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

Archive for the ‘Songs of 1941’ Category


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.

Blog Day :

5170 Post No. : 17140

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Blog 10-Year Challenge (2012-2022) – Song No. 90
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This date ten years ago (viz 13 September 2012) saw six songs from six different movies getting covered in the blog.

Here are the details:-

Blog post number Song Movie (Year) Remarks
6628 Zindagi hai pyaar se pyaar mein bitaaye jaa Sikandar (1941) 3 songs covered out of 7 so far
6629 Huaa kyaa qusoor jo hamse ho door Basant (1942) Movie YIPPEED by now
6630 Soona soona hai jahaan Aurat(1953) Movie YIPPEED by now
6631 Janam liyo lalna ke Godaan (1963) Movie YIPPEED by now
6632 Parbat se kaali ghata takraayee Chaandni(1989) Movie YIPPEED by now
6633 Pyaar ka badla mujhe dekho kaisa milaa Yehi Hai Zindagi (1977) Movie YIPPEED by now

One can notice that five movies (out of six) whose songs were covered on this date ten years ago have since been YIPPEED. That leaves us with just one movie which is eligible for Blog Ten Year Challenge today (13 September 2022).

This movie is “Sikandar”(1941).

“Sikandar”(1941) was produced and directed by Sohrab Modi for Minerva Movietone, Bombay. The movie had Sohrab Modi, Prithiviraj, Vanmala, Meena, Sheela, Sadiq Ali, Shakir, K.N.Singh, Lala Yakub, Gajendra Singh, Jillo Bai, Zahur Raja, Abu Bakar, Ghulam Hussein, Noor Jehan, Prakash, G.S.Shorry,A ttavale etc in it.

The movie had seven songs in it. Three songs from the movie have been covered in the blog. The first two songs were covered in 2012. The third song was covered last month as blog ten year challenge. This song too is another blog ten year challenge song. In other words, the movie “Sikandar”(1941) got a look in again in the blog ten years after its first two songs were covered in the blog.

This song, the fourth from “Sikandar”(1941), is sung by Sheela. Pt Sudarshan is the lyricist. The movie had two music directors (Rafiq Ghaznavi and Meer Sahab), but the music director of this song is not known.

Lyrics of the song and other details are provided by Prakashchandra. The movie had Sheela in it so we can guess that the lady lip syncing the song is Sheela herself.

Audio link:

video link:

Song-Phulwaaran laage chor maalaniya soye rahi (Sikandar)(1941) Singer-Sheela, Lyrics-Pt Sudarshan

Lyrics (Provided by Prakashchandra)

phulwaaran laagey chor
malaniyaan
soye rahee ee
haan hhaan malaniyaan soye rahee
phulwaaran laagey chor
malaniyaan
soye rahee ee
haan haan malaniyaan soye rahee ee
inn choran se
inn choran se chaukas rahiyo
inn choran se chaukas rahiyo
chhaa rahey chaaron oar
chhaa rahey chaaron oar
malaniyaan soye rahee ee ee
haan hhaan malaniyaan soye rahee
phulwaaran laagey chor
malaniyaan
soye rahee ee ee
haan haan malaniyaan soye rahee ee

doojey chor andhiyaaraa khojein
doojey chor andhiyaaraa khojein
saayaa dekh sahaaraa khojein
saayaa dekh sahaaraa khojein
phulwaaran ke chor niraaley
phulwaaran ke chor niraaley
inn ko jaisey rain andhiyaari
inn ko jaisey rain andhiyaari
jaisey ujli bhor
jaisey ujli bhor
malaniyaan
soye rahee ee ee
haan hhaan malaniyaan soye rahee
phulwaaran laagey chor
malaniyaan
soye rahee ee
haan hhaan malaniyaan soye rahee ee

doojey chor chhuraawey chaandi..ee
doojey chor chhuraawey chaandi
sonaa heeraa maanak moti..ee
sonaa heeraa maanak moti
phulwaaran ke chor bhayaanak
phulwaaran ke chor bhayaanak
soney chaandee ki kaa batiyaan
soney chaandee ki kaa batiyaan
tan mann let marod
tan mann leth marod
malaniyaan soye rahee ee ee
hhaan haan malaniyaan soye rahee
phulwaaran laagey chor
malaniyaan soye rahee ee
hhaan haan malaniyaan soye rahee eee ee


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.

Blog Day :

5170 Post No. : 17139

Today’s song is from the film Naya Sansar-1941. The film was made by Bombay Talkies. It was directed by N.A.Acharya. The cast of the film was Ashok Kumar, Renuka Devi, Mubarak, Shah Nawaz, V.H.Desai, P.F.Pithawala, David and others. The music was given by Saraswati Devi (4 songs) and Ramchandra Pal (6 songs). The songs were written by Kavi Pradeep.

Though this was the 13th film of Ashok Kumar, it was only the 4th film of Renuka Devi. After working with Heroes like Jairaj, Kishore Sahiu and Pahadi Sanyal, it was her first film with the acclaimed Romantic hero Ashok Kumar. By now, Ashok Kumar had got used to acting, but his one problem was not yet solved. Like any new actor, Ashok kumar did not know what to do with his hands and he always felt very awkward and ill at ease while acting. He and his directors tried several ways, but this problem was not solved yet….at least till he acted in the film Naya Sansar-41.

In this film, his role was that of a radical news reporter of a Newspaper called “Sansaar “, run by Mubarak. This newspaper had become popular due to its forward and nationalistic thinking and the paper criticised the leaders, government and the administration for the wrongs they did to the people and the Nation. While doing this role. Ashok Kumar had to smoke. Not that he had never smoked, but he was an occasional smoker. While doing this role, he suddenly realised that this time he had not faced the problem of “what to do with the hands”. With smoking, this problem seemed to disappear automatically and his acting became very natural and more impressive. Even the director noticed this and encouraged Ashok Kumar. This was the beginning of not only the disappearance of his problem but also the beginning of his famous natural acting. He continued smoking till he breathed his last !

Mayanagri – Bombay – attracted people from all over the country. The film world of Bombay had the Glamour, fame and money. This appealed to people from every field- acting, singing, music direction etc. Film Industry mesmerised not only the ordinary, but even the experts in related fields. That is why Internationally famous Sitarist Ravi Shanker, Dancer Uday Shankar, Bade Ghulam ali khan and many other eminents tried their hands with films.

There were two types of Newcomers. One who came, whether successful or not, remained in the film line till their end and the second was Specialists who came , contributed their bit and went back to their comfort zones again. Some names in the second category are Pushpa Hans, Meera Mishra, Shakuntala Paranjpe, Madhusudan Bhatt, Bal Gandharva, G.N.Joshi etc-all actors,lyricists like Moti, B.A.( actually he was M.A.), Dr. Ramesh Shastry etc. Classical singers like Phiroz Dastur, Ram Marathe, Hirabai Badodekar, Manik Verma, Menaka Bai, Ira Nigam etc. and MDs like Kazi Nasrul Islam,Ali Akbar Khan, Allah Rakha, Mohanlal Aima, Pt. Amarnath Chawla etc etc. ( names are only indicative and not exhaustive.)

One name in this category stands out boldly and that is actress Renuka Devi. She came to films as a Hobby, acted only in 7 films, sang 20 songs in 4 films and happily returned to her married life again. A very strong mind and determination is required to forgo fame and money for something you love more in life.

Sometime back, I had bought one book and when I read this book – ” A woman of substance-Begum Khursheed Mirza”’ I was very much impressed.

Begum Khursheed Mirza is none other than the famous Heroine of the 30s and 40s-Renuka Devi. She was perhaps one of the most educated, upper class, sophisticated and highly cultured Muslim lady, who ever joined the film industry then. One more striking feature of Renuka Devi was that she was one of the very few actresses who joined films after their marriage. The other such examples I remember offhand are that of Meenakshi Shirodkar (Bramhachari-38 fame), Shobhana Samarth and actress Neena ( real name Shahida- first wife of Mohsin Abdulla, brother of Renuka Devi).

Renuka Devi had studied upto Masters degree in English Literature, from Aligarh Muslim University. The only other nearest example I remember offhand is that of actress Vanmala (real name Susheela Devi Pawar), who had done B.A and B.T. and was a Teacher in the college before joining films,at the behest of writer, journalist and Director P.K.Atre.

The story of Renuka Devi is quite interesting. Khursheed jehan was born in Aligarh on 4-3-1918, to Shaikh Abdulla and his wife Waheed jehan Beg. She was the 6th of 7 siblings. Her father Shaikh Abdulla (1874-1965) was originally a Hindu. He was the son of a rich jahagirdar and Landlord from Poonch,Kashmir. They were Kashmiri Brahmins. His name was Thakur Das. He embraced Islam in 1890, while studying in Aligarh. When his family learnt about it he was disowned by them. He took the name Shaikh Abdulla.

He became a leading Advocate of Aligarh. After he married Waheed Jehan Beg, they both- being of progressive thinking- decided to work for the Muslim womens’ education. They faced lot of resistance from the fundamentalists, but they established a Muslim women’s college in Aligarh. To provide students for this college, a school was also started for Muslim girls. Soon girls started joining the school and college. Shaikh Abdulla ensured that all his children were educated. One daughter became a Doctor, another Advocate and two daughters did master’s degrees and later on became Principals of the women’s college. Khursheed also studied upto masters but due to her marriage could not complete it. ( she completed her masters in English Litterateur in 1963, at the age of 45 years, later).

Khursheed jehan was married to Akbar Mirza, a Police Officer in Aligarh. Soon she gave birth to 2 sons. Her husband, Akbar Mirza, was a well-placed official in the colonial police force and she enjoyed playing the part of hostess and homemaker. At a women’s club fundraising event organized by her, a senior British official commented that she had a flair that would be perfect for a film career. This set the 21-year-old Khurshid thinking and when her brother, Mohsin Abdullah, told her about “the professional atmosphere at the [Bombay Talkies] studios and the charming Mr Himansu Rai and his wife Devika Rani”, she could not resist. She wrote to Rai enquiring about a job, even sending him a recent photograph. What ensued was a struggle between the claims of domestic life and the increasing attractions of an independent and lucrative career.

This she did without informing her husband. She received a letter from Devika Rani,inviting her to Bombay for an interview. Now she confided in her husband and he wholeheartedly supported her. Akbar stood by his wife in the face of stiff opposition from both their families. Precisely because she had anticipated controversy, Khurshid had adopted the screen name “Renuka Devi” but it could not protect her identity. In her autobiography she says, “My mother wrote asking me not to visit Aligarh until the hue and cry had died down. As a result, I did not meet my family for nearly two years.”

Thus started her acting career. She was 21 years old, married and had 2 children too. Her first film was “Jeewan Prabhat”-37. She was given the name RENUKA DEVI. This was the Debut film for Kishore Sahu as well. Bombay Talkies bosses were very happy with her performance and she was offered the Heroine’s role opposite Jairaj in the film ” Bhabhi”-1939. Jairaj was also from a rich background, cultured and highly educated. Their tuning was excellent and the film was a grand success. Renuka also sang a few songs in Bhabhi-39. When the news of her acting in films reached Aligarh,there was a hue and cry. Her mother wrote to Renuka,’not to visit Aligarh for now’. Renuka did not go to Aligarh for the next 2 years.

She was invited to Calcutta By New Theatres to act in the film, Dadi Didi-39. Her other films were Naya Sansar-41 (Ashok Kumar), Sahara-43 (S D Narang), Ghulami-45 ( Masood Parvez) and Samrat Chandragupta-45 ( Ishwarlal ). Her film career was very short. She announced her retirement from films in February 1944, while shooting for her last films.

After partition, her family migrated to Pakistan. In Pakistan, though in demand, she refused to do any films. Instead, she decided to devote her time for women’s uplift, education, welfare and social work. She also did some work on Pakistan Radio.

When TV came to Pakistan, she became very active and she was a popular figure on Pak TV for the next 15-20 years. She completed her master’s degree in 1963, at the age of 45 years. She published 9 instalments of her autobiography in the popular magazine ” Herald ” from August 1982 to April 1983, under the title ” The uprooted sapling”. This was later on edited and published by her daughter Lubna as a Book in 2004, titled- ” A woman of substance- the memoirs of Begum Khursheed Mirza “.

Renuka Devi died on 8-2-1989 at Lahore after a prolonged illness.

In her book she included a chapter of 24 pages ” Renuka Devi-my celluloid identity”, in which she has described many interesting anecdotes. Her detailed description of the times of the 30s and 40s is a lovely chronicle of the history of Bombay film industry. Here are some excerpts from her book…

1) Back in the Thirties, acting in films was not considered an honourable profession for anybody. And for a married woman from a well-educated and respectable upper-middle class Muslim family, it was forbidden to even think about it. But Khurshid Mirza, the daughter of the founders of the Aligarh Women’s College, the wife of a police officer and already a mother of two, was too free-spirited to be tied down by any social norm. She took the plunge and soon a star named Renuka Devi was born.

2) In 1939, Shanta Apte wrote that she received four or five letters each day from young girls wanting to join the movies “due perhaps to this monetary attraction”. Actresses themselves acknowledged in interviews that the money was substantial and more than one actress claimed that her salary rivalled that of the Governor of Bombay! But aside from several myth-building exercises, it is now apparent that film acting was a uniquely high-paying profession for women. According to Filmindia, Shobhana Samarth’s approximate total income in 1942 was Rs 36,000 while Sardar Akhtar, Naseem Banu, and Madhuri earned about Rs 30,000 each. These figures indicate that leading heroines of the day averaged an income of Rs 3,000-4,000 per month (some actresses were freelancers and did not work through the year) at a time when a French chiffon sari cost Rs 9, and a brand new imported Studebaker cost Rs 6,000. It is hardly surprising then, that Khursheed would want to make “a little dough”.

3) ” Akbar stood by me in the face of stiff opposition from both our families. Nevertheless, he maintained a strange attitude towards my work. He enjoyed the benefits the money brought us, such as a new car, expensive game-hunts, and pleasure trips to fashionable Mussoorie in summer and excellent schooling for our children. And, yet, he treated my work as a hobby, instead of giving it its due importance.”

( My thanks to the book, ”A woman of substance “, some information from ” Free Library”,Cineplot and my own notes).

I have not seen this film, but from today’s song, it seems to have been shot on Renuka Devi while playing a game with a child and his friends. Renuka Devi sang 5 songs in this film – 3 songs under the MD-Ramchandra Pal and only 2 songs composed by Saraswati Devi. Today’s song is by these two Devis together. ( In the early era of films, girls coming from educated and well to do families used to use the suffix of Devi to their name- like Sabita Devi, Molina Devi, Meera Devi etc. Girls coming from Tawaif families and singing families used to put the suffix of Bai to their names, like Jaddan Bai, Amir Bai, Waheedan Bai, Kalyani bai, Menaka Bai etc.) Enjoy this song.


Song- Chalo Chalo bhool bhulaiyya khelen (Naya Sansaar)(1941) Singer- Renuka devi, Lyricist- Pradeep, MD- Saraswati Devi
Chorus
unknown child voice

Lyrics

chalo chalo bhool bhulaiyya khelen
chalo chalo bhool bhulaiyya khelen

haan haan haan haan
paas ki phool bagiya mein
haan haan haan haan
paas ki phool bagiya mein
chalo chalo bhool bhulaiyya khelen
chalo chalo bhool bhulaiyya khelen
kya karogi bolo jab ud jaayengi
haan haan
joban ki chiraiyya
kya karogi bolo jab ud jaayengi
haan haan
joban ki chiraiyya

main tum donon ki khoj karoongi
main tum donon ki khok karoongi
ban pawan purwaiyya aa aa
ban pawan purwaiyya aa aa
chalo chalo bhool bhulaiyya khelen
chalo chalo bhool bhulaiyya khelen

phoolon ke van mein tum chhup jaana
ban ke ek papaiyya
phoolon ke van mein tum chhup jaana
ban ke ek papaiyya
phool phool se hum poochhenge
phool phool se hum poochhenge
kahaan hai humra bhaiyya
kaho kaho
kahaan hai humra bhaiyya
chalo chalo bhool bhulaiyya khelen
chalo chalo bhool bhulaiyya khelen

aasha didi
aasha didi
main bhi kheloonga

raaja bhaiyya khelega
raaja bhaiya khelega
haan haan haan
ban jaana ek bilaav
chhup jaana patton ki chhaanv
aankh bacha kar karna miyaaun miyaaun
miyaaun miyaaun
donon bahnen dar kar bhaagen
aisi bhaagen aise bhaagen
donon bahnen dar kar bhaagen
aisi bhaagen aise bhaagen
jaise van ki bilaiyya aa aa
jaise van ki bilaiyya aa aa
chalo chalo bhool bhulaiyya khelen
haan haan haan haan
paas ki phool bagiya mein
chalo chalo bhool bhulaiyya khelen
chalo chalo bhool bhulaiyya khelen


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.

Blog Day :

5128 Post No. : 17080

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Blog 10-Year Challenge (2012-2022) – Song No. 77
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This date ten years ago (viz 2 August 2012) saw seven songs from sven different movies getting covered in the blog.

Here are the details:-

Blog post number Song Movie (Year) Remarks
6351 O saawan ke din aaye re Sikandar (1941) 2 songs covered out of 7 so far
6352 Raakhi ka aaya tyohaar sakhi Raakhi(1949) 4 songs covered out of 10 so far
6353 Raakhi dhaagon ka tyohaar Raakhi(1962) Movie YIPPEED by now
6354 Chanda re mere bhaiyya se kehna Chambal Ki Kasam(1979) 6 songs covered out of 8 so far
6355 Meri behna ye raakhi ki laaj Ghar Dwaar(1985) One song covered out of 8 so far
6356 Mujhe maaf karna Om Sai Ram Insaaniyat Ke Dushman (1987) One song covered out of 5 so far
6357 Hum behnon ke liye mere bhaiyya Anjaana(1969) Movie YIPPEED by now

It can be observed that two movies (out of seven) whose songs were covered on this date ten years ago have since been YIPPEED. That leaves us with five movies that are eligible for Blog Ten Year Challenge today (29 July 2022).

“Sikandar”(1941) is one movie which is eligible for Blog Ten Year Challenge today (2 August 2022).

“Sikandar”(1941) was produced and directed by Sohrab Modi for Minerva Movietone, Bombay. The movie had Sohrab Modi, Prithiviraj, Vanmala, Meena, Sheela, Sadiq Ali, Shakir, K.N.Singh, Lala Yakub, Gajendra Singh, Jillo Bai, Zahur Raja, Abu Bakar, Ghulam Hussein, Noor Jehan, Prakash, G.S.Shorry, Attavale etc in it.

“Sikandar”(1941) had seven songs in it. Two songs from the movie have been covered so far.

Here is the third song from “Sikandar”(1941) to appear in the blog. This song is sung by Menka Bai. Pt Sudarshan is the lyricist. Movie had two music diretors namely Meer Sahab and Rafiq Ghaznavi, but the music director of this song is not known.

Lyrics of the song were sent to me by Prakashchandra. He informs us that the song is picturised on Vanmala, but he is not sure about the identification of the male actor, who he guesses to be Shakir. I request our knowledgeable readers to throw light on the identification of the actor.

Audio link:

video link:

Song-Uthh jaag jawaani aati hai (Sikandar)(1941) Singer-Menka Bai, Lyrics-Pt Sudarshan

Lyrics(Provided by Prakashchandra)

uthh jaag jawaani aati hai
uthh jaag jawaani aati hai
uthh jaag
uthh jaag jawaani aati hai
uthh jaag jawaani aati hai
uthh jaag

uthh uthh darwaazaa khol zaraa
uthh uthh darwaazaa khol zaraa
kuchch dekh zaraa
kuchch bol zaraa
kuchch dekh zaraa
kuchch bol zaraa
kuchch hans ley
kuchch gaa ley
kuchch apnaa rang jamaa ley
kuchch hans ley
kuchch gaa ley
kuchch apnaa rang jamaa ley
tu qismat se khushqismat hai
tu qismat se khushqismat hai
khud tere ae ghar mein phoolon ki
rangeen kahaani aati hai
uthh jaag
khud tere ae ghar mein phoolon kee
rangeen kahaani aati hai
uthh jaag
uthh jaag jawaani aati hai
uthh jaag jawaani aati hai
uthh jaag

peeney kaa mausam aayaa hai
peeney kaa mausam aayaa hai
jeeney kaa mausam aaayaa hai
jeeney kaa mausam aaayaa hai
kuchch khaa ley
kuchch pee ley
kuchch khaa ley
kuchch pee ley
marney se pehley jee ley
marney se pehley jee ley
kab roz roz ujdey dariya mein
nayee rawaani aati hai
uthh jaag
kab roz roz ujdey dariya mein
nayee rawaani aati hai
uthh jaag
uthh jaag jawaani aati hai
uthh jaag jawaani aati hai
uthh jaag
uthh jaag jawaani aati hai
uthh jaag jawaani aati hai
uthh jaa…aaag


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.

Blog Day :

5120 Post No. : 17069

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Blog 10-Year Challenge (2012-2022) – Song No. 74
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This date ten years ago (viz 25 July 2012) saw three songs from three different movies getting covered in the blog.

Here are the details:-

Blog Post number Song Movie (Year) Remarks
6308 Inhi logon ne le leenha dupatta mora Himmat(1941) 2 songs covered out of 10
6309 Suno suno he nar naari Aage Badho(1947) Movie YIPPEED by now
6309 Jawaan jawaan husn ke rangeen ye kaafile Adventures of Robinhood (1965) Movie YIPPEED by now

It can be seen that two movies (out of three) whose songs were covered ten years ago on this date (25 July 2012) have since been YIPPEED. That leaves us with just one movie which is eligible for Blog Ten Years today (25 July 2022).

The eligible movie is “Himmat”(1941).

‘Himmat'(1941) was directed by Roop K Shorey for Kamal Movietone Limited. The movie had Ragni aka Ragini, Manorama, Majnu, Beg aka Baig, Zahoor Shah, Radha, Ghulam Qadir, Maalaa, Ramesh, Ranchhod, Jaan, Malti etc in it.

‘Himmat’ (1941) had ten songs in it. Two songs have been covered in the past.

Here is the third song from ‘Himmat’ (1941) to appear in the blog.

HFGK is silent about the singers of the song. But going by the comments posted by some knowledgeable readers on YouTube, I have considered Umrazia Begam and Karimdad Khan as the singers of this song. Aziz Kashmiri is the lyricist. Music is composed by Pt Gobindram.

Only audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of the song.

Lyrics of the song were sent to me by Prakashchandra.

Audio link:

Song-Main hoon Raani ek sunehri nagri ki (Himmat)(1941) Singers-Umrazia Begam , Karimdad Khan, Lyrics-Aziz Kashmiri, MD- Pandit Gobindram
Both

Lyrics (Provided by Prakashchandra)

main hoon raanee
main hoon raanee
main hoon raanee
main hoon raanee
ek sunehri nagri kee
ek sunehri nagri kee

main hoon raaja
main hoon raaja
main hoon raaja
main hoon raaja
ek sunehri nagri ka
ek sunehri nagri ka

meri nagri aisi sundar
meri nagri aisi sundar
jaise
chaandi kaa ho mandir
chaandi kaa ho mandir

meri nagri aisi sundar
meri nagri aisi sundar
jaise
soney kaa ho mandar
soney kaa ho mandar

main hoon apne ghar ka raaja
aur bajaaoon baaja
main hoon apne ghar ka raaja
aur bajaaoon baaja
main hoon raaja

raaja se hai raani sundar
raani se hai raaja sundar
raaja se hai raani sundar

hum donon mein kaun hai sundar
aao tumhein bataaoon
hum donon mein kaun hai sundar
aao tumhein bataaoon
hum donon hain ek baraabar
hum donon hain ek baraabar
jaise chaand aur sooraj
haan jaise chaand aur sooraj
ab naa ladna
kyon
ab naa ladna
mujhse darna

mujhse darna
hum milkar phulwaari banen
tum koyal ban kar gaao..oo
tum koyal ban kar gaao..oo
koyal bankar gaao..oo
koyal bankar gaao o o

————————————————
Hindi script lyrics (Provided by Sudhir Kapur)
————————————————

मैं हूँ रानी
मैं हूँ रानी
मैं हूँ रानी
मैं हूँ रानी
एक सुनहरी नगरी की
एक सुनहरी नगरी की

मैं हूँ राजा
मैं हूँ राजा
मैं हूँ राजा
मैं हूँ राजा
एक सुनहरी नगरी का
एक सुनहरी नगरी का

मेरी नगरी ऐसी सुन्दर
मेरी नगरी ऐसी सुन्दर
जैसे
चांदी का हो मन्दिर
चांदी का हो मन्दिर

मेरी नगरी ऐसी सुन्दर
मेरी नगरी ऐसी सुन्दर
जैसे
सोने का हो मन्दर
सोने का हो मन्दर

मैं हूँ अपने घर का राजा
और बजाऊँ बाजा
मैं हूँ अपने घर का राजा
और बजाऊँ बाजा
मैं हूँ राजा
राजा से है रानी सुन्दर
रानी से है राजा सुन्दर
राजा से है रानी सुन्दर

हम दोनों में कौन है सुन्दर
आओ तुम्हें बताऊँ
हम दोनों में कौन है सुन्दर
आओ तुम्हें बताऊँ
हम दोनों हैं एक बराबर
हम दोनों हैं एक बराबर
जैसे चाँद और सूरज
हाँ जैसे चाँद और सूरज
अब ना लड़ना
क्यों
अब ना लड़ना
मुझसे डरना
मुझसे डरना
हम मिलकर फुलवारी बनें
तुम कोयल बन कर गाओ॰॰ओ
तुम कोयल बन कर गाओ॰॰ओ
कोयल बन कर गाओ॰॰ओ
कोयल बन कर गाओ॰॰ओ


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.

Blog Day :

4998 Post No. : 16895

Today’s song is from the film Sasural-1941.

Most of the “Family Dramas”, especially from the Southern stables, depict the problems of the family after the new Bahu comes to the house. In majority cases “problem” means disputes between the Saas- Bahu or the torture meted out to the meak and humble, sanskari Bahu by the Saas and /or Nanad. We have seen many such films. And then we have also seen films where the Bahu is dominating and gives troubles to saas and sasur- going to the extent of throwing them out of their own house. The third and most enjoyable type of family drama is wherein the Bahu is Tit for Tat to the machinations of the irritating Saas and Nanad.

I have been watching movies for about 65-70 years in different languages like Marathi, Hindi, English, Telugu, Kannada, Tamil and even a few Bangla ones. This was because Hyderabad state, where I grew up, was a multilingual state having a substantial population of Marathi, Telugu and Kannada people and of course Urdu speaking Muslims-the Rulers. In the beginning, when I was about 10 to 12 years old, I used to be a ‘Chaperone’ to a group of old relatives in the family for going to the theatre to see the films. Their invariable choices were essentially Mythologicals or tear jerker family films. I have seen more such ‘crying’ or ‘miracle’ filled films in my childhood.

But besides the types of family films mentioned above, there is or rather was one more category, wherein the film story used to be , in which the ‘would be’ Sasural was described in detail or the film story was about the proposed Sasural. In such films, the marriage is fixed, but the Groom or the Bride is mistaken for a wrong person,causing misunderstanding between the pair, till the mistake is rectified to set the things right. I have seen such films too. One film of the 40’s I remember is ” Panghat”-1943, wherein the groom is mistaken for a wrong person. Another similar story was in the film ” Chitchor”-1976. Such films were quite fun to see, because except the actors in the film, everyone in the theatre knew who was the real groom or the bride ! This enhanced the enjoyment.

Today’s film Sasural-1941 is also of this type only. In this film, however, both the groom and the bride misunderstand each other for some other person, but luckily fall in love with the right companion. This film was made by Ranjit Movietone and was directed by Chaturbhuj Doshi. All 13 songs of the film were written by D N Madhok and the music was by Gyan Dutt. The cast consisted of Motilal, Madhuri, Nurjahan Sr., Kantilal, Urmila, Bhagwan Das etc.etc.

Motilal was one of the earliest actors who brought ” Natural acting” to films. Later on actors like Ashok Kumar, Sanjeev Kumar, Amol Palekar and few others practiced it to enrich their films. Most of the new age readers may not be knowing who the actress ” Madhuri” in this film was. The only Madhuri they know is Madhuri Dikshit (I too liked her). For their benefit I reproduce here, once again, a translation of my article on this actress Madhuri. This was originally written in Marathi for a periodical, which has ceased to exist anymore.

Place- Shanmukhanand Hall,Mumbai
Date 7-2-1999
Time- 7 p.m.
Programme- Felicitation to ‘ Stars from the Silent Era’
Organisers- ” Amrut” and ” Cine Society of Bombay ”

The entire hall was overcrowded. Not only all the seats were occupied, but people were standing wherever possible. Everybody wanted to see the Two STARS on the stage-Jairaj and Madhuri. Both were in their late 80s, but looked radiant and smiling. For Madhuri it was a surprise, that the organisers found her out after living in oblivion for over 50 years. She was simply overwhelmed with the people’s affection and love. For Jairaj,these things were not new. He has been around all the time.

Madhuri and Jairaj were a Popular pair in Silent film era. They worked as a lead pair in 3 films, one each in 1930-Rasili Rani, 1931-Warrior from the wild and 1932-My Hero. They came together after almost 70 years, on this stage.

Like many others, Madhuri too was an Anglo Indian. Her name was Beryl Claessen. She was born on 3-11-1913 at Delhi. Her father was a big officer in the Government. Her initial schooling took place in Nainital. She learnt music too,because she wanted to become a Music Teacher. However, she never became,but on a visit to Bombay she was picked up by producer Indulal Yagnik and she started acting in silent films.

Many Heroines in those days were Anglo-Indians,Europeans or Jew girls. Since silent films did not require speaking Hindi or Urdu ( or any language,for that matter),these girls were preferred,as the Indian audience loved their fair colour (Gori Mem). Additionally,these girls did not hesitate to give intimate scenes like kissing or doing stunts themselves. Most girls knew Horse riding,fencing and fighting.

In 1928,there was a Silent film Madhuri,but actress Sulochana(Ruby Myers) did this role and in 1932 there was a Talkie film Madhuri,in which also Sulochana only did the role. When the Talkie films era began most of the Anglo Indian girls became jobless,since they could not speak Hindi/Urdu nor could they sing a song-the two requirements for actresses in early era Talkie films. However,few intelligent and professional actresses learnt Hindi/Urdu language speaking. Madhuri and Sabita Devi (Irene Gasper) were two such clever girls who achieved proficiency in these matters.

Madhuri was very beautiful. After doing 17 silent films,she made her debut in Talkie films with ‘ Pardesi Preetam’-1933. Jaswantlal Nandlal directed his first film here. Her Hero was Raja Sandow. She did many films for Ranjit under the direction of Jayant Desai. From 1933 to 1942,she acted in 28 films. They were (not in order) Kashmeera, Mitti ka Putla, Noor e watan, Secretary, Lehri lala, Rangeela Raja, Sitamgarh, Prithviputra, Thokar, Raj Ramni, Diwali, Matlabi Duniya, Toofani Toli, Shama parwana, College Girl, Nadira, Veer Babruvahan, Zamin ka chaand, Ban ki chidia, Toofan Mail, Mehman, Sasural, Shadi, Ikrar, Vakil Saheb, Paapi, Mazaq and Dharm-45 …her last film.

In 1941,Madhuri got married and after completing films on hand, retired from Film line. After this, she simply disappeared for next 50 years without a trace,till the organisers of a programme located her. Bombay’s ” Amrut” and ” Cine Society of Bombay ” held a felicitation programme on 7-2-1999, for “Stars from the Silent Era”. For Madhuri it was a surprise that the organisers found her out after living in oblivion for over 50 years. She was simply overwhelmed with the people’s affection and love.

She and Jairaj were felicitated on that day.

Film Sasural-1941 story appeared in the December issue of Film India magazine review, in short. Our Sadanand Kamath ji had given it in 2016, in his comments. Here it is…

“The marriage of Vinod (Motilal) and Usha (Madhuri) is fixed, But Usha has not seen her would-be-husband. A mix-up of suitors happens when a fat servant (Kantilal) impersonates Usha’s would-be-husband. The detailed story is not revealed in the review probably to avoid the ‘suspense in the comedy of errors’. It is only towards the end of the film when the impersonation of suitors gets revealed while on a forest trail when Usha falls in the arms of Vinod and the fat servant (Kantilal) gets the maid (Nur Jahan Sr,) as the original suitors.”

The funny song is sung by Kantilal, Motilal and chorus. Kantilal was a favourite with Sagar Movietone initially and then Ranjit Movietone. he featured in all the 3 successive comedy films made by Ranjit in this war period, namely Musafir-1940, Pardesi-1941 and Sasural-1941. Chandulal Shah believed that his audience needed lauhter during the tensions created by the second world war.

KANTILAL CHHAGANLAL PACHCHIGAR ( Soni) was born on 18-4-1907 in Surat, Gujrat. He was from a Goldsmith family. Due to inherent interest in music,after college education he came to Bombay to try film singing.

His first film was ‘Bulbul e Paristan’-1934 from Vishnu Cinetone. Kikubhai Yagnik was the MD. Kantilal sang 2 songs in it.In 1935, he acted, sang and gave Music to Preet ki reet. He sang in 6 songs. From 1937 to 1941, he was with Ranjit Movietone and acted and sang in 16 films. He sang 40 songs under Khamchand Prakash and Gyan Dutt. Then came Gazi Salahuddin, Kangan, Holiday in Bombay and Kanchan. Kantilal sang 60 songs in 24 films under 5 MDs.

In 1943,he married Ushaben and acted in Gujarati films and Dramas.
He died on 17-6-1971.

Some of his films were, Tufani Toli, Ban ki chidiya, Billi, Gorakh Aya, Prithvi Putra, Adhuri Kahani, Nadi kinare, Aaj ka Hindustan, Achhut, Diwali, Holi, Musafir, Pardesi, Sasural, Shaadi etc.

Enjoy the comedy song….


Song- Bibi bole naahin kunda khole naahin (Sasuraal)(1941) Singers- Kantilal, Motilal, Lyricist- D N Madhok, MD- Gyan Datt

Lyrics

ho o o
khole naahin
bole naahin
ho kunda khole nahin
bibi bole naahin
ho kunda khole nahin
aji baahar pade re barsaat
bole naahin
bibi bole naahin
o kunda khole naahin

aji baahar pade re barsaat
bole naahin
bibi bole naahin
o kunda khole naahin
bibi bole naahin

baaman ke ghar kutiya re bhaunke
bole naahin
kuchh bole naahin
baaman ke ghar kutiya re bhaunke
ghadi ghadi mein ?? chaunke
baali umar dar jaat
bole naahin
bibi bole naahin
o kunda khole naahin
o ji baali umar dar jaat
bole naahin
bibi bole naahin
o kunda khole naahin
bibi bole naahin

kanya ke ghar chaandi sona
par kismat mein phata bichauna
bole naahin
bibi bole naahin
kanya ke ghar chaandi sona
par kismat mein phata bichauna
khaane ko hai bhaat
bole naahin
bibi bole naahin
o kunda khole naahin
aji khaane ko hai bhaat
bole naahin
bibi bole naahin
o kunda khole naahin
bibi bole naahin

aeji baahar pade re barsaat
bole naahin
bibi bole naahin
o kunda khole naahin
bibi bole naahin

miyaan ke ghar mein patli jo daal
miyaaan jee ladke chale sasuraal
o miyaan ke ghar mein patli jo daal
miyaaan jee ladke chale sasuraal
aji shaadi kar pachhtaaye
bole naahin
bibi bole naahin
ho kunda khole naahin

aeji shaadi kar pachtaaye
bole naahin
bibi bole naahin
o kunda khole naahin
bibi bole naahin

aeji baahar pade re barsaat
bole naahin
bibi bole naahin
o kunda khole naahin
bibi bole naahin

?? nain lade re
aeji bhaado ki kaali kaali raat
bole naahin
bibi bole naahin
o kunda khole naahin
aeji bhaado ki kaali kaali raat
bole naahin
bibi bole naahin
o kunda khole naahin
bibi bole naahin
o kunda khole naahin
bibi bole naahin
aeji baahar pade re barsaat
bole naahin
bibi bole naahin
o kunda khole naahin
bibi bole naahin
bole naahin


This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular 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.

Blog Day :

4829 Post No. : 16608

‘Anjaan’ (1941) was produced under the banner of Bombay Talkies and was directed by Amiya Chakraborty who made his debut as a director with this film. The star cast included Devika Rani and Ashok Kumar in the lead roles supported by Girish, P F Pithawala, V H Desai, Gulab, David, Fatty Prasad, Yusuf Suleiman, Master Suresh, Baby Madhuri, Rewashankar, Arun Kumar etc. For Devika Rani, it was her ‘comeback’ film after her last film ‘Durga’ (1939) and after the death of her husband, Himanshu Rai in 1940.

Another ‘first’ for the film ‘Anjaan’ (1941) was that R D Mathur, the US trained photographer who was assistant to Josef Wirsching, the German cinematographer of Bombay Talkies, made his debut as a Cinematographer for the film. He got this opportunity as Josef Wirsching, being a German, was jailed in India during the World War-II. R D Mathur earned his name as an ace cinematographer for his works in films such as ‘Mughal-e-Azam’ (1960) and Razia Sultana’ (1983). He also completed the cinematography work for ‘Paakeezah’ (1971) after the sudden death of the film’s cinematographer, Josef Wirsching.

Since the inception of the film productions by Bombay Talkies in 1935, Saraswati Devi and Ramchandra Pal used to be the music directors of all the films of Bombay Talkies released till 1940. ‘Anjaan’ (1941) was the first film of Bombay Talkies for which instead of Saraswati Devi or Ramchandra Pal, the music direction of the film was entrusted to Pannalal Ghosh, who had shifted from Kolkata to Mumbai in 1940 with his wife and playback singer, Parul Ghosh.

Pandit Pannalal Ghosh (24/07/1911 – 20/04/1960), the renowned flautist, who was the pioneer in introducing the flute as the musical instrument in the Hindustani classical musical concerts, had to start his initial musical career in the film industry in Kolkata at the age of 17 when he lost his father. He started with playing flute during the exhibitions of the silent films. When the sound films came into being, he became the music assistant, first to Kazi Nazrul Islam and thereafter to R C Boral when he joined the New Theatres as a musician. He had assisted R C Boral when for the first time, playback singing Indian films was introduced for ‘Dhoop Chhaaon’/Bhagyachakra’ (1935).

Pannalal Ghosh’s association with the film industry was mainly to earn money to take care of his family. His interest was to become a Hindustani classical musician with flute as his musical instrument. He formally became the ‘gadabandh’ disciple of Ustad Khushi Mohammed Khan and after his death, the disciple of Pandit Girija Prasad Chakraborty. Besides working for New Theatres, Pannalal Ghosh regularly participated in the programmes of the All India Radio, Kolkata as a flautist.

In early 1940, Pannalal Ghosh shifted his base to Mumbai along with his family as he felt that there was no recognition to his work in Kolkata. In Mumbai, he followed the same strategy – working in the films for sustenance and pursuing his interest in Hindustani classical music. He immediately got his first assignment as a music director for Kikubhai Desai’s film ‘Sneh Bandhan’ (1940). This was followed by ‘Anjaan’ (1941), ‘Basant’ (1942), ‘Sawwal’ (1943), ‘Duhaai’ (1943), ‘Bhalaai’ (1943), ‘Police’ (1944), ‘Beesvi Sadi’ (1945) ‘Aadhar’ (1945) etc.

However, Pannalal Ghosh could not get satisfaction with his work because of the way the Hindi film industry worked. During this time, Ustad Allauddin Khan of Maihar Gharana, the exponent of multiple musical instruments like sarod, sitar, flute, Veena etc. was staying in Mumbai. Pannalal Ghosh became his disciple at a time when he was already started giving public concerts. ‘Aandolan’ (1951) was his last film as a music director.

From 1955-60, Pannalal Ghosh took up the job as a Composer and Director of All India Radio, Delhi Vadhya Vrinda (Orchestra) and stayed in Delhi with his family. His connection with Hindi films was limited to playing flute as and when music directors called him to Mumbai. The best exmaples of his flute recitals can be found in the song main piya teri tu maane ya na maane from ‘Basant Bahaar’ (1956) and in the song mohe panghat pe nandlal chhed gayo re from ‘Mughal-e-Azam’ (1960).

I have always thought that the flute was a tiny musical instrument – may be not more than 12-18 inches long. I realised that it was not so when I when I saw the photographs of Pandit Pannalal Ghosh and Pandit Hariprasad Chaurasia playing with their long flutes. The credit for elongating the flute’s normal length to as high as 32 inches goes to Pandit Pannalal Ghosh with an extra 7th hole so that the tiny folk instrument becomes capable of playing Hindustani classical music in various raags. Over a period of time, flute has become one of the concerts’ music instruments along with other music instruments. Probably, Pandit Pannalal Ghosh was the first Hindustani classical musician to play the solo flute in public concerts.

Pandit Pannalal Ghosh died of a massive heart attack on April 20, 1960 when he was 48. He has left a large number of his disciples to keep his legacy alive.

The story of ‘Anjaan’ (1941) as under:

Indira (Devika Rani) is employed by Ranima (Gulab), the widow of the landlord as governess to look after her two children. Ramnath (Girish) is the Estate Manager to Ranima who loves Indira and to get her on his side, he is ready to turn to the villainous acts. Indira falls in love with Dr. Ajit (Ashok Kumar) who often visits Ranima for her medical check-up. Now, this turns into a love triangle. The more love between Dr Ajit and Indira blossom, the more villainous Ramnath turns. Ramnath falsely accuses Indira of secretly visiting to Ajit’s house in the night about which he complains to Ranima. Indira gets her services as governess terminated.

After hearing from Ajit about the wrong doings by Ramnath, it is too much for Ranima for her already weak heart leading to the further deterioration of her fragile health. Ajit administers her injection to revive Ranima but in vain. She is dead. Ramanth finds a good excuse to implicate Ajit on the charge of the murder of Ranima.

The news of the alleged murder by Ajit unnerves Indira as Ramnath tells her that he is going the lodge the murder charges against Ajit. She agreed to marry Ramnath provided he lets Ajit free from the murder charges. Hereafter, she avoids meeting Ajit which creates misunderstanding in his mind about Indira. He decides to leave the place for the city. Ajit decision to migrate to the city is too much for Indira. She decides to meet Ajit at the railway station to tell him the truth. After listening her, Ajit tells her to wait for his return from the city.

Ramnath comes to know about the double crossing by Indira. He lodges the charge of murder on Ajit who is arrested in the city. To prove the motive for the murder of Ranima, Ramnath removes some costly jewelries and declares as missing, pointing finger on Ajit. In the trial in the session court, Ajit argues himself. The judge is impressed by his arguments. But the evidences are all against Ajit. However, it is the two children of Ranima whose evidences clinche the judgement in favour of Ajit. Ramnath is handed over to the police and Ajit gets Indira.(With inputs from the review of the film which appeared in the September 1941 issue of ‘Filmindia’ magazine).

The film had 10 songs of which 8 songs have been covered on the Blog as under:

Songs Date of Posting Singers
Aayi paschim se ghata naunihaalon jaago 02/03/2015 Devika Rani
Main to tumse bandhi rahoon 11/12/2015 Devika Rani
Mere jeewan ke pathh par chhaayi ye kaun 20/10/2020 Ashok Kumar-Devika Rani
Chhalko chhalko na ras ki gagariya 20/01/2021 Rajkumari
Kheencho kamaan kheencho 26/01/2021 Ashok Kumar-Suresh-Rewashankar
Pyaare pyaare sapne hamare Triple version song 06/02/2021 Ashok Kumar-Devika Rani-Suresh-Rewashankar

I am presenting the last and the final song ‘saanwariya re saanwaria’ which has two versions – a duet sung by Arun Kumar Mukherjee and Susheela and a solo sung by Arun Kumar Mukherjee towards the end of the film. The song is written by P L Santoshi which is set to music by Pandit Pannalal Ghosh. The audio clip of the song is longer by one stanza. Hence the lyrics of the song is based on the audio clip.

My guess is that Arun Kumar Mukherjee sings in both the versions of the song on himself. From the side profile of his face during the singing, I notice some resemblance of Ashok Kumar on his face who was his maternal cousin. In the star cast, the name of Arun Kumar is mentioned.

With this two-version song, all the song of ‘Anjaan’ (1941) have ben covered on the Blog.

Acknowledgement: Some of the information on the early life of Pandit Pannalal Ghosh has been sourced from pannalalghosh.com.

Audio Clip (Duet):

Video Clip (Duet):

Video Clip (Male Solo):

Song-Saanwariya re saanwariyaa (Anjaan)(1941) Singers-Arun Kumar Mukherjee, Susheela, Lyrics-P L Santoshi, MD-Pannalal Ghosh
Both

Lyrics(Based on Audio Clip)

saanwariya re saanwariya
saanwariya re saanwariya
chal chal re chal re saanwariya
chal chal re chal re saanwariya
saanwariya re saanwariya
chal chal re chal re saanwariya
ek nagariya ham donon ki
ek dagariya aa
ek nagariya ham donon ki
ek dagariya aa
chal re chal re saanwariya
saanwariya re sawariya
chal chal re chal re saanwariya

raah kanteeli door thikaana aa
raah kanteeli door thikaana
phir bhi hamko chalte jaana
raah katili door thikaana
phir bhi hamko chalte jaana
beet jaaye chaahe saari umariya
beet jaaye chaahe saari umariya
chal re saanwariya
haan
chal re chal re saanwariya
sawariya re sawariya
chal chal re chal re saanwariya

main tera rahoon tu meri rahe
main tera rahoon tu meri rahe
haan saanwariya re saanwariya
saanwariya re saanwariya

main tera rahoon tu meri rahe
jaise din ke saath ujhera rahe
main tera rahoon tu meri rahe
haan saanwariya re saanwariya
saanwariya re saanwariya

aabaad rahe ham tum donon
aabaad rahe ham tum donon
aabaad hamaara dera rahe
bajta rahe ye iktaara
bajta rahe ye iktaara
madhur preet ki baansuriya
madhur preet ki baansuriya
chal re saanwariya
haan
chal chal re chal re saanwariya
saanwariya re saanwariya
saanwariya re saanwariya
chal chal re chal re saanwariya
chal chal re chal re saanwariya


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular 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

Blog Day :

4764 Post No. : 16511 Movie Count :

4488

Today’s song is from the film Paisa-1941. This was the first film having the word ‘Paisa’ in its title. After this film, every decade, there were films having the word Paisa in its title. In 1956 – Paisa hi Paisa, in 1957- Paisa, in 1969- Paisa ya Pyar, in 1974- Paise ki Gudiya, in 1985- Paisa yeh Paisa, in 1992- Paise ke Peechhe, in 2001- Paisewali, and in 2004- Paisa Vasool. Obviously, the importance of Paisa had established itself in the film industry !

Talking of film titles, I was once going through the Film Title Index from 1931 to 2012, published by Shri Hamraz ji. I was sure that the most popular word for film titles must be ” Pyar”. For the sake of confirmation and curiosity, I started counting the film titles starting with the word Pyar. I found 96 films made with Pyar as the starting word in their titles. There were another 11 variations like Pyaara, Pyaari etc.

Slightly disappointed with my age-old belief about Pyar being the most popular film title word shattered, I decided to find out which word was more in film titles than Pyar. Once I completed the count, I was surprised to find 206 films having the word ” Ek” in its titles. In this category, 32 films started with the words” Ek aur….”. While doing this exercise, I came across many Title repeats and I took up that issue.

I have found that there were films beyond count having a repeat of titles for 2 or 3 times,
4 times repeat titles were 80 films
5 times were 23 films
6 times were 5 films and
7 times was only 1 Title….” INSAF “. Films with this title were made in 1937, 1946, 1956, 1966, 1973, 1987 and 1997. As if by a rule, these films were made every decade till 2000 ! So much for Film Titles in Hindi Cinema World !

From 1931 till about the end of the 50’d decade, the Southern, Eastern and the Western region filmmakers used to make Bilingual (even Trilingual) films, i.e. one in the regional language and another in Hindi language. This was essentially to earn more profits and widen the scope of their films. In the early years, the regional cinema did not have so much market as the Hindi films had reached the nooks and corners of India- including South India, Ceylon, Burma, Afghanistan etc. As the times passed on, the Regional markets grew big enough to compete and do away with looking at Hindi markets for business.

Today’s film Paisa-41 was also one such film made in Marathi and Hindi. It is just a coincidence that my previous post and today’s post both have the films with the same Director-G.P.Pawar and the same Heroine-Kanta Kumari. The Lyricist of this film is not known, but the Music Director was C.Balaji.

I am sure, hardly anyone has ever heard his name so far. It is natural also, because Balaji gave music only to 2 Hindi films. First is Raja Gopi chand-1938 And the other film was Paisa-1941. Both his films were bilingual-in Hindi and Marathi. Basically Balaji was a marathi film composer. He was the first music director to change his name to look like a South indian name. C.Ramchandra came much later.

His real name was Balaji Gopal Chougule. originally his family was from Kolhapur, but he was born at Varanasi on 12-10-1913. After the death of his maternal grandfather Balaji came to Kolhapur. here he learnt music from Ustad Manji khan (son of Ustad Alladiya khan), Shankarrao Sarnaik and Govindrao Tembe. Tembe taught him the skill to give music to films.

He started working with some drama companies like Kirloskar natak mandali and Yeshwant Sangeet mandali, as a Harmonium player. In 1937, he became assistant to Govindrao Tembe for film ‘Pratibha'(Hindi/marathi). When Tembe left the film halfway, he completed its music, but his name was not credited. He got his first Marathi film independently, Kanhopatra. Its songs became very popular. Pendharkar gave him Raja Gopichand-38 as an independent MD. Later he did another film in Hindi/Marathi, Paisa-41.

In 1945, Balaji started learning music again, this time under Bhurji Khan (youngest son of Alladiya Khan). Balaji gave music to 5 Marathi films and 2 Hindi/Marathi films. When Shivaji University started in Kolhapur in 1962, he started an agitation for inclusion of Music in its curriculum. His efforts bore fruits and it was done in 1964. He gave tutions of Music in his last days. C.Balaji expired on 11-9-1984 at his home town, Kolhapur.

The cast of this film was Kanta Kumari, Madhav Kale, Indira Wadkar (this was her last Hindi film), Shakuntala, Vimal Ghaisas, Devaskar, Raja pandit ( he was an actor, director and producer. He was the husband of actress Ratnamala. They had one son-Jaikumar, who died in an accident. They were divorced later on), Bala saheb, V.D.Pandit etc.

Madhav Kale was born in Nashik in 1903. After his school education at Nashik, he joined Deccan college at Poona and passed Intermediate course. He was interested in playing in dramas, which was opposed by his mother. But he used to take part in dramas while in college. He was a good singer too. Wanting to join films, he sent applications to many companies. Saroj and Sharda companies responded. He acted in several silent films like Mukti Sangram, Kanak Kesari etc. He entered the Talkie films with Vikram Charitra-32, Mera Imaan-34 and Vishnu Bhakti-34. During this period, he got married in 1934.

He acted in 21 films. His last film was Gokul ka chor-59. He even directed one film, Sacha Sapna-42. He sang 13 songs in 7 films till 1942.
There is no information about him after this.
After writing this bio of Madhav Kale, I came to know that after the films, Madhav went back to Nashik, where he was active in local politics. He became a Municipal Councillor, but lost Assembly elections, which he was very hopeful of. He died somewhere in 1980.

Indira Wadkar was the Paternal aunt of Heroine Hansa Wadkar. Hansa Wadkar’s father had three sisters, Kesharbai, Indirabai and Sushilabai. Sushila was married to Master Vinayak, a renowned actor-director of the early era of Indian cinema. The elder sister as well as Indira Wadkar were acting in films and Indira was a classical singer as well. Indira acted in several films including Duniya Kya Hai (Resurrection) (1937) and in Vinayak’s production company “Hans Films” like Devata (1939) in Marathi. Indira used the surname Wadkar to avoid using the family name Salgaokar, for fear of reprisal from society against women acting in films. Her older sister, Kesharbai, was working in a film made by M.G. Rangnekar and she suggested that Wadkar work in films to sustain her family. She acted in 11 Hindi films. She was a popular mother in law in Marathi films.

Today’s song is sung by a Chorus, with an unknown male voice in it. With this song, film Paisa-41 makes its Debut on this Blog.


Song- Jag ko naach nachaaye paisa (Paisa)(1941) Singers- Chorus, Lyricist- Not known, MD- C.Balaji

Lyrics

Jag ko naach nachaaye paisa
jag ko khel khilaaye paisa
Jag ko naach nachaaye paisa
jag ko khel khilaaye paisa
lambe kad waala jhuk jaaye
lambe kad waala jhuk jaaye
bigde(?) ko akdaaye
bigde(?) ko akdaaye
paisa Jag ko naach nachaaye
paisa jag ko khel khilaaye
paisa Jag ko naach nachaaye
paisa jag ko khel khilaaye
paisa

paise ki mahima hai nyaari
paise ki mahima hai nyaari
isko poojen sab nar naari
isko poojen sab nar naari
meethhe khwaab dikhaaye paisa
meethhe khwaab dikhaaye paisa
jeewan swapn banaaye paisa
jeewan swapn banaaye paisa
jag ko naach nachaaye paisa
jag ko khel khilaaye paisa
jag ko naach nachaaye paisa
jag ko khel khilaaye paisa

begaane apne ban jaayen
begaane apne ban jaayen
dushman bhi aa kar apnaayen
dushman bhi aa kar apnaayen
aaye aa kar jaaye paisa
aaye aa kar jaaye paisa
jaaye jaa kar aaye paisa
jaaye jaa kar aaye paisa

paisa
paisa
paisa
paisa

paisa
paisa
paisa
paisa
paisa
Jag ko naach nachaaye paisa
jag ko khel khilaaye paisa
Jag ko naach nachaaye paisa
jag ko khel khilaaye paisa


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 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.

Blog Day :

4696 Post No. : 16386 Movie Count :

4452

When Imperial Movietone released India’s  first sound film, ‘Alam Ara’  in  1931, other top film production companies of Hindi films followed suit. Madan Theatre with ‘Shirin Farhad’ (1931), Ranjit Movietone with ‘Dev Devyani’ (1931), Sagar Films with ‘Meri Jaan’ (1931), Prabhat Film Company with ‘Ayodhya Ka Raja’ (1932, in Marathi and Hindi), New Theatre with ‘Mohabbat Ke Aansoo” (1932) were some of the early film production companies to release their first Hindi sound films.

Wadia Brothers were the late entrant to the production of sound films. The reason was that JBH Wadia did not have his own banner when he was making the silent films since 1928. It was only when sound films came into existence, JBH Wadia was joined by his brother Homi Wadia to set up Wadia Movietone in 1933. The banner’s first sound film was ‘Laal-e-Yaman’ (1933) which was directed by JBH Wadia. Wadia Brothers were the populist film-makers who believe in making wholesome entertainment films. They mainly chose the genres of stunts, action, adventure and costume drama films. The first sound film was a money spinner for the banner which enabled them to set up their own studio.

‘Laal-e-Yaman’ (1933) will be remembered for shaping the career of two artists who acted in the film in side roles.  First, Master Feroze Dastoor was introduced in the film as a singer-actor. JBH Wadia was a patron of Hindustani classical music. When he heard 14-year-old Feroze Dastoor singing a Hindustani classical song, he decided to use his voice for the film. In the absence of the playback singing system, he was taken in the film as an actor so that he can sing the songs. Feroze Dastoor sang 7 songs in the classical/semi-classical genre. Later, Pandit Feroze Dastoor became one of the leading Hindustani classical vocalists belonging to Kirana Gharana.

The second actor was Nadia who did a small role in the film as a chorus singer. In a couple of years after the release of ‘Laal-e- Yaman’ (1933), JBH Wadia selected her as lead actress for ‘Huntrerwali’ (1935) which was directed by his brother, Homi Wadia. The film became a runway success in terms of box office collection. Eventually, she became the Wadia Movietone’s top most star and India’s top action actress, popularly known as ‘Fearless Nadia’.

JBH Wadia’s interest in Hindustani classical music motivated him to make short films of about 10 minutes on then upcoming vocalists and musicians for their promotions. During 1933-42, he made many such short films covering  Mallika Pukhraj, Kumar Gandharva, Azim Prem Ragi, Ahmed Jaan Thirkawa (Tabla), Sakhawat Hussain Khan (Sarod) among others. These short films were shown along with Wadia Movietone’s main feature films as an added bonus for the audience. The first two mentioned above are availabe for viewing on video sharing platforms.

JBH Wadia was involved with Indian National Congress during 1930-38. Under the influence of Congress, JBH Wadia promoted the theme of freedom struggle, Hindu-Musilim unity, eradication of caste system, emancipation of women, eradication of illiteracy etc, in his stunt and action films. In 1937, he came into contact of MN Roy (1887-1954), a Marxist revolutionary, who had joined the Indian National Congress in 1936 after his disillusionment with communism. After leaving Congress in 1940, MN Roy started an alternative ideology called ‘Radical Humanism’. JBH Wadia was highly influenced by MN Roy’s intellect and the honesty of the convictions about his ideology. Under his influence, JBH Wadia was leaning towards making socially relevant films. Later in his life, MN Roy became his close friend and philosophical guide.

Sometime in 1941, Wadia Movietone decided to produce a big budget film ‘Raj Nartaki’ (The Court Dancer) (1941) in Hindi, Bangla and English which featured Sadhana Bose and Prithviraj Kapoor in the lead role. The film was directed by Madhu Bose. Unfortunately, the film failed in the box office collections. With this, the differences between Wadia brothers as also between JBH Wadia and the financiers arose leading to the dissolution of partnership in Wadia Movietone. Homi Wadia left Wadia Movietone in 1942 to form his own film production company called Basant Pictures and continue to produce stunt and action films.

The financiers of Wadia Movietone wanted it to continue to make stunts films. JBH Wadia was veering toward social genre of films.  The differences led to financiers withdrawing their support to Wadia Movietone. To raise the finance, JBH Wadia had to sell the studio to V Shantaram who had then set up his own film production company, Rajkamal Kala Mandir in 1942. JBH Wadia started producing social genre of films. Some of his such films were ‘Aankh Ki Sharm’ (1943), ‘Vishwas’ (1943), ‘Mela’ (1948), ‘Magroor’ (1950), ‘Madhosh’ (1951), ‘Duniya Jhukti Hai’ (1960), Saaz Aur Sanam’ (1971) etc.

[Note: Some of the events mentioned in the above paragraphs are based on an article ‘Those Were The Days’ written by JBH Wadia and published in ‘50 Years of Indian Talkies (1931-1981)’ by Indian Academy of Motion Picture Arts and Sciences, 1981. The article was reproduced in cinemaazi.com].

I find it interesting coincidence to note that one of the reasons for the downfall of Sagar Movietone was its ambitious and a high budget film ‘Kumkum, the Dancer’ (1940) which failed at the box office. Wadia Movietone’s downfall was also due to its high budget film ‘Raj Nartaki’ (1941) which also failed at the box office. Both the films had a common theme of a dancer played by Sadhana Bose. Both the films was directed by Madhu Bose.

‘Manthan’ (1941) was produced under the banner of Wadia Movietone and was directed by Ramjibhai Arya. The cast included Sardar Mansoor, Radha Rani,  Rajkumari, Dalpat, Boman Shroff, MK Hasan etc. The film belonged to the genre of ‘costume drama’. This film was made at a time when Wadia Movietone was under financial strains due to the money locked in its ambitious high budget film, ‘Raj Nartaki’. Probably, this may be the reason that not  much advertisements of the film during its making as well its release, were noticed.

‘Manthan’ (1941) had 10 songs. All the songs were written by Pandit Faani which were set to music by Baldev Nayak. I am presenting the first song from the film “Jeevan Ki Aashaayen’ to appear on the blog. HFGK mention the name of the singer as Rajkumari. The voice does not sound  that of Rajkumari Dubey. This means that the singer could be Rajkumari Calcuttewaali. I have a seen a photograph of Rajkumari from the film ‘Manthan’ (1941) and she does not look like Rajkumari Dubey. On checking with Girdharilal Vishwakarma ji, who has uploaded the song, he has confirmed that the singer is Rajkumari Calcuttewaali.

With this song, ‘Manthan’ (1941) makes a debut on the Blog.

Song – Jeevan Ki Aashaayen (Manthan) (1941) Singer – Rajkumari Calcuttewaali, Lyrics – Pt Faani, MD – Baldev Nayak
Chorus

Lyrics

jeewan ki aashaayen
ae ae
jeewan ki aashaayen
jeewan ki aashaayen
jeewan ki aashaayen  
jeewan ki aashaayen
jeewan ki aashaayen
 
ek nahi
do chaar nahi
kitani hai koi paar? nahi
kitani hai
kitani hai koi paar? nahi
roz roz hoon
roz roz badh jaayen
jeewan ki aashaayen
jeewan ki aashaayen
aashaayen
 
aashaaon se khel rahi hai
aashaaon se khel rahi hai
jeewan sukh se mil rahi hoon
jeewan sukh se mil rahi hoon
jeewan mein aashaayen
jeewan mein aashaayen
jeewan mein aashaayen
jeewan ki aashaayen
jeewan ki aashaayen
aashaayen

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————

जीवन की आशाएँ
ए ए
जीवन की आशाएँ
जीवन की आशाएँ
जीवन की आशाएँ
जीवन की आशाएँ
जीवन की आशाएँ

एक नहीं
दो चार नहीं
कितनी हैं कोई पार नहीं
कितनी हैं
कितनी हैं कोई पार नहीं
रोज़ रोज़ हाँ
रोज़ रोज़ बढ़ जाएँ
जीवन की आशाएँ
जीवन की आशाएँ
आशाएँ

आशाओं से खेल रही हूँ
आशाओं से खेल रही हूँ
जीवन सुख से मिल रही हूँ
जीवन सुख से मिल रही हूँ
जीवन में आशाएँ
जीवन में आशाएँ
जीवन में आशाएँ
जीवन की आशाएँ
जीवन की आशाएँ
आशाएँ


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 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.

Blog Day :

4687 Post No. : 16371 Movie Count :

4446

‘Nai Roshni’ (1941) was produced by Mehboob Khan under the banner of National Studios and was jointly directed by Chimankant Gandhi and Lalit Mehta. The star cast included Sardar Akhtar, Harish, Husn Bano, Amar, Kanhaiyalal, Sunalini Devi, Sankata Prasad, Budho Advani, Agha, Baby Meena etc.

The director-pair of Chimankant Gandhi and Lalit Mehta had also directed ‘Aasra’ (1941) and Lala Ji’ (1941) – both under the banner of National Studios. Those days, under studio system, it was not uncommon to have two directors for films. It is possible that the original directors assigned for the films were unable to continue their assignments due to a variety of reasons. But when the same pair of directors is repeated in more than one film, it can be safely assumed that the pair has jointly directed the film. For example, Bakul Bhatt and Babubhai Mistri jointly directed two films – ‘Muqabala’ (1942) and ‘Mauj’ (1943). V G Damle and Sheikh Fattelal jointly directed 3 films – ‘Gopal Krishna’ (1938), ‘Sant Dnyaneshwar’ (1940) and ‘Sant Tukaram’ (1948).

There were a few cases where only one film was jointly directed by the pair of directors but not as a substitute for the original director. For example, Zia Sarhadi and Mahendra Thakore jointly directed ‘Postman/Abhilasha’ (1938), Virendra Desai and Mahendra Thakore did for ‘Sadhana’ (1939) and S U Sanny and M Sadiq for ‘Namaste’ (1943).

On checking the details of some of the films produced under the banners of Sagar Movietone and National Studios, I found that Chimankant Gandhi and Lalit Mehta had worked as Assistant/Chief Assistant Director to Mehboob Khan in some films beside also involved in the other areas of film productions since the early years of Sagar Movietone after the advent of sound films These two names are also mentioned in the book, ‘Sagar Movietone’ by Biren Kothari.

Both Chimankant Gandhi and Lalit Mehta were in the inner circle of friends of Mehboob Khan from his Sagar Movietone days. Chimankant Gandhi had started with Mehboob Khan as his Assistant Director from ‘Deccan Queen’ (1936). He continued his association with Mehboob Khan in the same capacity until Mehboob Khan’s last film, ‘Son Of India’ (1962). I have noticed that in the credit titles of the films, the name of Chimankant Gandhi appeared first and that too in bold/capital letters among Mehboob Khan’s 3-4 assistant directors. This shows how important Chimankant was for Mehboob Khan. Lalit Mehta worked as Production Controller and in other capacity with Mehboob Khan during his days in Sagar Movietone and National Studios until he independently directed ‘Amaanat’ (1943) and ‘Azaadi Ki Raah Par’ (1948). I could not trace Lalit Mehta’s filmy career after 1948.

‘Nai Roshni’ (1942), brings another long-term association of Mehboob Khan with Agha Jani Kashmiri, the story, screen-play and dialogues writer. Lucknow-born Agha Jani Kashmiri (1908-1998) had a very interesting journey to his filmy career. At the age of 24, he ran away from his home to Rangoon to become the lead actor in ‘Shaan-E-Subhaan’ (1933) opposite Sultana. After working in a few films at Kolkata, Agha Jani Kashmiri came to Mumbai some time during the second half of 1930s and joined Bombay Talkies. Himanshu Rai, the boss of Bombay Talkies, after knowing his literary background encouraged him to pursue the career in story, screen-play and dialogue writing. He got the first assignment as a screen-play writer for ‘Vachan’ (1938) which was a box office success. He had a small role in Bombay Talkies next film, ‘Bhabhi’ (1938).

In 1940, Agha Jani Kashmiri joined Mehboob’s National Studios and wrote story, screen-play and dialogues for ‘Aasra’ (1941) and ‘Nai Roshni’ (1941). With the closure of National Studios in 1942, Mehboob Khan set up his own production house, Mehboob Productions. The first film produced under the new banner was ‘Najma’ (1943) for which Agha Jani wrote story, screen-play and dialogues. The film was a box office success. Thereafter, Mehboob Khan and Agha Jani Kashmiri combination tasted high box office success in ‘Taqdeer’ (1943), ‘Humayun’ (1945), ‘Anmol Ghadi’ (1946) and ‘Anokhi Ada’ (1948). Agha Jani Kashmiri’s last film with Mehboob Khan was ‘Amar’ (1954).

During his filmy career, Agha Jani Kashmiri wrote story/scree-play/dialogues for over 50 films most of which were box office hits. It was an irony of fate that ‘Tohfa’ (1948), the only film which he produced, directed and wrote story, screen play and dialogues, failed miserably at the box office. But this failure did not dent his stature as a screen-play and dialogue writer. He continued to be active in the film industry until about mid-1970s when he and his wife migrated to Canada to joined his two sons who have settled there. Agha Jani Kashmiri died on March 27, 1998 in Toronto.

‘Nai Roshni’ (1941) was released in Mumbai on November 8, 1941 and a review of the film was published in January 1942 issue of ‘Filmindia’. Based on the review, a summarized version of the story is given below:

Bihari (Amar) is a bank manager and Indira (Sardar Akhtar) is his fashionable wife. Mohan (Kanhaiyalal) is a clerk in the same bank whose financial condition is poor. He has a demanding wife in Vijaya (Sunalini Devi). His daughter, Geeta (Husn Bano) is of a marriageable age. Master ji (Sankata Prasad)’s family stay in the neighborhood of Mohan who has a grown-up son, Madan (Harish), a music teacher. Geeta has joined Madan’s music class and both love each other. But the marriage will have to wait until the financial condition of her father, Mohan improves.

Bihari has a reputation of having affairs with girls. One day, when his wife is away, he brings a girl to his house but is caught red handed by his wife. In order to bring her husband to the senses, Indira hatches a plan in which she pretends to have an affair with Madan by joining his music class. Madan is unaware that Indira is the wife of bank manager, Bihari. The ‘affair’ comes to the notice of Bihari and he is determined to end his wife’s affair with Madan. However, when he is made to believe that Madan has been staying in his house with Indira, Bihari hatches a counter plan which results into some hilarious situations. The only way, Bihari can end his wife’s ‘affair’ is to get Madan married to Geeta which he succeeds. At the end, parents of Geeta and Madan are happy and Indira is happy that her husband has realised not to have his extra-marital relationship.

The film had 11 songs, all written by Dr. Safdar Aah Sitapuri and set to music by Anil Biswas. None of the videos of the songs was available on any video sharing platform. So, I have uploaded a song, ‘wo poochhten hain ae dil tu kiska hai shaidaayi’ which I am presenting here. The song is rendered by Harish and Sardar Akhtar. The audio quality of the song is not up to the mark as the background music sounds as loud as the song rendition. The reviewer of the film had criticised the sound recording of the film.

A feature of this song is that it has a long prelude music (103 seconds).

With this song, ‘Nai Roshni’ (1941) makes its debut on the Blog.

Audio Clip:

Song-Wo poochhte hain ae dil tu kiska hai shaidaayi (Nai Roshni)(1941) Singers-Harish, Sardar Akhtar, Lyrics-Safdar Aah Sitapuri, MD-Anil Biswas
Both

Lyrics

wo poochhten hain ae dil
tu kiska hai shaidaayi
wo poochhten hain ae dil
tu kiska hai shaidaayi

chup hoon to jiyoon kaise
boloon to hai ruswaayi
chup hoon to jiyoon kaise
boloon to hai rusawaayi

wo poochhten hain ae dil
tu kiska hai shaidaayi
wo poochhate hain ae dil

kyun aag uthaata hai
tu phool ke dhokhe mein
kyun aag uthaata hai
tu phool ke dhokhe mein

leti hai ?? aankhon ko kinaaraa ??
let hai ?? aankhon ko ??
wo kam hai jo kar guzre
deewaana wo deewaana
wo kam hai jo kar guzre
deewaana wo deewaana

jab zabt karaana thha
phir kyun kiya saudaayi
jab zabt karaana thha
phir kyun kiya saudaayi

wo poochhaten hain ae dil
tu kiska hai shaidaayi
wo poochhaten hain ae dil
tu kiska hai shaidaa..yi


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.

Blog Day :

4680 Post No. : 16359 Movie Count :

4442

Writing on old films, its people and its music is an unusual hobby. Such people are very few and what they write is read by a limited but a large circle. This group of people are exclusive and generally they are not recognised by the society. Funnily, ” writing on old films” is mainly ( and wrongly) equated with old songs only. people are not aware that there is a world beyond old songs and music as far as old films are concerned.

Whenever I tell people that ‘ I write on old films’, their immediate reaction is to start praising old songs which they know. Depending on the age of the person, the period of ‘ old films’ differs. For an young man of, say 20-25 years old films may mean films which came in the 80’s and 90’s. For people of 30-40 years, films of the 6o’s and 70’s are old films. For people of 45-60 years of age, old films are from the 50’s. Only people in the age bracket of 65 to say 80/85, it is films of the 30’s and 40’s which are old films !

Irrespective of the age group and their definition of old films, people unanimously equate films with songs only. That is why I say films have 2 parts…..
1. Poetry – It consists of the songs, the lyricists, the Music Director, the arrangers, instruments used and its players, how songs are presented, who is the singer etc etc.
2. Prose – It consists of information of the producing studios,producers, directors, actors, film stories, locations, cinematography and all those who help make a film-other than songs and music.

Most Social Media sites and groups centre around film music, songs, singers and related topics. I would guess that about 95 % groups and sites belong to this category. However, the remaining 5% groups and sites, Blogs loyally give importance to people connected with film making. They collect and provide information on the old films, production houses, biographies of artistes, producers, directors, cinema stories,filmographies, interviews with people etc etc. These sites and groups are exclusive and known only to people who are interested in this aspect of films, for whatever reasons.

However, I strongly believe that the 2 parts, i.e. Prose and Poetry of films are incomplete without each other. One may specialise in knowledge of one part, but he can not do without having a sufficient knowledge of the other part too. For example, if I specialise in the Prose part of old films, I also have a sufficient knowledge of the Poetry part of the films. Therefore,instead of specialisation, i would call it a Preference of the particular part. I have also noted that most people who write or do any kind of blogging or ‘siting’ of old Hindi films, do this as a Hobby. In a way, it is ” Love’s Labour” for them.

Another point.As is generally believed,all people connected with this hobby are not the ‘Retired ‘ people. There are enthusiastic bloggers in this field, who are professionals having either a job or a business. Some high profile bureaucrats, some doctors, educationists, professors, senior managers in Government or private enterprises or even directors of companies. They are of course in the age group of 45 and above. Not that there are no young people involved in old films. Just take a round of related pages on Fb, you will find quite young people enjoying old songs and also putting their ‘ knowledgeable’ remarks/comments.

I developed this love of old films quite early, in my early or pre teens, perhaps.As the youngest member of a big joint family, I was assigned the duty of accompanying the elders, whenever they went to see a film – which was quite often. I started liking films (mostly mythological or social films) and their songs. I branched off into seeing action and stunt films with my friends. Language was not a bar. Hyderabad being a multilingual state, I used to see films in Hindi, Marathi, Telugu, Tamil, Kannada, English (especially Republic Serials like Captain Marvel etc.)

I developed a habit of jotting down the details of the film seen, in a notebook. This habit lasted with me till about a few years till I reached my final college year in the late 50’s. Once I joined my job and then got married, my notebook writing stopped. I had carefully preserved these notebooks till I started writing articles. But by that time many notebooks had faded, some were torn, some had white ants. I salvaged many and transcribed from the spoiled ones, but some information was lost forever. Still, what remained was enough for me to write hundreds of posts and film synopsis. Good habits always help !

Believing in discipline and organised work, all my more than 1000 articles are neatly stacked in 45 Long books. More than 1100 Bio sketches of cine artistes are in my Laptop. I have 100s of books, purchased and got as gifts from the authors,in Hindi, Marathi and English. I have already written in a diary what is to be done of all these after I leave and also informed the person. The idea is not to waste all this knowledge and that the next generation should have it readymade.

Today’s post has become a different one. Once in a while, some diversion !.

Today’s song from the film Torpedo-41 is a lovely, sweet song by Rajkumari Banareswali. This was a Costume film as per HFGK, but looking at the actors it seems to be a mixture of action and stunt. The cast is Yashwant Dave, Shehzadi, Samson, Meher Sultana and others. The director was N A Mansuri, B.A. He later directed 2 more films, Soorat-47 and Sanwariya-49. I wonder what must he be doing in between ? Music was by Shyam Babu Pathak and Shanti kumar. With this song, film Torpedo makes its Debut on the Blog. Thanks to Shri Abhay Jain(US) for the rare song and Sadanand Kamath ji for uploading it for me.


Song- Chal Saajan chal saajan Ek chhoti si duniya apni basaayen (Torpedo)(1941) Singer- Rajkumari-Banareswali, Lyricist- Kabil, MD- Shanti Kumar Desai

Lyrics

Chal Saajan
Chal Saajan
Chal Saajan
Ek chhoti si duniya apni basaayen
Chal Saajan
Chal Saajan
Ek chhoti si duniya apni basaayen
Chal Saajan
Chal Saajan

is duniya se ae door kahin jaa kar
is duniya se ae door kahin jaa kar
door kahin
door
door kahin
door
Chal Saajan
Chal Saajan
Ek chhoti si duniya apni basaayen
Chal Saajan
Chal Saajan

prem ka deepak man mein jalaa kar
prem ka deepak man mein jalaa kar
kaali ghata ka parda hataa kar
kaali ghata ka parda hataa kar
duniya ki nazron o o o se
duniya ki nazron o o o se
ojhal ho jaayen
ojhal ho jaayen aen aen
Chal Saajan
Chal Saajan
Ek chhotisi duniya apni basaayen
Chal Saajan
Chal Saajan

ham tum hon wahaan
aur na ho koi
ham tum hon wahaan
aur na ho koi
bhor bhaye aji saajan ho
bhor bhaye aji saajan ho
viyog ke baadal kabhi na chhaayen
viyog ke baadal kabhi na chhaayen
Chal Saajan
Chal Saajan
Ek chhoti si duniya apni basaayen
Chal Saajan
Chal Saajan


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This blog discusses Bollywood songs of yesteryears. Every song has a brief description, followed by a video link, and complete lyrics of the song.

This is a labour of love, where “new” songs are added every day, and that has been the case for over FOURTEEN years. This blog has over 17100 song posts by now.

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