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

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


“Raat Ki Raani” (1949) was a J S Pictures presentation.Jagdish Sethi, who was the owner of the J S Pictures was also the director of this movie. He in fact acted in this movie too. The movie had Munawwar Sultana, Shyam, Sulochana Chatterji, Madan Puri, Jagdish Sethi, Om Prakash, Chaman Puri etc in it.
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“Pehle Aap” (1944) is a movie that came as a critic juncture in the annals of Hindi movie music and it determined the course of action that Hindi movie music was to take. Songs of this movie as well as the other movies with music by Naushad were based on folk music. It was a major departure from earlier music which was based on classical rag based music. Music lovers loved this folk music based music. The classical music based songs too continued to be composed but it became clear that the key to win the public over was through folk music based songs.
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Here is a song that is extremely rare and obscure even by the standards of this blog where rare songs are discussed on a regular basis. And a song like this cannot be discovered just by stumbling against them in some site. One needs to consciously search for songs like this by name. I had got a lead somewhere that there was a music director called Pt Govardhna Prasad who was the father of Khemchand Prakash. Pt Govardhan Prasad worked as a music director in only one movie and that movie was called “Ismat”. With this minute bit of information, I set out to search for the songs of this movie.
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“Pehle Aap” (1944) was one of those early movies which decided the course of action that future Hindi movie music was to take. This movie, like other movies where Naushad was the music director, had its music based on folk music, and that enabled public to readily connect and identify with this music.
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This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

‘baalam to pe sabar padey, moraa maikaa chhudaaye deenhon raam’

“O dear sweetheart, you have made me relinquish my mother’s home, hope you are now pleased and satisfied”

More than ‘Gham diye mushtaqil kitna naazuk hai dil (Shahjahan). . .’, and ‘Jab dil hi toot gaya(Shahjahan). . .’, this unfinished song is a much more fitting signature song that suddenly defines the totality of Saigal Saab’s essence of spirit, and sums up his entire life in terms of the most relevant event of human existence – the final departure.
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