Archive for the ‘Songs of 1940s (1941 to 1950)’ Category
Aajaa nigaahon mein aajaa
Posted on: July 3, 2011
I have posted four songs from “Dahej” (1950) and I thought I had covered all the songs that are available. While posting those songs, I had not realised that all these songs were sung by female singers. As many as four female singers had sung in these songs. The heroine Jayshee in fact has sung her own songs in this movie.
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Ham jaag uthhe hain so kar
Posted on: July 3, 2011
“Ham Ek Hain” (1946) is a movie with a message. in this movie, Durga Khote, a noble widowed matriarch brings up many orphan kids in addition to her own son. These kids are her own son Shankar (Dev Anand), and orphans Yusuf (Rehman), John (Rane) and Durga (Rehana). As can be seen, she is raising three boys of three different religions as her own, thus sending a strong message of “Ham ek Hain” (We are one).
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Dil ki lagi ne hamko
Posted on: July 2, 2011
Old Hindi movies and their songs are much like old monuments in Indian towns that mostly lie unattended and neglected. These monuments (and movies) were once centres of public attention and now few people are even aware of their existence. The legacy left behind by them is quite rich but few people bother to dig them up, refurbish them and preserve them. And it is a pity.
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Ho nadiyaa kinaare mora gaaon re
Posted on: July 2, 2011
“Ham Ek Hain”(1946) is the movie where Dev Anand made his debut alongwith Rehman and Rehana. This movie was also the debut of P L Santoshi as director.
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“Ham Ek Hain” (1946) is today remembered for being the debut movie of Dev Anand,Rehman and Rehana. But they were not the lead actors in this movie. The lead actors were Ram Singh,Kamla Kotnis and Durga Khote.
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Hasraten khaamosh hain
Posted on: July 1, 2011
This article is written by Sudhir,a fellow enthusiast of Hindi movie music and a regular contributor to this blog.
“Hain Sabse Madhur Wo Geet Jinhen Hum Dard Ke Sur Mein Gaate Hain” – so are the lines that Shailendra has written for the song in Patita (1953), echoing the words of another great poet, Percy Shelley who wrote (150 years earlier) – “Our sweetest songs are those that tell of saddest thought”. So it is not a wonder that the songs that tell of sorrow, are the ones that sound the sweetest and are the dearest to our hearts.
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Haay taqdeer meri haay taqdeer meri
Posted on: June 30, 2011
“Jal Tarang” (1949) is an obscure movie starring Rehman,Geeta Bali,Shashikala,Ram Singh,Rajan Haksar,Shyama etc.
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Jhooloongi jhooloongi
Posted on: June 30, 2011
“Shakuntala” (1943) is easily a milestone movie in the annals of Hindi movies. It was the very first movie of Rajkamal Chitramandir that V Shantaram had founded. This was the first time that V Shantaram collaborated with Vasant Desai as music director and Jayshree as the leading lady. He in fact fell in love with Jayshree and married her during that time. This movie was a big success and our resident expert Mr Arunkumar Deshmukh informs us that this movie had run for 104 weeks (viz two years) in a single movie hall namely Swastik Cinema of Bombay.
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When I was growing up in late 1960s and early 1970s, I was upset with oldtimer movie makers of earlier decades. Why did the oldtimers create such “boring” songs. And secondly, why would they give their movies the same titles as the movies of 1970s. 🙂 Yes, I blamed old movie makers for their titles like Dushman(1938),Jugnu (1947), Anokhi Ada(1948), Andaaz(1949), Samadhi (1950), Aankhen(1951) etc which were the same titles vis a vis titles of new movies released in late 1960s and early 1970s. Whenever I heard an announcement in Akashwani that a song of the abovementioned movies was going to be played, I eagerly looked forward to listening to a new song, but I felt badly let down on finding that the song played was from an old movie of the same name.
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This article is written by Sudhir, a fellow enthusiast of Hindi movie songs and a regular contributor to this blog.
Parbat Pe Apna Dera (1944) is one of the more important creations of V Shantaram. The film deals with the concept of ‘maya’ the enduring allurement of the material world that spares no one. The theme also deals with the consequences fo desires, which are mostly painful and damaging. Briefly, Ulhas is an ascetic who lives alone on a hilltop, and does not allows any visitors or passersby to come to him. Once, Vanmala chances to come face to face with this ascetic, in one of her treks. She is injured, and the ascetic has some cure that relieves her of pain. She is the daughter of a rich person, probably used to having her way. She insists on continuing to meet Ulhas, against his wishes, and continues to bring him gifts, almost setting up a household on the hilltop, once where there was an abode of renunciation. One thing leads to another, and the ascetic ties the nuptial knot with this rich lady, leaves his ‘parbat’ (symbolically the high vantage point of human experience), and comes down to ‘civilization’ to live with his newfound family.
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