was one of the leading distributors of Indian films in Eastern India, Burma, and the Far East, with offices in Calcutta, Rangoon, and Singapore respectively. In 1938, Lalji Hemraj Haridas were the sole agents of Wadia Movie tone, Paramount, Indian Liberty Pictures, Shree Vishnu Cinetone, Jaybharat Movietone, Diamond Pictures, Daryani Productions, and Wishvakala Movietone for Bengal, Bihar, Orissa, and Assam.
Similarly, Bajrang Lal Khemka, one of the first among the Marwaris to go into the film business, had been a dealer in piece goods, jute, and Hussein; an importer of sugar and motor spare parts; and invested part of his profits therein in the fast expanding film industry. In 1932, soon after New Theatres was formed, Khemka started the East India Film Co. In 1937 he launched the Metropolitan Pictures in Calcutta. Soon he owned cinema houses in various parts of the country.
Radha Kisen Chamria of Radha Film Co., Babulal Chowkani, proprietor, Bharat Laxmi Pictures, and exhibitor/distributors H. M. Chamria and Chandanmal Indrakumar were other Marwari business magnates who claimed a plum share of profits accruing from Bengal’s film industry. These businessmen were close competitors of the Bengali bhadralok, men like B. N. Sircar; Anadi Bose, proprietor of Aurora Film Corporation; P. N. Ganguly, proprietor of Kali Films; Sir P. C. Tagore, chairman of the board of directors of the Film Corporation of India Ltd.; or producer/distributor Prafulla Ghosh, proprietor of Prafulla Pictures formed in 1936.
Aurora, for instance, though one of the leading “Bengali” distributors in Calcutta was evidently operating on a much smaller scale than Lalji Hemraj Haridas. Compared to the latter’s holding of sole distribution rights of eight Bombay concerns, Aurora, in 1938, was distributing for New Theatres Ltd., Radha Film Co., Bharat Laxmi Pictures, and Kali Films. Further, Aurora was not distributing for New Theatres in the most-significant eastern region, as revealed by Dossani Film Corporation’s claim of being the sole distributing agent for Bengal, Bihar, Orissa, Assam, and Burma for New Theatres Ltd.Until the mid-1920s, there was no evidence of Bengali Muslims’ involvement with the cinema. The first involvement came in 1927 when members of the family of the Nawab of Dhaka made an experimental short film, Sukumari. In 1929, the same group embarked on the project of a full-length film, released as The Last Kiss in 1931. These initiatives apart, Bengali Muslim involvement in the film industry, through the 1930s was confined to solitary figures like Kazi Nazrul Islam and Abbasuddin Ahmed. Though later initiatives like the Chalachhitra Darshak Samiti (1939) and Bengal Tiger Pictures (1941) were patronized by some Muslim elites like Fazlul Haq and Humayun Kabir, they were marginal projects, and Bengali Muslims, by and large, remained detached from the film industry, so much so that Dhaka had no organized film industry until after independence. ”
Today’s film was made by M.P.Productions, Calcutta. Bajranglal Khemka, owner of the East India Film Company established Metropolitan Pictures Production co. in 1937. Film Hospital-1943 was made in Calcutta with all Bengali artistes. It is very difficult to get detailed information on Bengali actors as it is only available in Bangla languages, mostly. However, I could get information about the film’s Hero Ahindra Chaudhari, from The Encyclopedia of Indian Cinema by Ashish Rajadhyaksha. Here it is….
Ahindra Choudhury, born on 6th August, 1896, was a legendary theater actor and director of the Bengali stage who also enjoyed a long career in Bengali cinema.
Ahindra Choudhury’s theater debut was for the Art Theater at the Star, in Aparesh Chandra Mukhopadhyay`s “Karnarjun” i.e. “Karna and Arjun” in 1923. Interestingly, his film debut preceded his stage appearance by a year. His first film appearance came in the year of 1922 in the silent film ‘The Soul of the Slave’ (Dir. Prafulla Ghosh; produced by the Photography Syndicate of India). He continued to regularly feature in lead as well as character roles in significant films of important directors such as Madhu Bose etc till the 1950s.His two-volume autobiography is titled “Searching for my Lost Self” (Nijere Haraye khunji), which is full of important information about and insight into professional Bengali theater of the early twentieth century.
Actor born in Calcutta. Major Calcutta Theatres stage star launched with the key role of Arjun in epochal production of Karnarjun at Star Theatre (1923). Stagework in e.g. Iraner Rani, Bandini, Chirakumar Sabha, Mishar Rani etc. had an impact comparable to that of Sisir Bhaduri, who had a similar career. Early films at Madan Theatres, usually by Jyotish Bannerjee who continued to direct him into the talkie era, included stage successes like Mishar Rani and Karnarjun. At Madan also filmed scenes from his stage plays in early sound experiments. In 1928 attempted, unsuccessfully, to start the Ahindra Film Studio at Ultadanga, North Calcutta. Then directed some Telugu films for Aurora (Ansuya, Vipranarayana). Was a regular genre actor in Bengali cinema, notably in films by Sailajananda Mukherjee, P.C. Barua and Modhu Bose, until he retired in mid-50s. Wrote a two-volume autobiography, Nijere Haraye Khunji (1945). His collection of theatre and film memorabilia forms the Ahindra Choudhury Archives at Chetla, Calcutta. He died on 4-11-1974.
HOSPITAL-1943 was a film depicting a different atmosphere and a novel story matter, which made it a film worth a look. Added to it, the melodious music by Kamal Dasgupta and haunting songs by Kanandevi made the film a successful one at the Box office.
The film,a M.P.Production was directed by Sunil Muzumdar who was basically a writer.He used to write stories,Dialogues and Screenplays of films.Even in this film,he joined hands with Pt.Bhushan in Dialogue writing ,with Manmath Ray in its story and with Premendra Mitra in writing the screenplay. Lyrics were by Pt.Madhur and Pt.Bhushan.
Jayant is the son of Dr.Deen Dayal.He is educated but a vagabond and always in need of money. Once Deen dayal tells him that unless he gets married and does something for a living,he will not get any money.Dr.Deen Dayal is a widower and has established a hospital in a village for the benefit of poor people,in the memory of his departed wife.He goes to the Hospital from time to time.Jayant is introduced to Pratima(Kanan Devi) by Sandeep, her distant cousin and a friend of Jayant.
one day Jayant proposes to Pratima to act as his wife,only for a day, so that he can fool his father and extract some money from him.Pratima,after lot of cajoling,agrees to do so and they go to Dr.Deen dayal.The father is very happy to see his daughter in law.He not only compliments Jayanta for his choice but also gives him lot of money. The work having been achieved, Pratima wants to go away, but the Doctor would have none of it. He forces her to go with him to the village Hospital.
Dr.Bhatt, his assistant is a hidden enemy of Deendayal and wants to throw him out to usurp the hospital.He suspects that Jayanta and Pratima are not married.He employs detectives and confirms this.In the meantime Jayant and Pratima start loving each other.Pratima also finds out that Dr.Bhatt has misappropriated Hospital money for Medicines.She exposes him before he exposes her and the Doctor is removed from the Hospital. By now, Deen dayal also has found out that these two are not married. He gets them married.
Today’s song is a duet sung by Kanan Devi and Jagmohan Sursagar. HFGK does not mention the male singer’s name. However, Sunil Trivedi ji of Surat who was a family friend of Jagmohan Sursagar has informed that Jagmohan himself told him that this song was sung by him. Sunil ji’s comments to this effect are available on this Blog. Enjoy….
Song- Ae ronewaale hansne ke din door nahin hain(Hospital)(1943) Singers- Kanan Devi, Jagmohan Sursagar, Lyrics-Pt. Madhur, MD- Kamal Dasgupta
Both
Jagmohan Sursagar + another male voice
Lyrics
Man ke haare haar hai
man ke jeete jee ee ee ee eet
raat dhale
din hot hai
ye duniyaa aa aa aa ki reet
ae ronewaale
hansne ke din door nahin hain
jo aaj hai mazboor
kal majboor nahin hai
ae ronewaale
hansne ke din door nahin hain
jo aaj hai mazboor
kal majboor nahin hai
ae ronewaale
hansne ke din door nahin hain
jo aaj hai majboor
kal majboor nahin hai
bahti nahin hai zindagi bhar
dukh ki dhaara
door nahin hai
door nahin hai
bahti nahin hai zindagi bhar
dukh ki dhaara
majboor nahin hai
majboor nahin hai
gahra jo samandar hai to uska bhi kinaaraa
gahra jo samandar hai to uska bhi kinaaraa
aakhir to kahin hai
aakhir to kahin hai
aakhir to kahin hai
ae ronewaale
hansne ke din door nahin hain
jo aaj hai majboor
kal majboor nahin hai
duniya mein maraj bhi hai
ae ae ae ae ae ae
dua bhi hai dawaa aa aa aa bhi
duniya mein maraj bhi hai
dua bhi hai dawaa bhi
duniya mein maraj bhi hai
dua bhi hai dawaa bhi
baadal mein jahaan rahti hai bijlee to hawaa bhee
baadal mein jahaan rahti hai bijlee to hawaa bhee
paanee bhee wahin hai
paanee bhee wahin hai
paanee bhee wahin hai
ae ronewaale
hansne ke din door nahin hain
jo aaj hai majboor
kal majboor nahin hai
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. 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.
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Blog Day : |
5731 | Post No. : | 18253 |
Today’s song is from the stunt film – Hunterwali ki Beti-1943.
This is perhaps the only film in a Hindi cinema,so far, where the same actress has done the role of a young woman in a film and again did the role of her daughter in the same film. There are some Hindi films which double roles have been done by a few actresses, of mother and daughter in the same film. What makes today’s film different is its Title.
The film’s Heroine – Fearless Nadia- debuted as a Heroine with the film – Hunterwali in 1935 and in today’s film, she had the same name-Hunterwali in the early part and the name of – Hunterwali ki Beti, in the later part of the film as her daughter. The daughter’s name in the film is Madhuri. In 80% of her films, she had the name Madhuri. Perhaps it was her favourite name !
The film was made by Homi Wadia’s Basant pictures. The cast of the film was Nadia, John Cavas, Sayani, Sardar Mansoor, Rajkumari, Shyamsundar, Ranibala and others. The music was by Channalal Naik, an old time composer, whose last films as a composer was later in 1943-Watan Farosh. Lyricist was A.Kareem. he was a multi talented artiste.
There were few artistes in the Film Industry who were ‘all- rounders’. These artistes achieved excellence in many departments of film making. A. Kareem was one such artiste. He was brother of Music Director Ghulam Mohammed. He was an Actor, Producer, Director, Composer, Lyricist, writer, s/play and dialogue writer and a Costume designer ! In my opinion, he can be compared with only Badri Prashad, who was Actor, Producer, Director, Composer, Singer, Character artiste and a Choreographer too !..
In the early era, there were many such artistes who did many things-sometimes out of necessity or compulsion or to sustain jobs. But they were known for ONE main activity. Similarly A. Kareem was known as a Lyricist. He started his career with Aaj ki Duniya-40 as an actor and a Lyricist. He also acted in Jagat mohini-40, Meri Khwaish-041, and Circus ki Sundari-41. He wrote s/p and dialogues, with P L Santoshi for films Circus ki sundari-41 and Bombay Calling-42. He composed music for 5 stunt films like Kashmir ki kali-46, Toofani Teerandaz-47,Atom Bomb-47,Dhoomketu-49 and Maya Mahal-49. He had composed 35 songs.
He directed 13 films like Kalakar-42,Talash-43,Badmash-44,Jeewan swapna-46,Parbat ki Rani-48,Rangeele Musafir-50,Josh-50,Gazab-51,Char chand-53. Maharani-57,Mehfil-57,Tilasmi Duniya-62 and Mehbooba-65.
As a Costume designer he worked for Naya Daur-57, Dil apna aur Preet Parayee-60, Mere Mehboob-63,Kaajal-65, Main vohi hoon-66 and Dastak-70. As a Lyricist his most famous song was Talat’s “Hai ye vohi aasman, aur vohi zameen, par meri Taqdeer ka ab vo zamana nahin ” in film Chaar Chaand-1953. He wrote 146 songs in 20 films.
The story of this film was…
In the kingdom of queen Madhuri everything was peaceful. She was very strict with evil doers and used a Hunter to punish them. So she was known as Hunter wali Rani. This peace was broken when her cousin Pratap not only invaded the kingdom, but also imprisoned Madhuri. Her small daughter Kishori was saved by the loyal sardar Ishwar Singh who escapes with the child, eluding the forces of Pratap. After 15 years, it is Kishori who dons Hunterwali’s uniform and supports the poor and punishes the cruel. She is trained by Ishwarsingh, whose son Vijay falls in love with her. Pratap sends forces to capture her. They catch Vijay and tie him to the Railway track, from where a riding Hunterwali ki beti alias Kishori rescues him.
To get Kishori, Pratap announces the hanging of Queen Madhuri in his Black Fort. Kishori, Vijay and their accomplices enter the fort, rescue the queen and capture Pratap and his aide Ajit. The Queen is reinstated on the throne, Kishori and Vijay get united and Pratap and Ajit get Life imprisonment sentences.
The film was directed by Batuk Bhatt. He had also directed Muqabala-1942, mouj-1943 and Sudhar-1949. The name sounds unknown, but it was a Pseudonym of the veteran action film director Nanabhai Bhatt. Taking such names, for whatever reasons, is not new in the Hindi film industry. I am not talking of the names various actors and actors took in their career, but others who carried a dual identity. Here are some of the examples.
It was from the film ‘Albela’ that C Ramchandra gave music to Bhagwan’s film in his real name. Prior to this, he gave music to his stunt films as ‘Annasaheb’ and Ram Chitalkar.This type of use of pen names was followed by many MDs. GM Durrani gave music as Gunjan, SD Batish gave music as Nirmal Kumar. Snehal Bhatkar used several names like Vasudev, B Vasudev, VG Bhatkar and Snehal, before taking up another pen name Snehal Bhatkar for the rest of his career. Actually his name was Vasudeo and Snehal was his daughter’s name. Similarly, MD Nashaad also used names like Shaukat Hussai Dehalvi, Shaukat Dehalvi, Shaukat Ali, and Shaukat Haider. These are well known, but today I will tell you 2 pen names for the FIRST time on the internet ! Hardly anybody knows that Anil Biswas gave music to film ‘Begunah’ (1949) in the name of Haribhai. His co-MD in this film was Shyamu – none other than C Ramchandra. This information is given in the Encyclopedia of Indian Cinema by Rajadhyaksha on pages 67 and 190.
Kavi Pradeep (6 February 1915 – 11 December 1998), born Ramchandra Narayanji Dwivedi, was an Indian poet and songwriter who is best known for his patriotic song Aye Mere Watan Ke Logo written as a tribute to the soldiers who had died defending the country during the Sino-Indian War. How many names can a person have ? 2 – 3 – 4 ? Film actress Ameeta had 5 names. She was born Qamar Sultana. Her mother called her Indira, friends called her Indu, In film Thokar-53, she appeared as Jai jaiwanti and finally she was named Ameeta by Vijay Bhatt.
Director Nanabhai Bhatt ( 12-6-1915 to 24-4-1999). He was a director in many films. He directed mostly Mythological and stunt films only. Nanabhai was born as Yashwant ( pet name – Batuk) at Porbandar. Since he was the younger one he was called Nanabhai ( opposite to Motabhai-elder brother). This name continued till the end. His father was a doctor. After Matriculation, he went to Mumbai in 1934, where his elder brother Balwant Bhatt was working. Balwant started with Imperial,shifted to Sagar and now was with Prakash pictures of Vijay and Shankar Bhatt. He got Nanabhai a job as Sound Recordist. Soon he graduated as Production Executive. He also wrote several screenplays.
In 1942 he directed “Muqabala”, for Homi Wadia, as Batuk Bhatt. Homi Wadia became his good friend. When Homi established his own Basant Pictures, Nanabhai joined him and directed his “Hunterwali ki Beti”-43, with Nadia again. He also did mauj, Jee Haan, Chaalis Karod etc. He directed about 50 films of various genres like Stunts, Mythologicals, crime, social, costume etc.
Nanabhai’s first wife was Hemlata. He also married Shirin banu, his Heroine of few films. To circumvent the Bigamy law, he married her in a Temple and that too in the presence of Hemlata ! He had 3 children from Hemlata and 6 from Shirin. Mukesh and Mahesh Bhatt are from Shirin. His children and grandchildren married in different religions.Thus his big family was an example of Secularism ! In addition to 9 children Nanabhai also produced 20 films under his own Deepak Pics and Gautam Chitra !
FILMOGRAPHY OF NANABHAI BHATT: 1942: Muqabala; 1943:Hunterwali Ki Beti; Mauj; 1945: Chalis Karod; 1946: Maa Baap Ki Laaj; 1947: Meerabai; 1949: Shaukeen; Veer Ghatotkach; Sudhaar; 1950: Hamara Ghar; Janmashthami; Veer Babruwahan; 1951: Lakshmi Narayan; Daman; Lav Kush; Ram Janma; 1952: Apni Izzat; Baghdad; Sinbad the Sailor; 1954: Toote Khilone; Watan; 1956: Kismet; 1957: Mr X; Ustad; 1958: Chaalbaaz; Son of Sinbad; 1959: Bazigar; Daaka; Kangan; Madam XYZ; Naya Sansar; 1960: Lal Qila; Police Detective; Zimbo Comes to Town; 1961: Teen Ustad; 1962: Baghdad Ki Raatein; Rocket Girl; 1963: Alapiranthavan; Bhootnath; Cobra Girl; 1964: Samson; 1965: Adhi Raat Ke Baad; Bekhabar; 1966: Shankar Khan; 1967: Arabian Nights; 1968: Jung Aur Aman; 1974: Jeevan Rekha; 1975: Balak Aur Jaanwar; 1976: Dharti Mata; 1981: Gajara Maru; 1982: Jaya Parvati Vrat.( Thanks to Harish Raghuwanshi ji and Encyclopedia of Indian Cinema for some information.)
Now enjoy today’s song video….
Song- Main tumse milne aaunga aaj aadhee raat ko (Hunterwaali Ki Beti)(1943) Singers- Shyamsundar, Ranibala, Lyricist-A. Kareem, MD- Chennalal Naik
Lyrics
o goree
o goree
main tumse milne aaungaa
aaj aadhee raat ko
aadhee raat ko
aaj aadhee raat ko
teree galee main dheere se
teree galee main dheere se
seetee bajaaungaa bajaaungaa bajaaungaa
aaj aadhee raat ko
aadhee raat ko
aaj aadhee raat ko
so jaayegee jab
so jaayegee jab saas nanadiyaa
kholoongee chupke se
kholoongee chupke se
apnee kothhariyaa
karke ishaaraa bulaaungee
karke ishaaraa bulaaungee
main aaungaa
main bulaaungee
aaj aadhee raat ko
aadhee raat ko
aaj aadhee raat ko
paas aao
un hoon
aaj aadhee raat ko
aadhee raat ko
aaj aadhee raat ko
tum upar atariyaa pe aanaa
tum upar atariyaa pe aanaa
mohe phoolon ka gajra pahnaanaa
mohe phoolon ka gajra pahnaanaa
tum bhool na jaanaa
man lubhaanaa
bhool na jaanaa
man lubhaanaa
aanaa
aaungaa
aaj aadhee raat ko
aadhee raat ko
aaj aadhee raat ko
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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