Archive for the ‘Songs of 1940s (1941 to 1950)’ Category
O gori kahaan chali us paar
Posted on: March 17, 2019
This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3894 | Post No. : | 14930 |
“Jail Yatra”(1947) was produced and directed by Gajanan Jageerdaar for Jaageerdaar productions, Bombay. This “Social” movie had Gajanan Jageerdaar, Kamini Kaushal, Raj Kapoor, Harish, Bikram Kapoor, Badri Prasad, Sunalini Devi, Dixit, Ramlal, Hemavati, Pratima Devi , Sagar, Munawwar Khan, Rammurty, Satyanarayan, Ramlal, Shamlal etc in it.
The movie had eight songs in it. Two songs have been covered in the past.
Here is the third song from “Jail Yatra”(1947) to appear in the blog. This song is sung by Ninu Majumdar and Meena Kapoor. Sajjan is the lyricist. Music is composed by Ninu Majumdar.
Only the audio of the song is available. From the sounds of it, the song appears to be a dance song. Gajanan Jageerdaar , the hero of the movie, most probably lip synced in Ninu Majumdar’s voice. I am less sure about the lady lip syncing in Meena Kapoor’s voice. I request our knowledgeable readers to throw light on the picturisation of this song.
Song-O gori kahaan chali us paar (Jail Yaatra)(1947) Singers-Ninu Majumdar, Meena Kapoor, Lyrics-Sajjan, MD-Ninu Majumdar
Lyrics
o gori kahaan chali us paar
o gori kahaan chali us paar
chhod ke gaanvon ki bahaar
arri sun
mor bole ho
aeji mor bole
mor bole mor bole ho
rasiya jaaungi us paar
bulaate hain jagmag baazaar
rasiya jaaungi us paar
bulaate hain jagmag baazaar
man hamaar dole ho
man hamaar dole ho
gori rum jhum rum jhum baaje
saawan ki bauchhaar
gori rum jhum rum jhum baaje
saawan ki bauchhaar
rasiya chhoom chhananchhan baaje
rasiya chhoom chhananchhan baaje
paayal ki jhankaar
rasiya chhoom chhananchhan baaje
paayal ki jhankaar
hamaara hara bhara hai gaanv
hamaara hara bhara hai gaanv
aam ki thhandi thhandi chhaanv
arri sun mor bole ho
aeji more bole
mor bole mor bole ho
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog.This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3890 | Post No. : | 14922 |
Today’s song is from film Arab ka Sitara-1946. Produced and directed by Nanubhai Vakil, under his own banner- Roshan Pictures, it was a costume drama film,eulogising the greatness of Islam and how sincere 5-time Namaz pleases Allah- the Supreme power.The 10 songs of the film were written by Shevan Rizvi and were composed by the One Film Music Director S Qureshi.
Sometimes I wonder, there was a time when this film industry was thickly populated with Muslim artistes in every field-acting, production,direction or composing music…still there were really not many films on Muslim backgrounds made. There is a sizable and rapidly growing portion of Muslim population in India, still,if you count films based on Muslim issues or Muslim backgrounds,they may not account for more than 1 to 2 % of the total film production.
It is not only the Muslim films, but films on other minorities like Christians,Parsis, Jains,Budhists, Sikhs too are not much represented in our films. It is very sad that such films are not made, though the figures and history tells us that such films were quite successful at the Box Office.
Muslim films are in Two categories. One, films made on Historical Muslim characters like Akbar, babar, Humayun, Shahjehan, Jehangir, Razia Sultan, etc etc and the Second group is that of Muslim society. Just for the sake of curiosity, I scanned the 5 volumes of HFGK and wrote down names of films made on Muslim subjects-both types. To my surprise,I could not go beyond even 50 films-from 1931 to 1980 !, Granting that I must have made a mistake in counting and identifying,since I do not know the story lines of every film, still the number will not go beyond 70-80 films, despite ruthless stretching !
The point I want to make here is that not many Muslim social movies are made in India ,over the years. One of the earliest such a film was Najma-43,I think. One very very explosive Muslim social film,made by Director Mehboob was “Elan” in 1947. Munawar Sultana was the lead actress in it. Before starting the shooting, Mehboob called her and said,” You have heard the story,it is a very very hot story.I guess there will be a lot of opposition from our fundamentalist people. You may have to face their ire. may be you will be attacked or thrown out of the society. But remember,I am doing this film,because I want our people to improve on par with others. If you want,you can reject the film even now. Think and tell me before we start shooting. “Munawar Sultana quickly said,”There is no need to think. I want to do this film. I am not afraid of anyone. I have full faith in you.” After release,the film did evoke violent reactions from a section of the Muslim society but it subsided slowly. Before Partition, Fazli brothers were known to make Muslim social films.
Some other Muslim socials I remember are Zeenat,Dil hi to hai,Bahu begum,Dastak,Garm hava,Bazar,Anjuman,Naseem, the Triology by Khalid Mohammed-Mammo-Sardari begum and Zubeida, Fiza,Junoon,Benazir,Gazal,Chhote nawab.Then there were Barsaat ki raat,Nikah,Shatranj,mehboob ki Mehendi,Umrao Jaan,Paakiza,Mere mehboob,Chaudhavi ka chaand,Anwar, My name is Khan,Bombay etc. Surely,there must be many more than what I have mentioned. I am not counting Historical films as they are not socials.
Being from Hyderabad, when it was a Nizam ruled state, I had a closer view of Muslim culture and even had some close Muslim friends in school and college. Though my early education in the 40s was in Urdu, over a period, I have lost the touch with Urdu- may be due to ‘ atrophy of disuse’ !
When I learnt that one of my friends, Shri P Kamalakar aka Kamlakar Pasupuleti, has written a book on Muslim films, I was very eager to have a copy. Last week I got my copy of his book ” Forgotten movies on Muslim Culture 1933-1947 “.
The book is an authentic chronicle of 30 films made on Muslim culture- social, historical and costume dramas based on imaginary events and stories. Kamlakar ji is an Urdu Scholar and had a superb enviable collection of film materials in Urdu, which he collected during his early life in Hyderabad. Now, he has been settled in US for a very long time. He has earlier published 2 books, based on this material, which are real Gems for students of old films, like me.
This new book too is exclusively based on documents like film booklets, reviews and News items in papers, books etc, all in Urdu. All this makes the book very well documented and authentic too. This is a treasure trove of early Indian movies, fit to be preserved for posterity. The original Urdu material is also given in the book.
Today I have selected a song from one of the films discussed in this book,namely, Arab ka sitara-46. Though the book’s title says 1933 to 1947, only one film of 1947 (Mulaqat-47) features in this book. As far as my information goes, films like Abida, Dard, Ek Roz, Elaan, Gul e Bakavli, Hatimtai, Kasam and Mirza Sahiban, all made in 1947, were also with Muslim culture background. These films do not feature in this book. One reason could be that due to Partition-pre and post activities, most films, passed by Censors in 1947 could not be released in 1947 itself for obvious reasons. Obviously, there were no reviews, articles or comments etc on these films in the newspapers. All these films got released in 1948 and thus are not included in this book. Of course, this is my surmise, based on facts.
I know for sure that the most famous and daring Muslim culture film ” Elaan” was censored in 1947 on 11-3-1947 ( certificate no. 35351) but was actually released only on 20-2-1948 in Super Cinema, Bombay. I thank Harish Raghuwanshi ji to confirm my surmise by facts, within lightning time, after my query today itself.
In any case, the book is not without errors. No book is without errors-in this subject- including my own book also. This is because, history and facts get updated every now and then, with newer evidence coming to light through many sources.
Film Arab ka sitara-46 was directed by Nanubhai Vakil. He was the fittest person for such type of B and C grade costume dramas- in which he specialised. It is no surprise that in his 20 Silent and 70 Talkie films just ONE film was a social film-Kya yeh Bambai hai-1959.
Nanubhai Vakil was born in Valsad in Gujarat in the year 1904. In his family there were many Advocates including his father,so their family name itself became Vakil, instead of their original surname Desai. Nanubhai came to Bombay to study Law. He completed his B.A. LL.B from Wilson College, Bombay but he did not join his family profession. Instead he was attracted towards the film world.
He joined Sharada films as a screenplay writer and later joined Ranjit films as a Director. He directed 18 silent films for Ranjit studios. However, it was Sagar Movietone which gave him the first opportunity to direct his first Talkie film. It was the First Gujarati Talkie film, “Narsimh Mehto” in 1932. After this there was no looking back. He opted for and became an expert in directing only Fantasy,Stunt and Costume films.
In his career from 1929 to 1973 period,he directed 20 silent and 70 Talkie films -all stunt and fantasy films, except one social film Kya yeh Bambai hai in 1959.
He was associated with Mohan pictures for a long time and directed 18 films for this company. During this period he also married his Heroine Sarojini ( real name Roshan Jehan alias Ranee). They had one daughter-AZRA, who too became an actress. Sarojini was actress Indurani’s elder sister.
Unlike most of his colleagues ,who had no formal school education ,Mr Vakil was highly educated ,being B.A.L.L.B. in those days.Since beginning,he was attracted to Fantasy & Arabian Night movies.He believed that,the audience visits the cinema hall, to experience some thing,which he has not seen in his real life. He wants to be entertained & to forget the harsh realities of the outer world. Fantasy/ Costume movies transports him to an imaginary world of King & Queens, where beside the crafty Vazir, he finds gorgeous girls dancing, the handsome,manly & brave hero,rescues the pretty damsel from the clutches of evil magician. The movie comes to an end and the viewers come out from the theater,happy & satisfied, since evil doers have been eliminated & brave man living happily with the petite gal, in their fairy land.
Bulbul E Bagh,Rashk E Laila, Fakhr E Islam, Gulshan E Alam, Kumud Kumari were his earlier movies. In 50s & 60s,few of his movies were,Shan E Hatim, Khul Ja Sim Sim, ShanE Khuda, Idd Ka Chand, Noor Mahal, Flying Rani, Alam Ara Ki Beti, Bansri Bala, Hatim Tai Ka Beta etc.He made remakes of many movies like Lal E Yaman, Alam Ara (Twice in 1956 & !973) & Hatim Tai Ki Beti in 1940 & 1955.During his five decades long career,he made movies with in a small budget ,with less paid actors. Nanu Bhai Vakil had two productions Companies viz Desai Films & Vakil Production. All his movies had no connect with the present. Elite & pseudo intellectuals avoided to even discuss his movies, but Vakil Sahab had a dedicated audience consisting of common public,less privileged & so called front benchers,who enjoyed his brand of cinema.
His films included less known stars like Sarojini, Navin chandra, Rafiq, Prakash, Gulnar, Daljit, Chitra etc. He also worked with Zubeida, Yakub, Jal Merchant,Jaddanbai,Shanta Hublikar, Nimmi, Veena, Jairaj, Shakila,Nirupa Roy, Nadira, Mehmood, Shobhana Samarth, Nirmala,her husband Arun Ahuja etc. His MDs were also little known. However, Music Director A.R.Qureshi ( the famous Tabla Nawaz Alla Rakha-father of Zakir Hussain) gave music to his 18 films.
He never mixed with film folks and spent his life aloof. He quietly died on 29-12-1980 at Bombay.
The story of film Arab ka Sitara-46 ( as given in the book) was…….
Anwar is a devout Muslim following 5 times Namaz, without fail. From a common soldier, he becomes Commander in Chief and then the king of his state. He is advised by his Vazier to go to neighbouring country to spread Islam. Accordingly, Anwar reaches that kingdom. Here he falls in love with the Princess Arifa. In his love she converts to Islam. When the king comes to know this, he arrests Arifa and Anwar. When Anwar is tortured for days, he exhibits his immense faith on Islam and The Allah. The king is impressed and he too coverts to Islam. Arifa and Anwar are married. Anwar forgets his 5 times Namaz in his joy and is punished immediately.
The Prime Minister rebels and with an army to support him, arrests Anwar, Arifa and the King. In the jail, Anwar starts his 5 times Namaz. A good hearted Namazi frees them. Anwar realises his mistakes and all of them strictly follow 5 times Namaz. All obstacles are removed, the rebels run away from the kingdom. The King is reinstated and all the kingdom is converted to Islam, thus Anwar proves the power of Namaz.
The cast of the film was Amirbai Karnataki, Prakash, Cuckoo, Rafiq, Ansari, Agha Shapoor etc etc. The song is sung by Rafi and Amirbai Karnataki with gusto and it had become quite popular among the Muslims in that period.
Song-Macha di dhoom duniya mein Islaam ke deewanon ne (Arab Ka Sitaara)(1946) Singer-Rafi, Lyrics-Shewan Rizvi, MD-S Qureshy
Rafi + Amirbai Karnataki
Lyrics
Macha di dhoom duniya mein
Macha di dhoom duniya mein
islaam ke deewaanon ne
Macha di dhoom duniya mein
islaam ke deewaanon ne
Macha di dhoom duniya mein
haan aan aan aan
mita ke kufr ki hasti
ee ee ee ee ee
basa ke ae
jalwon ki basti
ee ee ee
haan aan aan aan
mita ke kufr ki hasti
ee ee
basa ke ae
jalwon ki basti
ee ee ee ee ee ee
jala di noor ki shama
jala di noor ki shama
tauheed ke parwaanon ne
jala di noor ki shama
tauheed ke parwaanon ne
Macha di dhoom duniya mein
islaam ke deewaano ne
Macha di dhoom duniya mein
haan aan aan aan
jhanda ye sabz rang ka
aa aa aa aa
bajta hai jiska danka
aa aa aa
jhanda ye sabz rang ka
bajta hai jiska danka
aawaaz sun ke jiski
dhun sabko laagi rab ki
aawaaz sunke jiski
dhun sabko laagi rab ki
aawaaz sunke jiski
dhun sabko laagi rab ki
padha kalma Muhammad ka
padha kalma Muhammad ka
insaanon ne be-deenon ne
padha kalma Muhammad ka
insaanon ne be-deenon ne
macha di dhoom duniya mein
islaam ke deewaanon ne
macha di dhoom duniya mein
haan aan aan aan aan
zameen pe jab hua gul
la ilaaha il lallah
sitaaron se jawaab aaya
Muhammad ya rasool allah
kya
macha di dhoom duniya mein
macha di dhoom duniya mein
islaam ke deewaanon ne
islaam ke deewaanon ne
islaam ke deewaanon ne
macha di dhoom duniya mein
islaam ke deewaanon ne
macha di dhoom duniya mein
Majboor hai is dil se
Posted on: March 10, 2019
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog.This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3887 | Post No. : | 14917 |
Today’s song is from film Gauri-1943. It was a film made by Ranjit Movietone. The Lyrics, Story and Screenplay as well as the Direction was by Kidar Sharma. The cast of the film was Prithviraj Kapoor, Shamim, Monica Desai, Rajkumari Shukla, Brijmala, Amarnath etc etc.
The making of film Gauri-1943 had a big story behind it. This is described in great details by Kidar Sharma himself, in his autobiography ” The one and Lonely Kidar Sharma”. We will,however, discuss this in an abridged version here.
Kidar Sharma left New Theatres, Calcutta and shifted to Bombay, for a new chapter in his life and career. His close friend from Calcutta, Prithviraj Kapoor, who was in Bombay earlier, had arranged for his meeting with Ranjit’s chief Chandulal Shah. Even before Sharma reached Bombay, Shah had known about him and had become his fan.He saw film ” Chitralekha “-41, made and directed by Kidar Sharma, several times,in his own Theatre-Opera House in Bombay, mostly with his consort Goharbai Mamajiwala. He was very much impressed with Sharma ji’s work. Shah and Goharbai both, were actually eager to employ Kidar Sharma. Therefore, without any hitch, he was hired at a very lucrative salary of Rs. 3000/- pm and an advance of Rs. 5000/- to bring his family from Calcutta.
Kidar joined Ranjit on 3rd October 1941. His first film here was ‘ Armaan’-42. During this film, he became very friendly with actor Motilal, whom Sharma regarded as a very good artiste. During his next film, ‘Vish kanya’, Kidar took Raj Kapoor as his third assistant. His close friend Prithviraj was worried about the future of Raj, hence Sharma took him under his wings so that he will learn the making of films in all aspects. In effect Raj was only a Clapper Boy here, but he was a keen observer of everything. He was a little childish still. In one of the outdoor shootings of the film, Kidar Sharma got so much irritated with Raj Kapoor’s irresponsible behaviour that in anger, he slapped Raj kapoor on the sets, in front of all the staff. Later Sharma felt bad about the incident and decided that one day, when he would become a Producer, he would make Raj Kapoor his Hero in that film (Neelkamal-47…earlier started as ‘ Bechara Bhagwan ‘ as its Title). More about this film some other time.
In 1943, Sharma wrote a story “Gauri”- set in Calcutta and woven around the Durga Pooja in Bengal. It was a very touching human story and very emotional too. During the story session, both Chandulal Shah and Goharbai could not control their emotions and wept openly. Shah liked the story so much that he volunteered to sent a team to Calcutta for shooting during the Pooja Festival days.
Sharma insisted that the Hero’s role of Khumar- the Idol Maker be done only by his friend Prithviraj kapoor. His name was of course agreed upon. However, Goharbai queried as to who Sharma had in his mind to do the sensitive Heroine’s role. Sharma ji replied that he needed someone who looked fresh and innocent. He asked for some time. Actually he had thought of Monica Desai- the younger sister of famous actress Leela Desai. Monica worked as a school teacher in Calcutta. She had done a small role in his film ‘ Chitralekha’-41. In those days Sharma was impressed with her and had assured her that when he gets stabilised as a Director and has a suitable script, he will give Heroine’s role to Monica.
Next day, Sharma ji told Chandulal Shah about her selection. Chandulal had confidence in his judgement. The big hearted Shah gave Rs. 5000/- to Sharma to send to Monica for coming to Bombay comfortably in First Class. Kidar Sharma sent the money to her and asked her to travel only by First class to Bombay, to get down at Dadar, keep the luggage in Cloak room and freshen up in the waiting room. She was asked to wear a silk saree also. Sharma asked her if she understood all instructions and she confirmed. She was to visit Ranjit Studios at 2.30pm, when Sharma would introduce her to Sethji.
On the afternoon of her arrival day, the Shah couple and others waited anxiously for Monica’s arrival. In the afternoon, Monica arrived at the gates of the studio looking tired and untidy, along with all her luggage. Seeing her Chandulal became nervous, but asked Sharma ji to arrange for her stay and food etc. Chandulal Shah was not only upset with Monica’s looks but also annoyed. Still without commenting, he left the studio immediately with Goharbai. Sharma as well as Prithviraj felt humiliated with the foolish Monica who came to the studio, not following Sharma’s instructions. This she did to save some money, but put everyone in an awkward situation. Anyway, Sharma made her staying etc arrangements.
Next day, Chandulal called him to his office and said that he will continue making film Gauri, as promised, but he will not participate in any shootings, recordings or other matters till the film is completed. He will however, see the finished movie before it goes to Censors. It was too obvious that both the Shahs were upset about the ordinary looking and childish, immature Monica as Heroine.
Kidar Sharma gulped all this quietly and started work on the film quickly. The team went to Calcutta also and came back. When the film was completed, Sharma invited Chandulal and Goharbai to see it. Actually whenever such a preview was done all other Directors of Ranjit also attended it, but this time there were only the two of them-Chandulal and Goharbai. The entire team of the film was also present. Sharma had known that when Chandulal did not like the film, he usually abused loudly and sometimes even threw his chappals at the screen. With bated breath, Sharma showed him the film Gauri and waited for his reactions, expecting fireworks. Instead, Chandulal and Goharbai left the room and went to their office. Everyone,including Sharma was sure that Sharma has to leave the company now.
With great courage, Sharma went to their office to know their opinions. To his great surprise, Chandulal dug into his pocket and removed whatever money was there and gifted it to Sharma. He said,” this is my gift to you for making a sublime movie.” Gohar too appreciated heartily. Both of them were spellbound with Monica’s performance. Shah offered Monica a 3 year contract, furnished house and a new car with a driver etc. Shah also increased Sharma’s salary to Rs.5500/pm.
Thus Monica Desai’s first film was a great success. ” Durga” was a winner. Kidar Sharma was a winner.
One of the cast in the film was Rajkumari Shukla. At that period of time, there were 3 Rajkumaris working in Hindi films. One and the most famous was Rajkumari Dubey-Banareswali. The second was Rajkumari-Calcuttewali. Her real name was Pullobai. And the third was this Rajkumari Shukla. She was known as the ‘ mother of the Indian screen’.
Rajkumari Shukla was born in Benares in 1903. She joined films to earn her livelihood. She was married but got bad treatment from her in laws. After the death of her husband, her torture incresed. One Nana Baba, her neighbour was kind enough to help her and get her a job in Madon Theatres, where he was working. Rajkumari had no issues or parents. She treated Nana Baba as her father. She entered films with Uljhan-42. She started getting mother roles and she excelled in that. She worked only upto Nai Maa-46. But she acted in Bangla and Gujarati films too.
In all she did more than 60 films. Hindi films were 31 only. Some of the more known films that she did were Ek raat-42, Vakil sahib-43, School master-43, Sanjog-43, Paraya Dhan-43, Panghat-43, Namaste-43, Najma-43, Gauri-43, Aage kadam-43, Rattan-44, Mann ki jeet-44, Dr,Kumar-44, Sharbati aankhen-54, Hamara sansar-45, Gaon ki gori-45 and nai maa-46. She sang only 1 song in film Panghat-43.
Today’s song is sung by singer actress Shamim. She was variously credited as Shamim, Shameem, Miss Shamim, Shamim Akhtar. She was born in Lahore and died in Lahore, where she migrated after Partition. Her biodata was given on 17-1-2019 in a post on film ‘Return of Toofan Mail’-42.
Song-Majboor hai is dil se (Gauri)(1943) Singer- Shamim (Akhtar), Lyrics- Kidar Sharma, MD- Khemchand Prakash
Lyrics
Majboor hain is dil se ae
ye kaisi pilaayi hai
Majboor hai is dil se
is dil se
ye kaisi pilaayi hai
jaaye hai jidhar dilbar
haay dilbar
uss simt ye jaaye hai
jaaye hai jidhar dilbar
haay dilbar
uss simt ye jaaye hai
duniya se niraala hai
jaanaan tera deewaana
jaanaan tera deewaana
haay kaise bache hasrat
haay hasrat
har aankh mein haaye hai
haay kaise bache hasrat
haay hasrat
har aankh mein haaye hai
hans den jo zara
dekh ke
khil jaaye kali dil ki
khil jaaye kali dil ki
halka sa tabassum tera
gulzaar khilaaye hai
halka sa tabassum tera
gulzaar khilaaye hai
tum saamne baithho ke main
jee bhar ke tumhen dekhoon
jee bhar ke tumhen dekhoon
tum jyon hi huye ojhal
haay ojhal
jhat aankh bhar aaye hai
tum jyon hi huye ojhal
haay ojhal
jhat aankh bhar aaye hai
majboor hai is dil se
is dil se
ye kaisi pilaai 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.
| Blog Day : | 3885 | Post No. : | 14912 |
Today’s song is a rare song( difficult to get) from film Bhanwara-44, starring K L Saigal.
I have been writing on old films and its music since more than 6 years now, but I have never written on any song of a film featuring Saigal and his songs. I had never planned it that way. Actually, I am also a fan of Saigal. Probably it so happened that I found that there were “better’ people to write on Saigal and I coolly left it at that. Our Sudhir ji has done great justice to Saigal songs- film and Non film- with his detailed and emotional articles. These were lapped up by our readers and praise was heaped on every article of his on this topic. Comments on those songs are a testimony to this.
Now there are no Saigal songs left in any film uncovered nor are there any of his popular films without full coverage of all songs. However, few films have few other non K L Saigal songs still to be covered. Today’s song is one such song. This song is a rare song, opines Sadanand ji – the uploader of this song.
K L Saigal (11-4-1904 to 18-1-1947) started his film career with Muhabbat ke aansoo-32 and ended it with Parwana-1947. Most of his career was pursued in Calcutta, primarily with New Theatres and at the end of his life, he did 7 films in Bombay. 2 films each had music by Khemchand Prakash and Lal Mohammed, and 1 film each by Gyan Dutt, Naushad and Khursheed Anwar.
Film Bhanwara-44 was a quickie made by Ranjit within a span of just 9 days, using up the balance period days of Saigal’s contract with Ranjit. The film was directed by his old friend Kidar Sharma. The film had music by Khemchand Prakash. The songs were written by Kidar Sharma, Swami Ramanand and Pt. Indra. The cast of the film was Saigal, Arun Ahuja, Kamla Chatterjee, Monica Desai, lala Yaqub, Brijmala, Kesari etc etc.
Arun Ahuja was a favourite of Sagar, Mehboob and Ranjit. His real name was Gulshan Singh Ahuja-born on 26-1-1918. He was a science graduate from Lahore in 1937. Director Mehboob was interviewing candidates for his new film. From among the shortlisted 100 candidates, Mehboob was impressed with the personality of Arun Ahuja and he was selected to be one of the Heros in film Ek hi Rasta-1939, made by Mehboob for Sagar Movietone. In this film Arun even sang a duet with Maya Banerjee. The film was so successful that Arun became a Hit Hero overnight. Next came Civil marriage-40, Bhole Bhale-40 and his life’s best film Aurat-40
In 1942, while doing film Savera with a new comer Nirmala, he fell in her love and they got married. Arun went on doing roles in about 30 films in his career till his last film Aulad-54. He had produced a film, which was a total flop. He had heavy loss and had to sell off his Bungalow in Bombay and go to a chawl in far off suburb-Virar to live in a rented flat. Arun had 3 daughters and 2 sons- actor/producer Kirti kumar and superstar Govinda. To maintain family, his wife acted and sang in stage shows till her last. Arun Ahuja died on 4-7-1998.
Film Bhanwara had a one film old Heroine Monica Desai- who was called from Calcutta by Kidar Sharma. He knew her well earlier,from Calcutta.
Monica Desai was a famous Indian actress during 1930’s and 40’s. She was the daughter of Dr. Umedram Lalbhai Desai and Satyabhama Devi, a well-known musician of the early 20th Century. Her father was a Gujarati, and her mother hailed from Bihar. Her father who was a reputed Doctor of that period died in the year 1930.
Monica Desai first worked for Bangla movie ‘Nimai Sanyasi’ which released in the year 1940. She was an actress who represented the era of upcoming character actresses like Leela Mishra, Ram Dulari, who made debut along with her and later ruled the Indian screen.
Monica Desai acted under the direction of Phani Majumdar and Kidar Nath Sharma. She did not concentrate much on acting as she got married to Phani Majumdar, a pioneering Indian film director, who worked in Hindi cinema. Phani Majumdar is known for Meena Kumari’s classic film ‘Aarti’ (1962), and ‘Oonche Log’ (1965). Monica Desai had a sister named Leela Desai, who was a renowned actress in Hindi and Bengali cinema. Leela Desai has even acted in the film ‘Kapal Kundala’ (1939) directed by Phani Majumdar. After completion of the venture, Phani Majumdar married Monica Desai.
Monica acted with Prithviraj Kapoor in her career, in film Gauri. ‘Gauri’ was an Indian Bollywood film that was the seventh highest grossing Indian film of 1943 and this established Monica Desai as an actress. Later, she featured in a film ‘Devdasi’ as a heroine that was also top seven grossing film at the Indian box office in 1945. She appeared in the film ‘ Chitralekha’ which was the second-highest grossing Indian film of 1941, in this movie, she portrayed the character of Yasodhara.
This film also was a debut film for actor Bharat Bhushan, who later achieved fame with ‘Baiju Bawra’ (1952). Monica Desai had also acted with a legendary actor and singer K. L Saigal.
Monica worked in only 9 Hindi films- Qaidi-40, Chitralekha-41, Bhakta Surdas-42, Gauri-43, Bhanwara-44, Lakharani-45, Devdasi-45, Rangeen Zamana-48 and Vikram Shashikala-49.
The screenplay and direction of Bhanwara-44 was by Kidar Sharma. This was a social comedy film. Saigal was never known for comedy acts. In fact, it was a new experience for him, since this was only a comedy dominated love story without any sad songs-hallmark of Saigal’s popular songs,done by him so far.
Saigal shifted to Bombay in December-1941 for two reasons. One- Ranjit had offered him a very lucrative offer ( One lakh per movie, according to one source) and secondly most of his friends like Prithviraj kapoor, K N Singh, Kidar Sharma etc had shifted to Bombay. Further, the atmosphere in New Theatres was nowadays polluted and vitiated with Ego clashes, financial difficulties and new entrants to replace the vacancies. Saigal was uncomfortable with all this.
In Bombay, Saigal met all his old friends and he had a gala time with them. In 1944 itself he went back to Calcutta to complete film ‘My Sister’. Then again he went in 1945 to do film ‘Kurukshetra’. This was perhaps his last visit, as he became very busy in 45 and 46 in Bombay. In early 1947, in his visit to his hometown, Saigal breathed his last, luckily amidst his family members.
Bhanwara-44 was a story of two friends- Pancham (Saigal) and Rikhab (Arunkumar Ahuja), who come to Bombay in search of employment. The chawl where they stay,in single room tenements, has a pair of sisters, Indu(Monica) and Bindu(Kamla Chaterji). Indu happens to work as a teacher in the same place where Pancham is working as a Music and singing teacher. They fall in love. His friend Rikhab loves Bindu but is too shy to express his love. In this, he is assisted by his neighbour friend Pehelwan (Lala Yaqub). With his help, Rikhab develops a great body and finally wooes his ladylove. At the end, both the couples unite happily. The film was full of comic sequences, particularly with Arun Ahuja and Bindu. All in all, it was a hilarious movie.
The film had 11 songs. 7 songs are already discussed here. The remaining songs are difficult to get as they are not uploaded on the Net yet, Record collectors, of course, have them. Today’s song is also one such rare song. It is a duet of Amirbai and Arunkumar Mukherjee.
This song can be considered an example of an unusual coincidence. It is like Shyamkumar singing for Shyam in Dillagi. This song is an example of an even rare coincidence. This song finds one Arunkumar (Mukherjee) singing for another Arunkumar (Ahuja)…..and a third Arunkumar
(Deshmukh) writing about it !
Song- Mann ki baazi haar chuke to preet ki baazi jeet (Bhanwra)(1944) Singers- Amirbai Karnataki, Arun Kumar Mukherji, Lyrics- Kidar Sharma, MD- Khemchand Prakash
Both
Lyrics
Mann ki baazi haar chuke to
preet ki baazi jeet
Mann ki baazi haar chuke to
preet ki baazi jeet
jeet mein haar
haar mein jeet
jeet mein haar
haar mein jeet
ye preet ki ulti reet
preet ki ulti reet
saajan ki har baat niraali
ee ee
ee ee
saajan ki har baat niraali
ee ee
ee ee
chitwan ki
ee ee
chitwan ki har aas niraali
ee ee
ee ee
ee ee
chitwan ki
ee ee
chitwan ki har aas niraali
ee ee
ee ee
ee ee
khel raha hai aankh michauli
aankh michauli
michauli
michauli
aankh michauli
michauli
michauli
khel raha hai aankh michauli
man se man ka meet
jeet mein haar
haar mein jeet
jeet mein haar
haar mein jeet
ye preet ki ulti reet
preet ki ulti reet
phir aayin ghanghor ghataayen
aen aen
phir aayin ghanghor ghataayen
aen aen
mor papeehe shor machaayen
ae ae ae ae
mor papeehe
mor papeehe
mor papeehe
shor machaayen
phooli nahin samaati kaliyaan
sun bhanwron ke geet
phooli nahin samaati kaliyaan
sun bhanwron ke geet
jeet mein haar
haar mein jeet
jeet mein haar
haar mein jeet
ye preet ki ulti reet
preet ki ulti reet
man ki baaazi ee
This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3883 | Post No. : | 14909 |
“Phool Aur Kaante”(1948) was directed by Achyut Ranade for Navyug Chitrapat, Bombay. The movie had Lalita Pawar, Salvi, Saroj Borkar, Mohan Sahgal, Master Ratan, Swaroop Sahgal, Tulsi Bai, Shalini, Chaube etc in it.
Three songs from this movie have been discussed in the past.
Here is the fourth song from “Phool aur Kaante”(1948) to appear in the blog. This pathos filled song is sung by Meena Kapoor. Vishwamitra Adil is the lyricist. . Music is composed by Dada Chandekar.
Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of the song.
I have not been able to get one work in the lyrics. I request our readers with keener ears to help fill in the blanks/ suggest corrections as applicable.
Song-Barbaad mohabbat ki chhoti si kahaani hai (Phool Aur Kaante)(1948) Singer-Meena Kapoor, Lyrics-Vishwamitra Adil, MD-Dada Chandekar
Lyrics
barbaad mohabbat ki
chhoti si kahaani hai
barbaad mohabbat ki
chhoti si kahani hai
ik toota hua dil hai
ik teri nishaani hai
ik teri nishaani hai
saawan bhi gaya kab ka
baadal bhi gaye kab ke
phir bhi meri aankhon se
ashqon ki rawaani hai
ashqo ki rawaani hai
barbaad mohabbat ki
chhoti si kahaani hai
taqdeer ki thokar ne ae
wo zakhm lagaaya hai
wo zakhm lagaaya hai
?? umangen hain
khamosh jawaani hai
khamosh jawaani hai
barbaad mohabbat ki
chhoti si kahaani hai
mar jaate to achha tha
par haay re majboori
par haay re majboori
hum mar bhi nahin sakte
wo maut suhaani hai
wo maut suhaani hai
barbaad mohabbat ki
chhoti si kahaani hai
Wo ankhiyaan milaa kar chale gaye
Posted on: March 5, 2019
This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3882 | Post No. : | 14906 |
“Roomaal”(1949) was directed by Ramchandra Thakur for Varuna Films, Bombay. This “social”movie had Nargis, Rahman, Jeewan, Indu, Jairaj, Badri Prasad, Majnoo, Jillobai, Cuckkoo, Ramesh Thakur, Urwashi, Jankidas, Deepak, Pitu, Boy Ratan, Azim, Shamu, Mukesh, Sohanlal, Ahmad etc in it.
The movie had ten songs in it. Five songs have been covered in the past.
Here is the sixth song from “Roomaal”(1949) to appear in the blog. This song is sung by Meena Kapoor. Nazim Panipati is the lyricist. The movie had two music directors in it, viz Hansraj Bahl and Aziz Khan, but the distribution of songs among them is not known. There have been indirect ways to verify thouh that some songs were composed by Hansraj Bahl. Seeing that another Hansraj Bahl song (thus indirectly identified) had lyics by Nazim Panipati, my guess is that this song with lyrics by Nazm Panipati could be a Hansraj Bahl composition as well.
Only the audio of this rare song is available. I request our knowledeable readers to throw light on the picturiusation of this song.
Song-Wo ankhiyaan mila kar chale gaye (Roomaal)(1949) Singer-Meena Kapoor, Lyrics-Nazim Panipati, MD-Hansraj Bahl
Lyrics
wo ankhiyaan milaa kar
wo ankhiyaan milaa kar chale gaye
main rah gayi ankhiyaan malti re
main rah gayi ankhiyaan malti re
wo ankhiyaan milaa kar chale gaye
main rah gayi ankhiyaan malti re
main rah gayi ankhiyaan malti re
kyun dukhiyaa dil ko tod gaye
hamen kiske sahaare chhod gaye
hamen kiske sahaare chhod gaye
kyun dukhiyaa dil ko tod gaye
hamen kiske sahaare chhod gaye
hamen kiske sahaare chhod gaye
wo aag lagaa kar
wo aag lagaa kar chale gaye
main rah gayi aag mein jalti re
main rah gayi aag mein jalti re
wo ankhiyaan milaa kar chale gaye
main rah gayi ankhiyaan malti re
main rah gayi ankhiyaan malti re
wo chale gaye
wo chale gaye aur wahin hoon main
hoon aise jaisi nahin hoon main
hoon aise jaisi nahin hoon main
wo chale gaye aur wahin hun main
hoon aise jaisi nahin hoon main
wo paas bulaa kar
wo paas bulaa kar chale gaye
kyaa ho gayi mose galti re
kyaa ho gayi mose galti re
wo ankhiyaan milaa kar
wo ankhiyaan milaa kar chale gaye
main rah gayi ankhiyaan malti re
main rah gayi ankhiyaan malti re
- In: Bhajan | Classical composition | Devnagri script lyrics by Sudhir | Festival song | Guest posts | Lyrics contributed by readers | Post by Arunkumar Deshmukh | Praising The Almighty | Shiv bhajan | Shivratri Song | Songs of 1940s (1941 to 1950) | Songs of 1943 | Yearwise breakup of songs
- 5 Comments
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3881 | Post No. : | 14905 |
I wish all our readers a very Happy and cosmic MAHASHIVRATRI, to be celebrated today, i.e. 4th March 2019.
This is the one day in the entire year (barring Shravan Somvars) on which I become more religious and engage in pooja, listening to Shiv Bhajans and also do fasting. Our family was very religious. My father was a Sanskrit Scholar and had spent some time in Banares, giving religious sermons in the Kashi Vishveshar Temple during 1948-49. This was the time when he had gone underground to avoid arrest, as most Hindu Mahasabha leaders were arrested along with Savarkar, after Gandhi ji’s death. He was finally arrested and freed by the court “ba-izzat“. We came down to Hyderabad and he started practicing as a Lawyer as he was BA LLB.
Very soon we moved into our spacious bungalow, adjacent (within our compound) to which he constructed a Mahadev Mandir. It was open to public also. Every Shrawan Somvar and Mahashivaratri, there used to be big celebrations, a pooja by 101 bramhins and playing of Shiv Bhajans throughout the day. All this has been etched deep on my mind and I too became a Shiv Bhakta. Now also I do poojas on these days, but I miss all those days’ enjoyment as a growing teenager.
I have read the Shiv Puraan completely (and also other Puraans). The marriage of Shiv-Parvati has been described very minutely in this Puraan. They are believed to have married on the midnight of Mahashivratri. During the period upto early 70s, I never missed any Hindi/ Marathi/ Telugu/ Kannada Shiva film. I have also seen this film – ‘Shankar Parvati’ (1943).
‘SHANKAR PARVATI’ was quite a successful movie in those days, as it appealed to the religious minded Indians, who have grown up listening to mythological stories. I remember seeing this movie in its second run, as there was an attraction of trick scenes in this movie. The story is about how Sati (Sadhona Bose) the daughter of King Daksha, goes to attend Yagnya by Daksha, uninvited and gets insulted for her husband – Shankar (played by Arun Kumar Ahuja- father of actor Govinda). She jumps into the fire and dies and on hearing this, Shankar is very angry and does the Tandav Nritya. Sati is reborn as Parvati, who, to regain her love back, dances and wins Shankar. Their elder son Kartikeya ,destroys Tarakasur etc.
Sadhana Bose was an internationally acclaimed dancer and acted in some Hindi and several Bengali movies in the 1940s and 1950s.
Her most famous film was ‘RAJNARTAKI’ (1941), opposite Prithviraj Kapoor and it was made in Hindi, English and Bengali at the same time. Though a box office failure, it had fabulous dances by her.
There are few songs sung by Sadhana Bose in ‘Shankar Parvati’ and ‘Paigham’ (1942). According to Timir Baran, these are not sung by her, but by Suprabha Ghosh. However, famous music Historian Kamalakar Pasupuleti says that Sadhana Bose was an accomplished dancer and singer too. In her all time favourite ‘ALIBABA’ in Bengali she, as Marjina, and her director husband Madhu Bose, as Abdulla in the film, sang many duets which are popular even today in Bengal.
Arun Mukherji, Music Director of ‘Parineeta’ (1953), had literally translated one song from ‘Alibaba’ in Hindi “Aye Baandi, Tum Begum Bani….’ sung by Kishore and Asha in ‘Parineeta’ (1953).
The film was directed by Chaturbhuj Doshi. During the early era of talkie films, till the 1960s, there was a horde of Gujarati directors and producers. Bhatts, Trivedi, Thakur, Shahs, Desais, Pancholi, Doshi, Daves were some names frequently found directing various genres. Usually they specialised in certain class and type of films. The Bhatts (Shankar and Vijay) liked to do Mythological films, Ramnik Shah handled stunt, action, fantasy films, Jayant Desai was social film oriented etc.
Chaturbhuj Doshi (1894–1969) was a Hindi and Gujarati writer-director of Indian cinema. He was one of the top Gujarati screenplay writers, who helped script stories for the Punatar productions. He is stated to be one of the leading figures who launched the Gujarati film industry with work on notable films like ‘Gunsundari’ (1948) and ‘Nanand Bhojai’ (1948). He was ‘well known’ for his family socials and had become ‘a celebrity in his own right’. He made a name for himself as a journalist initially and was referred to as the ‘famous journalist’ & publicist by Baburao Patel, editor of Filmindia.
His debut film as a director was ‘Gorakh Aya’ (1938), produced by Ranjit Movietone, though he joined Ranjit in 1929, as a scriptwriter. In 1938, he directed another film for Ranjit, a social comedy, ‘The Secretary’, and both films were box-office successes for Doshi. His forte was socials, regularly adapting stories and novels for films. He worked initially on comedies like ‘Secretary’ and ‘Musafir’ (1940), but then ‘shifted to more significant films’.
Chaturbhuj Anandji Doshi was born in 1894 in Kathiawad, Gujarat, British India. He was educated at the University of Bombay, after graduation he started work as a journalist for a daily, Hindustan (1926), working for editor Indulal Yagnik. His entry into films was working as a scenarist in the silent era for directors like Jayant Desai, Nandlal Jaswantlal & Nanubhai Vakil. He joined Ranjit Movietone in 1929, and wrote stories and screenplay for several of Ranjit films.
Film ‘Gorakh Aya’ (Gorakh has come) in 1938, was the first film directed by Doshi. It was produced by Ranjit Movietone with screenplay by Gunvantrai Acharya & dialogues by PL Santoshi. The music, termed ‘good’ was composed by Gyan Dutt. ‘The Secretary’ (1938), was a “riotous comedy”, starring Madhuri, Trilok Kapoor. Charlie. The music was composed by Gyan Dutt, became a regular in most of the films directed by Doshi. Musafir in 1940 was a comedy costume drama, which had Charlie playing a prince.
‘Bhakta Surdas’, a devotional film directed by Doshi in 1942, is stated to be the “most famous” of the several versions made. It starred KL Saigal and Khursheed “the singing idol(s) of millions”, winning “unprecedented popularity” everywhere.
‘Mehemaan’ (1942) starred Madhuri, Ishwarlal, Shamim and Mubarak. Music director Bulo C. Rani had come to Bombay in 1942, and joined Ranjit Studios assisting Khemchand Prakash in music direction.
Doshi helped enormously in the development of the Gujarati cinema. During 1948-49 he directed three successful Gujarati films which “brought immense success to the industry”. The success of the Gujarati film ‘Kariyavar’ in 1948, directed by Chaturbhuj Doshi from a story by Shaida, called Vanzari Vaav, helped establish the Gujarati film industry along with other films like ‘Vadilo Ne Vanke’ (1948) by Ram Chandra Thakur and ‘Gadono Bel’ (1950) by Ratibhai Punatar. His next Gujarati film was ‘Jesal Toral’ (1948) based on folk-lore, which proved a big box-office success. In 1949, Doshi directed another Gujarati film, ‘Vevishal’, an adaptation of Meghani’s novel of the same name.
He also wrote stories, and one of his stories ‘Pati Bhakti’ was used in the Tamil film ‘En Kanawar’ (1948) produced by Ajit Pictures, which starred the Veena maestro, Sundaram Balachander, who was also the debut director and music composer for the film. In all he directed 24 Hindi films. His last Hindi film was ‘Sanskar’ (1958). He had also written few songs in film ‘Maya Bazaar’ (1932).
Chaturbhuj Doshi died on 21 January 1969 in Bombay, Maharashtra, India. Filmography
1932: Narasinh Mehta (Writer), 1934: Sitamgarh (Writer), 1938: Gorakh Aya, Secretary, 1939: Adhuri Kahani, 1940: Musafir, 1941:Pardesi, Sasural, 1942: Bhakta Surdas, Dhiraj, Mehmaan, 1943: Chhoti Maa, Shankar Parvati (Director, Writer), 1944: Bhartrahari, 1945:Murti, 1946: Phulwari, 1947: Bela, Kaun Hamara, 1948: Jesal Toral, Kariyavar (Director, Writer), Sati Sone, 1949: Bhakta Puran, Vevishal, 1950: Akhand Saubhagya, Kisi Ki Yaad, Ramtaram, 1954: Aurat Teri Yahi Kahani, 1956: Aabroo, Dashera, Dassehra, 1957: Khuda Ka Banda, Shesh Naag, 1958: Sanskar, 1960: Mehndi Rang Lagyo (Writer, Lyricist).
The cast of the film was Sadhona Bose, Arun Ahuja, Mahipal, Rewa Shankar, Narbada Shankar etc. The MD was Gyan Dutt. Today’s song is sung by Rewa Shankar Marwadi. This is only the second song of Rewa Shankar on this blog. About 3 years ago, our Sadanand Kamath ji had given a complete biography of the actress dancer Sadhona Bose, while discussing the song – “Ganga Kinaare Mohe Bagiyaa Lagaa Do Sainyya“, of this film, hence I will not repeat it.
Sadhana Bose was responsible for the names of at least 2 actresses in Bombay. Actress Sadhana Shivdasani’s mother was very much impressed with the dancing skills of Sadhana Bose. She was her fan and saw her films repeatedly. When she was carrying for Sadhana, she had decided that if she gets a girl, her name would be Sadhana only. Thus Bombay Sadhana got the Calcutta Sadhana’s name.
Secondly, actress/dancer Kumkum’s real name was Zebunnisa. When she was selected by director Shahid Lateef, for his film ‘Sheesha’ (1952), first time for debut, there was already an actress Zebunnisa existing. What’s more, this Zebunnisa was also in the same film, so Shahid was thinking for a new name for the newcomer. He remembered that his favourite Sadhana Bose had acted in a film by the name ‘Kumkum-the Dancer’ (1940), so he selected the name Kumkum for this new dancer and Kumkum got her name.
After Sadhna stopped her dance films as a heroine, she resumed her work as a choreographer. In the early 50s, she choreographed in films like ‘Bhola Shankar’ (1951), ‘Nandkishore’ (1951), ‘Shinshinaki Boobla Boo’ (1952). She used to do bit roles too in these films to earn money. It is very sad that she died in penury and neglect, but artistes in the 40s and 50s-many of them- had similar stories.
I tried very hard to get some information about today’s singer Rewa Shankar Marwadi, who was an actor, lyricist, singer and also music director in the 1930s and 1940s. However I could not get anything concrete. Anyway I found a note on this multi talented artist of the early era, written by Shri Dhananjay Naniwadekar aka Nani, on the old RMIM forum, some 15 years ago and adapted by me for this article.
Some of Ranjit Movietone’s earliest talkie films had music by Ustad Jhande Khan. Next came the trio of Banne Khan, Ganga Prasad Pathak and Rewa Shankar Marwari. None of that music was ever released on 78 rpm records. From 1938-39, the great duo of Jnan Dutt and Khemchand Prakash took over the charge of Ranjit’s music, later to be joined by Bulo C Rani. It was only around 1938 that Ranjit started releasing its film music on 78-rpm records.
Rewa Shankar Marwari’s association with Ranjit Films and films produced or directed by ex-Ranjit hand Jayant Desai continued in the
1940s. While it is a pleasant surprise that imdb.com has a page for an obscure name like ‘Rewashankar Marwadi’ at all, it is not surprising
that his filmography has been put together for the site by people who are far from competent at that sort of thing. He acted in 27 films, till 1955, sang 12 songs in 9 films and gave music to 21 films from ‘Veer Babruwahan’ (1934) to ‘Matrubhoomi’ (1949).
Rewa Shankar sang a beautiful classical composition ‘Jai Jai Shankar’ in the film ‘Shankar Parvati’ for composer Jnan Dutt. It is available with only few collectors, and is a rare instance of film music using Raag Shree.
Song – Jai Jai Shankar Gangadhar Shiv Sukhkaari (Shankar Parvati) (1943) Singer – Rewa Shankar, Lyrics – Pt Indra, Music – Gyan Dutt
Lyrics
jai jai shankar gangadhar shiv sukhkaari
jai jai shankar gangadhar shiv sukhkaari
jai ajar amar anandroop bhayahaari
jai ajar amar anandroop bhayahaari
jai jai shankar gangadhar shiv sukhkaari
jai indu bhaal ur vyaal maal hitkari
jai indu bhaal ur vyaal maal hitkari
jai ashutosh har dosh rog tripurari
jai ashutosh har dosh rog tripurari
jai jai shankar gangadhar shiv sukhkaari
jai ajar amar anandroop bhayahaari
jai ajar amar anandroop bhayahaari
jai jai shankar gangadhar shiv sukhkaari
jai jai shankar gangadhar
jai shankar gangadhar shiv sukhkaari
jai ajar amar anandroop bhayahaari
jai jai shankar gangadhar
jai shankar gangadhar
jai shankar gangadhar shiv sukhkaari
jai jai
———————————————————-
Hindi script lyrics (Provided by Sudhir)
———————————————————-
जय जय शंकर गंगाधर शिव सुखकारी
जय जय शंकर गंगाधर शिव सुखकारी
जय अजर अमर आनन्दरूप भयहारी
जय अजर अमर आनन्दरूप भयहारी
जय जय शंकर गंगाधर शिव सुखकारी
जय इन्दु भाल उर व्याल माल हितकारी
जय इन्दु भाल उर व्याल माल हितकारी
जय आशुतोष हर दोष रोग त्रिपुरारी
जय आशुतोष हर दोष रोग त्रिपुरारी
जय जय शंकर गंगाधर शिव सुखकारी
जय अजर अमर आनन्दरूप भयहारी
जय अजर अमर आनन्दरूप भयहारी
जय जय शंकर गंगाधर शिव सुखकारी
जय जय शंकर गंगाधर
जय शंकर गंगाधर शिव सुखकारी
जय अजर अमर आनन्दरूप भयहारी
जय जय शंकर गंगाधर
जय शंकर गंगाधर
जय जय शंकर गंगाधर शिव सुखकारी
जय जय
Piyaa des hai jaana
Posted on: March 3, 2019
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| Blog Day : | 3880 | Post No. : | 14903 |
Today is 3 march 2019. No, I am not going to discuss a “blog ten year challenge” song today. This article covers a far bigger time span, namely 50 years. It was on this day 50 years ago, viz on 3 march 1969 that the first Rajdhani Express train left Howrah for New Delhi. This train had made its inaugural run from New Delhi on 1 march 1969 and had arrived Howrah on 2 march 1969. Its maiden journey from Howrah to New Delhi was on 3 march 1969, viz 50 years ago.
50 years ago, the highest speed of Indian Railways trains used to be 96 kmph. This train became the first Indian train to break the 100 kmph barrier. Its maximum speed was 120 kmph.
Just like there is considerable opposition today to the introduction of bullet trains in India, there was stiff resistance against the introduction to this train. The top man in Indian Railways, viz the Chairman Railway Board himself was against the introduction of this train.
When this train began its run on 3 march 1969, Rail Minister Ram Subhag Singh was available on platform to flag it off. This train took 17 hours to reach its destination which was a seven hour improvement over the fastest train on this route.
This train was an exclusive train meant to run faster and and its onboard service was meant to be upscale. It was an all airconditioned train. It was only the second airconditioned train in India till then. The first train was one that was simply called Air Conditioned express.
The sleeper class fare from Howrah to New Delhi was Rs 290, which was one month’s salary for an average Indian. No wonder then that there was considerable resentment and opposition among people as well as politicians when this train was introduced.
The train stopped only in three stations those days, viz at Gomoh, Mughalsarai and Kanpur. Today it stops at eight stations. The train then had nine coaches, some were sleeper coaches and others were chair cars. Today there are 20 coaches.
The ticket of this train was also special. It was like an airlines ticket, namely folio type, that has photo of Qutub Minar and Howrah Bridge on its two sides.
The ticket price included price for meals. This train was the first that had a pantry car. The quality of food was quite upmarket those days, five star stuff.
With time, Rajdhani trains have changed. Those were the days of Diesel locomotives and vacuum brake coaches. They were later replaced by Electric locomotive and air brake coaches. Now ICF design coaches have been replaced by LHB design coaches.
The second Rajdhani that was introduced was between New Delhi and Bombay Central. Gradually Rajdhani trains were introduced in ten routes between New Delhi and various state capitals.
I have no idea when I first travelled by Rajdhani express. It must have been in 1990s I think, when I was posted in Andhra Pradesh. Personally I used to feel a bit overwhelmed at the prospect of travelling by this train those days. The reason could be that I was rather junior and I felt that I did not belong to this train. On the other hand, I wondered how other railway men, who I felt belonged even less there would travel in this train with confidence as if then owned it. 🙂
The first time I travelled in Rajdhani with family was in 2001 from New Delhi to Guwahati. My three year old daughter would look forward for the meals and demand some more “utterly butterly butter”. 🙂
It is not as if I have travelled a lot on Rajdhani with my family. The second and till now the last occasion when the three of us travelled by Rajdhani express was in 2016 by New Delhi Mumbai Central Rajdhani express when we went to Mumbai to admit my daughter to a medical college there.
It must be said that New Delhi -Mumbai Rajdhani is quite a useful train between the two places, Most of the journey is at night time and one reaches the destination in the morning. If one gets accomodation in this train then it is a more comfortable and convenient means to travel between the two places than travelling by plane.
My daughter and wife have travelled alone by Rajdhani quite a few times. When I was posted at Bareilly, my daughter would visit me by first reaching New Delhi by Mumbai Central Rajdhani and would then board New Delhi Dibrugarh Rajdhani that stopped at Bareilly.
In 1969, Rajdhani trains introduced speed upto 120 kmph in Indian trains. Now 50 years later, the fastest Indian Railways train are still only 160 kmph. I dream of a day when India will have a network of bullet train lines and public would be able to reach 1500 km in 5 hours. If that happens then it would be a big transformation in India. We have already seen communication revolution in Indiawhere everyone has access to phone and so one can share information easily and in real time. I dream of seeing a similar transport revolution in India. That would transform Indian economy. I am cautiously optimistic that India will have a fe bullet trains by 2030. People would be ready to use it on a big way because India by that time would be nearly a $ 10 trillions economy with per capita nominal GDP of around $7000/-, a three fold increase in per capita income of Indians and they would be able to afford bullet train tickets and many more such services.
On this occasion, here is a rail song from a time when no one even thought of Rajdhani trains, forget bullet trains. This rail train is from “Zabaan”(1943).
“Zabaan”(1943) was produced and directed by Jayant Desai for Jayant Desai productions, Bombay. This “social” movie had Ishwar lal, Kaushalya, Mubarak, Diit, Vatsala Kumthekar, Bhagwandas, Kantilal etc in it.
The movie had twelve songs in it. All of them were actor-singer songs, viz the songs were sung by the actors themselves.
Here is this rail song from “Zabaan”(1943). It is sung by Ishwar Lal. Mahir Ul Qadri is the lyricist. Music is composed by C Ramchsndra.
Only the audio of the song is available, but it is clear from the lyics that it is a rail song. It would have been nice to be able to watch the picturisation of this song, but I doubt that the video of this song is available. So we only have the audio of the song with us to savour.
On the occasion of Rajdhani trains turning 50 years old, here is this 75 year old rail song to celebrate the occasion.
Song-Piya des hai jaana (Zabaan)(1943) Singer-Ishwar Lal, Lyrics-Mahir ul Qadri, MD-C Ramchandra
Lyrics
piya des hai jaana
piya des hai jaana
aa ha ha ha
aise mein mohabbat ka koi jaam pilaana
aise mein mohabbat ka koi jaam pilaana
piya des hai jaana
gaate huye khambhe
hanste huye paudhe
gaate huye khambhe
hanste huye paudhe
chalte huye raste
chalte huye raste
kahte hain ye mujhse ke
piya des hai jaana
kahte hain ye mujhse ke
piya des hai jaana
piya des hai jaana
piya des hai jaana
aa ha ha ha
aise mein mohabbat ka koi jaam pilaana
piya des hai jaana
lohe ki ye patri
chalti hui dharti
lohe ki ye patri
chalti hui dharti
dee rail ne seeti
aawaaz ye aayi ke
piya des hai jaana
piya des hai jaana
aa ha ha ha
aise mein mohabbat ka koi jaam pilaana
piya des hai jaana
ummeed ko lekar
aate hain tere ghar
umeed ko lekar
aate hain tere ghar
hai dil ki zabaan par
hai dil ki zabaan par
piya des hai jaana
piya des hai jaana
piya des hai jaana
aa ha ha ha
aise mein mohabbat ka koi jaam pilaana
aise mein mohabbat ka koi jaam pilaana
piya des hai jaana
———————————————————
Hindi Script Lyrics (Provided by Avinash Scrapwala)
———————————————————
पिया देस है जाना
पिया देस है जाना
आ हा हा हा
ऐसे में मोहब्बत का कोई जाम पिलाना
ऐसे में मोहब्बत का कोई जाम पिलाना
पिया देस है जाना
गाते हुए खम्भे
हँसते हुए पौधे
गाते हुए खम्भे
हँसते हुए पौधे
चलते हुए रस्ते
चलते हुए रस्ते
कहते हैं ये मुझसे के
पिया देस है जाना
कहते हैं ये मुझसे के
पिया देस है जाना
पिया देस है जाना
पिया देस है जाना
आ हा हा हा
ऐसे में मोहब्बत का कोई जाम पिलाना
पिया देस है जाना
लोहे की ये पटरी
चलती हुई धरती
लोहे की ये पटरी
चलती हुई धरती
दी रेल ने सीटी
आवाज़ ये आई के
पिया देस है जाना
पिया देस है जाना
आ हा हा हा
ऐसे में मोहब्बत का कोई जाम पिलाना
पिया देस है जाना
उम्मीद को लेकर
आते हैं तेरे घर
उम्मीद को लेकर
आते हैं तेरे घर
है दिल की ज़बान पर
है दिल की ज़बान पर
पिया देस है जाना
पिया देस है जाना
पिया देस है जाना
आ हा हा हा
ऐसे में मोहब्बत का कोई जाम पिलाना
ऐसे में मोहब्बत का कोई जाम पिलाना
पिया देस है जाना
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