Archive for the ‘Songs of 1941’ Category
Ek baat bataao hamen gori
Posted on: September 26, 2019
- In: Actor-Singer song | Ashok Kumar Leela Chitnis duet | Ashok Kumar songs | Blog ten year challenge (2009-2019) | Devnagri script lyrics by Avinash Scrapwala | Duet | expression of love | Feelings of heart | Leela Chitnis Song | Lyrics by Avinash Scrapwala | Lyrics contributed by readers | Romantic song | Songs of 1940s (1941 to 1950) | Songs of 1941 | Tonga song | Yearwise breakup of songs
- 1 Comment
This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, 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 10-Year Challenge (2009-19) – Song No. 47
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When one discussed a movie of 1940s, one often assums by default that it must be a “boring” movie, one which may not hold the interest of later generation movie goers. And when one finds that this movie has Ashok Kumar and Leela Chitnis in lead roles, people who have seen them in character roles may consider dropping the idea of watching the movie.
But what if I tell you that this movie from 1941 is a laugh riot ? And that this movie was the original inspiration of “Padosan”(1968) ? I am sure that people will suddenly get interested in knowing more about this movie.
“Jhoola”(1941) was directed by Gyan Mukherji for Bombay Talkies, Bombay. This movie, a “social” movie had Leela Chitnis, Ahok Kumar, Shah Nawaz, V H Desai, Mumtaz Ali, Karuna Devi, Shahzadi, Rajkumari Shukla, Meenu Cooper, M A Aziz, Kaazi, Master Laxman, Leeladhar Sharma, Iqbal Bai, B M Dixit, Jyoti, Dulaari, Nana Palsikar etc in it.
The movie had eleven songs in it. Five of these songs have been covered in the past. This movie has a song that goes Ek chatur naar karkar singaar . Yes, I mentioned that this movie is the original source for “Padosan”(1968) and this song is the inspiration of that famous “Padosan”(1968) Kishore Kumar Manna dey laugh riot.
If “Padosan”(1968) had Mehmood then “Jhoola”(1941) had his father Mumtaz Ali lip syncing the wonderful stage dance song Main to Dilli se dulhan laayaa re.
“Jhoola”(1941) had made its debut in the blog on 26 september 2009, viz exactly ten years ago, with the evergreen song Chali re chali re meri naao chali re .
This day that year ten years ago, the blog was at its usual prolific best. Six songs from six different movies were covered in the blog on that day. Five out of six of those movies have already been covered in the blog. “Jhoola”(1941) remains the only un YIPPEED movie from that day.
Here are the details of the songs that were discussed on 26 september 2009:
| Song | Movie title-Year | Remarks |
|---|---|---|
| Tera mujhse hai pahle ka naata koi | Aa Gale Lag Jaa-1973 | All Songs covered in the blog |
| Har aas ashqbaar hai | Kinaare Kinaare-1963 | All Songs covered in the blog |
| Dekha naa jaaye socha naa jaaye | Mr India-1961 | All Songs covered in the blog |
| Kahaan chhod ke chalaa hai tu | Anjaan-1956 | All Songs covered in the blog |
| De bhi chuke ham dil nazraana dil kaa | Jaal-1952 | All Songs covered in the blog |
| Chali re chali meri naao chali re | Jhoola-1941 | 05 of 11 songs covered |
According to HFGK, the movie had 12 songs. I find that the song Ek chatur naar karkar singaar does not find mention if HFGK. To compensate for that, the song under discussion today gets mentionc twice (as song number 6 and 11). So the count of songs in the movie remains accurate, viz 12.
Today, as part of Blog ten year challenge, here is another song from “Jhoola”(1941). Like the song that was covered ten years ago, this song too is a duet sung by Ashok Kumar and Leela Chitnis. In the song ten years ago, the leading duo were riding a boat, here they ride a ghodagaadi, and while doing so, Ashok Kumar makes gentle 1940s style passes on Leela Chitnis, asking the love letter back. Leela Chitnis teases him back 1940s style responds 1940s style viz.
Dekho kah doongi
Haan haan dekho kah doongi
Tumhaare man ki batiyaan
and subsequently
Hamri gali mein dekho
Tum kal se aana chhodo
Varna hansengi hamaari sakhiyaan
The lyrics by Kavi Pradeep are quite cute and romantic. The romantic song, in which both make paasses at each other must have been quite a rage in those pre independence days.
Music is composed by Saraswati Devi.
Lyrics of this song were sent to me by Avinash Scrapwala.
Video
Audio
Song-Ek baat bataao hamen gori (Jhoola)(1941) Singers-Ashok Kumar, Leela Chitnis, Lyrics – Kavi Pradeep, Music – Saraswati Devi
Both
Lyrics (Based on video link) (Provided by Avinash Scrapwala)
chaliye …
Ek baat bataao hamen gori
Kaho kisne sikhaayi tumhen chori
o gori
kisne sikhaayi tumhen chori
Ek chor se mera naata
wo meri gali mein aata aa
Haan usne sikhaayi hamen chori ee
Haan haan usne sikhaayi hamen chori
Hhahahahaha
Dekhiye meri chhitthhiyaan
De dijiye
Laayiye
Dekho kah doongi
Haan haan dekho kah doongi
Tumhaare man ki batiyaan
Tumne chori chori bheji
Hamen patiyaan
Tumne chori chori bheji
Hamen patiyaan
Dekho kah doongi
Haan haan dekho kah doongi
Tumhaare man ki batiyaan
Chori pe seenazori
Ham se karo naa gori ee
Chori pe seenazori
Ham se karo naa gori
De do hamaari ham ko patiyaan
Dekho kah doongi
De do hamaari ham ko patiyaan
Dekho kah doongi
Tumhaare man ki batiyaan
Baatein banaana chhodo
Chori chhipaana chhodo
Hamri gali mein dekho
Tum kal se aana chhodo
Hamri gali mein dekho
Tum kal se aana chhodo
Varna hansengi hamaari sakhiyaan
Dekho kah doongi
Haan haan dekho kah doongi
Tumhaare man ki batiyaan
Meetthi meetthi baaton mein
Hamko bhulaaya tumne
Bholaa sa man hamaara
Chanchal banaaya tumne
Meetthi meetthi baaton mein
Hamko bhulaaya tumne
Bholaa sa man hamaara
Chanchal banaaya tumne
Badi raseeli hain tumhaari
Ankhiyaan
Dekho kah doongi
Haan haan dekho kah doongi
Tumhaare man ki batiyaan
Chhodo ye baatein gori
Aao aao kishori
Tumne ki hamse chori
Hamne ki tumse chori
Tumne ki hamse chori
Hamne ki tumse chori
Aao basaa len dil ki duniya
Dekho kah doongi
Aao basaa le dil ki duniya
Dekho kah doongi
Tumhaare man ki batiyaan
Dekho kah doongi
Tumhaare man ki batiyaan
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Devnagri Script lyrics (Provided by Avinash Scrapwala)
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चलिए…
एक बात बताओ हमें गोरी
कहो किसने सिखाई तुम्हे चोरी
ओ गोरी
किसने सिखाई तुम्हे चोरी
एक चोर से मेरा नाता
ओ मेरी गली में आता आ
हाँ उसने सिखाई हमें चोरी ई
हाँ हाँ उसने सिखाई हमें चोरी
हा हा हा हा हा
देखिये मेरी चिट्ठियाँ
दे दिजिये
लाईये
देखो कह दूँगी
हाँ हाँ देखो कह दूँगी
तुम्हारे मन की बतियाँ
तुमने चोरी चोरी भेजी
हमें पतियाँ
देखो कह दूँगी
हाँ हाँ देखो कह दूँगी
तुम्हारे मन की बतियाँ
चोरी पे सीनाजोरी
हम से करो ना गोरी ई
चोरी पे सीनाजोरी
हम से करो ना गोरी
दे दो हमारी हम को पतियाँ
देखो कह दूँगी
दे दो हमारी हम को पतियाँ
देखो कह दूँगी
तुम्हारे मन की बतियाँ
बातें बनाना छोडो
चोरी छिपाना छोडो
हमरी गली में देखो
तुम कल से आना छोडो
हमरी गली में देखो
तुम कल से आना छोडो
वरना हँसेगी हमारी सखियाँ
देखो कह दूँगी
हाँ हाँ देखो कह दूँगी
तुम्हारे मन की बतियाँ
मीठी मीठी बातों में
हम को भुलाया तुमने
भोला सा मन हमारा
चंचल बनाया तुमने
मीठी मीठी बातों में
हम को भुलाया तुमने
भोला सा मन हमारा
चंचल बनाया तुमने
बड़ी रसीली है तुम्हारी
अँखियाँ
देखो कह दूँगी
हाँ हाँ देखो कह दूँगी
तुम्हारे मन की बतियाँ
छोडो ये बातें गोरी
आओ आओ कीशोरी
तुमने की हमसे चोरी
हमने की तुमसे चोरी
तुमने की हमसे चोरी
हमने की तुमसे चोरी
आओ बसा ले दिल की दुनिया
देखो कह दूँगी
आओ बसा ले दिल की दुनिया
देखो कह दूँगी
तुम्हारे मन की बतियाँ
देखो कह दूँगी
तुम्हारे मन की बतियाँ
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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, 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 : |
4086 | Post No. : | 15226 |
Today’s song is from film Pyas-41.
The film was made by Murli Movietone. It was directed by Ram Daryani. The lyricist was D N Madhok and the music was by Khemchand Prakash. The cast of the film was Snehprabha Pradhan, Ishwarlal, Nazir, Shamim, Gope, E Bilimoria, Sharifa, Gulab, Khatoon, Majid, Tarabai etc etc. There were 9 songs in the film. One song is already discussed, so today, it will be the second song of the film here. It is a duet sung by the lead pair Snehprabha and Ishwarlal.
Various communities of India contributed to the development of Indian Film Industry. No wonder, we never saw communal feelings in the film world. It is probably the only industry in India, which is truly a Secular one.All communities and religions live here happily together. Every community is, however, identified with a particular state, i.g. Sikhs and Punjabis from Punjab, Bengalis from Bengal, Marathis from Maharashtra etc etc. But there is one community which has no state of its own, still it has been contributing to almost every industry in India whole heartedly. That is SINDHI community.
In film industry too, their contribution is almost in every department – be it production, direction, acting, music or any other form of film making, for that matter. Generally, they are a business community and are highly adaptable to available circumstances. Right from Vithal Panchotia in the early 30s to Ranvir singh Bhavnani in the 2019, their presence as actors, Producers (Sippys), Directors (Mohan Bhavnani), Music composers (Bulo C Rani) to Comedian (Bhudo Advani) is felt in all decades. Brij Rani, Sheila Ramani, Sadhana, Babita and Kitu Gidwani or Gope, Bhudo Advani, Sushil Kumar, Asrani etc are some of the names that come to the mind off hand.
Film Pyas-41 was also directed by one Sindhi – Ram Daryani ( Ram Kamlani was different, he was brother of Gope). Ram Daryani was born on 6-12-1915, at Hyderabad, Sindh Province (now in Pakistan). His early education was done in Sindh and for college education he came to Karachi. Due to intense desire of being in film world, he left studies and joined Eastern Art Production and assisted Moti Gidwani in direction of film Insan ya Shaitan-33. But due to family pressure he had to rejoin college. After some time he again left college for good and started working as assistant director for films Prem Pariksha-34 with G R Sethi, Bharat ki Beti-35 with Premankur Attorthy and Yasmin-35 with H K Shivdasani.
He got his first chance to independently direct the film Baal Hatya aka Khoon E Nahak-35. In the year 1936, he floated his own company Daryani productions and directed films like Sangdil Samaj-36, Prem Murty-36 and Gentleman Daaku-37, for which his brother K S Daryani wrote the stories. In 1938, brother K S Daryani started Krishna Movietone. Ram Daryani closed his company Daryani productions and directed film Zamana-38 for krishna Movietone. The film became a Hit and his name became famous.
He worked for Murli Movietone to direct films like Pyas-41, which celebrated Silver jubilee. His other films were Qurbani-43, Preet-45, Panna Dai-45 and Shravan kumar-46. In all, Ram Daryani directed 23 films. His last film was Chand mere aaja-60. After this he entered Film Distribution business. Ram Daryani died on 7-9-1993. ( adapted from Filmdom-1946).
The Heroine for film Pyas-41 was Snehprabha Pradhan, who was an excellent actress and a good singer. However, she acted in only 17 films in 10 years i.e. 1940 to 1950. After films, she started acting in Marathi dramas and became famous and popular there.
SNEHPRABHA PRADHAN was born on 20-10-1915 in Nagpur,Maharashtra. Her father was Vithalrao and mother was Tarabai.Tarabai was a child widow who grew up in an orphanage and SP’s father married her as a social cause,when he was already 50 yr old.
Like her contemporaries, Shanta Apte and Hansa Wadkar(Ratan Salgaonkar in real life), she too travelled a lot in her first 10 years,to places like Nagpur,Bombay,Poona,Delhi,Calcutta,Lahore etc.
When her father left them and mother was unable to support the family,SP had to seek work.She did small roles in films.One Chimanbahi Desai of Bombay Talkies was a family friend.Through him, she worked and sang in Civil marriage,saubhagya and Sajni.
Her first break as a Heroine came with Punarmilan-1940,opposite Kishore Sahu.They fell in love and married,but within an year she divorced him on grounds of his impotency !
SP was studying,while working too and she became the First woman Graduate from Ferguson college,Poona,in those days !
Even though system was there,still SP was NOT attached to any Studio nor was she on rolls of any Production company.She virtually started the ‘Free Lance working system’ in those days.
She worked in Bombay Talkies,New theatres,with K.A.Abbas,Roop k.Sorey etc.She sang songs with Pahadi Sanyal also.
In the late 40s,she reduced her work in Hindi,as she was more inclined to work on Marathi stage dramas.In 1942 she worked in Marathi film “PAHLI MANGALAGAUR”,in which 10 year old Lata Mangeshkar acted and sang First time in her career. In 1946 SP she acted in Salgirah and sang 6 songs.After this she did “Anmol Moti” in 1949.Then she stopped working in Hindi films. She wrote Screenplay of film “Ladai ke baad”-1943,acted in it and also sang 9 songs in it.
Her name was kept Snehprabha,as a compromise,since her mother could not decide in 2 names-Snehlata or Prabhavati.So the names were combined as Snehprabha. She married Dr.Shirodkar and settled in Bombay,occasionally doing some stage dramas in Marathi. She died on 7-12-1993.
Birha ki Raat-1950. She acted in this film as Dev Anand had expressed his desire to act in a film in which SP was there. Dev Anand was her great fan.He agreed to work with Nargis only on the condition that SP would work with him. Snehprabha Pradhan could not refuse Dev Anand.
There is another name ‘ Khatun ‘ in the cast. Miss Khatun Bano was born and brought up in a poor Muslim family of Lahore. As per the family tradition, she learnt dancing and singing. once, when she was performing on stage in Lahore, the Talent hunter of Sagar movietone spotted her and she was offered a role in a Talkie film- which was a novelty in 1931. Her first film was Abul Hasan-31. Then came Subhadra haran-32, Meerabai-32, Maya Bazar-32 etc etc. In all, she acted in 59 films, till her last film Ibrat-60. She also sang 25 songs in 12 films.
One more interesting actress in the cast was Tarabai. She is none other than the elder sister of famous dancer actress Sitara Devi. Born in 1905, she was a good dancer. She started film career from Silent films like Malti Madhav, Bambai ki sethani etc. She started Talkie films with Vasantsena-31. She played the role of Princess Octavia in film Yahudi ki Ladki-33, along with K L Saigal.
She acted in many films like Shehar ka jadu-34, Savitri 37, Narsi Bhagat-40, Sasural -41. She acted in film Haiwaan-40, along with her two other actress sisters,namely Alaknanda and Sitara Devi. This may be the only Hindi film, in which 3 sisters played roles in one film.
She married co star Marutirao Pehelwan, left films and they settled in Dhule,in Maharashtra. They started a Dairy business. Their son was the famous dancer Gopi Krishna. After husband’s death and winding up of the Dairy business, Tarabai returned to Bombay and started working in films. But now she was reduced to as Junior Artiste (Extra) and got only negligible roles. She lived in Bandra slum. There is no information about her after this.
Film Pyas-41 was a very successful film. It was written by K S Daryani- brother of director Ram Daryani. The film was shot in Ranjit studio. This was the first film of Murli Movietone. The March 1942 issue of Film India magazine reviewed the film and Baburao Patel, for once , was all praise for the film, direction and the acting. The film was released in Imperial Cinema, Bombay on 14-2-1942. While praising the acting of Snehprabha Pradhan, Baburao Patel could not resist the temptation of subtly commenting on her looks, saying, ” she was photographed so nicely that she sometimes looked ‘almost’ beautiful” ! That’s Baburao for you !!.
The story of the film as given in the review is…….
Sethji’s (Nazir) wife is dying due to TB…according to the evil family doctor (E. Billimoria), who wants to marry his niece( Gulab) to Seth ji. He also tries to kill wife and her child. Sensing this, the wife, Menaka (Sharifa) runs away with the child. She hands over the child to a village mukhiya and dies. Seth ji marries the niece of doctor, who starts extracting money from her.
The child grows into a big man-Chiman (Ishwarlal) who loves village belle Radha.
Once Chiman goes to the city and gets to know Seth ji, who employs him. Seth ji’s niece Rupa starts loving him. Once by accident , Chiman comes to know that he is Seth ji’s son. Seth ji is happy and throws a party in which the engagement of Rupa (Shamim) is announced. Chiman is craving for Radha. Radha comes to know these matters and comes to city. Rupa realises their true love and sacrifices. Chiman and Radha unite.
Today’s song’s mukhada is ” Nadi kinara ho “. This “Nadi kinara” was very popular amongst the lyricists of the 30s and 40s, because I found so many songs having this beginning of songs, till even the 50s. Somehow this went on diminishing later. I guess the lovers stopped going to the Rivers or may be they preferred a Mall or a Multiplex than going to the ‘Nadi kinara’, battling the traffic jams !
Song- Nadi kinaara ho taaron bhari raaten (Pyaas)(1941) Singers-Snehprabha Pradhan, Ishwarlal , Lyrics- D N Madhok, MD- Khemchand Prakash
Both
Lyrics
Nadi kinaara ho o o
taaron bhari raaten
taaron bhari raaten
taaron bhari raaten
taaron bhari raaten
Nadi kinaara ho o o
taaron bhari raaten
taaron bhari raaten
taaron bhari raaten
taaron bhari raaten
moh hamse karen aur chori se munh na taaken
moh hamse karen aur chori se munh na taaken
yaad dilaayen
beeti huyi baaten
yaad dilaayen
beeti huyi baaten
Nadi kinaara ho o o
taaron bhari raaten
taaron bhari raaten
taaron bhari raaten
taaron bhari raaten
kabhi wo kabhi main roothh jaaun
kabhi Radha kabhi main manaaun
kabhi wo kabhi main roothh jaaun
kabhi Radha kabhi main manaaun
main na maanoon
na maanoon
na maanoon
tere jee ki main jaanoon
main na maanoon
na maanoon
na maanoon
jee dil ki main jaanoon
na jaanoon
Nadi kinaara ho o o
taaron bhari raaten
taaron bhari raaten
taaron bhari raaten
taaron bhari raaten
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 : | 3795 | Post No. : | 14782 |
Today’s song is from the film Naya Sansaar-41. This was a film made by Bombay Talkies. It was directed by N.R.Acharya and the music was by Saraswati Devi (4 songs ) and Ramchandra Pal (6 songs ). The lead pair of the film was Ashok Kumar and Renuka devi, along with Mubarak, Shahnawaz, Suresh, David, V.H.Desai and many more.
Bombay Talkies was established By Himanshu Rai and Devika Rani in 1934. Their marriage was a confluence of two rich,cultured,educated and Handsome/ Beautiful souls with common interests. While in England, these two frequently appeared on page 3 of the Tabloids of London. They came back to India and established Bombay Talkies Studios in the far western suburb of Bombay City- Malad. The rich and the famous joined them as shareholders and the studio soon boasted of most modern equipment, and a team of European ( read German ) technicians. Himanshu Rai was keen to have only the educated and capable artistes from respectable families. At the pinnacle period, the company had a roll call of 400 persons. They were offered the best of facilities for work and recreation. A 24 hr. Medical assistance with a Doctor was also made available.
Within two years of its existence, Bombay Talkies got its first jolt, when its Heroine cum owner-Devika Rani, eloped with her handsome Hero- Najmul Hasan. This whole thing was somehow managed, with Devika Rani’s return to Bombay Talkies. In the process, a new Hero- Ashok kumar emerged, from within its own stock. Soon all seemed well and the company rolled out 15 films- mostly successful and its name became synonymous with quality films and popular music.
The second jolt came in 1939, when film Kangan was being made and the Second World War started on 1-9-1939. In addition to restrictions on Raw film supply, the British Government arrested the German Technicians of Bombay Talkies and deported, Franz Osten-Director, Joseph Wirsching-Cinematographer, Carl Von Spratti- Set Designer and Len Hartley- Sound Recordist, to Deolali ( near Nashik) under house arrest. Film Kangan was completed by the second line staff of N.R.Acharya and Najam Naqvi. Soon Himanshu Rai lost his mind, suffered from mental illness and died on 19-5-1940.
After his death, the Directors of Bombay Talkies, namely-F.A.Dinshaw, Chimanlal Setalvad, Sir Chunilal Mehta, Sir Phiroze Sethna, Sir Richard Temple and Cawasji Jahangir met in a huddle and appointed Devika Rani as the Production In charge of the company with all powers. Consequently, this led to dissatisfaction among a group of people led by S.Mukherjee. So, two teams were formed for making films. To the credit of Devika Rani, it must be said that during her reign, Bombay Talkies rolled out the best films ever from the studio,like Bandhan, Jhoola, Kismet, Basant, Jwar Bhata, Milan etc till 1945. Devika Rani left Bombay Talkies in 1945 after her marriage. The other group had already left to form Filmistan. During this disturbed phase of the company, film Naya Sansar was made based on the story, screenplay and Dialogues by K.A.Abbas.
Khwaja Ahmad Abbas was born in Panipat, Haryana, on 7-6-1916. He was born in the home of celebrated Urdu poet, ‘Khwaja Altaf Husain Hali’, a student of Mirza Ghalib. His grandfather Khwaja Gulam Abbas was one of the chief rebels of the 1857 Rebellion movement, and the first martyr of Panipat to be blown from the mouth of a cannon. Abbas’s father Ghulam-Us-Sibtain graduated from Aligarh Muslim University, was a tutor of a prince and a prosperous businessman, who modernised the preparation of Unani medicines. Abbas’s mother, ‘Masroor Khatoon’, was the daughter of Sajjad Husain, an enlightened educationist. Abbas took his early education in ‘Hali Muslim High School’, which was established by his great grand father Hali. He had his early education till 7th in Panipat. He was instructed to read the Arabic text of the Quran and his childhood dreams swung at the compulsive behest of his father. Abbas completed his matriculation at the age of fifteen. He did his B.A. with English literature in 1933 and LL.B. in 1935 from Aligarh Muslim University
Worked on National Call, a New Delhi paper (1933); started Aligarh Opinion when studying law (1934); obtained law degree in 1935; political correspondent and later film critic for nationalist Bombay Chronicle, Bombay (1935- 47) praising Dieterle, Capra and esp. Shantaram. Wrote Indian journalism’s longest- running weekly political column, Last Page (1941-86), in Chronicle and Blitz. Best-known fiction (Zafran Ke Phool situated in Kashmir, Inquilab on communal violence) places him in younger generation of Urdu and Hindi writers with Ali Sardar Jafri and Ismat Chughtai, whose work followed the PWA? and drew sustenance from Nehruite socialism’s pre- Independence, anti-Fascist and anti-communal commitments. Founder member of IPTA’s all- India front (1943), to which he contributed two seminal plays: Yeh Amrit Hai and Zubeida. Entered film as publicist for Bombay Talkies (1936) to whom he sold his first screenplay, Naya Sansar (1941). First film, Dharti Ke Lal, made under IPTA’s banner and drew on Bijon Bhattacharya’s classic play Nabanna (1944), dealing with the Bengal famine of 1943.
Set up production company Naya Sansar (1951), providing India’s most consistent representation of socialist-realist film (cf. Thoppil Bhasi and Utpal Dutt). Best work is in the scripts for his own films and for those of Raj Kapoor (Awara 1951); Shri 420 (1955), 1955, both co-written with V.P. Sathe; Jagte Raho, 1956; Bobby, 1973) and Shantaram’s Dr. Kotnis Ki Amar Kahani (1946; adapted from his own book, And One Did Not Come Back), which combined aspects of Soviet cinema (Pudovkin) and of Hollywood (e.g. Capra and Upton Sinclair), influencing a new generation of Hindi cineastes (Kapoor, Chetan Anand) and sparking new realist performance idioms (BALRAJ SAHNI). His Munna, without songs or dances, and Shaher Aur Sapna, cheaply made on location in slums, were described as being influenced by neo-realism. Pardesi is the first Indian-Soviet co-production, co- directed by Vassili M. Pronin. The landmark Supreme Court censorship judgement about his Char Shaher Ek Kahani (aka A Tale of Four Cities) curtailed ‘arbitrary’ governmental pre- censorship powers on the grounds that the Indian Constitution guarantees the right to free speech. His constitutional challenge of the Cinematograph Act led to the famous Supreme Court decision upholding the validity of precensorship of cinema. Interestingly in Interestingly in 1939, K A Abbas had written a letter to Gandhi urging him to reconsider his opinion on the idea of the evil of cinema. He writes
“Today I bring for your scrutiny – and approval -a new toy my generation has learned to play with, the CINEMA! – You include cinema among evils like gambling, sutta, horse racing etc… Now if these statements had come from any other person, it was not necessary to be worried about them… But your case is different. In view of the great position you hold in this country, and I may say in the world, even the slightest expression of your opinion carries much weight with millions of people. And one of the world’s most useful inventions would be allowed to be discarded or what is worse, left alone to be abused by unscrupulous people. You are a great soul, Bapu. In your heart there is no room for prejudice. Give this little toy of ours, the cinema, which is not so useless as it looks, a little of your attention and bless it with a smile of toleration”.
Published many books including I Am Not An Island and Mad Mad World of Indian Films (both 1977). Other important scripts: Neecha Nagar (1946); Mera Naam Joker (1970); Zindagi Zindagi (1972); Henna (1991). Abbas also brought a number of new talents into the film industry, such as Amitabh Bachchan in Saat Hindustani . K.A.Abbas died on 1-6-1987 at Bombay. ( adapted, with thanks, from The Encyclopedia of Indian Cinema).
One of the many artistes developed by Bombay Talkies was N.R.Acharya. He was born in Karachi in 1909. He was a Government contractor, when he joined the East India Film Company, Calcutta- one of the first sound film studios in India. He shifted to Bombay and joined Bombay Talkies as Production Manager, when film Achhut Kanya was being made in 1936. When Franz Osten was arrested, while directing film kangan, he completed his work on that film.
He directed his first film Azad-40 and then Bandhan-40, both with Ashok kumar and Leela Chitnis. Then came Naya Sansar-41. When S.Mukherjee, Ashok kumar Wachha and others left Bombay Talkies, he too left, but did not join any group. He started his own company Acharya Arts productions. He produced and directed kishor Sahu’s film Kunwara Baap-42. Then it was Uljhan-42,Aage Kadam-43, parivartan and Shohrat-49, Gujarati film Lagna Mandap-50 and lastly Dhola Maru-56. Amiya Chakravarty and gyan mukherjee were his followers. He died in 1993.
The story of film Naya Sansar-41, as given on wiki, is…
The film was written by Abbas, who was a film critic at that time. He used his journalistic background to create a story about the rising radicalism in Indian society and journalism. The story addressed the conflict between a dynamic young reporter and his cautious, yet idealistic, editor of the fictional progressive newspaper, ‘Sansar’. The story line revolved around the editor, Premchand (Mubarak), who is in love with a beautiful orphan named Asha (Renuka Devi), whom his family has raised from an infant. Soon after Asha starts working for the paper, she falls in love with Sansar’s star reporter and dedicated radical-journalist, Puran (Ashok Kumar). Asha, however, still feels indebted to Premchand’s family.
When Premchand starts to hedge on his radicalism by dealing with the evil Dhaniram, Puran quits, and starts his own newspaper, “Naya Sansar”. Premchand quickly sees the error of his ways, and not only returns to the paper’s previous left-wing stance, but also condones the marriage of Asha and Puran.
One remarkable thing about film Naya Sansar. Ashok Kumar started his career from Jeevan Naiya-36 and acted in 11 films till Naya Sansar-41. He became famous as a Romantic hero. His biggest problem was he did not know what to do about his hands while acting and felt very embarrassed in his films. Due to this he looked bewildered in his films all the time.
In film Naya Sansar-41 he solved this problem. His role was of Puran-a radical journalist. For the first time, he smoked cigarette on the screen and his problem of hands was solved for ever. Thus started his smoking as his trademark in films. Even in private life, he was a heavy smoker.
Today’s song is a chorus song, sung by Arun Kumar and Kavi Pradeep.
Song-Naya zamaana aaya logon naya zamaana aaya (Naya Sansaar)(1941) Singers- Singers-Arun Kumar Mukherji, Kavi Pradeep, Lyricst- Kavi Pradeep, MD- Saraswati Devi
chorus
Lyrics
Naya zamaana aaya logon
naya zamaana aaya
Naya zamaana aaya logon
naya zamaana aaya
aaz naya sansaar sang mein
nayi kahaani laaya
haan haan
nayi kahaani laaya
ho Naya zamaana aaya logon
naya zamaana aaya
jag mein jeewan jyot jagaane
aazaadi ka bigul bajaane
aaj naya sansaar nayi dhun
nayi zindagi laaya
haan haan
nayi zindagi laaya
lo Naya zamaana aaya logon
naya zamaana aaya
halchal charon aor machi hai
chahal pahal ghanghor machi hai
lo duniya bhar ke samaaj ki
palat chuki hai kaaya
Naya zamaana aaya logon
naya zamaana aaya
lo duniya bhar ke samaaj ki
palat chuki hai kaaya
Naya zamaana aaya logon
naya zamaana aaya
kadam kadam par naya taraana
kaun sunega geet puraana
kya dharti kya aasmaan
donon par joban chhaaya aa aa
Naya zamaana aaya
kya dharti kya aasmaan
donon par joban chhaaya aa aa
Naya zamaana aaya
Naya zamaana aaya logon
naya zamaana aaya
aaz naya sansaar sang mein
nayi kahaani laaya
haan haan
nayi kahaani laaya
lo Naya zamaana aaya logon
naya zamaana aaya
naya zamaana aaya
Teri gali mein aaya saudaagar
Posted on: November 13, 2018
- In: Actor-Singer song | Biography of Actor-Singer | Biography of artists | Devnagri script lyrics by Sudhir | Guest posts | Lyrics contributed by readers | Post by Arunkumar Deshmukh | Rare song | Song Based on Folk Music | Songs of 1940s (1941 to 1950) | Songs of 1941 | Yearwise breakup of songs
- 6 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 : |
3770 | Post No. : | 14745 | Movie Count : |
4031 |
With today’s song, I am introducing not only a Debuting film, but also a great stage actor singer of the Marathi Theatre of yore. The film is Charnon ki daasi-1941 and the singer is Master Avinash.
In the early era of the Hindi films, there were many local artistes, as Bombay was the centre of not only Films but also of Industries, which made it a land of opportunities. Initially the 1930’s film music was, as we all know, greatly influenced by Marathi Natya Sangeet, Hindi classical music and Parsee/Gujarati stage songs. There were musical stalwarts like Annasaheb Mainkar, Master Krishnarao Phulambrikar, Madholal Master, Pransukh Nayak, S.P.Rane, Hari Prasanna Das, Lallubhai Nayak, Brijlal Varma, Nagardas Nayak, Govindrao Tembe, Keshavrao Bhole, Prof. B.R.Deodhar, Dada Chandekar etc etc.
Most of them came to films after working for stage dramas and hence their music was sounding same, whoever was the Music Director. Similarly, singers, who sang on the stage too tried their hand at the film music. However, most such singers failed to impress and their careers did not last long.
Those who are conversant with Marathi Natya Sangeet must be aware of the contributions made by musicians like Deenanath Mangeshkar and Bal Gandharva. The Mangeshkar legacy goes on and on even today. Ganpatrao Laxmanrao Mohite aka Master Avinash was also a tall figure in Natya Sangeet. Master Avinash (1909-2009) was trained in music by Deenanath Mangeshkar and was trained in acting by Chintamanrao Kolhatkar- a great Marathi stage actor.
Avinash was one of those, who were with Balwant Sangeet Mandali, since its inception in 1918. This drama company was established by Master Deenanath Mangeshkar along with Chintamanrao Kolhatkar and Krishnarao Kolhapure. From the beginning, Avinash used to do female roles and his name was taken along with Bal Gandharva, in this respect. Due to his singing skill, he was quite a popular actor on the stage. Several of his Natya Geet records came into market and sold very well.
Master Avinash was simply ” Ganu Mama ” to Mangeshkar family. Though the patriarch of the M-family expired in 1942, Avinash survived almost 70 years (67 to be exact) after him. They were very close, hence a respected person for the M-family. He could, till his end, tell them his experiences with Deenanath and many others of that era. He taught some songs to baby Lata, when she was so small. Surprisingly, till he died in 2009, at the age of 101, his memory and health was very good.
He acted in most dramas written by Acharya Atre (P.K.Atre of Navyug Films and Atre Pictures) as well as all his Marathi films. However, Avinash worked only in one Hindi film-Charnon ki Daasi-41, which was a remake of Marathi film, Paayachi Daasi. By the time he appeared in this film in 1941, his singing and acting style was becoming outdated, for the Hindi audience. New styles of Music and young new actors had entered Hindi films. In any case, he was very successful on Marathi stage, so he did not bother to work in Hindi films.
As per an article on him, in The Times of India of 16-5-2002, he was a good cricketer, a wrestler, actor, singer and Music Director. Daily exercises must have kept him going healthy till the last. He remembered many anecdotes of old times, actors and especially of Deenanath Mangeshkar. He had a good collection of old photos and cuttings to show to the TOI reporter, who took his interview. In most Marathi films, he worked as a Hero opposite Vanmala. In film Charnon ki Daasi also they are the lead pair. Acharya Atre gave him the name Avinash for the stage. His popularity made his name a rage and many new born children were given his name in those years.
Film Charnon ki Daasi was written by P.K.Atre. It was directed by Gajanan Jahagirdar and was produced by Atre Pictures. The Music Director was Annasaheb Mainkar ( there were 3 Annasahebs in Hindi film Music. One was Mainkar, second was Datta Korgaonkar and third was C.Ramchandra. All were called Annasaheb) and the lyricist was Pt. Anand Kumar. The cast was Durga Khote, Vanmala, Gajanan Jahagirdar, Master Avinash, Kusum Deshpande, Nazeer Bedi, Ramesh, Sudhir and many others.
It was a typical Marathi reform social consisting of the age old friction of ” Saas-Bahu “. Durga Khote was the evil mother in law, who tortures the educated daughter in law-Vidya (Vanmala), with husband Murari (Avinash) protesting meekly. After the interval and towards the last part, the husband decides to be tough with his mother and the shocked saas surrenders and makes the Bahu head of the affairs. However, true to the middle class philosophy, the good Bahu returns the honour to the Saas and requests her to continue as family head ( minus the torture part, obviously), gives a very big speech and all is well in the end. The spice was added by the widowed Nanad- Champa (Kusum Deshpande). Gajanan Jahagirdar played Anokheram, the village scoundrel flirt, who is duly punished by the bahu, in the end.
In the advertisement of the film, the educational achievements of Vanmala-B.A., B.T. and Gajanan Jahagirdar- B.A. and Kusum Deshpande- B.A. was mentioned boldly and prominently.
Acharya Atre aka Pralhad Keshav Atre ( 13-8-1898 to 13-6-1969) was a Marathi-Hindi director and controversial literary figure in post-WW1 Maharashtra. Educated at the universities of Bombay and London; he studied experimental psychology under Cyril Burt and taught at Harrow before returning to India.
Owner-editor of populist down-market ” Maratha” newspaper; he was one-time Congress Party MLA. Later he became anti congress. He was Author of 22 plays, 13 short-story collections, four books of poetry and a 4-volume autobiography (Atre, 1965-7).
He was Teacher and producer of several school textbooks, often calling himself Principal Atre in his film credits. Aggressive polemicist remembered for famous literary battles with N.S. Phadke and Mama Warerkar.
He owned Chitramandir Studio/Atre Pictures (1940), the Atre Printing Press (1944) and Atre Arts (1968). He started his Film career by adapting his own short stories for Master Vinayak (Brahmachari, 1938; Brandichi Batli, 1939). He became a leading independent scenarist (e.g. Raja Rani, 1942) and pioneered the entry of new literary modes emerging from non-fictional prose into post-Independence Marathi film. His chosen genre was political satire, usually directed against the realist conventions of pre-WW1 social reform novels with their caste biases and Anglophilia.
However, his best-known film as director was the bitter-sweet melodrama Shyamchi Aai. Wrote plays in many genres: thrillers (To Mee Navhech), tragedies (rewriting the reformist Sangeet Natak playwright Ram Ganesh Gadkari and his own Udyacha Sansar) and satire. Noted scripts: Dharmaveer, Premveer, Begunah (all 1937), Ardhangi/ Ghar Ki Rani, Lapandav (both 1940). Preferred to hire directors rather than to direct. Produced and wrote his own movies, often starring actress Vanmala, through his Atre Pics, founded in 1940.
Gajanan Jahgirdar (2-4-1907 to 13-8-1988) the director of this film was the first Director of FTII in 1960. He is probably the only person in India at least, who has written 2 autobiographies-in 1971 and in 1986. He worked in 147 films and directed 17 films. He also wrote some songs in film Sant Tulsidas-1934.
Let us now listen to the first song of Master Avinash here. He makes his Debut and with this song, the film also makes its Debut.
Song-Teri gali mein aaya saudaagar (Charnon Ki Daasi)(1941) Singer-Master Avinash, Lyrics-Pt Anand Kumar, MD-Annasahab Mainkar
Lyrics
teri gali mein aaya saudaagar
kar le jawaani ka mol
kar le jawaani ka mol
meri sajni
kar le jawaani ka mol
meri sajni
kar le jawaani ka mol
teri zulfen rahin hain machal
tae ne keenhe hain naagan ke bal
tere abroo ne talwar taani hai amdaar
naina rahe munh se bol
tere naina rahe munh se bol
meri sajni
kar le jawaani ka mol
meri sajni
kar le jawaani ka mol
gori
teri gali mein aaya saudaagar
kar le jawaani ka mol
kar le jawaani ka mol
meri sajni
kar le jawaani ka mol
meri sajni
kar le jawaani ka mol
teri bindi pe daali nazar
goya sooraj raha ho nikhar
tere surme ki dhaar
phooti chhaathi ke paar
gayi chitwan kaleje ko chhod
gayi chitwan kaleje ko chhod
meri sajni
kar le jawaani ka mol
meri sajni
kar le jawaani ka mol
gori
teri gali mein aaya saudaagar
kar le jawaani ka mol
kar le jawaani ka mol
meri sajni
kar le jawaani ka mol
meri sajni
kar le jawaani ka mol
tere gaalon ke donon ghadhe
tere gaalon ke donon ghadhe
hain khumaari mein lab tak bhare
hain khumaari mein lab tak bhare
tere honthon ki thirkan
gaalon ki ubhran
thhodi ka til hai amol
teri thhodi ka til hai amol
meri sajni
kar le jawaani ka mol
meri sajni
kar le jawaani ka mol
gori
teri gali mein aaya saudaagar
kar le jawaani ka mol
kar le jawaani ka mol
meri sajni
kar le jawaani ka mol
meri sajni
kar le jawaani ka mol
———————————————————
Hindi script lyrics (Provided by Sudhir Kapur)
———————————————————
तेरी गली में आया सौदागर
करले जवानी का मोल
करले जवानी का मोल
मेरी सजनी
करले जवानी का मोल
मेरी सजनी
करले जवानी का मोल
तेरी ज़ुल्फें रहीं हैं मचल
तैने कीन्हे हैं नागन के बल
तेरे अबरू ने तलवार तानी है अमदार
नैना रह मुंह से बोल
तेरे नैना रह मुंह से बोल
मेरी सजनी
करले जवानी का मोल
मेरी सजनी
करले जवानी का मोल
गोरी
तेरी गली में आया सौदागर
करले जवानी का मोल
करले जवानी का मोल
मेरी सजनी
करले जवानी का मोल
मेरी सजनी
करले जवानी का मोल
तेरी बिंदी पे डाली नज़र
गोया सूरज रहा हो निखर
तेरे सुरमे की धार
फूटी छाती के पार
गई चितवन कलेजे को छोल
गई चितवन कलेजे को छोल
मेरी सजनी
करले जवानी का मोल
मेरी सजनी
करले जवानी का मोल
गोरी
तेरी गली में आया सौदागर
करले जवानी का मोल
करले जवानी का मोल
मेरी सजनी
करले जवानी का मोल
मेरी सजनी
करले जवानी का मोल
तेरे गालों के दोनों घड़े
तेरे गालों के दोनों घड़े
हैं खुमारी में लब तक भरे
हैं खुमारी में लब तक भरे
तेरे होठों की थिरकन
गालों की उभरन
ठोड़ी का तिल है अमोल
तेरी ठोड़ी का तिल है अमोल
मेरी सजनी
करले जवानी का मोल
मेरी सजनी
करले जवानी का मोल
गोरी
तेरी गली में आया सौदागर
करले जवानी का मोल
करले जवानी का मोल
मेरी सजनी
करले जवानी का मोल
मेरी सजनी
करले जवानी का मोल
Le chal ri saagar paar
Posted on: November 13, 2018
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.
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Blog Day : |
3770 | Post No. : | 14744 | Movie Count : |
4030 |
Kikubhai Desai who was the producer-director of many successful stunt films during 1930s and early 40s, may not be known to most of the present generation movie buff or even immediate preceding generation. However, if it is revealed that he was the father of Manmohan Desai, the producer-director of many block buster films during 1960s through 1980s, some of the movie enthusiastic especially the movie fans of Manmohan Desai, may develop interest in knowing Kikubhai Desai.
I first came to know about Kikubhai Desai in one of the old issues of ‘Filmindia’ magazine about 5 years back as a producer/director of a stunt film( I have forgotten the name of the movie). While covering rare songs from films of 1930s and 40s during 2015, I came across the information that Kikubhai Desai was the father of Subhash and Manmohan Desai ! This revelation generated interest in me to know about him in detail. In my article posted in the Blog about 2 years back, I had made a brief mention about the filmy career of Kikubhai Desai. Thereafter, I lost track and did not pursue the subject further.
Recently, while flipping through the pages of January 1942 issue if ‘Filmindia’ magazine, I came across a small news about the sudden death of Kikubhai Desai on November 26, 1941 when he was giving finishing touches to his comedy film ‘Sheikh Chilli’ (1942). This reminded me of my unfinished work to get Kikubhai Desai’s life profile and his filmy career more vigorously than before.
Kikubhai B. Desai (1902-26/11/1941) was born in Sandalpur (now in Navsari district of Gujarat) in an Anavil Brahmin family. Not much is known about his educational background. In 1925, Kikubhai Desai joined as Manager in Jupiter Film Company which was soon taken over by Nanubhai Desai, (father of actress Bindu), one of the two founders of Sharda Pictures, the other being Bhogilal Dave.
However, Nanubhai Desai retired from the partnership in Sharda Pictures and decided to join hands with Ardeshir Irani to set up Sagar Films (Later renamed as Sagar Movietone). Due to some last minute disagreement, Nanubhai Desai withdrew from Sagar Films before it was set up and started Saroj Pictures (later renamed as Saroj Movietone in 1931). He made Kikubhai to handle the film distribution in Punjab and Bangalore branches for Saroj Pictures.
In 1929, Kikubhai visited Bangalore (Bengaluru) and met Haribhai Desai, the proprietor of Surya Film Company who was also his relative. At that time, Surya Films was making its first silent film ‘Raj Hriday’. Haribhai told him that if he has come to enjoy only the colourful world of film industry, he would be sent back home. If he was prepared to work hard and learn the nuances of the film making, he will put him in production department. So Kikubhai started his work from the production department.
When ‘Raj Hriday’ was completed, Kikubhai Desai was made in charge of publicity department. Although compared to production department, publicity department was not a high profile work at that time. Kikubhai felt that he would miss working among the hero-heroines of the films with lot of activities and fun on the set. However, in the absence of any other work opportunity, he reluctantly accepted the change of work. Kikubhai tried new way of publicity for ‘Raj Hriday’ (1929). He got printed a large quantity of attractive pamphlets of the films and got them dropped from the plane in Mumbai. Such publicity was done for the first time. Kikubhai’s novelty in the publicity of the film impressed Haribhai so much that he made him Manager of his Bombay (Mumbai) distribution office.
In Mumbai, Kikubhai’s novel way of publicity of ‘Raj Hriday’ had a positive impact on the film which became a hit. Producers from other banners started giving him contract for the publicity of their films. He did this work for about 2 years during which time he had earned sufficient income to establish his own film production company, Paramount Films and the Paramount Studio at Andheri East in 1931. The banner produced its first silent film, ‘Fauladi Pahelwan’ (1931). Jayant Desai directed the film with Chandrarao Kadam and Miss Nirmala in the lead. In all, Kikubhai produced 8 silent films during 1931-33.
‘Husn Ka Ghulam’ (1933) was Paramount’s first talkie film made under the banner of Saroj Movietone. Thereafter, he produced on an average 3 films every year. None of the online sources give complete list of the filmography of Kikubhai Desai. Manmohan Desai had once mentioned, among other things, that his father had produced/directed 31 talkies during 1931-41. With this vital information, I set upon preparing the filmography of Kikubhai Desai. It was not an easy task to prepare an exhaustive list of films produced by Kikubhai Desai. Sometime his name was mentioned as K B Desai or K Desai. He had also produced films under the banners of India Liberty Films/ Great India Films in addition to his main banner, Paramount Films. I had to rely on the posters/advertisements of the films for confirmations.
Following is the list of films produced by him some of which he directed:
| Sr. No. | Name of the film | Director | Banner |
|---|---|---|---|
| 01 | Husn Ka Ghulam (1933) | J P Advani | Paramount/Saroj |
| 02 | Baghdad Ka Chor (1934) | D N Madhok | Paramount |
| 03 | Hoor-E-Baghdad (1934) | R N Vaidya | Paramount |
| 04 | Chalta Purza (1934) | R N Vaidya | Paramount |
| 05 | Khooni Khanjar (1935) | R N Vaidya /Kikubhai Desai | Paramount |
| 06 | Jaadui Danda (1935) | Dwarka Khosla | Paramount |
| 07 | Tufaani Tamancha (1935) | R N Vaidya | Paramount |
| 08 | Burkhawaali (1936) | Kikubhai Desai | India Liberty |
| 09 | Laal Panja (1936) | Kikubhai Desai | Paramount |
| 10 | Farz-E-Ada(1936) | A M Khan | India Liberty |
| 11 | Bansari Baala (1936) | A M Khan | India Liberty |
| 12 | Guru Ghantal (1937) | Kikubhai Desai | India Liberty |
| 13 | Kaala Bhoot (1937) | A M Khan | India Liberty |
| 14 | Taranhaar (1937) | Kikubhai Desai | India Liberty |
| 15 | Sinhaldweep Ki Sundari (1937) | Kikubhai Desai | Indis Liberty |
| 16 | Alladdin aur Jaadui Chiraag (1938) | Nanubhai Vakil | India Liberty |
| 17 | Baanke Saanwaria (1938) | Nanubhai Vakil | India Liberty |
| 18 | Madhraat Ka Mehmaan (1938) | Kikubhai Desai | India Liberty |
| 19 | Madhu Bansari (1939) | Kikubhai Desai | Paramount |
| 20 | Sunehri Toli/Golden Gang (1939) | Kikubhai Desai | Paramount |
| 21 | Sansar Naiyya (1939) | Nanubhai Vakil | Paramount |
| 22 | Reshmi Saari (1940) | G P Pawar | Paramount |
| 23 | Golibaar (1940) | Nanubhai Vakil | Paramount |
| 24 | Sneh Bandhan (1940) | J P Advani | Great India |
| 25 | Aflatoon Aurat/ Amazon (1940) | Kikubhai Desai | Paramount |
| 26 | Akela (1941) | Pessi Karani | Great India |
| 27 | Mere Raja (1941) | T S Mani | Paramount |
| 28 | Circus Ki Sundari/Circus Queen (1941) | Balwant Bhatt | Paramount |
| 29 | Sheikh Chilli (1942) | Kikubhai Desai | Paramount |
This list has been vetted by Harish Raghuvanshi ji, the Film Historian who added 4 films to this list making it 29 out of 31 mentioned by Manmohan Desai. The remaining 2 films may be the ones which were under production at the time of Kikubhai Desai’s death in 26/11/1941. Incidentally, for ‘Dashavatar’ (1951) produced under the banner of J K Films and directed by Jayant Desai, the name of Kikubhai Desai has been mentioned as producer. This may be one of the two unfinished films of Kikubhai Desai which may have been taken over by J K Films with new cast and crew.
From the titles of the films listed above, it is clear that Kikubhai Desai specialised in producing mainly stunt films. He seems to have shifted to producing romantic/social films like ‘Sneh Bandhan’ (1940), ‘Akela’ (1941) and a comedy film ‘Sheikh Chilli’ (1942).
I have noted from the star cast of the films produced under the banners of Paramount Films, India Liberty Films and Great India Films that Gohar Karnataki, Miss Pokhraj, Miss Moti, Shiraz, Gulab, Shankar Vazare, Navinchandra, Dalpat, Sardar Mansoor etc were the main actors. Damodar Sharma was the music director for as many as 23 films out of 29 films listed above.
As mentioned earlier, during the final touches to the film ‘Sheikh Chilli’ (1942) which was produced and directed by Kikubhai Desai, he collapsed and died of rupture in appendix on November 26, 1941 at the age of 39.
The sudden death of Kikubhai Desai created a void in his film production companies, Paramount Films and India Liberty Films/Great India Films. At the time of his death, besides ‘Sheikh Chilli’ (1942) which was at the editing stage, two more films were under initial stages of productions. All the works came to a standstill. His two sons, Subhash Desai and Manmohan Desai and a daughter were minors. With heavy liabilities and debts, Kikubhai’s wife decided to sell their big bungalow in Varsova with a fleet of cars and other assets of the film production companies except the Paramount Studio at Andheri (now Filmalaya Studio). She leased the Paramount Studio to Shiraz Ali Hakim on a monthly rental of Rs.500/- for the sustenance of the family. After selling the bungalow, the entire family shifted to Khetwadi in South Mumbai.
‘Circus Ki Sundari’ aka ‘Circus Queen’ (1941) was released on November 28, 1941 (2 days after the sudden death of Kikubhai Desai, the producer of the film) in Mumbai at Super Talkies. The film was directed by Balwant Bhatt. The star cast included Miss Moti, Jal Merchant, Gulab, S L Puri, Bose, Dhulia, A. Karim, Agha, Rekha etc.
The film was shot inside a real circus with its complete paraphernalia of artists and the wild animals. Probably, it was for the first time in India that a film was shot in the actual lions and tigers cages of a circus. Miss Moti must be a courageous girl do the shooting in the midst of lions and tigers. The story of the film runs more or less on the same lines which has been used in many stunt films of that time.
There is a weak King (S L Puri) who has a popular younger brother-prince named Pratap (Jal Merchant). There is a good prime minister and a wicked woman called Shyama Devi (Gulab) who lives with the King. Lastly, there is a gang of ruffians to complete the ingredients for a stunt film.
A circus is camped in the King’s capital in which an artist named Sundari (Miss Moti) acts with wild animals including lions and tigers. King is impressed with Sundari and wants her to be his mistress. He assigns this task to his henchmen. It so happens that Prince Pratap, King’s brother accidentally meets Sundari and they fall in love.
Now comes a third angle in the guise of Shyamla Devi who though lives with the King but likes to flirt with Prince Pratap. She hatches a plot to overthrow the King but on each occasion, the wise prime minister frustrates her efforts. So it is a three-way war for the supremacy – the King and his henchmen for bringing Sundari for him, Prince Pratap and Sundari to turn their love into a marriage and Shymala Devi and her ruffians to overthrow the King. All the three groups work simultaneously to achieve their respective goals. The end result is that Shyamla Devi dies in a large pot of burning oil. prince Pratap gets Sundari with the blessings of the King. The prime minister becomes victorious. [Paraphrased from the review of the film published in January 1942 issue of ‘Film India’ magazine].
The film had 10 songs which were written by P L Santoshi and A Karim. But the division of the songs between the two lyricists is not known. All the songs were set to music by Khan Mastana.
I present the first among 10 songs ‘le chal ri saagar par naiyya’ from the film ‘Circus Ki Sundari’ (1941). The song is sung by actor-singer Miss Moti.
With this song, ‘Circus Ki Sundari/Circus Queen’ (1941) makes a debut in the Blog.
Acknowledgements:
———————–
1. I am grateful to Harish Raghuvanshi ji for providing me with the material on the early life and filmy career of Kikubhai Desai. He also sent me the scanned copies of the 3 pages from the Gujarati book ‘Sapna Na Saudagar’ written by Vitthal Pandya. He also helped me in updating the list of talky films produced/directed by Kikubhai Desai.
2. ‘Manmohan Desai’s Enchantment of the Mind’ by Connie Haham. Some pages were available online through Google Books in which Manmohan Desai talked about his father and their early days in Khetwadi (South Mumbai).
3. ‘The Advent of Sound in Indian Cinema’ by Virchand Dharamsey – published in the ‘Journal of the Moving Image’ as a research article (Pages 22 to 49).
Audio Clip:
Song-Le chal ri saagar paar (Circus Queen)(1941) Singer-Miss Moti, MD-Khan Mastana
Lyrics
le chal ri saagar paar
naiyya
le chal ri saagar paar
saagar paar sunhari duniya
saagar paar sunhari duniya
rehti sada bahaar
roop jawaani raaja raani
roop jawaani raaja raani
mil gaayen malhaar
mil gaayen malhaar
naiyya
le chal re saagar paar
chalna haule haule
naiyya
chalna haule haule
beech bhanwar na dole
chalna haule haule
naiyya
chalna haule haule
beech bhanwar na dole
sang na khewanhaar
sang na khewanhaar
le chal ri saagar paar
naiyya
le chal ri saagar paar
naiyaa
le chal ri saagar paar
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
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