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

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


“Ek Thhi Ladki” (1949) was a Shorey Films production movie. It was produced and directed by Roop K Shorey. The movie had Motilal, Meena Shorey, Majnu, Kuldip, Batra, Shamlal, Gogia Pasha, Pasha, I. S. Johar, Shakuntala, Agha Miraz etc in it.
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This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

I was aware of four popular folklores of Punjab-Sind provinces which are now in Pakistan – Heer Ranjha, Mirza Sahiban, Sohni Mahiwal and Sassi Punnu. These are the tragic love stories in which the lovers die at the end. The common features of all these four folklores are (i) the female character is extremely beautiful, (ii) families of both the lovers resent their unions, (iii) female lovers are forced by their families to marry other man and (iv) at the end, female lovers die first followed by the male lovers except in case of Mirza Sahiban where the two lovers die in the reverse order.
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This article is writtten by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

The ghazal ‘ae mohabbat tere anjaam pe ronaa aayaa’ and Begum Akhtar are inseparable. If ‘deewaana banaana hai to deewaana banaa de’ (1925) heralded the arrival of Begum Akhtar as a ghazal singer, ‘ae mohabbat tere anjaam pe ronaa aayaa’ (early 1950s) consolidated her position in ghazal singing paving the way for her to be bestowed upon the title of ‘mallika-e-ghazal’ later. I came to know about Begum Akhtar in my younger days only because of this ghazal which was regularly played on the radio. The simple words in this ghazal with the captivating style of Begum Akhtar’s rendition attracted not only the connoisseurs of ghazals but also the commoners. No wonder, the sales of gramophone records of this ghazal attained the stature of a platinum disc.
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This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

Hindi film industry has given rise to several controversies, some of them are settled, some are forever a question mark and some controversies come up again and again with the slightest of provocation. The worst thing in a controversy is that even if statements of clarification are given by the concerned people involved with it, it is viewed with suspicion of a personal bias.
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This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

There are singing voices. Then there are voices that sing. And then there is SD Burman – affectionately Sachin Da, or just plain Dada, to most people in the industry, a voice that stands apart from everyone else.
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This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

Reverberating through the caverns of mind, comes this deep and soothing baritone voice of CH Atma. This song is another priceless and incomparable gem that he has renderded as a non-film offering.
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This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

The year is 1948, and the film name – ‘Mala, The Mighty’. The name sounds like a Nadia film. Well, almost. It is a Basant Pictures production directed by John Cowas, but the leading lady is Leela and not Nadia. But any way, a stunt film in the late 1940s, and it is a fair chance that the music director will be Chitragupt. Yes, you got it right.
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This article is written by nahm, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

This is a song from film ‘Shair’ (1949). I am not sure if that is the correct name for this film. If the name is ‘Shaayar’ or ‘Shaayir’ than it will mean ‘the poet’. If it is ‘Shair’ than it is ‘a couplet’. Eight songs from this film have appeared in this blog. I was able to find only one Rafi song in this film which is luckily not posted.
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