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Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs

Archive for the ‘Songs of 1940s (1941 to 1950)’ Category


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3565 Post No. : 14293

In the continuum of the vast annals of history, there are tales and legends in every civilization and every system of knowledge and learning, that identify the supreme importance associated with the very support system that we rest upon. In practically every system, this support system, this concept, is endowed with divine qualities – qualities that are almost always endowed with the mother, as the provider of all that is required in life, and more.

In the Greek wisdom, this concept is name as Gaia. In the Roman legends, she is called by the name Terra. In the Norse mythology, she is named as Erda. In the east, in China, she is known as Houtu or Houtushen – the Goddess Queen of Earth. In the Buddhist scriptures that span the South East Asian region, she goes by the name Phra Mae Thorani. She is worshipped as Atira or Awitelin Tsta amongst the native tribes of the Americas, who gives birth to all life. On the African continent, she is known as Odudua, the beautiful black goddess of Earth with a skin of deepest dark ebony.

In our own land and in our culture, she is known by many names, the most important ones being Bhoo Devi – that which makes possible and supports all existence, and Vasudha – the provider of all wealth and riches.

Wherever, in whichever part of the world one may seek, there is a revered acknowledgement of the divinity of the earth as the mother, and the provider of all things. If one may sit down to list all the things that we need, we desire, and we dream – other than the light energy that comes from the Sun, Moon and the stars, the life breath that is the air that swirls around us, and the waters of rain that descend from the skies – all else, and I mean everything else comes forth from the very earth that we stand upon. Our existence and sustenance is – because the earth is.

The world is celebrating today as the Earth Day. The western dogmas consider a once in a year celebration to be an adequate measure of honor and gratitude. In our belief system, it is a celebration and honor that happens on a daily basis. And we celebrate and seek blessing, not just for our family or our country, but for the entire planet as a whole.

The reminder for this celebration and the suggestion of this song came in yesterday from Avinash ji. The film name itself is so appropriate – ‘Dharti Ke Laal’ from 1946. The music is by Pt Ravi Shankar, who was later destined to be the world famous sitar player from India. No other information relating to singer(s) or songwriter is readily available.

The song is in praise and honor of Mother Earth. It is depicted as a folk song in the tradition of Bengal, being performed at the village fair. It is such a wonderful expression of veneration towards the entity that makes all life possible.

A salute to Mother Earth – today, and every day of the year.

Song – Jai Dharti Maiya Jai Ho  (Dharti Ke Laal) (1946) Singer – Unidentified Male Voice 1, Unidentified Male Voice 2, Lyrics – [Unattributed], MD – Pt Ravi Shankar

Chorus

Lyrics

jai dharti maiyyaa jai ho
jai ho
jai dharti maiyyaa jai ho
jai ho
jai dharti maiyyaa jai ho
jai ho
jai dharti maiyyaa jai ho

yahi maati mein jiyan hamro
yahi mein maran hai bhaiyyaa
yahi sagri poonji
yahi hai hamro dhan hai bhaiyya aa
aa aa aa
ho
jai dharti maiyyaa jai ho
jai ho
jai dharti maiyyaa jai ho
jai ho
jai dharti maiyyaa jai ho
jai ho
jai dharti maiyyaa jai ho

god mein tori sukh ke saagar
khelat maiyyaa
aa
yahi mein sona upjey
yahi mein barse amrit maiyyaa
aa aa
ho

jai dharti maiyyaa jai ho
jai ho
jai dharti maiyyaa jai ho
jai ho
jai dharti maiyyaa jai ho
jai ho
jai dharti maiyyaa jai ho

ab maiyya vardaan se tore
sang jiyenge sang marenge
tori chhaati se atyaachaari ko
door karenge ae
ho

jai dharti maiyyaa jai ho
jai ho
jai dharti maiyyaa jai ho
jai ho
jai dharti maiyyaa jai ho
jai ho
jai dharti maiyyaa jai ho

jag taaran haari jai ho
jai ho
jag paalan haari jai ho
jai ho

jag taaran haari jai ho
jag paalan haari jai ho
jag taaran haari jai ho
jag paalan haari
jag taaran haari
jag paalan haari

jag taaran haari
jag paalan haari
jag taaran haari
jag paalan haari

jai ho
jai ho
jai ho
jai ho

jai ho
jai ho
jai ho
jai ho

jai ho
jai ho
jai ho
jai ho

jai ho

———————————————————
Hindi script lyrics (Provided by Avinash Scrapwaala)
———————————————————
जय धरती मैय्या जय हो
जय हो
जय धरती मैय्या जय हो
जय हो
जय धरती मैय्या जय हो
जय हो
जय धरती मैय्या जय हो

यही माती में जियन हमरो
यही में मरण है भैय्या
यही सगरी पूँजी
यही है हमरो धन है भैय्या आ
आ आ आ
हो
जय धरती मैय्या जय हो
जय हो
जय धरती मैय्या जय हो
जय हो
जय धरती मैय्या जय हो
जय हो
जय धरती मैय्या जय हो

गोद में तोरी सुख के सागर
खेलत मैय्या

यही में सोना उपजे
यही में बरसे अमृत मैय्या
आ आ
हो

जय धरती मैय्या जय हो
जय हो
जय धरती मैय्या जय हो
जय हो
जय धरती मैय्या जय हो
जय हो
जय धरती मैय्या जय हो

अब मैय्या वरदान से तोरे
संग जियेंगे संग मरेंगे
टोरी छाती से अत्याचारी को
दूर करेंगे ए
हो

जय धरती मैय्या जय हो
जय हो
जय धरती मैय्या जय हो
जय हो
जय धरती मैय्या जय हो
जय हो
जय धरती मैय्या जय हो

जग तारण हारी जय हो
जय हो
जग पालन हारी जय हो
जय हो

जग तारण हारी जय हो
जग पालन हारी जय हो
जग तारण हारी जय हो
जग पालन हारी
जग तारण हारी
जग पालन हारी

जग तारण हारी
जग पालन हारी
जग तारण हारी
जग पालन हारी

जय हो
जय हो
जय हो
जय हो

जय हो
जय हो
जय हो
जय हो

जय हो
जय हो
जय हो
जय हो

जय हो

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This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3565 Post No. : 14291

kuchh yaad rahe to sun kar jaa. . .

The nectar tinged fragrance of this voice suffuses through the strings of the heart through so many wonderful renderings. The mind is left amazed by the effortless expressions of the emotions covering the full spectrum of human experience. “Loot Liyo Mann Dheer. . .” is probably the only exclamation that the mind responds with, as it passed through the shower of her musical portrayals.

Kanan Devi – the doyen, the first lady of cinema in Bengal. We remember and honour her today (22nd April), on the anniversary of her birth. During her heydays in the 1930s and 40s, her popularity was so celebrated, that in those years, security had to be arranged when she moved about in public.

She was born this day in 1916, at Howrah. As per her own account, it was a very un-remarkable beginning to a tiny life, in the hands of a couple whom she knew only as her adoptive parents. Her foster father passed away quite early. She and her mother went through some difficult years, and the young Kanan Bala was not able to complete any form of formal school education.

In 1926, a family well wisher, introduced her to the management at Madon Theatres, Calcutta. Kanan was a child of 10 years. She worked in silent films and even did the male lead roles in ‘Vishnu Maya’ and ‘Prahlad’ (both in 1932). Transition from silent films to talkie films was very smooth for her. She had a good command over the spoken word and a remarkable singing talent – it only needed guidance and direction from teachers like Allah Rakha, Anaadi Dastidar, Bhishmdev Chatterjee, and yes, RC Boral.

From Madon, she moved to Radha Films in 1933. She was growing up into a beautiful and sophisticated young woman. In 1937 she transitioned to New Theatres. A regret she carried always – in 1934-35 she was offered a role in New Theatre’s ‘Devdas’ (1935), but could not accept as she was bound by her contract with Radha Films. She worked with New Theatres till 1941, and then moved to MP Productions in 1942.

After her formative years at Madon and Radha Films, her years at New Theatres and MP Productions are the most dazzling years of her career. In both organizations, her films became hugely popular hits, film after film, year after year. The music and the songs of these films made her the first lady singing superstar of Indian cinema. Her last Hindi film was ‘Chandrashekhar’ in 1948, opposite to Ashok Kumar. After this, she turned a producer in 1949, and set up her own company – Shrimati Pictures.

The song being presented today is a such lovely gem from the 1947 film ‘Faisla’. It is a duet sung in accompaniment with Aparesh Lahiri. Music is by Anupam Ghatak; the lyricist’s name is not available. Listening to this wonderful melody, brings to mind another similar song from a decade and a half later. I refer to the Talat-Lata duet from ‘Chhaaya’ (1961) – “Itna Na Mujh Se Tu Pyaar Badha, Ke Main Ik Baadal Awaara”. Although quite different songs, the mind is taken by the similarity in the theme of the song, as the gentleman professes a spirit of freedom, unencumbered by the matters of the heart, and whereas the lady expresses her desire to be together.

As the song begins, the voice of Kanan Devi flows in, giving an expression to the free spirit of the heart – a spirit like a bird that is unaware of the amorous emotions of love. Such a pleasure to listen to this voice.

Song – Khuli Hawa Mein Udne Waala Panchhi Preet Na Jaane  (Faisla) (1947) Singer – Kanan Devi, Aparesh Lahiri, Lyrics – Pran, MD – Anupam Ghatak
Both

Lyrics

khuli hawa mein udne waala
panchhi preet na jaane
haan haan
panchhi preet na jaane
khuli hawa mein udne waala
panchhi preet na jaane
haan haan
panchhi preet na jaane

kyun
wo bhanwara..aa..aa
wo bhanwara..aa ye bhi na jaane
kaliyan
kaliyan kyun muskaati
dard bhare
harne ko ye jhoom
daalon par hai gaati
koyal
daalon par hai gaati

aaa aaa aaa aaa aaa
duniya
is duniya se nyaari
khud hi chala basaane
duniya
is duniya se nyaari
khud hi chala basaane
apni dhun ka raahi kaise ho
prem dagar pehchaane
ho oo oo oo
prem dagar pehchaane
khuli hawa mein udne waala
panchhi preet na jaane
haan haan
panchhi preet na jaane

kyun udne ki aadat koi
panchhi se chhudwaaye
kyun udne ki aadat koi
panchhi se chhudwaaye
baithi hai duniya
unke raste mein jaal bichhaaye
bhola panchhi
ye na jaane
bhola panchhi
ye na jaane
aaj mujhe bandhan mein apne
kyun deti ghutaane
aaj mujhe bandhan mein apne
kyun deti ghutaane
bhola panchhi
ye na jaane
bhola panchhi
ye na jaane

khuli hawa mein udne waala
panchhi preet na jaane
haan haan
panchhi preet na jaane

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

खुली हवा में उड़ने वाला
पंछी प्रीत ना जाने
हाँ हाँ
पंछी प्रीत ना जाने
खुली हवा में उड़ने वाला
पंछी प्रीत ना जाने
हाँ हाँ
पंछी प्रीत ना जाने

क्यों
वो भँवरा॰॰आ॰॰आ
वो भँवरा॰॰आ ये भी ना जाने
कलियाँ
कलियाँ क्यों मुसकाती
दर्द भरे
हरने को ये झूम
डालों पर है गाती
कोयल
डालों पर है गाती

आ आ आ आ आ
दुनिया
इस दुनिया से न्यारी
खुद ही चला बसाने
दुनिया
इस दुनिया से न्यारी
खुद ही चला बसाने
अपनी धुन का राही कैसे हो
प्रेम डगर पहचाने
हो ओ ओ ओ
प्रेम डगर पहचाने
खुली हवा में उड़ने वाला
पंछी प्रीत ना जाने
हाँ हाँ
पंछी प्रीत ना जाने

क्यों उड़ने की आदत कोई
पंछी से छुड़वाये
क्यों उड़ने की आदत कोई
पंछी से छुड़वाये
बैठी है दुनिया
उनके रस्ते में जाल बिछाए
भोला पंछी
ये ना जाने
भोला पंछी
ये ना जाने
आज मुझे बंधन में अपने
क्यों देती घुटाने
आज मुझे बंधन में अपने
क्यों देती घुटाने
भोला पंछी
ये ना जाने
भोला पंछी
ये ना जाने

खुली हवा में उड़ने वाला
पंछी प्रीत ना जाने
हाँ हाँ
पंछी प्रीत ना जाने


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3558 Post No. : 14269

Today’s song is from the film Baadal-1942. The film was made by Eastern Pictures, Bombay. It was directed by Zahoor Raja. It had music by Mushtaq Hussain.

Zahoor Raja made his debut as a Director with Baadal-42. besides directing the film, Zahoor did the main Hero’s role and also sang 6 of the 11 songs that the film had.

Though the film was not successful at the Box office, Zahoor’s direction attracted the attention of critics. Seven of the 11 songs were written by Lyricist Tanveer Naqvi, and remaining 4 were penned by Shamim Bhairavi.

Tanveer Naqvi was born on 6-2-1919 in Lahore. His real name was Syed Khurshid Ali. After his education, he came to Bombay and met Abdul Rasheed Kardar- who at that time was making the film Swami-1941. Tanveer was given an opportunity and he wrote just one song which was composed by Rafiq Ghaznavi. However, when Kardar directed “Nai Duniya”-42, for CIRCO, Tanveer wrote 9 out of 11 songs for this film. Naushad was the composer. His songs included the famous Debut song of Baby Suraiya, ” Boot karoon main polish, babu….”

Tanveer’s best period was 1946-47, when he wrote for block busters like Anmol Ghadi, Jugnu and Nadaan-48. He was on top amongst Lyricists, but he chose to migrate to Pakistan after one more film, ” Parda”-49. For next 4-5 years he struggled in the Pak film inductry and then came back to India in 1954 and started writing songs till “Zameen ke taare”-60. Then he went back to Pakistan for good. There he wrote songs in Urdu and Punjabi films till 1971. he died at Lahore on 1-11-1972.

In India, he wrote 224 songs in 48 films.

The Music Director for Baadal was Mushtaq Hussain. This name may not be known to today’s music lovers. Mushtaq was famous as a Classical singer and was called a Ustaad. He started giving music to films in 1933. His first film was Aurat ka pyar-33. he gave music to few films only like Sauteli Maa-35, Balaa ki raat-36, Jaljalaa-36, Bhedi Trishul-38, Baghbaan-38, Pati patni-37, Kanyadaan-40, Baadal-42, Chhed chhad-43, Do ro die-44, Daasi ya maa-46 and his last film was Bombay 49. After this perhaps he realised that the public taste was changing and he left films. During the period of 1938, Naushad worked as his assistant in his struggle days and learnt few things.

The cast of film Baadal-42 was Zahoor Raja, Radha Rani, Urmila, A.R.Pehelwan, S.nazir, Radha kishen ( who left Prabhat after Padosi) etc.etc.

ZAHOOR RAJA (Born 7 July 1918 Abbottabad – Died 1992 England) Pre Partition Hindi/Urdu Film Actor, Producer, Director, Editor, Writer, Singer, Lyricist & Music Composer. He graduated from editing and story writing to become a producer-director in 1943.

Zahoor Raja was born in a wealthy family in Abbottabad, Pakistan. After schooling , he studied BA from Rawalpindi but could not complete his graduation as he was more interested in sports than in studies. His father, a Police Inspector, was keen in admitting him in Dehradun for a career in the army. But he ran away from home and landed in Bombay with a letter of introduction to Film maker A R Kardar. Since he was very handsome and well built man, getting into the Bombay film industry was not difficult. At that time, Kardar was directing ‘Mirza Sahiban’ (1939) for Ranjit Movietone and . Kardar took Zahoor Raja in the film. Within a year after the release of the film, V Shantaram invited him to join Prabhat Films and was taken on a contract of 3 years. His association with V Shantaram was not beneficial and he did not get much work. Kardar once again came to his rescue and got him employed in National Studios and got him a role in ‘Pooja’ (1940). Thereafter, he got a role in Minerva Moveitone’s ‘Sikandar’ (1941). During the making of the film ‘Sikandar’ (1941), he fell in love with his co-star Meena (Meena Shourie) and married her. The marriage did not last long and Meena later married another handsome actor, Al Nasir in the mid 1940s.

Zahoor Raja later worked as a Hero in ‘Sewa’ (1941). During this time, while looking for a change from his acting career, he got a chance to direct the film ‘Badal’ (1942) produced under Eastern Pictures where he also acted in the lead role. Though the film failed at the box office, his direction was appreciated by the critics. In 1943, he floated his own film production company, Raja Movietone and made its maiden film ‘Mazaq’ (1943) which he also directed, acted in a negative role and composed its music. His banner produced ‘O Panchhi’ (1944), ‘Ghazal’ (1945) and ‘Dhadkan’ (1946). In most of the films in which he acted, Zahoor Raja was paired with Radha Rani. He also sang the song ‘Bhulaane waale hamen bhi na yaad aaya karo’ along with Naseem Akhthar in the Movie ‘Ghazal’ (1945) composed by Gyan Dutt. His last Movie in India before moving to Pakistan was ‘Anmol Ghadi’ (1946)

After partition, Zahoor Raja returned to Pakistan in 1950 and he was active in Pakistani film industry until 1966. After 1966, he migrated to England, married an English lady and later died in 1992 in England.

Hindi film industry is full of ‘Same Name Confusions’ cases, especially for the decades of the 30s and the 40s. The Heroine of this film-Radharani was also one such case. There were two actresses, with same name and same active period. One was from Bombay and the other was from Calcutta. In film Baadal, Bombaywali Radharani had acted.

She was the daughter of a Military Officer. Born at Quetta, Baluchistan, in or around 1920-21, she had a British father and Indian mother. She had total Indian looks. Her initial education and schooling was done in Bombay. She became an expert in Horse Riding, swimming, cycling, driving and skating. She was very beautiful and attractive. At the age 15, she looked quite grown up with distinct features. While in school final itself, she got offers from films. Her first film was Romantic India-36. Being an expert singer, she started singing in films. Next she acted in Badhe Chalo-37.

She was called to Calcutta to act in film ‘ Swaraj ke Sipahi ‘-37. From Calcutta, she went to Madras to do a role in a Telugu film ‘ Bhakta Jaidev ‘-38. Returning to Bombay, Radha Rani acted in Sunehra Baal-38 and then joined Wadia movietone. Here she did 7 stunt/action films.

After this she became a freelancer and acted in 18 more films of different banners. She also acted in Punjabi film ‘ Kurmai’-41. Her achievements in films were amazing. Stepping directly from school classroom onto the Silver screen, in her first 5 years of career itself, she had bagged 15 feature films. This was mainly due to to her striking screen beauty, linguistic dexterity and histrionic versatility. She was a consummate actress, singer and dancer. She was very fond of reading English literature and would spend time reading books during shooting breaks.

She made a good pair with actor Zahoor Raja in 8 films. She acted in 3 films of his production company and in film Badal-42, he directed her. her last film was Rasilee-46. After this film she got married and went to England.

Filmography- Romantic India-36, Badhe Chalo-37, Swaraj ke sipahi-37, Bhakta Jaydev-38(Telugu), Sunehra Baal-38, kahan hai manzil teri-39, Hind ka lal-40, Diamond queen-40, Jai swadesh-40, Bambaiwali-41, Manthan-41, Safed sawar-41, Seedha Rasta-41, Darpan-41, Kurmai-41(Punjabi), Swami-41, Badal-42, Motorwali-42, Sewa-42, Suhagan-42, Jungle Princess-42, Mazaq-43, Mr.Jhatpat-43, Paraya Dhan-43, Sawal-43, Bhai-43, O Panchhi-44, Ghazal-45, Laaj-46 and Rasilee-46.

An interesting thing about the film title Baadal is that there were films made with this Title 5 times. The first time was in 1942 ( today’s film), then it was made in 1951, 1966, 1985, and in the year 2000. I have not seen this film Baadal-42, but from whatever I read in Film India about this film, it was a social film with a novel theme. As the film’s review was not available,I can not guess what the novelty was in the film story. However, in spite of very flattering, encouraging and excellent comments in the magazine, the film was not successful at all. After this debacle, Zahoor Raja floated his own company Raja Cinetone and made a few films, before migrating to Pakistan.

( Thanks for information used from Dhunon ki yatra, Hindi filmon ke geetkar, pakmag.com, HFGK and my notes )

Film Baadal-42 makes its debut on this Blog with this song.


Song-Aao chalen us paar (Baadal)(1942) Singers-Amirbai Karnataki, Zahoor Raja, Lyrics-Tanveer Naqvi, MD-Mushtaq Hussain
Amirbai Karnataki + Zahoor Raja
Amirbai Karnataki + Chorus
Amirbai Karnataki + Zahoor Raja +Chorus

Lyrics

aao chalen us paar
aao chalen us paar
aao chalen us paar
khevaiyya
khevaiyya

jahaan hawaa matwaali ban kar
gaati raag malhaar
neelam ka aakaash mahal ho
neelam ka aakaash mahal ho
aur taaron ki chahal pahal ho

chandralok mein chal kar dekhen
pariyon ka singaar
pariyon ka singaar
pariyon ka singaar
khevaiyya
khevaiyya

thehro
thehro
thehro thehro jaane waalon
jaana hai bekaar
jaana hai bekaar
pal pal dol rahi hai naiyya aa aa
padi huyi manjhdhaar
padi huyi manjhdhaar
?? ki maari ??
sata rahi hai aas
aao un ko jeewan de den
taras rahen mohtaaj
taras rahen mohtaaj

hansi khushi is paar chhod kar
sab jaayen us paar
sab jaayen us paar
sab jaayen us paar
khevaiyya
khevaiyya

andhe ko aankhen din tumne
bada kiya upkaar

bada kiya upkaar
ek jhande ke neeche ham sab
chalne ko taiyyaar

chalne ko taiyyaar
chalne ko taiyyaar
khevaiyya
khevaiyya
aao chalen us paar
aao chalen us paar
aao chalen us paar
aao chalen us paaaar


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3552 Post No. : 14252

Today’s song is from an obscure film called Miss Devi-44. The film was made by Laxmi Productions, Bombay-owned by the producer Director Chimanlal Trivedi. The Music was done by Ashok Ghosh. The song is sung by Rajkumari and an unknown male.

Ashok Ghosh started his music career as an assistant to Pransukh Nayak, for Sagar Movietone film Dr. Madhurika-35. He impressed the company with his work and he was given film Manmohan-36 as an independent Music Director. He had a new assistant named Anil Biswas.

Anil Biswas came from Calcutta along with his Mentor Hiren Bose. In Bombay, he first worked as a joint MD for film Bal Hatya-35 and Bharat ki Beti-35. He got his first film Dharam ki Devi-35 as MD. Anil Biswas joined Sagar as an assistant to Ashok Ghosh. The songs of Manmohan became very popular and famous, especially ” tumhi ne mujh ko prem sikhaya” by Surendra and Bibbo. According to Anil Biswas, he made the song, but Ashok Ghosh always maintained that it was his song. To stress his ownership of this song, Ghosh included the same song in film Nirdosh-41, this time sung by Mukesh and Nalini Jaywant.

After Sagar merged into national Studios, Ghosh gave music to Sanskar-40, Kasauti-41, Nirdosh-41 and Gareeb-42 ( Here again Anil Biswas was his co-MD). Then came Angoothi-43, Sharafat-43, Inkaar-43 and Miss Devi-44 and Aarati-45. His last film was Gunjan -48.Ashok Ghosh left Bombay for Calcutta, where he spent his rest of life.

The Director of this film was Chimanlal Trivedi, who was one of the major film makers of the 30s and the 40s decade. He was more as a Producer businessman than a Director. While he directed hardly 7 films, he produced close to 50 films- all having A grade actors, directors and composers !

Born on 19-3-1909 at a village near Anand in Gujarat he was from a Brahmin family. He did his schooling in Ahmedabad and technical graduation from Baroda. Being an expert in weaving, he took up a job as a weaving Master in Calcutta. Fond of writing, he started writing Dramas, which were staged in Bengal and Gujarat. He was attracted towards Cinema and tried some work in New Theatres. Knowing that the real playing field is Bombay he reached there. he wrote story of film Chevrolet-36 and Danger Signal-37 for Mohan pictures.

He established his own production company CIRCO (Cine Industries Recording COmpany) in 1937. By 1943, he had made 12 films. He preferred not to direct his films, but appointed directors like Mohan Sinha for Laxmi-40, Anuradha-40 and Vanmala-41, Balwant Bhatt for Suhag-40 and Madhusudan-41, A R Kardar for Swami-41 and Nai Duniya-42 and Debki Bose for Apna Ghar-42.

He had the art of getting the most popular stars for his films like, Prithviraj kapoor, Chandramohan, Durga Khote,Mazhar khan, Bibbo,Surendra, Jairaj, Sitara, Jeevan, Yaqub, Shobhana Samarth, Prem Adeeb, Vishnupant Pagnis,Leela Desai, Pahadi Sanyal, Shanta Apte and many others. Even big directors like Debki Bose,Nitin Bose, Kardar,Mohan Sinha, Sarvottam Badami, Nandlal Jaswantlal,Profull Roy, Sudhir Sen, R S Caudhari, Phani mujumdar, Balwant Bhatt etc. worked for him. From Prabhat he brought Shanta Apte for Rs.1000 pm, and also Chandramohan, Pagnis and Mazhar khan. His friend Chandulal Shah followed his way and brought K L Saigal from New Theatres !

C L Trivedi was an expert in gathering funds for his films. After CIRCO at Parel, he started Laxmi Productions at Andheri, in 1942. He made mera Gaon,Sharafat,Bhagya Laxmi,Kadambari,Tamanna,Inkaar,Mohabbat,Miss Devi etc. In 1951, it was Supreme pictures, Trivedi Productions was in 1952, Kala Kendra in 1953 and with Chitra Bharati in 1954, he made 13 films upto 1961. Top Composers like Timir Baran,Ashok Ghosh,Rafiq Gaznavi,K C Dey,Saraswati Devi,Husnlal-Bhagatram and naushad gave music to his films.

In the end, he turned to Stage and started Abhinay Bharati. He staged many dramas in Bombay and Gujarat. Chimanlal always went for big names. He had close relations with Nehru, Menon, Morarji Desai, and other National leaders. His wife Kantaben was a Leader herself. Chimanlal Trivedi died on 25-11-1973. His wife, 3 sons and a daughter settled in USA.

It may be a coincidence, but Gujarati businessmen like Chimanlal Trivedi, Chimanlal Desai,Chimanlal Luhar, Chaturbhuj Doshi, Chimankant Desai, Chunibhai Desai and Chandulal Shah made sizable contribution to Hindi cinema in the first 20 years of the Talkie era. All names started with CH ( ? ) !

Film Miss Devi had a cast of Leela Desai, Surendra,Jagdish Sethi, Agha, Moni Chatterji, Nazeer etc etc. Leela Desai was brought by Trivedi by offering her money she could not refuse. After doing 5 films with New Theatres and 1 film with Ideal Film Co. at Calcutta, she came to Bombay and worked here till she left films.

Leela Desai was the daughter of Dr. Umedbhai Desai-a Gujarati and his second wife Satyabala Devi- a Bengali from Bihar, who was a prominent singer of the 1930s. She was born in America, where her parents had gone for a 3 year trip. She grew up in India. She learnt dancing from Amla Devi-who married Uday shanker, Lachhu Maharaj and Sohan lal. She also learnt music in Morris College , Lucknow. Actress kamala Kumari of New Theatres had also learnt from here. In one of her stage performances in Lucknow, NT’s Director Hem Chander saw her and invited her to Calcutta for working in films.

She worked in the film President-37 as sister of Kamlesh Kumari,opposite Saigal. It was followed by Vidyapati-37, Dushman-38, Kapal kundala-39 and Nartaki-40. She also did Adarsh Mahila-37 with Ideal Film company. Chimanlal Trivedi brought her to Bombay to act opposite Jairaj in film Tamanna-42. She acted in 5 films of Chimanlal Trivedi. After tamanna, leela Desai acted in films like Sharafat,Paraya Dhan, Nagad narayan,Inkaar, Mujrim, Miss Devi,Kaliyan, Meghdoot,Maharani Minal Devi,Magadhraj,Kamla, Dev kanya, Soorat and last film Geet Govind-47.

She acted opposite leading actors like K L Saigal, Najmul Hasan, Jairaj, Pahadi Sanyal, Surendra, Chandra Mohan, Khalil, Baburao pendharkar etc etc. She worked under top directors like Debki Bose, Nitin Bose, kidar Sharma, Phani mujumdar and others. her sisters Monica Desai ( who married Phani Mujumdar) and Ramola were also in films. In a span of just 10 years, Leela Desai acted in 21 films and then left films. She settled in Darjeeling with her mother. Baburao Patel said this about Leela Desai….

“What shall be said of Leela Desai, who acted the part of the President’s sister, the mischievous school-girl, and who always took the active part in the love-making between her and Prakash Babu (Saigal)? I cannot find a single fault with her acting. She played up to Saigal splendidly. Even her eyes were most expressive. What naughtiness was in them? As a shameless hussy she could give points to any of your Hollywood actresses–and win. In the love-duet between her and Saigal it was she who always led. She was the personification of Mr. Bernerd Shaw’s pet notion that, in this eternal amorous game, it is the woman who leads the man on and not, as is commonly supposed, the other way about. From the moment she jumped down her school garden-wall and almost fell plump into the arms of Prakash Babu, who was sitting below chewing the end of his reflections anent his dismissal from his job, she never, in a manner of speaking, left him to himself. She would bring down the house with her: “Uske bad kya hua, Prakash Babu?” The poor man had to dance to her measure ever afterwards. When she found herself with him alone she gave us the impression of having fed on honey-dew and on the milk of paradise. Then, in addition to her sparkling dialogue and supremely ‘alive’ acting, she was gorgeous in her dancing performance. Her whole face was a mirror in which her thoughts were reflected. She was an imp of mischief from commencement to conclusion.”

The onset of second world war from 1939 to 1945 imposed several restrictions on the film industry. One of them was to get extra quota of raw film, the producer had to make one Propaganda film as a war effort of the British. Many big film houses suffered ( New Theatres actually broke down) due to this. Raw film was available in Black market at an exorbitant price ( many people made millions in such Black market of essential commodities and they invested in film industry later).

Film Miss Devi-44 was one such film of propaganda. Unfortunately, by the time the film got completed, censored and finally got released the war had almost ended, thereby losing the very purpose of the film. Germany had surrendered on 8-5-1945. USA dropped Atom Bombs on Japan on 6th and 9th August 1945. Japan surrendered on 2-9-1945 and finally war ended totally. Miss Devi-44 was censored in 1944, but was released on 10-8-1945 in Capitol Theatres, Bombay. By that time the relevance of war propaganda had lost its sheen and need. This affected the film’s running. Another film released almost same time on the same theme was Panna, made by Navyug Films of Acharya Atre. Of course, the lead role of film Panna was done by Geeta Nizami, who was no match to leela Desai in any way !

According to Film India, october-45 issue the story of Miss Devi was about Twin sisters Rani and Devi (Leela Desai). Rani becomes a spy for Japan, whereas Devi is sober, homely, beautiful etc. Devi falls in love with Dr. Ramesh (Surendra).Being a story of twins, there were many scenes of misunderstandings, comedy, song and dances. In the end Rani gets punishment and Devi gets Dr.Ramesh.

Here is a song by Rajkumari with an unknown male. Enjoy this rare song.
( My thanks to Beete kal ke sitare by S.Tamrakar, Harish Raghuwanshi ji, Dhunon ki yatra, Vithal Pandya’s books,HFGK, wikipedia and my notes for some information in this article).


Song-Balma bedardi hamaar (Miss Devi)(1944) Singers-Rajkumari, Unknown male voice, MD-Ashok Ghosh

Lyrics

balma bedardi hamaar
haay raam
balma bedardi hamaar
haay raam
balma bedardi hamaar
balma bedardi hamaar
haay raam
balma bedardi hamaar
haay raam
balma bedardi hamaar

aayi jawaani
jiya mora doley
aayi jawaani
jiya mora doley
saas nanand mori boli boley
saas nanand mori boli boley
raah chaloon to taaken marad mohe
hoy
raah chaloon to taaken marad mohe
maare najariyon se maar
haay raam
balma bedardi hamaar
haay raam
balma bedardi hamaar
haay raam
balma bedardi hamaar

din ko nihaaroon main
raah sajan tori
din ko nihaaroon main
raah sajan tori
ratiyaan bitaaun main roye
ratiyaan bitaaun main roye
chhatiyaan dhadak rahi
patiyaa na bheje piya
hoy
chhatiyaan dhadak rahi
patiyaa na bheje piya
dar dar(?) sunat nahin koye
hoy piya
dar dar ?? sunat nahinkoye

din ko nihaare kaahe raah hamaari raani
ratiyaan bitaaye kaahe roye
ratiyaan bitaaye kaahe roye
patiyaan na bheji mohe
patiyaan na bheji mohe
aana thha yahaan gori
aawan ?? ek hai ??
haan gori
aawan ?? ek hai ??

padgi kesariya balam hai tihaari
padgi kesariya balam hai tihaari
choli tori bootedaar
ho gori
choli tori bootedaar

hil mil ke looten bahaar
ho sainyya
hil mil ke looten bahaar
aao gori
hil mil ke looten bahaar

balma bedardi hamaar
haay raam
balma bedardi hamaar
haay raam
balma bedardi hamaar


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3548 Post No. : 14236

Today’s song is from a film called Ahinsa-1947. The film makes its Debut on the Blog. The song is sung by Chitalkar, an unknown female voice and Chorus. Written by G S Nepali, it is composed by C Ramchandra.

1947 was a very momentous and memorable year in the annals of Hindi film Industry.Many talented actors, directors,singers, composers, lyricists, writers and technicians left India, opting to migrate to Pakistan. The year 1947 actually started with a bad Omen. K L Saigal died on 18th January 1947. The country was on the threshold of Partition and Independence for two countries. The film industry, which was a true Secular industry, started harbouring doubts about each other.

Muslim artists who decided to migrate, started completing their assignments hurriedly. Suddenly, the film industry became extremely busy, resulting in churning out 181 Hindi films in just one year.This was a record in itself. It took another 40 odd years to break this record.187 films were made in 1985.

A void was created suddenly, when scores of film artistes from various disciplines migrated en masse to Pakistan.Most left in 1947,few more left within next 5 to 10 years and still some more,like actor Kumar left in the early 60s. By 1965, the entire process was almost complete, with few exceptions. Though the list is very long, some names who left India are, M.Ismail, Rafiq Gaznavi, Ghulam Mohd. actor, Zahur Shah, Zahur raja, Mukhtar Begum, Charlie, Nazir Ahmed, Ghulam haider, Najmul Hasan, Noorjehan, S M Yousuf, G A Chisti, Firoz Nizami, Ajmal, Khurshid Anwar, Saadat manto, Najam Naqvi, Ragini, W Z Ahmed, Swarnalata, Nashaad, Premlata,Shaukat Rizvi, Himalaywala, Rasheed Atre, meena Shorey, Asha Posley, Renuka devi, Nissar Bazmi, Sudhir, Santosh etc etc……..

In 1947, so many films were made, but since many were completed in a hurry, a large chunk of films failed miserably. Only a handful films were good and successful. In fact these films were so good that their music and songs actually heralded the beginning of “The Golden Period”. Films like Jugnu, Do Bhai, Dard, Mirza Sahiban, Shehnai, Elaan, Sindoor, Meera, Parwana, Saajan, Aapki sewa mein, Bela, Do dil and many more gave excellent and long lasting songs.

Some landmarks too took place. Lata’s first playback song, Usha Kiran’s debut in film Lalat, in her real name-Usha Marathe, Extra ordinary film Elaan, which was much ahead of its time and a very bold film on Muslim society weaknesses, Madhubala’s debut, debut of Uma Devi, Debut of Manhar Desai(Malcom D’souza), Last film of Saigal-Parwana, Last film of Noorjehan-Mirza Sahiban, First Simhali film ‘Broken promises’ made in Bombay, First studio-Uday in Kerala and the rise of C Ramchandra as a strong competitor to Naushad, were some important events of 1947.

C Ramchandra left Jayant Desai’s job in 1945. Then he was working on a film called ” Ahinsa”, which was delayed, censored in 1947 and released only in 1948.

The story was based on 1942 Quit India movement, but since it was delayed, lot of changes in story and songs took place. That was a period when Gandhi ji was on Top. He was the epitome of Ahinsa (Non violence), though the Partition took place with his consent only. So, to cash on the Gandhi wave, the film title must have been kept Ahinsa. I have not seen the film, but Baburao Patel’s Film India does not speak good about the film. Actually, this film was a resounding flop.

The gist of the film story is, Santosh- an upholder of Ahinsa, saves a British soldies from getting killed with an axe, by some terrorists. In the melee that ensues, the culprits run away and Santosh is caught with axe in his hands. Luckily, the soldier testifies in his favour and he is saved. This was a Debut film for the actor Santosh Kumar, the production house, Kashmir films and its Director Rajaram.

The real name of Santosh Kumar was Syed Moosa Abbas Raza. He was born on 25-12-1925 at Lahore. He hailed from a noble family of U.P. he graduated from Osmania University of Hyderabad Deccan, he also passed the ICS exam with flying colours. He was a tall and very handsome young man with command over English and Urdu.

His first film was ‘Ahinsa’-47 and second film was ‘ Meri kahani-48’. Then he migrated to Pakistan. He was one of the most successful actors of Pakistani films.He was the Hero of film ‘ Do Aansoo’-50, the first film in Pakistan to celebrate Silver Jubilee. He won the first Nigar Award too.

After working in more than 100 films, he diversified and became a Director in an American food company. He had also led many film industry delegations abroad. he was truly a Superstar. His second wife was actress Sabiha Khanum. His all family was in films. he died on 11-6-1982, just a few days before his son’s marriage. It was often said in Pakistan that if he had opted to remain in India, he would have overtaken Dilip kumar !

Navin Yagnik ( from U.P.), who also wrote the film story, did the role of the terrorist, Ramayan Tiwari was the Boss of the gang. The film was directed by Rajaram-his first film as a director. later he directed 3 more films,namely, Madadgaar-47, Dhoom dham-49 and Dilbar-51.

Film Ahinsa was released at Novelty Theatre Bombay on 20-2-1948, just about 3 weeks after Gandhi’s death. may be the timing was wrong, as there were many riots all over India during this period. Today’s song seems to be a marching song. the music and tune of the song is very good. I liked it. The songs of film Ahinsa were not available so far. They have been uploaded on You Tube only on 16th March 2018, about 20 days ago.h


Song-Azaad hain hum aaj se (Ahinsa)(1947) Singers- Unknown female voice, Chitalkar, Lyricist- Gopal Singh Nepali, MD- C Ramchandra
Male chorus
Female chorus
Both
Both +chorus

Lyrics

Azaad hain hum aaj se
jailon ke taale tod do
ab jaao apne desh ko
angrezon bharat chhod do
bharat chhod do
bharat chhod do

?? phusla ke chhen li
tumne ?? shamsheer
kaanoon padhkar pyaar se
phir pahna di zanjeer
do sau baras se bhar gaya thha
paapon ka ghada phod do
ab jaao apne desh ko
angrezon bharat chhod do
bharat chhod do
bharat chhod do
Azaad hain hum aaj se
jailon ke taale tod do
ab jaao apne desh ko
angrezon bharat chhod do
bharat chhod do
bharat chhod do

maara hai deshbhakton ko tumne
goli se bhoon ke
jaallianwaala bagh mein
hain daagh ab bhi khoon ke
jaallianwaala bagh mein
hain daagh ab bhi khoon ke
saari duniya dhikkaar ki
ab to apna munh mod lo
ab jaao apne desh ko
angrezon bharat chhod do
bharat chhod do
bharat chhod do

Azaad hain hum aaj se
jailon ke taale tod do
ab jaao apne desh ko
angrezon bharat chhod do
bharat chhod do
bharat chhod do

le kar mazhab ka maamla
tumne jhagda badha diya
le kar mazhab ka maamla
tumne jhagda badha diya

Hindu aur musalmaanon ko
aapas mein lada diya
Hindu aur musalmaanon ko
aapas mein lada diya
ham lad maren ya kuchh karen
tum ghar hamaara chhod do
ham lad maren ya kuchh karen
tum ghar hamaara chhod do
ab jaao apne desh ko
angrezon bharat chhod do

bharat chhod do
bharat chhod do
Azaad hain hum aaj se
jailon ke taale tod do
ab jaao apne desh ko
angrezon bharat chhod do
bharat chhod do
bharat chhod do


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 : 3547 Post No. : 14233

“Nayi Bhaabhi”(1950) was directed by S D Narang for Bengal National Studios, Calcutta. This “social” movie had Kaushalya, Amarnath, Maya Devi, Smriti Biswas, Sundar, Cuckkoo, Ifthikar, Z Hussain, Rahi, Premkumari, Parvati, Lalloo etc in it.

This obscure movie had Seven obscure songs in it. Five of them were sung by Kaushalya which suggests that she played the title role.

Here is the first song from “Nayi Bhaabhi”(1950) to appear in the blog. The song is sung by Kaushalya. B M Sharma, who was one of the three lyricists (Charan Das and Mayil Lucknowi being the others) is the lyricist. Music is composed by Harbaksh Singh (who was one of the two music directors of the movie, Chishti being the other).

Only the audio of the song is available, but it is clear that the song was picturised on Kaushalya herself.

With this song, the movie “Nayi Bhaabhi”(1950) as well as the lyricist and the music director make their respective debuts in the blog.


Song-O main soyi thhi sapnon mein aaye sajan (Nayi Bhaabhi)(1950) Singer-Kaushalya, Lyrics-B M Sharma, MD-Harbaksh Singh

Lyrics

O main soyi thhi
haan haan
soyi thhi
sapnon mein aaye sajan
o salone sajan
manmohne sajan
O main soyi thhi
sapnon mein aaye sajan
o salone sajan
manmohne sajan

phool masti se mujh pe barasne lage
phool masti se
phool masti se mujh pe barasne lage
saare bulbul wahaan aa chahakne lage
saare bulbul wahaan aa chahakne lage
liye chaahat ki bu
chali harsu pawan
O main soyi thhi
sapnon mein aaye sajan

aha chaand
aha chaand
aha chaand aur sitaare chamakne lage ae ae ae
aha chaand aur sitaare chamakne lage
aha mil jul ke
haan haan mil jul ke
do dil dhadakne lage
mile yoonhi nainan
hanse dharti gagan
O main soyi thhi
sapnon mein aaye sajan

aaja sapnon ke meet mere sundar sangeet
aaja sapnon ke meet mere sundar sangeet
aaja tujko sikhaaun muhabbat ki reet
aaja tujko sikhaaun muhabbat ki reet
dekh tere liye mera dole hai man
o salone sajan
manmohne sajan
O main soyi thhi
sapnon mein aaye sajan
o salone sajan
manmohne sajan


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3544 Post No. : 14225

Today’s song is from the film Dhandora-41. It was a Ranjit film, directed by comedian N M Charlie. The music was by Ranjit’s resident composer Gyan Dutt. The song, penned by D N Madhok, is sung by Charlie himself.

What is the meaning of the word Dhandora ? As per the online dictionary, the simplified meaning is Elaan in Urdu, Proclamation in English. In Hindi it is Doundi and in Marathi it is Dawandi (दवंडी).

To understand this concept, we have to go back in time, when the means of communication were not many. The Public orders,Fatwas, New laws or any new announcement from the King for the public was through a Public Crier ( as he was called), with a big drum hanging from his neck onto his tummy. He would stand on a Public platform, like a Chavdi or in the middle of of a Market or Residential street. He would then start playing his drum loudly. When enough crowd had gathered, he would shout in a loud voice about the Proclamation from the authority. This entire process was called Dhandora or Dhandhora or Dhindhora ( the phrase “Dhindhora peetna” means to proclaim loudly ).

After the advent of modern and better communication means, this system was abandoned. However, in smaller villages and rural areas, its variation continued as a means of advertisements. I remember, during the visits to my Nanihal- which was a small town, in the summer holidays, in the early 40’s, we children used to run after the oxen cart in which the ‘Public crier’ or the person doing the advertisement and distributing hand bills sat. He would start banging his drum and shout the ad matter…mostly about a film.

The Hero of film Dhandora-41, who was also its Director, was Film industry’s First Superstar Comedian. Coming from a very humble family, he rose to be the king of Comedy in Hindi films, for a period of over a decade.

By the 1940s the system of Playback was firmly established. This actually came as a great relief to most composers. Till then they had to tolerate terrible non-singers. Now, except for few singing actors, all others could have playback from expert and professional singers. Despite this, in few cases, some producers insisted that their comedians sang their own songs. That is how, you can see songs by comedian Sunder, comedian Yaqub or comedian Charlie. Thank God other comedians like Master Bhagwan, V.H.Desai or Bhudo Advani did not / could not sing !

1945 was the period when Noor Mohammed Charlie was on peak of his popularity. He not only sang his songs, but he also became Hero in few pictures and stories were amended to give him more scope in the films. In the 1950s and the 1960s, this honour went to comedian Johnny Walker. Thank God, he did not sing songs ( though he spoke in his chirpy voice in some songs). Mohammed Rafi compensated enough for him by having a special style of singing and a special voice for Johnny Walker songs.

These days everyone likes the comedy of Amitabh Bachhan. His many films became Hits due to his comedy work. Today most of the Heroes do the comedy part in the film themselves. But till 1970, there used to be a separate slot for a comedian.

Today’s generation knows comedians like Paresh Raval, Anupam Kher etc. For them older comedians are Johnny Lever, Satish Shah or Rajpal Yadav. before that, they can think of Johnny Walker, Mehmood, Keshto Mukherjee, Asit Sen, Dhumal, Jagdeep, Asrani or Deven Verma. But the art of Comedy had started much earlier, in the 1930s and 1940s. Comedians like Ghori, Dikshit, Fatty Prasad, V H Desai, Bhudo Advani were famous. Amongst all the comedians of that era,there was ONE superstar of Comedy- NOOR MOHAMMED CHARLIE.

Noor Mohd. was born on 7-1-1911 at Ranavava, near Porbandar, Gujarat, in a Memon family (Later, comedian Mukri was also a Memon from Konkan area). Not intersted in studies, he was very fond of seeing films, even by stealing money from house, at times-if need be. He was sent to Bombay and worked as an Umbrella Repairer in a shop. His desire to become an actor was so strong that one day he straightaway went to Imperial Film Company’s owner and asked for a job. In the tradition of those days, he was asked if he could sing… His reply was,” I can sing, act, ride, run, fight, cry, laugh, quarrel, dance, play or swim”. He was hired instantly at a salary of Rs. 40 pm.

From 1925 to 1931 he did 9 silent films. In one of these films he did the acting of Charlie Chaplin. It became so popular that he made this get up his Trademark and developed Toothbrush Moustache ,like Charlie Chaplin. he also added ‘Charlie’ to his name. He did his first talkie film ” Zarina” in 1932 and then there was no looking back.

Initially with Sagar Movietone, he shifted to Ranjit and did 17 films with Ranjit. He became so famous and Popular that films were sold on his name. He was the First superstar amongst the comedians. He started to get special songs shot on him in almost every film-much before Johnny Walker in the 1950s. He sang his own songs. he left Ranjit and was the first actor to became a ‘Free-lance’ breaking the Studio system.

Some of his films and songs were famous over all India. In the film Sanjog, he sang ” Palat,tera dhyan kidhar hai “. This line became so famous that young boys in colleges used this line for calling girls,in those days. In the film Dhindhora, he sang ” ek do teen char panch chhe saat aath nau dus gyara bara,teri nazar ne mujhe mara”. ( Raj Kapoor used ‘Ek do teen aaja mausam hai rangeen’ and later Madhuri Dixit’s “Ek do teen” was very famous.) In the film Taqdeer he sang- “Thank you mention not” and ” I am very very Sorry”. This too became popular.

There was a time when Charlie drew more salary than even Prithwiraj kapoor ! He did about 62 films in all. he was the Hero opposite Swarnalata in Chaand Taara-45, hero opposite Leela Chitnis in Ghazal-45 and hero opposite Chandraprabha (Saraswati devi’s sister) in Dulha-46.

He directed only one film,while in Ranjit-Dhandora-41. Charlie sang 36 songs in 15 films.

After partition he opted for Pakistan. he did 6 Urdu, 2 Sindhi and 1 Punjabi films there but was not popular. He came back to India in 1960, but by then here too the position had changed. He did 3 films here. His last film in India was Ranjit’s last film ” Akeli mat Jaiyo”-63 and then that was the end of his film career and that of Ranjit studios too. Due to Visa problem, he had to leave India. He went to USA to live with his son, who had a dairy farm business. He had 6 sons and 6 daughters. Only 1 son-Latif Charlie became an actor In Pakistan. (He died on 19-7-2011). Charlie came back to Pakistan when his wife expired, but later he himself died in Karachi on 30-6-1983.

If he had not gone to Pakistan, who knows he would have prospered here. Mehmood and Johnny Walker consider him as GURU and have copied his actions in films many times. Raj Kapoor and Guru Dutt were also his fans. His film Manorama-44 was remade as Manchala in 1953 with Agha in his role. Thokar-39 was remade as Mai Baap and Taqdeer-43 was remade as Duniya ka Mela, with Mehmood in Charlie’s role.

When he died in Pakistan, no film personality from Pakistan Film industry attended his funeral. He died unsung !

The cast of film Dhandora-41 was Charlie, Husn Bano, Shameem, Dikshit, Ghori, E.Bilimorea, Bhagwan Das, Kesari etc etc.

With a plethora of Comedians in the film, one could easily make out the film’s genre. For the Heroine, Husn Bano, this was something new, because till then, she had been working only in Stunt/action films of Wadia Movietone like, Kala Gulab, Hind Kesari, Desh Deepak, Noor E Yaman etc etc. Husn Bano was the love child of actress Shareefa. Husn Banu was born in Singapore on 8-2-1919. She was very beautiful. She started her career in Calcutta ( just like her mother), by working in New Theatre’s film “Daaku Mansoor-34”. After this film, Shareefa brought her to Bombay and she started getting roles in Wadia films.

When she was selected for Dhandora as a Heroine, this was a new experience for her as she had never worked in a social or a comedy movie. All her experience was for stunt films only.

Husn Bano acted in 53 films and sanf 44 songs in 16 films. She had married Wadia’s director Aspy Irani. Husn Bano worked in films till her last film Akhari Sajda-1977 and then she retired. She had a big house “Shareefa Manzil” in Dadar, Bombay. On 23-11-1986, her husband Aspy Irani left home for work and he simply disappeared. He was never found and was declared as a “Missing Person” by the Police.

The story of film Dhandora-41 was by Charlie himself. He was the Hero and also the Director. Dialogues and most lyrics were by D N Madhok. The story of the film was…..

Two young persons, Pyare (Charlie) and Mansukh(Dikshit) are working as Extras in films. They are actually nobodies, but crave for publicity in some way or the other. Pyare and Mansukh give it a long thought and come up with a crazy idea. It is planned that Mansukh should ‘murder’ Pyare. Then Mansukh will be caught and their names will be flashed on front pages of Newspapers and on Radio news. Thus they will become famous. The murder, of course , has to be only a fake one. Then Pyare would go out of Bombay and appear directly in court, when Mansukh would be convicted.

Everything takes place as planned. Mansukh is arrested. Pyare leaves secretly for Calcutta. In the train Pyare meets Banwari (Bhagwan Das)-a Theatre Manager and his beautiful daughter Kumud (Husn Bano). They continue meeting in Calcutta also and as expected, fall in love. In all this jhamela, Pyare forgets about Mansukh.

One day Pyare comes across a stupid fellow-Uttam ( Charlie’s double role), who looks exactly like him (naturally!). Uttam is the son of Calcutta’s rich person Sir Niranjan (E.Billimoria). For a better period of the film,after Interval, there are many scenes depicting the inevitable and sometimes intentional confusions due to the look-alikes.

In Bombay, Mansukh is dragged to the court and his case starts. There is no Pyare anywhere,as planned. Pyare loses all hope. He is convicted and sentences to death by hanging. Fortunately, when Mansukh is dragged to the Hangman’s rope, Pyare appears and clarifies that he is alive and there was no murder at all. Mansukh is released Baa-ijjat.
The Happy End !

For a long time, the songs of this film were not available anywhere. Luckily Mr. Shalin Bhatt uploaded 4 songs on You Tube, this month only-on 9th March 2018, to be precise. He is one of the few collectors, who upload full and complete songs. May his tribe grow ! There were 9 songs in the film, written by Madhok and Buta Ram Sharma. The music was by Gyan Dutt.

GYAN DUTT (Born 1915/1920 – Died on 3 December 1974) was an early Indian Film Composer and Music Director. He was Music Director for films such as Thokar (1939), Achhut (1940), Bhakta Surdas (1942), Sunehre Din (1949) and Ghayal (1951). Many of his songs were sung by K. L. Saigal. In 1948 he composed seven songs for a young Geeta Roy in the films Chanda Ki Chandani and Hua Savera, although their most notable collaboration was Dilruba (1950) in which Geeta Roy had 10 songs, seven of which were solos for Geeta Roy.

There were a few composers who were neither here nor there. Gyan Dutt was one of them. True, in his time there was no Parallel cinema, but Critics were very much there. Though he operated from 1937 to 1965-almost 30 years, he never became famous as some of his contemporaries like, Anil Biswas, C.Ramchandra, Naushad etc. He was a Bengali born in Bangalore. There are conflicting reports not only about his Birth year (1915 or 1920),but also about Birth place. Some sources say he was born in East Bengal.

As was the practice those days, Gyan Dutt ( real name Jnanan Dutt) was employed by Ranjit studios ( “we have more stars in our studio that there are in the sky”), along with other composers. He composed music for 25 films in Ranjit from 1937 to 1940. Khemchand Prakash, who replaced him in Ranjit did 20 films from 1940 to 1945 and then it was Bulo C Rani who did about 25 films after 1945 onwards. For most films of Gyan Dutt in Ranjit the film directors were Gujaratis like, Jayant Desai, Chaturbhuj Doshi, Chandulal Shah, Manibhai Vyas etc. He was called Pandit Gyan Dutt.

In those days, hero and Heroines used to sing their own songs. Thus his songs were sung by Waheedan bai, Khatoon, Kalyani,Sunita Devi, Ila Devi, Madhuri, Sitara, Indubala, Vasanti, Savita Devi, Miss Rose, Meera, Gauhar, Snehprabha Pradhan etc.Among males it was Ishwarlal, Kantilal, Ghori, Bilimoria, Charlie etc.

Gyan Dutt gave music to 58 films, but songs from only Saigal’s Bhakta Surdas-42 and Raj kapoor’s Sunehre Din 49 are well known. Actually songs of Aapki Marzi-39 and Sant Tulsidas-39 were also popular in those days. Khursheed sang many songs for him. He also sang a few songs himself. His last film was janam janam ke Saathi-1965.

Gyan Datt remained employed with Ranjit Movietone and gave music is many films including Toofani Toli(1937), Bazigar (1938), Gorakh Maya (1938), Nadi kinare (39), Musafir (1940). In Toofani Toli he made Wahidan bai (Mother of Nimmi) sing “Kyon Naianan mein neer bahaye”. Many singers like Kantilal, Kalyani, Rajkumari, Khursheed and Manna Dey sang his songs. His last film was Janam janam ke saathi (1965) in which duet was sung by Mukesh & Suman Kalyanpur, Hemant Kumar &Indrani Roy.The most notable among his compositions being Sunehre Din (1949) and the song – Maine Dekhi Jag Ki Reet Meet Sab Jhoote Pad Gaye sung by Mukesh and Shamshad Begum.

His death came on 3-12-1974 in Bombay. Unfortunately except for a small time less known composer Sapan Chakravarty,no one from the film industry attended his funeral and a good composer died unsung, unknown and all alone.

Here is a song which is a precursor to many subsequent songs of Hindi films. It starts counting straight up to Twelve… a typical comedy song. Enjoy…..


Song-Ek Do Teen Chaar paanch chhe saat aathh (Dhandhora)(1941) Singer-Noor Md Charlie, Lyrics-D N Madhok, MD-Gyan Dutt

Lyrics

Ek Do Teen Chaar
paanch chhe saath aathh
nau das gyaarah baarah

Ek Do Teen Chaar
paanch chhe saath aathh
nau das gyaarah baarah
teri nazar ne
mujhe maara
teri nazar ne
mujhe maara
teri nazar ne
mujhe maara
baarah gyarah das nau
aath saat chhe paanchh
chaar teen do ek
meri taraf zara dekh
meri taraf zara dekh
meri taraf zara dekh
baarah gyarah das nau
aath saat chhe paanchh
chaar teen do ek
meri taraf zara dekh
meri taraf zara dekh
meri taraf zara dekh
Ek Do Teen Chaar
paanch chhe saath aathh
nau das gyaarah baarah
teri nazar ne mujhe maara
teri nazar ne mujhe maara
teri nazar ne mujhe maara

ek ek hain do
ek ek hain do
murge ?? dil mat ro
do do hain chaar
do do hain chaar
mujhe tera intezaar
do do hain chaar
mujhe tera intezaar
Ek Do Teen Chaar
paanch chhe saath aathh
nau das gyaarah baarah
teri nazar ne mujhe maara
teri nazar ne mujhe maara
teri nazar ne mujhe maara

chaar aur do chhe
chaar aur do chhe
jee bhar ke deedaar le
chaar aur do chhe
jee bhar ke deedaar le
jee bhar ke deedaar le
Ek Do Teen Chaar
paanch chhe saath aathh
nau das gyaarah baarah

dus aur dus bees
aur dus tees
aur dus pachaas
ae dus chaalees
aur dus pachaas
aur dus saath
aur dus sattarrr

chaudhvin ke chaand se mera yaar nahin kamtar
chaudhvin ke chaand se mera yaar nahin kamtar
andheriya hai raat
sajan aao mere ghar
andheriya hai raat
sajan aao mere ghar
andheriya hai raat
sajan aaibo ke jaibo
andheriya hai raat
sajan aiyo ke jaiyo
andheriya hai raat
sajan aibo ke jaibo

assi aur bees sau
chup kyon ho
kuchh kaho
assi aur bees sau
chup kyon ho
kuchh kaho
chup kyon ho
kuchh kaho
chup kyon ho
kuchh kaho

Ek Do Teen Chaar
paanch chhe saath aathh
nau das gyaarah baarah
baarah gyarah das nau
aath saat chhe paanchh
chaar teen do ek
meri taraf zara dekh
meri taraf zara dekh
meri taraf zara dekh


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3531 Post No. : 14182

Today’s song is from film Taj Mahal (1941).

In the last few months, I have written articles on films of the early cinema i.e. from the decade of the 1930s. In these articles, I have introduced few unknown or less known heros and heroines of those times, to our readers. Some of these are Vijay Kumar, Ram Singh, Shankar Rao Vazare, Gul Hamid, Prakash and heroines like Menaka, Radha Rani, Meera Mishra, Meera Devi etc. Today also we will learn about yet another less known hero of the silent and early talkie films – Master Khalil Ahmed.

From the lot of the “brought forward” actors and actresses from the silent to the talkie films, two heros were the true super stars. Master Khalil and Master Vithal. Since they had started their careers from the silent era of the 1920’s, they did not go beyond the 1940’s, when their competition increased and the newer breed of heros took over with ease!

Though world’s first first feature film, originally presented as a talkie ,’The Jazz Singer’, released in October 1927, it took about 4 years more for talkie films to come to India. When it did come in March 1931, there was tremendous enthusiasm amongst the film makers. Initially, however, there was scepticism in the minds of well established silent film makers. Famous film makers like Dadasaheb Phalke and even V Shantaram are on record having expressed their views that talkie films will not survive. However, the same people later on, not only supported the talkie, but V Shantaram became one of the best proponents of Hindi talkie films. Even Dada Saheb Phalke ended his career by making his only Talkie, ‘Gangavataran’ in 1937. (Leela Mishra had acted in it.)

The coming of sound to films changed the film making for ever. Till then what was a fragmented production activity, slowly became an industry. Earlier, silent films were made at a cost of 8 to 10 thousand rupees. Now the talkie needed 15 to 25 thousand per film. Automatically, the hobbyists and poorer film makers disappeared. So did the acting crew who could not speak Hindi fluently or sing a song.

One finds that suddenly, there was a deluge of talented, creative and enterprising people from various professions and different backgrounds to take up the challenges of this new industry. The changing society in India is partly responsible for this deluge. Due to education and attraction to cities, many people were rapidly getting uprooted from their traditional occupations and they were looked forward to these opportunities. For example a motor mechanic Sarvottam Badami became a sound recordist (and later, a director too) and a traditional carpenter like S Fattelal became the great set designer in Prabhat films. An ordinary poster painter, Baburao Painter became a director. Many such examples are available. The deluge was made up of producers, directors, sound recordists, writers, lyricists, singers, technical staff and of course the actors and actresses.

Among the first generation of heroes, namely Khalil, Sandow, Sohrab Modi, Master Nissar, Chandramohan, Prithviraj Kapoor, Motilal, Ashok Kumar, Master Vithal, Jal Merchant, Bilimoria brothers and Saigal emerged as the main players. Among actresses Mehtab, Bibbo, Kajjan, Gauhar, Sitara, Sita Devi, Zubeida, Cooper sisters, Sabita Devi, Leela Chitnis, Durga Khote, Devika Rani, Naseem, Jamuna, Kanan Bala etc. became popular.

Master Khalil Ahmed (variously mentioned as Khalil, Master Khalil, and Khalil Ahmed) was the first ever star of the silent era as well as talkie films from 1920 to 1940s. Born in 1903, he became a hero in Kohinoor’s ‘Gul E Bakavali’ (1924), opposite Zubeida. He was the first handsome and macho hero of those times. He acted with all top heroines of his time. Some of his 30 silent films are, ‘Kaala Naag, ‘Kulin Kanta’, ‘Lanka Ni Laadi’, ‘Cinema Queen’ etc.

He featured in his first talkie film, ‘Draupadi’ (1931), made by Imperial, opposite Ermeline. Then came ‘Daulat Ka Nasha’ (1931), ‘Bharati Mata’ (1932), ‘Niti Vijay’ (1932), Do Rangi Duniya’ (1933) and ‘Saubhagya Sundari’ (1933). In 1934 Khalil went to Calcutta on the invitation of East India Films. His first film in Calcutta was ‘Kismet Ki Kasauti’ (1934). Then he joined Tollywood Studio (Madon Theatres). Here his first film was ‘ Gaibi Gola’ (1935), in which Baby Noorjehan made her debut as a child star.

He was in great demand in Bombay also, so Khalil started doing films in Calcutta and Bombay, by frequently travelling between the two cities. This caused a lot of stress on him, but he always kept his commitments. During this period, he also got married and got children. He settled in Calcutta and travelled often to Bombay to do films there.

Khalil did different roles, including Hindu Gods. He never changed his name. in those days very few Muslim actors kept their real names. Incidentally, during his peak time, there were two more artists named Khalil. One was Khalil Aftab, who was a lyricist and he acted in film ‘Dard E Dil’ (1934) and ‘ The Mill’ (1934) (this latter film was banned and was released later in 1936 as ‘ Ghareeb Parwar’). The other actor was Khalil Khan, who had acted in film ‘Deepak Mahal’ (1940). In all, Khalil acted in 27 Talkie films. He died quite young, on 28-11-1941, at Calcutta. Too much travelling and stress must have taken its toll on him. He was only 38 year old. he left behind one wife with 5 children.

Khalil did 13 films in Calcutta – ‘Kismet Ki Kasauti (1934), ‘Gaibi Gola’ (1935), ‘Miss Manorama’ (1935), ‘Jawaani Ka Nasha’ (1935), ‘Divine Sacrifice’ (1935), ‘Raj Dulari (1936), ‘Bulbul e Iran’ (1936), ‘Parivartan’ (1936), ‘Adarsh Mahila’ (1937), ‘Aflatoon’ (1937), ‘Karmaveer’ (1938), ‘Abla Ki Shakti’ (1941) and ‘Merchant Of Venice’ (1941).

In Bombay, he did 14 films in Bombay – ‘Draupadi’ (1931), Daulat Ka Nash’ (1931), ‘Bharati Mata’ (1932), ‘Niti Vijay’ (1932), ‘Do Rangi Duniya’ (1933), ‘Saubhagya Sundari’ (1933), Typist Girl (1935), ‘Shaitan Ka Paash’ (1936), ‘Khudai Khidamadgar’ (1937), ‘Kiski Pyaari’ (1937), ‘Hamara Desh’ (1940), ‘Pyaar’ (1940), ‘Waayada’ (1940) and ‘Taj Mahal’ (1941).

Khalil acted with most of the leading heroines of his time like, Noorjehan (Sr), Jilloo (Zulekha Ibrahim – she was known by Jilloo Bai in her later career), Kajjan- 6 films, Mushtari – 3 films (She died too young, in her teens only), Miss Rose – 2 films, Violet Cooper – 2 films, Radha Rani, Ram Pyari, Begum Akhtar (she was then known as Akhtari Faizabadi), Sulochana, Ameena, Leela Desai, Indurani, Gulab, Ermelin and Sheela etc. Khalil was very good natured and a popular actor among his co stars and producers.

A Muslim by birth, he performed are variety of roles in films. His initial acting phase included roles of Shri Krishna and Shri Ram. Disenchanted by the communal riots during those times, he gave a speech in the Indian Motion Picture Congress, on 4th May 1939. Baburao Patel’s Film India published this extract from his speech- “I have played Hindu Gods in films. I worked under Hindu producers only. I am disturbed by these riots. I am popular among Hindus and Muslims. We are the devotees of Art and Art has no religion.” Indian Film Industry is perhaps the only industry which is truly a secular one, since its inception. Master Khalil Ahmed was an example of that.

The film has 17 songs listed in the Geet Kosh. 3 songs are already posted. This 4th song is sung by Faqir Mohammed. With this song, he makes a debut on this blog. The film was directed by Nanubhai Vakil. His wife Sarojini was one of the heroines in this film, along with her sister Indurani. This Mohan Pictures presentation had Madholal D Master as its music Director (he was murdered on 18th June 1990, in his flat in Shivaji park, Dadar, Bombay. His murderer was never caught). The film was released in Minerva Talkies, Bombay, after Master Khalil’s death. His name in the credits said “Late Khalil Ahmed”. This was the debut film of Baby Suraiya as a child star. What a coincidence! Master Khalil was the hero in the films in which two legends, Noorjehan and Suraiya made their debut as child stars!

Though the song is sung in old style, the song tune is very sweet. Enjoy.

[Author’s Note: Acknowledgements and thanks – The above write up refers to and has adapted material from ‘Hero-I’ by Ashok Raj, ‘Cinerang’ by Isak Mujawar, Wikipedia, CITWF.com, MuVyz.com, Dr. JP Guha, Calcutta and my own notes.]


Song-Muraliya prem ka geet sunaaye (Taj Mahal)(1941) Singer-Faqir Mohammad, MD-Madholal D Master

Lyrics

muraliya
aa aa aa
muraliya prem ka geet sunaaye
muraliya prem ka geet sunaaye
jag ko preet sikhaaye ae
jag ko preet sikhaaye
muraliya prem ka geet sunaaye
muraliya prem ka geet sunaaye

sukh dukh do hain
prem ke raag
sukh dukh do hain
prem ke raag
ek hai paani
ek hai aag
dhan dhan us premee ke bhaag
dhan dhan us premee ke bhaag
dukh se na jo ghabraaye
dukh se na jo ghabraaye
jag ko preet sikhaaye
jag ko preet sikhaaye
muraliya prem ka geet sunaaye
muraliya prem ka geet sunaaye

jhoom rahi hai
ae ae ae ae
jhoom rahi hai
roop ki bagiya
jhoom rahi hai
roop ki bagiya
bhanwara jiya lehraaye
bhanwara jiya lehraaye
baithha hai maali
aas lagaaye
baithha hai maali
aas lagaaye
vasant ritu kab aaye
vasant ritu kab aaye
muraliya prem ka geet sunaaye
muraliya prem ka geet sunaaye

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

मुरलिया
आ आ आ
मुरलिया प्रेम के गीत सुनाये
मुरलिया प्रेम के गीत सुनाये
जग को प्रीत सिखाये ए
जग को प्रीत सिखाये
मुरलिया प्रेम के गीत सुनाये
मुरलिया प्रेम के गीत सुनाये

सुख दुख दो हैं
प्रेम के राग
सुख दुख दो हैं
प्रेम के राग
एक है पानी
एक है आग
धन धन उस प्रेमी के भाग
धन धन उस प्रेमी के भाग
दुख से जो ना घबराये
दुख से जो ना घबराये
जग को प्रीत सिखाये
जग को प्रीत सिखाये
मुरलिया प्रेम के गीत सुनाये
मुरलिया प्रेम के गीत सुनाये

झूम रही है
ए ए ए
झूम रही है
रूप की बगिया
झूम रही है
रूप की बगिया
भँवरा जिया लहराए
भँवरा जिया लहराए
बैठा है माली
आस लगाए
बैठा है माली
आस लगाए
वसंत ऋतु कब आए
वसंत ऋतु कब आए
मुरलिया प्रेम के गीत सुनाये
मुरलिया प्रेम के गीत सुनाये


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 : 3524 Post No. : 14153

“Reet”(1946) was an extremely obscure movie. Very little is known about this movie. It was directed by Najmistan Film Producers. Names of artists of the movie are not known. HFGK mentions descriptions of seven songs leaving spaces for more indicating that the movie perpahs had more songs in it.

Here is the first song from “Reet”(1946) to appear in the blog. Zeenat Begam is the singer. Music is composed by S D Batish. That is all that is known about the song.

Uploader of the song describes it to be a movie of 1946 and so I have taken it as a movie of 1946. HFGK mentions it as a movie of 1940s and so mentions this movie in the appendix of HFGK part II.

I request our knowledgeable readers to throw light on this movie.

With this obscure song, “Reet”(1946) makes its debut in the blog.


Song-Guzarti hai jo haay kaise bataayen (Reet)(1946) Singer-Zeenat Begam, MD-S D Batish

Lyrics

Guzarti hai jo haay
kaise bataayen
guzarti hai jo haay
kaise bataayen
ye aansoo ye aahen aen aen aen aen
kahaan tak chhupaayen
kahaan tak chhupaayen
guzarti hai jo haay
kaise bataayen

jawaani ke rangeen khwaabon se keh do
jawaani ke rangeen khwaabon se keh do
kabhi khwaab mein bhi na aayen na aayen
guzarti hai jo haay
kaise bataayen

khabar(?) lo kahaan ho
o o o o
zamaana hai dushman
zamaana hai dushman
kahin ghut ke armaan yoon hi mar na jaayen
guzarti hai jo haay
kaise bataayen

na bhoole se mujhko
kiya yaad lekin
na bhoole se mujhko
kiya yaad lekin
bahut yaad aayengin meri wafaayen
guzarti hai jo haay
kaise bataayen

koi thhaam kar dil ko o o
itna bata de
itna bata de
ke jo bas gaya dil mein
kaise bhulaayen
guzarti hai jo haay
kaise bataayen


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 : 3523 Post No. : 14149

“Jigar”(1949) was directed by Bhagwan for Chandni Chitra Production. The movie had Bhagwan, Leela Gupte, Vasantrao, Baburao etc in it.

The movie had eight songs in it. Four songs from the movie have been discussed in the past.

Here is the fifth song from “Jigar”(1949) to appear in the blog. This romantic expression of love “panghat” song is sung by Rajkumari, C Ramchandra and chorus. Ehsan Rizvi is the lyricist. Music is composed by C Ramchandra.

Only the audio of this song is available. I request our knowledgeable readers to throw light on the picturisation of this song. My guess is that this song is picturised on Bhagwan and Leela Gupte. My guess could be wrong, seeing that I had made the same guess of actors for a C Ramchandra- Lata duet from this movie in the past as well. 🙂


Song-Mohe panghat pe jaate darr laage (Jigar)(1949) Singers-Rajkumari, C Ramchandra, Lyrics-Ehsan Rizvi, MD-C Ramchandra
Chorus

Lyrics

mohe panghat pe jaate darr laage
ho darr laage
mohe panghat pe jaate darr laage
ho darr laage

raste mein sainyyaa ka ghar laage
raste mein sainyya ka ghar laage
mohe panghat pe jaate darr laage
ho darr laage
mohe panghat pe jaate darr laage
ho darr laage

sainyya to ghar chhod aaye hain tere dwaare
phirte hain tere peechhey kheton mein maare maare
kyun tujhko sainyya se darr laage
ho
kyun tujhko sainyya se darr laage

mohe panghat pe jaate darr laage
ho darr laage
mohe panghat pe jaate darr laage
ho darr laage

maare maare phiroge tum
haath nahin aaungi
main haath nahin aaungi
maare maare phiroge tum
haath nahin aaungi
main haath nahin aaungi
gora mukh dikha ke main
aur bhi tarsaaungi
gora mukh dikha ke main
aur bhi tarsaaungi
dekho na
tumhri najar laage
ho
dekho na
tumhri najar laage
mohe panghat pe jaate darr laage
ho darr laage
mohe panghat pe jaate darr laage
ho darr laage

aurat ke aage hathh na chalegi
aurat ke aage hathh na chalegi
apna apna kaam dekho
daal na galegi
apna apna kaam dekho
daal na galegi
ab chaahe saari umar laage
ho
ab chaahe saari umar laage

mohe panghat pe jaate darr laage
ho darr laage
mohe panghat pe jaate darr laage
ho darr laage


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(© 2008 - 2018) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

What is this blog all about

This blog discusses Bollywood songs of yesteryears. Every song has a brief description, followed by a video link, and complete lyrics of the song.

This is a labour of love, where “new” songs are added every day, and that has been the case for more than nine years. This blog has over 14200 song posts by now.

This blog is active and online for over 3500 days since its beginning on 19 july 2008.

Total number of songs posts discussed

14289

Number of movies covered in the blog

Movies with all their songs covered =1143
Total Number of movies covered =3901

Total visits so far

  • 10,287,859 hits

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Historical dates

Blog Start date: 19 july 2008

Active for more than 3500 days.

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