Archive for the ‘Songs of 1941’ Category
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 : | 3747 | Post No. : | 14710 |
“Sangam”(1941) was directed by Junnarkar for Navyug Chitrapat Limited, Poona. The movie had Meenakshi, Vatsala Kumthekar, Sundarabai, Malti gupte, Baby Devi, Salvi, Damuanna Malwankar, Jog, Nandu khote, Vinayak etc in it.
This movie had 14 songs in it. Two song from the movie have been covered in the past.
Here is the third song from “Sangam”(1941) to appear in the blog. The song is sung by Sundarabai. Amritlal Nagaris the lyricist of this song. Music is composed by Dada Chandekar.
Seeing that Sundarabai acted in the movie as well, one can guess that this song was picturised on herself.
I have not been able to get a few words right in the lyrics. I request our readers with keener ears to help fill in the blanks/ suggest corrections in the lyrics as applicable.
Song-Laaj mori raakho ho gareeb niwaaz (Sangam)(1941) Singer-Sundarbai, Lyrics-Amritlal Nagar, MD-Dada Chandekar
Lyrics
laaj mori raakho ho gareeb nivaaz
laaj mori raakho ho gareeb nivaaz
laaj mori raakho ho gareeb nivaaz
dhan balheen
kahat moko more dhan mahaaraj
dhan balheen
kahat moko more dhan mahaaraj
laaj mori raakho ho gareeb nivaaz
deen dukhi main darid ?? ki ?? prabhu tum taaranhaar
deen dukhi main darid ?? ki ?? prabhu tum taaranhaar
sharan taran main naath ubaaro
sharan taran main naath ubaaro
padi vipad phir aaj
man mandir tan kalash chadhhaayo
man mandir tan kalash chadhhaayo
prem bhuja(?) pahiraayo
prem bhuja(?) pahiraayo
do gajvan ko aaj sajaayo
do gajvan ko ?aaj sajaayo
?? hey raghuraaj
?? hey
sir taaj(?)
sir taaj(?)
laaj mori raakho ho gareeb nivaaz
Lagti hai chot jigar mein
Posted on: October 18, 2018
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 : | 3744 | Post No. : | 14702 |
“Akela” (1941) was produced by Kikubhai Desai and directed by Pesi Karani for Great India Pictures, Bombay. The movie had Mazhar Khan, Bibbo, E Billimoria, Miss Moti, Pratima Devi, Bose, Mohammed Hadi etc in it.
The movie had eleven songs in it. One song has been covered in the past.
Here is the second song from “Akela” (1941) to appear in the blog. The song is sung by Bibbo. P L Santoshi is the lyricist. Music is composed by Khan Mastana.
Only the audio of the song is available. Seeing that Bibbo, the leading actor-Singer of those days is in the cast, it is clear that the song was picturised on herself.
Song-Lagti hai chot jigar mein (Akela)(1941) Singer-Bibbo, Lyrics-P L Santoshi, MD-Khan Mastana
Lyrics
lagti hai jab chot jigar mein
lagti hai jab chot jigar mein
nikla karti haay
lagti hai jab chot jigar mein
nikla karti haay
haay haay mein chhupi kahaani
samjhi na koi baat
haay haay mein chhupi kahaani
samjhi na koi baat
lagti hai jab chot jigar mein
nikla karti haay
samjhe usko ek baar jo
chot kisi ki khaay
samjhe usko ek baar jo
chot kisi ki khaay
din din baras baras se beete
din din baras baras se beete
kachhu na aur suhaaye
kachhu na aur suhaaye
naina rahat hain daras ke pyaase
naina rahat hain daras ke pyaase
kab aayen
kab aayen
kab aayen
Roop Ye Anoop Dekh Ke Nayan
Posted on: October 11, 2018
- In: "Aankh" song | Devnagri script lyrics by Sudhir | Duet | Feelings of heart | Guest posts | Love song | Lyrics by Sudhir | Lyrics contributed by readers | Post by Arunkumar Deshmukh | praising a person | Rare song | Romantic song | Songs of 1940s (1941 to 1950) | Songs of 1941 | Vasant Desai - Vinodini Dixit Duet | Vinodini Dixit Songs | Yearwise breakup of songs
- 3 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 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.
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Blog Day : |
3737 | Post No. : | 14687 | Movie Count : |
4014 |
Today’s song is from a saint film, ‘Sant Sakhu’ (1941).
Out of the many saints that came from Maharashtra, like Tukaram, Ramdas, Gyaneshwar etc, Sakhu was probably the only female saint on whom a bilingual film – Hindi and Marathi – was made. Unlike other saints, Sakhu possibly was not a historical figure because no mention about her is found anywhere in any document. Nevertheless, she was extremely popular amongst the rural folks of not only Maharashtra but also was a popular name in Karnataka, Andhra, Tamilnadu and Orissa. In the pre independence era, Sakhu or Sakhubai was quite a common name in these areas. I remember that we had a maid servant named Sakhubai in our Hyderabad home. She was a Telugu woman, did not know Marathi, but knew who Sakhu was !
The film was made by Prabhat Films, which was known to make mythological, religious and social films. It started its talkie era with ‘Ayodhya Ka Raja’ – a bilingual in Hindi and Marathi, in the year 1932. This is the oldest Indian talkie film available today, based on the story of King Harishchandra and Taramati. As the time went by, Prabhat became famous for its meaningful films. Apart from V. Shantaram, other partners of Prabhat, like Keshavrao Dhaiber, Damle and Fattelal and even the assistant of Shantaram, K. Narayan Kale had directed few films. However only the films directed by Shantaram became hits and were popular, with the exception of Sant Tukaram (1936) a Marathi film.
While forming the company, the partners had chosen their fields of activity, like Damle was expert in sound recording and engineering, Fattelal was very good in art direction, set making etc. and Dhaiber was good at cinematography. Direction was unanimously allotted to V Shantaram. In the following years when only Shantaram’s name became famous, there was envy among the other partners. Shantaram too sensed it and tried to prove that he was a team man and helped others whenever required in their directorial efforts. But the seed of envy soon became a big tree and things were made difficult for Shantaram.
Another point known only to very few and which was never elaborated by Shantaram himself, was also at work. In the early years of Prabhat Films, one of the partners – S Fattelal married the company’s heroine Gulab Bai aka Kamlabai (she was the girl who blows the tutari in Prabhat’s logo). Disturbed by this event and fearing public ire, the company made a rule that hereafter no partner of the company should get involved in any actress or employee of the company and if it does happen, he should leave the company forthwith. This rule was used when in 1937, one of the partners, Keshavrao Dhaiber married Nalini Tarkhud, heroine of film ‘Rajput Ramani’ (1936), which he had directed. Consequently, Dhaiber left Prabhat and started his own company, Jaishree Films.
During the making of film ‘Padosi’ (1941) (‘Shejari’ in Marathi), V. Shantaram fell in love with the heroine of the Marathi version, Jaishree (Kamulkar) and married her on 26-10-1941. (He already had one wife, Vimlabai and 4 children). The envious partners got this solid point against Shantaram. The pressure increased on him to quit. Finally, Shantaram left Prabhat films (for mixed reasons) on 13-4-1941. He even left Poona and took up a job in Government’s Film Division, before establishing his own Rajkamal Kalamandir.
During all these happenings, film ‘Sant Sakhu’ was released at Central Talkies on 27-9-1941. Baburao Patel, in his Film India October ‘41 issue gave a mild review of the film. He, however, made a remark in his inimitable style-’the film is suitable for the old, women and children’. The film was directed by the duo of S Fattelal and VG Damle. This pair had directed a silent film also, ‘Maharathi Karna’ in 1928. After that they were busy with their own specialty jobs. Subsequently, the pair was virtually pushed to direct film ‘Sant Tukaram’ (1936) in Marathi, by none other than Shantaram himself. This was his attempt to bring peace and harmony among the partners of Prabhat. He genuinely helped the duo and the reluctant pair flew on the seventh heaven, when ‘Sant Tukaram’ became one of the international hit films !!!
The music to film ‘Sant Sakhu’ was by the resident musician Keshavrao Bhole and the cast of the film was Hansa Wadkar, Shankar Kulkarni, Gauri, Shanta Mujumdar, Master Chhotu and many others. Lyrics were by PL Santoshi and Pt Mukhram Sharma. During the making of film Sant Sakhu, Mukhram Sharma and actress Shanta Mujumdar fell in love and got married also.
One name in the cast is that of Gauri. Her real name was Tanibai Dawari. She was with Prabhat since its inception and did small roles in silent films. She was totally illiterate and could not read or write. After the advent of the talkie films, she continued doing small roles in Prabhat films. When film ‘Sant Tukaram’ was being conceived, Shantaram started searching for an actress to do the role of Tukaram’s wife – Avali, who loved Tukaram but was sort of a shrew because she felt Vithoba Bhakti was spoiling Tukaram.
One day, Shantaram saw Gauri and he called her. Giving a copy of the script to her, he said, “You are selected to do the role of Avali. Now read the dialogues and be prepared”. Gauri was stunned. She did not know how to react. She could not read. She was sure that now she will be exposed and removed from service, as Prabhat did not employ illiterate people. She took the script and went out of the room. Music Director Keshavrao Bhole found her in a corner weeping. When he enquired repeatedly, Gauri explained everything. Bhole pacified her and said, “Dont worry”. From that day onwards he taught Gauri reading and writing for 8 hours a day for 15 days. Being a sharp student Gauri picked it up very quickly, as it was a do or die situation.
Her role in film Sant Tukaram was lauded by one and all. It was praised even in the Venice film festival. Prabhat gave her a special award also. Gauri continued with Prabhat till it was making films. Then she retired from films and settled in Poona, doing some household jobs for survival. Unfortunately the Panshet flood disaster in Poona in 1961, washed out everything she had. She returned to her hometown, Kagal, near Kolhapur. In 1964, a film on Tukaram “Tuka Zalase Kalas” in Marathi was launched. Sulochana Latkar was to do the role of Tukaram’s wife, Avali. She wanted to take blessings from Gauri – the original Avali. Sulochana went to Kagal and took her blessings. She gave her a saree and some money too. Soon after this, Gauri aka Tanibai Dawari passed away.
Here is the story of film ‘Sant Sakhu’
Sakhu Bai (Hansa Wadkar), an ardent devotee of Vithal, lives with her husband (Shankar Kulkarni) and a cruel mother-in-law – Mhalsa Kaku (Gauri). The mother thinks that her daughter-in-law will spoil her only son and then he will start neglecting his mother. Her husband also does not say anything to his mother because he thinks that since he is her only son, people will disrespect him and his wife if he takes his wife’s side. So Sakhu has to bear all the ill-treatment silently. She worships Vitthala with all her heart and forgets her daily sufferings.
One day, her husband’s sister, Kalawati (Shanta Mujumdar) returns from her home with her daughter. She tells her mother how she was beaten by her mother-in-law and her husband and how they threw her out of the house. Her mother tells her to live in her home with his brother. She also starts troubling Sakhu, because she envies how his brother loves her. One day, Sakhu’s husband falls ill and Sakhu defies her mother-in-law’s order and comforts her husband rather than doing her prescribed work. Sakhu’s mother-in-law tells her son that he has to choose between his mother and her; he chooses his mother and throws Sakhu out of the house.
A sad Sakhu sees a group of Vitthala devotees doing naam-kirtan (chanting of the Lord’s name). She joins the group and starts doing naam-kirtan. Her husband’s sister finds her and tells her mother about that. The mother-in-law arrives and drags her to her home and ties her to a pole. Sakhu starts crying and worships Vitthala and after some time, things take a different turn. God Vithal appears there and releases her, taking her place as Sakhu. Now Sakhu is free to go to Pandharpur for the darshan of Vithal, along with the Varkaris. The movie ends with two Sakhus coming face to face. People get dumbfounded by seeing two Sakhus and start thinking that she is a ghost. The movie ends by clearing everyone’s doubts.
Let us now listen to this duet by Vinodini Dikshit and Vasant Desai (who was Keshavrao Bhole’s assistant in this film). With this song, the film ‘Sant Sakhu’ makes a debut on the blog.
(Credits – Book of Isak Mujawar, Book by Bhai Bhagat, Wikipedia, HFGK, Prabhat’s website and my notes.)
Song – Roop Ye Anoop Dekh Ke Nayan (Sant Sakhu) (1941) Singers – Vasant Desai, Vinodini Dixit, Lyrics – PL Santoshi, Music – Keshav Rao Bhole
Vasant Desai + Vinodini Dixit
Lyrics (Provided by Sudhir)
roop ye anoop
dekh ke nayan
roop ye anoop
dekh ke nayan
roop ke roop mein
samaa gaye
roop ke roop mein
samaa gaye
roop ye anoop
dekh ke nayan
roop ye anoop
chhaaya tera rang
mere ang ang
chhaaya tera rang
mere ang ang
mann mein bhi
chhaaya paandurang
mann mein bhi
chhaaya paandurang
roop ye anoop
dekh ke nayan
roop ye anoop
roop ye anoop
roop ye anoop
roop ye anoop
dekhe bina mohey
chain nahin aaye
dekhe bina mohey
dekhe bina mohey
chain nahin aaye
manaaye na maane
mora mann
manaaye na maane
mora mann
roop ye anoop
dekh ke nayan
roop ke roop mein
samaa gaye
roop ye anoop
dekh ke nayan
roop ye anoop
———————————————————-
Hindi script lyrics (Provided by Sudhir)
———————————————————-
रूप ये अनूप
देख के नयन
रूप ये अनूप
देख के नयन
रूप के रूप में
समा गए
रूप के रूप में
समा गए
रूप ये अनूप
देख के नयन
रूप ये अनूप
छाया तेरा रंग
मेरे अंग अंग
छाया तेरा रंग
मेरे अंग अंग
मन में भी
छाया पांडुरंग
मन में भी
छाया पांडुरंग
रूप ये अनूप
देख के नयन
रूप ये अनूप
रूप ये अनूप
रूप ये अनूप
रूप ये अनूप
देखे बिना मोहे
चैन नहीं आए
देखे बिना मोहे
देखे बिना मोहे
चैन नहीं आए
मनाए ना माने
मोरा मन
मनाए ना माने
मोरा मन
रूप ये अनूप
देख के नयन
रूप के रूप में
समा गए
रूप ये अनूप
देख के नयन
रूप ये अनूप
Janaab e Naaseh Samajhte Hain Hum
Posted on: August 23, 2018
- In: Biography of Actor-Singer | Biography of artists | Devnagri script lyrics by Sudhir | Feelings of heart | Guest posts | Lover's Complaint | Lyrics contributed by readers | Master Fida Hussain Solo Song | Master Fida Hussain Songs | Post by Sadanand Kamath | Rare song | Songs of 1940s (1941 to 1950) | Songs of 1941 | Translation by Sudhir | Translations by readers | Vagaries Of Love | Yearwise breakup of songs
- 3 Comments
This article is written by Sadanand Kamath, 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 : | 3688 | Post No. : | 14595 |
In the sphere of Parsi Theatres, there were many artists who had contributed in the growth of Indian theatres. But there were few personalities and artists associated with Parsi Theatres whose contributions led to its strong foundation. Some theatre scholars whose specialisation is in South Asian theatres, regard Agha Hashr Kashmiri (Writer-Director), Pandit Narayan Prasad ‘Betab’ (Writer-Director), Radheshyam Katha Vachak (Writer-Director), Master Fida Hussain (Actor-Singer) and Jaishankar Bhojak, popularly known as Jaishankar Sundari (Actor-Singer) as the pioneers in developing the Parsi Theatres.
I have already covered in our blog, the life sketches of Pandit Narayan Prasad ‘Betaab’ in the post, “Abroo Ki Kamaanon Mein”, of Agha Hashr Kashmiri in “Yaad Mein Teri Jahaan Ko Bhoolta Jaata Hoon Main” and Pandit Radhe Shyam Katha Vachak in “Ye Suna Hai Maine Jaadu Hai”. In this article, I am presenting a brief biography of the fourth artist, Master Fida Hussain, the actor-singer.
Before I embark upon covering Fida Hussain’s biography, I wish to share with the readers that his biography was an oral history of his association of 50 years with Parsi Theatres as told to Pratibha Agrawal, a theatre scholar and connected with the Natya Shodh Sansthan, Calcutta (Kolkata). The oral history she collected from Fida Hussain during their sitting of 15 days was published verbatim in Hindi in 1986 with comments from her. There is no sequencing of the events spread over 50 years of his theatre days.
The English translation of his biography ‘Parsi Theatre Main 50 Varsh’ (1986) was published as one of the chapters in a book ‘Stages of Life’ (2011) by Kathryn Hansen, a leading scholar of South Asian theatre history. What I have done is more like an abstract writing of the biography sourced from this book with my comments wherever necessary. There are many interesting trivia and anecdotes revealed by Fida Hussain during his oral submission which I have avoided in my write-up to make the presentation of the biography as short as possible.
Fida Hussain (11/03/1899 -1999) was born in Muradabad (UP) in an conservative family. Right from childhood, Fida Hussain was fond of singing. It is quite likely that he got interested in singing because of the travelling theatres and nautanki groups that visited his town. Fida Hussain’s father and uncle did not like his interest in singing. Almost every day, the young Fida Hussain used to get beatings from his uncle for singing, though his father despite the dislike for the singing and music, spared him from beating.
But the more beatings he got, his fondness for singing increased. He also started watching the free shows of nautanki (folk theatre) which culminated into his love for the acting as well. This enraged his married elder brother who instigated his wife to do something to affect his voice. One day, she served him paan with vermilion powder which resulted in loss of his voice for nearly six months. After getting his voice back thanks to a visiting Sadhu who gave him some prescriptions, Fida Hussain started attending nautanki shows with a greater vigour than before.
In 1917, Fida Hussain joined a local drama club and got training for six months before being given a female role in the drama ‘Shahi Faqeer’. In this way, the path toward theatre opened for him. Soon, with the recommendation of his local drama club’s President, he went on to join the New Alfred Theatrical Company which was touring around Delhi for staging ‘Veer Abhimanyu’. In January 1918, Fida Hussain ran away from his home in Muradabad for Delhi leaving his newly married wife at home.
The New Alfred company never employed female actors. Hence the female roles were performed by the male actors like Master Nissar. Fida Hussain also got mostly the female roles in New Alfred.
Once when New Alfred was staging a show in Meerut, one of the boys from his neighbourhood recognised Fida Hussain and promptly reported the matter to his father. His father-in-law promptly lodged a complaint with police and an arrest warrant was issued. This entire episode is too big to cover here. The conclusion of this episode was Fida Hussain got a reprieve from his father, who allowed him reluctantly to continue with his passion after getting assurances from him that he would never indulge in intoxication (of any form), gambling, always keep high morality and keep in touch with his family by visiting his home town.
With his domestic issues getting resolved amicably, Fida Hussain could now concentrate fully on theatres. His association with New Alfred continued until it closed down in 1930. His most popular dramas under New Alfred were ‘Parivartan’ (1922), ‘Veer Abhimanyu (c 1923), ‘Parambhakt Prahlad’ (c 1923), ‘Shri Krishna Avatar’ (1924-25), ‘Ishwar Bhakti’ (1928), ‘Laila Majnu’ (1930). Except for ‘Laila Majnu’, Fida Hussain played the female roles in all these plays.
In the 1930s and 1940s, Fida Hussain got associated with many theatre companies all over north, east and west India, the prominent being Alfred, Madan (pronounced as Maadon), Sahajahan, Narsi, Mohan and finally taking up the reins of Moonlight Theatre owned by Marwadi brothers in Calcutta (now Kolkata). During this period, Fida Hussain worked in ‘Nal Damyanti’, ‘Yahudi Ki Ladki’, Khoobsoorat Balaa’, ‘Seeta Banvas’, ‘Chalta Purza’, ‘Bhakta Narsi Mehta’, ‘Bharat Milap’, ‘ Krishna Leela’ and many more.
In 1939, he donned the title role of Narsi Mehta in the play ‘Bhakt Narsi Mehta’. The play became a hugely popular hit and it played for over 1000 nights. Because of this, Fida Hussain was honoured with the title ‘Narsi’ which he proudly used as suffix to his name as Fida Hussain ‘Narsi’.
With the advent of talkies, Fida Hussain, like many other artists from theatres, was associated with a few Hindi films during 1934-46 as an actor-singer. The first film he worked was ‘Ramayan’ (1934) followed by ‘Insaf Ki Tope’ (1934), ‘Kunwaari Ya Vidhwa’ (1935), ‘Diljaani’ (1935), ‘Dil Ki Pyaas’ (1935), ‘Daku Ka Ladka’ (1935), ‘Balidaan’ (1935), ‘Khudaai Kitmadgaar’ (1937), ‘Matwali Meera’ (1940), ‘Bambaiwaali’ (1941), ‘Arabian Nights’ (1946) and ‘Toote Sapne’ (1946, Unreleased).
Except for ‘Bambaiwaali’ (1941) which was produced in Bombay (Mumbai), rest of films in which Fida Hussain worked were produced in Calcutta (Kolkata) where he was associated with Moonlight Theatres. I find that barring one or two films, he had small roles in rest of his films. It is quite possible that due to his immense popularity on stage as an actor-singer, the producers of the films may have taken him in their films to attract his large fans to watch the films. My guess is that Fida Hussain did not have much interest for working in films as his heart was with the theatre.
Fida Hussain continued his association with Moonlight Theatres, Calcutta (Kolkata) where he was the boss. The owners (4 Marwadi brothers) did not interfere in any aspects of the Moonlight Theatre so long as they earned profit from this venture. I am surprised as to how Fida Hussain could successfully compete with Hindi films and ran the Moonlight Theatres profitably in the 1950s and 60s. In 1968 when Fida Hussain completed 50 years in Parsi Theatre, he decided to retire from the theatre activities and spend rest of his life with his extended family in Muradabad. With his retirement, the Moonlight Theatre was closed and with this the glorious years of Parsi Theatre came to an end.
However, Fida Hussain remained busy during most of his post-retirement years. Being the only living legend of Parsi theatres, his knowledge about the old theatrical styles were utilised for those interested in theatre. He became a regular visiting faculty for the National School of Drama, New Delhi until 90s. He also conducted workshops for students who were pursuing their interest in the theatre. He was often one of the invitees on symposium and seminars on Indian theatres. In 1985, Fida Hussain received the Central Sangeet Natak Akademi Award in recognition of his contributions to Indian theatres. In 1978, he had received the Uttar Pradesh Sangeet Natak Akademi Award for acting. Fida Hussain passed away in the year 1999.
Fida Hussain may be one of the few theatre personalities who commanded not only the respect but also kept his reputation high even during his poet-retirement years. He was also one of a few artists who judiciously used his earnings to create a bright future for his two sons and two daughters. At the time of his death, Fida Hussain was the owner of two brassware business firms in Muradabad which were run by his two sons.
During his theatre days, Fida Hussain recorded more than 200 songs with HMV. However, his filmy songs are few (may be less than 20) and it seems some of them were not issued on gramophone records. Very recently, I could get hold of his two songs from the film ‘Bambaiwaali’ (1941) which I have uploaded on the video sharing platform.
I am presenting here one of the songs. “Janaab e Naaseh Samajhte Hain Hum’ from ‘Bambaiwaali’ (1941) sung by Master Fida Hussain. There were 7 songs in the film, all written by Wahid Qureshi which were set to music by Madhulal Damodar Master.
‘Bambaiwaali’ (1941) was produced under the banner of Wadia Moveitone and was directed by Homi Wadia. The star cast included Nadia, John Cawas, Radha Rani, Sardar Mansoor, Boman Shroff, Dalpat, Fatima, Minoo Cooper, Nazira, Mithu Miyan, Gunboat (Dog) etc. The story of the film in short is as under:
A village is being exploited by a capitalist racketeer. The villagers are being convinced to sell their land to the capitalist. Everything seems to be going smooth for the capitalist until Nadia (Bambaiwaali) who returns to her village after completing her education in Bombay (Mumbai). She opposes selling land to the capitalist for which the women folks of the village support Nadia. Now the conflict turns between the greedy men of the village and their women folks who love their land more than the money.
Nadia with her two henchmen, a dog and even a rickety motor car became the part of thrilling and sometime hilarious situations to catch the racketeers. Women are trained to use laathis for self-defence. With this, Nadia establishes that village women have equal say in decision making. Capitalist’s game plan is defeated. (Source: Filmindia, September 1941).
Anyway, there is a subtle message in the film story about women’s emancipation in the guise of a wholesale entertainment.
Master Fida Hussain had a very deep voice probably due to his loud singing on the stage in the absence of microphone those days. This is reflected in his singing the filmy songs including the one under discussion. In this song, his singing style is a fusion of ghazal, qawwali and classic style of singing of 1930s.
With this song, ‘Bambaiwaali’ (1941) makes a debut in the Blog.
=================
Translation by Sudhir
janaab e naaseh samahjte hain hum
wo sangdil hain jafaa karenge
o learned advisors (please know)
that am aware they have hearts of stone
and will betray the trust in love
[naaseh = learned person, advisor;
sangdil = one with a heart of stone;
jafaa = betrayal of trust]
mithaa hi denge jahaan se hamko
aur iss se badkar wo kya karenge
they may destroy us
and banish us from this world of living
but alas, that is the utmost
that they can achieve
apni ye zulfen balaa karenge
apni ye zeben ada karenge
magar haseenon se ye to poochho
jo hum na honge to kya karenge
they may arrange their tresses
to afflict disaster on our hearts
they may present their graces and beauty
but hey, ask of these enchanting ladies
what use is this beauty and charm
if we are not there (to appreciate)
[balaa (बला) = calamity, adversity;
zeb (ज़ेब) = grace, beauty]
nazar alahda hai har bashar ki
khuda kasam hai apni
jo humko dete hain bad’duaaen
hum unke haq mein duaa karenge
every person has a different perspective
in the name of Allah, the Almighty
those who may curse us
we still will seek blessings for them
[alahda = different, separate;
bashar = person, individual;
duaa = blessing;
bad’duaa = curse]
Song – Janaabe Naaseh Samajhte Hain Hum (Bambaiwaali) (1941) Singer – Master Fida Hussain, Lyrics – Wahid Qureshi, MD – Madhulal Damodar Master
Lyrics
aaaa aa aa
aa aaaaa aaaaaaa
aaaa aaa aa aa
janaab e naaseh..ae
samahjte hain hum
janaa..aab e naaseh..ae
samahjte hain hum
wo sangdil hain jafaa karenge
wo sangdil hain jafaa karenge
mitaa hi denge..ae
jahaan se hamko
mitaa hi denge..ae
jahaan se hamko
aur iss se badkar wo kya karenge
aur iss se badkar wo kya karenge..ae
wo kya karenge
wo kya karenge
aur iss se badkar wo kya karenge..ae
apni ye zulfen balaa..aa..aa karenge
apni ye zeben ada karenge
magar haseenon se ye to poochho
aaaa aa
magar haseenon se ye to poochho
jo hum na honge to kya karenge
jo hum na honge to kya karenge
aa aa aa aaa
nazar alahda
hai har bashar ki..ee..ee
nazar alahda
haan nazar alahda..aa
haan nazar alahda
haan nazar alahda
aa aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa
nazar alahda hai har bashar ki..ee
khuda
khuda aa aa aa
kasam hai apni
jo humko dete hain
bad’duaaen
jo humko dete hain bad’duaaen
hum unke haq mein duaa karenge
hum unke haq mein duaa karenge..ae
janaab e naaseh samahjte hain hum
wo sangdil hain jafaa karenge
wo sangdil hain jafaa karenge
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
आsss आ आ
आ आssss आssssss
आsss आss आ आ
जनाब ए नासेह॰॰
समझते हैं हम
जना॰॰आब ए नासेह॰॰ए
समझते हैं हम
वो संगदिल हैं जफा करेंगे
वो संगदिल हैं जफा करेंगे
मिटा ही देंगे॰॰ए
जहां से हमको
मिटा ही देंगे॰॰ए
जहां से हमको
और इस से बढ़ कर वो क्या करेंगे
और इस से बढ़ कर वो क्या करेंगे॰॰ए
वो क्या करेंगे
वो क्या करेंगे
और इस से बढ़ कर वो क्या करेंगे॰॰ए
अपनी ये ज़ुल्फें बला॰॰आ॰॰आ करेंगे
अपनी ये ज़ेबें अदा करेंगे
मगर हसीनों से ये तो पूछो
आss आ
मगर हसीनों से ये तो पूछो
जो हम ना होंगें तो क्या करेंगे
जो हम ना होंगें तो क्या करेंगे
आ आ आ आss
नज़र अल्हैदा
है हर बशर की॰॰ई॰॰ई
नज़र अल्हैदा
हाँ नज़र अल्हैदा॰॰आ
हाँ नज़र अल्हैदा
हाँ नज़र अल्हैदा
आ आ आ आ
आ आ आ आ
आ आ आ आ
आ आ आ
नज़र अल्हैदा है हर बशर की॰॰ई
खुदा
खुदा॰॰आ॰॰आ
कसम है अपनी
जो हमको देते हैं
बद्दुआयें
जो हमको देते हैं बद्दुआयें
हम उनके हक़ में दुआ करेंगे
हम उनके हक़ में दुआ करेंगे॰॰ए
जनाब ए नासेह समझते हैं हम
वो संगदिल हैं जफा करेंगे
वो संगदिल हैं जफा करेंगे
Ye baat bataa saajan
Posted on: June 16, 2018
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 : | 3620 | Post No. : | 14425 |
“Himmat”(1941) was directed by Roop K Shoreyfor Kamala Movietone Limited, Punjab. The movie had Ragini, Majnu, Beg, Radha, Zahoor Shah, Manorama, Ghulam Qadir, Mala, Malti, Ramesh, Ranchhod, Jaan etc in it.
The movie had ten songs in it. One song has been covered in the blog and that was long back in 2012.
Here is the second song from “Himmat”(1941). This song is sung by Umrazia Begam and Karimdad Khan. Aziz Kashmiri is the lyricist. Music is composed by Pt Govindram.
Only the audio of this song is available. I request our knowledgeable readers to throw light on the picturisation of this song.
Song-Ye baat bata saajan (Himmat)(1941) Singers-Umrazia Begam, Karimdad Khan, Lyrics-Aziz Kashmiri, MD-Pt Govindram
Lyrics
Ye baat bata saajan
haan aan aan aan
Ye baat bata saajan
tum bin jee na lage
haaye saajan
haan aan aan aan
mujhe ho gaya kya saajan n n
mujhe ho gaya kya saajan
tum bin jee na lage
haaye saajan
ye baat bata sajni
haan aan aan
ye baat bata sajni
mujh pardesi par
haaye sajni
haan aan aan
kiyaa jaadoo kya sajni ee ee
kiyaa jaadoo kya sajni
mujh pardesi par
haaye sajni
aao phoolon se pyaar karen
haan aan aan aan
aao phoolon se pyaar karen
kabhi nahin bichhdenge
haaye saajan
haan aan aan aan
ham ye iqraar karen aen aen
ham ye iqraar karen
kabhi nahin bichhdenge
haaye saajan
aao phoolon se pyaar karen
haan aan aan haan
aao phoolon se pyaar karen
preet ki baazi mein
haaye sajni
haan aan aan
ham jeet aur haar karen aen
haan aan aan aan
ham jeet aur haar karen
preet ki baazi mein
haaye sajni
aitbaar dilaana mujhe
haan aan aan aan
aitbaar dilaana mujhe
tum pardesi ho
haaye saajan
haan aan aan aan
kahin chhod na jaana mujhe ae ae
kahin chhod na jaana mujhe
tum pardesi ho
haaye saajan
aitbaar dilaana mujhe
haan aan aan aan
aitbaar dilaana mujhe
main pardesi hoon
haaye sajni
haan aan aan
kahin bhool na jaana mujhe ae ae ae
kahin bhool na jaana mujhe
- In: Devnagri script lyrics by Sudhir | Duet | Guest posts | Inspirational song | Lyrics by Sudhir | Lyrics contributed by readers | Meenakshi Shirodkar Songs | Post by Arunkumar Deshmukh | Songs of 1940s (1941 to 1950) | Songs of 1941 | Vishnupant Jog - Meenakshi Shirodkar Duet | Vushnupant Jog Songs | Yearwise breakup of songs
- Leave a Comment
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 : | 3604 | Post No. : | 14382 |
Today’s song is from an obscure film from 1941 – ‘Amrit’. The film was produced by Navyug Chitrapat Ltd. It was directed by Master Vinayak. The music was by Dada Chandekar, who was a regular with Master Vinayak, for his Hindi and Marathi films. The cast of the film was Meenakshi Shirodkar, Vinayak, Master Vithal, Lalita Pawar, Baburao Pendharkar, Dada Salvi, Damuanna Malvankar, Vishnupant Jog etc. The cameraman was Pandurang Naik, one of the owners of Navyug, along with Baburao, PK Atre and Vinayak, of course.
Hindi film industry of Bombay was dominated by Gujarati and Marathi people. It was natural, considering that Bombay was located in Maharashtra and close to Gujarat. The Gujarati people had money, so they became producers, financiers, owners and distributors, never interfering with the making of films, but controlled the monetary part. Marathi people had talents in various categories like acting, music, direction, publicity etc. As the industry grew and got talents from every part of India, in due course the number of Marathi people diminished in the industry. During this period, the Marathi film industry was also very strong and the Marathi crowd of Hindi films shifted to Marathi industry.
Till independence, this situation was in place. The Marathi film makers like Master Vinayak, V Shantaram, Bhalji Pendharkar etc made films simultaneously in Marathi and Hindi, from the earliest time of the film making in India. This trend, however, almost stopped completely, after the polarisation in 1947, except for few bilingual films made later, like ‘Chhatrapati Shivaji’ in 1952 and ‘Mahatma’ in 1953 which came in Marathi and Hindi. ‘Mahatma’ was even made in English.
Master Vinayak Karnataki (19-1-1906 to 19-8-1947) was born in Kolhapur. Many of his cousins and family members were already in film line. His half brothers Bhal ji and Baburao Pendharkar, maternal cousin V Shantaram and his brother V Avadhoot (cinematographer) were in films. His own brother Vasudev also became a cameraman. Master Vinayak was working as a teacher in a school, but Bhalji convinced him to join films. Initially Vinayak was with Prabhat, working under Shantaram and learning many things. He started his own company, Hans Pictures, in partnership with Baburao Pendharkar and cameraman Pandurang Naik. Their first film was ‘Chhaaya’ (1936). Almost all films made by Master Vinayak till 1947 were bilingual in Marathi and Hindi, sometimes with different titles, like ‘Ardhaangi’ in Marathi became ‘Ghar Ki Rani’ (1940) in Hindi etc.
While Shantaram stressed on technical aspects of film making successfully, Vinayak was keen on strong story. Therefore he used the works of top class writers in Marathi like VS Khandekar, PK Atre, Mama Varerkar etc. [Auth Note: VS Khandekar later won the Sahitya Academi Award, the Jnanapeeth award, Padma Bhushan award and many more honours like D Litt etc. The Government issued a postage stamp in his honour, after his death.] ‘Chhaaya’ won many awards and was commercially successful. Next came ‘Dharamveer’ (1937) and ‘Premveer’ (also 1937). The heroine in ‘Premveer’ was Ashalata – wife of music director Anil Biswas). Then came ‘Jwaala’ in 1938, with Chandramohan in both versions – Marathi and Hindi. He learnt to speak excellent Marathi for this film. Later he did three more Marathi films. Unfortunately, ‘Jwaala’ was a resounding flop – not because of any reason other than Master Vinayak meddling with the story too much, according to VS Khandekar (this appears to be a chronic ailment of film line !).
Master Vinayak fell back on comedy and made ‘Brahmachari’ in 1938 and ‘Brandi Ki Botal’ in 1939. Both were successful, but the loss due to ‘Jwaala’ was too big. Even one more comedy – ‘Ghar Ki Rani’ (1940) could not salvage the damage. Hans Pictures was dissolved to form another company Navyug Chitrapat, with PK Atre as a partner. Navyug was the first film company to offer 100 rs. shares directly to public. (Bombay Talkies had shares with only the directors, initially). The first film was ‘Lapandav’ (1940). Though it was successful, PK Atre left the company along with its heroine Vanmala – his consort, and established his own company Atre Pictures.
After another comedy, Navyug made ‘Amrit’ in 1941. In 1942, Navyug made the film ‘Pahili Mangalagaur’, in which Lata Mangeshkar made her debut as an actress and singer. She sang her first ever film song with Snehprabha Pradhan, under the baton of Dada Chandekar. There was a kissing scene of Snehprabha and Shahu Modak in this film. During the making of this film, Master Vinayak left Navyug and started his own company Prafull Pictures. He made several Hindi and Marathi films including ‘Badi Maa’ (1945). He died on 19-8-1947, just 4 days after Independence.
The music director of ‘Amrit’ was Dada Chandekar, a regular of Master Vinayak. His real name was Shankar Vishnu Chandekar. He was born on 19-3-1897 at Kolhapur. His father used to do ‘keertan‘ in temples. His younger brother Narhari used to call him as Dada (Bade Bhaiya – elder brother), and subsequently everyone started to call him Dada only. Later his real name was not known to anyone. He was an excellent harmonium player.
He joined Kirloskar Drama Company, where he used to do female roles, as per system in those days. Once Deenanath Mangeshkar’s Harmonium player was absent. Dada was called and then he worked in Deenanath’s Balwant Natak Mandali for next 20 years. Later he joined Dhamman Khan, MD as his assistant. In 1935 he gave some songs in film ‘Kaliya Mardan’, when Dhamman Khan left midway.
In 1937 Dada Chandekar joined Hans Pictures. He composed the background music for ‘Jwaala’. Pleased by his work, Master Vinayak gave him his first independent film- ‘Bramhachari’ in 1938. All the songs became hits and were popular. Particularly the song by Meenakshi, “Yamuna Bich Khelun Khel, Kanhaiya”. The song was performed on screen by Meenakshi wearing a swimming costume, a very revolutionary idea in that era. The song became popular all over India. People repeatedly saw the film for this song and Meenakshi in swimming dress ! However, Master Vinayak did not get any money from this film, as he had to sell the film, while still in production, at a mesum- mainly because of the new heroine. Actually, it was successful due to her only.
Dada continued with Master Vinayak till 1947. Then he left Hindi films. Till 1964, he gave music to dramas and Marathi films. He also worked in All India Radio, Poona for some time. He died on 27-1-1976. In all, he gave music to 13 Hindi and 25 Marathi films. some of his Hindi films are, ‘Bramhachari’, ‘Brandy Ki Botal’, ‘Jwaala’, ‘Ghar Ki Rani’, ‘Amrit’, ‘Ladaai Ke Baad’, ‘Din Raat’, ‘Main Tera Hoon’, ‘Moti’ and ‘Phool Aur Kaante’.
One of the actors in the film was Damuanna Malvankar (1893 to 1975); incidentally the film shooting was done in his home town Malwan only. He was one of the most famous and popular comedian in Marathi films. He used his natural squint in his comedy. He did about 100 films in all, which also include Hindi films like ‘Andheri Duniya’, ‘Bramhachari’, ‘Brandy Ki Botal’, ‘Sangam’, ‘Ghar Ki Rani’, ‘Mera Haq’, ‘Mera Ladka’, ‘Badi Maa’, ‘Jeevan Yatra’, ‘Subhadra’, ‘Main Tera Hoon’etc. His daughter Bharati (Marathi film actress) is the wife of Lata’s brother Hridaynath Mangeshkar. Baburao Patel of Film India was a great fan of Damuanna Malvankar and wrote very lovingly about him in his magazine.
Then there was actor Vishnupant Jog, who paired with Damuanna in 29 comedy films.
I have not seen this film. Here is the film synopsis from ‘Encyclopedia of Indian Cinema’,
A complicated plot about class differences in a coastal Konkan village. It introduced a typical Khandekar character, the idealistic but dogmatic patriarch who becomes a victim of his own beliefs.
Here it is Bappa (Salvi), who monopolises the village palm trees from which toddy is made. He believes in fairness, not mercy. The story of his urban son Vilas (Master Vithal), his daughter Lata (Meenakshi) and her friend Sadanand (Master Vinayak) is interspersed with that of a drunken shoemaker Krishna (Baburao Pendharkar) and his wife Seeta (Lalita Pawar). Vilas, who covets the shoemaker’s wife Seeta, procures a new hut for them. He then starts having problems with his father and all the parallel stories converge when Vilas accidentally kills Seeta’s daughter.
Bappa, using his political influence, gets her innocent husband arrested instead and Seeta exploiting Vilas’s desire for her, retaliates by making him virtually her slave. Bappa eventually faces up to his moral responsibility in a tale that also warns against the Demon Drink.
The song being presented today, is sung by Meenakshi Shirodkar, Vishnupant Jog and chorus. This is an old style song. The film makes its debut on the blog.
[Author’s Note: Acknowledgements and thanks – The above write up refers to and has adapted material from Encyclopedia of Indian Cinema, Marathi Chitrapat Sangeetkar Kosh, Listener’s Bulletin, IMDB, MuVyz, HFGK, Wikipedia, and my own notes.]
Song – Jaago Jawaano, Jaago Jawaano, Navyug Aaya Re (Amrit) (1941) Singer – Vishnupant Jog, Meenakshi Shirodkar, Lyrics – Pt Indra, Music – Dada Chandekar
Chorus
Lyrics (Provided by Sudhir)
jaago. . .
jaago. . .
jaago jawaano
jaago jawaano
navyug aaya re
navyug aaya re
ey hey. . .
aaya re
aaya re
aaya re
jaago jawaano
jaago jawaano
navyug aaya re
navyug aaya re
ey hey. . .
nav jeevan laaya re
nav jeevan laaya re
laaya re
laaya re
laaya re
jaago jawaano
jaago jawaano
navyug aaya re
navyug aaya re
na koi nanga
na koi bhookha
na koi ooncha neecha
ik paani se
ik khaad se
sab booton ko seencha
amrit baagh lagaaya re
amrit baagh lagaaya re
jaago jawaano
jaago jawaano
navyug aaya re
navyug aaya re
teri daulat hai tu
teri taaqat hai tu
teri himmat hai tu
teri kismat hai tu
tere haathon mein honi jhoome
haan tere haathon mein honi jhoome
tere paanv ko manzil choome
tere paanv ko manzil choome
teri aankhon mein hardam savera
teri aankhon mein hardam savera
savera
savera
savera
savera
savera
savera
tu to suraj se chamki kaaya re
tu to suraj se chamki kaaya
jaago jawaano
jaago jawaano
navyug aaya re
navyug aaya re
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
जागो॰ ॰ ॰
जागो॰ ॰ ॰
जागो जवानो
जागो जवानो
नवयुग आया रे
नवयुग आया रे
ए हे॰ ॰ ॰
आया रे
आया रे
आया रे
जागो जवानो
जागो जवानो
नवयुग आया रे
नवयुग आया रे
ए हे॰ ॰ ॰
नव जीवन लाया रे
नव जीवन लाया रे
लाया रे
लाया रे
लाया रे
जागो जवानो
जागो जवानो
नवयुग आया रे
नवयुग आया रे
ना कोई नंगा
ना कोई भूखा
ना कोई ऊंचा नीचा
इक पानी से
इक खाद से
सब बूटों को सींचा
अमृत बाग लगाया रे
अमृत बाग लगाया रे
जागो जवानो
जागो जवानो
नवयुग आया रे
नवयुग आया रे
तेरी दौलत है तू
तेरी ताक़त है तू
तेरी हिम्मत है तू
तेरी किस्मत है तू
तेरे हाथों में होनी झूमे
हाँ तेरे हाथों में होनी झूमे
तेरे पाँव को मंज़िल चूमे
तेरे पाँव को मंज़िल चूमे
तेरी आँखों में हरदम सवेरा
तेरी आँखों में हरदम सवेरा
सवेरा
सवेरा
सवेरा
सवेरा
सवेरा
सवेरा
तू तो सूरज से चमकी काया रे
तू तो सूरज से चमकी काया रे
जागो जवानो
जागो जवानो
नवयुग आया रे
नवयुग आया रे
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
Muraliya prem ka geet sunaaye
Posted on: March 19, 2018
- In: "Baansuri" song | Devnagri script lyrics by Sudhir | Faqir Mohammed Solo Songs | Faqir Mohammed Songs | Feelings of heart | Guest posts | Lyrics contributed by readers | Post by Arunkumar Deshmukh | Rare song | Songs of 1940s (1941 to 1950) | Songs of 1941 | Yearwise breakup of songs
- Leave a Comment
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
Jeewan ka balidaan kar de
Posted on: December 7, 2017
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.
“Ummeed” (1941) was directed by Manibhai Vyas for Ranjit Movietone, Bombay. The movie had Ishwarlal, Prabha, Noor Jahan Sr., Dixit, Neela, Ibrahim, Brijmala, Bhagwandas, Kasam, Kesri, Charubala, Dharpure, Bheem, Inayat etc in it.
The movie had eight songs in it. One song has been covered in the past.
Here is the second song from “Ummeed” (1941) to appear in the blog. This song is sung by Kanti Lal. D N Madhok is the lyricist. Music is composed by Khemchand Prakash.
Only the audio of this song is available. I request our knowledgeable readers to throw light on the picturisation of this song.
Song-Jeewan ka balidaan kar de (Ummeed)(1941) Singer-Kanti Lal, Lyrics-D N Madhok, MD-Khemchand Prakash
Lyrics
jeewan ka balidaan
kar de ae
jeewan ka balidaan
premi man ki yahi kasauti
yahi hai uski shaan
premi man ki yahi kasauti
yahi hai uski shaan
jeewan kar balidaan
jeewan kar balidaan
jeewan kar balidaaaan
tod de apni saans ki dori
ud jaane de praan
tod de apni saans ki dori
ud jaane de praan
mit jaayegi halchal dil ki
mit jaayegi halchal dil ki
mit jaaye toofaan
mit jaaye toofaan
jeewan kar balidaan
jeewan kar balidaan
jeewan kar balidaaaan
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